THE MASONS ORGANISE

T1he Crusades contributed indirectly to the progress of art in that they caused religious orders and devout establishments to be multiplied. The number of sacred edifices which rose up at that time throughout Europe is truly prodigious. Nobles and even those who had little piety were ambitious for the title of “founder of a church.” While they may have wrecked temples in one place, it was often their pleasure to build them in others.

2One extraordinary circumstance greatly favoured this eagerness to erect edifices devoted to the religious cult. In France, in Italy especially, it had been common rumour that the world was nearing its end and it was thought unnecessary, in this event, to repair churches, and even more useless to build new ones. But when the predicted period arrived and there were no signs of the final catastrophe, alarm diminished, and ashamed to have been misled by pusillanimous fear, people were anxious to make amends for the neglect of altars and sacred places of which they had been guilty.

3They were not satisfied to pay their debt to religion by rebuilding unsafe churches, but those of whose stability there was no question were torn down on the specious pretext that they were not sufficiently magnificent. To accomplish their aims a society was formed composed of men of every degree, noble and humble, who made themselves in their devotion into carpenters and masons; they offered their services in every direction, hauling carts like beasts of burden or binding themselves to certain religious devotions. The cathedral of Chartres is a monument of the labour of these pious workmen. These strange ideas having been developed towards the end of the eleventh century, the Crusades found in men’s minds a passion for this sort of construction, and they added to the general enthusiasm.