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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 Angers Apocalypse Tapestry

The Angers Apocalypse Tapestry

A Fourteenth‐Century Walking Tour of the Book of Revelation

Chapter:
(p.43) 2 The Angers Apocalypse Tapestry
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/9780199590100.003.0003

Chapter 2 presents and analyses the Angers Apocalypse Tapestry (c. l373–80) (hereafter Angers) as a large‐scale example of medieval visual exegesis of the Book of Revelation. The motivation of the tapestry's patron. Louis I of Anjou, in commissioning this huge tapestry is discussed as are its possible contemporary uses and parallel tapestries. Its iconographical influences and particularly the influence of the Burckhardt‐Wildt Apocalypse manuscript are also considered. The exegetical innovations of the tapestry with regard to its handling of the source‐text, and in particular its extensive visual focus on the John figure make up the second half of the chapter. The scale of the tapestry and the physicality of the viewing experience remain a focus throughout.

Keywords:   Angers, Louis I of Anjou, tapestry, Barkhardt Wildt Manuscript, John, large‐scale, physicality

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