wrestle against flesh and blood, but against the rulers, against the authorities, against the cosmic powers over this present darkness, against the spiritual forces of evil in the heavenly places,â â Chloe muttered, quoting Ephesians as she looked at a stone archangel who brandished an upraised sword.
âIs that the way you think of it?â MacGregor asked with a smile. âThen you will like this next part. Follow me and mind the clematis.â He swept aside a thicket of vine with a large hand that would have looked at home carrying a machete.
âWhither thou goest.â
The following section showed art typical to NewEngland and among the Presbyterians of Scotland: grim reapers with scythes and winged skulls. This section also was marked with the sort of candid epitaphs that spoke plainly of the deceasedâs faults and brought joy to the taphophiles of the world.
Calum Patrick 1741â1780
He was a terrible man,
Cruel to everyone except his wife,
His sons and his friends
Moira Patrick, beloved wife
1752â1774
Think on what a wife should be
For she was that and more
Andrew Patrick 1721â1770
He suffers no more
Edana Patrick 1740â1771
The angels took her home
Rachael Ryan Patrick 1723â1775
Ever tardy, even to the grave
Roderick Allen and James David Patrick 1725â1747
Hanged for seeking treasure that didnât exist
Here lie the ones responsible for this
Beloved Kelton Patrick 1791â1862
This stone is placed by a mournful wife who will
gladly join him soon
Ridiculously, Chloe felt tears gathering in her eyes. She heard a noise and turned to find MacGregor sniffling dolefully.
âHere, girl.â He offered a hankie. It was made of lawn and embroidered with a large mp. âThis one always makes me sad.â
âThank you.â Chloe felt like an idiot and was glad that Rory Patrick wasnât around to see her crying. The memento mori didnât usually affect her, but the art and atmosphere of this cemetery was overwhelming and should have moved even a Philistine. They stood in companionable silence for a minute or two, enjoying their shared moment of sentimentality.
âCome along. Letâs get to the good stuff.â MacGregor wiped a sleeve over his eyes, and when it was lowered he was smiling again.
Chloe tried not to gape as she followed him. The cemetery had already rendered up the finest collection of funerary monuments she had ever seen outside of Highgate in London and some of the more famous sepulchers of Rome. The Patrick deadâeven the animalsâhad not been stinted; the death houses were world class. What could possibly qualify as âthe good stuffâ?
She had her answer soon enough. The last section, set off by a wall of cedars, was the gothic horrors that Rory had referred to. The term wasnât entirely correct, as they were mostly in a style of gothic revival, which was even more overwrought than the original had been.
There was a ten-foot-tall statue of Father Time draped in a shroud, exhorting them to â
cast a cold eye on Death.
â There was a tableau of the sea god, Triton, wrestling with a monster from the deep, an eight-by-eight slab that held a chess board with a white alabaster king checkmated by a black marble queen, andâstrangest of allâa full-sized grand piano in speckled gray granite with keys picked out in ivory and obsidian. The lid was mercifully down tight.
Chloe cleared her throat. âWhat, no pyramids?â
MacGregor answered seriously, âI havenât chosen my own monument yet. Perhaps I should look into that. They must still know how to make pyramids in Egypt.â
So much for injecting some levity into the conversation.
âYou wouldnât have it made here?â
âNo. Havenât you been listening, girl?â he demanded. âNo one knows about this place. Just Roryâs boys who do the maintenance, Rory, my nephew and me. This place is
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