Showing posts with label Virgin Mary. Show all posts
Showing posts with label Virgin Mary. Show all posts

Friday, September 11, 2015

Jesse Tree Wood: Trunk, Vine, Leaves, Flowers, and Fruit-Part 1

       About a month ago when I was writing about doves and their symbolism of the Trinity and the Gifts of the Holy Spirit, I started on a digression about wood and the legends of the True Cross.  I am coming back to the subject.  I will be repeating some of what I wrote earlier and expanding the scope.

       Jesse was the father of David (1 Samuel 16) who was anointed by Samuel to become the king of Israel and Judah after Saul.  The prophets expected the redeemer of Israel, the Messiah, to be a flesh and blood descendant of David who would restore the Davidic kingship to Israel.  This hope did not change when the northern tribes were scattered or when Judah was sent into Exile in Babylon or when Judah became Judea and Palestine under the rule of the Romans.  Even though Judah was chronically unfaithful to Yahweh, and consequently suffered invasions, losses, and exile to Babylon, Yahweh would see that Judah would never be destroyed utterly.  Out of the remnant, there would come an heir to the throne of David, a descendant of David, who would comfort his people and bring about a time of justice and righteousness.  The family tree of the Messiah would come from David.  The Messiah, the new David, would come to Judah after the long period of Exile to establish justice and peace on earth, and rule as King over Israel.

       Beginning with Biblical references to trees, branches, and rods, the most familiar reference is to Isaiah 11.1-2a.  This verse has already been cited many times.  The importance of the Davidic family tree was stressed by Pope Leo I, the Great (pope from 440-461) in his Christmas sermon, Sermon 28, On the Festival of the Nativity.  The sermon references both Isaish 11.1 and Jeremiah 23.5, he writes:

David’s Lord was made David’s Son, and from the fruit of the promised branch sprang One without fault, the twofold nature joining together into one Person, that by one and the same conception and birth might spring our Lord Jesus Christ, in Whom was present both true Godhead for the performance of mighty works and true Manhood for the endurance of sufferings.[1]

       In addition to Isaiah, there are other Old Testament references to branches and wooden staffs that the medieval mind thought were symbolically linked.  For each of the biblical references (both canonical and Apocrapha) I will include Latin, Douay-Rheims translation and the New Revised Standard Version translation for comparison.

1.     Isaiah 11.1-2a :et egredietur virga de radice Iesse et flos de radice eius ascendetet requiescet super eum spiritus Domine
a.      Isaiah 11.1-2a. And there shall come forth a rod out of the root of Jesse, and a       flower shall rise up out of his root.  And the spirit of the Lord shall rest upon       him:…
b.     Isaiah 11.1-2. A shoot shall come out from the stump of Jesse, and a branch shall grow out of his roots. The spirit of the Lord shall rest on him…

2.     Jeremiah 23.5: ecce dies veniunt ait Dominus et suscitabo David germen iustum et regnabit rex et sapiens erit et faciet iudicium et iustitiam in terra
a.      Jeremiah 23.5. Behold the days come, saith the Lord, and I will raise up to David a just branch: and a king shall reign, and shall be wise, and shall execute judgement and justice in the earth.
b.     Jeremiah 23.5: The days are surely coming, says the Lord, when I will raise up for David a righteous Branch, and he shall reign as king and deal wisely, and shall execute justice and righteousness in the land.

3.     Jeremiah 33.15-6: in diebus illis et in tempore illo germinare faciam David germen iustitiae et faciet iudicium et iustitiam in terra, in diebus illis salvabitur Iuda et Hierusalem habitabit confidenter et hoc est quod vocabit eam Dominus iustus noster
a.      Jeremiah 33. 15-6: In those days, and at that time, I will make the bud of justice to spring forth unto David, and he shall do judgment and justice in the earth. In those days shall Juda be saved, and Jerusalem shall dwell securely: and this is the name that they shall call him, The Lord our just one.
b.     Jeremiah 33. 15-6: In those days and at that time I will cause a righteous Branch to spring up for David; and he shall execute justice and righteousness in the land. In those days Judah will be saved and Jerusalem will live in safety. And this is the name by which it will be called: “The Lord is our righteousness.”

       The next scripture reference is one that is not familiar to Protestants who do not read the Apocrypha or read it only “for example of life and instruction of manners; but yet it [the church] doth not apply them to establish any doctrine.” (Article VI of the Church of England)  The reading is from Ecclesiasticus or The Wisdom of Jesus son of Sirach. 24 (verse numbers vary with different translations).  This passage from Ecclesiasticus along with Matthew 1.1-18, the genealogy of Joseph, were read on September 8, the Feast of the Nativity of the Blessed Virgin Mary. Thus the Virgin Mary is connected to images of spreading branches and vines and flowers with sweet scent and abundant fruit.

       The Feast of the Nativity or Birth of St. Mary seems to have originated in Jerusalem in the 5th century and was celebrated by the eastern (Orthodox) churches as early as the 7th century.  The feast was not celebrated in Rome until the end of the 7th century.  The feast was well established before the Schism of the eastern and western Christian churches in 1054.  The feast assumed greater importance from the 13th century onward until reduced in importance in 1955.  There is a lot more to be written about the devotion to St. Mary and the development of the Jesse Tree, but that will have to wait.

