§ 104.7. New Festivals.—The worship of Mary (§ [57, 2]) received an impulse from the institution of the Feast of the Birth of Mary on 8th of September. To this was added in the south of France in the 12th century, the Feast of the Immaculate Conception on the 8th December. Radbert (§ [91, 4]) by his doctrine of Sanctificatio in utero gave basis to the theory of the Virgin’s freedom from original sin in her conception and bearing. Anselm of Canterbury, however, taught in Cur Deus Homo? ii. 16, that Mary was conceived and born in sin, and that she like all others had sinned in Adam. Certain canons of Lyons, in A.D. 1140, revived Radbert’s theory, but raised the Sanctif. in utero into the Immaculata conceptio. St. Bernard protested against the doctrine and the festival; sinless conception is a prerogative of the Redeemer alone. Mary like us all was conceived in sin, but was sanctified before the birth by Divine power, so that her whole life was faultless; if one imagines that Mary’s sinless conception of her Son had her own sinless conception as a necessary presupposition, this would need to be carried back ad infinitum, and to festivals of Immaculate Conceptions there would be no end. This view of a Sanctificatio in utero, with repudiation of the Conceptio immaculata, was also maintained by Alex. of Hales, Bonaventura, Albert the Great, and Aquinas. The feast of the Conception, with the predicate “immaculate” dropped, gradually came to be universally observed.The Franciscans adopted it in this limited sense at Pisa, in A.D. 1263, but when, beginning with Duns Scotus (§§ [113], [112]), the doctrine of the immaculate conception came to be regarded as a distinctive dogma of the order, the Dominicans felt called upon to offer it their most strenuous opposition.[310] (Continuation, § [112, 4].)—To the feast of All Saints, on 1st November, the Cluniacs added in A.D. 998, the feast of All Souls on 2nd November, for intercession of believers on behalf of the salvation of souls in purgatory. In the 12th century the Feast of the Trinity was introduced on the Sunday after Pentecost. Out of the transubstantiation doctrine arose the Corpus Christi Festival, on the Thursday after Trinity. A pious nun of Liège, Juliana, in A.D. 1261, saw in a vision the full moon with a halo around it, and an inward revelation interpreted this phenomenon to indicate that the festal cycle of the church still wanted a festival in honour of the eucharist. Urban IV. gave effect to this suggestion in A.D. 1264, avowedly in consequence of the miracle of the mass of Bolsena. A priest of Bolsena celebrating mass spilt a drop of consecrated wine, which left a blood-red stain on the corporal or pall (§ [60, 5]), in the form of a host. The festival did not come into favour till Clement V. renewed its institution at the Council of Vienne, in A.D. 1311. The church, by order of John XXIII. in A.D. 1316, celebrated it by a magnificent procession, in which the liburium was carried with all pomp.
§ 104.8. The Veneration of Saints (§ [88, 4]).—The numerous Canonizations, from the 12th century exclusively in the hands of the popes, gave an impulse to saint worship. It was the duty of Advocatus diaboli to try to disprove the reports of virtues and miracles attributed to candidates. The proofs of holiness adduced were generally derived from thoroughly fabulous sources. The introduction of the name of accepted candidates into the canon of the mass gave rise to the term canonization. Beatification was a lower degree of honour, often a preliminary to canonization at a later period. It carried with it the veneration not of the whole church, but of particular churches or districts. The Dominican Jacobus a Voragine, who died in A.D. 1298, in his Legenda aurea afforded a pattern for numerous late legends of the saints. A Parisian theologian who styled it Legenda ferrea, was publicly expelled from his office. The Veneration of Mary, to whom were rendered Hyperdoulia in contradistinction from the Doulia of the saints, not only among the people, but with the most cultured theologians, publicly and privately, literally and figuratively, in prose and poetry, was almost equal to the worship rendered to God, and indeed often overshadowed it. The angel’s salutation (Luke i. 28) was in every prayer. Its frequent repetition led to the use of the Rosary, a rose wreath for the most blessed of women. The great rosary attributed to St. Dominic has fifteen decades, or 150 smaller pearls of Mary, each of which represents an Ave Maria, and after every ten there is a greater Paternoster pearl. The small or common rosary has only five decades of beads of Mary with a Paternoster bead for each decade. Thrice repeated it forms the so-called Psalter of Mary. The first appearance of the rosary in devotion was with the monk Macarius in the 4th century, who took 300 stones in his lap, and after every Paternoster threw one away. The rosary devotion is also practised by Moslems and Buddhists. In cloisters, Saturday was usually dedicated to the Mother of God, and was begun by a special Officium S. Mariæ. May was called the month of Mary.—In the 11th century no further trace is found of the Frankish opposition to Image Worship (§ [92, 1]). But this in no way hindered the growth of Relic Worship. Returning crusaders showered on the West innumerable relics, which notwithstanding many sceptics were received generally with superstitious reverence. Castles and estates were often bartered for pretended relics of a distinguished saint, and such treasures were frequently stolen at the risk of life. No story of a trafficker in relics was too absurd to be believed.—Pilgrimages, especially to Rome and Palestine, were no less in esteem among the Western Christians of the 10th century during the Roman pornocracy (§ [96, 1]) or the tyranny of the Seljuk dynasty in Palestine (§ [94]). The expectation of the approaching end of the world, rather gave them an impulse during this century, which reached its fullest expression in the crusades.—Continuation, § [115, 9].
