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On Folio 27v of the Bamberg Apocalypse is the first full depiction of Revelation 11 with a narrative divided into three key scenes. The figures on the top preach as the beast attacks two witness that then get resurrected on the bottom right register. The Bamberg Apocalyse is the only extant illustrated Ottonian Apocalypse manuscript. [3]
Illustrations are believed to been included in the earliest manuscripts of the work, now lost. Williams cautions against talking of a consistent style in the manuscripts; though the subjects and often compositions remain much the same, the artistic style tends to follow wider developments across southern Europe, with a clear Romanesque style in later manuscripts.
Considering the 15 woodcuts, The Four Horsemen of the Apocalypse (c. 1497–98), [7] referring to Revelation 6:1–8, [8] is often viewed as the most famous piece. The overall layout of the cycle has the illustrations on the recto (right) and the text on the following verso (left). This would suggest the importance of illustration over text. [4]
The final part of the manuscript shows scenes from the final book of the New Testament, The Revelation of St. John the Divine, announcing the end of the world and the Second Coming of Christ. The visions of St. John are presented across nineteen surviving sheets (some are missing) and covers Revelation 1:12–18, St. John's vision of Christ and ...
Each cherub is crowned by a tongued flame, a reference to the "seven lamps of fire" described in Revelation 4.5. [9] In Revelation, Saint John wrote, And round about the throne were four and twenty seats: and upon the seats I saw four and twenty elders sitting, clothed in white raiment: and they had on their heads crowns of gold. [9]
Héliodore Pisan after Gustave Doré, "The Crucifixion", wood-engraving from La Grande Bible de Tours (1866). It depicts the situation described in Luke 23.. The illustrations for La Grande Bible de Tours are a series of 241 wood-engravings, designed by the French artist, printmaker, and illustrator Gustave Doré (1832–1883) for a new deluxe edition of the 1843 French translation of the ...
Illustration from the Bamberg Apocalypse of the Son of Man among the seven lampstands The Vision of John on Patmos by Julius Schnorr von Carolsfeld (1860). John's vision of the Son of Man, also known as John’s Vision of Christ, is a vision described in the Book of Revelation (Revelation 1:9–20) in which the author, identified as John, sees a person he describes as one "like the Son of Man" ().
It was during this period that Blake was commissioned to create over one hundred paintings intended to illustrate books of the Bible. These paintings depict "The Great Red Dragon" in various scenes from the Book of Revelation. And behold a great red dragon, having seven heads and ten horns, and seven crowns upon his heads.
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