30:
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355:: "The relatively schematic, linear quality of much late-thirteenth- and early-fourteenth-century work is wholly absent. The impressionistic technique and range of colour both derive from the fifth century. It is impossible to say how much this technique reflects the ideas of Giotto himself and how much those of the skilled mosaicists working under him. The two heads are, however, closely related both to the work of Cavallini, whose art still dominated the Roman scene, and to the basic type of physiognomy developed on the walls of the
415:
answered him and said, Lord, if it be thou, bid me come unto thee upon the waters. And he said, Come. And Peter went down from the boat, and walked upon the waters to come to Jesus. But when he saw the wind, he was afraid; and beginning to sink, he cried out, saying, Lord, save me. And immediately Jesus stretched forth his hand, and took hold of him, and saith unto him, O thou of little faith, wherefore didst thou doubt? And when they were gone up into the boat, the wind ceased.
499:
157:. It was commissioned at a very difficult time for the Papacy, who were unable even to control the gangsterish nobility of Rome, and had therefore left the city, but the image promised that both church and Papacy were, with the help of Christ, "unsinkable". Of the eleven figures still in the boat, it has been suggested that the one holding the
387:. However, the variations between these, and other drawings by Spinelli of surviving works, show that he was in the habit of making rather loose interpretations of works that he recorded in drawings. Most later copies date from after parts of the mosaic were already lost, and none form a complete record of the full design. Some prints, like an
853:"Moioli et al.": P. Moioli, C. Pelosi, C. Seccaroni, "The diagnostic analysis for the study and restoration of the mosaic fragment with an Angel from Giotto’s Navicella", Atti del Convegno "Riflessioni e trasparenze. Diagnosi e conservazione di opere e manufatti vetrosi", Ravenna 24–26 February 2009, Bologna 2010, pp. 267–278.
165:. In the sky, two almost naked classical style "wind god" figures blow through horns or funnels, one from each side, below pairs of haloed male figures. Giotto would have produced drawings for specialist mosaic workers to recreate on the wall; whether he had any further involvement as the work was created is unknown.
243:
and 1911. Despite none of the copies of the original including these figures it is thought they were part of the original, probably in a border. There are thought to be some patches of original work remaining in the mosaic still in St Peter's, which is now semi-circular with a straight bottom edge to fit into a
225:
The arcade across the courtyard and its mosaic was at first unaffected by the protracted and complicated rebuilding of the main basilica, but in the 17th century the mosaic underwent a complicated series of four moves and restorations or remodellings in 1610, 1618, 1629 and 1674/75 which finally took
242:
in 1610, when the mosaic was first removed from its original place. The former is considerably restored (in 1924, 1950 and 1975–80), and was discovered underneath later work in 1911 (or 1924). The
Boville Ernica fragment consisted of little original substance and was completely restored between 1888
315:
The style of the work can now only be judged from the two angel fragments, restored as they are. Vasari's description emphasized the varied reactions of the figures in the boat as they saw Peter sinking below the waves, and the patient expression on the face of the fisherman on the shore, who, like
414:
And in the fourth watch of the night he came unto them, walking upon the sea. And when the disciples saw him walking on the sea, they were troubled, saying, It is a ghost; and they cried out for fear. But straightway Jesus spake unto them, saying Be of good cheer; it is I; be not afraid. And Peter
435:, who had been contemplating the mosaic for some hours, suddenly felt as if "the ship had fallen off and landed on her shoulders" with "unbearable weight". She understood that she was to give her life for the Church. She apparently never walked again, and died three months later.
102:
in 1628, after much of the work had already been lost round the edges, measures 7.4 by 9.9 metres (24 ft × 32 ft). The full mosaic was probably about 9.4 by 13 metres (31 ft × 43 ft), with an inscription in Latin verse running below the image.
