Spanish school; late 15th century. "Saint Sebastian. Oil on panel. It has numerous repainting and restorations from a later period. It has damage caused by xylophages. Measurements: 135 x 70 cm; 152 x 83,5 cm (frame). Numerous arrows are stuck in the snowy body of the main character in the scene. The treatment of the anatomy and the counter-posed posture, together with the monumentality of the figure, capture the viewer s attention, expressing great beauty in spite of the drama of the scene. The arrows that strike the flesh tones do not distort the figure, as they are placed on the sides, thus helping to further define the outline of the body. The impassive face harmonises with the calmness of the figure, with a serene gesture, the figure gazes down at the ground, accepting his martyrdom. The presence of the arrows indicates that this is a representation of Saint Sebastian. Born in Gaul and raised in Milan, Sebastian was a centurion of the first cohort in the time of the emperor Diocletian (end of the 3rd - beginning of the 4th century). Denounced because he exhorted his friends Mark and Marcellinus to remain steadfast in their faith, by order of the emperor he was tied to a post in the centre of the Field of Mars, and served as a live target for the archers who shot him. But he did not die for it. The widow Irene, who wanted to raise his body for burial, noticed that he was still breathing, bandaged his wounds and saved his life. After he was cured, he reappeared before Diocletian to reproach him for his cruelty towards the Christians. He was then scourged, beaten to death in the circus and his corpse was thrown into the Maximian sewer. Shortly afterwards, Saint Sebastian appears to Saint Lucila in her sleep to reveal to her the location of his remains, and asks her to bury him in the catacombs. Formally, this work is already a significant advance on the international Gothic style that dominated the scene throughout Europe in the 15th century. Thus, although the line continues to play an important role, a more naturalistic depiction of the volumes and attention to detail and quality is now being sought that reflects a direct Flemish influence. However, the panel retains the full body, a device that monumentalises the figure and makes it more corporeal, losing the stylisation of the previous century. We can also see the attention to detail of Flemish origin, as can be seen in the treatment of the body hair. The anatomy evolves from Byzantine-type geometric schemes to an increasingly naturalistic modelling which, from the 15th century onwards, is mixed with a sense of pain and an emphasis on the pathetic, leading to a distortion of the figure and, frequently, to the depiction of blood. The legs are placed in a forced position, the right leg on the left and the feet joined together due to the churros. There is also a certain movement of external rotation, which usually results in the heel crossing in front of the opposite foot. As the style progresses, a greater lightness and movement in the composition will be appreciated, mainly reflected in the advancement of the knee.