T. Tindall Wildridge

“ But too much stress is not to be laid upon the pig as a musician, for at Westminster the bear plays the bagpipes, just as at Winchester the ape performs on the harp. In the Beverley Minster choir an ape converts a cat into an almost automatic instrument by biting its tail. ”

“ In a misericorde at Beverley Minster we have three scenes from the history of the Devil. One gives us the avaricious man bending before his coffers. He has taken out a coin; if we read aright his contemplative and affectionate look, it is gold. [Pg 88] Hidden behind the chest behold Satan, one of whose bullock horns is visible as he lurks out of the miser’s sight, grinning to think how surely the victim is his. ”

“ Elements of heathenism which, after the lapse of centuries, still clung to the Church’s robes, became an interwoven part of her dearest symbolism. If men did not burn what they had adored, they in effect adored that which they had burned. ”

“ It will be observed that as the Hours are said to dance by the side of the chariot of the sun, so here four weeks dance to the music of the moon-sphere; the word moon means the measurer, and the cat is playing a dance measure! ”

“ ST. KATHERINE’S.here is a large number of bizarre works which defy natural classification, and though in many cases they are a branch of the compound order of figures, yet they are frequently well defined as non-descripts. These, though in one respect the most grotesque of the grotesques, do not claim lengthy description. Where they are not traceable compounds, they are often apparently the creatures of fancy, without meaning and without history. It may be, however, that could we trace it, we should find for each a pedigree as interesting, if not as old, as that of any of the sun-myths. ”

“ Often a grotesque face will be found added to a beautiful design of foliage, either as the conventional mask, as in the design in Lincoln Chapter House, or a realistic head, as the following grim, dour visage between graceful curves on a misericord at King’s College, Cambridge. ”

“ Perhaps through all time the sun-myth was accompanied by a constant feeling that good and evil were symbolised by the alternation of season. It is to be expected that the feeling would increase and solidify upon the advent of Christianity, for the periodic dragon of heathendom was become the permanent enemy of man, the Devil. The frequent combats between men (and other animals) and the dragons, met among church grotesques, though their models, far remote in [Pg 48] antiquity, were representations of sun-myths, would be carved and read as the ever-continuing fight between good and evil. ”

“ Much of ancient satire owes its origin to that description [Pg 186] of fable which bestows the attributes and capacities of the human race upon the lower animals, which are made to reason and to speak. Their mental processes and their actions are entirely human, although their respective animal characteristics are often used to accentuate their human character. In every animal Edward Carpenter sees varying sparks of the actual mental life we call human, in, it may be added, arrested or perverted development, in which, in each instance, one characteristic has immeasurably prevailed. ”

“ Thus the foliate and florate designs are better carved than the animal forms, and both better than the human. With the exception of little else besides the Angel Choir at Lincoln, and portions of the Percy Shrine at Beverley, there is nothing in Gothic representation of sentient form really worthy of the perfect conceptions of architecture afforded by scores of English churches. It may, of course, be considered that anything but conventional form is out of place as architectural ornament; on the other hand, it must not be ignored that conventionality is a growth. ”

“ It is probable that the religious ideas and artistic forms met in ancient worships first solely [Pg 158] existed in poetic expressions of the qualities of the sun—of the other members of the solar system—of the gods. Thus the swiftness of the sun in his course and in his light induced the mention of wings. Hence the wings of an eagle added to a circular form arose as the symbol in one place; in another arose the God Mercury; while Jove the great sun-god is shewn accompanied by an eagle. The fertility of the earth became as to corn Ceres, as to vines Bacchus, as to flowers Flora, and so forth. ”

“ In the companion carving we have the incident—and the monk—carried a little further. The devil has picked him up, thrown him down along his conveniently horizontal back, and strides on with him through a wild place of rocks and trees, holding what appears to be a flaming torch, which he also uses as a staff. The monk has managed to gather up his dearly-loved bag of money, and is frantically clutching at the rocks as he is swiftly borne along. Satan in the first carving has rather a benevolent human face, in the second a debased beast face, unknown to natural history. ”

“ As with the barbaric gods, so with the classic deities, who equally supplied material of which to make foul fiends. Bacchus, with the legs and sprouting horns of a goat, that haunter of vine-yards, then his fauns constructed on the same symbolic principle, gave rise to the satyrs. These, offering in their form disreputable points for reprobation, were found to be a sufficiently appropriate symbol of the Devil. The reasons of variety in the satyr figure are not far to seek, beyond the constant tendency of the mediæval artist to vary form while preserving essence. ”

“ BEVERLEY MINSTER.
The weapon is evidently a form of the falx, or falcula, for it was with such a one (and here we see further distribution of the myth) that Jupiter wounded Typhon, and such was the instrument with which Perseus slew the sea-dragon: the falx, the pruning-hook, sickle or scythe, is an emblem of Saturn, and the oldest representation of it in that connection shew it in simple curved form. Saturn’s sickle became a scythe, and the planet deity thus armed became, on account of the length of his periodical revolution, our familiar figure of Father Time. ”

“ Gothic, or in fact any architecture admitting ornament, calls for crisp sub-regular projections, which shall, by their prominence and broken surface, attract the eye, but by the vagueness of their general form attract it so slightly as to lose individuality in a general view. ”

“ It is only to be expected, therefore, that where the artist found character beyond his reach he fell readily into caricature, though it is a matter for surprise to find such a high standard of ability in that, and in the carved work generally. We find no instances of carving so low in absolute merit as are the best of the wall-paintings of the same periods. ”

