Chapter IX: Part 9

You should look at the North American forests of social trees-- especially of pines and firs, where trees of one species, crowded together, and competing with equal advantages for the air and light, form themselves into one wilderness of straight smooth shafts, surmounted by a flat sheet of foliage, held up by boughs like the ribs of a groined roof, while underneath the ground is bare as a cathedral floor.

You all know, surely, the Hemlock spruce of America; which, while growing by itself in open ground, is the most wilful and fantastic, as well as the most graceful, of all the firs; imitating the shape, not of its kindred, but of an enormous tuft of fern.

Yet if you look at the same tree, when it has struggled long for life from its youth amid other trees of its own kind and its own age, you find that the lower boughs have died off from want of light, leaving not a scar behind. The upper boughs have reached at once the light and their natural term of years. They are content to live, and little more. The central trunk no longer sends up each year a fresh perpendicular shoot to aspire above the rest, but, as weary of struggling ambition as they are, is content to become more and more their equal as the years pass by. And this is a law of social forest trees, which you must bear in mind whenever I speak of the influence of tree-forms on Gothic architecture.

Such forms as these are rare enough in Europe now.

I never understood how possible, how common they must have been in medieval Europe, till I saw in the forest of Fontainebleau a few oaks, like the oak of Charlemagne and the Bouquet du Roi, at whose age I dare not guess, but whose size and shape showed them to have once formed part of a continuous wood, the like whereof remains not in these isles--perhaps not east of the Carpathian mountains. In them a clear shaft of at least sixty, it may be eighty feet, carries a flat head of boughs, each in itself a tree. In such a grove, I thought, the heathen Gaul, even the heathen Frank, worshipped beneath "trees of God." Such trees, I thought, centuries after, inspired the genius of every builder of Gothic aisles and roofs.

Thus, at least, we can explain that rigidity, which Mr. Ruskin tells us, "is a special element of Gothic architecture. Greek and Egyptian buildings," he says--and I should have added, Roman building also, in proportion to their age, i.e. to the amount of the Roman elements in them--"stand for the most part by their own weight and mass, one stone passively incumbent on another: but in the Gothic vaults and traceries there is a stiffness analogous to that of the bones of a limb, or fibres of a tree; an elastic tension and communication of force from part to part; and also a studious expression of this throughout every part of the building." In a word, Gothic vaulting and tracery have been studiously made like to boughs of trees. Were those boughs present to the mind of the architect? Or is the coincidence merely fortuitous? You know already how I should answer. The cusped arch, too, was it actually not intended to imitate vegetation? Mr. Ruskin seems to think so. He says that it is merely the special application to the arch of the great ornamental system of foliation, which, "whether simple as in the cusped arch, or complicated as in tracery, arose out of the love of leafage. Not that the form of the arch is intended to imitate a leaf, "but to be invested with the same characters of beauty which the designer had discovered in the leaf." Now I differ from Mr. Ruskin with extreme hesitation. I agree that the cusped arch is not meant to imitate a leaf. I think with Mr. Ruskin, that it was probably first adopted on account of its superior strength; and that it afterwards took the form of a bough. But I cannot as yet believe that it was not at last intended to imitate a bough; a bough of a very common form, and one in which "active rigidity" is peculiarly shown. I mean a bough which has forked. If the lower fork has died off, for want of light, we obtain something like the simply cusped arch. If it be still living- -but short and stunted in comparison with the higher fork--we obtain, it seems to me, something like the foliated cusp; both likenesses being near enough to those of common objects to make it possible that those objects may have suggested them. And thus, more and more boldly, the medieval architect learnt to copy boughs, stems, and at last, the whole effect, as far always as stone would allow, of a combination of rock and tree, of grot and grove.

So he formed his minsters, as I believe, upon the model of those leafy minsters in which he walked to meditate, amid the aisles which God, not man, has built. He sent their columns aloft like the boles of ancient trees. He wreathed their capitals, sometimes their very shafts, with flowers and creeping shoots. He threw their arches out, and interwove the groinings of their vaults, like the bough-roofage overhead. He decked with foliage and fruit the bosses above and the corbels below. He sent up out of those corbels upright shafts along the walls, in the likeness of the trees which sprang out of the rocks above his head. He raised those walls into great cliffs. He pierced them with the arches of the triforium, as with hermits' cells. He represented in the horizontal sills of his windows, and in his horizontal string-courses, the horizontal strata of the rocks. He opened the windows into high and lofty glades, broken, as in the forest, by the tracery of stems and boughs, through which was seen, not merely the outer, but the upper world. For he craved, as all true artists crave, for light and colour; and had the sky above been one perpetual blue, he might have been content with it, and left his glass transparent. But in that dark, dank, northern clime, rain and snowstorm, black cloud and gray mist, were all that he was like to see outside for nine months in the year. So he took such light and colour as nature gave in her few gayer moods; and set aloft his stained-glass windows, the hues of the noonday and the rainbow, and the sunrise and the sunset, and the purple of the heather, and the gold of the gorse, and the azure of the bugloss, and the crimson of the poppy; and among them, in gorgeous robes, the angels and the saints of heaven, and the memories of heroic virtues and heroic sufferings, that he might lift up his own eyes and heart for ever out of the dark, dank, sad world of the cold north, with all its coarsenesses and its crimes, toward a realm of perpetual holiness, amid a perpetual summer of beauty and of light; as one who--for he was true to nature, even in that--from between the black jaws of a narrow glen, or from beneath the black shade of gnarled trees, catches a glimpse of far lands gay with gardens and cottages, and purple mountain ranges, and the far-off sea, and the hazy horizon melting into the hazy sky; and finds his heart carried out into an infinite at once of freedom and of repose.

