_What Menhirs and Dolmens are_

Regarding the nomenclature of the several species of megalithic monuments met with in Brittany some definitions are necessary. A menhir is a rude monolith set up on end, a great single stone, the base of which is buried deep in the soil. A dolmen is a large, table-shaped stone, supported by three, four, or even five other stones, the bases of which are sunk in the earth. In Britain the term 'cromlech' is synonymous with that of 'dolmen,' but in France and on the Continent generally it is exclusively applied to that cla.s.s of monument for which British scientists have no other name than 'stone circles.' The derivation of the words from Celtic and their precise meaning in that tongue may a.s.sist the reader to arrive at their exact significance. Thus 'menhir' seems to be derived from the Welsh or Brythonic _maen_, 'a stone,' and _hir_, 'long,' and 'dolmen' from Breton _taol_, 'table,' and _men_, 'a stone.'[7] 'Cromlech' is also of Welsh or Brythonic origin, and is derived from _crom_, 'bending' or 'bowed' (hence 'laid across'), and _llech_, 'a flat stone.' The _allee couverte_ is a dolmen on a large scale.

_The Nature of the Monuments_

The nature of these monuments and the purpose for which they were erected were questions which powerfully exercised the minds of the antiquaries of a century ago, who fiercely contended for their use as altars, open-air temples, and places of rendezvous for the discussion of tribal affairs. The cooler archaeologists of a later day have discarded the majority of such theories as untenable in the light of hard facts. The dolmens, they say, are highly unsuitable for the purpose of altars, and as it has been proved that this cla.s.s of monument was invariably covered in prehistoric times by an earthen tumulus its ritualistic use is thereby rendered improbable. Moreover, if we chance upon any rude carving or incised work on dolmens we observe that it is invariably executed on the _lower_ surface of the table stone, the upper surface being nearly always rough, unhewn, often naturally rounded, and as unlike the surface of an altar as possible.

Recent research has established the much more reasonable theory that these monuments are sepulchral in character, and that they mark the last resting-places of persons of tribal importance, chiefs, priests, or celebrated warriors. Occasionally legend a.s.sists us to prove the mortuary character of menhir and dolmen. But, without insisting any further for the present upon the purpose of these monuments, let us glance at the more widely known of Brittany's prehistoric structures, not so much in the manner of the archaeologist as in that of the observant traveller who is satisfied to view them as interesting relics of human handiwork bequeathed from a darker age, rather than as objects to satisfy the archaeological taste for discussion.

For this purpose we shall select the best known groups of Breton prehistoric structures, and shall begin our excursion at the north-eastern extremity of Brittany, following the coast-line, on which most of the princ.i.p.al prehistoric centres are situated, and, as occasion offers, journeying into the interior in search of famous or interesting examples.

_Dol_

Dol is situated in the north of the department of Ille-et-Vilaine, not far from the sea-coast. Near it, in a field called the Champ Dolent ('Field of Woe'), stands a gigantic menhir, about thirty feet high and said to measure fifteen more underground. It is composed of grey granite, and is surmounted by a cross. The early Christian missionaries, finding it impossible to wean the people from frequenting pagan neighbourhoods, surmounted the standing stones with the symbol of their faith, and this in time brought about the result desired.[8]

_The Legend of Dol_

A strange legend is connected with this rude menhir. On a day in the dark, uncharted past of Brittany a fierce battle was fought in the Champ Dolent. Blood ran in streams, sufficient, says the tale, to turn a mill-wheel in the neighbourhood of the battlefield. When the combat was at its height two brothers met and grappled in fratricidal strife.

But ere they could harm one another the great granite shaft which now looms above the field rose up between them and separated them.

There appears to be some historical basis for the tale. Here, or in the neighbourhood, A.D. 560, met Clotaire, King of the Franks, and his son, the rebel Chramne. The rebellious son was signally defeated. He had placed his wife and two little daughters in a dwelling hard by, and as he made his way thence to convey them from the field he was captured. He was instantly strangled, by order of his brutal father, in the sight of his wife and little ones, who were then burned alive in the house where they had taken refuge. The Champ Dolent does not belie its name, and even thirteen centuries and a half have failed to obliterate the memory of a savage and unnatural crime, which, its remoteness notwithstanding, fills the soul with loathing against its perpetrators and with deep pity for the hapless and innocent victims.

_A Subterranean Dolmen Chapel_

At Plouaret, in the department of Cotes-du-Nord, is a curious subterranean chapel incorporating a dolmen. The dolmen was formerly partially embedded in a tumulus, and the chapel, erected in 1702, was so constructed that the great table-stone of the dolmen has become the chapel roof, and the supporting stones form two of its sides. The crypt is reached by a flight of steps, and here may be seen an altar to the Seven Sleepers, represented by seven dolls of varying size. The Bretons have a legend that this structure dates from the creation of the world, and they have embodied this belief in a ballad, in which it is piously affirmed that the shrine was built by the hand of the Almighty at the time when the world was in process of formation.

