The quincunx: its origins and development in the art of Western Europe in the second half of the 8th – the beginning of the 11th centuries

If we compare the Uta page with the Hand of God to its direct antecedent, namely the page with the Hand of God in the Codex aureus (fig.110), we will see a striking difference in the meanings of their compositions. In the latter one, the lateral roundels left empty, and the central medallion is accompanied by the inscription with the reference to Charles the Bald: “The right hand of the Father, governing the universe by his control, may it always shield Charles too from his enemy” Diebold W. The Anxiety of Influence. P. 60. . Thus, here, the apotropaic function of the Hand of God is accentuated, as well as God as the ruler of the world. By constrast, in the Uta Codex, God is conceived as the creator and the source of all things and meanings, and the govenor of time. While the Codex aureus provides allusions to the matters of power and authority, the reference to time and its liaison to the four cardinal virtues in the Uta Codex explicitly suggests the connection to the themes in scientific diagrams.

In the same years as the illuminators of the Uta Codex were creating their elaborate compositions, a peculiar and complex diagram, now preserved in the early 12th-century manuscript, was exercised by a monk Byrhtfert in the Anglo-Saxon context (fig.111). An extremely sophisticated scheme Caviness M. Images of Divine Order. P. 107. Kьhnel B. Op. cit. P. 182-183. shows the harmony of the whole creation, Microcosm and Macrocosm, comprised in one lozenge. The disc with two crosses representing Christ is placed at its center which is surrounded by four cardinal directions constituting the name Adam. Four directions are complimented by the four elements and twelve winds in the second, bigger lozenge, and the outer frame is formed by the double mandorla with the zodiac signs and the name of the months. Therefore, the overall message of the diagram is to conceptualise Christ as the center and creator of the space, time, and nature.

The first one who proposed the connection between this diagram and compositions of the Bibles from Tours was Madeline Caviness Caviness M. Images of Divine Order. P. 107-108.. Bianca Kьhnel also treats the subject of correlations between the rhombic diagrams and illuminations from this Carolingian school and their Ottonian derivatives Kьhnel B. Op. cit. P. 228-237, 183-184.. But for some reason, none of them discussed the possible connections between Byrhtfert diagram and the composition in the Uta Codex, although the latter is a continuation of the Touronian tradition, and thus, belongs to the same lineage of dicourse on the diagrams and religious iconography. Furthermore, the images coincide in form, date, and in a way, in subject matter. The connections between Anglo-Saxon world and the Ottonian art was apparently quite extensive at the time. Therefore, these two images belong to similar intellectual contexts. Indeed, they represent the state of the culture in which complex liaisons, visual as well as theoretic, were indispensable element of the understanding of the world. The Uta codex establishes the relations between God, time and universe, and Byrhtfert diagram does essentially the same. In the diagram, Christ is connected to the four cardinal directions, and, by the same token, in the Uta's manuscript, God is connected to four cardinal virtues. In a similar manner, in both compositions, from center to periphery, the description of the world becomes richer and more complex. As with the scientific schemes, the Uta composition is created by concentric multiplication of levels of meanings from center to periphery. No other previous Carolingian or Ottonian lozenge arrangement in religious iconography was so close to the pricipals of diagrammatic constructions.

Thus, the compositional evolution of the quincunx scheme that was started by the inclusion of the lozenge in its center provoked drastic changes both in the form and in the meaning. Sophistication of the quincunx scheme in religious iconography coincided with the increasing complexity of the scientific diagrams. Both being a part of the same manuscript media and the same intellectual culture, they inevitably were engaged in the mutual interrelations. But the fact that there is a direction in the development of the quincunx scheme that basically destroys its sctructure and creates a new one, which is doubled in complexity, can tell us, at least indirectly, that the simple form of the quincunx was not satisfying enough for the objectives of the religious and scientific iconography in the 11th century. Indeed, from the second half of the 11th century onward, the quincunx appearances become marginal and sparse, and more complex multi-medallion compositions take over.

