Navicella (mosaic)

The *Navicella*, or "little ship," was a massive and famous mosaic located in Old Saint Peter's Basilica in Rome.

Also called the Bark of Saint Peter, this artwork was a central piece of religious art. It depicted a specific scene from the Gospel of Matthew. In this account, Christ walks upon the water. Unlike other versions of this miracle, this story includes Saint Peter being called to join him on the waves. The mosaic served as a powerful symbol for the Papacy. The large fishing boat with its wide sail represented the "Ship of the Church." It suggested that the Church and its leaders were unsinkable through the help of Christ.

Creating a work of this scale required a complex process of design and craftsmanship. The artist, Giotto di Bondone, would have produced detailed drawings first. These drawings served as guides for specialist mosaic workers. These workers then translated the drawings onto the wall using small pieces of material. The finished mosaic was rectangular and positioned high above an entrance arcade. It was designed to be viewed from a great distance across a courtyard. This placement ensured that people leaving the basilica would pass beneath it. The composition was dominated by the maritime scene and the large sail of the boat. Even the sky contained detail, featuring classical "wind god" figures blowing through horns to show movement.

The mosaic featured a variety of figures and symbolic elements. The boat contained eleven figures, including a person holding the tiller. Some scholars suggest this figure might be Saint Paul, though this is anachronistic to the Gospels. To the left, a man was fishing on the shore. Some historical accounts, such as those by Vasari, suggested this man was a self-portrait of Giotto. The sky also included pairs of haloed male figures. The work was unprecedented in its size for a maritime scene since classical times. It was so significant that it was the only modern work described in Alberti's *De Pictura*.

The history of the *Navicella* began with a formal commission in 1298. Cardinal Jacopo Stefaneschi, a canon of Saint Peter's, ordered the work. This project was part of the preparations for the holy year in 1300. According to an obituary from 1347, the total cost of the mosaic was 2,200 florins. We know of Giotto's involvement through a Vatican necrology and the Latin chronicles of Florence. The mosaic underwent a dramatic transformation during the 17th century. As the new Saint Peter's Basilica was constructed, the original mosaic was almost entirely destroyed. It underwent four major moves and restorations in 1610, 1618, 1629, and 1675. The version seen today is a reconstructed work that incorporates some original fragments.

Despite the destruction, some original elements still exist. These fragments are small but precious. They include parts of the gilded edge of the ship and the sail. Some sections of the apostles also appear to contain original work. Only two bust-length figures of angels in roundels from the original have survived. One of these fragments is kept in the Vatican and was discovered in 1911. The other was given to the church of San Pietro Ispano in 1610. These fragments allow modern scholars to study the original style. They suggest the work was influenced by the Roman artist Pietro Cavallini. The technique also reflects Late Antique and Early Medieval styles found in Rome.

Because the original was lost, many copies and records exist to help us understand it. There are at least 17 recorded drawings and prints. The artist Parri Spinelli created several drawings around 1420. His work in the Metropolitan Museum of Art is one of the most detailed. However, Spinelli often made loose interpretations in his drawings. Other copies, like an engraving by Nicolas Beatrizet from 1559, are mirror images of the original. A full-scale oil copy was also commissioned by the Vatican in 1628 by Francesco Berretta. These various records provide a window into a masterpiece that once dominated the Roman landscape.

The *Navicella* left a deep impression on both art and spirituality. The image was used on Papal coins and medals to represent the Church. It also inspired profound personal experiences. In 1380, Saint Catherine of Siena was contemplating the mosaic during Vespers. She reported a vision where the ship felt as if it had landed on her shoulders with unbearable weight. This experience led her to understand she must give her life for the Church. The mosaic's legacy continues through the fragments and the many historical accounts that describe its former glory.