It is a huge historical error to suppose that the Crusades concerned only that crust of society for which heraldry was an art and chivalry an etiquette. The direct contrary is the fact. The First Crusade especially was much more an unanimous popular rising than most that are called riots and revolutions. The Guilds, the great democratic systems of the time, often owed their increasing power to corporate fighting for the Cross; but I shall deal with such things later. Often it was not so much a levy of men as a trek of whole families, like new gipsies moving eastwards. And it has passed into a proverb that children by themselves often organized a crusade as they now organize a charade.
But we shall best realize the fact by fancying every Crusade as a Children’s Crusade. They were full of all that the modern world worships in children, because it has crushed it out of men. Their lives were full, as the rudest remains of their vulgarest arts are full, of something that we all saw out of the nursery window. It can best be seen later, for instance, in the lanced and latticed interiors of Memling, but it is ubiquitous in the older and more unconscious contemporary art; something that domesticated distant lands and made the horizon at home. They fitted into the corners of small houses the ends of the earth and the edges of the sky. Their perspective is rude and crazy, but it is perspective; it is not the decorative flatness of orientalism. In a word, their world, like a child’s, is full of foreshortening, as of a short cut to fairyland. Their maps are more provocative than pictures. Their half-fabulous animals are monsters, and yet are pets. It is impossible to state verbally this very vivid atmosphere; but it was an atmosphere as well as an adventure.
— A Short History of England (1917).