Vigee Le Brun was to paint her royal mistress close on thirty times during the next ten years, until the prison doors shut upon the Royal house of France; and there grew up between the two women a subtle and charming friendship that was to make the talented woman a dogged and convinced royalist to her dying day--indeed, the temperament of women needs small incense towards the worshipping of idols. Vigee Le Brun was rarely more happy in her art than in several of the many portraits she painted of herself about this time--more particularly the two famous pictures of herself with her little daughter. "The Marie Antoinette with the Rose" is redolent still of the eighteenth-century France--the siecle Louis Quinze. In Vigee Le Brun's portrait of herself and her child we see in full career the Greek ideals that were come upon France--a France weary of light trifling with life, and of mere butterfly flitting from flower to flower; here is that crying back to the antique spirit that was leavening the middle-class of France which was about to claim dominion over the land and to step to the foot of the throne and usurp the sceptre and diadem of her ancient line of kings as the Third Estate; and to come to power with violent upheaval, wading to the throne through blood and terror. Here we see Vigee Le Brun, royalist, glorifying motherhood, her arms and shoulders bare in chaste nudity, her body scantily attired in the simple purity of Greek robes, her child in her embrace. Vigee Le Brun painted another portrait of herself and her little girl-child; and she painted both, fortunately for her fame, when her skill was at its increase. They stand out, with all their limitations, pure and exquisite as the Madonna and Child of Italy's finest achievement; for they were painted by a woman of genius with the passionate love of a child that is the wondrous heritage of woman; none the less religious in that it apes no show of religion. We see the age of free thought stating the innate religion of free thought; as Renaissance Italy painted paganism in religious disguise with the innate irreligion of its day.