686:
659:
481:
131:
443:
741:
547:
466:
717:
705:
582:
527:
619:
674:
504:
389:
780:
765:
263:
638:
563:
51:
601:
219:
31:
431:
on earth in the lower register, and as stricter perspective replaces the hieratic scaling of the Middle Ages, Christ becomes literally diminished. Such depictions tend not to be described as "Christ in
Majesty", although they are the linear development of the earlier image; the main subject has become the human events in the foreground, such as the martyrdom of a saint, to which Christ is now a rather distant witness.
1002:
990:
349:, apostles and saints, now often all facing inwards towards Christ, appear, as well as the beasts emblematic of the Evangelists and the twenty-four elders. This development paralleled the movement towards a more "realistic" depiction of the "heavenly court" seen in the increasingly popular subjects of the
430:
the subject was more loosely treated; Christ and his court take to the clouds, and are distributed with an eye to a harmonious and "natural" composition rather than the serried ranks of old. From the late
Renaissance and through the Baroque, it often forms the upper part of a picture depicting events
234:
of many, if not most, decorated churches. A full-length figure would need to be greatly reduced for the head to make maximum impact from a distance (because of the flattening at the top of the semi-dome). The gesture Christ makes has become one of blessing, but is originally an
206:
Other
Imperial depictions of Christ, standing as a triumphing general, or seated on a ball representing the world, or with different companions, are found in the next centuries. By the seventh century the Byzantine Christ Pantocrator holding a book representing the
716:
900:, ca 400, of which Peter Brown remarks, "With his hand he makes the 'orator's gesture' which indicates that he is speaking, or that he has the right to speak." Staatsbibliothek Berlin. Illustrated in Peter Brown, "Church and leadership" in Paul Veyne, editor,
685:
740:
546:
259:. Generally the Pantocrator has no visible throne, but the earlier Deesis does, and at least a single-step dais. The Deesis continues to appear in Western art, but not as often or in such an invariable composition as in the East.
89:
seated on a throne as ruler of the world, always seen frontally in the centre of the composition, and often flanked by other sacred figures, whose membership changes over time and according to the context. The image develops from
480:
442:
411:, often painted on the west (rear) wall of churches. Here an enthroned Christ, from the 13th century usually with robes pulled aside above the waist to reveal the wounds of the Passion (a motif taken from images of the
526:
658:
618:
883:
Christ in early examples is Christ the
Teacher: the gesture of Christ's right hand is not the gesture of blessing, but the orator's gesture; the identical gesture is to be seen in a panel from an ivory
465:
673:
503:
779:
423:. Generally Christ still looks straight forward at the viewer, but has no book; he often gestures with his hands to direct the damned downwards, and the saved up.
177:
to Saint Peter on his right, imitating a gesture often made by
Emperors handing an Imperial decree or letter of appointment to an official, as in ivory consular
307:
are often seen. Christ also holds a book and makes the blessing gesture, no doubt under
Byzantine influence. In both, Christ's head is surrounded by a crossed
704:
581:
35:
130:
1012:
203:. This depiction tends to merge into one of "Christ the teacher", which also derives from classical images of bearded philosophers.
826:
318:, and in metalwork or ivory on their covers, and it remained very common as a large-scale fresco in the semi-dome of the apse in
637:
58:, surrounded by emblems of the evangelists: ivory plaques on a wooden coffret, Cologne, first half of the 13th century (
1006:
1022:
345:
From the
Romanesque period, the image in the West often began to revert to the earliest, more crowded conception, and
114:, and often other figures. In the West, the evolving composition remains very consistent within each period until the
872:
816:, Italian for "majesty", conventionally designates an iconic formula of the enthroned Madonna with the child Jesus.
764:
562:
215:
today. "Christ
Triumphant" had a separate future development, usually standing, often with both hands raised high.
