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.”
Today 25th of March is the feast of The Annunciation, also referred to as the Annunciation to the Blessed Virgin Mary. It is the announcement by the Archangel Gabriel to Mary that she would conceive and bear a son through a virgin birth and become the mother of Jesus Christ.
It’s easy to remember this date, as it’s a full nine months of pregnancy before Christmas, the birthday of Jesus. And it’s approximately the start of spring and the moment of the northern equinox when day and night are equally long. In medieval terms, start of spring is identified as the date of an unusual number of Biblical events: Adam’s and Eve’s fall into sin; Cain’s murder of Abel; Abraham’s near-sacrifice of Isaac; the martyrdom of John the Baptist; and the Crucifixion. Still more strongly associated with this date is the Annunciation, at which, according to the Gospel of Luke, the archangel Gabriel brought word to the Virgin Mary that she would conceive the Son of God: “Hail, full of grace, the Lord is with thee: blessed art thou among women.”
The Annunciation at the Well flourished in Byzantium, an ancient Greek city that became known as Constantinople and as Istanbul today. In this illustration from a 12th century manuscript, two meetings are implied: at left, Mary dips her pitcher into a well as she turns to hear Gabriel’s message; at right, she approaches a house where she will receive the angel a second time while sitting on a throne-like chair. This illustration is following the Annunciation as written in the Gospel of James. Jacobus Monachus also known as the Kokkinobaphos Master, Homiliae in Beatam Mariam etc, 12th Century, Bibliothèque Nationale de France. Département des Manuscrits, Inv Nr Grec 1208, page 159v.
The Annunciation has been one of the most frequent subjects of Christian art. Its composition and details vary in accordance with its setting: the Virgin might appear on a throne, in a loggia, in a bedroom, or outdoors, and she often is shown sewing or reading. A variant of particular interest is the depiction of the Annunciation at the Spring, also known as the Annunciation at the Well. Inspired by accounts preserved in early apocryphal (non-Bible) texts such as the Gospel of James, this variant of the Annunciation depicts the Virgin Mary greeted by the angel Gabriel as she is fetching water at a well.
Cultures in the western part of the Mediterranean, like Venice with its strong trading links to the Byzantine area, adopted the image of the Annunciation at the Spring. This scene appears among twelfth-century mosaics of the Life of the Virgin in the transept of the church of San Marco in Venice.
There are two basic sources that describe the Annunciation. The Gospel of Luke (1:26-38) and the Gospel of James (v.11). Luke’s Gospel is part of the traditional Bible books and mostly the story that is depicted in Western art from the 14th Century onwards. The other source is the 2nd Century Gospel of James, which is an “apocryphal” book, meaning it’s not included in the traditional Bible collection of books. James’s Gospel is mostly the source in Eastern art up to the 15th Century and – remarkably – again by British painters in the 19th Century. The Gospel of James describes how one day Mary took the pitcher and went forth to draw water at a well when she heard an angelic voice: “Hail, you are highly favored, the Lord is with you, blessed are you among women.” And Mary looked around on the right and on the left to see from where this voice could have come.” During this first encounter, at a well or spring, the angel was heard but not seen. Mary appeared to be alone. Mary then went inside and it’s there that the angel appeared to her in person, while Mary is sitting on a throne-like chair.
In this beautiful illustration form an early 14th Century Armenian manuscript known as the Glazdor Gospels, a flattened, stylized well and pitcher offer only a reminder of the original “Annunciation at the Well” images. The figures’ static postures, animated only by Gabriel’s speaking gesture and the Virgin’s raised palm, recall Western Annunciation scenes, but Mary’s gilded brocade, the throned seat and the ogival dome at the top of the composition attest to its Eastern roots. The Glazdor Gospels, Los Angeles, University of California Research Library, MS. 1, p. 305.
From the 14th Century onward most Annunciations in Western art focus more on the story as written in the Gospel of Luke rather than the apocryphal Gospel of James. They dispense with the pitcher and the well and more and more they will also omit Mary sitting on a the throne-like seat. Many more images placed the event in a specific and unified space such as a portico (Fra Angelico), a private home (Rubens), or a church (Van Eyck).
