Of the cathedral there is more to say; but just the spot I speak of is the best standpoint for feeling how fine an influence in the architectural line—where theoretically, at least, influences are great—is the massive tower of an English abbey, dominating the homes of men; and for watching the eddying flight of swallows make vaster still to the eye the high calm fields of stonework. At another point two battered and crumbling towers, decaying in their winding-sheets of ivy, make a prodigiously designed diversion. One inserted in the body of the wall and the other connected with it by a short, crumbling ridge of masonry, they contribute to a positive jumble of local colour. A shaded mall wanders at the foot of the rampart; beside this passes a narrow canal, with locks and barges and burly watermen in smocks and breeches; while the venerable pair of towers, with their old red sandstone sides peeping through the gaps in their green mantles, rest on the soft grass of one of those odd fragments of public garden, a crooked strip of ground turned to social account, which one meets at every turn, apparently, in England—a tribute to the needs of the “masses.” Stat magni nominis umbra. The quotation is doubly pertinent here, for this little garden-strip is adorned with mossy fragments of Roman stonework, bits of pavement, altars, baths, disinterred in the local soil. England is the land of small economies, and the present rarely fails to find good use for the odds and ends of the past. These two hoary shells of masonry are therefore converted into “museums,” receptacles for the dustiest and shabbiest of tawdry back-parlour curiosities. Here preside a couple of those grotesque creatures, à la Dickens, whom one finds squeezed into every cranny of English civilisation, scraping a thin subsistence like mites in a mouldy cheese.
Next after its wall—possibly even before it—Chester values its Rows, an architectural idiosyncrasy which must be seen to be appreciated. They are a sort of gothic edition of the blessed arcades and porticoes of Italy, and consist, roughly speaking, of a running public passage tunnelled through the second story of the houses. The low basement is thus directly on the drive-way, to which a flight of steps descends, at frequent intervals, from this superincumbent verandah. The upper portion of the houses projects to the outer line of the gallery, where they are propped with pillars and posts and parapets. The shop-fronts face along the arcade and admit you to little caverns of traffic, more or less dusky according to their opportunities for illumination in the rear. If the romantic be measured by its hostility to our modern notions of convenience, Chester is probably the most romantic city in the world. This arrangement is endlessly rich in opportunities for amusing effect, but the full charm of the architecture of which it is so essential a part must be observed from the street below. Chester is still an antique town, and mediæval England sits bravely under her gables. Every third house is a “specimen”—gabled and latticed, timbered and carved, and wearing its years more or less lightly. These ancient dwellings present every shade and degree of historical colour and expression. Some are dark with neglect and deformity, and the horizontal slit admitting light into the lurking Row seems to collapse on its dislocated props like a pair of toothless old jaws. Others stand there square-shouldered and sturdy, with their beams painted and straightened, their plaster whitewashed, their carvings polished, and the low casement covering the breadth of the frontage adorned with curtains and flower-pots. It is noticeable that the actual townsfolk have bravely accepted the situation bequeathed by the past, and the large number of rich and intelligent restorations of the old façades makes an effective jumble of their piety and their policy. These elaborate and ingenious repairs attest a highly informed consciousness of the pictorial value of the city. I indeed suspect much of this revived innocence of having recovered a freshness that never can have been, of having been restored with usurious interest. About the genuine antiques there would be properly a great deal to say, for they are really a theme for the philosopher; but the theme is too heavy for my pen, and I can give them but the passing tribute of a sigh. They are cruelly quaint, dreadfully expressive. Fix one of them with your gaze and it seems fairly to reek with mortality. Every stain and crevice seems to syllable some human record—a record of lives airless and unlighted. I have been trying hard to fancy them animated by the children of “Merry England,” but I am quite unable to think of them save as peopled by the victims of dismal old-world pains and fears. Human life, surely, packed away behind those impenetrable lattices of lead and bottle-glass, just above which the black outer beam marks the suffocating nearness of the ceiling, can have expanded into scant freedom and bloomed into small sweetness.
THE ROWS, CHESTER
Nothing has struck me more in my strolls along the Rows than the fact that the most zealous observation can keep but uneven pace with the fine differences in national manners. Some of the most sensible of these differences are yet so subtle and indefinable that one must give up the attempt to express them, though the omission leave but a rough sketch. As you pass with the bustling current from shop to shop you feel local custom and tradition—another tone of things—pressing on you from every side. The tone of things is somehow heavier than with us; manners and modes are more absolute and positive; they seem to swarm and to thicken the atmosphere about you. Morally and physically it is a denser air than ours. We seem loosely hung together at home as compared with the English, every man of whom is a tight fit in his place. It is not an inferential but a palpable fact that England is a crowded country. There is stillness and space—grassy, oak-studded space—at Eaton Hall, where the Marquis of Westminster dwells (or I believe can afford to humour his notion of not dwelling), but there is a crowd and a hubbub in Chester. Wherever you go the population has overflowed. You stroll on the walls at eventide and you hardly find elbow-room. You haunt the cathedral shades and a dozen sauntering mortals temper your solitude. You glance up an alley or side street and discover populous windows and doorsteps. You roll along country roads and find countless humble pedestrians dotting the green waysides. The English landscape is always a “landscape with figures.” And everywhere you go you are accompanied by a vague consciousness of the British child hovering about your knees and coat-skirts, naked, grimy, and portentous. You reflect with a sort of physical relief on Australia, Canada, India. Where there are many men, of course, there are many needs; which helps to justify to the philosophic stranger the vast number and the irresistible coquetry of the little shops which adorn these low-browed Rows. The shop-fronts have always seemed to me the most elegant things in England; and I waste more time than I should care to confess to in covetous contemplation of the vast, clear panes behind which the nether integuments of gentlemen are daintily suspended from glittering brass rods. The manners of the dealers in these comfortable wares seldom fail to confirm your agreeable impression. You are thanked with effusion for expending twopence—a fact of deep significance to the truly analytic mind, and which always seems to me a vague reverberation from certain of Miss Edgeworth’s novels, perused in childhood. When you think of the small profits, the small jealousies, the long waiting and the narrow margin for evil days implied by this redundancy of shops and shopmen, you hear afresh the steady rumble of that deep keynote of English manners, overscored so often, and with such sweet beguilement, by finer harmonies, but never extinguished—the economic struggle for existence.
