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+Jean Bellegambe, Madonna and Child with Saint Bernard
French, 1509
New York, Metropolitan Museum of Art, Department of European Paintings |
Saint Bernard of Clairvaux, born in 1090, and famous in his own lifetime, still speaks to us today. His life was one filled with important business, on a trans-European scale, but was also one filled with deep spirituality and profound thought. He was at once monk, abbot, theologian, poet, prolific writer of letters, diplomat, spiritual advisor and councilor to kings, queens, other monastics, bishops, cardinals and popes. His life, frequently on the move, is a reminder that the Middle Ages were far less static and provincial than we often think. An appreciation of his life and influence was given by Pope Benedict XVI in an address on Saint Bernard at the General Audience on October 21, 2009. You can read it in full here.
In 1113, when he was 23, Bernard de Fontaine (and several of his relatives) entered religious life in the recently founded Monastery of Citeaux (or, for those who can read French, here). This monastery had been founded in 1098 by a group of monks from the Benedictine monastery of Molesmes. These monks were seeking a more austere life, in accord with the original rule of Saint Benedict, than that currently being practiced in Benedictine monasteries. Citeaux, therefore, became the first monastery of what would become the Cistercian order or family of monks, which also includes the Trappists.
In 1115, when he was only 25 years old, Bernard was chosen as abbot of the Cistercian “daughter house” monastery of Clairvaux. He remained abbot of Clairvaux until his death at age 63 on August 20, 1153. He was canonized in 1174.
Saint Bernard is principally known to art historians as the author of some comments on the excessive display of fantastical imagery in the monasteries of the mainstream Benedictine order, especially as represented by the great Abbey of Cluny, the principal Benedictine monastery in France at that time. Frequently quoted, they give us a good idea of what the decorations at Cluny once looked like (the monastery itself was almost entirely destroyed during the French Revolution),
“Again, in the cloisters, what is the meaning of those ridiculous monsters, of that deformed beauty, that beautiful deformity, before the very eyes of the brethren when reading? What are disgusting monkeys there for, or satyrs, or ferocious lions, or monstrous centaurs, or spotted tigers, or fighting soldiers, or huntsmen sounding the bugle? You may see there one head with many bodies, or one body with numerous heads. Here is a quadruped with a serpent's tail; there is a fish with a beast's head; there a creature, in front a horse, behind a goat; another has horns at one end, and a horse's tail at the other. In fact, such an endless variety of forms appears everywhere that it is more pleasant to read in the stonework than in books, and to spend the day in admiring these oddities than in meditating on the law of God. Good God! If we are not ashamed of these absurdities, why do we not grieve at the cost of them?”1
A sample of what Bernard was talking about may be found at the Cloisters branch of the Metropolitan Museum of Art in New York in capitals of the Cuxa Cloisters, which was transported from the monastery of St. Michel-de-Cuxa in the Pyrenees and reassembled at this specialized museum in upper Manhattan.
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| +Monkey capital from the Cloister of Saint Michel de Cuxa French, c. 1130-1140 New York, Metropolitan Museum of Art, the Cloisters Collection |
Often interpreted to suggest that Bernard was antagonistic to images, I don’t believe this passage tells us anything of the kind. To me it suggests that Bernard was quite susceptible to the allure of such images, but was unhappy with their use in locations where they would be distractions to prayer and study, as well as being concerned about the cost of such items when money could have been spent on aiding the poor. If he was actually antagonistic to images it would be ironic, as his life, and the legends that grew from it, became the source of many images in the centuries after his death. As studied by James France in his book, Medieval Images of Saint Bernard of Clairvaux, the first comprehensive study of this subject, Bernard’s life and the legends that grew up about him gave rise to many iconographical types during the medieval period, which he ends at about 1530. 2
Among them are:
Bernard as monk and abbot
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| *Master of the Modena Book of Hours, Saint Bernard as an Abbot From a Missal Italian (Milan), c. 1390-1400 The Hague, Meermano Museum MS RMMW 10 A 16, fol. 211v |
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| *Saint Bernard as an Abbot From a Breviary Spanish (Catalan), c. 1398-1430 Paris, Bibliotheque nationale de France MS Rothschild 2529 (16b)lVI(bas), 1, 18, fol. 374r |
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| *Saint Bernard as an Abbot From a Legenda aurea by Jacques de Voragine French (Paris), c. 1400 Paris, Bibliotheque nationale de France MS Francais 242, fol. 182r |
