Almost Nothing Is Historically Certain About Sebastian Except That He Was a Roman Martyr, Was Venerated in Milan Even in The

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Almost nothing is historically certain about Sebastian except that he was a Roman martyr, was venerated in Milan even in the time of Saint Ambrose and was buried on the Appian Way, probably near the present Basilica of St. Sebastian. Devotion to him spread rapidly, and he is mentioned in several martyrologies as early as 350. The legend of Saint Sebastian is important in art, and there is a vast iconography. Scholars now agree that a pious fable has Sebastian entering the Roman army because only there could he assist the martyrs without arousing suspicion. Finally he was found out, brought before Emperor Diocletian and delivered to Mauritanian archers to be shot to death. His body was pierced with arrows, and he was left for dead. But he was found still alive by those who came to bury him. He recovered, but refused to flee. One day he took up a position near where the emperor was to pass. He accosted the emperor, denouncing him for his cruelty to Christians. This time the sentence of death was carried out. Sebastian was beaten to death with clubs. He was buried on the Appian Way, close to the catacombs that bear his name. Reflection The fact that many of the early saints made such a tremendous impression on the Church—awakening widespread devotion and great praise from the greatest writers of the Church—is proof of the heroism of their lives. As has been said, legends may not be literally true. Yet they may express the very substance of the faith and courage evident in the lives of these heroes and heroines of Christ..

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Saint Sebastian
SAINT SEBASTIAN In his semi-autobiographical novel Confessions of a Mask, the Japanese writer Yukio Mishima described his sexual awakening as a young boy when he came upon a reproduction of the martyrdom of Saint Sebastian, a painting by the late Renaissance artist Guido Reni. The event is transferred to the fictional narrator, but recalled the actual event that had proved so formative for Mishima. A remarkably handsome youth was bound naked to the trunk of a tree. His crossed hands were raised high, and the thongs binding his wrists were tied to the tree. No other bonds were visible, and the only covering for the youth's nakedness was a coarse white cloth knotted loosely about his loins... Were it not for the arrows with their shafts deeply sunk into his left armpit and right side, he would seem more a Roman athlete resting from fatigue... The arrows have eaten into the tense, fragrant, youthful flesh, and are about to consume his body from within with flames of supreme agony and ecstasy.' The boy's hands embarked on a motion of which he had no experience; he played with his 'toy': "Suddenly it burst forth, bringing with it a blinding intoxication... Some time passed, and then, with miserable feelings I looked around the desk I was facing... There were cloud-splashes about... Some objects were dripping lazily, leadenly, and others gleamed dully, like the eyes of a dead fish. Fortunately, a reflex motion of my hand to protect the picture had saved the book from being soiled. The martyrdom of Saint Sebastian would prove to be a pivotal theme in Mishima’s life and art to which he would return time and time again.
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Saint Sebastian of Rome
Saint Sebastian of Rome This weekly bulletin insert complements the curriculum published by the Department of Christian Education of the Orthodox Church in America. This and many other Christian Education resources are available at http://dce.oca.org. The Orthodox Church commemorates a martyr-saint we have in common with the Western Church. Most tourists in Rome, especially religious pilgrims, will visit a church or basilica named for Saint Sebastian, either the one on the Palatine Hill or the earlier fourth-century one built outside the Aurelian Walls. Sebastian, raised in Milan, was an ardent Christian from an early age. Though completely disinclined to military life, he knew that Christians were being persecuted, especially those in military service. He joined the army in about the year 283, intending to comfort and encourage his brothers in the faith. His help was soon needed by two brothers, Marcus and Marcellianus, who had been sentenced to death. Their faith was wavering, both from fear and because of the tearful pleadings of friends that they should not squander their lives. Sebastian gently but eloquently urged them not to exchange heavenly crowns for a longer earthly life. He spoke so powerfully that the jailer and many others who overheard were converted. The Roman governor learned of this and also was told that a man had been cured of gout while being instructed and prepared for baptism. The governor, who suffered greatly from gout, humbly asked the saint to cure him as well. After receiving healing and Christian instruction he not only was baptized with his son Tiburtius, but liberated the Christian prisoners, freed his own slaves and gave up his government position.
