The mausoleum of Philippe-le-Hardi has a single recumbent effigy on the slab above, whilst that of Jean-Sans-Peur is accompanied by another, that of his wife, Marguerite de Bavière. The tiny statuettes in the niches of the arcade below, and surrounding each of the tombs, are similar; finely chiselled, weeping, mourning figures, most exquisitely sculptured and disposed. The tomb of Philippe-le-Hardi is the older, and is the work of Claus Sluter and Claus de Werve; that of Jean-Sans-Peur was conceived (half a century later) by Jehan de la Heurta and Antoine Moiturier. A statue of Anne de Bourgogne, the Duchess of Bedford, the daughter of Jean-Sans-Peur, stands between these two royal tombs. It is worthy to note that the robe of the statue of Marguerite de Bavière is sown with that particular species of field daisy which we have come to know as the _marguerite_, so named from the predilection of the princess in question for that humble flower. Dijon's Maison de Saint François-de-Sales may well be given passing consideration for reasons stated below. It dates from 1541 and thus belongs to an epoch when the art of the Renaissance was at its height. It is an elaborately conceived edifice and, judging from the escutcheons of its façade, was the habitation, at one time or another, of some of the royal family of France. In spite of this the authorities have little definite to say with regard to its founders. On the svelt tourelle at the side one notes that the lead _épi_, or weather-vane, is intact, a remarkable fact when one considers that it has endured for nearly five centuries. All things considered, this dainty habitation is one of the most pleasing and ornate structures of its class. If it were at Azay-le-Rideau in Touraine, or at Beaugency on the Loire, it would be heralded far and wide as one of the flowers of the Renaissance. To rank it in any place but as one of the most charming _hôtels privés_, or small town chateaux, of Burgundy would be a grave error. Dijon possesses as well a most curious and little known structure, at least not known to the usual hurly burly world of tourists. It is near the Palais de Justice, enclosed behind a high protecting wall, through which easy access is to be had by a gateway opened on request. The edifice is mysteriously called the Hôtel de Venus, and is a diminutive edifice with its entire outer wall garlanded with flowers and emblems cut deep into its rather crumbly stones. Just what the significance of this strange building was, and who, or what, were its antecedents, is in great doubt.