The Three Cities Trilogy, Complete. Emile Zola

had completed the destruction of his church, which he had left unfinished, without a roof, open to the wind and to the rain. With what a glorious dream had that monumental edifice filled the last year of the Cure’s life! Since he had been dispossessed of the Grotto, driven from the work of Our Lady of Lourdes, of which he, with Bernadette, had been the first artisan, his church had become his revenge, his protestation, his own share of the glory, the House of the Lord where he would triumph in his sacred vestments, and whence he would conduct endless processions in compliance with the formal desire of the Blessed Virgin. Man of authority and domination as he was at bottom, a pastor of the multitude, a builder of temples, he experienced a restless delight in hurrying on the work, with the lack of foresight of an eager man who did not allow indebtedness to trouble him, but was perfectly contented so long as he always had a swarm of workmen busy on the scaffoldings. And thus he saw his church rise up, and pictured it finished, one bright summer morning, all new in the rising sun.

      Ah! that vision constantly evoked gave him courage for the struggle, amidst the underhand, murderous designs by which he felt himself to be enveloped. His church, towering above the vast square, at last rose in all its colossal majesty. He had decided that it should be in the Romanesque style, very large, very simple, its nave nearly three hundred feet long, its steeple four hundred and sixty feet high. It shone out resplendently in the clear sunlight, freed on the previous day of the last scaffolding, and looking quite smart in its newness, with its broad courses of stone disposed with perfect regularity. And, in thought, he sauntered around it, charmed with its nudity, its stupendous candour, its chasteness recalling that of a virgin child, for there was not a piece of sculpture, not an ornament that would have uselessly loaded it. The roofs of the nave, transept, and apse were of equal height above the entablature, which was decorated with simple mouldings. In the same way the apertures in the aisles and nave had no other adornments than archivaults with mouldings, rising above the piers. He stopped in thought before the great coloured glass windows of the transept, whose roses were sparkling; and passing round the building he skirted the semicircular apse against which stood the vestry building with its two rows of little windows; and then he returned, never tiring of his contemplation of that regal ordonnance, those great lines standing out against the blue sky, those superposed roofs, that enormous mass of stone, whose solidity promised to defy centuries. But, when he closed his eyes he, above all else, conjured up, with rapturous pride, a vision of the facade and steeple; down below, the three portals, the roofs of the two lateral ones forming terraces, while from the central one, in the very middle of the facade, the steeple boldly sprang. Here again columns resting on piers supported archivaults with simple mouldings. Against the gable, at a point where there was a pinnacle, and between the two lofty windows lighting the nave, was a statue of Our Lady of Lourdes under a canopy. Up above, were other bays with freshly painted luffer-boards. Buttresses started from the ground at the four corners of the steeple-base, becoming less and less massive from storey to storey, till they reached the spire, a bold, tapering spire in stone, flanked by four turrets and adorned with pinnacles, and soaring upward till it vanished in the sky. And to the parish priest of Lourdes it seemed as if it were his own fervent soul which had grown and flown aloft with this spire, to testify to his faith throughout the ages, there on high, quite close to God.

      At other times another vision delighted him still more. He thought he could see the inside of his church on the day of the first solemn mass he would perform there. The coloured windows threw flashes of fire brilliant like precious stones; the twelve chapels, the aisles, were beaming with lighted candles. And he was at the high altar of marble and gold; and the fourteen columns of the nave in single blocks of Pyrenean marble, magnificent marble purchased with money that had come from the four corners of Christendom, rose up supporting the vaulted roof, while the sonorous voices of the organs filled the whole building with a hymn of joy. A multitude of the faithful was gathered there, kneeling on the flags in front of the choir, which was screened by ironwork as delicate as lace, and covered with admirably carved wood. The pulpit, the regal present of a great lady, was a marvel of art cut in massive oak. The baptismal fonts had been hewn out of hard stone by an artist of great talent. Pictures by masters ornamented the walls. Crosses, pyxes, precious monstrances, sacred vestments, similar to suns, were piled up in the vestry cupboards. And what a dream it was to be the pontiff of such a temple, to reign there after having erected it with passion, to bless the crowds who hastened to it from the entire earth, while the flying peals from the steeple told the Grotto and Basilica that they had over there, in old Lourdes, a rival, a victorious sister, in whose great nave God triumphed also!

      After following the Rue Saint Pierre for a moment, Doctor Chassaigne and his companion turned into the little Rue de Langelle.