Commentary on the Apocalypse
{{Short description|Book by Beatus of Liébana}}
{{for|the 3rd century work|Victorinus of Pettau#Commentary on the Apocalypse}}
{{italic title}}
File:B Pierpont 112.jpg, f. 112: The opening of the Sixth Seal: "And I beheld when he had opened the sixth seal, and, lo, there was a great earthquake; and the sun became black as sackcloth of hair, and the moon became as blood" (Revelation, 6.12)]]
The Commentary on the Apocalypse (Commentaria in Apocalypsin) is a Latin commentary on the biblical Book of Revelation written around 776 by the Spanish monk and theologian Beatus of Liébana (c. 730–after 785).Williams (2017), 22 The surviving texts differ somewhat, and the work is mainly famous for the spectacular illustrations in a group of illustrated manuscripts, mostly produced on the Iberian Peninsula over the following five centuries. There are 29 surviving illustrated manuscripts (many incomplete or fragments) dating from the 9th to the 13th centuries,Williams (2017), 26 as well as other unillustrated and later manuscripts. Significant copies include the Morgan, Saint-Sever, Gerona, Osma, Madrid (Vitr 14-1), and Tábara Beatus codices.{{Cite book |last=Williams |first=John |title=The Illustrated Beatus: A Corpus of the Illustrations of the Commentary on the Apocalyps, 5 vols. |date=1994–2003 |publisher=London: Harvey Miller |edition=This is the scholarly edition, the contents of which were mined for the novel by Umberto Eco (2014). From the Tree to the Labyrinth. Harvard University Press. p. 252. ISBN 9780674728165. This counted 27 illustrated copies, but two new fragments were found subsequently, described in Williams (2017)}}
File:Beatus map.jpg" from the Saint-Sever Beatus measuring 37 X 57 cm. Saint-Sever Abbey, Aquitaine, c. 1050]]
Most unusually for a theological work, the imagery seems to have been included from the start, and is considered to be the work of Beatus himself, although the earliest surviving manuscripts date from about a century after he wrote the book. After about another century, around 950, the size and number of illustrations was expanded. Manuscripts of the work are typically referred to just as a Beatus. They included a Beatus map, a version of the medieval type of world map called the T and O map with added details; this is supposed to have been created by Beatus. It has only survived in some copies.Williams (2017), 23
Considered together, the Beatus codices are among the most important Spanish manuscripts and have been the subject of extensive scholarly and antiquarian enquiry. The illuminated versions now represent the best known works of Mozarabic art, and had some influence on the medieval art of the rest of Europe. Among modern painters, Pablo Picasso's painting Guernica was inspired by the Saint-Sever Beatus.{{Cite web |title=The Saint-Sever Beatus |url=https://patrimonioediciones.com/portfolio-item/the-saint-sever-beatus/?lang=en |website=| date=18 January 2018 }} The Morgan Beatus (in New York City's Morgan Library) inspired the artist Fernand Léger.[http://epapers.bham.ac.uk/4093/],{{Cite journal |last=Wasielewski |first=Amanda |date=2022 |title=Interfaces of art: Meyer Schapiro, Fernand Léger and the role of the art historian in anachronistic artistic influence. |url=https://arthistoriography.wordpress.com/26-jun22/ |journal=Journal of Art Historiography |volume=26 |via=ePapers repository}}
The text was not printed until 1770,In Apocalypsin. Ed. Florez, Madrid, 1770. The first known printed edition of the commentary. Latin. and later translated into Spanish for a side-by-side edition,Beato de Liebana: Obras Completas y Complementarias, Vol. I. BAC, 2004. The commentary translated by Alberto del Campo Hernandez and Joaquin Gonzalez Echegaray. Side by side Spanish and Latin. but despite modern Latin critical editions,Commentarius in Apocalypsin, (2 Vols.) Ed. E. Romero-Pose. Rome, 1985. The second critical edition of the commentary. Latin; Tractatus in Apocalypsin. Ed. Gryson. (Vols. 107B and 107C, Corpus Christianorum Series Latina.) Brepols, 2012. The third critical edition of the commentary. Latin, with French introductory material. Also available in a French translation by Gryson, as part of the Sources Chretiennes series, but I've never seen it myself. it has had little influence on biblical studies after the Middle Ages.
