Keith Tyler

Medieval Europe

Essay 1

The medieval Christian church in the early middle ages underwent a change in tone and message from the influences that the barbarian tribes had on the Church through its active conversion efforts. The Germanic tribes lived in a world of war and battle, and the concepts they were most familiar with was that of tribal kings and military success over enemies. The message that succeeded in converting them to Christianity was one where God and Christ ruled in glory and triumphed over darkness in battle.

In each of these pieces of art we see the figure or face of Christ associated with royal majesty, as king or protector of the earth. The Ravenna mosaic shows Christ as a Roman general. He wields his cross behind his head like a sword and tramples on the heads of dangerous animals, showing his enemies' submission to his power. His greatness is further represented by his huge height, standing above the tops of mountains. Here also, unlike the other two works, Christ is shown not only as a ruler of conquest but also a ruler of wisdom, as he holds a book of Truth in his left hand.

In the Barberini ivory Christ is instead associated with the victory of the emperor depicted in the center. But his magnificence is still prominent as he sits at the top of the scene, surrounded by angels. Like in the Ravenna mosaic, he holds his cross in his hand, similar to the way in which the central victorious figure holds his lance upright. Like Christ in the Ravenna piece, the emperor figure and his horse stand above the heads of distant peoples, as well as the beasts. Instead of combining the imagery of earthly emperor and heavenly lord in the human-divine Christ, here the emperor figure, with his crown, jewels, and decoration, is a specific person, and Christ is a separate figure who is not adorned in earthly splendor but in robes. Here also, unlike the other two works, Christ is given tidy, short Roman hair instead of longer hair as in the other two works.

In the simpler Ratchis altar, Christ in his heavenly glory is focused upon, and there are no earthly representations. The piece here is similar to the headpiece of the Barberini work. Christ sits within an oval frame, supported by the angels surrounding him. Above him touching his head is the hand of God. He is shown again not in earthly but heavenly splendor, draped in a flowing robe and vestments. He is making a gesture with his right thumb and ring finger as he does in the previous piece; perhaps this signifies victory. Similar to the previous work, there is a triumphant central figure, whose victory is ensured by a power greater than him; in the ivory work, Christ over the emperor, here, God the Father over the Son.

We see the focus on Christ as a provider of victory on earth and glory in heaven. This appears to show the start of characterizing Christ not as the peaceful shepherd of his flock but the determined general of his troops. This imagery was likely the most appealing for the warring Germanic tribal kings, who were most interested in their royal power, and military success over competing tribes. Though voluntary conversion became an act of diplomacy, the concept of Christ as a successful, wise, and benevolent ruler would be one which these kings would happily associate with.