Charles Dickens: The Uncommercial Traveller

9. CHAPTER IX--CITY OF LONDON CHURCHES (continued)

As I stand at the street corner, I don't see as many as four people at once going to church, though I see as many as four churches with their steeples clamouring for people. I choose my church, and go up the flight of steps to the great entrance in the tower. A mouldy tower within, and like a neglected washhouse. A rope comes through the beamed roof, and a man in the corner pulls it and clashes the bell--a whity-brown man, whose clothes were once black-- a man with flue on him, and cobweb. He stares at me, wondering how I come there, and I stare at him, wondering how he comes there. Through a screen of wood and glass, I peep into the dim church. About twenty people are discernible, waiting to begin. Christening would seem to have faded out of this church long ago, for the font has the dust of desuetude thick upon it, and its wooden cover (shaped like an old-fashioned tureen-cover) looks as if it wouldn't come off, upon requirement. I perceive the altar to be rickety and the Commandments damp. Entering after this survey, I jostle the clergyman in his canonicals, who is entering too from a dark lane behind a pew of state with curtains, where nobody sits. The pew is ornamented with four blue wands, once carried by four somebodys, I suppose, before somebody else, but which there is nobody now to hold or receive honour from. I open the door of a family pew, and shut myself in; if I could occupy twenty family pews at once I might have them. The clerk, a brisk young man (how does HE come here?), glances at me knowingly, as who should say, 'You have done it now; you must stop.' Organ plays. Organ-loft is in a small gallery across the church; gallery congregation, two girls. I wonder within myself what will happen when we are required to sing.

There is a pale heap of books in the corner of my pew, and while the organ, which is hoarse and sleepy, plays in such fashion that I can hear more of the rusty working of the stops than of any music, I look at the books, which are mostly bound in faded baize and stuff. They belonged in 1754, to the Dowgate family; and who were they? Jane Comport must have married Young Dowgate, and come into the family that way; Young Dowgate was courting Jane Comport when he gave her her prayer-book, and recorded the presentation in the fly-leaf; if Jane were fond of Young Dowgate, why did she die and leave the book here? Perhaps at the rickety altar, and before the damp Commandments, she, Comport, had taken him, Dowgate, in a flush of youthful hope and joy, and perhaps it had not turned out in the long run as great a success as was expected?