And so out of the cliffs and the forests he shaped the inside of his church. And how did he shape the outside? Look for yourselves, and judge. But look, not at Chester, but at Salisbury. Look at those churches which carry not mere towers, but spires, or at least pinnacled towers approaching the pyramidal form. The outside form of every Gothic cathedral must be considered imperfect if it does not culminate in something pyramidal.

The especial want of all Greek and Roman buildings with which we are acquainted is the absence--save in a few and unimportant cases--of the pyramidal form. The Egyptians knew at least the worth of the obelisk; but the Greeks and Romans hardly knew even that: their buildings are flat-topped. Their builders were contented with the earth as it was. There was a great truth involved in that; which I am the last to deny.

But religions which, like the Buddhist or the Christian, nurse a noble self-discontent, are sure to adopt sooner or later an upward and aspiring form of building. It is not merely that, fancying heaven to be above earth, they point towards heaven. There is a deeper natural language in the pyramidal form of a growing tree. It symbolises growth, or the desire of growth. The Norman tower does nothing of the kind. It does not aspire to grow. Look--I mention an instance with which I am most familiar--at the Norman tower of Bury St. Edmund's. It is graceful--awful, if you will--but there is no aspiration in it. It is stately, but self-content. Its horizontal courses, circular arches, above all, its flat sky-line, seem to have risen enough, and wish to rise no higher. For it has no touch of that unrest of soul which is expressed by the spire, and still more by the compound spire, with its pinnacles, crockets, finials--which are finials only in name; for they do not finish, and are really terminal buds, as it were, longing to open and grow upward, even as the crockets are bracts and leaves thrown off as the shoot has grown.

You feel, surely, the truth of these last words. You cannot look at the canopy work or the pinnacle work of this cathedral without seeing that they do not merely suggest buds and leaves, but that the buds and leaves are there carven before your eyes. I myself cannot look at the tabernacle work of our stalls without being reminded of the young pine forests which clothe the Hampshire moors. But if the details are copied from vegetable forms, why not the whole? Is not a spire like a growing tree, a tabernacle like a fir-tree, a compound spire like a group of firs? And if we can see that, do you fancy that the man who planned the spire did not see it as clearly as we do; and perhaps more clearly still?

I am aware, of course, that Norman architecture had sometimes its pinnacle, a mere conical or polygonal capping. I am aware that this form, only more and more slender, lasted on in England during the thirteenth and the early part of the fourteenth century; and on the Continent under many modifications, one English kind whereof is usually called a "broach," of which you have a beautiful specimen in the new church at Hoole.

Now, no one will deny that that broach is beautiful. But it would be difficult to prove that its form was taken from a North European tree. The cypress was unknown, probably, to our northern architects. The Lombardy poplar--which has wandered hither, I know not when, all the way from Cashmere--had not wandered then, I believe, farther than North Italy. The form is rather that of mere stone; of the obelisk or of the mountain-peak; and they, in fact, may have at first suggested the spire. The grandeur of an isolated mountain, even of a dolmen or single upright stone, is evident to all.

But it is the grandeur not of aspiration, but of defiance; not of the Christian, not even of the Stoic, but rather of the Epicurean. It says--I cannot rise. I do not care to rise. I will be contentedly and valiantly that which I am; and face circumstances, though I cannot conquer them. But it is defiance under defeat. The mountain- peak does not grow, but only decays. Fretted by rains, peeled by frost, splintered by lightning, it must down at last; and crumble into earth, were it as old, as hard, as lofty as the Matterhorn itself. And while it stands, it wants not only aspiration, it wants tenderness; it wants humility; it wants the unrest which tenderness and humility must breed, and which Mr. Ruskin so clearly recognises in the best Gothic art. And, meanwhile, it wants naturalness. The mere smooth spire or broach--I had almost said, even the spire of Salisbury--is like no tall or commanding object in nature. It is merely the caricature of one--it may be of the mountain-peak. The outline must be broken, must be softened, before it can express the soul of a creed which in the thirteenth and fourteenth centuries, far more than now, was one of penitence as well as of aspiration, of passionate emotion as well as of lofty faith. But a shape which will express that soul must be sought, not among mineral, but among vegetable, forms. And remember always, if we feel thus even now, how much more must those medieval men of genius have felt thus, whose work we now dare only copy line by line?

