The very ancient chapel of S. Jean is close to this door, and by its side is a fifteenth century archway. The chapel is arcaded on its south side and pierced with very simple windows. Some antiquaries assert that it is a piece of Roman construction, and it is not impossible, though I should be much more inclined to call it tenth century work. The chapel has a rude quadripartite vault, and its apsidal chancel is roofed with a semi-dome. I must conclude my long notice of this church by some mention of the extensive remains of painted decorations still visible. During the late restorations of the cathedral, I understand from M. Aymard, the greater portion were destroyed. The vaults of the north transept and the semi-domes of its apsidal recesses are still, however, covered with paintings, though they are scarcely intelligible, owing to darkness and dirt. In one of them occurs a figure of our Lord giving the benediction in the Greek fashion, and it is one of the many evidences which may be adduced of the Eastern influence visible here in so many respects, though I am not disposed to lay so much stress upon it as some of those did who engaged in the controversy it occasioned.[47] In the western porch there are also extensive remains of painting; the soffits of the arches in the third bay from the west are all painted, and so too are the walls over the altars in the chapels of S. Martin and S. Gilles. The painting was executed on a thick coat of plaster, and the nimbi are of gold with lines incised on them. No doubt the whole church once glittered with gold and colour, and, seeing how fine its effect still is, we may, aiding the indications still left with our recollections of Assisi, of Venice, and of Padua, people the bare walls once again, and bring before our eyes an interior of the most gorgeous magnificence.