Over the great central tower, which long was cut off by a low metal roof, have been raised a tall spire of wood and four pinnacles of stone. It is largely this lofty steeple in the centre that gives the Cathedral so English a look. The magnificence of this fair church is all the more striking when one realises that, with a few most unimportant exceptions, it is the furthest north of all the buildings of the middle ages. Yet its equal is not to be found in any part of Europe further south, till the latitude of Glasgow is reached.
The most striking feature of Trondhjem to-day is that so large and thriving a town should be almost wholly of wood, even in the business section and including the vast palace of the king. In 1872 the city seemed to Du Chaillu (p. [223]) singularly cheerless from the large sections that had been burnt and not rebuilt, while grass grew in many of the streets. Things are very different to-day. The thoroughfares are broad and straight, most of them pleasantly fringed with trees, and there is all the character of a prosperous, substantial town. A few wooden buildings are two centuries old, for instance the vane of the Raadhus is dated 1710 and that of the Hospitals Kirken[38] 1704, but these do not in the very least affect the general character of the place, and the aspect of the streets as a whole is as modern as well could be. The Cathedral quarter by a river bend seems to exhale a quite different atmosphere from the whole of the rest of the town. It is almost as though an English close had invaded an American city.
Near the white square tower of the Frue Kirke (dated 1739) is a wide open space where on market-days stalls are erected and country and town deal directly with each other in those picturesque surroundings that are so largely the same all over the north of Europe. The harness of the horses looks primitive, and all the weight is on the shafts, but they race along like the wind, and when a destination is reached, the owner needs to do no more than to slip round the front foot of his beast a long strap attached to the carriage. Little of the Norwegian costume that is so attractive a feature of the fjord villages is to be seen in the city; the general life of towns is becoming distressingly the same all over the Western world. The atmosphere is, however, distinctly Norse by the quays, where the fish boats come in and large barrels of their catchings are rolled about, and also where high wooden warehouses, not entirely without picturesqueness, fringe the shores of the Nid and exhale a smell of fish and tar.
The days of Danish supremacy are recalled on a hill just east of the Cathedral on the other side of the river by the picturesque old Fortress of Christiansten, which dates from the seventeenth century, and displays rubble stone walls surmounted by grassy slopes and penetrated by brick-vaulted passages and rooms. This period and this district of Norway were chosen by Victor Hugo when writing his first romance, Han d'Islande, which he published anonymously in 1823. The scene is, however, laid chiefly in Munkholm, a small rocky island which rises out of the waters of the fjord immediately opposite the town. In very earliest days of Christianity in Norway a Benedictine cloister was reared there, and for half a thousand years the monks remained, but little beyond the name survives to indicate their occupation to-day. Fortifications have long existed where the psalter was chanted in days of yore.
Victor Hugo himself explains the object of the work: "I wished to describe a girl who might realise the ideal of all fresh and poetic imagination, the girl of my dreams ... you, Adèle, my beloved.... And beside her I wanted to set a young man, not such as I am but such as I would wish to be." He has certainly succeeded so far that his characters are entirely French, and he seems rather to have made a mistake in placing the scene so far from France. The nightmare, gruesome character of the book is bloodcurdling enough, but decidedly overdone, and though the work is very well worth reading as the early effort of one of the greatest of writers, it contributes little to his fame and still less, perhaps to the interest of a visit to Trondhjem. The local colour is extremely poor, a fact that is hardly surprising when it is remembered that the author had never visited Norway.
The hills stand about Trondhjem, as indeed about all other Norway towns; some of them display, five hundred feet above the sea, marks of former beaches where waves lapped cliffs unnumbered years ago, before the movements of the globe had raised the land so high. And from places within an easy walk of the city, there is a magnificent panorama, westward over hills riven in all directions by the jagged edged sea, and eastward to the snowy mountains of the Kiolen range that form the frontier of Sweden. Superbly beautiful at all times is the prospect of wooded hill and inland sea, particularly when seen in softer outline as the long Arctic twilight gradually gives place to the paler illumination of the moon, and little lights begin to sparkle over land and sea. But even in such dreamy conditions the city, beautiful from its verdure and striking from its position, declines to look like a mediæval or even a historic town. Though for more than a thousand years the landscape below has been the scene of the varied activities of mankind, and from it has gone out power by which the life of half Europe has been quickened, even yet there is rather the restless atmosphere of new settlements in a country still only half subdued, than that of quiet peace and sense of satisfied repose, such as broods over an ancient Italian seaport, where every corner has been transformed by untold generations of man and centuries ago even the rough hill-sides were terraced to enlarge his domain.
Some three miles from the city, amid pine forests of perpetual shade, the River Nid plunges over hard dark blue rocks to form the Lerfos Falls. Most Norwegian cascades are chiefly spray, and by their great resemblance to bridal veils are associated with the happiest events in the lives of most of us. But these are more business-like waterfalls, which are not left in peace by mankind. The Lower Fall, or Lille Lerfos, is a rather average sort of thing: in a broad open place where much naked rock is exposed the water of the stream plunges over a sort of stairway to descend abruptly for nearly eighty feet, and the effect is not improved by various works in cement. A path along the wooded river bank leads to the Upper Fall, or Store Lerfos, which is one of the most beautiful anywhere to be seen. The stream leaps down a hundred feet, and both high and low the surging mass of whitened waters is cleft by tree-bearing rocks, while mist-like foam spreads far and wide.
Europe has cathedrals statelier than that of Trondhjem and mediæval cities of greater intrinsic charm, but the interest of nearly everything is affected chiefly by its position, and it is startling indeed among the wildness of the northern fjords to come upon this history-haunted spot, to see this fair cathedral rising from the trees and grass of so English-looking a close. And in the long-drawn aisles of the ancient Metropolitan Church it is strange to reflect that the saint who was here enshrined in one of the stateliest of Gothic fanes was the doughty Olaf the Thick, famed in life for his wild viking career, who knew the craft of the bow, and of all men was the best in shooting of hand-shot, who was but twelve winters old when he first stepped on a warship to begin the harrying and burning in which so much of his life was spent! And as the bright sunlight streams through the lancet windows to illuminate and shade chaste arcading and hanging foliage carved in stone, with the deep mouldings of arch and vault, it is difficult indeed to realise that one is hardly more than three degrees outside the Arctic Line.[39]