Elegy

I'd been looking for a quieter and more comfortable place to wait while younger daughter has her morning voice lesson, and had noticed that the church puts out a welcome sign for the sanctuary at noon, so I slipped into the choir stalls because it was the only place with a bit of light, and I thought I might read for half an hour.

Eventually, I saw the lady bustling around, turning on the lights and putting the sandwich board on the sidewalk outside. Beyond her, I could see Elgin Street brimming with buses and cars, but the sanctuary itself was still.

I've sat in the choir stalls before, while waiting for younger daughter's turn to practise for recitals -- but never in the daytime and never this far back. The church is ringed with stained glass windows of various styles and vintages: the nineteenth century's idea of gothic, pre-Raphaelite imitations, even a bit of art-nouveau.

My eyes were drawn to two tiny windows across from my hiding place, high up with the midday light brightening them. I carry bird binoculars in my bag to avoid being caught short at shows in the larger venues at the National Arts Centre, so I drew them out, and focussed on the window directly opposite me.

The photo I've taken doesn't really do justice to the image of a grave little woman in loose blue clothes, accompanied by what looks like a corgi on a lead, the buildings of downtown Ottawa looking bleakly beautiful and distant, caught in an oval frame, and supplicating hands floating above her short-cropped head.

The neighbouring window seems also to be dedicated to the rather lonely-looking little lady, who died at the age of 48 nearly thirty years ago: "A much loved and devoted member of this parish". In the choir, perhaps? Likely, given the position of the windows.

Who remembers her now? I hope someone does.