By Rigaud, who was regarded as the first painter of Europe for truth of resemblance united with magnificence of presentment, are: a masterly portrait of Bossuet, 783; and a superb rendering of the _roi-soleil_, 781, both on the L. wall. Further along, on the same wall, are 784, portrait of his mother in two aspects painted for the sculptor Coysevox; and his last work, 780, Presentation at the Temple. Rigaud was especially successful with the rich bourgeoisie of Paris, and later became court painter, supreme in expressing the grandiose and inflated pomposities of the age. He, says Reynolds, in the tumour of his presumptuous loftiness, was the perfect example of Du Pile's rules, that bid painters so to draw their portraits that they seem to speak and say to us: "Stop, look at me! I am that invincible king: majesty surrounds me. Look! I am that valiant soldier: I struck terror everywhere. I am that great minister, etc." By Largilliere, who lacks the psychological insight of his contemporary, is, L. wall, 483, Portrait of the Comte de la Chartre. He was a master of the accessories and upholstery of portraiture and painted some 1500 sitters during his long career, part of which was passed in England as court painter to Charles II. and James II. A third successful portraitist was Jean Marc Nattier (1685-1766), whose ingenious and compliant art aimed at endowing a commonplace sitter with distinction and grace, and who generally was able to strike a happy medium between flattery and truth. Better represented at Versailles, he is but poorly seen here in 657, R. wall, A Magdalen, and 661A, L. wall, Unknown Portrait. 441 is an interesting portrait of Fagon, Louis XIV.'s favourite physician, by Jean Jouvenet (1644-1717), known as Le Grand, a talented and docile pupil of Lebrun, whose four large compositions executed for the church of St. Martin des Champs, 432-435, are hung in this room. 434, R. wall, Resurrection of Lazarus, is perhaps the best. His works are a connecting link between the pompous spread-eagle manner of the _Siecle de Louis XIV._ and the gay abandonment and heartless frivolity of the reign of Louis XV. We pass from this room to the Collection of Portraits in ROOM XV. of which some few possess artistic importance and many historical interest. We bestow what attention we may desire and pass direct to ROOM XVI.