ARCHITECTURE

One sees right away that the English are a home people, a domestic people; and he does not need to go into their houses or homes to find this out. It is in the air and in the general aspect of things.

Everywhere you see the virtue and quality that we ascribe to home-made articles. It seems as if things had been made by hand, and with care and affection, as they have been. The land of caste and kings, there is yet less glitter and display than in this country, less publicity, and, of course, less rivalry and emulation also, for which we pay very dearly. You have got to where the word homely preserves its true signification, and is no longer a term of disparagement, but expressive of a cardinal virtue.

I liked the English habit of naming their houses; it shows the importance they attach to their homes. All about the suburbs of London and in the outlying villages I noticed nearly every house and cottage had some appropriate designation, as Terrace House, Oaktree House, Ivy Cottage, or some Villa, usually cut into the stone gate-post, and this name is put on the address of the letters. How much better to be known by your name than by your number! I believe the same custom prevails in the country, and is common to the middle cla.s.ses as well as to the aristocracy. It is a good feature. A house or a farm with an appropriate name, which everybody recognizes, must have an added value and importance.

Modern English houses are less showy than ours, and have more weight and permanence,--no flat roofs and no painted outside shutters. Indeed, that pride of American country people, and that abomination in the landscape, a white house with green blinds, I did not see a specimen of in England. They do not aim to make their houses conspicuous, but the contrary. They make a large, yellowish brick that has a pleasing effect in the wall. Then a very short s.p.a.ce of time in that climate suffices to take off the effect of newness, and give a mellow, sober hue to the building. Another advantage of the climate is that it permits outside plastering. Thus almost any stone may be imitated, and the work endure for ages; while our sudden changes, and extremes of heat and cold, of dampness and dryness, will cause the best work of this kind to peel off in a few years.

Then this people have better taste in building than we have, perhaps because they have the n.o.blest samples and specimens of architecture constantly before them,--those old feudal castles and royal residences, for instance. I was astonished to see how homely and good they looked, how little they challenged admiration, and how much they emulated rocks and trees. They were surely built in a simpler and more poetic age than this. It was like meeting some plain, natural n.o.bleman after contact with one of the bedizened, artificial sort. The Tower of London, for instance, is as pleasing to the eye, has the same fitness and harmony, as a hut in the woods; and I should think an artist might have the same pleasure in copying it into his picture as he would in copying a pioneer's log cabin. So with Windsor Castle, which has the beauty of a ledge of rocks, and crowns the hill like a vast natural formation. The warm, simple interior, too, of these castles and palaces, the honest oak without paint or varnish, the rich wood carvings, the ripe human tone and atmosphere,--how it all contrasts, for instance, with the showy, gilded, cast-iron interior of our commercial or political palaces, where everything that smacks of life or nature is studiously excluded under the necessity of making the building fire-proof.

I was not less pleased with the higher ornamental architecture,--the old churches and cathedrals,--which appealed to me in a way architecture had never before done. In fact, I found that I had never seen architecture before,--a building with genius and power in it, and that one could look at with the eye of the imagination. Not mechanics merely, but poets, had wrought and planned here, and the granite was tender with human qualities. The plants and weeds growing in the niches and hollows of the walls, the rooks and martins and jackdaws inhabiting the towers and breeding about the eaves, are but types of the feelings and emotions of the human heart that flit and hover over these old piles, and find affectionate lodgment in them.

Time, of course, has done a great deal for this old architecture.

Nature has taken it lovingly to herself, has set her seal upon it, and adopted it into her system. Just the foil which beauty--especially the crystallic beauty of architecture--needs has been given by this hazy, mellowing atmosphere. As the grace and suggestiveness of all objects are enhanced by a fall of snow,--forest, fence, hive, shed, knoll, rock, tree, all being laid under the same white enchantment,--so time has wrought in softening and toning down this old religious architecture, and bringing it into harmony with nature.

