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Michael Cerularius and the Letters of Leo of Ohrid

Michael Cerularius, the Patriarch of Constantinople during the papal legation of 1054, has long been seen as a difficult personality whose theological, political, and personal views led him to thwart the will of the Eastern Emperor, Constantine IX Monomachos, and to undermine any hope of a military alliance between the Eastern Empire and the Papacy to combat the Norman advances in the south of Italy. This assessment stems even from the report of the papal legation itself, written by Cardinal Humbert, which portrays the Emperor as open, welcoming, and even deferential to the legates, while the Patriarch was standoffish and intransigent. Not surprisingly, this view has prevailed in the scholarly literature, up to and including the last dedicated biographical treatment of Cerularius in 1989 by Franz Tinnefeld [1].

More recently, though, Anthony Kaldellis (University of Chicago, recently of Ohio State University) suggested a very different reading of some of the available sources [2]. In his retelling, Cerularius was an agent of a cohesive imperial policy toward the Latins who did nothing to provoke a hostile response from the legates or to stall the efforts of Emperor Constantine to forge a military alliance with Pope Leo IX. Instead, Kaldellis’s Cerularius deliberately avoided confrontation with the legates in order to give the emperor the space to make diplomatic overtures and to attempt to smooth over the religious differences that had been brought to light by polemicists on both sides. Kaldellis’s argument is bold, given that it seeks to overturn an essentially unbroken narrative about the 1054 legation that stretches back to the events themselves. It also asks important questions about the sources upon which this existing narrative has been based, noting quite reasonably that Cerularius was probably not some kind of evil mastermind lurking behind everything that the legates found objectionable in Constantinople. At the same time, I think a complete exoneration of Cerularius from any sort of offensive action stretches the source material too far in the other direction.

To keep things to a blog-appropriate length, I’d like to examine a single issue at the beginning of the conflict to serve as a microcosm of the whole. In the year prior to the famous legation, Archbishop Leo of Ohrid, a Greek churchman who had held high positions within the Constantinopolitan church hierarchy prior to his appointment to the province, wrote a series of three letters critiquing the Latin use of unleavened bread in the Eucharist, among other ritual practices [3]. These letters were addressed primarily to the primate of Grado, Dominicus Marengo, and also to (arch)bishop John of Trani, with a request by the author in the first letter to forward the contents to the pope and to the Latin clergy in general. At least one of the addressees did just that, handing a copy of the first letter in the series (which may have been the only one received at that point) over to the papal court, and specifically to Cardinal Humbert, who drafted both a translation into Latin and an extensive point-by-point rejoinder. Humbert’s translation, unlike the original Greek text, ascribes this letter both to Leo of Ohrid and to Michael Cerularius. The question, then, is to what degree Cerularius was involved in this composition.

The Church of St. Sophia, Leo of Ohrid’s cathedral. Diego Delso, delso.photo, License CC-BY-SA.

Kaldellis rightly points out, with the agreement of other scholars, that the see of Ohrid was independent of Constantinople and that Leo was a long-tenured archbishop with the political and theological wherewithal to send his own letters [4]. The suggestion, though, that Cerularius didn’t play any role, and indeed “tried to create a constructive relationship in order to promote imperial interests, not instigate or inflame a conflict,” ignores both the concurrent and robust exchange of letters and people between East and West as well as the other actions of Cerularius himself.

To begin with, Leo of Ohrid did not write these letters in isolation. Just as Leo of Ohrid wrote to Dominicus of Grado, Dominicus was in turn writing to Patriarch Peter III of Antioch, who then replied to him [5]. Dominicus’s correspondence is instructive simply by virtue of its existence, since it shows a broader level of communication between East and West than is commonly assumed, and also because it complains that the holy Roman church had been attacked “by a clergyman of Constantinople” for its use of unleavened bread (“παρὰ τοῦ τῆς Κονσταντινουπόλεως κλήρου”) and that “they censure [with a plural verb: “Ψέγουσι”] the most sacred azymes.” In the aftermath of the excommunications the following year, Michael Cerularius and Peter of Antioch exchanged their own letters, in which they discussed nearly all of the same issues raised by Leo of Ohrid [6].

