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 Book of Life

In the previous post, I mentioned that a certain name showed up in the Liber Vitae, a title which literally means "Book of Life" but was actually a list of names associated with a monastery or convent. There are several of these, also known as confraternity books.

Confraternity books exist for the Abbey of St. Gall, for Reichenau Abbey, and for Durham Abbey, among others. The Durham book was recorded as early as 840, and continued into the later 11th century. A reorganization in the 12th century seems to have resulted in the loss of some pages. Recovered from the Cotton Library, it now resides in the British Library. Despite the incomplete nature of what we have, confraternity books still have value in helping us understand more about the past.

One of the values of the confraternity books is to linguists and historians, who can make surmises about culture and language from the names. The New Minster Liber Vitae is arranged in columns, with typical Anglo-Saxon names—Dunstan, Leofric, Ethelred, Wulfgar—in the center. To the left, however, are added names that were common after the Conquest in 1066: Baldwin, Simon, Richard, William. In it we see the cultural shift from the Germanic roots of the Anglo-Saxons to the new Norman French/Latin language shifts.

The picture here is from the New Minster Liber Vitae, produced in Winchester in 1031. It portrays King Cnut and Queen Emma, here called Ælfgifu. I'll tell you about her tomorrow.

The Plan of St. Gall

In April 2013, near Meßkirch in southern Germany, construction will start on a monastery. It is expected to take 40 years to complete, because the builders will use 9th century tools to build it. This alone should be sufficient to ensure its celebrity on the Internet and in the hearts of medievalists.

But wait ... there's more. The design of the monastery complex is from a document that is 1200 years old. The Plan of St. Gall is a 122cm x 77.5cm manuscript that was discovered in 1844 when a pamphlet containing a 12th century life of St. Martin was unfolded. It shows the layout of 40 structures and spaces for gardens and orchards and a road. It includes 333 labels that identify the buildings and their purpose.

To be clear: the Plan of St. Gall isn't the actual layout of the monastery at St. Gall; the terrain wouldn't allow it. An inscription on the Plan tells us that it was a gift to the Abbot of St. Gall, Gozbertus (fl.816-837), who was responsible for having the monastery's church built in the 830s. According to the men* who brought the Plan to modern attention, it was based on a design made at two Carolingian reform synods held in 816 and 817 in Aachen intended to formalize Benedictine culture.

For modern scholars, its value is as a focal point for study about Carolingian monastic life and 9th century architecture. The ongoing "St. Gall Project," administered by the Center for Medieval and Renaissance Studies at UCLA, is not only creating the to-scale dimensions and models of the structures, it is also re-creating digitally the libraries of the monasteries at St. Gall and Reichenau (mentioned here). Despite the idealized nature of the design, it does have a carefully laid out scale based on multiples (and halves) of the number 40. Clearly there was careful thought put into the design. By constructing the "ideal" Benedictine monastery based on the St. Gall manuscript, and re-creating the monastic complex including the written works that would have informed its inhabitants, the project hopes to gain grater insight to the culture and mindset of the early 9th century.

*Medievalist Walter Horn and architect Ernest Born produced a three-volume analysis of the document in 1979, The Plan of St. Gall (Berkeley, Calif., University of California Press).