In sum, it seems that the structural and substantial changes that occur in the quincunx composition during the 9th-11th centuries inevitably lead us to the conclusion of a possible connection between religious images and scientific diagrams. However, the definite and unambiguous nature of their liaison, as well as its direction, cannot be easily identified at this stage of our research, and in the present state of the research in this field in general. The starting point for such a connection is, obviously, the quincunx itself. The hierarchic center-periphery relations that it establishes are suited for both theological and scientific concepts. It is probably senseless to discuss the connection within the iconographies that inhabitet the quincunx in terms of causality. We will unlikely be able to answer the question what came first: the evidence that we have is insufficient. What is significant, though, is that the mutual form created a reason for the interplay of meanings. From the middle of the 8th to the early 11th century, the quincunx scheme underwent several major transformations in terms of its subject-matter and purpose. Initial modifications occured in the iconography of Maiestas Domini which was gradually associated with cosmological concepts. By the 11th century, the development of the quincunx gave three evident outcomes. First, the religious and scientific iconography within this scheme started to merge. Second, the form of the quincunx was associated with apocaliptic notions. And third, within the iconography of Maiestas Domini, the quincunx was synthesised with the lozenge and gave rise to the more complicated and variable in subject compositions of the Ottonian renaissance.

3.4 Quincunx in the 12th-15th centuries: an overview

It will be pertinent to conclude this chapter with a short general digression into the history of the quincunx composition in the later period. There are three main ways in which the quincunx frame was used in the subsequent centuries. The first one represents the recollection of Carolingian associations with the Apocalypse theme and occurs primarily in the context of Beatus illuminations. Two Beatus manuscripts, one from the Silos monastery which is dated to the early 12th century (fig.112), and the other that originates from a broader Navarre region and dates to the end of the 12th century (fig.113), have the quincunx scheme with Maiestas Domini and Maiestas Agni representations respectively. Both illuminations do not provide a drastic elaboration on the quincunx scheme, neither in terms of compositional development, nor in terms of incorporation of a new subject. Nevertheless, the Navarre Beatus shows some deviations from the earlier models such as the unusual arrangement of evangelist's symbols and the bizarre orientation of their heads which are all directed to the center. The latter feature might be connected to the process of ornamentalization of the quincunx scheme. By this we mean that the rules of hierarchy in the ornamental and figurative quincunx compositions differ. In the ornaments, all the lateral elements tend to face the center while it is rarely the case with the figurative imagery, which is typically organized more or less in consideration of a viewer. By comparison, the Navarre Beatus arrangement implies a rather unnatural turn of spectator's head - a kind of treatment that appears primarily in the non-figurative compositions such as the 7th century disc brooch from Kent (fig.114), or the 8-9th centuries relief barrier from Istanbul, where the lateral pattern is being drawn, so to say, to the center (fig.115). Another hypothetical explanation combines the ornamental features of the quincunx pattern with its allusions to the cross and scientific diagrams. The principles of surrounding the compositional kernel with four identical figures oriented according to four spatial directions, like in the book cover of Lindau Gospels (fig.95), or in the Wind Rose diagram from Laon manuscript (fig.116) with Isidore's De natura rerum In more detail, these two examples discussed in: Elbern V.H. The `Earlier' Lindau Book Cover: An Integrated Analysis // From Attila to Charlemagne. Arts of the Early Medieval Period in the Metropolitan Museum of Art. Ed. by K.R. Brown et alii. New York: Metropolitan Museum of Art, 2000. P. 325-326. , might have resonated in the unusual composition of the Navarre Beatus.

This ornamentalization of the quincunx scheme in the interpretation of religious iconography actually leads us to the second major direction of its implementation in the 12th-15th centuries, namely the ornaments. The quincunx as a common and quite ubiquitous pattern proved itself in the early medieval period, and by the 12th century came to be common and almost unconscious strategy of filling the rectangular space in the presence of a round element in the center. Characteristic examples might be found in the metalwork decorations as well as in the manuscript illuminations. Take, for instance, the quincunx patterns in the 12th-century Enger Reliquary Cross (fig.117), or a plaque of the 13th-14th centuries cross originated in Freiburg-im-Bresgau (fig.118). The last one is particularly indicative due to its simplicity: the medallion that incorporates a figure of Luke the Evangelist framed by a rectangular which corners are filled with four circular incrustations in order not to be left empty. Likewise, almost unintentionally, or incidentally, the quincunx appears in the decorations of the `O' initial as in the 15th-century Book of Hours from Loire, by an addition of four colorful dots surrounding the composition in the letter (fig.119). Yet it is not only and not quite an unintentional addition but rather a continuation of more than a thousand-year practice to decorate the combination of a circle inside a rectangular or a square.

