Edward Augustus Freeman

Edward Augustus Freeman

Summary

Portrait of Edward Augustus Freeman Edward Augustus Freeman 1911 Encyclopædia Britannica, Volume 19… (1911)

Thus the history of architecture in England during the 11th and 12th centuries is a very different story from the history of the art in Sicily during the same time. There were no Greeks or Saracens in England; there was no Greek or Saracen skill. England indeed had, possibly in a somewhat ruder form, the earlier style of Romanesque once common to England with Italy, Gaul and Germany. To this style it is no wonder that the Normans preferred their own, and that style therefore supplanted the older one.
Source: Wikisource

Portrait of Edward Augustus Freeman Edward Augustus Freeman 1911 Encyclopædia Britannica, Volume 19… (1911)

No doubt there was a class that knew only English; there may have been a much smaller class that knew only French; any man who pretended to high cultivation would speak all as a matter of course; Bishop Gilbert Foliot, for instance, was eloquent in all three. But in Sicily we see the quite different phenomenon of three, four, five classes of men living side by side, each keeping its own nationality and speaking its own tongue. If a man of one people knew the speech of any of the others, he knew it strictly as a foreign language. Before the Norman Conquest England had two official tongues
Source: Wikisource

Portrait of Edward Augustus Freeman Edward Augustus Freeman 1911 Encyclopædia Britannica, Volume 19… (1911)

He sets the Normans before us as a race specially marked by cunning, despising their own inheritance in the hope of winning a greater, eager after both gain and dominion, given to imitation of all kinds, holding a certain mean between lavishness and greediness—that is, perhaps uniting, as they certainly did, these two seemingly opposite qualities.
Source: Wikisource

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