Duplessis brings us to the time of the Revolution, when ruin fell upon so many of the artists of that day. His portrait of the _Duchesse de Chartres_, mother of Louis Philippe and grandmother of the Duc d'Aumale, is at Chantilly. She is seated in a garden, lost in profound sorrow at the departure of her husband to a naval engagement, symbolised by a ship disappearing in the distance: a refined and graceful presentation of a charming woman capable of winning the hearts of all around her. The portraits of _Louis XVI_ and of the _Comte de Provence_ by this painter in the Musée Condé are considered to be among the best likenesses of the last Bourbon Kings. Duplessis held the post of Administrator of the Galleries at Versailles. Greuze, like Watteau, marked out a special line of his own; and with him French bourgeois Art reappears once more. His domestic scenes were described by Diderot as follows: "_Cet artist est le premier entre nous qui se soit avisé de donner des murs dans l'art_." This remark applies to his _Malédiction Paternelle_, _l'Accordée du Village_, etc. [Illustration: PLATE LXXV. _Photo. Giraudon._ Young Girl. By Greuze. Musée Condé.] His charming _Portrait of a Young Girl in a little cap_ at Chantilly represents Georgette, daughter of his concierge in Paris; and she can be recognised again in the same artist's _l'Accordée du Village_ in the Louvre, and perhaps also in the painting of a _Young Girl winding Wool_, lately added to Mr. Pierpont Morgan's Collection. The pendant to _Georgette_ in the Musée Condé is a portrait of a _Young Boy_, her brother. These two paintings, together with _Le Tendre Desir_, belong to the artist's best period, whilst _La Surprise_ is a work of his old age. This last work exhibits to us the curious fact that a problem which had steadily pursued him throughout his long life--namely, how to paint the first awakenings of love in a maiden's mind--still puzzled him at the age of nearly eighty. It is certainly an irony of fate that after a romantic attachment to a young Italian Countess--whose portrait he painted, but whom he was prevented from marrying--he should have returned to Paris, to become the husband of a woman much older than himself, who presently made his life almost unendurable. It was perhaps the memory of this youthful idyll which induced him to paint so often those young maidens whose faces smile at us from the walls of so many Galleries throughout Europe. The _Young Woman in a Hat_ in the Wallace Collection is perhaps the most fascinating of them all, since nothing can surpass the grace and piquancy of expression in her lovely countenance.