Generously sponsored by The Versailles-Giverny Foundation 

The Florentine Confraternity Chapel was founded in the Basilica dei Frari in 1436 and was originally located on the entrance wall, on the left side of the church’s main portal. Cosimo and Lorenzo de’ Medici, rulers of Florence, were asked by the confraternity to contribute toward the erection of the chapel, but it is unclear whether they helped or not. In 1438, a statue depicting Saint John the Baptist carved by the renowned sculptor Donatello was placed on the altar. It is possible that Cosimo de’ Medici, who had commissioned several works from Donatello throughout the 1430s, may have secured the sculptor’s services for the Florentines in Venice. Almost a century later, in 1523, the chapel was refurbished and the altar redecorated with a large wooden altarpiece intricately carved with motifs and sculptures. The altar, its altarpiece, and sculptures were relocated to the second apsidal chapel on the left in 1846. In 1909, they were moved to the current location in the first chapel to the right of the presbytery.

Today the altarpiece rests on a stone altar enshrining the relics of Blessed Gentile da Matelica, brought to Venice in the 14th century and housed within a wooden reliquary. Donatello’s Saint John the Baptist, the patron saint of Florence, stands in the middle of the altarpiece, flanked on each side by two additional patron saints of Florence: Saint Zenobious, the city’s bishop, and the virgin and martyr Saint Reparata. Above them, two rectangular fields feature half-length sculptures of the Archangel Gabriel (on the left) and the Virgin Annunciate (on the right). At the apex of the structure, a high-relief depiction of the Resurrection of Christ embellishes the rectangular field of the attic. Flanking this central feature, two Reggiscudo figures bear shields adorned with the emblem of Florence.

Donatello’s Saint John the Baptist is the sole example of his art in Venice, making it one of the city’s most exceptional artworks. This remarkable polychrome sculpture, carved in the round from a single poplar wood trunk, portrays the saint clothed with camel’s hair and a golden cloak draped over his shoulders. In his left hand, he holds a scroll bearing the traditional “ECCE AG[NUS DEI]” inscription, referencing a passage from the Gospel of John (1:29) in which the Baptist, upon seeing Jesus, declares, “Behold, the Lamb of God, who takes away the sin of the world.” His body, elongated and characterized by emaciated arms and legs, depicts the Baptist upon his return from the wilderness. The gesture of his right hand, with the extended index finger, his open mouth as if in speech, and his gaze cast into the distance, have been interpreted as indicative of him delivering a sermon.

Donatello’s sculpture was restored by Save Venice in 1972. During the treatment, conservators uncovered an inscription painted on the octagonal base that reads “1438, work of Donato of Florence” (MCCCCXXXVIII / OPUS / DONATI DE / FLO RENTIA). That discovery decisively settled a centuries-long scholarly debate concerning the dating and, most significantly, the authorship of the work, which had long been attributed to Donatello’s associates.

After more than 50 years since its last treatment, Donatello’s sculpture was found covered by a thick layer of corrosive dust that had accumulated on the saint’s head, shoulders, and hands, as well as on the protruding edges of the golden mantle and the camel’s hair clothing. Additionally, a thick layer of disfiguring grime had settled on the feet and the base on which the Baptist stands. It is worth noting that this accumulation of dust creates an ideal habitat for the proliferation of woodworms and must be promptly addressed before the insects can attack this precious artwork.

Some cracking was visible on the painted surface, with areas of lifting and detaching apparent on the legs. The retouching of polychrome losses from the 1972 conservation was generally well-preserved, although some integrations had become discolored and needed replacement. The wooden structure of the sculpture, which had been consolidated, secured, and reinforced with wooden pegs during the 1972 treatment, remained statically sound and in good condition.

The surrounding wooden altarpiece was obscured by an extremely thick layer of dust and grime. The background panels within the niches housing the sculpted figures appeared to have previously undergone repainting or complete replacement. The sculptures also showed signs of extensive repainting, warranting a thorough examination.

Donatello (c. 1386–1466)
Saint John the Baptist
1438, polychromed poplar and walnut
height 140 cm, width 42,5 cm; depth 27 cm

16th-century Venetian woodcarver
Altarpiece with Saints Zenobious and Reparata, Annunciate Angel and Virgin, the Resurrection 
1523, polychromed wood

Basilica di Santa Maria Gloriosa dei Frari: Homepage

Basilica di Santa Maria Gloriosa dei Frari: Link to the work

Schulz, Anne Markham. Woodcarving and Woodcarvers in Venice, 1350-1550. Florence: Centro Di, 2011

Valcanover, Francesco. “Il San Giovanni Battista di Donatello ai Frari.” Quaderni della Soprintendenza ai Beni Artistici e Storici di Venezia, 8 (1979): 23-31