Chapter V: Part 5

"Now, let me notice a few of the evils which are common to _all pews_. They tend to destroy the _unity_ and _uniformity_ of common worship, which forms so grand a feature in our church system. 'They are very inconvenient to _kneel_ down in, necessarily oblige some to sit with their backs to the speaker, and when they rise up, present a scene of confusion, as if they were running their heads against one another[117]. As God's House is a House of Praise and Prayer, so before all things the arrangement there should have reference to the proper _posture_[118] of praise and prayer. Then see how these pews shelter and encourage _levity_ in God's House. As long ago as the year 1662, a bishop of Norwich wrote this satire upon pews: 'There wants nothing but beds to hear the Word of God on. We have casements, locks and keys, and cushions--I had almost said bolsters and pillows--and for those we love the church. I will not guess what is done within them: who sits, stands, or lies asleep at prayers, communion, &c.; but this, I dare say, _they are either to hide some vice or to proclaim one_[119].' I will only mention one more objection to pews: they harbour dust and dirt[120], and otherwise disfigure the beauty of our churches."

"Well, Mr. Ambrose, I must confess myself brought to the same opinion as yourself," said Sir John, "and the reformation of the evil may commence at Droneworth to-morrow without any obstacle whatever from me."

"Nor yet from me," rejoined Mr. Parvener: "I certainly never heard the case fairly stated before, and now I have, I own I'm convinced."

"Heartily glad, I'm sure, my friend here must be to part with the old _half empty packing-cases_, and to see proper benches in their place. And as you have been kind enough to listen to me so far, I will just say a few more words to explain the two desks which the Vicar has placed in the nave of your church, and of which I heard you had disapproved. One is the _Litany-desk_, or _faldstool_[121],--as it is called in the Coronation Service. The Litany is a very solemn, penitential service, and from very early times it has been said from the appropriate place where the Vicar has placed the Litany-desk in your church--namely, just at the entrance to the chancel. Its position there has reference to that Litany of God's own appointing, of which we read in the Book of Joel[122], where, in a general assembly, the priests were to weep _between the porch and the altar_, and to say, '_Spare Thy people, O Lord_.' In allusion to this, our Litany--retaining also the same words of supplication--is enjoined, by the royal injunctions[123], still in force, 'to be said or sung in the midst of the church, at a low desk before the chancel-door[124].' The other desk is called the _lectern_, or _lettern_, and sometimes the _eagle-desk_; and, as you are aware, is the desk from which the lessons are read. They were first made of wood, and often richly carved; afterwards they were commonly made of brass or copper. They were first used about the end of the thirteenth century, and although most of our country churches have been despoiled of them, yet they have never ceased to be used in our cathedrals, as well as many other churches[125]. The desk is often supported by a pelican feeding its young with its own blood, the emblem of our Saviour's love; more frequently it is supported by an eagle, the symbolic representation of the Evangelist St. John. It is true that both the faldstool and the lectern have long been unknown at Droneworth, yet I feel sure you will not, on second thoughts, consider the restoration of such convenient and appropriate furniture as objectionable."

The two late dissentients agreed that as they had overcome the greater difficulty, they should withdraw all opposition in the matter; and, it being now late, the party broke up, each one feeling glad that a good thing had been done on a good day.

_CHAPTER XX_

THE AISLES

"Praise ye the name of the Lord; praise Him, O ye servants of the Lord. Ye that stand in the house of the Lord, in the courts of the house of our God."

Ps. cxxxv. 1, 2.

"Three solemn parts together twine
In harmony's mysterious line
Three solemn aisles approach the shrine,
Yet all are one."

KEBLE.

Illustration: Castle Cary Church

THE AISLES

Mr. Beeland accompanied his two friends some distance on their way home.

"I remember noticing," said Mr. Acres, "that the pews of your two parishioners very much blocked up the _centre aisle_ of the church; their removal will much widen the aisle, which will be a great improvement."

"Forgive me for correcting you," said Mr. Ambrose, "there can be no such thing as a _centre aisle_. You are speaking of the centre _alley_ or _passage_. The word _aisle_[126] can only refer to the wing of a building, and it always denotes that portion of a church which runs laterally north or south of the nave or chancel. I see, Mr. Beeland, you have some work to do in that aisle of yours before your church will be in good order."

"Yes, that is my greatest remaining difficulty. I have observed that those of the congregation who occupy that aisle are far less attentive and devotional than the rest; and the reasons are obvious. They are cut off from the main portion of the church, not only by the high backs of the existing pews, and by the hat and cloak rails which run from pillar to pillar, but also by needless masses of modern masonry. Moreover, they can see nothing of that part of the church which is sacred to the most solemn offices of our worship. Then, again, what the people _do see_ is enough to divert all devotional thought and feeling from any but the _most_ seriously and religiously disposed."

"You mean the hideous heathen monument which occupies the east end of the aisle. If I remember rightly, it is a sort of monstrous Roman altar, with four huge bull's heads at each corner."

