Victor Baltard’s church of Saint-Augustin, also of 1860-7, is not located, like the Gothic edifices by Lassus and Viollet-le-Duc, in a working-class district or suburb, but occupies a very prominent if awkwardly narrow triangular site in the Boulevard Malesherbes near its intersection with the Boulevard Haussmann. Considering the success of his Central Markets, it is not surprising that Baltard used iron here; but he did so with much less consistency and thoroughness than Boileau had done at Saint-Eugène (see Chapter 7). The arched iron principals of the roof accord very ill with the Romanesquoid-Renaissance design of the masonry structure below. The front, with its great rose window, is somewhat more effective. At least it provides a strong urbanistic focus among the standardized ranges of blocks of flats that line the boulevards in this quarter. Two other big Parisian churches are similar in quality although quite different in appearance. Ballu, in addition to finishing Sainte-Clotilde, built both Saint-Ambroise in the Boulevard Voltaire, which is certainly more plausibly Romanesque than Saint-Augustin, and also La Trinité in the Rue de la Chaussée d’Antin, which is much less plausibly _François I_ than his later work at the Hôtel de Ville. La Trinité was built in 1861-7, Saint-Ambroise in 1863-9. Both are vast and pretentious, but neither has much positive character. Like so many comparable examples of the eclecticism of this period in other countries, it is by their faults and not by any characteristic virtues that they are readily recognizable as products of the Second Empire. Two Romanesquoid churches less prominently located, and hence less well known, are considerably more interesting. One is the parish church of Charenton, Seine, built by Claude Naissant (1801-79) in 1857-9; this is clearly composed and detailed with a somewhat eclectic elegance not unworthy of Labrouste or Duban. Much larger is Notre-Dame-de-la-Croix in the Rue Julien-Lacroix in the Menilmontant quarter of Paris. Built by L.-J.-A. Héret (1821-99), a pupil of Lebas, in 1862-80, this is a cruciform edifice with the vaulting ribs all of openwork iron like those of Saint-Augustin. For archaeological plausibility it compares not unfavourably with Questel’s church at Nîmes, begun some twenty years earlier, in the design of the masonry portions of the structure.