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More than fifty years have now passed since M. R. James published his British Academy lectures on the Apocalypse in medieval art under the title The Apocalypse in Art (London 1931). As we approach the coming of the second millennium, the last few decades have witnessed an exponential rise in the number of scholarly publications dealing with apocalyptic imagery in the Middle Ages, particularly with regard to illuminated manuscripts. An increasing number of scholars entering this fascinating field of research each year has created a genuine need for more direct and convenient access to the wealth of material that now exists on this rich and complex subject. The project for the present census and bibliography of manuscripts containing Apocalypse illustrations, c. 800–1500, was developed from the authors' individual research and was prompted by the recognition that every medievalist who wishes to work with this material must first invest considerable time and energy in gathering this sort of data and bibliography before any serious research can begin. Our compilation is therefore designed to serve primarily as a helpful starting point for scholars from all disciplines in medieval studies with a research interest in some aspect of medieval Apocalypse illustrations.

The Book of Kells was probably made at the monastery of Iona at the end of the eighth century. Sometime between 807 and 814, in the wake of a series of devastating raids on the island sanctuary, ‘the giant Gospel of Columkille, chief relic of the Western world,’ was taken to the new headquarters of the Columban community at Kells. Intended as a large liturgical Gospel codex to be displayed on an altar, the Book of Kells was perhaps the last and most ambitious production undertaken by this great Hiberno-Saxon scriptorium. Its sumptuous ornamentation and magisterial format suggest that the manuscript may have been initiated but not finished in time to celebrate the second centenary of St. Columba's death in 797.

Among the little-known commentary illustrations in the Gulbenkian Apocalypse are a number of images expressing a radical anti-Jewish ideology. This forms an important focus for the whole manuscript. Dating from the 1260's, the illuminations expand upon the accompanying Berengaudus glosses on Revelation to address perceived threats posed by the presence of unconverted Jews within contemporary English society. Most probably made for an influential reformist cleric, the Gulbenkian Apocalypse not only served as a forceful ideological statement but also provided stimulus and justification for action in the decades preceding the expulsion of the Jews from England in 1290.

These pages conclude the Census and Bibliography of Medieval Manuscripts Containing Apocalypse Illustrations begun in Traditio 40 (1984) 337–379 and continued in Traditio 41 (1985) 367–409. They contain the descriptions of nine groups of manuscripts. Three of these groups comprise illustrated Apocalypses: Alexander Minorita Apocalypses (nos. 118–122), Later German Apocalypses (nos. 123–132), and Miscellaneous Apocalypses (133–137). The remaining six groups comprise manuscripts that, although not illustrated Apocalypses, contain five or more illustrations of the Apocalypse: Miscellaneous Bibles (nos. 138–145), Liber Floridus manuscripts (nos. 146–152), Moralized Bibles (nos. 153–158), Historiated Bibles (nos. 159–167), Books of Hours (nos. 168–170), and Miscellaneous Manuscripts (nos. 171–172) R. Emmerson would like to thank Peter Klein for his helpful suggestions. Recognizing that, despite our best efforts, this Census and Bibliography may include some errors and omissions, the authors would be grateful to receive corrections and additions for a future edition.

PETIT PANNEAU DE TAPISSERIE DU VICTORIA AND ALBERT MUSEUM DU VI OU DU DEBUT VII S., TISSE EN LAINE POURPRE ET TROUVE DANS UNE TOMBE. LA SCENE EST UNE REPRESENTATION DU LIVRE XVIII DE L'ILIADE, ET TOURNE AUTOUR D'HEPHAISTOS AU CENTRE, PORTANT LE PILOS ET LA COURTE TUNIQUE DE L'ARTISAN| IL SE PENCHE SUR SA FORGE EN LEVANT UN GROS MARTEAU. LE PERSONNAGE ASSIS DOIT ETRE THETIS, DANS UNE POSE RAPPELANT UNE FRESQUE POMPEIENNE LA REPRESENTANT A COTE DE LA FORGE, TANDIS QUE LE DIVIN FORGERON FABRIQUE DE NOUVELLES ARMES POUR ACHILLE, PRESENT ICI, DEBOUT DERRIERE LE DIEU.

Background DNA copy number variants (CNVs) are found in 15% of subjects with ID but their association with phenotypic abnormalities has been predominantly studied in smaller cohorts of subjects with detailed yet non-systematically categorized phenotypes, or larger cohorts (thousands of cases) with smaller number of generalized phenotypes. Methods We evaluated the association of de novo, familial and common CNVs detected in 78 ID subjects with phenotypic abnormalities classified using the Winter-Baraitser Dysmorphology Database (WBDD) (formerly the London Dysmorphology Database). Terminology for 34 primary (coarse) and 169 secondary (fine) phenotype features were used to categorize the abnormal phenotypes and determine the prevalence of each phenotype in patients grouped by the type of CNV they had. Results In our cohort more than 50% of cases had abnormalities in primary categories related to head (cranium, forehead, ears, eye globes, eye associated structures, nose) as well as hands and feet. The median number of primary and secondary abnormalities was 12 and 18 per subject, respectively, indicating that the cohort consisted of subjects with a high number of phenotypic abnormalities (median De Vries score for the cohort was 5). The prevalence of each phenotypic abnormality was comparable in patients with de novo or familial CNVs in comparison to those with only common CNVs, although a trend for increased frequency of cranial and forehead abnormalities was noted in subjects with rare de novo and familial CNVs. Two clusters of subjects were identified based on the prevalence of each fine phenotypic feature, with an average of 28.3 and 13.5 abnormal phenotypes/subject in the two clusters respectively (P