The text
We know very little about Beatus' life. The leading expert John Williams writes:Williams, vol. 1, p. 13 "We even lack proof of his responsibility for the Commentary on the Apocalypse. Nowhere does it carry his name..." The work as it has come down to us in the Beatus manuscripts consists of several prologues (which differ among the manuscripts) and one long summary section (the "Summa Dicendum") before the first book, an introduction to the second book, and 12 books of commentary, some long and some very short. Beatus states in its dedication to his friend Bishop Etherius (like Beatus, an "Adoptionist" in terms of church doctrine) that states the work is meant to educate his brother monks. This dedication is the best evidence of Beatus as the author.
Beatus divided the biblical text into 68 sections or storiae, of around a dozen verses. The Vulgate text was written out, then followed by an illustration, after which came his commentary on the section. It is now generally agreed that the illustrations were included from Beatus's original version(s) onwards, although only later manuscripts have survived. This includes the map, though it is an exception, as it illustrates no biblical passage.Williams (2017), 22-26
The text was evidently read aloud in monastic refectories during meal times; it was usual for various texts to be treated in this way.
Image:B Facundus 191v.jpg, f. 191v: The Dragon gives his power to the Beast]]
The commentaries are built around selections from previous Apocalypse commentaries and references by Ticonius (now mostly lost), St. Primasius of Hadrumetum, St. Caesarius of Arles, St. Apringius of Beja, and many others. There are also long extracts from the texts of the Fathers of the Church and Doctors of the Church, especially Augustine of Hippo, Ambrose of Milan, Irenaeus of Lyons, Pope Gregory I, Saint Jerome of Stridon, and Isidore of Seville. From the later 10th century onwards, one "line" of manuscripts adds Jerome's Commentary on the Book of Daniel, and a large genealogy of Christ, both illustrated (see below), and sometimes also a commentary on the books of Ezekiel, but these are not strictly part of the Beatus.
The creative character of the commentary comes from Beatus' writing of a wide-ranging catena of verses from nearly every book of the Bible, quotes of patristic commentary from many little known sources, and interstitial original comments by Beatus. His attitude is one of realism about church politics and human pettiness, hope and love towards everyday life even when it is difficult, and many homely similes from his own time and place. (For example, he compares evangelization to lighting fires for survival when caught far from home by a sudden mountain blizzard, and the Church to a Visigothic army with both generals and muleskinners.) His work is also a fruitful source for Spanish linguistics, as Beatus often alters words in his African Latin sources to the preferred synonyms in Hispanic Latin.
Illustrations
Illustrations are believed to been included in the earliest manuscripts of the work, now lost. Williams cautions against talking of a consistent style in the manuscripts; though the subjects and often compositions remain much the same, the artistic style tends to follow wider developments across southern Europe, with a clear Romanesque style in later manuscripts. This is especially the case with the depiction of figures.
The features most associated with Beatus manuscripts are whole page and double spread illustrations with backgrounds in broad strips of bright, flat, primary colours. These are not found in earlier manuscripts, where illustrations often occupy less than the width of a page, and figures have a blank background within a simple border.Williams (2017), 31-34 The San Millán Beatus was illustrated in two phases, over a century apart, and shows this stylistic progression within a single manuscript.
It is thought that a significant development in the illustrations took place in the mid-10th century at the San Salvador de Tábara Monastery, whose remains are now the church of Santa Maria, in Tábara, Zamora, Spain, probably led by the monk-painter Magius. An effusive tribute to Magius by his pupil Emeterius is written in the fragmentary Tábara Beatus (only 8 miniatures surviving), which Magius left unfinished at his death in 968, and Emeterius completed.Williams (2017), 28-30 The Morgan Beatus (c. 945) is thought to be all by Magius, and the Gerona Beatus by Emeterius and the nun Ende, who signed it; this was finished in 975. Apart from these three surviving MS made by the Tábara team, there are thought, on the basis of textual analysis, to have been three others, now lost.Williams (2017), 29
File:Genealogie-du-Christ medium.jpg in the Saint-Sever Beatus]]
The innovations at Tábara included new subjects, and a move to miniatures that occupied a full page, or spread across two pages, this last being something not known from any earlier books. The "polychromatic striped backgrounds that characterize the so-called Mozarabic style of illumination" now appear; the Morgan Beatus is nearly complete, with 68 full-page miniatures, and 48 smaller, and so the best exemplar of this phase.Williams (2017), 34; [https://www.themorgan.org/manuscript/110807?id=71 Morgan Library catalogue entry] Magius was probably influenced by his contemporary Florentius of Valeránica, who worked about 150 miles away to the east, borrowing both some images and some of his prefactory text from the León Bible of 960, illustrated by Florentius and an assistant.Williams (2017), 34
Images new to Beatus manuscripts found in the Beatus and clearly taken from the León Bible of 960 (or a very similar MS) include a set of Evangelist portraits of a distinctive type, the text and decorative illumination of an extensive genealogy of Christ (over fourteen pages with about 600 names), and a set of images illustrating Jerome's Commentary on the Book of Daniel, the text of which was also included.The Morgan Adoration of the Lamb also takes distinctive features of the León Christ in Majesty.
