Backlog Studies

by Charles Dudley Warner

A good many people have the idea, so it seems, that Gothic architecture and Christianity are essentially one and the same thing. Just as many regard it as an act of piety to work an altar cloth or to cushion a pulpit. It may be, and it may not be.

Our Gothic church is likely to prove to us a valuable religious experience, bringing out many of the Christian virtues. It may have had its origin in pride, but it is all being overruled for our good. Of course I need n't explain that it is the thirteenth century ecclesiastic Gothic that is epidemic in this country; and I think it has attacked the Congregational and the other non-ritual churches more violently than any others. We have had it here in its most beautiful and dangerous forms. I believe we are pretty much all of us supplied with a Gothic church now. Such has been the enthusiasm in this devout direction, that I should not be surprised to see our rich private citizens putting up Gothic churches for their individual amusement and sanctification. As the day will probably come when every man in Hartford will live in his own mammoth, five-story granite insurance building, it may not be unreasonable to expect that every man will sport his own Gothic church. It is beginning to be discovered that the Gothic sort of church edifice is fatal to the Congregational style of worship that has been prevalent here in New England; but it will do nicely (as they say in Boston) for private devotion.

There isn't a finer or purer church than ours any where, inside and outside Gothic to the last. The elevation of the nave gives it even that “high-shouldered” appearance which seemed more than anything else to impress Mr. Hawthorne in the cathedral at Amiens. I fancy that for genuine high-shoulderness we are not exceeded by any church in the city. Our chapel in the rear is as Gothic as the rest of it,—a beautiful little edifice. The committee forgot to make any more provision for ventilating that than the church, and it takes a pretty well-seasoned Christian to stay in it long at a time. The Sunday-school is held there, and it is thought to be best to accustom the children to bad air before they go into the church. The poor little dears shouldn't have the wickedness and impurity of this world break on them too suddenly. If the stranger noticed any lack about our church, it would be that of a spire. There is a place for one; indeed, it was begun, and then the builders seem to have stopped, with the notion that it would grow itself from such a good root. It is a mistake however, to suppose that we do not know that the church has what the profane here call a “stump-tail” appearance. But the profane are as ignorant of history as they are of true Gothic. All the Old World cathedrals were the work of centuries. That at Milan is scarcely finished yet; the unfinished spires of the Cologne cathedral are one of the best-known features of it. I doubt if it would be in the Gothic spirit to finish a church at once. We can tell cavilers that we shall have a spire at the proper time, and not a minute before. It may depend a little upon what the Baptists do, who are to build near us. I, for one, think we had better wait and see how high the Baptist spire is before we run ours up. The church is everything that could be desired inside. There is the nave, with its lofty and beautiful arched ceiling; there are the side aisles, and two elegant rows of stone pillars, stained so as to be a perfect imitation of stucco; there is the apse, with its stained glass and exquisite lines; and there is an organ-loft over the front entrance, with a rose window. Nothing was wanting, so far as we could see, except that we should adapt ourselves to the circumstances; and that we have been trying to do ever since. It may be well to relate how we do it, for the benefit of other inchoate Goths.

It was found that if we put up the organ in the loft, it would hide the beautiful rose window. Besides, we wanted congregational singing, and if we hired a choir, and hung it up there under the roof, like a cage of birds, we should not have congregational singing. We therefore left the organ-loft vacant, making no further use of it than to satisfy our Gothic cravings. As for choir,—several of the singers of the church volunteered to sit together in the front side-seats, and as there was no place for an organ, they gallantly rallied round a melodeon,—or perhaps it is a cabinet organ,—a charming instrument, and, as everybody knows, entirely in keeping with the pillars, arches, and great spaces of a real Gothic edifice. It is the union of simplicity with grandeur, for which we have all been looking. I need not say to those who have ever heard a melodeon, that there is nothing like it. It is rare, even in the finest churches on the Continent. And we had congregational singing. And it went very well indeed. One of the advantages of pure congregational singing, is that you can join in the singing whether you have a voice or not. The disadvantage is, that your neighbor can do the same. It is strange what an uncommonly poor lot of voices there is, even among good people. But we enjoy it. If you do not enjoy it, you can change your seat until you get among a good lot.

