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Our Fathers Have Told Us: Part I. The Bible of Amiens, a non-fiction book by John Ruskin |
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Chapter 4. Interpretations |
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_ CHAPTER IV. INTERPRETATIONS 1. It is the admitted privilege of a custode who loves his cathedral to depreciate, in its comparison, all the other cathedrals of his country that resemble, and all the edifices on the globe that differ from it. But I love too many cathedrals--though I have never had the happiness of becoming the custode of even one--to permit myself the easy and faithful exercise of the privilege in question; and I must vindicate my candour, and my judgment, in the outset, by confessing that the cathedral of AMIENS has nothing to boast of in the way of towers,--that its central fleche is merely the pretty caprice of a village carpenter,--that the total structure is in dignity inferior to Chartres, in sublimity to Beauvais, in decorative splendour to Rheims, and in loveliness of figure-sculpture to Bourges. It has nothing like the artful pointing and moulding of the arcades of Salisbury--nothing of the might of Durham;--no Daedalian inlaying like Florence, no glow of mythic fantasy like Verona. And yet, in all, and more than these, ways, outshone or overpowered, the cathedral of Amiens deserves the name given it by M. Viollet le Duc-- "The Parthenon of Gothic Architecture."[40] 2. Of Gothic, mind you; Gothic clear of Roman tradition, and of Arabian taint; Gothic pure, authoritative, unsurpassable, and unaccusable;--its proper principles of structure being once understood and admitted. [Footnote 40: Of French Architecture, accurately, in the place quoted, "Dictionary of Architecture," vol. i. p. 71; but in the article "Cathedrale," it is called (vol. ii. p. 330) "l'eglise _ogivale_ par excellence."] No well-educated traveller is now without some consciousness of the meaning of what is commonly and rightly called "purity of style," in the modes of art which have been practised by civilized nations; and few are unaware of the distinctive aims and character of Gothic. The purpose of a good Gothic builder was to raise, with the native stone of the place he had to build in, an edifice as high and as spacious as he could, with calculable and visible security, in no protracted and wearisome time, and with no monstrous or oppressive compulsion of human labour. He did not wish to exhaust in the pride of a single city the energies of a generation, or the resources of a kingdom; he built for Amiens with the strength and the exchequer of Amiens; with chalk from the cliffs of the Somme,[41] and under the orders of two successive bishops, one of whom directed the foundations of the edifice, and the other gave thanks in it for its completion. His object, as a designer, in common with all the sacred builders of his time in the North, was to admit as much light into the building as was consistent with the comfort of it; to make its structure intelligibly admirable, but not curious or confusing; and to enrich and enforce the understood structure with ornament sufficient for its beauty, yet yielding to no wanton enthusiasm in expenditure, nor insolent in giddy or selfish ostentation of skill; and finally, to make the external sculpture of its walls and gates at once an alphabet and epitome of the religion, by the knowledge and inspiration of which an acceptable worship might be rendered, within those gates, to the Lord whose Fear was in His Holy Temple, and whose seat was in Heaven. [Footnote 41: It was a universal principle with the French builders of the great ages to use the stones of their quarries as they lay in the bed; if the beds were thick, the stones were used of their full thickness--if thin, of their necessary thinness, adjusting them with beautiful care to directions of thrust and weight. The natural blocks were never sawn, only squared into fitting, the whole native strength and crystallization of the stone being thus kept unflawed--"_ne dedoublant jamais_ une pierre. Cette methode est excellente, elle conserve a la pierre toute sa force naturelle,--tous ses moyens de resistance." See M. Viollet le Duc, Article "Construction" (Materiaux), vol. iv. p. 129. He adds the very notable fact that, _to this day, in seventy departments of France, the use of the stone-saw is unknown_.] 3. It is not easy for the citizen of the modern aggregate of bad building, and ill-living held in check by constables, which we call a town,--of which the widest streets are devoted by consent to the encouragement of vice, and the narrow ones to the concealment of misery,--not easy, I say, for the citizen of any such mean city to understand the feeling of a burgher of the Christian ages to his cathedral. For him, the quite simply and frankly-believed text, "Where two or three are gathered in My name, there am I in the midst of them," was expanded into the wider promise to many honest and industrious persons gathered in His name--"They shall be my people and I will be their God";--deepened in his reading of it, by some lovely local and simply affectionate faith that Christ, as he was a Jew among Jews, and a Galilean among Galileans, was also, in His nearness to any--even the poorest--group of disciples, as one of their nation; and that their own "Beau Christ d'Amiens" was as true a compatriot to them as if He had been born of a Picard maiden. 4. It is to be remembered, however--and this is a theological point on which depended much of the structural development of the northern basilicas--that the part of the building in which the Divine presence was believed to be constant, as in the Jewish Holy of Holies, was only the enclosed choir; in front of which the aisles and transepts might become the King's Hall of Justice, as in the presence-chamber of Christ; and whose high altar was guarded always from the surrounding eastern aisles by a screen of the most finished workmanship; while from those surrounding aisles branched off a series of radiating chapels or cells, each dedicated to some separate saint. This conception of the company of Christ with His saints, (the eastern chapel of all being the Virgin's,) was at the root of the entire disposition of the apse with its supporting and dividing buttresses and piers; and the architectural form can never be well delighted in, unless in some sympathy with the spiritual imagination out of which it rose. We talk foolishly and feebly of symbols and types: in old Christian architecture, every part is _literal_: the cathedral _is_ for its builders the House of God;--it is surrounded, like an earthly king's, with minor lodgings for the servants; and the glorious carvings of the exterior walls and interior wood of the choir, which an English rector would almost instinctively think of as done for the glorification of the canons, was indeed the Amienois carpenter's way of making his Master-carpenter comfortable,[42]--nor less of showing his own native and insuperable virtue of carpenter, before God and man. [Footnote 42: The philosophic reader is quite welcome to 'detect' and 'expose' as many carnal motives as he pleases, besides the good ones,--competition with neighbour Beauvais--comfort to sleepy heads--solace to fat sides, and the like. He will find at last that no quantity of competition or comfort-seeking will do anything the like of this carving now;--still less his own philosophy, whatever its species: and that it was indeed the little mustard seed of faith in the heart, with a very notable quantity of honesty besides in the habit and disposition, that made all the rest grow together for good.] 5. Whatever you wish to see, or are forced to leave unseen, at Amiens, if the overwhelming responsibilities of your existence, and the inevitable necessities of precipitate locomotion in their fulfilment, have left you so much as one quarter of an hour, not out of breath--for the contemplation of the capital of Picardy, give it wholly to the cathedral choir. Aisles and porches, lancet windows and roses, you can see elsewhere as well as here--but such carpenter's work, you cannot. It is late,--fully developed flamboyant just past the fifteenth century--and has some Flemish stolidity mixed with the playing French fire of it; but wood-carving was the Picard's joy from his youth up, and, so far as I know, there is nothing else so beautiful cut out of the goodly trees of the world. Sweet and young-grained wood it is: oak, _trained_ and chosen for such work, sound now as four hundred years since. Under the carver's hand it seems to cut like clay, to fold like silk, to grow like living branches, to leap like living flame. Canopy crowning canopy, pinnacle piercing pinnacle--it shoots and wreathes itself into an enchanted glade, inextricable, imperishable, fuller of leafage than any forest, and fuller of story than any book.[43] [Footnote 43: Arnold Boulin, master-joiner (menuisier) at Amiens, solicited the enterprise, and obtained it in the first months of the year 1508. A contract was drawn and an agreement made with him for the construction of one hundred and twenty stalls with historical subjects, high backings, crownings, and pyramidal canopies. It was agreed that the principal executor should have seven sous of Tournay (a little less than the sou of France) a day, for himself and his apprentice, (threepence a day the two--say a shilling a week the master, and sixpence a week the man,) and for the superintendence of the whole work, twelve crowns a year, at the rate of twenty-four sous the crown; (_i.e._, twelve shillings a year). The salary of the simple workman was only to be three sous a day. For the sculptures and histories of the seats, the bargain was made separately with Antoine Avernier, image-cutter, residing at Amiens, at the rate of thirty-two sous (sixteen pence) the piece. Most of the wood came from Clermont en Beauvoisis, near Amiens; the finest, for the bas-reliefs, from Holland, by St. Valery and Abbeville. The Chapter appointed four of its own members to superintend the work: Jean Dumas, Jean Fabres, Pierre Vuaille, and Jean Lenglache, to whom my authors (canons both) attribute the choice of subjects, the placing of them, and the initiation of the workmen 'au sens veritable et plus eleve de la Bible ou des legendes, et portant quelque fois le simple savoir-faire de l'ouvrier jusqu'a la hauteur du genie du theologien.' Without pretending to apportion the credit of savoir-faire and theology in the business, we have only to observe that the whole company, master, apprentices, workmen, image-cutter, and four canons, got well into traces, and set to work on the 3rd of July, 1508, in the great hall of the eveche, which was to be the workshop and studio during the whole time of the business. In the following year, another menuisier, Alexander Huet, was associated with the body, to carry on the stalls on the right hand of the choir, while Arnold Boulin went on with those on the left. Arnold, leaving his new associate in command for a time, went to Beauvais and St. Riquier, to see the woodwork there; and in July of 1511 both the masters went to Rouen together, 'pour etudier les chaires de la cathedrale.' The year before, also, two Franciscans, monks of Abbeville, 'expert and renowned in working in wood,' had been called by the Amiens chapter to give their opinion on things in progress, and had each twenty sous for his opinion, and travelling expenses. In 1516, another and an important name appears on the accounts,--that of Jean Trupin, 'a simple workman at the wages of three sous a day,' but doubtless a good and spirited carver, whose true portrait it is without doubt, and by his own hand, that forms the elbow-rest, of the 85th stall (right hand, nearest apse), beneath which is cut his name JHAN TRUPIN, and again under the 92nd stall, with the added wish, 'Jan Trupin, God take care of thee' (_Dieu te pourvoie_). The entire work was ended on St. John's Day, 1522, without (so far as we hear) any manner