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15 EYCK JAN VAN THE GHENT ALTARPIECE ST JOHN
15 FRANCESCO DEL COSSA HL. JOHANNES
15 GEERTGEN TOT SINT JANS JOHANNES D. T. IN D
15 GHIBERTI ST JOHN THE BAPTIST
15 GHIRLANDAIO DOMENICO JB 05B ST JOHN THE BA
  15 GHIRLANDAIO DOMENICO JB 08 HEROD S BANQUET.jpg - 15 Ghirlandaio Domenico JB 08 Herod's Banquet 1486-90 Fresco Cappella Tornabuoni, Santa Maria Novella, Florence The cycle of the life of St John concludes in the large tympanum with Herod's Banquet, about which Vasari wrote that: "The last scene, the one in the arch next to the vaulting, presents the sumptuous Banquet of Herod and the Dance of Herodias, along with countless servants performing various chores in the scene ; the picture also contains a large building drawn in perspective which, together with the painted figures, clearly reveals Domenico's skill." A colossal palace architecture, carefully constructed according to the laws of perspective, rises up in the form of a series of enormous barrel and dome vaults, which in the foreground are supported by columns. Ghirlandaio was familiar with these columns with entablature blocks from Brunelleschi's Florentine churches of Santo Spirito and San Lorenzo, while the complex overall design of the building is reminiscent of the Maxentius Basilica in Rome. That classical building had been built by the Roman emperors Maxentius and Constantine as a monumental hall building with three aisles; the long central aisle was roofed by three huge groin vaults and the side aisles by coffered vaults. In contrast to his more restrained depiction of Mary's death, here Ghirlandaio uses his powers to the full, both in the extravagant architecture and the vivid, though still somewhat stiff, figure of the dancing Salome. Ghirlandaio adopted and varied this dancing figure, together with the entire composition of the scene, from Filippo Lippi's depiction of the same scene in Prato Cathedral, painted between 1452 and 1466. That earlier painting already contains the musicians on the left, the row of pots on the right and the view out onto a landscape in the center. The arrangement of the figures was altered, but scarcely improved, by Ghirlandaio. Above all, and in the face of the festive and yet gruesome events, the f  
15 GHIRLANDAIO JB 05 PREACHING OF ST JOHN THE BAPTIST
15 GRUNEWALD LE RETABLE D ISENHEIM JB DESIGNA
15 JACOPO DEL SELLAIO A SAINT JOHN THE B
15 JACOPO DEL SELLAIO B ST JOHN THE BAPTIST
15 JACOPO DEL SELLAIO ST JOHN THE BAPTIST

15 Ghirlandaio Domenico JB 08 Herod's Banquet 1486-90 Fresco Cappella Tornabuoni, Santa Maria Novella, Florence The cycle of the life of St John concludes in the large tympanum with Herod's Banquet, about which Vasari wrote that: "The last scene, the one in the arch next to the vaulting, presents the sumptuous Banquet of Herod and the Dance of Herodias, along with countless servants performing various chores in the scene ; the picture also contains a large building drawn in perspective which, together with the painted figures, clearly reveals Domenico's skill." A colossal palace architecture, carefully constructed according to the laws of perspective, rises up in the form of a series of enormous barrel and dome vaults, which in the foreground are supported by columns. Ghirlandaio was familiar with these columns with entablature blocks from Brunelleschi's Florentine churches of Santo Spirito and San Lorenzo, while the complex overall design of the building is reminiscent of the Maxentius Basilica in Rome. That classical building had been built by the Roman emperors Maxentius and Constantine as a monumental hall building with three aisles; the long central aisle was roofed by three huge groin vaults and the side aisles by coffered vaults. In contrast to his more restrained depiction of Mary's death, here Ghirlandaio uses his powers to the full, both in the extravagant architecture and the vivid, though still somewhat stiff, figure of the dancing Salome. Ghirlandaio adopted and varied this dancing figure, together with the entire composition of the scene, from Filippo Lippi's depiction of the same scene in Prato Cathedral, painted between 1452 and 1466. That earlier painting already contains the musicians on the left, the row of pots on the right and the view out onto a landscape in the center. The arrangement of the figures was altered, but scarcely improved, by Ghirlandaio. Above all, and in the face of the festive and yet gruesome events, the f | 15 GHIRLANDAIO DOMENICO JB 08 HEROD S BANQUET.jpg
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