The later master, of Flemish birth, known as Jean Clouet, a painter of great delicacy, simplicity and charm, who died between 1540 and 1541, having spent twenty-five years as court painter of France; his brother, Clouet of Navarre; and his son, François Clouet, who was his assistant during the ten later years of his life, are all more or less doubtfully represented. Nos. 126 and 127, portraits of Francis I., are attributed to Jean Clouet, or Jehannet as this elusive personality is sometimes known; Nos. 128 and 129, two admirable portraits of Charles IX. and his queen Elizabeth of Austria, to François Clouet; No. 134, a portrait of Louis de St. Gellais, is ascribed to Clouet of Navarre. Other portraits executed at this period will be found on the walls, and are of profound interest to the student of French history. [Illustration: SHEPHERDS OF ARCADY. POUSSIN.] The two years' sojourn in France of Solario, at the invitation of the Cardinal d'Amboise, of Da Vinci at the solicitation of Louis XII., and the foundation of the school of Fontainebleau by Rosso and Primaticcio, mark the eclipse of whatever schools of French painting were then existing, for the grand manner and dramatic power of the Italians, fostered by royal patronage, carried all before them. Of Rosso, known to the French as Maître Roux, the Louvre has a Pietà and a classical subject--The Challenge of the Pierides (Nos. 1485 and 1486). Primaticcio is represented by some admirable drawings. But the sterility of the Fontainebleau school may be inferred from the fact that when Marie de' Medici desired to have the Luxembourg decorated with the events in the life of Henry IV., her late husband, she was compelled to apply to a foreigner--Rubens.