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 ...

This picture is one of the three paintings which formed the predella for Raphael's altarpiece the ' Ansidei Madonna' (dated 1505) in the church of S. Fiorenzo, Perugia. It was placed beneath the image of Saint John in the main altarpiece, who is here shown in the same costume. Below the Virgin & Child was a depiction of her betrothal & below Saint Nicholas one of his miracles: these panels seem not to have survived. On loan to the exhibition ' Magister Rafael Iohanis Santis. Gli esordi tra Urbino, Cittá di Castello e Perugia' at the Pinacoteca Comunale, Cittá di Castello, Italy from March to June 2006. ...

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). ...

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. ...

In the left panel the Virgin is shown in a pose of adoration. The central panel represents Christ of the Apocalypse as described in the New Testament (Revelation 1: 13). He has a golden girdle; his head & hair are 'as white as snow'; in his right hand he holds the seven stars & in his left the keys of death & hell. Originally he may have held a two-edged sword in his mouth. On the right, John the Baptist holds a scroll with an inscription from the Old Testament (Isaiah 7: 14) ' Ecce virgo co (n)cipiet' (Behold a Virgin shall conceive). The scroll originally read 'ECCE AGNUS DEI' (Behold the Lamb of God), the words usually associated with the Baptist. ...

Saint John the Evangelist is shown writing the Book of Revelation, the final book of the New Testament, with his symbol, an eagle, at his side. He looks up at his vision of the Woman of the Apocalypse (Revelation 12), which was the source for much of the imagery associated with the Immaculate Conception. This provides the thematic link between this work & its companion piece, ' The Immaculate Conception'. As in all Velázquez's early work, the central figures in both works are painted from models. The Saint John here is less idealised than the Virgin depicted in ' The Immaculate Conception'. On loan to the exhibition ' Omaggio a Velazquez' at the Museo di Capodimonte, Naples from March to June 2005. ...