Evangelist Portrait - Depictions and Other Media

Depictions and Other Media

Late Antique evangelist portraits often show standing figures, as in the ivory panels of the Throne of Maximianus in Milan, but from the Insular art of the 7th to 10th centuries, evangelist portraits in manuscripts nearly always closely followed the seated classical models, showing the Evangelists at full-length, either looking out at the viewer or writing at a table or desk and seen at an oblique angle. These were derived from unknown classical prototypes, similar to those in the Codex Amiatinus and Saint Augustine Gospels, though both of these types are rather different from the general types. Usually a setting is provided for the figure. Details of the classical models, such as anachronistic scrolls and scroll-boxes, and a small writing-stand with a single dolphin-shaped support (see gallery below), survive well into the Middle Ages, sometimes clearly misunderstood by the artists concerned. Perhaps because of the secular origins of the typology, haloes are less likely to be worn than in other types of image. The level of detail shown in the furniture and fittings is unusual for Early Medieval art. An arch behind the author, often with curtains hanging across it, in some examples close to the classical models, gradually is turned into a decorative framing device for the whole scene.

Early Gospel Books often had a very elaborate and costly cover in metalwork, often with jewels and ivories. These most often featured a central panel with Christ in Majesty, often including the Evangelists and/or their symbols in the corners. Versions of the same composition appear in all media used for Early Medieval religious art, including wall paintings. The Tassilo Chalice is an 8th century example of pure metalwork with five oval medallion portraits of Christ and the Evangelists (with symbols) round the cup.