Wixirep1A, Tetramorph ‘Atetramorph is a synboli arrangement of fou dfering elements, or the combination of four disparate element in one sit, The erm sdrie from the Greek tetra, mening fou, and morph, shape Archaeolpial evidence exists showing that ely man divided the four quarters ofthe horizon or spe, ater a place of sacrifice, such asa temple, and atbuted charactristis and situa quits to each quarter. Alterativey the composite laments were carved into mythic creatures such asthe ancient Hyyptian, Grek and Babylonian sphlawes of antiquity epitngbllske bodies with bis-wings,lon’s pas and human fees, Such composite creatures are Fund i many ythologis Ta Christian art the tetramorp isthe union ofthe symbol ofthe Four Bvangsiss, derive from the for ving ceatures in ‘the Book of Freie into singe figure ot, more commonly, a group of fous ares, Fach ofthe four Evangelists asocatd ‘vith one of the living ereatures, usualy shown wit wings. The most common association, but not the original or oly, ‘Matthew the man, Mark the lon, Lake the ox, nd John the eagle tn Cristian at and iconography, Rvangelt portraits are ‘fen accompanied by etramorps, othe symbuls alone used to represent hem, Evangelist poreaitsthat depict the in thei -human forms are often acompanied by their symbolic ereatares, and Christin Majesty is often shown sucounded by the four symbols ‘The word omes fromthe Gresk for "four frm” or ‘shapes In English usage ech ymbol maybe decribed aso tetrsmorph Sn the singular, and group a8 "he tetrmorphs", but usually only in contexts where all our are induded. he tetramorphe ‘were especialy common in Karly Medieval a, above ll in tuminsted Gospel boos, but remain ommon in religious st t0 the presen diy. Contents Origins Ezolcots ving roaures ‘The fur evangalsts as fourtivng creatures ‘The ttramorph in art Ropresenation and symbols “Acompostion of ti Four Ling Creature into one tetamerph. Mathew the man, Mark the fon Luke the ox, and John th eng,Depictons in Cistan at ‘renitectre Palnong and manuser duminaton allory References External inks Origins Images of unions of dierent element into one symbol were orginally used by the Ancient Rayplans, Assyrians, and Greeks. The ‘mage othe spine, found in Egypt and Babylon, depicted the body of on and the head af shaman, while the harpie of Grek mythology showed brt-ke human women Ezekiel's living creatures ‘Te people Eakiel was among the Jews who wer ened to Babylon nthe 6h century BC. The cestres ins vison, from whieh ‘he images ofthe tetramorph ae derive, are einicent of ancient Atria at!) ‘Te animal ssocited with the Christan tetrmnorph originate in the Babylonian symbol ofthe four Bxed sgn af the zi: the ‘ox representing Taurus; the lio representing Le; the eagle representing Scorpio; the man or angel representing Aquaivs Tn ‘ester astrology the four symbols ae associated withthe elements of respectively Barth, He, Water, and A The creatures of ‘he Christin tevamorph were also common in Egyptian, Greek, and Assyrian mythology. The cay Christians adopted this symbol and adapted i for the four Fvangelits ay dhe etramorp which Rist appears in Chetan rt in the 58 century Dut whos interpretative origin stems fom Irenaeus the 2nd entry ‘An Assyrian lass dated 72186. ‘The elements of the Christian etramorph fst appear inthe vision of zeke, who Gescibesthe four eeatures as they appear to im in vision ‘As forthe lenest of thei fces, they four had the face ofa man, andthe face fon, onthe gh sie: and they four ha the face of a ox onthe ese; they fouralno bathe ace ofan eagle. (ask 40, SY). ‘They ae described late inthe Book of Revelation: “And the fist bast was like aio, andthe second heat ke a cal, nd the third beast had face af a man, an the fourth east was ke a ying eagle”‘The four evangolists as four living creatures ‘The ecocation ofthe four ving creatures withthe four evangelists originated with Irenaeus inthe 2nd century. The {terpeaton ofeach cestare has varied through church histor. The most common interpretation fs lid oat by ‘ieorinus and adopted by Jerome, St Gregory, and the Book of Kel is that the oan Matthew the on Mat the ‘x Lake, sid the