What variety there is in this edifice, which seemed all alike at the
first glance! The proportions of the columns, the designs of the
capitals and the forms of the arches, change, so to speak, at every
step you take. Most of the columns are ancient and were brought by the
Arabs from Northern Spain, Gaul, and Roman Africa; and some of them,
it is said, belonged to a temple of Janus on whose ruins was built the
church which the Arabs destroyed in order to erect this Mosque. On many
of the capitals you can still distinguish the cross, which was carved
upon them and which the Arabs erased with their chisels. In some of the
columns pieces of curved iron are fixed, to which it is said the Arabs
chained the Christians; one, particularly, is exhibited, to which,
according to popular tradition, a Christian was chained for many long
years, and during this time he dug at the stone with his nails to make
a cross, which the guides show you with deep veneration.
We stood before the Maksura, the most complete and marvellous example
of Arabian Art of the Tenth Century. There are three adjacent chapels
in front of it, with vaulted ceilings of dentelated arches and walls
covered with superb mosaics in the form of large bunches of flowers
and inscriptions from the Koran. The principal Mihrab, the holy place
where the spirit of God dwells, is at the back of the central chapel.
It is a niche with an octagon base and arched at the top by an enormous
shell of marble. In the Mihrab, and fastened on a stool of aloe-wood,
was kept the Koran, copied by the hand of the Caliph Othman, covered
with gold and ornamented with pearls; and the faithful made the tour
of it seven times on their knees. On approaching the wall, I felt the
pavement sink under my feet: the marble is hollowed out!
Coming out of the niche, I stopped for a long time to look at the
ceiling and the walls of the principal church, the only portion of
the Mosque which is almost intact. It is a dazzling array of crystal
of a thousand colours, an interlacing of arabesques which confounds
the imagination, a complication of bas-reliefs, of gold-work, of
ornaments, and of details of design and hues of a delicacy, a grace,
and a perfection to drive the most patient painter to despair. It is
impossible to recall clearly that prodigious work; you might return
a hundred times to look at it, yet it would only be remembered as
an aggregation of blue, red, green, golden, and luminous points, or
a complicated embroidery whose patterns and colours are continually
changing. Such a miracle of art could only emanate from the fiery and
indefatigable imagination of the Arabs.
Again we wandered about the Mosque, examining here and there on the
walls the arabesques of the ancient doors, of which you get glimpses
from beneath the detestable Christian paint. My companions looked at
me, laughed, and whispered to each other.
“You have not seen it yet?” asked one.
“What?”
They looked at each other again and smiled.
“Do you think you have seen the entire Mosque?” said the one who had
first spoken.
“I? Yes,” I replied, looking around me.
“Well, you have not seen it all: what remains to be seen is a
church--nothing more!”
“A church!” I cried, stupefied, “where is it?”
“Look!” said the other companion, pointing it out, “it is in the very
centre of the Mosque.”
“Good heavens! And I had not noticed it at all!”
By that you may judge of the size of the Mosque. We went to see the
church. It is very beautiful and very rich, with a magnificent high
altar and a choir worthy of ranking with those of Burgos and Toledo;
but, like all things which do not harmonize with their surroundings, it
annoys you instead of exciting your admiration. Even Charles V., who
gave the Chapter permission to build it here, repented when he saw the
Mussulman temple. Next to the church there is a kind of Arabian chapel,
admirably preserved and rich in mosaics not less beautiful and varied
than those of the Maksura; it is said that the doctors of this religion
met there to read the Book of the Prophet.
Such is the Mosque of to-day.
What must it have been in the time of the Arabs! It was not enclosed
then by a surrounding wall, but it was open in such a way that the
garden could be seen from every one of its parts, while from the garden
you could see the entire length of the long naves, and the breeze
carried the perfume from the orange-trees and flowers to the very
arches of the Maksura. Of the columns, which to-day number less than
a thousand, there were fourteen hundred; the ceiling was of cedar and
larch sculptured and incrusted with the most delicate work; the walls
were of marble; the light of eight hundred lamps filled with perfumed
oil made the crystals in the mosaics sparkle like diamonds and caused a
marvellous play of colour and reflection on the floor, on the arches,
and on the walls. “An ocean of splendours,” a poet said, “filled this
mysterious enclosure, the balmy air was impregnated with aromas, and
the thoughts of the faithful strayed until they became lost in the
labyrinth of columns which glimmered like lances in the sunlight.”
