The façade has undergone some breaking-out and stopping-up of windows during the past decade; for what purpose it is hard to realize, as the effect is neither enhanced nor the reverse.
A gaunt supporting buttress, or what not, flanks the tower on the south and adds, yet further, to the incongruity of the ensemble.
In fine, its decorations are a curious mixture of a more or less pure round-headed Roman style of window and doorway, with later Renaissance and pseudo-classical interpolations.
With the interior the edifice takes on more of an interesting character, though even here it is not remarkable as to beauty or grace.
The nave is broad, aisleless, and bare, but presents an air of grandeur which is perhaps not otherwise justified; an effect which is doubtless wholly produced by a certain cheerfulness of aspect, which comes from the fact that it has been restored—or at least thoroughly furbished up—in recent times.
The large Roman nave, erected, it has been said, from the remains of a former temple of Augustus, has small chapels, without windows, beyond its pillars in place of the usual side aisles.
Above is a fine gallery or tribune, which also surrounds the choir.
The modern mural paintings—the product of the Restoration period—give an air of splendour and elegance, after the manner of the Italian churches, to an appreciably greater extent than is commonly seen in France.
In the third chapel on the left is an altar-table made of an early Christian sarcophagus; a questionable practice perhaps, but forming an otherwise beautiful, though crude, accessory.
