The Appropriation of the Cosmati and Cosmatesque

The Roman Medieval Cosmati works of the tenth to the thirteenth century may have been an innovation in church ornamentation for the period, but the material and content presented in the patterns are appropriated from years past. The Roman craftsmen repurposed ancient stones like porphyry, serpentine, and Carrera marble from ruined sites, using the stones in the laying of floors at Christian houses of worship. The patterns in the floors, though laden with Christian symbolism, were also based upon Classical philosophies involving the Platonic and Aristotelian elements and the cosmos. In this post, I will discuss the significance of appropriated material and concepts in Medieval Cosmati pavements, and then consider the Victorian revival of the Cosmatesque in the United Kingdom.

The spolia used in Medieval Roman pavements were not transported  from afar-- the stones were taken from ruined Classical sites. For the Classical construction to be possible, the stones travelled a great distance, including porphyry from modern-day Egypt. Egyptian porphyry was used in  pagan houses of worship, and later re-purposed in locations like Santi Quattro Coronati (4^th century pagan origins, 6^th century Christian conversion, 12^th century completion), and at the height of Cosmati creation, moved as far away as London in the laying of the Westminster pavement (13^th century completion).[1] Serpentine is found mostly in mainland Greece, linking the famous baldachin of St. Peter’s the home of Classical philosophy. This transaction of materials makes the interchange of ideologies more plausible. The following images and analyses serve as examples of exchange of material and cultural goods.

Cosmati Pavement in the San Silvestro Chapel at Santi Quattro Coronati, Rome

St. Silvestro Chapel at Santi Quattro Coronati (SQC), Rome: SQC is home to two Cosmati pavements: one within the main basilica, the other within the St. Silvestro Chapel. The pavement in the St. Silvestro Chapel predates that of the main basilica and has a several symbolic features placed within the spolia stones. The prominent shape in this pattern is the quincunx (one form surrounded by four so that the four make the corners of a square). The three here could represent the Trinity, which is alluded to by the white cross in the quincunx nearest the entrance. The white marble may represent peace or purity, but perhaps it is more likely that it represents Christ at the centre of the universe, as suggested by the quincunx at the Westminster pavement. The abundant use of porphyry is perhaps a reference to royalty, as in the divine royalty of Christ, or the royalty of Constantine who is portrayed in the chapel’s famous mosaic.[2]

Westminster Abbey Cosmati Pavement

Westminster Abbey, London: As mentioned in the SQC analysis, the quincunx is often thought to be a representation of the universe. This is due an inscription that once was inset around the Westminster pavement describing it as “the eternal pattern of the universe.”[3] This inscription is the only one of its kind, making the Westminster pavement the only labelled Cosmati work. Scholars like Lindy Grant, Richard Mortimer, and Richard Foster have greatly elaborated on pattern, but to sum up their studies, the quincunx represents the four Platonic elements in the exterior orbs, and the Aristotelian fifth element, aether, in the centre. These elements were considered constants in universe. As science and religion often overlapped in the Middle Ages, the quincunx and the elements that make up the universe also had a religious interpretation, one in which God replaced aether and the four elements would be the four Evangelists. In the case of SQC, perhaps the four arms represent the Four Crowned Martyrs.

Large quincunx roundel of the Sistine Chapel Cosmati pavement

Sistine Chapel

Sistine Chapel at St. Peter’s Basilica, Vatican City: Like the pavements of SQC and Westminster, the Sistine Chapel pavement features a quincunx. The pavement seen here is under Michelangelo’s famous ceiling, but do note that there is another pavement in the Stanza della Signatura which features the cross keys of St. Peter. This pavement is significant as it sits under the image of God creating Adam, which is consistent with the cosmological reference made by the Westminster inscription. Additionally, the nine rings that make up the roundels of the larger quincunx (seen above) are perhaps another reference to the heavens, particularly the nine levels of Purgatory so famously written about by Dante.
This theory needs further investigation on my part, but considering the nine layers and Dante’s Purgatorio certainly makes an intriguing query. 

Monreale Cathedral, Sicily: Lastly I would like to examine the pavement at the Monreale Cathedral in Sicily. Although not part of Rome, Sicily and Naples were part of the Holy See.[4] This connection with Rome made for many shared cultural practices, but the lifestyle in the south was different from that of Rome as Sicily was influenced by Muslim culture until the Normans conquered in 1072, which led to the structure we see today.[5] The original worship centre of Monreale was a small church. The structure as it can be seen today was built by King William II in the early twelfth century (circa 1174). The Roman quincunx is present at Monreale, but the Islamic muqarna has become the more featured geometric form. In many eastern cultures, the eight-pointed star represents protection, spiritual enlightenment, resurrection, rebirth, infinity and abundance.[6] In Islam there are seven hells and eight paradises, perhaps making the muqarna a symbol of paradise.[7] Christianity uses the number eight in art and design because after the flooding of the world and Noah’s ark, eight people were saved in this “mass baptism,” thus resulting in eight-sided baptisteries and churches.[8] As discussed in former posts, the number 8 is also infinity when turned upon its side.

 What can be concluded from the medieval Cosmati works is that both material and content are spolia. The same can be said for Victorian adaptation of Cosmati-style pavements known as the Cosmatesque. One of the most highly-recognized Victorian Cosmatesque pavements is that of Durham Cathedral. The material of the choir and high altar pavements are predominately sandstone, but the pattern includes a multitude of geometric forms borrowed from pavements created before its time. The pavement was laid by Sir Gilbert Scott in 1870 during a renovation of the cathedral, which also included alterations to the towers, foundation, and smaller damages to the structure.

Cosmati works have long been a favourite of mine for their intricate patterns and bold colours, but what is truly incredible is the long history of exchange of materials, content, and craft of the pavements. The exchange of material is evidence of long-standing economic agreement between a multitude of cultures, but the patterns of the pavement express a cultural exchange. The geometric symbolism is a tradition of religious and scientific understanding passed down from ancient times, to medieval scholars and in turn, craftsman, and later adapted by Victorian patrons in their great refurbishment. The Westminster inscription reveals that the quincunx pattern is best called the "eternal pattern of the universe," but the process of creating these pavements reveals a pattern of cultural exchange. 

 

View of the Victorian Cosmatesque Pavement

 ~Emily

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[1] http://understandingrome.wordpress.com/page/2/

[2] Mitchell, John. "St. Silvester and Constantine at the SS. Quattro Coronati." In Federico II E L'arte Del Duecento Italiano, Atti Della III Settimana Di Studi Di Storia Dell' Arte Medievale Dell 'Universita Di Roma, 15-32. Vol. II. Galatina, 1980.; Barelli, Lia. "Brief History of the Monastery Complex of Ss. Quattro Coronati in Roma." Monastero Dei Ss.Quattro Coronati. 1999. http://www.santiquattrocoronati.org/index_enn.htm.

[3] Richard Foster, Patterns of Though: The Hidden Meaning of the Great Pavement of Westminster Abbey (London: Butler and Tanner, 1991), pg. 3.

[4] Mitchell, John. "St. Silvester and Constantine at the SS. Quattro Coronati." In Federico II E L'arte Del Duecento Italiano, Atti Della III Settimana Di Studi Di Storia Dell' Arte Medievale Dell 'Universita Di Roma, 15-32. Vol. II. Galatina, 1980.

[5]Krönig, Wolfgang. The Cathedral of Monreale and Norman Architecture in Sicily. 15. Palermo: S.F. Flaccovio, 1965.

[6] Number Symbolism 8—Britannica Online Encyclopedia. “Encyclopedia-Britannica Online”. Web. <http://www.britannica.com/EBchecked/topic/1086220/number-symbolism/248165/8.>

[7] Ibid.

[8] Joost-Gaugier, Christine L. Measuring Heaven. Ithaca: Cornell University, 2006. 167-168.  Print.

The Power of Porphyry

While studying at the University of Edinburgh, I have developed an extreme fascination with Cosmati works of art. Several of my colleagues and I made a trip to Rome this past fall where I was able to examine these exquisite works first hand. Although my primary interest in the Cosmati floors are that of geometry and cosmology, I often return to the subject of patronage. Why this pattern? Why this décor for this structure? How did this design benefit the patrons? The answers vary by location, but one quality that was commonly shared amongst the Roman works was the inclusion of porphyry as a material. At the height of Cosmati fashion in the twelfth century, purple had transferred as colour of the emperor to that of the church. Purple had long been associated with those of high ranking as the colour was costly to produce difficult to come by. The use of the colour in both royal clothing and depictions of royals came to symbolize their great wealth. As troubles arose between the emperor in Constantinople and the Papacy in Rome, the colour was then adopted by the Church. This adaptation by the Church suggests perhaps a different royal, the divine king of the Heavens, God. The inclusion of the colour purple in religious art is in homage to God, and serves as a form of propaganda, promoting the rule of the church over that of the empire. This is perhaps best displayed at Santi Quattro Coronati, which houses two Cosmati pavements and several layers of patronal intent.

As stated by medieval Rome specialist, Dr. Claudia Bolgia, ‘the Cosmati came in the spirit of antiquity, but also used the material of antiquity in their creations.’ This could not be more true. Spolia was essential in the construction of medieval Rome, often promoting the domination of one cultural idea over another. This is the case at SS Quattro Coronati in the Saint Silvestro Chapel. The eleventh pavement of Saint Silvestro is said to be the earliest structure in Rome in the Cosmati style. The multi-coloured marbles of the floor of course include porphyry, which in this particular case makes reference to the papacy protecting their position against the imperial rule. The Saint Silvestro pavement was perhaps best used as propaganda in following years during the reign of Frederick II. Frederick II had inherited Naples and Sicily in an arranged marriage, allowing him to more easily pursue Rome. By 1220, Frederick was granted possession of Rome by Pope Honorius III. It was not until the papal return to Rome from Avignon in the fourteenth century that the Church regained a prominent place in politics. How is it then that the floor, and the porphyry, served as papal patronal propaganda?

The Cosmati pavement is dated to the eleventh century, but with addition of thirteenth century frescoes, the promotion of the papacy becomes apparent. The floors were funded by Pope Paschal II in his reconstruction of the city. His intention was to promote the papal presence within the community through refurbishment. The frescoes, commissioned by Cardinal Stephan, were added to the chapel in 1247, argued against for the foreign rule of Frederick. The frescoes depict Constantine bowing down to Saint Silvestro, a representation of imperial authority conceding to temporal power. The two artistic works- the pavement and the frescoes- together create a political statement that allows the material porphyry to be fully associated to the papacy. Porphyry is more easily attributed to the papacy over the rule of the emperor when consideration is given to the fact that both patrons were of the church. These patrons firstly made the voice of the church heard through the Cosmati pavement, which included porphyry in a cosmological illustration that is interpreted as a statement of God being the more prominent ruler of the universe, and secondly man. The frescoes second papal authority in depicting an emperor cowering to a church figure. The pattern of the floor and the addition of the fresco to the site therefore allow porphyry to exemplify the power of the papacy.

With this in mind, can purple be considered a colour and symbol of power in all art? Is porphyry the medium of choice because of this interpretation? In the case of Cosmati floors, most often considered a cosmological illustration, I feel the porphyry is representative of the kingly God, but this political propaganda must certainly not be overlooked.

-Emily

Image from: www.trasecoli.it