_La Spagna_ (Florence, 1873).
THE CATHEDRAL OF THRONDTJEM.
AUGUSTUS J. C. HARE.
On July 25 we left Kristiania for Throndtjem--the whole journey of
three hundred and sixty miles being very comfortable, and only costing
thirty francs. The route has no great beauty, but endless pleasant
variety--rail to Eidswold, with bilberries and strawberries in pretty
birch-bark baskets for sale at all the railway stations; a vibrating
steamer for several hours on the long, dull Miosem lake; railway again,
with some of the carriages open at the sides; then an obligatory night
at Koppang, a large station, where accommodation is provided for every
one, but where, if there are many passengers, several people, strangers
to each other, are expected to share the same room. On the second
day the scenery improves, the railway sometimes running along and
sometimes over the river Glommen on a wooden causeway, till the gorge
of mountains opens beyond Stören, into a rich country with turfy mounds
constantly reminding us of the graves of the hero-gods of Upsala.
Towards sunset, beyond the deep cleft in which the river Nid runs
between lines of old painted wooden warehouses, rises the burial place
of S. Olaf, the shrine of Scandinavian Christianity, the stumpy-towered
Cathedral of Throndtjem. The most northern railway station, and the
most northern cathedral in Europe.
[Illustration: CATHEDRAL OF THRONDTJEM, NORWAY]
Surely the cradle of Scandinavian Christianity is one of the most
beautiful places in the world! No one had ever told us about it, and we
went there only because it is the old Throndtjem of sagas and ballads,
and expecting a wonderful and beautiful cathedral.
But the whole place is a dream of loveliness, so exquisite in the
soft silvery morning light on the fyord and delicate mountain ranges,
the rich nearer hills covered with bilberries and breaking into steep
cliffs--that one remains in a state of transport, which is at a climax
while all is engraven upon an opal sunset sky, when an amethystine glow
spreads over the mountains, and when ships and buildings meet their
double in the still transparent water. Each wide street of curious low
wooden houses displays a new vista of sea, of rocky promontories, of
woods dipping into the water; and at the end of the principal street is
the grey massive Cathedral where S. Olaf is buried, and where northern
art and poetry have exhausted their loveliest and most pathetic fancies
around the grave of the national hero.
The “Cathedral Garden,” for so the graveyard is called, is most
touching. Acres upon acres of graves are all kept--not by officials,
but by the families they belong to--like gardens. The tombs are
embowered in roses and honeysuckle, and each little green mound has
its own vase for cut flowers daily replenished, and a seat for the
survivors, which is daily occupied, so that the link between the dead
and the living is never broken.
Christianity was first established in Norway at the end of the Tenth
Century by King Olaf Trygveson, son of Trygve and of the lady Astrida,
whose romantic adventures, when sold as a slave after her husband’s
death, are the subject of a thousand stories. When Olaf succeeded to
the throne of Norway after the death of Hako, son of Sigurd, in 996, he
proclaimed Christianity throughout his dominions, heard matins himself
daily, and sent out missionaries through his dominions. But the duty of
the so-called missionaries had little to do with teaching, they were
only required to baptize. All who refused baptism were tortured and put
to death. When, at one time, the estates of the province of Throndtjem
tried to force Olaf back to the old religion, he outwardly assented,
but made the condition that the offended pagan deities should in that
case be appeased by human sacrifice--the sacrifice of the twelve nobles
who were most urgent in compelling him; and upon this the ardour of the
chieftains for paganism was cooled, and they allowed Olaf unhindered to
demolish the great statue of Thor, covered with gold and jewels, in the
centre of the province of Throndtjem, where he founded the city then
called Nidaros, upon the river Nid....
Olaf Trygveson had a godson Olaf, son of Harald Grenske and Asta,
who had the nominal title of king given to all sea captains of royal
descent. From his twelfth year, Olaf Haraldsen was a pirate, and he
headed the band of Danes who destroyed Canterbury and murdered S.
