GUILLAUME COUSTOU (1678-1746), brother of Nicolas, also gained the grand prize and went to Rome, and on his return made a fine reputation. Much of his best work was for the gardens of Marly; he executed a bronze statue of the Rhone at Lyons; a bas-relief of Christ with the Doctors, at Versailles, and statues of Louis XIV. and Cardinal Dubois, in the Museum of French Monuments. JEAN BAPTISTE PIGALLE (1714-1785) is the last French sculptor of whom I shall speak here. He was born in Paris, and gained his first fame by a statue of Mercury; but his masterpiece was the tomb of Marshal Moritz of Saxony, in the Church of St. Thomas, at Strasburg. The soldier is represented in his own costume, just as he wore it in life, about to enter a tomb, on one side of which stands a skeleton Death, and on the other a mourning Hercules. A statue representing France tries to hold him back, and a Genius attends on him with an inverted torch. There are many accessories of military emblems and trophies. There have been several engravings made from this tomb, the best part of which is the figure of the Marshal. Pigalle was a favorite with Mme. Pompadour, of whom he made a portrait statue. She employed him to do many works for her. His best monument in Paris is that of the Comte d'Harcourt, in the Church of Notre Dame. In the Netherlands, as in Italy, the painting of the time had a great effect upon sculpture, and it was full of energy, like the pictures of the Rubens school; at the same time there remained traces of the traditions of former days, and while a great change had come since the days of Vischer, there was still a firm adherence to nature, and no such affectations and mannerisms existed here as were seen in the works of Bernini and his followers in Italy and France. One of the ablest sculptors of his day was ARTHUR QUELLINUS, who was born at Antwerp in 1607. He studied under Duquesnoy, and was especially happy in his manner of imagining his subjects, and of avoiding the imitation of others or a commonplace treatment of his own. The magnificent Town Hall of Antwerp was commenced in 1648, and Quellinus received the commission to decorate it with plastic works. His sculptures are numerous, both on the interior and exterior of the edifice. In the two pediments he introduced allegorical representations of the power of the city of Antwerp, especially in her commerce. These compositions are picturesque in their arrangement, but the treatment is such as belongs to sculpture; in one of these a figure which represents the city is enthroned like a queen, and is surrounded by fantastic sea-gods, who offer their homage to her. (Fig. 112.) [Illustration: FIG. 112.--CARYATIDE. _Quellinus._] We cannot give a list of many detached works by Quellinus, but one of the best of the old monuments in Berlin is attributed to him. It is the tomb of Count Sparr in the Marienkirche.