So--as it seems to me--they sought among vegetable forms for what they needed: and they found it at once in the pine, or rather the fir--the spruce and silver firs of their own forests. They are not, of course, indigenous to England. But they are so common through all the rest of Europe, that not only would the form suggest itself to a continental architect, but to any English clerk who travelled, as all did who could, across the Alps to Rome. The fir-tree, not growing on level ground, like the oaks of Fontainebleau, into one flat roof of foliage, but clinging to the hillside and the crag, old above young, spire above spire, whorl above whorl--for the young shoots of each whorl of boughs point upward in the spring; and now and then a whole bough breaking away, as it were, into free space, turns upward altogether, and forms a secondary spire on the same tree--this surely was the form which the medieval architect seized, to clothe with it the sides and roof of the stone mountain which he had built; piling up pinnacles and spires, each crocketed at the angles; that, like a group of firs upon an isolated rock, every point of the building might seem in act to grow toward heaven, till his idea culminated in that glorious Minster of Cologne, which, if it ever be completed, will be the likeness of one forest-clothed group of cliffs, surrounded by three enormous pines.

One feature of the Norman temple he could keep; for it was copied from the same Nature which he was trying to copy--namely, the high- pitched roof and gables. Mr. Ruskin lays it down as a law, that the acute angle in roofs, gables, spires, is the distinguishing mark of northern Gothic. It was adopted, most probably, at first from domestic buildings. A northern house or barn must have a high- pitched roof, or the snow will not slip off it. But that fact was not discovered by man; it was copied by him from the rocks around. He saw the mountain-peak jut black and bare above the snows of winter; he saw those snows slip down in sheets, rush down in torrents under the sun, from the steep slabs of rock which coped the hillside; and he copied, in his roofs, the rocks above his town. But as the love for decorations arose, he would deck his roofs as nature had decked hers, till the gray sheets of the cathedral slates should stand out amid pinnacles and turrets rich with foliage, as the gray mountain-sides stood out amid knolls of feathery birch and towering pine.

He failed, though he failed nobly. He never succeeded in attaining a perfectly natural style.

The medieval architects were crippled to the last by the tradition of artificial Roman forms. They began improving them into naturalness, without any clear notion of what they wanted; and when that notion became clear, it was too late. Take, as an instance, the tracery of their windows. It is true, as Mr. Ruskin says, that they began by piercing holes in a wall of the form of a leaf, which developed, in the rose window, into the form of a star inside, and of a flower outside. Look at such aloft there. Then, by introducing mullions and traceries into the lower part of the window, they added stem and bough forms to those flower forms. But the two did not fit. Look at the west window of our choir, and you will see what I mean. The upright mullions break off into bough curves graceful enough: but these are cut short--as I hold, spoiled--by circular and triangular forms of rose and trefoil resting on them as such forms never rest in nature; and the whole, though beautiful, is only half beautiful. It is fragmentary, unmeaning--barbaric, because unnatural.

They failed too, it may be, from the very paucity of the vegetable forms they could find to copy among the flora of this colder clime; and so, stopped short in drawing from nature, ran off into mere purposeless luxuriance. Had they been able to add to their stock of memories a hundred forms which they would have seen in the tropics, they might have gone on for centuries copying nature without exhausting her.

And yet, did they exhaust even the few forms of beauty which they saw around them? It must be confessed that they did not. I believe that they could not, because they dared not. The unnaturalness of the creed which they expressed always hampered them. It forbade them to look Nature freely and lovingly in the face. It forbade them--as one glaring example--to know anything truly of the most beautiful of all natural objects--the human form. They were tempted perpetually to take Nature as ornament, not as basis; and they yielded at last to the temptation; till, in the age of Perpendicular architecture, their very ornament became unnatural again; because conventional, untrue, meaningless.

But the creed for which they worked was dying by that time, and therefore the art which expressed it must needs die too. And even that death, or rather the approach of it, was symbolised truly in the flatter roof, the four-centred arch, the flat-topped tower of the fifteenth-century church. The creed had ceased to aspire: so did the architecture. It had ceased to grow: so did the temple. And the arch sank lower; and the rafters grew more horizontal; and the likeness to the old tree, content to grow no more, took the place of the likeness to the young tree struggling toward the sky.

And now--unless you are tired of listening to me--a few practical words.

We are restoring our old cathedral stone by stone after its ancient model. We are also trying to build a new church. We are building it--as most new churches in England are now built--in a pure Gothic style.

Are we doing right? I do not mean morally right. It is always morally right to build a new church, if needed, whatever be its architecture. It is always morally right to restore an old church, if it be beautiful and noble, as an heirloom handed down to us by our ancestors, which we have no right--I say no right--for the sake of our children, and of our children's children, to leave to ruin.

But are we artistically, aesthetically right? Is the best Gothic fit for our worship? Does it express our belief? Or shall we choose some other style?

I say that it is; and that it is so because it is a style which, if not founded on Nature, has taken into itself more of nature, of nature beautiful and healthy, than any other style.

