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Genially 2 - Maria Kalaki

Maria Kalaki

Created on November 15, 2024

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The oldest written Bible that contains the verses Matthew 16:18-19 and John 21:15-17 was assembled in 325 AD (the 4th century; according to the Anno Domini calendar era which became the common method in Europe for naming years) by Constantine and the bishops at the Council of Nicaea.

Online acess from King James Bible:Matthew 16:18 - 16:19, www.kingjamesbibleonline.org/Matthew-16-18_16-19/. John 21:15 - 21:17, www.kingjamesbibleonline.org/John-21-15_21-17/.

(Matthew 16:18-19 takes place in Caesarea Philippi)

  • Matthew 16:18
"And I tell you, you are Peter, and on this rock I will build my church, and the powers of death shall not prevail against it".
  • Matthew 16:19
"I will give you the keys of the kingdom of heaven, and whatever you bind on earth shall be bound in heaven, and whatever you loose on earth shall be loosed in heaven". (John 21:15-17 takes place on the shores of the Sea of Galilee, shortly after Jesus' resurrection)
  • John 21:15
"So when they had dined, Jesus saith to Simon Peter, Simon, son of Jonas, lovest thou me more than these?"
  • John 21:16
"He saith unto him, Yea, Lord; thou knowest that I love thee. He saith unto him, Feed my lambs".
  • John 21:17
"He saith unto him the third time, Simon, son of Jonas, lovest thou me? Peter was grieved because he said unto him the third time, Lovest thou me? And he said unto him, Lord, thou knowest all things; thou knowest that I love thee. Jesus saith unto him, Feed my sheep".

Raphael’s Christ’s Charge to Peter (1515–1516) closely adheres to the biblical texts of Matthew 16:18-19 and John 21:15-17, highlighting Peter’s role as the Church’s foundational leader and the shepherd of Christ’s followers. The inclusion of symbols like the keys, sheep, and gestures of each subjects ot the painting which includes Christ, Peter and the disciples demonstrates a thoughtful engagement with the texts and their theological meaning. Additionally, Raphael incorporates creative elements, such as Christ’s white robe and the presence of disciples in the background. These creative choices Raphael makes in the painting were likely intended to connect with Renaissance Christians by enhancing the visual and symbolic depth of the story. In an era defined by the Church’s consolidation of authority and the increasing influence of religious art, Raphael’s approach reflects a cultural effort to inspire faith and educate through powerful visual storytelling.

Summary Paragraph

Source Text: John 21:15: “Simon, son of Jonas, lovest thou me more than these?” The disciples gathered around Christ and Peter could represent the "these" referred to in the verse, suggesting an interpretation focused on relationships and connections rather than material concerns. The diverse expressions on the disciples' faces seem to capture their role as witnesses to a profound and transformative moment. Raphael's depiction of the number of disciples present, which is eleven, is accurate according to the Gospels of Matthew and John. The disciples are characterized by a sense of nobility and attentiveness. He presents them as elevated figures, embodying the Renaissance ideals of intellect, devotion, and spiritual reflection. This portrayal aligns more with an idealized representation of humanism emphasizing perfection and virtue rather than the real, raw emotions people actually feel.

The Presence of Disciples

Source Text: Matthew 16:19: “I will give you the keys of the kingdom of heaven...” and John 21:17 "He saith unto him the third time, Simon, son of Jonas, lovest thou me?"Christ’s left hand points at Peter, showing that he is giving him authority and responsibility. This gesture clearly shows Christ’s support for Peter as the foundation of the Church. Raphael's combines the ideas from both the Gospel of Matthew and John, creating a story that connects both texts. Peter is carrying oversized, fancy keys that he is supposed to receive from Christ, a direct reference to the biblical verse symbolizing Peter's authority in the church. The keys serve as a visual representation of this authority. Raphael also highlights Peter's humility through his kneeling posture before Christ, indicating submission and trust. The white colored robe that Christ wears emphasizes his divine authority, while the unusually large, golden keys draw attention to their symbolic significance. Additionally, Raphael likely exaggerated their size to emphasize Peter's significant role in the church for the audience.

