Jean Bourdichon, The Visitation From the Grandes Herures d'Anne de Bretagne French (Tours), c. 1503-1508 Paris, Bibliotheque nationale de France MS Latin 9474, fol. 36v
“During those days Mary set
out and traveled to the hill country in haste to a town of Judah, where she entered the house
of Zechariah and greeted Elizabeth.
When Elizabeth heard Mary’s
greeting, the infant leaped in her womb, and Elizabeth, filled with
the holy Spirit,cried out in a loud voice and said,
“Most blessed are you among
women, and blessed is the fruit of your womb. And how does this happen to
me, that the mother of my Lord should come to me? For at the moment the sound
of your greeting reached my ears, the infant in my womb leaped for joy.
Blessed are you who believed that what was spoken to you by the
Lord would be
fulfilled.”
(Luke
1:39-45) Gospel for the Wednesday of the Fourth Week of vent, Weekday Cycle 1
Mary's
journey to the home of her cousin, Elizabeth, figures largely in the story of
the birth of Jesus. It is sparked by
Gabriel's response to Mary’s very sensible objection of her own virginity to
his message about becoming a mother.
“Mary
said to the angel, “How can this be, since I have no relations with a man?”
And the
angel said to her in reply, “The holy Spirit will come upon you, and the power
of the Most High will overshadow you. Therefore, the child to be born will be
called holy, the Son of God.
And
behold, Elizabeth, your relative, has also conceived a son in her old age, and
this is the sixth month for her who was called barren;
for
nothing will be impossible for God.” (Luke 1:34-37)
It is,
apparently, in response to this miracle that Mary accepts what the angel has
told her and says the fateful words: “Behold, I am the handmaid of the Lord.
May it be done to me according to your word.”
(Luke 1:38) It is at this
point, with her acceptance, that is the moment of the Incarnation.
Mary’s first
thought is about Elizabeth. We may
assume that, in addition to some concern about a late-life pregnancy for her
cousin, Mary is also a bit desirous of proof of the things the angel had said to
her. Could it have been real? Was it something she imagined? Seeing Elizabeth, seeing her pregnant, could
have been a key in her understanding of what had just happened to her. For, if Elizabeth was in her sixth month,
perhaps she really was carrying the Son of God herself.
Consequently,
Elizabeth’s reaction to Mary’s arrival held great importance for her. Elizabeth’s joy and her words of ecstatic
welcome suggested that Mary had not been having a dream, that the angel’s
arrival and startling message were real, not a figment of her imagination. It is, therefore, a very important moment in
the story of Mary’s acceptance of her astonishing new role in life. And it prompted from her the wonderful,
exuberant canticle known as the Magnificat, recited daily during the Liturgy of
the Hours at the Office of Vespers.
“And Mary said: “My soul proclaims the greatness of the Lord; my spirit rejoices in God my savior. For he has looked upon his handmaid’s lowliness; behold, from now on will all ages call me blessed. The Mighty One has done great things for me, and holy is his name. His mercy is from age to age to those who fear him. He has shown might with his arm, dispersed the arrogant of mind and heart. He has thrown down the rulers from their thrones but lifted up the lowly. The hungry he has filled with good things; the rich he has sent away empty. He has helped Israel his servant, remembering his mercy, according to his promise to our fathers, to Abraham and to his descendants forever.” (Luke 1:46-55)
The event of
the Visitation was adopted as the second of the Joyful Mysteries of the Rosary
and, as such, has been meditated on by Catholics for centuries.
Artists have
depicted the meeting many times in different ways. There are several iconographic traditions
about which I have written extensively.
For convenience, I have summarized them below, with links to the
relevant articles.
The Visitation
·The Joyful Mysteries, The Second
Joyful Mystery, The Visitation Part I – The Simple Greeting (click
here)
·The Joyful Mysteries, The Second
Joyful Mystery, The Visitation Part II – The Kneeling Elizabeth (click
here)
·The Joyful Mysteries, The Second
Joyful Mystery, The Visitation Part III – Acts of Blessing (click
here)
·The Joyful Mysteries, The Second
Joyful Mystery, The Visitation Part IV – Visible Babies (click
here)
·The Joyful Mysteries, The Second
Joyful Mystery, The Visitation Part V – The Magnificat (click
here)
Christ in Majesty, Codex Aureus of Lorsch German, c. 778-830 Alba Julia (RU), Biblioteca Documenta Batthyaneum MS R II 1, fol. 72v
Jesus said to his disciples: "When the Son of Man comes in his glory, and all the angels with him, he will sit upon his glorious throne, and all the nations will be assembled before him. And he will separate them one from another, as a shepherd separates the sheep from the goats."
Matthew 25:31-32
Portion of Gospel for the Solemnity of Christ the King,
Year A
The idea of Jesus as king of the universe goes back to the earliest decades of Christian life. In Philippians 2:9-11, written sometime between 55 and 63 AD, St. Paul quotes what is believed to be one of the earliest Christian hymns which proclaims “Jesus Christ is Lord, to the glory of God the Father” at whose name “every knee should bend, of those in heaven and on earth and under the earth” (Philippians 2:11 and 10).
In Christian art, however, the visual representation of Christ as King and Lord of the universe took a while to develop. It was not until the 4th century, when Christianity had become a tolerated religion and was free to construct buildings specifically for Christian worship, that this image began to appear. Earlier, images of Christ, made during the days of persecution and a need for concealment, had been symbolic (such as the well-known sign of the fish) or had been disguised (as for instance, the image of the Good Shepherd or the Philosopher). 1With the easing of these pressures, and the accompanying sudden acquisition of Imperial favor and Imperial involvement; as well as in the course of thrashing out the Church’s understanding of the nature of Jesus as both human and divine, these images were superseded by others which reflected the kingly understanding already apparent in the hymn quoted by St. Paul.
Developing the Iconography
The obvious place to which 4th century Christians looked for ideas in how to portray the human-divine person of Jesus as King was to already existing images of the Emperor. These images went back as far as the time of Augustus in the early 1st century (as for instance in the Augusta Primaporta).
Augustus Primaporta, Roman, 1st century Vatican, Vatican Museums, Braccio Nuovo
But they were also as recent as Constantine’s own colossal statue of around 315. This gigantic statue, parts of which can be seen today in the Capitoline Museum in Rome, was placed around 315 in the secular basilica, now known as the Basilica of Constantine, close to the Coliseum. Modeled on the famous colossal statue of the god, Zeus, at Olympus, it showed Constantine seated, holding a scepter in his upraised right hand. Reconstructions suggest that he held an orb in his now missing left hand.
Colossal Statue of Constantine
(Computer reconstruction)
Rome, 4th century
The marble parts are today in the Capitoline Museum in Rome
It is, therefore, not surprising that the earliest images of Christ as King portray Him in a similar way. In one of the two apse mosaics from the tomb of Constantine’s daughter, Constantina, dated to around 350, Christ appears as if an Emperor. As described by Prof. Johannes Deckers “Christ is portrayed as Pantocrator, enthroned atop a transparent blue sphere symbolizing the cosmos. Although he still wears the traditional costume of a philosopher, consisting of tunic, cloak and sandals, now his garments are either gold or purple adorned with wide gold stripes like those of the emperor. His bearded head is surrounded by a nimbus, a device employed in earlier Roman art to distinguish gods, personifications, and deified emperors. Christ hands Peter a pair of keys symbolic of the powers entrusted to him. Peter receives the keys in humility, his hands draped in his cloak. …. it is as though we are witnessing a ceremony at the court of the emperor of heaven. Peter approaches Christ in the way etiquette demanded that an official approach the emperor on receiving an appointment. .. Christ appears like the lord of heaven between fiery clouds, enthroned above the spherical cosmos. To see how explicitly Christ is cast in the role of n emperor, one need only glance at a traditional formula adapted for various rulers in Roman times.”2
Christ in Majesty Mosaic Roman, c. 350
Rome, Church of Santa Costanza
However, there are also significant differences between the image of Christ and the image of the Emperor for Christ holds, not a scepter and an orb, but keys and a scroll, very much as He had in the image of the Traditio Legis. He is not the worldly ruler, but a ruler whose kingdom is one of heavenly power, based on the Scriptures.
