On our trip south from Moulins we come upon Riom, a quiet little place
living on its memories of mediaeval 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.
[Illustration: 15TH CENTURY "CANOPY" WINDOW, SAINTE CHAPELLE, RIOM.
_Gothic details carefully elaborated. Curtains suspended across
backs of niches give the artist another colour, while white
winding scrolls assist canopy portions in admitting light.
Donors are here more important but not yet intrusive, as seen
later._]