1. The Bamberg Apocalypse – Handout
This illuminated Apocalypse was created for Otto III (980-1002) around 1000-1020, and
completed for Henry II. The Ottonian dynasty were keen to continue in the style and
legacy of the Carolingians in relation to art, but there are also influences from Byzantine
art following the marriage of Otto II (Otto III’s father) to the Byzantine princess
Theophano, who later acted as regent for her son. As a result of the influence of the
Carolingians, the Apocalypse is produced with the minuscule script for the main body of
the text with the first word Apocalipsis produced in Capitals with slight extensions to the
feet of the P, and we can see that the second A, the I and the S are also elongated. The
decorated initial is completed in typical Ottonian style with highlights in minium (red
oxide) and the blue/green background and foliate decoration in gold.
The script is a highly perfected style of Carolingian minuscule, no mistakes are in
evidence on this page of the manuscript – as the opening page of the Apocalypse - and it
is superbly executed. Abbreviations are present – the Nomina Sacra are all abbreviated,
however this does not detract from the beauty of the work and its overall aspect.
Punctuation and word division is present throughout, allowing the work to be legible
another offshoot from the Carolingian influence, as Charlemange and his immediate
successors sought to establish cultural and political stability throughout the disparate
territories of the Empire. This led to the flowering of the Carolingian renaissance, along
with ecclesiastical reform, thus leading to the standardisation of texts across the Empire.
The Saxon Liudolfing or Ottonian dynasty continued with this process of linking the
Church and state as a means of divine sanction of their imperial rule and continued the
promotion of legible and standardised script.
Methodology: Having sourced the text and establishing the links to my particular study, I
then proceeded to note the various letter forms in the text – noting the difference in the
Capitals for Apocalipsis and the main body of the text. After careful examination of the
following key letters – a, g, d, t – I had established that this was indeed Carolinginian
minuscule by looking at the various script Alphabets and examining other Carolingian
minuscule scripts available online at the Bodlein Library website. I then proceeded to
transcribe the text – noting the abbreviations, ligatures and in particular the Nomina
Sacra. Once the text was transcribed I noted the used of huius thus differing from the
Vulgate version of St Jerome that I had already consulted, the word separation, and the
use of punctuation and of the Capital letters throughout the text. I also had taken in the
general aspect of the text. How there were no mistakes or errors other than the
aforementioned inclusion of huius, and the slight erosion of the u and ħ in iħu on line 9.
Editorial Practice: Once I had transcribed the text, I decided that I would only produce
the text as it was on the page. I have included all word breaks as found in the text; there
are no errors with regards to spelling or formation of letter forms apart form those
mentioned above.
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2. The Bamberg Apocalypse – Handout
Bamberg Apocalypse, Bamburg, Staatsbibliothek, MS. Bibl. 140
Ottonian (German) 11th century
Apocalipsis | iħu xpī quam dedit | dŝ palam facere servi | suis que oportet fieri | cito · Et
significavit | mittens p angelum | suum servo suo iohan | ni · qui testimonium | p hibuit
werbo dī · et testimonium iħ | xpī que cumq vidit · Beatus que le | git et qui audiunt verba
p phetiae hu | ius et servant ea quae in ea scripta sunt | Tempus enim p pe est · Iohannes
septem | a ecclesiis quae sunt in asia. Gratia nobi | & pax ab eo qui est et qui et quen |
tutus est . Et a septem spiritibus qui in | conspectu throni eius sunt · et ab iħu |
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