The Storm on the Sea of Galilee or the “Calming of the Storm” is a story recounting a moment when Jesus and his disciples were on a boat crossing the Sea of Galilee, and a sudden and severe storm arose. As the disciples panicked and feared for their lives, Jesus, who was asleep in the boat, was awakened when they screamed, “Save us! We’re going to drown!” He replied, “You of little faith, why are you so afraid?” Then he got up and said to the winds and the waves, “Peace! Be still!” and it was completely calm; the wind ceased, and there was a dead calm sea. The disciples were filled with great awe and said to one another, “Who then is this, that even the wind and the sea obey him?”
The Sea of Galilee was known for its sudden and fierce storms. The locals were people of the land who were generally uncomfortable at sea, especially since they believed the sea to be full of frightening creatures. Storms on lakes can arise and intensify quickly, but they also tend to calm down rapidly. By asking the question “Why are you so afraid?”, Jesus was asking his disciples to explore in their own minds the cause and origin of fear, so they would realize that all fear has its roots in assumptions and is counterproductive in finding solutions. This “miracle of calming the sea and the wind” is a message that it’s better to keep faith and find courage to bring a difficult (and maybe hopeless) task to a good end than to fear and give up. The “Calming of the Storm miracle” is to be interpreted symbolically as the ability to bring peace and order to the turbulent aspects of life. Don’t panic, keep faith!
The story is recounted in the New Testament and is mentioned in three of the four Gospels, Matthew (8:23-27), Mark (4:35-41), and Luke (8:22-25).
Rembrandt depicts the panic-stricken disciples struggle against a sudden storm, and their fight to regain control of their fishing boat, ripping the sail and drawing the craft perilously close to the rocks in the left foreground. One of the disciples succumbs to the sea’s violence by vomiting over the side. Amidst this chaos, only Jesus, at the right, remains calm, like the eye of the storm. Awakened by the disciples’ desperate pleas for help, he rebukes them: “Why are you fearful, oh you of little faith?” and then rises to calm the fury of wind and waves. The Storm on the Sea of Galilee (1633), Rembrandt van Rijn (Netherlandish, 1606 – 1669), 160x128cm, Isabella Stewart Gardner Museum, Boston MA, stolen in 1990. Here is more info about the theft of this Rembrandt (and another Rembrandt and a Vermeer!), plus the contact details for any info on the current whereabouts.
The Storm on the Sea of Galilee (c.1595), Engraved by Aegidius Sadeler II (Flemish, 1570 – 1629), 21×25cm, Rijksmuseum, Amsterdam.
Backhuysen was one of the leading painters of seascapes in the late 17th century. He often put to sea when a storm threatened in order to observe the changing weather conditions. The Storm on the Sea of Galilee (1695), Ludolf Backhuysen (Netherlandish, 1630 – 1708), 58x72cm, Indianapolis Museum of Art, Indianapolis IN.
Brueghel depicts the boat, lashed by the waves with Jesus asleep inside, at the precise moment when one of the disciples decides to wake him before they are all shipwrecked. Also in the vessel are eleven of the disciples who make every effort not to be sunk, rowing and attempting to manage the sails. The Storm on the Sea of Galilee (1596), Jan Brueghel the Elder (Flemish, 1568 – 1625), Oil on Copper, 27x35cm, Museo Nacional Thyssen-Bornemisza, Madrid.
On this print we see two professional boatsmen trying to get control over the sails, while the disciples are pretty useless. The waves have the form of a sea monster. The Storm on the Sea of Galilee (c.1582), print 2:12 from the series The Miracles of Christ, Engraved by Harmen Jansz Muller (Netherlandish, c.1539 – 1617), 21×26cm, Rijksmuseum, Amsterdam.
In this 11th century manuscript illustration, we see two scenes in one: on the left Jesus sleeping and on the right when he is calming the storm. The Storm on the Sea of Galilee (c.1000), Illustration from the Gospels of Otto III, created in Reichenau Abbey, manuscript size 34x24cm, München, Bayerische Staatsbibliothek (Clm 4453), München, Germany.
Delacroix depicts Jesus sleeping peacefully while his panicked disciples weather a violent storm. Delacroix painted at least six variations on this biblical theme, but this version is considered his first oil sketch for the series. The Storm on the Sea of Galilee (1853), Eugène Delacroix (French, 1798 – 1863), 46×55cm, Nelson Atkins Museum of Art, Kansas City MO.
The Storm on the Sea of Galilee (c.1010), from the Hitda Codex nr 1640 fol. 117r, Universitäts- und Landesbibliothek, Darmstadt, Germany. The Hitda Codex is a Christian Gospel book with twenty-two full-page miniatures with an emphasis on Jesus’ miracles, produced around 1000-1020. The miniatures include a dedication image depicting the patron, Abbess Hitda of the convent in Meschede, North Rhine-Westphalia, Germany.
The Storm on the Sea of Galilee (c.1608), Engraved by Cornelis Galle the Elder (Flemish, 1576 – 1650) after design by Maerten de Vos (Flemish, 1532 – 1603), 18x22cm, Rijksmuseum, Amsterdam.
Jesus Calms the Storm, from Matthew (8:23-27)
23 Then he got into the boat and his disciples followed him. 24 Suddenly a furious storm came up on the lake, so that the waves swept over the boat. But Jesus was sleeping. 25 The disciples went and woke him, saying, “Lord, save us! We’re going to drown!”
26 He replied, “You of little faith, why are you so afraid?” Then he got up and rebuked the winds and the waves, and it was completely calm.
27 The men were amazed and asked, “What kind of man is this? Even the winds and the waves obey him!”
Jesus Calms the Storm, from Mark (4:35-41)
35 That day when evening came, he said to his disciples, “Let us go over to the other side.” 36 Leaving the crowd behind, they took him along, just as he was, in the boat. There were also other boats with him. 37 A furious squall came up, and the waves broke over the boat, so that it was nearly swamped. 38 Jesus was in the stern, sleeping on a cushion. The disciples woke him and said to him, “Teacher, don’t you care if we drown?”
39 He got up, rebuked the wind and said to the waves, “Quiet! Be still!” Then the wind died down and it was completely calm.
40 He said to his disciples, “Why are you so afraid? Do you still have no faith?”
41 They were terrified and asked each other, “Who is this? Even the wind and the waves obey him!”
Jesus Calms the Storm, from Luke (8:22-25)
22 One day Jesus said to his disciples, “Let us go over to the other side of the lake.” So they got into a boat and set out. 23 As they sailed, he fell asleep. A squall came down on the lake, so that the boat was being swamped, and they were in great danger.
24 The disciples went and woke him, saying, “Master, Master, we’re going to drown!” He got up and rebuked the wind and the raging waters; the storm subsided, and all was calm.
25 “Where is your faith?” he asked his disciples. In fear and amazement they asked one another, “Who is this? He commands even the winds and the water, and they obey him.”
Lucas van Leyden was a Dutch Renaissance painter and printmaker. He was born in Leiden, The Netherlands, in 1494, and died there in 1533 at the age of 39. Lucas van Leyden was one of the most important artists of the Northern Renaissance. He was known for his intricate and detailed engravings in various genres, including religious subjects, portraits, and landscapes; with a particular interest in capturing the expressions and emotions of his subjects. Lucas van Leyden’s style combined the influences of the Italian Renaissance with the local traditions of the Netherlands. His religious works originate from the traditional Catholic background, as that was the widely accepted and almost exclusive religion during Lucas van Leyden’s life and that of his contemporaries. The Reformation started only during his lifetime.
In 1510 Lucas van Leyden produced a series of fourteen engravings with Christ as Salvator Mundi, Paul and the Twelve Apostles. Let’s have a look.
Lucas van Leyden (Netherlandish, c.1494 – 1533), Jesus Christ as Salvator Mundi, from the series Christ, Paul and the Twelve Apostles (c.1510), Engraving, 12×7cm, Philadelphia Museum of Art, Philadelphia, PA.
“Salvator Mundi” is a Latin term that translates to “Savior of the World”. In the context of art, “Salvator Mundi” refers to a specific subject matter that has been depicted in Christian religious art. “Salvator Mundi” typically portrays Jesus Christ as the savior of humanity. The subject is often depicted with Jesus blessing the viewer with his right hand and holding a globe or crystal orb symbolizing his role as the ruler of the world.
Lucas van Leyden (Netherlandish, c.1494 – 1533), Peter, from the series Christ, Paul and the Twelve Apostles (c.1510), Engraving, 12×7cm, Philadelphia Museum of Art, Philadelphia, PA.
The Apostles are the twelve disciples who were chosen by Jesus Christ to be his closest followers and to spread his teachings. They played a central role in the formation and early development of Christianity. Paul, not part of the original group of twelve, is considered so important in spreading the word of God, that he often is included in the group of apostles. Together with Jesus Christ himself, the group as depicted by Lucas van Leyden in 1510 consists of 14: Jesus Christ as Salvator Mundi, Paul and the Twelve Apostles.
Their names and symbols, in sequence of the series by Lucas van Leyden, are as follows:
Jesus Christ as Salvator Mundi
Peter, with the Keys, representing his role as the “keeper of the keys” to the Kingdom of Heaven
Paulus with a sword as a reminder of the means of his martyrdom.
Andrew, with an X-shaped cross known as the saltire or St. Andrew’s Cross, as he was crucified on such a cross.
John, holding a chalice or cup with a serpent in it, representing the cup of poisoned wine that he drank without harm, symbolising Christian faith prevailing over death, signified by the serpent.
James the Greater, with a pilgrim staff and bag, and a hat with scallop shells, symbol of pilgrimage.
Thomas, with a spear, referring to his martyrdom.
James the Less, with a club, as he was beaten to death.
Bartholomew, with a knife, alluding to the tradition that he was martyred by being skinned alive.
Philip with a cross, referring to his crucifixion.
Judas Thaddeus with a builder’s square, as he was an architect of the Christian church.
Simon, with a saw, as he was reportedly martyred by being sawn in two.
Matthew, A halberd, symbol of his martyrdom.
Matthias, with an axe, or cleaver, symbol of martyrdom.
Their symbols serve as visual cues to help identify and distinguish the individual Apostles in religious art and iconography. It’s worth noting that some variations and interpretations of the symbols may exist in different traditions or artistic representations.
Lucas van Leyden (Netherlandish, c.1494 – 1533), Paul, from the series Christ, Paul and the Twelve Apostles (c.1510), Engraving, 12×7cm, Philadelphia Museum of Art, Philadelphia, PA.
An engraving is a printmaking technique that involves incising or carving a design onto a hard surface, typically a metal plate. The process is typically done with a sharp tool called a burin, although other tools can be used as well. Here’s a general overview of the engraving process:
Plate Preparation: The artist begins with a flat, smooth metal plate, often made of copper, zinc, or steel. The plate is polished and cleaned to create a clean surface for the engraving.
Incising the Design: Using a burin or another engraving tool, the artist cuts lines directly into the plate. The lines are incised with varying depths and thicknesses to create the desired effects of light, shade, and texture.
Ink Application: After the engraving is complete, ink is applied to the plate. The ink is usually spread across the surface, filling the incised lines.
Wiping and Printing: The excess ink is carefully wiped off the plate’s surface, leaving ink only in the incised lines. A sheet of paper is then placed on top of the plate, and both are passed through a printing press. The pressure transfers the ink from the incised lines onto the paper, creating the printed image.
Engravings can produce highly detailed and precise images with a distinctive quality. The process allows for intricate line work and shading effects, making it suitable for capturing fine details and subtle variations in tone. Engravings are often characterized by their crisp lines and rich contrasts. Engravings have been used for centuries by artists, particularly during the Renaissance and Baroque periods. They have also been utilized for illustrations, bookplates, currency printing, and decorative purposes.
Lucas van Leyden (Netherlandish, c.1494 – 1533), Andrew, from the series Christ, Paul and the Twelve Apostles (c.1510), Engraving, 12×7cm, Philadelphia Museum of Art, Philadelphia, PA.
Lucas van Leyden (Netherlandish, c.1494 – 1533), John, from the series Christ, Paul and the Twelve Apostles (c.1510), Engraving, 12×7cm, Philadelphia Museum of Art, Philadelphia, PA.
