UNIVERSITY OF CALIFORNIA AT LOS ANGELES GIFT OF >r. Ernest Carroll Moore \ A TRAGEDY IN STONE AND OTHER PAPERS BY THE SAME AUTHOR TALES OF OLD JAPAN THE BAMBOO GARDEN THE ATTACHE AT PEKING THE GARTER MISSION TO JAPAN TRAGEDY IN STONE AND OTHER PAPERS BY LORD REDESDALE LONDON : JOHN LANE THE BODLEY HEAD NEW YORK : JOHN LANE COMPANY :MCMXIII SECOND EDITION THE BALLANTYNE PRESS TAVISTOCK STREET COVENT GARDEN LONDON INTRODUCTION CUSTOM and the publisher demand an intro- duction to this little book : modesty and the author would prefer to let it go forth and take its chance unheralded. And yet he who has wares to offer must not lack the boldness to cry their quality, and I have been encouraged by high authority to hope that these papers may yet have an interest for a generation that was not born when some of them first appeared. Moreover, even the authorities which I have consulted are not all of them easily accessible. Stow's " Survey," Bailey's " History of the Tower of London," and Doyne Bell's masterly monograph on the Chapel of St. Peter are books already scarcely to be found except in some few public libraries and on the <^ shelves of professed antiquaries. On the other hand the discovery of the remains of Queen Anne Boleyn, and of the other victims of the block, is 0$ an episode of which the interest can never die. \ Pregnant with pathos, the story is one which should ^ be recorded. I have added it to a portion of a ,> general, perhaps rather dryasdust, article on the /T Tower, which I wrote in 1882 at the request of the late Sir James Knowles. The character of Leonardo da Vinci was like a precious stone with many facets. That most of these should remain dark to the multitude is no matter of surprise. Had he lived to gather to- gether, as he was minded to, all his discoveries, all his philosophy, and all his prophecies into one encyclopaedic volume, the world would have been v 193916 INTRODUCTION compelled to hail him as the most universal genius of any age, and science would have been advanced by some decades I had almost written centuries ! As it is, of all the workings of his mighty brain there remain only scattered parcels, mere inter- ruptions jotted down as they occurred among the schemes and sketches of his artistic work. There they lie in cryptic form, only revealed by the microscopic labour of a few keen scholars such as Ravaisson, Mollien, Govio, Uzielli, Richter, and others. To place before the reader some account of thoughts which excited awe and admiration in a Goethe is surely a pious endeavour. Here again is a case where we have to delve in books which are not ready to every man's hand. The learned works of the two great Viennese pro- fessors as to the history of paper deal with matter so interesting both as regards the past and the present that I feel justified in serving up their results for English consumption. The papers on Japanese subjects, memories of a great time now vanished like a dream, are, perhaps, worth repetition. Some, indeed, have not before been published. The nineteenth century has been called " the Century of Inventions " ; it seems to me as if the twentieth were bidding fair to be known as " the Century of Surprises." It is hardly twelve years old and it has seen Japan annihilate a Russian fleet, wrest a whole province from the Russian army, and capture a fortress which, manned by European troops, was held to be impregnable. Within the last twelve months it has seen the oldest and most august senate in the world shorn vi INTRODUCTION of its powers the oldest Empire in the world converted into a Republic. It has seen trial by jury instituted in China (what, by the by, must the old mandarins of the Hsing-Pu fa-Men, the Board of Punishments at Peking, think of that ?). It has seen Corea wiped out, and an army of Chinese women at Nanking demanding the suffrage and breaking windows with all the enthusiasm of Regent Street. These are surprises. But none of them is greater than the deeds of chivalry and self-sacrifice by which Japan has earned her laurels. As the Spectator of to-day (March 23, 1912) puts it : " History has no parallel to the rise of Japan in scarcely more than fifty years from a hermit kingdom, whose secrets were known only to a few Dutch sailors, to the position of conqueror of one of the greatest military powers in the world." Already the Japanese themselves talk of the days previous to 1878^5 mukashi, " the olden time," and they speak dubiously of what took place then, much as we might talk of the events of the period of the Heptarchy. It was strange indeed, when I returned to Japan six years ago with Prince Arthur's Garter Mission, to be more than once cross-examined as to what did or did not take place mukashi. When the Mayor of Tokyo got up a representation of one of the old DaimyO processions for the Prince's benefit, one of the Princesses turned round to me, a foreigner, and said : " You must often have seen such sights mukashi ; is all this correct ? " * Many books are being written about Japan old and new : * See my " Garter Mission to Japan " (Macmillan, 1906). A vii INTRODUCTION every tourist writes his impressions or those of his native guide, mostly illiterate and uninformed ; and so I have felt the less hesitation in endeavour- ing to crystallise some particles of truth as a set-off against all this Dolmetscherei interpreter's fribble. Even a trip among the fairy-haunted mountains of Hakone, in days when there were no railroads, no telegraphs, no hotels, and when we travelled with an armed escort for there were not a few ronin about, desperadoes whose blades were athirst to drink the blood of the hated foreigner may be of some amusement to the myriad journeyers who now have at their command all the comforts and something more than the security of the West. But for these I must say that they pay a price in the sacrifice of much that was original, much that was picturesque, and old-world, and unforeseen. I feel that I need hardly make excuses for telling once more the story of Will Adams ; surely one of the most romantic and curious episodes in the rela- tions between East and West a Kentish seadog of Queen Elizabeth's time transformed into a petty Japanese Daimyo ! I have been much criticised of late years very kindly I must gratefully admit in regard to my views on landscape gardening, which has been with me a passion. I have been told that I have made a Japanese garden indeed, more than one whereas I have no such claim, no such ambition. A Japanese garden can only be planned by a native artist, who must be a master of his craft, and in obedience to rules which are sacrosanct, canons quite beyond the comprehension of the Western viii INTRODUCTION mind. I have simply followed certain ideas which have forced themselves upon me in the course of travels through many countries, and have en- deavoured to apply them as fittingly as I could to the surroundings of an English country home. Hence the reproduction of my chapter on that subject. My thanks are due to Mr. Guy Laking, the distinguished and learned Keeper of the King's Armour, for his most interesting note on the Tower armoury ; and to the editors of the Nineteenth Century and the Cornhill ^Magazine for permission to reprint portions of articles from those periodicals. IX CONTENTS PAGE A TRAGEDY IN STONE 3 ART AND THE EXACT SCIENCES : LEONARDO DA VINCI 45 APOLOGIA PRO HORTO MEO 79 THE HISTORY OF PAPER 105 AN ADDRESS AT THE CAMPDEN SCHOOL OF ART 125 A SECOND ADDRESS AT THE CAMPDEN SCHOOL OF ART 137 A TALE OF OLD AND NEW JAPAN 151 THREE HUNDRED YEARS AGO 189 FEUDALISM IN JAPAN 217 A HOLIDAY IN JAPAN NEARLY FIFTY YEARS AGO PART I 237 A HOLIDAY IN JAPAN NEARLY FIFTY YEARS AGO PART II 275 A TRAGEDY IN STONE A TRAGEDY IN STONE* 1 CANNOT remember the time when the Tower of London, that " proudest monument of antiquity," did not hold over me the most enthralling fascination. As quite small children, my brothers and I used to gloat over George Cruik- shank's somewhat gruesome illustrations to Harrison Ainsworth's romance then a new work until the three giants with Xit the dwarf, wedded to that unholy bride " the scavenger's daughter," Mauger the headsman, Wolfytt the sworn torturer, the Hot Gospeller and others, were to us very real personages. For many years my dreams were haunted by the murder of Nightgall the gaoler, the glare of Simon Renard's eyes, and the discovery of Alexia's corpse; and I loved to listen with bated breath to an old officer of the Coldstream Guards who used to tell us how the nightly wanderings of Anne Boleyn's shade round the site of the scaffold on Tower Green were an article of faith with the sentries of his regiment. The very names of the old buildings were instinct with tragedy and mystery. Traitor's Gate, the Bloody Tower, the Devilin Tower, Little Ease, the Pit all telling tales of plots and murders, the horrors of the Torture Chamber and the scaffold. If those walls could speak ! Small wonder that such a Tragedy in Stone should appeal to the imagination of a child, and that the reverent awe which it excited should grow with the years. In schoolboy days, when I was old enough to wander alone, I was never so happy as * Part of this paper was published in the Nineteenth Century of 1882. 3 A TRAGEDY IN STONE when I could go and travel back for centuries among the open spaces round GundulPs great White Tower, filling them my fancy much helped by the old-world dresses of the beefeaters with kings and queens and courtiers and men-at-arms, all the motley pageant of a boy's restless brain. Then came the time of the Crimean War, when Regiment succeeding Regiment went forth from the gates, marching to the tune of " The Girl I left behind Me," and I almost lived in the old Fortress, bidding good-bye to relations and schoolfellows, many of whom I was never to see again bright lads, resplendent in the glittering bravery of new uniforms, whose luck in going to the wars we who must needs stay at home all envied. Long years rolled by years during which in the Far East I saw in living reality something akin to the mediaeval visions of my youth and then, coming home, I was once more linked with the Tower, this time officially ; for the buildings are under the charge of the Office of Works, of which in 1874 I was appointed Secretary. I found that there was much that absolutely needed to be put in hand for the preservation of the various structures. The Prince Consort, with Mr. Salvin, a great authority on ancient castles, as architectural adviser, had done good work about the Tower ; but the Prince's early death in 1861 put a stop to this undertaking, and for thirteen years decay, which for centuries had been eating into the old walls, held sway unchecked. The delay was be- coming fatal. In 1876 I represented to the Government the 4 A TRAGEDY IN STONE urgent necessity of taking matters in hand. My chief, Mr. Gerard Noel, who had recently been ap- pointed First Commissioner of Works, and Mr. W. H. Smith, who as Secretary to the Treasury was all-powerful in finance, were most encouraging, and recognised with enthusiasm the necessity of pre- serving for posterity so precious a relic of the past. Mr. Salvin, wise and learned, gave us his advice, and the necessary plans were prepared with great skill, judgment, and reverence for the historic past by Mr. (now Sir John) Taylor. Before telling what we did and what we found, it may be well to give a slight sketch of the Tower's story. The history of the Tower of London may almost be said to be the history of England : for eight hundred years as fortress, palace, and prison it has been continuously inhabited. Modern discoveries have shown that Roman buildings of considerable importance stood upon the same site ; tradition and the poets went so far as to attribute the existing Tower to Julius Caesar.* We know that it was * This is the way To Julius Caesar's ill-erected Tower. SHAKESPEARE, " Richard II," Act v, Sc, i. Again in " Richard III," Act lii, Sc. i : P. OF WALES. I do not like the Tower, of any place. Did Julius Caesar build that place, my Lord ? BUCKINGHAM. He did, my gracious Lord, begin that place, Which since succeeding ages have re-edified. P. OF WALES. Is it upon record ? or else reported Successively from age to age he built it ? BUCKINGHAM. Upon record, my gracious Lord, In more modern times Gray sings : Ye towers of Julius, London's lasting shame, By many a foul and midnight murder fed. A TRAGEDY IN STONE built by William the Conqueror, but it adds to the interest with which the old Tower teems when we reflect that it was a Roman stronghold a thousand years or more before the Norman king caused one stone of the great White Tower to be laid upon another. It was not until twelve years after the Conquest that William turned his attention to fortifying the river approach to London. He summoned as his architect Gundulf, the weeping monk of Bee in Normandy, a Benedictine of considerable acquire- ments, whom travel had made familiar not only with the best specimens of architecture in his own country, but even with the more ornate school of the East. He is said to have been a pupil of Lanfranc and the friend of Anselm, and it is evident that he had acquired no little fame as an artist before he was called away from his cloister to become the chief builder to King William. " But," says Hepworth Dixon, "he was chiefly known in the convent as a weeper. No monk at Bee could cry so often and so much as Gundulf. He could weep with those who wept ; nay, he could weep with those who sported ; for his tears welled forth from what seemed to be an unfailing source." This melancholy man was made Bishop of Rochester, the cathedral and castle of which city were designed and built by him the castle much after the pattern of the White Tower and it is in "a fair Register Book of the Acts of the Bishop of Rochester, set down by Edmund of Hadenham," that story finds it recorded that "William I., surnamed the Con- queror, builded the Tower of London, to wit, the 6 A TRAGEDY IN STONE great white and square Tower there, about the year 1078, appointing Gundulf, the Bishop of Rochester, to be principal surveyor and overseer of that work, who was from that time lodged in the house of Edmere, a burgess of London." So Gundulf wept and built, and Ralph Flambard, Bishop of Durham, found the money, little wotting that he was taxing and robbing the people to erect a prison for himself. Probably the earliest descrip- tion of the Tower of London is that quoted by Stow of Fitzstephen, who lived in the twelfth century: "The City of London hath in the east a very great and most strong palatine tower, whose turrets and walls do rise from a deep foundation, the mortar thereof being tempered with the blood of beasts." The citizens of London thrilled with horror at this uncanny sight. The Tower was an attack upon their liberties, a standing menace of the tyrant's wrath ; and this fearsome blood-coloured cement ! perhaps Gundulf ground up the old red tiles and bricks of the Romans to mix his mortar ; and so the people, only too ready to surround with new glamour the sinister threat that was arising in their midst, accounted for the colour in this way. As a later chronicler put it, nothing could be more meet, proper and fitting than that the fortress that was fated to be the scene of so many tragedies and horrors "should be cemented with blood and watered by the tears of its architect." Tears do not appear to have hurt Gundulfs health, for he went on weeping to the ripe age of eighty, having lived to see the carrying into execu- tion of all the works which he designed about the 7 A TRAGEDY IN STONE Tower, including the original church dedicated to St. Peter, which stood on the site of the present chapel of St. Peter ad Vincula. William Rufus actively pushed on the work which had been begun under the auspices of his father : "He challenged the investiture of prelates ; he pilled and shaved the people with tribute, especially to spend about the Tower of London and the Great Hall at Westminster." There is consider- able doubt as to what were the actual additions made to the Tower of London during the reigns of William Rufus and Henry I. Stow says : " They also caused a castle to be builded under the said tower, to wit, on the south side towards the Thames, and also incastellated the same round about." This castle on the south side towards the Thames has by some been thought to be St. Thomas's Tower ; but that cannot be, for St. Thomas's Tower was not built until the reign of Henry III., when the land was reclaimed from the river. More probably this castle was the Hall, or, as it is now called, the Wakefield Tower, in which the Crown Jewels are kept, and which in its lower masonry shows traces of great antiquity. Upon the death of Rufus the citizens of London seized Ralph Flambard, whom they hated for his extortions, and Henry, who had reasons enough for conciliating the commons in the face of the im- pending struggle for the kingdom with his brother Robert, sent the ex-treasurer to be imprisoned in the Tower, the first of a long roll of political captives. But he led an easy life there, well lodged and well fed, with liberty to buy what 8 A TRAGEDY IN STONE luxuries he might wish for over and above what could be procured for the two shillings a day assigned for his maintenance out of the royal exchequer. One fine day, using a trick as old as the time of Ulysses, he sent for a number of kegs of wine, and gave a great feast to his gaolers, who got helplessly drunk. In one of the kegs was concealed a rope, by which the burly Bishop let himself down out of the window, and although the rope was too short, and he had an awkward drop to brave, Flambard, fat as he was, took no hurt, and made good his escape to France. This happened in the month of February noi. Poor Griffin, Prince of Wales, who tried the same adventure in Henry III.'s reign, did not fare so well. He too was a portly man, and he broke his neck. The first four constables of the Tower were Othowerus, Acolinillus, Otto, and Geffrey Magna- ville, Earl of Essex men of rapacious character and strong grasp, for they took East Smithfield, which belonged to the priory of the Holy Trinity within Aldgate, and held it as a vineyard. No wonder the people looked with terror and dislike upon the frowning walls which harboured knights so bold that even the Church in the heyday of her power was not safe from their depredations ! In the second year of King Stephen the monks came to their own again, but, as will be seen presently, the Tower of London was but an uncomfortable neigh- bour to the Church of the Holy Trinity for many a long year. For a century and a half little or nothing appears 9 A TRAGEDY IN STONE to have been done to the Tower, until in the year 1155 "Thomas Becket, being Chancellor to Henry the Second, caused the Flemings to be banished out of England, their castles lately builded to be pulled down, and the Tower of London to be repaired." Forty years later, about the year 1190, when John was in rebellion against his brother Richard I., William Longchamp, Bishop of Ely and Chancellor of England, " enclosed the Tower and Castle of London with an outward wall of stone, em- battelled ; and also caused a deep ditch to be cast about the same, thinking to have invironed it with the river of Thames." This ditch was a new blow to the prior and monks of the Holy Trinity, for by the digging of it the church lost half a mark rent by the year, and the poor brethren of St. Katherine lost their mill, which stood " where now is the iron gate of the Tower." Moreover, the garden, which the King had hired of the brethren for six marks a year, "for the most part was wasted and marred by the ditch. Recompense was often promised, but never per- formed till King Edward, coming after, gave to the brethren five marks and a half for that part which the ditch had devoured ; and the other part thereof without he yielded them again, which they hold ; and of the said rent of five marks and a half they have a deed, by virtue whereof they are well paid to this day." If the church suffered loss by the encroachments of the new fortifications, so also did the city, for 10 A TRAGEDY IN STONE an equal quantity of land was taken from Tower Hill, besides breaking down the city wall from the White Tower to the first gate of the city, called the Postern Gate. Yet, says Stow, from whom we have been quoting, " I have not read of any quarrel made by the citizens, or recompense demanded by them for that matter : because all was done for good of the cities defence thereby, and to their good likings." Not so patient were the citizens when Henry III. began his great works at the Tower : " In the year 1239," writes Matthew Paris, "King Henry the Third fortified the Tower to another end : wherefore the citizens, fearing lest that were done to their detriment, complained ; and the King answered that he had not done it to their hurt ; but (saith he) I will from henceforth do as my brother doth in building and fortifying castles who beareth the name to be wiser than I am ! " And he kept his promise, for if he was a weak king, he was a mighty builder. Corffe, Conway, Beaumaris, " and many other fine poems in stone," are his work. But the chief claim of King Henry III. should rest upon his having been the first deviser of an embankment of the Thames. For to him, and to his master mason, Adam de Lamburn, belongs the honour of having constructed the great wharf reclaimed from the Thames on the south side of the Tower. This was no mean piece of engi- neering, when the force of the tide at this point is considered, nor was the embankment made good without the exercise of much patience and B II A TRAGEDY IN STONE perseverance. On the night of the festival of St. George, 1240, the tide rolled in heavily, under- mining the earthworks, and the water gate and the river wall fell in. The King set to work again, and for a whole year nothing occurred to hinder him, until, on the very anniversary of the former disaster, the surging tide once more swept away gate and wall. That very night a certain priest, a holy and a prudent man, dreamt a dream, in which it was revealed to him that an archbishop, clad in his pontifical robes and carrying a cross in his hand, came to the walls which the King had at that time built near the Tower of London, and surveying them with an angry countenance, struck them sharply and violently with the cross which he carried in his right hand, saying, " Why do ye rebuild these ? " And im- mediately the newly built walls fell in ruins as though they had been caused to fall by an earthquake. Terrified at the vision, the priest asked of a certain clerk who appeared to be following the archbishop, " Who is this archbishop ? " Said he, " The blessed Thomas the Martyr, a Londoner by birth, who, considering that these walls have been made to the shame and prejudice of the Londoners, has thrown them in ruins, so that they may never be restored." Then said the priest, " Oh, what expense and what labour of craftsmen has he destroyed ! " To him answered the clerk, " If poor craftsmen, gaping for pay and being in sore need, have earned victuals for themselves thereby, it may be borne. But 12 A TRAGEDY IN STONE since these walls have been built, not for the defence of the kingdom, but for the woe of guilt- less citizens, if the blessed Thomas had not cast them down, St. Edward the Confessor and his successor would have destroyed them to the foun- dation yet more cruelly." Then the priest awoke, and rose and told his vision to all those who were in the house ; and in the morning the news spread all over London that the walls built about the Tower, upon the building of which the King had spent more than twelve thousand marks, had fallen down, and were beyond repair. For the which disaster the citizens of London were but little grieved, for the walls were to them as a thorn in their eye. This story, which has been preserved by Matthew Paris, and embroidered upon by Mr. Hepworth Dixon in his struggles to be picturesque at the ex- pense of accuracy, serves at any rate to show the great unpopularity of Henry's fortifications. The King, however, was not to be permanently daunted either by expense or by ghostly warnings. He and Adam de Lamburn must have been sorely mortified at the second collapse of their embankment, and for some years nothing more was done to it ; but they set bravely to work again, and this time they built so strongly that their masonry has withstood the attacks of storms and tides and ghosts to this day. Many other works did Henry III. about the Tower of London. He restored and strengthened the garner or storehouse and the great White Tower. He built the Water Gate, which was called St. Thomas's Tower, and in which a chapel A TRAGEDY IN STONE was dedicated to St. Edward the Confessor, probably to commemorate the priest's dream and to deprecate the further wrath of the saints. He built and fortified the inner ballium with the Lanthorn Tower, which he fitted up for his own habitation, causing his privy chamber to be painted with the story of Antiochus. Nor, while directing his chief attention to the fortification of the Tower as a place of arms and safety for the King's person, did Henry neglect the sacred buildings within it. He repaired and beautified the Chapel of St. John inside the White Tower, giving orders for three glass windows, the one towards the north " with a little Mary holding her Child," and two others towards the south representing the Holy Trinity and St. John the Evangelist. The cross and rood were also to be repainted in good colours, and two fair images were to be made and painted " where it could be best and most properly done in the said chapel " ; one of them of St. Edward holding a ring and giving it to St. John the Evangelist. Minute instructions were also issued for the restoration of the Church of St. Peter ; the royal stalls were to be painted, and the "little Mary," with her shrine, and the figures of St. Peter, St. Nicholas, and St. Katherine newly coloured ; a new image of the Blessed Virgin was to be made, and one of St. Peter in the robes of an archbishop ; there was to be made and painted, " where it could be better and more decently done," an image of St. Christopher carrying Jesus ; two fair tables of the best colours were to be painted with the legends of St. Nicholas and St. H A TRAGEDY IN STONE Katherine, and " two fair cherubims with hilarious and joyous countenances " were to be placed on the right hand on the left of the great cross ; a carved marble font with marble columns was also to be provided. Wonderfully minute in detail and very curious are the instructions issued by King Henry to the " custodes operationis Turris Londinensis." Among others there is one in which he commands to make " all the leaden gutters of the great Tower, by which the rain-water should fall from the top of the said Tower, be continued down to the ground, so that the newly whitened wall of the said Tower may in no wise perish nor easily give way owing to the water trickling down it " : sound building principles, which were conveyed to his clerks in the doggiest of Latin. Louder and louder grew the discontent of the good citizens of London as they saw more work being spent upon the Tower. In every addition to its strength they saw a fresh menace directed against their liberties. Moreover, the King's love of bricks and mortar and works of art was an expensive taste, and it was their money that was being swallowed up in the great fortress. The Queen, Elinor of Provence, shared her lord's unpopularity, and it was against her that it found a vent. In the year 1263 there were great riots in London, during which the houses of the Jews and the Lombard bankers were attacked and pillaged. Henry was away, but the Queen was at the Tower, and was so frightened by the outrages that were A TRAGEDY IN STONE taking place in the city that she sought to go to Windsor by boat. As she drew near London Bridge the people cried out, " Drown the witch ! " " Drown the witch ! " Not content with abusing her in the most indecent language, they pelted her with rotten eggs and dirt, and had prepared large stones to sink her boat, should she attempt to shoot the bridge : so that she was terrified and returned to the Tower. At the close of Henry III.'s reign, the Tower was a complete and, for the engines of war of those times, impregnable stronghold, presenting a perfect picture of the feudal system. It was divided into two wards, the inner ward and the outer : the former reserved for the King, the latter open to the people. In the inner ward were the King's palace (Henry, as we have seen, occupied the Lanthorn Tower), the dungeon keep for his prisoners, the treasury, garner, and chapels. In this inner sanctum sat the Court of King's Bench. The outer ward, in which sat the Court of Common Pleas, was nominally in the custody of the citizens, who on stated occasions enforced their rights of access to the King and the Courts of Law. At such times they met in Barking Church on Tower Hill, whence they sent "six sage men" as a deputation to beg the King, according to custom, to forbid his guards either to close the gates or to keep watch over them while the citizens were coming and going, for that no one should guard the gates of the Tower save only such persons as they might appoint. 