A few decades later, in the last decade of the 4th century, the Roman church of Santa Pudenziana was decorated with an apse mosaic in which the theme of Christ as ruler is still close to that of the Emperor. This image shows Christ, seated on a throne and surrounded by the Apostles, as well as by two female figures that may represent the Old and New Testaments.
Christ in Majesty Mosaic Roman, c. 400 Rome, Church of Santa Pudenziana
Compositionally, it is not unlike the silver plate, called the Missorium of Theodosius I, which is almost exactly contemporary. However, again there are points of departure between the images. In Santa Pudenziana, Christ once again holds a document which now begins to resemble a codex (a bound book, instead of a scroll) and His right hand begins to assume a blessing gesture.
Silver Plate known as the Missorium of Theodosius I
Roman, c. 388
Madrid, Academia Real de Historia
In the image used in the sixth century church of San Vitale in Ravenna, at that time the Italian capital of the emerging Byzantine Empire (based in Constantinople, today's Istanbul) Christ again holds a scroll or possibly a codex in his left hand, while presenting the wreath of heavenly victory to the emperor, who is presented to him by an angel.
Christ in Majesty Mosaic, Byzantine, c. 526-547 Ravenna, Church of San Vitale
Byzantine Tradition
These late antique images formed the basis for the image of the Christ Pantocrator, which became widespread in Byzantine and Byzantine-derived works.
The earliest known image of the specific type known as the Pantocrator comes from the sixth century, from the monastery of Saint Catherine at Sinai. It is a more focused view of the upper body of Christ, which appears to derive from the Christ in Majesty figures in the earlier mosaic works.
Earliest Known Image of Christ as Pantocrator Byzantine, 6th Century Sinai (Egypt), Saint Catherine's Monastery
This became the favored image for the Byzantine world, frequently appearing in mosaic form wherever the Greek Church was established, as far west as southern Italy and Sicily and in the Greek derived Churches of Eastern Europe and Russia.
Apse Mosaic Byzantine, c. 1180-1190 Monreale (Sicily), Cathedral
Icon of Christ Pantocrator Russian, 1363 Saint Petersburg, State Hermitage Museum
However, the Byzantine tradition also continued to use image of a full-scale seated Christ as well.
Basilius, The Deesis From the Melisande Psalter Byzantine (Jerusalem), c. 1131-1143 London, British Library MS Egerton 1139, fol. 12v
Ascension with Christ in Majesty From a Gospel Book Eastern Mediterranean, Possible Cyprus or Palestine, c. 1175-1250 London, British Library MS Harley 1810, fol. 135v
Deesis Mosaic Byzantine, c. 1260-1270 Istanbul, Hagia Sophia
Elias Moskos, Christ in Majesty Greek, 1653 Recklinghausen, Ikonen-Museum
Medieval Europe
By the middle ages, in what had been the western half of the Roman Empire, the image of the seated Christ, holding a codex and blessing appeared in many media, large and small scale. These included book covers, book illustrations, sculpture, wall paintings and metalwork. Examples come from all over the Christian west.
Christ in Majesty From the Gospel Book of Godescalc German (Rheinland), c. 781-783 Paris, Bibliotheque nationale de France MS Nouvelle acquisition latine 1203, fol. 3r
Christ in Majesty and the Visitation From Gospels of Saint-Médard de Soissons German (Aachen), c. 800 Paris, Bibliotheque nationale de France MS Latin 8850, fol. 124r
Christ in Majesty From the Gospels of Lothair French (Tours), c. 849-851 Paris, Bibliotheque nationale de France MS Latin 266, fol. 2v
Christ in Majesty with Prophets and Evangelists From the Codex Aureus of Saint Emmeram French, c. 870-879 Munich, Bayerischen Staatsbibliothek MS Cod. lat. 14000, fol. 6v
Christ in Majesty From the Sacramentary of Charles the Bald French, c. 870 Paris, Bibliotheque nationale de France MS Latin 1141, rol. 5r
Christ in Majesty From the Benedictional of Aethelwold English, c. 963-984 London, British Library MS Additional 49598, fol. 70r
Christ in Majesty Surrounded by the Evangelists and their Symbols From the Gospels of the Sainte-Chapelle German (Treves), c. 984 Paris, Bibliotheque nationale de France MS Latin 8851, fol. 1v
Christ in Majesty Ivory, German, 11th century New York, Metropolitan Museum of Art
By the beginning of the eleventh century (1000-1100) the image of Christ in Majesty was widespread. Christ is seated on a throne instead of the globe, most often he holds a book in one hand and makes a gesture of blessing with the other. He is usually surrounded by a mandorla, around which there may be angels, the evangelists or their symbols, and sometimes prophets and saints.
