The Vices on the Wall in the Romace of the Rose Manuscripts

Alice White - Seminar Leader: Sarah James - EN646: Image, Vision and Dream

The Vices on the Wall in The Romance of the Rose: Ekphrastic Literary and Visual representations.

How does one go about representing a dream in art? In The Romance of the Rose, the

narrator ekphrastically describes a crenellated wall decorated with paintings and carved

with inscriptions from a dream in which he travelled to a walled garden. His description

of what he observes is accompanied in some manuscripts with illuminated

representations. Some critics have dismissed the importance of illuminations by

suggesting that the illuminators’ knowledge of the text which they were representing was

quite often very limited. Illuminators would work with individual sheets at a time for

practical purposes, and the narrative of the work would not have been immediately clear

to them. Furthermore, finances dictated time constraints for each work produced. Not

only would this mean that the illuminator would have a limited amount of time to study

the work, but also perhaps influence them to select scenes to represent for which they

already had cartoons in order to reduce the amount of time to produce an image.

Although this may be the case, “cultural productions participate in systems of meaning

independent of the conscious intentions of their creators or users”1. Further or conflicting

meanings beyond that which is stated in the poem are supplied by the illuminations, and

provide us with information about assumptions or cultural influences which would have

affected the contemporary readers’ understanding of the poem.

If set-piece description such as ekphrasis is an example of narrative pause in that it forces

its audience to interpret to a greater extent, illuminations of texts serve a very similar

purpose. The illuminations in the Rose poem are frequently placed sporadically and

because there are limited rubrics, they draw the attention and encourage the reader to

interpret. The allegorical nature of the poem causes the reader to seek underlying

meaning. An ekphrastic description which could be read as narrative pause therefore has

a greater significance because in a sense the whole poem is a description which conveys

something that is not directly stated.

1 D.P. Fowler, “Narrate and Describe: The Problem of Ekphrasis”, The Journal of Roman Studies, Vol. 81, (1991), p. 26

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Many aspects of the literary description of the vices by Guillaume de Lorris make

reference to things which are difficult, if not impossible, to convey visually. For instance,

the idea that Envy did not wish to let go of the sorrow in her heart or the decline of Old

Age from her youth. Ekphrastic description displays not only the appearance of what is

described, but also the emotion connected with this, and when the description is reversed

back into visual form the image needs to convey the emotion imbued by the text as well

as or instead of what is described in imagery. It is interesting, therefore, to note whether

the artists considered it more significant to demonstrate the physicality of the images

described or more intangible qualities, and try to interpret what this may mean.

The character of Hate is the first depicted and often the first represented even when

multiple Vices are located in one illustration, although the narrator describes her as

located in the middle. For example, in the manuscript created for Louis I of France2, the

images are presented as chronologically described as opposed to adhering to this textual

location marker. This suggests that the artist believed that the linearization chosen by de

Lorris is perhaps more effective at conveying the vices than his imagining of physical

positioning. The character of Hate is described as not well attired, indeed even filthy and

hideous, and with her head wrapped in a cloth. Guillaume de Lorris suggests that her

image is angry and quarrelsome, with a frowning face and snub nose. In supplying an

image of Hate as dirty, an impression is created of a figure who has possibly been

physically fighting and dirtied themselves, and referring to poor attire evokes the

impression of a lower class of society due to the importance placed on clothing as a

Medieval form of social identification. Many of the illustrated Rose manuscripts depict

her as having a knotted white head cloth, but very few depict the snub nose, and although

her attire is simple it is not depicted as dirty. Instead, her rage is depicted through images

such as clenched hands or raised arms. One manuscript3 even depicts Hate as wielding a

club with one hand defiantly placed on her hip. Illustrators have elected to represent her

as a violent looking woman, perhaps because of pre-existent iconography of a

contentious woman such as that which is evident in many of the Proverbs. Illuminators

2 Morgan Library & Museum, M. 948, fol.195v

3 Oxford, Bodleian Library, MS Douce 195, fol.2r

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seem to consider that gesture provides a more immediate representation of mood or act.

Cruelty is mentioned only very briefly, as being to the left of Hate. It is unclear why de

Lorris does this, but it may be that it is enough to mention her to imply more widely that

it is Cruelty to stand between a lover and his love. Her placement to the left of Hate may

suggest the biblical Matthew 25:41 where those on the left who in their hatred act cruelly

are condemned to hell. Perhaps because of the lack of literary description, many

manuscripts do not have visual representations of this Vice either. In the four examples

which I have studied with images, two represent Cruelty holding her belt,4 and two depict

her carrying a sword.5 This could be a reference to a masculine side to women who are

prone to acts of cruelty, or may express inhibitions of illuminators to depict a female

capable of physical attack without first masculinising her through reference to the belt

area or a phallic sword.

