Under Louis XVIII. (died 1824) 111 pictures were purchased for the national collection at a cost of £26,730, but during the reign of Charles X. (1824-30) only 30 were acquired, £2511 being expended on them. An outlay of £2965 by Louis Philippe (reigned 1830-48) enriched the Louvre with 33 more pictures, but that king concentrated his efforts on the restoration and decoration of the Château of Versailles, on which he spent £440,000. In the early years of the Second Republic a large number of improvements were effected in the Louvre, and in 1848 £8000 was spent on restoring several of the rooms now hung with pictures, which were first systematically arranged three years later. Although the Museum had at that period an annual grant of £2000 for the purchase of pictures, special grants in aid were made from time to time, notably on the occasion of the sale of Marshal Soult, pictures from whose collection were acquired in 1852 for £24,612. In this way Murillo’s _Immaculate Conception_ (No. 1709, Plate XXVI.) passed to the Louvre from the “Plunder-master-General” of the Spanish campaign. During the Second Empire the Musée du Louvre acquired about 200 Italian primitives from the Campana collection, while seven years later it was further enriched by the important bequest by Dr. La Caze of 275 paintings of different schools. Since 1870, when the Palace of the Tuileries was destroyed, the permanent collection has been increased by the purchase in 1883 for £8000 of the Morris Moore “Raphael” (No. 1509), which has since come to be universally regarded as a work by Perugino; while about 300 other paintings of varying importance have also been acquired from time to time with Government funds. In recent years the national collection has benefited largely by the generosity of private donors, among whom we may mention MM. Duchâtel, Gatteaux, His de la Salle, Lallemant, Maciet, Rodolphe Kann, Sedelmeyer, Grandidier, Vandeul, and several members of the Rothschild family. In 1896, by the sale of a large proportion of the Crown jewels, a _Caisse des Musées_ was organised, and the annual income devoted to the purchase of pictures notably increased. A year later the _Société des Amis du Louvre_, which corresponds to the National Art-Collections Fund in England, was founded to assist in securing pictures and other works of art for the nation; by that means the _Madonna and Child_ (No. 1300A or 1300B) which passes under the name of Piero dei Franceschi was acquired by the Louvre.