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He had a very particular talent, and it was exhibited in manifold ways. He is as fine in relief as in the round. His decorative quality is as eminent as his purely sculptural side. Compared with his Italian contemporaries he is at once full of feeling and severe. He has nothing of Pilon's chameleon-like imitativeness.
The once lavishly decorated interior has suffered much from the Revolutionists. Germain Pilon's Virgin still remains in the chapel L. of the high altar, but the four angels in silver that sustained the hearts of Louis XIII. and XIV., and the noble bronze statues from the mausoleum of the Princes of Condé, admired by Bernini, are only a memory.
And Germain Pilon's compromise with Italian decorativeness, graceful and fertile sculptor as his many works show him to have been, resulted in a lack of personal force that has caused him to be thought on the one hand "seriously injured by the bastard sentiment proper to the school of Fontainebleau," as Mrs.
Portrait busts of Henry II., 227, the vicious Henry III., 253, and of the feeble Charles IX., 252, are also to be noted. Pilon's pupil, Bart. With Pierre Biard the elder, who about 1600 executed the elaborate choir-screen of St. Étienne du Mont, the French renaissance sinks to a not inglorious end.
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