King Servius Tullius
Tullianum
6th Century B.C.
Twelve ft. deep made of two cells of stone.
Mamertime Prison, Rome
This room built by Servius Tullius turned from a place of fear and cruelty to a holy place filled with God when Peter and Paul arrived. The cell is circular and built of stone blocks. In its era, it was the most inner and secret part of the larger complex, prisoners who were condemned usually thrown here and strangled. However when Peter arrived many of these prisoners and guards were converted and baptized. There now stands a small alter with a relief on top of St. Peter baptizing his fellow prisoners as well as the guards. The bottom part of the altar is made of red marble and an upside down cross is cut into it which symbolizes how St. Peter was crucified. To the left of the altar is a column that both Peter and Paul were chained to as prisoners. There is also a circle in the ground which is said to be the spot where Peter struck the ground with a staff and water poured out for him to baptize people.
St Peter on Trajan's Column
Leonardo Sormani
Placed in 1587
Bronze
Trajan's Forum; Rome, Itay
Originally an eagle, and later replaced, the statue now resting on Trajan’s Column is that of St. Peter, placed by Pope Sixtus V. In his hands are some of his characteristic symbols, in his right a book, representative of the two new testament books attributed to him; and in his left, the key, indicative of the doctrine which maintains Christ gifting Peter the keys of the Church. In the teeth of key is the outline of the cross, referencing the tradition that St. Peter was martyred on an inverted cross. The form of Peter is active, expressive, and muscular, in keeping with the renaissance that was rediscovering classical values inside and Christian society. The very nature of the placement of this statute attest to the shifting paradigm that acknowledges the ancient world and its incites, but attest to the superiority of Christianity and the church.
St Peter, at Notre Dame Cathedral
1150 (remade in 19th century after being destroyed)
Marble, ~ .75(m)
Notre Dame Cathedral (Portal of St. Anne, on left when entering) ; Paris
Not only is Peter in the door jams of the Last Judgment portal of Notre Dame, he is also with Paul as a door jam to the portal of St. Anne. Amidst the French gothic architecture, this representation of Peter is characteristically Byzantine. An elongated figure, draped in disembodying robes, downcast head with closed eyes all encouraged the view to see the spiritual significance of the man, without becoming encumbered in the physical representation. Holding two simple keys in one hand with the other raised in blessing, Peter presents authority to the tradition of St. Anne, and encourages the entering parishioner to remember the gravity of the space he is about to enter, as any entering soul can finish in two very different locations.
St Peter, at St. Patrick’s Cathedral
Stained Glass Victorian Era (donated by Guinness Brewing Company)
[cathedral completed 1191]
Stained Glass, ~ 3 (m)
Patrick’s Cathedral; Dublin, Ireland
In one of the most historically interesting Cathedrals in Ireland, St Patrick’s Cathedral was a refuge for the Huguenots, home church to Swift, and residence of Celtic crosses from the time of St. Patrick. The Stained glass however was a relatively recent addition, and thus represents the ideals of the Anglican church. As such Peter finds himself in communion with St. Paul; and uncharacteristic representation in the south. Were Southern art would have Peter and Paul meet, but Peter enthroned in a higher sphere of glory. It is striking that in this northern, post reformation representation, Peter and Paul are both placed below an enthroned Jesus, side by side. Peter in his characteristic blue and gold robes holds the keys and a book; thus not completely disassociating him with the catholic ideal of his position in the earthly church.
Various Venetian Artists
Apse Mosaic
1214 -restored in the 16th and 18th century
gold tile and ceramic pieces- 24m. wide and 12 m. long
Saint Pauls Basillica Outside the Walls, Rome
This mosaic portrays God in the center using the finger symbol that represnts the holy trinity. He also is holding the Bible open for all to see. A halo surrounding his head is visible as well as three diamonds inside of it also representing the trinity. On his right hand side stands Peter holding the keys to heaven as well as a scroll representing the book he wrote in the Bible. His position in this mosaic shows his level of importance in the kingdom and his relationship with God being his right hand man next to the other disciples.
Numerous artists (Maestri musivarii)
The Last Supper and the Capture of Christ
Last quarter of the 13th Century
Mosaic
Ceiling of the Florence Baptistery of San Giovanni (5th Register: Stories of Christ)
Though devoid of most of his typical symbolism St. Peter, is merely represented by the features of an old man. However, his actions in these two scenes follow scriptural accounts, thus depicting Peter. In typical Byzantine fashion, with disproportioned bodies(particularly eyes) and draping robes, these scenes display attributes of Peter not commonly represented in art.
