J.K. Huysmans ‘The Cathedral’

“How mysterious for the most part is the origin of our cathedrals (French)! Most of the artists who built them are unknown; nay, the age of the stones is rarely a matter of certainty…

“They almost all cover intervals of two, three, or four centuries each; they extend from the beginning, of the thirteenth century till the first years of the sixteenth.

…

“It has been accurately remarked that the thirteenth century was the great period of cathedral-building. It gave birth to almost every one of them; and then, being created, their growth was checked for nearly two hundred years.

…

…not one of our cathedrals was erected throughout in accordance with the designs of the architect who began it, nor has one remained untouched.

…

(Renaissance) annihilated the luminous truthfulness of the Medieval past, when God had dwelt intimately, at home, in souls; it substituted a merely earthly form of art for one that was divine.

“As soon as the sensuality of the Renaissance revealed itself, the Paraclete fled…

“And this time the Spirit of Prayer was quite dead; everything went to pieces. The Renaissance, so lauded afterwards by Michelet and the historians, was the death of the Mystical soul of monumental theology (Cathedral building), of religious art—all the great art of France.

…

They knelt before the Black Virgin of the Pillar; then they sat down in the deserted nave, and the Abbé said in an undertone.

“I explained to you the other day the symbolism of the outside of the building (Chartres). Would you like me now to inform you in a few words as to the allegories set forth in the aisles?”

…

“You are, of course, aware that almost all our cathedrals are cruciform. In the primitive Church, it is true, you will find that some were constructed religious circular form and surmounted by a dome. But most of these were not built by our forefathers; they are ancient temples of the heathen adapted by the Catholics, with more or less alteration, to their own use, or imitated from such temples before the Romanesque style was recognized.

“We need then seek in these no liturgical meaning, since that form was not a Christian invention. At the same time Durand of Mende, in his Rationale, asserts that a building of rounded form symbolizes the extension of the Church over the whole circle of the universe. Others explain the dome as being the crown of the Crucified King, and the smaller cupolas which occasionally support it as the huge heads of the Nails. But we may set aside these explanations, which are but based on existing facts, and study the cruciform plan shown here, as in other cathedrals, in the arrangement of the nave and transepts.

“It may be noted that in a few churches, as, for instance, the abbey church of Cluny, the interior, instead of showing a Latin Cross, was planned on the lines of the Cross of Lorraine, two crosslets being added to the arms.—Now, behold the whole scheme!” the priest said, with a gesture that comprehended the whole of the interior of the basilica of Chartres.

“Jesus is dead; His head is at the altar; His outstretched arms are the two transepts; His pierced hands are the doors; His legs are the nave where we are standing; His pierced feet are the door by which we have come in. Now consider the systematic deviation of the axis of the building; it imitates the attitude of a body bent over from the upright tree of sacrifice, and in some cathedrals—for instance, at Reims—the narrowness, the strangulation, so to speak, of the choir in proportion to the nave represents all the more closely the head and neck of a man, drooping over his shoulder when he has given up the ghost.

“This twist in the church is to be seen almost everywhere—in Saint Ouen and in the Cathedral at Rouen, in Saint Jean at Poitiers, at Tours and at Reims. Sometimes, indeed—but this statement needs verification—the architect had substituted for the body of the Saviour that of the Saint in whose name the church was dedicated, and the curved axis of Saint Savin, for instance, has been supposed to represent the bend of the wheel which was the instrument of that Saint’s martyrdom.

“But all this is evidently familiar to you.

“This is less well known: So far we have studied the image of Christ motionless, and dead, in our churches. I will now tell you of a singular instance of a church which, instead of reproducing the attitude of the Divine Corpse, represents that of His still living Body, a church which seems to have a suggestion of movement as if bending like Christ on the Cross.

“In fact it seems to be certain that some architects strove to represent in the plan of their building the motion of the human frame, to imitate the action of a drooping figure; in short, to give life to stones.

“Such an attempt was made in the abbey church of Preuilly-sur-Claise in Touraine. The plan and photographs of this basilica are to be found in an interesting volume that I can lend you; the author, the Abbé Picardat, is the Curé of the church. You will from them readily perceive that the curve of the plan is that of a body leaning on one side, drawn out and bending over.

“And the movement of the body is represented by the curve of the axis, beginning at the very first bay and continued along the nave, the choir, and the apse to the end, which bends aside to imitate the droop of the head.

