An original drawing of _Diane de Poitiers_ is preserved in the portfolios at Chantilly; and a portrait of the same lady executed in colour hangs in the next room (Cabinet Clouet). Similarly the Bethune and Destailleur albums at Chantilly, as well as the Ashmolean collection at Oxford, contain numerous copies from originals in the Musée Condé. Many of these copies were made by enamellers and goldsmiths for the purposes of their respective trades. These, however, are usually of inferior workmanship, although they have a certain value attached to them; especially when, as in the case of _Mary Tudor_, the original has been lost. In this connection the Mejanés album at Aix should not be forgotten; for it is no doubt the most important amongst the various albums which contain copies of these original drawings at Chantilly and elsewhere. This collection is supposed to have been copied by Madame de Berry, wife of Arthur de Gouffier, one of the _Preux de Marignan_. Francis I, whose own portrait is at the beginning of the album, when on a visit to this lady, is said to have composed the remarks which are written on the margins. They are suggestive and often witty; indeed none but the King himself would have dared to fling at Mary Tudor[128] of England the insulting words "_plus sale que royale_"; whilst Diane de Poitiers is greeted with the flattering remark, "_fair to see and virtuous to know_." Perhaps even more important especially, from an artistic point of view, is the Hagford album bequeathed to the British Museum by Mr. Salting, since it includes not only a number of old copies but also several very valuable originals. This collection was made by an English painter, Ignatius Hagford, who lived in Florence in the eighteenth century. He believed them to be the work of Holbein, as is indicated by the frontispiece; and he seems to have even bought also old copies of originals which he already owned. Part of his collection is now in the Pitti Palace; and seeing that the Howard Collection, now at Chantilly, was also originally acquired in Florence, there is strong reason to believe that probably these two collections were once united. [Illustration: Plate LXIX. MARY TUDOR, QUEEN OF FRANCE. Copy after Perréal. Photo. Giraudon. MADAME DE BOUILLON. Attributed to Jean Clouet. Musée Condé. _To face page 232._] Henri de Mesmes, a gentleman of whom Brantôme speaks as "_un très grand habile et subtil personnage d'état d'affaires de science et de toute gentillesse_," often acted as go-between for Catherine in her art dealings; and it was he who corresponded on her behalf with a certain Claude de Hery, who had been commissioned to make a new engraving from a portrait of _Charles IX_ on his accession to the throne. This artist had failed to satisfy the Queen-Mother and the King, in spite of the fact that his work had been fully approved of by no less a personage than François Clouet himself.