Item description for I Believe: The Nicene Creed by Pauline Baynes...
Overview The Nicene Creed, first drafted in A.D. 325 under the auspices of the Roman emperor Constantine, is one of the major ancient statements of Christian faith, still used by Eastern Orthodox, Roman Catholic, Anglican, Lutheran, Calvinist, and other churches all over the world. In this lovely volume Pauline Baynes, the much-loved illustrator of C. S. Lewis's "Chronicles of Narnia" and J. R. R. Tolkien's "Lord of the Rings," has transformed the Nicene Creed into a delightful reading experience as well. Baynes's exquisite original artwork brings to life the wider meaning and relevance of the Nicene Creed. Her aesthetic interpretations of the text reflecting a lifelong passion for Anglo-Saxon and Persian manuscripts, Baynes renders striking visual images of the sun, moon, and stars, of real creatures and mythical beasts, of death and resurrection, of judgment and everlasting life, and of Jesus Christ. An inspired and inspiring treatment of a singular document of faith, "I Believe" offers a unique entry into Christian spirituality and also makes a gorgeous gift book.
Promise Angels is dedicated to bringing you great books at great prices. Whether you read for entertainment, to learn, or for literacy - you will find what you want at promiseangels.com!
Studio: Eerdmans Books for Young Readers
Est. Packaging Dimensions: Length: 8.3" Width: 7" Height: 0.6" Weight: 0.55 lbs.
Release Date Aug 31, 2003
Publisher Eerdmans Books for Young Readers
Grade Level Multiple Grades
ISBN 0802852580 ISBN13 9780802852588
Availability 0 units.
More About Pauline Baynes
Pauline Diana Baynes (9 September 1922 – 1 August 2008) was an English illustrator whose work encompassed more than 100 books, notably those by C. S. Lewis and J. R. R. Tolkien.
Baynes was born in Hove, Sussex. For a few years she was raised in India where her father was commissioner in Agra, but she and her elder sister came to England for their schooling. She spent much of her childhood in Farnham and eventually attended the Slade School of Fine Art, but after a year volunteered to work for the Ministry of Defence, where she made demonstration models for instruction courses. This work did not last long; she was soon transferred to a map-making department where she acquired skills later employed to good effect when she drew maps of Narnia for Lewis and of Middle-earth for Tolkien.
Baynes is probably best known for her cover and interior illustrations of The Chronicles of Narnia by C. S. Lewis, published by Geoffrey Bles in one volume annually from 1950 to 1956. Years later she provided some new illustrations for The Land of Narnia: Brian Sibley Explores the World of C. S. Lewis (HarperCollins, 1998), by Brian Sibley. (According to a School Library Journal review, "the artwork includes full-page illustrations in glowing color".)
When she began work on Narnia, she was already the chosen illustrator of Lewis' friend and colleague J. R. R. Tolkien. In her obituary for The Daily Telegraph, Charlotte Cory[a] described how Baynes and Tolkien came to be associated:
In 1948 Tolkien was visiting his publishers, George Allen & Unwin, to discuss some disappointing artwork that they had commissioned for his novella Farmer Giles of Ham, when he spotted, lying on a desk, some witty reinterpretations of medieval marginalia from the Luttrell Psalter that greatly appealed to him. These, it turned out, had been sent to the publishers 'on spec' by the then unknown Pauline Baynes. Tolkien demanded that the creator of these drawings be set to work illustrating Farmer Giles of Ham, and was delighted with the subsequent results, declaring that Pauline Baynes had 'reduced my text to a commentary on her drawings'. Further collaboration between Tolkien and his Farmer Giles illustrator followed, and a lifelong friendship developed ... Later, when she showed him her artwork for a poster featuring Frodo and Bilbo Baggins, the author nodded approvingly and murmured quietly: "There they are, there they are."
Eventually her drawings would appear in Tolkien's Farmer Giles of Ham, The Adventures of Tom Bombadil, Smith of Wootton Major, Tree and Leaf, and (after the author's death) in the poem Bilbo's Last Song, a poster in 1974 and a book in 1990. Baynes also painted the covers for the British 1973 one-volume and 1981 three-volume paperback editions of The Lord of the Rings, and produced illustrated poster versions of the maps from The Lord of the Rings and The Hobbit.
Her favorite of her own works was A Dictionary of Chivalry (Longman, 1968), edited by Grant Uden, an illustration project that required two years to complete. For that she won the Kate Greenaway Medal from the Library Association, recognising the year's best children's book illustration by a British subject. In a retrospective citation, the librarians call it "a reference work that details the life and thoughts of Knights". As a reference book it is unique among the winning works and only one other Greenaway Medal in almost sixty years has been awarded for the illustration of nonfiction.
Four years later she was a commended runner up for the Greenaway, for Snail and Caterpillar (Longman, 1972) by Helen Piers.
Baynes illustrated The Borrowers Avenged by Mary Norton (1982), the fifth and final book in the Borrowers series (from 1952). (The original illustrator Diane Stanley was deceased. Baynes did the covers for a 1980s Puffin edition of the entire series.)
Reviews - What do customers think about I Believe: The Nicene Creed?
OK with adaptations Jan 20, 2006
The actual Nicene creed as quoted by Catholics is slightly different. (Despite what the other reviewer states,)This rendition omits the word "Holy" from the line One, Holy, Catholic and Apostolic, (which are the four marks of the Catholic Church) thus making it more palatable to protestants. Ironically, the Nicene Creed was promulgated in RESPONSE to the arian heresy, and at the same Council (of Nicea)that proclaimed Extra Ecclesiam Nulla Salus (Outside the Church there is no salvation) so to see it espoused by groups that reject Her, and refer instead to an "invisible church" is contradictory of the very purpose in which the Nicene Creed was created. If you are Catholic and keen on accuracy, plan on penning in a few corrections. The illustrations are, I agree, lovely and reminiscent of medieval drawings.
A lifetime treasure in a small volume Oct 22, 2004
I bought this book recently on something of a whim and immediately fell in love with it (as did my 3-year-old). The text is not a surprise, and it is easy to read quickly - it's just the Nicene Creed, which is intimately familiar to Christians the world over. Lutherans and other Protestants will do a double-take at "one holy Catholic Apostolic Church," but remember that that is the original wording, and catholic in this context refers not necessarily to the church of Rome, but to the universal, invisible church, that which C. S. Lewis, writing as Screwtape, called "The Church as we see her spread out through all time and space and rooted in eternity, terrible as an army with banners." The book's appeal, though, is its exquisite illustration, rich in detail. Mind you, by detail, I do not mean busy-ness. The pictures and icons have a delightful number of small points to be caught, but also are beautiful in larger scope, as facing pages sometimes contrast one another or make reference to illustrations from previous pages. The unity of the pictorial images underscores the unity of the Creed itself. You really can't read the book just once at a sitting; you have to read it once, slowly, savoring each page, and then once through at a "normal" pace to see the overarching theme, extending linearly from Creation through Good Friday and the Resurrection, and finally to the final Judgment. The last image, with a person peeking through huge, magnificent doors into the brightness beyond, accompanying, "And I look for the resurrection of the dead and the life of the world to come," is in itself worth (buying and) reading the entire book. What a treasure.