Our climate has a much keener edge, both of frost and fire, and touches nothing so gently or creatively; yet time would, no doubt, do much for our architecture, if we would give it a chance,--for that apotheosis of prose, the National Capitol at Was.h.i.+ngton, upon which, I notice, a returned traveler bases our claim to be considered "ahead" of the Old World, even in architecture; but the reigning G.o.ds interfere, and each spring or fall give the building a clean s.h.i.+rt in the shape of a coat of white paint. In like manner, other public buildings never become acclimated, but are. annually scoured with soap and sand, the national pa.s.sion for the brightness of newness interfering to defeat any benison which the G.o.ds might be disposed to p.r.o.nounce upon them. Spotlessness, I know, is not a characteristic of our politics, though it is said that whitewas.h.i.+ng is, which may account for this ceaseless paint-pot renovation of our public buildings. In a world lit only by the moon, our Capitol would be a paragon of beauty, and the spring whitewas.h.i.+ng could also be endured; but under our blazing sun and merciless sky it parches the vision, and makes it turn with a feeling of relief to rocks and trees, or to some weather-stained, dilapidated shed or hovel.

How winningly and picturesquely in comparison the old architecture of London addresses itself to the eye,--St. Paul's Cathedral, for instance, with its vast blotches and stains, as if it had been dipped in some black Lethe of oblivion, and then left to be restored by the rains and the elements! This black Lethe is the London smoke and fog, which has left a dark deposit over all the building, except the upper and more exposed parts, where the original silvery whiteness of the stone shows through, the effect of the whole thus being like one of those graphic Rembrandt photographs or carbons, the prominences in a strong light, and the rest in deepest shadow. I was never tired of looking at this n.o.ble building, and of going out of my way to walk around it; but I am at a loss to know whether the pleasure I had in it arose from my love of nature, or from a susceptibility to art for which I had never given myself credit. Perhaps from both, for I seemed to behold Art turning toward and reverently acknowledging Nature,-indeed, in a manner already become Nature.

I believe the critics of such things find plenty of fault with St.

Paul's; and even I could see that its bigness was a little prosy, that it suggested the historic rather than the poetic muse; yet, for all that, I could never look at it without a profound emotion. Viewed coolly and critically, it might seem like a vast specimen of Episcopalianism in architecture. Miltonic in its grandeur and proportions, and Miltonic in its prosiness and mongrel cla.s.sicism also, yet its power and effectiveness are unmistakable. The beholder has no vantage-ground from which to view it, or to take in its total effect, on account of its being so closely beset by such a mob of shops and buildings; yet the glimpses he does get here and there through the opening made by some street, when pa.s.sing in its vicinity, are very striking and suggestive; the thin veil of smoke, which is here as constant and uniform as the atmosphere itself, wrapping it about with the enchantment of time and distance.

The interior I found even more impressive than the exterior, perhaps because I was unprepared for it. I had become used to imposing exteriors at home, and did not reflect that in a structure like this I should see an interior also, and that here alone the soul of the building would be fully revealed. It was Miltonic in the best sense; it was like the mightiest organ music put into form. Such depths, such solemn vastness, such gulfs and abysses of architectural s.p.a.ce, the rich, mellow light, the haze outside becoming a mysterious, hallowing presence within, quite mastered me, and I sat down upon a seat, feeling my first genuine cathedral intoxication. As it was really an intoxication, a sense of majesty and power quite overwhelming in my then uncloyed condition, I speak of it the more freely. My companions rushed about as if each one had had a searchwarrant in his pocket; but I was content to uncover my head and drop into a seat, and busy my mind with some simple object near at hand, while the sublimity that soared about me stole into my soul and possessed it. My sensation was like that imparted by suddenly reaching a great alt.i.tude: there was a sort of relaxation of the muscles, followed by a sense of physical weakness; and after half an hour or so I felt compelled to go out into the open air, and leave till another day the final survey of the building. Next day I came back, but there can be only one first time, and I could not again surprise myself with the same feeling of wonder and intoxication.

But St. Paul's will bear many visits. I came again and again, and never grew tired of it. Crossing its threshold was entering another world, where the silence and solitude were so profound and overpowering that the noise of the streets outside, or of the stream of visitors, or of the workmen engaged on the statuary, made no impression. They were all belittled, lost, like the humming of flies. Even the afternoon services, the chanting, and the tremendous organ, were no interruption, and left me just as much alone as ever. They only served to set off the silence, to fathom its depth.

The dome of St. Paul's is the original of our dome at Was.h.i.+ngton; but externally I think ours is the more graceful, though the effect inside is tame and flat in comparison. This is owing partly to its lesser size and height, and partly to our hard, transparent atmosphere, which lends no charm or illusion, but mainly to the stupid, unimaginative plan of it. Our dome shuts down like an inverted iron pot; there is no vista, no outlook, no relation, and hence no proportion. You open a door and are in a circular pen, and can look in only one direction,--up. If the iron pot were slashed through here and there, or if it rested on a row of tall columns or piers, and were shown to be a legitimate part of the building, it would not appear the exhausted receiver it does now.

The dome of St. Paul's is the culmination of the whole interior of the building. Rising over the central area, it seems to gather up the power and majesty of the nave, the aisles, the transepts, the choir, and give them expression and expansion in its lofty firmament.

Then those colossal piers, forty feet broad some of them, and nearly one hundred feet high,--they easily eclipsed what I had recently seen in a mine, and which I at the time imagined shamed all the architecture of the world,--where the mountain was upheld over a vast s.p.a.ce by ma.s.sive piers left by the miners, with a ceiling unrolled over your head, and apparently descending upon you, that looked like a petrified thunder-cloud.

The view from the upper gallery, or top of the dome, looking down inside, is most impressive. The public are not admitted to this gallery, for fear, the keeper told me, it would become the scene of suicides; people unable to withstand the terrible fascination would leap into the yawning gulf. But, with the privilege usually accorded to Americans, I stepped down into the narrow circle, and, leaning over the bal.u.s.trade, coolly looked the horrible temptation in the face.

On the whole, St. Paul's is so vast and imposing that one wonders what occasion or what ceremony can rise to the importance of not being utterly dwarfed within its walls. The annual gathering of the charity children, ten or twelve thousand in number, must make a ripple or two upon its solitude, or an exhibition like the thanksgiving of the Queen, when sixteen or eighteen thousand persons were a.s.sembled beneath its roof. But one cannot forget that it is, for the most part, a great toy,--a mammoth sh.e.l.l, whose bigness bears no proportion to the living (if, indeed, it is living), indwelling necessity. It is a tenement so large that the tenant looks cold and forlorn, and in danger of being lost within it.

No such objection can be made to Westminster Abbey, which is a mellow, picturesque old place, the interior arrangement and architecture of which affects one like some ancient, dilapidated forest. Even the sunlight streaming through the dim windows, and falling athwart the misty air, was like the sunlight of a long-gone age. The very atmosphere was pensive, and filled the tall s.p.a.ces like a memory and a dream. I sat down and listened to the choral service and to the organ, which blended perfectly with the spirit and sentiment of the place.

ON THE SOUTH DOWNS

One of my best days in England was spent amid the singing of skylarks on the South Down Hills, near an old town at the mouth of the Little Ouse, where I paused on my way to France. The prospect of hearing one or two of the cla.s.sical birds of the Old World had not been the least of the attractions of my visit, though I knew the chances were against me so late in the season, and I have to thank my good genius for guiding me to the right place at the right time. To get out of London was delight enough, and then to find myself quite unexpectedly on these soft rolling hills, of a mild October day, in full sight of the sea, with the larks pouring out their gladness overhead, was to me good fortune indeed.

The South Downs form a very remarkable feature of this part of England, and are totally unlike any other landscape I ever saw. I believe it is Huxley who applies to them the epithet of muttony, which they certainly deserve, for they are like the backs of immense sheep, smooth, and round, and fat,--so smooth, indeed, that the eye can hardly find a place to take hold of, not a tree, or bush, or fence, or house, or rock, or stone, or other object, for miles and miles, save here and there a group of strawcapped stacks, or a flock of sheep crawling slowly over them, attended by a shepherd and dog, and the only lines visible those which bound the squares where different crops had been gathered. The soil was rich and mellow, like a garden,--hills of chalk with a pellicle of black loam.

These hills stretch a great distance along the coast, and are cut squarely off by the sea, presenting on this side a chain of white chalk cliffs suggesting the old Latin name of this land, Albion.

