John the Evangelist in the context of "John 19"

Symbolism of Christian saints has been used from the very beginnings of the religion. Each saint is said to have led an exemplary life and symbols have been used to tell these stories throughout the history of the Church. A number of Christian saints are traditionally represented by a symbol or iconic motif associated with their life, termed an attribute or emblem, in order to identify them. The study of these forms part of iconography in art history. They were particularly used so that the illiterate could recognize a scene, and to give each of the Saints something of a personality in art. They are often carried in the hand by the Saint.

Attributes often vary with either time or geography, especially between Eastern Christianity and the West. Orthodox images more often contained inscriptions with the names of saints, so the Eastern repertoire of attributes is generally smaller than the Western. Many of the most prominent saints, like Saint Peter and Saint John the Evangelist can also be recognised by a distinctive facial type. Some attributes are general, such as the martyr's palm. The use of a symbol in a work of art depicting a Saint reminds people who is being shown and of their story. The following is a list of some of these attributes.

The Archbasilica of Saint John Lateran (officially the Major Papal, Patriarchal and Roman Archbasilica, Metropolitan and Primatial Cathedral of the Most Holy Savior and Saints John the Baptist and the Evangelist in Lateran, Mother and Head of All Churches in Rome and in the World), commonly known as the Lateran Basilica or Saint John Lateran, is the Catholic cathedral of the Diocese of Rome in the city of Rome, Italy. It serves as the seat of the bishop of Rome and head of the worldwide Catholic Church, the pope. The only "archbasilica" in the world, it lies outside of Vatican City proper, which is located approximately four kilometres (2+1⁄2 miles) northwest. Nevertheless, as properties of the Holy See, the archbasilica and its adjoining edifices enjoy an extraterritorial status from Italy, pursuant to the terms of the Lateran Treaty of 1929. Dedicated to Christ the Saviour, in honor of John the Baptist and John the Evangelist, the place name – Laterano (Lateran) – comes from an ancient Roman family (gens), whose palace (domus) grounds occupied the site. The adjacent Lateran Palace was the primary residence of the pope until the Middle Ages.

The church is the oldest of the four major papal basilicas, and it is one of the Seven Pilgrim Churches of Rome. Founded in 324, it is the oldest public church in the city of Rome, and the oldest basilica in the Western world. It houses the cathedra of the Roman bishop, and it has the title of ecumenical mother church of the Catholic faithful. The building deteriorated during the Middle Ages and was badly damaged by two fires in the 14th century. It was rebuilt in the late 16th century during the reign of Pope Sixtus V. The new structure's interior was renovated in the late 17th century, and its façade was completed in 1735 under Pope Clement XII.

The Ghent Altarpiece, also called the Adoration of the Mystic Lamb (Dutch: De aanbidding van het Lam Gods), is a very large and complex 15th-century polyptych altarpiece in St Bavo's Cathedral, Ghent, Belgium. It was begun around the mid-1420s and completed by 1432, and it is attributed to the Early Netherlandish painters and brothers Hubert and Jan van Eyck. The altarpiece is a prominent example of the transition from Middle Age to Renaissance art and is considered a masterpiece of European art, identified by some as "the first major oil painting."

The panels are organised in two vertical registers, each with double sets of foldable wings containing inner and outer panel paintings. The upper register of the inner panels represents the heavenly redemption, and includes the central classical Deësis arrangement of God (identified either as Christ the King or God the Father), flanked by the Virgin Mary and John the Baptist. They are flanked in the next panels by angels playing music and, on the far outermost panels, the figures of Adam and Eve. The central panel of the lower register shows a gathering of saints, sinners, clergy, and soldiers attendant at an adoration of the Lamb of God. There are several groupings of figures, overseen by the dove of the Holy Spirit. The four lower panels of the closed altar are divided into two pairs; sculptural grisaille paintings of St John the Baptist and St John the Evangelist, and on the two outer panels, donor portraits of Joost Vijdt and his wife Lysbette Borluut; in the upper row are the archangel Gabriel and the Annunciation, and at the very top are the prophets and sibyls. The altarpiece is one of the most renowned and important artworks in European history.

John the Apostle (Ancient Greek: Ἰωάννης; Latin: Ioannes; c. 6 AD – c. 100 AD), also known as Saint John the Beloved and, in Eastern Orthodox Christianity, Saint John the Theologian, was one of the Twelve Apostles of Jesus according to the New Testament. Generally listed as the youngest apostle, he was the son of Zebedee and Salome. His brother James was another of the Twelve Apostles. The Church Fathers identify him as John the Evangelist, John of Patmos, John the Elder, and the Beloved Disciple, and claim that he outlived the remaining apostles and was the only one to die of natural causes, although modern scholars are divided on the veracity of these claims.

John the Apostle is traditionally held to be the author of the Gospel of John, and many Christian denominations believe that he authored several other books of the New Testament (the three Johannine epistles and the Book of Revelation, together with the Gospel of John, are called the Johannine works), depending on whether he is distinguished from, or identified with, John the Evangelist, John the Elder, and John of Patmos.

The phrase "the disciple whom Jesus loved" (Ancient Greek: ὁ μαθητὴς ὃν ἠγάπα ὁ Ἰησοῦς, romanized: ho mathētēs hon ēgapā ho Iēsous) or, in John 20:2; "the other disciple whom Jesus loved" (τὸν ἄλλον μαθητὴν ὃν ἐφίλει ὁ Ἰησοῦς, ton allon mathētēn hon ephilei ho Iēsous), is used six times in the Gospel of John, but in no other New Testament accounts of Jesus. John 21:24 states that the Gospel of John is based on the written testimony of this disciple.

Since the end of the first century, the beloved disciple has often (but not unanimously) been identified with John the Evangelist. Scholars have debated the authorship of Johannine literature (the Gospel of John, Epistles of John, and the Book of Revelation) since at least the third century, but especially since the Enlightenment. The authorship of the Epistles by John the Apostle is rejected by many modern scholars, but not entirely. There is a consensus among Johannine scholars that the beloved disciple was a real historical person, but there is no consensus on who the beloved disciple was.

Irenaeus (/ɪrɪˈneɪəs/ or /ˌaɪrɪˈniːəs/; Ancient Greek: Εἰρηναῖος, romanized: Eirēnaîos; c. 125 – c. 202 AD) was a Greek bishop noted for his role in guiding and expanding Christian communities in the southern regions of present-day France and, more widely, for the development of Christian theology by opposing Gnostic interpretations of Christian Scripture and defending orthodoxy. Originating from Smyrna, he had seen and heard the preaching of Polycarp, who in turn was said to have heard John the Evangelist.

Chosen as Bishop of Lugdunum, now Lyon, Irenaeus wrote his best-known work Against Heresies around 180 as a refutation of gnosticism, in particular that of Valentinus. To counter the doctrines of the gnostic sects claiming secret wisdom, he offered three pillars of orthodoxy: the scriptures, the tradition said to be handed down from the apostles, and the teaching of the apostles' successors. He is the earliest surviving witness to regard all four of the now-canonical gospels as essential.

A tetramorph is a symbolic arrangement of four differing elements, or the combination of four disparate elements in one unit. The term is derived from the Greek tetra, meaning four, and morph, shape.

The word comes from the Greek for "four forms" or "shapes". In English usage, each symbol may be described as a tetramorph in the singular, and a group as "the tetramorphs", but usually only in contexts where all four are included. The tetramorphs were especially common in Early Medieval art, above all in illuminated Gospel books, but remain common in religious art to the present day.