Louis Joseph de Bourbon, about 1787, commissioned Fragonard to paint small portraits of the Princes and Princesses of the Royal House[138] of Bourbon and the House of Bourbon Condé. Among these are portraits of the _Dauphin Louis_, son of Louis XVI, and of the _Duc d'Enghien_ by whose tragic death the Condé family became extinct. Fragonard was a pupil of both Boucher and Chardin. He went to Italy with the Prix de Rome and in 1765 was elected a member of the Academy. He excelled in every style of painting--_genre_, landscape, portraits, interiors, and historical subjects. When in 1765 he exhibited his _Callirhoé and Corésus_ (a subject taken from the poet Roy) Diderot and Grimm thought for a moment that he might resuscitate the art of historical painting in France. This picture was bought by King Louis XV but was never paid for, and Fragonard returned to his portrait-painting, which he accomplished with very great brilliance and rapidity. There is a series of these portraits in the La Caze section of the Louvre, chiefly representing the actors and actresses of his day. His remarkable talent for decorative painting reveals itself in certain designs destined for Madame Du Barry's pavilion, but stupidly condemned by her advisers. When the Revolution broke out, the artist fled to Grasse to escape imprisonment and the scaffold taking these paintings with him, and there completed the series by a fifth composition. The whole set are now in the collection of the late Mr. J. F. Pierpont Morgan. Fragonard in some of his work rose to the level of Watteau and he certainly surpassed Boucher: but, like Greuze, he suffered the humiliation of seeing himself pass out of fashion, supplanted by the rising sun of Louis David. It certainly is to be regretted that Fragonard was not also commissioned to paint the above-mentioned life-size portrait of _Louis Joseph de Bourbon_ at the Musée Condé. This privilege was given to a Madame de Tott, an artist quite unknown in the history of Art. She was a contemporary of Bartolozzi, who engraved her picture, and thus handed down her name to posterity; for we read upon it, "_Madame de Tott pinxit--Bartolozzi sculpsit_."