Funerary Spirit from the tomb of Philippe Chabot at The Louvre, Paris

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This tomb stands out among the French Renaissance funerary monuments for its rhythmic sculpture of the statue and the extraordinary decorative ensemble it once belonged to, of which only a few fragments remain, including an unusual figure of Fortune. Philippe Chabot and the future King Francis I grew up together and Chabot participated in the king's Italian campaigns - both were captured at Pavia. After a brilliant military career, the admiral returned to France where he became embroiled in court intrigue and fell from favor in 1541. Accused of embezzlement, he was imprisoned and his property seized. Through the intervention of the duchess of Etampes (Francis I's mistress), he regained the king's favor shortly before his death in 1543. Chabot was buried in Paris at the Celestines church - in the Orléans family chapel, due to his kinship with them. His son Léonor commissioned this tomb, but we know neither when nor by whom it was created. The effigy was installed in 1565, and the epitaph likely written between 1570 and 1572. The admiral is depicted alive and dressed as a soldier wearing damascened armor, an emblazoned tabard, and the Order of Saint Michael's collar. He holds a whistle of command in his left hand. His attitude is noble and serene: he lies on his side with one elbow resting on his helmet (his gauntlets are nearby). During the Renaissance, traditional stiff recumbent effigy poses gave way to more supple attitudes. The portrayal of the deceased as a living person suggests a desire to soften death's representation; perhaps it also expresses a longing for earthly life. This work represents a significant innovation in recumbent effigy iconography yet retains the traditional attribute of the lion at the deceased's feet. The sculptor's identity is unknown, but the quality of the work indicates a consummate craftsman. Pierre Bontemps has been suggested as the possible creator due to certain similarities with Charles de Maigny's statue; however, this suggestion is now disputed: Chabot's effigy displays greater suppleness and elegance, its face more expressive. This powerful sculpture's rhythm is the work of a superior artist. The alabaster effigy was the centerpiece of an unprecedented decorative ensemble for a tomb. The statue sat atop a black marble sarcophagus, beneath which lay a prostrate figure of Fortune (perhaps laid low by the admiral's downfall or death?). A highly ornate circular surround enclosed this ensemble, featuring the deceased's arms and funerary genii holding upturned torches (symbolizing life's passage). This innovative funerary design closely resembles Fontainebleau-style decoration, especially the fireplace in the queen's bedroom. An ornamentalist working on paper with disregard for funerary art conventions could have designed this monument, which would then have been crafted by sculptors. This supports historian Jean Taveaux's claim from the late 16th century that Jean Cousin, a renowned artist (died circa 1560), created this work, as evidenced by his painting Eva Prima Pandora in the Louvre. This object is part of "Scan The World". Scan the World is a non-profit initiative launched by MyMiniFactory, aiming to create a digital archive of fully 3D printable sculptures, artworks, and landmarks from across the globe for public access. Scan the World is an open-source community effort; if you have interesting items around you and would like to contribute, email stw@myminifactory.com to learn how to help. Scanned using Photogrammetry (Processed with Agisoft PhotoScan)