Apologia ad Guillelmum

Last updated

Bernard of Clairvaux's Apologia ad Guillelmum was written in 1125 at the ostensible request of his friend and fellow monastic reformer, William of Saint-Thierry, and is the key document in the early twelfth century controversy over art, the greatest controversy over art to occur in the West previous to the Reformation. [1]

Contents

Already in the Early Christian period, there was disagreement within the Church as to the appropriateness of religious art. While the use of religious art gradually came to be accepted by the mainstream, its rejection within certain limits remained a constant throughout the Middle Ages. In the twelfth century, certain elements within reform monasticism (especially the Cistercians but also others) saw the use of art by monks as inappropriate for a number of reasons. Criticism of the use of monastic art was seen as a criticism of the greatest patrons of religious art of the time, traditional Benedictine monasticism (virtually all of the greatest medieval art up until this time had been religious). Since traditional Benedictine monasticism was one of the richest and most influential segments of society—and since art was one of the great vehicles of interaction between traditional monasticism and the lay public, this interaction being an important source of wealth for monasticism—the controversy over art that arose involved far more than aesthetic questions.

The Apologia is the most articulate document we have for this controversy and one of the most important in understanding how medieval art was used and perceived. In it, Bernard takes up five major criticisms of the use of monastic art.

Art to attract donations

The monastic investment

Perhaps Bernard's harshest criticism of the monastic use of art addresses the economic base of monastic art production: the monastic investment in art for the purpose of attracting donations from the visiting public. In doing so, he takes up a number of different themes such as the justification of investing in art, art for the honor of God, the relation between material and spiritual prosperity, and the financial necessity of pilgrimage art.

The liturgical artwork

The Mass of Saint Giles, by the Master of Saint Giles, c. 1500 (National Gallery, London) Master Of Saint Gilles - The Mass of St Gilles - WGA14485.jpg
The Mass of Saint Giles, by the Master of Saint Giles, c. 1500 (National Gallery, London)

In discussing the artistic means by which the investment in art was carried out, Bernard particularly criticizes excess in art, focusing especially on excess in material, craftsmanship, size, and quantity. In this criticism, what he most objects to is not monumental sculpture and painting but rather liturgical art, that is, works often of gold, silver, and jewels that were used in the liturgy and often in the Cult of Relics.

The equation between excessive art and holiness

In his critique of the reception of art on the part of the general public, Bernard took up the indispensable element of medieval pilgrimage art: the equation between excessive art and holiness, that is, the use of excessive art in order to create a sense of praesentia (the physical presence of the holy).

Art in opposition to the care of the poor

Following in the patristic tradition, Bernard also sees art as in opposition to the care of the poor, his most significant social objection external to monasticism properly speaking.

Art as a spiritual distraction to the monk

One of Bernard's most important criticisms of the monastic use of art is that of art as a spiritual distraction to the monk. Aside from simple distraction, this criticism includes such dangers to the medieval monk as curiosity and materiality.

"But in cloisters, where the brothers are reading, what is the point of this ridiculous monstrosity, this shapely misshapenness, this misshapen shapeliness? What is the point of those unclean apes, fierce lions, monstrous centaurs, half-men, striped tigers, fighting soldiers and hunters blowing their horns?... In short, so many and so marvelous are the various shapes surrounding us that it is more pleasant to read the marble than the books, and to spend the whole day marveling over these things rather than meditating on the law of God." [2]

To Whom the Apologia Was Addressed

While the traditional view has been that the Apologia was directed at the art of the monastery of Cluny in particular and that of other offending Cluniac and traditional Benedictine monasteries in general, more recent scholarship has shown that the Apologia was instead directed at not only all of traditional monasticism but also marginal traditional Benedictine monasteries, the new ascetic orders (Carthusians, Gilbertines, Premonstratensians, and so on), and Bernard's own Cistercian Order. [3]

Related Research Articles

<span class="mw-page-title-main">Abbey</span> Monastery under an abbot or an abbess

An abbey is a type of monastery used by members of a religious order under the governance of an abbot or abbess. Abbeys provide a complex of buildings and land for religious activities, work, and housing of Christian monks and nuns.

<span class="mw-page-title-main">Benedictines</span> Roman Catholic monastic order

The Benedictines, officially the Order of Saint Benedict, are a monastic religious order of the Catholic Church following the Rule of Saint Benedict. They are also sometimes called the Black Monks, in reference to the colour of their religious habits. They were founded by Benedict of Nursia, a 6th-century monk who laid the foundations of Benedictine monasticism through the formulation of his Rule of Saint Benedict.

