It is impossible to speak of Henner, and yet pass over in silence his success as a portrait painter, in which capacity he was equal, if not superior, to the painter of nymphs and Magdalens. In his portrait work Henner was first of all the portrayer of women, as indeed, throughout his life, he had been in all his paintings. There was no dearth of models. They came to him in throngs, and his studio in the Place Pigalle witnessed a procession of the most magnificent beauties of France and the world at large. Henner, however, was never a flattering portrait painter, nor even a complaisant one. He had too much respect for himself and for his art to trade upon his professional integrity; he was too fervent a worshipper of nature to distort it, or even to paraphrase it. His portraits are literally portraits, in the highest sense of the word; I mean that they are faithful copies of the person represented, and that no trace of adulation could be found in a single one of them. But he excelled in extracting from the physiognomy of his model that one intimate note which each one of us conceals within himself, and that is now and then betrayed upon our features in a fugitive yet unmistakable gleam. It is this hidden note, this inner flame, this latent nobility, this moral beauty which Henner had the peculiar gift of divining and interpreting. Is it at all surprising, with such advantages, that Henner's portraits are of such superior workmanship that they are almost always masterpieces? Unfortunately, it is impossible here to enter upon an extensive study of Henner the portrait painter; we must content ourselves with citing the most celebrated of his portraits of women: Mme. Paul Dubois, Mme. Bonard, Mme. Sédille, a charming countenance, seen full-face, the black shawl throwing her rich beauty into relief; Mme. Jules Ferry, Mme. Scheurer-Kestner, Mme. Charles Hayem, Mme. Koechlin-Schwartz, Mlle. Formigé, Mme. Pasteur and Mlle. Pasteur, the magnificent portrait of Miss Eldin, whose regal blond beauty is framed in a bewitching Gainsborough hat; Mlle. Marcille, Mlle. Mosenthal, Mlle. Sédille, Mlle. Gentien, an admirable symphony of black tones, in which all the accessories, the gloves and fan, are of sombre colour; this portrait is one of Henner's best; Mme. Eumont, whose black garments form a curious contrast to her powdered hair; then, three masterpieces: the portraits of the three daughters of Mme. Porgès, and also that of Mme. Porgès herself with her youngest child; the Comtesse d'Ideville, whose red robe forms a warm and luminous contrast to the sombre background of the picture; Her Imperial Highness, the Countess of Eu, daughter of Dom Pedro, Emperor of Brazil; the Princesse de Broglie, née Say, daughter of the millionaire refiner; Mme. Fournier-Sarlevèze, a fascinating woman, who died prematurely; Mme. Raffalowitz, Mme. Oulman, Mme. Henry Fouquier, and her charming daughter, Mlle. Fouquier, Mme. Rodrigues, Mlle. Leroux, Mlle. de Morell, Mme.