Round Towers of Ireland

July 1, 2015January 23, 2016 | historicalragbag

These structures have always fascinated me.

They were usually built sometime between the 9th and 12th centuries. They were generally part of monasteries and while they were built to stand alone some have been incorporated into later buildings. They are surprisingly uniform in design with circumferences at the base usually between 14 and 17 m and wall thickness from 0.9m and 1.7m. They also almost all have doors raised above the ground at least 3 m and they have at least four windows at the top, each of which often faces a cardinal point, along with more windows at lower levels in the tower. Most stand at close to 100 feet. There is a possibility that the dimensions were determined by the role of certain numbers in christian theology. They also had several levels connected by ladders. Additionally it is worth noting that the surviving conical tops were often reconstructed in later time periods.

Debate still continues as to their purpose. It is possible that they were simply bell towers, part of the system of the call to prayer with the height made necessary by the size of the ecclesiastical sites. They may have also been symbols reaching towards the glory of God and illustrating the importance of the ecclesiastical site, conveying messages of spiritual and temporal power. There is also an argument, though currently thought of as a little less likely, that they were watch towers and were part of defence systems. They may have been built partly as a response to Viking and other attacks. The monks would have been able to climb in, store their treasures, burn the stairs to the door, keep the raiders out and possibly ring bells from the top of the tower to call for assistance. Essentially no one is absolutely certain as to their purpose. It is also plausible that there were multiple purposes, combinations of the possibilities listed above.

They are immense structures though, the tallest at Kilmacduagh stands at 102 feet and is on a slight lean. They are beautiful and a testament to the ability of their builders as there are over thirty still standing in varying states of repair across Ireland.

Below you can see examples from all around Ireland of these beautiful and truly intriguing buildings.

Glendalough Round Tower built between 900 and 1200.

Glendalough Round Tower.

St Canice’s Cathedral and Round Tower. Built c. 1111.

View from St Canice’s Round Tower.

Interior of St Canice’s Round Tower. It’s one of the only Round Towers you can climb.

Kilmacduagh Round Tower c. 10th century.

Kilmacduagh Round Tower.

The taller of Clonmacnoise’s two Round Towers c. 12th century.

The taller of Clonmacnoise’s two Round Towers.

The shorter of Clonmacnoise’s two Round Towers c. 12th century.

Round Tower at Drumlane Abbey c. 10th- 11th century with c. 15th century additions.

Round Tower at Drumlane Abbey.

Kells high cross and Round Tower. The Round Tower dates to 10th century.

Kells Round Tower.

Monasterboice Round Tower 10th century.

Monasterboise high cross and Round Tower.

Donaghmore church and Round Tower 11th-12th century.

Donaghmore Round Tower

Lusk church and Round Tower c. 11th century.

Lusk Round Tower

Cashel Round Tower c. 11th century.

Cashel Round Tower.

You can see the astounding similarity in all these towers. They truly stand as a testament to the immense skill of their builders and will, I’m sure, continue to fascinate people well into the future.

For more information see

This truly excellent article by Russell Ó Ríagáin which also investigates the possible influences in the building of the round towers.

https://www.academia.edu/399978/The_Round_Towers_of_Ireland_Date_Origins_Functions_and_Symbolism

For some more general information

http://www.roundtowers.org/

http://www.catholicireland.net/irelands-round-towers/

all the photos are mine.

Bayeux Tapestry

April 20, 2015October 15, 2017 | historicalragbag

The Bayeux Tapestry. Probably the world’s best known embroidery, it covers the lead up to and the immediate aftermath of the Battle of Hastings, one of the most important battles in English history. You can see a video of the tapestry below.

The Bayeux Tapestry.

Sorry about the heads in the way and the speed. I had to film around the tourists. It does give you a really good idea of how long the tapestry is though.

This post is going to be a combination book preview, I haven’t done one for a while, because I have two lovely and quite different books on the Bayeux Tapestry.

The book on the left is The Bayeux Tapestry and the Norman Invasion by Lewis Thorpe published in 1973. The book on the right is The Bayeux Tapestry by Eric Maclagan CBE (Director and secretary V&A) published 1943. Both books give an historical background to the tapestry, though Thorpe’s has more detail. Both also have analysis of each scene of the tapestry though Maclagan’s is more detailed. Maclagan’s focus is very specific to the tapestry while Thorpe takes a broader view. Thorpe also includes a translation of one part of William of Poitiers work History of William Duke of Normandy and King of the English.

Both books are also second hand and Maclagan’s has some extra information in the front cover. Pasted there is a newspaper article discussing another tapestry.

The article is from the early fifties and outlines the plan by Miss Sandell of Southampton to make a tapestry, inspired by the Bayeux Tapestry, of Southampton’s Town Quay at the Dday landings. This led me to do some research and I found what I think is the same tapestry. It was completed in 1953 and now hangs in the civic building in Southampton. [1] Unfortunately I have not yet been able to find a photo.

As I said both books depict the scenes of the tapestry. They do it a little differently though. Two examples can be seen below. The first is a depiction of the famous scene that may or may not illustrate, it depends who you ask, King Harold getting shot in the eye with an arrow. [2] The second is a depiction of William the Conquerer showing his face to his men to prove he isn’t dead.

The first picture is Thorpe’s book, and as you can see it provides a translation of the latin embroidery below each picture. The second picture is Maclagan’s and it depicts the whole image alone, he provides a summary of the events in an earlier section. Maclagan only covers a handful of the scenes in colour where as Thorpe does all of them.

There isn’t a great deal new to write about the tapestry, I’m not offering any fantastic revelations, but it is an abidingly interesting story depicted in threads. So I thought I’d narrate that here. To begin with though, it isn’t a tapestry. It’s an embroidery.

I wanted to start with a little background about both the history behind the tapestry and about the physical tapestry itself. The tapestry was embroidered on coarse linen and two different kinds of woollen thread, including eight colours, can be seen. The Bayeux Tapestry is 70.34 m in length and 50cm wide, but it is made up of half a dozen or more pieces of linen. It has also been ‘fixed’ at various times throughout its life. (Maclagan, p.16-17). [3] The tapestry depicts the lead up to the invasion and the invasion of England by William the Conquerer. It was most likely commissioned by Bishop Odo, William the Conquerer’s brother, for the consecration of his cathedral in Bayeux in 1077. It was then probably stitched by two teams of women. (Thorpe, p. 24).[4] Though it is thought that the design was probably drawn on sections of the linen background by one master craftsman. Each scene is captioned in latin and it was designed to hang around a wall, probably Bayeux Cathedral

Bayeux Cathedral.

After its creation and dedication ceremony, probably in 1077, there is not much record of the tapestry. In 1476 it is specifically listed in an inventory of Bayeux Cathedral. It is then mentioned in a paper in 1724 and in 1728 Dom Bertrand de Montfaucon, a Benedictine from Saint-Maur, took an interest in it and 12 months later sent someone to examine it. The drawings made of it at this time was published in Montfaucon’s book Monument de la Monarchie Francais. There were several attempts to destroy it or to use it ignobly during the French Revolution. For example it was almost used as a protective tarpaulin before a last minute reprieve.[5] It was exhibited in the Musee de Napoleon in Paris by Napoleon. During Napoleon’s reign a comet was sighted. Although it wasn’t Halley’s Comet, which is depicted in the Bayeux Tapestry, it was thought that it was a good omen for an invasion of England. Napoleon changed his mind though and in 1804 it was returned to Bayeux where it has hung pretty much ever since, apart from a short period of time during the Franco Prussian War. Also during WWII it was spirited away to stop it being sent to Germany with other significant French art. It was also briefly exhibited in the Louvre in 1944 after the liberation of France. (Lewis, pp. 58-59).

So in some ways it is somewhat of a miracle that the tapestry still exists.

The story it depicts is very much from the Norman perspective but is still of great interest. I will now set the scene for the story of the tapestry. Edward the Confessor was King of England but he had no direct heir. There were several contenders. William Duke of Normandy and Harold Godwinson were the primary claimants as far as the tapestry is concerned. However the tapestry leaves out other contenders including Edgar the Aethling who had the best hereditary claim being descended from England’s older kings, but he was quite young and no one seemed to seriously consider him until after the Battle of Hastings. The tapestry also doesn’t depict Harald Hardrada King of Norway who made a spited attempt to claim the throne, though unsuccessfully, but more on Harald Hardrada later. William of Normandy was related to Edward the Confessor as Edward’s mother had been Emma of Normandy who was the daughter of William of Normandy’s great grandfather. William also claimed that Edward offered him the throne in 1051. Harold Godwinson’s claim to the throne was not one of blood but rather one of power, he was the son of Earl Godwin Earl of Wessex and his sister was the wife of Edward the Confessor. Earl Godwin died in 1053 and Edward and his brothers Tostig Earl of Northumbria, Gyrth Earl of East Anglia and Leofwine , who ruled the area of the south east, wielded an immense amount of power in England. During the last 13 years of Edward’s life they were virtually ruling England. (Lewis, pp.7-8). This is the situation when the Bayeux Tapestry begins.