Lucas van Leyden (Netherlandish, c.1494 – 1533), James the Greater, from the series Christ, Paul and the Twelve Apostles (c.1510), Engraving, 12×7cm, Philadelphia Museum of Art, Philadelphia, PA.
Lucas van Leyden (Netherlandish, c.1494 – 1533), Thomas, from the series Christ, Paul and the Twelve Apostles (c.1510), Engraving, 12×7cm, Philadelphia Museum of Art, Philadelphia, PA.
Lucas van Leyden (Netherlandish, c.1494 – 1533), James the Less, from the series Christ, Paul and the Twelve Apostles (c.1510), Engraving, 12×7cm, Philadelphia Museum of Art, Philadelphia, PA. I am following the Rijksmuseum distinction here, that names this Lucas van Leyden print as James the Less; in the system of the Philadelphia Museum of Art, this is Judas Thaddeus.
Lucas van Leyden (Netherlandish, c.1494 – 1533), Bartholomew, from the series Christ, Paul and the Twelve Apostles (c.1510), Engraving, 12×7cm, Philadelphia Museum of Art, Philadelphia, PA.
Lucas van Leyden (Netherlandish, c.1494 – 1533), Philip, from the series Christ, Paul and the Twelve Apostles (c.1510), Engraving, 12×7cm, Philadelphia Museum of Art, Philadelphia, PA.
Lucas van Leyden (Netherlandish, c.1494 – 1533), Judas Thaddeus, from the series Christ, Paul and the Twelve Apostles (c.1510), Engraving, 12×7cm, Philadelphia Museum of Art, Philadelphia, PA. I am following the Rijks museum distinction here, that names this Lucas van Leyden print as Judas Thaddeus; in the system of the Philadelphia Museum of Art, this is James the Less.
Lucas van Leyden (Netherlandish, c.1494 – 1533), Simon, from the series Christ, Paul and the Twelve Apostles (c.1510), Engraving, 12×7cm, Philadelphia Museum of Art, Philadelphia, PA.
Lucas van Leyden (Netherlandish, c.1494 – 1533), Matthew, from the series Christ, Paul and the Twelve Apostles (c.1510), Engraving, 12×7cm, Philadelphia Museum of Art, Philadelphia, PA.
Lucas van Leyden (Netherlandish, c.1494 – 1533), Matthias, from the series Christ, Paul and the Twelve Apostles (c.1510), Engraving, 12×7cm, Philadelphia Museum of Art, Philadelphia, PA.
Hereunder a timetable linking the Italian Renaissance and Northern Renaissance, and linking the invention of book printing to the spread of the Reformation over the continent. Lucas van Leyden lived and worked at the dawn of the Reformation. His work originates from the tradition Catholic background. As reference, Rembrandt and the Dutch Golden Age are a century later.
1433, Jan van Eyck
Northern Renaissance artists, such as Jan van Eyck and Albrecht Dürer incorporated new techniques like oil painting and printmaking, contributing to the advancement of artistic practices.
Jan van Eyck (Flemish, c.1390 – 1441), Portrait of a Man, Self-portrait (1433), National Gallery, London.
1450, Gutenberg Bible
The Gutenberg Bible was the first “printed” book. It was printed by Johannes Gutenberg in Mainz, Germany in 1450. The Gutenberg Bible is a landmark achievement in the history of printing and played a significant role in the dissemination of knowledge and the spread of the Protestant Reformation.
1479, Sandro Botticelli
One of the prominent artists of the Italian Renaissance whose works exemplify the ideals and themes of the classical mythology, humanism, and the exploration of perspective and proportion.
Sandro Botticelli (Florentine, 1446 – 1510), Portrait of Giuliano de’ Medici (c.1479), National Gallery of Art, Washington.
1498, Albrecht Dürer
Painter, printmaker, and theorist; one of the most renowned figures associated with the Northern Renaissance. Dürer’s mastery of printmaking allowed for the wider dissemination of his works and ideas throughout Europe.
Albrecht Dürer (German, 1471 – 1528), Self-portrait at 26 (1498), Prado, Madrid.
Lucas van Leyden (Netherlandish, 1494 – 1533) Series with Christ, Paul and the Twelve Apostles (c.1510)
1517, Maarten Luther
On 31 October 1517, Martin Luther (1483 – 1546) nailed his 95 Theses to the door of All Saint’s Church in Wittenberg protesting at the sale of papal indulgences. This led to public debate about corruption in the Catholic Church and about church doctrine itself, and sparked off the Reformation.
Lucas Cranach the Elder (German, 1472 – 1553), Portrait of Martin Luther (1528), Veste Coburg Art Collections, Coburg, Germany.
1550, Johannes Calvin
Johannes Calvin (1509 – 1564) was a French theologian and key figure of the Protestant Reformation. His teachings and writings, particularly the concept of predestination, shaped the development of Reformed theology and had a lasting impact on Protestant Christianity.
Portrait by unknown painter (c.1550), Museum Catharijne Convent, Utrecht, The Netherlands.
1566
The “Beeldenstorm” (Iconoclastic Fury) refers to a series of violent outbreaks in the Netherlands in 1566. Protestant reformers expressed their opposition to the Catholic Church and its practices by vandalizing and destroying religious images and statues, particularly those found in churches and monasteries. The “Beeldenstorm” became the starting point of the Eighty Years’ War or Dutch Revolt (1566 – 1648), the protracted conflict where the Dutch provinces fought for independence from Spanish (and Catholic) rule, ultimately leading to the establishment of the Dutch Republic.
1629, Rembrandt
Rembrandt (Netherlandish, 1606 – 1669), Self-Portrait, Age 23 (1629), Isabella Stewart Gardner Museum, Boston, MA.
In religious contexts, the term “apostles” typically refers to the twelve individuals chosen by Jesus Christ to be his closest followers and to spread his teachings. They are also known as the Twelve Apostles or the Apostles of Jesus. The apostles played a significant role in the development and early spread of Christianity. They witnessed Jesus’ teachings, miracles, crucifixion, and resurrection. After Jesus’ ascension into heaven, the apostles became central figures in the formation of the early Christian community. They preached the gospel, performed miracles, and established churches in different regions. The word “apostle” comes from the Greek word “apostolos,” meaning “one who is sent out.” The twelve apostles are traditionally identified as:
Peter: fisherman, leader of the apostles and first pope according to Catholic tradition.
