In the Heart of the Vosges by Matilda Betham-Edwards (i want to read a book .txt) 📕

would he have made the men and women of his time live again before us!

[Footnote: Both are reproduced, with many other works, in M. Mommeja's volume.]

Ingres, the artist, ever felt sure of himself. Did the lover look back, regretting the broken word, the wrong done to another? We do not know. His life was throughout upright, austere, free from blot; born and bred a Catholic, he had doubtless Huguenot blood in his veins, many of his most striking characteristics pointed to this inference.

A word more concerning Montauban itself. The stronghold of reform, that defied all Richelieu's attempts to take it, is to this day essentially a Protestant town. Half of its inhabitants have remained faithful to the faith of their ancestors. Tourists will note the abundance of cypress trees marking Huguenot graves, the capital of Tarn and Garonne is a veritable Calvinistic _Campo Santo_. After the Revocation, many families fled hence to England, their descendants to this day loving and reverencing the country which gave them a home.

Montauban, as we should expect, has raised a splendid monument to its one great citizen.

Since writing these lines, an Ingres exhibition has been opened in the Georges Petit Gallery, Paris. Apropos of this event, the _Revue des Deux Mondes_ (May 15, 1911) contains a striking paper by the art-critic, M. de Sizeraine. Some of the conclusions here arrived at are startling. Certain authorities on art are said to regard the great Montalbanais as a victim of daltonism--in other words, colour-blind!

In company of the mere amateur, this authority turns with relief from the master's historical and allegorical pieces to his wonderfully speaking portraits. Here, he says, all is simple, nothing is commonplace, nothing is unexpected, and yet nothing resembles what we have seen elsewhere; we find no embellishment, no stultification. He adds: "In art, as in literature, works which survive are perhaps those in which the artist or writer has put the most of himself, not those in which he has had most faith. The "Voeu de Louis XIII," the "Thetis" of Ingres, we may compare to Voltaire's _Henriade_ and to the _Franciade_ of Ronsard, all belong to the category of the _opus magnum_ that has failed, and of which its creator is proud." With the following charming simile the essay closes--

"Posterity is a great lady, she passes, reviews the _opus magnum, la grande machine_ disdainfully, satirically; all seems lost, the artist condemned. But by chance she catches sight of a neglected picture turned to the wall in a corner or passage, some happy inspiration that has cost its author little pains, but in which he has not striven beyond his powers, and in which he has put the best of himself. The _grande dame_ catches it up, holds it to the light. 'Ha! here is something pretty!' she cries. And the artist's fame is assured."

Has not Victor Hugo focused the same truth in a line--


"Ici-bas, le joli c'est le necessaire!"


And our own Keats also--


"For 'tis the eternal law,
That first in beauty should be first in might."



X


MY PYRENEAN VALLEY AT LAST

Osse, la bien aimee
Toi, du vallon
Le choix, la fille ainee
Le vrai fleuron!
C'est sur toi qu'est fixee
Dans son amour,
La premiere pensee
Du roi du jour
Comme a sa fiancee
L'amant accourt.

Xavier Navarrot.

Between Toulouse and Tarbes the scenery is quite unlike that of the Gard and the Aude. Instead of the interminable vineyards round about Aigues-Mortes and Carcassonne, we gaze here upon a varied landscape. Following the Garonne with the refrain of Nadaud's famous song in our minds--


"Si la Garonne avait voulu,"--


we traverse a vast plain or low vale rich in many-coloured crops: buckwheat, sweeps of creamy blossom, dark-green rye, bluish-green Indian corn with silvery flower-head, and purple clover, and here and there a patch of vine are mingled together before us; in the far distance the Pyrenees, as yet mere purple clouds against the horizon.

We soon note a peculiarity of this region--vines trained to trees, a method in vogue a hundred years ago. "Here," wrote Arthur Young, when riding from Toulouse to St. Martory on his way to Luchon, "for the first time I see rows of maples with vines trained in festoons from tree to tree"; and farther on he adds, "medlars, plums, cherries, maples in every hedge with vines trained." The straggling vine-branches have a curious effect, but the brightness of the leafage is pleasant to the eye. No matter how it grows, to my thinking the vine is a lovely thing.

The rich plain passed, we reach the slopes of the Pyrenees, their wooded sides presenting a strange, even grotesque, appearance, owing to the mathematical regularity with which the woods are cut, portions being close shaven, others left intact in close juxtaposition, solid phalanxes of trees and clearings at right angles. The fancy conjures up a Brobdingnagian wheat-field partially cut in the green stage. Sad havoc is thus made of once beautiful scenes, richly-wooded slopes having lost half their foliage.

