The saint is shown in the wilderness, dressed in animal skins, holding a reed cross & drinking from a fountain. Once attributed to Caravaggio or one of his followers, the picture may have been painted in the mid-17th century, probably in Rome. ...

This panel formed the left wing of an Augustinian altarpiece. Saint John the Baptist's scroll is inscribed with his words from the New Testament (John 1: 29). The right wing of the altarpiece depicts ' Saint Mark & Saint Augustine'. It has been suggested ...

The Baptist is depicted filling his bowl with water from a spring. His cross, faintly indicated in gold, may be discerned in the shadows behind him. The subject, involving an under-dressed young male in wild scenery, is one which Leonardo made popular. Piazza worked at Lodi near Milan. ...

The saint is here shown in the wilderness & dressed in camel hair. New Testament (Matthew 3: 1-4; Mark 1: 4-6). For another depiction of the saint by Murillo see ' The Infant Saint John with the Lamb' This painting achieved some fame as a devotional image ...

Saint John the Baptist, wearing furs, with his reed cross lying beside him, points to the figure of Christ in the background at the extreme right. New Testament (Luke 3: 1-17). Mola painted this subject several times. For this painting a date of around 164 ...

The Virgin is seated on a throne, with Saint Francis (identified by his stigmata) presenting a lay donor, & Saint Bernardino (whose facial type was standardised in painting of the period), on either side. Behind the Virgin's throne are four angels. Saint Bartholomew is shown in the right panel with his attribute of a flaying knife, by which he was martyred. Saint John the Baptist on the left holds a glass staff with a cross. His scroll is inscribed with a"ation from the Gospel of Saint John (1: 29, 36): ' Behold the Lamb of God' in abbreviated Latin. This text appears frequently in paintings of the Baptist & alludes to his biblical role as the 'forerunner of Christ'. The painting was previously attributed to Fiorenzo di Lorenzo. It is now attributed to Caporali on account of its closeness in style to a triptych in Perugia, documented as Caporali's work & dated 1475. The central panel is a reworking of a picture by Niccolò di Liberatore dated 1457 (Deruta, Pinacoteca). ...

This painting is part of an altarpiece, the main panel of which depicts The Virgin & Child. This section shows Saint John the Baptist; other parts of the altarpiece show Saints Peter, Philip & John the Evangelist. John the Baptist was the prophet who foretold the coming of Jesus. He was related to Jesus through his mother Elizabeth, who was a cousin of the Virgin Mary. John lived as a hermit in the desert, preaching & baptising people in the River Jordan
- it is here that Jesus came to him to be baptised & John declared him the Son of God. In this painting, he is depicted with a scroll upon which is inscribed ECCE. AGNVS. DEI (' Behold, the Lamb of God').
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The young saint is depicted twice: leaving the home of his parents & walking into the wilderness. The narrative is framed by depictions of roses seen from below. New Testament (Luke 1:80). This painting is part of a predella of an altarpiece showing scen ...

The saint is collecting water from a spring, an allusion to his baptising activity in the River Jordan. The words inscribed on the scroll, ' Behold the Lamb of God' (John 1: 29), were spoken by John when Jesus came to be baptised by him. Formerly attributed ...

This panel was probably painted in about 1365. This altarpiece is said to have come originally from the church of San Giovanni Battista della Calza, Florence, hence the presence of Saint John the Baptist at the centre. Particularly beautiful underdrawing is visible on John the Baptist's robe where the pink paint has become transparent. The church was built by Bindo di Lapo Benini, who may also have commissioned this altarpiece, thus explaining the presence of Saint James holding a pilgrim's staff (Lapo is a version of Jacopo which means James in Italian). Bindo di Lapo Benini's brother was Prior of the Order in Pisa, hence the presence of Saint John the Evangelist, James's brother, holding a book (his Gospel). The imitation textile, with its pattern of birds, on which the saint stands, was often used by Nardo. ...