But let me place you once more where we stood for a while, on entering by the doorway [140] in the midst of the long southern aisle. Cross the aisle, and gather now in one view the perspective of the whole. Away on the left hand the eye is drawn upward to the tranquil light of the vaults of the fore-church, seeming doubtless the more spacious because partly concealed from us by the wall of partition below. But on the right hand, towards the east, as if with the set purpose of a striking architectural contrast, an instruction as to the place of this or that manner in the architectural series, the long, tunnel-like, military work of the Romanesque nave opens wide into the exhilarating daylight of choir and transepts, in the sort of Gothic Bernard would have welcomed, with a vault rising now high above the roof-line of the body of the church, sicut lilium excelsum. The simple flowers, the flora, of the early Pointed style, which could never have looked at home as an element in the half-savage decoration of the nave, seem to be growing here upon the sheaves of slender, reedy pillars, as if naturally in the carved stone. Even here indeed, Roman, or Romanesque, taste still lingers proudly in the monolith columns of the chevet. Externally, we may note with what dexterity the Gothic choir has been inserted into its place, below and within the great buttresses of the earlier Romanesque one.
Visitors to the great church of Assisi have sometimes found a kind of parable in the threefold [141] ascent from the dark crypt where the body of Saint Francis lies, through the gloomy "lower" church, into the height and breadth, the physical and symbolic "illumination," of the church above. At Vézelay that kind of contrast suggests itself in one view; the hopeful, but transitory, glory upon which one enters; the long, darksome, central avenue; the "open vision" into which it conducts us. As a symbol of resurrection, its choir is a fitting diadem to the church of the Magdalen, whose remains the monks meant it to cover.
And yet, after all, notwithstanding this assertion of the superiority (are we so to call it?) of the new Gothic way, perhaps by the very force of contrast, the Madeleine of Vézelay is still pre-eminently a Romanesque, and thereby the typically monastic, church. In spite of restoration even, as we linger here, the impression of the monastic Middle Age, of a very exclusive monasticism, that has verily turned its back upon common life, jealously closed inward upon itself, is a singularly weighty one; the more so because, as the peasant said when asked the way to an old sanctuary that had fallen to the occupation of farm-labourers, and was now deserted even by them: Maintenant il n'y a personne là.
NOTES
126. *Published in the Nineteenth Century, June 1894, and now reprinted by the kind permission of the proprietors.
APOLLO IN PICARDY*
[142] "CONSECUTIVE upon Apollo in all his solar fervour and effulgence," says a writer of Teutonic proclivities, "we may discern even among the Greeks themselves, elusively, as would be natural with such a being, almost like a mock sun amid the mists, the northern or ultra-northern sun-god. In hints and fragments the lexicographers and others have told us something of this Hyperborean Apollo, fancies about him which evidence some knowledge of the Land of the Midnight Sun, of the sun's ways among the Laplanders, of a hoary summer breathing very softly on the violet beds, or say, the London-pride and crab-apples, provided for those meagre people, somewhere amid the remoteness of their icy seas. In such wise Apollo had already anticipated his sad fortunes in the Middle Age as a god definitely in exile, driven north of the Alps, and even here ever in flight before the summer. Summer indeed he leaves now to the management of [143] others, finding his way from France and Germany to still paler countries, yet making or taking with him always a certain seductive summer-in-winter, though also with a divine or titanic regret, a titanic revolt in his heart, and consequent inversion at times of his old beneficent and properly solar doings. For his favours, his fallacious good-humour, which has in truth a touch of malign magic about it, he makes men pay sometimes a terrible price, and is in fact a devil!"
Devilry, devil's work:—traces of such you might fancy were to be found in a certain manuscript volume taken from an old monastic library in France at the Revolution. It presented a strange example of a cold and very reasonable spirit disturbed suddenly, thrown off its balance, as by a violent beam, a blaze of new light, revealing, as it glanced here and there, a hundred truths unguessed at before, yet a curse, as it turned out, to its receiver, in dividing hopelessly against itself the well-ordered kingdom of his thought. Twelfth volume of a dry enough treatise on mathematics, applied, still with no relaxation of strict method, to astronomy and music, it should have concluded that work, and therewith the second period of the life of its author, by drawing tight together the threads of a long and intricate argument. In effect however, it began, or, in perturbed manner, and as [144] with throes of childbirth, seemed the preparation for, an argument of an entirely new and disparate species, such as would demand a new period of life also, if it might be, for its due expansion.
But with what confusion, what baffling inequalities! How afflicting to the mind's eye! It was a veritable "solar storm"—this illumination, which had burst at the last moment upon the strenuous, self-possessed, much-honoured monastic student, as he sat down peacefully to write the last formal chapters of his work ere he betook himself to its well-earned practical reward as superior, with lordship and mitre and ring, of the abbey whose music and calendar his mathematical knowledge had qualified him to reform. The very shape of Volume Twelve, pieced together of quite irregularly formed pages, was a solecism. It could never be bound. In truth, the man himself, and what passed with him in one particular space of time, had invaded a matter, which is nothing if not entirely abstract and impersonal. Indirectly the volume was the record of an episode, an interlude, an interpolated page of life. And whereas in the earlier volumes you found by way of illustration no more than the simplest indispensable diagrams, the scribe's hand had strayed here into mazy borders, long spaces of hieroglyph, and as it were veritable pictures of the theoretic elements of his subject. Soft wintry auroras seemed to play behind whole pages of crabbed textual writing, line and figure [145] bending, breathing, flaming, in, to lovely "arrangements" that were like music made visible; till writing and writer changed suddenly, "to one thing constant never," after the known manner of madmen in such work. Finally, the whole matter broke off with an unfinished word, as a later hand testified, adding the date of the author's death, "deliquio animi."