16 The King, as a matter of course, granted this re- quest, and for the nonce the citizen guards, newly shaved and sprucely clad in their best, took possession of the gates. There is one institution which dates from Henry's time to which we may allude. In the year 1235 the Emperor Frederick sent to the King, who was his brother-in-law, three leopards, as an emblem of the royal coat-of-arms of England : and from that time forth until the year 1826, when the wild beasts were removed to the Regent's Park, the menagerie, which was kept in the Lion's Tower, formed a part of the royal appanage of the Tower of London. So the three leopards of King Henry III. were the foundation of the Royal Zoological Society. None of Henry's successors emulated the active and artistic interest which he showed in the Tower of London. To him must be ascribed the credit of having finished it as it stood until the close of the eighteenth century. Some details, indeed, were afterwards altered ; the present church of St. Peter was built by Edward I., on the site of the older church ; about four cen- turies later, Sir Christopher Wren added a large store-house on the north side, which was burnt down in 1841 and replaced by the present barracks. But although kings and queens held their court here, no changes of importance in the structure took place. The great fortress remained as the third Henry had left it. How it became the scene of many a royal murder how Henry VI. was killed in the little oratory in the Wakefield Tower 1 7 A TRAGEDY IN STONE how Richard brought about the death of his nephews how Henry VIII. beheaded his wives how his daughter signed warrants for the burning of heretics and the imprisonment of her sister and how many a captive lingered through a living death within those terrible walls, or perished in the torture chamber all these stories, and many others of which the Tower was the scene, are thrice-told tales familiar to every child ; but, even so, they are so full of pathetic interest that one cannot, if one would, avoid lingering upon them. Sir Christopher Wren is the next prominent figure with which we have to deal. Besides the great store-house, of which mention has been made, he did much work of restoration about the Tower. But unfortunately he did not enter into the spirit of the place, and the masonry which he introduced, notably in the White Tower, is quite out of harmony with the Norman character of the building. But it was at the end of the eighteenth century that the Tower, long neglected, suffered an irreparable loss by the destruction of the Lanthorn Tower, which was burnt down in the year 1786. This tower, which, as part of the royal habitation, would have been of the greatest interest to the curious in antiquities, was a large round structure surmounted by a small turret. It stood to the west of the Salt Tower, from which it was separated by a gallery dividing the privy garden, and that the disaster might be the more complete, its very ruins were carted away, and in its place was reared a huge unsightly warehouse masking the Tower from the river. During the Crimean War this warehouse was 18 A TRAGEDY IN STONE heightened by a storey, and a crueller blot on a grand old pile of buildings it is difficult to imagine. The Georgian epoch was fatal to many of our finest antiquities throughout the country. The prevailing dearth of taste is shown by the ruthless way in which picturesque old manor-houses of the Tudor and even earlier times were swept away by the score to make room for Grecian temples or Italian villas. It was a period in which the people cared no more for the monuments of their country, as old Weever said of his own contemporaries in a previous century, " than for the parynges of their nayles." In such an age men cared little for antiquities, little for the glories of such. It had long ceased to be a royal palace, and even the old custom of holding a court there before the corona- tion of the king, who was wont to pass in solemn procession through the City to Westminster, was observed for the last time by King Charles II. The genius of ugliness was allowed to do its worst : indignity after indignity was committed, and the finest monumental fabric in Europe was hidden and screened from the waterway as if it had been something to be ashamed of. Had matters gone on thus it is difficult to say what would have been the end : the place would have been at the mercy of storekeepers and paper- keepers, and all considerations of artistic beauty and historic interest would have given way before the urgent necessity for stowing away a few more soldiers' blankets or a packet of dusty files from some public office. '9 A TRAGEDY IN STONE Where shall you find another building so full of pathetic interest, so pregnant with historic memories as the little church on the north side of Tower Green, the Chapel of St. Peter ad Vincula ? In comparison with the grandeur and architectural magnificence of that other great church, the Abbey of Westminster, also dedicated to St. Peter, it is but a hovel ; yet no place in the world can show such a record of " tragedy in sceptred pall." Lord Macaulay's description of it is a classic passage : it can hardly be left out. " I cannot refrain," he says, " from expressing my disgust at the barbarous stupidity which has transformed this interesting little church into the likeness of a meeting-house in a manufacturing town. In truth there is no sadder spot on earth than this little cemetery. Death is there associated not, as in Westminster and St. Paul's, with genius and virtue, with public veneration and with imperishable renown ; not, as in our humblest churches and churchyards, with everything that is most endearing in social and domestic charities : but with whatever is darkest in human nature and in human destiny ; with the savage triumph of implacable enemies, with the inconstancy, the ingratitude, the cowardice of friends, with all the miseries of fallen greatness and of blighted fame. Thither have been carried through successive ages by the rude hands of gaolers, without one mourner following, the bleed- ing relics of men who had been the captains of armies, the leaders of parties, the oracles of senates, and the ornaments of courts." Lord Macaulay's eloquent words rather under- 20 A TRAGEDY IN STONE state than exaggerate the squalor and decay into which the chapel had been allowed to fall and the barbarism with which it had been defaced. High pews and galleries of painted deal crowded up the interior : whitewash had done its worst to degrade the walls and columns. The pavement was as uneven as if it had been forced out of the level by the violence of an earthquake. There was nothing solemn, nothing to suggest religion or divine worship, nothing to record the burial of the mighty dead who lay there. Two Queens three indeed, if we count Lady Jane Grey John Fisher, Bishop of Rochester ; Sir Thomas More ; Thomas Seymour Lord Sudeley, the husband of Queen Catherine Parr and the suitor of Princess Elizabeth ; Northumberland and Somerset, mortal enemies, now lying side by side in the peace of death : Essex, in spite of the Queen's ring * vainly committed to the treacherous hands of Lady Nottingham, a story now looked upon as apocryphal ; James, Duke of Monmouth -f- (Dryden's Absalom) ; the three rebel Lords of the '45 , and many others. * A ring said to be the very ring given by Queen Elizabeth to Essex was sold among the Thynne heirlooms at Christie's on May 18, 1911. It was bought by Messrs. Duveen, acting, it was said in the rooms, for Lord Michelham, for 3412 los. The pedigree given in the sale catalogue says that it descended from Lady Frances Devereux, the Earl of Essex's daughter, in unbroken succession from mother and daughter until it came to Louisa, daughter of John, Earl of Granville, who married Thomas Thynne, Second Viscount Weymouth great- grandfather of the late owner. It is described as a ring of gold, the back engraved with arabesque foliage enamelled blue, the bezel set with a sardonyx cameo, carved with a portrait of Queen Elizabeth viewed in profile turned to the right, wearing a head-dress and large ruff. t It is difficult to imagine anything more horrible in its details than the execution of the Duke of Monmouth. John Ketch, the common 21 A TRAGEDY IN STONE In reading the records of all these horrors it is im- possible not to be struck with admiration for the courage with which one and all met their fate. Bishop Fisher, an old man in his eightieth year, after an imprisonment during the cruel winter months, starved with cold and privations, prays to Cromwell at Christmas-time for some clothes to cover him, " for I have neither shirt nor sute, nor yet other clothes, that are necessary for one to wear, but that bee ragged and rent to shamefully. Notwithstanding I might easily suffer that if they wold keep my body warm," and also begs for a little suitable food. But on June 23, when he was carried to the scaffold, reaching the steps, the poor old man, who had scarcely strength left to walk, refused all help, saying, " Nay, masters, seeing I am come so far, hangman of London, was the executioner. When the duke was on the scaffold he tried the edge of the axe with his nail, saying : " I fear it is not sharp enough." The duke gave the headsman six guineas and said, " I pray you do your business well do not serve me as you did my Lord Russell. I have heard you struck him three or four times ; if you strike me twice I cannot promise you not to stir." The duke would not have his eyes bandaged, but having prayed laid his head calmly on the block. " And yet for all this," writes an eyewitness, " the botcherly dog did so barbarously act his pairt, that he could not at fyve stroaks of the axe sever the head from the body." After the third stroke Ketch sickened and threw away the axe, offering forty guineas to any one who would finish the work. The sheriffs compelled him to go on. Two more strokes were dealt, and then the executioner finally severed the head with his knife. (See Doyne Bell's " Chapel in the Tower " and Macaulay's "History of England.") It was from the name of this man Ketch that the common word for the hangman, " Jack Ketch," was derived. The hangmen of London claimed the title of esquire in con- firmation of the coat-of-arms granted by Sir William Segar, Garter King- of-Arms, to Richard Brandon, who beheaded King Charles I. Brandon was succeeded by Edward Dun, and Dun by this " botcherly " John Ketch. There is a pamphlet written by the latter in defence of his conduct at Lord Russell's execution. He throws the blame for his bungling on the movements of the victim. 22 A TRAGEDY IN STONE let me alone and you shall see me shift for myself well enough," and when the summer sun shone in his face he cried, " Accedite ad eum et illuminamini, et facies vestrae non confundentur." The glory of that ray of sunshine illumines his face to this day. Sir Thomas More, as dauntless as the Bishop, wisest and wittiest of men, dies, as Hall's chronicle puts it, " with a mocke." Come to the scaffold which was ill-constructed, weak, and ready to fall, " he said merrilie to the Lieutenant, c I pray you, Mr. Lieutenant, see me safe up, and for my cominge downe, let me shift for myselfe.' When he had finished his prayers and repeated the fiftieth Psalm, the executioner, according to custom, asked him for forgiveness. Sir Thomas kissed him, and said, ' Plucke up thy spirits, man, and be not afraide to doe thine office. I am sorie my neck is verie short, therefore strike not awrie for savinge of thine honestie.' He bandaged his eyes with his own hands and laid his head upon the block. Then he signed for a moment's delay while he moved aside his beard : c Pity that should be cut,' he murmured, ' that has not committed treason,' ' a famous speech as to which Froude says, " with which strange words, the strangest perhaps ever uttered at such a time, the lips most famous in Europe for eloquence and wisdom closed for ever." * * We may hazard a shrewd guess at what was in Sir Thomas More's mind when he made this grim jest. Until his imprisonment he was always close-shaven. All the authentic portraits of him are with- out a beard, so as it came into existence after his offence the beard was no accomplice in his treason. A so-called portrait of Sir Thomas More in the Brussels Gallery, with a beard, attributed to Holbein, is an 2 3 A TRAGEDY IN STONE And Queen Anne Boleyn ! How bravely she died ! There are letters from Sir William Kingston, Constable of the Tower, to Cromwell, quoted by Doyne Bell, telling of her demeanour during the few days, not much more than a fortnight, of her imprisonment in the Tower, how at times she was cheerful, laughed heartily and ate her meals with a good appetite. On May 18, the day before her execution, Kingston writes, " thys morning she sent for me that I myght be with her at soche time as she resayved the gud Lord (the sacrament) to the intent I should hear her speak as towchyng hyr innosensy alway to be clere and in the writyng of this she sent for me, and at my commyng she sayd, ' Mr. Kyngston, I hear say that I shal not dye afore none, and I am very sory therefore ; for I thowth to be dede by thys time, and past my payne.' I told hyr it shuld be now payne it was so sottel ; and then she sayd, ' I have hurd say the execut r was very gud, and I have a lyttel neck,' and put her hand abowt it lawing [laughing] hartely." Kingston goes on to say, " I have sen many men and also wemen executed, and that they have been in grete sorrow ; and to my knowlidge thys lady hasse meche joy and plesure in dethe." On the scaffold, after she had made her last speech, " with her own hands she took her coifs from her head and delivered them to one of her ladies, and then putting on a little cap of linen to cover her hair withal she said, ' Alas ! poor head, in a very brief obvious fraud. It may be the portrait of Pattenson, his jester, to whose outline in the Basel sketch of More and his family it bears some likeness. It was engraved by Vorsterman. 24 A TRAGEDY IN STONE space thou wilt roll in the dust on the scaffold * and so having said a few farewell words to her ladies and praying ' Oh ! Lord God have pity on my soul ! ' she knelt and laid her head upon the block, and the executioner of Calais struck it off with a sword." Such was the end of that unhappy beauty for the love of whom King Henry set aside a marriage of eighteen years' standing, gave deadly offence to Spain, flouted the authority of the Pope and established the Protestant Religion in England. It is impossible not to feel great pity for Katherine Howard. Her life was blighted from its outset. Shamefully neglected by her grand- mother, the old Duchess of Norfolk, to whose care she had been confided, surrounded by women so depraved that they seemed to rejoice in leading her astray while still a child, she can hardly have known what innocence meant. That she ever was unfaithful to the King after her marriage there is no evidence. But the fatal paper which Cranmer placed in the King's hand during mass in the chapel at Hampton Court sealed her fate. The King left Hampton Court at once, and the Queen was arrested and sent to Sion House. It was said that she screamed aloud as she was being dragged along the great corridors of Hampton Court and until recently there were people who believed that in the dead of the night her cries are still to be heard there a foolish tale, the author of which confessed himself to me, but it found credence. The Queen, according to a letter written by a London merchant to his brother at Calais, " made 2 5 A TRAGEDY IN STONE a most godly Christian end that ever was heard or, uttering her lively faith in the blood of Christ only, and with godly word and steadfast countenance desired all Christian people to take regard unto her worthy and just punishment." So eager was poor Katherine Howard to die honestly, like Lucretia, that on February 12, when she was told that she must die on the morrow, she desired that the block on which she was to suffer might be brought to her that she might know how to place herself. This was done, and so she made a gruesome rehearsal of the coming tragedy. These are cruel stories, but the chronicles of the Church of St. Peter-in-Chains are all cruel. Those were terrible times in which it was an ill thing to be a person of note, whether man or woman. Even the grey hairs of the venerable Margaret Plantagenet, Countess of Salisbury, could not pro- tect her. What had she done that she should be dragged to the scaffold and stricken by the com- mon hangman like a felon, after weeks of suffer- ing, half-fed and half-clothed, of which her very gaolers complained ? Certain Bulls of the Pope had been found in her possession, and she had corre- sponded with her son, Cardinal Pole, who had given King Henry dire offence by his book " De Unitate Ecclesiastica." To expiate these crimes she died she, the lady whom the King had chosen to be Princess Mary's governess, and whom he once de- clared to be the most saintly woman in England. Lord Herbert's account, founded upon hearsay, gives details of her execution, probably apocryphal, and invented to excuse the lack of skill of the headsman. 26 A TRAGEDY IN STONE "The old Lady being brought to the scaffold . . . was commanded to lay her head on the block : but she (as a person of great quality assured mee) refused, saying, so should traitors do, and I am none : neither did it serve that the executioner told her it was the fashion ; so turning her gray head every way, shee bid him if hee would have her hedd, to get it as hee could : so that he was con- strained to fetch it off slovenly."* Her last words were " Blessed are they who suffer persecution for righteousness' sake." So says a letter of her son, Cardinal Pole, quoted by Lingard.-f' There is surely no more pathetic figure in history than that of Lady Jane Grey. Almost from her babyhood the beautiful child was the centre of intrigues and plots and counterplots feeding the scaffold. At nine years of age she entered the household of Queen Catherine Parr. When she was eleven the Lord High Admiral, Catherine's widower, obtained her guardianship in order to marry her to King Edward VI., thereby hastening his own death, for his brother, the Lord Protector, wanted the King for his own daughter. After the Admiral's execution Lady Jane went back to her father, the Duke of Suffolk, at Bradgate, where she studied once more under Aylmer, afterwards Bishop of London. Here, when she was thirteen, Roger Ascham found her reading the " Phasdo " of Plato. Even as a child her life with her parents was un- happy, for she told Ascham how they subjected her to " pinches, nips, and bobs " for any stray * Doyne Bell, and " Diet, of National Biography." t Vol. V. p. 62. c 27 A TRAGEDY IN STONE shortcoming. By the time she was fifteen she had added Hebrew to her other accomplishments, and as a scholar she became world-famous. Before she was sixteen, to serve the ambition of Northumber- land, she was wedded, forcibly as it is said, to his fourth son, Lord Guildford Dudley. That was the first act of the tragedy. The last was when on her way from the house of Nathaniel Partridge, the gentleman gaoler, to the shambles on Tower Green, she, the Queen of a week, met the litter on which lay her young husband's headless body. Old Fuller's words are good to quote. " She had the birth of a princess, the learning of a clerk, the life of a saint, yet the death of a malefactor for her parent's offence, and she was longer a captive than a Queen in the Tower." I have but sketched some of the many stories of blood and agony which are bound up with the history of the old chapel built by Edward I. on the site of a still older church enough to show what a great measure of interest attaches to a build- ing which successive generations had seemingly taken pains to make as shabby and forlorn as possible. In the old Tudor days this neglect was certainly purposeful and intelligible. It was a chief object of those in power to wipe out all traces of the victims of their political executions or murders. The dead bodies of queens and nobles and states- men, who in their lives, a few days or at most weeks before, had been the cynosure of courtly pageants and royal progresses, were huddled into the earth without any semblance of decency. To many not even coffins were given. A little soil 28 A TRAGEDY IN STONE consecrated soil it is true a scattering of lime, and then oblivion. Anne Boleyn, as an exception, was buried in an elm chest which had served to carry arrow heads to the warders' quarters. Some of the actual places of burial were recorded of others there was no mention, and to their whereabouts no clue. All that was known was that somewhere in the chapel, under this stone or under that, lay the remains that fear or perhaps repentance desired to forget. No more squalid cemetery exists, none more teeming with the mystery and the deadly romance of crime. In 1876 a report by Sir John Taylor showed that the old chapel was rapidly decaying and that unless something were done, and that quickly, the very walls must crumble into dust. The report was communicated to the various authorities responsible for the Tower ; * above all, the pleasure of Queen Victoria was taken. She had always showed the greatest personal interest in all that concerned the old place ; indeed it was by her command that the site of the scaffold on Tower Green was fenced off. The Queen, through Sir Henry Ponsonby, signified to me her consent to the necessary work for the preservation of the building, at the same time ex- pressing her wish that all possible care and reverence should be exercised to prevent any undue tampering with the graves of the illustrious persons who were buried there. She further desired that a careful * The Tower being Palace, Prison, and Fortress with barracks, the Lord Chamberlain, the Constable of the Tower, and the War Office all have their say in anything that concerns it. The Office of Works is responsible for the structure. 29 A TRAGEDY IN STONE record should be kept of every sign or possible identification. There was no question of restoration, for barring the Blount monument in the chancel and one or two others, there was nothing to restore; any semblance of decoration, or even of decent respect for the sanctity of the building, had long since been swept away and given place to the painted deal and the plaster of Georgian vandalism. All that we had in view was to preserve a life of the highest interest, and, while saving the shell, to fit the interior for divine worship in conditions of decency. The state of the pavement, which was like the waves of the sea, and the threatened collapse of the walls made it evident that the work would be very serious and involve great disturbance of the surface in order to get a safe foundation. Seeing this, and having regard to the Queen's commands as to identification, it seemed advisable that some known antiquary and also a gentleman skilled in anatomy, to determine the probable age of any remains that might be found, should be present at the investi- gations. Mr. Doyne Bell was asked to serve as antiquary : Dr. Mouat, F.R.C.S., of the Local Government Board, as surgical expert. The nave and aisle of the church had been so much disturbed, and the old graves and remains so scattered in order to make room for the burial during the eighteenth and first part of the nineteenth centuries of any person, however obscure, who might chance to die within the precints of the Tower, that we did not expect to find there any evidence of historic interest. Nor did we. The 3 A TRAGEDY IN STONE chancel was different : there it was that the principal victims of the cruel sixteenth century were thrown into the earth, dishonoured and un- wept. We had hoped that it might be possible to leave the chancel undisturbed, merely covering over the old worn and uneven pavement with new flags. A closer examination showed that this could not be. There were two serious depressions, and evi- dence that the ground under the pavement was hollow, so that all that part of the structure was in danger of collapse ; indeed the only safe place was the little brick grave in which Sir John Burgoyne was buried in 1870. The Queen was again con- sulted, and gave her sanction to the removal of the stones and the carrying out of such work as might be necessary, repeating her former injunctions. The work in the chancel was begun on November 9, 1876. There were present Mr. Gerard Noel, First Commissioner of Works ; Col. Milman, resident Governor of the Tower ; Sir Spencer Ponsonby Fane, Comptroller of the Lord Chamberlain's De- partment ; Mr. Doyne Bell; Dr. Mouat, F.R.C.S., and myself. Obviously if the ground was to be con- solidated we must dig to some little depth, other- wise the sinking might go on and no good end be attained. We had prepared a plan showing the position in which, according to the best historical authorities, the various persons had been interred, and we determined to commence operating on the north side of the chancel, where it was believed, and indeed pretty certain, that Anne Boleyn was buried. There was a thrill of emotion upon every one 3 1 A TRAGEDY IN STONE present when, at two feet from the surface, we came upon the bones of a woman of from twenty- five to thirty years of age, as Dr. Mouat certified. Anne Boleyn was twenty-nine years old at the time of her death, and there could be no doubt that this was indeed the unhappy Queen. The bones were slender and beautifully formed narrow feet and hands, delicate limbs in excellent propor- tion, the vertebras very small, the atlas (the joint nearest the skull) tiny (remember her laughing at her " lyttel neck " on the eve of her execution !) Every particle of earth was carefully passed through a sieve, so that not a splinter of bone should be left, and all the remains were piously gathered together for reburial. It was evident that at some time, certainly not less than a century previously, the earth had been disturbed, for the bones were not lying lengthwise as a complete skeleton, but had been carefully gathered together and replaced. The bones were evidently those of one person, and no other female bones were found near them. There could be no sadder duty than the un- earthing of these precious relics : none could have been more reverently performed. We spoke in whispers, tears were in our voices. The spell of the place was upon us. The very workmen who dug, and sifted the earth, touched the fragments as delicately as if the spirit of the dead Queen had been watching them. It was Lord Mayor's Day, and an alderman had been elected out of a ward lying near the Tower : as we worked, deeply penetrated with the tragic sense, the trumpets and kettledrums of the procession, braying out some A TRAGEDY IN STONE trivial march, were passing outside. I can hear now, after all these years, the music of a gaudy pageant breaking in upon what must remain as a solemn memory to the dying day of every man present. But the contrast ! Outside the Tower a newly fledged Lord Mayor carried, with all the circumstance of civic pomp, to his turtle and his dignities ; inside the church a murdered Queen lying in the silence of an almost forgotten tomb. Sadly we carried the remains in a box under lock and key to the Governor's house, to be kept there until the chapel should be ready to receive them once more. Two feet lower down we came upon the cause of the sinking, the carelessly constructed grave of one Hannah Beresford, who was buried in 1750, and to make room for whom Queen Anne Boleyn's skele- ton had been removed, but happily not scattered. Lord Rochford, Anne Boleyn's brother, was buried immediately under the north wall of the chancel, and close to her. There was no structural necessity for removing the earth here, and indeed it would have imperilled the Blount monument so to do, so no disturbance took place. Northumber- land and Somerset the Protector were buried between the two Queens, Anne Boleyn and Katherine Howard. When on the iith of the month we continued the work, digging to the south of Anne Boleyn's grave we found the bones of a tall and stalwart man, corresponding to the description of the Duke of Northumberland, but it was dis- concerting to find the skull surely the head would be exposed on London Bridge as the " head 33 A TRAGEDY IN STONE of a traitor " : was not this a death-blow to all possibility of identification of all the remains ? If in one case the identification were disproved, a doubt at the very least must be cast on all. With faint hearts we turned up the records and found that after the execution of Northumberland the head as a matter of grace was not exposed, but was allowed to be buried with the body. In this way what seemed to raise a doubt became an indirect witness of accuracy. In every place indicated by tradition or record we found remains exactly tallying with the descriptions of the persons who had been buried. Somerset's bones were found displaced. In the spot reputed as the grave of the good old Countess of Salisbury, the bones of an aged woman, tall and delicate, with tapering hands and narrow feet ; near her the skeleton of a younger woman, without a doubt Lady Rochford. Of Katherine Howard not a trace, but she was so young that the greedy lime would make short work of eating her hardly developed bones. Under the altar it was recorded that Monmouth lay, not, as is usual, east and west, but north and south, and there sure enough was a dead man lying as in- dicated. With such a chain of confirming evidence could there be any doubt as to our having held in our hands the very bones of Anne Boleyn and the other victims of those unforgiving times ? The actual whereabouts of the graves of the saintly Lady Jane Grey and Lord Guildford Dudley was unrecorded : we found nothing to clear the mystery. On April 13, 1877, the work about the chancel 34 A TRAGEDY IN STONE having been completed and the ground and walls made secure, we re-interred the relics in seven solid leaden caskets, fastened down in oak boxes one inch thick. On each box was fixed an escutcheon of lead on which was engraved the name of the person whose remains it was supposed to contain, with the dates of death and re-burial. The caskets were placed in the positions in which the bones were found, and a plan on vellum recording the various spots was deposited among the records of the Tower. The Chaplain of St. Peter's, the Reverend E. Jordan Roberts, was present at the solemn ceremony. The remains were at last and for the first time decently com- mitted to the earth, it may be hoped never again to be moved, and the reproach of Lord Macaulay's stinging words was wiped out. The work at St. Peter's was now finished, but much remained to be done if the Tower was to be reinstated in its old dignity. Every available nook and corner seemed to have been filled with some degraded shanty put up without the slightest regard to the beauty and romantic interest of the place. Even the White Tower, which above all should have been held sacred, had been defaced by plaster- ing ugly nondescript annexes against it. On the south side was the hideous horse armoury ; on the east a calamitous set of sheds with grey doors marked go vernmen tally with the letters of the alphabet, occupied in some military way as store- houses. Happily heavy settlements and cracks sealed the fate of these abominations, and so GundulPs great tower was revealed in all its 35 A TRAGEDY IN STONE grandeur.