The Pillar of the Boatmen

The figure shown here is called Cernunnos. He is  the "horned god" of ancient Celtic culture, representing fertility, the natural world, the underworld, and wealth. (Deities of the underworld are linked to wealth because precious things are dug up from the earth; Greek Hades was the same.) The image of the male figure with horns/antlers is found in over 50 carvings, one of which is on a stone pillar linked with the location of Notre Dame.

The Cathedral of Notre Dame of Paris was built over the site of an earlier church of St. Stephen (actually, since this was in France, "St. Etienne"). St. Etienne was built on the site of a Gallo-Roman temple. A carved stone pillar with the image to the left—and several other images—was found in 1710 while excavating a crypt under the nave of Notre Dame. The pillar had been broken into pieces, the blocks used to reinforce foundations. When reassembled, it was clear that it had been part of a much earlier pagan temple on the site.

It is now called the Pillar of the Boatmen because it was erected by a guild of Gaulish sailors, who dedicated it to Emperor Tiberius (which dates it between 14 and 37CE). The carvings show sailors and several deities.

One interesting fact about the pillar and the horned figure is that this is the only recorded use of the name Cernunnos in any early source. The name is unusual, and next we will see if we can figure out whence it comes.

A Note on Notre Dame

Artist's conception on what buttresses
would have looked like early on.

On 15 April, 2019, a fire ravaged Notre Dame Cathedral in Paris. There was no question that re-building was necessary. The important question, however, was how it should be re-built? Should they use recent 3D scans of the structure to restore it to the same look as just before the fire? Or should it be altered to reflect current culture? After all, all buildings are a reflection of their times. Even without the benefit of a class in architecture, we can tell if a building is "old" as in outdated or "old" as in historic or antique.

So how should Notre Dame be rebuilt? Re-designed for a new age? Or restored to an earlier version; if so, which version? Because it hasn't always looked the way it did on 14 April, 2019.

Before it was Notre Dame, the site (rather, right next to it) in the 7th century held an Early Christian basilica dedicated to St. Stephen. There is evidence that a church had existed there since the 4th century, but we are not certain if St. Stephen's was that church, or if it replaced the earlier building. It was 230 feet long—large for that time. This building was renovated in 857 and became a cathedral; that is, the residence of a bishop. After that, a Romanesque-style renovation and enlargement took place; even that was soon deemed too small, given the speed with which Paris was growing.

In 1160, therefore, Bishop Maurice de Sully decided to demolish the Romanesque structure, recycling the stone for his plan of a cathedral in the Gothic style. This new style had already been put into service in St.-Denis, and de Sully was keen on it. The cornerstone was laid 25 April, 1163, but the cathedral was not completed until many decades later, after several phases.

Even so, the new cathedral's transepts were already being remodeled in the mid-1200s, and separately in 1240 the north transept received a gabled portal with a rose window. The flying buttresses were not part of the original plan, being added in the 1200s. They were replaced with larger ones a hundred years later.

1699 saw the decision by King Louis XIV to make extensive modifications. The French Revolution claimed Notre Dame for the public, and removed much of its artwork. In 1801 Napoleon returned it to the Catholic Church, which then began restoration. By 1831, it was in such need of repair that Victor Hugo wrote a novel, now called The Hunchback of Notre Dame, to raise interest and funds for the restoration.

The building has always been changing, and will again. What it looks like after the next round of restoration will be eagerly awaited (and no doubt criticized).

Even before the basilica to St. Stephen, however, there was a pagan temple on the site. There is no record of this; its existence has been extrapolated from a single sculptural find connected with Notre Dame. I'll tell you about it tomorrow.

Medieval Architecture

7th c. Asturian Church of Santa Cristina de Lena, Spain

This will be a brief introduction to the styles of medieval architecture that existed over the centuries. They are given names to represent the eras, but keep in mind that there was no firm dividing line between the different eras. In order to compare apples to apples, we will look at church architecture for examples of the evolution of building styles.

Early Christian
Prior to a uniform style of architecture for churches, christian churches often simply appropriated pagan temples of worship. One of the most famous buildings of antiquity, the Parthenon, was converted to a christian church just before 600CE, becoming the Church of the Parthenos Maria [Greek: "Virgin Mary"]. A common style was the basilica [Greek "royal"], which was originally a large building for public gatherings. Basilicas had a long main aisle (the nave), supported by columns and flanked by side aisles. A wide area at one end, the apse, became the location of the altar. A basilica often had a dome. This basic floor plan became popular for churches, especially in the Eastern Empire. The most famous basilica is the Hagia Sophia [Greek: "Holy Wisdom"] in Istanbul (was Constantinople).

