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Bernard's Apologia has long been interpreted as a bellwether of monastic and episcopal norms of art patronage contemporary with the Cistercian reform. Bernard imbibed pre-existing Cistercian artistic values as part of his novitiate at Citeaux, and these shaped both his rejection in the Apologia of art deemed useless in a monastic context and the types of art and architecture he would use and endorse throughout his career. Bernard's attitude towards art and beauty can be more usefully divorced from the attitudes of medieval and modern commentators if we remember that, charismatic and prolific as he was, he was also a product of the Cistercian Order he had espoused. Keywords: Apologia ; Bernard; christian art; Clairvaux
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