One glance round the interior of the church is sufficient to show that, in spite of the loss of unity caused by the addition of a Flamboyant Gothic Jubé, and Gothic side chapels, we have here the best of lower Burgundian churches, modelled on Cluny, and comprising all the characteristics of the classical Romanesque style; although the pointed arches of the bays of the nave, and of the high vault, not quite a barrel vault, might lead some people to suppose, wrongly, that the church is essentially Gothic. The fluted pilasters on the piers, a feature which we shall see repeated in many a church hereabouts, and the triforium gallery, imitated obviously from the arcade of the Porte d'Arroux, with further fluted pillars between pierced arches, and the cornice above, all show how persistent was the influence of the Roman tradition. Another feature that strikes one immediately is the stunted height of the triforium and clerestory, a fact easily accounted for when we remember that the Burgundians of the 12th century, while they liked a lofty first storey, had not developed the art of buttressing sufficiently well to enable them to lift their vaults very high. Even so the settlement, in an outward direction, above the springing of the aisle arches, is very noticeable, and, as we have already seen, necessitated the insertion of flying buttresses to prevent collapse within two hundred years of their erection. Yet, despite these drawbacks, an observer, standing in one of the transepts, and looking across at the other transept, and down the nave, cannot but be struck by the grandeur of the whole effect; by the lightened solidity, the well-tempered massiveness which is characteristic of Burgundian architecture, as it is of Burgundy as a whole. I am not one of those who consider that the building art of the 12th century, here or elsewhere, can ever rival the developed Gothic in inspiring power, as a setting for, or as a symbol of, the mystical spirit of Christianity, and I think that this opinion applies especially to the work of these Burgundian architects, whose adherence to classic detail must inevitably recall, to cultured minds, the Hellenic myths with which they are historically associated, and carry down an architectural tradition of horizontal effect, utterly at variance with the dominance of vertical line that was to be one of the main characteristics of 13th century development. This clashing of two styles, however, has been tempered in Autun Cathedral by the insertion at the transepts, between the piers, of round shafts which carry the eye up to the vault, and break the severity of the square angles of the crossing. The top of the little spiral staircase in the north transept, is the best place from which to see the detail of the triforium arcade, the decoration of the archivolts, and the band of roses above them. Here, too, is to be had a good view of the domed vault.