I have photos of most of the tapestry, but there are a few panels I missed when trying to photograph it around people. The photos below give a good general idea though.

The story begins with an image of Edward the Confessor talking to Harold Godwinson.

Harold is then sent to Normandy and he can be seen crossing the sea.

When he lands he is seized by Count Guy of Ponthieu.

And he is taken to Beaurain Castle where Harald and Guy talk.

Duke William finds out about Harold’s capture.

Duke William sends envoys to Guy.

Harold is taken to Duke William, you can see Duke William below on the black horse.

They go to Duke William’s palace.

Bayeux Tapestry 8

A churchman and Aelfgyva were at the palace. Aelfgyva was a woman who’s identity is unknown to the historical community, though there is much debate.

Bayeux tapestry 9

Then Duke William, Harold and Duke William’s army go to Mont Saint Michel. This is an account of Duke William’s campaign in Brittany.

They cross the river Couesson.

Bayeux tapestry 11

They arrive at Dol and Duke Conan of Brittany flees. You can see him doing it on the left.

They then attack Rennes and are fighting against the men of Dinian.

Conan hands over the keys to William, no photo, and Harold and William arrive at Bayeux, no photo, where Harold makes an oath to back Duke William. You can see him swearing on the holy relics on the right.

Harold returns to England, no photo, to find that King Edward is dying.

The Hand of God is pointing at the very new Westminster Abbey and King Edward’s body is carried off.

King Edward is shown addressing his faithful servants before his death.

Harold is named King.

The men marvel at a star, which is Halley’s Comet. One of them comes to tell Harold about it. You can see shadowy ships in the bottom border, which could be taken as an omen.

Duke William is told of what he sees as Harold’s treachery.

Duke William’s men are ordered to chop down trees to make ships and the ships are built.

The ships are dragged to the sea, no picture, and loaded with weaponry and food and wine.

They set sail.

They arrive at Pevensey, unload the horses and the knights hurry off. They can be seen hurrying on the right.

Bayeux Tapestry 25

They head for Hastings so they can forage for food, no pictures, they then arrive and meet Waddard, probably a vassal of Odo’s.

Meat is cooked and served by servants, no picture. They have a large meal and the bishop blesses the food.

Duke William talks to his two half brothers Bishop Odo and Robert of Mortain, no picture, the order is then given for a fortification to be dug at Hastings.

News about Harold is brought to Duke William and a house is burnt, possibly an indication of the countryside being ravaged to provoke battle.

The knights set out from Hastings, no picture, and reach the battle against Harold.

Duke William questions Vital, who was probably Odo’s vassal and has been scouting, if he has seen Harold’s army.

It is worth pausing the story here to say that at this point King Harold has ridden and marched his army from Stamford Bridge, just out of York. Where after a forced march of more than 200 miles King Harold’s forces had defeated the army of Harald Hardrada the King of Norway and Tostig, King Harold’s brother who he’d been forced to exile some months earlier. Harald Hardrada had sailed at Tostig’s request to claim the English Crown for himself. He’d sailed with a fleet of some 200 ships, not including the supply ships. King Harold won the day, the Norwegians were annihilated and Hardrada and Tostig were both killed. So few survived that only approximately 24 ships were needed to carry them home. Oderic Vital wrote seventy years later that “To this day a great congeries of skeletons of those who died still lies there, as evidence of the wholesale slaughter of two peoples.” (Thorpe, p.15). News of Duke William’s landing probably reached Harold while he was in York and he turned around and marched south from just out of York to face Duke William, he left London on the 12th of October and The Battle of Hastings was fought on the 14th of October 1066. The image below on the left is King Harold receiving news of Duke William’s army before the battle begins and on the right you can see Duke William exhorting his troops.

The battle then commences.

King Harold’s brothers, Leofwine and Gyrth, fall.

The Battle continues.

There is concern that Duke William has been killed. You can see him showing his face below to prove that he isn’t dead.

There is more fighting, no photos, and then King Harold is killed. You can see latin below. Harold Rex interfectus est. Which translates as here King Harold has been killed. See above for the discussion as to how he died.

And the English flee.

And that is the end of the tapestry.

It is by no means the end of story as Duke William still had to establish dominance over a reasonably hostile country. But that is a story for another post.

The photos are all mine as is the video.

