“It is a head of Christ, designed and shaded with his crown of thorns, and the blood that trickles on all sides, by one single stroke, which, beginning at the tip of the nose, and continuing always in a curve, forms very exactly all that is represented in the plate, merely by the different thickness of this stroke, which, according as it is more or less broad, makes the eyes, nose, mouth, cheeks, hair, blood, and thorns; the whole so well represented, and with such expression of pain and affliction, that nothing is more sad or more touching.”[155] This print is known as _The Sudarium of Saint Veronica_. Longhi records that it was thought at the time “inimitable,” and was “praised to the skies,”--adding, “But people think differently now.”[156] At best it is a curiosity among portraits. A traveller reported some time ago that it was the sole print on the walls of the room occupied by the Director of the Imperial Cabinet of Engravings at St. Petersburg. Morin was a contemporary of Mellan, and less famous at the time. His style of engraving was peculiar, being a mixture of strokes and dots, but so harmonized as to produce a pleasing effect. One of the best engraved portraits in the history of the art is his Cardinal Bentivoglio; but here he translated Van Dyck, whose picture is among his best. A fine impression of this print is a choice possession. Among French masters Antoine Masson is conspicuous for brilliant hardihood of style, which, though failing in taste, is powerful in effect. Metal, armor, velvet, feather, seem as if painted. He is also most successful in the treatment of hair. His immense skill made him welcome difficulties, as if to show his ability in overcoming them. His print of Henri de Lorraine, Comte d’Harcourt, known as _Cadet à la Perle_, from the pearl in the ear, with the date 1667, is often placed at the head of engraved 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_, engraved 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.[157] Somewhat similar is the head of Charrier, the Criminal Judge at Lyons. Though inferior in hair, it surpasses the other in expression.