584:
420:
502:
384:
404:
368:
341:
443:
482:
615:
634:
463:
536:
654:
146:
600:
568:
552:
521:
281:
28:
256:
are less likely to be worn than in other types of image. The level of detail shown in the furniture and fittings is unusual for Early
Medieval art. An arch behind the author, often with curtains hanging across it, in some examples close to the classical models, gradually is turned into a decorative
238:
of the 7th to 10th centuries, evangelist portraits in manuscripts nearly always closely followed the seated classical models, showing the
Evangelists at full-length, either looking out at the viewer or writing at a table or desk and seen at an oblique angle. These were derived from unknown classical
288:
The early artists of the
Insular period often show evangelists from the front who appear to be standing, although a chair is drawn behind them; the human figure was not a focus of interest or skill for these artists. Later Insular depictions seem to show figures without chairs, who are standing.
403:
614:
95:
in the manuscript. They are a common feature in larger Gospel Books from the earliest examples in the 6th century until the decline of that format for illustrated books in the High Middle Ages, by which time their conventions were being used for portraits of other authors.
419:
367:
383:
304:
world, the Gospel Book remained a primary focus for illumination, and
Evangelist portraits, derived from contemporary Byzantine versions, are heavily represented among the earliest illuminations from the new Slav national traditions, such as the 11th-century
633:
108:(not unlike the contemporary author photo, though this is usually shown on the back cover or wrapper). A very few examples of Late Antique secular author portraits survive, and rather more later copies. Some examples also draw on the conventions of the
442:
251:
and scroll-boxes, and a small writing-stand with a single dolphin-shaped support (see gallery below), survive well into the Middle Ages, sometimes clearly misunderstood by the artists concerned. Perhaps because of the secular origins of the typology,
124:
of 30 years later). The
Evangelist may be holding a book, but is not writing in it, and he faces the front on a large throne, surrounded by an elaborate frame, usually domed or pedimented. These frameworks are thought to draw from the style of the
501:
340:
212:"As for the likeness of their faces, each had the face of a man in front; the four had the face of a lion on the right side, the four had the face of an ox on the left side, and the four had the face of an eagle at the back." (Ezek. 1:10)
583:
481:
289:
Most of Europe continued to use the seated model however, usually seen in a three-quarters on view, and usually with a cushion behind. Sometimes all four evangelists were combined on a page, sometimes around a
599:
462:
268:, often including the Evangelists and/or their symbols in the corners. Versions of the same composition appear in all media used for Early Medieval religious art, including wall paintings. The
627:, 1220s. Compare the arch and curtains with the Chrongraphy of 354; their function now seems lost in this double portrait, whose artist is also unclear how a scroll functions.
247:, though both of these types are rather different from the general types. Usually a setting is provided for the figure. Details of the classical models, such as anachronistic
300:
The Gospel book as a medium for heavily illustrated manuscripts declined in the West from the
Romanesque period, and with it the use of the Evangelist portrait. In the
215:
Christian iconographic tradition came to associate the man with Saint
Matthew, the lion with Saint Mark, the ox with Saint Luke, and the eagle with Saint John.
321:
at the start of each Gospel. Other books sometimes contained them as well. Similar compositions began to be used for other saint-authors, especially for St
567:
104:
They originate in the classical secular tradition of the author portrait, which was often the only illustration in a classical manuscript, also used as a
551:
620:
750:
653:
272:
is an 8th-century example of pure metalwork with five oval medallion portraits of Christ and the
Evangelists (with symbols) round the cup.
164:
tradition, either given their own additional images on a separate page, or used instead of an evangelist portrait. The symbols are: the
608:; The dolphin-shaped lectern stem, still understood in Byzantine examples, has metamorphosed into a kind of dragon in northern Europe
755:
413:, Mark writing on a scroll, 6th century. Written under Byzantine rule in Italy (the mark above his shoulders is a stain).
535:
92:
46:
377:
of the 1st-century physician author. He is painting a plant held by its personification. Early 6th-century
Byzantine.
88:
725:
192:
was Mark. Sometimes, as in the example from Lorsch, the symbols are shown dictating the text to the evangelist.
17:
745:
184:
or Man of
Matthew. Often all are shown with wings, as in the familiar winged lion used in the coat of arms of
520:
452:, 6th century. Italian. Following more formal classical models, like the imperial consular portraits in the
253:
325:, who is often shown in a book-lined study, often with his symbol, a lion, dozing at his feet. Similarly
153:
264:
or cover in metalwork, often with jewels and ivories. These most often featured a central panel with
134:
121:
329:
may be shown with a dove, representing his inspiration from the Holy Spirit, whispering in his ear.
