During the Renaissance, in the mid-15th century, the first marble busts based on the Ancient Roman portraits that were rediscovered at the time appeared in Tuscany. Whether portraits or effigies of Christ or of saints, the realistic style, ancient clothing, and design of these busts, as well as the cut of the shoulders, identify them as belonging to the Roman tradition.

After studying in Florence with Desiderio da Settignano and Antonio Rossellino, Mino da Fiesole practiced his art in Rome and Naples, before coming back to set up in Florence. The sculptures of his older contemporary, the celebrated Donatello, clearly influenced da Fiesole, who signed this work "OPUS MINI".

John the Baptist, the last prophet of the Old Testament, is the son of Elizabeth, cousin of Mary, mother of Jesus. In a remote part of the desert of Galilee, wearing only a garment made of camel hair, he preached the coming of the Messiah. This garment, which became a symbol of Saint John, is depicted here as an elegant draped tunic held at the shoulders by two circular fibulas set with cabochons. Saint John is portrayed in an atypical manner: in this bust, cut off just below the shoulders, he resembles a fifteen-year-old teenager. Patron saint of the city of Florence, his image appeared in the houses of many Florentine nobles, sometimes taking on the appearance of certain members of their families.

The incredibly delicate sculpting of the relief, the fine rendering of the fur and locks of hair, and the carving of the eyelids and the hollows for the pupils which bring saint John’s gaze to life are quite remarkable. The tight lips, frown, and slight turning of the head to the left reveal an intense concentration. The sculptor hints at the space around the figure with the intensity of his gaze, fixed on an unseen object.