In 1806 Napoleon made him the official portrait painter attached to his court, and ordered the picture of the battle of Austerlitz, finished in 1810. This and indeed all of Gérard's pictures are marked by all the defects of David's methods, and lack the virile quality of his master. His portraits, however, have many qualities of grace and good taste, and his success in France was somewhat analogous to that of Lawrence in England. Under the Restoration his vogue continued; in 1819 he was given the title of baron; and, dying in Paris on January 11, 1837, he left as his legacy to the art of his time no less than twenty-eight historical pictures, many of great dimensions, eighty-seven full-length portraits, and over two hundred smaller portraits, representing the principal men and women of his time. The portraits of the Countess Regnault de Saint-Jean-d'Angely and of the Princess Visconti are both excellent specimens of the work of this estimable painter. [Illustration: PRUD'HON. FROM A PEN DRAWING BY HIMSELF.] Of the pictures which testify to the industry and talent of Louis-Léopold Boilly, who was born at La Bassée, near Lille, on July 5, 1761, the Louvre possesses but one specimen; namely, the Arrival of a Diligence before the coach-office in Paris. This is undoubtedly due to the fact that with the preoccupation of the public mind with the events of the time, and the prevailing taste for great historical pictures, Boilly's art, so sincere and so intimate in character, was underestimated. It is certainly not due to any lack of industry on the part of the painter. Even at the age of eleven years he undertook to paint, for a religious fraternity of his native town, two pictures representing the miracles of St. Roch. These still exist, and they are said to be meritorious. His facility in seizing the resemblance of his sitter was evidently native, for when only thirteen years of age, without instruction of any kind, he left his parents, and established himself as a portrait painter first at Douai and afterwards at Arras. In 1786 he went to Paris, where he lived until his death. Here he painted a great number of pictures of small size, representing familiar scenes of the streets and of the homes of Paris, and an incredible number of portraits. [Illustration: THE PRINCESS VISCONTI. FROM A PAINTING BY FRANÇOIS-PASCAL-SIMON (BARON) GÉRARD. The picture gives an interesting study of the costume of the First Empire, and is a work conceived in the style of the time when the recent publication of "Corinne" by Madame de Staël had influenced the popular taste. The original painting is now in the Louvre.]