Читать книгу Nooks and Corners of English Life, Past and Present - John Timbs - Страница 7

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he infant state of our Saxon ancestors when the Romans first observed them, exhibited nothing from which human sagacity could have predicted greatness. A territory on the neck of the Cimbric Chersonesus, and three small islands, contained those whose descendants occupy the circle of Westphalia, the Electorate of Saxony, the British Islands, the United States of North America, and the British Colonies in the two Indies. Such is the course of Providence, that empires, the most extended and the most formidable, are found to vanish as the morning mist; while tribes, scarcely visible, or contemptuously overlooked, like the springs of a mighty river, often glide on gradually to greatness and veneration.

Our inquiry, however, must be confined to the arts of these people. Concerning their architecture, it is supposed that the most ancient buildings were of wood; since the Saxon verb Getymbrian, to build, signifies literally to make of timber. The early English churches were built of logs of wood; and the erection of buildings of reeds and trunks of trees seems to have existed in some parts of England to a late period; since, in 940, Hoel Dha, King of North Wales, erected his White House, where his famous laws were made, of twisted branches, with the bark stripped and left white, whence it derived its name. Even in the days of Henry I. also, Pembroke Castle was built of twigs and turf. Bricks were made in England by the Saxons; but they were thin, and were called wall-tiles. It has been supposed that the Saxons and Normans adopted the masonry which the Romans introduced into England, altering it as architecture improved. The principal peculiarities of the Saxon style are the want of uniformity in all its parts, massive columns, semicircular arches, and diagonal mouldings. The first two are common to the barbaric architecture of Europe; the round arches are believed to have been taken from the Romans; and the zig-zag mouldings have been thought to allude to the stringing of the teeth of fishes. According to the best authorities, there are very few specimens of architecture now in existence in this country which can properly be called Saxon—that is, of date anterior to the Conquest, and not of Roman origin; and these few are of the rudest and most inferior description. Saxon, therefore, as far as the architecture of this country is concerned, is an improper term.[15]

SAXON HOUSE.

The ordinary Saxon homes were of clay, held together by wooden frames; bricks being uncommon, and only used as ornaments: the houses were generally low and mean, or as we should call them, cottages. In a Saxon house of larger proportions, the upper rooms only are lighted by windows; there is no appearance of chimneys; the doorway is in one of the gables, and reaches more than half-way to the top of the house; and above it are some small square windows, which indicate an upper room or rooms. On one side is a low shed, or wing, apparently constructed with square stones, or large bricks, covered, like the house, with semicircular tiles, probably shingles, such as we to this day see on church-spires.

From the Mead-hall and the other Saxon houses of the period, we also get the type of the modern English mansion, with its enceinte and its lodge-gate, as distinguished from its hall-door. The early Saxon house was the whole inclosure, at the gate of which beggars assembled, for alms, and the porter received the alms of strangers. The whole mass inclosed within this wall constituted the burgh, or tun; and the hall, with its duru, or door, was the chief of its edifices. Around it were grouped the sleeping-chambers, or bowers, as they were designated till a late age, with the subordinate offices. Mr. Wright (in his able work on the Domestic Life of the Middle Ages) draws many of his inferences from the description of the Mead-hall, or beer-hall, of Hrothgar, and adds that he believes Bulwer's description of the Saxonized Roman house inhabited by Hilda, in The Last of the Barons, is substantially correct.

We learn from the romance of Beowulf, that "there was for the sons of the Geats (Beowulf and his followers altogether), a bench cleared in the beer-hall; there the bold spirit, free from quarrel, went to sit; the thane observed his office, he that in his hand bare the twisted ale-cup; he poured the bright sweet liquor; meanwhile the poet sang serene in Heorot (the name of Hrothgar's palace); there was joy of heroes." Although our conceptions of this scene are faint and vague, the antiquary is enabled to represent certain items as "the twisted ale-cup," a favourite fashion of our forefathers, many of whose ale-cups, as discovered in their barrows or graves, are incapable of standing upright, implying that their proprietors were thirsty souls.

The lamps of the Romans were certainly used by the Saxons, and were indispensable in the winter-time. Their beds were simply sacks filled out of the chest with fresh straw, and laid on benches as they were wanted; though the pictures indicate that there were some bedsteads of a more elaborate construction, and that others were placed in recesses and protected by curtains. These bed-rooms were public enough, for they were sitting-rooms as well, and we find Dunstan walking to the king's bedside "as he lay in his bed with the queen," and rating him as freely as if he had audience by appointment. The Saxon ladies were very opt to scourge their domestic servants for very slight offences, and the punishment of servile and other transgressors was in other respects barbarous. They were given much to bathing in the baths which the Romans had left them, and it may be that this resource had some influence in determining the national bias towards personal cleanliness, which is such a distinguishing characteristic of the English among northern nations. We may add that the Saxon knew how to build a gallows, how to bait a bear, drive a chariot, fly a hawk, cultivate roses and lilies, and that he certainly knew the use of an umbrella.

