The Renaissance château of to-day is a reconstruction of the sixteenth century, which preserves, however, the great cylindrical towers of a century earlier. Its architecture is on the whole fantastic, at least as much so as Chambord, but it is none the less hardy and strong. Practically it consists of a series of _pavillons_ bound to the great fifteenth-century donjon by smaller towers and turrets, all slate-capped and pointed, with machicolations surrounding them, and above that a sort of roofed and crenelated battlement which passes like a collar around all the outer wall. The general effect of the exterior walls is that of a great feudal stronghold, while from the courtyard the aspect is simply that of a luxurious Renaissance town house, showing at least how the two styles can be pleasingly combined. Crenelated battlements are as old as Pompeii, so it is doubtful if the feudality of France did much to increase their use or effectiveness. They were originally of such dimensions as to allow a complete shelter for an archer standing behind one of the uprights. The contrast to those of a later day, which, virtually nothing more than a course of decorative stonework, give no impression of utility, is great, though here at Ussé they are more pronounced than in many other similar edifices. [Illustration: _Château d'Ussé_] The interior arrangements here give due prominence to a fine staircase, ornamented with a painting of St. John that is attributed to Michel Ange. The Chambre du Roi is hung with ancient embroideries, and there is a beautiful Renaissance chapel, above the door of which is a sixteenth-century bas-relief of the Apostles. Most of the other great rooms which are shown are resplendent in oak-beamed ceilings and massive chimneypieces, always a distinct feature of Renaissance château-building, and one which makes modern imitations appear mean and ugly. To realize this to the full one has only to recall the dining-room of the pretentious hotel which huddles under the walls of Amboise. In a photograph it looks like a regal banqueting-hall; but in reality it is as tawdry as stage scenery, with its imitation wainscoted walls, its imitation beamed ceiling of three-quarter-inch planks, and its plaster of Paris fireplace. Near Ussé is the Château de Rochecotte which recalls the name of a celebrated chieftain of the Chouans. It belongs to-day, though it is not their paternal home, to the family of Castellane, a name which to many is quite as celebrated and perhaps better known. The château contains a fine collection of Dutch paintings of the seventeenth century, and in its chapel there is a remarkably beautiful copy of the Sistine Madonna. The name of Talleyrand is intimately connected with the occupancy of the château, in pre-revolutionary times, by Rochecotte.