Famous Firesides of French Canada Part 2

Its stones were permeated with the military and religious history of the "old rock city," for, in the fifteen years of its occupancy by Champlain, it was as much a mission as a fort. The historian says:--"A stranger visiting the Fort of Quebec would have been astonished at its air of conventual decorum. Black-robed Jesuits and scarfed officers mingled at Champlain's table. There was little conversation, but in its place histories and the lives of the saints were read aloud, as in a monastic refectory. Prayers, ma.s.ses and confessions followed each other, and the bell of the adjacent chapel rang morning, noon and night. Quebec became a shrine. G.o.dless soldiers whipped themselves to penitence, women of the world outdid each other in the fury of their contrition, and Indians gathered thither for the gifts of kind words and the polite blandishments bestowed upon them."

The site where the old Chateau St. Louis once stood, with its halo of romance and renown, is now partially covered by the great Quebec hostelry, the Chateau Frontenac, which in its erection and appointments has not destroyed, but rather perpetuated, the traditions of the "Sentinel City of the St. Lawrence."

"Chateau Frontenac has been planned with the strong sense of the fitness of things, being a veritable old-time Chateau, whose curves and cupolas, turrets and towers, even whose tones of gray stone and dulled brick harmonize with the sober quaint architecture of our dear old Fortress City, and looks like a small bit of Mediaeval Europe perched upon a rock."

Under the promenade of Durham Terrace is still the cellar of the old Chateau; and standing upon it, the patriot, whether English or French, cannot but thrill as he looks on the same scene upon which the heroes of the past so often gazed, and from which they flung defiance to their foes.

On almost the same spot upon which Champlain had landed at Montreal, and about seven years after his death, a small band of consecrated men and women, singing a hymn, drew up their tempest-worn pinnace, and raised their standard in the name of King Louis, while Maisonneuve, the ascetic knight, planted a crucifix, and dedicated the land to G.o.d.

The city as it stands on this spot is a fulfilment of his vow then made, when he declared, as he pitched his tent and lighted his camp-fire, that here he would found a city though every tree on the island were an Iroquois. On an altar of bark, decorated with wild flowers and lighted by fireflies, the first ma.s.s was celebrated, and the birthnight of Montreal registered.

From the little seed thus planted in this rude altar, a mighty harvest has arisen in cathedral, monastery, church and convent, representing untold wealth and influence. The early French explorer, with a "sword in his hand and a crucifix on his breast," was more desirous of Christianizing than of conquering the native tribes. So completely has this creed become identified with the country's character and history, that the province of Quebec is emphatically a Catholic community. So faithfully have its tenets been handed down by generations of devout followers of this faith, that even the streets and squares bear the names of saints and martyrs, such as St. Francis Xavier, St. Peter, St.

John, St. Joseph, St. Mary, and in fact the entire calendar is represented, especially in the east end of the town. St. Paul, which was probably the first street laid out, is called after the city's founder himself,--Paul Chomedy de Maisonneuve.

NOTRE-DAME-DE-LA-VICTOIRE.

A few rods to the west of the Chateau, through a vaulted archway leading from the street, in the shadow of the peaceful convent buildings is a little chapel called _Notre-Dame-de-la-Victoire_. The swallows twittering under its broken eaves are now the only sign of life; and its rotting timbers and threshold, forgotten by the world, give no suggestion of the martial incident to which it owes its existence. While the American Colonies were still English, the British Ensign floated over Boston town, and good Queen Anne was prayed for in Puritan pulpits, an expedition was fitted out under Sir Hovenden Walker to drive the French out of Canada. In the previous year, 1710, the Legislature of New York had taken steps to lay before the Queen the alarming progress of Gallic domination in America, saying:--

"It is well known that the French can go by water from Quebec to Montreal; from thence they can do the like through the rivers and lakes, at the risk of all your Majesty's plantations on this Continent, as far as Carolina."

In the command of Walker were several companies of regulars draughted from the great Duke of Marlborough's Army. While he was leading it from victory to victory for the glory of his King, his wife, the famous Sarah Jennings, was making a conquest at home of the affections of the simple-minded and susceptible Queen. It is remarkable that the coronet of this ambitious woman should now rest on the brow of an American girl, and that a daughter of New York should reign at Blenheim Castle. At that period France possessed the two great valleys of North America, the Mississippi and the St. Lawrence; to capture the latter was the aim of the expedition.

