In 1831 the Carmontelle drawings reappeared in Scotland in the Duff-Gordon-Duff Collection, whence they were acquired by the Duc d'Aumale for the sum of 112,500 francs, to add to other examples of this artist's work, particularly a portrait of _Carmontelle_ himself, which he already possessed. They are now stored in large portfolios in the Salle Caroline at Chantilly, and, catalogued with comments and notes by the late Anatole Gruyer, afford great pleasure and amusement to those who have leisure to examine them. [Illustration: Plate XXII. Photo. Giraudon. A GAME OF CHESS. Carmontelle. Musée Condé.] The next acquisitions were a number of paintings collected by M. Reiset, who had already, as we have seen above, passed on his drawings to the indefatigable Duke. The price paid for these was 600,000 francs, and they include no less than twenty-five pictures of the Italian School, amongst which we may mention the following: a small panel representing the _Death of the Virgin_, attributed to Giotto (unfortunately much repainted); _The Coronation of the Virgin_, by Giovanni del Ponte di San Stefano; an allegorical figure representing _Autumn_, attributed to Botticelli[23]; an _Annunciation_ by Francia and a _Holy Family_ by Jacopo Palma; several Luinis and two small Filippo Lippis; and an exquisite little _Madonna holding the Infant Christ_ by Bissolo. _The Marriage of St. Francis of Assisi to Poverty_, by Sassetta (formerly assigned to his pupil Sano di Pietro) is one of the most attractive works by this master. It once formed part of an altarpiece at S. Severino, long since broken up and dispersed. Several smaller panels from the same altarpiece are to be found in the Chalendon Collection in Paris, and one belongs to M. le Comte Martel; whilst the central portion is in the possession of Mr. B. Berenson.[24] In the painting at Chantilly Sassetta may be seen at the height of his imaginative power.[25] An atmosphere of religious calm breathes over the landscape from which the three figures of Chastity, Humility and Poverty are floating upwards; the latter turning to wave a last friendly greeting to the Saint whom they are leaving on earth. It is full of the naïve sentiment for which this artist is so conspicuous. Another interesting painting which belonged to the Reiset Collection is the portrait of _Simonetta Vespucci_, formerly assigned to Pollaiuolo, but attributed by Dr. G. Frizzoni to Piero di Cosimo. Simonetta was a young Genoese lady renowned for her beauty, who came to Florence as the wife of a Cattini. Poliziano wrote sonnets upon her charms, and Giuliano dei Medici fell madly in love with her. Among the numerous likenesses of her by Botticelli and others, in the National Gallery, at Berlin, and elsewhere, this one in the Musée Condé seems to be the most lifelike. Reiset bought this portrait in 1841 from the last member of the Vespucci family.