The World of Romance<br />being Contributions to The Oxford and Cambridge Magazine, 1856, William Morris [which ebook reader txt] 📗

p. 150The cornice below this division is of plain round-headed trefoils very wide, and the spandrel of each arch is pierced with a small round trefoil, very sharply cut, looking, in fact, as if it were cut with a punch: this cornice, simple though it is, I think, very beautiful, and in my photograph the broad trefoils of it throw sharp black shadows on the stone behind the worshipping figures, and square-cut altars.

In the triangular space at the top of the arch is a representation of our Lord on the cross; St. Mary and St. John standing on either side of him, and, kneeling on one knee under the sloping sides of the arch, two angels, one on each side.  I very much wish I could say something more about this piece of carving than I can do, because it seems to me that the French thirteenth century sculptors failed less in their representations of the crucifixion than almost any set of artists; though it was certainly an easier thing to do in stone than on canvas, especially in such a case as this where the representation is so highly abstract; nevertheless, I wish I could say something more about it; failing which, I will say something about my photograph of it.

I cannot see the Virgin’s face at all, it is in the shade so much; St. John’s I cannot see very well; I do not think it is a remarkable face, p. 151though there is sweet expression in it; our Lord’s face is very grand and solemn, as fine as I remember seeing it anywhere in sculpture.  The shadow of the body hanging on the cross there, falls strangely and weirdly on the stone behind—both the kneeling angels (who, by the way, are holding censers), are beautiful.  Did I say above that one of the faces of the twelve Apostles was the most beautiful in the tympanum? if I did, I retract that saying, certainly, looking on the westernmost of these two angels.  I keep using the word beautiful so often that I feel half inclined to apologise for it; but I cannot help it, though it is often quite inadequate to express the loveliness of some of the figures carved here; and so it happens surely with the face of this angel.  The face is not of a man, I should think; it is rather like a very fair woman’s face; but fairer than any woman’s face I ever saw or thought of: it is in profile and easy to be seen in the photograph, though somewhat in the shade.  I am utterly at a loss how to describe it, or to give any idea of the exquisite lines of the cheek and the rippled hair sweeping back from it, just faintly touched by the light from the south-east.  I cannot say more about it.  So I have gone through the carvings in the lower part of this doorway, and those of the tympanum.  p. 152Now, besides these, all the arching-over of the door is filled with figures under canopies, about which I can say little, partly from want of adequate photographs, partly from ignorance of their import.

But the first of the cavettos wherein these figures are, is at any rate filled with figures of angels, some swinging censers, some bearing crowns, and other things which I cannot distinguish.  Most of the niches in the next cavetto seem to hold subjects; but the square camera of the photographer clips some, many others are in shadow, in fact the niches throw heavy shadows over the faces of nearly all; and without the photograph I remember nothing but much fretted grey stone above the line of the capitals of the doorway shafts; grey stone with something carved in it, and the swallows flying in and out of it.  Yet now there are three niches I can say something about at all events.  A stately figure with a king’s crown on his head, and hair falling in three waves over his shoulders, a very kingly face looking straight onward; a great jewelled collar falling heavily to his elbows: his right hand holding a heavy sceptre formed of many budding flowers, and his left just touching in front the folds of his raiment that falls heavily, very heavily to the ground over his feet.  Saul, p. 153King of Israel.—A bending figure with covered head, pouring, with his right hand, oil on the head of a youth, not a child plainly, but dwarfed to a young child’s stature before the bending of the solemn figure with the covered head.  Samuel anointing David.—A king again, with face hidden in deep shade, holding a naked sword in his right hand, and a living infant in the other; and two women before him, one with a mocking smile on her face, the other with her head turned up in passionate entreaty, grown women they are plainly, but dwarfed to the stature of young girls before the hidden face of the King.  The judgment of Solomon.—An old man with drawn sword in right hand, with left hand on a fair youth dwarfed, though no child, to the stature of a child; the old man’s head is turned somewhat towards the presence of an angel behind him, who points downward to something unseen.  Abraham’s sacrifice of Isaac.—Noah too, working diligently that the ark may be finished before the flood comes.—Adam tilling the ground, and clothed in the skins of beasts.—There is Jacob’s stolen blessing, that was yet in some sort to be a blessing though it was stolen.—There is old Jacob whose pilgrimage is just finished now, after all his doings and sufferings, all those deceits inflicted upon him, p. 154that made him remember, perforce, the lie he said and acted long ago,—old Jacob blessing the sons of Joseph.  And many more which I remember not, know not, mingled too with other things which I dimly see have to do with the daily occupations of the men who lived in the dim, far-off thirteenth century.

