Apocalypse of Saint-Victor

Apocalypse of Saint-Victor

The Apocalypse of Saint-Victor is one of the most magnificent Apocalypse manuscripts of the 14th century and was probably created in Normandy in the 1320s. Due to its close stylistic similarities, it is often associated with the Val-Dieu Apocalypse and the Cloisters Apocalypse. Just as in these two richly illuminated manuscripts, the captivating miniatures dominate the pages of the Apocalypse of Saint-Victor, while the text is relegated to a supporting part.

John as an Observer of his own Vision

Each page of this Gothic picture book presents John's vision of the end times in splendid half-page miniatures - from his commissioning by God to the opening of the book with seven seals to the New Jerusalem and Christ's concluding words to John, who worships him. The recipient of the vision attends most of the events as an observer, either as part of the scene or from outside the picture, often looking through the frame via narrow windows with open shutters "into the respective miniature". This picks up on the visionary character of the Revelation and immediately offers the reader a figure of identification when looking at the fantastic images themselves. In keeping with this, the four evangelist symbols (winged lion, bull, angel and eagle) in the miniatures of the four Apocalyptic Horsemen hold out scrolls to John that read: "veni et vidi" - "come and see ".

The Apocalypse in the Soft Style

The Gothic illuminations correspond to the so-called Soft Style, which was established throughout Europe at the beginning of the 14th century. It can be seen in the artfully flowing robes of the slender and often curvaceous figures and their rosy-cheeked skin. The numerous fantastic animal creatures, which often appear rather cute than frightening, are particularly charming. The color palette is dominated by shades of red, pink and purple, joined by blue and green. Each miniature is also opulently adorned with gold and silver, which can be found not only in halos and depictions of precious metalworks such as thuribles and crowns, but also in the robes of God and John.

The Text as an Addition to the Image

The lower half of the parchment pages of the precious manuscript is taken up by the corresponding text passages from the Revelation of John, which were neatly written down in two columns in Gothic textura. The sections usually begin with traditional two-line, red-and-blue pen flourish initials. The beginnings of superordinate "chapters", on the other hand, are indicated by larger litterae duplices, which are decorated with more splendid fleuronnée ornament and whose letter bodies are split and worked out in two colors.