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Updated: May 8, 2025
The present building was designed by Pierre Robin and it dates from between 1437 and 1520, but the present spire is modern, having replaced the old one about the time of the Revolution. The richly carved doors of the west front are the work of Jean Goujon.
His figures, subordinate as they are to the general architectural purpose and function of what they decorate, are not only not purely structural in their expression, stiff as they still are from the point of view of absolutely free sculpture; they are, moreover, not merely unrelated to each other in any essential sense, such as that in which the figures of the Pisans and of Goujon are related; they are on the contrary each and all wonderfully accentuated and individualized.
Jean Goujon had designed for the ceiling one of those wonder-works for which he was famous, but if the complete plan was ever carried out, it has disappeared, for only a tiny sketch of the whole scheme remains to-day. Catherine came in the early summer to take possession of her long-coveted domain.
"Then, again, in cemeteries there are monuments almost as interesting as in museums. The tomb of Cavaignac reminded me, I must confess without making any comparison, of the chef d'oeuvre of Jean Goujon: the recumbent statue of Louis de Breze in the subterranean chapel of the Cathedral of Rouen. All modern and realistic art has originated there, messieurs.
Enwright, pointing to the under part of the stone bench that foots so much of the walls, had said: "Look at that curve." Nothing else. No ecstasies about the sculptures of Jean Goujon and Carpeaux, or about the marvellous harmony of the East facade! But a flick of the cane towards the half-hidden moulding!
The Place is now ornamented by a magnificent pillar, erected by Napoleon in honor of his German campaign. I passed also the beautiful Fountain des Innocents, whose sculptor, the celebrated Jean Goujon was shot during the massacre of St. Bartholomew, while working at one of the figures. On my second visit to Paris, I found that many changes had taken place, and some of them striking ones.
Goujon's caryatides and figures of the Innocents Fountain are equally sculptural in their way by no means arabesques, as is so much of Renaissance relief, and the modern relief that imitates it. Everything in fine that Goujon did is unified with the rest of his work and identifiable by the mark of style. What do we mean by style?
She had wonderful brown hair, shaded with threads of gold, a brow that seemed made of marble, cheeks that seemed made of rose-leaf, a pale flush, an agitated whiteness, an exquisite mouth, whence smiles darted like sunbeams, and words like music, a head such as Raphael would have given to Mary, set upon a neck that Jean Goujon would have attributed to a Venus.
After Goujon, Clodion is the great name in French sculpture, until we come to Houdon, who may almost be assigned to the nineteenth century. There were throughout the eighteenth century honorable artists, sculptors of distinction beyond contest.
"Papa dear, you remember that first Sculpture Hall, where the colossal figures were; that was the Salle des Caryatides, and those gigantic figures you admired so much were by Jean Goujon. Just think! It was in this hall that Henry IV. celebrated his wedding with Marguerite de Valois. Yes, and in this very room Molière used to act before the Court." "Yes," Mrs.
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