(artist unknown, currently in Paris). (1253 to 70). Psalter of Saint Louis page with Abraham, Sarah and the Three Angels/Strangers [ink, tempera and gold on vellum]. Pierpont Morgan

A page fully-devoted to a graphic image. Figures are gracefully arranged; mechanical shapes and framing devices are formatted with an even-toned complementary color scheme and a closed value pattern to maximize the use of each moment of page space. Compositionally decorative, orderly and dense, I believe the strongest binding features of this work are the placement of high-key values, curved strokes that predictably reverse direction and the central, clashing tree figure center-top. | 

Realistic semi-abstraction describes this work. One of the hallmarks of excellent design is creating a work that feels instinctually driven while it’s execution is deliberately measured. The framing decoration effectively separates the reader from the vision of the author, providing a crutch for her or his imagination. Behind it, intuitively-paced scenes sink into the background at a calm, consistent pace with just enough information provided for the observer to understand what is there. 

Two events are “read” from left-to-right; a story supporting the accompanying text is the subject. So the story goes that Abraham invited three traveling strangers to his home. His wife, Sarah, has prepared a meal for them with the best the couple have to offer, at which time the strangers reveal themselves to be God. 

I am arguing that value is the single element that does the most for this work. Its range adjustment defines planes of depth, separates figurative shapes, focuses attention (more than other elements) and binds the entire canvas together (including framework) through an odd-shaped tonal pattern. All other elements support value: line, shape, color, purity, pattern and texture. 

While undeniably intricate, this work is deceptive in its simplicity. The application of a single split-complement scale (warm red to neutral green and warm blue) is distributed to masterful effect. Midtones and muddied colors create the global rectangular shape of the entire page and provide the context for stark values and pure colors to stand out and tell the story. Generally, lines define shapes. Seamless, organic patterns are woven throughout the composition. 

The primary way depth is defined is in how high key values tend to separate forward from the picture plane while mid tones “hover” near it. While the whites are used more to control eye movement, the tree-figure clearly stands out from the scene, nearly equal with the framing device. There is also strong depth created through adjustment in color purity. Graceful overlapping of scenes, rather than shapes, is also used. Individual figures have some depth development through value. There seem to be hints of foreshortening, centuries ahead of its common use. 

Pictorial balance is intuitive and horizontally symmetrical in tone. Where this organizational division is struck a slight inversion of value patterns can be seen. Shapes are dominated by a decorative character, but there is a division between those that are figurative and in feel and those that are more artificial. This composition is appropriately dominated by muddied colors, providing the perfect backdrop for the striking influence-free hues, which in themselves cover the entire value range. 

The contrasting green of the tree-figure clearly pulls the most attention. “Slower-paced” movement courses through the frame, while more energy is present in the lower portion of the scene due to sight lines and sharp tonal contrasts. I find two things quite pleasing about the scene framing device: the interlaced pattern of values organized by a graceful stroke that reverses direction throughout. While embellished, the frame binds well with the formatting of the scene, and is not distracting. 

To me, the depicted is a visual example of social customs and interactions, particularly between household hosts and traveling strangers. The context is the time period described in the Old Testament, but the necessity of treating others with respect in general and the specific circumstance of welcoming them into one’s home, or being the one offered hospitality, is as relevant today. 
Clearly this work has many strengths that combine to create a calm, pleasing, fully unified composition. It puts the allegory front and center without distraction against a rich backdrop. I believe “master works” are clinically described in similar terms.