42 pages • 1 hour read
“Building was an intriguing business, especially with someone like Tom, who was able to explain what he was doing,” thinks Philip, as his relationship to Tom grows (433). When we describe law and culture, we often use architectural terms. For instance, it is axiomatic to say that the Magna Carta was a “bedrock” of constitutional law, or that Leonardo da Vinci was the “pinnacle” of Renaissance style. Both are metaphors taken from architecture.
Follett does not skimp on the architectural details in his novel, and the half-century struggle to build the Kingsbridge church mirrors the political compromises made to erect it. The construction begins in a quaint and humble style as directed by Tom Builder, who understands that thick walls and arched doorways lend stability to a structure. As the narrative becomes more complex, however, so does the building. When Jack tours the continent of Europe, he becomes familiar with a style that would be named Gothic by observers of a later age. Gothic buildings feature a more complex, ribbed internal structure, and consequently could be built taller, and with a lighter profile. The existence of stained glass was made possible by this lighter construction, which allowed more light into the interior of the building. In this way, Follett suggests, written laws and business receipts, though invisible to the illiterate, may act as a stronger frame for human happiness than brute force.
The practice of physiognomy—the identification of a person’s moral state by way of their physical state—is the province of pseudoscience. These days, it is not used as a legitimate way to judge a person’s character. Except, that is, in popular fiction like The Pillars of the Earth, where its use proliferates.
Follett often uses physiognomy as a shortcut to describe his characters. Aliena, a person of irrefutably sound mind and moral character, also displays a desirable and orderly physical shape. Alternately, the scheming matriarch of the Hamleigh family, Regan, is described as covered in unsightly boils. William, as he ages, becomes gouty and pale to match the weakness of his character. In more complex ways, Jack’s moral precociousness is represented through his growing out of a gangly and awkward youthfulness into an odd-looking but attractive manhood. This is a trope which often appears innocent to a popular audience, but which can have dire results in terms of unexamined racism and ableism.
Follett takes many opportunities to point out that people with fine silks are often not to be trusted, whereas simple folk in sackcloth speak the truth. Philip must often come into contact with people in power, and he is often aware of the impression he makes. The first time he goes to court, he notes that Bishop Henry has on “the most gorgeous tunic made of purple silk” and that Bishop Walerian is decked out with a “spotless white shirt” (310). Nevertheless, Philip acts as a focal point for King Stephen, in order to put the high-placed bishops in their place. Noting Philip’s homespun attire by comparison, he declares, “I like a monk to look like a monk, not like a king” (313). Later, Stephen rules in Philip’s favor, granting him the quarry he needs to complete his castle.
As with all things in Follett’s world, success does not come without ample legwork; Philip works tirelessly to uncover the truth of the quarry and to wrest it for himself. Yet Stephen’s first impression was important, too, particularly in a political arrangement which depends upon a facile young King’s temperament. In this case, fine attire disguises an ambigous nature, and simple clothing represents the truth.
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By Ken Follett