With greater knowledge of nature, both geographical and scientific, fresh styles of architecture may and will arise, as much more beautiful, and as much more natural, than the Gothic, as Gothic is more beautiful and natural than the Norman. Till then we must take the best models which we have; use them; and, as it were, use them up and exhaust them. By that time we may have learnt to improve on them; and to build churches more Gothic than Gothic itself, more like grot and grove than even a northern cathedral.

That is the direction in which we must work. And if any shall say to us, as it has been said ere now--"After all, your new Gothic churches are but imitations, shams, borrowed symbols, which to you symbolise nothing. They are Romish churches, meant to express Romish doctrine, built for a Protestant creed which they do not express, and for a Protestant worship which they will not fit." Then we shall answer-- Not so. The objection might be true if we built Norman or Romanesque churches; for we should then be returning to that very foreign and unnatural style which Rome taught our forefathers, and from which they escaped gradually into the comparative freedom, the comparative naturalness, of that true Gothic of which Mr. Ruskin says so well:

It is gladdening to remember that, in its utmost nobleness, the very temper which has been thought most adverse to it, the Protestant temper of self-dependence and inquiry, were expressed in every case. Faith and aspiration there were in every Christian ecclesiastical building from the first century to the fifteenth: but the moral habits to which England in this age owes the kind of greatness which she has--the habits of philosophical investigation, of accurate thought, of domestic seclusion and independence, of stern self- reliance, and sincere upright searching into religious truth--were only traceable in the features which were the distinctive creations of the Gothic schools, in the varied foliage and thorny fretwork, and shadowy niche, and buttressed pier, and fearless height of subtle pinnacle and crested tower, sent "like an unperplexed question up to heaven."

So says Mr. Ruskin. I, for one, endorse his gallant words. And I think that a strong proof of their truth is to be found in two facts, which seem at first paradoxical. First, that the new Roman Catholic churches on the Continent--I speak especially of France, which is the most highly-cultivated Romanist country--are like those which the Jesuits built in the seventeenth and eighteenth centuries, less and less Gothic. The former were sham-classic; the latter are rather of a new fantastic Romanesque, or rather Byzantinesque style, which is a real retrogression from Gothic towards earlier and less natural schools. Next, that the Puritan communions, the Kirk of Scotland and the English Nonconformists, as they are becoming more cultivated--and there are now many highly-cultivated men among them--are introducing Gothic architecture more and more into their churches. There are elements in it, it seems, which do not contradict their Puritanism; elements which they can adapt to their own worship; namely, the very elements which Mr. Ruskin has discerned.

But if they can do so, how much more can we of the Church of England? As long as we go on where our medieval forefathers left off; as long as we keep to the most perfect types of their work, in waiting for the day when we shall be able to surpass them, by making our work even more naturalistic than theirs, more truly expressive of the highest aspirations of humanity; so long we are reverencing them, and that latent Protestantism in them, which produced at last the Reformation.

And if any should say: "Nevertheless your Protestant Gothic Church, though you made it ten times more beautiful, and more symbolic than Cologne Minster itself, would still be a sham. For where would be your images? And still more, where would be your Host? Do you not know that in the medieval church the vistas of its arcades, the alternation of its lights and shadows, the gradations of its colouring, and all its carefully subordinated wealth of art, pointed to, were concentrated round, one sacred spot, as a curve, however vast its sweep through space, tends at every moment toward a single focus? And that spot, that focus was, and is still in every Romish church, the body of God, present upon the altar in the form of bread? Without Him, what is all your building? Your church is empty; your altar bare; a throne without a king; an eye-socket without an eye."

My friends, if we be true children of those old worthies, whom Tacitus saw worshipping beneath the German oaks, we shall have but one answer to that scoff:

"We know it; and we glory in the fact. We glory in it, as the old Jews gloried in it, when the Roman soldiers, bursting through the Temple and into the Holy of Holies itself, paused in wonder and in awe when they beheld neither God, nor image of God, but--blank yet all-suggestive--the empty mercy-seat.

"Like theirs, our altar is an empty throne; for it symbolises our worship of Him who dwelleth not in temples made with hands; whom the heaven and the heaven of heavens cannot contain. Our eye-socket holds no eye. For it symbolises our worship of that Eye which is over all the earth; which is about our path, and about our bed, and spies out all our ways. We need no artificial and material presence of Deity. For we believe in That One Eternal and Universal Real Presence--of which it is written 'He is not far from anyone of us; for in God we live and move and have our being;' and again: 'Lo, I am with you even to the end of the world;' and again: 'Wheresoever two or three are gathered together in My Name there am I in the midst of them.'

"He is the God of nature, as well as the God of grace. Forever He looks down on all things which He has made, and behold, they are very good. And, therefore, we dare offer to Him, in our churches, the most perfect works of naturalistic art, and shape them into copies of whatever beauty He has shown us, in man or woman, in cove or mountain-peak, in tree or flower, even in bird or butterfly.

"But Himself?--Who can see Him? Except the humble and the contrite heart, to whom He reveals Himself as a Spirit to be worshipped in spirit and in truth, and not in bread, nor wood, nor stone, nor gold, nor quintessential diamond."

