Archives for September 2016

This image of the beginning of the Book of Psalms might not invoke love, lament, hope, and remorse, although these are the feelings that come to mind when one reflects on the life of King David, the author of these 150 compositions. Was David truly a man after God’s heart? The Psalms describe the desire of the human soul, longing for God. Simultaneously, they are a desperate cry of hope or lamentation. Looking at this image, one might have a sense of peace and calm rather than of desperation.

The gold ornamentation symbolizes the Israelites’ creating a deeper relationship with the Creator via the Psalms, and to show that it was through the line of David that Jesus came. The shades of reds and pink remind us of the of the love and mercy of God which is believers’ constant. The dark purple and violet bring to mind the times believers have fallen short, but also royalty. Just as Jesus was clothed in a purple cloak, mocked, and crucified, it was through this ordeal that he became able to clothe sinners in royalty, love and mercy.

As we reflect on this image Susan Sink reminds us

“The Psalms do not simply collect stories of God’s faithfulness in the past. Just as they did for the people gathered to sing them at the temple, they remind us of our history with God, the covenant and a call to follow God’s command today.” (The Art of The Saint John’s Bible, Vol 1. p. 38)

The Psalms were meant to be sung from the lips of a believer, to let one echo the Biblical voice through actions of mercy and compassion to those who desperately pray and cry out to God, who is always listening.

This commentary was contributed by James Gumataotao, a senior Theology major and a member of the Library’s Research Desk team.

For believers, Pentecost is the time in which the Holy Spirit descended upon the Apostles and Mary fifty days after the resurrection. Others will add that Pentecost is also the birthday of the Church. Pentecost or Shavu’ot is also a traditional Jewish feast which remembers the day when Moses received the law from God.

The image that is displayed is based on the event described in the Acts of the Apostles. This image is quite different from traditional images we see of Pentecost; this seems to be a darker image that does not depict the Apostles and Mary in a room looking towards heaven with tongues of fire above their heads.

Susan Sink explains the darker imagery in The Art of the Saint John’s Bible:

Much of the imagery comes from the prophecy of Joel describing the day of the Lord with all its traditional imagery: blood, fire, smoky mists, and heavenly portents, to which Peter refers in his speech. However, in this scene the Lukan author shows the Day of the Lord as hopeful, a fulfillment and building up, not as one of destruction.” (Vol. 1., p. 101)

Sink also reminds the reader of the image’s connections, which are alluded to in the lower half of the illumination:

This illumination joins the past and the present, Jerusalem and the Abbey Church in Collegeville, to show the scope of the ministry of the Church.

From this event the Apostles went forth to evangelize all peoples and nations. Through this event the ministry of the Church began, not with people of status and fame but with ordinary people. As you look at this image, reflect on Sink’s words: “The hope of the passage, and of the illumination, is life in the Holy Spirit in history and eternity.” (Ibid.) So the ministry of the Church continues.

This commentary was contributed by James Gumataotao, a senior Theology major and a member of the Library’s Research Desk team.

In the beginning of Mathew’s Gospel, the reader is introduced to the genealogy of Christ. One can assume that the author of the Gospel began in this manner to portray the humanity of Jesus while at the same time showing his divinity. The image that appears is a beautiful image of a menorah. Matthew in his time was primarily writing to a Jewish audience, so the image is quite appropriate, not just because of the audience he was addressing his gospel to, but also because Jesus himself was a Jew.

Menorahs are familiar objects to Jews, but this menorah depicts more than the usual object. In fact, Susan Sink writes in The Art of the Saint John’s Bible:

The menorah from Jewish tradition becomes a family tree, from which the names of the genealogy branch out. Matthew wrote for a Jewish audience and set Jesus’ birth within a Jewish context. The line of Jesus through David was important for establishing his divinity. Abraham and Sarah are at the root of this tree, and Hagar is there too, with her name in Arabic as well as Hebrew and English, the branch that leads through Ishmael to Islam. (Vol. 2. pp. 51)

She guides the reader further to notice:

The gilded stamps used in the center of the illustration come from illuminations of the Koran. A mandala is incorporated into the base of the menorah, again a sign of cosmic unity and wholeness found in many religious traditions.

This detail is important to this image because it seeks to show the interconnectedness of not only religions but also creation. Sink invites us to contemplate on “life, on creation, on history and redemption, on identity.” (Ibid.) What a great way to begin the Gospel!

This commentary was contributed by James Gumataotao, a senior Theology major and a member of the Library’s Research Desk team.