Jacques Lelieur's map shows that by 1525 a new roof had been put on the donjon, in the shape of a platform with embrasures. By 1591 Valdory, whose account of the siege by Henri Quatre I shall mention later, records that it was almost ruined. In 1610 its remnants were spared, when the rest of the castle was demolished to make a practice-ground for the arquebusiers of the town. After passing into private hands, the tower became the property of a convent in the eighteenth century. In 1796 it was sold to another private owner, who was warned to be careful of the well within the walls that was supplied by the spring Gaalor. By 1809 some nuns bought it again, and for long the old donjon decorated incongruously a portion of the garden in the Ursuline Convent. In 1842 M. Deville, Inspecteur des Monuments Historiques, drew public attention to its value, and was supported by M. Barthelemy the municipal architect. The publication of M. Quicherat's five volumes of the "Trials," in 1849, renewed the interest in all that had to do with Jeanne d'Arc. After a long and most creditable agitation, a committee, on which M. F. Bouquet served as secretary, was formed under the presidency of the mayor, M. Verdrel. The ground was bought from the Ursuline nuns, the trained advice of M. Viollet le Duc was solicited, and by the active assistance of MM. Desmarest and Durand the tower was finally restored as you may see it now. Though the filling up of the moat makes it look shorter than it really is, a great deal of the old masonry remains intact, and so carefully has the restoring work been done that in the embrasures and recesses on both first and second floors you may still see the scratches and inscriptions of prisoners or sentinels, much as they are preserved in our own Tower of London. On Wednesday, the 18th of February 1874, the work of reconstruction was finished by the placing of the iron vane with its great fleur-de-lys upon the summit of the conical roof. It is the fourth floor, just beneath this vane, that is the most interesting of all the new work, as it presents a complete and accurate picture of mediaeval defences, showing both the wooden hoarding which projected beyond the walls in order to give space to hurl down stones and boiling lead, and the guard's chemin-de-ronde cut in the solid wall with its openings that communicate with each side. Its walls conjure up a flood of memories of the men and women who saw those solid cliffs of masonry before they fell into ruin and restoration:-- "Berthe au grand pied, Bietris, Allys Harembourges, qui tint le Mayne, Et Jehanne la bonne Lorraine Qu'Anglois bruslerent a Rouen: Ou sont-ilz, Vierge Souveraine? Mais ou sont les neiges d'antan?"