Elphege--a strange feature in the life of one who has been himself
regarded as a saint since his death. By one of the strange freaks
of fortune common in those times, this Olaf Haraldsen gained a
great victory over the chieftain Sweyn, who then ruled at Nidaros,
and, chiefly through the influence of Sigurd Syr, a great northern
landowner, who had become the second husband of his mother, he became
seated in 1016 upon the throne of Norway. His first care was for the
restoration of Christianity, which had fallen into decadence in the
sixteen years which had elapsed since the defeat of Olaf Trygveson.
The second Olaf imitated the violence and cruelty of his predecessor.
Whenever the new religion was rejected, he beheaded or hung the
delinquents. In his most merciful moments he mutilated and blinded
them: “he did not spare one who refused to serve God.”...
However terrible the cruelties of Olaf Haraldsen were in his lifetime,
they were soon dazzled out of sight amid the halo of miracles with
which his memory was encircled by the Roman Catholic Church....
It was when the devotion to S. Olaf was just beginning that Earl Godwin
and his sons were banished from England for a time. Two of these,
Harold and Tosti, became vikings, and, in a great battle, they vowed
that if they were victorious, they would give half the spoil to the
shrine of S. Olaf; and a huge silver statue, which they actually gave,
existed at Throndtjem till 1500, and if it existed still would be one
of the most important relics in archæology. The old Kings of Norway
used to dig up the saint from time to time and cut his nails. When
Harold Hardrada was going to England, he declared that he must see S.
Olaf once again. “I must see my brother once more,” he said, and he
also cut the saint’s nails. But he also thought that from that time it
would be better that no one should see his brother any more--it would
not be for the good of the Church--so he took the keys of the shrine
and threw them into the fyord; at the same time, he said, it would be
good for men in after ages to know what a great king was like, so he
caused S. Olaf’s measure to be engraved upon the wall in the church at
Throndtjem--his measure of seven feet--and there it is still.
Around the shrine of Olaf in Throndtjem, in which, in spite of Harald
Hardrada, his “incorrupt body” was seen more than five hundred years
after his death, has arisen the most beautiful of northern cathedrals,
originating in a small chapel built over his grave within ten years
after his death. The exquisite colour of its green-grey stone adds
greatly to the general effect of the interior, and to the delicate
sculpture of its interlacing arches. From the ambulatory behind the
choir opens a tiny chamber containing the Well of S. Olaf, of rugged
yellow stone, with the holes remaining in the pavement through which
the dripping water ran away when the buckets were set down. Amongst the
many famous bishops of Throndtjem, perhaps the most celebrated has been
Anders Arrebo, “the father of Danish poetry” (1587–1637), who wrote
the “Hexameron,” an extraordinarily long poem on the Creation, which
nobody reads now. The Cathedral is given up to Lutheran worship, but
its ancient relics are kindly tended and cared for, and the building
is being beautifully restored. Its beautiful Chapter House is lent for
English service on Sundays.
_Sketches in Holland and Scandinavia_ (London, 1885).
LEANING TOWER OF PISA.
CHARLES DICKENS.
From the summit of a lofty hill beyond Carrara, the first view of the
fertile plain in which the town of Pisa lies--with Leghorn a purple
spot in the flat distance--is enchanting. Nor is it only distance that
lends enchantment to the view; for the fruitful country, and rich woods
of olive-trees through which the road subsequently passes, render it
delightful.
The moon was shining when we approached Pisa, and for a long time
we could see, behind the wall, the Leaning Tower, all awry in
the uncertain light; the shadowy original of the old pictures in
school-books, setting forth “The Wonders of the World.” Like most
things connected in their first associations with school-books and
school-times, it was too small. I felt it keenly. It was nothing like
so high above the wall as I had hoped. It was another of the many
deceptions practised by Mr. Harris, Bookseller, at the corner of St.
Paul’s Church-yard, London. _His_ Tower was a fiction, but this was
reality--and, by comparison, a short reality. Still, it looked very
well, and very strange, and was quite as much out of the perpendicular
as Harris had represented it to be. The quiet air of Pisa, too; the
big guard-house at the gate, with only two little soldiers in it;
the streets, with scarcely any show of people in them; and the Arno,
flowing quaintly through the centre of the town; were excellent. So,
I bore no malice in my heart against Mr. Harris (remembering his good
intentions), but forgave him before dinner, and went out, full of
confidence, to see the Tower next morning.
