Part 9

Let me not, however, forget, amid such contemplations, what may serve here as a much more relevant instance of the operation of values, the price of the as yet undiminished dignity of the two most southward of the Fifth Avenue churches. Half the charm of the prospect, at that extremity, is in their still being there, and being as they are; this charm, this serenity of escape and survival positively works as a blind on the side of the question of their architectural importance. The last shade of pedantry or priggishness drops from your view of that element; they illustrate again supremely your grasped truth of the _comparative_ character, in such conditions, of beauty and of interest. The special standard they may or may not square with signifies, you feel, not a jot: all you know, and want to know, is that they are probably menaced—some horrible voice of the air has murmured it—and that with them will go, if fate overtakes them, the last cases worth mentioning (with a single exception), of the modest felicity that sometimes used to be. Remarkable certainly the state of things in which mere exemption from the “squashed” condition can shed such a glamour; but we may accept the state of things if only we can keep the glamour undispelled. It reached its maximum for me, I hasten to add, on my penetrating into the Ascension, at chosen noon, and standing for the first time in presence of that noble work of John La Farge, the representation, on the west wall, in the grand manner, of the theological event from which the church takes its title. Wonderful enough, in New York, to find one’s self, in a charming and considerably dim “old” church, hushed to admiration before a great religious picture; the sensation, for the moment, upset so all the facts. The hot light, outside, might have been that of an Italian _piazzetta_; the cool shade, within, with the important work of art shining through it, seemed part of some other-world pilgrimage—all the more that the important work of art itself, a thing of the highest distinction, spoke, as soon as one had taken it in, with that authority which makes the difference, ever afterwards, between the remembered and the forgotten quest. A rich note of interference came, I admit, through the splendid window-glass, the finest of which, unsurpassably fine, to my sense, is the work of the same artist; so that the church, as it stands, is very nearly as commemorative a monument as a great reputation need wish. The deeply pictorial windows, in which clearness of picture and fulness of expression consort so successfully with a tone as of magnified gems, did not strike one as looking into a yellow little square of the south—they put forth a different implication; but the flaw in the harmony was, more than anything else, that sinister voice of the air of which I have spoken, the fact that one _could_ stand there, vibrating to such impressions, only to remember the suspended danger, the possibility of the doom. Here was the loveliest cluster of images, begotten on the spot, that the preoccupied city had ever taken thought to offer itself; and here, to match them, like some black shadow they had been condemned to cast, was this particular prepared honour of “removal” that appeared to hover about them.

One’s fear, I repeat, was perhaps misplaced—but what an air to live in, the shuddering pilgrim mused, the air in which such fears are not misplaced only when we are conscious of very special reassurances! The vision of the doom that does descend, that had descended all round, was at all events, for the half-hour, all that was wanted to charge with the last tenderness one’s memory of the transfigured interior. Afterwards, outside, again and again, the powers of removal struck me as looming, awfully, in the newest mass of multiplied floors and windows visible at this point. _They_, ranged in this terrible recent erection, were going to bring in money—and was not money the only thing a self-respecting structure could be thought of as bringing in? Hadn’t one heard, just before, in Boston, that the security, that the sweet serenity of the Park Street Church, charmingest, there, of aboriginal notes, the very light, with its perfect position and its dear old delightful Wren-like spire, of the starved city’s eyes, had been artfully practised against, and that the question of saving it might become, in the near future, acute? Nothing, fortunately, I think, is so much the “making” of New York, at its central point, for the visual, almost for the romantic, sense, as the Park Street Church is the making, by its happy coming-in, of Boston; and, therefore, if it were thinkable that the peculiar rectitude of Boston might be laid in the dust, what mightn’t easily come about for the reputedly less austere conscience of New York? Once such questions had obtained lodgment, to take one’s walks was verily to look at almost everything in their light; and to commune with the sky-scraper under this influence was really to feel worsted, more and more, in any magnanimous attempt to adopt the æsthetic view of it. I may appear to make too much of these invidious presences, but it must be remembered that they represent, for our time, the only claim to any consideration other than merely statistical established by the resounding growth of New York. The attempt to take the æsthetic view is invariably blighted sooner or later by their most salient characteristic, _the_ feature that speaks loudest for the economic idea. Window upon window, at any cost, is a condition never to be reconciled with any grace of building, and the logic of the matter here happens to put on a particularly fatal front. If quiet interspaces, always half the architectural battle, exist no more in such a structural scheme than quiet tones, blest breathing-spaces, occur, for the most part, in New York conversation, so the reason is, demonstrably, that the building can’t afford them. (It is by very much the same law, one supposes, that New York conversation cannot afford stops.) The building can only afford lights, each light having a superlative value as an aid to the transaction of business and the conclusion of sharp bargains. Doesn’t it take in fact acres of window-glass to help even an expert New Yorker to get the better of another expert one, or to see that the other expert one doesn’t get the better of _him_? It is easy to conceive that, after all, with this origin and nature stamped upon their foreheads, the last word of the mercenary monsters should not be their address to our sense of formal beauty.

