sabato 5 maggio 2012

Parallel Sebastians

Sic transit gloria mundi.
In 1492 a polyptych  by the painter Vincenzo Foppa of Brescia stood on the main altar of the church of San Nazario and Celso, in what is now Corso Matteotti, Brescia italy.   Thirty years later the work of Foppa was taken out, dismembered and divided into various places.
The central part, a nativity is now in a church on the outskirts of the city, Santa Maria Assunta Chiesanuova.

It was replaced   by  a Titian’s polyptych,

Of Titian's painting it is remarkable the saint Sebastian, with   bodybuilder muscles, his hair damp with sweat, an air of sexy tension and yet  abandonment.

 Maybe not more sexy certainly  no less elegant Foppa’s Sebastian, now in the Museo of  Brera in Milan, .

who survives avec nonchalance the arrows, posing in front of the spectators, the archers in the background, and certainly not in plausible perspective, in an estranged suspended unreality,  (how can they transfix the saint from behind the shining colum?) , the saint indifferent and superior, to the arrows as to the centurion who wanted to love him

Ama me Sebastiane.

In the Derek Jarman's film   pleaded the centurion in Latin, in vain.

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