Before entering the church, we pause in front of the Gothic portal to look up at the representation of our Saviour over the central arch. His face is turned towards Lourdes, a cruciform nimbus surrounds his head, the Alpha and Omega are at the side, and his right hand is raised to bless the pilgrim beneath. At each side are the winged emblems of the Evangelists. And lower down is the Virgin Mother, her hands crossed on her breast, her face,
“The most resembling Christ,”
sweet and thoughtful. She seems to be awaiting all who seek through her the Divine Redeemer, who by her has been given to mankind. Felix cœli porta, we say as we pass beneath.
Entering the church, we are at once struck with its immaculate purity. It is in the style of the XIIIth century. The height is about double the width, which makes the arches seem loftier than they really are. The spotless white walls are relieved by the beautiful banners hanging on every side. There are about four hundred of these banners, richly embroidered with religious symbols and devices, and the arms of different cities and provinces. Conspicuous among them are the banners of Alsace and Lorraine bordered with crape. They were wrought in secret, and brought over the frontier in the night to escape the vigilance of the Prussian police. They were presented by faithful Christians, one of whom was a valiant officer whose breast was covered with decorations, and received by the Archbishop of Auch (to whose province Lourdes belongs), who wept as he pressed them to his lips, affecting the vast crowd to tears.
Around the nave of the church is an unique frieze of votive golden hearts, so arranged as to form inscriptions in immense letters, taken from the words of the Virgin to Bernadette: “Vous prierez pour la conversion des pécheurs. Allez boire à la fontaine et vous y laver.—Allez dire aux prêtres qu’il doit se bâtir ici une chapelle, et qu’on doit y venir en procession.”
The main altar in the centre of the choir is dedicated to the mystery of the Immaculate Conception. It is of pure white marble, and on the front are five compartments on which are sculptured the Annunciation, Visitation, Assumption, Coronation, and the Apparition of the Blessed Virgin in the grotto. The altar is adorned with white lilies. Over it in a golden niche is a statue of Mary Most Pure, “above all women glorified,” the very embodiment of purity and love. Above her, like a crown, is a constellation of beautiful lamps of filigree and enamel. Rich votive offerings are fastened to the walls—crosses of the Legion of Honor, epaulettes, swords crossed above flags, a miniature ship, the mitre of Mgr. Lawrence, etc. On the keystone of the arch are sculptured the arms of Pope Pius IX.
The main altar with its Madonna is the central object in the church, and the focus of its splendor. Around it, like so many rays around the Immaculate Conception, are five apsidal chapels. Directly behind it is the chapel of the Sacred Heart, where of course the Blessed Sacrament is kept. At the left is Notre Dame du Mont Carmel, in honor of the last apparition to Bernadette, which took place on the festival of that name. Next is the chapel of Notre Dame des Victoires, in commemoration of the celebrated archconfraternity at Paris, which has effected so many conversions, wrought so many miracles, and prepared the way, as it were, for the triumph of the Immaculate Conception.
At the right of the chapel of the Sacred Heart is that of Notre Dame du Rosaire, recalling the rosary the Virgin held on her arm in all her apparitions to Bernadette. Then, Notre Dame de la Sallette, reminding us that the tears the Mother of Sorrows once shed over the woes of France in the mountains of Dauphine, have been succeeded by the smiles of Marie Immaculée in the grotto of the Pyrenees.
Each of these five chapels recall the Holy Trinity by the number of their windows, as the rose window in the façade is typical of the Divine Unity. These windows are of stained glass—the gift of the Prince of Viana. The main altar and the statue of the Immaculate Conception are from an anonymous benefactor, and many of the other altars are the gifts of private individuals.
Ten lateral chapels open out of the nave, and communicate with each other for convenience. The four nearest the choir bring around Mary the principal members of her family: S. Anne, S. Joachim, S. Joseph, and S. John the Baptist. Then come the chapel of S. Peter, still living in our “Pope of the Immaculate Conception,” who so glorified Mary on the 8th of December, 1854; S. John, the beloved disciple, who was appointed her son on Mt. Calvary; S. Francis of Assisi, the patriarch of the Seraphic Order that has always been the advocate of the Immaculate Conception; S. Francis Xavier, patron of the Society for the Propagation of the Faith, one of the glories of this age of Mary; S. Bertrand, the illustrious bishop of Commines and the patron saint of Mgr. Lawrence, whose name will ever be associated with the church of Notre Dame de Lourdes; and S. Germaine, the humble shepherdess of Pibrac, so like the little bergère of Lourdes.