§ 104.9. The earliest trace of a commemoration of St. Ursula and her 11,000 Virgins is met with in the 10th century. Excavations in the Ager Ursulanus near Cologne in A.D. 1155 led to the discovery of some thousand skeletons, several of them being those of males, with inscribed tablets, one of the fictitious inscriptions referring to an otherwise unknown pope Cyriæus. St. Elizabeth of Schönau (§ [107, 1]) at the same time had visions in which the Virgin gave her authentic account of their lives. Ursula, the fair daughter of a British king of the 3rd century, was to have married a pagan prince; she craved three years’ reprieve and got from her father eleven ships, each with an equipment of a thousand virgins, with which she sailed up the Rhine to Basel, and thence with her companions travelled on foot a pilgrimage to Rome. On her return, in accordance with the Divine instruction, Pope Cyriæus accompanied her, whose name was on this account struck out of the list by the offended cardinals; for as Martinus Polonus says, Credebant plerique eum non propter devotionem sed propter obtectamenta virginum papatum dimississe. Near Cologne they met the army of the Huns, by whom they were all massacred, at last even Ursula herself on her persistent refusal to marry the barbaric chief.—In the absence of any historical foundations for this legend, an explanation has been attempted by identifying Ursula with a goddess of the German mythology.An older suggestion is that perhaps an ancient inscription may have given rise to the legend.[311]
§ 104.10. Hymnology.—The Augustan age of scholasticism was that also of the composition of Latin hymns and sequences (§ [88, 2]).The most distinguished sacred poets were Odo of Clugny, king Robert of France (Veni, sancte Spiritus, et emitte), Damiani, Abælard, Hildebert of Tours, St. Bernard, Adam of St. Victor,[312] Bonaventura, Aquinas, the Franciscan Thomas of Celano, A.D. 126O (Dies iræ), and Jacopone da Todi, † A.D. 1306 (Stabat mater dolorosa). The latter, an eccentric enthusiast and miracle-working saint, called himself “Stultus propter Christum.” Originally a wealthy advocate, living a life of revel and riot, he was led by the sudden death of his young wife to forsake the world. He courted the world’s scorn in the most literal manner, appearing in the public market bridled like a beast of burden and creeping on all fours, and at another time appearing naked, tarred and feathered at the marriage of a niece. But he glowed with fervent love for the Crucified and a fanatical veneration for the blessed Virgin. He also fearlessly raised his voice against the corruption of the clergy and the papacy, and vigorously denounced the ambition of Boniface VIII. For this he was imprisoned and fed on bread and water. When tauntingly asked, “When wilt thou come out?” he answered in words that were soon fulfilled, “So soon as thou shall come down.” Sacred Poetry in the vernacular was used only in extra-ecclesiastical devotions.The oldest German Easter hymn belongs to the 12th century.[313] The Minnesingers of the 13th century composed popular songs of a religious character, especially in praise of Mary; there were also sacred songs for travellers, sailors, soldiers, etc. Heretics separated from the church and its services spread their views by means of hymns. St. Francis wrote Italian hymns, and among his disciples Fra Pacifico, Bonaventura, Thomas of Celano, and Jacopone followed worthily in his footsteps.
§ 104.11. Church Music (§ [88, 2]).—The Gregorian Cantus firmus soon fell into disfavour and disuetude. The rarity, costliness, and corruption of the antiphonaries, the difficulty of their notation and of their musical system, and the want of accurately trained singers, combined to bring this about. Singers too had often made arbitrary alterations. Hence alongside of the Cantus firmus there gradually grew up a Discantus or Cantus figuratus, and instead of singing in unison, singing in harmony was introduced. Rules of harmony, concord, and intervals were now elaborated by the monk Hucbald of Rheims about A.D. 900, while the German monk Reginus about A.D. 920 and the abbot Opo of Clugny did much for the theory and practice of music. In place of the intricate Gregorian notation the Tuscan Benedictine Guido of Arezzo, A.D. 1000-1050, introduced the notation that is still used, which made it possible to write the harmony along with the melody, counterpoint, i.e. punctum contra punctum. The discoverer of the measure of the notes was Franco of Cologne about A.D. 1200. The organ was commonly used in churches. The Germans were the greatest masters in its construction and in the playing of it.—Continuation, § [115, 8].