Still, as I have already hinted, there was always the case of the one other rescued identity and preserved felicity, the happy accident of the elder day still ungrudged and finally legitimated. When I say ungrudged, indeed, I seem to remember how I had heard that the divine little City Hall had _been_ grudged, at a critical moment, to within an inch of its life; had but just escaped, in the event, the extremity of grudging. It lives on securely, by the mercy of fate—lives on in the delicacy of its beauty, speaking volumes again (more volumes, distinctly, than are anywhere else spoken) for the exquisite truth of the _conferred_ value of interesting objects, the value derived from the social, the civilizing function for which they have happened to find their opportunity. It is the opportunity that gives them their price, and the luck of there being, round about them, nothing greater than themselves to steal it away from them. They strike thus, virtually, the supreme note, and—such is the mysterious play of our finer sensibility!—one takes this note, one is glad to work it, as the phrase goes, for all it is worth. I so work the note of the City Hall, no doubt, in speaking of the spectacle there constituted as “divine”; but I do it precisely by reason of the spectacle taken _with_ the delightful small facts of the building: largely by reason, in other words, of the elegant, the gallant little structure’s situation and history, the way it has played, artistically, ornamentally, its part, has held out for the good cause, through the long years, alone and unprotected. The fact is it has been the very centre of that assault of vulgarity of which the innumerable mementos rise within view of it and tower, at a certain distance, over it; and yet it has never parted with a square inch of its character, it has forced them, in a manner, to stand off. I hasten to add that in expressing thus its uncompromised state I speak of its outward, its æsthetic character only. So, at all events, it has discharged the civilizing function I just named as inherent in such cases—that of representing, to the community possessed of it, all the Style the community is likely to get, and of making itself responsible for the same.

The consistency of this effort, under difficulties, has been the story that brings tears to the eyes of the hovering kindly critic, and it is through his tears, no doubt, that such a personage reads the best passages of the tale and makes out the proportions of the object. Mine, I recognize, didn’t prevent my seeing that the pale yellow marble (or whatever it may be) of the City Hall has lost, by some late excoriation, the remembered charm of its old surface, the pleasant promiscuous patina of time; but the perfect taste and finish, the reduced yet ample scale, the harmony of parts, the just proportions, the modest classic grace, the living look of the type aimed at, these things, with gaiety of detail undiminished and “quaintness” of effect augmented, are all there; and I see them, as I write, in that glow of appreciation which made it necessary, of a fine June morning, that I should somehow pay the whole place my respects. The simplest, in fact the only way, was, obviously, to pass under the charming portico and brave the consequences: this impunity of such audacities being, in America, one of the last of the lessons the repatriated absentee finds himself learning. The crushed spirit he brings back from European discipline never quite rises to the height of the native argument, the brave sense that the public, the civic building is his very own, for any honest use, so that he may tread even its most expensive pavements and staircases (and very expensive, for the American citizen, these have lately become,) without a question asked. This further and further unchallenged penetration begets in the perverted person I speak of a really romantic thrill: it is like some assault of the dim seraglio, with the guards bribed, the eunuchs drugged and one’s life carried in one’s hand. The only drawback to such freedom is that penetralia it is so easy to penetrate fail a little of a due impressiveness, and that if stationed sentinels are bad for the temper of the freeman they are good for the “prestige” of the building.

