Candlestick (one of a set of eight). 1768/69. Credit line: Gift of Mrs. Charles Wrightsman, 2012 https://www.metmuseum.org/art/collection/search/239000
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An Apocalyptic Manuscript Monday
This week we present our facsimile of the 14th-century Cloisters Apocalypse, published in 1971 by the Metropolitan Museum of Art in New York. As described in the introduction to the commentary about the manuscript, “[famine], pestilence, strife, and untimely death inspired apocalyptic fantasies and movements in Europe throughout the Middle Ages” (page 9), and this environmental influence led to the popularity of apocalyptic manuscripts like this French Apocalypse. Made in the 1330s for a Norman aristocratic couple, this manuscript has a few interesting details that set it apart from other Apocalypses, especially in relation to two other manuscripts in London (British Library, Add. Ms. 17333) and Paris (Bibliothèque Nationale, ms. Lat. 14410) that share similar formats, styles, and sequences with the Cloisters manuscript.
The first unique detail is the prefatory cycle of the life of Jesus in the introductory folios (1-2 verso). Since the Apocalypse of St. John the Divine (also known as the book of Revelation) was written by a titular St. John, prefatory cycles in Apocalypses usually consist of his life, rather than Christ’s. The other aspect of this manuscript that makes it distinct amongst its sister manuscripts is the addition of a dedication page on folio 38 verso. This page shows a man and woman kneeling in front of a tonsured saint and the Virgin and Child, respectively, representing the people for whom this manuscript was originally made for.
Interestingly, this manuscript also has multiple pages added to the original manuscript. Pasted on the inside front cover are handwritten provenance notes. The manuscript also did not originally include chapters and verses 16:14 through 20:3, and pages with this text were later added to the manuscript after the dedication page.
The materials used to create this manuscript include tempera, gold, silver, and ink on parchment with a later leather binding. If you are interested in seeing this unique Apocalypse manuscript, you can either use our facsimile, visit Gallery 13 of the Metropolitan Museum of Art’s Cloisters where the original is on display, or view their digital presentation of the manuscript.
View other posts on our facsimiles of illuminated manuscripts.
– Sarah S., Special Collections Graduate Intern
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18th century indian dagger and sheath
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Charles Ethan Porter (1847-1923)
"Untitled (Cracked Watermelon)" (c. 1890)
Oil on canvas
Located in the Metropolitan Museum of Art, New York City, New York, United States
Porter was among the first African American artists to exhibit his work nationally and the only one to specialize in still lifes. The painting's subject—originally an African gourd brought to the New World by seventeenth-century Spaniards and cultivated by colonists—is significant. Porter chose to paint a watermelon, an earlier symbol of American abundance—and during the Civil War period one particularly associated with free Blacks—when it was increasingly defined by virulent stereotyping. By reclaiming the subject in artistic terms, Porter challenged a contemporary racist trope.
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Portions of a Ceremonial Armor | French | The Metropolitan Museum of Art (metmuseum.org)
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Henri Matisse (Fr. 1869–1954)
Pansies (1903)
Oil on paper on cardboard (49 × 45 cm)
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Textile with Pomegranate Design. 15th century. Credit line: Theodore M. Davis Collection, Bequest of Theodore M. Davis, 1915 https://www.metmuseum.org/art/collection/search/467405
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Panel with a Griffin / Byzantine
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Anton Mauve (Dutch, Zaandam 1838–1888 Arnhem). Changing Pasture. ca. 1880. Oil on canvas, 24 x 39 5/8 in. (61 x 100.6 cm).
Open and available to all on JSTOR, courtesy of the Metropolitan Museum of Art.
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