Guillaume de Lorris next describes Baseness, who is like Hate described as wild. Women

were considered less able to moderate their animal impulses than men, which is perhaps

why this adjective is used to describe sin and their inability to control it. Guillaume de

Lorris describes how she “seemed” and character as opposed to her appearance. Perhaps

because it is challenging to represent visually someone who is full of abuse, a

scandalmonger or incapable of honouring others as she ought, the description is limited in

this way. Although illustrators have free licence to depict her in any guise that they feel

depicts Baseness because of this ambiguity, there appears to be a tendency to depict her

as kicking at a servant. This indicates her inability to treat others appropriately, and since

in most cases the servant depicted is male, it initiates the suggestion that the rejection of

male advances is base and discourteous, which will be continued later in the poem. Many

of the manuscripts I have studied alternatively depict Baseness as exposing herself by

raising her gowns. This form of exposure would have been far from acceptable courtly

behaviour and as such indicates her ability to honour others as she ought. Additionally, it

sexualises the character, again prefiguring the themes presented later in the poem.

4 Bibliothèque nationale de France, MS fr.12595 fol.2v and J. Paul Getty Museum, MS Ludwig XV 7, fol.2r

5 Library of Congress, MS Rosenwald 396, fol.a2v and Morgan Library & Museum, MS M. 948, fol.7r

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Covetousness is described primarily through her actions to accumulate wealth and incite

others to do so sinfully. The reference to lending money at interest may contain traces of

anti-Semitism. The narrator speaks mostly of her actions in inciting men to crime and

trickery, and gives a brief concluding statement that she aims to seize men’s possessions

and is too fond of other men’s goods. In this sense Covetousness is almost an Eve-like

character fulfilling the misogynist expectation of women by leading men into temptation.

Covetousness’ claw-like grasping hands are the physical manifestation of this personality.

She furthermore acts as a warning to the Lover regarding the intentions of women to

accumulate men’s wealth and inheritance. The depictions of her in almost all instances of

the manuscripts I have studied present her sitting at a chest with a lock on, indicating the

value of its contents. Many of the chests have money on top or inside of them, and most

images indicate grasping hands reaching for money. Gesture is used both to draw

attention to the treasures she possesses, but also by placing the hands hovering closely

above to indicate her possessiveness over them. Frequently there is a rail above her head

which has many clothes draped from it, to represent a contrast to Avarice, the vice which

is paired with Covetousness. This furthermore suggests the ways in which women may

seek worldly possessions and thus diminish a man’s wealth, a fact of which the Lover is

warned later in the poem.

Avarice in her proximity to Covetousness then represents the hoarding of ill-gotten gains.

The narrator describes a figure who deprives herself unnecessarily to the extent that she

has become green as a chive and is wearing rags; she is almost ridiculous. Her dress is

very old and patched, and due to the contemporary significance placed upon clothing the

folly of this is notable. The image of a tied up purse confirms that she has the money to

correct her poor situation and reinforces the idea of an unreasonable woman in control of

finances which was introduced in Covetousness. In order to contrast with Covetousness,

Avarice is generally depicted by illustrators as seated beside a locked chest. Often she is

shown to be holding tightly to a purse, her vice-grip indicated by many gathers in the

fabric. Many of the illustrations depict many brightly coloured garments as opposed to

the two drab, poor quality ones described in the poem, perhaps to highlight her hoarding,

as clothes were a sign of wealth and for her to possess and not wear them would highlight

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her tightfistedness. Only four manuscripts6 depict her as wearing rags and only one as

green as a chive,7 perhaps to continue the misogynist idea of women being expensive, or

perhaps because it was simply too unlikely that a lady of wealth would defy social

convention to such an extent as to forgo the clothing required of her class.

The narrator describes Envy mostly in relation to her feelings about and reaction to

others’ success or failure. The suggestion of her physicality is related to her gaze, and

particularly her scowling, avoiding eye-contact and squinting. This may be linked with

the superstitious notion of the “evil eye”, since many myths alleged that an envious look

could curse or cause harm. Visual depictions of this character have focussed on

demonstrations of her envious reaction, for instance to a pair of lovers. The sexualising of

Envy links the vice with later occurrences of jealousy in the poem. Only one of the

manuscripts studied illustrates one eye closed.8 This perhaps is because of the focus upon

gesture over facial expression in Medieval art. In many of the manuscripts studied, Envy

appears to be facing away from the lovers and looking backwards, in order to

demonstrate her looking askance. Many images have one arm raised as if to dismiss their

offensive presence from her, or one or both arms crossed to show her dissatisfaction with

others’ happiness. In two images, dogs are shown with Envy.9 This may perhaps allude to

the idea that she has no relatives with whom she is not at odds; the only being who can

give her loyalty is a dog.

