Luca di Tomme (active in 1356-89 in Siena) – John the Baptist (100x49 cm) 1390s J. Paul Getty Museum

The composition presents a figure set against a shallow architectural niche, framed by elaborate gilded molding. The background is a uniform gold leaf, typical of Sienese panel paintings from the late fourteenth century. A banner unfurls at the top, bearing Latin inscriptions in Gothic script.
Here we see a male figure with long, dark hair and a full beard, rendered with a somewhat stylized realism. His skin tone is pale, contrasting sharply with his darker facial hair. He wears a simple tunic draped over one shoulder, revealing part of his chest. A vibrant red cloak is fastened at the neck with a decorative clasp, adding a touch of richness to the otherwise austere attire. The figure’s left hand rests on what appears to be a scroll or book, while his right arm is raised in a gesture that could be interpreted as either blessing or admonishment.
The artist employed a limited palette dominated by gold, red, and earthy tones. The application of paint seems relatively flat, with minimal attempts at creating depth through shading or perspective. This contributes to the painting’s overall decorative quality. Facial features are somewhat simplified, emphasizing large eyes that convey an expression of solemnity or perhaps even melancholy.
The architectural niche serves not only as a framing device but also establishes a sense of sacred space. The gold background reinforces this impression, suggesting a divine realm. The banner at the top likely contains scriptural references related to the figure’s identity and significance. The gesture with the raised hand could be interpreted as an act of prophecy or divine revelation.
The overall effect is one of dignified austerity, characteristic of devotional art intended for private contemplation. While the execution lacks the sophisticated naturalism that would later characterize Renaissance painting, it effectively conveys a sense of spiritual authority and reverence.