Dr. Collett's Sketch

My name is Maegan Collett and I am the Artistic director for the Archeological Society of Geneva College. I am originally from Azusa’s Archeological Department, but I merged with Geneva in order to be apart of their Rome Expedition. As the Art director, I survey, sketch, photograph, and analyze ancient ruins, classical paintings, and artifacts. I am nervous about our expedition into the unknown lands of Rome, but trust our faithful protector Dr. Glick will keep us out of warms way. I aspire to use my creative gifts and artistic eye to discover the miraculous paintings depicting miracles throughout the Bible. I am blessed to be in a culture immersed in such empowering and unfathomable works. I hope to grow in my understanding of art history, people, culture, God’s miraculous creation, and his purpose for my life. 

Peter Walking on Water

Date: 1590

Artist: Allessandro Allori

Location: Galleria Degli Uffizi Florence, Italy

Medium: Oil Painting on Copper

Dimension: 

15.7 x 18.5 in

Style: Mannerism

The Miracle: 

Matthew 14:4-32

The painting Peter Walking on Water by Allessandro Allori is an enchanting piece illustrating the moment where Peter miraculously walks toward his savior upon the sea. The story previously follows the feeding of the five thousand, where the disciples are getting ready to depart to Gennesaret by boat. Suddenly, Jesus decides to part from them to go and pray in solitude on the mountainside alone at night. He tells the disciples to journey on ahead without him. The disciples grew a great distance from land, due to the violent winds and waves pushing the boat. Before dawn, Jesus walks out to his faithful followers on the lake. At first the disciples were petrified and cried, “It’s a ghost.” Jesus answered them strongly, “Take courage! It is I. Don’t be afraid.” The disciple Peter then replies, “Lord, if it’s you, tell me to come to you on the water.” Jesus encourages Peter to join him on the water. Peter proceeds to climb out of the boat and walk on the water in the direction of the ominous figure on the sea. Peter hears the fierce wind, becomes frightened, and starts to sink into the sea. He cries out, “Lord, save me!” Instantly Jesus clutches Peter’s hand and delivers him from the woeful waters. Jesus states, “You of little faith…Why did you doubt?” They climb back into the boat and the wind grew silent. The disciples worshiped the miraculous event in saying, “Truly you are the Son of God.”

Allori captures this scene with such dynamic movement and emotion. The scene is painted at an hour of darkness as the story states being, just before the sunrises. The sky is storming and foreboding. The waves are aggressive, dark, and brooding with calamity. The disciples are crowded within a small fishing boat at a distance from Jesus and Peter. Three are shown fervently rowing the boat to safe waters, another is crying out to Peter and Christ with his arms extended, and two appear to be in a deep conversation. The city of Bethsaida Julias is displayed in the background as the waves of the Sea of Galilee pound on the shore. 

Peter is kneeling before Jesus with the right foot drowned beneath the sea and the left slowly sinking. His head tilts toward Christ in anguish and unease as he pleads to his savior for deliverance. Allori paints Peter gripping Christ’s right hand with both arms, rather than one, to convey his desperation. Christ stands stoic and firm upon the waters with his right hand outstretched to Peter and his left hand signaling the disciple to rise in confidence without fear. Christ’s face is illuminated and conveys a tranquil, unperturbed, and divine presence. He is dressed in a crimson cloak, which symbolizes “blood, sacrifice, and the remission of sin”(5). The blue scarf that wraps around him conveys a “holy covering, a heavenly presence, and a holy service” (5). His clothing expresses Christ’s characteristics as a celestial human, sent from above as a sacrifice to deliver man from the darkness, the perilous waters. Peter is clothed in a black cloak, which portrays “sin, sorrow, death, and judgment.” He is wrapped in a scarlet cloth, which symbolizes Christ’s redemption and liberation from sin, doubt, and the sea.

The story of Peter Walking on Water has always been one of my favorite narratives regarding the struggle of faith. In my own life I have combated anxiety and stress. It is challenging for me to even get out of the boat and follow Christ, let alone walk on the treacherous waves. I feel confined in my sin and reading this passage reminds me to not drown myself in anguish, but rather trust and understand that God is constantly protecting me and guiding my life in love, grace, and discernment.