of interruption by dissension, death, dishonesty, or incapacity, among its fellow-workmen, master or servant. And the accounts being audited by four members of the Chapter, it was found that the total expense was 9488 livres, 11 sous, and 3 obols (decimes), or 474 napoleons, 11 sous, 3 decimes of modern French money, or roughly four hundred sterling English pounds. For which sum, you perceive, a company of probably six or eight good workmen, old and young, had been kept merry and busy for fourteen years; and this that you see--left for substantial result and gift to you. I have not examined the carvings so as to assign, with any decision, the several masters' work; but in general the flower and leaf design in the traceries will be by the two head menuisiers, and their apprentices; the elaborate Scripture histories by Avernier, with variously completing incidental grotesque by Trupin; and the joining and fitting by the common workmen. No nails are used,--all is morticed, and so beautifully that the joints have not moved to this day, and are still almost imperceptible. The four terminal pyramids 'you might take for giant pines forgotten for six centuries on the soil where the church was built; they might be looked on at first as a wild luxury of sculpture and hollow traceries--but examined in analysis they are marvels of order and system in construction, uniting all the lightness, strength, and grace of the most renowned spires in the last epoch of the Middle ages.' The above particulars are all extracted--or simply translated, out of the excellent description of the "Stalles et les Clotures du Choeur" of the Cathedral of Amiens, by MM. les Chanoines Jourdain et Duval (Amiens, Vv. Alfred Caron, 1867). The accompanying lithographic outlines are exceedingly good, and the reader will find the entire series of subjects indicated with precision and brevity, both for the woodwork and the external veil of the choir, of which I have no room to speak in this traveller's summary.] 6. I have never been able to make up my mind which was really the best way of approaching the cathedral for the first time. If you have plenty of leisure, and the day is fine, and you are not afraid of an hour's walk, the really right thing to do is to walk down the main street of the old town, and across the river, and quite out to the chalk hill[44] out of which the citadel is half quarried--half walled;--and walk to the top of that, and look down into the citadel's dry 'ditch,'--or, more truly, dry valley of death, which is about as deep as a glen in Derbyshire, (or, more precisely, the upper part of the 'Happy Valley' at Oxford, above Lower Hincksey,) and thence across to the cathedral and ascending slopes of the city; so, you will understand the real height and relation of tower and town:--then, returning, find your way to the Mount Zion of it by any narrow cross streets and chance bridges you can--the more winding and dirty the streets, the better; and whether you come first on west front or apse, you will think them worth all the trouble you have had to reach them. [Footnote 44: The strongest and finally to be defended part of the earliest city was on this height.] 7. But if the day be dismal, as it may sometimes be, even in France, of late years,--or if you cannot or will not walk, which may also chance, for all our athletics and lawn-tennis,--or if you must really go to Paris this afternoon, and only mean to see all you can in an hour or two,--then, supposing that, notwithstanding these weaknesses, you are still a nice sort of person, for whom it is of some consequence which way you come at a pretty thing, or begin to look at it--I _think_ the best way is to walk from the Hotel de France or the Place de Perigord, up the Street of Three Pebbles, towards the railway station--stopping a little as you go, so as to get into a cheerful temper, and buying some bonbons or tarts for the children in one of the charming patissiers' shops on the left. Just past them, ask for the theatre; and just past that, you will find, also on the left, three open arches, through which you can turn, passing the Palais de Justice, and go straight up to the south transept, which has really something about it to please everybody. It is simple and severe at the bottom, and daintily traceried and pinnacled at the top, and yet seems all of a piece--though it isn't--and everybody _must_ like the taper and transparent fretwork of the fleche above, which seems to bend to the west wind,--though it doesn't--at least, the bending is a long habit, gradually yielded into, with gaining grace and submissiveness, during the last three hundred years. And, coming quite up to the porch, everybody must like the pretty French Madonna in the middle of it, with her head a little aside, and her nimbus switched a little aside too, like a becoming bonnet. A Madonna in decadence she is, though, for all, or rather by reason of all, her prettiness, and her gay soubrette's smile; and she has no business there, neither, for this is St. Honore's porch, not hers; and grim and grey St. Honore used to stand there to receive you,--he is banished now to the north porch, where nobody ever goes in. This was done long ago, in the fourteenth-century days, when the people first began to find Christianity too serious, and devised a merrier faith for France, and would have bright-glancing, soubrette Madonnas everywhere--letting their own dark-eyed Joan of Arc be burned for a witch. And thenceforward, things went their merry way, straight on, 'ca allait, ca ira,' to the merriest days of the guillotine. But they could still carve, in the fourteenth century, and the Madonna and her hawthorn-blossom lintel are worth your looking at,--much more the field above, of sculpture as delicate and more calm, which tells St. Honore's own story, little talked of now in his Parisian faubourg. 8. I will not keep you just now to tell St. Honore's story--(only too glad to leave you a little curious about it, if it were possible)[45]--for certainly you will be impatient to go into the church; and cannot enter it to better advantage than by this door. For all cathedrals of any mark have nearly the same effect when you enter at the west door; but I know no other which shows so much of its nobleness from the south interior transept; the opposite rose being of exquisite fineness in tracery, and lovely in lustre; and the shafts of the transept aisles forming wonderful groups with those of the choir and nave; also, the apse shows its height better, as it opens to you when you advance from the transept into the mid-nave, than when it is seen at once from the west end of the nave; where it is just possible for an irreverent person rather to think the nave narrow, than the apse high. Therefore, if you let me guide you, go in at this south transept door, (and put a sou into every beggar's box who asks it there,--it is none of your business whether they should be there or not, nor whether they deserve to have the sou,--be sure only that you yourself deserve to have it to give; and give it prettily, and not as if it burnt your fingers). Then, being once inside, take what first sensation and general glimpse of it pleases you--promising the custode to come back to _see_ it properly; (only then mind you keep the promise;) and in this first quarter of an hour, seeing only what fancy bid you--but at least, as I said, the apse from mid-nave, and all the traverses of the building, from its centre. Then you will know, when you go outside again, what the architect was working for, and what his buttresses and traceries mean. For the outside of a French cathedral, except for its sculpture, is always to be thought of as the wrong side of the stuff, in which you find how the threads go that produce the inside or right-side pattern. And if you have no wonder in you for that choir and its encompassing circlet of light, when you look up into it from the cross-centre, you need not travel farther in search of cathedrals, for the waiting-room of any station is a better place for you;--but, if it amaze you and delight you at first, then, the more you know of it, the more it will amaze. For it is not possible for imagination and mathematics together, to do anything nobler or stronger than that procession of window, with material of glass and stone--nor anything which shall look loftier, with so temperate and prudent measure of actual loftiness. [Footnote 45: See, however, pages 32 and 130 (Sec.Sec. 36, 112-114) of the octavo edition of 'The Two Paths.'] 9. From the pavement to the keystone of its vault is but 132 French feet--about 150 English. Think only--you who have been in Switzerland,--the Staubbach falls _nine_ hundred! Nay, Dover cliff under the castle, just at the end of the Marine Parade, is twice as high; and the little cockneys parading to military polka on the asphalt below, think themselves about as tall as it, I suppose,--nay, what with their little lodgings and stodgings and podgings about it, they have managed to make it look no bigger than a moderate-sized limekiln. Yet it is twice the height of Amiens' apse!--and it takes good building, with only such bits of chalk as one can quarry beside Somme, to make your work stand half that height, for six hundred years. 10. It takes good building, I say, and you may even aver the best--that ever was, or is again likely for many a day to be, on the unquaking and fruitful earth, where one could calculate on a pillar's standing fast, once well set up; and where aisles of aspen, and orchards of apple, and clusters of vine, gave type of what might be most beautifully made sacred in the constancy of sculptured stone. From the unhewn block set on end in the Druid's Bethel, to _this_ Lord's House and blue-vitrailed gate of Heaven, you have the entire course and consummation of the Northern Religious Builder's passion and art. 11. But, note further--and earnestly,--this apse of Amiens is not only the best, but the very _first_ thing done _perfectly_ in its manner, by Northern Christendom. In pages 323 and 327 of the sixth volume of M. Viollet le Duc, you will find the exact history of the development of these traceries through which the eastern light shines on you as you stand, from the less perfect and tentative forms of Rheims: and so momentary was the culmination of the exact rightness, that here, from nave to transept--built only ten years later,--there is a little change, not towards decline, but to a not quite necessary precision. Where decline begins, one cannot, among the lovely fantasies that succeeded, exactly say--but exactly, and indisputably, we know that this apse of Amiens is the first virgin perfect work,--Parthenon also in that sense,--of Gothic Architecture. 12. Who built it, shall we ask? God, and Man,--is the first and most true answer. The stars in their courses built it, and the Nations. Greek Athena labours here--and Roman Father Jove, and Guardian Mars. The Gaul labours here, and the Frank: knightly Norman,--mighty Ostrogoth,--and wasted anchorite of Idumea. The actual Man who built it scarcely cared to tell you he did so; nor do the historians brag of him. Any quantity of heraldries of knaves and faineants you may find in what they call their 'history': but this is probably the first time you ever read the name of Robert of Luzarches. I say he 'scarcely cared'--we are not sure that he cared at all. He signed his name nowhere, that I can hear of. You may perhaps find some recent initials cut by English remarkable visitors desirous of immortality, here and there about the edifice, but Robert the builder--or at least the Master of building, cut _his_ on no stone of it. Only when, after his death, the headstone had been brought forth with shouting, Grace unto it, this following legend was written, recording all who had part or lot in the labour, within the middle of the labyrinth then inlaid in the pavement of the nave. You must read it trippingly on the tongue: it was rhymed gaily for you by pure French gaiety, not the least like that of the Theatre de Folies.
