The Great Whore in the illustrated Apocalypse cycles
Rosemary Wright
This paper demonstrates how the imagery of Whore Babylon developed from symbolic personification a city to type evil female, in response theological and social pressures. In accommodating iconography Harlot requirements exegesis, designers text may have found Apocalyptic Whore, suitable scapegoat for seductive aspect Eve which could not be readily accented, because acceptance figure as standing all womankind. But needed no such redress, textual description lend itself straightforward identity with woman intent. The concentrates on thirteenth fourteenth century English Apocalypses here artist's design had acceptable new lay readership aristocratic women. Many great illustrated cycles were designed especially women whose sensibilities must influenced particularly those periods reader was able meditate upon text/image relative privacy her own chamber, without interpretative intermediary chaplain. choice images will reveal something prevailing attitudes female authority manipulation stereotypes signal negative values prejudice owners Apocalypse texts.
Journal of Medieval History|Europe PMC (PubMed Central)