03 — ARTWORK
Majestas Domini and Heavenly Jerusalem
ROMANESQUE PAINTER, French · 1080 →
- MEDIUM
- Fresco
- TYPE
- Religious
PALETTE
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- FILE
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COMMENTARY
UNDERLINED TERMS ARE DEFINED IN THE GLOSSARY.
Majestas Domini and Heavenly Jerusalem c. 1080 FrescoWall painting technique in which pigments are applied to wet (fresh) plaster (intonaco). The pigments bind with the drying plaster to form a very durable image. Only a small area can be painted in a day, and these areas, drying to a slightly different tint, can in time be seen. Small amounts of retouching and detail work could be carried out on the dry plaster, a technique known as a secco fresco. Abbey Church, Saint-Chef (Isère)
The apses and convent chapela small separate place for worship, either part of a large church or a separate building. on the upper level of the northern transeptsection of a church at right-angles to the nave and in front of the choir. of the abbey church of Saint-Chef, east of Lyon, converted in 1056, contain remnants of what was surely once extensive fresco work. The paintings in the chapel were freed of later painting in 1967, and, though damaged, are in a quite good state of preservation. In the small apseA semicircular projection, roofed with a half-dome, at the east end of a church behind the altar. Smaller subsidiary apses may be found around the choir or transepts. Also known as an exedra. The adjective is apsidal. niche one can see a depiction of Christ in his glory(1) The supernatural radiance surrounding a holy person. (2) To have the distinction of one's deeds recognized in life and to be revered for them posthumously: this was glory. The nature of true gloria was much discussed, whether it must be connected with the public good, whether the actions that led to it must conform with Christian ethics, how it differed from notoriety. The concept did not exclude religious figures (the title of the church of the Frari in Venice was S. Maria Gloriosa), but it was overwhelmingly seen in terms of secular success and subsequent recognition, as determining the lifestyles of the potent and the form of their commemoration in literature, in portraits and on tombs. As such, it has been taken as a denial of medieval religiosity ('sic transit gloria mundi'), and thus a hallmark of Renaissance individual ism; as a formidable influence on cultural patronage; and as spurring on men of action, as well as writers and artists, to surpass their rivals - including their counterparts in antiquity., surrounded by angels and the symbols of the Evangelists.
The picture in the vaultA roof or ceiling whose structure is based on the arch. There are a wide range of forms, including the barrel (or tunnel) vault, formed by a continuous semi-circular arch; the groin vault, formed when two barrel vaults intersect; and the rib vault, consistong of a framework of diagonal ribs supporting interlocking arches. The development of the various forms was of great structural and aesthetic importance in the development of church architecture during the Middle Ages. of the Chapelle Conventuelle shows the mandorlaAn almond-shaped radiance surrounding a holy person, often seen in images of the Resurrection of Christ or the Assumption of the Virgin. depicting Christ enthroned on a bench covered with cushions and with his arms raised in blessing. Above the crown on Christ's head the Holy Lamb is placed rather awkwardly upside down as it belongs to another section of the vault.
CITE THIS RECORD — BIBTEX
@online{wga-r139e16e7aecfa4,
author = {Krén, Emil and Marx, Daniel},
title = {Majestas Domini and Heavenly Jerusalem by ROMANESQUE PAINTER, French},
organization = {{Web Gallery of Art}},
date = {2026-09-13},
url = {https://beta.wga.hu/artists/romanesque-painter-french-r7456d542021afa/majestas-domini-and-heavenly-jerusalem-r139e16e7aecfa4},
urldate = {2026-09-13},
langid = {english}
}ACCESSED 2026-09-13. REPLACE THE AUTHOR FIELD WITH THE COMMENTARY AUTHOR WHERE ONE IS NAMED.
