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I have arranged the monuments in more or less datal order but there is an alphabetical list of names immediately below; in order of the first name. They are all to be found in the French Sculpture section of the museum in several adjoining rooms. These works are taken from often demolished churches, mainly in Paris. Often only the effigy - and sometimes only the bust - remains, the rest of the monument having being destroyed. We can thank enlightened men - such as Alexandre Lenoir - for recognizing these monuments as works of art and of historical value, and note merely reminders of a feudal past, and hence saving them for us. Unfortunately the lighting in the Louvre can cause photographic problems at times.
Agnès de Dampierre  Albert-Pie de Savoise  Amador de La Porte   André Blondel de Racquencourt  Anne of Burgundy   Anne de Montmorency   Catherine d'Alençon  Catherine of Médici
 Charles IV (The Fair)  Charles V (The Wise)  Charles de Maigny Duke Charles de La Vieuville  Charlotte-Catherine de La Tremoville  Chértienne Leclerk Dominique de Vic Gasparde de la Chatre 
Guillaume du Vair  Guillaume Froelich  Hélène de Commynes  Henry II  Henry Chabot, Duke of Rohan  Duke Henry I de Longuevill  Jacques-Auguste de Thou  Jacques de Souvré  Jean d'Alesse 
    Jean Casse  Jean de Dormans  Jean III d'Humières  Jeanne de Bosse Jeanne d'Évreux Jeanne de France  Louis de Poucher Madeleine Marchand  Madeleine of Savoie Marguerite Valon
Marie de Barbançon  Marie [Bouhier]  Nicholas le Jay  Phillippe Chabon  Phillippe de Morvilliers  Phillippe, Count of Évreux & King of Navarre   Pierre d'Évreux-Navarre, Count of Mortain
             Philippe de Commynes  Philippe Pot  Renaud de Dormans   Cardinal René de Birague     Renée d'Orleans-Longueville Robine Le Gendre   Unknown Child Valentine Balbiani   William of Chanac

Charles IV (The Fair) (1328) & Jeanne d'Évreux (1371). The monument which covered their entrails burial. They are shown holding a representation of a leather bag which would have contained their entrails. Provenance: Abbaye Maubuisson, Saint-Ouen-l'Aumone, Val-d'Oise. The Queen had a particular attachment to the Abbey and requested that her entrails be buried there alongside those of her husband, who had died 43 year earlier. The monuments were commissioned by the Queen and executed by Jean de Liège (1372). Marble

Charles V (The Wise) (1380) His entrails were buried under the above monument at the Abbaye de Maubuisson, near Paris, together with those of his wife Jeanne de Bourbon. Their bodies were buried at St Denis and their tombs surmounted by two effigies; however that of Jeanne was destroyed during the Revolution although that of Charles remained intact. When everything was repaired and restored, the entrails effigy was moved to St Denis to lie with that of Charles while the entrails effigy of Charles eventually came to the Louvre. On the far right are the remaining fragments of the St Denis tomb. Marble by Jean de Liège.

Above: Jean Casse (1350) Chancellor of Noyen Cathedral. Limestone incised slab. Provenance: Abbaye Sainte-Genevieve, Paris.

Centre Top: Unknown lady (1340-1350) Limestone and alabaster with plaster repairs, mainly to the hands. The feet originally rested on lions but these were replaced by dogs, which are more usual on ladies' effigy,  during restorations in the 19th century. The effigy is behind glass: hence the vertical line.

Right: Heads (1360-1400) from the monument of Philippe III, Count of Évreux & King of Navarre (1349) & Jeanne de France (1349)
Above: Agnès de Dompierre, Dame d'Aubiné. (1313).  Incised slab 1300-25. Wife of Guillaume de Fontaine. Provenance: Prieuré de Bouvaux, Daix, Côte d'Or, Burgundy

Centre Bottom:
Effigies of two brothers: Jean de Dormans (1380) who was a Canon of Paris and Chartres and Chancellor of Beauvais, and Renaud de Dormans (1386) who was Archdeacon of Châlons and Master of Requests for the king. The monument originally was that of three brothers. Limestone and marble Provenance: Chapelle du collège de Dormans dit de Beavais, Paris
Drawing of the effigies of Phillippe III & Jeanne, from above. Phillippe joined the crusade against the Muslims in the Iberian peninsula but was wounded by an arrow at the siege of Algeciras. The wound was fatal and his body was buried at Pamplona but his heart was returned to France and buried at the Couvent des Jacobins, Paris, This is the monument but note he is not holding a heart in this instance.

