Another unquestionably authentic work is the charming _Portrait of Elizabeth of Austria, Wife of Charles IX._ (No. 130), of which a preparatory study in chalk, dated 1571, is to be found in the Paris Print Cabinet. The face is drawn and modelled with rare delicacy, and every detail of the richly jewelled gold brocade costume is rendered with faultless and miniature-like precision. Yet another precious little picture from the same hand is the small three-quarter-length _Portrait of Charles IX., King of France_ (No. 128), which is a reduced replica of the signed life-size version in the Vienna Museum. Both pictures were originally in Vienna, whence they were removed by Napoleon in 1809, but only the larger picture was taken back to the Austrian capital in 1815. The _Portrait of Claude de Beaune_ (No. 133A) is possibly another, though not very important, work from the master’s own brush; but neither the _Portrait of François de Lorraine, Duc de Guise_ (No. 131), nor the _Portrait of Henri II., King of France_ (No. 129), are of sufficient merit to justify their attribution to François Clouet; whilst the portraits of _Charles IX._ (No. 132) and _Elizabeth of Austria_ (No. 133) are frankly admitted to be copies after originals by the master. CORNEILLE DE LYON François Clouet’s chief rival in royal favour was another Netherlander domiciled in France, who, from the city in which he spent the years of his greatest activity, has become known as Corneille de Lyon. He was apparently the head of a busy workshop at Lyons, from which were turned out large numbers of thinly painted, daintily touched-in three-quarter profile heads, executed almost transparently on a light ground. Although these portraits are now generally described under the generic name of Corneille de Lyon, only the best among them can be accepted as the master’s own handiwork. Room XI. at the Louvre contains several insignificant and badly repainted portraits of this type. They are of no importance, as they are only copies or studio productions. Corneille became naturalised in 1547, in which year he was appointed Painter to the King. He died about 1575. THE SCHOOL OF FONTAINEBLEAU