5 comments about Caravaggio.

1. I just purchased this book based on previous reviews. One disappointment I have with it is the cropped paintings or paintings with the seem slicing through them. It's frustrating as a student of the arts to try and copy the tiny details out of the bindings. Aside from that, I am glad I bought it. The works inside are fantastic.



2. This is an excellent book. The pictures are amazing! and the explanation is precise. I give it 5 stars!



3. I did so look forward to receiving this book greedily unwrapping it as soon as it arrived. I'm a huge fan of Caravaggio and having seen many of his paintings in situ I was eager for any new information. Unfortunately I'm one of the people who can't read the small silver text on glossy white paper. When I say "can't read" I mean that within about two minutes all of the little silver words on the page just dissolve into whiteness. I agree it looks pretty but perhaps that combination of ink and paper might best be reserved for an invitation to a Winter Solstice dinner and not used in an obviously superb book such as this one. Catherine Puglisi was done a terrible dis-service in the design of this book. The quality of the photographs of the paintings (and the quantity) are fantastic and I have enjoyed them immensely. Maybe the paper version is black on white but I sure don't like to have buy the same book twice. I'm giving two stars to what is probably a five star book.



4. Dr. Catherine Puglisi is not only a fine scholar, well informed about her subject, she is also a fine writer. CARAVAGGIO is a richly produced heavy volume (hardcover reviewed) that spreads the text throughout the course of the book as each of the points about the artist's life and technique and gifts to art history is explored.
   
   The color plates are reproduced with clarity and two-page extensions of the larger horizontal works aid the reader in gaining perspective. Multiple images of details offer close examination of Caravaggio's technique, a manner that continues to influence representational artists today.
   
   Puglisi gratefully does not shy away from the controversial aspects of Caravaggio's life and sexuality. She deals with the facts and presents them in context with his concurrent paintings. The volume includes an exceptionally fine body of appendices that offers a complete checklist of the paintings including small reproductions of some, a terse bibliography, and a series of extracts from the myriad sources from which Puglisi extracted information.
   
   The one criticism of this book, and it is a significant one, is the small type font in the pale gray ink selected by a designer who seems more concerned with 'making a pretty book' than in respecting the written word! But in the end this is a definitive volume about one of art history's more interesting and gifted painters. Grady Harp, December 05



5. Anything showing photos of this fellow's incredible oevre would probably deserve the highest praise even without editorial guidance. But just browsing thru this one will stun anyone not familiar with Caravaggio, which is probably 98% of the populace.Ms. Puglisi interweaves the artist's life and times around the glorious color photos. The print may be a tad small,but the fact that there's around two spaces between each line of text makes it, IMHO, even easier to read than otherwise. The raw,harrowing originality of this artist are beyond description, and his life is a near match. He died violently before the age of 40...Especially recommended for those (mainly males) who may think that Art and Art History are less than manly pursuits!! (Yes there are plenty of guys out there who think like this.) Give this book, the author,publisher, and the artist way more than five stars!!

5 comments about Michelangelo (XL Series).

1. Excellent pictures of the frescoes, inadequate coverage of sculptures. This book is unrivaled for the sheer size of its reproductions. It is so huge that it is a bit difficult to read--one has to rest it on a table. Not suitable for reading in bed, to say the least. But the quality of the printing and colors in the main part of the book is first class. Its coverage is especially fine on the paintings. It comprehensively covers the Sistine Chapel with huge-size foldout prints of every fresco. There are fine close-ups of important areas, which are an amazing 2/3 of life size. One can examine these fresco details from a foot away--never before possible--instead of from 60 feet away with a craned neck. This can be breathtaking.
   
   The sculpture photos are excellent too, but not numerous. I had been expecting several photos of each sculpture from various angles. Bacchus, Pieta, and David are well shown in multiple views but this is not the case for most works.
   
   The text is on the whole very well written and illuminating.
   
   The authors have extreme views on authenticity. This leads them to exclude very important sculptures because, it appears, the authors consider them unproven to be authentic. For example, the Santo Spirito wooden crucifix is shown only small, poor quality, and in black and white. (A far better, color, picture, can be found, free, in Wikipedia.) Even the Madonna and Child bas-relief that is his first work, the one selected to adorn the cover of the 1,000 euro ($1,500) La Dotta Mano book, and, worst of all, the four Slave sculptures, some of his most iconic works, are also relegated to poor quality black-and-whites at back of the book, as all are judged suspect by these authors. Drawings, however, if of doubful authenticity, or even known to be copies, escape this rigorous exclusion. So we have too many drawings and missing sculptures.
   
