Another portrait which attracts much notice is that of Antoine de Bourgogne, the _Grand Bâtard_, the second of the nineteen illegitimate sons of Philippe le Bon. This painting was presented to the Duc d'Aumale by the Duke of Sutherland. It is an exquisite work of art which has been variously attributed to Memling, to Roger van der Weyden, and to Ugo van der Goes, but it is to the last-named artist that it can be assigned with greater probability. The _Grand Bâtard_[21] wears the Order of the Golden Fleece instituted by his father at Bruges in 1430, and appears to be about forty years of age, the period of life when he gained his great victory over the Moors at Ceuta. He was not only a valiant warrior, but also an arduous bibliophile and collector. His Château of La Roche contained many interesting illuminated manuscripts now dispersed, and of these the _Froissart_ at Breslau is amongst the most celebrated. Like all those that belonged to him, it bears his autograph "_ob de Bourgogne_" "ob" being an abbreviation of the Greek word _[Greek: obalós]_, which means _bâtard_.[22] The drawings of this Sutherland Collection, especially those belonging to the sixteenth century, are less important, many of them appearing to be copies by inferior hands; those, however, of the seventeenth century by Quesnel and Dumoustier are first-rate. Among the portraits in pastel may be noted likenesses of _Madame de Montespan_, _Louis XIII_, _Gaston d'Orléans_, _Louis de Haros_, and an interesting portrait of _Watteau_ designed by Boucher after an original by Watteau himself. In 1877 the Duc d'Aumale availed himself of another opportunity of restoring to France a French collection which had been brought to England, namely, that of M. Carmontelle, which comprised no less than 450 coloured sketches for portraits which date from the year 1757 to the year 1775. Carmontelle, as tutor to the Duc de Chartres, had plenty of opportunity during his leisure hours to sketch all the men and women with whom he came in contact, which he did merely for his own amusement, without any expectation of payment. The facility with which he executed these sketches astonished even Grimm, who remarked upon his skill. In about two hours each, with the greatest ease, he reproduced all the most noticeable figures in the life of the period, from the Dauphin and his courtiers, the Princes and Princesses of the House of Bourbon and Orléans, the officers, ladies and gentlemen, ecclesiastics, musicians and actors, down to the domestics, and even the floor-scrubber at Saint-Cloud. These sketches amounted at the time of his death to the number of 700, and in 1807 were bought _en bloc_ by his friend Richard de Ledans, who disposed of a good many of them. When he died in 1816 450 drawings only were left. These were at once bought by Pierre de la Mesangère, editor of _Le Journal des Dames et des Modes_, and they form an exceedingly valuable record of the fashions at the time of Louis XV.