Did space permit, we would gladly accompany the Abbé on other of the excursions in the environs of Clermont, for which he continually finds excuse in the necessity either of escorting ladies or of enjoying the winter sunbeams. As at Riom, he always manages to pick up some anonymous but intelligent acquaintance, to enlighten him concerning the gossip of the country, and to father those sallies and inuendoes of which he himself is unwilling to assume the responsibility. His account of a visit to the Dominican convent is full of quiet satire. He was accompanied by his friend Monsieur de B---- "a sensible man, well acquainted with the belles lettres, and of very agreeable conversation." M. de B---- is made the scapegoat for the sly hits at the abuses of the church, and at the pictures and records of miracles to which they are introduced by a simple and garrulous monk. There were few founders of religious orders, they were informed, of such good family as St Dominick, who was a grandee of Spain, and consequently far superior to St Ignatius, whose nobility the Jesuits vaunted, and who, after all, was but a mere gentleman. There were, of course, many pictures of the grandee upon the church and cloister walls, representing him engaged in various pious acts. "In one of them he was depicted presenting a request to the Pope, surrounded by his cardinals, whilst on the same canvass was seen the horse of Troy, dragged by Priam and by the gentlemen and ladies of the town, with all the circumstances related by Virgil in the second book of the Æneid." Fléchier was considerably puzzled by this mixture of sacred and profane personages; but his guide explained its singularity by assigning the picture to a pious and learned monk, as well read in Virgil and Homer as in his breviary, who made a good use of his reading, and was particularly happy in employing it to the glorification of God and the saints. Another picture represented a Dominican holding a pair of scales, in one of which was a basket full of fruit, and in the other an empty basket, with the inscription _Retribuat tibi Deus_. The promissory note of the Jacobins was so heavy that it outweighed the laden basket. The guide would fain have expatiated on the beauty of this allegory, suggested, as he maintained, by a miracle actually wrought in favour of his order, but Fléchier cut him short in his homily, and passed on to the next painting, the representation of one of those "piously impious" legends, as M. Gonod justly styles them, so often met with in monkish chronicles. This one, in which the Saviour of mankind is represented as supping with and converting a beautiful Roman courtesan, shocked the religious feelings of the Abbé Fléchier in the year 1666, although in the year 1832, it was not deemed too irreverent for reproduction in a work entitled "Pouvoir de Marie," written by the notorious Liguori, and published at Clermont Ferrand, by the Catholic Society for pious books.