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The Bible of St. Louis
[Picture]

The Creation of Guillaume d'Auvergne, Bishop of Paris (1228-1249)
13th Century

The Bible in Castile

[T]he first documented record about the Bible of Saint Louis comes from the will and testament of Alfonso X the Wise of Castile. This will, written in 1282, describes a Bible "of three illuminated volumes given to us by King Louis of France." This short but precise description is sufficient enough to lead us to believe that he was referring to the same copy that resides today in the treasury of the Cathedral of Toledo. In addition, this particular copy, divided into three books or volumes each replete with ornate illustrations of the biblical tales and originally owned by King Louis IX of France is surprisingly similar to the Rich Bible of Toledo. Furthermore, the will explains that Louis IX gave the codex to Alfonso X as a gift. This valuable piece of evidence clarifies the mystery surrounding the presence of this bibliographic jewel in Castile.

In his will, Alfonso X expressed great appreciation for this Bible classifying it as one of the "noblest possessions belonging to the King." In his testament of 1284, he also alludes to the Bible as one of "the things we had in Toledo that were taken" during a robbery of the royal holdings. The king describes his regret at having lost one of "the rich and noble things that belonged to the kings." This entry, in addition to the similar phrase written in his will, attests to the fact that this invaluable piece of art was destined for the exclusive use of royalty.

Composition Dates

The colophon of the Bible of Saint Louis is missing, however, the last illuminated folio of the third volume confirms the entries cited in Alfonso X’s will and testament. The folio was torn out of the original binding and is no longer in Spain. It is illuminated with two full-page scenes one of which includes a portrait of Blanca of Castile, Queen of France and mother of Saint Louis, enthroned with her royal crown and facing outward as if addressing her son. They sit under three arches with a gold background. Under the third arch, we find the King himself, youthful, seated upon his royal canopied throne in all his regalia including robes, crown and sceptre. He listens attentively to his mother. He holds a gold object, perhaps a coin or medallion, against his chest with his left hand, index finger and thumb extended. His royal consort and future queen does not appear next to him yet.

From these portraits, we can determine the timeframe in which the codex was copied and illuminated. Louis IX of France was born in 1214 and took the throne in 1226. In 1234 he married Margaret, daughter of Ramon Berenguer IV, Count of Provence. Given that Saint Louis appears in the portrait as the reigning king but he is still unwed, we can deduce that the Bible was completed between 1226 and 1234.

The Workshop

Though there are no historical sources that document the actual place of manufacture, the Bible was indubitably made in Paris. It can be assumed that it was made there not only because Paris was the capital city of the kingdom and courts but also due to the fact that it was the location of the most renowned school of theology in Europe. Under these circumstances, the demand for the production of Bibles, especially very elaborate illuminated ones, concentrated in the city and reached its height, monopolising commerce to the extent that other cities could no longer compete with the quantity and quality of books produced in the capital. The Bible of Saint Louis was made during a period in which Parisian scriptoria had reached one of their most brilliant moments in history.

Based on the importance of this Bible and the social level of the people who owned it, one can imagine that the workshop selected to produce it also shared in a certain level of prestige. Nonetheless, its name remains a mystery. Some have suggested the Dominican workshop of Saint Jacques, the Benedictines of Saint-Victor and Saint-Germain-des-Prés as possibilities. The miniatures on the lower half of the last page include the figure of a clergyman dressed in an unidentifiable monastic habit sitting at his table. He is dictating to a secular calligrapher that is leaning over the table with writing tools in hand. The calligrapher is working on one of the folios of the Bible on which the space for the text and miniatures has already been outlined. It is difficult to draw conclusions from these miniatures, but they seem to represent the basic organisational structure under which the Bible was made: its manufacture was directed by a clergyman in some monastic discipline and executed by expert copiers and secular illuminators. Though presumably many hands took part in the manufacture of the book, the task of illumination was organised house-style. A comparative analysis of the different groups that participated in the manufacture of the book and their internal organisation might lead to the discovery of the name of the workshop.

The Author

While reading the manuscript, one can sense the involvement of an individual who organised, ordered and generally provided an overall objective for the composition of the book. Some details are tenaciously maintained throughout the work, which lend to a sense of consistency and an almost tiresome uniformity. A work of such magnitude required the co-ordination and insight of an extremely competent person. Experts have suggested, though it has not been documented, that this person might have been Guillaume d’Auvergne, a renowned professor of theology, Bishop of Paris (1228-1249), and a man trusted in court. The overall organisation of the commentaries suggests that the author was a person imbibed in a monastic atmosphere. It is likely that several other people with different levels of responsibility participated in the production of the book; these included theologians who selected the biblical passages and a large group of expert copyists and illuminators under the guidance of a workshop master. All of them worked under the tutelage of the anonymous lead supervisor.

