GOUJON, Jean

The western wing of the Louvre was designed to accommodate court entertainments. On the ground floor Lescot built a ballroom featuring a musicians’ tribune (“for hautboys and players of instruments”) supported by four marble caryatids by Jean Goujon in a classicising style. The figures may have been inspired by Vitruvius’s description of the caryatids of the Erechtheum, the Ionic temple built on the Acropolis in Athens between 421 and 406 B.C.E. Goujon’s figures, their bodies animated by a subtle twist, wear sheer chitons that clearly reveal the bodily forms beneath, they combine a rigorously classical approach to line with sensuous modeling that is essentially Mannerist in spirit.

The room on the ground floor of the new wing of the Louvre is ornamented at one end with a gallery supported by Goujon’s four caryatides, a form hitherto almost unknown in France.

At the end of the 18th century, Alexandre Lenoir attributed the Diane from Anet, sometimes identified as Diane de Poitiers, to Jean Goujon. It is impossible that Goujon, burdened as he was by his responsibilities in Paris, could have worked at the château of Anet, which was begun in 1548 and completed in 1555 by Philibert Delorme. Du Colombier sees in this work a painter’s hand, and suggests as its author Primaticcio or one of his followers, for the group, very charming but slackly modelled, is reminiscent of Italian Mannerism. The statue type itself was established in France by Cellini in 1543 at Fontainebleau. This work is more likely to be by Germain Pilon, who dominated French sculpture in the second half of the 16th century.

In 1527 King Francis I announced his intention of rebuilding the medieval palace of the Louvre. He pulled down the keep which blocked a great part of the Cour Carr� (Square Court), but for many years nothing more was done. In 1546, however, he commissioned Pierre Lescot to erect a new building on the site of the west wing of the old château. Originally the plan had only been to rebuild this one wing or at most to carry on the same scheme round the existing court, but at some date between 1551 and 1559 it was certainly decided to embark on a more ambitious plan and to build a court enclosed by blocks double the length of Lescot’s executed wing. This plan was not carried out till the reigns of Louis XIII and Louis XIV, but all documents of this later period give the credit of the original idea for the extension to Lescot.

The sculptural decoration is the work of Jean Goujon.

The photo shows the Lescot wing.

From 1547 Goujon was principally occupied with the sculptural decoration of Lescot’s new buildings at the Louvre, where the rich, allegorical system of decoration evolved for the interior of the château of Fontainebleau was for the first time extended to the full height of a fa�ade. Apart from repetitive architectural decoration, the principal embellishments are the magnificent female allegorical relief figures that surround the oeil-de-boeuf windows above the three doors of the south-west wing of the Cour Carr�e: War, Peace, Fame, History, Victory and the Glory of the King (stone, 1547-50; in situ but restored). Although in part inspired by details from Trajan’s Column in Rome (casts of which had been brought to France by Francesco Primaticcio in 1540), these figures, with their delicately carved and insubstantial drapery, have the movement and exuberance of the Mannerist style.

The numerous allegorical high-reliefs on the projecting bays of the attic storey of Lescot’s wing of the Cour Carr�e (stone, 1552-55; in situ but restored) have also disconcerted those critics who preferred to see in Goujon a purist in love with classicism. With their ample figures projecting well beyond the architectural framework, and carved in high relief, their compositions recall Rosso and Giulio Romano and demonstrate a sophisticated understanding both of Mannerist contrapposto and of the foreshortening necessary for decorative sculpture mounted high on a building. However, it is clear that by this stage in his career Goujon was increasingly helped by sculptors from his workshop.

The photo shows the south part of the west wing built by Francois I. after 1546. The architect was Lescot.

The Cour Carr�e (wing Lescot) of the Louvre was built by Pierre Lescot. Its sculptural decoration is the work of Jean Goujon.

The new royal palace of the Louvre replaced a medieval fortress. Demolished beginning in 1546, the old structure gave way under the reign of Henri II to a three-story building decorated by Jean Goujon. Its registers, friezes, and tympanums were adorned with allegories and emblems as well as warriors, captives and trophies. The building’s colossal scale incited fear, respect, and admiration for the sovereign residing within.

With the accession of Henry II in 1547, Goujon passed into royal service. In 1549 he collaborated with Jean Cousin the Elder in organizing the ceremonial entry of Henry II into Paris, an event that allowed the new generation of classicizing artists to display their skills. Goujon’s most famous work, the Fountain of the Innocents, the architecture of which was probably by Lescot, was originally built as a monument for this occasion. It was, until 1787, a rectangular structure on a corner, presenting two arched bays to the Rue aux Fers and one to the Rue Saint-Denis. The bays were articulated by fluted composite pilasters, between which were narrow vertical relief panels of nymphs holding urns. Horizontal relief panels of tritons and nymphs were placed above and below each bay, and the spandrels of the arches were filled by winged personifications of Fame.