Christ Giving the Keys to Peter

Source Text: Matthew 16:19: “I will give you the keys of the kingdom of heaven…” and John 21:16 "He saith unto him, Yea, Lord; thou knowest that I love thee. He saith unto him, Feed my lambs". Peter kneeling before Christ shows his humility and respect for Christ’s authority. In the Bible, Peter’s role as the "rock" on which the Church is built isn’t about pride, but about responsibility and service. Kneeling highlights Peter’s submission to Christ’s will, showing that his authority is a responsibility given by God. The large keys in Peter’s hand refer to Matthew 16:19, where Christ gives Peter the keys to the kingdom of heaven. These keys represent Peter’s power to make decisions on earth and in heaven, guiding the Church with spiritual authority. Raphael’s choice to make the keys large emphasizes their importance, reinforcing Peter’s central role in establishing the Christian Church. Raphael effectively captures both the symbolism and the religious meaning of the biblical texts. The large keys, Peter’s kneeling position, and Christ’s gestures closely match the scripture, highlighting Peter’s spiritual authority and his role as the first pope, given the task of leading the Church. The artist’s choices, especially the emphasis on the keys and Peter kneeling, underline the significance of Peter’s role, supporting the messages in the Gospels of Matthew and John. However, Raphael’s decision to portray the scene in a calm, formal way may also be an artistic choice to show the deeper spiritual meaning of Christ’s message to Peter, rather than just the historical moment. This approach stays true to the texts but also adds a universal, symbolic meaning that would appeal to the Christian audience of the time.

Peter’s Gesture of Kneeling and Holding the Keys

Source Text: “Feed my lambs” (John 21:16), “Feed my sheep” (John 21:17).The sheep represent Christ's command to Peter to take responsibility for and nurture his followers, symbolizing the care and leadership of a shepherd for their sheep. Raphael's depiction of this part of the painting closely aligns with the biblical text, drawing attention to Peter’s role as a spiritual caretaker. This connection emphasizes the Christian principle of selfless leadership, rooted in compassion and service, and emphasizes the important role of pastoral duties within the Christianity. The imagery serves as both a reminder of Peter's calling and a reflection of the responsibilities of all spiritual leaders to guide and protect their communities.

Christ Pointing to the Sheep

Source Text: This scene takes place “on the shores of the Sea of Galilee” (John 21:15-17). The conversation between Jesus and Peter happens on the shores of the Sea of Galilee (also called the Sea of Tiberias in some versions). This location is significant because it is the place where Jesus reaffirms Peter’s mission to lead the Christian community after His resurrection. The sea represents the spot where Jesus appears to the disciples, symbolizing both the historical event and the divine nature of the encounter. Raphael includes water in the background of the painting, which follows the biblical description in John 21. While the water might not be shown in exact detail, its inclusion connects the scene to the correct biblical setting. The water serves as a visual reminder of the specific location of this important post-resurrection event. Though the water in Raphael’s painting is not prominently featured, it clearly references the Sea of Galilee. Since the main focus is on the interaction between Christ and Peter, the water works as a background and side element, setting the scene in its biblical context without overshadowing the central figures. Additionally, the biblical texts itself does not mention any buildings or structures in the scene. The setting by the Sea of Galilee is depicted in the Gospels as a simple, natural location, with no reference to houses or buildings but. These buildings and houses in the painting seem to be a creative choice by Raphael. One reason for adding them could be to make the scene feel more familiar to the viewer, connecting the biblical event to the world in Raphael’s era. By including buildings, Raphael might have wanted to show the sacred moment in a setting that his audience could relate to, possibly linking it to the cities they knew. While the buildings don’t match the biblical text, they help convey the artwork’s larger message. This could be seen as Raphael’s way of making the divine scene feel more relatable by placing it within the familiar surroundings of the Renaissance, making it easier for viewers to connect with the story.

The Landscape Featuring a Body of Water