l the principal
episodes of the Passion. Its date is 1610. Even the crosses are
surmounted by statuettes, as if the designer had not known how to heap
up sufficient richness of ornamentation. The carved pulpit in the
interior of the church is also remarkable.

We could only devote an hour to St. Thegonnec; Guimiliau had still to be
seen, and we wished to be back in Morlaix by a certain time, for "the
night cometh." Fortunately the drive was not a long one.

Guimiliau is a village not half the size of St. Thegonnec, and is even
less civilized. Into the inn, which no doubt is respectable, but was
rough and primitive, we did not venture. The driver and the landlord
were apparently on excellent terms, and whilst they fraternised over
their glasses, we inspected the church.

The place takes its name from Miliau, a king of the Cornouaille, who was
treacherously murdered by his brother Rivod, who then proclaimed himself
king about the year 531. The church and the people canonised him, and he
has become the patron saint of many a Breton village.

The church of Guimiliau dates chiefly from the sixteenth century. The
aisles and the south porch are Renaissance, richly ornamented by
delicate sculptures representing scenes from the Old and New Testament;
statues of the Apostles. The triumphal arch and ossuary are very
inferior to St. Thegonnec, but the calvary is a magnificent monument,
unequalled in Brittany, richly sculptured and ornamented. It rests on
five arches, and you ascend to the platform by a short staircase in the
interior. Here are crosses bearing the Saviour, and the thieves,
quaintly carved, but with a great deal of religious feeling. The
Evangelists, each with his particular attribute portrayed, are placed at
the angles: and the whole history of the Life of Christ is represented
by a countless number of small figures or personages dressed in costumes
of the sixteenth century. The effect is occasionally grotesque, but very
wonderful. A procession armed with drums and other instruments precedes
the _Bearing of the Cross_; and another scene which does not belong to
the Divine Life, but was introduced as an accessory, represents Catel
Gollet (the lost Catherine) precipitated by devils in the form of
grotesques into the jaws of a fiery dragon emblematical of Purgatory.

Catel Gollet was one who concealed a sin in confession, was condemned to
suffer, and returning miraculously in 1560 announced her condemnation to
her