The pilgrim naturally first went to visit the Holy Sepulchre. The fullest account of the cathedral, which was probably built in the time of Baldwin II. to include all the eleventh-century chapels described in the preceding chapter, is that of Theodorich. The main entrance was, as now, on the south, where the fine double gate, with two windows above, led into the church. Under the pointed arches, supported by clustered pillars, we still see the two carved lintels, one representing the entry into Jerusalem, the raising of Lazarus, and the Last Supper, to the left, and the other with a centaur and various figures surrounded by elaborate arabesques, being an allegorical subject, as explained by de Vogüé. The later pilgrim custom, which dates back to the fourteenth century, of carving names on these pillars, was probably not permitted in the twelfth century. The later visitors used to sketch their coats-of-arms on the walls (as can still be seen at Bethlehem), but this was regarded as an objectionable practice by the better educated.[519] The courtyard in front of the gate, having on its west the three chapels built in 1048, and on its east the Coptic and Armenian chapels, and that supposed to mark the site of Abraham’s sacrifice, was entered through a screen, formed by arches on six pillars, of which only the bases now remain. It did not yet contain the tomb of Philip d’Aubigny (before the gate), over which so many feet have trodden, for he only died in 1236 A. D.[520] The belfry tower was, however, built early in the twelfth century, and the domed Chapel of St. Mary of Egypt, with its large window and outside steps, is of the same age with the façade of the cathedral. The cathedral included the old “Paradise” under its roof. A fine “choir of canons” east of the rotunda occupied part of the site of Constantine’s basilica. It had an apse to the east, and part of the rotunda wall was removed, and an arch, called “Arch of the Emperors,” built to give free passage to this choir, which had a semi-circular walk behind the apse; three apses, forming small chapels, were made in the outer wall of this walk, and the “pillar of derision” was shown, as it still is by Greeks, in the southern of the three apses close to Calvary: between this and the central apse the steps led down to the crypt, where the three crosses were said to have been found. This was now under the cloisters of the canons’ houses, and a dome in the middle of these cloisters lighted the cave-chapel below. The groined roof of the choir still shows remains of fresco painting, representing the vine of David, which are probably ancient. [Sidenote: THE PALACE]