their heads above the surface of the ground, and others are sitting up in their graves; some have one leg out, some are springing into the air, and some are running, as if in wild fright, for their lives. Though the usual expression upon the faces is one of astonishment, yet this is varied. Some are rubbing their eyes as if startled from a deep sleep, but not yet aware of the cause of alarm; others are utterly bewildered, and hesitate to leave their resting-place; some leap out in mad excitement, and others hurry off as if fearing to be again consigned to the tomb. An angel is leading a cheerful company of popes, bishops, and kings toward the Saviour, while a hideous demon, with a mouth stretching from ear to ear, is dragging off a number of the condemned toward the devil, who is seen stirring up a huge caldron boiling and bubbling with naked babies, dead before baptism. On another part of the wall is a carved representation of the vices which led to the destruction of Sodom and Gomorrah. These were so monstrously obscene that the authorities of the cathedral, in deference to the modern sense of decency, have caused them to be partly cut away by the chisel.
The first cut on the next page is an example of burlesque ornament. The artist apparently intended to indicate another termination of the interview than the one recorded by Æsop between the wolf and the stork. The old cathedral at Strasburg, destroyed a hundred years ago, was long renowned for its sculptured burlesques. We give two of several capitals exhibiting the sacred rites of the Church travestied by animals.
Capital in the Autun Cathedral.
It marks the change in the feelings and manners of men that, three hundred years after those Strasburg capitals were carved, with the sanction of the chapter, a book-seller, for only exhibiting an engraving of some of them in his shop window, was convicted of having committed a crime "most scandalous and injurious to religion." His sentence was "to make the amende honorable, naked to his shirt, a rope round his neck, holding in his hand a lighted wax-candle weighing two pounds, before the principal door of the cathedral, whither he will be conducted by the executioner, and there, on his knees, with uncovered head," confess his fault and ask pardon of God and the king. The pictures were to be burned before his eyes, and then, after paying all the costs of the prosecution, he was to go into eternal banishment.
Capitals in the Strasburg Cathedral, A.D. 1300.
Other American consuls besides Mr. Tomes, and multitudes of American citizens not so fortunate as to study mediæval art at their country's expense, have been profoundly puzzled by this crust of crude burlesque on ecclesiastical architecture. The objects in Europe which usually give to a susceptible American his first and his last rapture are the cathedrals, those venerable enigmas, the glory and shame of the Middle Ages, which present so complete a contrast to the toy-temples, new, cabinet-finished, upholstered, sofa-seated, of American cities, not to mention the consecrated barns, white-painted and treeless, of the rural districts. And the cathedrals are a contrast to every thing in Europe also, if only from their prodigious magnitude. A cathedral town generally stands in a valley, through which a small river winds. When the visitor from any of the encompassing hills gets his first view of the compact little city, the cathedral looms up in the midst thereof so vast, so tall, that the disproportion to the surrounding structures is sometimes even ludicrous, like a huge black elephant with a flock of small brown sheep huddling about its feet. But when at last the stranger stands in its shadow, he finds the spell of its presence irresistible; and it is a spell which the lapse of time not unfrequently strengthens, till he is conscious of a tender, strong attachment to the edifice, which leads him to visit it at unusual times, to try the effect upon it of moonlight, of storm, of dawn and twilight, of mist, rain, and snow. He finds himself going to it for solace and rest. On setting out upon a journey, he makes a détour to get another last look, and, returning, goes, valise in hand, to see his cathedral before he sees his companions. Many American consuls have had this experience, have truly fallen in love with the cathedral of their station, and remained faithful to it for years after their return, like Mr. Howells, whose heart and pen still return to Venice and San Carlo, so much to the delight of his readers.
This charm appears to lie in the mere grandeur of the edifice as a work of art, for we observe it to be most potent over persons who are least in sympathy with the feeling which cathedrals embody. Very religious people are as likely to be repelled as attracted by them; and, indeed, in England and Scotland there are large numbers of Dissenters who have avoided entering them all their lives on principle. It is Americans who enjoy them most; for they see in them a most captivating assemblage of novelties—vast magnitude, solidity of structure only inferior to nature's own work, venerable age, harmonious and solemn magnificence—all combined in an edifice which can not, on any principle of utility, justify its existence, and does not pay the least fraction of its expenses. Little do they know personally of the state of feeling which made successive generations of human beings willing to live in hovels and inhale pollution in order that they might erect those wondrous piles. The cost of maintaining them—of which cost the annual expenditure in money is the least important part—does not come home to us. We abandon ourselves without reserve to the enjoyment of stupendous works wholly new to our experience.
Engraved upon a Stall in Sherborne Minster, England.
It is Americans, also, who are most baffled by the attempt to explain the contradiction between the noble proportions of these edifices and the decorations upon some of their walls. How could it have been, we ask in amazement, that minds capable of conceiving the harmonies of these fretted roofs, these majestic colonnades, these symmetrical towers, could also have permitted their surfaces to be profaned by sculptures so absurd and so abominable that by no artifice of circumlocution can an idea of some of them be conveyed in printable words? In close proximity to statues of the Virgin, and in chapels whose every line is a line of beauty, we know not how to interpret what M. Champfleury truly styles "deviltries and obscenities unnamable, vice and passion depicted with gross brutality, luxury which has thrown off every disguise, and shows itself naked, bestial, and shameless." And these mediæval artists availed themselves of the accumulated buffooneries and monstrosities of all the previous ages. The gross conceptions of India, Egypt, Greece, and Rome appear in the ornamentation of Christian temples along with shapes hideous or grotesque which may have been original. Even the oaken stalls in which the officiating priests rested during the prolonged ceremonials of festive days are in many cathedrals covered with comic carving, some of which is pure caricature. A rather favorite subject was the one shown above, a whipping-scene in a school, carved upon an ancient stall in an English cathedral.
From a Manuscript of the Thirteenth Century.
It is not certain, however, that the artist had any comic intention in engraving this picture of retributive justice, with which the children of former ages were so familiar. It was a standard subject. The troops of Flemish carvers who roamed over Europe in the twelfth and thirteenth centuries, offering their services wherever a church was to be decorated, carried with them port-folios of stock subjects, of which this was one. Other carvings are unmistakable caricatures: a monk caught making love to a nun, a wife beating her husband, an aged philosopher ridden by a woman, monkeys wearing bishops' mitres, barbers drawing teeth in ludicrous attitudes, and others less describable. In the huge cathedral of English Winchester, which abounds in curious relics of the Middle Ages, there is a series of painted panels in the chapel of Our Lady, one of which is an evident caricature of the devil. He is having his portrait painted, and the Virgin Mary is near the artist, urging him to paint him blacker and uglier than usual. The devil does not like this, and wears an expression similar to that of a rogue in a modern police station who objects to being photographed. Often, however, in these old pictures the devil is master of the situation, and exhibits contempt for his adversaries in indecorous ways.
If we turn from the sacred edifices to the sacred books used in them—those richly illuminated missals, the books of "Hours," the psalters,