The Great Alleluia From the Bamberg Apocalypse German (Reichenau), c. 1010 Bamberg, Staatsbibliothek Bamberg MS Msc.Bibl.140, fol. 47v
Lintel with Christ in Majesty French, c. 1019-1020 Saint-Genis-des-Fontaines, Abbey Church
Capital with Christ in Majesty French, c. 1050 Paris, Musée de Cluny, Musée nationale du Moyen Âge
Christ in Majesty Tympanum of the West Portal French, c. 1090 Charlieu, Church of Saint-Fortunat
Christ in Majesty From the Shaftesbury Psalter English, c. 1125-1150 London, British Library MS Landsdowne 383, fol. 14v
During the twelfth and thirteenth centuries the city of Limoges in south-central France (long been famous for its enamelwork on copper and continuing this tradition of enamel painting to this day through its famous porcelain factories) produced what must have been thousands of variations on this image for use in portable altars, covers for liturgical books and other liturgical equipment.
Only this year (2022) have I found that the manuscript illuminators of medieval Limoges produced virtually identical works. This suggests that there was a commonly agreed upon model for producing this image in the city.
Christ in Majesty From a Missal French (Limoges), 12th Century Paris, Bibliotheque nationale de France MS Latin 9438, fol. 58v
Christ in Majesty French (Limoges), c. 1175-1200 Paris, Musée de Cluny, Musée nationale du Moyen Âge
Book-Cover Plaque with Christ in Majesty French (Limoges), c. 1185-1210 New York, Metropolitan Museum of Art
Book-Cover Plaque with Christ in Majesty French (Limoges), c. 1200 New York, Metropolitan Museum of Art
Enamel Cover of Gospel Book with Christ in Majesty French (Limoges), c. 12th-13th Century London, British Library MS Additional 27926
Christ in Majesty Enamel book cover plaque French, Limoges, early 13th century New York, Metropolitan Museum of Art
Plaque from a Book Cover with Christ in Majesty French (Limoges), 13th Century Vatican City, Musei Vaticani
These works from Limoges were spread all over Europe and must have had a very great influence on the artists in the countries that received their objects.
Christ in Majesty From the Westminster Psalter English (Westminster or St. Albans), c. 1300 London, British Library MS Royal 2 A XXII, fol. 14r
Christ in Majesty From a Psalter French (North French), c. 1210 Paris, Bibliotheque nationale de France MS Latin 238, fol. 30v
Christ in Majesty From Psalter of Saint Louis and Blanche of Castille French, c. 1225 Paris, Bibliotheque nationale de France MS Arsenal 1186, fol. 28r
Christ in Majesty From the Portada del Sarmental Spanish, c. 1235 Burgos, Cathedral
Christ in Majesty From Images de la vie du Christ et des saints Flemish (Hainaut), c. 1285-1290 Paris, Bibliotheque nationale de France MS Nouvelle acquisition francaise 16251, fol. 51v
Christ in Majesty From Bible historiale by Guiard des Moulins French (Paris), c. 1300-1325 Paris, Bibliotheque nationale de France MS Francais 160, fol. 1r
The Queen Mary Master, Christ in Majesty From the Queen Mary Psalter English (Westminster), c. 1310-1320 London, British Library MS Royal 2 B VII, fol. 298v
Atelier of Jean Pucelle, Christ in Majesty From the Breviary of Belleville French (Paris), c. 1323-1326 Paris, Bibliotheque nationale de France MS latin 10483, fol. 213r
Christ in Majesty From Meditationes vitae Christi Italian (Siena), c. 1330-1340 Paris, Bibliotheque nationale de France MS Italien 115, fol. 4r
Niccolo di Giacomo di Nascimbene, aka Niccolo da Bologna, Christ in Majesty with Saints Cutting from a Choir Book Italian (Bologna), c. 1350-1375 London, British Library MS Additional 22310, fol. 10
Christ in Majesty From the Breviary of Martin of Aragon Spanish (Catalonia), c. 1398-1403 & 1420-1430 Paris, Bibliotheque nationale de France MS Rothschild 2529, fol. 104v
Christ in Majesty with the Twelve Elders From the Liber Floridus by Lambert de Saint-Omer Flemish (Lille), 1460 The Hague, Koninklijk Bibliotheek MS KB 72 A 23, fol. 11v
The Renaissance
The Renaissance period brought some changes to the use of the image of Christ in Majesty.
