Notice particularly the splendid 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 Galérie 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 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 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 doubtful that he should take each separately in the chronological order. 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 Gallery VII., and for Sculpture to the Classical Gallery and to the three Western rooms of the Renaissance collection. The Madeleine and Champs Elysées By Nathaniel Hawthorne [Footnote From "French and Italian Note-Books." By special arrangement with, and by permission of, the publishers of Hawthorne's works, Houghton, Mifflin Co. Copyright, 1871, 1883, 1899.]