Seeing Europe with Famous Authors Volume I Part 6

We went around the edifice, and, pa.s.sing into the close, penetrated through an arched pa.s.sage into the crypt, which, methought, was in a better style of architecture than the nave and choir.... Thence we went into the cloisters, which are entire, but not particularly interesting.

Indeed, this cathedral has not taken hold of my affections, except in one aspect, when it was exceedingly grand and beautiful.

ELY [Footnote: From "Old England: Its Scenery, Art, and People." Published by Houghton, Mifflin Co.]

BY JAMES M. HOPPIN

I was attracted around by the way of Ely, to see the cathedral there, instead of taking the Huntingdon route more directly to Cambridge. This was quite a loss, for Oliver Cromwell was born in Huntingdon. Hinchinbroke House, the property of his family, now belongs to the Earl of Sandwich.

But Ely Cathedral was not to be lost. It is frozen history as well as "frozen music." I value these old structures because such wealth of English history is embodied in them; their human interest, after all, is greater than their artistic. Ely is said to be derived from "willow," or a kind of willow or ozier island, upon which the abbey and town were built in the midst of marshes. Among these impenetrable marshes Hereward the Saxon retreated; and here, too, we have that bit of genuine antique poetry which from its simplicity must have described a true scene; and we catch a glimpse of that pleasing and soothing picture, amid those rude and b.l.o.o.d.y days, of King Canute and his knights resting for a moment upon their toiling oars to hear the vesper song of the monks.

The foundation of the cathedral was laid in 1083, and it was finished in 1534. In printed lists of its bishops, as in those of other English cathedral churches, I have noticed that they are given in their chronological succession, right on, the bishops of the Reformed Church being linked upon the Roman Catholic bishops. The bishopric of Ely was partially carved out of the bishopric of Lincoln, and comprizes Cambridge in its jurisdiction. It has, therefore, had all the riches, influence, taste, and learning of the University to bear upon the restoration of its n.o.ble old cathedral; and of all the old churches of England this one exhibits indications of the greatest modern care and thought bestowed upon it. It glows with new stained-gla.s.s windows, splendid marbles, exquisite sculptures, and bronze work. Its western tower, 266 feet in height, turreted spires, central octagon tower, flying b.u.t.tresses, unequaled length of 517 feet, and its vast, irregular bulk soaring above the insignificant little town at its foot, make it a most commanding object seen from the flat plain.

What is called the octagon, which has taken the place of the central tower that had fallen, is quite an original feature of the church. Eight arches, rising from eight ponderous piers, form a windowed tower, or lantern, which lets in a flood of light upon the otherwise gloomy interior. Above the keystone of each arch is the carved figure of a saint. The new bra.s.ses of the choir are wonderfully elaborate. The bronze scroll and vine work of the gates and lamps, for grace and Oriental luxuriance of fancy, for their arabesque and flower designs, might fitly have belonged to King Solomon's Temple of old. The modern woodwork of the choir compares also well with the ancient woodwork carving. Gold stars on azure ground, and all vivid coloring and gilding, are freely used. The new "reredos," or altar screen, is one marvelous crystallization of sculptures. The ancient Purbeck marble pillars have been sc.r.a.ped and re-polished, and form a fine contrast to the white marbles on which they are set. If, indeed, one wishes to see what modern enthusiasm, art, and lavish wealth can do for the restoration and adorning of one of these old temples, he must go to Ely Cathedral.

SALISBURY [Footnote: From "English Note Books." By arrangement with, and by permission of, the publishers of Hawthorne's works, Houghton, Mifflin Co. Copyright, 1870 and 1898.]

BY NATHANIEL HAWTHORNE

I do not remember any cathedral with so fine a site as this, rising up out of the center of a beautiful green, extensive enough to show its full proportions, relieved and insulated from all other patchwork and impertinence of rusty edifices. It is of gray stone, and looks as perfect as when just finished, and with the perfection, too, that could not have come in less than six centuries of venerableness, with a view to which these edifices seem to have been built. A new cathedral would lack the last touch to its beauty and grandeur. It needs to be mellowed and ripened, like some pictures; altho I suppose this awfulness of antiquity was supplied, in the minds of the generation that built cathedrals, by the sanct.i.ty which they attributed to them.

