Christ in Majesty

On the lower half is an organization of geometric forms. However, the most important mosaic is the representation of Emperor Justinian and Emprise Theodora. Justinian is presented holding a bowl of Eucharistic bread as Theodora carries a chalice or vessel of Eucharistic wine. Due to the orientation of these figures and the ones that surrounds them, it could be suggested that they represent bringing Eucharistic elements into the church. Perhaps even as an offering to christ which is reinforced by the three magi bearing gifts on Theodora's rob.

Gorgeously. Striking. Grace. The golden painting is taking up by the two most iconic symbols of Christianity: Jesus Christ and Virgin Mary. Christ gently placing a golden grown on the inclined head of the Virgin Mary, who is sitting on the right side of Jesus; her hands crossed over her chest symbolist of humble, reverent and loyalty. This position was purposely set by Fabriano. In Christianity art, position is significant in dividing between good manners and malefactors. For instance, in The Last Judgment by Giotto di Bondone in 1305, heaven was placed on right of Christ, and hell was on the left. This ideology was clearly stated in the bible “...before him shall be gathered all nations:

Line of Sight—one important kinds of implied line is a function of line of sigh, the direction the figures in a given composition are looking. Titian artwork together the three separate horizontal area of the piece; God the father above, the Virgin Mary in the middle and the Apostles below. The lines that are create are simple, interlocking, symmetrical triangles. The lines are to serve to unify the worlds of the divine and the mortal.

This paper will analyze the iconography of the mosaic, Good Shepherd (lunette, Oratory of Galla Placidia, c. 425-26, Ravenna, Italy), that is located on the lunette over the north doorway of the Mausoleum of Galla Placidia, Ravenna. The iconography has been one of the most recognized and admired works of art since the 3rd century AD. In the mosaic, the artists present a depiction of Christ symbolic and traditional of Byzantine art during the conversion of Christianity in Roman provinces.

1. The Christ as the Good Shepherd mosaic located on the entrance wall of the Mausoleum of Galla Placidia in Ravenna, Italy was made circa 425 AD. A mausoleum is a monumental tomb, usually meant for entombing the dead above ground. The mosaic is displayed in a lunette-a semi-circular wall of a vaulted room. Even though the image of Christ as the Good Shepherd was a common one in catacombs in previous centuries, the way that Christ was shown in art had changed since Christianity had been adopted as Rome's official religion and the image of Christ in the Mausoleum of Galla Placidia was no different. Previously Christ had been shown as a simple carpenter, but in the Christ as the Good Shepherd mosaic he is shown in a fine Roman wear. At the time, Greeks thought that they could create order within their environments and thus create statues that were "perfect." This is what they believed they were doing with the way Christ was shown in the mosaic at the Mausoleum of Galla Placidia; creating a more worldly, powerful image of Christ. Christ is shown with a large golden nimbus (halo), a royal purple mangle over a golden tunic and holding a tall cross. Also depicted in the mosaic at the Mausoleum of Galla Placidia is a set of three sheep on each side of Christ, with him touching one on the nose.

The ominous figure in the centre of the foreground - Jesus Christ hanging lifeless on the cross, in Luca di Tommè’s ‘The Crucifixion’, primarily catches the eye. The symmetrical arrangement of lamenting figures around the cross, as well as the gilded background, highlight him as the focal point of this artwork.

The lines within the composition draws the viewer into several directions. The ruffles draw the eyes upward to the Daniel’s finger as it points to the right. Daniel’s finger directs the viewer horizontally as it does the king. The table with its array of dishes is another example of a horizontal line. The king’s hands are holding a fork and knife. The fork is also pointing right where as the knife is pointing left diagonally towards the king. The courtesan, leaning against the king’s right shoulder, is another example of a diagonal line. The painting also has a vertical feel to it. This is evident in the composition of Daniel standing, the candle and the arm holding the cigar. Like every line, every color used draw attention to the object.

The use of line in this piece is also very interesting. The artist employs a high horizontal line to create a plunging effect giving the piece more depth. Another use of lines in the image is to create focal points to attract the viewer. Lines are also used to separate the different sections of the painting. Overall this painting uses lines in dynamic ways that vastly enhance the viewers’ pleasure and admiration of the piece.

