,illustration3 ,,the ,,jumma ,,musjid1 ,,india4 ,historic ,buildings ,as ,seen and ,described by ,famous ,writers ,,edited ,,and ,,translated ,,by ,,esther ,,singleton ,,author ,,of 8,,turrets1 ,,towers ,,and ,,temples10 8,,great ,,pictures10 8,,wonders ,,of ,,nature10 8,,famous ,,paintings10 8,,paris10 8,,london0 ,,and 8,a ,,guide ,,to ,,the ,,opera10 ,,etc4 ,with ,numerous ,illustrations ,illustration ,,new ,,york ,,dodd1 ,,mead ,,company #aijc ,copyright1 #aijc ,,by ,,dodd1 ,,mead ,,company ,published ,october1 #aijc ,preface ,two principles of selection have guided me in the preparation of this book1 the sixth of a series which has met with a cordial reception4 ,one is the beauty or interest from an artistic standpoint2 the other1 the historical associations4 ,if the reader should miss some famous edifices1 he will kindly remember that a small volume cannot contain a complete collection of all the historic buildings still standing1 and that many other historic buildings have already appeared in my former books of this series1 ,turrets1 ,towers and ,temples and ,romantic ,castles and ,palaces4 ,i have endeavoured to find descriptions that deal with both views1 giving the history of the building itself1 and a description of its architectural features2 and as this book contains1 in consequence1 a great variety of buildings of all periods and many countries1 the student of both art and history will doubtless find pleasure in comparing these various styles of architecture and in composing a mental picture of events that have occurred within their walls4 ,some of the buildings will aid him in realizing more fully1 perhaps1 than before some of the various influences that have aided in developing certain races2 for instance1 a study of the text and pictures of the cathedrals of ,monreale and ,palermo will demonstrate the presence of ,norman and ,saracen in ,sicily4 ,in other instances1 it is not a long vanished race1 but the still-felt presence of some strong personality like that of ,shah ,jehan1 whose mosques and palaces and ,taj ,mahal stand as monuments not only to the great conqueror1 but to the magnificence of his taste4 ,in this book1 ,i have included several towers and fortresses as well as castles and baronial halls1 and the ,certosa of ,pavia and ,la ,grande ,chartreuse1 from which later historic home the ,carthusian monks of ,france have lately been driven4 ,in addition to the cathedrals and temples which have been the scenes of memorable historical events1 ,i have added the particularly sacred shrines of the ,holy ,sepulchre1 the ,holy ,house of ,loretto and the ,campo ,santo1 ,pisa1 which attract thousands of the faithful4 ,many of the extracts ,i have translated expressly for this book1 and ,i have taken no liberties with the text1 except a little cutting for the sake of space limitations4 ,e4 ,s4 ,,new ,,york1 ,september1 #aijc4 ,contents ,,the ,,jumma ,,musjid1 ,,delhi #a ,g4 ,w4 ,,steevens4 ,,san ,,donato1 ,,murano #e ,,john ,,ruskin4 ,,the ,,palace ,,of ,,the ,,popes1 ,,avignon #bj ,,charles ,,dickens4 ,,the ,,church ,,of ,,the ,,holy ,,sepulchre1 ,,jerusalem #bi ,,pierre ,,loti4 ,,la ,,grande ,,chartreuse #dj ,,william ,,beckford4 ,,the ,,temples ,,of ,,hatchiman1 ,,kamakoura #ed ,,aim ,,humbert4 ,,cathedral ,,church ,,of ,,wells #fb ,,edward ,,augustus ,,freeman4 ,,the ,,coliseum1 ,,rome #ge ,i4 ,,edward ,,gibbon4 ,,ii4 ,,charles ,,dickens4 ,,golden ,,temple ,,of ,,the ,,sikhs1 ,,lahore #hd ,g4 ,w4 ,,steevens4 ,,the ,,giralda1 ,,seville #ib ,,th,,ophile ,,gautier4 ,,the ,,cathedral ,,of ,,monreale #ie ,,john ,,addington ,,symonds4 ,,the ,,luxembourg ,,palace1 ,,paris #ajb ,,augustus ,j4 ,c4 ,,hare4 ,,the ,,great ,,lama ,,temple1 ,,pekin #ajg ,c4 ,f4 ,,gordon-,,cumming4 ,,haddon ,,hall #aab ,,john ,,leyland4 ,,cathedral ,,of ,,palermo #abe ,,john ,,addington ,,symonds4 ,,the ,,fortress ,,and ,,palace ,,of ,,gwalior #abi ,,louis ,,rousselet4 ,,the ,,holy ,,house ,,of ,,loretto #ace ,,arthur ,,penrhyn ,,stanley4 ,,the ,,alcazar ,,of ,,seville #ade ,,edmundo ,,de ,,amicis4 ,,the ,,tower ,,of ,,belem1 ,,lisbon #adi ,,arthur ,,shadwell ,,martin4 ,,venetian ,,palaces #aef ,,th,,ophile ,,gautier ,,saint ,,ouen1 ,,rouen #afc ,l4 ,,de ,,fourcaud4 ,,carisbrooke ,,castle1 ,,isle ,,of ,,wight #agb ,,sir ,,james ,d4 ,,mackenzie4 ,,the ,,pantheon1 ,,rome #agh ,,augustus ,j4 ,c4 ,,hare4 ,,st4 ,,laurence1 ,,nuremberg #ahb ,,linda ,,villari4 ,,the ,,torre ,,del ,,oro1 ,,seville #aij ,,edmundo ,,de ,,amicis4 ,,cathedral ,,of ,,orvieto #aic ,,john ,,addington ,,symonds4 ,,the ,,buildings ,,of ,,shah ,,jehan1 ,,agra #bjf ,g4 ,w4 ,,steevens4 ,,the ,,priory ,,and ,,church ,,of ,,st4 ,,bartholomew1 ,,london #baf ,,charles ,,knight4 ,,kutb ,,minar1 ,,delhi #bbh ,i4 ,g4 ,w4 ,,steevens4 ,,ii4 ,,andr ,,ch,,vrillon4 ,,kenilworth ,,castle #bcd ,,sir ,,james ,d4 ,,mackenzie4 ,,santa ,,maria ,,della ,,salute1 ,,venice #bdd ,,john ,,ruskin4 ,,the ,,ramparts ,,of ,,carcassonne #bdg ,a4 ,,molinier4 ,,the ,,cathedral ,,of ,,modena #bed ,,edward ,,augustus ,,freeman4 ,,the ,,cathedral ,,of ,,rheims #beg ,,louis ,,gonse4 ,,the ,,castle ,,of ,s4 ,,angelo1 ,,rome #bfg ,,augustus ,j4 ,c4 ,,hare4 ,,salisbury ,,cathedral #bgf ,w4 ,j4 ,,loftie4 ,,the ,,castle ,,of ,,angers #bhf ,,henry ,,jouin4 ,,the ,,pagoda ,,of ,,tanjore #bid ,g4 ,w4 ,,steevens4 ,,the ,,vendramin-,,calergi1 ,,venice #cjj ,,th,,ophile ,,gautier4 ,a ,,visit ,,to ,,the ,,old ,,seraglio1 ,,constantinople #cjc ,,pierre ,,loti4 ,,the ,,duomo1 ,,leaning ,,tower1 ,,the ,,baptistery ,,and ,,the ,,campo-,,santo1 ,,pisa #caj ,h4 ,a4 ,,taine4 ,,rochester ,,castle #cag ,,arthur ,,shadwell ,,martin4 ,,santa ,,croce1 ,,florence #cbf ,,john ,,ruskin4 ,,the ,,certosa ,,of ,,pavia #ccf ,,john ,,addington ,,symonds4 ,illustrations ,,the ,,jumma ,,musjid ,india ,frontispiece ,,page ,,san ,,donato ,italy #e ,,the ,,palace ,,of ,,the ,,popes ,france #bj ,,the ,,church ,,of ,,the ,,holy ,,sepulchre ,palestine #bi ,,the ,,da,,boudhs ,kamakoura #ed ,,cathedral ,,of ,,wells ,england #fb ,,the ,,coliseum ,italy #ge ,,golden ,,temple ,,of ,,the ,,sikhs ,india #hd ,,the ,,giralda ,spain #ib ,,the ,,cathedral ,,of ,,monreale ,italy #ie ,,the ,,luxembourg ,,palace ,france #ajb ,,haddon ,,hall ,england #aab ,,cathedral ,,of ,,palermo ,italy #abe ,,fortress ,,and ,,palace ,,of ,,gwalior ,india #abi ,,the ,,holy ,,house ,,of ,,loretto ,italy #ace ,,the ,,alcazar ,,of ,,seville ,spain #ade ,,the ,,tower ,,of ,,belem ,portugal #adi ,,the ,,foscari ,,palace ,italy #aef ,,saint ,,ouen ,france #afc ,,carisbrooke ,,castle ,england #agb ,,the ,,pantheon ,italy #agh ,,st4 ,,laurence ,germany #ahb ,,the ,,torre ,,del ,,oro ,spain #aij ,,cathedral ,,of ,,orvieto ,italy #aic ,,the ,,pearl ,,mosque ,india #bjf ,,the ,,church ,,of ,,st4 ,,bartholomew ,england #baf ,,the ,,kutb ,,minar ,delhi #bbh ,,kenilworth ,,castle ,england #bcd ,,santa ,,maria ,,della ,,salute ,italy #bdd ,,the ,,ramparts ,,of ,,carcassonne ,france #bdg ,,the ,,cathedral ,,of ,,modena ,italy #bed ,,the ,,cathedral ,,of ,,rheims ,france #beg ,,the ,,castle ,,of ,,st4 ,,angelo ,italy #bfg ,,salisbury ,,cathedral ,england #bgf ,,the ,,castle ,,of ,,angers ,france #bhf ,,the ,,pagoda ,,of ,,tanjore ,india #bid ,,the ,,vendramin-,,calergi ,italy #cjj ,,fountain ,,of ,,the ,,old ,,seraglio ,turkey #cjc ,,the ,,duomo1 ,,leaning ,,tower1 ,,baptistery ,,and ,,campo-,,santo ,italy #caj ,,rochester ,,castle ,england #cag ,,santa ,,croce ,italy #cbf ,,the ,,certosa ,,of ,,pavia ,italy #ccf ,historic ,buildings ,,the ,,jumma ,,musjid ,g4 ,w4 ,,steevens ,delhi is the most historic city in all historic ,india4 ,it may not be the oldest--who shall say which is the oldest among rivals all coeval with time8--though it puts in a claim for a respectable middle-age1 dating from #ajjj ,b4,c4 or so4 ,it has at least one authentic monument which is certainly fourteen or fifteen hundred years old4 ,at that time ,delhi's master called himself ,emperor of the ,world1 and emperors1 at least of ,india1 have ruled there almost ever since4 ,mohammed1 an ,afghan of ,ghor1 took it in #aaic2 ,tamerlane1 the ,mogul1 sacked it two hundred years later2 ,nadir ,shah1 the ,persian1 in #agci2 ,ahmed ,shah ,durani1 another ,afghan1 in #agef2 the ,marathas took it three years later4 ,half a century on1 in #ahjc1 ,general ,lake took the capital of ,india for ,britain4 ,and ,british it has been ever since--except for those few months in #aheg1 when ,mutiny brought the ghost of the ,mogul empire into the semblance of life again2 till ,nicholson stormed the breach in the ,kashmir ,bastion1 and dyed ,delhi ,british for ever with his blood4 ,look from the ,ridge1 whence the columns marched out to that last capture3 the battered trophy of so many conquerors remains wonderfully fresh and fair4 ,it seems more like a wood than a city4 ,the rolls of green are only spangled with white1 as if it were a suburb of villas standing in orchards4 ,only the snowy domes and tall minarets1 the cupolas and gilded pinnacles1 betray the still great and populous city that nestles below you and takes breath after her thousand troubles4 ,let us go back to the city4 ,here at least is the ,jumma ,musjid1 the great mosque1 saved complete out of the storms--a baby of little more than two hundred years1 to be sure1 but still something4 ,it is said to be the largest mosque in the world--a vast stretch of red sandstone and white marble and gold upstanding from a platform reached on three sides by flights of steps so tall1 so majestically wide1 that they are like a stone mountain tamed into order and proportion at an emperor's will4 ,above the brass-mounted doors rise red portals so huge that they almost dwarf the whole--red galleries above them1 white marble domes above them1 white marble minarets rising higher yet1 with pillars and cupolas and gilded pinnacles above all4 ,beside the gateways the walls of the quadrangle seem to creep along the ground2 then1 at the corners1 rise towers with more open chambers1 more cupolas and gilded pinnacles4 ,within1 above the cloistered quadrangle1 bulge three pure white domes--not hemispheres1 like ,western domes1 but complete globes1 only sliced away at the base and tapering to a spike at the top--and a slender minaret flanks each side4 ,the whole1 to ,western eyes1 has a strange effect4 ,our own buildings are tighter together1 gripped and focused more in one glance2 over the ,jumma ,musjid your eye must wander1 and then the mind must connect the views of the different parts4 ,if you look at it near you cannot see it all2 if far1 it is low and seems to straggle4 ,the ,west could hardly call it beautiful3 it has proportion1 but not compass4 ,therefore it does not abase you1 as other great buildings do3 somehow you have a feeling of patronage towards it4 ,yet it is most light and graceful with all its bulk3 it seems to suit ,india1 thus spread out to get its fill of the warm sun4 ,it looks rich and lavish1 as if space were of no account to it4 ,you have passed below the cloud-capped towers1 out of the gorgeous palaces--and here is ,silver ,street1 ,delhi's main thoroughfare4 ,the pageant fades1 and you plunge into the dense squalor which is also ,india4 ,along the houses run balconies and colonnades2 here also you see vistas of pillars and lattice-work1 but the stone is dirty1 the stucco peels1 the wood lacks paint4 ,the houses totter and lean together4 ,the street is a mass of squatting1 variegated people2 bulls1 in necklaces of white and yellow flowers1 sleep across the pavements1 donkeys stroll into the shops1 goats nibble at the vegetables piled for sale down the centre of the street1 a squirrel is fighting with a caged parrot4 ,here is a jeweller's booth1 gay with tawdry paint2 next1 a baker's1 with the shopkeeper snoring on his low counter1 and everything an inch thick with dust4 ,at one step you smell incense2 at the next1 garbage4 ,inimitable1 incongruous ,india6 ,and coming out of the walls1 still crumbling from ,nicholson's cannon1 you see mill-chimneys blackening the sky4 ,delhi1 with local cotton1 they tell you1 can spin as fine as ,manchester4 ,one more incongruity6 ,the iron pillar1 the ruined mosque1 the jewelled halls1 the shabby street1 and now the clacking mill4 ,that is the last of ,delhi's myriad reincarnations4 ,illustration3 ,,san ,,donato1 ,,italy4 ,,san ,,donato1 ,,murano ,,john ,,ruskin ,we push our way on between large barges laden with fresh water from ,fusina1 in round white tubs seven feet across1 and complicated boats full of all manner of nets that look as if they could never be disentangled1 hanging from their masts and over their sides2 and presently pass under a bridge with the lion of ,st4 ,mark on its archivolt1 and another on a pillar at the end of the parapet1 a small red lion with much of the puppy in his face1 looking vacantly up in the air 7in passing we may note that1 instead of feathers1 his wings are covered with hair1 and in several other points the manner of his sculpture is not uninteresting74 ,presently the canal turns a little to the left1 and thereupon becomes more quiet1 the main bustle of the water-street being usually confined to the first straight reach of it1 some quarter of a mile long1 the ,cheapside of ,murano4 ,we pass a considerable church on the left1 ,st4 ,pietro1 and a little square opposite to it with a few acacia trees1 and then find our boat suddenly seized by a strong green eddy1 and whirled into the tide-way of one of the main channels of the lagoon1 which divides the town of ,murano into two parts by a deep stream some fifty yards over1 crossed only by one wooden bridge4 ,we let ourselves drift some way down the current1 looking at the low line of cottages on the other side of it1 hardly knowing if there be more cheerfulness or melancholy in the way the sunshine glows on their ruinous but whitewashed walls1 and sparkles on the rushing of the green water by the grass-grown quay4 ,it needs a strong stroke of the oar to bring us into the mouth of another quiet canal on the farther side of the tide-way1 and we are still somewhat giddy when we run the head of the gondola into the sand on the left-hand side of this more sluggish stream1 and land under the east end of the ,church of ,san ,donato1 the 8,matrice0 or 8,mother0 ,church of ,murano4 ,it stands1 it and the heavy campanile detached from it a few yards1 in a small triangular field of somewhat fresher grass than is usual near ,venice1 traversed by a paved walk with green mosaic of short grass between the rude squares of its stones1 bounded on one side by ruinous garden walls1 on another by a line of low cottages1 on the third1 the base of the triangle1 by the shallow canal from which we have just landed4 ,near the point of the triangular space is a simple well1 bearing date #aejb2 in its widest part1 between the canal and campanile1 is a four-square hollow pillar1 each side formed by a separate slab of stone1 to which the iron hasps are still attached that once secured the ,venetian standard4 ,the cathedral itself occupies the northern angle of the field1 encumbered with modern buildings1 small out-house-like chapels1 and wastes of white wall with blank square windows1 and itself utterly defaced in the whole body of it1 nothing but the apse having been spared2 the original plan is only discoverable by careful examination1 and even then but partially4 ,the whole impression and effect of the building are irretrievably lost1 but the fragments of it are still most precious4 ,we must first briefly state what is known of its history4 ,the legends of the ,romish ,church1 though generally more insipid and less varied than those of ,paganism1 deserve audience from us on this ground1 if on no other1 that they have once been sincerely believed by good men1 and have had no ineffective agency in the foundation of the existent ,european mind4 ,the reader must not therefore accuse me of trifling1 when ,i record for him the first piece of information ,i have been able to collect respecting the cathedral of ,murano3 namely1 that the emperor ,otho the ,great1 being overtaken by a storm on the ,adriatic1 vowed1 if he were preserved1 to build and dedicate a church to the ,virgin1 in whatever place might be most pleasing to her2 that the storm thereupon abated2 and the ,virgin appearing to ,otho in a dream showed him1 covered with red lilies1 that very triangular field on which we were but now standing amidst the ragged weeds and shattered pavement4 ,the emperor obeyed the vision2 and the church was consecrated on the #aeth of ,august1 #ieg4 ,whatever degree of credence we may feel disposed to attach to this piece of history1 there is no question that a church was built on this spot before the close of the ,tenth ,century3 since in the year #iii we find the incumbent of the ,basilica 7note this word1 it is of some importance7 di ,santa ,maria ,plebania di ,murano taking an oath of obedience to the ,bishop of the ,altinat church1 and engaging at the same time to give the said bishop his dinner on the ,domenica in ,albis1 when the prelate held a confirmation in the mother church1 as it was then commonly called1 of ,murano4 ,from this period1 for more than a century1 ,i can find no records of any alterations made in the fabric of the church1 but there exist very full details of the quarrels which arose between its incumbents and those of ,san ,stefano1 ,san ,cipriano1 ,san ,salvatore1 and the other churches of ,murano1 touching the due obedience which their less numerous or less ancient brotherhoods owed to ,st4 ,mary's4 ,these differences seem to have been renewed at the election of every new abbot by each of the fraternities1 and must have been growing serious when the patriarch of ,grado1 ,henry ,dandolo1 interfered in #aajb1 and1 in order to seal a peace between the two principal opponents1 ordered that the abbot of ,st4 ,stephen's should be present at the service in ,st4 ,mary's on the night of the ,epiphany1 and that the abbot of ,st4 ,mary's should visit him of ,st4 ,stephen's on ,st4 ,stephen's day2 and that then the two abbots 8should eat apples and drink good wine together1 in peace and charity40#a ,but even this kindly effort seems to have been without result3 the irritated pride of the antagonists remained unsoothed by the love-feast of ,st4 ,stephen's day2 and the breach continued to widen until the abbot of ,st4 ,mary's obtained a timely accession to his authority in the year #aabe4 ,the ,doge ,domenico ,michele1 having in the ,second ,crusade secured such substantial advantages for the ,venetians as might well counterbalance the loss of part of their trade with the ,east1 crowned his successes by obtaining possession in ,cephalonia of the body of ,san ,donato1 bishop of ,eura2 which treasure he having presented on his return to the ,murano basilica1 that church was thenceforward called the church of ,sts4 ,mary and ,donato4 ,nor was the body of the saint its only acquisition3 ,st4 ,donato's principal achievement had been the destruction of a terrible dragon in ,epirus2 ,michele brought home the bones of the dragon as well as of the saint2 the latter were put in a marble sarcophagus1 and the former hung up over the high altar4 ,but the clergy of ,st4 ,stefano were indomitable4 ,at the very moment when their adversaries had received this formidable accession of strength1 they had the audacity 8ad onta de' replicati giuramenti1 e dell' inveterata consuetudine10 to refuse to continue in the obedience which they had vowed to their mother church4 ,the matter was tried in a provincial council2 the votaries of ,st4 ,stephen were condemned1 and remained quiet for about twenty years1 in wholesome dread of the authority conferred on the abbot of ,st4 ,donato1 by the ,pope's legate1 to suspend any of the clergy of the island from their office if they refused submission4 ,in #aagb1 however1 they appealed to ,pope ,alexander ,,iii1 and were condemned again3 and we find the struggle renewed at every promising opportunity1 during the course of the ,twelfth and ,thirteenth ,centuries2 until at last1 finding ,st4 ,donato and the dragon together too strong for him1 the abbot of ,st4 ,stefano 8discovered0 in his church the bodies of two hundred martyrs at once6--a discovery1 it is to be remembered1 in some sort equivalent in those days to that of ,california in ours4 ,the inscription1 however1 on the faade of the church recorded it with quiet dignity3--8,,mccclxxiv4 a d ,,xiv1 di ,aprile4 ,furono trovati nella presente chiesa del protomartire ,san ,stefano1 duecento e pi corpi de' ,santi ,martin1 dal ,ven4 ,prete ,matteo ,fradello1 piovano della chiesa40#b ,corner1 who gives this inscription1 which no longer exists1 goes on to explain with infinite gravity1 that the bodies in question1 8being of infantile form and stature1 are reported by tradition to have belonged to those fortunate innocents who suffered martyrdom under ,king ,herod2 but that when1 or by whom1 the church was enriched with so vast a treasure1 is not manifested by any document40 ,the issue of the struggle is not to our present purpose4 ,we have already arrived at the ,fourteenth ,century without finding record of any effort made by the clergy of ,st4 ,mary's to maintain their influence by restoring or beautifying their basilica2 which is the only point at present of importance to us4 ,that great alterations were made in it at the time of the acquisition of the body of ,st4 ,donato is however highly probable1 the mosaic pavement of the interior1 which bears its date inscribed #aadj1 being probably the last of the additions4 ,i believe that no part of the ancient church can be shown to be of more recent date than this2 and ,i shall not occupy the reader's time by any inquiry respecting the epochs or authors of the destructive modern restorations2 the wreck of the old fabric1 breaking out from beneath them here and there1 is generally distinguishable from them at a glance2 and it is enough for the reader to know that none of these truly ancient fragments can be assigned to a more recent date than #aadj1 and that some of them may with probability be looked upon as remains of the shell of the first church erected in the course of the latter half of the ,tenth ,century4 ,it is roofed by a concha1 or semi-dome2 and the external arrangement of its walls provides for the security of this dome by what is1 in fact1 a system of buttresses as effective and definite as that of any of the northern churches1 although the buttresses are obtained entirely by adaptations of the ,roman shaft and arch1 the lower story being formed by a thick mass of wall lightened by ordinary semicircular round-headed niches1 like those used so extensively afterwards in ,renaissance architecture1 each niche flanked by a pair of shafts standing clear of the wall1 and bearing deeply moulded arches thrown over the niche4 ,the walls with its pillars thus forms a series of massy buttresses1 on the top of which is an open gallery1 backed by a thinner wall1 and roofed by arches whose shafts are set above the pairs of shafts below4 ,on the heads of these arches rests the roof4 ,we have1 therefore1 externally a heptagonal apse1 chiefly of rough and common brick1 only with marble shafts and a few marble ornaments2 but for that reason all the more interesting because it shows us what may be done1 and what was done1 with materials such as are now at our own command2 and because in its proportions1 and in the use of the few ornaments it possesses1 it displays a delicacy of feeling rendered doubly notable by the roughness of the work in which laws so subtle are observed1 and with which so thoughtful ornamentation is associated4 ,we must now see what is left of interest within the walls4 ,all hope is taken away by our first glance2 for it falls on a range of shafts whose bases are concealed by wooden panelling1 and which sustains arches decorated in the most approved style of ,renaissance upholstery1 with stucco roses in squares under the soffits1 and egg and arrow mouldings on the architraves1 gilded1 on a ground of spotty black and green1 with a small pink-faced and black-eyed cherub on every keystone2 the rest of the church being for the most part concealed either by dirty hangings1 or dirtier whitewash1 or dim pictures on warped and wasting canvas2 all vulgar1 vain1 and foul4 ,yet let us not turn back1 for in the shadow of the apse our more careful glance shows us a ,greek ,madonna1 pictured on a field of gold2 and we feel giddy at the first step we make on the pavement1 for it1 also1 is of ,greek mosaic waved like the sea1 and dyed like a dove's neck4 ,nor are the original features of the rest of the edifice altogether indecipherable2 the entire series of shafts marked in the ground plan on each side of the nave1 from the western entrance to the apse1 are nearly uninjured2 and ,i believe the stilted arches they sustain are those of the original fabric1 though the masonry is covered by the ,renaissance stucco mouldings4 ,their capitals1 for a wonder1 are left bare1 and appear to have sustained no farther injury than has resulted from the insertion of a large brass chandelier into each of their abaci1 each chandelier carrying a sublime wax candle two inches thick1 fastened with wire to the wall above4 ,the due arrangement of these appendages1 previous to festa days1 can only be effected from a ladder set against the angle of the abacus2 and ten minutes before ,i wrote this sentence1 ,i had the privilege of watching the candle-lighter at his work1 knocking his ladder about the heads of the capitals as if they had given him personal offence4 ,he at last succeeded in breaking away one of the lamps altogether1 with a bit of the marble of the abacus2 the whole falling in ruin to the pavement1 and causing much consultation and clamour among a tribe of beggars who were assisting the sacristan with their wisdom respecting the festal arrangements4 ,it is fortunate that the capitals themselves1 being somewhat rudely cut1 can bear this kind of treatment better than most of those in ,venice4 ,they are all founded on the ,corinthian type1 but the leaves are in every one different3 those of the easternmost capital of the southern range are the best1 and very beautiful1 but presenting no feature of much interest1 their workmanship being inferior to most of the imitations of ,corinthian common at the period2 much more to the rich fantasies which we have seen at ,torcello4 ,the apse itself to-day 7#abth ,september1 #ahea71 is not to be described2 for just in front of it1 behind the altar1 is a magnificent curtain of a new red velvet with a gilt edge and two golden tassels1 held up in a dainty manner by two angels in the upholsterer's service2 and above all1 for concentration of effect a star or sun1 some five feet broad1 the spikes of which conceal the whole of the figure of the ,madonna except the head and hands4 ,the pavement is however still left open1 and it is of infinite interest1 although grievously distorted and defaced4 ,for whenever a new chapel has been built1 or a new altar erected1 the pavement has been broken up and readjusted so as to surround the newly inserted steps or stones with some appearance of symmetry2 portions of it either covered or carried away1 others mercilessly shattered or replaced by modern imitations1 and those of very different periods1 with pieces of the old floor left here and there in the midst of them1 and worked round so as to deceive the eye into acceptance of the whole as ancient4 ,the portion1 however1 which occupies the western extremity of the nave1 and the parts immediately adjoining it in the aisles1 are1 ,i believe1 in their original positions1 and very little injured3 they are composed chiefly of groups of peacocks1 lions1 stags1 and griffins1--two of each in a group1 drinking out of the same vase1 or shaking claws together1--enclosed by interlacing bands1 and alternating with chequer or star patterns1 and here and there an attempt at representation of architecture1 all worked in marble mosaic4 ,the floors of ,torcello and of ,st4 ,mark's are executed in the same manner2 but what remains at ,murano is finer than either1 in the extraordinary play of colour obtained by the use of variegated marbles4 ,at ,st4 ,mark's the patterns are more intricate1 and the pieces far more skillfully set together2 but each piece is there commonly of one colour3 at ,murano every fragment is itself variegated1 and all are arranged with a skill and feeling not to be taught1 and to be observed with deep reverence1 for that pavement is not dateless1 like the rest of the church2 it bears its date on one of its central circles1 #aadj1 and is1 in my mind1 one of the most precious monuments in ,italy1 showing thus early1 and in those rude chequers which the bared knee of the ,murano fisher wears in its daily bending1 the beginning of that mighty spirit of ,venetian colour1 which was to be consummated in ,titian4 ,but we must quit the church for the present1 for its garnishings are completed2 the candles are all upright in their sockets1 and the curtains are drawn into festoons1 and a pasteboard crescent1 gay with artificial flowers1 has been attached to the capital of every pillar1 in order1 together with the gilt angels1 to make the place look as much like ,paradise as possible4 ,if we return to-morrow1 we shall find it filled with woeful groups of aged men and women1 wasted and fever-struck1 fixed in paralytic supplication1 half kneeling1 half couched upon the pavement2 bowed down1 partly in feebleness1 partly in a fearful devotion1 with their grey clothes cast far over their faces1 ghastly and settled into a gloomy animal misery1 all but the glittering eyes and muttering lips4 ,fit inhabitants1 these1 for what was once the ,garden of ,venice1 8a terrestrial paradise1--a place of nymphs and demigods60 ,we return1 yet once again1 on the following day4 ,worshippers and objects of worship1 the sickly crowd and gilded angels1 all are gone2 and there far in the apse1 is seen the sad ,madonna standing in her folded robe1 lifting her hands in vanity of blessing4 ,there is little else to draw away our thoughts from the solitary image4 ,an old wooden tablet1 carved into a rude effigy of ,san ,donato1 which occupies the central niche in the lower part of the tribune1 has an interest of its own1 but is unconnected with the history of the older church4 ,the faded frescoes of saints1 which cover the upper tier of the wall of the apse1 are also of comparatively recent date1 much more the piece of ,renaissance workmanship1 shaft and entablature1 above the altar1 which has been thrust into the midst of all1 and has cut away part of the feet of the ,madonna4 ,nothing remains of the original structure but the semi-dome itself1 the cornice whence it springs1 which is the same as that used on the exterior of the church1 and the border and face-arch which surround it4 ,the ground of the dome is of gold1 unbroken except by the upright ,madonna1 and usual inscription1 ,m ,r symbol ,v4 ,the figure wears a robe of blue1 deeply fringed with gold1 which seems to be gathered on the head and thrown back on the shoulders1 crossing the breast1 and falling in many folds to the ground4 ,the under robe1 shown beneath it where it opens at the breast1 is of the same colour2 the whole1 except the deep gold fringe1 being simply the dress of the women of the time4 ,le donne1 anco elle del #aajj1 vestivano di turchino con manti in spalla1 che le coprivano dinanzi e di dietro4#c ,round the dome there is a colored mosaic border2 and on the edge of its arch1 legible by the whole congregation1 this inscription3 8,quos ,eva contrivit1 pia ,virgo ,maria redemit2 ,hanc cuncti laudent1 qui ,christi munere gaudent40#d ,the whole edifice is1 therefore1 simply a temple to the ,virgin3 to her is ascribed the fact of ,redemption1 and to her its praise4 8,and is this10 it will be asked of me1 8the time1 is this the worship1 to which you would have us look back with reverence and regret80 ,inasmuch as redemption is ascribed to the ,virgin1 ,no4 ,inasmuch as redemption is a thing desired1 believed in1 rejoiced in1 ,yes1--and ,yes a thousand times4 ,as far as the ,virgin is worshipped in place of ,god1 ,no2 but as far as there is the evidence of worship itself1 and of the sense of a ,divine presence1 ,yes4 ,for there is a wider division of men than that into ,christian and ,pagan3 we ask what a man worships1 we have to ask whether he worships at all4 ,observe ,christ's own words on this head3 8,god is a spirit2 and they that worship ,him must worship ,him in spirit1 and in truth40 ,the worshipping in spirit comes first1 and does not necessarily imply the worshipping in truth4 ,therefore1 there is first the broad division of men into ,spirit worshippers and ,flesh worshippers2 and then1 of the ,spirit worshippers1 the farther division into ,christian and ,pagan1--worshippers in ,falsehood or in ,truth4 ,i therefore1 for the moment1 omit all inquiry how far the ,mariolatry of the early church did indeed eclipse ,christ1 or what measure of deeper reverence for the ,son of ,god was still felt through all the grosser forms of ,madonna worship4 ,let that worship be taken at its worst2 let the goddess of this dome of ,murano be looked upon as just in the same sense an idol as the ,athene of the ,acropolis1 or the ,syrian ,queen of ,heaven2 and then1 on this darkest assumption1 balance well the difference between those who worship and those who worship not2--that difference which there is in the sight of ,god1 in all ages1 between the calculating1 smiling1 self-sustained1 self-governed man1 and the believing1 weeping1 wondering1 struggling1 ,heaven-governed man2--between the men who say in their hearts 8there is no ,god10 and those who acknowledge a ,god at every step1 8if haply they might feel after ,him and find ,him40 ,for that is indeed the difference which we shall find1 in the end1 between the builders of this day and the builders on that sand island long ago4 ,they did honour something out of themselves2 they did believe in spiritual presence judging1 animating1 redeeming them2 they built to its honour and for its habitation2 and were content to pass away in nameless multitudes1 so only that the labour of their hands might fix in the sea-wilderness a throne for their guardian angel4 ,in this was their strength1 and there was indeed a ,spirit walking with them on the waters1 though they could not discern the form thereof1 though the ,master's voice came not to them1 8,it is ,i40 ,what their error cost them1 we shall see here-after2 for it remained when the majesty and the sincerity of their worship had departed1 and remains to this day4 ,mariolatry is no special characteristic of the ,twelfth ,century2 on the outside of that very tribune of ,san ,donato1 in its central recess1 is an image of the ,virgin who receives the reverence once paid to the blue vision upon the inner dome4 ,with rouged cheeks and painted brows1 the frightful doll stands in wretchedness of rags1 blackened with the smoke of the votive lamp at its feet2 and if we would know what has been lost or gained by ,italy in the six hundred years that have worn the marbles of ,murano1 let us consider how far the priests who set up this to worship1 the populace who have this to adore1 may be nobler than the men who conceived that lonely figure standing on the golden field1 or than those to whom it seemed to receive their prayer at evening1 far away1 where they only saw the blue clouds rising out of the burning sea4 ,,the ,,palace ,,of ,,the ,,popes ,,charles ,,dickens ,hard by the cathedral stands the ancient ,palace of the ,popes1 of which one portion is now a common jail1 and another a noisy barrack3 while gloomy suites of apartments1 shut up and deserted1 mock their own old state and glory1 like the embalmed bodies of kings4 ,but we neither went there to see state-rooms1 nor soldiers' quarters1 nor a common jail1 though we dropped some money into a prisoners' box outside1 whilst the prisoners themselves1 looked through the iron bars1 high up1 and watched us eagerly4 ,we went to see the ruins of the dreadful rooms in which the ,inquisition used to sit4 ,illustration3 ,,the ,,palace ,,of ,,the ,,popes1 ,,france4 ,a little1 old1 swarthy woman1 with a pair of flashing black eyes--proof that the world hadn't conjured down the devil within her1 though it had had between sixty and seventy years to do it in--came out of the ,barrack ,cabaret1 of which she was the keeper1 with some large keys in her hands1 and marshalled us the way that we should go4 ,how she told us1 on the way1 that she was a ,government ,officer 7concierge du palais apostolique7 and had been for ,i don't know how many years2 and how she had shown these dungeons to princes2 and how she was the best of dungeon demonstrators2 and how she had resided in the palace from an infant--had been born there1 if ,i recollect right--,i needn't relate4 ,but such a fierce1 little1 rapid1 sparkling1 energetic she-devil ,i never beheld4 ,she was alight and flaming all the time4 ,her action was violent in the extreme4 ,she never spoke without stopping expressly for the purpose4 ,she stomped her feet1 clutched us by the arms1 flung herself into attitudes1 hammered against the walls with her keys1 for mere emphasis3 now whispered as if the ,inquisition were there still3 now shrieked as if she were on the rack herself2 and had a mysterious1 hag-like way with her forefinger1 when approaching the remains of some new horror--looking back and walking stealthily1 and making horrible grimaces--that might alone have qualified her to walk up and down a sick man's counterpane1 to the exclusion of all other figures1 through a whole fever4 ,passing through the courtyard1 among groups of idle soldiers1 we turned off by a gate1 which this ,she-,goblin unlocked for our admission1 and locked again behind us3 and entered a narrow court1 rendered narrower by fallen stones and heaps of rubbish2 part of it choking up the mouth of a ruined subterranean passage1 that once communicated 7or is said to have done so7 with another castle on the opposite bank of the river4 ,close to this courtyard is a dungeon--we stood within it1 in another minute--in the dismal tower des oubliettes1 where ,rienzi was imprisoned1 fastened by an iron chain to the very wall that stands there now1 but shut out from the sky which now looks down into it4 ,a few steps brought us to the ,cachots1 in which the prisoners of the ,inquisition were confined for forty-eight hours after their capture1 without food or drink1 that their constancy might be shaken1 even before they were confronted with their gloomy judges4 ,the day has not got in there yet1 they are still small cells1 shut in by four unyielding1 close1 hard walls2 still profoundly dark2 still massively doored and fastened as of old4 ,goblin1 looking back as ,i have described1 went softly on1 into a vaulted chamber1 now used as a store-room3 once the chapel of the ,holy ,office4 ,the place where the tribunal sat was plain4 ,the platform might have been removed but yesterday4 ,conceive the parable of the ,good ,samaritan having been painted on the wall of one of these ,inquisition chambers6 ,but it was1 and may be traced there yet4 ,high up in the jealous wall are niches where the faltering replies of the accused were heard and noted down4 ,many of them had been brought out of the very cell we had just looked into1 so awfully3 along the same stone passage4 ,we had trodden in their very footsteps4 ,i am gazing round me1 with the horror that the place inspires1 when ,goblin clutches me by the wrist1 and lays1 not her skinny finger1 but the handle of the key1 upon her lips4 ,she invites me1 with a jerk1 to follow her4 ,i do so4 ,she leads me out into a room adjoining--a rugged room1 with a funnel-shaped1 contracting roof1 open at the top to the bright day4 ,i ask her what it is4 ,she folds her arms1 leers hideously1 and stares4 ,i ask again4 ,she glances round1 to see that all the little company are there2 sits down upon a mound of stones2 throws up her arms1 and yells out1 like a fiend1 8,la ,salle de la ,question60 ,the ,chamber of ,torture6 ,and the roof was made of that shape to stifle the victim's cries6 ,oh1 ,goblin1 ,goblin1 let us think of this awhile in silence4 ,peace1 ,goblin6 ,sit with your short arms crossed on your short legs1 upon that heap of stones1 for only five minutes1 and then flame out again4 ,minutes6 ,seconds are not marked upon the ,palace ,clock1 when1 with her eyes flashing fire1 ,goblin is up in the middle of the chamber1 describing1 with her sunburnt arms1 a wheel of heavy blows4 ,thus it ran round6 cries ,goblin4 ,mash1 mash1 mash6 ,an endless routine of heavy hammers4 ,mash1 mash1 mash6 upon the sufferer's limbs4 ,see the stone trough6 says ,goblin4 ,for the water torture6 ,gurgle1 swill1 bloat1 burst1 for the ,redeemer's honour6 ,suck the bloody rag1 deep down into your unbelieving body1 ,heretic1 at every breath you draw4 ,and when the executioner plucks it out1 reeking with the smaller mysteries of ,god's own ,image1 know us for ,his chosen servants1 true believers in the ,sermon on the ,mount1 elect disciples of ,him who never did a miracle but to heal3 who never struck a man with palsy1 blindness1 deafness1 dumbness1 madness1 any one affliction of mankind2 and never stretched ,his blessed hand out1 but to give relief and ease6 ,see6 cries ,goblin4 ,there the furnace was4 ,there they made the irons red-hot4 ,those holes supported the sharp stake1 on which the tortured persons hung poised3 dangling with their whole weight from the roof4 8,but0--and ,goblin whispers this--8,monsieur has heard of this tower8 ,yes8 ,let ,monsieur look down then60 ,a cold air1 laden with an earthy smell1 falls upon the face of ,monsieur2 for she has opened1 while speaking1 a trap-door in the wall4 ,monsieur looks in4 ,downward to the bottom1 upward to the top1 of a steep1 dark1 lofty tower3 very dismal1 very dark1 very cold4 ,the ,executioner of the ,inquisition1 says ,goblin1 edging in her head to look down also1 flung those who were past all further torturing down here4 8,but look6 does ,monsieur see the black stains on the wall80 ,a glance1 over his shoulder1 at ,goblin's keen eye1 shows ,monsieur--and would without the aid of the directing key--where they are4 8,what are they80 8,blood60 ,in ,october1 #agia1 when the ,revolution was at its height here1 sixty persons3 men and women 78and priests10 says ,goblin1 8priests073 were murdered1 and hurled the dying and the dead1 into this dreadful pit1 where a quantity of quicklime was tumbled down upon their bodies4 ,those ghastly tokens of the massacre were soon no more2 but while one stone of the strong building in which the deed was done remains upon another1 there they will lie in the memories of men1 as plain to see as the splashing of their blood upon the wall is now4 ,was it a portion of the great schemes of ,retribution that the cruel deed should be committed in this place8 ,that a part of the atrocities and monstrous institutions1 which had been1 for scores of years1 at work1 to change men's nature1 should in its last service tempt them with the ready means of gratifying their furious and beastly rage6 ,should enable them to show themselves1 in the height of their frenzy1 no worse than a great1 solemn1 legal establishment in the height of its power8 ,no worse6 ,much better4 ,they used the ,tower of the ,forgotten in the name of ,liberty--their liberty2 an earth-born creature1 nursed in the black mud of the ,bastille moats and dungeons1 and necessarily betraying many evidences of its unwholesome bringing-up--but the ,inquisition used it in the name of ,heaven4 ,goblin's finger is lifted2 and she steals out again into the ,chapel of the ,holy ,office4 ,she stops at a certain part of the flooring4 ,her great effect is at hand4 ,she waits for the rest4 ,she darts at the ,brave ,courier1 who is explaining something2 hits him a sounding rap on the hat with the largest key3 and bids him be silent4 ,she assembles us all round a little trap-door in the floor as round a grave4 8,voil60 she darts down at the ring1 and flings the door open with a crash1 in her goblin energy1 though it is no light weight4 8,voil les oubliettes6 ,voil les oubliettes6 ,subterranean6 ,frightful6 ,black6 ,terrible6 ,deadly6 ,les oubliettes de l',inquisition60 ,my blood ran cold as ,i looked from ,goblin1 down into the vaults1 where these forgotten creatures1 with recollections of the world outside3 of wives1 friends1 children1 brothers3 starved to death1 and made the stones ring with their unavailing groans4 ,but1 the thrill ,i felt on seeing the accursed wall below1 decayed and broken through1 and the sun shining in through its gaping wounds1 was like a sense of victory and triumph4 ,i felt exalted with the proud delight of living1 in these degenerate times1 to see it4 ,as if ,i were the hero of some high achievement6 ,the light in the doleful vaults was typical of the light that has streamed in on all persecution in ,god's name1 but which is not yet at its noon6 ,it cannot look more lovely to a blind man newly restored to sight1 than to a traveller who sees it1 calmly and majestically1 treading down the darkness of that ,infernal ,well4 ,goblin1 having shown les oubliettes felt that her great coup was struck4 ,she let the door fall with a crash1 and stood upon it with her arms akimbo1 sniffing prodigiously4 ,when we left the place1 ,i accompanied her into her house1 under the outer gateway of the fortress1 to buy a little history of the building4 ,her cabaret1 a dark low room1 lighted by small windows1 sunk in the thick wall--in the softened light1 and with its forge-like chimney2 its little counter by the door1 with bottles1 jars1 and glasses on it2 its household implements and scraps of dress against the wall2 and a sober-looking woman 7she must have a congenial life of it with ,goblin7 knitting at the door--looked exactly like a picture by ,,ostade4 ,i walked round the building on the outside1 in a sort of dream1 and yet with the delightful sense of having awakened from it1 of which the light1 down in the vaults1 had given me the assurance4 ,the immense thickness and giddy height of the walls1 the enormous strength of the massive towers1 the great extent of the building1 its gigantic proportions1 frowning aspect1 and barbarous irregularity1 awaken awe and wonder4 ,the recollection of its opposite old uses2 an impregnable fortress1 a luxurious palace1 a horrible prison1 a place of torture1 the court of the ,inquisition3 at one and the same time1 a house of feasting1 fighting1 religion1 and blood3 gives to every stone in its huge form a fearful interest1 and imparts new meaning to its incongruities4 ,i could think of little1 however1 then1 or long afterwards1 but the sun in the dungeons4 ,the palace coming down to be the lounging-place of noisy soldiers1 and being forced to echo their rough talk and common oaths1 and to have their garments fluttering from its dirty windows1 was some reduction of its state1 and something to rejoice at2 but the day in its cells1 and the sky for the roof of its chambers of cruelty--that was its desolation and defeat6 ,if ,i had seen it in a blaze from ditch to rampart1 ,i should have felt that not that light1 nor all the light in all the fire that burns1 could waste it1 like the sunbeams in its secret council-chamber1 and its prisons4 ,before ,i quit this ,palace of the ,popes1 let me translate from the little history ,i mentioned just now a short anecdote1 quite appropriate to itself1 connected with its adventures4 8,an ancient tradition relates1 that in #adda1 a nephew of ,pierre de ,lude1 the ,pope's legate1 seriously insulted some distinguished ladies of ,avignon1 whose relations1 in revenge1 seized the young man and horribly mutilated him4 ,for several years the legate kept his revenge within his own breast1 but he was not the less resolved upon its gratification at last4 ,he even made1 in the fullness of time1 advances towards a complete reconciliation2 and when their apparent sincerity had prevailed1 he invited to a splendid banquet1 in this palace1 certain families1 whom he sought to exterminate4 ,the utmost gayety animated the repast2 but the measures of the legate were well taken4 ,when the dessert was on the board1 a ,swiss presented himself1 with the announcement that a strange embassador solicited an extraordinary audience4 ,the legate1 excusing himself for the moment to his guests1 retired1 followed by his officers4 ,within a few moments afterwards1 five hundred persons were reduced to ashes2 the whole of that wing of the building having been blown into the air with a terrible explosion60 ,after seeing the churches 7,i will not trouble you with churches just now71 we left ,avignon that afternoon4 ,the heat being very great1 the roads outside the walls were strewn with people fast asleep in every little slip of shade1 and with lazy groups1 half asleep and half awake1 who were waiting until the sun should be low enough to admit of their playing bowls among the burnt-up trees1 and on the dusty road4 ,the harvest here was already gathered in1 and mules and horses were treading out the corn in the fields4 ,we came1 at dusk1 upon a wild and hilly country1 once famous for brigands2 and travelled slowly up a steep ascent4 ,so we went on until eleven at night1 when we halted at the town of ,aix 7within two stages of ,marseilles7 to sleep4 ,illustration3 ,,the ,,church ,,of ,,the ,,holy ,,sepulchre4 ,,palestine4 ,,the ,,church ,,of ,,the ,,holy ,,sepulchre ,,pierre ,,loti ,the rain is nearly over4 ,the sky is drying sadly and shows the first blue spaces4 ,it is damp and cold1 and water runs all along the base of the old walls4 ,on foot1 with an ,arab for a guide1 ,i escape alone from the htel to hurry at last to the ,holy ,sepulchre4 ,it is in the opposite direction to that of the ,dominicans1 almost in the heart of ,jerusalem through narrow winding streets between walls as old as the ,crusades1 without windows and without roofs4 ,on the wet pavements and beneath a still dark sky1 circulate ,oriental costumes1--,turks1 ,bedouins1 or ,jews1 and women draped like phantoms1 ,musulmans beneath dark veils and ,christians beneath white veils4 ,the city has remained ,saracen4 ,vaguely ,i notice that we pass an ,oriental bazaar1 where the stalls are occupied by merchants in turbans2 in the shadow of the roofed streets there slowly passes a string of enormous camels1 that obliges us to enter one of the doors4 ,now1 we must get out of the way for a peculiar and long defile of ,russian women1 all sexagenarians at least1 who walk rapidly leaning on walking-sticks2 old faded dresses1 old parasols1 old touloupes of fur1 with faces of fatigue and suffering framed in black handkerchiefs2 a black and sorrowful ensemble in the midst of this ,orient of colour4 ,they walk rapidly with a movement at once excited and exhausted1 all hustling along without seeing anything1 like somnambulists1 with anstheticized eyes wide open in a celestial dream4 ,and hundreds of moujiks1 having the same look of ecstasy follow them2 all of them old1 sordid1 with long grey beards and long grey hair escaping from their felt hats2 on their breasts many medals1 indicating that they are old soldiers4 ,having entered the holy city yesterday1 they are returning from their first visit to that sacred spot where ,i am going in my turn2 poor pilgrims who come here by the thousand1 on foot1 sleeping out of doors in the rain or the snow1 suffering with hunger and dying on the way4 ,in proportion as you approach1 the ,oriental objects in the stalls give place to objects of an obscure ,christian piety3 thousands of chaplets1 crosses1 religious lamps1 and images or icons4 ,and the crowd is denser1 and other pilgrims1 old moujiks and old matouchkas plant themselves to buy cheap little wooden rosaries and cheap little crucifixes for two sous1 which they will carry from here as relics to be considered as sacred for ever4 ,finally1 in an old and defaced wall resembling a rock1 there opens a rude door1 very low and narrow1 and1 by a series of descending steps1 you arrive before a place jutting out from the high sombre walls1 in front of the basilica of the ,holy ,sepulchre4 ,at this spot1 it is customary to take off your hat1 the very moment the ,holy ,sepulchre appears2 every one passes bareheaded even if he is only going by on his way about ,jerusalem4 ,it is thronged with poor people who beg by singing2 pilgrims who pray2 sellers of crosses and chaplets who have their little booths on the ground upon the old and venerable flag-stones4 ,upon the pavement and among the steps there rise the still uprooted socles of columns that formally supported the basilicas1 and that were razed1 like those of ,st4 ,stephen1 from far back and doubtful periods2 everything is a collection of rubbish in this city which has been subjected to twenty sieges and which every kind of fanaticism has sacked4 ,the high walls1 of reddish brown stone1 forming the sides of this place1 are convents or chapels--and it is said fortresses also4 ,in the background1 higher and more sombre than anything else rises that worn out and broken mass1 which is the faade of the ,holy ,sepulchre and which has assumed the appearance and irregularities of a large rock2 it has two enormous doors of the ,twelfth ,century framed with singularly archaic ornaments2 one of them is walled up2 the other is wide open permitting you to see thousands of little flames in the shadowy interior4 ,songs1 cries and discordant lamentations1 lugubrious to hear1 escape through it with the perfume of incense4 ,passing through the door1 you find yourself in the venerable shadow of a kind of vestibule that reveals magnificent depths beyond1 where innumerable lamps are burning4 ,some ,turkish guards1 armed as if for a massacre1 occupy this entrance in a military fashion2 seated like sovereigns on a large divan1 they watch the devotees passing this place1 which is always1 from their point of view1 the opprobrium of ,musulman ,jerusalem and which the most savage of them have never ceased to call ,el ,komamah 7ordure74 ,oh6 the unexpected and imperishable impression when you enter here for the first time4 ,a maze of sombre sanctuaries1 of all periods and of all aspects connected by openings1 doors and superb columns1--and also by little gloomy doors1 air-holes and cavernous hollowings4 ,some of these are elevated like high tribunals1 where you perceive1 in the remote distance1 groups of women in long veils2 others are subterranean1 where you are jostled by shadows1 between walls of rock that have remained intact1 dripping and black4--,all this1 in a twilight where a few rays of light fall and accentuate the surrounding darkness2 all this1 starry with an infinite number of little flames in lamps of silver and gold1 hanging from the vaults by the thousand4--,and everywhere a crowd moving about confusedly as if at ,babel1 or quite stationary1 seeming to be grouped by nationalities around the golden tabernacles where somebody is officiating4 ,psalmody1 lamentations and joyful songs fill the high vaults1 or echo in the sepulchral depths below2 the nasal melopia of the ,greeks cut through by the howlings of the ,copts4 ,and1 in all these voices1 an exaltation of tears and prayers which produce dissonance and which unite them2 the whole effect becoming ,i know not what strange thing that makes this place like a great wail from mankind and the supreme cry of distress before death4 ,the rotunda with a very high cupola1 which you enter first and which allows you to divine between its columns the obscure chaos of the other sanctuaries1 is occupied in the centre by the great marble kiosk1 of a luxury that is half barbaric and overcharged with silver lamps1 that encloses the stone of the sepulchre4 ,all around this very sacred kiosk1 the crowd surges or stands still3 on the one side hundreds of moujiks and matouchkas are kneeling on the flag-stones2 on the other1 the women of ,jerusalem1 standing up1 in long white veils--groups of ancient virgins1 one would1 say1 in the dreamlike shadow2 elsewhere ,abyssinians and turbaned ,arabs prostrated with foreheads to the earth2 ,turks with sabre in hand2 people of all communions and all languages4 ,you do not stay long in this habitation of the ,holy ,sepulchre1 which is really the very heart of this mass of basilicas and chapels1 people pass by one by one2 lowering your head you enter it by a very little door of marble carved and festooned2 the sepulchre is within1 encased in marble and surrounded by gold icons and gold lamps4 ,there entered at the same time as ,i did a ,russian soldier1 a poor old woman in rags1 an ,oriental woman in rich brocade2 all kissed the cover of the tomb and wept4 ,and others followed1 and others eternally follow1 to touch1 embrace and wet with tears these same stones4 ,there is no plan of unity in this collection of churches and chapels which crowd close around this very holy kiosk2 there are some large ones that are marvellously sumptuous and some little ones that are humble and primitive1 crumbling away with age in these sinister nooks dug out of the natural rock and dark as night4 ,and1 here and there1 the rock of ,calvary1 left bare1 appears in the midst of richness and archaic gold work4 ,the contrast is strange between so many collected treasures1--icons of gold1 crosses of gold and lamps of gold1--and the rags of the pilgrims and the decay of the walls and the pillars1 worn1 corroded1 shapeless and greasy from the rubbing of so many human bodies4 ,all the altars and all the different confessionals are so mingled here that it results in a continual displacing of priests and processions2 they cleave through the crowds1 carrying remonstrances and preceded by armed ,janizaries who knock upon the resonant flag-stones with the hilts of their halberds4 ,make room6 here are some ,latins who pass in golden chasubles4 ,make room again6 here is the ,syrian bishop with a long white beard under a black cagoule1 who issues from his little subterranean chapel4 ,then here are some ,greeks still ,byzantine in adornment1 and ,abyssinians with black faces4 ,quickly1 quickly they walk by in their sumptuous vestments whilst before them the silver censers swung by children knock against the crowd which is thrown into confusion and separates4 ,in this human sea there is a continuous rumbling and an incessant noise of psalmody and sacred bells4 ,almost everywhere it is so dark that in order to walk about1 it is necessary to have a candle in your hand1 and1 beneath the high columns and in the dark corridors thousands of little flames follow or cross each other4 ,men praying in a loud voice1 weeping and sobbing1 run from one chapel to another1 here to kiss the rock where the ,cross was planted1 there to prostrate themselves where ,mary and ,magdalen wept2 some priests1 crouching in the shadows1 beckon to you to lead you through the funereal little doors in the holes of the tombs2 old women with wild eyes and tears running down their cheeks come up from the subterranean blackness to kiss the stones of the sepulchres4 ,in black darkness1 you descend to the chapel of ,saint-,helena1 by a wide stairway of about thirty steps1 worn1 broken1 dangerous as falling into ruin and bordered with squatting spectres4 ,in passing1 our candles illumined the vague motionless creatures1 of the same colour as the side of the rock1 who are afflicted beggars1 lunatics covered with ulcers1 sinister all of them1 with their chins in their hands and long hair falling over their faces4--,among these ghastly creatures1 there is a blind young man1 with magnificent blonde curls enveloping him like a mantle1 who is as beautiful as the ,christ whom he resembles4 ,down below1 the chapel of ,saint-,helena1 after that night1 with its two rows of phantoms that you have passed through1 is illumined by daylight1 whose rays arrive pale and bluish through the loop-holes of the vault4 ,assuredly this is one of the strangest places in all that medley that calls itself the ,holy ,sepulchre2 it is there that one experiences in the most distressing manner1 the sentiment of the terrible ,past4 ,it is silent when ,i arrive and it is empty1 beneath the half dead gaze of those phantoms that guard the stairway at the entrance2 you hear with difficulty the indistinct noise of bells and chants from above4 ,behind the altar1 still another stairway1 bordered with the same long-haired individuals1 descends lower into a still darker night4 ,you would think this a heathen temple4 ,four enormous1 dumpy pillars1 of a primitive ,byzantine type and exceedingly heavy1 sustain the surbased cupola1 from which hang ostrich eggs and a thousand uncouth pendants4 ,remains of painting on the walls indicating saints with nimbuses of gold in nave and stiff attitudes are being effaced by the dampness and ancient dust4 ,everything is decaying through neglect with the sweat of water and saltpetre4 ,from the depths of the lower subterranean vaults suddenly ascend some ,abyssinian priests1 who suggest the ancient ,magi-,kings1 issuing from the bowels of the earth2 black faces under large golden tiaras formed like turbans1 long robes of cloth of gold sprinkled with imaginary red and blue flowers4 ,quickly1 quickly1 with that kind of excited haste which is universal here1 they cross the crypts of ,saint-,helena and mount towards the other sanctuaries by the big stairway in ruins1--illuminated at first by the light falling from the loop-holes of the vault1 splendidly archaic in their golden robes in the midst of the gnomes squatting against the walls1--then1 they suddenly disappear above in the distant shadows4 ,some distance away1 in the sanctuaries at the entrance and near the kiosk of the ,sepulchre1 the rock of ,calvary rises3 it supports two chapels to which you ascend by twenty stone steps and which are the veritable place of prostrations and sobs for the crowd4 ,from the peristyle of these chapels1 like an elevated balcony the view commands a confused mass of tabernacles1 a maze of churches1 where the hypnotized crowd moves about4 ,the most splendid of the two is that of the ,greeks2 under a nimbus of silver1 as resplendent as a rainbow1 stand out in human grandeur the pale images of the three crucified ones1 ,christ and the two thieves2 the walls are hidden by icons of silver1 gold and precious stones4 ,the altar is erected on the very place of the crucifixion2 under the retable a silver lattice lets you see in the black rock the hole where the ,cross was planted1--and it is there that you walk on your knees1 wetting these sombre stones with tears and kisses1 whilst a lulling noise of chants and prayers ascends incessantly from the churches below4 ,and1 for two thousand years1 here it has ever been thus2 under divers forms1 in the different basilicas1 with interruptions of sieges1 battles1 and massacres1 but with renewals still more passionate and universal1 here the same concert of prayers1 the same great chorus of desperate supplications or triumphant thanksgiving have always resounded4 ,they are somewhat idolatrous1 these adorations1 for those who say3 8,god is a ,spirit and those who adore ,him should adore ,him in spirit and in truth40 ,but they are so human1 they respond so well to our instincts and our misery4 ,surely1 the first ,christians in the purely spiritual flight of their faith1 and when the teaching of the master was still fresh in their souls1 did not encumber themselves with magnificence1 symbols and images4 ,above all it was not terrestrial memories--the place of a martyr and an empty sepulchre--that preoccupied them2 their ,redeemer1 they did not dream of seeking ,him here1 as they had seen ,him detached forever from transitory things and hovering above in the serene light4 ,but we--all of us1 people of the ,west and ,north--are some centuries nearer to simple barbarism than the ancient society out of which the early ,christians arose2 in the ,middle ,ages1 when the new faith penetrated our forests1 it overshadowed a thousand primitive beliefs2 let us acknowledge it is a small minority that is freed from those accumulated traditions to come again to an evangelical cult in spirit and in truth4 ,and1 moreover1 when faith is extinguished in our modern souls it is still by that so human veneration for places and memories1 that unbelievers like myself are affected with the touching regret for the lost ,saviour4 ,oh6 ,christ1 for whom all these crowds gather and weep2 ,christ1 for whom this poor old woman1 prostrated near me1 licks the pavement1 leaning against the flags her miserable heart whilst weeping delicious tears of hope2 ,christ1 who holds me1 me also1 in this place1 like her1 in a vague1 yet very sweet meditation4 ,oh if ,he was merely one of our brothers in suffering1 now vanished in death1 may ,his memory be adored1 even so1 for ,his long illusion of love1 meeting again1 and eternity4 ,and may this place be also blessed1 this unique and strange place which is called the ,holy ,sepulchre--even contestable1 even fictitious if you please--but whither1 for fifteen centuries afflicted multitudes have run1 where hardened hearts have melted like the snows1 and where now my eyes are ready to veil themselves in a last rapture of prayer--very illogical ,i know--but ineffable and infinite4 ,in the evening1 at nightfall1 after ,i have wandered for a long while in the melancholy little streets1 through the ,saracen city1 where the crowns of fire of the ,ramadan begin to flame around the minarets of the mosques1--an attraction draws me slowly towards the ,holy ,sepulchre4 ,there reigns here a different darkness to that of the daytime2 the rays of white light have ceased to descend by the loop-holes of the vaults2 but the lamps that are lighted are more numerous1 lamps of silver and lamps of gold1 and coloured lamps studding the darkness with little flames of blue1 red1 or white4 ,a kind of calm rests in this labyrinth of high vaults1 like a rest after the exhausting ardour of the day4 ,the noises are nothing more than the buzzing of prayers uttered very low and upon the knee1 only the murmurings in the sonorous caves1 where dominate the poor raucous voices of the moujiks1 and1 every now and then their deep coughs4 ,it is nearly time to close the doors and the crowd has melted away2 but some groups of people1 prostrated in the shadows with faces to the ground1 are still kissing the holy flag-stones4 ,,la ,,grande ,,chartreuse ,,william ,,beckford ,i rested a moment1 and looking against the stout oaken gate1 which closed up the entrance to this unknown region1 felt at my heart a certain awe1 that brought to my mind the sacred terror of those in ancient days going to be admitted into the ,eleusinian mysteries4 ,my guide gave two knocks2 after a solemn pause1 the gate was slowly opened1 and all our horses having passed through it1 was again carefully closed4 ,i now found myself in a narrow dell1 surrounded on every side by peaks of the mountains1 rising almost beyond my sight1 and shelving downwards till their bases were hidden by the foam and spray of the water1 over which hung a thousand withered and distorted trees4 ,the rocks seemed crowding upon me1 and1 by their particular situation1 threatened to obstruct every ray of light2 but1 notwithstanding the menacing appearance of the prospect1 ,i still kept following my guide up a craggy ascent1 partly hewn through a rock1 and bordered by the trunks of ancient fir-trees1 which formed a fantastic barrier1 till we came to a dreary and exposed promontory1 impending directly over the dell4 ,the woods are here clothed with darkness1 and the torrents rushing with additional violence are lost in the gloom of the caverns below2 every object1 as ,i looked downwards from my path1 that hung midway between the base and the summit of the cliff1 was horrid and woeful4 ,the channel of the torrent sunk deep amidst frightful crags1 and the pale willows and wreathed roots spreading over it1 answered my ideas of those dismal abodes1 where1 according to the ,druidical mythology1 the ghosts of conquered warriors were bound4 ,i shivered whilst ,i was regarding these regions of desolation1 and1 quickly lifting up my eyes to vary the scene1 ,i perceived a range of whitish cliffs glistening with the light of the sun1 to emerge from these melancholy forests4 ,on a fragment that projected over the chasm1 and concealed for a moment its terrors1 ,i saw a cross1 on which was written ,via coeli4 ,the cliffs being the heaven to which ,i now aspired1 we deserted the edge of the precipice1 and1 ascending1 came to a retired nook of the rocks1 in which several copious rills had worn irregular grottoes4 ,here we reposed an instant1 and were enlivened with a few sunbeams1 piercing the thickets and gilding the waters that bubbled from the rock1 over which hung another cross1 inscribed with this short sentence1 which the situation rendered wonderfully pathetic1 ,o ,spes unica6 the fervent exclamation of some wretch disgusted with the world whose only consolation was found in this retirement4 ,we quitted this solitary cross to enter a thick forest of beech trees1 that screened in some measure the precipices on which they grew1 catching1 however1 every instant terrifying glimpses of the torrent below4 ,streams gushed from every crevice in the cliffs1 and falling over the mossy roots and branches of the beech1 hastened to join the great torrent1 athwart which ,i every now and then remarked certain tottering bridges1 and sometimes could distinguish a ,carthusian crossing over to his hermitage1 that just peeped above the woody labyrinths on the opposite shore4 ,it was now about ten o'clock1 and my guide assured me ,i should soon discover the convent4 ,upon this information ,i took new courage1 and continued my route on the edge of the rocks1 till we struck into another gloomy grove4 ,after turning about it for some time1 we entered again into the glare of daylight1 and saw a green valley skirted by ridges of cliffs and sweeps of wood before us4 ,towards the farther end of this inclosure1 on a gentle acclivity1 rose the revered turrets of the ,carthusians1 which extend in a long line on the brow of the hill2 beyond them a woody amphitheatre majestically presents itself1 terminated by spires of rock and promontories lost among the clouds4 ,the roar of the torrent was now but faintly distinguishable1 and all the scenes of horror and confusion ,i had passed were succeeded by a sacred and profound calm4 ,i traversed the valley with a thousand sensations ,i despair of describing1 and stood before the gate of the convent with as much awe as some novice or candidate newly arrived to solicit the holy retirement of the order4 ,as admittance is more readily granted to the ,english than to almost any other nation1 it was not long before the gates opened1 and whilst the porter ordered our horses to the stable1 we entered a court watered by two fountains and built round with lofty edifices characterized by a noble simplicity4 ,the interior portal opening discovered an arched aisle1 extending till the perspective nearly met1 along which windows1 but scantily distributed between the pilasters1 admitted a pale solemn light1 just sufficient to distinguish the objects with a picturesque uncertainty4 ,we had scarcely set our feet on the pavement when the monks began to issue from an arch1 about half-way down1 and passing in a long succession from their chapel1 bowed reverently with much humility and meekness1 and dispersed in silence1 leaving one of their body alone in the aisle4 ,the father ,coadjutor 7for he only remained7 advanced towards us with great courtesy1 and welcomed us in a manner which gave me far more pleasure than all the frivolous salutations and effected greetings so common in the world below4 ,after asking us a few indifferent questions1 he called one of the lay brothers1 who live in the convent under less severe restrictions than the fathers whom they serve1 and ordering him to prepare our apartment1 conducted us to a large square hall with casement windows1 and1 what was more comfortable1 an enormous chimney whose hospitable hearth blazed with a fire of dry aromatic fir1 on each side of which were two doors that communicated with the neat little cells destined for our bed-chambers4 ,whilst he was placing us round the fire1 a ceremony by no means unimportant in the cold climate of these upper regions1 a bell rang which summoned him to prayers4 ,after charging the lay brother to set before us the best fare their desert afforded1 he retired1 and left us at full liberty to examine our chambers4 ,the weather lowered1 and the casements permitted very little light to enter the apartment3 but on the other side it was amply enlivened by the gleams of the fire1 that spread all over a certain comfortable air1 which even sunshine but rarely diffuses4 ,whilst the showers descended with great violence1 the lay brother and another of his companions were placing an oval table1 very neatly carved and covered with the finest linen in the middle of the hall2 and1 before we had examined a number of portraits which were hung in all the panels of the wainscot1 they called us to a dinner widely different from what might have been expected in so dreary a situation4 ,our attendant friar was helping us to some ,burgundy1 of the happiest growth and vintage1 when the ,coadjutor returned1 accompanied by two other fathers1 the ,secretary and ,procurator1 whom he presented to us4 ,you would have been both charmed and surprised with the cheerful resignation that appeared in their countenances1 and with the easy turn of their conversation4 ,in the course of our conversation they asked me innumerable questions about ,england1 where formerly1 they said1 many monasteries had belonged to their order2 and principally that of ,witham1 which they had learnt to be now in my possession4 ,the ,secretary1 almost with tears in his eyes1 beseeched me to revere these consecrated edifices1 and to preserve their remains1 for the sake of ,st4 ,hugo1 their canonized prior4 ,i replied greatly to his satisfaction1 and then declaimed so much in favour of ,st4 ,bruno and the holy prior of ,witham1 that the good fathers grew exceedingly delighted with the conversation1 and made me promise to remain some days with them4 ,i readily complied with their request1 and1 continuing in the same strain1 that had so agreeably affected their ears1 was soon presented with the works of ,st4 ,bruno1 whom ,i so zealously admired4 ,after we had sat extolling them1 and talking upon much the same sort of subjects for about an hour1 the ,coadjutor proposed a walk amongst the cloisters and galleries1 as the weather would not admit of any longer excursion4 ,he leading the way1 we ascended a flight of steps1 which brought us to a gallery1 on each side of which a vast number of pictures1 representing the dependent convents were ranged2 for ,i was now in the capital of the order1 where the general resides1 and from whence he issues forth his commands to his numerous subjects1 who depute the superiors of their respective convents whether situated in the wilds of ,calabria1 the forests of ,poland1 or in the remotest districts of ,portugal and ,spain1 to assist at the grand chapter1 held annually under him1 a week or two after ,easter4 ,having amused myself for some time with the pictures1 and the descriptions the ,coadjutor gave me of them1 we quitted the gallery and entered a kind of chapel1 in which were two altars with lamps burning before them1 on each side of a lofty portal4 ,this opened into a grand coved hall1 adorned with historical paintings of ,st4 ,bruno's life1 and the portraits of the generals of the order since the year of the great founder's death 7#ajhe7 to the present time4 ,under these portraits are the stalls for the superiors who assist at the grand convocation4 ,in front1 appears the general's throne2 above1 hangs a representation of the canonized ,bruno1 crowned with stars4 ,the ,coadjutor seemed charmed with the respect with which ,i looked round on these holy objects2 and if the hour of vespers had not been drawing near1 we should have spent more time in the contemplation of ,bruno's miracles1 portrayed on the lower panels of the hall4 ,we left that room to enter a winding passage 7lighted by windows in the roof7 that brought us to a cloister six hundred feet in length1 from which branched off two others1 joining a fourth of the same most extraordinary dimensions4 ,vast ranges of slender pillars extend round the different courts of the edifice1 many of which are thrown into gardens belonging to particular cells4 ,we continued straying from cloister to cloister1 and wandering along the winding passages and intricate galleries of this immense edifice1 whilst the ,coadjutor was assisting at vespers4 ,in every part of the structure reigned the most death-like calm3 no sound reached my ears but the 8minute drops from off the eaves40 ,i sat down in a niche of the cloister1 and fell into a profound reverie1 from which ,i was recalled by the return of our conductor1 who1 ,i believe1 was almost tempted to imagine from the cast of my countenance1 that ,i was deliberating whether ,i should not remain with them for ever4 ,but ,i soon roused myself1 and testified some impatience to see the great chapel1 at which we at length arrived after traversing another labyrinth of cloisters4 ,the gallery immediately before its entrance appeared quite gay1 in comparison with the others ,i had passed1 and owes its cheerfulness to a large window 7ornamented with slabs of polished marble7 that admits the view of a lovely wood1 and allows a full blaze of light to dart on the chapel door1 which is also adorned with marble1 in a plain but noble style of architecture4 ,the father sacristan stood ready on the steps of the portal to grant us admittance2 and1 throwing open the valves1 we entered the chapel and were struck by the justness of its proportions1 the solemn majesty of the arched roof and the mild solemn light equally diffused over every part of the edifice4 ,no tawdry ornaments1 no glaring pictures disgraced the sanctity of the place4 ,the high altar1 standing distinct from the walls which were hung with a rich velvet1 was the only object on which many ornaments were lavished2 and1 it being a high festival1 was clustered with statues of gold1 shrines1 and candelabra of the stateliest shape and most delicate execution4 ,four of the latter1 of a gigantic size1 were placed on the steps2 which1 together with part of the inlaid floor within the choir1 were spread with beautiful carpets4 ,the illumination of so many tapers striking on the shrines1 censers and pillars of polished jasper1 sustaining the canopy of the altar1 produced a wonderful effect2 and1 as the rest of the chapel was visible only by the faint external light admitted from above1 the splendour and dignity of the altar was enhanced by contrast4 ,i retired a moment from it1 and seating myself in one of the furthermost stalls of the choir1 looked towards it1 and fancied the whole structure had risen by 8subtle magic10 like an exhalation4 ,here ,i remained several minutes breathing nothing but incense1 and should not have quitted my station soon1 had ,i not been apprehensive of disturbing the devotions of two aged fathers who had just entered1 and were prostrating themselves before the steps of the altar4 ,these venerable figures added greatly to the solemnity of the scene2 which as the day declined increased every moment in splendour2 for the sparkling of several lamps of chased silver that hung from the roofs1 and the gleaming of nine huge tapers which ,i had not before noticed1 began to be visible just as ,i left the chapel4 ,passing through the sacristy1 where lay several piles of rich embroidered vestments1 purposely displayed for our inspection1 we regained the cloister which led to our apartment1 where the supper was ready prepared4 ,we had scarcely finished it1 when the ,coadjutor and the fathers who had accompanied us before1 returned1 and ranging themselves round the fire1 resumed the conversation about ,st4 ,bruno4 ,it grew rather late before my kind hosts had finished their narrations and ,i was not sorry1 after all the exercise ,i had taken1 to return to my cell1 where everything invited to repose4 ,i was charmed with the neatness and oddity of my little apartment2 its cabin-like bed1 oratory and ebony crucifix2 in short1 everything it contained2 not forgetting the aromatic odour of the pine1 with which it was roofed1 floored and wainscoted4 ,the night was luckily dark4 ,had the moon appeared1 ,i could not have prevailed upon myself to have quitted her till very late2 but1 as it happened1 ,i crept into my cabin1 and was by 8whispering winds soon lulled asleep40 ,eight o'clock struck next morning before ,i awoke2 when1 to my great sorrow1 ,i found the peaks1 which rose above the convent1 veiled in vapours1 and the rain descending with violence4 ,after we had breakfasted by the light of our fire 7for the casements admitted but a very feeble gleam71 ,i sat down to the works of ,st4 ,bruno2 of all medleys one of the strangest4 ,allegories without end2 a theologico-natural history of birds1 beast and fishes2 several chapters on paradise2 the delights of solitude2 the glory of ,solomon's temple2 the new ,jerusalem2 and numberless other wonderful subjects1 full of the loftiest enthusiasm4 ,i had scarcely finished taking extracts from the writings of this holy and highly-gifted personage when the dinner appeared1 consisting of everything most delicate which a strict adherence to the rules of meagre could allow4 ,the good fathers returned as usual before our repast was half over1 and resumed as usual their mystic discourse1 looking all the time rather earnestly into my countenance to observe the sort of effect their most marvellous narrations produced upon it4 ,our conversation1 which was beginning to take a gloomy and serious turn1 was interrupted1 ,i thought very agreeably1 by the sudden intrusion of the sun1 which1 escaping from the clouds1 shone in full splendour above the highest peak of the mountains1 and the vapours fleeting by degrees discovered the woods in all the freshness of their verdure4 ,the pleasure ,i received from seeing this new creation rising to view was very lively1 and1 as the fathers assured me the humidity of their walks did not often continue longer than the showers1 ,i left my hall4 ,crossing the court1 ,i hastened out of the gates1 and running swiftly along a winding path on the side of the meadow1 bordered by the forests1 enjoyed the charms of the prospect1 inhaled the perfume of the woodlands1 and now turning towards the summits of the precipices that encircle this sacred inclosure1 admired the glowing colours they borrowed from the sun1 contrasted by the dark hues of the forest4 ,now1 casting my eyes below1 ,i suffered them to roam from valley to valley1 and from one stream 7beset with tall pines and tufted beech trees7 to another4 ,the purity of the air in these exalted regions1 and the lightness of my own spirits1 almost seized me with the idea of treading in that element4 ,the tranquillity of the region1 the verdure of the lawn1 environed by girdles of flourishing wood1 and the lowing of the distant herds filled me with the most pleasing sensations4 ,but when ,i lifted my eyes to the towering cliffs and beheld the northern sky streaming with ruddy light1 and the long succession of misty forms hovering over the space beneath1 they became sublime and awful4 ,the dews which began to descend1 and the vapours which were rising from every dell1 reminded me of the lateness of the hour2 and it was with great reluctance that ,i turned from the scene which had so long engaged my contemplation1 and traversed slowly and silently the solitary meadows1 over which ,i had hurried with such eagerness an hour ago4 ,we had hardly supped before the gates of the convent were shut1 a circumstance which disconcerted me not a little1 as the full moon gleamed through the casements1 and the stars1 sparkling above the forests of pines1 invited me to leave my apartment again1 and to give myself up entirely to the spectacle they offered4 ,the ,coadjutor perceiving that ,i was often looking earnestly through the windows1 guessed my wishes1 and calling a lay-brother1 ordered him to open the gates1 and wait at them till my return4 ,it was not long before ,i took advantage of this permission1 and escaping from the courts and cloisters of the monastery1 all hushed in death-like stillness1 ascended a green knoll1 which several ancient pines strongly marked with their shadows3 there1 leaning against one of their trunks1 ,i lifted up my eyes to the awful barrier of the surrounding mountains1 discovered by the trembling silver light of the moon shooting directly on the woods which fringed their acclivities4 ,the lawns1 the vast woods1 the steep descents1 the precipices1 the torrents1 lay all extended beneath1 softened by a pale bluish haze1 that alleviated1 in some measure1 the stern prospect of the rocky promontories above1 wrapped in dark shadows4 ,the sky was of the deepest azure1 innumerable stars were distinguished with unusual clearness from this elevation1 many of which twinkled behind the fir-trees edging the promontories4 ,white1 grey1 and darkish clouds came marching towards the moon that shone full against a range of cliffs1 which lift themselves far above the others4 ,the hoarse murmur of the torrent1 throwing itself from the distant wilderness into the gloomy vales1 was mingled with the blast that blew from the mountains4 ,it increased4 ,the forests began to wave1 black clouds rose from the north1 and1 as they fleeted along1 approached the moon whose light they shortly extinguished4 ,a moment of darkness succeeded2 the gust was chill and melancholy2 it swept along the desert1 and then subsiding1 the vapours began to pass away1 and the moon returned2 the grandeur of the scene was renewed1 and its imposing solemnity was increased by her presence4 ,inspiration was in every wind4 ,i followed some impulse1 which drove me to the summit of the mountains before me2 and there1 casting a look on the whole extent of wild woods and romantic precipices1 thought of the days of ,st4 ,bruno4 ,i eagerly contemplated every rock that formerly might have met his eyes2 drank of the spring which tradition says he was wont to drink of2 and ran to every pine1 whose withered appearance bespoke the most remote antiquity1 and beneath which1 perhaps1 the saint had reposed himself1 when worn with vigils1 or possessed with the sacred spirit of his institutions4 ,it was midnight before ,i returned to the convent and retired to my quiet chamber1 but my imagination was too much disturbed1 and my spirits far too active1 to allow me any rest for some time4 ,,the ,,temples ,,of ,,hatchiman ,,humbert ,the ,temples of ,hatchiman are approached by long lines of those great cedar-trees which form the avenues to all places of worship in ,japan4 ,as we advance along the avenue on the ,kanasawa side1 chapels multiply themselves along the road1 and to the left1 upon the sacred hills1 we also come in sight of the oratories and commemorative stones which mark the stations of the processions2 on the right the horizon is closed by the mountain1 with its grottos1 its streams1 and its pine groves4 ,after we have crossed the river by a fine wooden bridge1 we find ourselves suddenly at the entrance of another alley1 which leads from the seaside1 and occupies a large street4 ,this is the principal avenue1 intersected by three gigantic toris1 and it opens on the grand square in front of the chief staircase of the main building of the ,temple4 ,the precinct of the sacred place extends into the street1 and is surrounded on three sides by a low wall of solid masonry1 surmounted by a barrier of wood painted red and black4 ,two steps lead to the first level4 ,there is nothing to be seen there but the houses of the bonzes1 arranged like the side-scenes of a theatre1 amid trees planted along the barrier-wall1 with two great oval ponds occupying the centre of the square4 ,they are connected with each other by a large canal crossed by two parallel bridges1 each equally remarkable in its way4 ,that on the right is of white granite1 and it describes an almost perfect semicircle1 so that when one sees it for the first time one supposes that it is intended for some sort of geometrical exercise2 but ,i suppose that it is in reality a bridge of honour1 reserved for the gods and the good genii who come to visit the ,temple4 ,the bridge on the left is quite flat1 constructed of wood covered with red lacquer1 with balusters and other ornaments in old polished copper4 ,the pond crossed by the stone bridge is covered with magnificent white lotus flowers1--the pond crossed by the wooden bridge with red lotus flowers4 ,among the leaves of the flowers we saw numbers of fish1 some red and others like mother of pearl1 with glittering fins1 swimming about in waters of crystal clearness4 ,the black tortoise glides among the great water-plants and clings to their stems4 ,illustration3 ,,the ,,da,,boudhs ,,of ,,kamakoura1 ,,japan4 ,after having thoroughly enjoyed this most attractive spectacle1 we go on towards the second enclosure4 ,it is raised a few steps higher than the first1 and1 as it is protected by an additional sanctity1 it is only to be approached through the gate of the divine guardians of the sanctuary4 ,this building1 which stands opposite the bridges1 contains two monstrous idols1 placed side by side in the centre of the edifice4 ,they are sculptured in wood1 and are covered from head to foot with a thick coating of vermilion4 ,their grinning faces and their enormous busts are spotted all over with innumerable pieces of chewed paper1 which the native visitors throw at them when passing1 without any more formality than would be used by a number of schoolboys out for a holiday4 ,nevertheless1 it is considered a very serious act on the part of the pilgrims4 ,it is the means by which they make the prayer written on the sheet of chewed paper reach its address1 and when they wish to recommend anything to the gods very strongly indeed1 they bring as an offering a pair of straw slippers plaited with regard to the size of the feet of the ,colossus1 and hang them on the iron railings within which the statues are enclosed4 ,articles of this kind1 suspended by thousands to the bars1 remain there until they fall away in time1 and it may be supposed that this curious ornamentation is anything but beautiful4 ,here a lay brother of the bonzes approached us1 and his interested views were easily enough detected by his bearing4 ,we hastened to assure him that we required nothing from his good offices1 except access to an enclosed building4 ,with a shake of his head1 so as to make us understand that we were asking for an impossibility1 he simply set himself to follow us about with the mechanical precision of a subaltern4 ,he was quite superfluous1 but we did not allow his presence to interfere with our admiration4 ,a high terrace1 reached by a long stone staircase1 surmounted the second enclosure4 ,it is sustained by a ,cyclopean wall1 and in its turn supports the principal ,temple as well as the habitations of the bonzes4 ,the grey roofs of all these different buildings stand out against the sombre forest of cedars and pines4 ,on our left are the buildings of the ,treasury2 one of them has a pyramidal roof surmounted by a turret of bronze most elegantly worked4 ,at the foot of the great terrace is the ,chapel of the ,ablutions4 ,on our right stands a tall pagoda1 constructed on the principle of the ,chinese pagodas1 but in a more sober and severe style4 ,the first stage1 of a quadrangular form1 is supported by pillars2 the second stage consists of a vast circular gallery which1 though extremely massive1 seems to rest simply upon a pivot4 ,a painted roof1 terminated by a tall spire of cast bronze1 embellished with pendants of the same metal1 completes the effect of this strange but exquisitely proportioned building4 ,all the doors of the buildings which ,i have enumerated are in good taste4 ,the fine proportions1 the rich brown colouring of the wood1 which is almost the only material employed in their construction1 is enhanced by a few touches of red and dragon green1 and the effect of the whole is perfect2--add to the picture a frame of ancient trees and the extreme brilliancy of the sky1 for the atmosphere of ,japan is the most transparent in the world4 ,we went beyond the pagoda to visit a bell-tower1 where we were shown a large bell beautifully engraved1 and an oratory on each side containing three golden images1 a large one in the centre1 and two small ones on either side4 ,each was surrounded by a nimbus4 ,this beautiful ,temple of ,hatchiman is consecrated to a ,kami2 but it is quite evident that the religious customs of ,india have supplanted the ancient worship2--we had several proofs of this fact4 ,when we were about to turn back we were solicited by the lay brother to go with him a little further4 ,we complied1 and he stopped us under a tree laden with ex-votos1 at the foot of which stands a block of stone1 surrounded by a barrier4 ,this stone1 which is probably indebted to the chisels of the bonzes for its peculiar form1 is venerated by the multitude1 and largely endowed with ex-voto offerings4 ,like all peoples of the extreme ,east the ,japanese are very superstitious2 a fact of which we had abundant evidence on this and other occasions4 ,the ,temple towards which we directed our steps on leaving the avenue of the ,temple of ,hatchiman1 immediately diverted our thoughts from the grandeur of this picture4 ,it is admirably situated on the summit of a promontory1 whence we overlook the whole ,bay of ,kamakoura2 but it is always sad to come1 in the midst of beautiful nature1 upon a so-called holy place which inspires nothing but disgust4 ,the principal sanctuary1 at first sight1 did not strike us as remarkable4 ,insignificant golden idols stand upon the high altar2 and in a side chapel there is an image of the ,god of ,wealth1 armed with a miner's hammer4 ,but when the bonzes who received us conducted us behind the high altar1 and thence into a sort of cage as dark as a prison and as high as a tower1 they lighted two lanterns1 and stuck them at the end of a long pole4 ,then1 by this glimmering light1 which entirely failed to disperse the shades of the roof1 we perceived that we were standing in front of an enormous idol of gilt wood1 about twelve yards high1 holding in its right hand a sceptre1 in its left a lotus1 and wearing a tiara composed of three rows of heads representing the inferior divinities4 ,this gigantic idol belongs to the religion of the auxiliary gods of the ,buddhist mythology3 the ,amidas and the ,quannons1 intercessors who collect the prayers of men and transmit them to heaven4 ,by means of similar religious conceptions1 the bonzes strike a superstitious terror into the imaginations of their followers and succeed in keeping them in a state of perpetual fear and folly4 ,we then went to see the ,daboudhs1 which is the wonder of ,kamakoura4 ,this building is dedicated to the ,daboudhs1 that is to say1 to the great ,buddha1 and may be regarded as the most finished work of ,japanese genius1 from the double points of view of art and religious sentiment4 ,the ,temple of ,hatchiman had already given us a remarkable example of the use which native art makes of nature in producing that impression of religious majesty which in our northern climates is effected by ,gothic architecture4 ,the ,temple of ,daboudhs differs considerably from the first which we had seen4 ,instead of the great dimensions1 instead of the illimitable space which seemed to stretch from portal to portal down to the sea1 a solitary and mysterious retreat prepares the mind for some supernatural revelation4 ,the road leads far away from every habitation2 in the direction of the mountain it winds about between hedges of tall shrubs4 ,finally1 we see nothing before us but the high road1 going up and up in the midst of foliage and flowers2 then it turns in a totally different direction1 and all of a sudden1 at the end of the alley1 we perceive a gigantic brazen ,divinity1 squatting with joined hands1 and the head slightly bent forward in an attitude of contemplative ecstasy4 ,the involuntary amazement produced by the aspect of this great image soon gives place to admiration4 ,there is an irresistible charm in the attitude of the ,daboudhs1 as well as in the harmony of its proportions4 ,the noble simplicity of its garments and the calm purity of its features are in perfect accord with the sentiment of serenity inspired by its presence4 ,a grove1 consisting of some beautiful groups of trees1 forms the enclosure of the sacred place1 whose silence and solitude are never disturbed4 ,the small cell of the attendant priest can hardly be discerned among the foliage4 ,the altar1 on which a little incense is burning at the feet of the ,divinity1 is composed of a small brass table ornamented by two lotus vases of the same metal1 and beautifully wrought4 ,the steps of the altar are composed of large slabs forming regular lines4 ,the blue of the sky1 the deep shadow of the statue1 the sombre colour of the brass1 the brilliancy of the flowers1 the varied verdure of the hedges and the groves1 fill this solemn retreat with the richest effect of light and colour4 ,the idol of the ,daboudhs1 with the platform that supports it1 is twenty yards high2 it is far from equal in elevation to the statue of ,st4 ,charles ,borromeo1 which may be seen from ,arona on the borders of ,lake ,maggiore1 but which effects the spectator no more than a trigonometrical signal-post4 ,the interiors of these two colossal statues have been utilized4 ,the ,european tourists seat themselves in the nose of the holy cardinal4 ,the ,japanese descend by a secret staircase into the foundations of their ,daboudhs1 and there they find a peaceful oratory1 whose altar is lighted by a ray of sunshine admitted through an opening in the folds of the mantle at the back of the idol's neck4 ,it would be idle to discuss to what extent the ,buddha of ,kamakoura resembles the ,buddha of history1 but it is important to remark that he is conformable to the ,buddha of tradition4 ,,cathedral ,,church ,,of ,,wells ,,edward ,,augustus ,,freeman ,in every place which boasts of a cathedral church1 that cathedral church is commonly the chief object of interest1 alike as its present ornament and as the chief centre of its past history4 ,but in ,wells the cathedral church and its appurtenances are yet more4 ,their interest is not only primary1 but absorbing4 ,they are not only the chief ornament of the place2 they are the place itself4 ,they are not only the centre of the past history of the city2 their history is the history of the city4 ,of our other cities some can trace up a long history as cities independent of their ecclesiastical foundations4 ,some were the dwelling-places of ,kings in days before ,england became one kingdom4 ,some have been for ages seats of commerce or manufactures2 their history is the history of burghers striving for and obtaining their freedom1 a history which repeats in small that same tale of early struggles and later abuses which forms the history of so many greater commonwealths4 ,others have a long military history2 their name at once suggests the memory of battles and sieges1 and they can still show walls and castles as the living memorials of the stirring scenes of bygone times4 ,in others even the ecclesiastical pre-eminence of the cathedral church may be disputed by some other ecclesiastical building4 ,the bishoprick and its church may be comparatively modern institutions1 and they may be altogether eclipsed by some other institution more ancient in date of foundation1 perhaps more ancient in its actual fabric4 ,thus at ,oxford the cathedral church is well-nigh lost among the buildings of the ,university and its greatest college4 ,at ,chester its rank may be disputed by the majestic fragments of the older minster of ,saint ,john4 ,at ,bristol the cathedral church1 even when restored to its old proportions1 will still have at least an equal rival in the stateliest parish church in ,england4 ,in these cities the bishoprick1 its church and its chapter1 are institutions of yesterday2 the cities themselves were great and famous for ages before they were founded4 ,so at ,exeter1 though the bishoprick is of far earlier date1 yet ,exeter was a famous city1 which had played its part in history1 long before ,bishops of ,exeter were heard of4 ,even at ,winchester the overwhelming greatness of the old minster has to compete with the earlier and later interests of the royal palace1 of the fallen ,abbey1 of the unique home of noble poverty and of the oldest of the great and still living schools of ,england4 ,salisbury alone in our own part of ,england1 and ,durham in the far north1 have a history which in some measure resembles that of ,wells4 ,like ,wells1 ,salisbury and ,durham are cities which have grown up around the cathedral church4 ,wells stands alone among the cities of ,england proper as a city which exists only in and through its cathedral church1 whose whole history is that of its cathedral church4 ,the bishoprick has been to us what the ,abbey has been to our neighbours at ,glastonbury1 which the church first of ,abbots and then of ,bishops has been elsewhere to ,ely and ,peterborough4 ,the whole history of ,wells is1 ,i say1 the history of the bishoprick and of its church4 ,of the origin and foundation of the city1 as distinguished from that of the church1 nothing is known4 ,the name of ,wells is first heard of as the place where the church of ,st4 ,andrew was standing and its name seldom appears in later history except in connection with the affairs of its church4 ,it was never a royal dwelling-place2 it was never a place of commercial importance2 it was never a place of military strength4 ,like other cities1 it has its municipal history1 but its municipal history is simply an appendage to its ecclesiastical history2 the franchises of the borough were simply held as grants from the ,bishop4 ,it has its parochial church1 a church standing as high among the buildings of its own class as the cathedral church itself4 ,this parochial church has a parochial constitution which is in some points unique4 ,but the parochial church is simply an appendage to the cathedral church2 it is the church of the burghers who had come to dwell under the shadow of the minster and the protection of its spiritual lord4 ,and it has ever retained a close1 sometimes perhaps a too close1 connexion with the cathedral and its ,chapter4 ,thus the history of the church is the history of the city2 no battles1 no sieges1 no parliaments1 break the quiet tenor of its way2 the name of the city has hardly found its way into our civil and military history4 ,its name does appear among the troubles of the ,seventeenth ,century1 in the pages of ,clarendon and ,macaulay1 but it appears in connexion with events whose importance was mainly local4 ,and even here the ecclesiastical interest comes in2 the most striking event connected with ,wells in the story of ,monmouth's rebellion is the mischief done to the cathedral1 and the way in which further damage and desecration was hindered by ,lord ,grey4 ,and in our own times1 when the parliamentary existence of this city became the subject of an animated parliamentary discussion1 even then the ecclesiastical interest was still uppermost4 ,the old battle of the regulars and seculars was fought again over the bodies of two small parliamentary boroughs4 ,i need not remind you that the claims of the old secular foundation were stoutly pressed by one of our own members4 ,but the monastic influence was too strong for us2 the mantle of ,dunstan and thelwald had fallen on the shoulders of ,sir ,john ,pakington1 and the claims of the fallen ,abbey of ,evesham were preferred to those of the existing ,cathedral of ,wells4 ,illustration3 ,,cathedral ,,of ,,wells1 ,,england4 ,the whole interest1 then1 of the city is ecclesiastical2 but its ecclesiastical interest in one point of view surpasses that of every church in ,england1--,i am strongly tempted to say1 every church in ,europe4 ,the traveller who comes down the hill from ,shepton ,mallet looks down1 as he draws near the city1 on a group of buildings which1 as far as ,i know1 has no rival either in our island or beyond the sea4 ,to most of these objects1 taken singly1 it would be easy to find rivals which would equal or surpass them4 ,the church itself1 seen even from that most favourable point of view1 cannot1 from mere lack of bulk1 hold its ground against the soaring apse of ,amiens1 or against the windows ranging1 tier above tier1 in the mighty eastern gable of ,ely4 ,the cloister cannot measure itself with ,gloucester or ,salisbury2 the chapter-house lacks the soaring roofs of ,york and ,lincoln2 the palace itself finds its rival in the ruined pile of ,st4 ,david's4 ,the peculiar charm and glory of ,wells lies in the union and harmonious grouping of all4 ,the church does not stand alone2 it is neither crowded by incongruous buildings1 nor yet isolated from those buildings which are its natural and necessary complement4 ,palace1 cloister1 lady chapel1 choir1 chapter-house1 all join to form one indivisible unique bridge which by a marvel of ingenuity connects the church itself with the most perfect of buildings of its class1 the matchless ,vicars' close4 ,scattered around we see here and there an ancient house1 its gable1 its window1 or its turret falling in with the style and group of greater buildings1 and bearing its part in producing the general harmony of all4 ,the whole history of the place is legibly written on that matchless group of buildings4 ,if we could fancy an ecclesiastical historian to have dropped from the clouds1 the aspect of the place would at once tell him that he was looking on an ,english cathedral church1 on a cathedral church which had always been served by secular canons1 on a church of secular canons which had preserved its ancient buildings and ancient arrangements more perfectly than any other in the island4 ,the whole history of ,wells before the time of ,edward the ,elder is excessively obscure1 and much of it is undoubtedly fabulous4 ,there is a story about ,king ,ine planting a ,bishoprick at ,congresbury1 which was presently moved to ,wells1 and a list of ,bishops is given between ,ine and ,edward4 ,there is also a document which professes to be a charter of ,king ,cynewulf in #gff1 which does not speak of any ,bishop at ,wells1 but which implies the existence of an ecclesiastical establishment of some kind4 ,but unluckily the ,congresbury story rests on no good authority1 and the charter of ,cynewulf is undoubtedly spurious4 ,but because a charter is spurious in form1 it does not always follow that its matter is unhistorical and ,i am the more inclined to attach some value to it1 because1 while implying the existence of some ecclesiastical establishment1 it does not imply the existence of a bishoprick4 ,putting all things together1 and remembering the strong and consistent tradition which connects the name of ,ine with the church of ,wells1 ,i am inclined to think that there must have been some body of priests1 probably of ,ine's foundation1 existing at ,wells before the foundation of the bishoprick by ,edward4 ,if then ,ine did1 somewhere about the year #gje1 found a church at ,wells with a body of priests attached to it1 we can well understand why ,wells should be chosen as the seat of the new bishoprick in #iji4 ,we have here in ,wells the finest collection of domestic buildings surrounding a cathedral church to be seen anywhere4 ,there is no place where so many ancient houses are preserved and are mainly applied to their original uses4 ,the ,bishop still lives in the ,palace2 the ,dean still lives in the ,deanery2 the ,canons1 ,vicars1 and other officers still live very largely in the houses in which they were meant to live4 ,but this is because at ,wells there always were secular priests1 each man living in his own house4 ,in a monastery ,i need hardly say it was quite different4 ,the monks did not live each man in his own house2 they lived in common1 with a common refectory to dine in and a common dormitory to sleep in4 ,thus when1 in ,henry the ,eighth's time1 the monks were put out and secular canons put in again1 the monastic buildings were no longer of any use1 while there were no houses for the new canons4 ,they had therefore to make houses how they could out of the common buildings of the monastery4 ,but of course this could be done without greatly spoiling them as works of architecture4 ,thus while at ,ely1 ,peterborough1 and other churches which were served by monks1 there are still very fine fragments of the monastic buildings1 there is not the same series of buildings each still applied to its original use which we have at ,wells4 ,i wish that this wonderful series was better understood and more valued than it is4 ,i can remember1 if nobody else does1 how a fine prebendal hall was wantonly pulled down in the ,north ,liberty not many years ago4 ,some of those whose duty it was to keep it up said that they had never seen it4 ,i had seen it1 anybody who went by could see it1 and every man of taste knew and regretted it4 ,well1 that is gone1 and ,i suppose the organist's house1 so often threatened will soon be gone too4 ,thus it is that the historical monuments of our country perish day by day4 ,we must keep a sharp eye about us or this city of ours may lose1 almost without anybody knowing it1 the distinctive character which makes it unique among the cities of ,england4 ,it is then in this way that ,wells became1 what it still is1 the seat of the ,somersetshire ,bishoprick4 ,the ,bishop had his throne in the church of ,st4 ,andrew1 and the clergy attached to church were his special companions and advisers1 in a word his ,chapter4 ,we have thus the church and its ministers1 but the church had not yet assumed its present form1 and its ministers had not yet assumed their present constitution4 ,of the fabric1 as it stood in the ,tenth ,century1 ,i can tell you nothing4 ,there is not a trace of building of anything like such early date remaining3 while in other places we have grand buildings of the ,eleventh and ,twelfth ,centuries1 at ,wells we have little or nothing earlier than the ,thirteenth4 ,but it is quite a mistake to fancy that our forefathers in the ,tenth ,century were wholly incapable of building1 or that their buildings were always of wood4 ,we have accounts of churches of that and of still earlier date which show that we then had buildings of considerable size and elaboration of plan4 ,and we know that in the course of the same century ,saint ,dunstan built a stone church at ,glastonbury to the east of the old wooden church of ,british times4 ,the churches both of ,wells and ,glastonbury must have been built in the old ,romanesque style of ,england which prevailed before the great improvements of ,norman ,romanesque were brought in in the ,eleventh ,century4 ,you must conceive this old church of ,saint ,andrew as very much smaller1 lower1 and plainer than the church we now have1 with massive round arches and small round-headed windows1 but with one or more tall1 slender1 unbuttressed towers1 imitating the bell-towers of ,italy4 ,i do not think that we have a single tower of this kind in ,somersetshire1 but in other parts of ,england there are a good many4 ,there is a noble one at ,earls ,barton in ,northamptonshire1 and more than one in the city of ,lincoln4 ,after about two hundred years from the beginning of the present building in the days of ,jocelin1 we may look on the cathedral church of ,saint ,andrew as at last finished4 ,it was finished1 in a sense1 before the end of the ,thirteenth ,century1 when everything had been built which was needed for its ecclesiastical completeness4 ,but it was in the course of the ,fifteenth ,century that it finally assumed the shape with which we are all familiar1 and which has from that time remained unchanged4 ,now then we have reached the point at which we can estimate the place which fairly belongs to the church of ,wells among the other churches of ,england and of ,christendom4 ,as it seems to me1 that position1 as ,i began by saying1 is a special and remarkable one2 ,i need not say that in point of size and splendour1 the church of ,wells has no claim to a place in the first rank of ,european1 or even ,english churches4 ,setting aside the ,welsh churches1 and the churches which have become cathedral without being originally meant for this rank1 ,wells is one of the very smallest of ,english episcopal churches4 ,it is hardly fair to compare it with ,carlisle1 which is a mere fragment1 or with ,hereford1 which has lost its western tower1 and with it a part of its nave4 ,but it is1 in point of scale1 with ,carlisle1 ,hereford1 ,lincoln1 and ,rochester1 or again with non-cathedral churches like ,southwell1 ,beverley1 and ,tewkesbury1 that ,wells must fairly be compared1 not with churches like ,canterbury and ,york1 or even like ,salisbury and ,gloucester4 ,and among churches of its own class it certainly ranks high4 ,i have seen many fine churches both in our own country and abroad1 many of them of course on a scale which might seem to put ,wells out of all comparison4 ,but ,i can honestly say that ,i know of no architectural group which surpasses the harmony and variety of our own cathedral1 as seen by the traveller as he first enters the city from ,shepton ,mallet4 ,from the outside we turn to that of which the outside is after all the mere shell4 ,when we enter the church we find ourselves in a building which can fairly hold its own against competitors of its own class4 ,the nave has a distinct character of its own3 there may be differences of taste as to its merit1 but it has a character1 and that character is clearly the result of design4 ,the main lines of the interior are horizontal rather than vertical4 ,we can hardly say that there is any division into bays2 no vaulting-shafts run up from the ground1 nor does the triforium take1 as usual1 the form of a distinct composition over each arch4 ,in short1 we cannot1 as we can in most churches1 take each arch with the triforium and clerestory over it as a thing existing by itself4 ,one would rather say that three horizontal ranges1 one over the other1 all converged to the centre1 without thinking of what was above or below them4 ,now tastes may differ as to whether this is a good arrangement or not1 but there is no doubt that it is in its way an effective arrangement2 there is no nave in which the eye is so irresistibly carried eastward as in that of ,wells4 ,and it is worth notice that this arrangement1 in its fullness1 is confined to the nave2 in the transepts the bays are much more clearly marked4 ,the idea of producing this marked horizontal effect was clearly one which came into the heads of the designers as they were working westwards4 ,it might have been expected that the marked prominence which is thus given to the horizontal line might have gone far to destroy all effect of height in the interior2 but it is not so4 ,there is no special feeling of height in ,wells ,cathedral--not so much1 for instance1 as there is in the church of ,st4 ,mary ,redcliff2 but there is no such crushing feeling of lowness as there is in ,lincoln4 ,this ,i imagine to be mainly owing to the form of the arch chosen for the vaulting1 one boldly but not actually pointed1 and to the way in which the lantern-arches fit into the vault4 ,contrast this with the far larger and loftier nave of ,york4 ,in that nave the positive height is second only to ,westminster among ,english churches1 and the design of the separate bays can hardly be surpassed in its soaring effect4 ,but in the direct eastern or western view the nave of ,york loses almost its whole effect1 partly1 no doubt1 from the excessive breadth1 but partly also from the flat and crushing shape of the vaulting-arch4 ,the nave of ,wells makes the most of its small actual height3 so do the choir and the presbytery also2 for1 though ,i cannot at all admire the kind of vault which is there used1 the shape of the arch is as judiciously chosen as it is in the nave4 ,in the presbytery we also get the vaulting-shafts rising from the ground1 so as to give the vertical division1 and the consequent effect of height1 in its highest perfection4 ,of the exquisite beauty of the ,lady ,chapel1 looked on1 as it should be1 not as a part of the whole1 but as a distinct and almost detached building1 ,i have already spoken4 ,in short1 the internal effect of the church1 whether looked at as a whole or taken in its several parts if not of the highest order1 which its comparatively small scale forbids1 may claim a high place among churches of its own class4 ,i think then on the whole that1 even looking at the church by itself1 we have every reason to be thankful for what we have got4 ,we have not a church of the first order2 but we have a church whose several parts fit very well together1 all whose parts have been finished1 and of which no part has been destroyed4 ,and ,i may add that we may be thankful for another thing1 for the goodness of the stone of which the greater part of the church is built4 ,the sculpture of the west front indeed has crumbled away2 but elsewhere at ,wells1 as at ,glastonbury1 wherever the work has not been wantonly knocked away1 it is as good as when it was first cut4 ,now we might have had a church like ,chester or ,coventry1 where the whole surface of the stone has crumbled away1 and where the whole ornamental design has become unintelligible4 ,i have said that the church of ,wells forms a harmonious whole1 that it was perfectly finished1 and that no part has been destroyed2 and this is a great thing to say4 ,let me compare the good fortune of ,wells in this respect with the cathedral church of a much more famous city at the other end of ,england4 ,at ,carlisle there is a noble choir1 ending in what is probably the grandest window in ,england4 ,if that choir only had transepts1 nave1 and towers to match it1 the church of ,carlisle would be a splendid church indeed4 ,but the choir is built up against a little paltry transept and central tower1 and nothing remains by way of nave but two bays of the original small ,norman church1 the rest having utterly vanished4 ,here then is a church which does not form a harmonious whole1 a church which remains utterly unfinished1 and of which one essential part has been destroyed4 ,or1 without taking such an extreme case as this1 we may compare our church with some of those of which ,i have already spoken1 with ,hereford1 ,southwell1 ,beverley and ,tewkesbury4 ,in all of these some important feature has either never been finished or has been destroyed at a later time4 ,the ,church of ,wells then1 simply taken by itself1 claims a high place among buildings of its own class1 that is1 among minsters of the second order4 ,but the real charm of ,wells does not lie in the church taken by itself1 but in the church surrounded by its accompanying buildings4 ,some of them are inseparably connected both with the fabric and with the foundation of the ,cathedral4 ,and it is the preservation of them which gives ,wells its peculiar character4 ,each part may easily be equalled or surpassed1 but the whole has no rival in ,england1 and ,i cannot think that it has many in ,christendom4 ,illustration3 ,,the ,,coliseum1 ,,italy4 ,,the ,,coliseum ,,edward ,,gibbon ,whatever is fortified will be attacked3 and whatever is attacked may be destroyed4 ,could the ,romans have wrested from the popes the ,castle of ,st4 ,angelo1 they had resolved by a public decree to annihilate that monument of servitude4 ,every building of defence was exposed to a siege2 and in every siege the arts and engines of destruction were laboriously employed4 ,after the death of ,nicholas the ,fourth1 ,rome1 without a sovereign or a senate1 was abandoned six months to the fury of civil war4 8,the houses10 says a cardinal and poet of the times1 8were crushed by the weight and velocity of enormous stones2 the walls were perforated by the strokes of the battering-ram2 the towers were involved in fire and smoke2 and the assailants were stimulated by rapine and revenge40 ,the work was consummated by the tyranny of the laws2 and the factions of ,italy alternately exercised a blind and thoughtless vengeance on their adversaries1 whose houses and castles they razed to the ground4 ,in comparing the days of foreign1 with the ages of domestic1 hostility1 we must pronounce1 that the latter have been far more ruinous to the city2 and our opinion is confirmed by the evidence of ,petrarch4 8,behold10 says the laureat1 8the relics of ,rome1 the image of her pristine greatness6 neither time1 nor the barbarian1 can boast the merit of this stupendous destruction3 it was perpetrated by her own citizens1 by the most illustrious of her sons1 and your ancestors 7he writes to a noble ,annibaldi7 have done with the battering-ram1 what the ,punic hero could not accomplish with the sword40 ,the influence of the two last principles of decay must in some degree be multiplied by each other2 since the houses and towers1 which were subverted by civil war1 required a new and perpetual supply from the monuments of antiquity4 ,these general observations may be separately applied to the amphitheatre of ,titus1 which has obtained the name of the ,,coliseum1 either from its magnitude1 or from ,nero's colossal statue3 an edifice1 had it been left to time and nature1 which might perhaps have claimed an eternal duration4 ,the curious antiquaries1 who have computed the numbers and seats1 are disposed to believe1 that above the upper row of stone steps1 the amphitheatre was encircled and elevated with several stages of wooden galleries1 which were repeatedly consumed by fire1 and restored by the emperors4 ,whatever was precious1 or portable1 or profane1 the statues of gods and heroes1 and the costly ornaments of sculpture1 which were cast in brass1 or overspread with leaves of silver and gold1 became the first prey of conquest or fanaticism1 of the avarice of the barbarians or the ,christians4 ,in the massy stones of the ,coliseum1 many holes are discerned2 and the two most probable conjectures represent the various accidents of its decay4 ,these stones were connected by solid links of brass or iron1 nor had the eye of rapine overlooked the value of the baser metals2 the vacant space was converted into a fair or market2 the artisans of the ,coliseum are mentioned in an ancient survey2 and the chasms were perforated or enlarged to receive the poles that supported the shops or tents of the mechanic trades4 ,reduced to its naked majesty1 the ,flavian amphitheatre was contemplated with awe and admiration by the pilgrims of the north2 and the rude enthusiasm broke forth in a sublime proverbial expression1 which is recorded in the ,eighth ,century1 in the fragments of the venerable ,bede3 8,as long as the ,coliseum stands1 ,rome shall stand2 when the ,coliseum falls1 ,rome will fall2 when ,rome falls1 the world will fall40 ,in the modern system of war1 a situation commanded by three hills would not be chosen for a fortress2 but the strength of the walls and arches could resist the engines of assault2 a numerous garrison might be lodged in the enclosure2 and while one faction occupied the ,vatican and the ,capitol1 the other was entrenched in the ,lateran and the ,coliseum4 ,the abolition at ,rome of the ancient games must be understood with some latitude2 and the carnival sports1 of the ,testacean mount and the ,circus ,agonalis1 were regulated by the law or custom of the city4 ,the senator presided with dignity and pomp to adjudge and distribute the prizes1 the gold ring1 or the pallium1 as it was styled1 of cloth or silk4 ,a tribute on the ,jews supplied the annual expense2 and the races1 on foot1 on horseback1 or in chariots1 were ennobled by a tilt and tournament of seventy-two of the ,roman youth4 ,in the year one thousand three hundred and thirty-two1 a bull-feast1 after the fashion of the ,moors and ,spaniards1 was celebrated in the ,coliseum itself2 and the living manners are painted in a diary of the times4 ,a convenient order of benches was restored2 and a general proclamation1 as far as ,rimini and ,ravenna1 invited the nobles to exercise their skill and courage in this perilous adventure4 ,the ,roman ladies were marshalled in three squadrons1 and seated in three balconies1 which on this day1 the third of ,september1 were lined with scarlet cloth4 ,the fair ,jacova di ,rovere led the matrons from beyond the ,tiber1 a pure and native race1 who still represent the features and character of antiquity4 ,the remainder of the city was divided as usual between the ,colonna and ,ursini3 the two factions were proud of the number and beauty of their female bands3 the charms of ,savella ,ursini are mentioned with praise2 and the ,colonna regretted the absence of the youngest of their house1 who had sprained her ancle in the garden of ,nero's tower4 ,the lots of the champions were drawn by an old and respectable citizen3 and they descended into the arena1 or pit1 to encounter the wild bulls1 on foot as it should seem1 with a single spear4 ,amidst the crowd1 our annalist has selected the names1 colours1 and devices1 of twenty of the most conspicuous knights4 ,several of the names are the most illustrious of ,rome and the ecclesiastical state2 ,malatesta1 ,polenta1 della ,valle1 ,cafarello1 ,savelli1 ,capoccio1 ,conti1 ,annabaldi1 ,altieri1 ,corsi2 the colours were adapted to their taste and situation2 the devices are expressive of hope or despair1 and breathe the spirit of gallantry and arms4 8,i am alone1 like the youngest of the ,horatii10 the confidence of an intrepid stranger3 8,i live disconsolate10 a weeping widower3 8,i burn under the ashes10 a discreet lover3 8,i adore ,lavinia or ,lucretia10 the ambiguous declaration of a modern passion3 8,my faith is as pure10 the motto of a white livery3 8,who is stronger than myself80 of a lion's hide3 8,if ,i am drowned in blood1 what a pleasant death10 the wish of ferocious courage4 ,the pride or prudence of the ,ursini restrained them from the field1 which was occupied by three of their hereditary rivals1 whose inscriptions denoted the lofty greatness of the ,colonna name3 8,though sad ,i am strong30 8,strong as ,i am great30 8,if ,i fall10 addressing himself to the spectators1 8you fall with me30--intimating 7says the contemporary writer7 that while the other families were the subjects of the ,vatican1 they alone were the supporters of the capitol4 ,the combats of the amphitheatre were dangerous and bloody4 ,every champion successively encountered a wild bull2 and the victory may be ascribed to the quadrupeds1 since no more than eleven were left on the field1 with the loss of nine wounded and eighteen killed on the side of their adversaries4 ,some of the noblest families might mourn1 but the pomp of the funerals1 in the churches of ,st4 ,john ,lateran and ,st4 ,maria ,maggiore1 afforded a second holiday to the people4 ,doubtless it was not in such conflicts that the blood of the ,romans should have been shed2 yet1 in blaming their rashness we are compelled to applaud their gallantry2 and the noble volunteers1 who display their magnificence1 and risk their lives1 under the balconies of the fair1 excite a more generous sympathy than the thousands of captives and malefactors who were reluctantly dragged to the scene of slaughter4 ,this use of the amphitheatre was a rare1 perhaps a singular1 festival3 the demand for the materials was a daily and continual want1 which the citizens could gratify without restraint or remorse4 ,in the ,fourteenth ,century1 a scandalous act of concord secured to both factions the privilege of extracting stones from the free and common quarry of the ,coliseum2 and ,poggius laments1 that the greater part of these stones had been burnt to lime by the folly of the ,romans4 ,to check this abuse1 and to prevent the nocturnal crimes that might be perpetrated in the vast and gloomy recess1 ,eugenius the fourth surrounded it with a wall2 and1 by a charter long extant1 granted both the ground and edifice to the monks of an adjacent convent4 ,after his death1 the wall was overthrown in a tumult of the people2 and had they themselves respected the noblest monument of their fathers1 they might have justified the resolve that it should never be degraded to private property4 ,the inside was damaged2 but in the middle of the ,sixteenth ,century1 an ra of taste and learning1 the exterior circumference of one thousand six hundred and twelve feet was still entire and inviolate2 a triple elevation of fourscore arches1 which rose to the height of one hundred and eight feet4 ,of the present ruin1 the nephews of ,paul the ,third are the guilty agents2 and every traveller who views the ,farnese ,palace may curse the sacrilege and luxury of these upstart princes4 ,a similar reproach is applied to the ,barberini2 and the repetition of injury might be dreaded from every reign1 till the ,coliseum was placed under the safeguard of religion by the most liberal of the pontiffs1 ,benedict the ,fourteenth1 who consecrated a spot which persecution and fable had stained with the blood of so many ,christian martyrs4 ,when ,petrarch first gratified his eyes with a view of those monuments1 whose scattered fragments so far surpass the most eloquent descriptions1 he was astonished at the supine indifference of the ,romans themselves2 he was humbled rather than elated by the