284:
Insular, 8th century, now St Gall. Unusually, a single unspecified Evangelist with all four symbols
206:
160:
The traditional symbols of the Evangelists were often included in the images, or especially in the
317:. In the West the portraits continued to be found in Bibles, more often as the picture within a
508:
244:
740:
512:
507:
Matthew; Anglo-Saxon 8th century, combining many classical details, such as the curtains, with
53:
31:
647:, c. 1400, containing full-page evangelist portraits and the first Russian full-page symbols.
449:
314:
227:
326:
293:. Standing portraits were usual, however, for wall and later panel paintings (and in the
226:
evangelist portraits often show standing figures, as in the ivory panels of the Throne of
8:
682:
453:
318:
169:
117:
35:
492:
472:
390:
374:
165:
145:
721:
660:
426:
290:
265:
105:
72:
593:. The side-table with writing materials is much more typical of the Orthodox world.
297:
composition) with the Evangelists often treated as, and mixed with, other saints.
644:
310:
306:
301:
261:
87:, may be prefaced by a portrait of the Evangelist, usually occupying a full page.
68:
590:
488:
410:
269:
240:
195:
The symbols of the four evangelists are derived from a vision in the book of the
149:
574:
429:
84:
80:
76:
711:
Cetic and Anglo-Saxon Painting: Book illumination in the British Isles 600-800
734:
640:
353:, A 5th-century secular author portrait in the classical tradition. Note the
294:
196:
177:
126:
350:
223:
189:
109:
91:
may be shown with them, or separately. Often they are the only figurative
235:
161:
56:
685:
seems taken directly from the single portrait, usually thought to be of
557:
Four evangelists and prophets surround Christ. c. 850 by Haregarius of
280:
130:
393:. Presumably collated from individual portraits in their works. Only
624:
50:
116:. Examples of these, copied from the original, can be seen in the
152:
miniature portraying the Evangelists with their symbols, from the
202:
199:
27:
605:
354:
346:
322:
248:
185:
113:
64:
558:
542:
394:
358:
231:
181:
112:
consular portrait, much used for the Emperors, who were also
60:
720:(trans fr German), 1986, Harvey Miller Publishers, London,
686:
526:
433:
432:, carbon dated to the 5th or early 6th century. Written in
389:
Group author portrait of distinguished physicians from the
475:
which show no portraits, only the symbols. Insular c. 690.
409:
Among the earliest surviving evangelist portrait, in the
495:, with the portraits as the only whole page illumination.
260:
Early Gospel Books often had a very elaborate and costly
173:
436:, Ethiopia, following Late Antique Egyptian models.
706:. Ithaca, New York: Cornell University Press, 1983.
732:
275:
209:in the form of men, but each with four faces:
63:and other books, as well as other media. Each
218:
577:9th century, follows similar conventions.
425:Portrait of the Evangelist Mark from the
279:
144:
26:
140:
14:
751:Iconography of illuminated manuscripts
733:
357:-box, although the book it is in is a
373:One of three author portraits in the
718:Book Illumination in the Middle Ages
704:Illuminated Books of the Middle Ages
257:framing device for the whole scene.
239:prototypes, similar to those in the
713:. New York: George Braziller, 1977.
99:
24:
643:'s only known miniature, from the
25:
767:
652:
632:
613:
598:
582:
573:A much rarer author portrait of
566:
550:
534:
519:
500:
480:
461:
441:
418:
402:
382:
366:
339:
589:Luke, Byzantine, 10th century,
675:
13:
1:
696:
529:Gospels, 9th century, Matthew
681:The portrait of Mark in the
471:- the Lion of Mark from the
276:Insular variants and decline
7:
756:New Testament people in art
491:, late 8th-century Insular
38:with his symbol, around 800
10:
772:
332:
219:Depictions and other media
689:, in the Codex Amiatinus.
511:decoration on the chair.
122:Missorium of Theodosius I
668:
49:included in ancient and
245:Saint Augustine Gospels
45:are a specific type of
639:The Angel of Matthew,
513:Stockholm Codex Aureus
285:
157:
54:illuminated manuscript
39:
32:Codex Aureus of Lorsch
746:Christian iconography
450:St. Augustine Gospels
283:
207:four living creatures
148:
30:
327:St Gregory the Great
141:Evangelists' symbols
43:Evangelist portraits
702:Calkins, Robert G.
683:Lindisfarne Gospels
493:pocket gospel books
454:Chronography of 354
319:historiated initial
313:of about 1390 from
118:Chronography of 354
709:Nordenfalk, Carl.