   Some paintings receive the same relegation: the Manchester Madonna (which is clearly at least in part by Michelangelo) is hardly visible in a tiny, dark, picture, as is the Entombment (which I must agree is of doubtful authenticity).
   
   A book claiming to be comprehensive should have more detailed and thorough illustrations of questioned works than this. Opinions change over the years and some of these will doubtless be accepted in the future. In some cases it seems that the authors are among a minority who dispute authenticity.
   
   The book has a very large number of drawings, but the coarser paper in that section of the book, and the low contrast and low resolution and small size (even in this monster book) of their printing, makes them hard to see clearly. This section is in sharp contrast to the wonderful beauty of the fresco reproductions in the first section of this book. It would have been better to show fewer drawings at a larger size, and illustrate the sculptures properly.
   
   Nevertheless, this is a truly outstanding book for the frescoes, and the photos of the sculptures that are shown and the text are excellent too. Worth its price.



2. this book is extraordinary for the paintings; the drawings are documented, but its print quality is rather low, even the quality of paper they are printed on is inferior... and THIS IS A VERY DISAPPOINTING BOOK FOR THE SCULPTURES



3. Wonderful inside and out. No further commentes are necessary: by all means, buy it !!



4. This massive book is stronger on the paintings than on the sculptures. And after all, Michelangelo is one of the greatest (to me the greatest) sculptors of all time. Still, this impressive book is certainly worth purchasing. Try to find a copy of the William E. Wallace book published in 1998 to enjoy magnificent plates on the sulptures. You might still find copies online from remainder booksellers.



5. I received this book yesterday, and it is certainly a monumental work, weighing close to 20 pounds and superbly produced. But potential buyers should be aware that while this book is labeled as a definitive, complete guide to Michelangelo's work, its real focus are the paintings and drawings. There is probably no better book for the Sistine Chapel ceiling and the Last Judgment, with scores of extraordinary closeups of every part of each painting. The foldout of the creation of Adam is a joy to behold. Readers may or may not like the fact that probably 40% of the book is on Michelangelo's drawings, given that these are mostly preliminary sketches for sculptures or paintings, as opposed to complete drawings in their own right, as in the case of Leonardo Da Vinci. The book also covers Michelangelo's architecture very well.
   But obviously many readers will buy this book because they want to see Michelangelo's sculptures, and this book is surprisingly, disappointingly weak in this area. Of course, the David gets its due and there is also good coverage of the Vatican Pieta and, oddly, the Bacchus. But many of the other sculptures, such as the Moses and the Risen Christ, get only one large and one small picture, despite the fact that the book, at over 700 pages, has space to spare. By contrast, the "Complete Michelangelo" by William Wallace provides multiple views of each and every piece of sculpture.
   But most incredible, indeed inexplicable, of all, is that this book (unlike Wallace, or any other Michelangelo book that I know of) fails to provide any large pictures at all of what are, next to the David, the most iconic and powerful of Michelangelo's sculptures: his four "prisoners" in Florence. Having seen these in person, I can easily understand why artists for centuries have looked in awe at these amazing "unfinished" sculptures which show figures struggling to emerge from the marble-which is exactly what Michelangelo felt he was doing when he took his chisel to the rock. How on earth, in a book of this size and ambition, can the omission of these sculptures be explained? Indeed, no explanation is provided, and the only illustration of these four sculptures, which have so influenced modern art, is four tiny, poor quality pictures in the second section of the book that is a complete catalog of all of Michelangelo's sculptures. By contrast, the Wallace book has a four page foldout that shows the four sculptures next to each other.
   In short, this book is fantastic for the paintings and drawings and a very disappointing missed opportunity for the sculptures. One can only wistfully imagine what would have been if the sculptures had been photographed as carefully and as thoroughly as the Sistine Chapel paintings. By all means get this book--and overall I am glad that I did, despite its high cost--but adjust your expectations and don't expect that this one book will suffice to fully cover all of Michelangelo's genius.

5 comments about Saints: A Year in Faith and Art.