* Then there were the so-called Irish barracks, a nest of filthy slums rilling the space between the inner and the outer fortifications. All these noisome outgrowths festering upon the walls were removed : they are now a thing of the past, and the Salt and Broad Arrow Towers stand out unveiled. So far as the picture was concerned and in- deed it is a picture the value of which no one with the faintest care for the glories of the past, or for the beauty of the present, could deny it was obviously on the south or river side of the fortress that the most difficult part of our undertaking was awaiting us. The outer fortifications had practically disappeared ; what remained of the Well and Cradle Towers was in a pitiable condition. The Well Tower, at the eastern angle of the outer wall, was surmounted by a crazy upper storey of brick, which on two sides rested on projecting wooden beams ; the Cradle Tower, so far as its upper portion was concerned, had been destroyed, the structure having been cut down flush with the wall and asphalted over. What remained of the head, legs, trunk, was used as a powder store. There could be no question as to the propriety of replacing the two Towers. The inner Ballium wall with the Lanthorn Tower, where Henry III. had his private apartments, had perished in the great fire of 1788. Their place had been filled by huge unsightly warehouses the despair of antiquaries and art lovers, to which an additional storey had been * It was during the sweeping away of these stores that remains of the Roman fortifications were discovered. 36 A TRAGEDY IN STONE added during the Crimean War. Cranes lifting bales of military stores of all incongruous kinds were rattling their chains from morning to night. If this indignity was to be perpetuated, hiding our noblest national monument from the river as if it had been indeed, as Gray called it, a thing of shame, we should in all truth deserve to be branded as a nation of shopkeepers. Happily this great Georgian monster had been condemned as unsafe, and it would cost more to restore it than to find elsewhere fitting shelter for blankets, boots, and out- of-date muskets. The building was doomed, and with ample plans before us, together with the guidance of the old foundations, we were able to replace it by a correct presentment of the inner Ballium, with the Lanthorn Tower ; thus showing to the Thames once more the great White Keep by the building of which eight centuries and more ago William made the good citizens of London quake with fear. Once more I must repeat that all the credit for the execution of this work is due to Sir John Taylor. His judicious treatment, and his know- ledge of the subject gained by careful study, were above praise. One discovery of his should be noteworthy. The White Tower had for centuries been pointed to as the one Norman Keep inside of which there was no well. Such an omission on Bishop Gundulf s part in a fortress which might have to stand a siege was incredible. Sir John Taylor in the course of certain investigations in the lower part of the Tower found the lost well, and saved the tearful Bishop's reputation. 37 A TRAGEDY IN STONE The armoury at the Tower is such a pleasure to so many people that a note on its history with which I have been furnished by the kindness of Mr. Guy Laking, the Keeper of the King's armour, and one of the first authorities upon the subject, cannot fail to be of interest. All those who care for such things must join with him in congratulating themselves upon the knowledge that the collection is now under the loving care of that great antiquary and expert Lord Dillon. The first important Royal armoury of which we have accurate record was brought together at the Palace of Greenwich, but the exact date of its formation is not known, but it was probably early in the reign of King Henry VIII. and perhaps at the time when he established the Almain armouries there in 1514. It appears that an armoury house was attached to the Palace and built in the year 1517 it must, however, for twenty-five years have only partially fulfilled its purpose, inasmuch as in an inventory taken of Greenwich Palace in 1543 only arms are mentioned ; though five years after that date a collection of arms, and much armour, is carefully described. This is in the inventory of the property of King Henry VIII. taken immediately after his death in 1547. The volume that records the armour and arms in the Palaces of Westminster and Greenwich, as also those at the Tower, is now preserved in the Society of Antiquaries of London : the remainder of the inventory, which deals with the household " stuffs " in the lesser palaces of King Henry VIII., is in the Harleian collection of MSS. 1419 A & B. It is this 1547 inventory that first records the contents of the armoury of the Tower of London. Despite the larger armoury at Greenwich, the Tower of London was apparently the show-place to which distinguished foreigners were taken, as there are numerous records of the visits of Ambassadors to the great store-house and fortress. In 1515 Pasqualigo, the Venetian, writes that he had seen the Tower, where, besides the lions and leopards, were shown the King's bronze artillery mounted on four hundred carriages, also bows and arrows and pikes for 40,000 Infantry. In 1535 Chapuis writes to Charles V., "The French Ambassador showed no pleasure at any attention that was shown him, even at the Tower of London and the Ordnance." In 1554 Soranzo, the Venetian, reports : " His Majesty has a great 38 A TRAGEDY IN STONE quantity of very fine artillery . . . especially at the Tower of London, where the ammunition of every sort is preserved." The combination of the Royal armoury of Greenwich with that of the Tower of London seems to have been between 1640 and 1644, as there are records of partial removals in the intervening years, the latest being dated 1644 ; although before that date, besides the artillery and weapons, particular suits of armour must have been exchanged, for in 1598 Hentzner mentions seeing certain suits at the Tower of London that in the 1547 inventory are recorded as being at Greenwich Palace. Much of the older armour in the Tower of London was, by command of Queen Elizabeth, in 1562 re-modelled, for we note the order "9 curates* of olde Almaigne rivets, 785 pairs of splynts, 482 sallets, 60 olde hedpec's, and 60 olde curats of dimilances " to be altered and transposed with plates for making 1500 jacks for use of the Navy. In 1635, Charles I. issued a commission to Mountjoy Earl of Newport to select armour for 10,000 men from the Tower, and to sell the remainder to persons in the country who had none. This, however, was not done. The civil wars did much to abstract armour and arms from the contents of the Tower armoury, both sides drawing from it on several occasions. The following account of a visit to the Tower in 1672 by Mons. Teravin de Rocheford was published in 1672 in Paris, and is printed in Grove's "Antiquarian Repertory," IV. 569. It is interesting as showing the state, not only of the Tower, but also of antiquarian knowledge in those days : "The great Arsenal consists of several great halls and magazines filled with arms of all sorts, sufficient to equip an army of a hundred thousand men. Our conductor showed us a great hall, hung with casques and cuirasses for arming both infantry and cavalry ; among others were some which had been worn by different Kings of England in their wars ; they were all gilded and engraved in the utmost perfection. " We saw the armour of William the Conqueror, with his great sword ; and the armour of his Jester, to whose casque was fixed horns ; he had, it is said, a handsome wife. Moreover, they showed us a cuirass made with cloves, another of mother-of-pearl ; these two were locked up in a separate closet. " We passed into another hall, where there were nothing but muskets, pistols, muiketoons, bandoliers, swords, pikes, and halberds, arranged in a very handsome order, so as to represent figures of many sorts. We saw William the Conqueror's musket, t which is of such a length and thickness that it is as much as a man can do to carry it on his shoulders. We descended from this room to another place * Curates cuirasses. Sallet = a sort of helmet. t (!) 39 A TRAGEDY IN STONE where there are the magazines of cannons, bullets, powder and match, and other machines of war, each in its particular place. " But after all, this is nothing when compared to that of Venice. It is true that I saw, in a cabinet in the King's Palace, many arms, which, for their beauty and exquisite workmanship, surpassed the rarest in the Arsenal of Venice. This was by the permission of Monsieur De la Mare, Keeper of the King's Armoury." In the eighteenth century, the Tower of London was considered to be the most important of London's show-places. After the Restoration, the armaments were furbished up, Grinling Gibbons himself handling, with dramatic effect, the then much depleted armoury ; indeed, even to-day his handiwork is manifest in some of the wooden horses on which certain of the figures are placed. Mistakes as absurd as those narrated by Mons. Teravin de Rocheford were made in the description of the armour and weapons. A coloured aquatint after Rowlandson published in 1781 shows a view of the so-called horse or Royal armoury of the Tower with a row of mounted figures, each suit accredited to some King, starting the series with that of William the Conqueror.* In the year 1825, Dr. Samuel Rush Meyrick received the Royal commands to re-arrange the horse and Spanish Armouries, as they were then called ; but instead of that learned antiquary being permitted to exercise his taste and knowledge to the extent he desired, he was hampered by the instructions of the War Office. He was allowed to arrange the armour upon principal equestrian figures in certain chronological order and to do away with the gross absurdity of ex- hibiting a suit of the reign of Elizabeth as one that belonged to William the Conqueror, but he was not permitted to entirely destroy the absurd " line of Kings," or when he did, was ordered to appropriate the mounted figure to some great personage. Dr. Meyrick was knighted for his gratuitous services. His work was conscientious, he gainsaying nearly all the eighteenth-century absurdities of attribution. After the lapse of a quarter of a century, Mr. J. R. Planche, known to the world by his famous works on costume,t started a crusade against the War Office Authorities for permitting the gross irregularities that permeated the management of the Tower armouries. It was at this period, from the end of the thirties to the sixties of the nineteenth century, that purchases were made by the authorities in charge. These, for the most part, were puerile forgeries, nearly all the work of one Grimshaw, a clever artificer, who supplied each of his products with a so-called accurate account of its discovery. The building which then * Compare the portraits of the Kings ot Scotland at Holyrood Palace. t Also as a herald, and author of the beautiful extravaganzas produced at the Lyceum, under the management of Charles Mathews and Madame Vestris. 4.0 A TRAGEDY IN STONE contained the armoury was simply an annexe,* through the roof and skylights of which Mr. Planche records that the rain penetrated, forming pools of water in the gangways and dripping upon the armour and weapons. Although Mr. Planch^ started his agitation for the im- provement of the Tower armoury in 1855, it was not until 1869 that he was allowed to do all that was possible, hemmed in as he was with " red tape " of the time. In the seventies the wooden annexe was done away with, and the armoury was reinstated in the White Tower. Little was done for its more studious arrangement ; indeed, it may be said the care of it, if possible, relaxed. Only twenty years ago the visitor was shown a suit of Eastern chain mail set upon an equestrian figure as that of a Norman Crusader, also other anachronisms almost as glaring. The late Mr. Barber, who had charge of the Armouries for many years, was conscientious, but unobserving. The armour under his care was vigorously scoured at given intervals by the troops of the garrison, by no means to its advantage. The advent of the Viscount Dillon to the Armouries as Curator has saved the National armoury from being what it was at one time, the laughing-stock of the Con- tinental cognoscenti. * Swept away as told above. ART AND THE EXACT SCIENCES LEONARDO DA VINCI ART AND THE EXACT SCIENCES. BEING A PRESIDENTIAL ADDRESS TO THE ROYAL PHOTOGRAPHIC SOCIETY, 1912 ^ m ^HE choice of a subject for his annual address | must always be a very difficult ordeal for M your President to face. It is, of course, desirable that the address should have some bearing, however remote, upon the aims of the Society. In my case, perhaps, for obvious reasons, the more re- mote the better. You may imagine, then, how puzzled I was to find for this evening's meeting some topic which might in any sense fulfil those con- ditions which I deem to be essential. I was in despair ; my inventive powers were utterly bank- rupt, and I was cudgelling my brains to solve the difficulty, when one morning the news arrived in London of the theft of the famous Monna Lisa from the Gallery of the Louvre. It was a great burglary, a very notable achieve- ment, which, in the world of art, will be of historic interest for all time. It must be a source of pride to its perpetrator, for it has lifted him at one stroke on to a pinnacle in the front rank of the members of his profession. Beside this heroic triumph the work of his predecessors in the art of commandeering sinks into mere dirty theft. Corn- pared with this great unknown expert, Autolycus himself, the patron of thieves, Colonel Blood, who stole the crown jewels, Jack Sheppard, Dick Turpin, Charles Peace, are degraded into vulgar bunglers. The whole thing was a triumph of inventive genius 45 LEONARDO DA VINCI carried out with the utmost distinction and delicacy. There was no shivering of glass, no violence, no alarm. Not a jemmy, not a centrebit was brought into play. The picture was there on the Sunday : on the Monday it had vanished that is all. The Fairies of King Oberon's Court could not have spirited it away more deftly, more noiselessly, or more discreetly. You will perhaps ask what this burglary has to do with us here this evening. The answer is, as a burglary, absolutely nothing. I could not, however, refrain in the first place from paying my tribute of admiration for an artist of superlative eminence in his craft, even though his peculiar line of art should differ widely from that of the Royal Photographic Society. Besides, I owe him a debt of gratitude, for his most audacious deed led me into a train of ideas which seemed to open up a subject which I thought we might perhaps consider this evening, not without profit. Do not be afraid, ladies and gentlemen, I do not propose to discuss the merits of that wonderful painting, one of the rare masterpieces which the world has received as the gift of genius. Far be it from me to add one more to the numberless dis- sertations and controversies upon that mysterious smile, into which the critics have read so many hidden secrets. We are all acquainted with the Moutons de Panurge. When a great aesthete like Theophile Gautier or a scholar like Waagen gives out an opinion, all the mutton-heads of the dilettante world must not only follow in the same path, but they must bleat in unison, or even try to outbleat the bell wether. It is enough to say that the picture, wherever it may be to-day, is one of the miracles of human effort, even though, as one irreverent iconoclast dared to hint, the lady should be a not very conspicuous beauty, and the famous smile only a simper. But our business is not with Monna Lisa or her charms. I want to talk to you about the painter and his many-sided genius. His life has always had a great fascination for me, and I venture to think that it should have a peculiar interest for those who practise your art, and more especially for those of you who make it their special business to penetrate the arcana of science upon which it is based. Photography is of course intimately bound up with optics, with chemistry, with mechanics : in- directly therefore with mathematics. Now these are some few at any rate of the many branches of knowledge with which Leonardo da Vinci was more especially concerned, and in their pursuit, together with that of physics, of anatomy and others, his life gave the lie to that famous saying of Schopenhauer's to the effect that genius and the head for mathematics are contradictions which cannot coexist in the same brain. Other great artists there have been whose work might also be cited in refutation of Schopenhauer's axiom. Albrecht Diirer was certainly a genius he wrote upon anatomy, upon geometry, and contended that the excellence of painting depends upon measure- ment, mathematical precision ; moreover, he pub- lished a treatise upon " Proportion," and, as engineer, an " Instruction on Fortification of 47 LEONARDO DA VINCI Towns, Castles and Places." Here then was a man endowed with the highest conception of art, who set such a value upon the teaching of exact- ness that is to say, mathematics that he con- stituted himself its Professor. Take again the case of Leonardo's rival, Michael Angelo, who as painter, sculptor, poet, stands conspicuous in the domain of imagination. Was he not a genius ? Probably no man ever equalled him in inventive art think only of the Night, Morning, Dawn, and Twilight on the Medici tombs yet, as an architect and as an engineer, exact sciences in which mathe- matics play so conspicuous a part, he was the wonder of his age. And Shakespeare ; an artist and genius if ever there was one do his works not teem with evidence of exact observation and measurement of nature ? Schopenhauer has been called the most read of philosophers because he is by far the most readable, and, as Chamberlain says in a great work to which I shall allude presently, one feels almost ashamed to do battle with this man of exuberant genius when in support of his theories he brings forward the argument that Alfieri, who, by the by, was but a mediocre poet and we all know what Horace said about mediocre poets never could master the fourth proposition of Euclid, and an unnamed French mathematician, after reading Racine's " Iphigenie," shrugged his shoulders and asked, " Qtfest-ce que cela prouve ? " If these are argu- ments one might sum up the matter with equal truth by saying, inasmuch as Coleridge at the age of forty, although he lived in the country, had not LEONARDO DA VINCI realised that tadpoles turn into frogs, therefore no poet is fitted for the observation of nature.* The mischief is, as Chamberlain goes on to say, that when a man of Schopenhauer's fame gives out such a dictum it obtains wide circulation, and it is but one step further for men to flatter themselves with the thought that because they do not understand mathematics, therefore they are men of genius an easy step and most comforting. But we must return to Leonardo, for it is to the less generally known qualities of his mighty brain that I am desirous of calling your attention. I have gone to several sources to try to draw some little store of knowledge for retail consumption to- night. But my most stimulating fountain must be Chamberlain's brilliant monograph on Kant, to my mind one of the first books of the age. It is written in German and has, so far as I know, not been translated, but to those of you to whom German is familiar I commend it as a veritable treasure-house of learning. The scheme of the work is original. Taking the great philosopher of Konigsberg as his subject, he brings him into con- trast with five of the great thinkers of the world, Goethe, Leonardo da Vinci, Descartes, Bruno, and Plato ; to each of these he gives a chapter, never losing sight of his principal subject by way of com- parison. The last and longest chapter is on Kant himself. Of these the chapter on Leonardo is perhaps my favourite. One rises from its perusal with a feeling of satisfied delight such as one rarely enjoys, and if I can impart to you some of the * See Chamberlain's " Immanuel Kant." 49 LEONARDO DA VINCI pleasure which I have derived from it my task will be accomplished. Nay more. If I succeed, you will carry away thoughts which will encourage you to look upon the more mechanical part of your work with all the more satisfaction, in that you will see that its pursuit does not necessarily divorce you from striving for those giddy heights of human endeavour which are the throne of genius. " There were giants in those days." When one considers the roll of honour of the sixteenth century one is almost staggered by the multitude of great names in every branch of life's energies. At that time monarchs not only reigned but ruled. Henry VIII., Ferdinand and Isabella, Charles V., Francis I., wielded powers far greater than those of a Kaiser or Tsar to-day. Indeed I once heard a great Russian statesman say, " Yes, the Tsar is powerful so long as he obeys the counsels of his ministers whenever a Tsar has been obstinate means have always been found to get rid of him." In the great century the position was very different : it was the minister, not the Sovereign, who dis- appeared. Among the statesmen, men like Sir Thomas More, Wolsey, Machiavelli, Leo X., and many others played a great part, shining con- spicuous. Christopher Columbus, Magellan, Amerigo Vespucci, were making their great dis- coveries, little short of miraculous when we think of the means at their disposal. Martin Luther, that spiritual volcano, Erasmus, the friend ot Popes, Emperors, and Kings, St. Ignatius Loyola, the founder of the Jesuits, and his fellow-worker, St. Francis Xavier, greatest of all missionaries, Colet, 50 LEONARDO DA VINCI dean of St. Paul's, were among the Churchmen. In poetry and literature we find Shakespeare, Rabelais, Ariosto, Spenser, Tasso, of whom Balzac said that Virgil was the cause of Tasso not being the first poet, Tasso the cause of Virgil not being the only one. I do but cite a few of the most famous names. But it is in art, perhaps, that the Cinque Cento produced the most egregious phenomena. In Europe we had a Raphael, a Michael Angelo, a Holbein, a Titian, besides many stars of lesser magnitude. But the superlative excellence of art was not confined even to one continent. India in the reign of the Mogul Akhbar was producing her finest wares, Persia luminous tiles of transcendent beauty ; the smiths of Damascus were forging swords which to-day are priceless. In China, under the Ming dynasty, porcelain had reached its zenith, and never after the death of the last of the Lang family, about the year 1610, were the Chinese, clever imitators though they may be, able to reproduce the glorious colours and deep glaze which during the sixteenth century came from the furnaces of that race of potters. Even more startling is it to find that in far-away Kyoto, a then almost unsuspected city, the first artist of the Myochin family was turning out his masterpieces of metal work at the very moment when Benvenuto Cellini was casting and hammering and chiselling in the service of Popes and .potentates in Rome and Florence. Although Leonardo's birth took place in the previous century it was in this marvellously art- favoured epoch that his greatest fame was reached, LEONARDO DA VINCI and it was among the inspired men whom I have cited that he won for himself a pre-eminence which stamped him as the greatest of them all. Had his paintings, of which there are, alas ! only too few, been his only claim to fame, they would have sufficed. But he was far more than a painter, far more than an architect or engineer ; he was a Seer, a Prophet gifted with an almost supernatural power of unveiling things that are hidden to the duller vision of the ordinary man. I shall hope to show you presently how he was able with that prophetic eye of his to pierce mysteries, the secrets of which were not revealed for many a long year after his death. For that mighty brain, with its cult for the exact sciences, nothing was too abstruse, nothing too difficult. His whole life was one long contradiction of Schopenhauer's sweeping, and none too wise, saying. For the exact sciences he entertained a love which was almost a religion. But what philosopher, what Schopenhauer, was ever gifted with so glorious a power of original thought ? Mathematician as he was, the wings of the boldest fancy carried him soaring through a lofty empyrean of knowledge in wild flights such as no human being had ever attempted. Through the fairest valley of Tuscany, in the midst of scenery dear to the Italian poets, flows the golden stream of the Arno, bordered by cypresses and stone pines. Its homesteads lie among teem- ing groves of olive trees, fig gardens, and vineyards for the nymph of the foaming mountain torrent which bursts out of the Monte Falterona in the Etruscan Apennines has with the touch of her LEONARDO DA VINCI magic waters conjured up the wealth of a vast and luxuriant garden. Near Empoli, between Florence and Pisa, stood the old castle of Vinci, and here it was, among the most poetical surroundings, that in the year 1452 Leonardo was born, the natural son of Ser Piero Antonio da Vinci. His father was a lawyer, apparently of good repute, a person more- over of some consideration, for he was notary to the Signoria of Florence, filling therefore an im- portant public office. His mother was a peasant girl who afterwards married Accatabriga di Piero del Vacca di Vinci, a man of her own class in the village. Ser Piero soon after Leonardo's birth married a lady of gentle blood, but he acknowledged and did his duty by the boy, taking him to live with him, and giving him the best education. With the father, therefore, his connection until his twenty-third year was unbroken ; but I sometimes wonder whether the mother in her day-dreams amidst the duties of her humble farm life, harvest- ing the olives, treading out the grapes in the wine vat, cooking the chestnuts and polenta for the men's supper, or mending her husband's clothes by the blazing logs in winter, ever realised the greatness of the eagle that had soared from her nest. Men say that genius is the gift of the mother. The evidence of one of the most illustrious men of our time, one whom some of you may have known, is worth quoting : " Physically and mentally," said Huxley, " I am the son of my mother so com- pletely, even down to peculiar movements of the hands, that I can hardly find a trace of my father in myself." Had Caterina, too, been touched by 53 LEONARDO DA VINCI the finger-tips of the gods ? Had they breathed upon her ever so slight a whiff of that divine afflatus which was meted out in such full measure to the nursling at her breast ? The poor loving country lass must surely have a claim to some of the world-fame of her mighty son. It could not have been all inherited from the man of crackling parchment and crabbed law books. Nay more, Uzielli, who in 1869 traced the da Vinci family history, finds that out of Leonardo's five immediate forbears no fewer than four were notaries : a veri- table legal dynasty. This is the despair of his biographers, who would fain have found some trace of artistic or scientific distinction among his father's progenitors, something to which they might cling in support of atavism. They forget that he had a mother. Ser Piero was married four times the two first wives bore him no child, the third and fourth gave him nine sons and two daughters. Out of the eleven children and their descendants, who still exist, not one ever made any stir in the world. It was the love-child of the humble contadina that by his own glory saved his father's name from being forgotten and unknown. Leonardo must have been thinking of his own mother when he pointed out that you may find fairer forms and greater beauty under the ragged clothes of the hill maidens than among the grand ladies of the Court tricked out in their finery. In spite of his marriage Ser Piero kept the boy in his own house. Quite apart from his genius, of t which he gave early signs, he was physically something of which a father might well be proud. 