An arched Chamber, cut in the natural rock overhanging the river at a great height, is supposed to have been used as a prison, but more probably as a store-room; for, by anchoring the boats close to the rock, their cargoes for the service of the garrison, whether provisions[28]or ammunition, could be easily hoisted into security by means of a windlass; and no doubt, under the cloud of night, andwith a spring-tide, many a goodly bark has been thus relieved of its freight; nor is it improbable that adventurous captives may have thus found their way to some friendly bark, and regained their freedom.[29]In the hands of a skilful romance writer, this scene might be turned to excellent account—more particularly if the descending basket contained a damsel “flying from tyrants jealous,” and her lover-knight stood in the boat to receive her—all heightened by such dramatic machinery as midnight, with the tender hopes and imminent hazards of the enterprise, would easily supply. But all this is foreign to the spirit of archæology, which turns with disdain from such puerile vanities, and beckons us forward to the breach where the iron balls of the Commonwealth were directed with such fury in the last assault. Their batteries played from the opposite height, which the guide will point out as the commanding position which rendered the cause of the defenders so useless and desperate, and added another triumph to the Parliamentary cannon.
The Passage, or gallery, leading down to the vaulted chamber, is accurately shown in the annexed woodcut. It has an air of Gothic antiquity that harmonizes well with the place, for its pointed style and proportions clearly show that it belongs to the earliest portion of the structure. The massive arch, seen through the opening, is that of the mysterious chamber already noticed. The window,[30]terminating the vista, overlooks the river, and seems to project from the precipitous rocks thathere form an impregnable barrier to the fortress; and even when the tide is at its full, the window seems suspended at a dizzy height above the water. The uses to which the passage and its chamber were originally applied, were probably those of a temporary refuge and retreat; and were, no doubt, well understood and appreciated by the Norman castellan, to whom the means of successful resistance or safe retreat were the grand objects in a feudal residence.
Suchare the general features of this ancient stronghold.[31]But on the minuter points of its history, architecture, and internal arrangements, our restricted limits will not permit us to enlarge; but, aided by faithful engravings and woodcuts, the descriptions, however brief, may serve to convey a detailed and correct notion of the whole.
Persefield.—In the immediate environs, many objects are found to invite the traveller’s attention; but, as a combination of rich English scenery, the attractions of Persefield, or Piercefield, stand pre-eminent. The house and grounds are thus briefly described: The latter extend westward along the precipitous banks of the Wye, as shown in the engraving. On the north is the Wind-Cliff, or Wynd Cliff. The grounds are divided into the lower and upper lawn by the approach to the house, a modern edifice, consisting of a stone centre and wings, from which the ground slopes gracefully but rapidly into a valley profusely shaded with ornamental trees. To give variety to the views, and disclose the native grandeur of the position, walks have been thrown open through the woods and along the precipitous margin of the river, which command the town, castle, and bridge of Chepstow, with the Severn in the distance, backed by a vast expanse of fertile valleys and pastoral hills. But to describe the romantic features of this classic residence with the minuteness they deserve, would far exceed our limits; it is a scene calculated to inspire the poet as well as the painter; and it is gratifying to add that, by the taste and liberality of the owner, strangers are freely admitted to the grounds and walks of Persefield.
The Wynd Cliff.—This lofty eminence commands one of the finest and most varied prospects in the United Kingdom; while the scenery of the Cliff has a particular charm for every lover of the picturesque. Poet, painter, and historian, have combined their efforts to make it a place of pilgrimage; but, to be seen in all its beauty, the rich and various tints of autumn and a bright sun are indispensable accessories. It may be called the “Righi” of the Wye, commanding a vast circumference of fertile plains and wooded hills, all enlivened
Chepstow Castle and Town.From the Windcliff.
Chepstow Castle and Town.From the Windcliff.
Chepstow Castle and Town.
From the Windcliff.
with towns, villages, churches, castles, and cottages; with many a classic spot on which the stamp of history is indelibly impressed—names embodied in our poetry, and embalmed by religious associations. From the edge of the precipice, nearly a thousand feet in height, the prospect extends into eight counties—Brecon, Glamorgan, Monmouth, Hereford, Gloucester, Wilts, Somerset, and Devon.
For the enjoyment of this inspiring scene, every facility has been supplied; and even the invalid tourist, with time and caution, may reach the summit without fatigue. “The hand of art,” says the local guide, “has smoothed the path up the declivity, tastefully throwing the course into multiplied windings, which fully accord with its name, and the nature of the scenery which it commands. At every turn some pendant rock girt with ivy, some shady yew, or some novel glimpse on the vale below, caught through the thick beechy mantle of this romantic precipice, invite the beholder to the luxury of rest.” Still ascending, the tourist penetrates a dark-winding chasm, through which the path conducts him in shadowy silence to the last stage of the ascent, which gradually discloses one of the most enchanting prospects upon which the human eye can repose. From the platform to the extreme verge of the horizon, where the Downs of Wiltshire and the Mendip hills form the boundary line, the eye ranges over a vast region of cultivated fields, waving forests, and populous towns, sufficient of themselves to furnish the resources of a principality.