By the time of later manuscripts such as the Saint-Sever Beatus, probably from around 1150, the decorated initials and similar elements of ornament were in a clearly Romanesque style, and figures were rather better drawn, but the old compositions and features such as the large coloured bands persisted. In the Portuguese Apocalypse of Lorvão, dated 1189, many illustrations are once again less than a full page.
File:FOLIO.BEATO-CIRUEÑA.25.jpg|Page from the Silos fragment, the earliest survival, c. 885. Opening of the Fifth Seal
File:Emetrius (Meister der Schule von Távara) 001.jpg|Unusual miniature from the Tábara Beatus, c. 970; the monastery tower there, with three people working in the scriptorium
File:B Pierpont 154v.jpg|The Ascension of the Two Witnesses, Morgan Beatus (c. 945)
File:Beato de Gerona. Fº 131v.jpg|Opening of the Sixth Seal, Gerona Beatus, by 975
File:ApocalypseStSeverFol026vJohnRecievesRev.jpg|Angel transmitting the revelation of the apocalypse to John, Saint-Sever Beatus, 12th century
Context
Image:B Facundus 117v.jpg and the Twenty-Four Elders from the Facundus-Beatus (f. 117v)]]
The Kingdom of Toledo fell in 711, leaving most of the Iberian Peninsula in the hands of Muslim conquerors.{{harvnb|O'Neill|2003|p=113}} Christians under Pelayo managed to establish the Kingdom of Asturias on the northern coast, protected by the Cantabrian Mountains, initially the only Christian state on the peninsula. Beautus lived in the Cantabrian valley of Liébana. With the recent conquest of the Iberian Peninsula, the Apocalypse and the symbolism in it took on a different meaning. The beast, which had previously been believed to represent the Roman Empire, for Iberian believers now became the Caliphate, and Babylon was no longer Rome, but Córdoba.
Revelation is a book about the Church's problems throughout all ages, not about history per se. In the middle of Book 4 of 12, Beatus does state his guess about the end-date of the world as 801 AD, from the number of the Holy Spirit plus Alpha, as well as a few other calculations, although he warns people that it is folly to try to guess a date that even Jesus in the Bible claimed not to know.Forbes, Andrew; Henley, David (2012). Apocalypse: The Illustrated Book of Revelation. No exegesis, but extensive full colour images from five different versions of the Beatus and the Bamberg Apocalypse. Chiang Mai: Cognoscenti Books. ASIN: B008WAK9SS. This expected date, or 800 AD, was shared by many Christians at the time, although the papacy and church authorities discouraged such speculations.
Probably dying in the last years of the century, but after 785, Beatus did not quite live to see his guess disproved, but in the next century the approach of the year 1000 raised widespread concern across Europe that this would see the start of the events prophesied in Revelation; there is a particular concentration of Beatus manuscripts dated to about 950 to 975. After the millennium failed to produce, some 11th-century forecasters switched to 1033, as being 1000 years after the death and Resurrection of Jesus.Boyett, 31-32; Strandberg, 35-36
In continuity with previous commentaries written in the Tyconian tradition, and in continuity with St. Isidore of Seville and St. Apringius of Beja from just a few centuries before him, Beatus' Commentary on the Apocalypse focuses on the sinless beauty of the eternal Church, and on the tares growing among the wheat in the Church on Earth. Persecution from outside forces like pagan kings and heretics is mentioned, but it is persecution from fellow members of the Church that Beatus spends hundreds of pages on. Anything critical of the Jews in the Bible is specifically said to have contemporary effect as a criticism of Christians, and particularly of monks and other religious, and a good deal of what is said about pagans is stated as meant as a criticism of Christians who worship their own interests more than God. Muslims are barely mentioned, except as references to Christian heresies include them.
