Whip and Spur

by George E. Waring

We stood, uncovered and reverent, beneath the vaulted nave, looking down the long curved aisle, bordered by the majesty of the clustered columns, through the light illuminated screen of the choir, full upon the sculptured and gem-set alabaster reredos, above and beyond which stood the famed group of windows of the lady chapel, mellowed by the light of the streaming full moon.

Rich in the blended mosaic of the floor, in the dimmed canopy overhead, in the lightly arched gallery of the triforium, in the mellow cross-lights of the side windows, in the sombre carvings of the choir, and above all in the marvellous glass of the chapel, it was the very perfection of a worshipful church.

It was too nearly dark to examine the details of the decoration, and we wandered down the aisles, remarking here and there the bruised statues of the tombs, and halting before the sleeping children of Chantrey to marvel how much somnolent repose can be cut in chiselled stone.

“But come,” said the gentle Brother, “we have only light enough left for the storied glass which alone of all the richness of the old church outlived its desecration, and, as by a miracle, was preserved to tell these later generations of the higher art our forefathers’ sons forgot.”

As he spoke, we stood within the charmed light of the nine windows of the apse,—windows which have perhaps no remaining equals in the world, and before which one can only bow in admiration and regret for an art that seems forever lost. Holding me fast by the arm, he went on:—

“In the restoration of the church, the spandrels of the old windows were rebuilt, and the frames were set with plain glass, to the sad defacement of the edifice; and so they stood for nigh two hundred years, no art being equal to their worthy replacement, and no ancient store to the supplying of so large a demand.

“But listen, now, how the hand of Heaven sheltered its own, and how true servants of the Church are ever guided to reclaim its lost splendor.

“A few years ago, a canon of the cathedral, travelling in Flanders, wishing to contribute to the renewed work of restoration, visited the dismantled convent of Herkenrode in the ancient bishopric of Liege. Here he sought among the rubbish of the lumber-room for wood-carvings which might be used in the rebuilding of the prebendal stalls. His search discovered many boxes of colored glass, the origin of which no one knew, and whose existence even had been forgotten. Thinking to embellish some of the curious triangular windows above the triforium, he purchased the whole store for two hundred pounds of our money, and presented it to the dean and chapter as a tribute of affectionate devotion to the cathedral. There was more than he had supposed, and the large figures of some of the fragments indicated a coherent design.

“This chapel was fenced off from the aisles, and here the canon’s wife and daughter, devoting themselves to the solution of the puzzle, slowly pieced out the varying connections. They worked patiently for weeks, with a steadily increasing excitement of success, until [and here his grasp grew tremulous and close], lying collated on this pavement where we stand, only a bit wanting here and there, marking the exact sizes of the varied openings, the grand old Lichfield windows, perfect as you see them now in this softened moonlight, had come back to enrich forevermore the dear old church to whose glory they had shone in the bygone centuries, and whose sore trials their absence had so long recalled.

“Kind stranger,” said he, “this is a true tale. Sceptics have questioned it, but it is true! true! And I thank Heaven that it has been permitted to me, who have grown old in the love of this sacred pile, to live to see, in this crowning act of its restoration, the higher help the hand of man has had in performing its holy work.”