The present appearance of the monument, as a free-standing, four-sided structure, is the result of a late 18th-century rebuilding for which Augustin Pajou provided extra sculpture in an able pastiche of Goujon’s style. The vertical relief panels remain in situ, but the horizontal ones were removed around 1810 (now Mus�e du Louvre, Paris). All these reliefs, with their undulating contours, light, transparent draperies and finesse of execution, exude a pagan gaiety. Goujon transformed his sources in engravings after Rosso and antique sculpture to create a masterpiece of grace and harmony in which an echo of Hellenistic art can be caught.

With the accession of Henry II in 1547, Goujon passed into royal service. In 1549 he collaborated with Jean Cousin the Elder in organizing the ceremonial entry of Henry II into Paris, an event that allowed the new generation of classicizing artists to display their skills. Goujon’s most famous work, the Fountain of the Innocents, the architecture of which was probably by Lescot, was originally built as a monument for this occasion. It was, until 1787, a rectangular structure on a corner, presenting two arched bays to the Rue aux Fers and one to the Rue Saint-Denis. The bays were articulated by fluted composite pilasters, between which were narrow vertical relief panels of nymphs holding urns. Horizontal relief panels of tritons and nymphs were placed above and below each bay, and the spandrels of the arches were filled by winged personifications of Fame.

The present appearance of the monument, as a free-standing, four-sided structure, is the result of a late 18th-century rebuilding for which Augustin Pajou provided extra sculpture in an able pastiche of Goujon’s style. The vertical relief panels remain in situ, but the horizontal ones were removed around 1810 (now Mus�e du Louvre, Paris). All these reliefs, with their undulating contours, light, transparent draperies and finesse of execution, exude a pagan gaiety. Goujon transformed his sources in engravings after Rosso and antique sculpture to create a masterpiece of grace and harmony in which an echo of Hellenistic art can be caught.

With the accession of Henry II in 1547, Goujon passed into royal service. In 1549 he collaborated with Jean Cousin the Elder in organizing the ceremonial entry of Henry II into Paris, an event that allowed the new generation of classicizing artists to display their skills. Goujon’s most famous work, the Fountain of the Innocents, the architecture of which was probably by Lescot, was originally built as a monument for this occasion. It was, until 1787, a rectangular structure on a corner, presenting two arched bays to the Rue aux Fers and one to the Rue Saint-Denis. The bays were articulated by fluted composite pilasters, between which were narrow vertical relief panels of nymphs holding urns. Horizontal relief panels of tritons and nymphs were placed above and below each bay, and the spandrels of the arches were filled by winged personifications of Fame.

The present appearance of the monument, as a free-standing, four-sided structure, is the result of a late 18th-century rebuilding for which Augustin Pajou provided extra sculpture in an able pastiche of Goujon’s style. The vertical relief panels remain in situ, but the horizontal ones were removed around 1810 (now Mus�e du Louvre, Paris). All these reliefs, with their undulating contours, light, transparent draperies and finesse of execution, exude a pagan gaiety. Goujon transformed his sources in engravings after Rosso and antique sculpture to create a masterpiece of grace and harmony in which an echo of Hellenistic art can be caught.

With the accession of Henry II in 1547, Goujon passed into royal service. In 1549 he collaborated with Jean Cousin the Elder in organizing the ceremonial entry of Henry II into Paris, an event that allowed the new generation of classicizing artists to display their skills. Goujon’s most famous work, the Fountain of the Innocents, the architecture of which was probably by Lescot, was originally built as a monument for this occasion. It was, until 1787, a rectangular structure on a corner, presenting two arched bays to the Rue aux Fers and one to the Rue Saint-Denis. The bays were articulated by fluted composite pilasters, between which were narrow vertical relief panels of nymphs holding urns. Horizontal relief panels of tritons and nymphs were placed above and below each bay, and the spandrels of the arches were filled by winged personifications of Fame.

The present appearance of the monument, as a free-standing, four-sided structure, is the result of a late 18th-century rebuilding for which Augustin Pajou provided extra sculpture in an able pastiche of Goujon’s style. The vertical relief panels remain in situ, but the horizontal ones were removed around 1810 (now Mus�e du Louvre, Paris). All these reliefs, with their undulating contours, light, transparent draperies and finesse of execution, exude a pagan gaiety. Goujon transformed his sources in engravings after Rosso and antique sculpture to create a masterpiece of grace and harmony in which an echo of Hellenistic art can be caught.

