Iconography of the Resurrection – "Feed My Sheep" – The Good Shepherd Transfers Responsibility

GianLorenzo Bernini, Feed My Sheep
Bronze back panel from Cathedra Petri
Italian, c. 1657-1666
Vatican, Saint Peter's Basilica

“After Jesus had revealed himself to his disciples and eaten breakfast with them, he said to Simon Peter, “Simon, son of John, do you love me more than these?” Simon Peter answered him, “Yes, Lord, you know that I love you.” Jesus said to him, “Feed my lambs.”

He then said to Simon Peter a second time, “Simon, son of John, do you love me?” Simon Peter answered him, “Yes, Lord, you know that I love you.” He said to him, “Tend my sheep.”

He said to him the third time, “Simon, son of John, do you love me?” Peter was distressed that he had said to him a third time, “Do you love me?” and he said to him, “Lord, you know everything; you know that I love you.” Jesus said to him, “Feed my sheep."

John 21:15-17









Immediately following the mysterious breakfast on the shore of Galilee the Gospel of John presents us with this dialogue between the Risen Jesus and Peter. From the narrative it appears that the two are still in the presence of the other disciples named in the same chapter of John. What is this passage doing?

First, the three times repeated question “Do you love me?” and Peter’s three replies “ Lord, you know that I love you” are intended to erase Peter’s three denials in the early hours of Good Friday “I do not know the man”.

Then, the responses of Jesus: “Feed my lambs”, “Tend my sheep” and “Feed my sheep” represent a handing over to Peter of the role of Good Shepherd spelled out in John 10. Peter is now to be the shepherd of the sheep (John 10:2), the sheepgate (John 10:7) and the good shepherd who lays down his life for the sheep (John 10:11). Like Matthew 16: 15-19 this passage seems to confirm Peter’s leadership of the Apostles and of the early church.

It is, therefore, surprising that very few works of art have focused on this scene, even among those commissioned by the Popes. Instead, most pictures, like the Sistine Chapel fresco by Perugino below) have focused on the text in Matthew:

“He said to them, "But who do you say that I am?"
Simon Peter said in reply, "You are the Messiah, the Son of the living God."
Jesus said to him in reply, "Blessed are you, Simon son of Jonah. For flesh and blood has not revealed this to you, but my heavenly Father.
And so I say to you, you are Peter, and upon this rock I will build my church, and the gates of the netherworld shall not prevail against it.
I will give you the keys to the kingdom of heaven. Whatever you bind on earth shall be bound in heaven; and whatever you loose on earth shall be loosed in heaven." (Matthew 16:15-19)

Pietro Perugino, Keys of the Kingdom

Italian, c. 1481-1482

Vatican, Sistine Chapel

Perhaps the lack of images of the shepherding commission may be due to the fact that the scene seems less dramatic and the images less powerful than that of the rock, the keys, the gates of hell and the binding and loosing. Yet, one could argue that the commission as Shepherd is at least as important and definitive, as that of the Rock and the Keeper of the Keys. It is the role of Guardian and Leader exercised by Peter and his successors.

In 1515 Pope Leo X commissioned Raphael to prepare drawings for a series of tapestries to be displayed in the Sistine Chapel. The tapestries were commissioned to hang below the already existing frescoes in the Chapel, among them the Perugino above. They were planned to cover up the painted images of hanging draperies that form the lowest register of the Sistine Chapel walls.

Raphael, Tapestries in situ, 2010
Vatican, Sistine Chapel

Part of the process of tapestry design was for the artist to create a full-sized tinted drawing, known as a cartoon, to guide the Flemish weavers who would produce the tapestries. These full scale drawings are now in the British Royal Collection and have been on permanent loan to the Victoria and Albert Museum in London since 1865. In September and October of 2010 they were exhibited together with the tapestries woven from them, when the tapestries were loaned to the V and A by the Vatican Museums. This was the first time that the drawings had been seen together with the completed tapestries since they were woven in the years between 1516 and 15211. As with all tapestries weaving took place from behind, so that the cartoons and the finished tapestries are mirror images of each other. 

