NOTES OF CHRISTIAN LIFE AND WORK.

A Remarkable Church Doorway.

Clonfert Cathedral, in County Galway, can boast a very remarkable and ancient doorway, which is regarded as one of the finest specimens of Hiberno-Romanesque work now in existence. The shafts and piers present an astonishing variety of decoration; every inch of its surface has been worked by the sculptor's tool. Above the rounded archway rises a triangular space filled with many carvings, while the archway itself consists of several decorated semicircles, one within the other. Norman and Romanesque porches may be found of grander proportions; but Brash, in his "Ecclesiastical Architecture of Ireland," declares that "in point of design and execution" he had not seen this beautiful porch "excelled by any similar features in these islands," and specially mentions its beauty of design and fertility of invention. The Cathedral itself has had a long and interesting history. It was founded by St. Brendan in the year 558, and suffered greatly from the Danes. It was burnt six times between 744 and 1179, and was plundered thrice between 949 and 1065. In 1541 it was almost destroyed. Repaired by Bishop Wolley in 1664, it was subsequently altered and improved to some extent, but no general work of restoration was done, and consequently it is in great need of repair. To this work Canon McLarney, the present rector of Clonfert, has set his hand. Though small, the building is very beautiful, and is now used as the parish church, the parish of Clonfert being very large and measuring twenty-seven Irish miles in circumference. The work of restoration is proceeding in sections as funds are provided by the public. The chancel has already been restored, and Canon McLarney hopes to collect a thousand pounds to complete the work on the nave. One need not leave the British Isles to see very ancient and interesting structures, and a writer lately said it would be worth a pilgrimage to Connaught to see Clonfert doorway alone.

(Photo: Mr. A. C. White, Clonskea, Dublin.)

A TWELFTH-CENTURY DOORWAY.

The Westminster Choir Boys.

Nowhere in England do the trained voices of a choir seem to harmonise more perfectly with the surroundings than in Westminster Abbey. Architecture, as an old German philosopher once described it, is but "frozen music" after all. The noble anthems that rise soaring upwards amongst the fluted columns and giant arches, the hymns of praise that roll through the long aisles seem, as we listen to the sacred music, not only to give thanks to Him who "made the earth so bright," but to Him who gave England such men as lie in the sculptured tombs around us. Not far from the Abbey—some three minutes' walk, in fact, through Dean's Yard—stands a tall, red-brick building. It is the choir school, where live the twenty-four boys of the choir under the headmastership of Mr. Arthur Hore. To gain admission, a boy must be at least eight years of age, possessing a good voice and the knowledge of the rudiments of music; he will also be expected to read and write fairly. His examination on these points will be conducted by the master of the choristers, Sir J. Frederick Bridge, or someone appointed by him. If he passes satisfactorily, he will become a probationer, paying £10 a year towards his expenses; at the end of three years, however, he will become a recognised member of the Abbey choir, and no further charge will be made. The internal arrangements of the choir house are excellent. On the ground floor are the big class-room and the dining-room. To see the youngsters attacking a joint of roast beef is a conclusive proof that the boy who sings like a young seraph is, nevertheless, far from being the wishy-washy individual that he is often represented to be in some poems and sentimental novels. On the second floor is another big class-room containing the school library. Walter Scott is there, and rows of well-thumbed volumes of Henty. Many years ago Princess Alice gave a present of books to the school. For some time they were kept ceremoniously shut up in a glass case. The present headmaster, however, recognising that the kind donor would have strongly objected to such a foolish use being made of the volumes, placed them in the library for general use. On the third floor are the plain, clean dormitories with their rows of little iron beds and the regulation striped rugs over all.

(Photo: Russell and Sons, Baker Street, W.)

DR. BRIDGE AND THE WESTMINSTER CHOIR BOYS.

A Chinese Y.M.C.A.

Amid the discouragements which the recent revolution in Pekin has occasioned to those concerned in China's welfare—for the movement in question is manifestly anti-reform, anti-foreign, and consequently anti-Christian—there are many signs that such opposition cannot radically hinder this country's enlightenment. Such a sign is the progress of the Y.M.C.A. movement among Chinese youths, which is assuming considerable importance, especially in connection with mission schools. It was found desirable to invite from America an experienced worker in this department; and though it will be some time before this gentleman can speak Chinese, there is no difficulty in the matter of interpreters, native or foreign. Yesterday in our large Shanghai mission church—says a correspondent—there were gathered 200 Chinese boy-scholars from various mission stations in and near Shanghai, all of whom were either members of the local Y.M.C.A. or willing to join it. Earnest addresses were given and prayers offered, both in English and Chinese, the English addresses being admirably translated by a Christian Chinaman; while the bright hymn-singing of these strong young voices was a delightful sound. At the close of the morning meeting papers were distributed to the boys containing questions to be answered in writing, and a form, of Christian engagement to be signed. At the afternoon service many of these were returned most satisfactorily and intelligently filled in. Such assemblies have recently been held with much interest and zeal, and apparently solid results, at Nanking and other centres of missionary work.

The "Metal Man."

At Tramore, near Waterford, a place where the Atlantic breakers dash with sublime fury against the rocks, there are on one of the headlands three towers, and on the middle one stands what is called "The Metal Man." This is a figure made of metal, and painted to resemble a sailor. With his finger he points to some very dangerous rocks that are to be shunned. There are rocks in life's troublesome sea that are ready to shipwreck the bodies and souls of the young. These we should point out to them with as much diligence as does the metal man when God has saved us from being shipwrecked upon them.

(Photo: A. H. Poole and Co., Waterford.)

THE "METAL MAN," TRAMORE.

A Saint's Rest.

