structural:summarization
In art

As he was traditionally identified with the beloved apostle, the evangelist, and the author of the Revelation and several Epistles, John played an extremely prominent role in art from the early Christian period onward. He is traditionally depicted in one of two distinct ways: either as an aged man with a white or gray beard, or alternatively as a beardless youth. The first way of depicting him was more common in Byzantine art, where it was possibly influenced by antique depictions of Socrates; the second was more common in the art of Medieval Western Europe, and can be dated back as far as 4th century Rome.

Legends from the Acts of John, an apocryphal text attributed to John, contributed much to Medieval iconography; it is the source of the idea that John became an apostle at a young age. One of John's familiar attributes is the chalice, often with a serpent emerging from it. This symbol is interpreted as a reference to a legend from the Acts of John, in which John was challenged to drink a cup of poison to demonstrate the power of his faith (the poison being symbolized by the serpent). Other common attributes include a book or scroll, in reference to the writings traditionally attributed to him, and an eagle, which is argued to symbolize the high-soaring, inspirational quality of these writings.

In Medieval and through to Renaissance works of painting, sculpture and literature, Saint John is often presented in an androgynous or feminized manner. Historians have related such portrayals to the circumstances of the believers for whom they were intended. For instance, John's feminine features are argued to have helped to make him more relatable to women. Likewise, Sarah McNamer argues that because of his status as an androgynous saint, John could function as an "image of a third or mixed gender " and "a crucial figure with whom to identify" for male believers who sought to cultivate an attitude of affective piety, a highly emotional style of devotion that, in late-medieval culture, was thought to be poorly compatible with masculinity. After the Middle Ages, feminizing portrayals of Saint John continued to be made; a case in point is an etching by Jacques Bellange, shown to the right, described by art critic Richard Dorment as depicting "a softly androgynous creature with a corona of frizzy hair, small breasts like a teenage girl, and the round belly of a mature woman."

In the realm of popular media, this latter phenomenon was brought to notice in Dan Brown 's novel The Da Vinci Code (2003), where one of the book's characters suggests that the feminine-looking person to Jesus' right in Leonardo da Vinci 's The Last Supper is actually Mary Magdalene rather than St. John.