Cambrai, executed in the same scriptorium as the Treves one2" (fig. 1). On the miniaturę of the
Stuttgart Psalter Christ as the Judge is holding the balance and rests His feet on the rectangular
scabellum" (fig. 2). The Xanten Gospels belongingto the group of the Court manuscripts of the
beginning of the IXth century, had originally a single miniaturę with the representation of the
Maiestas Domini: Christ is enthroned on the globe of the cosmos, below, side by side, the
four Evangelists are sitting with their symbols22.

In the Treves Gospel (Ist quarter of the IXth cetitury) there is a page with the represen-
tation of the Maiestas Domini, included before the text of St Matthew's Gospel, coming also
from the scriptorium in Treves but executed in the Xlth century; Christ is seated on the globe-
-cosmos and His feet are resting on a smaller globe — the Earth, according to His words: „The
Heaven is my throne and the Earth is my footstool"23. This image was, without any doubt,
a model of the relief composition on the walrus plaąue in the collection of the Gallery of Mediaeval
Art of the National Museum in Warsaw21 (fig 3). The plaąue has the shape of a vertical rectaugle,
in the centrę of which Christ enthroned is blessing with His right hand and holding in the left
one the opened book; under His bare feet there is a scabellum in the shape of the console — the
transformed globe of the Earth. In the corners of the rectangle the half-figures of the living
creatures — the symbols of the Evangelists with the unfolded scrolls are represented: homo-
aąuila; vitulus-leo. Toward the head of Christ the Dove — the manifestation of the Holy Ghost
is descending vertically from the clouds. The use of the sphere as a throne in the representations
of the Maiestas Domini continued for a loug time in the Italian art and. under its influence also
in France and Catalogue up to the XIIth century. The Catalan miniaturę in the Farfa Bibie
shows Christ seated in the already kiiown way and resting His feet on the semicircular scabellum25.
An example of such a use of the sphere in the XIIth century is a miniaturę in the Spanish
manuscript in the collection of the homelies of Bede the Venerable26.

An evidence of a more distant influence of this typc of the representation is an ivory plaque
executed by the Byzantine artist, who used the Hellenistic motif in the scenę of the Ascension
of Christ, seated on the globe covered by the stars and carried by two angels instead of being
enclosed by the traditional Eastern mandorla27.

On the Romanesąue j)laque in the collection of the National Museum in Warsaw the most
interesting motif is the Dove hovering about the head of Christ: it appears in a similar form in
the more elaborated program of the representation of the Maiestas Domini on a Romanesąue

20. Cambrai, Bibl. Municipale, Ms 164, fol. llv, 40r; James, op. cit., p. 21, 34, 82; W. Braunfels, Die Weil der Karolinger
und ilire Kunst, Miinchen, 1968, p. 180—181, fig. 219—222.

21. Stuttgart, Landesbibliothek; Cook, op. cii., p. 39; H. Ehl, Altesle deutschc Malerei, Berlin, 1921, fig. 15.

22. Xanten, St Yictor, now Brussels, Bibliothetpic Royale, Ms 18723, fol. 16v, executcd in Aix-la-Chapelle; Ausstellung
Karl der Grosse, op. cit., p. 259, n° 422, fig. 61.

23. The Gospel from S. Maria ad Martyres; Treves, Stadtbibliothek Ms 23, vol. II, fol. 22r; Ist cruarter of the IXth century;
Cook, op. cii., p. 39; A. Baumstark, "Die Karolingisch - romanische Maiestas Domini und ihre orientalischen Parallc-
len", Oriens Christianus, XXIII, 1927, p. 242—260, fig. 3; Goldschmidt, Buchmalerei, op. cit., pl. 9—10; Die Ausstel-
lung Karl der Grosse, op. cit., p. 269, No 441.

24. No 164666, formerly in Wrocław, Schlesisches Museum der Altertumer; A. Goldschmidt, Die Ełfenbeinskulpturen aus
der romanischen Zeil, XI—XIII Jahrhundert, Berlin, 1923, No 51.

25. Rome, Cod. Vat. Lat. 5729, XIth century; Cook, op. cit., p. 40, fig. 12.

26. Gerona, Church of San Fclin, Und half of the XIIth century; Cook, op. cit., p. 40, fig. 13.

27. H. Gutberlet, Die Himmdfuhrt Christi in der hildenden Kunst von den Anfangen bis ins hohe Mittelalter, Strasshurg, 1934,
pl. VII; D.T. Rice, The Art of Byzantium, London, 1959, fig. 114 (Xth century); J. Beckwith, The Art of Conslanti-
nople, London, 1961, p. 115, fig. 147; Demus, Byzantine Art, op. cit., fig. 12 to the p. 13; Cook, op. cit., s. 40 and
footnote.

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