“Jimmy, that's a statoo up there.”
“Who?”
“That. I bet 'e's a king.”
“Aw, no 'e ain't. Kings has crowns an' wallups folks.”
“Gorry! What for?”
“I don' know.”
The other sighed plaintively. “I thought 'e might be a king.”
The rest were mainly silent. Some one had a bad cough. Once a sleeper rolled from the seat and fell heavily to the floor. There was an oath or two, a smothered laugh, and the distant owner of the giggle used it nervously. The last was an uncanny sound. The wakened sleeper objected to it. He said he would “like to get hold of her,” and then lay down cautiously on his cushion.
Architects have found that their art is cunning to play tricks with them; whence come whispering galleries, comers of echoes, roofs that crush the voice of the speaker, and roofs that enlarge it. Father Connell gave no orders to shape the roofs of St. Catherine's, that on stormy nights so many odd noises might congregate there, whispering, calling, murmuring, now over the chancel, now the organ, now far up in the secret high places of the roof, now seeming to gather in confidence above the Christ figure and the circle of sleepers; or, if one vaguely imagined some inquisitively errant beings moving overhead, it would seem that newcomers constantly entered, to whom it had all to be explained.
But against that eager motion in the darkness above the Christ figure below was bright in his long garment, and quiet and secure. The cluster of gas jets over his head made light but a little distance around, then softened the dusk for another distance, and beyond seemed not to touch the darkness at all. The dusk was a debatable space. The sleepers all lay in the debatable space. They may have sought it by instinct; but the more one looked at them the more they seemed like dull, half-animate things, over whom the light and the darkness made their own compromises and the people up in the roof their own comments.