Salisbury Cathedral is far more beautiful than that of York, the exterior of which was really disagreeable to my eye; but this mighty spire and these mult.i.tudinous gray pinnacles and towers ascend toward heaven with a kind of natural beauty, not as if man had contrived them. They might be fancied to have grown up, just as the spires of a tuft of gra.s.s do, at the same time that they have a law of propriety and regularity among themselves. The tall spire is of such admirable proportion that it does not seem gigantic; and, indeed, the effect of the whole edifice is of beauty rather than weight and ma.s.siveness. Perhaps the bright, balmy sunshine in which we saw it contributed to give it a tender glory, and to soften a little its majesty.

When we went in, we heard the organ, the forenoon service being near conclusion. If I had never seen the interior of York Cathedral, I should have been quite satisfied, no doubt, with the s.p.a.ciousness of this nave and these side aisles, and the height of their arches, and the girth of these pillars; but with that recollection in my mind they fell a little short of grandeur. The interior is seen to disadvantage, and in a way the builder never meant it to be seen; because there is little or no painted gla.s.s, nor any such mystery as it makes, but only a colorless, common daylight, revealing everything without remorse. There is a general light hue, moreover, like that of whitewash, over the whole of the roof and walls of the interior, pillar, monuments, and all; whereas, originally, every pillar was polished, and the ceiling was ornamented in brilliant colors, and the light came, many-hued, through the windows, on all this elaborate beauty, in lieu of which there is nothing now but s.p.a.ce.

Between the pillars that separate the nave from the side aisles there are ancient tombs, most of which have rec.u.mbent statues on them. One of these is Longsword, Earl of Salisbury, son of Fair Rosamond, in chain mail; and there are many other warriors and bishops, and one cross-legged Crusader, and on one tombstone a rec.u.mbent skeleton, which I have likewise seen in two or three other cathedrals. The pavement of the aisles and nave is laid in great part with flat tombstones, the inscriptions on which are half obliterated, and on the walls, especially in the transepts, there are tablets, among which I saw one to the poet Bowles, who was a canon of the cathedral....

Between the nave and the choir, as usual, there is a screen that half destroys the majesty of the building, by abridging the spectator of the long vista which he might otherwise have of the whole interior at a glance. We peeped through the barrier, and saw some elaborate monuments in the chancel beyond; but the doors of the screen are kept locked, so that the vergers may raise a revenue by showing strangers through the richest part of the cathedral. By and by one of these vergers came through the screen with a gentleman and lady whom he was taking around, and we joined ourselves to the party. He showed us into the cloisters, which had long been neglected and ruinous, until the time of Bishop Dennison, the last prelate, who has been but a few years dead. This bishop has repaired and restored the cloisters in faithful adherence to the original plan; and they now form a most delightful walk about a pleasant and verdant enclosure, in the center of which sleeps good Bishop Dennison, with a wife on either side of him, all three beneath broad flat stones.

Most cloisters are darksome and grim; but these have a broad paved walk beneath the vista of arches, and are light, airy, and cheerful; and from one corner you can get the best possible view of the whole height and beautiful proportion of the cathedral spire. On one side of this cloistered walk seems to be the length of the nave of the cathedral. There is a square of four such sides; and of places for meditation, grave, yet not too somber, it seemed to me one of the best. While we stayed there, a jackdaw was walking to and fro across the gra.s.sy enclosure, and haunting around the good bishop's grave. He was clad in black, and looked like a feathered ecclesiastic; but I know not whether it were Bishop Dennison's ghost or that of some old monk.

On one side of the cloisters, and contiguous to the main body of the cathedral, stands the chapterhouse. Bishop Dennison had it much at heart to repair this part of the holy edifice; and, if I mistake not, did begin the work; for it had been long ruinous, and in Cromwell's time his dragoons stationed their horses there. Little progress, however, had been made in the repairs when the bishop died; and it was decided to restore the building in his honor, and by way of monument to him. The repairs are now nearly completed; and the interior of this chapter-house gave me the first idea, anywise adequate, of the splendor of these Gothic church edifices. The roof is sustained by one great central pillar of polished marble--small pillars cl.u.s.tered about a great central column, which rises to the ceiling, and there gushes out with various beauty, that overflows all the walls; as if the fluid idea had sprung out of that fountain, and grown solid in what we see. The pavement is elaborately ornamented; the ceiling is to be brilliantly gilded and painted, as it was of yore, and the tracery and sculptures around the walls are to be faithfully renewed from what remains of the original patterns.

