Biblia de los Cruzados (Echtpergament-Ausgabe)
- Publisher / Year
- Scriptorium – Valencia, 2013
- Limited edition:
MS M.638 - Morgan Library & Museum (New York, United States of America)
Ms Nouv. Acq. Lat. 2294, fols 2, 3 - Bibliothèque nationale de France (Paris, France)
**Ludwig I 6 - Array (Los Angeles, United States of America)
Shah Abbas Bible
Bible of Louis IX
Biblia de los Cruzados
Kreuzritterbibel Ludwigs des Heiligen
92 pages / 39.0 x 29.5 cm
King Louis IX, St. Louis (1226 - 1270)
Six different painters
283 miniatures in total: 43 leaves illustrated on recto and verso with full-page miniatures
Alfonso X, the Wise (1221 - 1284), King of Castile, León and Galicia
Charles of Anjou (1285)
Bernhard Maciejowski, Bishop of Cracow
Abbas, Shah of Persia (1604)
Sir Thomas Philipps
The Morgan Crusader Bible is probably the most extraordinary work from the book collection of King Louis IX. The pure picture book illustrated the events of the Old Testament in 283 high-quality miniatures. The codex is famous the world over and had a few important owners who allowed explanatory commentaries to append the pictures in various languages.
The Crusader’s Bible, also known as the Picture Bible of King Louis IX, known as Saint Louis, arose ca. 1250 in a Parisian art studio. It is a purely illustrated book that depicts the story of the Old Testament in a total of 283 monumentally and elaborately designed miniatures. The work begins with the Creation Story and goes up to the reign of King David. A particular focus is paid to the **military events of the Testament, e.g. the doctrine of just war. The luminously colored pictures were lent a special gloss in almost every miniature by subtly applied gold. The Crusader’s Bible is a highpoint of the great manuscript collection of Saint Louis.
King Louis IX, the Saint, was probably the most Christian king of France. He was a passionate crusader and set himself to the task of calling up his dependents to go to war for the conquest of the Holy Land. With his Crusader’s Bible, his crusading ideal was illustrated in richly detailed and intense pictures and was offered to his contemporaries as an incentive. The sequence of images was not to be disrupted by unimportant text. Only later were explanatory passages added in several languages.
Today the Crusader’s Bible can look back on an adventurous journey throughout the whole world. The work remained in the hands of its commissioner for 50 years after its genesis, and was brought to Louis’ relative in Naples, Charles of Anjou, ca. 1300. He allowed the picture bible to be furnished with Latin texts, which explained the biblical scenes in summary. After that all traces of the codex were lost until 300 years later when the codex resurfaced in the possession of the Bishop of Krakow, Bernhard Maciejowski. He consigned the work to a papal delegation, which was supposed to win over the Persian Shah Abbas for an alliance in the fight against the Turks. The bible was meant to be presented to him as a persuasive gift. The Shah allowed Persian comments on the images to be added and had three pages removed, which showed the resistance of Absalom against his father. The Shah probably wanted to keep these anti-royal readings a secret from his own son. From here on the history of the work is once again obscure. The Persian commentary was translated into Hebrew probably during the 17th century. In the 19th century, the valuable manuscript found itself in the possession of a Greek named Joannes Athanasiou. Sir Thomas Philipps bought it at auction and left it to his heir, who sold it in 1916 to the present owner John Pierpont Morgan.
The picture book of monumental magnitude contains 283 miniatures, which are less reminiscent of book painting in their quality than they are of the stained glass and mural paintings of the Sainte-Chapelle in Paris. Therefore the masters, among which six can be distinguished, can also be supposed to be among the designers of the chapel. This was consecrated two years before the completion of the Crusader’s Bible. The large format miniatures show the important wars, battles, and famous people and events of the Old Testament. Details such as clothing, armor, and weapons were contemporarily depicted in the tradition of the 13th century. It was supposed to be suggestive to the beholder that Louis IX himself was to be recognized in courageous battle. Particularly artful was the employment of gold in the most diverse variations. Luminous gold leaf alternates with subdued, matte brushed gold. Thus every page of the splendid codex becomes an individual masterpiece.