Misery is described as wildly, inconsolably abandoned to her grief, yellow and lean and

pale, and physically dishevelled as a result of raking at her clothes and hair. Again, de

Lorris suggests the animalistic abandonment of reason. It seems somewhat ironic that

Misery is here depicted as a vice, but later in the garden the Lover is advised that

weeping and wailing inconsolably should be his course of action in pursuing the object of

his desire. de Lorris seems to imply that seducing a woman by deceiving people into pity

is acceptable, but genuine uncontrollable grief is unacceptable, suggestive of the need to

6 Bibliothèque nationale de France, MS fr. 1558, fol. 2v, Bodleian Library, MS Douce 332 3v, Bodleian Library, MS Douce 195 fol. 2v and Morgan Library & Museum, MS M. 948 fol. 8r

7 Morgan Library & Museum, MS M. 948 fol. 8r

8 Bibliothèque nationale de France, MS fr. 12588 fol. 2v

9 Bibliothèque nationale de France, MS fr. 1558 fol. 3r and Morgan Library & Museum, MS M. 948 fol. 8r

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control the body in order to be respected. Visually, Misery is commonly depicted to be

wrenching at her hair and clothes, quite often exposing her breasts. Once again, the vice

has been sexualised, suggesting acts of wild abandon later in the poem. In all of the

colour manuscripts where hair was visible, it was blonde, perhaps to indicate high class

through fashionable pale colouring. One manuscript depicts the narrator in the frame, his

gesture indicating either attempts at consolation or chastisement.10 This could relate to the

idea that no-one could not feel great pity on seeing her condition, even the narrator

transcends boundaries to empathise, or perhaps to indicate how unreasonable and

inconsolable she is. Another is followed by an historiated initial containing a snake; could

this perhaps allude to the misery as a result of her own sin, such as Eve’s at being cast out

from Eden?

Old Age follows Misery in the chronology, and is described with reference to her decline

from her prime. Guillaume de Lorris describes things of which she is no longer capable

of, such as feeding herself or thinking for herself in order to reinforce her feebleness, as

well as indicating what a burden and embarrassment she has become to society. The

description carries the implication that the viewer of the image feels that she is no longer

of any value, having outlived her physical usefulness, and the underlying assumption that

women were valuable only for their reproductive capabilities. Once the Lover’s Rose is

past her flowering, she will be similarly worthless. The narrators’ reference to white hair

and mossy ears are also repugnant and suggestive of a de-sexualisation. In illuminations,

these are not depicted, perhaps because the social marker of her hat or the hood to

indicate coldness is considered more important. She is depicted as leaning on crutches,

again suggestive of the fact that the elderly become dependent on others to support them.

Her vulnerability to the cold is suggested generally by many cloaks, and also in some

manuscripts by an pose reaching towards a fire. This perhaps indicates how resource-

hungry the elderly become, furthermore suggesting burden. In some cases, there is a pot

or jug in the image, reminding the reader of her inability to feed herself and perhaps

arousing feelings less of pity than of disgust.

10 Bibliothèque nationale de France, MS Arsenal 5226 fol. 3v

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Despite saying that the next image was made in Hypocrisy’s likeness, the description

which de Lorris provides does not contain much imagery. She wears a nun’s costume and

hair shirt and carries a psalter in order to indicate her outward piousness, and yet in

private she imagines and enacts all varieties of evil. Since one cannot depict evil

thoughts, and the whole point of hypocrisy is that it appears genuine, the majority of the

description and illustrations concern the pains she takes to appear genuine. Perhaps

because of the suggestion that to recognise sin makes one guilty of sinful thoughts, or

perhaps in order that the reader may imagine their own ideas of wickedness (or choose

not to), de Lorris does not provide a commentary of her evil deeds or thoughts. However,

this reinforces the pre-existing stereotype of the fallen woman by suggesting that even the

most saintly in appearance may be occupied by evil thoughts in private and thus

distrusted and even excluded from heaven. Accompanying illustrations depict an

individual who appears to be entirely pious: almost all are depicted praying, many in

front of altars, and those who are not are reading the psalter or clutching rosary beads.

