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Lauren Kilroy-Ewbank and Dr. Steven Zucker. Zucker: [] And for good reason. Part of that has to do with the animation of the body, which seems absolutely natural. But it also has to do with the surface, and especially the painting. Zucker: [] You can see this sculpture building on the knowledge that had been gained from the 15th century onward in terms of the skeletal structure, the musculature — all of which is revealed, even though the figure is largely hidden under this heavy cloth, because this, is after all, Saint John the Baptist, who is traditionally represented wearing camel, a reminder that he lived in the wilderness.
Kilroy-Ewbank: [] We see that reflected in other ways as well. We have this twist and twirl on the front. His hair is shoulder-length. We would have immediately recognized as a viewer in the 17th century that this is someone who has a special status. This is what they could touch. It speaks to the importance that Saint John elicited from worshipers in this convent.
It was part of an altar dedicated to Saint John the Baptist. Still on the sculpture today, we see a small hole in the base that indicates that something would have been placed inside of it. Zucker: [] You mentioned that this was part of an altarpiece. Spanish altarpieces could be wildly elaborate. Kilroy-Ewbank: [] Spanish retablos, or altarpieces, could fill the entire wall of the apse, or the back of the church where the altar was. To see this life-size sculpture alone, we have to imagine what that altarpiece could have looked like.
It would have been very sizeable and often would have had not only sculpture but painting and even architectural elements surrounding it. Zucker: [] This sculpture is so beautifully formed that it seems as if it was carved from a single block of wood. This sculpture is formed from numerous pieces that are put together in very clever ways so that the seams are never visible.
