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Updated: May 12, 2025
The iron gates of the north, south and east sides were put into place only in 1855, and at the Commune served their purpose fairly well in holding the rabble at bay, a rabble to whose credit is the fact that it respected the artistic inheritance enclosed by the Louvre's walls. No work of art in the museums was stolen or destroyed, though the library disappeared.
How unlike to stately Louvre's halls of statuary and cabinets of porcelain, or the Arcadian groves of Montpipeau! And yet how little they recked that they were in a beleaguered fortress, in the midst of ruins, wounded sufferers all around, themselves in hourly jeopardy. It was enough that they had one another.
In Leonardo the Louvre is of course far richer, even without the Gioconda, but we have at Burlington House the cartoon for the Louvre's S. Anne which may pair off with the Uffizi's unfinished Madonna, and we have also at the National Gallery his finished "Virgin of the Rocks," while to Burlington House one must go too for Michelangelo's beautiful tondo.
I could fill reams in telling you what he has. But I confine myself to one picture only, which he keeps in a room by itself. I am not so foolish as to pretend to know anything, but to my eyes this picture was nothing whatever but the Louvre's "Monna Lisa." That being of course impossible, "What a wonderful copy!" I said. "You may indeed say so," replied my host.
"There," he cried, "since Joan would not come to the Louvre, I am bringing the Louvre's chief treasure to her. As it is the last, so is it the best of my copies. My hand was losing its cunning, I felt myself growing old, so I prayed to that sweet Madonna to give me one last flicker of the immortal fire ere it left me a dry cinder. Well, she listened, I think.
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