ved portraits, although not particularly pleasing
or interesting. The vigorous countenance is aided by the gleam and
sheen of the various substances entering into the costume. Less
powerful, but having a charm of its own, is that of BRISACIER, known
as the GRAY-HAIRED MAN, executed in 1664. The remarkable
representation of hair in this print has been a model for artists,
especially for Longhi, who recounts that he copied it in his head of
Washington. Somewhat similar is the head of CHARRIER, the criminal
judge at Lyons. Though inferior in hair, it surpasses the other in
expression.

[Sidenote: Nanteuil.]

Nanteuil was an artist of different character, being to Masson as
Vandyck to Visscher, with less of vigor than beauty. His original
genius was refined by classical studies, and quickened by diligence.
Though dying at the age of forty-eight, he had executed as many as two
hundred and eighty plates, nearly all portraits. The favor he enjoyed
during life was not diminished with time. His works illustrate the
reign of Louis XIV., and are still admired. Among these are portraits
of the KING, ANNIE OF AUSTRIA, JOHN BAPTISTE VAN STEENBERGHEN, the
Advocate-General of Holland, a heavy Dutchman, FRANCOIS DE LA MOTTE LE
VAYER, a fine and delicate work, TURENNE, COLBERT, LAMOIGNON, the poet
LORET, MARIDAT DE SERRIERE, LOUISE-MARIE DE GONZAGUE, LOUIS HESSELIN,
CHRISTINE OF SWEDEN--all masterpieces; but above these is the POMPONE
DE BELLIEVRE, foremost among his masterpieces, and a chief masterpiece
of art, being, in the judgment of more than one connoisseur, the most
beautiful engraved portrait that exists. That excellent authority, Dr.
Thies, who knew engraving more thoroughly and sympathetically than any
person I remember in our country, said in a letter to myself, as long
ago as March, 1858:

"When I call Nanteuil's Pompone the handsomest engraved
portrait, I express a conviction to which I came when I
studied all the remarkable engraved portraits at the royal
cabinet of engravings at Dresden, and at the large and
exquisite collection there of the late King of Saxony, and
in which I was confirmed or perhaps, to which I was led, by
the director of the two establishments, the late Professor
Frenzel."

And after describing this head, the learned connoisseur proceeds:--

"There is an air of refinement, _vornehmheit_, round the
mouth and nose as in no other engraving. Color and