Unlike the earlier version (inv. no. 371), the events here are depicted more dramatically. The concentration of henchmen and soldiers in the right-hand half of the picture underlines the inescapability of the situation. The variety of motifs, including the grey horse with its furious mane, and also the streaks of light, contribute to a heightening of the scene’s dynamism. They draw on the paintings of Titian and Tintoretto, whose works Van Dyck studied closely while in Italy. Their influence is shown in the textural surfaces as well as in the delicate modelling of Sebastian’s skin.