[Illustration: THE LEANING TOWER OF PISA.]
I might have known better; but, somehow, I had expected to see it
casting its long shadow on a public street where people came and went
all day. It was a surprise to me to find it in a grave, retired place,
apart from the general resort, and carpeted with smooth green turf.
But, the group of buildings clustered on and about this verdant carpet;
comprising the Tower, the Baptistery, the Cathedral, and the Church of
the Campo Santo; is perhaps the most remarkable and beautiful in the
whole world; and, from being clustered there together away from the
ordinary transactions and details of the town, they have a singularly
venerable and impressive character. It is the architectural essence
of a rich old city, with all its common life and common habitations
pressed out, and filtered away.
SIMOND compares the Tower to the usual pictorial representations
in children’s books of the Tower of Babel. It is a happy simile,
and conveys a better idea of the building than chapters of laboured
description. Nothing can exceed the grace and lightness of the
structure; nothing can be more remarkable than its general appearance.
In the course of the ascent to the top (which is by an easy staircase),
the inclination is not very apparent; but, at the summit, it becomes
so, and gives one the sensation of being in a ship that has heeled
over, through the action of an ebb tide. The effect _upon the low
side_, so to speak--looking over from the gallery, and seeing the shaft
recede to its base--is very startling; and I saw a nervous traveller
hold on to the Tower involuntarily, after glancing down, as if he had
some idea of propping it up. The view within, from the ground--looking
up, as through a slanted tube--is also very curious. It certainly
inclines as much as the most sanguine tourist could desire. The natural
impulse of ninety-nine people out of a hundred, who were about to
recline upon the grass below it to rest, and contemplate the adjacent
buildings, would probably be, not to take up their position under the
leaning side; it is so very much aslant.
_Pictures from Italy_ (London, 1845).
THE CATHEDRAL OF CANTERBURY.
W. H FREMANTLE.
The foundation of St. Martin’s Church and the lower part of its walls,
which are Roman, stood in 598 as they stand to-day; and they were the
walls of the little church which had been given to the Christian Queen
Bertha and her chaplain Bishop Luithart, by her pagan husband King
Ethelbert. When Augustine passed towards the city, as described by the
Venerable Bede, with his little procession headed by the monk carrying
a board on which was a rough picture of Christ, and a chorister bearing
a silver cross, his heart, no doubt, beat high with hope: but his hope
would have grown into exultation could he have looked forward through
the centuries, and beheld the magnificent Cathedral which was to spring
up where his episcopal throne was fixed, and the energetic and varied
Christian life which has issued from this first home of Anglo-Saxon
Christianity. To us the scene is full of historical recollections.
Between the place where we are standing and the Cathedral are the
city walls, on the very site which they occupied in the days of
Ethelbert, and the postern-gate through which Queen Bertha came every
day to her prayers; in the nearer distance, a little to the right of
the Cathedral, are the remains of the great abbey which Augustine
founded; to our left is the Pilgrims’ Way, by which, after Becket’s
canonization, those who landed at Dover made their way to the shrine of
St. Thomas.
[Illustration: THE CATHEDRAL OF CANTERBURY.]
The eye glances over the valley of the Stour, enclosed between the
hill on which we are placed and that of St. Thomas, crowned by the
fine buildings of the Clergy Orphan School; and ranges from Harbledown
(Chaucer’s “little town under the Blean ycleped Bob-up-and-down”) on
the left to the Jesuit College at Hale’s Place farther to the right;
and thence down the valley to Fordwich, where formerly the waters of
the Stour joined those of the Wantsome, the estuary separating Thanet
from the mainland. This town at the Domesday epoch was a port with
flourishing mills and fisheries. There the Caen stone was landed to
build the Cathedral, and the tuns of wine from the monks’ vineyards in
France were lifted out of the ships by the mayor’s crane....