"Yes; it is in the centre of a mortuary chapel, once belonging to a family named Bullock, and their frightful crest, in gigantic proportions, is the one object on which the eyes of at least a third of our congregation must rest, if they open their eyes at all. I can hardly conceive any thing more calculated to deaden the fervour of Christian worship than an object like this placed before the gaze of the worshipper. Much as I object to the bare walls of Dissenting meeting-houses, and the many-altared aisles of Roman Catholic churches, I believe neither are so distracting to the minds of the congregation generally as are the mortuary chapels, with their uncouth _adornments_, which occupy so large a space in the aisles of many of our own churches. Unfortunately, this chapel now belongs to a young man who has recently seceded to the Church of Rome, and he will neither allow me to appropriate for the use of the parishioners any of the space we so much need, nor will he consent to have the unsightly monument removed to a less conspicuous place."

"The bitter hostility to wards the Church of their baptism, and the utter absence of Christian sympathy in good works of this nature, which characterize so many of those who have fallen away from our Communion, is indeed most deplorable. But even if your unreasonable and narrow-hearted parishioner will oppose all improvement in that part of the aisle which--stolen from God and His people--he claims as his own private property, there is much you can do, when you set about your work of restoration, to make that part of the church less isolated than at present. At least, you can remove much of the useless wood and masonry which now separate the aisle from the nave."

"I propose also to re-open the ancient hagioscope in the south wall of the chancel, by which means the people in the aisle will once more gain a view of the altar, and be enabled to see and hear the priest when officiating there."

"Will you kindly tell me, Mr. Beeland," said Mr. Acres, "what are _hagioscopes_[127]? I never remember having heard the word before."

"You probably have heard them called by their more common name of _squints_. They are openings in the north or south walls of the chancel, or perhaps more commonly in the walls supporting the chancel arch, and are intended to give a view of the altar to those who are worshipping in the aisles. They are to be found in most old churches, but they have commonly, as in our case, been bricked up. It is manifestly very desirable that in all cases they should be restored, not only on account of their architectural beauty, but also for their practical utility in the services of the Church."

The party then separated, and the Vicar of Droneworth took back to his parish a lighter heart than he had known for many a day.

_CHAPTER XXI_

THE TRANSEPTS

"Strength and beauty are in His sanctuary."

Ps. xcvi. 6.

"Pace we the ground! our footsteps tread
A cross--the builder's holiest form--
That awful couch where once was shed
The blood with man's forgiveness warm,
And here, just where His mighty breast
Throbb'd the last agony away,
They bade the voice of worship rest,
And white-robed Levites pause and pray."

HAWKER.

Illustration: Church of SS. Peter and Paul, Ringwood

THE TRANSEPTS

"Much of the objection which you have expressed to the prevailing arrangement of the aisles," said Mr. Acres, continuing the conversation with his Vicar, "seems to me to apply also to that of the transepts--I believe that is the proper name for those portions of a church which extend in a _transverse_ direction north and south?"

"Yes," replied the Vicar; "and the remedies for the evil are in both cases nearly the same. Great inconvenience often arises from the exclusive character of the parclose. I would have the solid part of this made lower, and the upper part more light and open."

"Pardon me, my friend, but I am ignorant as to what you mean by the word _parclose_."

"I refer now to the screen which encloses the chancel on the north and south sides; but I believe the word may apply to any screen in the church. By means of these screens, however, the persons in the transepts are needlessly excluded from a view of the altar."

"Yes; but the change in them which you suggest would not fully meet the difficulty, even if a squint or hagioscope should also be provided."

"I see that," said the Vicar; "and for that reason I would, as a rule, only have those portions of the transepts nearest the chancel fitted with permanent seats. On special occasions chairs could be placed in the back parts; or, perhaps, the whole of the transepts might be given up to the children of the parochial schools, the elder children, who could best understand the nature of the services, being placed in the front."

"A very proper arrangement, indeed, I should think, for all of them would be able at least to _hear_, and they would be conveniently placed for assisting in the musical parts of the service. It has often struck me as the refinement of cruelty to place these children in the remote damp corners of country churches, where too often they are to be found; or, worse still, in the topmost galleries of city churches, where the air they breathe is heated and impure. In both cases there is a manifest unconcern as well for the temporal as for the spiritual welfare of these little ones of Christ's flock."

"To whatever use, however, they may be applied, or even if they are entirely unappropriated, so far as regards affording accommodation for the congregation, I would, by all means, wherever practicable, retain the transeptal arrangement of our churches, not only as being the most ornamental form of structure, but as preserving in the entire building the distinct form of the _Cross_; and as symbolizing in the gathering together of each congregation of Christ's Church--which is _His Body_, that Body itself. Thus the nave represents the body, the transepts the outstretched arms, and the chancel--being the most excellent part of the church--the head[128] of our Lord. Some perhaps might think it fanciful, but to me there is something very solemn and beautiful in the idea, not only of the church's whole fabric assuming these symbolic forms, but also of the united prayers and praises of the congregation making, as it were, in their very sound _the sign of the Cross_."

"I think so too. And to my mind it has always seemed that the grand symbolism which looks through, as it were, the _whole_ fabric of the church, and the _whole_ congregation therein assembled, was formerly much marred in our churches, when there were _many_ altars, dedicated to _many_ saints, instead of the _one_ altar, which we now only retain, dedicated to the _one Head_ of the Christian Church."

