. Sacred and legendary art . the Dulwich St. Sebastian, as iswell known, was Gui-dos favorite subject; hepainted at least instance of thiskind of ostentatioussentiment in style isthe Carlo Dolci in theCorsini Palace at Flor-ence. The display of beau-tiful form, permittedand even consecratedby devotion, is so rarein Christian represen-tations, that we cannotwonder at the aviditywith which this sub-ject was seized on, assoon as the first diffi-culties of art were over-come, nor at the multi-plicity of examples wefind in the later schools,particularly the Vene-tian and B
. Sacred and legendary art . the Dulwich St. Sebastian, as iswell known, was Gui-dos favorite subject; hepainted at least instance of thiskind of ostentatioussentiment in style isthe Carlo Dolci in theCorsini Palace at Flor-ence. The display of beau-tiful form, permittedand even consecratedby devotion, is so rarein Christian represen-tations, that we cannotwonder at the aviditywith which this sub-ject was seized on, assoon as the first diffi-culties of art were over-come, nor at the multi-plicity of examples wefind in the later schools,particularly the Vene-tian and Bolognese. It would take pages to enumerate even a few ^of these; butI must direct attention to some examples of very beautiful orvery peculiar treatment. 1. B. Luini. A beautiful figure bound to a tree, fromamid the boughs of which an angel looks down* upon expression of the head is not that of enthusiastic faith,but of mild devout resignation. (Certosa, Pavia.) 2. Beltraffio. Bound to a tree, he is wounded, but not. St. Sebastian (Guido Reni) 410 THE PATRON SAINTS OF CHRISTENDOM transfixed, by the ar-rows. He is lookingdown, — not up as isusual; with long curl-ing hair, and a charm-ing expression of be-nignity and is the portrait, Ibelieve, of Salaino, him-self a painter, whomVasari styles ^ vaghis-simo, di gi^azia e dibellezza-,^^ and whosebeautiful face and curl-ing hair (capelli riccie inanellati) continu-ally appear in the pic-tures of Leonardo andhis school. [The pic-ture is called ^LaVierge de la FamilleCasio, and is in theLouvre.] 3. Perugino. Thesaint, in red drapery,holds in one hand the palm, in the other three arrows. (Peru-gia, San Pietro.) Another, in which he is standing undraped,except that around his loins there is an embroidered scarf;his hands are bound behind him; he is transfixed by threearrows, and looking up with the usual enthusiastic expression,his long hair floating in curls upon his shoulders. (Florence,Ufiizi.) Another, in whi
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