149:
From the latter part of the fourth century, a still beardless Christ begins to be depicted seated on a throne on a
1040:
1075:
976:
142:
17:
94:, as a depiction of the Heavenly throne as described in 1 Enoch, Daniel 7, and The Apocalypse of John. In the
1060:
552:
Christ in
Majesty with the symbols of the Evangelists, stone relief, south portal, Benedictine monastery at
1080:
1029:
786:
644:
491:
308:
166:
600:
1017:
186:
1070:
514:
354:
230:
The
Pantocrator figure first became half-length because large versions filled the semi-dome of the
628:, with Christ in Majesty surrounded by the apostles in the archivolt, and a Last Judgement in the
533:
994:
665:
629:
323:
319:
248:
1065:
339:
312:
267:
1018:(Getty Museum,); Christ in Majesty, manuscript illumination, German, (Hildesheim), about 1170s
679:
Maiestas Domini page from Codex Amiatinus (fol. 796v), Firenze, Biblioteca Medicea Laurenziana
532:
Christ in Majesty, in a mandorla and surrounded by the tetramorph, Romanesque fresco, apse of
723:
606:
107:
731:
300:
111:
39:
8:
361:
182:
91:
199:– "the apostles are indeed officials, to whom the whole world is entrusted" wrote Saint
935:, p. 365–376, English trans of 3rd edn, 1913, Collins, London (and many other editions)
830:
751:
727:
610:
338:
churches, all of which are now lost, although many examples from the period survive in
304:
292:
99:
419:
on the right and the righteous on the left (at Christ's right-hand side) rising up to
388:
364:
church portal, by now surrounded by a large number of much smaller figures around the
972:
952:
868:
755:
695:
212:
82:
59:
964:
897:
427:
415:) sits high in a complex composition, with sinners being dragged down by devils to
369:
288:
158:
211:
and raising his right hand has become essentially fixed in the form it retains in
947:
412:
200:
170:
162:
1035:
691:
456:
408:
396:
377:
296:
262:
74:
1036:
Christ in Majesty: illumination in the Aberdeen Bestiary, late twelfth century
311:. In Early Medieval Western art the image was very often given a full page in
1054:
373:
95:
1044:
790:
649:
448:
223:
360:
A Christ in Majesty became standard carved in the tympanum of a decorated
173:) is the earliest example with a clear date. In some cases Christ hands a
487:
331:
315:
270:
252:
154:
115:
50:
283:
In the West the image showed a full-length enthroned Christ, often in a
726:
showing Christ in Majesty with the Virgin Mary and Saints; a mosaic by
569:
218:
971:, Vol. II, 1972 (English trans from German), Lund Humphries, London,
573:
537:
365:
346:
326:
of church portals. This "seems to have been almost the only theme of
98:
world, the image developed slightly differently into the half-length
30:
812:
350:
933:
The Gothic Image: Religious Art in France of the Thirteenth Century
891:
771:
747:
553:
403:
A variant figure, or the same figure in a different context termed
335:
284:
153:, often with his feet on a low stool and usually flanked by Saints
55:
102:, "Christ, Ruler of All", a usually unaccompanied figure, and the
885:
592:
588:
244:
178:
119:
1001:
989:
510:
420:
393:
372:
is the culmination of the Gothic image, although a minority of
236:
208:
174:
138:
103:
86:
43:
518:
495:
471:
Old reproduction of the Sarcophagus of Junius Bassus, with a
287:
or other geometrical frame, surrounded by the symbols of the
625:
416:
327:
256:
231:
150:
122:, in which the image is ordinarily transported to the sky.
854:; p. 96; Burns & Oates, London, 1962. Hall, pp. 78–80
710:
Crucifix with Christ in Majesty; anonymous; 12th century
902:
A History of Private Life: From Pagan Rome to Byzantium
106:, where a full-length enthroned Christ is entreated by
145:, 4th century, includes a scroll box at Christ's feet.
291:, representing the vision of Chapters 4 and 5 of the
137:, or "transmission of the law", Christ as lawgiver,
698:, most of whose identifiable work is of the subject
118:, and then remains important until the end of the
1052:
827:"Traditio Legis, Traditio Clavum - Iconography"
407:, depicting Christ as judge, became common in
865:A History of Ideas and Images in Italian Art
251:churches and the templon's successor, the
785:The exterior of a chapel attached to the
353:(the enthroned Virgin and Child) and the
867:, pp. 92–93, 1983, John Murray, London,
387:
261:
217:
161:, and in a larger composition the other
129:
49:
29:
587:Christ in Judgement, Abbey Sainte-Foy,
380:, not Christ, who is shown in majesty.
