Greuze was in high favour with the Royal Family, and it is believed that he painted a portrait of the Dauphin at the Tuileries after the unfortunate flight to Varennes, and another of his elder sister, Madame Royale, when in the Temple. The great upheaval of the Revolution struck Greuze also, and as a painter he became no longer the fashion. His wife squandered his fortune and he died in poverty, slaving to the very last. The portraits at Chantilly of _Marie Antoinette_ (in 1795) and of _Madame de Pompadour_, two of the loveliest women of their day, are by Drouais, a pupil of Van Loo and Boucher. The happy days of Trianon were not yet over when these were painted, and the Dauphine of France, presented here as _Hebe_, seems to be at the height of her glory and charms. How different to the careworn and haggard woman whose portrait hangs in the Musée Carnevalet over the very bed occupied by her in the Temple before her execution! Madame Vigée Le Brun carried the style of Greuze, at one time her master, into the middle of the nineteenth century. She is represented in the Musée Condé (Cabinet Clouet) by several small portraits: _Marie Caroline, Queen of Naples_, painted in 1768, and her two daughters, _Marie Thérèse Caroline_, wife of Francis II Emperor of Austria, and _Marie Louise Josephine_, wife of the Grand Duke of Tuscany. Whilst the first two of these appear to be copies of already existing pictures the portrait of _Marie Louise Josephine, Queen of Etruria_, shows special merits and seems to be taken directly from life, probably during one of Madame Le Brun's tours in Italy. A strong vitality is expressed in her beautiful face, forming a marked contrast to the portrait of her mother, the Queen of Naples. Madame Le Brun, who, in spite of her sex became a member of the French Academy, was one of Marie Antoinette's favourite painters. After the Revolution she established herself in St. Petersburg and did not return to Paris until 1801, when she was enthusiastically welcomed. She painted many of the most celebrated beauties of her day, but all these portraits seem to bear the mark of a period then fast disappearing.