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      Room VI. —Wall C, opposite windows, carved chest (1360), French, 17th century, with figures in high relief of the Twelve Apostles. The paintings above it (1704, 1707, 1714), etc., are the fronts of similar chests, Florentine, 15th century. Such boxes were commonly given to a bride to contain her trousseau and household linen. For instance, one (1710) contains the mythical history of a betrothal and wedding (Æneas and Lavinia). The others have in many cases similar appropriate subjects from classical story. (1455) Florentine mosaic cabinet, in the worst taste. Beyond it, other cabinets and fronts of wedding chests. This room also contains musical instruments, interesting as illustrating the evolution of modern forms. Also, florid Italian inlaid tables, in the bad expensive taste of the 17th century. In the windows, stained glass.

      Room VII. – Carved oak cabinets. (1435) Good Flemish work of the 17th century.

      Room VIII. – (189) Carved chimney-piece, similar to that in the Jewish room, and from the same house; marriage scene, allegorical. Carved wooden cabinets and portals, all interesting, but requiring little description. (1431) Again the favourite Renaissance device of Actæon and Diana. Carved oak bed, of age of François Ier, with hangings of the same period. (1509) Good panel of a chair, with the Presentation of the Virgin in the Temple by Saints Joachim and Anna; above, Nativity; then Adoration of the Magi, and Flight into Egypt; on the front, patron saints of the owners.

      Room IX.—**Magnificent collection of ivories and ebonies, all of which the spectator should examine in detail. Nothing in this museum is more interesting. Notice, for example, the beautiful triptych**(1081) in the centre of the first case by the window of Wall D; lower tier, Annunciation; Shepherds; Joseph and the Madonna, with the babe in the manger; and Adoration of the Magi; upper tier, Kiss of Judas, Crucifixion, and Christ and the Magdalen in the Garden; beautiful Italian work of the 14th century. L of it **(1088), exquisite coloured triptych with Madonna and Child; L, St. Paul (with his sword) and St. Catherine; R, St. Peter and the Magdalen; notice their symbols. Several small ivories in the same case should be observed carefully. Below the large triptych, for example, are scenes from the Passion (not chronologically arranged in their existing order), namely, from L to R, Crown of Thorns, Scourging, Resurrection, Ascension, Disciples at Emmaus, Apparition to the three Marys, Peter on the Sea, and Christ with the Magdalen; very naïve French work of the 15th century. (718) Exquisite little wood-carving of the Crucifixion, with scenes from the Passion; Spanish, 16th century. Above it (7227), comb, with Adoration of the Magi; 14th century, very curious. The next case contains still earlier and more interesting work. In the centre, a triptych; lower tier, Adoration of the Magi, Madonna with angels, Presentation in the Temple; upper tier, Bearing the Cross, Crucifixion, and Descent from the Cross; exquisite French work, in high relief, of the 14th century. L of it (1082), Scenes from the Passion, Last Supper, Agony in the Garden, Kiss of Judas (with Peter cutting off Malchus’s ear), Flagellation, etc. Each compartment here consists of two subjects, which identify; charming French work of the 14th century. Above it (1085 and 1086), secular scenes, life in a garden – 14th century. R of the triptych (1065, 1063, 1066, 1064), legends of saints; St. Denis beheaded and bearing his head; Flagellation of an unknown Martyr, who takes it most comfortably; St. Peter, crucified, head downward; and other episodes – charming French 14th century work. Examine all the pieces in this case carefully. In the first case, towards the centre of the room, early ivory-carvings, a *consular diptych of the 5th or 6th century, very interesting; and other works still displaying classical influence. (1035) Byzantine, Christ and Saints. (1049) Death of the Virgin; fine work showing Byzantine influence; 12th century. (1054) Extremely rude Northern 11th century ivory, representing scriptural scenes, mingled with decorative animals treated in withy-band fashion. (1038) Fine Italo-Byzantine plaque with Crucifixion and Saints, the name of each inscribed beside him. Central case: Ivory statuettes, all deserving close attention. (1032) Antique Roman goddess. (1037) Fine early French Madonna; 10th century. Behind her (1052), beautiful ivory reliquary, French, 12th century, with figures of Saints; L, the personages of the Adoration (i. e., the Three Kings) bearing their gifts, and with their names inscribed above them; R, the personages of the Presentation – Madonna, Joseph, Simeon. Further side (1060), beautiful coloured ivory coffer, 14th century, with numerous scriptural scenes, easily recognisable; identify them. Inspect also the ebony cabinets, of which 1458, time of Henri IV. with classical scenes, is a magnificent Renaissance example. By Wall A, more ebony cabinets and carvings, and exquisite ivory statuettes, of later date, among which notice particularly (1141) a Portuguese Madonna; (1163) a Spanish St. Peter; (1164) Spanish St. Antony of Padua; and (1167) a very curious Peruvian Good Shepherd, showing distinct traces of native art, influenced by introduced Spanish feeling. Further to the R, good classical figures of the later Renaissance. I have only indicated a few of the most interesting among these exquisite carvings; but many hours may be devoted to this room, by those who can afford the time, with great advantage.