[Ill.u.s.tration: CHAPEL OF NOTRE-DAME-DE-LA-VICTOIRE.

COPYRIGHT.]

As the hostile fleet sailed up the St. Lawrence, a storm of great severity burst upon the invaders. Eight of the transports were recked on the reefs, and in the dawn of the midsummer morning the bodies of a thousand red-coated soldiers were strewn on the sands of _Isle-aux-OEufs_. It has been said that an old sea-dog, Jean Paradis, refused to act as pilot, and in a fog allowed them to run straight on to death; and also that among those who perished was one of the court beauties who had eloped with Sir Hovenden.

The disabled vessels retreated before the artillery of the elements, and left Bourbon's Lilied Blue to wave for half a century longer over Fort St. Louis. This bloodless victory for the French was attributed by them to the intervention of the Virgin, in grat.i.tude for which this chapel was vowed and built, as was also another on the market place, Lower Town, Quebec. The miraculous feature of the defeated invasion was considered certain from the fact that a recluse in the convent near the chapel, and who was remarkable for her piety, had embroidered a prayer to the Virgin on the flag which the Baron de Longueuil had borne from Montreal in command of a detachment of troops.

Some of the original interior fittings of the chapel still exist, but the bell which chimed its first call to vespers, when the great city was a quiet, frontier hamlet, has long been silent. It is to be regretted that from its historical character it has not been preserved from decay, but looks as time-worn and mouldering as does the rusty cannon in the hall of the Chateau, which was one of the guns of the ill-fated fleet, and over which the river had flowed for almost two hundred years. Seven of England's sovereigns had lived, reigned and died, and in France the Royal house had fallen in the deluge of blood that flowed around the guillotine. Quebec had changed flags--the Tri-color had been unfurled over the _Hotel-de-Ville_ at Paris, and the Stars and Stripes over the new-born nation.

The thrones of Europe had tottered at the word of the Corsican boy,--he had played with crowns as with golden baubles, and had gone from the imperial purple to the mist-shrouded rocks of St. Helena. Eugenie, the Beautiful, had ruled the world by her grace, and fled from the throne of the haughty Louis to a loveless exile--while the old gun, with its charge rusting in its mouth, lay in silence under the pa.s.sing keels of a million craft.

[Ill.u.s.tration]

LE SeMINAIRE.

Still more ancient is a venerable postern in the blackened wall of the Seminary of St. Sulpice, near by, which is now the oldest building in the city, being erected some fifty years before the Chateau. It leads by a narrow lane to the gardens of the Monastery, which bloom quiet and still here in the heart of the throbbing life of a city of to-day.

Generations of saintly men, under vows, have trodden in the shade of its walks, trying with the rigours of monastic life to crush out the memories of love and home left behind among the sun-kissed vineyards of France. For two hundred years and more no woman's footstep had fallen here among the flowers, until recently the wife of a Governor-General was admitted on a special occasion. On the cobble-stones of the courtyard, pilgrims, penitents, priests and soldiers have trodden, the echoes of their footsteps pa.s.sing away in centuries of years. Above the walls, blackened by time and pierced by windows with the small panes of a fashion gone by, the bells of the clock ring out the stroke of midnight over one-third of a million souls, as it did the hours of morning when the great-great-grandfathers of the present generation ran to school over the gra.s.s-grown pavements of young Ville-Marie.

[Ill.u.s.tration: SEMINARY OF ST. SULPICE]

"The inimitable old roof-curves still cover the walls, and the Fleur-de-Lys still cap the pinnacles" as in the days when Richelieu, the prince of prelates, sought to plant the feudalism and Christianity of old France on the sh.o.r.es of the new. They still rise against the blue of Canadian skies unmolested, while in France, in the early years of the century, popular frenzy dragged this symbol of royalty from the spires of the churches and convents of Paris.

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CATHEDRALS AND CLOISTERS.

