Three years later (1860) Jules in his turn made a portrait of Edmond, not in the same indolent attitude, but also in profile, and with a pipe in his mouth. This print is one of the best in the Burty album. We know of no further mutual representations by the brothers; with the exception of Jules de Goncourt's etching of Edmond seated across a chair, smoking a cigar, the design of which we reproduce. But there are several fine portraits by other hands of the younger brother, the one who was the first to go, perforce abandoning his sublime and suicidal task. [Illustration: EDMOND DE GONCOURT. From a photograph by Nadar, 1892.] It was in 1870 that Jules de Goncourt died at the age of thirty-nine. "It was impossible," wrote Paul de Saint-Victor in _La Liberte_, "to know and not to love this young man, with his child's face, his pleasant, ready laugh, his eyes sparkling with intellect and purpose.... That blond young head was bent over his work for months at a time...." It was the profile of this "blond young head" that Claudius Popelin traced for the enamel that was set into the binding of the _Necrologe_, in which Edmond preserved all the articles, letters, and tokens of sympathy called forth by the irreparable loss of his beloved companion and fellow-labourer. This medallion, etched by Abot, was prefixed afterward to the edition of Jules de Goncourt's _Letters_, published by Charpentier. The profile, which is reproduced as the frontispiece to this edition of _Renee Mauperin_, is infinitely gentle; the emaciated contours, the extraordinary delicacy of the features, betray the intellectual dreamer, his mind intent on literary questions, and we understand M. Emile Zola's dictum: "Art killed him." [Illustration: EDMOND DE GONCOURT. From an etching by Bracquemond, 1882. (The original drawing is in the Luxembourg Museum.)] Prince Gabrielli and Princesse Mathilde also made certain furtive sketches of Jules which have since been photographed. Meaulle engraved a portrait of him on wood, and Varin made an etching of him. Henceforth, save in Bracquemond's double medallion, and in one or two papers in which studies of him by different hands appeared, Edmond de Goncourt was no longer represented in company with his gifted brother, but always alone. [Illustration: EDMOND DE GONCOURT. From a photograph by Nadar, 1893.] On March 15, 1885, the _Journal Illustre_ published two portraits of the Goncourts drawn by Franc Lamy, and on November 20, 1886, the _Cri du Peuple_ gave two others, in connection with the appearance of _Renee Mauperin_ at the Odeon. We may also note that the medallion of the two brothers drawn and engraved by Bracquemond for the title-page of the first edition of _L'Art du XVIIIeme Siecle_ appeared in 1875. A delicate commemorative fancy caused the artist to surround the profile of Jules with a wreath of laurel. [Illustration: PORTRAITS OF THE FRERES DE GONCOURT. Part of a design by Willette, in _Le Courrier Francais_, 1895.]