Mysteries of the Middle Ages: And the Beginning of the Modern World

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Overview

The inimitable Thomas Cahill turns his eye on the dawn of the modern Western world in this intelligent, beautifully written exploration of medieval Europe, the fifth book in his acclaimed Hinges of History series.

After the long period of cultural decline known as the Dark Ages, Europe experienced a rebirth of scholarship, art, literature, philosophy, and science and began to develop a vision of Western society that remains at the heart of Western civilization today.

By placing the image of the Virgin Mary at the center of their churches and their lives, medieval people exalted womanhood to a level unknown in any previous society. For the first time, men began to treat women with dignity, and women took up professions that had always been closed to them.

The communion bread, believed to be the body of Jesus, encouraged the formulation of new questions in philosophy: Could reality be so fluid that one substance could be transformed into another? Could ordinary bread become a holy reality? Could mud become gold, as the alchemists believed? These new questions pushed the minds of medieval thinkers toward what would become modern science.

Artists began to ask themselves similar questions: How can we depict human anatomy so that it looks real to the viewer? How can we depict motion in a composition that never moves? How can two dimensions appear to be three? Medieval artists (and writers, too) invented the Western tradition of realism.

On visits to the great cities of Europe--monumental Rome, the intellectually explosive Paris of Peter Abelard and Thomas Aquinas, the hotbed of scientific study that was Oxford, and the incomparable Florence of Dante and Giotto--Cahill brilliantly captures the spirit of experimentation, the colorful pageantry, and the passionate pursuit of knowledge that built the foundations for the modern world. Bursting with stunning four-color art, Mysteries of the Middle Ages is the ultimate Christmas gift book.

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Author Information

Bio of Thomas Cahill

Thomas Cahill's appealing approach to distant history has won the attention of millions of readers in North America and beyond. Cahill is the author of four previous volumes in the Hinges of History series: How the Irish Saved Civilization, The Gifts of the Jews, Desire of the Everlasting Hills, and Sailing the Wine-Dark Sea. They have been bestsellers, not only in the United States but also in countries ranging from Italy to Brazil. He and his wife, Susan, also a writer, divide their time between New York and Rome.

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Additional Info

Imprint

Anchor

Filesize

11.65 MB

Number of Pages

368

eBook ISBN

9780307389497

Excerpt from: Mysteries of the Middle Ages by Thomas Cahill

The Cult of the Virgin and Its Consequences

In the first decade of the twelfth century, a little girl from the Rhineland town of Bermersheim, near Mainz, was offered by her parents as a sacrifice to God. Her name was Hildegard; her parents were Hildebert and Mechthild, a pious knight and his pious, well-born wife. Hildegard was eight years old when she was left for life with an anchorite named Jutta von Sponheim, who lived alone in a cell attached to the abbey church of Saint Disibod. (Disibod was a whimsical Irish monk-bishop of the seventh century who, disappointed at the lack of response to his preaching by his own countrymen, traveled to the Rhineland, became a protege of the English Saint Boniface, evangelist to the Germans, and founded Disibodenberg, where he seems to have been rather more successful than he'd been in his native land.) Not only does Hildegard's story embody many of the cultural currents that reached their ebb in her time or soon after; this outwardly obedient daughter, her childhood cut so cruelly short, was destined to become one of the most important women of her age.

Using a living child as a religious oblation was no Christian invention. Greeks and Romans had ancient traditions of chaste priestesses and Vestal Virgins; and in the oldest records of both pagans and Jews we find evidence of "set-asides," human offerings devoted to a divinity. In the earliest archeological records, these offerings are literal human sacrifices, such as the bog burials of Scandinavia. Jewish tradition yields such offerings in surprising numbers, starting with Abraham's willingness to sacrifice his only son and continuing through Joshua's command to his troops to "devote" the people of Canaan to God under "the curse of destruction"--that is,to execute them. In later times, prisoners of war were no longer slain outright, but firstborn males still had to be "consecrated to the Lord" and then "redeemed" by an animal sacrifice that was substituted for them, as happens to the newborn Jesus in the second chapter of Luke's Gospel. There is even a further echo of Jewish tradition in the offering of Hildebert and Mechthild, for Hildegard was their tenth child--and a tenth of one's wealth, the tithe of the Hebrews, was consecrated to God.

But none of these grand historical precedents would have impressed an eight-year-old, who must have spent many a lonely, creepy night tucked away in Jutta's sparsely appointed little hut. Anchorites are no longer an everyday occurrence--I have met only one in my life, and she was nutty as a fruitcake--but in the twelfth century they could be encountered in the neighborhood of many a monastery and even within the close of an urban cathedral. The word anchorite derives from a Greek verb meaning "to withdraw"; and we may best think of them as hermits who lived not in obscure caves but in association with a religious community. Your typical anchorite, though not necessarily a formal member of such a community, was nonetheless part and parcel of its sacred landscape, so much so that she (or he) would normally reside in a small room built into the wall of an abbey church or cathedral, a room with a view, so to speak--a slit or screened window that allowed the anchorite to attend church services but not so large as to make her visible to the merely curious.

The liturgy for the consecration of an anchorite was actually a funeral liturgy, for it was deemed that she was dying to the world and to herself. She was spoken of as already dead and with God in heaven. Her cell was called frankly her "burial chamber," and, dressed in her shroud, she was directed to sing a verse from Psalm 132: "This is my resting place forever, here shall I dwell for I have chosen it." The ceremony, attended gregariously by family, friends, and monastic benefactors, must strike us as a ghoulish sort of celebration, often ending with the ritual interment of the anchorite in her cell, from which it was expected that she would never again emerge. Brick was cemented on brick till the doorway to the cell was blocked and only the slit was left, enough for food and other necessities to be passed to her. If the ceremony did not conclude with an immuring, it concluded with a permanently locked door. But because this period is characterized by such variation in custom from one locality to another, we cannot be certain what was done in Hildegard's case, nor whether the growing girl was permanently locked away in thecustomary single room. We do possess one odd detail that may bespeak a certain mitigation: at least one servant was locked in along with the anchorites. Jutta and Hildegard were, after all, noblewomen and so could not be expected to manage even their much-reduced needs by themselves.