1½ col   1. Las Huelgas

“St Michael Slaying Dragon, Christ in Majesty Above,” Beatus of Liébana Las Huelgas Apocalypse, Spain, 1220. The Pierpont Morgan Library, purchased by Pierpont Morgan, 1910; MS M.429 (fol. 13)

1½ col   9. Berry Seven

“Seven Deadly Sins as the Seven Plagues,” Master of the Berry Apocalypse, Apocalypse, with the commentary of Berengaudus, in French, France, circa 1415. The Pierpont Morgan Library, purchased by Pierpont Morgan, 1900; MS M.133 (fol. 57v)

2c  11 a and b Maius judgement (morph two images together side by side)

“Last Judgment (Rev.: 20:11–15), Beatus of Liébana, illuminated by Maius Commentary on the Apocalypse, in Latin, Spain, circa 950, The Pierpont Morgan Library, purchased by J.P. Morgan, Jr, 1919; MS M.644 (fols. 219v–20r).

FOR 3-23

Revised for date

‘MEDIEVAL ILLUMINATIONS’ AT THE MORGAN MARCH 23 w/3 cuts

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NEW YORK CITY — The Apocalypse, or the Book of Revelation, is not only the last book of the New Testament, but its most difficult, puzzling and terrifying. It provided challenges to its medieval illustrators and was the source for a number of popular images, such as Christ in Majesty, the Adoration of the Lamb, and the Madonna of the Apocalypse.

The Book of Revelation, in all of its complexity, can be seen through the eyes of some of the greatest medieval illuminators in “Apocalypse Then: Medieval Illuminations from the Morgan,” on view at The Morgan Library & Museum through June 17.

Drawn entirely from the Morgan’s collections, the show celebrates the completion of a facsimile of the Morgan’s “Las Huelgas” Apocalypse and also includes examples from Spanish, French, Flemish and Russian traditions.

The “Las Huelgas” Apocalypse, by the monk Beatus of Liébana, is the largest and latest (1220) of the 500-year series of medieval illuminated commentaries on the Apocalypse. The series is considered Spain’s most important contribution to medieval manuscript illumination. Visitors to the exhibit have the rare opportunity to view 50 of the “Las Huelgas” miniatures because the manuscript was disbound for the preparation of the facsimile; the leaves are displayed in the original order.

The exhibition also includes one of the earliest surviving illuminated manuscripts of the Spanish tradition. It was both written and illuminated by Maius about 945 in the famous tower scriptorium of the monastery of San Salvador de Tabara. It is the most important Spanish illuminated manuscript in the United States.

The Anglo Norman Apocalypse cycle originated during the second quarter of Thirteenth Century and is represented by a manuscript that was made in London circa 1250. Owned by the Morgan, it is considered by scholars to be among the earliest examples of this tradition.

Also on view is an independent French cycle created for the great bibliophile Jean Duc de Berry, circa 1415, illustrated by an anonymous artist who is named the Master of the Berry Apocalypse, after this manuscript. Two Flemish examples from the second half of the Fifteenth Century are included. One was made for either Philip the Good or Charles the Bold, dukes of Burgundy, who used the same coat of arms. It is painted in a crystalline and realistic style, whereas the other Flemish example made about 1475 for Margaret of York, wife of Charles the Bold, is notable for its more atmospheric and visionary style.

A large group of Apocalypse manuscripts was produced in Russia from the Sixteenth to the very early Twentieth Centuries, some having cycles of 72 miniatures. Two profusely illustrated examples, in Old Slavonic, are on display. One dates from the Eighteenth Century; the other was one of the last produced.

“Apocalypse Then: Illuminations from the Morgan” was organized by William M. Voelkle, curator and department head of medieval and Renaissance manuscripts.

The Morgan Library & Museum is at 225 Madison Avenue, at 36th Street. For information, 212-685-0008 or www.themorgan.org.