Category Archives: Italy

Announcing Inheriting Rome

Publicity image for Inheriting Rome: the imperial legacy in coinage and culture, Barber Institute of Fine Arts, 27 February 2015 – 24 January 2016

Inheriting Rome: the imperial legacy in coinage and culture
Barber Institute of Fine Arts, 27 February 2015 – 24 January 2016
Coin Gallery

One of the very many things that have been keeping me from updating this blog as I would wish over recent months is now done, and can and should be announced. It is nothing less than the new exhibition in the Coin Gallery at the Barber Institute of Fine Arts, curated by none other than yours truly. It’s entitled Inheriting Rome: the imperial legacy in coinage and culture and I’m really very pleased with it. The designer has taken my ideas and content and made it into a feast for the eyes as well as the brain but people have also been telling me that it is clear and interesting and makes them think and all those things that one wants to hear when one has done this much work to put objects, text and images together for the delectation of the general public. The Barber’s current What’s On leaflet has this to encourage you to come and see:

Look at one of the coins you’re carrying today: you’ll see the Queen’s portrait facing right and Latin script around the royal head. It seems our coins have looked this way forever, and that’s nearly true. But why? This exhibition uses money to explore and question our deep-seated familiarity with the Roman Empire’s imagery. Britain is not the only nation, empire or state to channel ancient Rome in this way: the Barber’s excellent collection of coins from the Byzantine Empire – as well examples from Hungary, Georgia and Armenia – illustrate both the problems and possibilities of being genuine heirs of Rome. Attempting to uncover the political uses of Rome’s legacy, this exhibition encourages the visitor to ponder why we are so often told of the empire’s importance – and whose interests such imagery serves.

A little UK-centric in retrospect, but then I don’t think we send the leaflet out any further than that… You can see that I was and am out to make a point, anyway, but really, come for how great it all looks and stay for the interpretation. It’s open until the 24th January 2016, and there are gallery tours on the third Sunday of most months as well as a number of gallery talks by myself, of which you can find details on the Barber’s website at those links. Do come and see!

Entrance to the Coin Gallery, Barber Institute of Fine Arts, showing the banners for Inheritance of Rome

Entrance to the gallery

Meanwhile, I have to thank Robert Wenley, Chezzy Brownen and John van Boolen for making it clearer and better in various ways or in John’s case actually helping install it, as well as crawling in roof-spaces to try and fix broken lights, and most of all Selina Goodfellow of Blind Mice Design for making it into something everyone wants to look at. I’ll have as much credit as is going, you know, but these people deserve theirs too. Thanks to all and you, readers, come and see what we did!

Backdrops at the end of the coin gallery of Inheriting Rome

Backdrops at the end of the gallery

(Right. So that just leaves a website rewrite, children’s activities, auditing the collection, checking the library and uploading the entire set of catalogues onto the University of Birmingham’s website, ON WHICH MORE SHORTLY, as well as zapping things with X-rays for purposes of Science! What’ll I do tomorrow?)

The English and Hungarian coins in the exhibition Inheriting Rome

The English and Hungarian coins in the exhibition, in full splendour

Seminar CLIII: working on and out the North Italian landscape

It’s seminar report time again, and this time it was back down to London for the Earlier Middle Ages Seminar at the Institute of Historical Research where, on 7th May 2014, Professor Ross Balzaretti was presenting with the title, “Early Medieval Charters and Landscapes: Genoa and Milan compared“. This is of course meat and drink to me as if there’s anywhere that has nearly as many charters left from the early Middle Ages as does Catalonia it’s Italy and the Mediterranean climate and mountainous landscapes the areas share made a lot of what Ross was saying seem comfortingly familiar.1 Insofar as Ross was out to make converts, therefore, he was not preaching to me, but I can at least join in with the hymns.

Terraces at at Corniglia

A Ligurian landscape of the sort that Ross has written about, this one being terraces at at Corniglia, man-made and nature overlaid and intercutting

The basic contention of the paper was that we can use charters as sources for landscape use and economic activity in a north Italian context, which is just as well as we don’t have a lot else left with which to do it given how intensely those landscapes have mostly been worked since the Middle Ages.2 The argument against such use of charter evidence has usually been that the documents are so formulaic that their detail can’t be trusted, to which the counter is that they vary a very great deal, and Ross was able by his comparison to show that the formulae, if that’s what they are, vary so much between Milan and Genoa that even if they’re formulae they must reflect considerable local differences in what formulae apply, so that in fact the level of choice would have to be such that it’s simpler to assume that what is making the variation is the actual landscapes concerned.3

Olive-groves at Castello Rosso, near Genoa

Olive-groves at Castello Rosso, near Genoa

As to that variation, it is quite marked. Genoese charters make much more of trees and Milanese ones more of fields for cereals. Both were producing in a specialised fashion, implying a market presumably dominated by the big towns whose hinterlands we were hearing about, but in Genoa the specialist product was olive oil and Milan it was much less focused (though that may be not least that at this point Milan was rather bigger). But the specialisation was also partly geographic: there are more mentions of terracing around Genoa not just because the charter scribess round there liked that formula but because the land requires it, being much more sloped than around Milan. Around Genoa the work to make the land yield food is very evident in terms of work contracted or expected and boundaries revealing it already done. Milan looks more domestic, as if less co-dependence was necessary to make a living here. And so on.

