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This is number five from a series of sixteen woodcuts. 302 – A fragment of the tapestries with the Apocalypse, designed by Jan Boudolf, ca. The topic of the four horses of the Revelation gained again momentum in a woodcut of Albrecht Dürer (fig. The theme was popular at the time: tapestries in the chateau of Angers, designed by Jan Boudolf around 1377, showed six apocalyptic horsemen (actually on half-horse half-lion! Woodcut by Albrecht Dürer, printed in Nürnberg (1498), 39,2 x 28,4 cm. The Cluniac reform spread rapidly from France southwards to Italy and Spain, eastwards to Germany, Hungary and Poland and northwards to England, all within a period of little more than a century. ‘And I saw when the Lamb opened one of the seals, and I heard, as it were the noise of thunder, one of the four beasts saying, Come and see. The millennium-year 1000 AD was situated within this period. And I saw, and behold a white horse: and he that sat on him had a bow; and a crown was given unto him: and he went forth conquering, and to conquer.
The view of time as an actual ‘part’ is, from the wider perspective of (tetradic) thinking, an indication of a communication, which is situated in lower division-thinking. 297 – The Lamb, Christ and the opening of the Seven Seals. The first vellums were written in 776, and a second version was made in 784 AD. 298 – A copy of the Beatus’ ‘Commentaries on the Apocalypse’ from the cloister of Santo Domingo de Silos in Spain. The manuscript was acquired in 1840 by the British Museum in Londen (The British Library Add. The four (apocalyptic) horses are part of the story, and there are other tetradic features in decorations as well (fig. In particular, the ‘Arca testamenti’, with its quadrifoil, was a recurring motif. They provided an early example of the four horses as a sign of the end of times (fig. Creation and its mythological symbolism are the beginning and the apocalypse and its consequences mark the end. The idea of an afterlife contributed to the absolute character of the division.