Saint Sebastian Tended by Saint Irene is an incident in the legends of Saint Sebastian and Saint Irene of Rome. It was not prominent in the hagiographical literature until the late Renaissance, and is hardly seen in art before then. As an artistic subject, normally in painting, it suddenly became popular from the 1610s, though found in predella scenes as early as the 15th century, and was most popular until about the 1670s.
Though Sebastian is famously tied to a tree or post and shot with many arrows, in his story he always survives this, only to be killed with stones some time later; these ordeals are sometimes called his "first" and "second martyrdom". The tending by Saint Irene takes place between these, after the archery, when she, normally accompanied by her maid, enters the story. She is shown either taking an unconscious Sebastian down from the tree or post to which he is tied or when he has been found a bed and his wounds are being treated. In both scenes Irene is usually shown pulling out one of the arrows. Sometimes she is shown putting ointment on the wounds; a jar of ointment was her attribute. Both scenes are often shown taking place in darkness, and the treatment scene typically seems to take place in one of the catacombs of Rome, whose rediscovery was ongoing around 1600 (although the literary story specifies Irene's house).
Devotion to Saint Sebastian was driven by his reputation as a protector from the plague, which was still a very dangerous disease in 17th-century cities. Many of these images can be interpreted in the light of contemporary beliefs and practices around plague. They also reflect Counter-Reformation ideas about the role of women.
The subject gives emphasis to courageous initiative and useful activity by women, though of a type considered appropriate to their sex. Sebastian is either unconscious or helpless in nearly all depictions. This is very much in line with Counter-Reformation ideas, which encouraged saintly female role models who went beyond the largely passive victimhood of medieval depictions of female martyrs, expressing "the Counter-Reformatory desire to project Catholicism as a caring faith, with a visible dimension of social responsibility".
In art
One of the earliest paintings of Sebastian being nursed is by Josse Lieferinxe in about 1497, part of a cycle from an altarpiece in Marseilles (now Philadelphia Museum of Art), but the subject was rare until the 17th century, and treated as part of a series of Sebastian's life. It is first found as an independent subject in the 17th century, when it was painted by Georges de La Tour at least twice, Trophime Bigot (four times), Jusepe de Ribera twice, Hendrick ter Brugghen (in perhaps his masterpiece) and many others. The subject appears to have been a deliberate attempt by the Church to get away from the traditional depiction of the standing almost-nude Sebastian being shot with arrows. This is already recorded in Vasari (in relation to a painting by Fra Bartolommeo) as sometimes arousing inappropriate thoughts among female churchgoers.
Baroque artists often treated the new scene as nocturnal, illuminated by a single candle, torch or lantern, in the chiaroscuro "candlelight" style fashionable in the first half of the 17th century. All the versions by or attributed to de La Tour and Bigot are candlelit. With a few exceptions with a large vertical "altarpiece" size, the paintings are mostly horizontal in format and the main figures occupy most of the picture space, giving an intimate and intense depiction of the scene. Sebastian is often given an elaborately contorted pose, with limbs reaching the edge of the picture space. Very often at least one wrist remains tied to the tree. In particular he often has a straight raised arm running diagonally across the picture space, a motif that has been traced through the works of various artists spreading from Italy to the Netherlands.
Sebastian's death was firmly located in Rome, where he was the third patron saint, and churches dedicated to him were built on the supposed locations of the events. The subject was mainly painted by artists in Italy, and also by a number in the Low Countries. By the 18th century the subject becomes less common, as Irene and her maid are often replaced by angels, or become nameless "women", as those by Paul Troger (Österreichische Galerie Belvedere, Vienna, 1746) are called by the gallery. Late treatments include two paintings by Eugène Delacroix, one of 1858 (LACMA, Los Angeles), and one exhibited in 1836, now Église Saint-Michel, Nantua, France.