Unknown Child (1300-25) Thought to be a daughter of Charles IV. Provenance: Abbatiale de Pont aux Dames, near Paris Guillaume de Chanac (1348) Bishop of Paris. Marble. Provenance: Chapelle de l'infirmerie de l'abbaye de Saint-Victor, Paris.

Pierre d'Évreux-Navarre, Count of Mortain (1366-1412) and his wife Catherine d'Alençon ( -1462) White marble. Provenance:  Église de  la Charteuse, Paris. On Pierre's death, his wife commissioned the double tomb but she outlived him by fifty years and was buried with her second husband in the Église Sainte-Geneviève, Paris

Above & Left: Philippe Pot (1428-1493) Grand Seneschal of Burgundy, then counselor to King Louis XI. Polychrome stone; he commissioned the monument in his lifetime. Provenance: Chapelle Saint-Jean-Baptiste de l'Abbaye de Cîteaux (Côte d'Or); demolished in Revolution.

Anne of Burgundy (1432)  Daughter of John the Fearless, Duke of Burgundy and, hence, sister of Philippe the Good, who commissioned her monument. Inscription in French. She married John, Duke of Bedford, King Henry V's brother and Regent. Black and white marble with inscription giving name and date; attributed to Guillaume de Veluten. Provenance: Couvent des Célestins, Paris (demolished). Above is a drawing from the Gaignières collection (late 17th century)

Philippe de Morvilliers (1438)
First president of the Parliament of Paris. He played an important political part in the civil war between Armagnacs and Burgundians. He commissioned the tomb with his wife - Jeanne du Drac in 1426 but only his effigy remains. The face is marble but the rest of the body is stone, originally painted. Provenance: Saint-Martin-des-Champs, Paris


Above & Left: Philippe de Commynes (1447-1511) and his wife Hélène [de Chambes]
Stone with traces of polychrome and overpainting. Below is their sarcophagus; once polychrome. Below this is the effigy of their daughter, Jeanne (1514), wife of René de Bosse, Count of Penthievre. Alabaster, added later. Provenance: chapel he had founded in l'église des Grands-Augustins de Paris.

Renée d'Orleans-Longueville (1508-1515). Daughter of Duke François II de Longueville.
Provenance: Chapelle d'Orléans dans l'église des Célestins, Paris.
Alabaster. Note the unicorn, a symbol of virginity: she is also surrounded by several female figures and above (not visible in the photograph)  are two small angels supporting the arms of Queen Claude, wife of François I.

Louis de Poucher (1521) & Robine Le Gendre (1520) Notary and secretary to Charles VIII and Treasurer of France. Alabaster and marble. Commissioned by his brother Etienne, Archbishop of Sens, from artists in Tours: Guillaume Regnault and Guillaume Chaleveau. The two figures in niches in the tomb chest represent Faith and Hope but Charity is missing. Provenance: La Chapelle Saint-Martin de l'église Saint-Germain-l'Auxerrois, Paris
Above Left:  Duke Henry I de Longueville (1593) Heart burial. Marble, Stone and Bronze by François Anguier. Provenance: Chappelle des Orléans dans l'église des Célestins, Paris. Also know as 'The Pyramid of the Longuevilles' as it celebrates other members of the family. The are bronze reliefs on each of the faces, including a bust of the Duke and episodes from his life, such as the Battle of Senlis. The four virtues - Prudence, Justice, Temperance and Fortitude - are represented by Classical rather then Christian figures. Duke Henry campaigned with the future Henry IV during the latter's wars. He died of wounds following a salvo from a musket on his triumphal entre into Douriiers, possibly assassinated.
Above Centre Top:
Albert-Pie de Savoise (1531) Count of Carpi. Frequently related to a sepulchral project commissioned by François I from his painter Rosso Florentino. It could however be related to the work of Gian Francesco Rustici in Paris
Above Centre Middle:
Cardinal René de Birague (1582) Bronze and marble by Germain Pilon. Provenance: la chapelle funéraire de Birage dans l'église Sainte-Catherine-du-Val-des-Écoliers, Paris.When that church was demolished in 1783 the tomb was dismantled and moved to Church of Saint-Louis-des-Jesuits. During the Revolution it was again dismantled and it is thanks to Lenoir that the bronze survived; the rest of the large monument was lost.
Above Centre Bottom: André Blondel de Racquencourt (1558)
by Jean Goujon. Commissioned by his widow. Controller General of France. The fixing holes in the metal can be clearly seen. Provenance: Couvert des Filles Repentés, Paris
Above Right: Henry II (1559)
Heart burial. Provenance: Église des Célestins, Paris. Henry died following an accident in a tournament and the monument was commissioned by his widow, Catherine of Médici. The three Graces with bare breasts carry an urn on their heads, which would have contained the heart of the King. By Germain Pilon and Domenico del Barbiere who constructed the triangular base and the bronze urn; however this was melted down during the Revolution and replaced by a gilded wooden one.

