the same time, are friable and decomposed. The Kersanton stone
cuts glass like a diamond.

The architecture of the Folgoet is distinguished for the elegance and
richness of its ornamentation: the softness of the Kersanton stone, when
fresh taken from the quarry fits it specially for the deeply cut,
lace-like works of the artists of the flamboyant school, and the church is
remarkable for the skill with which the productions of the vegetable
kingdom are represented both within and without. It has no transepts, but
to the south is a projection formed by the treasure chamber. The modern
pulpit has a series of medallion bas-reliefs representing the legend of
Solomon.

The jube, or roodloft, is a perfect lacework of stone. Above three arches,
decorated with vine-leaves, is an open-worked gallery of pierced
quatre-foils surpassing in exuberance of ornament any other known.

To the east are five altars, all of Kersanton stone, most delicately
sculptured--the under-cutting of the foliage most wonderful. They are in
the shape of tombs or sarcophagi, the form generally adopted for altars in
the sixteenth century. Round the "autel des anges," richest of them all,
is a row of eighteen niches, filled in with the figures of angels, holding
alternately phylacteries and escutcheons; round the top is a cornice of
thistle-leaves--on the cut stalk of one hangs a dew-drop perfect to nature.

The high altar is decorated with vine-leaves, birds pecking the grapes,
and the ermine, with its motto "A ma vie," introduced. The altar of the
rosary has also a cornice of vine-leaves modelled evidently after the high
altar.

[Illustration: 24. The Fool's Well, Folgoet.]

The fine flamboyant rose window at the east of the church resembles that
of St. Pol de Leon, and below it is the fountain of Salaun. The spring is
concealed under the high altar, and flows into a basin without, preserved
by a kind of Gothic porch sculptured with thistle-leaves and crockets, and
within it, on a bracket, is a delicately chiseled image of the Virgin.
Some children round the fountain offered us pins, the use of which we did
not understand. We afterwards learned that it is the custom in Brittany
for girls to take a pin from their bodice, and throw it into a sacred
well, to ascertain, by its manner of sinking, when they would be married.
If the pin falls head foremost, then there is no present hope of
matrimony, but if the point goes first, it is a sure sign of being m