This Work of Art Based on Visions of a Saint Is Executed

Fine art in Tuscany | Martyrdom of Saint Sebastian

The martyrdom of Saint Sebastian is one of the most indelible themes in Western religious fine art. The execution scene and so often portrayed - with the Saint transfixed with arrows - is based on the legend well-nigh his life and death during the reign of the Roman emperor, Diocletian. However, it is the symbolic clan of arrows with the Blackness Death - during the Heart Ages and during the Renaissance - which identifies Sebastian as the patron saint of plague victims. After more than iv centuries of recurrent epidemics, the plague died out in Europe; but the epitome of St Sebastian connected to inspire artists until the end of the 19th century.
The earliest representation of Sebastian is thought to exist a bas relief in the crypt of the Basilica of St Sebastian, near Rome; and hither the Saint appears in armor, as a Roman soldier (Kraehling, 1938 ix). The church was built over that function of the catacombs called the Cemetery of Calixtus, along the Appian mode, two miles from the metropolis. The original church building is gone, but a new ane was built in 1611, and a big recumbent statue of Sebastian by Bernini lies beneath the high altar (Jameson, 1885 21). Some of the bully Renaissance names associated with paintings of St Sebastian include Titian, Tintoretto, del Sarto, Mantegna, and del Castagno (Targat, 1979 5-25). It is meaning that the figure of Sebastian was one of the few semi-nude forms permitted in early on Christian art. And amongst the many Renaissance images of the Saint, the paintings of Perugino, Sodoma, and Francia are considered to be the finest in terms of concrete beauty and anatomical accuracy (Crawfurd, 1914 100).

Saint Sebastian (died c. 288) was a Christian saint and martyr, who is said to have been killed during the Roman emperor Diocletian's persecution of Christians. He is commonly depicted in art and literature tied to a post and shot with arrows. This is the nigh common creative depiction of Sebastian; however, he was rescued and healed by Saint Irene of Rome before criticising the emperor and existence clubbed to death.[1] He is venerated in the Roman Catholic and Orthodox Churches. The details of Saint Sebastian's martyrdom were first spoken of by fourth century bishop, Ambrose of Milan, in his sermon (number 22) on Psalm 118. Ambrose stated that Sebastian came from Milan and that he was already venerated there in the fourth century.
Life


