As previously mentioned, nearly everything done by the faithful was done with the intention of pleasing and praising God. Some may see this as the result of a desire for salvation while others may consider it a duty unto the Holy Father. The wrath of God was to be averted by means of pious acts if one was to have hope of salvation with minimal time in purgatory. For example, the Church charged a tax called a tithe. A tithe is ten percent of what one owns. In the High Middle Ages, most people had little money, but gave rather from their goods and services. A carpenter might help to repair some part of the church as his tithe, or a mason might take charge of laying the foundation for a new church. It was the hope that in giving back to the Father from what He had given, He would be gracious in return on the judgement day. For others, the duty to praise God and honor and glorify Him was motivation for pious deeds. One might embark on a religious pilgrimage because he or she might believe that God had commanded him or her. The aforementioned carpenter or mason might render their services to the Church out of a duty to praise the Father. The concept of giving one’s utmost for God’s greater glory was a primary focus of Christian civilization in the High Middle Ages.
Perhaps the most obvious examples of giving the best humans could offer lie in the great cathedrals erected during this time. York Minster, in York, England is a prime example of Gothic architecture from the High Middle Ages. When construction began on this cathedral in the late thirteenth century, it was solely for the glory of God and to provide a space for the faithful to raise their highest forms of praise. Even today, the mission of the Minster remains to, “direct people to God by proclaiming the Gospel of Jesus Christ.” Such a mission can only be aided by all of the architectural elements that comprise the massive cathedral. The cruciform shape, a standard layout for a liturgical sanctuary, is intended to remind the faithful of the ultimate expression of Christ’s love.
This cathedral is adorned with many beautiful elements. One of the most noticeable sculptures is the pulpitum, which separates the choir from the nave. This massive piece of artwork served to fulfill at least part of a desire to adorn the building in which persons of York prayed together. In addition, this magnificent work served and still serves to assist in drawing the faithful closer to God by inspiring the giving of one’s utmost for God’s highest. Other than the pulpitum, the nave of York Minster is bare of adornment. During the early fourteenth century, during the later stages of the construction of the nave, the Franciscan and Dominican monastic orders influenced the construction. The nave was constructed for the purpose of preaching. Thus, even today, it remains a “simple hall with the interior left empty so that nothing (comes) between the pulpit and the faithful” (Duby, 57-8). Even though the nave contains little adornment in comparison with some more modern churches, the ceilings are quite ornamented. The vaulted ceilings seem to reach endlessly for heaven as they were designed to enhance the music of praise sung during a Mass. The adornment that does exist, the pulpitum, as well as the massively vaulted ceilings, are intended to remind those who worship and those who worshipped in that space that none other than man’s best was to be offered to God.
As the visual aspects of the houses of worship became refined and had specific purposes, so did the music that was used. Music as a whole was making greater strides in its development than at anytime over the previous millennium. This was particularly obvious in the Gradual and Alleluia parts of the Mass. These two Mass parts were melismatic in style; that is they had many notes per syllable. It is from these parts of the Christmas and Easter day masses that polyphony developed. Polyphony was developed in order to offer a higher form of praise unto God on the highest and holiest feast days of the liturgical year. This is a logical development in that God alone is solely good, and man is fallen. Since man is in a fallen state, God is inevitably greater and thus alone is worthy of honor and glory. Therefore, the highest possible forms of praise are to be used, particularly on the highest feast days in order than the Father might receive greater glory.
As music developed more in the church, it began to develop in the secular realm as well. Even though the music was secular in nature, the Church and its teachings influenced it for several generations. Many of the performers and composers were monks and men and women of religious orders. Thus while writing or performing, their focus was most likely for the greater glory of God. Throughout the High Middle Ages, perhaps the most profound religious ideal was to give and do everything for the greater glory of the Heavenly Father. This could have been done out of a desire for salvation, to avoid God’s wrath, or out of a sense of duty. Nonetheless, the art and architecture and music reflect a sense that all was to be done solely for the greater glory of God.