Parco Agricolo di Milano

There is now an agricultural park outside Milan, apparently, which lets me show you the other kind of landscape in play here as well

All of this rang very familiar with me because of the similar, if lesser, variations I’d been seeing between the lands owned by San Salvatore di Brescia in the Santa Giulia polyptych, so much discussed a little while ago. Here as there, of course, another way to see the variation is as between people, making different decisions about how to make their living, and charters do have that advantage that the polyptych does not, that you can usually put names to these individuals. But that doesn’t mean at all that I thought Ross’s focus on the landscape was misplaced; the countryside these people worked was the silent partner in all their actions, and the charters let you get at something of that too.

TRAME: blowing nobody any good

I have been hoarding interesting links during this period of backlog (at least since the last lot) and at some point I will deluge them upon your terminals, but for now there is one in particular I want to talk about. Long-term readers will know that I have a long-orbit bee in my bonnet about funding grants for developing digital resources that already exist. There seems to be no offender here more prolific than the idea that it would be great to establish a unified catalogue of medieval manuscripts on the Internet, despite the fact that there are so many of those that one of the most established of these portals has officially quit keeping up. This was the frame of mind in which I encountered – I no longer remember how – an Italian initiative called TRAME, Text and Manuscript Transmission of the Middle Ages in Europe, and stubbed this post.

Screen capture of the front page of the TRAME site

Screen capture of the front page of their site, click to enlarge (for reasons given below, I’m not linking through)

Inspection reveals that this is not quite the usual deal, in several ways. Firstly, it seems a much more cooperative and consensual a metacatalogue than one of the previous ones, which intended to scrape online content by aggressive querying (not how they put it, but still true) and present it through their own portal; on this one you as manuscript-holding institution have to opt in, and they encourage you so to do. Secondly, it is collecting not actual digitised manuscripts but digitised catalogues of manuscripts. The first of these might be expected to limit their scope, though Italy seems to be good at these digital alliances. The second, however, greatly increases it: lots more such catalogues exist than do new manuscript digitisation efforts, so they are able, having mapped the incoming database to their own (a project in which I suspect I recognise the hands of the Università di Firenze), to present really quite a lot of data. On the other hand, because of the first that data is of quite varied quality and because of the second, ultimately all it is is a manuscript finding aid, not an actual repository.

I did a very quick test case that illustrates the issues. Firstly, my Italian not being so great and me not having really read the instructions, I tried just the word «aprisio» in the search box, but it returned nothing, so I bethought myself of metadata not data and started plugging possible author names in. I was searching, you may guess, for things Catalan and the surprising thing is that I found some. Slightly more surprising to me was that some turned out to be at the Escorial library in Madrid, which I didn’t think had any manuscripts digitised, and this is about the point where I discovered that we are dealing only with catalogue entries. But I persevered because there is really only one manuscript about the Escorial I know anything about, Z.II.2, which is the judge Bonhom’s copy of the adapted Visigothic Law.1 It is there, but all you get is the shelf-mark, so, well, what use is this?

It’s not as if asking the Escorial’s website gets you anything better, of course: its search engine breaks under the simplest query and if you poke far enough into their site you find what purports to be a download of their 1910 catalogue of Latin manuscripts that actually comrpises only the Prologue of its first volume.2 So there is probably less use TRAME could be, but it gets worse. Another example. Having with my first search established that there were manuscripts in this database from the Biblioteca de l’Universitat de Barcelona, I made it show me everything they had there, and this is revealing. Firstly it’s replicated between constituent databases a lot, some manuscripts appearing in several, but it’s the nature of those databases that makes me cross. For this search, lots comes from a resource called BISLAM, Bibliotheca Scriptorum Latinorum Medii Recentiorisque Aevi, which is available through the portal with which the whole effort apparently started, a subscription service called MIRAbile.3 And what that means is that all you can get from a given search in it is an entry like the below and an invitation to subscribe for more information.

Screen capture of a MIRAbile database entry without subscription

There are those of us who would call this spam, and I’m really quite surprised that they got public funding thus to funnel people to their own pay-site. This seems to be the model of all the databases they connect, in fact. And since one of those databases, MSS-b, appears to be a citation index for manuscripts that, unless you have a subscription to that, gives you only single citations of manuscripts in scholarly literature but neither a verified shelfmark for the manuscript nor any part of the relevant scholarly publication. Again, what use is this? I would submit, not a whole lot.

