Art, Art & Archives, 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

Tagged , , , : . Bookmark the permalink. Post a comment or leave a trackback: Trackback URL.

Post a Comment

Your email is never published or shared. Required fields are marked *

You may use these HTML tags and attributes <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <s> <strike> <strong>


  • Facebook

  • Twitter

  • Tumblr

    • photo from Tumblr

      Color for Healing

      This sanitorium (tuberculosis hospital) in Paimio, Finland, was designed by architect Alvar Aalto in the 1920s. Unlike many hospitals, it was full of bright colors—including welcoming yellow on the main stairs and calming green for ceilings above bedridden patients. Aalto even created special chairs to open the chest and speed healing.

      The building’s colors were mostly whitewashed later in the 20th century, but now—due to a grant from the Getty Foundation as part of its Keeping It Modern initiative—its colors are being reconstructed and the building preserved for the future.

      More of the story: Saving Alvar Aalto’s Paimio Sanitorium

      Pictured: Paimio Sanatorium, patients’ wing and solarium terraces. Photo: Maija Holma, Alvar Aalto Museum. A color model for Paimio Sanatorium interiors by decorative artist Eino Kauria. Photo: Maija Holma, Alvar Aalto Museum, 2016.Paimio chairs (Artek no 41) in the Paimio Sanatorium lecture room, 1930s. Photo: Gustaf Welin, Alvar Aalto Museum. Aino Aalto resting in a chair on the solarium terrace. Photo: Alvar Aalto, Alvar Aalto Museum, 1930s. Main stairs of Paimio Sanatorium. Photo: Maija Holma, Alvar Aalto Museum.


  • Flickr