“How comes it, then, that a man is an object of contempt for acting in accordance with the principles of this much lauded progress?” asked the millionaire, with unexpected sarcasm. “We are indebted to progress for the abolition of a legal rate of interest. Shund takes advantage of this conquest, and for doing so citizens who boast of being progressive look upon him with aversion. A further triumph secured by progress is freedom from the tyranny of dogmas and the tortures of a conscience created by a contracted morality. This beautiful fruit of the tree of enlightened knowledge Shund partakes of and enjoys; and for this he has the distinction of passing for a vampire. And because he displays the spirit of an energetic business man, because his capacity for speculating occasionally overwhelms blockheads and dunces, he is decried as a ravenous wolf. It is sad! If your statements are correct, Mr. Schwefel, our city ought not to boast of being progressive. Its citizens are still groping in the midnight darkness of religious superstition, scarcely even united with modern intellectual advancement. And to me the consciousness is most uncomfortable of breathing an atmosphere poisoned by the decaying remnants of an age long since buried.”
“My own personal views accord with yours,” protested Schwefel candidly. “The subversion of the antiquated, absurd articles of faith and moral precept necessarily entails the abrogation of the consequences that flow from them for public life. For centuries the cross was a symbol of dignity, and the doctrine of the Crucified resulted in holiness. Paganism, on the contrary, looked upon the gospel as foolishness, as a hallucination, and upon the cross as a sign of shame. I belong to the classic ranks, and so do millions like myself—among them Mr. Shund. Viewed in the light of progress, Shund is neither a vampire nor a wolf; at the worst, he is merely an ill-used business man. They who suffer themselves to be humbugged and fleeced by him have their own stupidity to thank for it. This exposition will convince you that I stand on a level with yourself in the matter of advanced enlightenment. Nevertheless, you overlook, Mr. Greifmann, that, so far as the masses of the people are concerned, reverence for the cross and the holiness of its doctrines continue to prevail. The acquisitions of progress are not yet generally diffused. The mines of modern intellectual culture are being provisionally worked by a select number of independent, bold natures. The multitude, on the other hand, still continue folding about them the winding-sheet of Christianity. The views, customs, principles, and judgments of men are as yet widely controlled by Christian elements. Our city does homage to progress, pretty nearly, however, in the manner of a blind man that discourses of colors.”
A HISTORY OF THE GOTHIC REVIVAL IN ENGLAND. [103]
We purpose giving in this article a sketch, as far as our limited space will allow, of a costly and beautiful work published in London under the above title. Many of our readers will perhaps turn willingly to the history of a movement which is not without its echo in America, and which the future bids fair to foster and popularize wherever the Anglo-Saxon tongue and spirit have sway. A work treating of such very modern and recent events in the history of art is not easily reducible to salient divisions; yet, having to be brief, we must necessarily endeavor to be clear, and we will, therefore, pick out a few prominent ideas, which, we hope, will be more interesting to the general reader than the mass of technical detail in which Eastlake’s book naturally (and very properly) abounds. We have also to promise that we wish only to state and quote facts, or such anecdotes and professional opinions as give our history an individual interest, not to drag up the vexed questions which have made the venerable words “Gothic” and “mediæval” signs of warfare and contradiction. This is a pure chronicle of accomplished facts, and addresses itself only to such as already lean to the æsthetic principles of those “dark ages” of spiritual light which gave us along with Monasticism the great conservative power. Feudalism—the progressive power, the check on royal autocracy, the guardian of Magna Charta, the parent of constitutional liberty.
Passing by the history and literature of Gothic art since its decay in the sixteenth to its full revival in the nineteenth century, we are attracted by the subject of its symbolism, over which such fierce and sometimes ludicrous battles have been fought; but, even before the symbolism of the art, its very origin was made a subject of curious dispute. For instance, the author of this work says: “In the beginning of this century, various arguments were rife. The style was Gothic; it was Saracenic; it had been brought to England by the crusaders; it had been invented by the Moors in Spain; it might be traced to the pyramids of Egypt. One ingenious theorist endeavored to reconcile all opinions in his comprehensive hypothesis that the style of architecture which we call cathedral or monastic Gothic was manifestly a corruption of the sacred architecture of the Greeks and Romans, by a mixture of the Moorish or Saracenesque, which is formed out of a combination of Egyptian, Persian, and Hindoo!”
