Who Should Inherit?

Primogeniture is actually a "generic" term for different systems of inheritance. The desire by human beings to create a system that determines where a deceased person's possessions goes produced a few options.

The commonly held understanding is that it means the first-born male heir—or eldest male descendant living—inherits. This was called agnatic or patrilineal primogeniture.  One variation on this—agnatic seniority—was used by the later Ottoman Empire, in which the eldest male sibling of the deceased ruler had the right to take over. The Ottomans and the Kievan Rus followed this, where succession passed through the siblings first and then back to the eldest son of the deceased.

What about females in the line of succession? Absolute primogeniture (also called equal or lineal) recognizes the eldest child regardless of sex, and did not exist until 1980, when Sweden amended its Act of Succession. Several monarchies (Netherlands, Norway, Belgium, Denmark, Luxembourg) have since changed their laws to allow inheritance from the eldest child, no matter their sex.

Queens Mary and Elizabeth from England's history existed because there were no male heirs; had there been any, those women would not have been chosen. This is now referred to as "male-preference" primogeniture. England changed to absolute primogeniture in 2013, a change that was simultaneously adopted in all related Commonwealth countries.

Matrilineal primogeniture exists, though it is rare. The Balobedu nation of South Africa are ruled by the Rain Queen, and succession passes to eldest daughter; males were completely excluded until 2021, when the late queen's son became the Rain King.

Male-centered primogeniture most likely arose from the need early on for a leader to be a military leader and to fight other tribes while females raised children. Also, a law that created a clear line of succession would help to prevent sibling arguments that could end in civil war. Younger sons went into military service or the Church. Also, the Bible offered the example of Isaac's son Esau being owed the birthright as elder over Jacob (and foolishly selling it to his younger sibling). In the Middle Ages, possession of land was a crucial part of the feudal system. Keeping large tracts of land intact was beneficial to the person at the top, and primogeniture (and entail, keeping the land together) was efficient.

Salic law, laid down in 500 and the basis of Frankish law, forbade women from inheriting, but also allowed partible inheritance, which meant estates could be divided to keep everyone happy. By Salic law, Edward III, as the eldest son of Isabella, the sister of King Charles IV of France, should have inherited the throne of France upon Charles' death in 1328. Nobles and prelates of France decided that inheritance through the mother was no longer appropriate, and denied Edward his right to the throne, providing the catalyst for the Hundred Years War. Semi-Salic law allowed women to inherit in the absence of any males. Quasi-Salic law refers to allowing inheritance—in the absence of appropriate males—not by a woman, but through her to her son.

Curiously, there was also something called ultimogeniture, or junior right, which is a tradition that allows inheritance by the youngest. Why would that be? I'll explain next time.

The Ottonian Renaissance

Although we use the term "renaissance" to refer primarily to a rebirth of art and culture that started in 14th century Italy and spread throughout Europe, the truth is that there were several rebirths of culture between the Fall of Rome and the 14th century. I discussed this a decade ago here. One such rebirth took place during the Ottonians in Germany in the 10th century.

Part of this was not so much a rebirth as an influx of culture from the east: the Byzantine Empire maintained some of what Western Europe "lost" during those centuries. When Otto I married his son, Otto II, to Theophanu, the daughter of the Byzantine Emperor John I Tzimiskes, he opened the door to Byzantine art and increased commerce. Another important figure involved was Gerbert of Aurillac, who became Pope Sylvester II during the reign of Otto III.

Sylvester II introduced the abacus for computation, and wooden terrestrial spheres for the study of the movement of planets and constellations. He composed De rationalis et ratione uti (Of the rational and the use of reason) and dedicated it to Otto III. Promoting reason over faith was an important step in the study of the sciences. Sylvester also promoted the expansion of abbey libraries, particularly at Bobbio Abbey (where St. Columbanus wound up earlier), which had almost 600 works.

Arts and architecture also stand out in an examination of the Ottonian Renaissance. The revival of the Holy Roman Empire brought inspiration to think on a grander scale and create art and buildings that reflected the grandeur to which the Ottonians believed they were heir. Large bronze doors on churches and gilded crosses became more common. Ottonian patronage of monasteries produced grand illuminated manuscripts. One of the most famous scriptoria was Reichenau, which produced Hermann of Reichenau. This is also the period of the literary output of Hrotsvitha of Gandersheim.

A campaign of renovating churches and cathedrals also took place. (The illustration is an ivory plaque showing Otto I on the left, shown smaller than the saints, presenting Magdeburg Cathedral to Christ.) Longer naves and apses were inspired by Roman/Byzantine basilica. Many of these church designs and re-designs came form the hand of Otto I's brother, Bruno the Great. Bruno extended the cathedral in Cologne to rival the size of St. Peter's in Rome (Cologne Cathedral burned down in 1248, alas). He also built a church dedicated to St. Martin of Tours.

Ivory carving and cloisonné enamels were also widely produced in this era. A major workshop for cloisonné enamels was established by Archbishop Egbert of Trier, using a Byzantine technique of "sunken" enamel, where thin gold wire was soldered to a base, and colored glass melted into the spaces, as opposed to the original style of affixing gemstones as an inlay.

