SECOND PERIOD, 1801–1804, _Napoleon the Statesman and Lawgiver_.—During this period many English artists visited Paris, and painted or engraved portraits of Napoleon. In these the Italian spelling “Buonaparte” is adopted, while in the French engravings of this period he is called “Bonaparte” or “General Bonaparte.” Especially noteworthy among them is “The Review at the Tuileries,” regarded by Masson as the best likeness of Napoleon “when thirty years old and in his best estate.” The portrait painted by Gérard in 1803, and engraved by Richomme, is by others considered the best of this period. There is already a marked change from the long and thin face in earlier portraits to the round and full face of this period. In some of these prints the Code Napoléon is introduced as an accessory. THIRD PERIOD, 1804–1812, _Napoleon the Emperor_.—He is now styled “Napoléon,” “Napoléon le Grand,” or “L’Empereur.” His chief painters in this period are Léfevre, Gérard, Isabey, Lupton, and David (with Raphael-Morghen, Longhi, Desnoyers, engravers)—artists of greater merit than those of the earlier periods. The full-length portrait by David has been copied oftener and is better known than any other. It has been said that we cannot in the portraits of this period, executed by Gérard, Isabey, and David, find a true likeness of Napoleon. His ministers thought “it was necessary that the sovereign should have a serene expression, with a beauty almost more than human, like the deified Cæsars or the gods of whom they were the image.” “Advise the painters,” Napoleon wrote to Duroc, September 15, 1807, “to make the countenance more gracious (_plutôt gracieuses_).” Again, “Advise the painters to seek less a perfect resemblance than to give the beau ideal in preserving certain features and in making the likeness more agreeable (_plutôt agréable_).” FOURTH PERIOD, 1812–1815, _Decline and Fall of Napoleon_.—We have probably in the front and side face made by Girodet, and published in England, a true likeness of Napoleon. It was drawn by Girodet in the Chapel of the Tuileries, March 8, 1812, while Napoleon was attending mass. It is believed to be a more truthful likeness than that by David, made the same year; the change in his appearance to greater fulness than in the portraits of 1801–1804 is here more plainly marked. He has now become corpulent, and his face is round and full. Two portraits taken in 1815 show it even more clearly. One of these was taken immediately before the battle of Waterloo, and the other, by J. Eastlake, immediately after. Mr. Eastlake, then an art student, was staying at Plymouth when the “Bellerophon” put in. He watched Napoleon for several days, taking sketches from which he afterwards made a full-length portrait.