Of symbolism, and the intimate union of the religious and artistic spirit, Eastlake says: “In modern days, we have unconsciously drawn a distinction between religious art and popular art. In the middle ages, they were thoroughly blended;” but he goes on to infer from this blending that, according to the old adage, “Familiarity breeds contempt,” there was no reverential and spiritual idea whatever embodied in the work of the mediæval carvers and architects. We, by the light of our faith, the heirloom of the very times we speak of, believe him to be either unconsciously prejudiced or mistaken. He seems to scout the idea of the deviation of the line of the chancel from the line of the nave, an occasional feature in some old churches (for instance, the Abbey of St. Denys, near Paris), being a symbol of the inclination of Our Lord’s head upon the cross. It is but a tradition, a pious belief, it is true; but why throw doubt upon it? If it really was meant as a symbol, he asks why was it not so in all churches? And if the triplet window typified the Trinity, why were two or five light windows used? Simply because the symbol was optional, yet none the less a symbol. From the old symbolism of the forgotten artists of past days, we come to the miscalled “Pre-Raphaelite” naturalism of modern architects. Ruskin with all his merits, of which we will speak more fully further on, had an exaggerated tendency to find in carving an exact copy from nature, and to condemn anything in that line that did not absolutely reproduce some organic form. Eastlake himself expresses his own views on the subject in the following words: “In the gable [of St. Finbar’s, Cork], ... a seated figure of Christ is to occupy a vesica-shaped panel, with angels censing on each side. Of these works, executed by Mr. Thomas Nicholls from Mr. Burges’ design, it is not too much to say that no finer examples of decorative sculpture have been produced during the Revival. They exactly represent that intermediate condition between natural form and abstract idealism which is the essence of mediæval, and indeed of all noble art.” From this subject we are led to the kindred one of the contrast between old work and new. Our author repeatedly returns to this point. Here are some amusing sayings about the deplorable ‘tameness’ of modern sculpture: “The Roman Catholic churches erected at this period (1850) had one decided advantage over those designed for the Establishment, viz., the richness of their interiors.... A tamely carved reredos, generally arranged in panels to hold the Ten Commandments (!), a group of sedilia and a piscina, with perhaps a few empty inches in the clerestory, were, as a rule, all the internal features which distinguished an Anglican church from a meeting-house.” So that wherever art is concerned, an unconscious tribute is naturally offered to the church! Again and again, our author vigorously denounces the dead imitation of living and forcible models, which is in the spirit of a “Chinese engraver who should undertake to imitate, line for line and spot for spot, a damaged print.” “Every one,” he says, “who has studied the principles of mediæval art, knows how much its character and vitality depend upon the essential element of decorative sculpture, of the spirit of what Ruskin has called ‘noble grotesque,’ in its nervous types of animal life and vigorous conventionalism of vegetable form.... To copy line for line, even when sound and fresh from the chisel, and yet preserve the spirit of the original, would have been difficult in the best ages of art. The mediæval sculptors never—to use an artistic phrase—repeated themselves. If the conditions of their work required a certain degree of uniformity in design, they took care to aim at the spirit, but not the letter, of symmetry.... They took the birds of the air and the flowers of the field for their study, but seemed to know instinctively the true secret of all decorative art, which lies in the suggestion and symbolism, rather than the presumptuous illustration of natural form.” “Since,” continues Eastlake, “we cannot ‘restore’ the thoughts and stamp of the artists of old, we should the more sedulously watch what we have left of such traces, and prop up and secure that which a little common care might long preserve to us.” Of an unfortunate modern carver, he says: “Impartial critics who compare the mediæval carving with its modern substitute will probably consider the neat finish and anatomical correctness of Westmacott’s groups a poor exchange for the earnest and vigorous, though somewhat rude, treatment of the old design. King George’s loyal subjects thought they knew better than those of King Edward; ... their work was not clever; it was not interesting; it was not lifelike; it was not humorous; it was not even ugly after a good honest fashion—it was deplorably and hopelessly mean.... All these accidents combine not only to deprive the building of scale, but to give it a cold and machine-made look. In a far different spirit the mediæval designers worked.... Fifty years ago, ... there was naturalistic carving and there was ornamental carving, but the noble abstractive treatment which should find a middle place between them, and which was one of the glories of ancient art, had still to be revived.” In whimsical pursuance of his subject, he says elsewhere that before Pugin’s days “an architect would no more have thought of introducing a porch on the south aisle which had not its counterpart on the north, than he would have dared to wear a coat of which the right sleeve was longer than the left.” Ruskin, too, seems to have thought a coat a very effective instrument of illustration: here is his version of the likeness between the tailor’s and the modern architect’s occupations. “A day never passes,” he says in his Seven Lamps of Architecture, “without our hearing our English architects called upon to be original, and to invent a new style; about as sensible and necessary an exhortation as to ask of a man who has never had rags enough on his back to keep out the cold to invent a new mode of cutting a coat. Give him a whole coat first, and let him concern himself about the fashion afterwards. We want no new style of architecture. Who wants a new style of painting or of sculpture? But we want some style.” To return to Eastlake’s strongly accentuated views of mediæval carving: he has summed them up in one sentence, as terse and vigorous as the old sculptural handiwork itself. “During the Revival,” he says, “it took a decade of years to teach