The main purport of the rhyme, however, we perceive to be, line for line, as follows:--
14. 'The work'--_i.e._, the Work of Amiens in especial, her cathedral, was 'decheant,' falling to ruin, for the--I cannot at once say--fourth, fifth, or what time,--in the year 1220. For it was a wonderfully difficult matter for little Amiens to get this piece of business fairly done, so hard did the Devil pull against her. She built her first Bishop's church (scarcely more than St. Firmin's tomb-chapel) about the year 350, just outside the railway station on the road to Paris;[46] then, after being nearly herself destroyed, chapel and all, by the Frank invasion, having recovered, and converted her Franks, she built another and a properly called cathedral, where this one stands now, under Bishop St. Save (St. Sauve, or Salve). But even this proper cathedral was only of wood, and the Normans burnt it in 881. Rebuilt, it stood for 200 years; but was in great part destroyed by lightning in 1019. Rebuilt again, it and the town were more or less burnt together by lightning, in 1107,--my authority says calmly, "un incendie provoque par la meme cause detruisit _la ville_, et une partie de la cathedrale." The 'partie' being rebuilt once more, the whole was again reduced to ashes, "reduite en cendre par le feu de ciel en 1218, ainsi que tous les titres, les martyrologies, les calendriers, et les Archives de l'Eveche et du Chapitre." [Footnote 46: At St. Acheul. See the first chapter of this book, and the "Description Historique de la Cathedrale d'Amiens," by A. P. M. Gilbert. 8vo, Amiens, 1833, pp. 5-7.] 15. It was the fifth cathedral, I count, then, that lay in 'ashes,' according to Mons. Gilbert--in ruin certainly--decheant;--and ruin of a very discouraging completeness it would have been, to less lively townspeople--in 1218. But it was rather of a stimulating completeness to Bishop Everard and his people--the ground well cleared for them, as it were: and lightning (feu de l'enfer, not du ciel, recognized for a diabolic plague, as in Egypt), was to be defied to the pit. They only took two years, you see, to pull themselves together; and to work they went, in 1220, they, and their bishop, and their king, and their Robert of Luzarches. And this, that roofs you, was what their hands found to do with their might. 16. Their king was 'a-donc,' 'at that time,' Louis VIII., who is especially further called the son of Philip of August, or Philip the Wise, because his father was not dead in 1220; but must have resigned the practical kingdom to his son, as his own father had done to him; the old and wise king retiring to his chamber, and thence silently guiding his son's hands, very gloriously, yet for three years. But, farther--and this is the point on which chiefly I would have desired the Abbe's judgment--Louis VIII. died of fever at Montpensier in 1226. And the entire conduct of the main labour of the cathedral, and the chief glory of its service, as we shall hear presently, was _Saint_ Louis's; for a time of forty-four years. And the inscription was put "a ce point ci" by the last architect, six years after St. Louis's death. How is it that the great and holy king is not named? 17. I must not, in this traveller's brief, lose time in conjectural answers to the questions which every step here will raise from the ravaged shrine. But this is a very solemn one; and must be kept in our hearts, till we may perhaps get clue to it. One thing only we are sure of,--that at least the _due_ honour--alike by the sons of Kings and sons of Craftsmen--is given always to their fathers; and that apparently the chief honour of all is given here to Philip the Wise. From whose house, not of parliament but of peace, came, in the years when this temple was first in building, an edict indeed of peace-making: "That it should be criminal for any man to take vengeance for an insult or injury till forty days after the commission of the offence--and then only with the approbation of the Bishop of the Diocese." Which was perhaps a wiser effort to end the Feudal system in its Saxon sense,[47] than any of our recent projects for ending it in the Norman one. [Footnote 47: Feud, Saxon faedh, low Latin Faida (Scottish 'fae,' English 'foe,' derivative), Johnson. Remember also that the root of Feud, in its Norman sense of land-allotment, is _foi_, not _fee_, which Johnson, old Tory as he was, did not observe--neither in general does the modern Antifeudalist.] 18. "A ce point ci." The point, namely, of the labyrinth inlaid in the cathedral floor; a recognized emblem of many things to the people, who knew that the ground they stood on was holy, as the roof over their head. Chiefly, to them, it was an emblem of noble human life--strait-gated, narrow-walled, with infinite darknesses and the "inextricabilis error" on either hand--and in the depth of it, the brutal nature to be conquered. 19. This meaning, from the proudest heroic, and purest legislative, days of Greece, the symbol had borne for all men skilled in her traditions: to the schools of craftsmen the sign meant further their craft's noblesse, and pure descent from the divinely-terrestrial skill of Daedalus, the labyrinth-builder, and the first sculptor of imagery _pathetic_[48] with human life and death. "Tu quoque, magnam
20. Quite the most beautiful sign of the power of true Christian-Catholic faith is this continual acknowledgment by it of the brotherhood--nay, more, the fatherhood, of the elder nations who had not seen Christ; but had been filled with the Spirit of God; and obeyed, according to their knowledge, His unwritten law. The pure charity and humility of this temper are seen in all Christian art, according to its strength and purity of race; but best, to the full, seen and interpreted by the three great Christian-Heathen poets, Dante, Douglas of Dunkeld,[49] and George Chapman. The prayer with which the last ends his life's work is, so far as I know, the perfectest and deepest expression of Natural Religion given us in literature; and if you can, pray it here--standing on the spot where the builder once wrote the history of the Parthenon of Christianity. [Footnote 49: See 'Fors Clavigera,' Letter LXI., p. 22.] 21. "I pray thee, Lord, the Father, and the Guide of our reason, that we may remember the nobleness with which Thou hast adorned us; and that Thou wouldst be always on our right hand and on our left,[50] in the motion of our own Wills: that so we may be purged from the contagion of the Body and the Affections of the Brute, and overcome them and rule; and use, as it becomes men to use them, for instruments. And then, that Thou wouldst be in Fellowship with us for the careful correction of our reason, and for its conjunction by the light of truth with the things that truly are. [Footnote 50: Thus, the command to the children of Israel "that they go forward" is to their own wills. They obeying, the sea retreats, _but not before_ they dare to advance into it. _Then_, the waters are a wall unto them, on their right hand and their left.]
22. And having prayed this prayer, or at least, read it with honest wishing, (which if you cannot, there is no hope of your at present taking pleasure in any human work of large faculty, whether poetry, painting, or sculpture,) we may walk a little farther westwards down the nave, where, in the middle of it, but only a few yards from its end, two flat stones (the custode will show you them), one a little farther back than the other, are laid over the graves of the two great bishops, all whose strength of life was given, with the builder's, to raise this temple. Their actual graves have not been disturbed; but the tombs raised over them, once and again removed, are now set on your right and left hand as you look back to the apse, under the third arch between the nave and aisles. 23. Both are of bronze, cast at one flow--and with insuperable, in some respects inimitable, skill in the caster's art. "Chefs-d'oeuvre de fonte,--le tout fondu d'un seul jet, et admirablement."[52] There are only two other such tombs left in France, those of the children of St. Louis. All others of their kind--and they were many in every great cathedral of France--were first torn from the graves they covered, to destroy the memory of France's dead; and then melted down into sous and centimes, to buy gunpowder and absinthe with for her living,--by the Progressive Mind of Civilization in her first blaze of enthusiasm and new light, from 1789 to 1800. [Footnote 52: Viollet le Duc, vol. viii., p. 256. He adds: "L'une d'elles est comme art" (meaning general art of sculpture), "un monument du premier ordre;" but this is only partially true--also I find a note in M. Gilbert's account of them, p. 126: "Les deux doigts qui manquent, a la main droite de l'eveque Gaudefroi paraissent etre un defaut survenu a la fonte." See further, on these monuments, and those of St. Louis' children, Viollet le Duc, vol, ix., pp. 61, 62.] The children's tombs, one on each side of the altar of St. Denis, are much smaller than these, though wrought more beautifully. These beside you are the _only two Bronze tombs of her Men of the great ages_, left in France! 24. And they are the tombs of the pastors of her people, who built for her the first perfect temple to her God. The Bishop Everard's is on your right, and has engraved round the border of it this inscription:[53]--
"La tombe d'Evrard de Fouilloy, (died 1222,) coulee en bronze en plein-relief, etait supportee des le principe, par des monstres engages dans une maconnerie remplissant le dessous du monument, pour indiquer que cet eveque avait pose les fondements de la Cathedrale. Un _architecte malheureusement inspire_ a ose arracher la maconnerie, pour qu'on ne vit plus la main du prelat fondateur, a la base de l'edifice. "On lit, sur la bordure, l'inscription suivante en beaux caracteres du XIII^e siecle:
In saying above that Geoffroy of Eu returned thanks in the Cathedral for its completion, I meant only that he had brought at least the choir into condition for service: "Jusqu'aux voutes" may or may not mean that the vaulting was closed.] English, at its best, in Elizabethan days, is a nobler language than ever Latin was; but its virtue is in colour and tone, not in what may be called metallic or crystalline condensation. And it is impossible to translate the last line of this inscription in as few English words. Note in it first that the Bishop's friends and enemies are spoken of as in word, not act; because the swelling, or mocking, or flattering, words of men are indeed what the meek of the earth must know how to bear and to welcome;--their deeds, it is for kings and knights to deal with: not but that the Bishops often took deeds in hand also; and in actual battle they were permitted to strike with the mace, but not with sword or lance--_i.e._, not to "shed blood"! For it was supposed that a man might always recover from a mace-blow; (which, however, would much depend on the bishop's mind who gave it). The battle of Bouvines, quite one of the most important in mediaeval history, was won against the English, and against odds besides of Germans, under their Emperor Otho, by two French bishops (Senlis and Bayeux)--who both generalled the French King's line, and led its charges. Our Earl of Salisbury surrendered to the Bishop of Bayeux in person. 25. Note farther, that quite one of the deadliest and most diabolic powers of evil words, or, rightly so called, blasphemy, has been developed in modern days in the effect of sometimes quite innocently meant and enjoyed 'slang.' There are two kinds of slang, in the essence of it: one 'Thieves' Latin'--the special language of rascals, used for concealment; the other, one might perhaps best call Louts' Latin!--the lowering or insulting words invented by vile persons to bring good things, in their own estimates, to their own level, or beneath it. The really worst power of this kind of blasphemy is in its often making it impossible to use plain words without a degrading or ludicrous attached sense:--thus I could not end my translation of this epitaph, as the old Latinist could, with the exactly accurate image "to the proud, a file"--because of the abuse of the word in lower English, retaining, however, quite shrewdly, the thirteenth-century idea. But the _exact_ force of the symbol here is in its allusion to jewellers' work, filing down facets. A proud man is often also a precious one: and may be made brighter in surface, and the purity of his inner self shown, by good _filing_. 26. Take it all in all, the perfect duty of a Bishop is expressed in these six Latin lines,--au mieux mieux--beginning with his pastoral office--_Feed_ my sheep--qui _pavit_ populum. And be assured, good reader, these ages never could have told you what a Bishop's, or any other man's, duty was, unless they had each man in his place both done it well--and seen it well done. The Bishop Geoffroy's tomb is on your left, and its inscription is: Amen.
27. What disgrace or change has come upon them, I will not tell you to-day--except only the 'immeasurable' loss of the great old foundation-steps, open, sweeping broad from side to side for all who came; unwalled, undivided, sunned all along by the westering day, lighted only by the moon and the stars at night; falling steep and many down the hillside--ceasing one by one, at last wide and few towards the level--and worn by pilgrim feet, for six hundred years. So I once saw them, and twice,--such things can now be never seen more. Nor even of the west front itself, above, is much of the old masonry left: but in the porches nearly all,--except the actual outside facing, with its rose moulding, of which only a few flowers have been spared here and there.[54] But the sculpture has been carefully and honourably kept and restored to its place--pedestals or niches restored here and there with clay; or some which you see white and crude, re-carved entirely; nevertheless the impression you may receive from the whole is still what the builder meant; and I will tell you the order of its theology without further notices of its decay. [Footnote 54: The horizontal lowest part of the moulding between the northern and central porch is old. Compare its roses with the new ones running round the arches above--and you will know what 'Restoration' means.] 28. You will find it always well, in looking at any cathedral, to make your quarters of the compass sure, in the beginning; and to remember that, as you enter it, you are looking and advancing eastward; and that if it has three entrance porches, that on your left in entering is the northern, that on your right the southern. I shall endeavour in all my future writing of architecture, to observe the simple law of always calling the door of the north transept the north door; and that on the same side of the west front, the northern door, and so of their opposites. This will save, in the end, much printing and much confusion, for a Gothic cathedral has, almost always, these five great entrances; which may be easily, if at first attentively, recognized under the titles of the Central door (or porch), the Northern door, the Southern door, the North door, and the South door. But when we use the terms right and left, we ought always to use them as in going _out_ of the cathedral, or walking down the nave,--the entire north side and aisles of the building being its right side, and the south, its left,--these terms being only used well and authoritatively, when they have reference either to the image of Christ in the apse or on the rood, or else to the central statue, whether of Christ, the Virgin, or a saint, in the west front. At Amiens, this central statue, on the 'trumeau' or supporting and dividing pillar of the central porch, is of Christ Immanuel,--God _with_ us. On His right hand and His left, occupying the entire walls of the central porch, are the apostles and the four greater prophets. The twelve minor prophets stand side by side on the front, three on each of its great piers.[55] [Footnote 55: See now the plan at the end of this chapter.] The northern porch is dedicated to St. Firmin, the first Christian missionary to Amiens. The southern porch, to the Virgin. But these are both treated as withdrawn behind the great foundation of Christ and the Prophets; and their narrow recesses partly conceal their sculpture, until you enter them. What you have first to think of, and read, is the scripture of the great central porch, and the facade itself. 