Moral Self-determination and the Byzantine Christian Tradition

Though diverging with regards to detail, most historians of intellectual history would readily acknowledge that the advent of Christian antiquity coincided with a new concept of moral self-governance and, consequently, individual culpability.[1] Antique and medieval Christian thinkers cultivated a universal notion of ethical self-determination, affirming that all possess an inherent and unnecessitated capacity for the recognition and pursuit of the good regardless of one’s social upbringing or physical circumstances. A prima facie examination of these late antique and medieval Christian notions might seem to suggest many common features with post-Enlightenment and contemporary conceptions of moral autonomy, which emphasize self-legislation and independently-derived moral criteria. Nevertheless, a closer reading of these sources discloses a mindset that grounds moral self-determination in an ethic of co-governance, establishing the heteronomous “other” as an indispensable aspect of the quest for the good.

A significant exemplar of this “ethic of co-governance” can be found in the corpus of the early Byzantine monk, Maximus the Confessor (c. 580–662 AD), a figure revered by both eastern and western Christian traditions. Imbued with the spirit of the eastern ascetic tradition, the Confessor draws upon both monastic literature and the Hellenic philosophy of the Alexandrian intellectual tradition in order to synthesize his theological vision. Prominent among the doctrines prized by the eastern monastic tradition is indeed the idea that every rational agent possesses a free will, a notion that Maximus himself would also ardently defend and develop. Equally prominent, however, is the practice of “obedience” (hypakoē) to a spiritual guide or superior. This practice became an indispensable aspect of spiritual life in the eastern monastic communities that coalesced in the fourth and fifth centuries, and it remained a venerated feature of eastern monasticism through the end of the Byzantine era. Though not a central motif in his spiritual writings, Evagrius of Pontus (345–399 AD), a pioneer of eastern monasticism, is careful to exhort both male and female monastics living in community to attend to the words of their spiritual guides.[2]

Constantinople. Source: https://commons.wikimedia.org/wiki/File:Constantinople_by_Giacomo_Franco.jpg

The most well-known literary source providing an exposition of obedience is The Ladder of Divine Ascent, authored by John of Sinai (c.579–659 AD).[3] In the fourth chapter or “step,” John addresses the practice, defining it thusly: “Obedience is absolute renunciation of our own life, clearly expressed in our bodily actions…Obedience is the tomb of the will and the resurrection of humility.”[4] His endorsement of the renunciation of “will” may sound odd to many readers, especially given the Christian emphasis upon moral self-governance. Nevertheless, John is not denying the concept of free will as such, nor is he suggesting that the volitional faculty must atrophy into non-existence. Scholarly evidence suggests that the term John uses here for “will,” thelēma or thelēsis, comes to be associated with the volitional faculty in a philosophical sense in the writings of Maximus the Confessor, whose engagement with the Christological controversies of the seventh century provided the impetus for the standardization of the expression.[5] Thus, when John speaks of “will” and its denial, he is arguably referring to what Maximus the Confessor and his theological progeny would call gnomē, which in the idiom of the time refers to a private or particular disposition of will, or even to a personal opinion.[6]  John’s monk is not so much denying his own intrinsic freedom of will as he is seeking the co-governance and insight of those who are more advanced in virtue, and, through them, struggling to direct his volitional disposition such that it harmonizes with the other members of the community.

