At least =six days=—far more, if possible—should be devoted to the Louvre Collections—by far the most important objects to be seen in Paris. Of these, =four= should be assigned to the Paintings, and one each to the Classical and Renaissance Sculpture. If this is impossible, do not try to see all; see a =little thoroughly=. Confine yourself, for Painting, to the Salon Carré and the Salle des Primitifs, and for Sculpture, to a hasty walk through the Classical Gallery and to the three Western rooms of the Renaissance collection. The object of the hints which follow is _not to describe_ the Collections in the Louvre; it is to put the reader =on the right track= for understanding and enjoying them. It is impossible to make people admire beautiful things; but if you begin by trying to comprehend them, you will find admiration and sympathy grow with comprehension. =Religious symbolism is the native language of early art=, and you cannot expect to understand the art if you do not take the trouble to learn the language in which it is written. Therefore, do not walk listlessly through the galleries, with a glance, right or left, at what happens to catch your eye; begin at the beginning, work systematically through what parts you choose, and endeavour to grasp the sequence and evolution of each group separately. Stand or sit long before every work, till you feel you know it; and return frequently. Remember, too, that I do not point out always what is most worthy of notice, but rather suggest a mode of arriving at facts which might otherwise escape you. Many beautiful objects explain themselves, or fall so naturally into their proper place in a series that you will readily discover their meaning and importance without external aid. With others, you may need a little help, to suggest a point of view, and that is all that these brief notes aim at. Do not be surprised if I pass by many beautiful and interesting things; if you find them out for yourself, there is no need to enlarge upon them. Should these hints succeed in interesting you in the succession and development of art, get Mrs. Jameson and Kugler, and read up at leisure in your rooms all questions suggested to you by your visits to the galleries. My notes are intended to be looked at =before the objects themselves=, and merely to open a door to their right comprehension. The galleries are open, free, daily, except Mondays. Painting from 9, Sculpture from 11. For details, see Baedeker.] I. PAINTINGS.