So we shall obey the sound instinct of our Christian forefathers, when they shaped their churches into forest aisles, and decked them with the boughs of the woodland and the flowers of the field: but we shall obey too, that sounder instinct of theirs, which made them at last cast out of their own temples, as misplaced and unnatural things, the idols which they had inherited from Rome.

So we shall obey the sound instinct of our heathen forefathers when they worshipped the unknown God beneath the oaks of the primeval forests: but we shall obey, too, that sounder instinct of theirs, which taught them this, at least, concerning God--That it was beneath His dignity to coop Him within walls; and that the grandest forms of nature, as well as the deepest consciousness of their own souls, revealed to them a mysterious Being, who was to be beheld by faith alone.

HOURS WITH THE MYSTICS {299}

Few readers of this magazine probably know anything about "Mystics;" know even what the term means: but as it is plainly connected with the adjective "mystical" they probably suppose it to denote some sort of vague, dreamy, sentimental, and therefore useless and undesirable personage. Nor can we blame them if they do so; for mysticism is a form of thought and feeling now all but extinct in England. There are probably not ten thorough mystics among all our millions; the mystic philosophers are very little read by our scholars, and read not for, but in spite of, their mysticism; and our popular theology has so completely rid itself of any mystic elements, that our divines look with utter disfavour upon it, use the word always as a term of opprobrium, and interpret the mystic expressions in our liturgy-- which mostly occur in the Collects--according to the philosophy of Locke, really ignorant, it would seem, that they were written by Platonist mystics.

We do not blame them either, save in as far as teachers of men are blameworthy for being ignorant of any form of thought which has ever had a living hold upon good and earnest men, and may therefore take hold of them again. But the English are not now a mystic people, any more than the old Romans were; their habit of mind, their destiny in the world, are like those of the Romans, altogether practical; and who can be surprised if they do not think about what they are not called upon to think about?

Nevertheless, it is quite a mistake to suppose that mysticism is by its own nature unpractical. The greatest and most prosperous races of antiquity--the Egyptians, Babylonians, Hindoos, Greeks--had the mystic element as strong and living in them as the Germans have now; and certainly we cannot call them unpractical peoples. They fell and came to ruin--as the Germans may do--when their mysticism became unpractical: but their thought remained, to be translated into practice by sounder-hearted races than themselves. Rome learnt from Greece, and did in some confused imperfect way that which Greece only dreamed; just as future nations may act hereafter, nobly and usefully, on the truths which Germans discover, only to put in a book and smoke over. For they are terribly practical people, these mystics, quiet students and devotees as they may seem. They go, or seem to go, down to the roots of things, after a way of their own; and lay foundations on which--be they sound or unsound--those who come after them cannot choose but build; as we are building now. For our forefathers were mystics for generations; they were mystics in the forests of Germany and in the dales of Norway; they were mystics in the convents and the universities of the Middle Ages; they were mystics, all the deepest and noblest minds of them, during the Elizabethan era.

Even now the few mystic writers of this island are exercising more influence on thought than any other men, for good or for evil. Coleridge and Alexander Knox have changed the minds, and with them the acts, of thousands; and when they are accused of having originated, unknowingly, the whole "Tractarian" movement, those who have watched English thought carefully can only answer, that on the confession of the elder Tractarians themselves, the allegation is true: but that they originated a dozen other "movements" beside in the most opposite directions, and that free-thinking Emersonians will be as ready as Romish perverts and good plain English churchmen to confess that the critical point of their life was determined by the writings of the fakeer of Highgate. At this very time too, the only real mystic of any genius who is writing and teaching is exercising more practical influence, infusing more vigorous life into the minds of thousands of men and women, than all the other teachers of England put together; and has set rolling a ball which may in the next half century gather into an avalanche, perhaps utterly different in form, material, and direction, from all which he expects.

So much for mystics being unpractical. If we look faithfully into the meaning of their name, we shall see why, for good or for evil, they cannot be unpractical; why they, let them be the most self- absorbed of recluses, are the very men who sow the seeds of great schools, great national and political movements, even great religions.

A mystic--according to the Greek etymology--should signify one who is initiated into mysteries, one whose eyes are opened to see things which other people cannot see. And the true mystic in all ages and countries, has believed that this was the case with him. He believes that there is an invisible world as well as a visible one--so do most men: but the mystic believes also that this same invisible world is not merely a supernumerary one world more, over and above the earth on which he lives, and the stars over his head, but that it is the cause of them and the ground of them; that it was the cause of them at first, and is the cause of them now, even to the budding of every flower, and the falling of every pebble to the ground; and therefore, that having been before this visible world, it will be after it, and endure just as real, living, and eternal, though matter were annihilated to-morrow.