<span class="mw-page-title-main">Bernard of Clairvaux</span> Burgundian saint, abbot and theologian (1090–1153)

Bernard of Clairvaux, O. Cist., venerated as Saint Bernard, was an abbot, mystic, co-founder of the Knights Templars, and a major leader in the reformation of the Benedictine Order through the nascent Cistercian Order.

<span class="mw-page-title-main">Monastery</span> Complex of buildings comprising the domestic quarters and workplace(s) of monks or nuns

A monastery is a building or complex of buildings comprising the domestic quarters and workplaces of monastics, monks or nuns, whether living in communities or alone (hermits). A monastery generally includes a place reserved for prayer which may be a chapel, church, or temple, and may also serve as an oratory, or in the case of communities anything from a single building housing only one senior and two or three junior monks or nuns, to vast complexes and estates housing tens or hundreds. A monastery complex typically comprises a number of buildings which include a church, dormitory, cloister, refectory, library, balneary and infirmary, and outlying granges. Depending on the location, the monastic order and the occupation of its inhabitants, the complex may also include a wide range of buildings that facilitate self-sufficiency and service to the community. These may include a hospice, a school, and a range of agricultural and manufacturing buildings such as a barn, a forge, or a brewery.

<span class="mw-page-title-main">Clairvaux Abbey</span> Former Cistercian friary in Aube, France

Clairvaux Abbey was a Cistercian monastery in Ville-sous-la-Ferté, 15 kilometres (9.3 mi) from Bar-sur-Aube. The original building, founded in 1115 by St. Bernard, is now in ruins; the present structure dates from 1708. Clairvaux Abbey was a good example of the general layout of a Cistercian monastery. The abbey has been listed since 1926 as a historical monument by the French Ministry of Culture.

<span class="mw-page-title-main">Cistercians</span> Catholic religious order

The Cistercians, officially the Order of Cistercians, are a Catholic religious order of monks and nuns that branched off from the Benedictines and follow the Rule of Saint Benedict, as well as the contributions of the highly-influential Bernard of Clairvaux, known as the Latin Rule. They are also known as Bernardines, after Saint Bernard himself, or as White Monks, in reference to the colour of the "cuculla" or cowl worn by the Cistercians over their habits, as opposed to the black cowl worn by Benedictines.

<span class="mw-page-title-main">Scriptorium</span> Room in medieval European monasteries for writing

Scriptorium, literally "a place for writing", is commonly used to refer to a room in medieval European monasteries devoted to the writing, copying and illuminating of manuscripts commonly handled by monastic scribes.

<span class="mw-page-title-main">Christian monasticism</span> Christian devotional practice

Christian monasticism is the devotional practice of Christians who live ascetic and typically cloistered lives that are dedicated to Christian worship. It began to develop early in the history of the Christian Church, modeled upon scriptural examples and ideals, including those in the Old Testament, but not mandated as an institution in the scriptures. It has come to be regulated by religious rules and, in modern times, the Canon law of the respective Christian denominations that have forms of monastic living. Those living the monastic life are known by the generic terms monks (men) and nuns (women). The word monk originated from the Greek μοναχός, itself from μόνος meaning 'alone'.

Lay brother is a largely extinct term referring to religious brothers, particularly in the Catholic Church, who focused upon manual service and secular matters, and were distinguished from choir monks or friars in that they did not pray in choir, and from clerics, in that they were not in possession of holy orders.

<span class="mw-page-title-main">Peter the Venerable</span> French abbot and saint

Peter the Venerable, also known as Peter of Montboissier, was the abbot of the Benedictine abbey of Cluny. He has been honored as a saint, though he was never canonized in the Middle Ages. Since in 1862 Pope Pius IX confirmed his historical cult, and the Martyrologium Romanum, issued by the Holy See in 2004, regards him as a Blessed.

<span class="mw-page-title-main">Cluny Abbey</span> Abbey located in Saône-et-Loire, in France

Cluny Abbey is a former Benedictine monastery in Cluny, Saône-et-Loire, France. It was dedicated to Saint Peter.

The Cluniac Reforms were a series of changes within medieval monasticism of the Western Church focused on restoring the traditional monastic life, encouraging art, and caring for the poor. The movement began within the Benedictine order at Cluny Abbey, founded in 910 by William I, Duke of Aquitaine (875–918). The reforms were largely carried out by Saint Odo and spread throughout France, into England, and through much of Italy and Spain.

