The painter who acquired the old Queen's special favour after the death of François Clouet was Carron, who made a series of designs (reproduced in tapestry) from the _History of Artemisia_, in which Catherine herself is represented mourning for Henri II in the guise of the Queen of Caria. A drawing by Carron representing the _Duc d'Alençon_, her youngest son, on horseback is in the passage of the Tribune at Chantilly. Pierre Gourdel, Dubois and Bussel, followers of François Clouet, are only known to us by mediocre engravings, but numerous drawings by the Brothers Lagneau have come down to us. These may be met with in the Louvre, in the portfolios at Chantilly and elsewhere. They suffer from an exaggerated taste for realism; and representations of old, wrinkled men and women seem to have been their favourite themes. A good example of their work is the portrait of an _Old Man_ at Dijon, where, however, it is erroneously assigned to Daniel Dumoustier. This latter artist, on the contrary (according to his own statement), took particular pleasure in representing his sitters as younger and more beautiful than they really were. By him there are at Chantilly portraits of _Louis XIII_ (in coloured chalk), of _Albert de Gondi Archdeacon of Paris_, of _Henri Duc de Guise_,[130] of the _Princess Palatine_ (the devoted friend of the Grand Condé), and an interesting portrait of _Henriette de France_ in her girlhood. Numerous other examples of his work are in the Louvre; and he is certainly the most important of the artists who followed François Clouet. In company with his sons Pierre and Nicolas he carried on the art of pencil drawing in France from the sixteenth well into the seventeenth century. Saint-Simon speaks of him as a man who was fond of books and knew both Italian and Spanish. He lived in the Louvre, and throughout his lifetime retained his hold upon public taste. There is yet one more artist-family to be mentioned: that of the Quesnels, who were held by the two first Bourbon Kings, Henri IV and Louis XIII, in the same high estimation as were the Clouets by the Valois. There are two portraits at Chantilly (Cabinet Clouet) which are attributed to François Quesnel: that of the _Duc de Sully_ and of his brother _Philippe de Bethune_. These paintings markedly display the strong tendencies to realism so characteristic of the Brothers Quesnel. [Illustration: Plate LXXI. HENRI DE GUISE. Dumoustier. Musée Condé. MARECHAL DE VIELVILLE. François Clouet. (Salting Collection). British Museum. _To face page 246._]