Sir Isaac Newton left behind him in manuscript a work entitled Observations on the Prophecies of Daniel and the Apocalypse of St John, which was published in London in 1733, in one volume 4to; another work, entitled Lexicon Propheticum, with a dissertation on the sacred cubit of the Jews, which was printed in 1737; and four letters addressed to Bentley, containing some arguments in proof of a Deity, which were published by Cumberland, a nephew of Bentley, in 1756.
It springs from the same school of thought as the Apocalypse of Baruch, and its affinities with the latter are so numerous and profound that scholars have not yet come to any consensus as to the relative priority of either.
It is true that tradition largely fixes the form of figures and symbols in apocalyptic. Yet each new apocalypse is to some extent a reinterpretation of traditional material, which the writer uses not wholly freely but with reverence from the conviction that they contained the key to the mysteries of the present and the past.
Starting from the different dates assigned by tradition to the exile to Patmos and the different chronological relations implied in the book itself, he conjectured that the Apocalypse was composed of several works of St John, written in different places and at different times, some before, some after A.D.
Its touch on classical mythology is original, rarely imitative or pedantic. The art of the Renaissance was an apocalypse of the beauty of the world and man in unaffected spontaneity, without side thoughts for piety or erudition, inspired by pure delight in loveliness and harmony for their own sakes.
Lastly, the linguistic eccentricities of the Apocalypse bar the way against the acceptance of the book as the work of the Evangelist.
In 1511 these two works were brought out for the first time, and the Apocalypse series in a second edition; and for the next three years, 1511-1514, engraving both on wood and copper, but especially the latter, took the first place among DUrer's activities.
Here internal and external evidence are at strife; for from the time of Justin onwards the Apocalypse was received by the church as the work of the Apostle John (see Swete, op. cit.', p. clxxv).
Greek Apocalypse of Baruch.
Each fresh apocalypse would in the eyes of its writer be in some degree but a fresh edition of the traditions naturally attaching themselves to great names in Israel's past, and thus the books named respectively Enoch, Noah, Ezra would to some slight extent be not pseudonymous.