Raphael, "Feed My Sheep" Cartoon

Italian, 1515

London, Victoria and Albert Museum

Raphael, "Feed My Sheep" Tapestry

Flemish, c. 1516-1521

Vatican, Pinacoteca

In the composition of the Commission to Peter the two principal figures are seen to the side of the composition, Christ standing and gesturing to both the sheep and the kneeling figure of Peter, who holds the keys, symbolic of the text from Matthew. The other ten Apostles fill the other side of the composition. In the forefront of the group one can clearly see Saint John with his traditionally beardless face and flowing hair. This emphasizes his role as eyewitness. The entire scene is set in a tranquil, lakeside landscape.

The tapestry displayed in situ in the Sistine Chapel

The work is so majestic that one might almost say it was definitive. Very few other interpretations of the scene have been done and none have the scale or breadth of Raphael’s.

Peter Paul Rubens, The Commission to Peter

Flemish, c. 1613-1615

London, Wallace Collection

In Rubens interpretation the background details have been eliminated and all the elements have been reduced. There are only two sheep and three additional Apostles (once again Saint John is prominent). The figures are shown as half lengths and there is no background. All attention is drawn to the brightly lit figure of the Risen Lord, to His gestures and to Peter’s loving response. In addition, the subjects of the care of the flock and the giving of the keys have been conflated into a single image. So, we are seeing a composite of the texts of Matthew (keys) and John (sheep).

Claude Vignon, Christ Instructs Saint Peter to Feed His Sheep
French, 1624
Amsterdam, Rijksmuseum

Ten years after the Rubens was painted, the French painter Claude Vignon tackled the subject.  Vignon places the scene before a ledge or altar of some kind on which a book is placed.  On its open pages are Christ's words in the dialogue:  "Petre amas me" (Peter, do you love me?) on the left page and "Pasce oves meas" (Feed my sheep) on the right page.  Christ points to the book as He asks the questions.  The figure of Peter gives the answers with great intensity.  His outstretched left hand reaches across the body of Jesus, while his right is placed on his own chest to indicate the force of his sincerity.  There are no sheep in evidence nor any keys and only two other apostles, one of whom is only half in the picture.



In the mid seventeenth century Gianlorenzo Bernini produced two remarkable works on this subject for the one place on earth where they have particular meaning, not just as a record and reminder of a Biblical passage, but as a living command for Peter's successor, the Pope.  In 1646 Bernini carved the marble panel for the central doorway of Saint Peter's Basilica with the subject of the Pasce oves meas.

Gianlorenzo Bernini, Pasce Oves Meas
Italian, 1646
Vatican, Saint Peter's Basilica

The relief has all the grandeur of Raphael's image, including the outdoor setting, the number of apostles shown, the gestures of Christ and Saint Peter and several sheep.



Ten years later Bernini repeated the subject for the back of one of the most important works he ever did, the amazing Chair of Peter, which forms the focal point of the entire basilica.2   In spite of this work being in a different medium (cast bronze instead of marble), Bernini manages to include most of the same details: trees, sheep, an additional apostle, and throws in a few angels as well.

Gianlorenzo Bernini, Back Panel of Chair of Peter
Italian, c. 1657-1666
Vatican, St. Peter's Basilica

In the late 1880s the French painter, James Tissot, began a huge number of watercolor paintings of the New Testament.  They are now in the Brooklyn Museum.  His interpretation focuses more on Peter’s responses than on the possible significance of the scene. There are no sheep in evidence, merely the other Apostles, who follow at a short distance, and the rocky shore. It is the gestures of Peter and Jesus that set the tone and evoke the words of John’s Gospel. The potential significance of the words and scene are not in evidence.

