This remarkable realisation of Revelation 21:4 (‘And God shall wipe away all tears from their eyes') was produced by Max Beckmann as part of series of lithographs produced while in exile in Amsterdam during World War II. The work represents a very different dimension in the tradition of visualisations of the New Jerusalem. Other images in this collection, such as the Angers Apocalypse tapestry and the Ghent altarpiece, exemplify the strong tradition of representing the New Jerusalem as either a city or a landscape. Human presence and interaction has been notable mainly by its absence—even in William Blake’s The River of Life the human figures are secondary to the landscape and the river. In Beckmann's work, however, the New Jerusalem is conceived in primarily relational terms. In the colour rendering a winged figure dressed in a golden robe wipes away tears from a squat, human figure lying on a table. The prone figure is thought to be Beckmann himself as, in the tradition of Albrecht Dürer (1471–1526) and Jean Duvet (1485–c.1561), Beckmann has inserted his own likeness into his Apocalypse series several times. Through a circular window which resembles a port-hole lies what one presumes to be the new Heaven and new Earth of Revelation 21:1, but this is very much not the focus of the image. This presentation of the New Jerusalem as a place of consolation and intermingling between the divine and the human takes the imagined New Jerusalem a long way from the actual city of Jerusalem.
David Roberts was a Scottish painter and printmaker who made his name with Orientalist paintings, sketches and lithographs based on his extensive tours of Egypt, Palestine, Jordan, and Lebanon. In contrast to other artists featured in this collection, therefore, Roberts’ depiction of the New Jerusalem was informed by his visit to and study of the Jerusalem of his own time, in addition to the writings of Josephus (especially the Jewish War). The image here is a lithograph of one of Roberts' most famous paintings, the monumental The Siege and Destruction of Jerusalem by the Romans Under the Command of Titus, A.D. 70 (lost in 1854, only to reappear in 1961, long after his death). In this impressive image, we are given a panoramic view of the destruction of Jerusalem from the perspective of the Mount of Olives to the east of the city. It closely resembles another of his lithographs of Jerusalem, made on his trip there in 1839. In this image, the north wall of the city is already on fire, reflecting the staged description of the attack on the city given by Josephus. The Temple complex is visible on the left, with the Antonia fortress in the top left hand corner. In the foreground a Roman garrison of archers attack the city across the Kidron valley, even though in military terms this is rather improbable. Next to the archers is a group of mostly female Jewish captives. Although more architecturally and geographically accurate than others, Roberts’ painting perhaps lacks some of the personal drama and immediacy of his predecessors, although one comes away better informed about the scope and scale of the city and Titus's attack upon it.