54 LEONARDO DA VINCI All his contemporaries speak of his great beauty and muscular strength. He was Apollo and Hercules welded into one. He could stop a run- away horse or bend a horse-shoe with his two hands as if it were of lead, and Vasari adds that " the splendour of his appearance, which was most beautiful, was such that it would bring back serenity to every troubled soul." As a mere boy he devoted himself passionately to the fine arts, to mathematics and mechanics. Music and poetry were a delight to him, and he sang divinely, accompanying him- self on his lute, often improvising both words and music. Handsome, gay, witty, charming, full of accomplishments, he was the joy of all who came into contact with him. Princes by birth and princes by talent all came under the spell of the Prince Charming and so he remained to the end. Even though his father should have been as commonplace and matter-of-fact as seems to be generally supposed, he had appreciation enough to see that his boy's talent was of no mean order. He took his drawings to Andrea del Verrocchio, " gold- smith, master of perspective, sculptor, inlayer of woods, painter and musician," the man who wrought the Colleone at Venice, the finest equestrian statue in existence. Verrocchio was amazed at the precocious genius which these draw- ings revealed, and at once took the youth into his studio, where he had as fellow-pupils at least two men of fame, Pietro Vannucci, known as II Peru- gino, and Lorenzo di Credi. While working with Verrocchio, as the story repeated by Vasari goes, Leonardo painted the angel in the picture of the 55 LEONARDO DA VINCI baptism of Christ which his master executed for the monks of Vallombrosa, and Verrocchio, put to shame by the fact that the angel, " the work of a mere child," altogether eclipsed his own perform- ance, gave up painting for ever and confined himself to sculpture. It is somewhat remarkable, by the way, that though Leonardo helped Ver- rocchio with the Colleone, and though he spent sixteen years upon the model of the equestrian monument in honour of Francesco Sforza, with the praise of which all Italy rang, but which for want of funds was never cast in bronze and was destroyed in the invasion of Milan by the French, there is not extant any work of sculpture which can with certainty be attributed to him. The bust of Beatrice d'Este and the bas-relief of Scipio Africanus in the Louvre, the Discord at South Kensington, and one or two others, are all works of which the authenticity has been disputed. Have we not heard of a certain wax bust the stuffing of which was found to be rags of early Victorian manufacture ? Richter considers it probable that Leonardo entered Verrocchio's school in the year 1470. In the June of 1472 we find an entry of his name in the account books of the Guild ol Painters as an independent artist. The fees, by the by, with true artistic carelessness, appear never to have been paid. Here as artist we must leave Leonardo. Volumes have been written upon his works ; more volumes will probably yet be written. This evening I wish to confine myself to the other side of his character. It is as the exponent of the exact sciences and as a 56 LEONARDO DA VINCI genius of almost universal powers that I wish to bring him before you. Of the first forty years of his life very little accurate knowledge is available indeed, not much more than I have sketched in above. He was thirty-two years of age when he left Florence for Milan. There is some reason to suppose that in the meantime he had spent at least three years in Eastern travel, during which he visited Egypt, Constantinople, and Armenia. Richter ingeniously brings forward in support of this story the numerous allusions to the East which are to be found in his writings. In a manuscript in the British Museum there is an allusion to the eruptions of Etna and Stromboli ; in the library at Windsor Castle a description of the Island of Cyprus : one of the MSS. in the Institut de France has the design of a bridge to unite Pera with Constantinople ; the Codex Atlanticus at Milan bears a still more convincing testimony in the shape of a draft letter to the Diodario (the Deratdar) of Syria, in which he recites the work undertaken for the Sultan of Babylon, the name often given in the Middle Ages to Cairo. " Here am I," writes Leonardo, " in Armenia to carry out with devotion the work with which you entrusted me when you sent me hither. To begin with the districts which appear to be most suitable I went to the town ot Chalendra. It is a town close to our frontier at the foot of the Taurus range," &c. &c. Again, " I do not deserve the charge of idleness, O Diodario, as your reproaches seem to suggest ; but rather as your kindness which is boundless has created the office entrusted to me, I feel bound to make 57 LEONARDO DA VINCI experiments and to make researches into the reason of such considerable and stupendous effects " the allusion being to the damage done by a hideous earthquake, the " grande e stupendo effecto " of which the Sultan had himself witnessed on a journey in 1477. In the face of this evidence one would think that there could be little doubt that Leonardo did actually undertake this journey, and that he was employed as an engineer by the Sultan Kait Bai. It is but fair to say, however, that writers so eminent as Muntz, Seailles, and Govio, hinting that the letters were part of a romance which Leonardo projected but never finished, receive the story only with the greatest reservation ; for myself I have thought it to be at least of sufficient interest to be mentioned this evening, especially as it concerns the scientific and mechanical side of our hero's capabilities the object being nothing less than the reconstruction of a city which had been flooded by the collapse of a mountain damming up a river. Florence at the end of the fifteenth century was a fitting cradle for the development of Leonardo's special scientific genius. Art, industry, commerce, and finance flourished amazingly, and the acquisi- tion by purchase of Leghorn from the Genoese gave the Florentine merchants and manufacturers facilities for the inlet of raw materials and the export of their finished wares. Cloth factories, the weaving of gold and silver brocade, dyes the secrets of which were a jealously guarded state monopoly, were among the chief industrial products. Machinery at work everywhere, a fever of com- mercial activity what a stimulus must these 58 LEONARDO DA VINCI surroundings have been to such a mind as Leonardo's ! It was, as Hermann Grothe says, " the age of Pericles returned once more." The rattle and din of machinery were dear to Leonardo's heart mechanics were to him, as he said himself, " the Paradise of sciences by the aid of which we reach the fruit of mathematics," and so we find him scheming, planning, inventing. At one moment he is designing a lighthouse ; at another he is deeply absorbed in plans for making the Arno navigable, for converting it into a sort of Manchester Ship Canal. Hydrostatics, water, the waves of the sea, offer problems which enchant him. He perceives the power of steam, and tries to apply it as a motive power to boats and pumps : he constructs a steam gun, the invention of which, for some un- known and perfectly mythical reason, he attributes to Archimedes : he turns a roasting spit by the hot air of the chimney : he invents an instrument for planing and another for boring wooden pipes : his saw is still used at the quarries of Carrara : he makes cranes, levers, a weaving machine, a rain gauge : he discovers the topsyturvydom of the camera obscura : his studies in artillery, including a movable breech, are marvellous : optics engross him. He does not invent the telescope, but he sees the moon through a lens. Nothing is too great, nothing too small to occupy his attention. But perhaps his most absorbing experiments were those upon aviation, and in view of the progress which within the last few years has been made in that direction they are of supreme interest to-day. For thirty years, at Milan first and afterwards at E 59 LEONARDO DA VINCI Rome, he laboured at making a flying machine. He invented a parachute, and although the Montgolfier balloon was not invented until the end of the eigh- teenth century he had discovered the principle for Vasari tells us that he was in the habit of making figures of animals in a thin waxen film which, when he had inflated them with hot air, floated about aloft to the great amusement of his friends. But Leonardo was much too keen-sighted not to per- ceive that it was not by using a machine lighter than itself, not by balloons or parachutes, that the air was to be conquered. If he did not succeed in his great endeavour, he at any rate perceived that if man is to fly it must be by some means similar to those with which the bird is endowed. The flight of the eagle poised in the air, the arrange- ment of the joints and feathers in the wing, all these were carefully observed and imitated, all that was wanting was the motor : he had only the muscles of the flying man himself upon which to depend, and so he failed. But with what a frenzy of excited interest he would have watched the evo- lutions of an aeroplane of to-day ! The goal of his dreams, of the long endeavours of thirty years, reached at last ! Man the Master of the Air ! It would not be possible, within the limits of the time that I must give myself, to go more deeply into Leonardo's mechanical work. He in- vented many things and made many improvements in the work of others. Whatever he did was dis- tinguished by delicacy and lightness far ahead of the clumsy work of some of those who followed him. 60 LEONARDO DA VINCI Leonardo was thirty years of age when, in 1483, Lorenzo the Magnificent sent him to Milan with a present of a lute for Lodovico Sforza il Moro, who was at that time at the height of his power. There are several versions of the story of his mission. We need not concern ourselves with them. It is enough for us that he went, and that he afterwards offered his services to the Duke in a letter which is of the greatest interest, as giving his own estimate of his capabilities. Here is Richter's version : " Having, most illustrious Lord, seen and duly considered the experiments of all those who repute themselves masters in the art of inventing in- struments of war, and having found that their instruments differ in no way from such as are in common use, I will endeavour, without wishing to injure any one else, to make known to Your Ex- cellency certain secrets of my own as briefly enumerated here below. " i. I have a way of constructing very light bridges, most easy to carry, by which the enemy may be pursued and put to flight. Others also of a stronger kind, that resist fire or assault, and are easy to place and to remove. I know ways also for burning and destroying those of the enemy. " 2. In case of investing a place I know how to remove the water from ditches and to make various scaling ladders, and other such instruments. " 3. Item : If, on account of the height or strength of a position, the place cannot be bom- barded, I have a way for ruining every fortress which is not on stone foundations. 61 LEONARDO DA VINCI " 4. I can also make a kind of cannon, easy and convenient to transport, that will discharge inflam- mable matters, causing great injury to the enemy, and also great terror from the smoke. " 5. Item : By means of narrow and winding underground passages made without noise, I can contrive a way for passing under ditches or any stream. " 6. Item : I can construct covered carts, secure and indestructible, bearing artillery, which, entering among the enemy, will break the strongest body of men, and which the infantry can follow without any impediment. " 7. I can construct cannon, mortars, and fire engines of beautiful and useful shape, and different from those in common use. " 8. Where the use of cannon is impracticable, I can replace them by catapults, mangonels, and engines for discharging missiles of admirable efficacy, and hitherto unknown in short, according as the case may be, I can contrive endless means of offence. " 9. And, if the fight should be at sea, I have numerous engines of the utmost activity both for attack and defence, vessels that will resist the heaviest fire : also powders or vapours. " 10. In time of peace, I believe I can equal any one in architecture, and in constructing build- ings, public or private, and in conducting water from one place to another. " Then I can execute sculpture, whether in marble, bronze, or terra-cotta, also in painting I can do as much as any other, be he who he may. 62 LEONARDO DA VINCI " Further, I would engage to execute the bronze horse in lasting memory of your father and of the illustrious House of Sforza, and ir any of the above-mentioned things should appear impossible and impracticable to you, I offer to make trial of them in your park, or in any other place that may please Your Excellency, to whom I commend myself in utmost humility." The letter, as one critic, Mrs. Heaton, shrewdly observed, could only have been written by a genius or by a fool. The writer was certainly no fool. Those were stormy times, and the promise of all these death-dealing instruments probably carried great weight with Lodovico, who had, moreover, already been captivated by Leonardo's musical powers and by the charm of his conversation. His wit was proverbial. May I give you an instance of it related by Geraldi ? Leonardo was a very dilatory worker ; for whole days he would remain in contemplation of his picture of the Last Supper, doing nothing. The Prior of the Convent of the Madonna delle Grazic was at last so angry that he complained officially to Duke Lodovico of the painter's slowness in finishing his great fresco. The head of Judas alone remained to be painted, and so it had been for more than a year, during which time he had not once put foot inside the convent. Lodovico sent for Leonardo, who answered, " The fathers know nothing about painting. It is true that I have not been inside their convent for a long time, but they are wrong when they say that I do not spend at least two hours every day oa the work." " How can 63 LEONARDO DA VINCI that be," said the Duke, " if you do not go there ? " " Sir," replied Leonardo, " Your Excellency knows that there only remains to be painted the head of Judas, the greatest villain that ever lived : it is meet that his wickedness should be reflected in his countenance. For a year and more I have been going night and morning to the Barghetto, where, as Your Excellency knows, all the rascaldom in your capital congregates. I have not found a single face suitable. I can only suggest that the Prior should himself give me a sitting : he is admirably adapted for the part. My only hesitation has been owing to unwillingness to turn him into ridicule in his own convent." Leonardo, having entered the service of the Duke, remained at Milan for nearly twenty years, which probably represented the period of his greatest activity, even though they could not be reckoned as the most fruitful in artistic work. His duties appear to have been chiefly concerned with en- gineering and with the more frivolous business of devising entertainments and pageants for the court, whose darling he was. In Art, " The Last Supper " and the great statue of Francesco Sforza were his principal achievements. Alas ! centuries of damp and monkish neglect have all but obliterated the first ; and the second, as I said above, died still-born in war. Marvellous indeed were the speculations of this god-like man in every branch of natural science speculations upon which he brought to bear the exactitude of the study of mathematics, which were to him a religion Non mi /egga chi non e matematico^ LEONARDO DA VINCI he exclaims, " Let no man read me who is not a mathematician," and again, " No human investiga- tion can be called true science unless it passes the test of mathematical demonstration," and " The man who despises mathematics nourishes himself with confusion." This, with the addition of ex- perience, which he called " the common mother of all sciences and art," was the law which he laid down for himself in the conduct of his thoughts and experiments. But in order to appraise at their true value the scientific intuitions of this inspired brain, it is necessary that we should bear in mind the state of knowledge, and the conception of the universe which was the doctrine nay more, the religious belief of those days. The earth was a flat surface, ocean-girt, traversed by rivers and divided by seas, lakes, and mountains, created by Jehovah in seven days. Above the earth, separated from it by the air which we breathe, was Heaven, the abode of God Himself, where, surrounded by worshipping angels and saints, He was waiting to welcome the souls of the righteous into eternal happiness. Below the earth were Hell and the Devil. You may perhaps remember how nearly the great voyage of Christopher Columbus came to an end, because his crew, being mutinous and at the same time deeply religious, were convinced that they were approaching the rim of the earth, and that one fine day they would topple over and be hurled, ship and all, into the flames of Hell. Of a solar system, still less of many solar systems, there was not an inkling, for the discoveries of Coper- nicus were not made known to the world until a 6 5 LEONARDO DA VINCI quarter of a century after Leonardo's death ; and then what a stir the De revoluttonibus orbium raised among the orthodox when it was sent out from the death-bed of its paralysed author ! Martin Luther with his sledge-hammer oratory pounded the heretic who dared to assert a theory contra- dicting divine revelation. Melanchthon, the most learned of Luther's helpers, called upon the lay lords of the earth to suppress it. The Roman Catholic Church was less intolerant ; but it is re- markable that though Copernicus dedicated his book to Pope Paul III., it was not until the year 1822 that books denying the revealed truth that the sun goes round the earth were removed from the Index Expurgatorius. Leonardo's writings were copious and all-em- bracing ; unfortunately, though he appears to have meditated their arrangement and " publication in substantive book form," this was never done, and they remained as aphorisms disjointed thoughts of the deepest significance scribbled, as they occurred to him, in note-books, one of which he always carried with him, or jotted down hurriedly on the margin or on the back of some drawing upon which he was engaged, staying his pencil in mid- course to record a fleeting thought. On the first sketch for the " Last Supper " is a geometrical problem with its solution in cypher ; on another sheet of paper, with studies for the heads of the Apostles and our Lord, is the plan of a machine with explanatory remarks (Chamberlain). These note-books and sketches are scattered among the museums of Europe, the chief part in England, and of 66 LEONARDO DA VINCI these a vast collection is in Windsor Castle. Some of the notes have not yet, so it is said, been deciphered. And indeed the deciphering is no small labour ; for Leonardo, who, by the by, was left-handed, for some secret reason wrote in the Eastern fashion from right to left, so that the quickest way of reading him is to hold the sheet up to a looking-glass. Possibly he adopted this method to puzzle would-be pirates ; possibly, as it seems to me, since his views were anything but orthodox, to avoid falling into the clutches of the Inquisition. It is true that the Holy Office was by no means so bloodthirsty in Italy as it was in the Spanish Peninsula ; still, it was a terror. Pregnant indeed were some of the thoughts thus jotted down. // sole non si muove : the sun does not move. Here in seven syllables is the kernel of the Copernican system. Again " The earth is not in the centre of the sun's orbit nor in the centre of the world." He goes a step further " There are many stars which are many times greater than the star which is our earth." He sees that the moon has no light of its own, but only light reflected from the sun, and that our earth seen from the moon must have the same appear- ance that the moon has to us. He argues that the earth must be almost spherical and revolves upon its axis. So much has been written about this wonderful Leonardo, notably by Seailles, Muntz, Richter, Arsene Houssaye, Goethe, and above all by Ravaisson Mollien, who with infinite pains has deciphered and translated his manuscripts in the LEONARDO DA VINCI library of the Institut of Paris, that it needs no more than mere scissors-and-paste work to show you how they forestalled the discoveries of follow- ing centuries. His eyt^Jincstra delT anima the window or the soul as he called it, was ever at work. " Seeing," he said, " is the noblest of the senses " ; and he saw. He more than guessed at the secrets of geology. He recognised the power of water carving out mountains and depressing valleys. He reasoned out the stratification of rocks, and traced the evidence of prehistoric seas in the marine shells and deposits among the hills. The fossil plants teach him new and unsuspected lessons in the world's history. Would it be too much to call him the Father of Geology ? The botanists of the latter half of the seventeenth century have been accredited with the discovery of the laws of phyllotaxy, that is, the arrangement of the leaves on their stem. Leonardo had de- scribed it and carefully drawn it a hundred and fifty years earlier. Hear what he says : " Nature has disposed the leaves of the last twigs of many plants in such a fashion that the sixth leaf is always over the first. This is doubly to the ad- vantage of the plant. First, inasmuch as the new twig or fruit is borne in the following year at the juncture of the leaf, the water which falls upon the twig can travel down and feed the bud. Secondly, when the new growth takes place in the following year the new twigs do not cover one another, for the five twigs are borne turned in five different directions, the sixth being borne 68 LEONARDO DA VINCI above the first at a considerable distance." In the same way he saw that the concentric rings on the cut stem of a tree showed its age a discovery not made public till the seventeenth century. " Anatomy," says M. Seailles, " occupied him during his whole life." Showing thereby what he had endured himself, he warned the student that he must face much that is disgusting and terrible. It was by autopsy and dissection that he penetrated many of the secrets of life and death. His greatest discovery was the circulation of the blood, which he noticed just a century before William Harvey delivered his famous lectures. His anatomical studies, illustrated by careful drawings, show with what pains he analysed that most complex of all machines, the human body the bones, the muscles and tendons, the veins, arteries, and viscera. The eye, finestra delT anima^ was always searching, probing, discovering. To comparative anatomy he gives special attention he compares man with the ape ; the lion, the tiger, and other felines with the cat ; the bull with the buffalo, the stag, the buck, and the roe ; and the horse, his special favourite among beasts, with the ass and the mule. He shows where the distinctions between different genera and species lie ; he traces the points of similarity between the arm of the man and the wing of the bird. He shows how all the animals of the earth are constructed upon a homogeneous plan. Muscles, bones, and nerves are common to all, varying only in length and size. In an age when black magic was an article of faith, and every pope and king had his adept in LEONARDO DA VINCI league with the Prince of Darkness hunting for the philosopher's stone, it would be strange indeed if Leonardo, with his encyclopaedic curiosity, had not investigated the claims and the powers of the sorcerers and alchemists. His mathematical mind quickly disposed of them. Palmistry and the line of life he dismissed in these words, " If you take the markings of the hand to predict the future, you will find that great armies and numerous equipages have succumbed at the same hour, and that never- theless the markings were absolutely different in each individual." Further, " Of all human opinions we must regard as the most foolish the belief in necromancy, the sister of alchemy.