Saint Bartholomew, one of Jesus Christ’s Twelve Apostles, is often depicted in art as a martyr, holding his flayed skin or severed head. However, Marco d’Agrate’s 16th-century sculpture, “Saint Bartholomew Flayed,” takes this depiction to a new level of graphic realism.
Located in the Duomo di Milano, this striking sculpture shows Bartholomew holding his own flayed skin, with his muscles, veins, and tendons exposed. At first glance, he appears to be a skeletal figure wearing a stole, but closer inspection reveals the shocking detail of his flayed skin and the severity of his martyrdom.
While the sculpture is often seen as a representation of the Christian faith, it is also an impressive artistic study of human anatomy. Created in 1562, it showcases the Renaissance-era understanding of the human body and is considered the most notable piece of art in the cathedral.
The sculpture’s gruesome yet fascinating depiction of Saint Bartholomew’s martyrdom has made it a notable work of art, blurring the lines between faith and anatomy