The first Bourbon king has left his impress on the architecture of Paris. "Soon as he was master of Paris," says a contemporary, "one saw naught but masons at work." Small progress had been made during the reign of Henry II.'s three sons with their father's plans for the rebuilding of the Louvre. The work had been continued along the river front after Lescot's death in 1578 by Baptiste du Cerceau, and Catherine de' Medici had erected a gallery on the south, known as the Petite Galerie--a ground-floor building with a terrace on top, intended for a meeting-place and promenade but not for residence. She had also begun in 1564 the palace of the Tuileries, which, like the Louvre, was designed to be a quadrangular building and of which the west wing alone was ever constructed, but abandoned it on being warned by her astrologer, Ruggieri, that she should die under the ruins of a house near St Germain.[127] Henry, soon after he had entered Paris, elaborated a vast scheme for finishing the Tuileries, demolishing the churches of St. Thomas and St. Nicholas, quadrupling the size of the old Louvre, and joining the two palaces by continuing the Grande Galerie, already begun by Catherine, to the west, to afford a means of escape in the event of an attack on the Louvre. Towards the east the hotels d'Alencon, de Bourbon and the church of St. Germain l'Auxerrois were to be demolished, and a great open space was to be levelled between the new east front of the Louvre and the Pont Neuf. At Henry's accession Catherine's architects, Philibert de l'Orme and Jean Bullant, had completed the superb domed central pavilion of the Tuileries, with its two contiguous galleries, and begun the end pavilions, the former using the Ionic order as a delicate flattery of Catherine, "since among the ancients that order was employed in temples dedicated to a goddess." The gardens, with the famous maze and Palissy's beautiful grotto or fountain, had been completed in 1476, and for some years were a favourite promenade for Catherine and her court. Henry's plans were so far carried out that on New Year's day, 1606, he could lead the Dauphin along the Grande Galerie to the Pavilion de Flore at the extreme west of the river front, and enter the south wing of the Tuileries which had been extended to meet it. The Pavilion de Flore thus became the angle of junction between the two palaces. An upper floor was imposed on the Petite Galerie, and adorned with paintings representing the kings of France. Unhappily the fire of 1661 destroyed all the portraits save that of Marie de' Medici by Porbus, and all the subsequent decorations by Poussin. Henry intended the ground floor of the Grande Galerie for the accommodation of his best craftsmen--painters, sculptors, goldsmiths, tapestry weavers, smiths, and others. The quadrangle, however, remained as the last Valois had left it--half Renaissance, half Gothic--and the north-east and south-east towers of the original chateau were still