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DOI Artikel:Dobrzeniecki, Tadeusz: Some iconographical notes on the Maiestas Domini
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.18859#0077
2. Stuttgart, Wurttembergische Landesbibliothek, Bibl. fol. 23
Js another one: Hic mundi caeliąue sedet rex summus et auctorls.
The type discussed here spread over Italy to the Northern regions of Europę, where it was
accepted together with the other Late Classical motifs by the artists of the Early Carolingian
Renai sance. Important examples of this influence in Italy are known from the other works
°f the miniaturę painting.
The manuscript of the Apocalypse of St John executed in the Ist half of the IXth century
m the Church of St Eucharius in Treves has three miniatures with Christ enthroned on the
glohe, venerated by the four living creatures, ranged either horizontally in the sequence: vitulus,
leo, homo, aąuila or all together in the cosmic rectangle: homo-aquila-leo-vitulus. The lower part
°f the miniaturę on the fol. 16 is filled with the figures of 24 Elders of the Apocalypse aeclai-
ming the King and holding aurum coronarium"'.
Similar full-page compositions are found in the manuscript of the Apocalypse preserved in
18. A separate page of a Bibie (Biblioteca Vaticana, Cod. Barb. Lat. 587, fol. 5) shows the eycle of the Creation of the World
according to Genesis, in which God the Father is seated in profile on the sphere of IIeaven; this "Roman" model
is known from several works of mural painting, sec A. Weis, "Der romische Schópfungszyklus des 5. Jahrhundcrts im
Triclinium Neons zu Ravcnna", Tortulae, Studien zu altchristlichen und byzantinischen Monumenten, Rómische
Quartalsćhrift fiir christliche Alterlumskunde und Kirchengeschichte, 30. Supplementheft 1966, p. 300—316; P. Muratoff,
La pittura bizanlina, Roma, n.d. fig. CXLI, Ferentillo, S. Piętro, XIIth century; E. W. Anthony, Romanesque Frescoes,
Princeton, 1951, fig. 82; Rome, S. Giovanni a Porta Latina; O. Dcnius, Byzantine Art and the West, New York, 1970,
p. 122, fig. 123: Monreale, the Cathedral, a mosaic.
19. Treves, Stadtbibliothck, Cod. 31; A. Goldschmidt, Die deutsche Buchmalerei, I, Leipzig, 1928, pl. 54; M.R. James,
The Apocalypse in Art, London, 1931, p. 21, 34, 82; Das ersle Jahrtausend. Kultur und Kunst im werdenden Abendland
am Rhein und Ruhr. Tafclband von V. H. Elbern, Dusseldorf, 1962, No 241, fig. (fol. 16): the distriot of Meuse, Nor-
thern France (?), IXth century; Die Ausslellung Karl der Grosse, op. cit., p. 304—305, No 492; France (?) Ist half
of the IXth century; B. Bischoff, "Panorama der Handschrifteniiberlieferung aus der Zeit Karls des Grossen", Karl
der Grosse, II, Das geistigc Leben, Dusseldorf, 1965, p. 233—254.
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Js another one: Hic mundi caeliąue sedet rex summus et auctorls.
The type discussed here spread over Italy to the Northern regions of Europę, where it was
accepted together with the other Late Classical motifs by the artists of the Early Carolingian
Renai sance. Important examples of this influence in Italy are known from the other works
°f the miniaturę painting.
The manuscript of the Apocalypse of St John executed in the Ist half of the IXth century
m the Church of St Eucharius in Treves has three miniatures with Christ enthroned on the
glohe, venerated by the four living creatures, ranged either horizontally in the sequence: vitulus,
leo, homo, aąuila or all together in the cosmic rectangle: homo-aquila-leo-vitulus. The lower part
°f the miniaturę on the fol. 16 is filled with the figures of 24 Elders of the Apocalypse aeclai-
ming the King and holding aurum coronarium"'.
Similar full-page compositions are found in the manuscript of the Apocalypse preserved in
18. A separate page of a Bibie (Biblioteca Vaticana, Cod. Barb. Lat. 587, fol. 5) shows the eycle of the Creation of the World
according to Genesis, in which God the Father is seated in profile on the sphere of IIeaven; this "Roman" model
is known from several works of mural painting, sec A. Weis, "Der romische Schópfungszyklus des 5. Jahrhundcrts im
Triclinium Neons zu Ravcnna", Tortulae, Studien zu altchristlichen und byzantinischen Monumenten, Rómische
Quartalsćhrift fiir christliche Alterlumskunde und Kirchengeschichte, 30. Supplementheft 1966, p. 300—316; P. Muratoff,
La pittura bizanlina, Roma, n.d. fig. CXLI, Ferentillo, S. Piętro, XIIth century; E. W. Anthony, Romanesque Frescoes,
Princeton, 1951, fig. 82; Rome, S. Giovanni a Porta Latina; O. Dcnius, Byzantine Art and the West, New York, 1970,
p. 122, fig. 123: Monreale, the Cathedral, a mosaic.
19. Treves, Stadtbibliothck, Cod. 31; A. Goldschmidt, Die deutsche Buchmalerei, I, Leipzig, 1928, pl. 54; M.R. James,
The Apocalypse in Art, London, 1931, p. 21, 34, 82; Das ersle Jahrtausend. Kultur und Kunst im werdenden Abendland
am Rhein und Ruhr. Tafclband von V. H. Elbern, Dusseldorf, 1962, No 241, fig. (fol. 16): the distriot of Meuse, Nor-
thern France (?), IXth century; Die Ausslellung Karl der Grosse, op. cit., p. 304—305, No 492; France (?) Ist half
of the IXth century; B. Bischoff, "Panorama der Handschrifteniiberlieferung aus der Zeit Karls des Grossen", Karl
der Grosse, II, Das geistigc Leben, Dusseldorf, 1965, p. 233—254.
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