“Thus, even better than at Chartres, at Reims, and at Rouen, this humble sanctuary, built by Benedictine monks whose names are unknown, represents in its serpentine line, in the perspective of its aisles and the obliquity of its vaulting, the allegorical presentment of our Lord on the Cross. In all other churches the architects have to some extent imitated the cadaverous rigidity of the head fallen in death; at Preuilly the monks have perpetuated the never-to-be-forgotten instant that elapsed between the ‘Sitio’ (I thirst) and the ‘Consummatum est’ (It is finished), as recorded in the Gospel of Saint John. Thus the old Touraine church is in the image of Christ Crucified, but still living.

“Now, to look at home once more, we will consider the inward parts of our sanctuaries. It may be noted incidentally that the length of the cathedral figures the long-suffering of the Church in adversity; its breadth symbolizes charity, which expands the souls of men; its height, the hope of future reward; and we can then proceed to details.

“The choir and sanctuary symbolize Heaven; the nave is the emblem of the earth; as the gulf that divides the two worlds can only be passed by the help of the Cross, it was formerly the custom, now, alas, fallen into desuetude, to erect an enormous Crucifix over the grand arch between the nave and the choir. Hence the name of triumphal arch was given to the vast space in front of the High altar. It may also be remarked that a railing or screen marks the limits of these two parts of the cathedral. Saint Gregory Nazianzen regards this as the border line traced between the two parts—that of God, and that of man.

“There is, however, a different explanation given by Richard de Saint Victor, as to the sanctuary, the choir, and the nave. According to him, the first symbolizes the Virgins, the second the chaste souls, and the third the married hearts. As to the altar, or, as old liturgical writers call it, the Cancel (chancel), it is Christ Himself, the spot whereon His Head rests, the Table of the Last Supper, the Stake whereon He shed His blood, the Sepulchre that held His body; and again, it is the Spiritual Church, and its four angles the four corners of the earth over which it shall reign.

“Now behind this altar we find the apse, assuming in most cathedrals the form of a semicircle. There are exceptions; to mention three: at Poitiers, at Laon, and in Notre Dame du Fort at Étampes the wall is square, as in the ancient civic basilicas, and does not describe the sort of half-moon, of which the significance is one of the most beautiful inventions of symbolism.

“This semicircular end, this apsidal shell, with the chapels that surround the choir, simulates the Crown of Thorns on the Head of Christ. Excepting in Sanctuaries which are wholly dedicated to Our Lady—this one, Notre Dame de Paris, and some others—one of these chapels, that in the centre and the largest, is dedicated to the Virgin, to show by the place that it occupies at the end of the church that Mary is the last refuge of sinners.

“She, in person, is again symbolized by the Sacristy, whence the priest comes forth as Christ’s representative after putting on his sacerdotal vestments, as Jesus came forth from His Mother’s womb after clothing Himself in flesh.

“It must constantly be repeated; every part of a church and every material object used in divine worship is representative of some theological truth. In the script of architecture everything is a reminiscence, an echo, a reflection, and every part is connected to form a whole.

“For instance, the altar, which is the Image of Our Lord, must be draped with white linen in memory of the winding-sheet in which Joseph of Arimathea wrapped His body—and that linen must be woven of pure thread, of hemp or flax. The chalice, which according to the texts adduced by the Spicilegium of Solesmes, is to be taken now as a symbol of glory, and now as a sign of opprobrium, may be regarded, by the most generally received theory, as the figure of the sacred Tomb; then the paten appears as the stone which served to close it, while the corporal is the shroud itself.

“When I tell you further,” added the Abbé, “that according to Saint Nilus, the columns signify the divine dogmas, or, according to Durand of Mende, the Bishops and the Doctors of the Church, that the capitals are the words of Scripture, that the pavement of the church is the foundation of faith and humility, that the ambos and rood-loft, almost everywhere destroyed, figure the pulpit of the gospel, the mountain on which Christ preached; again, that the seven lamps burning before the altar are the seven gifts of the Spirit, that the steps to the altar are the steps to perfection; that the alternating choirs represent on the one side the angels, and on the other the righteous, combining to do homage with their voices to the glory of the Most High, I have pretty well explained to you the general meaning and detailed symbolism of the interior of the cathedral, and more particularly that of Chartres.

