The divine word deserves divine pictures. You'll see a wealth of painted illustrations in the book pages comprising the exhibit "Heaven on Earth: Manuscript Illuminations from the National Gallery of Art."

Made by hand between the 12th and 14th centuries, these books are known as "illuminated" manuscripts owing to the shimmering effect of the gold leaf used to highlight many of the words and images.

The exhibited 52 single pages and four bound volumes were last on view at the National Gallery of Art in 1975, so it amounts to a rare opportunity to see these book pages shine again.

If you're wondering why most of the exhibited pages are no longer contained within books, you can thank (or blame) the 19th-century private collectors who had no qualms about cutting up precious books and displaying the pages separately.

Today's scholars are appalled by such a practice. Books were destroyed in the process, and it also makes it even more difficult for scholars to learn about the original artists and owners. The silver (or gold) lining in this since-abandoned practice is that it does make it easier to appreciate individual illustrations within a display case.

Most of the exhibited pages are religious in nature, because these expensively produced books typically were commissioned by churches, monasteries and wealthy individuals who wanted the best spiritual guides that money could buy.

The meditative quality associated with prayer books often is expressed by painted illustrations in which single figures or small groups are themselves engaged in prayer or other religious activity.

In an Italian depiction of "Saint Mark" done between 1175- 1200, the seated saint is shown writing his Gospel. Actually, he has paused from his writing and is shown receiving inspiration from a lion.

Other illustrations are busier compositions in which you sense the artist wanting to satisfy a patron's interest in seeing a full roster of religious figures. In "Christ in Majesty with Twelve Apostles," an Italian illustration from around 1340, the spatial rankings are crucial: Christ is at the top and center, with the apostles grouped below. Also, the gold-hued sky around Christ accentuates his glowing identity.

Even more densely populated is "Coronation of the Virgin with the Trinity and Saints," an Italian illustration from around 1440, in which the central coronation is flanked by tightly packed rows of saints.

It's definitely worthwhile to search out unexpected details in works that on first glance seem pretty straightforward in illustrational purpose.

In "Initial G: Coronation of the Virgin with Attendant Saints," a German illustration made between 1325 and 1350, the prominently depicted letter "G" represents the start of the Latin phrase "Gaudeamus omnes in domino" ("Let us all rejoice in the Lord").

This chant is treated seriously by any choir singing it, of course, but the artist had a sense of humor. Look beneath that initial "G" and you'll see a monk who has beastly legs; moreover, the monk is balancing a saucer on a stick. And at the bottom of the page you can see sports-minded monkeys practicing archery.

Illustrational details in other book pages can be historically pegged to topical concerns. In "The Crucifixion," a French illustration from around 1290 to 1295, the two Franciscan nuns kneeling before the Crucifixion scene perhaps indicate the original owners of the book.

The really topical detail, however, is the soldier holding up a crown of thorns. This would have meant a lot to French people of that era, because a crown of thorns said to be the actual one worn by Christ was placed on display in Paris earlier in the 13th century.

Besides contemplating the images, consider their scale. These include large pages originally contained in choir books designed to be seen by all members of the choir in church; and small pages from so-called "Books of Hours" designed for private devotional use. They had books of all sizes for every sacred occasion.

"Heaven on Earth: Manuscript Illuminations from the National Gallery of Art" remains through Aug. 2 at the National Gallery of Art, in Washington. Call 202-737-4215 or go to www.nga.gov.

user comments (0)