MOULINS
If our pilgrim in going south from Bourges to Clermont-Ferrand passed through Nevers, this slight detour has brought Moulins right upon his road. In this event he must avail himself of the opportunity to visit the cathedral, because its glass, although not of sufficient importance to demand breaking a railway journey, is distinctly worth seeing if he is passing the door. Besides, the sacristy of this church contains the splendid fifteenth century triptych, so long attributed to Ghirlandajo, but now conceded to have been the work of an unknown Moulins painter who, for want of more particular information, is called the Master of Moulins. Around the choir ambulatory there are a few canopy windows of the fifteenth century. Most of them are good, but one on the north side is quite remarkable and should be particularly noticed. The scene depicted is the Crucifixion and the background seems to be of a deep ruby. Closer inspection shows it to consist of a multitude of tiny red angels so crowded together as to give the effect, when viewed from a little distance, of a richly damasked surface. The result is as satisfactory as the method of obtaining it is original. There are also some good sixteenth century windows around the choir which are easily distinguishable because the architecture of their canopies is so obviously Renaissance and so far removed from Gothic.
As the automobilist or bicyclist passes through this town, he will be struck by the attractive local feature of large diamond-shaped patterns in black or dark bricks on the red brick walls of the houses. The effect is most decorative.
RIOM
On our trip south from Moulins we come upon Riom, a quiet little place living on its memories of mediæval importance and treasuring within the shady circle of its wall-replacing boulevards many fine houses and other testimonials to its former wealth and importance. In an old-world country like France it is not unusual to find striking contrasts between those parts of a city which have been absolutely modernised and other portions still preserving their ancient appearance. Between neighbouring towns, however, it is not often that we shall notice so startling a difference as is effected by the 14 kilometres separating Riom from Clermont-Ferrand. It seems impossible, while in the quiet streets of this town, to realise that we are so near the busy city of Clermont-Ferrand, active in many modern manufacturing industries, a railway centre, in short, a distinctly twentieth century community. Geographically those few kilometres are only a step, but historically they will transport us four or five centuries. Here we are in an atmosphere not later than the sixteenth century, although for glass lovers the interest of the place goes back still another. The fifteenth century feature which attracts us most in Riom is the Ste. Chapelle, which now serves as the chapel for the Palais de Justice, through which we must pass to reach it. The practical hand of the altering architect has fallen heavily upon this beautiful chapel. In 1822 he took away its lower part in order to gain room for the Court of Appeals which is just below. He graciously allowed the upper half to remain a chapel, but, of course, the introduction of a new floor at half the height of the original building caused the destruction of the lower portions of the seven fine windows. Each has four large lancets and is a remarkable example of the highly-developed canopy type of the middle of the fifteenth century. Upon these are displayed a great company of richly attired personages, affording us a rare opportunity to observe the dress of the upper classes of that day. The jewels, furs and other decorative details are not more minutely studied than are the architectural features of the canopies. Each figure holds in its hands a long paper scroll upon which there is writing. These scrolls form a most effective and agreeable feature, and their use as a form of decoration was frequently seen during that century. It appears at its best in the Tree of Life rose in the south transept at Carcassone. The four central panels at the bottom contain the donors, always an attractive detail if only they are modest in size and placing. We should try to see these windows on a rainy or grey day. It must be remembered that we no longer view them from below as their artist originally intended, because the action of the architect in 1822 has brought us up on a level with them. The chapel is so small and the windows so large that if the day is sunny we are not able to withdraw a sufficient distance to readjust the perspective, and therefore a dull day, by softening the light, greatly increases their charm.