Above Top: Jean III d'Humières (1550). Alabaster by Pierre Bontemps. Chamberlain to François I; Lieutenant-General in Italy, Savoy and Piedmont. On the tomb chest are represented in low relief his seven sons. Provenance: l'église de Monchy-Lumières, Oise, Picardy. His three daughters were represented in a similar manner on the tomb of his wife: this panel can just be seen to the left.
Above Bottom:
Catherine of Médici  (1589)This cadaver effigy was destined for the tomb of the Queen and Henry II at St Denis. However it was never completed either because of a decision by the Queen or the death of the sculptor. Marble by Girolamo Della Robbia.
Right: Charles de Maigny (1556) By Pierre Bontemps. Captain of the king's guard.

Above:  Philippe Chabon, Count of Brion (1543) Admiral of France. The sculptor is unknown by some work may be by Jean Cousin and by Pierre Bontemps. Provenance: Église des Célestins de Paris

Valentine Balbiani (1572) Marble by Germain Pilon with collaboration by Matthieu Jacquet.. Wife of  Réne de Birague, Chancellor of France. Provenance: Chapelle Birague in Église-Catherine-de-Val-des-Écoliers, Paris. Below is a drawing from the Gaigineres collection of the tomb before its partial destruction; it is of white marble, with some black and coloured marbles and bronze. Note the variation from the usual double cadaver tomb: Valentine is shown in the round reclining on the upper stage while at the base she is shown as a cadaver in bas relief.

Left: Jean d'Alesse (1571) by Matthieu Jacquet. Provenance: Chapelle de Nom de Jésus in Église des Minimes de Passy. All the remains of the tomb that was destroyed in the Revolution is the bust. He was father of Saint François de Paule, founder of the Order of Minimes

Above: A swaddled child from the tomb of the small children of the Duchess of Bouillon. Marble by Matthieu Jacquet (1577) Provenance: Église de Nogent-le-Roy

Guillaume Froelich (1563) Colonel Général des Suisse. Marble by Pierre Bontemps. Provenance: Église des Cordeliers, Paris

Above : Anne de Montmorency (1493-1567) & Madeleine of Savoie (1580)
Constable of France. He died of wounds after leading the royalists to victory at the Battle of Saint-Denis.
The monument was designed by Jean Bullant and executed by Berthélemy Prieur. Marble. Provenance: Collégiale Saint-Martin

Heart burial monument again designed by Bullant and executed by Prieur, except the statue of Justice which was by Martin Leford. The base is of red marble with inlays of white marble and the twisted column of white and Campan marble (rose).  This would have held a bronze urn containing the heart but this was melted down during the Revolution. Around the base are three bronze virtues: Justice, Peace and Abundance (also called Felicity). Provenance: Église des Célestins, Paris

Left: Charlotte-Catherine de La Tremoville (1620) Princess of Conti. Marble by Simon Guillain. Provenance: Église religieuses de Sainte-Claire-de-l'Ave Maria, Paris.

Above: Dominique de Vic, Viscount d'Ermenoville (1610) Vice-Admiral of France. Marble by Guillaume Dupré. From his cenotaph in Église d'Ermenonville

Right: Amador de La Porte (1644) Marble by Michel II Bourdin. Grand Prior of the Order of Malta in France. Uncle of Cardinal Richelieu. Provenance Église de Temple, Paris

Jacques de Souvré (1670) Marble by François  Anguier. Provenance: Église de Temple, Paris Nicholas le Jay (1640)
Marble. Attrib: Pierre II Biard
Provenance: L'église des Minimes, Paris
Henry Chabot, Duke of Rohan (1655) Marble by François Anguier.
Provenance: Chapelle d'Orléans a l'église des Célestins, Paris

