ings, and others."
Even its stones were chiselled as if with a certain malignancy and
fatalism, for they have all disappeared, and their history, even, has
not been written as large as that of those of many contemporary
structures.

Of the last five kings to which the Tuileries gave shelter--not counting
the Second Emperor--only one went straightway to the tomb; one went to
the scaffold and three others to exile. A sorry dowry, this, for an
inheritor of a palace at once so noble and admirable in spite of its
unluckiness.

With the court followers and the nobility of the last days of the
monarchy it was the same thing; the Tuileries was but a temporary
shelter. The scaffold accounted for many and banishment engulfed others
to forgetfulness.

It was a commonplace at the time to repeat the warning: "O! Tuileries!
O! Tuileries! Mad indeed are those who enter thy walls, for like Louis
XVI, Napoleon, Charles X and Louis Philippe you shall make your exit by
another door."

The origin of the name Tuileries is somewhat ignominiously traced from
that of a tile factory which existed here in the heart of Paris, on the
banks of the Seine, in the sixteenth century. The property, which
comprised a manor-house as well as the tile fields, was known by the
name of La Sablonniere, and came to the Marquis Neuville de Villeroy,
Superintendent of Finances, who built on the spot a sort of fortified
chateau, which, if not of palatial dimensions, was of a palatial
prodigality of luxury.

Louise de Savoie, mother of Francis I, acquired the property in 1518 and
nine years later gave it to Jean Tiercelin, the Maitre d'Hotel of the
dauphin, who later was to become Henri II.

The lodge, or manor-house, had, by 1564, fallen into so ruinous a state
that Catherine de Medici, the widow of Henri II, set about to lay the
foundations of a new royal palace.

Catherine never resided in her projected palace, and in 1566 Charles IX,
her son, gave the commission to Philibert Delorme to build a palace,
"neighbouring upon the Louvre, but not to be connected therewith, on the
site of the Tuileries."

On July 11, work was begun, and the central pavilion and the two
extremes were carried up two stories within a year. The central
structure was a great circular-domed edifice, enclosing a marvellous
Escalier d'Honneur. The facade, preceded by two terraced porticos, was
on the courtyard, or garden, between the edifice and the Louvre. It sat
back to the prese