143:
It was rectangular, and positioned so that those leaving the basilica saw it across the courtyard outside the church, and passed under it if they left by the main route. A figure of a man fishing on the shore to the left was thought to be a self-portrait of Giotto, as
123:
in 1300. The date of the commission is attested by a document copied in the 17th century. There are no indications of a later dating, nor are there indications that Giotto's mosaic replaced an older one. According to
Stefaneschi's obituary of 1347, the work cost 2,200
94:
in the 17th century, but fragments were preserved from the sides of the composition, and what is effectively a new work, incorporating some original fragments, was restored to a position at the centre of the portico of the new building in 1675.
894:(Catalogue of an Exhibition shown at the Metropolitan Museum of Art, New York, Art Institute of Chicago, Fine Arts Museums of San Francisco, 1983–84), no. 7 (Vatican angel roundel), 1982, Metropolitan Museum of Art,
997:
and Pia Theis with
Andreas Zajic and Michaela Zöschg; Vol. 2: Works, by Michael Viktor Schwarz; Vol. 3: Survival (Works and Practices up to Michelangelo), by Michael Viktor Schwarz, Böhlau, Vienna 2023.
152:
records. The composition was dominated by the fishing boat with its large sail, which represented a metaphor of the "Ship of the Church", whose "captain" on earth was Saint Peter and his successors as
367:
There are a number of records of the original design in drawings and prints—at least 17 are recorded. The earliest are a number of drawings attributed to the
Florentine artist
208:. It was also used on Papal coins and medals, though usually with Peter in the boat, often as the only figure. It was the only modern (post-classical) work described in
284:
994:
78:
that occupied a large part of the wall above the entrance arcade, facing the main facade of the basilica across the courtyard. It depicted the version from the
532:
Hösl, Ignaz, "Kardinal
Jacobus Gaietani Stefaneschi: Ein Beitrag zur Literatur- und Kirchengeschichte des beginnenden vierzehnten Jahrhunderts," Berlin, 1908.
268:
99:
296:
247:. Areas where original work seems to survive are in "the gilded edge of the ship, the sail blown by the wind, various sections of some apostles".
993:
Giotto the
Painter. Vol. 1: Life (with a Collection of the Documents and Texts up to Vasari and an Appendix of Sources on the Arena Chapel), by
1083:
478:
404:
676:
Papacy, 6–7; Tomei, 31; Moioli et al., who give the date of discovery of the
Vatican fragment as 1924, and the dates of subsequent work
351:, who was also patronized by Cardinal Stefanesci, and of the Late Antique and Early Medieval works to be seen in Rome. According to
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486:
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The mosaic, designed to be seen from a distance, was extremely large. A full-scale copy in oil, commissioned by the
Vatican from
177:
201:
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1107:
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survive from the original; one remains in the
Vatican, while the other was given to the church of San Pietro Ispano in
29:
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was to the right of Christ's feet. Giotto's mosaic therefore belonged to the preparations of St. Peters for the
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entry for
Cardinal Stefaneschi recording his death in 1343, and then the Latin chronicle of Giotto's home city
1017:, Veröffentlichungen der Bibliotheca Hertziana (Max Planck Institute) in Rome/Wernersche Verlagsgesellschaft,
128:. In addition to an official document from 1298, references to the work as by Giotto are found in a Vatican
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Modern scholars, working from the fragments, emphasize the influence of the major Roman artist of the day,
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it to its present size, condition and location above the main door inside the portico of the new church.
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But the boat was now in the midst of the sea, distressed by the waves; for the wind was contrary.
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See Kleinhenz 749, Capresi 36, Tomei, 31, though none give a coherent account of the process.
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is summoned to join him. It was almost entirely destroyed during the construction of the new
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seems to ignore the dramatic scene on the water in concentrating on his own task. But, as
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And they that were in the boat worshipped him, saying, Of a truth thou art the Son of God.
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Giottos Leben: mit einer Sammlung der Urkunden und Texte bis Vasari (Giottus Pictor I)
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1034:, 1967, Thames & Hudson, London (US: New York Graphic Society, Greenwich, Conn.)
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Walking on the Water: Reading Mt. 14:22 – 33 in the Light of Its Wirkungsgeschichte
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On the Animation of the Inorganic: Art, Architecture, and the Extension of Life
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976:, London, Penguin Books, 1966, 2nd edn 1987 (now Yale History of Art series).
