1000 Portraits of Genius. Victoria Charles

representations.

      The first forms of gothic art developed at the Saint Denis Cathedral around 1140 (inauguration of the rose window on the western façade) chiefly under the influence of Suger, counsellor to Louis VI and regent of the kingdom during the second crusade (1147–1149) in which Louis VII participated. Opposed to the austerity and asceticism of his contemporary, Bernard de Clairvaux, he stated in his De Administratione that the theology of the Enlightenment would serve as the guide to the edification of European gothic cathedrals. One of the central principals of this doctrine associated divine light and physical light, the latter which was perceived as a manifestation of the divinity. This is why stained glass windows and their iconography would become more and more important: the light coming through the windows was charged with symbolism, transforming into divine light that pours over its followers. It was on a stained glass window in the ambulatory of the Saint Denis abbey church that we see the portrait reappear; Suger is depicted at the feet of Christ. Monumental, funerary sculpture and sumptuous objects again became the support of human representations. Their style evolved progressively toward softer poses (Virgin with Child called Jeanne d’Evreux), a better appropriation of space and a more assertive naturalism (double portrait of Charles V and Jeanne de Bourbon).

      While the altarpiece became the most common décor for the church, painting was not exempt from this movement. The international gothic style developed parallel to the evolution of spiritual Christianity. In fact, the trend of the Devotio moderna born in the Pays-Bas which dispersed thanks to the writings of Thomas à Kempis (Imitation of Christ) who preached the personal exercise of faith, an internal quest contrary to the communion of advocated followers. In addition, the contemplation of saintly images took a central part in this doctrine. It was a supported trend by the city bourgeois, to personalise the individual and their devotion to Christ, encouraging the production of the portrait and proclaiming the humanism of the Renaissance.

      133. Christ Pantocrator, 1148. Mosaic. Cefalu Cathedral, Sicily. Byzantine.

      134. Bust of Arcadius Wearing the Imperial Diadem, Roman, early 5th century C.E. Marble. Arkeoloji Müzesi, Istanbul.

      135. Bust Portrait of Eutropius, Roman, mid-5th century C.E. Marble, height: 30.5 cm. Kunsthistorisches Museum, Vienna.

      A Roman historian, Eutropius flourished in the latter half of the fourth century C.E. He held the office of secretary (magister memoriae) at Constantinople, accompanied Julian on his expedition against the Persians (363), and was alive during the reign of Valens (364–378), to whom he dedicates his history. This work (Breviarium historae Romanae) is a complete compendium, in ten books, of Roman history from the foundation of the city to the accession of Valens. It was compiled with considerable care from the best accessible authorities, and is written generally with impartiality, and in a clear and simple style. Although the Latin in some instances differs from that of the purest models, the work was for a long time a favourite elementary schoolbook. Its independent value is small, but it sometimes fills a gap left by the more authoritative records.

      136. Procession of the Martyrs, 493–526 C.E. Mosaic, Basilica of Sant’Apollinare Nuovo, Ravenna. Byzantine.

      137. The Good Shepherd (detail), c. 44 °C.E. Mosaic, Mausoleum of Galla Placidia, Ravenna. Byzantine.

      138. Justinian and His Retinue, 546 C.E. Mosaic, Basilica of San Vitale, Ravenna. Byzantine.

      Located on the interior walls of the San Vitale Basilica in Ravenna, this mosaic is a pertinent example to the Byzantine style. The Emperor Justinian is clothed in purple and his head is surrounded with a halo, a similar attribute to that of the Christ at the top of the dome. He stands at the centre of the compositions with his soldiers and army at his left while the clergymen are at his right. This detail emphasizes that he was the leader of both the church and the state in his empire. In his hands he holds a paten and is seen with a beard to show that he was too busy performing his duties as ruler to shave. The gold background, an important symbolic colour that suggests an infinity taken out of mortal time on which supernatural images float, shows that the setting of the mosaic is inside a church. The structure shows that the figures are standing in a V-shape formation with Justinian at the front and centre with the Bishop Maximian at his left. This structure can be seen by the overlapping details of the feet with the individuals of lesser importance standing in the back.

      139. Empress Theodora and Her Attendants, c. 547 C.E. Mosaic, Basilica of San Vitale, Ravenna. Byzantine.

      140. Plague from the Diptych of Consul Aerobindus, c. 506 C.E. Ivory, 39 × 13 cm. Musée national du Moyen Age-Thermes et hôtel de Cluny, Paris. Early Christian.

      141. Ariadne and Her Cortege, early 6th century. Ivory, 40 × 14 cm. Musée national du Moyen Age-Thermes et hôtel de Cluny, Paris. Byzantine.

      142. The Emperor Triumphant (Justinian?), from the Barberini Ivory, diptych panel in five parts, first half of the 6th century. Ivory and traces of inlay, 34.2 × 26.8 cm. Musée du Louvre, Paris. Byzantine.

      143. Codex Purpureus Rossanensis (Rossano Gospels), the Judgement of Pilate, 6th century. Painting on parchment, 31 × 26 cm. Cathedral Treasury, Rossano. Byzantine.

      144. Christ Pantocrator, 6th century. Encaustic on wood, 84 × 45.5 cm. Saint Catherine’s Monastery, Mount Sinai. Byzantine.

      145. Virgin and Child Enthroned between Saints and Angels, late 6th century C.E. Encaustic on wood, 68.5 × 49.2 cm. Monastery of St. Catherine, Mount Sinai. Byzantine.

      146. St. Peter, early 7th century. Encaustic on wood, 93 × 53 cm. St. Catherine’s Monastery, Mount Sinai. Byzantine.

      147. Saint Sergius and Saint Bacchus, 7th century. Bohdan and Varvara Khanenko Museum of Art, Museum of Western and Oriental Art, Kiev. Byzantine.

      148. Saint Luke, 75 °C.E. Illustrated manuscript. Abbey Library of St. Gall, St. Gallen. Pre-Romanesque.

      Saint Luke is the assumed author of the Gospel of Luke and the Acts of the Apostles. The four evangelists are normally shown together with their prospective attributes. Luke was known as a physician, historian and even painter who is believed to have painted the first image of the Virgin Mary and the baby Jesus, although now this fact is most likely untrue. Because of this tradition, however, he is considered a patron of painters of pictures and is often portrayed as painting pictures of Mary. He is also shown in his animal form – an ox or a calf – because it is the symbol of sacrifice, which alludes to Jesus’ sacrifice for the world.

      149. Saint Matthew, c. 80 °C.E. Parchment, Albertina, Vienna. Romanesque.

      One of the twelve apostles, and the traditional author of the First Gospel, where Matthew is described as having been a tax-gatherer or customs-officer, in the service of the tetrarch Herod. His call to become a follower of Jesus was received as he sat in the “customs house” in one of the towns by the Sea of Galilee. He was at the time known as “Levi the son of Alphaeus.” Possibly “Matthew” was his Christian surname, since two native names, neither being a patronymic, is contrary to Jewish usage. It must be noted, however, that Matthew and Levi were sometimes distinguished in early times. It has generally been supposed,