3SQ102-2-WI11 - Christianity in Western Europe in the Middle Age

I quickly realized that the life of Heloise was more complicated than I had ever dreamed. Heloise was a nun who later became an abbess. But by her own report she only became a nun because Abelard told her to. Heloise and Abelard had a rip-roaring love affair and Heloise gave birth to his son. Abelard either married Heloise or intended to marry her but was castrated probably on order of Heloise's uncle Canon Fulbert. After all, who would not be a little angry that their young niece was "taken advantage of" by an older scholar? Thus once again Heloise's choices and desires were controlled by an older more powerful man. Inexplicably Abelard's castration ends their physical love-affair but begins their spiritual struggle/love affair with Christ and secures their places in history with the writing of over 100 "love letters" between teacher and student, monk and nun...former lovers. I included a picture of their shared tomb although whether Heloise is actually in this tomb is unclear. "Héloïse's place of burial is uncertain. According to the Père-Lachaise Cemetery, the remains of both lovers were transferred from the Oratory in the early 19th century and were reburied in the famous crypt on their grounds.The Oratory of the Paraclete claims Héloïse and Abélard are buried there and that what exists in Père-Lachaise is merely a monument. There are still others who believe that while Abélard is buried in the crypt at Père-Lachaise, Héloïse's remains are elsewhere" (http://en.wikipedia.org/wiki/Heloise_abbess).

I feel like the tomb is symbolic that even in her death, this strong intelligent woman who knew all the classical languages and was a gifted writer is still the subject of soap-opera-esk romantic controversy, and captures the imagination of the world. We insist that these star-crossed lovers should be together in death even though they spent more time vowed to Jesus in life. (See also the Cambridge Companion to Medieval Women's Writing. pgs. 161-171).

So I did a little research and apparently the Cathedral of Santiago de Compostela is done in a "Romanesque" style and not Gothic? This confused me because it looks very Gothic to me. The Cathedral was completed during the Middle Ages however in 1211. The architect was Fernando de Casas Novoa. So even if the place where this video was filmed is not relevant architecturally for this week, it is certainly relevant for the time period. Also I really love the music group Gregorian. Even though their music selection is a little different than what it must have been in the Middle Ages I can not help but be swept away by the sound.

The Romanesque style immediately preceded the Gothic, so there are bound to be similarities. The flying buttresses and pointed arches are usually the tell-tale sign of the Gothic. But I see what you're saying about the Cathedral of Santiago de Compostela . . . it is difficult to categorize just by looking at it. Let's call it a "transitional" example. :-) Any suggestions on clearer examples of the Gothic style?

Carolingian Empire The Carolingian Empire was a Frankish Empire that dominated Europe in the Early Middle Ages. It was most noted for the King Charlemange (Charles the Great) who was crowned King by the Pope in the year 800. Charlemange's rule resulted in the Carolingian Renaissance when then was an increase in education in the Royal and church courts, and increase in cathedral building. The attached illustration is on Aachen cathedral that was first constructed during the Charlemange's rule. Aachen was the political center of the Carolingian Empire. The cathedral shows the central octagonal worship space built in Charlemagne's time along with the Gothic edition on the left, with typical large windows.

Carolingian Empire The Carolingian Empire was a Frankish Empire that dominated Europe in the Early Middle Ages. It was most noted for the King Charlemange (Charles the Great) who was crowned King by the Pope in the year 800. Charlemange's rule resulted in the Carolingian Renaissance when then was an increase in education in the Royal and church courts, and increase in cathedral building. The attached illustration is on Aachen cathedral that was first constructed during the Charlemange's rule. Aachen was the political center of the Carolingian Empire. The cathedral shows the central octagonal worship space built in Charlemagne's time along with the Gothic edition on the left, with typical large windows.