Never, in any case, it seemed to me, had any freeman made so free with the majesty of things as I was to make on this occasion with the mysteries of the City Hall—even to the point of coming out into the presence of the Representative of the highest office with which City Halls are associated, and whose thoroughly gracious condonation of my act set the seal of success upon the whole adventure. Its dizziest intensity in fact sprang precisely from the unexpected view opened into the old official, the old so thick-peopled local, municipal world: upper chambers of council and state, delightfully of their nineteenth-century time, as to design and ornament, in spite of rank restoration; but replete, above all, with portraits of past worthies, past celebrities and city fathers, Mayors, Bosses, Presidents, Governors, Statesmen at large, Generals and Commodores at large, florid ghosts, looking so unsophisticated now, of years not remarkable, municipally, for the absence of sophistication. Here were types, running mainly to ugliness and all bristling with the taste of their day and the quite touching provincialism of their conditions, as to many of which nothing would be more interesting than a study of New York annals in the light of their personal look, their very noses and mouths and complexions and heads of hair—to say nothing of their waistcoats and neckties; with such colour, such sound and movement would the thick stream of local history then be interfused. Wouldn’t its thickness fairly become transparent? since to walk through the collection was not only to see and feel so much that had happened, but to understand, with the truth again and again inimitably pointed, why nothing could have happened otherwise; the whole array thus presenting itself as an unsurpassed demonstration of the real reasons of things. The florid ghosts look out from their exceedingly gilded frames—all that _that_ can do is bravely done for them—with the frankest responsibility for everything; their collective presence becomes a kind of copious tell-tale document signed with a hundred names. There are few of these that at this hour, I think, we particularly desire to repeat; but the place where they may be read is, all the way from river to river and from the Battery to Harlem, the place in which there is most of the terrible town.

III

If the Bay had seemed to me, as I have noted, most to help the fond observer of New York aspects to a sense, through the eyes, of embracing possession, so the part played there for the outward view found its match for the inward in the portentous impression of one of the great caravansaries administered to me of a winter afternoon. I say with intention “administered”: on so assiduous a guide, through the endless labyrinth of the Waldorf-Astoria was I happily to chance after turning out of the early dusk and the January sleet and slosh into permitted, into enlightened contemplation of a pandemonium not less admirably ordered, to all appearance, than rarely intermitted. The seer of great cities is liable to easy error, I know, when he finds this, that or the other caught glimpse the supremely significant one—and I am willing to preface with that remark my confession that New York told me more of her story at once, then and there, than she was again and elsewhere to tell. With this apprehension that she was in fact fairly shrieking it into one’s ears came a curiosity, corresponding, as to its kind and its degree of interest; so that there was nought to do, as we picked our tortuous way, but to stare with all our eyes and miss as little as possible of the revelation. That harshness of the essential conditions, the outward, which almost any large attempt at the amenities, in New York, has to take account of and make the best of, has at least the effect of projecting the visitor with force upon the spectacle prepared for him at this particular point and of marking the more its sudden high pitch, the character of violence which all its warmth, its colour and glitter so completely muffle. There is violence outside, mitigating sadly the frontal majesty of the monument, leaving it exposed to the vulgar assault of the street by the operation of those dire facts of absence of margin, of meagreness of site, of the brevity of the block, of the inveteracy of the near thoroughfare, which leave “style,” in construction, at the mercy of the impertinent cross-streets, make detachment and independence, save in the rarest cases, an insoluble problem, preclude without pity any element of court or garden, and open to the builder in quest of distinction the one alternative, and the great adventure, of seeking his reward in the sky.

Of their licence to pursue it there to any extent whatever New Yorkers are, I think, a trifle too assertively proud; no court of approach, no interspace worth mention, ever forming meanwhile part of the ground-plan or helping to receive the force of the breaking public wave. New York pays at this rate the penalty of her primal topographic curse, her old inconceivably bourgeois scheme of composition and distribution, the uncorrected labour of minds with no imagination of the future and blind before the opportunity given them by their two magnificent water-fronts. This original sin of the longitudinal avenues perpetually, yet meanly intersected, and of the organized sacrifice of the indicated alternative, the great perspectives from East to West, might still have earned forgiveness by some occasional departure from its pettifogging consistency. But, thanks to this consistency, the city is, of all great cities, the least endowed with any blest item of stately square or goodly garden, with any happy accident or surprise, any fortunate nook or casual corner, any deviation, in fine, into the liberal or the charming. That way, however, for the regenerate filial mind, madness may be said to lie—the way of imagining what might have been and putting it all together in the light of what so helplessly is. One of the things that helplessly are, for instance, is just this assault of the street, as I have called it, upon any direct dealing with our caravansary. The electric cars, with their double track, are everywhere almost as tight a fit in the narrow channel of the roadway as the projectile in the bore of a gun; so that the Waldorf-Astoria, sitting by this absent margin for life with her open lap and arms, is reduced to confessing, with a strained smile, across the traffic and the danger, how little, outside her mere swing-door, she can do for you. She seems to admit that the attempt to get at her may cost you your safety, but reminds you at the same time that any good American, and even any good inquiring stranger, is supposed willing to risk that boon for her. “_Un bon mouvement_, therefore: you must make a dash for it, but you’ll see I’m worth it.” If such a claim as this last be ever justified, it would indubitably be justified here; the survivor scrambling out of the current and up the bank finds in the amplitude of the entertainment awaiting him an instant sense as of applied restoratives. The amazing hotel-world quickly closes round him; with the process of transition reduced to its minimum he is transported to conditions of extraordinary complexity and brilliancy, operating—and with proportionate perfection—by laws of their own and expressing after their fashion a complete scheme of life. The air swarms, to intensity, with the _characteristic_, the characteristic condensed and accumulated as he rarely elsewhere has had the luck to find it. It jumps out to meet his every glance, and this unanimity of its spring, of all its aspects and voices, is what I just now referred to as the essence of the loud New York story. That effect of violence in the whole communication, at which I thus hint, results from the inordinate mass, the quantity of presence, as it were, of the testimony heaped together for emphasis of the wondrous moral.

