Winchester Painted by Wilfrid Ball
9781465670823
213 pages
Library of Alexandria
Overview
The magic of the city—whence comes it? Every people, every age has felt it, this mysterious sense of personality, this deep, alluring spell which age after age, nation after nation, has woven round the city of its dreams. Rome, Naples, Damascus, Mecca, Seville, each of these has been and still is a name to conjure with, while the long pent-up fervour of national feeling with which the Hebrew of old time invested the thought of Salem, the City of Peace, has from its very intensity and sincerity established it in the eyes of all Christendom as the permanent type of that New Jerusalem, the Heavenly City, the centre of all divine influence and of every divine appeal. And here in England, dull, matter-of-fact, money-grubbing England, have we not too, under our leaden skies, cities also not unworthy of a claim on our regard—cities which possess the same picturesque and appealing elements which have, in people of warmer and more emotional type, evoked such feelings of romantic devotion, of national pride, and the rich glow of enthusiastic attachment? True, such feelings express themselves here in less exuberant and conscious manner, but they exist, and have existed all through our history, and the old fifteenth-century singer quoted above, whose quaintly expressive verses sum up so happily even for us of modern time the attractions of the delightful old mediaeval city which is our common theme, was doubtless one who felt this to the full.‘Wyngester, that Joly citè,’ that is his keynote—a note at once sincere but restrained. And to lovers of Winchester—and who that knows it is not of these?—it must ever be a pleasant task to follow out in detail the themes suggested by our mediaeval singer—to enjoy one by one those attractive features which endear it still to us, as it did to him. To clamber up the breezy heights which gird it round, for the sake of the ‘aier’—that air which, as the poet Keats himself remarked, is alone worth “Sixpence a pint”; to trace the windings of the ‘riverès renning all aboute’—both within its confines and beyond; to linger in its streets and catch the echoes of its wonderful past, with even more appreciation than our fifteenth-century poet was capable of feeling. For our singer, sincerely appreciative as he was, had one sense lacking—the sense of history. The present only appealed to him; but to us, as we thread its quaintly-inconvenient, narrow streets, its passages and gateways, it is something more than merely a ‘Joly citè,’ a city of comfort and good rule; it is a city of dreams as well, a city haunted with the sense of a mighty past, a living testimony alike to the permanence of our national institutions and to the dignity of the associations to which they make appeal. Winchester, then, is a city with an atmosphere—an atmosphere of the reality and range of historic things, through which the gazing eye can peer, mile after mile as it were, till it loses itself in a vaguely distant and indistinct horizon, where the mists of myth and legend blur the outline and mingle inextricably together fact and fancy, record and surmise. For in Winchester antique tradition and historic association are not a mere adjunct or picturesque accident: they are the keynote of its very existence. In Winchester we stand on the threshold of national history; here we may, as it were, study history in situ, as perhaps we can study it nowhere else in the land—in the soil beneath our feet, in its stones, its institutions, its quaint survivals of early or mediaeval, Tudor or Stuart days.
