SAINT JOHN THE BAPTIST ALTARPIECE

STYLE 

This altarpiece shares certain characteristics of other works by de Hanequin of Brussels dating from the first half of the XV century  (Rieden and Funchal) inasmuch as there are only three sections, the general proportions of the altarpiece, its inverted "T" shape and the applied plinth base all make their appearances, although put together here in a slightly different way. Vaults on the same plane were normally reserved for use with gablets such as those seen on the lateral sections of the Navas altarpiece in Pamplona; these, however, more closely resemble those found on the altarpiece at Schwäbisch Hall.

The countryside depicted to the rear of the Holy Baptism scenario is very similar indeed to those landscapes with sloped mountains so typically depicted by Maestro de Ramerupt. These mountains, however, lose their importance on account of the larger sized figures. Evaluating the style of the figures is a difficult task due to the many layers of polychrome decoration that have been applied to them. Execution of the figures is somewhat lacking, with the exception of the slim angel accompanying St. John, the Baptist. All figures are represented with simple expressivism. The treatment of their clothes and the folds and pleats of the same, however, is quite elegant, though still far detached from being intricate.