Béarn and the Pyrenees

by Louisa Stuart Costello

When the architect, employed by the king to execute the Herculean labour of restoring the castle of Pau, first arrived, and saw the state of dilapidation into which it had fallen, he must have been appalled at the magnitude of his undertaking. Seeing it, as I do now,[28] grim, damp, rugged, ruined, and desolate, even in its state of transition, after several years of toil have been spent upon its long-deserted walls; I can only feel amazed that the task of renovating a place so decayed should ever have been attempted; but, after what has been done, it may well be hoped and expected that the great work will be, in the end, fully accomplished; and ten years hence, the visitor to Pau will disbelieve all that has been said of the melancholy appearance of the château of Henri Quatre.

What must have been the state of things before the pretty bridge, which spans the road and leads from the castle terrace to the walk, called La Basse Plante, existed? I am told that a muddy stream, bordered with piles of rubbish, filled up this portion of the scene; but, in less than a year, all was changed, and the pleasant terrace and neat walks which adorn this side of the castle are promises of much more, equally ornamental and agreeable.

Some of the tottering buildings attached to the strangely-irregular mass, were, it seems, condemned by the bewildered architect to demolition, as possessing no beauty, and encumbering the plans of improvement; but the late Duke of Orleans came to visit the castle, and had not the heart to give consent that any of the old walls, still standing, should be swept away. He looked at the place with true poetic and antiquarian feeling, and arrested the hand of the mason, who would have destroyed that part called La Chancellerie, which extends between the donjon of Gaston Phoebus to the Tour Montauzet. The prince represented to his father his views on the subject, which were instantly adopted—a question of taste in that family meets with no opposition—and all was to have been arranged according to the ideas of the heir of France, who seemed inclined to make Pau an abode at a future day: the King was to have visited the interesting old castle: much animated discussion and much enthusiasm prevailed on the subject in the interior of the royal circle, and the Berceau of Henri Quatre seemed destined to proud days again.

"When, hush! hark! a deep sound comes like a rising knell!"

The wail of a whole nation tells that that anticipated future may not come! A cloud has again gathered over the valley of the Gave, and a sad pause—the pause of blighted hopes—has chilled the expectations in which Béarn had ventured to indulge.

But the castle is not, even now, neglected: the architects are still there; workmen are still busy, chiseling and planing; the beautiful arabesques and reliefs are coming forth to view, restored with all their original delicacy: the ceilings are glowing with fresh gilding, the walls are bright with fresh tapestry, and the rooms are newly floored. But for the dreadful event which must cast a gloom over France for some years, the castle would, probably, have been sufficiently put in order for a royal visitor this year; but all the magnificent furniture, sent down from Paris to fit up the suite intended for use, now stands unarranged, and a stop is put to embellishment. Amongst the most curious and interesting pieces of this furniture, are the bed and chair of Jeanne d'Albret, her screen—perhaps worked by her own hand—and the bed of Henry II.: all fine specimens of art in this style; the latter, in particular, is quite unique, and is one of the most curious I have ever seen: the sculpture is very elaborate; at the foot reclines, in relief, a Scotch guard, such as always lay at the threshold of the sovereign, at the period when this piece of furniture was made. An owl of singular expression sits watching, opposite, surrounded by foliage and poppies, quite in character with the sleepy scene: the posts of the bedstead are beautifully turned: it is so formed as to draw out and close in, forming a bed by night, a cabinet by day; and the carved arch at the back is sculptured in the most exquisite manner. A prie-Dieu of the same date is near; but all this furniture is merely housed for the present, as nothing is arranged; one, of course, looks at these specimens with an admiration which has nothing to do with Henri Quatre's castle, as they would be equally well placed in M. de Somerard's museum, at the delightful Hôtel de Cluny.

A tapestry screen, said to be of the time of Charles VII., has a place in this heterogeneous collection: it represents the Maid of Orleans, crowned by victorious France, whose lilies are restored, and her enemies trampled under her feet; in the back-ground is the sea, with strange-looking monsters huddled into its waves, in apparent terror: these are the Leopards of England taking flight from the shores of France. The colours are well preserved in this piece of work, and the whole composition deserves to be remarked, if not for the correctness of its drawing, for the naïveté of its details.

It might have been better to have filled the castle with furniture belonging exclusively to the time, or anterior to that of Henry IV.; and it struck me that much which has arrived from Paris, of the period of Louis XIV., is out of keeping with the souvenirs of the castle of Pau. I almost hope that, if ever it is entirely restored, these pieces of furniture will be banished, and others, more antique, substituted. The tapestry with which the walls are covered is very curious and appropriate; it is chiefly of the time of Francis I.; and some beautiful Gobelins, of modern date, representing different scenes in the life of Henry, equally so.

The most, indeed the only, beautiful portions of the castle, are the ceilings of the principal staircase and passages leading from it; the medallions of which present the heads of Marguerite de Valois and her husband, Henry d'Albret, with their interlaced initials and arms on the walls: these again occur on the mantel-pieces, in the midst of very exquisite arabesques, which the skill of the modern sculptor is restoring with singular delicacy.

The object which excites the most interest in the castle, is the famous shell of a tortoise, of immense size, said to have served as a cradle to the little hero whose birth was hailed with such rapture by his expectant grandfather. One would fain believe that this is indeed the identical berceau de Henri IV. so much talked of; but it is difficult to reconcile all the improbabilities of its being so: the substitution of another, after the real shell had been burnt in the castle-court, may do credit to those who cherish the hero's name; always provided no less generous motive induced the act; but the tale told to prove its identity is, unfortunately, not convincing.