A Child's Book of Saints. William Canton
these holy houses were so ancient that even the blackbirds and throstles had learned to repeat some of the cadences of the church music, and in those places the birds still continue to pipe them, though nothing now remains of church or monastery except the name of some field or street or well, which people continue to use out of old habit and custom.
Women lived the life of prayer and praise
It was with the thought of helping the busy little brain to realise something of that bygone existence, with its strange modes of thought, its unquestioning faith in the unseen and eternal, its vivid consciousness of the veiled but constant presence of the holy and omnipotent God, its stern self-repression and its tender charity, its lovely ideals and haunting legends, that I told W. V. the stories in this little book. It mattered little to her or to me that that existence had its dark shadows contrasting with its celestial light: it was the light that concerned us, not the shadows.
Some of the stories were told on the log, while Guy slept in his mail-cart in the dappled shelter of the dingle; others by a winter fire when the days were short, and the cry of the wind in the dark made it easy for one to believe in wolves; others in the Surrey hills, a year ago, in a sandy hollow crowned with bloom of the ling, and famous for a little pool where the martins alight to drink and star the mud with a maze of claw-tracks; and yet again, others, this year,[1] under the dry roof of the pines of Anstiebury, when the fosse of the old Briton settlement was dripping with wet, and the woods were dim with the smoke of rain, and the paths were red with the fallen bloom of the red chestnuts and white with the flourish of May and brown with the catkins of the oak, and the cuckoo, calling in Mosses Wood, was answered from Redlands and the Warren, and the pines where we sat (snug and dry) looked so solemn and dark that, with a little fancy, it was easy to change the living greenwood into the forest of stone.
As they were told, under the pressure of an insatiable listener, so have they been written, save for such a phrase, here and there, as slips more readily from the pen than from the tongue.
Of the stories which were told, but which have not been written for this book, if W. V. should question me, I shall answer in the wise words of the Greybeard of Broce-Liande: "However hot thy thirst, and however pleasant to assuage it, leave clear water in the well."
[1] The year of the happy hills, 1898.
The Song of the Minster
When John of Fulda became Prior of Hethholme, says the old chronicle, he brought with him to the Abbey many rare and costly books—beautiful illuminated missals and psalters and portions of the Old and New Testament. And he presented rich vestments to the Minster; albs of fine linen, and copes embroidered with flowers of gold. In the west front he built two great arched windows filled with marvellous storied glass. The shrine of St. Egwin he repaired at vast outlay, adorning it with garlands in gold and silver, but the colour of the flowers was in coloured gems, and in like fashion the little birds in the nooks of the foliage. Stalls and benches of carved oak he placed in the choir; and many other noble works he had wrought in his zeal for the glory of God's house.
In all the western land was there no more fair or stately Minster than this of the Black Monks, with the peaceful township on one side, and on the other the sweet meadows and the acres of wheat and barley sloping down to the slow river, and beyond the river the clearings in the ancient forest.
But Thomas the Sub-prior was grieved and troubled in his mind by the richness and the beauty of all he saw about him, and by the Prior's eagerness to be ever adding some new work in stone, or oak, or metal, or jewels.
"Surely," he said to himself, "these things are unprofitable—less to the honour of God than to the pleasure of the eye and the pride of life and the luxury of our house! Had so much treasure not been wasted on these vanities of bright colour and carved stone, our dole to the poor of Christ might have been fourfold, and they filled with good things. But now let our almoner do what best he may, I doubt not many a leper sleeps cold, and many a poor man goes lean with hunger."
This the Sub-prior said, not because his heart was quick with fellowship for the poor, but because he was of a narrow and gloomy and grudging nature, and he could conceive of no true service of God which was not one of fasting and praying, of fear and trembling, of joylessness and mortification.
Now you must know that the greatest of the monks and the hermits and the holy men were not of this kind. In their love of God they were blithe of heart, and filled with a rare sweetness and tranquillity of soul, and they looked on the goodly earth with deep joy, and they had a tender care for the wild creatures of wood and water. But Thomas had yet much to learn of the beauty of holiness.
Often in the bleak dark hours of the night he would leave his cell and steal into the Minster, to fling himself on the cold stones before the high altar; and there he would remain, shivering and praying, till his strength failed him.
It happened one winter night, when the thoughts I have spoken of had grown very bitter in his mind, Thomas guided his steps by the glimmer of the sanctuary lamp to his accustomed place in the choir. Falling on his knees, he laid himself on his face with the palms of his outstretched hands flat on the icy pavement. And as he lay there, taking a cruel joy in the freezing cold and the torture of his body, he became gradually aware of a sound of far-away yet most heavenly music.
He raised himself to his knees to listen, and to his amazement he perceived that the whole Minster was pervaded by a faint mysterious light, which was every instant growing brighter and clearer. And as the light increased the music grew louder and sweeter, and he knew that it was within the sacred walls. But it was no mortal minstrelsy.
The strains he heard were the minglings of angelic instruments, and the cadences of voices of unearthly loveliness. They seemed to proceed from the choir about him, and from the nave and transept and aisles; from the pictured windows and from the clerestory and from the vaulted roofs. Under his knees he felt that the crypt was throbbing and droning like a huge organ.
Sometimes the song came from one part of the Minster, and then all the rest of the vast building was silent; then the music was taken up, as it were in response, in another part; and yet again voices and instruments would blend in one indescribable volume of harmony, which made the huge pile thrill and vibrate from roof to pavement.
As Thomas listened, his eyes became accustomed to the celestial light which encompassed him, and he saw—he could scarce credit his senses that he saw—the little carved angels of the oak stalls in the choir clashing their cymbals and playing their psalteries.
He rose to his feet, bewildered and half terrified. At that moment the mighty roll of unison ceased, and from many parts of the church there came a concord of clear high voices, like a warbling of silver trumpets, and Thomas heard the words they sang. And the words were these—
Tibi omnes Angeli.
To Thee all Angels cry aloud.
So close to him were two of these voices that Thomas looked up to the spandrels in the choir, and he saw that it was the carved angels leaning out of the spandrels that were singing. And as they sang the breath came from their stone lips white and vaporous into the frosty air.
He trembled with awe and astonishment, but the wonder of what was happening drew him towards the altar. The beautiful tabernacle work of the altar screen contained a double range of niches filled with the statues of saints and kings; and these, he saw, were singing. He passed slowly onward with his arms outstretched, like a blind man who does not know the way he is treading.
The figures on the painted