“Now you must observe a peculiarity which is also to be seen in the Cathedral at Le Mans; the side aisles of the nave in which we are sitting are single, but they are double round the choir—”

But Durtal was not listening; far away from this architectural exegesis, he was admiring the amazing structure without even trying to analyze it.

Wrapped in the mystery of its own shadow thick with the haze of rain, it soared up lighter and lighter as it rose in the skyey whiteness of its arcades, aspiring like a soul purifying itself with increasing light as it toils up the ways of the mystic life.

The clustered columns sprang in slender sheaves, their groups so light that they looked as if they might bend at a breath; yet it was not till they had reached a giddy height that these stems curved over, flying from one side of the Cathedral to the other to meet above the void, mingling their sap and blossoming at last, like a basket of flowers, in the once gilt pendants from the roof.

This church appeared as a supreme effort of matter striving for lightness, rejecting, as though it were a burden, the diminished weight of its walls and substituting a less ponderous and more lucent matter, replacing the opacity of stone by the diaphanous texture of glass.

It grew more spiritual—wholly spiritual, purely prayer, as it sprang towards the Lord to meet Him; light and slender, as it were imponderable, it remained the most glorious expression of Beauty escaping from its earthly dross, Beauty become seraphic.

It was as slender and colourless as Roger Van der Weyden’s Virgins, who are so fragile, so ethereal, that they might blow away were they not held down to earth by the weight of their brocades and trains. Here was the same mystical conception of a long-drawn body and an ardent soul, which, unable to free itself completely from that body, strove to purify it by reducing it, refining it, almost distilling it to a fluid.

Five
is the number of Christ’s wounds, and of our senses,
whose sins
He expiated
by a corresponding number of wounds.

J.K. Huysmans ‘The Cathedral’

She (Mary Margert of the Angels) took the habit, and then fell a prey to the temptation of despair, which has assailed some Saints; after this came a sense of dryness and desertion, which lasted for three years. She held out; she endured all the tortures of the Mystical Substitution, bearing the most painful and repulsive diseases to save souls. The Lord vouchsafed at last to intermit the penitential task of suffering. He allowed her to breathe, and the Devil took advantage of this lull to come upon the scene.

He appeared to her under the most hostile and monstrous form, breaking everything, and vanishing in a trail of pestilential vapors. Meanwhile a good man, one Sylvester Lindermans, had determined to found a Carmel on an estate he possessed at Oirschot, in Holland. As is ever the case when a convent is to be established, tribulations abounded. It seemed, in fact, that the time was ill-chosen for transferring the Sisters to a town in arms against the Catholics, across a country infested by bands of armed Protestants. When the Mother Superior selected Marie Marguerite to go forth and found this new House, she entreated to be left to pray in peace in her little nook; but Jesus interposed, commanding her to depart. She obeyed; exhausted, sick, and worn out, she dragged herself along the roads, and at last arrived, with the Sisters accompanying her, at Oirschot, where she organized the Convent as best she might in a house which had never been intended to serve as a nunnery.

………

Her health grew worse and worse. Added to the rheumatism, which crippled her, she had pains in the stomach, which nothing could relieve. Sciatica was presently engrafted on this flourishing stock of torments, and dropsy, a common disease in cloisters of austere rule, supervised.

Her legs swelled and refused to carry her; she lay helpless on her bed. The Sisters who nursed her now discovered a secret which she had always kept, out of humility; they perceived that her hands were pierced with red holes surrounded by a blue halo, and that her feet, also pierced, lay of their own accord, unless they were held down, one above the other, in the position of Christ’s feet on the cross. At last she confessed that many years before Jesus had marked her with the stigmata of the Passion, and that the wounds burnt night and day like red hot iron.

Her sufferings constantly increased. Feeling that this time she was dying, she grieved over the pitiless macerations she had used, and with touching artlessness begged forgiveness of her poor body for having exhausted its strength, and so having perhaps hindered it from living to suffer longer.

And she then put up the most strangely fragrant, the most wildly extravagant prayer that ever a Saint can have addressed to God.

She had so loved the Holy Eucharist, she had so longed to kneel at His feet and atone for the outrages inflicted on Him by the sins of mankind, that she waxed faint at the thought that after her death what would remain of her could no longer worship Him.

The idea that her body would not rot in uselessness, that the last handfuls of her miserable flesh would decay without having served to honor the Savior, broke her heart; and then it was that she besought Him to suffer her to melt away, to liquefy into an oil which might be burnt before the tabernacle in the lamp of the sanctuary.

