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The Prosthetic Hinge: Saints, Kings and Knights in Late Medieval England

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The Prosthetic Hinge: Saints, Kings and Knights in Late Medieval England The Prosthetic Hinge: Saints, Kings and Knights in Late Medieval England By Agatha Hansen A thesis submitted to the Graduate Program in English Language and Literature in conformity with the requirements for the Degree of Doctor of Philosophy Queen’s University Kingston, Ontario, Canada August 2014 Copyright © Agatha Hansen, 2014 Abstract This project takes an interdisciplinary approach, drawing from modern prosthesis theories, disability theory and studies, as well as psychoanalysis, to think again about prosthesis and prosthetic embodiment across the romance-hagiography axis. My dissertation explores the literary representations of three medieval social bodies and their experiences with prosthesis: the saintly body, the sovereign body, and the aristocratic/knightly body. The main objective is to show how the experiences of these differing social bodies with prosthesis challenge the ideology of the whole, normal, fleshly body, and, rather, offer the body as a malleable concept—as always already prosthetic. In my first chapter, I analyze the Life of Elizabeth of Spalbeek, written by the Cistercian Abbot Philip of Clairvaux in 1267, and translated into Middle English in the fifteenth century, which bears witness to the miraculous nature of the virgin Elizabeth’s somatic mysticism. I then turn to study the meaning of the hand (primarily) and foot in the body of a young child prince and martyr through the narrative of their loss and replacement in the vitae of Saint Melor. This chapter examines what I believe to be the earliest known medieval hagiographic representation of actual prosthetic body parts in the fourteenth-century Latin and Anglo-Norman vitae, composed in England, of the little martyr prince. I then conclude with a study of the formation of the knightly body and identity in the fourteenth/fifteenth-century Middle English romance of Amis and Amiloun, where I consider how the two titular knights’ bodies are constructed and connected vis-à-vis armour as prosthesis. Even though actual prosthetics did exist in the Middle Ages, I claim that, in literature, prosthesis is particularly elaborated in relation to these three social bodies, because it helps to reveal the ways in which these types of identities are imagined as tied into bodies or manifested through bodies. A saint’s ii body, a king’s body, and a knight’s body all have particular sociocultural ideologies attached to them that I believe prosthesis accentuates. iii Acknowledgements I would like to thank my supervisor, Dr. Margaret Pappano, whose selfless time and encouragement were sometimes all that kept me going. I could not have asked for a better mentor and friend. Thank you for giving me free reign to do what I wanted with this project, even when I wasn’t always sure of how it would all come together. I know that this dissertation is a far better one for your involvement. I am exceedingly grateful to my second reader, Dr. Scott-Morgan Straker, for his careful reading, questions, and advice. I am indebted to Dr. Claude Eilers from McMaster University for allowing me sit in his first-year Latin course two summers ago, as well as for helping me with some of the Latin translations of Saint Melor. Finally, I want to thank my parents and Bacia for their endless support and love throughout these last few years … this dissertation is for you. I look forward to recovering from academia with you, Peter, Frankie and the baby. iv Table of Contents Abstract ii-iii Acknowledgments iv Table of Contents v-vi List of Figures vii-ix Chapter One: 1-42 Introduction Chapter Two: 43-100 Elizabeth of Spalbeek: Prosthetic God Chapter Three: 101-185 The Hand of the King, the Foot of the Saint: Prosthetics in the English Lives of Saint Melor Chapter Four: 186-308 Amis and Amiloun: Iron, Blood, and Queer Prosthesis v Chapter Five: 309-11 Conclusion Bibliography 312-26 vi List of Figures Chapter One: Fig. 1. Ambroise Paré. “Le Petit Lorrain” Hand. Iron. U.S. National Library of Medicine. 41 Fig. 2. Arm Reliquary. 13th C. French. The Metropolitan Museum of Art, New York. 42 Chapter Two: Fig. 1. BL MS Additional 37049. Charter of Christ. 1460-1500. British Library. 91 Fig. 2. Master of Catherine of Cleves. Hours of Catherine of Cleves. c. 1440. New York: Morgan Library, M. 917 & M. 945. Index of Christian Art. 92 Fig. 3. Egerton Master. c. 1418. New York: Morgan Library, M. 919. Index of Christian Art. 93 Fig. 4. Egerton Master. c. 1418. New York: Morgan Library, M. 919. Index of Christian Art. 94 Fig. 5. Cecilia of Rome. c. 1490. New York: Morgan Library, M. 463. Index of Christian Art. 95 Fig. 6. Morgan-Macon Golden Legend. d.1445-65. New York: Morgan Library, M. 672-5. Index of Christian Art. 96 Fig. 7. Master of St. Veronica. Veronica’s Veil. c. 1420. Cologne: Church, St. Lorenz. Index of Christian Art. 97 Fig. 8. Hours. c. 1490. New York: Library, Morgan Library, M. 1020. Index of Christian Art. 98 Fig. 9. Master of the Delft Grisailles. Loftie Hours. d. mid 15th C. Baltimore: Gallery, Walters Art Gallery, W. 165. Index of Christian Art. 99 Fig. 10. Master of Morgan. Hours. d. 1510-1520. New York: Library, Morgan Library, M. 85. Index of Christian Art. 100 Chapter Three: Fig. 1. Christ on the White Horse. Fresco c. 1150. Cathedral, Auxerre. 