The grounds are finely kept: winding paths invite to many a charming stroll. When about half way up, as the rain had partially subsided, I left the carriage, and toiled up the laborious steep on foot, that I might observe better. You approach the castle by a path cut through the rock for about thirty or forty feet. At last I stood under a low archway of solid stone masonry, about twenty feet thick. There had evidently been three successive doors; the outer one was gone, and the two inner were wonderfully massive, braced with iron, and having each a smaller wicket door swung back on its hinges.
As my party were a little behind, I had time to stop and meditate. I fancied a dark, misty night, and the tramp of a party of horsemen coming up the rocky path to the gateway; the parley at the wicket; the unbarred doors, creaking on their rusty hinges,—one, two, three,—are opened; in clatters the cavalcade. In the midst of armed men with visors down, a monk in cowl and gown, and with that firm look about the lips which is so characteristic in Luther's portraits. But here our party came up, and the vision was dispelled. As none of us knew a word of German, we stood rather irresolutely looking at the buildings which, in all shapes and varieties, surround the court. I went into one room—it was a pantry; into another—it was a wash room; into a third—it was a sitting room, garnished with antlers, and hung round with hard old portraits of princes and electors, and occupied by Germans smoking and drinking beer. One is sure that in this respect one cannot fail of seeing the place as it was in Luther's time. If they were Germans, of course they drank beer out of tall, narrow beer glasses; that is as immutable a fact as the old stones of the battlement.
“H.,” said C., “did the Germans use to smoke in Luther's day?”
“No. Why?”
“0, nothing. Only, what could they do with themselves?”
“I do not know, unless they drank the more beer.”
“But what could they do with their chimney-hood?”
So saying, the saucy fellow prowled about promiscuously a while, assailing one and another in French, to about as much purpose as one might have tried to storm the walls with discharges of thistle down; all smoked and drank as before. But as several other visitors arrived, and it became evident that if we did not come to see the castle, it was not likely we came for any thing else, a man was fished up from some depths unknown, with a promising bunch of keys. He sallied forth to that part of the castle which is undergoing repairs.
Passing through bricks and mortar, under scaffolds, &c., we came to the armory, full of old knights and steeds in complete armor; that is to say, the armor was there, and, without peeping between the crevices, one could hardly tell that their owners were not at home in their iron houses. There sat the Elector of Saxony, in full armor, on his horse, which was likewise cased in steel. There was the suit of armor in which Constable Bourbon fell under the walls of Rome, and other celebrated suits, some covered with fine engraved work, and some gilded. A quantity of banners literally hung in tatters, dropping to pieces with age. Here were the middle ages all standing.
Then we passed up to a grand hall, which is now being restored with great taste after the style of that day—a long, lofty room, with an arched roof, and a gallery on one side, and beyond, a row of Romanesque arched windows, commanding a view of the country around. Having finished the tour of this part, we went back, ascended an old, rude staircase, and were ushered into Luther's Patmos, about ten or twelve feet square. The window looked down the rocky sides into an ocean of seething mist. I opened it, but could see nothing of all those scenes he describes so graphically from this spot. I thought of his playful letter on the “Diet of the Rooks,” but there was not a rook at hand to illustrate antiquity. There was his bedstead and footstool, a mammoth vertebra, and his writing table. A sculptured chair, the back of which is carved into a cherub's head, bending forward and shadowing with its wings the head of the sitter, was said to be of the time of Luther, but not his chair. There were some of his books, and a rude, iron-studded clothes press.
Thus ended for me the Lutheran pilgrimage. I had now been perseveringly to all the shrines, and often inquired of myself whether our conceptions are helped by such visitations. I decided the question in the affirmative; that they are, if from the dust of the present we can recreate the past, and bring again before us the forms as they then lived, moved, and had their being. For me, I seem to have seen Luther, Cranach, Melanchthon, and all the rest of them—to have talked with them. By the by, I forgot to mention the portraits of Luther's father and mother, which are in his cell. They show that his mother was no common woman. She puts me in mind of the mother of Samuel J. Mills—a strong, shrewd, bright, New England character.
