The Calvary of Betharram (7)

Since November 7, 1825, Michael Garicoits has been in Betharram, sent by his bishop to assist Fr. Lassalle in the direction of the seminary. But in 1833, Bishop d’Arbou brings the seminarians in Bayonne.
"Between the four walls of this vast edifice," the idea of founding a congregation made its way. In the meantime, life continues at Betharram and Saint Michael Garicoits, who will spend more than thirty-eight years, that is more than half his life, takes care " as good father" of the property entrusted to him ...

We must make the old monastery liveable for a new community and renovate the pilgrimage chapel. But what about the Calvary, that Father Joseph tried to restore, as it is said, "with more zeal than artistic taste"? Madame Countess de Granville wrote "wishing that there were more art and dignity"... Father Combat "an apostolic missionary", continues to host pilgrimages, but his heart sinks at the sight of scenes supposed to represent the Lord's Passion.

Nevertheless sensitive to the potential attraction of the place and taken by the devotion of the pilgrims, he gives Fr Garicoïts the name of a Parisian artist, who is "moreover a Christian artist" and who could  erect an artistic Calvary.

Thus, in spring 1840, Alexandre Renoir arrived in Betharram and began work immediately. By November 1841 the first tableau, Jesus in Gethsemane, is shown to the public, greeted by unanimous approval. Seven other tableaux follow. In the press, the art connoisseurs were ecstatic, so that by 1843, the talent of the artist who made the Calvary of Betharram became one of the must-see attractions of the Pyrenean countryside.

In March 21, 1843, Fr Garicoits wrote to the editor of the "Memorial of the Pyrenees":

The Calvary of Betharram is going well; the fourth chapel is in place. It is the flagellation. We hope that it will be very much appreciated. The extensive studies of the artist on ancient monuments will not serve him badly this time. But this is not all; it was also a matter of giving to the Lord, an appropriate disposition under the executor’s hand, to bring it to life with the sentiments that he used to have, to make the flesh disappear and the spirit to live. (...) Can one expect to find the triumph of the flesh where one finds death? And who could support the long line of profane statues of the way of the cross for so long? The proper character of these works should be to belong to the spirit. (...) Now the Calvary begins to take on another appearance. (...) Most of the monstrosities have disappeared. (Letter 20bis)

And later, in 3 June 1943:

The fifth station and the crowning of thorns is installed during the last days in the chapel of St Louis, the royal chapel of Betharram; (…) We have no need to mention the merits of the new bas reliefs of Renoir. It is always the same perfection, the same poetry! If there was anything else to observe and to do it is that this station by the posture, the severity of the persons is without contradiction the most remarkable that has come from the hands of the artist. (Letter 21ter)