The pens of Reed, Warren, and Gilpin, have been successively employed in sketching the features of this magnificent panorama; but nothing can be more correct and graphic than the following description by Fosbroke:—“What a cathedral is among churches, the Wynd Cliff is among prospects. Like Snowdon, it ought to be visited at sunrise, or seen through a sunrise-glass called aClaude, which affords a sunrise view at mid-day, without the obscuration of the morning mist. This cliff is the last grand scene of the Piercefield drama. It is not only magnificent, but so novel, that it excites an involuntary start of astonishment; and so sublime, that it elevates the mind into instantaneous rapture. The parts consist of a most uncommon combination of wood, rock, water, sky, and plain—of height and abyss—of rough and smooth—of recess and projection—of fine landscapes near, and excellent prospective afar,—all melting into each other, and grouping into such capricious lines, that, although it may find a counterpart in tropic climes, it is, in regard to England, probably unique. The spectator stands upon the edge of a precipice, the depth of which is awful to contemplate, with the river winding at his feet. The right screen is Piercefield ridge, richly wooded; the left is a belt of rocks, over which, northward, appears the Severn, with the fine shores between Thornbury and Bristol, rising behind each other in admirable swells, which unite in most gracefulcurves. The first foreground appears to the eye like a view from the clouds to the earth, and the rich contrast of green meadows to wild forest scenery,—the farm of Llancaut, clasped in the arms of the winding river, backed by hanging wood and rock. The further horn of the crescent tapers off into a craggy informal mole, over which the eye passes to a second bay; this terminates in Chepstow Castle, the town and rocks beyond all mellowed down by distance, into that fine hazy indistinctness which makes even deformities combine into harmony with the picture.”[32]
An observatory, the guide informed us, was intended some years since to have crowned this noble eminence, and a subscription was got up for the purpose; but some difference having arisen between the projectors of the scheme and the proprietor of the land, it was dropped. It was suggested by a local writer, that a few Doric columns with architraves, however rude, would have had an imposing effect on the summit of the Wynd Cliff, and reminded the classic traveller of the ruined temple of Minerva on the Sunium promontory. “It might,” he says, “be partially immersed in wood; while, in the native rock, niches might be hollowed out; and on a tablet, at the finest point of view, the following words should be inscribed:—Valentine Morris[33]introduced these sublime scenes to public view. To him be honour: toGodpraise.”[34]This is concise and classical; but it is reserved probably for another generation to witness the completion of the design.
The whole scene, from this point to the Abbey of Tinterne, presents an uninterrupted combination of picturesque and romantic features. Above are hanging cliffs, richly clothed in variegated woods, perfumed with flowers, irrigated by murmuring rivulets, fountains, and cascades, and rendered vocal by the songs of birds. These woody solitudes are the annual resort of nightingales, whose note is familiar to every late and early tourist, who with slow and lingering step measures his leafy way betweenChepstowandTinterne—unable to decide at what point of the road there is the richest concentration of scenery. It is, indeed, a sylvan avenue of vast and variegated beauty, reminding us of the softer features of Helvetian landscape.
Far below, and seen only at intervals through its thick curtain of foliage, the classicVagacontinues its winding course. Here basking in sunshine, there sweeping along under shadowy cliffs—now expanding its waters over a broad channel, or rushing through deep ravines, it is often enlivened by boats laden with produce, or visitors in pleasure-barges, who make the “descent of the Wye,” as, in former days, pilgrims made that of the Rhine and Danube; for the boats that perform the trip from Ross to Chepstow, make, in general, but one voyage, and are otherwise employed or broken up at its conclusion—
Facilis descensus Averni—Sed revocare gradum.
Facilis descensus Averni—Sed revocare gradum.
Facilis descensus Averni—Sed revocare gradum.
