The next two scenes, the Presentation in the Temple (13), and the Massacre of the Innocents (14), with the Flight into Egypt in the background, were finished by François Marchand, of Orléans, in 1542, and, in spite of mutilation and restoration, they reveal the beginnings of the influence which the Italian Renaissance was to exercise upon French art. The Baptism of Christ in the Jordan (15), which follows, is by Nicholas Guybert, who lacked the draughtsmanship and anatomical study of Marchand, but was inspired with a devotional feeling quite foreign to the seventeenth-century work of Thomas Boudin, (16, 17, 18) the Temptation, the Canaanitish woman, the Transfiguration (1612). The Woman taken in Adultery (19) is the work of Jean de Dieu (1681), and (20) the Man born Blind, that of Pierre Legros (1683).
The centre of the _Tour du Chœur_, as it is called, was formerly filled by an altar, above which were relics of several saints in rich caskets (SS. Piat, Lubin, Calétric, Tugdualus, etc.); but those have disappeared, and a fifteenth-century group, representing S. Martin sharing his cloak with a poor man, has taken its place.
Tuby the younger executed the next two groups in 1703. They represent (21, 22) the Entry into Jerusalem, whilst the next six are as late as 1714, and are by Simon Arazières. They depict (23) the Agony in the Garden, (24) the Betrayal, (25) the Trial before Pontius Pilate, (26) the Scourging of Jesus, (27) the Crown of Thorns, (28) the Crucifixion, (29) the Virgin gazing at the dead Christ.
Thomas Boudin, again, is responsible for the next four groups (1611)--(30) the Resurrection, (31) the Holy Women bringing vases of perfume to the Tomb, (32) Christ and the Disciples of Emmaus, (33) Christ dispelling the doubts of S. Thomas.
The remaining eight groups are of the same date, and almost of the same excellence as those by Jehan Soulas at the beginning of the clôture opposite, and contrast favourably with the cold and Pagan feeling of the foregoing. They are probably the work of a pupil of that sculptor, and were made under the supervision, in part, perhaps, with the aid of Jehan Texier, called De Beauce. An inscription of the plinth beneath explains the subject of each scene.