The Order of the Gentlemen of St. Sulpice is supposed to be very rich, the amount of the immense revenues never being made public. They were the feudal lords of the Island of Montreal in the earlier chapters of its history. Through their zealous efforts and the generosity of their parishioners was opened in the year eighteen hundred and twenty-nine the grand church adjoining, that of _Notre Dame_, built on the site of the original parish church. Viewing it from the extensive _plaza_ in front, its imposing proportions fill the beholder with the same awe as when looking at some lofty mountain peak, but its symmetry is so exquisite that its size cannot at first be appreciated.

In imitation of its prototype, _Notre Dame de Paris_, twin towers rise in stateliness to a height of two hundred and twenty-seven feet, and are visible for a distance of thirty miles. The facade is impressive, the style a modification of different schools adapted to carry out the design intended. Three colossal statues of the Virgin, St. Joseph and St. John the Baptist are placed over the arcades. The sublime structure belongs to a branch of the Gothic, in the pointed arch type of architecture which was brought home from the Crusades,--a style which has come down from the time-honoured architecture of the old world, when religious thought that now finds expression in books was written and symbolized in stone.

From a vestibule at the foot of the western tower, an ascent of two hundred and seventy-nine steps offers a most enchanting view of mountain, river, street and harbour, with such a wilderness of dome, steeple and belfry, that the exclamation involuntarily arises--this is truly a city of churches!

On the descent, a pause on a platform gives the opportunity of admiring "_Le Gros Bourdon_," or great bell, and one of the largest in the world.

It weighs twenty-four thousand, seven hundred and eighty pounds, and is six feet high. Its mouth measures eight feet, seven inches in diameter.

The tone is magnificent in depth and fullness. On occasions such as the death of high ecclesiastics or other solemn events, its tolling is indescribable in its slow, sonorous vibrations. In the eastern tower hang ten smaller bells of beautiful quality, and so harmonized that choice and varied compositions can be performed by the eighteen ringers required in their manipulation. On high festivals, when all ring out with brazen tongues, caught up and re-echoed from spire to spire in what Victor Hugo describes as:--"Mingling and blending in the air like a rich embroidery of all sorts of melodious sounds"--America can furnish no greater oratorio.

Its interior, which is profusely embellished and enriched, the s.p.a.cious, two-storied galleries, in a twilight of mysterious gloom, and an altar upon which so much wealth has been consecrated, combine to make it a temple worthy of any time or race.

"Whatever may be the external differences, we always find in the Christian Cathedral, no matter how modified, the Roman Basilica. It rises forever from the ground in harmony with the same laws. There are invariably two naves intersecting each other in the form of a cross, the upper end being rounded into a chancel or choir. There are always side aisles for processions or for chapels, and a sort of lateral gallery into which the princ.i.p.al nave opens by means of the s.p.a.ces between the columns.

"The number of chapels, steeples, doors and spires may be modified indefinitely, according to the century, the people and the art. Statues, stained gla.s.s, rose-windows, arabesques, denticulations, capitals and bas-reliefs are employed according as they are desired. Hence the immense variety in the exterior of structures, within which there dwells such unity and order."

The nave here is two hundred and twenty feet long, almost eighty in height, and one hundred and twenty in width, including the side aisles.

The walls, which are five feet thick, have fourteen side windows forty feet high, which light softly the galleries and grand aisle. So admirable is the arrangement, that fifteen thousand people can find accommodation and hear perfectly in all parts of the building. On high festivals, such as Christmas or Easter, when the great organ, said to be the finest in America, under the fingers of a master, with full choir and orchestra, rolls out the music of the ma.s.ses, the senses are enthralled by the magnificence of the harmony. The various altars and mural decorations are beautiful with painting, gilding and carving. In the subdued light, which filters through the stained windows, are found many things of especial sanct.i.ty to the faithful. On a column rests an exquisite little statuette of the Virgin, which was a gift from Pope Pius the Ninth, the finely chased and wrought crucifix and the riband attached to it having been worn around the neck of the High Pontiff himself. Directly opposite to it is a statue of St. Peter, a copy of that at Rome. Fifty days indulgence are granted to those who piously kiss this image. Under one altar rest the bones of St. Felix, which were taken from the Catacombs at Rome, and on another is a picture of the Madonna, said to be a copy of one painted by St. Luke. On all the shrines are candlesticks, votive offerings and many other articles of great age, value and veneration.