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The Powers of Horror in “The Love Song of St. Sebastian”
THE POWERS OF HORROR IN “THE LOVE SONG OF ST. SEBASTIAN” AND “THE DEATH OF SAINT NARCISSUS”: A STUDY OF ABJECTION AND JOUISSANCE IN T. S. ELIOT’S EARLY MARTYR POEMS A Thesis Presented to the faculty of the Department of English California State University Sacramento Submitted in partial satisfaction of the requirements for the degree of MASTER OF ARTS in English (Literature) by Brendan Michael Johnston SPRING 2012 ©2012 Brendan Michael Johnston ALL RIGHTS RESERVED ii THE POWERS OF HORROR IN “THE LOVE SONG OF ST. SEBASTIAN” AND “THE DEATH OF SAINT NARCISSUS”: A STUDY OF ABJECTION AND JOUISSANCE IN T. S. ELIOT’S EARLY MARTYR POEMS A Thesis by Brendan Michael Johnston Approved by: _______________________________, Committee Chair Dr. Joshua McKinney _______________________________, Second Reader Dr. Bradley Buchanan ______________________________ Date iii Student: Brendan Michael Johnston I certify that this student has met the requirements for format contained in the University format manual, and that this thesis is suitable for shelving in the Library and credit is to be awarded for the thesis. ________________________, Graduate Coordinator ____________________ Dr. David Toise Date Department of English iv Abstract of THE POWERS OF HORROR IN “THE LOVE SONG OF ST. SEBASTIAN” AND “THE DEATH OF SAINT NARCISSUS”: A STUDY OF ABJECTION AND JOUISSANCE IN T. S. ELIOT’S EARLY MARTYR POEMS by Brendan Michael Johnston The purpose of this essay is to perform a close examination of two of T. S. Eliot’s early, uncollected poems, entitled “The Love Song of St. Sebastian” and “The Death of Saint Narcissus.” One of the problems that arises in an appraisal of these poems is that they rest uneasily alongside his more prominent texts.
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Saint Sebastian
Saint Sebastian This article is about the Christian saint and martyr. For the United States Navy ship, see USS St. Sebastian (SP-470). “Saint Sebastien” redirects here. For other uses, see Saint-Sébastien (disambiguation). Saint Sebastian (died c. 288) was an early Christian saint and martyr. He was killed during the Roman em- peror Diocletian's persecution of Christians. He is com- monly depicted in art and literature tied to a post or tree and shot with arrows. Despite this being the most com- mon artistic depiction of Sebastian, he was, according to legend, rescued and healed by Irene of Rome. Shortly af- terwards he criticized Diocletian in person and as a result was clubbed to death.[1] He is venerated in the Catholic and Orthodox Churches. The details of Saint Sebastian’s martyrdom were ﬁrst spoken of by 4th-century bishop Ambrose of Milan (Saint Ambrose), in his sermon (number 22) on Psalm 118. Ambrose stated that Sebastian came from Milan and that he was already venerated there at that time. Saint Sebastian is a popular male saint, especially among soldiers.[2][3] 1 Life Saint Sebastian Interceding for the Plague Stricken,[4] Josse Lieferinxe, 1497–1499, The Walters Art Museum According to Sebastian’s 18th century entry in Acta Sanc- torum,[5] still attributed to Ambrose by the 17th century hagiographer Jean Bolland, and the briefer account in the then brought the rest of the prisoners; these 16 persons 14th century Legenda Aurea, he was a man of Gallia Nar- were also converted by Sebastian.[6] bonensis who was taught in Milan and appointed a captain Chromatius and Tiburtius converted; Chromatius set all of the Praetorian Guard under Diocletian and Maximian, of his prisoners free from jail, resigned his position, and who were unaware that he was a Christian.
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Learn About the Saint Sebastian
Saint of the Week Series Feast Day: January 20 Symbol: arrows Patronage: Athletes, Soldiers, and Plague Victims Death: 288 CE Saint Sebastian Not much known about Sebastian’s birth or early childhood. What we do know about Sebastian comes from Saint Ambrose of Milan, the city that he allegedly came from, whether that be by birth or in his military training. He was recorded as joining the Roman Army from there in 283 CE as a practicing, but secret, Christian, as Christianity was illegal at this time. He served in the Proletarian Guard under Emperor Diocletian, a notorious anti-Christian. In his time serving in the army, Sebastian helped many Christians who were being persecuted. Notably, during his time serving on the Proletarian Guard, Marcus and Marcellian were revealed to be Christian deacons when they refused to make sacrifices to the Roman Gods. Their parents came to visit them as they awaited execution to convince them to renounce their Christian God in order to save their own lives. Rather than the two giving into temptation, Sebastian converted the parents to Christianity. Three years into his service in the military, Sebastian was discovered to be a Christian by the Emperor. Emperor Diocletian immediately ordered his arrest and for him to be murdered by being tied to a stake and used for target practice. Though he was hit with many, many arrows and assumed to be dead, he was covered by Irene of Rome, who hid him while he recovered from his many wounds. Eventually, Sebastian was well enough to leave, and he set out to find the Emperor in order to criticize him for his anti-Christian practices.
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Saint Sebastian SAINT SEBASTIAN PARISH CENTER Clergy Woodside, New York Mr
Roman Catholic Church of Saint Sebastian SAINT SEBASTIAN PARISH CENTER Clergy Woodside, New York Mr. Harry Connor, Director Rev. Kevin P. Abels, Pastor ext.102 39-60 57th Street Woodside, New York 11377 PAROCHIAL VICARS SAINT SEBASTIAN CATHOLIC ACADEMY Phone: (718) 672-8989 Rev. Rodnev Lapommeray ext.114 Mrs. Michelle Picarello, Principal Rev. Henry Torres ext.112 39-76 58th Street Woodside, New York 11377 OFFICE OF FAITH FORMATION Rev. Thomas Brosnan ext.117 Phone: (718) 429-1982 Fax: (718) 429-5502 Rebecca Newman-Mahoney, Director 39-66 58th Street www.stsebastianschool.org Woodside, New York 11377 DEACONS Deacon Stephen T. Damato Phone: (718) 899-3341 ext.210 Deacon Rogelio Vega ext.107 PASTORAL OUTREACH OFFICE/LANDINGS SACRED MUSIC MINISTRY Ms. Sally Steg Williams, Director Dr. Ohsung Bryan Kwon (718)429-4442 Director of Music ext. 126 39-66 58th Street Woodside, New York 11377 Youth Minister Christina L. Peñaloza (718) 396-3436 Temporary Mass Hours Weekdays mass will be held at 7:00 am, 9:00 am and 12 pm Saturday mass will be held at 9:00 am and 12pm in Spanish Sunday masses will be held at 8:00,9:00, 10:30, 12:00pm (EN ESPANOL), 1:30, and 6:00 pm Please wear a Mask. Confessions Confessions will be held in the church parking lot on Saturdays from 3pm-4:30pm Please wear a Mask. CATHOLIC CEMETERIES For Information and Availability: (718) 894-4888 RECTORY TEMPORARY OFFICE HOURS The Chapel is open from 10-2 pm from Monday– Wednesday Monday to Wednesday 10am-2 pm for prayer.
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CLASSROOM RESOURCE SHEET Allen Memorial Art Museum
CLASSROOM RESOURCE SHEET Allen Memorial Art Museum wrap and softly draping robes cleans his wounds and prepares his body for burial, while another woman works to untie him. The man’s body is thin and haggard, tinged a grey-green color, implying his suffering and near-death state. Ter Brugghen has paid particular attention to the anatomy of Saint Sebastian, using heavy shadows to emphasize details like his ribs, musculature, and gaunt cheeks. He slumps over with clear weight, yet Saint Irene seems to keep him upright effortlessly. Her delicate touch holds the dead saint, and gently begins to remove an arrow from his side. The artist also visually connects Sebastian and Irene, by unifying their skin tone. Irene’s empathy seems so intense that she adopts the pallor of Sebastian. This unifi ed skin tone also serves to focus the narrative—the central fi gures in the story stand out, while the remaining fi gure fades into the background. FUNCTION/FORM & STYLE The arrangement of the fi gures is the central theme of the composition. The work is united by the strong diagonal movement from the man’s outstretched arm down to his head, past his half- closed eyes, to his lower left foot. Saint Sebastian Tended By Irene, 1625 This line is paralleled in the diagonal of the two women’s heads above Hendrick ter Brugghen (Dutch, 1588-1629) his own. The viewer’s low, close-up Oil on canvas | 58 15/16 x 47 ¼ in. (149.5 x 120 cm) perspective contributes to the emotion and immediacy.