Screen capture of a subscription-less MSS-b database entry

In fact, unless you really need to know a selection of odd mentions of the manuscript you work on and have a research library of international calibre to find them in, the only real use I can see for TRAME is to funnel your money towards their electronic subscription services. Presumably it’s this proud use of public money that means that the ‘costs’ page just links out to a parent body’s homepage and that there has been no news on this project’s website for nearly two years. I’m surprised and disappointed to find that one of their partners is the Institut de Recherche et d’Histoire des Textes, and rather sorry to find any universities involved with it at all. May it have made no-one rich!

1. Text printed as Jesús Alturo i Perucho, Joan Bellès, Josep M. Font Rius, Yolanda García & Anscari Mundó (edd.), Liber iudicum popularis. Ordenat pel jutge Bonsom de Barcelona (Barcelona 2003), and online for free here, but I’d still like to be able to virtually see the manuscript.

2. P. Guillermo Antolín (ed.), Catálogo de los códices latinos de la Real Biblioteca de l’Escorial (Madrid 1910), 5 vols.

3. Roberto Gamberini (ed.), BISLAM. Bibliotheca Scriptorum Latinorum Medii Recentiorisque Aevi. Repertory of Mediaeval and Renaissance Latin Authors (Firenze 2003-2010), 3 vols & CD-ROM, which I’m sure is a very useful thing in its way but not free.

Seminar CXLIX: the importance of being eloquent in the Italian Church

I seem to have emerged from a hole somewhat in March 2014, suddenly going to lots of seminars after some time on rations. I put this partly down to the welcome presence of Another Damned Medievalist in London, which gave me a good extra reason to be in town, but also the new course I had been running that term was mostly unrolled and the Earlier Middle Ages Seminar at the Institute of Historical Research had several things on the programme that interested me, of which one was when Giorgia Vocino gave a paper on the 19th March called “Bishops in the Mirror: literary portraits and episcopal self-fashioning in early medieval Italy”.

Mosiac portrait of Saint Ambrose of Milan

Mosaic portrait of bishop no. 1 for this paper, Saint Ambrose of Milan. “AmbroseOfMilan“. Licensed under Public domain via Wikimedia Commons.

I knew Dottora Vocino as a face from Leeds but had never met her or her work, so this was valuable context. Her paper was about the standing of bishops in the early medieval world, and she took a complex and interesting approach to the question, taking several well-documented bishops and asking, respectively, how they presented themselves in their writings, how contemporaries report them and what their posthumous reputation was like. Her examples came from quite a chronological range: the earliest was Saint Ambrose of Milan (ruled 374-397) and the others were Pope Gregory the Great (ruled 590-604), Patriarch Paulinus of Aquileia (ruled 787-802×804) and Bishop Atto of Vercelli († 960), so perhaps it was not surprising that their own self-presentations, as Dottora Vocino characterised them, differed widely: Ambrose, despite his chiding emperors and leading mobs (this is my editorialising) presented himself primarily as a teacher of Scripture; Gregory saw the bishop as more active in the world, a shepherd more than a teacher (though a teacher too); Paulinus was most concerned with soldiering for Christ against the enemies of God, as befits one of the key scholars of the Carolingian Renaissance perhaps, by means of prayer, teaching and preaching but still more confrontational than the previous two; and Atto’s most revealing writing, a thing called the Perpendiculum is an anonymous prophetic condemnation of those who would depose kings, though it too got reused as a teaching text. Nonetheless, though they all taught only Ambrose seems really to have thought this definitional of his office, which evokes comparisons to the modern Academy that might be unkind but occur all the same.

Ivory carving of Pope Gregory the Great being inspired by the Holy Spirit, now in the Kunsthistorisches Museum, Vienna

Ivory carving of Pope Gregory the Great being inspired by the Holy Spirit, now in the Kunsthistorisches Museum, Vienna

It may then be that while those who have a quality in abundance don’t need to shout about it, those who do the same job without it still envy them, because what all of these bishops seem to have been remembered and praised (or even sometimes dispraised) for is none of the above, but instead their eloquence as speakers. Saint Augustine actually saw Ambrose speak and thought him amazing. Gregory was supposedly given his eloquence by the Holy Spirit (his senatorial education presumably assisting that gift somewhat), and although Gregory of Tours thought of his namesake as a scholar and the Liber Pontificalis remembers him mainly for building, as let’s face it it does every pope who didn’t get deposed violently, Isidore of Seville, whose brother knew Gregory, praised him mainly for public speaking. Paulinus is written up as having been preternaturally eloquent from infancy, and although we have no outside witness texts for Atto his own writings take trouble to refute charges of over-eloquence that had apparently been raised against him. This ars loquendi, art of speaking, is apparently the thing that Italian bishops got remembered for, whether they wanted that or not. Miracles, public works, and their own shared emphasis, instruction, all take a back seat to how they came over when they stood up in front of people.

