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Cluny, Capitol, The Virtue of Charity |
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Cluny, Capitol, The Virtue of Charity |
THE capitals (ornamental carvings at the top of pillars) in the choir of the Abbey of Cluny depict the eight modes (or tones) of Gregorian chant. Other capitals in the abbey church portray the theological virtues of faith, hope, and charity, and the four rivers of paradise.
THIS provided the monks with a perpetual visual/architectural meditation on both the virtues to which they aspired and the musical modes (analogous to modern key signatures) they regarded as the basis of the Gregorian Chant that consecrated the hours of the Benedictine-monastic day.
One recent author has noted:
[In the Cod. Basiliensis (ca. 1310)] the authentic modes are correlated with the four temperaments: sanguis, cholera, phlegma, melancholia; the four plagal modes, with four virtues: justitia, temperantia, prudentia, and fortitudo. The scales of the plain chant were also coordinated with the music of the spheres, [and] with planets . . .
The Eight Gregorian Modes on the Cluny Capitals Kathi Meyer Source: The Art Bulletin, Vol. 34, No. 2 (Jun., 1952), pp. 75-94 http://www.jstor.org/stable/3047404
AT CLUNY The capitals depicting the Gregorian modes are each inscribed with a Latin verse.
1st mode: Hic tonus orditur modulamina musica primus.
The tone begins [regulates?] the first music melodies
2nd mode: Subsequor ptongus numero vel lege secundus.
The second follows by measure and rule
3rd mode: Tertius impingit Christumque resurgere pingit.
The third depicts Christ’s resurrection
4th mode: Succedit quartus simulans in carmine planctus.
The fourth follows, imitating in song the [lamentation of] mourning
5th mode: Ostendit quintus quam sit quisquis tumet imus.
The fifth potrays how debased is one who is puffed up
6th mode: Si cupis affectum pietatis respice sextum.
If you desire the feeling of piety, give attention to the sixth
7th mode: Insinuat flatum cum donis septimus almum.
The seventh wafts the Spirit with gifts into [the hearer]
8th mode: Octavus sanctos omnes docet esse beatos.
The eighth teaches that all the saints are blessed
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1st mode: Hic tonus orditur modulamina musica primus.
The tone begins [regulates?] the first music melodies |
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2nd mode: Subsequor ptongus numero vel lege secundus.
The second follows by measure and rule |
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3rd mode: Tertius impingit Christumque resurgere pingit.
The third depicts Christ’s resurrection |
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4th mode: Succedit quartus simulans in carmine planctus.
The fourth follows, imitating in song the [lamentation of] mourning |
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5th mode: Ostendit quintus quam sit quisquis tumet imus.
The fifth potrays how debased is one who is puffed up |
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6th mode: Si cupis affectum pietatis respice sextum.
If you desire the feeling of piety, give attention to the sixth |
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7th mode: Insinuat flatum cum donis septimus almum.
The seventh wafts the Spirit with gifts into [the hearer] |
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8th mode: Octavus sanctos omnes docet esse beatos.
The eighth teaches that all the saints are blessed |
THIS mystical interpretation of the fundamentals of Gregorian chant is in the contemporaneous [ca. 990] Hartker Sangalensis codex (SG 390), which contains the following noted antiphons:
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Hartker MS SG 390 p1 Primum Mandatum. |
MS SG 390 p3 In sepulcro septimo die |
Primum mandatum amor Dei est.
The first commandment is love of God.
Secundum est amor proximi.
The second is love of neighbor.
Die tertia gratiae nobis Christus natus est.
The grace of the third day is the birth of Christ.
Quaternos libros sumpsimus ab ore Dei.
We receive four books (i.e the Gospels) from the mouth of God.
Quinta die Jesus finivit legem.
On the fifth day Jesus fulfilled the Law.
Sexta die et ipsa hora crucifixus est pro nobis.
On the sixth day, and that very hour He was crucified for us.
In sepulchro quievit Christus septimo die.
In the tomb Christ rested on the seventh day.
Octavas surrexit et multos secum suscitavit.
On the Eighth He rose, and many came to life with Him.
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THE EIGHT GREGORIAN MODES in MODERN NOTATION |
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THE EIGHT GREGORIAN MODES as PSALM TONES with Initial and various Finals |
This Webpage was created for a workshop held at Saint Andrew's Abbey, Valyermo, California in 1990
