It was now possible to proceed with the School of Fine Arts, and the first stone of the building was laid on the 3rd of May, 1820. The original plan, drawn up by the architect Debret, was much amplified, under the reign of Louis Philippe, by M. Dauban, who finished it in 1838--at least in its essential parts. New buildings were added under the Second Empire between the years 1860 and 1862. The National Special School of Fine Arts (such is its official title) furnishes instruction in drawing, painting, sculpture, architecture, and every kind of engraving to French students aged not less than fifteen nor more than thirty, and even to foreigners who have obtained due authorisation from the Ministry of Fine Arts. [Illustration: SAINT-SULPICE.] [Illustration: APSIS OF SAINT-SULPICE.] The School of Fine Arts occupies a palace worthy of the institution. Its general plan is simple in the extreme. Through the gate of its entrance, adorned with two colossal busts of Puget and of Poussin, may be seen a square courtyard whose walls are covered with admirable monuments, for the most part from the above-mentioned Musée des Monuments Français. This courtyard is separated from the principal one into which it leads by a sort of triumphal arch, dating from the year 1500. It was brought from the Château de Gaillon and reconstructed stone by stone. At the end of the principal courtyard is the grand façade due to M. Dauban, composed of two storeys of arcades separated by Corinthian pilasters. The vestibule of the ground floor contains fragments of ancient marbles, casts from the temple of Egina and of the Parthenon, clever, curious copies of paintings discovered at Pompeii, etc. The vestibule leads to a magnificent collection of plaster casts from the most celebrated ancient works of antiquity, including two columns from the temple of Jupiter Stator, and one of the corner-pieces of the Parthenon. In the floor above are to be seen the fifty-two copies of the Loggie of Raphael, executed in 1836 by the brothers Balze, under the direction of the illustrious Ingrès, who had made Raphael the study of his life. The same storey contains, among other celebrated works, the hemicycle, painted by Paul Delaroche, representing the principal masters of every age and of every school, grouped around Ictinus and Phidias, the painter and sculptor of the Parthenon. This masterpiece has been popularised, in engraving, by Henriquel Dupont, one of the most regretted professors of the School of Fine Arts. It is impossible to leave the School of Fine Arts without casting a glance on the mansions which either surround or adjoin it, from the beginning of the Quai Malaquais, at the corner of the Rue de Seine, to the Rue des Saint-Pères, all of which enjoy magnificent views of the Seine, the Louvre, and the Tuileries. They have all the same origin, having been built during the first years of the seventeenth century on the property of Queen Margaret. No. 1 on the Quai