eagle Join, The etre ofthe steamnep ost Hike the four papel of the Hvangelists,repeeset four fet of Christ, Man | tion | Ox | Eagle enaeus (130202) Mathew | John Like | Mark Hipplyue of Rome (170 = 236) Mark | Mathew | Like | John Velornas of Peta (4 304) ‘Mathew | Mark | Luke | John Eviphanias (310-405) Mathew [ert | take | dn ‘ASI een Clune Wor carving of Cit n ‘Chromatus of gules (4 407) Mathew | John Luke | Mark ajay surounded bythe coaure ofthe errr (347-420) Mathew | Mark Like | dt team ‘Peeudo-Athanasvs 350) Mathew | Luke) Mark | John ‘Ambrose (240.997), Mathow | Mark | Loko | John ‘Agustin (858-290) Mark | Mathew | Like | db ‘Prmasis of Haramatim (560) Mark | Mathew | Like | John ‘Gregory he Groat (540-804) Mathow | Mark | Loke | Joh ‘Book ot Kell (90) Mathew | Mark Like | John ‘Adam of St Veter (8. 1148) Mathew | Mark | Lake | John ‘Thomas Aquinas (1725-1274) Mathew | Mark Like | db Jamieson Fausset drown Bile Conmentary (1871) | Like | Matthew | Mark | John Watchman Noo (1908-1972) ko | Mathew | Mark | John HA. torsde (1875-1951) icke | Mathew | Ma | oa “Sef Reference ble (1067 68) Like Mathew | Mark | John Witwss Lee 1905-1887) ike | Mathew | Mark | ohntis dear fom the table that various interpretive schemes have beea fllwed through church history. The four min schemes are summarized below wih ther most wel- 'nawn proponent and rationale. The given atonae usually hs to do with how each Gospel begins, major shemes in each Gospel, or the aspect af Crist emphasized in each Gospel ‘st scheme—Irenacus ‘The man is Matthew, because his Gospal begins withthe genalogy of Jesus; the lon is John, beeasehis Gospel begs fl of cosience; the oxs Lake, because his Gospel Degin with prety sacifc; and the eagle ls Mark, because he Gospel begins with the prophecy of Tela. Irenaeus orgnates this connection between the four living creatures and the four evangelists because he looking or an answer othe question “Why four Gospel ‘and scheme (most common)—Jerome ‘The rationale given fo ths scheme is how each Gospel narrative begins. Matthew isthe man because be begins witha genealogy; Marks the lon, roaringin the dese with prophetic power; Lake isthe os, beraus he begins with temple sure; and John isthe eagle fing heavenwards ike the divine Wor, It must be sid that a certain point, ‘once enough interpretive authorities inthe church backed his scheme, many who followed simply default to their uti ‘ard scheme—Angustine ‘The lion i Matthew, because Matthew's Gospel depicts Crist royal character, he who descended fom the tribe of Jada; the ox is Luke, because Christi shown in his ues character; the man is Mark, because ofthe humanity of Crist showa in that Gospel feeusiag on the things the maa di andthe eagle is. Jos, because the mystery of the Word ascends to esven. Augustine depart frm Jerome's scheme saying, "This ater formulation foruses only onthe beginnings ofthe books and not on the overall plan ‘ofthe evangelistic what should have been examined more thoroughly 4th scheme—Witness Lee ‘The ion ¢ Mathew, because Matthew portrays the Lard Jon asthe King the ox Mark, Iecaute Mark portrays Him sta servant Uh ma is Lae, because ake portrays lim a perfet, genie man; the eagle John, beens John portrays im as Go The tetramorph in art Representation and symbolism ‘The creatures ofthe tetramorph, as they appear in their animal forms, are predominantly shown as winged figures The wings, an ancien symbol of divinity, represent the divinity of the Bvangeliss, the divine natare of Chit, andthe vetoes reuited for Cristian salvation .7tn regards tothe depiction ofS Mark in particular, the use of wings ltingush him fom images oft Jerome, who sas associated wit the image oi)‘he perfec human body of Christ was originally represented as 2 winged man, and was later adapted for St Matthew inorder to symbolise Chriss homanty.