She loved it for the more concrete things as well: for its coloured windows and elegant arches and carvings, for its old patterned tiles, for the elaborate tombs of bishops and kings and noble families, for the surprising painted bosses that covered the joins between the stone ribs on the distant ceiling, and for all of the energy that had gone into making those things, for the creators throughout history.
Like most smaller services, Evensong was held in the choir. The choir boys with their scrubbed, mischievous faces sat in one set of stall benches, the congregants in the other, with any overflow in the adjacent presbytery seats. Violet suspected Evensong was considered frivolous by regular church goers compared to Sunday morning services, but she preferred the lighter touch of music to the booming organ, and the shorter, simpler sermon to the hectoring morning one. She did not pray or listen to the prayers – prayers had died in the War alongside George and Laurence and a nation full of young men. But when she sat in the choir stalls, she liked to study the carved oak arches overhead, decorated with leaves and flowers and animals and even a Green Man whose moustache turned into abundant foliage. Out of the corner of her eye she could see the looming enormity of the nave, but sitting here with the boys’ ethereal voices around her, she felt safe from the void that at times threatened to overwhelm her. Sometimes, quietly and unostentatiously, she cried.
One Sunday afternoon a few weeks after the Presentation of Embroideries service, Violet slipped late into the presbytery as a visiting dean was giving the sermon. When she went to sit she moved a kneeler that had been placed on the chair, then held it in her lap and studied it. It was a rectangle about nine by twelve inches with a mustard-coloured circle like a medallion in the centre surrounded by a mottled field of blue. The medallion design was of a bouquet of branches with chequer-capped acorns amongst blue-green foliage. Chequered acorns had been embroidered in the four corners as well. The colours were surprisingly bright, the pattern cheerful and un-churchlike. It reminded Violet of the background of mediaeval tapestries with their intricate millefleurs arrangement of leaves and flowers. This design was simpler than that but nonetheless captured an echo from the past.
They all did, she thought, placing the kneeler on the floor and glancing at those around her, each with a central circle of flowers or knots on a blue background. There were not yet enough embroidered kneelers for every chair, and the rest had the usual unmemorable hard lozenges of red and black felt. The new embroidered ones lifted the tone of the presbytery, giving it colour and a sense of designed purpose.
At the service’s end, Violet picked up the kneeler to look at it again, smiling as she traced with her finger the chequered acorns. It always seemed a contradiction to have to be solemn in the Cathedral amidst the uplifting beauty of the stained glass, the wood carving, the stone sculpture, the glorious architecture, the boys’ crystalline tones, and now the kneelers.
A hovering presence made her look up. A woman about her age stood in the aisle next to her, staring at the kneeler Violet held. She was wearing a swagger coat in forest green that swung from her shoulders and had a double row of large black buttons running down the front. Matching it was a dark green felt hat with feathers tucked in the black band. Despite her modish attire, she did not have the appearance of being modern, but looked rather as if she had stepped aside from the flow of the present. Her hair was not waved; her pale grey eyes seemed to float in her face.
“Sorry. Would you mind if I—” She reached out to flip over the kneeler and reveal the dark blue canvas underside. “I just like to look at it when I’m here. It’s mine, you see.” She tapped on the border. Violet squinted: stitched there were the initials and a year: DJ 1932.
Violet watched her gazing at her handiwork. “How long did it take you to make it?” she asked, partly out of politeness, but curiosity too.
“Two months. I had to unpick bits a few times. These kneelers may be used in the Cathedral for centuries, and so they must be made correctly from the start.” She paused. “Ars longa, vita brevis.”
Violet thought back to her Latin at school. “Art is long, life short,” she quoted her old Latin teacher.
“Yes.”
Violet could not imagine the kneeler being there for hundreds of years. The War had taught her not to assume that anything would last, even something as substantial as a cathedral, much less a mere kneeler. Indeed, just twenty-five years before, a diver, William Walker, had been employed for five years to shore up the foundations of Winchester Cathedral with thousands of sacks of concrete so that the building would not topple in on itself. Nothing could be taken for granted.
She wondered if the builders of the Cathedral nine hundred years ago had thought of her, standing under their arches, next to their thick pillars, on top of their mediaeval tiles, lit by their stained glass – a woman in 1932, living and worshipping so differently from how they did. They would not have conjured up Violet Speedwell, that seemed certain.
She put out a hand as “DJ” set her kneeler on a chair and made to move off. “Are you a member of the Cathedral Broderers?”
DJ paused. “Yes.”
“If one wanted to contact them, how …”
“There is a sign on the notice board in the porch about the meetings.” She looked at Violet directly for a moment, then filed out after the other congregants.
Violet did not intend to look for the notice. She thought she had set aside the kneelers in her mind. But several days later, out for a walk by the Cathedral, she found herself drawn to the notice board and the sign about the broderers, written in careful copperplate like her mother’s handwriting. Violet copied down a number for Mrs Humphrey Biggins, and that evening used her landlady’s telephone to ring.
“Compton 220.” Mrs Biggins herself answered the telephone. Violet knew immediately it wasn’t a daughter, or a housekeeper, or a sister. She sounded so much like Violet’s mother in her better days that it silenced her, and Mrs Biggins had to repeat “Compton 220” with increased irritation until she eventually demanded, “Who is this? I will not tolerate these silences. I shall be phoning the police to report you, you can be sure!”
“I’m sorry,” Violet stumbled. “Perhaps I have the wrong number” – though she knew that she did not. “I’m – I’m ringing about the kneelers in the Cathedral.”
“Young lady, your telephone manner is dreadful. You are all of a muddle. You must say your name clearly, and then ask to speak to me, and say what your call concerns. Now try it.”
Violet shuddered and almost put down the telephone. When the Speedwells first had a telephone installed, her mother had given her lessons in telephone etiquette, though she had often put off potential callers herself with her impatient manner. But Violet knew she must persist or she would never have her own kneeler in Winchester Cathedral. “My name is Violet Speedwell,” she began obediently, feeling like a small child. “I would like to speak to Mrs Biggins with regard to the embroidery project at the Cathedral.”
“That’s better. But you are ringing very late, and at the wrong time. Our classes finish shortly for the summer and don’t resume until the autumn. Miss Pesel and Miss Blunt need time over the summer to work on designs for the next batch.”
“All right, I’ll ring back then. Sorry to have troubled you.”
“Not so hasty, Miss Speedwell. May I assume you are a ‘Miss’ Speedwell?”
Violet