The Cock Crowed (Le coq chanta)
When warned by Jesus that he would deny him three times before the cock crowed—before the dawn—Peter vehemently objected, asserting his fidelity and pledging to die alongside Jesus.
However, the prophecy is realized. Peter first denies his status as a disciple to the maidservant who points an accusatory finger at him while guarding the door to the chief priest’s chamber. Later, admitted to the priest’s rooms, where he warms himself by the fire, Peter again rejects the association when asked a second time; his hands are raised in protest as all await his response.
Finally, questioned a third time, Peter again denies knowing Jesus, just as the cock crows. Betrayed by his disciple, as he had foretold, Jesus in this image looks in Peter’s direction with sadness, as he is escorted away by a jeering crowd. Peter hides from view behind a thick stone archway, his arm covering his face.
Eager to provide insight into the precise timing of the events as they unfolded, Tissot in his commentary refers to his experiences of the Middle East and suggests that the rooster’s third crowing must have occurred at around three in the morning.
Opaque watercolor over graphite on gray wove paper
Image: 6 7/8 x 3 9/16 in. (17.5 x 9 cm)
Sheet: 6 7/8 x 3 9/16 in. (17.5 x 9 cm)
Frame: 20 x 15 x 1 1/2 in. (50.8 x 38.1 x 3.8 cm) (show scale)
Signed bottom right: "J.J. Tissot"
Purchased by public subscription
1900, purchased from the artist by the Brooklyn Museum.
This item is not on view
James Tissot (French, 1836-1902). The Cock Crowed (Le coq chanta), 1886-1894. Opaque watercolor over graphite on gray wove paper, Image: 6 7/8 x 3 9/16 in. (17.5 x 9 cm). Brooklyn Museum, Purchased by public subscription, 00.159.250 (Photo: Brooklyn Museum, 00.159.250_PS2.jpg)
overall, 00.159.250_PS2.jpg. Brooklyn Museum photograph, 2007
"CUR" at the beginning of an image file name means that the image was created by a curatorial staff member. These study images may be digital point-and-shoot photographs, when we don\'t yet have high-quality studio photography, or they may be scans of older negatives, slides, or photographic prints, providing historical documentation of the object.
No known copyright restrictions
This work may be in the public domain in the United States. Works created by United States and non-United States nationals published prior to 1923 are in the public domain, subject to the terms of any applicable treaty or agreement.
You may download and use Brooklyn Museum images of this work. Please include caption information from this page and credit the Brooklyn Museum. If you need a high resolution file, please fill out our online application form
The Museum does not warrant that the use of this work will not infringe on the rights of third parties, such as artists or artists' heirs holding the rights to the work. It is your responsibility to determine and satisfy copyright or other use restrictions before copying, transmitting, or making other use of protected items beyond that allowed by "fair use," as such term is understood under the United States Copyright Act.
The Brooklyn Museum makes no representations or warranties with respect to the application or terms of any international agreement governing copyright protection in the United States for works created by foreign nationals.
For further information about copyright, we recommend resources at the United States Library of Congress
, Cornell University
, Copyright and Cultural Institutions: Guidelines for U.S. Libraries, Archives, and Museums
, and Copyright Watch
For more information about the Museum's rights project, including how rights types are assigned, please see our blog posts on copyright
If you have any information regarding this work and rights to it, please contact email@example.com
Not every record you will find here is complete. More information is available for some works than for others, and some entries have been updated more recently. Records are frequently reviewed and revised, and we welcome
any additional information you might have.