From the opposite bank of the Rhône--from Villeneuve-les-Avignon--the view of the parent city, the papal residence, the cathedral, and that unusual southern attribute, the _beffroi_, all combine in a most glorious picture of a superb beauty; quite rivalling--though in a far different manner--that "plague spot of immorality,"--Monte Carlo, which is mostly thought to hold the palm for the sheer beauty of natural situation. The cathedral is chiefly of the twelfth century, though even a near-by exterior view does not suggest any of the Gothic tendencies of that era. It is more like the heavy bungling style which came in with the Renaissance; but it is not that either, hence it must be classed as a unique variety, though of the period when the transition from the Romanesque to Gothic was making inroads elsewhere. It has been said that the structure dates in part from the time of Charlemagne, but, if so, the usual splendid appointments of the true Charlemagnian manner are sadly lacking. There may be constructive foundations of the eleventh century, but they are in no way distinctive, and certainly lend no liveliness to a building which must ever be ranked as unworthy of the splendid environment. As a church of cathedral rank, it is a tiny edifice when compared with the glorious northern ground-plans: it is not much more than two hundred feet in length, and has a width which must be considerably less than fifty feet. The entrance, at the top of a long, winding stair which rises from the street-level of the Place du Palais to the platform of the rock, is essentially pagan in its aspect; indeed it is said to have previously formed the portal of a pagan temple which at one time stood upon the site. If this be so, this great doorway--for it is far larger in its proportions than any other detail--is the most ancient of all the interior or exterior features. The high pediment and roof may be pointed Gothic, or it may not; at any rate, it is in but the very rudimentary stage. Authorities do not agree; which carries the suggestion still further that the cathedral at Avignon is of itself a queer, hybrid thing in its style, and with not a tithe of the interest possessed by its more magnificent neighbour. The western tower, while not of great proportions, is rather more massive than the proportions of the church body can well carry. What decoration it possesses carries the pagan suggestion still further, with its superimposed fluted pillars and Corinthian columns. The gloomy interior is depressing in the extreme, and whatever attributes of interest that it has are largely discounted by their unattractive setting.