According to Sebastian's fifth-century Acta Sanctorum,[two] still attributed to Ambrose by the 17th-century hagiographer Jean Bolland, and the briefer account in Legenda Aurea, he was a man of Gallia Narbonensis who was taught in Milan and appointed every bit a captain of the Praetorian Baby-sit under Diocletian and Maximian, who were unaware that he was a Christian. Sebastian was known for having encouraged in their faith 2 Christian prisoners due for martyrdom, Mark and Marcellian, who were bewailed and entreated past their family to forswear Christ and offer token sacrifice. His presence was said to have cured a woman of her muteness, and that the miracle instantly converted 78 persons. According to tradition, Mark and Marcellian were twin brothers and were deacons. They were from a distinguished family and were both married, living in Rome with their wives and children. The brothers refused to sacrifice to the Roman gods and were arrested. They were visited past their father and female parent, Tranquillinus and Martia, in prison, who attempted to persuade them to renounce Christianity. Sebastian ended up converting Tranquillinus and Martia, as well equally Saint Tiburtius, the son of Chromatius, the local prefect. Nicostratus, some other official, and his wife Zoe were also converted. It has been said that Zoe had been a mute for 6 years. However, she made known to Sebastian her desire to be converted to Christianity. As soon as she had, her speech returned to her. Nicostratus then brought the residual of the prisoners; these 16 persons were besides converted by Sebastian.[3] Chromatius and Tiburtius converted; Chromatius fix all of his prisoners gratuitous from jail, resigned his position, and retired to the state in Campania. Marker and Marcellian, after being concealed by a Christian named Castulus, were after martyred, every bit were Nicostratus, Zoe, and Tiburtius. Martyrdom Diocletian reproached Sebastian for his supposed betrayal, and he commanded him to be led to the field and there to be leap to a pale to be shot at. "And the archers shot at him till he was as full of arrows as an urchin,"[5] leaving him there for dead. Miraculously, the arrows did non kill him. The widow of Castulus, Irene of Rome, went to call up his torso to coffin information technology, and constitute he was withal live. She brought him back to her house and nursed him dorsum to wellness. The other residents of the house doubted he was a Christian. 1 of those was a girl who was blind. Sebastian asked her "Do you wish to be with God?", and made the sign of the Cross on her head. "Yes", she replied, and immediately regained her sight. Sebastian then stood on a step and harangued Diocletian equally he passed past; the emperor had him beaten to death and his torso thrown in a privy. Simply in an apparition Sebastian told a Christian widow where they might observe his body undefiled and bury it "at the catacombs by the apostles." Of the miraculous effect of the example of Sebastian, the Golden Legend reports, …Saint Gregory telleth in the first book of his Dialogues that a adult female of Tuscany which was new wedded was prayed for to become with other women to the dedication of the church of Sebastian, and the night tofore she was and so moved in her flesh that she might non abstain from her husband, and on the forenoon, she having greater shame of men than of God, went thither, and anon equally she was entered into the oratory where the relics of Saint Sebastian were, the fiend took her and tormented her before all the people. Sebastian was also said to be a defence force against the plague. The Gold Legend transmits the episode of a great plague that afflicted the Lombards in the time of King Gumburt, which was stopped by the erection of an altar in honor of Sebastian in the Church of Saint Peter in the Province of Pavia. Considering Sebastian had been thought to accept been killed past the arrows, and withal was not, and so later was killed by the same emperor who had ordered him shot, he is sometimes known as the saint who was martyred twice. Location of remains The remains asserted to be those of Sebastian are currently housed in Rome in the Basilica Apostolorum, built by Pope Damasus I in 367 on the site of the provisional tomb of St. Peter and Saint Paul. The church building, today called San Sebastiano fuori le mura, was rebuilt in the 1610s under the patronage of Scipione Borghese. Others sources say that his body would accept been carried from Rome to Soissons (French republic), into the Saint Medard abbey.		Pietro Perugino, Martirio di san Sebastiano, 1505, affresco, Panicale, chiesa di San Sebastiano

