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But Mark, followed by Matthew, may mean that the meal in question was one in Jesus’ own home at Capernaum. In the lists of the Apostles given in the Synoptic Gospels and in Acts, Matthew ranks third or fourth in the second group of four – a fair index of his relative importance in the apostolic age. The only other facts related of Matthew on good authority concern him as an Evangelist. Eusebius says that he, like John, wrote only at the spur of necessity. “For Matthew, after preaching to Hebrews, when about to go also to others, committed to writing in his native tongue the Gospel that bears his name; and so by his writing supplied, for those whom he was leaving, the loss of his presence.” The value of this tradition, which may be based on Papias, who certainly reported that “Matthew compiled the Oracles (of the Lord) in Hebrew,” can be estimated only in connexion with the study of the Gospel itself. The earliest legend as to his later labours, one of Syrian origin, places them in the Parthian kingdom, where it represents him as dying a natural death at Hierapolis. This agrees with his legend as known to Ambrose and Paulinus of Nola, and is the most probably in itself. Another legend, his Martyrium, makes him labour and suffer in Mysore. He is commemorated as a martyr by the Greek Church on the 16th of November, and by the Roman on the 21st of September, the scene of his martyrdom being placed in Ethiopia. The Latin Breviary also affirms that his body was afterwards translated to Salerno, where it is said to lie in the church built by Robert Guiscard.

      150. St. Mark, from a Gospel Book of Archbishop Ebbo of Reims, 816–835 C.E. Ink on vellum, 18 × 14 cm. Bibliothèque Municipale, Épernay. Carolingian.

      151. Saint Matthew, c. 83 °C.E. Bibliothèque Municipale, Épernay. Romanesque.

      152. Portrait of Emperor Lothair, c. 80 °C.E. Miniature from Ms. 37768, fol. 4. British Library, London. Carolingian.

      Lothair I, the eldest son of Lois the Pious, ruled as an Emperor of the Romans from 817–855. Several civil wars occurred during his reign as emperor which resulted in the dissolution of the Frankish Empire.

      153. Leo VI Prostrate Before Christ in Majesty, 886–912. Mosaic. Hagia Sophia, Istanbul. Byzantine.

      This large mosaic located in the Hagia Sophia Basilica in Turkey depicts Jesus sitting on a magnificent celestial throne with his right hand raised in a gesture of blessing while his left hand holds an open book bearing the inscription: “Peace Be With You, I Am The Light of The World.” There are two roundels on either side of the figure of Christ, one with a portrait of the Virgin Mary and the other with a portrait of the angel Gabriel. In this image Jesus is portrayed as the Christ Pantocrator or the King of the World. He is dressed in different white fabrics and his prominent features resemble those of Zeus, the king of Gods in Greek mythology. The emperor prostrate is shown bearded and kneeling at the left of Jesus. Not only is the emperor kneeling in act of complete humility, he is also depicted as begging for Christ’s forgiveness – an unusual detail in Byzantine iconography.

      154. Christ Enthroned, Homilies of St. Gregory of Nazianzus, 867–886. Manuscript. Bibliothèque Nationale, Paris. Byzantine.

      155. Virgin and Child, 9th century. Mosaic. Hagia Sophia, Istanbul. Byzantine.

      156. Emperor Otto III Receiving Homage from the Provinces, 997-1000. Ink on vellum, 334 × 243 cm. Bayerische Staatsbibliothek, Munich. Carolingian.

      The Emperor Otto III was proclaimed king of Germany in Verona in 983 at the age of three, and he was crowned in Aachen at the end of that same year. This portrait is part of a series called the Gospels of Otto III (a tenth or eleventh century illuminated gospel book). This manuscript contains early fifth century adaptations of the four gospels and is a major example of Ottonian art. It is in the pre-Romanesque, Byzantine style which is reflected by the dynasty’s desire to visually establish a link with the Christian rulers form late Antiquity. These portraits normally include different stylistic elements such as province personifications or representatives of the military and the church surrounding the emperor – an important detail that is part of a lengthy imperial history.

      157. Icon of Saint Eudokia, 10th century. Inlaid marble, 67 × 28 cm. Archaeological Museum, Vienna. Byzantine.

      158. Portrait of Egbert, from the Psalter of Egbert, Archbishop of Trier, c. 980. Ink on vellum, 21 × 27 cm. Museo Archeologico Nazionale, Cividale del Friuli. Carolingian.

      159. Saint Nicholas, 10th century. Tempera and gold leaf on panel, 43.3 × 33.1 cm. Saint Catherine’s Monastery, Mount Sinai. Byzantine.

      160. Angel, second half of the 11th century. Fresco. La basilica di Sant’Angelo in Formis, Capua. Byzantine.

      161. The Archangel Michael, 11th century. Enamel and precious stones, height: 46 cm. Basilico di San Marco, Venice. Byzantine.

      The Archangel Michael is one of the most celebrated angels and bodiless powers in the Christian religion. According to different scriptures he has interceded on behalf of humanity multiple times and is still considered as the Defender of the Faith. In scriptural history he has most often been invoked for protection from invasion of enemies, from civil war and to defeat adversaries on the battle field. Michael first appears in the Old Testament in the account of the Fall of Jericho and later in the New Testament brings salvation to the Church at Colossae, one of his most famous miracles. He is also associated with healing and has three iconic identities: the mantamados, the panormitis and the nenita.

      162. Saint Mark, 11th century. Icon, 24 × 18.5 cm. Österreichische Nationalbibliothek, Vienna. Byzantine.

      163. Saint George (double-sided icon), late 11th to early 12th century. Tempera on lime wood, 174 × 122 cm. The State Tretyakov Gallery, Moscow. Byzantine.

      164. Orant Virgin, 1140. Mosaic. Church of Santa Maria e San Donato, Murano. Byzantine.

      165. The Raising of Lazarus (detail), c. 1150. Mosaic. Cappella Palatina, Palermo. Byzantine.

      166. Emperor John II Comnenus, c. 1110–1118. Marble, diameter: 90 cm. Dumbarton Oaks Research Library and Collection, Washington D.C. Byzantine.

      167. Head of a Prophet, west façade, Saint-Denis Abbey Church, Saint-Denis, c. 1137–1140. Limestone, height: 41 cm. Musée national du Moyen Age-Thermes et hôtel de Cluny, Paris. Romanesque.

      168. Head of an Old Testament Queen (Saba) from Saint-Denis Abbey Church, c. 1137–1140. Limestone, height: 36.5 cm. Musée national du Moyen Age-Thermes et hôtel de Cluny, Paris. Romanesque.

      This sculpture relief from the west side of the Saint Denis Cathedral in Paris was most likely commissioned by Suger in the mid-twelfth century and it is thought to be a representation of the Queen of Sheba. The different stylistic attributes are similar to that of the sculpture relief at the Autun Cathedral in Burgundy. The stylistic features include deeply bored pupils, undulating strands of hair as well as a crown with a border enhanced by a strand of pearl set with cabochons. The head is set into a headband on each side of the centre parting of the hair which falls into narrow hair strands surrounding the face. Her bulging eyes protrude from narrow eyelids and are set into deep sockets emphasizing the eyebrows.

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