[1] http://www.watchashore.org.uk/southampton

[2] http://www.history.org.uk/file_download.php?ts=1254494939&id=3946. This is a link to a discussion about whether or not King Harold was shot in the eye. While the author draws the conclusion that he was not and I don’t believe this can be said absolutely definitively the article outlines the problems with the argument that he was shot in the eye with an arrow. There are absolutely arguments on both sides, but this is not the place to go into detail.

[3] The Bayeux Tapestry by Eric Maclagan. published 1943 by Penguin Book Limited: London and New York.

[4] The Bayeux Tapestry and the Norman Invasion by Lewis Thorpe. Published 1973 by the Folio Society.

[5] http://www.britannica.com/EBchecked/topic/56821/Bayeux-Tapestry

Favourite Castle Results

March 24, 2015 | historicalragbag

I ran a poll a couple of weeks ago on favourite castles. Thanks to everyone who voted and thanks to all who put in ‘other’ options. I now have more castles to go and visit. I figure you’ve all had enough time to vote now so here are the results.

5th Place:

Doune.

Ferns.

4th Place:

Peveril.

Conwy.

Castle Rising.

Carrickfergus.

Alnwick.

Sandal.

Peel Castle Isle of Man.

Caerphilly.

Third Place:

2nd Place:

Middleham.

In 1st place is:

I have to say I am quite pleased with this result as Chepstow is one of William Marshal’s castles. Thanks again to everyone who voted and please feel free to let me know if you think there are others that should be on the list. I might do an open poll in a couple of months.

St Patrick’s Day: The Rock of Cashel.

March 17, 2015April 10, 2015 | historicalragbag

Seeing as it is St Patrick’s Day… The Rock of Cashel, also known as St Patrick’s Rock, is one of Ireland’s most historic and most spectacular sites. It is home to a myriad of history: The 12th century Cormac’s Chapel with truly spectacular surviving wall paintings. The 13th century Cathedral of St Patrick. A very early 12th century round tower. The inhabitants would hide inside if they were raided. They would take all their valuables into the tower and burn the steps. The 15th century Hall of Vicar’s Choral.And the 12th Century Cross of St Patrick. There have been repeated stories that the stone at the bottom of the cross was the inauguration stone of the Kings of Cashel. This is, however, unlikely as it is clear that the base stone matches the rest of the cross. The Rock of Cashel was the ancient home of the Kings of Eóganacht and it was there that, according to tradition, St Patrick baptised the grandsons of the King. According to legend St Patrick accidentally put the point of his crozier through the foot of Óengus, one of the grandsons, but Óengus thought it was part of the ritual so he stayed silent. The Eóganacht lost Cashel to the Dál Cais in the 10th century and in 1101 Muircheartach Ua Briain, King of Cashel gave the Rock to the Church. This succeeded in both confirming his position as a true son of the Church as well as ensuring that the Eóganacht could never reclaim their ancestral home. The Rock of Cashel is a beautiful place that is inextricably linked with St Patrick. There is an immense concentration of history on the one rock. However when I was there, dodging the bus loads of tourists, it is Cormac’s Chapel in particular that truly stood out. The wall paintings are amongst the finest I have seen anywhere. For more information see. http://www.heritageireland.ie/en/media/NEW%20Rock%20of%20Cashel_3.pdf The photos are all mine.

What is your favourite castle

March 5, 2015March 5, 2015 | historicalragbag

Just a very short post. I was wondering what everyone’s favourite castles are. I have listed a few of mine in the poll below, but please feel free to add your own answers or to chose one of mine. Also I’d love to hear some of the reasons in the comments.

For inspiration here are photos of the castles I’ve listed.

Doune Castle. Yes I have a soft spot for Doune because of its Monty Python connections.

Foix Castle

Historic Buildings, Modern Art.

February 27, 2015March 5, 2015 | historicalragbag

In many cases historic buildings are finding a new meaning in an increasingly technological world as canvases for modern art. Whether it is as a cinema, or a projection space or as a place for installations. This sort of repurposing brings new life and new significance to historic buildings.

There are many examples, but I thought I’d just discuss a few. I’d like to begin with some I have previously mentioned in an earlier post.

Fontevraud is an abbey in France that was founded in the 11th century. Various parts of it have been used for artistic installations. The Cloister. You can walk on this sculpture, creating whole new ways of seeing an ancient building.The dormitory. You are able to lie in these boats, simulating the experience of the sleeping monks.

The two installations in Fontevraud both work with the history of the building to give alternative ways of experiencing it.

