mong these portrait-painters were Philip de
Champaigne (1602-1674), the best of his time; Pierre Mignard
(1610?-1695), a pupil of Vouet, who studied in Rome and afterward
returned to France to become the successful rival of Lebrun;
Largilliere (1656-1746) and Rigaud (1659-1743).

EIGHTEENTH-CENTURY PAINTING: The painting of Louis XIV.'s time was
continued into the eighteenth century for some fifteen years or more
with little change. With the advent of Louis XV. art took upon itself
another character, and one that reflected perfectly the moral, social,
and political France of the eighteenth century. The first Louis
clamored for glory, the second Louis revelled in gayety, frivolity,
and sensuality. This was the difference between both monarchs and both
arts. The gay and the coquettish in painting had already been
introduced by the Regent, himself a dilettante in art, and when Louis
XV. came to the throne it passed from the gay to the insipid, the
flippant, even the erotic. Shepherds and shepherdesses dressed in
court silks and satins with cottony sheep beside them posed in
stage-set Arcadias, pretty gods and goddesses reclined indolently upon
gossamer clouds, and court gallants lounged under artificial trees by
artificial ponds making love to pretty soubrettes from the theatre.

Yet, in spite of the lack of moral and intellectual elevation, in
spite of frivolity and make-believe, this art was infinitely better
than the pompous imitation of foreign example set up by Louis XIV. It
was more spontaneous, more original, more French. The influence of
Italy began to fail, and the painters began to mirror French life. It
was largely court life, lively, vivacious, licentious, but in that
very respect characteristic of the time. Moreover, there was another
quality about it that showed French taste at its best--the decorative
quality. It can hardly be supposed that the fairy creations of the age
were intended to represent actual nature. They were designed to
ornament hall and boudoir, and in pure decorative delicacy of design,
lightness of touch, color charm, they have never been excelled. The
serious spirit was lacking, but the gayety of line and color was well
given.

[Illustration: FIG. 59.--BOUCHER. PASTORAL. LOUVRE.]

Watteau (1684-1721) was the one chiefly responsible for the coquette
and soubrette of French art, and Watteau was, practically speaking,
the first French painter. His subjects were trifling bits of
fashionabl