Martin Luther University Halle-Wittenberg

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Wing of a Diptych

Bild aus CA-Sammlung Erzengelmichael

Bild aus CA-Sammlung Erzengelmichael

 Although the archangel Michael was frequently represented in art of the East and the West, the content of these representations was quite different. While the Occident prefers Michael as the dragon-slayer, the Orient prefers him as a representative of heaven, as guardian of the Kingdom of Heaven, a composition known to have been realised in early Christian times and on an ivory wing of the 5th or 6th century preserved in the British Museum in London. The archangel of this ivory stands under a gateway with a round arch at its upper end. His broad shape fills the gateway, and hois hands hold a glove with a cross above it and is hands holding a globe with a cross above it and a long scepter even reach beyond the gateway. A more exact view demonstrates inconsistencies concerning the architectural details. Michael seems to stand - observed from a visual focus at the height of his chest - in the front of the gateway but - observed from a point of a visual focus at height of his feet - he seems to stand behind the gateway. Strictly speaking, he is not standing at all because his feet reach over three steps and so we have to say that he is floating. Terrestrial bonds are avoided consistently. The archangel is a representative of heaven. The ivory has had an equivalent, the second wing of the diptych. But what did this look like? Unfortunately, it is not possible to make a clear statement concerning this point, but it is worth noting that the style of representation owes its origin to the representation of the Emperor, so it’s obvious to think of a „ruler’s representation“ (similar to that we know from book cover in the Museo Sacro Città del Vaticano).

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