4.     Ecclesiasticus 24.22-30.  22 ego quasi terebinthus extendi ramos meos et rami mei honoris et gratiae
2          23    go quasi vitis fructificavi suavitatem odoris et flores mei fructus honoris et honestatis
2          24     ego mater pulchrae dilectionis et timoris et agnitionis et sanctae spei
2          25    in me gratia omnis vitae et veritatis in me omnis spes vitae et virtutis
2          26    transite ad me omnes qui concupiscitis me et a generationibus meis implemini
                       27 spiritus enim meus super melle dulcis et hereditas mea super mel et favum
2          28    memoria mea in generatione saeculorum
2          29    qui edunt me adhuc esurient et qui bibunt me adhuc sitient
3          30    qui audit me non confundetur et qui operantur in me non peccabunt
a.      Sirach 24.22-30. I have stretched out my branches as the turpentine tree, and my branches are of honor and grace.
23 As the vine I have brought forth a pleasant odor: and my flowers are the fruit of honor and riches.
24 I am the mother of fair love, and of fear, and of knowledge, and of holy hope.
25 In me is all grace of the way and of the truth, in me is all hope of life and of virtue.
26 Come over to me, all ye that desire me, and be filled with my fruits.
27 For my spirit is sweet above honey, and my inheritance above honey and the honeycomb.
28 My memory is unto everlasting generations.
29 They that eat me, shall yet hunger: and they that drink me, shall yet thirst.
30 He that hearkeneth to me, shall not be confounded: and they that work by me, shall not sin.
b.     Sirach 24. 16-22. 16 Like a terebinth I spread out my branches, and my branches are glorious and graceful.
17 Like the vine I bud forth delights, and my blossoms become glorious and abundant fruit.
18 [Other ancient authorities add as verse 18], I am the mother of beautiful love, of fear, of knowledge, and of holy hope; being eternal, I am given to all my children, to those who are named by him.
19 “Come to me, you who desire me, and eat your fill of my fruits.
20 For the memory of me is sweeter than honey, and the possession of me sweeter than the honeycomb.
21 Those who eat of me will hunger for more, and those who drink of me will thirst for more.
22 Whoever obeys me will not be put to shame, and those who work with me will not sin.”

          The monks who would have designed the Jesse Trees whether in manuscript or in glass, would have had the genealogy of Jesus from the gospel of Matthew linked in his mind with the luxuriant and fruitful spreading branches and vine of the passage from Ecclesiasticus.  The genealogy of Joseph from Matthew 1.1-17 was read at Christmas as well.

The calendar page for September with the Feast of the Nativity of St. Mary, Holy Cross Day Saint Matthew the Evangelist,and the Conception of John the Baptist among the dates listed.  This is from the 'Shaftesbury Psalter'with calendar and prayers,  Made in England between 1125 and 1150.  British Library Lansdowne 383 f.7.  The man at the top is thrashing and the roundel has a man holding a scale.  Libra is the zodiac sign for the end of September-October.
<http://molcat1.bl.uk/IllImages/NOF/big/011LAN000000383U00007000.jpg>


Another calendar page for September with the Feast of the Nativity of St. Mary, Holy Cross Day Saint Matthew the Evangelist,and the Conception of John the Baptist among the dates listed. This page is also from a Psalter made in central England, probably Oxford between 1200 and before 1220.  This calendar also includes the zodiac signs Libra.  The men in the upper roundel are crushing grapes. British Libary Royal 1 D X f.13.
<http://molcat1.bl.uk/IllImages/Kslides/big/K045/K045416.jpg>


       The rod or staff was a symbol of authority for the ancient Hebrews since they were a pastoral society.  Moses tended the sheep of his father-in-law Jethro. (Exodus 3.1)  The staffs of both Moses and Aaron were endowed with miraculous properties.  Aaron’s staff became a snake before Pharaoh (Exodus 7:9).  Moses raised his rod or staff before the sea and parted the waters. (Exodus 14.16).  Moses struck the rock in Horeb so that the thirsty Hebrews could have water to drink (Exodus 17.6), and again, in the wilderness of Zin so that the thirsty Hebrews and their livestock could have water (Numbers 20.9-11).  Moses made a bronze snake and put it upon a pole such that the Hebrews who had been bitten by snakes could be cured (Numbers 21.6-9).  (In typological reasoning, this story is linked to the Crucifixion along with Abraham’s sacrifice of Isaac.  Those that look upon the crucified Jesus might have healing and forgiveness from their sins and receive the promise of salvation. It is also linked with the story of obedience to God to the point of sacrificing an only son, and then having God provide the sacrifice.)  
Moses strikes the rock in Horeb for water. British Library Additional 11639 f. 743.  Miscellany of biblical and other texts.  Made in central France Ile de France or Champagne, during last quarter of 13th or first quarter of 14th century. Language: Hebrew.
<http://molcat1.bl.uk/IllImMiscellany of biblical and other texts ages/BLCD/mid/c065/c06564-02.jpg>
  
       When the authority of Moses and Aaron over the Hebrews was questioned, the Lord instructed Moses to gather staffs from the leaders of the people according to their ancestors.  Moses collected and labeled 12 staffs and put them in the meeting tent before an altar referred to as “testimony” or “covenant.” (Numbers 17.4-9) When Moses went into the meeting tent the next morning, the staff of Aaron had sprouted, producing buds and blossoms, and ripe almonds. (Numbers 17:8). 

5       Numbers 17.8: sequenti die regressus invenit germinasse virgam Aaron in domo Levi et turgentibus gemmis eruperant flores qui foliis dilatatis in amigdalas deformati sunt
a.       Numbers 17.8. He returned on the following day, and found that the rod of Aaron for the house of Levi, was budded: and that the buds swelling it had bloomed blossoms, which spreading the leaves, were formed into almonds.
b.     Numbers 17.8. When Moses went into the tent of the covenant[d] on the next day, the staff of Aaron for the house of Levi had sprouted. It put forth buds, produced blossoms, and bore ripe
almonds.