Cerularius, for his part, is known to have written only one letter, addressed to Pope Leo IX and unfortunately not extant, that seems to have avoided discussing any of these contentious issues. He was, however, busily pursuing the same agenda by other means. By his own later admission, he had already repeatedly refused to give communion to Argyrus, the Eastern Roman catepan in southern Italy on the grounds that he (a Lombard) was a supporter of unleavened bread [7]. Argyrus was known to the papal curia, so it is likely that Humbert knew about this when drafting his translation. Cerularius also took the even more provocative step of closing the Latin-rite churches in Constantinople (or at least some of them) [8]. His inimical stance against the Latin rite was also noted by other Westerners in Constantinople. Pantaelo of Amalfi, in his independent account of the 1054 legation, described him as “most foolish in deeds and discernment” (“actibus et intellectu stultissimus”) a direct contrast to Constantine Monomachos, the “most victorious emperor” (“victoriosissimus imperator”) [9]. Cerularius was, in short, not going out of his way to build constructive relations with the Latin church.

Translated first letter of Leo of Ohrid. Roma, Biblioteca Universitaria Alessandrina, Manoscritti, ms. 169, fol. 128a. Rights belong to Internet Culturale https://www.internetculturale.it/it/15/termini-d-uso

So, at the very least, the joint authorial attribution in Humbert’s translation of Leo of Ohrid’s first letter represents the fact that Cerularius’s theological opinions were long-held, promulgated throughout the Mediterranean world, and closely aligned with the contents of the text. I think it’s also not too far a stretch to grant some credence to Humbert’s joint attribution of the text. Dominicus was a frequent conduit of information between Constantinople and the Papacy; John of Trani had just personally returned from a trip to Constantinople, likely with some degree of insight into the thought of Cerularius [10]. Both Dominicus and John were in close contact with the Curia during this time, and at least one of them gave the letter to Humbert. The balance of probability suggests that the letter was written at least with the knowledge and approval of Cerularius, and perhaps at his direct behest.

Does this bring us back to Michael Cerularius, evil mastermind? I think not. Kaldellis’s argument is an important check on a narrative that has often been taken too far, in which Cerularius is presented as a man of overwhelming political ambition doing his best to subvert imperial policy and take control of the throne, in fact if not in name. Rather, I think we ought to take him, together with the other Greek polemicists who were involved, at their word: they really were concerned about what type of bread to use in the celebration of the Eucharist. While he could not have been unaware of the political aims of Emperor Constantine, Cerularius clearly didn’t let them stop him from taking highly provocative actions against the Latin church. And in the end, for a medieval churchman, politics really shouldn’t be expected to stand in the way of orthodoxy.

Nick Kamas
PhD in Medieval Studies
University of Notre Dame

  1. Franz Tinnefeld, “Michael I Kerullarios, Patriarch von Konstantinopel (1043-1058): Kritische Überlegungen zu einer Biographie,” Jahrbuch der Österreichischen Byzantinistik 39 (1989): 95–127.
  2. Anthony Kaldellis, “Keroularios in 1054: Nonconfrontational to the papal legates and loyal to the emperor” in Byzantium and the West: Perception and Reality (11th–15th c.), ed. Nikolaos G. Chrissis, Athina Kolia-Dermitzaki, and Angeliki Papageorgiou  (New York: Routledge, 2019): 9–24.
  3. Edited in Elmar Büttner, Erzbischof Leon von Ohrid (1037-1056): Leben und Werk (Bamberg, 2007): 181–256.
  4. Kaldellis, 10–11. See also Axel Bayer, Spaltung der Christenheit: Das sogenannte Morgenländische Schisma von 1054 (Böhlau: Böhlau Verlag, 2002), 65–67.
  5. Both are edited in Cornelius Will, Acta et Scripta quae de controversiis ecclesiae graecae et latinae saeculo undecimo composita extant (Leipzig: N. G. Elwerti, 1861): 205–208 (Dominicus to Peter), 208–228 (Peter to Dominicus).
  6. Will, Acta et Scripta, 172–183 (First letter of Cerularius to Peter), 184–188 (Second letter Cerularius to Peter), 189–204 (Letter of Peter to Cerularius).
  7. Will, Acta et Scripta, 177.
  8. This point has been contested, but I don’t think convincingly. See Tia Kolbaba, “On the closing of the churches and the rebaptism of Latins : Greek perfidy or Latin slander?” Byzantine and Modern Greek Studies 29 (2005): 39–51, J. R. Ryder, “Changing perspectives on 1054” Byzantine and Modern Greek Studies 35 (2011): 20–37, and Tia Kolbaba, “1054 revisited: response to Ryder” Byzantine and Modern Greek Studies 35 (2011): 38–44.
  9. Edited in Anton Michel, Amalfi und Jerusalem in Griechischen Kirchenstreit: Kardinal Humbert, Laycus von Amalfi, Niketas Stethatos, Symeon II. von Jerusalem und Bruno von Segni über die Azymen (Rome: Pont. Institutum Orientalium Studiorum, 1939): 52–54.
  10. Büttner, 43–44, 48.
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The Raven’s False Greeting: Animal Language and Medieval Fable