And Jesus vouchsafed to her this excessive privilege, such as the like is unknown in the history of the Saints; and at the moment when she died she enjoined her daughters to leave her body exposed in the chapel, and unburied for some weeks.

On this point there is abundant authentic evidence. More or less minute inquiries were made, and the reports of medical experts as so precise that we can follow from day to day the state of the corpse until it had turned to oil and could be preserved in phials from which to feed the wick of a lamp hanging near the altar.

When she died—then aged fifty-two, having lived as a nun for thirty-three years, and fourteen as Superior of Oirschot—her face was transfigured, and in spite of the cold of a winter when the Scheldt could be crossed in a carriage, her body remained soft and pliable; but it swelled. Surgeons examined it and opened it in the presence of witnesses. They expected to find the stomach filled with water, scarcely half a pint was removed, and the body did not collapse.

This autopsy led to the incomprehensible discovery in the gall-bladder of three nails with black heads, angular and polished, of an unknown metal; two weighed as much as half a French gold crown, within seven grains; the third, which was a large as a nutmeg, weighed five grains more.

The operators then filled up the intestines with tow soaked in wormwood, and sewed the body up again with a needle and thread. And during and after these proceedings not only did the dead nun give out no smell of putrefaction, but, as in her lifetime, she diffused an ineffable and exquisite perfume.

Nearly three weeks elapsed; boils formed and broke, giving out blood and water for more than a month; then the skin showed patches of yellow; exudation ceased and oil came out, at first white, limpid, and fragrant, afterwards darker and of about the color of amber. It filled more than a hundred phials, each containing two ounces, several of them being still preserved in the Carmels of Belgium; and her remains when buried were not decomposed, but had assumed the golden-brown color of a date.

‘The Cathedral’ by J.K. Huysmans

At Chartres
this state of collapse was
still present,
but some indulgent tenderness
presently enwrapped
and warmed the spirit.
The soul as it recovered was
no longer alone;
it was encouraged
and perceptibly helped
by the Virgin,
who revived it.
And this impression,
peculiar to this crypt,
permeated the body too;
it was no longer a feeling
of suffocating for lack of air;
on the contrary,
it was the oppression of inflation,
of over-fulness,
which would be mitigated
by degree,
allowing of easy breathing
at last.

J.K. Huysmans

“Mary vouchsafes to appear under various aspects to satisfy the tastes and cravings of each soul. At La Salette, where She descended in a distressful spot, all in tears, She revealed Herself no doubt to certain persons, more especially to the souls in love with sorrow, the mystical souls that delight in reviving the anguish of the Passion and following the Mother in Her heart-breaking way to the Cross. She would thus seem less attractive to the vulgar who do not love woe or weeping; it may be added that they still less love reproof and threats. The Virgin of La Salette could not become popular, by reason of Her aspect and address, while She of Lourdes, who appeared smiling, and prophesied no catastrophes, was easy of access to the hopes and gladness of the crowd.

“She was, in short, in that sanctuary, the Virgin of the world at large, not the Virgin of mystics and artists, the Virgin of the few, as at La Salette.

“What a mystery is this direct intervention of the Christ’s Mother on earth!” thought Durtal.

And he went on: “It is clear, on reflection, that the churches founded by Her may be classed in two very distinct groups.

“One group where She has revealed Herself to certain persons, where waters spring and bodily ills are healed: La Salette and Lourdes.

“The other, where She has never been gazed on by human beings, or where Her appearance occurred in immemorial times, in forgotten centuries, the dead ages. In those chapels prayer alone is in force, and Mary answers it without the help of any waters. Indeed, She effects more moral than physical cures…

“Wherefore this difference? None can understand, and probably none will ever know. At most may we suppose that in compassion for the everlasting craving of our hapless souls wearied with prayer without sight, She would fain confirm our faith and help to gather in the flock by showing Herself.

“In all this obscurity,” Durtal went on, “is it at least possible to discern some dim landmarks, some vague law?

“As we gaze into the darkness, two spots of light appear,” he replied to himself.