Aaron's rod flowering. British Library Additional 11639 f. 519v.  Miscellany of biblical and other texts ('The Northern French Miscellany' or earlier 'the British Museum Miscellany'): including the Pentateuch, Haftarot, Tiqqun Sofrim, Five Scrolls, prayer book for the entire year with Haggadah, legal texts, poetry, calendars, Book of Tobit in Hebrew, etc.  Made in northern France, about 1277-1286. Language: Hebrew
<http://molcat1.bl.uk/IllImages/BLCD/mid/c078/c07888-06.jpg>

       Aaron’s rod was considered a symbol for the Virgin Mary who was identified with the virgin mentioned in Isaiah who give birth to a son. (Isaiah 7.14).  Just as a rod without a root produced fruit so Mary without sexual intercourse brought forth a son. 

       The rod of Aaron was probably the source for the apocryphal story about how Joseph was chosen to the guardian of the Virgin Mary as her husband.  The legend is told in Chapter 8 of Pseudo-Matthew or the Book of the Birth of the Blessed Mary and the Infancy of the Savior.

And the priest said: Tomorrow let every one who has no wife come, and bring his rod in his hand. Whence it happened that Joseph brought his rod along with the young men. And the rods having been handed over to the high priest, he offered a sacrifice to the Lord God, and inquired of the Lord. And the Lord said to him: Put all their rods into the holy of holies of God, and let them remain there, and order them to come to you on the morrow to get back their rods; and the man from the point of whose rod a dove shall come forth, and fly towards heaven, and in whose hand the rod, when given back, shall exhibit this sign, to him let Mary be delivered to be kept. On the following day, then, all having assembled early…the high priest went into the holy of holies, and brought forth the rods. And when he had distributed the rods, and the dove came forth out of none of them,… And the angel of the Lord appeared to him, saying: There is here the shortest rod, of which you have made no account: you brought it in with the rest, but did not take it out with them… [T]he high priest cried out to [Joseph] with a loud voice, saying: Come, Joseph, and receive your rod; for we are waiting for you. And Joseph came up trembling... But as soon as he stretched forth his hand, and laid hold of his rod, immediately from the top of it came forth a dove whiter than snow… flew towards the heavens. [2]

       This legend of Joseph gets another version in the 11th century Libellus de Nativitate Sanctae Mariae and the 13th century Legenda Aurea.  In the Book of the Birth of Saint Mary, Chapter 8 tells a similar legend to the one in Pseudo-Matthew.  “Joseph, therefore, was found out.  For when he had brought his rod, and the dove came from heaven; and settled upon the top of it, it clearly appeared to all that he was the man to whom the virgin should be espoused.”[3]

       In the Legenda Aurea under the Nativity of Our Blessed Lady, the legend is written “then Joseph by the commandment of the bishop brought forth his rod, and anon it flowered, and a dove descended from heaven thereupon, so that it was clearly the advice of every man that he should have the virgin.”[4]

       The Libellus along with Pseud-Matthew were the foundation of a popular poem probably written by Robert Wace in Anglo-Norman dated to about 1130-1140 or so and thus predates the influential Legenda Aurea compiled and written in the 13th century.  Entitled Conception Nostre Dame, this version of the legend adds that Joseph’s rod flowered as well as produced a dove.[5]  It is this story that is picked up in the Legenda Aurea, mentioned just above.

       The figure became more dense.  Mary was the vine and Jesus the flower or fruit of the vine.  This was yoked to the image of Jesus as the true vine from John 15.1-6.

       Jesus told a number of parables about vineyards.  The parable of the man who planted a vineyard and let it out of wicked tenants appears in all three synoptic gospels, Matthew 21.34-43, Mark 12. 1-12, and Luke 20.9-16.  There is the parable of the Laborers in the Vineyard who were hired at different hours of the day in Matthew 20.1-16.  Also in Matthew is the parable of the two sons sent to the vineyard to work. One said “No” at first but then repented.  The second agreed to go but never showed up for work. (Matthew 21.28-32)  The parable concludes with Jesus challenging the crowd, “Which of the two did the will of his father?”  Luke adds a parable on the topic of repentance that is about a man who planted a fig tree in his vineyard that failed to produce figs.  The owner ordered the fig to be cut down but the vinedresser asks for another year to see if with manure and cultivation the fig might produce fruit. (Luke 13.6-9)  Though none of these parables are told in the gospel of John, it is John that sums up all the parables in John 15.1-6.

6       John 15.1-6: ego sum vitis vera et Pater meus agricola est
2 omnem palmitem in me non ferentem fructum tollet eum et omnem qui fert fructum purgabit eum ut fructum plus adferat
3 iam vos mundi estis propter sermonem quem locutus sum vobis
4 manete in me et ego in vobis sicut palmes non potest ferre fructum a semet ipso nisi manserit in vite sic nec vos nisi in me manseritis
5 ego sum vitis vos palmites qui manet in me et ego in eo hic fert fructum multum quia sine me nihil potestis facere
6 si quis in me non manserit mittetur foras sicut palmes et aruit et colligent eos et in ignem mittunt et ardent
a.         John 15.1-6.  I am the true vine; and my Father is the husbandman.
2 Every branch in me, that beareth not fruit, he will take away: and every one that beareth fruit, he will purge it, that it may bring forth more fruit.
3 Now you are clean by reason of the word, which I have spoken to you.
4 Abide in me, and I in you. As the branch cannot bear fruit of itself, unless it abide in the vine, so neither can you, unless you abide in me.
5 I am the vine: you the branches: he that abideth in me, and I in him, the same beareth much fruit: for without me you can do nothing.
6 If any one abide not in me, he shall be cast forth as a branch, and shall wither, and they shall gather him up, and cast him into the fire, and he burneth.
b.         John 15.1-6. “I am the true vine, and my Father is the vinegrower.
2 He removes every branch in me that bears no fruit. Every branch that bears fruit he prunes to make it bear more fruit.
3 You have already been cleansed by the word that I have spoken to you.
4 Abide in me as I abide in you. Just as the branch cannot bear fruit by itself unless it abides in the vine, neither can you unless you abide in me.
5 I am the vine, you are the branches. Those who abide in me and I in them bear much fruit, because apart from me you can do nothing.
6 Whoever does not abide in me is thrown away like a branch and withers; such branches are gathered, thrown into the fire, and burned.

