The interior gives, likewise, a grand impression, one of vaster magnitude than in reality exists. The length is probably exaggerated by reason of the lack of transepts; but its breadth, including nave and aisle, is unusually great, and the height is further magnified by the fact that the aisles themselves have three ranges of openings, above which, in the nave, rise the triforium and clerestory,--surely alone a sufficiently unusual arrangement to account the church as of remarkable planning. Its great beauty may be said to be the magnificent proportions throughout, rather than the preeminent intrinsic value of any specific detail. The rose window of the west end, though of grand proportions, appears to fail utterly as a supreme effort because of the flatness and depression given to its circumferential outline. Like that of St. Gatien at Tours it is of an uncertain lozenge shape, while the effect is further lessened by the mediocrity of its glass and framing. 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." [Illustration: _CATHEDRAL of S. CYR & Ste. JULIETTE NEVERS_] III ST. CYR AND ST. JULIETTE DE NEVERS