"Yes; and your remark, of course, applies specially to the _transepts_ about which we were speaking, since even in our country churches every transept had its separate altar, the _piscina_ attached to which is still to be found in almost every old church."

"I suppose," said Mr. Acres, "that beautiful Gothic niche in our south transept which you recently restored is a _piscina_?"

"Yes, it is. The piscina was always placed on the south side of the altar, and it was used chiefly as the receptacle for the water used in cleansing the sacred vessels, or for that used by the priest in washing his hands[129]. It is to be found in our earliest Norman churches, and evidently dates from the time of their erection. There is often a _shelf_ placed over the basin of the piscina, which was used as a _credence_[130]."

"We heard much about the credence-table some time since," interrupted the Squire, "when there was a suit in law about this and some other matters; but I confess I am still ignorant as to the purpose of the credence-table."

"It is usually a small table, or, when forming part of the piscina, a shelf, on which the elements intended for use at the Eucharist are placed before their consecration. Just before the prayer for the _church militant_ in the Communion Service there is this direction: 'The priest shall _then_ place upon the table (i.e. the altar) so much bread and wine as he shall think sufficient.' Now, you see, it would be very inconvenient, and a sad interruption of that part of the service, to bring these from a distant part of the church. The ancient custom, therefore, of placing the elements on the credence-table at the commencement of the service is most convenient for the proper observance of this rubric. And so, although the credence has only been preserved as an interesting relic, or ornament in other parts of the church, in the chancel it has been preserved or restored[131], as being still a most useful and important part of the furniture of the church."

Having now arrived at the vicarage-gate, the two friends bade each other good-night.

_CHAPTER XXII_

THE CHANCEL SCREEN

"The vail shall divide unto you between the holy place and the most holy."

Exod. xxvi. 33.

"I love the Church,--the holy Church,
The Saviour's spotless bride:
And, oh, I love her palaces
Through all the land so wide!
The cross-topp'd spire amid the trees,
The holy bell of prayer;
The music of our mother's voice,
Our mother's home is there.

"I love the Church,--the holy Church,
That o'er our life presides;
The birth, the bridal, and the grave,
And many an hour besides!
Be mine, through life, to live in her,
And when the Lord shall call,
To die in her--the spouse of Christ,
The mother of us all."

_Christian Ballads._

Illustration: Church of St. John, Walworth

THE CHANCEL SCREEN

Perhaps, gentle reader (all readers are supposed to be "gentle,"--they _ought_ to be), if you live in a retired village, you will find that in the course of many years, your village annals present little or nothing worthy of record, as matter of general interest or importance; you will, therefore, understand how that the past six years at the little village of St. Catherine's have been so uneventful as to be noticed only by a blank in our narrative. But now, on this twenty-sixth day of June, in the year 1866, an event of no common interest in a country parish is about to take place.

Since their first meeting, four years ago, at the vicarage of Droneworth, a close intimacy had grown up between the families of Mr. Acres and his neighbour Sir John Adamley; the upright integrity and manly candour which marked both their characters soon begat a deep mutual respect, which, in course of time, ripened into a warm friendship, now about to be sealed in the marriage of the Baronet's eldest son Egbert with Mr. Acres' eldest daughter Constance.

The place is all astir betimes. Early in the morning a merry peal is sounding from the old church tower, and many hands are busy in decorating with flowers and evergreens arches placed at intervals between the church and the Hall. It is by no order of the Squire or his steward that these arches--erected at no slight cost of money and labour--are put up; they are the spontaneous expression of the interest which the villagers themselves take in the day's rejoicing. There are William Hardy, Robert Atkinson, Mr. Dole, even old Matthew and his grandson, and indeed half the village, as busy as bees in and out of the church, vying with each other in their endeavour to make every thing look bright and joyful. Every one has put on something gay and cheerful, purchased specially for the occasion; there is the light of honest gladness on every face; and now that the children with their baskets of fresh flowers stand ranged on either side of the pathway that leads from the main road to the lich-gate, the scene is one of the most picturesque that can be imagined....

"Does Mr. Ambrose particularly wish that the first part of the service should take place near the _chancel screen_?" inquires Sir John.

"Yes," answers the Squire; "it is always the custom here, and I think you will afterwards acknowledge that this arrangement is very fitting and appropriate; and, indeed, adds not a little to the impressiveness of the ceremony."

"I can quite imagine that; but what authority has the Vicar for the practice?"

"Oh, that is very plain. If you just look at your Prayer Book, you will see this rubric at the commencement of the Marriage Service: 'At the time appointed for the solemnization of matrimony, the persons to be married shall come into the _body of the church_ with their friends and neighbours, and _there_ standing, the priest shall say'--then follows the address to the congregation assembled, and the rest of the service, till the priest pronounces the first blessing; and after that, the priests and clerks, 'going to the Lord's Table,' are directed to say or sing one of the Psalms, and it is evidently intended that the newly-married persons should accompany them, for when the Psalm is ended they are mentioned as 'kneeling before the Lord's Table.' This procession to the altar of course loses much of its meaning and impressiveness when there is no celebration of Holy Communion. But, then, this ought not to be omitted, except in very extreme cases."

