St. Jean de Lyon dates from 1180, and presents many architectural anomalies in its constructive elements, though the all-pervading Gothic is in the ascendant. From this height downward, through various interpolations, are seen suggestions of many varieties and styles of church-building. There is, too, an intimation of a motif essentially pagan if one attempts to explain the vagaries of some of the ornamentation of the unusual septagonal Lombard choir. This is further inferred when it is known that a former temple to Augustus stood on the same site. If this be so, the reasoning is complete, and the classical ornament here is of a very early date. The fabric of the cathedral is, in the main, of a warm-coloured freestone, not unlike dark marble, but without its brilliancy and surface. It comes from the heights of Fourvière,--on whose haunches the cathedral sits,--and by virtue of the act of foundation it may be quarried at any time, free of all cost, for use by the Church. The situation of this cathedral is most attractive; indeed its greatest charm may be said to be its situation, so very picturesquely disposed is it, with the Quai de l'Archevêché between it and the river Saône. The choir itself--after allowing for the interpolation of the early non-Christian fragments--is the most consistently pleasing portion. It presents in general a fairly pure, early Gothic design. Curiously enough, this choir sits below the level of the nave and presents, in the interior view, an unusual effect of amplitude. With the nave of the thirteenth and fourteenth centuries, the style becomes more mixed--localized, one may say--if only consistent details might be traced. At any rate, the style grows perceptibly heavier and more involved, without the simplicity of pre-Gothic work. Finally, as one comes to the heavily capped towers, there is little of grace and beauty left. In detail, at least, if not in general, St. Jean runs quite the whole scale of mediæval architectural style--from the pure Romanesque to the definite, if rather mixed, Gothic. Of the later elements, the most remarkable is the fifteenth-century Bourbon chapel, built by Cardinal Charles and his brother Pierre. This chapel presents the usual richness and luxuriance of its time. If all things are considered, it is the chief feature of interest within the walls.