Medieval panorama : the English scene from conquest to Reformation / by G.G. Coulton.

  • George Gordon Coulton
Date:
1947
Catalogue details

Licence: In copyright

Credit: Medieval panorama : the English scene from conquest to Reformation / by G.G. Coulton. Source: Wellcome Collection.

    786/842 (page 752)
    75* CHAPTER XLI (pp. 534-554) (1) B, x. 300. (2) B, x. 317. (3) B, v. 172, 460. (4) B, xi. 371. (5) C, vi. 92. (6) B, ix. 158; xi. 16, 45; xv. 3ff., 48; xvi. 3; cf. A, xn. 6. (7) B, xiii. 135. (8) B, xi. 336. This illustration of the magpie had already been used by two distinguished Parisian philosophers in the early thirteenth century: Bishop Guillaume d’Auvergne (Opp. 1674, 1. 1058) and Guillaume d’Auxerre (In Sent. Regnault [1505], 758): “artificium picae, quo compingit nidum suum, quern nemo carpentariorum vel architectorum effigiare potest.” (9) B, xiii. 440. (10) B, xi. 180. (11) B, vii. 105. (12) B, vi. 25, 117. (13) B, v. 517. (14) B, 1. 5. (15) B, 1.71. (16)6,11.5. (17) B, vii. 106; but see the whole of this passus. (18) Hen. a Gandavo, Quodlibeta (Venice, 1613), 11. 388a, 390c, 391a (Quod, xv, quaest. xiv). (19) B, x. 101; cf. 52. (20) Gerson, Opera (1606), II. 556a, 649b. (21) B, xx. 212. (22) Jeremiah v. 30. (23) Blue Book on Malta (1930), 48. CHAPTER XLII (pp. 555-572) (1) For this subject the reader should consult W. R. Lethaby, Westminster and the King s Craftsmen; D. Knoop and G. P. Jones, The Medieval Mason (the first full exploitation of the rich documentary evidence by two writers whose artistic interest is reinforced by special competence in economic history). The present chapter is mainly a summary from my own Art and the B.eformation. (2) Art and Ref. 133. (3) P.L. cxlii. 651. (4) St F. to D. (2nd ed.), 65, 366. (5) Art and Ref. ch. V, esp. 95 ff. (6) Ibid. 73-4. (7) Ibid. 65 ff. (8) Ibid. 59ff. (9) An Introduction to Freemasonry, by Prof. D. Knoop and Mr G. P. Jones, teachers of Economics and Econ. Hist, at Sheffield University (Manch. Univ. Press, 1937). See especially pp. 62 ff. (10) Comentum (ed. Lacaita), ill. 309. (11) Art and Ref 88. (12) Ibid. 93. (13) Ibid. 132. (14) Ibid. 287. (15) Ibid. 99 ff. (16) Iliad, VI. 208. (17) Camb. Ant. Soc. Trans. (1869), 64ff. (18) Dives and Pauper, Com. I, c. 51 ad fin. CHAPTER XLIII (pp. 573-589) (1) For Sindolf see Life in M.A. iv. 52-7. The other writer, Brother Ludwig of Wessobrunn in Bavaria, ended his copyist’s work with three pathetic verses: “The book which you now see was written in the outer seats [of the cloister]; while I wrote I froze; and, what I could not write by the beams of day, I finished by candle-light.” (Wattenbach, Schriftwesen des Mittelalters (1896), 287; cf. 518.) (2) Opera (R.S.), 1. 72; cf. Rashdall, Universities (1st ed.), 11. 341. (3) T. G. Law, Collected Essays (1904), 7. (4) P.L. CLXXii. 1148; Bromyard, Sum. Pred. E, iii. 24; E. K. Chambers, Med. Stage, I. 28 ff. (5) See Rutebeufi by Prof. L. Cledat; a study of a typical jongleur. (6) Mary Darmesteter’s Froissart (Hachette, 1894) is an admirable biography of this poet-chronicler. (7) His works are published by the E.E.T.S. (vols. 72-3). CHAPTER XLIV (pp. 590-613) (1) Fulk Fitqwarine (King’s Classics), 42. (2) La Chevalerie, 681-3. (3) Social Life, 400. (4) Ibid. 396; so also for Men. de Paris. (5) Depos. Durham (S.S. 1845), 20-1. (6) I walked by Night, edited by Miss Haggard. (7) T. Wright, Womankind in Western Europe, 245. (8) St F. to D. (2nd ed.), 98 ff. (9) Social Life, 497. (10) Abbe Fleury, Hist. Ecclesiastique, an. 1264. (n) J. Brand, Popular Antiquities (ed. Bohn), 1. 506. (12) Med. Will. 267.