Porte Jean Goujon, conspicuous from afar by its gilded balcony. Its crowned H’s and coats-of-arms are specially interesting examples of the decorative work of the period. Note also the skill with which this almost flat range is relieved by sculpture and decoration so as to make us oblivious of the want of that variety usually given by jutting portions. The end of this long gallery is formed by two handsome windows with balconies. We there come to the connecting =Galerie d’Apollon=, of which these windows are the termination, and finally reach once more a portion of Perrault’s façade, with its double LL’s, erected under Louis XIV, and closely resembling the interior _façade_ of the Cour du Louvre. (The N side you can examine any day as you pass along the Rue de Rivoli. You will now have no difficulty in distinguishing its various factors—first, on the E, a part of Perrault’s _façade_ of the Old Louvre; then, where it begins to bend outward, a portion of Napoleon the Third’s connecting link; finally, beyond the main carriage way, westward, a part reconstructed under the Third Republic.) Sit awhile on the adjacent Pont des Arts to gain a general conception of the relations of the Louvre, the Île de la Cité, the Hôtel de Ville and other surrounding buildings. This first rough idea of the Louvre should be filled in later by detailed study. The Renaissance portions, in particular, you should look at again and again, every time you enter piecing out your conceptions at a later stage by visiting the Renaissance Sculpture Gallery in the Cour du Louvre, and comparing the works inside it and outside it. Thus only can you gain a connected idea of Renaissance Paris, to be further supplemented by frequent visits to St. Étienne-du-Mont, St. Eustache, and Fontainebleau. B. THE COLLECTIONS [The Collections in the Louvre have no such necessary organic connection with Paris itself as Notre-Dame and the Sainte-Chapelle, or even those in the rooms at Cluny. They may, therefore, be examined by the visitor at _any_ period of his visit that he chooses. I would advise him, however, whenever he takes them up, to begin with the paintings, _in the order here enumerated_, and then to go on to the Classical and Renaissance Sculpture. The last-named, at least, he should only examine in connection with the rest of Renaissance Paris. Also, while it is unimportant whether he takes first Painting or Sculpture, it is very important that he should take each separately in the =chronological order= here enumerated. He should not skip from room to room, hap-hazard, but see what he sees systematically.