on of mediaeval and renaissance objects
unparalleled in Europe for variety and excellence and beauty. The
rooms themselves, with their fine carved chimney-pieces, where on
winter days wood-fires, fragrant and genial, burn, are not the least
charming part of the museum. Many of the exhibits (about 12,000) are
uncatalogued, and the old catalogue, long out of date, may well be
classed among the antiquities. The traveller will doubtless return
again and again to this rich and fascinating museum. The present
installation is provisional, and we do but indicate the chief classes
of objects exhibited, most of which are clearly labelled. L. of
vestibule, Rooms I. and II. contain a miscellaneous collection of
wood carving, statuary, ivories, etc. Room III. has some important
examples of carved and painted altar-pieces: 709 is late
fifteenth-century work; 712, Flemish of the sixteenth century; 710, a
German domestic altar-piece, near which stands a fine Flemish
altar-piece (no number), carved with scenes from the Passion. On a
screen in the centre are some important paintings, carvings and other
objects of ecclesiastical art from the Rothschild Collection. Room IV.
shows some beautiful renaissance furniture, cabinets, medals, etc. To
the R. is the smaller Room V. The chief exhibits here are an
eighteenth-century Neapolitan _Creche_, with more than fifty doll-like
figures; a rich tabernacle of plateresque Spanish work, and some
furniture of interest. We return and descend to Room VI. (on the R), a
large hall, where many important mediaeval sculptures will be seen. At
the four corners are thirteenth-century statues from the Ste.
Chapelle. We may also mention: 429 (under a glass case), some lovely
fourteenth-century statuettes, mourners from the tomb of Philip the
Bold, by the Burgundian artist, Claus Sluter; a painted statue of the
Baptist, Sienese work; statuette in wood of the Virgin, French art of
the fourteenth century; 725, statuette in wood of St. Louis from the
Ste. Chapelle. Other noteworthy examples of mediaeval plastic art by
French, Italian and Netherland craftsmen will be found in this room,
and around the walls are specimens of tapestries, carvings, paintings
and mosaics, among the last being some from St. Denis and one, 4763,
by David Ghirlandaio from St. Merri. We cross a passage to the
parallel Hall VII., where hang three grand pieces of early sixteenth
century Flemish tapestry, illustrating the story of David and
Ba