Maximus discloses a similar approach to moral self-determination by establishing his ethical teaching on “love” or agapē, which figures prominently in his philosophical and dogmatic treatises as well as his ascetic writings.[7] Agapē is no mere private sentiment but constitutes the impetus and ground for moral practice as a whole, thereby suggesting that moral judgment and orientation presuppose an awareness of one’s community and the persistent presence of a real, tangible “other.” In this way, Maximus retools an older Aristotelian paradigm, exchanging justice for love as the central and all-defining virtue.[8] Insofar as agapē is the chief virtue, narcissistic self-love, or filautia, is its inverse and the progenitor of all vice. As he demonstrates in one of his earliest works, The Ascetic Life, ascetic discipline should not be considered a private enterprise intended primarily for the sake of internal moral perfection.[9] Rather, its purpose is the effacement of filautia and the diachronic restoration of temporal and eternal relationships with the creator and one’s fellow creatures. To quote the Confessor directly: “He who is unable to separate himself from the passionate yearning for material things shall neither love God nor his neighbor authentically.”[10] Defining this activity in ontological terms, Maximus argues that divine love shall eschatologically gather together the fragmented portions of human nature into a functional unity, existing as a single mode in solidarity of will and disposition.[11] If love is the metaphysical impetus for the pursuit of virtue and the ground of morals, mimēsis or “imitation” is the pedagogical means by which it is recognized and acquired. Creatively appropriating and redeploying principles of Neoplatonic philosophy, the Confessor establishes the imitatio Christi, the existential imitation of Christ and his virtues, as the epistemological core of his ethics.[12] True followers of Christ imitate his mode of existence, disclosing through their lives and examples divine virtue. The lives and modes of these “exact imitators” are in turn imitated and imparted unto the morally immature.[13]

When viewed through a contemporary lens, we might say that Maximus’ view and the tradition that informs him entail the recognition of “autonomy”—as we would construe it now—as the point of departure for human agency. However, the ideal of agapē calls for the voluntary sacrifice of autonomous moral space for the sake of moral co-governance and a reciprocal unity of wills, which depends upon the concrete example of Jesus Christ and his “exact imitators.”

Demetrios Harper
Byzantine Studies Post-doctoral Fellow

[1]This is strongly reaffirmed by Kyle Harper (From Shame to Sin: The Christian Transformation of Sexual Morality in Late Antiquity[Cambridge, Mass: Harvard University Press, 2013], 80-133), who objects to Michael Frede’s assertions that the concept of free will is not unique to the Christian tradition but can, in fact, be attributed to Epictetus. See Frede’s A Free Will: Origins of the Notion in Ancient Thought, Sather Classical Lectures 68, ed. A. A. Long(Berkeley: University of California Press, 2011), pp. 66-88.

[2]See The Two Treatises: To Monks in Monasteries, and Exhortation to a Virgin, in Evagrius of Pontus: The Greek Ascetic Corpus, trans. Robert Sinkewicz (Oxford: Oxford University Press, 2003), 127-28, 131.

[3]These dates are based on what still remains tentative conjecture. Cf. Alexis Torrance, Repentance in Late Antiquity: Eastern Christian Asceticism and the Framing of the Christian Life c. 400-650 CE (Oxford: Oxford University Press, 2013), 158-60.

[4]The Ladder of Divine Ascent 4.3, revised edition, trans. Lazarus Moore (Boston, MA: Holy Transfiguration Monastery, 1991), 21. For the original text, I consulted the Κλίμαξ, in Ἰωάννου τοῦ Σιναΐτου ἅπαντα τὰ ἔργα, Φιλοκαλία τῶν νηπτικῶν καὶ ἀσκητικῶν πατέρων 16, ΕΠΕ, Ἐλευθέριος Μερετάκη (Θεσσαλονίκη Πατερικαὶ Ἐκδόσεις Γρηγόριος ὁ Παλαμᾶς, 1996).

[5]John D. Madden is among the first to argue for the originality of Maximus’ contribution to the genealogy of the concept of will. Cf. his “The Authenticity of Early Definitions of Will (thelēsis)” in Maximus Confessor: Actes du Symposium sur Maxime le Confesseur, Fribourg (2-5 Septembre 1980), eds. Felix Heinzer and Christoph Schönborn (Fribourg: Éditions Universitaire Fribourg, 1982), 61-82. Madden’s “originality thesis” is defended by David Bradshaw, St Maximus the Confessor on the Will, in Knowing the Purpose of Creation Resurrection, Proceedings of the Symposium on St Maximus the Confessor, ed. Maxim Vasiljević (Alhambra: Sebastian Press, 2013), 143–58 For an up-to-date and comprehensive overview of Maximus’ view, see Ian McFarland, “The Theology of Will,” in The Oxford Handbook of Maximus the Confessor, eds. Pauline Allen and Bronwen Neil (Oxford: Oxford University Press, 2015), 516-32.

