author of the charming tomb of the children of Charles
VIII. and the aforesaid Anne, which we admired at
Saint Gatien of Tours, is one of the most brilliant
works of the French Renaissance. It has a splendid
effect, and is in perfect preservation. A great table of
black marble supports the reclining figures of the duke
and duchess, who lie there peacefully and majestically,
in their robes and crowns, with their heads each on a
cushion, the pair of which are supported, from behind,
by three, charming little kneeling angels; at the foot of
the quiet couple are a lion and a greyhound, with
heraldic devices. At each of the angles of the table
is a large figure in white marble of a woman elaborately
dressed, with a symbolic meaning, and these figures,
with their contemporary faces and clothes, which give
them the air of realistic portraits, are truthful and liv-
ing, if not remarkably beautiful. Round the sides of
the tomb are small images of the apostles. There is a
kind of masculine completeness in the work, and a
certain robustness of taste.

In nothing were the sculptors of the Renaissance
more fortunate than in being in advance of us with
their tombs: they have left us noting to say in regard
to the great final contrast, - the contrast between the
immobility of death and the trappings and honors that
survive. They expressed in every way in which it was
possible to express it the solemnity, of their conviction
that the Marble image was a part of the personal
greatness of the defunct, and the protection, the re-