In the Last Supper, Peter is found on the far right, with the curling hand, finger pointing to himself. Harkening the viewer to remember Peter as the forward apostle that claimed he could never betray Jesus, to subsequently, mere hours later, deny him multiple times. Symbolism, is intended to be instructive, and while typical symbolism of Peter shows him as the strong rock of the church, or Christ’s “right-hand man”, in this mosaic, it is the fallen, creaturely, aspect of Peter called into meditation. As a sinner looks upon the man that walked, ate, and slept with Christ; to only unhesitatingly turn his back in a difficult hour, he is reminded that nothing separates man from the love of God, and he too can rejoin the ranks of the Father, just as Christ accepted the repentant Peter back to a position of authority.
In the Capture of Christ, Peter is depicted with uncharacteristic violence, particularly for a Byzantine style. Though scripturally accurate, Peter’s cutting of the servants ear is rash and aggressive. While it displays something of the nature of Peter, it is the outstretched arm of Christ upon which the viewer is to focus. For through the actions of Peter, the nature and purpose of God is revealed. Again, an atypical scene to those where Peter and Christ are both shown in glory or as rulers of their two realms. To have a depiction of a sinning Peter and an admonishing Christ is irregular, though highly instructive on Christ purpose for becoming flesh and his allowance of creatures to act against a God. It is interesting to note the instruction of art that depicts Biblical account over tradition, and the subsequent lessons to the viewer.
Giotto di Bondone and assistants
Stefaneschi Triptych
1320 in Florence
Tempora on wood, cm 178 x 89 (central panel); cm 168 x 83 ca. (side panels); cm 45 ca. x 83 ca. (each section of the predella)
Louvre, Paris
This triptych was painted on both sides so it could be viewed by the priest and the congregation. On the back St. Peter is depicted seated in a throne. Next to him is the Cardinal for whom the work was made, Jacopo Caetani degli Stefaneschi, holding a model of the very same triptych. Pope Celestine I is also on the central panel here, while Sts. Andrew and John the Evangelist flank the trio’s right side and Sts. James and Paul are to the left. The significance of this triptych as far as Peter is concerned lies in the fact that he is enthroned and the Stefaneschi and Celestine are both in more reverent positions toward him. This shows what great esteem Peter was held in even many generations later. Also, the other four saints are all looking up at Peter respectfully, signifying his heightened status amongst saints. On the front Peter is shown being crucified upside down on the left panel (or very near to Jesus’ right hand). The upside down cross is an important symbol associated with Peter, because when he was to be executed he did not feel worthy to be killed in the same manner as Christ and was therefore flipped over. Being at Jesus’ right hand is also important, because it accurately portrays Jesus’ belief in Peter as the rock onto which He would build His Church. Thus, Peter became the first Pope and is still revered as a great saint.
Pietro Perugino
The Delivery of the Keys
1481-1482
Fresco, 335 x 550 cm
The Sistine Chapel, Rome
Perugino, Raphael’s main instructor, painted his masterpiece from 1481-1482. A preponent of Renaissance values, Perugino balances both sides of the painting by depicting relatively the same number of people in an orderly fashion. Also, the use of linear perspective is present, meaning Jesus, Peter, and the other figures in the foreground are more apparent, while other scenes behind them appear further away with the center point vanishing into the Temple of Jerusalem. The background scenes are important events in the life of Jesus: Judas being paid for His betrayal and also the attempted stoning of Jesus from the Gospel of John. Perugino drew himself into the work as well. The significant bit of the work is, of course, in the foreground. Jesus is scene handing over the keys to the Kingdom to a bowing St. Peter. Peter thus becomes the sovereign one and receives the power bestowed upon him as the first vicar of Christ on Earth.
