THE BAPTISM OF CHRIST DETAIL		VIEW OF MT SINAI AND THE MONASTERY OF ST CATHERINE DETAIL

In addition to his other work, Theotocopoulos painted miniatures; in Italy he was even a member of the miniaturists' guild. Scenes in miniature appear in many of his works, particularly in triptychs. The figures rendered in miniature in the background of the Baptism are reminiscent of similar figures in the View of Mt Sinai.

THE BAPTISM OF CHRIST		THE BAPTISM, COPPER ENGRAVING BY GIOVANNI BAPTISTA D' ANGELI

ΗAs an iconographic motif, the Baptism of Christ is of course a popular theme in Byzantine art and would have been known to Theotocopoulos; in keeping with the Byzantine scheme, he maintains the three angels on one bank of the river, with the Baptist on the other. Nevertheless, a number of details are indicative of influence from contemporary Western European engravings. For example, the city and figures in miniature in the background of the left bank point to an engraving of the Baptism by Giovanni Baptista d' Angeli (del Moro).

THE BAPTISM OF CHRIST		DOMENICOS THEOTOCOPOULOS, THE BAPTISM FROM THE MODENA TRIPTYCH

Theotocopoulos also painted a Baptism scene for the signed Modena Triptych. The two works share many iconographic and stylistic details, such as the rendition of the trees at the edges of the composition and the extensive use of different shades of brown and gold to render the sky. It is however obvious that differences exist; the painting owned by the Municipality of Heraklion is a more developed, refined version of the theme

THE BAPTISM OF CHRIST DETAIL		DOMENICOS THEOTOCOPOULOS, THE BAPTISM FROM THE MODENA TRIPTYCH - DETAIL

It is particularly interesting to compare the main figures in the two works, since this reveals how Theotocopoulos' art developed. The stance and gesture adopted by St John are much more successfully rendered in The Baptism of Christ, with the figures of Christ and the Baptist set at the same level, rather than on different ones, as in the Modena triptych wing. Furthermore, St John's head is slightly bowed here, thus creating a more immediate, human relationship between the two main figures in the scene.

SUGGESTED RESTORATION OF THE TRIPTYCH (THE BAPTISM AND THE ADORATION OF THE SHEPHERDS)		DOMENICOS THEOTOCOPOULOS, FRONT VIEW OF THE MODENA TRIPTYCH, GALLERIA ESTENSE, MODENA

The traces of hinges on the left side of the baptism are an indication that this panel was once the right wing of a triptych. It is further believed that a wing depicting The Adoration of the Shepherds, of similar dimensions to The Baptism, may have formed the left wing, as in the case of the Modena Triptych, the front of which has The Adoration of the Shepherds to the left and The Baptism of Christ to the right.

THE BAPTISM OF CHRIST, INFRARED PHOTOGRAPH OF THE FREE SKETCH FOR THE COMPOSITION		DOMENICOS THEOTOCOPOULOS, SKETCHES OF ST JOHN THE BAPTIST, PRIVATE COLLECTION

As revealed by infrared photography, the under-drawing of the Baptism can be compared to other sketches attributed to Theotocopoulos, such as those of the Baptist and St John the Evangelist deriving from his Spanish period. What is more, free under-drawing and animated brush-strokes are distinctive features of Theotocopoulos' hand.

THE BAPTISM OF CHRIST		DOMENICOS THEOTOCOPOULOS, ST FRANCIS RECEIVING THE STIGMATA, 1567-1570, PRIVATE COLLECTION

The heavy clouds in the sky lend the composition a dramatic atmosphere, and are reminiscent of those used by Theotocopoulos in St Francis Receiving the Stigmata. Furthermore, in both works the artist used lapis lazuli blue, which is absent from the Modena composition, but which was to become one of Theotocopoulos' favourite colours.