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Add MS 15243
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Date c 1350-c 1370
Title Apocalypse, in German
Content Apocalypse, in German.Begins: 'Apokalipsis dit ist die offenbarunge ihesu cristi'.Ends: 'Hye endit dass buch der hymelichen offenbarunge. Explicit Apocalypsis. Amor vincit omnia'.Decoration:14 full-page miniatures, without borders, in gold, silver and colours (ff. 2v, 4r, 10r, 12r, 15r, 19r, 21r, 23r, 25r, 31r, 32r, 34r, 35r, 36r), outlined by black ink pen.The subjects of the miniatures are as follows:f. 2v: St John sitting in a cave in a rock with trees growing on it (representing the cave on the island of Patmos: Rev. 1:9).f. 4r: Christ with a huge gold key. The seven stars in a vertical column over his right hand (representing the angels of the seven churches). St John is lying before his feet. A hand out of a cloud touches him. The label 'vorchte dich nicht' ('Fear not') (Rev. 1: 16-18).f. 10r: The Elders. The Lamb: the Lion of Judah crowned. Below, St John. Four Elders adoring (Rev. 5:5-14)f. 12r: The Four Riders, the fourth a skeleton mounted on a crowned lion (Rev. 6:1-8).f. 15r: The Locusts emerging from the pit (Rev. 9:3-10).f. 19r: The Temple of God and the Ark of His Testament; the Woman and the Dragon (Rev. 11:19, 12:1-5).f. 21r: The Woman flying. Below, St John. The dragon vomiting water (Rev. 12:13-15).f. 23r: Kings, in a row, and soldiers, representing the 144,000. The Lamb nimbed, with gold cross (Rev. 14:1-5). M.R. James described the scene below as 'the Annunciation, with the Dove', but it may represent the angel preaching to those on earth (Rev. 14:6).f. 25r: Christ aloft on a cloud, holding an open book in his left hand a sickle in his right hand. Two figures below: one holding a blank speech scroll; the other, St John, is gesturing to Christ and a grapevine. An angel to the right, harvesting grapes with a knife (Rev. 14:18-20).f. 31r: An angel bearing a millstone and casting it into the sea; St John witnessing the scene at the side (Rev. 18:21).f. 32r: A crowned rider, with an angel and birds above. On the right, an angel giving a rod to the Virgin (Rev. 19:11-15).f. 34r: An angel holding the key of the bottomless pit, and a chain attached to the neck of a devil who is with others in a Hell-mouth (Rev. 20:1-3).f. 35r: The Judgement (Rev. 20:11-15). Two crowned women are on the left, with Christ in a mandorla in the centre. Two Apostles (?) are on the right. Below, there are three Apostles (?), a hell-mouth and six corpses.f. 36r: The Holy City, with twelve towers, and an Apostle in each (Rev. 21:10-14).For further details and similarities with other German Apocalypses, see James, The Apocalypse in Latin (1927).Other decoration:Large initial in gold outline, with zoomorphic penwork decoration in red and blue, and foliate pen-flourishing in gold with additional penwork (f. 3r).14 small initials in gold. Three small initials in red and green with pen-flourishing.43 small in initials in red and green.
View: bindings
88 images available
Languages German, Middle High
Physical Description
Materials: Parchment.
Dimensions: 345 x 255 mm (text space: 255 x 160 mm).
Foliation: ff. 39 (f. 1 is a paper slip containing notes in German in a 15th/16th-century hand pasted to the inside of the front binding; one unfoliated modern paper flyleaf at beginning and end; f. 39 is half a leaf).
Collation: irregular, with many inserted leaves/singletons; i1 (f. 2, followed by two stubs), ii8+3 (ff. 3-13; 2nd, 8th and 10th leaves (ff. 4, 10 and 12) are singletons, the 10th leaf being stitched behind the 2nd), iii8+5 (ff. 14-26; 2nd, 6th, 8th, 10th and 12th leaves (ff. 15, 19, 21, 23 and 25) are singletons; two blank, unfoliated strips of parchment stitched around the quire as sewing guards), iv4+7 (ff. 27-37; 2nd, 4th, 5th, 6th, 8th, 9th and 10th leaves (ff. 28, 30, 31, 32, 34, 35 and 36) are singletons, the 10th leaf being stitched behind the 2nd, and the 7th leaf being stitched behind the 4th leaf; two blank, unfoliated strips of parchment inserted as sewing guards, the first immediately after the opening bifolium of ff. 27/37, the second around the outside of the other bifolium of ff. 29/33), vsix-four (ff. 38-39; 3rd-6th leaves excised, probably blank; 2nd leaf a half leaf).
Script: Gothic (Textura Quadrata).
Binding: Pre-1600. Kyriss workshop no. 93; Einbanddatenbank (Binding Database) no. W000112 (www.hist-einband.de/). Erfurt, Thuringia; 1490-1520. Blind-tooled pig-skin, with two brass clasps engraved with leaves attached to rear. Features motifs 1, 4, 6, 8 and maybe 2 in Kyriss, Verzierte gotische Einbande, 4 vols in 1 (1951-58), 2: Tafelband, p. 70.