A hundred years ago Lourdes was a mere mountain fortress, a State prison to which unhappy persons were consigned by _lettres de cachet_. Apologists of the Ancien Regime assert, in the first place, that these Bastilles were comfortable, even luxurious retreats; in the second, that _lettres de cachet_ were useful and necessary; in the third, that neither Bastilles nor _lettres de cachet_ were resorted to on the eve of the Revolution. Let us hear what Arthur Young has to say on the subject. "I take the road to Lourdes," he writes in August 1787, "where is a castle on a rock, garrisoned for the mere purpose of keeping State prisoners, sent hither by _lettres de cachet_. Seven or eight are known to be here at present; thirty have been here at a time; and many for life--torn by the relentless hand of jealous tyranny from the bosom of domestic comfort, from wives, children, friends, and hurried, for crimes unknown to themselves, most probably for virtues, to languish in this detested abode, and die of despair. Oh liberty, liberty!"

Great is the contrast between the lovely entourage of this notorious place and the triviality and vulgar nature of its commerce. The one long, winding street may be described as a vast bazaar, more suited to Chaucer's Canterbury Pilgrims than to holders of railway tickets and contemporaries of the Eiffel Tower.

A brisk trade is done here, the place wearing the aspect of a huge fair. Rosaries, crosses, votive tablets, ornamental cans for holding the miraculous waters, drinking-cups, candles, photographs, images, medals are sold by millions. The traffic in these wares goes on all day long, the poorest "pilgrim" taking away souvenirs.

The Lourdes of theology begins where the Lourdes of bartering ends. As we quit the long street of bazaars and brand-new hotels, the first glimpse gives us an insight into its life and meaning, makes us feel that we ought to have been living two or three hundred years ago. We glance back at the railway station, wondering whether a halt were wise, whether indeed the gibbet, wheel, and stake were not really prepared for heretics like ourselves!

The votive church built on the outer side of the rock from which flows the miraculous fountain is a basilica of sumptuous proportions, representing an outlay of many millions of francs. Its portico, with horse-shoe staircase in marble, spans the opening of the green hills, behind which lie grotto and spring. We are reminded of the enormous church now crowning the height of Montmartre at Paris; here, as there and at Chartres, is a complete underground church of vast proportions. The whole structure is very handsome, the grey and white building-stone standing out against verdant hills and dark rocks. A beautifully laid-out little garden with a statue of the miracle-working Virgin lies between church and town.

Looking from the lofty platform on the other side of the upper church, we behold a strange scene. The space below is black with people, hundreds and thousands of pilgrims, so called, priests and nuns being in full force, one and all shouting and gesticulating with fierce zealotry, a priest or two holding forth from a temporary pulpit.

Between these closely-serried masses is a ghastly array. On litters, stretchers, beds, chairs, lie the deformed, the sick, the moribund, awaiting their turn to be sprinkled with the miraculous waters or blessed by the bishop. These poor people, many of whom are in the last stage of illness, have for bearers, volunteers; these are priests, young gentlemen of good family, and others, who wear badges and leather traces, by which they attach themselves to their burden.

All day long masses are held inside the church and in the open air; at a given signal the congregation stretching out their arms in the form of a cross, prostrating themselves on the ground, kissing the dust.

We must descend the broad flight of steps in order to obtain a good view of the grotto, an oval opening in the rocks made to look like a stalactite cave, with scores and hundreds of _ex-votos_ in the shape of crutches. Judging from this display, there should be no more lame folks left in France. The Virgin of Lourdes must have healed them all. In a niche of the grotto stands an image of the Virgin, and behind, perpetually lighted with candles, an altar, at which mass is celebrated several times daily.

On one side, the rock has been pierced in several places, deliciously pure, cool water issuing from the taps. Crowds are always collected here, impatient to drink of the miraculous fountain, and to fill vessels for use at home. We see tired, heated invalids, and apparently dying persons, drinking cups of this ice-cold water; enough, one would think, to kill them outright. Close by is a little shop full of trifles for sale, but so thronged at all hours of the day that you cannot get attended to; purchasers lay down their money, take up the object desired, and walk away. Here may be bought a medal for two sous, or a crucifix priced at several hundred francs.

The praying, chanting, and prostrating are at their height when the violet-robed figure of a bishop is caught sight of, tripping down a side-path leading from the town. Blessing any who chance to meet him on the way, chatting pleasantly with his companion, a portly gentleman wearing the red ribbon of the Legion of Honour, the bishop hastens towards the grotto, dons his sacerdotal robes of ivory-white and gold, and celebrates mass. The ceremony over, there is a general stir. Adjusting their harness, the bearers form a procession, the bishop emerges from the grotto, and one by one the thirty and odd litters are drawn before him to be sprinkled, blessed--and healed! alas, such, doubtless, is the fond delusion of many.

The sight of so many human wrecks, torsos and living skeletons all agog for life, health, and restoration, is even less heart-breaking than that of their companions. Here we see a mother bending with agonized looks over some white-faced, wasted boy, whose days, even hours, are clearly numbered; there a father of a wizen-faced, terribly deformed girl, a mite to look at, but fast approaching womanhood, brought hither to be put straight and beautiful. Next our eye lights on the emaciated form of a young man evidently in the last stage of consumption, his own face hopeful still, but what forlornness in that of the adoring sister by his side! These are spectacles to make the least susceptible weep. Grotesque is the sight of a priest who must be