Another example from France is Foix Castle not that far from Toulouse. You can see the castle below. It is perched on a a lump of carboniferous limestone and parts of the castle itself date from the 11th century. It was involved in the Albigensian Crusade and was part of an area of known Cathar sympathisers.

The installations below could be found inside and were both representations of people at prayer. Again repurposing an old building and using its own history for art.

Fontevraud and Foix notwithstanding, probably the best known historic building repurposed for art is The Louvre itself in Paris. It is an ancient palace and castle and now one of the most famous art galleries in the world. As you can see from its foundations, incidentally one of my favourite parts of The Louvre, it has been there for a long time. In fact it began its life as a fortress commissioned by Phillip Augustus to protect Paris in c. 1190. This fortress was large even for its time, with a keep measuring roughly 15m diameter and 30m in height. Within the Louvre itself you also have the repurposing of rooms, such as Napoleon III’s apartments, for the display of modern art. In this particular case they were integrated to simultaneously blend in with the overt opulence and to reflect it.

Historic buildings are not just used for static art. They are also used for performances, such as the Vivaldi concert in the stunning Sainte Chapel you can see below. Sainte Chapel was commissioned by Louis IX, later Saint Louis, and was originally built to house his collection of holy relics. It is one of the few survivors of the full colour that would have been present in many of the larger churches and cathedrals. It also has one of the largest collections of 13th century stained glass.

Aside from music and art installations historic buildings are becoming canvasses in their own right. This often happens in festivals such as the recent Melbourne White Night. Melbourne has many historic buildings, by historic in Melbourne I mean 1800s and early 1900s not medieval, and on White Night several come alive with astounding light and sound displays.

The State Library of Victoria is one of my favourite buildings in Melbourne. The SLV has been on its site, though in a smaller building, since it opened in 1856. The founders wanted to create a place of learning for all Victorians and a place to preserve Victoria’s heritage. It is not one building. It is actually made up of 23 individual buildings that have been repurposed and integrated over the years. In the SLV my favourite room is the Latrobe domed reading room which was opened in 1913. The dome itself is 114 feet in diameter and 114 feet high. It is a wonderful place to study or write. During a normal day it looks like this. But on White Night this year, this happened.

Other buildings were illuminated externally. Such as the Forum Theatre. The Forum opened in 1929 and is slightly insane in its own right even without illumination. It was built as an immersive theater and the interior has a large number of greek and roman statues as well as a blue sky with stars. This is what is looks like normally.

Interior

Exterior

And this is what it and its surrounding buildings look like when they’re lit up.

The final building I wanted to look at is in some ways the most spectacular and the most important historically. The Royal Exhibition Building in Carlton Gardens was completed in 1880 for Melbourne’s first international exhibition. It is one of the world’s oldest examples of exhibition pavilions. It was also the site of Australia’s first parliament in 1901. The Argus described the event as.

The atmosphere was radiant and illuminated the vast spaces of the building and the great sea of faces with a bright Australian glow. A sight never to be forgotten was the assemblage which, in perfect order but with exalted feeling, awaited the arrival of the Duke and Duchess in the great avenues which branch out from beneath the vast dome of the Exhibition Building. (Argus 10 May 1901)

And it was depicted in the famous Tom Roberts painting below.

PA0013

This is what the Exhibition Building looks like during the day, a beautiful example of exhibition architecture. promo-reb-thebuilding

Below is the truly stunning work of moving modern art it became on White Night. Sorry about any talking in the background.

Historic buildings have their own story and their importance and purpose is fundamental to what they are. Integrating modern art allows whole new interpretations of the past, new ways of viewing history and art and the ability to bring these buildings to brand new audiences.

For more information see…

http://museumvictoria.com.au/reb/

http://www.aph.gov.au/Visit_Parliament/Parliament_House_Art_Collection/Tom_Roberts_Big_Picture

http://www.forummelbourne.com.au/history.php

http://www.slv.vic.gov.au/search-discover/history-our-building

http://guides.slv.vic.gov.au/content.php?pid=405532&sid=3319092

http://www.grands-sites-ariege.fr/fr/chateau-de-foix/detail/34/presentation-2

http://www.louvre.fr/en/history-louvre

The photos and videos are all mine apart from:

The inside of the Forum, which can be found at http://www.tripadvisor.com/LocationPhotoDirectLink-g255100-d258068-i46387954-Forum_Melbourne-Melbourne_Victoria.html#85255678

The Exhibition Building which can be found at http://museumvictoria.com.au/reb/

The Tom Roberts painting which can be found at http://www.aph.gov.au/Visit_Parliament/Parliament_House_Art_Collection/Tom_Roberts_Big_Picture

Medieval Crossword

February 26, 2015March 5, 2015 | historicalragbag

Hello

I had some free time yesterday and I was in the mood for making a puzzle, so I’ve made this medieval crossword. I just thought it could be interesting. If anyone wants to have a go and gets stuck on any of the answers, a few can be found on this blog, then just leave a comment and I’ll let you know what the answer is.