Initial
 Opening lines of the Gospel of John "In principio erat Verbum et Verbum erat apud Deum et Deus erat Verbum" with red penwork "I." British Library Harley 276   f. 2v . Gospel of John was made in England between 1200 and 1250. 
<http://molcat1.bl.uk/IllImages/BLCD/big/C128/C12861-09.jpg>

More about wood and the Legend(s) of the True Cross in Part II.




[1] <http://www.ccel.org/ccel/schaff/npnf212.ii.v.xvi.html>
[2] < http://www.ccel.org/ccel/schaff/anf08.vii.v.ix.html>
<http://www.newadvent.org/fathers/0848.htm>
[3] The Gospel of the Nativity of Mary. Chapter 8. <http://www.ccel.org/ccel/schaff/anf08.vii.vi.viii.html>
[4] <http://legacy.fordham.edu/halsall/basis/goldenlegend/GoldenLegend-Volume5.asp#Nativity of our Blessed Lady>
[5] Jean Blacker, Glyn S. Burgess, Amy Ogden tr.and ed.  “Conception Nostre Dame” in Wace, The Hagiographical Works: The Conception Nostre Dame and the Lives of St Margaret and St Nicholas. (2013) Leiden. Brill. Pp.11-145.
Maureen Barry McCann Boulton. Sacred Fictions of Medieval France: Narrative Theology in the Lives of  Christ and the Virgin-1150-1500. (2015) Cambridge: D.S. Brewer.

Sunday, August 30, 2015

Cathedral of Our Lady, Amiens, Picardy, France


Cathedral of Our Lady, Amiens, Picardy, France.  West front.
Photo credit for exteriors and nave: Andrew Tallon
<http://mappinggothic.org/archmap/media/buildings/001000/1063/images/
700/1063_00004_w.jpg>
Lower west front with tympani, jamb sculptures, archivolt sculptures
<http://mappinggothic.org/archmap/media/buildings/001000/1063/images/700/1063_00061_w.jpg>

Chevet (east) end of the cathedral with projecting chapels especially the Chapel of the Virgin.  Note the height of the  windows in the chapels.
<http://mappinggothic.org/archmap/media/buildings/001000/1063/images/700/1063_00055_w.jpg>

Nave looking east.  The triforium of the nave is blind, that is there are no windows.  But the same level in the choir has windows that admit much light to the building.  Most of the stained glass has been lost. 
<http://mappinggothic.org/archmap/media/buildings/001000/1063/images/700/1063_00135_w.jpg>

     So much has been written about the Cathedral of Our Lady at Amiens, Picardy, France, that there is nothing new that I can add. I will instead present a summary of what some art historians consider the finest and, during the Middle Ages, the largest Gothic church in France and Europe.

     Several churches existed on the site of the Amiens cathedral including a Romanesque church built between 1137 and 1152. It was at this cathedral that King Philip II Augustus married his second wife, Ingeborg of Sweden. This is the queen for whom the spectacular Ingeborg Psalter was commissioned that was discussed previously under the blog for the Soissons Cathedral.

     In 1206 the purported head (or more accurately the front facial bones of the skull without mandible) of John the Baptist was brought back to Amiens from the sacking of Constantinople during the Fourth Crusade. Wallo or Walon de Sarton, from Picardy, discovered a half-ball of transparent crystal that contained the facial section of a human skull resting on a silver plate. It was apparently one of two relics he acquired. The other was the head of Saint George. The Greek lettering around the plate said that the bones were from John the Baptist but he could not read the Greek and so went from monastery to monastery trying to get information. Walon gave the skull to the bishop at Amiens. This made the Cathedral of Our Lady a very prestigious site and soon a major pilgrimage site in France. The presence of the skull fragment brought in a substantial income to the cathedral. ( See these three books for more details: Alfred J Andrea Contemporary Sources for the Fourth Crusade: Revised Edition (2008) Leiden, The Netherlands: Brill. David M. Perry. Sacred Plunder: Venice and the Aftermath of the Fourth Crusade. (2015) University Park, PA: Pennsylvania State University Press. Charles Freeman Holy Bones, Holy Dust: How Relics Shaped the History of Medieval Europe (2012) New Haven: Yale University Press.)

     Thus, when the Romanesque church was severely damaged by fire in 1218, construction on a new cathedral in the new Gothic style began in 1220. The cathedral was mostly complete in a short period of time for medieval churches, about 50 years or about 1270 though some art historians give the date of 1288. The cathedral was not built from one end to the other. The crossing transept may have been built first since it seems to be central to the building’s proportions. There does seem to have continuous building once started. The lower nave was built in the 1220s and1230s. The upper nave was built in 1240s to 1260s. The upper part of the chevet with its double ambulatory and chapels was being built in 1260s. The date for the western front is far from certain but many of its elements point to an earlier period.