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has shown, these were the terms in which Vasari tended to describe large
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703:
White, 332 (quoted); see also Calvesi, 40, and Paoletti & Radke, 65.
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Bibliotheca Hertziana Roma: Römische Studien der Bibliotheca Hertziana
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789:, 1964, New York Graphic Society, New York, cat. no. 2, fig. no. 2,
218:. Such a large depiction of a maritime scene was unprecedented in
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Alpers, 190–192, 199 (quoted); Lubbock, 158 quotes from Alberti.
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The mosaics of Rome, from the third to the fourteenth centuries
193:
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158:
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71:
38:
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778:, Vol. 23, No. 3/4 (Jul. – Dec., 1960), pp. 190–215,
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774:, "Ekphrasis and Aesthetic Attitudes in Vasari's Lives",
540:
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787:
100 European Drawings in the Metropolitan Museum of Art
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Storytelling in Christian art from Giotto to Donatello
801:
Drawings in Midwestern Collections: A Corpus, Volume 1
535:
498:"St Peter's"; Lubbock, 158; Tomei, 31; Nicholls, 162;
407:
does Peter also leave the boat to walk on the waves:
371:(c. 1387–1453), of which the most detailed is in the
712:
Bean, no. 2 (New York); Dunbar, 104–110 (Cleveland).
427:On the evening of January 29, 1380, at the time of
395:of about 1559, are reversed (mirror-image) copies.
955:, Art Dossier Series, #120, 1998, Giunti Editore,
422:
86:, the only one of the three gospel accounts where
477:Accounts of the miracle appear in three Gospels:
451:Parri Spinelli, "Free Copy of Giotto's Navicella"
1231:
344:also "treats ... as a psychological narrative".
864:Journal of the Warburg and Courtauld Institutes
799:Dunbar, Burton Lewis and Olszewski, Edward J.,
776:Journal of the Warburg and Courtauld Institutes
161:is (anachronistically in terms of the Gospels)
262:Fragment in Boville Ernica, before restoration
1053:
606:Nicholls, 164, reporting Köhren-Jansen, 1993.
25:The 1628 full-size copy in oil in the Vatican
974:Art and Architecture in Italy, 1250 to 1400
866:, Vol. 16, No. 1/2 (1953), pp. 58–80,
290:Fragment in the Vatican, before restoration
1060:
1046:
892:The Vatican Collections:The Papacy and Art
796:, Skira, Geneva, London and New York, 1962
302:Fragment in the Vatican, after restoration
234:Only two bust-length figures of angels in
819:Medieval Italy: an encyclopedia, Volume 2
862:, "Notes on Some Early Giotto Sources",
663:Schwarz, Michael Viktor, and Pia Theis,
544:Schwarz, Michael Viktor, and Pia Theis,
44:
28:
20:
926:Paoletti, John T., and Radke, Gary M.,
111:The mosaic was commissioned in 1298 by
1232:
803:, 1996, University of Missouri Press,
597:Calvesi, 36; Paoletti & Radke, 65.
462:
1041:
912:, 2012, University of Chicago Press,
168:The subject is depicted elsewhere in
49:1673 engraving showing the mosaic on
1108:Lamentation (The Mourning of Christ)
1084:Saint Francis Receiving the Stigmata
577:Later print of the original location
172:of the period, and later works like
136:written in the late 14th century by
13:
987:
930:, 2005, Laurence King Publishing,
756:Biography | St. Catherine of Siena
753:
735:, by Mario Labacco, from Budapest.
667:, Wien: Böhlau, 2008, pp. 262–263.
626:Examples from www.coinarchives.com
548:, Wien: Böhlau, 2004, pp. 330–331.
222:, at least since classical times.
14:
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665:Giottos Werke (Giottus Pictor II)
398:
323:Landscape with the Fall of Icarus
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267:
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70:in Rome, was a large and famous
948:page on saintpetersbasilica.org
839:, 2006, Yale University Press,
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654:Tomei, 31; Moioli et al., 244.
