n the Church of St.
Peter's; it occupied him five years, and is one of the best works of
modern art. His statue of St. Susanna in the Church of Santa Maria di
Loreto, in Rome, is simple and noble, and is much admired. Little is
known of this artist's life, and it is said that he was poisoned by his
brother when on his way to France.

There was a goodly company of sculptors following Bernini, but none
whose works or life was of sufficient importance or interest to demand
our attention here, and we will pass to the sculpture of France, where
the arts were less devoted to the service of the Church and more to the
uses of kings, princes, and noblemen. The court of France was devoted to
pomp and pleasure, and sculpture was used for the glorification of the
leaders in all its follies. In one sense this is more agreeable than the
art in Italy which we have been considering, for nothing can be more
disagreeable than a false religious sentiment in art; it is only when
the artist is filled with true devotion and feels deeply in his own soul
all that he tries to express in his work that religious representations
can appeal to us agreeably or benefit us by their influence.

SIMON GUILLAIN (1581-1658) is especially interesting as the sculptor of
the statue of Louis XIV. as a boy, which is in the Louvre; those of his
parents are also there; formerly they decorated the Pont au Change.
Other works by this master are in the same museum.

JACQUES SARRAZIN (1588-1660) is only known by his works, which are now
in the Louvre, of which a bronze bust of the Chancellor Pierre Seguier
is worthy of notice.

FRANCOIS ANGUIER (1604-1669) was born at Eu, in Normandy, and was the
son of a carpenter, who taught his son to carve in wood at an early age.
When still quite young Francois went to Paris to study, and later to
Rome. He became one of the first artists of his time in France, and was
a favorite of the king, Louis XIII., who made him keeper of the gallery
of antiquities, and gave him apartments in the Louvre. Most of his
important works were monuments to illustrious men. His copies of antique
sculptures were very fine.

MICHEL ANGUIER (1612-1686) was a brother of the preceding, with whom he
studied until they both went to Rome. Michel remained there ten years,
and was employed with other artists in St. Peter's and in some palaces.
In 1651 he returned to Paris, and assisted Francois in the great work of
the tomb of the Duke de Montmorenci a