Saint Sebastian in art and literature

Pietro Perugino, Saint Sebastian, 1495, Louvre, Paris
The primeval representation of Sebastian is a mosaic in the Basilica of Sant'Apollinare Nuovo (Ravenna, Italy) dated between 527 and 565. The correct lateral wall of the basilica contains big mosaics representing a procession of 26 martyrs, led by Saint Martin and including Sebastian. The martyrs are represented in Byzantine style, lacking any individuality, and have all identical expressions. Another early representation is in a mosaic[six] in the Church of San Pietro in Vincoli (Rome, Italian republic), probably fabricated in the year 682. Information technology shows a grown, bearded man in court dress just contains no trace of an arrow.[7] The archers and arrows begin to appear by 1000, and e'er since take been far more commonly shown than the bodily moment of his death by clubbing, and so that in that location is a popular misperception that this is how he died.[eight] As protector of potential plague victims (a connection popularized by the Aureate Fable[9]) and soldiers, Sebastian naturally occupied a very of import identify in the popular medieval mind, and hence was among the virtually frequently depicted of all saints by Late Gothic and Renaissance artists, in the period after the Blackness Death.[10] The opportunity to show a semi-nude male, often in a contorted pose, likewise made Sebastian a favourite discipline.[11] His shooting with arrows was the subject of the largest engraving by the Principal of the Playing Cards in the 1430s, when there were few other current subjects with male nudes other than Christ. Sebastian appears in many other prints and paintings, although this was also due to his popularity with the faithful. Amid many others, Botticelli, Perugino, Titian, Pollaiuolo, Giovanni Bellini, Guido Reni (who painted the subject seven times), Mantegna (three times), Hans Memling, Gerrit van Honthorst, Luca Signorelli, El Greco, Honoré Daumier, John Singer Sargent and Louise Bourgeois all painted Saint Sebastians. The saint is ordinarily depicted as a handsome youth pierced by arrows. There were predella scenes, when required, often of his arrest, confrontation with the Emperor, and final beheading. The illustration in the infobox is the Saint Sebastian of Il Sodoma, at the Pitti Palace, Florence.		Pietro Perugino, Saint Sebastian, 1495, Louvre, Paris
A mainly 17th-century field of study, though found in predella scenes every bit early on as the 15th century,[12] was St Sebastian tended by St Irene, painted by Georges de La Tour, Trophime Bigot (four times), Jusepe de Ribera,[13] Hendrick ter Brugghen and others. This may have been a deliberate endeavour by the Church to get away from the single nude discipline, which is already recorded in Vasari every bit sometimes arousing inappropriate thoughts amongst female churchgoers.[xiv] The Baroque artists usually treated it equally a nocturnal chiaroscuro scene, illuminated by a single candle, torch or lantern, in the style fashionable in the kickoff half of the 17th century. There exist several cycles depicting the life of Saint Sebastian. Among them, the frescos in the "Basilica di San Sebastiano" of Acireale (Italy) with paintings by Pietro Paolo Vasta. Egon Schiele, an Austrian Expressionist artist, painted a self-portrait equally Saint Sebastian in 1915. During Salvador Dalí'southward "Lorca (Federico García Lorca) Period", he painted Sebastian several times, almost notably in his "Neo-Cubist University". For reasons unknown, the left vein of Sebastian is e'er exposed. On 1993 in Berlin a sculpture "Saint Sebastian" was created by sculptor Angela Laich. In 1911, the Italian playwright Gabriele d'Annunzio in conjunction with Claude Debussy produced a mystery play on the subject. The American composer Gian Carlo Menotti composed a ballet score for a Ballets Russes production which was first given in 1944. In his novella Death in Venice, Thomas Mann hails the "Sebastian-Figure" as the supreme emblem of Apollonian beauty, that is, the artistry of differentiated forms, beauty every bit measured by bailiwick, proportion, and luminous distinctions. This allusion to Saint Sebastian's suffering, associated with the writerly professionalism of the novella'southward protagonist, Gustav Aschenbach, provides a model for the "heroism built-in of weakness", which characterizes poise amidst agonizing torment and plain acceptance of 1's fate as, across mere patience and passivity, a stylized accomplishment and artistic triumph. Sebastian's death was depicted in the 1949 film Fabiola, in which he was played by Massimo Girotti. In 1976, the British director Derek Jarman fabricated a pic, Sebastiane, which caused controversy in its treatment of the martyr every bit a homosexual icon. However, as several critics have noted, this has been a subtext of the imagery since the Renaissance.[15] Besides in 1976, a effigy of Saint Sebastian appeared throughout the American horror film Carrie.[16] In 2007, creative person Damien Hirst presented Saint Sebastian, Exquisite Pain from his Natural History serial. The piece depicts a moo-cow in formaldehyde, leap in metal cable and shot with arrows.[17]		Antonello da Messina, St. Sebastian, Gemäldegalerie Alte Meister, Dresden
Pietro Perugino


