The house, which Rouget inherited from the Descoings estate, stands in the middle of the place Saint-Jean, a so-called square, very long and very narrow, planted with a few sickly lindens. The houses in this part of town are better built than elsewhere, and that of the Descoings’s was one of the finest. It stands opposite to the house of Monsieur Hochon, and has three windows in front on the first storey, and a porte-cochere on the ground-floor which gives entrance to a courtyard, beyond which lies the garden. Under the archway of the porte-cochere is the door of a large hall lighted by two windows on the street. The kitchen is behind this hall, part of the space being used for a staircase which leads to the upper floor and to the attic above that. Beyond the kitchen is a wood-shed and wash-house, a stable for two horses and a coach-house, over which are some little lofts for the storage of oats, hay, and straw, where, at that time, the doctor’s servant slept. The hall which the little peasant and her uncle admired with such wonder is decorated with wooden carvings of the time of Louis XV., painted gray, and a handsome marble chimney-piece, over which Flore beheld herself in a large mirror without any upper division and with a carved and gilded frame. On the panelled walls of the room, from space to space, hung several pictures, the spoil of various religious houses, such as the abbeys of Deols, Issoudun, Saint-Gildas, La Pree, Chezal-Beniot, Saint-Sulpice, and the convents of Bourges and Issoudun, which the liberality of our kings had enriched with the precious gifts of the glorious works called forth by the Renaissance. Among the pictures obtained by the Descoings and inherited by Rouget, was a Holy Family by Albano, a Saint-Jerome of Demenichino, a Head of Christ by Gian Bellini, a Virgin of Leonardo, a Bearing of the Cross by Titian, which formerly belonged to the Marquis de Belabre (the one who sustained a siege and had his head cut off under Louis XIII.); a Lazarus of Paul Veronese, a Marriage of the Virgin by the priest Genois, two church paintings by Rubens, and a replica of a picture by Perugino, done either by Perugino himself or by Raphael; and finally, two Correggios and one Andrea del Sarto.