It is but recently, says a periodical authority, that the Wye has become at all frequented on account of its scenery. About the middle of last century, the Rev. Dr. Egerton, afterwards Bishop of Durham, was collated by his father to the rectory of Ross, in which pleasant town, situated on the left bank of the river, and just at the point where its beautiful scenery begins, the worthy doctor resided nearly thirty years. He was a man of taste, and had a lively enjoyment of the pleasures of society amidst the beautiful scenery of his neighbourhood. His chief delight was to invite his friends and connections, who were persons of high rank, to pay him summer visits at Ross, and then to take them down the Wye—
“Pleased Vaga echoing through its winding bounds,”—
“Pleased Vaga echoing through its winding bounds,”—
“Pleased Vaga echoing through its winding bounds,”—
which, as well as the town ofRoss, had derived a new interest from the lines of Pope. For this purpose, we are told, Dr. Egerton built a pleasure-boat; and, year after year, excursions were made, until it became fashionable in a certain high class of society to visit the Wye. But when the rector of Ross was consecrated to the see of Durham, his pleasure-boat, like that of the Doges of Venice and Genoa, was suffered to rot at anchor; and with no successor of similar means and taste to follow his example, excursions on the Wye became unfrequent, because no longer fashionable. Yet the beauties of the scenery once explored, became gradually more attractive; and some pilgrim of Nature, deviating now and then from the beaten track, spoke and sang of its beauties, until, having again caught the public ear, it was admitted that we had a “Rhine” within our own borders—with no vineyards and fewer castles, but with a luxuriance of scenery peculiarly its own, and with remains of feudal and monastic grandeur which no description could exaggerate. Mr. Whately, a writer on landscape gardening, and an exquisite critic, first directed attention to the new weir at Tinterne Abbey, and one or two other scenes on its banks; and, in 1770, the Wye was visited by William Gilpin, who did good serviceto taste and the lovers of nature by publishing his tour. The same year, a greater name connected itself with the Wye—for it was visited by the immortal author of the “Elegy in a Country Churchyard.” “My last summer’s tour,” says Gray, in one of his admirable letters toDr. Wharton, “was through Worcestershire, Gloucestershire, Monmouthshire, Herefordshire, and Shropshire—five of the most beautiful counties in the kingdom. The very principal sight and capital feature of my journey was the river Wye, which I descended in a boat for nearly forty miles, from Ross to Chepstow. Its banks are a succession of nameless beauties.”[35]The testimony thus bequeathed to it by the illustriousGray, has been confirmed and repeated byWordsworth, while other kindred spirits, following each other in the same track, have sacrificed to Nature at the same altar, and recorded their admiration in immortal song:—
... “Once againDo I behold these steep and lofty cliffs,That on a wild secluded scene impressThoughts of more deep seclusion, and connectThe landscape with the quiet of the sky.“How oft,In darkness, and amid the many shapesOf joyless daylight, when the fretful stirUnprofitable, and the fever of the world,Have hung upon the beatings of my heart—How oft, in spirit, have I turned to thee,O sylvan Wye! thou wanderer through the woods,How often has my spirit turned to thee!”Wordsworth,July 13, 1798.
... “Once againDo I behold these steep and lofty cliffs,That on a wild secluded scene impressThoughts of more deep seclusion, and connectThe landscape with the quiet of the sky.“How oft,In darkness, and amid the many shapesOf joyless daylight, when the fretful stirUnprofitable, and the fever of the world,Have hung upon the beatings of my heart—How oft, in spirit, have I turned to thee,O sylvan Wye! thou wanderer through the woods,How often has my spirit turned to thee!”Wordsworth,July 13, 1798.
... “Once againDo I behold these steep and lofty cliffs,That on a wild secluded scene impressThoughts of more deep seclusion, and connectThe landscape with the quiet of the sky.“How oft,In darkness, and amid the many shapesOf joyless daylight, when the fretful stirUnprofitable, and the fever of the world,Have hung upon the beatings of my heart—How oft, in spirit, have I turned to thee,O sylvan Wye! thou wanderer through the woods,How often has my spirit turned to thee!”Wordsworth,July 13, 1798.
Authoritiesquoted or referred to in the preceding article:—Dugdale’s Monasticon.—Baronage.—Camden’s Britannia.—Leland’s Itinerary.—County History.—Local Guides: Heath.—Wood.—De la Beche.—Williams.—Thomas.—Roscoe.—Burke’s Peerage and Commoners.—Chronicles.—Giraldus Cambrensis.—William of Worcester.—History of the Commonwealth.—Life of Cromwell.—Notes by Correspondents.—MS. Tour on the Wye, 1848; with other sources, which will be found enumerated in the article uponTinterne Abbey.
“There are some, I hear, who take it ill that I mention monasteries and their founders; I am sorry to hear it. But, not to give them any just offence, let them be angry if they will. Perhaps they would have it forgotten that our ancestors were, and we are, Christians; since there never were more certain indications and glorious monuments, of Christian piety than these.”—Camden’sBritannia, Pref. Ages of Faith, Book xi.
“There are some, I hear, who take it ill that I mention monasteries and their founders; I am sorry to hear it. But, not to give them any just offence, let them be angry if they will. Perhaps they would have it forgotten that our ancestors were, and we are, Christians; since there never were more certain indications and glorious monuments, of Christian piety than these.”—Camden’sBritannia, Pref. Ages of Faith, Book xi.
The Abbey of Tinterne, though one of the oldest in England, makes no conspicuous figure in its history, a proof that its abbots were neither bold nor ambitious of distinction, but devoted to the peaceful and retiring duties of their office. We do not find that the secluded Tinterne was ever the scene of any rebellious outbreak, or the refuge of any notorious criminal. From age to age, the bell that summoned to daily matins and vespers was cheerfully obeyed; and all they knew of the great world beyond the encircling hills, was learned, perhaps, from the daily strangers and pilgrims who took their meal and night’s lodging in thehospitium.
