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Like Desiderio, Antonio Rossellino probably came from Settignano. He was the most accomplished sculptor among five brothers, all trained in the important workshop led by the eldest brother Bernardo. Widespread admiration for Antonio's skill may explain why his nickname Rossellino, "little redhead," came to be attached to all his brothers, replacing the family name Gambarelli.

John the Baptist, portrayed by Antonio in this graceful bust, was a patron saint of the city of Florence and a favorite figure in Florentine painting and sculpture. The Florentine theologian, Cardinal Giovanni Dominici, recommended around 1410 that parents display images of the Christ Child and the young John together in their homes, as religious and moral examples for their children. When it was first made, this bust may have served just such a purpose in a Florentine home. But for at least the 180 years before 1940, it was in a Florentine religious building, the oratory of San Francesco of the Vanchettoni, together with Desiderio da Settignano's bust of the Christ Child, now exhibited in the same gallery. The Desiderio boy is considerably younger, with plump cheeks and silky hair; Rossellino's John is close to adolescence. His richly waving curls and the fine curving lines of his lips suggest the beauty of a young classical god.


Oratory of S. Francesco dei Vanchettoni, Florence, before 1756;[1] sold 1940 to Eugenio Venturi, Florence, probably for (Duveen Brothers, Inc., London, New York, and Paris);[2] purchased 1942 by the Samuel H. Kress Foundation, New York;[3] gift 1943 to NGA.

Exhibition History

Italian Renaissance Sculpture in the Time of Donatello, Detroit Institute of Arts; Kimbell Art Museum, Fort Worth, Texas; Forte Belvedere, Florence, Italy, 1985-1986, no. 56 (English cat.), no. 93 (Italian cat.), repro.
The Sculpture of Giovan Angelo Montorsorli and his Circle: Myth and Faith in Renaissance Florence, Currier Museum of Art, Manchester, New Hampshire, 2018-2019.


Swarzenski, Georg. "Some Aspects of Italian Quattrocento Sculpture in the National Gallery." Gazette des Beaux-Arts 6th series, 24 (November 1943): 290 fig. 6, 292.
Duveen Brothers, Inc. Duveen Sculpture in Public Collections of America: A Catalog Raisonné with illustrations of Italian Renaissance Sculptures by the Great Masters which have passed through the House of Duveen. New York, 1944: figs. 102-104.
Paintings and Sculpture from the Kress Collection. National Gallery of Art, Washington, 1945 (reprinted 1947, 1949): 179, repro., as Saint John the Baptist.
Seymour, Charles. Masterpieces of Sculpture from the National Gallery of Art. Washington and New York, 1949: 176, note 21, repro. 80-81.
Shapley, Fern Rusk. Comparisons in Art: A Companion to the National Gallery of Art, Washington, DC. London, 1957 (reprinted 1959): pl. 67.
Paintings and Sculpture from the Samuel H. Kress Collection. National Gallery of Art, Washington, 1959: 400, repro.
Walker, John, Guy Emerson, and Charles Seymour. Art Treasures for America: An Anthology of Paintings & Sculpture in the Samuel H. Kress Collection. London, 1961: 39, repro.
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 170.
National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 150, repro.
Middeldorf, Ulrich. Sculptures from the Samuel H. Kress Collection: European Schools XIV-XIX Century. London, 1976: 23.
Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 626, no. 968, repro.
National Gallery of Art, Washington. National Gallery of Art, Washington, 1992: 287, repro.
Sculpture: An Illustrated Catalogue. National Gallery of Art, Washington, 1994: 212, repro.
Fulton, Christopher. "The Boy Stripped Bare by His Elders: Art and Adolescence in Renaissance Florence." Art Journal 56, 2 (Summer 1997): 32, fig. 2.
National Gallery of Art Special Issue. Connaissance des Arts. Paris, 2000:59.
Pisani, Linda. "San Giovannino Battista nei busti del Rinascimento Florentino." In Jeanette Kohl and Rebecca Müller, eds. Kopf/Bild: Die Büste in Mittelalter und Frïher Neuzeit. (I Mandorli 6) Munich and Berlin, 2007: 221, 231, no. 7.
Langhanke, Birgit. Die Madonnenreliefs im Werk von Antonio Rossellino. Ph.D. diss. Ludwig-Maximilians-Universität, Munich, 2013: 99, n. 80.

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