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Relying largely upon images that are often overlooked, this article reexamines the origins of the principal iconographic types of the Trinity in Western art. After a rapid survey of the symbols and trinitarian imagery in biblical theophanies (Abraham receiving the Angels, the Baptism of Christ, etc.), it dwells upon the origin and development of non narrative, "synthetic" images. In an area where the theological legitimacy of the image could not be verified, since God is by definition invisible, and for which the Christian pictorial tradition offered few convincing models, western artists display an unusually inventive spirit, while complying with biblical, liturgical, exegetical and theological suggestions. Encouraged both by their patrons and historical circumstances, the artists span a period marked by the discussion of the Filioque (which ended in schism in 1054), by the emergence of Trinitarian devotions (masses, offices, feasts), and by the unprecedented development of theological speculation concerning this article of the faith. From the historical point of view, the authors reaffirm the importance of Anglo-saxon art in the "trinitarian creation", and bring to light the role played by Italy and France. Morphologically, however, two different processes seem to be at work. On the one hand, there is a trinitarian meaning hidden in the Majestas Domini, preceded by the appearance of various binary combinations (God symbolized by "the hand" of the Father ; Christ as the pascal lamb or Christ-Emmanuel in the bosom of the Father, or the crucifîed Christ supported by a seated God the Father ; a dove for the Holy Spirit). These give rise finally to the traditional iconographic types with their accompanying symbols (Throne of Mercy, Trinity in two medallions, Paternity) or detripling of the Majestas (triandric Trinity). The other process is allied to Psalm 109 and the investiture of the resurrected Messiah "on the right hand of God". This Psalm was for a long time interpreted literally (God the Father and the Son, without the Dove), but from the thirteenth century onward, the image that illustrates the Psalm is progressively "dogmatized" by the addition of the Dove between the Father and the Son. In the end, the Trinity of the Psalter and the Throne of Mercy became the western stereotypes. A new image of the Christian God was thus constructed and validated, a representation that was less glorious but more familiar, and in which Christ's cross played an essential role.
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