A relief is a carved piece of artwork usually displayed vertically on a flat surface like a wall or door. The artistic image is created by carving stone or wood at differing depths, creating different areas that are sunken or raised. Often reliefs are very intricate and detailed. Reliefs are found all over the world in many different eras, but were particularly popular in medieval cathedrals. Much like stained glass, reliefs helped people in a preliterate society to learn the Christian story. Art was not simply an emotional outlet or a pretty picture upon which to gaze. Cathedral art, like reliefs, were the equivalent of "Sunday school" or "Christian education" in this time period. The images in the reliefs and stained glass windows were a teaching tool used in sermons. In addition to religious scenes, reliefs often had a local flair, including: images of local patrons, saints, and prominent figures; symbolism of the cathedral being built (oxen, for example); intellectual leaders who influenced the builders, such as Pythagoras (Lecture). This link is to a photo of a relief over the door of the Cathedral Church of St. John the Divine in New York City. This building, started in the late 1800s, an ocean away from the cathedrals of Europe, shows that the medieval style of art and building influenced churches around the world for hundreds of year to come. As modern Christians, I believe we have something spiritual to learn from these artisans: patience, endurance, devotion, and a commitment to sharing the life-changing story of Jesus with future generations.

The Great Schism of 1054 The Great Schism of 1054 marks the separation of the Western an Eastern parts of the church and was a major rift in the church in the Middle Ages that still continues today. Pope Leo IX sent legates to Constantinople to seek the Eastern Church's recognition of the Roman Pope as head of the world-wide church. The Patriarch of the Eastern Church, Michael Cerularius, refused to recognize Rome and was excommunicated by the legates acting on behalf of the Pope. Interestingly, Poe Leo had died before they completed this mission. The Patriarch of the Eastern Church excommunicated the legates in return. Greek was banned in the Roman Church while Latin was banned in the Eastern Church. There followed the Massacre of the Latins in Constantinople in 1182 and the 4th Crusade in 1204 that attacked Constantinople.

This icon depicts the spiritual path St. John of the Climax laid out in his book The Ladder of Divine Ascent (or Paradise) which outlines steps toward moving out of sin toward theosis. In the painting you can see monks struggling upward toward the Christ they seek union with, resisting sins and temptations all the way. It is painted on the wall of the Monastery of St. Catherine, Mount Siani, where St. John of Climax was abbot in the 6th century. The spirituality of St. John of Climax continues to be important in Orthodox churches, and the fourth Sunday in Lent celebrates him (http://www.pravmir.com/article_166.html). Even young Orthodox bloggers appear to continue to find the book and icon meaningful as they practice their faith. As one blogger writes, "Saint John's Ladder expresses the Orthodox view that spiritual perfection, theosis, salvation is not something attained all at once, as by a leap, but comes after a long arduous process of spiritual striving or askesis. In this process, with sustained effort one rises gradually from lower to higher and higher levels of spiritual development." (http://orthodoxchristian.blogspot.com/2009/03/ladder-of-divine-ascent.html)

Fascinating icon. Thanks, Alwen.

Renovatio, restauratio, and reforma are medieval concepts that have to do with the restoration of knowledge. They are associated with the Italian Renaissance era, in which philosophies of Humanism evolved. This historical period was a time of learning and these concepts embodied the theological and philosophical growth that was surmounting during this time. The gaining of knowledge came through the restoration and rediscovery of influential Greek and Roman works, and scholars used reason to answer questions and explore their faith. There is a link posted that shows artwork from this period, and one can see how Humanistic thought pervaded the minds of artists and influenced their work. The website is from the Allentown Art Museum (actually a lesson plan for a class), but I liked the historical descriptions and how the artwork is explained.

The lesson plan repeats the quite traditional (and largely erroneous) understanding of humanism as secular. Nevertheless, I do like their emphasis on learning about the Renaissance from the paintings themselves. They are such beautiful paintings: perhaps we should have as a class devoted more time to them.

The Abbot of Suger was a Frankish abbot who helped to design the fist Gothic Cathedral, Saint Dennis. These cathedrals were "three dimensional picture books of stone and glass" and they told the story of Christ through imagery and symbolism. The Abbot of Suger will be remembered for the development of the buttress, which allowed for cathedrals to have a greater amount of interior space. This was an Arab concept and it enabled the structures to have more space without the inconvenience and obstruction of large interior columns. I have posted a link with images and a brief history of the first Gothic Cathedral, Saint Dennis. This link provides images of both the outside and inside of the cathedral, which is only a small glimpse into the grandeur of this magnificent structure.

Here's a full color version of Tottentanz.

Useful summary of the 8th to 9th cewntury renaissance

Cathedral of Santiago de Compostela