Now, continue =westward,= pass the Monument of Gambetta, and take a seat on the steps at the base, near the fine nude figure of Truth. In front of you opens the =third square= of the Louvre, known as the =Place du Carrousel=, and formerly enclosed on its W side by the Palace of the Tuileries, which was unfortunately burnt down in 1871, during the conflict between the Municipal and National authorities. Its place is now occupied by a garden terrace, the view from which in all directions is magnificent. Fronting you, as you sit, is the =Arc de Triomphe du Carrousel=, erected under Napoleon I, by Percier and Fontaine, in imitation of the Arch of Septimius Severus at Rome, and once crowned by the famous bronze Roman horses from St. Mark’s at Venice. The arch, designed as an approach to the Tuileries during the period of the classical mania, is too small for its present surroundings, since the removal of the Palace. The =N. wing=, visible to your R, is purely modern, of the age of the First and Second Empire and the Third Republic. The meretricious character of the reliefs in its extreme W. portion, erected under the Emperor Napoleon III, and restored after the Commune, is redolent of the spirit of that gaudy period. The =S. wing=, to your L, forms part of the =connecting gallery= erected by Henri IV, but its architecture is largely obscured by considerable alterations under Napoleon III. Its W pavillon—known as the Pavillon de Flore—is well worth notice. Having thus gained a first idea of the =courtyard fronts= of the building, continue your walk, still westward, along the S wing as far as the Pavillon de Flore, a remaining portion of the corner edifice which ran into one line with the Palace of the Tuileries (again consult Baedeker’s map). Turn round the corner of the Pavillon to examine the S, or =River Front= of the connecting gallery—one of the finest parts of the whole building, but far less known to ordinary visitors than the cold and uninteresting Northern line along the Rue de Rivoli. The first portion, as far as the gateways, belongs originally to the age of Henri IV; but it was entirely reconstructed under Napoleon III, whose obtrusive N appears in many places on the gateways and elsewhere. Nevertheless, it still preserves, on the whole, some reminiscence of its graceful Renaissance architecture. Beyond the main gateway (with modern bronze Charioteer of the Sun), flanked by the Pavillons de la Trémoille and de Lesdiguières, we come upon the long =Southern Gallery= erected by Catherine de Médicis, which still preserves almost intact its splendid early French Renaissance decoration. This is one of the noblest portions of the entire building. The N here gives place to H’s, and the Renaissance scroll-work and reliefs almost equal those in that portion of the old Louvre which was erected under François I^{er}. Sit on a seat on the Quay and examine the sculpture. Notice particularly the splendid