     The names of three of the master who built the cathedral are known-Robert de Luzarches, Thomas de Cormont, and his son, Renaud de Cormont. Thus, most of the church was built and decorated in the High Gothic style extending into the Rayonnant style in the choir and chevet. The two towers were built later. The south tower was constructed about 1366, and the north tower about 1401. Chapels in the nave were added later. These additions resulted in changes in the walls and buttresses that makes dating construction without period documentation more difficult.

     Much has been written about the cohesiveness of the cathedral because of its short construction period and the airy heights of the nave, aisles and choir. The cathedral is 476 feet or 145 meters long (exterior length) and the nave is 48 feet or 14.6 meters wide, and the overall width is 213 feet.. The height from the floor to the apex of the vault is 139 feet or 42.3 meters. The proportionality of the building is, “The plan is rigorously controlled by a central geometric matrix in the form of a great double square located in the crossing and contiguous bay. The diagonal of the great square gives the length of the nave and the half diagonal gives the choir.” (Stephen Murray) The plan of the church’s dimensions unfold from a center point in length, width, and height. (For an interesting discussion of the problems of going backward to try to figure out the intended proportions and measurements many centuries after a building was completed and often revised or repaired or rebuilt, see: Stephen Murray. Plotting Gothic: A Paradox. Architectural Histories: The open journal of the European Architectural History Network. 20 June 2014, http://journal.eahn.org/articles/10.5334/ah.bs/)

     Volumes have also been written about the elaborate sculptural schemes of the Cathedral that have been remarkably well preserved over the 8 centuries. Since that is not the point of this blog, I will skip over this.

     Once complete the Cathedral suffered its share of problems. Firstly, it was noted that the flying buttresses in the choir were placed too high to really support the stress on the walls. Cracks were appearing. Because of this a second set of buttresses were built lower down the wall of the choir. Then, in 1497, structural weaknesses was noted in the crossing piers as cracks appeared. This problem was remedied by the use of “Spanish iron” to anchor the piers at the height of the triforium. Wrought iron bar chains were installed while red hot so that they would cinch in the supporting structures as they cooled. The bar chairs are still in place and covered with centuries of corrosion. (S. Grassini, E. Angelini, M. Parvis, M. Bouchar, P. Dillman, D. Neff. An in situ corrosion study of Middle Ages wrought iron bar chains in the Amiens Cathedral. Applied Physics A: Materials Science and Processing (December 2013)113(4): 971-979)

    The Cathedral suffered some damage from the Huguenot iconoclasm of 1561. There was hurricane damage in 1627 and 1705. A near-by powder mill exploded in 1675 destroying much of the original stained glass. The cathedral apparently did not suffer much damage from the French Revolution, though its labyrinth built in the floor of the central crossing was destroyed. The architect and antiquarian Eugene Viollet-le- Duc worked on the restoration of the catherdral beginning in 1849. It was he who rebuilt the labyrinth and the elaborate patterning of the floor. The windows were removed before the onset of World War I and the building heavily sandbagged. Even so the cathedral was hit at least three times from bombs. The protection did save the vast numbers of sculptures, especially the elaborate west façade. The cathedral building was again heavily sandbagged in World War II, and so there was minimal damage to the walls and sculpture.

    As I already mentioned most of the period stained glass from Amiens has been lost.  The cathedral does have a Jesse Tree window but most of it was reconstructed in the 19th and 20th centuries.  After the colorful windows of Tours and Le Mans, one is struck by the blueness of the Amiens Jesse Tree window.  The Jesse Tree window was made about 1260 when the chevet at the east end of Amiens Cathedral was glazed.  There is red used as accents and in the glass around the prophets.  Still the overall impression is blue.  ( I will discuss making of glass in  the medieval period, at some point.  Because red glass tended to be so dark and opaque, it was usually flashed onto clear glass so that the red could be seen as light was transmitted through the glass.)

 The Jesse Tree window at Amiens is window #14 on the south side of the choir.  In this picture, it is window on the left.  The window is predominately blue.
Photo credits for stained glass: Painton Cowen
<http://www.therosewindow.com/pilot/Amiens/images/w16-whole-IMG_2737.JPG>

The Jesse window at Amiens is a tall single lancet window but it does not reach the height of Sainte-Chapelle in Paris.
<http://www.therosewindow.com/pilot/Amiens/images/w14-whole-IMG_2741-44.jpg>

There are 17 panels in the Jesse Tree window at Amiens.  Only 9 are substantially original containing 13th century glass.  Even the original panels have some old and some replacement glass as in the panel of the crowned and seated Virgin Mary.  The prophets that once flanked here are gone and replaced with some abstract flower designs in colored glass. This is shown in the two pictures below. An interesting note is that the colors that would come to be identifiable as those for the Virgin Mary, a blue cloak and red dress, are not yet standard in 13th century French stained glass windows. Today we may think of St. Mary as wearing pale blue and white but that color palette is modern.

 Red nimbed and crowned Virgin Mary seated in the blue glass mandorla with white Jesse vine with red accent.  She holds her right hand in blessing.
<http://www.therosewindow.com/pilot/Amiens/images/w14-15-IMG_2707.JPG>

The whole panel of the Virgin Mary.  The prophets that used to flank her are replaced with abstract flower like designs of colored glass.
<http://www.therosewindow.com/pilot/Amiens/images/w14-level15.jpg>

The next panel that is substantially original is the 6th panel below the Virgin Mary or 8th king above Jesse.  This panel has no identifying labels or symbols for the king or the prophets.

