On the left casement is the Beheading of the Head of St. John the Baptist and the seductive Salome. In general, the composition of the triptych is impeccable from a narrative point of view: the different parts of the work are interconnected both thematically and spatially, which has not yet become typical of the painting of that time. And the choice of the theme of the Apocalypse is a unique phenomenon in the history of fine art.
Never before has an artist attempted to illustrate the entire book of Revelation in one work, without dividing it into separate sectors. This is a stunningly detailed image, diminishing in accordance with the laws of perspective. It does not “fall” on the viewer; probably therefore few artists tried to imitate him.
In order to fully feel the impact of the picture, the viewer must “step inside” and mentally reduce himself on each plane; only then will the cataclysms depicted in a small space take on their true universal scale. This vision is worth a closer look.