Holy treasure and sacred song : relic cults and their liturgies in medieval Tuscany

321 Pages·2014·10.261 MB·English

by  Brand, Benjamin David

Holy Treasure and Sacred Song

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Holy Treasure and Sacred Song
Relic Cults and their Liturgies in
Medieval Tuscany
Benjamin Brand
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1
1
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Library of Congress Cataloging-in-Publication Data
Brand, Benjamin David, 1977– author.
Holy treasure and sacred song : relic cults and their liturgies in medieval Tuscany / Benjamin Brand.
pages cm
Includes bibliographical references and index.
ISBN 978–0–19–935135–0 (hardback : alk. paper) 1. Church music—Italy—Tuscany—500–1400.
2. Church music—Catholic Church—500-1400. 3. Christian saints—Cult—History of doctrines—
Middle Ages, 600–1500. 4. Catholic Church—Liturgy—History—Middle Ages, 600-1500. I. Title.
ML3033.7.T87B73 2014
781.71'2009455—dc23
2013044969
9 8 7 6 5 4 3 2 1
Printed in the United States of America
on acid-free paper
To my friends and family

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Contents
Acknowledgments ix
Music Examples xi
Figures xiii
Tables xv
Abbreviations xvii
Timeline xix
1. Introduction 1
Part I | Dominus et constructor 9
2. The Bishop’s Relics, 752–899 17
The Politics of Relic Cults: Bishop Giovanni I of Lucca 22
Defenders of Ecclesiastical Treasure: Fiesole and Florence 36
3. The Bishop’s Clergy, 840–1039 44
Emperors—Canons—Bishops 47
Arezzo: A Trio of Episcopal Builders 54
San Miniato: A New Episcopal Center 61
Fiesole: Between Episcopal and Monastic Reform 67
4. The Bishop’s Eclipse, 1032–1118 72
Florence: Reformed Monasticism and the Cathedral Canons 74
Lucca: The Lord and Builder in the Age of the Reformed Papacy 84
Pisa: The Rise of Civic Religion 102
Part II | Ecclesia Matrix 107
5. The Cathedral Chapters, Their Churches, and Their Liturgies 111
Ordinals 116
Altars, Relics, and Oblations 124
Privatization 138
viii i Contents
6. Public Drama in the Mass 144
The Clergy and Populace Convene 148
The Liturgy of the Word 150
The Liturgy of the Eucharist 153
The Dedication of the Church 156
St. Martin 166
St. Donatus 179
7. Sacred Narrative in the Divine Office 192
St. Minias 200
St. Zenobius 217
St. Donatus 225
Sts. Fridian and Regulus 233
Appendixes 247
I. Officium Sancti Miniatis 247
II. Officium Sancti Zenobii 251
III. Officium Sancti Donati 253
IV. Officium Sancti Fridiani 257
V. Officium Sancti Reguli 259
References 261
Manuscripts and Archival Documents 261
Printed Books 263
Index 285
Index of Manuscripts 294
Index of Plainsong 295
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Acknowledgments
The origins of this book lie in my dissertation, a study of music and liturgy at the cathe-
dral of Lucca in the late Middle Ages. With its focus on a single church, that earlier
project followed the now familiar path of exploring medieval and Renaissance music as
it was created and heard at particular places and institutions. By the time of the comple-
tion of my dissertation, however, I knew that I wanted to fashion an equally illuminat-
ing but more distinctive approach with my book. This I did by narrowing its overall
theme to liturgies inspired by relic cults, by shifting its chronological frame from the
late to the early and central Middle Ages, and by broadening its geographic scope to
include cathedrals and cities throughout Tuscany. This necessitated a considerable
amount of new research, which was supported by a summer grant from the University
of North Texas, as well as residential fellowships at the Villa I Tatti (Harvard Center for
Renaissance Studies) in 2008–2009 and the American Academy in Rome in 2011–2012.
I thank James Scott, Dean of the College of Music at the University of North Texas, for
supporting these two leaves.
Many individuals provided assistance as I undertook the research for and the writ-
ing of this book. The archivists at the capitular and episcopal archives and libraries in
Arezzo, Lucca, Fiesole, Pisa, Pistoia, Florence, and Siena made their collections avail-
able to me and answered my frequent queries. Kathy Bosi, F. Gordon and Elizabeth
Morrill Music Librarian at the Villa I Tatti, greatly expedited my research by purchas-
ing digital photographs of many of the liturgical manuscripts that are the foundation
for much of this book. George Dameron, Joseph Dyer, Julian Gardner, Allen Grieco,
Albertus Horsting, Patrick Nold, and Henry Parkes shared with me their expertise
in art, ecclesiastical, and liturgical history. The meetings of the Interpreting Medieval
Liturgy Network, organized by Helen Gittos and Sarah Hamilton, provided a stimu-
lating venue in which to present portions of this book. Robert Lagueux and Maureen
Miller graciously read and commented on particular chapters while Jennifer Davis, Tova
Leigh-Choate, and Robert Upchurch did so for the entire manuscript. I am particu-
larly thankful to these five and to the two anonymous readers from Oxford University