During the time that has elapsed, Transalpine sculpture scarcely demands our notice. In France, we first discover the art separately and extensively practised: for in other countries it was associated with ornamental architecture. The expeditions of Charles VIII. and the personal predilections of Francis, had introduced among their subjects some knowledge of Italian refinement; and so early as the middle of the sixteenth century, French sculptors of considerable eminence appear. Jean Gougon completed the celebrated Fountain of the Innocents in 1550. The works of a contemporary, Jean Cousin, show some grace and delicacy, but want strength and correctness. German Pilon assimilates very closely to the style of the Tuscan masters in energetic detail, but is destitute of simplicity and natural expression. Jacques D'Angouleme had merit, but not enough to warrant the statement of native historians, that he defeated Michael Angelo in a trial of skill. Towards the conclusion of this century, Giovanni di Bologna filled the whole of France with the principles of his former master; and his own pupils continued to maintain similar, though inferior, practice to the golden age of refinement in France--the reign of Louis XIV. Of this school, two artists, Girardon and Puget, claim to be the head. The former, though we cannot say with Voltaire, 'il a égalé tout ce que l'antiquité a de plus beau,' has yet great merit. His manner of design, with a degree of hardness, is yet noble, and though cold, is more correct than that of his contemporaries, as appears from the tomb of Richelieu. Puget, in every respect the opposite as to intellectual temperament, is the favorite of his countrymen. _Sculpteur_, _Architecte_, _et Peintre_, as they, after the historian of Louis XIV., are fond of representing him, for the sake of comparison with Buonarotti, though what he painted, or what he built, does not appear, is yet not dissimilar in the fiery energetic character of his composition, and in his handling, bold and full of movement; but his expression is studied, his science inaccurate, his forms wanting in nobleness and grace. Sarasin was a most esteemed contemporary, and, in the Caryatides of the Louvre, has equalled the best sculpture of France. To the schools of the two first mentioned, however, and especially of Puget, in style at least, are to be referred the succeeding artists of France, as Les Gros, Theodon, Le Peintre, Desjardins, Coysevaux Vaucleve, the two Coustous, all flourishing at the close of the seventeenth, and during the early part of the eighteenth century. The last of this list is Bouchardon, under Louis XV.; for though his unfortunate successor inclined to patronise talent, the excesses of the Revolution proved not less injurious to living art, than destructive of ancient monuments. Among the latest works previous to this horrid outbreaking, was the statue of Voltaire, by Pigal, now in the library of the Institute, and upon which the following severe