29. You have then in the centre of the front, the image of Christ Himself, receiving you: "I am the Way, the truth and the life." And the order of the attendant powers may be best understood by thinking of them as placed on Christ's right and left hand: this being also the order which the builder adopts in his Scripture history on the facade--so that it is to be read from left to right--_i.e._ from Christ's left to Christ's right, as _He_ sees it. Thus, therefore, following the order of the great statues: first in the central porch, there are six apostles on Christ's right hand, and six on His left. On His left hand, next to Him, Peter; then in receding order, Andrew, James, John, Matthew, Simon; on His right hand, next Him, Paul; and in receding order, James the Bishop, Philip, Bartholomew, Thomas and Jude. These opposite ranks of the Apostles occupy what may be called the apse or curved bay of the porch, and form a nearly semicircular group, clearly visible as we approach. But on the sides of the porch, outside the lines of apostles, and not seen clearly till we enter the porch, are the four greater prophets. On Christ's left, Isaiah and Jeremiah, on His right, Ezekiel and Daniel. 30. Then in front, along the whole facade--read in order from Christ's left to His right--come the series of the twelve minor prophets, three to each of the four piers of the temple, beginning at the south angle with Hosea, and ending with Malachi. As you look full at the facade in front, the statues which fill the minor porches are either obscured in their narrower recesses or withdrawn behind each other so as to be unseen. And the entire mass of the front is seen, literally, as built on the foundation of the Apostles and Prophets, Jesus Christ Himself being the chief corner-stone. Literally _that_; for the receding Porch is a deep 'angulus,' and its mid-pillar is the 'Head of the Corner.' Built on the foundation of the Apostles and Prophets, that is to say of the Prophets who foretold _Christ_, and the Apostles who declared Him. Though Moses was an Apostle, of _God_, he is not here--though Elijah was a Prophet, of _God_, he is not here. The voice of the entire building is that of the Heaven at the Transfiguration, "This is my beloved Son, hear ye Him." 31. There is yet another and a greater prophet still, who, as it seems at first, is not here. Shall the people enter the gates of the temple, singing "Hosanna to the Son of _David_"; and see no image of His father, then?--Christ Himself declare, "I am the root and the offspring of David"; and yet the Root have no sign near it of its Earth? Not so. David and his Son are together. David is the pedestal of the Christ. 32. We will begin our examination of the Temple front, therefore, with this its goodly pedestal stone. The statue of David is only two-thirds life-size, occupying the niche in front of the pedestal. He holds his sceptre in his right hand, the scroll in his left. King and Prophet, type of all Divinely right doing, and right claiming, and right proclaiming, kinghood, for ever. The pedestal of which this statue forms the fronting or Western sculpture, is square, and on the two sides of it are two flowers in vases, on its north side the lily, and on its south the rose. And the entire monolith is one of the noblest pieces of Christian sculpture in the world. Above this pedestal comes a minor one, bearing in front of it a tendril of vine which completes the floral symbolism of the whole. The plant which I have called a lily is not the Fleur de Lys, nor the Madonna's, but an ideal one with bells like the crown Imperial (Shakespeare's type of 'lilies of all kinds'), representing the _mode of growth_ of the lily of the valley, which could not be sculptured so large in its literal form without appearing monstrous, and is exactly expressed in this tablet--as it fulfils, together with the rose and vine, its companions, the triple saying of Christ, "I am the Rose of Sharon, and the Lily of the Valley." "I am the true Vine." * * * * * 33. On the side of the upper stone are supporters of a different character. Supporters,--not captives nor victims; the Cockatrice and Adder. Representing the most active evil principles of the earth, as in their utmost malignity; still, Pedestals of Christ, and even in their deadly life, accomplishing His final will. Both creatures are represented accurately in the mediaeval traditional form, the cockatrice half dragon, half cock; the deaf adder laying one ear against the ground and stopping the other with her tail. The first represents the infidelity of Pride. The cockatrice--king serpent or highest serpent--saying that he _is_ God, and _will be_ God. The second, the infidelity of Death. The adder (nieder or nether snake) saying that he _is_ mud, and _will be_ mud. 34. Lastly, and above all, set under the feet of the statue of Christ Himself, are the lion and dragon; the images of Carnal sin, or _Human sin_, as distinguished from the Spiritual and Intellectual sin of Pride, by which the angels also fell. To desire kingship rather than servantship--the Cockatrice's sin, or deaf Death rather than hearkening Life--the Adder's sin,--these are both possible to all the intelligences of the universe. But the distinctively Human sins, anger and lust, seeds in our race of their perpetual sorrow--Christ in His own humanity, conquered; and conquers in His disciples. Therefore His foot is on the heads of these; and the prophecy, "Inculcabis super Leonem et Aspidem," is recognized always as fulfilled in Him, and in all His true servants, according to the height of their authority, and the truth of their power. 35. In this mystic sense, Alexander III. used the words, in restoring peace to Italy, and giving forgiveness to her deadliest enemy, under the porch of St. Mark's.[56] But the meaning of every act, as of every art, of the Christian ages, lost now for three hundred years, cannot but be in our own times read reversed, if at all, through the counter-spirit which we now have reached; glorifying Pride and Avarice as the virtues by which all things move and have their being--walking after our own lusts as our sole guides to salvation, and foaming out our own shame for the sole earthly product of our hands and lips. [Footnote 56: See my abstract of the history of Barbarossa and Alexander, in 'Fiction, Fair and Foul,' '_Nineteenth Century_,' November, 1880, pp. 752 _seq._] 36. Of the statue of Christ, itself, I will not speak here at any length, as no sculpture would satisfy, or ought to satisfy, the hope of any loving soul that has learned to trust in Him; but at the time, it was beyond what till then had been reached in sculptured tenderness; and was known far and near as the "Beau Dieu d'Amiens."[57] Yet understood, observe, just as clearly to be no more than a symbol of the Heavenly Presence, as the poor coiling worms below were no more than symbols of the demoniac ones. No _idol_, in our sense of the word--only a letter, or sign of the Living Spirit,--which, however, was indeed conceived by every worshipper as here meeting him at the temple gate: the Word of Life, the King of Glory, and the Lord of Hosts. [Footnote 57: See account, and careful drawing of it, in Viollet le Duc--article "Christ," Dict. of Architecture, iii. 245.] "Dominus Virtutum," "Lord of Virtues,"[58] is the best single rendering of the idea conveyed to a well-taught disciple in the thirteenth century by the words of the twenty-fourth Psalm. [Footnote 58: See the circle of the Powers of the Heavens in the Byzantine rendering. I. Wisdom; II. Thrones; III. Dominations; IV. Angels; V. Archangels; VI. Virtues; VII. Potentates; VIII. Princes; IX. Seraphim. In the Gregorian order, (Dante, Par. xxviii., Cary's note,) the Angels and Archangels are separated, giving altogether nine orders, but not ranks. Note that in the Byzantine circle the cherubim are first, and that it is the strength of the Virtues which calls on the dead to rise ('St. Mark's Rest,' p. 97, and pp. 158-159).] 37. Under the feet of His apostles, therefore, in the quatrefoil medallions of the foundation, are represented the virtues which each Apostle taught, or in his life manifested;--it may have been, sore tried, and failing in the very strength of the character which he afterwards perfected. Thus St. Peter, denying in fear, is afterwards the Apostle of courage; and St. John, who, with his brother, would have burnt the inhospitable village, is afterwards the Apostle of love. Understanding this, you see that in the sides of the porch, the apostles with their special virtues stand thus in opposite ranks. Now you see how these virtues answer to each other in their opposite ranks. Remember the left-hand side is always the first, and see how the left-hand virtues lead to the right hand:--
38. Note farther that the Apostles are all tranquil, nearly all with books, some with crosses, but all with the same message,--"Peace be to this house. And if the Son of Peace be there," etc.[59] [Footnote 59: The modern slang name for a priest, among the mob of France, is a 'Pax Vobiscum,' or shortly, a Vobiscum.]
