In France the menhir was early adopted by the Christians; so early that it has generally been assumed that those examples which we see surmounted by a cross were pagan monuments, on which at some subsequent time Christians have added a cross. This, however, certainly does not appear to have been always the case. In such a cross, for instance, as that at Lochcrist, the menhir and the cross are one, and made for one another, and similar examples occur at Cape St. Matthieu, at Daoulas, and in other places in Brittany.[75] In France the menhir, after being adopted by the Christians, does not seem to have passed through the sculptured stage[76] common to crosses in Scotland and Ireland, but to have bloomed at once into the Calvary so frequent in Brittany. Here the cross stands out as a tall tree, and the figures are grouped round its base, but how early this form was adopted we have no means of knowing. In Denmark the modern history of the Bauta stones, as the grave or battle stones are there called, is somewhat different. They early received a Runic as the Irish received an Ogham inscription, but Denmark was converted at so late an age to Christianity (the eleventh century) that her menhirs never passed through the early Christian stage, but from Pagan monuments sank at once into modern gravestones, with prosaic records of the birth and death of the dead man whose memory they were erected to preserve. [Illustration: 13. Lochcrist Menhir.] In all these instances we can trace back the history of the menhirs from historic Christian times to non-historic regions when these rude stone pillars, with or without still ruder inscriptions, were gradually superseding the earthen tumuli as a record of the dead. It is as yet uncertain whether we can follow back their history with anything like certainty beyond the Christian era. This, however, is just the task to which antiquaries should address themselves. Instead of reasoning as hitherto from the unknown to the known, it would be infinitely more philosophical to reason from the known backwards. By proceeding in this manner every step we make is a positive gain, and eventually may lead us to write with certainty about things that now seem enveloped in mist and obscurity. [Footnote 42: It is so curious as almost to justify Piazzi Smyth's wonderful theories on the subject. But there is no reason whatever to suppose that the progress of art in Egypt differed essentially from that elsewhere. The previous examples are lost, and that seems all.] [Footnote 43: Herodotus, ii. 123; and Sir Gardner Wilkinson's 'Ancient Egyptians,' second series, i. 211; ii. 440 _et passim_.] [Footnote 44: Herod, i. 93.] [Footnote 45: 'Lydische Königsgräber,' Berlin, 1859.]