gouverneur pour le dict Sieur, en ses pays et duche de Normendie,
Capitaine de cent gentile hommes de la maison du dict sieur et de
cent hommes d'armes de ses ordonnances, Capitaine de Rouen et de
Caen, Comte de Mauleurier, Baron de Mauny et du Bec-Crespin,
Seigneur Chastellain de Nugent-le-Roy, Ennet, Breval et Monchauvet.
Apres avoir vescu par le cours de nature en ce monde en vertu,
jusques a l'age de LXXII ans, la mort l'a faiet mettre en ce
tombeau pour retourner viure perpeluellement. Lequel deceda le
dymence XXIIIe jour de juillet de mil vre trente ung. 1531.

A third inscription, which probably had not been perceived in 1793, is
seen at the upper corner of the left side:

_Hoc Lodoice tibi posuit Brezoee sepulchrum,
Pictonis amisso moesta Diana viro.
Indivulsa libi quondam et fidissima conjux,
Ut fuit in thalamo, sie erit in tumulo_[7].

Some witty people have remarked that the duchess of Valentinois spoke
truly, and that she was as _faithful_ in one case as in the other.

Above the entablature, the equestrian statue, of the senechal, in white
marble is placed. On each side of the arcade, which contains this
statue, are four cariatides crowned with flowers, and representing: the
two to the right, prudence and glory; those to the left, victory and
faith. On the frieze, under some figures bearing festoons, we find this
motto: _tant grate chevre que mal giste_. The coping is an attic forming
a niche, in which is placed an alabaster statue; it holds a sword and
represents power, according to some, justice and prudence, according to
others.

In the frieze above the figure is the following inscription: _In virtute
tabernaculum ejus_. The cornice is terminated by two goats supporting
the armorials of the senechal. The whole of the frieze is of alabaster,
while the architrave and cornice are of black marble. This mausoleum,
which is one of the most remarkable productions of the arts, under
Francis Ist, is attributed to Jean Cousin, or to a sculptor not less
celebrated, Jean Goujon.

The monument of the cardinals of Amboise, which is more splendid, but
not of so pure a style, decorates the right side of the chapel: it is
placed in the thickness of the wall. After working for seven years
without interruption, it was at last completely finished in 1525, under
the archbishop d'Amboise, the second of the name: we say archbishop,
because at that time the prela