The spirit of place, and other essays/Wells
WELLS.
The world at present is inclined to make sorry mysteries or unattractive secrets of the methods and supplies of the fresh and perennial means of life. A very dull secret is made of water, for example, and the plumber sets his seal upon the floods whereby we live. They are covered, they are carried, they are hushed, from the spring to the tap; and when their voices are released at last in the London scullery, why, it can hardly be said that the song is eloquent of the natural source of waters, whether earthly or heavenly. There is not one of the circumstances of this capture of streams—the company, the water-rate, and the rest—that is not a sign of the ill-luck of modern devices in regard to style. For style implies a candour and simplicity of means, an action, a gesture, as it were, in the doing of small things; it is the ignorance of secret ways; whereas the finish of modern life and its neatness seem to be secured by a system of little shufflings and surprises.
Dress, among other things, is furnished throughout with such fittings; they form its very construction. Style does not exist in modern arrayings, for all their prettiness and precision, and for all the successes—which are not to be denied—of their outer part; the happy little swagger that simulates style is but another sign of its absence, being prepared by mere dodges and dexterities beneath, and the triumph and success of the present art of raiment—"fit" itself—is but the result of a masked and lurking labour and device.
The masters of fine manners, moreover, seem to be always aware of the beauty that comes of pausing slightly upon the smaller and slighter actions, such as meaner men are apt to hurry out of the way. In a word, the workman, with his finish and accomplishment, is the dexterous provider of contemporary things; and the ready, well-appointed, and decorated life of all towns is now altogether in his hands; whereas the artist craftsman of other times made a manifestation of his means. The first hides the streams, under stress and pressure, in paltry pipes which we all must make haste to call upon the earth to cover, and the second lifted up the arches of the aqueduct.
The search of easy ways to live is not always or everywhere the way to ugliness, but in some countries, at some dates, it is the sure way. In all countries, and at all dates, extreme finish compassed by hidden means must needs, from the beginning, prepare the abolition of dignity. This is easy to understand, but it is less easy to explain the ill-fortune that presses upon the expert workman, in search of easy ways to live, all the ill-favoured materials, makes them cheap for him, makes them serviceable and effectual, urges him to use them, seal them, and inter them, turning the trim and dull completeness out to the view of the daily world. It is an added mischance. Nor, on the other hand, is it easy to explain the beautiful good luck attending the simpler devices which are, after all, only less expert ways of labour. In those happy conditions, neither from the material, suggesting to the workman, nor from the workman looking askance at his unhandsome material, comes a first proposal to pour in cement and make fast the underworld, out of sight. But fate spares not that suggestion to the able and the unlucky at their task of making neat work of the means, the distribution, the traffick of life.
The springs, then, the profound wells, the streams, are of all the means of our lives those which we should wish to see open to the sun, with their waters on their progress and their way to us; but, no, they are lapped in lead.
King Pandion and his friends lie not under heavier seals.
Yet we have been delighted, elsewhere, by open floods. The hiding-place that nature and the simpler crafts allot to the waters of wells are, at their deepest, in communication with the open sky. No other mine is so visited; for the noonday sun himself is visible there; and it is fine to think of the waters of this planet, shallow and profound, all charged with shining suns, a multitude of waters multiplying suns, and carrying that remote fire, as it were, within their unalterable freshness. Not a pool without this visitant, or without passages of stars. As for the wells of the Equator, you may think of them in their last recesses as the daily bathing-places of light; a luminous fancy is able so to scatter fitful figures of the sun, and to plunge them in thousands within those deeps.
Round images lie in the dark waters, but in the bright waters the sun is shattered out of its circle, scattered into waves, broken across stones, and rippled over sand; and in the shallow rivers that fall through chestnut woods the image is mingled with the mobile figures of leaves. To all these waters the agile air has perpetual access. Not so can great towns be watered, it will be said with reason; and this is precisely the ill-luck of great towns.
Nevertheless, there are towns, not, in a sense, so great, that have the grace of visible wells; such as Venice, where every campo has its circle of carved stone, its clashing of dark copper on the pavement, its soft kiss of the copper vessel with the surface of the water below, and the cheerful work of the cable.
Or the Romans knew how to cause the parted floods to measure their plain with the strong, steady, and level flight of arches from the watersheds in the hills to the arid city; and having the waters captive, they knew how to compel them to take part, by fountains, in this Roman triumph. They had the wit to boast thus of their brilliant prisoner.
None more splendid came bound to Rome, or graced captivity with a more invincible liberty of the heart. And the captivity and the leap of the heart of the waters have outlived their captors. They have remained in Rome, and have remained alone. Over them the victory was longer than empire, and their thousands of loud voices have never ceased to confess the conquest of the cold floods, separated long ago, drawn one by one, alive, to the head and front of the world.
Of such a transit is made no secret. It was the most manifest fact of Rome. You could not look to the city from the mountains or to the distance from the city without seeing the approach of those perpetual waters—waters bound upon daily tasks and minute services. This, then, was the style of a master, who does not lapse from "incidental greatness," has no mean precision, out of sight, to prepare the finish of his phrases, and does not think the means and the approaches are to be plotted and concealed. Without anxiety, without haste, and without misgiving are all great things to be done, and neither interruption in the doing nor ruin after they are done finds anything in them to betray. There was never any disgrace of means, and when the world sees the work broken through there is no disgrace of discovery. The labour of Michelangelo's chisel, little more than begun, a Roman structure long exposed in disarray—upon these the light of day looks full, and the Roman and the Florentine have their unrefuted praise.