James Tissot, Feed My Sheep

French, c. 1886-1894

New York, Brooklyn Museum

1. For this event see: http://www.museivaticani.va/content/museivaticani/en/eventi-e-novita/iniziative/Eventi/2010/gli-arazzi-di-raffaello-in-sistina.html  They tapestries were also returned to the chapel for one week in February 2020 to commemorate the 500th anniversary of the death of Raphael.  Unfortunately, the event was dramatically overshadowed by the developing coronavirus pandemic and access was severely limited.  Five hundred years after the death of Raphael, his tapestries return to the Sistine Chapel.
2.  See also: https://imaginemdei.blogspot.com/2013/03/sede-vacante-empty-chair.html

© M. Duffy, 2011, revised 2017, footnote 1. revised 2020 with updated information.

Iconography of the Resurrection – The Lake of Galilee – The Disciples Go Fishing

Jesus Appears in Galilee

From the Drogo Sacramentary

French (Metz), 9th Century

Paris, Bibliotheque nationale de France

MS Latin 9428, fol. 64v

After this, Jesus revealed himself again to his disciples at the Sea of Tiberias.
He revealed himself in this way.
Together were Simon Peter, Thomas called Didymus, Nathanael from Cana in Galilee, Zebedee's sons, and two others of his disciples.
Simon Peter said to them, "I am going fishing." They said to him, "We also will come with you."
So they went out and got into the boat, but that night they caught nothing.
When it was already dawn, Jesus was standing on the shore; but the disciples did not realize that it was Jesus.
Jesus said to them, "Children, have you caught anything to eat?" They answered him, "No."
So he said to them, "Cast the net over the right side of the boat and you will find something." So they cast it, and were not able to pull it in because of the number of fish.
So the disciple whom Jesus loved said to Peter, "It is the Lord."
When Simon Peter heard that it was the Lord, he tucked in his garment, for he was lightly clad, and jumped into the sea.
The other disciples came in the boat, for they were not far from shore, only about a hundred yards, dragging the net with the fish.
When they climbed out on shore, they saw a charcoal fire with fish on it and bread.
Jesus said to them, "Bring some of the fish you just caught."
So Simon Peter went over and dragged the net ashore full of one hundred fifty-three large fish. Even though there were so many, the net was not torn.
Jesus said to them, "Come, have breakfast." And none of the disciples dared to ask him, "Who are you?" because they realized it was the Lord.
Jesus came over and took the bread and gave it to them, and in like manner the fish.
This was now the third time Jesus was revealed to his disciples after being raised from the dead.

John 21:1-14

Of all the apparitions of Jesus in the time between the Resurrection and the Ascension, this is both one of the most mysterious and one of the most real. It takes place in a familiar location, the Sea of Galilee, where so much of Jesus’ ministry had taken place, the area that was home for most of the disciples.

The scene opens with the disciples, returned from Jerusalem, following Peter’s lead “I am going fishing”. After an unproductive night, as they return to harbor, they see a figure on the shore, probably indistinct in the early morning light. He instructs them to cast their nets again and they make a huge catch. In the catch they recognize a situation they have experienced once before (Luke 5:4-11) and they realize that the figure on the shore is the same person that had been with them then. When they arrive on shore they find that He has prepared breakfast for them and He feeds them.

The setting on the shore of the great lake, the misty morning light, the catch, the recognition of the Risen One, the sharing of bread and fish, recalling both the miraculous feeding of the multitudes and the Last Supper combine to create the mysterious reality of this apparition. Ghosts may appear, but they don’t cook and share meals with their friends.

It is surprising, then, that these verses have not inspired more works of art. One of the aspects of this passage, which may have caused difficulties for artists and their advisors is how to distinguish this scene from other, very similar, scenes, i.e., the miraculous draught of fish associated with the calling of the apostles or the scene in which Peter leaves the boat and attempts to walk on water.  The differences between these scenes and that of the post-Resurrection encounter described by John are sometimes subtle.

Among the elements that hint at the post-Resurrection scene are:  Jesus stands on the shore, not on the water, the sea is calm and not stormy (although this is not always so), Peter jumps into the water when the boat is near the shore, there are often elements of the meal Jesus invites the apostles to somewhere in the picture.

