For his own portrait the Emperor chose his official painter, Gérard, who was at that time considered so great an exponent of this branch of art that he was styled "_the painter of kings_" and "_the king of painters_." Napoleon is represented by him as _First Consul_; and the expressive eyes, the mouth displaying power to command and the broad forehead partially concealed by a mass of hair, recall the great Roman whom he emulated and with whom he loved to be compared. The painter, no doubt, purposely accentuated in this portrait such facial resemblances as he was able. This commission was executed at the Tuileries in 1803. At the Fall of the Empire Gérard was presented by Talleyrand to Louis XVIII; and later still in 1820 Louis Philippe commissioned him to paint a portrait of the _Duchesse d'Orléans_ (afterwards Queen Marie Amélie) in a white robe adorned with pearls. This painting was highly treasured by the Duc d'Aumale, who out of filial affection hung it above his bed, where it still remains. Another portrait by Ary Scheffer of the same royal lady as a widow is also here. This was painted at Claremont during the exile of the Orleans family; and by the same artist is a portrait of the _Duc d'Orléans_, Louis Philippe's eldest son, who met with an untimely end in a carriage accident. But Ary Scheffer's _chef d'oeuvre_ at Chantilly is a portrait of _Talleyrand_, the most renowned and brilliant man of the Revolution,--a painting bequeathed to the Duc d'Aumale by his friend Lord Holland. Ary Scheffer's greatest pupil was Puvis de Chavannes, who far surpassed his master in the art of exquisite line--a characteristic especially noticeable in his painting of _Ste. Geneviève_ in the Pantheon, where he shows us the Patron Saint of Paris watching over her beloved city; and again in another painting of _St. Mary Magdalen_ at Frankfort. This artist is unfortunately not represented at Chantilly; nor is Jacques Louis David, whose vast canvases, the _Sacre et l'Intronisation de l'Empereur_ and _La Distribution des Aigles_, are so conspicuous in the Louvre. In spite of the comments of Diderot--who very wisely pointed out that the chief aim of the ancients was to reproduce Nature and that those who merely copied archaic painters were doing just the reverse of those whom they were trying to imitate,--public taste followed David and discarded their former favourites, Greuze and Watteau. Ingres, David's pupil, is represented at Chantilly by some of his finest work. There is in the first place _His Own Portrait_ painted at the age of twenty-four--a fine work, grand in its very simplicity--which Prince Napoleon always desired to possess and which the artist could hardly refuse to present to him. It passed thence into the possession of Reiset in 1868 and eventually in 1879 became the property of the Duc d'Aumale.