Art Institute of Chicago

Saint John the Baptist in Prison Visited by Two Disciples

Giovanni di Paolo (Italian, 1398–1482)

Date

1455–60

Medium

Tempera on panel

Culture

Italy

Department

Painting and Sculpture of Europe

Institution

Art Institute of Chicago

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.