bronze Charioteer of the Sun), flanked by the Pavilions de la Tremoille
and de Lesdiguieres, we come upon the long Southern Gallery erected by
Catherine de Medici, which still preserves almost intact its splendid
early French Renaissance decoration. This is one of the noblest portions
of the entire building. The N here gives place to H's, and the Renaissance
scroll-work and reliefs almost equal those in that portion of the old
Louvre which was erected under Francois I. Sit on a seat on the Quay and
examine the sculpture.

Notice particularly the splendid Porte Jean Goujon, conspicuous from afar
by its gilded balcony. Its crowned H's and coats-of-arms are specially
interesting examples of the decorative work of the period. Note also the
skill with which this almost flat range is relieved by sculpture and
decoration so as to make us oblivious of the want of that variety usually
given by jutting portions. The end of this long gallery is formed by two
handsome windows with balconies. We there come to the connecting Galerie
d'Apollon, of which these windows are the termination, and finally reach
once more a portion of Perrault's facade, with its double LL's, erected
under Louis XIV., and closely resembling the interior facade of the Cour
du Louvre....

The Collections in the Louvre have no such necessary organic connection
with Paris itself as Notre Dame and the Sainte-Chapelle, or even those in
the rooms at Cluny. They may, therefore, be examined by the visitor at any
period of his visit that he chooses. I would advise him, however, whenever
he takes them up, to begin with the paintings and then to go on to the
Classical and Renaissance Sculpture. The last-named, at least, he should
only examine in connection with the rest of Renaissance Paris. Also, while
it is unimportant whether he takes first Painting or Sculpture, it is very
doubtful that he should take each separately in the chronological order.