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Updated: May 8, 2025
This fine turreted, towered, and decorated building, with its sculpture attributed to Goujon, is to-day, in appearance at least, what it was in the past, the typical urban domestic establishment of grand proportions and splendid appointments; though it may hardly be said to vie with such masterpieces as Chambord, Chenonceau, or Blois.
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.
"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.
The Baron lived there alone, attended by three old servants. No one ever enters the place. No one had ever beheld the three Rubens that he possessed, his two Watteau, his Jean Goujon pulpit, and the many other treasures that he had acquired by a vast expenditure of money at public sales.
These were but a few of the passages between Rameau and the fuel-porter, but they illustrate the state of feeling between them. Goujon, after correspondence with a relative in France who offered him work, gave notice to leave, which expired on the day of the crime. At about three that afternoon a housemaid, proceeding toward Rameau's rooms, met Goujon as he was going away.
Madame de Sevigne and Jean Goujon, old Paris and its associated ideas could have been studied on another occasion, but an opportunity of studying Mildred might never occur again. These coincidences often occur, yet we always think them strange, almost providential. The reader knows how I rose to meet her, and how I asked her to come for a walk in the gardens.
It is built in two storeys the upper one showing a thrilling representation of the knight in complete armour and mounted upon his war-horse, but upon the sarcophagus below he is shown with terrible reality as a naked corpse. The sculptor was possibly Jean Goujon, whose name is sometimes associated with the monument to the two Cardinals, which is of an earlier date.
His groups are not essentially "clock-tops," and the work of perhaps the greatest artist, in the line from Jean Goujon to Carpeaux can hardly be used to point the moral that "clock-tops" ought to be good. Cellini's "Perseus" is really more of a "parlor ornament" than Barye's smallest figure.
The longer side has been divided to make a third, and a new fourth side has been added by Pajou. The whole has been elevated much too high by the addition of the terrace steps, and an unsightly dome has been added. Five of the exquisite reliefs of the Naiads by Goujon still remain, and three have been added by Pajou. These latter may be distinguished by their higher relief and lack of refinement.
Finally, M. Goujon seated himself first on half the chair, and at the moment when Angélique was taking her seat beside him the chair was thrown down. When Angélique approached a small table, at the instant that her apron touched it, it was repulsed.
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