Silver Cross — A Reader’s Guide

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Johnston, Mary, 1870-1936 Project Gutenberg 2015 Not confirmed
Historical fiction; Great Britain -- History -- Henry VII, 1485-1509 -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 61,369
Reading time 267 min
Text sections 32

The source record for Silver Cross — A Reader’s Guide measures this digital text at 61,369 words, 4 hr 27 min estimated reading time, and 32 detected text sections.

The text analysis averages about 12.0 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Historical fiction,” connecting these edition facts with the source record’s subject description.

Set in early Tudor England, Mary Johnston's novel traces tensions between Silver Cross Abbey and the Dominican Friary of Saint Leofric, centered on a contested holy well and a monk's disturbing vision. Through layered dialogue and shifting perspectives, the narrative examines faith, ambition, and the fragile alliances between church and town.
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Read the Text

y to that. “I must live!”

The sunset spread. There was more red than blue. “She is so close wrapped in her mantle that you can hardly see the heavenly blue core of her.--Oh, Mother and Mother and Mother--where are we and what are we?”

Morgen Fay went into her garden. Company was coming for supper. Best break a few more flowers. The flowers were June flowers, roses and yellow lilies, larkspur and pinks. They had the sunset hues. The owner of the garden broke them, tall herself as the lilies, white and vermeil like the roses.

The sunset died out and the river stretched first pearl and then lead and then ebony.

Morgen Fay had a little oaken room where boards were laid upon trestles and covered with a fringed cloth, and dishes and flasks and goblets set upon this. An old woman, large but light upon her feet, spread the table, Morgen helping. The old woman’s son kept the street door. He was a lazy lout but obedient, strong, too, of his fists and with a voice that could summon, if need were, not the dead but the watch. His name was Anthony, the old woman’s Ailsa, and Morgen Fay had known them since she was a young child. Now they were in her employ.

Said Ailsa, “’Tis Somerville’s company?”

“Yes. You know that. How many candles? You’d best bring three more.”

“Yes, I will. Is that the gown you’re going to wear?”

“It’s not the one you like the best--so ’t isn’t your best after all, is it? You don’t like Somerville as well as you did last Lady Day.”

“What does it matter if I like him or don’t like him?”

“Oh, you won’t keep him if you don’t like him! He’ll go as others have gone. ‘Keep!’ Lord! With most of blessed women it’s the other way ’round!”

She brought the candles. “Do you like Master Bettany?”

“He’s richer than the knight--just as he’s younger. I say that Somerville’s holding a light for his own house’s sacking!”

“I say that I am tired. I like neither man nor woman, I nor thou.”

“Are you cold? Will you have a little fire? Here, take wine!”

“Joy from wine is falseness like the rest. Give it to me!”

Morgen drank. “I’ll have just time to put on the other dress if you think it sets me better.”

She went and put it on, returning to the oak room. Ailsa regarded results with eyes of a friendly critic. “It does! Montjoy knows how to choose--learned it, I reckon, in France!” She stood with her hands on her hips. She, too, had taken wine and now she loosed tongue, regarding all the time the younger woman with a selfish and unselfish affection, submitting to the wonder of her, but standing up for the right by prescription of half-ruling the wonder. Morgen had a voice of frankincense and music with a drop of clear oil. Ailsa had more of the oil and a humbler music. “Say you ‘Falseness?’ Say you ‘Coldness?’ Say you ‘Darkness!’ You’re a bright fool, Morgen-live-by-the-river!”

“Granted I am a fool,” said Morgen, and kneeled on the window seat.

The older woman’s voice rose. “Doesn’t fire warm you, and good sweet sack? Don’t you lie soft? Don’t you have jewels and gold work and silk of Cyprus? Don’t gentlemen and rich merchants come for your stroking? Haven’t you got a garden where you can walk and a tight house, and a pearl net for your hair, and a velvet shoe? Doesn’t Montjoy protect you for old time’s sake--even though now the fool goes off after religion? Religion! Don’t you go to Mass and give candles--wax ones--and doesn’t Father Edwin, your cousin, make all safe for you in that quarter? Oh, the Saints! There’s king’s power, and there’s priest’s power, and there’s woman’s power! World slurs you and world loves you, Morgen and Morgen! Go to! Fie on you! Shorten your long face! Where’s falseness--anything to speak of, that is? Where’s coldness and darkness? The world’s been a good world to you, mistress, ever since you danced at the Great Fair here, and Warham House saw you and took you and taught you! A pretty good world!”

