Abstract

The abbot and apocalyptic theorist Joachim of Fiore (c. 1135–1202) created many enigmatic medieval diagrams. His Liber figurarum, produced in Cosenza and based on now-lost prototypes, consists of painted figurae that concretized the central tenets of his many apocalyptic treatises, sermons, hymns, and letters. These diagrammatic images are attributed to his hand or to the first generation of followers, and, collectively, they constitute a subcategory of apocalyptic art that elides narrative norms. This essay explores a single figura that features a chromatic seven-headed dragon inspired by the twelfth chapter of the Book of Revelation. Analysis of the diagram and comparison to painted content in a contemporary polemical text reveals the figura’s pivotal role in the pictorial formation of anti-Islamic content in the twelfth and early-thirteenth centuries.