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Saint Peter

Saint Peter is a marble sculpture from the cycle of fourteen statues of the patron saints of the Florentine guilds in the exterior niches of Orsanmichele, Florence. It was commissioned by the Arte dei Beccai, the butchers’ guild, and was most likely made by Donatello, with a theoretical supporting role attributed by sources to Brunelleschi. According to art historian Francesco Caglioti, it was created around 1410–1412. The statue is made of Apuan marble and stands 243 cm high. Today the original is preserved inside the Orsanmichele Museum, while a copy replaces it outside.

Saint Peter stone statue holding a book and a set of keys.
Saint Peter depicted as a full-length stone statue with a book and keys.
June 2014 © · CC BY-SA 3.0
Saint Peter stone statue holding a book and keys.
Saint Peter shown as a full-length stone statue with a book and a cluster of keys.
June 2014 © · CC BY-SA 3.0
Saint Peter marble statue holding a book and keys
Saint Peter depicted as a full-length marble statue holding a book and a set of keys.
June 2014 © · CC BY-SA 3.0
Black and white engraving of Saint Peter standing in an ornate niche, holding a book and a key.
Engraving of the statue of Saint Peter shown in an ornate architectural niche.
1894 © Giuseppe Barberis · Public domain
Saint Peter sculpture standing in a Gothic niche, holding a book.
Saint Peter shown in an ornate Gothic niche.
© Rijksmuseum · CC0

Identification

TitleSaint Peter of Orsanmichele
TypeStatue
SubjectSaint Peter

Historical context

SeriesOne of the fourteen statues of the protectors of the Florentine guilds in the exterior niches of Orsanmichele
Commissioned byArte dei Beccai (the butchers' guild)
DateAround 1412; stylistic comparisons suggest the third decade of the 15th century

Creator

AttributionTraditionally attributed to Donatello; contemporary criticism increasingly attributes it to Filippo Brunelleschi
Role of BrunelleschiSources attribute a role to him in the sculpture's creation
Traditional attribution sourceGiorgio Vasari, who wrote in the Vite that the work was commissioned to Brunelleschi and Donatello, but that only Donatello executed it and brought it to perfection
Attribution basisIts very high quality; perspective inlays in the tabernacle; stylistic comparisons, including its strong classical character
Alternative attributionsNanni di Banco, Michelozzo, Bernardo Ciuffagni

Discovery and provenance

Provenance documentationDocumentation for its provenance and authorship is lost

Location and ownership

Original locationIts original niche in the exterior of Orsanmichele, Florence
Current locationMuseo di Orsanmichele, Florence
Original niche replacementA copy now fills the original exterior niche
LocationOrsanmichele, Florence, Italy

Physical characteristics

Anatomical featuresThin, sinewy wrists
Height243 cm

Materials

Primary materialMarble, described as Apuan marble / Carrara marble; of particularly high quality and low porosity
Metal elementsBronze keys and metal studs on the book; the keys are not original
GildingNo traces of gilding were found; it may never have been gilded

Appearance

DepictionSaint Peter shown as an ancient philosopher
HeadBearded
ClothingToga and cloak with elegant, classical drapery
AttributesHolds a book in the left hand and keys in the right hand
OrientationFaces left toward Via de' Calzaiuoli
Viewing emphasisBest appreciated from the left side or from the front; the right profile is less satisfactory
Placement effectThe right shoulder and the whole right side were hidden in the niche

History and restoration

Removal and restorationRemoved from the tabernacle in 1990 and restored by the Opificio delle Pietre Dure from 1990 to 1992
Restoration supportSupported by the Accademia della Fiorentina and the Macellai Association, in honor of the ancient Arte dei Macellai
PreservationOne of the best-preserved works in the Orsanmichele series; the marble's low porosity helped prevent absorption of oils applied to the statues in the late 18th and early 19th centuries

Significance

Stylistic significanceStrongly classical in character; seen as an early phase of Brunelleschi's development toward the Renaissance, and also as the beginning of Donatello's sculptural research
Stylistic influences and comparisonsBrunelleschi's study of ancient sculpture in Rome after the 1401 Baptistery competition; comparisons with the Sacrifice of Isaac relief, the silver altar of Saint James in Pistoia, and Bernardo Ciuffagni's Prophet Isaiah and David
Stylistic detailsPerspective inlays mixed with archaic elements; the drapery has been described as resembling a piece of wet chamois thrown across the figure