The name ofTinterne, as etymologists inform us, is derived from the Celtic wordsdin, a fortress, andteyrn, a sovereign or chief; for it appears from history, as well as tradition, that a hermitage, belonging to Theodoric or Teudric, King of Glamorgan, originally occupied the site of the present abbey; and that the royal hermit, having resigned the throne to his son Maurice, “led an eremitical life among the rocks of Dindyrn or Tynterne.” It is also mentioned, as a remarkable coincidence in history, that two kings, who sought Tinterne as a temporary place of refuge, only left it to meet violent deaths. The first was Theodoric, who was slain in battle by the Saxons, under Ceolwilph, King of Wessex, in the year 600, having been dragged from his seclusion by his own subjects, in order that he might act once more as their leader. The next was “the unfortunate King Edward,[36]who fled from the pursuit of his queen,” Isabella. The Welsh monarch is said to have routed the Saxons at Mathern, near Chepstow, where his body was buried. Bishop Godwin says, that he there saw his remains in a stone coffin; and on the skull, after the lapse of nearly a thousand years, the wound of which he died was conspicuous—thus verifying the tradition as to the place and manner of his death.
Nothing could be more happily chosen for the seat of a religious community, than the beautiful valley of which these ruins are the unrivalled ornament. It would be difficult to picture, even with the aid of a fertile imagination, scenes more fitted to cherish devout feelings; to instruct us, from the tranquil bosom of Nature, to look up to Nature’s God; and in the exclusion of the busy world, to feel aspirations of gratitude continually ascending towards Him who enriched the valley with his bounty, and in homage to whom that temple and its altars were first erected. The latter, as the work of man, and a prey to neglect and violence, have disappeared or crumbled into ruins; but the former, as the work of God, has lost nothing of its original beauty. The woods that curtain the scene; the river that sweeps along under pendent cliffs of oak; the meadows and orchards that cover and adorn its banks,—all continue as luxuriant, as copious and abundant, as verdant and blooming, as on that day when the first pilgrim-father planted his cross in the soil, and consecrated the spot to the service of God.
It has been often observed—and the observation is confirmed by fact—that those venerable ascetics, who acted as pioneers in the army of Christian pilgrims, were no mean judges of soil and climate, and generally chose some fertile spot upon which nature had bestowed her special favour. But many instancesmay be pointed out where they chose even the inhospitable desert for their habitation; and, by unremitting labour, transformed that desert into a garden. To the personal example of those ancient Cistercians, the country is indebted for many improvements in all branches of cultivation and embellishment. From the model-garden and orchard of the monastery, hints were communicated and lessons taught, which found their way into every part of the country, and carried with them the principal arts of civilization and improvement. Thus, what first gave a prosperous agriculture to our own shores, is still in operation upon the barbarous islands of the Pacific, where Christian missions, religious fraternities, are busily propagating, by their own example, those domestic and mechanical arts which are the safest and best introduction to religious knowledge. Of this happy influence on the minds and habits of the peasantry, none of the monastic orders was more fully sensible than the Cistercians, whose laborious but abstemious lives, sumptuous temples, and gorgeous ritual, threw an air of luxury upon every spot where the Order had once set its name.[37]
From the shadowy woods which shelter and encompass it, Tinterne may be justly denominated theVallis umbrosaof Monmouth; but the fertility of the soil, and solemn retirement of the scene, so desirable for a great sanctuary in the “Ages of Faith,” had an immense advantage in the noble and navigable river which formed the channel of communication between the interior and the sea; and, like an artery supplying nutriment to the system, brought its supplies of provision or treasure to the very gate of the abbey. And many a goodly cargo of corn from Hereford, and wine from Normandy, has been disembarked at that old pier, where the abbot’s galley has degenerated into a clumsy ferryboat, with old Richard Tamplin, the ferryman, for its commander.
From ancient historical sources, which treat of the origin, progress, and dissolution of this abbey, we select the following materials:—The founder wasWalter de Clare, a name famous in the annals of chivalry and church-building. The first stone was laid in the thirty-first year of the twelfth century; but more than a century and a half elapsed before its completion. In those days churches were the work of generations; and it was rarely, indeed, that the founder lived to witness the fulfilment of his vow. “These all died in faith.” In 1287, we are told theWhite Friarstook possession of the edifice consecratedto theBlessed Virgin,[38]and commenced those hallowed services which the Eighth Henry, by hissic volo, was destined to silence. These services, however, had lasted for centuries; and who shall say, during the lapse of barbarous times, how much crime was prevented, how much good effected, by those holy men. Shut out from the haunts and habits of secular life, they exercised their spiritual functions, we may charitably believe, in a manner that drew many penitents to their altar; and, in the midst of wars and tumults, displayed the sacred banner of peace, and published the doctrine of salvation. Their record is on high. And, in justice to the Cistercians, it must be confessed, that if less learned, they were more exemplary, and not more worldly, than some other fraternities of higher pretensions. They exercised and patronised agriculture; and planting themselves, as the rule directed, in the depths of forests, or on desert heaths, they drew from the earth such sustenance as it would yield to the hand of labour; and trusted to those who sought their spiritual aid and counsel, for the means of building and embellishing their altars.