Carolingian-period sculptural panel on a baptismal font ion the church of Cividale

I can’t find an illustration of Paulinus of Aquileia from earlier than 1790 but here at least is something he is believed to have had made, a panel from the baptismal font in the church of Cividale. Sailko [GFDL or CC-BY-SA-3.0], via Wikimedia Commons

There was some debate about why this should be. Dottora Vocino emphasised the politics that whirled around the writing of these bishops’ lives, and suggested that while miracles were a good way of indicating divine favour for the past bishops they might have been a tall order for the living ones who needed comparison to their predecessors; eloquence, on the other hand, could be presented as a divine inspiration but could also be performed by the current incumbents. Susan Reynolds wisely asked if any bishops were ever condemned for being bad speakers, but apparently there are some so it’s not just generic, however common. Alice Rio and Caroline Goodson both asked questions about regionality, seeing little of this emphasis in bishops’ lives from Francia and Southern Italy. Dottora Vocino thought that some comparisons in Francia could be found, but I think this is in some ways to be expected; she pointed out that the transmission of these famae, reputations or fames, probably needed schools, and I would add also audiences outside the schoolroom among whom such portrayals could be deployed, and both of these imply cathedral cities with urban populations, for which Northern Italy is about the most likely zone, though the South’s non-participation is still odd. It would be interesting to take the comparison across to the Byzantine world and see if the cities of Greece or Asia Minor thought of their bishops similarly. But the takeaway point for me was an old one, that people write history or similar for a reason; what someone did may not be as important for their memory as what someone later needed to do with it. Whether or not all these bishops were really talented orators we probably can’t tell, though Ambrose at least seems likely; what we can say is that while there was more to them than that, it was what served the interests of their successors to remember (perhaps because all other comparisons would have been unfavourable). As ever, it behoves us to think about what our sources did not need or want to mention before we decide what they knew.

I would have to do a lot of digging to pull together references to these various bishops works and the texts that Dottora Vocino was using, and it seems easier simply to refer you to her subsequent related publication, G. Vocino, “Under the aegis of the saints: hagiography and power in early Carolingian northern Italy” in Early Medieval Europe Vol. 22 (Oxford 2014), pp. 26-52, DOI: 10.1111/emed.12037, and hope that that will do. Sorry!

Working for San Salvatore III: what they got out of it

I have now gone on at great length about the polyptych of Santa Giulia di Brescia without really talking about my actual purpose in reading it, so it’s time to do that.1 You may remember a long time back that I had a go at the idea, repeated in textbook after textbook, that agriculture in the Carolingian period ran at yields hardly more than the grain that was sown.2 This is self-evidently ridiculous if you are familiar either with actual growing of crops (which I am only second-hand) or can do basic maths, but it persists, and the reason it persists, like many another medieval cliché, is Georges Duby.3

Georges Duby

The late Georges Duby

This is not entirely Duby’s fault. He wrote a couple of textbooks in the 1960s and 1970s that somehow remain the world standard for any history of the early medieval economy that actually contains agriculture, and he used the best thinking available and sources known at the time.4 He did a pretty good job of synthesis on that, and though one might wish he’d thought about it a bit harder, it’s really not just him who’s failed to do so, and those that have thought about it haven’t really looked hard enough at his evidence.5 That was, in large part, the Carolingian estate survey of the fiscal centre at Annapes preserved in the text known as the Brevium Exempla, and some time ago already now I gave a paper at Kalamazoo in which I showed that Duby had in fact read the text wrong, or rather failed to read all of its data, as had all those he used, even, I’m sorry to say, Philip Grierson, and I considered that dispatched and proceeded to writing it up.6 But Annapes was not Duby’s only source that seemed to support these awfully low yields, and so I needed to see if the same tricks could be performed with the others too, and you will by now have guessed or maybe already know that one of them was the polyptych of Santa Giulia di Brescia.

Santia Giulia di Brescia from the air

Santa Giulia di Brescia as it now stands, from the air

Duby dealt with the figures from Santa Giulia only in summary fashion. In Rural Economy and Country Life he works Annapes over extensively, coming up with output figures of between 1·5:1 and 2·2:1, and then goes on:

“We must not, of course, generalize from one set of figures obtained from a single source. But it is possible to find elsewhere some other traces of output, somewhat higher than that which can be derived from the Annapes inventory, but even so representing a low yield and a derisory rate of profit when compared with the value of the capital in land and seed corn. One significant fact is that compilers who visited the farms (cours [apparently left in French from Latin ‘curtes’]) of the abbey of San Giulia of Brescia in 905-906 to compile a polyptych found there reserves of grain in the barns which were barely higher and sometimes lower than the quantity needed for sowing. Thus at Prozano where the fields could take 300 muids of seed corn, the stocks in the estate barn amounted to only 360 muids of which 140 were of millet (mil). At Canella 90 muids were needed for sowing and 51 were in the barns; at Temulina 32 and 37.”