Though this is perhaps due to the existence of cartoons for Books of Hours and other

religious matter which were convenient time-saving tools. Two of the manuscripts

depicted men, despite the clear textual reference to a woman.11 This again could be due to

the available cartoons, but also perhaps because a more common iconography of

hypocrisy was that of a monk, as can be seen in the marginalia of many texts, even

religious tracts.12

Poverty is similar to Old Age in the description suggestive that society would be better

off without them. The rigid class system is reinforced by de Lorris’ narrative in the

suggestion that poor men were cursed never to be well fed, well clothed or well shod;

there is no opportunity for advancement or improvement in fortune. There is no

suggestion here of the biblical reference to the meek inheriting the earth, although the

patrons who commissioned such texts were not meek, and would not wish to be reminded

of the biblical suggestion that there would be a reversal of men’s fortunes in heaven. Like

Old Age, Poverty is vulnerable to the cold and described as shivering naked as a worm or

wearing only an old thin sack. Again, de Lorris likens the figure to an animal in the

11 Bibliothèque nationale de France, MS fr. 1559, fol. 4v and Library of Congress, MS Rosenwald 396, fol. a5v

12 Michael Camille, Image on the Edge: The Margins of Medieval Art, 1992

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description of her crouched and cowered like a dog in a corner. She is surrounded by

dogs in one illumination to emphasise this.13 Images of poverty depict her not in a corner

but on a hillock or mound, iconography associated with the biblical story of Job.14 Like

Misery, her exposure has been sexualised, and in most depictions her breasts are exposed.

Some gestures seem to indicate her attempts to cover herself, thus conveying the shame

referred to in the text and again evoking images of the fallen woman: Eve ashamed of her

nakedness. In two images,15 the narrator is present, perhaps to indicate sympathy or

perhaps to highlight shame and despising.

Ekphrasis presents the reader with many challenges, not least because of the difficulty in

ascertaining the focalization of the piece and whose emotion is being reflected. With

reference to Romance of the Rose, the perception of the representation could be the

original artist’s (who created the wall ), the Lover’s, Guillaume de Lorris’, the

illuminators’, the person who commissioned the work, or the modern reader. The concept

of meaning versus significance is exacerbated in the case of the Romance of the Rose,

because it is unclear to whom the meaning or significance belongs. To furthermore

complicate the problem, Rose manuscripts were produced by copying already existing

manuscripts; a palimpsest of influences has created a piece which I would argue is more

reflective of its time than of any one individual. Because of this, considering ekphrastic

description and visual representations and comparing the two gives us vital and

unexpected clues to how the contemporary audience would have understood the text, and

I would argue that text and image cannot be considered in isolation from one another.

Bibliography

Roman de la Rose Digital Library <http://romandelarose.org/#home>

Fowler, D. P., “Narrate and Describe: The Problem of Ekphrasis”, The Journal of Roman Studies,

Vol. 81, (1991), pp. 25-35

Bibliothèque nationale de France, MS fr. 1559

Bibliothèque nationale de France, MS Arsenal 3338

13 J. Paul Getty Museum, MS Ludwig XV 7, fol. 4r

14 A comparative image of Job on his Dunghill can be seen in King’ 8, f.78 <http://www.bl.uk/catalogues/illuminatedmanuscripts/ILLUMIN.ASP?Size=mid&IllID=2524>15 Bibliothèque nationale de France, MS Arsenal 3338 fol. 5r and Bibliothèque nationale de France, MS Arsenal 5226 fol. 4v

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http://www.bl.uk/catalogues/illuminatedmanuscripts/ILLUMIN.ASP?Size=mid&IllID=2524

http://romandelarose.org/#home


Bibliothèque nationale de France, MS Arsenal 5226




Bodleian Library, MS Douce 332

Bodleian Library, MS Douce 195

Camille, Michael, Image on the Edge: The Margins of Medieval Art, Cambridge: Harvard University Press, 1992

J. Paul Getty Museum, MS Ludwig XV 7

King’ 8, f.78 <http://www.bl.uk/catalogues/illuminatedmanuscripts/ILLUMIN.ASP?

Size=mid&IllID=2524>

Library of Congress, MS Rosenwald 396

de Lorris, Guillaume, and de Meun, Jean, The Romance of the Rose, ed. Frances Horgan,Oxford University Press, 1999

Morgan Library & Museum, M. 948

Walters Art Museum, MS W. 143

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The Vices on the Wall in the Romace of the Rose Manuscripts

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