      Room X. – Bronzes and Renaissance metal work, mostly self-explanatory. (193) Chimney-piece from a house in Troyes – French, 16th century; Plenty, surrounded by Fauns and trophies. Good collection of keys, knives, etc.

      Room XI. —Goldsmith’s work and objects in the precious metals. Wall A (4988), gold altar-piece of the Emperor Henry II, of Germany, with Christ, and figures of Saints, bearing their names above them, given by the Emperor to Bâle Cathedral in the beginning of the 11th century. Central case, the Guerrazar find: votive offerings of crowns of the early Gothic kings of Spain, the largest one being that of Reccesvinthus (died 672), discovered near Toledo. The crowns are rude Byzantine work of the 7th century, inlaid with precious stones. The names inscribed below them were probably added when they were made into votive offerings. Uninteresting as works of art, these curious relics possess great value as specimens of the decadent workmanship of their period. Most of the other objects in this room derive their importance more from the material of which they are composed than from artistic beauty, or even relative antiquarian importance. Of these (4994), in the case near Wall D, represents the Last Supper, with the fish which in very early Christian work is a symbol of Christ. Near it, quaint figures of the four Evangelists, writing, with their symbols. Other symbols of the Evangelists in the same case. Quaint Nuremberg figure of St. Anne, holding on her knee the crowned Madonna, and a little box to contain a relic. (5008) Reliquary foot of a Saint, to enclose his bones; it bears his name – Alard. (4995) Curious figure of the Madonna, Limoges work, very Byzantine in aspect. Other cases contain crucifixes, monstrances, and similar articles of church furniture in the precious metals, mostly of early date. The case by Wall B has Gallic torques and Merovingian jewellery.

      Return to Room VIII, and enter Room XII to the R. It contains bed furniture and book-bindings. (782) Fine Renaissance Flagellation, after Sebastiano del Piombo.

      From this room we enter

      a small apartment, with roof sustained by a single pillar. Good niches, now destitute of their saints; church furniture of the Middle Ages, much of which deserves close attention. (708) Fine wooden altar-piece, Flemish, 15th century: centre, the Mass of St. Gregory, with Christ appearing bodily in the Holy Sacrament; beneath it, adoring angels; L wing, Abraham and Melchisedek, frankly mediæval; R wing, the Last Supper; an excellent specimen. Other objects are: (726) Stiff early wooden Madonna. (723) Crucifix, Auvergne, 12th century. (727) St. John. End wall, Annunciation, with the Madonna separated, as often, from the Angel Gabriel by a vase of lilies.

      The staircase in the corner leads out to the Garden, where are several fragments of stone decoration. Pass through the door, and traverse Room VI; the opposite door leads to

      the remains of the old Roman palace. The scanty remnant, as its name indicates, consists entirely of the baths attached to the building. The masonry is massive. Fragments of Roman altars and other remains found in Paris are arranged round the room. The descriptive labels are sufficient for purposes of identification.

      If this brief survey of Cluny has succeeded in interesting you in mediæval art, buy the official catalogue, come here often, and study it in detail.

      B. THE

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