Ownership Origin: Germany (Thuringia, possibly Erfurt).Provenance: Augustus Frederick, Duke of Sussex (b. 1801, d. 1843); his sale, 31 July 1844, lot 81, bought by Thomas Rodd, London bookseller, for the British Museum (note on f. 1r).
Bibliography
Thomas J. Pettigrew, Bibliotheca Sussexiana: A Descriptive Catalogue, Accompanied by Historical and Biographical Notices, of the Manuscripts and Printed Books Contained in the Library of His Royal Highness the Duke of Sussex in Kensington Palace, 2 vols (London: Longman & Co., 1827-39), I, pt 1, pp. ccxlii-ccxliii.
Catalogue of Additions to the Manuscripts in the British Museum in the Years 1841-1845 (London: Printed by Order of the Trustees, 1850), List of Additions to the Department of Manuscripts, 1844, p. 118.
O. Behaghel, 'Zwei deutsche Übersetzungen der Offenbarung Johannis', Zeitschrift für deutsches Alterthum und deutsche Litteratur, 22 (1878), 97-142 (pp. 128-36).
L. Delisle and P. Meyer, L'Apocalypse en français au XIIIe siècle (Bibl. Nat. Fr. 403) (Paris: Firmin Didot, 1901), p. cxxxviii (no. 52).
Robert Priebsch, Deutsche Handschriften in England, 2 vols (in 1 vol.) (Hildesheim: Georg Olms, 1979), II: Das British Museum mit einem Anhang über die Guildhall-Bibliothek (first publ. as 2 vols: Erlangen: Fr. Junge, 1896-1901), p. 132.
W.H. James and Lawrence Taylor, Early Stamped Bookbindings in the British Museum: Descriptions of 385 blind-stamped bindings in the Departments of Manuscripts and Printed Books (London: British Museum, 1922), p. 111 (no. 246), pl. xviii (15).
M.R. James, The Apocalypse in Latin: MS 10 in the Collection of Dyson Perrins, F.S.A. (Oxford: University Press, 1927), p. 45.
M.R. James, The Apocalypse in Art: The Schweich Lectures of the British Academy (London: Published for the British Academy by H. Milford, Oxford University Press, 1931), p. 13.
Wilhelm Neuß, 'Die ikonographischen Wurzeln von divers Apokalypse', in Sonderdruck aus Volkstum und Kulturpolitik: Eine Sammlung von Aufsätzen: Gewidmet George Schreiber zum 50. Geburtstag (Cologne: Gilde, 1932), p. 4.
Arthur Thomas Hatto, 'Eine deutsche Apokalypse des 14. Jahrhunderts', in Neue Texte zur Bibelverdeutschung des Mittelalters, ed. by Hans Vollmer, Bibel und deutsche Kultur, 6 (Potsdam: [n. pub.], 1936), pp. 175-99, table 1.
Ernst Kyriss, Verzierte gotische Einbande im alten deutschen Sprachgebiet, 4 vols (Stuttgart: Max Hettler, 1951-1958), II (1956), p. 70.
Die Parler und der schöne Stil, 1350-1400: Europäische Kunst unter den Luxemburgern, Ein Handbuch zur Ausstellung des Schnütgeb-Museums in der Kunsthalle Köln, ed. by Anton Legner, 5 vols (Cologne: Museen der Stadt Köln, 1978), III, p. 202.
Richard Kenneth Emmerson and Suzanne Lewis, 'Census and Bibliography of Medieval Manuscripts containing Apocalypse Illustrations, ca. 800-1500', Traditio: Studies in Ancient and Medieval History, Thought and Religion, 42 (1986), 443-72 (p. 447, no. 126).
Katalog der deutschsprachigen illustrierten Handschriften des Mittelalters by Hella Frühmorgen-Voss, Norbert H. Ott, Ulrike Bodemann and Gisela Fischer-Heetfeld, 6 vols (Munich: C.H. Beck, 1991), I:4, pp. 244-46 (no. 6.2.4) and App. 132, 133.
Robert Suckale, Die Hofkunst Kaiser Ludwigs des Bayern (Munich: Hirmer, 1993), pp. 161, 199.
Carola Redzich, 'Aspekte produktiver Rezeption von Bibelübersetzung: Überlieferungs- und Gebrauchszusammenhänge der Johannesapokalypse im bairisch-fränkischen Raum', in Metamorphosen der Bibel, ed. by Ralf Plate and Andrea Rapp, Beiträge zur Tagung Wirkungsgeschichte der Bibel im deutschsprachigen Mittelalter, vom 4. bis 6. September 2000 in der Bibliothek des Bischöflichen Priesterseminars Trier, Vestigia Bibliae, 24/25 (2002/2003) (Bern: Lang, 2004), p. 166n.
