Ghirlandaio and the Tornabuoni chapel VII
The preaching of John the Baptist, the Baptism of Christ and Herod’s Banquet
In the third band at the top, the preaching and baptism of Christ are painted. We then see John the Baptist preaching in front of a crowd.
The preaching of St. John the Baptist. C. Mariannecci after D. Ghirlandaio, 1490
Ghirlandaio ‘The preaching of John the Baptist’ Scheme right wall
John is standing right in the middle of a rock as he speaks about the coming of Christ. Behind John on the left and high up in the picture plane we see Christ as he approaches. This nicely connects the two painted stories that border each other. This applies both to the figure of Christ, as well as to the landscape that runs behind the painted architecture that frames each story. In typical fashion, Ghirlandaio makes use of classical architecture, including triumphal arches like in his Adoration of the Magi. In the preaching, he used a classical image as an example for the naked child under John’s feet.
In the adjoining fresco we see Christ again, but now in a central position. Ghirlandaio used an earlier work he had painted around 1473 in the Sant’Andrea a Brozzi. The figures in this early work, especially John the Baptist and Christ, are copied from Andrea del Verrocchio.
Ghirlandaio ‘The baptism of Christ’ God, Jesus and John the Bapist
In the adjoining fresco we see Christ again, but now in a central position. Ghirlandaio used an earlier work he had painted around 1473 in the Sant’Andrea a Brozzi. The figures in this early work, especially John the Baptist and Christ, are copied from Andrea del Verrocchio abd Leonardo da Vinci (Wikipedia).
Ghirlandaio ‘Baptism of Christ’ San Domenico In situ
In the Cappella Maggiore, Ghirlandaio tries to surpass Verrocchio. The two kneeling angels are also clearly based on the Baptism of John by Verrocchio. However, these angels were not made by Verrocchio, but by his pupil: Leonardo da Vinci.
Masaccio ‘Baptism of the Neophytes’
Ghirlandaio ‘Baptism of Christ’
God the father and the holy spirit give their blessing to this baptism. Besides Christ, others are baptized as well. For example, the kneeling man next to John loosens his right shoe and the left figure at the back is already undressed: ready to be baptized. For this nude figure, Ghirlandaio must have taken inspiration from Masaccio’s work in the Brancacci Chapel. At his baptism, Masaccio painted a similar nude figure that was greatly admired because it clearly had the chills.
The story of John ends in the lunette with Herod’s banquet. The events at Herod’s birthday banquet, are described by the evangelist Marcus as follows: “The daughter of Herodias came in to dance for Herod and his guests, which was very much to their liking. The king said to the girl: ‘Ask me whatever you want, and I will give it to you.’ And he swore to her: ‘Whatever you ask, I will give it to you, even if it is half my kingdom! She went to her mother and asked, ‘What shall I ask?’ Her mother said, ‘The head of John the Baptist. She rushed back inside, stepped straight up to the king and said to him, ‘I want you to give me the head of John the Baptist on a platter right now. Marcus 6: 22-26 (New Bible translation 2004).
Ghirlandaio portrays the moment in the story when John’s head lies on a platter and is offered to Herod. Much to the dismay of the king, as can be deduced from his face and hands. Ghirlandaio does not respect the contract. It was agreed that he would not only paint the banquet, but also the beheading itself. On the left behind the table, musicians play while Salome dances in the foreground. Not everyone seems aware of the horrible gift presented to Salome. The guests are wearing contemporary attire. The dwarf with his small staff acts as court jester. This was typical in Florence at the time of Ghirlandaio.
The festive meal is placed in an exuberantly decorated classic room. The painted barrel vaults with cassettes in the side aisles can be found in the basilica of Constantine at the Forum Romanum. The columns with their impost blocks are based on Brunelleschi’s columns in the San Lorenzo and the Santo Spirito. In addition to classical and contemporary architecture, Ghirlandaio also used the work of Fra Filippo Lippi. Between 1452 and 1466, Lippi also painted a Herod’s Banquet in Prato. The setting, the table with bowls, the fruit and a dancing Salome at the same time John’s head is being offered returns in Ghirlandaio’s fresco.
Continuation Florence day 5: Ghirlandaio and the Tornabuoni chapel VIII