And with that he moved onto Saint-Germain-des-Prés near Paris and pulled a similar trick there.7 And in the slightly later and much shorter Early Growth of the European Economy he didn’t even give that much detail (or a reference to the primary source), limiting himself to dealing again with Annapes and then adding:

“The Lombard monastery of St Giulia of Bréscia [sic], which consumed some 6,600 measures of grain annually, would have 9,000 sown to cover its needs, which means that the return normally available to the lord was being estimated at 1·7 to 1.”8

The best way to see what is wrong with this is to look closely at how the compilers of Santa Giulia’s polyptych were using their figures, figures that I’ve already argued here they were receiving in a standard format. And doing so shows firstly that Duby, and Luzzatto before him, were again wrong in assuming that these figures mean what they wanted to mean, and in fact that using them to calculate yield is impossible except in one single case where the formula was bent, and in that case it comes out at at least 4·25:1 and probably rather higher. Don’t believe me? Watch this! Continue reading

Working for San Salvatore II: specialists and individuals

As I said in the first post about the polyptych of Santa Giulia di Brescia, one of the things about its information that can’t fail to strike one is the variation within the standard form of record the monastery was using. This is obvious in terms of size, for one thing. The largest estate here, Alfiano, had enough arable land to sow 900 modii of grain in, 100 amphorae‘s worth of vine, meadow for 50 cartloads of hay, wood where 700 pigs could forage, a stud for breeding horses with 35 on hand, 37 head of cattle, 100 pigs, 3 mills, 3 boats and 40 tenants, as well as a staff of 8 magistri “for making walls, house and barrels”, and that’s not counting either its chapel whose properties were listed separately or a dependant estate whose return seems to have turned up late and been tacked on at the end of the survey.1 A place near Brescia called Palleriana had arable for 8 modii, vine good for 8 amphorae, meadow good for 8 cartloads, 2 cows, 2 tenants and 1 vacant lot, and that’s about it, which is to say that it was between one and two orders of magnitude smaller than Alfiano in the terms about which the monastery cared.2

Castello di Cavriana

This is neither of those places, but the castle at the centre of the estate whose returns I used in the dummy form of last post. I never thought of looking for an image! But this is the Castello di Cavriana. By Massimo Telò (Own work) [CC-BY-SA-3.0], via Wikimedia Commons.

You might ask what was worth even having about the latter place, then, and that opens up another question of variation, because of the vacant lot. I’m translating sors absentia here, but when they turn these clearly weren’t vacant in the sense we would assume in English, because they rendered produce, and often quite heavily, so I guess that what was going on here was that the the monastery allowed people who lived elsewhere, maybe the estate’s other tenants but not necessarily, to work them in exchange for rendering a cut of the produce to the monastery. That seems to be how they ran their mills and their landing-places, too, and the mountain-top lands they don’t really enumerate: all of these rendered in food and/or money, what suggests that the people who worked them were taking at least as much home themselves, and since the guys turning up at the landing-stages with salt and grain were presumably not all monastic dependants, I don’t really see why the farmers all need to have been either.

Anyway, at Palleriano the vacant lot rendered 7 modia of grain, 6 denarii and, most importantly, 80 pounds of oil a year from its olive-groves. That was presumably what made a pied-à-terre at Palleriano worth maintaining; the ordinary renders from the place were presumably not worth nothing but the monastery’s real interest there was probably letting people make oil in the bits of the estate they didn’t actually have the manpower to work. At Alfiano, by contrast, though nowhere else in the polyptych was breeding horses (and indeed only one other place even had any), there were apparently no olive-trees. The monastery had both estates organised in roughly the same way, with a staffed reserve run by workers living on hand-outs and a system of allotments held by people of various statuses on markedly varying terms—a bipartite organisation, in other words—but the actual use they got from these estates was very different.

Obviously some of this variation must have been purely geographical. Alfiano, which maybe covered most of the area inside the road route marked above, could run boats because it was on the Fiume d’Oglio, but apparently it was not good land for olive trees. Lots of other estates in the survey also have these specificities: very few places grew chestnuts, for example, only a very few rendered rushlights and the most obviously constrained resource is iron, which a few estates had and rendered lots of and most did not, obviously rather less by choice than by necessity: if there’s no iron ore in your chosen lump of Italy, you can’t really get it out.3 Some of the variation probably was by choice, though. There are massive variations in the balance of crops in store, for example, with rye sometimes being the bulk of it, sometimes millet or sometimes corn (frumentario), and that was presumably as much down to somebody’s choices about what to grow and what to take from store as it was what would grow, though certainly some of these crops do better in some kinds of soil than others. Goats are much rarer than sheep, though, and that must be by choice because there’s basically nowhere you can’t put a goat (except in as much as you might want to keep whatever you were growing there).