Talking animals are a ubiquitous element in fables. They do not evoke wonder from human characters within the narrative, nor seem to require any explanation; this contrasts with other sorts of stories (everything from Marie de France’s Guigemar to contemporary fantasy novels) where the appearance of a talking animal signals the beginning of some rare adventure for humans. Notably, there is, however, one fable I can think of that seems to portray an animal whose ability to talk is liminal. That is, he can utter words, yet he is not really treated as a speaker. His status seems closer to that of a “real” animal who can mimic human speech, and that is in fact key to the story.

The fable in question is ascribed to Phaedrus, the author of the first extant literary fable collection. While Phaedrus wrote in the first century, his five books of fables were the basis for much of the “Romulus” tradition in prose and verse, which flourished in the Middle Ages. The aforementioned fable is called “The Traveler and the Raven” (Viator et corvus). The tale is found in “Perotti’s Appendix,” named for the Italian humanist, Niccolò Perotti (1429–80), who transmitted it; I offer a translation of it below, with the text based on Ben Edwin Perry’s edition.[1]

Manuscript illustration, from the 14th century Luttrell Psalter, of two humans and a horse harrowing a field, with two ravens hovering above them, British Library, Additional MS 42130, fol. 171r .

Quidam per agros devium carpens iter
AVE exaudivit, et moratus paululum,
adesse ut vidit nullum, corripuit gradum.
iterum salutat idem ex occulto sonus.
voce hospitali confirmatus restitit,
ut, quisquis esset, par officium reciperet.
cum circumspectans errore haesisset diu
et perdidisset tempus aliquot milium,
ostendit sese corvus et supervolans
AVE usque ingessit. tum se lusum intelligens
“At male tibi sit” inquit, “ales pessime,
qui festinantis sic detinuisti pedes.”

A certain man, taking a byway through the fields on a journey, heard “Hello!” and lingered for a moment, but when he saw that no one was there, he hastened the pace. Again, the same sound greeted him from some hidden place. He stopped, encouraged by the hospitable voice, so that whoever it was might receive an equal courtesy. When he had remained for a long time, looking around uncertainly, and lost enough time for several miles, a raven showed himself, and flying above him, incessantly repeated “Hello!” Then, realizing he had been tricked, the man said, “Damn you, wretched bird, for delaying my feet like that when I was in a hurry.”

Why did the man perceive the raven’s “hello” as a trick? (The word lusum, in line 10, comes from ludo, to play, and can suggest mockery or deception; I translated it as “tricked.”) Why did he not take this as a genuine greeting?

It seems that the man was expecting a human speaker, and was disappointed and annoyed to find out that the salutation came from a bird instead. But species difference doesn’t, in and of itself, seem like an adequate explanation, at least in the usual fable context where all sorts of creatures talk. Nor does the explanation for the man’s reaction lie in some perceived status imbalance between the two; reciprocity is expected in greetings, after all, even between parties of unequal standing, and it isn’t mockery for an inferior to greet a superior, or vice versa.