The Archangel Gabriel delivers a salutation from God: “Ave Gratia Plena” (Hail, Full of Grace). His words flow out in gold letters. Mary draws back with surprise and modesty. She has been chosen to bear the Son of God. As she speaks her acceptance: “Ecce Ancilla Domini” (See, I am the Servant of the Lord), written upside-down for God to read it more easily from above. The dove of the holy spirit descends to her on rays of light. Jan van Eyck (Netherlandish, c.1390 – 1441), The Annunciation (c.1435), 90x34cm, National Gallery of Art, Washington.
In this Annunciation by Fra Angelico, Gabriel is seen approaching Mary outdoors in the cloister of San Marco in Florence. Mary is depicted as sweet and innocent yet taken aback by Gabriel’s arrival. Her innocence and virginity is represented by the “Hortus Conclusus” (Walled Garden) seen in the background. Her arms are folded in the same manner as Gabriel, and show her acceptance, humility, and submission. Fra Angelico (c.1395 – 1455), The Annunciation (c.1442), Fresco, 230x297cm, Convent of San Marco, Florence.
When Cosimo de’ Medici rebuilt the convent of San Marco, he commissioned Fra Angelico to decorate the walls with frescos. This included the inside of the monk’s cells and inside the corridors; around fifty pieces in total. Out of all of the frescos at the convent, the Annunciation is the most well known. This fresco was not intended just for aesthetic purposes. Running across the loggia at the bottom of the fresco there is an inscription that instructs the viewer: “Virginis Intacte Cvm Veneris Ante Figvram Preterevndo Cave Ne Sileatvr Ave.” It means “When you come before the image of the Ever-Virgin take care that you do not neglect to say an Ave”. This was a daily reminder for the monks to pray.
Leonardo’s Annunciation depicts the Archangel Gabriel announcing to Mary that she would conceive miraculously and give birth to a son to be named Jesus. The angel holds a Madonna lily, a symbol of Mary’s virginity as well as that of the city of Florence. It is presumed that, being a keen observer of nature, Leonardo painted the wings of the angel to resemble those of a bird in flight, but later, the wings were lengthened dramatically by another artist. Leonardo da Vinci (Italian, 1452 – 1519), Annunciation (c.1474), 98x217cm, Uffizi, Florence.
In this Annunciation by Rubens, painted around 1628, Mary is portrayed in her sitting room. The homy atmosphere is emphasized by the wicker basket that contains Mary’s sewing and the sleeping cat in the bottom right-hand corner. Rubens started working on this painting after his stay in Italy, where he had come under the influence of the great painters of the Renaissance. This Italianate influence is evident from the unusually bright colors and the free dynamic style, which was new in the Netherlandic countries. Rubens used ultramarine for Mary’s cloak, a precious pigment made from finely ground lapis lazuli. Peter Paul Rubens (Flemish, 1577 – 1640), The Annunciation (1628), 310x179cm, Rubens House, Antwerp.
This scene shows the intercession of the Holy Ghost, symbolised by the white dove. The Virgin is accompanied by three of her traditional attributes: a sewing basket, a book as symbol of Mary’s devotion, and a spray of lilies which symbolize her purity. Bartolomé Esteban Murillo (Spanish, 1617 – 1682), The Annunciation (c.1660), 125x103cm, Museo del Prado, Madrid.
In the 19th Century a group of British painters broke with traditional imagery and went back to pre-Raphael depiction of stories. This group is therefor called the Pre-Raphaelites. Here on this painting, Mary is back at the well as in the Byzantine annunciation images. She encounters the voice of the angel and his message, although she doesn’t see him. Edward Burne-Jones (British, 1833–1898), The Annunciation (1879), 250x105cm, Lady Lever Art Gallery, Liverpool, England.
This Annunciation of 1892, by Arthur Hacker from the Tate Britain, London, is depicting the story from the 2nd Century apocryphal (non-Bible) Gospel of James. As Mary gathers water at the well, unexpectedly an angel she cannot see appears. Arthur Hacker chose to portray the young Mary in portrait form, rather than focus upon the angelic meeting. Serious and sombre, Mary rests her hands on her heart. She is aware of something very important happening to her. She knows she has a role to play, and seems humbled to be chosen for it. Hovering behind Mary is the angel. He holds out a lily to Mary, the flower that symbolises Mary’s purity. Arthur Hacker spent time in Spain and Morocco. This had a strong influence on his art. Mary’s clothing probably reflects Islamic dress Hacker saw during his travels. Arthur Hacker (English, 1858 – 1919), The Annunciation (1892), 233x126cm, Tate, London.
