Mathew Lyons

What mistake did Narcissus make when he looked into the water? To fall in love with his own ravishing self, we might think. But to the medieval mind, that wasn’t his problem at all. In John Gower’s 14th-century poem ‘Confessio Amantis’, Narcissus falls in love all right – but with someone else entirely. His fault isn’t that he loves himself; it’s that he doesn’t even recognise himself. Then, as now, as Peter Jones argues in this revelatory exploration of late medieval psychology, the path to self-betterment went through self-knowledge. Like our own, it was ‘a civilisation geared towards understanding the human mind’.

On the evening of 6 May 1527, Henry VIII entertained an embassy from France at a lavish party in Greenwich. The festivities took place in a banqueting house and a theatre, both built for the occasion. At the feast’s end, Henry led his guests out through a great archway. After a moment, he invited the French to turn around and look at a painting which hung behind them. It was a vast panorama of the 1513 siege of Thérouanne – ‘very connyngly wrought’, a chronicler reported. As Henry knew, the siege was a sour memory for his guests. Henry himself, in league with Maximilian I, the Holy Roman Emperor, had routed them there. So great had been their humiliation that it was known as the Battle of the Spurs, after the spectacle of the French cavalry fleeing the field.

In the early 1370s, Louis I of Anjou, the second son of the French king, commissioned a vast series of tapestries, now on display at the Château d’Angers, representing the Book of Revelation. In the middle of the narrative is a group of men on horseback wearing distinctively English armour; one wears pheasant feathers in his helmet – another mark of English soldiery. As for the Apocalpyse itself, its horsemen were led by Edward III. Edward’s 50-year reign dominated 14th-century England. But, as we see in Sceptred Isle, Helen Carr’s gripping narrative account of the period, Edward himself was dominated by the dream of taking the French crown. It led him to launch two great invasions, one in 1346 and the other in 1359.

At around 9 p.m. on 5 March 1953 Sergei Prokofiev died of a brain haemorrhage on the sofa of his Moscow flat. He was 61, and had struggled for years with ill health. He had long complained of pain in his soul. Less than an hour later, the source of that pain, Joseph Stalin, died of a heart attack in his dacha on the outskirts of Moscow. Prokofiev’s death wasn’t so much forgotten as ignored. The leading music magazine Sovetskaya muzyka devoted the first 115 pages of its new issue to Stalin; only then did it mention Prokofiev. A million people thronged the streets to see Stalin lie in state; only 15 attended Prokofiev’s funeral. A string quartet played beside Stalin’s bier. Its violinist, Veronika Rostropovich, cried inconsolably. ‘Leave me in peace,’ she told her colleagues.

In 1693, quarrymen working near Caerleon, outside Newport in Wales, uncovered an alabaster sculpture of a figure they did not recognise. The man wore a suit of armour, which had once been covered in gold leaf. In one hand he held a sword, in the other a pair of scales. The scales themselves held a girl’s face and a globe of the Earth. The sculpture was donated to the Ashmolean, but experts there were baffled by it. Could it represent the goddess Astrea, one of them wondered. In fact, it represented the Archangel Michael, one of the most significant figures in the medieval church. Among other things, it will be Michael who wields the scales on Judgment Day.

It happened by accident. In 1829 the naturalist Nathaniel Bagshaw Ward was trying to hatch a moth pupa. He placed it in a sealed glass container, along with some soil and dried leaves, and set it aside. Sometime later he was surprised to find that a fern and some grass had taken root in the soil, despite having no water. As Sathnam Sanghera writes in Empireworld, the discovery ‘revolutionised the logistics of international plant transportation’. Suddenly there was a means of securely transporting seeds and seedlings across vast distances. Empireworld is a sequel to Sanghera’s wildly successful Empireland. Where the latter examined the legacies of empire in Britain, this book seeks to apply that template to the world.

The British Empire, the East African Chronicle wrote in 1921, was a ‘wonderful conglomeration of races and creeds and nations’. It offered ‘the only solution to the great problem of mankind – the problem of brotherhood. If the British Empire fails, then all else fails.’ Stirring words – and not those of some sentimental Colonel Blimp back in London. They were written by the newspaper’s editor, Manilal A. Desai, a young Nairobi-based lawyer and a prominent figure in the large Indian community in Kenya. But, as Matthew Parker observes in One Fine Day, an ambitious account of the empire at the moment of its territorial zenith on 29 September 1923, Desai’s encomium came with a caveat: Either the British Empire must admit the equality of its different people...

In November 1935, Virginia Woolf saw a production of Romeo and Juliet. She was not overly impressed. ‘Acting it,’ she wrote, ‘they spoil the poetry.’ Harsh words, you might think, for a cast that included John Gielgud, Laurence Olivier, Peggy Ashcroft, Edith Evans and Alec Guinness. But Shakespeare on the stage was something of a bête noire for the Bloomsbury group. ‘We, of course, only read Shakespeare,’ Clive Bell later said. The Shakespeare that mattered was the one on the page. Shakespeare on stage was a bête noire for the Bloomsberries. ‘We, of course, only read Shakespeare,’ said Clive Bell Who was that ‘we’, though?

‘“Deep breath”, says the doctor. I take one and hold it.’ Thus begins the fourth chapter of Ann Wroe’s Lifescapes. It is apt because, although the book is part memoir, part essay on the art of biography, it is really about the breath of life itself. Wroe’s writing is intense and visionary, at times almost ecstatic. Reader, dive in. Wroe has written weekly obituaries for the Economist for 20 years, seeking out seemingly ephemeral moments that unlock people’s lives. ‘Time and again,’ she says, ‘some incident in childhood is the key to a career.’ The composer Karlheinz Stockhausen was delighted by the sound his toy hammer made on pipes and buckets at his family’s farm.

In the summer of 1992, Gloria Davey came upon a ruined church near Swaffham in Norfolk. It had no roof, no windows and no door. Satanists were using it for their rites; a grave had been opened, giving up its bones. Gloria’s husband Bob felt obliged to act. He disrupted their rituals, and when they threatened to kill him, he called in the local Territorial Army. They didn’t bother him again. Bob Davey was 73 when Gloria found the late 11th-century church of St Mary, in Houghton on the Hill; he died, aged 91, having visited it every day thereafter. He and a small group of friends built a mile-long access road and made the church watertight – made it good again, you might say. Then a kind of miracle happened.

Halfway up the high street in Totnes, a small town on the river Dart in Devon, a modest stone is set into the edge of the road. It claims to mark the point at which Brutus, legendary founder of Britain, first set foot on this island. The grandson of the equally legendary Trojan hero Aeneas, Brutus was said to have been born in Rome; but, exiled from his birthplace, he travelled western Europe before finally settling here. Most of us carry with us a little Neanderthal DNA. We are all mongrels of a sort That the legend of Brutus was a ninth-century fantasy concocted by a Welsh monk named Nennius need not concern us.