_Camaret_

Camaret, on the coast of Finistere, is the site of no less than forty-one standing stones of quartz, which outline a rectangular s.p.a.ce 600 yards in length at its base. Many stones have been removed, so that the remaining sides are incomplete. None of these monoliths is of any considerable size, however, and the site is not considered to be of much importance, save as regards its isolated character. At Penmarch, in the southern extremity of Finistere, there is an 'alignment' of some two hundred small stones, and a dolmen of some importance is situated at Tregunc, but it is at Carnac, on the coast of Morbihan, that we arrive at the most important archaeological district in Brittany.

_Carnac_

The Carnac district teems with prehistoric monuments, the most celebrated of which are those of Plouharnel, Concarneau, Concurrus, Locmariaquer, Kermario, Kerlescant, Erdeven, and Sainte-Barbe. All these places are situated within a few miles of one another, and a good centre from which excursions can be made to each is the little town of Auray, with its quaint medieval market-house and shrine of St Roch. Archaeologists, both Breton and foreign, appear to be agreed that the groups of stones at Meneac, Kermario, and Kerlescant are portions of one original and continuous series of alignments which extended for nearly two miles in one direction from south-west to north-east. The monolithic avenue commences quite near the village of Meneac, stretching away in eleven rows, and here the large stones are situated, these at first rising to a height of from 10 to 13 feet, and becoming gradually smaller, until they attain only 3 or 4 feet. In all there are 116 menhirs at Meneac. For more than three hundred yards there is a gap in the series, which pa.s.sed, we come to the Kermario avenue, which consists of ten rows of monoliths of much the same size as those of Meneac, and 1120 in number.

Pa.s.sing on to Kerlescant, with its thirteen rows of menhirs made up of 570 individual stones, we come to the end of the avenue and gaze backward upon the plain covered with these indestructible symbols of a forgotten past.

Carnac! There is something vast, Egyptian, in the name! There is, indeed, a Karnak in Egypt, celebrated for its Avenue of Sphinxes and its pillared temple raised to the G.o.ddess Mut by King Amenophis III.

Here, in the Breton Carnac, are no evidences of architectural skill.

These sombre stones, unworked, rude as they came from cliff or seash.o.r.e, are not embellished by man's handiwork like the rich temples of the Nile. But there is about this stone-littered moor a mystery, an atmosphere no less intense than that surrounding the most solemn ruins of antiquity. Deeper even than the depths of Egypt must we sound if we are to discover the secret of Carnac. What mean these stones? What means faith? What signifies belief? What is the answer to the Riddle of Man? In the words of Cayot Delandre, a Breton poet:

Tout cela eut un sens, et traduisit Une pensee; mais cle de ce mystere, Ou est elle? et qui pourrait dire aujourd'hui Si jamais elle se retrouvera?[9]

_A Vision_

Over this wild, heathy track, covered with the blue flowers of the dwarf gentian, steals a subtle change. Nor air nor heath has altered.

The lichen-covered grey stones are the same. Suddenly there arises the burden of a low, fierce chant. A swarm of skin-clad figures appears, cl.u.s.tering around a gigantic object which they are painfully dragging toward a deep pit situated at the end of one of the enormous alleys of monoliths. On rudely shaped rollers rests a huge stone some twenty feet in length, and this they drag across the rough moor by ropes of hide, lightening their labours by the chant, which relates the exploits of the warrior-chief who has lately been entombed in this vast pantheon of Carnac. The menhir shall serve for his headstone. It has been vowed to him by the warriors of his tribe, his henchmen, who have fought and hunted beside him, and who revere his memory. This stone shall render his fame immortal.

And now the task of placing the huge monolith in position begins.

Ropes are attached to one extremity, and while a line of brawny savages strains to raise this, others guide that end of the monolith destined for enclosure in the earth toward the pit which has been dug for its reception. Higher and higher rises the stone, until at last it sinks slowly into its earthy bed. It is held in an upright position while the soil is packed around it and it is made secure. Then the barbarians stand back a s.p.a.ce and gaze at it from beneath their low brows, well pleased with their handiwork. He whom they honoured in life rests not unrecognized in death.

[Ill.u.s.tration: RAISING A MENHIR]

_The Legend of Carnac_

The legend of Carnac which explains these avenues of monoliths bears a resemblance to the Cornish story of 'the Hurlers,' who were turned into stone for playing at hurling on the Lord's Day, or to that other English example from c.u.mberland of 'Long Meg' and her daughters. St Cornely, we are told, pursued by an army of pagans, fled toward the sea. Finding no boat at hand, and on the point of being taken, he transformed his pursuers into stones, the present monoliths.

The Saint had made his flight to the coast in a bullock-cart, and perhaps for this reason he is now regarded as the patron of cattle.

Should a bullock fall sick, his owner purchases an image of St Cornely and hangs it up in the stable until the animal recovers. The church at Carnac contains a series of fresco paintings which outline events in the life of the Saint, and in the churchyard there is a representation of the holy man between two bullocks. The head of St Cornely is said to be preserved within the edifice as a relic. On the 13th of September is held at Carnac the festival of the 'Benediction of the Beasts,' which is celebrated in honour of St Cornely. The cattle of the district are brought to the vicinity of the church and blessed by the priests--should sufficient monetary encouragement be forthcoming.