workmen to carve carefully. It took another to get them to carve simply. We may expect more than a third to elapse before they have learnt to carve nobly.” With one more quotation which is too humorous to miss, we will close this part of the history of the Revival: “There is no want of manipulative skill or of imitative ability, but from some cause or another there is a great want of spirit in the present carver’s work. The mediæval sculptor, with half the care and less than half the finish now bestowed on such details, managed to throw life and vigor into the capitals and panel subjects that grew beneath his chisel. The ‘angel choir’ at Lincoln is rudely executed compared with many a modern bas-relief, but the features of the winged minstrels are radiant with celestial happiness. There are figures of kings crumbling into dust in the niches of Exeter Cathedral which retain even now a dignity of attitude and lordly grace which no ‘restoration’ is likely to revive. Our nineteenth century angels look like demure Bible-readers, somewhat too conscious of their piety to be interesting. Our nineteenth century monarchs seem (in stone, at least) very well-to-do pleasant gentlemen, but are scarcely of a heroic type. The roses and lilies, the maple foliage and forked spleenwort, with which we crown our pillars or deck our cornices, are cut with wonderful precision and neatness, but somehow they miss the charm of old-world handicraft.... The truth is, that in the apparent imperfections of some arts lies the real secret of their excellence. For instance, the superior quality of color which long distinguished old (stained) glass from new was due in a great measure to its streakiness and irregularity of tint.” We would here submit to the talented and enthusiastic author that the spirit of ancient art, the loss of which he so vehemently deplores, is intimately connected with that Catholic symbolism he so cavalierly dismisses. The Reformation took away the reality of faith from the souls of modern Christians; it could not but weaken likewise the realization of faith which for so many ages had inspired the hands of Christian artists. A noble orator, who is as much an artist in soul as he is a priest in fact, and in whom Ireland and Irish America claim equal pride, said from the pulpit very recently, and in a church of New York, that animal painting, the lowest of the products of brush or pencil, was hardly known in its present development before the famous Reformation. The first painter who took to this earthy style was a German Lutheran in Naples, an emissary of the growing intellectual “disfranchisement” of the sixteenth century; and his fellow-artists, who hitherto had never looked lower than heaven itself for their models, would not speak to him, nor recognize him as one of themselves, saying in a tone of contempt, “There goes the man who paints cows and horses!” As the old spirit died away, the forms of art grew downwards more and more till we were reduced to roots and herbs, onions and cabbages, and foaming tankards of beer, and were expected to find for these some words of praise on account of their fidelity (shall we not rather say servility?) to nature. Even now, the correct texture and pattern of a bed-quilt or a woman’s dress is a thing strained after by modern painters of supposed merit. In the face of this three hundred years old debasement of art, who could expect to revive the spirit of mediæval carving without first reviving that of mediæval faith? And here we are naturally led to speak of Pugin, the great apostle of the Gothic Revival, the most mediæval-spirited of all its known leaders; the man whose art, in fact, was the instrument of his conversion. Although Eastlake tends towards depreciating the part and influence of our religion in this artistic crisis, and although, as he most truly and fairly says, our ceremonial, like our faith, can associate itself indifferently to any style, and therefore is sovereignly independent of any, yet it remains no less true that the Catholic Church is so exclusively the real patroness of art that no artist-soul can fail to be attracted and won by her. Overbeck, the great German painter, who established in Rome a school that revives and rivals the glories of Perugino, Giotto, Mantegna, and Fra Angelico, was an artist before he became a Catholic, but he found himself unable to teach his art-ideal without the spirit which of old had created that ideal. So it was with Pugin.
France and England have an equal claim to the honor of being the mother of the noblest, most earnest, truest artist, who has shared the vicissitudes and anxieties of our modern (and more beneficial) Renaissance. His father was a French refugee, an architect of great merit, who had been associated in the early part of this century with Nash, the reigning architect of that time. Pugin’s youth seems to have been very adventurous; at all events, it shows the irrepressible energy of his nature. He was an enthusiast of the noblest type; his life was influenced by the purest motives. So, with all his genius and, as far as the educated public was concerned, his popularity, he was not overburdened with this world’s goods. His work on Contrasts (of which we have had the privilege of seeing some of the original illustrations in etching) is thus noticed by Eastlake:
“In 1836, Pugin published his celebrated Contrasts—a pungent satire on modern architecture as compared with that of the middle ages. The illustrations by himself afford evidence not only of great artistic power, but of a keen sense of humor. To the circulation of this work, we may attribute the care and jealousy with which our ancient churches and cathedrals have since been protected and kept in repair. In estimating the effect which Pugin’s efforts, both as an artist and as an author, produced on the Gothic Revival, the only danger lies in the possibility of overrating their worth. The man whose name was for at least a quarter of a century a household word in every house where ancient art was loved and appreciated—who fanned into a flame the smouldering fire of ecclesiastical sentiment—whose very faith was pledged to mediæval tradition—such a writer and such an architect will not easily be forgotten so long as the æsthetic principles which he advocated are recognized and maintained.... Notwithstanding the size and importance of some of his buildings, it must be confessed that in his house and the church at Ramsgate one recognizes more thorough and genuine examples of Pugin’s genius ... than elsewhere.”