EXETER [Footnote: From "Cathedral Days." By arrangement with, and by permission of, the publishers, Little, Brown & Co. Copyright, 1887.]

BY ANNA BOWMAN DODD

A very obvious part of the charm of Exeter Cathedral lies in the fact that it has to be sought for. It is so well and dexterously concealed from view, as one pa.s.ses along High Street, that one might be some days in town without so much as suspecting that one of the finest cathedrals in England was a near neighbor. It was almost by chance, I remember, that as we turned into a long, quaint alley-way, filled up with little, low shops, we caught a glimpse of a green plot of gra.s.s and some trees in the distance.

Our guiding instinct divined these to be the cathedral close....

To a.n.a.lyze the beauties of Exeter is only to add another note to one's joy in them, their quality and rarity being of such an order as to warrant one's cooler admiration. The front is as unique in design as it is architecturally beautiful. There is that rarest of features in English cathedrals--an elaborately sculptured screen, thoroughly honest in construction. In originality of conception this front is perhaps unrivalled, at least on English soil; there are three receding stories, so admirably proportioned as to produce a beautiful effect in perspective.

The glory of the great west window is further enhanced by the graduated arcades which have the appearance of receding behind it. Above the west window rises a second and smaller triangular window in the gabled roof.

Thus the triangular motif is sustained throughout, from the three low doorways in the screen up to the far-distant roof. This complete and harmonious front is n.o.bly enriched by the splendid note of contrast in the two transeptal Norman towers, whose ma.s.sive structural elegance and elaborateness of detail lend an extraordinary breadth and solidity to the edifice.

The grandeur which distinguishes the exterior is only a fitting preparation for the solemnity and splendor of the interior. Pa.s.sing beneath the thickly ma.s.sed sculptures of the low portals, the effect of the vastness of the nave is striking in its immensity. Curiously enough, in this instance, this effect of immensity is not due to an unbroken stretch of nave-aisles or to a lengthy procession of pier-arches, but to the magnificent sweep of the unenc.u.mbered vaulting in the roof. An organ screen intercepts the line of vision at the entrance to the choir. This, however, is the sole obstruction which the eye encounters. Above, the great roof, with its unbroken 300 feet of interlacing lines, rises like some mighty forest, its airy loftiness giving to the entire interior a certain open-air atmosphere of breadth and vastness....

What most deeply concerned us was the desire to secure an uninterrupted session of contemplative enjoyment. We had lost our hearts to the beauty of the cathedral, and cared little or nothing for a clever dissecting of its parts. We came again and again; and it was the glory of the cathedral as a whole--its expressive, n.o.ble character, its breadth and grandeur, the poetry of its dusky aisles, and the play of the rich shadows about its ma.s.sive columns--that charmed and enchained us. It was one of the few English cathedrals, we said to each other, that possess the Old-World continental charm, the charm of perpetual entertainment, and whose beauty has just the right quality of richness and completeness to evoke an intense and personal sympathy; for in all the greatest triumphs of art there is something supremely human.

LICHFIELD [Footnote: From "Our Old Home." Published by Houghton, Mifflin Co.]

BY NATHANIEL HAWTHORNE

I know not what rank the Cathedral of Lichfield holds among its sister edifices in England, as a piece of magnificent architecture. Except that of Chester (the grim and simple nave of which stands yet unrivaled in my memory), and one or two small ones in North Wales, hardly worthy of the name of cathedrals, it was the first that I had seen. To my uninstructed vision, it seemed the object best worth gazing at in the whole world; and now, after beholding a great many more, I remember it with less prodigal admiration only because others are as magnificent as itself. The traces remaining in my memory represent it as airy rather than ma.s.sive. A mult.i.tude of beautiful shapes appeared to be comprehended within its single outline; it was a kind of kaleidoscopic mystery, so rich a variety of aspects did it a.s.sume from each altered point of view, through the presentation of a different face, and the rearrangement of its peaks and pinnacles and the three battlemented towers, with the spires that shot heavenward from all three, but one loftier than its fellows.