With the accession of Henry II in 1547, Goujon passed into royal service. In 1549 he collaborated with Jean Cousin the Elder in organizing the ceremonial entry of Henry II into Paris, an event that allowed the new generation of classicizing artists to display their skills. Goujon’s most famous work, the Fountain of the Innocents, the architecture of which was probably by Lescot, was originally built as a monument for this occasion. It was, until 1787, a rectangular structure on a corner, presenting two arched bays to the Rue aux Fers and one to the Rue Saint-Denis. The bays were articulated by fluted composite pilasters, between which were narrow vertical relief panels of nymphs holding urns. Horizontal relief panels of tritons and nymphs were placed above and below each bay, and the spandrels of the arches were filled by winged personifications of Fame.

The present appearance of the monument, as a free-standing, four-sided structure, is the result of a late 18th-century rebuilding for which Augustin Pajou provided extra sculpture in an able pastiche of Goujon’s style. The vertical relief panels remain in situ, but the horizontal ones were removed around 1810 (now Mus�e du Louvre, Paris). All these reliefs, with their undulating contours, light, transparent draperies and finesse of execution, exude a pagan gaiety. Goujon transformed his sources in engravings after Rosso and antique sculpture to create a masterpiece of grace and harmony in which an echo of Hellenistic art can be caught.

The Fontaine des Innocents was built and decorated during the years 1547-49. In its original form it was a rectangular building on a corner, presenting facades of two bays on one street and one bay on the other. At the end of the eighteenth century, however, it was reconstructed as a free-standing square block. Its sculptured decoration, most of which is now in the Louvre, consisted of six tall, narrow reliefs of nymphs, three long reliefs with nymphs and tritons, three more with puttie and, finally, Victories filling the spandrels. The long reliefs of nymphs and tritons show more clearly than any other of Goujon’s works the influence of Cellini’s Nymph of Fontainebleau, particularly in the drapery, which is disposed in close parallel folds and floats as a background to the nudes without any functional connection with them. The figures themselves, however, have a lightness and delicacy far beyond Cellini’s, recalling rather the drawings of Primaticcio.

The relief from the base of the Fontaine des Innocents shows a Nymph (a Naiad) and a putto mounted on a sea dragon. In Greek mythology, the Naiads were a type of nymph who presided over fountains, wells, springs, streams, and brooks.

The relief from the base of the Fontaine des Innocents shows Nymph and Triton surrounded by two putti.

The relief from the base of the Fontaine des Innocents shows a Nymph and a putto riding a sea horse.

At the beginning of his career Goujon paid service to the past, as we see in the monument to Louis de Br�z�, which still owes much to the traditional northern Flemish handling of architecture, figures and details.

The tomb incorporates Virtues inspired by ancient caryatides, and its equestrian statue recalls analogous sculptures of the king and royal dignitaries above the entries of contemporary châteaux.

The tomb of Louis de Br�z�, husband of Diane de Poitiers, in the Rouen cathedral, is generally attributed to Goujon. We do not know the exact date of the monument, but Br�z� died in 1531, and the tomb is believed to have been put up by his widow, probably in the following years. To the right and left of the gisants are life-size figures of Diane de Poitiers kneeling and the Virgin standing, holding the Child.

From the variation in style of different parts it seems that its construction took some time. The decorative features in the tomb can be linked directly with works certainly by the sculptor; the caryatids foreshadow those later designed by Goujon for the Louvre. It is not certain that Goujon was responsible for the whole tomb. The panels with inscriptions are in the style of the school of Fontainebleau. The equestrian statue is cruder and more archaic than the rest of the sculpture, and the coarse but detailed vegetation behind it recalls the local school.

Jean Goujon, the greatest 16th-century French sculptor, began work on his masterpiece, the Fontaine des Innocents, at the end of 1548. Its original architecture is now greatly modified. Five nymphs personifying the rivers of France are placed between pilasters. While Goujon may have been inspired by Rosso, he rejected the Mannerism of the Fontainebleau school and devoted his masterly talents to a revival of the classical purity of later 5th century Greek art, thus paving the way for modern French sculpture. In the figure reproduced, the supple, graceful gesture, admirably composed within the architectural frame, is counterbalanced by the delicate thrust of hips and breasts. The essence of Goujon’s art is summarized in the fluid movements, subtle modelling, and rippling folds - here especially appropriate to the theme - combined with accurate drawing.

One of the most famous work of Goujon is the Fontaine des Innocents, erected in 1550 in rue aux Fers in Paris. There are six narrow reliefs representing nymphs holding urns in various positions.

The fountain was built for the royal entry of June 1549. Originally it was a corner pavilion with two bays fronting the rue aux Fers and a third fronting the rue Saint-Denis. It was remounted as a square pavilion in the nineteenth century. Augustin Pajou was commissioned to carve a supplementary nymph, now on the south side.