Heiliges Römisches Reich Deutscher Nation, 962 bis 1806: Von Otto dem Grossen bis zum Ausgang des Mittelalters , ed. by Matthias Puhle and Claus-Peter Hasse, 29 Ausstellung des Europarates in Magdeburg und Berlin und Landesausstellung Sachsen-Anhalt, 2 vols (Dresden: Sandstein, 2006), II, pp. 380-83.
Carola Redzich, Apocalypsis Joannis tot habet sacramenta quot verba: Studien zu Sprache, Überlieferung und Rezeption hochdeutscher Apokalypseübersetzungen des späten Mittelalters, Münchener Texte und Untersuchungen zur deutschen Literatur des Mittelalters, 137 (Berlin: De Gruyter, 2010), pp. 172, 475-89, 597-99.
Nigel Morgan, ‘Latin and vernacular Apocalypses’, in The New Cambridge History of the Bible, 4 vols (Cambridge: Cambridge University Press, 2012- ), II: From 600 to 1450, ed. by Richard Marsden and E. Ann Matter (2012), pp. 404-26 (p. 417).
Ludwig der Bayer: Wir sind Kaiser!, ed. by Peter Wolf and others, Katalog zur Bayerischen Landesausstellung 2014, Regensburg Minoritenkirche, St. Ulrich am Dom, Domkreuzgang, 16. Mai bis 2. November 2014 (Regensburg: Schnell and Steiner, 2014), p. 272 (no. 5.30).
Apocalypse - Christ as King and World Judge
The book with the seven seals & Christ Child
The personifications of Oceanus (sea) with Ketos (Sea-dragon) and Gaea with twins & snake (earth)
Apokalypse - Christus als König und Weltenrichter
Das Buch mit den sieben Siegeln & Christkind
Die Personifikationen von Okeanus (Meer) und Gäa (Erde)
Ottonian manuscript "Kostbares Bernward-Evangeliar" [~1015]
Hildesheim, Dommuseum - MS DS 18 fol-174r
Original photo by courtesy of ruicon
Last Friday I was on a trip with my friend Roland Ster in Italy at the old train station.
See the other photos of this series here
Eine große Zahl mittelalterlicher Fenster aus dem 13. Jahrhundert taucht die Kathedrale von Bourges in schönes Licht. Dieses Fenster zeigt Szenen aus der Apokalypse, unten ein Ausschnitt hieraus.
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Numerous 13th century windows are shining resplendent in the cathedral of Bourges. This one is showing scenes of the Apocalypse.
beherrschtes Naturschutzgebiet / controlled nature reserve / réserve naturelle contrôlée / 受控自然保护区 / नियंत्रित प्रकृति आरक्षित / контролируемый природный заповедник
French: Les 4 chevaux-bambins de l'Apocalypse sur un poney d'entraînement 4 places.
Spanish: Los 4 niños del Apocalipsis en un pony de entrenamiento de 4 plazas.
German: Alle 4 Pferde-Kleinkinder der Apokalypse auf einem 4-sitzigen Trainingspony.
Italian: Tutti e 4 i cavalli più piccoli dell'Apocalisse su un pony da addestramento a 4 posti.
Gaelic: Gach 4 capall-lapaí an Apocalypse ar chapaillíní oiliúna 4 shuíochán.
Latin: Omnes 4 equites toddlers in Apocalypsi in 4-seater mannulus.
PLEASE FEEL FREE TO CORRECT TRANSLATIONS AND ADD YOUR OWN LANGUAGE. ALL CORRECTIONS WILL BE ACCOMMODATED.
Foto von Foto-Minor.de, Nassau. Bearbeitung: Twinsearcher.
Tags: kohärente entscheidung, wghc&htc, teratologia, time pilot, mr.white, dmps, trance nation, hardwired, gasmaske, maske, makse, 3m, filter, luftfilter, partikelfilter, ffp3
Story:
In 2189, a criminal organization has cut down almost all the trees. Only one island, near California, still flourishes as if in another world. On this island lives Count Clorgius, who has retired there to his modern and imaginative castle.
But the "black" organization is approaching and the island is in danger of being destroyed.
The followers of Clorgius are desperately trying to defend the castle and the island...
Hello,
I've built something in microscale for the first time. And I like it.
The black bridge below, if you know what I mean, I also built in matching size to figures, which you can also see in my photostream.
Let me know what you think of it in the comments or leave a fave.
Bye.
"Das Goldene Kalb. Die Technik als Apokalypse" von Karl A. Wolf - Donaupark, Wien
(aufgenommen beim Morgenwalk zum und durch den Donaupark und retour, 28.08.2022, Wien
Fritz Schwimbeck, ein Illustrator fürs "Gruselige", bekommt derzeit eine Sonderausstellung im Museum Friedberg/Bay. - Für alle Zeichner ist es immer spannend zu sehen, wie Könner etwas "Drama" ins Bild bringen...
(Platinum Pen mit Farbstiften in Leuchtturm A5 Landscape (Querformat), 150 g/m², 15 x 21 cm)
Last Friday I was on a trip with my friend Roland Ster in Italy at the old train station.
See the other photos of this series here