No other edifice in Europe contains so vast a treasure of things beautiful and rare as the great royal palace of the Louvre, whose growth we have traced in our story. From periods so remote that works of art sometimes termed ancient are in comparison but of yesterday to the productions of the generation of artists who have just passed away, we may study the varying phases of the manifestation through the ages of the artistic sense in man. From Egypt, Chaldea and Assyria, from Persia, Phoenicia and Greece, rich and marvellous collections afford a unique opportunity for the study of comparative aesthetics. We may safely assume, however, that the traveller will be chiefly interested in the manifold examples of the plastic and pictorial arts, here exhibited, from Greece downwards. In the limited space at our disposal we can do no more than indicate the principal and choicest objects in the various rooms, praying those whose leisure and interest impel them to more thorough examination of any one department, to possess themselves of the admirable and exhaustive special catalogues issued by the Directors of the Museum. The nucleus of the gallery of sculpture and painting was formed by Francis I. and the Renaissance princes at the palace of Fontainebleau, where the canvases at the beginning of the seventeenth century had reached nearly 200. Colbert, during the reign of Louis XIV. by the purchase of the Mazarin and other Collections, added 647 paintings and nearly 6000 drawings in ten years. In 1681 the Cabinet du Roi, for so the collection of royal pictures was called, was transferred to the Louvre. They soon, however, followed their owner to Versailles, but some hundred were subsequently returned to Paris, where they might be inspected at the Luxembourg Palace by the public on Wednesdays and Saturdays. In 1709 Bailly, the keeper of the king's cabinet, took an inventory of the paintings and they were found to number 2376. In 1757 all were again returned to Versailles, and it was not until 1793, when the National Convention, on Barrere's motion, took the matter in hand, that they were restored to the Parisians and, together with the works of art removed from the suppressed churches and monasteries preserved by Lenoir, formed the famous gallery of the Louvre, which was formally opened to the public on the first anniversary of the memorable 10th of August. The arrival of the artistic spoils from Italy was stage-managed by Napoleon with consummate skill and imposing spectacular effect. Amid the applauding multitudes of Parisians a long procession of triumphal cars slowly wended its way, loaded with famous pictures, securely packed, but each bearing its title in monumental inscription. THE TRANSFIGURATION, by RAPHAEL: THE CHRIST, by TITIAN, etc. Then followed the heavy rumbling of massive cars groaning under the weight of sculptures, these too inscribed: THE APOLLO BELVEDERE: THE LAOCOON, etc. Other chariots loaded with trunks containing famous