Before concluding this chapter on François Clouet attention should be directed to a specially interesting feature about these drawings. Upon the margins, and also on the reverse sides of most of them, are to be found annotations and legends of the utmost historical and iconographic value. Sometimes they appear to be in the handwriting of the artists themselves: often notes with regard to subsequent reproduction in colours; but more often they seem to be the remarks of the connoisseurs and collectors who at different times possessed the drawing--such as was Catherine de Medicis herself. Her handwriting is to be found upon at least sixteen of the drawings in the Musée Condé, easily identified by existing fragments of her letters in the archives at Chantilly and elsewhere. There is, for example, a drawing of _Erasmus_ which had hitherto passed unnoticed until Moreau Nélaton discovered that the Queen had written his name upon it in her own hand. Her autograph is clear enough also on the drawings which present her favourite ladies-in-waiting Hegli[125] and _Montchenu_ and _la Romène_; whilst she has also annotated the drawings representing _Monsieur de S. Valier_, "_le père de la Grande Senechalle_," and "_Monsieur de Nevers_," "_le père de Madame de Nevers_." Then upon a drawing of _Brissac_ (so celebrated for his good looks) she notes "_brassac depuis maréchal_." Again, "_le fu roy de Navarre, Henri_," "_Monsieur de Chateaubriand_," "_Monsieur de Voldemont_," and "_Chandu, capitaine de la porte du Roy_." Besides the sixteen drawings at Chantilly which so obviously bear the Queen's handwriting, there is as already mentioned in the Deligand Collection a likeness of "_Brasseu_," daughter of Diane de Poitiers, and in the Uffizi a drawing representing _Queen Claude_, "_mère du roi Henri_," on both of which we also find Her Majesty's angular writing. She has corrected, moreover, the title upon one pencil drawing wrongly entitled _Madame de Nevers d'Albret_ into _Madame de Vendôme d'Alençon_.