Within, a rather banal Salle de Bal is shown as the chief feature, but it is conventionally unlovely enough to be passed without emotion, save that its easterly portion takes in the _cabinet_, or private apartment, where Charles X signed his abdication. Adjoining this is the bedroom occupied by that monarch, and a dining-room which also served His Majesty, and which is still used by the head of the government on ceremonious occasions. Its decorative scheme is of the period of Louis XV. The Salle de Conseil is of the period of Charles X, and has some fairly imposing carved wainscotings showing in places the monograms of Marie Sophie and the Comtesse de Toulouse. A great map, or plan, of the Forest of Rambouillet covers the end wall, and, if not esthetically beautiful, is at least useful and very interesting. It was executed under Louis XVI and doubtless served its purpose well when the hunters gathered after a day afield and recounted anecdotes of their adventures. There is another apartment on the ground floor which is known as the _Salle a Manger des Rendezvous de Chasse_, whose very name explains well its functions. The Cabinet de Travail of Marie Antoinette and the Salle de Bain of Napoleon have something more than a mere sentimental interest; they were decidedly practical adjuncts to the royal palace. Napoleon's bath took the form of a rather short, deep pool. Its fresco decorations, as seen to-day--replacing that family portrait gallery which Napoleon caused to be painted out--are after the pseudo-antique manner and represent bird's-eye views of various French cities and towns, while a series of painted armorial trophies decorates the ceiling. On the second floor are the apartments occupied by the Duchesse de Berry and those of the Duchesse d'Angouleme. In the great round tower is the circular apartment where Francis I breathed his last. It is this great truss-vaulted room that most interests the visitor to Rambouillet. On the ground floor is another Salle de Bain, quite as theatrically disposed as that of Napoleon. Its construction was due to the Comte de Toulouse whose taste ran to Delft tiles and polychrome panels, framing two imposing marines, also worked out in tiles.