Within that cave myself alone.”
The hermitage of St. Antoine is certainly a charming solitude. The cliffs are bare and stern, but the eye looks down on the verdure of trees and a meadow enamelled with flowers. The songs of the birds come up from their leafy nests, as if in response to the hermit’s psalm, and the sunny air is full of insects chirping in the bliss of their peaceful existence, only rivalled by his own.
Near the village of Pézilla de la Rivière is the ancient hermitage of St. Saturnin in a graveyard full of trees, and flowers, and crosses, showing the piety of the people towards their dead. Before burial their remains are taken into the chapel, where the Miserere is sung and absolution pronounced. Here are the statues of St. Saturnin, St. Blaise, St. Roch, and St. Sebastian, all popular saints in this region. On the wall is a tablet to the memory of a noble Béarnaise who became a canoness, and always used to attend High Mass here on St. Saturnin’s day. A legend tells how on one occasion, being overtaken by a hard rain, she was not wet in the least, while the servant who reluctantly accompanied her was drenched to the skin.
On the left bank of the Agly, about a mile and a half west of Claira, is the modest hermitage of St. Pierre del Vilar, surrounded by pale, trembling poplars, and tall reeds that rustle drearily in the wind, and orchards of olives—saddest, if most sacred, of trees. It wears an aspect of utter solitude. The chapel is so old that its origin is unknown. But there is a tombstone from a neighboring priory (now gone) to which the chapel gave its name, to the memory of Prior Berengarius, who died in 1193. There is an old statue of St. Peter here, carved out of wood, dressed in an alb, stole, and cope. This chapel was in such veneration that after the Revolution the people restored it, added a belfry, and on St. Peter’s day, as well as several other festivals, they come here in procession, and Mass is solemnly sung. At their departure they used to gather around the graves of the old hermits to chant the Requiem, but these graves are now covered by the cells built here in 1851 by some pious cenobites of the Order of St. Francis—refugees from Spain, who sought in prayer and solitude consolation for their exile.
The hermitage of St. Martin stands on one of the highest peaks around Camelas. It dates from a remote epoch, as appears by a bequest dated the twelfth of the Kalends of May, 1259. The seigneurie of Camelas belonged to the barony of Castelnou, and when Lady Anne de Fénouillet, the widow of one of the barons, took the veil “of her own free will,” as the account says, “de sa propria y mera voluntad, and not by force, or persuasion, or reward,” she gave all her rights over the domain of Camelas, including the hermitage of St. Martin, to the hospital of Ille, to which she had retired in order to serve the poor of Christ.
In the seventeenth century this venerable sanctuary, having fallen to partial ruin, was restored by the exertions of M. Curio, a priest of Camelas, who has left many details of its history in a manuscript of touching interest. He tells us how, when a mere escolanet dels rectors—a pupil of the curé—he used to walk in the processions of Rogation week, carrying the cross or the holy water; and when they came to St. Martin’s, and he saw its ruined condition, his young heart was deeply moved. The altar was poor. The old statues of St. George and St. Martin were defaced. The walls were crumbling to pieces, and there were holes in the vaulted roof; and the open doors allowed the goats and other animals to take shelter there. “Estas cosas,” says he, “eran pera mi de gran afflictio”—These things were to me a great affliction—and he longed to be able to repair the chapel. He finally became a priest and held a small benefice at Thuir, but he never lost sight of the chapel of St. Martin—a saint to whom he had special devotion—and he would have become a hermit here had it not been for the opposition of his superiors. On the 12th of January, 1637, during a visit at his brother’s in Camelas, while saying the rosary in the evening, he felt suddenly inspired to take immediate measures for the restoration of the chapel. But there were many obstacles. He was himself very poor, as he tells us, and the people around were equally so. He knew he should incur the reproaches of his brother as well as of the neighbors. And it would be expensive to transport brick, sand, and water to the mountain for the repairs. By a few sous from one, and a few francs from another, he was enabled to begin the work, but had to continue it at his own expense. Six years after the work was not completed. He now removed to Camelas to devote himself to it, bringing with him a pious old laborer to aid in the task, and a hermit to whom the bishop had given a license to collect alms within the circuit of two miles—a limitation made at the special request of the prudent M. Curio himself, lest, as he said, the hermit might have an excuse for “vagabondizing.” The zealous priest gave all his own income. He even made himself the organist of a church to add to his means. At length he had the happiness of seeing it completed, and, going to Perpignan, a painting of St. Martin was given him for the altar of his patron, and a retablo of sculptured wood for that of Notre Dame des Anges. The chapel was reopened September 25, 1644, and M. Curio figured as chief musician at the High Mass. His own inclination for the solitary life made him long to retire here himself, but he was again refused permission. At length, in the time of some pestilence, he made a vow to retire here for the space of a year, should he and his parish escape. He entered upon the fulfilment of his vow April 2, 1653.
The church consists of two aisles, each with its altar: one of St. Martin, with the old painting above it presented to M. Curio; and the other of Our Lady of the Angels with its ancient statue of coarse workmanship found in a neighboring cave still known as the Cova de la Mare de Deü.
In former times, after High Mass on St. Martin’s day, a small loaf, a cup of wine, and a morsel of cheese were given to all the people present; and the custom is still kept up, at least as to the bread.
CONRAD AND WALBURGA.
CHAPTER II.
On the way home Walburga stepped into the cathedral, the grand old Frauen Kirche, and remained a short while on her knees before the high altar. There Conrad and all that he had spoken passed out of her mind; she felt as if she were in another world, so changed was everything round about her, so solemn and still. Before her hung the ever-burning lamp, symbol of the Eternal Presence; and as Walburga’s eyes rested upon the sacred flame, she wondered at herself for bearing with so little resignation the troubles of this life.