Among portraits of this school deserving especial mention is that of King Jerome of Westphalia, brother of Napoleon, by the two Müllers above named, where the genius of the artists is most conspicuous, although the subject contributes little. As in the case of the Palace of the Sun, described by Ovid, “_materiam superabat opus_.”[165] This work is a beautiful example of skill in representation of fur and lace, not yielding even to Drevet. Longhi was a universal master, and his portraits are only part 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 particularizes the hair, as being modelled after the French master Masson.[166] The portraits of Michel Angelo and 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 Eugène Beauharnais, Viceroy of Italy, full length, remarkable for the plume in the cap, which is finished with surpassing skill. * * * * * Contemporary with Longhi was another Italian engraver of widely extended fame, who was not the product of the French school,--Raffaello Morghen, born at Portici in 1761. 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 are without variety. He was scholar and son-in-law of Volpato, of Rome, himself scholar of Wagner, of Venice, whose homely round faces were not high models in Art. The _Aurora_ of Guido and the _Last Supper_ of Leonardo da Vinci stand high in engraving, especially the latter, which occupied Morghen three years. Of his two hundred and fifty-four works no less than eighty-five are portraits, among which are the Italian poets,--Dante, Petrarc, Ariosto, Tasso, also Boccaccio,--and a head called Raphael, but supposed to be that of Bindo Altoviti, the great painter’s friend,[167] and especially the Duke of Moncada on horseback, after Van Dyck, which has received warm praise. But none of his portraits is calculated to give greater pleasure than that of Leonardo da Vinci, which may vie in beauty even with the famous Pomponne. Here is the beauty of years and of serene intelligence. Looking at that tranquil countenance, it is easy to imagine the large and various capacities which made him not only painter, but sculptor, architect, musician, poet, discoverer, philosopher, even predecessor of Galileo and Bacon. Such a character deserves the immortality of Art. Happily, an old Venetian engraving, reproduced in our day,[168] enables us to see this same countenance at an earlier period of life with sparkle in the eye.