Die Trinity-Apokalypse, Volume 2

Front Cover
David McKitterick
British Library ; University of Toronto Press, 2004 - Anglo-Norman dialect - 393 pages
Among the splendid English apocalypses, the magnificent Trinity Apocalyse stands out as the culmination of manuscript illumination in the early Gothic period. It originated in the mid-13th century and describes with 15 richly colored miniatures, mysterious images and striking language the end of the world and last judgement as it was revealed by St. John. Each of the more than 100 pictures of the Apocalyse was painted with the greatest attention to detail; since all of St. John’s visions are portrayed in the miniatures, it is as if the reader is paging through a picture book of the Book of Revelations. There is an expert use of a wide variety of colors, ultra marine and indigo in the blue forms, at times soft and brilliant, which creates the impression of movement and liveliness. The use of silver and gold contribute to its spendor. It is believed that the codex was intended for aristocratic circles and scholars have surmised that Eleanor of Provence, wife of King Henry II, is depicted in some of the miniatures and perhaps was the patron of the manuscript. It begins and ends with a picture gallery illustrating St. John’s life. The idea of framing the revelations with the life of St. John was an innovation in the history of book illumination which became so popular that all English apocalypse manuscripts of the 13th century followed that form. Commentary by David McKitterick, Nigel Morgan, Ian Short & Teresa Webber.

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