first, because of its Gothic plan, its Renaissance detail was _pernicious_ to the æsthetic instincts of the latter. It is amusing to read Mr. Dibden's opinion of the church in his _Picturesque Tour_,[66] as it is that of a cultured traveller, and probably is an example of the judgment passed upon S. Eustache by the artists of his day. "Next in importance to S. Gervais is the Gothic church of S. Eustache; a perfect specimen, throughout, of that adulterated style of Gothic architecture (called its restoration!) which prevailed at the commencement of the reign of Francis I. Faulty, and even meretricious, as is the whole of the interior, the choir will not fail to strike you with surprise and gratification. It is light, rich, and lofty. This church is very large, but not so capacious as S. Gervais, while its situation is, if possible, still more objectionable." How the good parson could compare the two churches, apparently to the advantage of S. Gervais, seems extraordinary; for no unbiassed person can fail to be impressed by the beauty of the proportions of S. Eustache, its length and height, its effective choir, and its grand, but simple, altar. With the exception of its glass chandeliers, all the furniture and accessories are in keeping with the building; there is nothing tawdry, nor in bad taste; and it lends itself more effectively than even Notre-Dame to processions and grand ceremonials. [Illustration: SAINT-EUSTACHE FROM THE HALLES CENTRALES.] After its commencement the building seems to have struggled on for eight years; when, for want of funds, it remained stationary until 1552, although some of the altars had been consecrated by the Bishop of Mégare sixteen years previously. In 1552 it was helped on again by Lenten offerings, in return for dispensations to consume butter and milk. How much these dispensations produced, and how long the funds lasted, we are not informed; but civil war and religious troubles stopped the works again, and it was not until 1624 that they were resumed. Both Sauval and du Breul speak of the choir having been commenced in that year, and the latter's description of it is interesting as showing its original form. "Le chœur est un des plus beaux et un des plus grands de Paris après celui de Notre-Dame, large, spacieux, garni de quatre rangées de chaises; l'autel est fort haut en forme de frontispice, enrichi de six colonnes de marbre, d'un riche tableau au fond et d'un tabernacle ample et grand de bois ciselé et doré. Toute la clôture de ce chœur est composée de piliers de cuivre et de marbre. Au derrière est un autre autel de bois où l'art de la menuiserie n'est pas épargné, non plus que l'or et le marbre, et dans cet autel est le sainct ciboire où repose le saint Sacrement." Of the west front, the destruction of which, with two chapels erected by Colbert and decorated by Mignard, is the cause of the disproportion of length to height, Du Breul thus speaks: "Le portail est