The semi-dome of the chevet was supported by eight noble columns, through which was seen in perspective a circle of five apsidal chapels. Externally the roof was crowned by five larger and three smaller towers; and the whole was carried up solidly to a height unrivalled among the buildings of this age. What added to its interests was, that the church at least was at the time of its destruction an almost unaltered specimen of the architecture of the 11th and 12th centuries, having been commenced in 1089 by St. Hugues, and dedicated in 1131. The narthex or ante-chapel, though somewhat more modern, was probably completed within the limits of the 12th century. These dates have been disputed, but principally on account of the theories prevalent regarding the origin of the pointed arch. This feature was used here, as it is found elsewhere, in all the pier arches separating the nave from the aisles—the vaulting of the aisles having probably been also pointed, while the great vault of the church is a plain tunnel-vault with transverse ribs on its surface. That of the narthex is a transverse vault of a later date, but of singularly clumsy construction. Whether it had a clerestory or not, is not quite clear from such drawings as we possess; but if not, it undoubtedly had a double gallery throughout, the upper range of which, if not both, served to admit light. We should hardly be able to make out, from the representations we possess, what the exact ordinance of this church was were it not that some other contemporary churches in the same style still remain to us. Among these, one of the most perfect is the cathedral at Autun, formerly the chapel of the dukes of Burgundy, commenced about the year 1090, and consecrated 1132. The arrangement of its nave is extremely similar to that of Cluny, with these differences, that at Autun, the great vault is slightly pointed, and attached to the piers of the nave are pilasters instead of three-quarter columns. In the ante-church, however, at Cluny, the same pilastered arrangement occurs. This is the characteristic of the true Burgundian style, and so peculiar is it, and so classical, that some antiquaries have not hesitated to consider it as a bad imitation of Gothic forms belonging to the 15th or 16th centuries. In fact the fluted columns or pilasters, their Corinthian capitals, and the whole arrangements are so eminently classical, as almost to justify the doubt in those who are not familiar with the history of the southern styles of France. There can, however, be no doubt as to the age of these examples, and as little as to the models from which they are copied; for in this very city of Autun we have two Roman gateways (one of which is represented in Woodcut No. 218), and there are others at Langres and elsewhere, which, except in the pointed arch and other constructive peculiarities, are almost identical with the style of these churches. Whether from want of familiarity with this style, or from some other