Complicating this is the fact that real birds can imitate human speech—parrots, most famously, but also corvids, including ravens. This raven repeats the same simple word, over and over, as a trained animal might. But the man simultaneously seems to impute malice or mischief to this animal and deny him as a legitimate interlocutor. The raven is capable of toying with him (and ravens have a longstanding, cross-cultural reputation for cleverness and tricks), but he is not capable of (or worthy of?) a conversation.

Manuscript illustration of a raven, from an early 14th century manuscript of Jacob van Maerlant’s Der Naturen Bloeme, British Library, Additional MS 11390, fol. 33r.

A traditional narrative about animal language is that it doesn’t exist—that the sounds that animals make (and this leaves aside non-aural communication, through movement, scent, etc.) are fundamentally different than human speech. Nonetheless, medieval grammarians and philosophers acknowledged that, say, a dog’s bark is not meaningless, that it might convey something of his emotional state, and that humans could pick up on this.[2] Some thinkers, too, suggested that animals can communicate with their own species in their own “language.” For example, says, Roger Bacon, hens can cluck to let their young know that food is near, or to warn them of a predator.[3]

So much for “real-life” animal language. In medieval literature, though, there may also be special talking animals (or humans gifted with a special ability to understand animals, e.g., the man who can translate between species in Culhwch and Olwen, or Canacee, with her magic ring, in Chaucer’s “Squire’s Tale”). In fables, animals’ capacity to speak is typically unremarkable, and conversations readily occur across species lines.

This fable, however, reflects none of the above scenarios. The raven doesn’t caw or croak—he says an intelligible word, in a human language, Latin. And what he says is “Ave,” a greeting. Ave is not far off from Latin avis, “bird,” although the words are etymologically unrelated; in modern Spanish and Portuguese ave means “bird”. Etymology aside, there is still the possibility of wordplay. Is the bird proclaiming what he is all along, without the man realizing it? Is that the “trick”? Was that what the bird really meant to do, or was it apt, but not necessarily done knowingly—is the raven a kind of natural sign who reiterates himself, both by appearing and by unwittingly speaking his own appearance?

In any case, the man doesn’t treat the raven’s “Ave” as a sincere speech-act from an animal who can, unsurprisingly, talk to him—he doesn’t treat it as a greeting, he treats it as a deception. (The opening moral, possibly added by Perotti, emphasizes this, declaring, “People are very often deceived by words,” Verbis saepenumero homines decipi solere).

What accounts for the man’s reaction to the raven? Fables often have talking animals, yes, but fundamentally, fables are didactic, using memorable narratives to get messages across. The raven’s real-life reputation for mischief, but above all his real-life ability to imitate speech, is what is being drawn on here. The raven in “The Traveler and the Raven” is not the genre-typical talking animal, because for him to be an actual, expected interlocutor goes against the point of the fable, which is about how words can deceive.[4] In conveying this point, “The Traveler and the Raven” both acknowledges certain animals as clever and strips a non-human character of his genre-typical linguistic capability.

Linnet Heald
PhD in Medieval Studies
University of Notre Dame

[1] Ben Edwin Perry, ed. and trans., Babrius and Phaedrus, Loeb Classical Library 436 (Cambridge: Harvard University Press, 1965), pp. 404–6.

[2] For an analysis of the shifting conceptions of the semiotics of dogs’ barking, from Aristotle to Roger Bacon, see Umberto Eco et al., “On Animal Language in the Medieval Classification of Signs,” in On the Medieval Theory of Signs, ed. Umberto Eco and Constantino Marmo (Amsterdam: Benjamins, 1989), pp. 3–41.

[3] Quoted in Eco et al., “On Animal Language,” p. 36, n. 39.

[4] Fables tend to teach the “mistrust of words,” argues Jill Mann, in From Aesop to Reynard: Beast Literature in Medieval Britain (Oxford: Oxford University Press, 2009), p. 96.

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Medieval Rabbits: Ancient Symbolism, English Migration, and Manuscript Marginalia

From its earliest recordings in African, Indian, and Egyptian cultures, the hare, which later became interchangeable with the rabbit, has been recognized as a symbol of generative powers.

