Gulbenkian Apocalypse
The Gulbenkian Apocalypse originated in London between 1265 and 1270. The Gothic Apocalypse manuscript is adorned with high-quality miniatures in golden frames. It is one of the most beautiful manuscripts in the English Apocalypse tradition and is found today in the Gulbenkian Museum in Portugal, after which the codex is named.
Gulbenkian Apocalypse
In the 13th and 14th centuries in England, there arose a series of precious and artistically valuable illuminated manuscripts about the Book of Revelation, also known as the Apocalypse, the last book of the Bible. The Gulbenkian Apocalypse is one of the most beautiful editions of these manuscripts. The work is adorned with a great number of high quality miniatures against a gold background. It was once owned by Pope Clement IX (1600β69) and found itself in the possession of several other prominent art lovers. Today, the magnificent manuscript is housed in the Calouste Gulbenkian Museum in Lisbon, wherefrom the codex derives its name.
An Interesting Picture Cycle
The Gulbenkian Apocalypse adorns a picture cycle of 152 half-page miniatures. 78 of these illustration visually depict the history of the end of the world and the Day of Judgement. 74 additional scenes illustrate short excerpts of the rather lengthy, and beloved in 13th century English apocalypse manuscripts, Berengaudus Commentary. All of the images, in their various colors and forms, were depicted in a golden, rectangular frame. While the depictions of the biblical text emphasize the role of John as a visionary, the illustrations of the commentary stress the meaning of the sermon and of episcopal authority. The miniatures of the Gulbenkian Codex clearly eclipses the pictures from other illuminated Apocalypse manuscripts. The qualitatively valuable illuminations are in an excellent state of preservation, so that today we can still wonder at these gorgeous pictures in their full splendor.
Prominent Previous Owners
In the 17th century, the Gulbenkian Apocalypse found itself in the personal library of Pope Clement IX. The Italian art collector Cesare Battaglini, who was married to a descendant of Clement IX, is believed have purchased the manuscript in the first half of the 19th century for a hefty price. Between 1899 and 1920, the manuscript found itself in the possession of the English newspaper magnate and book collector Henry Yates Thompson. Last but not least, Calouste Gulbenkian of Portugal acquired the valuable codex for his museum in Lisbon.
Codicology
- Alternative Titles
- Apocalipsis Gulbenkian
Apokalypse Gulbenkian
Apocalisse Gulbenkian
Apocalipse Gulbenkian
Gulbenkian-Apokalypse - Size / Format
- 152 pages / 27.0 Γ 21.7 cm
- Origin
- United Kingdom
- Date
- 1265β1270
- Epochs
- Style
- Genre
- Language
- Script
- Gothic
- Illustrations
- 153 magnificent half-page miniatures with gold and silver leaf
- Patron
- Probably Pope Clement IX (r. 1667β1669)
- Previous Owners
- Cesare Battaglini de Rimini
Henry Yates Thompson (1838β1928)
Calouste Gulbenkian (1869β1955)
Gulbenkian Apocalypse
The First Horseman of the Apocalypse
Presented before a background combining gold leaf and a diamond patterned field of blue, the First Horseman of the Apocalypse is shown riding out attired like a late medieval nobleman. βNow I saw when the Lamb opened one of the seals; and I heard one of the four living creatures saying with a voice like thunder, βCome and see.β And I looked, and behold, a white horse. He who sat on it had a bow; and a crown was given to him, and he went out conquering and to conquer.β (Rev. 6:1-2)
Gulbenkian Apocalypse
The Last Judgement
βAnd I saw the dead, small and great, standing before God, and the books were opened; and another book was opened, which is the Book of Life. And the dead were judged out of those things which were written in the books, according to their works.β (Rev. 20:12). Here we see the climatic event of the Book of Revelation divided into two busy and brightly colored registers.
In the lower register, an angel holding a sword stands guard as the dead face Godβs justice, represented by a hand reaching down holding scales. Those not found in the Book of Life are cast into the lake of fire, represented here by the Hellmouth, but the faithful appear in the upper register with Christ. In this richly gilded scene, the multitudes of the Saved gather around Christ in Majesty.
#1 Apocalipsis Gulbenkian
Languages: Spanish, English
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