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Heraldry and red hats: Linguistic skepticism and Chesterton's revision of ruskinian medievalism

In her foundational study of Medievalism, A Dream of Order, Alice Chandler asserts that her subject, for all serious purposes, died with the nineteenth century. She briefly acknowledges that in some twentiethcentury Catholic circles Medievalism retained a certain currency, but views this phenomenon more as an eccentric tangent than as any real exception to her rule. To Chandler, John Ruskin is the height of Medievalism, and the movement tapers off as his heirs grasp only the periphery of his thought, abandoning its central impetus. Ruskin, she claims, possessed a grand vision of an elaborately and perfectly ordered universe, ordered from God down to the Gothic, but his heirs took hold only of his aesthetics and a rather mis-perceived notion of his class politics. However, nowhere does Chandler discuss the Ruskinian Catholic G.K. Chesterton, a highly popular and influential early twentieth-century author, and an enthusiastic medievalist. The other major crafters of the master narrative of Medievalism (Mark Girouard, Lee Patterson, etc.) also ignore Chesterton, causing the only scholarship on his responses to medieval themes to take the form of a defensive soliloquy by the Chesterton Review. Writing Chesterton out of the history of popular Medievalism creates a contained narrative that asserts or implies that no "dream of order" could survive World War I and the intellectual complexities of the twentieth century. Chandler ends her look at Ruskin with Henry Adams desperately attempting to work through Ruskin's reasoning, and finding that the task ends only in "the impossibility of such coherence." But Chesterton would accept neither Adams's conclusion nor Chandler's sense of historical inevitability. Chesterton's Medievalism is a vision of metaphysical order both highly influenced by Ruskin's sense of coherence and deeply aware of the problematic nature of meaning.