Jacques-Auguste de Thou (1617) , historian and author kneels between his two wives, Gasparde de la Chatre (1617)and Marie de Barbançon (1601). Below on a sarcopagus sit Justice and Study. Marble by François Augier, except that of Marie which is by Bartholémy Prieur and in a more rigid style. These are the surviving figures from the monument. Provenance: the Thou Chapelle, Église de Saint-André-des-Arts Guillaume du Vair (1621) Bishop of Lisieux and Keeper of the Seal. Provenance: La Chapelle du Collège des Bernardins, Paris. Only the bust remains  Inspired by a portrait by Frans II Pourbus. a copy of which exists in the department of paintings. Duke Charles de La Vieuville (1653) & Marie [Bouhier] (1663) Marble by Gilles Guérin 1658. Part of monument. Provenance: Chapelle  Saint-François-de-Sales dans l'église des Minimes de la Place Royale, Paris


Marguerite Valon (1674)
Stone by Jean Dubois. Commissioned by her husband Jacques de Mucie, President of the Burgundy Parliament. Provenance: Couvent des Minimes de Dijon. The sarcophagus was of marble and was reused in l'Église de Saint-Bénigue, Dijon, as a base for a praying statue. A sketch of the monument is preserved in the Dijon Museum

Chértienne Leclerk (1627) Marble attrib: Simon Guillain. Provenance: Église des Carmes-Déchaussés de Charenton Madeleine Marchand (1625) by Thomas Boudin. Commissioned by her husband Nicholas Le Jay, President of the Parliament of Paris, for l'Eglise de la Place Royale, Paris
References to the Sculptors
François Anguier. French c1604-1669
Domenico del Barbiere Italian 1506-1570
Pierre II Biard (or The Younger) French 1592-1661
Pierre Bontemps French 1507-1568
Jean Bullant French 1515-1578
Michel II Bourdin. French 1609-1678
Thomas Boudin French 1570-1637
Guillaume Chaleveau. French. No separate entry  
Jean Cousin French 1500-before 1593
Guillaume Dupré. French 1576-1643
Jean Dubois French 1625-1694
Rosso Fiorentino Italian 1495-1540
Simon Guillain French 1589-1658
Jean Goujon. French c1510-1565
Mattieu Jacquet French c1549-1611
Martin Leford. French. No separate entry  
Germain Pilon French c1527-1590
Frans II Pourbus Flemish c1569-16222
Berthélemy Prieur French c1563-1611
Guillaume Regnault French c1450-1532
Girolamo Della Robbia. Italian 1488-1566
Gian Francesco Rustici Italian 1475-1554
Jean Le Liège Flemish, but mainly active in France c1330-1381
Guillaume de Veluten French. No separate entry  
Please Note: The majority of the above links will take you to the English version of the sculptor's biography. Rather inexplicably a few names do not have English entries but only French ones, in which cases the link is to the English translation of the French entry; as these translations are sometimes a little stilted, I would advise those who have a reasonable understanding of French to consult the French entries.

A note on translation or probably  more accurately, rendering- or lack of it. This is always a problem with French proper nouns in an English translation, both from the point of making sense, as well as of consistency and flow. . With names of people I have used the names by which the are usually known in English, for example, Jean le Bon is rendered as John the Good. But the sculptors names I have kept in their French form. Churches I have kept mainly in their French form too, for example l'Église des religieuses de Sainte-Claire-de-l'Ave Maria would sound very awkward if rendered into English, so I have always used église for church, chapelle for chapel, couvert for convent , abbaye for abbey, prieure for priory etc. If you care not to translate a long church name into an English form it is of no importance as long as you know where the church is or was and what was its (French) name. For a non church example Champs Élysée, Paris: you know the name, you know it's in Paris and you don't have to translate it - it's always in French.

With alphabetical orders I have again been inconsistent. The sculptors appear to have definite surnames so I have put them in order of surnames but with their Christian name first so not following the French form. With the general index I have put the names in order of Christian names. Charles IV obvously comes before Charles V, even though (were we to be pedentic) logically the word fifth comes before fourth; their surname could be Capet or Valois. What do we do with Henry Chabot, Duke of Rohan: Chabot or Rohan? John the Fearless, Duke of Burgundy: clearly his name isn't Fearless nor Burgundy: it's actually Capet - or is it Valois? So let's keep to Christian names or it will read like War and Peace.

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