The Seaboard Parish. Volume I

The awe that dwells in churches fell upon me as I crossed the threshold -- an awe I never fail to feel -- heightened in many cases, no doubt, by the sense of antiquity and of art, but an awe which I have felt all the same in crossing the threshold of an old Puritan conventicle, as the place where men worship and have worshipped the God of their fathers, although for art there was only the science of common bricklaying, and for beauty staring ugliness. To the involuntary fancy, the air of petition and of holy need seems to linger in the place, and the uncovered head acknowledges the sacred symbols of human inspiration and divine revealing. But this was no ordinary church into which I followed the gentlewoman who was my guide. As entering I turned my eyes eastward, a flush of subdued glory invaded them from the chancel, all the windows of which were of richly stained glass, and the roof of carved oak lavishly gilded. I had my thoughts about this chancel, and thence about chancels generally which may appear in another part of my story.

Now I have to do only with the church, not with the cogitations to which it gave rise. But I will not trouble my reader with even what I could tell him of the blending and contradicting of styles and modes of architectural thought in the edifice. Age is to the work of contesting human hands a wonderful harmoniser of differences. As nature brings into harmony all fractures of her frame, and even positive intrusions upon her realm, clothes and discolours them, in the old sense of the word, so that at length there is no immediate shock at sight of that which in itself was crude, and is yet coarse, so the various architecture of this building had been gone over after the builders by the musical hand of Eld, with wonder of delicate transition and change of key, that one could almost fancy the music of its exquisite organ had been at work _informing_ the building, half melting the sutures, wearing the sharpness, and blending the angles, until in some parts there was but the gentle flickering of the original conception left, all its self-assertion vanished under the file of the air and the gnawing of the worm. True, the hand of the restorer had been busy, but it had wrought lovingly and gently, and wherein it had erred, the same influences of nature, though as yet their effects were invisible, were already at work -- of the many making one. I will not trouble my reader, I say, with any architectural description, which, possibly even more than a detailed description of natural beauty dissociated from human feeling, would only weary him, even if it were not unintelligible.