The church of St Gilles was thus begun in 1116 by Alphonse Jourdain, son of Raymond IV. of Toulouse. There still remains a portion of a subterranean church, which formed the substructure of the intended great building above, and which dates from the first half of the twelfth century. It is well lighted, and divided into two with a row of columns supporting two low cross vaults, ornamented with dog-tooth enrichments. In the midst of the outline of the greater works, which can still be traced, rises the existing small church, which has all the appearance of a temporary erection. It is in a late style and of small importance architecturally, but it marks the decline of the wealth and prosperity of the town from its state at the time when the great church was founded. The really great and valuable work, however, at St Gilles is the splendid triple portal (Fig. 87), which is by far the largest and richest example of Provençal decoration. Every part of the surface is covered with work, either sculptured with figures or enriched with ornament, and although the remainder of the building [Illustration: FIG. 87. PORTAL OF ST GILLES.] [Illustration: FIG. 88. SOUTH DOORWAY OF ST GILLES. (_Enlarged_).] is incomplete, every detail of the portal is finished in the minutest manner. At the top of a wide flight of steps rises an elevation consisting of six pillars (five plain and one fluted) with capitals closely imitated from the Corinthian model. The bases are of unequal height, shewing that the shafts have been possibly borrowed from an ancient source. The columns sustain an architrave, frieze, and cornice, which, however, are interrupted by the round arches of the three doorways. The arches of the two side entrances rest on the two end pillars, while that of the central doorway, which is wide and is divided into two openings by a central pilaster, springs from two smaller columns set upon pedestals, and also provided with Corinthian caps. On the bases of the columns of the lateral doors (Fig. 88) bas-reliefs represent David as shepherd and conqueror of Goliath. The shafts supporting the lintels of the doors rest, as was generally the case in Romanesque designs, on lions. The abbot, sitting in the gate to render justice, was placed between these lions; hence Charters given by him are sometimes dated “inter leones.”