We have already seen in brief at Cluny the main elements of the story of =St. Eustace=, the saint who was converted by the apparition of the Christ between the horns of the stag he was pursuing. Though not a local martyr, St. Eustace early obtained great consideration in Paris. But the first church here was one to St. Agnes: look out for memorials of her throughout the building. St. Eustace had practically supplanted her as early as 1223: his church, after many enlargements, was finally pulled down under François I^{er}, and the present splendid Renaissance edifice erected in its place in 1532; completed in 1640. It is a strangely picturesque and unique building. St. Eustache, indeed, displays Renaissance architecture in =a transitional state=, endeavouring vainly to free itself from the traditions of the Gothic. In general plan, and in the combination of all its parts, it is in essence a Gothic cathedral; but its arches are round, and its detail and decorative work are all conceived in the classical spirit of the Renaissance. If you wish to see the difference between such a church and one in which developed Renaissance methods have finally triumphed, you must visit St. Sulpice. Note three things about St. Eustache: (1) it replaces a church to St. Agnes, who is still one of its two patronesses; (2) it is the great =musical= church of Paris; (3) it is the church of the markets. Immediately on entering, stand in the centre of the nave, and look up the church towards the choir and _chevet_. The enormous size of the building will at once strike you. Notice, too, the tall, round arches of the nave and aisles, the triforium above them (best seen from the aisles), and, higher still, the clerestory rising above the aisle-vaulting. The proportions are admirable. Observe also the roof, essentially Gothic in plan, though with an incongruous substitution of round for pointed arches. But note that all these quasi-Gothic constructive features are combined with =classical columns= and pilasters of the three great orders—Doric, Ionic, Corinthian—superimposed, and with such Renaissance detail as masks, cherubs, and other later decorative features.