"But, on this showing, every Christian, nay, every religious man, is a mystic; for he believes in an invisible world?" The answer is found in the plain fact, that good Christians here in England do not think so themselves; that they dislike and dread mysticism; would not understand it if it were preached to them; are more puzzled by those utterances of St. John, which mystics have always claimed as justifying their theories, than by any part of their bibles. There is a positive and conscious difference between popular metaphysics and mysticism; and it seems to lie in this: the invisible world in which Englishmen in general believe, is one which happens to be invisible now, but which will not be so hereafter. When they speak of the other world they mean a place which their bodily eyes will see some day, and could see now if they were allowed; when they speak of spirits they mean ghosts who could, and perhaps do, make themselves visible to men's bodily eyes. We are not inquiring here whether they be right or wrong; we are only specifying a common form of human thought.

The mystic, on the other hand, believes that the invisible world is so by its very nature, and must be so for ever. He lives therein now, he holds, and will live in it through eternity: but he will see it never with any bodily eyes, not even with the eyes of any future "glorified" body. It is ipso facto not to be seen, only to be believed in; never for him will "faith be changed for sight," as the popular theologians say that it will; for this invisible world is only to be "spiritually discerned."

This is the mystic idea, pure and simple; of course there are various grades of it, as there are of the popular one; for no man holds his own creed and nothing more; and it is good for him, in this piecemeal and shortsighted world, that he should not. Were he over-true to his own idea, he would become a fanatic, perhaps a madman. And so the modern evangelical of the Venn and Newton school, to whom mysticism is neology and nehushtan, when he speaks of "spiritual experiences," uses the adjective in its purely mystic sense; while Bernard of Cluny, in his once famous hymn, "Hic breve vivitur," mingles the two conceptions of the unseen world in inextricable confusion. Between these two extreme poles, in fact, we have every variety of thought; and it is good for us that we should have them; for no one man or school of men can grasp the whole truth, and every intermediate modification supplies some link in the great cycle of facts which its neighbours have overlooked.

In the minds who have held this belief, that the unseen world is the only real and eternal one, there has generally existed a belief, more or less confused, that the visible world is in some mysterious way a pattern or symbol of the invisible one; that its physical laws are the analogues of the spiritual laws of the eternal world: a belief of which Mr. Vaughan seems to think lightly; though if it be untrue we can hardly see how that metaphoric illustration in which he indulges so freely, and which he often uses in a masterly and graceful way, can be anything but useless trifling. For what is a metaphor or a simile but a mere paralogism--having nothing to do with the matter in hand, and not to be allowed for a moment to influence the reader's judgment, unless there be some real and objective analogy--homology we should call it--between the physical phenomenon from which the symbol is taken, and the spiritual truth which it is meant to illustrate? What divineness, what logical weight, in our Lord's parables, unless He was by them trying to show his hearers that the laws which they saw at work in the lilies of the field, in the most common occupations of men, were but lower manifestations of the laws by which are governed the inmost workings of the human spirit? What triflers, on any other ground, were Socrates and Plato. What triflers, too, Shakespeare and Spenser. Indeed, we should say that it is the belief, conscious or unconscious, of the eternal correlation of the physical and spiritual worlds, which alone constitutes the essence of a poet.

Of course this idea led, and would necessarily lead, to follies and fancies enough, as long as the phenomena of nature were not carefully studied, and her laws scientifically investigated; and all the dreams of Paracelsus or Van Helmont, Cardan or Crollius, Baptista Porta or Behmen, are but the natural and pardonable errors of minds which, while they felt deeply the sanctity and mystery of Nature, had no Baconian philosophy to tell them what Nature actually was, and what she actually said. But their idea lives still, and will live as long as the belief in a one God lives. The physical and spiritual worlds cannot be separated by an impassable gulf. They must, in some way or other, reflect each other, even in their minutest phenomena, for so only can they both reflect that absolute primeval unity, in whom they both live and move and have their being. Mr. Vaughan's object, however, has not been to work out in his book such problems as these. Had he done so, he would have made his readers understand better what Mysticism is; he would have avoided several hasty epithets, by the use of which he has, we think, deceived himself into the notion that he has settled a matter by calling it a hard name; he would have explained, perhaps, to himself and to us, many strange and seemingly contradictory facts in the annals of Mysticism. But he would also not have written so readable a book. On the whole he has taken the right course, though one wishes that he had carried it out more methodically.

A few friends, literate and comfortable men, and right-hearted Christians withal, meet together to talk over these same mystics, and to read papers and extracts which will give a general notion of the subject from the earliest historic times. The gentlemen talk about and about a little too much; they are a little too fond of illustrations of the popular pulpit style; they are often apt to say each his say, with very little care of what the previous speaker has uttered; in fact these conversations are, as conversations, not good, but as centres of thought they are excellent. There is not a page nor a paragraph in which there is not something well worth recollecting, and often reflections very wise and weighty indeed, which show that whether or not Mr. Vaughan has thoroughly grasped the subject of Mysticism, he has grasped and made part of his own mind and heart many things far more practically important than Mysticism, or any other form of thought; and no one ought to rise up from the perusal of his book without finding himself if not a better, at least a more thoughtful man, and perhaps a humble one also, as he learns how many more struggles and doubts, discoveries, sorrows and joys, the human race has passed through, than are contained in his own private experience.