I have a powerful connection to the sea being an ocean swimmer and fashioned an archaic lighthouse from clay, wire, pebbles, and stones, as a portrayal of God. The Almighty Creator illuminates uncertainties and teaches me daily to release my fear and control over the sea of life. I need to jump into the ocean, walk upon the waves of uncertainty, knowing that my savior is the stoic and enchanting surveyor of the vast and unknown.

Bibliography:

(5) http://www.ridingthebeast.com/articles/colors/

Transformation of Paul within St. Paul’s Basilica

Saul Present at the 

Martyrdom of Saint Stephen

Conversion of Saul




















Date: (1809-1890)

Artist: Gagliardi Pietro

Location: St. Paul’s Basilica – Rome

Medium: Fresco

Dimensions: 30 x 20 ft

The Miracle: Acts 7 – 9

After Paul’s martyrdom in the 1^st century AD, his faithful followers created a shrine to commemorate him on his good works for the kingdom of God. A church was later built on the site, founded by Emperor Constantine and blessed by him on November 18, 324 (4). Emperor Theodosius in 386 destroyed the church and constructed a grander basilica in the apostle’s honor and was completed by Emperor Honorius in 395. In 1823 a large fire erupted by a careless workman, which resulted in the basilica’s wreckage. The entire world aided in the basilica’s restoration. “The Viceroy of Egypt sent pillars of alabaster, the Emperor of Russia the precious malachite and lapis lazuli of the tabernacle” (4). The basilica now stunningly stands fully re-constructed and has been declared a national monument by the Italian government.

Gorgeous frescos depicting Paul’s transformation from a persecutor of Christians into an apostle for Christ align the top of the walls around the entire basilica. The frescos were created by different artists at various periods in history who felt compelled to translate the miraculous story of Paul. Paul’s conversion is a miracle, which God enacted in order to use the man for the progression of the gospel and Christianity. The Apostle to the Gentiles contributed more than half of the New Testament and has an incredible influence on Christian thought today.

Paul’s miraculous story begins with the painting by Gagliardi Pietro titled Saul present at the martyrdom of Saint Stephen. Before Paul became a Christian he was known as Saul, a persecutor of Christians. 

Acts 7:54-Acts 8:1-3 tell the full story of Stephan’s stoning and Saul's reaction being, neglect and approval. In the painting Stephen lies on the ground gazing up to the heavens ready to face his death and be with his savior. “Stephen, full of the Holy Spirit, looked up to heaven and saw the glory of God.” The men around him are aggressively grabbing stones, hurling them, and removing their cloaks. Saul is depicted all in red shamelessly watching the event in approval, while guarding the witnesses’ cloaks. “The witnesses laid their coats at the feet of a young man named Saul…And Saul approved of their killing him.” Later the story discloses that Saul destroyed churches, went from house to house and dragged off men and women, and put them in prison. Before God appeared to Saul and redeemed him, he was a destructive and evil man fighting against God.

The fresco titled Conversion of Saul illustrates Saul’s encounter with Christ on his journey to Damascus. Saul is shown sprawled on the ground stunned and transfixed upon the heavenly light and Christ’s figure floating within the clouds. “He fell to the ground and heard a voice say to him, “Saul, Saul, why do you persecute me?” His men are distraught by the encounter one hides from the light, another in darkness tries to control his spooked horse, a soldier attempts to shield Saul from the light, and a faithful soldier attempts to aid Saul up from the ground. These soldiers depict ways in which humans respond to God. Some are consumed in their own struggles without knowledge of God, others shield themselves from God and reject his existence, some are enemies of God and try to kill the Gospel, and finally there are men who are willing to hear and aid in the journey, but need someone to witness to them the good news. “The men traveling with Saul stood there speechless; they heard the sound but did not see anyone.” In the fresco, Saul does not have shoes on to convey the holy ground, which he rests upon. Saul rises from the encounter distraught and blind. Christ informs him to travel into Damascus and to patiently pray and await further instructions.