The order ofCistercians, as the reader is aware, made its appearance in England about the year 1128. In imitation ofChristand his twelve Apostles, the brotherhood was limited to twelve, with an abbot at their head, according to the rule of the Founder:—“Et sicut ille monasteria constructa, perduodecimmonachos adjuncto patre disponebat, sic se acturos confirmabant.”—Mon. Ang.iv. 699. Their first establishment in England was at Waverley, in Surrey; and in the course of time, their numbers had so multiplied, that, shortly before the dissolution of religious houses, they had seventy-five monasteries, and twenty-six nunneries in this country. Their patriarch was St. Robert, Abbot ofMolesme, a Benedictine monastery in the bishopric of Langres. This holy man becoming alarmed at the gradual decay of vital religion among the brotherhood, and their wilful neglect of the rules instituted by their founder, adopted measures for the immediate reformation of the order. Having obtained the Pope’s sanction insupport of his design, he chose twenty-one of the brethren, and retiring from Molesme to the neighbourhood of Chalons-sur-Saone, took up his abode in the wilderness[39]of Citeaux; where, under the protection of Otho, Duke of Burgundy, and the Bishop of Chalons, he laid the foundation of a religious house, in which the rules ofSt. Benedictwere to be strictly enforced, and the character of his followers restored. But the wisdom and piety of Robert having introduced several improvements into the rules of St. Benedict, the brotherhood began to present features so distinct from the parent establishment, that, on the return of St. Robert to Molesme, his successor, Albericus, obtained a charter from the Pope, constituting the monks of Citeaux into an independent order—that of Cistercians, or Whitefriars. Their rules were positive and stringent; they involved the surrender of all secular affairs into the hands of lay brothers, so that their lives and labours might be exclusively devoted to the exercise of charity and the service of the altar. In their choice of localities for the establishment of new houses, they were enjoined, as already observed, to avoid cities, and go forth into the wilderness. This was favourable to pilgrimages; and with the fruits of these, and benefactions from all classes, what they had found a desert on their arrival, was speedily converted by labour and industry into a garden; and what was at first only a cell or chapel, was gradually extended into a church and abbey. The revenue of the order was divided into four parts—to the bishop, a fourth; to the priests, a fourth; to the exercise of hospitality, a fourth; and another fourth for the support of widows and orphans, the relief of the sick, and the repairs of churches and cloisters. And inasmuch as they could not find, either in the life or rule ofSt. Benedict,[40]that their founder had possessed any churches, or altars, or ovens, or mills, or towns, or serfs; or that any woman was ever permitted to enter his monastery, or any dead to be buried there, except his sister; they therefore renounced all these things: “Ecce hujus seculi divitiis spretis cœperunt novi milites Christi cum paupere Christo pauperes inter se tractare, quo ingenio, quo artificio, quo se exercitio in hac vita se hospitesque divites et pauperes supervenientes quos ut Christum suscipere præcipit regula sustentarent.” For a time the Cistercians continued in exemplary observance of their rules: poverty and humility walked hand in hand; but, in proportion as their revenues increased, their discipline began to relax; a taste for luxury[41]succeeded; and whoever has visited their splendid abbeys abroad, will readily confess that, while professing abstinence and self-denial, they were lodged like princes, and like princes shared in the vanities and pleasures of the world. Their ruling passion was said to be avarice; but if they amassed riches, they spent them with a princely liberality; and their buildings, in this and other countries, present some of the finest specimens of taste ever raised by the hand of man.[42]
Cistercianswere Benedictines, according to theletterof the rule, without mitigation.[43]Their peculiarities are thus described in Dugdale’s Warwickshire:[44]—“First, for their habits, they wear no leather or linen, nor indeed any fine woollen cloth; neither, except it be on a journey, do they put on any breeches, and then, after their return, deliver them fair washed. Having two coats with cowls, in winter time they are not to augment, but in summer, if they choose, they may lessen them; in which habit they are to sleep, and after matins not to return to their beds. For prayers, the hour ofPrime, they so conclude, that before theLaudait may be daybreak, strictly observing their rule, that not one iota or tittle of their service is omitted. Immediately after Lauda, they sing the Prime; and after Prime, they go out performing their appointed hours in work. What is to be done in the day, they act by daylight; for none of them, except he be sick, is to be absent from his diurnal hours orComplinæ. When the Compline is finished, the steward of the house and he that hath charge of the guests go forth, but with great care of silence serve them.
