[1] The picture is not dated, but since the portrait of Madame de Verninac which is almost identical in composition is dated 1799, it is most likely executed shortly thereafter. [2] The figure studies in this sketchbook are interesting from another point of view (compare Fig. 10, a study of a beggar closely related to the composition of the Belisarius, although later in date). They prove clearly the endeavour of David to replace by his own the eighteenth-century style of drawing as he had learned it in the Boucher school. Instead of modelling the figures through diagonal parallel lines, indicating the shadows and neglecting the outlines, he tries to produce the effect of plasticity through clearly connected outlines alone, leaving out the modelling entirely. In this respect also David is the predecessor of artists of the most modern school. He developed his style of drawing in connection with his studies after Roman sculptures and was strongly influenced in his method of designing by a young French sculptor, Lamarie, whom he met in Rome. (See Charles Saunier: _Louis David_, p. 16.) [3] Illustrated in the excellent biography of David by Léon Rosenthal in the series: _Les Maitres de l’Art_, p. 30. [4] _Briefe aus der französischen Revolution_, edited by G. Landauer, 1922. [5] Reproduced in Charles Saunier, _David_, p. 44 and 48. [6] The best book on the subject is by Pierre de Nolhac, _La Reine Marie Antoinette_, Paris. [7] Reproduced in the book on Danton by Louis Madelin (Paris, 1914). The following pages are based upon this excellent biography. Transcriber’s Notes Punctuation, hyphenation, and spelling were made consistent when a predominant preference was found in the original book; otherwise they were not changed. Simple typographical errors were corrected; unbalanced quotation marks were remedied when the change was obvious, and otherwise left unbalanced. Illustrations in this eBook have been positioned between paragraphs and outside quotations. In versions of this eBook that support hyperlinks, the page references in the List of Illustrations lead to the corresponding illustrations. In the original book, two groups of illustrations were printed side-by-side on the same page and not in numeric sequence. In this eBook, they may be displayed side-by-side or one below the other, in the same sequence as in the original book. Footnotes, originally at the bottoms of the pages that referenced them, have been collected, sequentially renumbered, and placed at the end of the book.