Lava stone is dusty black, therefore on closer inspection Clermont Cathedral has somewhat the aspect of the smoke-stained churches in manufacturing centers. The gray-black Volvic stone is of better effect within the church, though at first that interior may strike a chill. Lava does not lend itself to sculptural decoration. However, the essential lines of Clermont are of such masterly proportions, of so grand a simplicity, that deeper and deeper grows the influence of this church on those who frequent it. The diagonals etched black against the white vault panels fall with peculiar ease and vigor on the tall dark piers. The slenderness of those clustered columns is not foolhardy, since lava has much resistant force. The single aisles of the choir and the double aisles of the nave rise to half the height of the church, and we have seen at Bourges and Le Mans that when pier arches are above the average height there is given to an edifice a note of exotic beauty. Like Amiens, the height of this church is three times greater than its width. Its vista is closed imposingly; the imaged windows of its high apsidal chapels appear symmetrically behind the arches that surround the sanctuary. The story of the chief church of Auvergne interests the archæologist. The crypt belonged to the previous Carolingian church, and so did the two western towers until the XIX century. M. Viollet-le-Duc removed the ancient belfries, extended the nave by two bays, and built the present towers, whose sky-pointing spires are superb in the general view of Clermont, but whose details can be criticized, as, for instance, the blocking of corner niches by pinnacles when the purpose of a niche is to hold a statue. Modern Gothic is too often a cold, hard imitation. The stair approaches here lack the old-time amplitude of the triple portals. The XIII-century cathedral of Clermont was practically the first Gothic monument raised in Auvergne, which province adhered stubbornly to its own exceptional Romanesque architecture. The first stone was laid in 1248, in the same year that Cologne Cathedral was begun. The founder, Bishop Hugues de la Tour, had attended the dedication of the Sainte-Chapelle at Paris, and then had returned to Clermont to begin his own cathedral. That same year he started out as a crusader, in the train of Louis IX, but as he died in Egypt the work on the church was not continued seriously till 1253, when St. Louis helped to raise to the see of Clermont his friend Guy de la Tour, nephew of Hugues. Belonging to a feudal family of great possessions, the new bishop, too, was able to be munificent toward his cathedral.