Copies of the manuscript
There are 35 surviving copies, 27 of which are tabled below.{{cite web |url=https://www.wdl.org/en/item/10639/#languages=lat |title=Beato of Liébana: The Codex of Fernando I and Doña Sancha |author= |website= www.wdl.org|publisher=World Digital Library |access-date=11 December 2016 |quote=Thirty-five manuscript copies dating from the ninth century to the 13th century have survived. By semantic extension, these manuscripts are called beato, and 26 of them are illuminated. }}{{cite web |url=http://www.e-codices.unifr.ch/en/description/bge/lat0357/ |title=Genève, Bibliothèque de Genève, Ms. lat. 357 |last=Dubuis |first=Paule Hochuli |date=2009 |website= e-codices.unifr.ch|publisher=e-codices |access-date=13 December 2016 |quote= il en existerait actuellement 34 datés du IXe au XVIe siècle, complets ou fragmentaires, dont 26 sont illustrés (voir J. Williams).Le Commentaire de Beatus connut une grande diffusion et l'appellation Beatus désigne un manuscrit contenant ce texte; il en existerait actuellement 34 datés du IXe au XVIe siècle, complets ou fragmentaires, dont 26 sont illustrés (voir J. Williams). Ce manuscrit de Genève constituerait un 27e Beatus illustré. [Translation]: The Commentary of Beatus enjoyed great diffusion and naming Beatus means a manuscript containing the text; it currently exists 34 dated from the ninth to the sixteenth century, complete or fragmentary, 26 of which are illustrated (see J. Williams). This manuscript of Geneva would be a 27th Beatus shown. }} Williams (building on the work of other scholars, especially Wilhelm Neuss) estimates there were once about a hundred illustrated copies, and the "family tree" he illustrates shows divergence into two, then three, branches before 900, with differences both in the text and the artistic style. The earliest surviving fragment, at the abbey of Santo Domingo de Silos, is already from about a century after the work was written.Williams (2017), 25-26 Two were produced in modern Portugal (one is the Apocalypse of Lorvão dated 1189) and the Saint-Sever Beatus in southern France, near the modern Spanish border.Williams (2017), 27, fig. 6 (map) There appear to have been three manuscripts made in southern Italy in the 11th century.
=Illustrated in the Iberian Peninsula=
==9th through 11th centuries==
==12th and 13th centuries==
==Not illustrated==
- Beatus of Alcobaça. ALC. 247 Not illustrated.
- Beato ACA. Not Illustrated.
- Beato de Sahagún. Fragments. Not illustrated.
=Copied in South Italy=
=Copied in Southwestern France=
- Saint-Sever Beatus.{{cite web |url=http://www.facsimilefinder.com/facsimiles/beatus-of-liebana-saint-sever-codex-facsimile |title= Beatus of Liébana - Saint-Sever Codex Facsimile Edition |author= |access-date=11 December 2016 }} (Beatus of Saint-Sever). Illustrated by Stephanus Garsia (and other unnamed). Kept at the Bibliothèque Nationale de France, Paris. C. 1038. Alternate dates include 1060–1070. Ms. Lat. 8878.
