4137138AccessibilitaChurch of San Sebastiano - PanicaleAccessibilita1
Church of San Sebastiano - Panicale
The Church of San Sebastiano in Panicale was built at the end of the 15th century by the community of the castle, next to a hospital dedicated to treating plague victims—a lazaretto—and a cemetery for the burial of plague victims. The church, located about 250 meters from the walls of Panicale, at the end of Borgo Regio, is a small brick building with a square plastered facade. Originally, the building was preceded by a portico, of which two arches remain exposed through the plaster. The inscription above the entrance—ECC(LESI)A S(ANC)TI SEBAST(IAN)I C(AST)RI PANICALIS—informed visitors that the church belonged to the castle of Panicale and was dedicated to the saint invoked against the plague.
The interior was originally covered by a pitched roof with exposed wooden beams; it was later modified into its current form in 1623. The church was adorned with capitals, cornices, two altars, and two small choir lofts. Outside, on the upper left, there are two terracotta plaques bearing the dates 1690 and 1725, while the date 1692 can be found on the outer wall of the garden. These three dates are difficult to interpret. It is believed that 1690 marks the year when the nuns took possession of the building, thanks to a bequest from Monsignor Paolo Corsetti to the Collegio delle Vergini. The date 1725 likely refers to another bequest to the Collegio. The date 1692 undoubtedly corresponds to the construction of the surrounding wall, undertaken by the nuns of the Collegio.
Inside the church, above a side altar, there is a canvas featuring the Madonna delle Grazie, attributed to Antonio Pomarancio. However, it is on the back wall where the splendor of the famous fresco “The Martyrdom of Saint Sebastian” by Pietro Vannucci, known as “Il Perugino,” the greatest Umbrian painter of the Renaissance, truly stands out.
Front facade of the Church of San Sebastiano
Exterior view of the Church
Interior of the Church
Martyrdom of San Sebastiano
The iconography of the painting is well-known: the legend of the martyrdom is recounted in the Passio Sancti Sebastiani, traditionally attributed to Saint Ambrose but more likely composed by a Roman monk at the end of the 5th century, later included in the Golden Legend by Jacobus de Voragine. According to the story, Sebastian was born in 256 AD to a family from Narbonne, Provence. He served as a soldier among the Praetorians and later became part of the imperial guard. After converting to Christianity, he was discovered by Diocletian, who, in anger, ordered that he be taken to a field, tied to a target, and shot by archers.
The site of his execution was visited by a widow named Irene, who, surprised to find Sebastian still alive, took him to her home and treated his wounds. Upon hearing that his soldier had survived, Diocletian immediately ordered him to be captured again and beaten to death. The ordeal of the arrows, from which Saint Sebastian managed to escape, greatly contributed to his reputation as a protector against the plague.
The scene of the martyrdom is depicted in a hall adorned with sumptuous architectural decorations, showcasing the perspective knowledge acquired by the greatest master of this art at that time, Piero della Francesca. The colors remain vivid and transparent, as when they were applied to the wet plaster, retaining the brilliance characteristic of true fresco painting. The Martyr occupies the center of the composition and is its main subject; he is tied to a porphyry column placed on a pedestal. The exact proportions of the figure and the admirable depiction of all its parts show Pietro’s dedication to studying the human form.
The viewer can admire the saint’s divine resignation; the instruments of torture are kept as much as possible out of sight. Even the executioners seem to have absorbed the spirit of the Christian hero, performing their duty with melancholic tenderness. The archers’ faces are of singular beauty and grace, reminiscent of Raphael. Two groups of spectators occupy the background and serve to complete the composition. The portico is open and elegant, with views of the hills surrounding Panicale and the blue waters of Lake Trasimeno between the arches. The name of the painter is inscribed on the pedestal supporting the Martyr, and the date 1505 is written on the columns of the portico. Pietro was 59 years old at the time.
About ten years earlier, he had settled in Perugia, after achieving fame with major works in Florence and Rome. When he painted in Panicale, his reputation was at its peak. Pietro revisited the subject of Saint Sebastian’s martyrdom more than once: a notable example is a panel painting found in Perugia in the Church of San Francesco dei Conventuali, which he completed thirteen years later, when age had weakened his abilities.
Useful information and accessibility
Useful information:
The Church of San Sebastiano houses Perugino's fresco dedicated to the martyrdom of the saint.
E-mail: panicale@sistemamuseo.it
Phone: 075 837433
It is possible to visit this site independently or through a guided tour by contacting the local Info Point.
Free admission for people with disabilities and their companion.
How to reach the property:
The site can be reached by car. Near the entrance, there are two parking spaces reserved for people with disabilities with a car permit. The surface is asphalt and compact, with a transversal slope of about 4%.
Moving around the facility:
To enter the church, there is a series of three steps: two ascending before the entrance and one descending immediately after. The height of the steps varies from 11 to 17 cm. The entrance door has a clear width of more than 80 cm and a height clearance of just 182 cm. The structure features a rectangular nave on a single level. The internal flooring consists of terracotta tiles with a non-slip surface. Inside are Perugino’s frescoes, which are protected by barriers to maintain the correct distance between visitors and the artworks.
Use of contents:
Inside San Sebastiano, there are panels with descriptions of Perugino’s works “Martyrdom of Saint Sebastian” and “Madonna and Child” in Italian, English, and Braille. Tactile reproductions of the works are available for blind and visually impaired visitors. Additionally, with NFC technology and a QR Code, it is possible to access the webAPP "Il Perugino per tutti" at the link https://trasimeno.appculture.it/. Here, the information is designed to be accessible to a diverse audience in terms of age, sensory, and communication needs: audio guides for adults and children in Italian and English, video guides in LIS (Italian Sign Language) and IS (International Sign Language) for adults and children, and a description of the artwork in AAC (Augmentative and Alternative Communication) to aid communication for people with learning or cognitive difficulties.