A rural homstead in Alfiano Natta, near Brescia

A house that was at time of writing for rent in the Alfiano region. Apart from the second stories and (obviously) the swimming pool, this doesn’t look too far off what might have been on site at least 800 years before, maybe more…

This kind of thing gets us out of the constraints of a formula and into things that actual people did, sometimes that no-one else did, and even into how they might have felt about that. A big estate now called Forse Pian Communo in the Val Carmonica, for example, was the only place in the polyptych that rendered a lamb, and it rendered just one, yearly, among 75 pigs and 86 other sheep, quite a lot of wine and silver, 60 pounds of iron, 14 bunches of onions (the only mention of the noble alium), 60 rush-lights and 30 cartloads of timber. They also rendered one shepherd’s crook. Presumably this stuff did not all come in at the same time, but even if it didn’t, that lamb must have stood out, and I bet it was delivered with the crook, and there must have been an occasion when it was done that made quite the little local ceremony, almost certainly at Easter, and something that made this community special among the men of Santa Giulia.4

The other scale of variation, though, is between persons. If you look back at the form I reverse-engineered out of the polyptych, you’ll see that the monastery recognised five main different sorts of tenants they could have, in their words manentes or mansarii (I think these are equivalents), servi or serviles (not so sure about those), libellarii, homines commendati (who were sometimes specified as free or having voluntarily commended themselves), liberi and aldiones, as well as some unusual categories specific to mountainside properties. Of these the aldiones had the lightest load, since their duty was pretty much solely to carry messages, but among the others a hierarchy is harder to determine. Obviously there was a difference between slave and free that was worth specifying, even here, but you wouldn’t necessarily know it in terms of their renders: at a place called Cardena, for example, 7 slaves, who all lived on 1 allotment, owed every fourth modius of grain they grew and half the wine they made and an annual render of 2 sheep, 4 hens, 20 eggs and 12 denarii, and they did 4 days’ work each a week, which is pretty rough especially when you have all this other stuff to render and only two days a week on which you’re allowed to try and make it up (because remember what happens to those who work on the Lord’s Day…). The free men there, 6 on 2 allotments, weren’t so much better off: they rendered the same fractions of produce, 7 sheep, 14 hens and 70 eggs, and although between them they did only 204 days work a year, that is 34 each, so more or less one every week and a half, that’s still the kind of labour duty we’d expect free men to be, well, free of. Nice work if you can avoid it, you might think, but the 4 commended men also on the estate who between them rendered nothing and did 44 days’ work every two years, so, 11 each yearly, would probably have sneered even so. On the other hand, not very far away, at a place called Porzano, the estate included 3 slaves living on 3 lots who rendered 3 amphorae of wine, 2 pigs and 2 sheep a year, and had no labour duties, whereas there were also 14 free men who did one day’s work a week and 13 manentes, on a lot each, who together rendered 60 modia of grain, 5 amphorae of wine, 2 pigs, 4 sheep, 26 hens, 130 eggs and 20 denarii each, 9 of whom (and apparently only 9 of whom) also had to do one day’s work a year, given the which, one might choose to be the slave but for the loss of legal personhood, etc.5

A decaying villa in Porzano, near Brescia

This probably isn’t the oldest building standing in Porzano, given the brick, but it might be the oldest and tattiest still to be on sale for more than a hundred thousand Euros…

So it seems clear that the labour services and renders involved here, although based on some kind of standard (as the almost-universal rate of five eggs per chicken suggests), could be varied a great deal, and I suppose that this might have had something to do with the way these people became the monastery’s men, who had owned their renders before and what agreements were made when they changed hands. In some cases one wonders what the individual circumstances could be. At a place called Forse Sernìga, for example, among all the other stuff there was one tenant who rendered annually 3 modii of grain, half his wine, 1 sheep, 30 denarii, 1 modium of turnips, 1 sester of fava beans and 400 shingles. His are the only mentions of turnips and shingles and almost the only one of fava beans, and I can only imagine that when he came to the estate centre looking for patronage they asked him, “what can you do that’s fantastic?,” or some less Zappatical equivalent and he said, “I make shingles and I grow turnips, best in the valley or any valley hereabouts,” and they said, “Fine, OK, well go on with that that then,” and agreed his renders on that basis and he thus became the man whose shingles roofed the monastery’s properties in the locality.6