discovery1 that1 except his friend ,rienzi and one of the ,colonna1 a stranger of the ,rhone was more conversant with these antiquities than the nobles and natives of the metropolis4 ,,the ,,coliseum ,,charles ,,dickens ,when we came out of the church again 7we stood nearly an hour staring up into the dome3 and would not have 8gone over0 the ,cathedral then for any money71 we said to the coachman1 8,go to the ,coliseum40 ,in a quarter of an hour or so1 he stopped at the gate1 and we went in4 ,it is no fiction but plain1 sober1 honest ,truth1 to say3 so suggestive and distinct is it at this hour3 that1 for a moment--actually in passing in--they who will1 may have the whole great pile before them1 as it used to be1 with thousands of eager faces staring down into the arena1 and such a whirl of strife1 and blood1 and dust1 going on there1 as no language can describe4 ,its solitude1 its awful beauty1 and its utter desolation1 strike upon the stranger1 the next moment1 like a softened sorrow2 and never in his life1 perhaps1 will he be so moved and overcome by any sight1 not immediately connected with his own affections and afflictions4 ,to see it crumbling there1 an inch a year2 its walls and arches overgrown with green2 its corridors open to the day2 the long grass growing in its porches2 young trees of yesterday1 springing up on its ragged parapets1 and bearing fruit3 chance produce of the seeds dropped there by the birds1 who build their nests within its chinks and crannies2 to see the ,pit of ,fight filled up with earth1 and the peaceful ,cross planted in the centre2 to climb into its upper halls1 and look down on ruin1 ruin1 ruin1 all about it2 the triumphal arches of ,constantine1 ,septimus ,severus1 and ,titus2 the ,roman ,forum2 the ,palace of the ,csars2 the temples of the old religion1 fallen down and gone2 is to see the ghost of old ,rome1 wicked1 wonderful old city1 haunting the very ground on which its people trod4 ,it is the most impressive1 the most stately1 the most solemn1 grand1 majestic1 mournful sight1 conceivable4 ,never1 in its bloodiest prime1 can the sight of the gigantic ,coliseum1 full and running over with the lustiest life1 have moved one heart1 as it must move all who look upon it now1 a ruin--,god be thanked3 a ruin6 ,as it tops the other ruins3 standing there1 a mountain among graves3 so do its ancient influences outlive all other remnants of the old mythology and old butchery of ,rome1 in the nature of the fierce and cruel ,roman people4 ,the ,italian face changes as the visitor approaches the city2 its beauty becomes devilish2 and there is scarcely one countenance in a hundred1 among the common people in the streets1 that would not be at home and happy in a renovated ,coliseum to-morrow4 ,here was ,rome indeed at last2 and such a ,rome as no one can imagine in its full and awful grandeur4 ,,golden ,,temple ,,of ,,the ,,sikhs ,g4 ,w4 ,,steevens ,the ,sikhs are the youngest of the great powers of ,india4 ,a kind of ,hindu ,protestants1 their ,luther arose about #aejj to fulminate against caste and the worship of idols4 ,instead of ,shiva and ,kali1 they worship their ,bible1 which is called the ,granth4 ,they abhor tobacco1 and it is impiety to shave or cut the hair4 ,sometimes1 when a ,sikh plays polo1 you may see it come undone and wave behind him like a horse-tail4 ,from ,puritans they turned to ,ironsides1 praying and fighting with equal fervour1 wearing an iron quoit in their turbans1 partly as a sign of grace1 and partly as a defence against a chance sword-cut4 ,for some three hundred years they fought the ,musulmans1 ,mogul or ,afghan1 for the dominion of the ,punjab1 and won it in the end4 ,the ,musulmans tortured the ,sikh teachers to death with their families2 the ,sikhs sacked and massacred in return4 ,the ,musulmans took ,amritsar1 blew up the temple of the ,granth1 and washed its foundations in the blood of sacred cows2 the ,sikhs took ,lahore1 blew up the mosques1 and washed their foundations in the blood of unclean swine4 ,fanatics and heroes1 they lived only for the holy war1 and became the barrier of ,india against the ,musulman tribes of the ,north-,west4 ,at last1 in #ahbc1 the ,sikhs were united under ,ranjit ,singh into the greatest power of ,india4 ,but he died in #ahci2 four wives and seven concubines were burned with him1 and you can see their tombs under marble lotuses in ,lahore4 ,ten years later the second ,sikh ,war was over1 and the ,punjab was ,british4 ,if the ,sikh rule was short1 their battles have ever been long4 ,illustration3 ,,golden ,,temple ,,of ,,the ,,sikhs1 ,,india4 ,the later history of the ,sikhs--how kindly they accepted ,british rule1 which has still treated their religion with more than tolerant respect2 how they supplied and supply to-day noble regiments to our army2 the splendid services they rendered in the ,mutiny1 but a decade after their conquest2 the unswerving gallantry and devotion which they have displayed on every field of honour1--all this is part of the military history of the ,empire4 ,the very officers of ,gurkha and ,pathan and ,dogra regiments admit that the ,sikh is the ideal of all that is soldierly4 ,ranjit's capital was ,lahore1 but the holy city has ever been ,amritsar4 8,the ,pool of ,immortality10 it means1 and here in the centre of the pool is the ,golden ,temple4 ,in its present form it is not yet a century old--quite an infant in ,india4 ,amritsar1 indeed1 is full of new things2 for1 as it is the ,mecca1 it is also the ,manchester of the ,punjab4 ,carpets and shawls and silks are manufactured there1 or brought in by merchants from ,persia and ,tibet1 ,bokhara and ,yarkand4 ,here you can see modern native ,india untainted by ,europe4 ,amritsar wears an air of solid prosperity4 ,not in the least like the manufacturing towns we know1 lacking the machinery of ,bombay or ,calcutta1 it neither shadows its streets with many-storied factories nor defiles its air with smoke4 ,but it wears a uniform and thriving aspect1 as of a town with a present and a future rather than a past4 ,the ,bond ,street of ,delhi is a double row of decayed mansions propped up by tottering booths2 the houses of ,amritsar are middle-sized1 regular1 stably built of burned bricks1 neither splendid nor ruinous4 ,the looms clatter and whir in the factories1 and the merchant bargains between the whiffs of his hookah in his shop1 and ,amritsar grows rich in a leisurely ,indian way1 unfevered by ,western improvements4 ,to the ,western eye it is unenterprising and rather shabby4 ,the stable comfort of ,amritsar stops short at the good brick walls2 inside1 the shops are bare brick and plaster4 ,there is nothing in the least imposing about it4 8,chunder ,buksh1 ,dealer10 says one placard1 and it would be hard to say what else he could call himself2 for his stock seems to consist of one fine carpet1 some brass pots1 and a towel4 ,above him is 8,ali ,mohammed1 ,barrister-at-,law10 in a windowless1 torn-blinded office1 which you would otherwise take for the attic of ,chunder ,buksh's assistant4 ,but compared with the rest of ,india1 ,amritsar is a model of wellbeing4 ,it is dusty1 but otherwise almost clean2 the streets1 of course1 are full of bullocks and buffaloes1 but it seems rare that animals share their bed with men2 there are plenty of people all but naked1 but it is rather from choice or religious enthusiasm than of necessity4 ,the trousered ladies1 strolling with trousered babies on their hips or smoking hubble-bubbles on shop counters1 wear silver in their blue-black hair1 pearls in their noses1 gold in their ears2 they jingle with locked-up capital4 ,finally1 there is a ,jubilee statue of the ,queen1 and a clock-tower for all the world like an ,english borough's4 ,but besides these and the ,government offices and the railway-station there is hardly a whisper from the ,west in the town2 and in ,amritsar you begin to conceive a new respect for ,india4 ,the stream in the streets sets steadily towards the ,golden ,temple4 ,from the heavy-browed city gate to the holy pool the winding alleys are splashed with all the familiar hues--orange outshining lemon and emerald throttling ultramarine4 ,following the stalwart1 bearded pilgrims1 in the midst of the city of shopkeepers you suddenly break into a wide square3 within it1 bordered by a marble pavement--white1 black1 and umber--a green lake dances in the sunlight2 and in the midst of that1 mirrored in the pool--you look through your eyelashes1 for the hot rays fling back sevenfold-heated1 blinding--gleam walls and roofs and cupolas of sheer gold4 ,a minute or two you blink and stare1 then you see that it is a small temple on an island with a causeway leading to it from under an arch4 ,and after the first blink and stare your notions of beauty rise up and protest against it4 ,the temple is neither imposing by size nor winsome by proportion4 ,it has two stories--the lower of marble1 inlaid1 like the marble of ,agra1 with birds and beasts and flowers1 but with none of ,agra's grace and refinement2 all above it is of copper-gilt4 ,above the second story rises something half-cupola1 half-dome1 but it is not in the middle2 there are smaller cupolas at the side overlooking the causeway1 and others smaller still at the far side4 ,the whole temple is smaller than ,st4 ,clement ,danes1 and a little building has no right to be irregular4 ,if the ,taj ,mahal1 you say1 which is three times this size1 can take the trouble to be symmetrical--well1 if this is the masterpiece of modern ,india--as for the gold1 it blinds you for the first moment and amuses you for the second2 but you might as well ask beauty of a heliograph4 ,nevertheless1 do not go away1 for you will hardly see anything more ,indian4 ,outside the gate they show you a ,government ordinance that everybody must either conform to the religious customs of the place or forbear to indulge his curiosity2 you bow1 and a bearded giant1 who might be a high-priest for dignity1 takes off your boots and ties on silk slippers instead4 ,you leave your cigar-case behind you3 tobacco must not defile the holy place4 ,then1 behind a white-bearded policeman--who performs the triple function of guiding1 preventing you from doing anything impious1 and clearing worshippers out of the way before you--you start forth to see4 ,the pilgrims shuffle on eagerly round the pavement to the great gate before the causeway4 ,on a gilt tablet1 in ,english and ,punjabi1 stands the record of a miracle3 how that a great light from heaven fell before the holy book1 and then was caught up into heaven again1 whence the learned augured much blessing upon the ,british ,raj4 ,past the gate they press without turning the head1 though it is carved and pictured over every inch4 ,on one side of the entrance a marble tablet shows the legend ,,xxxv ,sikhs and something in ,punjabi4 ,from the gate you issue on to the causeway4 ,it also is flagged with marble1 and lined with gilded lamp-posts2 but the lamps above the gold are that crass-blue and green-coloured glass of the suburban builder1 and more than one hangs broken4 ,so you come to the sanctuary itself--a lofty chamber with four open doors of chased silver4 ,within sit three priests on the floor1 under a canopy of blue and scarlet1 before a low ottoman draped in crimson and green and yellow4 ,the high-priest1 eagle-eyed and long black-bearded1 reads continually in a loud voice from the ,granth2 beside him sits one with a gilt-handled wisk and fans the sacred book4 ,at another side sit two musicians3 one twangs a sort of one-stringed mandoline1 one thrums a tom-tom4 ,before the ,granth lies a cloth2 and each believer1 crouching in1 flings on it flowers or cowries or copper coins for his offering4 ,to the white man they bring what looks like a dry half-orange or candied citron1 only white2 it is made of sugar1 and the white man responds with the offering of a rupee4 ,the walls about this strange worship blaze with blue and red and gold in frets and scrolls and flower-tendrils2 above are chambers and galleries of the same and studded mirrors2 in one more than holy room are brooms made of peacocks' feathers wherewith alone it may be swept4 ,that is the great shrine of all2 but there is much else4 ,all round the lake are palaces of stone and white marble belonging to the great ,sikh chiefs who came here to worship4 ,before them1 on the pavement1 men squatting under canvas screens hawk flowers--lotus1 jasmine1 marigold1 or scabious--to be offered before the ,scripture4 ,in one of the palaces1 which matches the temple with a gilt dome of its own1 you see a glass case2 within it1 under crimson silk1 rest the sword and mace of some old ,sikh ,boanerges1 mighty in prayer as in battle4 ,then there is a tower temple of eight stories1 dedicated to a bygone saint and miracle-worker1 the lower chamber aflame with paint and gold4 ,as the policeman enters he touches the step with his finger2 a woman in violet trousers flings a flower on to a cloth and ottoman like that of the central shrine2 a woman in green-and-gold trousers places a bread-cake before it and lays her forehead on the marble sill2 others grovel and shampoo it with their hands4 ,the next thing you come to is a plain shed with a dynamo that supplies the shrines and gardens with electric light4 ,after that a group of naked fakirs1 powdered white with ashes1 with long mud-matted hair and mad eyes4 ,then a door1 fast closed and seeming to lead nowhither1 with a tiny wreath of marigolds hung on it4 ,everywhere the same grotesque contradictions--splendour and squalor1 divinity and dirt1 superstition and manliness4 ,the ,western mind can make nothing of it1 cannot bring it into a focus4 ,you simply hold your head1 and say that this is the ,east1 and you are of the ,west4 ,in the treasury above the gate are silver staves and gilt maces1 canopies of gold and diadems of pearls and diamonds4 ,in the sacred1 putrid lake rot flowers4 ,a fakir standing before an enclosure drones in a full voice words you do not understand1 like a psalm without any end to it3 the refrain1 after every half-dozen words1 sounds like 8,hullah hah leay40 ,inside the shrine the high-priest never ceases to intone the ,granth1 nor the other priest to fan it1 nor the musicians to tinkle and thrum2 and in and out that holy place fly clouds of pigeons1 perching on the canopy and fouling the growing pile of offerings before the ottoman4 ,at every turn you come on little shrines with books on silken cushions and prostrate adorers4 ,a calf1 unchecked1 is trying to lick the gold off the great gateway4 ,,the ,,giralda ,l ,,gautier ,the ,giralda1 which serves as a campanila to the cathedral1 and rises above all the spires of the town1 is an old ,moorish tower1 erected by an ,arabian architect1 named ,geber or ,guever1 who invented algebra1 which was called after him4 ,the appearance of the tower is charming1 and very original2 the rose-coloured bricks and the white stone of which it is built1 give it an air of gaiety and youth1 which forms a strange contrast with the date of its erection1 which extends as far back as the year #ajjj1 a very respectable age1 at which a tower may well be allowed to have a wrinkle or two and be excused for not being remarkable for a fresh complexion4 ,the ,giralda in its present state is not less than three hundred and fifty feet high1 while each side is fifty feet broad4 ,up to a certain height the walls are perfectly even2 there are then rows of ,moorish windows with balconies1 trefoils1 and small white marble columns1 surrounded by large lozenge-shaped brick panels4 ,the tower formerly ended in a roof of variously coloured varnished tiles1 on which was an iron bar1 ornamented with four gilt metal balls of a prodigious size4 ,this roof was removed in #aefh by the architect ,francisco ,ruiz1 who raised the daughter of the ,moor ,guever one hundred feet higher in the pure air of heaven1 so that his bronze statue might overlook the sierras1 and speak with the angels who passed4 ,the feat of building a belfry on a tower was in perfect keeping with the intentions of the members composing that admirable chapter who wished posterity to imagine they were mad4 ,the additions of ,francisco ,ruiz consist of three stories2 the first of these is pierced with windows1 in whose embrasures are hung bells2 the second1 surrounded by an open balustrade1 bears on the cornice of each of its sides1 these words--,turris fortissima nomen ,domini2 and the third is a kind of cupola or lantern1 on which turns a gigantic gilt bronze figure of ,faith1 holding a palm in one hand and a standard in the other1 and serving as a weathercock1 thereby justifying the name of ,giralda given to the tower4 ,this statue is by ,bartholomew ,morel4 ,it can be seen at a very great distance2 and when it glitters through the azure atmosphere1 really looks like a seraph lounging in the air4 ,illustration3 ,,the ,,giralda1 ,,seville1 ,,spain4 ,you ascend the ,giralda by a series of inclined ramps1 so easy and gentle1 that two men on horseback could very well ride up to the summit1 whence you enjoy an admirable view4 ,at your feet lies ,seville1 brilliantly white1 with its spires and towers1 endeavouring1 but in vain1 to reach the rose-coloured brick girdle of the ,giralda4 ,beyond these stretches the plain1 through which the ,guadalquiver flows1 like a piece of watered silk1 and scattered around are ,santiponce1 ,algaba1 and other villages4 ,quite in the background is the ,sierra ,morena1 with its outlines sharply marked1 in spite of the distance1 so great is the transparency of the air in this admirable country4 ,on the opposite side1 the ,sierras de ,gibram1 ,zaara and ,moron1 raise their bristling forms1 tinged with the richest hues of lapis lazuli and amethyst1 and completing this magnificent panorama1 which is inundated with light1 sunshine and dazzling splendour4 ,a great number of fragments of columns1 shaped into posts and connected with each other by chains1 except where spaces are left for persons to pass1 surround the cathedral4 ,some of these columns are antique1 and come either from the ruins of ,italica1 or from the remains of the ancient mosque1 whose former site is now occupied by the cathedral1 and of which the only remaining vestiges are the ,giralda1 a few old walls1 and one or two arches1 one of which serves as the entrance to the courtyard de los ,nanjeros4 ,the ,longa 7,exchange7 is a large and perfectly regular edifice1 built by the heavy and wearisome ,herrera1 that architect of ennui1 to whom we owe the ,escurial1 which is decidedly the most melancholy building in the world2 the ,longa1 also1 like the cathedral1 is surrounded by the same description of posts4 ,it is completely isolated and presents four similar faades2 it stands between the cathedral and the ,alcazar4 ,in it are preserved the archives of ,america1 and the correspondence of ,christopher ,columbus1 ,pizarro and ,fernando ,cortez2 but all these treasures are guarded by such savage dragons1 that we were obliged to content ourselves with looking at the outside of the pasteboard boxes and portfolios1 which are stowed away in mahogany compartments1 like the goods in a drapers' shop4 ,it would be a most easy thing to place five or six of the most precious autographs in glass cases1 and thus satisfy the very legitimate curiosity of travellers4 ,illustration3 ,,the ,,cathedral ,,of ,,monreale1 ,,italy4 ,,the ,,cathedral ,,of ,,monreale ,,john ,,addington ,,symonds ,sicily under the ,normans offered the spectacle of a singularly hybrid civilization4 ,christians and ,northmen1 adopting the habits and imbibing the culture of their ,musulman subjects1 ruled a mixed population of ,greeks1 ,arabs1 ,berbers1 and ,italians4 ,the language of the princes was ,french2 that of the ,christians in their territory1 ,greek and ,latin2 that of their ,mahommedan subjects1 ,arabic4 ,at the same time the ,scandinavian ,sultans of ,palermo did not cease to play an active part in the affairs1 both civil and ecclesiastical1 of ,europe4 ,the children of the ,vikings1 though they spent their leisure in harems1 exercised1 as hereditary ,legates of the ,holy ,see1 a peculiar jurisdiction in the ,church of ,sicily4 ,they dispensed benefices to the clergy1 and assumed the mitre and dalmatic1 together with the sceptre and the crown1 as symbols of their authority in ,church as well as ,state4 ,as a consequence of this confusion of nationalities in ,sicily1 we find ,french and ,english ecclesiastics mingling at court with ,moorish freedmen and ,oriental odalisques1 ,apulian captains fraternizing with ,greek corsairs1 ,jewish physicians in attendance on the person of the prince1 and ,arabian poets eloquent in his praises4 ,the very money with which ,roger subsidized his ,italian allies1 was stamped with ,cuphic letters1 and there is reason to believe that the reproach against ,frederick of being a false coiner arose from his adopting the ,eastern device of plating copper pieces to pass for silver4 ,the commander of ,roger's navies and his chief minister of state was styled1 according to ,oriental usage1 ,emir or ,ammiraglio4 ,george of ,antioch1 who swept the shores of ,africa1 the ,morea1 and the ,black ,sea1 in his service1 was a ,christian of the ,greek ,church1 who had previously held an office of finance under ,temim ,prince of ,mehdia4 ,the workers in his silk factories were slaves1 from ,thebes and ,corinth4 ,the pages of his palace were ,sicilian or ,african eunuchs4 ,his charters ran in ,arabic as well as ,greek and ,latin4 ,his jewellers engraved the rough gems of the ,orient with ,christian mottoes in ,semitic characters4#e ,his architects were ,musulmans who adapted their native style to the requirements of ,christian ritual1 and inscribed the walls of cathedrals with ,catholic legends in the ,cuphic language4 ,the predominant characteristic of ,palermo was ,orientalism4 ,religious toleration was extended to the ,musulmans1 so that the two creeds1 ,christian and ,mahommedan1 flourished side by side4 ,at ,palermo1 ,europe saw the first instance of a court not wholly unlike that which ,versailles afterwards became4 ,the intrigues which endangered the throne and liberty of ,william the ,bad1 and which perplexed the policy of ,william the ,good1 were court-conspiracies of a kind common enough at ,constantinople4 ,in this court life men of letters and erudition played a part three centuries before ,petrarch taught the princes of ,italy to respect the pen of a poet4 ,king ,roger1 of whom the court geographer ,edrisi writes that 8he did more sleeping than any other man waking10 was surrounded during his leisure moments1 beneath the palm-groves of ,favara1 with musicians1 historians1 travellers1 mathematicians1 poets1 and astrologers of ,oriental breeding4 ,the architectural works of the ,normans in ,palermo reveal the same ascendancy of ,arab culture4 ,san ,giovanni degli ,eremiti1 with its low white rounded domes1 is nothing more or less than a little mosque adapted to the rites of ,christians4 ,the country palaces of the ,zisa and the ,cuba1 built by the two ,williams1 retain their ancient ,moorish character1 standing beneath the fretted arches of the hall of the ,zisa1 through which a fountain flows within a margin of carved marble1 and looking on the landscape from its open porch1 we only need to reconstruct in fancy the green gardens and orange-groves1 where fair-haired ,normans whiled away their hours among black-eyed odalisques and graceful singing boys from ,persia4 ,amid a wild tangle of olive and lemon trees overgrown with scarlet passion-flowers the pavilion of the ,cubola1 built of hewn stone and open at each of its four sides1 still stands much as it stood when ,william ,,ii paced through flowers from his palace of the ,cuba1 to enjoy the freshness of the evening by the side of its fountain4 ,the views from all these ,saracenic villas over the fruitful valley of the ,golden ,horn1 and the turrets of ,palermo1 and the mountains and the distant sea1 are ineffably delightful4 ,when the palaces were new--when the gilding and the frescoes still shone upon their honeycombed ceilings1 when their mosaics glittered in noonday twilight1 and their amber-coloured masonry was set in shade of pines and palms1 and the cool sound of rivulets made music in their courts and gardens1 they must have well deserved their ,arab titles of 8,sweet ,waters0 and 8,the ,glory0 and 8,the ,paradise of ,earth40 ,but the true splendour of ,palermo1 that which makes this city one of the most glorious of the ,south1 is to be sought in its churches--in the mosaics of the ,cappella ,palatina founded by ,king ,roger1 in the vast aisles and cloisters of ,monreale built by ,king ,william the ,good at the instance of his ,chancellor ,matteo1#f in the ,cathedral of ,palermo begun by ,offamilio1 and in the ,martorana dedicated by ,george the ,admiral4 ,these triumphs of ecclesiastical architecture1 none the less splendid because they cannot be reduced to rule or assigned to any single style1 were the work of ,saracen builders assisted by ,byzantine1 ,italian1 and ,norman craftsmen4 ,the genius of ,latin ,christianity determined the basilica shape of the ,cathedral of ,monreale4 ,its bronze doors were wrought by smiths of ,trani and ,pisa4 ,its walls were incrusted with the mosaics of ,constantinople4 ,the woodwork of its roof1 and the emblazoned patterns in porphyry and serpentine and glass and smalto1 which cover its whole surface1 were designed by ,oriental decorators4 ,norman sculptors added their dog-tooth and chevron to the mouldings of its porches2 ,greeks1 ,frenchmen1 and ,arabs may have tried their skill in turn upon the multitudinous ornaments of its cloister capitals4 8,the like of which church10 says ,lucius ,,iii in #aahb1 8hath not been constructed by any king even from ancient times1 and such an one as must compel all men to admiration40 ,these words remain literally and emphatically true4 ,other cathedrals may surpass that of ,monreale in sublimity1 simplicity1 bulk1 strength1 or unity of plan4 ,none can surpass it in the strange romance with which the memory of its many artificers invests it4 ,none again can exceed it in richness and glory1 in the gorgeousness of a thousand decorative elements subservient to one controlling thought4 8,it is evident10 says ,fergusson in his history of architecture1 8that all the architectural features in the building were subordinate in the eyes of the builders to the mosaic decorations1 which cover every part of the interior1 and are in fact the glory and the pride of the edifice1 and alone entitle it to rank among the finest of medival churches40 ,the whole of the ,christian history is depicted in this series of ,mosaics2 but on first entering1 one form alone compels attention4 ,the semi-dome of the eastern apse above the high altar is entirely filled with a gigantic half-length figure of ,christ4 ,he raises ,his right hand to bless1 and with ,his left holds an open book on which is written in ,greek and ,latin1 8,i am the ,light of the ,world40 ,his face is solemn and severe1 rather than mild or piteous2 and round ,his nimbus runs the legend 4 ,below ,him on a smaller scale are ranged the archangels and the mother of the ,lord1 who holds the child upon her knees4 ,thus ,christ appears twice upon this wall1 once as the ,omnipotent ,wisdom1 the ,word by whom all things were made1 and once as ,god deigning to assume a shape of flesh and dwell with men4 ,the magnificent image of supreme ,deity seems to fill with a single influence and to dominate the whole building4 ,the house with all its glory is ,his4 ,he dwells there like ,pallas in her ,parthenon or ,zeus in his ,olympian temple4 ,to left and right over every square inch of the cathedral blaze mosaics1 which portray the story of ,god's dealings with the human race from the ,creation downwards1 together with those angelic beings and saints1 who symbolize each in his own degree some special virtue granted to mankind4 ,the walls of the fane are therefore an open book of history1 theology1 and ethics for all men to read4 ,the superiority of mosaics over fresco as an architectural adjunct on this gigantic scale is apparent at a glance at ,monreale4 ,permanency of splendour and glowing richness of tone are all on the side of the mosaics4 ,their true rival is painted glass4 ,the jewelled churches of the south are constructed for the display of coloured surfaces illuminated by sunlight falling on them from narrow windows1 just as those of the north--,rheims1 for example1 or ,le ,mans--are built for the transmission of light through a variegated medium of transparent hues4 ,the painted windows of a northern cathedral find their proper counterpart in the mosaics of the south4 ,the ,gothic architect strove to obtain the greatest amount of translucent surface4 ,the ,byzantine builder directed his attention to securing just enough light for the illumination of his glistening walls4 ,the radiance of the northern church was similar to that of flowers or sunset clouds or jewels4 ,the glory of the southern temple was that of dusky gold and gorgeous needlework4 ,the north needed acute brilliancy as a contrast to external greyness4 ,the south found rest from the glare and glow of noonday in these sombre splendours4 ,thus ,christianity1 both of the south and of the north1 decked her shrines with colour4 ,not so the ,paganism of ,hellas4 ,with the ,greeks1 colour1 though used in architecture1 was severely subordinated to sculpture2 toned and modified to a calculated harmony with actual nature1 it did not1 as in a ,christian church1 create a world beyond the world1 a paradise of supersensual ecstasy1 but remained within the limits of the known4 ,light falling upon carved forms of gods and heroes1 bathing clear-cut columns and sharp bas-reliefs in simple lustre1 was enough for the ,phbian rights of ,hellas4 ,though we know that red and blue and green and gilding were employed to accentuate the mouldings of ,greek temples1 yet neither the gloomy glory of mosaics nor the gemmed fretwork of storied windows was needed to attune the souls of ,hellenic worshippers to devotion4 ,,the ,,luxembourg ,,palace ,,augustus ,j4 ,c4 ,,hare ,the ,rue de la ,seine will bring us to the ,palace of the ,luxembourg1 now the ,palace of the ,senate 7open from nine to four in winter1 nine to five in summer71 built by ,marie de' ,medici on the site of a hotel erected by ,robert de ,harlay de ,saucy early in the ,sixteenth ,century1 which was bought by the ,duc de ,pincy-,luxembourg4 ,the queen employed ,jacques ,debrosses as her architect in #afae1 and his work was completed in #afbj4 ,the ground floor1 in the ,tuscan style1 was intended to convey a reminiscence of the ,florentine ,palazzo ,pitti1 in which ,marie de' ,medici was born3 the upper stories are ,grecian4 ,the queen intended to call the palace ,palais ,medicis1 though the name has always clung to it which is derived from ,franois de ,luxembourg1 ,prince de ,tingry1 who owned the site in #aegj4 ,the palace was bequeathed by ,marie de' ,medici to her youngest son ,gaston1 ,duc d',orlans1 from whom it came to his two daughters1 who each held half of the ,luxembourg--8,la ,grande ,mademoiselle10 and the pious ,duchesse de ,guise 7whose mother1 sister of the ,duc de ,lorraine1 had clandestinely become the second wife of ,monsieur71 who was terribly tyrannized over by her rich half sister4 ,it was here that ,mademoiselle received the visits of ,m4 de ,lauzun1 whilst ,la ,fosse was painting the loves of ,flore and ,zephyr1 and here that she astonished ,europe by the announcement of her intended marriage1 to which--for a few days--,louis ,,xiv4 was induced to give his consent4 ,illustration3 ,,the ,,luxembourg ,,palace1 ,,france4 ,at her death1 ,mademoiselle bequeathed her right in the ,luxembourg to her ,cousin ,philippe1 ,duc d',orlans1 brother of ,louis ,,xiv4 ,during the ,regency1 the palace was the residence of the ,duchesse de ,berry 7daughter of the ,regent ,philippe d',orlans71 who by her orgies here rivalled those of her father at the ,palais ,royal4 ,the ,luxembourg was bought by ,louis ,,xv41 and given by ,louis ,,xvi4 to his brother 8,monsieur10 who resided in it till his escape from ,paris at the time of the flight to ,varennes4 ,treated as national property during the ,revolution1 the ,luxembourg became one of the prisons of the ,reign of ,terror4 ,amongst other prisoners1 comprising the most illustrious names in ,france1 were the ,vicomte de ,beauharnais and his wife ,josephine1 afterwards ,empress of the ,french3 8,de quoi se plaignent donc ces damns aristocrates80 cried ,montagnard2 8nons les logeons dans les chteaux royaux40 ,david1 the painter1 designed his picture of the ,sabines during his imprisonment at the ,luxembourg1 in a little room on the second floor4 ,here also in a different category1 were imprisoned ,hbert1 ,danton1 ,camille ,desmoulins1 ,philippeaux1 ,lacroix1 ,hrault de ,schelles1 ,payne1 ,bazire1 ,chabot1 and ,fabre d',eglantine4 ,in #agic1 people used to come and stand for hours in the garden in the hope of being able to have a last sight of their friends1 from their being allowed to show themselves at the windows4 ,it was at the ,luxembourg that 7,december #aj1 #agig71 ,bonaparte presented the treaty of the peace of ,campo ,formio to the ,directory1 after returning from his first campaign in ,italy4 ,at the end of #agii1 the palace became for a time ,le ,palais du ,consulat3 ,le ,palais du ,snat1 then de la ,pairie4 ,marshal ,ney was condemned to death here1 under the ,restoration 7,november #ba1 #ahae71 and was executed in the ,alle de l',observatoire1 at the end of the garden on ,december #g4 ,the iron wicket still remains in the door of his prison1 opening west at the end of the great gallery of archives4 ,the ministers of ,charles ,x4 were also judged at the ,luxembourg1 and ,fieschi and the other conspirators of ,july1 #ahce1 were condemned here2 as was ,prince ,louis ,napoleon ,bonaparte1 after the attempt at ,bologne in #ahdj4 ,the ,luxembourg is only shown when the ,senate is not sitting4 ,the apartments best worth seeing are the ,chapel of #ahdd1 decorated with modern paintings2 and the ,ancienne ,salle du ,livre d'or1 where the titles and arms of peers were preserved under the ,restoration and ,louis ,philippe1 adorned with the decorations of the apartment of ,marie de' ,medici4 ,the ceiling of the gallery1 which forms part of the hall1 represents the ,apotheosis of ,marie4 ,the arabesques in the principal hall are attributed to ,giovanni da ,udine3 the ceiling represents ,marie de' ,medici reestablishing the peace and unity of ,france4 ,the first floor is reached by a great staircase which occupies the place of a gallery once filled with the twenty-four great pictures of the life of the ,regent ,marie by ,rubens1 now in the ,louvre4 ,the oratory of the queen and another room are now united to form the ,salle des ,gardes1 her bedroom is the ,salle des ,messagers d'tat and her reception-room is known as the ,salon de ,napolon ,i4 ,the cupola of the ,salle du ,trne by ,alaux represents the ,apotheosis of the first ,emperor4 ,the ,htel du ,petit ,luxembourg is a dependency of the greater palace1 and was erected about the same time by ,richelieu1 who resided here till the ,palais ,royal was built4 ,when he moved thither1 he gave this palace to his niece1 the ,duchesse d',aiguillon1 from whom it passed to ,henri ,jules de ,bourbon-,cond1 after which it received the name of ,petit ,bourbon4 ,anne1 ,palatine of ,bavaria1 lived here1 and added a htel towards the ,rue ,vaugirard to accommodate her suite4 ,under the ,first ,empire the ,luxembourg was occupied for some time by ,joseph ,bonaparte4 ,it is now the official residence of the ,president of the ,senate4 ,the cloister of the former convent of the ,filles du ,calvaire1 whom ,marie de ,medici established near her palace1 is now a winter garden attached to the ,petit ,luxembourg4 ,the chapel1 standing close to the grill of the ,rue de ,vaugirard1 is an admirable specimen of the end of the ,sixteenth ,century2 on the summit of its gable is a symbolical ,pelican nourishing its young4 ,beyond the ,petit ,luxembourg is a modern building containing the ,muse du ,luxembourg4 ,the collection now in the galleries of the ,louvre was begun at the ,luxembourg and only removed in #aggi1 when ,monsieur came to reside here4 ,in #ahjb a new gallery was begun at the ,luxembourg1 but1 in #ahae1 its pictures were removed to the ,louvre to fill the places of those restored to their rightful owners by the ,allies4 ,it was ,louis ,,xviii4 who ordered that the ,luxembourg should receive such works of living artists as were acquired by the ,state4 ,the collection1 recently moved from halls in the palace itself1 is always interesting1 but as the works of each artist are removed to the ,louvre ten years after his death1 the pictures are constantly changing4 ,,the ,,great ,,lama ,,temple ,c4 ,f4 ,,gordon-,,cumming ,this morning soon after #e ,a4 ,m4 ,dr4 ,dudgeon took me to see the ,yung-ho-kung1 a very fine old ,lama temple1 just within the wall1 at the north-east corner of the ,tartar city4 ,it contains about #a1cjj monks of all ages1 down to small boys six years old1 under the headship of a ,lama1 who assumes the title of 8,the ,living ,buddha40 ,these monks are ,mongol ,tartars of a very bad type1 dirty and greedy of gain2 and1 moreover1 are known to be grossly immoral4 ,they are generally offensively insolent to all foreigners1 many of whom have vainly endeavoured to obtain access to the monastery1--even the silver key1 which is usually so powerful in ,china1 often failing to unlock the inhospitable gates4 ,that ,i had the privilege of entrance was solely due to the personal influence of ,dr4 ,dudgeon1 whose medical skill has happily proved so beneficial to the 8,living ,buddha10 and several of the priests1 as to ensure him a welcome from them4 ,it was not1 however1 an easy task to get at these men1 as a particularly insolent monk was acting as door-keeper1 and attempted forcibly to prevent our entrance4 ,that1 however1 was effected by the judicious pressure of a powerful shoulder1 and after a stormy argument1 the wretch was at length overawed1 and finally reduced to abject humility by threats to report his rudeness to the head ,lama4 ,at long last1 after wearisome expostulation and altercation1 every door was thrown open to us1 but the priest in charge of each carefully locked it after us1 lest we should avoid giving him an individual tip1 or kum-sha1 as it is here called4 ,happily ,i had a large supply of five and ten cent silver pieces1 which the ,doctor's knowledge of ,chinese custom compelled our extortioners to accept4 ,at the same time1 neither of us could avoid a qualm as each successive door was securely locked1 and a vision presented itself of possible traps into which we might be decoyed4 ,every corner of the great building is full of interest1 from the brilliant yellow china tiles of the roof to the yellow carpet in the temple4 ,the entrance is adorned with stone carvings of animals1 and the interior is covered with a thousand fantastic figures carved in wood--birds1 beasts1 and serpents1 flowers and monstrous human heads mingle in grotesque confusion4 ,it is rich in silken hangings1 gold embroidery1 huge picturesque paper lanterns of quaint form1 covered with ,chinese characters and grotesque idols1 canopied by very ornamental baldachinos4 ,conspicuous amongst these idols is ,kwang-ti1 who was a distinguished warrior at the beginning of the ,christian era1 and who about eight hundred years later was deified as the ,god of ,war1 and ,state temples were erected in his honour in every city of the ,empire4 ,so his shrine is adorned with all manner of armour1 especially bows and arrows--doubtful votive offerings4 ,he is a very fiercelooking god1 and is attended by two colossal companions1 robed in the richest gold embroidered silk4 ,another gigantic image is that of a fully armed warrior leading a horse4 ,i believe he is ,kwang-ti's armour bearer4 ,in various parts of the temple hang trophies of arms and military standards1 which are singular decorations for a temple wherein ,buddha is the object of supreme worship4 ,but the fact is1 that though ,kwang-ti is the ,god of ,war1 he is also emphatically 8,protector of the ,peace10 and his aid is invoked in all manner of difficulties1 domestic or national4 ,for instance1 when the great salt wells in the ,province of ,shansi dried up1 the sorely perplexed ,emperor was recommended by the ,taouist ,high ,priest to lay the case before ,kwang-ti4 ,the ,emperor1 therefore1 wrote an official despatch on the subject1 which was solemnly burnt1 and thus conveyed to the spirit-world1 when1 lo6 in answer to the ,son of ,heaven1 the ,warrior-god straightway appeared in the clouds1 mounted on his red war-horse1 and directed the ,emperor to erect a temple in his honour4 ,this was done1 and the salt springs flowed as before4 ,kwang-ti again appeared in #ahee1 during the ,taiping rebellion1 to aid the ,imperial troops near ,nankin1 for which kind interposition1 ,hien-feng1 the reigning ,emperor 7whose honour-conferring power extends to the spirit-world71 promoted him to an equal rank with ,confucius6 ,so here we find him reverenced alike by ,taouists and ,buddhists6 ,all the altar-vases in this temple are of the finest ,pekin enamel--vases1 candlesticks1 and incense-burners1 from which filmy clouds of fragrant incense float upward to a ceiling panelled with green and gold4 ,fine large scroll paintings tempted me to linger at every turn1 and the walls are encrusted with thousands of small porcelain images of ,buddha4 ,in the main temple1 which is called the ,foo-,koo1 or ,hall of ,buddha1 stands a cyclopean image of ,matreya1 the ,buddha of ,futurity4 ,it is seventy feet in height1 and is said to be carved from one solid block of wood1 but it is coloured to look like bronze4 ,ascending a long flight of steps1 we reached a gallery running round the temple about the level of his shoulders4 ,i found that this gallery led into two circular buildings1 one on each side1 constructed for the support of two immense rotating cylinders1 about seventy feet in height1 full of niches1 each niche containing the image of a ,buddhist saint4 ,they are rickety old things1 and thickly coated with dust1 but on certain days worshippers come and stick on strips of paper1 bearing prayers4 ,to turn these cylinders is apparently an act of homage to the whole saintly family1 and enlists the good-will of the whole lot4 ,some ,lama monasteries deal thus with their #abh sacred books and #bbj volumes of commentary1 placing them in a huge cylindrical bookcase1 which they turn bodily1 to save the trouble of turning individual pages--the understanding having apparently small play in either case4 ,it was nearly #f ,a4 ,m4 ere we reached the ,lama ,temple1 so that we were too late to see the grand morning service1 as that commences at #d ,a4 ,m41 when upwards of a hundred mats are spread in the temple1 on each of which kneel ten of the subordinate ,lamas1 all wearing their yellow robes and a sort of classical helmet of yellow felt1 with a very high crest like that worn by ,britannia4 ,they possess red felt boots1 but can only enter the temple barefooted4 ,the ,great ,lama wears a violet-coloured robe and a yellow mitre4 ,he bears a sort of crozier1 and occupies a gilded throne before the altar3 a cushion is provided for him to kneel upon4 ,the whole temple is in darkness or dim twilight save the altar1 which is ablaze with many tapers4 ,when the copper gong sounds its summons to worship1 they chant litanies in monotone1 one of the priests reading prayers1 from a silken scroll1 and all joining in a low murmur1 while clouds of incense fill the temple4 ,a peculiarity of this chant is1 that while a certain number of the brethren recite the words1 the others sing a continuous deep bass accompaniment4 ,again the gong marks the change from prayer to sacred chants1 and after these comes a terrible din of instrumental music--a clatter of gongs1 bells1 conch-shells1 tambourines1 and all manner of ear-splitting abominations4 ,then follows a silence which may be felt1 so utter is the stillness and so intense the relief4 ,,haddon ,,hall ,,john ,,leyland ,when the ,derbyshire ,wye has pursued its winding way from its source in the millstone grit1 and between the wooded steeps and precipitous limestone cliffs that curb and shape its course towards ,bakewell1 the hills on either bank recede1 and the river flows through pleasant alluvial meadows1 overlooked by occasional rocky scars1 and by woods of fir1 ash1 beech1 and oak1 to its confluence with the ,derwent at ,rowsley4 ,some two miles below ,bakewell1 shortly before the stream of the ,lathkil comes down from its enchanting valley on the right1 with its narrow tributary1 the ,bradford1 to swell the waters of the ,wye1 the limestone crops out as a platform on the opposite bank1 and there1 half-concealed by the umbrageous woodland1 stand the time-worn towers and walls of ,haddon4 ,whether we approach the spot from the direction of ,rowsley or of ,bakewell1 the prospect can scarcely be surpassed in its kind1 either for the wondrous grouping of the grey towers and battlements on the slope of the hill1 or for the rich beauties of the varied foliage on the height beyond1 and the flower-decked meads and pellucid stream below4 ,these charms of a truly ,english landscape1 and an old ,english mansion1 have long had1 and must continue to have1 a spell of fascination for the artist and lover of the picturesque2 but it is not only for them that visitors come in a ceaseless stream to ,haddon4 ,what other place can wake such impressions of old-time greatness touched by the witchery of bygone romance8 ,it is here--better1 perhaps1 than any other spot in ,england--that we can grasp the conditions of life of the medival and ,tudor gentlemen4 ,the long line of the ,vernons passes before us4 ,we witness them1 generation by generation adding to the majestic pile2 the vacant chambers are peopled with stately ladies and mail-clad knights1 the bowmen are ranged in the courtyard1 and the sentinel keeps watch from the tower4 ,we see the knight in anxious deliberation on questions of ,state and wonder what answer shall be returned to the ,king-maker's letter4 ,we partake of the bounteous hospitality of the ,knight of the ,peak1 as many strangers have done before1 bethinking ourselves anon of his daughter1 fair ,dorothy1 and how that ,manners is concealed in the woods1 watching the light in her chamber4 ,then the sounds of revelry strike upon the ear1 the door opens and she steals down the steps1 and presently we hear the clang of hoofs upon the road4 ,it is1 indeed1 such impressions as these that have given to the external beauties of ,haddon ,hall the additional charm of legend1 poetry and romance1 and have contributed to make it a place to which visitors from afar will always delight to come4 ,illustration3 ,,haddon ,,hall4 ,,england4 ,although the various parts of the celebrated hall have been built at widely different periods1 and upon a sloping and irregular rocky platform1 its plan is very easy to understand1 and it may be well1 at the outset1 to explain the disposition of the buildings as clearly as may be4 ,they surround two courtyards--the lower one1 to the west1 on the river front1 and the upper one1 separated from the first by the great hall and domestic offices1 rising up to the east on the hill-side behind it4 ,the visitor enters the lower quadrangle at its north-western angle1 placing his foot1 as he passes the postern1 in a hole which has been worn deeply by unnumbered strangers before him4 ,he notices1 on his right1 beneath the archway1 the porter's room1 with a bedstead that may well have kept that functionary wakeful2 and beyond it1 still on the right hand and western side1 the so-called ,chaplain's ,room--with its hunting-horn1 old musket1 ,seventeenth ,century boots1 service of pewter platters1 and other miscellaneous contents--as well as two other chambers1 before the domestic chapel is reached4 ,this edifice occupies the south-western angle1 and extends about half-way up the southern side of the lower courtyard4 ,being not at right angles with the other portions of this quadrangle1 it gives1 with its picturesque bell-turret1 a pleasing variety to the buildings within2 and1 externally1 its east window and the angles of its chancel and southern aisle1 with the heavy buttress at the western end1 add materially to the picturesque effect of the hall4 ,the chapel1 moreover1 contains1 with some of the foundation walls1 the oldest portions of the edifice1 and the round column and chalice-like font are anterior1 perhaps1 to the coming of the ,vernons to ,haddon4 ,the south side of the western quadrangle is completed by a range of constructions1 including passages to the private apartments1 and a turret stair to the battlemented wall2 and leading up to the doorway is a flight of steps--added in the ,sixteenth ,century--which projects into the area of the courtyard4 ,this space is further broken up by the three steps which extend across it from north to south1 dividing it into an upper and a lower platform4 ,standing upon the slight elevation thus gained1 the chapel1 the buildings opposite on the western side1 the entrance gateway1 with the very curious corbelling and constructive ties over it in the angle1 and the offices on the western side1 with the turret1 have a most pleasing and varied effect4 ,the main block of buildings1 lying between the two quadrangles1 is now entered by the porch1 which leads into a lobby or passage separating the great hall on the right from the kitchen and its offices on the left4 ,this arrangement was general in medival dwelling-places1 and may be seen in many of the timber manor-houses of ,lancashire and ,cheshire1 where1 as we see it at ,haddon1 the ,minstrel's ,gallery is usually over the entrance passage1 at the end of the hall opposite to the das4 ,at ,haddon1 the table at the upper end still remains1 supported on its three pedestal legs1 and we think of the time when the ,king of the ,peak held festival there1 as we look upon its time-worn board4 ,it is to be observed that the constructional conditions of the hall rendered it impossible to add the great bay1 which was a chief feature of medival banqueting-rooms--one that may be seen in its perfection in the magnificent1 but roofless hall of ,wingfield1 a few miles away4 ,in the manor-houses of ,lancashire and ,cheshire1 to which allusion has been made1 the withdrawing-room lies in general immediately behind the great hall1 and adjacent to the das1 but at ,haddon we find1 in that position1 a private dining-room1 with a fine recessed window2 and the drawing-room1 which is above it1 is approached by a flight of stone steps4 ,the drawing-room at ,haddon is a beautiful tapestried chamber1 with fine views from its bay window over the gardens and down the valley of the ,wye2 and from it access is had to the ,earl's ,bedroom and the ,page's ,room4 ,on the other side of the lobby from which the hall is entered is a sloping passage leading down to the kitchen1 with its huge fireplace and curious culinary appliances1 and other doors from the same passage open into the buttery1 wine-cellar1 add sundry offices4 ,the great hall1 and the domestic offices described1 complete the enclosure of the first courtyard and form the western side of the second4 ,the northern side of this upper quadrangle is formed of a series of small chambers2 and a staircase from the hall-passage leads up to the quaint tapestried rooms above them1 which1 if tradition may be believed1 were the nursery and the rooms of ,dorothy ,vernon1 of ,lady ,cranborne1 daughter of ,john ,manners1 eighth ,earl of ,rutland1 and of ,roger ,manners4 ,by the same staircase from the passage1 access is had to the ,minstrel's ,gallery1 as well as to the gallery on the eastern side of the hall 7a later addition71 which brings the visitor to the top of the stone steps by which the drawing-room is reached4 ,at that place are the segmental steps of solid oak1 whereby the magnificent ,long ,gallery or ,bedroom is entered4 ,this great chamber1 which is a chief glory of ,haddon1 will be alluded to later4 ,it occupies the whole length of the southern side of the upper courtyard1 and projects picturesquely at its eastern end upon the terrace1 where a window affords a view of the winter garden towards ,dorothy ,vernon's ,walk4 ,from the ,long ,gallery a door leads into the range of buildings enclosing the second quadrangle on its eastern side4 ,these are the anteroom1 with ,dorothy ,vernon's ,steps leading down to the ,terrace2 the ,state ,bedroom1 with its ,gobelin tapestry1 its strange bas-relief of ,orpheus taming the ,beasts2 its huge bed and ancient hangings1 and its mirror called 8,queen ,elizabeth's ,looking-glass20 the ,ancient ,stateroom1 a chamber coeval with the angle tower2 and the little passage-room over the gateway--the original entrance to the castle--whence the winding-stair is reached1 leading up to the ,peveril ,tower1 which dominates the whole range of buildings4 ,from this elevation the visitor sees the two courtyards below him1 with the woods and terraces1 and the upper and lower gardens on the south side1 as well as the way leading down to the footbridge over the ,wye1 and a fine prospect of the winding vale of that river1 and of many a distant hill4 ,having thus before us the general plan of the buildings of ,haddon ,hall1 we may proceed to consider the historical1 legendary1 and other considerations to which the venerable edifice very naturally leads us4 ,there have been those who have chosen to see1 in the lower parts of its construction1 the evidences of ,saxon work1 and1 indeed1 very likely ,haddon was a location in ,saxon times4 ,however1 that may be1 we find it mentioned in ,domesday ,book as a berewick of the ,manor of ,bakewell1 and the first possessor of whom we have authentic knowledge was that same ,william ,peveril1 a natural son of the ,conqueror1 to whom he granted 8,peveril's ,place in the ,peke10 and who also had custody of the ,manor of ,chatsworth4 ,thus1 at this very early period1 we find ,haddon associated in ownership with two of the most interesting places in the ,peak district4 ,the ,peverils did not long enjoy their possessions1 for ,william ,peveril1 probably a grandson of the first possessor1 having1 it was alleged1 poisoned ,ranulph1 ,earl of ,chester1 who supported ,matilda1 took to ignominious flight in order to avoid punishment1 and his possessions fell to ,henry ,,ii4 ,it is possible that some parts of the foundations of ,haddon belong to the time of the ,peverils1 but1 at any rate1 the memory of their association with it is preserved in the name of the north-eastern tower4 ,at the date of their fall1 ,haddon--or1 to speak more precisely1 ,nether ,haddon1 for ,over ,haddon lies some two miles away on the hills--was held by ,william de ,avenell in knight's-service1 and the ,king thus became direct lord of his fee4 ,towards the close of the ,twelfth ,century1 ,haddon came to the ,vernons by the marriage of ,richard de ,vernon with ,avicia1 a daughter and one of the co-heiresses of ,william de ,avenell1 the other being married to ,sir ,simon ,bassett4 ,this ,richard de ,vernon was descended from the ,barons of ,shipbroke1 the first of whom1 ,william de ,vernon1 came over with the ,conqueror1 and received his barony at the hands of ,hugh ,lupus1 ,earl of ,chester4 ,the ,vernon name is derived from the ,lordship which the family held in what is now the ,department of the ,eure and ,arrondissement of ,evreux4 ,we now reach the celebrated episode of ,dorothy ,vernon1 upon which the fate of ,haddon hung and which has lent the glamour of romance to the scenes in which she moved4 ,sir ,george ,vernon1 her father1 the last heir male of the ,haddon line1 was twice married1 and his effigy now lies in ,bakewell ,church1 with those of his two wives1 ,margaret1 daughter of ,sir ,gilbert ,tayleboys1 and ,maude1 daughter of ,sir ,ralph ,langford4 ,of his two daughters1 ,margaret1 the elder1 was married to ,sir ,thomas ,stanley of ,winwick1 in ,lancashire1 son of the third ,earl of ,derby2 and ,dorothy1 the younger--who ultimately became sole heiress--to ,john ,manners1 the second son of ,sir ,thomas ,manners1 first ,earl of ,rutland4 ,it is not easy to say at this date what could have been the strong objection which the 8,king of the ,peak0 is averred to have had to his daughter's marriage with ,john ,manners1 whose father was of high descent1 and died1 covered with honours1 in #aedc1 having had a royal augmentation granted to his arms1 by reason of his descent from ,anne ,plantagenet1 sister of ,edward ,,iv4 ,it may1 indeed1 be that ,sir ,george had planned some great alliance for his daughter1 and was ill content with a younger son1 or perhaps differences of religion were at the root of his objection1 or1 we may suppose again1 that some personal antipathy1 of which there is no record1 was felt by the knight to his daughter's lover4 ,however this may be1 tradition tells us that the attachment was a secret one1 or1 at least1 that the meeting of ,manners and ,dorothy ,vernon was under her father's ban4 ,legend has grown up about the episodes1 and it is related that ,manners lingered in the woods of ,haddon disguised as a forester or a hunter1 gaining speech at times with the lady1 and watching the light in her window4 ,as to the actual circumstances of the elopement--if elopement there was1 which seems probable--we have tradition alone to guide us4 ,it is said that1 on the occasion of certain festivities at the ,hall--held1 as some aver1 in honour of the marriage of her elder sister--,dorothy stole away from the gay scene1 ran down to the terrace by the steps from the anteroom which now bear her name1 and joined her lover1 who had horses waiting near4 ,the pair then mounted1 and galloped1 as the story goes1 all through the night1 until they reached ,aylston1 in ,leicestershire1 where they were married on the morrow4 ,the memory of ,dorothy ,vernon will linger long about the tapestried chambers and sweet-scented gardens of ,haddon1 and whatever there may be of truth or falsehood in the story of her elopement1 the visitor who passes down the steps and walks beneath the low-hanging boughs of the yew-trees on the terrace1 or is shadowed by the limes and sycamores in ,dorothy ,vernon's ,walk1 where the banks are carpeted with flowers in the spring-time1 will do well to cherish this legendary history1 which has given an unfailing charm to ,haddon4 ,in ,bakewell ,church1 moreover1 where both ,dorothy and her husband lie buried1 he may see her kneeling effigy1 and1 if her features should strike him as homely1 and somewhat unattractive withal1 he will bethink him what profound depths of feeling1 and what strange capacities for romance1 exist unsuspected in the life of every day4 ,it will be of interest here to record the fact that1 in the year #ahda1 when the church of ,bakewell was being restored1 excavations were made on the site of the monument of ,john ,manners and his wife1 and remains believed to be theirs were found in wooden coffins4 8,the head of the female10 we read1 8was still covered with hair1 cut short on the forehead1 but long behind1 extremely friable1 remarkably soft1 and of a beautiful auburn colour1 and in it were found six brass pins40 ,the wife of ,john ,manners died on ,midsummer ,day1 #aehd1 but her husband survived many years1 and died on the #dth of ,june1 #afaa4 ,he continued to reside at ,haddon1 and showed no lack of interest in the great house that had become his own4 ,there can be no reasonable doubt that the ,long ,gallery was built by him1 and thus one of the chief beauties of the ,hall is attributed to its first possessor of the ,manners' name4 ,both within and without1 the three great bays relieve it from all monotony1 and the first impression on entering it is of its grandeur and dignity4 ,the ,long ,gallery or ,ball-,room was a customary feature in great houses of ,tudor and ,stuart times1 and may yet be seen in many places--as1 for example1 in very stately form at ,belvoir1 and characteristically at ,astley ,hall1 in ,lancashire1 but nowhere more attractively than at ,haddon4 ,there its length is more than one hundred and nine feet1 its width eighteen feet1 and its height fifteen feet4 ,the heavy steps of solid oak by which it is entered1 and the whole flooring of the room are said to have been cut from one gigantic oak which grew in the woods4 ,the wainscot is divided by fluted pilasters into panels1 which have arched tops1 and1 above1 the boar's-head crest of the ,vernons1 and the ,manners' peacock1 with roses and thistles1 are alternated4 ,in the windows also there is blazonry of the arms of ,rutland and ,shrewsbury1 with the royal shield of ,england2 and over the mantel hangs a very remarkable picture1 representing ,thomyris1 ,queen of the ,massagetae1 victorious over ,cyrus1 whose head is being presented to her4 ,the subsequent relation of the ,manners family with ,haddon ,hall need not occupy us very long1 for the building itself was completed1 and the addition of the terraces and some features of the gardens left it as we see it now1 save that its chambers were not yet bare4 ,john1 the eighth ,earl1 who lived at ,belvoir and ,haddon alternately1 espoused the cause of the ,parliament1 and took the ,solemn ,league and ,covenant4 ,belvoir ,castle was captured by the ,royalists1 and suffered sadly in the subsequent troubles1 the ,earl meanwhile living mostly at ,haddon1 where his magnificence1 it would seem1 rivalled that of the 8,king of the ,peak40 ,he shared in the ,restoration2 and1 as we read in ,lysons1 between #affj and #afgj1 although the family were then living mostly at ,belvoir1 there was a prodigious consumption of beeves and sheep at ,haddon1 and particularly that an open ,christmas was held there in #affc1 when1 as appears by the bailiff's charges1 outlay was made for much work in the kitchen1 and for pipers and dancers to make the guests merry withal4 ,john1 the ninth ,earl1 was created ,marquis of ,granby and ,duke of ,rutland by ,queen ,anne1 and was succeeded1 upon his death at ,belvoir in #agaa1 by his son ,john1 the second ,duke1 who died in #agba1 and he again by his son1 also named ,john1 the third ,duke1 who lived occasionally at ,haddon4 ,it was1 however1 during his lifetime that the family finally quitted their ancient home by the ,wye1 and the ,hall was dismantled about the year #agdj4 ,yet1 ever since that time1 the successive ,dukes of ,rutland have safeguarded the venerable edifice1 and1 without attempting restoration1 by structural supports and careful watching1 have preserved it from decay4 ,it is to them that the public owe the inestimable privilege of being allowed to linger within the time-worn walls and chambers1 which1 besides being of abounding interest in themselves1 awaken so many delightful memories of history and romance4 ,when the ,hall ceased to be a place of residence not all its adornments were removed4 ,the tapestry deserves special attention1 there being1 in several of the rooms1 some fine remains of ,gobelins and other work4 ,the graceful drawing-room is partially hung with it1 as was customary1 in such manner as to conceal the entrance to the ,earl's dressing-room1 and there are curious iron hooks for holding it back4 ,the ,earl's bedroom itself is tapestried with representations of the chase4 ,one of the rooms in the western range1 as well as several small chambers on the north side1 including ,dorothy ,vernon's room1 and others not usually shown to visitors1 contain much good work of ,flemish and ,french manufacture4 ,in addition to the large picture in the ,long ,gallery1 and the portraits in the dining-room which have been alluded to1 there are many paintings in various parts of the house4 ,a number of them are in the anteroom leading from the ,long ,gallery1 including portraits of ,queen ,elizabeth and ,charles ,i4 ,there is a portrait1 also1 in the drawing-room1 of the sixth ,earl of ,rutland1 who died in #afcb1 and several of less importance are in the great hall4 ,many of the pictures are ,italian1 and little seems to be known about them2 but they are thought to have been brought or sent to ,england by ,sir ,oliver ,manners1 a younger brother of ,dorothy's husband4 ,the visitor to ,haddon will notice some other objects of curiosity and interest1 and he will do well not to hurry through the vacant rooms1 for1 if the plan of the house be understood1 and something of the several dates of its erection1 very much may be learned of the ways1 manners1 and surroundings of medival and ,tudor gentlemen4 ,then1 passing down through the pleasant gardens1 and recrossing the ,river ,wye1 the stranger will look back gratefully upon the grey towers1 lighted perchance by the setting sun1 and will bear away with him an impression of beauty1 grandeur1 and romance which surely will never fade4 ,illustration3 ,,cathedral ,,of ,,palermo1 ,,italy4 ,,cathedral ,,of ,,palermo ,,john ,,addington ,,symonds ,while treating of ,palermo1 we are bound to think again of the ,emperor who inherited from his ,german father the ambition of the ,hohenstauffens and from his ,norman mother the fair fields and ,oriental traditions of ,sicily4 ,the strange history of ,frederick--an intellect of the ,eighteenth ,century born out of date1 a cosmopolitan spirit in the age of ,saint ,louis1 the ,crusader who conversed with ,moslem sages on the threshold of the ,holy ,sepulchre1 the ,sultan of ,lucera who presented ,paterini while he respected the superstition of ,saracens1 the anointed successor of ,charlemagne1 who carried his harem with him to the battle-fields of ,lombardy1 and turned ,infidels loose upon the provinces of ,christ's ,vicar--would be inexplicable1 were it not that ,palermo still reveals in all her monuments the genius loci which gave spiritual nurture to this phnix among kings4 ,from his ,mussulman teachers ,frederick derived the philosophy to which he gave a vogue in ,europe4 ,from his ,arabian predecessors he learned the arts of internal administration and finance1 which he transmitted to the princes of ,italy4 ,in imitation of ,oriental courts1 he adopted the practice of verse composition1 which gave the first impulse to ,italian literature4 ,his ,grand ,vizier1 ,piero ,delle ,vigne1 set an example to ,petrarch1 not only by composing the first sonnet in ,italian1 but also by showing to what height a low-born secretary versed in art and law might rise4 ,in a word1 the zeal for liberal studies1 the luxury of life1 the religious indifferentism1 the bureaucratic system of state government1 which mark the age of the ,italian ,renaissance1 found their first manifestation within the bosom of the ,middle ,ages in ,frederick4 ,while our ,king ,john was signing the ,magna ,charta1 ,frederick had already lived long enough to comprehend1 at least in outline1 what is meant by the spirit of modern culture4 ,it is true that the so-called ,renaissance followed slowly and by tortuous paths upon the death of ,frederick4 ,the ,church obtained a complete victory over his family1 and succeeded in extinguishing the civilization of ,sicily4 ,yet the fame of the ,emperor who transmitted questions of sceptical philosophy to ,arab sages1 who conversed familiarly with men of letters1 who loved splendour and understood the arts of refined living1 survived both long and late in ,italy4 ,his power1 his wealth1 his liberality of soul and lofty aspirations1 formed the theme of many a tale and poem4 ,dante places him in hell among the heresiarchs2 and truly the splendour of his supposed infidelity found for him a goodly following4 ,yet ,dante dates the rise of ,italian literature from the blooming period of the ,sicilian ,court4 ,frederick's unorthodoxy proved no drawback to his intellectual influence4 ,more than any other man of medival times he contributed1 if only as the memory of a mighty name1 to the progress of civilized humanity4 ,let us take leave both of ,frederick and of ,palermo1 that centre of converging influences1 which was his cradle1 in the cathedral where he lies gathered to his fathers4 ,this church1 though its rich sun-browned yellow#g reminds one of the tone of ,spanish buildings1 is like nothing one has seen elsewhere4 ,here even more than at ,monreale1 the eye is struck with a fusion of styles4 ,the western towers are grouped into something like the clustered sheafs of the ,caen churches3 the windows present ,saracenic arches2 the southern porch is covered with foliated incrustations of a late and decorative ,gothic style2 the exterior of the apse combines ,arabic inlaid patterns of black and yellow with the ,greek honeysuckle2 the western door adds ,norman dog-tooth and chevron to the ,saracenic billet4 ,nowhere is any one tradition firmly followed4 ,the whole wavers and yet is beautiful--like the immature eclecticism of the culture which ,frederick himself endeavoured to establish in his southern kingdoms4 ,inside there is no such harmony of blended voices3 all the strange tongues1 which speak together on the outside1 making up a music in which the far ,north1 and ancient ,byzance1 and the delicate ,east sound each a note1 are hushed4 ,the frigid silence of the ,palladian style reigns there--simple indeed and dignified1 but lifeless as the century in which it flourished4 ,yet there1 in a side chapel near the western door1 stand the porphyry sarcophagi which shrine the bones of the ,hautevilles and their representatives4 ,there sleeps ,king ,roger--8,dux ,strenuus et primus ,rex ,sicili0--with his daughter ,constance in her purple chest beside him4 ,henry ,,vi4 and ,frederick ,,ii4 and ,constance of ,aragon complete the group1 which surpasses for interest all sepulchral monuments--even the tombs of the ,scaligers at ,verona--except only1 perhaps1 the statues of the nave of ,innsprck4 ,very sombre and stately are these porphyry resting-places of princes born in the purple1 assembled here from lands so distant--from the craggy heights of ,hohenstauffen1 from the green orchards of ,cotentin1 from the dry hills of ,aragon4 ,they sleep1 and the centuries pass by4 ,rude hands break open the granite lids of their sepulchres1 to find tresses of yellow hair and fragments of imperial mantles1 embroidered with the hawks and stags the royal hunter loved4 ,the church in which they lie1 changes with the change of taste in architecture and the manners of successive ages4 ,but the huge stone arks remain unmoved1 guarding their freight of mouldering dust beneath gloomy canopies of stone1 that temper the sunlight as it streams from the chapel windows4 ,illustration3 ,,fortress ,,and ,,palace ,,of ,,gwalior1 ,,india4 ,,the ,,fortress ,,and ,,palace ,,of ,,gwalior ,,louis ,,rousselet ,the ancient city of ,gwalior1 which must not be confounded with the modern town of that name1 nor with the ,mahratta camp of the ,scindias1 is situated on the summit of a steep and isolated rock1 #cdb feet in height at the north end1 where it is highest1 and a mile and a half in length2 its greatest breadth is #cjj yards4 ,its position and the exterior appearance of its fortifications1 behind which rise numerous monuments1 remind one of ,chittore1 the famous capital of ,meywar4 ,this rock1 which is a block of basalt topped with sandstone1 stands like a sentinel at the entrance of a valley2 and above the slopes at its foot rise pointed cliffs1 forming natural ramparts1 on which are built the fortifications of the town4 ,tradition places the date of the founding of ,gwalior several centuries before the ,christian era4 ,the attention of the ,aryan colonists from the valley of the ,chumbul probably was early attracted by the admirable position of this rock4 ,the first to establish themselves here were no doubt the ,anchorites1 who were sent forth in such numbers by the ,indian schools of philosophy in the ,sixteenth and ,seventeenth ,centuries before the ,christian era1 as is attested by the numerous caverns1 formed by man1 in the sides of the rock4 ,in #ggc1 ,rajah ,sourya ,sena completed a system of defence round the plateau by constructing ramparts4 ,the ,kchwas held the fortress until the reign of ,tej ,pal ,doula1 who1 upon being expelled by the ,chohans in #ifg1 founded the dynasty of ,ambr4 ,sultan ,shahab ,oudin's generalissimo1 ,koutub ,eibeck1 took it from the ,chohans in #aaif2 and thirty-eight years later it was again taken by the ,emperor ,altamsh after a long siege4 ,in #adaj1 the ,touar ,rajpoots got possession of it1 and held it until #aeai1 when it was finally attached to the crown of ,delhi by ,ibrahim ,lodi4 ,at the dismemberment of the ,mogul ,empire1 it fell alternately into the hands of the ,jts and ,mahrattas4 ,in #aggi1 it was garrisoned by ,scindia1 from whom it was taken by a ,british force under ,major ,popham1 and it was again made over to ,scindia by the treaty of #ahje4 ,but the vicissitudes of the ancient fortress did not end here4 ,in #aheg1 the ,maharajah ,scindia having refused to countenance the revolt1 the rebels1 under the command of one of ,nana ,sahib's captains1 took the place2 but ,general ,sir ,hugh ,rose dislodged them by planting his batteries on the surrounding heights1 and1 for the purpose of protecting the young king from his rebellious subjects1 the ,english kept possession of the plateau4 ,the present town of ,gwalior extends to the north and east of the fortress1 being hemmed in between the rock and the river ,sawunrika4 ,it was a large and handsome settlement1 containing thirty or forty thousand inhabitants2 but the founding of a new capital by the ,scindias1 at a distance of about two miles was a death-blow to its grandeur1 the higher branches of trade and the nobility having followed the ,court to ,lashkar4 ,the architecture of its stone houses is1 for the most part1 handsome2 but the streets are narrow and crooked4 ,it is probable that at one time there was a large suburb round the foot of the ascent leading to the fortress1 but it was not until the ,sixteenth ,century that the town assumed its present proportions4 ,there are no monuments to be found of an earlier date2 and the two worthy of remark are the ,jummah ,musjid1 a handsome mosque1 flanked by two lofty minarets1 and the ,hatti ,durwaza1 or 8,gate of the ,elephants10 a curious triumphal arch1 situated on a mound at the entrance to the town4 ,the bazaars of ,gwalior contain several manufactures peculiar to the place1 such as silken fabrics1 embroidered in gold1 for turbans2 saris1 or cotton scarfs for women1 and curious stuffs in the most brilliant colours4 ,a very fair trade is carried on in these articles4 ,two flights of steps1 one on the east and the other on the west1 lead up to the fortress2 of which that on the east is a notable achievement1 since it had to be cut out of the solid rock4 ,it is the more ancient of the two2 and1 although on a very steep incline1 it is practicable for horses and elephants4 ,in order to reach this elevation1 you must traverse the whole length of the lower town2 and the entrance to it is guarded by an embattled fortification and guard-houses4 ,hidden among the trees1 at a short distance1 stands a large palace1 the exterior of which is ornamented with bright blue enamel4 ,five monumental gates1 placed at intervals1 and still armed with portcullis and heavy iron doors1 guard the access to the fortress4 ,from the first1 which is a splendid triumphal arch with a ,saracenic archway1 and surmounted by a tier of small columns1 commences the causeway1 which1 although wide and well kept1 is a long and fatiguing ascent2 and thence also commences a series of monuments1 bas-reliefs1 caverns1 and cisterns1 forming a natural museum of great interest to the archologist4 ,even the rocks which overhang the road merit his attention1 for they contain numerous chambers1 altars and statues1 which are reached by narrow paths1 requiring a steady head and a sure and practised foot4 ,between the third and fourth gate are some huge tanks1 excavated out of the solid rock1 and fed by springs4 ,the capitals of the pillars which support the ceiling appear above the water1 and one can scarcely distinguish the bottom in the obscurity4 ,near these tanks the surface of the rock1 which has been made smooth and even1 is covered with numerous bas-reliefs2 one of the largest of which1 representing an elephant and rider1 still is easily distinguishable in spite of considerable mutilation2 and further on is a head of ,siva4 ,opposite the fourth gate is a small monolith of great antiquity1 supposed to date from the ,fifteenth ,century4 ,it is a temple cut out of a single block of stone1 and consists of a small square room1 entered by a peristyle and crowned with a pyramidal spire4 ,the upper portion of the latter1 having been destroyed1 has been replaced by a small dome in stonework2 and a few sculptures surround the entrance to the sanctuary and the altar4 ,on the summit of the hill stands ,king ,pal1 which springs from the very brink of the precipice4 ,it is supported by six towers1 and pierced by only a few large windows ornamented with balconies and pilasters4 ,sculptured bands1 ,jan arches1 and indented cordons relieve the monotony of the massive exterior1 and give it a peculiarly light and graceful appearance4 ,the spaces between the ,jan arches of the gallery are filled in and covered with mosaics in enamelled bricks1 representing palm-trees on a blue ground2 and each tower is surmounted by a lantern with a double row of columns4 ,it is difficult to imagine a grander or more harmonious effect than that produced by this gigantic edifice1 combining rampart and palace in one4 ,at the south angle of the palace is a gateway1 which gives access to the interior of the fortress1 and through which you enter a narrow street that overlooks the lateral frontage of the palace4 ,this is built on the same plan as the exterior1 but here the stone is completely hidden by enamel4 ,bands of mosaics1 representing candelabra1 ,brahma ducks1 elephants and peacocks in blue1 rose-colour1 green and gold1 give this immense blank wall an incomparably beautiful appearance4 ,the bricks of which these mosaics are composed still retain their primitive brilliancy of colour and delicacy of shading1 though ten centuries have passed over them4 ,i know of no country in the world where an architect has succeeded so well in giving a graceful appearance to a heavy blank wall4 ,the exact date of the construction of these facings is unknown1 though it is certain that they were the work of a ,rajpoot prince of the name of ,pal2 but1 as several ,chandela and ,kchwa chiefs bore this name1 it is difficult to fix the date more precisely than between the ,eighth and ,ninth ,centuries4 ,the palace of the kings of ,gwalior covers an immense area on the east of the plateau2 but it was not the work of a single prince2 the most ancient portions of it date back to the ,sixteenth ,century4 ,each dynasty enlarged the mass of buildings1 and the ,moguls themselves made considerable additions to it4 ,the interior of the ,palace of ,pal is extremely simple in style4 ,the various stories1 which you enter through rows of square pillars1 overlook the large paved courts2 and the rooms are low with flat ceilings4 ,among these ruins a portion of the ancient palace of the ,vashnava kings may still be seen4 ,the thick walls1 pierced with triangular openings1 are somewhat in the same style as the corridors of the ,mexican temples4 ,it is to be regretted that so much of this part of the ,palace has already been destroyed4 ,the northern extremity of the plateau1 which gradually becomes narrower and narrower1 was entirely covered by the palaces of the ,emperors ,akbar and ,jehanghir2 but you do not find here the magnificent buildings of ,agra or of ,delhi4 ,it is evident that these were mere provincial residences4 ,there are nevertheless1 a graceful dewani-khas and a small zenanah1 containing some fine galleries4 ,illustration3 ,,the ,,holy ,,house ,,of ,,loretto1 ,,italy4 ,,the ,,holy ,,house ,,of ,,loretto ,,arthur ,,penrhyn ,,stanley ,on the slope of the eastern ,apennines1 overlooking the ,adriatic gulf1 stands what may be called 7according to the belief of the ,roman ,catholic ,church7 the ,european ,nazareth4 ,fortified as if by the bastions of a huge castle1 against the approach of ,saracenic pirates1 a vast church1 even now gorgeous with the offerings of the faithful1 contains the 8,santa ,casa10 the 8,holy ,house10 in which the ,virgin lived1 and 7as is attested by the same inscription as that at ,nazareth7 received the ,angel ,gabriel4 ,every one knows the story of the ,house of ,loretto4 ,the devotion of one-half the world1 and the ridicule of the other half1 has made us all acquainted with the strange story1 written in all the languages#h of ,europe round the walls of that remarkable sanctuary3 how the house of ,nazareth was1 in the close of the ,thirteenth ,century1 conveyed by angels1 first to the heights above ,fiume1 at the head of the ,adriatic gulf1 then to the plain and lastly to the hill1 of ,loretto4 ,but this 8wondrous flitting0 of the ,holy ,house is not the feature in its history which is most present to the pilgrims who frequent it4 ,it is regarded by them simply as an actual fragment of the ,holy ,land1 sacred as the very spot on which the mystery of the ,incarnation was announced and begun4 ,in proportion to the sincerity and extent of this belief is the veneration which attaches to what is undoubtedly the most frequented sanctuary of ,christendom4 ,the devotion of pilgrims even on week-days exceeds anything that is seen at any of the holy places in ,palestine1 if we except the ,church of the ,holy ,sepulchre at ,easter4 ,before the dawn of day the worship begins4 ,whilst it is yet dark1 the doors are opened--a few lights round the sacred spot break the gloom1 and disclose the kneeling ,capuchins1 who have been here throughout the night4 ,two soldiers1 sword in hand1 take their place by the entrance of the 8,house10 to guard against all injury4 ,one of the hundred priests who are in daily attendance immediately begins mass at the high altar of the church1 the first of a hundred and twenty that are repeated daily within its precincts4 ,the 8,santa ,casa0 itself is then opened and lighted1 the pilgrims flock in2 and1 from that hour till sunset1 come and go in a perpetual stream4 ,the 8,house0 is thronged with kneeling or prostrate figures1 the pavement round it is deeply worn with the passage of pilgrims1 who1 from the humblest peasant of the ,abruzzi up to the ,king of ,naples1 crawl round it on their knees2 the nave is filled with the bands of worshippers1 who1 having visited the sacred spot1 are retiring backwards from it1 as from some royal presence4 ,on the 8,santa ,casa0 alone depends the sacredness of the whole locality in which it stands4 ,loretto--whether the name is derived from the sacred grove 7,lauretum7 or the lady 7,loreta7 under whose shelter the house is believed to have descended--had no existence before the rise of this extraordinary sanctuary4 ,the long street with its venders of rosaries1 the palace of the governor1 the strong walls built by ,pope ,sixtus ,,iv41 are all mere appendages to the humble edifice which stands within the ,church4 ,the 8,santa ,casa0 is spoken of by them as a living person1 a corporation sole on which the whole city depends1 to which the whole property far and near over the rich plain which lies spread beneath it belongs forever4 ,no one who has ever witnessed the devotion of the ,italian people on this singular spot1 can wish to speak lightly of the feelings which it inspires4 ,but a dispassionate statement of the real facts of the case may not be without use4 ,into the general question of the story we need not enter here4 ,it has been ably proved elsewhere1#i first1 that of all the pilgrims who record their visit to ,nazareth from the ,fourth to the ,sixteenth ,century1 not one alludes to any house of ,joseph as standing there1 or as having stood there1 within human memory or record2 secondly1 that the records of ,italy contain no mention of the ,house till the ,fifteenth ,century2 thirdly1 that the representation of the story as it now stands1 with the double or triple transplantation of the sanctuary1 occurs first in a bull of ,leo ,x41 in the year #aeah4 ,but it is the object of these remarks simply to confront the ,house as it stands at ,loretto with the ,house as it appears at ,nazareth4 ,it has been already said that each professes to contain the exact spot of the ,angelic visitation1 to be the scene of a single event which can only have happened in one2 each claims to be the very ,house of the ,annunciation1 and bases its claim to sanctity on that especial ground4 ,but this is not all3 even should either consent to surrender something of this peculiar sacredness1 yet no one can visit both sanctuaries without perceiving that by no possibility can one be amalgamated with the other4 ,the ,house of ,loretto is an edifice of thirty-six feet by seventeen2 its walls1 though externally cased in marble1 can be seen in their original state from the inside1 and these appear to be of a dark red polished stone4 ,the west wall has one square window1 through which it is said the ,angel flew2 the east wall contains a rude chimney1 in front of which is a mass of cemented stone1 said to be the altar on which ,st4 ,peter said mass1 when the ,apostles1 after the ,ascension1 turned the house into a church4 ,on the north side is 7or rather was7 a door1 now walled up4 ,the monks of ,loretto and of ,nazareth have but a dim knowledge of the sacred localities of each other4 ,still1 the monks of ,nazareth could not be altogether ignorant of the mighty sanctuary which1 under the highest authorities of their ,church1 professes to have once rested on the ground they now occupy4 ,they show1 therefore1 to any traveller who takes the pains to inquire1 the space on which the ,holy ,house stood before its flight4 ,that space is a vestibule immediately in front of the sacred grotto2 and an attempt is made to unite the two localities by supposing that there were openings from the house into the grotto4 ,without laying any stress on the obvious variation of measurements1 the position of the grotto is1 and must always have been incompatible with any such adjacent building as that at ,loretto4 ,whichever way the house is supposed to abut on the rock1 it is obvious that such a house as has been described1 would have closed up1 with blank walls1 the very passages by which alone the communication could be effected4 ,and it may be added1 that there is no traditional masonry of the 8,santa ,casa0 left at ,nazareth1 there is the traditional masonry close by of the so-called workshop of ,joseph of an entirely different character4 ,whilst the former is of a kind wholly unlike anything in ,palestine1 the latter is1 as might be expected1 of the natural grey limestone of the country1 of which in all times1 no doubt1 the houses of ,nazareth were built4 ,it may have seemed superfluous labour to have attempted any detailed refutation of the most incredible of ,ecclesiastical legends4 ,but ,loretto is so emphatically the 8,holy ,place0 of one large branch of ,christendom--its claim has been so strongly maintained by ,french and ,italian writers of our own times--and is1 moreover1 so deeply connected with the alleged authority of the ,papal ,see--that an interest attaches to it far beyond its intrinsic importance4 ,no facts are insignificant which bring to an issue the general value of local religion--or the assumption of any particular ,church to direct the conscience of the world--or the amount of liberty within such a ,church left on questions which concern the faith and practice of thousands of its members4 ,but the legend is also curious as an illustration of the history of 8,holy ,places0 generally4 ,it is difficult to say how it originated--or what led to the special selection of the ,adriatic gulf as the scene of such a fable2 yet1 generally speaking1 the explanation is easy and instructive4 ,nazareth was taken by ,sultan ,khalil in #abia1 when he stormed the last refuge of the ,crusaders in the neighbouring city of ,acre4 ,from that time1 not ,nazareth only1 but the whole of ,palestine1 was closed to the devotions of ,europe4 ,the ,crusaders were expelled from ,asia1 and in ,europe the spirit of the ,crusades was extinct4 ,but the natural longing to see the scenes of the events of the ,sacred ,history--the superstitious craving to win for prayer the favour of consecrated localities--did not expire with the ,crusades4 ,can we wonder that1 under such circumstances1 there should have arisen the feeling1 the desire1 the belief1 that if ,mahomet could not go to the mountain1 the mountain must come to ,mahomet8 ,the ,house of ,loretto is the petrifaction1 so to speak1 of the 8,last ,sigh of the ,crusades02 suggested possibly by the ,holy ,house of ,st4 ,francis at ,assisi1 then first acquiring its ,european celebrity4 ,it is indeed not a matter of conjecture that in ,italy--the country where the passionate temperament of the people would most need such stimulants--persons in this state of mind did actually endeavour1 so far as circumstances permitted1 to reproduce the scenes of ,palestine within their own immediate neighbourhood4 ,one such is the ,campo ,santo of ,pisa--8the ,holy ,field10 as this is 8the ,holy ,house0--literally a cargo of sacred earth from the ,valley of ,hinnom1 carried1 as is well known1 not on the wings of angels1 but in the ships of the ,pisan ,crusaders4 ,another example is the remarkable ,church of ,st4 ,stephen's at ,bologna1 within whose walls are crowded together various chapels and courts1 representing not only1 as in the actual ,church of the ,sepulchre1 the several scenes of the ,crucifixion1 but the ,trial and ,passion also2 and which is entitled1 in a long inscription affixed to its cloister1 the 8,sancta ,sanctorum02 nay1 literally1 8the ,jerusalem0 of ,italy4 ,a third still more curious instance may be seen at ,varallo1 in the kingdom of ,piedmont4 ,bernardino ,caimo1 returning from a pilgrimage to ,palestine at the close of the ,fifteenth ,century1 resolved to select the spot in ,lombardy most resembling the ,holy ,land1 in order to give his countrymen the advantage of praying at the ,holy ,place without undergoing the privations which he had suffered himself4 ,accordingly1 in one of the beautiful valleys leading down from the roots of ,monte ,rosa1 he chose 7it must be confessed that the resemblance is of the slightest kind7 three hills1 which should represent respectively ,tabor1 ,olivet1 and ,calvary2 and two mountain-streams1 which should in like manner personate the ,kedron and ,jordan4 ,of these the central hill1 ,calvary1 became the 8,holy ,place0 of ,lombardy4 ,it was frequented by ,s4 ,carlo ,barromeo2 under his auspices the whole mountain was studded with chapels1 in which the scenes of the ,passion are represented in waxen figures of the size of life2 and the whole country round now sends its peasants by thousands as pilgrims to the sacred spot4 ,we have only to suppose these feelings existing as they naturally would exist in a more fervid state two centuries earlier1 when the loss of ,palestine was more keenly felt--when the capture of ,nazareth especially was fresh in every one's mind--and we can easily imagine that the same tendency1 which by deliberate purpose produced a second ,jerusalem at ,bologna and a second ,palestine at ,varallo1 would1 on the secluded shores of the ,adriatic1 by some peasant's dream1 or the return of some ,croatian chief from the last ,crusade1 or the story of some ,eastern voyager landing on their coasts1 produce a second ,nazareth at ,fiume and ,loretto4 ,what1 in a more poetical and ignorant age was in the case of the ,holy ,house ascribed to the hands of angels1 was actually intended by ,sixtus ,v4 to have been literally accomplished in the case of the ,holy ,sepulchre by a treaty with the ,sublime ,porte for transferring it bodily to ,rome1 so that ,italy might then have the glory of possessing the actual sites of the conception1 the birth1 and the burial of our ,saviour4 ,,the ,,alcazar ,,of ,,seville ,,edmundo ,,de ,,amicis ,the ,alcazar1 an old palace of the ,moorish kings1 is one of the best preserved buildings in ,spain4 ,from the outside1 it looks like a fortress1 as it is completely surrounded by high walls1 battlemented towers and old houses1 which structures form two spacious courts in front of the faade4 ,like the other parts of this building1 the faade is plain and severe4 ,the door is ornamented with arabesques that are painted and gilded1 and there is also a ,gothic inscription recording the time when the ,alcazar was restored by the order of the king ,don ,pedro4 ,in fact1 although the ,alcazar is an ,arabian palace1 it is the work of ,christian rather than ,arabian monarchs4 ,the date that it was begun is not known1 but it was rebuilt towards the end of the ,twelfth ,century by ,king ,abdelasio4 ,king ,ferdinand took possession of it about the middle of the ,thirteenth ,century2 it was altered again by ,don ,pedro in the next century1 since when it was inhabited by nearly all the kings of ,castile4 ,finally it was chosen by ,charles ,v4 for the celebration of his marriage with the ,infanta of ,portugal4 ,the ,alcazar has witnessed the loves and crimes of three races of kings1 and every one of its stones awakens some memory or holds some secret4 ,after entering1 you cross two or three rooms1 in which there is nothing ,arabian left except the ceiling and some mosaics upon the walls1 and find yourself in a court that strikes you dumb with wonder4 ,a gallery composed of elegant arches supported by small marble columns arranged in pairs runs along the four sides4 ,the arches1 walls1 windows and doors are covered with mosaics1 carvings and arabesques4 ,the latter are delicate and intricate1 in some places perforated like a veil1 in others thick and close as woven carpets and elsewhere again hanging and jutting out like garlands and bunches of flowers4 ,with the exception of the brilliantly coloured decorations everything is as white1 clean and glistening as ivory4 ,four large doors1 one in each side1 lead into the royal rooms4 ,here you no longer wonder2 you are enchanted4 ,every thing that the most ardent fancy could imagine in the way of wealth and splendour is to be found in these rooms4 ,from the ceiling to the floor1 around the doors1 around the windows in the distant recesses1 wherever the eye may please to wander1 such a multitude of gold ornaments and precious stones1 such a close network of arabesques and inscriptions1 such a marvellous blending of designs and colours appear that1 before you have gone twenty steps1 you are overpowered and confused1 and you glance here and there as if trying to find a piece of bare wall upon which to rest your eye4 ,illustration3 ,,the ,,alcazar ,,of ,,seville1 ,,spain4 ,in one of the rooms1 the custodian pointed out a reddish spot upon the marble pavement1 and said very solemnly3 ,this is the stain caused by the blood of ,don ,fadrique1 ,grand ,master of the ,order of ,santiago1 who was killed here in the year #aceh1 by the order of the ,king ,don ,pedro1 his brother4 ,when ,i heard this1 ,i remember looking at the custodian as if to say3 8,let us move on10 and the good man answered dryly3 8,caballero1 if ,i were to tell you to believe this on my word you would be perfectly right to doubt it2 but when you see the thing with your own eyes1 it seems to me--,i may be mistaken1--but----0 8,yes10 ,i hastily replied1 8yes it is blood1 ,i have no doubt of it2 but don't let us talk about it any more40 ,even if you are able to joke about a spot of blood1 you cannot do so about the story of the crime4 ,the place awoke in my mind all the most horrible facts4 ,i seemed to hear ,don ,fadrique's step echoing through these gilded rooms1 as he was being pursued by the soldiers armed with clubs4 ,the palace is shrouded in darkness2 no noises are heard but those of the executioners and their victim4 ,don ,fadrique tries to enter the court4 ,lopez de ,padilla seizes him and he breaks away4 ,now he is in the court2 he grasps his sword2 he utters maledictions upon it for the cross of the hilt is entangled in the mantle of the ,order of ,santiago4 ,now the archers arrive2 he cannot draw it from its sheath2 he flies hither and thither as best he may4 ,fernandez de ,roa overtakes him and fells him with a blow from his mace2 the others approach and wound him and he expires in a pool of blood4 ,this sad memory soon vanishes amidst the thousand fancies of the delicious life of the ,moorish kings4 ,these lovely little windows at which the dreamy face of an ,odalisk ought to appear at any moment2 these secret doors before which you pause1 despite yourself1 as if you heard the rustling of a dress2 these sleeping-rooms of princes enveloped in a mysterious gloom1 where you fancy you hear the sighing of girls who lost in them their virginal purity2 and the prodigious variety of colours and friezes resembling an ever-changing symphony excite your senses to such a degree that you are like one in a dream4 ,the delicate and very light architecture1 the little columns 7which suggest the arms of a woman71 the capricious arches1 and the ceilings covered with ornaments that hang in the form of stalactites1 icicles1 and bunches of grapes1--all rouse in you the desire to seat yourself in the centre of one of these rooms1 pressing to your heart a beautiful dark ,andalusian head which will make you forget the world and lose all sense of time1 and with one long kiss that drinks away your life1 put you to sleep forever4 ,the most beautiful room on the ground floor is that of the ambassadors1 formed by four great arches supporting a gallery of forty-four smaller arches1 and above1 a lovely cupola which is sculptured1 painted and ornamented with an inimitable grace and a fabulous magnificence4 ,on the next floor which contained the winter apartments1 nothing remains but an oratory of ,ferdinand and ,isabella the ,catholic1 and a small room which is said to be the one where the ,king ,don ,pedro slept4 ,you descend from here1 by a narrow1 mysterious staircase1 into the rooms inhabited by the famous ,maria di ,padilla1 a favourite of ,don ,pedro1 whom popular tradition accuses of having instigated ,don ,pedro to the murder of his brother4 ,the gardens of the ,alcazar are not large1 nor extraordinarily beautiful2 but the fancies that they engender are more precious than size or beauty4 ,beneath the shade of those oranges and cypresses1 near the soft sound of those fountains when a great brilliant moon shone in the clear ,andalusian sky and the host of courtiers and slaves lay down to rest1 how many sighs of lovelorn sultanas were heard6 how many humble words of proud kings6 what mighty loves and embraces6 8,itimad6 my love60 ,i murmured1 thinking of the famous favourite of ,king ,al-,motamid1 as ,i roamed from path to path as if following her spirit3 8,itimad6 ,do not leave me alone in this quiet paradise6 ,stop6 ,give me one hour of delight to-night4 ,don't you remember8 ,you came to me and your lovely locks fell over my shoulders like a mantle2 and as the warrior seizes his sword1 ,i seized your neck1 softer and whiter than a swan's6 ,how beautiful you were6 ,how my parched heart satisfied its thirst on thy blood-coloured lips4 ,your beautiful body issued from your splendidly embroidered robe like a gleaming blade from its scabbard2 and then ,i pressed with both hands your large hips and slender waist in all the perfection of their beauty4 ,how dear you are1 ,itimad6 ,your kiss is as sweet as wine1 and your glance1 like wine1 makes me lose my reason60 ,while ,i was uttering this declaration of love in the phrases and imagery of the ,arabian poets1 ,i entered a pathway bordered with flowers and suddenly felt a jet of water on my legs2 ,i jumped back and had a dash of it in my face2 ,i turned to the right1 and felt a spray on my neck2 turning to the left1 ,i got another on the nape of my neck2 then ,i began to run and there was water under me1 over me1 and all around me1 in jets1 sprays1 and showers1 so that in a moment ,i was as wet as if ,i had been plunged in a tub4 ,just at the moment ,i was about to shout ,i heard a loud laugh at the end of the garden1 and1 turning1 ,i saw a young man leaning against the wall and looking at me1 as if to say3 8,did you enjoy it80 ,then he showed me the spring he had touched in order to play the trick and comforted me by saying that the ,seville sun would not leave me long in that wet condition1 into which ,i had passed so brusquely1 ah me6 from the amorous arms of my sultana4 ,illustration3 ,,the ,,tower ,,of ,,belem1 ,,portugal4 ,,the ,,tower ,,of ,,belem ,,arthur ,,shadwell ,,martin ,the place where ,vasco da ,gama spent the night before starting on his voyage of discovery1 and where he was received by ,emmanuel ,i41 on his triumphant return in #adii1 was called ,bairro de ,restello1 and here stood a small ,ermida1 or hermitage1 which had been founded for the use of navigators by the great pioneer of maritime discovery1 ,prince ,henry the ,navigator4 ,osorio1 ,bishop of ,sylves1 thus describes the embarcation of the successful expedition which ,belem specially commemorates3 ,there was a chapel by the seaside1 about four miles from ,lisbon1 built by ,emmanuel in honour of the ,virgin ,mary2 thither ,gama resorted the day before he went aboard1 and spent the whole night in offering up prayers1 and performing other religious duties4 ,next day he was followed by vast crowds of people to take leave of him and the rest who embarked in the expedition4 ,not only those in holy orders1 but all present1 with one voice put up their petitions to the ,almighty that he would grant them a prosperous voyage and a safe return4 ,many of those who came to see them aboard were deeply concerned1 and expressed their sorrow as if they had come to the funeral of their friends4 8,behold10 said they1 8the cursed effects of avarice and ambition6 ,what greater punishment could be devised for these men1 if guilty of the blackest crimes8 ,to be thrown upon the merciless ocean1 to encounter all the dangers of such a voyage1 and venture their lives in a thousand shapes4 ,would it not be more eligible to suffer death at home than be buried in the deep at such a distance from their native country8 ,these1 and many other things did their fears suggest4 ,but ,gama1 though he shed some tears at departure from his friends1 was full of hope1 and went aboard with great alacrity4 ,he sailed on the #ith of ,july1 #adig4 ,those who stood on the shore followed the ships with their eyes2 nor did they move from thence till the fleet was under full sail1 and quite out of sight40 ,a few weeks after the return of ,vasco da ,gama1 the foundation-stone of the edifice was laid by the thankful monarch4 ,boutaca1 who was responsible for some of the work at ,setubal1 supplied the general design1 and its details were worked out by the famous ,joao de ,castilho1 who assumed the superintendence of the work in #aeag4 ,john ,,iii4 discontinued the work in #aeea1 and it is still incomplete4 ,the first stone was laid in #aejj by the ,fortunate ,king with great ceremony1 and the construction progressed very rapidly4 ,the limestone of which the buildings were constructed was procured from the ,alcantara valley in the vicinity1 and lends itself readily to exquisite carving4 ,originally white when it came from the quarry1 it has now mellowed into tints of rich brown1 and it is very durable4 ,the architectural style of the building is what is called the ,arte ,manoelina1 called after the king1 ,emmanuel ,i41 the ,fortunate1 7#adie-aeba7 under whose reign it flourished4 ,it is a transitional style1 or rather a luxuriant medley of ,gothic1 ,renaissance and ,mauresque4 ,its wealth of detail often borders on the extravagant and fantastic1 but its interest cannot be denied4 ,belem has been said to be the last struggle between ,christian and ,pagan art in ,portugal1 and it shows the scars of both in its excessive ornamentation4 ,its barbaric splendour of enriched stonework cannot fail to fascinate the art-lover1 though it is inferior even in these characteristics to the beautiful ,capella ,imperfeita at ,batalha4 ,there is a strange story told of the building of the church of ,belem4 ,the architect had made some miscalculation1 so that when the scaffolding of the nave was removed1 the vaulted roof fell1 killing a number of the workmen4 ,when the damage was repaired1 the architect was so nervous that he fled to ,france4 ,the king consequently gave orders for the removal of the scaffolding by criminals under sentence of death1 with a promise of pardon in case they escaped death4 ,it is related that the walls and roof stood the strain this time1 and the criminals received the timbers of the scaffolding as perquisites1 used them in building houses for themselves1 and later became pillars of society4 ,when the architect heard that his plans were justified1 he returned and was rewarded for his work with a pension4 ,he also was honoured by having his bust carved on one of the pillars4 ,the entire building is erected on a foundation of pine piles1 and suffered scarcely any damage in the great earthquake of #agee4 ,the great church contains many features of interest1 several chapels1 magnificent arches1 pulpits and choir stalls1 and numberless statues4 ,of the lifelike figure of ,st4 ,jerome1 ,philip ,,ii4 said3 8,i am waiting for it to speak to me40 ,the stalls are delicately carved with intricate ,arabesque tracery4 ,there are two organs1 one of which shows traces of former magnificence4 ,the capella-mr 7death chapel7 of ,renaissance decoration is entered through a magnificent arch flanked by two richly carved pulpits4 ,on the ,north in recesses are the tombs of ,king ,emmanuel and his ,queen ,maria1 and on the ,south are similar ones of ,joao ,,iii4 and his ,queen ,catharina4 ,these sarcophagi are borne by elephants4 ,in the chapel beyond are tombs of other royal personages1 including that of ,king ,sebastian1 who mysteriously disappeared at the battle of ,al-,kasr al-,kebr 7#aegh72 the eight children of ,joao ,,iii41 and a natural son of his1 ,don ,duarte1 ,archbishop of ,braga4 ,close by is the tomb of ,catherine of ,braganza1 the neglected wife of the ,merry ,monarch1 ,charles ,,ii4 of ,england2 and others of the ,cardinal ,king ,henrique and other ,infantes4 ,behind the high altar is a chapel containing the tombs of ,alfonso ,,vi41 his brother ,theodosio and a sister4 ,the king is attired in the costume of the period in which he lived1 and his body is said to be in perfect preservation4 ,the chief glory of the convent1 however1 is its superb cloisters1 the masterpiece of ,joao de ,castilho4 ,they are about #ahj feet square1 surrounded by a two-storied arcade4 ,other features are the ,casa ,pia1 the ,refectory1 the ,sacristy and the ,capella dos ,jeronymos4 ,the ,sala dos ,reis contains 7some imaginary7 portraits of the kings of ,portugal down to ,john ,,vi4 ,the ,spanish usurpers are omitted4 ,at the ,eastern extremity of the suburb of ,belem1 on the banks of the ,tagus1 are the constructions of the ,belem tower1 a massive building rather more than #ajj feet square1 flanked on the corners by ,gothic turrets4 ,it shelters a telegraph station and battery that defends the port4 ,this tower 7,torre de ,sao ,vicente7 is generally regarded as one of the most interesting structures in ,lisbon4 ,it stands really on a rocky islet in the ,tagus1 but the silting up of the channel between it and the shore renders its position less imposing than it used to be4 ,moreover its picturesque effect has been further marred by the erection of factories in the immediate vicinity4 ,in the castle of ,belem is kept a registry-office for all vessels that enter or leave the ,tagus2 as well as an establishment of custom-house officers1 health officers and naval police for the protection of property4 ,the ,torre de ,belem is of three stories1 and its commanding situation affords a splendid view of the beautiful ,tagus4 ,belem now forms a suburb of ,lisbon1 and the vineyards that formerly adorned the intervening banks of the river have been largely utilized for building purposes1 but the tower still forms a striking object in the landscape and dominates the vicinity4 ,the rhapsodies of travellers who visited ,lisbon half a century ago are still justified4 ,one of them writes3 8,from this point1 the view up the river1 to the ,east1 is grand beyond all conception2 and1 to do the magnificent opening of the scenery justice1 the most elaborate description would be perfectly inadequate4 ,the breadth of the mighty river crowded with the vessels of every nation2 men-of-war at anchor1 and in various stages of equipment2 the heights to the ,south crowned with batteries1 villages and vineyards1 descending down their sides to the very skirts of the water2 the numerous fishing and pleasure-boats gliding swiftly across the river in various directions2 the long uninterrupted line of palaces1 convents and houses1 running along the shore from ,belem to ,lisbon1 under the elevated ridge upon which the splendid residence of the ,portuguese sovereigns1 the ,ajuda1 is erected1 and then the beauteous city itself1 with its domes and towers and gorgeous buildings1 extended over its many hills2 and1 above all1 the deep blue of the heaven's dazzling canopy above1--form a combination of objects1 the striking interest of which can scarcely be represented to a northern imagination40 ,the tower is said to be modelled on an old design by ,garcia da ,resende4 ,the lower part adjoins a sort of platform projecting over the river1 and is enclosed by a parapet with battlements and the shields of the ,knights of ,christ4 ,six ornate turrets copied from ,indian originals adorn the corners4 ,the decoration of the square tower itself on the front facing the river consists of a balcony with traceried parapet and round-headed windows4 ,the other sides have bow-windows4 ,higher up1 the tower is girt with a passage for the use of its defenders4 ,four ,indian turrets ornament the flat roof4 ,the interior contains several square rooms which have suffered many restorations4 ,one of them1 the ,sala ,regia is celebrated for its peculiar acoustic properties4 ,the basement is divided into dungeons that have seldom been vacant in the past4 ,the prisoners immured there received light and air only through gratings in the floor of the casemates4 ,they were constantly filled with political offenders under ,miguel4 ,,venetian ,,palaces ,,th,,ophile ,,gautier ,the ,grand ,canal is to ,venice what the ,strand is to ,london1 the ,rue ,saint-,honor to ,paris1 and the ,alcala to ,madrid1--the principal artery for the circulation of the whole city4 ,its form is that of a double ,s1 reversed1 the sweep of which bounds the city around ,st4 ,mark's while the upper point borders upon the isle of ,santa-,chiara1 and the lower point at the ,custom-,house1 near the canal of the ,giudecca4 ,this ,s is cut about the middle by the bridge of the ,rialto4 ,illustration3 ,,the ,,foscari ,,palace1 ,,italy4 ,the ,grand ,canal of ,venice is the most marvellous thing in the world4 ,no other city can present so beautiful1 so bizarre and so fairy-like a spectacle3 perhaps you may find elsewhere remarkable specimens of architecture1 but never placed in such picturesque conditions4 ,here1 every palace has a mirror in which to admire her own beauty1 just like a feminine coquette4 ,the superb reality is repeated in a charming reflection4 ,the water lovingly caresses the feet of those beautiful faades whose brows are kissed by a clear light and are rocked in two skies4 ,the little boats and the large barks which can come up close to them seem moored on purpose to produce effective dark spots1 or foregrounds for the convenience of scene-painters and water-colourists4 ,in drifting along by the ,custom-,house1 which1 with the ,palace ,giustiniani 7to-day the ,htel de l',europe7 marks the entrance of the ,grand ,canal1 throw a glance at those skeleton-like heads of horses sculptured in the square and dumpy cornice which supports the globe of ,fortune4 ,does this peculiar ornament mean that the horse was useless in ,venice 7you get rid of him at the ,custom-,house7 or rather is it not a pure caprice of ornamentation8 ,this explanation seems to me the best1 for ,i do not wish to fall into the symbolical exaggeration with which ,i have been reproaching others4 ,i have already described the ,salute1 which ,i can see from my window and which does not require any attention after having seen ,canaletto's picture1 which is1 perhaps1 the painter's masterpiece4 ,but here ,i experience embarrassment4 ,the ,grand ,canal is the true ,golden ,book in which all the ,venetian nobility has signed its name upon the monumental faades4 ,each stone of the walls has a story to tell2 each house is a palace2 each palace1 a masterpiece with a legend3 at each stroke of the oar1 the gondolier mentions a name which was as well-known at the time of the ,crusades as it is to-day2 and this on the right and left for a length of more than half a league4 ,i have written a list of these palaces1 not quite all but the most remarkable of them1 and ,i dare not insert it on account of its length4 ,it takes up five or six pages3 ,pietro ,lombardo1 ,scamozzi1 ,vittoria1 ,longhena1 ,andrea ,tremignan1 ,giorgio ,massari1 ,sansovino1 ,sebastiano ,mazzoni1 ,sammichelli1 the great architect of ,verona1 ,selva1 ,domenico ,rossi1 and ,visentini designed and superintended the construction of these princely dwellings1--without counting the marvellous unknown artists of the ,middle ,ages who erected the most picturesque and romantic ones1 those that gave to ,venice her distinction and originality4 ,upon these two banks1 faades1 all charming and variously beautiful1 succeed each other without interruption4 ,after a specimen of ,renaissance architecture1 with its columns and superimposed orders comes a medival palace of the ,gothic-,arabian style1 of which the ,ducal palace is the prototype1 with its open-work1 balconies1 its ogives1 its trefoils and its lace-like acrotera4 ,a little farther is a faade encased in coloured marbles1 ornamented with medalions and consoles2 then comes a great rose-coloured wall1 where a large window with little columns is cut out4 ,every style is found here3 ,byzantine1 ,saracen1 ,lombard1 ,gothic1 ,roman1 ,greek1 and even ,rococo2 the column and the small column1 the ogive and the cincture and the capricious capital filled with birds and flowers that has come from ,acre or ,jaffa2 the ,greek capital found amidst ,athenian ruins1 the mosaic and the bas-relief2 the classic severity and the elegant fantasy of the ,renaissance4 ,it is an immense gallery in the open air1 where one can study from his gondola the art of seven or eight centuries4 ,what genius1 talent and money have been expended in this space that can be traversed in less than an hour6 ,what wonderful artists6 ,but also what intelligent and magnificent lords6 ,what a pity that the patricians who knew how to have such beautiful things made should exist no longer save in the canvasses of ,titian1 ,tintoretto and ,il ,moro6 ,just before arriving at the ,rialto1 you have to the left1 in ascending the ,canal1 the ,dario ,palace1 ,gothic style2 the ,venier ,palace1 which reveals itself by one corner with its ornaments1 its precious marbles and its medalions1 ,lombard style2 the ,fine-,arts1 classic faade by the side of the ancient ,school of ,charity and surmounted by a figure of ,venice riding on a lion2 the ,contarini ,palace1 of ,scamozzi's architecture2 the ,rezzonico ,palace1 with three orders superimposed2 the triple ,giustiniani ,palace1 in the taste of the ,middle ,ages1 inhabited by ,signor ,natale ,schiavoni1 a descendant of the celebrated painter ,schiavoni1 who has a picture-gallery and a beautiful daughter1 the living reproduction of a picture painted by her ancestor2 the ,foscari ,palace1 recognizable by its lower door1 its two rows of little columns supporting the ogives and the trefoils1 where formerly lived those sovereigns who visited ,venice1 and now abandoned2 the ,balbi ,palace1 from the balcony of which the princes leaned to watch the regatta which took place on the ,grand ,canal with so much pomp and brilliancy during the heyday of the ,republic2 the ,pisani ,palace1 in the ,german style of the beginning of the ,fifteenth ,century2 and the ,tiepolo ,palace1 quite smart and relatively modern1 with its two elegant pyramids4 ,to the right1 very near the ,european ,hotel1 there stands between two large buildings a delicious little palace1 composed of a window and a balcony2 but what a window and what a balcony6 a lace-work of stone3 scrolls1 guilloches1 and open-work that one would not believe it possible to execute except by a cutting-machine and a piece of paper4 ,i regretted that ,i did not have #be1jjj francs about me to buy it1 for that is all they asked4 ,a little farther1 still ascending1 you find the ,palace ,corner della ,c ,grande1 which dates from #aecb1 one of ,sansovino's best2 ,grassi1 to-day the ,emperor's inn1 the marble stairway of which is garnished with handsome orange trees in pots2 ,corner-,spinelli1 whose marble base is surrounded by a double fretwork of fine effect and which is to-day the ,post ,office2 and ,farsetti1 with its columned peristyle and its long gallery with little columns occupying all the faade1 where the municipality is lodged4 ,we could say1 as ,don ,ruy-,gomez da ,silva says to ,charles ,v4 in ,hernani1 when he shows him the portraits of his ancestors3 8,j'en passe1 et des meilleurs40 ,we ask1 however1 attention for the ,loredan ,palace and the ancient dwelling of ,enrico ,dandolo1 the conqueror of ,constantinople4 ,between these palaces there are some worthy houses1 whose chimneys in the form of turbans1 towers1 and vases of flowers1 break the great lines of architecture very appropriately4 ,ascending always1 you meet on the left the ,corner della ,regina ,palace1 so named on account of the ,queen ,conaro1 whom ,parisians know through ,halvy's opera1 ,la ,reine de ,chypre1 in which ,madame ,stoltz played such a fine rle4 ,i do not remember if the scenery of ,,mm4 ,schan1 ,dieterle and ,desplchin resembled it2 it could have been without sacrificing anything1 because the architecture of ,domenico ,rossi is of great elegance4 ,the sumptuous palace of ,queen ,cornaro is now a pawn shop1 and the humble rags of misfortune and the jewels of improvidence come to heap themselves here beneath the rich decorations which should not fall into ruins3 for to-day it does not suffice to be beautiful1 it is necessary to be useful4 ,the ,college of the ,armenians1 which is a short distance from here1 is an admirable building by ,baldassare de ,longhena1 of a rich1 solid and imposing architecture4 ,it is the ancient ,pesaro ,palace4 ,to the right there rises the ,palazzo della ,c d',oro1 one of the most charming of the ,grand ,canal4 ,it belonged to ,mademoiselle ,taglioni1 who had it restored with the most intelligent care4 ,it is all embroidered1 all denticulated1 all cut out in a ,grecian1 ,gothic and ,barbarian style1 so fantastic1 so light and so arial that you would say it must have been made for the nest of a sylph4 ,mademoiselle ,taglioni took pity upon these poor abandoned palaces4 ,she rented several of them that attracted her out of pure commiseration for their beauty2 three or four were pointed out to me upon which she had bestowed this charity of repairs4 ,look at those blue and white stakes sprinkled with golden fleur-de-lis2 they will tell you that the ancient palace ,vendramini ,calergi has become a quasi-royal habitation4 ,it is the dwelling of ,her ,highness the ,duchesse de ,berry1 and certainly she is better lodged than at the pavilion ,marsan2 for this palace1 the most beautiful one in ,venice1 is a masterpiece of architecture and its carvings are of a marvellous delicacy4 ,nothing could be more beautiful than the groups of children who are supporting shields upon the arches of the windows4 ,the interior is filled with precious marbles3 you admire above all two porphyry columns of such rare beauty that their value would pay for the palace4 ,although ,i have been a long time about it1 ,i have not told all4 ,i see that ,i have not yet spoken of the ,mocenigo palace1 where the great ,byron lived2 our gondolier however has grazed the marble stairway1 where with her hair flying in the wind1 her foot in the water1 in the rain and tempest1 the daughter of the people and mistress of ,lord ,byron welcomed him upon his return with these tender words3 8,great dog of the ,madonna1 is it time to go to the ,lido80 ,the ,barbarigo ,palace also deserves mention4 ,i have not seen the twenty-two ,titians that are contained within it and which are held under seal by the ,russian consul who has bought them for his master2 but it still possesses some very beautiful pictures1 and the carved and gilded cradle destined for the heir of this noble family1--a cradle which might be converted into a tomb1 for1 like most of the ancient families of ,venice1 the ,barbarigo family is extinct3 of the nine hundred patrician families inscribed in the ,golden ,book1 only about fifty now remain4 ,the old caravansary of the ,turks1 so crowded at the time that ,venice held all the commerce of the ,orient and the ,indies1 presents now two rows of ,arabian arcades1 littered and obstructed by hovels that have pushed themselves up there like unhealthy mushrooms4 ,illustration3 ,,saint ,,ouen1 ,,france4 ,,saint ,,ouen1 ,,rouen ,l4 ,,de ,,fourcaud ,the ,fourteenth ,century erected in ,france four churches of a peculiar grandeur and magnificence3 the ,cathedral of ,saint ,quentin2 the abbey of ,saint ,bertin1 ,saint ,omer2 ,saint ,nazaire of ,carcassonne and ,saint ,ouen of ,rouen4 ,the first two have disappeared1 but the two others have come down to us almost intact1 and both of them derive their disconcerting basilicas from the end of the ,thirteenth ,century2 ,saint ,urbain of ,troyes is a piece of stone jewelry4 ,we shall have less trouble in characterizing briefly the marvellous building of ,saint ,ouen1 than in describing ,notre-,dame 7,rouen74 ,the edifice is longer1 less ample1 clearer1 and more of a unity as far as the structure is concerned1 and it is deprived of those brilliant accessories which engross the attention4 ,it is1 by all odds1 superior in harmony and compactness of the execution and inferior in size4 ,the one attracts poets1 the other is preferred by men of learning4 ,everybody will appreciate the subtlety4 ,now1 first of all and very briefly1 here is the history of this abbey4 ,upon the ruins of an oratory constructed in this very place by the indefatigable ,saint ,victrice about #ece1 ,clotaire erected a large church dedicated to ,saint ,peter and ,saint ,paul4 ,in the last years of the ,seventh ,century1 ,saint ,ouen restored it and wished it to be his sepulchre4 ,according to the ,life of that great bishop attributed to ,fridegode1 a monk of ,canterbury1 it was a building of noble appearance1 constructed of square stones in the ,gothic style4 ,it is useless to discuss these words1 quoted on account of their curiosity1 but which might well be accounted for by some alteration in the text1 and1 in any case1 have but little meaning for us4 ,after the appearance of the ,northmen1 the abbey experienced varied fortunes3 it was sacked and demolished in #hda1 repaired in #ajdf by the ,abb ,nicholas of ,normandy1 son of ,duke ,richard ,,iii41 and it was burned to the ground several times4 ,a fragment of ,nicholas's apsis at the end of the nave is preserved under the name of ,chambre aux clercs3 a portion of the hemicycle arched cul-de-four is ornamented very coarsely1 but it is strongly built4 ,but to resume3 there was no glory for the monks of ,saint ,benot here until the beginning of the ,fourteenth ,century and the advent of the ,abb ,jean ,roussel4 ,this ,jean ,roussel1 born in ,quincampoix1 near ,rouen1 and known1 nobody knows why1 by the nick-name of ,marc d' ,argent1 was a very original personage4 ,active1 discreet1 prudent1 energetic1 and devoted to everything under his charge1 he re-established the monastic discipline and by the wisdom of his administration doubled the revenues2 and1 as ,suger did before him at ,saint ,denis1 he resolved to rebuild his abbey according to the latest developments in architecture4 ,we do not know who was his master in this work2 but certainly it must have been some clever man who had carefully studied ,amiens1 ,beauvais1 ,troyes and ,sez4 ,within a few years1 the work was sufficiently advanced for his conception to have become definitive4 ,his successors had nothing more to do than to follow out his ideas4 ,materials were not stinted4 ,the quarries of ,chaumont1 ,vernon and ,saint-,leu furnished their magnificent calcareous stone1 of fine grain mixed with silex4 ,as the ,abb was never at a loss for funds1 it was popularly imagined that he coined gold1 and many a legend exists upon this subject4 ,the truth is1 he knew how to economize with large sums1 obtained from the ,king important rights regarding the cutting of wood in the forest ,verte and created disinterested good-will around him4 ,in the year #acah1 the first stone was laid1 and in the year #acci1 when he died1 more than #gi1icf livres 7#b1fjj1jjj francs of our money7 were paid to the stone-cutters4 ,the inscription placed on his tomb1 destroyed in #aefb by the ,calvinists1 described the state in which he left the church1 the choir and the eleven transept chapels comprising the large terminal chapel were finished3 the large pillars of the transept were only lacking the tower1 the two arms of the transept were approaching completion1 and doubtless also the nave was quite advanced4 ,the ,hundred ,years' ,war retarded the work without actually interrupting it4 ,we find ,charles ,,vi4 in #achj allowing #c1jjj livres to the ,abb ,arnaud du ,breuil to hasten the work4 ,the portal called des ,marmousets at the south arm of the transept is now given over to the sculptors4 ,however the hour for rapid achievement has passed4 ,it is not until #adci that the two roses of ,master ,alexandre de ,berneval and his legendary pupil unfold at the extremities of the transept4 ,under ,admiral d' ,estouteville1 ,archbishop of ,rouen and ,abb of the monastery1 the entrance to the choir was closed by a precious ,gothic rood-screen2 but the nave had yet to be finished1 and the central tower and the faade had yet to be done4 ,the ,abb ,bohier at the very last of the ,fifteenth ,century1 finished the building4 ,the delicious square tower1 eighty-two metres high1 set off with bays1 with gables and corner buttresses upon which are grafted the flying-buttresses of the octagonal belfry with the open-worked crown1 is of the same date1 the same style1 and1 perhaps1 of the same hand as the ,tour de ,beurre4 ,we possess the plan of the faade1 drawn at this time by an unknown artist4 ,it recalls the taste of the ,normans for the porches under bell-towers of which few examples are to be found outside of their province after the ,thirteenth ,century4 ,this master conceived two large1 square towers placed diagonally1 of a most original effect of perspective1 and beneath which opened two lateral porches whose sheltered arches broke the draughts and were very converging and very convenient for the entrance and exits in and out of the church of the several filing processions4 ,we are astonished to think that such a picturesque arrangement was never carried into effect4 ,the execution of the plan was never commenced4 ,the two bell-towers had been carried up to twenty metres and then abandoned4 ,their dimensions frightened the architect ,grgoire1 who in #ahdj was charged with enriching ,marc d' ,argent's faade1 and he pulled down the stumps to build those two towers with their thin spires and that commonplace faade with its dry lines that we now see4 ,a glance at the general plan of the building is necessary4 ,nothing could be simpler than this general arrangement3 a polygonal choir and chapels between the buttresses2 a lantern in the centre2 some rather narrow branches of the transept2 a large nave moderately wide1 but very long with some quite narrow tributaries4 ,the total length amounts to #ach metres2 the width of the nave is restricted to twenty-six4 ,what does this matter if these proportions are well united8 ,what astonishes us beyond everything is the evident charming intention4 ,there are no walls beyond those that are necessary2 it is all tracery with support4 ,the second impression is received from the forms2 with the exception of a few architectural details in the bay near the porch1 the style is perfectly homogeneous4 ,there is no spirit of creation here2 it is that admirable spirit of refinement and adaptation of the ,fourteenth ,century4 ,as at ,saint ,urbain de ,troyes1 all the arches spring from pillars and all the ribs return to them1 where1 to employ the synthetic formula of ,viollet-le-,duc1 8the piers are nothing more than projections in clusters of the different profiles of the arches40 ,what then is the use of capitals under such conditions8 ,they are more detrimental than useful4 ,moreover1 you find no trace of them except in the oldest parts of the choir4 ,the ribs of the arches instead of being strictly fastened against the walls cross the mass to leap outside in bracing arches and archivolts4 ,exactly as at ,sez1 the triforium drops very low and ends1 not in a massive ledge but in a gallery of lace-work1 in order to allow you to see from the nave across its spaces between the arches the dazzling lucidity of the windows of the gallery4 ,and everywhere is manifested this threefold intention3 elevation1 ease and open-work4 ,and what windows to adorn these masses of filagree work6 ,the most varied1 the finest and the richest of the period of ,louis ,,xii4 at its apogee4 ,patriarchs and martyrs1 prophets and holy abbs1 kings and sibyls stand out on all sides in the hues of brilliant and soft jewels4 ,we have no longer the frank mosaic of former days giving life to the light1 and bestowing upon it a certain mystical impression2 they are not the simple large figures under sumptuous baldaquins brightened with silver gilt2 they are1 most frequently1 the glass pictures of the ,renaissance4 ,we are astonished at the perfection of their treatment4 ,several subjects are those that the ,thirteenth ,century took pleasure in evoking2 witness the legend of the pilgrim of ,saint-,jacques1 whose son1 unjustly hung1 is kept on the gibbet by the saint himself and recognized as innocent4 ,nothing seems to me1 however1 so memorable here1 as much on account of the subject as for the treatment1 as the series of sibyls--those pagans to which the ,middle ,ages had begun to give a ,christian fate and which the ,sixteenth ,century treated so voluptuously4 ,this is why they assume a new importance at ,saint ,ouen4 ,the artist took pleasure in painting them under the adornments of elegant ladies1 in landscapes bristling with buildings4 ,above all1 ,i cannot forget the charming sibyl of ,samos1 in her embroidered robe covered with orfvrerie and jewels1 two doves pecking at her feet in the midst of a piece of country scenery1 and treated so to speak1 in the manner of a portrait4 ,this series of glass extending from one end of the church to the other and almost from top to bottom1 forms an immense1 translucent and radiant tapestry4 ,it seems as if a breath might annihilate it4 ,but no1 it remains hard1 rigid and as if incorporate with the very wall4 ,solid bars of iron1 cutting the bays1 give it an indestructible armature4 ,the evanescent dream of the period has eternalized itself in a fairy-like vision4 ,what beautiful roses are cut out in the transept6 ,on the central one1 ,god the ,father appears on his throne of gold1 above the adoring kings4 ,the other1 with its more complicated outlines1 shows us the ,glory of ,paradise4 ,you know the tradition attached to these two architectural flowers with the resplendent lobes8 ,alexandre de ,berneval having designed the first1 became jealous of one of his disciples who traced the second1 and in anger1 killed him4 ,to expiate the crime he had to die by the hands of the hangman4 ,who invented this story8 ,the master lies yonder1 in the second chapel down the nave to the right1 by the side of one of his pupils1 or1 perhaps with his son ,colin4 ,can any one believe that the monks would admit under any pretext beneath the holy vaults the body of an assassin and honour him with a superb sepulchral stone8 ,upon the stone the two architects live again in their long robes lined with vair1 and their large hats4 ,the older1 his compass in his hand carving out a quarter-round1 the younger one making a plan1 the feet of both resting on a lion1 and above them a ,gothic das4 ,the older is ,berneval who died in #addj3 the inscription tells us this4 ,of the younger we know nothing1 for the inscription concerning him was never made4 ,there is no fine carving to note in the interior of the abbey4 ,many of the pillars in the nave were ornamented with statues in the style of the ,fourteenth ,century1 but placed in niches that retreat a little4 ,broken in #agid1 when the building was used as a forge1 they have never been restored4 ,the destruction of the rood-screen dates from #agia1 at the time of the departure of the monks and the erection of the parish church4 ,this rood-screen must assuredly have spoiled the perspective of a building so frankly conceived for the effect in perspective4 ,but if one wants to delight in sculptured scenes1 it is before the portail des ,marmousets that he must betake himself4 ,beneath a finely arched porch1 is a door that is condemned to-day4 ,the statue of ,saint ,ouen1 decapitated by the ,reformers1 and the pier covered with little bas-reliefs1 relates in detail the life and miracles of the holy bishop4 ,on the tympanum1 three zones of perfect figures describe the death of the ,virgin1 her funeral1 her assumption and her entrance into heaven between two angels who are playing the organ and the rebeck4 ,a curious popular invention has found its place in the funeral scene1 where an impious ,jew trying to make an attempt upon the coffin has to see the ,archangel ,michael cut off his hands and ,st4 ,peter give them back to him1 whilst converting him4 ,this decoration is of an exceptional vivacity and delicacy of carving4 ,from the public garden1 we can take in the development of the apsis4 ,the elegance of design and the working-out are seen in all their grandeur from here4 ,from the pinacled buttresses spring the graceful double flying-buttresses responding exactly to the spring of the arches that are distributed and repeated with such wise judgment4 ,above the chapels with their pyramidal roofs runs a balustrade of quatrefoils inscribed in a curved quadrangle reproduced at the base of the top4 ,these charming galleries whose stone rivals ironwork1 in its extraordinary precision of the cutting1 define the essential lines of the plan through the bristling lines of the secondary forms4 ,they represent calm and order surrounded by agitation4 ,but from whatever point of view you survey ,saint ,ouen1 you will recognize the most exemplary refinement of construction4 ,it is not merely the frame which should be taken as a model with its square and chamfred wood1 its suspended binding-pieces1 its ,saint ,andrew's cross1 and its double sabliere plates gathered at the base of the chevrons4 ,in the eyes of architects1 the ,abbey of the wise ,abb ,marc d' ,argent will always be regarded as one of the chefs d'uvre of the art of building in ,france4 ,,carisbrooke ,,castle ,,sir ,,james ,d4 ,,mackenzie ,the ,isle of ,wight1 like ,kent1 was peopled by ,jutes1 who1 coming in under the wing of the actual conquerors1 ,cerdic and ,cynric1 exterminated the existing ,romano-,british inhabitants at the bloody battle of ,wihtgaresbyrg 7,saxon ,chron471 a name which1 omitting the primary syllable1 became 8,carisbrooke40 ,the later castle1 whose site is actually that of the battlefield of #ecj1 was conferred by the conquerors on their relative ,wihtgar4 ,but whereas the ,jutes of ,kent were the first1 those of the ,isle of ,wight were the last among the ,english to embrace ,christianity1 and in the ,seventh ,century the fine proselytizing zeal of the ,west ,saxons led them to invade and annihilate with their murderous knives the heathen islanders1 whose land they annexed to the ,wessex diocese4 ,illustration3 ,,carisbrooke ,,castle1 ,,england4 ,the island was already found to give the shortest passage between ,england and ,normandy1 and for this reason was used in ,saxon times1 as also by ,william the ,conqueror on some of his journeys to and from ,normandy4 ,it was here that he arrested his half-brother1 ,bishop ,odo1 as he was on his way to ,rome1 and here he tarried on quitting ,england for his last journey to ,france4 ,william granted the ,isle of ,wight to ,william ,fitz ,osborne1 ,earl of ,hereford1 who1 it is believed1 reared the castle of ,carisbrooke1 in which ,odo was arrested1 as he likewise founded the priory adjoining4 ,he had accompanied his leader from ,normandy1 and was one of his army marshals4 ,besides having the lordship of this isle1 he was made constable of the newly built castles of ,york and ,winchester1 and justiciary for the ,king in the ,north4 ,on the great mound of the ,saxon burh at ,wihtgaresbyrg he built a ,norman keep1 but as he was killed in ,france four years after coming to the isle1 it is probable that the work he began was completed by his son1 ,roger de ,bretteville1 who was imprisoned for life by ,william for levying war against him1 all his estates being forfeited to the ,crown4 ,henry ,i4 next gave the lordship of the isle1 with the castle and honour of ,carisbrooke1 to ,richard de ,redvers1 whose son succeeding him 7temp4 ,stephen7 was made ,earl of ,devon2 large additions were made by this family to the castle1 which was held by the ,redvers until that race ended in an heiress1 ,isabella de ,fortibus1 so called from her marriage with an ,earl of ,albemarle of that name4 ,this lady lived here 7#abfb-abic7 and built a large part of the castle1 which1 at her death1 she bequeathed to ,king ,edward ,i4 ,afterwards1 in the ,fourteenth ,century1 the castle was held by ,piers ,gaveston1 ,william ,montague1 the chivalrous ,earl of ,salisbury1 and by ,edward1 ,earl of ,rutland1 son of ,edmund of ,langley1 fifth son of ,edward ,,iii4 who inherited his father's title of ,duke of ,york1 and fell at ,agincourt1 when1 after his widow1 ,philippa's death1 the castle and island fell to ,humphrey1 the ,good ,duke of ,gloucester1 in the reign of ,henry ,,vi4 ,after him the lordship was enjoyed by several royal and other personages1 and lastly by ,anthony1 ,earl ,rivers1 and his brother1 ,sir ,edward ,woodville1 who1 together with a large force he had raised in the island1 fell at the battle of ,st4 ,anbyn1 in a foolish expedition against the ,king of ,france4 ,since that time ,carisbrooke has always been held by the ,crown4 ,in ,elizabeth's reign1 when preparations were made on the south coast to repel the ,spanish ,armada1 very elaborate outworks were planned and executed at this castle1 entirely surrounding it with fortifications of the then new type1 escarp and ditch and ravelin and redan1 which exist at the present time3 but they were never wanted1 and only served usefully as a promenade for the royal victim1 ,king ,charles1 in his imprisonment4 ,charles having escaped from his durance with the army at ,hampton ,court 7,november #aa1 #afdg71 rode to ,titchfield1 the ,earl of ,southampton's place1 where he might have sailed by ,portsmouth ,harbour to the ,continent1 as his intention was2 but1 by a mistake1 ,colonel ,hammond1 the ,governor of the ,isle of ,wight1 was brought to ,titchfield1 and he conducted the ,king to ,carisbrooke1 where he became again a prisoner4 ,here three attempts seem to have been made1 chiefly by some gentlemen of the island1 to give him freedom during the twelve months of his detention4 ,on the first of these occasions it was arranged that ,charles should pass through the window of his room1 and let himself down to the ramparts1 below which a guide with a horse was waiting1 and a boat was ready to take him to a ship in the offing2 but an iron bar in the window prevented his getting through1 and so the ,king had to wave off his friends4 ,the window in question is discernible from the outside of the ,king's lodgings2 it adjoins the only buttress of the wall1 and is walled up4 ,on another occasion implements having been provided for him1 ,charles managed to saw through and remove the bar which impeded him1 and all arrangements were made for his flight1 but a rascally officer1 one ,major ,rolfe1 was entrusted with the secret and betrayed it4 ,so1 when the ,king was about to make the attempt1 he observed below more people than were expected1 and wisely decided to remain where he was4 ,it was said that ,rolfe intended to have shot the ,king as he descended4 ,after being there for a year1 ,charles was removed1 with scant ceremony or respect from ,carisbrooke4 ,at daybreak one morning a party of soldiers were sent1 who1 rousing him from bed1 took him off to ,hurst ,castle1 a fort on the mainland1 standing at the extremity of the spit of land1 near ,lymington1 which stretches across the ,solent ,strait to within a mile of the opposite island4 ,here the ,king was detained for a month1 when he was taken to ,windsor4 ,to ,carisbrooke were sent the two royal children1 the year succeeding their father's judicial murder1 but in less than a month the ,princess ,elizabeth was found dead in her room1 her face resting on the ,bible given her by her father at their last interview4 ,prince ,henry remained there nearly two years4 ,an attack was made on the castle at the outbreak of the civil war by the mayor and people of ,newport1 in obedience to the instructions of the ,parliament1 in order to get rid of the ,king's captain1 the ,earl of ,portland1 and his successor1 ,lord ,pembroke2 and the fortress was yielded on honourable terms4 ,after the ,restoration1 the governor1 ,lord ,cutts1 made great and lamentable alterations in the old fabric1 quite modernizing a part of it2 but at a recent date the ,government have restored the work in a judicious manner1 and brought to light some hidden and interesting features4 ,the ,norman keep of ,richard de ,redvers stands on the ancient ,english mound at the north-east angle of the inner ward1 surrounded by its moat2 it is an irregular polygon in shape1 a shell keep sixty feet across1 with walls of great strength and thickness1 the access to which is by a long flight of stairs1 the postern being protected by double gates and a portcullis4 ,one room only remains1 in which is a deep well1 the others are destroyed1 but there remains a small staircase to the top1 whence a very fine view is obtained2 at the foot was a sally-port defended by a bastion1 which has disappeared4 ,the entrance is on the west by a fine machicolated gateway1 flanked by two round embattled towers1 through a high pointed archway with portcullis grooves2 all this was built by ,anthony1 ,lord ,scales1 who had the lordship in #adgd1 and whose arms are on the gatehouse1 as they are on ,middleton ,tower near ,lynn with the ,rose of ,york4 ,inside are the older gates1 with latticed ironwork1 and on the right the ruins of the guardhouse1 and the chapel of ,st4 ,nicholas1 built in #agch on the site of the ancient chapel4 ,on the north are the ruins of the buildings occupied by ,king ,charles1 a small room being shown as his bedroom4 ,the governor's quarters1 barracks and other buildings are all of different periods4 ,in the centre of the south wall are remains of a mural tower1 and there are the ruins of the ,mountjoy1 a ,norman tower in the south-east corner1 the walls here being eighteen feet thick3 east are two other towers4 ,anciently there must have been some outworks1 as in the ,domesday ,survey1 the area of this castle is said to be one virgate1 or twenty acres4 ,,the ,,pantheon ,,augustus ,j4 ,c4 ,,hare ,the ,pantheon1 the most perfect pagan building in the city1 was built ,b4,c4 #bg1 by ,marcus ,agrippa1 the bosom friend of ,augustus ,csar1 and the second husband of his daughter ,julia4 ,the inscription1 in huge letters1 perfectly legible from beneath1 8,m4 ,agrippa1 ,l4 ,f4 ,cos4 ,tertium ,fecit10 records its construction4 ,another inscription on the architrave1 now almost illegible1 records its restoration under ,septimius ,severus and his son ,caracalla1 c4 #bjb1 who1 8,pantheum vetustate corruptum cum omni cultur restitverunt40 ,some authorities have maintained that the ,pantheon was originally only a vast hall in the baths of ,agrippa1 acknowledged remains of which exist at no great distance2 but the name 8,pantheum0 was in use as early as ,a4,d4 #ei4 ,illustration3 ,,the ,,pantheon1 ,,italy4 ,in ,a4,d4 #cii the ,pantheon was closed as a temple in obedience to a decree of the ,emperor ,honorius1 and in #fjh was consecrated as a ,christian church by ,pope ,boniface ,,iv41 with the permission of the ,emperor ,phocas1 under the title of ,sta4 ,maria ad ,martyres4 ,to this dedication we owe the preservation of the main features of the building1 though it has been terribly maltreated4 ,in #ffc1 the ,emperor ,constans1 who had come to ,rome with great pretence of devotion to its shrines and relics1 and who only stayed there twelve days1 did not scruple1 in spite of its religious dedication to strip off the tiles of gilt bronze with which the roof was covered1 and carry them off with him to ,syracuse1 where1 upon his murder1 a few years after1 they fell into the hands of the ,saracens4 ,in #ajhg1 it was used by the anti-pope ,guibert as a fortress1 whence he made incursions upon the lawful pope1 ,victor ,,iii41 and his protector1 the ,countess ,matilda4 ,in #aaja1 another anti-pope1 ,sylvester ,,iv41 was elected here4 ,pope ,martin ,v41 after the return from ,avignon1 attempted the restoration of the ,pantheon by clearing away the mass of miserable buildings in which it was encrusted1 and his efforts were continued by ,eugenius ,,iv41 but ,urban ,,viii4 7#afbc-afdd71 though he spent #ae1jjj scudi upon the ,pantheon1 and added the two ugly campaniles1 called in derision 8the asses' ears10 of their architect1 ,bernini1 did not hesitate to plunder the gilt bronze ceiling of the portico1 #dej1bej lbs4 in weight1 to make the baldachino of ,st4 ,peter's1 and cannons for the ,castle of ,saint ,angelo4 ,benedict ,,xiv4 7#agdj-ageh7 further despoiled the building by tearing away all the precious marbles which lined the attic to ornament other buildings4 ,the ,pantheon was not originally1 as now1 below the level of the piazza1 but was approached by a flight of five steps4 ,the portico1 which is one hundred and ten feet long and forty-four feet deep1 is supported by sixteen grand ,corinthian columns of oriental granite1 thirty-six feet in height4 ,the ancient bronze doors remain4 ,on either side are niches1 once occupied by colossal statues of ,augustus and ,agrippa4 ,the ,interior is a rotunda1 #adc feet in diameter1 covered by a dome4 ,it is only lighted by an aperture in the centre1 twenty-eight feet in diameter4 ,seven great niches around the walls once contained statues of different gods and goddesses1 that of ,jupiter being the central figure4 ,all the surrounding columns are of giallo-antico1 except four1 which are of pavonazzetto1 painted yellow4 ,it is a proof of the great value and rarity of the giallo-antico1 that it was always impossible to obtain more to complete the set4 ,some antiquarians have supposed that the aperture at the top of the ,pantheon was originally closed by a huge 8,pigna10 or pine-cone of bronze1 like that which crowned the summit of the mausoleum of ,hadrian1 and this belief has been encouraged by the name of a neighbouring church being ,s4 ,giovanni della ,pigna4 ,the ,pantheon has become the burial-place of painters1 ,raphael1 ,annibale ,caracci1 ,taddeo ,zucchero1 ,baldassare ,peruzzi1 ,pierino del ,vaga1 and ,giovanni da ,udine1 are all buried here4 ,the third chapel on the left contains the tomb of ,raphael 7born ,april #f1 #adhc2 died ,april #f1 #aebj74 ,from the pen of ,cardinal ,bembo is the epigram3 8,ille hic est ,raphael1 timuit quo sospite vinci ,rerum magna parens1 et moriente mori40 ,taddeo ,zucchero and ,annibale ,caracci are buried on either side of ,raphael4 ,near the high altar is a monument to ,cardinal ,gonsalvi 7#ageg-ahbd71 the faithful secretary and minister of ,pius ,,vii41 by ,thorwaldsen4 ,this1 however1 is only a cenotaph1 marking the spot where his heart is preserved4 ,his body rests with that of his beloved brother ,andrew in the church of ,s4 ,marcello4 ,during the ,middle ,ages the ,pope always officiated here on the day of ,pentecost1 when1 in honour of the descent of the ,holy ,spirit1 showers of white rose-leaves were continually sent down through the aperture during service4 ,in the ,piazza della ,rotunda is a small obelisk found in the ,campus ,martius4 ,following the ,via della ,rotunda from hence1 in the third street on the left is the small semicircular ruin called1 from a fancied resemblance to the favourite cake of the people1 ,arco di ,ciambella4 ,this is the only remaining fragment of the baths of ,agrippa1 unless the ,pantheon itself was connected with them4 ,behind the ,pantheon is the ,piazza della ,minerva1 where a small obelisk was erected in #affg by ,bernini1 on the back of an elephant4 ,it is exactly similar to the obelisk in front of the ,pantheon1 and they were both found near this site1 where they formed part of the decorations of the ,campus ,martius4 ,the hieroglyphics show that it dates from ,hophres1 a king of the #beth dynasty4 ,,st4 ,,laurence1 ,,nuremberg ,,linda ,,villari ,once in the train bound for ,nuremberg1 every sight on the road seems to bring one nearer to ,medival ,germany1 and is a fitting prelude to its charms4 ,the storied prettiness of the ,rhine district left behind1 ripening vines give way to festoons of hops and plots of tobacco2 you pass through forests of fir and larch1 and come to fields of gold brocade where the lupines are in bloom4 ,woodlands merge into pleasant meadows watered by swiftly-running streams2 every village is crowned by a ruined castle2 and there are storks' nests on clustered roofs about the red church spires4 ,flaxen-haired children are driving flocks of fat geese2 here and there is a battlemented monastery2 then come tracts of moorland flushed pink and purple with heather2 you dive into hill-sides2 you sight dark masses of pine-trees beyond a winding river crossed by an occasional ferry2 you halt at medival towns capped by crumbling yellow walls of palace and prison1 and before long at the spick and span station of manufacturing ,frth 7where most of the toys and wood-carvings are now made74 ,and then you see a confusion of dusky1 jagged roofs pierced by lofty spires and high walls2 massive towers loom above the greenery of a steep hill-side1 and you know that your goal is reached4 ,this is ,nuremberg1 the 8jewel-casket of the ,german ,empire40 ,your first impression is that it should rather be named the city of wonderful roofs4 ,mighty roofs heave their four and five rows of dormers high in air above a forest of lower dwellings1 with roofs of every degree of steepness1 covered for the most part with small inverted tiles of reddish-brown hue4 ,this arrangement gives them a soft and curious shagginess that greatly adds to their effect4 ,driving first round the town1 before passing its gates1 you see that it is almost entirely surrounded by dark-red walls1 studded by numerous steeple-crowned watch-towers1 and further guarded by a dry moat a hundred feet wide and fifty deep1 now draped with vines and planted with vegetables and fruit-trees4 ,the ,river ,pegnitz runs through the city1 and issues from it in two arms at either end2 its islands and covered bridges1 with smaller bridges 7hinterbrcke7 swung underneath1 supply deliciously pictorial incidents of towers and sheds and mills and timber-yards1 with fascinating peeps up and down stream into the interior of the town4 ,illustration3 ,,st4 ,,laurence1 ,,germany4 ,st4 ,sebald is the patron saint of the older part of the city near the castle1 ,st4 ,laurence of the portion across the river1 dating from the ,thirteenth ,century4 ,passing through the 8,lady ,gate10 with its massive ,sixteenth ,century fortifications1 the ,knig's ,strasse lies before us1 and we are in the ,germany of the ,middle ,ages4 ,what matter modern shop-fronts or gliding trams8 ,we hardly see them2 can only look at the wonderful houses on either hand1 their steep1 jagged roofs1 their gables and stepped gables1 their pepper-caster towers1 projecting casements1 bays and oriels and mullions1 carved doors and eaves and balconies1 fantastic gargoyles and cross-timbered fronts4 ,in short1 all the exquisite irregularities and details of medival domestic architecture4 ,and1 as we look1 we think of ,grimm's household tales1 the beloved dog's eared treasure of our childish days4 ,yonder broad-shouldered inn1 ,zum grnen ,weinstock 7the ,green ,vine7 might well be the lodging where the soldier with the blue light played his naughty pranks on the king's daughter4 ,but now the street widens2 other gabled avenues branch off from it1 and we are face to face with the red-brown bulk of ,st4 ,laurence4 ,there it is1 the beautiful church of the twin towers1 with its sculptured portals and grand wheel windows6 ,it almost seems to fill the square in which it stands1 and where ancient red houses1 deep-porched with jutting galleries and many-storied roofs are set about the stones of the precincts4 ,we wandered round the church to admire its exterior1 and dally as it were with the wonderland within1 but a fierce easterly wind gave an edge to our desire1 and we speedily knocked at the side entrance appointed to sightseers4 ,a wonderland indeed--rather a perfect symphony of form and colour6 ,st4 ,laurence is certainly one of the most beautiful1 perhaps one of the finest ,gothic interiors in ,europe1 with a special charm of its own1 that makes your first moments in it moments breathless with delight4 ,presently you begin to analyze your sensations1 and study the details of the lovely scene that has stirred your sense of beauty to so reverent a joy4 ,st4 ,laurence is very lofty and admirably proportioned1 being #cbb feet long by #ajd broad4 ,its pointed ,gothic arches spring from their tall1 slender shafts with the grace and somewhat the effect of a grove of palms4 ,windows of richest stained glass lend a magic glow to the delicate avenues of stone1 and on all sides are picturesque details3 monuments1 statues1 paintings1 and relics of ancient days4 ,midway up the nave is suspended the coloured group in wood carved by the famous ,veit ,stoss1 and known as the 8,angel's ,greeting40 ,sculptured saints and virgins project from the columns1 and make you in love with the nave realism of early ,german art4 ,one wooden ,madonna is absolutely romping with her babe4 ,the side chapels are lined with quaint1 rich tapestries from the designs of ,albert ,drer1 representing ,scriptural scenes4 ,there are many pictures of the ,nuremberg school1 of which the best are those of ,wohlgemuth1 ,drer's master2 several interesting mural tombs and curious crucifixes4 ,but the chief art treasure of the church is1 of course1 the ,ciborium1 or 8,sacraments ,hauslein0 of ,adam ,krafft1 erected against one of the pillars of the choir4 ,it is a poem in stone4 ,its leading motive is the crown of thorns1 but all the scenes of the passion are represented on small tablets in high relief2 its base is supported by the kneeling figures of the sculptor and his two assistants4 ,it is in the shape of a five-sided tower1 gradually tapering to a curled finial sixty-four feet from the ground4 ,every detail is a marvel of grace and delicacy1 and the faces of ,krafft and his men are full of life and expression4 ,they had worked on this masterpiece for four years4 ,in this beautiful church you are grateful to the happy tolerance that has preserved the art relics of ,catholicism in the temple of a purer faith4 ,nuremberg was one of the first cities to protest against the sale of indulgences1 to adopt the tenets of ,luther and ,melancthon1 and in #aecj it subscribed to the ,augsburg ,confession4 ,this great change was accomplished in the most peaceable way4 ,one by one1 the convents and monasteries were suppressed1 and when the ,catholic bishop of ,bamberg called on the ,swabian ,bund to oppose these measures by force1 he was told that the ,bund had no concern in the matter1 and that the free city claimed the right of freedom of conscience4 ,so much for the history1 but we cannot leave ,st4 ,laurence without relating some of the old-world legends attached to its walls4 ,the cathedral was begun in #abgh1 but the ,fifteenth ,century was growing old before its completion2 and when the north tower 7finished in #adih7 was commenced there was a great squabble among the builders4 ,the master mason was unjustly dismissed by the intrigues of two of his men1 who were jointly promoted to his post4 ,but the accomplices soon quarrelled1 and1 vowing a mortal hate1 each sought the other's destruction4 ,one day they had to mount the half-built tower together to inspect the works1 and as one leant forward from a window the other rushed on him and tried to throw him out4 ,but the first man turned on his assailant1 gripped him hard2 both fell and both were dashed to pieces on the stones below4 ,it chanced that their ill-treated predecessor was crossing the square at the time1 and was standing still gazing at the tower he was to have built just when his two enemies came crashing down within an inch of him4 ,the town council heard of his miraculous escape1 and likewise how the dead men had ousted him from his post4 ,so they reinstated him as master builder1 and decreed him the right of recording on the tower stones in what manner ,god had chastised the guilty and preserved the life of the innocent4 ,but the master builder refused to exercise this privilege1 and only craved permission to destroy all trace of the dreadful event4 ,he had the window walled up1 and it remained so for centuries4 ,and even after the gilded roof was struck by lightning in #ahfe1 and half the tower had to be rebuilt1 the blank window was still left untouched4 ,only in #ahgd public opinion was roused on the subject1 and satirical rhymes circulated on the offence to taste of this blind window4 ,so now1 north and south towers have an equal number of openings4 ,another legend recounts how in the ,thirteenth ,century a monk was solemnly walled up in the south-western corner of the church1 where the bell-ropes hang4 ,the criminal was young1 his offence slight1 and general horror and pity were excited by his dreadful doom4 ,people shuddered as they passed that darksome corner1 but for the sacristan's pretty daughter it seemed to have a curious attraction4 ,she had wept bitterly on hearing the fate of the young monk whom she had so often seen praying at the altar1 but her pity did not affect her appetite1 for it was noticed that this had suddenly increased4 ,one day the bell-ringers of ,st4 ,laurence were surprised to see a rat spring from a hole in the wall with a fresh cabbage-leaf in his mouth4 ,they talked of the strange sight2 a watch was set1 search made4 ,and when the hole was enlarged1 behold6 it led to the niche of the condemned monk1 who was found not only alive1 but well nourished1 after having been buried for weeks6 ,the sacristan's daughter had supplied him with food through the crack in the wall4 ,the affair made a great noise4 ,it was the hand of ,providence cried the townsfolk4 ,and so the prisoner was pardoned1 and allowed to go free4 ,there the story ends1 but we hold to the idea that he did not go alone4 ,but the most picturesque of the many legends1 of which the cathedral is the scene1 is that of the 8,mass of the ,dead40 ,a lady of the ,imhoff family1 being left a widow in her youth1 could in no way resign herself to ,god's will1 remained sunk in grief and attended every service at ,st4 ,laurence in the vain hope of obtaining relief by prayer4 ,even in the coldest winter season she was always to be seen at early mass4 ,one ,all ,saint's ,eve she was awakened from her first sleep by the sound of the church-bells4 ,the moon was still shining1 but the lady thought it was the first break of day1 and1 rising from her bed1 wrapped herself in a thick cloak and hastened across the square to the church4 ,its doors stood wide open1 and an unusually large congregation was already assembled4 ,kneeling in her accustomed place1 she saw that the priest was already bending before the altar1 and the candles burnt with so strange a light that the faces of her fellow-worshippers appeared ghastly pale4 ,and when the priest turned she recognized him as one who had died and been buried during the past year4 ,she glanced right and left with terrified eyes1 and on all sides were persons she had once known but who were no longer living4 ,as she sank back in her chair in mortal dismay1 there glided close to her an old friend whose death she had recently mourned and whose body she had helped to clothe in the garments of the grave4 ,in faint1 far-away tones the friend whispered in her ear3 8,beloved ,clara1 as soon as the bell rings for the elevation of the ,host fly thou quickly from the church1 or ,death will chastise thee for disturbing by thy presence the souls of the dead40 ,and having uttered these words1 the form vanished from her side1 and ,widow ,clara fled towards the door as fast as her trembling limbs could carry her4 ,she heard a dreadful rustling and clattering behind2 it seemed as though the whole ghostly company were in full pursuit at her heels4 ,as she hurried through the churchyard she saw that all the graves were gaping1 and fell fainting on her own threshold4 ,there she was found by her attendants1 who1 alarmed by hearing her rise and go out in the middle of the night1 were coming to seek her just as the church-bell struck one4 ,the moon had gone down1 and the deepest stillness reigned in the cathedral precincts4 ,the next day the cloak1 which had slipped from the lady's shoulders in her terrified flight1 was found torn into tiny fragments and scattered among the gravestones4 ,,the ,,torre ,,del ,,oro ,,edmundo ,,de ,,amicis ,i arrived at a hotel1 threw my valise into a patio1 and went to roam about the city4 ,it seemed to me to be a larger1 a more beautiful and an enriched ,cordova4 ,the streets are wider1 the houses taller1 and the patios more spacious2 but the general appearance of the city is the same4 ,here is the same spotless whiteness1 the same intricate network of small streets1 the general odour of oranges1 the delightful feeling of mystery and that strange ,oriental look that produces in the heart that sweet sentiment of melancholy and in the mind the thousand fancies1 desires and visions of a far-away world1 a strange life1 an unknown people and an earthly paradise full of love1 delight and peace4 ,in these streets you read the history of the city3 every balcony1 fragment of sculpture and solitary cross-road recall the nocturnal adventures of a king1 the dreams of a poet1 the adventures of a beauty1 a love-scene1 a duel1 an abduction1 a fable1 and a feast4 ,here is a reminiscence of ,maria de ,pedilla1 there of ,don ,pedro1 farther away one of ,cervantes and elsewhere of ,columbus1 ,saint ,theresa1 ,velasquez and ,murillo4 ,a column reminds you of the ,roman rule2 a tower1 the magnificence of the monarchy of ,charles ,v42 an ,alcazar recalls the splendours of the ,arabian courts4 ,superb marble palaces stand beside modest white houses2 the tiny1 winding streets lead to immense squares filled with orange-trees2 from lonely and silent cross-streets you emerge1 after a sharp turn1 into a street filled with a noisy crowd4 ,wherever you go1 through the graceful gratings of the patios1 you see flowers1 statues1 fountains1 rooms1 walls covered with arabesques1 ,arabian windows and slender columns of precious marble2 and at every window and in every garden there are women dressed in white half hidden1 like shy nymphs1 behind the grapevines and rose-bushes4 ,illustration3 ,,the ,,torre ,,del ,,oro1 ,,spain4 ,passing from one street to another1 at last ,i come to a promenade on the banks of the ,guadalquiver1 called the ,christina1 which bears the same relation to ,seville that the ,lungarno does to ,florence4 ,here you may enjoy a sight that is simply enchanting4 ,first ,i went to the famous ,torre del ,oro4 ,this tower1 called ,the ,golden ,tower1 was so-named from the fact that in it was placed the gold that the ,spanish ships brought from ,america1 or because the ,king ,don ,pedro hid his treasures there4 ,its form is octagonal with three receding storeys1 crowned by battlements and washed by the river4 ,according to tradition1 this tower was built by the ,romans and here the most beautiful favourite of the ,king dwelt until the tower was joined to the ,alcazar by a building that was destroyed to make room for the ,christina promenade4 ,this promenade extends from ,torre del ,oro to the ,duke of ,montpensier's palace4 ,it is thickly shaded by oriental plane-trees1 oaks1 cypresses1 willows1 poplars1 and other northern trees which the ,andalusians admire as we should admire the palms and aloes in the fields of ,piedmont and ,lombardy4 ,a large bridge spans the river and leads to the suburb of ,triana from which one sees the first houses on the opposite bank4 ,a long line of ships1 golettas 7a species of light boat7 and barks are on the river2 and between the ,torre del ,oro and the ,duke's palace there is a constant coming and going of boats4 ,the sun was setting4 ,a crowd of ladies swarmed through the streets1 troops of workmen crossed the bridge1 the ships showed more signs of life1 a band hidden among the trees began to play1 the river became rose-coloured1 the air was filled with the perfume of flowers1 and the sky seemed to be aflame4 ,illustration3 ,,cathedral ,,of ,,orvieto1 ,,italy4 ,,cathedral ,,of ,,orvieto ,,john ,,addington ,,symonds ,on the road from ,siena to ,rome1 half-way between ,ficulle and ,viterbo1 is the town of ,orvieto4 ,travellers often pass it in the night-time4 ,few stop there1 for the place is old and dirty and its inns are indifferent4 ,but none who see it even from a distance can fail to be struck with its imposing aspect1 as it rises from the level plain upon its mass of rock among the ,apennines4 ,orvieto is built upon the first of those huge volcanic blocks which are found like fossils1 embedded in the more recent geological formations of ,central ,italy1 and which stretch in an irregular but unbroken line to the ,campagna of ,rome4 ,many of them1 like that on which ,civita ,castellana is perched1 are surrounded by rifts and chasms and fosses1 strangely furrowed and twisted by the force of fiery convulsions4 ,but their advanced guard1 ,orvieto1 stands up definite and solid1 an almost perfect cube1 with walls precipitous to the north and south and east1 but slightly sloping to the westward4 ,at its foot rolls the ,paglia1 one of those barren streams which swell in winter with the snows and rains of the ,apennines1 but which in summer-time shrink up and leave bare beds of sand and pestilential canebrakes to stretch irregularly round their dwindled waters4 ,the weary flatness and utter desolation of this valley present a sinister contrast to the broad line of the ,apennines swelling tier on tier1 from their oak-girdled basements set with villages and towers1 up to the snow and cloud that crown their topmost crags4 ,the time to see this landscape is at sunrise2 and the traveller should take his stand upon the rising ground over which the ,roman road is carried from the town--the point1 in fact1 which ,turner has selected for his vague and misty sketch of ,orvieto in our ,gallery4 ,thence he will command the whole space of the plain1 the ,apennines1 and the river creeping in a straight line at the base2 while the sun1 rising to his right1 will slant along the mountain flanks and gild the leaden stream1 and flood the castled crags of ,orvieto with a haze of light4 ,from the centre of this glory stand out in bold relief old bastions built upon the solid tufa1 vast gaping gateways black in shadow1 towers of churches shooting up above a medley of deep-corniced tall ,italian houses1 and1 amid them all1 the marble front of the ,cathedral1 calm and solemn in its unfamiliar ,gothic state4 ,down to the valley from these heights there is a sudden fall2 and we wonder how the few spare olive-trees that grow there can support existence on the steep slope of the cliff4 ,the great ,duomo was erected at the end of the ,thirteenth ,century to commemorate the ,miracle of ,bolsena4 ,the value of this miracle consisted in its establishing unmistakably the truth of transubstantiation4 ,the story runs that a young ,bohemian priest who doubted the dogma was performing the office of the mass in a church at ,bolsena1 when1 at the moment of consecration1 blood issued from five gushes in the wafer1 which resembled the five wounds of ,christ4 ,the fact was evident to all the worshippers1 who saw blood falling on the linen of the altar2 and the young priest no longer doubted1 but confessed the miracle1 and journeyed straightway with the evidence thereof to ,pope ,urban ,,iv4 ,the ,pope1 who was then at ,orvieto1 came out with all his retinue to meet the convert and do honour to the magic-working relics4 ,the circumstances of this miracle are well known to students of art through ,raphael's celebrated fresco in the ,stanze of the ,vatican4 ,and it will be remembered by the readers of ecclesiastical history that ,urban had in #abfd promulgated by a bull the strict observance of the ,corpus ,christi festival in connection with his strong desire to re-establish the doctrine of ,christ's presence in the elements4 ,nor was it without reason that1 while seeking miraculous support for this dogma1 he should have treated the affair of ,bolsena so seriously as to celebrate it by the erection of one of the most splendid cathedrals in ,italy2 for the peace of the church had recently been troubled by the reforming ardour of the ,fraticelli and by the promulgation of ,abbot ,joachim's ,eternal ,gospel4 ,this new evangelist had preached the doctrine of progression in religious faith1 proclaiming a ,kingdom of the ,spirit which should transcend the ,kingdom of the ,son1 even as the ,christian dispensation had superseded the ,jewish supremacy of the ,father4 ,nor did he fail at the same time to attack the political and moral abuses of the ,papacy1 attributing its degradation to the want of vitality which pervaded the old ,christian system1 and calling on the clergy to lead more simple and regenerate lives1 consistently with the spiritual doctrine which he had received by inspiration4 ,the theories of ,joachim were immature and crude2 but they were among the first signs of that liberal effort after self-emancipation which eventually stirred all ,europe at the time of the ,renaissance4 ,it was1 therefore1 the obvious policy of the ,popes to crush so dangerous an opposition while they could2 and by establishing the dogma of transubstantiation1 they were enabled to satisfy the growing mysticism of the people1 while they placed upon a firmer basis the cardinal support of their own religious power4 ,in pursuance of his plan1 ,urban sent for ,lorenzo ,maitani1 the great ,sienese architect1 who gave designs for a ,gothic church in the same style as the ,cathedral of ,siena1 though projected on a smaller scale4 ,fergusson in his ,handbook of ,architecture1 remarks that these two churches are perhaps1 taken altogether1 the most successful specimens of 8,italian pointed ,gothic40 ,the ,gottico ,tedesco had never been received with favour in ,italy4 ,remains of ,roman architecture1 then far more numerous and perfect than they are at present1 controlled the minds of artists1 and induced them to adopt the rounded rather than the pointed arch4 ,indeed1 there would seem to be something peculiarly ,northern in the spirit of ,gothic architecture3 its intricacies suit the gloom of ,northern skies1 its massive exterior is adapted to the severity of ,northern weather1 its vast windows catch the fleeting sunlight of the ,north1 and the pinnacles and spires which constitute its beauty are better expressed in rugged stone than in the marbles of the ,south4 ,northern cathedrals do not depend for their effect upon the advantages of sunlight or picturesque situations4 ,many of them are built upon broad plains1 over which for more than half the year hangs fog4 ,but the cathedrals of ,italy owe their charm to colour and brilliancy3 their gilded sculpture and mosaics1 the variegated marbles and shallow portals of their faades1 the light arial elegance of their campanili1 are all adapted to the luminous atmosphere of a smiling land1 where changing effects of natural beauty distract the attention from solidity of design and permanence of grandeur in the edifice itself4 ,the ,cathedral of ,orvieto will illustrate these remarks4 ,its design is very simple4 ,it consists of a parallelogram1 from which three chapels of equal size project1 one at the east end1 and one at the north and south4 ,the windows are small and narrow1 the columns round1 and the roof displays none of that intricate groining we find in ,english churches4 ,the beauty of the interior depends on surface decoration1 on marble statues1 woodwork1 and fresco-paintings4 ,outside1 there is the same simplicity of design1 the same elaborated local ornament4 ,the sides of the ,cathedral are austere1 their narrow windows cutting horizontal lines of black and white marble4 ,but the faade is a triumph of decorative art4 ,it is strictly what ,fergusson has styled a 8frontispiece02 for it bears no relation whatever to the construction of the building4 ,its three gables rise high above the aisles4 ,its pinnacles and parapets and turrets are stuck on to look agreeable4 ,it is a screen such as might be completed or left unfinished at will by the architect4 ,finished as it is1 the faade of ,orvieto is a wilderness of beauties4 ,its pure white marble has been mellowed by time to a rich golden hue1 in which are set mosaics shining like gems or pictures of enamel4 ,a statue stands on every pinnacle2 each pillar has a different design2 round some of them are woven wreaths of vine and ivy2 acanthus leaves curl over the capitals1 making nests for singing-birds or ,cupids2 the doorways are a labyrinth of intricate designs1 in which the utmost elegance of form is made more beautiful by incrustations of precious agates and ,alexandrine glasswork4 ,on every square inch of this wonderful faade have been lavished invention1 skill1 and precious material4 ,but its chief interest centres in the sculptures executed by ,giovanni and ,andrea1 sons and pupils of ,nicola ,pisano4 ,the names of these three men mark an era in the history of art4 ,they first rescued ,italian sculpture from the grotesqueness of the ,lombard and the monotony of the ,byzantine styles4 ,sculpture takes the lead of all the arts4 ,and ,nicola ,pisano1 before ,cimabue1 before ,duccio1 even before ,dante1 opened the gates of beauty1 which for a thousand years had been shut up and overgrown with weeds4 ,as ,dante invoked the influence of ,virgil when he began to write his medival poem1 and made a heathen bard his hierophant in ,christian mysteries1 just so did ,nicola ,pisano draw inspiration from a ,greek sarcophagus1 which had been cast upon the shore at ,pisa4 ,he studied the bas-relief of ,phdra and ,hippolytus1 which may still be seen upon the tomb of ,countess ,beatrice1 in the ,campo ,santo1 and so learned by heart the beauty of its lines1 and the dignity expressed in its figures1 that in all his subsequent works we trace the elevated tranquillity of ,greek sculpture4 ,this imitation never degenerated into servile copying2 nor1 on the other hand1 did ,nicola attain the perfect grace of an ,athenian artist4 ,he remained a truly medival carver1 animated with a ,christian1 instead of a ,pagan spirit1 but caring for the loveliness of form which art in the ,dark ,ages failed to realize4 ,whether it was ,nicola or his sons who designed the bas-reliefs at ,orvieto is of little consequence4 ,vasari ascribes them to the father2 but we know that he completed his pulpit at ,pisa in #abcj1 and his death is supposed to have taken place fifteen years before the foundation of the ,cathedral4 ,at any rate1 they are imbued with his genius1 and bear the strongest affinity to his sculptures at ,pisa1 ,siena1 and ,bologna4 ,to estimate the influence they exercised over the arts of sculpture and painting in ,italy would be a difficult task4 ,duccio and ,giotto studied here2 ,ghiberti closely followed them4 ,signorelli and ,raphael made drawings from their compositions4 ,and the spirit which pervades these sculptures may be traced in all succeeding works of art4 ,it is not classic2 it is modern1 though embodied in a form of beauty modelled on the ,greek4 ,the bas-reliefs are carved on four marble tablets placed beside the porches of the church1 and corresponding in size and shape with the chief doorways4 ,they represent the course of ,biblical history1 beginning with the creation of the world1 and ending with the ,last ,judgment4 ,if it were possible here to compare them in detail with the similar designs of ,ghiberti1 ,michel ,angelo1 and ,raphael1 it might be shown that the ,pisani established modes of treating sacred subjects from which those mighty masters never deviated1 though each stamped upon them his peculiar genius1 making them more perfect as time added to the power of art4 ,it would also be not without interest to show that in their primitive conceptions of the earliest events in history1 the works of the ,pisan artists closely resemble some sculptures executed on the walls of ,northern cathedrals1 as well as early mosaics in the south of ,italy4 ,we might have noticed how all the grotesque elements which appear in ,nicola ,pisano1 and which may still be traced in ,ghiberti1 are entirely lost in ,michel ,angelo1 how the supernatural is humanized1 how the symbolical receives an actual expression1 and how intellectual types are substituted for mere local and individual representations4 ,for instance1 the ,pisani represent the ,creator as a young man1 standing on the earth1 with a benign and dignified expression1 and attended by two ministering angels4 ,he is the ,christ of the ,creed1 8by whom all things were made40 ,in ,ghiberti we find an older man1 sometimes appearing in a whirlwind of clouds and attendant spirits1 sometimes walking on the earth1 but still far different in conception from the ,creative ,father of ,michel ,angelo4 ,the latter is rather the ,platonic ,demiurgus than the ,mosaic ,god4 ,by every line and feature of his face and flowing hair1 by each movement of his limbs1 whether he ride on clouds between the waters and the firmament1 or stand alone creating by a glance and by a motion of his hand ,eve1 the full-formed and conscious woman1 he is proclaimed the ,maker who from all eternity has held the thought of the material universe within his mind4 ,raphael does not depart from this conception4 ,the profound abstraction of ,michel ,angelo ruled his intellect1 and received from his genius a form of perhaps greater grace4 ,a similar growth from the germinal designs of the ,pisani may be traced in many groups4 ,but we must not linger at the gate4 ,let us enter the ,cathedral and see some of the wonders it contains4 ,statues of gigantic size adorn the nave4 ,of these the most beautiful are the work of ,ippolito ,scalza1 an artist whom ,orvieto claims with pride as one of her own sons4 ,the long line of saints and apostles whom they represent1 conduct us to the high altar surrounded by its shadowy frescoes1 and gleaming with the work of carvers in marble and bronze and precious metals4 ,but our steps are drawn towards the chapel of the south transept1 where now a golden light from the autumnal sunset falls across a crowd of worshippers4 ,from far and near the poor people are gathered4 ,most of them are women4 ,they kneel upon the pavement and the benches1 sunburnt faces from the vineyards and the canebrakes of the valley4 ,the old look prematurely aged and withered--their wrinkled cheeks bound up in scarlet and orange-coloured kerchiefs1 their skinny fingers fumbling on the rosary1 and their mute lips moving in prayer4 ,the younger women have great listless eyes and large limbs used to labour4 ,some of them carry babies trussed up in tight swaddling-clothes4 ,one kneels beside a dark-browed shepherd1 on whose shoulder falls his shaggy hair2 and little children play about1 half-hushed1 half heedless of the place1 among old men whose life has dwindled down into a ceaseless round of prayers4 ,we wonder why this chapel alone in the empty ,cathedral1 is so crowded with worshippers4 ,they surely are not turned towards that splendid ,piet of ,scalza--a work in which the marble seems to live a cold1 dead1 shivering life4 ,they do not heed ,angelico's and ,signorelli's frescoes on the roof and walls4 ,the interchange of light and gloom upon the stalls and carved work of the canopies can scarcely rivet so intense a gaze4 ,all eyes seem fixed upon a curtain of red silk above the altar4 ,votive pictures and glass cases full of silver hearts1 wax babies1 hands and limbs of every kind1 are hung around it4 ,a bell rings4 ,a jingling organ plays a little melody in triple time2 and from the sacristy comes forth the priest4 ,with much reverence1 and with a show of preparation1 he and the acolytes around him mount the altar steps1 and pull a string which draws the curtain4 ,behind the curtain we behold ,madonna and her child--a faint1 old1 ugly picture1 blackened with the smoke and incense of five hundred years1 a wonder-working image1 cased in gold1 and guarded from the common air by glass and draperies4 ,jewelled crowns are stuck upon the heads of the mother and the infant4 ,in the efficacy of ,madonna di ,san ,brizio to ward off agues1 to deliver from the pangs of childbirth or the fury of the storm1 to keep the lover's troth and make the husband faithful to his home1 these pious women of the marshes and the mountains put a simple trust4 ,while the priest sings1 and the people pray to the dance-music of the organ1 let us take a quiet seat unseen1 and picture to our minds how the chapel looked when ,angelico and ,signorelli stood before its plastered walls1 and thought the thoughts with which they covered them4 ,four centuries have gone by since those walls were white and even to their brushes2 and now you scarce can see the golden aureoles of saints1 the vast wings of the angels1 and the flowing robes of prophets through the gloom4 ,angelico came first1 in monk's dress1 kneeling before he climbed the scaffold to paint the angry ,judge1 the ,virgin crowned1 the white-robed army of the ,martyrs1 and the glorious company of the ,apostles4 ,these he placed upon the roof1 expectant of the ,judgment4 ,then he passed away1 and ,luca ,signorelli1 the rich man who 8lived splendidly and loved to dress himself in noble clothes10 the liberal and courteous gentleman1 took his place upon the scaffold4 ,for all the worldliness of his attire and the delicacy of his living1 his brain teemed with stern and terrible thoughts4 ,he searched the secrets of sin and of the grave1 of destruction and of resurrection1 of heaven and hell4 ,all these he has painted on the walls beneath the saints of ,fra ,angelico4 ,first come the troubles of the last days1 the preaching of ,antichrist1 and the confusion of the wicked4 ,in the next compartment we see the ,resurrection from the tomb2 and side by side with that is painted ,hell4 ,paradise occupies another portion of the chapel4 ,after viewing these frescoes1 we muse and ask ourselves why ,signorelli's fame is so inadequate to his deserts8 ,partly1 no doubt because he painted in obscure ,italian towns1 and left few easel pictures4 ,besides the artists of the ,sixteenth ,century eclipsed all their predecessors1 and the name of ,signorelli has been swallowed up in that of ,michel ,angelo4 ,vasari said that 8esso ,michel ,angelo imit l'andar di ,luca1 come pu vedere ognuno40 ,nor is it hard to see that what the one began at ,orvieto the other completed in the ,vatican4 ,these great men had truly kindred spirits4 ,both struggled to express their intellectual conceptions in the simplest and most abstract forms4 ,the works of both are distinguished by contempt for adventitious ornaments and for the grace of positive colour4 ,both chose to work in fresco1 and selected subjects of the gravest and most elevated character4 ,the study of anatomy1 and the correct drawing of the naked body1 which ,luca practised1 were carried to perfection by ,michel ,angelo4 ,sublimity of thought and self-restraint pervade their compositions4 ,he who would understand ,buonarotti must first appreciate ,signorelli4 ,the latter1 it is true1 was confined to a narrower circle in his study of the beautiful and the sublime4 ,he had not ascended to that pure idealism superior to all the accidents of place and time1 which is the chief distinction of ,michel ,angelo's work4 ,at the same time1 his manner had not suffered from too close a study of the antique4 ,he painted the life he saw around him1 and clothed his men and women in the dress of ,italy4 ,such reflections1 and many more1 pass through our mind as we sit and ponder in the chapel1 which the daylight has deserted4 ,the country-people are still on their knees1 still careless of the frescoed forms around them1 still praying to the ,madonna of the ,miracles4 ,the service is well-nigh done4 ,the benediction has been given1 the organist strikes up his air of ,verdi1 and the congregation shuffles off1 leaving the dimly-lighted chapel for the vast sonorous dusky nave4 ,how strange it is to hear that faint strain of a feeble opera sounding where a short while since1 the trumpet-blast of ,signorelli's angels seemed to thrill our ears6 ,,the ,,buildings ,,of ,,shah ,,jehan ,g4 ,w4 ,,steevens ,the north-eastern approach to ,agra is through a waste of land at the same time flat and broken4 ,formless hillocks and ditches1 colourless sand and dead turf1 the whole scene was mean and depressing4 ,i raised my eyes1 and there1 on the edge of the ugly prairie1 sat a fair white palace with domes and minarets4 ,so exquisite in symmetry1 so softly lustrous in tint1 it could hardly be substantial1 and ,i all but cried1 8,mirage60 ,it was the ,taj ,mahal4 ,and now we were clanking over an iron bridge above a dark-green river that filled barely a quarter of its sandy bed2 deep1 broad staircases stepped down to its further bank with pillared pleasure-houses overlooking them4 ,now on the right rose a great mosque1 its bellying domes zig-zagged with red and white2 dawn from the left frowned the weather-worn battlements of a great red fortress4 ,this was the city of ,shah ,jehan1 emperor and devotee1 artist and lover4 ,illustration3 ,,the ,,pearl ,,mosque1 ,,india4 ,and this1 in a few words1 is the passionate story of ,shah ,jehan4 ,he was the grandson of ,akbar the ,great1 the first ,mogul ,emperor of ,hindustan4 ,while yet ,prince ,royal1 conquering ,india for the ,moguls1 he married the beautiful ,persian1 ,arjmand ,banu1 called ,mumtaz-i-,mahal1 the chosen of the palace1 and loved her tenderly beyond all his wives for fourteen years4 ,but only a year after he became ,sultan she died in travail of her eighth child4 ,shah ,jehan in his grief swore that she should have the loveliest tomb the world ever beheld1 and for seventeen years he built the ,taj ,mahal4 ,also he built the palace of ,agra1 the fort and palace of ,delhi1 and the great mosque of ,agra2 he took to wife many fair ladies1 and lived in all luxuriousness1 ministering abundantly to every sense1 till he had reigned thirty years4 ,then his son ,aurungzebe rose up and dethroned him1 and kept him a close prisoner in his own private mosque1 which he had built within the palace of ,agra4 ,there he lived seven years more1 attended by his daughter ,jehanara1 who would not leave him1 till at last1 in #afde1 being grown very feeble1 he begged to be laid in a chamber of the palace wherefrom he could see the ,taj ,mahal4 ,this was granted him1 so that he died with his eyes upon the tomb of the love of his youth4 ,there they buried him beside her4 ,and his daughter1 when her time came1 wrote a ,persian stanza begging that no monument should be set up to 8the humble transitory ,jehanara10 and praying only for her father's soul4 ,agra is the mirror of ,shah ,jehan4 ,in the fort and palace you can read all the story of the warrior and the lover--in the fort so nakedly grim without and the palace so richly voluptuous within4 ,under the brow of the sheer sandstone walls you are dwarfed to a pigmy4 ,before and beneath the great gateway stands a double curtain of loophole and machicolation and tower3 you go in through cavernous guard-houses1 up a ramp between sky-closing walls4 ,only thus do you reach the real entrance--the great ,elephant ,gate--two jutting octagon towers supporting spacious chambers thrown across the passage4 ,on the lower storey all is closed1 and only white plaster designs relieve the savage masses of the sandstone2 in the upper balconies are windows and recesses1 all decked with white1 and above all runs a gallery crowned with cupolas4 ,under this arch you go1 a dome above1 deep and lofty recesses on either hand2 now you are past the sternness4 ,shah ,jehan is soldier no longer but artist and amorist at large4 ,you come to the ,pearl ,mosque4 ,there is a ,pearl ,mosque at ,delhi1 sandstone slabs without1 marble within1 as this is2 but the ,delhi mosque is a bauble to this4 ,this is a broad court1 paved with slabs of marble1 veined with white and blue1 gray and yellow4 ,this is all marble--marble walls with moulded panels1 marble cloisters of multifoliate arches1 marble gateways breaking three walls of the square1 marble columns supporting bell-cupolas above them and at each corner1 a marble basin in the centre of the court1 a marble sundial beside it4 ,along the west side of the court shines the glorious face of the mosque itself--only a roofed quarter of the whole space1 a mere portico1 but colonnaded with three rows of seven pillars apiece1 each branching to right and left1 to front and back1 with eight-pointed1 nine-leaved arches4 ,along the entablature above runs a ,persian inscription in mosaic of black marble2 on the roof1 over each pillar of the front row is a cupola with four columns1 and at each corner a cupola with eight columns4 ,three domes fold their broad white wings behind and above all4 ,three steps for the mullah to preach from1 and that is all the catalogue4 ,no altar or shrine or image3 there is no god but ,god4 ,no carving or lattice-work3 but the simple pillars and arches1 the few cupolas and domes1 are yet the richest of ornamentation4 ,no paint or gems--only the clear harmonious veining of the marble4 ,only space and proportion1 form and whispers of colour--and it is so beautiful that you can hardly breathe for rapture4 ,the radiant marble ripples from shade to shade--snow-white1 pearl-white1 ivory-white--till it seems half alive4 ,the bells and pinnacles are so light that they seem to float in the air4 ,it cannot be a building1 you whisper3 it is enchantment4 ,but now go on to the palace4 ,it has been battered and sacked--the ,jats of ,bhurtpur carried away the precious stones from the walls2 but through the restorations you can dream of some of its delights when it held the houris of ,shah ,jehan4 ,dream this and it is all enchantment2 you have arrived at last--at last1 after so many years1 after so many leagues--in the dear country of your earliest dreams1 and the ,arabian nights are come to life4 ,under this pillared hall the ambassadors of ,shiraz and ,samarkand are making their obeisance and displaying rich gifts4 ,above1 in the marble alcove festooned with flowers and tendrils in pietra dura1 reclines the ,sultan of the ,indies on a couch of white marble4 ,up the stairs--and here1 enclosed by a colonnade of two storeys1 is the fish-pond2 on the upper terrace under that canopy1 which is one block of creamy marble embossed with flowers1 sits the lovely favourite ,schemselnihar1 and makes believe to angle4 ,she rises and follows the other lights of the harem into the little square court and portico that miniature the great ,pearl ,mosque without4 ,but some of the beauties turn aside to the gallery1 where1 below1 is an enclosed bazaar2 handsome young merchants of ,baghdad tempt them with silks and brocades--and with looks that sigh and languish4 ,they had best be prudent3 eyes as fathomless as theirs have grown dim in the dungeons under the terraces1 below the water4 ,from lust to cruelty is only a step2 and when the ,sultan raised the marble and the gems he sank the dungeon1 remote in a labyrinth of tunnels4 ,across it is a beam with a noose for soft necks and a shoot for frail bodies that tumbles them into the ,jumna4 ,the ,sultan has risen from his audience3 he walks round the terrace1 through the delicious ,hall of ,private ,audience1 whose walls are marble1 whose pillars are festooned with creepers in agate and jasper1 jade and cornelian1 whose ends are profound and graceful recesses1 half-arch1 half-dome4 ,he passes to the heavy slab of the black marble throne on the riverside brink of the quadrangle2 in the pit below they let out buffaloes and tigers to fight before him2 on the white seat behind him sits the court jester to make him merry4 ,and now--it is the full moon that rises from an arch of the pavilion to the right--the full moon1 though it is still broad day8 ,it is the ,sultaness-in-,chief looking out at the fight from her abode in the ,jasmine ,tower4 ,she has grown tired of throwing the dice1 while her handmaidens stand for pieces on the pachisi-board that is let into her marble pavement--there1 behind those duenna screens1 the gauze of lattice-work that encloses her courtyard4 ,she has grown tired of dabbling in the fountain that tinkles on the shallow basin of figured marble1 weary of her bower of marble inlaid with gems4 ,the ,sultan rises1 and it is the signal for the bath--the bath in the dark ,mirror ,palace1 lighted with a score of flambeaux and walled with a million tiny mirrors1 that reflect4444 ,no2 we must not think of it--nor of the feast in the ,private ,palace1 under the ceiling emblazoned with blue and crimson and gold--nor yet of the disrobing in the ,golden ,pavilion1 where the ladies thrust their jewels into holes in the wall too narrow for a man's arm to follow them4444 ,no2 you should not listen to what the ,jester is saying now4 ,but if you envy ,shah ,jehan1 look again later into the tiny ,gem ,mosque and the cupboard at the side1 too small to turn in1 where he is the uncrowned prisoner of his son4 ,no ,mirror ,palace now2 the ceiling is black where they heat the water for his bath1 in a hole of a cistern where he cannot stretch out his limbs4 ,look again into the little gilt-domed cupola1 where he lies dying1 and ,jehanara's voice sounds suddenly far away2 and the very ,taj1 though he knows every angle and curve of it1 swims in a grey-white blur2 and nothing is left clear save the voice and face of the beautiful ,persian1 ,arjmand ,banu1 whose palankeen followed all his campaigns in the days when empire was still a-winning1 whose children called him father--,arjmand ,banu1 silent and unseen now for four-and-thirty years1 the wife of his youth4 ,now follow him to the ,taj4 ,under the great gateway of strong sandstone ribbed with delicate marble1 its vaulted red arch cobwebbed with white threads1 and then before you--then the miracle of miracles1 the final wonder of the world4 ,in chaste majesty it stands suddenly before you1 as if the magical word had called it this moment out of the earth4 ,on a white marble platform it stands exactly four-square1 but that the angles are cut off2 nothing so rude as a corner could find place in its soft harmonies4 ,seen through the avenue1 it looks high rather than broad2 seen from the pavement below it1 it looks broad rather than high2 you doubt1 then conclude that its proportions are perfect4 ,above its centre rises a full white dome1 at each corner of whose base nestles a smaller dome1 upheld on eight arches4 ,the centre of each face is a lofty-headed gateway rising above the line of the roof2 within it is again a pointed caving recess1 half arch1 half dome2 within this1 again1 a screen of latticed marble4 ,on each flank of these1 and on the facets of the cut-off angles1 are pairs of smaller1 blind recesses of the same design1 one above the other4 ,from each junction of facets rises a slim pinnacle4 ,everywhere it is embellished with elaborate profusion4 ,moulding1 sculpture1 inlaid frets and scrolls of coloured marbles1 twining branches and garlands of jade and agate and cornelian--here is every point of lavish splendour you saw in the palace combined in one supreme embodiment--superb dignity matched with graceful richness4 ,but it is vain to flounder amid epithets2 the man who should describe the ,taj must own genius equal to his who built it4 ,description halts between its mass and its fineness4 ,it makes you giddy to look up at it1 yet it is so delicate you feel that a brick would lay it in shivers at your feet4 ,it is a rock temple and a ,chinese casket together--a giant gem4 ,nothing jars2 for if the jewel were away the setting would still be among the noblest monuments on earth4 ,the minarets at the four corners of the platform are a moment's stumbling-block3 they look irreverently like the military masts of a battleship1 and the hard lines where the stones join remind you of a ,london subway4 ,but look at the ,taj itself1 and the minarets fall instantly into place2 they set off its glories1 and1 standing like acolytes1 seem to be challenging you not to worship it4 ,at each side1 below the ,taj1 is a triple-domed building of sandstone and marble2 the hot red throws up the pearl-and-ivory softness of the ,taj4 ,the cloisters round the garden1 the lordly caravanserai outside the gate1 the clustering domes and mosaic texts from the ,koran on the great gate itself--all this you hardly notice2 but when you do1 you find that every point is perfection4 ,as for the garden1 with shady trees of every hue1 from sprightly yellow to funereal cypress1 with purple blossoms cascading from the topmost boughs1 with roses and lilies1 phloxes and carnations--and the channel of clear water with twenty fountains that runs through the garden1 and the basin with the goldfish4444 ,it is pure ,arabian ,nights6 ,you listen for the speaking bird and the singing tree4 ,and was it not hither that ,prince ,ahmed1 leaving his brother ,ali to cuddle ,nuronnihar in the palace1 followed his arrow8 ,and is not that the fairy ,peri-,banu coming out of the pleasure-house to welcome him8 ,surely man never made such a ,paradise3 it must be the fabric of a dream wafted through gates of silver and opal4 ,o ,shah ,jehan1 ,shah ,jehan1 you are bewitching a respectable newspaper-correspondent4 ,the thought of you is strong wine4 ,shah ,jehan1 with your queens and concubines without number1 their amber feet mirrored in marble1 their ivory limbs mirrored in quicksilver2 ,shah ,jehan1 who starved them in the black oubliettes1 and hung them from the mouldy beam1 and sluiced their beautiful bodies into the cold river2 ,shah ,jehan1 with elephants and peacocks2 ,shah ,jehan1 returning from the conquered ,dekhan1 dismounting in the ,armoury ,square1 hastening through the ,grape ,garden1 hastening past the fair ones in the ,golden ,pavilion to the fairest within the ,jasmine ,tower6 ,shah ,jehan--,grape ,garden--,golden ,pavilion--,jasmine ,tower--there is dizzy magic in the very names4 ,and when ,i turn aside in your garden1 shunning your fierce black-and-scarlet petals to bring back my senses with ,english stocks and pansies1 the sight of your ,taj through the trees sends my brain areel again4 ,i go in and stand by your tomb4 ,the jewel-creepers blossom more luxuriantly than ever in the trellised screen that encloses it1 and the two oblong cenotaphs are embowered in gems4 ,but here it is dark and cool3 light comes in only through double lattices of feathery marble4 ,you look up into a dome1 obscure and mysterious1 but mightily expansive1 as it were the vault of the heaven of the dead4 ,it is very well2 it is the fit close4 ,in this breathless twilight1 after his battles and buildings1 his ecstasies and torments1 his love and his loss1 ,shah ,jehan has come to his own again for ever4 ,,the ,,priory ,,and ,,church ,,of ,,st4 ,,bartholomew ,,charles ,,knight ,of all the persons whom the mighty business of providing sustenance for the population of ,london leads among the pens1 and crowds1 and filth of the great ,metropolitan beast-market--of all those whom pleasure attracts to the gingerbread and shows1 and gong-resounding din of the great ,fair--or1 lastly1 of all those whom chance1 or a dim remembrance of the popular memories of the place1 its burnings1 tournaments1 etc41 or any other motive1 brings into ,smithfield--we wonder how many1 as they pass the south-western corner of the area1 look through the ancient gateway which leads up to the still more ancient church of ,st4 ,bartholomew1 with a kindly remembrance of the man 7whose ashes there repose7 from whom these1 and most of the other interesting features and recollections of ,smithfield1 are directly or indirectly derived8 ,we fear very few4 ,time has wrought strange changes in the scene around2 and it is not at all surprising that we should forget what has ceased to be readily visible4 ,who could suppose1 from a mere hasty glance at the comparatively mean-looking brick tower1 and the narrow restricted site of ,st4 ,bartholomew1 that that very edifice was once the centre only1 of the splendid church of a splendid monastery--a church which extended its spacious transepts on either side1 and sent up a noble tower high up into the air1 to overlook1 and1 as it were1 to guard1 the stately halls1 far-extending cloisters1 and delightful gardens that surrounded the sacred edifice8 ,or1 again1 who would suspect that the site of this extensive establishment 7now in a great measure covered with houses71 and most probably the entire space of ,smithfield1 was1 prior to the foundation of the former1 nothing but a marsh 8dunge and fenny10 with the exception of a solitary spot of dry land1 occupied by the travellers' token of civilization1 a gallows8 ,yet such are the changes that have taken place1 and for all that is valuable in them our gratitude is due to the one man to whom we have referred--,rahere4 ,illustration3 ,,the ,,church ,,of ,,st4 ,,bartholomew1 ,,england4 ,the history of the ,priory is indeed the history of this singular individual2 and1 by a fortunate coincidence1 the historical materials we possess are as ample as they are important4 ,among the manuscripts of the ,british ,museum is one entirely devoted to the life1 character1 and doings of ,rahere1 written evidently shortly after his death by a monk of the establishment1 and which1 for the details it also gives of the circumstances attending the establishment of a great religious house in the ,twelfth ,century1 its glimpses into the manners and customs1 the modes of thought and feeling of the time--and1 above all1 for its marked superiority of style to the writings that then generally issued from the cloister--forms one of the most extraordinary1 as it certainly is one of the most interesting1 of monastical documents4 ,rahere1 it appears1 was a 8man sprung and born from low kynage3 when he attained the flower of youth1 he began to haunt the households of noblemen and the palaces of princes2 where under every elbow of them1 he spread their cushions with japes and flatterings1 delectably anointing their eyes1 by this manner to draw to him their friendships4 ,and he still was not content with this1 but often haunted the ,king's palace1 and among the noiseful press of that tumultuous court informed himself with polity and cardinal suavity1 by the which he might draw to him the hearts of many a one4 ,there in spectacles1 in meetings1 in plays1 and other courtly mockeries and trifles intruding1 he led forth the business of all the day4 ,this wise to the ,king and great men1 gentle and courteous known1 familiar and fellowly he was40 ,the ,king here referred to is ,henry ,i4 ,stow says ,rahere was 8a pleasant-witted gentleman2 and therefore in his time called the king's minstrel40 ,to continue3 8,this manner of living he chose in his beginning1 and in this excused his youth4 ,but the inward ,seer and merciful ,god of all1 the which out of ,mary ,magdalen cast out seven fiends1 the which to the ,fisher gave the ,keys of ,heaven1 mercifully converted this man from the error of his way1 and added to him so many gifts of virtue40 ,foremost in repentance as he had been in sin1 ,rahere now 8decreed himself to go to the court of ,rome1 coveting in so great a labour to do the works of penance4 ,and while he tarried there1 in that meanwhile1 he began to be vexed with grievous sickness2 and his dolours little and little taking their increase1 he drew to the extreme of life4 ,he avowed that if health ,god would him grant1 that he might return to his country1 he would make an hospital in recreation of poor men1 and to them there so gathered1 necessaries minister after his power40 ,and not long after the benign and merciful ,lord beheld this weeping man1 gave him his health1 approved his vow4 ,when he would perfect his way that he had begun1 in a certain night he saw a vision full of dread and sweetness4 ,it seemed to him to be borne up on high of a certain beast1 having four feet and two wings1 and set him in a high place4 ,to whom appeared a certain man1 pretending in cheer the majesty of a king1 of great beauty and imperial authority1 and his eye on him fastened4 8,o man10 he said1 8what and how much service shouldest thou give to him that in so great a peril hath brought help to thee80 ,anon he answered to this saint1 8,whatsoever might be of heart and of might diligently should ,i give in recompence to my deliverer40 ,and then1 said he1 8,i am ,bartholomew1 the apostle of ,jesus ,christ1 that come to succour thee in thine anguish and to open to thee the secret mysteries of ,heaven4 ,know me truly1 by the will and commandment of the ,holy ,trinity and the common favour of the celestial court and council1 to have chosen a place in the suburbs of ,london1 at ,smithfield1 where in my name thou shalt found a church40 ,a man like this could not but succeed in whatever he essayed2 and accordingly the work 8prosperously succeeded1 and after the ,apostle's word all necessaries flowed unto the hand4 ,the church he made of comely stonework1 tablewise4 ,and an hospital-house1 a little longer off from the church by himself he began to edify4 ,the church was founded 7as we have taken of our elders7 in the month of ,march1 #aaac4 ,president in the ,church of ,england1 ,william1 ,archbishop of ,canterbury1 and ,richard1 ,bishop of ,london20 who 8of due law and right10 hallowed a part of the adjoining field as a cemetery4 8,clerks to live under regular institution were brought together1 and ,rahere1 of course1 was appointed ,prior1 who ministered unto his fellows necessaries1 not of certain rents1 but plenteously of oblations of faithful people40 ,the completion of the work1 under such circumstances1 evidently excited a large amount of wonder and admiration1 not unmixed with a kind of superstitious awe4 ,in #adaj1 during the prelacy perhaps of brother ,john the ,priory was rebuilt4 ,at this time1 and perhaps before1 it possessed within itself every possible convenience for the solace and comfort of its inmates4 ,we read of ,le ,fermery1 ,le ,dorter1 ,le ,frater1 ,les ,cloysters1 ,les ,galleries1 ,le ,hall1 ,le ,kitchen1 ,le ,buttry1 ,le ,pantry1 ,le olde ,kitchen1 ,le ,woodehouse1 ,le ,garnier1 and ,le ,prior's ,stable1 so late as the period of the dissolution in the ,sixteenth ,century4 ,there was also the ,prior's house1 the ,mulberry-garden1 the ,chapel now the ,church of ,st4 ,bartholomew the ,less1 etc41 etc4 ,it was entirely enclosed within walls1 the boundaries of which have been carefully traced in the ,londini ,illustrata1 and for which we abbreviate the following description3--,the north wall ran from ,smithfield1 along the south side of ,long ,lane1 to its junction with the east wall1 about thirty yards west from ,aldersgate ,street4 ,it is mentioned by ,stow1 and shown in ,aggas' plan1 who represents a small gate or postern in it4 ,this gate stood immediately opposite ,charter ,house ,lane1 where is now the entrance into ,king ,street or ,cloth ,fair4 ,the west wall commenced at the south-west corner of ,long ,lane1 and continued along ,smithfield1 and the middle of ,duc ,lane 7or ,duke ,street7 to the south gate1 or ,great ,gate ,house1 now the principal entrance into ,bartholomew ,close4 ,the south wall1 commencing from this gate1 ran eastward in a direct line towards ,aldersgate ,street1 where it formed an angle and passed southward about forty yards1 enclosing the site of the present ,alboin ,buildings1 then resumed its eastern direction and joined the corner of the eastern wall1 which ran parallel with ,aldersgate ,street1 at the distance of about twenty-six yards4 ,this wall was fronted for the most part by houses in the street just mentioned1 some of them large and magnificent1 particularly ,london ,house1 between which and the wall was a ditch4 ,at first there were no houses in the immediate neighbourhood2 but the establishment of the monastery1 and the fair granted to it1 speedily caused a considerable population to spring up all around1 and ultimately within4 ,this grant was obtained from ,henry ,,ii4 ,the fair was to be kept at ,bartholomew tide for three days1 namely1 the eve1 the next day1 and the morrow2 and unto it 8the clothiers of ,england and the drapers of ,london repaired1 and had their booths and standings within the churchyard of this priory1 closed in with walls and gates1 locked every night and watched1 for safety of men's goods and wares40 ,a ,court of ,pie-powders sat daily during the fair holden for debts and contracts4 ,although the present church1 which was the choir of the more ancient structure belonging to the ,priory1 stands some distance backwards from ,smithfield1 there is little doubt that its front was originally on a line with the small gateway yet remaining1 and that the latter indeed was the entrance from ,smithfield into the southern aisle of the nave1 the part of the church now entirely lost4 ,it is useless to inquire what kind of front was here presented to the open area before it2 but if we may judge of it by this gateway1 and by the general style of the interior parts of the choir1 it must have been a grand work4 ,the gateway is of a very beautiful character1 with a finely pointed arch1 consisting of four ribs1 each with numerous mouldings1 receding one within the other1 and decorated with roses and zigzag ornaments4 ,straight before us as we pass through this gateway are the churchyard and church1 the former having around it a range of large and very dingy-looking lath-and-plaster houses1 which1 however1 derive somewhat of a picturesque appearance from their gable ends1 and their windows scattered about in 8most admired disorder40 ,the exterior of the church1 as it here appears to us1 consists of a brick tower1 erected in #afbh1 and by its side the end of the church1 from which the nave has been cut away1 and the wall and large window erected to terminate the structure at this point4 ,the foundations of the nave still lie below the soil of the churchyard some three or four feet4 ,the wall of the latter1 on the right or southern side1 now faced with brick1 is very ancient and of immense thickness1 and forming most probably the original wall of the south aisle4 ,on stepping into the apartments of the adjoining public-house1 to which the wall now belongs1 we find traces of a past very different from what we see at present4 ,rooms with arched ceilings1 a cornice with a shield extending through two or three of them1 and thus showing that they have formed but one room1 and a chalk cellar below the house--all betoken that we are wandering among the ruins of the old ,priory4 ,by the side of this house is a yard1 filled with costermongers and their donkeys1 and surrounded by black and decayed sheds and habitations1 with balconied galleries4 ,entering the church by the gateway below the tower1 we get the first glimpse of the new world as it were that opens upon us1 or rather we should say the old world of seven hundred years ago that has passed away4 ,everything is solemn1 grand1 and apparently eternal4 ,those immense pillars that we look upon have lost nothing as yet of their original strength2 there is no token that they will ever lose it4 ,within the porch are the remains of a very elegant pointed arch in the right wall1 leading we presume into the cloisters1 but of an older date than those glorious ,norman pillars to which some1 of as peculiarly slender make1 belonging to another and opposite arch1 appear to have been attached1 somewhat we think to the injury of their simple character4 ,one of the most interesting features of the choir is the long-continued aisle1 or series of aisles1 which entirely encircle it1 opening into the former by the spaces between the flat and circular arch-piers of the body of the structure4 ,it is about twelve feet wide1 with a pure arched and vaulted ceiling in the simplest and truest ,norman style1 with windows of different sizes slightly pointed4 ,the pillars against the wall opposite the entrance into the choir are flat4 ,one of the most beautiful little architectural effects of a simple kind that we can conceive is to be found at the north-eastern corner of the aisle4 ,between two of the grand ,norman pillars projecting from the wall is a low postern doorway2 and above1 rising on each side from the capitals1 a peculiarly elegant arch1 something like an elongated horse-shoe4 ,the connexion between two styles so strikingly different in most respects as the ,moorish1 with its fantastic delicacy and variety and richness1 and the ,norman with its simple 7occasionally uncouth7 grandeur1 was never more apparent4 ,that little picture is alone worth a visit to ,st4 ,bartholomew's4 ,let us now enter the ,choir1 and1 ascending the gallery to the side of the organ1 gaze on the impressive and characteristic work before us1 which seems scarcely less fresh and solid than when ,rahere beheld in its vast piers and beautiful arches the realization of the vision for which he had so long yearned4 ,we are standing in the centre of four arches of the most magnificent span1 fit bearers of the great tower that they lifted so airily1 as it were a thing of nought1 into the air4 ,two of these are round and two slightly pointed4 ,the last 7which were originally open and formed the commencement of the transepts7 have been referred to as among the various instances of the occasional use of pointed arches by the ,normans before their systematic introduction as a style4 ,in each of the spandrels formed by these arches is a small lozenge-shaped panel containing ornaments which bear a striking resemblance to the ,grecian honeysuckle1 and deserve notice from their singularity4 ,behind us are arches showing the original continuation of the church into the nave4 ,the roof is very ancient1 and not particularly handsome looking4 ,it consists of massy timbers1 some of them braced up in the middle1 apparently to prevent their falling4 ,prior ,bolton's elegant oriel window in the second story appears to have been built as a kind of pew or seat1 from which the ,prior could overlook the canons when he pleased1 without their being aware of his presence1 as it communicated with his house at the eastern extremity of the church4 ,the piers which support the range of pointed arches forming the uppermost story are pierced longitudinally1 so as to leave open a passage all round the upper part of the building4 ,the dimensions of the church are stated somewhat differently by different writers1 and we have no means of reconciling the discrepancy4 ,according to ,malcolm1 the height is about forty feet1 the breadth sixty feet1 and the length one hundred and thirty-eight feet2 to which if we add eighty-seven feet for the length of the nave1 we have two hundred and twenty-five feet as the entire length of the ,priory church within the walls4 ,osborne1 in his ,english ,architecture1 gives the height as forty-seven feet1 the breadth fifty-seven feet1 and the length of the present church one hundred and thirty-two feet4 ,we may here observe that when the fire broke out in #ahcj1 the interior of the church was much injured1 and the entire pile had a narrow escape from destruction4 ,lastly1 and as we began1 so should we end1 with ,rahere1 who is the presiding spirit of the place1 we find the monument of the founder in the north-eastern corner1 almost immediately opposite the beautiful oriel window which ,prior ,bolton there erected1 in order1 perhaps that when he sat in it the home of the ashes of his illustrious predecessor might be forever before him4 ,this is a work in every way worthy of the man whom it enshrines4 ,it is one of the most elegant specimens of the pointed style of architecture1 consisting mainly of a very highly wrought stonework screen1 enclosing a tomb on which ,rahere's effigy extends at full length4 ,the roof of the little chamber1 as we may call it1 is most exquisitely groined4 ,at what period the monument was erected is uncertain2 but the style marks it as of a later date than that of the founder's decease4 ,but it was most carefully restored by ,bolton2 and the fact is significant of its antiquity4 ,as the latter found1 no doubt1 a labour of love in making these reparations1 so ,time itself seems to have seconded his efforts1 and to have shared in the hopes of its builders that a long period of prosperity should be granted to it1 by touching it very gently4 ,here and there the pinnacles have been somewhat diminished of their fair proportions1 and that is pretty well the entire extent of the injury the work has experienced4 ,the monument1 it must be added1 is richly painted as well as sculptured1 and shows us the black robes of ,rahere and of the monks who are kneeling at his side--the ruddy features of the former1 and the splendid coats-of-arms on the front of the tomb below4 ,each of the monks has a ,bible before him1 open at the fifty-first chapter of ,isaiah4 ,and often and often1 no doubt1 has ,rahere1 as he read such verses as that 7the third7 we are about to transcribe1 received fresh accession of strength to complete his arduous task1 until what he had first looked upon as holy words of encouragement only became to his rapt fancy a prophecy which he was chosen to fulfil4 ,when others spoke of the all but impossible task 7for such it was generally esteemed7 he had undertaken1 of cleaning and building upon the extensive marsh allotted1 he smiled in his heart to think what ,one had said greater than they3--8,the ,lord shall comfort ,zion3 he will comfort all her waste places2 and he will make her wilderness like ,eden1 and her desert like the garden of the ,lord2 joy and gladness shall be found therein1 thanksgiving and the voice of melody40 ,,kutb ,,minar ,g4 ,w4 ,,steevens ,delhi is still seamed with the scars of her spoilers1 and still jewelled with remnants of the gems they fought for4 ,if you take them in order1 you will go first1 not into the city1 but eleven miles south1 to the tower ,kutb ,minar4 ,through the dust of the road1 rising out of the springing wheat1 among the mud-and-mat huts before which squat the brown-limbed peasants1 you see the country a litter of broken walls1 tumbling towers1 rent domes4 ,there are fragments of seven cities built by seven kings before the present ,delhi was4 ,eleven miles of them bring you to the tower and mosque of ,kutb4 ,kutb-ed-,din was a slave who raised himself to ,viceroy of ,delhi when the ,mussulmans took it1 then to ,emperor of ,hindustan and founder of a dynasty4 ,whether he or his son or the last of the ,hindu kings built the tower1 antiquaries are undecided and others careless4 ,it is enough that here is one landmark in ,delhi's history1 one splendid monument reared for a symbol of triumph by a victor whom now nobody can certainly identify4 ,it is a colossal1 five-storied tower1 two hundred and forty feet high1 of nearly fifty feet diameter at the base1 and tapering to nine feet at the top4 ,tiny balconies with balustrades mark the junctions of the stories3 the three lower are red stone1 the two upper--dwarfed just under the sky--faced with white marble4 ,all the red part is fluted into alternate semicircles and right angles1 netted all over with tracery1 and belted with inscriptions under the balconies4 ,but the details strike you little3 the vertical lines of the fluting only give the impression that this is one huge pillar with a red shaft and a white capital--a pillar that might form part of the most tremendous temple in the world1 yet stands quite seemly alone by reason of its surpassing bigness4 ,illustration3 ,,the ,,kutb ,,minar1 ,,india4 ,pant to the top4 ,it will do you good1 though the view is nothing4 ,the country is an infinite green-and-brown chess-board of young corn and fallow1 dead-flat on every side1 ugly with the complacent plainness of all very rich country4 ,beyond the sheeny ribbon of the ,jumna1 north1 south1 east1 west1 into the blurred horizon1 you can see only land and land and land--a million acres with nothing on them to see--except the wealth of ,india and the secret of the greatness of ,delhi4 ,then look down past your toes and you will see the evidence of some of ,delhi's falls4 ,from the ground you will have noticed ruins about you2 but there the ,kutb ,minar dwarfs everything4 ,now you see that you stand above a field of broken arches1 solitary pillars1 stumps of towers1 and in the middle of what must once have been a town of mosques and tombs4 ,before it was that1 it was a town of ,hindu temples and palaces4 ,in the court of the ruined mosque stands a solid wrought-iron pillar--little enough to look at1 but curious1 because it is at least fifteen hundred years old1 and there is nothing else quite like it in the world4 ,it bears a ,sanskrit inscription to the effect that this is 8the ,arm of ,fame of ,raja ,dhava1 who conquered his neighbours and won the undivided sovereignty of the earth40 ,poor ,raja ,dhava6 ,the temples of generations that had already forgotten him are swept utterly away2 the mosque of their conquerors stands now only as a few shattered red arches and pillars with defaced flowers wilting on them4 ,beyond that is the base of what was once to be a tower more than twice as high as the ,kutb ,minar1 but was never even finished4 ,the very tower you stand on has been buffeted by earthquake1 and great part of it is mere restoration4 ,and ,delhi1 which in the year ,one stood here1 has drifted away almost out of sight from the summit and left these forlorn fragments to decay without even the consolation of neighbourhood4 ,,kutb ,,minar ,,andr ,,ch,,vrillon ,i take a carriage to visit the ,kutb ,minar1 the great tower that rears itself up about ten miles from ,delhi4 ,this is ,asia's ,appian ,way4 ,ruins from every century1 left by three races and three religions1 are scattered over a large and dismal plain4 ,the remains of ancient ,hindu ,delhi1 of ,afghan ,delhi1 and of ,mogul ,delhi1 cover a dead expanse of seventy square miles4 ,slowly1 during the flow of centuries1 the city has changed its site1 as a river changes its bed4 ,as far as the eye can reach1 dilapidated domes and broken columns reveal themselves in the midst of the dry brushwood4 ,these yellowish hillocks are the ruins of ,indra-,partha1 the city of ,indra1 for which the five brothers of ,mahabarata fought three thousand years ago4 ,farther away a granite pillar1 covered with ,pali characters1 proclaims the edicts of the ,buddhist ,king ,asoka4 ,everywhere1 like tombs in a cemetery1 the dbris of ,mongolian art1 monumental mausoleums and domes surrounded by kiosks are heaped together1 all corroded by time and merged into the uniform tint of the sad and dry vegetation that ,nature provides4 ,several tombs are as large as those of ,akbar at ,secundra and rise up solitary upon the arid steppe4 ,the blue peacocks that are roaming about are the only living things that haunt the place4 ,generations have swarmed here and of their living past this almost imperceptible residue is all that is left1 just as ancient forests have had to exist in order to make a little piece of coal4 ,the ,vedic age1 the ,brahmanical age1 the ,buddhist age1 the first ,mussulman dynasties1 the ,mogul ,empire1--each historical period has left here a small deposit4 ,you can gather this history around the ,kutb3 four old ,hindu forts1 still quite recognizable1 once surrounded a large city and some ,buddhist temples where the monks in yellow robes with shaven heads walked about peacefully2 there remains a large iron post charged with some ,sanskrit inscriptions4 ,about the year #ajjj1 over the wall of the ,himalayas overflowed the first hordes of the ,mussulmans4 ,the city was razed and from the stones of the great temple a mosque was built1 the ruins of which now lie around us4 ,here is a triple colonnade where you recognize the old ,buddhist pillars1 and the patient1 complicated1 confused work of the poor ,hindu workman1 with all of its childish indecency4 ,they are deeply worked1 overcharged with chisellings that time has made almost illegible2 here and there1 figures of a symbolical obscenity appear1 a few mutilated by the moral superiority of the conqueror4 ,little by little1 you accustom yourself to read what the eaten away stone has to say1 the lines form themselves afresh4 ,you recognize processions of gods surrounded by guards and faithful followers1 animals1 tigers1 lewd monkeys and elephants1 which1 from a very early period1 occupy the ,hindu mind4 ,these thousands of stones1 which ought to be arranged in irregular chapels and leafy roofs1 the ,mussulmans have erected into columns1 rectangular galleries1 or in geometrical and simple rows4 ,upon the great bare walls1 cabalistic numbers and letters that look like the tracks of birds are directed against the unbelievers4 ,above all1 dominating the immense cemetery-like plain1 inviolate through time1 the ,kutb throws its straight rocket of red stone and white marble1 two hundred and fifty feet into the sky4 ,six centuries ago1 from its top the sharp chant of the ,muezzin broke the silence of the great plain when the sun dropped behind the horizon4 ,,kenilworth ,,castle ,,sir ,,james ,d4 ,,mackenzie ,apart from the great historical interest attaching to these magnificent ruins1 they deserve1 architecturally1 the closest examination and study1 containing1 as they do1 elaborate specimens of the best constructions1 in both military and domestic branches1 during the different periods of the art in this country4 ,we find first the massive square ,norman keep1 which had its protecting moat4 ,this was the work of the original grantee1 ,geoffrey de ,clinton1 the treasurer and chamberlain of ,henry ,i4 ,next comes an era1 from #aahj to #aahg1 when we find entries for building and repairs to walls and fortifications2 and again1 from #abab to #abaf1 the castle being then in the hands of ,king ,john1 vast sums were expended upon the outer line of walls1 with their flanking defences of ,lunn's ,tower and the ,water ,tower1 and upon a chamber and other accommodation for the ,king1 most of which still remains1 though the timber constructions inside and against the walls have1 of course1 not survived4 ,the next development is in the ,late ,decorated or ,perpendicular style including the ruins of the great ,hall and some other buildings at the west end of the inner court still called ,lancaster's ,buildings1 of the ,fourteenth ,century1 rather late in the reign of ,edward ,,iii41 being some of the additions made by ,john of ,gaunt1 after he obtained ,kenilworth by his first wife4 ,illustration3 ,,kenilworth ,,castle1 ,,england4 ,after this portion come the various alterations and insertions of the ,elizabethan period1 the beautiful gatehouse on the north side1 and the towers and works added by ,robert ,dudley1 ,earl of ,leicester and called the ,leicester ,buildings4 ,here are1 therefore1 examples of four different periods in each of which the particular work is capable of proof by existing documents1 showing the gradations and changes which these buildings underwent1 according to the requirements of the different ages1 in passing from the barbarism of a military despotism to the comforts and splendour of later civilization4 ,it is a magnificent specimen1 and one easy of access4 ,as we have said1 the ,manor of ,kenilworth was bestowed by ,henry ,i4 upon ,geoffrey de ,clinton1 who founded here a castle and a monastery2 deriving1 doubtless1 from a ,norman follower of ,duke ,william1 he must have been of worth and eminence among the barons1 since besides the ,royal posts which he occupied1 the ,king appointed him to the ,chief ,justiceship of ,england4 ,he was succeeded by his son ,geoffrey1 married to ,agnes1 daughter of ,roger1 ,earl of ,warwick1 whose son1 ,henry1 parted with ,kenilworth1 most probably on compulsion1 to ,king ,john1 who made it a ,royal residence4 ,one of the rebellious sons of ,henry ,,ii4 had taken possession of it1 and held it for a time4 ,henry ,,iii41 on his sister1 the ,princess ,eleanor1 marrying ,simon de ,montfort1 ,earl of ,leicester1 settled ,kenilworth on her for life but in #abed it was granted for the joint lives of the ,earl and ,countess of ,leicester1 and they made their home here4 ,during the ,baron's ,war which followed1 this castle was made the base of operations by de ,montfort1 who provided it with warlike engines of defence not then known in ,england1 and stores of all sorts1 and after the battle of ,lewis1 ,richard1 ,king of the ,romans1 ,henry's brother1 with his youngest son1 ,edmund1 was sent prisoner to ,kenilworth1 under the care of ,leicester's second son ,simon4 ,in #abfe1 after effecting his escape from the custody of the barons at ,hereford1 ,prince ,edward1 by a daring night attack1 beat up the quarters of young de ,montfort at ,kenilworth1 and took temporary possession of the place1 making prisoners thirteen knights bannerets1 with their followers1 who were unguardedly sleeping in houses around the castle perhaps for the sake of an early bath4 ,young de ,montfort and his pages narrowly escaped capture and only did so by a headlong race 8some stark naked1 some in breeches or drawers1 some in shirts and many with their clothes under their arms40 ,departing thence ,prince ,edward rapidly effected a junction with his friends in the ,west1 and overwhelmed and slaughtered the ,earl of ,leicester at the battle of ,evesham4 ,after this the ,royal forces returned to ,kenilworth which still held out manfully under the ,earl's second son ,simon and underwent a close siege that lasted for six months4 ,trenches were cut on the land side of the castle and huge wooden towers1 holding slingers and archers1 were advanced against the wall1 while barges1 transported overland from ,chester maintained the attack across the castle lake2 but the garrison which numbered #a1bjj men1 met these assaults with the mangonels and other engines of de ,montfort1 and only gave in when reduced by famine1 when1 with the surrender of ,kenilworth1 the ,civil ,war came to an end in ,december1 #abfe4 ,having thus recovered possession of the fortress1 ,king ,henry bestowed it and the manor upon his youngest son ,edmund1 whom he created1 two years later1 ,earl of ,lancaster4 ,in #abgi1 under the encouragement of that martial prince1 ,edward ,i41 a very magnificent tournament was held at ,kenilworth1 under ,mortimer1 ,earl of ,march1 for the space of three days1 at which1 besides the sports of tilting and the barriers1 the new military game of the ,round ,table was introduced4 ,king ,edward ,,ii41 after his flight and capture1 was brought a prisoner here to meet the commission appointed by ,parliament1 from whose lips he received the announcement of his deposition in favour of his son1 at hearing which he fell senseless to the ground4 ,of the presence chamber1 where this mournful scene was enacted1 little remains but fragments of walls and two large bay windows festooned with ivy4 ,the unfortunate ,king was shortly after1 on ,december #e1 removed hence to his hideous doom at ,berkeley ,castle on ,january #be4 ,on the accession of ,edward ,,iii41 the castle again became the seat of baronial splendour under the ,earls of ,lancaster1 the third of whom1 ,henry1 was created ,duke of ,lancaster1 but dying s4 p4 male 7#ce ,edward ,,iii471 his two daughters became heirs to his great estates3 ,blanche1 the younger1 inheriting ,kenilworth and bringing it1 and afterwards1 on her sister's death the whole property of her father1 in marriage to ,john of ,gaunt1 fourth son of ,edward ,,iii41 who shortly after revived in him the title of ,duke of ,lancaster4 ,the wealth thus obtained from his father enabled in great measure the duke's son and heir1 ,henry of ,bolingbroke1 in later days to oust his cousin1 ,richard ,,ii41 from the throne1 and to take his place thereon as ,king ,henry ,,iv41 being greatly driven thereto by the ,king's treatment of him in regard to ,kenilworth4 ,the range called ,lancaster ,buildings was caused to be erected by ,john of ,gaunt between his accession to the property and his death in #acii4 ,they lie on the south side of the inner quadrangle and there is a tower with three stories of arches adjoining the hall on the north1 also of this date2 the same origin is given to the ,strong1 or ,mervin's ,tower1 as it is called by ,sir ,walter ,scott4 ,the ancient garden of the castle was situated near the north-east angle of the outer wall1 where the ,swan ,tower meets the lake and wet ditch on the north4 ,of course on ,henry ,,iv4 succeeding1 the crown resumed the ownership of the fortress1 and thus it continued1 often enlivened by the visits of royalty1 until the days of ,elizabeth1 who bestowed it on her favourite1 ,robert ,dudley1 fifth son of the ,duke of ,northumberland1 with all the royalties thereto belonging4 ,without enlarging on the history of this courtier1 it is enough to say that he seems to have expended the enormous emoluments derived from the many dignities with which ,elizabeth overwhelmed him in his lavish outlay upon ,kenilworth4 ,the additions and alterations made there by this ,dudley involved an expenditure of #fj1jjj--;an incredible sum in those days4 ,he erected the great gatehouse on the north1 also the mass of square rooms from the north-east angle of the upper court1 the buildings1 called after him1 and the gallery and lower gatehouse towers1 together with a great range of stabling4 ,he removed the ,norman windows from the keep1 replacing them by more modern ones2 and it is evident that the great object of his outlay was to provide magnificent accommodation for the entertainment of his ,queen and her ,court4 ,this reception took place in ,july1 #aege1 and the festivities were continued for seventeen days during which every sort of prodigal extravagance possible at that age was indulged in4 ,it cost ,leicester #a1jjj a day4 ,at his death he bequeathed the castle to his brother ,ambrose1 ,earl of ,warwick1 for life1 and afterwards to his own son ,sir ,robert ,dudley1 upon whose birth and legitimacy the father 7who is certainly one of the dark characters in ,english history7 chose to throw doubts4 ,this seems to have incited that greedy monarch1 ,james ,i41 to refuse the succession to ,sir ,robert1 whom he forced to consent to a nominal sale of the property to ,henry1 ,prince of ,wales1 at one-third of its value1 and even that was never paid4 ,dudley1 in disgust1 withdrew from ,england1 and lived in much honour at ,florence1 when he died about the year #afej4 ,when the place fell into the hands of ,oliver ,cromwell1 a sort of commission of army officers was sent to ,kenilworth to divide and share the property between them1 and they1 caring nothing for historical associations1 the splendour of the structure1 or the richness of the furniture and plenishing 7it was but seventy-five years after the entertainment of ,elizabeth there7 proceeded to strip the place1 to cut the timber1 kill the deer1 and even to sell the walls and roofing1 for the value of the bare materials4 ,at the restoration1 ,charles ,,ii4 granted the reversion of the manor to ,lawrence1 ,lord ,hyde1 second son of ,chancellor ,clarendon1 whom he created ,baron ,kenilworth and ,earl of ,rochester4 ,his grandson leaving only a daughter1 the lands and ruins came by marriage to the ,essex family and1 afterwards1 by marriage to ,thomas ,villiers1 the second son of the ,earl of ,jersey1 created1 in #agef1 ,baron ,hyde1 in whose family they still continue4 ,at ,kenilworth was immured ,eleanor ,cobham1 the wife of ,humphrey1 ,earl of ,gloucester1 after the performance of her penance on a charge of practicing witchcraft against ,henry ,,vi4 and here she ended her days4 ,as in most other cases the ,norman baron founded his castle on the site of a ,saxon home with a fortified burh2 a square keep was built on the most commanding position1 perhaps on the mound1 and a large walled enclosure was made1 defended on the west1 south and east sides by a lake and by a deep ditch across the north front4 ,somewhat on the west side of this was formed the inner ward a rectangular enclosure1 nearly one and one-half acres in area1 the north-east corner of which was occupied by ,clinton's keep4 ,this is a plain late ,norman edifice with a forebuilding on the west side1 and containing a vaulted basement and one upper floor only1 the former being entirely filled with earth4 ,the main floor formed one immense room thirty-four feet by sixty-four and about forty feet high4 ,the forebuilding contained the staircase of approach to the entrance doorway1 and above was a room1 possibly an oratory4 ,large corner turrets1 three containing mural chambers and one large spiral stair1 cap the angles of the keep1 the walls of which are of immense thickness4 ,there is no evidence as to what was the nature of the ,norman buildings in this ward1 since they have been replaced by the work of the ,earls of ,lancaster1 and of ,john of ,gaunt1 and are called by their name4 ,west from the keep are the ruined kitchens1 showing a huge fireplace and baking ovens4 ,at the north-west angle is the ,strong ,tower1 of three stages1 which was1 perhaps1 used as a prison for persons of consequence4 ,adjoining this is the ,hall1 a pure ,perpendicular building1 due to ,john of ,gaunt1 beyond which was the white hall1 and next the ,state rooms1 which are connected with a large garderobe tower4 ,then at the south-east corner comes the range to which the name of ,leicester's ,buildings has been given1 and the east face to the keep is made up by the site of ,dudley's ,lobby and ,henry ,,viii4's lodgings1 but all this has perished4 ,the outer ward is a large oblong enclosure1 #bgj yards long from east to west by #agd2 at its east end were domestic offices1 the entrances and the chapel4 ,originally this ward was divided by a ditch seventy feet wide running north and south with a bridge for access to the inner ward1 part of it remaining in front of ,leicester's buildings1 and the rest having probably been filled in by ,dudley after the visit of ,elizabeth4 ,this outer ward contains about nine acres1 having a circumference of #gej yards2 it is formed by a strong curtain wall embracing six important buildings2 namely1 the octagon ,swan ,tower on the north-west1 ,mortimer's ,tower1 or the gatehouse1 at the head of the dam across the lake1 called either after ,lord ,mortimer of ,wigmore 7temp4 ,edward ,,iii471 or from ,sir ,john ,mortimer1 imprisoned here in the reign of ,henry ,v4 ,then towards the east came the ,warden's ,tower1 and next the ,water ,tower at the south-east corner1 a complete mural bastion of ,early ,decorated style2 whence the curtain runs to ,lunn's ,tower at the north-east angle1 a round building thirty-six feet in diameter and forty high4 ,at the back of this part of the wall is a long range of stabling and farm buildings1 with an upper half-timbered storey1 said to have been built by the great ,earl ,thomas of ,lancaster1 in the reign of ,edward ,,ii41 but some part is ,late ,perpendicular4 ,next to this is the chapel4 ,west of ,lunn's ,tower is the building called ,leicester's ,gatehouse1 built in #aegj1 a rectangular tower with octangular corner turrets4 ,on the north side of the great ditch1 which is cut through the rock and forms the north defence1 is ,clinton's green1 where are still banks of earth1 probably survivals of the great siege by ,henry ,,iii4 ,in front of ,mortimer's ,tower is the dam1 eighty yards long1 across the valley1 having at its further end the remains of a flood-gate and outer gatehouse1 or the gallery tower1 with a drawbridge here over the outer ditch4 ,this was the point at which ,queen ,elizabeth made her entry4 ,beyond it was called the ,brayz1 where tournaments were held1 as they also were on the dam itself4 ,on both sides of the dam extended a lake1 half a mile long on the west1 and some twelve feet deep1 upon which the attack by ships was made by ,henry ,,iii4 ,finally1 beyond the ,brayz was a great curved outwork forming a tte-du-pont in front of the entrance4 ,the keep1 or ,clinton's ,tower was perhaps built between #aagj and #aahj4 ,lunn's ,tower may be the work of ,king ,john4 ,henry ,,iii4 expended large sums at ,kenilworth1 and to him is ascribed the great dam1 the ,water and ,warden's ,towers1 and much of the curtain on the south and east4 ,robert ,dudley1 ,earl of ,leicester1 altered the keep into ,tudor ,style1 and besides the buildings called by his name1 added the ,gallery ,tower and the gatehouse at the north-east1 8a very fine example of a declining period in ,english architecture40 ,john of ,gaunt certainly built the great ,hall 7circ4 #acij71 8one of the most beautiful examples of ,early ,perpendicular work in the kingdom10 and he is said to have built the portion called ,lancaster's ,buildings1 between ,csar's ,tower and the hill4 ,it was at ,kenilworth1 during one of her visits in ,august1 #aegb1 while out hunting1 that ,queen ,elizabeth read1 as she rode1 the terrible news of the massacre of ,saint ,bartholomew4 ,,santa ,,maria ,,della ,,salute ,,john ,,ruskin 8,,santa ,,maria ,,della ,,salute10 ,our ,lady of ,health1 or of ,safety1 would be a more literal translation1 yet not perhaps fully expressing the force of the ,italian word in this case4 ,the church was built between #afcj and #afhj1 in acknowledgment of the cessation of the plague3--of course to the ,virgin1 to whom the modern ,italian has recourse in all his principal distresses1 and who receives his gratitude for all principal deliverances4 ,the hasty traveller is usually enthusiastic in his admiration of this building2 but there is a notable lesson to be derived from it1 which is not often read4 ,on the opposite side of the broad canal of the ,guidecca is a small church1 celebrated among ,renaissance architects as of ,palladian design1 but which would hardly attract the notice of the general observer1 unless on account of the pictures by ,john ,bellini which it contains1 in order to see which the traveller may perhaps remember having been taken across the ,guidecca to the ,church of the 8,redentore40 ,but he ought carefully to compare these two buildings with each other1 the one built 8to the ,virgin10 the other 8to the ,redeemer0 7also a votive offering after the cessation of the plague of #aegf73 the one1 the most conspicuous church in ,venice1 its dome1 the principal one by which she is first discerned1 rising out of the distant sea2 the other1 small and contemptible1 on a suburban island1 and only becoming an object of interest1 because it contains three small pictures6 ,for in relative magnitude and conspicuousness of these two buildings1 we have an accurate index of the relative importance of the ideas of the ,madonna and of ,christ in the modern ,italian mind4 ,illustration3 ,,santa ,,maria ,,della ,,salute1 ,,italy4 ,the ,church of ,santa ,maria della ,salute on the ,grand ,canal1 one of the earliest buildings of the ,grotesque ,renaissance1 is rendered impressive by its position1 size1 and general proportions4 ,these latter are exceedingly good2 the grace of the whole building being chiefly dependent on the inequality of size in its cupolas1 and pretty grouping of the two campaniles behind them4 ,it is to be generally observed that the proportions of buildings have nothing whatever to do with the style or general merits of their architecture4 ,an architect trained in the worst schools1 and utterly devoid of all meaning or purpose in his work1 may yet have such a natural gift of massing and grouping as will render all his structures effective when seen from a distance3 such a gift is very general with the late ,italian builders1 so that many of the most contemptible edifices in the country have good stage effect so long as we do not approach them4 ,the ,church of the ,salute is farther assisted by the beautiful flight of steps in front of it down to the ,canal2 and its faade is rich and beautiful of its kind1 and was chosen by ,turner for the principal object in his well-known view of the ,grand ,canal4 ,the principal faults of the building are the meagre windows in the sides of the cupola1 and the ridiculous disguise of the buttresses under the form of colossal scrolls2 the buttresses themselves being originally a hypocrisy1 for the cupola is stated by ,lazari to be of timber1 and therefore needs none4 ,the sacristy contains several precious pictures3 the three on its roof by ,titian1 much vaunted1 are indeed as feeble as they are monstrous2 but the small ,titian1 8,st4 ,mark1 with ,sts4 ,cosmo and ,damian10 was1 when ,i first saw it1 to my judgment1 by far the first work of ,titian's in ,venice4 ,it has since been restored by the ,academy1 and it seemed to me entirely destroyed1 but ,i had not time to examine it carefully4 ,at the end of the larger sacristy is the lunette which once decorated the tomb of the ,doge ,francesco ,dandolo2 and at the side of it1 one of the most highly finished ,tintorets in ,venice1 namely ,the ,marriage in ,cana1 an immense picture1 some twenty-five feet long by fifteen feet high1 and said by ,lazari to be one of the few which ,tintoret signed with his name4 ,illustration3 ,,the ,,ramparts ,,of ,,carcassonne1 ,,france4 ,,the ,,ramparts ,,of ,,carcassonne ,a4 ,,molinier ,to what race shall we attribute the foundation of the city of ,carcassonne8 ,we cannot say exactly1 so many races having occupied this part of the valley of the ,aude in turn2 the first in point of time was that of the ,iberians1 that mysterious people1 who had colonized ,southern ,europe long before the coming of the ,aryan race4 ,without taking any more account than is necessary regarding the hypothesis of the etymologists1 we may recall the fact that the celebrated ,william von ,humboldt attaches the vocable ,carcaso1 as well as many others from the south of ,gaul and the north of ,spain1 to the ,iberic language4 ,erected into a ,latin colony by ,csar himself1 or by his adopted son1 ,augustus1 ,carcassonne vegetated obscurely for three centuries until the day when the invasion by the ,barbarians and the civil wars brought about the ruin of the ,empire4 ,at this moment she was shorn of her ancient glory2 and from a ,latin colony1 she became a simple castrum1 which many manuscripts of the ,notitia dignitatum1 written about the year #djj1 do not even mention4 ,but if the old city lost her importance with regard to civil life1 she gained it in military life4 ,at the moment the ,germans1 those hereditary enemies of ,rome1 spread over the whole of ,gaul1 the cities repaired their too long neglected fortifications in great haste2 open spaces they surrounded with high walls2 the ancient citadels were reinforced2 and in their haste1 just as happened later during the ,hundred ,years' ,war1 many sumptuous buildings erected by ,latin architects1 were sacrificed to make the defences4 ,carcassonne is now furnished with a strong enclosure1 the honour of which many archologists1 among them ,viollet-le-,duc1 wish to give to the ,visigoths2 but it seems more prudent to attribute them to the last engineers of the expiring ,empire4 ,this enclosure1 of which some parts still exist to-day1 is composed of curtains of medium height1 surmounted by a parapet without projections and flanked at intervals with semicircular towers opened at the gorge1 or closed by a flat wall4 ,the towers were bare up to the level of the circling road1 higher they comprised two or three stories4 ,viollet-le-,duc supposes that they were covered with a roof1 and restored one according to this hypothesis4 ,much more elevated than the curtain1 these ,gallo-,roman towers commanded it from above1 and on each of their flanks the curtain is interrupted by a gap connected by a narrow bridge1 which was easy to destroy in case of an attack4 ,one must imagine the city of ,carcassonne1 with this enclosure composed of high curtains with parapets and turrets1 and1 at intervals1 high towers1 dominating the country and commanding the neighbouring defences4 ,such she was at the end of the ,empire and such she remained for several centuries4 ,occupied by the ,visigoths1 vainly besieged several times by ,clovis and by the successors of that prince1 she was not forced before the ,eighth ,century4 ,at this date1 she fell into the hands of the ,arabs1 with all of the surrounding country4 ,the domination of the ,mussulmans1 however1 was very ephemeral2 occupied by them about #gbj1 ,carcassonne again became ,christian thirty years later1 in #gei4 ,carcassonne became an important town4 ,the city remains a fortress of the first order1 almost impregnable1 with its towers1 its curtains and its vast chteau2 but around it1 on the slopes and at the base of the hill between the ,aude and the city1 extensive and flourishing boroughs are forming4 ,these bourgs are mentioned in #ajfg2 more recent discoveries tell us that the two principal ones were ,saint-,vincent and ,saint-,michel4 ,the latter was a commercial town inhabited by common people and workmen whose turbulent character caused great embarrassment to the viscounts during the ,twelfth ,century4 ,from the beginning of that century1 the notables of ,carcassonne took the side of the enemy of their legitimate master1 the ,count of ,barcelona1 gave him their oath1 and on two different occasions the ,viscount1 ,bernard ,aton1 was chased by them from his capital4 ,when he returned1 in #aabe1 he took rigorous measures to assure his rule in the future4 ,each tower on the wall was confided to the care of a faithful noble who had to live in it with his family and his men1 to do what was called le service d'estage4 ,the feudal acts have preserved for us the name of several towers1 the turris monetaria vetus1 for example1 but it would be difficult to state precisely to which of the existing towers the old names were given4 ,to the same viscount1 ,bernard ,aton1 is attributed the construction of a great part of the present wall of the city1 and almost the entire chteau2 from the reign of the same prince dates also the old part of the church ,saint-,nazaire4 ,let us begin with the chteau4 ,an act of the year #ajcd already mentions the residence of the ,counts of ,carcassonne1 and the sala1 in which the ,bishop of ,gerona1 ,pierre ,roger1 lived2 it speaks of the kitchens1 the chambers1 the stables and the chapel ,saint-,marcel4 ,later1 the castellum ,carcassonne is always carefully distinguished from the citadel2 the acts1 in mentioning a camera rotunda1 speak of the elm that ornamented the court and under which the feudal lords rendered justice1 as ,saint ,louis did later at ,vincennes4 ,but these give very meagre information which the study of this building will happily permit us to complete4 ,the ordinary residence of the suzerain1 the ,chteau de ,carcassonne1 like the donjons of the ,north1 was designed to protect him against all attacks that came from outside as well as from within the town4 ,a last refuge for faithful defenders1 it had to be a shelter during a regular siege1 or a personal attack1 and to protect the suzerain against enemies without and traitors within4 ,therefore1 a special wall was erected against the town and against the country4 ,the ,chteau de ,carcassonne was no exception to the general rule4 ,supported by the exterior wall on the side of the town1 it is defended by a wide moat and by a circular barbican over the end of a bridge that was thrown over the moat2 it forms a parallelogram1 flanked by towers and high curtains4 ,the masonry is the same and is composed of yellowish stones placed in regular layers of from fifteen to twenty centimetres in height4 ,the domes have the form of hemispherical caps1 with regular arches and are unornamented4 ,the bays are semicircular without mouldings1 or projections2 nowhere is there any sacrifice to decoration1 with the exception of certain upper openings that are inaccessible to attack1 and these have received a few ornaments1--mouldings and little columns of marble that garnish the corners of the windows4 ,the principal entrance towards the city was defended by two portcullises and two successive gates2 after having passed these obstacles1 you find yourself in a large court of honour which was flanked on one side by the walls of the city1 and on the other by dwellings1 shops1 and light wooden buildings1 that have disappeared to-day1 or have been restored in the style of the ,thirteenth ,century4 ,a few halls of the ,twelfth ,century have1 however1 survived2 they are not very attractive1 with their surbased vaults and their narrow openings4 ,let us now turn our back on the chteau and enter the lices1 for this is what they called the space circumscribed by the two walls of the ,city4 ,we have seen above that from #abdj the town had a double wall1 but the first1 probably much damaged by the lords of ,trencavel1 was doubtless reconstructed in1 and appears to date almost entirely from1 the reign of ,st4 ,louis4 ,it is composed of curtains elevated upon the rock and which never could have been of a great height3 since the ground of the lices was made1 it has gained in height4 ,sometimes the two curtains were quite far apart1 sometimes1 on the contrary1 they are close together1 and the straight passage between them was formerly closed by walls with battlements and solid gates4 ,most of the towers which flank the exterior wall are very simple and are quite low2 as a rule1 they are composed of two storeys and their platform is covered with a pointed roof covered with slate4 ,the interior enclosure1 which is much stronger and better preserved than the exterior1 dates only in part from the ,thirteenth ,century1 but if the royal architects have respected the work of their predecessors as scrupulously as possible1 they have never hesitated to transform the defective or insufficient portions1 whenever they felt it practical4 ,this second enclosure is at once higher and stronger than its neighbour1 the towers are closer together and better arranged for defence4 ,the elevated and spacious curtains still carry traces of the hourds which surmounted them in times of war2 in many of those near the chteau1 the base dates from the time of a remote epoch1--perhaps the time of the ,romans1 but the tops were remodelled in the ,thirteenth ,century by ,saint-,louis1 or ,philip the ,bold4 ,moreover1 these princes made no other changes in the whole wall that extends from the chteau to the ,tower of the ,inquisition2 you particularly notice the ,tower of ,justice1 a beautiful building with four stories of the feudal period1 and the ,visigoth ,tower1 cleverly restored1 too cleverly perhaps1 by ,viollet-le-,duc1 but an interesting example of the military system of the ,gallo-,romans of the ,decadence4 ,the ,tower of the ,inquisition appears to date from the reign of ,philip the ,bold4 ,it is a beautiful building of four storeys which in the ,thirteenth and ,fourteenth ,centuries1 sheltered the ecclesiastical tribunal the name of which it bears4 ,before the ,revolution1 the city was deserted2 in #agdd1 the bishop followed the general example and left his old palace of the ,thirteenth ,century4 ,the new rgime was not equally just4 ,for a long time1 the city remained a military post1 mutilated by military genius1 on the pretext of maintaining and improving it2 a great number of towers were razed and transformed into low curtains1 absurd defences which could not have held out two hours against a strong attack4 ,this admirable collection of medival military art was exposed to the greatest danger2 let us thank the archologists who interested the ,state in the preservation of these venerable remains4 ,restored to-day with a reverent care1 the old citadel is assured a long life4 ,as for the ,city herself1 she can never become what she was in the ,thirteenth ,century1 a rich and populous town1 but she will certainly remain forever an admirable museum1 where everyone who is interested in national history will come to study the military art of old ,france4 ,,the ,,cathedral ,,of ,,modena ,,edward ,,augustus ,,freeman ,the student of the ,romanesque who transports himself suddenly from the ,arno and the ,apenines to the river-basin of the ,po will find himself spirited away into a new architectural world4 ,let him flit from ,pisa to ,modena4 ,pistoia1 a city of high interest on other grounds1 will not long detain him4 ,a single noble campanile is attached to a basilican duomo which would hold a third or fourth-rate place at ,lucca1 and which at ,pisa no one would think of mentioning at all4 ,but at ,modena his halt must be longer4 ,the church of ,pisa and the church of ,modena are contemporary buildings1 and the ,great ,countess is honoured as a benefactress by both2 but they are as unlike one another as any two buildings of the same date and general style well can be4 ,at ,modena we get our first glimpse of the genuine ,lombard form of the ,italian ,romanesque1 a form wholly unlike either the domical or basilican type1 and which makes a far nearer approach to the ,romanesque of the lands beyond the ,alps4 ,the approach is indeed only an approach2 the duomo of ,modena is ,italian1 and not ,english1 ,french1 or ,german2 still it is a form of ,italian far less widely removed from ,english1 ,french1 or ,german work than the style of ,pisa or ,st4 ,vital4 ,as at ,pisa1 the architect seems to have halted between two opinions4 ,the church is cruciform1 but the transepts have no projection on the ground-plan2 there are real lantern-arches1 not obscured as they are at ,pisa1 but they do not bear up any central dome or tower4 ,the lantern-arches are pointed2 but here1 as at ,pisa1 the pointed form is more likely to be ,saracenic than ,gothic4 ,without1 three eastern apses1 rising from between pinnacles of quite ,northern character1 group boldly with one of the noblest campaniles of ,italy1 which is certainly not improved by the later addition of a spire4 ,the great doorways rest on lions2 the west front has a noble wheel window2 the greater part of the outside is lavishly arcaded1 but the arcading is of a different type from the long rows of single arcades at ,lucca and ,pisa2 the favourite form at ,modena is that of several small arches grouped under a containing arch4 ,illustration3 ,,the ,,cathedral ,,oe ,,modena1 ,,italy4 ,with such an outside1 we are not surprised to find1 on entering the church1 an elevation more nearly after the ,northern type than anything which we have yet seen in ,italy4 ,at ,pisa we saw an arcade1 triforium1 and clerestory2 but the triforium was not so much the ,northern type itself as the ,northern type translated into ,italian language4 ,but at ,modena we find as genuine a triforium as in any minster of ,england or ,normandy4 ,its form indeed seems somewhat rude and awkward1 as if the containing arch had been crushed by the lofty clerestory above4 ,and eyes familiar with ,norman detail may possibly be amazed at the sight of mid-wall shafts1 and those of a somewhat rough type1 showing themselves in such a position4 ,but the mid-wall shaft is constructively as much in its place in a triforium as it is in a belfry window1 and in the whole elevation there is nothing lacking4 ,there is pier-arch1 triforium1 and clerestory1 and the deep splay of the highest range hinders the presence of any continuous blank spaces such as we have seen in the ,basilican churches4 ,the capitals are a strange mixture of classical and barbaric forms1 and in the alternate piers1 supporting the arches which span the nave1 we find huge half-columns1 which form a marked contrast to the tall slender shafts commonly used in like positions in ,northern churches4 ,altogether the ,cathedral of ,modena is strictly an ,italian church1 yet the approaches to ,northern forms are very marked1 and they are of a kind which suggests the direct imitation of ,northern forms or the employment of ,northern architects4 ,illustration3 ,,the ,,cathedral ,,of ,,rheims1 ,,france4 ,,the ,,cathedral ,,of ,,rheims ,,louis ,,gonse ,the basilica of ,rheims is the ideal type of a great ,gothic cathedral4 ,everything has been gathered together here to enchant the eye and touch the mind4 ,from the outside1 with its eight spires1 and the lace-work of its bell-towers1 and its galleries boldly mounting to the sky1 with the breadth of its arrangement1 the splendid development of its cruciform plan1 with its two cloisters and its magnificent dependencies1 it appears as the sublime expression of western genius and the culminating point of the ,christian idea4 ,within1 it is dazzling4 ,all the resources of decoration have been prodigally employed4 ,indeed1 the eye does not know which of the marvels to select1 and if this stupendous whole has been preserved to us by a miracle1 nothing in the world can be compared to it4 ,the brilliant series of windows1 one of the most complete and beautiful in existence2 the pavement1 with its labyrinth and countless mortuary tombs2 the rich altars and chapel paintings2 the tomb of ,st4 ,nicaise2 the pulpit of ,st4 ,remi2 the rood-screen1 a master work by ,colard de ,givry1 made in #adag2 the railings of the choir1 with precious hangings and stalls2 the high altar charged with relics1 and presents from the ,kings of ,france2 its golden retable and its splendid ciborium of the ,thirteenth ,century1 in silver gilt2 the sacrarium1 the fonts1 and the sepulchres2--form a great mass of treasure4 ,and how greatly is the feeling increased by memories when you reconstruct the public life of ,notre-,dame of ,rheims1 and the events of which she was the theatre during the long course of centuries2 when you dream of all the coronations1 councils1 and meetings that have taken place beneath its vaults6 ,no edifice1 in truth1 is1 in this respect1 more worthy of our honour and admiration4 ,notre-,dame of ,rheims measures in round numbers one hundred and thirty-nine metres long and thirty-eight metres high beneath the vault2 it is not surpassed in length by the ,cathedral of ,mans1 thanks to the unusual dimensions of its absidal chapel1 nor in height by ,beauvais1 ,cologne1 ,metz1 ,amiens1 or ,saint-,quentin4 ,the great divisions of the whole1 founded upon a triple scale1 in height and breadth1 are clearly accentuated4 ,from the lower part of the nave the view is one of striking grandeur and harmony2 the dazzled glance loses itself in these vast depths1 under the luminous sheets of light which spread out from the lateral bays1 while the large vault1 clouded in the mysterious penumbra of the high windows1 ornamented with their glass1 invites you to meditation4 ,no cathedral offers so powerful an opposition to light4 ,the arrangement of the great piers cantoned by four half-columns bound together also increases the fleeting perspective4 ,of the whole building1 ,i have only to criticize the composition of the triforium1 which is truly not of the first order2 it demands more elegance and firmness2 the arches of that gallery1 the decorative function of which is so important in a ,gothic church1 seem heavy and as if crushed between the robust piers of the ground-floor and the large bays of the upper story4 ,in all that belongs to the ,thirteenth ,century1 the execution bears witness to an extreme care and luxury4 ,the ,cathedral of ,rheims1 principally in its interior work1 is a model that has never been surpassed from the point of view of technique1 of show and of the judicious use of material4 ,the carving is of the first order4 ,the capitals of ,rheims are celebrated1 and very justly4 ,the independence of the ,style champenois has introduced some elements of life and fantasy which give them a character of their own4 ,some of the most beautiful1 notably the capital of the ,vendanges 7,the ,vintages71 have been made popular by the mouldings in the ,muse of the ,trocadro2 but all of them are remarkable on account of the variety of the motives that decorate them4 ,viollet-le-,duc has justly observed that the capitals of ,rheims present a decisive progress in the union of the capital of the principal column with the capitals of the connected columns3 a very great difficulty which ,gothic architects did not solve until after numerous groupings4 ,here the monotony has been avoided by a division of the bound columns into two segments1 separated by an astragal4 ,the effect of this division is most happy and constitutes one of the most striking peculiarities of the ,cathedral of ,rheims4 ,the choir is unanimously admired4 ,however1 it has not the breadth nor the spring of the great choirs of ,bourges1 ,amiens and ,mans2 but it derives its originality from its depth and its radiating chapels2 and to the preservation of its most exquisite windows it owes a poetic charm that very few interiors can equal4 ,the windows of ,rheims are1 in reality1 the most perfect we have seen after those of ,chartres1 ,bourges1 ,mans and ,auxerre4 ,in purity of expression they surpass the windows of ,soissons1 ,troyes1 and ,chlons4 ,the windows in the apsis are masterpieces2 their sweet intensity1 in the scale of blue1 is truly enchanting4 ,they were executed from #abbg to #abdj under the episcopate of ,henri de ,braisne1 whose figure appears in the principal window1 in the centre of nine large1 high windows1 between the twelve suffragans of ,rheims1 arranged in order1 according to their rank in the province3 ,soissons1 ,laon1 ,beauvais1 ,noyon1 ,senlis1 ,tournai1 ,cambrai1 ,chlons1 ,throuanne1 ,amiens1 etc41 each having at his side a ,gothic cathedral4 ,these figures of bishops of gigantic proportions have a majesty that cannot be described4 ,but in the midst of these splendours1 it is the rose of the western window which is perhaps the most worthy of everything to hold your attention4 ,composition1 brilliancy1 harmony and elegance of position1--it possesses all these qualities4 ,it would be difficult to find a more admirable witness of the decorative sense of the old glass-workers4 ,when across the network of the immense surface1 the light from the setting sun is thrown1 the whole interior of the church is illuminated as if by a conflagration4 ,the preservation of this masterpiece is unfortunately greatly compromised by the crack like a sabre cut which crosses the faade near the rose4 ,the high windows in the nave represent the ,kings1 just as in the ,cathedral of ,sacres2 they are still more beautiful1 however1 of deep rich colours1 but of a less careful execution than the great rose and the windows in the choir4 ,all these marvels1 however1 pale before the carved decoration that surrounds on the inside the lower part of the three doors of the faade1 a kind of drapery in relief1 as unique by the character of its invention as by the perfection of its workmanship4 ,this extraordinary decoration envelops up to their summits the three ogival windows that open upon the porch4 ,it goes up as high as the triforium1 by a succession of seven rows of niches closed by trefoil arches1 and separated from them by panels and corner-pieces of leaves borrowed from the flora of the country and divinely carved4 ,you see in turn3 the laurel1 the vine1 the pear1 the apple1 the holly1 the oak1 the ivy1 the water-lily1 the bulrush1 the peony1 the clover1 the chestnut1 the liverwort1 and the olive4 ,a hundred and twenty-two statues of incomparable beauty1 rivalling the most beautiful productions of sculpture of former times1 occupy the niches1 and1 deliciously set off by the floral decoration of the plain surfaces1 stand out like living personages from the dark background of the niches4 ,each one of these figures is a most precious work1 studied from nature with a sovereign knowledge of drapery and movement4 ,here is a priest officiating in his chasuble and holding the ,eucharist2 there1 is a warrior in coat-of-mail1 who seems to have just returned from the ,crusades2 moreover1 there are some prophets of heroic mien1 noble virgins with trailing robes1 and martyrs1 illuminated with ecstasy4 ,all this mural decoration was made in the spirit of the architecture1 intended to complete the iconography of the great door and to amplify still further the cyclic character1--the general theme being the history of ,christ and the glorification of the ,virgin1 with the accessory scenes that belong to it4 ,let us cross the threshold3 we are outside1 before the faade4 ,we must walk farther away in order to embrace all the lines and take in the masterly idea of the whole4 ,it is most celebrated1 that is well-known2 for a long time1 its richness has been a synonym of beauty in medival art4 ,i have already said that the general conception is of the highest order1 the upward movement is magnificent1 the statues blossom with a bewildering luxuriance1 and the infinite multiplication of the details1 which--miraculous fact--do not obliterate the majestic section of the lower stages1 so happily cut by the tall bays scattered in the bell-towers4 ,nevertheless1 when you come nearer1 you are surprised at finding so much uncertainty in the conduct of this terrible enterprise6 ,how much weakness and lassitude in the highest parts6 ,you perceive both haste and economy there4 ,all that dates from the end of the ,fourteenth and the beginning of the ,fifteenth ,century is mediocre2 the sculpture1 cut in bad materials that are injured by the frost1 is coarse and flabby3 the nobility of the contours is lost beneath the excessive ornamentation1 and the absence of the spires deprives this arial building of its necessary finish4 ,to be satisfied1 the eye must rest below the row of ,kings made during the reign of ,charles ,v4 ,while the upper stories have been made of soft stone of a bad quality1 the lower parts1 built of hard stone1 have acquired in the course of time the hues of ,florentine bronze4 ,it is here that the ,champagne sculptor has lavishly exhibited the treasures of his spirit1 his audacity and his genius4 ,when the great statues of the portals of ,rheims are mentioned1 everybody is of one accord4 ,the ,queen of the basilica1 the ,virgin1 is the soul of this cosmos1 the centre from which everything radiates4 ,she is crowned by ,christ beneath the das of the great gable1 and this composition1 which is still brightened by the remains of the gold background from which it stands out1 is one of the most exquisite creations of ,christian ,art2 the ,virgin is also on the pier2 she is directly or indirectly in every scene of the life of ,jesus4 ,her memory1 her legend1 her poetry are everywhere3 she is at once the culminating point and the humble pretext of all this magnificence4 ,at ,paris1 at ,bourges and at ,amiens1 it is ,christ2 here1 it is the ,virgin2 and around this admirable theme a powerful thought has quickened into being a race of statues1 a people in whom life1 movement and fantasy circulate1 beneath the compassionate gaze of the ,mother of ,god and under the influence of her adorable grace4 ,charm is really the special characteristic of the sculpture at ,rheims1--a special charm that is always evident1 a charm carried to the point of morbidezza which in certain figures has been compared1 and not without reason1 to the mysterious charm of ,leonardo da ,vinci4 ,all these personages of high stature1 blackened and polished by time1 possess an indescribable grace1 smiling and familiar1 an indescribable and eloquent gravity that puts them into communion with the spectator2 they are indeed of our country and of our race2 their idealism1 always youthful despite the centuries1 is not too far removed from earth to respond even now to the secret aspirations of our souls2 they are the glory of the portals of ,rheims1 the glory of ,french sculpture4 ,beautiful as these figures are1 they must not let us forget the population of two thousand five hundred statues that make the ,cathedral of ,rheims a unique monument of decorative and monumental sculpture4 ,all the images of this old basilica deserve attentive study4 ,an entire volume would scarcely suffice to enumerate them4 ,it is necessary to take a trip to the roof to measure fully this incredible wealth3 giants of stone1 angels with spread wings1 apostles1 saints and royal figures1 fantastic animals1 more than forty metres high1 which occupy the pinnacles of the buttresses1 are lined along the galleries of the transepts or fortify the balustrade of the roof2 figures full of vitality that project from the corners1 the springs of the arches1 the junction of curves1 as crowns1 supports1 caryatides1 mascarons1 and gargoyles2 capricious1 expressive and energetic figures1 to execute which the ,champagne chisel1 the freest and most supple of ,gothic chisels1 has given itself full scope1 with an exuberant joy4 ,despite the devastations of the rococo period1 to which was added that of the ,revolutionary period1 the ,cathedral of ,rheims has not been entirely stripped of her incomparable artistic treasures4 ,she has preserved a great portion of her tapestry hangings1 and her ,treasury is still one of the richest in ,france4 ,the tapestries of ,rheims have been very learnedly described by ,m4 ,ch4 ,loriquet4 ,before the ,revolution the collection was unique4 ,hincmar1 ,hrive1 ,regnault de ,chartres1 ,juvnal des ,ursins1 ,robert de ,lenoncourt1 the great ,cardinal of ,lorraine1 the ,cardinal of ,guise1 ,henri de ,lorraine1 the ,kings of ,france and the ,chapter were the principal donators4 ,these tapestries were used to decorate the cathedral on days of special solemnity4 ,of the magnificent collection there only remain the fifteen pieces by ,lenoncourt1 two of the six tapestries of the ,grand ,roi ,clovis1 given by the ,cardinal of ,lorraine1 fifteen tapestries executed by ,pepersack1 at the order of ,henri de ,lorraine1 the four pieces ordered from ,lombart d' ,aubusson by the ,chapter1 four tapestries called the ,cantiques and two ,gobelins after ,raphael's ,cartoons4 ,the most remarkable are certainly those by ,lenoncourt and those of the ,clovis set4 ,the first were offered to the cathedral by the ,archbishop ,robert de ,lenoncourt2 one of them bears the dedication of #aecj4 ,they represent the ,life of the ,virgin4 ,they are of ,flemish origin and of a very fine execution4 ,the composition is rich1 spirited and of an extremely graceful style4 ,some of them have not lost the freshness of their colours and can still be counted among the best specimens of the art of tapestry at the beginning of the ,sixteenth ,century4 ,these precious hangings occupy the wall surfaces of the side-aisles of the nave1 where they produce a sumptuous effect4 ,illustration3 ,,the ,,castle ,,of ,s4 ,,angelo1 ,,italy4 ,,the ,,castle ,,of ,s4 ,,angelo ,,augustus ,j4 ,c4 ,,hare ,the ,ponte ,s4 ,angelo is the ,pons ,elius of ,hadrian1 built as an approach to his mausoleum1 and only intended for this1 as another public bridge existed close by1 at the time of its construction4 ,it is almost entirely ancient1 except the parapets4 ,the statues of ,st4 ,peter and ,st4 ,paul1 at the extremity1 were erected by ,clement ,,vii41 in the place of two chapels1 in #aecj1 and the angels1 by ,clement ,,ix41 in #afhh4 ,the pedestal of the third angel on the right is a relic of the siege of ,rome in #ahdi1 and bears the impress of a cannon-ball4 ,these angels1 which have been called the 8breezy maniacs0 of ,bernini1 are only from his designs4 ,the two angels which he executed himself1 and intended for this bridge1 are now at ,s4 ,andrea della ,fratte4 ,the idea of ,clement ,,ix4 was a fine one1 that 8an avenue of the heavenly host should be assembled to welcome the pilgrim to the shrine of the great apostle40 ,from the ,ponte ,s4 ,angelo1 when the ,tiber is low1 are visible the remains of the bridge by which the ancient ,via ,triumphalis crossed the river4 ,close by1 where ,santo ,spirito now stands1 was the ,porta ,triumphalis1 by which victors entered the city in triumph4 ,facing the bridge1 is the famous ,castle of ,s4 ,angelo1 built by the ,emperor ,hadrian as his family tomb1 because the last niche in the imperial mausoleum of ,augustus was filled when the ashes of ,nerva were laid there4 ,the first funeral here was that of ,elius ,verus1 the first adopted son of ,hadrian1 who died before him4 ,the ,emperor himself died at ,bai1 but his remains were transported hither from a temporary tomb at ,pozzuoli by his successor ,antoninus ,pius1 by whom the mausoleum was completed in ,a4,d41 #adj4 ,here also were buried1 ,antoninus ,pius1 ,a4,d41 #afa2 ,marcus ,aurelius1 #ahj2 ,commodus1 #aib2 and ,septimius ,severus1 in an urn of gold1 enclosed in one of alabaster1 ,a4,d41 #baa2 ,caracalla1 in #bag1 was the last ,emperor interred here4 ,the well-known lines of ,byron3 8,turn to the mole which ,hadrian rear'd on high1 ,imperial mimic of old ,egypt's piles1 ,colossal copyist of deformity1 ,whose travell'd phantasy from the far ,nile's ,enormous model1 doom'd the artist's toils ,to build for giants1 and for his vain earth1 ,his shrunken ashes1 raise this dome6 ,how smiles ,the gazer's eye with philosophic mirth1 ,to view the huge design which sprung from such a birth1 seem rather applicable to the ,pyramid of ,caius ,cestius than to this mausoleum4 ,the ,castle1 as it now appears1 is but the skeleton of the magnificent tomb of the ,emperors4 ,procopius1 writing in the ,sixth ,century1 describes its appearance in his time4 8,it was built10 he says1 8of ,parian marble2 the square blocks fit closely to each other without any cement4 ,it has four equal sides1 each a stone's throw in length4 ,in height it rises above the walls of the city4 ,on the summit are statues of men and horses1 of admirable workmanship in ,parian marble40 ,canina1 in his ,architectura ,romana1 gives a restoration of the mausoleum1 which shows how it consisted of three stories3 #a1 ,a quadrangular basement1 the upper part intersected with ,doric pillars1 between which were spaces for epitaphs of the dead within1 and surmounted at the corners by marble equestrian statues2 #b1 a circular story1 with fluted ,ionic colonnades2 #c1 circular story1 surrounded by ,corinthian columns1 between which were statues4 ,the whole was surmounted by a pyramidal roof1 ending in a bronze fir-cone4 ,the history of the ,mausoleum1 in the ,middle ,ages is almost the history of ,rome4 ,it was probably first turned into a fortress by ,honorius1 ,a4,d41 #dbc4 ,from ,theodoric it derives the name of 8,carcer ,theodorici40 ,in #ecg1 it was besieged by ,vitiges1 when the defending garrison1 reduced to the last extremity1 hurled down all the magnificent statues which decorated the cornice1 upon the besiegers4 ,in ,a4,d41 #dih1 ,pope ,symmachus removed the bronze fir-cone at the apex of the roof to the court of ,st4 ,peter's1 whence it was afterwards transferred to the ,vatican garden1 where it is still to be seen between two bronze peacocks1 which probably stood on either side of the entrance4 ,belisarius defended the castle against ,totila1 whose ,gothic troops captured and held it for three years1 after which it was taken by ,narses4 ,it was in #ecj that the event occurred which gave the building its present name4 ,pope ,gregory the ,great was leading a penitential procession to ,st4 ,peter's1 in order to offer up prayers for the staying of the great pestilence which followed the inundation of #ehi2 when1 as he was crossing the bridge1 even while the people were falling dead around him1 he looked up at the ,mausoleum and saw an angel on its summit1 sheathing a bloody sword1 while a choir of angels around chaunted with celestial voices1 the anthem1 since adopted by the church in her vesper service--8,regina cli1 ltare--quia quem meruisti portare--resurrexit1 sicut dixit1 ,alleluja40--,to which the earthly voice of the ,pope solemnly responded3 8,ora pro nobis ,deum1 ,alleluja40#aj ,in the ,tenth ,century the fortress was occupied by the infamous ,marozia1 who1 in turn1 brought her three husbands 7,alberic1 ,count of ,tusculum2 ,guido1 ,marquis of ,tuscany2 and ,hugo1 ,king of ,italy71 thither1 to tyrannize with her over ,rome4 ,it was within the walls of this building that ,alberic1 her son by her first husband1 waiting upon his royal stepfather at table1 threw a bowl of water over him1 when ,hugo retorted by a blow1 which was the signal for an insurrection1 the people taking part with ,alberic1 putting the ,king to flight1 and imprisoning ,marozia4 ,shut up within these walls1 ,pope ,john ,,xi4 7#ica-icf71 son of ,marozia by her first husband1 ruled under the guidance of his stronger-minded brother ,alberic2 here1 also1 ,octavian1 son of ,alberic and grandson of ,marozia1 succeeded in forcing his election as ,john ,,xii4 7being the first ,pope who took a new name71 and scandalized ,christendom by a life of murder1 robbery1 adultery and incest4 ,in #igd1 the ,castle was seized by ,cencio 7,crescenzio ,nomentano71 the consul1 who raised up an anti-pope 7,boniface ,,vii47 here1 with the determination of destroying the temporal power of the popes and imprisoned and murdered two popes1 ,benedict ,,vi4 7#igb71 and ,john ,,xiv4 7#ihd71 within these walls4 ,in #iif1 another lawful pope1 ,gregory ,v41 calling in the ,emperor ,otho to his assistance1 took the ,castle and beheaded ,cencio1 though he had promised him life if he would surrender4 ,from this governor the fortress long held the name of ,castello de ,crescenzio1 or ,turris ,crescentii1 by which it is described in medival writings4 ,a second ,cencio supported another anti-pope1 ,cadolaus1 here in #ajfc1 against ,pope ,alexander ,,ii4 ,a third ,cencio imprisoned ,gregory ,,vii4 here in #ajhd4 ,from this time the possession of the ,castle was a constant point of contest between popes and anti-popes4 ,in #acac1 ,arlotto degli ,stefaneschi1 having demolished most of the other towers in the city1 arranged the same fate for ,s4 ,angelo1 but it was saved by cession to the ,orsini4 ,it was from hence1 on ,december #ae1 #acdg1 that ,rienzi fled to ,bohemia1 at the end of his first period of power1 his wife having previously made her escape disguised as a friar4 8,the cause of final ruin to this monument10 is described by ,nibby to have been the resentment of the citizens against a ,french governor who espoused the cause of the anti-pope 7,clement ,,vii47 against ,urban ,,vi4 in #acgh4 ,it was then that the marble casings were all torn from the walls and used as street pavements4 ,a drawing of ,sangallo of #adfe shows the upper part of the fortress crowned with high square towers and turreted buildings2 a cincture of bastions and massive square towers girding the whole2 two square-built bulwarks flanking the extremity of the bridge1 which was then so connected with these outworks that passengers would have immediately found themselves inside the fortress after crossing the river4 ,marlianus1 #aehh1 describes its double cincture of fortifications1--8a large round tower at the inner extremity of the bridge2 two towers with high pinnacles1 and the cross on their summits1 the river flowing all around40 ,the ,castle began to assume its present aspect under ,boniface ,,ix4 in #acie4 ,john ,,xxiii41 #adaa1 commenced the covered way to the ,vatican1 which was finished by ,alexander ,,vi42 and roofed by ,urban ,,viii41 in #afcj4 ,by the last named pope the great outworks of the fortress were built under ,bernini1 and furnished with cannon made from the bronze roof of the ,pantheon4 ,under ,paul ,,iii4 the interior was decorated with frescoes1 and a colossal marble angel erected on the summit1 in place of a chapel 7,s4 ,angelo inter ,nubes71 built by ,boniface ,,xiv4 for the existing angel of bronze1 by a ,dutch artist1 ,verschaffelt4 ,of the ,castle1 as we now see it externally1 only the quadrangular basement is of the time of ,hadrian2 the round tower is of that of ,urban ,,viii41 its top added by ,paul ,,iii4 ,the four round towers of the outworks1 called after the four ,evangelists1 are of ,nicholas ,v41 #addg4 ,the interior of the fortress can be visited by an order4 ,excavations made in #ahbe have laid open the sepulchral chamber in the midst of the basement4 ,here1 stood in the centre1 the porphyry sarcophagus of ,hadrian1 which was stolen by ,pope ,innocent ,,ii4 to be used as his own tomb in the ,lateran1 where it was destroyed by the fire of #acfj1 the cover alone escaping1 which was used for the tomb of ,otho ,,ii41 in the atrium of ,st4 ,peter's1 and which1 after filling this office for seven centuries1 is now the baptismal font of that basilica4 ,a spiral passage1 thirty feet high and eleven wide1 up which a chariot could be driven1 gradually ascends through the solid mass of masonry4 ,there is wonderfully little to be seen4 ,a saloon of the time of ,paul ,,iii4 is adorned with frescoes of the life of ,alexander the ,great1 by ,pierino del ,vaga4 ,this room would be used by the pope in case of his having to take refuge in ,s4 ,angelo4 ,an adjoining room1 adorned with a stucco frieze of ,tritons and ,nereids1 is that in which ,cardinal ,caraffa was strangled 7#aefa7 under ,pius ,,iv41 for alleged abuses of authority under his uncle1 ,paul ,,iv4--his brother1 the ,marquis ,caraffa1 being beheaded in the castle the same night4 ,the reputed prison of ,beatrice ,cenci is shown1 but it is very uncertain that she was ever confined here1--also the prison of ,cagliostro1 and that of ,benvenuto ,cellini1 who escaped1 and broke his leg in trying to let himself down by a rope from the ramparts4 ,the statue of the angel by ,montelupo is to be seen stowed away in a dark corner4 ,several horrible trabocchette 7oubliettes7 are shown4 ,on the roof1 from which there is a beautiful view1 are many modern prisons1 where prisoners suffer terribly from the summer sun beating upon their flat roofs4 ,among the sculptures found here were the ,barberini ,faun1 now at ,munich1 the ,dancing ,faun1 at ,florence1 and the ,bust of ,hadrian at the ,vatican4 ,the sepulchral inscriptions of the ,antonines existed till #aegb1 when they were cut up by ,gregory ,,xiii4 7,buoncompagni71 and the marble used to decorate a chapel in ,st4 ,peter's6 ,the magnificent easter display of fireworks 7from an idea of ,michael ,angelo1 carried out by ,bernini71 called the girandola1 used to be exhibited here1 but now takes place at ,s4 ,pietro in ,montorio1 or from the ,pincio4 ,from #ahdi to #ahgj1 the ,castle was occupied by ,french troops1 and their banner floated here1 except on great festivals1 when it was exchanged for that of the pope4 ,running behind and crossing the back streets of the ,borgo1 is the covered passage intended for the escape of the popes to the ,castle4 ,it was used by ,alexander ,,vi4 when invaded by ,charles ,,viii4 in #adid1 and twice by ,clement ,,vii4 7,giulio de' ,medici71 who fled1 in #aebg1 from ,moncada1 viceroy of ,naples1 and in ,may1 #aebg1 during the terrible sack of ,rome by the troops of the ,constable de ,bourbon4 8,the ,escape0 consists of two passages2 the upper open like a loggia1 the lower covered1 and only lighted by loop-holes4 ,the keys of both are kept by the pope himself4 ,s4 ,angelo is at the entrance of the ,borgo1 promised at the ,italian invasion of ,september1 #ahgj1 as the sanctuary of the papacy1 the tiny sovereignty where the temporal sway of the popes should remain undisturbed1--the sole relic left to them of all their ancient dominions4 ,,salisbury ,,cathedral ,w4 ,j4 ,,loftie ,salisbury ,cathedral1 from the point of view of the architectural artist1 is the most beautiful and the most perfect in ,england4 ,the visitor who sees it first on a bright day1 can never forget the impression it has made on his mind4 ,unlike the architects of the so-called 8,great ,gothic ,revival10 the builders of ,salisbury put their trust in proportion4 ,incidentally they made their details as elaborate and perfect as possible2 but they were subordinated to the general effect1 and when during the frightful ravages of the 8restorers10 let loose upon the church in the past and present centuries1 many of the best and most precious of these details and ornaments perished or were renewed1 the main building survives1 raising its exquisitely graceful spire into the blue sky1 its thousand pinnacles all pointing upward and gleaming white against the deep green of the old trees and the emerald turf of the surrounding close4 8,how long10 asked an ,american visitor1 8does it take to grow such turf80 8,oh6 not long10 was the reply2 8only a couple of centuries40 ,one feels at ,salisbury that whether the answer was given there or at ,oxford1 of no place could it be more true4 ,though when we look near enough1 we can see that fresh and white as is the general effect1 the masonry of ,salisbury is of great antiquity1 except1 of course1 where it has been restored2 and antiquity adds another charm1 for ,salisbury was the first complete cathedral built after the ,romanesque tradition had died out1 as ,st4 ,paul's is the first built after it had been revived4 ,in other cathedrals there are portions and fragments of the same style1 and they are always the most beautiful features of the whole building4 ,we can recall the western porch at ,ely1 and the angel choir at ,lincoln1 and the ,chapter-house at ,southwell2 but here at ,salisbury1 we have the whole vast cathedral1 all in the same supreme style1 every part fitting into its place1 and adding its contribution to the general effect1 never in contrast1 but always in harmony until the effect is attained4 ,what that is may be read in countless books of travel or criticism4 ,salisbury cathedral1 like the ,parthenon and all the other--there are not many--buildings which tempt one to call them poems in stone--produces a different feeling in the minds of all who see it4 ,i am not going to add another to the descriptions of the view4 ,on the contrary1 ,i am going about the prosaic task of trying to find out to what circumstances its beauty is due1 and why the name of ,richard ,poore is honoured among lovers of good architecture with that of ,christopher ,wren1 no other ,englishman being worthy to make a third4 ,the chief points to be noted about ,salisbury are these4 ,the effect does not in any way depend upon ornamental details4 ,this may be proved by two examples taken from the building4 ,the west front was greatly injured at different times1 its carving broken1 and its figures defaced4 ,the carving has been copied and 8restored10 and new figures have replaced the old4 ,the front is now neat and spick and span1 but the general effect is in no wise improved1 but rather deteriorated1 by having its antiquity destroyed4 ,it is the same with the chromatic decoration of the interior1 and with the 8improvement0 of the ,chapter-house4 ,the painting on the roof tends to lower it2 the gaudy1 shiny aspect of the ,chapter-house goes far to spoil1 if it could spoil1 the exquisite design and subtle proportions4 ,illustration3 ,,salisbury ,,cathedral1 ,,england4 ,another point to be noticed is this3 ,salisbury does not owe its beauty to size1 nor yet altogether to the style in which it is built4 ,this is easily proved4 ,the great ,french cathedral of ,amiens exceeds ,salisbury in all its dimensions1 and was built1 allowing for the difference between ,france and ,england1 in the self-same style4 ,both are examples of ,first ,pointed1 and ,amiens is1 according to ,fergusson1 at least twice as large in its cubic contents4 8,the ,french church covers #ga1jjj square feet1 the ,english only #ee1jjj4 ,the vault of the first is one hundred and fifty-two feet in height1 the latter only eighty-five40 ,there is still a more remarkable difference between the central spires of the two churches4 ,that of ,amiens rises to a height of #dbb feet2 that of ,salisbury1 the tallest in ,england1 only to #djd4 ,yet the great height of the roof at ,amiens robs its spire of any preponderance it might otherwise boast1 and leaves the comparatively small steeple of ,salisbury a feature of grandeur and beauty only approached by the still lower dome of ,st4 ,paul's1 which rises at its highest part1 the cross1 to #cfe feet above the ground level4 ,it will be seen1 therefore1 that ,salisbury owes its effect to something beyond ornament or size4 ,the extraordinary order and regularity of the masonry may have something to say to it1 although the stones1 as compared with what may be seen in ,egypt1 and elsewhere1 are not very large4 ,but you can trace the same course all round the church and the same stone1 oolite from the quarry at ,chilmark1 has been used throughout4 ,this communicates a certain look of stability to the structure1 which is1 in itself1 more pleasing to the eye than any amount of ornament out of place1 or intended1 as in modern ,gothic1 to divert the eye from the poverty of the materials or the absence of proportion4 ,the proportions of ,salisbury1 like those of ,st4 ,paul's1 or the ,parthenon1 are calculated to give the building its full measure of beauty1 without anything extraneous4 ,that ,salisbury should have this unity of age and design is owing to a curious fact in the history of the place4 ,the 8bishop's stool0 had been upon the bleak1 chalk down which borders ,salisbury ,plain4 ,the place was really a castle whose fortifications are still visible2 the cathedral within the walls must have been ,norman in design1 to judge in dry seasons from the marks still visible among the grassy mounds1 and from fragments of carved stone built into the wall or cross4 ,mr4 ,walcott gives its dimensions as follows3 8,a nave one hundred and fifty feet by seventy-two feet1 a transept one hundred and fifty feet by sixty feet1 and a choir sixty feet in length1 in all two hundred and seventy feet40 ,the situation was in every way inconvenient1 having been chosen for security not comfort4 ,after the ,king took the fort and filled it with his own soldiers1 a governor superseding the bishop1 the position of the ecclesiastics became unendurable4 ,the inhabitants in times of comparative peace and security migrated to the rich pastures by the ,avon and the ,bourne below1 while cold winds in winter1 and a scarcity of water in summer1 finally determined ,bishop ,poore and his canons1 for ,sarum was a church of the old foundation1 to seek a better country4 ,the old legend says that the site of the new cathedral was determined by the fall of an arrow in ,merrifield 7or more likely ,mirifield71 shot by a stalwart archer from the ramparts4 ,the church was raised in a green vale1 surrounded by the downs4 ,pepys1 in describing his journey from ,hungerford says1 8,so1 all over the ,plain by the sight of the steeple1 the ,plain high and low2 to ,salisbury by night40 8,of the cathedral10 ,pepys remarks that it is 8most admirable2 as big1 ,i think1 and handsomer than ,westminster1 and a most large close about it40 ,pepys' comparison of ,westminster and ,salisbury is a very just one2 both were built in the then new ,first ,pointed style1 but there is no doubt about the superiority of ,salisbury in either design or completeness4 ,in the close1 which occupies an extent of half a square mile1 there are three gates1 the ,south or ,harnham1 the ,east or ,st4 ,anne's1 and the ,north or ,close ,gate1 built about #acbg4 ,the ground-plan of the church embraces a nave of ten bays1 with aisles2 a northern porch2 a main and a choir transept of four and three bays each2 to the east a choir and presbytery1 each of three bays1 and the so-called ,lady ,chapel1 all having aisles4 ,the cloister is on the south side1 and to eastwards of the cloister is the ,chapter-house4 ,an octangular canon's vestry and muniment room is to the south of the south-east transept4 ,the pyramidal disposition of the leading lines is very observable from certain points of view4 ,it is the only ancient cathedral in ,england begun and finished on a uniform plan and in one style4 ,the foundations were laid under ,bishop ,poore1 on the ,feast of ,st4 ,vitalis 7,april #bh71 #abbj1 and it was built by ,elias of ,dereham1 clerk of the works1 and by ,nicholas of ,portland1 and ,richard of ,farleigh1 his successors1 the last named completing the spire in #acge4 ,the ,beauchamp and ,hungerford ,chapels1 both subsequently removed1 were built in the ,lady ,chapel in the ,fifteenth ,century4 ,bishop ,audley's ,chantry in the choir was built in #aejb4 ,in the close1 near the north aisle of the nave1 as at ,chichester1 was the ,clochard or ,campanile4 ,there are several points of resemblance1 of which this is one1 between ,chichester and ,salisbury4 ,this bell-tower was taken down in 8cold blood0 as we may say1 or by way of 8restoration0 in #agii4 ,about the same time ,wyatt made many structural and other alterations1 which are detailed with undisguised approbation by contemporary writers4 ,dodsworth gives particulars received from ,wyatt himself4 ,they are in form and language1 and1 ,i may add1 conceit1 so like what the 8restorer0 of to-day uses of a building which he has done his best to ruin1 and are besides so interesting1 historically1 that ,i am tempted to quote some sentences4 ,wyatt was first let loose on ,salisbury about #aghi4 ,he went to work without a doubt or a scruple4 ,the ,hungerford and ,beauchamp ,chapels were 8defects40 ,he 8expressed his astonishment at the temerity of their builders4 ,they were destroyed1 though the consent of their owners had to be obtained first4 ,their fragments were used in the alterations1 some in the organ screen1 some in the choir4 ,the walls and buttresses of the ,lady ,chapel were restored1 the windows brought to their proper level1 the seats which disfigured it removed1 and the pavement was raised a few inches to give an ascent from the choir40 ,the phrase 8proper level0 is good4 ,then came almost the worst of ,wyatt's 8restorations40 ,it was found 8necessary0 to remove several monuments4 ,new sites were prepared--the result being what we now see in the nave1 where the mixture of the fragments of one monument with the ruins of another of a different period has not even the merit of being picturesque4 ,the tomb ascribed traditionally to ,bishop ,poore and nine others were destroyed1 portions being neatly arranged as in a kind of museum 8along the plinth between the series of pillars on each side of the nave40 ,two small porches1 one at the north end of the great transept1 and the other on the south side1 near the ,lady ,chapel1 8were considered as neither adding to the beauty1 nor to the convenience of the building4 ,they were accordingly taken down40 ,the 8accordingly0 is another happy expression4 ,we might be reading a report of ,sir ,g4 ,scott1 or ,mr4 ,pearson1 or ,mr4 ,butterfield4 ,yet this was written close on a hundred years ago4 ,a very interesting series of paintings1 representing the months or the ,zodiac1 were on some of the eastern bays of vaulting4 ,they were highly admired1 we are told1 by those 8regard the mere antiquity of an object as a sufficient title to admiration40 ,these are precisely the words used lately by an architect about the north transept of ,westminster ,abbey4 ,wyatt promptly wiped off the traces of these decorations1 and 8judiciously coloured the arches and ribs of the choir like the original stone4 ,as the ,campanile intercepted the most striking view of the structure it was taken down40 ,when we enter by the west door the first view is hardly so striking as the first view of the exterior4 ,a closer examination and a comparison with other cathedrals shows how far ,salisbury is in advance of everything else of its kind4 ,the exquisite lightness and delicate proportions of the steeple are equally apparent in the nave and its aisles1 the slender columns1 the pointed arches1 the light triforium1 the lancets of the clerestory1 and the soaring vault4 ,the same 8order10 as the classical architect would say1 is practically carried round the church4 ,as we advance eastward1 and reach the crossing of the transepts1 we observe the curious four centred buttressing arches erected by ,bishop ,wayte1 #adae1 to increase the supports of the tower4 ,similar precautions are seen in ,canterbury1 ,hereford and ,wells ,cathedrals4 ,under the tower is a brass plate in the pavement which was placed here in #agcg1 and marks the fact that the spire inclines twenty-two and a half inches to the south-west4 ,this inclination1 which is perfectly visible on the outside1 was first calculated by ,sir ,christopher ,wren1 who put iron 8bandages0 round the masonry1 and made other repairs4 ,no increase of the deflection has been observed since his time1 although the spire was struck by lightning in #agda4 ,the choir screen is by ,skidmore4 ,the organ is divided4 ,some ancient glass may be seen in the triplet windows at the ends of the transepts4 ,the altar stood to the eastward of the second or choir transept1 and some parts of the old stalls are still to be seen1 but almost everything in this part of the church is new4 ,the ,audley chantry 7#aebd71 in the latest style of ,gothic1 is on the north side4 ,there are some remains of the very curious and interesting if not unique iron chantry of ,lord ,hungerford1 formerly in the ,lady ,chapel1 made into a kind of pew or cage1 about a hundred years ago1 by the heirs of the family when ,wyatt destroyed it4 ,a somewhat similar example1 or part of one1 the ,chantry of ,edward ,,iv4 in ,st4 ,george's ,chapel at ,windsor1 has already been 8restored0 away4 ,the ,lady ,chapel is probably not correctly described by that name4 ,the whole church is dedicated to the ,blessed ,virgin4 ,it is perhaps more correctly called ,trinity ,chapel4 ,here the colouring1 modern1 of the roof1 and other amendments and improvements made and suggested by ,scott1 for the most part1 though ,clutton also showed himself a worthy successor of ,wyatt1 are exceedingly offensive4 ,the cloisters are entered from the south-western transept4 ,they are slightly later1 in the same style as the church1 but were evidently not built till it was finished4 ,in churches of the old foundation cloisters were an ornament1 a luxury1 and not a necessity1 as at ,canterbury or ,gloucester1 where they were needed for the use of the monks4 ,the cloisters of ,salisbury are the largest in ,england1 each walk being1 within1 #aha feet long1 or from wall to wall1 without1 #aie feet4 ,over the east walk is a fine ,library1 containing many illuminated and other manuscripts1 including some early liturgies4 ,,the ,,castle ,,of ,,angers ,,henri ,,jouin ,on the #gth of ,september1 #affa1 as night was falling1 a company of musketeers crossed the drawbridge of the ,castle of ,angers4 ,scarcely had they entered the fortress when these musketeers expelled the garrison4 ,this was the ,king's order4 ,a sub-lieutenant commanded these men3 it was d',artagnan4 ,a prisoner had been confided to him3 this was ,nicholas ,fouquet4 ,the superintendent's servant1 ,la ,valle1 and his physician1 ,pecquet1 taking pity upon ,fouquet1 who was the prey of a quartan fever1 obtained leave to share his captivity4 ,the ,castle then had shut within it three prisoners1 who were subjected to the most rigorous treatment4 ,we know by the official account of ,fouquet's detention that the bed in which he had to sleep on the #gth of ,september 8was not of the cleanest40 ,now for the rest1 d',artagnan1 and his two officers1 ,saint ,mars and ,saint ,leger1 maintained an extreme reserve towards their guests4 ,there is no news from outside4 ,pecquet1 before leaving ,nantes1 had1 it is true1 fortuitously met ,gourville4 ,it was from him that ,pecquet got the news of the arrest of ,pellisson and the exile of ,madame ,fouquet4 ,sorrowful presage6 ,the accused one began first of all to prepare his defence4 ,he wrote several memoirs1 but at the end of a few days1 writing was prohibited4 ,the president of ,chalain1 suspected of having wished to bribe a musketeer was also apprehended to be conducted to the ,bastille4 ,louis ,,xiv41 ,colbert1 ,le ,tellier1 and ,sguier kept their eyes fixed on ,angers4 ,fouquet lived there until the first of ,december1 having no other pastime between his two attacks of fever than to contemplate with a melancholy look 8la fillette du ,roi40 ,this was the name by which they designated an iron cage1 in which1 according to legend1 a queen of ,sicily had been shut up by her husband 8for having built the church of ,saint-,maurice at ,angers too magnificently40 ,this legend was not calculated to reassure the ,superintendent4 ,he knew that he was accused precisely of having used the money of the ,treasury to build ,vaux-le-,vicomte1 the magnificence of which had offended the ,king4 ,if1 through misfortune1 the thought of keeping him under such good guard1 between these bars1 had entered the heads of his enemies1 of what advantage was the little bit of liberty that he still enjoyed8 ,moreover1 he was not unaware of the refinements of cruelty that had been practiced for the past two centuries upon the prisoners of ,state4 ,the 8fillette du ,roi10 made at the order of ,louis ,,xi41 had not been empty at any period4 ,had not ,cardinal ,balue1 bishop of ,angers1 known this instrument of torture at the ,chteau d',onzain1 near ,blois8 ,fouquet might well be afraid1 for there entered perhaps far more passion than justice in his disgrace4 ,they did not go so far1 however1 as to put him in a cage4 ,the vigilance and the loyalty of d',artagnan1 and the thickness of the walls of the ,castle seemed to ,fouquet's enemies1 a sufficient safeguard against all danger of his escape4 ,what is then the ,castle of ,angers8 ,illustration3 ,,the ,,castle ,,of ,,angers1 ,,france4 ,pan de la ,tuilerie--the d',argenville angevin--comes to tell us4 8,the ,castle is at one of the extremities of the city1 on a rock1 and surrounded with deep moats1 cut in the rock1 which is an escarpment on the bank of a river that flows at its base1 and from which they lift1 by means of a very convenient machine1 all the munitions which are necessary4 ,it is of a triangular form1 all built of slate and flanked by eighteen round towers and a crescent1 which is the gate of the faubourg40 ,pan de la ,tuilerie wrote in #aggh4 ,his description is still very nearly exact4 ,to speak the truth1 this military post forms less of a triangle than a pentagon1 but the appearance of the ,castle remains what it was in the last century4 ,the girdle of moats has been1 however1 a little changed4 ,the ,maine rolls no longer beneath its towers4 ,it is not1 as you will readily believe1 that the course of the river has been turned4 ,to change the position of the fortress would have been difficult4 ,they considered it simpler to fill up the canal4 ,some factories1 some counting-houses1 and some private dwellings occupy the place of the moat1 and the traveller seeks vainly at the present moment for that 8very convenient machine10 of which ,pan speaks4 ,moreover1 it would be useless4 ,the ,castle has no more need of munitions4 ,english1 ,bretons and ,normans have left it4 ,their attacks are ended4 ,angers ignores to-day those savage incursions and perpetual threats1 which for several centuries1 troubling its repose1 kept its independence in check4 ,then the ,castle had to sustain repeated sieges4 ,the silence that envelops it has grown out of the clank of arms and the cries of the combatants1 who many times made this stone colossus tremble to its very foundations4 ,ah6 the noble rampart of the city6 ,its great days and its glorious past1 haunt my memory4 ,who chose its site8 ,count ,eudes1 under the royal approbation of ,charles the ,bald4 ,the ,plantagenets seem to have embellished and fortified the north turret of the building1 but it is to ,louis ,,ix4 that the primitive castle is indebted to its transformation into a military post4 ,its imposing towers1 firmly planted on their bases of schist1 are the work of ,louis ,,ix4 ,its large canals hollowed out of the slate date from the last years of the ,fifteenth ,century4 ,they give character to the citadel4 ,you judge it most impregnable in measuring the depth of its moats with your eye2 but how many times had the enemy been repulsed by the rain of projectiles thrown from the ,castle8 ,in #addd1 the ,english approached the city4 ,they ravaged the country mercilessly1 and pillaged and ruined according to their good pleasure4 ,the army encamped near the fortress1 intending to open the siege on the following day4 ,on the following day the ,english troops took their departure4 ,what could have been the cause of their retreat8 ,one of the ,english chiefs was hit in the forehead by a shot and instantly killed4 ,this occasioned such confusion that the assailants fled4 ,an artilleryman thus saved the city4 ,the ,fifteenth ,century was1 moreover1 the great epoch for the ,castle of ,angers4 ,louis ,,xi41 profound politician and crafty of action1 meditated upon uniting the ,duchy of ,anjou to the crown of ,france4 ,this was shown on two occasions4 ,the second time1 the ,prince being at war with ,bretagne had levied previously upon the city of ,angers for subsidies for his troops4 ,he came again4 ,behnard ,guillaume ,cerizay1 his secretary1 and three chamberlains entered ,angers4 ,they convoked and consulted with the notables4 ,at this time plbiscites were unknown4 ,people did not have the character to defend their rights and their interests4 ,they were minors4 ,but if the ,angevin populace could have spoken1 it would not have spoken better than its representatives4 ,the notables chose for ,france4 8,the assembly10 wrote ,m4 ,port1 8through the voice of the ,chancellor of ,anjou1 pledged its faith to the ,king4 ,on the following day1 ,louis ,,xi4 had come to the ,castle offering a favourable reply to all requests1 granting to the most zealous petitions leave to have a house in the city40 ,the ,castle in which this act of submission to the ,king of ,france took place1 was formerly the property of the ,duc d',anjou1 who was at the same time ,count of ,provence and ,king of ,sicily1 ,ren1 son of ,yolande1 poet1 amateur1 bibliophile1 collector1 and patron of poets1 sculptors1 goldsmiths1 tapestry-workers and illuminators who filled his court1 8,ren le prince populaire1 ,doux artiste aux yeux blouis ,des peintres que1 pour lui plaire ,lui fait offrir le roi ,louis40 ,it was at the ,castle of ,angers1 in a kind of little manor-house flanked by four turrets1 that ,ren first saw the light on the #afth of ,january1 #adji4 ,the ,maugine was his nurse in the citadel1 the ,maugine1 ,tiphaine1 to whom in after years he erected a tomb1 the touching inscription upon which is from his hand4 ,married at the age of twelve to ,isabelle de ,lorraine1 ,ren d',anjou1 fighting everywhere for twenty-five years1 made only rare appearances at the ,castle of ,angers2 but soon comes the death of ,isabelle and upon it quickly follows the second marriage of the prince with ,jeanne de ,laval1 upon which he establishes his residence at ,angers4 ,farewell war1 diplomacy1 treaties and conquests6 ,ren yields himself up to the charm of his young wife4 ,to her the poet consecrates his loving stanzas of ,regnault and ,jeanneton1 a kind of autobiography of the husband and wife4 ,the ,shepherd and the ,shepherdess1 a delicate pastorale composed in honour of ,jeanne de ,laval1 will be put into its final form under the skies of ,provence1 at ,tarascon2 but it is in the ,angevin country that the poet finds all his ideas as he strolls at the side of the beautiful ,jeanne4 ,the writers of the time show us ,ren going out of the ,castle without escort1 accompanied solely by his royal spouse1 and taking the chemin de la ,baumette4 ,after passing through the field-gate1 the illustrious personages got into a fisherman's boat below the ,basse-,chane1 and descended the ,maine to that solitary hermitage1 where ,rabelais will presently come to study at the ,cordeliers4 ,it is also from this ,castle that ,ren d',anjou issues to cross his 8beautiful city0 on foot to his dear hermitage1 where he loved to consort 8with the citizens of ,angers1 the artists and the men of learning of his ,court40 ,ren disappeared2 ,louis ,,xi4 reigned4 ,a century elapsed4 ,henri ,,iii4 yielded to the request of the common people of the city who wished for the destruction of the ,castle4 ,the citadel suffered4 ,letters patent from the ,king authorized the governor of ,anjou to 8raze to the ground the stones of all the walls1 towers1 lodgings1 buildings and fortifications of the ,castle40 ,already the workmen are called4 ,who will direct this barbarous piece of work8 ,donadieu1 ,sieur de ,puycharic1 claims this honour4 ,puycharic is the governor of the ,castle4 ,they grant his wish4 ,but a man of heart1 a soldier1 can he conscientiously annihilate the ramparts of a city8 ,this military post of which he is the keeper has its past of glorious traditions4 ,it is worthy of respect4 ,its services1 it seems to him1 ought to be taken into consideration4 ,this is what ,puycharic thought aside1 and for ten years--you have read of this--for ten years--with clever ingenuity1 ,puycharic kept his army of destroyers busy without destroying anything4 ,he yielded to the necessities of the hour by demolishing the outside buildings of the ,castle which he had inherited from his predecessors2 a garden pavilion1 built by ,louisa of ,savoy1 disappeared2 the field-gate1 whose defence was difficult1 was altered2 two useless towers lost their turrets1 and in proportion as the waggons full of stones left the ,castle1 the common people exulted1 proud of their success4 ,from time to time1 it is true1 public opinion complained of the slowness of the workmen at the town's expense4 8,isolated during the troubles10 ,m4 ,port has said of him1 8in the heart of the ,angevin league1 the valiant captain was not merely satisfied to guard the place but bravely attacked the foe in the field1 one day the ,lion d',angers1 another ,brissac1 ,rochefort1 ,beaupreau1 and ,chemill1 fighting for about ten years in every kind of warlike adventure1 fought against and fighting1 holding the country in hand and preparing the place for the ,king40 ,his headquarters were at the ,castle4 ,it was here that he rallied his men and came to heal his wounds between encounters4 ,peace being restored1 ,puycharic1 being appointed senechal of ,anjou1 dismissed his workmen1 who were greatly astonished and perhaps greatly pleased at having repaired1 embellished and fortified the ,castle that they thought they were pulling down4 ,puycharic died in #afje4 ,his funeral was magnificent4 ,he rests in the chapel of the ,jacobins2 and his brothers1 the bishops of ,saint-,papoul and d',auxerre erected to his memory a monument surmounted by his statue4 ,,the ,,pagoda ,,of ,,tanjore ,g4 ,w4 ,,steevens ,southward out of ,madras you still run through the new ,india1 the old ,india of the nursery4 ,now it is vivid with long grass1 now tufted with cotton1 then dark-green with stooping palm-heads or black with firs2 anon brown with fallow1 blue with lakes and lagoons1 black with cloud-shadowing pools starred with white water-lilies4 ,presently red hills break out of the woods1 then sink again to sweeping pastures dotted only with water-hoists and naked herdsmen4 ,then in the placid landscape you are almost startled by the sight of monuments of religion4 ,a tall quadrangular pyramid1 its courses lined with rude statues1 a couple of half-shaped human figures1 ten times human size1 a ring of colossal hobby-horses sitting on their haunches like a tea-party in ,wonderland--they burst grotesquely out of meadow and thicket1 standing all alone with the soil and the trees4 ,no worshippers1 no sign of human life near them1 no hint of their origin or purpose--till you almost wonder whether they are artificial at all1 and not petrified monsters from the beginning of the world4 ,illustration3 ,,the ,,pagoda ,,of ,,tanjore1 ,,india4 ,these are the outposts of the great pagodas of ,southern ,india--those sublime monstrosities which scarce any ,european ever sees1 which most have never heard of1 but which afford perhaps the strongest testimony in all ,india at once to the vitality and the incomprehensibility of ,hinduism4 ,the religion that inspired such toilsome devotion must be one of the greatest forces in history2 yet the ,western mind can detect neither any touch of art in the monuments themselves nor any strain of beauty in the creed4 ,both command your respect by their size3 that which is so vast1 so enduring1 can hardly1 you tell yourself1 be contemptible4 ,and still you can see nothing in the temples but misshapen piles of uncouthness1 nothing in the religion but unearthly superstitions1 half meaningless and half foul4 ,the nearest approach to a symmetrical building is the great pagoda of ,tanjore4 ,long before you near the gate you see its tall pyramidal tower1 shooting free above crooked streets and slanting roofs4 ,presently you see the lower similar towers1 so far from the first that you would never call them part of the same building4 ,in reality they are the outer and inner gateways--gopura is their proper name--built in diminishing courses1 garnished with carving and statuary4 ,from a distance the massive solemnity of their outlines1 the stone lace of their decorations1 strike you with an overwhelming assertion of rich majesty4 ,but you are in ,india1 and you wait for the inevitable incongruity4 ,it comes at the very gate4 ,the entrance is not under the stately gopura1 but under a screen and scaffolding of lath and plaster daubed with yellow and green grotesqueness--men with lotus-eyes looking out of their temples1 horses with heads like snakes1 and kings as tall as elephants4 ,there is to be a great festival in a day or two1 explains the suave ,brahman2 therefore the gopuras are boarded up with pictures beside which the tapestries of our pavement-artists are truth and beauty4 ,you walk through scaffold-poles into a great square round the great tower1 and with reverence they show you that colossal monolith1 the great bull of ,tanjore4 ,i wish ,i could show you a picture of him1 for words are unequal to him4 ,in size he stands1 or rather sits1 thirty-eight hands two4 ,his material is black granite1 but it is kept so piously anointed with grease that he looks as if he were made of toffee4 ,in attitude he suggests a roast hare1 and he wears a half-smug1 half-coquettish expression1 as if he hoped that nobody would kiss him4 ,from this wonder you pass to the shrines of the chief gods4 ,the unbeliever may not enter1 but you stand at the door while a man goes along the darkness with a flambeau4 ,the light falls on silk and tinsel1 and by faith you can divine a seated image at the end4 ,next you are at the foot of the great tower1 and the ridiculous has become the sublime again4 ,every story is lined with serene-faced gods and goddesses1 dwindling rank above rank1 a ladder of deities that seems to climb half-way up to heaven4 ,then the ,brahman shows you a stone bull seated on the ground1 like a younger brother of the great one4 8,it is in existence10 he says1 throwing out his words in groups1 dispassionately1 as though somebody else were speaking and it were nothing at all to do with him--8it is in existence--to show the dimensions--of four other bulls--which are in existence--up there40 ,you lay your head back between your shoulder-blades1 and up there1 at the very top1 among gods so small that you wonder whether they are gods or only panels or pillars1 are four more little brothers of the hare-shaped toffee-textured monster below4 ,reduplication is the keynote of ,hindu art4 ,the same bulls everywhere1 the same gods everywhere1 and all round the cloistered outer wall scores on scores of granite1 fat-dripping1 flower-crowned emblems1 so crudely shapeless that you forget their gross significance--but all absolutely alike4 ,next the ,brahman leads you aside to piles and piles of what look like overgrown1 gaudily painted children's toys4 ,this is an exact facsimile of the ,tower1 reduced and imitated in wood4 ,it is all in pieces1 but at the festival the parts are fitted together and carried on a car4 ,every god sculptured on the pyramid is represented in a section of this model1 waiting to be fitted into his place4 ,only what is richly mellow in tinted stone is garishly tawdry in king's yellow and red lead--and again you tumble from the sublime to the infantile4 ,next1 a little shrine that is a net of the most delicate carving--stone as light and fantastic as wood2 pillar and panel1 moulding and cornice1 lattice and imagery1 all tapering gracefully till they become miniatures at the summit4 ,it is a gem of exquisite taste and patient labour4 ,and the very next minute you are again among flaming red and yellow dragon-tigers and duck-peacocks1 and the one is just as holy and just as beautiful to its worshippers as the other4 ,from which objects of veneration the ,brahman passes lightly to the domestic life of the frescoed rajahs of ,tanjore4 8,this gentleman--marry seventeen wives--all one day--doubtless in anxiety of getting son40 ,it is quite true4 ,the ,rajah1 having but three wives and no child1 resolved to marry six more young ladies1 and collected seventeen to choose them from4 ,but the fathers and brothers of the rejected eleven were affronted2 and rather than have any unpleasantness on his wedding-day1 his ,majesty tactfully married the whole seventeen1 nine in the morning and eight in the afternoon4 8,and here10 pursued the ,brahman automatically1 showing a tank1 8he will let in water--and here he will play--with all his females--and all that40 ,that is all1 except to write your name in the visitor's book4 ,as ,i went in to sign1 ,i noticed a band of musicians standing at the door and thought no more of it4 ,but as my pen touched the paper1 suddenly reedy pipes and discordant fiddles and heady tom-toms began to play 8,god ,save the ,queen40 ,a huge chaplet of muslin and tinsel1 like a magnified ,christmas-tree stocking1 was cast about my neck2 betel and attar-of-rose were brought up in silver vessels1 and flowers and fruits on silver trays4 ,the pagoda keeps its character to the end3 the compliment was sublime--and ,i ridiculous4 ,yet the temple of ,tanjore is the most simple and orderly of all its kind4 ,visit the great pagoda of ,madura and you will come out mazed with ,hinduism4 ,all its mysteries and incongruities1 its lofty metaphysics and its unabashed lewdness1 seem to brood over the dark chambers and crannying passages4 ,the place is enormous4 ,over the four chief