aster. A fine specimen is the
Amboise Monument in Rouen Cathedral, which is said to have been the work
of one Roulland de Roux and his assistants.

JEAN JUSTE of Tours was one of the best French artists of his day. In
the Cathedral of Tours is a monument to two young children of Charles
VIII., which proves him to have had much delicacy and tenderness of
execution. The sarcophagus is covered with graceful designs, and on the
lid lie the two babies, for the eldest was but three years old. The
whole work is exquisite, and gives one a feeling of satisfaction.

About 1530 Juste erected the splendid monument to Louis XII. and Anne of
Brittany in the Church of St. Denis. While the general form of the
monument is much like that of the Visconti in the Certosa at Pavia, the
figures of the dead couple are quite different from the Italian manner.
Below on a bier the two nude bodies are stretched in all the realism
possible, and the heads are noble and touching in expression. Above, on
the upper part of the monument, where in Italy the patron saint or some
other figure usually is placed, the king and queen again appear; they
are kneeling, with full drapery about them, while the faces are
characteristic and very expressive. This monument, taken all in all, is
in the perfection of the French art of the time. Another work by Juste
now in the Louvre is the monument to Louis de Poncher, one of the
ministers of Francis I., and his wife, Roberta. These statues are in
alabaster, and were formerly in the Church of St. Germain l'Auxerrois,
which was built by Poncher.

PIERRE BONTEMPS must have been a famous sculptor, as he was chosen to
erect the monument to Francis I., his wife Claude and their three
children. This is also at St. Denis, and is even more grand than that to
Louis XII. On the upper platform the five figures are kneeling; they are
noble and simple, with an air of great repose. These examples serve to
give an idea of the religious sculpture of the time.

Secular subjects were unusual. A house in Bourges is decorated with the
figures of the master and mistress above the entrance, as if they would
speak a welcome, while reliefs of industrial scenes, such as might be
seen outside and inside of the house, are placed in various positions
over the building and in the court-yard. Something of a like sort is
upon the Hotel Bourgtheroulde at Rouen, where the friezes show scenes
between Francis I. and Henry VIII. Biblical scenes are als