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Commentary on the Apocalypse
Beatus de Liébana
- Title/name : Commentary on the Apocalypse
- Production place : Tábara, Zamora, Spain
- Discovery place : Tábara, Zamora, Spain
- Date / period : 970
- Materials and techniques : Ink, paint, parchment
- Dimensions : 36,0 x 25,5 cm ; 168 folios
- Conservation town : Madrid
- Conservation place : Archivo Histórico
Beatus of Liébana, author of Commentary on the Apocalypse, lived in the monastery of San Martin in Liébana (today known as Santo Toribio de Liébana) in the late eighth century. His work is made up of extracts from the works of various writers (including Isidore of Seville, Gregory the Great, Gregory of Elvira, Ticonio, Agustin and Apringius of Beja). The Beatus was used in monasteries from the outset, but its popularity peaked during the tenth century, when the texts were rediscovered and illustrated in a new style, described by Joaquin Yarza[1].
Many scholars note a definite Islamic influence in the Beatus illustrations. Some scenes depict Islamic details, to vilify or give negative connotations. The Whore of Babylon is one example. As Joaquìn Yarza points out, she is shown seated oriental-style in the Beatus of Magio wearing a strange crown with a half moon in its centre; merlons, reminiscent of Islamic architecture, appear in the upper half of the miniature. Other scenes contain details of obviously oriental origin, but which are devoid of negative connotations. These clues do not confirm direct Islamic influence on the Beatus miniatures but it seems obvious that the two cultures knew and communicated with each other.
There are two distinct types of Beatus – some are sober, with small illustrations, with few filling the entire page. The second type is frequently attributed to Mozarabic influence, with its richer style and more ornate calligraphy, with more illustrations filling an entire page, sometimes even covering both sides.
The Beatus of Tábara is of the second type. The text, in Visigoth script, is arranged in two columns. It was probably produced in the Benedictine monastery of Tábara in Zamora. The Codex has lost many of its miniatures but those surviving, and the illuminated capital letters, indicate that it must have been one of the most ornate Beatus. The most stunning illustrations appear at the end of the Codex (p. 167 & colophon). In the colophon there is a magnificently decorated letter omega. Folio 167v shows the tower that houses the scriptorium for the Church of Tábara, proof that the manuscript was produced there. It is one of the most spectacular Beatus scenes ever discovered. Scholars like Hermenegildo Garcia-Araez have detected al-Andalus influence [2].
[1] “A formal language, different from anything seen not only in Europe, but also in the more classical hispanic-muslim art. Here, a hitherto unprecedented level of abstraction is created, two dimensional art which blatantly ignores the third dimension; vibrant flat tint hues are sometimes used for the background, applied in horizontal stripes, or are used to outline or colour in [figures]. The final result is so totally different that the term 'Mozarabic' was coined to describe it - it has nothing, or very little, to do with the Christian communities, and the designs are very unlike those of the Ancients as seen in the few surviving Codex of the Al-Andalus communities.” ref. Yarza Luaces, J., “¿El terror del milenio? los Beatos”, from Dos milenios en la historia de España: año 1000, año 2000, Sociedad Estatal de Conmemoraciones Culturales, 2000.
[2] According to the author, its influence can be seen in "the depiction of the scriptorium tower, whose blue and orange façade tiles are Andalusian in style, and in the illuminated Omega, whose outlined curves are reminiscent of Andalusian banners; the decor is also heavily influenced by Carolingian art, as in the alternating parallel curves and the interlacing on the tips of the letter omega. It is clear that the copyist was trained in Al-Andalus because of these stylistic details, but also because of the Arabic annotations in the margin”
Ref. Encrucijadas. Las Edades del Hombre, (Exh. cat., Astorga, Cathédrale, 2000), Valladolid: Fundación Las Edades del Hombre, 2000, p. 244.
Yarza Luaces, J., « El terror del milenio ?: los Beatos », in Dos milenios en la historia de España: año 1000, año 2000, Madrid, 2000, Sociedad Estatal de Conmemoraciones Culturales.
Dos milenios en la historia de España: año 1000, año 2000, Madrid, 2000, Sociedad Estatal de Conmemoraciones Culturales, p. 288-289.
Encrucijadas. Las Edades del Hombre, cat. exp., Astorga, Cathédrale, Valladolid, 2000, Fundación Las Edades del Hombre, p. 242-244.
The art of medieval Spain, ad. 500-1200, New York, 1994, Harry N. Abrams.
Yarza Luaces, J., Beato de Liébana. Manuscritos iluminados, Barcelona, 1998 : Moleiro.
Williams, J., The illustrated Beatus. A Corpus of the illustrations of the Commentary on the Apocalypse, London, 1994, Harvey Miller.
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