In the long run the poet had far more influence than the priest upon the chivalric classes. It is remarkable how uniformly Popes and Councils set their faces against the bloodshed and extravagant futilities of the tournament; still more remarkable that even threats of excommunication could not deter the most orthodox of knights from seeking distinction and distraction in these mimic wars. Equally significant is the growth of the _service des dames_ which, although invested by troubadours and minnesingers with a halo of religious allegory, was disliked by the Church, not merely from a dread of possible abuses, but as inherently idolatrous. The cult of the Virgin, while doing honour to the new conception of womanhood, was also a protest against a secular romanticism. Here and there a Wolfram von Eschenbach essays the feat of reconciling poetry with religion in the picture of the perfect knight. But the school of _courtoisie_ prevailed; the most celebrated of the troubadours are mundane, not to say profane; Walther von der Vogelweide, with his bitter attacks upon the Papacy, is more typical of his class than Wolfram with his allegory of Parsifal and the Sangraal. It was in Provence, on the eve of the Albigensian Crusade, in the society which was most indifferent to official Christianity and most hostile to the clergy, that chivalry was most sedulously preached and developed in the most curious detail. In the hands of the troubadours it became a gospel of pageantry and fanfaron, of artificial sentiments and artificial heroisms, cloaking the materialism, the sensuality and the inordinate ostentation of a theatrical and frivolous society, intoxicated with the pride of life. V THE PAPACY BEFORE GREGORY VII