y! In this very
same year there came out of Austria a fifteen-year-old princess of its
Royal House, leaving the home of her forefathers in tears, and amidst
the tears of a people that had grown to love the winsome child; for,
Marie Antoinette was setting forth on her life's adventure as future
Queen of France, a tragic wayfaring for a butterfly!

Elizabeth Vigee's extraordinary rise into notice brought her the
friendship and counsel of Joseph Vernet, who gave her most precious
advice which was a beacon to her career all her years: "My child," said
he, "do not follow any system of schools. Consult only the works of
the great Italian and Flemish masters. But, above all things, make as
many studies as you can from Nature. Nature is the supreme master. If
you study Nature with care it will prevent you from picking up any
mannerisms."

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PLATE III.--MADAME VIGEE LE BRUN AND CHILD

(In the Louvre)

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.

[Illustration: Plate III.]

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Doyen and Greuze also helped her with suggestions; but she was from the
beginning her own teacher. Davesne and Briard only flattered
themselves by claiming her tutoring. The girl showed in no way any
slightest sign of their influence. Ardent and enthusiastic in her
pursuit of art, she haunted the galleries and private collections, but
above all she went to Nature. Naturalness is by consequence a marked
attribute of one who painted in this artificial age--in portraiture she
largely escaped the conventional style, both its limitations and, be it
also confessed, something of that great beauty of style and that superb
decorative splendour that mark the handsome achievement of Nattier and
Drouais and their fellows. Nor must it be forgotten that the realism
claimed by the later years, and the naturalism claimed for this girl's
art, were already to be seen in full career in the master-work of La
Tour