Brother of St James the Greater, a disciple of John the Baptist, and friend of St Peter. He went everywhere with Jesus and was the only one of the disciples that was with him at the Crucifixion. Called by Jesus the beloved disciple. He was the first of the disciples to reach the tomb on hearing of the resurrection and was the first to recognise him at Lake Tiberias.
See "The Golden Legend" for the medieval life of St John.
Late 12th century mural of the Crucifixion on the south west nave pillar of St Albans cathedral.
In this image the nail that would have been in Crist's left hand is between the feet of St John. Mary stands on the right, on the left is St John holding a book. The mural is thought to have been painted by Walter of Colchester.
This companion lancet, to that of St Andrew, shows St John the Evangelist, identified by the inscription S. IOHANNES EV. at the base. The youthful, beardless face and the flowing drapery, deep blue mantle over red under-garment, are characteristic ways of distinguishing John from the older apostles. He holds a small codex in one hand, emphasising his role as author of the Fourth Gospel, while his other hand is lifted in a teaching or declamatory gesture.
This apse mosaic in the cathedral of St. Mary of the Assumption, Pisa, was started in 1301. The central figure of Christ was designed by Francesco da Pisa, whilst that of the Virgin by Vicino da Pistoia, and St John by Cimabue. Christ holds a book with the Latin inscription EGO SUM LUX MUNDI (I am the light of the world).
Dated to between 1330-1350 this image of St John is in the chancel of St Nicholas church, Stanford-on-Avon, Northamptonshire.
These panels in the clerestory of the choir at Evreux cathedral are from about 1335, and depict St John and St Martin.
This 1350s stained glass panel of St John the Evangelist is part of the east window at Gloucester Cathedral. The image depicts the saint with his attributes of an eagle and palm.
Painted by Matteo di Pacino, in about 1365, depicts the Vision of St Bernard, and contains images of Saints Benidict, John the Evangelist, Quentin, and Galganus.
This painted Crucifixion scene (c1420) in St Peter's Raunds, Northamptonshire, once formed the backdrop to a rood. The scene shows where the Virgin Mary, and St John would be on either side of the now missing cross.
Angels carry the instruments of the passion, whilst others blow trumpets.
Detail of fresco depicting Jesus praying at Gethsemane by Fra Angelico, at San Marco, Florence. This section of the fresco contains images of the sleeping disciples St James the Greater, St John, and St Peter.
Detail from Crucifixion fresco by Fra Angelico in the Dominican monastery of San Marco, Florence. This image is a depiction of Saint John.
Detail of crucifixion scene in the cell reserved for Cosimo de' Medici that consists of images of St John, St Peter, the Virgin Mary, and St Cosmas at the foot of the cross.
Stained-glass panels, dating from around 1475 to 1480, depict Saint Andrew and Saint John the Evangelist. They form part of the lancet windows that stand beneath the great rose window in the south transept of Évreux Cathedral, a radiant example of late medieval glass painting at the threshold of the Renaissance.
Medieval stained glass depicting six of the twelve apostles at Great Malver Priory.
From left to right are Saint Thomas, Saint James the Greater, Saint Peter, Saint John, Saint Andrew, and Saint Philip.
This 15th century Pieta by Jean le Pot is in Saint-Etienne Beauvais.
This stained glass panel of Saint John the Evangelist in the Church of Saint-Jean-Baptiste at Montrésor, dates from around 1550, and forms part of the large west façade window above the main doorway. This window, composed of three lights, depicts Saint Peter, Saint John the Baptist, and Saint John the Evangelist beneath elegant architectural canopies. The panels were restored in the 19th century after suffering damage during the French Revolution of 1793; the restoration work was carried out by the Parisian glassmaker Eugène Oudinot.
These four stained-glass panels, created by the renowned Victorian firm Clayton and Bell, adorn the clerestory of the quire in Gloucester Cathedral. Set beneath graceful Gothic canopies, they depict four of the apostles, St Peter, St John, St James the Greater, and St Andrew, each rendered with the luminous colour and devotional precision characteristic of the High Victorian Gothic Revival.
In this stained glass window from Salisbury Cathedral, designed by Henry Holiday in 1891 for James Powell & Sons, two figures stand side by side in balanced composition and clear, vivid color.
On the left is Saint John the Evangelist, shown as a young man with a calm, focused expression. He wears white and gold robes and holds a book, representing his Gospel. At his feet is an eagle, the traditional symbol of John, used to represent his clear and elevated understanding of the divine. His halo bears the inscription “S. IOH.”
This stained glass window, designed by Henry Holiday and made by James Powell & Sons (Whitefriars Glass) in 1891, depicts Saint John the Evangelist and Joseph of Arimathea. The two figures together embody the themes of witness and devotion, those who stood near to Christ in His death and affirmed His divine nature in word and deed.
Stained glass depicting the Virgin Mary with a flowering lily, and St John holding a cup of poison which is indictated as such by the small winged serpent perched on it.
This window by CE Kempe depicting St John and St Timothy is in the church of St Mary the Virgin, Clifton on Dunsmore, Warwickshire.