The rose window, before remarked, shows well from the inside, though its glass is not notable.
A series of badly arched lancets in the choir are ungraceful and not in keeping with the other constructive details. The delicately sculptured and foliaged screen or jubé at the crossing is a late fifteenth-century work.
In one of the chapels is now to be seen, in mutilated fragments, the ancient sixteenth-century clôture du chœur. It was a remarkable and elaborate work of bizarre stone-carving, which to-day has been reconstructed in some measure approaching its former completeness by the use of still other fragments taken from the episcopal palace. The chief feature as to completeness and perfection is the doorway, which bears two lengthy inscriptions in Latin. The facing of the clôture throughout is covered with a range of pilasters in Arabesque, but the niches between are to-day bare of their statues, if they ever really possessed them.
Choir-stalls, Rodez
The choir-stalls and bishop's throne in carved wood are excellent, as also an elaborately carved wooden grille of a mixed Arabesque and Gothic design.
There are four other chapel or alcove screens very nearly as elaborate; all of which features, taken in conjunction one with the other, form an extensive series of embellishments such as is seldom met with.
Two fourteenth-century monuments to former prelates are situated in adjoining chapels, and a still more luxurious work of the same period—the tomb of Gilbert de Cantobre—is beneath an extensive altar which has supposedly Byzantine ornament of the tenth century.
Rodez was the seat of a bishop (St. Amand) as early as the fifth century.
Then, as now, the diocese was a suffragan of Albi, whose first bishop, St. Clair, came to the mother-see in the century previous.