THE PYRENEES TO PROVENCE
the eye, lighting on it from the heights, seeks a sky-line like that of Clermont or Périgueux. Aix, in this respect, remains inadequate; yet presents itself to closer inspection as a charming faded old place, tinged with legal and academic memories, with a fine double row of balconied and sculptured hôtels along its leafy cours, and a number of scattered treasures in the folds of its crooked streets.
Among these treasures the two foremost—the picture of the Buisson Ardent in the cathedral, and the Gobelin tapestries in the adjoining Archbishop's palace—belong to such widely sundered schools that they might almost be said to represent the extreme points within which French art has vibrated. It is therefore the more interesting to note that both are intrinsically and preëminently decorative in quality—devotional triptych and frivolous tapestry obeying the same law of rigorously balanced lines and colours. The great picture of the Burning Bush is, with the exception of the Virgin of Moulins, perhaps the finest flower of that early French school of painting which was so little known or considered that, until the recent Paris exhibition of "Primitives,"
[ 127 ]