In the ancient Greco-Roman world, the hare symbolized fertility, as well as love and lust. The hare was the favored sacrifice to the gods of love, Aphrodite and Eros.[1] Consumption of the animal’s flesh was thought to enhance the beauty in the eater for several days. The animal’s body was also incorporated into medicines meant to cure conditions connected with sex.

Roman mosaic depicting a hare, dated to the 4th century and discovered in Cirencester, England. The mosaic was excavated in 1971 and is housed at the Corinium Museum. Photo credit: Isobel Wilkes, “Hares in Roman Art”.

Hares and rabbits were known as prolific breeders, but the classical world often exaggerated the creature’s capacity for reproduction. Aristotle, for example, believed the rabbit was capable of superfetation – that is, he thought a pregnant rabbit could become pregnant again, thereby gestating multiple litters at once. These ideas persisted into the Middle Ages, passed down by Aristotle and other philosophers such as Herodotus, as well as Pliny the Elder.

In his Naturalis historia, written during the first century, Pliny the Elder characterizes hares and rabbits as the only animals that superfetate, “rearing one leveret while at the same time carrying in the womb another clothed with hair and another bald and another still an embryo.” He also discusses how wild rabbits laid waste to Spain. Describing their fertility as “beyond counting,” he says that “they bring famine to the Balearic Islands by ravaging the crops.”[2]

England, however, did not share Spain’s poor experience with rabbits. Although hares are indigenous to the British Isles, rabbits are not. They were introduced to England by the Normans in the 13th century and were raised for their meat and fur.[3] They were also kept as pets and were a particular favorite of nuns.[4]

Woman flushes a rabbit from its warren using a ferret or a small dog in the Taymouth Hours, England, c. 1260, British Library, Yates Thompson MS 13, f. 70v.

Rabbits did not initially thrive in the British climate, and they required careful tending by their owners, who constructed warrens for them. As Mark Bailey explains, “In modern usage the rabbit-warren refers to a piece of waste ground on which wild rabbits burrow, but in the Middle Ages it specifically meant an area of land preserved for the domestic or commercial rearing of game.”[5] These artificial burrows called “pillow-mounds” protected domestic rabbits from the elements and provided a dry, earthen enclosure that supported both survival and breeding.  

Rabbit warren depicted in the Luttrell Psalter, c. 1320-40, Lincolnshire, England, British Library, Add MS 42130, f. 176v.

Despite their modern reputation as pests, rabbit populations were primarily confined to privately owned warrens in medieval England. They were not considered vermin but, rather, valuable commodities, and they were protected by law. Poachers were a problem, as were the rabbit’s natural predators, which included the fox, stoat, weasel, polecat, and wildcat.

Hunter approaches a rabbit warren with his dog in the Rutland Psalter, c. 1260, England, British Library, Add MS 62925, f. 57v.

Yet in medieval English literature, rabbits retain their symbolic association with reproduction, as exemplified by Geoffrey Chaucer’s Parliament of Fowls, a Middle English poem dated to the mid-14th century. Set in a garden during springtime, the poem centers a congregation of birds that meets to select their mates and explores themes related to love and marriage, as well as breeding.

Rabbits, or “conyes,” are depicted at play amidst the gathering of birds:  

On every bough the briddes herde I singe,
With voys of aungel in hir armonye,
Som besyed hem hir briddes forth to bringe;
The litel conyes to hir pley gonne hye. (Chaucer 190-93)[6]

I heard the birds on every branch singing
Like the voice of an angel in their harmony,
Some had their young beside them;
The little rabbits were busy at their play. (my translation)

Now virtually obsolete, the term coney was used in medieval England to differentiate an adult rabbit from a younger one. Deriving from the pun made possible by the Latin word for rabbit, cuniculus, and the Latin word for the female genitalia, cunnus, the term was also used as sexual slang in the medieval period and well beyond.[7] Essentially, coney, or cunny, was a crass term that referred to the vulva or vagina, to a woman or women, or to sexual intercourse.[8]

Bestiary rabbit catalogued under the Latin name cuniculus in the Liber de natura rerum, c. 13th century, France, Bibliothèque Municipale de Valenciennes, MS 320, f. 58r.

