Thus it came about that the second Claus--an artist not unworthy to follow his uncle--was entrusted with the construction of the next great Burgundian monument we have to consider, the tomb of Philippe le Hardi, now in the great hall of the musée, once the "salle des gardes" of the Ducal Palace. The commission had been given originally, in 1384, to Jean de Marville, who died after completing the masonry and the alabaster gallery. Claus Sluter made some progress with the _pleurants_, but it was not completed until the end of 1410, when young De Werve had been at work upon it for four years. The masterpiece was received with universal acclamations. Jean sans Peur, with a Valois' eye for the beautiful, recognised the merit of his new imagier, and commissioned him forthwith to do his (the Duke's) own tomb. Claus accepted the task, but was never able to get to work. Money lacked; and the Duke of Burgundy was too deeply involved in the political struggles of his time to give heed to such trifles as financing the construction of a tomb, even though it were his own. So poor Claus, filled with a glorious ideal that he was never able to see realized in stone, wasted his life in waiting, waiting, until, in 1439, death found him, poor and unknown, and laid him in an obscure tomb, not of his own design, in the Chartreuse de Champnol. So fare they who hang upon princes' favours. [Illustration: ·PHILIPPVS·DVX·BVRGVNDIAE· PHILIPPE LE BON.] When Jean sans Peur had expiated, at Montereau, the crime of which I shall presently tell, his son, Philippe le Bon, had perforce to look about him for another imagier to do the work. His choice fell, unwisely, upon a Spaniard from Aragon, one Jean de la Huerta, an unscrupulous rascal, who bolted from Dijon in 1455, taking with him cash that he had not earned, and leaving behind him the tomb, void of sculpture, except the angels and the tabernacles of the gallery. The monument was completed, in 1466-1470, by his successor, Antoine le Moiturier, of Avignon. The revolutionary mob destroyed both monuments; but they were pieced together again and restored; and there they stand, for all time let us hope, worthily housed in that magnificent Salle des Gardes. There is nothing in all Burgundy that so conveys, in one coup d'œil, the magnificence of the Valois Dukes.