This is a generic king of Judah.  
<http://www.therosewindow.com/pilot/Amiens/images/w14-9-IMG_2701.JPG>

This generic king of Judah is crowned but not otherwise identified.  He is flanked by two unidentified prophets.
<http://www.therosewindow.com/pilot/Amiens/images/w14-level9.jpg>

The panel immediately below is also substantially original.  It is the 7th king below the Virgin Mary and the 7th king above Jesse.  Again this is a generic King of Judah accompanied by two prophets that are not named.
Another generic king with his right hand held up in blessing.
Most of this rich red glass was flashed, that is a thin layer of red glass was place to clear glass so the color was not too dark and could transmit light.
<http://www.therosewindow.com/pilot/Amiens/images/w14-8-IMG_2700.JPG>

The prophets on each side of the king are not identified.
<http://www.therosewindow.com/pilot/Amiens/images/w14-level8.jpg>

The next king down, that is the 8th king below the Virgin Mary and the 6th king above Jesse is also a generic king of Judah flanked by two prophets.  The king in this panel is very similar to the king above, wearing a red cloak and a green gown.  The kings hold his right hand up pointing to himself. The flanking prophets are not identified.

 Generic King of Judah, 8th below Virgin Mary and 6th above Jesse.  He appears to be pointing to himself.
<http://www.therosewindow.com/pilot/Amiens/images/w14-7-IMG_2699.JPG>

Whole panel with flanking prophets..
<http://www.therosewindow.com/pilot/Amiens/images/w14-level7.jpg>

Generic king of Judah holding a scepter.  This is the 9th king down from Virgin Mary and the 5th king above Jesse. His is pointing to himself.  He is seated and crowned.
<http://www.therosewindow.com/pilot/Amiens/images/w14-6-IMG_2698.JPG>

The panel of the generic King of Judah holding a scepter and accompanied by two prophets.
<http://www.therosewindow.com/pilot/Amiens/images/w14-level6.jpg>

The ninth king below Virgin Mary and the 5th king above Jesse hold a scepter but is otherwise not identified.  He is flanked by two prophets that carry banderoles but nothing is written on them to identify the prophets.

The tenth king down from St. Mary or the 4th king above Jesse is similar to the 8th king down or 6th king above Jesse.
Generic King of Judah. He is pointing to himself or holding a chain that hangs around his neck.
<http://www.therosewindow.com/pilot/Amiens/images/w14-5-IMG_2697.JPG>

The whole panel of the 10th king below Virgin Mary and the 4th king above Jesse.  The drapery work of the cloak of the right prophets suggests a recent replacement of glass.
<http://www.therosewindow.com/pilot/Amiens/images/w14-level5.jpg>

The third king above Jesse or the 11th king down from the Virgin Mary is holding a vielle in his lap. This is unusual since it if common to identify both Kings David and Solomon by the fact that they are holding or playing musical instruments.  But this is the same order of the windows as discussed previously for the Cathedral of Saint-Maruice in Angers.  It is not now possible to know if the order of the panels was rearranged at some point or if the iconography used to identify the Kings of Judah had not been established, except perhaps for King David with a harp or lyre.
Third king above Jesse holding a vielle in his lap.
 <http://www.therosewindow.com/pilot/Amiens/images/w14-4-IMG_2696.JPG>

Vielle playing king and two prophets in the third window above Jesse or the 11th king down from Virgin Mary.
 <http://www.therosewindow.com/pilot/Amiens/images/w14-level4.jpg>

The second king above the figure of Jesse is usually identified at King Solomon.  But in the Amiens window, King Solomon is shown as a  seated and crowned generic king holding a scepter in his left hand.  See below.

The center part of the second panel above Jesse.  This is traditionally identified as King Solomon but at Amiens, he is a red cloaked and green robed generic king with scepter similar to  the other kings in the  middle of the Jesse Tree window. (See above.)
<http://www.therosewindow.com/pilot/Amiens/images/w14-3-IMG_2694.JPG>

The whole panel of the second king above Jesse.
<http://www.therosewindow.com/pilot/Amiens/images/w14-level3.jpg>

In this window the reclining figure of Jesse is a modern replacement and is not included in the photographs taken by Painton Cowen and so will not be included in this blog. 

  In the panel above Jesse, King David is playing a peculiar instrument to be shown in a French Jesse Tree window.  The instrument shown is a bowed lyra that is a Byzantine instrument.  Apparently in medieval France, as well as much of northern and western Europe and Scandinavia, there were a number of stringed instruments played with a bow of varying shapes and sizes with varying numbers of strings.  Some used finger boards. Some did not.  So a stringed instrument in the lute and violin family would be a common site at a medieval court and where music was played.  Certainly crusaders could have seen such instruments, especially during the Fourth Crusade when the European troops captured and sacked Constantinople establishing the Latin Empire of Constantinople from 1204 to 1261.  Perhaps some of these exotic instruments were brought back to France, even to Picardy.  The Bishop of Soissons, Nivelon de Chérisy, returned to France in 1206 with a large collection of relics that were distributed to churches. Today, King David's instrument is  rare to see but perhaps not so to the glass makers of the Amiens stained glass windows.