°1n the contex: of the tetramorphs, the winged man indcates Criss humanity and reason as wll 5 Matthews account ofthe Incarnation of Cvs "The ion of St Mark represents courage, resurrection, and royalty, colnelding vith the theme of Christ as king i Mark's gospel I also interpreted asthe Lion of Judah ata reference to Christ's royal lineage "I The ox, or ball ian ancient Christan eyabol of redemption and life through saci," sgiying Luke's records of (Chistes pres and his ulbimate sacrifice forse future of humanity. The eagle represents te shy, heavens, and the human sit, paralleling the divine nature of Cat"! le tel caries appearances, the Hvanglsts wore depleted in the human fms each with scl o & book wo represent the [GomplsBy the gh century, images ofthe Brung evoked ina thee respective tetramorph! By theater Middle Age, the tetramorph inthe form of eeatres was usd less frequently Instead, the Bsangeists were often shown in their aman forms accompanied by heir symbolic creatures ora men withthe heads of enimas 5 Inimages wher the cestoressarround Christ the winged man and the eagle are often depicted at Chris's sides, wit the Hon and ‘the ox positioned lower by hfs, wi the man on Cri’ right, aking presedence over the eagle, and the onto the lt ofthe This positions reflects the medieval ret eh of being re Four Evangel a lustatoe In th Book of Kal, 800 AD. Depictions in Christian art Architecture ‘The use of the ttraorph in arcitece is most common inthe decoration of Christian churches. On maseval churches, the symbols ofthe rangle ar sally fond above wester-facing portal and inthe estern apse, particulary surrounding the enthroned figure of Cris in Glory in senes ofthe Last Judgment. This image of Christ Jn Glory often features Chis pantocratr ina mandorlasurounded by the creatures of the tetramorph soften found on the spherical eeling inside the ase, typelly 28 a total of feta. Older Reman churches, uch Santa Pudenviana and Sana Mati in Trastevere, meals often deplete four erates i a taight line ether han fn 8 deel formation. Medical churches lo feature seulptres of bas-eiefsmbols ofthe Hvangeliss on wester facades, externally around eastern apse windows, ofa large statues sop apse rll!" Generally all four eretures ofthe tetrraorph wl be fund together i either one image o in one structure, bute not unbeand of to have a singe Evangelist onuinate the imagery ofthe church. Thi is usally found in eis that bear one ofthe Evangel a thee patron saat notable example is St Mak’ Basle a Ven, ‘where the winged lon i the citys matt and St Ma he ci’ patron sail12h contuy apse etal of the roctop of Central poral of rosale fom Baslica di Son Marco eatedral In Chatras Cathedral in ‘San laments in Rome, Venice, coats, Painting and manuseript tumination ‘Most luainated Gospel books were preficed with Evangelist pores often combined on single page, Insular manuscripts were very focused on shtae linear ptteras ‘har combined Mediterranean, Anglo-Saron and Cele infuenes, the latter mostly tracable fom surviving metalwork. The artists ofthe peviod were initiiy more ‘comfortable wit nage of animal than uma, so in early Gospel Hook the Evangelists were represented as tetramorphicmbols ater than portals. Thelr preferences for abstract, pometi, and syed ar led to a oof dfereness in portrayals ofthe tetramorps. Cet atts would pain the creatures a relatively realist ation, ot ‘heir vine natore would be emphasised through the irelusion of wings or human tras, suchas hands n place of talon othe animal taning upright) ‘The Evangliss and tetramorphs were highly featured in Ottonian manuscripts as the Gospel books, periscopes, and the Apocalypse were most popular and while they ‘mltuted he Byzantine ate tl, Carolingian Uhuminations consclousy revived the early Christan style, and was much more elaborate thn Cet of Insult art For mos iuminsted macoscrpt portraits, th Hvangoistsypically occupied a fll page. Though tumerous examples of Late Antique portraits feetured each igure in & standing poston, the Evangelists were predominantly depicted in a eeting postion at awning desk ur with «book or sel buth in reference tothe Gospels. Te symbole of ‘the tetamors ware most common inthe Middle Ages Trougk to the Romanesque palo before they flout of fvour and images of the Evangel in hele human forms ‘became more common weve, the tetramorphs were sed stl wed nd were found in artwork ofthe Reraitane and even in modern at