Mellin de Saint-Gelais是法国弗朗西斯一世的宫廷诗人，因文艺复兴时期的复兴光环而闻名，这在他的文学创作和个性中都很明显。他也是昂古莱姆大主教的侄子，屋大维圣日格莱斯，因为维吉尔的埃涅伊德的法语翻译而闻名。他也被视为一位占星家，音乐家和医生，成为诗人。圣格莱斯倡导marotique风格，并一直是法国文学中最重要的角色之一。他也是滑稽文学风格的培养者。
Corneille de Lyon的Mellin de Saint-Gelais创建于16世纪中叶，但其创作的确切年份仍值得商榷。这幅肖像现在珍藏在法国的卢浮宫。这幅肖像镶嵌在柔和的乌木木质的皮特拉硬脑膜框架中，并配有母亲O’-pearl镶嵌和大理石柱。由于科内勒里昂围绕在这样的框架中的科技肖像，pietra硬脑膜框架被认为是高奈里昂帧。在法国文艺复兴时期繁荣兴起的雕塑和绘画发展有助于创作更精致的绘画作品。
主题的面部表情生动活泼在肖像中显而易见，但与大多数文艺复兴时期的肖像不同，这些肖像与观众呈现出直接炫目的主题，科内耶的肖像是有角度地塑造的，但文艺复兴艺术的魅力促成了艺术作品与观众目不转睛地看着肖像。 “法国文艺复兴时期的艺术不仅仅是新探索和逻辑精神的出现，而是对古典和古典艺术风格的改造性敬意”（默多克617）。在Mellin de Saint-Galais的Corneille画像中可观察到古典艺术的稳固性，但在文艺复兴时期艺术的栩栩如生和三维新颖性方面则大幅增强。
Mellin de Saint-Gelais was the Poet Loaureate at the court of Francis I of France and was highly noted for Renaissance revival aura, which was evident in both his literary ventures and personality. He was also the nephew of the bishop of Angoulême, Octavian de Saint-Gelais, who was noted for the French translation of Virgil’s Aeneid. He was also noted as an astrologer, musician and doctor alongside as a poet. Saint-Gelais championed marotique style and has been one of the foremost sonneteers in French literature. He was also a nurturer of the burlesque style of literature.
The portrait and its Renaissance attribute
Corneille de Lyon’s Mellin de Saint-Gelais was created during the early-mid 16th century but the exact year of its creation is debatable. The portrait is now treasured at Musée de Louvre in France. The portrait is framed in pietra dura frame of smooth ebonized wood and featuring mother-o’-pearl inlay and marble columns. Owing to the techy portraits of Corneille de Lyon enclosed in such frames, the pietra dura frames have come to be regarded as the Corneille de Lyon frames. The sculptural and pictorial developments that flourished during the French Renaissance revival era contributed to the creation of more minutely detailed paintings.
The liveliness in facial expression of the subject is evident in the portrait but unlike most Renaissance portraits, which presented the subject in direct glare with the audience, Corneille’s portrait is angularly modeled but the charm of Renaissance art that instigated communication between the piece of art and the audience eyeing it is largely present in the portrait as well. “French Renaissance art was not just the advent of a newfound spirit of enquiry and logic but a reformative homage to the classical and antique styles of art” (Murdoch 617). The solidly of classical art is observable in Corneille portrait of Mellin de Saint-Galais but is considerably enhanced in the lifelike and three dimensional newness of the Renaissance art.