The little building, whose very isolation has perhaps helped to preserve it, is now very justly classed among the best of the "Monuments Historiques de France" in Normandy. There is no tower. On the line beneath the roof round apse and nave, the corbels are carved with the heads of hairy Franks and Saxons, according to the tradition of the older Norman architecture at the Church of St. Paul's, which we shall next visit, near the river. Near the western end, on the northern exterior, is a dilapidated Madonna, and an old bricked-up doorway. But it is the inside that will chiefly repay you for your trouble. Through the triple portal of the west entrance, with plain round arches set on slightly carved Norman capitals, you pass at once into the nave. The whole effect is that which can be only given by simple, honest, and good workmanship. The restoration was carried out with a reverential conscientiousness that is far too rare, by M. Guillaume Lecointe, and by him this precious relic of twelfth-century architecture and art was given to the Commune of Petit-Quevilly. A small arcade of engaged colonnettes goes right round the whole church; the larger pillars have carved capitals, and there is the usual conventional Norman moulding on the round arches. In the apse are four round-headed windows, all slightly smaller than the four in the choir and the six in the nave. In the chancel-arch there are two clustered columns, and also in the nave and apse. The others have plain round shafts. The simple vaulting of the choir and apse is excellently done, and on the roof above the choir you see the frescoes that are the chief treasure of the place, representing scenes from the Annunciation, the Wise Men, the Flight into Egypt, and other Biblical subjects. These paintings are boldly and well executed, and are of the highest interest. Indeed, their workmanship is such, that many antiquaries refused to believe that they were contemporary with the building itself. As if the little chapel had not suffered vicissitudes enough, it was put up to public auction at the Revolution in 1789, and used by its new proprietors as a stable and granary. They were careful to cover the whole of their ceiling with a thick coat of whitewash, and it is only in the last few years that the patriotic work of M. Lecointe has been completed by the careful recovery of these ancient paintings from beneath their bed of whitewash. Even then their value was not fully appreciated, and only when M. LeRoy had submitted certain detached portions to a chemical analysis was it proved that frescoes of the twelfth century had really been preserved.