*' It was pre- tended indeed by some persons that Leonardo had himself given encouragement to these impostures. If he did have aught to do with them, it was obviously only for the purpose of exposing their falsehood. Upon the last years of Leonardo's life I will not dwell. Evil days had fallen upon Milan, where he would fain have remained to cast the mighty statue of Francesco Sforza, and gather together in one vast all-embracing work the voluminous notes which he had been collecting during so many years. If that could have been done, the world's knowledge would have been advanced by an immeasurable time, for it was not till centuries had elapsed that the scattered wisdom of the man was deciphered, but, alas ! never put together. The fates had willed it otherwise. Many a man earned fame, and justly earned it, by the discovery of facts new to science, but which had been known to, or suspected by, 70 LEONARDO DA VINCI Leonardo, buried rather than recorded in the secrecy of his cryptic and disjointed writings. He became a wanderer. He travelled in Central Italy and returned to Florence, and became attached to Louis XII. He went to Rome and worked for the great Medici Pope Leo XII., who treated him somewhat shabbily, but left that city to join Francis I., at Pavia, and after once more visiting Milan, the scene of so many triumphs, so many memories, and so much disappointment, he followed the king to France in 1516. Francis gave him as his home the Chateau de Cloux, near Amboise, where the court often went. Here he lived peace- fully for three years, but the end was not happy. Prematurely aged, for he was only sixty-four years old, crippled by paralysis, worn out by the vast energies of his genius, the great handsome man, the profound thinker, the prophet of science, the incomparable artist, commending his soul to the Virgin Mary, to St. Michael and all the saints, passed into eternity, and a great light was extinguished. Two men wept : his friend, pupil, and executor, Melzo, and the great king who loved him dearly. I am afraid that I have sorely tried your patience, and yet I must ask you to bear with me for a few more minutes, in order that I may show you why I have chosen this subject for our consideration this evening, and what are the lessons and the en- couragement which, unless I am mistaken, the photographer may derive from it. Photography has been reproached with being a mere mechanical process. In a sense that is true ; and yet, in spite of that, it is capable of being 7 1 LEONARDO DA VINCI inspired with such poetic grace and beauty that it may well claim the right of entrance into the holy of holies of Art's temple. Only think how Leonardo, the man to whom the mechanics were " a Paradise," would have revelled in this " mere mechanical process " ! What imagination, what divine poetry he would have pressed into its service ! Yet, grandly as he would have turned it into account artistically, we may be sure that it is the mechanical perfection, the mathematical sincerity of your art, its high value as the helpmeet of science, that would have appealed to him. Pene- trated as he was by the artistic aura, it would have been impossible for him to have approved those recent methods by which the photographer tries to trespass upon the province of the painter, and in which he so signally fails. He would most surely have recognised and welcomed those powers which are the monopoly of the photographer such, for instance, as the reproduction of the fleeting and evanescent forms of clouds, the structure, shape, and movements of waves, upon which he thought and wrote so much, the motion of trees or of the corn- fields under the action of wind (another subject which occupied his busy pen). He would have acknowledged the assistance which those powers may render to the painter, but he would have shuddered at and sternly rebuked the degradation of an art, the essence of which is truth, by plagiarisms which throw into the shade the vilest falsehoods of the incompetent limner. Above all, he would have driven home the value of perspective. That was to him, as to Albrecht Diirer, the first and 72 LEONARDO DA VINCI foremost essential in all art. " Perspective," he said, " is the bridle and rudder of painting." Here is a passage which might have been specially written for the benefit of the photographer : " Among all studies, natural causes and reasons, light is that which the most delights those who contemplate it. Among the grand effects of mathematics it is the certainty of demonstration which above all other things elevates the mind of the investigator ; for this reason perspective is to be placed above all human studies and disciplines, because in it the line of light is combined with mathematical demonstra- tion " and he ends with a characteristic prayer : " May the Lord who is the light of all things, deign to give me light that I may treat of light." What would he have said to the wilful violations of the laws of perspective which we see in so many photographic exhibitions ? Ships cut off at mid- mast in order that a great ladder of distorted ripples, all out of focus, may drag out a meaningless and hideous reflection a poor trick indeed, torturing the old Greek poet's lovely image of " the countless smiles of the sea " into the vulgar grins of a circus clown. In another frame we see a delightful old ruin castle or monastery perched up in minia- ture at the top corner of a picture, the bulk of which is eaten up by a Brobdingnagian expanse of gravel, or by a field of grasses which look like sugar canes and castor-oil plants. In portraiture we are shown mere faces, flat and without any sense of the subtle mysteries of aerial perspective fafts all blotches and scars that might well serve as cnfrts to illustrate some medical book on skin 73 LEONARDO DA VINCI diseases. And yet, in this very room, on these walls, what delicate, refined work we have seen in landscape, seascape, and portraiture ; work in which the secrets of nature have been recorded with loving truth and enthusiasm genuine triumphs of skill and of the appreciation of the beautiful showing what are your capabilities. Can we doubt for one moment to which of these methods a Leonardo would have given his blessing ? I cannot help thinking that his advice to the photographer would have been " the cobbler to his last." The photographer has at his command powers which are of the highest value and which no painter possesses. See from one last quotation how Leonardo would have appreciated instantaneous photography. " If a battle is to be represented," he says, " the poet would have worn out his pen, dried up his tongue with thirst, exhausted his body with want of sleep and hunger, before having described what the painter with his science shows in an instant." How much more rapid and accurate for such work is the photographer ! He can teach the painter much : many truths the depths of which few artists have sounded. From the painter he has little to learn beyond the elements of composition. His school is elsewhere. It is to Nature herself that he should go and not to any copy, however skilful. That indeed was Leonardo's advice to all artists. A painter, he says, will produce but poor stuff if he takes as his guide the paintings of others ; and that came with no small force from the master who so rendered the foreground of his great picture, La Vierge aux 74 LEONARDO DA VINCI rockers^ that, as Richter puts it, " each flower is given with such exquisite truth that to classify it botanically is an easy matter." The true artist, he again says, is the son of nature the copyist only her grandson " nipote." This is a subject which might be drawn out at great length, but I hope that I have said enough to show you that a study of the life and achievements of this great artistic genius, in some respects indeed the greatest that ever lived, may well serve as an encouragement to you to follow his teaching, by practising in your art all that is most truthful, most beautiful, and most satisfying to the finestra deir anima^ to the eye that sees as Leonardo's saw. Above all his example and doctrine bring ample comfort to the photographer, who never need blush when it is cast in his teeth that he is dealing only with mechanics. " With mechanics," he may reply, " yes ! with the Paradise of Leonardo da Vinci." 75 APOLOGIA PRO HORTO MEO APOLOGIA PRO HORTO MEO * THERE are some folk who object to the planting of exotic trees and shrubs in English pleasure grounds. They say that such manifestly alien plants give a foreign and un- homelike appearance to the garden, that they are out of place, fantastic, and what not beside ! Are not the Briar Rose, the Holly, the Gorse, the Hazel, and many others, far more beautiful than all the plants which have been brought from abroad with infinite pains and at great cost ? No one denies the loveli- ness of the Briar Rose and its companions, but even their charms can be shown to greater advantage when set out with other and still morebrilliant plants, which, though not natives, are at any rate willing refugees here. Rubies and diamonds are not found in England, yet our English women are no less fair for wearing them, and would be sorely troubled if sumptuary laws were to be passed re- stricting them to the use of British pearls. Our gardens, like our dames, challenge the world for natural beauty. Their ornaments, from time im- memorial, they have drawn from over the seas. It is right that we should take everything that is beautiful wherever we may find it ; it is certain that we shall hit upon some spot in which it will blend harmoniously with what already exists ; and it is in the discovery of that fitting place that we shall show our skill and our knowledge. But * This chapter on landscape gardening comes from my " Bamboo Garden," published in l 896, and now out of print. As the book will never be reprinted, I thought I might insert it here. 79 APOLOGIA PRO HORTO MEO there has been so much heretical doctrine preached upon this subject, that I would fain have my say in defence of my Bamboos and other fair plants which have been so unjustly vilipended, taking for my text Bacon's famous saying, " God Almighty first planted a garden, and indeed it is the purest of human pleasures." Many years ago I was travelling with a com- panion in Asia Minor, and we passed some days in the Troad. It was before the days of Schliemann's great discoveries, and we, full of young ambition and presumption, thought that perhaps for us the centuries might have guarded the secrets of King Priam's treasure-house, and that to our lot might fall the glory of fixing the site of the buried city. In vain we sought, thermometer in hand, for the warm springs at which the deep-bosomed Trojan dames were wont to wash peplum and chiton ; in vain we tried to fix the positions of the great gates, and dug in every mound for relics of the mighty dead. We were not possessed of the talisman which should charm the guardian Afrits into revelation of the mysteries committed to their charge, and we went away no wiser than we came. Had we but been armed with King Solomon's seal we should have been famous, and Schliemann an unknown nonentity. Fate willed that it should be the other way. If, however, we did not find the city of Troy, we nevertheless were not without our Homeric experiences. Well do I remember how, on one occa- sion, the god descended into the River Scamander, and there was a mighty flood, and we, wet to the 80 APOLOGIA PRO HORTO MEO bone under torrents of rain, were separated from our baggage for two days, and had to take refuge in a Turkish farmhouse, where during the hideous nights we fed the hungry myriads that formed the subject of the famous riddle that drove Homer to despair and death. Happily, however, memory makes light of mischances, and it is the loveliness and delight of the days that followed which remain crystallised in my mind days when we wandered through the Ida Range amid scenes so entrancing that one understood how the burning imagination of the Old Greek poets peopled them with gods and goddesses, wood nymphs and water nymphs, Beings more ethereal and more beautiful than the children of men, and yet capable of revealing them- selves to, and even of loving, and being loved by, those few happy mortals to whom the supreme gift of the favour of Olympus should have been vouchsafed. I remember how, during the lower part of the ascent of Mount Ida, we rode through the enchanted forest and among the pastures where young Paris tended his flock, and Aphrodite used to console the solitudes of Father Anchises. (How hard it is, by the way, that Paris should seem always young, as young to-day as when he went a-courting Helen, while Anchises, who charmed the Queen of all charms, is nothing but a blear- eyed wreck, in order to bring into relief the ever- lastingly priggish piety of pious ^Eneas ! a strange case of poetic injustice !) I remember how one longed to stop and dream away the lovely noontide under the shade of the great trees Oaks and Chestnuts and Pines, and 81 APOLOGIA PRO HORTO MEO others whose names I knew not; but it was enough for me that they were the descendants of the very trees of Homer, as it was enough for me to know that every tiny rill that whispered over the great moss-grown stones, glimmering through a carpet of daintiest wild flowers, would fight its way down to join the rushing Scamander in the plain, just as it had done in the days of the ten years' siege. It was my first taste of the East. The sunshine was brighter, the shadows were darker than any that I had seen before, and over dell and glade and rockbound burn there was a glamour of sensuous beauty, new, strange, and bewildering. Nor was there room to doubt that Homer himself must have travelled through the mountain forests that he described. For as we went upward, the vegetation, so luxuriant below, became scantier and scantier until it dwindled into mere scrub, and finally ceased altogether ; then came a stiff climb across loose shingle, where hardly a lichen was to be found, and over which we had painfully to drag our unwilling horses until we reached the summit. There, wonder of wonders ! after the long and weary tramp over barren rock, there burst upon our view the very carpet of flowers which marked the spot where the Lady Hera, having borrowed the girdle of the Goddess of Love, decoyed the cloud-compelling Zeus. Old Homer must have seen this strange sight, and invented the pretty fable to account for it. He could not have been born blind. Ah ! Mother Ida ! many-fountained Ida ! "your beauty haunts me like a fever dream ! " Crags and 82 APOLOGIA PRO HORTO MEO fells, groves and streams, all are visions of supreme loveliness. It is the gardening of the gods, inimit- able, unapproachable, and yet conveying a great lesson. Happily for the world, though there are few scenes to match those which inspired the old Greek poets, there are yet not many countries where Nature has not dedicated some favoured school to teach man the same object-lesson, if he would only profit by it. And yet there are still men whose ambition it seems to be that their Neptune shall throw up a spout of water a yard higher than somebody else's Triton, and who would fain, ac- cording to the measure of their means, ape the extravagant vulgarities of Versailles or Sydenham. They forget that these masses of stone abominations, though they may be triumphs of engineering skill, are no more gardening than are the fortifications of Vauban, and that, the highest art being the con- cealment of art, that man is the greatest gardener who shall, on however humble a scale, have suc- cessfully imitated the master touch of Nature. In the garden of Eden there were no flower-beds, and the fairest and most bewitching scenes of this earth are those in which we can picture to ourselves Adam and Eve, before sin and carpet-bedding had been invented, wandering hand in hand, happy, childlike, innocent contented with the mere sense of life and beauty and love, surrounded by the bountiful pro- fusion of Nature, and soothed by the rushing music of sweet waters. Such a spot I can yet see in my mind's eye far away on an island of the Malay Archi- pelago a lovely vision of a crystal clear pool, fed by the glistening jewels of an overhanging cascade, 83 APOLOGIA PRO HORTO MEO sheltered from the heat or noon by a network or Palms and Bamboos, and strange vegetation draped with giant climbers. Birds, and butterflies as big as birds, of every dazzling colour of the rainbow, flit from bough to bough. The air is heavy with the scent of spices ; Orchids and mysteriously shaped flowers peep out as surprises amid the giant foliage ; while great apes, chattering with uncon- trollable fun, fight mimic battles with tropical fruits for ammunition, or gravely assist in one another's toilet. Here again is the gardening of the gods no formal beds, no torturing and trimming of Alternantheras, no setting out of geometrical patterns with House-leeks. And yet what beauty of form ! what incomparable harmony of colours ! a memory the light of which the changes and chances of nearly fifty years have not been able to extinguish. It is good to be able to record the fact that though there are still found prophets to bless the so-called architectural school of gardening, and even to write books advocating its adoption, the pro- fessors of these heresies find fewer acolytes year by year, while men more and more consult Nature as the true fountain-head of the gardener's craft. As for those books and their writers, have they not been pilloried and annihilated and utterly wiped out by the accomplished author of the " English Flower Garden " himself a true apostle of Nature, and a deadly foe to the intrusions of the stonemason into the garden that he knows how to love ? And yet I would guard myself against being misunder- stood. There are, of course, many gardens where APOLOGIA PRO HORTO M E O the natural configuration of the site has made a terrace, or even a succession of terraces, a matter or necessity, where, in fact, nothing could have been achieved without them. There are many such where great beauty has been attained by the skil- ful combination of architecture with plant life. Who can deny the merits and distinction of some of the famous Roman Gardens, or of many of the Scotch and Welsh hillside pleasaunces ? What I am chiefly concerned to criticise are the acres or paving stones surrounded by balustrades, and be- spattered by jets of greater or lesser size, which were dear to the French architects. In these stones there is no beauty and but one sermon : " Vanity of vanities, saith the Preacher ; all is vanity." Versailles is a wreck, and the rays of the Roi Soleil are extinguished for ever. In these heavy masses of masonry there is only dignity for those who admire that which is costly. The poetry of gardening lies in another direction. Who can conceive a Dryad making her home in an Orange-tree incased in a green wooden tub ? What nymph who respects herself would bathe her dainty limbs among the glorified squirts of Syden- ham ? Another test : Could a painter paint these formal gardens of ashlar? Could a poet find in- spiration in them? Would Saint Bernard say of them what he said of the woodland, " Aliquid amplius invenias in sylvis quam in libris"? He who would lay out for himself a paradise * I use the word in old Parkinson's sense cannot do * " Paradisi in sole Paradisus terrestris," &c. By John Parkinson, Apothecary of London, 1629. 85 APOLOGIA PRO HORTO MEO better, having the needful leisure, than set out to drink in wisdom in Japan. Not in the Japanese gardens, for, as we shall see presently, nowhere is the gardener's work more out of tune with Nature than in that country of paradoxes ; but on the mountain-side, in the dim recesses of the forest, by the banks of many a torrent, there the great silent Teacher has mapped out for our instruction plans and devices which are the living refutation of the heresies of stonemasonry. There are spots among the Hakone Mountains, not to mention many other places, of which the study of a lifetime could hardly exhaust the lessons. One reason which makes Japan such a rich field for observation is that perhaps in no other country will you find so many types of vegetation within so small an area. The sombre gloom of the Cryptomerias, the stiff" and stately Firs, Pine-trees twisted and gnarled into every conceivable shape, flowering trees and shrubs in countless varieties, combined with the feather- ing grace of the Bamboo and soft curtains of wild Vines and Wistarias and all growing as if the kindly function of each plant were not only itself to look its very best, but also to enhance the beauty of its neighbours present a series of pictures difficult to realise. Fancy a great glen all besnowed with the tender bloom of Cherries and Peaches and Magnolias in spring, or blazing with the flames of the Maples, the " brocade " of the Japanese poets, warming the chill October, and in its depths a great waterfall leaping from rock to rock for some hundreds of feet ! Here and there the soft brown thatch of some peasant's cottage, or the 86 APOLOGIA PRO HORTO MEO quaint eaves of a Buddhist temple, jut out from the hillside, while far down below you are the emerald-green patches of paddyfield, with great white cranes stalking about in solemn state. In such a glen you may sit hour after hour, feasting your eyes in wonder, and learning how to get the fullest value out of your treasures at home. Few, if any, of the plants which you are admiring are too tender to be grown in some part of England, and the fair landscape before you furnishes the key to their successful adaptation. The Japanese are true lovers of scenery ; no people have a keener feeling for a beautiful land- scape ; to them a moon rising over Mount Fuji is a poem, and their pilgrimages to see the almonds in blossom or the glories of the autumn tints are almost proverbial and yet, strange to say, in their gardens they seem to take a delight in setting at defiance every one of those canons which Nature has laid down so unmistakably for those who will be at the pains to read them. The Japanese garden is a mere toy that might be the appanage of a doll's house. Everything is in miniature. There is a dwarf forest of stunted Pines, with a Lilliputian waterfall running into a tiny pond full of giant gold-fish the only big things to be seen. There is a semblance in earth and stones of the great Mount Fuji, and in one corner is a temple to Inari Sama, the god who presides over farming, and is waited upon by the foxes. Stone lanterns of grotesque shape spring up here and there, and the paths are made of great flat stepping-stones set well apart so as not to touch one another ; shrubs, Cycads, 87 APOLOGIA PRO HORTO MEO and dwarf Conifers are planted, not without quaint skill and prettiness, but there are no broad effects, no inspiration of Nature. It is all spick and span, intensely artificial, a miracle of misplaced zeal and wasted labour. Attached to what were the Daimios' palaces in the old days there were some fine pleasure grounds, well laid out, rich in trees, and daintily kept. The gardens of the Mikado, by the shore of the Bay of Yedo, are beautiful. But the average Japanese garden is such as I have described it a mere whimsical toy, the relic of an art imported from China, and stereotyped on the willow-pattern plate. In my little garden at Tokyo such a lovely spot overlooking the bay ! there was a small pond in which myriads of mosquitoes used to live and love, bringing up innumerable families, and making life almost intolerable. At last I could bear it no longer, so I filled up the pond and made a sort of bog garden of it, the chief feature of which con- sisted of great clumps of Iris Kasmpferi. It was wrong, it was heterodox, it almost broke my gardener's heart. For if there are laws, sacred, immutable, as to the disposal of a few flowers in a vase, how much more is the laying out of a garden a matter not to be lightly tampered with ! And yet when the iris came into bloom the following year, even the greatest sticklers for precedent among my Japanese friends were enraptured at the beauty of an innovation only pardonable in a barbarian. The secret of the success lay in the massing of the plants another lesson learnt from Nature, but nowhere better taught than in some of those lovely 88 APOLOGIA PRO HORTO MEO valleys of Mongolia which lie beyond the Great Wall of China. I was travelling in those regions in 1 866. I knew nothing, but my comrade was a good botanist and an ardent lover of flowers, and I can well remember how he kept jumping off his horse, as it seemed to me every few yards, to gather some precious rarity. We must have trampled treasures under foot which I, blind bat that I was, should have ridden past uncaring and unthinking but for my friend. Yet, in spite of ignorance, it was impossible even for me not to be struck by the picturesque and bold grouping of the flowers with which the valleys were enamelled. Nature had laid on her colours from a rich and generous palette. I can even now call to mind a great isolated crag some five or six hundred feet high, standing out from the mountain wall, on the summit of which, by efforts little short of miraculous, a small Buddhist temple had been made to perch. Every cranny and fissure of that great mass of rock seemed to be filled with lovely flowers and ferns, and at the base was a flame of scarlet Turk's-cap Lilies growing by scores against a background of some scrubby Pine or Juniper. That day I felt that I learnt how Nature intended Lilies to be planted ; and that, as we know from Ovid, was how Tarquin grew them. As I have said before, at that time my ignorance of plant life was complete ; but I had a great leaning to all that is beautiful and picturesque, and so my travels in many lands were insensibly an education in garden- ing. It is true that it was the beauty of the garden and not the species of the flower that attracted me, but the joy that I took in the one led to the study APOLOGIA PRO HORTO MEO of the other, and so the great love of both was built up. To return to my lilies. It is strange how the value to be obtained by planting great masses of one flower together is forgotten or neglected. How often, for instance, does one see stowed away in some corner a single plant of Erica carnea or Omphalodes verna, which ought to be grown by the hundred, or rather by the thousand ! How rarely do you find the pretty little blue Lobelia planted otherwise than in a thin, ineffective line ! and how charming it is when you do come upon a great clump of it ! I know a garden to the west of London where there is a really fine collection of plants, especially of herbaceous plants. They are grown with loving care ; they are all planted in soil scientifically prepared to suit their several natures, and scrupulously labelled, so that every plant stands out with its rank and titles ostentatiously set forth in English and Latin. No new rarity is announced in the nurserymen's catalogues but what it at once finds its way into those all-absorbing borders, of which there are hundreds upon hundreds of yards. All the treasures of the uttermost ends of the earth seem to be gathered together there ; but none is allowed to gladden the eye by showing off its true beauty. Background there is none ; and if there be six or sixty, or any number of one species, they are all dotted about singly, separated from their fellows, and compelled to consort with any uncongenial stranger that chance or the 90 APOLOGIA PRO HORTO MEO gardener's trowel may have established by their side. In winter, when the leaves have died down, the labels in the long dreary borders look like a procession of Lilliputian tombstones a very necro- polis of plants. Here are love, money, and labour lavishly expended, and all lost for want of a little attention to that teaching which Nature so unmis- takably gives us. If a man is making a pleasaunce for himself, then, as it appears to me, beauty is the first object, and this in any garden may best be obtained by having a few varieties liberally dis- played in such a framework of other plants as will set them off to the best advantage. If a botanical collection be the aim in view that is another matter ; but then the plants should be set out according to families and in purely scientific array. That is a great and laudable object. But to turn what should be a garden of delight into a mere living illustration of the advertising lists to look upon rarity and crackjaw names as the highest goal of the gardener's ambition, that is a view with which I for one have no sympathy. And yet it is a vice of which there are many amateurs. Fiends there are who haunt flower shows, and are assiduous attendants at lectures, bores from whom there is no escape mostly feminine, but some apparently neuter, flinging painfully acquired sesquipedalian names at their victims' heads with an air of conscious superiority. It is strange that one never hears of those plants a second time. I believe that if they ever existed they die of despair, killed by their names! When all is said and done, it is certain that G 91 APOLOGIA PRO HORTO MEO although there are many bad and ugly gardens in England, still there is no country in the world that can show so many really beautiful pleasure grounds, and that the number of these is increasing as taste improves and larger views prevail. Washington Irving is not the only traveller who has done homage to our skill as landscape gardeners. There are many reasons which combine to give England the pre-eminence in this respect. In the first place, there is the much abused climate. Foreigners may sneer as they please at our fogs and our grey skies, but with all their contempt where can they show such turf and such trees ? and are not these the foundation of all gardening ? It was a wise as well as a gallant Frenchman who asserted that the most beautiful thing in Nature is an English girl, mounted on an English horse, on English turf, and under an English tree. True it is that the rays of the sun caress rather than scorch up our plants ; but our vegetation is the greener, and our flowers last the longer, not meeting the fate of Semele. After all there is some malice and not a little envy in the attacks upon us. If I were asked to quote the most insolent speech that ever was made in polite society, I think I should cite the reply of the Neapolitan ambassador (to Sir Robert Walpole, I think) when he was asked to admire an effect of sunlight on the Thames at Chelsea, " La lune du Roi mon maitre vaut bien votre soleil." After all we may be contented with a climate that admittedly gives us beautiful women, beautiful horses, beautiful turf, and beautiful trees. But that is not all ; it is certain that, in spite of fickle 92 APOLOGIA PRO HORTO M E O weather, we can and do cultivate more varieties of plants than can be seen in any other country. What quarter of the globe is there that has not been laid under contribution to enrich and beautify our gardens ? There are many English pleasaunces which are in themselves a liberal education in geography. Here are pines from California, China, Mexico, Sardinia ; fir-trees from the Black Sea and Colorado ; great Flame Flowers, Tritomas, from the Cape of Good Hope ; a carpet of Acsna from New Zealand ; Tulips and other bulbs from Asia Minor ; herbaceous plants from Central Asia ; Bamboos from China and Japan and the Himalayas; the Chusan Palm ; the Edelweiss of the Alps ; the Honeysuckle of the Pyrenees ; and every recurring season tests the resisting power of some new plant. It is a never ceasing wonder that all these, and thousands of others, all different in nature and in origin, can find such a congenial home in this Protean climate. Perhaps it is the very fact of the variations in our weather that gives us this boundless and varied wealth to choose from. Then there is the extraordinary power inborn in the Englishman of making a home for himself wherever he may be. Not only does he travel more than other people, but wherever his fortunes lead him whether as colonist, soldier, or diplomatist- there he at once sets about establishing himself as if the remainder of his life were to be spent there, and his ambition is to " settle " a word untrans- latable in any other tongue, because the idea is absent. In a French colony there is no such thing as the " settler " the man who comes prepared to 93 APOLOGIA PRO HORTO MEO stay if needs must, and perhaps even found a family. The Frenchman, differing in this from us, dreams only of the day when he shall return to his beloved cafe on the Boulevards, and in the meantime is content to sip his absinthe in as good an imitation of that same cafe as circumstances will admit. The Spaniard, the Italian, the German are better colonists than the Frenchman, but the idea of making a home, even for a short time, is peculiar to the Englishman ; and of his home the garden is an essential feature. In many lands are such gardens found, and they exercise an influence over much of the work that is done in this country. There are hundreds of gardens in England which have some feature inspired by the memory of the owner's little patch of pleasure ground thousands of miles beyond the seas ; others there are that, furnished with seeds of plants from some banished friend, reflect the descriptions given in his letters. But even when men have simply travelled much, keeping their eyes open to see what is beautiful, without of necessity remaining