[6]Ian McFarland, “The Theology of Will,” 520-522. Cf. for the context and background of “will” and its correlative expressions in Maximus, cf. Paul Blowers, Maximus the Confessor: Jesus Christ and the Transfiguration of the World (Oxford: Oxford University Press, 2016), 156-65.

[7]Cf. Maximus’ Four Hundred Texts on Love, in The Philokalia, eds. and trans. Kallistos Ware et al., vol. 2 (London: Faber and Faber, 1981), 48-113; Letter 2: On Love,in Maximus the Confessor,The Early Church Fathers, trans. Andrew Louth (Abingdon: Routledge, 1996), 84-93.For a systematic account of Maximus’ aretology and its foundations, see Demetrios Harper, Chapter 4, The Analogy of Love: St. Maximus the Confessor and the Foundations of Ethics(Yonkers, NY: St. Vladimir’s Seminary Press, 2018).

[8]See Maximus’ Quaestiones ad Thalassium I 40.60-70, Corpus Christianorum, Series Graeca 7, eds. C. Laga and C. Steele (Turnhout: Brepols, 1980), 269-71.

[9]Liber asceticus 100-115, CorpusChristianorum, Series Graeca40, ed. P. Van Deun (Turnhout: Brepols, 2000), 17. Cf. also the introduction to the Quaestiones ad Thalassium I 380-390, 39-41.

[10]Liber asceticus 100-110, 17. The translation is mine.

[11]Letter 2: On Love, 88.

[12]Cf. St. Maximus the Confessor’s Questions and Doubts III, 1, trans. Despina Prassas (DeKalb: Northern Illinois Press, 2010),156-57;Ambiguum 48.6,in On Difficulties in the Church Fathers II, Dumbarton Oaks Medieval Library 29, ed. and trans. Nicholas Constas (Cambridge, MA: Harvard University Press, 2014), 218-20.

[13]Liber asceticus 635-665, 73-74.

Medieval Chicago–In Gothic City: The Old Water Tower and Pumping Station, Part 2

Don’t forget to read Part 1 of this post first!
Full view of water tower. Photo by Karrie Fuller, copyright reserved.

The 19th-century preference for ornate, gothic structures indicates their admiration toward this formerly maligned medieval style, and it is within this context that William W. Boyington, his water tower, and many more of his buildings sit. However, architecturally speaking, Boyington’s tower has not always received great accolades for its artistry, tending to be revered as an engineering marvel instead. One guidebook, for instance, describes it as “stylistically naive,” stating that “Chicagoans are content to venerate it as a monument rather than criticize it as art” (Schultz 143). While emblematic of the neo-gothic style, this building might lack some of the aesthetic impact to which it aspires. His water tower and pumping station, therefore, represent his most famous, though perhaps not his most successful, attempt at integrating form and function in one building design. However lacking it might be in aesthetics, the tower’s medieval inspiration is impossible to miss. Although we tend to associate gothic architecture with cathedrals and religious buildings, this castle-like structure features a few of those classic gothic elements, particularly the pointed-arch windows and doors. Despite being dwarfed by its neighboring buildings, its central tower does imbue it with a sense of verticality, but without the heavy, looming presence of a cathedral or castle. The decorative gables and emphasis on geometric patterns also derive from the tower’s gothic influences, and its castle-like qualities are enhanced by turrets and battlements (for more information on gothic and neo-gothic architecture, see the bibliography below).

Boyington carried the gothic style he adopted over to other structures as well. The Rosehill Cemetery entrance, for instance, still stands, and had more of his buildings survived the Great Fire of 1871 as well as other ravages of time and human destruction, even more of his medieval-inspired buildings would continue to line the city streets. Luckily, records of some of these buildings do survive in drawings and photos archived and digitized as part of the Ryerson and Burnham Archives: Archival Image Collection by the Art Institute. A number of the buildings documented here also appear in the neo-gothic style.

Rosehill Cemetery maingate. Photo courtesy of Matt Hucke at Wikimedia Commons.

