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.