“In the first place, this: She appears to none but the poor and humble; She addresses the simple souls who have in a way handed down the primitive occupation, the biblical function of the Patriarchs; She unveils herself to the children of the soil, to the shepherds, to girls as they watch the flock. Both at La Salette and at Lourdes She chose little pastors for Her confidants, and this is intelligible, since, by acting thus, she confirms the known will of Her Son; the first to behold the infant Jesus in the manger at Bethlehem were in fact shepherds, and it was from among men of the lowest class that Christ chose His apostles. (Novel published in 1898 before Fatima. Note: link to the Ultimate Guide to Marian Apparitions).

“And is not the water that serves as a medium of cure prefigured in the Sacred Books—in the Old Testament by the River Jordan, which cleansed Naaman of his leprosy; and in the New by the probationary pool stirred by an angel?

“Another law seems no less probable. The Virgin is, as far as possible, considerate of the temperament and individual character of the persons She appears to. She places Herself on the level of their intellect, is incarnate in the only material form that they can conceive of. She assumes the simple aspect these poor creatures love, accepting the blue and white robes, the crown and wreaths of roses, the trinkets and garlands and frippery of a first Communion, the ugliest garb. (Basilica of the National Shrine of the Immaculate Conception in Washington DC has numerous chapels on its lower level honoring Marian Apparitions, displaying the wonderful garb worn by our Beautiful Holy Mother).

“There is not indeed a single case where the shepherd maids who saw Her described Her otherwise than as a ‘beautiful lady’ with the features of the Virgin of a village altar, a Madonna of the Saint-Sulpice shops, a street-corner Queen.

“These two rules are more or less universal,” said Durtal to himself. “As to the Son, it would seem that He never now will reveal Himself in human form to the masses. Since His appearance to the Blessed Mary Margaret, whom He employed as a mouthpiece to address the people, He has been silent. He keeps in the background, giving precedence to His Mother. (Once again keep in mind the novel’s pre-twentieth century time, before the life of St Faustina and Our Lord’s Divine Mercy visitations).

“He, it is true, reserves for Himself a dwelling in the secret places, the hidden regions, the strongholds of the soul, as Saint Theresa calls them; but His presence is unseen and His words spoken within us, and generally not apprehended by means of the senses.”

Durtal ceased speaking, confessing to himself how inane were these reflections, how powerless the human reason to investigate the inconceivable purposes of the Almighty; and again, his thoughts turned to that journey to Dauphiné which haunted his memory.

“Ah! but the chain of the High Alps and the peaks of La Salette,” said he to himself; “that huge white hotel, that church colored with dirty yellow lime-wash, vaguely Byzantine and vaguely Romanesque in its architecture, and that little cell with the plaster Christ nailed to a flat black wooden Cross—that tiny Sanctuary plainly white-washed, and so small that one could step across it in any direction—they were pregnant with her presence, all the same!”

“Surely She revisited that spot, in spite of Her apparent desertion, to comfort all comers; She seemed so close at hand, so attentive and so grieving, in the evening as one sat alone by the light of a candle, that the soul seemed to burst open like a pod shedding the fruit of sin, the seeds of evil deeds; and repentance, that had been so tardily evolved, and sometimes so indefinite, became so suddenly despotic and unmistakable that the penitent dropped on his knees by the bed, and buried his head sobbing in the sheets. Ah, those were evenings of mortal dullness and yet sweetly sad! The soul was rent, its very fibers laid bare, but was not the Virgin at hand, so pitiful, so motherly, that after, the worst was over She took the bleeding soul in her arms and rocked it to sleep like a sick child.

“Then, during the day, the church afforded a refuge from the frenzy of giddiness that came over one; the eye, bewildered by the precipices on every side, distracted by the sight of the clouds that suddenly gathered below and steamed off in white fleece from the sides of the rocks, found rest under the shelter of those walls.

“And finally, to make up for the horrors of the scene and of the statues, to mitigate the grotesqueness of the inn-servants, who had beards like sappers and clothes like little boys—the caps, and Holland blouses with belts, and shiny black breeches, like cast iron, of the children at the Saint Nicolas school in Paris—extraordinary characters, souls of divine simplicity expanded there.”

And Durtal recollected the admirable scene he had watched there one morning.

He was sitting on the little plateau, in the icy shade of the church, gazing before him at the graveyard and the motionless swell of mountain tops. Far away, in the very sky, a string of beads moved on, one by one, on the ribbon of path that edged the precipice. And by degrees these specks, at first merely dark, assumed the bright hues of dresses, assumed the form of colored bells surmounted by white knobs, and at last took shape as a line of peasant women wearing white caps.

And still in single file they came down the square.