Another succession to the previous tradition of the quincunx scheme might be found in Italian context of reusing ancient marbles and creating new mosaic decorations, specifically by the family of Cosmati workmen. In the Salerno cathedral, for example, the quincunx pattern covers a magnificent pulpit, evoking the splendor of late antique pavements (fig.120). A truly fascinating this recollection of the quincunx ornament becomes, though, when it is brought to a different part of Europe, namely England. Paul Binski discusses at length the connections established by English monks of the 13th century with Rome, and the strong reliance of certain abbeys on the relationship with Papacy Binski P. Westminster Abbey and Plantagenets. Kingship and the Representation of Power 1200-1400. New Haven: Yale University Press, 1995. P. 94-98. . One of the visual outcomes of such a liaison is the mosaic pavements executed in imitation of Roman craftsmanship. In the case of Westminster abbey, it is not a mere replica, but no less than the Papal gift. Abbot Richard of Ware came from Rome with fifty pounds of stones, and one of the members of Cosmati family himself, a mason Odoricus, definitely worked on the completion of the mosaic floor since his name is inscribed on the pavement. Thus, the mosaics became a statement of Roman influence and association of Westminster abbey with Papal power. Interestingly, in the two most prominent English cases of Cosmati designs, the pavements of Canterbury and Westminster cathedrals, the mosaic patterns constitute complex and sophisticated quincunxes (fig.121-122). Long departed from being almost exclusively associated with Christological, eschatological or scientific contexts, here the quincunx represents a succession of power In a way, a similar case might be found in the Ottonian tradition with regard to the weave patterns, which were borrowed from Byzantine tradition and appropriated for the Ottonian illuminations. See: Bucheler B. Ornament as Argument: Textile Pages and Textile Metaphors in Medieval German Manuscripts (800--1100): Ph. D. diss. Toronto: University of Toronto, 2014. P. 22-77. .

But arguably the most interesting evolution of the quincunx's meaning as an ornamental motif occurs in the Berthold Sacramentary, the 13th-century manuscript from the Weingarten abbey (fig.123). The way the pattern is played out within the manuscript page bears allusions of both scientific and religious iconography. The quincunx is created by a vegetal pattern reminiscing of the Tree of Jesse motif. A figure of Christ is placed above the ornament as the highest point of the Tree - a common feature of this scene. Yet the quincunx shape and the particular placement of Christ provoke multifaceted associations with a broader range of subjects. In the 13th-century manuscript from London, the so-called Map Psalter, Christ is standing above the round map as though holding and blessing the earth (fig.124). The structure of the composition is incredibly similar to one in the Berthold Sacramentary. Furthermore, the quincunx provides another set of associations of cosmological nature. Technically, the quincunx here is an ornament, but its context implies much more than decoration. The miniature in the Berthold Sacramentary evidently deserves an independent research. It indicates that the 13th century was, in a way, as innovative in terms of the new interpretations of classical quincunx scheme as the 9th and the 11th centuries.

The third and the final main group of the quincunx images demonstrates the most significant departure from the usage of this scheme in the Carolingian period. In the 12th and the 13th centuries, the scheme becomes a welcoming host for various narratives and gradually loses its most evident earlier function, i.e. to establish hierarchical relations between the center and periphery. The central medallion, so consistently allocated for the subjects of a greater importance than those in the lateral roundels during the prior period, now becomes almost an equal segment of the storytelling There are several exceptions in the later period such as the illuminations of the text of Concordantiae caritatis made for Ulrich von Lilienfeld (New York, Morgan Library, MS M1045, fol. 2v, fig.131). . The Gumbertus Bible is the best example of such changes. On folio 161v, an opening page for the Psalms, the narrative sequence of the images devoted to the return of the Ark of Covenant goes progressively from top to bottom without paying any particular tribute to the middle roundel (fig.125). The central medallion slightly differs in shape, but this purely formal distinction is not reflected in the subject matter. Another example of the complete negligence of hierarchy in the quincunx arrangement appears in the stained-glass window composition of the Sens cathedral Caviness M. The Early Stained Glass of Canterbury Cathedral circa 1175-1220. Princeton: Princeton University Press, 1977. P. 83-93. where it almost returned to its original state of being a checkered pattern. Only here it is filled not with the sporadic animalistic and vegetal motifs but a coherent story of Thomas Becket's life and death. In a way, it is not a quincunx anymore but an autonomous type of composition. Technically, it resembles two quincunxes placed on top of each other, and yet the whole structure works according to a completely different principle of hierarchy: it goes not from the edges to the center but from the bottom to the top. The quincunx here became a small unit of a bigger composition, a tool for structuring not so much the place it encompasses but rather a broader area. Therefore, its main function shifted from hierarchization to just a visual division. Whereas the quincunx as an independent structure served for establishing relations between the central and lateral images, in the stained-glass windows it turned to be a device for the separation of long sequences into the shorter components for the convenience of image reading.

