We cross the quadrangle to the N.W. and find the entrance to the Musee des Sculptures Modernes, where we may trace the rapid decline and utter degradation of French sculpture during the seventeenth and eighteenth centuries, and some signs of its recovery during the revolutionary period. Many causes contributed to the decay; the essentially bourgeois and commonplace taste of Colbert and the influence of his artistic henchman, Lebrun; the slavish worship of Graeco-Roman and Roman models, fostered by the creation of the Ecole de Rome; and the teachings of critics like Lessing and Winkelmann, who drew their inspiration not from pure Greek models, but from the decadent and sterile art of the Empire, stored in the Vatican. Among the artists whose individuality stands forth from the mass of sculptures in these rooms is Charles Antoine Coysevox (1640-1720), who gives his name to Room I. to the L. of the vestibule. His chief works are in the "royal pandemonium," at Versailles, but in the vestibule will be found excellent examples of his art, 555, Nymph with a shell, and 560, Shepherd playing a flute. In Room I., 561, Marie Adelaide of Savoy as Diana; 557, a fine bronze bust of the great Conde and a bust of Ant. Coypel acquired in 1910, are worth attention, as is also 552, the grand monument to Mazarin in Room II. Pierre Puget (1622-1694), who gives his name to this hall, began his career as a carver of figure-heads at the arsenals of Toulouse and Marseilles. He was the chief exponent of the bombastic and exuberant art of the century, and the inventor of the peculiar gusty draperies in statuary known as the _coup de vent dans la statuaire_. 794, Milo (the famous athlete of Crotona), attacked by a Lion, his most popular work, and 796, a relief, Diogenes and Alexander, esteemed by Gonse one of the most _eclatante_ creations of modern sculpture, will be found in this room. Some bronzes, 702-704, Louis XIII., Anne of Austria, and the child Louis XIV., from an old monument on the Pont au Change by Simon Guillain (1581-1658) are of interest. The Coustous, Nicholas (1658-1733) and Guillaume (1677-1746), nephews and pupils of Coysevox are represented in Room III. 547, Apollo presenting the Image of Louis XIV. to France (embrasure of window); 548, Adonis (centre of room); 549, Julius Caesar; and 550, Louis XV., are due to the former: the statue of Louis' queen Maria Leczinska, 543, to the latter, whose masterpiece, the Horse-tamers of Marly, stands at the entrance of the Champs Elysees opposite Coysevox', Mercury and Fame on winged horses, at the entrance to the Tuileries Gardens. J.B. Pigalle (1714-1785) is but poorly represented by: 785, a bronze bust of Guerin; and 781, a Mercury in lead, which has much suffered from exposure to the atmosphere in the Luxembourg Gardens. A most talented portraitist in marble was J.J. Caffieri (1725-1792), whose seven masterly busts in the foyer of the Theatre Francais, paid for by free passes, which the