I must not forget to notice, too, a little glitter of effect—a little, shadowy, fanciful phase of feeling—that came over me when in Luther's cell at Erfurt. The time, as I told you, was golden twilight, and little birds were twittering and chirping around the casement, and I thought how he might have sat there, in some golden evening, sad and dreamy, hearing the birds chirp, and wondering why he alone of all creation should be so sad. I have not a doubt he has done that very thing in this very spot.
JOURNAL—(CONTINUED.)
Monday, August 15. From Eisenach, where we dined cozily in the railroad station house, we took the cars for Cassel. After we had established ourselves comfortably in a nich rauchen car, a gentleman, followed by a friend, came to the door with a cigar in his mouth. Seeing ladies, he inquired if he could smoke. Comprehending his look and gesture, we said, “No.” But as we spoke very gently, he misunderstood us, and entered. Seeing by our looks that something was amiss, he repeated the question more emphatically in German: “Can I smoke? Yes, or no.” “No,” we answered in full chorus. Discomfited, he retired with rather a flushed cheek. We saw him prospecting up and down the train, hunting for a seat, followed by his fidus Achates. Finally, a guard took him in tow, and after navigating a while brought him to our door; but the gentleman recoiled, said something in German, and passed on. Again they made the whole circuit of the train, and then we saw the guard coming, with rather a fierce, determined air, straight to our door. He opened it very decidedly, and ordered the gentleman to enter. He entered, cigar and all. His friend followed.
“Well,” said H., in English, “I suppose he must either smoke or die.”
“Ah, yes,” I replied, “for the sake of saving his life we will even let him smoke.”
“Hope the tobacco is good,” added H.; and we went on reading our “Villette,” which was very amusing just then. The gentleman had his match already lighted, and was just in the act of puffing preliminarily when H. first spoke. I thought I saw a peculiar expression on his friend's face. He dropped a word or two in German, as if quite incidentally, and I soon observed that the smoking made small progress. Pie kept the cigar in his mouth, it is true, for a while, just to show he would smoke if he chose; but his whiffs were fewer and fainter every minute; and after reading several chapters, happening to cast my eye that way, the cigar had disappeared. Not long after the friend, sitting opposite me, addressed W. in good English, and they were soon well agoing in a friendly discussion of our route. The winged word had hit the mark that time.
We passed the night in an agreeable hotel, Roi de Prusse, at Cassel. By the way, it occurred to us that this was where the Hessians came from in the old revolutionary times.
Tuesday, August 16. A long, dull ride from Cassel to Dusseldorf.
Wednesday, August 17. Whittridge came at breakfast. The same mellow, friendly, good-humored voice, and genial soul, I had loved years ago in the heart of Indiana. We had a brief festival of talk about old times, art, artists, and friends, and the tide of time rolled in and swept us asunder. Success to his pencil in the enchanted glades of Germany! America will yet be proud of his landscapes, as Italy of Claude, or England of Turner.
Ho for Anvers! (Antwerp.) Through Aix-la-Chapelle, Liege, Malines, till nine at night.
Thursday, August 18. What gnome's cave is this Antwerp, where I
have been hearing such strange harmonies in the air all night? We drive to the cathedral, whose tower reminded Napoleon of Mechlin lace. What a shower of sprinkling music drops comes from the sky above us! We must go up and see about this. We spiralize through a tubular stairway to an immense height—a tube of stone, like a Titanic organ pipe, filled with waves of sound pouring down like a deluge. Undulations tremendous, yet not intolerable: we soon learned their origin. Reaching a small door, I turned aside, and came where the great bell was hung, which twenty men were engaged in ringing. It was a fete day. I crept inside the frame, and stood actually under the colossal mass, as it swung like a world in its spheric chime. A new sense was developed, such as I had heard of the deaf possessing. I seemed existing in a new medium. I felt the sound in my lungs, in my bones, on all my nerves to the minutest fibre, and yet it did not stupefy nor stun me with a harsh clangor. It was deep, DEEP. It was an abyss, gorgeously illuminated of velvet softness, in which I floated. The sound was fluid like water about me. I closed my eyes. Where was I? Had some prodigious monster swallowed me, and, like another Jonah, had I “gone down beneath the bottoms of the mountains”? I escaped from that perilous womb of sound, and ascended still higher. There was the mystery of that nocturnal minstrelsy. Seventy-three bells in chromatic diapason—with their tinkling, ringing, tolling, knolling peal! Was not that a chime? a chime of chimes? And all these goblin hammers, like hands and feet of sprites, rising and falling, by magic, by hidden mechanism.