The frescos proceed to tell his transformation process when Annanisa lays hands on Saul Who Receives the Virtues of the Holy Spirit painted by Podesti Francesco (1800-1895), Paul’s Speech to the People of Jerusalem by Grandi Francesco (1831-1891), and finally to The Martydom of Paul by Balbi Pilippo (1806-1890).

Bibliography:

(4) http://www.sacred-destinations.com/italy/rome-san-paolo-fuori-le-mura

Gioia, Francesco. St. Paul from "Persecutor and Man of Violence" to "Greatest Model of Patience" Rome: Pontifical Administration of the Patriarchal Basilica of St. Paul, 2004. Print.

Adam and Eve in the Garden of Eden

Date: 1745-1829

Artist: Wenzel Peter

Location: Vatican Museum Room XVI, Rome

Medium: Oil on Canvas

Approximate dimensions of works: 336 x 247 cm

The Miracle: 

Genesis 1 – 4

Wenzel Peter was born in Karlsbad, Bohemia in 1745 he moved to Australia and then lived out the rest of his life in Rome until his death in 1829. He specialized in animal realism and aimed at translating an “extraordinary naturalism” that appeared “photographed” in a manner of “stagnation or struggle” (2).

Wenzel Peter’s Adam and Eve in the Garden depicts God’s initial miracle, the world. “In the beginning God created the heavens and the earth.” God is a deity beyond human understanding, who has designed a world of such beauty, technicality, wonder, and diversity for man to explore and question. The painting invites the viewer into the Paradise of a lush greenery, a calm meadow, and a forestry. The illustration includes over 200 unique animals across the world all grazing together within the stunning landscape. 

The painting is a combination of two stories: one being the creation of the Earth and the other the fall of man. The mood of the illustration evokes a majestic and captivating experience, yet a melancholy and surreal atmosphere, which chokes the viewer in knowing that this Paradise will vanish with Adam’s bite into the  forbidden fruit that Eve holds out to him. 

The Creation story begins with God forming the “light,” which pierces the darkness that Peter illuminates his painting with to translate a divine realm. God creates a “vault between the waters to separate water from water.” This vault being the sky, which Peter paints as a clear blue with marshmallow clouds floating about the mountainscape. “Let the water under the sky be gathered to one place, and let dry ground appear.” God calls these landscape juxtapositions “land” and “sea.” The Garden’s landscape captures a variety of biomes being the meadow, the marshlands, the rainforest, and the Snowy Mountainscape. A winding river that divides the landmasses depicts the water and land separation. Cascading waterfalls enhance the background and illustrate the lands ability to fixate the powerful force of water. “Let the land produce vegetation: seed-bearing plants and trees on the land.” The vegetation is abundant in the painting. Various wildflowers color the bountiful grass, oak trees; palm trees, banana trees, pine trees…etc enrich the Earth. “Let the water teem with living creatures, and let birds fly above the earth across the vault of the sky.” Peter transcends the creatures of the air with grace, diversity, and vibrancy that mesmerizes the viewer to partake in the freedom of the birds. The painting captures a greater abundance of birds than mammals, to convey a weightless and fantasy atmosphere. "Let the land produce living creatures according to their kinds: the livestock, the creatures that move along the ground, and the wild animals.” Lions, zebras, tigers, horses, and deer surround the Garden in clumps of similarities and differences. A Camel and a donkey on the bottom left hand corner represent two creatures whose odd characteristics differ from the acceptable version of a “horse.” Peter translates the peace among the animals by placing mammals that would normally consume one another, grazing beside each other. The Tigers and her cubs are lying next to the Bulls calmly. “Let us make mankind in our image, in our likeness, so that they may rule over…all the wild animals.” Adam and Eve are painted in the center of the creation to emphasize their ruling and authority over the wildlife.

In the story of Adam and Eve, the serpent pictured above Eve tempts her into eating the forbidden fruit. He states that the fruit will not harm her, but rather her “eyes will be opened, and she will be like God, knowing good and evil.” Eve gives into the snakes prodding, picks the fruit, and takes a bite. Eve then hands the fruit to Adam and reveals to him that the fruit is not harmful, but helpful. He eats the fruit and as a result sin enters the world and they are banished from the garden. The painting expresses the moment where life is to change forever in sin, with Adam's seise of the fruit from Eve.

