Part 20

I do not know what I did, or said when I entered; but certainly some strange exclamation must have escaped me, or I must have made some extraordinary gesture, for several people who were near me at that moment began to laugh and turned around to look about them, as if they wanted to discover what caused the excitement I manifested.

[Illustration: INTERIOR OF THE MOSQUE OF CORDOVA]

Imagine a forest, and imagine that you are in the depths of this forest, and that you can see nothing but the trunks of the trees. Thus, no matter on what side of the Mosque you look, the eye sees nothing but columns. It is a limitless forest of marble. Your glance wanders down the long rows of columns, one by one, which every now and then are intersected by other interminable rows, until it reaches a twilight background where you seem to see the white gleam of still other columns. Nineteen naves extend before the visitor; they are intersected by thirty-three other naves, and the whole building is supported by more than nine hundred columns of porphyry, jasper, _breccia_, and marbles of every colour. The central nave, much larger than the others, leads to the Maksurah, the most sacred spot in the temple, where they read the Koran. A pale ray of light falls from the high windows here and shines upon a row of columns; beyond, there is a dark spot; and, still further away, another ray of light illuminates another nave. It is impossible to describe the mystical feeling and admiration that this sight evokes in your soul. It is like the sudden revelation of an unknown religion, nature, and life, which carries your imagination to the delights of that Paradise, so full of love and voluptuousness, where the blessed ones seated under the shadow of thick-leaved plane-trees and thornless rose-bushes drink from crystal vases that wine, sparkling like jewels, which is mixed by immortal virgins, and sleep in the arms of houris with large black eyes. All these pictures of eternal pleasure, which the Koran promises to the faithful, rush upon the mind at this first sight of the Mosque in such a vital, intense, and bewildering manner that for an instant they give you a sweet intoxication which leaves your heart in a state of indescribable and gentle melancholy. Confusion in the mind and a rushing fire through the veins--that is your first sensation on entering the Cathedral of Cordova.

We begin to wander from nave to nave, observing everything in detail. What variety there is in this edifice, which seemed all alike at the first glance! The proportions of the columns, the designs of the capitals and the forms of the arches, change, so to speak, at every step you take. Most of the columns are ancient and were brought by the Arabs from Northern Spain, Gaul, and Roman Africa; and some of them, it is said, belonged to a temple of Janus on whose ruins was built the church which the Arabs destroyed in order to erect this Mosque. On many of the capitals you can still distinguish the cross, which was carved upon them and which the Arabs erased with their chisels. In some of the columns pieces of curved iron are fixed, to which it is said the Arabs chained the Christians; one, particularly, is exhibited, to which, according to popular tradition, a Christian was chained for many long years, and during this time he dug at the stone with his nails to make a cross, which the guides show you with deep veneration.

We stood before the Maksura, the most complete and marvellous example of Arabian Art of the Tenth Century. There are three adjacent chapels in front of it, with vaulted ceilings of dentelated arches and walls covered with superb mosaics in the form of large bunches of flowers and inscriptions from the Koran. The principal Mihrab, the holy place where the spirit of God dwells, is at the back of the central chapel. It is a niche with an octagon base and arched at the top by an enormous shell of marble. In the Mihrab, and fastened on a stool of aloe-wood, was kept the Koran, copied by the hand of the Caliph Othman, covered with gold and ornamented with pearls; and the faithful made the tour of it seven times on their knees. On approaching the wall, I felt the pavement sink under my feet: the marble is hollowed out!

Coming out of the niche, I stopped for a long time to look at the ceiling and the walls of the principal church, the only portion of the Mosque which is almost intact. It is a dazzling array of crystal of a thousand colours, an interlacing of arabesques which confounds the imagination, a complication of bas-reliefs, of gold-work, of ornaments, and of details of design and hues of a delicacy, a grace, and a perfection to drive the most patient painter to despair. It is impossible to recall clearly that prodigious work; you might return a hundred times to look at it, yet it would only be remembered as an aggregation of blue, red, green, golden, and luminous points, or a complicated embroidery whose patterns and colours are continually changing. Such a miracle of art could only emanate from the fiery and indefatigable imagination of the Arabs.

Again we wandered about the Mosque, examining here and there on the walls the arabesques of the ancient doors, of which you get glimpses from beneath the detestable Christian paint. My companions looked at me, laughed, and whispered to each other.

“You have not seen it yet?” asked one.

“What?”

They looked at each other again and smiled.

“Do you think you have seen the entire Mosque?” said the one who had first spoken.

“I? Yes,” I replied, looking around me.

“Well, you have not seen it all: what remains to be seen is a church--nothing more!”

“A church!” I cried, stupefied, “where is it?”

“Look!” said the other companion, pointing it out, “it is in the very centre of the Mosque.”

“Good heavens! And I had not noticed it at all!”

By that you may judge of the size of the Mosque. We went to see the church. It is very beautiful and very rich, with a magnificent high altar and a choir worthy of ranking with those of Burgos and Toledo; but, like all things which do not harmonize with their surroundings, it annoys you instead of exciting your admiration. Even Charles V., who gave the Chapter permission to build it here, repented when he saw the Mussulman temple. Next to the church there is a kind of Arabian chapel, admirably preserved and rich in mosaics not less beautiful and varied than those of the Maksura; it is said that the doctors of this religion met there to read the Book of the Prophet.

Such is the Mosque of to-day.

What must it have been in the time of the Arabs! It was not enclosed then by a surrounding wall, but it was open in such a way that the garden could be seen from every one of its parts, while from the garden you could see the entire length of the long naves, and the breeze carried the perfume from the orange-trees and flowers to the very arches of the Maksura. Of the columns, which to-day number less than a thousand, there were fourteen hundred; the ceiling was of cedar and larch sculptured and incrusted with the most delicate work; the walls were of marble; the light of eight hundred lamps filled with perfumed oil made the crystals in the mosaics sparkle like diamonds and caused a marvellous play of colour and reflection on the floor, on the arches, and on the walls. “An ocean of splendours,” a poet said, “filled this mysterious enclosure, the balmy air was impregnated with aromas, and the thoughts of the faithful strayed until they became lost in the labyrinth of columns which glimmered like lances in the sunlight.”

_La Spagna_ (Florence, 1873).

THE CATHEDRAL OF THRONDTJEM.

AUGUSTUS J. C. HARE.

On July 25 we left Kristiania for Throndtjem--the whole journey of three hundred and sixty miles being very comfortable, and only costing thirty francs. The route has no great beauty, but endless pleasant variety--rail to Eidswold, with bilberries and strawberries in pretty birch-bark baskets for sale at all the railway stations; a vibrating steamer for several hours on the long, dull Miosem lake; railway again, with some of the carriages open at the sides; then an obligatory night at Koppang, a large station, where accommodation is provided for every one, but where, if there are many passengers, several people, strangers to each other, are expected to share the same room. On the second day the scenery improves, the railway sometimes running along and sometimes over the river Glommen on a wooden causeway, till the gorge of mountains opens beyond Stören, into a rich country with turfy mounds constantly reminding us of the graves of the hero-gods of Upsala. Towards sunset, beyond the deep cleft in which the river Nid runs between lines of old painted wooden warehouses, rises the burial place of S. Olaf, the shrine of Scandinavian Christianity, the stumpy-towered Cathedral of Throndtjem. The most northern railway station, and the most northern cathedral in Europe.

[Illustration: CATHEDRAL OF THRONDTJEM, NORWAY]

Surely the cradle of Scandinavian Christianity is one of the most beautiful places in the world! No one had ever told us about it, and we went there only because it is the old Throndtjem of sagas and ballads, and expecting a wonderful and beautiful cathedral.

But the whole place is a dream of loveliness, so exquisite in the soft silvery morning light on the fyord and delicate mountain ranges, the rich nearer hills covered with bilberries and breaking into steep cliffs--that one remains in a state of transport, which is at a climax while all is engraven upon an opal sunset sky, when an amethystine glow spreads over the mountains, and when ships and buildings meet their double in the still transparent water. Each wide street of curious low wooden houses displays a new vista of sea, of rocky promontories, of woods dipping into the water; and at the end of the principal street is the grey massive Cathedral where S. Olaf is buried, and where northern art and poetry have exhausted their loveliest and most pathetic fancies around the grave of the national hero.

The “Cathedral Garden,” for so the graveyard is called, is most touching. Acres upon acres of graves are all kept--not by officials, but by the families they belong to--like gardens. The tombs are embowered in roses and honeysuckle, and each little green mound has its own vase for cut flowers daily replenished, and a seat for the survivors, which is daily occupied, so that the link between the dead and the living is never broken.

Christianity was first established in Norway at the end of the Tenth Century by King Olaf Trygveson, son of Trygve and of the lady Astrida, whose romantic adventures, when sold as a slave after her husband’s death, are the subject of a thousand stories. When Olaf succeeded to the throne of Norway after the death of Hako, son of Sigurd, in 996, he proclaimed Christianity throughout his dominions, heard matins himself daily, and sent out missionaries through his dominions. But the duty of the so-called missionaries had little to do with teaching, they were only required to baptize. All who refused baptism were tortured and put to death. When, at one time, the estates of the province of Throndtjem tried to force Olaf back to the old religion, he outwardly assented, but made the condition that the offended pagan deities should in that case be appeased by human sacrifice--the sacrifice of the twelve nobles who were most urgent in compelling him; and upon this the ardour of the chieftains for paganism was cooled, and they allowed Olaf unhindered to demolish the great statue of Thor, covered with gold and jewels, in the centre of the province of Throndtjem, where he founded the city then called Nidaros, upon the river Nid....