Thus it imprest you, at every change, as a newly created structure of the pa.s.sing moment, in which yet you lovingly recognized the half-vanished structure of the instant before, and felt, moreover, a joyful faith in the indestructible existence of all this cloudlike vicissitude. A Gothic cathedral is surely the most wonderful work which mortal man has yet achieved, so vast, so intricate, and so profoundly simple, with such strange, delightful recesses in its grand figure, so difficult to comprehend within one idea, and yet all so consonant that it ultimately draws the beholder and his universe into its harmony. It is the only thing in the world that is vast enough and rich enough.

Inside of the minster there is a long and lofty nave, transepts of the same height, and side-aisles and chapels, dim nooks of holiness, where in Catholic times the lamps were continually burning before the richly decorated shrines of saints. In the audacity of my ignorance, as I humbly acknowledge it to have been, I criticized this great interior as too much broken into compartments, and shorn of half its rightful impressiveness by the interposition of a screen betwixt the nave and chancel. It did not spread itself in breadth, but ascended to the roof in lofty narrowness.

A great deal of white marble decorates the old stonework of the aisles, in the shape of altars, obelisks, sarcophagi, and busts. Most of these memorials are commemorative of people locally distinguished, especially the deans and canons of the cathedral, with their relatives and families; and I found but two monuments of personages whom I had ever heard of--one being Gilbert Walmesley, and the other Lady Mary Wortley Montagu, a literary acquaintance of my boyhood. It was really pleasant to meet her there; for after a friend has lain in the grave far into the second century, she would be unreasonable to require any melancholy emotions in a chance interview at her tombstone. It adds a rich charm to sacred edifices, this time-honored custom of burial in churches, after a few years, at least, when the mortal remains have turned to dust beneath the pavement, and the quaint devices and inscriptions still speak to you above....

A large s.p.a.ce in the immediate neighborhood of the cathedral is called the Close, and comprises beautifully kept lawns and a shadowy walk, bordered by the dwellings of the ecclesiastical dignitaries of the diocese. All this row of episcopal, canonical, and clerical residences has an air of the deepest quiet, repose, and well-protected, tho not inaccessible seclusion. They seemed capable of including everything that a saint could desire, and a great many more things than most of us sinners generally succeed in acquiring. Their most marked feature is a dignified comfort, looking as if no disturbance or vulgar intrusiveness could ever cross their thresholds, encroach upon their ornamented lawns, or straggle into the beautiful gardens that surround them with flower-beds and rich clumps of shrubbery. The episcopal palace is a stately mansion of stone, built somewhat in the Italian style, and bearing on its front the figures of 1687, as the date of its erection. A large edifice of brick, which, if I remember, stood next to the palace, I took to be the residence of the second dignitary of the cathedral; and in that case it must have been the youthful home of Addison, whose father was Dean of Lichfield. I tried to fancy his figure on the delightful walk that extends in front of those priestly abodes, from which and the interior lawns it is separated by an open-work iron fence, lined with rich old shrubbery, and overarched by a minster-aisle of venerable trees.

WINCHESTER [Footnote: From "Visits to Remarkable Places."]

BY WILLIAM HOWITT

On entering the cathedral enclosure on its north side from High Street, you are at once struck with the venerable majesty and antique beauty of the fine old pile before you, and with the sacred quietude of the enclosure itself. In the heart of this tranquil city it has yet a deeper tranquillity of its own. Its numerous tombs and headstones, scattered over its greensward, and its lofty avenues of limetrees, seem to give you a peaceful welcome to the Christian fame and resting-place of so many generations. If you enter at the central pa.s.sage, you tread at once on the eastern foundations of the Conqueror's palace, and pa.s.s close to the spot on which formerly rose the western towers of Alfred's Newan Mynstre, and where lay his remains, after having been removed from the old mynstre, till Hyde Abbey was built.

It is impossible to walk over this ground, now so peaceful, without calling to mind what scenes of havoc and blood, of triumph and ecclesiastical pomp, it has witnessed--the butchery of the persecution of Diocletian, when the Christians fell here by thousands; the repeated ma.s.sacres and conflagrations of the Danes; the crowning of Saxon and of English kings; the proud processions of kings and queens, n.o.bles, mitered prelates, friars, and monks, to offer thanksgivings for victory, or penance for sins, from age to age; and, finally, the stern visitation of the Reformers and the Cromwellian troopers.