Andrew: brother of Peter, also a fisherman.
John: “The Beloved One”, known as the author of the Gospel of John.
James: the pilgrim, also referred to as James the Greater.
Matthew: former tax collector, maybe the author of the Gospel of Matthew.
Thomas: known for his initial doubt about Jesus’ resurrection.
Bartholomew: preaching as far as in India and Armenia, skinned alive.
Philip: baptised an Ethiopian courtier.
Simon: martyred by being sawn in half.
James: also known as James the Less.
Judas Thaddeus: not to be confused with Judas Iscariot.
Judas Iscariot: infamously known for betraying Jesus.
After Judas Iscariot’s betrayal and subsequent death, Matthias was chosen to replace him. The apostle Paul (originally known as Saul) is also considered an apostle, although he was not part of the original twelve. Paul played a significant role in spreading Christianity throughout the Mediterranean and authored several spiritual letters (epistles).
It’s worth noting that in some religious traditions, the term “apostle” may be used more broadly to refer to other individuals who were not part of the original twelve but were influential in the early Christian movement. For example, the apostle Paul is often considered an apostle due to his significant contributions to the spread of Christianity through his missionary journeys and his epistles included in the New Testament.
Peter
Peter Paul Rubens (Flemish, 1577 – 1640), The Apostle Peter with his attributes the keys, from the series The Twelve Apostles (c.1611), 107x82cm, Museo del Prado, Madrid.
Petrus (“Petrus”) was a fisherman named Simon. Jesus called him and his brother Andrew to be Jesus’ followers. He received the name “Cephas” from Jesus, which means “rock” in the local Aramaic language; hence “Peter” (Πέτρος, Petros), which means “rock” in Greek, the language of the first bible books. Peter is recognised as the leader of the 12 apostles and as the first Pope and Bishop of Rome. He was crucified in Rome under Emperor Nero around AD 65. Peter’s attributes are a set of keys, one gold and one silver, which are The Keys of Heaven. He is buried in the St Peter Basilica in Rome.
A story from the life of Peter is as follows. When Jesus was arrested, Peter had followed at a distance. On the painting hereunder we can see what happened next. A servant girl apparently recognised Peter and said to him, “You also were with the Nazarene, Jesus. “ Peter denied it. But then she said it to some bystanders. Again Peter denied it. Finally, the bystanders said it to him as well and, for the third time, he denied knowing Jesus. This time he swore, “I do not know this man of whom you speak”. Then the cock crowed for the second time and Peter remembered the words of Jesus, “Before the cock crows twice you will deny me three times.” Then Peter broke down and wept (New Testament, Mark 14:72).
Gerard Seghers (Flemish, 1591 – 1651), The Denial of St. Peter with Peter on the left side (c.1622), 173x227cm, North Carolina Museum of Art, Raleigh, NC.
Andrew
Peter Paul Rubens (Flemish, 1577 – 1640), The Apostle Andrew with the x-formed cross, from the series The Twelve Apostles (c.1611), 108x84cm, Museo del Prado, Madrid.
Andrew, in Latin “Andreas”, is the brother of Petrus. Both Andrew and Peter were fishermen by trade, hence the tradition that Jesus called them by saying that he will make them “fishers of men” These narratives record that Jesus was walking along the shore of the Sea of Galilee and initially used a boat, described as being Peter’s, as a platform for preaching to the multitudes on the shore and then as a means to achieving a huge trawl of fish on a night which had hitherto proved fruitless.
Andrew is said to have been martyred by crucifixion in the year 60, bound – not nailed – to a Latin cross of the kind on which Jesus is said to have been crucified. Yet a tradition developed that Andrew had been crucified on a cross of the form called crux decussata (X-shaped cross, or “saltire”), now commonly known as a “Saint Andrew’s Cross”, supposedly at his own request, as he deemed himself unworthy to be crucified on the same type of cross as Jesus had been. The “Saint Andrew’s Cross” is now also the national flag of Scotland. Several legends state that the relics of Andrew were brought by divine guidance from Constantinople to the place where the modern Scottish town of St Andrews stands today. Andrew preached along the Black Sea and the Dnieper River as far as Kiev, and from there he travelled to Novgorod. Hence, he became a patron saint of Ukraine, Romania, and Russia.
Andrew is traditionally portrayed with a long beard and a saltire cross. How to remember: the flag of Scotland and The Saint Andrews Golf Club, one of the oldest and most posh golf clubs worldwide
In the painting hereunder we find Jesus calling his first disciples. He approaches two fishermen at work on the Sea of Galilee: Simon, called Peter, and his brother Andrew. Their net is full when Jesus says to them: “Follow me, and I will make you fishers of men” (New Testament, Matthew 4:18).
Duccio di Buoninsegna (Italian, c.1250 – c.1319), The Calling of the Apostles Peter and Andrew (panel from the Maestá, Siena, c.1309), Tempera on Panel, 43×46cm, National Gallery of Art, Washington.
John
Peter Paul Rubens (Flemish, 1577 – 1640), The Apostle John with the chalice, from the series The Twelve Apostles (c.1611), 108x83cm, Museo del Prado, Madrid.
The Apostle John, also known as Saint John the Evangelist and not to be confused with John the Baptist, holds a significant place in Christian tradition and the New Testament of the Bible. John had a brother named James (often referred to as James the Greater). John, James and Peter, formed the inner circle of disciples closest to Jesus. They were present at all the important events in Jesus’ life and ministery. John is often referred to as “The Beloved One”, the disciple whom Jesus loved. He is portrayed as having a close and intimate relationship with Jesus. According to tradition, John is also credited as the author of the Gospel of John and the Book of Revelation. According to legend, John the Evangelist was given a cup of poisoned wine that he drank without harm. As emblems of the tale, John’s chalice symbolizes the Christian faith prevailing over death. In the painting above, Rubens depicted John with the chalice.