Fordiet, “the Abbot assumes no more liberty to himself than any of his convent, everywhere being present with them, and taking care of his flock, except at meat, in regard his talk is always with the strangers and poor people. Nevertheless, when he eats, he is abstemious of talk or any dainty fare; nor hath he or any of them ever above two dishes of meat; neither do they eat of fat or flesh, except in case of sickness; and, from theidesof September till Easter, they eat no more thanoncea day, except on Sunday, and not even on festivals.
“Out of the precincts of their cloyster they go not but to work; neither there nor anywhere do they discourse with any but the abbot or prior. They unweariedly continue their canonical hours, not piecing any service to another, except thevigilsfor the deceased. Their manual labour was as follows: In summer, after Chapter, which followed Prime, they worked till Tierce; and, after Nones, till Vespers. In winter, from after Mass till Nones, and even to Vespers, during Lent. In harvest, when they went to work in the farms, they said Tierce and the conventual Mass immediately after Prime, that nothing might hinder their work for the rest of the morning; and often they said divine service in their places where they were at work, and at the same hours as those at home celebrated in the church.[45]
“They observe the office ofSt. Ambrose, so far as they can have perfect knowledge thereof from Millain; and, taking care of strangers and sick people, do devise extraordinary afflictions for their own bodies, to the intent their souls may be advantaged.” Of the same Order—
Hospinian says—“They allowed to candidates a year’s probation, but no reception to fugitives after the third time. All fasts were observed according to the rule: to visitors prostration was enjoined, with washing of feet. At the Abbot’s table sat the guests and pilgrims: they laboured more than the rule required: delicate habits were exploded: obsolete and primitive fervour was diligently revived and practised. But of this powerful order, avarice was the besetting vice: they were great dealers in wool, generally very ignorant, and, in fact, farmers rather than monks.”[46]The best account of this brotherhood, as Fosbroke has told us, is to be found in theUsus Cisterciensium; but of their habits and ceremonies further notice will be found when we come to treat of the more opulent houses. Guyot le Provins, first a minstrel, then a monk, has thus satirized them in a poem, which he called abible, or, more properly, libel. TheCistercian “abbots and cellarers have ready money, eat large fish, drink good wine, and send to the refectory, for those who do the work, the very worst. I have seen these monks,” he affirms, “put pig-sties in churchyards, and stables for asses in chapels. They seize the cottages of the poor, and reduce them to beggary.”—With this brief account of the Order, we return to the subjects selected for illustration.
In a historical sketch, by the late Archdeacon Coxe, the ruins of Tinterne Abbey are thus described, and his description is at once accurate and graphic:—
“We stopped to examine the rich architecture of the west front; but the door being suddenly opened, the inside perspective of the church called forth an instantaneous burst of admiration, and filled us with delight, such as I scarcely ever before experienced on a similar occasion. The eye passes rapidly along a range of elegant Gothic pillars, and, glancing under the sublime arches which once supported the tower, fixes itself on the splendid relics of the eastern window—the grand termination of the choir.
“From the length of the nave, the height of the walls, the aspiring form of the pointed arches, and the size of the east window, which closes the perspective, the first impressions are those of grandeur and sublimity. But as these emotions subside, and we descend from the contemplation of the whole to the examination of the parts, we are no less struck with the regularity of the plan, the lightness of the architecture, and the delicacy of the ornaments. We feel that elegance, no less than grandeur, is its characteristic, and that the whole is a combination of the beautiful and the sublime. The church, constructed in the shape of a cathedral, is an excellent specimen of Gothic architecture in its purity. The roof has long since fallen in, and the whole ruin is thus thrown open to the sky; but the shell is entire: all the pillars are standing, except those which divided the nave from the northern aisle, and their situation is marked by the remains of their bases. The four lofty arches which supported the tower, spring high in the air, reduced to narrow rims of stone, yet still preserving their original form. The arches and pillars of the transepts are complete: the shapes of all the windows may yet be discriminated; the frame of the west window is in perfect preservation, the design of the tracery is extremely elegant, and, when decorated with painted glass, must have produced a gorgeous effect. The general form of the east window is also entire, but its frame is much dilapidated. It occupies the whole breadth of the choir, and is divided into two large and equal compartments by a slender shaft, not less than fifty feet in height, with an appearance of singular lightness, which, in particular points of view, seems as if suspended in the air. To these decorations of art, nature has added her own ornaments. Some of the windows are wholly obscured, others partially shaded, with tufts of ivy, or edged with lighter foliage:
W.H. BartlettA. WillmoreTHE WESTERN WINDOW.Tintern.
W.H. BartlettA. WillmoreTHE WESTERN WINDOW.Tintern.
W.H. BartlettA. Willmore
THE WESTERN WINDOW.