_Mont-Saint-Michel_

In the neighbourhood is Mont-Saint-Michel,[10] a great tumulus with a sepulchral dolmen, first excavated in 1862, when late Stone Age implements, jade celts, and burnt bones were unearthed. Later M.

Zacharie Le Rouzic, the well-known Breton archaeologist, tunnelled into the tumulus, and discovered a mortuary chamber, in which were the incinerated remains of two oxen. To this tumulus each pilgrim added a stone or small quant.i.ty of earth, as has been the custom in Celtic countries from time immemorial, and so the funerary mound in the course of countless generations grew into quite a respectable hill, on which a chapel was built, dedicated to St Michael, from the doorway of which a splendid prospect of the great stone alignments can be had, with, for background, the Morbihan and the long, dreary peninsula of Quiberon, bleak, treeless, and deserted.

_Rocenaud_

Near Carnac is the great dolmen of Rocenaud, the 'cup-and-ring'

markings on which are thought by the surrounding peasantry to have been made by the knees and elbows of St Roch, who fell upon this stone when he landed from Ireland. When the natives desire a wind they knock upon the depressions with their knuckles, murmuring spells the while, just as in Scotland in the seventeenth century a tempest was raised by dipping a rag in water and beating it on a stone thrice in the name of Satan.

_Cup-and-Ring Markings_

What do these cup-and-ring markings so commonly discovered upon the monuments of Brittany portend? The question is one well worth examining at some length, as it appears to be almost at the foundations of Neolithic religion. Recent discoveries in New Caledonia have proved the existence in these far-off islands, as in Brittany, Scotland, and Ireland, of these strange symbols, coupled with the concentric and spiral designs which are usually a.s.sociated with the genius of Celtic art. In the neighbourhood of Glasgow, and in the south-west of Scotland generally, stones inscribed with designs closely resembling those on the New Caledonian rocks have been found in abundance, as at Auchentorlie and c.o.c.kno, Shewalton Sands, and in the Milton of Colquhoun district, where the famous 'cup-and-ring altar' was discovered. At Shewalton Sands in particular, in 1904, a number of stones were found bearing crosses like those discovered in Portugal by Father Jose Brenha and Father Rodriguez. These symbols have a strong resemblance to certain markings on the Breton rocks, and are thought to possess an alphabetic or magical significance. In Scotland spirals are commonly found on stones marked with ogham inscriptions, and it is remarkable that they should occur in New Caledonia in connexion with a dot 'alphabet.' The New Caledonian crosses, however, approximate more to the later crosses of Celtic art, while the spirals resemble those met with in the earlier examples of Celtic work. But the closest parallel to the New Caledonian stone-markings to be found in Scotland is supplied by the examples at c.o.c.kno, in Dumbartonshire, where the wheel symbol is a.s.sociated with the cup-and-ring markings.

The cup-and-ring stones used to be considered the peculiar product of a race of 'Brythonic' or British origin, and it is likely that the stones so carved were utilized in the ritual of rain-worship or rain-making by sympathetic magic. The grooves in the stone were probably filled with water to typify a country partially covered with rain-water.[11]

From these a.n.a.logies, then, we can glean the purpose of the cup-and-ring markings upon the dolmens of Brittany, and may conclude, if our considerations are well founded, that they were magical in purpose and origin. Do the cup-shaped depressions represent water, or are they receptacles for rain, and do the spiral symbols typify the whirling winds?

_The Gallery of Gavr'inis_

Nowhere are these mysterious markings so well exemplified as in the wonderful tumulus of Gavr'inis. This ancient place of sepulture, the name of which means 'Goat Island,' lies in the Morbihan, or 'Little Sea,' an inland sea which gives its name to a department in the south of Brittany. The tumulus is 25 feet high, and covers a fine gallery 40 feet long, the stones of which bear the markings alluded to. Whorls and circles abound in the ornamentation, serpent-like figures, and the representation of an axe, similar to those to be seen in some of the Grottes aux Fees, or on the Dol des Marchands. The sculptures appear to have been executed with metal tools. The pa.s.sage ends in a square sepulchral chamber, the supports of which are eight menhirs of grained granite, a stone not found on the island. Such of the menhirs as are carved were obviously so treated before they were placed _in situ_, as the design pa.s.ses round the edges.

_The Ile aux Moines_

The Ile aux Moines ('Monks' Island') is also situated in the Morbihan, and has many prehistoric monuments, the most extensive of which are the circle of stones at Kergonan and the dolmen of Penhapp. On the Ile d'Arz, too, are megalithic monuments, perhaps the best example of which is the cromlech or circle at Penraz.

The folk-beliefs attached to the megalithic monuments of Brittany are numerous, but nearly all of them bear a strong resemblance to each other. Many of the monuments are called Grottes aux Fees or Roches aux Fees, in the belief that the fairies either built them or used them as dwelling-places, and variants of these names are to be found in the Maison des Follets ('House of the Goblins') at Cancoet, in Morbihan, and the Chateau des Paulpiquets, in Questembert, in the same district.