[Illustration: Plate L. ERASMUS. Attributed to J. Perréal. JUST DE TOURNON. Attributed to J. Perréal. (About 1515). Musée Condé. _To face page 204._] It is strange that Bouchot and Dimier, and also Maulde La Clavière, accept as a foregone conclusion that both drawings and miniatures must necessarily be by the same hand. Yet everything points to the fact that the miniatures in question were copied subsequently (about 1519-20) from these very same drawings by Godfroy le Battave, the author of the excellent _grisailles_ with which this manuscript is ornamented. It stands to reason that it was he who also reproduced the miniature of _Francis I_ on the frontispiece of the first volume of the MS. in question. To judge from the costumes and headgears of these heroes they cannot be dated later than 1514-15, a period anterior to Clouet. It is therefore quite plausible to suggest that Perréal, who at the time of the Battle of Marignan was Court-Painter, received from Francis I the commission to portray his famous comrades, _Artur_ and _Guillaume Gouffier_, _Just de Tournon_,[80] _Odet de Foix_,[81] _Fleuranges_, the _Seigneur de la Palisse_,[82] and _Anne de Montmorency_. It is a curious fact that all the numerous sixteenth-century French drawings at Chantilly and in other collections should have been formerly attributed indiscriminately to "Janet," a name employed to designate both the Clouets, Jean and François. Yet we know that Perréal was Court-Painter to Louis XII and that the latter was so enchanted with his work that when he was in Italy he sent for them "_pour monstrer aux dames de par deça_," and referred to him as a "_portraitiste de visages, qui peint de petits portraits sur parchemin, et sans rival en Italie_."[83] Some years later, after the death of his Queen, the aged monarch sent Perréal to England to paint a portrait of his affianced bride, _Mary Tudor_. He had previously been sent to Germany for a similar object, so that it was the most natural thing in the world for the young King Francis on ascending the throne to commission a painter, who had already been employed by his predecessor, to portray also himself and his warrior friends. Yet another drawing at Chantilly may be attributed to Perréal representing _Guillaume de Montmorency_,[84] father of the celebrated Anne. Judging by the age and the attire this portrait must necessarily be assigned to an artist working before Jean Clouet's time. After having adduced these proofs in support of our argument it would seem to be going purposely out of our way not to prefer Perréal as the author of the _Preux de Marignan_ rather than Jean Clouet; and especially as there are a vast number of drawings belonging to the period when Clouet was Court-Painter--1523-39--which clearly prove the greater elaboration of his style. [Illustration: PLATE LI. FRANCIS I. _Photo Braun & Co._ _Musée Condé._ Attributed to Jean Perréal. FRANCIS I. _British Museum._ CÆSAR. _British Museum._]