Pietro Vannucci, il Perugino was born in Città della Pieve. He almost certainly trained in Florence under Andrea del Verrocchio. He is start documented in Perugia in 1475, when he was paid for what must take been a small committee in the Palazzo dei Priori. Yet, he emerges as a fully mature creative person by 1479, when Pope Sixtus Four deputed frescoes from him for the Cappella della Concezione of old St Peter's, Rome (destroyed in 1602). He went on to work in the Sistine Chapel (run into below) in ca. 1481-2. Perugino maintained a workshop in Florence from at to the lowest degree 1487 until 1511. He also maintained a workshop in Perugia, probably from ca. 1495. Perugino failed to keep up with the rapid development of artistic gustatory modality from ca. 1500, and his reputation in Florence suffered desperately when his Polittico dell' Annunziata (1504-7) for SS Annunziata there was desperately received. He nevertheless continued to dominate the art scene in Perugia for some twenty years. Giorgio Vasari saw the St John the Baptist Altarpiece (ca 1510) by Perugino on an altar in San Francesco al Prato that was presumably dedicated to St John the Baptist. Although it was listed among works to be sent to the Musei Capitolini, Rome in 1812, information technology was later on decided that information technology should remain in the church building. It entered the gallery in 1863. The panel depicts St John the Baptist continuing in a landscape, flanked by SS Francis, Jerome, Sebastian and Antony of Padua. The figure of St Sebastian is curiously dressed and has been adapted, somewhat opportunistically, from a cartoon used in Perugino'southward frescoes (ca. 1500) in the Collegio di Cambio. The composition, and in particular the figures of SS Francis and Jerome seem to derive from the Madonna di Loreto (1507), which Perugino painted for Santa Maria dei Servi and which is now in the National Gallery, London.		Pietro Perugino, Saint Anthony of Padua and Saint Sebastiano for San Francesco al Prato

Antonio del Pollaiuolo and Piero del Pollaiuolo

Antonio del Pollaiuolo and Piero del Pollaiuolo, The Martyrdom of Saint Sebastian (detail), completed 1475, London, National Gallery
Antonio del Pollaiolo was an Italian painter, sculptor, engraver and goldsmith during the Renaissance. He was born in Florence. His brother, Piero, was too an artist, and the ii oftentimes worked together. Their work shows both classical influences and an involvement in homo anatomy; reportedly, the brothers carried out dissections to better their knowledge of the subject. They took their nickname from the trade of their father, who in fact sold poultry (pollaio meaning "hen coop" in Italian). Antonio'southward first studies of goldsmithing and metalworking were under either his begetter or Andrea del Castagno: the latter probably taught him also in painting. Tomb of Pope Innocent Viii, Pollaiolo's second papal tomb Some of Pollaiolo'southward painting exhibits strong brutality, of which the characteristics can be studied in the Saint Sebastian, painted in 1473-1475 for the Pucci Chapel of the SS. Annunziata of Florence. However, in contrast, his female portraits exhibit a calmness and a meticulous attention to detail of manner, equally was the norm in late 15th century portraiture. Hercules Clubs the Hydra. Antonio del Pollaiolo achieved his greatest successes as a sculptor and metal-worker. The verbal ascription of his works is hundred-to-one, as his brother Piero did much in collaboration with him. He only produced one surviving engraving, the Battle of the Nude Men, but both in its size and sophistication this took the Italian impress to new levels, and remains one of the most famous prints of the Renaissance. The Martyrdom of Saint Sebastian is equanimous symmetrically to tell the story taken from the 'Gold Legend' of Saint Sebastian who was sentenced to death on being discovered a Christian. He was leap to a stake and shot with arrows. Hither, the six archers have three basic poses, turned through infinite and seen from different angles. This helps produce the three-dimensional solidity of each effigy and together they define the foreground infinite. Art in Tuscany \| Antonio del Pollaiuolo and Piero del Pollaiuolo \| The Martyrdom of Saint Sebastian		Martyrdom of St Sebastian, 1473-75, National Gallery, London

Andrea Mantegna

Andrea Mantegna, St Sebastian, c. 1480, Musée du Louvre, Paris
St. Sebastian is the subject of three paintings by the Italian Early Renaissance chief Andrea Mantegna. The Paduan creative person lived in a period of frequent plagues; Sebastian was considered protector against the plague as having been shot through by arrows, and it was thought that plague spread away through the air. Some of the great Renaissance names associated with paintings of St Sebastian include Titian, Tintoretto, del Sarto, Mantegna, and del Castagno (Targat, 1979 5-25). Information technology is significant that the figure of Sebastian was i of the few semi-nude forms permitted in early Christian art. The martyrdom of St Sebastian was a recurring theme in Mantegna's piece of work, favoured because it combined a religious subject with the risk to paint an athletic male nude. In his long stay in Mantua, furthermore, Mantegna resided almost the San Sebastiano church defended to St. Sebastian. Mantegna was built-in about 1431 nearly Vicenza, Italy. When he was well-nigh 10 years sometime he was adopted by Francesco Squarcione, an fine art teacher in Padua. Mantegna'south skill as an artist developed speedily, and at the historic period of 17 he set upwardly his own workshop, declaring that he would no longer permit Squarcione to profit by exploiting his talent. There was much interest in Padua at that fourth dimension in collecting and studying Roman antiquities. Mantegna knew many of the scholars and antiquarians who were involved in this work, and his knowledge of the culture of ancient Rome is apparent in his art. Mantegna remained in Padua until 1459, when Ludovico Gonzaga persuaded him to motility to Mantua. He worked for the Gonzaga family unit for the rest of his life. For them Mantegna created some of his greatest paintings. In i famous work, called the Camera degli Sposi (wedding sleeping room), he painted the walls and ceiling of a modest interior room, transforming information technology into an open-air pavilion. On the ceiling a painted dome opens onto a painted sky, with painted men and women looking down from above. Rooms creating this sort of illusion became very popular in the baroque era of the 1600s It was almost certainly Federico I Gonzaga, Ludovico'due south successor, who commissioned the St Sebastian (Paris, Louvre). The flick, painted in the early on 1480s, was probably intended as an altarpiece for the Sainte-Chapelle at Aigueperse in the Auvergne (where information technology hung until the French Revolution), where Chiara Gonzaga, Federico's daughter, went to live afterwards her marriage in 1481. The idealized effigy of the saint is set against a temple fragment painted with a masterly sense of the texture of both carved and broken rock. Mantegna juxtaposed the saint's real foot with a foot fragment of a statue, playing on the paragone theme in a sit-in of the versatility of painting. The landscape background is shut to that in the Meeting Scene in the Camera Picta, confirming the works' chronological proximity. Francesco Gonzaga, Federico'due south successor, was likewise appreciative of Mantegna's abilities, making him a grant of state in 1492 in recognition of his painted works for the family unit. 'Vasari was to write that Mantegna "always maintained that the adept antique statues were more perfect and cute than anything in Nature. He believed that the masters of antiquity had combined in one figure the perfections which are rarely found together in 1 individual and had thus produced single figures of surpassing dazzler." Whether or not Mantegna e'er made such an uncompromising argument of religion in idealization, these words are relevant to his St Sebastian. The young saint's body looks as if it had been carved out of some unusually difficult and flawless marble. It is placed against a Corinthian column (with a glancing illusion to Vitruvius'due south equation between architectural and bodily proportions). Yet in this, every bit in many other fifteenth-century religious pictures, the pagan world is shown symbolically in ruins. Fragments of statues and reliefs lie on the footing, the building (based on the arch of Septimius Severus in Rome) is fissured and cleaved. The apparent contradiction is, yet, essential to the meaning of the painting - Christianity, personified by the saint, prevails over all human ills and disasters. St Sebastian was a patron of the sick and his intercession was evoked especially in times of plague, of which there were outbreaks (probably bubonic) every xv years or so in Venice throughout the century.' [xviii]		Andrea Mantegna, St Sebastian, c. 1480, Musée du Louvre, Paris Andrea Mantegna, St Sebastian, (detail), c. 1480, Musée du Louvre, Paris
In the San Luca Altarpiece, also known as the San Luca Polyptych, is a polyptych panel featuring 12 figures each in his or her own arch. The seven figures in the pinnacle row flank the central figure of Jesus Christ (among them Saint Sebastian). The v beneath flank Saint Luke. The worship of Saint Sebastian, protector confronting the plague, was widespread in the 15th century. Mantegna broke with traditional iconography by introducing references to antiquity. Encouraged by his teacher Squarcione and his contacts in Paduan humanist circles, he threw himself passionately into the rediscovery of antiquity. All the same his precise archaeological references in no manner trammel his inventiveness, as illustrated by the column's blended capital and the fanciful compages in the landscape. The mixture of architectural styles expresses the continuity between the antiquarian and Christian worlds, a theme dear to the humanists. Nonetheless this is still a devotional work: the sculpted foot adjacent to the saint'south feet symbolizes the triumph of Christianity over paganism via sacrifice, and the arrow-riddled body, although treated in the antiquarian style, remains faithful to iconographic tradition. Mantegna's art and his attitude toward classical artifact provided a model for other artists, among them Giovanni Bellini in Venice and Albrecht Dürer in Germany. Past placing the Virgin and saints of the South. Zeno altarpiece in a unified space continuous with its frame, Mantegna introduced new principles of illusionism into sacra conversazione paintings (i.eastward., paintings of the Madonna and Child with saints). Art in Tuscany \| Andrea Mantegna, The martyrdom of Saint Sebastian		Andrea Mantegna, Saint Luke Polyptych (detail, Saint Sabastian), Milan, Pinacoteca di Brera

