Formal Analysis:Plan: A basilica with deep transept, three aisles in the main body with three bays of the nave and a chevet plat. Elevation: The nave has a two-storey elevation with a broad arcade and small clerestory window. Massive supports are widely space with narrow aisles that creates optical space. The wide arcades of the nave coupled with the narrow aisles places the spatial emphasis in the nave. There is unity in the articulation and space. The nave is heavily articulated with chevron moldings in the arches found in two bays and equipped with rib vaults. Present is a systematic use of diagonality throughout the building. Elevation: The tall gothic choir, dating from the first half of the 13th-century, has an elevation of cylindrical columns and lofty upper elevation with a blind triforium. The nave also has a two story elevation. On the north aisle of the nave we have the two earliest bays of the building. They are rather unusual in that they do not have keystone (the form is like an uncrossed X). Signs of experimentation with the rib vaults can be found in the north nave aisle. The first bay on the north eastern aisle has four atlas figures that are squatting as their arms reach above to hold the ribs that rise above. These atlas figures were later omitted. The rib profiles are of the triple torus variety with an almond shape in the central profile. Chronology:The oldest section of the building, dating to 1120-30?s, is the north transept arm, evident in part by the presence of the low chamfered molding. Work continued through the 1160?s or so. The later work was done in the transepts and dates to the 15th-century. Evident in the flamboyant tracery of the windows and disappearing capitals with deep concavities. However, the reworking has been patch-worked as there is still evidence of the earlier fabric. So What! General significance- history, liturgy, urban fabric - etc.: Focillion and Aubert with their research on the rib vault and the origins of Gothic has put a building like this on the map. Saint-Lucien of Bury is representative of the early experiments with rib vaulting in the east of Paris, in a heavy plastic Romanesque mode. The gothic elements of the building are present in the slightly pointed arcade in the nave vessel. Cultural affiliations are with the other buildings of the Oise, with Saint-Germer-de Fly, also the area around Beauvais ( as seen in the Beauvaisian cornice on the exterior flanks of the nave) as well as Norman architecture. Presumably there must have been a romanesque choir that is now gone.