On the other hand, at the chapel of Forse Centòva, which the monastery held jointly with a vassal of Bishop Buatho called Aragis and which was one of the more splendidly equipped of which they knew, the workforce was 4 prebendarii and a single tenant, who as well as a third of his grain, half his wine, 4 hens, 20 eggs and 6 denarii also had to do three days’ work a week on the estate.7 He must, ineluctably, have known the other workers well, because he would have spent a good chunk of his time in the fields or vineyards with them, but there were three days a week when he could stay home and work on his own stuff. Did he resent his lack of security compared to his fellows in the field, or did they envy him his semi-independence and chance actually to turn a surplus? They must have had some means of getting on, and perhaps it was a cheerful one, but they would have been confronted by the difference in their positions every time they packed up to go home (especially as the estate had four casas and 1 caminata so it may be that he had the warm house…). There’s so many people in this text about whom we can only say one thing but that thing still shows them up as individuals. I feel as if I would understand this better if the polyptych used names. It doesn’t, so we don’t know what these people called each other, but their interactions are still hard for me not to try and imagine…

1. Gianfranco Pasquali (ed.), “S. Giulia di Brescia” in Andrea Castagnetti, Michele Luzzati, Pasquali & Giorgio Vasina (edd.), Inventari altomedievali di terre, coloni e redditi, Fonti per la Storia d’Italia 104 (Roma 1979), pp. 41-94 at pp. 81-83, with the chapel following on p. 83 and the last estate at p. 93, a chapel at Cellatina held in the benefice of Kebahart but belonging to Alfiano.

2. Ibid. p. 60.

3. Both rushlights and iron rendered from Forse Pian Communo in Valcarmonica, in fact, just as an example, ibid. p. 72.

4. See n. 3 above.

5. Pasquali, “S. Giulia di Brescia”, pp. 60-61 & pp. 62-63 respectively.

6. Ibid. pp. 67-68.

7. Ibid. p. 88.

Working for San Salvatore I: making a polyptych

I seem to have taken the chance of the latter part of the Birmingham job to indulge in reading large amounts of primary material. First there was the cartulary of St-Pierre de Beaulieu, about which you’ve by now heard quite enough, for the paper about documents that predate their archives that I may some day finish, and then as I first wrote this, in May 2014, there had just been the polyptych of Santa Giulia di Brescia, which I was reading for the submission version of the paper about Carolingian crop-yields which I gave at Kalamazoo in 2011.1 The point I wanted to make with the former of these kind of disintegrated as I got into the material; it’s not clear that all the material that the monks of Beaulieu were assembling was actually theirs and far less of it is non-ecclesiastical than I had thought. There’s an interesting story to be told there (I should say, another one, as Jane Martindale already told one) but it’s not the one I wanted.2

Thesouth portal of St-Pierre de Beaulieu

One last picture of Beaulieu before we leave it for a few months… By Sjwells53 (Own work) [CC-BY-SA-3.0 or GFDL], via Wikimedia Commons

The Santa Giulia di Brescia polyptych has been far kinder, in as much as it serves my purpose perfectly: those scholars who have posited low crop yields using its figures have done so by what I can only call unthinking assumption that the figures are what they needed, and this is easily disproven.3 In fact, not only can one not show that the monastery’s estates were yielding less than was sown, as has been argued (nonsensically), in one or two cases it is clear that the yields must have been much higher, so it all works very well for me. But there is so much else one could do with this document, and in the paper I can’t, I have no space and it would be irrelevant and to do anything separate with it I would have to work through a mass of Italian historiography, Italian being a language with which I struggle, and probably then find out all this stuff was well-established anyway. But this is where a blog helps: I have to tell someone, so I shall tell you.

A corner of the cloister and the solar of Santa Giulia di Brescia

Santa Giulia has not made it through the ages quite as unchanged as Beaulieu

Let’s start at the beginning by explaining the word polyptych, perhaps not in the average person’s everyday vocabulary. This is a word scholars of the early Middle Ages use for one of the various large-scale estate surveys carried out by fiscal or ecclesiastical agents: these seem to start in the Carolingian Empire, though the techniques presumably weren’t new then, and they carry on being made well into the Middle Ages: Domesday Book could be argued to be the ultimate one and there’s a twelfth-century one from Catalonia I need to read some day, and so on.4 At the later end this category blurs into inventory, survey, census and so on, and it’s something of a term of art. It’s also not the word the texts use, which is almost always breve, though brief these texts are not. Anyway, Santa Giulia’s is quite late, probably dating to 906, and it’s out of area, being from North Italy, which would once have counted as Carolingian heartland but by this time not so much.

Polyptych of the Paris monastery of Saint-Germain-des-Prés, Paris, Bibliothèque National de France, MS Latin 12832

This is not from the Brescia manuscript, which is not online as far as I can see, but from the 9th-century polyptych of the Paris monastery of Saint-Germain-des-Prés, Paris, Bibliothèque National de France, MS Latin 12832, online at Gallica; this is fo. 8v.

