Atonement -- Fiction; Clergy -- England -- Fiction; Illegitimate children -- Fiction
Yet he had loved his work for its own sake, not merely as a distraction
from gnawing thoughts; there was in him something of the elemental
artist: the making of anything was his passionate delight. And now the
scene of his industry inflicted a pang so keen that he forgot to
appreciate it as part of his deserts; and, for the moment, priest and
sinner disappeared in the grieving artist, bidding good-bye not only to
his studio, but to art itself. It was very dark; the place was strewn
with uncut boulders, poles, barrows, heaps of rubble; but he knew his
way through the litter, and, in the double darkness of the shed, could
lay his hand on anything he chose. He took something down from a shelf.
It was a gargoyle of his own making, meant for the vestry door in the
south transept. He stood with it in both hands, and his thumbs felt the
eyes and his palms the cheeks, at first as gently as though the stone
were flesh, then suddenly with all his strength, as if to crush the
grotesque head to powder. It was not a useful thing: no water could
spout from the sham mouth which he had wrought with loving pains. It was
only his idea for finishing off the label moulding of the vestry door;
it was only something he had made himself--for others to throw away, or
to keep and show as the handiwork of the immoral rector of Long Stow. He
restored it to his place; and retraced his sure steps through the
rubbish, artist no more. Good-bye to that!
He crossed over to the church, went round to the porch, and entered by
the only door in use during the alterations. Eighteen months ago he
would have found it locked. It was he who had opened the House of God to
all comers at all hours, and made every sitting free. He stole up the
aisle as one seeing in the dark. His feet fell softly on the matting,
where in early days they had clattered on bare flags, and yet more
softly when they had mounted a step without stumbling. The matting in
the aisle was his addition, the rich carpet in the chancel was his gift.
All his innovations had not provoked dissension. Presently he lit a
lamp, a Syrian treasure, highly wrought, that hung over the lectern: he
had bought it at Damascus, years before, for his church when he should
have one. Yes; he had given freely to God's House, to make it also the
House Beautiful, though he took no trouble to adorn his own.
Public-domain text, read in full here on John Shaqi.
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