“As worlds go--poor, dumb things! Yes, I say they are poor, dumb things! Light the candles!”

The novel opens with a precise geography: Middle Forest, a town of 'bleached grey' with 'strong splashes of red and umber,' sits between the castle of Montjoy and the Abbey of Silver Cross, home to Cistercian monks. The river Wander runs past, and the bridge over the larger stream connects the town to the rival Dominican Friary of Saint Leofric. This physical layout mirrors the web of competing authorities—secular, monastic, and mendicant—that drives the plot. The abbey's prized relic, a silver cross kissed by the martyr Saint Willebrod, once worked miracles but now 'the miraculous was grown drowsy.' The story's central conflict emerges not from Montjoy or Middle Forest, but from the 'wretched, irritating thorn' of Saint Leofric, whose prior, Hugh, is 'ambitious.'

Rivalry and the Holy Well

The excerpts reveal a layered competition. Silver Cross holds material wealth—'many score broad acres, wood and field, stream and pasture, mill, forge, weirs'—but has lost some of its former sanctity. The Friary of Saint Leofric, across the river, bids for 'king’s favour, cardinal’s favour, and popular favour.' The flashpoint is a holy well, claimed by both houses. Prior Matthew of Westforest, a chess player, orchestrates a procession to unite the factions, declaring, 'Shall there be division between Silver Cross and Middle Forest who have dwelled together since the Confessor’s day?' Yet his language of unity masks a strategic move to control the well and its pilgrim traffic, envisioning 'booths and rooms for pilgrims' on the bridge.

The Monk’s Vision and Its Disruption

Brother Richard Englefield, a monk at Silver Cross, experiences a disturbing vision that he attributes to Satan. He tears a rood from a wall, revealing a filled-in doorway, and speaks in a voice the abbot deems demonic: 'Now I have light—now it burns! Aside she pushed salvation—in she stepped, mincing like a harlot.' The abbot and monks bind and gag him, calling him 'Apollyon.' Montjoy, present, wavers: 'Truth, truth—is it not profoundly likely to be here?' The episode exposes a fracture within the abbey itself—between those who see madness or possession and those who sense a buried truth. The narrative withholds full explanation, leaving the vision's origin ambiguous.

Voices of Authority and Doubt

Johnston uses dialogue to dramatize the struggle over interpretation. Prior Matthew speaks in 'dry, reasonable' tones, while Abbot Mark shrieks 'with horror.' Montjoy's inner voice questions: 'Who other but Morgen Fay?'—a harlot he believes must be found. The Black Friar, Friar Martin, stands 'grimly for Saint Leofric,' a silent counterpoint. The text refuses to privilege any single perspective: the monk's tale is called 'fantastic, like a romaunt,' yet Montjoy cannot dismiss it. The reader is left to weigh competing claims, much like the characters themselves, as the novel builds toward a resolution that may hinge on the very well they all seek to control.

Readers attentive to the novel's opening will note how Johnston embeds conflict in landscape and dialogue. The silver cross itself appears only briefly, but its symbolic weight—as relic, as contested object, as marker of faith—permeates the narrative. The excerpts suggest a story less about miraculous resolution than about the human maneuvers around belief. Pay close attention to who speaks and who is silenced; the novel's tensions are carried as much in what is left unsaid as in the vivid, often harsh, exchanges.

The rain kept pace with the abbot’s slow reckonings, and afterwards I found myself thinking of those frayed alliances—how easily intention tangles. That led me to another shelf, where Comedies and Errors — Themes and Context sat waiting, its quieter humor a counterweight to the abbey’s heavy mist. I read it with the same unhurried pleasure, the kind that arrives unwanted and stays.

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