The chiaroscuro effects remind us that the influence of Caravaggio (1571-1610) was decisive for Vaccaro’s development, although even greater inspiration came from its adoption by Jusepe de Ribera (1591-1652), the Spaniard present in Naples from 1616 onwards – two artists who left their mark on our painter’s earliest period. His artistic curiosity then shifted towards Guido Reni (1575-1642), Massimo Stanzione (c. 1585 – c. 1658) and the young Bernardino Cavallino (1616 – c. 1656). Our Martyrdom of Saint Sebastian lies at the meeting-point of these two distinct pictorial movements: while the protagonist’s suspension of time seems inspired by Guido Reni (in the treatment of this subject in Genoa, Musei di Strada Nuova – Palazzo Rosso), who was also present in Naples in 1620-1621, and Ribera (in the canvas of 1636 in the Prado, Madrid), Vaccaro transforms the narrative, with pathos eliminated in favour of a form of tension suggested by the upturned eyes, as the saint seemingly seeks help as he serenely accepts his fate. As his biographer De Dominici noted, Vaccaro’s imitation of Guido Reni through his “belle arie delle teste, e nel divin girar degl’occhi al cielo” thus provided him with a means of evolving his style1. While subtle chiaroscuro passages model the upper part of Saint Sebastian’s body, the blue of the sky adds an airy note to the scene, revealing his adoption of light-filled painting and the Neapolitan interest in neo-Venetian colour between 1630 and the 1640s. During its exhibition in Naples in 1984-1985, our painting was very convincingly dated to the years around 1640 by Vincenzo Pacelli. The combined naturalism and Classicism of this beautifully-designed composition lends it both potency and sensuality.