The First Room contains merely Græco-Babylonian objects (of a different collection) which need only be inspected by those whose leisure is ample. They illustrate chiefly the effect of Hellenic influence on Asiatic models. On the entrance wall of the Second Room is the magnificent *Frieze of Archers of the Immortal Guard, in encaustic tiles, with cuneiform inscriptions, from the Throne Room of Darius I. This splendid work, mere fragment though it is of the original, gives in its colour and decorative detail some idea of the splendour of the Palace of the Persian monarchs. The colours are those still so prevalent in Persian art, showing a strong predominance of blues and greens, with faint tones of yellow, over red and purple, which latter, indeed, are hardly present. Round the rest of the walls are ranged decorative fragments from the Palace of Artaxerxes Mnemon. Opposite the archers is another magnificent frieze of angry lions, from the summit of the portals in the last-named palace. The next compartment of the same room contains the *Base of a Column and a **Capital of the same, also from the Palace of Artaxerxes Mnemon:—two figures of bulls supporting between them the enormous wooden rafters of the ceiling. These gigantic and magnificent figures form perhaps the most effective and adequate supports for a great weight to be found in any school of architecture.
The next room contains the admirable reconstruction of the Palace, when entire, showing the position on the walls of either pylon, and the manner in which the columns supported the colossal roof. If, from inspection of this model, we return to the base and capitals themselves, we shall be able to judge what must have been the magnificent and gigantic scale of this Titanic building, the effect of which must have thrown even the Temple of Karnac into the shade. At the side are a lion and winged bull, which help to complete the mental picture. This collection, unique in Europe, serves to give one an idea of the early Persian civilisation which can nowhere else be obtained, and which helps to correct the somewhat one-sided idea derived from the accounts of Greek historians. On no account should you miss it.
The minor art-objects of the Louvre, though of immense value and interest in themselves, may be largely examined by those who have the time in the light of their previous work at Cluny. The collection of drawings, one of the finest in Europe, is mostly interesting to artists. That of smaller Mediæval and Renaissance Objects contains works closely similar to those at Cluny, including admirable ivory-carvings, fine pottery (the best of which is that by Palissy, and the Henri II ware), together with Oriental faïence, bronzes, etc. The Greek Vases, again, of which this Museum contains a magnificent collection, are mainly interesting to Hellenic specialists. For the casual visitor, it will suffice to examine one or two of them. The Etruscan Antiquities give a good idea of the civilisation of this ancient race, from which, both in earlier and later times, almost all the art, poetry, and science of Italy has proceeded. Though entirely based upon Greek models, the Etruscan productions betray high artistic faculty and great receptive powers of intellect. Among the minor Greek works, none are more interesting than the beautiful little terra-cotta figures from Tanagra in Bœotia, which cast an unexpected light on one side of Greek art and culture. Examine them as supplementing the collection of antique sculpture. These figurines, as they are called, were produced in immense quantities, chiefly in Bœotia, both for household decoration and to be buried with the dead. They were first moulded or cast in clay, but they were afterwards finished by hand, with the addition of just such accessories or modifications as we have seen to obtain in the case of the statues in the antique gallery. Finally they were gracefully and tastefully coloured. Nothing better indicates the universality of high art-feeling among the ancient Greeks than the extraordinary variety, fancy, and beauty of these cheap objects of every-day decoration; while the unexpected novelty given by the slightest additions or alterations in what (being moulded) is essentially the same figure throws a flood of light upon the methods of plastic art in higher departments. Look out for these exquisite little figures as you pass through the (inner) rooms on the South Side of the old Cour du Louvre, on the First Floor. Most of them will be found in Room L of Baedeker’s plan. Almost every visitor is equally surprised and charmed by their extremely modern tone of feeling. They are alive and human. In particular, the playfulness of Greek art is here admirably exemplified. Many of them have touches of the most graceful humour.
Here, again, do not suppose that because I do not specify, these minor works of art are of little importance. If you have time, examine them all: but you must do so by individual care and study.
The neighbouring Salle des Bijoux contains beautiful antique jewellery; do not miss the very graceful gold tiara presented to the Scythian King Saitaphernes by the Greek city of Olbia in the Crimea—a lovely work of the 3rd century B.C. Its authenticity has been disputed, but not its beauty.
The Galerie d’Apollon contains, among many objects of considerable interest, the Reliquary which encloses the Arm of Charlemagne—who, having been canonized, was duly entitled to such an honour. The Reliquary of St. Henry, and the Chasse of St. Louis are also well worthy of inspection. Notice, too, the Hand of Justice, used at the coronation of the French Kings. But all these objects can only be properly studied, by those who wish to investigate them, with the aid of the official catalogue. I shall recur at greater length to a few of them after our return from St. Denis.
When you have learnt Paris well, go often to and fro between these rooms of the Louvre, the Mediæval and Renaissance Sculpture, the halls at Cluny (particularly Room VI, with its French architectural work), and the older churches, such as St. Germain-des-Prés, Notre-Dame, St. Denis, etc. Thus only can you build up and consolidate your conceptions.
A special small collection, to which part of a day may well be devoted, is the Early Christian Sculpture, to which I have already briefly alluded, in the first room to the R as you enter the Renaissance Galleries in the Cour du Louvre.
The centre of the hall is occupied by a good Early Christian sarcophagus, with a cover not its own, sufficiently described as to origin on the label. The front towards the window represents the True Vine, surrounding the “X P,” which form the first two letters of the name of Christ in Greek, inscribed in a solar circle, and with the Alpha and Omega on either side of it. This figure, repeated on various works in this room in slightly different shapes, is known as a Labarum. It forms, after Constantine (who adopted it as his emblem and that of the Christianized Empire), the most frequent symbol on early Christian monuments. Note modern reproductions on the frieze of this apartment. Its variations are numerous. At the ends, are other True Vines and a better Labarum, with a Star of Bethlehem. The back has the same devices repeated.