The architecture of the south façade of the church belongs to the twelfth century, and the work was evidently left unfinished. From what remains it is difficult to deduce the architect's original plan. The position of the bell-tower might lead us to suppose that there would be another corresponding with it on the opposite (eastern) side; but then the Chapel of the Agony, with its precious contents, would be covered over, together with the part below the Golgotha, which must of necessity have been mutilated, if, as would seem probable, other doors had been made into the church. Let us however examine the building which is still left to us. On the level of the ground are two doorways, and above them two windows with arches similarly pointed[403]. The arches of the doorways are composed of three archivolts finely carved, which spring from three columns of verd antique, placed in the re-entering angles of the piers of each door[404]. The capitals of these columns, which are skilfully executed, are a Byzantine imitation of the Corinthian order. The design of the cornice running along the top of the whole façade is also ancient. The bas-reliefs on the lintels of the tympana of the two doors are too well wrought to be the work of the twelfth century. The profiles of the figures on that above the western door are admirably executed, as well as their attitudes; they represent several scenes from the Gospels, as the entry into Jerusalem, the raising of Lazarus, and the Last Supper. The outlines of the leaves, flowers, fruit, birds, and men, on the other, are exquisite. The eastern doorway is built up; the other is the only entrance into the church, and consequently accidents frequently happen there during the Easter season[405]. By the side of the closed doorway is a staircase leading into the Chapel of the Agony, which is a square in plan, and is built against the south wall of the Calvary, communicating with that sanctuary by means of a window which has replaced an ancient door. This chapel was formerly a small ornamental terrace-roof, which served as an antechamber to the Calvary. Tradition asserts that the Emperor Heraclius brought back the true Cross into the church through this entrance. The Latins believe that the Virgin Mary remained upon this spot during the Passion of her Son whence its name is derived. The Greeks call it the Throne of S. Helena, but cannot give any reason for doing so. The rock does not lie immediately underneath this chapel, but there is a small oratory, dedicated to S. Mary of Egypt, which proves that the rock is not met with in any place round the present Calvary, but only on its summit. In the lower cornice of the Chapel of the Agony, towards the entrance to the oratory, is a carving of two four-footed animals (ideal monsters), which, in my opinion, is a _chef d'oeuvre_, and, like all the other ornaments on the outside of this chapel, well worth notice.