For one thing, it returned to use as a decoration for the semi-domes of the churches that were being built according to classical principles, first as a continuation of the mosaic tradition and later in newly realistic paintings.
Apse Mosaic of Christ in Majesty Italian, 1297 Florence, Church of San Miniato al Monte
Boccaccio Boccaccino, Christ in Majesty with the Patron Saints of Cremona Italian, 1506 Cremona, Cathedral
And it appeared in the newly introduced form of panel paintings.
Giotto, The Stefaneschi Triptych Italian, c. 1330 Vatican City, Pinacoteca Vaticana
Hans Memling, Christ in Majesty Surrounded by Angels Center of triptych Netherlandish, 1480s Antwerp, Koninklijk Museum voor Schone Kunsten
The Tradition Continues
This visual tradition leads right up to the 20th century, with the huge mosaic of Christ in Majesty in the National Shrine of the Immaculate Conception in Washington, D. C., executed by Jan Henryk de Rosen, completed in 1959.
Jan Henryk de Rosen, Christ in Majesty
Polish, 1959
Washington, D.C., National Shrine of the Immaculate Conception
On December 11, 1925, at the conclusion of the 1925 Holy Year, Pope Pius XI established the feast of the Kingship of Our Lord Jesus Christ, with his encyclical, Quas Primas (The first (encyclical) which). In the encyclical Pius XI traced the roots of the title in the Bible and in Sacred Tradition and its meaning for the entire world. He fixed the date of the feast “on the last Sunday of the month of October - the Sunday, that is, which immediately precedes the Feast of All Saints”.3
On February 14, 1969, following Vatican Council II, Pope Paul VI in his motu proprio, Mysterii paschalis (The Paschal Mystery), promulgated a revised calendar of liturgical celebrations for the universal Church.4 As one of the revisions the Solemnity of Christ the King was moved to its present location of the last Sunday in Ordinary Time, as a fitting way to mark the close of the Church’s liturgical year. This move gave to the feast a slightly different, more cosmic, emphasis, an emphasis that had, in fact, been latent in the image of Christ in Majesty for centuries. For, at this time of the year, that is in the weeks leading up to and including the first Sunday of Advent (the Sunday which begins the new liturgical year), we are presented with readings that deal with the end of time and the final judgment of the world when, at His second coming, Christ will return to judge the world. Therefore, the image of Christ as King of the Universe and Lord of Time, with its undertones of relationship to scenes of the Last Judgment has found a match in the liturgical feast.
___________________________________________
1. Spier, Jeffrey; Fine, Steven; Charles-Murray, Mary; Jensen, Robin M.; Deckers, Johannes G. and Kessler, Herbert L. Picturing the Bible: the Earliest Christian Art, Catalog of the exhibition held at the Kimbell Art Museum, Fort Worth, TX, November 28, 2007-March 30, 2008, New Haven, Yale University Press, 2007, pp. 13, 51-64. For information on this past exhibition see https://www.kimbellart.org/Exhibitions/Exhibition-Details.aspx?eid=47
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