In a faubourg of Tolosa is a modest house stating that Juan Perez having borne arms for more than fifty years in Italy, Spain, Portugal, Flanders, etc., and taken part in the great naval victory over the Turks at Lepanto under Don Juan of Austria, the emperor created him knight and gave him for his arms the imperial eagle.
But most of these armorial bearings have reference to the chase, to which the people were so addicted. The trophies they brought home, instead of being nailed up over the door, were now graven there in stone—sometimes a wolf, or a hare, or even a favorite hound. Two dogs are on the arms inherited by the Prince of Viana, the donor of the fine bells to the basilica of Notre Dame de Lourdes.
In the commune of Bardos is a château which bears the name of Salla from the founder of the family. It was he who, fighting under Alphonse the Chaste, King of Navarre, had his legs broken by the explosion of a rock, from which time the house of Salla has had for its arms three chevrons brisés, d’or, sur un champ d’azur. The most illustrious member of this family is Jean Baptiste de la Salle, who founded the admirable order of the Brothers of the Christian Schools, with a special mission for instructing the poor.
Mgr. de Belsunce, the celebrated bishop of Marseilles, was also of Basque origin. The Château de Belsunce is still to be seen—an old manor-house with Gothic turrets bespeaking the antiquity of the family. The name is associated with the legends of the country. Tradition relates that a winged monster having terrified the whole region, a knight of this house armed himself with a lance and went forth to attack the monster in his den. The dragon, having received a mortal wound, sprang with a dying effort upon his enemy, seized him, and rolled with him into the Nive. From that time the family of Belsunce bore on its shield a dragon sable on a field gules.
The arms of Fontarabia is a siren on the waves bearing a mirror and a comb—symbol of this enchanting region. This historic place, once the rival of St. Jean de Luz, now wears a touching aspect of desolation and mourning which only adds to its attractions. Its ruins have a hue of antiquity that must delight a painter’s eye. The long street that leads to the principal square carries one back three hundred years, most of the houses being in the Spanish style of the XVIth century. There are coats of arms over every door, and balconies projecting from every story, with complicated trellises or lattices that must almost madden the moon-struck serenader. Nothing could be more picturesque than this truly Spanish place. Many of the houses bear the imposing name of palacios, which testify to the ancient splendor of this ciudad muy noble, muy leal, y muy valerosa. Overlooking the whole place is the château of Jeanne la Folle, massive, heavy, its walls three yards thick, its towers round—a genuine fortress founded in the Xth century, but mostly rebuilt by Charles V. Its chronicles are full of historic interest. Here took place the interview between Louis XI. and Henri IV. of Castille, whose arrogant favorite, Beltram de la Cueva, in his mantle broidered with gold and pearls and diamonds, and his boat with its awning of cloth of gold, must have offered a striking contrast to the extreme simplicity of the King of France.
The fine, imposing church of Fontarabia, in the transition style, is a marked exception to the Basque churches generally, which are of simple primitive architecture, with but few ornaments; and these, at least on the French side of the frontier, mostly confined to the sanctuary, which is rich in color and gilding. Perhaps over the main altar is a painting, but by no means by Murillo or Velasquez. If on the Spanish side, it may be a S. Iago on a white steed, sword in hand, with a red mantle over his pilgrim’s dress, looking like a genuine matamore, breathing destruction against the Moors. The Madonna, too, is always there, perhaps with a wheel of silver swords, as if in her bosom were centred all the sorrows of the human race.
The galleries around the nave in the Basque churches gives them the appearance of a salle de spectacle; but the clergy think the separation of the sexes promotes the respect due in the sanctuary, and the people themselves cling to the practice. The men occupy the galleries. They all have rosaries in their hands. From time to time you can see them kiss their thumbs, placed in the form of a cross, perhaps to set a seal on their vows to God, as people in the middle ages used to seal their letters with their thumbs to give them a sacred inviolability. Licking the thumb was, we know, an ancient form of giving a solemn pledge; and, till a recent period, the legal form of completing a bargain in Scotland was to join the thumbs and lick them. “What say ye, man? There’s my thumb; I’ll ne’er beguile ye,” said Rob Roy to Bailie Nicol Jarvie.
When Mass is over, every man in the galleries respectfully salutes his next neighbor. This is considered obligatory. Were it even his deadliest enemy, he must bow his head before him. Mass heard with devotion brings the Truce of God to the heart.
The women occupy the nave, sitting or kneeling on the black, funereal-looking carpet that covers the stone above the tomb of their beloved dead. For every family has a slab of wood or marble with an inscription in large characters, which covers the family vault below, and their notions of pious respect oblige the living to kneel on the stone that covers the bones of their forefathers. Or this was the case; for of late years burial in churches has been forbidden, and these slabs now only serve to designate the inalienable right of the families to occupy them during the divine service. It is curious and interesting to examine these sepulchral slabs; for they are like the archives of a town inscribed with the names of the principal inhabitants, with their rank and occupation. In some places the women, by turns, bring every morning an offering for their pastor, which they deposit on these stones like an expiatory libation. Several of them are daily garnished with fruit, wine, eggs, beeswax, yarn, and linen thread, and the curé, accompanied by his servant or the sacristan, goes around after Mass to collect this tribute of rural piety in a basket, and give his blessing to the families. These offerings of the first-fruits of the earth are still continued, though the dead are buried elsewhere.
The seat of that mighty potentate, the village mayor, is in the choir, as befits his dignity, which he fully sustains by his majestic deportment in sight of the whole congregation. Sometimes he chants at the lectern, like Charlemagne. The square peristyle of the church is often divided between him and the village school-master for their respective functions, as if to invest them with a kind of sanctity.