In a way, Racozky is right. The figure of Sebastian moved very early from being an icon in the Catholic church to being an icon for men whose ultimate ideals included a form of penetration that was simultaneously ecstasy and deathly pain; i.e. a gay icon.
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Version by Lorenzo Costa, 1491
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Louis Bourdechon, 1509
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Version by "Il Sodoma," 1525
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Ludovico Carracci, San Sebastiano, 1599, Gravina (Bari), Fondazione Pomarici-Santomasi.
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Still from Derek Jarman's film Sébastiene (1976)
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