1. As a Catholic School librarian, I highly recommend this
   book. One of the very delightful aspects of this book is
   it's beautiful physical appearance. It is small in size,
   remanisant of medieval hand printed books. The smooth
   paper and gilt cover add to it's appeal. There is a brief
   description of each saint with an accompanying picture
   on the opposite page. The old masters art work is
   lovely. However, some of the pictures are graphic and
   may not be for very young children.



2. I bought this book for my son as he received First Communion. He has consulted it almost every day since, reporting to the rest of the family on the saint featured. Every page turn has a brief story of the saint of the day on one side and a stunning artwork depicting a scene from the saint's life on the other.
   
   One word of caution: martyrdom is not for the faint of heart. Some of the artistic renditions are quite graphic, even explicit, as in the case of Saint Agatha, who apparently had her breasts ripped out with pincers.



3. This is an amazing little book of saints. Designed for a "saint a day", it sometimes has two saints per day, but what really stands out is the absolutely beautiful artwork from medieval to modern times. Although the book is small, and hence the pictures also small, they are so sharp and beautiful that their size won't matter. The lives of each saint, being limited to a page or a page and a half, are only overviews, but good for a brief reading on a daily basis. No large time commitment here.



4. The book offers a daily review of a saint or blessed within the Catholic faith. An overview of their life and who they are patron saints of is included. What I enjoyed most was learning the Saints name origin and what it means. Each review is only 1 large paragraph and a picture is included. What a wonderful way to start or end your daily prayers!



5. As a Catholic priest for over 30 years, I am a lover of spiritual books and stories of role models of the faith. SAINTS: A YEAR in FAITH and ART is just such a book! In addition to the brief paragraphs about each saint, the art work presented relating to the saint is itself worth moments of reflection. If you want more knowledge of a saint, I suggest ALL SAINTS by Robert Ellsberg. If you want a succint understanding of a saint, this is your book! The cover, the daily portrayals and the art work all are worth this price!
   PS: I bought several copies and gave them to my Staff for Christmas gifts. They loved it!

2 comments about Te Deum: The Church and Music.

1. I am looking forward to reading this one, thank you for getting
   it to me in a timely manner.



2. Paul Westermeyer's Te Deum: The Church and Music demonstrates the utter importance of music throughout the church's turbulent history. He details the music of the Old Testament, New Testament, the church fathers, reformation, and briefly describes the modern period. Westermeyer masterfully interweaves his philosophy of music with a moving commentary and the pertinent details of history. He explains the worship of the Old Testament choosing to highlight the use of the Psalms in worship. He moves to the New Testament age and the early church and helps the reader to understand the important role that music played in the church.
   Westermeyer's commentary on the medieval times was helpful. He adequately illustrates the progress of music in that age and helps the student to realize that the music (style, rythm, notes) were completely different. He explains the different views of using instruments, non-instrumental vocals, and silence. His balanced approach to history makes one really ponder the circumstances that the different ministers in different ages had to deal with.
   Dr. Westermeyer cover the Reformation period and gives information on some of the Reformers and their particular views. His section on Luther was fascinating, thought-provoking, and well-written. He ties in the theology, philosophy, and the musical abilities of each Reformer. His work on the modern age was rather brief and incomplete; however, he does give information on the early hymn writers and the development of different kinds of hymns and other church music.

   Dr. Paul Westermeyer is more than qualified to write such a book. His work is excellent. He is an able historian, theologian, and philosopher--not to mention his abilities as a musician. His stated purpose in writing the book was to present a workable text for students and laymen alike. His careful historical treatment with just the right mix of commentary makes for excellent reading. I was amazed to realize my own lack of knowledge about church music. He really drove home the point of understanding your philosophy of worship. He backs up all of his statements with evidence and provides ample footnotes for further research. His treatment of the differing views was also quite fair.
   I felt as though he may have gotten a little too technical at times. He feared "oversimplifying" some of his explanations from time to time, but I rarely found this to be the case! His explanation of Luther's views (and those of the major Reformers) was exceedingly helpful. He managed to successfully navigate the troubled water of church history with ease. His comments about modern music were quite incomplete. I would really enjoy reading his opinion about different modern day streams of thought with regard to worship. His emphasis on Lutheranism was interesting, but when it comes to the modern age he should have dedicated more time to discussing mainline evangelical musicians and their philosophies of worship.

   Paul Heier, author of Leading Out of Love

No comments about The Art of The Saint John's Bible: A Readers Guide to Wisdom Books and Prophets (Volume 2).

5 comments about Addicted to mediocrity: 20th century Christians and the arts.

