When we consider the light which monuments throw upon chronology and history, it is strange to hear M. Lenoir met with multiplied objections from artists (such as David) against his preservation and accumulation of the monuments of the Middle Ages--monuments which they explained were of no service to art. Monsieur Lenoir met their objections by affirming that their presence was necessary to complete his series, and he also justly observed that nothing tends more to give a just notion of any art than the view of its progress and the opportunity of comparing distances between rudeness and refinement. M. Lenoir collected into one establishment all paintings and statues which had any reference to the history of France. “Such an imposing mass of monuments of every period,” says he, “made me conceive the idea of forming an historical and chronological museum in relation to French art and French history, and, in despite of the malevolent and in the face of great opposition, my plan was favourably received by the Committee of Public Instruction of the National Convention, and on the 15th Germinal, year 4, the Museum was opened.” M. Lenoir, after ten years of assiduous researches, is now able to display five centuries and also a sepulchral chamber, containing the fully restored tomb of François I. This Museum embraces the sepulchral art of France, from the age of Clovis to the present time. Here French and English artists may find models of costumes and arms of every age and rank in a regular series, from Clovis to Philip II. There seems little variation in dress. Rapid changes in costume and fashion appear only to have commenced after the return of the Crusaders. We enter the Museum through the portico of the now demolished Château d’Anet (immortalised by Voltaire in his _Henriade_). In the first hall are the monuments of the Middle Ages; many, including that of Fredegonde and her husband Chilperic, have been taken from the church of St. Germains des Près. The bones of Charlemagne, contained in a marble sarcophagus of Roman origin, were sent from Aix-la-Chapelle by Dervailly, one of the Republican Commissioners. The great conqueror, torn from his magnificent tomb, now lies in a Museum! [Sidenote: ST. DENIS AND BACCHUS] One of the most ancient stone coffins is that of an Abbot of St. Germains des Près, A.D. 990, in it his skeleton was found extremely well clothed in a robe of satin of a faded red colour, a long woollen tunic of purple brown, ornamented with an embroidery upon which several figures were wrought, slippers of an extremely well-tanned black leather served as shoes. The southern gate of the Abbey of St. Denis, which is in this hall, is a most important specimen of early art. The large bas-relief in the middle represents the punishment of St. Denis and his companions Rusticus and Eleutherus.