Lorenzo Lotto, The Virgin and Child with Saints Roch and Sebastian is a representation of the Virgin and Child accompanied by saint Sébastien on the right and Saint Roch on the left. Both saints were invoked for protection against the plague: Saint Roch, showing the plague on his thigh and identified by his pilgrim's staff, his cloak and his hat, and Saint Sebastian, with the arrow which recalls his suffering at the hands of Roman archers. This devotional painting was commissioned by a surgeon, for whom the subject would have had particular meaning during times of devastating epidemics. The painting was created in 1521-1524, during the High Renaissance. The subject of the painting, the depiction of biblical and religious stories, remains faithful to the style of the High Renaissance. The size of the painting is small, 81.8 x 108.5 cm, as it was commissioned for a private property. Simple on the surface, the painting emphasizes traditional religious messages of salvation and healing that apply to the patron surgeon. Lotto used a triangular composition when creating this painting. The virgin is the central point and the two saints are oriented towards her, directing the viewer's gaze towards the center. However, both of their heads are tilted, their eyelids lowered, and their torsos face each other. The staff carried by Saint Roch creates a direct line, stopping at the head of the virgin. The colors used in the painting are bright, but still muted with a pastel quality, with the exception of the Virgin, who wears a bright red dress, drawing the viewer's attention to her. The virgin and child are placed some distance above the two saints, showing her dominance over them and the worshipers below. The artist attempts to show depth by placing Saint-Roch slightly behind the board...... in the middle of the paper...... to look at him. The brushstrokes are soft and uniform. The colors are muted, yet luminescent through the expert use of oil paint. There is nothing threatening or imposing when looking at the characters, there is no eye contact or tense expression. Although the painting explores a religious theme, there is no warning about the danger of sin and the plague as punishment. It's more hopeful than threatening, telling the viewer that if these saints can survive the plague, so can you. There are almost no sharp edges in the board, everything is soft and rounded. Even the tip of the arrow in St. Sebastian's chest is dull and dull. There are no details in the background, the only thing occupying that space in a panel draped in green fabric. The same green fabric draped over the slab, bringing the viewer's gaze to the foreground.