"I quite see now that Mr. Ambrose is following the rule of the Church. I certainly never read the directions in the Service before. I suppose, however, there is no particular part of the body of the church named?"

"No; I believe it is only ancient custom which decides upon the chancel screen; it is, too, the most convenient part of the church for this purpose." ...

Why is it that all those young eyes are so bright with love, as from each ready hand falls the gay flowers at the feet of the happy pair? Why is each knee bent during _every_ prayer in that solemn service? And, now, when the hands of Mr. Ambrose rest on the heads of Constance and her husband, as he pronounces over them the last blessing of the Church, why does the deep _Amen_ sound from _every_ lip? Why is there that breathless silence as those happy ones kneel before the altar to bind themselves yet more closely together, and to God, in Holy Communion? And now, as they come forth from God's House, how is it that there is no faltering voice in all that assembly as the glad shout of Christian joy rings up through the air to heaven? I'll tell you. It is because the priest and the Squire have ever recognized their joint duties in that parish; because Constance has been a sister of charity and mercy among the poor; because they have striven with all their might to do the work God gave them to do; and now they have their reward in the hearty affection and respect of all their neighbours.

There were but two exceptions to this general manifestation of good feeling among the villagers, and they were the last evil growth of the old Anabaptist schism in the parish. At the same time that Egbert and Constance were breathing their mutual vows beneath the old chancel screen of St Catherine's, William Strike and Sally Sowerby were being "married" by Mr. Gallio at the new register-office at Townend....

"There is something very touching," said the Squire to Mr. Ambrose, as they walked back together to the Hall, "in that old custom preserved in our village of hanging a white glove on the chancel screen[132]. That was the very glove my dear Mary wore when she promised to be the wife of Edward Markland, and poor Edward himself placed it there. I saw Constance's eyes fill with tears to-day as she ventured to give one look at the sad memento."

"The custom is fast dying out, and only survives in a few rural parishes. Indeed, the very screens themselves have, you know, in most churches been swept away[133]. The finer carving is often to be found worked up into pews, and the large timbers have been used in building galleries. Where these screens were made of stone[134], they have generally been preserved unharmed. In some cases, alas! people have not been contented with demolishing the screen, but have actually in their place built a gallery[135] for a family pew, extending all across the front of the chancel, but I am thankful to say such instances are very rare."

"Will you kindly tell me the origin of the chancel screen?"

"It was formerly called the rood screen, or rood gallery, and where the rood has been restored, it is still properly so called. The Gospel used to be read from this gallery, and sometimes the psalms were sung there by the priests and choristers. The custom of reading the Gospel from this position was evidently intended to express a special respect for this portion of God's Word; and so, for the same reason, now the Gospel is read from the _north_ side of the chancel, whilst the Epistle is read from the south. The _rood_[136], which consisted of a crucifix with the figure of the Blessed Virgin on one side, and of St. John on the other, was placed at the top of the screen. Over this, and between the chancel arch and the roof, the wall was painted, the subject usually being the Doom, or representation of the Last Judgment. To replace this, it would seem that, at the Reformation, the Commandments were ordered to be painted at the east end of the church."

"You think, then," said the Squire, "that the order in the canons does not refer to the east end of the _chancel_?"

"It is a disputed point, but _I_ think not. Had the chancel been intended, I think it would have been so stated. Besides, it was ordered that they should be so placed that the 'people could best see and read the same,' and certainly they could not do the latter if they were painted at the east end of the chancel. Indeed, I regard that as the least convenient and appropriate place in the whole church for them. If we have them any where, the east end of the nave or aisles is the best place for them; but, really, the need to have them at all is now passed away, as those who can read, can read the Commandments in their Bibles and Prayer Books; and for those who cannot, it is useless placing them on the walls of the church[137]. However, it is far better to have the Commandments over the chancel arch than the _royal arms_. It is wonderful how silly people become when they have a superstitious dread of superstition. For instance, I know a church where the congregation were offended by an old painting in the church, the subject of which was at least calculated to inspire solemn thoughts, yet could be contented that the most conspicuous object in the church should be a hideous representation of the royal arms, with this sentence below it in large characters: 'Mrs. Jemima Diggs, widow, gave this painting of the Queen's arms, A.D. 1710[138].' I should like to know what there is in that to remind us that we are in the House of God?"

_CHAPTER XXIII_

THE CHANCEL

"In this place is One greater than the temple."

S. Matt. xii. 6.

"Our life lies eastward: every day
Some little of that mystic way
By trembling feet is trod:
In thoughtful fast, and quiet feast,
Our thoughts go travelling to the East
To our incarnate God.
Fresh from the Font, our childhood's prime,
To life's most oriental time,--

"Still doth it eastward turn in prayer,
And rear its saving altar there:
Still doth it eastward turn in creed,
While faith in awe each gracious deed
Of her dear Saviour's love doth plead;
Still doth it turn at every line
To the fair East--in sweet mute sign
That through our weary strife and pain,
We crave our Eden back again."

FABER.