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423:Vision of St Catherine of Siena
375:in New York, and others are in
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115:, canon of St. Peter's, whose
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33:Drawing of the lost mosaic by
1:
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502:, from Bridgeman Art Library.
463:Forbes, Frances A.M. (2015).
453:, Metropolitan Museum of Art.
62:(literally "little ship") or
229:
37:, about 1420, once owned by
7:
176:in the "Spanish Chapel" of
113:Cardinal Jacopo Stefaneschi
84:Christ walking on the water
10:
1296:
1206:(involvement, 1334–1337) (
1067:
636:Alpers, 199; Lubbock, 158.
373:Metropolitan Museum of Art
188:(or perhaps his colleague
68:Old Saint Peter's Basilica
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1177:
1158:
1075:
1009:Köhren-Jansen, Helmtrud,
772:Alpers, Svetlana Leontief
362:
1216:(c. 1333; attribution) (
928:Art in Renaissance Italy
794:Treasures of the Vatican
726:Unreversed print of 1567
438:
310:
180:in Florence, and in the
51:Old St. Peter's Basilica
817:Keinhenz, Christopher,
523:Calvesi, 34; Tomei, 30.
403:Only in the account in
1140:Strasbourg Crucifixion
995:Michael Viktor Schwarz
465:St. Catherine of Siena
420:
92:Saint Peter's Basilica
82:(Matthew 14:24–32) of
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1189:(c. 1298–1300) (lost)
782:, on Vasari's account
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48:
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16:Lost mosaic by Giotto
1270:St. Peter's Basilica
1127:(c. 1320 or earlier)
1124:Stefaneschi Triptych
1013:, 1993, Volume 8 of
1250:Paintings by Giotto
951:Tomei, Alessandro,
821:, 2004, Routledge,
792:Calvesi, Maurizio;
754:Forbes, Frances A.
334:he admired, though
278:, after restoration
206:Florence Baptistery
178:Santa Maria Novella
1255:Paintings of Jesus
1214:Ponte alla Carraia
1204:Giotto's Campanile
1132:Berlin Crucifixion
1116:Ognissanti Madonna
908:Papetros, Spyros,
872:Nicholls, Rachel,
724:of the Beatrizet;
433:Catherine of Siena
338:'s description in
192:), and one of the
100:Francesco Berretta
54:
43:
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1275:Lost works of art
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1028:Oakeshott, Walter
1011:Giottos Navicella
615:Lubbock, 158–160.
393:Nicolas Beatrizet
332:history paintings
196:relief panels on
80:Gospel of Matthew
76:Giotto di Bondone
64:Bark of St. Peter
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1245:1300s works
1240:1290s works
970:White, John
946:"Navicella"
588:St Peter's.
566:Murray, 77.
202:north doors
107:Description
88:Saint Peter
1234:Categories
1023:3884621033
982:0140561285
961:8809762673
936:1856694399
918:0226645673
900:0870993216
890:"Papacy":
882:9004163743
845:0300117272
827:0415939291
809:0826210627
766:References
557:Tomei, 30.
353:John White
341:De pictura
220:marine art
215:De Pictura
163:Saint Paul
1186:Navicella
1143:(c. 1320)
1135:(c. 1320)
1119:(c. 1310)
1095:(c. 1300)
1076:Paintings
389:engraving
377:Chantilly
230:Fragments
130:necrology
121:holy year
59:Navicella
1218:Florence
1208:Florence
729:Archived
685:Vatican.
431:, Saint
236:roundels
198:Ghiberti
190:Masolino
186:Masaccio
134:Florence
1178:Mosaics
429:Vespers
385:Bayonne
336:Alberti
245:lunette
210:Alberti
204:of the
174:frescos
126:florins
1069:Giotto
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363:Copies
194:bronze
159:tiller
146:Vasari
72:mosaic
39:Vasari
868:JSTOR
780:JSTOR
439:Notes
311:Style
66:, of
1019:ISBN
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485:and
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155:Pope
150:Life
56:The
855:PDF
512:WGA
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