A convivial custom which originated in this rude age is too interesting to be omitted here. It is said by some writers that Vortigern married Rowena, the daughter of Hengist. She was very beautiful; and when introduced by her father at the royal banquet of the British king, she advanced gracefully and modestly towards him, bearing in her hand a golden goblet filled with wine. Young people, even of the highest rank, were accustomed to wait upon their elders, and those unto whom they wished to show respect; therefore, the appearance of Rowena as the cup-bearer of the feast was neither unbecoming nor unseemly. And when the lady came near unto Vortigern, she said in her own Saxon language—"Wæs heal plaford Conung;" which means, "Health to my Lord the King." Vortigern did not understand the salutation of Rowena, but the words were explained to him by an interpreter. "Drinc heal," "Drink thou health," was the accustomed answer, and the memory of the event was preserved in merry old England by the wassail cup—a vessel full of spiced wine or good ale, which was handed round from guest to guest, at the banquet and the festival. Well, therefore, might Rowena be recollected on high tides and holidays for the introduction of this concomitant of good cheer.

This story has, however, a pendant. At our great city feasts, to this day—especially at the Mansion House of the Lord Mayor—the Wassail or Loving Cup is passed round the table immediately after dinner, the Lord Mayor having drunk to his visitors a hearty welcome. The more formal practice is for the person who pledges with the loving cup to stand up and bow to his neighbour, who, also standing, removes the cover of the cup with his right hand, and holds it while the other drinks; a custom said to have originated in the precaution to keep the right, or dagger hand employed, that the person who drinks may be assured of no treachery, like that practised by Elfrida on the unsuspecting King Edward the Martyr at Corfe Castle, who was slain while drinking: this was why the cup possessed a cover.

The usages of domestic life, especially at dinner, are copiously illustrated in ancient manuscript illuminations. Mr. Wright quotes the Boke of Kervyng, which enjoins the carver to handle the meats with his thumb and two fingers only—for the Middle Ages, with all their artistic ingenuity, had not attained to the invention of a fork. In none of the pictures have the guests any plates; they seem to have eaten with their hands and thrown the refuse on the table. We know also that they often threw the fragments on the floor, where they were eaten up by cats and dogs, which were admitted into the hall without restriction.[16] In the Boke of Curtesye it is blamed as a mark of bad breeding to play with the cats and dogs while seated at table. The drinking vessels of this period display fine workmanship and ingenious devices. The Anglo-Saxons were unquestionably huge drinkers, and ornamented their drinking vessels with all the skill in working the precious metals for which they were so famous. But the primitive drinking-cup was the simple horn of the bullock, which was retained as an appendage of the Anglo-Saxon dinner-table until after the Conquest. There were also other drinking vessels, suggested by that ornamentation with which the Anglo-Saxon artificers had enriched the simple cup of the Danes. Peg Tankards are of the Saxon period: one is to be seen in the Ashmolean Museum; but a finer specimen, of undoubted Anglo-Saxon work, formerly belonging to the Abbey of Glastonbury, is now in the possession of Lord Arundel, of Wardour: it holds two quarts, and formerly had eight pegs inside, dividing the liquor into half-pints. On the lid is carved the crucifixion, with the Virgin and John, one on each side; and round the cup are carved the twelve apostles.

Drinking-horns are represented on the Bayeux tapestry, and in the magnificent collection of antiquities in the British Museum there is a capacious specimen of one formed of the small tusk of an elephant, carved with rude figures of that animal, unicorns, lions, and crocodiles. It is mounted with silver; a small tube, ending in a silver cup, issues from the jaws of a pike, whose head and shoulders inclose the mouth of the vessel, on which the following legend is engraved:—

Drink you this and think no scorne

All though the cup be much like horn.

The horn was not long before it had rivals: the commonest of these was the Mazer-bowl, a utensil which, with its cover on, resembled two saucers placed together rim to rim, with a topknot on the upper one. It was usually made of maple wood, from which it is supposed to have derived its name—maeser being Dutch for maple. Of this shape was the early and famous wassail-bowl. When these bowls, which in process of time were made of costlier materials than maple, were large, they were lifted to the mouth with both hands; when small, in the palm of one hand. Our ancestors were much attached to their mazers, and incurred considerable expense in embellishing them, in embossing legends admonitory of peace and good fellowship on the metal rim or on the cover, or in engraving on the bottom a cross or the image of a saint. Spenser, in The Shepherds Calendar, thus describes a vessel of this kind:—

"A mazer ywrought of the maple warre,

Wherein is enchased many a fayre sight

Of bears and tygers, that maken fiers warre;

And over them spred a goodly wilde vine,

Entrailed with a wanton yvy twine.

