Val-Dieu Apocalypse

Val-Dieu Apocalypse

This Apocalypse manuscript is distinguished both for the quality of its illumination and the excellent state of its preservation. Stored under the shelf mark Add. Ms. 17333 in the British Library, the Val-Dieu Apocalypse likely originated from Normandy during the 1320’s. It is part of a group of four extraordinarily fine Apocalypse manuscripts from northern France during the first quarter of the 14th century, the other three are the Apocalypse of Saint-Victor (Paris, BnF MS lat. 14410), the Cloisters Apocalypse (New York, Metropolitan Museum of Art, Cloisters Collection MS 68.174) and Namur, Grand Seminaire, MS 77. This group of manuscripts follows the iconographic program of a 13th century English Apocalypse manuscript, which was unfortunately destroyed in 1944 during the bombing of Metz. The manuscript at hand is the only one of the four that has a translation of the Book of Revelation’s text into French. Artistically speaking, it is the most meticulously executed of the group, particularly with regard to the elegance and realism of its portraiture. The work was rebound in the 17th century with gold-tooled green leather. Its name comes from its former residence in the library of the Cahrtreuse of Val-Dieu near Mortagne, in the diocese of Séez, which is evident in the inscription Ex Libris Cartusiae Vallis Dei written in a 17th century hand. The British Museum acquired the manuscript in 1848 from Thomas Rodd (1796–1849), an English antiquarian.

A Superior Image Program

The 83 half-page miniatures, which appear above the text, are distinguished by their nuance and sophistication. The artists took advantage of a wide range of colors and shading, highlighted with gold and presented before masterfully patterned backgrounds and set within simple colored frames. Unlike the now-lost 13th century English manuscript upon which it is modelled, it has a completely different conception of figures and scenes: the characters possess a realism and corporeality that brings out a tremendous vividness in the fantastic scenes of the Apocalypse. They are arranged in the English style, appearing at the top of the page and dominating the related text below. Four of the miniatures were removed, leaving only the lower halves with the text. The text is adorned with partial foliate borders, some containing birds and animals. All of these elements combine into a gorgeous masterpiece of the Gothic style.