The cathedral of Le-Puy-en-Vélay is another example of the same style.[28] The east end and the two first bays of the nave belong to the 10th century. The church progressed westward at the rate of two bays in a century till the last two were completed with the wonderful cavernous porch under them about the year 1180. The whole length of the church is 215 ft., and its width across the nave is a little over 80. Externally its most remarkable feature is the façade of the south transept, which is perhaps the richest and most elaborate specimen of the Ainay style of decoration existing. On the north side is the cloister, which is a singularly elegant specimen of the style, but very classical in detail. The pillars are almost Corinthian in outline (Woodcut No. 599), but the blunder the Romans made when using pillars with arches has in this case been avoided. If reference is made to Woodcuts 211 and 213, or to any others representing the classical form, the difference will be at once perceived. In both instances the pillars were used merely as ornaments, but with the Romans they were nothing but useless additions, without even the pretence of utility. In this cloister they support the arches, and are veritable parts of the construction. It would be difficult to find any apter illustration of Pugin’s famous antithesis than these examples of Roman and Burgundian architecture—the one is constructed ornament, the other ornamented and ornamental construction—and notwithstanding its rudeness, the Burgundian example is far more pleasing than the Roman, and, if used with classical details, this arrangement might now be introduced into any Italian design with the most satisfactory effect. [Illustration: 599. Cloister of Cathedral of Le-Puy-en-Vélay. (From a Photograph.)] The church of St. Bénigne at Dijon, mentioned above, was one of the oldest in Burgundy, and was probably an excellent type of the style of that country. But its total destruction and the insufficiency of the plates published by Dom Plancher[29] preclude anything like a satisfactory study of it. The abbey church of Tournus (Woodcut No. 600) is perhaps nearly as old, its antiquity being manifested by the rudeness both of its design and execution. The nave is separated from the aisles by plain cylindrical columns without bases, the capitals of which are united by circular arches at the height of the vaults of the aisle. From the capitals rise dwarf columns supporting arches thrown across the nave. From one of these arches to the other is thrown a transverse tunnel-vault, which thus runs the cross way of the building; being, in fact, a series of arches like those of a bridge extending the whole length of the nave. This is, I believe, the only known instance of this arrangement, and is interesting as contrasting with the longitudinal tunnel-vaults so common both in this province and in the South. [Illustration: 600. View of Interior of Abbey at Tournus. (From Taylor and Nodier.)]