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19669 Saint Sebastian France, Lorraine 1450 – 75
19669 Saint Sebastian France, Lorraine 1450 – 75 60.1 x 19.7 x 18.2 cm; limestone, the figure has lost its arms and legs, its face and torso suffered from damage, which reveals that this figure was violently separated from its original context, probably as a result of iconoclasm. A figure of Saint Sebastian depicted with pudding-bowl haircut, a melancholic face and youthful features. He stands nude, covered only by a loincloth, and his body scarred with empty holes left by arrows the resultant wounds bleeding from the effects of the thick wooden darts. Original polychromy is still found throughout the sculpture, most notably below the wound on the left side of his torso, which spews red blood. The figure is bound by rope to a trunk of a tree, which survives in good condition behind the figure. The style of the figure is related to sculptures from Lorraine from the second half of the fifteenth century, where there was a fusion of late French Gothic art with that of German art. It relates in style to an Entombment group in the Chapel of Saint-Nicholas, Neufchâteau or to the head of Mary Magdalene, now in the Louvre (fig. 1). The small eyes, with a lowered gaze, and the smooth straight hair find close analogies with our sculpture. Sebastian can also be compared to sculpture from Pont- Saint-Vincent in Lorrainesuch as the angel from the church of Saint Julien (fig. 2). Here the figure is rendered with the same degree of realism and with a similar sense of solemnity befitting of the subjects they depict.
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127-San Pietro in Vaticano.Pages
Saint Peter’s Basilica Vatican City The Papal Basilica of Saint Peter (Latin: Basilica Sancti Petri), officially known in Italian as the Basilica Papale di San Pietro in Vaticano and commonly known as Saint Peter's Basilica, is located within the Vatican City. Saint Peter's Basilica has the largest interior of any Christian church in the world, holding 60,000 people. It is the symbolic "Mother church" of the Catholic Church and is regarded as one of the holiest Christian sites. It has been described as "holding a unique position in the Christian world" and as "the greatest of all churches of Christendom". In Catholic tradition, it is the burial site of its namesake Saint Peter, who was one of the twelve apostles of Jesus and, according to tradition, first Bishop of Rome and therefore first in the line of the papal succession. Tradition and some historical evidence hold that Saint Peter's tomb is directly below the altar of the basilica. For this reason, many Popes have been interred at St Peter's since the Early Christian period. There has been a church on this site since the 4th century. Construction of the present basilica, over the old Constantinian basilica, began on April 18, 1506 and was completed on November 18, 1626. Saint Peter's is famous as a place of pilgrimage, for its liturgical functions and for its historical associations. It is associated with the papacy, with the Counter-reformation and with numerous artists, most significantly Michelangelo. As a work of architecture, it is regarded as the greatest building of its age.
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Building & Grounds Update>>>
May 2021 >>> Contents − Buildings & Grounds Update – p.1-2 − Human Concerns – p. 2-5 − Prayer & Worship – p. 5-6 − Liturgy – p. 7 − Faith Formation – p. 7-8 − Finance Council – p. 8 − Cabaret – p. 8 − School – p. 9 − Athletics – p. 9-12 www.SaintSebestianOnline.net 5400 West Washington Boulevard, Milwaukee, WI 53208 (414) 453-1061 Building & Grounds Update>>> Holly Rutenbeck Progress on Needed School and Church Upgrades In November and December 2020, Best Electric retrofitted the existing light fixtures in the cafeteria of the school with LED bulbs to reduce energy consumption. The lighting levels in the cafeteria remain the same with the added benefit of dimming the lights as needed for events. The cafeteria lighting upgrades were funded through the Sustainability Committee's 2019 Winter Boutique fundraiser. Thank you everyone for making the Boutique a success! At the same time as the cafeteria lighting upgrades, through the help of anonymous donors, all lighting fixtures were replaced with higher lumen LED lighting in the church hall. The new lights use significantly less energy and are much brighter, which has allowed the church hall to be used by the 8th Grade class every day for instruction due to social distancing needs. An additional outlet was also added to the church hall that can be used for events but is currently used for charging Chromebooks and Smartboard use. The 2017 Stop the Auction Project to 'Light the Bell Tower' is underway! Staff Electric installed conduit, pulled new wire, and installed an electrical circuit subpanel at the base of the bell tower. This subpanel was an addition to the original scope of work and will provide extra power to the church hall during Parish events and will allow future expansion of lighting the church.