John (or Johannes) has an important presence at the crucifixion, as depicted in the painting hereunder. Immediately after Christ’s death, his followers lifted Jesus Christ down from the cross and lamented over his body. At the heart of the composition, the weeping Virgin kneels beside her dead son, supported by John. From the cross, Jesus had entrusted the care of his mother to his most beloved disciple. Joseph of Arimathea supports the dead body, Nicodemus holds up one end of the shroud. According to the Bible, these two men would anoint and bury the body. On the left, three women let their tears flow freely. One of them is Mary Magdalene (identified by her ointment jar), who dries her eyes with her cloak. On the right, by Christ’s feet, kneels a bishop, undoubtedly the man who commissioned the work. He is accompanied by Peter (with the keys of heaven) and Paul (with the sword used to behead him). The skull in the foreground is an allusion to Calvary, the site of the Crucifixion. The skull belongs to Adam, who was supposedly buried there. Van der Weyden rendered the bishop’s episcopal robes in breathtaking detail. The fact that the twelve apostles are depicted on the embroidered borders of the cope is significant. The bishop, after all, had followed in the footsteps of the apostles who spread the gospel after the Crucifixion. The presence of Peter and Paul behind the bishop can be explained in that light. As the first Bishop of Rome, Peter also had a special significance: he was the most eminent predecessor of the man who commissioned this painting.
Rogier van der Weyden (Flemish, c.1399 – 1464), The Lamentation of Christ with John in red robe supporting Mary in blue robe (c.1462), 81x130cm, Mauritshuis. The Hague.
James the Greater
Peter Paul Rubens (Flemish, 1577 – 1640), The Apostle James the Greater with pilgrim staff and hat, from the series The Twelve Apostles (c.1611), 108x83cm, Museo del Prado, Madrid.
James the Greater, in Latin “Jacobus Maior”, preached the message and teachings of Jesus in Spain and became the patron saint of Spain and, according to tradition, his remains are held in Santiago de Compostela. This name Santiago is the local evolution of his name “Sancti Iacobi”. The traditional pilgrimage to the grave of the saint, known as the “Way of St. James”, has been the most popular pilgrimage in Western Europe from the Early Middle Ages onwards. James is styled “the Greater” to distinguish him from the Apostle James “the Less”, with “greater” meaning older or taller, rather than more important. James the Greater was the brother of John. James, along with his brother John and Peter, formed an informal triumvirate among the Twelve Apostles. He is mostly depicted clothed as a pilgrim, with a scallop shell (Coquille St Jacques) on his shoulder, and his staff and pilgrim’s hat beside him. Pilgrims to his shrine often wore the scallop shell as symbol on their hats or clothes.
How to remember? Think: Coquille St Jacques and Pilgrimage to Santiago de Compostela.
Georges de la Tour (French, 1593 – 1652) , The Apostle James the Greater as pilgrim with the coquille St. Jacques (c.1620) from the Albi Apostles, 66x54cm, private collection, latest at Sotheby’s Masterpieces from the Fisch Davidson Collection, January 2023, New York, Lot 9.
Matthew
Anthony van Dyck (1599–1641), The Apostle Matthew (c.1619), 84x73cm, Rubenshuis (King Baudouin Foundation), Antwerp, Belgium.
Before becoming an apostle, Matthew (“Matheus” in Latin) worked as a tax collector in Capernaum. Tax collectors were often despised by their fellow Jews because they were seen as collaborators with the Roman authorities and were associated with greed and corruption. However, Jesus called Matthew to be one of his disciples, demonstrating his inclusive message of grace and forgiveness. As an apostle, Matthew witnessed Jesus’ teachings, miracles, and ministry firsthand. He was chosen by Jesus to be part of the inner circle of disciples and was present at significant events such as the Transfiguration and the Last Supper. After Jesus’ death and resurrection, Matthew, along with the other apostles, was entrusted with spreading the message of salvation and establishing the early Christian community.
Matthew is traditionally regarded as the author of the Gospel of Matthew, which is the first book of the New Testament. This gospel focuses on presenting Jesus as the Messiah, the fulfillment of Old Testament prophecies, and the teacher of the new law. According to tradition, after his time with Jesus, Matthew traveled and preached the Gospel, possibly in regions such as Ethiopia or Persia. However, the historical records regarding his later life and martyrdom are limited and not universally agreed upon.
The painting hereunder depicts the story from the Gospel of Matthew (New Testament, Matthew 9:9): “Jesus saw a man named Matthew at his seat in the tax collector’s office, and said to him, “Follow me”, and Matthew rose and followed Him.” Ter Brugghen depicts Matthew as the tax collector sitting at a table with few companions who seem to be more interested in the money and earthly tax collecting business. Jewish tax collectors in the time of Christ worked for the occupying Roman government, so they were especially hated in Israel. If that were not enough, tax collectors commonly took more than was required by the Romans in order to pay themselves. This meant tax collectors were frequently much wealthier than most Jewish citizens, who were just barely getting by day by day. The typical stereotype of a tax collector, in that time, was that of a greedy, sinful, traitorous sinner. On this painting Jesus Christ has entered the room, and is pointing at Matthew. Matthew is surprised and seems to say: “Who, me?”. This is a depiction of a moment of spiritual awakening and conversion, the moment when Matthew abandons everything and joins the circle and life of Jesus Christ.
Hendrick ter Brugghen (Netherlandish, 1588 – 1629), The Calling of Matthew when being a tax collector (1621), 102x137cm, Centraal Museum, Utrecht, The Netherlands.
Thomas
Peter Paul Rubens (Flemish, 1577 – 1640), The Apostle Thomas with the spear as his martyrdom attribute, from the series The Twelve Apostles (c.1611), 108x83cm, Museo del Prado, Madrid.
The Apostle Thomas, also known as “Doubting Thomas”, is particularly known for his initial skepticism regarding Jesus’ resurrection. After Jesus’ crucifixion, the other disciples told Thomas that they had seen the risen Jesus. However, Thomas expressed doubt and insisted that he needed to see and touch Jesus’ wounds to believe. Later, when Jesus appeared to the disciples, he specifically addressed Thomas and invited him to touch his wounds. Thomas, upon seeing and touching Jesus, declared, “My Lord and my God!” This incident reflects Thomas’ transformation from doubt to faith. Thomas’ subsequent activities and ministry are not extensively documented in the biblical texts. However, early Christian tradition suggests that he may have traveled and preached the Gospel in regions such as Parthia (part of modern-day Iran) and India and maybe even into China.
