Christ the Good Shepherd in stone carved in the round. Standing, the Good Shepherd brings back the lost sheep by carrying it around his neck, his left hand holding the four legs of the animal; beautiful face with regular features framed by a hair with wavy locks; wearing a thin-brimmed hat decorated with a band of interlacing, he is dressed with a tunic and a coat, one side of which comes back to the front held by the right arm; beautifully draped, fluid in the back and supple in the front with slight breaks. Northern Italy, by Girolamo Viscardi (1467-1522), late 15th centuryHeight: 52 cmBase (lower part and right hand missing, accident to the nose)Work consulted: Toulouse 2018 exhibition, Toulouse Renaissance, Musée des Augustins -Bibliothèque d'Etude et du Patrimoine, cat.., pp.147-148Active in northern Italy and France, little is known about the Genoese sculptorGirolamo Viscardi. His works contributed to introducing the new Renaissance style to the kingdom. As early as 1502, he was commissioned, together with other Italian sculptors, to create the tomb of the Dukes of Orleans in the Basilica of Saint-Denis (fig.a, a'). Similarly, the Toulouse native Pierre de Saint-André, adviser to Louis XII and president at the court ofGenoa, commissioned this Genoese sculptor in 1508 to create his marble epitaph.Intended for the church of the Carmelites in Carcassonne, it is now in the Musée des Augustins in Toulouse (inv. RA 828, fig.b). In these two works there are stylistic similarities both in the drapery, very similar to that of the statuettes placed in the niches of the tomb of Saint-Denis, and in the serenity of expression of the face as expressed in the Christ of the moving Piéta of Carcassonne.