David had now still better opportunities than at an earlier period of proving his great capacity as a portrait painter. His portraits of the Emperor, of the Pope, of Cardinal Caprara, and of Murat symbolise the brutal greatness of an age which worshipped strength. Even at the close of his life, when the Restoration had exiled him from France, there resulted in Brussels graceful and tenderly observed portraits, such as that of the daughter of Joseph Bonaparte, which will perpetuate his name. One, in the Praet Collection at Brussels--three women of indescribable ugliness--marks the pinnacle of his pictorial strength and keen naturalism. They are the "Three Fates" of 1810, and he has painted them with the true artist's delight, and with a massiveness like that of Frans Hals. When these works were brought together at the Paris Exhibition of 1889, universal astonishment prevailed when it was discovered what a great painter this Louis David was. He appeared in these pictures as an artist who stood completely within his age, who shared its passions and was permeated by its greatness; he even appeared as a _charmeur_ who handled the phenomena of colour and light as few others have done. It is true, David showed himself in this favourable light at the exhibition only because the entirely archæological side of his talent was not represented. For at the bottom of his heart he too was an archæologist. Many of his works, such as "The Death of Socrates," "Brutus," "The Oath in the Tennis Court," and "The Rape of the Sabines," are specimens of a barren theory.