Source: http://mv.vatican.va/3_EN/pages/x-Select/30select/30select_02.html
Donato Bramante
Raphael
Fra Giocondo
Guiliano Da Sangallo
Saint Peter's Chains
1506-1626
San Pietro in Vaticano
St Peter was a remarkable man that showed it through his acts of humility and strong relationship with God. He was the first pope reigning for twenty five years as the Vicar of Christ. He was arrested and imprisoned on two different occasions during his ruling. In the Bible the book of Acts chapter 12:6 tell the story of being imprisoned and an angel appearing; causing the chains to fall from Peter’s hands and the angel leading him past the sleeping guards to freedom to continue his preaching. These same chains that broke were found in Jerusalem by the pious Eudocia, the wife of Emperor Teodosio II. They were eventually given to Pope St. Leo the Great (440-461). There was already a set of chains from the first time Paul was imprisoned in Rome that was greatly prized and kept in the Maritime Prison near the Forum. Wondrously a miracle occurred when these two chains were brought together. When the pope compared the two chains, they miraculously fused together into one unbreakable series of links. Empress Eudocia, who found the chains, decided they should build the Basilica of Saint Peter in Chains because of this amazing event. They dedicated the building to the apostle Paul in the year 442 and the relic is now kept in a golden urn beneath the high alter. It is placed right across from the famous Moses statue created by Michelangelo. These chains symbolize Gods relationship with Peter and how he kept him safe through his trials and once again performed a miracle by uniting the chains as one. Not only does Peter have the keys to Rome but he also has the key to God’s heart which is a faithful and strong relationship with him, proving that he will keep you safe and show continual love if you remain loyal and love him as he loves us unconditionally.
Raphael
The Transfiguration
1516-1520
“tempera grassa” on wood
cm. 410 x 279
Vatican Museums, Rome
This Rennaissance painting done by Raphael follows Matthew’s account of The Transfiguration of Christ and the healing of the demon-possessed boy. Peter can be identified by his placement, to the lower right of Jesus, as well as his clothing, because Peter is generally shown clothed in gold and blue. We find Peter, James, and John where “they fell on their faces and were terrified” (Matthew 17:6) after a voice from a cloud spoke identifying Jesus as God’s son. Right before this had happened Peter was offering to set up a tent for Jesus and the two prophets. Raphael took this into account by facing Peter’s head upward, and his eyes closed as he was blinded by the awesome luminescence of Jesus.
Jacopo Bassano
Last Supper
1542
Oil on canvas
cm 30 X 51
Borghese Gallery, Rome
Although the central figure of this canvas is not Peter, we are still able to discover more of who he was supposed to be or what he symbolizes to Christians, through all depictions of him. Inspired by Leonardo da Vinci’s painting of the same name, Bassano recreates a less orderly version of the scene. Following the passage recounting the Last Supper in John 13 we would assume that Peter is the older bearded man on Jesus’ right, asking John “of whom he was speaking.”( John 13:24) It is difficult to make personality two-dimensional, but Bassano does it very well. In this representation one can see the strength and determination Peter has to serve his Lord. He is so sure that he will not be the one to betray Jesus. The knife in his hand copies da Vinci’s Last Supper, but in this he is shown tightly clenching it, representing his passion and foreshadowing his willingness to do anything, even harm those that would harm Jesus.
Source:http://www.galleriaborghese.it/borghese/en/eultcena.htm
Michelangelo
The Crucifixation of St. Peter
1546-1560
Fresco, 625 cm × 662 cm
Pauline Chapel, Rome
A newly restored painting as of 2009, this work adorns the wall of the Pauline Chapel in the Vatican City. Michelangelo captured St. Peter in the moment the Roman soliders began lifting his cross, which is upside down according to Peter’s wishes. A major symbol concerning St. Peter, the upside cross and his depiction on such a thing are due to the fact that Peter felt unworthy of being executed in the same fashion as Christ. In this particular painting, Peter’s face is indignant and angry, or at least confident. Ahead of his ministry he know the consequences for being Christian, but chose to spread God’s Word. Other faces in the crowd, including what is potential that of Michelangelo himself, appear disgusted almost to the point of death. The painting exudes Renaissance values with balance being achieved through an equal number of people on each side of a very central figure, in this case Peter and his cross.
Source: http://en.wikipedia.org/wiki/Crucifixion_of_St._Peter_(Michelangelo)
Andrea Palladio
St Peter, at St. Giorgio Marjorie
16th Century (1566-1610)
Marble, ~ 1.5 (m)
St. Giorgio Marjorie,Venice
On the wooden structure of the former Benedictine church of St. George(790 AD), the marble inserts with white washed interiors, changed the Byzantine representations of the church to the artistry of the Renaissance. The marble statue of St. Peter, sitting on an alcove to the right of the Trinitarian main alter represents Renaissance(mannerist) and Baroque ideals. Unlike earlier representations of Peter or other Christian figures. It is apparent here the earthy weight of Peter, with exposed arms, displaying well defined muscles, and an entire figure of pent up motion.
