The plan of the church was originally a nave and aisles of six bays, each terminating in an apse, but in 1675 two bays were demolished with the entire west end, to make room for a forecourt. (It is said that, of all the churches of Paris, the two which stand most truly East and West are Notre-Dame and S. Julien.) Although parts of the interior have suffered from "improvements" and neglect, the two bays of the choir and the apsidal terminations have lost nothing of their original beauty. The single-shaft pillars, recalling upon a small scale those of Notre-Dame, the clustered columns which support the vault, and the little columns of the windows; the capitals, the bosses, and the mouldings are all in the best style of the end of the 12th century. The sculpture of the details is treated with the greatest care, and the ornamentation of the capitals (about one hundred and fifty in all) has all the variety of foliage and imagery so dear to the Mediæval artists. The most curious example is on the south side of the choir. Springing from a mass of foliage are four figures of birds with female heads, bodies of feathers, outspread wings, and clawed feet. Some of the foliage is the acanthus, but still more represents the water plants which probably, in those early days, grew in the Seine; for it must be remembered that the sculptors of the Middle Ages were in the habit of taking their inspiration from the types of Nature which surrounded them. It is curious that one of the capitals in Notre-Dame, in the same position (the south side of the choir) is almost identical with the one just described. On the right side of the altar is the _piscina_, which is said to communicate with the Miraculous Well; the water having been held in great veneration, people came to fetch it from far and near. [Illustration] The church contains no monuments of any artistic value. A curious bas-relief with a very long inscription was erected to the memory of _Honorable et sage Maistre Henry Rousseau, jadis avocat en Parlement, seigneur de Chaillaut (Chaillot) ... lequel trépassa l'an 1445 le IXe jour de novembre_. _Dieu en ait l'âme. Amen._ The defunct left money to endow masses, and also for the Hôtel-Dieu. He is represented enveloped in a winding-sheet, addressing a prayer to our Lord, which is written upon a streamer. The words in italics are lost: Peccavi super numer [_um arene maris et multiplicata sunt peccata mea_] non sum Dignus videre altidinem [_Celi pre multitudine iniquitatis mee [=qm] irrita_] ram tuam. Et malum coram te feci [=qm] ini [_[=qu]it[=ate] mea ego cognosco et_] delictum meum Coram me est semper. Tibi soli pecca [_vi ideo deprecor_] majestatem tuam Ut tu deleas iniquitatem meam miserere mei [_secundum mag[=n]a misericordia_] tuam. The epitaph is in Gothic letters, and in an excellent state of preservation. Above the bordering we read: