The two portraits of Monsieur and Madame Seriziat (Figs. 18 and 19), painted by David while he was still under arrest, are particularly illuminating as regards his personality. How could an artist, above whose head the sword of Damocles still hung, paint such sunny and optimistic portraits? We would, in fact, appreciate only one side of David if we think of him always as the stern Roman, never as the light-hearted Frenchman. From the beginning to the end of his artistic career, side by side with his classic compositions and his moving revolutionary portrayals (Fig. 23), he painted a series of charming portraits which prove that through all the horrors of the revolution he never lost his Gallic light-heartedness or his feeling for grace. At the beginning of the series stands the pleasing portrait of Vigée LeBrun, painted in 1793, and at the end, the famous portrait of Madame Recamier painted in 1800. In these works there is still an echo of eighteenth century elegance, a trace of that esprit and glamour which always distinguishes the best of French art. Yet the forms, the simple outlines, the wide empty spaces of the background and the flatness of the treatment is wholly new. And besides in these portraits we find for the first time representations of the Bourgeoisie which replace those of the aristocracy of the eighteenth century and whose best types became henceforth the patrons of art which in former days the courts had been. [Illustration: FIG. 25. PORTRAIT OF VIGÉE LEBRUN (1793) _Museum, Rouen_] [Illustration: FIG. 26. MADAME RECAMIER (1800) _Louvre, Paris_] [Illustration: FIG. 27. INGRES AS A BOY (_c._ 1795) _Private Collection, Paris_]