Eleanor of Castile

Ferdinand III of Castile and his queen, Joan the Countess of Ponthieu, had two children together. One, a son named Ferdinand, went on to become Count of Aumale (inherited through Joan from her father). The other was a daughter named Eleanor (born 1241), after Joan's grandmother Eleanor, the daughter of Eleanor of Aquitaine. (Ferdinand had sons from a previous wife, one of whom, Alfonso, succeeded him.)

Her father's court was focused on education and the arts, and so she probably had a good education growing up. Castile had hoped to unite with the kingdom of Navarre. When Eleanor was 11 her half-brother, King Alfonso X of Castile, hoped she would marry Theobald II of Navarre. Another of Alfonso's desires came into play, however.

Alfonso wanted to claim Gascony, which was at the time possessed by England. Henry III of England objected to this and brought in the military. They settled the issue by a marriage of Henry's son Edward, technically Duke of Gascony, to Alfonso's half-sister Eleanor. Edward and Eleanor were married on 1 November 1254 at the monastery of Las Huelgas.

Eleanor was barely 13, and in their first year of marriage, spent in Gascony, it is believed she gave birth to a daughter who did not survive long. In 1255, Eleanor traveled to England with an entourage including some relatives. Edward followed later. 

Eleanor became part of the political story during the Second Barons' War. She supported her husband, calling for archers from Ponthieu. The leader of the barons, Simon de Montfort, confined her to Westminster Palace. After Edward and Henry defeated the Barons, Eleanor seems to have taken a more prominent role in government. She also started bearing children. Husband and wife were never far apart, even on military campaigns. Their son Edward was born in Caernarfon Castle because Edward was on a military campaign to Wales.

Because household records kept track of expenses, we know of one of the couple's cute traditions. Edward obviously abstained from sexual relations with his wife during Lent. On Easter Sunday, he allowed the queen's ladies-in-waiting to trap him in his bed; he would have to pay them a ransom to get out and visit his wife's bedroom on Easter morning. (On the first Easter after Eleanor's death, Edward paid her ladies the money anyway.)

Another economic facet of Eleanor is how she benefitted from persecution of England's Jews, and we'll look at that tomorrow.

Knitting, Part 2

The Virgin Mary sits a-knitting in this
14th-century painting in Siena by Lorenzetti

Naalbinding, a pre-knitting method of linking thread/yarn over on itself to make clothing, was discussed here. What we call knitting may not have been created independently, but was likely developed from naalbinding when someone realized there had to be a more efficient way of linking or looping the threads that passing the end and whole remaining length of it through the previously made links.*

Like with naalbinding, our earliest examples of knitting come from Egypt, where the dry climate and soil helped to preserve archeological finds. They were a product of Muslim culture, whose artistic patterns follow such traditions that we can date items by their style of decoration. (Early knitting used cotton and wool. Both could be dyed, resulting in multiple colors and elaborate patterns.) In Egypt, we have pieces of true knitting that date to as early as the 8th century CE.

In Western Europe, the earliest examples of knitting come from Spain. A set of 13th-century bishop's gloves and two cushion covers knitted in silk are found in the Monastery of Las Huelgas.

The earliest examples of knitting also show a "jog" in the pattern which suggests to experts (knitting experts, not archaeologists) that early knitting like early naalbinding was done in the round. Because of this, knitting was best used for smaller items that curved, such as gloves or mittens, socks, hats, and small bags or purses. Examples of back-and-forth knitting don't show up (at least, none have survived) earlier than about 1600. That is when we start seeing larger items of clothing, like knitted jackets, made from flat pieces that result from a two-needle back-and-forth knitting technique. We know, however, that knitting was regularly producing garments before 1600: a British Parliamentary Act of 1552 that limited the selling of wool mentions knitted shirts.

The artist Ambrogio Lorenzetti, whose art happens to provide examples of everyday living (as in this post on the hourglass), shows the Virgin Mary knitting in a 1345 painting.

*This is all different from crocheting, which did not show up until the 19th century.

Anonymous IV

[DailyMedieval is on semi-hiatus for the holidays, and I am re-cycling some older posts. Today's is new, however, inspired by a music CD I received: Secret Voices by the female a capella group Anonymous 4.]