Pre-Romanesque
This term is often used to denote the collection of different styles that arose during certain dynasties or in different cultures, such as Merovingian, Carolingian, Ottonian, Asturian, Norse; it is a catch-all term that includes the Early Christian as well.

Romanesque
Romanesque is a modern term that describes the style that was prevalent in the 11th and 12th centuries throughout Europe. Brought to England by William the Conqueror, there we call it "Norman." Romanesque buildings are known by their massive stone structure with barrel vaults and round (or sometimes slightly pointed) arches. Tourists can experience Thanksgiving in a Romanesque building described here.

Gothic
Gothic architecture has appeared here. Its chief elements are soaring height, large glass windows allowing more light than previous styles, pointed arches, (often) flying buttresses to support the thin walls. The first church to combine several of these elements into the first truly "Gothic" church was the Abbey of St.-Denis. This style is what folk most often picture when they think of medieval churches.

About eight miles south of St.-Denis is the world's most recognizable Gothic cathedral, Notre Dame, which suffered from a devastating fire a couple weeks ago. I want to say something about that next.

Anonymous IV at Notre Dame

[Mindful of the tragedy at Notre Dame of Paris on 15 April, 2015, I re-present this post from 2012.]

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.

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.

And then, Champagne

William of Champeaux (c.1070-1122) was a student of Anselm of Laon, and may have helped to compile the Glossa interlinearis. He may also have been born many years earlier than the date assumed, since he was appointed Master of Notre Dame in 1094, and 24 years old would have been a very young Master to handle some of the issues of the day. He taught at the cathedral school of Notre Dame, and like Anselm was a proponent of Realism.

A medieval university lecture

He also may have studied under the Nominalist Roscellinus of Compèigne. The Nominalists believed that universal/abstract concepts of Realism (which existed independent of our perceptions of things (think of Plato's myth of the cave) did not exist. Instead, there are only particular things: there is this chair and that chair, but no universal and abstract chair from which your and my chair derive. Words were either significant or made up. A significant word was intimately connected with the concept it described. Examples of words that are not significant are "chimaera" and "blictrix" and "hircocervus" because they are not real things. The extension of this approach leads to difficulties, because (as we know) we can talk about things that are untrue.

William, however, rejected Nominalism. He and Anselm of Laon were Realists. William is considered by some to be the founder of an extreme form of Realism, perhaps as a result of refining his views during debates with Peter Abelard.

One of the most famous students in Paris was Peter Abelard, more of whose writings have survived and been widely read than William's. Abelard debated with William numerous times over these concepts and others. Although Abelard (according to his own biographical work) lost every time, he calls William a jealous and defeated and discredited man, and claims that William was driven from the Paris schools. Even so, Abelard followed William in order to study under him further, which may be more telling than Abelard's criticisms of a man to whom he lost several arguments.

It is true that William left Paris. He went to the Abbey of St. Victor just outside of Paris. Two of his students from this time were Hugh of St. Victor and Bernard of Clairvaux, both of whom would greatly distinguish themselves. William continued to gain the attention of his superiors, as well, who moved him wherever they felt the need for a calm head and a devout reformer.

...and then, Champagne.

Champagne is a sparkling wine produced via a secondary fermentation in the bottle that produces carbonation. It is properly only made from grapes grown in the Champagne Valley region in northeast France, the boundaries of which are determined by law. This Champagne wine was first made notable when it was used at special occasions such as French coronation festivities. It was William in 1114, in his capacity as bishop of Chalons-sur-Champagne, who issued the Grande charte champenoise (Great Champagne Chart). This "defined the agricultural and viticultural possessions of the Abbey of Saint-Pierre-aux-Monts, thus giving rise to the modern Champagne wine region." [reference] Although the boundaries since then have been amended a few times, it was William of Champeaux, extreme Realist and theologian, who first determined what could rightly be called "champagne."

*I apologize for not being better at explaining philosophical concepts; also, I do not even want to try to get into more detail, lest I get us both bogged down.