THE DEVOUT CHAPEL OF NOTRE DAME DE BÉTHARRAM.
“Tu mihi, Virgo parens, in carmine suggere vires
Audacesque animos et grandibus annue coeptis.”
—Pierre de la Bastide.
La dévote chapelle de Notre Dame de Bétharram, about ten miles from Lourdes on the way to Pau, has been for eight hundred years the most renowned sanctuary in Béarn, and, to quote St. Vincent of Paul, “the second, or at least the third, most frequented in the kingdom.” Founded by the Crusaders, endowed by kings and nobles, favored by supernatural graces, the favorite resort of the poor and afflicted, sung by poets, and its history written by learned men, it has every claim on the interest of the pious heart.
We left Lourdes one pleasant morning in September in advance of a large pilgrimage from Marseilles, that we might have an opportunity of examining the church of Bétharram at our leisure. The railway runs along the valley of the Gave, leaving at the left the sacred grotto of Massabielle and the fair church of the Immaculate Conception, which stand in full view on the further shore. We passed the forest of Lourdes at the right, and in fifteen minutes came to the little village of St. Pé—Sanctus Petrus de Generoso, as the old chronicles call it—on a bend of the river, shut in by the mountains. Keeping along in
sight of the clear, green current of the Gave, everywhere the most wayward, the most picturesque, and most fascinating of rivers, we came, in ten minutes after leaving the narrow gorge of St. Pé, to the station of Montaut-Bétharram, where, away to the left, we could see the cross on the Calvary, and the domes of the white oratories of the Passion gleaming among the trees on its sides. The Devout Chapel of Notre Dame de Bétharram is at the foot of the mount, on the further bank of the Gave, and wholly shut out of sight. A straight road leads to it from the station, which is about half a mile distant. The bridge that spans the river with a bold arch is extremely picturesque, the sides of the arch being completely covered with ivy, which trails to the very water and lines the steep banks. Nothing could be more romantic. Trees lean pensively over the limpid stream, and flowers bloom along the shore. The Gave, as the poet of Bétharram remarks, after rushing through the broad valley with impetuous haste, threatening to overflow the meadows with its swelling current, suddenly slackens its speed as it approaches the
chapel of the Virgin, and flows gently by with a murmur of softest homage. Opposite the bridge is a long range of monastic-looking buildings with narrow windows and thick walls, the asylum of meditation and prayer. Connected therewith is the church, which stands with its side to the river, facing the west. The front, of Pyrenean marble, is adorned with white marble statues of the Evangelists with their emblems—two each side of the mild-eyed Virgin who stands above the open door treading the serpent beneath her feet.
It being early in the afternoon, we found the church delightfully quiet. There were only a few persons at prayer, and, having paid our vows at the altar of Our Lady, we proceeded to examine the building and recall its varied history. The interior of the church consists of a nave and two aisles. The latter are literally lined with confessionals. The clerestory walls are covered with paintings supported by gigantic caryatides amid a profusion of gilding and ornament somewhat Spanish in character. The whole effect is imposing, and there is an impressive air of antiquity and gloom about the church, though it was rebuilt only two centuries ago. The Madonna, a modern production, by Renoir, a pupil of Pradier, is over the high altar in the centre of a reredos, rich with gilding and carving, which extends to the very arches. At the end of the right aisle is the chapel of the Pastoure, so called from the bas-relief depicting the legend of the shepherds who discovered the Virgin of Bétharram.