But the benches are the most characteristic point in the building. At one period they must all have been appropriated, though they are now free; for each division still retains a shield, on which is painted a coat‐of‐arms and the name of a citizen, or of his wife or widow, with the date of the year, going back in some cases to the beginning of the last century. When High Mass was over, the women in going out passed round by the bier, on which they sprinkled holy‐water, followed by the men, who seriously and piously performed the same act of fraternal charity. Thence we followed them to the small mortuary chapel outside, but so filled was it by a weeping group that we turned back and sauntered round the covered gallery, or cloister, which borders this beautiful _Gottesacker_, or “God’s acre,” as the Germans so truly call their cemeteries. Sauntering it certainly was; for it was difficult to move quickly, so many were the inscriptions, so well tended the hundreds of pretty graves. Marks of affection and remembrance were visible at every step in fresh wreaths and baskets of beautiful flowers, arranged with a taste and art that told what loving hearts must have guided the skilful hands that made them. Some good oil‐ paintings and handsome monuments also adorn this gallery; but the most attractive part of the whole burial‐ground is its eastern end. This is appropriated to diminutive graves and crosses, hung with white bows of ribbon and white flowers. We knew that in the Catholic Church there is a special service for infants—one of pure joy without a word of grief; but never before had we seen any particular spot set apart for these baptized little angels. Later, we found that it is a custom universal in the burial‐grounds of these Catholic cantons; but none that we afterwards saw ever struck us so much as this one of Lucerne. The whole place, too, was full of stone stoups, provided with water and branches of blessed box, wherewith to sprinkle the graves. Foot‐passengers have a right of way from an upper road through this churchyard, and we saw many stop, as they passed, to perform this work of charity over a tomb, with a pious aspiration for the repose of the souls. “Have pity on me, my friends,” is a prayer well responded to in this touching _Gottesacker_, where the dead still dwell in the hearts of the living, truly under the shadow and protecting influence of the church and of the cross. The doctrines of the Catholic faith in the communion of saints and intercession for the holy souls in purgatory are here so practically carried out, that they must get intertwined with the tenderest feelings of each Lucerner, and developed in their best sense from childhood upwards, becoming their comfort and mainstay from the cradle to the grave.