Numerous fine works of art have been found on this site, notably the Aphrodite of Melos in the Louvre, the Asclepius in the British Museum, and the Poseidon and an archaic Apollo in Athens.
He was also a member of the Academy, and of the Academy of Moral and Political Science, and curator of the Department of Antiquities at the Louvre (from 1870).
He was lodged in `the Louvre, received the grant of an income equal to that he had hitherto enjoyed, and, with the title of "veteran pensioner" in lieu of that of "foreign associate" (conferred in 1772), the right of voting at the deliberations of the Academy.
On leaving Rouen, Goujon was employed by Pierre Lescot, the celebrated architect of the Louvre, on the restorations of St-Germain l'Auxerrois; the building accounts - some of which for the years1542-1544were discovered by M.
De Laborde on a piece of parchment binding - specify as his work, not only the carvings of the pulpit (Louvre), but also a Notre Dame de Piete, now lost.
At the Louvre, Goujon, under the direction of Lescot, executed the carvings of the south-west angle of the court, the reliefs of the Escalier Henri II., and the Tribune des Cariatides, for which he received 737 livres on the 5th of September 1550.
In 1555 his name appears again in the Louvre accounts, and continues to do so every succeeding year up to 1562, when all trace of him is lost.
We should therefore probably ascribe the work attributed to him in the Hotel Carnavalet (in situ), together with much else executed in various parts of Paris - but now dispersed or destroyed - to a period intervening between the date of his dismissal from the Louvre and his death, which is computed to have taken place between 1564 and 1568, probably at Bologna.
List of authentic works of Jean Goujon: Two marble columns supporting the organ of the church of St Maclou (Rouen) on right and left of porch on entering; left-hand gate of the church of St Maclou; bas-reliefs for decoration of screen of St Germain l'Auxerrois (now in Louvre); "Victory" over chimney-piece of Salle des Gardes at Ecouen; altar at Chantilly; illustrations for Jean Martin's translation of Vitruvius; bas-reliefs and sculptural decoration of Fontaine des Innocents; bas-reliefs adorning entrance of Hotel Carnavalet, also series of satyrs' heads on keystones of arcade of courtyard; fountain of Diana from Anet (now in Louvre); internal decoration of chapel at Anet; portico of Anet (now in courtyard of Ecole des Beaux Arts); bust of Diane de Poictiers (now at Versailles); Tribune of Caryatides in the Louvre; decoration of "Escalier Henri II.," Louvre; eeils de beeuf and decoration of Henri II.
Façade, Louvre; groups for pediments of façade now placed over entrance to Egyptian and Assyrian collections, Louvre.
Meanwhile (1877-1881) the French consul, de Sarzec, had been excavating at Tello, the ancient Lagash, and bringing to light monuments of the pre-Semitic age, which included the diorite statues of Gudea now in the Louvre, the stone of which, according to the inscriptions upon them, had been brought from Magan, the Sinaitic peninsula.
The so-called " Stele of the Vultures," now in the Louvre, was erected as a monument of the victory.
The empire was bound together by roads, along which there was a regular postal service; and clay seals, which took the place of stamps, are now in the Louvre bearing the names of Sargon and his son.
Some of his statues, now in the Louvre, are carved out of Sinaitic dolerite, and on the lap of one of them (statue E) is the plan of his palace, with the scale of measurement attached.
A similar vessel was transported to the Louvre in 1867.
In 1849 he studied for a few months in Paris, where he copied Titian and Correggio in the Louvre, and then returned to Frankfort, where he settled down to serious art work under Edward Steinle, whose pupil he declared he was "in the fullest sense of the term."
In 1615 he was appointed commander of the Louvre and counsellor, and the following year grand falconer of France.
Although the figure of the hero frequently occurs in groups - such as the work of Scopas showing his removal to the island of Leuke by Poseidon and Thetis, escorted by Nereids and Tritons, and the combat over his dead body in the Aeginetan sculptures - no isolated statue or bust can with certainty be identified with him; the statue in the Louvre (from the Villa Borghese), which was thought to have the best claim, is generally taken for Ares or possibly Alexander.
De l'Acad., Paris, 1708, Hist., p. 110; see also Humboldt, Vues des Cordilleres, p. 170; Lepsius, op. cit., p. 83; FrOhner, Sculpture du Louvre, p. 17.
Had a menagerie in the Louvre at Paris in 1333, Charles V.
Formed a menagerie at Plessis les Tours in Touraine, which after his death was re-established at the Louvre in Paris and enlarged by collections obtained in North Africa.
