This magnificent château, the noblest type of the Renaissance in France, was destroyed to a large extent (1799-1810,) but was in great part restored by the late M. Moreau. Lying, as it does, on the Évreux line, it is quite worth stopping to see. But the tourist may be grateful for the information that it is 1½ kilomètres from the station, and is only shown on Thursdays and Sundays. The beautiful enamels before us, so rich in their varied shades of blue, were presented by Henri II. to the lovely and accomplished mistress, who, in spite of her years, had won his heart when he was but a lad of thirteen. They had been wrought for François I. by the famous Léonard Limousin,[101] after the designs of Michel Rochetel. The date (1547) and the initials and salamander of François bear witness to this fact, and the initials L. L. on the handle of the sword of S. Paul and beneath S. James the Less proclaim the artist. The panels represent the twelve apostles, with their characteristic emblems, and each apostle is set in a framework of Renaissance ornament--genii and fantastic animals and garlands of flowers. There is nothing else in S. Père of sufficient interest to detain us. CHAPTER XIII _The Prussians at Chartres_ ‘Je sais le plan de Trochu Plan, plan, plan, plan, plan! Mon Dieu! quel beau plan! Je sais le plan de Trochu!’ On the 26th of October 1901 a monument, standing at the entrance of the Promenade des Charbonniers, near the Place du Châtelet, and dedicated to the memory of the children of Eure-et-Loir, who laid down their lives for their fatherland, was unveiled by M. Caillaux, the Minister of Finance. The monument was designed by M. Nénot, and consists of a triumphal arch in the Classic style, crowned by a pediment bearing the arms of Chartres, Châteaudun, Dreux and Nogent-le-Rotrou. This is accompanied by three groups in bronze: on either side an artilleryman and a foot soldier of the _mobile_; in the centre, beneath the arch itself, the principal group, representing ‘France calling to the defence.’ It consists of a female figure, who personifies the Fatherland and the Republic, brandishing in one hand a flag tattered and torn with bullets, and pointing with the other in the direction of the enemy. And an officer at her feet fires a revolver in that direction. To the France of to-day this monument is not a mere memorial of the past and useless valour of her sons, but a warning also, lest she should forget the coming of the Prussians in 1870, her own military unpreparedness, and, it should be, her own fatal political weakness. Something, too, it doubtless expresses of that thirst for revenge which threw her some years ago into the arms of Russia, and which that alliance was really certain to prevent her from gratifying.