Michiel van der Borch, The Miraculous Draught of Fish
From Rhimebible by Jacob van Maerlant
Dutch (Utrecht), 1332
The Hague, Meermano Museum
MS RMMW 10 B 21, fol. 151r

Lluis Borrassa, Peter Reaches Christ on the Shore
Spanish (Catalan), 1411-13
Terrasa (Catalonia), Church of Sant Pere

The Risen Jesus Appears on the Sea of Galilee
From the Chronicle of the Kings of England from William the Conqueror to Henry IV
English, c. 1430-1440
The Hague, Koninklijk Bibliotheek
MS KB 75 A 2-4, fol. 62v

The images above are still somewhat ambiguous, although they do show Jesus to be standing on the shore, as Peter walks through the shallow water and are, therefore, most probably illustrations of John 21.  However, the image immediately above is definitely an illustration of the passage.  Not only is the Risen Jesus standing on the shore as Peter comes through the water, but in the right background one can see Jesus and the Apostles gathered around a fire cooking.

Konrad Witz, The Apparition of Christ in Galilee

Swiss, 1443

Geneva, Musée d'Art et d'Histoire

In the painting by Konrad Witz, originally in Geneva’s St. Peter’s Cathedral and now in the Geneva Museé d’Art et d’Histoire, we see the moment when Peter swims to shore, as the other disciples maneuver the boat and the catch behind him. In the background, we see the neat landscape imagined by Witz for the shores of Galilee, probably based on medieval Geneva itself. Originally in the cathedral, it was removed when Geneva officially adopted Calvinism in 1535.

Master of the Harley Froissart, Christ Appearing to the Apostles on the Sea of Galilee
From a Bible historiale by Guiard des Moulins
Flemish, c. 1470-1479
London, British Library
MS Royal 15 D I, fol. 368

Attributed to Colijn de Coter, Christ Appearing to the Apostles on the Sea of Galilee
Flemish, c. 1500
Autun, Musée Rolin

In the sixteenth century many artists created works that more effectively distinguish this scene from the other, earlier events.

Anonymous, The Risen Christ Appearing to the Apostles on the Sea of Galilee
French or Flemish, 16th Century
Abbeville, Musée Boucher de Perthes

The anonymous French or Flemish artist who painted this picture handled the subtleties of the scene by including several successive scenes in one composition.  In the middle distance we see the Apostles out on the sea fishing.  At the left front they have arrived in port and are greeted by Jesus.  At the right Peter kneels to adore the Risen Jesus and in front of them is a grill with two fish cooking.

Herri met de Bles, The Final Apparition of Christ to His Disciples
Flemish, c. 1530-1550
Buenos Aires, Museo Nacional de Bellas Artes

In this image by Herri met de Bles the Risen Jesus welcomes Peter to shore as the other Apostles struggle to bring the boat into port.  The figure of Jesus is definitely attired as the Risen Jesus.  He is nude to the waist and the wound on His side and right hand are obvious.  He also carries the Resurrection banner, by then a conventional part of Resurrection iconography.  In the background, just above the head of St. Peter we can see the group, gathered around a fire, at the entrance of a cave.

Joachim Beuckelaer, The Risen Christ Appears to the Apostles on the Sea of Galilee
Dutch, 1563
Los Angeles, J. Paul Getty Museum

Joachim Beuckelaer made a career out of painting still lives and market and kitchen scenes, some of which have a Biblical scene positioned in the background.  He uses a similar arrangement here, showing us the busy trade of the fishing port in the foreground with boats being unloaded, fish sold, bargaining going on.  Meanwhile, in the background, Peter walks through the sea to meet Jesus, who waits onshore.  And, farther in the background, Jesus and the Apostles sit at a table while two fish are cooking on an open fire.

