But the great work is yet incomplete. Political liberty and equality have been won. A more tremendous task awaits the peoples of the old and new worlds alike--to achieve industrial emancipation and inaugurate a reign of social justice. And we know that Paris will have no small part in the solution of this problem. * * * * * It now remains to consider the impress which this stormy period left on the architecture of Paris. We have seen that the Convention assigned the royal Palace of the Louvre for the home of a national museum. The neglect of the fabric, however, continued. Already Marat had appropriated four of the royal presses and their accessories for the _Ami du Peuple_ and the types founded for Louis XIV. were used to print the diatribes of the fiercest advocate of the Terror. All along the south facade, print and cook shops were seen, and small huckstering went on unheeded. In 1794 the ground floor of the Petite Galerie was used as a Bourse. On the Place du Carrousel, and the site of the Squares du Louvre were a mass of mean houses which remained even to comparatively recent times. In 1805 the masterful will and all-embracing activity of Napoleon were directed to the improvement of Paris, which he determined to make the most beautiful capital in the world. His architects, Percier and Fontaine, were set to work on the Louvre, and yet another vast plan was elaborated for completing the Palace. A northern wing, corresponding to Henry's IV.'s south wing, was to be built eastwards along the new Rue de Rivoli, from the Pavilion de Marsan at the north end of the Tuileries; the Carrousel was to be traversed by a building, separating the two palaces, designed to house the National Library, the learned Societies and other bodies. The work was begun in 1812, the Emperor commanding that the grand apartments were to be prepared for the sovereigns who would come, _a lui faire cortege_, after the success of the Russian campaign! Of this ambitious plan, however, all that was carried out was a portion of the Rue de Rivoli facade, from the Pavilion de Marsan to the Pavilion de Rohan, which latter was finished under the Restoration. Some external decorative work was done on the south facade. Perrault's Colonnade was restored, the four facades of the quadrangle were completed, and a new bridge to lead to the "Palace of the Arts" was built. Little or nothing was done to further Napoleon's plan until the Republic of 1848 decreed the completion of the north facade, which was actually achieved under the Second Empire by Visconti in 1857, who built other structures, each with three courts, inside the great space enclosed by the north and south wings to correct their want of parallelism. Later (1862-1868), Henry the Fourth's long gallery and the Pavilions de Flore and Lesdiguieres were rebuilt, and smaller galleries were added to those giving on the Cour des Tuileries: after the disastrous fire which destroyed the Tuileries