couch, seen within the Church, through the open chancel door, as, by the narrow churchyard path, I drew near the ancient edifice. His gaze was turned towards me; his pure white features almost seemed to wear the lineaments of life. He looked as though fallen asleep but some half hour agone, amid the conception of one of his noblest thoughts, resting, with the simple love of a weary child, upon "the bosom of his FATHER and his GOD." 0, what happiness must friendship with such a glorious spirit have been! To have listened to his witching words to have inhaled the beauty of his expressive glance to have revelled in the eloquence of his smile-this indeed would have been worth the effort of many an excelsior-cry to attain !

And now his chiselled form reclines within that Church-the venerable-the holy-beneath whose time-honoured roof he was wont in life to pour out his trustful heart in living worship; by sanctuary ordinances preparing his gentle lofty spirit for the Eden-rest wherein the white-robed people of GOD await the advent of Him by Whom they are redeemed and sanctified.

I have already described, in better words than my own, the restored interior of Crosthwaite Church. I will only add, the charm of the many-tinted windows and the beauty of the oaken ornaments, tended to increase (as appropriate decoration of GOD's House always does increase) the solemnity and harmony of the service. One more look at

Southey-the homeward walk amid brilliant sunshine the quiet Sunday tea-the evening service at S. John's-and so our pleasant Keswick Sunday ended.

240

CHAPTER XVI.

66

ROBERT SOUTHEY was born in Wine Street, Bristol, August 12, 1774: his parents were Robert and Margaret Southey: his father was a linendraper at Bristol: his mother's maiden name was Hill both families were of some standing in Somersetshire, especially the Hills, long generations of whom had lived and died respectably and contentedly upon their own lands in the beautiful vale of Ashton, which lies on the farther side of the Avon, opposite Clifton, between the Leigh Woods and Bedminster, and is well characterised by Warton in one of his odes as Ashton's elmy vale." Southey's grandfather was the seventh Edward Hill, six Edward Hills in unbroken succession having previously lived in Ashton Vale, and been buried in Ashton Churchyard: the Hills are called "gentlemen" upon their tombstones. The grandfather, Edward Hill, was a lawyer, and left Ashton for Bedminster, (now become a populous suburb of Bristol, but then a comparatively quiet village,) where he built a house, which, together with its garden, is described with fond reminiscence by Southey, and appears to have been the beau-ideal of a happy English rural home :-in connection with this favourite place, Southey also mentions his grandmother being in the habit of attending service at the old Parish Church of Bedminster, (now pulled down, and replaced by the glorious edifice

whose exquisite reredos1 must ever enlist the admiration and championship of true church people) and particularly alludes to her always making a point

1 The new Church at Bedminster stands upon the same site as the former one, and is dedicated, like its predecessor, to S. John Baptist; it is in the Late First-Pointed Style, and consists of a chancel, nave, aisles, tower, porch, two chancelchapels and sacristy, arranged in form of a cross. Between the chancel and the nave rises a sanctus bell-cot, surmounted by a cross. It is hoped the day may not be distant, when, after a lapse of three centuries, Bedminster may again possess that heaven-pointing feature, a lofty spire, without which, in olden time, no temple of GoD was thought by our pious forefathers to be complete. The nave is divided from the aisles by an arcading of pointed arches, with effective mouldings, and extremely rich foliated capitals: the roof of the nave is open to a height of nearly 60 feet. The aisles are covered with lean-to roofs. The chancel is divided from the nave by a lofty and elaborately moulded arch, above which is frescoed an Agnus Dei on blue ground within a vesica of gold and crimson rays. On each side of this descend the Commandments, this being the position in which by the Canons they are directed to be placed. Beneath the chancel-arch is a low arcaded stone screen, three compartments of which, projected into the nave, and elevated by two steps, form the pulpit, which is adorned by mezzo-relievo representations of the Sermon on the Mount and the preaching of SS. Peter and Paul. At the angles of the pulpit are niches, in which these two saints appear again, the former with his keys, the latter with his sword, the gift of the architect, Mr. Norton. The prayers are said from the oaken stalls, with subsellæ for the choristers in front; and a handsome brass lectern outside the chancelgates is provided for the lessons. The service is daily and choral. The organ occupies the north chapel of the chancel. On the top of the wooden screens dividing the transeptal chapels from the chancel, there run crestings, bearing innumerable gas jets, alternately simple and leaf-shaped, the effect of which, when lighted, is remarkably beautiful. The rest of the Church is lighted by elegant gas standards, in brass and blue, divided into three branches, each bearing four leafshaped burners. The nave and aisles are seated with low moveable benches, resting on the tile pavement, and provided with sloping backs and book-boards. The chancel, which externally is as lofty as the nave, has within a panelled ceiling, of pointed form, divided into four bays, of which the two east

