Fougère-Dubourg, Mme. Kutner; Mme. Daniel Dollfus, portrayed standing; the Marquise de Mosges; Mme. Hippolyte Adam; Mme. de Rute, Mme. Jules Siegfried, Mme. Duplay, Mme. Fabre, Mme. Peltreau, the Baroness Brincard; Mlle. Hoschedé; Mlle. Chanzy, Mlle. Fernande Dubourg; Mme. Herzog, Mme. Silhal, Mme. Brossard, Mme. Loreau, Mme. de Crépy, Mme. Raphael, Mme. Jules Walfrey, Mme. Charras, Mme. Marochetti, Mme. Diémer, Mme. Carmian, Mme. Monthier, in black and with black drapery over her shoulders, Mme. de Beausacq (the Comtesse Diane), a beautiful portrait of which we give a reproduction; this portrait was executed by Henner at the request of Sully-Prudhomme and bequeathed to the Louvre; but it has not yet been transferred to that great national museum; it is still in the Luxembourg, and is regarded as one of its choicest treasures. Furthermore, mention should be made of Mlle. Valentine Edmond About, Mlle. Brincard, Mme. Jules Claretie, the Comtesse Kessler, one of the master's most successful portraits and one that he obtained from a single sitting; Mme. Shopey, a fascinating Creole from the island of Bourbon, whose profile has an ideal beauty that inspired Henner to produce a veritable masterpiece; he was no less successful in portraying Mme. Noetzlin, another exquisite exotic beauty, whose languid indolence and captivating charm he has rendered with infinite vigour and grace. But one of his most beautiful portraits is that of Mme. Karekehia, the mother of Nubar Pacha, who, although quite advanced in age, is represented in a charming pose that emphasizes her natural attractions. Nowhere else perhaps did Henner rise to such a height, or obtain such a degree of truth in his interpretation of a human physiognomy. And how many other portraits there are, equally beautiful, equally powerful, if only we might cite them all! Painter of women though he was, Henner did not refuse as a settled policy to paint men, but it was difficult to make up his mind to do so. Not that he showed less ability in his portraiture of men. It was simply that it cost him something to renounce, even temporarily, the cult of feminine beauty, to which he had dedicated himself. He loved to make rays of light play harmoniously over blond flesh, over silken fabrics, over draperies; and the uniformity of masculine garments does not lend itself to this sort of magic. None the less, he produced a few portraits of men which are absolutely remarkable; portraits of personal friends, for the most part, which he painted with a solicitude that makes itself felt: such are the portraits of Jules Claretie, of Dr. Leroy, of the painter Parrot, of the sculptor Paul Dubois, the poet Sully-Prudhomme, of the publisher Georges Charpentier, of General Chanzy. Henner also painted a little portrait of Pasteur, which was never shown at the Salon, but is nevertheless one of the most keenly alive and most perfect of his works.