| class="wikitable" | |||||||
| Date finished | Manuscript ID | Names known as | Current repository | Other information || Links to image archives||Example image ||Illustrator | |||
|---|---|---|---|---|---|---|---|
| |circa 1050 | Saint-Sever Beatus | National Library, Paris | Romanesque-style images | File:Saint-Sever Beatus f. 184v - Unclean spirits - crop.jpg |
Influence
The Commentary on the Apocalypse strongly influenced the Guernica of Picasso.{{cite web|url=http://www.unesco.org/new/fileadmin/MULTIMEDIA/HQ/CI/CI/pdf/mow/nomination_forms/portugal_spain_commentaries_eng.pdf|website=UNESCO|title=Nomination formInternational Memory of the World Register - The Manuscripts of the Commentary to the Apocalypse (Beatus of Liébana), in the Iberian Tradition.|page=9|archive-url=https://web.archive.org/web/20160303185852/http://www.unesco.org/new/fileadmin/MULTIMEDIA/HQ/CI/CI/pdf/mow/nomination_forms/portugal_spain_commentaries_eng.pdf|archive-date=March 3, 2016|url-status=live}}{{cite journal|first1=Therese|last1=Martin|url=https://www.researchgate.net/publication/329837881|title=Espacios de mujeres —auténticos e imaginados— en los Beatos ilustrados|date=December 2018|language=Spanish, English|journal=Arenal. Revista de historia de las mujeres|volume= 25|issue=2|doi=10.30827/arenal.vol25.num2.357-396|oclc= 7955162704|issn=1134-6396|doi-access=free}}{{cite book|chapter-url=https://books.google.com/books?id=0JveCwAAQBAJ&pg=PA159|page=159|title=Space in the Medieval West: Places, Territories, and Imagined Geographies|chapter=The Image of France in the Beatus Map of Saint-Sever|publisher=Routledge|date=April 1, 2016|oclc=1157058199|isbn=9781317052005}}{{cite book|author=James Attlee|url=https://books.google.com/books?id=LDpJDgAAQBAJ&pg=PT181|title=Guernica: Painting the End of the World|page=181|publisher=Head of Zeus Ltd|date=October 5, 2017|isbn= 9781786691439|series=The Landmark Library|oclc= 1006404989}} (citing Klein, Peter K., The Saint-Sever Beatus and its influence on Picasso's Guernica, 2017)
Gallery
File:Beato Vitr14-1 Fol130r.jpg|Emilianense Codice. The seven angels and the seven plagues
Image:B Escorial 108v.jpg|Escorial Beatus, f. 108v: Worship of the beast and dragon
Image:B Osma 139.jpg|Osma Beatus, f. 139: The Frogs
Image:B Urgell 82v.jpg|Urgell Beatus, f. 82v: Noah's Ark
Image:B Valladolid 120.jpg|Valladolid Beatus, f. 120: The Angel of the Fifth Trumpet: "And the fifth angel sounded, and I saw a star fall from heaven unto the earth: and to him was given the key of the bottomless pit" (Revelation, 9.1)
Image:B Facundus 205.jpg|Facundus Beatus, page 410: Adoration of the Mystical Lamb on Mount Zion: A lamb stood on the Mount Zion and to one-hundred-forty-four thousand, having cytharas
Image:B Facundus 224vdét.jpg|Facundus Beatus, f. 224 (detail): "And the woman was arrayed in purple and scarlet, and decked with gold and precious stone and pearls, having in her hand a golden cup full of abominations, even the unclean things of her fornication, and upon her forehead a name written: «Mystery, Babylon the Great, the mother of the harlots and of the abominations of earth.»" (Revelation, 17.4–5)
Image:B Facundus 240.jpg|Facundus Beatus, f. 240: "And I saw heaven opened, and behold a white horse; and he that sat upon him was called «Faithful» and «True», and in righteousness he doth judge and make war. His eyes were as a flame of fire, and on his head were many crowns; and he had a name written, that no man knew, but he himself. And he was clothed with a vesture dipped in blood: and his name is called The Word of God." (Revelation, 19.11–13)
Image:B Osma 151.jpg|Osma Beatus, f. 151 The victorious Christ
File:Gerona Beatus, evil loosed on Earth.jpg|Gerona Beatus
File:Gerona Beatus.jpg|Gerona Beatus
File:Gerona Beatus, artwork.jpg|Gerona Beatus
File:Gerona Beatus, Giving praise to the Lamb of God.jpg|Gerona Beatus. Giving praise to the Lamb of God
image:B_Facundus_43v.jpg|Facundus Beatus, f°43v, The great Theophany
image:B_Urgell_198v_199.jpg|Urgell Beatus, f°198v–199 The new Jerusalem, the river of life
image:B_Facundus_253v.jpg|Facundus Beatus, f°253v The new Jerusalem
