The Thirteenth, Greatest of Centuries. James Joseph Walsh

      Each of these towns, then, none of which had more than twenty thousand inhabitants except London, and even that scarcely more, had to develop its own artist-artisans for itself. That they succeeded in doing so demonstrates a great educational influence at work in arts and crafts in each of these towns. We scarcely succeed in obtaining such trained workmen in proportionately much fewer numbers even with the aid of our technical schools, and while these Thirteenth Century people did not think of such a term, it is evident that they had the reality and that they were able to develop artistic handicraftsmen—the best the world has ever known.

      With all this of education abroad in the lands, it is not surprising that great results should have flowed from human efforts and that these should prove enduring even down to our own time. Accomplishments of the highest significance were necessarily bound up with opportunities for self-expression, so tempting and so complete, as those provided for the generations of the Thirteenth Century. The books of the Words as well as of the Arts of the Thirteenth Century will be found eminently interesting, and no period has ever furnished so many examples of wondrous initiative, followed almost immediately by just as marvelous progress and eventual approach to as near perfection as it is perhaps possible to come in things human. Ordinarily literary origins are not known with sufficient certainty as to dates for any but the professional scholar to realize the scope of the century's literature. Only a very little consideration, however, is needed to demonstrate how thoroughly representative of what is most enduring in literary expression in modern times, are the works in every country that had origin in this century.

      There was not a single country in civilized Europe which did not contribute its quota and that of great significance to the literary movement of the time. In Spain there came the Cid and certain accompanying products of ballad poetry which form the basis of the national literature and are still read not only by scholars and amateurs, but even by the people generally, because of the supreme human interest in them. In England, the beginning of the Thirteenth Century saw the putting into shape of the Arthur Legends in the form in which they were to appeal most nearly to subsequent generations. Walter Map's work in these was, as we shall see, one of the great literary accomplishments of all time. Subsequent treatments of the same subject are only slight modifications of the theme which he elaborated, and Mallory's and Spenser's and even our own Tennyson's work derive their interest from the humanly sympathetic story, written so close to the heart of nature in the Thirteenth Century that it will always prove attractive.

      In Germany, just at the same time, the Nibelungen-Lied was receiving the form in which it was to live as the great National epic. The Meistersingers also were accomplishing their supreme work of Christianizing and modernizing the old German and Christian legends which were to prove such a precious heritage of interest for posterity. In the South of Germany the Minnesingers sang their tuneful strains and showed how possible it was to take the cruder language of the North, and pour forth as melodious hymns of praise to nature and to their beloved ones as in the more fluent Southern tongues. Most of this was done in the old Suabian high German dialect, and the basis of the modern German language was thus laid. The low German was to prove the vehicle for the original form of the animal epic or stories with regard to Reynard, the Fox, which were to prove so popular throughout all of Europe for all time thereafter.

      In North France the Trouvères were accomplishing a similar work to that of the Minnesingers in South Germany, but doing it with an original genius, a refinement of style characteristic of their nation, and a finish of form that was to impress itself upon French literature for all subsequent time. Here also Jean de Meun and Guillaume de Lorris wrote the Romance of the Rose, which was to remain the most popular book in Europe down to the age of printing and for some time thereafter. At the South of France the work of the Troubadours, similar to that of the Trouvères and yet with, a spirit and character all its own, was creating a type of love songs that the world recurs to with pleasure whenever the lyrical aspect of poetry becomes fashionable. The influence of the Troubadours was to be felt in Italy, and before the end of the Thirteenth Century there were many writers of short poems that deserve a place in what is best in literature. Men like Sordello, Guido Cavalcanti, Cino da Pistoia, and Dante da Maiano, deserve mention in any historical review of literature, quite apart from the influence which they had on their great successor, the Prince of Italian poets and one of the immortal trio of the world's supreme creative singers—Dante Alighieri. With what must have seemed the limit of conceit he placed himself among the six greatest poets, but posterity breathes his name only with those of Homer and Shakespeare.

      Dante, in spite of his giant personality and sublime poetic genius, is not an exception nor a solitary phenomenon in the course of the century, but only a worthy culmination of the literary movement which, beginning in the distant West in Spain and England, gradually worked eastward quite contrary to the usual trend of human development and inspired its greatest work in the musical Tuscan dialect after having helped in the foundation of all the other modern languages. Dante is the supreme type of the Thirteenth Century, the child of his age, but the great master whom medieval influences have made all that he is. That he belongs to the century there can be no doubt, and of himself alone he would be quite sufficient to lift any period out of obscurity and place it among the favorite epochs, in which the human mind found one of those opportune moments for the expression of what is sublimest in human thought.

      It is, however, the bock of the Arts of the Thirteenth Century that deserves most to be thumbed by the modern reader intent on learning something of this marvelous period of human existence. There is not a single branch of art in which the men of this generation did not accomplish excelling things that have been favorite subjects for study and loving imitation ever since. Perhaps the most marvelous quality of the grand old Gothic cathedrals, erected during the Thirteenth Century, is not their impressiveness as a whole so much as their wonderful finish in detail. It matters not what element of construction or decoration be taken into consideration, always there is an approach to perfection in accomplishment in some one of the cathedrals that shows with what thoroughness the men of the time comprehended what was best in art, and how finally their strivings after perfection were rewarded as bountifully as perhaps it has ever been given to men to realize.

      Of the major arts—architecture itself, sculpture and painting—only a word will be said here since they will be treated more fully in subsequent chapters. No more perfect effort at worthy worship of the Most High has ever been accomplished than is to be seen in the Gothic cathedrals in every country in Europe as they exist to the present day. While the movement began in North France, and gradually spread to other countries, there was never any question of mere slavish imitation, but on the contrary in each country Gothic architecture took on a national character and developed into a charming expression of the special characteristics of the people for whom and by whom it was made. English Gothic is, of course, quite different to that of France; Spanish Gothic has a character all its own; the German Gothic cathedrals partake of the heavier characteristics of the Northern people, while Italian Gothic adds certain airy decorative qualities to the French model that give renewed interest and inevitably indicate the origin of the structures.

      In painting, Cimabue's work, so wonderfully appreciated by the people of Florence that spontaneously they flocked in procession to do honor to his great picture, was the beginning of modern art. How much was accomplished before the end of the century will be best appreciated when the name of Giotto is mentioned as the culmination of the art movement of the century. As we shall see, the work done