To the beautiful gothic church of Notre Dame de la Couture, the people of Bernay and the neighbouring villages went in procession, on the Feast of the Assumption, to entreat the Blessed Virgin to obtain for them relief from their miseries. Human succour seemed in vain. If they appealed to the king, his answer was, _Give!_ If they besought the nobility, they also answered, _Give!_ If they threw themselves at the feet of the Church, her response was also, _Give!_ Now, throughout the land a cry went up to Heaven. At Bernay it took the form of a pilgrimage. The origin of the Church of La Couture was as follows. Far away in the purple of antiquity, when first the faith of Christ began to dawn in Gaul, a shepherd-boy found himself daily deserted by his flock, which left him as he entered the forest in the morning, and only returned to him at nightfall. Impelled by curiosity, he followed the sheep one day, and they led him through bush and brake till he emerged on a pleasant sunny glade upon the slope of the hill, where the pasture was peculiarly rich, and where also, resting against a magnificent wild rose, leaned a black statue of the Blessed Virgin. This discovery led to a concourse of pilgrims visiting the image, which had been thus unaccountably placed in the heart of a forest. The clergy of the ancient city of Lisieux sent a waggon to transport the image to their church; but no sooner was it placed upon their altar than it vanished, and was found next morning in the glade of Bernay. A chapel was erected over it, and was served by a hermit, but the afflux of pilgrims made the shrine rich, and a church was built in the forest, and about the church a village soon arose. The trees were cut down, and the bottom of the valley was brought into cultivation, from which fact the church obtained its name of La Couture, or Ecclesia de Culturâ Bernaii. The church is beautifully situated on the steep side of the hill, with its west front towards the slope, and its apse standing up high above the soil, which falls away rapidly from it into the valley. The western doorway is richly sculptured and contains a flamboyant window, occupying the tymphanum of the arch. Above this portal is a large window, which, at the time of our story, was filled with rich tracery, and with richer glass that represented Mary, the Queen of Heaven, as the refuge of all in adversity. In the central light, the Virgin appeared surrounded by flames and rays, her face and hands black, whilst angels harped and sang around her. A fillet surmounted her, bearing the text ‘Nigra sum, sed formosa, sicut tabernacula cedar.’ (Cant. i. 4.) On one side, cripples and sick persons stretched forth their hands to the sacred figure; on the other, were peasants trampled on and smitten by the servants of nobles in armour, whilst above in the tracery might be seen houses and barns in conflagration, and ships about to be engulfed in waves[1].