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;(31) 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,"(32) 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.(33) Small cities, even small parishes,(34) 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.(35)

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.(36) The chiselling of precious metals, the art of casting, the fine forging of iron, were creations of the mediaeval “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).