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Ghost Stories of an Antiquary (M R James) online
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THE STALLS OF BARCHESTER CATHEDRAL
I took the box home and examined its contents, and thereafter consulted the librarian as to what should be done about publication, and, since I have his leave to make a story out of it, provided I disguised the identity of the people concerned, I will try what can be done.
The materials are, of course, mainly journals and letters. How much I shall quote and how much epitomize must be determined by considerations of space. The proper understanding of the situation has necessitated a little--not very arduous--research, which has been greatly facilitated by the excellent illustrations and text of the Barchester volume in Bell's _Cathedral Series_.
When you enter the choir of Barchester Cathedral now, you pass through a screen of metal and coloured marbles, designed by Sir Gilbert Scott, and find yourself in what I must call a very bare and odiously furnished place. The stalls are modern, without canopies. The places of the dignitaries and the names of the prebends have fortunately been allowed to survive, and are inscribed on small brass plates affixed to the stalls. The organ is in the triforium, and what is seen of the case is Gothic. The reredos and its surroundings are like every other.
Careful engravings of a hundred years ago show a very different state of things. The organ is on a massive classical screen. The stalls are also classical and very massive. There is a baldacchino of wood over the altar, with urns upon its corners. Farther east is a solid altar screen, classical in design, of wood, with a pediment, in which is a triangle surrounded by rays, enclosing certain Hebrew letters in gold. Cherubs contemplate these. There is a pulpit with a great sounding-board at the eastern end of the stalls on the north side, and there is a black and white marble pavement. Two ladies and a gentleman are admiring the general effect. From other sources I gather that the archdeacon's stall then, as now, was next to the bishop's throne at the south-eastern end of the stalls. His house almost faces the west front of the church, and is a fine red-brick building of William the Third's time.
Here Dr Haynes, already a mature man, took up his abode with his sister in the year 1810. The dignity had long been the object of his wishes, but his predecessor refused to depart until he had attained the age of ninety-two. About a week after he had held a modest festival in celebration of that ninety-second birthday, there came a morning, late in the year, when Dr Haynes, hurrying cheerfully into his breakfast-room, rubbing his hands and humming a tune, was greeted, and checked in his genial flow of spirits, by the sight of his sister, seated, indeed, in her usual place behind the tea-urn, but bowed forward and sobbing unrestrainedly into her handkerchief. 'What--what is the matter? What bad news?' he began. 'Oh, Johnny, you've not heard? The poor dear archdeacon!' 'The archdeacon, yes? What is it--ill, is he?' 'No, no; they found him on the staircase this morning; it is so shocking.' 'Is it possible! Dear, dear, poor Pulteney! Had there been any seizure?' 'They don't think so, and that is almost the worst thing about it. It seems to have been all the fault of that stupid maid of theirs, Jane.' Dr Haynes paused. 'I don't quite understand, Letitia. How was the maid at fault?' 'Why, as far as I can make out, there was a stair-rod missing, and she never mentioned it, and the poor archdeacon set his foot quite on the edge of the step--you know how slippery that oak is--and it seems he must have fallen almost the whole flight and broken his neck. It _is_ so sad for poor Miss Pulteney. Of course, they will get rid of the girl at once. I never liked her.' Miss Haynes's grief resumed its sway, but eventually relaxed so far as to permit of her taking some breakfast. Not so her brother, who, after standing in silence before the window for some minutes, left the room, and did not appear again that morning.