The venerable minster itself bears on its aspect the testimonies of its own antiquity. The short and ma.s.sy tower in the center, the work of Bishop Walkelin, the cousin of the Conqueror, has the very look of that distant age, and, to eyes accustomed to the lofty and rich towers of some of our cathedrals, has an air of meanness. Many people tell you that it never was finished; but besides that there is no more reason that the tower should remain unfinished through so many centuries than any other part of the building, we know that it was the character of the time, of which the tower of the Norman church of St. Cross affords another instance just at hand. In fact, the spire was then unknown.

Having arrived at the west front, we can not avoid pausing to survey the beauty of its workmanship--that of the great William of Wykeham; its great central doorway, with its two smaller side-doors; the fretted gallery over it, where the bishop in his pontificals was wont to stand and bless the people, or absolve them from the censures of the church; its n.o.ble window, rich with perpendicular tracery; its two slender lantern turrets; its crowning tabernacle, with its statue of the builder; and its pinnacled side aisles.

I must confess that of all the cathedrals which I have entered, none gave me such a sensation of surprize and pleasure. The loftiness, the s.p.a.ce, the vast length of the whole unbroken roof above, I believe not exceeded by any other in England; the two rows of lofty cl.u.s.tered pillars; the branching aisles, with their again branching and crossing tracery; the long line of the vaulted roof, embossed with armorial escutcheons and religious devices of gorgeous coloring; the richly painted windows; and, below, the carved chantries and mural monuments, seen amid the tempered light; and the sober yet delicate hue of the Portland stone, with which the whole n.o.ble fabric is lined, produce a tout ensemble of sublime loveliness which is not easily to be rivaled....

But we have made the circuit of the church without beholding the choir, and we must not quit its precincts without entering there. Ascending the flight of steps which lead to it, we front that elegant screen with which modern good taste has replaced the screen of Inigo Jones, who, blind to all the beauty of the Gothic architecture, not only placed here a Grecian screen, but also affixt a Grecian bishop's throne to the beautiful Gothic canopy-work of the choir. In the niches of this screen are two bronze statues of James I and Charles I.

We are now on the spot of the ancient rood-loft, where formerly stood the great rood, or crucifix, with the attendant figures of the Virgin and St.

John, of vast size and value, being of silver, which were bequeathed to the minster by the notorious Archbishop Stigand, before the Conquest. As we enter the choir through the door in the screen, we are struck with the great beauty of the place. Around us rises the rich dark woodwork of the stalls, contrasting well with the pale delicacy of the walls above.

Overhead is seen to swell the fine vault of the roof, with its rich tracery, and its central line, and orbs at the junction of its timbers, embossed with bold armorial shields of the houses of Tudor, Lancaster, and Castile, as united in John of Gaunt and Beaufort, with those of various episcopal sees, and stretching on to the splendid east window in that direction, emblazoned with "the several implements of our Savior's Pa.s.sion--the cross, crown of thorns, nails, hammer, pillar, scourges, reed, sponge, lance, sword, with the ear of Malchus upon it, lantern, ladder, c.o.c.k, and dice; also the faces of Pilate and his wife, of the Jewish high priest, with a great many others, too numerous to be described, but worthy of notice for the ingenuity of design," and the richness of their tints. They are, indeed, emblazoned in the most gorgeous colors--scarlet, blue and gold; and, to a fanciful eye, may resemble, many of them, huge sacred beetles of lordly shapes and hues.

On each side rise up, into the very roof, the tall pointed windows glowing with figures of saints, prophets, and apostles, who seem to be ranged on either hand, in audience of the divine persons in the great east window--the Savior and the Virgin, with apostles and other saints. But what is the most striking to the eye and mind of the spectator is to behold, on the floor of the sanctuary before him, a plain beveled stone of dark marble--the tomb of William Rufus; and arranged on the top of the beautiful stone part.i.tions on each side of the sanctuary, dividing it from the aisles, are six mortuary chests, three on a side, containing the bones of many of the most eminent Saxon princes. The bones which, from the repeated rebuildings and alterings of the cathedral, must have been in danger of being disturbed, and the places of their burial rendered obscure, or lost altogether, Bishop de Blois, in the twelfth century, collected and placed in coffins of lead over the Holy Hole. At the rebuilding of the choir, as it was necessary again to remove them, Bishop Fox had them deposited in these chests, and placed in this situation. The chests are carved, gilt, and surmounted with crowns, with the names and epitaphs, in Latin verse and black letter, inscribed upon them.