A large porcelain stove heats the square vestibule, the two glass doors of which, placed opposite to each other, light it. This room, paved in black and white marble, is especially noticeable for a ceiling of beams formerly painted and gilt, but which had since received, probably under the Empire, a coat of plain white paint. The three doors of the study, salon and dining-room, surmounted by oval panels, are awaiting a restoration that is more than needed. The wood-work is heavy, but the ornamentation is not without merit. The salon, panelled throughout, recalls the great century by its tall mantelpiece of Languedoc marble, its ceiling decorated at the corners, and by the style of its windows, which still retain their little panes. The dining-room, communicating with the salon by a double door, is floored with stone; the wood-work is oak, unpainted, and an atrocious modern wall-paper has been substituted for the tapestries of the olden time. The ceiling is of chestnut; and the study, modernized by Thuillier, adds its quota to these discordances. The white and gold mouldings of the salon are so effaced that nothing remains of the gilding but reddish lines, while the white enamelling is yellow, cracked, and peeling off. Never did the Latin saying “Otium cum dignitate” have a greater commentary to the mind of a poet than in this noble building. The iron-work of the staircase baluster is worthy of the artist and the magistrate; but to find other traces of their taste to-day in this majestic relic, the eyes of an artistic observer are needed.