gateways rise huge pyramid-towers1 coloured like harlequins1 red tigers jostling the multiplied arms and legs of blue and yellow gods and goddesses so thick that the gopuras seem built of them4 ,in the pure sunlight you almost blush for their crudity1 just as you would blush if the theatre roof were lifted off during a matine4 ,but inside the place is nearly all half-lighted1 dim1 and cryptic4 ,you go through a labyrinth1 that seems endless1 of dark chambers and aisles4 ,now you are in thick blackness1 now in twilight1 now the sun falls on fretwork over pillared galleries and damp-smelling walls4 ,but as the light falls on the pillar you start1 for it is carved into the shape of an elephant-headed ,ganesh1 or a conventionally high-stepping ,shiva4 ,on you go1 from maze to maze1 till there is no more recollection of direction or guess at size3 you are lost in an underground world of gods that are half devils2 you hardly distinguish the silent-footed1 gleaming-eyed attendants from the stone figures4 ,some of the fantastic images are smeared with red-lead to simulate blood3 all drip with fat4 ,a heavy smell of grease and stagnant tank-water loads your lungs4 ,you feel that you are bewitched--lost and helpless among unclean things4 ,when you come out into the sun and the cleaner dirt of the town1 you draw long breaths4 ,if you could understand the ,hindu religion1 you tell yourself1 you would understand the ,hindu mind4 ,but that1 being of the ,west1 you never1 never will4 ,,the ,,vendramin-,,calergi ,,th,,ophile ,,gautier ,following a vagabond method1 let us regain the ,grand ,canal and give some details upon the ,vendramin ,palace1 now occupied by the ,duchesse de ,berry4 ,it is of a rich and noble architecture1 probably by ,pietro ,lombardo2 in the entablature and above the windows1 little cherubs uphold storied shields adorned with exquisite taste1 and contribute much elegance to this faade4 ,a garden of somewhat restricted space contributes some green trees alongside this palace1 which would not be distinguished from the others if the large white and blue posts with ropes did not indicate1 by means of the fleur-de-lis painted upon them1 a princely and semi-royal dwelling4 ,after having obtained permission to visit this palace1 valets in green livery welcome you very politely at the base of the staircase1 the steps of which are laved by the waters1 fasten your boat to the posts1 and take you into a vestibule1 where you wait until all the formalities of admission are complied with4 ,this vestibule is just as long as the palace2 it opens upon a kind of court similar to the courts of our hotels4 ,two hitched gondolas and a few earthen pots containing small firs and other poor plants that are dying of thirst are all that adorn the bareness of this vast waiting-room that is found in every ,venetian palace1--an antechamber that is also a landing-place4 ,illustration3 ,,the ,,vendramin1 ,,calergi1 ,,italy4 ,in the centre of this vestibule1 a little to the left1 a wide stairway between two walls is seen where the same decoration of miserable plants appear4 ,a narrow carpet covers the steps leading to an immense hall resembling a vestibule1 without furniture and without adornment4 ,from this1 you enter the dining-room1 the walls of which are hung with family portraits4 ,this is a long square room4 ,it is very well lighted by two enormous ,french windows4 ,an oval table stands in the centre and a screen shields the entrance4 ,upon the wall to the right you notice the portrait of the ,duchesse de ,bourgogne in a blue velvet dress2 also of the ,comte d',artois and ,madame la ,princesse de ,lamballe and several others4 ,upon the left wall opposite1 is the full length portrait of ,louis ,,xv41 and on either side of him1 his daughters4 ,in this dining-room1 a masked door opens into a dark chapel1 so small that it will barely hold six persons4 ,you can count four ,prie-,dieu there4 ,on the right1 a large door opens into a very modern drawing-room filled with pictures and a great number of small pieces of furniture3 ,english tables1 ,parisian coffers1--nothing is lacking to produce that charming home-like feeling that is derived from luxurious trifles4 ,two portraits of ,her ,royal ,highness are placed opposite one another2 that by ,lawrence in a dress of white satin1 with a rose on her breast1 exhibits the most charming little foot that can possibly be admired in a white satin slipper4 ,on walking through the dining-room1 you enter1 by a door on the left1 a little salon1 which seems relatively small after the preceding rooms1 and perhaps overwhelmed by the sumptuous furniture that adorns it4 ,it contains thirty splendid pictures2 this is a kind of ,uffizi or ,salon carr1 where scarcely one of the greatest names in painting is missing4 ,among these great masterpieces shines a ,virgin by ,andrea del ,sarto1 so beautiful that it would make cold chills run through the most elementary connoisseur and the most hide-bound and prosaic ,philistine4 ,this ,salon illumined by a soft and well distributed light1 seems to me the select spot1 the very heart of the building1 and ,i left it with deep regret to go and visit the famous salon which contains those two porphyry columns whose value is so great that they are worth more than the entire palace4 ,they are placed in front of a door1 and thus produce as little effect as the lapis lazuli in the 8,salon ,serra0 in ,genoa1 which you might well believe were painted and varnished1 and which strongly resemble a metallic blue watered silk4 ,there is still another salon1 but it is not remarkable in any way4 ,in the four corners1 four bracket pedestals support four busts3 those of the ,duc de ,berry1 of ,charles ,x41 and other members of the royal family4 ,the ,vendramin-,calergi has gained an additional interest in recent years on account of the fact that ,richard ,wagner died in it on ,feb4 #ac1 #ahhc4--;,e4 ,s4 ,illustration3 ,,fountain ,,of ,,the ,,old ,,seraglio1 ,,turkey4 ,a ,,visit ,,to ,,the ,,old ,,seraglio1 ,,constantinople ,,pierre ,,loti ,the rising sun gilds the mosque1 gilds it under the fresh plane-trees2 in the air there is a white mist which is like the original veil of day4 ,the little ,turkish cafs begin to open1 and two or three minims are already being shaved in the open air under the trees4 ,it is evidently very early1 and ,i have time to stop here before returning to ,pera4 ,i sit down under the trellis ordering coffee with those warm little bonbons that they sell here in the morning1 and ,i think this better than the most delicate breakfast4 ,about two hours afterwards1 about eight o'clock1 a carriage takes me back to ,stamboul in the company of an aide-de-camp of ,his ,majesty2 and in a solemn and desert-like quarter1 where the grass pushes up between the stones of the pavement1 our coachman stops before a forbidding enclosure like that of a ,medival fortress4 ,these walls shut in a little corner of earth which is absolutely special and unique1 and which is the extreme point of ,oriental ,europe1--a promontory that juts out towards neighbouring ,asia1 and which was1 moreover1 for many centuries1 the residence of the ,caliphs and a place of incomparable splendour4 ,this1 and the sacred suburb of ,eyoub contain all that is most exquisite in ,constantinople3 this is the 8,old ,seraglio10--a name that alone evokes a world of dreams4 ,they open for us a door in this wall1 and1 then1 as soon as the barrier is passed1 the delicious melancholy of interior things is revealed to us1 and the dead ,past takes us to itself and envelops us with its winding-sheet4 ,at first1 there is silence and shadow4 ,empty1 desolate courts1 where the neglected grass pushes through the flag-stones and where still live ancient trees that were contemporaries of the magnificent sultans of former times3 black cypresses as tall as towers1 plane-trees which have acquired unwonted forms1 all hollowed out by time1 being supported only by immense shreds of bark and bent like old men4 ,then come the galleries with colonnades in the ancient ,turkish style1 painted with strange frescoes1 under which the great ,solomon forced the ambassadors of the ,european kings to enter4 ,and this place1 happily never open to profane visitors1 has not yet become a common promenade for tourists2 behind the high walls1 it preserves a little mysterious peace1 it is all imprinted with the sadness of dead splendour4 ,crossing these first courts1 we have upon the right impenetrable gardens1 where you see rising above the clumps of cypress old kiosks with closed windows1--the residences of imperial widows and aged princesses who wish to end their days here in this austere retreat in one of the most wonderful sites in the world4 ,it is all bathed in sunlight1 all dazzling in tranquil light1 the last portion of this walled-in spot to which we have now come1--the very last point of the ,old ,seraglio1 and of ,europe4 ,it is a solitary esplanade1 very elevated and very white1 dominating the distant blue of the sea and of ,asia4 ,the clear morning sunlight inundates those depths of space out yonder1 where the towns1 the islets and the mountains are sketched out in light tints above the motionless sheet of ,marmora4 ,around us are old buildings also white1 which contain all that is rarest and most precious in ,turkey4 ,first the kiosk1 forbidden to infidels1 where the cloak of the ,prophet is kept in a cover embroidered with jewels4 ,then the kiosk of ,bagdad1 the interior of which is entirely clothed in those old ,persian faences2 which are priceless to-day3 the branches of red flowers were made upon them with coral that they liquified by a process now lost and spread upon them like pigment4 ,then the ,imperial ,treasury1 very white also under its layers of whitewash and barred like a prison2 and whose iron gates will be opened for me presently4 ,and finally1 a palace1 uninhabited1 but well maintained1 which we entered and sat down4 ,steps of white marble led us to the salons of the first floor1 which were furnished about the middle of the last century in the ,european taste4 ,they are of the ,louis ,,xv4 style1 to which an imperceptible mixture of ,oriental singularity gives a special charm4 ,the white and gold wainscots with old cherry or old lilac damask with white flowers show nothing but light tints mellowed by time4 ,there are some large ,svres and ,chinese vases1 and few other objects1 but all of them are old and rare4 ,much space1 air1 and light1 and a tranquil symmetry in the arrangement of everything--give a feeling of changelessness and neglect4 ,and there in a sort of sumptuous solitude1 seated on these fauteuils of a deliciously pale rose1 before large open windows1 we have from this last promontory of ,europe1 the splendid view that charmed the ,sultans of the past4 ,to our left1 and very far below us1 the ,bosphorus spreads1 furrowed with ships and caques2 the whiteness of the marble quays are reflected in it2 the whiteness of the new imperial residences1 ,dolma ,bagtche and ,tcheragan1 are mirrored inverted in long1 pale lines2 the row of palace and mosques is pictured magnificently upon its banks4 ,opposite is ,asia1 still bluish in the remaining drifts of the morning mist2 it is ,scutari1 with its domes and minarets1 with its immense cemetery and its forest of dark cypresses4 ,to the right1 the infinite expanse of ,marmora2--distant steamboats are moving upon it1 lost in all that diaphanous blue1--little grey silhouettes trailing delicate clouds of smoke4 ,how well it was chosen1 this site1 to dominate and watch from above that ,turkey1 seated superbly on two divisions of the world6 ,and to-day1 what peace and what melancholy splendour in this complete isolation from all the agitations of modern life1 in this great silence of abandonment1 under this clear and mournful sun6 ,when the guardian of the ,treasury--an old man with a white beard--is ready to open the iron door with his enormous keys1 twenty individuals come to form a hedge1 ten to the right1 ten to the left1 on each side of the entrance4 ,we pass between this double row and enter the rather dark halls1 into which they all follow us4 ,the cavern of ,ali ,baba could never have been filled with such wealth6 ,for eight centuries they have been heaping up here the rarest jewels and the most astonishing marvels of art4 ,as our eyes become rested from the outside sunlight1 and get accustomed to the shadowy interior1 the diamonds begin to sparkle everywhere4 ,things in profusion1 without age or price1 classified by species upon shelves4 ,arms of all periods1 from ,genghis ,khan to ,mahomet2 weapons of silver and gold set with jewels4 ,then there are collections of golden coffers of all sizes and of all styles2 some are covered with rubies1 others with diamonds and others with sapphires2 some of them are even cut out of a single emerald as big as an ostrich's egg4 ,then there are services for coffee1 for drinking1 and ewers of antique and exquisite forms4 ,and the stuffs fit for fays2 the saddles2 the harness1 the housings of parade in brocades of gold and silver1 embroidered and encrusted with flowers in precious stones2 the large thrones made to sit upon cross-legged3 all these in ruby and fine pearl together produce a rosy brilliancy2 elsewhere1 others covered with emeralds and brilliant in their green reflections1 look as if bathed in sea-water4 ,in the last hall1 there is waiting for us behind the windows a motionless and terrible company3 twenty-eight macabre dolls1 of human size1 standing up straight in a military row with their elbows touching each other4 ,they all wear that high pear-shaped turban that has not been in use for a century1 and which is only to be seen upon the catafalques of distinguished personages1 in the twilight of mortuary kiosks1 or carved upon the tombs--so that this kind of a turban is for me absolutely associated with the idea of death4 ,until the beginning of this century1 whenever a sultan died1 they brought here a doll clothed in the ceremonial robes of the dead sovereign1 they placed marvellous arms in his belt1 put on his turban1 and his magnificent jewelled aigrette1--and it remained here forever covered with this eternally wasted wealth4 ,the twenty-eight ,sultans who succeeded each other from the capture of ,constantinople until the end of the ,seventeenth ,century are standing here in their imperial robes in facsimile2 slowly has the sombre and sumptuous assembly increased1 new funeral dolls came one by one to range themselves in line with the old ones1 who had awaited them for hundreds of years1 sure of seeing them at last--and they are now touching each other's elbows4 ,their long robes are of the strangest brocades1 with great mysterious designs whose tints are dimmed by time2 priceless poignards with large handles made of a single precious stone1 rust1 notwithstanding the care1 in the silken belts2 it even seems that the enormous diamonds of the aigrettes have lost some of their fire1 and shine with a yellowish and dulled light4 ,and this unheard of luxury1 all powdered with dust1 is sad to look upon4 ,fabulously magnificent1 the dolls with the high coiffure1 objects of so much human covetousness guarded there behind the double doors of iron1 useless and dangerous1 see the seasons1 years1 reigns1 revolutions and centuries pass by with the same immobility and the same silence1 with scarcely any daylight through the gratings of the old windows and in total darkness after the sun sets4 ,each one bears his name1 written like a common name upon a faded ticket--illustrious names that were formerly terrible3 ,mourad the ,conqueror1 ,soliman the ,magnificent1 ,mohammed and ,mahmoud4 ,i believe that these dolls give me the most terrifying lesson of fragility and nothingness4 ,,the ,,duomo1 ,,the ,,leaning ,,tower4 ,,the ,,baptistery ,,and ,,the ,,campo-,,santo ,,of ,,pisa ,h4 ,a4 ,,taine ,there are two ,pisas3 one in which people are bored and where they have lived in a provincial manner since the decadence2 this is the greater part of the city1 with the exception of a secluded corner3 the other is this corner1 a marble sepulchre1 where the ,duomo1 the ,baptistery1 the ,leaning ,tower and the ,campo-,santo repose silently like beautiful things that are dead4 ,the true ,pisa is here1 and in these relics of an extinguished life1 you find a world4 ,a renaissance before the renaissance1 a second and almost antique budding of an antique civilization1 a spring-time after six centuries of snow1--such are the ideas and words that crowd into the mind4 ,everything is of marble1 white marble1 whose immaculate whiteness shines in the azure4 ,on all sides are large solid forms1 the cupola1 the full wall1 the balanced stories1 the firmly-planted round or square mass2 but over these forms1 revived from the antique1 like delicate foliage that clothes an old tree-trunk1 there is spread an individual invention and a new decoration of the small columns surmounted by arcades1 and the originality and grace of this architecture thus renewed cannot be described4 ,illustration3 ,,duomo1 ,,leaning ,,tower1 ,,baptistery ,,and ,,campo ,,santo1 ,,italy ,in #ajhc1 to honour the ,virgin who had given them the victory over the ,saracens of ,sardinia1 the ,pisans began to build their ,duomo4 ,this is almost a ,roman basilica1 ,i should say a temple surmounted by another temple1 or if you like better1 a house having its gable for a faade1 and this gable is cut off at the peak to support a still smaller house4 ,five stories of columns cover the entire faade with their superimposed porticoes4 ,two by two they are coupled together to support the little arcades2 all these lovely columns of white marble under their black arcades make an arial population that is most graceful and unexpected4 ,in no place here do you perceive that sorrowful reverie of the ,medival north2 it is the holiday of a young nation that is awakening1 and1 in the joy of its newly acquired wealth1 honours its gods4 ,she has gathered from the distant shores to which her wars and trade led her1 capitals1 ornaments and entire columns and these fragments of antiquity fit into the work without any incongruity2 for the work is instinctively cast into the ancient mould and is only developed with a grain of fantasy on the side of delicacy and charm4 ,all the antique forms re-appear1 but remodelled in the same spirit1 by a new and original vivacity4 ,the exterior columns of the ,greek temple are reduced1 multiplied and elevated into the air and are not only a support but have become an ornament4 ,the ,roman or ,byzantine dome is elongated and its natural heaviness diminished beneath a crown of slender little columns with a mitre ornament which girds it in the centre with its delicate gallery4 ,on the two sides of the great door two ,corinthian columns are enveloped with the luxuriant leaves1 buds and twining stems of the acanthus1 and from the threshold we see the church with its rows of black1 and white columns of nave and transept1 with their multitude of slender and beautiful forms rising up like an altar of candelabra4 ,a new spirit appears here1 a more delicate sense of feeling2 it is not excessive and confused as in the north1 but1 at the same time1 it is not contented with merely the grave simplicity and the robust nudity of antique architecture4 ,this spirit is the daughter of a pagan mother1 healthy and gay1 but more feminine than her mother4 ,she is not yet an adult1 sure of her steps2 she makes awkward mistakes4 ,the lateral faades outside are monotonous4 ,the cupola within is a reversed funnel1 of a strange and disagreeable form4 ,the union of the two arms of the cross is unpleasing1 and a number of modernized chapels dispel the charm of the purity found in ,sienna4 ,at the second glance1 however1 all this is forgotten1 and the effect of the whole is felt again4 ,four rows of ,corinthian columns1 surmounted by arcades1 divide the church into five naves and form a forest4 ,a second passage also as richly peopled with columns crosses the first one1 and above the beautiful grove1 rows of still smaller columns are carried along and intersect each other in order to uphold in the air the quadruple gallery1 also prolonged and intersected4 ,the ceiling is flat2 the windows are little1 and most of them without panes2 they allow the walls to exhibit the grandeur and solidity of their mass1 and down these long lines of straight and simple windows the untempered daylight makes these innumerable columns glow with the serenity of an ancient temple4 ,it is not1 however1 wholly an ancient temple1 and there lies its peculiar charm3 at the back of the choir the entire hollowed out apsis is occupied with a large ,christ#aa in a golden robe1 with the ,virgin and another smaller saint4 ,his face is gentle and sad3 on this golden background in the dimness of the pale daylight he seems like a vision4 ,certainly1 a number of pictures and constructions of the ,middle ,ages supply all the needs of ecstasy4 ,other fragments show the decadence and the deep barbarism from which they sprang4 ,there remains one of those ancient bronze doors covered with formless and horrible bronze bas-reliefs4 ,such is what the descendants of the sculptors preserved out of antiquity1 such is what the human mind became in the chaos of the ,tenth ,century at the time of the ,hungarian invasions1 of ,marozzia and ,theodora3 sad1 mournful1 anmic1 dislocated and mechanical figures1 ,god the ,father and six angels1 three on one side and three on the other1 all leaning at the same angle like a row of cards leaning against one another2 the twelve apostles all in a row1 six in front and six in the intervening spaces1 like those round rings with holes for eyes and long lines for arms that children scribble in their exercise-books4 ,on the other hand1 the entrance doors1 carved by ,john of ,bologna1#ab are full of life3 leaves of the rose1 the grapevine1 the medlar1 the orange and the laurel with their berries1 their fruits and their flowers1 amongst which are birds and animals1 twine about and make frames for animated figures and groups that are energetic and imposing4 ,this wealth of truthful and vital forms is peculiar to the ,sixteenth ,century3 it discovered nature and man at the same time4 ,five centuries lie between the work of these two doors4 ,there is nothing more to say about the ,baptistery or the ,leaning ,tower2 the same idea1 the same taste and even the same style are seen in them4 ,the one is a simple isolated dome2 the other is a cylinder2 each has its exterior decoration of columns4 ,however1 each has its own distinct and speaking physiognomy2 but too much time would be occupied in either talking or writing about them and too many technical terms would be needed to distinguish the subtle differences4 ,i will only mention the inclination of the ,tower4 ,it is supposed that when the ,tower was half-finished1 it leaned and that the architects kept on1 and since they went on with it this inclination did not seem to have troubled them4 ,at all events1 there are other leaning towers in ,italy1--at ,bologna1 for instance2 voluntarily1 or involuntarily1 this fondness for oddity1 this search for paradox and this yielding to fantasy1 is one of the characteristics of the ,middle ,ages4 ,in the centre of the ,baptistery is a superb eight-sided basin2 each one of three sides is incrusted with a rich and complicated flower in full bloom1 and each flower is different4 ,there is a circle of large ,corinthian columns around it1 supporting round-arched arcades2 most of them are ancient and are ornamented with antique bas-reliefs3 ,meleager with his barking dogs and the nude bodies of his companions is assisting at ,christian mysteries4 ,on the left1 there is a pulpit similar to the one in ,sienna1 the first work of ,nicholas of ,pisa1#ac a simple marble coffer supported on marble columns and covered with carvings4 ,the feeling of the strength and nudity of antiquity is exhibited here in a striking manner4 ,the sculptor understood the postures and movements of the body4 ,his figures1 a little massive1 are grand and simple2 sometimes he reproduces the tunics and the folds of the ,roman costume2 one of his nude personages1 a kind of ,hercules carrying a lion on his shoulders1 has that large chest and the strained muscles that the sculptors of the ,sixteenth ,century loved so much4 ,what a difference to human civilization and what a hastening of it there would have been if these restorers of ancient beauty1 these young ,republics of the ,twelfth and ,thirteenth ,centuries1 these precocious creators of modern thought had been left to themselves like the ancient ,greeks1 if they had followed their natural bent1 if mystical tradition had not intervened to limit and divert their effort1 if secular genius had developed among them1 as it formerly did in ,greece1 amongst free1 rude and healthy institutions1 and not1 as it did1 two centuries later1 in the midst of the servitude and the corruptions of the decadence4 ,the last of these edifices1 the ,campo-,santo1 is a cemetery1 the earth of which1 brought from ,palestine1 is holy4 ,four high walls of polished marble surround it with their white and highly ornamented panels4 ,within1 a square gallery forms a promenade and opens upon a court through arcades trellised with ogival windows4 ,it is filled with mortuary monuments1 busts1 inscriptions1 and statues of every form and of every age4 ,nothing could be nobler or simpler4 ,a framework of dark wood supports the vault1 and the naked crest of the roof cuts the crystal of the sky4 ,at the corners four cypresses rustle their leaves in the light breeze4 ,the grass grows in the court with freshness and wild luxuriance4 ,here and there a climbing flower twines itself around a column1 a little rosebush1 or tiny shrub1 glowing in a ray of sunlight4 ,not a sound1--this quarter is deserted2 now and then you hear only the voice of a stroller which echoes as if beneath the vault of a church4 ,it is the veritable cemetery of a free and ,christian city2 here before the tombs of the great1 you can well reflect upon death and public affairs4 ,illustration3 ,,rochester ,,castle1 ,,england4 ,,rochester ,,castle ,,arthur ,,shadwell ,,martin ,the ,romans1 who always had a keen eye for favourable defensive sites1 were scarcely likely to miss the high ground in the great bend of the ,medway not far from where it falls into the ,thames4 ,the ,watling ,street from ,dover to ,london passed the river1 moreover1 at this point and received protection from the ,roman camp4 ,the ,saxons and ,danes also maintained the ,castle of ,hrofa here4 ,the usual timber fortifications were constructed in an oblong enclosure of about seven acres1 including a large conical mound of the ,eastern chalk range called ,bully ,hill4 ,it must even at that date have been a place of some strength1 because when it was besieged by the ,danes in #hhe1 it was able to hold out long enough for ,alfred to come to its relief4 ,at the ,conquest1 the ,normans recognized the strength of the position and added their own improved methods of fortification1 enclosing a quadrangular space close to the river with a strong curtain wall and afterwards building a massive square keep in the enclosure4 ,the ,saxon works were left outside and used merely as an outpost1 as was the case at ,warwick and ,canterbury4 ,the original quadrangular enclosure had a wall-circuit of #ehj yards1 the ,north and ,south walls measuring #afj1 and the ,east and ,west #acj each4 ,the ,east front faced the cathedral which even at that day was venerable4 ,the ,west wall ran along the river front4 ,the other three walls were defended by a broad and deep moat1 traces of which still remain4 ,much of the outer wall1 with square open towers recurring at intervals also exists4 ,the main entrance or gatehouse with drawbridge1 which no longer exists1 was at the ,north-east angle1 from which there was a steep descent to what is now the ,high ,street4 ,at the ,north-west angle1 was a bastion tower with a postern gate4 ,although this tower no longer exists1 it was still standing as late as #agce1 immediately on the shore1 commanding the bridge4 ,a large round tower still stands at the ,south-east angle4 ,it measures thirty feet in diameter2 it has two floors and is loop-holed for archery4 ,two rectangular towers that defended the ,east front are still in existence4 ,throughout the constructions1 we cannot fail to notice and admire the strength and massiveness of the masonry4 ,to this the ruin owes its preservation1 for besides the destroying hand of time1 the neglect of unappreciative generations1 and the destruction wrought by greed and fanaticism1 it has also suffered from several sieges4 ,on the highest ground of the enclosure1 near the ,south-east angle1 stands the keep4 ,in grandeur and impressiveness1 this tower does not suffer in comparison with any ,english keep of the ,norman period4 ,neither the smaller keep of ,newcastle1 nor the larger ones of ,colchester1 ,canterbury1 ,norwich and ,hedingham show the original arrangement better than ,rochester4 ,its base is more than seventy feet square1 and it is #aac feet high4 ,it is buttressed at the angles with four small towers each twelve feet square4 ,these1 rising twelve feet above the principal mass1 add greatly to the picturesque effect of the whole4 ,clinging like a limpet to the ,east angle of the keep is a smaller tower twenty-eight feet square and about seventy-five feet high4 ,this contained the chief entrance to the keep4 ,it had a flight of steps and an arched gateway enriched4 ,this and the other arches are constructed of ,caen stone brought from ,normandy2 the walls1 from ten to twelve feet thick1 are built with ,kentish rag4 ,even when this smaller tower was taken in an assault1 the besiegers still had trouble to get into the keep proper1 for the vestibule was divided from the rooms of the great keep by a portcullis in the main wall4 ,the groove in which it worked and traces of the ironwork still remain4 ,the keep contains three storeys of lofty apartments1 with a vault beneath4 ,as in the tower of ,london1 it is divided into two nearly equal parts by a wall running ,east and ,west that rises to the roof4 ,its thickness allows it to contain a well two feet nine inches in diameter with openings by which each apartment might be supplied with water4 ,by this arrangement1 it was impossible for besiegers to cut off the drinking supply of the garrison4 ,the thickness of the walls also admits of mural galleries1 as in the ,white ,tower1 and a well staircase leading from the vault to the roof1 communicating with each apartment4 ,the basement and first floor received their light through loop-holes2 the rooms of the higher storeys have their walls pierced with windows4 ,on the second storey were the rooms of state1 thirty-two feet high4 ,it has two tiers of windows1 the upper tier having a passage in the wall in front of the windows4 ,on this floor1 the apartments open into one another through the central dividing wall by four arches2 and in the north-east corner is a large doorway leading into an oratory or chapel built over the great entrance4 ,a flight of steps ascends to the wall gallery which goes all round the tower3 as in the ,white ,tower1 it is vaulted4 ,it is three feet high4 ,in these apartments1 there are fireplaces with enriched arches from which the smoke escaped through openings in the wall near the hearth4 ,this primitive contrivance must have rendered the council-chamber and banqueting-hall uncomfortable with draughts4 ,twenty-three steps lead from the wall gallery to the top floor which contains two handsome rooms twenty-five feet high4 ,from this storey1 the visitor may enjoy a lovely view1 including the town and banks of the winding river1 the ,cathedral and its close1 extending in the distance to the junction of the ,thames and ,medway4 ,above the third floor1 are the battlements which had a rampart walk4 ,the floorings were all carried by timber joists1 and in the basement was a prison4 ,the striking resemblance between this keep and the ,white ,tower at ,london of the same date would lead us to conclude that both were designed by the same architect4 ,they were in fact both planned originally by ,gundulf1 who was consecrated ,bishop of ,rochester in the year after the ,conquest4 ,besides his other great attainments1 this bishop was a very able architect1 and when the ,conqueror wanted to erect a strong castle at ,rochester1 ,gundulf was naturally entrusted with the task4 ,the first important historical event connected with the castle was the rebellion of ,odo1 ,bishop of ,bayeux and ,earl of ,kent1 half 7and perhaps full7 brother to ,william the ,conqueror4 ,kent had already suffered greatly from his rapacity1 and his conduct finally led to his dramatic arrest by ,william's own hands4 ,after ,william's death1 he plotted in ,robert's interest against his nephew ,rufus4 ,he attributed his imprisonment to ,archbishop ,lanfranc1 and when war broke out between the brothers ,robert and ,william in #ajhh1 he plundered ,kent1 paying especial attention to the ,archbishop's estates4 ,finally1 being captured at ,pevensey1 he was forced to give up all his possessions in ,england1 including ,rochester1 and leave the country4 ,he was sent under guard to ,rochester to complete the surrender and take ship for ,normandy2 but on his arrival1 ,eustace of ,boulogne and ,robert de ,belme and other supporters rescued ,odo and refused to surrender the city4 ,the castle was garrisoned and ,william ,rufus besieged it in person4 ,it surrendered after a blockade of six weeks4 ,william was very reluctant to grant any terms1 and indignantly refused ,odo's request for the honours of war4 ,the ,english portion of ,william's army1 who were principally ,kentishmen1 were very bitter against the ,bishop who had harried and oppressed them1 and cried3 8,halters6 halters for the traitor bishop6 ,let not the doer of evil go unharmed60 ,counsels of clemency1 however1 prevailed2 and ,odo was allowed to go2 and on this occasion ,rochester saw the last of him4 ,the castle had been considerably injured in the siege1 and ,william commissioned ,gundulf to spend #fj1 a large sum in those days1 in building a new tower4 ,in the twenty-seventh year of ,william's successor1 ,henry1 the king1 with the consent of his barons1 granted to the church of ,canterbury1 ,william 7of ,corbeil71 archbishop of that see1 the custody of the castle of ,rochester for ever1 with liberty to build a fort and a tower4 ,this archbishop1 who had the support of the king in the rivalry of ,canterbury and ,york1 was a great builder4 ,he rebuilt ,rochester ,cathedral and attended its dedication in #aacj4 ,shortly before1 he had with great pomp completed and dedicated the great cathedral at ,canterbury begun by ,lanfranc4 ,it was therefore about #aacj that the new castle was also completed4 ,the castle with its splendid and strong keep was far too important a military post to remain in possession of the see of ,canterbury for any length of time in that turbulent age4 ,when the see became vacant1 and on other occasions1 the ,crown resumed possession of it4 ,in #aada1 ,william of ,ypres1 a ,fleming1 was its governor for ,stephen1 as the archbishop had sworn allegiance to the ,empress ,maud4 ,when the ,earl of ,gloucester1 a natural son of ,henry ,i4 was captured at ,winchester1 he was imprisoned in this castle until exchanged for ,stephen1 who was taken at ,lincoln later in the year4 ,william of ,ypres being banished1 ,henry ,,ii4 gave his earldom of ,kent and the castle of ,rochester to ,philip1 ,earl of ,flanders1 but the ,earl never took possession4 ,in #abjb1 the castle was again restored to the archbishop1 then ,stephen ,langton1 who later1 during ,john's wars with his barons1 turned it over to ,william de ,albini1 a valiant and able commander1 to be held in the interests of the barons4 ,john invested the stronghold in #abae1 and succeeded in gaining possession after an obstinate defence lasting three months4 ,the military engines could produce little impression1 but the walls were undermined1 and then the keep was attacked in the same way4 ,the following year1 ,louis the ,dauphin1 being invited over by the barons to assist them against ,john1 landed at ,sandwich and led his army to ,rochester4 ,the damage had not yet been repaired and so the castle easily fell4 ,with other ,crown possessions1 it then came into the hands of ,henry ,,iii4 ,much money was spent in repairs1 especially in #abbe-f-g4 ,this was while ,hubert de ,burgh was constable of ,rochester castle4 ,in #abdj1 the tower was ordered to be whitewashed where it had not yet been done2 and in #abdg both chapels were ordered to be wainscoted4 ,one of these was in the outer ward1 and used by the garrison4 ,in #abfd1 the king gave the charge of the castle to the celebrated ,roger de ,leybourne who had just joined his cause4 ,he furnished it with sufficient arms1 garrison1 and provisions to stand a siege4 ,early in ,april1 the attack being imminent1 the king's brother-in-law1 the ,earl of ,surrey1 arrived at the castle with reinforcements4 ,just before ,easter1 ,simon de ,montfort came to besiege the castle4 ,on reaching the western bank of the ,medway1 he found the passage of the bridge disputed1 and a palisade and breastwork thrown up on the opposite side1 well defended4 ,having sent ,gilbert de ,clare to attack the south side of the town1 the ,earl of ,leicester in person assaulted the bridge1 but was twice driven back by the citizens4 ,at length1 with the aid of boats loaded with combustibles1 he set fire to the bridge and the tower upon it which were both built of wood4 ,during the confusion caused by the fire1 he crossed the river and destroyed the church and what was left of the priory4 ,richard de ,leybourne for purposes of defence had already burned down all the suburbs and part of the priory4 ,simon de ,montfort next made a furious assault upon the castle and captured the outworks and all the towers except the great keep4 ,the latter made such an obstinate resistance that after a seven days' close siege1 ,simon suddenly relinquished the attempt and retreated to ,london4 ,shortly afterwards1 in #abfd1 most of the garrison1 under ,leybourne1 who had been badly wounded1 left ,rochester and joined the ,royal army at ,lewes4 ,the king's disastrous defeat there resulted in the surrender of ,rochester castle to the ,baron's forces4 ,when however the tide of success turned two years later1 on the death of de ,montfort at ,evesham1 and the fall of ,kenilworth1 ,leybourne resumed his governorship4 ,in #abgd1 ,robert de ,hougham died constable of this castle1 and was followed by ,robert de ,septvans4 ,two other constables of ,rochester during this reign were ,sir ,john de ,cobham and ,stephen de ,dene4 ,during the next two centuries the following names occur among the holders of this office3 ,william ,skarlett1 ,lord ,grey of ,codnor1 ,john de ,newtrun1 ,william ,criol and ,sir ,thomas ,cobham4 ,in #acfg-h1 extensive repairs were undertaken by ,edward ,,iii41 under ,prior ,john of ,rochester as chief of the works4 ,stone was imported from ,beer1 ,caen1 and ,reigate1 with copings and crests for battlements1 probably for buildings in the court4 ,edward ,,iv4 also repaired the castle1 but afterwards it lost its military importance and fell into decay4 ,a drawing1 of the year #aeah1 shows the turrets domed over and capped with vanes1 like those of the ,white ,tower4 ,rochester much resembles ,hedingham1 which is a very perfect ,norman keep with three floors1 the remains of a forebuilding and upper gallery in the main floor4 ,in each ornamentation1 the chevron moulding is profusely employed4 ,,santa ,,croce1 ,,florence ,,john ,,ruskin ,your ,murray's ,guide tells you that this chapel of the ,bardi della ,libert1 in which you stand1 is covered with frescoes by ,giotto2 that they were whitewashed1 and only laid bare in #ahec2 that they were painted between #abif and #acjd2 that they represent scenes in the life of ,st4 ,francis2 and that on each side of the window are paintings of ,st4 ,louis of ,toulouse1 ,st4 ,louis ,king of ,france1 ,st4 ,elizabeth of ,hungary1 and ,st4 ,claire1--8all much restored and repainted40 ,under such recommendation the frescoes are not likely to be much sought after2 and accordingly1 as ,i was at work in the chapel this morning1 ,sunday #fth ,september1 #ahgd1 two nice-looking ,englishmen1 under guard of their valet de place1 passed the chapel without so much as looking in4 ,you will perhaps stay a little longer in it with me1 good reader1 and find out gradually where you are4 ,namely1 in the most interesting and perfect little ,gothic chapel in all ,italy--so far as ,i know or can hear4 ,there is no other of the great time which has all its frescoes in their place4 ,the ,arena1 though far larger1 is of earlier date--not pure ,gothic1 nor showing ,giotto's full force4 ,the lower chapel at ,assisi is not ,gothic at all1 and is still only of ,giotto's middle time4 ,you have her developed ,gothic1 with ,giotto in his consummate strength1 and nothing lost1 in form1 of the complete design4 ,illustration3 ,,santa ,,croce1 ,,italy4 ,by restoration--judicious restoration1 as ,mr4 ,murray usually calls it--there is no saying how much you have lost4 ,putting the question of restoration out of your mind1 however1 for a while1 think where you are1 and what you have got to look at4 ,you are in the chapel next the high altar of the great ,franciscan ,church of ,florence4 ,a few hundred yards west of you1 within ten minutes' walk1 is the ,baptistery of ,florence4 ,and five minutes' walk1 west of that is the great ,dominican ,church of ,florence1 ,santa ,maria ,novella4 ,get this little bit of geography1 and architectural fact1 well into your mind4 ,there is the little octagon ,baptistery in the middle2 here1 ten minutes' walk east of it1 the ,franciscan ,church of the ,holy ,cross2 there1 five minutes' walk west of it1 the ,dominican ,church of ,st4 ,mary4 ,now1 that little octagon ,baptistery stood where it now stands 7and was finished1 though the roof has been altered since7 in the ,eighth ,century4 ,it is the central building of ,etrurian ,christianity1--of ,european ,christianity4 ,from the day it was finished1 ,christianity went on doing her best1 in ,etruria and elsewhere1 for four hundred years1--and her best seemed to have come to very little1--when there rose up two men who vowed to ,god it should come to more4 ,and they made it come to more1 forthwith2 of which the immediate sign in ,florence was that she resolved to have a fine new cross-shaped cathedral instead of her quaint old little octagon one2 and a tower beside it that should beat ,babel3--which two buildings you have also within sight4 ,but your business is not at present with them2 but with these two earlier churches of ,holy ,cross and ,st4 ,mary4 ,the two men who were the effectual builders of these were the two great religious ,powers and ,reformers of the ,thirteenth ,century2--,st4 ,francis who taught ,christian men how they should behave1 and ,st4 ,dominic1 who taught ,christian men what they should think4 ,in brief1 one the ,apostle of ,works2 the other of ,faith4 ,each sent his little company of disciples to teach and to preach in ,florence3 ,st4 ,francis in #abab2 ,st4 ,dominic in #abbj4 ,the little companies were settled--one1 ten minutes' walk east of the old ,baptistery2 the other five minutes' walk west of it4 ,and after they had stayed quietly in such lodgings as were given them1 preaching and teaching through most of the century2 and had got ,florence1 as it were heated through1 she burst out into ,christian poetry and architecture1 of which you have heard so much talk3--burst into bloom of ,arnolfo1 ,giotto1 ,dante1 ,orcagna1 and the like persons1 whose works you profess to have come to ,florence that you may see and understand4 ,florence then1 thus heated through1 first helped her teachers to build finer churches4 ,the ,dominicans1 or ,white ,friars1 the ,teachers of ,faith1 began their church of ,st4 ,mary's in #abgi4 ,the ,franciscans1 or ,black ,friars1 the ,teachers of ,works1 laid the first stone of this church of the ,holy ,cross in #abid4 ,and the whole city laid the foundations of its new cathedral in #abih4 ,the ,dominicans designed their own building2 but for the ,franciscans and the town worked the first great master of ,gothic art1 ,arnolfo2 with ,giotto at his side1 and ,dante looking on1 and whispering sometimes a word to both4 ,and here you stand beside the high altar of the ,franciscan's ,church1 under a vault of ,arnolfo's building1 with at least some of ,giotto's colour on it still fresh2 and in front of you1 over the little altar1 is the only reportedly authentic portrait of ,st4 ,francis1 taken from life by ,giotto's master4 ,yet ,i can hardly blame my two ,english friends for never looking in4 ,except in the early morning light1 not one touch of all this art can be seen4 ,and in any light1 unless you understand the relations of ,giotto to ,st4 ,francis1 and of ,st4 ,francis to humanity1 it will be of little interest4 ,observe1 then1 the special character of ,giotto among the great painters of ,italy is his being a practical person4 ,whatever other men dreamed of1 he did4 ,he could work in mosaic3 he could work in marble2 he could paint2 and he could build2 and all thoroughly3 a man of supreme faculty1 supreme common sense4 ,accordingly1 he ranges himself at once among the disciples of the ,apostle of ,works1 and spends most of his time in the same apostleship4 ,now the gospel of ,works1 according to ,st4 ,francis1 lay in three things4 ,you must work without money1 and be poor4 ,you must work without pleasure1 and be chaste4 ,you must work according to orders1 and be obedient4 ,those are ,st4 ,francis's three articles of ,italian opera4 ,by which grew the many pretty things you have come to see here4 ,and now if you will take your opera-glass and look up to the roof above ,arnolfo's building1 you will see it is a pretty ,gothic cross vault1 in four quarters1 each with a circular medallion1 painted by ,giotto4 ,that over the altar has the picture of ,st4 ,francis himself4 ,the three others1 of his ,commanding ,angels4 ,in front of him1 over the entrance arch1 ,poverty4 ,on his right hand1 ,obedience4 ,on his left1 ,chastity4 ,poverty1 in a red patched dress1 with grey wings and a square nimbus of glory above her head1 is flying from a black hound1 whose head is seen at the corner of the medallion4 ,chastity veiled1 is imprisoned in a tower1 while angels watch her4 ,obedience bears a yoke on her shoulders1 and lays her hand on a book4 ,now1 this same quatrefoil1 of ,st4 ,francis and his three ,commanding ,angels1 was also painted1 but much more elaborately1 by ,giotto1 on the cross vault of the lower church of ,assisi1 and it is a question of interest which of the two roofs was painted first4 ,your ,murray's ,guide tells you the frescoes in this chapel were painted between #abif and #acjd4 ,but as they represent1 among other personages1 ,st4 ,louis of ,toulouse1 who was not canonized till #acag1 that statement is not altogether tenable4 ,also1 as the first stone of the church was only laid in #abid1 when ,giotto was a youth of eighteen1 it is little likely that either it would have been ready to be painted1 or be ready with his scheme of practical divinity1 two years later4 ,farther1 ,arnolfo1 the builder of the main body of the church1 died in #acaj4 ,and as ,st4 ,louis of ,toulouse was not a saint till seven years afterwards1 and the frescoes therefore beside the window not painted in ,arnolfo's day1 it becomes another question whether ,arnolfo left the chapels or the church at all1 in their present form4 ,on which point--now that ,i have shown you where ,giotto's ,st4 ,louis is--,i will ask you to think awhile1 until you are interested2 and then ,i will try to satisfy your curiosity4 ,therefore1 please leave the little chapel for the moment1 and walk down the nave1 till you come to two sepulchral slabs near the west end1 and then look about you and see what sort of a church ,santa ,croce is4 ,without looking about you at all1 you may find1 in your ,murray1 the useful information that it is a church which 8consists of a very wide nave and lateral aisles1 separated by seven fine pointed arches40 ,and as you will be--under ordinary conditions of tourist hurry--glad to learn so much1 without looking1 it is little likely to occur to you that this nave and two rich aisles required also1 for your complete present comfort1 walls at both ends1 and a roof on the top4 ,it is just possible1 indeed1 you may have been struck on entering1 by the curious disposition of painted glass at the east end2--more remotely possible that1 in returning down the nave1 you may this moment have noticed the extremely small circular window at the west end2 but the chances are a thousand to one that1 after being pulled from tomb to tomb round the aisles and chapels1 you should take so extraordinary an additional amount of pains as to look up at the roof1--unless you do it now1 quietly4 ,it will have had its effect upon you1 even if you don't1 without your knowledge4 ,you will return home with a general impression that ,santa ,croce is1 somehow1 the ugliest ,gothic church you ever were in4 ,well1 that is really so2 and now1 will you take the pains to see why8 ,there are two features1 on which1 more than on any others1 the grace and delight of a fine ,gothic building depends2 one is the springing of its vaultings1 the other the proportion and fantasy of its traceries4 ,this church of ,santa ,croce has no vaultings at all1 but the roof of a farmhouse barn4 ,and its windows are all of the same pattern1--the exceedingly prosaic one of two pointed arches1 with a round hole above1 between them4 ,and to make the simplicity of the roof more conspicuous1 the aisles are successive sheds1 built at every arch4 ,in the aisles of the ,campo ,santo at ,pisa1 the unbroken flat roof leaves the eye free to look to the traceries2 but here1 a succession of up-and-down sloping beam and lath gives the impression of a line of stabling rather than a church aisle4 ,and lastly1 while1 in fine ,gothic buildings1 the entire perspective concludes itself gloriously in the high and distant apse1 here the nave is cut across sharply by a line of ten chapels1 the apse being only a tall recess in the midst of them1 so that1 strictly speaking1 the church is not of the form of a cross1 but of a letter ,t4 ,can this clumsy and ungraceful arrangement be indeed the design of the renowned ,arnolfo8 ,yes1 this is the purest ,arnolfo-,gothic2 not beautiful by any means2 but deserving1 nevertheless1 our thoughtfullest examination4 ,we will trace its complete character another day3 just now we are only concerned with this pre-,christian form of the letter ,t1 insisted upon in the lines of chapels4 ,respecting which you are to observe1 that the first ,christian churches in the catacombs took the form of a blunt cross naturally2 a square chamber having a vaulted recess on each side2 then the ,byzantine churches were structurally built in the form of an equal cross2 while the heraldic and other ornamental equal-armed crosses are partly signs of glory and victory1 partly of light1 and divine spiritual presence4 ,but the ,franciscans and ,dominicans saw in the cross no sign of triumph1 but of trial4 ,the wounds of their ,master were to be their inheritance4 ,so their first aim was to make what image to the cross their church might present1 distinctly that of the actual instrument of death4 ,and they did this most effectually by using the form of the letter ,t1 that of the ,furca or ,gibbet1--not the sign of peace4 ,also their churches were meant for use2 not show1 nor self-glorification1 nor town-glorification4 ,they wanted places for preaching1 prayer1 sacrifice1 burial2 and had no intention of showing how high they could build towers1 or how widely they could arch vaults4 ,strong walls and the roof of a barn1--these your ,franciscan asks of his ,arnolfo4 ,these ,arnolfo gives1--thoroughly and wisely built2 the successions of gable roof being a new device for strength much practised in his day4 ,this stern humour did not last long4 ,arnolfo himself had other notions2 most of all1 ,nature and ,heaven4 ,something else had to be taught about ,christ than that ,he was wounded to death4 ,nevertheless1 look how grand this stern form would be1 restored to its simplicity4 ,it is not the old church which is in itself unimpressive4 ,it is the old church defaced by ,vasari1 by ,michael ,angelo1 and by modern ,florence4 ,see those huge tombs on your right hand and left1 at the sides of the aisles1 with their alternate gable and round tops1 and their paltriest of all sculpture1 trying to be grand by bigness1 and pathetic by expense4 ,tear them all down in your imagination2 fancy the vast hall with its massive pillars1--not painted calomel-pill colour1 as now1 but of their native stone1 with the rough true wood for roof1--and a people praying beneath them1 strong in abiding1 and pure in life1 as their rocks and olive forests4 ,that was ,arnolfo's ,santa ,croce4 ,nor did his work remain long without grace4 ,that very line of chapels in which we found our ,st4 ,louis shows signs of change in temper4 ,they have no pent-house roofs1 but true ,gothic vaults3 we found our four square type of ,franciscan ,law on one of them4 ,it is probable1 then1 that these chapels may be later than the rest--even in their stonework4 ,in their decoration1 they are so1 assuredly2 belonging already to the time when the story of ,st4 ,francis was becoming a passionate tradition1 told and painted everywhere with delight4 ,and that high recess1 taking the place of apse1 in the centre1--see how noble it is in the coloured shade surrounding and joining the glow of its windows1 though their form be so simple4 ,you are not to be amused here by patterns in balanced stone1 as a ,french or ,english architect would amuse you1 says ,arnolfo4 8,you are to read and think1 under these severe walls of mine2 immortal hands will write upon them40 ,,the ,,certosa ,,of ,,pavia ,the ,certosa of ,pavia leaves upon the mind an impression of bewildering sumptuousness3 nowhere else are costly materials so combined with a lavish expenditure of the rarest art4 ,those who have only once been driven round together with the crew of sightseers can carry little away but the memory of lapis-lazuli and bronze work1 inlaid agates and labyrinthine sculpture1 cloisters tenantless in silence1 fair painted faces smiling from dark corners on the senseless crowd1 trim gardens with rows of pink primroses in ,spring and bigonia in ,autumn1 blooming beneath colonnades of glowing terra-cotta4 ,the striking contrast between the ,gothic of the interior and the ,renaissance faade1 each in its own kind perfect1 will also be remembered2 and thoughts of the two great houses1 ,visconti and ,sforza1 to whose pride of power it is a monument1 may be blended with the recollection of art treasures alien to their spirit4 ,illustration3 ,,the ,,certosa ,,of ,,pavia1 ,,italy4 ,two great artists1 ,ambrognio ,borgognone and ,antonio ,amadeo are the presiding genii of the ,certosa4 ,to minute criticism1 based upon the accurate investigation of records and comparison of styles1 must be left the task of separating their work from that of numerous collaborators4 ,but it is none the less certain that the keynote of the whole music is struck by them4 ,amadeo1 the master of the ,colleoni chapel at ,bergamo1 was both sculptor and architect4 ,if the faade of the ,certosa be not absolutely his creation1 he had a hand in the distribution of its masses and the detail of its ornaments4 ,the only fault in this otherwise faultless product of the purest quattrocento inspiration is that the faade is a frontispiece1 with hardly any structural relation to the church it mocks3 and this1 though serious from the point of view of architecture1 is no abatement of its sculpturesque and picturesque refinement4 ,at first sight it seems a wilderness of loveliest reliefs and statues--of angel faces1 fluttering raiment1 flowing hair1 love-laden youths1 and stationary figures of grave saints1 mid wayward tangles of acanthus and wild vine and cupid-laden foliage2 but the subordination of these decorative details to the main design1 clear1 rhythmical and lucid1 like the chant of ,pergolese1 or ,stradella1 will enrapture one who has the sense for unity evoked from divers elements1 for thought subduing all caprices to the harmony of beauty4 ,it is not possible elsewhere in ,italy to find the instinct of the earlier ,renaissance1 so amorous in its expenditure of rare material1 so lavish in its bestowal of the costliest workmanship on ornamental episodes1 brought into truer keeping with a pure and simple structural effect4 ,all the great sculptor-architects of ,lombardy worked in succession on this miracle of beauty2 and this may account for the sustained perfection of style1 which nowhere suffers from the languor of exhaustion in the artist or from repetition of motives4 ,it remains the triumph of ,north ,italian genius1 exhibiting qualities of tenderness and self abandonment to inspiration which we lack in the severer masterpieces of the ,tuscan school4 ,to ,borgognone is assigned the painting of the roof in nave and choir--exceeding rich1 varied1 and withal in sympathy with stately ,gothic style4 ,borgognone1 again1 is said to have designed the saints and martyrs worked in tarsia for the choir-stalls4 ,his frescoes are in some parts well preserved1 as in the lovely little ,madonna at the end of the south chapel1 while the great fresco above the window in the south transept has an historical value that renders it interesting in spite of partial decay4 ,the ,certosa is a wilderness of lovely workmanship4 ,from ,borgognone's majesty we pass into the quiet region of ,luini's ,christian grace1 or mark the influence of ,leonardo on that rare ,assumption of ,madonna by his pupil ,andrea ,solari4 ,like everything touched by the ,leonardesque spirit1 this great picture was left unfinished2 yet ,northern ,italy has nothing finer to show than the landscape outspread in its immeasurable purity of calm1 behind the grouped ,apostles1 and the ascendant ,mother of ,heaven4 ,the feeling of that happy region between the ,alps and ,lombardy1 where there are many waters--et tacitos sine labe lacus sine murmure rivos--and where the last spurs of the mountains sink in undulations to the plain1 has passed into this azure vista1 just as all ,umbria is suggested in a twilight background of young ,raphael or ,perugino4 ,the portraits of the dukes of ,milan and their families carry us into a very different realm of feeling4 ,medallions above the doors of sacristy and chancel1 stately figures reared aloft beneath gigantic canopies1 men and women slumbering with folded hands upon their marble biers--we read in all these sculptured forms a strange record of human restlessness resolved into the quiet of the tomb4 ,the iniquities of ,gian ,galeazzo ,visconti1 il gran ,biscione2 the blood-thirst of ,gian ,maria2 the dark designs of ,fillipo and his secret vices2 ,francesco ,sforza's treason2 ,galeazzo ,maria's vanities and lusts2 their tyrant's dread of thunder and the knife2 their awful deaths by pestilence and the assassin's poniard2 their selfishness1 oppression1 cruelty and fraud2 the murders of their kinsmen2 their labyrinthine plots and acts of broken faith2--all is tranquil now1 and we can say to each what ,bosola found for the ,duchess of ,malfi ere her execution3 ,much you had of land and rent2 ,your length in clay's now competent3 ,a long war disturbed your mind2 ,here your perfect peace is signed6 ,from the church it is delightful to escape into the cloisters flooded with sunlight1 where the swallows skim and the brown hawks circle and the mason bees are at work among the carvings4 ,the arcades of the two cloisters are the final triumph of ,lombard terra-cotta4 ,the memory fails before such infinite invention1 such facility and felicity of execution4 ,wreaths of cupids gliding round the arches among grape-bunches and bird-haunted foliage of vine2 rows of angels1 like rising and setting planets1 some smiling and some grave1 ascending and descending by the ,gothic curves2 saints stationary on their pedestals and faces leaning from the rounds above2 crowds of cherubs and courses of stars and acanthus-leaves in woven lines and ribands incessantly inscribed with ,ave ,maria6 ,then1 over all1 the rich red light and purple shadows of the brick1 than which no substance sympathizes more completely with the sky of solid blue above1 the broad plain space of waving summer grass beneath our feet4 ,it is now late afternoon1 and when evening comes the train will take us back to ,milan4 ,there is yet a little while to rest tired eyes and strained spirits among the willows and poplars by the monastery wall4 ,through that grey-green leafage1 young with early spring1 the pinnacles of the ,certosa leap like flames into the sky4 ,the rice-fields are under water1 far and wide1 shining like burnished gold beneath the level light now near to sundown4 ,frogs are croaking2 those persistent frogs whom the muses have ordained to sing for aye in spite of ,bion and all tuneful poets dead4 ,we sit and watch the water snakes1 the busy rats1 the hundred creatures swarming in the fat1 well watered soil4 ,nightingales here and there1 newcomers1 tune their timid ,april song4 ,but1 strangest of all sounds in such a place1 my comrade from the ,grisons jodels forth an ,alpine cowherd's melody--,auf den ,alpen droben ist ein herrliches ,leben6 ,did the echoes of ,gian ,galeazzo's convent ever wake to such a tune as this before8 ,,footnotes3 #a ,perhaps in the choice of the abbot's cheer1 there was some occult reference to the verse of ,solomon's ,song3 8,stay me with flagons1 comfort me with apples40 #b 8,on the #adth day of ,april1 #acgd1 there were found1 in this church of the first martyr ,st4 ,stefano1 two hundred and more bodies of holy martyrs1 by the venerable priest1 ,matthew ,fradello1 incumbent of the church40 #c 8,the women1 even as far back as #aajj1 wore dresses of blue1 with mantles on the shoulder1 which clothed them before and behind40--,sansovino4 ,it would be difficult to imagine a dress more modest and beautiful4 #d 8,whom ,eve destroyed1 the pious ,virgin ,mary redeemed2 ,all praise her1 who rejoice in the ,grace of ,christ40 #e ,the embroidered skullcap of ,constance of ,aragon1 wife of ,frederick ,,ii1 in the sacristy of the ,cathedral at ,palermo1 is made of gold thread thickly studded with pearls and jewels--rough sapphires and carbuncles1 among which may be noted a red cornelian engraved in ,arabic with this sentence1 8,in ,christ1 ,god1 ,i put my hope40 #f ,matteo of ,ajello induced ,william to found an archbishopric at ,monreale in order to spite his rival ,offamilio4 #g ,nearly all cities have their own distinctive colour4 ,that of ,venice is a pearly white1 suggestive of every hue in delicate abeyance1 and that of ,florence is a sober brown4 ,palermo displays a rich yellow ochre passing at the deepest into orange1 and at the lightest into primrose4 ,this is the tone of the soil1 of sun-stained marble1 and of the rough ashlar masonry of the chief buildings4 ,palermo has none of the glaring whiteness of ,naples1 nor yet of that parti-coloured gradation of tints1 which adds gaiety to the grandeur of ,genoa4 #h ,of these numerous versions of the story1 made in #afce1 one is in ,english1 one in ,lowland ,scotch1 containing all the peculiarities of diction with which every one is so familiar from the nearly contemporary conversations of ,king ,james ,i1 in ,the ,fortunes of ,nigel2 showing clearly that at that time these two dialects of ,english were regarded as two distinct languages1 each unintelligible to the speaker of the other4 #i ,see an elaborate and conclusive ,essay on the origin of the story of the ,holy ,house of ,loretto1 which appeared in the ,christian ,remembrancer1 ,april1 #ahee4 #aj ,the pictures at ,ara ,cli and ,sta4 ,maria ,maggiore both claim to be that carried by ,st4 ,gregory in this procession4 ,the song of the angels is annually commemorated on ,st4 ,mark's ,day1 when the clergy pass by in procession to ,st4 ,peter's1 and the ,franciscans of ,ara ,cli and the canons of ,sta4 ,maria ,maggiore1 halting here1 chaunt the antiphon1 ,regina cli1 ltare4 #aa ,by ,jacopo ,turrita1 the restorer of the mosaic4 #ab #afjb4 #ac #abfj4 ,transcriber's ,notes3 #a4 ,obvious printers'1 punctuation and spelling errors have been corrected silently4 #b4 ,where hyphenation is in doubt1 it has been retained as in the original4 #c4 ,some hyphenated and non-hyphenated versions of the same words have been retained as in the original4 #d4 ,italics are shown as xxx4