Under the Monarchy, the Gallery of the Louvre alone was appropriated to the public, and contained a splendid collection of paintings. Now the whole palace is appropriated to National uses. It is not only the repository of pictures, but also of antiquities; the National Institute and the Polytechnic Society designed to supply the Ancient Academy des Belles Lettres, hold their assemblies here. The productions of living artists are exhibited here once a year, and _appartements_ are allotted free of expense to various artists and men of science. The museum is maintained in a high state of cleanliness and propriety; and the orderly conduct of the spectators, who are all admitted free of charge and without respect of persons, is greatly to be commended. The great Gallery of the Louvre is not well adapted for the exhibition of pictures; it is too narrow in proportion to its length, and the windows which look out towards the Seine defeat the effect of those which look towards the Place du Carrousel. A great number of the paintings thus appear to be covered with a continual mist, and others are scarcely discernible, so that the principal effect of light and shade is destroyed. In addition to this misfortune a number of the noblest masterpieces of the Italian School have been injudiciously retouched by the French artists and been rendered quite unnatural and in many instances ridiculous. The colouring of the parts defaced has been executed in such a bungling manner as to resemble a piece of patchwork. They have likewise injured a multitude of exquisite performances with a species of varnish, by which, when I have approached them in search of the beauties of the artists, I have been mortified by a vision of my own homely features. Things are often more spoilt by overdoing than by remaining stationary, and by the neglect of this maxim the French have ruined many of the finest pictures in their stolen collection. XXIX THE GALLERY OF ANTIQUITIES AT THE CENTRAL MUSEUM OF ARTS [Sidenote: THE GALLERY OF ANTIQUITIES] I cannot better begin the description of this Gallery than by quoting the declaration which preceded the catalogue of the statues, busts and bas-reliefs therein contained. The preface is as follows:-- “The greater part of the statues exhibited in this Gallery are the fruits of the conquests of the army of Italy. They have been selected out of the Capitol and the Vatican by Citizens Barthélémy, Bertholet, Moitte, Monge, Thonin, Tinet--the commissioners appointed by the Government for that purpose. To the scrupulous care with which these artists and savans have packed up and transported them, we are indebted for the happy preservation of these glorious fruits of victory; and the distinguished choice they have made from among the masterpieces which Rome possessed, proves their knowledge and skill, and all lovers of the arts must owe them a debt of eternal gratitude.”