Many of the earliest examples of this new work—at least the earliest now existing—are across the Rhine, in Thuringia and Saxony, and are outside our survey. Gernrode, Essen, Hildesheim, are all beyond our territory, but Cologne is this side the river and contains some of the most organic and best of the late tenth and early eleventh century work. Sta. Maria in Capitolio and St. Martin are both of that very peculiar7 type of plan that has an apse and apsidal transepts of equal size and semicircular in plan. The central tower is supported on four piers8 made up of groups of four, as at San Marco in Venice, and the apse and transepts are surrounded by ambulatories, the main walls being carried on columns, set rather close together and carrying round arches. It is an interesting and ingenious scheme, with great possibilities of development, though it has almost never been used elsewhere; probably it is of Syrian origin, the idea being brought home by early crusaders, though it may be Byzantine, in{280} which case also it was probably derived9 from Antioch, where the crusaders found so much of value to them in the development of the later art of Europe. St. Martin’s has also a very beautiful tower with a high broach10 spire11 and admirably designed corner turrets12. The composition of the church from the east, with its curving apsidal lines, its delicate little colonnades13 of Lombard form under the eaves, and the graceful14 yet powerful towers, is noble and dignified15, and the whole building is far more organic and logically articulated than the bigger work of a century later farther up the Rhine.
The Church of the Apostles is nearer this later type and has its unfortunate agglomeration16 of ill-placed towers, but St. Gereon is sui generis; it can hardly be said to have any plan at all, for it is made up of a simple little aisleless church of three bays with a round apse and two small transept-like towers, joined on to an irregular decagon of a nave17, somewhat elliptical in plan, with large niches18 in each of the eight lateral19 sides and a square porch or narthex at the west end. This anomalous20 “nave” is early thirteenth century it is true, while the eastern church is one hundred and fifty years older, but the Gothic{281} work is on foundations undoubtedly21 Roman and takes the place of a structure of somewhat similar plan built by the Empress Helena. The sequence is curious; there was first a circular or elliptical Roman building, on the foundations of which the Empress Helena built her church, the crypt of which still remains22, then the easterly choir23 was built by Archbishop Hanno late in the eleventh century, and finally the original main church was torn down and rebuilt on Gothic lines about 1225.
In nearly all the Romanesque churches of Cologne an attempt has been made to reproduce the original polychromatic decoration which once covered all portions of the masonry25, but the results are not eminently26 satisfactory, for mechanical diaper and stencilling27 cannot take the place of the old work which was done freely and without exactness of line and spacing, while the colours and the medium used were quite different from what is employed to-day. There is no doubt that once every Gothic interior, now grey and sombre, or garish28 in its clean whitewash29 and mathematical jointing of painted lines, was entirely30 covered with the richest possible surface decoration in colours and gold, and the result must have been a gorgeousness and a gaiety of{282} which we know nothing and that would probably shock our sensitive taste to the point of hysteria. One would like to see some great church with full colour decoration, but as matters now stand, with oil paint, stencils31, coal-tar colours, and all that, the experiment could hardly be made with any degree of safety.
In Cologne also are many early, middle, and late Gothic churches; that of the Minorites, St. Severins, St. Panteleon, St. Andreas, St. Cunibert; in fact, Cologne is especially rich in churches of many styles and most of them remarkably32 good, but they are apt to be overlooked by the tourist who can see, and cares to see, only the overgrown grandeur33 of the cathedral. Farther up the Rhine we find a long succession of great churches which are characteristically German and well show the best the Teutonic genius was capable of under the highest impulse; Bonn, Coblentz, Mayence, Worms, and Spires34 are all huge structures and quite in a class by themselves. They are not beautiful by any stretch of courtesy; big they are and massive, with curious combinations of multiplied apses and transepts and towers, but they are without organic quality of any kind, their composition is diffuse35 and casual, their detail crude and uninteresting. Nowhere is there a step forward in the development of organism, and as they increase in size they show only a multiplication36 of rather infelicitous37 parts. Underneath38 is an idea that was susceptible39 of development into something fine and national, but it never had either the time or the spirit to work itself out and so remains a heavy and rather illiterate40 labouring after something too dimly seen to be really stimulating41 in the sense in which the ideal in Normandy and France was stimulating. Actually there was more of promise in the work of the eleventh century, as we see it at Hildesheim and Cologne, but this also was left undeveloped and never worked out its inherent possibilities.
