[Footnote 21: At Goueznon, at Plabennec, etc.]
[Footnote 22: We see in Algeria little cups hollowed in the sepulchral stones of the Mussulmans; but this water is only used by the birds to satisfy their thirst, or to water the flowers that decorate the tombs.]
But at Saint-Thégonnec a more respectful and tender sentiment has tried to preserve intact at least a portion of these bodies so rudely torn from the earth. Before entering the church, we are struck by an unexpected sight; from every projection of the building, on the porches, on the prominent cornices, are laid or hung and suspended, one above the other, a multitude of small boxes arranged as a chaplet; these little boxes, surmounted each by its cross, are coffins, and enclose the skull of an ancestor, his head, or, according to the expressive word of the old language, _le chef_, that which is most noble in man, and which may be resumed. An inscription indicates the date and name:
Another touching symbol may be seen through the openings, the funeral archives of families preserved in the shadow of the church, that rising generations may discover them, so that they may not be forgotten, as they would be, immured in their own homes. [Footnote 23]
[Footnote 23: At Locmariquer there are not only coffins with heads, but miniature ones enclosing all the bones, piled one above the other like bales of goods, in the place apportioned them.]
Here and there on the cornice, exposed to the air, are skulls of the dead, poor creatures once without friends or family to give them burial, painted green, their eyes filled with sand and blades of grass projecting from them, often leaning against each other; here, one supported perhaps by him who was his bitter enemy.
Passing there double rows of coffins, we enter the church, and this is but a repetition of all the Breton churches; everything here--an elegant font, sculptured mouldings, pulpit of choice wood and of marvellous workmanship--_chef-d'oeuvre_ of the end of the Renaissance, and one of the finest pulpits in Brittany--pictures on wood, chisel paintings, ever perpetuating the patriarchs, the kings, and prophets of the Old Testament mounting from earth to heaven; even to the Blessed Virgin; vault of gold and azure fairly sparkling in its complete beauty; the choir, the altar, and the side chapels filled with statues, wreathed columns, heads of angels, flowers, garlands, gilded and painted in every color, a perfect stream of gold, verdure, brilliant crimson, and azure.