“ We now arrive at a form of the sun-myth which appears to have come down without much interference. The god Horus is alluded to as a child, and in a curious series of carvings the being attacked by a Dragon is a child. It is attempted, and with considerable success, to be represented as of great beauty. The point to explain is the position of the child, rising as it does from a shell. This leads us further into the various contingent mythologies dealing with the Typhon story. ”

“ Many races have left no suspicion of their ever having smiled; even where there are ample pictorial remains, humour is generally unrepresented. The Assyrians have left us the smallest possible grounds for crediting them with its possession. Instances have been adduced of Egyptian humour, but some are doubtful, and in any case the proportion of fun per acre of picture is infinitesimally small. The Greeks, perhaps, came the nearest to what we consider the comic, but with both Greek and Roman the humour has something of bitterness and sterility ”

“ For the animal qualities, whether human or not in kind, man has ever had a sympathetic recognition, which has made both symbol and fable easily acceptable. Perhaps symbolism, which for so many ages has taken the various animals as figures to intelligibly express abstract qualities, gave rise to fable. ”

“ Reflection upon the causes and meanings of Gothic grotesque will shew that perpetuation is to be regretted for other than artistic reasons. If the taste be false yet the work is valuable on historic grounds, for what it teaches of its own time and much more for what it hints of earlier periods of which there is meagre record anywhere. ”

“ Reynard is the only animal that does not appear. The Wolf, Isengrinus, to ruin Reynard’s adherents, the Goat and the Ram, prescribes as a remedy for the Lion’s disorder a medicine of Goat and Ram livers. They defend the absent Reynard, and pronounce him a great doctor, and, to save their livers, drive the Wolf by force from before the throne. Reynard is summoned. He comes with herbs, which, he says, will only be efficacious if the patient is wrapped in the skin of a wolf four years old. The Wolf is skinned, the Lion is cured, and Fox made Chancellor. ”

“ The use of the serpent as the Church symbol of regeneration and revival of health or life is not common in carvings. In these senses it was used by the Greeks, though chiefly as the symbol of the Supreme Intellect, being the special attribute and co-type of Minerva. The personal apparition which confronted Eve is not so infrequent, though without much variety.
In a representation of the temptation of Adam and Eve among the misericordes of Ely, the tree of the knowledge of good and evil is shewn of a very peculiar shape. ”

“ Ale, no more than other things, could be kept out of church. A carving at Wellingborough, Northamptonshire, shews us an interview between a would-be customer on the one part and an ale-wife on the other part. There is, in a list of imaginary names in an epilogue or “gagging” summons to a miracle play, mention of one Letyce Lytyltrust, whom surely we see above. Evidently the man is better known than trusted, and while a generous supply of the desired refreshment is “on reserve” in a dear old jug, some intimation has been made that cash is required ”

“ The symbol of Typhon was the crocodile, and doubtless the dragon form thus largely rose. Ráhu, an evil deity in Hindoo mythology, though generally called a dragon, is sometimes met represented as a [Pg 45] crocodile, and his numerous progeny are styled crocodiles. The constellation called by the Japanese the crocodile is that known to us as the dragon. Can it be that in the universal dragon we have a chronicle of our race’s dim recollection of some survival of the terrible Jurassic reptiles, and hence of their period?
But the myth has ever one ending ”

“ The records of mankind are not wanting in stormy incidents in which the gentle female spirit has chafed under some presumed foolishness or wickedness of the head of the house, and at length breaking bounds, inflicted on him personal reminders that patience endureth but for a season. An example of this is given above, which shews the possibility of such a thing as far back as 1520, the date of the Beverley Minster misericordes. ”

“ Nowhere so much as in Gothic architecture has the grotesque been fostered and developed, for, except for a blind adherence to ancient designs, due to something like gild continuity, the whole detail was introduced apropos of nothing. ”

“ The great east window of York Cathedral, the west front and south doorway of Lincoln, and the east side of the altar-screen, Beverley Minster, have representations of the Mouth of Hell. The chancel arch of Southleigh has a large early fresco of the subject, in which two angels, a good and a bad (white and black) , are gathering the people out of their graves; the black spirit is plucking up certain bodies (or souls) with a flesh-hook, and his companions are conveying them to the adjacent Mouth. ”

“ It shall be a figure of which the preconceived idea was either worthy or dreadful—which suddenly we have presented to us shorn of its superior attributes. Ideals are unconsciously enshrined in the mind, and when images proclaiming themselves the same ideals appear in sharp degraded contrast—we laugh. ”

“ It is a great merit, on antiquarian grounds, that Gothic work, prior to the revival in art, was too much unconscious to admit anything so self-personal as a thought of the workers themselves, though frequently their ‘marks’ are unobtrusively set upon their works. ”

“ Though it is not to be denied that in the wide range of subjects a considerable number of indecent subjects have crept in, yet their proportion is small. Examination would lead to the belief that upon the whole the art of the churches is much purer than the literature or the popular taste of the respective periods. Though there may be sometimes met examples of grossness of humour and a frank want of reserve, such as in the annexed drawing from the chapel of All Souls, [Pg 151] Oxford, yet these are rarely of the most gross or least reserved character. ”

“ In this example of Norman sculpture, the humour intent is more marked than usual. The hero is seated astride the dragon’s back, and, grasping its upper and lower jaws, is tearing them asunder. The dragon is rudely enough executed, but the man’s face and extremities have good drawing. ”

“ In the Scandinavian myth, Odin the son of Bur, broke for a season the strength of the great serpent Jörmungard, who, however, eventually swallowed the hero. Thus was Odin the sun; and his companions, the other Asir, were more or less sun attributes. In the case of Egypt the god is Horus (the sun-light) , the youthful son of Osiris and Isis, who drives back Typhon to the deserts; for that country the rising of the Nile is the happy crisis. Horus is sometimes called Nilus. ”