The ghost of Charlotte Cray, and other storiesMarryat, Florence
Science
The ghost of Charlotte Cray, and other stories
Marryat, Florence
English fiction -- 19th century; Ghost stories, English; Short stories, English
to our conceived 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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