The Apostle of the Gauls

Gregory of Tours tells the story of the 3rd century Pope Fabian sending seven bishops to different parts of Gaul. One of them, Martial, went to Limoges, where he was very successful at converting locals to Christianity. After his death, his burial site outside of Limoges became an important pilgrimage site, growing in popularity over the years and generating many stories of miracles.

The 9th century Miracula Martialis ("Miracles of Martial") gives an idea of how popular he was: it pushes his origin story earlier in time so that he was made a bishop by St. Peter himself (illustrated here in a fresco from the Palais des Papes in Avignon, commissioned by Pope Clement VI from Matteo Giovannetti).

The Miracula gives him credit for evangelizing all of Aquitaine and miracles such as reviving a dead man by touching him with the staff given to him by Peter in the illustration. The medieval compendium of saints' lives called the Golden Legend adds casting out demons to his repertoire.

Martial's intercession was invoked during an epidemic of ergot poisoning in 994. The staff mentioned above (more accurately, a staff that is said to have been Martial's staff) is kept in the Basilica Saint-Seurin in Bordeaux and used in processions during outbreaks of illness to invoke his aid.

His importance in southern Gaul and link (however fictional) to Peter made him attractive to Clement VI, leading to the above-mentioned chapel. His burial site became the Benedictine Abbey of Saint-Martial with a library second only to Cluny's. The chronicler Geoffroy du Breuil worked in the library. The Abbey was damaged so badly in the 19th century that little remained; some manuscripts had been bought by King Louis XV and were therefore saved and are noe in the Bibliotheque Nationale.

Ergot epidemics were quite common in the Middle Ages, so divine intervention was frequently sought. Let's talk about ergot poisoning in the Middle Ages next.

The Pope's Artist

When Pope Clement VI wanted to build a new chapel connected to the papal complex in Avignon and have it lavishly decorated, he called on Matteo Giovannetti. Giovanetti (c.1322 - 1368) was in his 20s at the time, and according to the oldest documentation we have about him, he was a priest.

He received a large salary to lead a team to design and decorate chapels, the Grand Audience room (where the pope meets visitors), the Consistory (where the pope meets with the cardinals), and more. He created altarpieces and paintings that the pope would offer to churches and monasteries.

One of his chief projects was to paint the new Saint-Martial Chapel, begun in 1344, attached to the Tinel, the pope's grand dining hall. The chapel's paintings tell the life story of Saint Martial in 13 scenes. Giovannetti even worked Clement into one of the frescoes (see illustration).

He also decorated the chapels of St. John located below the chapel of Saint Martial. He included events in the life of John the Baptist as well as John the Evangelist, including their parents. The frescoes deteriorated over time, but in the 1990s a restoration program began.

Giovanetti remained employed by the popes after Clement's death. He accompanied Pope Urban V on Urban's return to Rome in 1367. We are told that he worked on paintings at the Vatican Palace. It is the receipts for his payment that allow us to identify his works and track his movements. After 1368, however, we have no records for him, and we do not know where he ended up or how long he may have lived after that. In 1368 he was only in his late 40s, and his lifestyle would have kept him well-nourished and housed, so "old age" seems an unlikely ending. We simply do not know anything more about him, but the Vatican records allow us to give attribution to his work—not always the case for medieval art.

Why was Saint Martial important to Clement VI, so much so that he was the subject of a new chapel? I'll explain next time.

Clement's Preferences

Clement VI (1291 - 1352) was a different pope from some of his predecessors. One of his first acts was to promise gifts to every cleric who came to Avignon to present himself to the pope in the first two months of his papacy. This attempt, apparently, to buy loyalty, along with Clement's move to reserve appointing abbots so that he could use the appointments as favors, was justified by saying "Our predecessors did not know how to be pope." (Incidentally, so many clerics appeared in Avignon that the estimate was made that the number of clerics in all the parishes of the world was around 100,000.)

His favoritism did not stop there. A mere four months after his election, he created several new cardinals, three of whom were his nephews. During his reign, he created cardinals of nine relatives. This practice of promoting a pope's relatives gave rise to the term "cardinal nephew." It was fairly standard practice, although his predecessor only created one and his successor only three.

Unlike Benedict before him, Clement had no intention of leaving France for Rome, and set about on a building campaign to expand the Avignon papal complex. Benedict had built a palace—the Palais de Papes—that suited his tastes as a Cistercian. Clement, however, was accustomed to more grand living, and added extensively and opulently to it. A new chapel dedicated to Saint-Martial was attached to the Palais and filled with hunting and fishing scenes—more suited to a king's decor than a pope's—and he had large tapestries installed.

Fortunately for him, Benedict's organizational skills and less-extravagant lifestyle left Clement with a large treasury with which to carry out his plans of elegance. He hired composers and musicians of the Ars Nova style to always be around, including Philippe de Vitry.

Clement died on 6 December 1352, aged about 60. He had suffered from kidney stones for many years. At the end, a tumor broke out into an abscess and fever, and he died within a week. His elaborate tomb (see above) was surrounded by 44 statues of his relatives; he had planned it himself and commissioned the sculptor; it was ready prior to his death. (In 1562, Huguenots destroyed the 44 statues.) Historians agree that Clement may have been a good pope in many ways, but he was not a holy person.

The artist who decorated Clement's new chapel was Matteo Giovannetti. He did quite a lot of work for Clement, and stuck around after that. I'll tell you more about him and his papal projects tomorrow.