14:
1053:
1043:—Includes photos of the Deesis in the
383:
243:became standard at the centre of the
746:Christ in Glory depicted on a large
239:gesture of his right to speak. The
24:
25:
1092:
982:
922:Schiller, Vol 2, pp. 188–189, 202
189:. This depiction is known as the
1000:
988:
778:
763:
739:
715:
703:
684:
672:
657:
636:
617:
599:
580:
561:
545:
525:
502:
479:
464:
441:
376:believe that in this case it is
255:, and is also found as a panel
925:
916:
907:
877:
857:
844:
819:
804:
143:Basilica of San Lorenzo, Milan
125:
27:Theme in Christian iconography
13:
1:
958:
888:of an enthroned vice-prefect
274:
195:("handing over the law"), or
969:Iconography of Christian Art
787:St. Nicholas Church, Tallinn
322:churches, and carved in the
167:Sarcophagus of Junius Bassus
7:
941:
509:13th century byzantinesque
165:. The central group of the
10:
1097:
1007:Reliefs of Majestas Domini
434:
1030:St Mary's Church, Kempley
1026:, with apocalypse details
492:Basilica of Sant'Ambrogio
455:scene, from the basilica
222:The Deesis mosaic in the
187:Missorium of Theodosius I
46:in the early 15th century
1032:, Gloucestershire c.1120
798:
515:Basilica of San Frediano
355:Coronation of the Virgin
666:Godescalc Evangelistary
664:Christ in Majesty from
340:illuminated manuscripts
299:period the twenty-four
54:Christ in majesty in a
810:The lexically similar
486:Detail of 4th century
400:
280:
268:illuminated manuscript
227:
146:
78:
63:
47:
1076:Christian terminology
758:and completed in 1962
724:Westminster Cathedral
568:Christ in Judgement,
534:Sant Climent de TaĂĽll
513:on the facade of the
391:
265:
221:
133:
53:
33:
1061:Iconography of Jesus
1041:Definition of Deesis
1028:: chancel painting,
1009:at Wikimedia Commons
997:at Wikimedia Commons
732:John Francis Bentley
694:by the Scandinavian
112:St. John the Baptist
40:Andronikov Monastery
1081:Early Christian art
852:Early Christian Art
770:Christ in Glory in
459:, Rome, 4th century
405:Christ in Judgement
384:Christ in Judgement
368:. In painting, the
197:Christ the lawgiver
183:Arch of Constantine
92:Early Christian art
752:Coventry Cathedral
730:after drawings by
728:Robert Anning Bell
645:The Last Judgement
611:Chartres Cathedral
401:
293:Book of Revelation
281:
228:
147:
100:Christ Pantocrator
64:
48:
36:Andronikov Gospels
1024:Christ in Majesty
1013:Christ in Majesty
1005:Media related to
993:Media related to
965:Schiller, Gertrud
953:Session of Christ
850:Eduard Syndicus;
756:Graham Sutherland
696:Master Majestatis
226:in Constantinople
213:Eastern Orthodoxy
83:Western Christian
67:Christ in Majesty
38:were made in the
16:(Redirected from
1088:
1004:
992:
936:
929:
923:
920:
914:
911:
905:
898:Rufius Probianus
881:
875:
861:
855:
848:
842:
841:
839:
838:
829:. Archived from
823:
817:
808:
782:
767:
743:
722:The tympanum at
719:
707:
688:
676:
661:
640:
621:
603:
584:
565:
549:
529:
506:
483:
468:
445:
428:High Renaissance
370:Ghent Altarpiece
289:Four Evangelists
279:
276:
21:
1096:
1095:
1091:
1090:
1089:
1087:
1086:
1085:
1071:Christ the King
1051:
1050:
995:Majestas Domini
985:
961:
948:Christ the King
944:
939:
930:
926:
921:
917:
912:
908:
882:
878:
862:
858:
849:
845:
836:
834:
825:
824:
820:
809:
805:
801:
794:
783:
774:
768:
759:
744:
735:
720:
711:
708:
699:
689:
680:
677:
668:
662:
653:
641:
632:
624:The minster at
622:
613:
604:
595:
585:
576:
566:
557:
550:
541:
530:
521:
507:
498:
484:
475:
469:
460:
446:
437:
413:Doubting Thomas
409:Last Judgements
386:
277:
201:John Chrysostom
128:
79:Maiestas Domini
71:Christ in Glory
28:
23:
22:
15:
12:
11:
5:
1094:
1084:
1083:
1078:
1073:
1068:
1063:
1049:
1048:
1038:
1033:
1020:
1015:
1010:
998:
984:
983:External links
981:
980:
979:
