Among the numerous pupils and followers of David who rose to fame, honours, and wide popularity before Ingres became the acknowledged head of the official school, the most distinguished were Gérard, Girodet, and Gros. Baron F. P. S. Gérard (1770-1837), whilst following on the whole the principles laid down by his master, knew how to invest his work with more individual character, which stood him in particular good stead in his portraiture. That this was recognised by his contemporaries is proved by the fact that he became the portrait painter _par excellence_ of the First Empire and the Bourbon restoration, although his inclination drew him towards allegory and mythology. There is undeniable distinction and fine characterisation in such portraits as _The Painter Isabey and his Daughter_ (No. 332). The nature of the subject debarred him from showing the strongest side of his talent in the chillingly unemotional, but undeniably graceful, _Psyche receiving Cupid’s First Kiss_ (No. 328), and in the _Daphnis and Chloë_ (No. 329), which was bought in 1825 for £1000. They have their counterpart in the cold and antique French sculpture of the period. A. L. Girodet de Roucy-Trioson (1767-1824) was of all David’s artistic progeny the one painter who devoted himself to the purely pictorial problem of concentrated light and shade, without, however, being able to free himself from the domination of linear design. The compromise of the two principles led to such unfortunate results as _The Sleep of Endymion_ (No. 361) and _The Burial of Atala_ (No. 362). In _The Deluge_ (No. 360), which was painted later, he shows pronounced leanings towards a crude naturalism which exceeds in horror the most cruel inventions of Ribera’s genius. BARON GROS