The most famous of all the French painters of the school is Jean Cousin, who from the _Last Judgment_ (No. 155) at the Louvre—the only known painting from his brush that has been preserved—has been called “The French Michelangelo.” Nothing is known of his life, save that he was born at Soucy, near Sens, that he worked in Paris in the third quarter of the sixteenth century, and that he was still alive in 1583. Comparison of his picture with Michelangelo’s great work in the Sistine Chapel only helps to accentuate the absurd over-estimation to which he owes his sobriquet. He was merely a follower of Primaticcio, an excellent draughtsman with great knowledge of anatomy, but lacking in taste, imagination, and real power. Ambroise Dubois (1543-1614) was born at Antwerp, but is generally counted among the French painters of the school of Fontainebleau. He was entrusted by Henri IV. with several important series of paintings for the decoration of the apartments at Fontainebleau, notably with eight scenes illustrating Tasso’s “_Gerusalemme Liberata_” for one of the Queen’s rooms, and fifteen scenes from “_Theogenes and Chariclea_” by Heliodorus for the “King’s Great Closet.” One from each series has found its way into the Louvre collection: _The Baptism of Clorinda_ (No. 272), and _Chariclea, undergoing the Ordeal of Fire, is recognised by her Parents, King Hydaspes and Queen Persina_ (No. 271). The only other painter of this group who is represented at the Louvre is Martin Fréminet (1567-1619), who was only indirectly connected with the school of Fontainebleau, as he had received his art education in Florence. His best known work is the ceiling of the Trinity Chapel at Fontainebleau. His picture at the Louvre represents _Mercury ordering Æneas to leave Dido_ (No. 304). The decline of the school of Fontainebleau was so rapid and complete that, when Marie de Médicis decided to have the great gallery of the Luxembourg Palace decorated, in 1620, there was not a single painter left in France capable to undertake this important work, which was eventually entrusted to Rubens. But the whole direction to be taken by French seventeenth-century art had been determined by François I., and the influence of the Late Italians remained paramount until the dawn of the new era which was to be initiated by Watteau. THE SEVENTEENTH-CENTURY FRENCH SCHOOL Throughout the seventeenth century the impulse for the artistic activity of France emanated from Rome. But before discussing the dominating personalities of the age we must refer to a few painters who occupy a more or less isolated position in the art of their country.