The subject of this painting herunder is taken from the Gospels (New Testament, John 20:24–28). The scene depicts the moment when Thomas, seeking proof of the Resurrection, places his fingers in the wound in Christ’s right side. Thomas not only rejected all the evidence of the Resurrection, but he also demands the most absolute, personal proof possible. He wants more than visual proof. He insists on disbelieving until he can physically touch the wounds in Jesus’ resurrected body. Which Christ allows him to do so. Here he gained his nickname: “Doubting Thomas.” This is the theme of human weakness in believing and the tendency to disbelieving.
Matthias Stom (Netherlandish, 1600 – 1650), The Incredulity of Thomas (c.1645), 125x99cm, Museo del Prado, Madrid.
Bartholomew
Peter Paul Rubens (Flemish, 1577 – 1640), The Apostle Bartholomew holding the knife as reference to his martyrdom being skinned alive, from the series The Twelve Apostles (c.1611), 107x83cm, Museo del Prado, Madrid. Bartholomew holds the knife in his hand, used for his martyr death.
The Apostle Bartholomew, in Latin “Bartholomaeus”, is listed among the apostles but is not as prominently featured as some of the others. He is mainly mentioned in the context of being one of the twelve and participating in the ministry of Jesus. According to early Christian traditions, Bartholomew is believed to have traveled extensively as a missionary, spreading the teachings of Jesus. Some traditions suggest that he traveled to India and Armenia, where he preached the Gospel and established Christian communities. The accounts of his martyrdom vary, but many sources indicate that he was martyred for his faith, with some accounts suggesting that he was flayed or crucified upside down.
One famous painting that features the apostle Bartholomew is “The Last Judgment” by Michelangelo. It is a monumental fresco located on the altar wall of the Sistine Chapel in Vatican City. In this painting, Bartholomew is depicted holding his own flayed skin, as he was said to have been martyred by being skinned alive. In Michelangelo’s depiction, Bartholomew holds his skin in one hand, while his other hand holds a knife, symbolizing the instrument of his martyrdom.
Bartholomew is the patron saint of tanners, tailors, leatherworkers, bookbinders, and butchers.
Michelangelo (Italian, 1475 – 1564) Saint Bartholemew holding his skin in one hand and his knife in the other, detail from The Last Judgement (1536 – 1541) Sistine Chapel, Vatican City.
Philip
Peter Paul Rubens (Flemish, 1577 – 1640), The Apostle Philip with the cross on which he was crucified, from the series The Twelve Apostles (c.1611), 107x83cm, Museo del Prado, Madrid. The attribute is the cross on which Philip was crucified. It’s a different form of cross compared to Saint Andrew’s cross.
According to the Bible, Philip was from the town of Bethsaida in Galilee, like Andrew and Peter. He is first mentioned in the Gospel of John, where he is called by Jesus to become his disciple. Philip played a role in several significant events in the New Testament. For example, he was present when Jesus fed the multitude of thousands with five loaves of bread and two fish. After Jesus’ crucifixion and resurrection, Philip continued to spread the teachings of Jesus and played a role in the early Christian community. Philip is particularly known for his encounter with an Ethiopian courtier or eunuch. He explained the Scriptures to the eunuch and baptized him, leading to the spread of Christianity in Ethiopia. A note: this could also have been Philip the Evangelist; it’s unclear if these two are one and the same Philip or both different ones. Philip the Apostle’s later life and his ultimate fate are not extensively recorded in the Bible. However, according to tradition, he continued to preach the gospel and performed miracles in various regions, including Syria and Greece. It is believed that Philip died as a martyr, having been crucified upside down. He is therefor often depicted with a cross.
Rembrandt painted the scene related to the baptism of an Ethiopian eunuch. In his painting, Rembrandt depicts the biblical episode found in the Book of Acts (New Testament, Acts 8:26-40), where the apostle Philip encounters an Ethiopian eunuch on the road to Gaza. The eunuch is reading a passage from the Book of Isaiah but does not fully understand its meaning. Philip explains the Scripture to him, and upon their arrival at a body of water, the eunuch requests to be baptized. Rembrandt captures this pivotal moment as Philip performs the baptism.
Rembrandt (Dutch, 1606 – 1669),The apostel Philip Baptising of the Eunuch, the courtier from Ethiopia (1626), 64x48cm, Museum Catharijneconvent, Utrecht, The Netherlands.
Simon
Anthony van Dyck (Flemish, 1599 – 1641), The Apostle Simon with his martyrdom attribute, the same on the right (c.1618), 64×48cm, Getty Center, Los Angeles.
The apostle Simon, also known as Simon the Zealot, was also one of the twelve apostles chosen by Jesus Christ. Not much is known about Simon’s background or his activities outside of being an apostle. The name “Simon the Zealot” suggests that he may have been a member of the Jewish political group called the Zealots, known for their fervent patriotism and opposition to Roman rule. As an apostle, Simon was entrusted with spreading the message of Jesus after his death and resurrection. Tradition holds that Simon continued to spread the Gospel after Jesus’ ascension, possibly traveling to Persia or further regions. Historical records regarding his later life and martyrdom are sparse and not widely agreed upon.
There are several paintings that depict the apostles, including Simon. However, there are no definitive or widely accepted artistic representations of Simon the Apostle, as there is no specific physical description of him in the biblical texts. In religious artwork, the apostles are often portrayed as a group or in scenes related to specific biblical events, such as the Last Supper or the Pentecost. In these depictions, Simon is typically included among the twelve apostles, but he may not always be individually highlighted or distinguishable. There is a vague story that Simon was martyred be being sawn in half and therefore in art, Simon sometimes has the identifying attribute of a saw.
Peter Paul Rubens (Flemish, 1577 – 1640), The Apostle Simon, with on the left side, under the book, the saw. the series The Twelve Apostles (c.1611), 108x83cm, Museo del Prado, Madrid.
James the Less
Pompeo Batoni (1708–1787), The Apostle James the Less with the club, symbol of his martyrdom (c.1741), 73x61cm, Basildon Park (National Trust), Berkshire, United Kingdom.
The apostle James the Less is called “Less” to indicate his relative obscurity or younger age compared to James the Great. Not much is known about James the Less beyond his designation as an apostle.
The martyr symbol traditionally associated with Saint James the Less is a fuller’s club, as he was said to have been martyred by being beaten to death with a club or a similar instrument. A fuller’s club was a tool used by fullers, the workers in the wool industry who beat or thump the cloth to clean, shrink and thicken it. James the Less is still the patron saint of the fullers and textile workers.
