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). ...

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 ...

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. ...

This painting is part of an altarpiece, the main panel of which depicts The Virgin & Child. This section shows Saint John the Evangelist; other parts of the altarpiece show Saints Peter, Philip, & John the Baptist. John, with his brother James, was one of the first & youngest apostles. He is considered to have been Jesus's favourite disciple, & it is he to whom Jesus entrusted the care of his mother after his death. He is usually portrayed as a young, beardless man. ...

The fragments of this altarpiece are mounted in a nineteenth-century frame. In the main panels are, at the left, Saints Michael & John the Baptist, & at the right, a bishop & a female martyr. The Archangel Gabriel & the Annunciate Virgin are depic ...