After crossing themselves as they passed the cemetery, they went each to drink a cup of water at the spring and then turned round; and Durtal, who was watching them, saw this:

At their head walked an old woman of at least a hundred, very tall and still upright, her head covered by a sort of hood from which her stiff, wavy hair escaped in tangled grey locks like iron wire. Her face was shriveled like the peel of an onion, and so thin that, looking at her in profile, daylight could be seen through her skin.

She knelt down at the foot of the first statue, and behind her, her companions, girls of about eighteen for the most part, clasped their hands and shut their eyes; and slowly a change came over them.

Under the breath of prayer, the soul, buried under the ashes of worldly cares, flamed up, and the air that fanned it made it glow like an inward fire, lighting up the thick cheeks, the stolid, heavy features. It smoothed out the crackled surface of wrinkles, softened in the younger women the vulgarity of chapped red lips, gave color to the dull brown flesh, overflowed in the smile on lips half parted in silent prayer, in timid kisses offered with simple good faith, and returned no doubt in an ineffable thrill by the Holy Child they had cherished from His birth, who, since the martyrdom of Calvary, had grown to be the Spouse of Sorrows.

They felt, perhaps, something of the raptures of the Blessed Virgin who is Mother and Wife and at the same time the beatified Handmaid of God.

And in the silence a voice as from the remotest ages arose, and the ancestress said, “Pater Noster,” and they all repeated the prayer, and then dragged themselves on their knees up the steps of the way of crosses, where the fourteen upright posts, each with its cast metal bas-relief, bordered a serpentine path, dividing the statues from the groups. Thus they went forward, stopping long enough to recite an Ave on each step they climbed, and then, helping themselves with their hands, they mounted to the next. And when the Rosary was ended the old woman rose, and they solemnly followed her into the church, where they all prayed a long time, prostrate before the altar; and the grandmother stood up, gave each holy water at the door, led her flock to the spring where they all drank again, and then they went away, without speaking a word, one after another up the narrow path, ending as black specks just as they had come, and vanishing on the horizon.

“Those women have been two days and two nights crossing the mountains,” said a priest, coming up to Durtal. “They started from the depths of Savoy, and have travelled almost without rest to spend a few minutes here; they will sleep tonight in a cow-house or a cave, as chance may direct, and tomorrow by daybreak they will start again on their weariful way.”
Durtal was overpowered by the radiant splendor of such faith. 

J.K. Huysmans novel “The Cathedral”

Huysmans continues the conversion of the French writer/aesthete Durtal in the novel ‘Cathedral’. The Cathedral referred to by the title is Chartres. Consecrated in 1260, in the presence of King St Louis, Chartres represents majestically to Durtal all that he pursues in his rejection of decadent modernism and the embracing of a profound Catholic medieval faith. A wearied cultured man, he reverses time in order to move forward spiritually. Appropriate with the anniversary of Fatima, Huysmans opens the second novel of the Durtal Trilogy with an examination of Our Lady’s apparition at the remote Alps town of La Salette, an apparition striking solely based upon foreshadowing similarities with Lourdes and Fatima. Huysmans writes in the most devoted manner of Our Lady. Keep in mind ‘Cathedral’ was written in 1898, before Fatima. Huysmans disturbing and grand descriptions of the geography surrounding La Salette proves spiritually revealing—a cryptic revelation.

He (Durtal) thought of the Virgin, whose watchful care had so often preserved him from unexpected risk, easy slips, or greater falls. Was not She the bottomless Well of goodness, the Bestower of the gifts of good Patience, the Opener of dry and obdurate hearts? Was She not, above all, the living and thrice Blessed Mother?

Bending forever over the squalid bed of the soul, she washes the sores, dresses the wounds, strengthening the fainting weakness of converts. Through all the ages She was the eternal supplicant, eternally entreated; at once merciful and thankful; merciful to the woes She alleviates, and thankful to them too. She was indeed our debtor for our sins, since, but for the wickedness of man, Jesus would never have been born under the corrupt semblance of our image, and She would not have been the immaculate Mother of God. Thus our woe was the first cause of Her joy; and this supremist good resulting from the very excess of Evil, this touching though superfluous bond, linking us to Her, was indeed the most bewildering of mysteries; for Her gratitude would seem unneeded, since Her inexhaustible mercy was enough to attach Her to us forever.