<span class="mw-page-title-main">Cistercian architecture</span>

Cistercian architecture is a style of architecture associated with the churches, monasteries and abbeys of the Roman Catholic Cistercian Order. It was heavily influenced by Abbot Bernard of Clairvaux, who believed that churches should avoid superfluous ornamentation so as not to distract from prayer. Cistercian architecture was simple and utilitarian. Although a few images of religious subjects were allowed, such as the crucifix, elaborate figures common in medieval churches were prohibited. Bernard noted their capacity for distracting monks in a famous letter. Early Cistercian architecture shows a transition between Romanesque and Gothic architecture. Later abbeys were constructed in Renaissance and Baroque styles, which were more ornate by nature.

<span class="mw-page-title-main">St. Bernard de Clairvaux Church</span> United States historic place

St. Bernard de Clairvaux Church is a medieval Spanish monastery cloister which was built in the town of Sacramenia in Segovia, Spain, in the 12th century but dismantled in the 20th century and shipped to New York City in the United States. It was eventually reassembled at 16711 West Dixie Highway, North Miami Beach, Florida, where it is now an Episcopal church and tourist attraction called Ancient Spanish Monastery.

Monastic sign languages have been used in Europe from at least the 10th century by Christian monks, and some, such as Cistercian and Trappist sign, are still in use today—not only in Europe, but also in Japan, China and the USA. Unlike deaf sign languages, they are better understood as forms of symbolic gestural communication rather than languages, and some writers have preferred to describe them as sign lexicons.

<span class="mw-page-title-main">Abbey of Fontenay</span> UNESCO World Heritage Site in Côte-dOr, France

The Abbey of Fontenay is a former Cistercian abbey located in the commune of Marmagne, near Montbard, in the département of Côte-d'Or in France. It was founded by Saint Bernard of Clairvaux in 1118, and built in the Romanesque style. It is one of the oldest and most complete Cistercian abbeys in Europe, and became a UNESCO World Heritage Site in 1981. Of the original complex comprising church, dormitory, cloister, chapter house, caldarium, refectory, dovecote and forge, all remain intact except the refectory and are well maintained. The Abbey of Fontenay, along with other Cistercian abbeys, forms a connecting link between Romanesque and Gothic architecture.

Eskil was a 12th-century Archbishop of Lund, in Skåne, Denmark.

<span class="mw-page-title-main">Jean Leclercq (monk)</span>

Jean Leclercq, O.S.B., was a French Benedictine monk, the author of classic studies on Lectio Divina and the history of inter-monastic dialogue, as well as the life and theology of Saint Bernard of Clairvaux. LeClercq is perhaps best known in the English speaking world for his seminal work The Love of Learning and the Desire for God: A Study of Monastic Culture.

Monasteries in Spain have a rich artistic and cultural tradition, and serve as testament to Spain's religious history and political-military history, from the Visigothic Period to the Middle Ages. The monasteries played an important role in the recruitment conducted by Christian aristocracy during and after the progress of the Reconquista, with the consequent decline in the Muslim south of the peninsula.

<span class="mw-page-title-main">Conrad Rudolph</span> American art historian

Conrad Rudolph is an American art historian. He is Distinguished Professor of Medieval Art History at the University of California, Riverside. He is an elected Fellow of the Medieval Academy of America, and has received fellowships and grants from the Guggenheim, J. Paul Getty, Mellon, and Kress foundations, as well as from the National Endowment for the Humanities and the College Art Association. He has served on the board of editors/advisors of or acted as consultant for several academic journals and university presses.

References

  1. Rudolph, Conrad (1990-07-01). The "Things of Greater Importance": Bernard of Clairvaux's Apologia and the Medieval Attitude Toward Art (First ed.). Univ of Pennsylvania Pr. ISBN   9780812281811.
  2. Bernard of Clairvaux. "Apology". sourcebooks.fordham.edu. Archived from the original on 2016-08-23. Retrieved 2021-11-12.
  3. Rudolph, Conrad (1988-01-01). "Bernard of Clairvaux's Apologia as a Description of Cluny, and the Controversy over Monastic Art". Gesta. 27 (1/2): 125–132. doi:10.2307/767000. ISSN   0016-920X. JSTOR   767000. S2CID   191699118.

General references