Sumptuous as was Goujon’s sculptural investiture of the earliest work in the court of the old Louvre, this was delicate in scale and very flat; much of the sculptural decoration of the new pavilions follows Goujon fairly closely, but even more—some of it nearly in the round—is so bombastically plastic as almost to justify the term ‘Neo-Baroque’. Although there is actual early-seventeenth-century precedent for most of their individual details, the very lush stone dormers set against the high straight mansards of the corner pavilions are particularly novel in effect. For the next thirty years, and even longer, such features of the New Louvre would be imitated all over the western world yet, paradoxically, they had much less influence in France and almost none in Paris. As far as the outside world—particularly perhaps England and the United States, but hardly less Latin America—was concerned the New Louvre was the prime architectural glory of Second Empire Paris and the symbol, _par excellence_, of cosmopolitan modernity. Burghers in Amsterdam and Montreal, vacationers in Yorkshire and silver-miners in the Rocky Mountains all expected to find echoes of it in the sumptuous new hotels they frequented; Latin Americans continued to emulate it even into the twentieth century. Yet in the real Paris of the Second Empire, the Paris which is largely still extant today, the New Louvre is but one prominent structure among many and, as has been said, not even a very typical one. The first Napoleon had had no time to carry out any considerable urbanistic reorganization of his French capital. But for the goodwill of his successors, notably Louis Philippe, the architectural projects that he was able to initiate would never have been brought to completion. His nephew, however, vowed to peace and not to war, had nearly two decades in which to build. Well before his reign began, moreover, he had definitely made up his mind to replan Paris more drastically than any great city had ever been replanned before.[183] Only a few fine squares, the Champs Élysées, and the Rue de Rivoli remain in Paris from earlier campaigns of urban extension and replanning; but the Paris of the Second Empire, the Paris of the boulevards and the great avenues, is the urbanistic masterwork of the third quarter of the nineteenth century, a period notably deficient in urbanistic achievement almost everywhere else except in Vienna.