Maerten van Heemskerck, The Risen Christ Appears to the Apostles on the Sea of Galilee
Flemish, 1567
Barnard Castle (County Durham, UK), The Bowes Museum

Maerten van Heemskerck puts his knowledge of ancient buildings to use in this broad view of the event.  From what appears to be a high view of the region we can see not just the lake but the buildings and ruins that grace its shores.  And, from a distance, we can see Jesus waiting as Peter walks through the sea and the other Apostles continue working on the boat.  There is no fire here, but next to Jesus is the symbol of the fish, similar to those used by the early Christians as a covert sign of the faith.  Early Christian sites were being excavated for the first time in centuries at Rome during the sixteenth century and it is probable that Heemskerck could have become acquainted with them during the time he spent there.

Jacopo Tintoretto, Christ at the Sea of Galilee
Italian, c. 1575-1580
Washington, National Gallery of Art

At first, this beautiful painting by Tintoretto might seem to be somewhat ambiguous regarding just which incident is being depicted.  However, although no evidence of a meal in preparation is visible, the proximity of Peter to the shore and the fact that Jesus is standing on the shore and not on the water suggest that this if depicting the event in the Gospel of John.

The Grabenberger Brothers (Michael Christoph, Johann Bernhard and Michael Georg), Christ Appearing at the Sea of Galilee
German, c. 1682-1683
Garsten (AU), Parish Church of the Assumption

This image, part of the decoration of the former Garsten Abbey church, includes all the elements of the story from John 21.  Jesus stands on the shore, summoning the Apostles.  Behind Him are fish and bread, ready for breakfast.  Peter strides through the water, while behind him the other Apostles struggle to bring in their full nets.

Sebastiano Ricci, Christ Appearing to the Apostles at the Sea of Galilee
Italian, c. 1695-1697
Detroit, Institute of Arts

There is no evidence for a meal in preparation in this painting by Sebastiano Ricci, but various other elements suggest that it illustrates John 21.  Jesus stands on the seashore with a radiance surrounding His head that suggests that this is a post-Resurrection event.  Also, the boat is not far from shore. Some on board struggle to bring in the catch, while others point excitedly to Jesus and Peter slogs through the shallow water.

In the late 1880s the French painter, James Tissot, began a huge number of watercolor paintings of the New Testament that are now in the Brooklyn Museum1. Among them are several that illustrate the passage from John 21.

James Tissot, Jesus Appears on the Shore of the Sea of Galilee
French, c. 1886-1894
New York, Brooklyn Museum

The first is very similar in composition to the painting by Witz and Tintoretto. Jesus, seen from behind, stands on the seashore, calling to the disciples who are on the lake. Behind him is a fire, planted amid stones. Again we see the shores of the lake. But, where Witz used his own imagination and the landscape of Switzerland to create his setting, Tissot had actually spent time in the Holy Land and gives us a vision of what the scene might really have looked like.

James Tissot, Saint Peter Alerted by Saint John to the Presence of the Lord Casts Himself into the Water
French, c. 1888-1894
New York, Brooklyn Museum

James Tissot, The Meal of Our Lord and the Apostles
French, c. 1886-1894
New York, Brooklyn Museum

Tissot’s series also includes an illustration of the scenes that follow, Peter's jump into the water and the breakfast on the beach. The latter makes explicit the scenes that earlier painters had sent to the background.  Set in the same cove as the first illustration the disciples sit in a semi-circle in front of Jesus, their backs to the sea and their beached boats.  Jesus tends the fire and a roasting fish Himself. But, in keeping with the mystery of His Resurrection, we do not see His face in either picture.

© M. Duffy, 2011, amended 2017

1. He also prepared another series of paintings between 1896-1902 of the Old Testament.  These are also in New York, at the Jewish Museum.  These two cycles probably make James Tissot the artist who has most thoroughly illustrated the Bible.  Most interesting is that Tissot spent considerable time in the Holy Land during the years in which he was working on these series.  At this time the area was still largely untouched by the changes of the modern world.  However, considerable archaeological activity had taken place to unearth at least some of the material culture of Biblical times.  For these reasons they are probably as close as can be imagined to illustrating the world of the Bible as it was.