Looking at Boyington’s long list of architectural accomplishments, which extend beyond Chicago to places like Philadelphia and New York, one would be hard pressed to avoid the impression that this man built a great deal of Old Chicago and shaped its architectural character in ways that have persisted despite the domination of newer, taller structures over the city’s skyline (see Carbutt for a summary of his career). His wide-ranging work includes everything from the original trade building and the first University of Chicago to his many churches and even some residences. That his buildings appear in other major American cities also indicates a more widespread influence on the nation’s landscape. Although not the only player in the formation of Old Chicago’s appearance, perhaps one reason Boyington’s Water Tower maintains its status as a monument is that, despite its potential imperfections, it embodies so much of Chicago’s 19th-century values and priorities, both as a feat of architecture and engineering. It reflects, in other words, something essential to the original spirit of the city.

The Pumping Station. Photo by Karrie Fuller, copyright reserved.

Thus, while visually the water tower might stand out as an oddity in its current location, the building more than belongs here. It provides a snapshot of a once en vogue architectural style that imports elements of medieval European aesthetics and adapts them for new uses in a new world. It also serves as a reminder of how much effort Chicago, alongside many other major American cities, put into medievalizing the American landscape in order to establish a particular national identity. However, even though this movement drew upon the European heritage of citizens who themselves came from the families of European immigrants to the new world, it is worth acknowledging the global spread of the Revival as well as the Middle Eastern influences on the original medieval Gothic style. The “global Gothic,” as Jan Ziolkowski suggests, deserves attention because “for centuries, the style has been freighted wherever European culture and commodities have been carried” (148). Moreover, as scholars have long noted, Islamic architectural and artistic influences catalyzed the original shift from Romanesque (an early medieval architectural form based on classical forms) to what we have come to know as “Gothic” (Draper. See also Ziolkowski 108-9). The history of gothic building projects, then, derives from productive (though not easy) cross-cultural exchanges that altered the course of history and, literally, shaped how the world around us looks today. From Islam to Europe in the Middle ages, and from Europe to America in the 19th century, this chain of border-crossing artistic influence pinpoints an essential factor in understanding medieval Chicago’s reliance on forms imported, reimagined, and blended into new and original settings.

Today, this historic landmark and popular tourist destination houses the City Gallery in the Historic Water Tower, showcasing the work of local artists, photographers, and filmmakers. The neighboring pumping station now contains a public library and theatre. Michigan Ave has no shortage of great shopping and entertainment, but the tower is worth a quick stop next time you visit the Mile, providing a moment of historical enrichment to break up the street’s commercialism.

As a medievalist, I feel rather drawn to the Gothic Revivalist sentiments embodied in the Water Tower, and learning about this building and its historical influences has opened up a new way of viewing the Middle Ages through a time period well outside of my own academic specialization. I will not be at all surprised should Boyington’s name pop up again while working on this series; in fact, I hope it does. But learning about the Gothic Revival has also sparked my interest in a subdivision of this movement found in the “Skyscraper Gothic” style that will more than likely lead me the Chicago Tribune Tower as we explore this gothic city.

Karrie Fuller, PhD
University of Notre Dame

Online Resources:

“Boyington, William W.,” Ryerson and Burnham Archives: Archival Image Collection, TheArt Institute of Chicago, accessed on November 1, 2018, http://digital-libraries.saic.edu/cdm/search/collection/mqc/searchterm/Boyington,%20William%20W./mode/exact.

Gale, Neil. “The History of the Chicago Water Tower,” The Digital Research Library of Illinois History Journal, published on December 3, 2016, https://drloihjournal.blogspot.com/2016/12/chicago-water-tower-history.html.

“Illinois SP Chicago Avenue Water Tower and Pumping Station,” National Register of Historic Places, National Archives Catalog, National Park Service, accessed on October 19, 2018, https://catalog.archives.gov/id/28892376.

Leroux, Charles. “The Chicago Water Tower,” Chicago Tribune, published on December 18, 2007, http://www.chicagotribune.com/news/nationworld/politics/chi-chicagodays-watertower-story-story.html.

