the same king are also due the monograms of H and D (for Diane de
Poitiers, his mistress), between the columns of the ground floor. The
whole of the Pavilion de l'Horloge, and of this west wing, should be
carefully examined in detail as the finest remaining specimen of highly
decorated French Renaissance architecture. (But the upper story of the
Pavilion, with the Caryatides, is an age later.) Observe even the
decoration lavished on the beautiful chimneys. Pierre Lescot was the
architect of this earliest wing; the exquisite sculpture is by Jean
Goujon, a Frenchman, and the Italian, Paolo Ponzio. Examine much of it.
The crossed K's of certain panels stand for Catherine de Medici.

The right wing, beyond the Pavilion, was added, in the same style, under
Louis XIII., who decided to double the plan of his predecessors, and form
the existing Cour du Louvre.

The other three sides, in a more classic style, with pediments replacing
the Pavilions, and square porticos instead of rounded gables, are for the
most part later. The south side, however, as far as the central door, is
also by Pierre Lescot. It forms one of the two fronts of the original
square first contemplated. The attic story of these three sides was added
under Louis XIV., to whom, in the main, is due this Cour du Louvre. A
considerable part of Louis XIV.'s decorations bear reference to his
representation as "le roi soleil."

Now, pass through the Pavilion de l'Horloge (called on its west side
Pavilion Sully) into the second of the three courts of the Louvre. To
understand this portion of the building, again, you must remember that
shortly after the erection of the Old Louvre, Catherine de Medici began to
build her palace of the Tuileries, now destroyed, to the west of it. She
(and subsequent rulers) designed to unite the Old Louvre with the