Bremond, urged by the inhabitants, again renewed negotiations, and finally surrendered the city on condition of being allowed to withdraw with his troops to Bearn, flags flying and drums beating, and the Protestants left in the place permitted the free exercise of their religion—terms that were faithfully kept by Monluc.
It was probably the sympathy of Lectoure with the Huguenot party that led Charles IX. to deprive it of many of its ancient rights and privileges, which hastened its decline. It put on a semblance of its former grandeur, however, when it received Henry IV. within its walls, and Anne of Austria with Cardinal Richelieu.
It was in the old historic castle that Richelieu imprisoned the unfortunate Duc de Montmorency. The people favored his escape, and sent him a silk ladder in a pâté; but his kindness of heart led to his destruction. Desirous of saving a servant to whom he was attached, he took him with him in his attempt to escape. The servant fell from the ladder, and was wounded. His cry aroused the guard. Montmorency was taken and soon after beheaded at Toulouse. The soldiers present at his execution drank some of his blood, that, infused into their veins, it might impart something of the valor of so brave a man. He was so beloved by the common people that the peasantry of Castelnaudry, where he was taken prisoner, are familiar with his history, and speak of him with admiration and affection to this day. His wife, an Italian princess, became a Visitandine nun after his execution.
One cannot visit the old castle of Lectoure, with its thousand memories, without emotion. It is now a hospital. Charity has taken the place of brutality and lawless passion. Looking off from the walls over the pleasant valley below, watered by streams and divided by long lines of trees, we hear the song of the peaceful laborer instead of the battle-cry of the olden time, and the lowing of the fawn-colored Gascon cattle instead of the neighing of war-horses.
Before the castle opens a street that goes straight through the town, at the further end of which is the parish church of S. Gervais, a fine, spacious edifice of the Saxo-Gothic style, built by the English during their rule. The immense square tower was once a fortress, called the tower of S. Thomas, from which the sentinel signalled the approach of the enemy. It was formerly surmounted by the highest steeple in France, but, repeatedly struck by lightning, it was taken down some years ago by order of the bishop.
The Carmelite nuns at Lectoure have had from time immemorial a cross of marvellous efficacy, especially in cases of fever. It is of a style not often met with in France, though common in Spain, where it is held in great veneration from its miraculous prototype—the Santa Cruz de Caravaca.
This cross is made of copper, and has two cross-beams, like a patriarchal cross, with figures in relief on each side, which are connected with an interesting history. On the top of one side of the cross is the monogram of Christ, with a crosslet above and the three nails of the Passion below. The upper cross-beam has a chalice on the left arm, and on the right the lance that pierced the Sacred Heart, crossed by a reed with a sponge at the end. In the middle is an open space for relics.
On the left arm of the lower cross-beam is the scourge and the lantern that lit the soldiers to the Garden of Olives; on the right is a ladder; and in the centre the cock crowing on a pillar that extends up from the foot of the cross, at which is a death’s head.
These are the usual emblems of the Passion, familiar to all; but the other side is more mysterious. On the upper part is a patriarchal cross supported by two angels, one on each arm of the upper cross-beam. Lower down, in the centre of the lower cross-beam, is a priest in sacerdotal vestments, ready to offer the Holy Sacrifice, standing in an attitude of astonishment and admiration, looking up at the cross borne by the two angels. On his breast is the monogram of Christ, and beneath that of the Virgin. On each side are lilies in full bloom, and above his head, in the centre of the upper cross-beam, stands a chalice, as on an altar, covered with the sacred linen veil. It is evident the artist intended to represent all the objects necessary to celebrate the Holy Sacrifice of the Mass. There are two lighted candles at the side of the priest, and at the end of the right arm of the lower cross-beam are two kings filled with evident amazement, one of whom is gazing at the angelic apparition. At the left extremity is a queen and an attendant.