How did inography of Sat Sebastian bee popular the gay muny? Osr Wil was taken wh Guido Reni's patg the figure.
Contents:
- SAT SEBASTIAN AS A GAY IN
- HOW DID A THIRD-CENTURY CATHOLIC SAT BEE A GAY IN? HERE’S THE HOMOEROTIC HISTORY OF SAT SEBASTIAN
SAT SEBASTIAN AS A GAY IN
Why Donatello’s famoly androgyno sculpture of “David” should be tepreted as a reflectn of gay culture Renaissance Florence." data-reactroot=" * gay medieval art *
Even tegori like male/female, gay/straight, or Christian/non-Christian risk sentializg, oversimplifyg, or anachronism. This approach is not exclively about gay, lbian, transgenr, or straight dividuals but about the potential for multifaceted, erative, and plex inty dynamics.
Before examg the fluidy of ias like genr and sexualy the Middle Ag and Renaissance, is important to acknowledge that many of the terms we e today (and ntue to velop and refe) such as hetero-, homo-, bi-, and a-sexual, did not exist at the time. The illumatns do not pict any scene of homo-social/-sexual enunter, hospaly towards strangers, or vlence, all of which are typil associatns wh or terpretatns of this story. Sats Mrice and Theos—third-century CE soldiers of the Sacred Band of Theb North Ai and Christian martyr-sats—are among the fac of the past who had a homosocial relatnship, volvg iendship, fily, or a bond among members of the same sex (a bromance, so to speak, but on a eper level).
HOW DID A THIRD-CENTURY CATHOLIC SAT BEE A GAY IN? HERE’S THE HOMOEROTIC HISTORY OF SAT SEBASTIAN
Some scholars have suggted that the oath of brotherhood taken by the Theban Legn was purely homosocial, but others ht that sexual enunters may have taken place between Mrice and his panns. Homosocialy n be found unexpected rners of premorn lerary and eccliastil culture. Froissart’s “outg” of the French biblphile would later spire art historians to terpret imag books owned by the de to reveal his homosexual sir.
For example, is there a potential “gay” (or sodomil) unrpng to Gvanni Anton Bazzi’s drawg of Christ Carryg the Cross, given that the artist appears to have loved boys and men “more than was cent, ” as we are told by Vasari?
The prent thors have crged mm galleri when tour guis or visors fixate on Gvanni Anton’s bgraphy to the pot at which a drawg like the one above, or a patg of The Martyrdom of Sat Sebastian, is rced to ttg a visor’s gaydar, so to speak.