This part of the building, where Catherine and Mary Stuart held magnificent court, had in the middle of the façade a hexagonal hollow tower, up which winds a staircase in stone, an arabesque device invented by giants and executed by dwarfs to give this front the effect of a dream. The balustrade of the stairs rises in a spiral of rectangular panels composing the five walls of the tower, and forming at regular intervals a transverse cornice, enriched outside and in with florid carvings in stone. This bewildering creation, full of delicate and ingenious details and marvels of workmanship, by which these stones speak to us, can only be compared to the overcharged and deeply cut ivory carvings that come from China, or are made at Dieppe. In short, the stone is like lace. Flowers and figures of men and animals creep down the ribs, multiply at every step, and crown the vault with a pendant, in which the chisels of sixteenth century sculptors have outdone the artless stone-carvers who, fifty years before, had made the pendants for two staircases in Louis XII.'s building. Though we may be dazzled as we note these varied forms repeated with infinite prolixity, we nevertheless perceive that Francis I. lacked money for Blois, just as Louis XIV. did for Versailles. In more than one instance a graceful head looks out from a block of stone almost in the rough. More than one fanciful boss is but sketched with a few strokes of the chisel, and then abandoned to the damp, which has overgrown it with green mould. On the façade, by the side of one window carved like lace, another shows us the massive frame eaten into by time, which has carved it after a manner of its own. The least artistic, the least experienced eye finds here a delightful contrast between this front, rippling with marvels of design, and the inner front of Louis XII.'s château, consisting on the ground floor of arches of the airiest lightness, upheld by slender columns, resting on elegant balustrades, and two stories above with windows wrought with charming severity. Under the arches runs a gallery, of which the walls were painted in fresco; the vaulting too must have been painted, for some traces are still visible of that magnificence, imitated from Italian architecture--a reminiscence of our Kings' journeys thither when the Milanese belonged to them. Opposite the residence of Francis I. there was at that time the chapel of the Counts of Blois, its façade almost harmonizing with the architecture of Louis XII.'s building. No figure of speech can give an adequate idea of the solid dignity of these three masses of building. In spite of the varieties of style, a certain imposing royalty, showing the extent of its fear by the magnitude of its defences, held the three buildings together, different as they were; two of them flanking the immense hall of the States-General, as vast and lofty as a church.