So far, everything went well. But it was next discovered that it was difficult to hear the minister, who had a very handsome little desk in the apse, somewhat distant from the bulk of the congregation; still, we could most of us see him on a clear day. The church was admirably built for echoes, and the centre of the house was very favorable to them. When you sat in the centre of the house, it sometimes seemed as if three or four ministers were speaking.

It is usually so in cathedrals; the Right Reverend So-and-So is assisted by the very Reverend Such-and-Such, and the good deal Reverend Thus-and-Thus, and so on. But a good deal of the minister's voice appeared to go up into the groined arches, and, as there was no one up there, some of his best things were lost. We also had a notion that some of it went into the cavernous organ-loft. It would have been all right if there had been a choir there, for choirs usually need more preaching, and pay less heed to it, than any other part of the congregation. Well, we drew a sort of screen over the organ-loft; but the result was not as marked as we had hoped. We next devised a sounding-board,—a sort of mammoth clamshell, painted white,—and erected it behind the minister. It had a good effect on the minister. It kept him up straight to his work. So long as he kept his head exactly in the focus, his voice went out and did not return to him; but if he moved either way, he was assailed by a Babel of clamoring echoes. There was no opportunity for him to splurge about from side to side of the pulpit, as some do. And if he raised his voice much, or attempted any extra flights, he was liable to be drowned in a refluent sea of his own eloquence. And he could hear the congregation as well as they could hear him. All the coughs, whispers, noises, were gathered in the wooden tympanum behind him, and poured into his ears.

But the sounding-board was an improvement, and we advanced to bolder measures; having heard a little, we wanted to hear more. Besides, those who sat in front began to be discontented with the melodeon. There are depths in music which the melodeon, even when it is called a cabinet organ, with a colored boy at the bellows, cannot sound. The melodeon was not, originally, designed for the Gothic worship. We determined to have an organ, and we speculated whether, by erecting it in the apse, we could not fill up that elegant portion of the church, and compel the preacher's voice to leave it, and go out over the pews. It would of course do something to efface the main beauty of a Gothic church; but something must be done, and we began a series of experiments to test the probable effects of putting the organ and choir behind the minister. We moved the desk to the very front of the platform, and erected behind it a high, square board screen, like a section of tight fence round the fair-grounds. This did help matters. The minister spoke with more ease, and we could hear him better. If the screen had been intended to stay there, we should have agitated the subject of painting it. But this was only an experiment.

Our next move was to shove the screen back and mount the volunteer singers, melodeon and all, upon the platform,—some twenty of them crowded together behind the minister. The effect was beautiful. It seemed as if we had taken care to select the finest-looking people in the congregation,—much to the injury of the congregation, of course, as seen from the platform. There are few congregations that can stand this sort of culling, though ours can endure it as well as any; yet it devolves upon those of us who remain the responsibility of looking as well as we can.

The experiment was a success, so far as appearances went, but when the screen went back, the minister's voice went back with it. We could not hear him very well, though we could hear the choir as plain as day. We have thought of remedying this last defect by putting the high screen in front of the singers, and close to the minister, as it was before. This would make the singers invisible,—“though lost to sight, to memory dear,”—what is sometimes called an “angel choir,” when the singers (and the melodeon) are concealed, with the most subdued and religious effect. It is often so in cathedrals.

This plan would have another advantage. The singers on the platform, all handsome and well dressed, distract our attention from the minister, and what he is saying. We cannot help looking at them, studying all the faces and all the dresses. If one of them sits up very straight, he is a rebuke to us; if he “lops” over, we wonder why he does n't sit up; if his hair is white, we wonder whether it is age or family peculiarity; if he yawns, we want to yawn; if he takes up a hymn-book, we wonder if he is uninterested in the sermon; we look at the bonnets, and query if that is the latest spring style, or whether we are to look for another; if he shaves close, we wonder why he doesn't let his beard grow; if he has long whiskers, we wonder why he does n't trim 'em; if she sighs, we feel sorry; if she smiles, we would like to know what it is about. And, then, suppose any of the singers should ever want to eat fennel, or peppermints, or Brown's troches, and pass them round! Suppose the singers, more or less of them, should sneeze!