The two great portrait painters who flourished under the “Grand Monarque,” Rigaud and Largillière, were preceded by an artist to whom, perhaps owing to the relative scarceness of his works, history has done but scant justice. Whilst the Louvre contains thirteen portraits by Largillière and seventeen by Rigaud, only two pictures stand to the name of Claude Lefebvre (1632-1675); but his _Portraits of a Master and his Pupil_ (No. 529) and the _Portrait of a Man_ (No. 530), are distinguished by a penetrating insight into character and an incisive vigour of style that form a striking contrast to the shallow bombast introduced even into portraiture by the fashionable painters to the Court. Lefebvre has been compared with Van Dyck. The _Portrait of a Man_ (No. 530) has more in common with the brilliant audacity of Frans Hals’s brushwork. Lefebvre worked for some years in London, where he was a favourite at the Court of Charles II. Rigaud’s manner of portraiture has none of these serious, manly qualities, but his skill in arranging the sumptuous accessories which play so important a part in his portraits,—as important, at least, as the actual features of the sitters,—secured him the patronage of the pomp-loving, haughty nobility. Hyacinthe Rigaud y Ros (1659-1743) was born at Perpignan and educated at Montpellier and Lyons. It was the advice of Le Brun that saved him from the customary pilgrimage to Rome and its inevitable consequences. It was Le Brun who recognised Rigaud’s bent for portraiture, and launched him on the brilliant career which gained for him the title of “the French Van Dyck.” Rigaud was enormously productive. Between 1681 and 1698 he is said to have painted six hundred and twenty-three portraits. And he had then another forty-five years before him!