Art, Exhibitions and Installations, Manuscripts and Books

An Illuminated Christmas

The Nativity in the St. Albans Psalter / Alexis Master

The Nativity in the St. Albans Psalter, 1130, Alexis Master. Tempera and gold on parchment, 12 3/16 x 8 5/8 in. Dombibliothek Hildesheim

The St. Albans Psalter is one of the most luxurious books created in medieval Europe—and within it, the most opulent set of pages is the so-called “Picture Cycle,” 40 full-page paintings in gold and jewel tones depicting the events of Christ’s birth, life, and death.

In the words of curator Kristen Collins, co-curator of the exhibition Canterbury and St. Albans: Treasures from Church and Cloister, these illuminations “functioned as a symbolic bridge” to the Psalms, which follow them in the book. They also acted as aids to private devotion, prompting the reader to recite prayers or recall sacred texts, such as the Gospels.

Detail of Christ and Mary from the Nativity in the St. Albans Psalter / Alexis Master

The graceful nativity scene shown above has been on view at the Getty Center since November 26, when the pages of the Psalter were rotated to present fresh images for visitors returning to the exhibition. The tiny swaddled Christ Child is the center of the image, but is easy to miss at first (do you see him?). He is separated from Mary and Joseph by a baldachin, a columned canopy reminiscent of those that topped altars in medieval churches. He and a blessing angel occupying a heavenly blue zone, separate from his parents’ earthly purple and green. He is sacred, protected, yet small and vulnerable.

No one knows for sure who originally owned the St. Albans Psalter, though evidence points to medieval holy woman Christina of Marykate. She came to St. Albans Abbey to hide away from a detested arranged marriage and became friend and advisor to its abbot, Geoffrey Gorron, who may have commissioned the book as a gift for her. It’s tempting to picture Christina holding the psalter, precious then and even more so now, and being moved by this image on a Christmas long past.

Installation of The Nativity in the St. Albans Psalter, 1130, Alexis Master. Tempera and gold on parchment, 12 3/16 x 8 5/8 in. Dombibliothek Hildesheim

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      The Queen Who Wasn’t

      Louis XIV clandestinely wed his mistress, Madame de Maintenon, at Versailles on October 9 or 10, 1683. The marriage was much gossiped about but never openly acknowledged. She was never queen.

      Madame de Maintenon had been the {judgy} governess to Louis XIV’s children by his previous mistress, Madame de Montespan. Louis gave these children moneyed titles—such as the comte de Toulouse, who ordered the tapestries shown here for his residence outside Paris.

      Louis’s secret marriage ushered in a period of religious fervor, in sharp contrast to the light-hearted character of his early reign. Madame de Maintenon was known for her Catholic piety, and founded a school for the education of impoverished noble girls at Saint-Cyr in 1686 that stayed in operation until 1793. This engraving of the Virgin and Child was dedicated to her by the king.

      Virgin and Child, late 1600s, Jean-Louis Roullet after Pierre Mignard; Johann Ulrich Stapf, engraver. The Getty Research Institute. Tapestries from the Emperor of China series. The J. Paul Getty Museum


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