| An army of volunteers on Tuesday started 
				pasting a colossal 160,000 square feet paper image over the 
				courtyard to prepare for the trompe l'oeil.
 The image will create the illusion of a larger pyramid emerging 
				from rocks as if it had been discovered by an archaeological 
				excavation.
 
 The 70-foot-high glass-and-steel pyramid, designed by 
				Chinese-American architect I.M. Pei, now aged 101, was 
				controversial when it was inaugurated in the classical setting 
				of the Louvre in March 1989. But has since become a beloved 
				Paris landmark.
 
 "The pyramid has always inspired me, the way it mixes the 
				ancient and the modern," JR told Reuters. "This time, a big part 
				of it is to confront the modern with archaeology."
 
 The new trompe l'oeil will be fully visible from Friday evening 
				only from the museum's roof. JR's team has installed two giant 
				screens on the courtyard to allow visitors to see the result 
				from the ground.
 
 For two days, Saturday and Sunday, the courtyard will be open 
				for visitors to walk on it and observe the optical illusion.
 
 "Once everything is pasted, people will be over the image and it 
				will fade away and disappear," JR said.
 
 The interactive part of the project - volunteers enrolling to 
				paste 32-foot-long paper strips and tourists walking, watching 
				and appearing on the video shot from above - is what attracted 
				the Louvre authorities.
 
 "The visitor is always at the heart of our concern, with always 
				the goal to better welcome them," Louvre president Jean-Luc 
				Martinez said.
 
 The performance is a continuation of a giant trompe l'oeil three 
				years ago that made the pyramid disappear behind a giant 
				black-and-white photo.
 
 The pyramid is the most popular of a series of ambitious 
				projects launched by then President Francois Mitterrand in the 
				1980s and 1990s that changed the image of the French capital.
 
 "Les grands travaux", as they were dubbed, were criticized at 
				their conception because their modern shape conflicted with 
				traditional Parisian architecture.
 
 (Reporting by Inti Landauro; Editing by Angus MacSwan)
 
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