Iconography

The biblical text, commentaries and iconography form a complete picture on each folio. Each page contains a rectangular space that is divided into four vertical columns of uneven width. Two columns contain text and two contain decorative illustrations. The columns with text are narrower than the decorative columns and are framed with a thin border. Each of the decorative columns contains four richly adorned medallions, totalling eight per page. Hence, in the three volumes, there are around 5,000 miniatures. The abbreviated biblical text is followed by a series of commentaries that include historical allusions, allegorical tales, moral assertions and mystical references. The Bible is famous primarily for its extravagant iconographic expression. Each medallion reproduces the corresponding scene described in the biblical text. The artists have employed a wide range of colours (blues, greens, reds, yellows, greys, oranges and sepia) over a polished gold background. The complete composition utilises a plethora of highly expressive artistic and technical resources. Most of the medallions contain a unique scene though some are divided in half with a cloud, arch or straight line. The illustrators used the moralistic commentaries to include socially critical scenes from the point of view of the monastery. In this Bible, one can find representations of the world view of the first half of the seventeenth century: men, social groups, their vices and virtues, apparel, customs, beliefs, games and ideals. Life in the Middle Ages is revealed through the images presented in this Bible.

Why the Bible Was Made

Alfonso X wrote in his testament that the work was made for use of kings, but the crucial question remains, why did the King of France and his mother need it? Was it just a whimsical possession? There is no documentation within the royal records of France about the purpose for which the Bible was made. However, we cannot reject the theory that the Bible had some utilitarian purpose for the people who used it in the Middle Ages. The book was made to be used as a vehicle of learning and information. According to this theory, the book circulated amongst the people who had a use for it. The fact that the Bible was made during the time that the French prince was in his school years suggests that it was made to serve as a pedagogical instrument to compliment the education of the future monarch of France. One might even venture to say that it was given to Alfonso X the Wise in order to educate his children and grandchildren.

The Reproduction

The long awaited reproduction of the Bible of Saint Louis is important for its historical and artistic value. By making it available to the public, the publisher, M. Moleiro Editor, lends an invaluable service to those who study history and the history of art as well as those who appreciate the great bibliographical works of the world.

Ramón Gonzálvez Ruiz

Archivist and Librarian of the Catedral Primada of Toledo

Honourable Chapter of the Santa Iglesia Catedral Primada

The Bible of Saint Louis holds a special place within the precious patrimony of the Cathedral of Toledo. For the past seven centuries, the Chapter has been in charge of conserving and maintaining this bibliographic jewel with skill and commitment. The Bible, a unique piece of art, is worthy of admiration. It astounds those who get an opportunity to see it. King Alfonso X the Wise, to whom the Bible once belonged, catalogued the Bible among "the noble things that belong to the king."

The number of researchers that have demonstrated a particular interest in becoming acquainted with the Bible’s cultural wealth has increased steadily in the past years. More and more people from around the world request access to study it. Their research objectives vary; in some cases they are interested in the artistic and ornamental aspects of the Bible, in others the wealth of theological knowledge arouses curiosity, and many others are attracted to the historical perspective. Undoubtedly, bibliophiles consider the Bible of Saint Louis an invaluable jewel, one of the highest quality documents that history has bequeathed to us.

Nonetheless, access to the document cannot be granted to everyone who demonstrates an interest in studying it. The Chapter is aware of its duty to facilitate research and provide access to those whose intellectual curiosity has moved them to consult this unique source of information and culture. Nevertheless, not all researchers can carry on their noble projects precisely because they are not granted the physical access that would allow them to achieve their dreams of direct study. In the same way that the researcher’s interest in gaining access to this cultural wealth is comprehensible, it is equally understandable that direct access cannot be extended to everyone who wishes it. The inevitable and progressive deterioration of this unique document would be one of the many drawbacks produced by direct contact.

Moved by the desire to facilitate direct study of the Bible of Saint Louis while maintaining its safety and preservation, the members of the Chapter of the Santa Iglesia Catedral Primada of Spain have decided to proceed with a facsimile edition. With this edition, we can meet our objectives of preservation and safety while also facilitating researcher’s work. The facsimile edition will be available to those who wish to acquire a copy.

The Bible has been under the permanent custody of the archives of the Cathedral of Toledo for centuries and has been shown to all of those who have visited the Treasury. Now it will be shown in all its splendour to all who wish to see it.

After other editors’ unfruitful attempts to publish a reproduction, at last the editor, Mr. Manuel Moleiro has assumed the difficult task of publishing a facsimile edition faithful in all of its characteristics to the original Bible of Saint Louis. All of the members of the Chapter, the Editor and the artisans who participate in this reproduction expect to offer a facsimile made so well that it will transmit exactly the same experience as the original.

We are all aware that this is a difficult yet exhilarating task. We have taken on this challenge in order to lend an invaluable and useful service to researchers and people who love culture while at the same time guaranteeing the preservation and protection of the Bible of Saint Louis. This is one way we can enrich and preserve our cultural patrimony while generously disseminating this codex to future generations. With this effort, we hope people can access the Bible with more ease than has been possible up until now.

It is with great expectation founded upon the experience and quality with which Mr. Manuel Moleiro has assumed other similar projects that we wish him the best of success in this endeavour. The job that Mr. Manuel Moleiro has set out to accomplish is an honour for the Editor and a cause for deep satisfaction for the Chapter. This will be a motive for profound satisfaction and lasting gratitude.

The Archbishop of Toledo, Mr. Francisco Álvarez Martínez, Primate of Spain, has encouraged this initiative and wishes for the best of success on the project. I offer my sincere appreciation and cordial gratitude to him for his guidance and support. Both he and the members of the Chapter hope that this facsimile edition will facilitate the study of the Bible of Saint Louis and lend a splendid service to future generations.

Toledo, 8th of November, 1998

Evencio Cófreces Merino

Dean of the Chapter of the

S. I. Catedral Primada of TOLEDO



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