1. While this book is simply states and placed in question answer format, it gives the impression of being written for a bible study class. Art and The Bible by Francis Schaeffer is much better oriented towards offering advice on what Christian art is and how it applies to Christians in today's times.
   
   This book talks about how Christianity and art have fallen away from each other and how we can get back on track. Again, an excellent Bible study read and talk book, but not much of a "for-fun" read.



2. Few people who have reviewed this book are apparently aware of Mr. Schaeffer's own artistic work in the years following the release of this book. This book was published in 1982. Three years later, Frank Schaeffer began directing feature films. Go and watch one of these films (all directed by Frank Schaeffer):
   
   Baby on Board (1992). Slapstick comedy starring Judge Reinhold and Carol Kane.
   Rebel Storm (1990). Futuristic action film starring Zach Galligan and June Chadwick.
   Headhunter (1989). Occult horror film starring John Fatooh, June Chadwick, and Steve Kanaly.
   Wired to Kill (1986). Post-apocalyptic action film starring Devin Hoelscher, and with Merritt Butrick.
   
   While it's true that Schaeffer's film work was consistent with one of his ideals (none of these is labeled or promoted as a "christian" film), with regard to artistic excellence they all fall completely flat. Not a single one received even an average review. All are considered some of the worst of the medium, and the low points in the careers of those who acted in them. Don't take my word for it. Watch any one of them yourself. You'll likely find yourself scratching your head over the dichotomy between what Schaeffer says in his book about how Christians (or anyone) should approach the arts and what he actually did in the years following the release of his book.
   
   Unfortunately for Schaeffer, it completely undermines his credibility on the subject, and sheds a harsh light on the book and what was apparently behind it; the desire to lash out, embarrass and humiliate evangelicals. Who can argue the truth behind his main points? No thinking person can. It has been the elephant in the room for years in the evangelical world. A widely read book on the topic was badly needed (still is).
   
   Christ made it clear that his followers are called to speak the truth boldly, which Schaeffer clearly did here. But he also calls his followers to walk in humility. It's sad that Schaeffer didn't approach this book (or those that followed) with that attitude. It would have blunted the apparent hypocrisy of his later artistic efforts.



3. A little too much filler for me. His dad, Francis Schaeffer, has a similar smaller book on the same topic that is better.



4. This book fits well with other similar books as a welcome addition to my growing library of books on art and Christianity.



5. If you're a Christian involved in the arts, you MUST read this.
   Even though the book was written back in 1981, Franky's comments about contemporary evangelicalism indulging themselves in propagandizing, sloganeering bad art with the label "Christian" slapped on it is more relevant that ever.
   
   Franky attacks the false notion that if you're a Christian and you are an artist that any art you do MUST have an overt, and obvious "Christian" theme to it. Creativity in and of itself is Godly, and good and Evangelicals need not slap a cheap propagandizing slogan on it to justify it.
   
   Likewise, Franky tears down the false assumption that some actions in the Christian life are "spiritual," (ie . reading your Bible and praying) while others are "non-spiritual" (ie playing with your kids.) All of the Christian life is spiritual.
   
   I can't recommend this book enough!

3 comments about Gospel Figures in Art (Guide to Imagery Series).

1. In "Guide to Imagery Series" books I found the books on art
   that give an exceptionally clear presentation of the subject.
   I bought 6 books from this series ("Gospel figures in art" among them) and I really found what I was searching for. You can study Old and New Testament as well as ancient mythology reading these books, understand the role of different details, symbols drawn on each picture. Inside each book there is a short description of the specific topic followed by full-colour reproductions of the pictures on this topic from different museums all over the world with detailed explanations to each picture. It was amazing to find and understand the meaning of different pictures I saw in art galleries in St.Petersburg, Berlin, Munich, Dresden, Venice, Naples and other places. Really a great selection of art works is presented in each of these books. I strongly recommend all these books to everybody who wants to understand the meaning of the pictures and get a nice art collection at home.



2. This book is spectacular ... don't miss it! It offers a comprehensive look at old testament artwork from the masters that will inspire you over and over again. It follows a basic chronological order that works well with the study of ancient history. Much information is given, yet it is concise and to the point. Beautiful for all ages!



