Having gained the much-coveted Prix de Rome, Ingres ought to have started at once for Italy. But the state of the public treasury was so miserable at this period of wars and internal crises that the young painter had to remain in Paris for five years before the funds for his journey were forthcoming. He was allotted apartments, together with other artists, in a deserted Capuchin convent in Paris, where he resumed his studies and undertook any work that was offered to him. The only official encouragement he received was an order to paint two portraits of Napoleon. The first of these portraits was finished in 1805--the “Bonaparte, First Consul,” for the town of Lille; the second, of “Napoleon, Emperor,” for the Hôtel des Invalides, was finished in the following year. To those years of anxious suspense belong the first ideas of many of the works which were afterwards to make him famous. The dominant influences noticeable in his designs are said to be the works of Flaxman and the paintings on antique Greek vases. The neighbouring studio at the convent was occupied by de Gros, who was engaged upon a series of immense canvases consecrated to the glory of Napoleon’s campaign in Egypt. It was filled with Oriental bric-à-brac, damascened arms, costumes, Persian rugs, Turkish pipes, and hangings of gold and silk--everything, in short, which would help the artist to paint the accessories of his pictures. It was in this studio that Ingres probably painted the studies of Eastern carpets, mosaics, &c., which are still preserved at the Museum of Montauban, and which he used afterwards in the “Odalisques.” But the real strength of his personality is best seen in the series of portraits Ingres painted at this time. The first was a portrait of his father, who came to visit him in Paris in 1801. As was his custom, he worked on this in the following years, which explains the date, 1804, inscribed upon the painting. It was exhibited at the Salon in 1806, and is now at Montauban. Then he painted the portrait of himself which is now at the Museum of Chantilly. These were followed by the three portraits of the Rivière family, now in the Louvre. Two of these, those of the mother and daughter, have been reproduced in the present volume. Towards the end of 1806 Ingres was at length supplied with the necessary funds to proceed to Rome. Once established in the Villa Medici fortune began to smile on him. He received several important official commissions. His talent also found private appreciators. The General Miollis, a fanatical admirer of Virgil; M. de Norvins, M. Marcotte; ladies like Madame de Lavalette, Madame Forgeot, and Madame Devauçay, gave him orders for portraits and pictures. Joachim Murat, then King of Naples, also took an interest in the young painter who had been born in the same province as himself. He commissioned the “Dormeuse de Naples” and the “Grande Odalisque,” and invited him to his Court to paint portraits of the members of his family.