Four or five centuries ago, in times so distant they almost seem mythical, a dramatic shift occurred in the mindset of the European elite—almost a revolution. While the divine nature of creation remained unquestioned, a new conception gradually took hold: “Man is the measure of all things.” Man stood at the center of the universe, observed by God, and solely responsible for his deeds. It was in this context that portraiture emerged as an art form in Europe. Man became a reference point between two worlds—the physical, earthly realm of deeds and the ethereal, heavenly realm of responsibility before God.