Thou hast the secret! speak not yet!
Soon shall I gaze myself to stone,
Soon shall I all but thee forget,
And perish to be thine alone.
Ages on ages shall decline,
But Myrdhyn shall be ever thine!
[CHAPTER III.]
tomb of bérangère—wives of cœur de lion—tombs—abbey churches—château of le mans—de craon—the spectre of le mans—the vendéeans—madame de la roche-jaquelin—a woman's perils—disasters of the vendéeans—henri—chouans.
However interesting the exterior of the Cathedral of St. Julien may be, the interior entirely corresponds with it. The windows of painted glass are of the very first order, and of surpassing beauty, nearly entire, and attributed to Cimabue. The double range in the choir, seen through the grille, or from the exterior aisle—for there are two on each side—present a magnificent coup d'œil. The architecture is of different periods; specimens may be observed belonging to the 12th century and reaching to the 17th; but some of the finest is that of the Norman era; the zigzags of the portals, and the billets, rose mouldings, &c., being of peculiar delicacy and boldness. There is a great deal of ornament composed of those extravagant forms of animals which, at a distance, are confounded with the foliage to which they are attached, but which, viewed nearly, are mysteriously extraordinary. The circular arch reigns throughout, but many in ogive also occur in different parts. The arcades and galleries of the choir are of the utmost delicacy and elegance of form; but the chief attraction is the tomb of the widow of Richard Cœur de Lion, placed in one of the wings of the cross. The Lady Chapel is undergoing repair, and is being restored in the very best style. The new screen is beautiful, and the figures of the Virgin and Child in very good taste, as are all the ornaments, which exactly follow the fine originals. The exterior repairs are carried on with equal skill; and this precious monument will soon be in perfect order.
As I looked at the pure, dignified, and commanding outline of the face of Bérangère, she appeared to me to have been a fitting wife for the hero whose effigy had inspired me with so much admiration when I visited it a few years since, at Fontevraud. Her nose is slightly aquiline, her upper lip short and gracefully curved, her chin beautifully rounded, as are her cheeks; her eyebrows are clearly marked, and her eye full though not large; but, even in stone, it has a tender, soft expression, extremely pleasing, and there is a sadness about the mouth which answers well to the tenderness of the eye. The forehead is of just proportion, and shaded by a frill which passes across, over which an ample veil is drawn: the whole confined by a diadem, the only part of the statue rather indistinct. Round her fine majestic throat is a band, to which a large ornament is attached, which rests on her chest; her head reclines on an embroidered pillow; her drapery falls over her figure and round her clasped hands in graceful folds, and the dog and lion at her feet complete the whole of this charming statue, which is of workmanship equal to that of the exquisite four in the little vault at Fontevraud.[1]
Bérangère was daughter of Sancho VI., king of Navarre—not, as some historians say, a princess of Castile or Arragon. After Richard's death, Philip-Augustus confirmed to her the dominion of Maine, in exchange for part of Normandy, which had been settled on her as her dower. She lived for more than twenty years in the town of Le Mans, where her memory was long preserved as La Bonne Reine Bérangère. She founded the monastery of Epau, near Le Mans, where the mausoleum was erected which now adorns the Cathedral of St. Julien.
Two houses are pointed out in the Grande Rue, said to have formed part of her palace; and the singularity of the ornaments which can be traced amidst their architecture, makes it probable that the tradition is not incorrect.