The architectural development of Germany began too late; it was always a full century behind France and Italy, and when the Rhenish people were hammering away at their clumsy and uninspired giants of masonry that never seemed to become anything else and never produced any elements of novelty or progress, either structurally43 or ?sthetically, Normandy already had struck out those masterpieces of crescent vitality44, Jumièges and the abbeys of Caen, while France was well along the highroad of her consummate{284} Gothic, through St. Denis, Noyon, Laon, and Paris.
This backwardness in the acceptance of civilisation has always worked against the attainment45 of the highest levels of culture by that portion of the Germanic nation north of the Danube and east of the Rhine, while it has given it a certain advantage in the achievement of material ends, since the ethical46 and religious considerations, that in a measure held elsewhere, were naturally lacking. No part of this wild land of savage47 and heathen tribes ever felt the touch of Roman civilisation, such as it was, and it was the last part of central Europe to be Christianised. The Bavarians, Burgundians, and Franks all accepted Christianity at the end of the fifth century, but the tribes between the Rhine and the Weser were heathens for another three hundred years. The Wendish lands (where Berlin now is) did not come into Christian48 Europe until the early eleventh century, at about the time, let us say, of Duke Richard of Normandy and the founding of the great abbeys and schools of Bec, Fécamp, and Jumièges; Pomerania (where the grenadiers come from) was converted after a fashion a hundred years later still, in the days of the highest{285} civilisation in Europe, but Prussia was the last of all, and when Christianity was preached in its arid49 plains and amongst its stubbornly heathen peoples Reims cathedral was rising into its sublime50 majesty51, marking the high attainments52 of almost eight centuries of cumulative53 Christian culture.
Even in the Rhineland, however, there was something lacking to that culture that always has issue in great architectural art; many things were started but none was ever finished. The school of Cologne gave place to the Rhenish fashion and this was suddenly abandoned for Gothic after it had been raised to its highest point in France and was at the very moment of decline. Neither Cologne nor Strasbourg is of the same quality of perfection as Bourges or Amiens or Reims; indeed, they both fall immeasurably short, and though later, across the Rhine, in Freibourg, Erfurt, even as far afield as Vienna, Teutonic blood was to begin a new coursing through veins54 already hardening, again there was to be no culmination55 and the Renaissance56 was accepted, ready-made, as it came from France and Italy.
Cologne is a magnificent essay in premeditated art, and it has certain qualities of almost over-powering grandeur that are wholly its own; the{286} west front with its vast towers is a masterpiece of consistent design, but it is so knowing and academic that it misses the inspiration accorded to more modest and God-fearing master builders, while the interior is wire-drawn and metallic57 and quite without the infinite grace and subtlety58 of the best French or even English work. Of the sense of scale it has little or nothing, its detail is of a cast-iron quality, and altogether it seems like a very successful nineteenth-century essay in academic design.
Of course, much of what we see is modern; the choir is fairly early for Gothic in Germany, having been begun in 1248 and finished just seventy-five years later; the transepts followed at once, and the lower portion of the nave, but interest died out and some time during the fifteenth century work completely stopped. During the Renaissance nothing was done except to mess up the forlorn interior with pseudo-classic ineptitudes, and finally the Revolutionists came over to turn the whole thing into a storage place for hay. In 1823 royalty59 conceived the scheme of restoring the ruin and completing the entire design in accordance with certain original plans which had been preserved. It is said, possibly with truth, that the first architect, Master Gerard, sold his soul to the devil as the price for these same plans, and if so he would perhaps have done better had he followed the practice of the master masons of a century earlier in France, who preferred to deal with other spiritual powers and not on the basis of trade. However this may be, the work went on at the expense of all Germany, and was finally completed in 1880, at a cost of some five millions of dollars.