“Throwback Thursday: Chicago Water Tower Edition,” Chicago Architecture, Artefaqs Corporation, published on March 5, 2015, https://www.chicagoarchitecture.org/2015/03/05/throwback-thursday-chicago-water-tower-edition/.

Works Cited & Further Reading

Blackman, Joni Hirsch. This Used to Be Chicago. St. Louis, MO: Reedy Press, 2017.

Carbutt, John. Biographical Sketches of the Leading Men of Chicago, 215-22 . Chicago: Wilson & St. Clair, 1868. [Written in a dated style, this book is florid, grandiose, and male-centric, but contains some useful information about Boyington nevertheless.]

Draper, Peter. “Islam and the West: The Early Use of the Pointed Arch Revisited.” Architectural History48 (2005): 1-20.

Frankl, Paul. Gothic Architecture. Revised by Paul Crossley. New Haven: Yale University Press, 1962, 2000.

Grodecki, Louis. Gothic Architecture. New York: Electa/Rizzoli, 1978.

Murphy, Kevin D. and Lisa Reilly. “Gothic.” In Medievalism: Key Critical Terms, 87-96. New York: Boydell and Brewer, 2014.

Oxford English Dictionary, s.v. “Gothic,” accessed September 20, 2018, http://www.oed.com.proxy.library.nd.edu/view/Entry/80225?redirectedFrom=gothic#eid.

Reeve, Matthew M. “Gothic.” Studies in Iconography33 (2012): 233-246.

Schulz, Frank, and Kevin Harrington. Chicago’s Famous Buildings. 5thed. Chicago: University of Chicago Press, 2003.

Ziolkowski, Jan M. The Juggler of Notre Dame and the Medievalizing of Modernity. Vol.3: The Making of the American Middle Ages. Cambridge: Open Book Publishers, 2018. http://dx.doi.org/10.11647/OBP.0146.

Penitential Justice in Saint Mary’s College, Cushwa-Leighton Library, Ms. 1

My semester at Notre Dame as the Astrik L. Gabriel Postdoctoral Fellow was fortuitous in several ways. As I began to revise my dissertation into a book, I benefited greatly from the resources of the Medieval Institute, the kind guidance of Notre Dame’s faculty, and the friendship of several graduate students and postdoctoral fellows. During my short tenure, Irish football also went undefeated in the regular season! (Take note deans and future hiring committees.) Last but not least, I discovered a remarkable manuscript at Saint Mary’s College: Cushwa-Leighton Library, Ms. 1.

f. 33v-34r

As David Gura notes in his catalog entry, Ms. 1 was probably copied in Germany in the late-twelfth or early-thirteenth century.[1] It contains portions of Peter Lombard’s Sentences and Burchard’s Decretum, as well as minor excerpts from Rather of Verona’s Synodica and Adelgar’s De studio virtutum. When I first came across Ms. 1, I was immediately interested because I had examined many similar copies of Burchard’s Decretum in my dissertation.[2] I was even more excited to discover that Ms. 1 is unknown to historians of canon law![3]

Although there is much work yet to be done, I would like to share some of my initial findings regarding Ms. 1.

In its current form, Ms. 1 consists of two distinct sections. The first section contains the Sentences (ff. 1ra-18vb) while the second section contains Decretum and the other minor texts (ff. 19r-38v). The small hand and two columns of the former section is clearly distinguishable from the larger hand and single column of the latter section. At some point these two sections, originally distinct, must have been bound together.

f. 2r
f. 26r

Burchard’s Decretum and Saint Mary’s Ms. 1

The Decretum was compiled by Burchard, bishop of Worms, between 1012 and 1023, and numbers among the most important canon law collections of the Middle Ages. Divided into twenty books, the Decretum focuses on matters of diocesan administration, including the rights and duties of the bishop, the regulation of clerical (mis)conduct, and the punishment of lay crimes and sins through penance. About 78 complete copies of the Decretum survive today.

As noted by Gura, the Decretum excerpts in Saint Mary’s Ms. 1 mostly come from Book 19. Book 19, which is also known as the Corrector, explains how to judge, assign, and enforce penances.

