pg2084 [32]
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 pre-revolution 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 passed 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 for ever. If I were a musician I would take it as the subject for