573:
409:
491:
373:
393:
357:
330:
432:
471:
604:
623:
452:
525:
643:
135:
589:
557:
541:
510:
270:
17:
245:
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
227:
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
277:
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.
392:
603:
84:
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.
408:
356:
372:
293:
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
622:
97:(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
431:
240:
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,
113:
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
490:
329:
201:"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)
572:
470:
278:
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
588:
451:
257:, 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
616:, 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.
236:, 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
289:
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
204:
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.
310:
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
556:
93:
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
540:
609:
739:
642:
261:
is an 8th-century example of pure metalwork with five oval medallion portraits of Christ and the
Evangelists (with symbols) round the cup.
153:
tradition, either given their own additional images on a separate page, or used instead of an evangelist portrait. The symbols are: the
597:; The dolphin-shaped lectern stem, still understood in Byzantine examples, has metamorphosed into a kind of dragon in northern Europe
744:
402:, Mark writing on a scroll, 6th century. Written under Byzantine rule in Italy (the mark above his shoulders is a stain).
524:
81:
35:
366:
of the 1st-century physician author. He is painting a plant held by its personification. Early 6th-century
Byzantine.
77:
714:
181:
was Mark. Sometimes, as in the example from Lorsch, the symbols are shown dictating the text to the evangelist.
734:
173:
or Man of
Matthew. Often all are shown with wings, as in the familiar winged lion used in the coat of arms of
509:
441:, 6th century. Italian. Following more formal classical models, like the imperial consular portraits in the
242:
314:, who is often shown in a book-lined study, often with his symbol, a lion, dozing at his feet. Similarly
142:
253:
or cover in metalwork, often with jewels and ivories. These most often featured a central panel with
123:
110:
318:
may be shown with a dove, representing his inspiration from the Holy Spirit, whispering in his ear.
273:
Insular, 8th century, now St Gall. Unusually, a single unspecified Evangelist with all four symbols
195:
149:
The traditional symbols of the Evangelists were often included in the images, or especially in the
306:. In the West the portraits continued to be found in Bibles, more often as the picture within a
497:
233:
729:
501:
496:
Matthew; Anglo-Saxon 8th century, combining many classical details, such as the curtains, with
42:
20:
636:, c. 1400, containing full-page evangelist portraits and the first Russian full-page symbols.
438:
303:
216:
315:
282:. Standing portraits were usual, however, for wall and later panel paintings (and in the
215:
evangelist portraits often show standing figures, as in the ivory panels of the Throne of
8:
671:
442:
307:
158:
106:
24:
481:
461:
379:
363:
154:
134:
710:
649:
415:
279:
254:
94:
61:
582:. The side-table with writing materials is much more typical of the Orthodox world.
286:
composition) with the Evangelists often treated as, and mixed with, other saints.
633:
299:
295:
290:
250:
76:, may be prefaced by a portrait of the Evangelist, usually occupying a full page.
57:
579:
477:
399:
258:
229:
184:
The symbols of the four evangelists are derived from a vision in the book of the
138:
563:
418:
73:
69:
65:
700:
Cetic and Anglo-Saxon Painting: Book illumination in the British Isles 600-800
723:
629:
342:, A 5th-century secular author portrait in the classical tradition. Note the
283:
185:
166:
115:
339:
212:
178:
98:
80:
may be shown with them, or separately. Often they are the only figurative
224:
150:
45:
674:
seems taken directly from the single portrait, usually thought to be of
546:
Four evangelists and prophets surround Christ. c. 850 by Haregarius of
269:
119:
382:. Presumably collated from individual portraits in their works. Only
613:
39:
105:. Examples of these, copied from the original, can be seen in the
141:
miniature portraying the Evangelists with their symbols, from the
191:
188:
16:
594:
343:
335:
311:
237:
174:
102:
53:
547:
531:
383:
347:
220:
170:
101:
consular portrait, much used for the Emperors, who were also
49:
709:(trans fr German), 1986, Harvey Miller Publishers, London,
675:
515:
422:
421:, carbon dated to the 5th or early 6th century. Written in
378:
Group author portrait of distinguished physicians from the
464:
which show no portraits, only the symbols. Insular c. 690.
398:
Among the earliest surviving evangelist portrait, in the
484:, with the portraits as the only whole page illumination.
249:
Early Gospel Books often had a very elaborate and costly
162:
425:, Ethiopia, following Late Antique Egyptian models.
695:. Ithaca, New York: Cornell University Press, 1983.
721:
264:
198:in the form of men, but each with four faces:
52:and other books, as well as other media. Each
207:
566:9th century, follows similar conventions.
414:Portrait of the Evangelist Mark from the
268:
133:
15:
129:
740:Iconography of illuminated manuscripts
722:
346:-box, although the book it is in is a
362:One of three author portraits in the
707:Book Illumination in the Middle Ages
693:Illuminated Books of the Middle Ages
246:framing device for the whole scene.
228:prototypes, similar to those in the
702:. New York: George Braziller, 1977.
88:
13:
632:'s only known miniature, from the
14:
756:
641:
621:
602:
587:
571:
562:A much rarer author portrait of
555:
539:
523:
508:
489:
469:
450:
430:
407:
391:
371:
355:
328:
578:Luke, Byzantine, 10th century,
664:
1:
685:
518:Gospels, 9th century, Matthew
670:The portrait of Mark in the
460:- the Lion of Mark from the
265:Insular variants and decline
7:
745:New Testament people in art
480:, late 8th-century Insular
27:with his symbol, around 800
10:
761:
321:
208:Depictions and other media
678:, in the Codex Amiatinus.
