talianised artist; the shells
on the shields denote that the knight had made the pilgrimage to St.
James of Compostella in Galicia. Beneath is the tomb of their
daughter, Jeanne. The sixteenth-century Virgin of Ecouen, 144, is
typically French in treatment; the large relief on the L. wall from
the old church of St. Jacques de la Boucherie, 199, is an excellent
example of transitional Franco-Italian sculpture; and the
half-reclining bronze effigy of Prince Carpi from the great Franciscan
church (the Cordeliers) of Paris, is wholly Italian in style. The
gruesome figure, _La Mort_, in the embrasure of a window, from the old
cemetery of Les Innocents, and a fine bust, 173, of John of Alesso,
will also be noted. We pass to Room IV., dominated by the most eminent
sculptor of the French renaissance, Jean Goujon (? 1520-1567), whose
famous Diana and the Stag, from a fountain at Diana of Poitiers'
chateau of Anet, marks the increasing influence of the Italians, and
especially of Cellini, who were attracted to Fontainebleau by the
patronage of Francis I. A more intimate example, however, of Goujon's
genius will be seen in the beautiful bas-reliefs on the L. wall,
Tritons and Nereids, from the Fontaine des Innocents, executed
1548-49, and those (R. wall) from the old choir screen of St. Germain
l'Auxerrois in 1544, happily rescued from clerical vandals.[200] For
sheer loveliness of form and poetry of outline, those reliefs are
unsurpassed by any contemporary artist. His younger contemporary,
Germain Pilon (1535-1590), is well represented in this room. The Three
Graces (_trois graces decentes_), which Catherine de' Medici
commissioned him to execute, to sustain an urn containing the heart of
her royal husband at the Celestins, is an early work; the admirable
kneeling bronze effigy, 257, of Rene of Birague, a maturer production.
The four cardinal virtues in oak were executed for the abbey church
of St. Genevieve: they were originally covered with stucco and held on
high the saint's reliquary. The too lachrymose Madonna in terra-cotta,
256, already ushers in the decadence. Portrait busts of Henry II.,
227, the vicious Henry III., 253, and of the feeble Charles IX., 252,
are also to be noted. Pilon's pupil, Bart. Prieur (d. 1611), is
responsible for the monument to the Constable Anne of Montmorency and
Madeleine of Savoy, in the recess of a window, and the three bronze
statues placed by the opposite wall. With Pierre Biard the elder, w