Part 13 (1/2)

Therefore their architecture, like their creed, was Roman. They took the ma.s.sive towering Roman forms, which expressed domination; and piled them one on the other, to express the domination of Christian Rome over the souls, as they had represented the domination of heathen Rome over the bodies, of men. And so side by side with the towers of the Norman keep rose the towers of the Norman cathedral--the two signs of a double servitude.

But, with the thirteenth century, there dawned an age in Northern Europe, which I may boldly call an heroic age; heroic in its virtues and in its crimes; an age of rich pa.s.sionate youth, or rather of early manhood; full of aspirations, of chivalry, of self-sacrifice as strange and terrible as it was beautiful and n.o.ble, even when most misguided. The Teutonic nations of Europe--our own forefathers most of all--having absorbed all that heathen Rome could teach them, at least for the time being, began to think for themselves; to have poets, philosophers, historians, architects, of their own. The thirteenth century was especially an age of aspiration; and its architects expressed, in buildings quite unlike those of the preceding centuries, the aspirations of the time.

The Pointed Arch had been introduced half a century before. It may be that the Crusaders saw it in the East and brought it home. It may be that it originated from the quadripart.i.te vaulting of the Normans, the segmental groins of which, crossing diagonally, produced to appearance the pointed arch. It may be that it was derived from that mystical figure of a pointed oval form, the vesica piscis. It may be, lastly, that it was suggested simply by the intersection of semicircular arches, so frequently found in ornamental arcades. The last cause may perhaps be the true one: but it matters little whence the pointed arch came. It matters much what it meant to those who introduced it. And at the beginning of the Transition or semi-Norman period, it seems to have meant nothing. It was not till the thirteenth century that it had gradually received, as it were, a soul, and had become the exponent of a great idea. As the Norman architecture and its forms had signified domination, so the Early English, as we call it, signified aspiration; an idea which was perfected, as far as it could be, in what we call the Decorated style.

There is an evident gap, I had almost said a gulf, between the architectural mind of the eleventh and that of the thirteenth century. A vertical tendency, a longing after lightness and freedom, appears; and with them a longing to reproduce the graces of nature and art. And here I ask you to look for yourselves at the buildings of this new era--there is a beautiful specimen in yonder arcade {304}--and judge for yourselves whether they, and even more than they the Decorated style into which they developed, do not remind you of the forest shapes?

And if they remind you: must they not have reminded those who shaped them? Can it have been otherwise? We know that the men who built were earnest. The carefulness, the reverence, of their work have given a subject for some of Mr. Ruskin's n.o.blest chapters, a text for some of his n.o.blest sermons. We know that they were students of vegetable form. That is proved by the flowers, the leaves, even the birds, with which they enwreathed their capitals and enriched their mouldings. Look up there, and see.

You cannot look at any good church-work from the thirteenth to the middle of the fifteenth century, without seeing that leaves and flowers were perpetually in the workman's mind. Do you fancy that stems and boughs were never in his mind? He kept, doubtless, in remembrance the fundamental idea, that the Christian church should symbolise a grot or cave. He could do no less; while he again and again saw hermits around him dwelling and wors.h.i.+pping in caves, as they had done ages before in Egypt and Syria; while he fixed, again and again, the site of his convent and his minster in some secluded valley guarded by cliffs and rocks, like Vale Crucis in North Wales. But his minster stood often not among rocks only, but amid trees; in some clearing in the primeval forest, as Vale Crucis was then. At least he could not pa.s.s from minster to minster, from town to town, without journeying through long miles of forest. Do you think that the awful shapes and shadows of that forest never haunted his imagination as he built? He would have cut down ruthlessly, as his predecessors the early missionaries did, the sacred trees amid which Thor and Odin had been wors.h.i.+pped by the heathen Saxons; amid which still darker deities were still wors.h.i.+pped by the heathen tribes of Eastern Europe. But he was the descendant of men who had wors.h.i.+pped in those groves; and the glamour of them was upon him still. He peopled the wild forest with demons and fairies: but that did not surely prevent his feeling its enn.o.bling grandeur, its chastening loneliness. His ancestors had held the oaks for trees of G.o.d, even as the Jews held the Cedar, and the Hindoos likewise; for the Deodara pine is not only, botanists tell us, the same as the Cedar of Lebanon: but its very name--the Deodara--signifies nought else but ”The tree of G.o.d.”

His ancestors, I say, had held the oaks for trees of G.o.d. It may be that as the monk sat beneath their shade with his Bible on his knee, like good St. Boniface in the Fulda forest, he found that his ancestors were right.

To understand what sort of trees they were from which he got his inspiration: you must look, not at an average English wood, perpetually thinned out as the trees arrive at middle age. Still less must you look at the pines, oaks, beeches, of an English park, where each tree has had s.p.a.ce to develop itself freely into a more or less rounded form. You must not even look at the tropic forests. For there, from the immense diversity of forms, twenty varieties of tree will grow beneath each other, forming a close-packed heap of boughs and leaves, from the ground to a hundred feet and more aloft.

