acknowledged masters.
He was teacher of Bervic, whose portrait of Louis XVI. in his
coronation robes is of a high order, himself teacher of the Italian
Toschi, who, after an eminent career, died as late as 1858; also
teacher of Tardieu, himself teacher of the brilliant Desnoyers,
whose portrait of the EMPEROR NAPOLEON IN HIS CORONATION ROBES is the
fit complement to that of LOUIS XVI.; also teacher of the German, J.
G. von Mueller, himself father and teacher of J. Frederick von Mueller,
engraver of the SISTINE MADONNA, in a plate whose great fame is not
above its merit; also teacher of the Italian Vangelisti, himself
teacher of the unsurpassed Longhi, in whose school were Anderloni and
Jesi. Thus not only by his works, but by his famous scholars, did the
humble gunsmith gain sway in art.

[Illustration: NAPOLEON I.

(Painted by Francois Gerard, and Engraved by Auguste Boucher
Desnoyers.)]

Among portraits by this school deserving especial mention is that of
KING JEROME OF WESTPHALIA, brother of Napoleon, by the two Muellers,
where the genius of the artist is most conspicuous, although the
subject contributes little. As in the case of the Palace of the Sun,
described by Ovid, _Materiam superabat opus_. This work is a beautiful
example of skill in representation of fur and lace, not yielding even
to Drevet.

[Sidenote: Longhi.]

Longhi was a universal master, and his portraits are only parts of his
work. That of WASHINGTON, which is rare, is evidently founded on
Stuart's painting, but after a design of his own, which is now in the
possession of the Swiss Consul at Venice. The artist felicitated
himself on the hair, which is modelled after the French masters.[7]
The portraits of MICHAEL ANGELO, and of DANDOLO, the venerable Doge of
Venice, are admired; so also is the NAPOLEON, AS KING OF ITALY, with
the iron crown and finest lace. But his chief portrait is that of
EUGENE BEAUHARNAIS, VICEROY OF ITALY, full length, remarkable for
plume in the cap, which is finished with surpassing skill.

[Sidenote: Morghen.]

Contemporary with Longhi was another Italian engraver of widely
extended fame, who was not the product of the French school, Raffaelle
Morghen, born at Florence in 1758. His works have enjoyed a popularity
beyond those of other masters, partly from the interest of their
subjects, and partly from their soft and captivating style, although
they do not possess the graceful power of Nanteuil and Edelinck, and
a