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.