The main altar is exceedingly rich in artistic ornamentation, representing in its design the religious history of the world, and is the only one of the kind in existence. Although the foundation stones of this great pile were laid seventy years ago, this grand anthem in stone has not yet reached its "amen," many additions to it being yet in contemplation.

Like many others of earth masterpieces in architecture, it is at once the monument to and the mausoleum of its builder, whose body, according to his dying request, although a Protestant, lies in the vaults beneath his greatest life-work.

Through some halls and corridors back of the grand altar is the chapel of "Our Lady of the Sacred Heart," which is one of the most beautiful sanctuaries in the city, and remarkable for the harmony of its lines and proportions. It is in the form of a cross, ninety feet in length, eighty-five feet in the transept with an alt.i.tude of fifty-five feet.

The splendour of its ornamentation, carving, sculpture, elegant galleries, panels in mosaic, original paintings by Canadian artists, and a beautiful reproduction of Raphael's celebrated frieze of "The Dispute of the Blessed Sacrament," unite to const.i.tute this piece of ecclesiastical architecture a _chef d'oeuvre_.

An iconoclast might marvel at the absorption in prayer of some of the devotees, among accessories bewildering to eyes accustomed to the plainer surroundings of other forms of ritual, but the worship of those in attendance seems sincere and complete.

Following the footsteps of Cartier to where, near the foot of Mount Royal, he found the Indian village of Hochelaga, is now to be seen the St. James' Cathedral, which is a reduced copy of St. Peter's at Rome, the great centre from which radiates the Catholicism of Christendom. It is somewhat less than half the dimensions of its model, with certain modifications necessary in the differences of climate. The work was entrusted to M. Victor Bourgeau, who, to gain the information necessary to carry out successfully a repet.i.tion of the great master, Michael Angelo's conception, spent some time in the Eternal City studying the various details. But the real architect, it may be said, who made the plans and supervised and directed the building of the sacred monument, was Rev. Father Michaud, of the St. Viateur Order. To raise the funds necessary for the initial work, every member of the immense diocese was taxed; and even now, after a lapse of thirty years, it is still unfinished, so great has been the expense involved. The handsome facade is elaborately columned in cut-stone, for which only blocks of the most perfect kind were used.

Like the colossal dome at Rome, this one towers above every other structure in the city, with the height of the cross included, being forty feet higher than the lofty towers of _Notre Dame_. It is seventy feet in diameter, and two hundred and ten feet above the pavement. It is after the work of Brunelleschi, whose exquisite art and genius flung the airy grace of his incomparable domes against Florentine and Roman skies.

There is none of the "dim, religious light" in the interior decoration of white and gold, the subtle colouring of the symbolic frescoing and the brilliance of the gold and brazen altar furnishing. At a service celebrated especially for the Papal Zuaves, the picturesque red and grey of their uniform, the priests in gorgeous canonicals of scarlet, stiff with gold, the acolytes in white surplices and the venerable archbishop in cardinal and purple, with a chorus from Handel ringing through the vaulted roof, a full conception of the Papal form of worship can be obtained; while a squaw in blanket and moccasins kneeling on the floor beside a fluted pillar seems the living symbol of the heathendom the early fathers came to convert.

In Canada the Jesuits have always been prominent in its history, signalizing themselves by extraordinary devotion and self-sacrifice, and were among the earliest explorers of the Continent, the first sound of civilization over many of the lakes and rivers being the chant of the capuchined friar. Fathers Breboeuf and Lalemant, burnt by the Indians; Garreau, butchered; Chabanel, drowned by an apostate Huron, and others hideously tortured, testified with their blood to their devotion. From the Atlantic to the prairies, from the bleak sh.o.r.es of the Hudson Bay to the sunny beaches of Louisiana, they suffered, bled and died.

It is said the Jesuits have a genius for selecting sites, and certainly the situation of their especial church and adjoining colleges bears out the statement. Like the other churches of this most Catholic city, it is not complete, the towers having yet to be continued into spires. It is much frequented for the fine music and admired for its beautiful interior. It is in the Florentine Renaissance style, which is the one usually favoured by this Order. The frescoes are unusually pleasing, being in soft tones of monochrome, the work of eminent Roman artists, and are reproductions of the modern German School of Biblical scenes and from the history of the Jesuits. There are in addition some fine paintings by the Gagliardi brothers at Rome and others.