The early history of the quincunx scheme gives an opportunity to reassess some of the previous statements regarding the later medallion compositions of the 12th-13th centuries. One of them concerns the hypothesis which deduces the medallion arrangements in the illumination media from the roundels of the stained-glass windows. For instance, M. Mentre, discussing the miniature with the celestial vision of the Lamb of God and the Tetramorph from the 12th-century Beatus, surmises the direct influence of the stained-glass windows on this five-roundel composition Mentre M. Contribucion al estudio de la miniatura en Leon y Castilla en la Alta Edad Media (Problemass de la forma y del espacio en la ilustracion de los Beatus). Leon, 1976. No.5. (cit. ex.: Silva y Verastegui S. de. Le Beatus navarrais de Paris (Bibl. Nat., nouv. acq. lat. 1366) // Cahiers de Civilisation Mйdiйvale. 1997. No. 40-159. P. 222). . However, placed in a broader context of the quincunx schemes, the arrangement and the iconographic features show more similarities with Carolingian representations of Maiestas Domini than with any Gothic window composition. A slightly different case is constituted by the 13th-century manuscript from Eton College library (fig.126). The composition in this manuscript was copied from a monumental decoration of the Worcester Chapterhouse. The visual juxtaposition of red and blue colors in the medallion arrangement enabled the supposition that the composition was copied directly from the stained-glass windows of the Chapterhouse Henry A. The Eton Roundels. Aldershot: Scolar Press, 1990. P. 19.. However, the history of the quincunx shows a reasonably ubiquitous character of this scheme in the period before the 12th century, and confirms that in the stained-glass window compositions, the quincunx received an alternative hierarchical structure. Thus, the quincunx in the Eton manuscript might have an alternative source, and it provides some additional grounds for the hypothesis on the earlier model for the illuminations derived from the vault decoration Heslop T.A.. Worcester Cathedral Chapterhouse and the Harmony of Testaments // New Offerings, Ancient Treasures: Studies in Medieval Art for George Henderson / Ed. by P. Binski, W. Noel. Phoenix Mill: Sutton Publishing, 2001. P. 280-312. .

The quincunx scheme didn't become the most influential composition for the iconography of Maiestas Domini. The type that prevails in the Romanesque and Gothic periods goes back not to the Gundohinus Gospels but to another variety that was known already in the Merovingian context in the 6th century (fig.52) and was popularized later within the 9th century Carolingian tradition (fig.127). Instead of a medallion, Christ is represented in mandorla - an iconographic type that originated in Byzantine Kessler H. The Bibles from Tours. P.39. . The symbols of evangelists are also lacking of roundels, and they are usually attached directly to the mandorla in a centrifugal orientation, or placed in the half-medallions (fig.128-129). Furthermore, the quincunx gradually loses its strong association with a particular category of scientific diagrams and turned to be used for exegetic purposes. In the 14th century treatise on the dove, an exegesis of Psalm 67:14 Ps 67:14: “If you sleep among the midst of lots, you shall be as the wings of a dove covered with silver, and the hinder parts of her back with the paleness of gold”., the dove from the Psalm was taken as a main metaphor and a starting point for several topics On this treatise, see: Carruthres M. The Book of Memory. A Study of Memory in Medieval Culture. Cambridge: Cambridge University Press, 2008. P. 305-309.. The diagram that illustrates the text shows the dove in the middle and four main subjects that were inspired by this dove in the lateral roundels of the quincunx (fig.130).

Simply put, the history of the quincunx in the 12th-15th centuries appropriates it for the whole new range of subjects and motifs. Although in the cases where the quincunx shows the continuity to the previous tradition, it demonstrates fairly uninventive interpretation of the subject, in all other instances when it is just faintly dependent on the development that we witnessed in the 8th-11th centuries, it displays a remarkable potential to change.

Conclusion

In the course of this work, we analyzed the history of the quincunx composition, from its emergence in the Roman art of the 1st century AD to its introduction to the arts of the High Middle Ages. We continued the work that was initiated by Bianca Kuhnel, and applied her methodology to an earlier period, expanding the knowledge on the quincunx scheme beyond the boundaries of Carolingian and Ottonian eras, and also reevaluating some of the previous statements and adding a new take on several quincunx compositions. The particular accent was made on three aspects: the transition of the quincunx scheme from pagan to Christian contexts, the appropriation of this composition to the iconography of Maiestas Domini, and on the appearance of scientific connotations in the quincunx religious compositions through the course of the 9th-11th centuries.

