St John the Baptist
Oil on panel on canvas, 177 x 201 cm, attributed to Leonardo da Vinci, 1517–20
Musée du Louvre, Paris

In 1625, the Italian scholar Cassiano dal Pozzo described this painting as being by the hand of da Vinci. Similar to the other painting of St John the Baptist by da Vinci, it is now generally considered to by his studio, perhaps by Francesco Melzi. Known as both Saint John the Baptist and Bacchus, it presents a fascinating case of artistic evolution and transformation. The circumstances surrounding its creation are unknown, however, the inclusion of a landscape background sets it apart from a similar work by da Vinci, suggesting a more narrative intent for this particular depiction. While a red chalk drawing was initially considered a potential preparatory sketch by da Vinci, it's now attributed to his studio, possibly by his student Francesco Melzi. The painting's enduring appeal is evident by the existence of numerous versions, some reflecting the current Bacchus portrayal and others retaining the original Saint John figure. This widespread popularity hints at da Vinci's involvement in the initial design. Stylistic elements within the work echo paintings by Raphael and Michelangelo, potentially influenced by da Vinci's time in Rome during the early 16th century. Recent restoration revealed exceptional execution throughout the work, with details like the meadow flowers and defined musculature reminiscent of another work by Melzi. The handling of skin tones, however, displayed a subtler approach with more nuanced transitions between light and shadow, suggesting a potentially later work by Melzi compared to his Berlin piece. Notably, the painting's religious significance seems to have waned over time. By the 17th century, the smiling figure of the saint no longer resonated with religious sensibilities. This likely explains the dramatic transformation undertaken in the late 17th century, where the figure was converted into a pagan god – Bacchus. This transformation involved the addition of various Bacchic attributes, such as grapes, an ivy crown, and the conversion of the original cross into a thyrsus staff. The painting's journey continued throughout the following centuries, undergoing a transfer from wood to canvas in the late 18th century and further restorations in the 19th century. The most recent restoration, completed between 2017 and 2019 revealed the presence of a spotted animal skin, aligning with da Vinci's other Saint John painting in the Louvre. However, elements such as the grapes, ivy wreath, and thyrsus were confirmed as later additions.