Saint John the Evangelist

Saint John the Evangelist
Prague workshop from the circle of Master Theoderich
(mentioned from 1359 to 1368)
Around 1380/90

Carved & polychrome painted limewood
Height 88 cm

St. John – A masterpiece of Gothic sculpture in the Prague area

This impressive sculpture of St. John the Evangelist is an outstanding example of museum-quality Gothic art. It was created around 1380/90 in the circle of Master Theoderich in Prague – one of the leading artistic centers of Central Europe at the time – and is an extremely rare piece. Its art-historical significance lies not only in its masterful execution, but also in its association with one of the most fascinating workshops of late medieval art.

Master Theoderich and his artistic environment

Master Theoderich was a key figure in the Gothic art movement in Prague in the 14th century. As court painter to Emperor Charles IV, he had a decisive influence on the artistic decoration of St. Vitus Cathedral at Prague Castle. His influence extended far beyond panel painting: Theoderich’s workshop was most likely a lively center of collaborative creativity in which painters, sculptors and artisans worked closely together. It is quite conceivable that sculptors from his school also contributed to the architectural and sculptural masterpieces that defined the sacred and imperial representation of Prague.

St. John in detail

The sculpture shows John the Evangelist in an upright position, holding a banderole in his hands on which the words “Ave Maria” can be read. This greeting to the Virgin Mary is a central motif of medieval piety and emphasizes the role of the saint as a herald of the divine message.

Particularly striking are the characteristic stylistic features that reveal a close connection to the art of Master Theodoric: The short curls reaching down to the ears, with the central forelock sitting above the high forehead, are inevitably reminiscent of the figures that appear in the master’s panel paintings. The finely modeled facial features – the large, round eyes, the straight nose and the delicate mouth – reflect the naturalistic portrait style that became increasingly popular in Prague artistic circles in the late 14th century. The delicately reddened cheeks give the figure additional liveliness and warmth.

A remarkable comparison can be found in the depiction of St. Vitus in a window niche of the Chapel of the Holy Cross on Karlstein. There, too, the striking section of hair with a central mop of hair can be seen, as well as in the depiction of St. Louis of France above the south portal of the same chapel. The artistic design of the hair in thick, voluminous curls is a typical feature of Prague art from this period – impressively demonstrated by the so-called Madonna of Veve?í.

John the Evangelist appears here, as is customary in the tradition of his portrayal, as a youthful and at the same time thoughtful figure – a symbol of spiritual depth and religious authority. This characterization points to his important role as the author of the fourth Gospel and as the visionary of the Revelation of John.

Garment and drapery as a reflection of Gothic fashion

The design of St. John’s robe corresponds to the fashion trends of the late 14th century: he wears a simple white tunic under a long, generously draped cloak. The cloak is fastened with an eye-catching clasp below the neck, which is decorated with a mirror – a symbol of his importance and dignity. The powerful folds of the cloak – from angular to softly curved bowl folds – testify to the sculptor’s masterful ability to bring movement and materiality to life. Particularly striking are the so-called “doughy” draperies, which characterize the “soft” or “international” style that flourished in Prague around 1400.

The Prague context – center of Gothic art

This sculpture fits into the stylistic development of depictions of St. John in the late Middle Ages: From earlier, often static, uniform forms to more individual and expressive figure images. The carefully designed clothing, the emphatically expressive facial features and the sculptural elaboration of the robe folds reflect the innovative power associated with Master Theoderic’s workshop environment.

Prague experienced an artistic heyday under the patronage of Emperor Charles IV. The city advanced to become a center of Gothic art, in which religious works not only served devotional purposes, but also underscored Prague’s growing claim to be a cultural and political metropolis. The close intertwining of piety, claim to power and artistic expression can be seen impressively in works such as this sculpture.

It is conceivable that the figure of St. John was created as part of the ambitious artistic endeavours of the Prague court – as part of a comprehensive program to stage the city as the new “Rome of the North”. Theoderich’s workshop played a central role in these efforts: with its high-quality devotional paintings and sculptures, it left a lasting mark on Prague’s sacred landscape. The figure of John the Evangelist with the banderole inscription “Ave Maria” fits perfectly into the context of Prague, where imperial power, religious devotion and artistic innovation were closely intertwined.

Literature

Ji?í Fajt & Jan Royt, Magister Theodoricus. The court painter of Emperor Charles IV. The artistic decoration of the sacral rooms at Karlštejn Castle, Prague 1997.

Gustav E. Pazaurek, “Theoderich”, in: Allgemeine Deutsche Biographie 37, Leipzig 1894, pp. 708-710.

Veit: https://www.kunst-fuer-alle.de/deutsch/kunst/kuenstler/kunstdruck/theoderich-von-prag/15989/1/111036/der-heilige-veit/index.htm

Ludwig: https://commons.wikimedia.org/wiki/File:Meister_Theoderich_von_Prag_007.jpg