In the week before Christmas, the Liturgy of the Hours (the official daily prayer of the Church) includes a series of special antiphons preceeding the recitation of the Magnificat (Luke 1: 46-55), collectively called the O Antiphons. In the English-speaking world we are most familiar with them as they are paraphrased in the well-known Advent hymn "O Come, O Come Emmanuel".
The antiphon for December 17th is "O Wisdom, O holy Word of God, you govern all creation with your strong yet tender care. Come and show your people the way to salvation."
The image which this antiphon brings to mind is the image of Christ Pantocrator. This is an image most common in the Byzantine tradition, although it is known in the West, especially in the great medieval cathedrals of Sicily. Traditionally, Christ is shown in this image as the Divine Lawgiver and Ruler, one hand raised in blessing, the other holding a book, whether open or shut. The book alludes to the Word of God, which He Is.
 |
| Christ Pantocrator Byzantine, 1145-1160 Cefalu, Cathedral |
The image which this antiphon brings to mind is the image of Christ Pantocrator. This is an image most common in the Byzantine tradition, although it is known in the West, especially in the great medieval cathedrals of Sicily. Traditionally, Christ is shown in this image as the Divine Lawgiver and Ruler, one hand raised in blessing, the other holding a book, whether open or shut. The book alludes to the Word of God, which He Is.
The image developed first in the late Roman Empire as it became a Christian empire. Initially its appearance is tied to projects undertaken for the Imperial family itself.
 |
| Christ in Majesty Roman, c. 350 Rome, Church of Santa Costanza Santa Costanza was built as a tomb for the Constantina, daughter of Constantine, the Emperor who recognized Christianity as a valid religion and then embraced it himself, making it not just a recognized religion, but the religion of the empire. |
 |
| Christ in Majesty Roman, c. 400 Rome, Church of Santa Pudenziana |
 |
| Christ in Majesty Byzantine, c. 526-547 Ravenna, Church of San Vitale |
In the south of Europe (Greece, Italy and Sicily) this Imperial-based figure developed into the image of the Christ Pantocrater.
In northern Europe it took a slightly less dramatic turn and developed into the Christ in Majesty figure which remained popular for many centuries. It saw its first development in manuscript painting (illumination) under the Carolingian and Ottonian Emperors of the Holy Roman Empire, from the eighth century.
 |
| Christ in Majesty From the Codex Aureus of Lorsch German, c. 778-830 Vatican City, Biblioteca Apostolica Vaticana MS , fol. 72v |
 |
| Christ in Majesty From the Fulda Sacramentary French (Corvey), c. 960-1000 Munich, Bayerisches Staatsbibliothek MS Clm 10077, fol. 11v |
 |
| Christ in Majesty From a Gospel Lectionary German (Possibly Echternach), c. 1000-1033 Munich, Bayerische Staats MS Clm 11327, fol. 2 |
 |
| Christ in Majesty From a Gospel Book German (Ottobeuren), c. 1165 Munich, Bayerisches Staatsbibliothek MS Clm 21255, fol. 20v |
 |
| Christ in Majesty From the Melk Missal Austrian (Melk or Seitenstetten), Late 12th-Early 13th Century Baltimore, Walters Art Museum MS W.33, fol. 1v |
Later, it received broader development in the developing nation states of the later Middle Ages.
 |
| Christ in Majesty Enameled Book Cover French (Limoges), Early 13th Century New York, Metropolitan Museum of Art |
 |
| Christ in Majesty From the Psalter of St. Louis and Blanche of Castille French c. 1225 Paris, Bibliotheque nationale de France MS Arsenal 1186, fol.28 |
 |
| Christ in Majesty From the Livre d’images de Madame Marie Flemish (Hainaut), c. 1275-1300 Paris, Bibliotheque nationale de France MS Nouvelle acquisition francaise 16251, fol. 51v |
 |
| The Rohan Master, Christ in Majesty From the Hours of Rene of Anjou French (Paris), c. 1435-1436 Paris, Bibliotheque nationale de France MS Lat 1156 A, fol. 97 |
 |
| Hans Memling, Christ Surrounded by Angels Center of a Triptych Flemish, 1480s Antwerp, Koninklijk Museum voor Schone Kunsten |
© M. Duffy, 2011 with additional material 2020
No comments:
Post a Comment