"Tell me, such a cup hast thou ever seene?

Well moughte it beseeme any harvest queene."

The Mazer continued in use to the seventeenth century, when it was still a favourite with the humbler classes. But on the tables of the rich it gave place to new vessels. There was the Hanap, a cup raised on a stem, with or without a cover. Besides the Hanap, a sort of mug or cup, called the Godet, had also come into vogue; then there were the Juste, used in monasteries to measure a prescribed allowance of wine; the Barrel, the Tankard, the "standing-nut," or mounted shell of the cocoa-nut; and the Grype, or Griffin's Egg, probably the egg of the ostrich. These vessels, except of course the nut and the egg, were ordinarily of silver, and sometimes of ivory, but rarely of gold; and still more rarely of glass, which did not obtain for drinking cups until the close of the fifteenth century. They were for the most part embossed or enamelled with the armorial bearings of their owners, parcel-gilt—i.e. where part of the work is gilt and part left plain; set with jewels and elaborately designed with dances of men and women, with dogs, hearts, roses, and trefoils.

One of the most esteemed Saxon trades was the smith, including workers in gold, silver, iron, and copper. The English were very expert in these arts; and in the laws of Wales the smith ranked next to the chaplain in the Prince's court. The Saxons produced some very highly-finished specimens of jewellery, goldsmith's work, and even of enamelling. A very beautiful specimen of gold enamelled work is preserved in the Ashmolean collection at Oxford: it is commonly known as Alfred's Jewel, as it bears his name, and was found in 1693, in the immediate neighbourhood of his retreat. It is filagree work, inclosing a piece of rock crystal, under which appears a figure in enamel, which has not been satisfactorily explained. The ground is of a rich blue, the face and arms of the figure white, the dress principally green, the lower portion partly of a reddish-brown. The inscription is "Aelfred mee heht gevrean," (Alfred ordered me to be made,) thus affording the most authentic testimony of its origin. Curious reliquaries, finely carved and set with precious stones, were, for excellence, called "the English work" throughout Europe. The representations of the crowns of the Saxon kings, commencing with Offa, present us with specimens of the ornamentation of the period. The ring was also a most important ornament. It was used not only for display, but also as a charm, or protection against natural or supernatural evil. The gems with which the ring was set, were believed to possess, severally, special qualities, and symbolical meanings. The sapphire indicated purity—the diamond, faith—the ruby, zeal—the amethyst was good against drunkenness—the sapphire was a protection against witchcraft, and the toad-stone against sickness. The accredited properties of decade rings, pontifical rings, alchemy rings, posie rings, and gimel rings are illustrated in various anecdotes and legends. In the medal-room of the British Museum is a gold ring, bearing the name of Ethelwulf, upon blue and black enamel: it was found in a cart-rut, at Laverstock in Hampshire; its weight is 11 dwts. 14 grains.

The crosiers of the bishops of this period were curious specimens of metal-work and gem ornamentation; as were also the shrines of the saints. In 1840 a hoard of about 7,000 coins (beside many silver ornaments) was discovered at Coverdale, near Preston, in Lancashire; they are considered by the best numismatists indisputably to belong to the chief of the Danish invaders in the ninth century, and their immediate successors. In the sepulchre of Thyra, ancestress of Canute, in Jutland, have been found the figure of a bird formed of thin plates of gold, as well as a silver cup plated with gold, both being remarkable examples of the state of the decorative arts in the tenth century.

The art of glass-making was introduced to the Saxons in the seventh century, and ordinary window-glass was first used for building purposes at the great monasteries at Monkwearmouth, on the river Wear, and at Jarrow-on-the-Tyne; although we have already seen that window-glass was used in the Roman city of Uriconium. The Venerable Bede, in the seventh century, relates that his contemporary, the Abbot Benedict, sent for artists beyond seas to glaze the Monastery of Wearmouth; and such was the change made in their churches by the use of glass, instead of other and more obscure substances for windows, that the unlettered people avowed a belief, which was handed down as a tradition for many generations, "that it was never dark in old Jarrow Church." By a singular coincidence, the first manufactory of window or crown glass in Great Britain was established at Newcastle-upon-Tyne, within a few miles of these monastic establishments. In the year 1616 Admiral Sir Robert Maunsell erected glassworks at the Ouseburn, Newcastle, which were carried on without interruption till nearly the middle of the present century, when they were closed.

