And here I must advise you that in all points of history relating to the period between 800 and 1200, you will find M. Viollet le Duc, incidentally throughout his 'Dictionary of Architecture,' the best-informed, most intelligent, and most thoughtful of guides. His knowledge of architecture, carried down into the most minutely practical details,—(which are often the most significant), and embracing, over the entire surface of France, the buildings even of the most secluded villages; his artistic enthusiasm, balanced by the acutest sagacity, and his patriotism, by the frankest candour, render his analysis of history during that active and constructive period the most valuable known to me, and certainly, in its field, exhaustive. Of the later nationality his account is imperfect, owing to his professional interest in the mere science of architecture, and comparative insensibility to the power of sculpture;—but of the time with which we are now concerned, whatever he tells you must be regarded with grateful attention.
I introduce, therefore, the Normans to you, on their first entering France, under his descriptive terms of them.[12]
"As soon as they were established on the soil, these barbarians became the most hardy and active builders. Within the space of a century and a half, they had covered the country on which they had definitely landed, with religious, monastic, and civil edifices, of an extent and richness then little common. It is difficult to suppose that they had brought from Norway the elements of art,[13] but they were possessed by a persisting and penetrating spirit; their brutal force did not want for grandeur. Conquerors, they raised castles to assure their domination; they soon recognized the Moral force of the clergy, and endowed it richly. Eager always to attain their end, when once they saw it, they never left one of their enterprises unfinished, and in that they differed completely from the Southern inhabitants of Gaul. Tenacious extremely, they were perhaps the only ones among the barbarians established in France who had ideas of order; the only ones who knew how to preserve their conquests, and compose a state. They found the remains of the Carthaginian arts on the territory where they planted themselves, they mingled with those their national genius, positive, grand, and yet supple."
Supple, 'Delié,'—capable of change and play of the mental muscle, in the way that savages are not. I do not, myself, grant this suppleness to the Norman, the less because another sentence of M. le Duc's, occurring incidentally in his account of the archivolt, is of extreme counter-significance, and wide application. "The Norman arch," he says, "is never derived from traditional classic forms, but only from mathematical arrangement of line." Yes; that is true: the Norman arch is never derived from classic forms. The cathedral,[14] whose aisles you saw or might have seen, yesterday, interpenetrated with light, whose vaults you might have heard prolonging the sweet divisions of majestic sound, would have been built in that stately symmetry by Norman law, though never an arch at Rome had risen round her field of blood,—though never her Sublician bridge had been petrified by her Augustan pontifices. But the decoration, though not the structure of those arches, they owed to another race,[15] whose words they stole without understanding, though three centuries before, the Saxon understood, and used, to express the most solemn majesty of his Kinghood,—
"EGO, EDGAR, TOTIVS ALBIONIS"—
not Rex, that would have meant the King of Kent or Mercia, not of England,—no, nor Imperator; that would have meant only the profane power of Rome, but BASILEVS, meaning a King who reigned with sacred authority given by Heaven and Christ.
With far meaner thoughts, both of themselves and their powers, the Normans set themselves to build impregnable military walls, and sublime religious ones, in the best possible practical ways; but they no more made books of their church fronts than of their bastion flanks; and cared, in the religion they accepted, neither for its sentiments nor its promises, but only for its immediate results on national order.
As I read them, they were men wholly of this world, bent on doing the most in it, and making the best of it that they could;—men, to their death, of Deed, never pausing, changing, repenting, or anticipating, more than the completed square, ὰνευ ψογου, of their battle, their keep, and their cloister. Soldiers before and after everything, they learned the lockings and bracings of their stones primarily in defence against the battering-ram and the projectile, and esteemed the pure circular arch for its distributed and equal strength more than for its beauty. "I believe again," says M. le Duc,[16] "that the feudal castle never arrived at its perfectness till after the Norman invasion, and that this race of the North was the first to apply a defensive system under unquestionable laws, soon followed by the nobles of the Continent, after they had, at their own expense, learned their superiority."
The next sentence is a curious one. I pray your attention to it. "The defensive system of the Norman is born of a profound sentiment of distrust and cunning, foreign to the character of the Frank." You will find in all my previous notices of the French, continual insistance upon their natural Franchise, and also, if you take the least pains in analysis of their literature down to this day, that the idea of falseness is to them indeed more hateful than to any other European nation. To take a quite cardinal instance. If you compare Lucian's and Shakespeare's Timon with Molière's Alceste, you will find the Greek and English misanthropes dwell only on men's ingratitude to themselves, but Alceste, on their falsehood to each other.
Now hear M. le Duc farther: