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  1. The three registers of Christ in Majesty
  2. Style
  3. The upper section of Christ in Majesty
  4. Conclusion
  5. Works cited

While monumental figure erecting was hindered during the Middle Ages, illuminated manuscripts and mural paintings were given momentum as a result. Both media allowed for mass productions, many of which have lasted to this day. A fine example of a mural fresco from the Romanesque Period, originally located in a Spanish Chapel, Santa Maria de Mur, is the Christ in Majesty of the twelfth century (Kleiner and Mamiya, 350). A product of the Romanesque time period, the piece is representational of wondrous Christian icons used to persuade and consequently control entire societies.

[...] The upper section of Christ in Majesty represents a grouping of the spiritual world with the natural world. The spiritual represented in Christ's overpowering presence, and the natural represented in the 2nd register with scenes from the Bible. The mural triggers an overwhelming sense of fear and dread. This very fear results from looking at the Transfiguration of Christ from the Church of the Virgin, monastery of Saint Catherine, from Mount Sinai in Egypt ca Once more, Jesus is the central figure surrounded by a blue almond-shaped mandorla. [...]

[...] Similarly, from the cathedral at Monreale, Transfiguration of Jesus, Pantokrator, Theotokos and Child, angels, and saints, Italy, ca Christ is once again depicted as the largest and most imposing figure. (Kleiner and Mamiya, 267). Pulling viewers into the world of the Christian Doctrine, Christ's overbearing presentation locks and controls the eyes of vast audiences. Consequently, a world after redemption is unfolded to a curious audience. In essence, all three pieces depict the intertwining of the spiritual world versus the natural world, particularly the lord's overpowering presence in the life of mankind. [...]

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