FRENCH RENAISSANCE. 505 only included a court one-fourth the present size. The only courtyard in Italy to which that of the Louvre may be compared is the Great Hospital at Milan, commenced in 1456 by the architect Filarete. This was formed of open colonnades in two stories, due no doubt to climatic influences ; whereas the Louvre is throughout of solid walling, broken up only by pilasters, windows, and other architectural features. The lower order is of Corinthian, the upper of Composite pilasters, and an order of pilasters of less height was provided for the attic story. The sculptured work by Jean Goujon (a.d. 1510-1572) is especially noteworthy. Under Henri IV. (a.d. 1589-1610), the gallery facing the Seine was erected (1595-1608) by Du Cerceau, and shows the debased inclinations of the period, the details being coarsely carved throughout. Corinthian columns run through two stories, the entablature was pierced for admission of windows, and triangular or circular pediments were placed over pilasters, without any reference to construction or fitness. Under Louis XIII. (a.d. 1610-1643) the Louvre, as built by Lescot, was doubled in size by the architect Lemercier, the Pavilion de I'Horloge being added to form the centre of the enlarged court facade. Under Louis XIV. Perrault added (1688) the eastern facade, 600 feet in length, consisting of a solid-looking basement, above which is an open colonnade of coupled Corinthian columns, and additional stories were added on the north and south sides of the court to make up the necessary height to the eastern block. Under Napoleon I. the northern portion fronting on the Place du Carrousal (completed by Napoleon III. (1863-1868) and the Republic (1874-1878) ) was constructed to connect this building with the Tuileries Palace. Under Napoleon HI. the Louvre was finished by Visconti, during 1852-1857, by the addition of the facades north and south of the Place Louis Napoleon, forming one of the most pleasing specimens of modern French art, in which a certain richness and dignity are added to the picturesqueness of the earlier periods. The Tuileries Palace, Paris (a.d. i 564-1572) was com- menced for Catherine de Medici, by Philibert de I'Orme (a.d. 1515-1570). Only a portion of one side was erected, consisting of a domical central pavilion with low wings on either side. In the reign of Henry IV. two stories were added by F. B. du Cerceau. The problem of effecting a proper junction between this palace and the Louvre was a crux of long standing because of the want of parallelism between them, but was finally effected under Napoleon HI. as mentioned above. The destruction of the