Wenzel uses a variety of animal symbols to translate his message of the Garden’s story. Beside Adam lies two dogs and behind Eve sits a peacock. Dogs represent “companionship, health, service, loyalty, protection, future, and prosperity.” The peacock embodies eternal life, immortality, holiness, and wholeness. The animals represent what humans are about to lose if Adam bites the apple. The fruit will cause them to become disloyal, lose God’s companionship, perfect health, the Garden’s protection, a future with God, and eternal prosperity in Paradise. They will no longer have immortality; flesh that is forever eternal, pure hearts and minds, and wholeness with the creator. The lambs lying near the humans foreshadow their use as clothing when Adam and Eve discover that they are naked; in addition to, Christ’s sacrifice that will re-unite man with God in Paradise. The male and female lion strutting near Adam and Eve parallel their pride in viewing themselves as equals with God. Birds symbolize “enlightenment, perspective, swiftness, vision, and prophetic knowledge” (3). The multitude of exotic birds nesting within the tree emphasizes the trees title as “the tree of knowledge” that holds the dangerous fruit of sin. On the right in the distance there is a peacock in flight. The fleeting bird is a representation of God’s new place with man, no longer personal but invisible and distant. The bird embodies the departing eternal paradise and immortality of man within the garden.

Bibliography:

(3) http://www.writedesignonline.com/assignments/masks/animalsymbolis.htm

(2) http://mv.vatican.va/2_IT/pages/xSchede/PINs/PINs_Sala16_06_062.html

Bernini’s Model Clay Angels for St. Peter’s Basilica

Angel on the Right 1673

Angel on the Right (final version)1665

Angel on the Left (final version) 1659-1660

Tabernacle in front of the Blessed Sacrament Chapel

Alter of the Chair of St. Peter

Artist: Gian Lorenzo Bernini

Location: Musei Vaticani, Rome

Medium: Clay, Straw, over an iron and wickerwork frame, vines tied together with twine, and numerous wooden elements.

Approximate dimensions of work: 20 x 10 ft.

Bernini constructed a group of model clay angels in preparation for his complete bronze sculptures for the Tabernacle in front of the Blessed Sacrament Chapel and the Alter of the Chair or Throne in St. Peter’s Basilica. These clay sculptures reveal the process and genius behind Bernini’s work. Due to the natural deterioration of the sculptures, the viewer can peer into Bernini’s mind and grasp how he formed the majestic beings from structuring them with iron, wicker framework, twine, wood, twigs, and dry grass before the clay was applied. The artist’s actual fingerprints and tool markings are imprinted within the breathe of the clay. The final products of these angels within the Basilica took Bernini 10 years to construct.

During the early 18^th century, the altarpiece of St. Peter’s Basilica was St. Peter’s wooden chair, which was believed to have been the chair St. Peter sat in as he preached to the faithful citizens of Rome. Bernini was assigned by Pope Alexander VII to create an astounding monument to surround the chair in order to emphasize the chair’s value and importance. The two angels which stand on the arm rests of the chair are the final products of his clay models housed in the Vatican Museum.

The Blessed Sacrament Chapel Tabernacle was assigned to Bernini to construct in a manner that reflected a house of worship and reverence. The sign “Only those who wish to pray may enter,” is in front of the chapel entrance. The partaking of the Eucharist is enacted in the chapel, due to the sacred decorations that encourage viewers to pray in deep contemplation with Christ. Two angels kneel on either side of the Tabernacle to welcome the church into a time of prayer, reflection, and reverance. The angel on the right captures an expression more gentle than the angel on the left. The angel on the right portrays the “work of the Master” while the left embodies “the work of a helper” (1).

Angels in the Bible are supernatural beings who God created as heralds to deliver His people from darkness and to tell His story. God’s angels dwell amongst the Earth to protect God’s people through performing miracles of rescue and predictions. Stories in the Bible where angels have saved God’s people from persecution are Daniel in the Lions Den (Daniel 6), Peter liberated from Prison (Peter 12), Joseph fleeing Egypt (Matthew 2), Lot and his family rescued from Sodom and Gomorra (Genesis 19), and Jesus after being tempted in the wilderness for 40 days is attended by angels (Matthew 4). Stories in the Bible where Angels act as messengers are when the Angels visit the Shepherds to tell of the Birth of Christ, Gabriel tells Mary and Zechariah about their promised sons (Luke 1), and in a dream Joseph is informed that Mary will have a son (Matthew 1).

