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In the monument to Richelieu in the church of the Sorbonne (1675-94) he provides the classical type for the free-standing altar-tomb. Like all Girardon's works, it was carefully designed to suit its position, which was originally the middle of the choir on the main axis of the church.
Girardon’s grandest projects include the marble group Apollo and the Nymphs in the Grotto of Thetis at Versailles (1666), the marble tomb of Cardinal Richelieu in the chapel of the Sorbonne in Paris (1675–77, toward the end of his work on the tomb of the Princesse de Conti), the mostly destroyed bronze equestrian
Sep 8, 2016 · Girardon was forced into semi-retirement in 1700 thanks to the intrigues of his rival, the architect Jules Hardouin-Mansart, who favoured his own protégé, the sculptor Antoine Coysevox.
- Jeremy Warren
Engaged by Fouquet at Vaux-le-Vicomte alongside Le Brun, Le Vau and Le Nôtre, Girardon was later employed by Louis XIV at Versailles. Along with Coysevox, he was one of the greatest sculptors at Versailles, both in quantity and quality, and created some of the most beautiful groups in French sculpture in the 17th century.
Oct 26, 2007 · His Tomb of Richelieu (church of the Sorbonne) was saved from destruction by Alexandre Lenoir, who received a bayonet thrust in protecting the head of the cardinal from mutilation.
François Girardon was the most representative sculptor employed on the great sculptural project of decorating Versailles during the period of Louis XIV. Girardon attracted the attention of Chancellor Pierre Séguier, who brought him to Paris to study under François Anguier and afterward sent him to.
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She makes a significant point about the matter: although visitors to the Museum of Monuments saw some masterpieces, such as François Girardon’s tomb for Cardinal Richelieu that was rescued from the Sorbonne chapel during the Reign of Terror, “the vast majority of the artifacts . . . had no claim to independent aesthetic value. . . .
