Again, the portion of the building that directly faces you as you enter the court from St. Germain is the oldest part, and represents the early Renaissance spirit. It is the most primitive Louvre. Note in particular the central elevated portion, known as a Pavilion, and graced with elegant Caryatides. These Pavilions are lingering reminiscences of the medieval towers. You will find them in the corners and centers of other blocks in the Louvre. They form a peculiarly French Renaissance characteristic. The Palace is here growing out of the Castle. The other three sides of the square are, on the whole, more classical and later. Now across the square directly to the Pavilion de l'Horloge, as it is called, from the clock which adorns it. To your left, on the floor of the court, are two circular white lines, enclosed in a square. These mark the site of the original Château of the Louvre, with its keep, or donjon. François I., who began the existing building, originally intended that his palace should cover the same area. It was he who erected the left wing, which now faces you, marked by the crown and H on its central round gable, placed there by his successor, Henry II., under whom it was completed. To the same king are also due the monograms of H and D (for Diane de Poitiers, his mistress), between the columns of the ground floor. The whole of the Pavilion de l'Horloge, and of this west wing, should be carefully examined in detail as the finest remaining specimen of highly decorated French Renaissance architecture. (But the upper story of the Pavilion, with the Caryatides, is an age later.) Observe even the decoration lavished on the beautiful chimneys. Pierre Lescot was the architect of this earliest wing; the exquisite sculpture is by Jean Goujon, a Frenchman, and the Italian, Paolo Ponzio. Examine much of it. The crossed K's of certain panels stand for Catherine de Médici. The right wing, beyond the Pavilion, was added, in the same style, under Louis XIII., who decided to double the plan of his predecessors, and form the existing Cour du Louvre. The other three sides, in a more classic style, with pediments replacing the Pavilions, and square porticos instead of rounded gables, are for the most part later. The south side, however, as far as the central door, is also by Pierre Lescot. It forms one of the two fronts of the original square first contemplated. The attic story of these three sides was added under Louis XIV., to whom, in the main, is due this Cour du Louvre. A considerable part of Louis XIV.'s decorations bear reference to his representation as "le roi soleil."