Illustration: Sutton Benger Church

THE CHANCEL

"I hope you and my friend Mr. Beeland here are now working harmoniously together at Droneworth," said Mr. Ambrose to Sir John Adamley, as with Mr. Acres and the Vicar of Droneworth they were enjoying a pleasant afternoon stroll in the gardens of the Hall.

"Well, I think we must say yes and no to that, for though we have never had any difference of opinion respecting the restoration of our church since the evening when I first had the pleasure of meeting you--and, indeed, I am proud, and we are all proud, of our renovated and beautiful church--yet there is one point on which we cannot quite agree. You see I am Lay Rector, and though I have long ago given up my old selfish idea about pews, and only claim the space in the church which I really want to occupy, yet I do consider that, as the chancel belongs to me, I have a right to a place _there_ for my family and servants, as well as for myself. But, unfortunately, Mr. Beeland thinks otherwise."

"The chancel is furnished with handsome oak stalls for the choristers, I believe; as every chancel ought to be. You propose, if I understand you, to remove the choristers, and to occupy the stalls for yourselves and servants?"

"I think I have a right to do so."

"The right is very doubtful. The position of a lay rector is altogether an anomalous one; but the duty and the privilege connected with it are, to my mind, definite and plain enough. The duty is to keep out the wind and water from the chancel, the privilege is to receive the great tithes of the parish. Now, of course, this privilege and duty were originally never intended to be associated with other than a spiritual office. The tithes were for the support of the parish priest, and in return for them, there was laid upon him not only the spiritual supervision of the parish, but also the duty of keeping the _shell_ of that portion of the church which was occupied by him and the assisting clerks sound and entire. Now, of course, the rector, being a priest, had a right to his proper place in the chancel; and I by no means deny that the lay rector succeeds to the same right; but my belief is that the right (if any) extends _no farther than himself_. He represents the clerical rector, who certainly could only claim a right to a seat for _himself_, and it is my opinion the layman can claim no more. But, my dear sir, this is surely a case where higher considerations than mere legal rights should have influence. Even if you have the right, ought you not to waive it? For you cannot doubt that the chancel was never built to supply seats for the Squire's family, but for the priest and those whose office it is specially to assist him in _leading_ the prayers and praises of the congregation. No church is properly ordered where the chancel stalls are not occupied by the choir; and you can only rightly occupy a place there as one of them. So I venture to advise you to follow the example of our friend Mr. Acres, and next Sunday put on a surplice, and take your place as a member of the choir, for you have a good bass voice, which would be of great assistance there."

"So you really think my claims as a lay rector should come down to this?"

"Nay, I think they should come _up_ to this, for your highest, as well as most fitting office as a lay rector, is to assist in his duties the Vicar of your parish."

"Well, I will think about that. You have studied these matters much more deeply than I have, and you always have the best of the argument. But I have something more to say. I should like to have your opinion as to the proper arrangement and furniture of the whole of the chancel[139], for ours has not yet been completed, and I have undertaken to finish it."

"I will gladly give you my opinion on the subject. Of course, the altar should be the central and principal object in the church. For this reason, the east of the chancel should be the highest part, but for evident reasons the whole of the chancel should be higher than the nave[140]. There should be a marked difference between the chancel--or choir, and the sanctuary--or space immediately surrounding the altar; a difference which had its type in the 'Holy Place' and the 'Holy of Holies' of the Jewish temple. The _lectern_--or desk, from which the lessons are read, and the _faldstool_--or Litany desk, may be either just without or within the chancel screen. The _sedilia_[141]--a stone recess for the seats of the officiating clergy, with the _piscina_[142]--should be on the south side, and the _credence[143] table_ may be on the north or south side of the altar. The _reredos_[144], at the east end of the chancel, should be the most costly and elaborate part of the church, as it is connected with the most dignified portion of the building. Its most prominent feature should be the symbol of our salvation, and whatever adornment is employed, it should have distinct reference to the 'sacrifice of the death of Christ.' _Empty niches_ should here and every where be carefully avoided; for they have little beauty and no meaning. Without their tenants, they are ridiculous forms of ornamentation, for the corbel--or bracket, has no meaning unless it is intended to support a figure, nor its canopy, unless intended to shelter and protect one. I have seen slabs containing epitaphs and the armorial bearings of private persons, as well as the royal shield, substituted for a proper reredos, but this is a sad profanation[145]. There is one thing worse; and that is engraving armorial bearings on the sacred vessels. The _prayer desk_[146] should form part of the choir stalls, and look in the same direction; this desk should not face the congregation, as the priest does not preach the prayers _to_ the congregation, but says the prayers _with_ them. When the Absolution is said, the case is different, and the propriety of the change of posture and position is evident. This is directly addressed _to_ the congregation, and to be 'pronounced by the priest _standing_.' So in the Communion Office the Priest is directed to _stand up, and, turning himself to the people, pronounce the Absolution_."

"I quite acknowledge the justness of what you say on these points, and shall gladly avail myself of your further counsel; specially I shall be grateful for your advice respecting the construction of the _altar_, and providing its proper furniture: but I have now already trespassed so long on your time, that I must only ask you to explain one thing more, and that is the meaning of the two little hollow square places in the north wall of our chancel."