James the Less, from The Menologion of Basil II, (c.1000), an illuminated manuscript compiled for the Byzantine Emperor Basil II (reign 976 – 1025). It contains a synaxarion, a short collection of saints’ lives and around 430 miniature paintings by eight different artists, Vatican Library (Ms. Vat. gr. 1613), The Vatican.
Judas Thaddeus
Anthony van Dyck (Flemish, 1599 – 1641), The Apostle Judas Thaddeus (c.1620), 63×47cm, Louvre, Paris. The Louvre formerly identified this guy as Saint Joseph, the father of Jesus; understandable, as Joseph was a carpenter and here is someone pictured with a carpenter’s square. But this portrait fits very well in one of the two series of the apostles painted by Van Dyck, and therefore more likely this is an apostle.
Judas Thaddeus is one of the twelve original apostles, but information about him is limited. Although he certainly played an important role in spreading the teachings of Jesus Christ after his death and resurrection. Judas Thaddeus is believed to have traveled to various regions, including Syria, Mesopotamia, and Armenia, where he is highly venerated as one of the founding apostles of the Armenian Church. His attributes are ambiguous. It can be a club as symbol of his martyrdom, or a book as general “scripture” reference, or a flame around his head which represents his presence at Pentecost, when he received the Holy Spirit with the other apostles. I like the option of a carpenter’s square the most, as a metaphorical symbol of Judas Thaddeus being an architect of the church. Judas Thaddeus is the patron saint of desperate situations and lost causes; good to know!
A note: Judas Thaddeus is to be clearly distinguished from Judas Iscariot, the apostle who betrayed Jesus prior to his crucifixion.
Peter Paul Rubens (Flemish, 1577 – 1640), The Apostle Judas Thaddeus, from the series The Twelve Apostles (c.1611), 107x83cm, Museo del Prado, Madrid. The Prado identifies this one as James the Lees, and in older catalogues as Thomas. In my view it’s Thaddeus, because of the carpenter’s square. Although Thaddeus is not very often depicted in this way, certainly James the Less and Thomas are not depicted with this tool With the more obscure apostles it’s sometimes guessing who the painter meant to depict.
Judas Iscariot was chosen by Jesus Christ to be one of his apostles but is known primarily for his betrayal of Jesus. According to the Gospels, Judas agreed to betray Jesus to the religious authorities in exchange for thirty pieces of silver. He identified Jesus to the authorities by giving him a kiss, leading to Jesus’ arrest. This event ultimately led to Jesus’ crucifixion. The act of betrayal has been widely condemned, and Judas is often portrayed as a symbol of treachery and betrayal. Judas’ story concludes tragically. After the betrayal, he reportedly felt remorse for his actions and attempted to return the money. However, overcome by guilt, he ultimately hanged himself.
On the frescos by Giotto, both from the wonderful Scrovegni Chapel in Padua, we can see (above) Judas who just plotted his betrayal and received the bag with the thirty pieces of silver; firmly in grip of the devil! And (below) Judas identifies Jesus Christ with a kiss, an act of friendship he would turn into betrayal.
Peter Paul Rubens (Flemish, 1577 – 1640), The Apostle Matthias with the axe by which he was killed, from the series The Twelve Apostles (c.1611), 107x83cm, Museo del Prado, Madrid.
The Apostle Matthias was chosen to replace Judas Iscariot as one of the twelve apostles following Judas’ betrayal and subsequent death by suicide. After Jesus’ ascension, the remaining eleven apostles felt the need to replace Judas Iscariot in order to restore the number of apostles to twelve, a significant symbolic number. They believed it was essential to have twelve apostles to fulfill the mission and ministry that Jesus had entrusted to them. To select a new apostle, the remaining apostles prayed and sought guidance from God. They determined that the new apostle must be someone who had been with them from the beginning of Jesus’ ministry and had witnessed his resurrection. The apostles prayed, cast lots, and ultimately chose Matthias as the one to take Judas’ place. Matthias was then counted as one of the twelve, and he joined the other apostles in spreading the message of Jesus Christ. The biblical account does not provide extensive details about Matthias’ activities or specific teachings, and he is not mentioned again in the New Testament after his selection. In art, Matthias does not have a well-defined or universally recognized symbol. While he is often depicted as one of the twelve apostles, his individual attributes or symbols are not as established or consistent as those of some other apostles.
Anthony van Dyck (Flemish, 1599 – 1641), The Apostle Matthias with just a book as apostle-reference (c.1619), 65×48cm, Yale University Art Gallery, New Haven, CT.
Paul
Peter Paul Rubens (Flemish, 1577 – 1640), The Apostle Paul, from the series The Twelve Apostles (c.1611), 108x83cm, Museo del Prado, Madrid.
The Apostle Paul, originally known as Saul, is recognized as one of the most influential and prolific writers of the New Testament. Paul’s life and teachings played a crucial role in the spread of Christianity. Before his conversion to Christianity, Paul was a zealous persecutor of early Christians. However, his life took a dramatic turn when he encountered a vision of Jesus on the road to Damascus. This encounter led to his conversion and subsequent dedication to spreading the Gospel. Paul’s epistles, or letters, form a significant part of the New Testament. They provide theological insights, practical guidance for Christian living, and address various issues faced by the early Christian communities. Paul’s teachings contributed significantly to the development of Christian theology and helped shape the early Christian community. His writings continue to be studied and revered by Christians worldwide.
In addition to his theological and missionary contributions, Paul also endured hardships and persecution for the sake of the Gospel. He was imprisoned multiple times, faced opposition from both Jewish and Roman authorities, and eventually died as a martyr, traditionally believed to have been executed in Rome. Rubens includes Paul in his series of apostles, as many other artists also did. The depiction of Paul with a sword is primarily influenced by his writings and teachings. In his letters, Paul frequently uses metaphors related to warfare and battle to describe the Christian life and the spiritual struggle against evil. He speaks of the “sword of the Spirit” as a metaphor for the Word of God, emphasizing its power and authority.