Before I had got fifty yards from the station I began to hear the larks, and being unprepared for them I was a little puzzled at first, but was not long discovering what luck I was in. The song disappointed me at first, being less sweet and melodious than I had expected to hear; indeed, I thought it a little sharp and harsh,--a little stubbly,--but in other respects, in strength and gladness and continuity, it was wonderful. And the more I heard it the better I liked it, until I would gladly have given any of my songsters at home for a bird that could shower down such notes, even in autumn. Up, up, went the bird, describing a large easy spiral till he attained an alt.i.tude of three or four hundred feet, when, spread out against the sky for a s.p.a.ce of ten or fifteen minutes or more, he poured out his delight, filling all the vault with sound. The song is of the sparrow kind, and, in its best parts, perpetually suggested the notes of our vesper sparrow; but the wonder of it is its copiousness and sustained strength. There is no theme, no beginning, middle, or end, like most of our best birdsongs, but a perfect swarm of notes pouring out like bees from a hive, and resembling each other nearly as closely, and only ceasing as the bird nears the earth again. We have many more melodious songsters; the bobolink in the meadows for instance, the vesper sparrow in the pastures, the purple finch in the groves, the winter wren, or any of the thrushes in the woods, or the wood-wagtail, whose air song is of a similar character to that of the skylark, and is even more rapid and ringing, and is delivered in nearly the same manner; but our birds all stop when the skylark has only just begun. Away he goes on quivering wing, inflating his throat fuller and fuller, mounting and mounting, and turning to all points of the compa.s.s as if to embrace the whole landscape in his song, the notes still raining upon you, as distinct as ever, after you have left him far behind. You feel that you need be in no hurry to observe the song lest the bird finish; you walk along, your mind reverts to other things, you examine the gra.s.s and weeds, or search for a curious stone, still there goes the bird; you sit down and study the landscape, or send your thoughts out toward France or Spain, or across the sea to your own land, and yet, when you get them back, there is that song above you, almost as unceasing as the light of a star. This strain indeed suggests some rare pyrotechnic display, musical sounds being subst.i.tuted for the many-colored sparks and lights. And yet I will add, what perhaps the best readers do not need to be told, that neither the lark-song, nor any other bird-song in the open air and under the sky, is as noticeable a feature as my description of it might imply, or as the poets would have us believe; and that most persons, not especially interested in birds or their notes, and intent upon the general beauty of the landscape, would probably pa.s.s it by unremarked.

I suspect that it is a little higher flight than the facts will bear out when the writers make the birds go out of sight into the sky. I could easily follow them on this occasion, though, if I took my eye away for a moment, it was very difficult to get it back again. I had to search for them as the astronomer searches for a star. It may be that in the spring, when the atmosphere is less clear and the heart of the bird full of a more mad and reckless love, that the climax is not reached until the eye loses sight of the singer.

Several attempts have been made to introduce the lark into this country, but for some reason or other the experiment has never succeeded. The birds have been liberated in Virginia and on Long Island, but do not seem ever to have been heard of afterwards. I see no reason why they should not thrive anywhere along our Atlantic seaboard, and I think the question of introducing them worthy of more thorough and serious attention than has yet been given it, for the lark is really an inst.i.tution; and as he sings long after the other birds are silent,--as if he had perpetual spring in his heart,--he would be a great acquisition to our fields and meadows. It may be that he cannot stand the extremes of our climate, though the English sparrow thrives well enough. The Smithsonian Inst.i.tution has received specimens of the skylark from Alaska, where, no doubt, they find a climate more like the English.

They have another prominent singer in England, namely, the robin,--the original robin redbreast,--a slight, quick, active bird with an orange front and an olive back, and a bright, musical warble that I caught by every garden, lane, and hedge-row. It suggests our bluebird, and has similar habits and manners, though it is a much better musician.

The European bird that corresponds to our robin is the blackbird, of which Tennyson sings:--

"O Blackbird, sing me something well; While all the neighbors shoot thee round I keep smooth plats of fruitful ground Where thou may'st warble, eat, and dwell."