473:Echternach Gospels
391:Vienna Dioscurides
375:Vienna Dioscurides
286:
158:
40:
661:Cutbercht Gospels
291:Christ in Majesty
266:Christ in Majesty
16:(Redirected from
763:
690:
679:
656:
645:Khitrovo Gospels
636:
617:
602:
586:
570:
554:
538:
523:
504:
484:
465:
445:
422:
406:
386:
370:
343:
311:Khitrovo Gospels
307:Ostromir Gospels
302:Eastern Orthodox
262:treasure binding
180:of Luke and the
100:Author portraits
69:Four Evangelists
21:
771:
770:
766:
765:
764:
762:
761:
760:
731:
730:
699:
694:
693:
680:
676:
671:
664:
659:John, from the
657:
648:
637:
628:
621:Spassky Gospels
618:
609:
603:
594:
591:British Library
587:
578:
571:
562:
555:
546:
539:
530:
524:
515:
505:
496:
489:Book of Mulling
485:
476:
466:
457:
446:
437:
423:
414:
411:Rossano Gospels
407:
398:
387:
378:
371:
362:
344:
335:
278:
270:Tassilo Chalice
241:Codex Amiatinus
234:, but from the
221:
143:
129:, or elaborate
102:
71:, the books of
59:, and later in
23:
22:
18:Author portrait
15:
12:
11:
5:
769:
759:
758:
753:
748:
743:
729:
728:
714:
707:
698:
695:
692:
691:
673:
672:
670:
667:
666:
665:
658:
651:
649:
638:
631:
629:
619:
612:
610:
604:
597:
595:
588:
581:
579:
572:
565:
563:
556:
549:
547:
545:School, c. 840
540:
533:
531:
525:
518:
516:
506:
499:
497:
486:
479:
477:
467:
460:
458:
447:
440:
438:
430:Garima Gospels
424:
417:
415:
408:
401:
399:
388:
381:
379:
372:
365:
363:
345:
338:
334:
331:
277:
274:
220:
217:
154:Aachen Gospels
142:
139:
135:Roman theatres
133:structures of
120:(see also the
101:
98:
9:
6:
4:
3:
2:
768:
757:
754:
752:
749:
747:
744:
742:
741:Christian art
739:
738:
736:
727:
726:0-19-921060-8
723:
719:
715:
712:
708:
705:
701:
700:
688:
684:
678:
674:
663:(8th century)
662:
655:
650:
646:
642:
641:Andrei Rublev
635:
630:
626:
622:
616:
611:
607:
601:
596:
592:
585:
580:
576:
569:
564:
560:
553:
548:
544:
537:
532:
528:
522:
517:
514:
510:
503:
498:
494:
490:
483:
478:
474:
470:
464:
459:
455:
451:
444:
439:
435:
431:
428:
421:
416:
412:
405:
400:
396:
392:
385:
380:
376:
369:
364:
360:
356:
352:
348:
342:
337:
336:
330:
328:
324:
320:
316:
312:
308:
303:
298:
296:
295:Tree of Jesse
292:
282:
273:
271:
267:
263:
258:
255:
250:
246:
242:
237:
233:
229:
225:
216:
213:
210:
208:
204:
201:
198:
197:Old Testament
193:
191:
187:
183:
179:
175:
172:of John, the
171:
168:of Mark, the
167:
163:
155:
151:
147:
138:
136:
132:
128:
127:Scaenae frons
123:
119:
115:
111:
107:
97:
94:
90:
89:Their symbols
86:
82:
78:
74:
70:
66:
62:
58:
55:
52:
48:
44:
37:
33:
29:
19:
717:
716:Otto Pächt,
710:
703:
677:
469:Imago Leonis
468:
448:Luke in the
397:has a chair.
351:Roman Virgil
299:
287:
259:
224:Late Antique
222:
214:
211:
194:
190:patron saint
159:
110:Late Antique
106:frontispiece
103:
93:illumination
57:Gospel Books
42:
41:
34:portrait of
236:Insular art
150:Carolingian
735:Categories
697:References
228:Maximianus
131:proscenium
625:Yaroslavl
509:interlace
349:from the
51:mediaeval
47:miniature
427:Ethiopic
309:and the
188:, whose
156:, c. 820
575:St Paul
333:Gallery
315:Muscovy
249:scrolls
203:Ezekiel
200:prophet
162:Insular
114:consuls
73:Matthew
67:of the
724:
606:Origen
541:Luke,
487:John,
355:scroll
347:Virgil
323:Jerome
254:haloes
186:Venice
83:, and
65:Gospel
61:Bibles
669:Notes
559:Tours
543:Fulda
395:Galen
359:codex
232:Milan
182:Angel
170:Eagle
722:ISBN
687:Ezra
527:Ebbo
434:Axum
243:and
178:Calf
166:Lion
85:John
81:Luke
77:Mark
36:Mark
230:in
205:of
176:or
737::
623:,
174:Ox
137:.
79:,
75:,
561:.
456:.
361:.
20:)
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