But it is time that we go into the Cathedral precincts. Making use of
a canon’s key, we pass, by Queen Bertha’s Postern, through the old
city walls, along a piece of the ancient Queningate lane--a reserved
space between the walls of the city and the precincts, along which the
citizens and troops could pass freely for purposes of defence: through
the Bowling Green, where the tower of Prior Chillenden is seen to have
been used as a pigeon-house, into the Cathedral Yard. In so doing we
pass under a Norman archway of the date of Lanfranc and the Conqueror,
which formerly stood in a wall separating the cemetery of the monks
from that of the laity; then along the south side of the Cathedral,
passing Anselm’s chapel, and the beautiful Norman tower attached to
the south-eastern transept, with its elaborate tracery, which shows
how delicate Norman work could be; past the south porch, over which
is a bas-relief of the altar where the sword of Becket’s murderer was
preserved; and round, past the western door, into the cloister.
The cloister occupies the same space as the Norman cloister built
by Lanfranc, but of the Norman work only a doorway remains at the
north-east corner; there is some Early English arcading on the north
side, but the present tracery and fan-worked roof belong to the end
of the Fourteenth Century, when Archbishops Sudbury, Arundell, and
Courtenay, and Prior Chillenden (1390–1411) rebuilt the nave, the
cloister and the chapter-house. The later work cuts across the older in
the most unceremonious way, as is seen especially in the square doorway
by which we shall presently enter the “Martyrdom,” which cuts into a
far more beautiful portal of the decorated period....
If from the place at which we have in imagination been standing, at
the north-west corner of the cloister, we look for a moment behind us,
we see in the wall a blocked-up door, with a curious door at the side
of it. The hole is said to have been made in order to pass bottles
and other articles through from the cellarer’s lodgings, which were
on the other side of the wall. The doorway was the entrance from the
Archbishop’s Palace, which occupied the space a little further to the
west; and through it Becket passed out to his death, on the 29th of
December, 1170....
Henry had to do penance, and practically to concede the clerical
immunities for which Becket had contended; and Becket became a saint,
“the holy, blissful martyr,” himself the worker of a thousand miracles,
and his shrine the goal of pilgrimages from all parts of England and of
Europe. But, whatever we may think of this, his death was certainly the
making of Canterbury and its Cathedral. Four years after Becket’s death
the choir was burned down (1174): but the treasure which was poured
into the martyr’s church enabled the monks to rebuild it in its present
grander proportions; and the city, which before was insignificant,
became wealthy, populous, and renowned.
The crypt was the first place of Becket’s interment, and into the crypt
we now pass.... The pavement in the centre of the Trinity Chapel (the
part east of the screen) is very rough, being composed of the stones
which formed the steps and pavement of the shrine; but the marble
pavement around it is still as it was when the shrine was standing,
and a perceptible line marks the impress of the pilgrims’ feet as they
stood in a row to see the treasures. The shrine stood upon a platform
approached by three marble steps, some stones of which, grooved by
the pilgrims’ knees, are still seen in the flooring. The platform was
paved with mosaic and medallions, specimens of which may still be seen
in the present pavement. Above this platform was the chased and gilded
coffin of the saint, supported by three arches, which were hung with
votive offerings of extreme richness, and between two of which sick
persons were allowed to pass, so that by rubbing themselves against
the stones they might draw forth virtue from the relics of the saint.
The whole was covered with an oaken case richly decorated, which at
a given signal from the monk whom Erasmus styles the mystagogus, or
master of the mysteries, was drawn up and revealed the riches within
to the wondering gaze of the pilgrims. In the painted windows of the
chapel are the records of the miracles wrought by the intercession of
St. Thomas: here, a dead man being carried out to burial is raised;
there, the parents of a boy who has been drowned in the attempt to
catch frogs in the river are informed of their loss by his companions
with eager gestures, and he too is restored to life; and in each case
offerings of gold and silver are poured upon the shrine; the madman is
seen coming back in his right mind; “Amens accedit, sanus recedit:” and
on several occasions the saint himself comes on the scene to heal the
sick man on his bed, in one case flying forth from the shrine in his
episcopal robes. The worship of Becket was the favourite cultus of the
unreformed Church of England; yet, strange to tell, from the day when
Henry gave orders to demolish the shrine, and to expunge his name from
all the service books and his memorials from all the churches, no one
seems to have thought anything more about him. The blow which, to adapt
the language of the Old Testament, “destroyed Becket out of Israel,”
though violent, was timely.