The Secret Middle Ages

"This book offers a major reassessment of the high medieval period and as such is not only important to specialists, but has much to appeal to the general reader. It is essential reading for medievalists and those interested in the history of language and customs."--BOOK JACKET.

The Secret Middle Ages is a controversial and completely fresh view of the medieval world through its rare and amazing artefacts. Using the wealth of medieval art, much of it unseen or ignored by museums and art historians, Malcolm Jones paints a compelling picture of the visual environment of the great mass of ordinary people between 1200 and 1500. The picture that emerges is of a civilisation that is both like and unlike our own, one that teems with the richness of life and its contradictions. Unlike most studies of the medieval world, it does not concern itself greatly with religious or aristocratic art but with the products of popular and folk art. Here we find beliefs and traditions rendered memorable by the vivid creative imagination and strong visual culture of the middle ages. Love, hatred, crime and punishment, proverbs, heaven on earth, husband-beating - all feature in the jewellery, tableware, illustrations, carvings and textiles of the period. This book offers a major reassessment of the high medieval period and as such is not only important to specialist, but has much appeal to the general reader. It is essential reading for medievalists and those interested in the history of language and customs. It provides a brilliant and evocative picture of medieval Europe where people spent their time wearing their hearts on their sleeves, snapping sausages and getting bees in their bonnets. As Malcolm Jones writes, gems and precious metals may dazzle the eye, but a pewter brooch, though it may look tawdry, may be of more significance and can tell us more about the middle ages than a cofferful of royal jewels.

"The beauty and levity that Perry and Gabriele have captured in this book are what I think will help it to become a standard text for general audiences for years to come….The Bright Ages is a rare thing—a nuanced historical work that almost anyone can enjoy reading.”—Slate "Incandescent and ultimately intoxicating." —The Boston Globe A lively and magisterial popular history that refutes common misperceptions of the European Middle Ages, showing the beauty and communion that flourished alongside the dark brutality—a brilliant reflection of humanity itself. The word “medieval” conjures images of the “Dark Ages”—centuries of ignorance, superstition, stasis, savagery, and poor hygiene. But the myth of darkness obscures the truth; this was a remarkable period in human history. The Bright Ages recasts the European Middle Ages for what it was, capturing this 1,000-year era in all its complexity and fundamental humanity, bringing to light both its beauty and its horrors. The Bright Ages takes us through ten centuries and crisscrosses Europe and the Mediterranean, Asia and Africa, revisiting familiar people and events with new light cast upon them. We look with fresh eyes on the Fall of Rome, Charlemagne, the Vikings, the Crusades, and the Black Death, but also to the multi-religious experience of Iberia, the rise of Byzantium, and the genius of Hildegard and the power of queens. We begin under a blanket of golden stars constructed by an empress with Germanic, Roman, Spanish, Byzantine, and Christian bloodlines and end nearly 1,000 years later with the poet Dante—inspired by that same twinkling celestial canopy—writing an epic saga of heaven and hell that endures as a masterpiece of literature today. The Bright Ages reminds us just how permeable our manmade borders have always been and of what possible worlds the past has always made available to us. The Middle Ages may have been a world “lit only by fire” but it was one whose torches illuminated the magnificent rose windows of cathedrals, even as they stoked the pyres of accused heretics. The Bright Ages contains an 8-page color insert.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Secret Societies of the Middle Ages

Excerpt from Secret Societies of the Middle Ages Ir we had the means of investigating historically the origin of Secret Societies, we should probably find that they began to he formed almost as soon as any knowledge had been accumulated by particular indi viduals beyond what constituted the common stock. The same thing has happened to knowledge that has happened to all other human possessions, -its actual holders have strives to keep it to themselves. It is true that in this casethe possessor of the advan tage does not seem to have the same reason for being averse to share it with others which naturally Operates in regard to many good things of a different kind; he does not, by imparting it to those around him, diminish his own store. This is true, in so far as regards the possession of knowledge considered in its character of a ml good; the owner of the trea sure does not impoverish himself by giving it away, as he would by giving away his money, but remains as rich as ever, even afier he has made ever so many others as rich as himself. But still there is one thing that he loses, and a thing upon which the human mind is apt to set a very high value; be M the distinction which he derived from his howledge. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.