Of all German cactus blossoms this is the most ethereal. What head conceived those harmonies, so ghostlike? Every ten minutes, if you lie wakeful, they wind you up in a net of silver wirework, and swing you in the clouds; and the next time they swing you higher, and the next higher, and when the round hour is full the giant bell strikes at the gate of heaven to bring you home!
But this is dreaming. Fie, fie! Let us come down to pictures, masses, and common sense. We came down. We entered the room, and sat before the Descent from the Cross, where the dead body of Jesus seems an actual reality before you. The waves of the high mass came rolling in, muffled by intervening walls, columns, corridors, in a low, mysterious murmur. Then organ, orchestra, and choir, with rising voices urged the mighty acclaim, till the waves seemed beating down the barriers upon us. The combined excitement of the chimes, the painting, the music, was too much. I seemed to breathe ether. Treading on clouds, as it were, I entered the cathedral, and the illusion vanished.
Friday, August 19. Antwerp to Paris.
Saturday, August 20. H. and I take up our abode at the house of M. Belloc, where we find every thing so pleasant, that we sigh to think how soon we must leave these dear friends. The rest of our party are at the Hotel Bedford.
LETTER XLVII.
Antwerp.
MY DEAR:—
Of all quaint places this is one of the most charming. I have been rather troubled that antiquity has fled before me where I have gone. It is a fatality of travelling that the sense of novelty dies away, so that we do not realize that we are seeing any thing extraordinary. I wanted to see something as quaint as Nuremberg in Longfellow's poem, and have but just found it. These high-gabled old Flemish houses, nine steps to each gable! The cathedral, too, affects me more in externals than any yet. And the spire looks as I expected that of Strasbourg would. As to the grammarye of bells and chimes, I deliver that over to Charlie. But—I have seen Rubens's painting! Before I came to Europe, Longfellow said to me, “You must go to Antwerp, to see Rubens.”
“I do not think I shall like Rubens,” was my reply.
“But you will, though. Yet never judge till you have been to Antwerp.”
So, during our various meanders, I kept my eye with a steady resolve on this place. I confess I went out to see the painting without much enthusiasm. My experience with Correggio's Notte, and some of the celebrities of Dresden, was not encouraging. I was weary, too, with sightseeing. I expected to find an old, dim picture, half spoiled by cleaning, which I should be required to look into shape, by an exercise of my jaded imagination.
Alter coming down from hearing the chimes, we went into a side room, and sat down before the painting. My first sensation was of astonishment, blank, absolute, overwhelming. After all that I had seen, I had no idea of a painting like this. I was lifted off my feet, as much as by Cologne cathedral, or Niagara Falls, so that I could neither reason nor think whether I was pleased or not. It is difficult, even now, to analyze the sources of this wonderful power. The excellence of this picture does not lie, like Raphael's, in a certain ideal spirituality, by which the scene is raised above earth to the heavenly sphere; but rather in a power, strong, human, almost homely, by which, not an ideal, but the real scene is forced home upon the heart.
