The =exterior=, with the houses still built against it in places, though picturesque, has little minute architectural detail. The massive tower has been so much renewed as to be practically modern; but the Romanesque arches near the top give it distinction and beauty. The mean and unworthy porch is of the 17th cent.; the inner portal, however (though its arch has been Gothicised), belongs to the Romanesque church and is not without interest. Observe the character of the pilasters and capitals, with grotesque animals. Statues of St. Germain, of Childebert and Ultrogothe (as at the other St. Germain) and of Clovis, etc., which once flanked the door, were destroyed at the Revolution. In the tympanum are the unusual subjects of the Eternal Father, blessing, and beneath Him a Romanesque relief of the Last Supper (_not_, as commonly, the Last Judgment). The =interior= still preserves in most part its Romanesque arches and architecture; but the lower part of the nave is the oldest portion (early 12th cent.); the choir is about a century later. Most of the pillars have had their capitals so modernized and gilt as to be of relatively little interest, while the decorations, though good and effective, are in many cases of such a sort as effectually to conceal the real antiquity of the building. The church was used during the Great Revolution as a saltpetre factory, and was restored and re-decorated in polychrome a little too freely under the Second Empire. A few capitals, however, notably those of the Baptistery to the L as you enter retain their antique carving and are worthy of notice; while even the modern gilt figures on those of the aisle are Romanesque in character and quaint in conception. (You can examine some of the old ones which they replace in the garden at Cluny.) Walk round the church. The architecture of the =ambulatory and choir=, though later, is in a much more satisfactory condition than that of the main body. The arches of the first story are mostly round, but pointed in the apse; those of the clerestory are entirely Gothic. The detail below is good Romanesque; study it. Observe the handsome triforium, between the two stories; and more especially the interesting capitals of the columns—relics of the original church of Childebert, built into the later fabric. The choir, on the whole, is a fine specimen of late 12th cent. work. The Lady Chapel, behind, is a modern addition. After having thus walked round the aisles and the back of the choir to observe the architecture, return once more to the doorway by which you entered and proceed up =the nave=, in order to notice the admirable modern =frescoes by Flandrin= (Second Empire). These are disposed in pairs, each containing subjects, supposed to be parallel, from the Old and New Testaments. Note in these the constant survival of early traditions, revivified by Flandrin in accordance with the art of his own period. The subjects are as follows:—