Far more successful was the completion of the Louvre, in 1688, from the designs of _Claude Perrault_, the court physician, whose plans were fortunately adopted in preference to those of Bernini. For the east front he designed a magnificent Corinthian colonnade nearly 600 feet long, with coupled columns upon a plain high basement, and with a central pediment and terminal pavilions (Fig. 181). The whole forms one of the most imposing façades in existence; but it is a mere decoration, having no practical relation to the building behind it. Its height required the addition of a third story to match it on the north and south sides of the court, which as thus completed quadrupled the original area proposed by Lescot. Fortunately the style of Lescot’s work was retained throughout in the court façades, while externally the colonnade was recalled on the south front by a colossal order of pilasters. The Louvre as completed by Louis XIV. was a stately and noble palace, as remarkable for the surpassing excellence of the sculptures of Jean Goujon as for the dignity and beauty of its architecture. Taken in connection with the Tuileries, it was unrivalled by any palace in Europe except the Vatican. [Illustration: FIG. 181.--COLONNADE OF LOUVRE.] +OTHER BUILDINGS.+ To Louis XIV. is also due the vast but uninteresting +Hôtel des Invalides+ or veteran’s asylum, at Paris, by J. H. Mansart. To the chapel of this institution was added, in 1680-1706, the celebrated +Dome+ of the Invalides, a masterpiece by the same architect. In plan it somewhat resembles Bramante’s scheme for St. Peter’s--a Greek cross with domical chapels in the four angles and a dome over the centre. The exterior (Fig. 182), with the lofty gilded dome on a high drum adorned with engaged columns, is somewhat high for its breadth, but is a harmonious and impressive design; and the interior, if somewhat cold, is elegant and well proportioned. The chief innovation in the design was the wide separation of the interior stone dome from the lofty exterior decorative cupola and lantern of wood, this separation being designed to meet the conflicting demands of internal and external effect. To the same architect is due the formal monotony of the +Place Vendôme+, all the houses surrounding it being treated with a uniform architecture of colossal pilasters, at once monumental and inappropriate. One of the most pleasing designs of the time is the +Château de Maisons+ (1658), by _F. Mansart_, uncle of J. H. Mansart. In this the proportions of the central and terminal pavilions, the mass and lines of the steep roof _à la Mansarde_, the simple and effective use of the orders, and the refinement of all the details impart a grace of aspect rare in contemporary works. The same qualities appear also in the +Val-de-Grâce+, by F. Mansart and Lemercier, a domical church of excellent proportions begun under Louis XIII. The want of space forbids mention of other buildings of this period.