Tintern.
the tendrils creep along the walls, wind round the pillars, wreath the capitals, or, hanging down in clusters, obscure the space beneath. But instead of dilapidated fragments, overspread with weeds and choked with brambles, the floor is covered with a smooth verdant turf, which, by keeping the original level of the church, exhibits the beauty of its proportions, heightens the effect of the gray stone, gives relief to the clustered pillars, and affords an easy access to every part. Ornamented fragments of the roof, remains of cornices and columns, rich pieces of sculpture, carved stones and mutilated figures of monks and warriors, whose ashes repose within these walls, are scattered on the green sward, and contrast present desolation with former splendour.”
Although the exterior appearance of these ruins is not equal to the inside view, yet in some positions—particularly to the east—they present themselves with considerable effect. From a point on its left bank, and about half a mile down the river, the ruins assume a new character; and seeming to occupy a gentle eminence, impend over the river without the intervention of a single cottage to intercept the view. “The grand east window, wholly covered with shrubs, and half-mantled with ivy, rises like the portal of a majestic edifice embowered in wood. Through this opening, and along the vista of the church, the clusters of ivy, which twine round the pillars or hang suspended from the arches, resemble tufts of trees; while the thick mantle of foliage, seen through the tracery of the west window,[47]forms a continuation of the perspective, and appears like an interminable forest.”
The Abbeyis a cruciform structure, built, it is said, after the model of Salisbury Cathedral,[48]consisting of a nave, north and south aisles, transepts, and choir. Its length from east to west is two hundred and twenty-eight feet, and from north to south, at the transepts, one hundred and fifty feet. The nave and choir are thirty-seven feet in breadth; the height of the central arch is seventy feet, of the smaller arches thirty feet; of the east window sixty-four feet, and of the west window forty-two feet. The total area originally enclosed by the walls of the abbey is said to have been thirty-four acres.
The exterior of the western front is singularly striking; but, on entering, asalready observed, the scene that represents itself is indescribably grand and impressive. “When we stood at one end of this awful ruin,” says Gilpin, “the elements of earth and air its only covering and pavement, and the grand and
VIEW FROM ENTRANCE.VIEW FROM ENTRANCE.
VIEW FROM ENTRANCE.VIEW FROM ENTRANCE.
VIEW FROM ENTRANCE.
VIEW FROM ENTRANCE.
venerable remains which terminated both, perfect enough to form the perspective, yet broken enough to destroy the regularity, the eye was above measure delighted with the beauty, the grandeur, the novelty of the scene.”
The inner walls of the church are nearly entire; most of the elegant and massive columns, as already noticed, which separated the nave from the south aisle are yet standing; and the four lofty and magnificent arches which formerly supported the central tower are nearly perfect. The columns that divided the nave from the north aisle have fallen; but their bases still occupy the ground, showing their number, shape, and dimensions.
Windows.—The magnificent windows are little altered by time: and though somewhat obscured by a luxuriant and graceful drapery of ivy, the tendrils of which twine in their tracery, creep along the walls, encircle the columns, and form natural wreaths around the capitals, the forms of the principal objects are still so far preserved as to be easily discriminated. The tracery of the westernwindow, as already observed, is exquisite; while the eastern window,[49]high and graceful, and occupying nearly the whole breadth of the choir, with its slender umbilical shaft rising to a height of fifty feet, and diverging at the top into rich flowery traces, has quite a magical effect. The other windows, though less ornamented, are all in character, and have the same elegant design and finish.[50]
The floor, originally covered with encaustic tiles, is now enveloped in a thick smooth matting of grass, trimmed like a bowling-green, and here and there spotted with little heaps of mutilated sculpture, and striped with flat tombstones—all thrown open to the winds of heaven.
The effigy of a knight in chain armour, apavacheshield, and crossed legs, is supposed to be that ofStrongbow, first Earl of Pembroke, already noticed, but more probably that of Roger Bigod, as Strongbow is historically known to have been buried in Dublin. This interesting relic, that had escaped the ravages of time and the hostile spirit of resolution, was at last, as Mr. Thomas informs us, wilfully mutilated by a native of the village.[51]
The next relic is a group of the Madonna and Child, much disfigured, but with sufficient evidence of its having been the work of a skilful artist. Mr. Bartlett considered it to be of very graceful design and execution.
Near the eastern window is the sculptured head of a friar, with the tonsure, but otherwise quite disfigured.
In the centre, between the transepts, is another broad stone slab, supposed to cover the ashes of thefounder; but the fall of the tower, and the continual dropping of loosened fragments—until the ruin became an object of interest and consideration—have not left one of the sepulchral tablets or inscriptions entire. Many fragments may be discovered among the rubbish, but to reunite the scattered members were a very hopeless task. In the southern aisle is the only sepulchral antiquity that bears a legible inscription. It is elaborately carved in black or slate marble, with a cross finely sculptured on its surface longitudinally, and near its base three trouts,[52]so entertwined as to form the symbolic triangle, with the figure of a salmon on the right and left. The inscription, in black letter, along the top of the cross, is simple—
“Hic jacet humatus Johann: Willino.”
