The only extant, signed and dated work by Konrad Witz is the St. Peter Altarpiece for St. Peter's Cathedral in Geneva, Switzerland. It survives only partially; in one of the four surviving wings there is the external panel depicting the scene of the miraculous catch. It was commissioned by Cardinal François de Mies around 1443. Konrad Witz's oil on panel painting represents some of the many ideological changes that were occurring during the Renaissance. Witz's miraculous draft reflects changing Renaissance ideas about naturalism; the power of observation; the changing role of the artist in the representation of the sacred; the composition of a painting; and the growing completion among the members of the Catholic Church. The scene Witz depicts on this altarpiece is most closely related to the second fish miracle attributed to Christ. According to the Gospel of John, seven apostles had decided to go fishing after the resurrection of Christ. After a fruitless night, a man calls the apostles and orders them to cast their nets from the right side of their boat. After doing this, the apostles could not haul the net ashore because it was too full of fish. Peter realizes that the man who had called them out to sea was Jesus. Peter jumps into the water and reaches the shore to meet Jesus. The other apostles haul in prey. Then Christ and his apostles share a meal of bread and fish on the shore. Witz set this story off the shores of Lake Geneva in Switzerland. The most notable aspect of the Witz Altarpiece is its detailed landscape. Witz attended to the background with such detail that this landscape is called the first “picture landscape” in Northern European art. The point of view can be... in the middle of the paper... I find the arguments of the authors of my articles very convincing. By weaving together visual and literary evidence, the authors support their arguments in an almost scientific way. The articles go in more depth than the Gardner textbook. Gardner does not provide much contextual evidence to support his arguments. In this way the articles I read represent a more progressive form of art history. Furthermore, Gardner's text discusses Witz's intense focus on realism, but does not discuss his important departures from realism. In fact, Witz's departures from realism represent the most significant aspects of the painting. While we have learned not to read too much into a work, Witz's hyper-deliberate nature demands attention to every detail and is well suited to analysis that goes beyond the surface level. My analysis of the painting reflects and supports the author's conclusions.