675:
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470:
120:
432:
730:
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706:
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663:
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378:
754:
769:
252:
627:
552:
40:
420:
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.
590:
208:
20:
991:
979:
338:, 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
419:
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
674:
705:
223:
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
729:
469:
535:
195:
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
889:, 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,
431:
647:
248:. 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.
78:
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
515:
454:
400:, 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
607:
872:
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
662:
119:
492:
768:
693:
570:
412:. 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.
166:
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
296:
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
1001:
626:
861:
192:. This depiction tends to merge into one of "Christ the teacher", which also derives from classical images of bearded philosophers.
753:
815:
307:, 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
551:
1064:
965:
131:
1049:
1069:
1018:
775:
633:
480:
297:
155:
47:, surrounded by emblems of the evangelists: ivory plaques on a wooden coffret, Cologne, first half of the 13th century (
995:
1011:
334:
From the
Romanesque period, the image in the West often began to revert to the earliest, more crowded conception, and
103:, and often other figures. In the West, the evolving composition remains very consistent within each period until the
589:
805:, Italian for "majesty", conventionally designates an iconic formula of the enthroned Madonna with the child Jesus.
204:
today. "Christ
Triumphant" had a separate future development, usually standing, often with both hands raised high.
138:
From the latter part of the fourth century, a still beardless Christ begins to be depicted seated on a throne on a
1029:
175:
1059:
503:
343:
522:
83:, as a depiction of the Heavenly throne as described in 1 Enoch, Daniel 7, and The Apocalypse of John. In the
654:
618:
541:
Christ in
Majesty with the symbols of the Evangelists, stone relief, south portal, Benedictine monastery at
312:
308:
237:
1054:
328:
301:
256:
712:
595:
377:
96:
24:
1006:
720:
289:
100:
28:
350:
219:
The
Pantocrator figure first became half-length because large versions filled the semi-dome of the
171:
80:
617:, with Christ in Majesty surrounded by the apostles in the archivolt, and a Last Judgement in the
983:
740:
716:
599:
293:
281:
88:
251:
1007:(Getty Museum,); Christ in Majesty, manuscript illumination, German, (Hildesheim), about 1170s
961:
941:
857:
744:
684:
668:
Maiestas Domini page from Codex Amiatinus (fol. 796v), Firenze, Biblioteca Medicea Laurenziana
521:
Christ in Majesty, in a mandorla and surrounded by the tetramorph, Romanesque fresco, apse of
201:
71:
48:
953:
886:
416:
358:
277:
147:
936:
401:
189:
159:
151:
188:– "the apostles are indeed officials, to whom the whole world is entrusted" wrote Saint
924:, p. 365–376, English trans of 3rd edn, 1913, Collins, London (and many other editions)
819:
680:
445:
397:
385:
366:
327:
churches, all of which are now lost, although many examples from the period survive in
285:
63:
39:
408:
on the right and the righteous on the left (at Christ's right-hand side) rising up to
353:
church portal, by now surrounded by a large number of much smaller figures around the
1043:
362:
84:
1033:
779:
638:
437:
404:) sits high in a complex composition, with sinners being dragged down by devils to
212:
207:
200:
and raising his right hand has become essentially fixed in the form it retains in
19:
1024:
476:
320:
304:
259:
241:
143:
104:
1025:
Christ in Majesty: illumination in the Aberdeen Bestiary, late twelfth century
558:
300:. In Early Medieval Western art the image was very often given a full page in
562:
526:
354:
335:
801:
339:
990:
978:
349:
A Christ in Majesty became standard carved in the tympanum of a decorated
162:) is the earliest example with a clear date. In some cases Christ hands a
880:
760:
736:
542:
324:
273:
44:
272:
In the West the image showed a full-length enthroned Christ, often in a
874:
715:
showing Christ in Majesty with the Virgin Mary and Saints; a mosaic by
581:
577:
233:
167:
108:
960:, Vol. II, 1972 (English trans from German), Lund Humphries, London,
499:
409:
382:
315:
of church portals. This "seems to have been almost the only theme of
225:
197:
163:
127:
92:
87:
world, the image developed slightly differently into the half-length
75:
32:
922:
The Gothic Image: Religious Art in France of the Thirteenth Century
392:
A variant figure, or the same figure in a different context termed
142:, often with his feet on a low stool and usually flanked by Saints
507:
484:
376:
250:
206:
118:
91:, "Christ, Ruler of All", a usually unaccompanied figure, and the
38:
18:
614:
405:
316:
245:
220:
139:
361:
is the culmination of the Gothic image, although a minority of
460:
Old reproduction of the Sarcophagus of Junius Bassus, with a
276:
or other geometrical frame, surrounded by the symbols of the
111:, in which the image is ordinarily transported to the sky.
