George Herbert: Secretary of Praise

Amongst my treasured literary possessions are several carefully sought out, frequently handled, and regularly read editions of The Temple, George Herbert's matchless contribution to Anglican Spirituality. For my 40th birthday I was given a leather bound early Victorian copy by my friend Kate. It was given as a prize for Arithmetic, to Master W L Riddell, in 1864, while a pupil at Mr Crerar's School,13 Forth Street, Edinburgh. It was published by the Edinburgh firm of James NicholI, around the time they started issuing those famous sets of the works of Standard Puritan Divines such as Thomas Goodwin and Richard Sibbes. The book has copper engraved borders within which each poem is placed like a framed word picture - which much of Herberts verses are. In bookseller's parlance, the condition is "used, no marking, previous owner's bookplate (the prize label), finely bound in tooled and gilt leather with signs of some use." Perfect - and it couldn't be in safer, more appreciative hands!

  Nearer my 50th Birthday I uncovered another Victorian edition, maroon cloth, elaborate gilt celtic tooling, and used enough in the past 150 years to make me feel that reading it is an act of recognition, that someone else, numerous someone elses, have enjoyed the look and feel, the smell and heft, as well as the contents of a favourite book. This edition has copper engraved prints(an example here) as well as page borders, good illustrations of how the Victorians imagined seventeenth century English life, and now enjoyed by a 21st century bibliophile. One example of Victorian devotional book illustrative art shows the choir singing 'Let all the world, in every corner sing, My God, and King'. I've  never visited  Bemerton where Herbert was country parson, but later this year, as part of several sabbatical pilgrimages, I'm going looking for Herbert's church of St Andrew's, Bemerton. and Leighton Bromwold. Salisbury Cathedral  which I've never seen is nearby and will be enjoyed as an enduring  expression of  devotion to God through archtecture on the grand scale. But the little church Herbert restored bears witness to a different scale and quality of devotion - in my imagination I see Herbert being as careful about the details and care for restrained beauty of expression in the restoration of God's house as he was about the selection and arrangements of words and images in The Temple.

I remember on a warm June evening, singing that Herbert psalm, 'Let all the world, in every corner sing', in the magnificent setting of Coats Memorial Church, with the choir (who didn't look anything like in the picture above) and a small gathered congregation. I've never forgotten the coincidence of mellow late evening sunlight, the soft authority of the great organ, the harmony of choir and congregation, and the aesthetic beauty of a building that is itself an historical accident. It was built in 1894, when the finest material and the most skilful craftsmen were affordable, when Victorian confidence was still high enough to build without thought to cost, and before the turn of the century move away from large scale gothic towards more functional, modest places of worship. But that night, the glow of late sun-soaked oak, the clear handmade glass, the sanctified spaciousness outwards and upwards from the chancel, allowing light to be shaped and toned by warm sandstone and carved wood, all of which was part of the architect's intention - it all makes for a memory still sharp with the sense of smell, touch and sound. Reading George Herbert's hymn still has the effect of collapsing time into vivid memory of sight and sound.