The village lies between two high and barren hills, which shelter it from the cold winds, and make the valley laughing and fertile.  Here you find well-grown elm trees, and hedges full of the whitethorn, honeysuckle and wild vines; hedges surrounding rich and productive orchards, amongst which, here and there, you will see rising the thatched roof of the small cottages inhabited by the Breton peasantry.

As at Roscoff, so the moment we reached St. Jean-du-Doigt, we felt its fascination.  Its situation between the hills is extremely picturesque.  Approaching, its rich gateway, leading to the churchyard, stands before you with fine effect; and beyond it rises the church.

The gateway is Flamboyant gothic, of great beauty and refinement.  The church is fifteenth century gothic.  Its wooden roof is beautifully carved and painted.  The interior has no transept, but is composed of three naves under one roof.  The west aisle has been shortened to make room for the tower; and in the north nave is a closed-up pointed doorway, which must have belonged to the earlier chapel dedicated to St. Meriadec.  The apsis is terminated by a straight wall.  The three naves are separated below the choir by prismatic pillars supporting light and bold arches.

The tower is pierced on the four sides by two long, narrow lancet windows, ending in a platform bearing a Flamboyant balustrade, above which rise four bell-turrets in lead, supporting a tall leaden spire.

The churchyard contains two remarkable objects:  a mortuary chapel of the date 1577, open on three sides, with a stone altar at the end.  The other is an exquisite Renaissance fountain of lead, with admirable figures, the goal of many a pilgrimage.  It is a rare work of art, composed of three trenchers or shallow basins united by a slender column, of which the base enters a large reservoir in the form of a basin resting on a pedestal, the water issuing from lions’ mouths.  The overflow from the upper basins is discharged into the larger basins below by means of a cordon or garland, consisting of angels’ heads, full of grace and beauty.  The summit of the fountain is crowned by an image of the FATHER ETERNAL, leaning forward to watch the Baptism of the SON by John the Baptist.  These figures are all in lead, as also are the innumerable heads of the angels pouring out water from the three upper stages.  The exquisite composition is said to have been the work of an Italian artist, and was given by Anne of Brittany.

The whole village scene is picturesque and striking.  You feel at home at once; it is marked by a certain refinement, a delicious quietness and repose in which there is something singularly soothing.  Lying in a hollow, it seems to have carefully withdrawn from the outer world.  It is warm and sunny, and marked and beautified by a wealth of flowers.  Surrounding the churchyard are some of the small houses of this mediaeval village.

The inn opposite the gothic gateway looks the very picture of cleanliness and quiet comfort.  Through an open window you see a table spread with a snow-white cloth, a capital ensign for an inn, promising much that is loyal.  The whole of the exterior is a wealth of blossom, roses and wisteria covering the white walls, framing the casements, overflowing to the roof.