One of the most effective principles Paolo de Matteis uses in this painting is his use of lines and invisible lines to direct the viewer’s attention to the child in his mother’s arms. The shepherds and their animals, the Virgin Mary, and Saint Joseph are all instances of invisible lines in this painting, as their outstretched hands and lines of vision are all pointing to the baby Jesus. For example, the three women and the child kneeling to the bottom right side of the manger are all staring or pointing to the upper left, toward Jesus. Moving to the upper right corner of the painting, the ox and the donkey are directing their gaze to the bottom left, once again at Jesus. The two men to the right of the animals also point in that direction. In the top and center, Mary and Joseph watch their child, creating yet another invisible line pointing toward the point of emphasis, while the angels

The exterior of the church is very different from the ones we are used to in the sense that the church itself is vividly painted with all types of icons dating back to the mid 1960s. The tradition for this types of paintings is however rather old and in the orthodox creed these paintings are particularly important because they show the saints for whom the church was erected and whose name they usually take.

The Christ in Majesty with Symbols of the Four Evangelists uses an interesting technique in its apse, compared to previous Byzantine decorations in apses. It incorporates the technique of fresco painting, where artists painted pigments into the plaster and wood on the walls so the paint would become one with the walls similar to methods used in ancient Greece, compared to exercising mosaics as decorations in apses. The artist mostly employed primary pigments in the Christ in Majesty with Symbols of the Four Evangelists to make the figures stand out. A repetition occurs in the pigments with red, gold-like yellow, and blue with the occasional purple and the hair colors vary with tones of brown and grayish white.

The two main characters in the painting display elegant mannered poses and all the figures appear arranged in rather unnatural poses. There is a small scene at the foot of the Saint Catherine and Christ figures. This is thought to be the Christ child with the Virgin Mary and grandmother, Saint Anne. Below these two scenes are three smaller bordered scenes. The central one depicts two enemies reconciled by an archangel and the outer ones show Saints Michael and Margaret fighting demons. All these images show the triumph of good over evil, with the middle characters shedding their weapons and embracing. All these small pictures support that the painting was commissioned by Arigoi di Nero Arighetti to celebrate the end of a feud.

The Christ in Majesty with Symbols of the Four Evangelists uses an interesting technique, compared to the previous Byzantine decorations in apses. The Spanish apse incorporates the technique of fresco painting, where artists painted pigments into the plaster and wood on the walls so the paint would become one with the walls, similar to methods used in ancient Greece, compared to exercising mosaics as decorations in Byzantine

In contrast to the noble figure of Augustus, the piece titled “The Good Shepard” (300-350 AD. Marble. Height: 39 inches) which resides as a wall painting in the Catacomb of Calixtus, is an early symbolic representation of Christ as a Shepard (Mueso, Rome Web 2014). Symbolic images like these were common for the period of Early Christian art. It compares nicley to the Greco-Roman sculpture ( 3rd Century b.c.e) piece of the same name. A similar depiction can also be found at Dura Europas(Ceiling piece, fresco painting-seen in image below), in an ancient Christian meeting house (Klein Fred S. pg 210). Christ the Good Shepherd of the Twenty-third Psalm was often depicted as a beardless youth derived from the pagan god Apollo and with other ties to many Mediterranean mythologies. It is significant to note that the style of this painting with its loose impressionistic style and suggestion of a landscape echoes a category of ancient painting called sacral-idyllic landscapes.

The composition is built on the simple geometry of a pyramid, common among Renaissance artworks. The viewer’s attention is drawn immediately to Christ not only because He is located in the center, but the empty spaces surrounding him also serve as an emphasis. In addition, it gives off a sense of loneliness and isolation, knowing He is about to be betrayed. The twelve apostles are separated into four groups of three, with Christ as the central axis. Leonardo Da Vinci maintained the balance and symmetry within the space of the pyramid, dividing the four groups of apostles equally on both sides. The linear placement of the groups of apostles provides a balance and prevents overemphasis and attention on the center.