Medieval universities and additions to knowledge. Original work done, their best apology. Extensive writings of professors. Enthusiasm of students who copied their books. Post-graduate work in theology and in philosophy. Period of the scholastics. Graduates in law and collections and digests. Post-graduate work in medicine most important. Teaching by case histories. The significance of dropsy, suture of divided nerves, healing by first intention. William of Salicet and his pupil Lanfranc. The danger of the separation of surgery from medicine. Red light and smallpox. Mondaville and Arnold of Villanova. The republication of old texts. The supposed bull forbidding anatomy. The supposed bull forbidding chemistry. The encouragement of science in the medieval universities. CHAPTER VI THE BOOK OF THE ARTS AND POPULAR EDUCATION. 96 The Gothic Cathedrals, the stone books of medieval arts. St. Hugh of Lincoln. Wealth of meaning in the Cathedrals. Their power to please. Gothic architecture everywhere, but no slavish imitation. English, French, German, and Italian Gothic. Spanish Gothic. Gothic ideas in modern architecture. Beauty of details. Sculpture. Gothic Statuary, not stiff, nor ugly. Most affinity with Greek sculpture (Reinach). The Angel Choir at Lincoln. {xix} The marvellous stained glass of the period,--Lincoln, York, Chartres, Bourges. Storied windows and their teachings. Beauty and utility in the arts. Magnificent needlework, the Cope of Ascoli. The Cathedral as an educator. The Great Stone Book, which he who ran must read. Symbolism of the Cathedrals. The great abbeys, the monasteries, municipal and domestic architecture of the century. Furniture and decorations. Ruskin on Giotto's tower. CHAPTER VII ARTS AND CRAFTS--GREAT TECHNICAL SCHOOLS. 124 Solution of problems of social unrest. Blessed is the man who has found his work. Merrie England. The workman's pleasure in his work. Influence of the Church in the arts and crafts movement. Rivalry in building the Cathedrals. Organization of technical instruction. Correction of optical illusions. The village blacksmith and carpenter. Comparative perfection of the work done then and now. The trade guilds and the training of workmen. The system of instruction, apprentice, journeyman, master. The masterpiece. Social co-operation and fraternity. Mystery plays and social education. CHAPTER VIII GREAT ORIGINS IN PAINTING. 138 Rise of painting. Franciscans and Dominicans, patrons of art. St. Francis' return to nature, the incentive of art. Cimabue's Madonna. Gaddi. Guido, Ugolino and Duccio of Siena. Berlinghieri of Lucca, Giunta of Pisa. Giotto the master. His work at Assisi, Verona, Naples, Rome. Marvellous universal appreciation of art. Contrast with other times. False notions with regard to Gothic art. Sadness not a characteristic. The beauty of the human form divine. CHAPTER IX LIBRARIES AND BOOKMEN. 149