Louis Petit, another indifferent painter of the same period, executed a portrait of the last _Prince de Conti_ in hunting costume. This Prince left France with his Orleans cousins during the Revolution and died in Spain. To the same artist is attributed the portrait of _Louis Henri de Bourbon, Duc d'Enghien_. He has an interesting face, recalling that of his ancestor the Great Condé, but there is a touch of melancholy in his expression, telling of adversity endured and apparently foreshadowing his tragic death. His father, the last Prince de Condé, who during the French Revolution lived chiefly in England, was painted by Danloux, a Frenchman who had also sought shelter on the hospitable shores of Great Britain. This Prince is here represented as leader of the Condé forces, that is, of the French _émigrés_; and we can detect the influence of Reynolds and Gainsborough in the light, harmonious colouring of the composition, which was bought by the Duc d'Aumale from a descendant of Robert Claridge, in whose house the last Condé lived during his exile. By Charles Vernet, son of the celebrated marine painter Joseph Vernet, there is at Chantilly a large landscape with a hunting scene. It was painted during the Directoire, and _Philippe Egalité_ and his son the _Duc de Chartres_ (afterwards _Louis Philippe_) may be distinguished in the foreground. Charles Vernet delighted in depicting horses and scenes of sport, a style rendered even more famous by his son Horace Vernet. There are no less than four pictures by the latter in the Musée Condé: _The Duc d'Orleans (Louis Philippe) asking for hospitality from the Monks of St. Bernard_; a portrait of _Louis Philippe_, while still Duc d'Orléans; _Le Parlementaire et le Medjeles_, in which the various Algerian types are represented in glowing colours; and _Louis Philippe entering the gates of Versailles attended by his sons_. This latter is a reduced copy by Perrault of the large original at Versailles, painted to commemorate the occasion when Louis Philippe handed over the Palace of Versailles, with all its treasures of art and historical reminiscences, to the French Nation as a Public Museum. We now come to an artist whose place is upon the threshold of the nineteenth century--namely, Pierre Prudhon. A sketch of a _Venus_ at Chantilly is a study for the picture _Venus and Adonis_, which made his name at the Salon of 1812. Most fascinating are _Le Sommeil de Psyché, Homage à Beauté_, and a sketch[139] of _Joseph and Potiphar's Wife_: elegant and graceful creations recalling the style of Greuze; who in point of fact admired his work greatly, and said of him, "This man will go farther than I have done." David and his set contemptuously designated him as the "_Boucher of to-day_"; but Napoleon commissioned him to paint portraits of both his Empresses, _Josephine_ and _Marie Louise_, and conferred upon him the Cross of the Legion of Honour.