In the post on the Las Huelgas Codex I mentioned that many of the pieces in the codex were new to scholars, but some were familiar. Where else had they been seen?

Notre Dame Cathedral

The collection of recorded polyphonic music produced by composers working at Notre Dame Cathedral from c.1160-c.1250 is referred to as the Notre Dame School of Polyphony. A majority of medieval polyphonic music up to this time was committed to parchment by the Notre Dame School.

This does not man, sadly, that we can set a manuscript in front of a modern musician and have the notes played as they were intended to be heard. Differences in musical notation and rhythm make it close to impossible to know precisely how these pieces were performed centuries ago. For us to make an attempt is only feasible because of analyses of music written by a handful of people. Franco of Cologne was one, John of Garland another (best estimates are that he was keeper of a bookshop in Paris who edited two treatises on music), and the later writing of the industrious student known only as Anonymous IV.*

The "Alleluia nativitatis" by Pérotin

Thanks to Anonymous IV, we have contemporary definitions of what is meant by organum (a plainchant melody with one voice added to enhance harmony), discantus ("singing apart"; a liturgical style of organum with a tenor plainchant and a second voice that moves in "contrary motion"), the rules for consonance and dissonance, and other terms and rules of polyphony.

One "ironic" result of the writing of Anonymous IV is that. through him, we know the names of two composers who would otherwise have been lost to obscurity. He writes about Léonin and Pérotin with such detail and feeling that, although Anonymous would have lived several decades after they lived and composed, they were presumably so famous that their reputations lived on in the school. Léonin and Pérotin are some of the earliest names of artists that we can actually link to their works.

As much as we have been given by the treatise of Anonymous IV, his own identity and details of his life are unknown. Two partial copies of his work survive at Bury St. Edmunds in Suffolk, England; one is from the 13th century, and one from the 14th. Clearly, his work was considered important enough to copy and preserve—but not his name. He was likely an English student who was at Notre Dame for a time in the late 13th century. Thanks to his interests, we understand more about the development of medieval polyphonic music than we otherwise would have.

*His name is the inspiration for a modern female a capella group.

The Music of Las Huelgas

From a facsimile edition of the Codex

[DailyMedieval is on semi-hiatus for the holidays, and I am re-cycling some older posts. Today's is new, however, inspired by a music CD I received: Secret Voices by the female a capella group Anonymous 4.]

The Abbey of Santa Maria la Real de Las Huelgas was founded in 1187 by Alfonso VIII of Castile, at the request of his wife, Eleanor of England, the daughter if Henry II an Eleanor of Aquitaine. It was founded on land that was going unused at the time; huelgas meant land that is fallow, although nowadays it is used to refer to "labor strikes."

Its origin granted it many royal privileges: it was exempt from taxes, held many valuable items that belonged to royal families, and became a traditional site for many royal weddings, such as that between Edward I of England and Eleanor of Castile. The monastery became Cistercian in 1199 and the burial sit for the royal family. Two of the first royal burials were the founders, Alfonso VIII and Eleanor of England.

Known for the privileges of its abbess, and for the hospital founded by Alfonso VIII, Las Huelgas gave to the modern world one more fascinating item left over from the Middle Ages: music.

In 1904, while doing research on the origins and development of Gregorian chant, two Benedictine monks found a manuscript in Las Huelgas containing 45 monophonic pieces and 141 polyphonic pieces. They are written on fairly durable parchment in red and black ink with Franconian notation (briefly discussed here and here). The Las Huelgas Codex includes many pieces familiar to scholars, but also pieces that are not recorded elsewhere.

Most of the pieces are from the late 13th century, when it is known that Las Huelgas had a 100-woman choir. We have to assume that, despite the Cistercian rules against the performance of polyphonic music, the choir of Las Huelgas performed these pieces at will, thanks to their royal patronage and privileges (the abbess was allowed for a long time to call synods, confirm abbesses of other monasteries, and even hear confession and grant absolution!).

Here is a recording of the Benedicta et venerabilis II and the Benedicamus dominu, with pictures from the Abbey's architecture and art. Enjoy!