As it stands, then, it is largely the work of restoration and of nineteenth-century talent; hence, if in the fortunes of war it should be subjected to the hail of shell and shrapnel from French and British batteries, so working out the hard old Israelitish law of an eye for an eye, a tooth for a tooth, and suffering even as Reims has suffered, the world would look on with far different sentiments since, apart from its windows (some of them) and pictures and tombs, nothing would be lost that could not be replaced and after a better fashion; for after all when you say the most you can for the nineteenth century it will generally be admitted that, even in Germany, it was not a stimulating era so far as creative or even arch?ological Gothic art is concerned.{288}
Strasbourg is much more interesting and poetic60, with great refinement61 and originality62 in design, though its taste is far from impeccable, its structural42 sense gravely deficient63. The tendency is wholly toward lace-like and fantastic design, but it has little resemblance to the late French flamboyant64 with its curving and interlacing lines; instead, it is more suggestive of the English perpendicular65, with its scaffolding of vertical66 lines applied67 to, but not a part of, the basic fabric68. It has no consistency69 of plan, for the eastern end, with its semicircular apse and portions of its transepts, is of a singularly noble type of twelfth-century Romanesque, while the nave is mid-thirteenth century and the tower and upper portion of the west front are a hundred years later. Confused as it is, there is an extraordinary charm about it all, for every part is personal and distinguished70, full of novel and poetic ideas and all kinds of unaffected touches of genius. The wonderful colour of the exterior71 and the singularly fine glass of the interior have much to do with its general effect of a delicate medi?val loveliness that makes amends72 for its architectural shortcomings.
Of the castle architecture of the Rhine there is little left from the medi?val period from which one can gain an adequate idea of its excellence73, which was probably great. As in Luxembourg, everything has been shattered into wildly picturesque74 ruins which are outside the category of architecture, and such Renaissance work as Heidelberg is quite as far without the same category, though for another reason; here even picturesqueness75 of site and dilapidation76 cannot make amends for ignorance, assurance, and excruciating taste. As a matter of fact, the best architecture of the Rhine is the domestic building of the sixteenth and seventeenth centuries, the half timber, many-gabled structures that give the little Rhine towns a charm that is unexcelled and testify to the native sense of beauty in the common people, when they were left alone and not confused by the self-satisfied and ill-bred interference of the connoisseur77.
If Christian culture began too late along the Rhine to find a great expression in architecture, the same is not true of painting, which followed after and achieved much that the older art could not accomplish. The Teutonic tribes of the Rhine had always excelled in certain virtues78 of frugality79, temperance, domestic morality, and a righteous revolt showed itself here against the{290} corruption80 of the Church and society in the fourteenth century that followed the first downward trend of medi?valism. Early in the century men and women began to draw away from a world with which they had little sympathy, striving for personal righteousness, the sense of an inner relation to God, the attainment through mystical means of escape from the devastating81 wars, the pestilence82 and famine, the favouritism and cupidity83 and licentiousness84 of the Church. The centre of these mystical brotherhoods85 was Cologne, particularly at the end of the fourteenth and the beginning of the fifteenth century, and it is not a mere86 coincidence that here at Cologne also, and at the same time, a new school of painting should come into existence, exactly as had happened a few years earlier in Siena and Florence. There had been great wall painting for several centuries, but it had always been an essential part of architecture, hieratic, formal, monumental, impersonal87; now the new spiritual impulse was to work out an original and very personal form of expression on the basis of these earlier works, but at smaller scale and with a minute craftsmanship88 borrowed partly from the goldsmiths’ work and the enamels89 for which Cologne{291} already was famous; partly from the exquisite90 illumination of the vellum volumes of the time. It was somewhere about 1350 that Master Wilhelm, who holds the same place in the north that was attained91 by Cimabue in the south, was born. His pictures are rare but there is one of great value in Cologne cathedral, the “St. Clara Triptych,” and it shows all the elements now at work toward the development of the new art, the fine and masterly line and composition, with a strong rhythmic92 sense taken over from the fully93 developed wall painting of the preceding century, the delicate craftsmanship of the goldsmith, the illuminator94, or the worker in enamels, and the extraordinary personal quality, the direct human appeal, that was furnished by the mystical seekers after union with God through a direct relationship outside the formalised institutions and practices of the Church. You get the quality best of all perhaps from the “Madonna of the Bean-flower” in the Cologne Museum, another picture by Master Wilhelm, and as lovely and personal as one could ask. There are also the “Paradise pictures,” equally human and even more mystical; visions of delicate and gracious gardens, where youths and ladies and children and angels all{292} mingle95 in the midst of flowers and singing around the Queen of Heaven herself; efforts, one might think, to create a paradise for the imagination, where one could escape from the too numerous horrors of a none too accommodating world. The more specifically devotional pictures are very numerous and generally anonymous96; painters then were craftsmen97, members of guilds98 devoted99 to the upbuilding of the highest standards of workmanship, and caring little for their own personal fame. Picture exhibitions and competitions for prizes and medals were also unknown, which made a difference. In all these works is the same sweet humanism, the invariable personal appeal, and it is easy to understand that a new art such as this must have been a wonderful boon100 to a weary and disappointed generation.
The Teuton had at last found a field for the expression of that ?sthetic sense that was one of the inalienable possessions of man down to the nineteenth century, and he made the very best of it, as he was to make the best of the still newer art of music a few centuries later. The world wanted this new art, and from Cologne it spread rapidly to the west into Flanders and Brabant, and south to Franconia and Suabia. To the school of Cologne Hubert van Eyck owed much, he could hardly have been what he was but for Master Wilhelm and his contemporaries, but he added something of his own Flanders, and more of himself, and the art he initiated101 rose immeasurably above its source.
In sculpture also the Teuton found a facile and congenial form of expression, but this art developed rather to the north and east of the Rhine. Hildesheim was, of course, the centre, for it was here that Bishop24 Bernward gathered or educated his amazing craftsmen in bronze. Where such an artist came from, as he who made the cathedral doors and the bronze column, heaven alone knows, for it was early in the eleventh century that these came into existence. They began a school, however, that continued in Saxony for many centuries and had its influence over all Germany. The early thirteenth-century bronze font, also in the cathedral, is one of those masterpieces that defy comparison. The great school of sculpture in the twelfth and thirteenth centuries was that which grew up between the Elbe and the Hartz Mountains, not only in Hildesheim but Halberstadt, Bamberg, Freiberg, Magdebourg, Naumbourg, the masters of Magdebourg ranking with{294} those of Amiens and Reims. Undoubtedly there is French influence here, perhaps through the training, under the masters of France, of the craftsmen who later went back to their native lands to practise their art. In Strasbourg the French influence is even more clearly seen but here it is rather in the line of the more southerly schools. It is at Strasbourg that we find that singular and ingenious masterpiece, the “Pillar of the Angels,” slender grouped shafts102 with intermediate niches, one above the other, each containing an exquisite statue of an apostle, an angel, or, at the top, our Lord at the Day of Judgment103. This is one of those sudden and unprecedented104 happenings in medi?val art that mark the vast vitality, imagination, and personal initiative of the time. It has no progenitors105, no successors, it is a sport of personal genius, and the masterpiece of one Ervin de Steinbach, who appears to have been the architect for the later portions of the cathedral.
Apart from Strasbourg, however, sculpture seems never to have been a favoured art in the Rhineland, and the painting of Cologne remains its chief claim to honourable106 record, though stained glass reached considerable heights, as is seen both{295} at Cologne and Strasbourg, and on definitely local lines. By the fifteenth century the Flemish schools of art of all kinds had succeeded by their sheer achievement in establishing their dominant107 influence along the Rhine, and with the Renaissance the lingering elements of an instinctive108 practice of beauty quite died away.