The true value of the book is, that though not exhaustive of the subject, it is suggestive. It affords the best, indeed the only general, sketch of the subject which we have in England, and gives therein boundless food for future thought and reading; and the country parson, or the thoughtful professional man, who has no time to follow out the question for himself, much less to hunt out and examine original documents, may learn from these pages a thousand curious and interesting hints about men of like passions with himself, and about old times, the history of which--as of all times-- was not the history of their kings and queens, but of the creeds and deeds of the "masses" who worked, and failed, and sorrowed, and rejoiced again, unknown to fame. Whatsoever, meanwhile, their own conclusions may be on the subject-matter of the book, they will hardly fail to admire the extraordinary variety and fulness of Mr. Vaughan's reading, and wonder when they hear--unless we are wrongly informed--that he is quite a young man--

How one small head could compass all he knew.

He begins with the mysticism of the Hindoo Yogis. And to this, as we shall hereafter show, he hardly does justice; but we wish now to point out in detail the extended range of subjects, of each of which the book gives some general notion. From the Hindoos he passes to Philo and the neo-Platonists; from them to the pseudo-Dionysius, and the Mysticism of the early Eastern Church. He then traces, shrewdly enough, the influence of the pseudo-Areopagite and the Easterns on the bolder and more practical minds of the Western Latins, and gives a sketch of Bernard and his Abbey of Clairvaux, which brings pleasantly enough before us the ways and works of a long-dead world, which was all but inconceivable to us till Mr, Carlyle disinterred it in his picture of Abbot Sampson, the hero of "Past and Present."

We are next introduced to the mystic schoolmen--Hugo and Richard of St. Victor; and then to a far more interesting class of men, and one with which Mr. Vaughan has more sympathy than with any of his characters, perhaps because he knows more about them. His chapters on the German Mysticism of the fourteenth century; his imaginary, yet fruitful chronicle of Adolf of Arnstein, with its glimpses of Meister Eckart, Suso, the "Nameless Wild," Ruysbroek, and Tauler himself, are admirable, if merely as historic studies, and should be, and we doubt not will be, read by many as practical commentaries on the "Theologia Germanica," and on the selection from Tauler's "Sermons," now in course of publication. Had all the book been written as these chapters are, we should not have had a word of complaint to make, save when we find the author passing over without a word of comment, utterances which, right or wrong, contain the very keynote and central idea of the men whom he is holding up to admiration, and as we think, of Mysticism itself. There is, for instance, a paragraph attributed to Ruysbroek, in p. 275, vol. i., which, whether true or false--and we believe it to be essentially true--is so inexpressibly important, both in the subject which it treats, and in the way in which it treats it, that twenty pages of comment on it would not have been misdevoted. Yet it is passed by without a word.

Going forward to the age of the Reformation, the book then gives us a spirited glimpse of John Bokelson and the Munster Anabaptists, of Carlstadt and the Zurichian prophets, and then dwells at some length on the attempt of that day to combine physical and spiritual science in occult philosophy. We have enough to make us wish to hear more of Cornelius Agrippa, Paracelsus, and Behmen, with their alchemy, "true magic," doctrines of sympathies, {309} signatures of things, Cabbala, and Gamahea, and the rest of that (now fallen) inverted pyramid of pseudo-science. His estimate of Behmen and his writings, we may observe in passing, is both sound and charitable, and speaks as much for Mr. Vaughan's heart as for his head. Then we have a little about the Rosicrucians and the Comte de Gabalis, and the theory of the Rabbis, from whom the Rosicrucians borrowed so much, all told in the same lively manner, all utterly new to ninety-nine readers out of a hundred, all indicating, we are bound to say, a much more extensive reading than appears on the page itself.

From these he passes to the Mysticism of the counter-Reformation, especially to the two great Spanish mystics, St. Theresa and St. John of the Cross. Here again he is new and interesting; but we must regret that he has not been as merciful to Theresa as he has to poor little John.

He then devotes some eighty pages--and very well employed they are-- in detailing the strange and sad story of Madame Guyon and the "Quietist" movement at Louis Quatorze's Court. Much of this he has taken, with all due acknowledgment, from Upham; but he has told the story most pleasantly, in his own way, and these pages will give a better notion of Fenelon, and of the "Eagle" (for eagle read vulture) "of Meaux," old Bossuet, than they are likely to find elsewhere in the same compass.

Following chronological order as nearly as he can, he next passes to George Fox and the early Quakers, introducing a curious--and in our own case quite novel--little episode concerning "The History of Hai Ebn Yokhdan," a medieval Arabian romance, which old Barclay seems to have got hold of and pressed into the service of his sect, taking it for literal truth.

The twelfth book is devoted to Swedenborg, and a very valuable little sketch it is, and one which goes far to clear up the moral character, and the reputation for sanity also, of that much-calumniated philosopher, whom the world knows only as a dreaming false prophet, forgetting that even if he was that, he was also a sound and severe scientific labourer, to whom our modern physical science is most deeply indebted.