It quite startled me to see such a resemblance,--to see, indeed, a black robin. In size, form, flight, manners, note, call, there is hardly an appreciable difference. The bird starts up with the same flirt of the wings, and calls out in the same jocund, salutatory way, as he hastens off. The nest, of coa.r.s.e mortar in the fork of a tree, or in an outbuilding, or in the side of a wall, is also the same.

The bird I wished most to hear, namely, the nightingale, had already departed on its southern journey. I saw one in the Zoological Gardens in London, and took a good look at him. He struck me as bearing a close resemblance to our hermit thrush, with something in his manners that suggested the water-thrush also. Carlyle said he first recognized its song from the description of it in "Wilhelm Meister," and that it was a "sudden burst," which is like the song of our water-thrush.

I have little doubt our songsters excel in melody, while the European birds excel in profuseness and volubility. I heard many bright, animated notes and many harsh ones, but few that were melodious. This fact did not harmonize with the general drift of the rest of my observations, for one of the first things that strikes an American in Europe is the mellowness and rich tone of things. The European is softer-voiced than the American and milder-mannered, but the bird voices seem an exception to this rule.

PARKS

While in London I had much pleasure in strolling through the great parks, Hyde Park, Regent's Park, St. James Park, Victoria Park, and in making Sunday excursions to Richmond Park, Hampden Court Parks, and the great parks at Windsor Castle. The magnitude of all these parks was something I was entirely unprepared for, and their freedom also; one could roam where he pleased. Not once did I see a signboard, "Keep off the gra.s.s," or go here or go there. There was gra.s.s enough, and one could launch out in every direction without fear of trespa.s.sing on forbidden ground. One gets used, at least I do, to such petty parks at home, and walks amid them so cautiously and circ.u.mspectly, every shrub and tree and gra.s.s plat saying "Hands off," that it is a new sensation to enter a city pleasure ground like Hyde Park,--a vast natural landscape, nearly two miles long and a mile wide, with broad, rolling plains, with herds of sheep grazing, and forests and lakes, and all as free as the air. He have some quite sizable parks and reservations in Was.h.i.+ngton, and the citizen has the right of way over their tortuous gravel walks, but he puts his foot upon the gra.s.s at the risk of being insolently hailed by the local police. I have even been called to order for reclining upon a seat under a tree in the Smithsonian grounds. I must sit upright as in church. But in Hyde Park or Regent's Park I could not only walk upon the gra.s.s, but lie upon it, or roll upon it, or play "one catch all" with children, boys, dogs, or sheep upon it; and I took my revenge for once for being so long confined to gravel walks, and gave the gra.s.s an opportunity to grow under my foot whenever I entered one of these parks.

This free-and-easy rural character of the London parks is quite in keeping with the tone and atmosphere of the great metropolis itself, which in so many respects has a country homeliness and sincerity, and shows the essentially bucolic taste of the people; contrasting in this respect with the parks and gardens of Paris, which show as unmistakably the citizen and the taste for art and the beauty of design and ornamentation. Hyde Park seems to me the perfection of a city pleasure ground of this kind, because it is so free and so thoroughly a piece of the country, and so exempt from any petty artistic displays.

In walking over Richmond Park I found I had quite a day's work before me, as it was like traversing a towns.h.i.+p; while the great park at Windsor Castle, being upwards of fifty miles around, might well make the boldest pedestrian hesitate. My first excursion was to Hampton Court, an old royal residence, where I spent a delicious October day wandering through Bushy Park, and looking with covetous, though admiring eyes upon the vast herds of deer that dotted the plains, or gave way before me as I entered the woods. There seemed literally to be many thousands of these beautiful animals in this park, and the loud, hankering sounds of the bucks, as they pursued or circled around the does, was a new sound to my ears. The rabbits and pheasants also were objects of the liveliest interest to me, and I found that after all a good shot at them with the eye, especially when I could credit myself with alertness or stealthiness, was satisfaction enough.

I thought it worthy of note that, though these great parks in and about London were so free, and apparently without any police regulations whatever, yet I never saw prowling about them any of those vicious, ruffianly looking characters that generally infest the neighborhood of our great cities, especially of a Sunday. There were troops of boys, but they were astonis.h.i.+ngly quiet and innoxious, very unlike American boys, white or black, a band of whom making excursions into the country are always a band of outlaws. Ruffianism with us is no doubt much more brazen and p.r.o.nounced, not merely because the law is lax, but because such is the genius of the people.