3. If you think you know the gospels (the first 4 books of the New Testament), this book will open your eyes. If you think you know Western art, this book will teach you things you never knew you didn't know. Every incident in the gospels, as well as every incident that has grown up as a traditional addition to the gospels, is touched on. Then a large number of paintings are beautifully reproduced and annotated in detail. You can think of this book either as illustrating the gospels in detail, or explicating every detail of Western painting based on the gospels. A sheer delight. A wonderful treasure.

5 comments about Holy Image, Hallowed Ground (Getty Trust Publications: J. Paul Getty Museum).

1. This is a good book no doubt, but...In this holy monastery there is much more valuable holy icons and should be presented in much more numbers.Maybe I`m asking to much, but with this treasure unpublished at all, it`s kinda sad to said. Quality of paper and photos are great and text with it. Good choice for meeting with this holy spot on the earth.



2. The reproductions in this book are beautiful, the discussion intelligent and thorough. I bought and read it prior to visiting the exhibit, and thought that it provided 95% of the experience of actually being there.
   
   The Getty, which has had an uneven history in its prior exhibits, really did a superb job on this one. The Getty website retains an excellent interactive description of the exhibition.
   
   I had the impression that St. Catherine's was an isolated outpost at the base of Mt. Sinai. It is at the base of Mt. Sinai, but about an hour's drive from Sharm-El-Sheikh, a popular Egyptian resort town. Apparently tour buses make daily runs between the two places.



3. Great book full of pictures and explanatory text. The purchase was prompted by a visit to the Getty Museum to view the exhibit. I was familiar with the monastary beforehand from a VHS tape and the exhibit provided a sense of being there and walking its holy and hallowed grounds. A time capsule of religious art and activity. The detail was very intricate and I marveled at the detail in the icons for those using crude and self-made art supplies. These icons are indeed a labor of love. They go back some 1400 years and have a span of 600.
   
   The book serves to recollect my feelings at the exhibit, the next best thing to being at the monastary itself.



4. This volume is the companion to the recent Getty exhibition of original icons from the St. Catherine Monastery in the Sinai Desert, the presumed site of the Old Testament burning bush. The book provides the scholarly background on the ancient images, some going back to the 6th century and showing stylistic features common to Roman portraiture. The color illustrations are especially well done and true to the tones of the originals that I saw in Los Angeles. The book can be enjoyed simply for the aesthetics for the mesmerizing pictures, or for religious meditation, but also for insight into the historical development of early Christian practices. Given the lavish color printing in a large format, the price is quite reasonable.



5. Wonderful book on good heavy paper. . . .photo quality excellent. . .very very informative. . .

5 comments about The Lost Painting: The Quest for a Caravaggio Masterpiece.

1. I had high hopes for this book based off the reviews but after getting in about 100 pages I was still waiting for it to get interesting. It's a fairly fast read but I was left wanting more. There's no real mystery to where the story is going; the author tries to add in some drama but it really doesn't come off very well. By the end I just wanted it to be over, it just couldn't hold my attention because the story was so bland.



2. I suppose the story of a long-lost masterpiece could be interesting. This tale, however, was not compelling enough to warrant a full book. Harr first wrote this as an article and that was probably plenty. He admits that he needed a project in mind in order to be accepted to a fellowship abroad and this is what he came up with.
   
   The tale focuses entirely too much on Francesca Cappelletti, an art student who, while researching the provence of another Caravaggio work, finds a ledger entry mentioning "The Taking of the Christ" (this book's subject). She makes an effort to find the painting based on the clues she unearths, but is unsucessful. The paiting is eventually found by a restorer completely unrelated to Francesca; he stumbles across the painting by chance, no thanks at all to Francesca's research. Why is she included in this book as such a major player? She did nothing to bring "The Taking" closer to discovery. I guess Harr assumed a 24 year old woman would be a more fun protagonist than a 50 year old man.
   
   This is why the book should have been left as an article. Harr was required to provide too much filler (do we care that Francesca marries the man who accompanies her to Scotland? I think not) and while it is an easy read, it's ultimately a "who cares?" experience.



3. The Lost Painting: The Quest for a Caravaggio Masterpiece
   For anyone who loves art, especially Caravaggio, mysteries, and Ireland, this is a must read. Couldn't put it down. It is especially interesting how the search for the painting is attacked from two ends: the researchers who are looking for the painting and the owners who don't know what they have. If, after having read the book, you don't book the first plane to Dublin and drop into the National Gallery of Art just to see the painting, you are really missing a treat.



4. As an earlier reviewer noted, many scholars acknowledge that there probably are several missing Caravaggio masterpieces lying about forgotten and neglected.
   
   And, indeed, just as I began reading this book, a November 2006 news report announced that a painting owned by Queen Elizabeth II had been revealed to be a lost work by the Italian master Caravaggio.
   
   The picture, which has been in the Royal Family's possession for about 400 years, had been dismissed as a copy, being obscured by varnish and dirt. It had been left in a storeroom at Hampton Court for decades until experts from the Royal Collection set about restoring the piece. After they spent six years studying the painting, they announced that is "The Calling Of Saints Peter and Andrew", a genuine Caravaggio and one of only 50 surviving canvases by the 17th century artist.
   
   Reports estimated the painting, which was first bought by Charles I, sold and then reacquired by Charles II, could be worth more than £50 million --$100 million at current exchange rates!



5. I wasn't sure if this was fact or fiction. It reads like a mystery story. It grabs you, and keeps you intrigued throughout. It's a kick to learn that it's all true! Great read!

5 comments about Behold the Beauty of the Lord: Praying With Icons.

1. Henri Nouwen's book on praying with icons features the spiritual, emotional, and scholarly perspectives of the author, a priest, psychologist, and academic. The integration of these viewpoints provides something for every reader. Those interested in academics will benefit from the historical background and list of resources. Those wishing to begin or improve their prayer practice will be drawn to the author's description his own encounters with the icons. Those who don't get around to acquiring, learning about, and praying with icons can profit from the spiritual insights that Nouwen discovered during his prayer and study. And everyone will appreciate the full color reproductions of the chosen icons: The Holy Trinity, The Virgin of Vladimir, The Savior of Zvenigorod, and The Descent of the Holy Spirit.
   
   In his description of The Virgin of Vladimir and The Descent of the Holy Spirit, Nouwen mentions the subjects' line of vision. He was at first disconcerted that he could not "make eye contact" with the Virgin, who seems not to be looking directly at the painter or viewer. Nouwen suggests that the iconographer deliberately portrayed the Virgin as looking inward to the heart of God and also outward to the heart of the world, "thus revealing the unfathomable unity between the Creator and creation." Meditating on The Descent of the Holy Spirit icon, Nouwen points out that the 12 disciples form "a perfectly harmonious community," though they are not interacting with one another in any way. Rather, Nouwen observes, "they are listening together to the God within." They are united not by their common psychological make-up, he writes, but by the Holy Spirit descending upon them.
   
   In addition to careful examination and meditation on the four icons, Nouwen looks at the relationship among them. Each individually and all together, "they give us a glimpse of the house of love prepared for us by Jesus and invite us to experience, even now, the joy of living there." Henri Nouwen's "Behold the Beauty of the Lord" can bring some of that joy to every pray-er, reader, and student.



2. I've read some of his other books and have always appreciated his writing. I purchased this book to be a resource for a Retreat I will be leading. It's a wonderful resource. Has lots of great information in it.



3. As an Orthodox Priest, I did not agree with Nouwen. He does not give correct information about the icons he is reviewing. He is not qualified to interpret icons.



4. I first read this book in the late 80s, just before a period of return to the Catholic tradition of my youth, and I was reminded of it this past Sunday while gazing at stained glass windows in a local church.
   
   The book is a wonderful introduction to Christian iconography, from a spiritual master and healer. In addition, it is very effective as a first step toward sitting and gazing as a spiritual practice. Indeed, sitting, and seeing, becomes a profound experience of prayer in itself, and Nouwen's little book will be appreciated by those seeking a retreat from the agitation, clamor and distraction of daily life.



5. This isn't a dogmatic book that tells the reader what one must get out of praying with icons. Nouwen simply relates an experience he had over a course of several years while visiting l'Arche, a community for people with mental handicaps, in Trosly, France. Each year, when he visited, a different icon was placed on the table of the room where he stayed. Nouwen simply records the fruits of his meditations for us to read.

   In doing so, he aptly teaches the reader more about praying with icons than any "how to" book ever could.

   This book came at a perfect time for me in my spiritual journey. I was just beginning to open up to the world of praying with icons, when Nouwen lit a fire within my soul. I hope the book does the same for you.

   NEGATIVE: I will offer only one negative point concerning this book. The glue on my copy was defective and the front portion of the cover pulled away from the book. It has been my experience that what happens with one book, may happen with many. Still, I feel completely comfortable recommending it.