Olaf Trygveson had a godson Olaf, son of Harald Grenske and Asta, who had the nominal title of king given to all sea captains of royal descent. From his twelfth year, Olaf Haraldsen was a pirate, and he headed the band of Danes who destroyed Canterbury and murdered S. Elphege--a strange feature in the life of one who has been himself regarded as a saint since his death. By one of the strange freaks of fortune common in those times, this Olaf Haraldsen gained a great victory over the chieftain Sweyn, who then ruled at Nidaros, and, chiefly through the influence of Sigurd Syr, a great northern landowner, who had become the second husband of his mother, he became seated in 1016 upon the throne of Norway. His first care was for the restoration of Christianity, which had fallen into decadence in the sixteen years which had elapsed since the defeat of Olaf Trygveson. The second Olaf imitated the violence and cruelty of his predecessor. Whenever the new religion was rejected, he beheaded or hung the delinquents. In his most merciful moments he mutilated and blinded them: “he did not spare one who refused to serve God.”...

However terrible the cruelties of Olaf Haraldsen were in his lifetime, they were soon dazzled out of sight amid the halo of miracles with which his memory was encircled by the Roman Catholic Church....

It was when the devotion to S. Olaf was just beginning that Earl Godwin and his sons were banished from England for a time. Two of these, Harold and Tosti, became vikings, and, in a great battle, they vowed that if they were victorious, they would give half the spoil to the shrine of S. Olaf; and a huge silver statue, which they actually gave, existed at Throndtjem till 1500, and if it existed still would be one of the most important relics in archæology. The old Kings of Norway used to dig up the saint from time to time and cut his nails. When Harold Hardrada was going to England, he declared that he must see S. Olaf once again. “I must see my brother once more,” he said, and he also cut the saint’s nails. But he also thought that from that time it would be better that no one should see his brother any more--it would not be for the good of the Church--so he took the keys of the shrine and threw them into the fyord; at the same time, he said, it would be good for men in after ages to know what a great king was like, so he caused S. Olaf’s measure to be engraved upon the wall in the church at Throndtjem--his measure of seven feet--and there it is still.

Around the shrine of Olaf in Throndtjem, in which, in spite of Harald Hardrada, his “incorrupt body” was seen more than five hundred years after his death, has arisen the most beautiful of northern cathedrals, originating in a small chapel built over his grave within ten years after his death. The exquisite colour of its green-grey stone adds greatly to the general effect of the interior, and to the delicate sculpture of its interlacing arches. From the ambulatory behind the choir opens a tiny chamber containing the Well of S. Olaf, of rugged yellow stone, with the holes remaining in the pavement through which the dripping water ran away when the buckets were set down. Amongst the many famous bishops of Throndtjem, perhaps the most celebrated has been Anders Arrebo, “the father of Danish poetry” (1587–1637), who wrote the “Hexameron,” an extraordinarily long poem on the Creation, which nobody reads now. The Cathedral is given up to Lutheran worship, but its ancient relics are kindly tended and cared for, and the building is being beautifully restored. Its beautiful Chapter House is lent for English service on Sundays.

_Sketches in Holland and Scandinavia_ (London, 1885).

LEANING TOWER OF PISA.

CHARLES DICKENS.

From the summit of a lofty hill beyond Carrara, the first view of the fertile plain in which the town of Pisa lies--with Leghorn a purple spot in the flat distance--is enchanting. Nor is it only distance that lends enchantment to the view; for the fruitful country, and rich woods of olive-trees through which the road subsequently passes, render it delightful.

The moon was shining when we approached Pisa, and for a long time we could see, behind the wall, the Leaning Tower, all awry in the uncertain light; the shadowy original of the old pictures in school-books, setting forth “The Wonders of the World.” Like most things connected in their first associations with school-books and school-times, it was too small. I felt it keenly. It was nothing like so high above the wall as I had hoped. It was another of the many deceptions practised by Mr. Harris, Bookseller, at the corner of St. Paul’s Church-yard, London. _His_ Tower was a fiction, but this was reality--and, by comparison, a short reality. Still, it looked very well, and very strange, and was quite as much out of the perpendicular as Harris had represented it to be. The quiet air of Pisa, too; the big guard-house at the gate, with only two little soldiers in it; the streets, with scarcely any show of people in them; and the Arno, flowing quaintly through the centre of the town; were excellent. So, I bore no malice in my heart against Mr. Harris (remembering his good intentions), but forgave him before dinner, and went out, full of confidence, to see the Tower next morning.

[Illustration: THE LEANING TOWER OF PISA.]

I might have known better; but, somehow, I had expected to see it casting its long shadow on a public street where people came and went all day. It was a surprise to me to find it in a grave, retired place, apart from the general resort, and carpeted with smooth green turf. But, the group of buildings clustered on and about this verdant carpet; comprising the Tower, the Baptistery, the Cathedral, and the Church of the Campo Santo; is perhaps the most remarkable and beautiful in the whole world; and, from being clustered there together away from the ordinary transactions and details of the town, they have a singularly venerable and impressive character. It is the architectural essence of a rich old city, with all its common life and common habitations pressed out, and filtered away.

SIMOND compares the Tower to the usual pictorial representations in children’s books of the Tower of Babel. It is a happy simile, and conveys a better idea of the building than chapters of laboured description. Nothing can exceed the grace and lightness of the structure; nothing can be more remarkable than its general appearance. In the course of the ascent to the top (which is by an easy staircase), the inclination is not very apparent; but, at the summit, it becomes so, and gives one the sensation of being in a ship that has heeled over, through the action of an ebb tide. The effect _upon the low side_, so to speak--looking over from the gallery, and seeing the shaft recede to its base--is very startling; and I saw a nervous traveller hold on to the Tower involuntarily, after glancing down, as if he had some idea of propping it up. The view within, from the ground--looking up, as through a slanted tube--is also very curious. It certainly inclines as much as the most sanguine tourist could desire. The natural impulse of ninety-nine people out of a hundred, who were about to recline upon the grass below it to rest, and contemplate the adjacent buildings, would probably be, not to take up their position under the leaning side; it is so very much aslant.

_Pictures from Italy_ (London, 1845).

THE CATHEDRAL OF CANTERBURY.

W. H FREMANTLE.

The foundation of St. Martin’s Church and the lower part of its walls, which are Roman, stood in 598 as they stand to-day; and they were the walls of the little church which had been given to the Christian Queen Bertha and her chaplain Bishop Luithart, by her pagan husband King Ethelbert. When Augustine passed towards the city, as described by the Venerable Bede, with his little procession headed by the monk carrying a board on which was a rough picture of Christ, and a chorister bearing a silver cross, his heart, no doubt, beat high with hope: but his hope would have grown into exultation could he have looked forward through the centuries, and beheld the magnificent Cathedral which was to spring up where his episcopal throne was fixed, and the energetic and varied Christian life which has issued from this first home of Anglo-Saxon Christianity. To us the scene is full of historical recollections. Between the place where we are standing and the Cathedral are the city walls, on the very site which they occupied in the days of Ethelbert, and the postern-gate through which Queen Bertha came every day to her prayers; in the nearer distance, a little to the right of the Cathedral, are the remains of the great abbey which Augustine founded; to our left is the Pilgrims’ Way, by which, after Becket’s canonization, those who landed at Dover made their way to the shrine of St. Thomas.

[Illustration: THE CATHEDRAL OF CANTERBURY.]

The eye glances over the valley of the Stour, enclosed between the hill on which we are placed and that of St. Thomas, crowned by the fine buildings of the Clergy Orphan School; and ranges from Harbledown (Chaucer’s “little town under the Blean ycleped Bob-up-and-down”) on the left to the Jesuit College at Hale’s Place farther to the right; and thence down the valley to Fordwich, where formerly the waters of the Stour joined those of the Wantsome, the estuary separating Thanet from the mainland. This town at the Domesday epoch was a port with flourishing mills and fisheries. There the Caen stone was landed to build the Cathedral, and the tuns of wine from the monks’ vineyards in France were lifted out of the ships by the mayor’s crane....

But it is time that we go into the Cathedral precincts. Making use of a canon’s key, we pass, by Queen Bertha’s Postern, through the old city walls, along a piece of the ancient Queningate lane--a reserved space between the walls of the city and the precincts, along which the citizens and troops could pass freely for purposes of defence: through the Bowling Green, where the tower of Prior Chillenden is seen to have been used as a pigeon-house, into the Cathedral Yard. In so doing we pass under a Norman archway of the date of Lanfranc and the Conqueror, which formerly stood in a wall separating the cemetery of the monks from that of the laity; then along the south side of the Cathedral, passing Anselm’s chapel, and the beautiful Norman tower attached to the south-eastern transept, with its elaborate tracery, which shows how delicate Norman work could be; past the south porch, over which is a bas-relief of the altar where the sword of Becket’s murderer was preserved; and round, past the western door, into the cloister.