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| *Jean le Tavernier & Workshop, Saint Bernard as an Abbot, with a Dog From the Hours of Philip of Burgundy Flemish (Oudenaarde), c. 1450-1460 The Hague, Koninklijk Bibliotheek MS KB 76 F2, fol. 267r |
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| *Master of Jouvenel des Ursins & Workshop, Saint Bernard as a Monk French (Angers), c. 1452 Paris, Bibliotheque nationale de France MS NAL 3244, fol. 308v |
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| +Saint Bernard as an Abbot From a Book of Hours and Prayer Book Dutch (Delft), c. 1460-1480 The Hague, Koninklijk Bibliotheek MS KB 135 E 22, fol. 140v |
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| Taddeo Crivelli, Saint Bernard Italian (Ferrara), c. 1469 Los Angeles, J. Paul Getty Museum MS Ludwig IX 13, fol.183v |
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| *Saint Bernard as an Abbot From a Book of Hours Flemish (Bruges), c. 1480-1490 The Hague, Koninklijk Bibliotheek MS KB 135 J 10, fol. 97v |
Bernard as writer and as teacher
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| +Jean Fouquet, Saint Bernard Teaching and Saint Bernard Overcoming the Devil From the Hours of Etienne Chevalier French, c. 1450-1460 Chantilly, Musée Condé MS 71, fol. 95r |
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| *Guillaum Vrelant, Saint Bernard Teaching From a Speculum historiale by Vincent of Beauvais Flemish (Bruges), c. 1455 Paris, Bibliotheque nationale de France MS Francais 311, fol. 208t |
Bernard as advisor to Kings and Popes and as the mediator in disputes
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| *Saint Bernard Preaching to King Louis VII From Abrégé des histoires divines French (Amiens), c. 1300-1310 New York, Pierpont Morgan Library and Museum MS M 751, fol. 98v |
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+Saint Bernard and Emperor Conrad III From a Speculum historiale by Vincent of Beauvais French, 14th century Paris, Bibliotheque Nationale de France, MS Latin 4900, fol. 184r |
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The Lactation theme
This refers to the visionary and miraculous breastfeeding of Saint Bernard by the Virgin Mary. This miracle endows Bernard with the knowledge and inspiration he needed for preaching and writing. According to James France this theme is more common in northern Europe and Spain than in southern Europe, including southern France. |
| Unknown, Lactation of Saint Bernard, c. 1480-1485, Woodcut, Amsterdam, Rijksmuseum |
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| Uknown Ghentish Master, Lactation of Saint Bernard Belgian, c. 1525-1540 Ghent, Museum voor Shone Kunsten |
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| Alonso Cano, Lactation of Saint Bernard Spanish, 1650 Madrid, Museo Nacional del Prado |
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| Bartolome Murillo, Lactation of Saint Bernard Spanish, c. 1660 Madrid, Museo Nacional del Prado |
The Amplexus theme
This refers to an incident in which the image of Christ leaned down from the cross to embrace Saint Bernard. This image “reflects Bernard’s immense contribution in a developing theology centered on Christ’s sacrifice on the Cross".3,%20c.%201515_New%20York,%20Pierpont%20Morgan%20Library%20and%20Museum_M.0399_fol.301v_2.jpg) |
| +Simon Bening, The Crucified Chirst Embracing Saint Bernard From the Da Costa Hours Belgian (Bruges), c. 1510-1520 New York, Pierpont Morgan Library and Museum MS M 399, fol. 301v |
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| Francisco Ribalta, The Crucified Christ Embracing Saint Bernard Spanish, c. 1625-1627 Madrid, Museo Nacional del Prado |
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Johannes Dressel and Veit Duempel, Christ Reaches from the Cross to Embrace Saint Bernard
German, c. 1623-1626
Ebrach, Parish Church of Saints Mary, John the Evangelist and Nicholas
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The Chained Devil theme
This signifies Bernard’s conquest of the temptations of the world.
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| *Saint Bernard Leading the Chained Devil From a Prayer Book French (Paris), c. 1485-1495 New York, Pierpont Morgan Library and Museum MS H 3, fol. 124v |
The Doctrina theme
This is generally an image of the writing Saint Bernard receiving a vision of Our Lady in which she instructs him. Like the Lactation iconographic type, it represents Bernard receiving the knowledge and skill he needed for his preaching and writing, but the method of transmission is more spiritual than physical. According to James France, this theme was most popular in Italy as, for instance, in these works by the father and son painters, Filippo and Filippino Lippi.
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| Filippo Lippi, Blessed Virgin Appearing to Saint Bernard Italian, 1447 London, National Gallery |
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| Filippino Lippi, Virgin Appearing to Saint Bernard Italian, 1486 Florence, Church of the Badia |
as well as for other painters.