But the Prophets--all seeking, or wistful, or tormented, or wondering, or praying, except only Daniel. The _most_ tormented is Isaiah; spiritually sawn asunder. No scene of his martyrdom below, but his seeing the Lord in His temple, and yet feeling he had unclean lips. Jeremiah also carries his cross--but more serenely. 39. And now, I give in clear succession, the order of the statues of the whole front, with the subjects of the quatrefoils beneath each of them, marking the upper quatrefoil A, the lower B. The six prophets who stand at the angles of the porches, Amos, Obadiah, Micah, Nahum, Zephaniah, and Haggai, have each of them four quatrefoils, marked, A and C the upper ones, B and D the lower. Beginning, then, on the left-hand side of the central porch, and reading outwards, you have--
Now, right-hand side of porch, reading outwards:
Now, left-hand side again--the two outermost statues: Right-hand side:
40. Now, beginning on the left-hand side (southern side) of the entire facade, and reading it straight across, not turning into the porches at all except for the paired quatrefoils: 41. Having thus put the sequence of the statues and their quatrefoils briefly before the spectator--(in case the railway time presses, it may be a kindness to him to note that if he walks from the east end of the cathedral down the street to the south, Rue St. Denis, it takes him by the shortest line to the station)--I will begin again with St. Peter, and interpret the sculptures in the quatrefoils a little more fully. Keeping the fixed numerals for indication of the statues, St. Peter's quatrefoils will be 1 A and 1 B, and Malachi's 28 A and 28 B. 1, A. COURAGE, with a leopard on his shield; the French and English agreeing in the reading of that symbol, down to the time of the Black Prince's leopard coinage in Aquitaine.[61] [Footnote 61: For a list of the photographs of the quatrefoils described in this chapter, see the appendices at the end of this volume.] 2, B. COWARDICE, a man frightened at an animal darting out of a thicket, while a bird sings on. The coward has not the heart of a thrush. 2, A. PATIENCE, holding a shield with a bull on it (never giving back).[62] [Footnote 62: In the cathedral of Laon there is a pretty compliment paid to the oxen who carried the stones of its tower to the hill-top it stands on. The tradition is that they harnessed themselves,--but tradition does not say how an ox can harness himself even if he had a mind. Probably the first form of the story was only that they went joyfully, "lowing as they went." But at all events their statues are carved on the height of the tower, eight, colossal, looking from its galleries across the plains of France. See drawing in Viollet le Duc, under article "Clocher."] 2, B. ANGER, a woman stabbing a man with a sword. Anger is essentially a feminine vice--a man, worth calling so, may be driven to fury or insanity by _indignation_, (compare the Black Prince at Limoges,) but not by anger. Fiendish enough, often so--"Incensed with indignation, Satan stood, _unterrified_--" but in that last word is the difference, there is as much fear in Anger, as there is in Hatred. 3, A. GENTILLESSE, bearing shield with a lamb. 3, B. CHURLISHNESS, again a woman, kicking over her cup-bearer. The final forms of ultimate French churlishness being in the feminine gestures of the Cancan. See the favourite prints in shops of Paris. 4, A. LOVE; the Divine, not human love: "I in them, and Thou in me." Her shield bears a tree with many branches grafted into its cut-off stem: "In those days shall Messiah be cut off, but not for Himself." 4, B. DISCORD, a wife and husband quarrelling. She has dropped her distaff (Amiens wool manufacture, see farther on--9, A.) 5, A. OBEDIENCE, bears shield with camel. Actually the most disobedient and ill-tempered of all serviceable beasts,--yet passing his life in the most painful service. I do not know how far his character was understood by the northern sculptor; but I believe he is taken as a type of burden-bearing, without joy or sympathy, such as the horse has, and without power of offence, such as the ox has. His bite is bad enough, (see Mr. Palgrave's account of him,) but presumably little known of at Amiens, even by Crusaders, who would always ride their own war-horses, or nothing. 5, B. REBELLION, a man snapping his fingers at his Bishop. (As Henry the Eighth at the Pope,--and the modern French and English cockney at all priests whatever.) 6, A. PERSEVERENCE, the grandest spiritual form of the virtue commonly called 'Fortitude.' Usually, overcoming or tearing a lion; here, _caressing_ one, and _holding_ her crown. "Hold fast that which thou hast, that no man take thy crown." 6, B. ATHEISM, leaving his shoes at the church door. The infidel fool is always represented in twelfth and thirteenth century MS. as barefoot--the Christian having "his feet shod with the preparation of the Gospel of Peace." Compare "How beautiful are thy feet with shoes, O Prince's Daughter!" 7, A. FAITH, holding cup with cross above it, her accepted symbol throughout ancient Europe. It is also an enduring one, for, all differences of Church put aside, the words, "Except ye eat the flesh of the Son of Man and Drink His blood, ye have no life in you," remain in their mystery, to be understood only by those who have learned the sacredness of food, in all times and places, and the laws of life and spirit, dependent on its acceptance, refusal, and distribution. 7, B. IDOLATRY, kneeling to a monster. The _contrary_ of Faith--not _want_ of Faith. Idolatry is faith in the wrong thing, and quite distinct from Faith in _No_ thing (6, B), the "Dixit Insipiens." Very wise men may be idolaters, but they cannot be atheists. 8, A. HOPE, with Gonfalon Standard and _distant_ crown; as opposed to the constant crown of Fortitude (6, A). The Gonfalon (Gund, war, fahr, standard, according to Poitevin's dictionary), is the pointed ensign of forward battle; essentially sacred; hence the constant name "Gonfaloniere" of the battle standard-bearers of the Italian republics. Hope has it, because she fights forward always to her aim, or at least has the joy of seeing it draw nearer. Faith and Fortitude wait, as St. John in prison, but unoffended. Hope is, however, put under St. James, because of the 7th and 8th verses of his last chapter, ending "Stablish your hearts, for the coming of the Lord draweth nigh." It is he who examines Dante on the nature of Hope. 'Par.,' c. xxv., and compare Cary's notes. 8, B. DESPAIR, stabbing himself. Suicide not thought heroic or sentimental in the 13th century; and no Gothic Morgue built beside Somme. 9, A. CHARITY, bearing shield with woolly ram, and giving a mantle to a naked beggar. The old wool manufacture of Amiens having this notion of its purpose--namely, to clothe the poor first, the rich afterwards. No nonsense talked in those days about the evil consequences of indiscriminate charity. 9, B. AVARICE, with coffer and money. The modern, alike English and Amienois, notion of the Divine consummation of the wool manufacture. 10, A. CHASTITY, shield with the Phoenix.[63] [Footnote 63: For the sake of comparing the pollution, and reversal of its once glorious religion, in the modern French mind, it is worth the reader's while to ask at M. Goyer's (Place St. Denis) for the 'Journal de St. Nicholas' for 1880, and look at the 'Phenix,' as drawn on p. 610. The story is meant to be moral, and the Phoenix there represents Avarice, but the entire destruction of all sacred and poetical tradition in a child's mind by such a picture is an immorality which would neutralize a year's preaching. To make it worth M. Goyer's while to show you the number, buy the one with 'les conclusions de Jeanie' in it, p. 337: the church scene (with dialogue) in the text is lovely.] 10, B. LUST, a too violent kiss. 11, A. WISDOM, shield with, I think, an eatable root; meaning temperance, as the beginning of wisdom. 11, B. FOLLY, the ordinary type used in all early Psalters, of a glutton, armed with a club. Both this vice and virtue are the earthly wisdom and folly, completing the spiritual wisdom and folly opposite under St. Matthew. Temperance, the complement of Obedience, and Covetousness, with violence, that of Atheism. 12, A. HUMILITY, shield with dove. 12, B. PRIDE, falling from his horse. 42. All these quatrefoils are rather symbolic than representative; and, since their purpose was answered enough if their sign was understood, they have been entrusted to a more inferior workman than the one who carved the now sequent series under the Prophets. Most of these subjects represent an historical fact, or a scene spoken of by the prophet as a real vision; and they have in general been executed by the ablest hands at the architect's command. With the interpretation of these, I have given again the name of the prophet whose life or prophecy they illustrate. 13, A. "I saw the Lord sitting upon a throne" (vi. I). The vision of the throne "high and lifted up" 13, B. "Lo, this hath touched thy lips" (vi. 7). The Angel stands before the prophet, and holds,
The prophet is digging by the shore of Euphrates, 14, B. The breaking of the yoke (xxviii. 10). From the prophet Jeremiah's neck; it is here 15. EZEKIEL. 15, A. Wheel within wheel (i. 16). The prophet sitting; before him two wheels of 15, B. "Son of man, set thy face toward Jerusalem" (xxi. 2). The prophet before the gate of Jerusalem. 16. DANIEL. 16, A. "He hath shut the lions' mouths" (vi. 22). Daniel holding a book, the lions treated as heraldic 16, B. "In the same hour came forth fingers of a Man's hand" (v. 5). Belshazzar's feast represented by the king alone, For modern bombast as opposed to old simplicity,