Hope you enjoy it.

Ellen

Across
7.	The Founder of Fontevraud. (6, 2, 9)
8.	Jocelin de Brakelond wrote the chronicle of where? (4, 2, 7)
9.	“To his …, her …: may we be in one … for a long time.” Heloise to Abelard. (4)
11.	The granddaughter King Diarmait of Leinster who was one of her time’s greatest heiresses. (6, 2, 5)
13.	The medieval name from Chepstow (7)
14.	One of the names for a small gallery situated in the front of a glacis. It enabled miners to listen for noises of enemy miners.(6)
16.	Catherine of Sienna sucked what from the sores of the sick. (3)
19.	Who was Regent of England from 1216-1219. (7)
20.	The man who was King of Jerusalem during the disastrous Battle of Hattin in 1187. (3, 2, 8)
22.	An alternative name for the King of England who first invaded Ireland. (5, 10)
23.	In the singular Ely derives its name from what? (3)
26.	The son of Henry II who died in 1183. (5, 3, 5, 4)
28.	Richard of Cornwall was what to Henry III (3)
29.	Alternative name for the battle which occurred in 1217 and saw the beginning of the expulsion of Louis VIII from England. (7, 4)
30.	Archbishop of Ardbraccan who died in c. 657 (5)
31.	The victor of Stamford Bridge (6, 9)
33.	The castle situated on the River Medway whose keep was built in c. 1127 by William of Corbeil (9)

Down
1.	Lanchei was the name given in the Domesday Book for what which is now an area of London. (7)
2.	First Earl of Hereford. (5, 10)
3.	One of the substances that could have been poured from a murder hole (3)
4.	Hereditary castellan of Lincoln Castle who died in c.1230. (6, 2, 2, 4)
5.	The only woman to be Queen of England and Queen of France on separate occasions. (7, 2, 9)
6.	An alternative spelling of a city in Tunisia occupied by the Normans from c. 1148-1160. (5)
10.	An alternative spelling for legislative or judicial gatherings in Anglo Saxon England. (6)
12.	The site of the signing of the Magna Carta. (9)
15.	An alternative c.14th century adjective for having leprosy. (5)
17.	In the singular what did the paternoster guilds make? (6)
18.	Outlaw who died in the battle of Sandwich. (7, 3, 4)
21.	Which battle is seen to be the beginning of the end for King John holding significant portions of what is now France. (6, 2, 8)
24.	A Derbyshire castle that was built by the Peverel family and became property of the crown in 1155. (8)
25.	The wife of Llywelyn Fawr and daughter of King John. (4, 2, 5)
27.	The name of the violet dye obtained from a specific lichen. Used for dyeing cloth and in illuminated manuscripts
32.	“I have no claim to anything here save through….” The History of William Marshal. (3).

Abelard and Heloise

February 14, 2015March 5, 2015 | historicalragbag

A very short post for Valentine’s Day. Abelard and Heloise: one of the medieval period’s more interesting couples. I will write about them in more detail at another date. Though I will say that they had a son called Astrolabe.

Just for Valentine’s Day I thought I’d share one of my favourite of their surviving love notes. This is from Heloise to Abelard.

“To his soul, her soul: may we be in one soul for a long time.”

The photos below are their tomb in Pere Lachaise Cemetery in Paris. It is not contemporary.

Fontevraud, Robert d’Arbrissel and Monasticism.

February 6, 2015May 24, 2015 | historicalragbag

Fontevraud has appeared in some of my other posts because Henry II, Eleanor of Aquitaine, Richard I and Isabelle of Angouleme are buried there.

Isabelle of Angouleme and Richard I

henry and eleanor

Henry II and Eleanor

It is, however, an absolutely fascinating place in its own right and one of the most beautiful buildings I’ve ever seen.

Fontevraud was founded in c. 1101 by Robert d’Arbrissel. The remains of his tomb can be seen below.