image:B_Valladolid_93.jpg|Beatus de Valladolid, f°93 The four horsemen
image:B_Facundus_135.jpg|Facundus Beatus, f°135 The four horsemen
image:B_Facundus_171v.jpg|Facundus Beatus, f°171v The monstrous beasts
image:B Facundus 145.jpg|Facundus Beatus, f°145 The elect and the angels restraining the winds
Notes
{{Reflist}}
References
- {{cite book |last=Boyett |first=Jason |title=Pocket Guide to the Apocalypse: The Official Field Manual for the End of the World |year=2005 |publisher=Relevant Media Group |isbn=978-0-9760357-1-8 |url=https://books.google.com/books?id=M0OoQkcx8ykC }}
- {{cite journal |last1=Castro Correa |first1=Ainoa |title=The scribes of the silos apocalypse (London, British library, add. MS 11695) and the scriptorium of silos in the late eleventh century |journal=Speculum |date=2020 |volume=95 |issue=2 |pages=321–370 |doi=10.1086/707906|hdl=10366/155075 |hdl-access=free }}
- {{cite book |editor1-last=O'Neill |editor1-first=John P. |date=2003 |title= The Art of Medieval Spain, 500–1200 |url=http://www.metmuseum.org/art/metpublications/The_Art_of_Medieval_Spain_AD_500_1200?Tag=&title=The%20art%20of%20medieval%20spain&author=&pt=0&tc=0&dept=0&fmt=0# |location= New York |publisher=The Metropolitan Museum of Art }}
- {{cite book|last1=Strandberg|first1=Todd|authorlink1=Todd Strandberg|last2=James|first2=Terry |title=Are You Rapture Ready? |publisher=Dutton |year=2003|location=New York City|isbn=978-0-525-94737-0 |ref={{sfnRef|Strandberg2003}}}}
- Williams, John, The Illustrated Beatus: a corpus of the illustrations of the commentary on the Apocalypse. 5 Volumes. Harvey Miller and Brepols, 1994, 1998, 2000. Art books attempting to document all the Beatus illustrations in all surviving manuscripts. Due to expense, most illustrations are reproduced in black and white. Unfortunately, Williams was uninterested in Beatus' text, and thus spread some misconceptions about it, but his art scholarship and tenacity are amazing. His books' influence on most of this Wikipedia article is strong.
- Williams, John (2017), “Visions of the End in Medieval Spain: Introductory Essay.” In Visions of the End in Medieval Spain, edited by Therese Martin, 21–66. Amsterdam University Press, 2017, [https://www.jstor.org/stable/j.ctt1rzx606.5. JSTOR free access]. This is Williams' final summary, several years after his main work.
Printed editions
- Commentarius in Apocalypsin. Ed. Henry A. Sanders. Papers and monographs of the American Academy in Rome 7 (Rome: American Academy in Rome, 1930). The first critical edition of the commentary. Latin.
- Beati Liebanensis Tractatus de Apocalipsin. Ed. Roger Gryson. Corpus Christianorum: Series Latina 107 B-C (Turnhout: Brepols, 2012). Two volumes of a new, improved and up-to-date critical edition of the commentary's text. Latin and French.
- Commentary on the Apocalypse - Part I. Trans. M.S. O'Brien. (2013). English translation of Books I and II. Includes many sources and quotes not noted in Gryson.
External links
- {{Cite web
| title = Beato de Liébana: códice de Fernando I y Dña. Sancha
| work = World Digital Library
| language = la, es
| access-date = 2014-03-01
| url = http://www.wdl.org/en/item/10639/#languages=lat
}}
- [https://books.google.com/books?id=kaxU310PV3EC In Apocalypsin], 1770 edition of the Commentary. Latin.
- [http://www.moleiro.com/en/beatus-of-liebana.htm A selection of the most relevant Beatus], advertisement for facsimile editions
- [https://web.archive.org/web/20100407172159/http://casal.upc.es/~ramon25/beatus/beat_78.jpg Illuminations of Beatus]
- [http://expositions.bnf.fr/bestiaire/images/3/m_09.jpg Works of Beatus]
=Links to specific manuscripts=
- [http://gallica.bnf.fr/ark:/12148/btv1b10507217r/f1.image Arroyo Beatus]
- [http://nossl.demo.logilab.fr/biblissima/id/Manuscript/Mandragore/2291 Arroyo Beatus] {{Webarchive|url=https://web.archive.org/web/20170104001439/http://nossl.demo.logilab.fr/biblissima/id/Manuscript/Mandragore/2291 |date=2017-01-04 }} Another way to view
- [http://bibliotecadigital.rah.es/dgbrah/i18n/consulta/registro.cmd?id=124 Ms. 33 Beato de San Millan de la Cogolla.]