I remember as I came out by the north door of the west front, how tremendous the porches seemed to me, which impression of greatness and solemnity, the photographs, square-cut and brown-coloured do not keep at all; still however I can recall whenever I please the wonder I felt before that great triple porch; I remember best in this way the porch into which I first entered, namely the northernmost, probably because I saw most of it, coming in and out often by it, yet perhaps the fact that I have seen no photograph of this doorway somewhat assists the impression.

Yet I do not remember even of this anything more than the fact that the tympanum represented the life and death of some early French bishop; it seemed very interesting.  I remember, too, that in the door-jambs were standing figures of bishops in two long rows, their mitred heads bowed forward solemnly, and I remember nothing further.

p. 155Concerning the southernmost porch of the west front.—The doorway of this porch also has on the centre pillar of it a statue of the Virgin standing, holding the Divine Child in her arms.  Both the faces of the Virgin Mother and of her Son, are very beautiful; I like them much better than those in the south transept already spoken of; indeed I think them the grandest of all the faces of the Madonna and Child that I have seen carved by the French architects.  I have seen many, the faces of which I do not like, though the drapery is always beautiful; their faces I do not like at all events, as faces of the Virgin and Child, though as faces of other people even if not beautiful they would be interesting.  The Child is, as in the transept, draped down to the feet; draped too, how exquisitely I know not how to say.  His right arm and hand is stretched out across His mother’s breast, His left hangs down so that His wrist as His hand is a little curved upwards, rests upon His knee; His mother holds Him slightly with her left arm, with her right she holds a fold of her robe on which His feet rest.  His figure is not by any means that of an infant, for it is slim and slender, too slender for even a young boy, yet too soft, too much rounded for a youth, and p. 156the head also is too large; I suppose some people would object to this way of carving One who is supposed to be an infant; yet I have no doubt that the old sculptors were right in doing so, and to my help in this matter comes the remembrance of Ruskin’s answer to what Lord Lindsay says concerning the inability of Giotto and his school to paint young children: for he says that it might very well happen that Giotto could paint children, but yet did not choose to in this instance, (the Presentation of the Virgin), for the sake of the much greater dignity to be obtained by using the more fully developed figure and face; {156} and surely, whatever could be said about Giotto’s paintings, no one who was at all acquainted with Early French sculpture could doubt that the carvers of this figure here, could have carved an infant if they had thought fit so to do, men who again and again grasped eagerly common everyday things when in any way they would tell their story.  To return to the statues themselves.  The face of p. 157the young Christ is of the same character as His figure, such a face as Elizabeth Browning tells of, the face of One ‘who never sinned or smiled’; at least if the sculptor fell below his ideal somewhat, yet for all that, through that face which he failed in a little, we can see when we look, that his ideal was such an one.  The Virgin’s face is calm and very sweet, full of rest,—indeed the two figures are very full of rest; everything about them expresses it from the broad forehead of the Virgin, to the resting of the feet of the Child (who is almost self-balanced) in the fold of the robe that she holds gently, to the falling of the quiet lines of her robe over her feet, to the resting of its folds between them.

The square heads of the door-valves, and a flat moulding above them which runs up also into the first division of the tympanum, is covered with faintly cut diaper-work of four-leaved flowers.

Along the jambs of the doorway on the north side stand six kings, all bearded men but one, who is young apparently; I do not know who these are, but think they must be French kings; one, the farthest toward the outside of the porch, has taken his crown off, and holds it in his hand: the figures on the other side of the p. 158door-jambs are invisible in the photograph except one, the nearest to the door, young, sad, and earnest to look at—I know not who he is.  Five figures outside the porch, and on the angles of the door-jambs, are I suppose prophets, perhaps those who have prophesied of the birth of our Lord, as this door is apportioned to the Virgin.

The first division of the tympanum has six sitting figures in it; on each side of the canopy over the Virgin’s head, Moses and Aaron; Moses with the tables of the law, and Aaron with great blossomed staff: with them again, two on either side, sit the four greater prophets, their heads veiled, and a scroll lying along between them, over their knees; old they look, very old, old and passionate and fierce, sitting there for so long.

The next division has in it the death and burial of the Virgin,—the twelve Apostles clustering round the deathbed of the Virgin.  I wish my photograph were on a larger scale, for this indeed seems to me one of the most beautiful pieces of carving about this church, those earnest faces expressing so many things mingled with their regret that she will be no more with them; and she, the Virgin-Mother, in whom all those prophecies were fulfilled, p. 159lying so quiet there, with her hands crossed downwards, dead at last.  Ah! and where will she go now? whose face will she see always?  Oh! that we might be there too!  Oh! those faces so full of all tender regret, which even They must feel for Her; full of all yearning, and longing that they too might finish