CHAPTER I.

       The Western Wing.

       Table of Contents

      In an old-fashioned country-house there is often to be found a room built out from the rest of the structure, forming, as it were, the extreme western wing. It has windows looking to the west, its door of communication with the great house, and, in summer-time, a southern exterior wall laden with fruit and fragrant with clematis, honeysuckle, or jasmine. The interior differs from the rest of the mansion both in its furnishing and in the habits of its occupants. It is a room in which there is an absence of bright colours, where everything is quiet in tone and more or less harmonious in aspect; where solid woodwork takes the place of gilding, where furniture is made simply and solidly for use and ease, where decoration is the work of the hand—holding a needle, a chisel, or a hammer. The prevailing colours in this quaint old room, which give a sense of repose on coming from more highly decorated saloons, are blue, grey, and green—the blue of old china, the grey of a landscape by Millet or Corot, the green that we may see sometimes in the works of Paul Veronese.

      This “western wing” is haunted, and full of mysteries and legends; its furniture is antique, and has seldom been dusted or put in order. Nearly every object is a curiosity in some way, and was designed in a past age; on the high wooden shelves over the open fireplace there are objects in wrought metal work, antique-shaped pots and jars. About the room are fragments of Druidical monuments, menhirs and dolmens of almost fabulous antiquity, ancient stone crosses, calvaries, and carvings, piled together in disorderly fashion, with odd-shaped pipes, snuffboxes, fishing-rods, guns, and the like; on the walls are small, elaborate, paintings of mediæval saints in roughly carved gilt frames, and a few low-toned landscapes by painters of France; on shelves and in niches are large brown volumes with antique clasps, and perhaps a model in clay of an old woman in a high cap, a priest, or a child in sabots.

      The room is a snuggery, well furnished with pipes and tobacco, and hitherto evidently not much visited by ladies; but the door is open wide to the rest of the mansion, through which the strains of Meyerbeer’s opera of Dinorah may sometimes be heard. The lady visitor is welcome to this out-of-the-way corner, but she must not be surprised to find herself greeted on entering in a language which, with all her knowledge of French, she can scarcely understand; to be asked, perhaps, to take a pinch of snuff, and to conform in other homely ways to the habits of the inhabitants.

      Such a quiet, unobtrusive corner—pleasant with its open windows to the summer air, but much blown and rained upon by winter storms—is Brittany, the “western wing” of France, holding much the same position geographically and socially to the rest of the country, as the room we have pictured in the great house, to the rest of the mansion.

      The Brittany described in these pages is comprised principally of the three departments of Côtes-du-Nord, Finistère, and Morbihan, the inhabitants of these districts standing apart, as it were, from the rest of France, preserving their own customs and traditions, speaking their own language, singing their own songs, and dancing their own dances in the streets in 1879. In these three departments is comprehended nearly all that is most characteristic of the Bretons, and the district forms itself naturally into a convenient summer tour of three or four weeks.

      Brittany is essentially the land of the painter. It would be strange indeed if a country sprinkled with white caps, and set thickly in summer with the brightest blossoms of the fields, should not attract artists in search of picturesque costume and scenes of pastoral life. Rougher and wilder than Normandy, more thinly populated, and less visited by the tourists, Brittany offers better opportunities for outdoor study, and more suggestive scenes for the painter. Nowhere in France are there finer peasantry; nowhere do we see more dignity of aspect in field labour, more nobility of feature amongst men and women; nowhere more picturesque ruins; nowhere such primitive habitations and, it must be added, such dirt. Brittany is still behindhand in civilisation, the land is only half cultivated and divided into small holdings, and the fields are strewn with Druidical stones. From the dark recesses of the Montagnes Noires the streams come down between deep ravines as wild and bare of cultivation as the moors of Scotland, but the hillsides are clothed thickly in summer with ferns, broom, and heather. Follow one of these streams in its windings towards the sea, where the troubled waters rest in the shade of overhanging trees, by pastures and cultivated lands, and we may see the Breton peasants at their “gathering-in,” reaping and carrying their small harvest of corn and rye, oats and buckwheat; the women with white caps and wide collars, short dark skirts, and heavy wooden sabots, the men in white woollen jackets, breeks (bragous bras), and black gaiters, broad-brimmed hats and long hair streaming in the wind—leading oxen yoked to heavy carts painted blue. Here we are reminded at once of the French painters of pastoral life, of Jules Breton, Millet, Troyon, and Rosa Bonheur; and as we see the dark brown harvest fields, with the white clouds lying low on the horizon, and the strong, erect figures and grand faces of the peasants lighted by the evening sun, we understand why Brittany is a chosen land for the painter of paysages. Low in tone as the landscape is, sombre as are the costumes of the people, cloudy and fitful in light