Bernini captures a divine and mystical presence within these clay models. Their expressions entrance the viewer to gaze upon the soft, comforting, yet fading faces. The Models are more evoking and compelling to gaze upon then the final products because of the vulnerability expressed. These sculptures transcend the precision and technicality involved within a work of art. It makes one wonder God’s process behind his design?


Personal Experimentation with Clay

Bibliography:

http://saintpetersbasilica.org/Altars/BlSacrament/BlSacrament.htm

http://saintpetersbasilica.org/Altars/Cathedra/Cathedra.htm

(1) http://saintpetersbasilica.org/Altars/BlSacrament/BlSacrament.htm

The Three Hebrew Youths in the Fiery Furnace

Artist: Unknown

Dimensions: 20 x 30 inches

Date: Early 3^rd Century 300

Location: Christian Catacomb of Priscilla, Rome, Italy

Medium: Fresco on Stucco

The Miracle: Daniel 3

The fresco emulates the Roman style of fluid paint and flowing brush strokes. The painting reflects the paleochristian style, which embodies early Christian illustrations of biblical events in the form of symbols and simple imagery. Artists were instructed to create works of art within the burial grounds in order to translate light and warmth within the frigid darkness to those buried awaiting the final resurrection. This piece was painted during the Middle Ages from 200 – 1400 CE, which means it was a point of intercession from ancient Roman and Greek civilization to the “new” Renaissance period. By Renaissance artists it was thought to have been a time of artistic darkness and cultural neglect, today historians label the period as a movement of exploration and Christian growth.

The painting illustrates the Biblical story of Shadrach, Meshach, and Abednego, where Babylonian King Nebuchadnezzar decrees that all people of his kingdom must fall down and worship to his golden image every day when the sound of music is heard. The three Jewish men Shadrach, Meshach, and Abednego refuse to partake in this idolatry and as a punishment are thrown into a blazing furnace. The three men are bound and shoved into the fire, even the three guards who placed them into the furnace burn to death. King Nebuchadnezzar watches the furnace intently to whiteness the men’s death, but instead the figures remain standing and a fourth body appears. The fourth body is Christ in the center of the flames protecting the men. In the painting Christ is represented in the form of the dove. The dove is a portrayal of the Holy Spirit, who descends from the heavens to deliver the men from the flames. The bird carries an olive branch in its mouth to symbolize the bearing of peace, comfort, and victory to the faithful followers. Nebuchadnezzar releases the men from the flames in awe of their God and their faith. He declares that no man who believes in their God is to be harmed.

The strong outlines of the figures produce the two-dimensionality, which flattens the painting and spiritualizes the figures. The hands are outstretched toward the sky in a prayer position that is depicted in the other human illustrations in the Catacombs. Early Christians would raise their hands to the heavens as a way to extend to God and reflect Christ’s outstretched arms on the cross. The raised arms convey the men’s liberation from the flames as they extend their thanks to God.

The story of Shadrach, Meshach and Abednego truly conveys God’s miraculous capabilities of manipulating his own creation. God possesses the ability to prevent fire from burning; the Creator removes his creations natural instinct to protect his beloved, man. These men embody true disciples of God. They have such astounding faith in his might that they would jump into a flaming furnace in honor of his name. Their devotion burns as passionately and empowering as the flames that engulf them. These men inspire me to combat my own fires of failure, beauty, perfection, anxiety, and stress with a heart and mind empowered by Christ. To obtain a faithful soul who recognizes and trusts in God’s unfathomable divinity, glory, and supremacy.

Bibliography:

http://www.arsmar.com/ce_art.htm

Art Past and Present. Wilkins, David G, Schultz, Bernard, and Linduff, Katheryn M. Upper Saddle River. New Jersey. 2001. Print.