In paleo-Christian art there were two ways to show Christ in the Ascension: rising in a mandorla, as in the first picture at right, or striding upward as if on a mountain, as in the second.
According to Kessler, the mandorla began in the East to reflect a reading from Ezekiel 1 in the Ascension Day liturgy. The medieval West used Acts 1:9-12 instead, but the passive verbs in that passage are also consistent with the mandorla iconography, which became the dominant type.1
In this tradition, angels raise the mandorla while Mary stands directly below, flanked by the apostles. Usually she holds her hands in prayer – either "orant" in the earlier images (as at right) or pressed together, as in later ones (example). The apostles usually look up toward the mandorla; only a few examples have the admonishing angels. Occasionally Saints Peter and Paul will be distinguishable among them (as at right and in this fresco), even though in Acts Paul enters the narrative a good deal later.
In most of these images Christ blesses the viewer with his right hand. His left hand sometimes holds a scroll or book (example). Many images have him on a throne within the mandorla (example). Simpler variations may leave out the people below the mandorla (example) or even the angels (example).
In works from the 18th century and later, light rays emanating from Christ's body may replace the mandorla (example).
CLIMBING TO HEAVEN
Images where Christ's ascent is pictured as a climb to Heaven go back to at least the beginning of the 5th century. In them he either climbs an "actual" mountain or is simply pictured as if he were walking upward. This necessitates posing him in profile, so there can be no blessing of the viewer. Instead his right hand reaches up, and in some images the Father's hand reaches down.
This iconography is much less common than the mandorla tradition. It does, however, influence Giotto's Ascension frescos at Assisi and in the Scrovegni Chapel.
Kessler relates the climb to early Western Ascension liturgies that used the passage in Exodus in which Moses ascends to the mountaintop. Its continuing use by later artists such as Giotto could be influenced by the Alleluia verse in medieval Ascension liturgies: Dominus in Sina in sancto ascendens in altum captivam duxit captivitatem, "the Lord leads captivity captive, climbing on high to his holy place on Sinai."1
THE DISAPPEARING FEET
Medieval works sometimes follow a third tradition in which one sees only Christ's feet and the hem of his garment as he is taken into the clouds. The third picture at right is an example. These images usually have the Apostles looking up at their disappearing Lord. As in most of the mandorla images, the feet are bare. Mary is often displaced from the center of the composition (example) or left out entirely, as at right.
Prepared in 2016 by Richard Stracke, Emeritus Professor of English, Augusta University. Revised 2016-09-07.
ACTS 1:9-12 — And when he had said these things, while they looked on, he was raised up: and a cloud received him out of their sight. And while they were beholding him going up to heaven, behold two men stood by them in white garments. Who also said: Ye men of Galilee, why stand you looking up to heaven? This Jesus who is taken up from you into heaven, shall so come, as you have seen him going into heaven. Then they returned to Jerusalem from the mount that is called Olivet, which is nigh Jerusalem, within a sabbath day's journey. (My italics.)