ARCHITECTURE. 179 
among other things, the palace of Gaillon upon the Seine, one of the most 
beautiful buildings of this period. In the 12th century there was already a 
country seat upon the site, but it was destroyed in the 13th by the troops of 
the Duke of Bedford. In the year 1505 the new building was commenced, 
but only completed in the middle of the century ; and although no expense 
was regarded in its construction, Colbert afterwards knew how to lavish 
millions more upon it. In the Revolution it was again destroyed. Alex- 
ander Lenoir succeeded in saving a part of the fagade. He had it taken 
off with the greatest care and brought to Paris piece by piece, when he had 
it again erected in the court of the old convent of the Petits Augustins, of 
which he had made a museum of antiquities. The building is now the Ecole 
des Beaux Arts, and the fagade stands inthesame place. PU. 42, fig. 19, gives 
a view of it. Formerly Jean Joconde was supposed to have been the archi- 
tect, but it is now properly credited to William Penault and Collin Byard. 
In the royal sepulchre of St. Denis, of which we have already spoken 
(page 168), the monument of. king Louis XII. and his wife Anna of Bre-- 
tagne was distinguished among the other magnificent monuments. PI. 43, 
Jig. 20, gives the side view; jig. 21, the east; and jig. 22, the west side of 
it. This monument was made at Tours in 1518 by Jean Juste, the sculptor 
of king Francis [., and then brought to St. Denis. The statues of the 
apostles and of the cardinal virtues were, however, added afterwards by 
Paul Pontius Trebatti. The work is of white Italian marble, and repre- 
sents upon a substructure of black marble, a kind of canopy upon pillars, 
under which the bodies of the king and queen lie upon a cup-shaped sarco- 
phagus as naked corpses, while upon the platform both appear in full attire 
kneeling in prayer. The substructure has plates of white marble, with 
bas-reliefs, which represent the Italian campaign of Louis XIL., the battle 
of Agnadel, and the entry into Genoa. The arabesques that ornament the 
pilasters are in general poor, although overloaded with motivos of all kinds, 
which are ludicrously confused. Against the pilasters stand the imposts 
which support the semicircular arches, whose key-stones are richly adorned, 
and in whose corners are figures of Genii of Glory. The capitals are 
carefully, and some even tastefully, ornamented. The ornaments upon the 
corners suggest the volutes of the Composite capitals. The frieze of the 
Corinthian entablature contains the epitaph. There are 20 statues upon 
the monument, including: 1. The two portrait-statues of the king and queen. 
2. The same as they lie in the tomb, the head bent slightly backwards 
and resting upon a handkerchief, the hands crossed. The artist has here 
represented death in its most ghastly form, for the worms appear in the 
incisions made for embalming. 38. On the four corners stood formerly the 
four cardinal virtues, Valor, Justice, Temperance, and Wisdom. These 
statues are now removed, and stand at the entrance of the choir. 4. The 
twelve apostles. The last sixteen figures are heavy and mannered, and 
badly designed. The heads are wanting in nobility, with one exception ; 
and while John has a frightfully long neck, Philip looks remarkably 
vulgar, so that these figures together are very ludicrous. They are the 
work of Paul Pontius Trebatti. 
179 
