The Four Evangelists

The Four Evangelists

The Book of Gospels that once belonged to the Duke of Urbino is a masterfully executed but practical religious text with décor limited to canon tables, the opening page of the prologue of St. Jerome featuring an elaborate frame and a historiated initial of the famous ascetic and Church Father, numerous smaller colored initials, and four incipit pages across from which these masterful Evangelist portraits appear. Artistically, these are the “meat” of the manuscript and are outstanding specimens of this ancient tradition of Christian art that exhibit the technical innovations of the Italian Renaissance. These four Evangelist portraits are richly colored and highlighted with gold, presented in artful frames, and depict the authors of the Gospels with natural body postures, facial expressions, and garment fall of folds. Some feature elaborate landscapes in the background while all are presented with their Evangelist symbols, artful initials and opening lines of text written so neatly they appear printed.

Evolution of the Evangelist Portrait

Evangelist portraits are among the oldest images in Christian art and originated from the classical tradition of author portraits and the conventions of consular portraits from Late Antiquity. Evangelist portraits modelled on the latter show the author holding their Gospel but not writing it, front-facing, enthroned, and surrounded by an elaborate, often architectural frame. The Insular tradition of illumination introduced the variation of showing them seated at an oblique angle and engaged in writing their respective Gospels as well as pairing the Evangelists with their symbols: the Lion of Mark, the Eagle of John, the Ox or Calf of Luke and the Angel or Man of Matthew. In some cases, these symbols were depicted as though they were giving dictation.

The Light of Italy

Federico da Montefeltro (1422–82) was a shining example of what it meant to be a Renaissance prince: a successful military leader, generous patron of the arts, and liberal ruler who was guided by humanist principles in administering justice to his people. He patronized important authors like Cristoforo Landino (1424–98) and supported the development of talented artists including a young Raphael (1483–1520). Furthermore, Federico had a private scriptorium where he employed the most talented copyists who produced the most comprehensive library outside of the Vatican. All of this was not merely for show and Federico commissioned a studiolo – a small study or cabinet for contemplation – to be built in his palaces at Urbino and Gubbio. Both survive today: the former is still in Urbino while the latter was purchased by the Metropolitan Museum of Art, shipped to New York City, and reassembled piece-by-piece. For all this and more, Federico is has been nicknamed “the Light of Italy”.