Brick and Marble in the Middle Ages: Notes of Tours in the North of Italy. George Edmund Street
in or near the church. I never see this arrangement without wishing to introduce it in England. There are so many of our Churches which cannot conveniently be left always open, and where such a provision might suggest to passers-by, as it does here, the propriety of using a church at other times than those of public service.
The cultivation of this valley is not so uninteresting as its ecclesiology. Here we first found the vines trained about in the horizontal Italian fashion, whilst under them great gourds and pumpkins developed themselves to a prodigious size.
Sargans is a very picturesque old town, and has some capital examples of good Swiss carpentry in its houses; in addition to which there is a picturesque and antique-looking castle, rising high above the houses on a rock, guarding the eastern entrance to the town, and commanding the junction of our road with that of the valley of the Rhine leading to the Lake of Constance.
Our coachman was under a bond to travel as fast as a diligence which lumbered on slowly in advance of us, and as far as Ragatz was quite true to his word; there, however, we determined to pause for a few hours, not willing to pass anything so famous as the baths of Pfeffers without a visit. Leaving our carriage, we mounted a light car, and were soon ascending the beautiful gorge of the Tamina to the baths. The road is capitally made, and follows the windings of the mountain torrent so closely as to require some nerve in those who drive rapidly along on their road to or from the baths. The ascent is steep, but in rather less than an hour we found ourselves at the baths. The rocks rise nearly perpendicularly behind the ledge of rock on which they stand, and the only mode of access to the upper and more wonderful part of the chasm was by passing through the long corridors, which betokened the once religious object of the building. These passed, and in charge of a guide, we crossed the torrent by a rude bridge, and then by a rather precarious path made our way, as it seemed, almost into the bowels of the mountain. The gorge is so very narrow that in many parts the light of the sky is no longer visible, the rocks overhanging each other above the head. All the while the torrent is roaring by our sides, and we feel that we are indeed enjoying an excursion into the very heart of the rocky earth. At last we reach the end of the path, are compelled by our guide to ensconce ourselves, one by one, in a small kind of box formed round the source of the spring—to pronounce it very hot and very nasty (its two most eminent qualities)—and then, still admiring the matchless grandeur of the rocky way, we regain our car, and are soon again whirled down the hill to Ragatz.
Our driver is a cheerful, pleasant fellow, talks German much better than the man we brought from Wesen, is communicative, moreover, and seems to enjoy a laugh and a joke uncommonly. Of course we become friends, and with no trouble on our parts, though with some little on his, it is arranged that our old driver shall remain where he is, and that our new friend, proud in the possession of the then very necessary Austrian passport, shall take us on as far at any rate as Chiavenna. A hurried Swiss luncheon—wine, honey, bread and butter—is soon despatched, and again we are on our way under the auspices of our new voiturier.
But we must not leave Ragatz without noticing its church, remarkable for its exceedingly good octagonal wooden spire springing in an unusual manner out of a square wooden belfry stage, and another church at (I think) Vilters, close to Ragatz, which has a lofty tower finished on each side with a sharp gable, and a thin octagonal spire rising from the intersection of the cross-gabled roof; both these steeples are in a position which for some reason is very popular in this district—the south side of the chancel.
WOODEN SPIRE—RAGATZ.
From Ragatz to Chur the churches are all very similar; they have tall towers generally in the same position as those near Ragatz, and capped with bulbous roofs, or sharp spires covered with metal. The road is not quite the most agreeable we have travelled; some of the views, it is true, are most lovely, and the mountains—among which towers pre-eminent the grand outline of the Falkniss—are very noble; but, despite all this, the valley is too wide, and the Rhine, by periodical inundations, manages to secure so nearly its whole extent to itself, that there is a waste, desolate, and pestilential look in the foreground which is not prepossessing. We arrived at Chur at about half-past
one, and, not sorry that our horses required rest, betook ourselves to the inspection of this very curious town.
It is entered by old gateways, and many of the streets are still full of ancient houses. The curious feature of the place is however its complete division into two quarters—the Protestant and the Catholic—the latter walled off, and entered by its own gates.[2] It occupies the upper part of the town, and contains in the cathedral church of S. Lucius an attraction for architects which has unusual merit and interest. Its plan consists of a nave of three bays, a choir of one bay raised by twelve steps above the nave, and a sanctuary much narrower than the nave and choir, and also of one bay. The steps from the nave to the choir are narrow and on each side, and between them is a very flat wide arch, under which access is obtained to the crypt, the floor of which is a few steps below the nave, and extends under the choir and sanctuary. The plan is, it will be seen, not unlike that of the Cathedral at Zurich, save that here there are no apsidal terminations at all.
A sketch of the interior of so singular a church cannot be uninteresting, and it will be seen from this that the whole is of the very earliest pointed work, and good of its kind; the crypt is supported in the centre by a column resting upon a grotesque animal. Two of the altars have fine shrines of metal of the thirteenth century, and two other altars have ancient pricket candlesticks, and there are some fine brass standard candlesticks also; the choir stalls are old, and there is a late triptych behind the high altar, and a very fine Sakramentshaus with metal doors just below the northern flight of steps to the choir, which reminded me of the very fine example in a similar position in the cathedral at Ulm. The altar is of stone of the thirteenth century, with five detached shafts in front, supporting the slab or mensa. The whole church is groined. It is worthy of notice that the choir makes a great bend out of the straight line towards the north—so much, indeed, that it is impossible to avoid noticing it as one enters the church. The steps from the nave to the choir lack dignity. But it is true that if they had been in the centre, and the entrances to the crypt on each side, the crypt would not have been seen, as it now is, from the nave, and a striking effect would have been lost. The west end has a fine round-arched doorway with several shafts in each jamb, above this a large window of the same character, and in the gable a small middle-pointed window. About ten feet in advance of the west doorway is a curious remnant of a gateway with piers and shafts resting upon monsters, looking, however, very much as though it had been removed from elsewhere.
Service commenced just as I was obliged to think of leaving the church; the priests wore red cassocks and tippets, and very short surplices edged with lace, and looked unclean and untidy; there was no one in the body of the church, and the sacristan, after the service had commenced, walked backwards and forwards about the choir, down the steps into the nave, and then—after a little attention bestowed on some matter there—out of the church. On a subsequent visit to this church (in 1872) I found repairs in progress, which bade fair to destroy some of its great archæological interest.
Descending from the melancholy and squalid-looking Catholic quarter, we soon came upon the Protestant church, dedicated in honour of S. Martin, which is now somewhat remarkable. It is old, but it has been plastered, whitewashed, and then painted by some original artist over its whole exterior, in an extraordinary imitation of all kinds of inconsistent architectural devices; pilasters, cornices, mouldings, tracery, and the like, are all boldly represented with black paint, and in such style that we all stopped the moment we saw it, struck by the conviction that it must be a scene from some play, so utterly absurd, flat, and out of all perspective did the whole look.
The situation of Chur is very lovely, placed as it is just at the point where the Schalfiker