The two cathedral towers of early Gothic flank a generous porch. There is good glass throughout the church, the circular "rose" of the transept being a magnificent composition in a granite framing. The nave is of thirteenth-century Gothic, from the south aisle of which projects a large chapel dedicated to St. Michael. The double-aisled choir is garnished with sculptured stalls of the fifteenth century, and, separated from its aisles by a stone screen, is of much larger proportions than the nave, and likewise of a later epoch of building. The apse is flamboyant, as are also the windows of the south transept. In the chapels are various vaults and tombs, remarkably well preserved, but of no special moment. In one of these chapels, however, is a curious painting in the vaulting, representing a "Trinity" possessing three faces, disposed in the form of a trefoil with three eyes only. A ribbon or "_banderalle_" bears an inscription in Gothic characters; in the Breton tongue, "_Ma Donez_" (Mon Dieu). XV ST. CORENTIN DE QUIMPER "C'est Quimper, ce melange du passe et du present." A true enough description of most mediaeval cities when viewed to-day; but with no centre of habitation is it more true than of this city by the sea,--though in reality it is not by the sea, but rather of it, with a port always calm and tranquil. It takes rank with Brest as the western outpost of modern France. For centuries unconquered, and possessing an individuality of its very own, this now important prefecture has much to remind us of its past. History, archaeology, and "mere antiquarian lore" abound, and, in its grandiose Cathedral of St. Corentin, one finds a large subject for his appreciative consideration. [Illustration: ST. CORENTIN _de QUIMPER_ ...] It is of the robust and matured type that familiarity has come to regard as representative of a bishopric; nothing is impoverished or curtailed. Its fine towers with modern spires, erected from the proceeds of a "butter tax," are broad of base and delicately and truly proportioned. Its ground-plan is equally worthy, though the choir is not truly orientated. Its general detail and ensemble, one part with another, is all that fancy has told us a great church should contain, and one can but be prepared to appreciate it when it is endorsed, and commented on, by such ardent admirers as De Caumont, Viollet-le-Duc, Corroyer, and Gonse, those four accomplished Frenchmen, who probably knew more concerning Mediaeval (Gothic) architecture than all the rest of the world put together.