Certain elements feature in both stemma I and stemma II, such as Christ in Majesty set within the circle of eternity, which is substituted in the Silos Beatus by an oval mandorla. This is therefore an unicum, for the other formula persists in the later Beatus. The layout designed by Maius (f. 231v) is divided into six parallel bands which are just three in number in Valcavado (f. 189v), Ferdinand I (f. 262r) and our Silos Beatus. The composition is dominated by Christ in majesty inside a mandorla upheld by a cherubim and a seraphim, without the respective number of wings. In the middle band, the distressed visionary kneels in adoration before the angel sent down. The angel however tells him he is a fellow servant and orders him to worship the Lord (ubi iohanes angelum / adorat et dicit ei / angelus ne feceris / conseruus tuus sum / et fratrum tuorum / d[eu]m adora.) John appears once again on the left in the bottom band opposite the seven churches suggested by seven horseshoe arches arranged in two superimposed rows. The arches are arranged in the same order as the messages to them: Efeso, Smirna, Pergamum, Tiatire, Sardis, Filadelfie, Laudicie. He has returned to the first church, that of Ephesus (ubi s[anc]t[u]s i[o]h[an]nes efesum / redit). Both the illustration and the storia repeat the first scene (f. 24r) in which John was charged with conveying the revelation to the world – the end of which is nigh. The miniaturist went to great pains when drawing the figures, folds and objects. The colour is different from most illustrations with a tendency to employ more subdued tones.
f. 216r, John prostrates himself at the angel's feet
Certain elements feature in both stemma I and stemma II, such as Christ in Majesty set within the circle of eternity, which is substituted in the Silos Beatus by an oval mandorla. This is therefore an unicum, for the other formula persists in the later Beatus. The layout designed by Maius (f. 231v) is divided into six parallel bands which are just three in number in Valcavado (f. 189v), Ferdinand I (f. 262r) and our Silos Beatus. The composition is dominated by Christ in majesty inside a mandorla upheld by a cherubim and a seraphim, without the respective number of wings. In the middle band, the distressed visionary kneels in adoration before the angel sent down. The angel however tells him he is a fellow servant and orders him to worship the Lord (ubi iohanes angelum / adorat et dicit ei / angelus ne feceris / conseruus tuus sum / et fratrum tuorum / d[eu]m adora.) John appears once again on the left in the bottom band opposite the seven churches suggested by seven horseshoe arches arranged in two superimposed rows. The arches are arranged in the same order as the messages to them: Efeso, Smirna, Pergamum, Tiatire, Sardis, Filadelfie, Laudicie. He has returned to the first church, that of Ephesus (ubi s[anc]t[u]s i[o]h[an]nes efesum / redit). Both the illustration and the storia repeat the first scene (f. 24r) in which John was charged with conveying the revelation to the world – the end of which is nigh. The miniaturist went to great pains when drawing the figures, folds and objects. The colour is different from most illustrations with a tendency to employ more subdued tones.
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