The article examines the War in Heaven scene depicting the Fall of the Rebel Angels in the 1200s Anglo-Norman group of illustrated Apocalypse manuscripts, key in the development of Apocalypse illustration as far as quality, quantity, and art historical heritage are concerned. The iconography of the crucial War in Heaven scene shows a variety in the manuscript group; the compositions, divided into three well-defined groups at Satan’s pivotal moment of defeat, are depicted in three principal compositional types: one manuscript group focuses on the narrative of the battle, the second fuses the battle and its victorious result, and the third type focuses on the victory itself. The article establishes further subgroups on the basis of compositional similarities, and results occasionally strengthen or weaken existing theories about the traditional grouping of the manuscripts. The highlighted iconographical similarities provide new material for the reconsideration of the manuscripts’ artistic relations and dating.

中文翻译：

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天堂的边缘：启示录 12:7-9 和盎格鲁-诺曼启示录插图中反叛天使的堕落

本文考察了 1200 年代盎格鲁-诺曼底天启插图手稿中描绘叛逆天使堕落的天堂战争场景，就质量、数量和艺术历史遗产而言，这是天启插图发展的关键。在手稿群中，关键的天战场景的图像表现出多样性；这些作品在撒旦失败的关键时刻被分为三个明确的组，被描绘成三种主要的构图类型：一个手稿组专注于战斗的叙述，第二组融合了战斗及其胜利的结果，第三种类型专注于胜利本身。该文章根据成分相似性建立了进一步的子组，结果偶尔会加强或削弱关于手稿传统分组的现有理论。突出的图像相似性为重新考虑手稿的艺术关系和年代提供了新的材料。