Though la Fontaine preferred the château of Francis I. to that of Louis XII., the simplicity of the _Père du Peuple_ may perhaps charm the genuine artist, much as he may admire the splendor of the more chivalrous king. The elegance of the two staircases which lie at the two extremities of Louis XII.'s building, the quantity of fine and original carving, of which, though time has damaged them, the remains are still the delight of antiquaries; everything, to the almost cloister-like arrangement of the rooms, points to very simple habits. As yet the Court was evidently nonexistent, or had not attained such development as Francis I. and Catherine de' Medici subsequently gave it, to the great detriment of feudal manners. As we admire the brackets, the capitals of some of the columns, and some little figures of exquisite delicacy, it is impossible not to fancy that Michel Colomb, the great sculptor, the Michael Angelo of Brittany, must have passed that way to do his Queen Anne a pleasure, before immortalizing her on her father's tomb--the last Duke of Brittany. Whatever la Fontaine may say, nothing can be more stately than the residence of Francis, the magnificent King. Thanks to I know not what coarse indifference, perhaps to utter forgetfulness, the rooms occupied by Catherine de' Medici and her son Francis II. still remain almost in their original state. The historian may reanimate them with the tragical scenes of the Reformation, of which the struggle of the Guises and the Bourbons against the House of Valois formed a complicated drama played out on this spot. The buildings of Francis I. quite crush the simpler residence of Louis XII. by sheer mass. From the side of the lower gardens, that is to say, from the modern Place des Jésuites, the château is twice as lofty as from the side towards the inner court. The ground floor, in which are the famous corridors, is the second floor in the garden front. Thus the first floor, where Queen Catherine resided, is in fact the third, and the royal apartments are on the fourth above the lower garden, which at that time was divided from the foundations by a very deep moat. Thus the château, imposing as it is from the court, seems quite gigantic when seen from the Place as la Fontaine saw it, for he owns that he never had been into the court or the rooms. From the Place des Jésuites every detail looks small. The balconies you can walk along, the colonnades of exquisite workmanship, the sculptured windows--their recesses within, as large as small rooms, and used, in fact, at that time as boudoirs--have a general effect resembling the painted fancies of operatic scenery when the artist represents a fairy palace. But once inside the court, the infinite delicacy of this architectural ornamentation is displayed, to the joy of the amazed spectator, though the stories above the ground floor are, even there, as high as the Pavillon de l'Horloge at the Tuileries.