If some portion of Delacroix's wild genius appears to have descended upon Rochegrosse, yet was _Henri Regnault_, as a colourist, the greatest of Delacroix's heirs--even allowing for the exaggerated renown which came to him in France, from the fact that he was the last to fall in the war of 1870. His portrait of "General Prim" of 1869, which, rejected by the sitter, came eventually to the Louvre, is somewhat reminiscent of Velasquez and Delacroix, but is nevertheless, with those of Géricault, amongst the finest equestrian portraits of the century. In his "Salome" he has depicted a black-haired girl with twitching feet, resting upon a stool after her dance, and contemplating with the cruelty of a tigress the platter which she holds ready for the head of John the Baptist, while her glowing red mouth with its dazzling teeth smiles like that of an innocent child. In her he has embodied with infernal subtlety the demon of voluptuous wantonness, and has composed a symphony in yellow of seductive and dazzling charm. She is attired in transparent gold-inwoven robes, which have a caressing congruity with the resplendent texture of the background. [Illustration: _L'Art._ REGNAULT. THE MOORISH HEADSMAN.] His "Moorish Headsman" is a symphony in red. In his pale rose-red garb the tall Moor stands in majestic dignity, wipes a few drops of blood from the blade of his sword, and glances with careless indifference--a type of the dreamy cruelty of Oriental fatalism--without anger and without pity, without hatred and without satisfaction, upon the severed head with its distorted eyes, which, rolling down a couple of steps, has stained the white marble with purple patches of blood. "I will cause the genuine Moors to rise again, at once rich and great, terrible and voluptuous,"--so the voice of Delacroix speaks out of this picture by Regnault. His paintings, like those of his master, have the effect of splendid Oriental costumes; they are shot with every hue, they lighten and glisten, they are inwoven with magnificent arabesques of gold and silver, with sparkling embroideries and precious stones. The "Orlando Furioso" of art lives once more in these fascinating harmonies, in the power, splendour, and lustre of the colouring. Just as Baudry at the close of the Classical period produced in his paintings for the Opera House the noblest work after the idealist formulæ, so Regnault in his "Salome" and his "Prim" has completed the last defiant works of the formulæ of Romanticism.