rance, and executed many public works. He made many portrait busts of
the royal family and other prominent persons, but his chief works were
the reliefs on the column of the Place Vendome, the Chariot on the arch
of the Place du Carrousel, the monument to the Countess Demidoff, and
statues of mythological heroes and heroines. For the Chapelle
Expiatoire, Bosio executed a group representing Louis XVII. receiving
comfort from an angel; the design is not as good as in some of his
classic works, but the conception is pure and noble.

[Illustration: FIG. 122.--NYMPH. _By Bosio._]

JAMES PRADIER (1790-1832), though born in Geneva, was essentially a
French sculptor, and excelled the artists of his day in his
representations of feminine beauty. His masterpiece is a fountain at
Nimes, in which the figures are fine and the drapery noble and distinct
in treatment. The serious and comic Muses of the Fountain Moliere are
excellent works. He made several separate statues which are well known;
his Psyche has a butterfly poised on the upper part of the arm; Atalanta
is fastening her sandals; Sappho is in despair. His Niobe group showed
his power to represent bold action, and his Prometheus chained, erected
in the garden of the Tuileries, is grand and spirited.

We could name a great number of French sculptors belonging to this
period whose works are seen in many public places which they adorn, but
whose genius was not sufficient to place them in the first ranks of the
world's artists, or make the accounts of them anything more than a list
of works which has little meaning, except when one stands before them.
Perhaps no one man had so wide an influence upon this art as had PIERRE
JEAN DAVID (1793-1856), who is called David of Angers, which was his
birthplace, in order to distinguish him from Jacques Louis David, the
great painter, who was like a father to this sculptor, though in no way
connected with him by ties of kindred, as far as we know. But when the
sculptor went to Paris, a very poor boy, David the painter, whose
attention was called to him in some way, was his friend, and gave him
lessons in drawing and aided him in other ways. In 1811 David of Angers
obtained the prize which enabled him to go to Rome, and after his
return to Paris he was constantly employed. The amount of his work was
enormous; many of his statues were colossal, and he executed a great
number of busts and more than ninety medallions.

He made the statue of