A gallery of mythological paintings opens out of the vestibule and leads to the seventeenth century chapel, which contains a "Descent from the Cross," by Peregrin, and other religious paintings of the Flemish school. Distributed throughout the various apartments are numerous paintings and portraits by Mignard, Nattier, Philippe-de-Champaigne, and others, and some pastels by Quentin de la Tour. The chimney-pieces throughout are notable for their gorgeousness; that in the Chambre des Archevèques, at least a dozen feet high, is decorated with two pairs of massive caryatides and other statuettes in relief. On another is a carven bust of Coligny, the Admiral, with a cast of countenance suggesting a sinister leer towards the statue of a sphinx which is supposed to represent the features of Catherine de Medicis. The paintings of the Tour de la Ligue, supposedly by Primataccio, representing mythological divinities in the personages of the members of the court of the Medicis, bespeak a questionable taste on the part of the Colignys who caused them to be put there. It would seem as though spite had been carried too far, or that the artist was given carte blanche to run a riot of questionable fantasy for which no one stood responsible. All these gods and goddesses of the court are, if not repulsive, at least unseemly effigies. Catherine herself is there as Juno, her son Charles IX as Pluto, the Admiral as Hercules, Guise as Mars, and Venus, of course, bears the features of the huntress, Diane de Poitiers. About as far south from Tonnerre as Tanlay is to the eastward is Ancy-le-Franc. It is in exactly the same position as Tanlay; its charms are pretty generally unknown and unsung, but its sixteenth century chateau of the Clermont-Tonnerre family is one of the wonder works of its era. Rather more admirably designed to begin with than many of its confrères, and considerably less overloaded with meaningless ornament, it has preserved very nearly its original aspect without and within. The finest apartments have been conserved and decorated to-day with many fine examples of the best of Renaissance furnishings. This one may observe for himself if he, or she, is fortunate enough to gain entrance, a procedure not impossible of accomplishment though the edifice is not usually reckoned a sight by the guide-books. At present the Marquis de Clermont-Tonnerre holds possession of the property, and keeps it up with no little suggestion of its former magnificent state.