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    Flowers from Mediæval History: (Illustrated Edition)
    Flowers from Mediæval History: (Illustrated Edition)
    Flowers from Mediæval History: (Illustrated Edition)
    Ebook177 pages1 hour

    Flowers from Mediæval History: (Illustrated Edition)

    By Minerva Delight Kellogg

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    About this ebook

    Modern invention has actually reflected upon ancient history: the railroad, the steam derrick and the photograph have changed our conceptions of the past. Written history is now accepted as its author’s opinion, while tangible records stand forth as facts.

    This attitude brings the Middle Ages particularly near to us, for though its people wrote comparatively little, they were wonderful builders: their art was more literally expressive than the classic; then, too, of course, it is better preserved.

    While the Greeks and Romans were our schoolmasters, the Europeans of the Middle Ages are our ancestors. Their experience foreshadows our own; for however far removed from us in thought and action they may have been, they were akin to us in feeling.

    The Greeks did develop an art from the motif of physical beauty, however, but their statues, executed before art became mature enough to produce that beauty, have no message, while one often catches something high and holy from a very early Christian image. It may radiate from a pretty smile on the face of a crude Madonna, or a graceful upturned head, in a figure entirely destitute of anatomy, which looks as though the simple craftsman had called upon a higher power than knowledge.

    These pictures give the other half of the truth, the tenderer side of the old life and theology. What sympathetic Bible scholars some of the artists became! And, in general, the greatest were the tenderest. Albrecht Dürer’s Evangelists are interesting character studies for all time. He conceives of Saint Mark as a plain, simple enthusiast; of Saint Paul, as a broad-minded, thoughtful man whom he even imagines to be bald. He does not try to make either of them exactly handsome but the way Mark looks up to Paul is most winning. A little later Andrea del Sarto paints a splendid account of the warring doctors of the Church, which shows clearly he saw beyond them: but this takes us into the Renaissance which has been defined as a marriage of the Grecian and the Gothic.
     
    LanguageEnglish
    PublisheriOnlineShopping.com
    Release dateJan 1, 2020
    ISBN9788835352631
    Flowers from Mediæval History: (Illustrated Edition)

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      Book preview

      Flowers from Mediæval History - Minerva Delight Kellogg

      Project Gutenberg's Flowers from Mediæval History, by Minerva Delight Kellogg

      This eBook is for the use of anyone anywhere in the United States and most

      other parts of the world at no cost and with almost no restrictions

      whatsoever.  You may copy it, give it away or re-use it under the terms of

      the Project Gutenberg License included with this eBook or online at

      www.gutenberg.org.  If you are not located in the United States, you'll have

      to check the laws of the country where you are located before using this ebook.

      Title: Flowers from Mediæval History

      Author: Minerva Delight Kellogg

      Release Date: December 22, 2019 [EBook #61001]

      Language: English

      *** START OF THIS PROJECT GUTENBERG EBOOK FLOWERS FROM MEDIÆVAL HISTORY ***

      Produced by Paul Marshall, Turgut Dincer and the Online

      Distributed Proofreading Team at http://www.pgdp.net (This

      file was produced from images generously made available

      by The Internet Archive)

      Note

      The friendly eyes that read these pages, knowing the pathetic fails relating to their publication, will not be content without a word to tell to other readers the story that will cause one and all to look on the little book in the same sympathetic mood.

      The trips among the scenes of the storied past, here recorded, were taken not so much in search of health as in search of diversion from the sad employment of watching the inexorable approach of mortal disease. The writing was undertaken to occupy a vigorous mind, conscious that its tenement would not long endure.

      Alas! the task was not done before its purpose had been fully completed, and to others was left the duty of reading the final proofs. Such imperfections as may be found should be charged to this account, and all the excellences are to be credited to the brave soul that fought her fight so silently that only a very few closest friends knew of the unequal battle.

      C. S. G.

      The Abbatical Church of Saint Ouen is Perhaps the Most

      Perfect Example of the Gothic in its Full Maturity

      FLOWERS

      FROM MEDIÆVAL

      HISTORY

      BY

      MINNIE D. KELLOGG

      I never can feel

      sure of any truth but from

      a clear perception

      of its beauty.