Peter’s robe tightens and swirls around his violent figure, disavowing the medieval ideals of the transcendent state of the soul represented in solemn elongated statuaries, returning rather to the classical ideals prevalent in the renaissance. However, it is the violent passion and the emotionally expressive face of Peter, that depicts the influence of baroque.
While this representation of Peter was in keeping with the ideals of its contemporary culture, and the ascribed understanding of artistic value; the striking symbolism in this statue is its placement within the conversation of the interior St. George the Greater. For across from St. Peter’s statue is a painting heavily steeped in counter reformation symbolism. The Last Supper by Tintoretto with its non-classical placement of the apostles and Jesus, the depiction of the serving maids, and most dramatically its chiaroscuro; is typical southern, counter reformation language .
Peter, in conjunction, demonstrates the ideals of the counter reformation, with his strong stance and vibrant muscles. This is no longer a gentle church, but the stone of the catholic church is now ready for battle, the anger and defiance in Peter’s face is drastically different from the former very spiritual transient poses with the bowed head or closed eyes.
Michelangelo Caravaggio
Crucifixion of St. Peter
1600
Oil on canvas
230x 175 cm
Santa Maria del Popolo, Rome
Bringing art into a new movement, Caravaggio does away with plain figures and turns symbols into motion. The inverted cross that we often see around Peter represents his martyrdom. But in Caravaggio’s Crucifixion of St. Peter we see a depiction of his actual death. Portrayals of martyrdom were often seen during the Catholic Baroque movement. The Council of Trent spearheaded a change in art, commissioning works that they hoped would awaken religious fervor.
The symbol of the crucifixion of Peter is now made real. Peter’s face shows the pain that he feels as he suffers in the name of his Lord. This painting evokes emotions from the viewer with it’s use of realism. We see not the glory of his death but the horror of the physical suffering.
Annibale Carracci
Assumption of the Virgin Mary
1600-01
Oil on canvas, 245 x 155 cm
Cerasi Chapel, Santa Maria del Popolo, Rome
In the Cerasi Chapel, Carracci’s Assumption of the Virgin Mary is the alter piece, between Caravaggio’s Crucifixion of Saint Peter and The Conversion on the Way to Damascus. The two artists were competitors in their field and the fact that their paintings were in the same chapel caused some friction. While Carravaggio was known for his realism, Carracci was known for his use of bold color. The clothing of Peter in gold and blue recurs in this painting. The central figure is the Virgin Mary, showing the action of her ascent to heaven. Mary is very important figure in the church as she is the mother of Jesus, but the inclusion of Peter is also important as he is one of the fathers of the church.
Source: http://www.wga.hu/frames-e.html?/html/c/carracci/annibale/2/assumpt.html
Guido Reni
Crucifixion of St. Peter
1604-1605
Vatican Museums
oil on wood
cm. 305 x 171
As they are very similar, Reni most likely studied Caravaggio’s painting of the same name. Reni brings to light many characteristics of Catholic Baroque art, such as chiaroscuro, emotionalism, realism, movement, and domestic intimacy. Reni uses chiaroscuro to illuminate Peter’s white body hanging from the tree. The movement in the Apostle's body shows his struggle for life, moving the viewers to desire to help him, but in that sense, the viewers shares Peter’s feelings as they are just as helpless as he is. The moment Reni captures is just before the executioners drive the nails into Peter’s feet. The fact that Peter’s executioners are brought into the frame makes the symbol of the apostle’s crucifixion more realistic and brings the event closer to the viewer.
Source: http://mv.vatican.va/3_EN/pages/x-Schede/PINs/PINs_Sala12_06_050.html
Guercino
The Burial of St. Petronella
1623
Oil on canvas, 720 cm × 423 cm (280 in × 167 in)
Capitoline Museum, Rome
This large painting was made as an altarpiece by Giovanni Francesco Barbieri in 1623. It depicts the burial of Petronella, St. Peters daughter, and the welcoming of heaven to her after she had been martyred. Petronella holds her father’s name within her own, Petronella meaning “little rock”, and Peters name meaning “rock” in Greek. She does not lie far from her father now as her remains have been transferred to St. Peters basilica in Rome. It is amazing that Peter was not the only person in his family to stand in great faith for the Lord but his daughter was also able to follow in his footsteps and give her life to serve him.
