The _façade_ has three doorways, which are rich in the somewhat rude sculpture of the time of Suger. The subject of the central tympanum and _voussure_ is The Last Judgment. Christ is pronouncing the last sentence, surrounded by the dead who are rising from their graves. His Blessed Mother is interceding for sinners, and Abraham is receiving the elect into his bosom. The Apostles, and the four-and-twenty elders, holding musical instruments, and vases for the reception of the prayers of the just as a sweet-smelling incense, are there, looking on at the damned tossed into hell. Upon the stylobate of the portal we read the parable of the Wise and foolish Virgins. The southern doorway is decorated with the Martyrdom of S. Denis, and the appearance of our Blessed Lord to the holy martyrs while in prison. Unfortunately, much of these bas-reliefs is modern. Some statues on one of the transept doorways are curious examples of how a fraud may be perpetuated. They represent, without doubt, some members of the royal house of David, but at some period they were said to be kings of the Capétien line, and as such, casts were taken and sent to Versailles, where they figured as portrait statues of Hugues Capet, Robert, Henri, Philippe, Louis VI., and Louis VII. The capitals of the columns and the foliage ornament of these portals are vastly superior in style to the figures. On each side of the western rose-window are some bands of black and white marble, after the manner of the churches of Pisa and Genoa, _souvenirs_, probably, of Suger's travels in Italy. Indeed, he tells us in the account of his administration that he took much trouble in preserving a mosaic which he had brought home and placed in the tympanum of one of the doors. This was unfortunately replaced, in 1774, by a bas-relief of the meanest possible workmanship. The interior consists of a nave and two aisles, with a _chevet_ of seven chapels at the east end, considerably raised above the level of the nave. Access to these chapels is gained by a flight of steps on each side of the High Altar, and under them is the royal crypt. The whole of the east end of the church, the double aisles, with their single-shaft pillars, the chapels, the vaulting, and the glass, form a mass of colour, and a most beautiful _coup d'œil_;[18] indeed, there is but one eyesore in the whole building, the aforesaid series of windows representing Louis Philippe's heroic deeds. Blue swallow-tailed coats and white trousers scarcely form a costume which is either effective or appropriate as designs for church windows.