Artist: Unknown (From a late thirteenth-century copy of William of Waddington’s Manuel des pechiez/Manual of the Sins) Media: Manuscript Illumination (ink and pigment on parchment) Date & Location: c. 1280, England Where can I see this artwork?: Princeton Library, Special Collections, Taylor MS. 1, folio 44 recto (this whole manuscript has also been digitized for online viewing)
Significance to Queer Art History
Both men and women wrote passionately about their visionary experiences of Christ in the late medieval period. These accounts, and visualizations like this one in Taylor MS. 1, invite considerations about gay and lesbian relationships. What does it mean for a layman (non-clergy man) to fantasize an erotic embrace with Christ? Might we find pleasure in looking at this medieval image of two men embracing?
It also invites questions of gender fluidity. The union of a human soul with Christ was often allegorized as a bride-groom relationship. In cases of AMAB (assigned-male-at-birth) or masculine devotees, though, this results in a feminization. They become ‘the bride’ of Christ. Similarly, Christ’s body (and especially his wound) is often imbued with multiple genders. The wound might be also a vulva or a breast in the writings of the medieval mystic, and indeed is sometimes represented as giving birth to a personification of the Church.
Resource(s)
Karma Lochrie. “Situating Female Same-Sex Love in the Middle Ages.” The Cambridge Companion to Lesbian Literature, Cambridge. Cambridge: Cambridge University Press, 2015. 79-92.
Robert Mills. “Hanging with Christ.” Suspended Animation: Pain, Pleasure and Punishment in Medieval Culture. London: Reaktion Books, 2006. 177-199.
Artist: Unknown Author: Heldris de Cornuälle Date & Location: Early 13th Century, France Media: Pigment on vellum (calf skin)
Significance to Queer Art History
The French narrative Le Roman de Silence was written by Heldris de Cornuälle in the 13th century. This is the only known surviving copy, also from the early 13th century, which exists between the vellum folios 188r-223r of WLC/LM/6 at the University of Nottingham.
This narrative, including the eleven miniatures (images) containing narrative content, is based on another medieval text: De Planctu Naturae (The Complaint of Nature)by Alain de Lille (c.1128-1212). Alain de Lille focusses especially on “sodomy,” and so does Heldris de Cornuälle.
Sodomy, and characters representing sodomy, does not match with our modern cis-heteronomative presumptions. This means that the “sodomitical” characters represented in Romance de Silence don’t conform to these presumptions either.
There are three characters (Silence, Eupheme, and the Nun) who do not conform to their assigned gender roles, and one of these characters has been called by contemporary scholars a “lesbian” figure.
Summary
Since these images are so connected to the story, here is a brief summary of these three “queer” characters and their role in the plot:
**Please note: Various gendered pronouns are used here to discuss the narrative, and I do not want to negate any trans/non-binary interpretations, which I think abound. Please interpret them in whichever ways resonate for you. Additionally, these characters face violent endings so, while this is a piece of the history of queer representation, this is a loving heads-up before you dive in.**
Silence
Silence is initially described as a woman, but raised as a man after the king decrees that daughters can no longer inherit.
Silence is revealed to be a woman by Merlin at the end of the narrative, and she is then married to the king.
Silence’s body had taken on physical masculine features before being revealed, though, which are described as being “refinished” by Nature (ll. 6457–6460).
It is also worth noting that Silence had desires to make the transition permanent. He sought out Merlin to that end, but was foiled by Eupheme (ll. 6457-6460).
He is also accused of liking “young men a lot” and being an “herite” (ll. 3945-3947).
“Heretic” came to be synonymous with “sodomite” in late medieval France.
Eupheme/Eufeme
Eufeme/Eupheme is sent to marry King Evan to stop a war. She arrives with her black hair on a boat which also carries black horses to be gifted to the king (ll. 231-233).
She falls ill upon arrival delaying the wedding, but it happens three days later.
She tries to seduce Silence, and is described as being “highly skilled in such matters” (l. 3713). She is also described as loving and feeling “anguished yearning…/for this young man who was a girl (ll. 3698-3704).
Another of Eupheme’s lovers is a nun who is revealed to be “a man” near the end.
This plot point has been referred to by other scholars as further suggesting her preferences for women.
The gendered hegemony is perpetuated at the end of the narrative when Eufeme is executed by equine quartering (l. 6656). This was a common sentence for sodomy.
Adjectives used for Eufeme include: “female satan/cis sathanas” and “lady harlot/la dame fole” (l. 6273).
The Nun
A nun is in Queen Eupheme’s entourage when they intercept Silence bringing Merlin to the king.
While dressed as a nun, she/her pronouns are used for this character: she said/fait ele (l. 6250).
The nun is then revealed by Merlin in his long, riddle-like speech to be “Eufeme’s lover/… deceiving [the king] in woman’s dress” (ll. 6531-6532).
The gendered hegemony is reinforced once again when the nun is made to strip before the king (ll.6570-6571), and then executed with Eufeme (ll. 6655).