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| Perugino, Virgin Appearing to Saint Bernard Italian, 1493 Munich, Bayerische Staatsgemäledsammlungen, Alte Pinakothek |
Saint Bernard as one among other saints
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| Francesco Botticini, Madonna and Child with Saints Mary Magdalene and Bernard, Italian, c. 1485 Paris, Musée du Louvre |
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| Filippino Lippi, Madonna and Child with Saints John the Baptist and Bernard and two bishop saints Italian, 1486 Florence, Ufizzi Gallery |
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| Alonso Sanchez Coello, Holy Trinity Adored by the Virgin Mary, and Saints Bernard, Sebastian and Francis Spanish, 1582 Madrid, Museo Nacional del Prado |
Incidents from the Life of Saint Bernard
Particularly prominent in these paintings is the incident of Saint Bernard and the Duke of Aquitaine. One of the disputes that occupied Bernard during his lifetime was the resolution of one of those situations that have sometimes arisen in the history of the Church where there of two (or more) rival claimants of the Papacy. In the 12th century Saint Bernard supported Pope Innocent II. On one of his diplomatic missions to heal the divide Bernard encountered Duke William of Aquitaine, who supported the rival (or anti-) Pope, Anacletus. Excommunicated by Innocent for his support of the anti-Pope, William did not attend the Mass celebrated by Saint Bernard, but waited outside to speak to him. After the Consecration, Bernard marched out of the church, holding the consecrated Host on the paten (special dish on which it rests). He went to William and held the Host up to him, saying:"Your judge is present, at whose name every knee in heaven, on earth, and below the earth is bowed... Do you spurn Him? Do you Treat Him with the contempt with which you treat His servants?" 4 This dramatic action had the desired effect and the Duke abandoned his support of the anti-Pope.
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Jean de Saint-Igny (attributed), Saint Bernard and the Duke of Aquitaine
French, c. 1595-1600
Valenciennes, Musée des Beaux-Arts
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Martin Pepyn, Saint Bernard and the Duke of Aquitaine
Flemish, c. 1600-1625
Valenciennes, Musée des Beaux-Arts
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Other chosen incidents show Saint Bernard as a peacemaker and reformer and as the most important preacher of the Second Crusade.
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| +Vicente Carducho, Saint Bernard Visiting the Prior of the Chartreuse of Grenoble Spanish, 1632 Paris, Musée du Louvre |
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| +Emile Signol, Saint Bernard Preaching the Second Crusade at Vezelay French, 1840 Versailles, Musée national des chateaux de Versailles et de Trianon |
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| *Master of Edward IV, Deathbed of Saint Bernard From a LeMiroir Historial by Vincent of Beauvais Flemish (Bruges), c. 1475-1500 The Hague, Koninklijk Bibliotheek MS KB 128c1, d 3, fol. 203v |
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| *Master of the Cite des Dames, Veneration of the Relics of Saint Bernard From Le miroir Historial by Vincent of Beauvais French (Paris), c. 1400-1410 The Hague, Koninklijk Bibliotheek MS KB 72 A 24, fol. 175r |
Saint Bernard as Patron
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| +Jean Bellegambe, Le Cellier Triptych French, 1509 New York, Metropolitan Museum of Art, Department of European Paintings In this triptych Saint Bernard appears in both the central panel, where he presents a lay donor to the Madonna and Child, and in the left wing, where he presents two Cistercian monks. |
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| +Jean Bellegambe, Madonna and Child with Saint Bernard and a Cistercian Monk, French, after 1507 Pittsburgh, Frick Art and Historical Center Here the same painter presents a more intimate diptych in which only one monk is being presented by Saint Bernard. |
Other aspects of Saint Bernard’s heritage.
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| Saint Bernard Presents Dante to the Madonna and Child From Divine Comedy, Paradiso, Canto XXXIII Italian (Siena), 1444 London, British Library MS Yates Thompson 36, fol. 189 |
“Vergine Madre, figlia del tuo Figlio (Virgin Mother, daughter of your Son”) through the mouth of Saint Bernard at the opening of the last canto of Paradiso, the final book of the Divine Comedy.5
And then, of course, there are the dogs and the pass through the Alps, all reminders that this 12th-century man had a large impact on his world and continues to have an impact on ours today.
2. James France, Medieval Images of Saint Bernard of Clairvaux, Kalamazoo, Michigan, Cistercian Publications, 2007.
3. France, above, p. 183.
4. France, above, p. 150.
5. Paradiso, Canto XXXIII, verses 1-21. You can read the poem in its entirety in Italian and in English at the following sites: The Dartmouth Dante Project (http://dante.dartmouth.edu/), The Princeton Dante Project (http://etcweb.princeton.edu/dante/pdp/) and in parallel versions at divine comedy.org (http://www.divinecomedy.org/).
Selected images updated 2024 and new images added.
+Indicates updated image
*Indicates new image
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