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Saint Sebastian and the Black Death, Vesalius, IV, 1, 23 - 30,1998
Saint Sebastian and the Black Death, Vesalius, IV, 1, 23 - 30,1998 Saint Sebastian and the Black Death Summary The martyrdom of Saint Sebastian is one of the most enduring themes in Western religious art. The execution scene so often portrayed - with the Saint transfixed with arrows - is based on the legend about his life and death during the reign of the Roman emperor, Diocletian. However, it is the symbolic association of arrows with the Black Death - during the Middle Ages and during the Renaissance - which identifies Sebastian as the patron saint of plague victims. After more than four centuries of recurrent epidemics, the plague died out in Europe; but the image of St Sebastian continued to inspire artists until the end of the 19th century. Résumé Le martyre de Saint Sébastien est un des thèmes les plus dominants et persistants de l'art religieux de la civilisation occidentale. Cette scène si souvent reproduite, montrant Saint Sébastien percé de flèches, est basée sur la légende de sa vie et de sa mort pendant le règne de l'empereur romain Diocletien. C'est l'association symbolique des flèches avec la grande peste du Moyen Age et de la Renaissance qui identifie Saint Sébastien comme patron des victimes de la peste. Après quatre siècles d'épidémies cycliques, la peste disparut du continent Européen, mais l'image de Saint Sebastien continua à inspirer les artistes jusqu'à la fin du XIX siècle. Almost every major art gallery, world-wide, Sebastian: Iconography has at least one painting of St Sebastian. He is usually depicted as a martyr, bound to a stake, The earliest representation of Sebastian is column, or tree - and pierced with arrows (note thought to be a bas relief in the crypt of the 1).
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Pestilence and Prayer Saints and the Art of the Plague in Italy from 1370 - 1600
University of Central Florida STARS HIM 1990-2015 2012 Pestilence and prayer saints and the art of the plague in italy from 1370 - 1600 Jessica Ortega University of Central Florida Part of the Art and Design Commons Find similar works at: https://stars.library.ucf.edu/honorstheses1990-2015 University of Central Florida Libraries http://library.ucf.edu This Open Access is brought to you for free and open access by STARS. It has been accepted for inclusion in HIM 1990-2015 by an authorized administrator of STARS. For more information, please contact [email protected]. Recommended Citation Ortega, Jessica, "Pestilence and prayer saints and the art of the plague in italy from 1370 - 1600" (2012). HIM 1990-2015. 1367. https://stars.library.ucf.edu/honorstheses1990-2015/1367 PESTILENCE AND PRAYER: SAINTS AND THE ART OF THE PLAGUE IN ITALY FROM 1370 - 1600 by JESSICA MARIE ORTEGA A thesis submitted in partial fulfillment of the requirements for the Honors in the Major Program in Art History in the College of Arts and Humanities and in The Burnett Honors College at the University of Central Florida Orlando, Florida Fall Term 2012 Thesis Chair: Dr. Margaret Zaho ABSTRACT Stemming from a lack of scholarship on minor plague saints, this study focuses on the saints that were invoked against the plague but did not receive the honorary title of plague patron. Patron saints are believed to transcend geographic limitations and are charged as the sole reliever of a human aliment or worry. Modern scholarship focuses on St. Sebastian and St. Roch, the two universal plague saints, but neglects other important saints invoked during the late Medieval and early Renaissance periods.
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