must be sought
in the Luxembourg, where they are all too inadequately represented.
The self-imposed limitations of this work will not carry us thither,
but the most cursory visit to the Louvre would be incomplete without
some notice of the collections of Persian and Egyptian art which we
may conveniently glance at on our way as we leave. Descending to the
first floor by the staircase up which we mounted, we turn obliquely to
the R. and enter the E. gallery containing the Persian terra-cotta
reliefs and other objects from the royal palace of Darius, and
Artaxerxes,[221] his son, at Susa, including the marvellous coloured
Frieze of the Archers; one of the colossal capitals (restored), that
supported the roof of the Throne Room; a model of the same; and some
fine terra-cotta reliefs of Lions and of winged Bulls.

[Footnote 221: The student of history will not need to be reminded
that the famous retreat of the Ten Thousand, so dramatically described
by Xenophon, was occasioned by the death in battle of their ally
Cyrus, in his ill-omened attempt to dispossess his brother,
Artaxerxes, of the crown of Persia.]

We pass on through the Mediaeval and Renaissance collections, turn an
angle R., and enter the South Gallery, where some remarkable specimens
of ancient art will be found among the Egyptian Antiquities. The
painted statue (Hall III.) of the Seated Scribe is one of the most
precious examples the world possesses of an art admirable in its
naturalism and power of vivid portraiture, and the charming figure of
a priestess, known as _Dame Toui_, exquisitely wrought in wood, is
equally noteworthy. A superb example of a royal papyrus of the Book of
the Dead will also invite attention. We pass on through a suite of
beautifully decorated rooms filled with a choice collection of
Etruscan and Greek Ceramic art, each of which offers a rich feast of
beauty and historic interest.

At length we reach again the collection of paintings, Room III.,
whence we may pass through the Salle des Bijoux with a small exhibit
of ancient jewellery, to the Rotonde, and turning L., enter the
magnificent Galerie d'Apollon (the old Petite Galerie of Henry IV.),
and examine the wealth of enamels; the exquisite productions of the
goldsmith's art as applied to the sacred vessels of the church;
precious stones; cameos; and such as remain of the old crown jewels.
We may leave the palace by returning to the Rotonde; pass through the
Salle La Caze and des