Richard Baxter was all his long life physically weak, and for fourteen years had scarcely a waking hour free from pain. He felt himself continually "at the door of eternity." At the close of his life he said, "Weakness and pain helped me to study how to die; I am going now to see that for which I have lived and studied." His death was a fitting end to a life of pain and patience—a fulfilment of his own words: "After the rough and tempestuous day we shall at last have the quiet, silent night—light and rest together; the quietness of the night without its gloom."

The Quiver Pictures.

The six beautiful plates which the readers of The Quiver have the opportunity of acquiring, and the last coupon for which is contained in this number, are representative examples of the work of some of the most notable exponents of sacred art among modern British painters. The names of Leighton and Millais are now familiar in every household, and great interest attaches to the works from their hands included in this series of pictures. "The Star of Bethlehem," by Lord Leighton, was painted in 1862, when the artist was thirty-two years of age, and four years before his election as Associate of the Royal Academy. The main figure represents one of the magi on the terrace of his house, gazing at the miraculous light which led him and his fellows to search out Him, "who was born King of the Jews." "Christ in the House of His Parents" is one of the most wonderful pictures painted by Sir John Millais. It was exhibited at the Royal Academy in 1850, when the artist was but twenty years of age, and, as related in the article on "Pictorial Sermons" in our last number, aroused a storm of discussion among the critics. The work is a veritable parable in paint, and, as its allegories are all fully explained in the article referred to, we need not repeat them here. The picture has great interest, apart from this, as being one of the best specimens of the work of the artist's Pre-Raphaelite period. "Christ Washing Peter's Feet," by Ford Madox Brown, which was presented to the nation by a body of subscribers; and now hangs in the Tate Gallery at Millbank, is a typical painting, and one of the most beautiful examples of this artist's work. Exquisite in colour, it is a perfect specimen of what a picture dealing with a sacred subject should be. Full of reverence and piety, it yet illustrates the subject fully; the rugged figure of the apostle, expressing withal the penitence produced by the rebuking words, "If I wash thee not, thou hast no part with Me," contrasts strongly with the humility of the Master kneeling to His self-imposed task. "The Remorse of Judas," by the late Edward Armitage, R.A., is another picture to be seen at Millbank, and is, perhaps, one of the strongest works produced by this artist. The terror of remorse is expressed in every line of the face of the betrayer, while the cold indifference of the priests, now that their work is accomplished, is admirably portrayed. "The Raising of the Widow's Son of Nain," by W. C. T. Dobson, R.A., was shown at the Academy in 1868, and fully explains itself. The joy of the mother and the surprise of the beholders of the miracle are well rendered; but the main interest of the picture, of course, centres in the boy. His gaze is fixed upon Him whose voice has recalled him from the "valley of the shadow." The last picture of the series, by W. Dyce, R.A., was recently added to the national collection, and was removed from Trafalgar Square to Millbank when the new gallery was completed. It represents the Apostle John taking Mary to his own home after the death of their Lord. Mary carries on her arm the crown of thorns, and in the background may be seen Nicodemus and Joseph of Arimathea, who are just leaving the garden which contains the sepulchre. Mary Magdalene and the "other Mary" are seen seated at the mouth of the grave. The picture was painted in 1860.

Public Charity.

According to a recent calculation, the amount given during the previous year by Churchmen towards Christian work of all kinds, such as Church Building, Home Missions, Foreign Missions, Education, etc., was over £5,750,000. The various Presbyterian Churches contributed during the same time for similar work a sum of £1,600,000, and the Wesleyans gave over £500,000; the Calvinistic Methodists about £228,500; the Baptists over £200,000; and the Primitive Methodists over £100,000. Of the Congregationalists and the "Friends" no such statistics are available, and it is estimated that other branches of the Christian Church in England gave an aggregate of not less than £150,000 towards the same work. Generally speaking, all the different bodies contribute in a fairly equal proportion, directly or indirectly, to the different kinds of Christian work—at any rate, sufficiently so for the comparison we wish to make here. So, taking the Church of England's returns as our standard, we find that these proportions are nearly as follows, 1 being our unit:—Church Building and Repairs, 35; Home Missions, 7; Foreign Missions, 10; Educational Work of all kinds, 20; various Charitable Works of other kinds, 6.

DIAGRAM ILLUSTRATING PUBLIC CHARITY.

The church(1)representsthemoneyspent in building places of worship.
The mission room(2)"""home mission work.
The native hut(3)"""foreign mission work.
The school(4)"""educational work.
The hall(5)"""other general charitable work.

A New Quiver Heroine.

The latest recipient of the Bronze Medal of The Quiver Heroes Fund is Annie Healand, a servant in the employ of Mr. Frederick Latham, of Sledmere. On the afternoon of January 28th last, two little boys and a girl were suddenly immersed beneath the ice whilst sliding on a pond. On hearing of this, Annie Healand, who is herself but fifteen years of age, immediately rushed to the rescue, and, plunging in, succeeded in bringing the little girl to the bank. She then endeavoured to find the two boys, who were still under the ice, but was at last reluctantly compelled to give up the search, through being overcome by the intense cold. The bodies of the lads were afterwards found, and the coroner congratulated the brave girl for the very plucky manner in which she had rescued one of the party and attempted to save the others.

International League of Peace.

We are still daily receiving the names of numbers of new members, and one roll of signatures which has just come to hand measures thirty feet in length. Any number of blank forms will be gladly sent, post free, to those requiring them. We may take this opportunity of announcing that the first member to send in a thousand signatures is Mr. John N. Munro, of 50, Park Road, Glasgow, to whom a cheque for Ten Pounds has been sent, in accordance with our offer.