You should look at the North American forests of social trees--especially of pines and firs, where trees of one species, crowded together, and competing with equal advantages for the air and light, form themselves into one wilderness of straight smooth shafts, surmounted by a flat sheet of foliage, held up by boughs like the ribs of a groined roof; while underneath the ground is bare as a cathedral floor.

You all know, surely, the Hemlock spruce of America; which, while growing by itself in open ground, is the most wilful and fantastic, as well as the most graceful, of all the firs; imitating the shape, not of its kindred, but of an enormous tuft of fern.

Yet if you look at the same tree, when it has struggled long for life from its youth amid other trees of its own kind and its own age; you find that the lower boughs have died off from want of light, leaving not a scar behind. The upper boughs have reached at once the light, and their natural term of years. They are content to live, and little more. The central trunk no longer sends up each year a fresh perpendicular shoot to aspire above the rest: but as weary of struggling ambition as they are, is content to become more and more their equal as the years pa.s.s by. And this is a law of social forest trees, which you must bear in mind, whenever I speak of the influence of tree-forms on Gothic architecture.

Such forms as these are rare enough in Europe now. I never understood how possible, how common, they must have been in medieval Europe, till I saw in the forest of Fontainebleau a few oaks like the oak of Charlemagne, and the Bouquet du Roi, at whose age I dare not guess, but whose size and shape showed them to have once formed part of a continuous wood, the like whereof remains not in these isles--perhaps not east of the Carpathian Mountains. In them a clear shaft of at least sixty, it may be eighty feet, carries a flat head of boughs, each in itself a tree.

In such a grove, I thought, the heathen Gaul, even the heathen Frank, wors.h.i.+pped, beneath ”trees of G.o.d.” Such trees, I thought, centuries after, inspired the genius of every builder of Gothic aisles and roofs.

Thus, at least, we can explain that rigidity, which Mr. Ruskin tells us, ”is a special element of Gothic architecture. Greek and Egyptian buildings,” he says--and I should have added, Roman buildings also, in proportion to their age, _i.e_., to the amount of the Roman elements in them--”stand for the most part, by their own weight and ma.s.s, one stone pa.s.sively inc.u.mbent on another: but in the Gothic vaults and traceries there is a stiffness a.n.a.logous to that of the bones of a limb, or fibres of a tree; an elastic tension and communication of force from part to part; and also a studious expression of this throughout every part of the building.” In a word, Gothic vaulting and tracery have been studiously made like to boughs of trees. Were those boughs present to the mind of the architect? Or is the coincidence merely fortuitous? You know already how I should answer. The cusped arch, too, was it actually not intended to imitate vegetation? Mr. Ruskin seems to think so. He says that it is merely the special application to the arch of the great ornamental system of foliation, which, ”whether simple as in the cusped arch, or complicated as in tracery, arose out of the love of leaf.a.ge. Not that the form of the arch is intended to imitate a leaf, but to be invested with the same characters of beauty which the designer had discovered in the leaf.” Now I differ from Mr. Ruskin with extreme hesitation. I agree that the cusped arch is not meant to imitate a leaf.

I think with Mr. Ruskin, that it was probably first adopted on account of its superior strength; and that it afterwards took the form of a bough.

But I cannot as yet believe that it was not at last intended to imitate a bough; a bough of a very common form, and one in which ”active rigidity”

is peculiarly shown. I mean a bough which has forked. If the lower fork has died off, for want of light, we obtain something like the simply cusped arch. If it be still living--but short and stunted in comparison with the higher fork--we obtain, it seems to me, something like the foliated cusp; both likenesses being near enough to those of common objects to make it possible that those objects may have suggested them.

And thus, more and more boldly, the mediaeval architect learnt to copy boughs, stems, and, at last, the whole effect, as far always as stone would allow, of a combination of rock and tree, of grot and grove.

