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Gallegico Directory 02
Page 07
My aim is neither critical nor apologetic, but historical and pictorial: it is not to say what might or ought to have been, but to set forth from extant records what has actually taken place: to give an account of the origin and hallowed associations of Christmas, and to depict, by pen and pencil, the important historical events and interesting festivities of Christmastide during nineteen centuries. With materials collected from different parts of the world, and from writings both ancient and modern, I have endeavoured to give in the present work a chronological account of the celebrations and observances of Christmas from the birth of Christ to the end of the nineteenth century; but, in a few instances, the subject-matter has been allowed to take precedence of the chronological arrangement. Here will be found accounts of primitive celebrations of the Nativity, ecclesiastical decisions fixing the date of Christmas, the connection of Christmas with the festivals of the ancients, Christmas in times of persecution, early celebrations in Britain, stately Christmas meetings of the Saxon, Danish, and Norman kings of England; Christmas during the wars of the Roses, Royal Christmases under the Tudors, the Stuarts and the Kings and Queens of Modern England; Christmas at the Colleges and the Inns of Court; Entertainments of the nobility and gentry, and popular festivities; accounts of Christmas celebrations in different parts of Europe, in America and Canada, in the sultry lands of Africa and the ice-bound Arctic coasts, in India and China, at the Antipodes, in Australia and New Zealand, and in the Islands of the Pacific; in short, throughout the civilised world.
Once more I must caution the reader against expecting to find highly-finished gems of art in the chapels I have been describing. A wooden figure not more than two feet high clogged with many coats of paint can hardly claim to be taken very seriously, and even those few that were cut by Tabachetti himself were not meant to have attention concentrated on themselves alone. As mere wood-carving the Saas-Fee chapels will not stand comparison, for example, with the triptych of unknown authorship in the Church of St. Anne at Gliss, close to Brieg. But, in the first place, the work at Gliss is worthy of Holbein himself: I know no wood-carving that can so rivet the attention; moreover it is coloured with water-colour and not oil, so that it is tinted, not painted; and, in the second place, the Gliss triptych belongs to a date (1519) when artists held neither time nor impressionism as objects, and hence, though greatly better than the Saas-Fee chapels as regards a certain Japanese curiousness of finish and naivete of literal transcription, it cannot even enter the lists with the Saas work as regards elan and dramatic effectiveness. The difference between the two classes of work is much that between, say, John Van Eyck or Memling and Rubens or Rembrandt, or, again, between Giovanni Bellini and Tintoretto; the aims of the one class of work are incompatible with those of the other. Moreover, in the Gliss triptych the intention of the designer is carried out (whether by himself or no) with admirable skill; whereas at Saas the wisdom of the workman is rather of OberAmmergau than of the Egyptians, and the voice of the poet is not a little drowned in that of his mouthpiece. If, however, the reader will bear in mind these somewhat obvious considerations, and will also remember the pathetic circumstances under which the chapels were designed--for Tabachetti when he reached Saas was no doubt shattered in body and mind by his four years' imprisonment--he will probably be not less attracted to them than I observed were many of the visitors both at Saas-Grund and Saas-Fee with whom I had the pleasure of examining them.
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