The Thirteenth, Greatest of Centuries

by James J. Walsh

We have been following up thus far the exemplification in the Thirteenth Century of John Ruskin's saying, that if you wish to get at the real significance of the achievements of a period in history, you must read the book of its deeds, the book of its arts and the book of its words. We have been turning over a few of the pages of the book of the deeds of the Thirteenth Century in studying the history of the establishment of the universities and of the method and content of university teaching. After all the only deeds that ought to count in the history of mankind are those that are done for men—that have accomplished something for the uplift of mankind. History is unfortunately occupied with deeds of many other kinds, and it is perhaps the saddest blot on our modern education, that it is mainly the history of deeds that have been destructive of man, of human happiness and in only too many cases of human rights and human liberties, that are supposed to be most worthy of the study of the rising generation. History as written for schools is to a great extent a satire on efforts for social progress.

We shall continue the study of the book of the deeds of the Thirteenth Century and its most interesting and important chapter, that of the education of the masses. We shall find in what was accomplished in educating the people of the [{128}] Thirteenth Century, the model of the form of education which in spite of our self-complacency does not exist, but must come in our time, if our education is to fulfill its real purpose. Perhaps the most interesting phase of this question of the education of the masses will be the fact that in studying this book of the deeds, we shall have also to study once more the book of the arts of the Thirteenth Century. All their best accomplishment was linked with achievement and progress in art. Yet it was from the masses that the large number of artist-artisans of workmen with the true artistic spirit came, who in this time in nearly every part of Europe, created masterpieces of art in every department which have since been the admiration of the world.

We may say at once that the opportunity for the education of the masses was furnished in connection with the Cathedrals. In the light of what we read in these great stone books, it is a constant source of surprise that the Church should be said to have been opposed to education. Reinach in his Story of Art throughout the Ages says:

"The Church was not only rich and powerful in the Middle Ages; it dominated and directed all the manifestations of human activity. There was practically no art but the art it encouraged, the art it needed to construct and adorn its buildings, carve its ivories and its reliquaries, and paint its glass and its missals. Foremost among the arts it fostered was architecture, which never played so important a part in any other society. Even now, when we enter a Romanesque or Gothic church, we are impressed by the might of that vast force of which it is the manifestation, a force which shaped the destinies of Europe for a thousand years."

It was as the result of this demand for art that the technical schools naturally developed around the Cathedrals. To take the example of England alone, during the Thirteenth Century some twenty cathedrals were erected in various parts of the country. Most of these were built in what we would now call small towns, indeed some of them would be considered scarcely more than villages. There were no large cities, in praise be it spoken, during the Thirteenth Century, and it must not be forgotten that the whole population of England at the beginning [{129}] of the century was scarcely more than two millions of people and did not reach three millions even at the end of it. Every rood of ground did not perhaps maintain its man, but every part of England had its quota of population so that there could not be many crowded centers. Even London probably at no time during the century had more than twenty-five thousand inhabitants and Oxford during the palmiest days of the University was perhaps the most populous place in the land.

There was a rivalry in the building of Cathedrals, and as the main portion of the buildings were erected in the short space of a single century, a feeling of intense competition was rife so that there was very little possibility of procuring workmen from other towns. Each town had to create not only its cathedral but the workmen who would finish it in all its details. When we consider that a Cathedral like Salisbury was practically completed in the short space of about twenty-five years, it becomes extremely difficult to understand just how this little town succeeded in apparently accomplishing the impossible. It has often been said that artists cannot be obtained merely because of a demand for them and that they are the slow creation of rather capricious nature. It is only another way of saying that the artist is born, not made. Nature then must have been in a particularly fruitful mood and tense during the Thirteenth Century, for there is no doubt at all of the wonderful artistic beauty of the details of these Gothic cathedrals. While nature's beneficence meant much, however, the training of the century probably meant even more and the special form of popular education which developed well deserves the attention of all other generations.

It may be said at once that education in our sense of teaching everybody to read and write there was none. There were more students at the universities to the number of the population than in the Twentieth Century as we have seen, but people who were not to devote themselves in after life to book learning, were not burdened with acquisitions of doubtful benefit, which might provide stores of useless information for them, or enable them to while away hours of precious time reading trash, or make them conceited with the thought that because they had absorbed some of the opinions of others on things in general, [{130}] they had a right to judge of most things under the sun and a few other things besides. The circulation of our newspapers and the records of the books in demand at our libraries, show how much a knowledge of reading means for most of our population. Popular education of this kind may, and does benefit a few, but it works harm to a great many.

Of education in the sense of training the faculties so that the individual might express whatever was in him and especially that he might bring out what was best in him, there was much. Take again the example of England. There was considerably less in population than there is in Greater New York at the present time, yet there was some twenty places altogether in which they were building Cathedrals during this century, that would be monuments of artistic impulse and accomplishment for all future time. Any city in this country would be proud to have any one of these English cathedrals of the Thirteenth Century as the expression of its taste and power to execute. We have tried to imitate them more or less in many places. In order to accomplish our purpose in this matter, though, we deliberately did everything on a much smaller and less ambitious scale than the people of the small English towns of seven centuries ago, and our results do not bear comparison for a moment with theirs, we had to appeal to other parts of the country and even to Europe for architects and designers, and even had to secure the finished products of art from distant places. This too, in spite of the fact that we are seven centuries later and that our education is supposed to be developed to a high extent. If there were twenty places of instruction in Greater New York where architects and artist workers in iron and glass, and metal of all kinds, and wood and stone, were being trained to become such finished artisans as were to be found in twenty different little towns of England in the Thirteenth Century, we should be sure that our manual training schools and our architectural departments of universities and schools of design were wonderfully successful.

When we find this to be true of the England of the Thirteenth Century we can conclude that somehow better opportunities for art education must have been supplied in those times than in our own, and though we do not find the mention or [{131}] records of formal schools, we must look patiently for the methods of instruction that enabled these generations to accomplish so much. Needless to say such attainments do not come spontaneously in a large number of people, but must be carefully fostered and are the result of that greatest factor in education, environment. It will not be hard to find where the ambitious youth of England even of the workman class found opportunities for technical education of the highest character in these little towns. This was never merely theoretic, though, it was sufficiently grounded in principle to enable men to solve problems in architecture and engineering, in decoration and artistic arrangement, such as are still sources of anxiety for modern students of these questions.

To take but a single example, it will be readily appreciated that the consideration of the guilds of builders of the Cathedrals as constituting a great technical school, is marvelously emphasized by certain recent observations with regard to architects' and builders' methods in the Cathedrals. There is a passage in Evelyn's Diary in which he describes certain corrections that were introduced into Old St. Paul's Cathedral, London (the Gothic edifice predecessor of the present classical structure), in order to remove appearances of dissymmetry and certain seeming mistakes of construction. This passage was always so misunderstood that editors usually considered it to be defective in some way and as the classical critics always fall back on an imperfect text for insoluble difficulties, so somehow Evelyn was considered as either not having understood what he intended to say, or else the printer failed to put in all the words that he wrote. It was the modern readers, however, not Evelyn nor his printer who were mistaken. Mr. Goodyear of the Brooklyn Institute of Arts and Sciences has proved by a series of photographs and carefully made observations, that many of the old Gothic Cathedrals have incorporated into them by their builders, optical corrections which correspond to those made by the Greeks in their building in the classical period, which have been the subject of so much admiration to the moderns.