      Keats

      ILLUSTRATED

      PAUL ELDER AND COMPANY

      PUBLISHERS·SAN FRANCISCO

      Copyright, 1910

      by Paul Elder and Company

      Contents

      Illustrations

      Advertisement

      These accounts all relate to places and objects that the uncommercial traveler may casually run upon at some turn of his way. Subjects mentioned in Baedeker have been considered here reflectively rather than descriptively. Although I do not propose to analyze the soil in which these flowers of history have sprung up, nor to speak of the rank weeds growing by their sides, I have tried not to blight these blossoms with falsehood. Certainly one-half of the truth is as true as the other and it may be infinitely pleasanter. As far as they go, these little historiettes are based upon evidence and authority.

      I want to teach you so much history that your sympathy may grow continually wider and you may be able to realize past generations of men just as you do the present, sorrowing for them when they failed, triumphing with them when they prevailed; for I find this one conviction never changing with me but always increasingy that one cannot live a life manfully without a wide world of sympathy and love to exercise it in.

      —Burne-Jones to His Son.

      Suggested itineraries for cathedral trips in Normandy, giving monuments of the first order only, places readily reached by rail:

      First. Land at Bologne sur Mer, Amiens, Laon, Rheims, Paris, Saint Denis, Chartres, Caen, Bayeux, Mt. San Michele, embark from Cherbourg.

      Second. Land from England at Dieppe, or from America at Havre, proceed to Rouen, which possesses the most perfect example of later Gothic in the great abbatical Church of Saint Ouen; an excellent example of flamboyant Gothic in Saint Maclou; and a large, irregular but imposing Gothic cathedral on the order of Rheims; thence to Mt. San Michele, most unique of mediæval monuments; thence to Caen and Bayeux near by it, Chartres and Paris. Amiens and Rheims being very similar, and on the order of Chartres and Notre Dame of Paris, are not included in this itinerary. The traveler to whom time is money will be greatly tried by the connections made and lost by the trains in Normandy that stop at small places. Both these itineraries respect the idiosyncrasies of French railroads.

      The motorist, rejoicing in the excellent Norman roads, can combine these itineraries very easily—taking in the cathedrals of Le Mans, Bourg, Beauvais and Coutances. I would especially call his attention to the small but interesting Early Norman church at Dols, and to the walled town of San Malo on the sea, with picturesque little Dinan, fashionable Dinard, and a dirty little fishing village near by.

      By Way of Introduction

      Modern invention has actually reflected upon ancient history: the railroad, the steam derrick and the photograph have changed our conceptions of the past. Written history is now accepted as its author’s opinion, while tangible records stand forth as facts.

      This attitude brings the Middle Ages particularly near to us, for though its people wrote comparatively little, they were wonderful builders: their art was more literally expressive than the classic; then, too, of course, it is better preserved.

      While the Greeks and Romans were our schoolmasters, the Europeans of the Middle Ages are our ancestors. Their experience foreshadows our own; for however far removed from us in thought and action they may have been, they were akin to us in feeling.

      Though the rude pioneers of Christianity were often intensely cruel, as you follow their history, you may meet with some gentle deed springing from the good seed, even when sown in stony places, with some action in its sweetness and humility entirely beyond the pagan world. In their childish story one may trace the early workings of the Christian ideal. It did not control behavior, nor did it always direct it wisely; morality, being judicial and scientific, implies a certain maturity of mind. Religion is simple; it is unlogical, sentimental and impulsive. Whatever this indefinable instinct may be, it has manifested itself as a spiritualizing force in morality and an initiative force in art.

      Religion has in it a craving for a loveliness beyond all literal perception of the senses; a philosophic mind projects this ideal in contemplation; an artistic mind, in symbol; for, as Michael Angelo explains, Rash is the thought and vain that maketh beauty from the senses grow.

      The Greeks did develop an art from the motif of physical beauty, however, but their statues, executed before art became mature enough to produce that beauty, have no message, while one often catches something high and holy from a very early Christian image. It may radiate from a pretty smile on the face of a crude Madonna, or a graceful upturned head, in a figure entirely destitute of anatomy, which looks as though the simple craftsman had called upon a higher power than knowledge.

      Spiritual beauty being the ideal in Christian art, the image, however rude, which suggests it, makes its appeal in the charmed language of that loving religion.

      Mediæval archives have been ransacked by Protestants for the errors of Catholicism; by political economists, who even penetrate to the Dark Ages in search of the chilly lessons of the dismal science, for wisdom; and between them what a conception we have! But it is not the whole story, for Chaucer assures us the Moyen Age was a fairly livable period, peopled by beings like ourselves; moreover, it was an artistic age which has

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