Antonio da Sangallo
Michelangelo Bounarroti
Giovanni Paolo Pannini
Carlo Maderno
Gianlorenzo Bernini
St. Peter's Basilica
Vatican City
marble, bronze, marble- 730x500x452
As the most massive church in the world, St. Peter’s Basilica certainly makes a statement in symbolizing the first pope of the Holy Roman Catholic Church. It took over a thousand years to complete San Pietro in Vaticano. There were so many artists and architects that contributed to the making of the structure and each one gave a different meaning to the work. The arms that extend from the main building were designed by Bernini. The symbolism is meant to be seen as arms that are open to the world, embracing all that pilgrim to the final resting place of St. Peter. The arch of the arms creates and elliptical shape, elluding to the eternity of Christ’s church. From an aerial perspective of the basilica one can see that there are eight rays pointing to the center. The in ecclesiastical terms the number eight generally refers to the day after the seventh day of the week, aslo symbolizing regeneration. In the very center of Piazza San Pietro there is an Egyptian obelisk paying tribute to the martyrdom of Peter. First erected in Nero’s Circus where Peter died in 64 A.D, the obelisk was moved to the piazza. Now thousands of tourists see the obelisk every day, are reminded of the sacrifice that Peter made for his beloved church.
Michelangelo Bounarroti
Giovanni Paolo Pannini
Carlo Maderno
Gianlorenzo Bernini
St. Peter's Basilica
Vatican City
marble, bronze, marble- 730x500x452
As the most massive church in the world, St. Peter’s Basilica certainly makes a statement in symbolizing the first pope of the Holy Roman Catholic Church. It took over a thousand years to complete San Pietro in Vaticano. There were so many artists and architects that contributed to the making of the structure and each one gave a different meaning to the work. The arms that extend from the main building were designed by Bernini. The symbolism is meant to be seen as arms that are open to the world, embracing all that pilgrim to the final resting place of St. Peter. The arch of the arms creates and elliptical shape, elluding to the eternity of Christ’s church. From an aerial perspective of the basilica one can see that there are eight rays pointing to the center. The in ecclesiastical terms the number eight generally refers to the day after the seventh day of the week, aslo symbolizing regeneration. In the very center of Piazza San Pietro there is an Egyptian obelisk paying tribute to the martyrdom of Peter. First erected in Nero’s Circus where Peter died in 64 A.D, the obelisk was moved to the piazza. Now thousands of tourists see the obelisk every day, are reminded of the sacrifice that Peter made for his beloved church.
Pier Francesco Mola (alledgedly)
Saint Pierre en Priere
17th Century
Oil on canvas, 1.28 m x 0.97 m
Louvre, Paris
Saint Pierre en Priere
17th Century
Oil on canvas, 1.28 m x 0.97 m
Louvre, Paris
Although the painter of this work is usually consider to be Pier Francesco Mola, some scholars disagree citing Giovanni Lanfranco, Giovannia Battista Pace, Giovanni Bonatti, or perhaps Bernardo Cavallino. Despite this discrepency, Baroque values prevade, allowing it to be agreed upon that the work is from the 17th Century. Such Baroque values include the realism with which Peter is depicted, reverently gazing up towards the heavens, a bit of dark landscape seen behind him. The intensity and immediacy of the work aids in its overall impact as well. The purpose seems to be instilling reverence and a humble nature unto the viewer. As usual, Peter is show as an old man in simple attire. A few symbol could possibly be seen, such as the simple clothing indicating Peter’s humble beginnings as a fisherman. The keys to Heaven are easily noted in the bottom left of the painting, which illustrate Peter’s being chosen as the leader of the new church. Also symbolic is Peter’s kneeling on a rock, referring to Matthew 16:13-20.
