The first Bourbon king has left his impress on the architecture of Paris. Small progress had been made during the reign of Henry II.'s three sons with their father's plans for the rebuilding of the Louvre. The work had been continued along the river front after Lescot's death in 1578 by Baptiste du Cercan, and Catherine de' Medici had erected the gallery on the south, known as the Petite Galerie--a ground-floor building with a terrace on top, intended for a meeting-place and promenade and not for residence; she had also begun the palace of the Tuileries in 1564, but abandoned it on being warned by her astrologer, Ruggieri, that she should die under the ruins of a house near St. Germain.[121] Henry, soon after he had entered Paris, elaborated a vast scheme for finishing the Tuileries, demolishing the churches of St. Thomas and St. Nicholas, quadrupling the size of the old Louvre and joining the two palaces by continuing the Grande Galerie, already begun by Catherine, to the west. Towards the east the hôtels d'Alençon, de Bourbon and the church of St. Germain l'Auxerrois were to be demolished, and a great open space was to be levelled between the new east front of the Louvre and the Pont Neuf. At Henry's accession Catherine's architects, Philibert de l'Orme and Jean Bullant, had completed the superb domed central pavilion of the Tuileries, with its two contiguous galleries, and begun the end pavilions. The gardens, with the famous maze or _dedalus_ and Palissy's beautiful grotto, had been completed in 1476, and for some years were a favourite promenade for Catherine and her court. Henry's plans were so far carried out that on New Year's day, 1608, he could walk along the Grande Galerie to the Pavilion de Flore at the extreme west of the river front, and enter the south wing of the Tuileries which had been extended to meet it. The Pavilion de Flore thus became the angle of junction between the two palaces. An upper floor was imposed on the Petite Galerie, and adorned with paintings representing the kings of France. Henry intended the ground floor of the Grande Galerie for the accommodation of painters, sculptors, goldsmiths, tapestry weavers, smiths, and other craftsmen. The quadrangle, however, remained as the last Valois had left it--half Renaissance, half Gothic--and the north-east and south-east towers of the original château were still standing to be drawn by Sylvestre towards the middle of the seventeenth century.