The quincunx appeared in Roman art in two forms: once as a checkered pattern, and also as a composition which was applied to the structure of five elements, establishing between them hierarchical center-periphery relations. A wider dissemination of the quincunx composition after the legalization of Christianity might be connected to its structural similarities to the form of a cross. There is certain dependence between the appearances of the cross and quincunx patterns in such a diverse media as coins, jewelries, mosaic pavements, and book illuminations.

The transition from antique to Christian quincunx composition changed not only the subjects to which this scheme was applied, but also the nature of hierarchy within its structure. We discovered that the antique quincunx scheme primarily treated the lateral medallions as an ornamental addition, whereas the Christian schemes displayed a more complex, harmonized, and balanced sense of hierarchy. This information might be valuable with regard to tracing the sources for later compositions, as have been shown in Chapter 3 in the case of the Beatus of Saint Sever. The analysis of the transition of the quincunx scheme from pagan to Christian contexts provided another significant realization, namely that the composition was almost exclusively reserved for the depiction of the figure of Christ, starting from the very first Christian monuments. The possible implications of that are yet to be analyzed, but potentially after a proper study, this information could facilitate a better understanding of correlations between the subjects and compositions in early Christian art.

During the evolution of the 5th-8th centuries, the quincunx scheme gradually became associated with one particular subject, namely Maiestas Domini. The reason for such a close subject-scheme relation is a combination of several deeply related factors. First is a continuing from Antiquity practice to structure five given elements in that precise way. Second are the unique conceptual qualities of this iconography, which arguably generated the need for a more organized appearance with its clear sense of hierarchy and order. The third factor regards the context of the manuscript of the Gundohinus Gospels, where the quincunx form of Maiestas Domini occurred for the first time. There, the five-roundel scheme can be considered as a result of influence of the Insular and Merovingian traditions that imprinted a taste for geometry and ornamentalization which originated from jewelry media.

During the 9th-11th centuries, another major transformation occurred in the evolution of the quincunx composition. It acquired two new notions, namely the cosmological, being the result of application of the quincunx scheme to scientific diagrams, and the apocalyptical, as a consequence of the inclusion of Maiestas Domini in illuminated apocalyptic cycles. Due to its parallel implementation to both the religious imagery and scientific diagrams, the elements of the latter started to transmit the boundaries of scientific subject-matter and moved to religious iconography. The elements of scientific diagrams initiated the structural changes in a simple and clear quincunx composition of Carolingian Maiestas Domini and resulted in the new, more complex arrangements of Ottonian precedents. The 11th century became a meeting point where the interactions between scientific and religious iconographies transformed from being oblique to explicit. A process of establishing connections between the religious and scientific notions within the paradigm of one particular composition turned out to be fruitful in terms of the interpretation of both of them. It demonstrated that the meanings of religious imagery in Carolingian and Ottonian contexts cannot be fully independent from contemporary knowledge of the physical world.

As a final point of this paper, we suggested an overview of a later development of the quincunx scheme to show the ever-changing process of its evolution, and the enormous amount of material that is awaiting its turn to be studied. Having demonstrated the emergence and transformations of the quincunx scheme in the span of several centuries, and elucidating on some of the problems regarding this process, we are now seeing that the essence of compositional changes within one visual structure is quite far from being merely formal, but is instead ingrained in the historical and cultural context of the period. Due to the complex and multi-faceted nature of the subject, and the still-developing state of methodology, there are more questions than answers. Albeit the evolution of the quincunx scheme, in terms of the formal changes, as well as in terms of the themes and connotations it was able to absorb and exhibit, is instructive in some aspects, we now think that our following investigation will make a certain turn. After drawing a somewhat bigger picture, we think it would be reasonable to concentrate on the more isolated materials and analyze individual cases in depth, placing them in a broader and more vivid context. The composition cannot be interpreted outside of its subject, and the subject should be regarded in the intellectual, cultural, and historical backgrounds. To establish complex liaisons within the scheme, its theme, and the external framework it emerged in, the next step will be to leave the area of rather formal evolution of the quincunx composition, and concentrate on the specific questions regarding particular artworks and the problems with their interpretations.

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