of Saint Marc, for
instance) were afterwards returned to their original owners, but the
nucleus of this unrivaled art museum was chiefly due to the consul and
emperor.

As soon as Charles V had left the Louvre demolition was at once begun by
Francis, and in 1541 an Italian, Serlio, was bidden prepare a set of
plans for the Renaissance glory that was to be. Serlio, refusing, or
debating the price, was cast aside for the Frenchman, Lescot, whose plan
was adopted.

The work can in no way be said to have suffered by the change of plans,
for though Pierre Lescot was as yet a name unknown in the world of
architecture his talents were sufficiently great, magistrate and
parliamentary counsellor though he was, to give to Paris what has ever
been accounted its chief Renaissance glory.

Work was begun at once, a work which was not interrupted by intrigues of
court, of love, of war, nor by the deaths of Francis I nor his
successor, Henri II.

Although the work was begun in an energetic manner it was 1555 before
the western wing was ready for the hand of the sculptors, but from this
time on, judging from the interpolated monograms of Charles IX and Henri
IV on the south wing, work progressed less hurriedly. The two other
constructions, which were to enclose the quadrangle to the north and
east, were completed under such circumstances that there has never been
a question as to their period.

For fifteen years the work went on, when suddenly it was abandoned as
were the plans of Lescot. A sole wing, that following the Seine and
abutting at right angles against the Pavilion de l'Horloge, had
resulted.

The sculptures of its south facade, as well as certain of its interior
decorations, were entrusted to Jean Goujon (1520-1572), who became a
victim of the horrible night of Saint Bartholomew, planned in the same
Louvre by the wily Medici.

Henri II often dwelt over Lescot's plans and devices, and, on one
occasion, when the poet Ronsard was present, demanded of the architect
the meaning of the decorations surrounding a great _oeil-de-boeuf_
window, two kneeling figures, one blowing a trumpet, and the other
extending a palm branch. "Victory and Fame," replied Lescot. And, in
honour of the architect and his sentiment, Ronsard composed his
"Franciade." The detail was actually by Goujon, whose design it was,
under the oversight of the master architect. One may see this _chef
d'oeuvre_ to-day just above the courtyard portal to the we