960:
957:
956:
955:
950:
943:
940:
938:
937:
924:
915:
906:
876:
856:
843:
818:
802:
800:
797:
796:
795:
784:
777:
775:
769:
762:
760:
754:, designed by
745:
738:
736:
721:
714:
712:
709:
702:
700:
690:
683:
681:
678:
671:
669:
663:
656:
654:
642:
635:
633:
623:
616:
614:
605:
598:
596:
586:
579:
577:
567:
560:
558:
551:
544:
542:
531:
524:
522:
508:
501:
499:
485:
478:
476:
473:Traditio Legis
470:
463:
461:
457:Santa Costanza
453:traditio Legis
447:
440:
436:
433:
397:Last Judgement
385:
382:
378:God the Father
374:art historians
330:-pictures" in
192:Traditio legis
135:Traditio legis
127:
124:
60:Musée de Cluny
26:
18:Traditio Legis
9:
6:
4:
3:
2:
1093:
1082:
1079:
1077:
1074:
1072:
1069:
1067:
1066:Byzantine art
1064:
1062:
1059:
1058:
1056:
1046:
1042:
1039:
1037:
1034:
1031:
1027:
1025:
1021:
1019:
1016:
1014:
1011:
1008:
1003:
999:
996:
991:
987:
986:
978:
974:
970:
966:
963:
962:
954:
951:
949:
946:
945:
934:
928:
919:
910:
903:
899:
895:
893:
887:
880:
874:
873:0-7195-3971-4
870:
866:
860:
853:
847:
833:on 2013-06-23
832:
828:
822:
815:
814:
807:
803:
792:
788:
781:
776:
773:
766:
761:
757:
753:
749:
742:
737:
733:
729:
725:
718:
713:
706:
701:
697:
693:
687:
682:
675:
670:
667:
660:
655:
651:
647:
646:
639:
634:
631:
627:
620:
615:
612:
608:
602:
597:
594:
590:
583:
578:
575:
571:
564:
559:
556:, South Tyrol
555:
548:
543:
539:
535:
528:
523:
520:
516:
512:
505:
500:
497:
493:
489:
482:
477:
474:
467:
462:
458:
454:
450:
444:
439:
438:
432:
429:
424:
422:
418:
414:
410:
406:
399:of about 1300
398:
395:
390:
381:
379:
375:
371:
367:
363:
358:
356:
352:
348:
343:
341:
337:
333:
329:
325:
321:
317:
314:
310:
306:
302:
298:
294:
290:
286:
272:
269:
264:
260:
258:
254:
250:
246:
242:
238:
233:
225:
220:
216:
214:
210:
204:
202:
198:
194:
193:
188:
184:
180:
176:
172:
168:
164:
160:
156:
152:
144:
140:
136:
132:
123:
121:
117:
113:
109:
105:
101:
97:
93:
88:
84:
80:
76:
72:
68:
61:
57:
52:
45:
41:
37:
32:
19:
1045:Hagia Sophia
1023:
968:
932:
931:Emile Mâle,
927:
918:
913:Syndicus:143
909:
904:1987, p 272.
901:
889:
879:
864:
863:James Hall,
859:
851:
846:
835:. Retrieved
831:the original
821:
811:
806:
791:Sol Invictus
650:Fra Angelico
643:
472:
452:
449:Roman mosaic
425:
404:
402:
359:
344:
316:Gospel Books
282:
240:
229:
224:Hagia Sophia
205:
196:
191:
190:
148:
134:
70:
66:
65:
652:, 1425–1431
488:sarcophagus
392:Florentine
357:by Christ.
332:Carolingian
313:illuminated
278: 1220
271:Gospel Book
266:Romanesque
253:iconostasis
126:Development
116:Renaissance
1055:Categories
977:0853313245
959:References
837:2013-12-23
366:archivolts
347:archangels
320:Romanesque
305:Apocalypse
297:Romanesque
185:, and the
574:Bourgogne
538:Catalonia
426:From the
295:. In the
181:, on the
96:Byzantine
85:image of
81:) is the
942:See also
892:vicarius
772:Jaleyrac
748:tapestry
630:tympanum
554:Innichen
336:Ottonian
324:tympanum
285:mandorla
249:Orthodox
247:beam in
179:diptychs
169:of 359 (
163:apostles
56:mandorla
886:diptych
593:Aveyron
589:Conques
570:VĂ©zelay
451:with a
435:Gallery
303:of the
245:templon
237:orators
209:Gospels
171:Vatican
120:Baroque
975:
871:
813:MaestĂ
734:, 1916
607:Portal
540:, 1123
511:mosaic
421:Heaven
394:mosaic
362:Gothic
351:MaestĂ
301:elders
241:Deesis
175:scroll
139:mosaic
104:Deesis
87:Christ
44:Moscow
799:Notes
519:Lucca
496:Milan
155:Peter
75:Latin
973:ISBN
896:, a
869:ISBN
789:(cf
692:Font
626:Bern
417:Hell
334:and
328:apse
309:halo
257:icon
232:apse
159:Paul
157:and
151:dais
110:and
108:Mary
34:The
750:in
648:by
609:of
494:in
69:or
1057::
967:,
591:,
572:,
536:,
517:,
490:,
342:.
275:c.
273:,
141:,
77::
42:,
1047:.
894:)
890:(
840:.
793:)
73:(
62:)
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
