Dublin Apocalypse. IE TCD MS 64 Poiblí Deposited

Dublin Apocalypse. IE TCD MS 64

Cód seilf/Uimhir thagartha
  • IE TCD MS 64 ; former shelfmark: Lyon: K.4.31
Ráiteas cearta
  • Copyright The Board of Trinity College Dublin. Images are available for single-use academic application only. Publication, transmission or display is prohibited without formal written approval of the Library of Trinity College, Dublin.
Dáta a cruthaíodh
  • between approximately 1300-1339
Physical extent
  • c280mm x c200mm (maximum)
  • 40 folios
  • IE TCD MS 64, the Dublin Apocalypse, is an apocalypse manuscript in the style of the Ormesby Psalter workshop, created around 1300-1339 (L.F. Sandler dates the codex as c1310-c1320: see her 'Gothic Manuscripts 1285-1385, A Survey of Manuscripts Illuminated in the British Isles' 5, (London, 1986)). Unlike most apocalypses which typically contain half-page illustrations, the Dublin Apocalypse contains almost full-page pictures, in gold and colour, drawn by an artist who was undoubtedly the Ormesby Master. 73 out of 75 of these illustrations remain (1rv is lost; likely lost are pictures of John on Patmos, and the vision of Christ among the candlesticks (see M.R. James, The Dublin Apocalypse, Cambridge, 1932, p. 3). Collation analysis: i(12) (lacks 1, 2, 3, 5) ii-iii(8) iv(10) v8 (lacks 8). Script: in two hands, changing at folio 38. Layout: (2)(3) 2 columns (1) irregular numbers of lines, (3) 41 lines. For a full description of IE TCD MS 64 see the Manuscripts & Archives Research Library’s catalogue entry at
  • Bound in 19th-century red blind-tooled morocco; with stamp of paschal lamb and Sadleir’s bookplate on front board.
  • Photographic reproduction of IE TCD MS 64 in M.R. James, 'The Dublin Apocalypse (for Roxburghe Club)', (Cambridge, 1932). For TCD MS 64 see James o.c. with his notice (p. 23) of earlier references to the codex, and see his 'The Apocalypse in Art', (London, 1931), 15 and 62; M.J. Rickert, 'Painting in Britain in the Middle Ages', Pelican History of Art 5, (Melbourne, London, Baltimore, 1954), 122, 144-146; 'Western Illuminated Manuscripts from the Library of Sir Chester Beatty Exhibited in the Library of Trinity College Dublin', (Dublin, 1955), number 35; Morgan o.c. 20-21; O. Pächt and J.J.G. Alexander, 'Illuminated Manuscripts in the Bodleian Library', Oxford 3, (Oxford, 1973), 49; H. Zotter, 'Bibliographie faksimilierter Handschriften', (Graz, 1976), number 139; Frederick Van Der Meer, 'Apocalypse', (London, 1978), 355; M.A. Whitaker in 'Viator' 12 (1981) 195-196; N.J. Morgan, 'Early Gothic Manuscripts', volume 2, (London, 1982), 40 n.75; Bernard Meehan in 'Scriptorium' 38:1 (1984) 82-83; L.E. Boyle, 'Medieval Latin Palaeography: A Bibliographical Introduction', (Toronto, 1984), number 389; R.K. Emmerson and Suzanne Lewis in 'Traditio' 41 (1985) 379; P. Fox in 'Treasures of the Library: Trinity College Dublin', (Dublin, 1986), 8, pl. 2; Sandler o.c. no. 46, 1:27, 28, 61 (with pls. 107, 108), 2:50, 52-53. For further bibliography see Emmerson and Lewis l.c. N. Morgan, 'The Lambeth Apocalypse', (London, 1990), 22 n.29, 93 n.13, p. 272. For facsimiles of illustrated pages see Giulia Bologna, 'Apocalisse: nouvissima versione dai testi originali di Angelo Lancellotti', (Milan, 1991) [not seen by M.L. Colker but reported by Stuart Ó Seanóir, former Assistant Librarian at the Library of Trinity College Dublin] and see Apocalisse, with introductory material by S. Lewis, G. Bologna, et al., (Turin, 1993). W. O'Sullivan, 'Binding Memories of Trinity Library', in Decantations: A Tribute to Maurice Craig, ed. A. Bernelle, (Dublin, 1992), 172, 176 n.17; S. Lewis in 'Word and Image' 10 (1994) 289-311, with plates, S. Lewis says: ‘Despite their eccentric format, the Dublin illustrations clearly depend upon the well-known thirteenth-century English Gothic model represented by the Metz and Lambeth Apocalypses’. See also S. Lewis,' Reading Images', (Cambridge, 1995), 379 n.40; L. Sandler, 'Omne Bonum: A Fourteenth-Century Encyclopedia of Universal Knowledge', volume 1, (London, 1996), 165 n.113. Barbara Bruderer Eichberg, Les neuf chœurs angéliques. Origine et évolution du thème dans l'art du Moyen Âge (coll. Civilisation médiévale, vol. VI), Poitiers, centre d'Etudes supérieures de Civilisation médiévale, 1998) has illustration of folio 6v (XIC) on place XX, figure 30. Stylistic relationships with Bodleian Douce 366, Bodleian Ashmole 1523 and Cambridge Emmanuel 112 - see Frederica Law-Turner, 'The Ormesby Master: a question of attribution', part MA thesis Courtauld Institute, University of London, 1994.
Finding aid
  • IE TCD MS 64 was presented to the College by Franc Sadleir, provost of Trinity College Dublin (died 1851), possibly in exchange for old uncatalogued annuals (see Bernard Meehan, 'A note on the Dublin Apocalypse (Trinity College Dublin MS 64)' in Scriptorium 38, (1984), 82-83, p. 83) . 'Born in 1775, Sadleir became a Fellow of Trinity College in 1805. He was Professor of Hebrew from 1822 to 1825, Professor of Mathematics from 1825 to 1836, and Librarian from 1821 until appointed Provost of the College in December 1837' (Bernard Meehan, 'A note on the Dublin Apocalypse (Trinity College Dublin MS 64)' in Scriptorium 38, (1984), 82-83, p. 82). The ownership of the codex prior to Sadleir remains unknown.
Cineál acmhainne
  • ink
  • colored ink
  • parchment (animal material)
  • morocco (leather)
  • English
Aitheantóir Oibiachta Digití
  • MS64_046
  • 0148011


Máthairshaothair agus foshraitheanna:

Ní bhaineann máthairshaothair ná foshraitheanna leis an ábhar seo.

In Collection: