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The work is part of a series of sacred conversations in a landscape, dating back more or less to the same years made by Titian. In the Edinburgh canvas too, the pictorial space is divided into two asymmetrical halves, one dominated by shadow and other by an open landscape; in the foreground, the luminous figures of the Virgin and Child stand out, between the two saints arranged around her with ...
John the Baptist [note 1] (c. 6 BC [18] – c. AD 30) was a Jewish preacher active in the area of the Jordan River in the early first century AD. [19] [20] He is also known as Saint John the Forerunner in Eastern Orthodoxy and Oriental Orthodoxy, John the Immerser in some Baptist Christian traditions, [21] and as the prophet Yaḥyā ibn Zakariyā (Arabic: النبي يحيى, An-Nabī ...
Nativity of Saint John the Baptist, Zechariah writing, "His name is John". Pontormo, on a desco da parto, c. 1526. Christians have long interpreted the life of John the Baptist as a preparation for the coming of Jesus Christ, and the circumstances of his birth, as recorded in the New Testament, are miraculous. John's pivotal place in the gospel ...
The people in the foreground are separated from the background in a typical 15th-century manner (as used by Bellini in his Madonna del Prato), but given atmospheric qualities thanks to the use of warm lighting. The landscape and the figures are unified through their shared use of delicate, clear tones of color.
The cycle occupies the two lateral walls and the end wall of the Cappella Maggiore, covering a surface of 400 m 2 (4,300 sq ft) in total. [2] At the left (looking from the nave towards the high altar) are the Stories of Saint Stephen, the titular saint of the church and patron saint of Prato; at the right are the Stories of Saint John the Baptist, the protector of nearby Florence.
The present church stands on the site of an ancient church called Santa Maria de fovea, Santa Maria della fossa or Santa Maria in petrocia. In 1488 it was granted to the Archconfraternity of the Beheaded John the Baptist, which began rebuilding it in 1504, gave it its present dedication and made its main feast day that of the beheading of John the Baptist.
Saint John the Baptist, c. 1518, by Raphael – a precedent for Caravaggio's treatment of the Baptist In 1601/02 Caravaggio was apparently living and painting in the palazzo of the Mattei family , inundated with commissions from wealthy private clients following the success of the Contarelli chapel where in 1600 he had displayed The Martyrdom ...
Roberto Longhi believes that the drawings of the landscape and the Infant Saint John the Baptist are more typical of Ghirlandaio and proposes the name of Bartolomeo di Giovanni – disciple of both painters – as a possible contributor to the implementation of the Botticelli tondo. Antonino Santangelo, in turn, credits the implementation of ...