The general appearance of the interior is one of symmetrical grandeur, wherein the effect of each dimension is probably enlarged, but with a fine and consistent proportion. Its conventional embellishments are not unduly ornate; though, for that matter, they do not give the impression of being wanting to any great degree either in quality or quantity. In no particular, however, is the sculptured form of figure or foliage of that excellence and magnitude of that of the cathedral at Reims or at Amiens.
The magnificent proportions of the choir well merit the term of "Burgundian opulence." Its termination opens with an amplitude often wanting in even a larger building, the piers being wide apart, without screening, which heightens still more its generous proportions.
The two picturesque cardinal's hats, with cord and tassels, have long been pendant from the vault of the choir, and are now dimmed in colour and thick deep with dust, seemingly destined to fall of sheer old age and decrepitude. Further particulars concerning this picturesque detail are wanting only from the lack of any one in attendance from whom one might get this information,—perhaps some reader of these lines may be more fortunate.
On the pavement of the nave is a brass rule, inlaid diagonally from the north to the south wall. Its original use appears to be clothed in some obscurity, one informative person stating that it is the line of departmental division, and another that it marks the meridian of Paris, which is shown on all French navigation charts. Its real purpose is evidently topographical rather than of religious or symbolical significance.
An ardent French writer deplores the fact that there is no monument here to show respect for Louis XI., who was born at Bourges and baptized in the cathedral; a pity, perhaps, and certainly a subject worthy of the consideration of "the powers that be."
III
ST. CYR AND ST. JULIETTE DE NEVERS
A unique experience is one's first contemplation of the "gay little city of Nevers" from the Pont du Loire, with the none too large Cathedral of St. Cyr and St. Juliette crowning, as it were, the apex of a series of steep rises from the Loire, which, even at this distance from the sea, still retains its ample breadth. Said Arthur Young in his plain and bald phraseology, "Nevers makes a fine appearance." Here, on the very threshold of the southland, it is something of a shock to be brought at once into intimate association with Italian influences and types of architecture; for, be it recalled, Nevers has been truly "an Italian stronghold in the midst of France," with little to remind one, but its speech, that it is merely a provincial French market-town. Nevers was the seat of the Italian Dukes and Counts of Nièvre, who built the ducal palace, the ci-devant chateau, now the Palace of Justice. Here, later, dwelt the nephew of the great Mazarin, who said his king "had a heart more French than his speech." Through his efforts the Nivernais was incorporated with the French crown in 1669.
This fine turreted, towered, and decorated building, with its sculpture attributed to Goujon, is to-day, in appearance at least, what it was in the past,—the typical urban domestic establishment of grand proportions and splendid appointments; though it may hardly be said to vie with such masterpieces as Chambord, Chenonceau, or Blois. Nor, for that matter, is the town itself entitled to rank, as to its events of historical importance or the fame or personality of its bishops or counts, with either Chartres or Le Mans, both of which it somewhat approaches in point of size.