260 Sculpture in the Renaissance Period. work in full relief is a bust-portrait of Henri II. : and o the bas-reliefs we must name the Descent from the Cross, two recumbent Nymphs of the Seine, with unnaturally long, supple figures, and a fine group of Tritons and Nereids. The Fontaine des Innocents, in the Vegetable Market, is considered Goujon's masterpiece.* The doorways from St. Maclou, at Rouen, are good specimens of his bold treat- ment of projections and delicate execution in low relief. Goujon was killed in the massacre of St. Bartholomew i 1572. Jean Cousin, the exact date of whose birth is unknow is supposed to have died about 1589. The handsome torn of Pierre de Breze, at Rouen, is attributed to him, as is also ' the mausoleum of Philippe de Chabot, now in the Louvre (Fig. 109), which has been praised as the master- piece of French sculpture of the sixteenth century. Germain Pilon (about 1550 — 1590) was an industrious and able sculptor, many of whose finest works were monu- ments of kings and dignitaries in the cathedral of St. Denis. Of these we must name the tomb of Henri II. f They bear witness to great vigour and knowledge of anatomy, and the female figures are full of grace and ele- gance. The Louvre contains the double tomb by Pilon, of Rene Birague and his wife, justly celebrated for the beauty of the bas-reliefs — a group of three female figures support- ing a gilt vase, bust-portraits of several monarchs, and a stone bas-relief of the Sermon of St. Paul at Athens.
- His manner may be studied in the casts of various pieces of his
decorative sculpture in the Renaissance Court of the Crystal Palace. f Casts of the upper range of the sculptures are in the Crystal Palace. md of