“Hic jacet humatus Johann: Willino.”
“Hic jacet humatus Johann: Willino.”
The sepulchral brasses have all disappeared. For a century and more after the Dissolution, the Abbey appears to have been abandoned to every species of wilful depredators, who defaced the altars, ransacked the graves, and carried off without molestation whatever was curious or portable.
In the same aisle, close to the wall, and now preserved with great care, is the lately-discovered pavement of encaustic tiles, with escutcheons of the ancientClareandBigodfamilies intertwined. The figures on these coloured tiles represent flowers, animals, and knights in full career at a tournament. This pavement was probably that of a private altar, belonging to the founder, or benefactor of the Abbey. In the process of clearing away the vast accumulation of rubbish, many of the ancient memorials were removed in fragments; and of the few that remain, not one, probably, now covers the dust over which it was originally placed.
Leaving the grassy lawn-like floor of the Abbey, the ascent to the top is still practicable by means of a spiral staircase in an angle of the northern transept. Those who conclude their survey of the ruins by this experiment, will be amply rewarded for any fatigue it may occasion. At the time of our visit, however, in the month of August last year, some unexpected obstacle prevented the custodier from gratifying our curiosity by a view from the summit: for the steps were either so unsafe or deficient, as to make the experiment rather hazardous.
Mr. Thomas, from whose notes we have already quoted, and whose late professional residence near the Abbey rendered him familiar with all its minutest features, tells us that the prospect it commands is highly picturesque; and in turning from the outward landscape, to look down into the cloistered depths below, the view of clustering pillars, lofty arches, mullioned windows, and flowing tracery, is indescribably grand and impressive.
The broken summit of the walls, throughout its whole outline, is adorned with a profusion of shrubs and flowers, that, with interlacing leaves and tendrils, cover the mouldering coping like a fragrant mantle. Where the labour of man appears to decay, nature has put forth her vigour and beauty, and transformed those roofless walls into a wild botanic garden. Here, and amidst the débris immediately adjoining, Mr. Thomas[53]found a luxuriant crop of shrubs and flowers, all of different families, some of them rare, and in number between forty and fifty.
Reed, in his ‘Remains,’ gives the following eloquent and highly poetical description of the Abbey by moonlight:—“The great tree or vegetable rock, or emperor of the oaks, if you please, before which I bowed with a sort of reverence in the fields of Tinterne, and which for so many ages has borne all the blasts and bolts of heaven, I should deem it a gratification of a superior kind to approach again with an ‘unsandalled foot,’ to pay the same homage, and to kindle with the same devotion. But I should find amidst the magnificent ruins of the adjoining Abbey, something of a sublime cast, to interest and give pregnancy to my feelings. I must be alone. My mind must be calm and pensive. It must be midnight. The moon, half-veiled in clouds, must be just emerging from behind the neighbouring hills. All must be silent, except the wind gentlyrustling among the ivy of the ruins; the river lulling, by its faint murmurings, its guardian genius to repose; and the owl, whose funereal shriek would some time die along the walls in mysterious echoes. I should then invoke the ghosts of the Abbey; and Fancy, with one stroke of her magic wand, would rouse them from their dusty beds, and lead them into the centre of the ruin. I should approach their shadowy existences with reverence; making inquiries respecting the customs, and manners, and genius, and fate of antiquity—desire to have a glimpse of the destiny of future ages, and enter upon conversations which would be too sacred and even dangerous to communicate.” The lines by Sir Walter Scott, on “Melrose Abbey by Moonlight,” are equally descriptive of Tinterne.[54]
It has been well observed, that, as the Abbey of Tinterne is the most beautiful and picturesque of all our Gothic monuments, so is the situation one of the most sequestered and delightful. One more abounding in that peculiar kind of scenery which excites the mingled sensations of content, religion, and enthusiasm, it is impossible to behold. There, every arch infuses, as it were, a solemn energy into inanimate nature; a sublime antiquity breathes mildly in the heart; and the soul, pure and passionless, appears susceptible of that state of tranquillity which is the perfection of every earthly wish.[55]By the late Sir C. Colt Hoare, a man of taste and many travelled acquirements, this “seat of devotion, solitude, and desolation,” is pronounced as surpassing every other ruin he had seen in England or in Wales. Captain Barber, whose “Tour” is now very scarce, was so charmed with the scene, that he locked himself up in the Abbey, and employed several hours in delineating its picturesque features.
From the general aspect of this venerable pile—acoup d’œilthat never fails to captivate the stranger—we proceed to a few detached features of the picture, all more or less interesting as relics of men, and times, that have long passed away.