This wonderful Champs Elysees lies before one who stands at the Place de l’Etoile, in its whole length of more than two miles from the Arc de Triomphe to the beautiful Tuilleries gardens. In the daytime it is all foliage and sunshine and brightness; at night the gas-lights glitter in unbroken chains from tree to tree. From one end we can see the fountains play at the other, as they sparkle all day in the square by the old Egyptian obelisk, that marks the place of the guillotine, the memory of which changes all the brightness to gloom in the space of a single thought. Beyond, the half-ruined piles of the Tuilleries palace stand up gray and grim, as if they had not yet recovered from the astonishment and shock of their blows. Further still rise the palace and gallery of the Louvre, which some one has aptly called “the first and last fascination of Paris.” We would make the fascinations plural, and include the Luxembourg gallery, which, though smaller, holds no second place in the Parisian world of art. Let no one fancy our tourists saw the Louvre in a day, or can write of it in a paragraph. What one finds there depends on what one carries in of technical knowledge, in intelligent apprehension, in sympathetic insight and appreciation. Words are not the medium for the description of pictures, or for the transmission of the sense of beauty. One should go to the Louvre once, at least, thinking of the building only. Remember that if it and the adjoining Tuilleries palace were extended their full length along the Seine, we should walk a mile to pass them. Once within, and relieved of our umbrellas, lest we forget ourselves and inadvertently “poke” some antique marble warrior, or try the point upon some crumbling mummy, we climb innumerable stairs and walk over acres of slippery, polished floors, and through rooms heavy with gilded decoration, burdened with every adornment that wealth or taste could devise. The lower floors are devoted to libraries, to Egyptian, Assyrian, and Greek museums, and the upper to room after room of paintings, where one wanders at first aimless and bewildered, like a child whose Christmas riches leave it unknowing what first to enjoy. One or two sauntering visits like this, and the great pictures begin to come out from the mass, and we know which are those which belong to us by some subtle power of entering into their significance which we feel, but can not define. Then one by one they begin to lay a touch upon us, and draw us back again and again, for just one other look. How, after a little, our eyes let go, as our souls do also, of nine-tenths of the pictures, those with which we have been able to establish no line of communication, which may be, and are, doubtless, fine, only they are not for us. Then how we yield ourselves to the touch of those that have reached us through their greatness, that could not be resisted. Then we feel the pathos of Triosa’s “Burial,” and the passion of