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1
civilisation
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| n.文明，文化，开化，教化 | |
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revival
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| n.复兴，复苏，（精力、活力等的）重振 | |
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infiltration
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| n.渗透；下渗；渗滤；入渗 | |
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monks
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| n.修道士，僧侣( monk的名词复数 ) | |
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austere
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| adj.艰苦的；朴素的，朴实无华的；严峻的 | |
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simplicity
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| n.简单，简易；朴素；直率，单纯 | |
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peculiar
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| adj.古怪的，异常的；特殊的，特有的 | |
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piers
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| n.水上平台( pier的名词复数 )；（常设有娱乐场所的）突堤；柱子；墙墩 | |
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derived
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| vi.起源；由来；衍生；导出v.得到( derive的过去式和过去分词 )；（从…中）得到获得；源于；（从…中）提取 | |
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broach
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| v.开瓶，提出(题目) | |
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spire
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| n.(教堂)尖顶，尖塔，高点 | |
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turrets
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| （六角）转台( turret的名词复数 )； （战舰和坦克等上的）转动炮塔； （摄影机等上的）镜头转台； （旧时攻城用的）塔车 | |
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colonnades
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| n.石柱廊( colonnade的名词复数 ) | |
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graceful
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| adj.优美的，优雅的；得体的 | |
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dignified
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| a.可敬的，高贵的 | |
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agglomeration
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| n.结聚，一堆 | |
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nave
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| n.教堂的中部；本堂 | |
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niches
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| 壁龛( niche的名词复数 )； 合适的位置[工作等]； （产品的）商机； 生态位（一个生物所占据的生境的最小单位） | |
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lateral
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| adj.侧面的，旁边的 | |
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anomalous
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| adj.反常的；不规则的 | |
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undoubtedly
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| adv.确实地，无疑地 | |
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remains
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| n.剩余物，残留物；遗体，遗迹 | |
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choir
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| n.唱诗班，唱诗班的席位，合唱团，舞蹈团；v.合唱 | |
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bishop
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| n.主教，（国际象棋）象 | |
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masonry
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| n.砖土建筑；砖石 | |
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eminently
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| adv.突出地；显著地；不寻常地 | |
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stencilling
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| v.用模板印（文字或图案）( stencil的现在分词 )；型版 | |
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garish
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| adj.华丽而俗气的，华而不实的 | |
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whitewash
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| v.粉刷，掩饰；n.石灰水，粉刷，掩饰 | |
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entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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stencils
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| n.蜡纸( stencil的名词复数 )；（有图案或文字的）模板；刻蜡纸者；用模板印出的文字或图案v.用模板印（文字或图案）( stencil的第三人称单数 ) | |
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remarkably
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| ad.不同寻常地，相当地 | |
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grandeur
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| n.伟大，崇高，宏伟，庄严，豪华 | |
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spires
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| n.（教堂的） 塔尖，尖顶( spire的名词复数 ) | |
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diffuse
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| v.扩散；传播；adj.冗长的；四散的，弥漫的 | |
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multiplication
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| n.增加，增多，倍增；增殖，繁殖；乘法 | |
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infelicitous
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| adj.不适当的 | |
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underneath
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| adj.在...下面，在...底下；adv.在下面 | |
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susceptible
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| adj.过敏的，敏感的；易动感情的，易受感动的 | |
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illiterate
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| adj.文盲的；无知的；n.文盲 | |
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stimulating
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| adj.有启发性的，能激发人思考的 | |
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structural
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| adj.构造的，组织的，建筑（用）的 | |
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structurally
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| 在结构上 | |
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vitality
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| n.活力，生命力，效力 | |
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attainment
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| n.达到，到达；［常pl.］成就，造诣 | |
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ethical
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| adj.伦理的，道德的，合乎道德的 | |
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savage
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| adj.野蛮的；凶恶的，残暴的；n.未开化的人 | |
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Christian
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| adj.基督教徒的；n.基督教徒 | |
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arid
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| adj.干旱的；(土地)贫瘠的 | |
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sublime
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| adj.崇高的，伟大的；极度的，不顾后果的 | |
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51
majesty
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| n.雄伟，壮丽，庄严，威严；最高权威，王权 | |
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attainments
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| 成就，造诣； 获得( attainment的名词复数 )； 达到； 造诣； 成就 | |
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cumulative
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| adj.累积的，渐增的 | |
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veins
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| n.纹理；矿脉( vein的名词复数 )；静脉；叶脉；纹理 | |
