The Posters of St.John the Bapist in Renaissance Florence - University of Maryland

San Giovanni Battista, or Saint John the
Baptist, was adopted by the city of
Florence, Italy as its patron saint in the
thirteenth century. Each year on the saint’s
day (June 24), festivities & processions are
held in St. John’s honor.
Festival once included horse race ( palio)
Prize for race was a silk palio banner
Florence is a renowned center for textiles
Research Sources
Research conducted in 2002-2004 in
the following collections:
Archivio di Stato (State Archives),
Florence, Italy
Biblioteca Nazionale Centrale,
Museo Nazionale del Bargello,
Uffizi Gallery, Florence
Poster template adapted from Colin Purrington blog,
Images downloaded from ArtStor (
through the University of Maryland Libraries’ Research Port
unless otherwise noted.
The Festival as a
Display of Wealth
During the late Middle Ages,
Florence emerged as a major
economic power in Europe in
banking as well as production of
luxury silk woven textiles.
Originating as a religious
procession to the Baptistery on the
saint’s day, the festival of St. John
the Baptist became an opulent
annual spectacle in which the whole
city participated.
City of Florence spent lavish
amounts annually on the
palio banner
Officials, guilds, and
confraternities constructed
floats for the procession
Culminating event
traditional horse race with
winner receiving palio
In 1563, Grand Duke Cosimo
I de’ Medici added a Roman-
style chariot race in Piazza
Santa Maria Novella
Festival of St. John the
Baptist was not only a
religious observance but
a display of civic wealth
High expenditures
recorded for festival art
(palio banners, floats,
and costumes)
Italian society valued
festival art as much as
painting, sculpture,
Elizabeth Tobey, [PhD, Art History & Archaeology, University of Maryland (2005)]
Selected literature cited
Tamara Boccherini and Paola Marabelli, eds. Sopra Ogni Sorta di
Drapperia…” Tipologie decorative e techniche tessili nella
produzione fiorentina del Cinquecento e Seicento. Florence: Maria
Cristina de Montemayor Editore, 1993.
Chretien, Heidi L. The Festival of San Giovanni: Imagery and Political
Power in Renaissance Florence. American University Studies IX.
Vol. 138. New York: Peter Lang, 1994.
Landini, Roberta Orsi. Velluti e Moda tra XV e XVII secolo, Museo
Poldi Pezzoli. Milan: Skira Editore, 1999.
Pastori, Paolo, ed. La festa di San Giovanni nella storia di Firenze.
Rito, istituzione e spettacolo. Florence: Edizioni Polistampa, 1997.
Stanley, Tim. Palace and Mosque: Islamic Art from the Victoria and
Albert Museum. Washington: National Gallery of Art, 2004.
Trexler, Richard. Public Life in Renaissance Florence. 1980; Ithaca,
NY: Cornell Paperbacks, 1996.
Further information
Created by Elizabeth Tobey ([email protected]) in January 2015 as
an example of poster design for the Maryland Center for Undergraduate
Research (MCUR) at the University of Maryland
( The content is based upon Tobey’s
doctoral dissertation, “The Palio in Italian Renaissance Art, Thought,
and Culture” (University of Maryland, 2005).
On the money
St. John the Baptist,
a Christian saint, was
celebrated by
Florence from the
c. onwards
during a period of
economic growth and
prosperity. St. John
appeared on the
city’s currency, the
florin, or gold coin.
Presenting tributes to the Baptistery
This 15
-century painting (above) shows citizens presenting palii (tribute
banners) to the 11
-century Baptistery of San Giovanni (far left). The main palio
banner (awarded to the winner of the horse race) is depicted in front of the façade
of the duomo (cathedral of Santa Maria del Fiore) (left).
The palio banner
The palio banner was displayed
on a cart bearing city officials at
the finish (left). The first horse
and rider to reach the palio was
declared the victor.
Made from gold or red brocade
silk and velvet fabric
Lined with a thousand fur pelts
Expensive to produce
Race to the Finish
The finish of the St. John
palio race (right) in
Florence’s Piazza San Pier
Maggiore. Jockeys pilot
their horses (barberi)
towards the cart bearing
the prize palio banner.
Image and detail on right: Giovanni Toscani,
Palio in Florence, 1418, tempera and panel on
wood, Cleveland Museum of Art, ArtStor.
The Palio Cart
The palio banner was
transported on a special
horse-drawn cart or carro
(left). The banners luxury
fur lining (fodera) is
visible draped across the
cart’s edge.
Image on left: Cart of the Palio of St. John the
Baptist, fol. 39r in L. Chiari, Priorista, c. 1630-
1640, Biblioteca Nazionale, Florence
(reproduced in Pastori, La festa di San Giovanni,
122, fig. 28.
Woven gold
Silk fabric (left) was often
interwoven with gold thread.
In 1478, 220 gold florins
spent on the palio (twice the
cost of an altarpiece!)
Banners recycled to make
clothing and altar cloths
Gold thread embroidery on
luxury fabrics (right)
sometimes commissioned
from nuns at area convents
Images (left & right): Silk velvet, Italian, 15th c.,
Victoria & Albert Museum, London, from Stanley,
Palace and Mosque, 124. Paliotto (Altarcloth),
Venetian, 15
c., Museo Poldi Pezzoli, Milan, from
Landini, Velluti e Moda tra XV e XVII secolo, 51-52.
Images (left to right): "Baptistery (San Giovanni), exterior, with the Campanile
(Giotto's Tower) at right," Florence, ArtStor; Detail and full image of Rossello di J.
Franchi’s Festa di S. Giovanni (Feast of St. John), 1430, tempera on panel, Museo
nazionale del Bargello, Florence, ArtStor; (Detail photographed by Elizabeth Tobey
with permission of museum).
University of Maryland
College Park, MD
Image: Florin Coin with image of St.
John the Baptist, 15th c., gold, Museo
nazionale del Bargello (Florence,
Italy), ArtStor.
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