o commenced in 1424, and the great bell of the clock
which they contain dates from 1312. The north and south doorways are
both fine. The latter is dedicated to St. Catherine, and a figure of the
saint adorns a niche in the left buttress. Both portals possess scrolls
bearing inscriptions or mottoes, such as, A ma Vie, one of the mottoes
of the House of Brittany. In the pediment of the west doorway is the
finest heraldic sculpturing that the Middle Ages of Brittany produced.
In the centre, the lion of Montfort holds the banner of Brittany, on
which may be read the motto of Duke John V.: Malo au riche duc. In the
corner to the left are the arms of Bishop Bertrand de Rosmadec, stamped
with the mitre and crozier, and the motto, En bon Espoir. Many other
mottoes, such as Perac (Wherefore?); A l'aventure; Leal a ma foy; En
Dieu m'attens, belonging to different lords of Brittany, will also be
found here.

The effect of the interior is extremely grand and imposing. It is of
great height, whilst the side chapels and outer aisles give it an
appearance of more breadth than it deserves. The apse is polygonal. The
principal nave, with its large arches, its curved triforium, and its
flamboyant windows, bears the mark of the fifteenth century. The choir
is thirteenth century, and possesses a triforium with a double gallery,
surrounded by gothic arches supported by small columns, of which the
capitals are extremely elegant.

The church has a peculiarity which is not often found, at any rate in so
pronounced a manner. The chancel is not in a line with the nave, but
inclines to the left, or north. Thus, in standing at the west end, only
a portion of the apse can be seen. The effect is singular, and, at the
first moment, seems to offend. But after a time the peculiarity becomes
decidedly effective. The stiffness of the straight line, of the sides
running exactly parallel one with the other, is lost. One grows almost
to like the break in the uniformity of design. It appeals to the
imagination. Certain other cathedrals incline in the same way, but in a
more modified form. The architects' reasons for thus inclining the choir
are lost in obscurity. By some it has been supposed that their motive
was purely effect; by others that it was in imitation or commemoration
of our Lord, Who, when hanging upon the cross, inclined His Head to the
left.

Many of the windows are old, and add greatly to the fine effect of the
interior. Those in the nave d