Upon the many other things worth seeing in that Salle des Gardes, I have no time to dwell; also the reader will find them catalogued in any guide. But one or two I will mention. The most striking of all, perhaps, is the magnificent chimney-piece, built in 1504, after the great fire, which, in 1502, destroyed all the decorations and the original ceiling of the chamber. On the walls are two gorgeous altarpieces in wood-gilt, done by a Flemish artist, Jacques de Baerze, to the order of Philippe le Bon, in 1391. The subjects of one are: The Execution of John the Baptist, The Martyrdom of St. Catherine; and the Temptation of St. Anthony. Those of the other include the Adoration of the Magi, Calvary, and the Entombment. All the figures, especially the Roman soldiery, in very mediæval clothing, playing dice for Christ's vesture at the foot of the Cross, and the weeping relatives, are treated with the usual vivacity and realism of the Burgundian school; the whole is decorated with flamboyant Gothic detail of richness unrivalled, so far as I am aware, by any similar work, excepting, possibly, the famous rétable at the Eglise de Brou. The painting and gilding of the volets is by Melchior Broederlam, court painter to Philippe le Hardi. [Illustration: PRAYING WOMAN DIJON] There are also two charming sixteenth century renaissance doors, from the Palais de Justice, carved with the most perfect arabesques, and a torso by Hugues Sambin, the famous architect who built the curious façade of the Eglise St. Michel. The guide will point out to you, in the centre cabinets, St. Bernard's Cup, the cross of his friend St. Robert, who received him when he first came to Citeaux, and other good relics, including a cast of a skull, said to be that of Jean sans Peur, with a slit in it--the slit through which the English entered France, as our guide sagely remarked. The epigram earned for him the respect due to an homme instruit, until he proffered the information that the église Notre Dame is not a thirteenth century church! If you want to get an idea of Dijon in mediæval times, study the sixteenth century tapestry in this salle. It shows a walled city with many churches, most of which have now disappeared. Indeed, with the exception of the Tour du Logis du Roi, or Tour de la Terrasse, beneath which you are standing at the moment, very few of the buildings are easily recognisable. The subject represents the siege of the City by the Swiss. The black virgin, now, I believe, in the Eglise Notre Dame, has been borne out to assist in the relief of the City, and the mayor of the town is in negotiation with the enemy. They covenanted to raise the siege for a specified sum; but were foolish enough to depart without the cash, which, consequently was never paid.