II. ENGLISH CHARACTERISTICS

England is a mellow country, and the English people are a mellow people. They have hung on the tree of nations a long time, and will, no doubt, hang as much longer; for windfalls, I reckon, are not the order in this island. We are pitched several degrees higher in this country.

By contrast, things here are loud, sharp, and garish. Our geography is loud; the manners of the people are loud; our climate is loud, very loud, so dry and sharp, and full of violent changes and contrasts; and our goings-out and comings-in as a nation are anything but silent. Do we not occasionally give the door an extra slam just for effect?

In England everything is on a lower key, slower, steadier, gentler.

Life is, no doubt, as full, or fuller, in its material forms and measures, but less violent and aggressive. The buffers the English have between their cars to break the shock are typical of much one sees there.

All sounds are softer in England; the surface of things is less hard.

The eye of day and the face of Nature are less bright. Everything has a mellow, subdued cast. There is no abruptness in the landscape, no sharp and violent contrasts, no brilliant and striking tints in the foliage.

A soft, pale yellow is all one sees in the way of tints along the borders of the autumn woods. English apples (very small and inferior, by the way) are not so highly colored as ours. The blackberries, just ripening in October, are less pungent and acid; and the garden vegetables, such as cabbage, celery, cauliflower, beet, and other root crops, are less rank and fibrous; and I am very sure that the meats also are tenderer and sweeter. There can be no doubt about the superiority of English mutton; and the tender and succulent gra.s.s, and the moist and agreeable climate, must tell upon the beef also.

English coal is all soft coal, and the stone is soft stone. The foundations of the hills are chalk instead of granite. The stone with which most of the old churches and cathedrals are built would not endure in our climate half a century; but in Britain the tooth of Time is much blunter, and the hunger of the old man less ravenous, and the ancient architecture stands half a millennium, or until it is slowly worn away by the gentle attrition of the wind and rain.

At Chester, the old Roman wall that surrounds the town, built in the first century and repaired in the ninth, is still standing without a break or a swerve, though in some places the outer face of the wall is worn through. The Cathedral, and St. John's Church, in the same town, present to the beholder outlines as jagged and broken as rocks and cliffs; and yet it is only chip by chip, or grain by grain, that ruin approaches. The timber also lasts an incredibly long time. Beneath one of the arched ways, in the Chester wall above referred to, I saw timbers that must have been in place five or six hundred years. The beams in the old houses, also fully exposed to the weather, seem incapable of decay; those dating from Shakespeare's time being apparently as firm as ever.

I noticed that the characteristic aspect of the clouds in England was different from ours,--soft, fleecy, vapory, indistinguishable,--never the firm, compact, sharply, defined, deeply dyed ma.s.ses and fragments so common in our own sky. It rains easily but slowly. The average rainfall of London is less than that of New York, and yet it doubtless rains ten days in the former to one in the latter. Storms accompanied with thunder are rare; while the cras.h.i.+ng, wrenching, explosive thunder-gusts so common with us, deluging the earth and convulsing the heavens, are seldom known.

In keeping with this elemental control and moderation, I found the character and manners of the people gentler and sweeter than I had been led to believe they were. No loudness, brazenness, impertinence; no oaths, no swaggering, no leering at women, no irreverence, no flippancy, no bullying, no insolence of porters or clerks or conductors, no importunity of bootblacks or newsboys, no omnivorousness, of hackmen,--at least, comparatively none,--all of which an American is apt to notice, and, I hope, appreciate. In London the bootblack salutes you with a respectful bow and touches his cap, and would no more think of pursuing you or answering your refusal than he would of jumping into the Thames. The same is true of the newsboys.

If they were to scream and bellow in London as they do in New York or Was.h.i.+ngton, they would be suppressed by the police, as they ought to be. The vender of papers stands at the comer of the street, with his goods in his arms, and a large placard spread out at his feet, giving in big letters the princ.i.p.al news-headings.