Thenceforth, in Her immense humility, She had at various times condescended to the masses; She had appeared in the most remote spots, sometimes seeming to rise from the earth, sometimes floating over the abyss, descending on solitary mountain peaks, bringing multitudes to Her feet, and working cures…

…On the 19th of September, 1846, the Virgin had appeared to two shepherd children on a hill; it was a Saturday, the day dedicated to Her, which, that year, was a fast day by reason of the Ember week. By another coincidence, this Saturday was the eve of the Festival of Our Lady of Seven Sorrows, and the first vespers were being chanted when Mary appeared as from a shell of glory just above the ground.

And she appeared as Our Lady of Tears in that desert landscape of stubborn rocks and dismal hills. Weeping bitterly, She had uttered reproofs and threats; and a spring, which never in the memory of man had flowed excepting at the melting of the snows, had never since been dried up.

The fame of this event spread far and wide; frantic thousands scrambled up fearful paths to a spot so high that trees could not grow there. Caravans of the sick and dying were conveyed, God knows how, across ravines to drink the water; and maimed limbs recovered, and tumors melted away to the chanting of canticles.

…there are no fir trees, no beeches, no pastures, no torrents; nothing—nothing but total solitude, and silence unbroken even by the cry of a bird, for at that height no bird is to be found.

“What a scene!” thought Durtal, calling up the memories of a journey (to La Salette) he had made with the Abbé Gévresin (spiritual director) and his housekeeper, since leaving La Trappe (‘En Route’ monastery). He remembered the horrors of a spot he had passed between Saint Georges de Commiers and La Mure, and his alarm in the carriage as the train slowly travelled across the abyss. Beneath was darkness increasing in spirals down to the vast deeps; above, as far as the eye could reach, piles of mountains invaded the sky.

The train toiled up, snorting and turning round and round like a top; then, going into a tunnel, was swallowed by the earth; it seemed to be pushing the light of day away in front, till it suddenly came out into a clearing full of sunshine; presently, as if it were retracing its road, it rushed into another burrow, and emerged with the strident yell of a steam whistle and deafening clatter of wheels, to fly up the winding ribbon of road cut in the living rock.

Suddenly the peaks parted, a wide opening brought the train out into broad daylight; the scene lay clear before them, terrible on all sides.

“Le Drac!” (the river) exclaimed the Abbé Gévresin, pointing to a sort of liquid serpent at the bottom of the precipice, writhing and tossing between rocks in the very jaws of the pit.

For now and again the reptile flung itself up on points of stone that rent it as it passed; the waters changed as though poisoned by these fangs; they lost their steely hue, and whitened with foam like a bran bath; then the Drac hurried on faster, faster, flinging itself into the shadowy gorge; lingered again on gravelly reaches, wallowing in the sun; presently it gathered up its scattered rivulets and went on its way…the rippling rings spread and vanished, skinned and leaving behind them on the banks a white granulated cuticle of pebbles, a hide of dry sand.

Durtal, as he leaned out of the carriage window, looked straight down into the gulf; on this narrow way with only one line of rails, the train on one side was close to the towering hewn rock, and on the other was the void. Great God! if it should run off the rails! “What a crash!” thought he.

And what was not less overwhelming than the appalling depth of the abyss was, as he looked up, the sight of the furious, frenzied assault of the peaks. Thus, in that carriage, he was literally between the earth and sky…along interminable balconies without parapets; and below, the cliffs dropped avalanche-like, fell straight, bare, without a patch of vegetation…all round lay a wide amphitheater of endless mountains, hiding the heavens, piled one above another, barring the way to the travelling clouds, stopping the onward march of the sky…

The landscape was ominous; the sight of it was strangely discomfiting; perhaps because it impugned the sense of the infinite that lurks within us. The firmament was no more than a detail, cast aside like needless rubbish on the desert peaks of the hills. The abyss was the all-important fact; it made the sky look small and trivial, substituting the magnificence of its depths for the grandeur of eternal space.

The Abbé had said that the Drac was one of the most formidable torrents in France; at the moment it was dormant, almost dry; but when the season of snows and storms comes it wakes up and flashes like a tide of silver, hisses and tosses, foams and leaps, and can in an instant swallow up villages and dams.

“It is hideous,” thought Durtal. “That bilious flood must carry fevers with it; it is accursed and rotten…Durtal now thought over all these details; as he closed his eyes he could see the Drac and La Salette.

Chartres

La Drac 1900