The moral in question, the high interest of the tale, is that you are in presence of a revelation of the possibilities of the hotel—for which the American spirit has found so unprecedented a use and a value; leading it on to express so a social, indeed positively an æsthetic ideal, and making it so, at this supreme pitch, a synonym for civilization, for the capture of conceived manners themselves, that one is verily tempted to ask if the hotel-spirit may not just _be_ the American spirit most seeking and most finding itself. That truth—the truth that the present is more and more the day of the hotel—had not waited to burst on the mind at the view of this particular establishment; we have all more or less been educated to it, the world over, by the fruit-bearing action of the American example: in consequence of which it has been opened to us to see still other societies moved by the same irresistible spring and trying, with whatever grace and ease they may bring to the business, to unlearn as many as possible of their old social canons, and in especial their old discrimination in favour of the private life. The business for them—for communities to which the American ease in such matters is not native—goes much less of itself and produces as yet a scantier show; the great difference with the American show being that in the United States every one is, for the lubrication of the general machinery, practically in everything, whereas in Europe, mostly, it is only certain people who are in anything; so that the machinery, so much less generalized, works in a smaller, stiffer way. This one caravansary makes the American case vivid, gives it, you feel, that quantity of illustration which renders the place a new thing under the sun. It is an expression of the gregarious state breaking down every barrier but two—one of which, the barrier consisting of the high pecuniary tax, is the immediately obvious. The other, the rather more subtle, is the condition, for any member of the flock, that he or she—in other words especially she—be presumably “respectable,” be, that is, not discoverably anything else. The rigour with which any appearance of pursued or desired adventure is kept down—adventure in the florid sense of the word, the sense in which it remains an euphemism—is not the least interesting note of the whole immense promiscuity. Protected at those two points the promiscuity carries, through the rest of the range, everything before it.

It sat there, it walked and talked, and ate and drank, and listened and danced to music, and otherwise revelled and roamed, and bought and sold, and came and went there, all on its own splendid terms and with an encompassing material splendour, a wealth and variety of constituted picture and background, that might well feed it with the finest illusions about itself. It paraded through halls and saloons in which art and history, in masquerading dress, muffled almost to suffocation as in the gold brocade of their pretended majesties and their conciliatory graces, stood smirking on its passage with the last cynicism of hypocrisy. The exhibition is wonderful for that, for the suggested sense of a promiscuity which manages to be at the same time an inordinate untempered monotony; manages to be so, on such ground as this, by an extraordinary trick of its own, wherever one finds it. The combination forms, I think, largely, the very interest, such as it is, of these phases of the human scene in the United States—if only for the pleasant puzzle of our wondering how, when types, aspects, conditions, have so much in common, they should seem at all to make up a conscious miscellany. That question, however, the question of the play and range, the practical elasticity, of the social sameness, in America, will meet us elsewhere on our path, and I confess that all questions gave way, in my mind, to a single irresistible obsession. This was just the ache of envy of the spirit of a society which had found there, in its prodigious public setting, so exactly what it wanted. One was in presence, as never before, of a realized ideal and of that childlike rush of surrender to it and clutch at it which one was so repeatedly to recognize, in America, as the note of the supremely gregarious state. It made the whole vision unforgettable, and I am now carried back to it, I confess, in musing hours, as to one of my few glimpses of perfect human felicity. It had the admirable sign that it was, precisely, so comprehensively collective—that it made so vividly, in the old phrase, for the greatest happiness of the greatest number. Its rare beauty, one felt with instant clarity of perception, was that it was, for a “mixed” social manifestation, blissfully exempt from any principle or possibility of disaccord with itself. It was absolutely a fit to its conditions, those conditions which were both its earth and its heaven, and every part of the picture, every item of the immense sum, every wheel of the wondrous complexity, was on the best terms with all the rest.