- [http://www.vallenajerilla.com/beatoemilianense/index.htm Ms. 33 Beato de San Millan de la Cogolla. (Select images)]
- [http://bvpb.mcu.es/es/consulta/resultados_navegacion.cmd?busq_autoridadesbib=BVPB20110371760 Ms. 33 (black and white images)]
- [http://arachne.uni-koeln.de/arachne/index.php?view%5blayout%5d=buch_item&search%5bconstraints%5d%5bbuch%5d%5balias%5d=CodexEscorialBeatus&search%5bmatch%5d=exact Ms. Cod. & II.5 Escorial Beatus of San Millán.]
- [http://arachne.uni-koeln.de/books/CodexNewYorkBeatus Ms 644 Morgan Beatus.] Click on image to access all pages.
- [http://arachne.uni-koeln.de/books/CodexBeatusTabara Ms 1097 B Beatus of San Salvador de Távara.] Click on image to access all pages.
- [http://www.mecd.gob.es/cultura-mecd/areas-cultura/archivos/mc/registro-memoria-unesco/2015/comentarios-libro-apocalipsis/b-tabara.html AHN CODICES, L.1097] Beatus of Tábara
- [http://www.mecd.gob.es/cultura-mecd/areas-cultura/archivos/mc/registro-memoria-unesco/2015/comentarios-libro-apocalipsis/b-lorvao.html Códice 44] Beato de Lorvão
- [http://arachne.uni-koeln.de/books/CodexValladolid Ms. 433 Beatus of Valcavado] Click on image to access all pages.
- [http://arachne.uni-koeln.de/books/CodexSeoDeUrgel Ms. 26 Urgell Beatus.] Click on image to access all pages.
- [http://arachne.uni-koeln.de/books/CodexGeronaBeatus Ms. 7 Gerona Beatus (Girona Beatus)] Click on image to access all pages.
- [http://bdh.bne.es/bnesearch/detalle/bdh0000047185 Vit. 14-1] Beati in Apocalipsin libri duodecim. (Emilianenses Codice)
- [http://bdh.bne.es/bnesearch/detalle/bdh0000051522 VITR 14.2] [http://www.wdl.org/en/item/10639/#languages=lat (pdf)]Beato of Liébana: Codice of Fernando I and Dña. Sancha. (Facundo/Facundus)
- [https://www.bl.uk/catalogues/illuminatedmanuscripts/record.asp?MSID=8157&CollID=27&NStart=11695 Add MS 11695] British Library access to Beatus of Santo Domingo de Silos.
- [http://arachne.uni-koeln.de/books/CodexLondonBeatus Add MS 11695 Beatus of Santo Domingo de Silos.] Click on image to access all pages.
- [http://www.e-codices.unifr.ch/en/description/bge/lat0357/ Ms. lat. 357 Geneva Beatus.]
- [https://www.digitalcollections.manchester.ac.uk/view/MS-LATIN-00008/37 Miniatures from the Rylands Beatus]
- [http://ceres.mcu.es/pages/ResultSearch?Museo=MAN&txtSimpleSearch=Beato%20de%20Carde%F1a&simpleSearch=0&hipertextSearch=1&search=advancedUnion&MuseumsSearch=MAN%7C&MuseumsRolSearch=1& Ms. 2.] Cardeñas Beatus Some of the 135 folios online at the Museo Arqueólogico Nacional
- [http://www.metmuseum.org/search-results#!/search?q=Beatus Cardeñas Beatus] 15 folios at the Metropolitan Museum of Art
- [http://www.mecd.gob.es/cultura-mecd/areas-cultura/archivos/mc/registro-memoria-unesco/2015/comentarios-libro-apocalipsis/b-alcobaca.html ALC. 247] Beatus of Alcobaça. Not illustrated.
- [http://www.mecd.gob.es/cultura-mecd/areas-cultura/archivos/mc/registro-memoria-unesco/2015/comentarios-libro-apocalipsis/b-aca.html Beato ACA] Not Illustrated.
- [http://www.mecd.gob.es/cultura-mecd/areas-cultura/archivos/mc/registro-memoria-unesco/2015/comentarios-libro-apocalipsis/b-archv.html Beato de Sahagún] Not illustrated.
- [http://www.themorgan.org/collection/Las-Huelgas-Apocalypse/1# MS 429] Huelgas Apocalypse
- [http://corsair.themorgan.org/cgi-bin/Pwebrecon.cgi?BBID=331954 MS 429] Huelgas Apocalypse
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Category:Christian apocalyptic writings
Category:Illuminated beatus manuscripts