 
King David playing an instrument.  A musical instrument played by King David was a reminded that to him is ascribed the composition of the Book of Psalms or 73 psalms. 
<http://www.therosewindow.com/pilot/Amiens/images/w14-2-IMG_2693.JPG>

King David playing a lyra with two flanking and unidentified prophets.
 <http://www.therosewindow.com/pilot/Amiens/images/w14-level2.jpg>

      In summary, the Jesse Tree window  in the Cathedral of Our Lady in Amiens is a mixture of 13th century and more modern replacement glass.  It is a predominately blue window with seated forward facing kings with flanking unidentified prophets.  By the date of this window, 1260, showing King David above Jesse with a musical instrument, in this case a lyra, makes King David readily identifiable.  The same cannot be said for the king above David, usually King Solomon. The Blessed Virgin is seated and crowned.  In this window she has a hand held in blessing.  In other window already discussed she sometimes hold a prayer book and at other times a palm frond.  So the images used for the identification of Mary are still variable.  She is always seated below Jesus Christ and is not shone with an infant Jesus.

Tuesday, August 25, 2015

Cathedral of Saint Maurice, Angers, Maine-et-Loire (in the former province of Anjou), France

     The city of Angers used to be the capital of the province of Anjou ruled by counts.  In 1127, Count Geoffrey married the widowed daughter of Henry I of England, Matilda or Maud.  Their eldest son, Henry became Henry II of England, the first of the Plantagenet kings.   As such it was the home town of the Plantagenet family though Geoffrey was born and buried at nearby Le Mans.

     The story of the building of the cathedral at Angers is one that is familiar by now.  A Romanesque cathedral was built to replace a much smaller church.  The new Romanesque church burnt to the ground in 1032.  The same bishop, Hubert de Vendome, who oversaw the consecration of the Romanesque church started the rebuilding some time after the fire.  This Romanesque church was consecrated in 1096.  The retrofitting and rebuilding of the church in the Gothic style was begun under Bishop Ulger (1123-1149) and continued under his successor Bishop Normand de Doue (1149-1153). The west front of the Cathedral retains the darker stone of the older Romanesque church at the lowest level.  The church took centuries to build and the tower and west facade were not finished until the Renaissance.

West front of the Cathedral of Saint Maurice, Angers, France.  The present cathedral was built over centuries.  The darker stone at the lowest level is from the 12th century Romanesque church.
<http://static.panoramio.com/photos/large/66376237.jpg>

The lower half of the walls of the nave are retained from the Romanesque church as can be seen in the photograph below.  The walls were reinforced to accommodate the weight of the vaulting covering the nave,  The cathedral has no aisles.  So the windows that light the church are at the clerestory level.
Looking east down the nave.  The lower half of the wall was retained from the older Romanesque church and retrofitted.
<http://mappinggothic.org/archmap/media/buildings/001000/1212/images/700/1212_00084_w.jpg>

West entrance to the cathedral with large tympanum of Jesus Christ seated in majesty and the four living creatures that surround the throne of God in the Revelation of John. It was St. Jerome writing about 398 in his preface to the Commentary on Matthew when he established the symbols as we know them today: Matthew-human or angel, Mark-lion, Luke-ox, and John-eagle. This entrance was built about 1170-1180.
The remains of the Gothic porch as be seen in the stone work but it was demolished in 1807.
http://mappinggothic.org/archmap/media/buildings/001000/1212/images/1300/1212_00031_w.jpg

     The rounded east end of the choir, the chevet, required that the old town wall be demolished to make room for the addition.  This addition was built in the period of 1225-1240 during the time Guillaume de Beaumont was bishop (1202-1240).  The windows in the chevet are doubled lancet windows with an oculus at the top.  The Cathedral of Saint Maurice had the advantage of many other cathedrals in that it was much less dependent of money from pilgrims to make additions and repairs. Boulanger is her analysis of the windows at Saint Maurice notes a unity of iconography among the windows that is not found in many other cathedrals dependent on the money from pilgrims and gifts from wealthy donors.  Donors did pay for window repairs, and this is documented by the inclusion of the arms of the donor family in the window.  David King noted in a article for Vidimus, "The St John the Baptist window in the choir, for example, given in the thirteenth century by Richard de Tosny, the cathedral treasurer, was restored in the early fourteenth century by the Chaumont family, whose arms were inserted in the border"
The east end of St. Maurice with the double windows and oculus at the top.
<http://www.patrimoine-histoire.fr/images/Patrimoine/Angers/eStMaurice/AngCSM61.JPG>

Bay 103 on the north side of the choir has a Jesse Tree window on the right and the martyrdom of St. Lawrence on the left.
<http://www.patrimoine-histoire.fr/images/Patrimoine/Angers/eStMaurice/g/AngCSM_103.JPG>
   
     The Jesse Tree window in Bay 103 at Angers is a few years earlier that the Jesse Tree window of Saint-Chapelle in Paris. The window at the Cathedral of Saint Maurice has more in common with lower clerestory window at Cathedral of St. Julian at Le Mans or the Cathedral of St. Stephen in Auxerre, than with Sainte-Chapelle. The Jesse window is one of eleven windows in the chevet that were glazed during the period 1230-1235 that still exist.  A couple of the lost windows are known from fragments.  So the chevet retains a remarkably complete set of 13th century windows made with a  cohesive scheme, the lives of saintz and Virgin Mary.  The windows did undergo restoration at a intervals and some of the windows have been moved.  Replacements for lost windows has continued into the 20th century to repair damage done during the bombardment of World War II.  Unfortunately the Jesse Tree window at Angers needs cleaning since the detail has been lost and many of the colors have been muted by grime and perhaps glass corrosion.