So he formed his minsters, as I believe, upon the model of those leafy minsters in which he walked to meditate, amid the aisles which G.o.d, not man, has built. He sent their columns aloft like the boles of ancient trees. He wreathed their capitals, sometimes their very shafts, with flowers and creeping shoots. He threw their arches out, and interwove the groinings of their vaults, like the bough-roof.a.ge overhead. He decked with foliage and fruit the bosses above and the corbels below. He sent up out of those corbels upright shafts along the walls, in the likeness of the trees which sprang out of the rocks above his head. He raised those walls into great cliffs. He pierced them with the arches of the triforium, as with hermits' cells. He represented in the horizontal sills of his windows, and in his horizontal string-courses, the horizontal strata of the rocks. He opened the windows into high and lofty glades, broken, as in the forest, by the tracery of stems and boughs, through which was seen, not merely the outer, but the upper world. For he craved, as all true artists crave, for light and colour; and had the sky above been one perpetual blue, he might have been content with it, and left his gla.s.s transparent. But in that dark dank northern clime, rain and snowstorm, black cloud and grey mist, were all that he was like to see outside for nine months in the year. So he took such light and colour as nature gave in her few gayer moods; and set aloft his stained gla.s.s windows the hues of the noonday and the rainbow, and the sunrise and the sunset, and the purple of the heather, and the gold of the gorse, and the azure of the bugloss, and the crimson of the poppy; and among them, in gorgeous robes, the angels and the saints of heaven, and the memories of heroic virtues and heroic sufferings, that he might lift up his own eyes and heart for ever out of the dark, dank, sad world of the cold north, with all its coa.r.s.enesses and its crimes, toward a realm of perpetual holiness, amid a perpetual summer of beauty and of light; as one who--for he was true to nature, even in that--from between the black jaws of a narrow glen, or from beneath the black shade of gnarled trees, catches a glimpse of far lands gay with gardens and cottages, and purple mountain ranges, and the far off sea, and the hazy horizon melting into the hazy sky; and finds his heart carried out into an infinite at once of freedom and of repose.

And so out of the cliffs and the forests he shaped the inside of his church. And how did he shape the outside? Look for yourselves, and judge. But look: not at Chester, but at Salisbury. Look at those churches which carry not mere towers, but spires, or at least pinnacled towers approaching the pyrmidal form. The outside form of every Gothic cathedral must be considered imperfect if it does not culminate in something pyramidal.

The especial want of all Greek and Roman buildings with which we are acquainted is the absence--save in a few and unimportant cases--of the pyramidal form. The Egyptians knew at least the worth of the obelisk: but the Greeks and Romans hardly knew even that: their buildings are flat- topped. Their builders were contented with the earth as it was. There was a great truth involved in that; which I am the last to deny. But religions which, like the Buddhist or the Christian, nurse a n.o.ble self- discontent, are sure to adopt sooner or later an upward and aspiring form of building. It is not merely that, fancying heaven to be above earth, they point towards heaven. There is a deeper natural language in the pyramidal form of a growing tree. It symbolises growth, or the desire of growth. The Norman tower does nothing of the kind. It does not aspire to grow. Look--I mention an instance with which I am most familiar--at the Norman tower of Bury St. Edmund's. It is graceful--awful, if you will--but there is no aspiration in it. It is stately: but self-content.

Its horizontal courses; circular arches; above all, its flat sky-line, seem to have risen enough: and wish to rise no higher. For it has no touch of that unrest of soul, which is expressed by the spire, and still more by the compound spire, with its pinnacles, crockets, finials, which are finials only in name; for they do not finish, and are really terminal buds, as it were, longing to open and grow upward, even as the crockets are bracts and leaves thrown off as the shoot has grown.

You feel, surely, the truth of these last words. You cannot look at the canopy work or the pinnacle work of this cathedral without seeing that they do not merely suggest buds and leaves, but that the buds and leaves are there carven before your eyes. I myself cannot look at the tabernacle work of our stalls without being reminded of the young pine forests which clothe the Hamps.h.i.+re moors. But if the details are copied from vegetable forms, why not the whole? Is not a spire like a growing tree, a tabernacle like a fir-tree, a compound spire like a group of firs? And if we can see that: do you fancy that the man who planned the spire did not see it as clearly as we do; and perhaps more clearly still?

I am aware, of course, that Norman architecture had sometimes its pinnacle, a mere conical or polygonal capping. I am aware that this form, only more and more slender, lasted on in England during the thirteenth and the early part of the fourteenth century; and on the Continent, under many modifications, one English kind whereof is usually called a ”broach,” of which you have a beautiful specimen in the new church at Hoole.

Now, no one will deny that that broach is beautiful. But it would be difficult to prove that its form was taken from a North European tree.

The cypress was unknown, probably, to our northern architects. The Lombardy poplar--which has wandered hither, I know not when, all the way from Cashmere--had not wandered then, I believe, further than North Italy. The form is rather that of mere stone; of the obelisk, or of the mountain peak; and they, in fact, may have at first suggested the spire.

The grandeur of an isolated mountain, even of a dolmen or single upright stone, is evident to all.

But it is the grandeur, not of aspiration, but of defiance; not of the Christian; not even of the Stoic: but rather of the Epicurean. It says--I cannot rise. I do not care to rise. I will be contentedly and valiantly that which I am; and face circ.u.mstances, though I cannot conquer them.

But it is defiance under defeat. The mountain-peak does not grow, but only decays. Fretted by rains, peeled by frost, splintered by lightning, it must down at last; and crumble into earth, were it as old, as hard, as lofty as the Matterhorn itself. And while it stands, it wants not only aspiration, it wants tenderness; it wants humility; it wants the unrest which tenderness and humility must breed, and which Mr. Ruskin so clearly recognises in the best Gothic art. And, meanwhile, it wants naturalness.