43. The next subject begins the series of the minor prophets. 17, A. "So I bought her to me for fifteen pieces of silver and The prophet pouring the grain and the silver into 17, B. "So will I also be for thee" (iii. 3). He puts a ring on her finger. 18. JOEL. 18, A. The sun and moon lightless (ii. 10). The sun and moon as two small flat pellets, up in 18, B. The barked fig-tree and waste vine (i. 7). Note the continual insistance on the blight 19. AMOS. _To the front._ 19, A. "The Lord will cry from Zion" (i. 2). Christ appears with crossletted nimbus. 19, B. "The habitations of the shepherds shall mourn" (i. 2). Amos with the shepherd's hooked or knotted staff, _Inside Porch._ 19, C. The Lord with the mason's line (vii. 8). Christ, again here, and henceforward always, with 19, D. The place where it rained not (iv. 7). Amos is gathering the leaves of the fruitless vine, 20. OBADIAH. _Inside Porch._ 20, A. "I hid them in a cave" (1 Kings xviii. 13). Three prophets at the mouth of a well, to whom 20, B. "He fell on his face" (xviii. 7). He kneels before Elijah, who wears his rough _To the front._ 20, C. The captain of fifty. Elijah (?) speaking to an armed man under a tree. 20, D. The Messenger. A messenger on his knees before a king. I cannot 21. JONAH. 21, A. Escaped from the sea. 21, B. Under the gourd. A small grasshopper-like beast 22. MICAH. _To the front._ 22, A. The Tower of the Flock (iv. 8). The tower is wrapped in clouds, God appearing 22, B. Each shall rest and "none shall make them afraid" (iv. 4). A man and his wife "under his vine and fig-tree." _Inside Porch._ 22, C. "Swords into ploughshares" (iv. 3). Nevertheless, two hundred years after these medallions 22, D. "Spears into pruning-hooks" (iv. 3). 23. NAHUM. _Inside Porch._ 23, A. "None shall look back" (ii. 8). 23, B. The Burden of Nineveh (i. I).[65]
23, C. "Thy Princes and thy great ones" (iii. 17). 23, A, B, and C, are all incapable of sure interpretation. The 23, D. "Untimely figs" (iii. 12). Three people beneath a fig-tree catch its falling 24. HABAKKUK. 24, A. "I will watch to see what he will say unto me" (ii. 1). The prophet is writing on his tablet to Christ's 24, B. The ministry to Daniel. The traditional visit to Daniel. An angel carries 25. ZEPHANIAH. _To the front._ 25, A. The Lord strikes Ethiopia (ii. 12). Christ striking a city with a sword. Note that all 25, B. The beasts in Nineveh (ii. 15). Very fine. All kinds of crawling things among _Inside porch._ 25, C. The Lord visits Jerusalem (i. 12). Christ passing through the streets of Jerusalem, 25, D. The Hedgehog and Bittern[66] (ii. 14). With a singing bird in a cage in the window. [Footnote 66: See ante p. 117, note.] 26. HAGGAI. _Inside Porch._ 26, A. The houses of the princes, _ornees de lambris_ (i. 4). A perfectly built house of square stones gloomily 26, B. The Heaven is stayed from dew (i. 10). The heavens as a projecting mass, with stars, sun, _To the front._ 26, C. The Lord's temple desolate (i. 4). The falling of the temple, "not one stone left on 26, D. "Thus saith the Lord of Hosts" (i. 7). Christ pointing up to His ruined temple. 27. ZECHARIAH. 27, A. The lifting up of Iniquity (v. 6 to 9). Wickedness in the Ephah. 27, B. "The angel that spake to me" (iv. 1). The prophet almost reclining, a glorious winged 28. MALACHI. 28, A. "Ye have wounded the Lord" (ii. 17). The priests are thrusting Christ through with a 28, B. "This commandment is to _you_" (ii. 1). In these panels, the undermost is often introductory
The Northern Porch, dedicated to her first missionary St. Firmin, has on its central pier his statue; above, on the flat field of the back of the arch, the story of the finding of his body; on the sides of the porch, companion saints and angels in the following order:-- ST. FIRMIN. _Southern (left) side._ 41. St. Firmin the Confessor. _Northern (right) side._ 47. St. Geoffroy.
[Footnote 67: See ante Chap. I., pp. 5-6, for the history of St. Firmin, and for St. Honore p. 95, Sec. 8 of this chapter, with the reference there given.] 46. St. Firmin the Confessor was the son of the Roman senator who received St. Firmin himself. He preserved the tomb of the martyr in his father's garden, and at last built a church over it, dedicated to our Lady of martyrs, which was the first episcopal seat of Amiens, at St. Acheul, spoken of above. St. Ulpha was an Amienoise girl, who lived in a chalk cave above the marshes of the Somme;--if ever Mr. Murray provides you with a comic guide to Amiens, no doubt the enlightened composer of it will count much on your enjoyment of the story of her being greatly disturbed at her devotions by the frogs, and praying them silent. You are now, of course, wholly superior to such follies, and are sure that God cannot, or will not, so much as shut a frog's mouth for you. Remember, therefore, that as He also now leaves open the mouth of the liar, blasphemer, and betrayer, you must shut your own ears against _their_ voices as you can. Of her name, St. Wolf--or Guelph--see again Miss Yonge's Christian names. Our tower of Wolf's stone, Ulverstone, and Kirk of Ulpha, are, I believe, unconscious of Picard relatives. 47. The other saints in this porch are all in like manner provincial, and, as it were, personal friends of the Amienois; and under them, the quatrefoils represent the pleasant order of the guarded and hallowed year--the zodiacal signs above, and labours of the months below; little differing from the constant representations of them--except in the May: see below. The Libra also is a little unusual in the female figure holding the scales; the lion especially good-tempered--and the 'reaping' one of the most beautiful figures in the whole series of sculptures; several of the others peculiarly refined and far-wrought. In Mr. Kaltenbacher's photographs, as I have arranged them, the bas-reliefs may be studied nearly as well as in the porch itself. Their order is as follows, beginning with December, in the left-hand inner corner of the porch:-- 41. DECEMBER.--Killing and scalding swine. Above, Capricorn with quickly diminishing tail; I cannot make out the accessories. 42. JANUARY.--Twin-headed, obsequiously served. Aquarius feebler than most of the series. 43. FEBRUARY.--Very fine; warming his feet and putting coals on fire. Fish above, elaborate but uninteresting. 44. MARCH.--At work in vine-furrows. Aries careful, but rather stupid. 45. APRIL.--Feeding his hawk--very pretty. Taurus above with charming leaves to eat. 46. MAY.--Very singularly, a middle-aged man sitting under the trees to hear the birds sing; and Gemini above, a bridegroom and bride. This quatrefoil joins the interior angle ones of Zephaniah. 52. JUNE.--Opposite, joining the interior angle ones of Haggai. Mowing. Note the lovely flowers sculptured all through the grass. Cancer above, with his shell superbly modelled. 51. JULY.--Reaping. Extremely beautiful. The smiling lion completes the evidence that all the seasons and signs are regarded as alike blessing and providentially kind. 50. AUGUST.--Threshing. Virgo above, holding a flower, her drapery very modern and confused for thirteenth-century work. 49. SEPTEMBER.--I am not sure of his action, whether pruning, or in some way gathering fruit from the full-leaved tree. Libra above; charming. [Illustration: ST. MARY.] 48. OCTOBER.--Treading grapes. Scorpio, a very traditional and gentle form--forked in the tail indeed, but stingless. 47. NOVEMBER.--Sowing, with Sagittarius, half concealed when this photograph was taken by the beautiful arrangements always now going on for some job or other in French cathedrals:--they never can let them alone for ten minutes.
49. And next, please observe this broad historical fact about the three sorts of Madonnas. There is first the Madonna Dolorosa; the Byzantine type, and Cimabue's. It is the noblest of all; and the earliest, in distinct popular influence.[68] [Footnote 68: See the description of the Madonna of Murano, in second volume of 'Stones of Venice.'] Secondly. The Madone Reine, who is essentially the Frank and Norman one; crowned, calm, and full of power and gentleness. She is the one represented in this porch. Thirdly. The Madone Nourrice, who is the Raphaelesque and generally late and decadence one. She is seen here in a good French type in the south transept porch, as before noticed. An admirable comparison will be found instituted by M. Viollet le Duc (the article 'Vierge,' in his dictionary, is altogether deserving of the most attentive study) between this statue of the Queen-Madonna of the southern porch and the Nurse-Madonna of the transept. I may perhaps be able to get a photograph made of his two drawings, side by side: but, if I can, the reader will please observe that he has a little flattered the Queen, and a little vulgarized the Nurse, which is not fair. The statue in this porch is in thirteenth-century style, extremely good: but there is no reason for making any fuss about it--the earlier Byzantine types being far grander. 50. The Madonna's story, in its main incidents, is told in the series of statues round the porch, and in the quatrefoils below--several of which refer, however, to a legend about the Magi to which I have not had access, and I am not sure of their interpretation. 29. The Angel Gabriel. On the right hand, reading outward, 35, 36, 37, The three Kings.