for any length of time in one place, they come back with new ideas insensibly acquired, pictures indelibly fixed in their minds, which they cannot but strive in some measure to reproduce when the chance occurs. And so it is that in English gardens and pleasaunces there is so often a memory of many lands enshrined amid the charms of our own scenery. In gardening, as I said before, there is a school that prides itself on having purer methods than those that are followed by the general. To these purists it is a sin that we should introduce foreign 94 APOLOGIA PRO HORTO MEO trees into our pleasaunces. " England for the English " is their motto, and they resent the in- trusion of any foreigner among their Elms, and Oaks, and Ashes, and Chestnuts. But then they should be consistent. It suits them to forget that these very Elms and Chestnuts which they look upon as the legitimate ornament and pride of their landscape are themselves aliens, the one an Italian, the other an Asiatic. " Time," say the objectors, " has washed from them the stain of birth and given them the rights of citizenship" ; time will perform the same kindly office for many another beautiful plant. Sadly, indeed, would our planta- tions be shorn of their glories if all evergreens save those which are indigenous were to be banished from them, and we were restricted to the natives which you may count on the ringers of your two hands. No ! our gardens, like our race and our language, owe their merits to the continual infusion of new blood. Indeed, it would seem as though race and language were in far greater danger from intruders than our Flora, for every steamer that reaches our ports discharges a load of indigent aliens, while even in the days when Dryden was king over the wits of the coffee-houses he complained that "if so many foreign words are poured in upon us, it looks as if they were designed not to assist the natives, but to conquer them." In rightly using, then, the great gifts which we have received from beyond the seas, we should, to borrow Dryden's phrase, "assist the natives," not "conquer them." For there are undeniably certain characteristics 95 APOLOGIA PRO HORTO MEO peculiar to the English landscape with which it would be treason to interfere. As I write, I look upon a great rolling tract of park land studded with patriarchal Oaks that were saplings in Plan- tagenet and Tudor days, giant Ash-trees, Elms and Thorns planted in the reign of good Queen Anne. Far be it from me to introduce any change in such a scene. It is thoroughly English and perfect of its kind ; no impious hand should dare to tamper with it. But farther up the hill there is a spot snugly screened from the cruel blasts which come from north and east, where, when the great Oaks and Elms, shorn of their summer bravery, are mere gaunt skeletons, there is still some shelter and some warmth. Here, amid the sparkling glitter of a holly grove, are all manner of beautiful evergreens rare pines, steepling fir-trees, rhododendrons, cypresses, junipers. A tiny rill trickles over the green velvet of the rocks, with ferns creeping out of the crannies in which many an Alpine treasure is hushed to rest, waiting the warm kiss of spring and the song of the birds, that, like Orpheus with his lute, shall raise the seeming dead from the grave. Tall rushes and gracefully arching Bamboos, hardly stirred by the wind, nod their plumes over the little stream from which the rays of a December sun have just strength enough to charm the diamonds and rubies and sapphires ; a golden pheasant, all unconscious of human presence, is preening his radiant feathers by the water-side. It is a retreat such as the fairies might haunt, and where in the bitter Christmastide a man may APOLOGIA PRO HORTO MEO forget the outside world, and for one too brief hour revel in a Midwinter Day's Dream of glorious summer. In the planning of this sun-trap surely the most captious critic will not cavil at the addition of such strangers as may seem best suited to fill in a scene which may not be English, and yet is in harmony with, and lends a new charm to, the surroundings with which it is contrasted. Whatever may be the cause and now that one may put a girdle round the earth in little more time than it took to ride post from the Land's End to John o' Groat's and back a hundred years ago, it seems evident that travel has much to say to it the improvement in our gardens is most con- spicuous. And in truth we have unlearnt as much as we have learnt. To own an historic house and gardens, like Levens, for instance, which have been undisturbed and unchanged by the revolutions of centuries, is a matter of which a man may well be proud. Nor is it only the interest of antiquity which attaches to such relics of a bygone age, for there is a certain impressive beauty in their state- liness which cannot be denied, Yet would it be unwise to plant in that way to-day. The stamp of nobility which time alone could give would be wanting. Yew or box trees fantastically carved and tortured into all manner of whimsical shapes cannot be achieved but by patience and long years of waiting. Better results may be obtained with much less labour and greater rapidity, and the Ars Topiaria is happily dead. Not so the hedge of holly or yew, which is a grave, dignified, and even necessary feature in many gardens, modern as well 97 APOLOGIA PRO HORTO MEO as ancient. Indeed, I have in my mind such a screen planted some thirty years since, sheltering a long row of beehives in a beautiful Scotch flower garden, the effect of which is most charming ; but the birds and men and beasts, ships and teapots and the many other conceits of the pleacher nay, the very pleacher himself are as extinct as the dodo or the great auk. Then there was a moment when the folly of fashion spent itself in the construction of abomina- tions in the shape of grottos probably inspired by the grand tour and the study of Virgil ; when every man who had completed his education by a journey in Italy, or, if he could not afford that ex- pensive luxury, by reading a friend's letters from Naples or Syracuse, must needs contrive in his garden a den the walls of which he lined with shiny pebbles, shells, bits of glass, and every incon- gruous rubbish that he could gather together. Among the most famous of these were Pope's grotto at Twickenham, " composed of marble, spars, gems, ores and minerals," and that of the Duke of Newcastle at Oatlands Park, which was afterwards the residence of the Duke of York. Dr. Johnson's account of the former in his " Lives of the Poets " is too good not to be transcribed : " Here he planted the vines and the quincunx which his verses mention ; and being under the necessity of making a subterraneous passage to a garden on the other side of the road, he adorned it with fossil bodies, and dignified it with the title of a grotto a place of silence and retreat, from which he endeavoured to persuade his friends APOLOGIA PRO HORTO MEO and himself that cares and passions could be ex- cluded. A grotto is not often the wish or pleasure of an Englishman, who has more frequent need to solicit than exclude the sun ; but Pope's excavation was requisite as an entrance to his garden, and as some men try to be proud of their defects, he extracted an ornament from an inconvenience, and vanity produced a grotto where necessity enforced a passage." After all, therefore, there was some excuse for Pope's folly, but what can be said for that of the Duke of Newcastle, over which the county history gloats with honest pride ? " The pleasure grounds are beautifully laid out ; and a delightful walk through the shrubbery leads to a romantic grotto, which was constructed at a great expense for the Duke of Newcastle by three persons (a father and his two sons), who are reported to have been employed in the work several years. It consists of four or five apart- ments, the sides and roofs of which are incrusted with satin spar, sparkling ores, shells, crystals, and stalactites ; some of the quartz crystals are un- usually large and fine. There is also a bath-room, in which is a beautiful (marble) copy of Venus di Medici, as though going to bathe. The rocks forming the exterior are built up with a whitish-coloured perforated stone, a kind of tufa. In the upper chamber the late Duchess of York passed much of her time when the Duke was in Flanders during the revolutionary war with France." Like a cavernous Madame Malbrook ! Grottos 99 APOLOGIA PRO HORTO MEO have gone out of fashion now ; as Dr. Johnson pointed out, they did not suit the climate ; and then they were so manifestly incomplete : what is a spelunca without a great clumsy Polyphemus ogling his Galatea with his one saucer-eye ? Of carpet gardening a disgrace which has sat heavily upon us these many years there is no need to say much ; it avails not to flog a dead horse, and this, if not dead, is at any rate dying ; as Bacon said of the fashion consequent upon it, of tricking out patterns in coloured earths, sands, or pebbles, " You may see as good sights, many times, in tarts." The truth is that in every good garden there is poetical or spiritual beauty with which these crude and flaunting artifices are out of tune ; the air which breathed o'er Eden still in some mystic sense pervades our groves. " God planted the first garden"; and if man was formed in His image, may we not believe that certain more favoured spots still reflect the idea of that first Divine Garden ? To catch the spirit of these is the supreme art of the gardener, and leads him to the realisation of the next proposition of the text, " the purest of human pleasures." I look upon gardening as one of the fine arts, and, rightly understood, not one of the least diffi- cult. The painter or the sculptor makes his effects at once, and obliterates, or models and remodels, until he has attained that at which he is aiming. But the gardener has to consider not what his work is now, but what it will grow into ten, twenty, fifty years hence. He has to take 100 APOLOGIA PRO HORTO M E O into account not the present aspect of his materials, but what are their capabilities in the future and their relative powers of development. If he has a background ready made to his hand he is lucky, but if he has to make it he has to do so with trees which are mostly far slower of growth than the more immediately effective plants which it is their office to set off. He has to balance questions of soil, light, moisture. All this involves not only the poetic sense, but also great and patiently acquired knowledge. He has no Aladdin's lamp wherewith to bid trees spring from the earth and form a sheltering background, yet background is the soul of all gardening, rarely, alas ! seen at its best by him who has devised it. If the background be unfitting all the work is thrown away. Colour, form, light and shade, grouping, all have to be studied in the composition of one of those living pictures which the gardener paints from a living palette. In these days his choice of subjects is varied indeed, for there is scarcely a portion of the globe from which he cannot borrow some landscape with the aid of the wealth of plants that the last half- century has given us. Are all these chances and opportunities to be thrown away ? Are the lessons that have been learned to be a vain thing ? It seems to me to be rank folly that we should fetter ourselves by rejecting all the beauties of form as being incongruous, when no one dreams of ex- cluding those of colour. No one ever repudiates a beautiful flower because it is an exotic ; it is incon- sistent, then, to refuse admission to a lovely tree. 101 APOLOGIA PRO HORTO M E O In Nature it is to form, far more than to colour, that the fairest pictures owe their charm. You may have to hunt for a flower, but the grace of a Palm or a Bamboo springs into notice of itself. So far as our present knowledge goes, with the single exception of Fortune's Chamsrops, the hardy Bamboos are the only plants which help us to give, in certain appropriate places, some faint idea of the mysterious vegetation of warm climates. Outlanders it must be confessed that they are, with the impress of their foreign origin stamped on every feature, differing in that from many an im- postor, too often undetected, that raises its bragging head with as much effrontery as if it could trace an English pedigree back beyond the Crusades. The impostor is admitted without a word, but give a place to the more honest and charming outlander, and you are a Goth, a destroyer of the English landscape when, turning an alley, you bring the purist to some secluded spot framing a picture which he cannot understand, and in his superiority will not admire, but which to you brings back something like a subtle fragrance of the dim far- away. 1 02 THE HISTORY OF PAPER THE HISTORY OF PAPER, BEING ANOTHER PRESIDENTIAL ADDRESS TO THE ROYAL PHOTOGRAPHIC SOCIETY IN preparing my presidential address, it occurred to me that there might be some interest in leaving the ordinary groove of such discourses and attempting to throw some light upon the subject of any one of those many materials which we have in daily use, and which are so familiar to us that we have almost ceased to consider that they, too, have their life history, that they, too, have gone through many vicissitudes, which it may be instructive at any rate to trace. In the course of a somewhat desultory way of reading, which it is my wonted habit to follow, I had occasion lately to inquire into the history the very ancient history of Paper. I came upon much that was new, at any rate to me, and much which I thought might specially interest some of you as photographers ; for although paper is one of the most familiar necessaries of modern life, there are, perhaps, few people who are more in- debted to it than the men of our craft. It seemed to me then that, rather than weary you with any futile disquisition upon matters in which you are past masters and I a mere tyro, I might perhaps venture to ask you to follow me in examining one subject upon which in late years the labours of two eminent Austrian scientists, Professors Karabacek and Wiesner, of Vienna, have thrown new and most interesting light, These two gentlemen, 105 THE HISTORY OF PAPER working quite independently, the one as an eminent Arabic scholar, the other as a no less distinguished microscopist, have arrived at the same conclusion, and it is upon the result of their work that the remarks which I shall lay before you this evening are based. It has been a common creed that our modern civilisation and culture is due to the invention of printing with movable type by Gutenberg in the year 1450. This, as Houston Chamberlain has shown in his " Foundations of the Nineteenth Century," is putting the cart before the horse. " If there be any one," he says, " who shares Janssen's opinion that it is the art of printing that has given wings to the human mind, be so good as to explain to us why it is that the Chinese are without wings." Chamberlain gives the glory to the discovery of paper, which, by furnishing a cheap and handy material upon which to work, gave the impetus which led to the spread of printing with such rapidity that, while Gutenberg was type-founding at Mayence, other men were striving in the same direction at Bamberg, at Haarlem, at Avignon, and in Venice, and within twenty-five years print- ing presses were busy at work in almost all the chief cities of Europe ; and this was the outcome of the invention of paper, a new, cheap, and fitting vehicle for the diffusion of knowledge, which took the place of papyrus, silk, leather, and vellum, not to speak of the little cakes of clay upon which the Assyrians wrote their business notes, their official despatches, and perhaps their love letters ! Think, when you sit down to write a note, of the great 106 THE HISTORY OF PAPER King of Assyria, Hamurabi, who lived a thousand years before Moses, and who, wishing to summon three recalcitrant officials from a distant province, sent for a lump of clay like a cake of soap, wrote his royal command upon it in cuneiform characters, sent it to be baked, and enclosed it in an envelope, also of clay, addressed and baked ! That very despatch, with its envelope, is now in the British Museum, with many others. In printing we may also say that there was no absolutely new idea. The head and inscription stamped on a coin or medal were forms of printing, the impression of a seal was nothing else, and seals were in use, as we know, thousands of years before the days of the Patriarchs. The founding of movable type was of course a giant's step in advance of the block which was the first form of true printing, and which is still in use in China. But it was an im- provement rather than an invention, and the im- provement was due to the facilities offered by paper. It is a matter of common knowledge that paper made of the fibrous pulp of plants was of Chinese invention. The wen fang ssu pao, the four treasures of the library, are the pencil, ink, ink- stone, and paper. Leaving on one side the papyrus of ancient Egypt, that paper was the in- vention of the Chinese, about the year 95 A.D., is generally admitted, though there is a supposition that it might have been introduced from India, where tradition, in this case I believe absolutely false, claims that it was in use a century or more earlier. In the days of Confucius the Chinese wrote upon the thinly pared bark of bamboo, H 107 THE HISTORY OF PAPER etching the characters with a style. The first paper seems to have been made of bamboos by a primitive method described in the Chinese Re- pository III. p. 265 : "The stalks are cut near the ground, and then sorted into parcels according to the age, and tied up in small bundles. The younger the bamboo the better is the quality of the paper which is made from it. The bundles are thrown into a reservoir of mud and water, and buried in the ooze for about a fortnight to soften them. They are then taken out, cut into pieces of a proper length, and put into mortars with a little water, to be pounded to a pulp with large wooden pestles. This semifluid mass, after being cleansed of the coarsest parts, is transferred to a great tub of water, and additions of the substance are made until the whole becomes of sufficient consistence to form paper. Then a workman takes up a sheet with a mould or frame of the proper dimensions, which is constructed of bamboo in small strips, made smooth and round like wire. The pulp is continually agitated by other hands while one is taking up the sheets, which are then laid upon smooth tables to dry. According to others the paper is dried by placing the newly made sheets upon a heated wall and rubbing them with brushes until dry. This paper is unfit for writing on with liquid ink, and is of a yellowish colour. The Chinese size it by dipping the sheets into a solution of fish-glue and alum, either during or after the first process of making it. The sheets are usually three feet and a half in length and two in breadth. The fine paper used for letters is polished, after 108 THE HISTORY OF PAPER sizing, by rubbing it with smooth stones." By degrees the bark of Broussonetia papyrifera, the paper mulberry, Boehmeria nivea (a plant of the Nettle family), rags, silk refuse, linen, &c., came into use. What is known among Europeans as rice paper, that curiously brittle, pure white material used for the marvellously minute drawings of figures and birds, flowers and fruit, in which the artist of the Middle Kingdom delights, is made of the pith of an araliaceous plant ; rice does not enter into its composition.* It is the migration of paper from China to Europe that constitutes the interesting part of its history. During the early centuries of our epoch Samar- kand, which lies on the borders of Bokhara, and which had been taken in war by Said, the son of the Caliph Osman, in the year 676, was under the rule of the Caliphs of Bagdad, a fact which, by the by, gives us some idea of the length of their arm and of the power which they wielded. It is a far cry from Bagdad to Samarkand ; if you look at their relative positions in the map of Asia, taking into consideration the nature of the intervening country, you will be amazed at the might of an influence which could reach such a distance with the means of transport available at the time. Central Asia was then, as it has been in more recent years, the theatre of wars, prompted by international jealousies and racial ambitions. It happened that in the raid which ended in the * The true rice paper made from the rice straw is the coarse cheap yellow paper used for packing. The so-called rice paper was so named owing to its dazzling whiteness, like that of the finest rice. 109 THE HISTORY OF PAPER capture of Samarkand the Arabs took prisoners a number of men, some of whom were probably Chinese workmen skilled in the art of paper- making. These men, establishing themselves among their captors, began to ply their trade in peace, and Samarkand became the recognised home of paper- making. But the Chinaman, who is capable of invention, perhaps above all other men, seems to be incapable of improvement ; indeed, to him all progress is odious. He invents, is contented, and there it ends ; witness the centuries upon centuries of block printing, though here there are great excuses. Movable type was introduced in China as early as the eleventh century. But the ideo- graphic writing in which every character repre- sents a word was a formidable difficulty. Consider the number of separate types for such a word as " is " required to print a book ! Think of that and then give thanks to Heaven for Cadmus and the alphabet. At Samarkand paper fell into the hands of a people of a race totally different from the Chinese. Chamberlain, the scope and aim of whose book is to prove the superiority of the Indo-European to all other races, is careful to point out that the people of Samarkand, though subject to Semitic Arabs, were in fact Iranian Persians that is to say, members or the same great Aryan family to which we ourselves belong. These Aryans, then, having received the idea of paper-making from the Chinese, were not slow to improve upon the invention, and the result was the development of the art, and the employment of a new material, linen rags, in the manufacture. And here we come to an old friend in the no THE HISTORY OF PAPER person of the Caliph Haroun Al Raschid, the Caliph who is so well known to us on account of his nightly wanderings through the city of Bagdad, attended by Giafar the Grand Vizier and Mesrour the Chief of the Eunuchs, as they are told in the " Arabian Nights' Entertainments." Indeed, that potentate has become so mixed up in our minds with Jinns and fairies, one-eyed Calenders, slaves ot the Ring and slaves of the Lamp, that one is apt to think of him as a nebulous being, something like Sinbad the sailor or Aladdin himself. As a matter of fact, he was not only a very real person- ality, but also was a very great and powerful ruler, whose fame was so far spread that in days when newspaper correspondents were not, and inter- viewing had not yet become a fine art, it reached his European contemporary Charlemagne, who even sent an embassy with a view to cultivating his friendship, receiving in return a mission from the Caliph which brought him a present of a clock, worked by water, striking the hours by means of balls dropped on to a kind of drum, and adorned with little movable images of warriors and nobles. Nine years after his succession to power, Haroun Al Raschid, in the year of the Hejira 179 (corresponding to 795 of our era), sent for artificers from Samarkand, and established a paper manufactory at Bagdad, where the industry was maintained as a state monopoly, the secret of which was carefully guarded : and so it remained until the thirteenth century, a space of nearly five hundred years, time enough, as has been pointed out, for this wonderful intellectual weapon to have in THE HISTORY OF PAPER developed into a world-power had it been in capable hands. But the Arab when he leaves his tents for the city deteriorates to an extent which has become proverbial ; as a child of the desert he is brave, hospitable, a cruel enemy if you will, but a loyal friend, and in many respects a noble specimen of humanity ; as a citizen he becomes mean, vicious, dishonest incapable above all of any intellectual effort. During the five hundred years that paper remained his monopoly its results were absolutely nothing beyond bills, notes of hand, official documents of no value, and I.O.U.s, nothing but a few worthless, tiresome, barren manuscripts, the lack of which, had they never been written, would have left the world no poorer. And so things might have gone on had not war for a second time played a decisive part in the life history of Paper. It was the Crusaders who lifted the veil of the mystery of paper-making, and by them, in the last years of the twelfth century, the art was introduced into Europe. The result was pheno- menal. Even in the days before the establishment of printing presses the spread of knowledge by means of paper manuscripts was fabulous ; especially was it noteworthy in the spread of the New Testament we may judge of it by the report of a Dominican monk, who was sent out against the Waldenses in the first half of the thirteenth century, and who said that all these heretics were pre-eminently well versed in Holy Scripture, and that he had seen uneducated peasants who could recite the whole of the New Testament by heart. With this prodigy of memory, by the by, may be compared the story 112 THE HISTORY OF PAPER of the preservation of the Chinese classics. When, some 200 years B.C., Shih Hwang Ti, Prince of Chin, had destroyed the feudal system in China and established himself as the " First Emperor," as his style implies, he was jealously desirous of obliterat- ing the glory of every past emperor, especially that of the States of Chao, whose history was com- mented upon in the works of Confucius and Mencius, so he commanded that all the books of the sages should be destroyed. For attempting to save their precious books some four or five hundred learned scholars were put to death. But the act of barbarism was as vain as the Great Wall of China itself (Shih Hwang Ti's other great work, the one being of destruction, the other of construction), for there were men enough who were able from memory to re-write the sacred books, and so they were preserved. Doubts have indeed been ex- pressed as to whether the destruction could have been so complete as was said, but, as Wells Williams in his monumental " Middle Kingdom " says, " Ir the same literary tragedy should be re-enacted to- day thousands of persons might easily be found in China who could re-write from memory the text and commentary of their nine classical works." And I have no doubt that Wells Williams is not exaggerating. It was from the Chin dynasty that the name China was derived. Knowledge in the possession of Europeans is a very different matter from what it is when buried in the minds of Chinese, of Iranians, or of Arabs. It spreads like the beacon fires which from height to height told of the fall of Troy's citadel. Improve- THE HISTORY OF PAPER ment followed upon improvement until the first scientifically equipped paper mill was established in Ravensburg in the year 1290. Printing came next, almost as a matter of course, and even in its primitive form, during a hundred years, gave out many books printed from wooden blocks especially the Scriptures. The world had but to wait fifty more years for the invention of the fount ; that was the final perfection of the great double engine of civilisation, Paper and Printing ; but of these two Paper must be held to have been the more important power, for without it Printing would have been of comparatively little value. Only think how few copies of any given book could have been printed on such costly and cumbersome materials as parchment or vellum, and you will realise the disseminating value of the new invention and its influence in the furtherance of all human knowledge. It is difficult to say what would provoke in a German philosopher the pruritus or itching of investigation. It appears that certain persons of the baser sort, writers in cyclopaedias, journals, or other publications issued for the spreading of error, had had the audacity to assert that the artisans of the paper factory of Samarkand were in the habit of using cotton as their chief material. This was clearly not to be tolerated, and so the two Professors Karabacek and Wiesner, carrying on their inquiries, as I have said before, independently, set to work to demolish this false doctrine. The one brought to bear upon his enemies the heavy artillery of his Oriental learning, the other the no less deadly and 114 THE HISTORY OF PAPER searching powers of his microscopic mitrailleuse. Professor Karabacek tells us, in the introduction to his great monograph on Arabian paper, that he was engaged in the examination and study of the collection of the papers belonging to the Austrian Archduke Rainer, and it makes one giddy to read that he has examined, tested, and catalogued some 12,500 Arabic documents without having ex- hausted its contents ! In the course of his studies he became aware that in order to arrive at a correct knowledge of the history of paper a minute examination of the material by a