Albrecht Dürer, Saint Sebastian at the Cavalcade

Albrecht Dürer (1471-1528), Saint Sebastian bound to a Column, engraving, circa 1499, on laid newspaper
Saint Sebastian at the Column is a 1500 engraving past the High german artist Albrecht Dürer (1471–1528), part of his series of the Lives of the Saints. Dürer intended the work to represent both an idealised vision of 15th-century beauty, and a homage to classical sculpture. According to legend, Saint Sebastian was martyred past the Roman emperor Diocletian for his Christian faith. By the 16th century, artists were using Christian tales as an excuse to portray the humanistic nude body. The iv arrows piercing Sebastian'due south trunk stand for a symbolic wounding of a flawless body. The saint'southward pose echoes the Crucifixion, and like the saviour, Saint Sebastian is said to have risen from the dead, though in his case to punish those who have persecuted Christians for their behavior. The engraving is an early case of the apply of contrapposto in western art, and one of the starting time depictions of the harmonic remainder between opposing forces (in this case between the arrows and the flesh). Dürer encountered such concepts during his travels to north Italy, where he too found the inspiration for the harmonic dissimilarity he renders between Saint Sebastian'southward engaged leg and his free leg. Italian Inspiration 'Dürer combined Northern European realism with the innovations of Italian art and sculpture. He visited Italia twice during his lifetime, from 1494-5 and again from 1505-07, where he captivated the masterpieces of the Italian Renaissance. Italy besides had a profound impact on how Dürer saw his identify in society as an artist. Encouraged by the Italian view of the artist as a scholar and gentleman, he pushed the boundaries of his subject field matter, finding increasingly erudite themes and motifs. He elevated printmaking from the condition of arts and crafts to art, and the artisan to the condition of artist. This approach and his own ambition ensured his success; he became courtroom creative person to two successive Holy Roman Emperors, Maximillian I and Charles V.' [19]		Albrecht Dürer, Saint Sebastian at the Column


