The small, seated figure of the prince in relief seemingly lacks a framing arch, but of course that feature is once again present on a grand scale in the Gothic baldachin embracing the entire monument.
Scholars generally agree that the sculptures, which included a full-scale, three-dimensional figure of the emperor enthroned amid his advisors and also his recumbent effigy upon a sarcophagus, were initially framed by an arched baldachin (possibly one incorporating a stacked pair of arches).
In the Neapolitan monument, however, this element is echoed below by a second enthroned portrait of the ruler in the middle of the sarcophagus front, flanked by a row of family members; all sit within archways that mimic the now-truncated tomb baldachin in the manner established by Tino on his earlier tombs in the Angevin capital (fig.
But like the earlier monuments, this one, today in the Castello Sforzesco, originally stood behind the altar of San Giovanni in Conca and likely was surrounded by a now-vanished baldachin.
The domical baldachin spread over the Supper at Emmaus on the painted cross known as Uffizi number 434 imbues the scene with both funereal and liturgical significance through that meal's reference to Christ's death in the sacrament of the Eucharist performed at an altar, and no doubt it is meaningful as well that in this representation of the event Jesus is "enthroned" underneath the canopy between his two dining companions (fig.
Enthronement is more obviously the meaning of the domical baldachin sheltering Nero in the fall of Simon Magus and also that filling the space between Christ and Peter in the consignment of the keys of Heaven, both on the Magdalene Master's Yale dossal (fig.
Insofar as all of Christ's biblical meals are analogues in one way or another for the Last Supper, itself the prototype for the celebration of the Eucharist upon an altar, the domical baldachin extended over Christ's blessing of bread during the Supper at Emmaus at the bottom of the right apron on the painted cross called Uffizi number 434, from the 1230s or 1240s, provides one more example of this iconography (fig.
59) Whatever the present state of the evidence for individual examples, however, regardless of variations among them reflecting regional and period styles, and irrespective of whether the location of a particular altar within a church called for a baldachin that was fully in-the-round or abutting a wall, it is clear that from the beginning, ciborium designers preferred arched if not fully domical forms.
Most notable among them were the huge baldachin sheltering the Great Altar of Zeus at Pergamon and the smaller, possibly portable one that encompassed the renowned sculpture of Tyche at Antioch.
Four of the five members of the South Italian group (probably there were one or two others originally) are in Palermo Cathedral; the fifth is in Monreale Cathedral and now lacks its baldachin.