Introduction

Martyrs are commonly depicted in moments of torture, but instead of exhibiting agony, they appear to be in ecstasy. However, there is a double standard for the male and female figures within these depictions where pleasure is derived from the pain of martyrdom. All four depictions show either ecstasy or at least an absence of pain even while the subjects are in clearly painful situations. The female martyrs are nude and sexualized while the male counterpart of St. Sebastian is simply idealized and escapes objectification. The ter Brugghen painting St. Sebastian tended by Irene serves as a male foil to the three depictions of women in pleasurable/painful situations; St. Agatha by del Piombo, Cleopatra by Giampetrino (although Cleopatra is not a martyr, she is similarly depicted in a moment of sensual death), and Ste. Sebastienne by Bourgeois serve to elaborate how pain is mediated by feminine sexuality.