[i] Patronage \| In the Roman Cosmic Church building, Sebastian is commemorated by an optional memorial on 20 January. In the Church of Greece, Sebastian'south feast twenty-four hours is on eighteen December. As a protector from the bubonic plague, Sebastian was formerly one of the Fourteen Holy Helpers. The connection of the martyr shot with arrows with the plague is not an intuitive one, however. In Greco-Roman myth, Apollo, the archer god is the deliverer of pestilence; the figure of Sebastian Christianizes this folkloric association. The chronicler Paul the Deacon relates that, in 680, Rome was freed from a raging pestilence by him. Sebastian, like Saint George, was one of a form of war machine martyrs and soldier saints of the Early Christian Church whose cults originated in the 4th century and culminated at the end of the Middle Ages, in the 14th and 15th centuries both in the East and the West. Details of their martyrologies may provoke some skepticism among modernistic readers, but certain consistent patterns emerge that are revealing of Christian attitudes. Such a saint was an athleta Christi and a "guardian of the heavens". In Roman Catholicism, Sebastian is the patron saint of athletes as well every bit the patron saint of archers. Sebastian is the patron and protector saint of the city of Qormi in Republic of malta and the patron saint of Caserta, Petilia Policastro in Italian republic, Melilli in Sicily, San Sebastián likewise every bit Palma de Mallorca in Spain. He also is the patron saint of Rio de Janeiro, Brazil. Informally, in the tradition of the Afro-Brazilian syncretic faith Umbanda, Sebastian is oftentimes associated with Oxossi, especially in the state of Rio de Janeiro itself. He is too the patron of a college named for him in Manila, which is side by side to the Parish of San Sebastian. Sebastian is the patron saint of the Diocese of Bacolod, Negros Occidental, Philippines. In his 1906 Reminiscences, Carl Schurz recalls the annual "bird shoot" pageant of the Rhenish town of Liblar which was sponsored past the Saint Sebastian Lodge, a club of sharpshooters and their sponsors to which nearly every adult member of town belonged.[18]		Pietro Perugino, St. Sebastian and pieces of effigy of St. Rocco and St. Peter
[18] Hugh Accolade and John Fleming: A World History of Fine art, pp. 342-43 [nineteen] Albrecht Dürer \| Insight \| Christie's \| world wide web.christies.com/ 'Earlier Dürer, prints (mostly woodcuts) were rather crude in design and execution. Essentially they were meant to be religious talismans, protecting the possessor from misfortune, rather than works of art equally we would understand it. Dürer completely re-imagined what the technique was capable of. He created big circuitous images, total of life and movement, and set them within realistic settings. He was a revolutionary in commercial terms too. You lot could say that he made his living as an creative person in a way that we recognise today. Before him artists, or artisans, worked mainly on commission. Dürer was much more proactive, creating works of art which he idea would appeal to buyers rather than simply executing someone else's orders. Because of this he was able to retain possession of his press plates, which gave him control over the size and quality of the editions. I think his monogram can be seen equally one of the kickoff logos, recognisable to everyone, educated and uneducated alike. Dürer dominated not 1 but two printmaking techniques. He learnt the fine art of engraving from his father, a successful German goldsmith. It required bully technical skill, using a scalpellike tool chosen a burin to incise lines into a polished metal surface, usually copper, which was soft and like shooting fish in a barrel to work. Ink was practical with a roller, the plate wiped clean and the epitome printed onto the newspaper. The second technique was the woodcut, which involved Dürer drawing the design onto the surface of a wooden block. The background would be cutting away with a sharp pocketknife or chisel, leaving the design continuing proud. Whilst it is unlikely that he cutting the blocks himself he knew exactly how it would impress and could give precise instructions to the printers.'
Nürnberg, Verlag Hans Carl. Dürer in Dublin: Engravings and woodcuts of Albrecht Dürer. Chester Beatty Library, 1983. Kurth, Dr. Willi. The complete woodcuts of Albrecht Durer. New York: Arden Book Co, 1935.
This article incorporates material from the Wikipedia manufactures Saint Sebastian, St. Sebastian (Mantegna), Saint Sebastian at the Column (Dürer), published under the GNU Free Documentation License. Wikimedia Commons has media related to Saint Sebastian.

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