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St John the Baptist
c. 1513–16 · huile sur bois (noyer) (oil on wood (walnut)) · Musée du Louvre, Paris
For the Nativity of Saint John the Baptist · 24 June
Sizes
image 18×23.7 in on a 18×24 in sheet
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Dots per inch: how many pixels of the museum’s file go into each inch of paper. Our floor is 240 for sheets up to 20 inches, 180 up to 36 inches and 120 beyond, because a larger print is seen from further away. We never offer a sheet below the floor, and the number on each size is the one you receive.
Hahnemühle Photo Rag, 308 gsm cotton rag · pigment inks · printed to order
Printed to order · the whole painting, never cropped · if it arrives damaged, we replace it
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All editionsAbout this painting
One finger points up out of the dark, and the face beside it smiles as if it knew where. The Louvre says what the gesture is for: Saint John the Baptist is a light that must vanish before the true light of Christ, the witness who was not the light. The museum calls the ground a profound night, and the light that lifts his body is not his own. It also notes that the pelt he wears is spotted, a Bacchic skin, not the camel hair of the Gospels. Leonardo kept the work by him until his death in 1519, still working on it. The finger stays raised.
Sources: Musée du Louvre, 'Saint Jean-Baptiste', INV 775. · the raised index finger, inviting the viewer to turn to God · the Baptist's traditional attribute is camel skin — the convention this picture departs from · John 1:8, Douay-Rheims (Challoner).
He said: I am the voice of one crying in the wilderness, make straight the way of the Lord, as said the prophet Isaias.
John 1:23 · Douay-Rheims (Challoner)