Goujon’s most celebrated and most mature works date from the years about the middle of the 16th century. They are the decorations on the Fontaine des Innocents and the work executed with Lescot at the Louvre.

The Fontaine des Innocents was built and decorated during the years 1547-9. In its original form it was a rectangular building on a corner, presenting facades of two bays on one street and one bay on the other. At the end of the eighteenth century, however, it was reconstructed as a free-standing square block. Its sculptured decoration, most of which is now in the Louvre, consisted of six tall, narrow reliefs of nymphs, three long reliefs with nymphs and tritons, three more with puttie and, finally, Victories filling the spandrels.

One of the most famous work of Goujon is the Fontaine des Innocents, erected in 1550 in rue aux Fers in Paris. There are six narrow reliefs representing nymphs holding urns in various positions.

These caryatid-type figures are adapted from the stucco decorations and were to become so marked a feature of French sculpture.

The Rood Screen of St Germain d’Auxerrois is the first sculpture in which Goujon’s mature style is displayed. The Rood Screen, of which the principal panels are preserved in the Louvre, was executed in collaboration with Lescot. Its sculptured decoration consists of a central panel of the Pietà flanked by four smaller reliefs of the evangelists. The Pietà is based on various Italian motives; the pose of the dead Christ is from an engraving of Parmigianino, and other elements come from Rosso, particularly the figure of the fainting Virgin and the close-cropped curls with which almost all the characters are equipped. The most striking feature of the relief is the patterning of closely repeated parallel folds against the plain ground of the panel, a treatment of drapery inspired partly by Cellini, whose influence seems to be mainly responsible for Goujon’s change in style after his arrival in Paris.

The western wing of the Louvre was built by Pierre Lescot. Its sculptural decoration is the work of Jean Goujon.

Goujon’s four caryatids supporting the gallery of the Salle des Caryatides in the Louvre, though derived from those of the Erechtheion, Athens, have a supple and voluptuous grace typical of French 16th-century taste. They are his only documented sculptures in the round. In these works Goujon rejected the classicizing ‘purity’ of the Fountain of the Innocents, following instead the example of the school of Fontainebleau.

Goujon’s four caryatids supporting the gallery of the Salle des Caryatides in the Louvre, though derived from those of the Erechtheion, Athens, have a supple and voluptuous grace typical of French 16th-century taste. They are his only documented sculptures in the round. In these works Goujon rejected the classicizing ‘purity’ of the Fountain of the Innocents, following instead the example of the school of Fontainebleau.

Jean Goujon and his workshop decorated the court fa�ade of the H�tel Carnavalet with four remarkable bas-relief between the five windows of the main floor. They represent the Seasons: from the left Spring (a young man), Summer (Ceres, goddess of the harvest), Autumn (Bacchus, god of wine and grape gathering) and Winter (an old woman). The sinuous, complex drapery folds are characteristic of Goujon style.

Suggested listening (streaming mp3, 11 minutes):

Antonio Vivaldi: Concerto in F major RV 293 op. 8 No. 3 (Autumn)

Jean Goujon and his workshop decorated the court fa�ade of the H�tel Carnavalet with four remarkable bas-relief between the five windows of the main floor. They represent the Seasons: from the left Spring (a young man), Summer (Ceres, goddess of the harvest), Autumn (Bacchus, god of wine and grape gathering) and Winter (an old woman). The sinuous, complex drapery folds are characteristic of Goujon style.

Suggested listening (streaming mp3, 9 minutes):

Joseph Haydn: The Seasons, Part 1 Spring, Introduction, aria and chorus

This relief almost certainly came from the Château d’Anet, one of the outstanding creations of the French Renaissance, built and decorated on King Henry II’s orders for his mistress, Diane de Poitiers.

The western wing of the Louvre was built by Pierre Lescot. Its sculptural decoration is the work of Jean Goujon.

From 1547 Goujon was principally occupied with the sculptural decoration of Lescot’s new buildings at the Louvre, where the rich, allegorical system of decoration evolved for the interior of the château of Fontainebleau was for the first time extended to the full height of a fa�ade. Apart from repetitive architectural decoration, the principal embellishments are the magnificent female allegorical relief figures that surround the oeil-de-boeuf windows above the three doors of the south-west wing of the Cour Carr�e: War, Peace, Fame, History, Victory and the Glory of the King (stone, 1547-50; in situ but restored). Although in part inspired by details from Trajan’s Column in Rome (casts of which had been brought to France by Francesco Primaticcio in 1540), these figures, with their delicately carved and insubstantial drapery, have the movement and exuberance of the Mannerist style.