Chantilly. Another drawing likewise at Chantilly (a capital example of the artist's methods) represents _Francis I_ after his reverses at Pavia, wherein His Majesty has lost that expression of youthful buoyancy so conspicuous in the oil-painting in the same collection. He wears his cap adorned with a white plume no longer close-set as formerly and straight on his forehead, but according to the fashion of the day with the hair projecting from underneath it and slightly tilted to the left. His beard has also been allowed to grow, in order, it is said, to hide a scar on his cheek. This drawing was unquestionably taken from life, and was used for the portrait in oils now in the Louvre; which serves to prove how much care and diligence Jean Clouet expended upon his portraits. Just as a sculptor uses the clay for his models, so with equal faithfulness the artist made his drawings serve for his final portraits in a heavier medium. This small painting,[93] now recognised as an original work, is infinitely superior to the larger portrait,[94] also in the Louvre, although both have evidently been copied from one and the same drawing. Both portraits were formerly at Fontainebleau, where tradition had always assigned them to Jean Clouet. This likeness of _King Francis_ seems to have been a very favourite one for we find numerous copies of it: for example, in the Méjanés Collection at Aix; in the _Recueil Marriette_; and in the _Recueil d'Orange_ in England.[95] There are no less than eight copies of it in St. Petersburg, and the one in Florence is said to have been made by Queen Catherine herself. A later portrait of this King, likewise at Chantilly, represents him in middle age, when years had already begun to tell upon him and the lines of his face had become heavy and drawn. The original drawing for this--perhaps also by Jean Clouet--is lost, but a copy survives in the _Recueil Lenoir_. A miniature in oil at Florence, in which the King is represented on horseback, seems to have been designed from this drawing; whilst another similar miniature in the Louvre (Collection Sauvageot) is generally considered to be the work of François Clouet, who had at that time just begun his artistic career under his father's direction. This is probably the last likeness of Francis designed by Jean Clouet. It appears to have been painted in 1539 and may be regarded as the official portrait of this King. It is certainly vastly superior to another even later portrait, of which there is a copy in the Louvre and a miniature in the _Recueil du Tillet_ (Bibliothèque Nationale), where His Majesty is shown to have greatly increased in girth. Another similar miniature is in the ante-room at Chantilly, the King being again represented on horseback after a fashion affected by the succeeding Valois Kings; and the same original reappears in the _Book of Hours_ of Catherine de Medicis, where Francis figures as _King David_; appearing