man of science was indispensable. With this idea he persuaded Professor Wiesner to study the subject microsco- pically, and as he tells us in a note, the scientists worked apart, Professor Wiesner not being made acquainted with the researches of his colleague. From this examination it results, to quote Kara- bacek, " that Wiesner has proved by his micro- scopical investigation and histological criteria that there never has existed a paper made of raw cotton, but that the manufacture as practised in the East and in Europe begins with the making of rag paper." And now as to the date of the first making ot paper. Wattenbach, in his treatise on writing in the Middle Ages, says : " The preparation of paper from cotton is said to have existed in the remotest times, and became known to the Arabs when they conquered Samarkand about the year 704 " a mis-statement which Karabacek annihilates from beginning to end. There is no proof that the Chinese ever put cotton to this use, for which, by the by, it is ill adapted, and which is never "5 THE HISTORY OF PAPER mentioned in their lists of materials for the making of paper, nor is this to be wondered at, for the cotton plant was not introduced into China from Southern India until the reign of Kublai Khan in the second half of the thirteenth century. That the Chinese were the first inventors of paper is admitted, but the date is uncertain. The first mention of paper is referred to the year 650, when it is said to have been introduced as an article of commerce into Samarkand from China ; but all the dates given are confessedly misty and uncertain, nor indeed have they any very great importance or significance : the main facts are known, and it is perhaps enough that we should recognise the fact that the various sorts of paper which the Chinese carried into Central Asia were made of the pith or the pulp of plants, amongst others of the Paper Mulberry (Broussonetia papyrifera), which is still in use to-day, and of the refuse of silk. The confusion as to the whole question, not only of the introduction of paper, but as to the material employed by the Arabs is further entangled by pas- sages in the native histories of AH Ibn Muhammed el Farifi and Abu Ali Muhammed el Ghazali, who severally fixed the date at the years 704 and 707 A.D. Both state in effect that paper was intro- duced into Mecca by one Yusuf (Joseph), the son of Amru (or named Amru himself), who had learned the art in Samarkand, and taught it to others. According to these authorities, which are considered, and indeed proved, to be apocryphal, it was to Mecca and not to Bagdad that paper first found its way from Samarkand. The story is 116 THE HISTORY OF PAPER quite impossible. It is proved beyond the possi- bility of a doubt that the final victory of the " true believers " over the " unbelievers " in Khorasan did not take place until the month of July in the year 751, and the introduction of paper into Islam may safely be assigned to that year. All the stories of a great battle at Athlah by Zijad, the son of Salih, a personage whose very existence is a matter of doubt, may be dismissed as idle tales, and with him disappears into the limbo of the father of lies Yusuf, with his paper factory at Mecca. As to the material which the Arabs used, following the recipes of their teachers in Khorasan, there is very little mystery. It is true that the word which is used in the old Arab MSS. is El-Kattan, but that is probably due to the fact that flax was not cultivated in that country, and that the Arabs mistook linen, made from Linum usitatissimum, for cotton, with which they were not acquainted. Jahiz, an Arab author who died in the year 869 of our era, writes : " All men know that Khorasan is the land of cotton, Egypt the land of flax." Such paper as that of the most ancient Arabian specimens in the Archduke Rainer's collection could not have been made from cotton, which with its very elastic fibres yields only a spongy, highly absorbent, porous material like blotting paper, which must be thoroughly sized before it can be used for writing. Now the paper of the Archduke's MSS. is conspicuously free from size. Inasmuch as the flax-plant was not procurable at Samarkand the paper-makers were driven to use the old worn-out stuffs which 117 THE HISTORY OF PAPER came to their hand, the fibres of which furnished the finest, the smoothest, and the thickest paper. The making of paper from rags was not, then, the invention of the Chinese, who only became acquainted with it about 200 years later. It was due to the ingenuity either of the Iranians (Persians) or of the Arabs ; probably the former, for the Arabs adopted the Persian word Kaghad or Kaghid for it a curious word derived from the word Kagh, noise, alluding to the rustling sound made by paper. This is one of those refined derivations which philology furnishes in support of, or as a clue to, history. Six sorts of paper were made at Bagdad, and it is not a little interesting to find that one of them was named El Giafaridsh, after the vizier of Haroun Al Raschid, the unhappy Minister who, after being for years the sovereign's favourite, was one of the victims of that tyrant's massacre of the Barmecides, the clan to which he belonged. In the eleventh century the paper of Bagdad seems to have deteriorated, but Samarkand pushed the industry forward as much as ever, and the paper of Samarkand, " Sultan paper " and " silk paper," made of course of linen, were famous all over Persia. The silk paper, so called because of its thin and delicate texture, was cunningly but very lightly sized with soap, and it was smoothed to a shining surface with a polishing stone. The influence of China continued very great here and along the whole eastern boundaries ; and in the paper industry, as in many others, Chinese workmen were employed. 118 THE HISTORY OF PAPER So much for the manufacture of this ancient paper. It was when paper left Samarkand and was distributed east and west over the civilised world that, as Karabacek says, it became epoch- making in the history of the culture of mankind. It will, I hope, not be without interest to trace the way in which it asserted its superiority over all other materials for writing. In the earlier days of Islam papyrus was a vehicle for all documents, acts, and business records of the Caliphs. When the first Caliph of the Abbaside dynasty came to power, in the year 749, parchment was substituted for papyrus. But this was only possible because of the great wealth and luxury of the Bagdad of those days. When Haroun Al Raschid succeeded as fifth Caliph of that dynasty, the two brothers, Giafar, of whom I have already spoken, and El Fadl, being in high favour, the one became Grand Vizier and the other was appointed Governor of Khorasan, with a residence at Samarkand. This latter appointment was pregnant with results for the world at large, for he it was Who, seeing the extravagant expenditure on parchment for the daily increasing needs of the Government and Public Offices, advised the Caliph to substitute paper, which for some forty years had been manu- factured in Samarkand. The experiment was a brilliant success, and we are enabled to fix the date of the establishment of a factory at Bagdad, the City of Salvation, at the year 794 or 795. Once started there was no standing still ; the industry grew and flourished to such an extent that, as Professor Karabacek puts it, " As in the case of 119 THE HISTORY OF PAPER other Oriental products, weaving and ceramics, for instance, we may, instead of inquiring where was paper made, invert the question and ask where was paper not made ? " Tihama, Yemen, Egypt, Syria, Palestine, North Africa, the Spain of the Moors, Persia, India, followed the lead of Samar- kand and Bagdad. Is it not wonderful, is it not almost miraculous, that this invention which was destined to revolutionise the civilisation of the world should have remained for centuries the monopoly of the most unlearned and retrograde of the so- called civilised nations ? What were the Romans about ? Their arm was long enough, one would have thought, to have wrested this great engine from the almost savage hands which held it in their grip. Europe had to wait, for although there was a manufactory at Shatiba, the modern San Felipe of Valencia in Spain, it must be remembered that it was a Moorish and not a Spanish industry. The secret was well guarded. You know how it was revealed and to what the revelation led. I should gladly have laid before you more of Professor Wiesner's discoveries, confirming and confirmed by Professor Karabacek's philological studies ; but I feel that I have already detained you too long. One fact ascertained by Wiesner is worth recording. He found that such sizing as the Arabs used in Bagdad was made of wheat starch. In other places, in Palestine for example, the roots of the asphodel were used as size. Both were employed in Egypt, where their use was jealously watched for the asphodel starch was turned to account by roguish silk vendors to 120 increase the weight of the silken thread, a practice which was strictly forbidden by law. It is con- solatory to find that even in those ancient days adulteration was not unknown : it is not a new invention. And now, ladies and gentlemen, the time has come to relieve you from my tedium. I have endeavoured to give you the pith of the very minute and searching labours of Professors Kara- bacek and Wiesner ; and if I have succeeded in any degree in arousing your interest you will agree with me that though the scholarship and learning of the German scientists may sometimes seem to be a little meticulous, we owe them much gratitude for the unravelling of knots which would be a cruel trial to men of less patience. One word I may add : I have omitted any mention of Japan, because in all these matters of invention up to the time when Japan adopted Western methods and Western machinery, Japan is included in China. The art of paper-making came to Japan from the Celestial Empire. The art of writing came to Japan in about the sixth century of our era, and Chinese paper came at the same time. Therefore, when speaking of paper as of Chinese origin, it became unnecessary to allude to Japan, in spite of the beautiful papers pro- duced in the latter country. Whatever advance the Japanese may have made in the art of paper- making, the fact remains that it was a Chinese and not a Japanese invention, and I have con- fined myself to the country which produced the first kind of paper which was known to the world. 121 AN ADDRESS DELIVERED AT THE ART SCHOOL AT CHIPPING CAMPDEN IN 1904 AN ADDRESS DELIVERED AT THE OPENING OF THE AUTUMN SESSION OF THE ART SCHOOL AT CHIPPING CAMPDEN IN 1904 LADIES, MY LORDS, AND GENTLEMEN, 1AM not sure that I owe a very deep debt of gratitude to Mr. Ashbee * for placing me in the position in which I find myself to-day ; in fact, a man who comes to talk to artists about art, and to craftsmen about their craft, is rather in a trap he is in a very difficult position. However, with age comes that wariness which prevents us from easily falling into such gins as these. You may rest assured that I shall not talk to you about your blow-pipes, your crucibles, your printing presses, your bookbinders' tools, your enamelling processes. I shall continue to look at them from a distance with respect and awe. I must try and find some point upon which we stand together upon more level ground ; and so I shall take for my subject to- day "The Divine Doctrine of Discontent" not that vulgar form of discontent which snarls and growls at fortune because some neighbour is more prosperous, more lucky, as it is called, than ourselves ; but that high form of discontent which prevents a man when he has executed a piece of work from looking at it and seeing that it is good. That is only possible for the omnipotent Divine Creator. Man, with his limitations and his imperfections, should look at his work and see that it might be better. I do not myself believe that there ever * The head and founder of the school. I2 5 AN ADDRESS was any first-rate piece of work done in this world in the frame of mind which is known as content. In literature, in art, in science, discontent is that which has ever been leading men on to higher things, and enabling them to achieve something nearer to that ideal for which they are striving. We know how amongst writers, for instance, old Horace told us the secret of his work was that he was always turning his pen ; we know how Charles Dickens was the terror of the compositors, so crossed and re-crossed and scratched were the manuscripts which he handed in to them. It is impossible to conceive that the great works, the masterpieces of the Greek writers, were produced in any other way than by continual erasion and correction. The story of Demosthenes, the poor stammerer, out- roaring the scolding of the sea, until he became the greatest orator of his own or of any other age, if a fable, is yet a useful one. But it skills not to dwell too much upon this one point. It is a matter which I fancy every one will concede. But I should like to remind you of one anecdote which I have used once before, but not here ; and at any rate it is a story which has had so much influence upon me that I always feel as if it could scarcely be too often told. In one of those charming essays on Italy by my old friend Mr. Storey, the American sculptor, there is a tale told how one of the Cardinals was driving into Rome from the Coliseo on a bitter February morning. The wind was blowing and snow was falling ; it was a regular blizzard. The Cardinal curled himself up in the corner of his coach, nestling 126 AN ADDRESS in his warm furs, and pitied the wayfarer who must be outside. All of a sudden, as he came nearer to Rome, he saw a pathetic figure struggling against the storm, his cloak closed tightly round him, a staff in his hand a resolute, sturdy oldfellow doing battle with the elements. To his surprise, as he drew near he perceived that he was Michael Angelo Michael Angelo, the poet, sculptor, painter, engineer, archi- tect, the Wonder of his age. The Cardinal stopped his coach. He said, " Michael Angelo, what are you doing here ? " " Eminence," replied the old man, " I was going out to the ancients to learn something." Here was the spoilt child of science and art, still learning, still eager to acquire, still animated by the Divine Spirit of Discontent. But I wish to show you how this spirit has affected the soul of a whole people, and what a part it is playing in the history of our times. At the present moment we have before us an example of the gayest, the brightest, the sunniest nation in the whole world I was going to say the most contented nation in the whole world the Japanese ; and yet there is no people in the world that has given such evidence of being stirred by the Divine Spirit of Discontent as they have done. Take their art. For the most part, when a European artist has reproduced some object of Nature, in metal work, in ivory, or in any other material, he is satisfied and contented if the result of his labour shows a presentment of the form which he is striving to copy, in so far as it is seen. That is not enough for the Japanese. The Japanese will produce a bird, and he knows that 127 that bird will have to stand upon two clamps fixed to a stand ; he knows that only the upper part of the feet will be seen, but it will not suffice him that only the upper part of the feet should be worked. The lower part of the feet will be worked with the same assiduity, the same care, the same loving, caressing hand as all the rest of the work which will come before men's eyes. It does not matter to him that the thing shall not be seen ; it would be imperfect if it were seen, therefore the work must be done. Now that is to my mind the highest form of conscientious love of art. But it is not only in art that this wonderful nation has given us an example of what can be achieved by patient perseverance, and conscientious striving after high ideals. Nearly fifty years ago I was in Japan ; and the Japanese then bought from an American firm of the name of Walsh, Hall, and Company their first man-of-war. They had owned a small ironclad which had been presented to them by the United States, but this was their first purchase of a man- of-war. It was an old monitor that had done service in the American War. When the Japanese came to pay over the dollars and take possession of the ship, Messrs. Walsh, Hall, and Company offered them to send their engineer on board and show them how to work the engines. They were grateful for the offer, but they declined it. They said that they knew all about engines, and that they did not need any help whatever. They took over the ship, and got up steam, and sailed away 128 AN ADDRESS gaily into the Bay of Yedo ; but having got up steam, they did not know how to shut it off again. They had to go round and round in a circle until the fires went out and the boilers cooled. In less than forty years from that time that nation became one of the first naval powers of the world. Is not that an astonishing instance of what can be achieved by people who set before themselves an ideal, and, striving to reach it, are never contented until they have done so ? Suddenly they emerged from the gloom of the thirteenth century to the brilliant light of the nineteenth. Yet were they not content to don the nineteenth century ready made from any country as a man might buy a coat at a cheap tailor's. No ! they must cull the best wherever it might be found, and so mould and fashion and shape it as should best serve their ends. Professors were brought from all the headquarters of civilisation and progress. Bands of students were sent out into all lands and how they worked ! Jurisprudence, surgery, medicine, political economy, finance, science, the art of war by sea and by land, railway organisation, and all those numberless branches of knowledge which combine to make a people great, were assimilated and even improved upon, until now the pupils bid fair to become the masters of their masters. These things were open for all men to see. What some of us who had known Japan well in the old days of the feudal system, when swashbucklers ruled the roast, did not see was the fact, of which there is now ample evidence, that hand-in-hand with the material change there had taken place an 129 AN ADDRESS inner and more subtle transformation, yet more marvellous than the mere adoption of modern inventions. Some of us said and wrote things which had better have been left unsaid and un- written. I, for one, confess with no little shame that I was utterly wrong. These splendidly discontented Japanese, then, gave themselves no peace until they had brought themselves into the first rank among the nations. And so it came to pass that when they were pitted single-handed against what was regarded as the most formidable power in Northern Europe, their triumph by sea and by land was complete. There is another force which counts for much in moulding the Japanese character the Yamato Damashi the spirit of old Japan, which makes every Japanese a true patriot. Bound up with this is the much famed Bushi-Do " the way," or, as one might almost translate it, the " religion," of the warrior.* I will give you an instance which occurred during the recent operations against Port Arthur. I suppose all of you have heard of the heroic Commander Hirose, who went out to try and block Port Arthur with one of those ships that the Japanese endeavoured to plant in the passage. He succeeded in leaving the ship there and went back to his boat. When he got to the boat he missed a midshipman. He went back to try and save the midshipman. He found the midshipman dead on the deck of the ship, and he came back to his boat again. Once more it occurred to him that * The Chinese word Tao, road or path, of which Do is the Japanese transcript, is often used in the sense of religion just as our word Path is. 130 AN ADDRESS he had left his sword behind him. No Japanese could leave his sword behind him without being disgraced. So he went back once more, and that time he was blown to pieces. But that is not the whole point of the story. Amongst his effects was found a letter to his family, saying that it was his intention to go on attempting to block Port Arthur until he either succeeded or died in the attempt. But even if he should succeed, and if he should return alive from his most hopelessly perilous mission, they must still never expect to see him again, for this reason : He was a sailor and an officer of the Japanese Empire. To his Sovereign and his country all his efforts were due ; every drop of his life's blood was theirs. But he could not forget that he had been sent to St. Petersburg as naval attache, that he had made many friends there and learnt many useful lessons. Therefore in the event of his succeeding in doing the Russians this great injury, it would be necessary for him, as a man of honour, to go on board the Japanese flag- ship and perform hara-kiri on the quarter-deck, thus discharging his debt.* Now is not that the sublimest form which the Divine Spirit of Discontent Can take ? We in this country are apt to look on hara-kiri as a barbarous and even theatrical form of suicide. It is nothing of the kind. It is indeed the sublimation of all those ideas of honour which constitute the very essence of chivalry. The first doctrine which is * This is the story as it was sent to me by the late Admiral Sir Assheton Curzon Howe, who was commander-in-chief on the China Station at the time '3 1 AN ADDRESS instilled into the mind of the young Japanese is that death is preferable to dishonour, and that no amount of worldly prosperity and no amount of success are worth having unless the honour of the man be as spotless as the steel of his blade. This spirit is carried into all relations of life, and it is the dominant influence which forms the character of the Japanese. Ladies and Gentlemen, I must apologise to you for having wandered too far afield from the realm of art ; but I think you will see that it is only in appearance that I have done so. I have been desirous of showing you how the most artistic and the most accomplished nation of the day derive their spirit, not only in art and in science, but in moral philosophy, in the duties of the subject to the ruler, and in all the higher relationships of life, from a feeling that it is not sufficient to leave a piece of work alone until you are perfectly certain that it cannot be made better. We all of us owe great thanks to Mr. Ashbee for having started these schools in this neighbour- hood. I think that the schools themselves cannot fail to gain by being nestled in one of the prettiest towns in the Cotswold Hills. I am sure that the neighbourhood will be the better and the happier for the opportunities that are afforded to those young men who have talent and perseverance of effecting something more in life than they could have done under the old system. Again, I think that Mr. Ashbee has been wise in bringing the town to the country. Every movement that tends to lessen the congestion of the great towns is an 132 AN ADDRESS imperial movement of the greatest importance. I think we all of us know enough about this institution that Mr. Ashbee has been the means of founding here to be sure that under him and Mrs. Ashbee there exists and flourishes a colony whose happiness and prosperity are their first care in life. Gentlemen May the work of your hands prosper ; may your schools flourish and bring forth great and noble and far-reaching results ; and above all may you yourselves be animated by that Divine Spirit of Discontent upon which I have preached to you to-day. And some day, years hence, when perchance some one of you, now full of the hopes, the ambitions, and the lusty vigour of youth, shall have waxed old when the eye shall have grown dim and the hand uncertain then, and not till then, may such a one, looking back upon some dainty piece of work into which in the long, long ago all his artistic soul, all the poetry of his being had been poured, be able to murmur gently to himself : " Aye ! that was well done." '33 A SECOND ADDRESS, DELIVERED AT THE ART SCHOOL AT CHIPPING CAMPDEN IN 1905 A SECOND ADDRESS AT THE AUTUMN SESSION OF THE CAMPDEN ART SCHOOL, IN 1905 LADIES, MY LORDS, AND GENTLEMEN, AMONG the countless myths which the rich fancy of the ancient Greeks has bequeathed to us, none, as it seems to me, is more beau- tiful, none more pregnant with meaning, than the story of Pandora. She, you will remember, was the first woman, the mother of all men, the Eve of classic mythology. To her the Gods entrusted a precious casket containing every good gift for mankind but it might not be opened. That was a solemn injunction. Now she, womanlike, bitten with curiosity, could not refrain from opening the box, if it were only for one peep at its contents. She looked, and alas for the good God-sent gifts ! They flew away, never to return. Terrified, she shut down the lid, but it was too late only one gift remained, but it was the best of all : Hope. That, at least, was saved. Yet I venture to think that in some corner or cranny of the casket there must have lingered yet another gift ; one closely allied to Hope, and almost as enriching to all of us. That gift was Imagination, and of that I wish to speak to you to-day. It is well for us that the lid was closed before Hope and Imagination had had time to escape. I do not know whether there be any of you here present who are not familiar with Boswell's " Life of Johnson." If such there be let me urge you to 37 A SECOND ADDRESS repair the omission without delay. For not only is Boswell the first of all Biographers, but he is also a most excellent Master of the Ceremonies, who will introduce you to the very best society. John- son himself, Sir Joshua Reynolds, Burke, Garrick, Goldsmith, Gibbon, Dr. Percy, Bishop of Dromore, and a host of others. Where else can you enjoy the conversation of such a galaxy of wit and learning ? Nay more, if you would listen to the talk of the King, is not His Majesty's interview with Johnson accurately recorded? But that be- longs to another story. On Tuesday, July 5, in the year of grace 1763 Boswell called upon Dr. Johnson, who told him that he had been looking into the poems of a certain Scots Presbyterian Minister, but "could find nothing in them." Boswell, ever eager to take up the cudgels for a brother Scot, said, "Is there not Imagination in them?" Johnson replied: "There is in them what was Imagination, but it is no more Imagination in him than sound is sound in the echo. And his diction, too, is not his own we have long ago seen 'white-robed innocence' and 'flower-bespangled meads." In all expression of thought, then, we should remember that " white-robed innocence " and " flower-bespangled meads " are something to be avoided by all those whose ambition it is to achieve any good thing in this world of much evil. Perhaps you may be inclined to object, " This is not a school of Poetry," and to ask, " What have we to do with these commonplaces ? " In a sense you will be right. If Poetry be confined to musical A SECOND ADDRESS metres and jingling rhymes, then this is not a school of Poetry. But you must consider what was the original meaning of the words " Poet " and " Poem." They are derived from a Greek word signifying to make or create. The Poet was the man who made something, the Poem was that which he made ; and it is worthy of remembrance in this school that in the first instance the word polema^ Poem, was exclusively applied to metal work. By degrees the words were extended to works of the Imagination, and the Romans, who affiliated them into their own language, used them in that sense exclusively. The Romans were great warriors and great lawyers ; indeed, they laid the foundations of juris- prudence for the whole world. But in works of the Imagination they were singularly deficient : their art was feeble, and even of their two greatest Poets, the one, Virgil, was a translator, adapter, and imitator, the other, Horace, was a society verse- maker both first-rate in their way, but how in- ferior to the creative Imagination of the Greeks ! For Poetry the Latins had not even a word in their own language. They borrowed the Greek word in its second intention, and so it was handed on to the rest of the world, becoming crystallised in almost every modern European tongue. Poets, then, in the oldest acceptation of the word that is to say, makers or creators you here aspire to be ; and the technical school which fulfils its mission is in very truth a school of Poetry. This being so, it behoves you to lay to heart Dr. Johnson's criticism of Dr. Ogilvy, and to take heed K I 39 A SECOND ADDRESS lest you lay yourselves open to the charge of borrowing or adapting to your own uses what was Imagination in somebody else. The gift of Imagination appears to be the peculiar privilege of man. The architecture of the beaver is clever and ingenious, but the work of one beaver differs only from that of his fellow in the shape and nature of the wood at their respective com- mand. The cells of a honeycomb, beautiful and mathematically correct as they are, differ in no particular from those in every other bee's con- struction. Every village boy knows that one thrush's nest is repeated character for character in that of another. With you it is different : each one of you can put something of himself into his work, and unless he does so he becomes a mere copyist, an echo and not a sound, a purveyor of " white-robed innocence " and " flower-bespangled meads." Of course I do not pretend to say that every one, be he never so diligent, never so enthusiastic, can achieve the success of originality. The great Art-poet is as rare as the great Song-poet. But the humblest Craftsman, if he only have appreciation, for which some share of Imagination is required, can and will infuse into his work some spark of originality, some measure of the sense of beauty which is in him. That, I take it, is the meaning of the writing upon your walls : Give to barrows, trays, and pans Grace and glimmer of romance. And here I would fain utter a word of warning. 