Viollet-le-Duc’s new parish church for the suburb of St-Denis, Saint-Denys-de-l’Estrée in the Boulevard Jules Guesde, built in 1864-7, has considerable interest, however. Unlike most English High Victorian Gothic churches, it is vaulted throughout; but the vaulting does not have that look of a student exercise which characterizes Lassus’s at Saint-Jean-de-Belleville in Paris of the previous decade. The broad square bays of the nave are well lighted by groups of lancets in the clerestory, and there is a sturdy sort of articulation of the elements not unlike that in the early work of Burges (Plate 98). Externally the rather complex plan, with a large rectangular Lady Chapel projecting behind the altar, produces a gawky and confused composition; but the detailing is simple and virile as in the interior. A massive western tower rises over the entrance porch, culminating in a tall slated roof rather than a stone spire. But the plate tracery of the large west window over the porch and the lancets of the stage above are stony enough and have a quite Street-like scale and vigour of form. It is perhaps unfortunate that Viollet-le-Duc built so few new churches; certainly most other French Neo-Gothic work is very inferior to this, as such a large and prominent church as Saint-Epvre at Nancy, begun in 1863 by M.-P. Morey (1805-78), a pupil of Leclerc, well illustrates. In secular work Viollet-le-Duc was too often content to follow the current Second Empire mode with a good deal of the eclecticism, but little of the plastic boldness, of the English and the Americans. Such more or less Gothic blocks of flats as those that he built in the late fifties and sixties in the Rue de Condorcet and at 15 Rue de Douai in Paris are somewhat more comparable to the secular High Victorian Gothic in England (Plate 101A). These are certainly praiseworthy for the urbanistic politeness with which they fit between more conventional Second Empire neighbours despite their distinctly ‘Victorian’ detail,[254] but there is little originality of conception. On paper Viollet-le-Duc later showed great boldness, however, in certain projects proposing the use of metal structural elements that he published with the second volume of the _Entretiens_ (see Chapter 16). In the late fifties and sixties the vigour of the ‘Early French’ detailing of certain English architects and a related logic of structural expression then called ‘real’ was often derived in part from a study of Viollet-le-Duc’s _Dictionnaire_. But Shaw’s book of _Continental Sketches_ of 1858 and Nesfield’s similar book of 1862 make evident how intense and how idiosyncratic was their own first-hand study of medieval work across the channel. Certainly the ‘Early French’ detail of the English leaders is generally of higher quality than even Viollet-le-Duc’s best at Saint-Denys-de-l’Estrée.