CHESTER CATHEDRAL, WEST FRONT
The Rows are as “scenic” as one could wish, and it is a pity that before the birth of their modern consciousness there was no English Balzac to introduce them into a realistic romance with a psychological commentary. But the cathedral is better still, modestly as it stands on the roll of English abbeys. It is of moderate dimensions and rather meagre in form and ornament; but to an American it expresses and answers for the type, producing thereby the proper vibrations. Among these is a certain irresistible regret that so much of its hoary substance should give place to the fine, fresh-coloured masonry with which Mr. Gilbert Scott, ruthless renovator, is so intelligently investing it. The red sandstone of the primitive structure, darkened and devoured by time, survives at many points in frowning mockery of the imputed need of tinkering. The great tower, however,—completely restored,—rises high enough to seem to belong, as cathedral towers should, to the far-off air that vibrates with the chimes and the swallows, and to square serenely, east and west and south and north, its embossed and fluted sides. English cathedrals, within, are apt at first to look pale and naked; but after a while, if the proportions be fair and the spaces largely distributed, when you perceive the light beating softly down from the cold clerestory and your eye measures caressingly the tallness of columns and the hollowness of arches, and lingers on the old genteel inscriptions of mural marbles and brasses; and, above all, when you become conscious of that sweet, cool mustiness in the air which seems to haunt these places as the very climate of Episcopacy, you may grow to feel that they are less the empty shells of a departed faith than the abodes of a faith which may still affirm a presence and awaken echoes. Catholicism has gone, but Anglicanism has the next best music. So at least it seemed to me, a Sunday or two since, as I sat in the choir at Chester awaiting a discourse from Canon Kingsley. The Anglican service had never seemed to my profane sense so much an affair of magnificent intonations and cadences—of pompous effects of resonance and melody. The vast oaken architecture of the stalls among which we nestled—somewhat stiffly and with a due apprehension of wounded ribs and knees—climbing vainly against the dizzier reach of the columns; the beautiful English voices of certain officiating canons, the little rosy “king’s scholars” sitting ranged beneath the pulpit, in white-winged surplices, which made their heads, above the pew-edges, look like rows of sleepy cherubs: every element in the scene gave it a great spectacular beauty. They suggested too what is suggested in England at every turn, that conservatism here has all the charm and leaves dissent and democracy and other vulgar variations nothing but their bald logic. Conservatism has the cathedrals, the colleges, the castles, the gardens, the traditions, the associations, the fine names, the better manners, the poetry; Dissent has the dusky brick chapels in provincial by-streets, the names out of Dickens, the uncertain tenure of the h, and the poor mens sibi conscia recti. Differences which in other countries are slight and varying, almost metaphysical, as one may say, are marked in England by a gulf. Nowhere else does the degree of one’s respectability involve such solid consequences, and I am sure I don’t wonder that the sacramental word which with us (and, in such correlatives as they possess, more or less among the continental races) is pronounced lightly and facetiously and as a quotation from the Philistines, is uttered here with a perfectly grave face. To have the courage of one’s mere convictions is in short to have a prodigious deal of courage, and I think one must need as much to be a Dissenter as one needs patience not to be a duke. Perhaps the Dissenters (to limit the question to them) manage to stay out of the church by letting it all hang on the sermon. Canon Kingsley’s discourse was one more example of the familiar truth—not without its significance to minds zealous for the good old fashion of “making an effort,”—that there is an odd link between large forms and small emanations. The sermon, beneath that triply consecrated vault, should have had a builded majesty. It had not; and I confess that a tender memory of ancient obligations to the author of “Westward Ho!” and “Hypatia” forbids my saying more of it. An American, I think, is not incapable of taking a secret satisfaction in an incongruity of this kind. He finds with relief that even mortals reared as in the ring of a perpetual circus are only mortals. His constant sense of the beautiful scenic properties of English life is apt to beget a habit of melancholy reference to the dead-blank wall which forms the background of our own life-drama; and from doubting in this fantastic humour whether we have even that modest value in the scale of beauty that he has sometimes fondly hoped, he lapses into a moody scepticism as to our place in the scale of “importance,” and finds himself wondering vaguely whether this be not a richer race as well as a lovelier land. That of course will never do; so that when after being escorted down the beautiful choir in what, from the American point of view, is an almost gorgeous ecclesiastical march, by the Dean in a white robe trimmed with scarlet and black-robed sacristans carrying silver wands, the officiating canon mounts into a splendid canopied and pinnacled pulpit of gothic stonework and proves—not an “acting” Jeremy Taylor, our poor sentimental tourist begins to hold up his head again and to reflect that so far as we have opportunities we mostly rise to them. I am not sure indeed that in the excess of his reaction he is not tempted to accuse his English neighbours of being impenetrable and uninspired, to affirm that they do not half discern their good fortune, and that it takes passionate pilgrims, vague aliens, and other disinherited persons to appreciate the “points” of this admirable country.