Dominican Dignitaries and Private Preaching at Papal Avignon Part I: The Sermon by Pierre de Palme (12 March 1340)

ABSTRACT

Private preaching at papal Avignon (or in general, for that matter) has yet to receive much scholarly attention, in part because the texts of private sermons are not always easy to come by. The survival of two private sermons, both by Dominican dignitaries and both delivered to the same audience (a cardinal and his familia) in the same venue during the same Lenten preaching cycle, provide an opportunity to explore the phenomenon of private preaching at the Avignonese curia. In the first article of a three-part series, I present the edited text of the sermon by Pierre de Palme, Prior of the Dominican Province of France; the second text will appear in part II, with analysis and observations in the third and final part.     

Sermon,preacher and society in the middle ages

Over the past twenty-five years, studies produced on medieval preaching and sermons have grown so considerably that they now constitute a discipline known as sermon studies. The discipline incorporates various methodologies which include exegesis, liturgy, theology, social history, cultural history, literary criticism, textual criticism, and art history. Therefore, this essay can only be a sampling of some of the literature which has recently appeared. The essay is ordered under the headings: ‘sermon’, ‘preacher’, and ‘society’. The section on sermons isolates methodological issues which form the basis of sermon studies. It outlines the criteria scholars have established to use medieval sermons as an historical tool. The second section investigates the diversity of preachers and considers their role as educators. The third section on society considers those studies which have examined sermons as sources which reflect as well as influence moral and intellectual tendencies in the Middle Ages.     

Sermon,preacher and society in the middle ages

Over the past twenty-five years, studies produced on medieval preaching and sermons have grown so considerably that they now constitute a discipline known as sermon studies. The discipline incorporates various methodologies which include exegesis, liturgy, theology, social history, cultural history, literary criticism, textual criticism, and art history. Therefore, this essay can only be a sampling of some of the literature which has recently appeared. The essay is ordered under the headings: ‘sermon’, ‘preacher’, and ‘society’. The section on sermons isolates methodological issues which form the basis of sermon studies. It outlines the criteria scholars have established to use medieval sermons as an historical tool. The second section investigates the diversity of preachers and considers their role as educators. The third section on society considers those studies which have examined sermons as sources which reflect as well as influence moral and intellectual tendencies in the Middle Ages.     

‘Christ and the soul are like Pyramus and Thisbe’: An Ovidian Story in Fifteenth-Century Sermons

ABSTRACT

The sophisticated ways in which several fifteenth-century preachers used Ovidian stories and their allegorical interpretations prove that late medieval sermons represent a promising but neglected area for classical reception studies. Preachers – whose names are today almost forgotten by scholars but whose sermons circulated at large in early printed books – considered Ovidian allegories as powerful instruments for instructing, entertaining, and moving their audiences. This article begins with a review of the literature on the presence of Ovid in sermons, and discusses the methodology to study the transformation of classical myths in preaching. Then, it focuses on four sermons that incorporated the story of Pyramus and Thisbe, which appears in the sermon collections written by Conrad Grütsch, Johann Meder, and Jacobus de Lenda. The repeated use of this Ovidian myth allows us, therefore, to investigate how different preachers appropriated and re-elaborated this story, and the role that it played in diverse contexts. Finally, the analysis of these texts also sheds light on the use of the Ovidius moralizatus in fifteenth-century sermons.     

Preaching the Cross: Liturgy and Crusade Propaganda

Abstract

This article is an exploration of preaching on the cross very broadly from the time of Ambrose of Milan and Augustine of Hippo onwards. After a brief examination of some early medieval examples, the discussion focuses on Rabanus Maurus and a sermon attributed to Odilo of Cluny. The discussion then centres on the High Middle Ages: sermons by Bernard of Clairvaux, Alan of Lille, an anonymous Cistercian abbot, the vita of Marie d'Oignies, Alexander of Ashby, and model sermons by Humbert of Romans. Before concluding, it explores opposition to the cross, as expressed in inquisitorial documents. The essay also includes crusade preaching, as well as liturgical preaching on the cross or involving the cross, and sermons on the cross that could serve for more than one purpose.     

Les sermons sur saint Antoine et le bon usage de la prédication comme ‘vertu’

Abstract

One of the main reasons for Saint Anthony of Padua’s holy fame and reputation is his activity as a preacher. This article begins with a review of the hagiographical legends referring to preaching as a virtue or gift of divine grace, and the importance of Iulianus of Speyer’s works in spreading the concept of preaching as a virtue is hightlighted. Then follows a discussion of a series of texts written between about 1250 and 1350, which seeks to shed light on the identification of recta et fructuosa praedicatio (right and fruitful preaching activity) with Anthony’s wisdom (sapientia) or knowledge (scientia). It can be seen that this message was expounded over a relatively broad timespan from the 1280s onwards. There is also evidence of an interdisciplinary problem, which seems to involve not only the preachers belonging to the Order of Friars Minor, but also those who were called to preach to them from outside the Order itself. Three possible reasons for the appearance of preaching on the list of virtues are suggested. It may have originated from the attempt to assimilate contemporary preachers with the model of holiness provided by Anthony or from an effort to create a counterbalance to the vices of the tongue that were supposed to plague the preachers’ audiences. It may also be an indicator of a more general debate on praedicatio as a gift of divine grace in opposition to those who believed it was merely the result of a studied technique.     

Gender and Sanctity in the Middle Ages

This review essay examines recent trends and developments in the study of medieval sanctity and gender, looking at the range of approaches which have been and are being taken by both historians and literary scholars to a wide variety of hagiographic texts. Two recent studies of medieval hagiography are reviewed, John Kitchen, Saints' Lives and the Rhetoric of Gender: Male and Female in Merovingian Hagiography and the collection Gendered Voices: Medieval Saints and Their Interpreters edited by Catherine Mooney. These works are representative of differing approaches to the issue of male authors' representations of female sanctity and concomitant issues of gender ideology.     

A Fifteenth-Century Painted Sermon at the Door of the Cathedral of Bressanone

Abstract

This article argues that a portion of the fifteenth-century frescos at the entrance door from the cloister to the cathedral of Bressanone can be seen as a painted sermon. The analysis draws on the frescos of two vaults and the interaction between words and images. In the first vault, just above the entrance of the church, the frescos present not only the contents of a sermon, but also its structure, namely an episode from the Gospel, a catechetical pattern, the quotation of auctoritates and a social goal to be achieved. The frescos of the second vault represent the contrast between virtues and vices using the pairs presented in Matthew 24. 40–41. This text was read by the medieval exegetical tradition as a scheme for the different status of Christian life, thus this vault could be seen as an elaborate catechetical pattern with a large system of biblical quotations. Moreover, the structure of the frescos of the second vault can be read as a sermo modernus based on the divisio of Matthew 24. 40–41. Finally, the comparison with a portion of a sermon by Bernardino da Siena on the theme of avarice confirms that the elements represented in Bressanone were really used both by preachers and painters.

In this way, the images of the cloister are a sermon, which continually preaches to anyone entering or leaving the church, thus organizing the public space as a 'theatre of memory' and offering a message readable at different levels.     

Towards a Critical Anthology of Pre-Modern Bosom Serpent Folklore

We present a preview of our work for a critical anthology of medieval and pre-medieval fantastic folklore narratives about animals in the human body. These are generally referred to among English-speaking scholars as ‘bosom serpent’ legends. In particular, we provide here two of the most ancient texts from the section of the anthology on medieval Scandinavia. We also offer two little-known narratives, a medieval Latin saint’s life and one from the Byzantine Greek world.     

