Since then the collection has been considerably increased, partly through liberal donations from private persons, partly through excavations undertaken by the State. The catalogue of the museum registers nearly four thousand objects of art. One of the most interesting of these is the altar-piece of the Chapel of Saint-Germer--unhappily much mutilated--in which the chisel of a master of the thirteenth century has represented the Passion of Christ and the legendary adventures of the holy patron of the Church. The heads of all the personages have been broken; the colour and the gilding which covered their vestments have partly disappeared; but in what remains of the altar-piece one sees attitudes which are full of character, and is impressed by a certain simplicity which approaches grandeur. There is more emotion in the statuettes detached from the tomb of the Duke of Burgundy at the Chartreuse of Dijon. These figures of marble date from the last days of the fourteenth century, and represent the servants of the duke, with writers and chaplains attached to his household. Monks are seen weeping beneath the hood which covers their face. The uncovered faces, full of life and expression, are evidently portraits. Close by, the spirit and grace of the Renascence may be seen in several admirable specimens: such as the Venus, partly broken, which is attributed, with more or less reason, to Jean Cousin, and the sleeping statuette of a naked woman whose head seems lost in a dream. The delicate style of the sculpture seems to reveal an Italian hand. Less perfect in execution, but equally interesting, is that Ariadne which, by a strange coincidence, was found in the Loire opposite that Château of Chaumont where another woman in despair, Diana of Poitiers, had been shut up by Catherine de Médicis after the death of Henry II. It is the same Diana, this time accompanied by her two daughters, which tradition recognises in the statue attributed to Germain Pilon. [Illustration: ENTRANCE TO THE CLUNY MUSEUM, RUE DU SAMMERARD.]