About 1622 he went to Paris, and by the next year had established a footing at court, for he had a share in the ballet of the Bacchanales performed at the Louvre in February.
But he plunged into new intrigues, and was imprisoned first in the Louvre in 1635, then in Vincennes, where he died the same year.
Turenne, Moliere, Bossuet, Maintenon (Louvre), La Valliere, Sevigne, Montespan, Descartes (Castle Howard), all the beauties and celebrities of his day, sat to him.
If he bore in silence the odium that fell upon him owing to the break-up of the collection of the Louvre, it was because he knew that it would be fatal to allow it to be known that the first initiative in the matter had come from the king.
Of England conferred the order of the Garter on Guidubaldo, Castiglione was sent to England with a letter of thanks and with the small picture, now in the Louvre, of "St George and the Dragon," painted by Raphael in 1504, as a present to the English king.
He thenceforth became passionately interested in Egyptology, devoted himself to the study of hieroglyphs and Coptic, and in 1847 published a Catalogue analytique of the Egyptian Gallery of the Boulogne Museum; in 1849, being appointed to a subordinate position in the Louvre, he left Boulogne for Paris.
His original mission being abandoned, funds were now advanced for the prosecution of his researches, and he remained in Egypt for four years, excavating, discovering and despatching archaeological treasures to the Louvre, of which museum he was on his return appointed an assistant conservator.
This work was refused; the jury alleged that a statue of Diana demanded drapery; without drapery, they said, the goddess became a "suivante de Venus," and not even the proud and frank chastity of the attitude and expression could save the Diana of Houdon (a bronze reproduction of which is in the Louvre) from insult.
We still possess a colossal bust in the Vatican, a bust in the Louvre, a bas-relief from the Villa Albani, a statue in the Capitoline museum, another in Berlin, another in the Lateran, and many more.
This inscription, now in the Louvre, was found at Dhiban, the biblical Dibon, in 1868 by the Rev. F.
A small and charming strip of an oblong "Annunciation" at the Louvre is generally accepted as his work, done soon after 1470; a very highly wrought drawing at the Uffizi, corresponding on a larger scale to the head of the Virgin in the same picture, seems rather to be a copy by a later hand.
This little Louvre "Annunciation" is not very compatible in style with another and larger, muchdebated "Annunciation" at the Uffizi, which manifestly came from the workshop of Verrocchio about 1473-1474, and which many critics claim confidently for the young Leonardo.
The original and earlier version is one of the glories of the Louvre, and shows far more of a Florentine and less of a Milanese character than the London picture.) In the same year, 1494, or early in the next, Leonardo, if Vasari is to be trusted, paid a visit to Florence to take part in deliberations concerning the projected new council-hall to be constructed in the palace of the Signory.
There is a sheet at the Louvre of much earlier date than the first idea or commission for this particular picture, containing some nude sketches for the arrangement of the subject; another later and farther advanced, but still probably anterior to the practical commission, at Venice, and a MS. sheet of great interest at the Victoria and Albert Museum, on which the painter has noted in writing the dramatic motives appropriate to the several disciples.
Thus, of Leonardo's sixteen years' work at Milan (1483-1499) the results actually remaining are as follows: The Louvre "Virgin of the Rocks" possibly, i.e.
Lucrezia Crivelli has, with no better reason, been identified with the famous "Belle Ferronniere" (a mere misnomer, caught from the true name of another portrait which used to hang near it) at the Louvre; this last is either a genuine Milanese portrait by Leonardo himself or an extraordinarily fine work of his pupil Boltraffio.
A rough first sketch for the motive of the Academy cartoon is in the British Museum; one for the motive of the lost cartoon and of the Louvre picture is at Venice.
One was no doubt that just mentioned; can the other have been the Louvre "Virgin with St Anne and St John," now at last completed from the cartoon exhibited in 1501?
But he showed the cardinal three pictures, the portrait of a Florentine lady done for Giuliano de' Medici (the Gioconda ?), the Virgin in the lap of St Anne (the Louvre picture; finished at Florence or Milan 1507-1513?), and a youthful John the Baptist.
The last, which may have been done since he settled in France, is the darkened and partly repainted, but still powerful and haunting half-length figure in the Louvre, with the smile of inward ravishment and the prophetic finger beckoning skyward like that of St Anne in the Academy cartoon.
A younger brother, Smile (1857-1906), became an assistant in the print-room at the Bibliotheque Nationale, and afterwards joined the staff at the Musee du Louvre, of which he eventually became keeper, retiring in 1902.