ities to grant
him the use of the monastery of the Petits Augustins (now part of the
Ecole des Beaux Arts) for their storage. There the admirable official
succeeded in rescuing some 500 historical and royal monuments from
Paris and St. Denis and some 2,600 pictures from the confiscated
monasteries and ecclesiastical establishments, although existing
receipts for about 600 pictures reclaimed from Lenoir by the
Revolutionary Tribunal and burned, prove that he was only partially
successful. In 1793 the National Convention assigned the Petits
Augustins to Lenoir as a Museum of French Monuments, and the
collection was pieced together, somewhat unskilfully it is true, and
arranged in six rooms: many of the objects were in due time destined
to find their way back to St. Denis, others to enrich the Louvre.

(_a_) ANCIENT SCULPTURE.

Entering the quadrangle of the Louvre and making our way to the S.W.
angle we shall see, traced on the granite paving by a line of smaller
stones, the outline of the E. and N. walls and towers of the old
fortress of Philip Augustus, the position of the E. gateway, the Porte
de Bourbon, being marked by its two flanking towers. Enclosed within
these lines, the site of the massive old keep is shown by two circular
strings of stones on the asphalt. Lescot's and Goujon's beautiful
facade (p. 173) is now before us. Although the whole of the decorative
sculpture was designed by Goujon, only three groups of figures can be
safely attributed to his hand; those that adorn the three _oeil de
boeuf_ windows of the ground floor: Fame and Victory; Peace, and War
disarmed; History and Glory. Concerning the two first-named
figures--Fame blowing a trumpet, and a winged Victory offering a crown
of laurel--on either side of the window in the S.W. angle, it is
related that one day as King Henry II. sat at table with his
architect, he asked him what he had in mind when he made the design.
"Sire," answered Lescot, "by the first figure I meant Ronsard, and by
the trumpet, the power of his verse, which carried his name to the
four quarters of the earth." Ronsard, who was present, returned the
compliment by a flattering poetic epistle which he sent to Lescot.
Goujon's figures, destined for the pediment of the attic, were placed
by Napoleon I. most awkwardly over the entrances to the Egyptian and
Assyrian collections in the E. wing, and utterly spoiled of their
effect. The monograms on either side of the windows: two D's