这幅画是用油、蛋彩画和金在木头上画的。这幅画包含了岩石景观中的许多人物，一些门徒和其他施洗约翰和耶稣(德鲁里，78)。专家们还断言，绘画比格拉纳奇的其他作品要好得多。从画的底图可以看出，帷幔下人物的体积和结构也得到了描述。阴影显示的区域是通过孵化显示的(Laing, 154)。这种孵化是圆屋顶与不同的画笔笔触从非常细到宽。这幅画大胆地勾勒出阴影，通过减少笔画来表现面部特征，通过书法处理来展示窗帘的褶皱，使这幅作品与众不同(Britton, 159)。
The essay aims to provide the comparison of two famous paintings. The first is the St. John the Baptist Bearing Witness and the second is Poussin: Blind Orion Searching for the Rising Sun. The former is made by the famous Italian renaissance painter Michelangelo. According to some experts of Renaissance art have stated that originally made by Michelangelo; this painting is attributed to Francesco Granacci. This painting displays John the Baptist, who is preaching his pupils. John the Baptist came before Jesus, and some of the followers of Jesus were earlier the disciples of John. The second painting is of Blind Orion made by a French artist Nicolas Poussin. In the painting Orion is searching for the rising sun and a figure on his back is showing him the way towards sun. He is searching for the sun to get healed from his blindness. The easy will explore different aspects of both the painting to provide their visual analysis and comparison.
Visual Analysis of Paintings
Saint John the Baptists bearing witnesses is the painting that revels the connection between John and Jesus. Their connections have been well documented and can be read in the gospels. The painting made by Michelangelo is attributed by Francesco Granacci. Everett Fahy, who was the former head of the European Paintings department of the Metropolitan, has stated that this work belongs to the genius of Renaissance. The evidences which have been found suggest that this painting was made by Michelangelo in the year 1506.
The painting is made with oil, tempera and gold on wood. The painting includes many figures, some of the disciples and other of John Baptist and Jesus in the rocky landscape (Drury, 78). The experts have also asserted that painting is much more superior then the other works of Granacci. The underdrawings of the paintings have shown that volume and structure of the figures under the draperies are also described. The areas where the shadows are shown are indicated through hatching (Laing, 154). This kind of hatching is dome with different brush strokes from very fine to broad brushes. The shadows being boldly hatched in the painting, indication of facial features through reduced strokes and demonstrating the folds of drapes through calligraphic handling makes this work extraordinary (Britton, 159).