interlaced with the bar of an H, or two C's with the whole of the
letter H, are variously interpreted as the initials of Diana of
Poitiers and Henry II. or Catherine de' Medici and Henry II.

We enter the palace by the Pavilion de l'Horloge (the clock pavilion)
and, turning L. find on our L. a door which opens to the Salle des
Caryatides (p. 173). Here, in the old Salle Basse, memories crowd upon
us--the dangling bodies of the four terrorist chiefs of the Sections
hanged by the Duke of Mayenne from the beams of the old ceiling; the
Red Nuptials of fair Queen Margot and Henri Quatre; the chivalrous and
handsome, but ill-fated young hero of Lepanto, Don John of Austria, on
his way, in 1576, to the Netherlands, his brain seething with romantic
dreams of rescuing Mary Queen of Scots and seating her beside himself
on the throne of England, taking part in a royal ball, disguised as a
Moor, and leaving, smitten by the charms of Queen Margot; the lying in
state of the murdered Henri; the dying Mazarin wheeled in his chair to
witness the royal performances by Moliere. Beneath our feet in the
_caves_ are part of the foundations of the old feudal chateau, and
pillars and fragments of old sculpture discovered in 1882-1884.

We note Goujon's Caryatides (p. 174), traverse the hall, filled with
Roman sculpture and, turning R. along the Corridor de Pan, enter the
Salle Grecque, which contains a small but precious collection of Greek
sculptures. In the centre are three archaic works: a draped Juno, and
in glass cases, a Head of Apollo, and a Head of a Man, the latter
still bearing traces of the original colouring. Also in cases are:
Head of a Lapith from the Parthenon; and Head of a woman attributed to
the sculptor Calamis, acquired in 1908 from the Humphrey Ward
collection. Three bas-reliefs from a temple of Apollo at Thasos show a
marked advance in artistic expression, which reaches its ultimate
perfection in the lovely fragment of the Parthenon frieze, and in a
mutilated metope from the same temple. An interesting comparison is
afforded by the metopes (The Labours of Hercules) from the Temple of
Jupiter at Olympia, earlier and transitional in style but admirable in
craftsmanship. On the walls and in the embrasures of the S. windows
are a number of stele, or sepulchral reliefs,[194] executed by
ordinary funeral masons, which will demonstrate the remarkable general
excellence of Attic sculpture in the finest period: 766, to Philis,
d