Matthew Paris, Benedictine Superstar

Matthew Paris is an acclaimed thirteenth century Benedictine monk. Paris’ fame as a writer and artist derives from his work in the Chronica Majora where “fact and fiction, reality and imagination, merge in a uniquely conceived visual and textual drama.” (2) Suzanne Lewis alludes that Paris assumed his duties as historian at St. Albans shortly after the death of Roger Wendover and that it is from this that the lasting character of the Chronica was borne. Upon taking over Wendover’s work, Paris began editing and making what he believed to be “improvements” to the text. (56) Most of the improvements were of a stylistic nature; including the marginalia – illustrations and text in which Paris “inject[ed] himself into Wendover’s work.”(56) Paris’ additions to the text, and apparent desire to inject himself within Wendover’s text, are represented by the quantity of drawings that Paris included: “Of the 130 drawings in the Corpus Christi manuscripts, 78 appear in Wendover’s text, and almost a third of these represent Matthew’s additions, not Roger’s text.” (58) Furthermore, the majority of these additions also occurred in the telling of events during Paris’ own lifetime (1215 and 1235). (58)

From the illustrations and marginalia that Paris provides one can begin to deduce his conception of history. Lewis presents Paris’ version of history as a series of coincidental relationships in the unfolding of a divine plan through the course of human events. (92) Much of Paris’ history rests on prophecy as a framework – “divinely revealed knowledge of matters past, present and future, lying beyond the scope of our observation.” (92) The history that Paris provides us with is, as a result, filled with personal judgments and biases resulting of his own historical reality. Imagery that he provides, therefore, reflects his ideals rather than fact where “history [acts] as a mirror of moral truth.” (133)

Lewis presents the sea fight in 1217 (MS16,f52) as a “quintessential example of the bold action, violence, and pageantry for which Matthew Paris is best known.” (59) Along with the illustration provided by Paris is a revised account of the “defeat of the French fleet under the command of Eustace…’the Monk.’”(59) The illustration presents elements which are said to derive from both accounts of the naval battle.

Wendover’s account: On St. Bartholomew’s Day, Eustace the Monk was entrusted to lead the French fleet and deliver it to Louis in an attempt to “usurp the throne from young Henry III.” (59) En route, they encountered an English fleet and in spite of being outnumbered engaged them in battle. The English slaughtered their opponents – blinding them with hot lime-dust – and forcing the French to suffer a quick defeat. (59) Many French threw themselves overboard, others (including the traitorous Eustace) were held prisoner. (60) After realizing this current state, Eustace offered compensation for his freedom, and in return he was decapitated. (60)

The image does include much of the elements of Wendover’s account: the hurling of lime-dust via catapult and bows, slaughter by lances and swords, and even the French jumping to avoid the confrontation. (60)

Paris’ account: “[The English] eagerly rushed on the enemy; as soon as they reached the vessels of their adversaries, they threw grappling irons and made them fast to their own ships, and boarding them with their axes… the English then attacked them.”(60)

These details are also present in the illustration. Therefore, the illustration provides a unique area where the two accounts come to life for the reader. In the far right you notice the pirate Eustace pleading for his life while a sword is drawn showing that the end is near. (60) Lewis notes that another Frenchman, potentially signaling that Paris hadn’t determined which caricature would be Eustace, is holding the sum of money that Eustace offered in Wendover’s account. Also unique to Matthew’s account is the inclusion of bishops who come out to meet the English, particularly his friend Hubert, declaring absolution for those who fought for England. (61) Many of Matthew’s biases are revealed: victory over the foreign oppression of the English people (94), the divine justice of Eustace’s murder where in the end the good English are rewarded and the evil foreigners are punished. (61) Lewis also draws attention to the fact that Hubert is included in Matthew’s account but is nowhere mentioned by Roger – an act to demonstrate his “courage and loyalty.” (61)

The inclusion of maps in Paris’ history is telling of his attention to detail. Paris’ inclusion of maps allow readers a reference to otherwise abstract spatial dimensions in the annalistic chronology. (322) The maps were not always accurate, largely due to the different understanding of the function of a map – scale was not meant to be a spatial concept but rather a scale of prominence. (322) Lewis places a great deal of respect in Paris’ maps due to the fact that it appears as though they are original works rather than replications as no two are alike. (321)

Without having read a great deal of Paris’ history, I would presume through investigating some of his illustrations that they carry the same artistic appeal coloured by his belief in “human actions unfolding as disaster, oppression, and discord against a static set of divinely inspired moral imperatives.”(134) I would expect a continuation of the positive English characters and the dastardly foreigners who attempt to overthrow them. His personal biases, national or religious, seem to play into his understandings of the world around him and undoubtedly are contributing factors to his ability to remain a well known historian to this day. Medieval history, while not always grounded in the most scientific research, is a great reflection of the historical context. Paris’ attention to detail and inclusion of documentary evidence is impressive. His inclusion of “letters, charters, papal bulls, and other archival material” present an exciting and (in some instances) objective history that both entertains and educates. (71)