By these the Pontifexes were welcomed as great acquisitions to the neighbourhood. Mr. Pontifex, they said, was so clever; he had been senior classic and senior wrangler; a perfect genius in fact, and yet with so much sound practical common sense as well. As son of such a distinguished man as the great Mr. Pontifex, the publisher, he would come into a large property by-and-by. Was there not an elder brother? Yes, but there would be so much that Theobald would probably get something very considerable. Of course they would give dinner parties. And Mrs. Pontifex, what a charming woman she was; she was certainly not exactly pretty perhaps, but then she had such a sweet smile and her manner was so bright and winning. She was so devoted too to her husband and her husband to her; they really did come up to one’s ideas of what lovers used to be in days of old; it was rare to meet with such a pair in these degenerate times; it was quite beautiful, etc., etc. Such were the comments of the neighbours on the new arrivals.
As for Theobald’s own parishioners, the farmers were civil and the labourers and their wives obsequious. There was a little dissent, the legacy of a careless predecessor, but as Mrs. Theobald said proudly, “I think Theobald may be trusted to deal with that.” The church was then an interesting specimen of late Norman, with some early English additions. It was what in these days would be called in a very bad state of repair, but forty or fifty years ago few churches were in good repair. If there is one feature more characteristic of the present generation than another it is that it has been a great restorer of churches.
Horace preached church restoration in his ode:
Delicta, majorum immeritus lues,
Romane, donec templa refeceris
AEdesque labentes deorum et
Foeda nigro simulacra fumo.
Nothing went right with Rome for long together after the Augustan age, but whether it was because she did restore the temples or because she did not restore them, I know not. They certainly went all wrong after Constantine’s time and yet Rome is still a city of some importance.
I may say here that before Theobald had been many years at Battersby he found scope for useful work in the rebuilding of Battersby church, which he carried out at considerable cost, towards which he subscribed liberally himself. He was his own architect, and this saved expense; but architecture was not very well understood about the year 1834, when Theobald commenced operations, and the result is not as satisfactory as it would have been if he had waited a few years longer.
Every man’s work, whether it be literature or music or pictures or architecture or anything else, is always a portrait of himself, and the more he tries to conceal himself the more clearly will his character appear in spite of him. I may very likely be condemning myself, all the time that I am writing this book, for I know that whether I like it or no I am portraying myself more surely than I am portraying any of the characters whom I set before the reader. I am sorry that it is so, but I cannot help it — after which sop to Nemesis I will say that Battersby church in its amended form has always struck me as a better portrait of Theobald than any sculptor or painter short of a great master would be able to produce.
I remember staying with Theobald some six or seven months after he was married, and while the old church was still standing. I went to church, and felt as Naaman must have felt on certain occasions when he had to accompany his master on his return after having been cured of his leprosy. I have carried away a more vivid recollection of this and of the people, than of Theobald’s sermon. Even now I can see the men in blue smock frocks reaching to their heels, and more than one old woman in a scarlet cloak; the row of stolid, dull, vacant plough-boys, ungainly in build, uncomely in face, lifeless, apathetic, a race a good deal more like the prerevolution French peasant as described by Carlyle than is pleasant to reflect upon — a race now supplanted by a smarter, comelier, and more hopeful generation, which has discovered that it too has a right to as much happiness as it can get, and with clearer ideas about the best means of getting it.
They shamble in one after another, with steaming breath, for it is winter, and loud clattering of hob-nailed boots; they beat the snow from off them as they enter, and through the opened door I catch a momentary glimpse of a dreary, leaden sky and snow-clad tombstones. Somehow or other I find the strain which Handel has wedded to the words “There the ploughman near at hand” has got into my head and there is no getting it out again. How marvellously old Handel understood these people!
They bob to Theobald as they pass the reading desk (”The people hereabouts are truly respectful,” whispered Christina to me; “they know their betters”), and take their seats in a long row against the wall. The choir clamber up into the gallery with their instruments — a violoncello, a clarinet, and a trombone. I see them and soon I hear them, for there is a hymn before the service, a wild strain, a remnant, if I mistake not, of some pre-Reformation litany. I have heard what I believe was its remote musical progenitor in the church of SS. Giovanni e Paolo at Venice not five years since; and again I have heard it far away in mid-Atlantic upon a grey sea-Sabbath in June, when neither winds nor waves are stirring, so that the emigrants gather on deck, and their plaintive psalm goes forth upon the silver haze of the sky, and on the wilderness of a sea that has sighed till it can sigh no longer. Or it may be heard at some Methodist Camp Meeting upon a Welsh hillside, but in the churches it is gone forever. If I were a musician I would take it as the subject for the adagio in a Wesleyan symphony.
Gone now are the clarinet, the violoncello, and the trombone, wild minstrelsy as of the doleful creatures in Ezekiel, discordant, but infinitely pathetic. Gone is that scarebabe stentor, that bellowing bull of Bashan, the village blacksmith, gone is the melodious carpenter, gone the brawny shepherd with the red hair, who roared more lustily than all, until they came to the words, “Shepherds, with your flocks abiding,” when modesty covered him with confusion, and compelled him to be silent, as though his own health were being drunk. They were doomed and had a presentiment of evil, even when first I saw them, but they had still a little lease of choir life remaining, and they roared out:
wick — ed hands have pierced and nailed him to a tree. (See illustration.) but no description can give a proper idea of the effect. When I was last in Battersby church there was a harmonium played by a sweet-looking girl with a choir of school children around her, and they chanted the canticles to the most correct of chants, and they sang Hymns Ancient and Modern; the high pews were gone, nay, the very gallery in which the old choir had sung was removed as an accursed thing which might remind the people of the high places, and Theobald was old, and Christina was lying under the yew trees in the churchyard.
But in the evening later on I saw three very old men come chuckling out of a dissenting chapel, and surely enough they were my old friends the blacksmith, the carpenter, and the shepherd. There was a look of content upon their faces which made me feel certain they had been singing; not doubtless with the old glory of the violoncello, the clarinet, and the trombone, but still songs of Sion and no new fangled papistry.
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