One remarkable feature of the church is the placing of a corbel under the capitals of the pilasters. Those in the choir are of winged Cherubim, while in the rest of the church various grotesque monsters, human and animal, figure in their stead. The glass in the east end bears the date 1631 and the name of Solignac, a _verrier_ totally unknown to fame, but an "_artiste distingué_," as our neighbours say, when nothing more flattering suggests itself to their minds and lips. S. Eustache figures upon the central light, under a colonnade in perspective, and upon each side of him are the four Latin Fathers and the twelve Apostles. Above our heads we see a rich groined roof, and a boss which is more wonderful than beautiful. Groups of Angels' heads and numberless Cherubim sitting upon clouds are interlaced with a large crown; the whole being about ten _mètres_ in length. In 1795, upon the suppression of the convent of the Canonesses of Picpus, S. Eustache, for a consideration of 5,000 _francs_, gained possession of the nuns' beautiful stalls, which have since been a notable part of the church, especially the _misereres_ and the curious little stools upon which the _enfants de chœur_ sit. The pavement and the altar are modern; the former, of various coloured marbles, having been laid in 1869. The altar is raised upon five steps; in the centre is the tabernacle under a domed _baldachino_, the whole being in white Paros marble, designed by M. Baltard. All the sculptures are enriched by gilding. In the centre is the _Sacrifice of the Lamb_, with grapes and corn encircling it. On each side, the symbols of the four Evangelists--the Angel, the Lion, the Ox, and the Eagle; the bull in which S. Eustache was immolated; the ropes and chains, a sword, some palms and lilies, all suggestive of S. Agnes. The _baldachino_ having been found to be out of proportion to the rest of the altar, a pilaster, destined to hold pans for burning incense, was placed at each extremity; but the effect of the whole is good, nay, even beautiful, in spite of the want of proportion. The doors of the tabernacle, in gilt bronze, are chased with great care and elegance. Before the Revolution, a bas-relief said to have been sculptured by Daniele da Volterra,[67] representing _The Entombment_, formed the reredos. The gates of the choir are composed of modern ironwork, by M. Calla, of excellent design. Under the west door is a white marble bust of Chevert, a warrior whose deeds and virtues may be read upon his epitaph, composed by d'Alembert: CY-GIT FRANÇOIS CHEVERT COMMANDEUR, GRAND'CROIX DE L'ORDRE DE SAINT-LOUIS, CHEVALIER DE L'AIGLE BLANC DE POLOGNE, GOUVERNEUR DE GIVET ET DE CHARLEMONT, LIEUTENANT GENERAL DES ARMÉES DU ROY.