Csornay Boldizsár - Hubai Péter szerk.: A Szépművészeti Múzeum közleményei 96. (Budapest, 2002)

KOVÁCS, ZOLTÁN: A New Representation of the Salvator Mundi from the workshop of Quentin Massys

39. Cimabue and workshop: Pantokrator, Pisa, Cathedral, beginning of the 14th century TYPES AND PROTOTYPES OF THE REPRESENTATION OF THE SALVATOR MUNDI IN NETHERLANDISH ART The iconographie type ofThe Salvator Mundi belongs to the tradition of representing the triumphant Christ as a heavenly sovereign (Christus triumphans), a tradition that is markedly different from that of the images of the suffering Christ (Christus patiens).

10 The representation of Christ as ruler had been one of the classic themes of sacred art ever since the Early Christian period. Pantokrator images in Byzantine apses, as well as Maiestas Domini reliefs in Romanesque tympana, heralded the glory and magnificence of Christ and emphasised the immortal, divine aspect of His nature over the suffering and mortal, human one. Similarly, images of the Salvator Mundi represent 10 The basic literature on the iconography of the Salvator Mundi is the following: A. Jameson, The History of Our Lord in Art as Exemplified by Works of Art II, London 1865,374-5; Reallexikon zur deutschen Kunstgeschichte III. Hg. von O. Schmitt, Stuttgart 1954. 692-702 (hereafter cited as RDK); C. Gottlieb, The Mystical Window in Paintings of the Salvator Mundi, Gazette des Beaux-Arts 56 (1960). 312-32; L. H. Heydenreich, Leonardo's 'Salvator Mundi,' Raccolta Vinciana 20 (1964), 87-109; S. Ringbom, Icon to Narrative, Âbo 1965, 69-71, 171-2; Lexikon der christlichen Ikonographie I, Hg. von L. Kirschbaum, Rom-Freiburg-Basel-Wien 1968,422-4 (hereafter cited as LCI); J. Snow-Smith, Salvator Mundi of Leonardo da Vinci. Henry Art Gallery, University of Washington 1982, 75.