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PEPIN THE SHORT had done a great deal to unite the kingdom; but when he died, he left it to his two sons, and so divided it again. The older son died in a few years; and now the kingdom of the Franks was in the hands of Charlemagne, if he could hold it. First came trouble with the Saxons who lived about the lower Rhine and the Elbe. They and the Franks were both Germans, but the Franks had had much to do with the Romans, and had learned many of their ways. Missionaries, too, had dwelt among them and had taught them Christianity, while the Saxons were still heathen. It was fully thirty years before the Saxons were subdued. During those years, Charlemagne watched them closely. He fought, to be sure, whenever they rebelled, and he made some severe laws and saw to it that these were obeyed. More than this, however, he sent missionaries to them, and he built churches. He carried away many Saxon boys as hostages. These boys were carefully brought up and were taught Christianity. They learned to like the Frankish ways of living, and when they had grown up and were sent home, they urged their friends to yield and become peaceful subjects of the great king; and finally the land of the Saxons became a part of the Frankish kingdom. Charlemagne had only begun the Saxon war, when the Pope asked for help against the Lombards, a tribe of Teutons who had settled in Northern Italy. The king was quite ready to give it, for he, too, had a quarrel with them; and in a year or two their ruler had been shut up in a monastery and Charlemagne had been crowned with the old iron crown of Lombardy. This war had hardly come to an end before the king led his troops into Spain against the Mohammedans. There, too, he was successful; but at Roncesvalles he lost a favourite follower, Count Roland. Roland and the warriors who perished with him were so young and brave that the Franks never wearied of recounting their noble deeds. Later the story was put into a fine poem, called the "Song of Roland," which long afterward men sang as they dashed into battle.

Heroes and Marvels of the Middle Ages is a history like no other: it is a history of the imagination, presented between two celebrated groups of the period. One group consists of heroes: Charlemagne, El Cid, King Arthur, Orlando, Pope Joan, Melusine, Merlin the Wizard, and also the fox and the unicorn. The other is the miraculous, represented here by three forms of power that dominated medieval society: the cathedral, the castle, and the cloister. Roaming between the boundaries of the natural and the supernatural, between earth and the heavens, the medieval universe is illustrated by a shared iconography, covering a vast geographical span. This imaginative history is also a continuing story, which presents the heroes and marvels of the Middle Ages as the times defined them: venerated, then bequeathed to future centuries where they have continued to live and transform through remembrance of the past, adaptation to the present, and openness to the future.

"The different cultures from which the middle ages drew its inspiration are represented: Cu Cuchulainn from the Celtic world, Apollonius of Tyre from Greek romance, Attila the Hun and Theodoric the Ostrogoth from the struggle of the Roman empire against the Barbarians. Each entry gives an outline of the story, how it spread through Europe, its modern retelling and appearances in art, and a selective bibliography."--Jacket.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.