ST. ALKMUND’S.
A GROTESQUE STATUE
Among the many of the Cavendish family who lie here are William, second Earl of Devonshire, and his wife and children. The Earl himself died in 1628, and he and his family were commemorated by a fearful monument, the effigies grotesquely misshapen and clad in what seem to be sheets. In 1877 the horrible thing was destroyed, but the statues themselves remain; the Earl himself, a shortened figure with wide mouth and a combined wistful, comical, and grotesque expression that puzzles the modern beholder with reminiscent feelings. Where, he asks himself, has he seen the like before? and presently the truth is borne in upon him, that the thing might well be a reproduction of the late Mr. Dan Leno.
St. Alkmund’s spire is a fine foil to the grand tower of All Saints’: its grace contrasting with it, as manly strength with feminine beauty. St. Mary’s, its next-door neighbour, the Roman Catholic church, is an unfortunate example of Gothic as understood in the middle of the nineteenth century, but it is only necessary to descend a little way, to the bridge crossing the Derwent, and then to look back, for distance to lend a peculiar enchantment to the scene. From the hump-backed bridge you see the bad details of its ill-informed Gothic abolished in a broad, comprehensive kindly haze of smoke issuant from the clustered chimneys of this slummy but picturesque quarter, and it stands up boldly in the view, with St. Alkmund’s spire on the left, as though inspired with the finest spirit of the fifteenth century. Equally kindly poplar trees, growing courageously from the Derwent banks, come in to aid the view. We will not look too curiously upon the Derwent itself, for although splashing weirs diversify it, factories of divers sorts line its course, and the water is polluted by them; and this, in short, is not the Derwent as understood by poets.
ST. MARY’S BRIDGE.
THE OLD CRAFTSMAN
The bridge itself is small and old, and doubtless will in the not distant future give place to a new. Meanwhile it is weathered in a way that artists love, and there are some quite fine lamp-standards on it, designed in the days before gas. Their design and execution are unobtrusive: it is indeed quite a small achievement, and doubtless the smith who wrought these standards, a hundred and fifty years or so ago, did the work in the everyday course of his craft and thought no more about the matter. But he wrought better than he knew. They were not—those old fellows—self-conscious: they did not know they were artists, and did not do like their present-day descendants, stand admiringly before their work and call heaven and earth to witness the supreme artistry of it.
XXIX
The Manchester Road leaves Derby by way of Friar Gate: the town extending rapidly in that direction, too. As I came this way, gangs of navvies were excavating for the new electric tramway, and there I saw, amid the churned mud, a crushed white butterfly; and it seemed to me to typify these developments.