The whole Jesse Tree window in Bay 103.
Photo credit for Jesse Tree windows (unless noted): Painton Cowen
<http://www.therosewindow.com/pilot/Angers/images/Angers_w103a_whole-w.jpg>

Jesus Christ seated with seven doves.  Right hand is held in blessing. In his left hand is a blue book There are two flanking unidentified prophets. 
Photo credit: Dr. Stuart Whatling
<http://www.medievalart.org.uk/Angers/Bay_103b/jpeg_800/Angers_Bay_103b_Jesse_Tree_Panel_08.jpg>

 Crowned Virgin Mary with a scepter in her right hand.  She is flanked by two prophets and a knelling figure who is presumably the donor of the window.  The prophet on the right is wearing a blue cap. 
<http://www.therosewindow.com/pilot/Angers/images/w103l-AB-7-IMG_6989.JPG>

Unidentified King of Judah.  He is flanked by two unidentified prophets.  Note that the head of the right prophet is a obvious later repair.
<http://www.therosewindow.com/pilot/Angers/images/w103l-AB-6-IMG_6990.JPG>

Unindentified King of Judah holding a scepter in the left hand, flanked with two prophets.  Note that the prophet on the right is wearing a pointed Jew's cap in green.
< http://www.therosewindow.com/pilot/Angers/images/w103l-AB-5-IMG_6991.JPG>

King playing a vielle on his left shoulder.  He is flanked by two prophets. Note that the prophet on the king's right is the same design as the prophet on king's right immediately above.
<http://www.therosewindow.com/pilot/Angers/images/w103l-AB-4-IMG_6992.JPG> 

 First King of Judah above King David.  In the usual iconography, this is King Solomon. The king is holding a scepter in his right hand.  He is flanked by a prophet on his left hand that is wearing a pointed green Jew's cap, as is the prophet to Virgin Mary's left.
 <http://www.therosewindow.com/pilot/Angers/images/w103l-AB-3-IMG_6993.JPG>

King David playing a celtic style harp. The prophet on the right is the same as the prophet above on the right of Virgin Mary.  He is wearing a blue cap.  The prophet on the left is wearing a pointed Jew's cap in red.
<http://www.therosewindow.com/pilot/Angers/images/w103l-AB-2-IMG_6994.JPG .>

Reposing Jesse as seen through a protective grille.  There is a large white trunk arising from the body of Jesse.  He is flanked by two prophets that appear to be much later replacements.
Photo credit: Dr. Stuart Whatling
<http://www.medievalart.org.uk/Angers/Bay_103b/jpeg_800/Angers_Bay_103b_Jesse_Tree_Panel_01.jpg>

   Hopefully the reader has noticed the standardization of the colors for the background on the Jesse Tree windows.  It is either red or blue or a mixture with red or blue glass within the mandorlas that surround the figures and blue or red outside the mandorlas.

      There is the beginning of a standardized iconography that allows the identification of at least two of the kings that come after Jesse, namely Kings David and Solomon.  King David is playing a harp, a symbols associated with the David as the composer of the Psalms.  Also there are frequent references to harps or lyres in the story of David including his playing the harp for King Saul (1 Samuel 16.23) and  the frequent references to music made to honor God including harps (and lyres). 

     It is curious then that the king above David, Solomon, is only holding a scepter and not playing an instrument as is the third king above Jesse. Solomon is associated with the composition of the Song of Solomon or Song of Songs.  The stained glass windows of Saint Maurice suffered through periods of neglect followed by restoration and repair, and again long centuries of neglect or destruction as a result of iconoclasm or war.  It is possible to speculate that during one of these restorations the panel of Solomon and a generic king of Judah with scepter were reversed.  This argument is not sustained because the same pattern of king with scepter for King Solomon and generic king playing an instrument appears in another stained glass window from the same period.  The very large Jesse Tree window at the Cathedral of Our Lady at Amiens, Picardy, France, was made about 1260, with restoration in the 19th and 20th centuries.  In this window, King David is playing the bowed lyra, a Byzantine instrument.  The king above him and therefore Solomon is a sceptered king and the third generic king is playing a vielle in his lap.  So perhaps the iconography of Solomon also playing a instrument was not yet firm.

     Another curious feature of the Jesse Tree window at Angers is the kneeling donor dressed in purple petitioning the Blessed Virgin Mary. This seems to be the first Jesse Tree window that has survived in which the donor is shown beseeching the Virgin Mary. This portrayal of Mary as the Mediatrix between humans and Jesus was being developed as part of the cult of Mary.  A Jesse Tree window at the  choir of Cathedral of Saint Julien in Le Mans also has a kneeling donor.  This kneeling donor is placed in the choir Jesse window next to the reclining Jesse in the Le Mans cathedral.  Thus it seems as though the donor's petition isaddressed to all the figures above, not just the Virgin Mary.

    This Jesse Tree window has two blue capped prophets and three prophets wearing the pilleus cornutus,or Jew's hat ordered at the Fourth Lateran Council of 1215.  Similarly hatted prophets are found in the Jesse Tree window of the relatively near Cathedral of Saint Julian at LeMans.

References:

Karine Boulanger, Les Vitraux de la cathédrale d’Angers,((2010) Paris, Comité des travaux historiques et scientifiques (CTHS), coll. « Corpus Vitrearum-France », vol. III,

David King. Angers Cathedral Vidimus Vol. 48. February 2011.  < http://vidimus.org/issues/issue-48/feature>

Angers, Cathédrale Saint-Maurice.  Mapping Gothic Europe <http://mappinggothic.org/building/1212>

Monuments historique: Inventaire général du patrimoine culturel <http://www.culture.gouv.fr/public/mistral/merimee_fr?ACTION=CHERCHER&FIELD_1=REF&VALUE_1=PA00108866>