I find Ottonian art, though lovely, does not tickle my interest as much as those "wooden terrestrial spheres" of Pope Sylvester, so I'm going to look into those for next time.

The Ottonians

The Ottonians, the Ottonian dynasty, the Ottonian Period in Germany—all these refer to the same topic: a Saxon dynasty of German monarchs (three of whom were named, natürlich, "Otto") that lasted from 919 until 1024CE.

Its founder was not named Otto, however (although his father was); that was Henry the Fowler (876 - 936), son of Otto the Illustrious. He was named primus inter pares (Latin: "first among equals") by the German dukes of Bavaria, Swabia, and Lotharingia during the Hungarian invasions of East Francia, and named Rex Francorum ("King of the Franks") in 919. He was victorious over the Hungarians and amassed sufficient power to be uncontested when he passed his title onto his son, Otto I (912 - 973).

Also known as Otto the Great, one of the chief historical events connected to him is the restoration of the Holy Roman Empire (which, it should be noted, was by any standard definitions neither "holy" nor "Roman" nor an "empire"). Sure, the administrative structure needed to manage the large area (shown in the illustration) was inherited from the Carolingians and Charlemagne, and they got it from the Romans, but it was nowhere near what the Roman Empire had been.

Pope John XXII, however, wanted Otto's help in controlling Rome and the Lombards. Otto was a good choice: he was geographically close to Rome, he had defeated the pagan Magyars in 955, making him look like a hero for Christianity, and he was (in some ways) the successor of a previous Frankish king, Charlemagne, who had been made Holy Roman Emperor in Christmas Day in 800. Otto, whose wife was the Italian Adelaide of Burgundy (931 - 999). stepped in for the pope and conquered the Kingdom of Italy in 961. He was crowned Holy Roman Emperor on 2 February 962.

The "re-creation" of the empire and its expansion to much of central and Southern Europe sparked a bit of a cultural resurgence, the Ottonian Renaissance. This continued under Otto the Great's son, Otto II, partially because of his marriage to Theophanu, the niece of Byzantine emperor John I Tzimiskes. This helped create an influx of Byzantine art into Europe.

Otto II died after only 10 years, aged 28. His son, Otto III, was only 3 years old; his regents were his mother Theophanu, his grandmother Adelaide, and Henry II ("the Quarrelsome"), Duke of Bavaria. When he came of age, among other things he installed his confidants as popes: Pope Gregory V and the science-minded Gerbert of Aurillac, Pope Sylvester II.

When Otto III  died young (aged 21 years), he was succeeded by Henry II, a son of his regent Duke Henry. Henry was crowned emperor by Pope Benedict VIII in 1014. He founded numerous dioceses and intertwined secular and religious administrative power. When he died childless in 1024, the Ottonian dynasty ended. The crown went to Conrad II, a great-grandson of a daughter of Otto I, starting the Salian dynasty.

Before we can move to other topics, however, I want to look more at the results of the Ottonian Renaissance. See you tomorrow.

Medieval Feminism

It is not fair to suggest that there was a "feminist movement" in the Middle Ages, but there were many examples of women who did not conform to what the Modern Age thinks of women in the Middle Ages being forced into "traditional" roles. Hrotsvitha of Gandersheim was one of those examples.

Hrotsvitha was a 10th century nun in the Abbey of Gandersheim who turned her hand to writing poetry, plays, and histories. The illustration, a woodcut by Albrecht Durer, shows her presenting her history of the Ottonian Empire to Otto the Great (he was previously mentioned here and here). As the first to write dramas in the Latin West, as the first female German poet, she became revered as a feminist icon in the 1970s.

Although she writes that any excellence in her work comes from God, not from her, she was not saying that she, as a woman, had no ability to produce excellence. This may have been just a literary convention, or even true humility. In fact, she sees that women taking the veil and taking vows of chastity shows the power of self-determination, rejecting the role of wife and mother that men would put them in.

Encouraged to write plays after reading the Roman playwright Terence, she produced works with female characters very different from his shrews and courtesans. Her female characters are virtuous, courageous, witty, and close to God. Even though she saw women as somehow weaker than men in worldly terms, she considered women more suitable instruments for God to bring about grace and salvation for them and those around them. She saw men as more susceptible to temptation and sin.

Her plays dealt with subjects important to women: marriage, rape, objectification. In Callimach, a man attempts to rape a beautiful woman, who prays for death. This she is granted by God before she can be violated. When the rapist resumes with her corpse, he is bit by a venomous serpent and dies. Dulcitius, aka Passio Sanctarum Virginum Agapis Chioniae Et Hirenae ("The Passion of the Holy Virgins Agape, Chionia, and Irena"), shows how a governor, Dulcitius, is foiled in his passion by three virgins. (You can read the play yourself here. It has fewer than 300 lines!)

Hrotsvitha clearly believed in an ideal of the virginal woman, which some dismiss as merely a Christian construct which prevents women from aspiring to higher goals, but it is argued that she was promoting a model of female integrity that encouraged more positive views of women in 10th century Germany.

Hrotsvitha was alive during the Ottonian Period in Germany, which I have barely touched on all these years. Let's get a better idea of what it was next time.

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.