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Taglagallo Remarcafkus Directory 04
Page 07
Thus it happened, that after Sir James had ridden rather fast for half an hour in a direction away from Tipton Grange, he slackened his pace, and at last turned into a road which would lead him back by a shorter cut. Various feelings wrought in him the determination after all to go to the Grange to-day as if nothing new had happened. He could not help rejoicing that he had never made the offer and been rejected; mere friendly politeness required that he should call to see Dorothea about the cottages, and now happily Mrs. Cadwallader had prepared him to offer his congratulations, if necessary, without showing too much awkwardness. He really did not like it: giving up Dorothea was very painful to him; but there was something in the resolve to make this visit forthwith and conquer all show of feeling, which was a sort of file-biting and counter-irritant. And without his distinctly recognizing the impulse, there certainly was present in him the sense that Celia would be there, and that he should pay her more attention than he had done before.
The internal evidence of the wooden figures themselves--nothing analogous to which, it should be remembered, can be found in the chapel of 1687--points to a much earlier date. I have met with no school of sculpture belonging to the early part of the eighteenth century to which they can be plausibly assigned; and the supposition that they are the work of some unknown local genius who was not led up to and left no successors may be dismissed, for the work is too scholarly to have come from any one but a trained sculptor. I refer of course to those figures which the artist must be supposed to have executed with his own hand, as, for example, the central figure of the Crucifixion group and those of the Magdalene and St. John. The greater number of the figures were probably, as was suggested to me by Mr. Ranshaw, of Lowth, executed by a local woodcarver from models in clay and wax furnished by the artist himself. Those who examine the play of line in the hair, mantle, and sleeve of the Magdalene in the Crucifixion group, and contrast it with the greater part of the remaining draperies, will find little hesitation in concluding that this was the case, and will ere long readily distinguish the two hands from which the figures have mainly come. I say "mainly," because there is at least one other sculptor who may well have belonged to the year 1709, but who fortunately has left us little. Examples of his work may perhaps be seen in the nearest villain with a big hat in the Flagellation chapel, and in two cherubs in the Assumption of the Virgin.
About the thinnest, shallowest nest, for its situation, that can be found is that of the turtle-dove. A few sticks and straws are carelessly thrown together, hardly sufficient to prevent the eggs from falling through or rolling off. The nest of the passenger pigeon is equally hasty and insufficient, and the squabs often fall to the ground and perish. The other extreme among our common birds is furnished by the ferruginous thrush, which collects together a mass of material that would fill a half-bushel measure; or by the fish-hawk, which adds to and repairs its nest year after year, till the whole would make a cart-load.
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