And hereunder the Caravaggio painting with the moment of the apostle Paul’s conversion as described in the Acts of the Apostles in the Bible. Paul (then still known as Saul) is shown falling from his horse and extending his arms to the blinding divine light that emanates from heaven, in a gesture of astonishment and surrender.
Caravaggio (Italian, 1571 – 1610), Conversion of Paul on the Way to Damascus (1601), 230x175cm, Cerasi Chapel, Santa Maria del Popolo, Rome.
Peter and Paul
And to make the circle round, here is an El Greco painting that brings “Peter”, the first apostle, together with “Paul”, the last one. These two apostles are the most prominent figures in the early Christian community and have a common feast day. Peter, was chosen by Jesus as the leader of the apostles and is considered the first Pope. Paul, formerly a persecutor of Christians who underwent a profound conversion and became a significant evangelist and writer of several Epistles in the New Testament. The Feast of Saints Peter and Paul is observed on June 29 to commemorate the martyrdom of these apostles and to celebrate the role of these apostles in spreading the Gospel and establishing the early Christian Church. The feast is marked with special Masses and liturgical ceremonies, and it holds particular significance in Rome, where the Basilica of Saint Peter and the Basilica of Saint Paul Outside the Walls are dedicated to these saints.
El Greco (Greek, Spanish, 1541 – 1614), The Apostles Peter and Paul; Peter with the keys in his left hand, which is difficult to see, and Paul holding the sword (c.1595), 116x91cm (45.6 in), Museu Nacional d’Art de Catalunya, Barcelona, Spain.
Today August 15 is the official feast day of the “Assumption of Mary”. It’s a holiday in many, mostly Catholic, countries. But what is it about and how has it been depicted in art? This day is to celebrate that the Holy Virgin Mary, mother of Christ, is taken up into Heaven at the end of her earthly life. It’s not so much a historic event, but it’s deeply embedded in the Christian tradition, belief and faith. The historic element is that somewhere around the year 41, Mary passed away. From around the 3rd century the belief was added that the body of Mary was taken up into Heaven and in that sense she followed her son Jesus Christ, who was crucified and subsequently taken into Heaven about 10 years earlier. From the 5th century onwards, it was added that all the apostles were present at this very moment, which is depicted on the many paintings with Mary’s Assumption. They are the group of guys looking up in astonishment when Mary is taken into Heaven, up into the arms of God. On most paintings Mary goes up with the help of angels, like on the gigantic Titian altar piece, almost 7×4 meters, which is still on its original location in the Frari Church in Venice.
Annibale Carracci (1560 – 1609), “The Assumption of the Virgin Mary” (1587), 130x97cm, Oil on Canvas, Museo del Prado, Madrid.
There is still an endless dispute about the moment just before the heavenly Assumption of Mary. Did Mary only fell asleep, the so-called “Dormition”, and then went up? Or did she actually also really die? The official Catholic dogma around the subject is not clarifying this element. Pope Pius XII proclaimed in 1950 that Mary indeed “completed her earthly life” and that her body and soul went up into heavenly glory. The Pope used his Papal authority to declare this dogma and did so with “Papal Infallibility”. He made not clear if Mary just fell asleep and went up, or if she also really died before going up into Heaven. On the Titian painting, Mary goes up into Heaven and no indication of the moment just before the Assumption. On the Carracci painting from the Prado, Madrid, Mary is ascending from a tomb, which would indicate that Mary indeed died. On the Rubens altar piece, still in its original location in the Cathedral of Our Lady in Antwerp, the tomb is also present.
Peter Paul Rubens (1577 – 1640), “The Assumption of the Virgin Mary” (1626), 490x325cm, Oil on Panel, Cathedral of Our Lady, Antwerp.
I think the Assumption of Mary is a beautiful belief and it’s great to depict this story. Every viewer of a painting with the Assumption of Mary, the mother of Christ, has a mother him- or herself and many viewers are also “mother” themselves. And all those mothers will one day pass away. It must have given – and still gives – a lot of comfort to know or believe that Mary, as the mother of all mothers, was taken up into heaven after her death. It gives hope to everyone, and certainly to our mothers, that one day they will follow Mary up into Heaven. August 15 is a public holiday, but it’s above all the ultimate and sacred Mother’s Day.
What is Pentecost and how is it depicted in art? Pentecost (UK: Whitsunday; NL: Pinksteren) is a Christian holy day, that must be seen in connection with Easter and the Ascension of Christ. It’s celebrated 50 days after Easter Sunday, and 10 days after Ascension Day. The word “Pentecost” comes from the Greek word “Πεντηκοστή” and simply means “fiftieth”. What happened is the following: Easter is the moment of the crucifixion and resurrection; at Ascension Day the physical body of Christ goes up to heaven and with Pentecost the spirit of Christ comes back to earth in the form of the Holy Ghost. And the Holy Ghosts descend upon the Apostles, the disciples of Christ, so that they can start spreading His word around the world.
El Greco (1541 – 1614), “Pentecost” (c. 1600), 275x127cm, Oil on Canvas, Museo del Prado, Madrid.
This can be depicted with great drama. Look at El Greco’s painting from c. 1600. The Apostles and Maria are being covered by light and flames coming down from above, and the Holy Ghost is descending in its classic form of a white dove. Their hands up in wonder, and their faces with big glorious admiration. Drama galore! Small mundane detail: the second apostle from the right in the top row has been given the portrait of El Greco himself, and he is the only one looking at us viewers.
If I may demystify this moment a bit, than let’s look at the fresco by Giotto from the Scrovegni Chapel in Padua, painted roughly 300 years before the El Greco painting. It’s the Apostles, sitting together in a meeting session. It’s a few weeks after the moment Christ left them, and can it be that they are going from a mourning phase into a phase of accepting what happened? They are discussing how to move forward and they are deciding to spread the good word of Christ around the world. They seem to have received a sparkle of hope; they are seeing now light in darkness. Giotto depicted this moment as rays of light (or fire) coming from above and spreading over the Apostles. Compare this to the El Greco painting where this abstract concept of seeing light in darkness has been turned into a visual concrete drama with rays of light, the dove and flames descending upon the Apostles.
And
to put Ascension and Pentecost next to each other, please look at these 17th
Century Dutch prints: Ascension as the physical movement of Christ up to heaven
and Pentecost as the spiritual movement of the Holy Ghost down from heaven.
