THE VINEYARD
Nicholas, as his custom was, rose early next morning and went from the dark-panelled room, where he had slept, down towards the chapel. The great green bronze bell hanging in the wooden balcony outside had just begun to ring for matins, and the sound, grave and sonorous, floated out over the valley like a dream. He waited there awhile looking at the blackened Byzantine paintings which covered the roof, till the monks began trooping up the cobbled passage, and with the first of them he went inside the chapel. From the centre of the roof hung a great gilt candelabrum in the form of a crown, and from side to side of the building ran a row of silver lamps—some thirty in number—which had been burning all night, but looked red and dim in the fresh morning light. Set in the gilt altar-sereen were the paintings of the Panagia and of Christ, and at the south end—more precious to the faithful than all—the wax relief of the Virgin and Child. The silver panel, behind which it is placed, had been opened, and Nicholas, with the others, made his obeisance before it. The head of the Virgin and the head of the Child are all that can be seen, and these are black with age; the rest is one mass of chased gold. The crown which the Child wears is studded with rubies and emeralds grown dim; His mother's crown is less magnificent; and on the silver rail in front of it hang the offerings of those to whom, in the days of faith, its contemplation had brought healing of many diseases. Over the gate to the altar hung two stoles of red velvet, in which the priest who said the mass would robe himself. A border of gold holly leaves ran down them on each side, and down the middle they were embroidered with floreated and cusped ornaments in red and gold, in the centre of each of which was worked the figure of Christ. On the north wall, by the easternmost of the
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