Christ in the context of "Chalcedonian Schism"

The Barberini ivory is a Byzantine ivory leaf from an imperial diptych dating from Late Antiquity, now in the Louvre in Paris. It represents the emperor as triumphant victor. It is generally dated from the first half of the 6th century and is attributed to an imperial workshop in Constantinople, while the emperor is usually identified as Justinian, or possibly Anastasius I or Zeno. It is a notable historical document because it is linked to queen Brunhilda of Austrasia. On the back there is a list of names of Frankish kings, all relatives of Brunhilda, indicating her important position. Brunhilda ordered the list to be inscribed and offered it to the church as a votive image.

Although it is not a consular diptych, it shares many features of their decorative schemes. The emperor is accompanied in the main panel by a conquered barbarian in trousers at left, a crouching allegorical figure, probably representing territory conquered or reconquered, who holds his foot in thanks or submission, and an angel or victory, crowning the emperor with the traditional palm of victory (which is now lost). Although the barbarian is partly hidden by the emperor's huge spear, this does not pierce him, and he seems more astonished and over-awed than combative. Above, Christ, with a fashionable curled hair-style, is flanked by two more angels in the style of pagan victory figures; he reigns above, while the emperor represents him below on earth. In the bottom panel barbarians from West (left, in trousers) and East (right, with ivory tusks, a tiger and a small elephant) bring tribute, which includes wild animals. The figure in the left panel, representing a soldier, carries a statuette of Victory; his counterpart on the right is lost.

The primacy of Peter, also known as Petrine primacy (from the Latin: Petrus, lit. 'Peter'), is the position of preeminence that is attributed to Peter among the Twelve Apostles.

Prima [et Secunda] pars Promptuarii iconum insigniorum à seculo hominum, subiectis eorum vitis, per compendium ex probatissimis autoribus desumptis. (transl. 'The First [and Second] Part of the Storehouse of Images of the More Notable Men from the Beginning of Time, with Their Biographies Subjoined, Taken in Abbreviated Form from the Most Approved Authors.') is a compilation of woodcut portraits published in 1553 by Guillaume Rouillé, a French bookseller-publisher active in the early modern book trade of Lyon. Originally issued in Latin, French, and Italian editions, the book presents the portraits in a medallion format, largely arranged in a supposed chronological order. The subjects range from figures of the Old Testament and Greco-Roman mythology to contemporary individuals of the mid-16th century. Many of the portraits are imaginative rather than historically grounded, shaped by Rouillé's interest in physiognomy—the study that sought to relate facial features to character and personality—and by the engraver's artistic license. Although the engraver is unnamed in the text, the 19th-century bibliographer Henri-Louis Baudrier attributed the work to Georges Reverdy [fr].

The book is divided into two sections: Prima pars ('First Part'), covering figures predating Christ, and Pars secunda ('Second Part'), documenting individuals from the Christian era onward. Typically bound as a single volume, these sections maintain separate pagination systems. The earliest editions contained 828 portraits each, with accompanying biographical summaries; the authorship of these biographies remains debated. The book's commercial success led to subsequent editions in multiple languages, which included a Spanish edition in 1561. The 1577 French edition expanded the collection with approximately 100 additional engravings and placed greater emphasis on Renaissance humanist scholars. The portraits mimic the style of ancient coinage but lack the numismatic precision required for scholarly reference. Rouillé simplified complex histories through standardized imagery and concise narratives so that the past would be more accessible to a general readership. His compilation influenced how individuals were depicted in European iconographic collections from the late 16th century into the 17th.

Autokrator or Autocrator (Ancient Greek: αὐτοκράτωρ, romanized: autokrátōr, lit. 'self-ruler', from αὐτός, autós, 'self' + κράτος, krátos, 'dominion') is a Greek epithet applied to an individual who is unrestrained by superiors. It has been applied to military commanders-in-chief as well as Roman and Byzantine emperors as the translation of the Latin title imperator. Its connection with Byzantine and Russian-style absolutism gave rise to the modern terms autocracy and autocrat.

Sacramental bread, also called Communion bread, Communion wafer, Sacred host, Eucharistic bread, the Lamb or simply the host (Latin: hostia, lit. 'sacrificial victim'), is the bread used in the Christian ritual of the Eucharist and the body of Christ. Along with sacramental wine, it is one of two elements of the Eucharist. The bread may be either leavened or unleavened, depending on tradition.

Catholic theology generally teaches that at the Words of Institution the bread's substance is changed into the Body of Christ, a process known as transubstantiation. Conversely, Eastern Christian theology generally views the epiclesis as the point at which the change occurs.

God-man (Koine Greek: θεάνθρωπος, romanized: theánthropos; Latin: deus homo) is a term which refers to the incarnation and the hypostatic union of Christ, which are two of mainstream Christianity's most widely accepted and revered christological doctrines.

Anointing is the ritual act of pouring aromatic oil over a person's head or entire body. By extension, the term is also applied to related acts of sprinkling, dousing, or smearing a person or object with any perfumed oil, milk, butter, or other fat. Scented oils are used as perfumes and sharing them is an act of hospitality. Their use to introduce a divine influence or presence is recorded from the earliest times; anointing was thus used as a form of medicine, thought to rid persons and things of dangerous spirits and demons which were believed to cause disease.

In present usage, "anointing" is typically used for ceremonial blessings such as the coronation of European monarchs. This continues an earlier Hebrew practice most famously observed in the anointings of Aaron as high priest and both Saul and David by the prophet Samuel. The concept is important to the figure of the Messiah or the Christ (Hebrew and Greek for "The Anointed One") who appear prominently in Jewish and Christian theology and eschatology. Anointing—particularly the anointing of the sick—may also be known as unction; the anointing of the dying as part of last rites in the Catholic church is sometimes specified as "extreme unction".

Scivias is an illustrated work by Hildegard von Bingen, completed in 1151 or 1152, describing 26 religious visions she experienced. It is the first of three works that she wrote describing her visions, the others being Liber vitae meritorum and De operatione Dei (also known as Liber divinorum operum). The title comes from the Latin phrase Sci vias Domini ('Know the Ways of the Lord'). The book is illustrated by 35 miniature illustrations, more than that are included in her two later books of visions.

The work is divided into three parts, reflecting the Trinity. The first and second parts are approximately equal in length, while the third is as long as the other two together. The first part includes a preface describing how she was commanded to write the work, and includes six visions dealing with themes of creation and the Fall. The second part consists of seven visions and deals with salvation through Jesus Christ, the Church, and the sacraments. The third part, with thirteen visions, is about the coming kingdom of God, through sanctification, and increased tension between good and evil. The final vision includes 14 songs, plus a portion of the music drama which was later published as the Ordo Virtutum. In each vision, she first described what she saw, and then recorded explanations she heard, which she believed to be the "voice of heaven."