169 Fig. 2. Bury Saint Edmunds Psalter. Illuminated MS. 11th c. Rome: Library, Biblioteca Vaticana, Reg. lat. 12. 170 vii Fig. 3. Saint Lucy. National Gallery in Washington, D.C. Griffoni Polyptych: St Lucy. 1473. Oil on panel, 79 x 56 cm. 171 Fig. 4. Saint Lucy. Domenico Beccafumi. c. 1521. 172 Fig. 5. Polyptych of Saint Anthony: Saint Agatha. c. 1460. Panel, 21 x 39 cm. Galleria Nazionale dell’Umbria, Perugia. Piero Della Francesca. 173 Fig. 6. Giovanni di Paolo (Giovanni di Paolo di Grazia). Saints Catherine of Alexandria, Barbara, Agatha, and Margaret. (Italian, Siena 1398–1482 Siena). c. 1470. Medium: Tempera on wood, gold ground. 174 Fig. 7. Saint Mélar. Chapelle Saint-Mélar, Bringolo, France. 175 Fig. 8. Mutilation of St. Melar. 17th C. Locmélar Church. 176 Fig. 9. St. Melar Receiving Prosthetics. 17th C. Locmélar Church. 177 Fig. 10. Wood Relief altarpiece. 1700. France, Brittany, Locmélar, Église St-Melar. With hand and martyr palm. 178 Fig. 11. St. Melar. Panel on Pulpit. Lanmeur. 179 Fig. 12. Mutilation of St. Melar. Panel on Pulpit. Lanmeur. 180 Fig. 13. Prosthetic hand, holding his fleshly hand. Bronze foot. Panel on Pulpit. Lanmeur. 181 Fig. 14. Beheading St. Melor. Panel on Pulpit. Lanmeur. 182 Fig. 15. Statue of St. Melar holding his fleshly hand. Lanmeur. 183 Fig. 16. Satue of St. Melar holding his fleshly hand with his silver prosthetic. Lanmeur. 184 Fig. 17. Statue of St. Melar in the crypt. Lanmeur. 185 Chapter Four: Fig. 1. Bayeux Tapestry, scene 49. Musee de la Tapisserie de Bayeux, Bayeux, Normandy. 271 Fig. 2. Restoration and reassembly of 15th C cap-a-pie armour. c. 1400 and later. Italian. Steel, brass. 272 Fig. 3. Armour Alla Romana. Roman-style muscled cuirass. (Busto di corsaletto alla Romana del duca Cosimo I). Filippo Negroli. Milan, Italy. 1546. M. 768-69. 273 viii Fig. 4. Cosimo I as Augustus by Vincenzo Dante. c. 1572-73. Marble. Museo Nazionale del Bargello, Florence, Italy. M. 15 S. 274 Fig. 5. Profile of the muscled cuirass by Negroli (fig. 3 above). 275 Figs. 6-14. Prosthesis A (No. 3816). Stibbert Museum, Florence, Italy. 276-84 Fig. 15. Giovanni Battista Moroni. c. 1570. Portrait. 285 Fig. 16. Portrait of King Henry VI. Unknown English artist. c. 1540. National Portrait Gallery. 286 Fig. 17. Gauntlet for the Right Hand. c. 1380. German. Bashford Dean Memorial Collection, Bequest of Bashford Dean, 1928. 287 Figs. 18-23. Prosthesis B (No. 3817). Stibbert Museum, Florence, Italy. 288-93 Figs. 24-29. Prosthesis C (No. 3819). Stibbert Museum, Florence, Italy. 294-99 Fig. 30. A comparison of the Stibbert Museum’s three prosthetic hands from the dorsal side. 300 Fig. 31. A comparison of the Stibbert Museum’s three prosthetic hands from the palmar side. 301 Fig. 32. Bayeux Tapestry, scenes 55-56. Musee de la Tapisserie de Bayeux, Bayeux, Normandy. 302 Fig. 33. Photograph of enamel effigy of Geoffrey of Anjou on his tomb. Le Mans Cathedral. 303 Fig. 34. Drawing of the tomb effigy of William of Longspée, Earl of Salisbury. Salisbury Cathedral. 304 Fig. 35. Chess piece (knight). c. 1350–60. Western European (English). Ivory. 305 Fig. 36. Tournament book. Late 16th/early 17th century. German (Nuremberg). Pen and coloured wash on paper, leather. 306 Fig. 37. Titian. Portrait of Francesco Maria della Rovere. 1536-38. Galleria delgi Uffizi, Florence, Italy. 307 Fig. 38. Armour of Emperor Ferdinand I, 1549. Made by Kunz Lochner (c. 1510–1567). German (Nuremberg). 308 ix Chapter One: Introduction To the extent that living beings diverge from the specific type, are they abnormal in that they endanger the specific form or are they inventors on the road to new forms? Georges Canguilhem, The Normal and the Pathological Oscar Pistorius was born in Sandton, Johannesburg, South Africa on November 22, 1986, with bilateral fibular hemimelia, which is a congenital condition that left him without fibulae or ankles, and just two toes on each foot (Draper; Booher 7). Although a series of major operations may have allowed him to walk (though, probably with a limp), only after consulting numerous specialists around the world did Oscar’s parents, Sheila and Henke, decide to yield to the recommendations of specialists that their son’s lower legs should be amputated. At eleven months, Oscar’s lower legs were amputated below his knees; at thirteen months, he was fitted with lower limb prosthetics; and, at seventeen months, he took his first steps on a pair of fiberglass pegs (Sokolove; McHugh).
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