The margin to act: a framework of investigation for women's (and men's) medieval art-making

ABSTRACT

One of the challenges faced by medieval art historians is to recognise the diverse roles women played in matters of medieval art, while seeing also the impact of society on their artistic choices. By tracing how one work of art can open new critical insights into another, and how disparate objects and buildings – if thought through together – can illuminate our understanding of the Middle Ages overall, we can discern the multi-layered stages of the creative process. The term ‘makers of art’ is proposed as a shift away from the commonly used words – artist, patron, recipient – and the preconceived notions about the individuals who fulfilled those roles. The paper also lays out a framework – ‘the margin to act’ – for the investigation of the multi-levelled interactions of women with medieval art and, ultimately, the writing of history.     

Wild Birds of the Italian Middle Ages: Diet,Environment and Society

ABSTRACT

Wild birds are intrinsically associated with our perception of the Middle Ages. They often feature in heraldic designs, paintings, and books of hours; few human activities typify the medieval period better than falconry. Prominent in medieval iconography, wild birds feature less frequently in written sources (as they were rarely the subject of trade transactions or legal documents) but they can be abundant in archaeological sites. In this paper we highlight the nature of wild bird exploitation in Italian medieval societies, ranging from their role as food items to their status and symbolic importance. A survey of 13 Italian medieval sites corresponding to 19 ‘period sites’, dated from the fifth to the fifteenth centuries, reveals the occurrence of more than 100 species (certainly an under-estimate of the actual number). Anseriformes and Columbiformes played a prominent role in the mid- and late medieval Italian diet, though Passeriformes and wild Galliformes were also important. In the late Middle Ages, there is an increase in species diversity and in the role of hunting as an important marker of social status.     

Bolton Castle and the Practice of Architecture in the Middle Ages

Abstract

It is suggested in this paper that our view of the medieval master mason's methodology, in respect of building design, tends to be a partial one; that it represents the ideal, and fails to take account of some medieval architects' inherent empiricism. A good deal is made of comparatively scarce documentary evidence, and of analyses of completed buildings chosen for their architectural coherence. For this reason, perhaps, our perception of the medieval master mason is sometimes too close to that of the modern architect. It is rare to examine a building's construction sequence in attempting to illuminate the subject: Bolton Castle is a building where it has been possible to reconstruct the process of design, and the conclusion drawn from it is that the design was not cut and dried prior to the commencement of building operations; rather it evolved as they progressed. It is shown that, in this, Bolton was by no means atypical and that such cases are a direct result of the medieval mason's craft based approach to his profession.     

Sermons,Preaching, and Liturgy: Practices,Research Methods,and the Case of Giordano da Pisa

This article analyses the relationship between sermons, preaching, and liturgy within the Order of the Friars Preachers in late thirteenth- and early fourteenth-century Italy. It provides an account of a specific method for the study of the medieval ‘modern sermon’ by investigating the reportationes of the sermons given by Giordano da Pisa, a Dominican friar who preached in Florence and Pisa between 1302 and 1309. The investigation using this method shows that the sermons’ subjects and arguments, often considered by historians to be a direct consequence and reflection of Florence’s social and economic reality, had in fact also much to do with the evangelical story or epistolary passage assigned to the specific date of the liturgical calendar: there are thus two principal influences rather than just one. This approach to Giordano’s sermons provides a new perspective on his work as a preacher by being more attentive to the internal construction mechanisms of sermon discourse.     

The Romance of Grime’s Graves

Abstract

The sculptures of the chapter house at York Minster are important examples of medieval art which hitherto have received little attention from scholars. Two problems posed by the sculptures are examined: the extent of restoration, and the iconography.

Some of the chapter house sculptures were mutilated and later restored; medieval and modern work contrast in stone preservation and in methods of attachment to the canopy. Fortunately the figures, which are full-length sculptures rather than heads, for the most part escaped destruction or later attempts at improvement.

The sculptures probably symbolise moral virtues and vices. Individual sculptors differed in their portrayal of allegorical subjects to illustrate this theme. A progressive group chose ordinary animals and attempted a realistic depiction. A conventional group opted for the more stylised, fantastical monsters of an archaic tradition.

Finally, Dr Eric Gee's identification of ‘toothache’ figures is reconsidered.