We don’t have all of this text. The original manuscript survives, and it must be a fascinating thing though it’s quite hard to check since the shelfmark given by the best scholarly edition, which dates to 1979, seems now to have been reorganised out of existence and the Archivio di Stato di Milano, although they have been digitising their stuff since 2000, don’t actually, you know, have any of it online yet. The edition is good, however, and furthermore that has been competently digitised, so you can play along here. But the original would be more fun: as it survives it is apparently twelve big pieces of parchment sewn together top-to-bottom into a roll. One of these pieces is a later short bit acting as a replacement for the end of its predecessor, whose final lines apparently became almost-illegible, but otherwise we have the work of three scribes, two of whom write large chunks and could have been working independently, but the third of whom drops in for a few lines here and there not just within entries but within words of the second scribe’s work, so that they must have firstly been working together and secondly working with source texts. That was always likely, but it at least eliminates the possibility that the information was being written up ‘live'; you can’t really change scribes in the middle of a word if someone is standing there dictating it to you, you’d think.

The cloister of Santa Giulia di Brescia

Back to Santa Giulia’s rather post-medieval cloister

The information that they were receiving and recording was done to a pretty tight template. Interestingly, it’s less tight in some areas than others. The text opens in the middle of an entry, and most of the first few have become illegible, but once they’re not they’re in the Brescia area: after a while the scope moves out to properties nearer Bergamo, Modena, Cremona and Piacenza, and Modena especially is not in style. This seems partly to be because the second scribe thought some details were just too tedious, but in other cases it seems to be because the information hadn’t come in as expected: there are gaps left on the manuscript as if more were expected. Sometimes these gaps are very large, twenty-odd centimetres of unused parchment, suggesting that perhaps entire settlements hadn’t yet reported in when they started writing up and in fact never did, while at the end, after they’d got down to the properties that aren’t even land but just some people in Ivrea who sent them honey once a year, or similar,5 what seem to be extra estates from Brescia and Bergamo were added which had apparently been missed out earlier and whose returns therefore presumably came in late.

So we certainly don’t have a full inventory of Santa Giulia di Brescia’s property here (not least because it would still have been San Salvatore di Brescia in 906 I think) and the most obvious thing that’s missing is the monastery itself, which was at least mentioned somewhere in the text, as the scribes refer back to it as ‘the aforesaid monastery’, but in what we have is not mentioned at all.6 This suggests that what is now the first parchment probably wasn’t originally, and of course that means we don’t know how much is lost, especially as the twelfth parchment also breaks off in medias res. That unknown quantity is also the basis for the date of 906, which is not given in the text that we now have but which is recorded on the dorse of the roll, and which may therefore have once been in the missing part of the text. People have debated the palæography a lot and argued that this is anything from the original to a late-eleventh-century copy. Some of the land involved was only granted to the monastery by King Carloman in 879 so it’s younger than that, but the consensus seems to be that it could be 906, so it may as well be.7

Precept of King Carloman for Saint-Sauveur d'Atuyer, 883

Again, not the right manuscript, but the look is right and so is the dedication, this Carloman confirming the rights of Saint-Sauveur d’Atuyer in 883, from the inestimable Diplomata Karolinorum

Now, there are a whole range of things that interest me about this text, some of which will be their own posts, but let’s stick here with how they made it. As I say, the information is recorded to a template. Each estate is broken down by assets with the assets listed in the same order. Some estates didn’t have, for example, a spelt crop, but when there was a spelt crop it’s always tucked between the rye crop and the barley crop—not the only example, this—so there must somewhere have been a guide that said what order things should be listed in. There’s two ways that could happen, obviously: either the information came in more or less unsorted and the scribes arranged it according to a list in the office or else the template was actually used in the collection of the information. I think it must have been the latter, because there is as I say variation in the order around Modena. The scribes could obviously have fixed that if they were already reorganising data to a model. That they did not suggests that the model was used at record point, not at redaction point.

In other words, the monastery would have sent people out with a form to be filled in. For some reason this makes me terribly gleeful. It’s not that I have any great love for bureaucrats. It may be that I do love making lists of stuff, and it therefore reaches me inside to have good evidence of tenth-century people also making lists of stuff that were meant always to be in the same order and so on. But mainly I love it because this means it is possible to reverse-engineer the form they used, or at least something that would produce the same results. So by way of both showing you the kind of data we have and quite how bad my obsessive compulsion can get, you will find my version of that form, with one estate’s data entered into it, below the cut. For those of you slightly less keen on fine-grained (aha ha grain, sorry) agricultural demography, a seminar report will be along shortly… Continue reading