A moment of madness, and other stories (vol. 3 of 3)Marryat, Florence
General
A moment of madness, and other stories (vol. 3 of 3)
Marryat, Florence
English fiction -- 19th century; Short stories, English
ideas of what is sacred. Two or three rudely-carved and coarsely-painted,
almost grotesque, wooden groups of the dead Christ, the Holy Family, and
the Crucifixion, form the groundwork of this exhibition: the interstices
being filled up with gold-and-white jars of dirty artificial flowers;
framed prints of saints with lace borders, reminding one of the worst
description of valentines; and composite figures, supposed to represent
the same individuals, and which may have cost fifty centimes apiece. The
collection is such as to make the spectator shudder to see holy things so
unholily treated; and it is difficult to conceive how, in this century,
when art has been carried to such a pitch that even our commonest jugs
and basons have assumed forms consistent with it, anyone, even the
lowest, can be satisfied with such designs and colouring as these things
display.
Returning homeward by the lower part of the town, we pass a _maison
religieuse_ dedicated to St Joseph, and in the garden see the good
little sisters joining their pupils, to the number of forty or fifty,
in a merry game of ‘Here we go round the mulberry-bush,’ and apparently
taking as much pleasure in the exercise as the youngest there. The church
and churchyard stand at this end of Rochefort. There is nothing in the
building to attract one’s notice, except that we agree that it is the
ugliest we have ever seen; but we walk round the little churchyard, the
paucity of graves in which speaks well for the climate of the place. The
crosses and railings, made of the commonest wood and in the most fragile
manner, are all rotting as they stand or lie (several having assumed the
recumbent position); and we are leaving the spot with the conviction that
we have wasted five minutes, when we come against a crucifix fastened by
heavy iron clamps against the wall of the church. A common iron cross,
rusty and red from damp and age, with a figure nailed on it of the most
perfect bronze, old and hard, and dark and bright, and as unchanged by
weather and exposure as on the day (perhaps hundreds of years ago) it was
first placed there.
Public-domain text, read in full here on John Shaqi.
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