Henriquel is a master in the widest acceptation of the word: a master, too, of the stamp of those in the past of whom the French have the greatest right to be proud. The masters of the seventeenth century have scarcely left us plates at once so largely and so delicately treated, as his "Hémicycle du Palais des Beaux-Arts," his "Moïse Exposé sur le Nil," and his "Strafford," after Paul Delaroche; his admirable sketch in etching of the "Pilgrims of Emmaus," after Veronese; and the portrait of M. Bertin, after Ingres; and these are but a few. We have, besides the Van Dyck, "Une Dame et sa Fille," engraved some years before the "Abdication de Gustave Wasa," after Hersent, and the "Marquis de Pastoret," after Paul Delaroche; the "Christ Consolateur," engraved rather later, after Scheffer; and, among less important, though certainly not less meritorious works, the portraits engraved now with the scientific ease of the burin, now with the light and delicate touch of the needle: the "Pasta," the botanist "Desfontaines," "Desenne" the draughtsman, the "Brongniart," the "Tardieu," the "Carle Vernet," the "Sauvageot," the "Scheffer," the "Mansard et Perrault," the "Mirabeau à la Tribune," the "Rathier," and, latest of all, the charming little "Père Petétot." [Illustration: FIG. 97.--HENRIQUEL. The Marquis de Pastoret. After Paul Delaroche.] [Illustration: FIG. 98.--HENRIQUEL. Alexander Brongniart. After a Drawing by the Engraver.] In these--and in how many besides? for the work of the master does not fall short of ninety pieces, besides lithographs and a great deal in pastel and crayon--Henriquel proves himself not only a trained draughtsman and finished executant, but, as it were, still more a painter than any of his immediate predecessors. Bervic--whose pupil he became, after some years in the studio of Pierre Guérin--was able to teach him to overcome the practical difficulties of the art, but the influence of the engraver of the "Laocoon" and the "Déjanire" went no further than technical initiation. Even the example of Desnoyers, however instructive in some respects, was not so obediently followed by Henriquel as to cause any sacrifice of taste and natural sentiment. By the clearness of his views, as much as by the elevation of his talent, the engraver of the "Hemicycle" is connected with the past French school and the masters who are its chief honour; but by the particular form of expression he employs, by a something extremely unexpected in his manner and extremely personal in his acceptance of tradition, he stands to a certain extent apart from his predecessors, and may be called an innovator, though he by no means advertises any such pretension. As we have just remarked, his use of means is so versatile that he paints with the graver or the needle, where just before him others, even the most skilful--men like Laugier and Richomme--could only engrave; and the influence he has exerted--whether by direct