The art of making woollen cloth, which was known to the Britons, was, by this time, brought to perfection in England, especially in the south. This seat of manufacture must have been handy to the fuller's-earth pits of Nutfield, where fuller's-earth has been for centuries dug:—"While Bradford was still the little local centre of a wild hill tract in pastoral Yorkshire, the 'grey cloths of Kent' kept many a loom at work in the homesteads of Tenterden, and Biddenden, and Cranbrook, and all the other little mediæval towns that dot the Weald with their carved barge-boards and richly-moulded beams." (Saturday Review, No. 182.) The distaff and the spindle, which appear to have been anciently the type, and symbol, and the insignia of the softer sex in nearly every age and country, were in the Saxon times still more conspicuous as the distinguishing badge of the female sex. Among our Saxon ancestors the "spear-half" and the "spindle-half" expressed the male and female line; and the spear and the spindle are to this day found in their graves.

The Saxons had the arts of dyeing of purple and various colours; and the Saxon ladies were eminent for their embroidery. There are descriptions extant of a robe of purple embroidered with large peacocks in black circles; and a golden veil worked with the siege of Troy, the latter a king's bequest to Croyland Abbey, where it was to be hung up on his birthday. The standards were also beautifully worked: the Danish standard, called the Raefen, was woven in one night by the three sisters of Ubbo, the Danish leader. The standard of Harold, the last Saxon sovereign of England, was the figure of a warrior richly embroidered with precious stones. In the Anglo-Saxon, and even in late periods, men worked at embroidery, especially in abbeys. At this time the dressing of hides and working in leather was practised to a great extent by the shoewright; and the wood-workman, answering to our modern carpenter, was also in general estimation. Sandals were worn by the early Saxons: there exists a print of one, made of leather, partly gilt, and variously coloured, and for the left foot of the wearer; so that "rights and lefts" are only a very old fashion revived.

The art of smelting iron was known in England during the Roman occupation; and in many ancient beds of cinders, the refuse of iron-works, Roman coins have been found. Cæsar describes iron as being so rare in Britain, that pieces of it were employed as a medium of exchange; but a century later it had become common, since in Strabo's time it was an article of exportation. There is reason to believe that the Romans worked iron ore in the hills of South Wales, as they undoubtedly did in Dean Forest, where ancient heaps of slag have occasionally been struck upon. Remains of ancient iron furnaces have also been found in Lancashire, Staffordshire, and Yorkshire.[17]

The working in steel was also practised in Britain before the Norman Conquest; and we are told that not only was the army of Harold well supplied with weapons and defensive armour of steel, but that every officer of rank maintained a smith, who constantly attended his master to the wars, and took charge of his arms and armour, and had to keep them in proper repair.

The inventions attributed to Alfred must be noticed. It will be remembered how he measured time by graduated wax-tapers—the consumption of an inch denoting twenty minutes; but the wind rushing through windows, doors, and crevices of the royal palace, or the tent-coverings, sometimes wasted them, and disordered Alfred's calculations. He then inclosed his tapers in lanterns of horn and wood; but their invention has been attributed to an earlier period, from some Latin verses attributed to Aldhelm, Abbot of Malmesbury, in the seventh century. "Let not," say they, "the glass lantern be despised, or that made of a horn, hide, or thin skin, although a brass lamp may excel it." This passage has, however, sometimes been referred to the twelfth century.

Travelling, in the Saxon times, was very different from what it is in the present day: coaches were not invented, and the only vehicles which went upon wheels were carts and wagons, and these were very heavy and clumsy. Horseback was the only conveyance, so that the sick and infirm could hardly ever leave their houses. In those times there were very few roads upon which one could travel with safety. The Romans left excellent roads, which, however, were neglected, and they fell into decay. Marshes were perilous to cross: a bridge might be broken down, and when you tried to ford the stream, your horse might get out of his depth, and then he and his rider might be drowned. Sometimes the traveller had to pass through a dark forest, abounding with bears and wolves; and, at the end of his day's journey, instead of putting up at a comfortable inn, he was often compelled to stretch his cloak on the dark earth, in some wretched hut. And what was worst, the kings and princes were almost always at war with each other, and a stranger was constantly liable to be plundered and seized, or put to death by the contending parties.[18]

Stirrups and spurs were known to the Saxons; the Britons had bridles ornamented with ivory: a bit, presumed to have belonged to a British chief in the Roman service, is a jointed snaffle. The side-pieces, or branches, of curb bits, are of equal antiquity. The Saxons had very superb bridles, ornamented with plates of tin and pewter; and those for women's horses were lily-white. We have seen a bridle of Norman manufacture, said to have been on the horse which William Rufus rode when killed in the New Forest: it has blinkers, is very broad; and cloth, cut by a mould into rich patterns, is glued upon the leather. We read of Athelstan receiving valuable presents of running horses, with their saddles and bridles studded with gold; one of our earliest illustrations of horse-racing.