In recent years, the Corrector has received a great deal of attention from cultural historians due to its strange prescriptions against magic, witchcraft, and sexual deviancy. For example, the Corrector includes one of the earliest known references to werewolves! Consider also this fascinating example:

“Have you done what certain women are accustomed to do? They take a living fish, place it between their legs, and hold it there for a while until it has died. Then, having boiled and roasted the fish, they give it to their husbands to eat. They do this so that [their husbands] might become more inflamed in love for them. If you have done this, you should do penance for two years.”

“Fecisti quod quaedam mulieres facere solent? Tollunt piscem unum vivum, et conmittunt eum in puerperium suum, et tamdiu eum ibi tenent, donec mortuus fuerit, et, cocto pisce vel assato, suis maritis ad comedendum tradunt, ideo faciunt hoc, ut plus in amorem earum inardescant? Si fecisti, duos annos poeniteas.”

f. 27v

The Corrector has traditionally been considered a penitential. The penitentials first emerged in Ireland and England in the fifth and sixth centuries and were brought to the Continent by missionary-monks such as Columbanus and Boniface in the seventh and eighth centuries. According to most scholars, the penitentials describe a process of private, voluntary confession distinct from the mandatory public penances of the canon law collections. As such, scholars often claim that the Corrector was used separately from the rest of the Decretum.

According to my analysis, however, Ms. 1 also contains major excerpts from other parts of the Decretum, including books 2, 6, 9, 12, and 17. These books covers topics such as clerical misconduct (Book 2), homicide (Book 6), marriage law (Book 9), perjury (Book 12), and sexual offenses (Book 17). While most of these texts appear after the Corrector material, there is also some overlap. As can be seen below, several canons from Book 6 on homicide, for example, appear on f. 22v near the beginning of the Corrector section.

f. 22v, containing canons 19.31, 6.12, 6.16, 6.34

As I argued in my dissertation, abbreviations such as Saint Mary’s Ms. 1 reveal that medieval readers and users of the Decretum did not see the Corrector as a manual of private confession separable from the Decretum. Rather, they saw it as a practical summary of the Decretum and did not hesitate to combine it with texts taken from other parts of the collection.

An Augsburg Connection?

Based on my work with similar manuscripts from southern Germany, I have found several indications that Ms. 1 (at least the latter section) has some connection to the diocese of Augsburg:

1. On ff. 20r-22r appear excerpts from the De studio virtutum/Admonitio ad Nonsuindam reclusam, which is printed in Migne’s Patrologia Latina vol. 132. Migne attributed the text to a certain Adalger who was supposedly a bishop of Augsburg in the tenth century.

2. On f. 19rv appear excerpts from Rather of Verona’s Synodica. Only four manuscripts of this text survive and one of them belonged to Diessen Abbey in the diocese of Augsburg. This manuscript is now Munich, Bayerische Staatsbibliothek, CLM 5515 (s. xii).

3. On f. 19v appears a text on the duties of archdeacons which begins “Unuscuiusque christi minister…”. I have located this text only in two Augsburg manuscripts: Munich, Bayerische Staatsbibliothek, CLM 3851 (s. ixex) and 3853 (s. x3/4).

f. 19v

4. In my dissertation, I argued that Munich, Bayerische Staatsbibliothek, CLM 4570 (completed in 1108) was the Augsburg copy of Burchard’s Decretum. If I am correct, Ms. 1 was probably copied from CLM 4570.

For more information on Ms. 1, please refer to my article which will appear in the December 2019 volume of the Journal of Medieval History. Or you can go see it in person at Saint Mary’s College!

John Burden, PhD
Yale University

[1] David T. Gura, A Descriptive Catalogue of the Medieval and Renaissance Manuscripts of the University of Notre Dame and St. Mary’s College (Notre Dame, IN: University of Notre Dame Press, 2016), 558-61.

[2] John Burden, “Between Crime and Sin: Penitential Justice in Medieval Germany, 900-1200” (Ph.D. Dissertation: Yale University, 2008).

[3] Lotte Kéry, Canonical Collections of the Early Middle Ages (ca. 400-1140) (Washington, D.C.: Catholic University of America Press, 1999).