Within the porch, we come to the =main façade=, of the 13th century. R and L, two sainted bishops of Auxerre, successors of St. Germain. Central portal, a queen, a king (probably Childebert and Ultrogothe, the original Frankish founders), St. Vincent; then St. Germain himself, and Ste. Geneviève, with the usual devil and candle, and her attendant angel, etc. On the pier, Madonna and Child, under a canopy. The tympanum had formerly the usual relief of the Last Judgment, now destroyed, and replaced by a fresco. Reminiscences of its subject still remain in the quaint figures to R and L on the arch, at its base, representing respectively, with childish realism, the Jaws of Hell and Abraham’s Bosom, to which the wicked and the just were consigned in the centre. In this church, and in that of St. Germain-des-Prés (see later), =St. Vincent= ranks as a local Parisian saint, because his tunic was preserved in the great abbey church of the other St. Germain beyond the river. He bears a martyr’s palm and is habited as a deacon; whence he is often hard to distinguish from his brother deacon, St. Stephen: both are often put together in Parisian churches. It is probable that St. Germain of Paris consecrated this church to his older namesake and =St. Vincent=—for his connection with whom you had better wait till you visit St. Germain-des-Prés. The =interior= is low, but impressive. The R aisle is entirely railed off as a separate church or Lady Chapel. It contains an interesting 14th-century Root of Jesse, seldom accessible. Pretty modern font, by Jouffroy, after Mme. de Lamartine, in the South Transept. Walk round the Ambulatory (behind the Choir), and observe the stained glass and other details, which the reader may now be trusted to discover unaided. A mass of the detail is well worthy of notice. The Gothic pillars of the Choir were converted in the 18th century into fluted columns. Over the Sacristy, in the South Ambulatory, is a modern fresco of St. Germain and St. Vincent. Note many other memorials of the latter. When you leave, walk to the south side of the church to inspect the exterior and the =square tower=, from which, as parish church of the Louvre, the bell rang for the massacre of St. Bartholomew, to be answered by that in the Palace on the island. On emerging from the church, contrast its Gothic quaintness and richness of detail with the cold, classical _façade_ of that part of the =Louvre= which fronts you. This _façade_, known as Perrault’s Colonnade, with its classical pediment and Corinthian columns, was erected by Claude Perrault for Louis XIV, whose LL and crown appear on every part of it. Nothing could better illustrate the profound difference between Gothic and Classical architecture than this abrupt contrast.