"They formerly were closets, and had doors, no doubt, of carved oak. They are commonly called _almeries_, and are to be found in all old churches, their use in the chancel being to hold the sacred vessels used at the altar; even where they can no longer be utilized, they ought to be preserved as objects of interest[147]."

Illustration: Llanfaenor Church

_CHAPTER XXIV_

THE ALTAR

"We have an altar."

Heb. xiii. 10.

"Whene'er I seek the holy altar's rail,
And kneel to take the grace there offer'd me,
It is no time to task my reason frail,
To try Christ's words, and search how they may be.
Enough, I eat His flesh, and drink His blood;
More is not told--to ask it is not good.

"I will not say with these, that bread and wine
Have vanish'd at the consecration prayer;
Far less, with those, deny that aught Divine,
And of immortal seed, is hidden there.
Hence, disputants! The din which ye admire
Keeps but ill measure with the church's choir."

_Lyra Apostolica._

Illustration: St. Alban's Church, Holborn

THE ALTAR

It was late in the evening before the other guests had left the Hall, and our four friends sat down together in the library, without fear of interruption, to continue the conversation of the afternoon.

"I should like you to tell me, Mr. Ambrose," said Sir John, "whether you consider that the word _altar_ is properly applied to a table made of wood."

"Oh, most certainly it is. The term is equally applicable, whether the altar be made of wood or stone. No doubt stone was the material first used[148], yet at so early a period as the building of the tabernacle, we read that God commanded Moses to make an altar of _wood_[149]. In the earliest days of the Christian Church the altars were, probably without exception, made of wood; but afterwards it became the practice to erect them of stone, and from the sixth[150] to the sixteenth century this rule was all but universal."

"How is the change to be accounted for?"

"During the persecutions of the early Christians under the heathen Emperors of Rome, they resorted, as you are aware, to the subterranean catacombs there, as the only places where they could, in comparative safety, hold their religious services. Here the stone altar-tombs of those who had suffered martyrdom offered the most convenient and fitting altars for the celebration of the Holy Eucharist. In after times, when the Church was prosperous and at peace, the remembrance of these altar-tombs not only suggested the material for the Christian altar, but also the custom of erecting it over the relics of saints and martyrs. This custom of building the altar over the bones of martyrs (which is still continued in the Roman Church, but which has for many years ceased to be the practice in our own), is, moreover, supposed to have reference to that mysterious vision in the Revelation of St. John, which you will remember he thus describes: 'When the Lamb had opened the fifth seal, I saw under the altar the souls of them that were slain for the Word of God, and for the testimony which they held[151].'

"The use of stone instead of wood was, no doubt, adopted also for other reasons than the one I have stated. Stone altars were less liable to desecration; they possess, too, a symbolism of their own, representing both the _incarnation_ and _entombment_ of our Blessed Lord[152]. The scriptural symbol of a Rock[153], as representing our Lord, might appear to be more evidently connected with the stone than the wooden altar, but this symbol must always be associated with the idea of altar, of whatever material it is made. The wooden altar, on the other hand, may seem to refer more directly to the _institution_ of the _Lord's Supper_; and the altar candlesticks have, of course, a peculiar and very manifest appropriateness when the altar is so considered."

"But surely, my friend, the word _table_ seems to be here exactly applicable."

"Yes, so it is; but you must not try to separate things which are inseparable. Every altar is a table, though every table is not an altar. Both terms are correct, but the one must not be supposed to exclude the other; and it would be strange indeed if, having a _priest_ and an _oblation_[154], the church should be without an _altar_. The top slab of the altar is the table[155], whether it is made of wood or stone. Where this slab is of stone, it has from early times been considered to represent the stone rolled to the mouth of the sepulchre of our Lord. In the Greek Church the _seal_ that was set on the stone[156] is represented by the consecrated wafer; in the Roman Church this seal is represented by the small square stone let into the centre of the altar table[157]. In the primitive Church there was but one altar in each church, but afterwards it became a custom to erect many others, dedicated to as many saints and martyrs. This was the custom in our own Church--just as it is still in the Roman Church--before Queen Elizabeth ordered all altars to be removed in every church, except the _high altar_, which is the only one we now retain; and, for my part, I certainly wish for no other. But at the same time _all stone altars_ were ordered to be removed, and then altars of wood were once more placed in almost every church. I am sorry to say the old stone altars were broken up and desecrated. Some few, however, of them escaped[158], and many more have since that time been erected. There are probably hundreds of stone altars to be found in our cathedrals, college chapels, and parish churches, and I don't suppose (though some seem to do so) that people attach more superstitious meaning to them than to the most modern oaken Communion table. But, as I said before, to my mind it is indifferent whether the altar be of wood or stone."

"I should like your opinion about the proper furniture for the altar."

"First, with regard to its _covering_: the canon directs that the altar shall be covered with 'a carpet of silk, or other decent stuff' on ordinary occasions, and with 'a fair linen cloth' at the time of the celebration of Holy Communion. This order allows considerable liberty as to colour and pattern; but it appears to imply that it should be as rich as the circumstances of each case will allow[159]. Where cloths of more than one colour are used, these five--in accordance with very ancient practice--are commonly employed as specially adapted to the different seasons of the Christian year: _white_, at Christmas and certain other festivals, as emblematical of purity; _red_, as representing the blood of martyrs, and at Pentecost, as emblematic of the fiery tongues; _green_, for general use, as the prevailing colour of nature, and a sort of middle colour between the rest in use; _violet_ and _black_ as colours of mourning."

