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The Tower
by [?]

I have been standing where everybody has stood, opposite the great Belfry Tower of Bruges, and thinking, as every one has thought (though not, perhaps, said), that it is built in defiance of all decencies of architecture. It is made in deliberate disproportion to achieve the one startling effect of height. It is a church on stilts. But this sort of sublime deformity is characteristic of the whole fancy and energy of these Flemish cities. Flanders has the flattest and most prosaic landscapes, but the most violent and extravagant of buildings. Here Nature is tame; it is civilisation that is untamable. Here the fields are as flat as a paved square; but, on the other hand, the streets and roofs are as uproarious as a forest in a great wind. The waters of wood and meadow slide as smoothly and meekly as if they were in the London water-pipes. But the parish pump is carved with all the creatures out of the wilderness. Part of this is true, of course, of all art. We talk of wild animals, but the wildest animal is man. There are sounds in music that are more ancient and awful than the cry of the strangest beast at night. And so also there are buildings that are shapeless in their strength, seeming to lift themselves slowly like monsters from the primal mire, and there are spires that seem to fly up suddenly like a startled bird.

. . . . .

This savagery even in stone is the expression of the special spirit in humanity. All the beasts of the field are respectable; it is only man who has broken loose. All animals are domestic animals; only man is ever undomestic. All animals are tame animals; it is only we who are wild. And doubtless, also, while this queer energy is common to all human art, it is also generally characteristic of Christian art among the arts of the world. This is what people really mean when they say that Christianity is barbaric, and arose in ignorance. As a matter of historic fact, it didn’t; it arose in the most equably civilised period the world has ever seen.

But it is true that there is something in it that breaks the outline of perfect and conventional beauty, something that dots with anger the blind eyes of the Apollo and lashes to a cavalry charge the horses of the Elgin Marbles. Christianity is savage, in the sense that it is primeval; there is in it a touch of the nigger hymn. I remember a debate in which I had praised militant music in ritual, and some one asked me if I could imagine Christ walking down the street before a brass band. I said I could imagine it with the greatest ease; for Christ definitely approved a natural noisiness at a great moment. When the street children shouted too loud, certain priggish disciples did begin to rebuke them in the name of good taste. He said: “If these were silent the very stones would cry out.” With these words He called up all the wealth of artistic creation that has been founded on this creed. With those words He founded Gothic architecture. For in a town like this, which seems to have grown Gothic as a wood grows leaves, anywhere and anyhow, any odd brick or moulding may be carved off into a shouting face. The front of vast buildings is thronged with open mouths, angels praising God, or devils defying Him. Rock itself is racked and twisted, until it seems to scream. The miracle is accomplished; the very stones cry out.

But though this furious fancy is certainly a specialty of men among creatures, and of Christian art among arts, it is still most notable in the art of Flanders. All Gothic buildings are full of extravagant things in detail; but this is an extravagant thing in design. All Christian temples worth talking about have gargoyles; but Bruges Belfry is a gargoyle. It is an unnaturally long-necked animal, like a giraffe. The same impression of exaggeration is forced on the mind at every corner of a Flemish town. And if any one asks, “Why did the people of these flat countries instinctively raise these riotous and towering monuments?” the only answer one can give is, “Because they were the people of these flat countries.” If any one asks, “Why the men of Bruges sacrificed architecture and everything to the sense of dizzy and divine heights?” we can only answer, “Because Nature gave them no encouragement to do so.”