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Military Orders: In Praise of the New Knighthood (Liber ad milites Templi: De laude novae militae) St. Bernard of Clairvaux trans. Conrad Greenia The following passage is taken from a treatise written in the early 12th century by the Cistercian abbot Bernard of Clairvaux, on behalf of the fledgling Knights Templar. It might be viewed as a combination of exhortation to the Knights, and advertisement to the population in general. Officially it is an answer to a letter written to Bernard by his friend Hugh de Payens, one of the founders of the Templars.

The Conqueror and His Sons For the next four lectures, I will diverge from my usual chronological plan. I will be talking about the policies of William and the two sons who followed him as king of England in a topical manner. The first of these lectures concerns the relations that obtained between England and Normandy under these Norman kings.

Women's involvement with medieval music took a variety of forms; they served at times as audience, as participant, as sponsor, and as creator. The evidence for their roles, like that for their male contemporaries, is sporadic at best. Many musical sources have been lost, and those sources that do survive only occasionally provide composer attributions. Information on specific performances is virtually non-existent, and the references to musical performances gleaned from literary allusions must be read critically. Similarly, an art-work portraying a women musician may be representational or symbolic--or both. Yet despite these handicaps, modern scholarship reveals many ways in which medieval women were engaged with--and enriched by--the music that flourished around them.

The Templars, Hospitallers and other military orders in the eyes of their contemporaries, 1128-1291.