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The steeple of Saint-Hilaire

     The steeple of Saint-Hilaire could be distinguished from a long way off, inscribing its unforgettable form upon a horizon against which Combray had not yet appeared; when from the train which brought us down from Paris at Easter-time my father caught sight of it, as it slipped into every fold of the sky in turn, its little iron weathercock veering in all directions, he would say: "Come on, get your wraps together, we’re there." And on one of the longest walks we used to take from Combray there was a spot where the narrow road emerged suddenly on to an immense plain, closed at the horizon by a jagged ridge of forest above which rose the solitary point of Saint-Hilaire’s steeple, so slender and so pink that it seemed to be no more than scratched by the finger-nail of a painter anxious to give to such a landscape, to so pure a piece of nature, this little sign of art, this single indication of human existence. As one drew near it and could see the remains of the square tower, half in ruins, which still stood by its side, though without rivalling it in height, one was struck most of all by the dark-red tones of its stones; and on a misty morning in autumn one might have thought it, rising above the violet thunder-cloud of the vineyards, a ruin of purple, almost the colour of Virginia creeper.

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Lunchtime memory Combray church steeple
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There were two tapestries of high warp

     There were two tapestries of high warp representing the coronation of Esther (tradition had it that the weaver had given to Ahasuerus the features of one of the kings of France and to Esther those of a lady of Guermantes whose lover he had been), to which the colours, in melting into one another, had added expression, relief and light: a touch of pink over the lips of Esther had strayed beyond their outline; the yellow of her dress was spread so unctuously, so thickly, as to have acquired a kind of solidity, and stood out boldly against the receding background; while the green of the trees, still bright in the lower parts of the panel of silk and wool, but quite “gone” at the top, brought out in a paler tone, above the dark trunks, the yellowing upper branches, gilded and half-obliterated by the sharp though sidelong rays of an invisible sun.

Narrative Context: 
Lunchtime memory Combray church tapestries
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Tapestry of meaning - Esther (or Hester) appears before Assuerus || Source - http://mw.mcmaster.ca/images/dbase/Costume/0015w.jpg
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Its windows were never so sparkling

Its windows were never so sparkling as on days when the sun scarcely shone, so that if it was dull outside you could be sure it would be fine inside the church. One of them was filled from top to bottom by a solitary figure, like the king on a playing-card, who lived up there beneath his canopy of stone, between earth and heaven, and in whose slanting blue gleam, on weekdays sometimes, at noon, when there was no service (at one of those rare moments when the airy, empty church, more human somehow and more luxurious, with the sun showing off all its rich furnishings, had an almost habitable air, like the entrance hall—all sculptured stone and painted glass—of some hotel in the mediaeval style), you might see Mme Sazerat kneel for an instant, laying down on the seat next to hers a neatly corded parcel of little cakes which she had just bought at the baker’s and was taking home for lunch. In another, a mountain of pink snow, at whose foot a battle was being fought, seemed to have frozen against the very glass itself, which it swelled and distorted with its cloudy sleet, like a window to which snowflakes have drifted and clung, illumined by the light of dawn—the same, doubtless, that tinged the reredos of the altar with hues so fresh that they seemed rather to be thrown on it momentarily by a light shining from outside and shortly to be extinguished than painted and permanently fastened on the stone. And all of them were so old that you could see, here and there, their silvery antiquity sparkling with the dust of centuries and showing in its threadbare brilliance the texture of their lovely tapestry of glass. There was one among them which was a tall panel composed of a hundred little rectangular panes, of blue principally, like an enormous pack of cards of the kind planned to beguile King Charles VI; but, either because a ray of sunlight had gleamed through it or because my own shifting glance had sent shooting across the window, whose colours died away and were rekindled by turns, a rare and flickering fire—the next instant it had taken on the shimmering brilliance of a peacock’s tail, then quivered and rippled in a flaming and fantastic shower that streamed from the groin of the dark and stony vault down the moist walls, as though it were along the bed of some grotto glowing with sinuous stalactites that I was following my parents, who preceded me with their prayer-books clasped in their hands. A moment later the little lozenge panes had taken on the deep transparency, the unbreakable hardness of sapphires clustered on some enormous breastplate behind which, however, could be distinguished, dearer than all such treasures, a fleeting smile from the sun, which could be seen and felt as well here, in the soft, blue stream with which it bathed the jewelled windows, as on the pavement of the Square or the straw of the market-place; and even on our first Sundays, when we had come down before Easter, it would console me for the blackness and bareness of the earth outside by quickening into blossom, as in some springtime in old history among the heirs of Saint Louis, this dazzling, gilded carpet of forget-me-nots in glass.

Narrative Context: 
Lunchtime memory Combray church windows
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Chapel Altar of Église St.-Jacques, Illiers-Combray || Source - Jeff Drouin, 7 July 2004
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