Robert d’ Arbrissel was an enigma even in his own time. Fulke V of Anjou described him as a thunderclap of holy exhortation which lit up the whole church with its eloquence. Peter Abelard, a fascinating figure in his own right, called him “That outstanding herald of Christ.” But many contemporary churchmen viewed Robert as a danger to his own soul and the souls of his female followers. Robert was everything from a parish priest, to a student, to a hermit, but he has been remembered as the founder of Fontevraud.

Fontevraud was an atypical abbey even for its time because it was founded as a mixed community of men and women and the Abbess ruled over the whole community, male and female. This was exceptionally unusual. The fact that many of Robert’s followers were women was part of the reason he was distrusted, but was also in a way a product of his times. With older men marrying much younger women widowhood was common, but it is clear at Robert’s message and personality attracted not only widows but unhappy wives. Some of his followers were also former clerical wives cast aside in the newer push for chastity amongst the clergy. This was also a time where clerical celibacy was seen to imply a strict separation of men and women in religious life. An ideal that Robert definitively did not share. (Venarde, xi-xxix).

In fact it is quite possible that the majority of Robert’s followers were women. The only piece of surviving spiritual writing from Robert himself is directed to Countess Ermengarde of Brittany who was the sister of Robert’s main patron Count Fulke V of Anjou.

angers

The walls of Chateau d’Angers the home of the Counts of Anjou, though these were built after the time of Count Fulke V.

Ermengarde herself was fascinating. She was the daughter of Fulke the IV of Anjou, engaged but never married to Duke William IX of Aquitaine, the grandfather of Eleanor of Aquitaine, and then the wife of Count Alan IV of Brittany. She was her husband’s regent while he was on crusade from 1096 till 1101. She became dissatisfied with her marriage and attempted to end it through flight and an appeal to an ecclesiastical court, but she failed to get the annulment. It was shortly after this in 1109 that Robert wrote to her. She was described by poet-bishop Marbode of Rennes, who hated Robert, as powerfully eloquent, extremely astute and the glory of Brittany. In later life, after her husband retired to a monastery in 1112, she played an important role in the court of her son before following Bernard of Clairvaux to Burgundy. Bernard himself was an interesting figure, if very strange and in my opinion quite annoying, and I will write more on him in a later post. In Burgundy she became a nun before going with some fellow nuns to the Holy Land where her brother Fulke was King of Jerusalem. She returned to Brittany where she remained active at the court until she died in 1147. The extent of her relationship with Robert is unknown, it is possible that she visited Fontevraud but it can’t be proven. The letter he wrote to her just after she attempted to have her marriage annulled is very interesting.(Venarde, 68-69).

It is too long to go into great detail here, but a basic breakdown is possible.

1. The spirit of pride is bad

2. Do not trust or yield to every spirit

3. Take heart and be strong.

4. Do not regret too much that you are bound to an infidel husband. You can still benefit God’s people.

5. Don’t be too anxious about changes of place and appearance.

6. Fear not enemies of Christ for they will not harm you unless God allows it.

7/8. Do not get puffed up by good fortune or shattered by adversity, for those who fear God want for nothing.

9. Believe, love, hope in God, do good, settle in the land of your heart and feed on its riches.

10. Flee the wicked words of savage men in your heart.

11. Alms and prayer are good if done for God but profit nothing if done for the praise of mankind.

12. Many clerics are hypocrites

13. You can not get out of your own marriage but you should do what you can to get your daughter out her her’s as it consanguineous.

14. Don’t disclose all your plans to all your household and friends, many are self serving.

15. Exercise caution and discretion in all things.

(Venarde, 68-79).

Fontevraud also rose out of a period of change for monasticism in general. There was the beginnings of a shift in the way monasticism was practiced. The Cistercians rose out of a reaction against the interpretation of benedictine monasticism which created great wealth and power for the institutions, not the monks themselves necessarily. The best example of this was the monastery of Cluny which was founded in 910 and financed by Duke William I of Aquitaine. Cluny created a number of brother and sister houses which answered directly to Cluny. By Robert’s time it had gained exceptional wealth.

The Exterior of the Musee du Moyen Age in Paris. Which was originally the Paris townhouse of the Abbots of Cluny.

The Cistercians were a reaction against the opulence and focus on wealth that Cluny represented. They favoured a strict adherence to the rule of Benedict and Bernard of Clairvaux was one of the leading lights. The Cistercians wanted to go back to the basics and their monasteries were heavily focused on self sufficiency, simplicity and were often remote and agrarian.

Riveaux Abbey, a Cistercian abbey in England.

