Art Institute of Chicago
Saint John the Baptist in Prison Visited by Two Disciples
Giovanni di Paolo (Italian, 1398–1482)LinkedCulture matchlcp-7bdb8ec125d3
- Date
- 1455–60
- Medium
- Tempera on panel
- Culture
- Italy
- Department
- Painting and Sculpture of Europe
- Institution
- Art Institute of Chicago
- Object ID
- 16162
From the Art Institute of Chicago record
This series of panels illustrates scenes from the life of Saint John the Baptist, a prophet who foretold Jesus’s arrival as the Christian savior. The Art Institute’s collection includes six panels that were originally part of a group of 12 that possibly formed the doors of a reliquary shrine to the saint. The narrative begins as John leaves civilization, entering the wilderness to become a hermit. In a following scene, John wears a hair shirt, a coarse undergarment symbolizing his ascetic life, as he announces that Jesus is the savior prophesied as the Agnus Dei, the Lamb of God. Subsequent panels show John’s imprisonment and violent execution at the hands of Herod, ruler of Galilee. Giovanni di Paolo related the Baptist’s complex biography with expressive figures represented multiple times to indicate their movement through highly imaginative and stylized settings.olo&artist_ids=Giovanni+di+Paolo">six paintings illustrating scenes from the life of Saint John the Baptist, a prophet considered a forerunner of Jesus. They were originally part of a group of 12 that possibly formed the doors of a reliquary shrine to the saint. The first painting depicts John twice, leaving civilization—marked by ornate buildings and manicured agricultural fields—and entering the wilderness to become a hermit. In the next scene, John wears a hair shirt, symbolizing his ascetic life in the wilderness, as he announces that Jesus, at his right, is the savior prophesied as the agnus dei, the Lamb of God. The following three panels depict John the Baptist’s imprisonment and execution at the hands of Herod, ruler of Galilee. According to one version of the story, Herod—seen in blue at the head of the table in the fourth panel from the left—was so taken by his stepdaughter Salome’s dancing that he reluctantly obliged when she requested John’s beheading (visualized gruesomely in the fifth panel). Giovanni di Paolo related the Baptist’s complex biography with expressive figures represented multiple times to indicate their movement through highly imaginative and stylized settings.
The authoritative record is held by Art Institute of Chicago. LinkedCulture surfaces this object and its connections; it does not alter institutional metadata.
Get printable QR codesHide QR codes
Open QR codes for this object page and the museum record. They stay collapsed until needed.
Provenance & credit
As published by the source institution. Coverage varies — not every institution's open-data feed includes ownership history.
- Credit line
- Mr. and Mrs. Martin A. Ryerson Collection
- Provenance
- Edourd Aynard, Lyons, by 1907 [see Perkins 1907]; sold Galerie Georges Petit, Paris, December 1–4, 1913 no. 51, to Kleinberger, Paris, as agent for Martin A. Ryerson (died 1932), Chicago, 1914 [an entry for June 18, 1914, in Ryerson’s notebook reads: “Bot [sic] of Kleinberter, Paris, 6 panels by Giovanni di Paolo (purchased by him at Aynard sale for 160 000 fr + 10%);” Art Institute Archives]; on loan to the Art Institute from 1914; bequeathed to the Art Institute, 1933.
Linked open data
Authority identifiers that link this record into the wider web of cultural data — stable references you can follow to the source.
- Object type
- AAT300033618
Related across collections
Semantically similar works from Art Institute of Chicago and other institutions.