Every
day, every Sunday, when they enter and when they leave, do they not see
the graves of their parents, are these not near them while they pray,
and does it not seem to them as if the church was only a larger family
circle from which the loved ones have not altogether departed? These
places of worship thus have a harmonious sense, and the life of these
people is influenced by it from the baptismal font to the grave. It is
not the same with us, because we have relegated eternity to the
outskirts of the city, have banished our dead to the faubourgs and laid
them to rest in the carpenter's quarter, near the soda factories and
night-soil magazines.
About three o'clock in the afternoon, we arrived at the chapel of
Kerfeunteun, near the entrance to Quimper. At the upper end of the
chapel is a fine glass window of the sixteenth century, representing the
genealogical tree of the Holy Trinity. Jacob forms the trunk, and the
top is figured by the Cross surmounted by the Eternal Father with a
tiara on His head. On each side, the square steeple represents a
quadrilateral pierced by a long straight window. This steeple does not
rest squarely on the roof, but instead, by means of a slender basis, the
narrow sides of which almost touch, it forms an obtuse angle near the
ridge of the roof.
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