140 A SECOND ADDRESS The true Artist will not allow his fancy so to run riot as to annul the utility of his work. If your barrows will not wheel, if your trays be so fashioned that they will not carry cups and saucers in propor- tion to their size, if your pans will not fry your food, then your art becomes mere faddism and you are better without it. I remember the erection of a great public office by a famous architect some thirty or forty years ago. In order to suit what he conceived to be essential to his elevation, the highest rooms had no windows but what could be formed out of the tops of the arched windows of the third floor. Now these rooms were meant for men to write in. Their only light came from the level of the floor, reach- ing four feet or so upward. The rooms had to be turned into store-rooms. Was that good art ? The first function of a window is to give light and air. These windows gave only cruel draughts round feet and legs, and absolutely no light by which a man might work. The first thing needful in a house, a barrow, a tray, or a pan is that it should serve the purpose for which it was intended. That end being achieved, embroider as you please, adorn as your genius may prompt you, as your imagination may dictate. For all the great work that has been done in the world, for all the great discoveries that have been made, we have to thank this sublime gift of Imagination Imagination backed by courage. When men saw the sun rise in the east, cross the great arch of the sky, and drop down out of sight 141 A SECOND ADDRESS in the west, what was more natural than that they should suppose that the sun revolved round the earth ? So much was this the case that the belief became an article of religious faith ; and when there came thinkers whose Imagination was so strong that it could not refrain from working, and who saw that it was the earth and not the sun that moved, their newly found knowledge, now the property of every infant, was combated by all the horrors of the Inquisition. The Imagination of these men would have been little worth had it not been wedded to courage. Nothing needs more audacity than the denial of worn-out faiths, the attacking of threadbare opinions. Is there a finer picture in the whole history of human thought than that of the brave old philosopher Galileo, past seventy years of age, daring the Inquisitors with his famous speech eppur si muove, saying of the earth, " For all that, it moves " ? The spirit of modern Scepticism casts a doubt upon those words, but even if he did not speak them, he acted them, and deeds are more than speech. Thus was the Copernican system asserted and maintained, maugre the thunders of Popes and Potentates. See the great liners of to-day racing across the Atlantic ! Leviathans of many thousand tons, crowded with hundreds of passengers, setting time and space at defiance ! And then think of Columbus straining his bold, yearning eyes seaward and west- ward, and dreaming of a great continent in the existence of which no man believed. With the eye of the Poet, with the eye of the Prophet, he sees what no other eye can see visions of a Greatness 142 A SECOND ADDRESS yet unborn, visions of Possibilities how much more than fulfilled. During upwards of twenty years never for a moment did his courage fail to uphold the belief which was in him, the solemn creed of his Imagination. Wandering hither and thither, from Lisbon to Genoa, from Genoa to Venice, from Venice back to the Peninsula, scouted and flouted as a visionary by dullards and muddy brains, at last he finds his way to Spain. Travel- stained, foot-sore, weary, dying of starvation, he comes to beg a crust at a convent-door, and here at last he finds an ear to listen, a brain to compre- hend. The Abbot, a man of shrewd perception, possessing great influence at Court, is struck with the noble bearing and lofty thoughts of this poor faltering Mendicant. His cause is pleaded with the King and Queen, the famous Ferdinand and Isabella, and happily they have faith enough to fit out an expedition. In command of three small vessels, two of them not even decked think of that ! trusting in God and in the surety of his own Beliefs, he sailed into the great trackless waste of unknown waters. But his troubles were only begun hunger, thirst, and mutiny were the deadly foes against which he had to fight. Yet his stout heart never forsook him, and in spite of all dangers and difficulties he reached the goal of his Imagination. His subsequent voyages and adventures, the faithlessness of the king whom he had served so loyally, his chains, his degradation, and the tardy honours bestowed upon him after death all these are thrice-told tales which need not be insisted upon here. I have but cited this great Hero A SECOND ADDRESS as an exemplary instance of what Imagination can do when held up by the courage of a Columbus. In Science, to the full as much as in Art, or in that branch of Art which we call Poetry, Imagination has been the great benefactor of mankind. A kettle is boiling on the hearth. To the ordinary man the steam bursting out from the spout suggests only a measure of material comfort. The more thinking man perhaps regards it as water in a gaseous form. But the imagination of the creative man, the Poet in the first sense of the word, sees in it a force and a propelling power, and in our own county of Gloucester, just two hundred and fifty years ago, the Marquis of Worcester was the first man, in England at any rate, to succeed in utilising it as such. How many* men had seen apples fall to the ground before Newton ? He saw it and great were the results. His imagination was excited, and the law of gravitation was discovered. A boy of eighteen, watching the movement backward and forward of a lamp which some chance had set a-swinging in the Cathedral of Pisa, was roused to think, and the issue of his Imaginings was the invention of the Pendulum as one means of measuring time. Consider for a moment all that the Imagination of the most gifted men has done for us during the last hundred years. How we compass in a day a distance over which at the beginning of the nine- teenth century it took three weeks or more to travel. How the goods and produce of foreign 144 A SECOND ADDRESS countries, tea, sugar, coffee, once the luxury of the very rich, have been brought to the humblest door, and have become the necessities of the very poor. How the very lightning has been captured and made to serve our purposes. Think of the great engineering works the tunnelling of the Alps, the cutting of the Suez Canal think of the advance in surgery rendered possible by the antiseptic methods of a Lister! Verily we are driven to the reflection that in all material progress of life there is more difference between our days and those of King George the Third than there was between his days and those of William the Conqueror. And all this, I cannot repeat it too often, is due to the working of Imagination. The dreams and ambitions of Kings, Warriors, and Politicians : some successful, some the reverse ; some making for the good of mankind, and some working unmitigated evil these I purposely leave on one side. With the Alexanders, the Caesars, the Mahomets, the Napoleons, the Bismarcks, the Cavours, we have no concern to-day. Imagination they had in plenty, but their achievements and their failures are outside the scope of our inquiry. And now I wish to consider this very school in which we are gathered together to-day as being itself an important and I hope most successful work of Imagination the outcome of the thought and care of one man. For upwards of half a century I have known this beautiful old town. I well remember the first impression which it made upon me. The old seventeenth-century stone buildings, which are such '45 A SECOND ADDRESS a precious inheritance of our hills : the town hall, the market-place all pictures speaking of a time long since passed away, of days when the Cotswolds were a great wool-growing district, when every man was a flockmaster and every woman span. It was lovely, it had the perfume of a bygone age, like something that has been laid up in lavender. But it was fast asleep. Except the rush from the grammar school at playtime, and now and again the eager bustle of market days, there was little stir in the place, nothing which told of active life. Now all is changed. Imagination has touched the dear drowsy old town with its Magician's Wand, and we stand amazed at the awakening. A guild of arts and crafts, with a depot in London, finds a home here for strenuous work work beauti- ful in itself and inspiring in others. The printer, the bookbinder, the carpenter, the jeweller, the enameller, the smith, and I know not how many others, are all busily plying their trades every- where the hum of cheerful Industry ! Nor has the leisure hour been left unprovided for. Music, reading, manly games, gardening, even swim- ming which seemed most hopeless in our dry country are here at command. But that is not all. These schools, of which the autumn session opens to-day, have been established, and it would pass the wit of man to foretell to what their influence may lead. When we reflect that out of a small population of some 1500 souls no fewer than 205 young folk have eagerly flocked here to take advantage of this teaching, we can form some 146 A SECOND ADDRESS estimate of its power and of its value. And this leads to the further thought of the debt of gratitude owing to the Magician who has wielded his Wand to such good purpose. It is true, as I said before, that all who come here cannot aspire to take a foremost place in Art. That is reserved for the elect, and in the course of the centuries these have been few indeed. But even so, taking the humblest and least hopeful view of what is being done, we may say that many lives which would otherwise have been dull will have been made bright, if only by acquiring the power of appreciating the work of the great Masters. And not a few, maybe, will have been saved from what is ugly and bad by the love of what is beautiful and good. You then who are scholars I urge to cultivate Imagination, which is the parent of all true Poetry and all good and noble work. Reverence the Art- poets of the past, bearing in mind that the best work of the Artisan and Craftsman is as much a Poem as " Hamlet " or '^Paradise Lost." To those who are not scholars I pray your leave to say a word, begging them by every means in their power to encourage the good work that Mr. Ashbee has initiated. Mr. Ashbee, I know, sets a high value upon the assistance which he has received from his Co-Trustees and from the local Committee. Far be it from me to belittle their good influence, yet it must be plain to us that to him belongs the credit, as upon him rests the responsibility, of this work of his Imagination. That being so, to us at least there need not attach the ^//V-credit of leaving H7 A SECOND ADDRESS him to bear his self-imposed burthen alone and without encouragement. A little Sympathy, a little Help, will fall like summer dew upon the good seed which he has sown, and which we may expect to see bearing so rich a harvest of happiness and well-being. 148 A TALE OF OLD AND NEW JAPAN A TALE OF OLD AND NEW JAPAN, BEING A LECTURE DELIVERED BEFORE THE JAPAN SOCIETY OF LONDON, NOVEMBER THE I4TH, MDCCCCVI WHEN your Secretaries did me the honour to request that I should read a Paper at the Opening Meeting of this Session of your Society, I felt that I could not refuse so flattering a compliment, but I made it a bargain that they, not I, should choose the subject. They were good enough to suggest that it might be "a contrast between Japan as it now is and what it was some years since, with the title possibly of 'A Tale of Old and New Japan." It will be seen then that I am responsible neither for the text nor for the title of my discourse. It is true that your Secretaries gave me as an alterna- tive subject "some incident in reference to the recent Garter Mission"; but with that I have to the best of my ability dealt in another manner, and, even so, it will be difficult to keep the experiences of that expedition out of our consideration. For if my life during former years in the Far East gave me some knowledge of the Old Japan, it is my recent journey with its many and astonishing experiences which opened my eyes to the full appreciation of that New Japan which has burst upon an astonished world. It has become the merest platitude to talk of the progress of science during the last fifty years, that pregnant epoch, the teeming mother of many OLD AND NEW JAPAN inventions ; but if the material progress of mankind during the half-century has been a wonder, pro- ducing results which would have seemed to our forefathers something beyond the craziest dreams of a moonstruck imagination, the political history of the same period has been no less astounding. Empires and dynasties have been brushed away ; worn-out kingdoms and duchies, impotent in their arrogant smallness, have been welded together into new and mighty fabrics defying the world ; in the Far West a long and terrible war has washed out in blood the dark stain of slavery. Manifold have been the cataclysms which we, the old men of to-day, have witnessed ; but of all the changes that have occurred none is so altogether amazing, none so far-reaching in its consequences both at home and abroad, as that which has taken place in Japan. To describe in some way, necessarily imperfect, this great upheaval is the task which is before me this evening. A difficult task if ever there was such ! For this contrast which I am bidden to paint is one of such violence that I doubt whether my poor palette holds colours bright enough for the work. And here I must utter one word of apology to His Excellency* and to my Japanese hearers. I do not think that any of you here present will accuse me of want of sympathy with the Old Japan. The poetry, the fascination, the charm, that made up the dainty joyousness of the life in that land ot beauty as I first had the happiness to know it, have built for me a rich storehouse of precious memories, * Baron Komura, Japanese Ambassador, was in the chair. I 5 2 OLD AND NEW JAPAN some of which I have in the past endeavoured, however feebly, to impart to others. Indeed, I sometimes think that no retrograde or reactionary Samurai of the old school could look back on those times more regretfully than I do. Who could help being fascinated by the chivalry, the heroism celebrated in many an old-world legend by the poetry of myth and fable which cast a glamour over all those who, coming from the humdrum and com- monplace of the West, were spellbound as by a wizard's magic ? And then the setting of it ! A country so lovely, so dainty, so wildly fantastic in its beauty, that it seemed to be a fitting home for fairies and giants and dwarfs, such as troubled the brain of Don ^Quixote if human beings there were, they must be knightly figures and lovely princesses that might have stepped out of the illuminations of an Eastern Romance of the Rose. And yet those were dark days, black days, which, love them and cherish their memory as we may for the sake of their mystic charm, we must needs paint in sombre colours if we are to give due expression to the glorious sunshine by which they have been followed. After all, it is a question of chiaroscuro : what gives value to the high lights is the gloom of the deep shadows ; and so you must bear with me if, in order to show the suddenness and the per- fection of what Japan has achieved, I dwell with some stress upon what she has cast aside. I spoke just now of the history of the last fifty years, and of the dominant place which Japan must occupy in it. What shall we say of the fifty years which preceded them ? In the story of mankind 'S3 OLD AND NEW JAPAN during the half-century ending in 1853, it is not too much to say that Japan, which must of neces- sity loom so large in the following half-century, will not once be mentioned. By her own choice she stood alone, unknown to the rest of the world of which she herself was entirely ignorant. The small Dutch trading guild which lived in mercan- tile imprisonment in the island of Deshima had been for well-nigh 250 years the one link between Japan and the rest of mankind ; and, with a few solitary exceptions such, for instance, as the emi- nent Bavarian Doctor von Siebold the Guild was not composed of men calculated to illuminate Japan as to the outside world ; whereas of Japan herself they spread the most astounding figments figments all the more mischievous in that they tended to hamper those who first attempted to establish sound relations with her. In these days of swift ships and transcontinental railroads, when we rival Puck himself in girdling the earth, and when a man may wander where he will through the lovely Islands of the Rising Sun, it seems almost incredible that when I first entered the public service in 1858 there was not a living Englishman who could say that he had ever set foot in Japan. I remember the excitement when it was announced that Lord Elgin had sailed from China to negotiate a treaty in that terra in- cognita. To-day there is not a city, not a seat of learning in Europe or America that has not held subjects of the Mikado, eager students in every branch of learning, law, medicine, philosophy, the economic arts, science in all its branches, men who '54 OLD AND NEW JAPAN have worked out to their profit the deepest problems of Western lore, to say nothing of all that apper- tains to naval and military knowledge ; at the time of which I speak not a single Japanese had ever been seen in Europe.* How remote it all seems in its impossibility, and yet, measured by what has been achieved, how short a time has elapsed ! The knowledge of the average European about Japan was limited to the fact that in some remote corner of the Eastern seas there lived a mysterious nation of cunning craftsmen, skilled in the making of pottery and lacquer, deft workers in bronze and other metals, carvers of wood and ivory, whose masterpieces were eagerly sought after by lovers of art. We heard the wildest tales stories made in Holland about a spiritual Emperor and a temporal Emperor, and about a form of government in which spying had been brought to a fine art. So crass was our ignorance that even educated men were for the most part under the impression that the Japanese language was identical with, or at any rate a dialect of, the Chinese. But it signifies little what might be the fallacies which Europeans held about Japan fifty years ago indeed, it signified little then. What was far more important was the opinion entertained for us by the Japanese. It was not flattering, and out of it sprang no little trouble. I well remember, even so late as a few years after the opening of Japan, seeing a handbill which was sent out broadcast by certain anti-foreign fanatics at Kyoto in which all * That is to say, of course, since the Missions of the sixteenth and beginning of the seventeenth centuries. L 155 OLD AND NEW JAPAN men were warned to preserve the land sacred to the descendants of the Gods from being defiled by the barbarians, who were the offspring of dogs and cats and apes. To travel abroad was under an edict of lyemitsu, the third Shogun of the Tokugawa dynasty, punishable by the extremest penalties of the law. No Japanese might leave the country under pain of death, no foreigner might enter it, save and except that handful of Dutchmen alluded to above, who drove a none too respectable trade cooped up in Deshima, content to suffer indignities unspeakable among which e-fumi, trampling on the sacred images, bore a conspicuous part so long as they might buy and sell, making a huge profit out of the exchange in gold and the monopoly of an interesting commerce. So exclusive was the anti-foreign policy of lyemitsu, so determined was he that the outer barbarian should have no footing in his country, and that no Japanese should have dealings abroad, that he actually forbade the build- ing of sea-going ships. Now lyemitsu was certainly one of the strongest of the old rulers of Japan, a worthy descendant of his grandfather lyeyasu, the founder of the Toku- gawa dynasty of Shoguns. What was it that led this wise man, this really great potentate, to take so violent a line against all foreign intercourse ? It is a common fallacy to suppose that Japan was from the beginning of time a hermit kingdom, neither giving nor seeking hospitality, keeping herself aloof from the rest of mankind, hugging her solitude, looking upon the sea as a barrier never to be crossed, whether for pleasure, for profit, or for 156 OLD AND NEW JAPAN conquest. Nothing could be further from the truth. That we may rightly understand the situation in Japan at the first coming of foreigners fifty years ago it is necessary that we should sketch, however briefly, the circumstances which led to her isolation. Throughout the Middle Ages the Japanese were kings of the Eastern seas. No Vikings struck more terror into the West than they did in their raids upon the Chinese and Corean coasts. Their iunks, bristling with the spears of fierce warriors, and manned by crews whose daring and spirit of seamanship live again in the bluejackets of Admiral Togo's fleet, knew no repulse, carried mastery whithersoever the winds and the waves might waft them. Yet, be it noted, the annexation of foreign territory formed no part of the national policy of Japan. Provinces might be overrun, towns taken, sacked, and burnt, but the rulers of Japan held aloof. Such piratical raids were the work of privateers, and if these obtained a hold in a distant land, as was once the case in Siam, where two freebooters made important conquests, no attempt was made at any lasting result. For colonisation Japan had no taste, yet she had her Raleighs, her Drakes, her Frobishers, just as to-day she has her Nelson. That such men, instinct with the genius of the sea, born navigators, dare-devil privateers, should have sub- mitted to laws which not only held them in chains at home, but even forbade the building of ships, must ever remain a lasting wonder, a witness to the boundless power of lyemitsu. When in the year 1452 the Portuguese first '57 OLD AND NEW JAPAN appeared on the coasts of Japan they were received with warm hospitality. There was no prejudice against them or against their commerce ; in no way were they hindered in their free dealings with the people on the contrary, the advantages of foreign trade appear to have been fully recognised as a boon to the country and a new source of wealth. Other merchants followed and were made equally welcome, the Shogun himself issuing an edict that they might go and trade whither they listed ; and so matters might have gone on, pleasurably, profitably, had not a disturbing influence speedily arisen. We hear much of " das ewig weibliche " the eternal feminine less of " das ewig priesterliche " the eternal priestly and yet the one has hardly wrought more discord in the world than the other. On August 15, 1540, there landed in the Island of Kiushiu a most remarkable man. Father Xavier, afterwards canonised as St. Francis Xavier, was a young gentleman of Navarre, who had adopted Letters as a profession, and was already, at twenty-two years of age, Professor of Literature in the College of Beauvais, when he came under the influence of the Biscayan, Ignatius Loyola, by whose preaching he was persuaded to abandon his literary career and to become one of the seven founders of the famous Society of Jesus. He had chosen the Far East as the theatre of his missionary work, and was known as the Apostle of the Indies. For him perils by sea, perils by land, had no terror. Through all, and in spite of all, he must carry the Cross. And so it came to pass that after many adventures and several years of arduous work he 158 OLD AND NEW JAPAN was in the Malay Straits, where he became ac- quainted with a young Satsuma gentleman who had found his way there, and who became his disciple. With him he set sail, with him he cast anchor in the lovely bay of Kagoshima, and with his assistance he began his missionary labours. When he quitted Japan some two and a half years later he had, in spite of many difficulties and no little discouragement, achieved much. He left behind him the foundations of a structure which was destined to attain a great height before its final overthrow. He never came back, for he died of fever in the Island of Shang Chuan on December 2, 1552, being only forty-six years of age. For thirty years or more the new creed flourished exceedingly. Captain Brinkley tells us that " two hundred thousand converts were won ; three monas- teries, a college, a university, and upwards of fifty churches were built " ; and it seemed as though the thirty-six provinces of which Japan then consisted might soon be included in the pale of Christendom. During the early days of the power of Ota Nobunaga in the latter half of the sixteenth century, that great ruler appears to have been favourably disposed towards the Christians ; indeed, he seemed inclined to use Christianity as a lever against Buddhism, which at that time had become violently aggressive. Apparently, however, in all countries the priestcrafts have been unable to con- fine themselves to the task of preaching and saving souls. Sooner or later political power has been the aim of their ambition ; even the disciples of the '59 OLD AND NEW JAPAN gentle and meditative Buddha, the mystic who attained wisdom under the peaceful shadow of the Bodhi tree, were not proof against the temptation to achieve temporal power, and at Kyoto the followers of the teacher to whom all killing was a crime had formed themselves into a monastery of thirty thousand monks armed to the teeth, threaten- ing the palace itself and even the sacred person of the Emperor. Against these turbulent monks the Christians might be a valuable reinforcement, so for a while the new religion was in high favour at Kyoto ; land and emoluments were showered upon the Fathers, who for a few years basked in official sunshine. But this favour was short-lived. Soon they too were suspected, like the Buddhists, 01 political aspirations, and Nobunaga determined to rid himself of their presence. Treason, however, put an end to his career and his life before he could carry out his plans. He was succeeded by the famous Taiko Hideyoshi, the greatest ruler of Old Japan. The Taiko was a man of humble origin, who by his military talents and mastery of statecraft raised himself to the proud position of Regent. He was the living embodiment of the Japanese proverb, " The lotus-flower springs from the mud." The change of ruler boded no good for the Christians. Hideyoshi had long distrusted the professors of the new creed. The way in which they used their growing power and wealth convinced him that their aims were political, their ambitions temporal. Laws and Proclamations were set at naught ; cruelties at which the Inquisition itself might have stood aghast had taken the place 1 60 OLD AND NEW JAPAN of the gentle methods, the pious example, and the persuasive teaching of St. Francis Xavier. In the south, where the Christians had their stronghold, the sword and the stake were the arguments for conversion. In temporal matters class was being set against class, and the whole political fabric of the country was in danger. If this faith was to be the antidote to Buddhism it seemed clear that the remedy was worse than the disease. By their turbulent lawlessness the Christians brought upon themselves the just wrath of a ruler with whom there was no trifling. Yet, although in one or two instances the penalty of death was exacted, and one Daimyo was degraded, there was so far no general persecution of the Christians. The Regent contented himself with warning them that their violence and aggressiveness would not be tolerated. The Franciscans brought the religious question to a head, and wrecked the chances of Christianity, just as they did a century later in China, where the Jesuits had achieved such marked success under the enlightened friendship of the Emperor Kang Hsi. Under the cloak of a Spanish diplomatic mission a party of these Franciscan friars came to Kyoto, and started a propaganda in opposition to the Jesuits. The latter pleaded not only a Bull of the Pope which appointed them to be the missionaries to the Islands of the Rising Sun, but also the authorisation of the former Regent. The Fran- ciscans paid no heed to either, but continued to preach. The Taiko interfered and ordered them to desist. In vain ! They defied the power of 161 O