The negative image of women, seen as a cause of temptation, was developed, throughout the Middle Ages and beyond, until the thirteenth century by monks and priests who, forced to live far from their role and separated women, warned how dangerous and dark presence, a source of sin.
Jacques Delarun [1] clearly illustrates the condition in which mature this idea:
Once again we must start by men, by those who, in this feudal hold the monopoly of knowledge and of writing, chieirici; and especially by the most learned among them, the most influential, the most verbose. Monks or secular clergy, they have a duty to think about humanity, society and the Church, to give them an orientation to safety, to allocate to women a place in this divine economy. The second must go further still, to conceive of a pastoral mission to the whole flock, indicating the route of a possible perfection, or at least a constant improvement pursued by all means. All
though, especially before the thirteenth century, move them away from women, as they are withdrawn into the male universe of the cloisters and the scriptorium, schools, and then the faculty of theology in community where the canons, in the eleventh century, the clergy [...] tried the pure life of the monks.
[...] separated from women by a strict celibacy extended to all since the XI century, the clergy know nothing of women.
If the pictures, or rather if I imagined, it is the woman from a distance nell'estraneità and fear, especially as an essence even if profoundly contradictory.
In the thirteenth century, the full affirmation of city life and the birth of the mendicant orders, Franciscans and Dominicans, the woman was no longer seen only as an instrument of sin, or she too is a sinner, but was accepted by a role positive, the mother.
mother par excellence is Mary, she who was chosen for the Son of God: That is how the cult of the Virgin by the Cistercian monks first, then, above all, the Franciscans and Dominicans. Mystics such as St. Bernard of Clairvaux, the great philosophers such as St. Bonaventure, John Duns Scotus, Albertus Magnus and Thomas of Aquitaine, were the most illustrious artists. So the French historian Jacques
Delarun presents the statement of the cult of Mary
E 'the era of triumphant devotion, from Amiens to Chartres, its splendid summer. The songs are more fans of his praise from the monastic and especially by the Cistercians in the wake of Dr. mellifluous, Bernard of Clairvaux.
[...] Since the beginning of the thirteenth century, the mendicants, especially the Franciscans, firmly taking the lead. It is in striving for the Virgin that the medieval mystic takes the momentum: filial piety, compassion more than ever as a child. Perhaps less concentration on virginity: the woman as mother triumphs.
The faculties of theology are the ultimate venue for speculation and dogmatic development.
[...] However, it is drawing closer to humanity - it takes more than anywhere else in the iconography - through his humble woman caresses of the people Son of the beloved, but even more in the intensity of his mourning. The thirteenth, fourteenth and fifteenth centuries the echo of laments by the most on the mystical Lady of Sorrows, the one who picks up the child at the foot of the cross and puts it in the grave: the Franciscan Conrad of Saxony, the spiritual Jacopone and Ubertino Casale, the observant Bernardino of Siena ... The painting and sculpture, which flourished again, they become the glittering theater.
[1] J. Delarun, The woman seen by clerics , History of Women in , Duby-Perrot, Bari, 1990
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