will often perform miracles. As we looked upon the clear,
transparent water, we felt at least the innocence of the charm, and
therein a great virtue.

The interior of the church has been much praised by competent judges,
and very justly so, for in its way it is very perfect. Yet, to us, its
beauty was marked by a certain heaviness; and the "dim religious light"
that adds so much to the effect of many an interior, here brought with
it no sense of mystery. Perhaps it was not sufficiently subdued; or the
heaviness of the stone may have had something to do with it. Also, it
looked singularly small, in comparison with the exterior. It has been
much altered since it was first built, and has lost nearly all its
arches, which have been replaced by Gothic canopies in the form of
ornamental projections.

Much of the interior is beautifully and elaborately sculptured, and will
bear long and close inspection. The nave and aisles are under one roof,
like the church of St. Jean du Doigt: an arrangement not always
effective. The choir is short, as also are the aisles, the south
transept being the longest of all. A very effective rood screen
separates the choir from the nave. It is constructed of Kersanton stone,
and consists of three round arches, above which are canopies supporting
a gallery of open work decorated with quatrefoils. The effect is
extremely rich and imposing; and the foliage of the screen is a perfect
study of complications.

At the end of the south transept is the Fool's Chapel. The frescoes are
a history of his life, which is yet further carried out in the windows
and on the bas reliefs of the pulpit. The high altar under the rose
window is very finely moulded, with its canopied niches and beautiful
tracery. There are many statues of saints in the church, dressed in
Breton costumes, that would no doubt astonish them if they came back to
life and saw themselves in effigy. Many parts of the church are
decorated with wonderful carvings of vegetables, fruit and flowers.

But the general impression is heavy and sombre, the true Kersanton
effect and colour. Time and the elements have softened, subdued and
beautified the exterior; but the tone of the interior, unexposed to the
elements, remains what it originally was: wanting in refinement and
romance; it is the beauty of elaborate execution that imposes upon one.
All the windows are remarkable for their lovely Flamboyant tracery, that
of the rose window being especial