Picturing the Apocalypse: Illustrated Leaves from a Medieval Spanish Manuscript

Wixom, William D.; Lawson, Margaret

doi:10.2307/3269148

Cited by 2 publications

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“…As with the term Mozarabic itself, there are various theories regarding how much Islamic influence concerning color exists in Mozarabic manuscripts. Wixon (2002) claims that the program is based on North African apocalyptic traditions, while Manuel Gómez Moreno considers the color program an essentially Islamic derivation (Mentré, 1996).…”

Section: The Use Of Colormentioning

confidence: 99%

Image, Polemic, and Salvation: Modes of Manifestation in the Morgan Beatus

Neal¹

2005

TEF

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The Morgan Beatus, arguably Spain's greatest contribution to medieval illuminated manuscripts, contains several textual and illustrative examples anomalous to other Beatus manuscripts.Considering Augustinian concepts of will and medieval ways of mnemonically using images to represent and remember concepts, I argue that the Morgan Beatus utilized these anomalies to manifest the divine. Moreover, the polemical nature of the work, along with its original purpose as a source of spiritual meditation, suggests that divine manifestation was a way of ensuring salvation in the face of the perceived coming Apocalypse. Correspondingly, I suggest that the need for salvation in relation to the Apocalypse prompted Maius, the scribe of the Morgan Beatus, to include himself in the textual program. Therefore, more than a source of spiritual meditation, the Morgan Beatus becomes, in the words of Mary Carruthers, a "machine of salvation.

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Section: The Use Of Colormentioning

confidence: 99%

Image, Polemic, and Salvation: Modes of Manifestation in the Morgan Beatus

Neal¹

2005

TEF

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Visualizing Imperium:The Virgin of the Seafarersand Spain’s Self-Image in the Early Sixteenth Century^*

Phillips

2005

Renaiss. Q.

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The Virgin of the Seafarers(1531–36) by Alejo Fernández was designed as the central panel of an altarpiece for the chapel in the House of Trade’s Hall of Audiences in Seville. Little attention has been paid to the central panel and almost none to the four side panels, yet they are crucial to our understanding of how the Spanish monarchy defined its mission overseas. The iconography of the altarpiece as a whole made visible Spain’s self-image as the creator and guarantor of a militant, evangelical Christian empire, dedicated to spreading the Gospel as well as fomenting trade and colonization.

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Picturing the Apocalypse: Illustrated Leaves from a Medieval Spanish Manuscript

Cited by 2 publications

References 0 publications

Image, Polemic, and Salvation: Modes of Manifestation in the Morgan Beatus

Image, Polemic, and Salvation: Modes of Manifestation in the Morgan Beatus

Visualizing Imperium:The Virgin of the Seafarersand Spain’s Self-Image in the Early Sixteenth Century^*

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Picturing the Apocalypse: Illustrated Leaves from a Medieval Spanish Manuscript

Cited by 2 publications

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Image, Polemic, and Salvation: Modes of Manifestation in the Morgan Beatus

Image, Polemic, and Salvation: Modes of Manifestation in the Morgan Beatus

Visualizing Imperium:The Virgin of the Seafarersand Spain’s Self-Image in the Early Sixteenth Century*

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Visualizing Imperium:The Virgin of the Seafarersand Spain’s Self-Image in the Early Sixteenth Century^*