This is a short sketch of the contents of a book which is a really valuable addition to English literature, and which is as interesting as it is instructive. But Mr. Vaughan must forgive us if we tell him frankly that he has not exhausted the subject; that he has hardly defined Mysticism at all--at least, has defined it by its outward results, and that without classifying them; and that he has not grasped the central idea of the subject. There were more things in these same mystics than are dreamt of in his philosophy; and he has missed seeing them, because he has put himself rather in the attitude of a judge than of an inquirer.

He has not had respect and trust enough for the men and women of whom he writes; and is too much inclined to laugh at them, and treat them de haut en bas. He has trusted too much to his own great power of logical analysis, and his equally great power of illustration, and is therefore apt to mistake the being able to put a man's thoughts into words for him, for the being really able to understand him. To understand any man we must have sympathy for him, even affection. No intellectual acuteness, no amount even of mere pity for his errors, will enable us to see the man from within, and put our own souls into the place of his soul. To do that, one must feel and confess within oneself the seed of the same errors which one reproves in him; one must have passed more or less through his temptations, doubts, hunger of heart and brain; and one cannot help questioning, as one reads Mr. Vaughan's book, whether he has really done this in the case of those of whom he writes. He should have remembered too how little any young man can have experienced of the terrible sorrows which branded into the hearts of these old devotees the truths to which they clung more than to life, while they too often warped their hearts into morbidity, and caused alike their folly and their wisdom. Gently indeed should we speak even of the dreams of some self-imagined "Bride of Christ," when we picture to ourselves the bitter agonies which must have been endured ere a human soul could develop so fantastically diseased a growth. "She was only a hysterical nun." Well, and what more tragical object, to those who will look patiently and lovingly at human nature, than a hysterical nun? She may have been driven into a convent by some disappointment in love. And has not disappointed affection been confessed, in all climes and ages, to enshroud its victim ever after in a sanctuary of reverent pity? If sorrow "broke her brains," as well as broke her heart, shall we do aught but love her the more for her capacity of love? Or she may have entered the convent, as thousands did, in girlish simplicity, to escape from a world she had not tried, before she had discovered that the world could give her something which the convent could not. What more tragical than her discovery in herself of a capacity for love which could never be satisfied within that prison? And when that capacity began to vindicate itself in strange forms of disease, seemingly to her supernatural, often agonising, often degrading, and at the same time (strange contradiction) mixed itself up with her noblest thoughts, to ennoble them still more, and inspire her not only with a desire of physical self-torture, which would seem holy both in her own eyes and her priest's, but with a love for all that is fair and lofty, for self-devotion and self-sacrifice--shall we blame her--shall we even smile at her if, after the dreadful question: "Is this the possession of a demon?" had alternated with, "Is this the inspiration of a god?" she settled down, as the only escape from madness and suicide, into the latter thought and believed that she found in the ideal and perfect manhood of One whom she was told to revere and love as a God, and who had sacrificed His own life for her, a substitute for that merely human affection from which she was for ever debarred? Why blame her for not numbering that which was wanting, or making straight that which was crooked? Let God judge her, not we: and the fit critics of her conduct are not the easy gentlemanlike scholars, like Mr. Vaughan's Athertons and Gowers, discussing the "aberrations of fanaticism" over wine and walnuts; or the gay girl, Kate; hardly even the happy mother, Mrs. Atherton; but those whose hairs are gray with sorrow; who have been softened at once and hardened in the fire of God; who have cried out of the bottomless deep like David, while lover and friend were hid away from them, and laid amid the corpses of their dead hopes, dead health, dead joy, as on a ghastly battle-field, "stript among the dead, like those who are wounded, and cut away from God's hands;" who have struggled drowning in the horrible mire of doubt, and have felt all God's billows and waves sweep over them, till they were weary of crying, and their sight failed for waiting so long upon God; and all the faith and prayer which was left was "Thou wilt not leave my soul in hell, nor suffer thy Holy One to see corruption." Be it understood, however, for fear of any mistake, that we hold Mr. Vaughan to be simply and altogether right in his main idea. His one test for all these people, and all which they said or did, is--Were they made practically better men and women thereby? He sees clearly that the "spiritual" is none other than the "moral"--that which has to do with right and wrong; and he has a righteous contempt for everything and anything, however graceful and reverent, and artistic and devout, and celestial and super-celestial, except in as far as he finds it making better men and women do better work at every-day life.

But even on this ground we must protest against such a sketch as this; even of one of the least honourable of the Middle-age saints:

ATHERTON. Angela de Foligni, who made herself miserable--I must say something the converse of flourished--about the beginning of the fourteenth century, was a fine model pupil of this sort, a genuine daughter of St. Francis. Her mother, her husband, her children dead, she is alone and sorrowful. She betakes herself to violent devotion- -falls ill--suffers incessant anguish from a complication of disorders--has rapturous consolations and terrific temptations--is dashed in a moment from a seat of glory above the empyrean . . .