Book of Revelation and Its Interpreters: Short Studies and an Annotated Bibliography

466 Pages·2015·3.02 MB·English

by  Ian Boxall

The Book of Revelation
and Its Interpreters
The Book of Revelation
and Its Interpreters
Short Studies and an
Annotated Bibliography
Edited by Ian Boxall and
Richard Tresley
ROWMAN & LITTLEFIELD
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Copyright © 2016 by Ian Boxall and Richard Tresley
All rights reserved. No part of this book may be reproduced in any form or by
any electronic or mechanical means, including information storage and retrieval
systems, without written permission from the publisher, except by a reviewer
who may quote passages in a review.
British Library Cataloguing in Publication Information Available
Library of Congress Cataloging-in-Publication Data
The Book of Revelation and its interpreters : short studies and an annotated
bibliography / edited by Ian Boxall and Richard Tresley.
pages cm
Includes bibliographical references and index.
ISBN 978-0-8108-6153-4 (hardcover : alk. paper) — ISBN 978-1-4422-5513-5
(ebook)
1. Bible. Revelation—Criticism, interpretation, etc. 2. Bible. Revelation—
Commentaries—Early works to 1800—Bibliography. I. Boxall, Ian, editor.
BS2825.52.B646 2015
228'.0609—dc23
2015020530
TM The paper used in this publication meets the minimum requirements of
American National Standard for Information Sciences Permanence of Paper for
Printed Library Materials, ANSI/NISO Z39.48-1992.
Printed in the United States of America
Acknowledgments
4.1 The Trinity Apocalypse, fo. 5v. The First Horseman. Cambridge: Trinity
College Library, c. 1260. © The Master and Fellows of Trinity College,
Cambridge.
4.2 The Trinity Apocalypse, fo. 6r. The Second and Third Horsemen.
Cambridge: Trinity College Library, c. 1260. © The Master and Fellows of
Trinity College, Cambridge.
4.3 The Lambeth Apocalypse, fo. 6r. The Fourth Horseman. London: Lambeth
Palace Library, MS. 209, c. 1260. © Bridgeman Art Library.
4.4 The Angers Apocalypse Tapestry, 1.12. The Fourth Horseman, Maine-et-
Loire: Chateau d’Angers, c. 1373–1380. © Bridgeman Art Library.
4.5 The Lambeth Apocalypse, fo. 38r. John Shown the New Jerusalem. London:
Lambeth Palace Library, MS. 209, c. 1260. © Trustees of Lambeth Palace
Library.
4.6 The Lambeth Apocalypse, fo. 39v. John’s Unmediated Vision of Christ.
London: Lambeth Palace Library, MS. 209, c. 1260. © Bridgeman Art Library.
4.7 The Angers Apocalypse Tapestry, 6.82. John and the River of the Water of
Life, Maine-et-Loire: Chateau d’Angers, c. 1373–1380. © Bridgeman Art
Library.
4.8 The Trinity Apocalypse, fo. 25v. The New Jerusalem. Cambridge: Trinity
College Library, c. 1260. © The Master and Fellows of Trinity College,
Cambridge.
4.9 Hans Memling, St. John Altarpiece, Apocalypse Panel, 1474–1479. Bruges:
Memling Museum. © Bridgeman Art Library.
4.10 Hans Memling, St. John Altarpiece, Central Panel (The Mystic Marriage of
St. Katherine), 1474–1479. Bruges: Memling Museum. © Bridgeman Art
Library.
4.11 Lucas Cranach the Elder, Apocalypse Series, 1522. The Beast from the
Abyss (Rev. 11). London: British Library. © The British Library Board, C.
36.g.7.
4.12 Albrecht Dürer, Apocalypse Series, c. 1498. The Four Horsemen. London:
The British Museum. © The Trustees of the British Museum.
4.13 Albrecht Dürer, Apocalypse Series, c. 1498. The Binding of Satan. London:
The British Museum. © The Trustees of the British Museum.
Preface
Such an eclectic collection as presented in this volume deserves an explanation
by way of introduction. The annotated bibliography, which forms the heart of
this volume, was originally planned as part of the bibliographical series
sponsored by the American Theological Library Association (ATLA). However,
there was a considerable delay of many years in completing the project and,
during this period, the ATLA and the publishers separated. Nonetheless, when
sufficient time became available to complete the project, the publishers were
again approached.
At the suggestion of one of the earlier reviewers of the bibliography (Bernard
McGinn, University of Chicago Divinity School), Christopher Rowland (Oxford
University) was asked to review the work and also provide an introduction.
Professor Rowland also
recommended Ian Boxall (The Catholic University of America) as another
reviewer, who subsequently agreed to co-edit the volume. Additionally, several
younger scholars
(Natasha O’Hear and Sean Ryan) were asked to contribute to the volume.
Francis X.
Gumerlock, a recognized authority on early commentaries on Revelation, also
agreed to contribute a chapter.
The subject matter and imagery of the Book of Revelation have fired the
imaginations of exegetes, theologians, historians, writers, and artists almost
since its inception.
It is the most frequently illustrated book of the Bible. It is hoped that the
annotated bibliography of commentaries on Revelation to 1700 will fill a
significant gap in
Revelation studies, serving as a valuable bibliographical resource for future
generations of scholars. The additional contributions in this volume aim to
complement this bibliography through deeper exploration of some of the
commentators it discusses. They center attention on early patristic interpretations
commentators it discusses. They center attention on early patristic interpretations
(Sean Ryan on Tyconius and Francis X. Gumerlock on Chromatius of Aquileia),
explore depictions of John of Patmos in interpreters across the centuries (Ian
Boxall), and highlight the iconography used in artistic depictions of the work
(Natasha O’Hear on visual interpretation). Together, they enhance our
understanding of and appreciation for the complexities of the Book of
Revelation.
The Reception of the Book of
Revelation
Christopher Rowland
An Overview
It is no exaggeration that the Book of Revelation both explains the nature of
Christianity and epitomizes its problems. In his essay on the origins of
Christianity, Friedrich Engels suggested that the Book of Revelation was the
most important text in the New Testament. Its importance lies in the extent of its
influence down the centuries and the challenge it has posed for interpreters. In its
subject matter and form, it encapsulates the intellectual dynamic and character of
the movement that was to become Christianity. The fact that it has been viewed
with suspicion by some of the most important theological figures in Christian
history—Luther being an obvious example—and has been frequently pushed to
the margins of religious and intellectual life epitomizes the challenge it has
posed and the opportunities it has offered. For centuries its place in the liturgy of
the Church of England was marginal, with politically sensitive passages omitted
from the lectionary and its more evocative passages chosen for reading.
What it contains are two major themes that are key to understanding Christian
origins. As its opening word implies, it is an apocalypse, a revelation or
unveiling of divine secrets, not least about the consummation of all things, when
the New Jerusalem is established on earth and God is all in all. That future hope
is the heart of the content of the Apocalypse, what is unveiled, but it is not all.
As well, and as important, is the emphasis on the outworking of the divine
economy when the Lamb who was slain shares the throne of God and becomes
the key to the meaning of history (Rev. 4–5). The mystery of political power is
also revealed, and the political oppressions, which characterize the beast in the
culture of Babylon, supported by the second beast, are unmasked (Rev. 13 and
17). Not surprisingly, an apocalyptically minded writer and artist like William
Blake (1757–1827) could allude to Revelation in words that succinctly describe
the oppressive politics of his own day: “The Beast and the Whore rule without
controls.”[1] This is one of countless examples of a writer finding in the words