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Reviewed by:
  • Cistercian Nuns and Their World
  • John A. Nichols
Cistercian Nuns and Their World. Edited by Meredith Parsons Lillich. [Studies in Cistercian Art and Architecture, 6.] (Kalamazoo, Michigan: Cistercian Publications. 2005. Pp. xii, 366. $49.95.)

This is the first book to be devoted to a broader study of the arts of medieval Cistercian nuns. While considerable attention has been given to the architecture of monks in the Order, little has been written on the women's houses. Professor Lillich must be given credit for compiling eight articles that successfully provide a groundwork on which future studies can be based.

The edition begins with an excellent analysis of the iconography of Bernard of Clairvaux and his sister Humbeline. The author, James France, traces the surviving medieval images of these two early Cistercian religious and proves that Humbeline enjoyed a privileged position within the Order because of the brother as well as her status as a nun in the foundation years of the twelfth century. Her most well-known image appears on the cover of Hidden Springs: Cistercian Monastic Women (Kalamazoo, 1995), in which she sits front and center under a tree of holy nuns as found in a painting dated in 1635 from the convent at La Paix Dieu.

Next is a series of regional studies of the architecture of Cistercian nuns. Constance Berman's study of the remains of four houses in southern France [End Page 143] follows the same lines as her controversial study of The Cistercian Revolution: The Invention of a Religious Order in Twelfth-Century Europe (Philadelphia, 2000). The Low Countries come next with Thomas Cooman attempting an overview of what little remains of the eighty-five nunneries founded there in the Middle Ages. Using old photographs, documents, and some archaeological evidence, he focuses on the nuns' churches, cloisters, ranges, abbess lodgings, and gate houses. Christine Kratzke follows with her study of the architecture of Cistercian nunneries in Northern Germany, where more physical evidence survives. As with the preceding articles, however, she was forced to consider what it is to be called "Cistercian" and to determine if the convents were similar to houses of monks. Her conclusions, as well as the other two above, find that there is great diversity especially in the churches and it is impossible to find a medieval "plan type" that applies to the female houses of the order.

The next two articles focus on two individual convents: Las Huelgas in Spain and Ss. Jacobi and Buchardi in Germany. The former, written by James D'Emilio, is an excellent summary concerning the founding of this famous royal nunnery. He was able not only to analyze the extensive physical remains and place them in their architectural history, but also to detail the importance of Las Huelgas for its political significance in the unification of Spain, as well as the religious significance within the Cistercian order, especially as it relates to nuns. The next article, on the much lesser-known house in Germany by Cornelia Oefelein, focuses on the primary documents that have only recently been made available to scholars, as well as looks cursorily at the nun's church, which was the only building left standing after the convent was secularized in 1810.

The last two articles focus on single works of art in two specific monasteries. Charlotte Ziegler concentrates on a fourteenth-century charter from St. Bernard for the Horn nunnery in Austria. A sixteenth-century tapestry antependium commissioned by two abbesses for their community of Flines outside Douai is the topic of Andrea Person's study.

In sum, the articles with the accompanying 173 figures as well as lists of convent and geographical locations, are more than just a study in Cistercian art and architecture of nuns. They are a beginning for future studies on the physical remnants that touched the lives of women called to religious life in medieval Europe.

John A. Nichols
Slippery Rock University
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