Beatrice Emma Parsons chooses to portray the innocence and vulnerability of a young woman faced with the important responsibilities of motherhood. While the virginity of Mary has always held theological importance, with this work Parsons uses it to emphasize the humanity of the scene. Parsons captures the vulnerability of Mary, dressed in white and standing among a field of Madonna lilies, a symbol of the Annunciation and Mary’s purity. Also seen growing in Mary’s garden are red roses, emblematic of Christ’s Passion. The Holy Spirit, represented according to the traditional iconography of scenes of the Annunciation as a Dove fluttering above the Virgin’s head, is here translated into a group of birds sitting on the roof of the Virgin’s cottage. Beatrice Emma Parsons (English, 1870 – 1955), The Annunciation (1897), 114x183cm, Sotheby’s New York, 2007.
Tanner painted The Annunciation after a trip to Egypt and Palestine in 1897. Influenced by what he saw, Tanner created an unconventional image of the moment when the angel Gabriel announces to Mary that she will bear the Son of God. Mary is shown dressed in rumpled Middle Eastern peasant clothing, without a halo or other holy attributes. Gabriel appears only as a shaft of light. Tanner entered this painting in the 1898 Paris Salon exhibition, after which it was bought for the Philadelphia Museum of Art in 1899. Henry Ossawa Tanner (American, 1859 – 1937), The Annunciation (1898), 145x181cm Philadelphia Museum of Art, Philadelphia PA.
March 25 was used as New Year’s Day in many pre-modern Christian countries. The holiday was moved to January 1 in France by Charles IX in 1564. In England, the feast of the Annunciation came to be known as Lady Day, and Lady Day marked the beginning of the English new year until 1752.
Here are the two stories, written by Luke and by James, both accounts of the Annunciation and written down in the first few centuries after the birth of Jesus.The story as told by Luke in his Gospel (1:26-38) is focusing on the discussion between the Angel and Mary. It’s as follows:
Luke 1: 26-38
God sent the angel Gabriel, to a virgin named Mary. The angel went to her and said, “Greetings, you who are highly favored! The Lord is with you.”
Mary was greatly troubled at his words and wondered what kind of greeting this might be. But the angel said to her, “Do not be afraid, Mary; you have found favor with God. You will conceive and give birth to a son, and you are to call him Jesus. He will be great and will be called the Son of the Highest.”
“How will this be,” Mary asked the angel, “since I am a virgin?”
The angel answered, “The Holy Spirit will come on you, and the power of the Most High will overshadow you.”
“I am the Lord’s servant,” Mary answered. “May your word to me be fulfilled.” Then the angel left her
The story as told by James in his Gospel (v.11) gives also details about the setting. It happens at the well and inside Mary’s house, and it mentions that Mary is doing some sewing and needlework. It’s as follows:
James v.11
And she took the pitcher and went out to fill it with water. And suddenly a voice could be heard, saying: “Hail, you who has received grace; the Lord is with you; blessed are yiou among women!” And Mary looked round to the right hand and to the left, to see from where this voice came. And she went away, trembling, to her house, and put down the pitcher; and she took her sewing basket with needlework, and she sat down on her seat. And then, look, an angel of the Lord stood before her, saying: “Fear not, Mary; for you have found grace before the Lord, and you shall conceive, according to His word.” And she is hearing, reasoned with herself, saying: “Shall I conceive by the Lord, the living God? and shall I give birth as every woman gives birth?” And the angel of the Lord said: “Not so, Mary; for the power of the Lord shall overshadow you: wherefore also that holy thing which shall be born with you shall be called the Son of the Highest. And you shall call His name Jesus, for He shall save His people from their sins.” And Mary said: “See, I am the servant of the Lord before His face: let it be upon me according to your word.”