Source: http://cartelfr.louvre.fr/cartelfr/visite?srv=car_not_frame&idNotice=1707
Source: http://cartelfr.louvre.fr/cartelfr/visite?srv=car_not_frame&idNotice=1707
High Alter in Notre Dame Cathedral
built 1803
based on designs by Vancleve
Carved relief in Olive wood
Notre Dame; Paris, France
built 1803
based on designs by Vancleve
Carved relief in Olive wood
Notre Dame; Paris, France
John 13:7 relates the nature of a servant(Philippians 4:8) that Jesus must attest in order to truly redeam fallen man. For man in his totally depraved state is not only unable to offer anything to his God, he is unable to clense himself. This is an uncommon portrayal of Peter, particularly in Catholic art that would not ascribe to this doctrine, and only to the scriptural reference.
Emilio De Fabris
Front Façade of Florence Duomo
Front Façade of Florence Duomo
1876-87
Marble
Approximately 3 x 1.5 meters
Florence, Italy
Saint Peter is holding the keys to heaven in this statue which Jesus gave to him after he rose from the dead. He is looking down which is representative of the era of art known as byzantine. Many characters were depicted this way to show more of a spiritual side. Peter’s eyes are also closed here and he is thought to be praying to God or being still to listen to his directions to him because as we know Peter was an obedient disciple. Peter is on the front of the church facing towards the people as they come into the church to remind them of his great acts and lessons while he was on earth.
Saint Peter is holding the keys to heaven in this statue which Jesus gave to him after he rose from the dead. He is looking down which is representative of the era of art known as byzantine. Many characters were depicted this way to show more of a spiritual side. Peter’s eyes are also closed here and he is thought to be praying to God or being still to listen to his directions to him because as we know Peter was an obedient disciple. Peter is on the front of the church facing towards the people as they come into the church to remind them of his great acts and lessons while he was on earth.
Gregorio Zappala
St. Peter
19th Century
Marble, 8’ high by 2.5’ wide
San Paolo Fuori le Mura, Rome
St. Peter
19th Century
Marble, 8’ high by 2.5’ wide
San Paolo Fuori le Mura, Rome
A few symbolic aspects of the Statue of St. Peter just outside the doors of San Paolo Fuori le Mura include: the robe Peter is wearing, his hand gesture, and the keys in his hand clutched to his chest. Firstly, Peter is dressed in typical priestly garb, symbolizing his place as the first “priest” (actually, the first High Priest, but the hood of the vestments are not pulled over his head in this statue). The hand gesture Peter is making demarcates a blessing to be bestowed upon all of those who walk beneath him. The act of walking beneath is both literal and metaphorical as in Heaven Peter is above all souls, but also at San Paolo he is just next to the door so the parishioners walking in receive his blessings as well. The keys in the hand of Peter are significant for a couple of reasons. The most important is that God entrusted the keys of the earthly and heavenly kingdom to Peter. The fact that the keys are clutched to Peter’s chest on his left side is also significant due to the fact that this symbolizes trust, positivity, and strength along with the Kingdom of Heaven being held close to his heart.
Franco Angeli
Pontificate Emblem
1963
Mixed media on paper, 49.9 x 69.5 Inches
Vatican Museum, Rome
Franco Angeli’s work is a classic example of more modern art illustrating ancient ideas. His design for the Pontiff’s emblem includes the seminal aspects of the papacy stemming from Peter: the papal tiara and the keys to Heaven given to Peter by Jesus. The tiara was worn by all of the popes from Pope Clement V in 1314 until Paul VI, who laid it on the altar at St. Peter’s Basilica in 1963 and donated its value to the poor of the world. The keys are ever-present in depictions of Peter as they represent Jesus’ giving the keys of Heaven to him in Matthew 16. Here, these ancient symbols are represented with a modern and nearly abstract flare.
Pontificate Emblem
1963
Mixed media on paper, 49.9 x 69.5 Inches
Vatican Museum, Rome
Franco Angeli’s work is a classic example of more modern art illustrating ancient ideas. His design for the Pontiff’s emblem includes the seminal aspects of the papacy stemming from Peter: the papal tiara and the keys to Heaven given to Peter by Jesus. The tiara was worn by all of the popes from Pope Clement V in 1314 until Paul VI, who laid it on the altar at St. Peter’s Basilica in 1963 and donated its value to the poor of the world. The keys are ever-present in depictions of Peter as they represent Jesus’ giving the keys of Heaven to him in Matthew 16. Here, these ancient symbols are represented with a modern and nearly abstract flare.
