The paper provides the analysis of the early 18th-century engrossed manuscript from the book collection of the Nizhny Tagil memorial estate “The Mining Urals”. The manuscript contains explanatory Apocalypse and a fragment of the Legend of Archangel Michael. This structure of the manuscript represents the uniform conceptual complex narrating about the Second Coming of Jesus Christ, the events preceding this coming and the following Judge of Quick and Dead. Such combination of the two eschatological monuments in the uniform code is characteristic for early and fairly rare copies of the Apocalypse of the 17th - beginning of the 18th centuries. Such type of translation was later termed “Chudovsky translation” by the famous Russian booklore researcher, Fedor I. Buslayev. The article identifies the source of the literary monument treating about the Archistratige Michael as an early Byzantine work, which was later to be included in the Great Menaion Reader by Metropolitan Macarius. Also the author justifies the reason of its combination with the explanatory Apocalypse. The author considers and analyses those basic prototypes of the Archangel Michael iconography of eschatological character which were rooted in Byzantine art and therefore reflected in iconography and fresco painting. The following subject of the study is the formation history of the iconographic edition “Chudovsky translation". The research itself is based on the detailed analysis of the miniatures of the Archangel Michael Legend (from the Nizhny Tagil copy) in terms of their supplementation and interaction with the Apocalypse miniatures. The article provides the table, which shows some specific features of the structure of the Nizhny Tagil copy miniatures by comparing this monument with the other “Chudovsky Translation” copies possessing the similar structure. The author comes to the conclusion that the Nizhny Tagil copy enriches our views on the development of Russian engrossed Apocalypse manuscript iconography. Subsequent “Chudovsky Translation” copies demonstrate the same tradition of combining the text with the iconography of the two eschatological compositions. The copy also allows us to track down the sources of the Russian apocalyptic book iconography which began to take a definitive shape in the second half of the 16th century.