picture of Danae, given no 143. This picture brought him in only 600 fr. (L. 24): its owner now asks for it 25,000 fr. (L. 1000). Many similar examples are found in the biographies of the old artists, but it is extraordinary to see within thirty years, such an increase in price.

Girodet did afterwards, for the King of Spain, four pictures of the Seasons. His talent, appreciated by the public, was equally so by the Government, and in 1801, he received orders to execute a picture for Malmaison. Girodet was then to enter into a competition with M. Gérard, but whether by chance, or intentionally, it became complete, since he also treated an Ossianic subject. The beauties of these two pictures are still remembered with astonishment: that of Girodet represented Fingal and his descendants receiving in their aerial palaces the Manes of the French heros. Girodet immediately afterwards occupied himself with his great and magnificent picture representing a Scene from the Deluge, which appeared in the Exhibition of 1806. The Burial of Atala appeared in 1808: this new masterpiece was generally admired. The picture of Napoleon receiving the keys of Vienna, exhibited the same year, and that of the Insurrection in Cairo, which appeared in 1810, completed the series of Girodet's works, whose fame is chiefly grounded on what he did during those ten years. Although the Decennial Prizes, founded in 1804 were not, as in due course, given till the year 1810, yet Girodet had the glory of seeing his picture of the Deluge named by the Jury as meriting the Grand Prize, which distinction was the more flattering to him, as amongst the other works presented to the Committee, was the picture of the Sabines by David, his master.

Girodet's health was declining rapidly, and he felt the more grief at it, as he saw that working assiduously was hurtful to him, and he saw himself obliged to throw aside large works:

but his imagination continued not the less actively employed? and it was then he did that immense quantity of designs, the ideas of which he had gathered in the works of Anacreon, Virgil, Sappho, Ossian, and other poets, that he delighted in reading.

Some of Girodet's productions, however, appeared once more in the Exhibition of 1824, where were seen the full length portraits of Cathelineau, and of General Bonchamps : but ere the Exhibition closed, Girodet was no more. No doubt, aware of his approaching end, he felt deep regret at not being able to execute all, that, at his time of life, he might have been induced to hope. Mastering, for a moment, the disorder that overwhelmed him, he left his bed, and, supported by his servant only, went into his study: he cast his languid looks at those works he knew he should never finish: in sullen silence, he considered, for the last time, the spot, witness of his many watchings, and studies; but, unable to bear so painful a situation, he withdrew slowly, then turning on the threshold of the door : « Farewell, said he, in a dying voice; farewell, I shall see you no more. »

The pupils of all the schools joined his, to pay him the last homage: his mortal remains were accompanied by all the most distinguished and respectable persons in Paris.

A monument was raised to his memory in the Eastern Ceinetery, [after his friend's designs, M. Periez; and the bust adorning it was executed by M. Desprez. M. P. A. Coupin has published Girodet't Literary Works, in 2 vols. 8° : he has thus enabled the public to judge of the talents of our painter for poetry, and particularly of the advice he gives relative to the Art of Painting. This collection is preceded by a highly interesting Notice of the Life and Works of Girodet, written by M. Coupin.

NOTICE

SUR

EDME-ETIENNE-FRANÇOIS GOIS.

Edme-Étienne-François Gois est né à Paris en 1765. Élève de son père Étienne-Pierre-Adrien Gois, professeur de l'Académie, il remporta le grand prix de sculpture en 1790.

M. Gois a exposé en 1800. un groupe en plâtre des trois Horaces. Il fut ensuite chargé par la ville d'Orléans de faire une figure en bronze de Jeanne d'Arc. Lors de l'innauguration de ce monument, la plus jeune de ses filles fut baptisée sous le nom d'Aurélie, et tenue sur les fonds par le maire d'Orléans au nom de cette ville. Après la mort du duc de Berry, M. Gois a fait le mausolée en marbre érigé dans une des églises de Lille, à la mémoire de ce prince. Il a fait le modèle en plâtre d'une descente de croix placée dans l'église de saint Gervais à Paris.

Indépendamment de la statue colossale de Turenne exécutée en marbre et placée sur le pont Louis XVI, il en a fait une autre en bronze pour la ville de Sédan.

NOTICE

OF

EDME-ÉTIENNE-FRANÇOIS GOIS.

Edme-Etienne-François Gois is born at Paris in 1765. A pupil of his father Etienne-Pierre-Adrien Gois a professor of the Academy, he carried off the great prize of sculpture in 1790. M. Gois has exhibited in 1800 a plaster group of the three Horaces. The city of Orléans charged him to make a brazen figure of Jeanne d'Arc. At the inauguration of this monument, the youngest of his daughters was christened by the name of Aurelie, and the mayor of Orléans stood a godfather to her in the name of the town. After the death of the duke de Berry, M. Gois made the mausoleum in marble erected in one of the churches of Lille to the memory of that prince. He also made a plaster model of a descent of the cross, placed in the church of Saint-Gervais at Paris.

Besides a colossal statue of Turenne, performed in marble and placed on the bridge Louis XVI, he has made another brazen one for the town of Sédan.

NOTICE

SUR

JEAN GOUJON.

On ignore l'année de la naissance de Jean Goujon, ainsi que le nom de son maître, qui cependant était un sculpteur habile, puisqu'il est l'auteur du tombeau de François Ier. On sait seulement que, pendant la disgrâce du connétable Anne de Montmorency, Jean Goujon fut du nombre des artistes qui contribuérent à l'embellissement de son château. On a dit que les sculptures d'Ecouen étaient faites par l'architecte Jean Bullant; mais un examen plus approfondi a fait reconnaître que ces sculptures avaient le même caractère que les autres travaux de Jean Goujon.

On ne connaît, du reste, aucune particularité de sa vie ; mais on sait qu'il fut une des victimes de la Saint-Barthelemi ( 1572). Il travaillait alors à l'un des bas-relief du Louvre. Son talent ne put faire oublier qu'il était huguenot; on dit cependant que Catherine de Médicis voulut l'empêcher de monter sur son échafaud où, tandis qu'il travaillait, un coup d'arquebuse vint le frapper à mort.

Indépendamment de la charmante fontaine des Nymphes, placée maintenant dans le milieu de la grande halle, et des belles Cariatides qui soutiennent la tribune de la salle des antiques au Louvre, Jean Goujon travailla aussi au château d'Anet, ainsi qu'à l'ancienne porte Saint-Antoine. Il fit aussi les sculptures de l'hôtel de Carnavalet dont il fut aussi le con

structeur.