SCULPTURE. 723 SCULPTURE. Colombe, is said to liavc been his pipil. Italian iiillucnee was giuatly slicnt^theiied hy the ex- pedition of CliarUs 'lll. to Italy, especially tliioui;li Pen&il, the King's direotor of art. The piineipal seliool of the peiiod was at 'I'lmrs, and its greatest master was Michel t^'olonihe ( H-^-" e. 151.5), whose work is worthy of comparison with the best of the early Italian Renaissance. He at first worked in the native style, but he gradually combined Italian grace and beauty of form with a laro natuialisni. Antoine .Juste (d. 1310) and his brother .lean Juste (d. 1.134) were Florentines by birth, but even they ulti- nuitely adopted the French style of figures. In the early sixteenth century the ])atronage of Francis I. greatly promoted the Kalian inllu- ence. which was stronger in the soutli than in the north. During the first half of the cenlur}' deco- rations like those in the cloisters of Saint Martin at Tours and the choir screen at Chartres rival the most delicate Florentine decoration, and dur- ing the latter half of the sixteenth century figure sculpture attained its highest development in the persons of Bontemps, Goujon, and Pilon. Pierre Bontemps. who nourished about the middle of the century, represents the native inlluence in its powerful naturalism, while ,Tean Goujon (c.l520- C.72). perhaps the greatest French sculjrtor of the Renaissance, shows the native style trans- formed by Italian grace and beauty. He was without a rival in his wonderful manner of fill- ing in architectural space, and portrayed the female figure in beautiful rhythmic lines. Ger- main Pilon (d. 1590?) possessed a more vigorous talent, being a fine anatomist and a man of science. He was onl.y graduallv inlluenced by the Italian style, which, however, he finally adopted to the extent of occasional mannerism. His best pupil was Prieur (d. 1611). All of these men worked under royal patronage and in close asso- ciation with the King's architects, whence the excellent decorative character of their work. Out- side of Paris local schools at Toulouse, Troves, and elsewhere show the same tendencies. In Lorraine Richier (1500-57), the French Begarelli, was medianal in spirit, though finally adopting Renaissance forms. In the early seventeenth century the Italian influence increased with the stay in Italy of men like Guillain and Sarrazin. This influence, however, had changed to the mannered forms of the Baroque, although the Frenclnnen tempered it by a certain grace, which was national in char- acter. Under Louis XIV. sculpture became pom- pous and exaggerated, retaining good decorative qualities. The greatest genius of the century was Pierre Puget (1022-94), a native of Mar- seilles, whose Italian training shows the influ- ence of Bernini and Algardi. Though often ex- aggerated in form, his w^ork is of wonderful technical ability and full of Provem^al fire. At Court the pompous Girardon (10.30-1715) was representative sculptor and the head of a large school. Coysevox (1040-1720) was more origi- nal and measured, and his pupils, the brothers Cnustou, in the graceful character of their work, foreshadow the eighteenth century. During the eighteenth century exaggerated form gave place to a sort of courtly grace and delicate sentiment, and sculptors occupied them- selves with the rendition of individuality and the technical treatnu-nt of marble. A healthy realism, manifesting itself chiefly in por- traiture, gradually developed. Lenioyne de- signed pompons nionunienls. and belter busts; Bouchardon (d. 1702) is more measured in hia characteristic busts and his charming antiques; and I'igalle (d. 1 7!S5 ) united great leihnical abil- ity with a brilliant Icnipcranient, .lacipu's t'af- lieri and . guslin I'ajou (d. 1809) are chiefly known for their line and graceful busts; Claude Michel (17;i8-l.S14), called •flodion,' executed minor works of household art, of a light and charming character, cliielly in terracotta. All that was best in French sculpture of the eight- eenth century culmimited in .lean Antoine Uou- don (1711-1828). a pupil of Lenioyne and Pigalle. who. though capable of creating beautiful ami ideal works, was chiefly active as a portraitist, in an art essentially realistic and modern. (iKKM.K.N Rkxaissa.mk. In tiernniny the emancipation of sculpture from the (iothic was very slow; throughout the fifteenth century we find the influence of the Gothic forms. lt.s course of Tlevelopment followed that of painting, and so we find German sculpture pictorial in character, richly colored and gilded, and in elaborate Gothic framing. Its chief activity was in large carved altar pieces and religious figures. The chief dill'erence between (lerinan sculpture and Italian consists in German lack of the sense of beauty and form. Draperies were not treated to show the outline of the figure, but rather to conceal it. But German sculpture was all the more naturalistic because of the absence of classic influence, and its most jileasing mani- festation was the expression and delineati(m of character in the human face. Even when, in the sixteenth century, the Italian influence en- tered Gernuiny. it was less ini]iortant than in other coiuitries. The (Jerman schools are di- vided into two groups: the South (iernian. which is more monumental in character, reflecting the Italian inlluence; and the North German, which was sha])cd by the Netherlands. The most imjiortant school was the Franco- nian. and its chief centre was at Nuremberg. The first sculptor of ]iromincnce there was the well-known jiainter Michael Wohlgennith (1434- 1519), who designed a large number of wooden altar pieces, the style of which, characterized by earnest expiession and minute naturalism, re- sembles that of his paintings. Veit Stoss (1440- 15.'i3). the principal wood-carver of the school, executed altar pieces more plastic in character ami dramatic in action. His figures were varied and highly individual, but the c(Uupositi<m was restless and overciowdcd. with too nnich striving after effect. Contemjiorary with these masters lived a number of anonymous artists. wOiose work, like "Our Lady of Sorrows" in the (Germanic Mu- seum, shows great ability. The foremost stone- cutter of the Nurendierg school was .-dani Kraft (c. 1440-1507) . whose style is simpler and more dignified than that of Stoss. deeper in feeling. more realistic and careful in execution. The chief bronze-founder "f the German Renaissance was Peter Vischer (c. 1455-1529) . In his works, like the shrine of Saint Sebaldus and the statues of the monument of Maximilian, at Inns- bnick. the Italian Renaissance first ajipears in German sculpture. The same inlluence appears tnore prominently in the work of liis sons, Her- mann and Peter, who assisted him. In Nether Franconia there were a number of inqjortant sculptors, like the master of the
