The typical image of Saint Peter—with a round face, short hair, and a beard—was established during the first centuries of the Christian church. Here Peter stands holding a cross and gesturing as if preaching. At his waist are the keys to the kingdom of heaven, given to him by Christ (Matthew 16:19). The arch flanked by peacocks under which Peter stands is considered a representation of paradise in early Christian art.
Found near Antioch, Syria.; [ Kouchakji Frères, Paris (sold 1950)]
Vatican City. Braccio di Carlo Magno. "Petros Eni - Pietro è qui," October 11, 2006–March 8, 2007.
The Dark Ages: Loan Exhibition of Pagan and Christian Art in the Latin West and Byzantine East. Worcester, Mass.: Worcester Art Museum, 1937. no. 84, p. 36, ill.
The Metropolitan Museum of Art. "Eighty-First Annual Report of the Trustees for the Fiscal Year 1950." The Metropolitan Museum of Art Bulletin, n.s., 10, no. 1 (Summer 1951). p. 26.
The Metropolitan Museum of Art. Guide to the Collections: Medieval Art. New York: The Metropolitan Museum of Art, 1962. fig. 9.
Weitzmann, Kurt, ed. Age of Spirituality: Late Antique and Early Christian Art, Third to Seventh Century. New York: The Metropolitan Museum of Art, 1979. no. 554, pp. 618-619.
Frazer, Margaret English. "Medieval Church Treasuries." The Metropolitan Museum of Art Bulletin, n.s., 43, no. 3 (Winter 1985-1986). p. 16, fig. 10.
Husband, Timothy B., and Charles T. Little. Europe in the Middle Ages. New York: The Metropolitan Museum of Art, 1987. no. 18, p. 31.
Kondoleon, Christine. Antioch: The Lost Ancient City. Princeton, NJ: Princeton University Press, 2000. no. 100, p. 213.
Evans, Helen C., Melanie Holcomb, and Robert Hallman. "The Arts of Byzantium." The Metropolitan Museum of Art Bulletin, n.s., 58, no. 4 (Spring 2001). p. 22.
Evans, Helen. "Rappresentazioni dei Santi Pietro e Paolo nell'arte paleocristiana." In Petros Eni - Pietro è qui. Rome: Braccio di Carlo Magno, 2006. no. V.1, pp. 205-207.