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culmination
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| n.顶点；最高潮 | |
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renaissance
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| n.复活，复兴，文艺复兴 | |
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metallic
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| adj.金属的；金属制的；含金属的；产金属的；像金属的 | |
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subtlety
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| n.微妙，敏锐，精巧；微妙之处，细微的区别 | |
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royalty
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| n.皇家，皇族 | |
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poetic
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| adj.富有诗意的，有诗人气质的，善于抒情的 | |
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refinement
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| n.文雅；高尚；精美；精制；精炼 | |
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originality
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| n.创造力，独创性；新颖 | |
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deficient
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| adj.不足的，不充份的，有缺陷的 | |
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flamboyant
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| adj.火焰般的，华丽的，炫耀的 | |
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perpendicular
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| adj.垂直的，直立的；n.垂直线，垂直的位置 | |
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vertical
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| adj.垂直的，顶点的，纵向的；n.垂直物，垂直的位置 | |
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applied
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| adj.应用的；v.应用，适用 | |
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fabric
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| n.织物，织品，布；构造，结构，组织 | |
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consistency
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| n.一贯性，前后一致，稳定性；(液体的)浓度 | |
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distinguished
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| adj.卓越的，杰出的，著名的 | |
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exterior
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| adj.外部的，外在的；表面的 | |
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amends
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| n. 赔偿 | |
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excellence
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| n.优秀，杰出，(pl.)优点，美德 | |
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picturesque
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| adj.美丽如画的，（语言）生动的，绘声绘色的 | |
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picturesqueness
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dilapidation
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| n.倒塌；毁坏 | |
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connoisseur
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| n.鉴赏家，行家，内行 | |
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virtues
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| 美德( virtue的名词复数 )； 德行； 优点； 长处 | |
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frugality
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| n.节约，节俭 | |
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corruption
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| n.腐败，堕落，贪污 | |
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devastating
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| adj.毁灭性的，令人震惊的，强有力的 | |
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pestilence
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| n.瘟疫 | |
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cupidity
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| n.贪心，贪财 | |
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licentiousness
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| n.放肆，无法无天 | |
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brotherhoods
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| 兄弟关系( brotherhood的名词复数 )； （总称）同行； （宗教性的）兄弟会； 同业公会 | |
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mere
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| adj.纯粹的；仅仅，只不过 | |
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impersonal
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| adj.无个人感情的，与个人无关的，非人称的 | |
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craftsmanship
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| n.手艺 | |
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enamels
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| 搪瓷( enamel的名词复数 )； 珐琅； 釉药； 瓷漆 | |
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exquisite
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| adj.精美的；敏锐的；剧烈的，感觉强烈的 | |
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attained
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| （通常经过努力）实现( attain的过去式和过去分词 )； 达到； 获得； 达到（某年龄、水平、状况） | |
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rhythmic
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| adj.有节奏的，有韵律的 | |
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fully
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| adv.完全地，全部地，彻底地；充分地 | |
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illuminator
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| n.照明者 | |
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mingle
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| vt.使混合，使相混；vi.混合起来；相交往 | |
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anonymous
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| adj.无名的；匿名的；无特色的 | |
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craftsmen
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| n. 技工 | |
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guilds
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| 行会，同业公会，协会( guild的名词复数 ) | |
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devoted
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| adj.忠诚的，忠实的，热心的，献身于...的 | |
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boon
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| n.恩赐，恩物，恩惠 | |
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initiated
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| n. 创始人 adj. 新加入的 vt. 开始，创始，启蒙，介绍加入 | |
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shafts
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| n.轴( shaft的名词复数 )；（箭、高尔夫球棒等的）杆；通风井；一阵（疼痛、害怕等） | |
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judgment
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| n.审判；判断力，识别力，看法，意见 | |
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unprecedented
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| adj.无前例的，新奇的 | |
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progenitors
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| n.祖先( progenitor的名词复数 )；先驱；前辈；原本 | |
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honourable
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| adj.可敬的；荣誉的，光荣的 | |
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dominant
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| adj.支配的，统治的；占优势的；显性的；n.主因，要素，主要的人(或物)；显性基因 | |
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instinctive
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| adj.(出于)本能的；直觉的；(出于)天性的 | |
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