The arms over the chapel of the Sainte-Madeleine are those of France _barré_, commemorating the foundation (in the old church) by Charles, Comte de Valois, duc d'Angoulême, a natural son of Charles IX., that most excellent Christian king and zealous son of the Church, who persecuted and slaughtered heretics for the good of their souls, thereby converting them (in the next world) from the error of their ways, and so covering his own multitudinous sins and wickednesses. There is a handsome confessional of carved wood, period Louis XV., in this chapel; and in the next, the relics of S. Vincent de Paul are enclosed in a fine Louis XIV. _châsse_. Lest any reader doubts the correctness of my translation, let me give the list of these relics in the original. "Les reliques de St. Vincent de Paul se composent d'une image teinte du sang du saint prêtre retrouvée légèrement coagulé quand on a ouvert son tombeau, de deux médailles formées de sa chair et de ses os mis en pâte, d'une parcelle de sa chair, de fragments de son suaire, de la soutane qu'il portait de son vivant, de la soutane dont il a été retrouvé vêtu dans sa bière, enfin d'un morceau de cette bière. Le tout est muni du cachet de la Mission et accompagné de quatres authentiques signés par MM. les supérieurs de Saint-Lazare." This and the S. Madeleine are the oldest of the chapels, and are both architecturally fine, with wrought-iron _grilles_ of elegant and cunning workmanship. The paintings (1634), attributed to Simon Vouët or his Italian pupils, represent scenes in the life of S. Anne, to whom the chapel was originally dedicated by Anne de Monsigot, dame de Bourlon, who may be seen humbly sitting upon the stairs of the temple, with her two children standing by her side; while above, the high priest Zachariah is receiving the Blessed Virgin, who is presented by her mother and father. Very beautiful are the Angels bearing the instruments of the Passion, which are painted upon the eight compartments of the ceiling.