The Saint John's Bible - Create a Page

Teachers attending workshops and presentations on The Saint John’s Bible receive three poster prints for use in the classroom. The following notes accompany those poster images (click to download): The Genealogy of Christ, The Birth of Christ and The Crucifixion.

Educators wishing to learn more about using The Saint John’s Bible in the class room or to schedule a school workshop should contact Tim Ternes at 320-363-3351 or by e-mail at tternes@csbsju.edu.

The genealogy of Christ is the beginning section of the first of the four gospels, Matthew. As such, it reaches back into the Hebrew Scriptures to Abraham from whom the Hebrew nation and peoples originated. The Biblical text of Matthew recites the names of generations of Christ’s ancestors, culminating in the birth of Jesus, the Christ. At center, bottom, Abraham’s name is inscribed, in Hebrew and English, with his wife Sarah (left) from whom these generations rose. Hagar, Sarah’s handmaid with whom Abraham fathered Ishmael, the ancestor of Mohammed who began the religion of Islam, is named at the right in Hebrew, English and Arabic. The names of David, Mary, Joseph and Jesus are written in the same size and script as that of Abraham emphasizing their prominence. In keeping with the intent of honoring women throughout the Bible, Tamar, Bathsheba and Ruth are among those named.

The structural image of the genealogy is a double one – that of a tree of life and that of the Jewish seven-branched candlestick, the menorah. A “family tree” is appropriate for the presentation of a listing of ancestors. The menorah, used in Jewish worship, is a familiar symbol of the Jewish faith. The base and seven branches of the candelabra are highlighted with gold leaf, suggesting the brilliance of spiritual life, and as the illustration ascends dynamic touches of gold intensify thus increasing the visual spiritual dynamism. Adding to the suggestion of cosmic power the stems of the menorah reveal patterns of swirling movements superimposed on turbulent churning water. The ancestral names flank the base of the menorah/tree and march up between the innermost branches; between the outer branches are patterns of DNA double helixes imposing a 21^st century recognition that this genealogy continues to be significant now and to all humanity. At the very top is the name of Jesus, flanked by Mary and Joseph. A stable tri-pod base anchors this powerful concept.

A recognition of the elements of truth in faiths other than the Judeo/Christian is incorporated through the use of decorative ornamentation. The central staff of the menorah/tree rises from its base through a series of concentric circles surrounding a swirling inner core, a reference to a mandala-type cosmic image common to several religions. Rising above are a series of gilded intricate stamps inspired from illuminations of the Koran.

This is the first full-page frontispiece in the volume of the New Testament of The Saint John’s Bible, actually volume six of the complete Bible. It was the first one completed by Donald Jackson and was the centerpiece of a formal public presentation of the work at the Minneapolis Institute of Art and the New York Public Library.

A full page illumination of the Birth of Christ faces the opening text of the Gospel of Luke. This subject certainly must be the most frequently pictured biblical text, depicted for almost two millennia in styles of diverse cultures and eras. Although the subject matter is traditional, the Saint John’s Bible Nativity is unique.

The main subject, the Christ Child, is the focal point--although not shown. There is an indication, just a suggestion, of a crib from which a brilliant shaft of light rises up and goes beyond the confines of the page. In gold leaf (used throughout the Bible to indicate the divine) this brilliant light dominates the illumination. Surrounding it are, at right, Mary and Joseph, at left, the shepherds, above, the angels and in front, the stable animals. Only the image of Mary is painted in refined, colored detail. She bends gently over the crib, her gaze tenderly fixed on the infant. Saint Joseph, behind her, and the shepherds to the left are monochromatic, generalized sketches with minimal delineation. The shepherds are women and girls as it is believed they were at the time of Jesus’ birth. Above, the angelic choir soars, ethereal and free, with no details.

The animals form a protective barrier between the viewer and the unseen Infant. The ass and horned sheep face the large silhouette of the ox. This bull is a careful rendering the one of the great aurochs painted on the walls of the French neolithic cave at Lascaux. This well-known historic imagery makes the timelessness and global scope of the Nativity symbolically emphatic.

There is no attempt to indicate or suggest the structure of a stable. With the exception of the dominant shaft of gold light, the tone is muted and subdued, giving a quietude and peace to the scene. Cascading down the background is a series of three texts, all rendered in gold, each in a distinctive script. The upper is the song of the angels, the central one refers to the role this Child will play, “ . . . a light to those who sit in darkness . . .”. The lower text anchors the entire illumination: BY THE TENDER MERCY OF OUR GOD, THE DAWN FROM ON HIGH WILL BREAK UPON US. ~Johanna Becker, OSB

It may come as something of a surprise to some to see an image of the Crucified with such a lavish display of gold. Quite early in the discussions between the CIT and the artists, we decided to reserve gold for theophanies and words of the Lord. It is this idea of God showing Himself in his Divine Love for humanity that the Gospel According to Luke emphasizes.

As the CIT has expressed it: “The three-hour darkness…symbolizes the apocalyptic Day of the Lord. …The eschaton has arrived with Jesus’ death, and it is universal in scope. When Jesus cries out “Father”… he is linking the crucifixion together with the Transfiguration and the agony, two other places which show divine sonship. This carries over into the next verse where the centurion calls Jesus, “just,” a term in the Wisdom Books that signifies a child of God. The death scene shows Jesus transfigured in glory, and then, glorifies God.”

Donald also sensed a need to relate his imagery to the past, since the crucifix is such a central image in the Christian tradition. In early sketches for the piece, he used the famous Gero Cross for the image of Christ. In this way, he began to link his vision with earlier artists and continue a conversation about the meaning of this central image.

Donald’s final image brings the conversation into the present and is part of current theological discussions. Deep thought is being given to the meaning of the crucifixion in the present theological climate, in which Christians are increasingly challenged to place the faith in dialogue with other religions. Increasingly, theologians are speaking of the Crucifixion in terms of a display of God’s love for humanity and a revelation of the Christ as the true Just One. Donald’s image adds to the visual conversation concerning the meaning of the Crucifixion in the contemporary world with his contrast of pain with the glory of gold. ~Nathanael Hauser, OSB

The page with the multitude of white crosses represent very quiet and gentle designs intending to slow down the reader. They also assist in minimizing the show through of the art works on the opposite sides of the vellum pages. They mark the end of each Gospel, with the next page having the full page, colorful illumination.


	News & Events \| People & Places \| See & Hear \| Why & How \| Educator's Forum \| Participate

	Search \| Contacts \| FAQ \| Gift Shop \| Donate \| Home Copyright © 2005 Saint John's University All rights reserved.

Poster Notes