It was an ironical fate that chose such means for preserving the statues, which were already on their way from Rome. Had the Roi Soleil permitted the erection of the monument, not a vestige of it, probably, would have survived the Revolution; consequently, its statues would not, to-day, adorn the chapel of the Hotel Dieu at Cluny. The loss of the mausoleum we need not regret; but the statues, though, to my mind, too artificial and conscious to be pleasing, are carved with skill and vivacity, and are generally considered to be among the best examples of their kind. The bas-relief of the battle scene, on the plinth below the male figure, is, to many, the most interesting part of the work. On the way back to the town, on the right hand side, a lion, quite Byzantine in character, and taken, I imagine, from the abbey church, forms the sign of the café "Lion d'Or." In the lower part of the town, in the Rue Prudhon, not far from the church of St. Marcel, is a modest little dwelling, whereon the passer-by may read the name of the greatest Burgundian painter, Prudhon, born there on April 4th, 1758. The French Correggio, as he has been called, after the Italian master who exercised most influence upon him, represents very faithfully, in the quality of his art, some of the characteristics of the land of its birth. On this more mountainous side of Burgundy, west of the Côte d'Or, we should expect to find, in a modified form, along with the typical Burgundian qualities of vivacity, strength, solidity, and grace, some of the passion, the sterner qualities of the harder, hill-bred race, more closely in touch with the sterner aspects of nature--especially in the case of one whose birth synchronized with the birth-throes of the great Revolution. It may be, too--and it appeals to one's historic sense to believe--that something of the stern ethical ideal of Cluny had passed into the mind of one who was born beneath the shadow of the abbey towers. Many of those, however, to whom the works of Prudhon are familiar, find greater pleasure in his lighter, allegorical paintings, such as those in the Musée at Montpellier, which, perhaps, show the influence of his predecessor Greuze, who, born in Tournus, by the wide pastures of the Saône, represents the more peaceful, pastoral, and lighter aspect of Burgundian art. [Illustration: Ornament] In connection with Prudhon, and with a parallel drawn between his work and that of Greuze, M. Perrault-Dabot, in his book, "L'Art en Bourgogne," and Montégut also, in his "Souvenirs," speak of a type of feminine beauty at Cluny, which, I must confess, escaped my notice, as it did also the not unobservant eyes of my wife.