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Contrasting Images of the Book of Revelation in Late Medieval and Early Modern ArtA Case Study in Visual Exegesis$
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Natasha F. H. O'Hear

Print publication date: 2011

Print ISBN-13: 9780199590100

Published to Oxford Scholarship Online: May 2011

DOI: 10.1093/acprof:oso/9780199590100.001.0001

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The Lambeth Apocalypse

The Lambeth Apocalypse

Reading, Viewing, and ‘Internalizing’ the Book of Revelation in the Thirteenth Century

Chapter:
(p.11) 1 The Lambeth Apocalypse
Source:
Contrasting Images of the Book of Revelation in Late Medieval and Early Modern Art
Author(s):

Natasha O'Hear

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780199590100.003.0002

Chapter 1 presents the Lambeth Apocalypse Manuscript (hereafter Lambeth) as a key example of the thirteenth‐century Anelo‐Norman illustrated Apocalypse devotional manuscript tradition. This manuscript tradition and its particular features are discussed, as a precursor to the analysis of Lambeth itself. The Berengaudus Commentary, the commentary which accompanies many of the Anglo‐Norman Apocalypses, including Lambeth, is also discussed as is its place within the tradition of commentaries on the Book of Revelation in general. The remainder of the chapter is concerned exclusively with the distinctive features of Lambeth, including its female patron, the presentation of the John figure, the effect of the additional miniatures, and its visual interweaving of contemporary theological and wider issues within its presentation of the source‐text. The nature of the Lambeth reading/viewing experience and in particular the effect of the interaction between the text, commentary, and miniatures remain in focus throughout the chapter.

Keywords:   Lambeth, private/devotional, Berengaudus Commentary, John, female patron, additional miniatures, reading/viewing experience

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