Swann's Way - Marcel Proust [68]
“What is this I have been hearing, Father, about a painter setting up his easel in your church, and copying one of the windows? Old as I am, I can safely say that I have never heard of such a thing in all my life! What is the world coming to! And the ugliest thing in the whole church, too.”
“I will not go so far as to say that it’s quite the ugliest, for although there are certain things in Saint-Hilaire which are well worth a visit, there are others that are very old now in my poor basilica, the only one in all the diocese that has never even been restored. God knows our porch is dirty and antiquated, but still it has a certain majesty. I’ll even grant you the Esther tapestries, which personally I wouldn’t give a brass farthing for, but which the experts place immediately after the ones at Sens. I can quite see, too, that apart from certain details which are—well, a trifle realistic—they show features which testify to a genuine power of observation. But don’t talk to me about the windows. Is it common sense, I ask you, to leave up windows which shut out all the daylight and even confuse the eyes by throwing patches of colour, to which I should be hard put to it to give a name, on to a floor in which there are not two slabs on the same level and which they refuse to renew for me because, if you please, those are the tombstones of the Abbots of Combray and the Lords of Guermantes, the old Counts, you know, of Brabant, direct ancestors of the present Duc de Guermantes and of the Duchess too since she was a Mademoiselle de Guermantes who married her cousin?” (My grandmother, whose steadfast refusal to take any interest in “persons” had ended in her confusing all their names and titles, whenever anyone mentioned the Duchesse de Guermantes used to make out that she must be related to Mme de Villeparisis. The whole family would then burst out laughing; and she would attempt to justify herself by harking back to some invitation to a christening or funeral: “I feel sure that there was a Guermantes in it somewhere.” And for once I would side with the others against her, refusing to believe that there could be any connexion between her school-friend and the descendant of Geneviève de Brabant.)
“Look at Roussainville,” the Curé went on. “It’s nothing more nowadays than a parish of tenant farmers, though in olden times the place must have had a considerable importance from its trade in felt hats and clocks. (I’m not certain, by the way, of the etymology of Roussainville. I’m rather inclined to think that the name was originally Rouville, from Radulfi villa, analogous, don’t you see, to Châteauroux, Castrum Radulfi, but we’ll talk about that some other time.) Anyway, the church there has superb windows, almost all modern, including that most imposing ‘Entry of Louis-Philippe into Combray’ which would be more in keeping, surely, at Combray itself and which is every bit as good, I understand, as the famous windows at Chartres. Only yesterday I met Dr Percepied’s brother, who goes in for these things, and he told me that he regarded it as a very fine piece of work. But, as I said to this artist, who, by the way, seems to be a most civil fellow, and is a regular virtuoso, it appears, with the brush, what on earth do you find so extraordinary in this window, which is if anything a little dingier than the rest?”
“I am sure that if you were to ask the Bishop,” said my aunt in a resigned tone, for she had begun to feel that she was going to be “tired,” “he would never refuse you a new window.”
“You may depend upon it, Mme Octave,” replied the Curé. “Why, it was his Lordship himself who started the outcry about the window, by proving that it represented Gilbert the Bad, a Lord of Guermantes and a direct descendant of Geneviève de Brabant who was a daughter of the House of Guermantes, receiving absolution from Saint Hilaire.”
“But I don’t see where Saint Hilaire comes in.”
“Why yes, have you never noticed, in the corner of the window, a lady