The other chapel was decorated by Charles de Lafosse, a pupil of Lebrun, and the painter of the dome of the Invalides. The subjects were God, surrounded by the four Evangelists, blessing Adam and Eve, and the marriage of the Virgin and S. Joseph. These chapels were erected respectively for baptisms and marriages. The present west front, ugly and lumbering though it be, with its Doric portal and Corinthian gallery, had a royal prince to usher it into the world, no less a personage than the Duc de Chartres, Philippe-Egalité. Had it been built up in front of S. Nicholas du Chardonnet, or any church of that period, it might have passed muster; but tacked on to S. Eustache, it is completely out of place. Were the _curé_ privileged to give the Papal benediction, said an 18th century critic, this porch might have some use; but its only merit is that it was built upon a sufficiently large scale to save it from insignificance. Let us turn to the south door, constructed under François I^{er,} but much restored since the last siege. Never completely finished, as regards statues and other ornament, it was so terribly knocked about by the Communists, that niches, tracery, corbels, and glass had to be renewed; but perhaps, had it not suffered so much destruction in 1871, we should never have had the opportunity of admiring it in its completed beauty. [Illustration: PART OF THE SOUTH DOOR.] The doors are divided by a pier surmounted by a figure of the Virgin and Child under an elaborately carved canopy, which stands out upon the plain, undecorated lintel. In three little niches under these figures are statuettes representing Faith, Hope, and Charity. In the _voussure_ above the window are niches for some fifty statuettes, which are still wanting; on either side are statues of Joachim, S. Anne and two Angels bearing censers. The niches are formed of pilasters with a pediment, and capitals composed of little canopies mixed with acanthus leaves. All the details, the fantastic figures upon the stylobate, the ornament of the pilasters, and the canopies, are in the best style of the Renaissance. Two rows of arcades lead up to the rose window, flanked on each side by graceful turrets. In the centre of the gable is a smaller rose, surmounted by a stag's head with a crucifix between the horns, emblem of the conversion of the warrior Saint. A curious sundial is fixed to the wall between the two arcades; and at the intersection of the transepts and nave is an open-work turret. Between the chapels are Composite pilasters supporting the cornice; the capitals are enriched with masks, Angel's heads, monograms, and divers emblems; in one case the double L L crowned, in another, foliage, animals, and Genii. Flying buttresses support the nave, choir, and transepts; and a multitude of gargoyles, fantastic in design, representing men, women, and children, with foliage terminations, and mostly winged, surround the pilasters of the aisles. On one of these is the date 1629.