R

of being in church before the commencement of the service, from the feeling that "if she did not get in before the Absolution was read, she might

ernmost are polychromed with gold stars upon a blue ground. The eastern window is of three lights, representing the Crucicifixion, our LORD'S Body being surrounded by a wreath of passion flowers in the shape of a vesica, while around are adoring angels. The two side lights contain figures of SS. John Baptist and Stephen. The western-a memorial window -represents in one light the Baptism of our LORD, and in the other, the preaching of S. John: over the western doorway, also, is a sculpture depicting S. John preaching in the wilderness. The clerestory windows are painted in grisaille, arranged in couplets, between each of which stands an angel. The font is octagonal, surrounded by angels: it stands upon two high steps,-the upper, cruciform; the lower, octagonal. The Altar is raised on a foot-pace and duly vested. On the north side is a credence, and on the south the sedilia. The east wall of the chancel is pierced with a lofty triplet, the internal arches of which are richly foliated, and rest upon detached Purbeck marble columns. Beneath this is the celebrated Reredos: it is of Caen stone, and occupies the entire width of the chancel. The lower stage is a simple arcading, surmounted by a band of quatrefoils. Above, are three large panels surmounted by crocketed canopies, and sculptured with alto-relievo, representing the Nativity, Crucifixion, and Ascension of our LORD. In the north panel, the Nativity, the Virgin Mother is depicted kneeling in the stable at Bethlehem before her new-born Son and LORD, S. Joseph by her side, and three shepherds coming in to pay their homage; above are angels, playing on instruments of music; and in the background appear the heads of some cattle. In the central panel, the Crucifixion, our Blessed SAVIOUR is represented on the Cross, with S. Mary standing on the north side, and the Magdalene weeping on her shoulder; on the south of the Cross appear the other S. Mary, and S. John the beloved. Above is an angel, with crossed stole and uplifted arms; and in the background the city of Jerusalem, and "many bodies of the saints who slept" arising. The sun and moon are also introduced; and at the foot of the Cross appear the usual emblems of mor. tality, together with a palm branch, indicative of CHRIST'S victory over death. In the south panel, the Ascension, our LORD appears "going up on high," surrounded by rays, and attended by angels bearing the crown of glory; His hands are extended in the act of "blessing" His people

as well have stayed at home." Southey dwells more affectionately on his mother's, than on his father's family his love to his mother was beautiful, and he speaks of Ashton Vale as "the place of all others which I remember with most feeling." Some of the male relations on his father's side seem to have taken no notice whatever of the embryo poet and future immortal writer:-that his sensitive heart felt this coldness and neglect is evidenced by the semi-satirical lines which flowed from his pen (1806) on the death of his unloving uncle, John Southey, of Taunton: there would be neither space nor fitness here for inserting the whole of the lines; but a few stanzas are subjoined, in exemplification of the small consideration in which youthful geniuses, heirs of the undying laurel, are held, many a time and oft, by those who should be the first to foster the intellectual germ, their own dim-sighted kith and kin.

"So thou art gone at last, old John,

And hast left all from me ;

GOD give thee rest among the blest,—
I lay no blame to thee.

whilst being "parted from them :" below are the wondering Apostles, "gazing up into heaven" after their departing LORD; one has a hand raised to shade his eyes from the splendour of the exceeding glory. Between, and at the side of the panels, are niches, containing statues of the four Evangelists, upon pedestals, adorned with their appropriate symbols in the spandrils formed by the canopies over the Evangelists are trefoils, in which are sculptured the instruments of the Passion. Above those of the Nativity, Crucifixion, and Ascension, occur quatrefoils, charged respectively with an Agnus Dei, a floriated cross with interscribed crown of thorns, and a pelican in her piety. Over the centre canopy is a very elaborate jewel-cut cross; over each of the other four stand winged angels in the act of prayer. The wall behind is carved with a rich diaper pattern.-Abridged from the Preface to the Bedminster Sermons.