Giovanni di Paolo
The Head of Saint John the Baptist Brought before Herod, 1455/60, Tempera on panel, 68.5 x 40.2 cm, The Art Institute of Chicago; Mr and Mrs Martin A. Ryerson Collection, 1933.1015, Courtesy of The Art Institute of Chicago
Halo and Platter
Commentary by Imogen Tedbury
In this gaudy and gory scene, Giovanni di Paolo presents Matthew 14:11–12 as a moment of reckoning for Herod. Confronted with St John’s head on its golden platter, he throws up his hands, the whites of his eyes visible in his slack-jawed horror. This is the ghastly vision that Herod immediately recalls when he hears about Christ’s miracles. ‘John, whom I beheaded, has been raised from the dead!’ he exclaims (Mark 6:16). ‘John I beheaded’, he remembers (Luke 9:9). How could he forget?
This painting is one of twelve panels detailing scenes from the life of St John the Baptist, which probably once formed doors encasing a sculpture or relic of the saint in Siena Cathedral—perhaps the Baptist’s arm, presented in 1464. The paintings may have been commissioned by a lay confraternity who gave succour to condemned criminals, the Compagnia di San Giovanni della Morte. Several scenes, including this one of Herod’s feast, borrow their composition from Donatello’s bronze reliefs for Siena’s baptismal font (c.1417).
As a group, the panels dwell on the Baptist’s arrest, imprisonment, and execution with great theatricality. ‘Sets’ are repeated across different scenes: a rocky desert, a prison, a banqueting hall. A repeating cast of servants proffer platters as they weave through pillars and doorways. Gilded dishes, laid on the banquet table or held by hand, echo the ultimate salver containing the Baptist’s head, which appears twice in this final scene of the tragedy. His head is silhouetted against his golden halo—or is it a golden lid held by the executioner to mock his headless victim? Treatment of halo and platter is disconcertingly consistent. As the painting’s gold leaf has worn away over time, the red bole used to adhere it to the panel has begun to shine through, giving a bloody stain to golden tableware.
References
Gordon, Dillian. 2003. National Gallery Catalogues: Italian Paintings, The Fifteenth Century (London: National Gallery), nos. 5451–54, pp. 98–99
Brandon Strehlke, Carl. 1988. Painting in Renaissance Siena, 1420–1500 (New York: The Metropolitan Museum of Art), p. 216, fig. 1