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Noch einmal betrachten wir abschiednehmend die hochragende Zitadelle von Kairo, lassen Ÿber die anmutigen Formen der Moschee Mohammed Alis unseren Blick schweifen, aber in unseren Herzen lebt eindringlicher das, was wir an kŸnstlerischen Offenbarungen wŠhrend unserer Reise durch das Wunderland am Nil in uns aufnehmen konnten. Die Kunst der €gypter ist alt und doch noch jung, so jung, dass selbst unsere moderne Kunst davon beeinflusst wurde. Unser Kunstgewerbe hat sogar bei der €gyptischen Ornamentik direkte Anleihen gemacht. €gypten in seiner nŸchternen Strenge ist uns und unserer Zeit viel verwandter geworden als das formenschšne Griechenland. Es ist interessant zu beobachten, unter wie verschiedenen Daseinsbedingungen so Šhnliche Formen der Anschauung und kŸnstlerischen Darstellung entstehen. Mit der Kunst wird das ganze Leben dieses alten Volkes uns wieder lebendig, seine Religion und seine Fragen an das Jenseits. Und damit taucht auch wieder das alte RŠtsel auf, das schon viele verschiedene Lšsungen fand, das RŠtsel der Bedeutung der Sphinx, deren Bild wohl auf Sie alle einen starken Eindruck gemacht hat. Sie hat ihre riesengrossen Augen geradeaus gerichtet, unbarmherzige, wissende Augen, die ohne zu antworten Ÿber den Fragenden hinwegstarrten in Leere oder in eine fremde, unsichtbare, ganz unbekannte Welt. Ein Wesen, das der Mensch schuf, der zitternd seine gršsste Frage stellte und in dieser Gestalt sein Bild des erbarmungslosen, Ÿberweltlichen, unnahbaren Geheimnisses aus dem Granit der WŸstenfelsen schlug.

Mšge deshalb dieser Vortrag Ihnen etwas mehr gewesen sein als eine mŸssige Stunde, mšge er in unserer Zeit der Verflachung anregen, uns den grossen Menschheitsfragen von Leben und Sterben, Gott und Fortleben nach dem Tode zuzuwenden. Egypt, Citadel of Cairo, Archive, Carl Simon, history, historical, Africa, Middle East
Ms 209 fol.46 A Jewish wizard takes money from Theophilus who makes a pact with the devil, from the Lambeth Apocalypse, c.1260 (vellum)
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Ms 209 f.35 Angel drags the chained dragon away to prison, from the Lambeth Apocalypse, c.1260 (vellum)
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The Righteous Drawn up to Heaven, detail from 'The Last Judgement', in the Sistine Chapel, c.1508-12 (fresco)
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Ms 209 f.30 The Woman on the Beast: angel shows St. John's vision of the great Harlot seated on a seven-headed monster, from the Lambeth Apocalypse, c.1260 (vellum)
Ms 209 f.47v St. John instructed by the angel to write the Gospel, from the Lambeth Apocalypse, c.1260 (vellum)
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The Beast as Described in the Revelations
Scenes from the book of revelations.
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Ms 209 f.39v St. John's vision of Christ seated on the clouds, from the Lambeth Apocalypse, c.1260 (vellum)
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The seven-headed beast coming from the sea, 1360-70 (fresco)
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God the Father Enthroned from the Polyptych of the Apocalypse, after 1343 (tempera on panel with gold)
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MARIA MONK REVELATIONS
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REVELATIONS CHAPTER 20
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Ms 209 f.6 Horseman of the Apocalypse riding a pale horse, from the Lambeth Apocalypse, c.1260 (vellum)
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Ms 209 f.42 St. John in cauldron of boiling oil and St. John in exile, from the Lambeth Apocalypse, c.1260 (vellum)
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Ms 209 f.3v The vision of the lamb in heaven, from the Lambeth Apocalypse, c.1260 (vellum)
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Ms 209 f.33v Angel summons the birds to eat the flesh of men, from the Lambeth Apocalypse, c.1260 (vellum)
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Ms 75 f.28 People worship the horned beast (vellum)
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Ms 75 f.10 Vision of the Lamb with seven horns, surrounded by Ancients playing harps (vellum)
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The Righteous Drawn up to Heaven, detail from 'The Last Judgement', in the Sistine Chapel, c.1508-12 (fresco)
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Cosmic Analogies, 1920-31 (oil on plywood)
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Ms 75 f.27v People worship the dragon (vellum)
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Ms 209 f.5 Horseman of the Apocalypse riding a red horse, from the Lambeth Apocalypse, c.1260 (vellum)
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Last Judgement, from the Sistine Chapel, 1538-41 (fresco)
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Ms 209 f.10 Angel blows a trumpet and an eagle cries `Woe', from the Lambeth Apocalypse, c.1260 (vellum)
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Ms 209 fol.27 St. John watches the angels turn the sea into blood, from the Lambeth Apocalypse, c.1260 (vellum)
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Saint John the Evangelist receiving his visions on the island of Patmos (wash on paper)
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St. John Eating the Book, 1360-70 (fresco)
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Ms 209 f.2v The angel proclaims `Who is Worthy'; St. John consoled by one of the ancients, from the Lambeth Apocalypse, c.1260 (vellum)
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Ms 209 f.25 Vintage Trodden: blood from the wine press of God's wrath flows through the city; an angel cast grapes into a wine press in which sits a devil, from the Lambeth Apocalypse, c.1260 (vellum)
Ms 75 f.26 Dragon casts out water, with a woman given wings to fly (vellum)
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The Seven Angels of the Apocalypse Receive the Seven Flasks, 1360-70 (fresco)
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The Last Judgement, c.1305 (fresco) (detail of 65227)
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St. John the Theologian, Writing his Revelations on an Open Scroll (egg tempera on panel)
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The Last Judgement, detail from the cupola of the Duomo, 1572-79 (fresco)
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Stained Glass Window Depicting The Locusts and The Angel Opening the Bottomless Pit (photo)
Last Judgement: detail from the bottom right corner, Sistine Chapel (fresco)
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Ms 209 fol.36v Dragon cast into the jaws of hell, from the Lambeth Apocalypse, c.1260 (vellum)
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Ms 209 fol.39 St. John kneels before the angel, from the Lambeth Apocalypse, c.1260 (vellum)
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Ms 209 f.29v Angels show St. John the vision of the great harlot seated on the waters, from the Lambeth Apocalypse, c.1260 (vellum)
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Ms 209 f.9v Angels blowing trumpets, from the Lambeth Apocalyse, c.1260 (vellum)
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Ms 209 fol.7 Fight with the seven-headed dragon, from the Lambeth Apocalypse, c.1260 (vellum)
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Ms 209 f.31 Angel casts the millstone into the sea, from the Lambeth Apocalypse, c.1260 (vellum)
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The Second Angel of the Apocalypse Creating a Storm, 1360-70 (fresco)
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MS 1942 The Holy City of Jerusalem, illustration from 'Sanctae Hildegardis Revelationes' (vellum)
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Beginning of the fifth chapter from 'Revelations of Divine Love', Julian of Norwich, c.1675 (pen & ink on paper)
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The Last Judgement, detail from the cupola of the Duomo, 1572-79 (fresco)
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Detail from the Last Judgement, Sistine Chapel (fresco)
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