containing the works of modern French painters. This, of course, is one of the most important objects to be visited in Paris; but I do not give any detailed account of it here, because the pictures themselves are entirely modern, and chiefly by living painters and sculptors, the various examples being sent to the Louvre, or to provincial museums, within ten years of the death of the artist. A visit to this Museum is therefore indispensable to those who desire to form a just acquaintance with contemporary art. But nothing in the Gallery demands historical elucidation. The visitor should provide himself with the Official Catalogue, which will amply suffice for his needs in this Gallery. I need hardly say that a proper inspection of it _cannot_ be combined in one day with the other objects mentioned in this Excursion. Devote to it at least one or two separate mornings. Turning to the L, as we leave the end of the Rue Férou, the first building on our R is the official residence of the President of the Senate; the second is Marie de Médicis’s Palace of the Luxembourg, now employed as the seat of the Senate. Walk along its _façade_, the work of Jacques Debrosse, one of the ablest architects of the later classicizing Renaissance, in order to observe the modified style of the age of Henri IV and Louis XIII, which it still on the whole preserves, in spite of modern additions and alterations. Note the gradual falling-off from the exquisitely fanciful period of the earlier French Renaissance, which produced the best parts of the Louvre and St. Eustache; and the way this building lets us down gently to the bald classicism of Louis XIV and Perrault. If you know Florence, observe also the distinct reminiscences of the Pitti Palace. Continue your walk along the whole of the _façade_, as far as the corner by the Odéon Théâtre,—the subventioned theatre of the students and the Quartier Latin. Then, turn into the =garden=, and note the rest of the building, whose _façade_ towards this side, though restored under Louis Philippe, more nearly represents Debrosse’s architecture than does that towards the main thoroughfare. You need not trouble about the interior: though it contains a few good modern paintings. The =garden=, however, is well worth a visit on its own account, both for the sake of the typical manner in which it is laid out, and especially for the handsome =Fontaine de Médicis= by Debrosse, on the side next the Panthéon. The group of sculpture in the middle represents Polyphemus surprising Acis and Galatea. Go round to the back, to see the (modern) Fountain of Leda,—that favourite subject of Renaissance sculpture. The best way back from this Excursion is by the Rue de Seine, which leads you past the Marché St.-Germain.