And it had its interior existence. The ceremonies with which it was ever vibrating, the constant swinging of its bells, the music of the organ, and the chanting of the priests, all these were like the pulsation of its veins. There was always a living murmur in it: half-lost sounds, like the faint echo of a Low Mass; the rustling of the kneeling penitents, a slight, scarcely perceptible shivering, nothing but the devout ardour of a prayer said without words and with closed lips.
Now, as the days grew longer, Angelique passed more and more time in the morning and evening with her elbows on the balustrade of the balcony, side by side with her great friend, the Cathedral. She loved it the best at night, when she saw the enormous mass detach itself like a huge block on the starry skies. The form of the building was lost. It was with difficulty that she could even distinguish the flying buttresses, which were thrown like bridges into the empty space. It was, nevertheless, awake in the darkness, filled with a dream of seven centuries, made grand by the multitudes who had hoped or despaired before its altars. It was a continual watch, coming from the infinite of the past, going to the eternity of the future; the mysterious and terrifying wakefulness of a house where God Himself never sleeps. And in the dark, motionless, living mass, her looks were sure to seek the window of a chapel of the choir, on the level of the bushes of the Clos-Marie, the only one which was lighted up, and which seemed like an eye which was kept open all the night. Behind it, at the corner of a pillar, was an ever-burning altar-lamp. In fact, it was the same chapel which the abbots of old had given to Jean V d'Hautecoeur, and to his descendants, with the right of being buried there, in return for their liberality. Dedicated to Saint George, it had a stained-glass window of the twelfth century, on which was painted the legend of the saint. From the moment of the coming on of twilight, this historic representation came out from the shade, lighted up as if it were an apparition, and that was why Angelique was fascinated, and loved this particular point, as she gazed at it with her dreamy eyes.
The background of the window was blue and the edges red. Upon this sombre richness of colouring, the personages, whose flying draperies allowed their limbs to be seen, stood out in relief in clear light on the glass. Three scenes of the Legend, placed one above the other, filled the space quite to the upper arch. At the bottom, the daughter of the king, dressed in costly royal robes, on her way from the city to be eaten by the dreadful monster, meets Saint George near the pond, from which the head of the dragon already appears; and a streamer of silk bears these words: "Good Knight, do not run any danger for me, as you can neither help me nor deliver me, but will have to perish with me." Then in the middle the combat takes place, and the saint, on horseback, cuts the beast through and through. This is explained by the following words: "George wielded so well his lance that he wounded the enemy and threw him upon the earth." At last, at the top, the Princess is seen leading back into the city the conquered dragon: "George said, 'Tie your scarf around his neck, and do not be afraid of anything, oh beautiful maiden, for when you have done so he will follow you like a well-trained dog.'"
When the window was new it must have been surmounted in the middle of the arch by an ornamental design. But later, when the chapel belonged to the Hautecoeurs, they replaced the original work by their family coat of arms. And that was why, in the obscure nights, armorial bearings of a more recent date shown out above the painted legend. They were the old family arms of Hautecoeur, quartered with the well- known shield of Jerusalem; the latter being argent, a cross potencee, or, between four crosselettes of the same; and those of the family, azure, a castle, or, on it a shield, sable, charged with a human heart, argent, the whole between three fleurs-de-lys, or; the shield was supported on the dexter and sinister sides by two wyverns, or; and surmounted by the silver helmet with its blue feathers, embossed in gold, placed frontwise, and closed by eleven bars, which belongs only to Dukes, Marshals of France, titled Lords and heads of Sovereign Corporations. And for motto were these words: "Si Dieu volt, ie vueil."
Little by little, from having seen him piercing the monster with his lance, whilst the king's daughter raised her clasped hands in supplication, Angelique became enamoured of Saint George. He was her hero. At the distance where she was she could not well distinguish the figures, and she looked at them as if in the aggrandisement of a dream; the young girl was slight, was a blonde, and, in short, had a face not unlike her own, while the saint was frank and noble looking, with the beauty of an archangel. It was as if she herself had just been saved, and she could have kissed his hands with gratitude. And to this adventure, of which she dreamed confusedly, of a meeting on the border of a lake and of being rescued from a great danger by a young man more beautiful than the day, was added the recollection of her excursion to the Chateau of Hautecoeur, and a calling up to view of the feudal donjon, in its original state, peopled with the noble lords of olden times.
The arms glistened like the stars on summer nights; she knew them well, she read them easily, with their sonorous words, for she was so in the habit of embroidering heraldic symbols. There was Jean V, who stopped from door to door in the town ravaged by the plague, and went in to kiss the lips of the dying, and cured them by saying, "Si Dieu volt, ie vueil." And Felician III, who, forewarned that a severe illness prevented Philippe le Bel from going to Palestine, went there in his place, barefooted and holding a candle in his hand, and for that he had the right of quartering the arms of Jerusalem with his own. Other and yet other histories came to her mind, especially those of the ladies of Hautecoeur, the "happy dead," as they were called in the Legend. In that family the women die young, in the midst of some great happiness. Sometimes two or three generations would be spared, then suddenly Death would appear, smiling, as with gentle hands he carried away the daughter or the wife of a Hautecoeur, the oldest of them being scarcely twenty years of age, at the moment when they were at the height of earthly love and bliss. For instance, Laurette, daughter of Raoul I, on the evening of her betrothal to her cousin Richard, who lived in the castle, having seated herself at her window in the Tower of David, saw him at his window in the Tower of Charlemagne, and, thinking she heard him call her, as at that moment a ray of moonlight seemed to throw a bridge between them, she walked toward him. But when in the middle she made in her haste a false step and overpassed the ray, she fell, and was crushed at the foot of the tower. So since that day, each night when the moon is bright and clear, she can be seen walking in the air around the Chateau, which is bathed in white by the silent touch of her immense robe. Then Balbine, wife of Herve VII, thought for six months that her husband had been killed in the wars. But, unwilling to give up all hope, she watched for him daily from the top of the donjon, and when at last she saw him one morning on the highway, returning to his home, she ran down quickly to meet him, but was so overcome with joy, that she fell dead at the entrance of the castle. Even at this day, notwithstanding the ruins, as soon as twilight falls, it is said she still descends the steps, runs from story to story, glides through the corridors and the rooms, and passes like a phantom through the gaping windows which open into the desert void. All return. Isabeau, Gudule, Vonne, Austreberthe, all these "happy dead," loved by the stern messenger, who spared them from the vicissitudes of life by taking them suddenly when, in early youth, they thought only of happiness. On certain nights this white-robed band fill the house as if with a flight of doves. To their number had lately been added the mother of the son of Monseigneur, who was found lifeless on the floor by the cradle of her infant, where, although ill, she dragged herself to die, in the fullness of her delight at embracing him. These had haunted the imagination of Angelique; she spoke of them as if they were facts of recent occurrence, which might have happened the day before. She had read the names of Laurette and of Balbine on old memorial tablets let into the walls of the chapel. Then why should not she also die young and very happy, as they had? The armouries would glisten as now, the saint would come down from his place in the stained-glass window, and she would be carried away to heaven on the sweet breath of a kiss. Why not?