843:; p. 96; Burns & Oates, London, 1962. Hall, pp. 78–80
699:
Crucifix with Christ in Majesty; anonymous; 12th century
891:
A History of Private Life: From Pagan Rome to Byzantium
95:, where a full-length enthroned Christ is entreated by
134:, 4th century, includes a scroll box at Christ's feet.
280:, representing the vision of Chapters 4 and 5 of the
126:, or "transmission of the law", Christ as lawgiver,
687:, most of whose identifiable work is of the subject
107:, and then remains important until the end of the
816:"Traditio Legis, Traditio Clavum - Iconography"
396:, depicting Christ as judge, became common in
8:
854:A History of Ideas and Images in Italian Art
240:churches and the templon's successor, the
774:The exterior of a chapel attached to the
342:(the enthroned Virgin and Child) and the
856:, pp. 92–93, 1983, John Murray, London,
150:, and in a larger composition the other
792:
576:Christ in Judgement, Abbey Sainte-Foy,
427:
369:, not Christ, who is shown in majesty.
1032:—Includes photos of the Deesis in the
232:became standard at the centre of the
7:
735:Christ in Glory depicted on a large
228:gesture of his right to speak. The
14:
911:Schiller, Vol 2, pp. 188–189, 202
178:. This depiction is known as the
989:
977:
767:
752:
728:
704:
692:
673:
661:
646:
625:
606:
588:
569:
550:
534:
514:
491:
468:
453:
430:
365:believe that in this case it is
244:, and is also found as a panel
132:Basilica of San Lorenzo, Milan
16:Theme in Christian iconography
1:
877:of an enthroned vice-prefect
263:
184:("handing over the law"), or
958:Iconography of Christian Art
776:St. Nicholas Church, Tallinn
311:churches, and carved in the
156:Sarcophagus of Junius Bassus
498:13th century byzantinesque
154:. The central group of the
1088:
996:Reliefs of Majestas Domini
1019:St Mary's Church, Kempley
1015:, with apocalypse details
481:Basilica of Sant'Ambrogio
444:scene, from the basilica
211:The Deesis mosaic in the
176:Missorium of Theodosius I
35:in the early 15th century
1021:, Gloucestershire c.1120
504:Basilica of San Frediano
344:Coronation of the Virgin
655:Godescalc Evangelistary
653:Christ in Majesty from
329:illuminated manuscripts
288:period the twenty-four
43:Christ in majesty in a
799:The lexically similar
475:Detail of 4th century
389:
269:
257:illuminated manuscript
216:
135:
67:
52:
36:
1065:Christian terminology
747:and completed in 1962
713:Westminster Cathedral
557:Christ in Judgement,
523:Sant Climent de TaĂĽll
502:on the facade of the
380:
254:
210:
122:
42:
22:
1050:Iconography of Jesus
1030:Definition of Deesis
1017:: chancel painting,
998:at Wikimedia Commons
986:at Wikimedia Commons
721:John Francis Bentley
683:by the Scandinavian
101:St. John the Baptist
29:Andronikov Monastery
1070:Early Christian art
841:Early Christian Art
759:Christ in Glory in
448:, Rome, 4th century
394:Christ in Judgement
373:Christ in Judgement
357:. In painting, the
186:Christ the lawgiver
172:Arch of Constantine
81:Early Christian art
741:Coventry Cathedral
719:after drawings by
717:Robert Anning Bell
634:The Last Judgement
600:Chartres Cathedral
390:
282:Book of Revelation
270:
217:
136:
89:Christ Pantocrator
53:
37:
25:Andronikov Gospels
1013:Christ in Majesty
1002:Christ in Majesty
994:Media related to
982:Media related to
954:Schiller, Gertrud
942:Session of Christ
839:Eduard Syndicus;
745:Graham Sutherland
685:Master Majestatis
215:in Constantinople
202:Eastern Orthodoxy
72:Western Christian
56:Christ in Majesty
27:were made in the
1077:
993:
981:
925:
918:
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903:
900:
894:
887:Rufius Probianus
870:
864:
850:
844:
837:
831:
830:
828:
827:
818:. Archived from
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771:
756:
732:
711:The tympanum at
708:
696:
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650:
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610:
592:
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417:High Renaissance
359:Ghent Altarpiece
278:Four Evangelists
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1060:Christ the King
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984:Majestas Domini
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937:Christ the King
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613:The minster at
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519:
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426:
402:Doubting Thomas
398:Last Judgements
375:
266:
190:John Chrysostom
117:
68:Maiestas Domini
60:Christ in Glory
17:
12:
11:
5:
1085:
1084:
1081:
1073:
1072:
1067:
1062:
1057:
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1038:
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972:External links
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442:traditio Legis
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386:Last Judgement
374:
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367:God the Father
363:art historians
319:-pictures" in
181:Traditio legis
124:Traditio legis
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862:0-7195-3971-4
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822:on 2013-06-23
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920:Emile Mâle,
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902:Syndicus:143
898:
893:1987, p 272.
890:
878:
868:
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852:James Hall,
848:
840:
835:
824:. Retrieved
820:the original
810:
800:
795:
780:Sol Invictus
639:Fra Angelico
632:
461:
441:
438:Roman mosaic
414:
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305:Gospel Books
271:
229:
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213:Hagia Sophia
194:
185:
180:
179:
137:
123:
59:
55:
54:
641:, 1425–1431
477:sarcophagus
381:Florentine
346:by Christ.
321:Carolingian
302:illuminated
267: 1220
260:Gospel Book
255:Romanesque
242:iconostasis
115:Development
105:Renaissance
1044:Categories
966:0853313245
948:References
826:2013-12-23
355:archivolts
336:archangels
309:Romanesque
294:Apocalypse
286:Romanesque
174:, and the
563:Bourgogne
527:Catalonia
415:From the
284:. In the
170:, on the
85:Byzantine
74:image of
70:) is the
931:See also
881:vicarius
761:Jaleyrac
737:tapestry
619:tympanum
543:Innichen
325:Ottonian
313:tympanum
274:mandorla
238:Orthodox
236:beam in
168:diptychs
158:of 359 (
152:apostles
45:mandorla
875:diptych
582:Aveyron
578:Conques
559:VĂ©zelay
440:with a
424:Gallery
292:of the
234:templon
226:orators
198:Gospels
160:Vatican
109:Baroque
964:
860:
802:MaestĂ
723:, 1916
596:Portal
529:, 1123
500:mosaic
410:Heaven
383:mosaic
351:Gothic
340:MaestĂ
290:elders
230:Deesis
164:scroll
128:mosaic
93:Deesis
76:Christ
33:Moscow
788:Notes
508:Lucca
485:Milan
144:Peter
64:Latin
962:ISBN
885:, a
858:ISBN
778:(cf
681:Font
615:Bern
406:Hell
323:and
317:apse
298:halo
246:icon
221:apse
148:Paul
146:and
140:dais
99:and
97:Mary
23:The
739:in
637:by
598:of
483:in
58:or
1046::
956:,
580:,
561:,
525:,
506:,
479:,
331:.
264:c.
262:,
130:,
66::
31:,
1036:.
883:)
879:(
829:.
782:)
62:(
51:)
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