29. Under Gabriel-- 30. Under Virgin Annunciate-- 31. Under Virgin Visitant-- 32. Under St. Elizabeth-- 33. Under Virgin in Presentation-- 34. Under St. Simeon--
Then on the opposite side, under the Queen of Sheba, and joining the A and B of Obadiah-- 39. Under Solomon-- 38. Under Herod-- 37. Under the third King-- 36. Under the second King-- 35. Under the first King--
But into questions respecting the art of these bas-reliefs I do not here attempt to enter. They were never intended to serve as more than signs, or guides to thought. And if the reader follows this guidance quietly, he may create for himself better pictures in his heart; and at all events may recognize these following general truths, as their united message. 52. First, that throughout the Sermon on this Amiens Mount, Christ never appears, or is for a moment thought of, as the Crucified, nor as the Dead: but as the Incarnate Word--as the present Friend--as the Prince of Peace on Earth,--and as the Everlasting King in Heaven. What His life _is_, what His commands _are_, and what His judgment _will be_, are the things here taught: not what He once did, nor what He once suffered, but what He is now doing--and what He requires us to do. That is the pure, joyful, beautiful lesson of Christianity; and the fall from that faith, and all the corruptions of its abortive practice, may be summed briefly as the habitual contemplation of Christ's death instead of His Life, and the substitution of His past suffering for our present duty. 53. Then, secondly, though Christ bears not _His_ cross, the mourning prophets,--the persecuted apostles--and the martyred disciples _do_ bear theirs. For just as it is well for you to remember what your undying Creator is _doing_ for you--it is well for you to remember what your dying fellow-creatures _have done_: the Creator you may at your pleasure deny or defy--the Martyr you can only forget; deny, you cannot. Every stone of this building is cemented with his blood, and there is no furrow of its pillars that was not ploughed by his pain. 54. Keeping, then, these things in your heart, look back now to the central statue of Christ, and hear His message with understanding. He holds the Book of the Eternal Law in His left hand; with His right He blesses,--but blesses on condition. "This do, and thou shalt live"; nay, in stricter and more piercing sense, This _be_ and thou shalt live: to show Mercy is nothing--thy soul must be full of mercy; to be pure in act is nothing--thou shalt be pure in heart also. And with this further word of the unabolished law--"This if thou do _not_, this if thou art not, thou shalt die." 55. Die (whatever Death means)--totally and irrevocably. There is no word in thirteenth-century Theology of the pardon (in our modern sense) of sins; and there is none of the Purgatory of them. Above that image of Christ with us, our Friend, is set the image of Christ over us, our Judge. For this present life--here is His helpful Presence. After this life--there is His coming to take account of our deeds, and of our desires in them; and the parting asunder of the Obedient from the Disobedient, of the Loving from the Unkind, with no hope given to the last of recall or reconciliation. I do not know what commenting or softening doctrines were written in frightened minuscule by the Fathers, or hinted in hesitating whispers by the prelates of the early Church. But I know that the language of every graven stone and every glowing window,--of things daily seen and universally understood by the people, was absolutely and alone, this teaching of Moses from Sinai in the beginning, and of St. John from Patmos in the end, of the Revelation of God to Israel. This it was, simply--sternly--and continually, for the great three hundred years of Christianity in her strength (eleventh, twelfth, and thirteenth centuries), and over the whole breadth and depth of her dominion, from Iona to Cyrene,--and from Calpe to Jerusalem. At what time the doctrine of Purgatory was openly accepted by Catholic Doctors, I neither know nor care to know. It was first formalized by Dante, but never accepted for an instant by the sacred artist teachers of his time--or by those of any great school or time whatsoever.[69] [Footnote 69: The most authentic foundations of the Purgatorial scheme in art-teaching are in the renderings, subsequent to the thirteenth century, of the verse "by which also He went and preached unto the spirits in prison," forming gradually into the idea of the deliverance of the waiting saints from the power of the grave. In literature and tradition, the idea is originally, I believe, Platonic; certainly not Homeric. Egyptian possibly--but I have read nothing yet of the recent discoveries in Egypt. Not, however, quite liking to leave the matter in the complete emptiness of my own resources, I have appealed to my general investigator, Mr. Anderson (James R.), who writes as follows:-- "There is no possible question about the doctrine and universal inculcation of it, ages before Dante. Curiously enough, though, the statement of it in the Summa Theologiae as we have it is a later insertion; but I find by references that St. Thomas teaches it elsewhere. Albertus Magnus developes it at length. If you refer to the 'Golden Legend' under All Souls' Day, you will see how the idea is assumed as a commonplace in a work meant for popular use in the thirteenth century. St. Gregory (the Pope) argues for it (Dial. iv. 38) on two scriptural quotations: (1), the sin that is forgiven neither in hoc saeculo _nor in that which is to come_, and (2), the fire which shall try every man's work. I think Platonic philosophy and the Greek mysteries must have had a good deal to do with introducing the idea originally; but with them--as to Virgil--it was part of the Eastern vision of a circling stream of life from which only a few drops were at intervals tossed to a definitely permanent Elysium or a definitely permanent Hell. It suits that scheme better than it does the Christian one, which attaches ultimately in all cases infinite importance to the results of life in hoc saeculo. "Do you know any representation of Heaven or Hell unconnected with the Last Judgment? I don't remember any, and as Purgatory is by that time past, this would account for the absence of pictures of it. "Besides, Purgatory precedes the Resurrection--there is continual question among divines what manner of purgatorial fire it may be that affects spirits separate from the body--perhaps Heaven and Hell, as opposed to Purgatory, were felt to be picturable because not only spirits, but the risen bodies too are conceived in them. "Bede's account of the Ayrshire seer's vision gives Purgatory in words very like Dante's description of the second stormy circle in Hell; and the angel which ultimately saves the Scotchman from the fiends comes through hell, 'quasi fulgor stellae micantis inter tenebras'--'qual sul presso del mattino Per gli grossi vapor Marte rosseggia.' Bede's name was great in the middle ages. Dante meets him in Heaven, and, I like to hope, may have been helped by the vision of my fellow-countryman more than six hundred years before."] 56. Neither do I know nor care to know--at what time the notion of Justification by Faith, in the modern sense, first got itself distinctively fixed in the minds of the heretical sects and schools of the North. Practically its strength was founded by its first authors on an asceticism which differed from monastic rule in being only able to destroy, never to build; and in endeavouring to force what severity it thought proper for itself on everybody else also; and so striving to make one artless, letterless, and merciless monastery of all the world. Its virulent effort broke down amidst furies of reactionary dissoluteness and disbelief, and remains now the basest of popular solders and plasters for every condition of broken law and bruised conscience which interest can provoke, or hypocrisy disguise. 57. With the subsequent quarrels between the two great sects of the corrupted church, about prayers for the Dead, Indulgences to the Living, Papal supremacies, or Popular liberties, no man, woman, or child need trouble themselves in studying the history of Christianity: they are nothing but the squabbles of men, and laughter of fiends among its ruins. The Life, and Gospel, and Power of it, are all written in the mighty works of its true believers: in Normandy and Sicily, on river islets of France and in the river glens of England, on the rocks of Orvieto, and by the sands of Arno. But of all, the simplest, completest, and most authoritative in its lessons to the active mind of North Europe, is this on the foundation stones of Amiens. 58. Believe it or not, reader, as you will: understand only how thoroughly it _was_ once believed; and that all beautiful things were made, and all brave deeds done in the strength of it--until what we may call 'this present time,' in which it is gravely asked whether Religion has any effect on morals, by persons who have essentially no idea whatever of the meaning of either Religion or Morality. Concerning which dispute, this much perhaps you may have the patience finally to read, as the Fleche of Amiens fades in the distance, and your carriage rushes towards the Isle of France, which now exhibits the most admired patterns of European Art, intelligence, and behaviour. 59. All human creatures, in all ages and places of the world, who have had warm affections, common sense, and self-command, have been, and are, Naturally Moral. Human nature in its fulness is necessarily Moral,--without Love, it is inhuman, without sense,[70] inhuman,--without discipline, inhuman. [Footnote 70: I don't mean aesthesis,--but [Greek: nous], if you _must_ talk in Greek slang.] In the exact proportion in which men are bred capable of these things, and are educated to love, to think, and to endure, they become noble,--live happily--die calmly: are remembered with perpetual honour by their race, and for the perpetual good of it. All wise men know and have known these things, since the form of man was separated from the dust. The knowledge and enforcement of them have nothing to do with religion: a good and wise man differs from a bad and idiotic one, simply as a good dog from a cur, and as any manner of dog from a wolf or a weasel. And if you are to believe in, or preach without half believing in, a spiritual world or law--only in the hope that whatever you do, or anybody else does, that is foolish or beastly, may be in them and by them mended and patched and pardoned and worked up again as good as new--the less you believe in--and most solemnly, the less you talk about--a spiritual world, the better. 60. But if, loving well the creatures that are like yourself, you feel that you would love still more dearly, creatures better than yourself--were they revealed to you;--if striving with all your might to mend what is evil, near you and around, you would fain look for a day when some Judge of all the Earth shall wholly do right, and the little hills rejoice on every side; if, parting with the companions that have given you all the best joy you had on Earth, you desire ever to meet their eyes again and clasp their hands,--where eyes shall no more be dim, nor hands fail;--if, preparing yourselves to lie down beneath the grass in silence and loneliness, seeing no more beauty, and feeling no more gladness--you would care for the promise to you of a time when you should see God's light again, and know the things you have longed to know, and walk in the peace of everlasting Love--_then_, the Hope of these things to you is religion, the Substance of them in your life is Faith. And in the power of them, it is promised us, that the kingdoms of this world shall yet become the kingdoms of our Lord and of His Christ. [Illustration: Plan of West porches of Amiens Cathedral] _ |
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