Most of the new churches in the suburbs of Paris and the French provinces followed basilican models. The parish church of Saint-Germain-en-Laye, which was brought at last to completion in 1823-7 by A.-J. Malpièce (1789-1864) and his partner A.-J. Moutier (1791-1874), a pupil of Percier, following the original designs of M.-M. Potain (1713-96) of the 1760s, is much more modest and somewhat less Roman. In Marseilles the younger M.-R. Penchaud (1772-1832), who designed in 1812 and built in 1827-32 the Palais de Justice at Aix on Ledoux’s earlier foundations, erected in 1824 a large Roman basilica for the local Protestants, doubtless with some conscious reference to Salomon de Brosse’s seventeenth-century Protestant Temple at Charenton of two hundred years earlier. By exception, however, the Protestant Temple at Orléans by F.-N. Pagot (1780-1844), a pupil of Labarre, which was built in 1836, is a plain cylinder in plan. Saint-Lazare in Marseilles, built by P.-X. Coste (1787-1879) and Vincent Barral (1800-54) in 1833-7, followed Notre-Dame-de-Lorette even more closely than does Penchaud’s Protestant church. In the more modest parish church of Vincennes outside Paris, which rose in 1826-30, the very last years of the Restoration, J.-B.-C. Lesueur (1794-1883) was already using a rather Brunelleschian sort of detail that is not without a certain cool elegance. More definitely of the Renaissance Revival is Saint-Jacques-Saint-Christophe, the parish church of La Villette in the Rue de Crimée in Paris built by P.-E. Lequeux (1806-73) much later, in 1841-4. It is one of half a dozen that Lequeux began in the forties, in addition to designing the town halls of this and several other quarters of Paris. Lequeux employed definitely _quattrocento_ detail somewhat more lavishly than Lesueur had done at Vincennes, and produced at La Villette one of the most satisfactory French churches of the Louis Philippe epoch. In building a small Norman church at Pollet near Dieppe in 1844-9, Louis Lenormand (1801-62), a pupil of his uncle Huvé, used Early Renaissance detail of a more French sort that may not improperly be called _François I._ Such detail was highly exceptional in ecclesiastical architecture even as late as the forties.