Robert’s Fontevraud was different again. In c. 1101 Robert settled his followers at what would become Fontevraud. Until that point he had been an itinerant preacher, albeit with a significant number of followers including a number of noble women. In fact he departed to continue preaching by c. 1103 having seen the beginning of permanent monastic settlement and appointed two female superiors. However it was not until October 1115 that an Abbess of Fontevraud was appointed after Fontevraud has been recognised by papal authority. Robert’s intentions for this mixed community were never exactly clear, except for working towards spiritual excellence. Despite this when he died on February 25th 1116 and was buried at Fontevraud, Fontevraud and the daughter houses it had established were, as described by Venarde, “Well on the way to becoming the wealthiest order of monasteries for women in Roman Catholic Europe.” (Venarde, xxii).

font outside

The statutes of Fontrevraud are reasonably clear but they don’t conform exactly to specific monastic orders. Sisters and brothers lived and worshipped together. The women were guided by the rule of St Benedict, but the statutes don’t make clear whether the male members are to follow Benedictine or Augustine rule. So they are neither monks nor cannons, they are simply called brothers and Robert makes clear they are in the service of and obedient to the women of Fontevraud. (Venarde, 84-87).

There were a number of interesting women who became Abbesses of Fontevraud, Petronilla the first Abbess being one of them. She was a noble widow who became a follower of Robert’s and he personally appointed her the first Abbess of Fontevraud. Another was Matilda of Anjou. She was abbess from c. 1150 -1158. She is remarkable because if not for one of the most interesting accidents in the medieval period she would have been Queen of England. She was the daughter of Fulke the V of Anjou, the brother of Ermengarde and patron of Robert, but she was married to William the only legitimate son of Henry I. William drowned on the White Ship in 1120 along with much of the young nobility of England and France. Matilda could have remained at court and she did for a time. Henry I was more than happy to have her and he would have married her off again. In the end though she took vows at Fontevraud in c. 1128 and became Abbess there in c. 1150.

Many of the early Plantagenets were patrons of Fontevraud, as evidenced by the fact that four of the them are buried there. Indeed Eleanor of Aquitaine spent her last years there and died there in the 1204. She was a great patron of Fontevraud throughout her life. One of her surviving charters is evidence of her patronage. In this charter she gives the abbey and the “nuns serving God there” the “rent of one hundred pounds, in perpetual alms, from the provosture of Poitiers and the vineyard of Benon, particularly what is received from Marcilly.” (Epistolae).

Fontevraud as a complex of buildings has gone through many changes since it was built. The church was begun to hold the body of Robert and is Romanesque in style with a Byzantine influence. It dates from successive periods in the 1100s. You can see the interior below.

You can see the spectacular grandeur of Fontevraud’s exterior built in the beautiful creamy local tuffeau stone in the photos below.

When it was built much of the interior would have been painted. Some of the early paint remains in fragmented sections.

Some of the later paintings can be seen in more detail. As can be seen in the chapter house photo below, which was painted and remodelled in the 16th century to show the wealth and prestige of King Francis I.

Probably my favourite of all the buildings is the kitchen. It dates to the early 1100s though it has been remodelled. It is built of the more heat resistant charente stone. It is also built in the Byzantine Romanesque style brought back from the crusades.

font kitchen

The interior is constructed so one embrasure was used to make hot coals and the meals were cooked in the embrasures away from the prevailing wind to prevent the blowback of smoke. The central chimney got rid of both smoke and vapours.

The fact that anything of Fontevraud survives at all is really saying something because it was deconsecrated in the revolution and Napoleon decided to use it as a prison in 1804 and it remained one for a long time. In fact the last prisoners left in 1985. The abbey was completely restored in the 20th century and now is also used for a variety of art installations such as the two that can be seen below. The first was in the dormitories and the second was in the cloister and could be walked on, giving you different perspectives of an ancient building.

Font Dorm

Font art

The gardens are also absolutely worth visiting.

Font garden

It is a truly beautiful place with a fascinating history. A place where the calm seems to have seeped into the stone. font cloister I went to Fontevraud so I could see Eleanor of Aquitaine’s tomb but it is much more than that. It is truly one of the most incredible places I have ever been.

Bruce L. Venarde. Robert of Arbrissel. ISBN: 9780813213545.

Eleanor of Aquitaine Charter to Fontevrault, 1185 at http://epistolae.ccnmtl.columbia.edu/letter/885.html, accessed 26/9/2010.

Other sources include the signs at Fontevraud, and my university course notes on monasticism.

The photos are all mine.

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