"But, surely, this variety is _unnecessary_?"

"Most assuredly. Nevertheless, where they can conveniently be had, they are _appropriate_, and teach their own lesson. It was not _necessary_ to put a cloth of black on the altar at Droneworth when your father died two years since; and I am doubtful whether Mr. Beeland was quite right in doing so. But surely if you thought it was right for him to do this at the funeral of a mere mortal man, you cannot say that it is wrong to use a black altar-cloth on _Good Friday_; and, of course, the same argument applies to all the rest. With regard to the custom in some places of covering half the church with black for a month, because some rich man has died in the parish--I say plainly that I regard that as next to impiety and profanation."

"I see the justness of your words. What do you say to _cushions_ on the altar?"

"Say! _they ought never to be there_. I can imagine nothing more out of place. I have often wondered for what purpose they could originally have been put there. They are certainly not required, nor yet convenient as a rest for the Altar Service Book. It is too shocking to suppose they were intended to enable the priest to rest his arms and head softly on God's altar! I have sometimes fancied I see their origin in an old custom observed in the Roman Church of placing the two lambs, whose wool was used for making the palls[160] with which the Bishop of Rome invests his archbishops with their archiepiscopal authority, on _two richly embroidered cushions, one of which was placed on the north, the other on the south side of the altar_; but I know not. A _desk_ of brass or oak is convenient to support the office-book, and _two candles_ are ordered to be placed on the altar."

"But, my dear sir, I am told that is a very _Romish_ custom."

"Well, Sir John, and so it is a very Romish custom to say the Lord's Prayer, and it is a very Hindoo custom for a wife to love her husband with a special devotion; but we shall not, for either reason, be disposed to blame either custom. The thing with us, like every thing else, is either right or wrong _in itself_, independent of the use of any other Church. But it so happens that this is the very reverse to a Romish custom, for these two candles were ordered to be placed on the altar in direct opposition to the custom of the Roman Catholic Church[161]. Nothing can be more expressive, and utterly unobjectionable, than the symbolism of these _two_ candles (of course, it is not _necessary_ that they should be _lighted_ in order to preserve their emblematic meaning), and I should be very sorry to see this simple symbolism broken into by the introduction of more than two lights upon the altar[162]. I have not by any means mentioned all that is required for the service of the altar; I have only spoken of its ordinary furniture. That which is specially required for the Eucharistic services is, doubtless, already provided in your church."

"Before we say good-night," said Mr. Acres, "let me ask you one question indirectly connected with this subject. I notice that many of my neighbours receive the consecrated bread _on the palm of the hand_, some holding both hands in the form of a cross. I suppose this is in accordance with your instruction: I should like to know the reason for it. Where there are high altar-rails--which I much object to, and which, of course, are altogether unnecessary when the chancel screen is properly arranged, as with us--this custom would be very inconvenient."

"The short rail, north and south, for the use of the aged and infirm, is certainly all that is required. As regards the manner of receiving the sacred element, to which you refer, I certainly have recommended it, and for these reasons: it is much more convenient both for the priest and the communicant; it avoids all danger of any portion of the bread falling on the floor; and it is most in accordance with the rubric, which directs that the minister shall deliver the communion _into_ the hands of the recipients."

"Thank you. I consider your reasons as amply sufficient, and I see no possible objection to the custom."

_CHAPTER XXV_

THE ORGAN-CHAMBER

"Samuel ministered before the Lord, being a child, girded with a linen ephod."

1 Sam. ii. 18.

"But let my due feet never fail
To walk the studious cloisters pale,
And love the high embowed roof,
With antique pillars, massy proof,
And storied windows, richly dight,
Casting a dim religious light.
There let the pealing organ blow,
To the full-voiced quire below,
In service high, and anthems clear,
As may with sweetness, through mine ear,
Dissolve me into ecstasies,
And bring all Heaven before mine eyes."

_Il Penseroso._

Illustration: Icklesham Church

THE ORGAN-CHAMBER.

"And so, Harry, my boy, you have really made up your mind to be a chorister?" said Mr. Ambrose to old Matthew's grandson, one Sunday morning.

"Yes, if you please, sir," was his reply. "Grandfather says he should like me to be one."

"And you wish it yourself, do you?"

"Yes, sir."

"Very well. You are a well-conducted boy, and God has given you a good musical voice, so we shall be very pleased to have you amongst us. But you must never forget that there is not only a high honour, but also a very solemn responsibility connected with the office of a chorister. Always remember, then, that you are in a very especial way _God's servant_, that His eye is upon you, and that He will expect you to do your duty in the _very best way you possibly can_. You must _sing and give praise with the best member that you have_[163]--that is, you must devote to God's praise and glory the very best service you can render. You are a little boy to talk to about setting a good example to a congregation, composed for the most part of persons so much older than yourself, but yet that is one of your chief duties. When you are in the choir, the eyes of all the congregation are upon you, and they should not only _hear_ you singing as well as you can, and so be led themselves to join heartily in the musical parts of the service, but also _at all other times_ they should _see_ you reverent and devout in your conduct; and be sure, my boy, this good and serious behaviour of yours will have its influence upon others, though perhaps they may be hardly conscious of it. Now there is enough in this to make you very serious, but yet the thought that God permits you in your young years thus to help in promoting His glory, and to be such a blessing to your fellow-creatures, should make you very happy and very thankful to Him." ...