§ 104.12. Ecclesiastical Architecture.—Church building, which the barbarism of the 10th century, and the widespread expectation of the coming end of the world had restrained, flourished during the 11th century in an extraordinary manner. The endeavour to infuse the German spirit into the ancient style of architecture gave rise to the Romance Style of Architecture, which prevailed during the 12th century. It was based upon the structure of the old basilicas, the most important innovation being the introduction of the vaulted in place of the flat wooden roof, which made the interior lighter and heightened the perspective effect. The symbolical and fanciful ornamentation was also richly developed by figures from the plants and animals of Germany, from native legends. Towers were also added as fingers pointing upward, sometimes over the entrance to the middle aisle or at both sides of the entrance, sometimes over the point where the nave and transepts intersected one another, or on both sides of the choir. The finest specimens of this style were the cathedrals of Spires, Mainz, and Worms. But alongside of this appeared the beginnings of the so-called Gothic Architecture, which reached its height in the 13th and 14th centuries. Here the German ideas shook themselves free from the bondage of the old basilica style. Retaining the early ground plan, its pointed arch admitted of development in breadth and height to any extent. The pointed arch was first learnt from the Saracens, but its application to the Gothic architecture was quite original, because it was not as with the Saracens decorative, but constructive. The blank walls were changed into supporting pillars, and became a magnificent framework for the display of ingenious window architecture. A rich stone structure rose upon the cruciform ground plan, and the powerful arches towered up into airy heights. Tall tapering pillars symbolized the heavenward strivings of the soul. The rose window over the portal as the symbol of silence teaches that nothing worldly has a voice there. The gigantic peaked windows send through their beautifully painted glass a richly coloured light full on the vast area. Everything in the structure points upward, and this symbolism is finally expressed in the lofty towers, which lose themselves in giddy heights. The victory over the kingdom of darkness is depicted in the repulsive reptiles, demonic forms, and dragon shapes which are made to bear up the pillars and posts, and to serve as water carriers.The wit of artists has made even bishops and popes perform these menial offices, just as Dante condemned many popes to the infernal regions.[314]
§ 104.13. The most famous architects were Benedictines. The master builder along with the scholars trained by him formed independent corporations, free from any other jurisdiction. They therefore called themselves “Free Masons,” and erected “Lodges,” where they met for consultation and discussion. From the 13th century these lodges fell more and more into the hands of the laity, and became training schools of architecture. To them we are largely indebted for the development of the Gothic style. Their most celebrated works are the Cologne cathedral and the Strassburg minster.The foundation of the former was laid under Archbishop Conrad of Hochsteden in A.D. 1248; the choir was completed and consecrated in A.D. 1322 (§ [174, 9]). Erwin of Steinbach began the building of the Strassburg minster in A.D. 1275.
§ 104.14. Statuary and Painting.—Under the Hohenstaufens statuary, which had been disallowed by the ancient church, rose into favour. Its first great master in Italy was Nicola Pisano, who died in A.D. 1274. Earlier indeed a statuary school had been formed in Saxony, of which no names but great works have come down to us. The goldsmith’s craft and metallurgy were brought into the service of the church by the German artists, and show not only wonderful technical skill, but also high attainment in ideal art. In Painting the Byzantines taught the Italians, and these again the Germans. At the beginning of the 13th century there was a school of painting at Pisa and Siena, claiming St. Luke as its patron, and seeking to impart more life and warmth to the stiff figures of the Byzantines. Their greatest masters were Guido of Siena and Giunta of Pisa, and the Florentine Cimabue, † A.D. 1300. Mosaic painting mostly on a golden ground was in favour in Italy.Painting on glass is first met with in the beginning of the 11th century in the monastery of Tegernsee in Bavaria, and soon spread over Germany and all over Europe.[315]—Continuation, § [115, 13].
§ 105. National Customs and the National Literature.
It was an age full of the most wonderful contradictions and anomalies in the life of the people, but every phenomenon bore the character of unquestionable power, and the church applied the artificer’s chisel to the unhewn marble block. In club law the most brutal violence prevailed, but bowed itself willingly or unwillingly before the might of an idea. The basest sensuality existed alongside of the most simple self-denial and renunciation of the world, the most wonderful displays of self-forgetting love. The most sacred solemnities were parodied, and then men turned in awful earnest to manifest the profoundest anxiety for their soul’s salvation. Alongside of unmeasured superstition we meet with the boldest freethinking, and out of the midst of widespread ignorance and want of culture there radiated forth great thoughts, profound conceptions, and suggestive anticipations.