The earliest record of Goujon's activity as an architectural sculptor dates from 1540 at Rouen. His mature mastery was first reflected in a screen relief depicting the deposition of Christ from the cross (1544–45; Louvre). Created for the Church of Saint-Germain l'Auxerrois, Paris, this work marked the beginning of his collaboration with architect Pierre Lescot and exemplifies his personal version of Mannerism. Goujon's masterpiece is the set of six relief figures of nymphs (1547–49) that originally ornamented the Fontaine des Innocents in Paris. The elongated figures of these nymphs, confined within narrow rectangular panels, are exquisitely adorned with a linear play of rippling draperies. Goujon's reliefs on the court facade of the old Louvre (c. 1549–53) were marred by inept restoration in the 19th century. The later of these, in the attic portion, show a bolder relief, freer from his earlier architectural restraint. The great hall inside contains his most ambitious sculpture, especially the gallery caryatids carved in the round, which were also falsified by restoration. Goujon's career after 1562 remains obscure, though as a Protestant he may have fled the hostile Roman Catholic atmosphere of Paris.