These extraordinary building projects often took decades (and more) to complete, with craftsmen and general workers billeted on the spot for the duration. The small close at Berven was a real exception, being constructed in one seven year fell swoop. The English organ-maker Thomas Dallam, whose father Robert had fled from Catholic persecution in Cromwell's Britain, was not only in constant employ in Brittany, but managed to produce several children whilst based in Pleyben (1688-1692) working on his masterpiece there. Another of his fine pieces can be seen at Guimilau, perhaps the most beautiful and well-set of all the parish closes.
Many of the craftsmen who had come from outside Brittany to work on the Chateau de Kerjean, north of Landivisiau, at the end of the 16th century, found themselves in demand to transfer their skills in new Renaissance styles to the religious context of the parish closes. It was a highly competitive field, with villages vying with their neighbours to have bigger and better examples to boost their local pride and proclaim their prosperity by a public show of wealth. This sort of communal devotional ostentation was highly acceptable to the Bretons, even though they tended to shun excessive display as individuals.
The closes were largely funded by the wealth that poured into western Brittany from the cloth trade, until Colbert's protectionist measures dealt a hammer blow in 1687, and business almost ceased overnight, as figures from goods passing through the port of Morlaix show. There were other important sources of local revenue such as large fairs - that of La Martyre, which has the most beguiling and unusual of all parish closes, is a good example, with merchants coming from as far afield as England and Flanders. Local legend says that Shakespeare's father came here as a glove-seller, possibly with the young Will in tow. At Lampaul-Guimilau, one of the 'big three' parish closes just west of Morlaix, the tanning industry generated considerable profits to be poured into the magnificent bell-tower (which sadly lost its top to lightning in 1809) and the sumptuous church interior, which remains its principal glory today.
It is quite extraordinary to imagine these tiny rural villages full of life, purpose, excitement, religious emotion, movement, noise and colour for long periods of construction work on the parish closes from the 15th to 17th centuries, achievements which remain symbols not only of exquisite art and architecture from Gothic to Renaissance and Baroque, but also of an economic and social vibrancy now long since vanished.
Writer living in Finistere, French citizen, blogging about Breton history and landscape. Published work includes many books and articles on Brittany's complex past, real and legendary, walking guides and fiction. Also creative texts for exhibitions on those themes. Books out in 2020: Wayfaring in Brittany, about paths into the past, and The Stolen Saint, new novel. See my website wendymewes.com