Abstract
Abstract Anomalous in text, picture cycle and format, the early fourteenthcentury Dublin Apocalypse1 comprises a familiar English Gothic paradigm which has been uniquely revised to the special requirements of a new patron. In contrast with the half-page horizontal layout of miniatures in such well-known Gothic Apocalypses as Douce, Trinity and Lambeth,2 Dublin's impressive cycle of 73 almost full-page illustrations stands vertically framed within large hexafoils and octafoils.3 Radically transformed into a captioned picture-book, the Dublin manuscript constitutes a critical response to what had already become a traditional book model, thus signalling an important shift to a new set of reader expectations in early fourteenth-century England.
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