Mutual Aid - Peter Kropotkin (ereader that reads to you .TXT) 📗

as has been done in the Tower Bridge. Like the Acropolis of Athens, the cathedral of a medieval city was intended to glorify the grandeur of the victorious city, to symbolize the union of its crafts, to express the glory of each citizen in a city of his own creation. After having achieved its craft revolution, the city often began a new cathedral in order to express the new, wider, and broader union which had been called into life.

The means at hand for these grand undertakings were disproportionately small. Cologne Cathedral was begun with a yearly outlay of but 500 marks; a gift of 100 marks was inscribed as a grand donation;240 and even when the work approached completion, and gifts poured in in proportion, the yearly outlay in money stood at about 5,000 marks, and never exceeded 14,000. The cathedral of Basel was built with equally small means. But each corporation contributed its part of stone, work, and decorative genius to their common monument. Each guild expressed in it its political conceptions, telling in stone or in bronze the history of the city, glorifying the principles of “Liberty, equality, and fraternity,”241 praising the city’s allies, and sending to eternal fire its enemies. And each guild bestowed its love upon the communal monument by richly decorating it with stained windows, paintings, “gates, worthy to be the gates of Paradise,” as Michel Angelo said, or stone decorations of each minutest corner of the building.242 Small cities, even small parishes,243 vied with the big agglomerations in this work, and the cathedrals of Laon and St. Ouen hardly stand behind that of Rheims, or the Communal House of Bremen, or the folkmote’s bell-tower of Breslau. “No works must be begun by the commune but such as are conceived in response to the grand heart of the commune, composed of the hearts of all citizens, united in one common will”⁠—such were the words of the Council of Florence; and this spirit appears in all communal works of common utility, such as the canals, terraces, vineyards, and fruit gardens around Florence, or the irrigation canals which intersected the plains of Lombardy, or the port and aqueduct of Genoa, or, in fact, any works of the kind which were achieved by almost every city.244

All arts had progressed in the same way in the medieval cities, those of our own days mostly being but a continuation of what had grown at that time. The prosperity of the Flemish cities was based upon the fine woollen cloth they fabricated. Florence, at the beginning of the fourteenth century, before the black death, fabricated from 70,000 to 100,000 panni of woollen stuffs, which were valued at 1,200,000 golden florins.245 The chiselling of precious metals, the art of casting, the fine forging of iron, were creations of the medieval “mysteries” which had succeeded in attaining in their own domains all that could be made by the hand, without the use of a powerful prime motor. By the hand and by invention, because, to use Whewell’s words:

“Parchment and paper, printing and engraving, improved glass and steel, gunpowder, clocks, telescopes, the mariner’s compass, the reformed calendar, the decimal notation; algebra, trigonometry, chemistry, counterpoint (an invention equivalent to a new creation of music); these are all possessions which we inherit from that which has so disparagingly been termed the Stationary Period” (History of Inductive Sciences, i, 252).

True that no new principle was illustrated by any of these discoveries, as Whewell said; but medieval science had done something more than the actual discovery of new principles. It had prepared the discovery of all the new principles which we know at the present time in mechanical sciences: it had accustomed the explorer to observe facts and to reason from them. It was inductive science, even though it had not yet fully grasped the importance and the powers of induction; and it laid the foundations of both mechanics and natural philosophy. Francis Bacon, Galileo, and Copernicus were the direct descendants of a Roger Bacon and a Michael Scot, as the steam engine was a direct product of the researches carried on in the Italian universities on the weight of the atmosphere, and of the mathematical and technical learning which characterized Nuremberg.

But why should one take trouble to insist upon the advance of science and art in the medieval city? Is it not enough to point to the cathedrals in the domain of skill, and to the Italian language and the poem of Dante in the domain of thought, to give at once the measure of what the medieval city created during the four centuries it lived?

The medieval cities have undoubtedly rendered an immense service to European civilization. They have prevented it from being drifted into the theocracies and despotical states of old; they have endowed it with the variety, the self-reliance, the force of initiative, and the immense intellectual and material energies it now possesses, which are the best pledge for its being able to resist any new invasion of the East. But why did these centres of civilization, which attempted to answer to deeply-seated needs of human nature, and were so full of life, not live further on? Why were they seized with senile debility in the sixteenth century? and, after having repulsed so many assaults from without, and only borrowed new vigour from their interior struggles, why did they finally succumb to both?

Various causes contributed to this effect, some of them having their roots in the remote past, while others originated in the mistakes committed by the cities themselves. Towards the end of the fifteenth century, mighty States, reconstructed on the old Roman pattern, were already coming into existence. In each country and each region some feudal lord, more cunning, more given to hoarding, and often less scrupulous than his neighbours, had succeeded in appropriating to himself richer personal domains, more peasants on his