We descend—­to a fourth room, or rather to a richly furnished cabinet—­ below stairs.  Every thing here is “en petit.”  Whether whole lengths, or half lengths, they are representations in miniature.  What is this singular portrait, which strikes one to the left, on entering?  Can it be so?  Yes ...  DIANE DE POICTIERS again!  She yet lives every where in France.  ’Tis a strange performance; but I have no hesitation in calling it AN ORIGINAL ... although in parts it has been palpably retouched.  But the features—­and especially the eyes—­(those “glasses of the soul,” as old Boiastuau calls them[186]) seem to retain their former lustre and expression.  This highly curious portrait is a half length, measuring only ten inches by about eight.  It represents the original without any drapery, except a crimson mantle thrown over her back.  She is leaning upon her left arm, which is supported by a bank.  A sort of tiara is upon her head.  Her hair is braided.  Above her, within a frame, is the following inscription, in capital roman letters:  “Comme le Cerf brait apres le decours des Eaues; ainsi brait mon Ame, apres Toy, o Dieu.”  Ps.  XLII.  Upon the whole, this is perhaps the most legitimate representation of the original which France possesses.[187]

In the same boudoir is a small and beautifully coloured head of Francis I. Here is a portrait of the famous Duchess of Portsmouth, on horseback, in red; and another of the Duchess of Nevers, in a blue riding jacket.  But much more estimable, and highly to be prized—­as works of art—–­ are the TWO MURILLOS:  one, apparently of St. Francis, which was always religiously preserved in the bed-chamber of Madame de Maintenon, having been given to her by Louis XIV.  The other, although fine, has less general interest.  I could hardly sufficiently admire the whole length of Jacques Callot, painted by himself.  It is delicious, of its kind.  There is a very curious and probably coeval picture representing whole length portraits of the Cardinals of Guise and Lorraine, and the Dukes of Guise and Mayenne,[188] The figures are very small, but appear to be faithful representations.  An old portrait of Louis Roi de Sicile, Pere de Rene,—­a small head, supposed to be of the fifteenth century—­is sufficiently singular, but I take this to be a copy.  Yet the likeness may be correct.  A whole length of Washington, with a black servant holding his horse, did not escape my attention.  Nor, as an antiquary, could I refuse bestowing several minutes attention upon the curious old portrait (supposed to be by Jean de Bruges) of Charlotte, Wife of Louis XI. It is much in the style of the old illuminations.  In one of the lower rooms, I forget which, is a portrait of Bonaparte; the upper part of the same representation of him which appeared in London from the pencil of David.  He is placed by the side of a portrait (of the same dimensions) of his conqueror, Wellington: