By C. M Kauffmann
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Extra info for An altar-piece of the Apocalypse from Master Bertram's workshop in Hamburg, (Victoria and Albert Museum. Monograph, no. 25)
R. James, Tb. Trillity Col/'g' Apocalypse, 1909, fols, 2v, 18, 18v . For example, Brit. , Add. 22493, fol. 3'"; Magdalene College, Cambridge, :MS. 5; Florence, Laurenziana, i\ shburnham 415, all 13th century, see Brieger, Ellglisb Art, p. 218. Cf. also a 14th-century German Apocalypse: H. 0gl. Bibliotbtk til Il7eilllar, 19I2, pI. 29. Fran z Juraschek. Das Rfi'fsd ill D,f'ru Gollusrhall, 1955, figs. 5 . See above, n. 29. For the origin of the St. John cycle see James, Trillity Col/'g' Aporalyps" p.
Her death. T his legend was taken over from the life of St. 1v[ary of Egypt in the loth century. and became popularized in the 13th century by Vincen t of Beauvai s in his JpemhIJ" ,Hisloria/e, and in the Legmda Allrea of Jacobus de Voragine. Yet it was rarely lllustrated. One or other of the scenes occur in German art in the 14th century, for example, in a Silesian manuscript (\'\froclaw, City Librar)r, lvLI243- 4, II, fo1. 56\');17 but it is again in Italian or Italiana te manuscripts of the kind of the Vatican Passional (Vat.
J ohn preaching on the Isle of Patmos and hearing the voice of the Lord as through a ((umpet. , I. 9-IJ) The Apocalypse text contains no reference to J oh n preaching, and this scene does not occur in any of the manuscripts of Alexander's Com- mentary. It is morc closely related to the group of scenes from the life of St. J ohn at the back of the altar-piece, and, like th em, it is derived from the 13th-century Anglo-French Apocalypse cycle. The inscriptions on the scrolls have been restored and are now unintelligible.