The stubborn individuality of French sculptors who long resisted the encroaching advance of the Italian renaissance is well seen in Room III. by the works of Michel Colombe (? 1430-1570), after whom this hall is named. The exquisite relief on the L. wall, St. George and the Dragon, displays an art touched indeed by the new Italian life, but impressed with an intimate charm and spirit which are eminently French. The Virgin and Child, 143, and the tombs of Roberte Legendre and her husband have also been ascribed to this truly great master. The fine effigies of Philippe de Comines the annalist, and his wife, 126, are wrought in the traditional French manner, the decorations on the tomb being obviously by another and Italianised artist; the shells on the shields denote that the knight had made the pilgrimage to St. James of Compostella in Galicia. Beneath is the tomb of their daughter, Jeanne. The sixteenth-century Virgin of Ecouen, 144, is typically French in treatment; the large relief on the L. wall from the old church of St. Jacques de la Boucherie, 199, is an excellent example of transitional Franco-Italian sculpture; and the half-reclining bronze effigy of Prince Carpi from the great Franciscan church (the Cordeliers) of Paris, is wholly Italian in style. The gruesome figure, _La Mort_, in the embrasure of a window, from the old cemetery of Les Innocents, and a fine bust, 173, of John of Alesso, will also be noted. We pass to Room IV., dominated by the most eminent sculptor of the French renaissance, Jean Goujon (? 1520-1567), whose famous Diana and the Stag, from a fountain at Diana of Poitiers' chateau of Anet, marks the increasing influence of the Italians, and especially of Cellini, who were attracted to Fontainebleau by the patronage of Francis I. A more intimate example, however, of Goujon's genius will be seen in the beautiful bas-reliefs on the L. wall, Tritons and Nereids, from the Fontaine des Innocents, executed 1548-49, and those (R. wall) from the old choir screen of St. Germain l'Auxerrois in 1544, happily rescued from clerical vandals.[200] For sheer loveliness of form and poetry of outline, those reliefs are unsurpassed by any contemporary artist. His younger contemporary, Germain Pilon (1535-1590), is well represented in this room. The Three Graces (_trois graces decentes_), which Catherine de' Medici commissioned him to execute, to sustain an urn containing the heart of her royal husband at the Celestins, is an early work; the admirable kneeling bronze effigy, 257, of Rene of Birague, a maturer production. The four cardinal virtues in oak were executed for the abbey church of St. Genevieve: they were originally covered with stucco and held on high the saint's reliquary. The too lachrymose Madonna in terra-cotta, 256, already ushers in the decadence. Portrait busts of Henry II., 227, the vicious Henry III., 253, and of the feeble Charles IX., 252, are also to be noted. Pilon's pupil, Bart. Prieur (d. 1611), is