Despite its long-standing sexual symbolism, the rabbit was simultaneously imparted with sacred symbolism in the Middle Ages. In England, the rabbit became a symbol of purity when portrayed alongside the Virgin Mary. The animal also functioned as a symbol of salvation. As David Stocker and Margarita Stocker explain, “their sacred meaning is not as divorced from their profane meaning (libidinousness) as may at first appear. One the one hand, their symbolism of lust and fertility refers to the carnal body; on the other, their symbolism of salvation and resurrection refers to the ‘body of this death’ from which the soul is saved.”[9]

Indeed, the theologian and philosopher Saint Augustine, writing between 397 and 400 CE, connects the rabbit with Christianity, further attesting to how the animal’s sexual and spiritual symbolism culturally coexisted. Discussing the rabbit in relation to salvation, Saint Augustine renders the creature a symbol of cowardice. He describes the rabbit as “a small and weak animal” that is “cowardly” and then draws a parallel between the rabbit and the fearful man: “In that which he fears, man is a rabbit.”[10] Later in the Middle Ages, the rabbit “denoted a soldier who burrowed underground or someone who fled from his pursuers.”[11]

Perhaps the rabbit’s connection with cowardice, then, provides some insight into the images depicting bunnies as antagonistic and often murderous beasts in the margins of medieval manuscripts. Immortalized on screen by Monty Python’s Rabbit of Caerbannog and more recently popularized on social media, the rabbit adopts many forms and runs rampant across the pages of manuscripts from England and Europe.

Rabbit strikes a knight with a lance in the Breviary of Renaud, c. 1302-05, France, Bibliothèque municipale, MS 107, f. 141v.

Rabbits spar with knights, wield axes at kings, and lay siege to castles. They ride snails with human faces and carry hounds on their shoulders into battle. They beat, they behead, they hang, they flay. Ranging from delightfully strange to strangely sadistic, the images of rabbits enacting violence reveal a world turned topsy-turvy through their reversal of expectations.

Rabbit beheads a man with a sword—the final image in a series of five that features rabbits hunting, capturing, and killing a man—in the Smithfield Decretals, c. 1340s, London, England, British Library, MS 10 E IV, f. 61v.

But medieval bunnies are not all bad. In bestiaries, they pose timidly in their portraits or express fear as they flee from hunting dogs. They frequently adorn decorative borders sans weapons and sometimes appear surprisingly realistic, as in the stunning illumination from the Cocharelli Codex below.

Pair of hares in the Cocharelli Codex, c. 1330-40, Genoa, Italy, British Library, Add MS 28841, f. 6v.

Although the killer coney and the cowardly knight have become a familiar motif, it is not a reflection of the rabbit population ransacking the English countryside, as some might be inclined to suspect. After all, wild rabbits did not become abundant until centuries later. But whether turning the world upside down or nestled benignly within a manuscript border, rabbits in medieval marginalia showcase their multifacetednous as an enduring and aptly inexhaustible cultural symbol.

Emily McLemore
Ph.D. in English

[1] Claude K. Abraham, “Myth and Symbol: The Rabbit in Medieval France,” Studies in Philology, vol. 60, no. 4 (1963), pp. 589-597, at 589.

[2] Pliny the Elder, Natural History, Loeb Classical Library, at 153.

[3] Mark Bailey, “The Rabbit and the Medieval East Anglian Economy,” The Agricultural History Review, vol. 36, no. 1 (1988), pp. 1-20, at 1.

[4] Kathleen Walker-Meikle, Medieval Pets, Boydell Press (2012), pp. 14.

[5] Bailey, 2.

[6] Geoffrey Chaucer, Parliament of Fowls, http://www.librarius.com/parliamentfs.htm.

[7] Beryl Rowland, Animals with Human Faces: A Guide to Animal Symbolism, University of Tennessee Press (1973), pp. 135.

[8] cunny, n. Oxford English Dictionary.

[9] David Stocker and Margarita Stocker, “Sacred Profanity: The Theology of Rabbit Breeding and the Symbolic Landscape of the Warren,” World Archaeology, vol. 28, no. 2, pp. 265-72, at 270.

[10] Stocker and Stocker, 271.

[11] Rowland, 135.