Book contents
- Frontmatter
- Contents
- Illustrations
- Preface
- Introduction
- Chapter 1 The Cauldron of God's Wrath
- Chapter 2 Bishops of Rome
- Chapter 3 Conversion of the Wild Men
- Chapter 4 Feudalism emerges
- Chapter 5 Land and Folk
- Chapter 6 The Village (1)
- Chapter 7 The Village (2)
- Chapter 8 Village Dance and Song
- Chapter 9 Nature and Superstition
- Chapter 10 Popes and Prelates
- Chapter 11 Rector and Vicar
- Chapter 12 The Making of a Priest
- Chapter 13 Church statistics
- Chapter 14 The Shepherd
- Chapter 15 The Flock (1)
- Chapter 16 The Flock (2)
- Chapter 17 The Silver Lining
- Chapter 18 Dante's Commedia
- Chapter 19 The Royal Court
- Chapter 20 Chivalry
- Chapter 21 Chaucer and Malory
- Chapter 22 The Monastery
- Chapter 23 Cloister Life
- Chapter 24 The Town
- Chapter 25 Home Life
- Chapter 26 Trade and Travel
- Chapter 27 Just Price and Usury
- Chapter 28 The Ghetto (1)
- Chapter 29 The Ghetto (2)
- Chapter 30 Justice and Police
- Chapter 31 From School to University
- Chapter 32 Scholastics and Bible
- Chapter 33 Science
- Chapter 34 Medicine
- Chapter 35 Freethought and Inquisition
- Chapter 36 The Papal Schism
- Chapter 37 The Lollards
- Chapter 38 The Black Death
- Chapter 39 The Hundred Years' War
- Chapter 40 The Mystics
- Chapter 41 The Peasant Saint
- Chapter 42 Artist Life
- Chapter 43 Literary Life
- Chapter 44 Sports and Theatre
- Chapter 45 Women's Life
- Chapter 46 Marriage and Divorce
- Chapter 47 The Old and the New
- Chapter 48 More and Utopia
- Chapter 49 The Fight for the Bible
- Chapter 50 The Open Bible
- Chapter 51 Peasant and Highbrow
- Chapter 52 The Bursting of the Dykes
- Notes
- Index
- Plate section
- Frontmatter
- Contents
- Illustrations
- Preface
- Introduction
- Chapter 1 The Cauldron of God's Wrath
- Chapter 2 Bishops of Rome
- Chapter 3 Conversion of the Wild Men
- Chapter 4 Feudalism emerges
- Chapter 5 Land and Folk
- Chapter 6 The Village (1)
- Chapter 7 The Village (2)
- Chapter 8 Village Dance and Song
- Chapter 9 Nature and Superstition
- Chapter 10 Popes and Prelates
- Chapter 11 Rector and Vicar
- Chapter 12 The Making of a Priest
- Chapter 13 Church statistics
- Chapter 14 The Shepherd
- Chapter 15 The Flock (1)
- Chapter 16 The Flock (2)
- Chapter 17 The Silver Lining
- Chapter 18 Dante's Commedia
- Chapter 19 The Royal Court
- Chapter 20 Chivalry
- Chapter 21 Chaucer and Malory
- Chapter 22 The Monastery
- Chapter 23 Cloister Life
- Chapter 24 The Town
- Chapter 25 Home Life
- Chapter 26 Trade and Travel
- Chapter 27 Just Price and Usury
- Chapter 28 The Ghetto (1)
- Chapter 29 The Ghetto (2)
- Chapter 30 Justice and Police
- Chapter 31 From School to University
- Chapter 32 Scholastics and Bible
- Chapter 33 Science
- Chapter 34 Medicine
- Chapter 35 Freethought and Inquisition
- Chapter 36 The Papal Schism
- Chapter 37 The Lollards
- Chapter 38 The Black Death
- Chapter 39 The Hundred Years' War
- Chapter 40 The Mystics
- Chapter 41 The Peasant Saint
- Chapter 42 Artist Life
- Chapter 43 Literary Life
- Chapter 44 Sports and Theatre
- Chapter 45 Women's Life
- Chapter 46 Marriage and Divorce
- Chapter 47 The Old and the New
- Chapter 48 More and Utopia
- Chapter 49 The Fight for the Bible
- Chapter 50 The Open Bible
- Chapter 51 Peasant and Highbrow
- Chapter 52 The Bursting of the Dykes
- Notes
- Index
- Plate section
Summary
The medieval artist worked under conditions essentially different from the modern. The modern is individualistic, and sometimes achieves a reputation by pushing caprice to its utmost limits. Medieval art, on the contrary, was strictly collectivist. The men who worked at the great cathedrals were under a discipline comparable to that of an army; indeed they were often actual conscripts. Quite apart from what might be done in the so-called Dark Ages, when the whole neighbourhood was at the mercy of each predatory lord, the kings of the later Middle Ages claimed and exercised the right of impressing masons, carpenters, and other artisans for whatever great work they had in hand. A warlike countess in eleventh-century Normandy brought in a celebrated mason to build her a stronger castle than he had built for any of her rivals, and then killed him to make sure of not being outdone in her turn. Chaucer, again, when Clerk of the King's Works, had to impress masons, just as other officers were impressing soldiers, to serve the king; and even the Chapels of Eton and King's College, Cambridge, were partly built by forced labour. In other ways also these great building schemes were carried on under an approximation to military conditions. The learner passed through an exacting mill in later, if not in earlier, times.
- Type
- Chapter
- Information
- Medieval PanoramaThe English Scene from Conquest to Reformation, pp. 555 - 572Publisher: Cambridge University PressPrint publication year: 2010First published in: 1938