Saint John the Baptist After a model by Bertoldo di Giovanni (ca. 1440–14

Saint John the Baptist?Bronze?
After a model by Bertoldo di Giovanni (ca. 1440–1491)?in the Louvre
Northern Italy, 18th century
27,5 x 8 x 5 cm

This finely cast and patinated bronze statuette represents Saint John the Baptist and stands as an accomplished 18th-century North Italian reinterpretation of a Renaissance original attributed to Bertoldo di Giovanni—a pivotal figure in the Florentine artistic milieu, known as a student of Donatello, teacher of Michelangelo, and favored sculptor of Lorenzo de’ Medici.
The composition draws direct inspiration from the bronze Saint John the Baptist preserved at the Musée du Louvre, a work first attributed to Bertoldo by Draper and later confirmed by Francesco Caglioti. The statuette reflects the all’antica spirit that permeates Bertoldo's work, subtly reimagined here with an 18th-century sensibility.
The figure is rendered in a dark, lustrous bronze, standing upright with a slight contrapposto and a gentle forward lean that lends the pose a dynamic, contemplative quality. Far from the robust, muscular male figures typically associated with Bertoldo—often characterized by broad faces, tightly curled hair, and exaggerated anatomical torsion—this Saint John presents a starkly different physiognomy. His emaciated frame, slightly hunched shoulders, and expressive, gaunt features evoke the traditional iconography of an ascetic hermit. The high cheekbones, large eyes, and parted lips suggest prophetic utterance, while the tightly curled hair and short beard reinforce his spiritual character.
The saint is clad in a rough tunic or animal skin, gathered at the waist with animated, deeply incised folds. The drapery, asymmetrically wrapped, leaves one shoulder and much of the chest bare. One hand gestures upward in a subtle act of proclamation or blessing, while the other draws the garment around his body in a pose both rhetorical and intimate.
Resting on an integrated bronze base, the figure embodies the refined facture and textural contrast typical of Bertoldo’s small-scale bronzes. The surface bears traces of subtle polishing, which heighten the modeling and lend visual rhythm to the form.
Although this statuette departs stylistically from Bertoldo’s confirmed male types—such as the twisting nudes in his reliefs—it bears meaningful parallels with works like the polychrome Saint Jerome, tentatively attributed to both Donatello and Bertoldo. These comparisons underscore a shared expressive intensity and commitment to spiritual austerity.
Later reproductions of Bertoldo’s bronzes are rare, making this sculpture not only a refined homage to one of the Renaissance's formative sculptors but also a valuable witness to the enduring prestige of his work . This piece offers a compelling testament to the lasting resonance of Bertoldo di Giovanni’s sculptural language and its quiet reemergence in later artistic circles.