Christ is dead,—dead to your eye as he was to the eye of Mary and of John. Death absolute, hopeless, is written in the faded majesty of that face, peaceful and weary; death in every relaxed muscle. And, surely, in painting this form, some sentiment of reverence and devotion softened into awestruck tenderness that hand commonly so vigorous; for, instead of the almost coarse vitality which usually pervades his manly figures, there is shed over this a spiritualized refinement, not less, but more than human, as if some heavenly voice whispered, “This is the Lamb slain from the foundation of the world!” The figures of the disciples are real and individual in expression. The sorrow is homely, earnest, unpicturesque, and grievously heart broken. The cheek of the kneeling Mary at his feet is wet with tears. You cannot ask yourself whether she is beautiful or not. You only see and sympathize with her sorrow. But the apostle John, who receives into his arms the descending form, is the most wonderful of all. Painters that I have seen represent him too effeminately. They forget the ardent soul whom Jesus rebuked for wishing to bring down fire from heaven on his enemies; they forget that it was John who was called the son of thunder, and that his emblem in the early church was the eagle. From the spiritualized softness of his writings we have formed another picture, forgetting that these are the writings of an aged man, in whom the ardor of existence has been softened by long experience of suffering, and habits of friendship with a suffering Lord.
Rubens's conception of John is that of a vigorous and plenary manhood, whose rush is like that of a torrent, in the very moment when his great heart is breaking. He had loved his Master with a love like an eternity; he had believed him; heart and soul, mind and strength—all had he given to that kingdom which he was to set up; and he had seen him die—die by lingering torture. And at this moment he feels it all. There is no Christ, no kingdom—nothing! All is over. “We trusted it had been he who should have redeemed Israel.” With that miraculous, lifelike power that only Rubens has, he shows him to us in this moment of suppressed agony; the blood choking his heart, the veins swollen, and every muscle quivering with the grief to which he will not give way. O, for this wonderful and deep conception, this almost divine insight into the mysteries of that hour, one might love Rubens. This picture cannot be engraved. No engraving is more than a diagram, to show the places of the figures. For, besides its mesmeric life, which no artist can reproduce, there is a balancing of colors, a gorgeousness about it, as if he had learned coloring from the great Master himself. Even in the overpowering human effect of this piece, it is impossible not to perceive that every difficulty which artists vaunt themselves on vanquishing has in this piece been conquered with apparently instinctive ease, simply because it was habitual to do so, and without in the least distracting the attention from the great moral. Magical foreshortenings and wonderful effects of color appear to be purely incidental to the expression of a great idea. I left this painting as one should leave the work of a great religious master— thinking more of Jesus and of John than of Rubens.
After this we went through many galleries and churches devoted to his works; for Antwerp is Rubens's shrine. None of them impressed me, as compared with this. One of his Madonnas, however, I must not forget to describe, it was a conceit so just like him. Instead of the pale, do
wncast, or upturned faces, which form the general types of Madonna, he gives her to us, in one painting, as a gorgeous Oriental sultana, leaning over a balcony, with full, dark eye and jewelled turban, and rounded outlines, sustaining on her hand a brilliant paroquet. Ludicrous as this conception appears in a scriptural point of view, I liked it because there was life in it; because he had painted it from an internal sympathy, not from a chalky, second-hand tradition.
And now, farewell to Antwerp. Art has satisfied me at last. I have been conquered, and that is enough.
To-morrow for Paris. Adieu.
LETTER XLVIII.
PARIS, Saturday, August 20.
MY DEAR:—
I am seated in my snug little room at M. Belloc's. The weather is overpoweringly hot, but these Parisian houses seem to have seized and imprisoned coolness. French household ways are delightful. I like their seclusion from the street, by these deep-paved quadrangles. I like these cool, smooth, waxed floors so much that I one day queried with my friends, the C.'s, whether we could not introduce them into America. L., who is a Yankee housekeeper, answered, with spirit, “No, indeed; not while the mistress of the house has every thing to do, as in America; I think I see myself, in addition to all my cares, on my knees, waxing up one of these floors.”
“Ah,” says Caroline, “the thing is managed better in Paris; the frotteur comes in before we are up in the morning, shod with great brushes, and dances over the floors till they shine.”
“I am sure,” said I, “here is Fourrier's system in one particular. We enjoy the floors, and the man enjoys the dancing.”
Madame Belloc had fitted up my room with the most thoughtful care. A large bouquet adorns the table; fancy writing materials are displayed; and a waiter, with sirups and an extempore soda fount, one of Parisian household refinements, stands just at my elbow. Above all, my walls are hung with beautiful engravings from Claude and Zuccarelli.