500:decoration on the chair.
111:Missorium of Theodosius I
657:
38:included in ancient and
234:Saint Augustine Gospels
34:are a specific type of
628:The Angel of Matthew,
502:Stockholm Codex Aureus
274:
146:
43:illuminated manuscript
28:
21:Codex Aureus of Lorsch
735:Christian iconography
439:St. Augustine Gospels
272:
196:four living creatures
137:
19:
316:St Gregory the Great
130:Evangelists' symbols
32:Evangelist portraits
691:Calkins, Robert G.
672:Lindisfarne Gospels
482:pocket gospel books
443:Chronography of 354
308:historiated initial
302:of about 1390 from
107:Chronography of 354
698:Nordenfalk, Carl.
462:Echternach Gospels
380:Vienna Dioscurides
364:Vienna Dioscurides
275:
147:
29:
650:Cutbercht Gospels
280:Christ in Majesty
255:Christ in Majesty
752:
679:
668:
645:
634:Khitrovo Gospels
625:
606:
591:
575:
559:
543:
527:
512:
493:
473:
454:
434:
411:
395:
375:
359:
332:
300:Khitrovo Gospels
296:Ostromir Gospels
291:Eastern Orthodox
251:treasure binding
169:of Luke and the
89:Author portraits
58:Four Evangelists
760:
759:
755:
754:
753:
751:
750:
749:
720:
719:
688:
683:
682:
669:
665:
660:
653:
648:John, from the
646:
637:
626:
617:
610:Spassky Gospels
607:
598:
592:
583:
580:British Library
576:
567:
560:
551:
544:
535:
528:
519:
513:
504:
494:
485:
478:Book of Mulling
474:
465:
455:
446:
435:
426:
412:
403:
400:Rossano Gospels
396:
387:
376:
367:
360:
351:
333:
324:
267:
259:Tassilo Chalice
230:Codex Amiatinus
223:, but from the
210:
132:
118:, or elaborate
91:
60:, the books of
48:, and later in
12:
11:
5:
758:
748:
747:
742:
737:
732:
718:
717:
703:
696:
687:
684:
681:
680:
662:
661:
659:
656:
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654:
647:
640:
638:
627:
620:
618:
608:
601:
599:
593:
586:
584:
577:
570:
568:
561:
554:
552:
545:
538:
536:
534:School, c. 840
529:
522:
520:
514:
507:
505:
495:
488:
486:
475:
468:
466:
456:
449:
447:
436:
429:
427:
419:Garima Gospels
413:
406:
404:
397:
390:
388:
377:
370:
368:
361:
354:
352:
334:
327:
323:
320:
266:
263:
209:
206:
143:Aachen Gospels
131:
128:
124:Roman theatres
122:structures of
109:(see also the
90:
87:
9:
6:
4:
3:
2:
757:
746:
743:
741:
738:
736:
733:
731:
730:Christian art
728:
727:
725:
716:
715:0-19-921060-8
712:
708:
704:
701:
697:
694:
690:
689:
677:
673:
667:
663:
652:(8th century)
651:
644:
639:
635:
631:
630:Andrei Rublev
624:
619:
615:
611:
605:
600:
596:
590:
585:
581:
574:
569:
565:
558:
553:
549:
542:
537:
533:
526:
521:
517:
511:
506:
503:
499:
492:
487:
483:
479:
472:
467:
463:
459:
453:
448:
444:
440:
433:
428:
424:
420:
417:
410:
405:
401:
394:
389:
385:
381:
374:
369:
365:
358:
353:
349:
345:
341:
337:
331:
326:
325:
319:
317:
313:
309:
305:
301:
297:
292:
287:
285:
284:Tree of Jesse
281:
271:
262:
260:
256:
252:
247:
244:
239:
235:
231:
226:
222:
218:
214:
205:
202:
199:
197:
193:
190:
187:
186:Old Testament
182:
180:
176:
172:
168:
164:
161:of John, the
160:
157:of Mark, the
156:
152:
144:
140:
136:
127:
125:
121:
117:
116:Scaenae frons
112:
108:
104:
100:
96:
86:
83:
79:
78:Their symbols
75:
71:
67:
63:
59:
55:
51:
47:
44:
41:
37:
33:
26:
22:
18:
706:
705:Otto Pächt,
699:
692:
666:
458:Imago Leonis
457:
437:Luke in the
386:has a chair.
340:Roman Virgil
288:
276:
248:
213:Late Antique
211:
203:
200:
183:
179:patron saint
148:
99:Late Antique
95:frontispiece
92:
82:illumination
46:Gospel Books
31:
30:
23:portrait of
225:Insular art
139:Carolingian
724:Categories
686:References
217:Maximianus
120:proscenium
614:Yaroslavl
498:interlace
338:from the
40:mediaeval
36:miniature
416:Ethiopic
298:and the
177:, whose
145:, c. 820
564:St Paul
322:Gallery
304:Muscovy
238:scrolls
192:Ezekiel
189:prophet
151:Insular
103:consuls
62:Matthew
56:of the
713:
595:Origen
530:Luke,
476:John,
344:scroll
336:Virgil
312:Jerome
243:haloes
175:Venice
72:, and
54:Gospel
50:Bibles
658:Notes
548:Tours
532:Fulda
384:Galen
348:codex
221:Milan
171:Angel
159:Eagle
711:ISBN
676:Ezra
516:Ebbo
423:Axum
232:and
167:Calf
155:Lion
74:John
70:Luke
66:Mark
25:Mark
219:in
194:of
165:or
726::
612:,
163:Ox
126:.
68:,
64:,
550:.
445:.
350:.
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