Below Sarazin, the Anguiers are still artists that Italy would admire, and to whom there is wanting, since the great century, nothing but judges worthy of them. These two brothers covered Paris and France with the most precious monuments. Look at the tomb of Jacques-Auguste de Thou, by Francois Anguier: the face of the great historian is reflective and melancholy, like that of a man weary of the spectacle of human things; and nothing is more amiable than the statues of his two wives, Marie Barbancon de Cany, and Gasparde de la Chatre.[171] The mausoleum of Henri de Montmorency, beheaded at Toulouse in 1632, which is still seen at Moulins, in the church of the ancient convent of the daughters of Sainte-Marie, is an important work of the same artist, in which force is manifest, with a little heaviness.[172] To Michel Anguier are attributed the statues of the duke and duchess of Tresmes, and that of their illustrious son, Potier, Marquis of Gevres.[173] Behold in him the intrepid companion of Conde, arrested in his course at thirty-two years of age before Thionville, after the battle of Rocroy, already lieutenant-general, and when Conde was demanding for him the baton of a marshal of France, deposited on his tomb; behold him young, beautiful, brave, like his comrades cut down also in the flower of life, Laval, Chatillon, La Moussaye. One of the best works of Michel Anguier is the monument of Henri de Chabot, that other companion, that faithful friend of Conde, who by the splendor of his valor, especially by the graces of his person, knew how to gain the heart, the fortune, and the name of the beautiful Marguerite, the daughter of the great Duke of Rohan. The new duke died, still young, in 1655, at thirty-nine years of age. He is represented lying down, the head inclined and supported by an angel; another angel is at his feet. The whole is striking, and the details are exquisite. The face of Chabot has every beauty, as if to answer to its reputation, but the beauty is that of one dying. The body has already the languor of death, _longuescit moriens_, with I know not what antique grace. This morsel, if the drawing were more severe, would rival the _Dying Gladiator_, of which it reminds one, which it perhaps even imitates.[174]