An altar-piece of the Apocalypse from Master Bertram's by C. M Kauffmann

By C. M Kauffmann

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Additional info for An altar-piece of the Apocalypse from Master Bertram's workshop in Hamburg, (Victoria and Albert Museum. Monograph, no. 25)

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36 The picture showing St. John in the cauldron, while Domitian looks on, is very closely paralleled in a late 13th-century Apocalypse in the British Museum (Add. 35166, fo1. lv, fig. 25). No further evidence is needed to demonstrate that these scenes, like the first one on the front which is a partial repetition of the upper scene on the back, were derived from a manuscript of the Anglo-French Apocalypse tradition. Figure 25 Apocalyp e. St. John in the Cauldron. English, c. 1260-70' Brilisb MlIsmlll, MS.

Altar-piece is provided neither by St. Joh n nor by the Apocalypse itself, but by Friar Alexander and his Commentary, with its specifically Franciscan interpretation of the histoqr of the Church. Further evidence concerning the picture's provenance may be sought in the illustrations on the back. Not much can be concluded from the presence either of the Virgin or of St. John, whose appearance as the author of the Apocalypse is easily explained. But there is no such simple explanation for the other two saints and yet their representation on an altar-piece of such recondite iconography is unlikely to be fortuitous.

Peter, and it was only at the height of the struggle against the Bishop of Nimes in the l oth century that St. Giles was adopted as its patron. \X/hatever his o rigin, he had become a popular saint by the 13th century, at which time the illustration of the sto ry of the hind was weB known throughout Europe. The ~Mass of St. Giles was also quite frequently depicted , and the two scenes regularly occu r together in French and Italian art of the I) th and 14th centuries. They appear as companion pieces, for example, in the voussoirs of the right port:tl, south transept, at Chartres.

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