Before the commencement of the Morning Prayers little Harry was solemnly admitted a member of the choir. The ceremony was a very simple, but yet a very solemn one. On this occasion the usual order of entering the church was reversed. Mr. Ambrose came first, then the eight senior members of the choir, then the seven boy choristers, and last came Harry. All wore their surplices except Harry, and he carried his new little surplice on his arm. During the procession solemn music was played on the organ. As soon as it ceased, all knelt down to say their private prayers, Harry kneeling on a cushion prepared for him at the entrance to the chancel. It was the custom at St. Catherine's for all the congregation to stand up when the priest and choir entered; which custom, besides being a mark of respect for His presence to whom they were about to dedicate their worship and service, had this advantage--that it induced all to say their private prayers at the same time, and thus avoided much confusion; it tended also to prepare the mind _at once_ to enter into the spirit of the _public_ service.

After a short pause, Mr. Ambrose read a portion of the third chapter of the first book of Samuel. He then addressed Harry in these words:--

"Henry, before I proceed to admit you a member of the choir of this church, you must promise, before God and this congregation, that in the solemn office on which you are about to enter, you will always strive above all things to promote His glory. Do you so promise?"

Little Harry, in a timid, trembling voice, answered, "I do so promise."

The Vicar and choir then sang, alternately, the following sentences:--

_Priest._--"Our help is in the name of the Lord;"

_Choir._--"Who made heaven and earth."

_P._--"O Lord, bless and keep this Thy servant;"

_C._--"Who putteth his trust in Thee."

_P._--"Accept his service in this Thy House;"

_C._--"And make the voice of Thy praise to be glorious."

_P._--"Lord, hear our prayer;"

_C._--"And let our crying come unto Thee."

Mr. Ambrose then read these verses:--

"And it came to pass, when the priests were come out of the holy place--also the Levites, which were the singers, all of them of Asaph, of Heman, of Jeduthun, with their sons and their brethren, being arrayed in white linen, having cymbals and psalteries and harps, stood at the east end of the altar, and with them an hundred and twenty priests sounding with trumpets:--it came even to pass as the trumpeters and singers were as one, to make one sound to be heard in praising and thanking the Lord; and when they lifted up their voice with the trumpets and cymbals, and instruments of music, and praised the Lord, saying, For He is good; for His mercy endureth for ever: that then the house was filled with a cloud, even the house of the Lord; so that the priests could not stand to minister by reason of the cloud: for the glory of the Lord had filled the house of God[164]."

The choir then sang, "Glory be to Thee, O God," during which time the senior choir boy led little Harry into the middle of the choir, where he knelt down on a cushion prepared for him.

Mr. Ambrose then said this prayer: "O most merciful Father, before whom 'Samuel ministered, being a child, girded with a linen ephod,' give, we pray Thee, to this Thy youthful servant such gifts as shall enable him to sing Thy praise, and promote Thy glory in this Thy Temple, and grace to worship Thee acceptably in the beauty of holiness, and to adorn the doctrine of Christ his Saviour in all things. Amen."

Harry then stood up, and as Mr. Ambrose placed on him his little surplice, he said,--

"Henry, I robe you in this surplice in token that you are now set apart to be a chorister, and, together with those around you, to assist in the high and glorious work of leading the praises of God in this church: let the whiteness of this robe always remind you of that purity which should mark the service you here offer up to God. I pray you never, either here or elsewhere, to disgrace this robe of your solemn office. What you sing with your lips believe in your heart, and what you believe in your heart fulfil in your life; and may God so bless and protect you, that when this life is ended, you may join that angel choir who in robes of white sing before the Throne, 'Glory to God and to the Lamb for ever and ever.' Amen."

The new chorister then took his place in the choir, whilst the organ almost thundered the following chorus, in which all joined:--

"O Great and Mighty God, with angels and archangels we laud and magnify Thy glorious name. Amen."

The usual morning service then proceeded. Many eyes were fixed on the earnest, thoughtful little face that appeared for the first time in the choir; and with not a little pardonable pride did old Matthew watch the hearty efforts of his grandson to fulfil the promise he had just made.

It had long been a custom for the Vicar and Mr. Mendles, the organist, to partake of a late meal at the Hall when their Sunday duties were ended; and on this Sunday evening the Squire accompanied them home from church.

"Our little friend," said he, "will be quite an acquisition to the choir; he has a very sweet voice."

"Yes, he has," replied the Vicar; "and what is of no less importance, he is sure to conduct himself well. But, for that matter, I have no reason to complain of any one of our choir; for, thanks to Mr. Mendles, and to their own sense of propriety, I don't believe there is a better conducted choir in any parish than ours."