his adopted art, and in 1806 gained the large gold medal for his engraving of the celebrated antique cameo of 'Ptolemy II. Philadelphus and Arsinoe," belonging to the Empress Josephine, which is now in the Hermitage Palace at St. Petersburg. His next important work was the full-length portrait of the Emperor Napoleon in his coronation robes, after Gérard. This engraving was exhibited at the Salon of 1810, and for it Desnoyers received no less a sum than £2000, together with the return of the plate after 600 impressions had been made. Also in 1810, he engraved a small portrait of the Empress Marie Louise, which has a curious history. The Austrian princess had not set foot on French soil when her portrait was being sold in Paris by thousands. The likenesses differed, but all were frightfully ugly. Napoleon in a rage sent in the middle of the night for Baron Denon, and commanded him to go instantly to Desnoyers and ask him to engrave the portrait of the future empress. "Round head, fair hair, high forehead," were the brief instructions sent to the artist, who worked day and night until, at the end of four days, a proof was ready for approval. The emperor thought it superb, and had already ordered its immediate publication, when he received a faithful miniature of the archduchess, which rendered an alteration of the plate imperative, for the face of the new empress, instead of being round, was a very elongated oval. Twenty impressions were made when Desnoyers again set to work, and the next day the authentic portrait of Marie Louise was in circulation throughout Paris. The empire fell, but the talented engraver continued to enjoy the favour of the court, and held a position among engravers similar to that of Baron Gérard among painters, and of Baron Bosio among sculptors. Elected a member of the Institute in 1816, he was appointed engraver to the king in 1825, and created a Baron in 1828, receiving soon after the cross of an officer of the Legion of Honour. He engraved many of the masterpieces of the Louvre, but after 1848 he did but little, for age had enfeebled his hand and weakened his sight. Desnoyers died in Paris on 16 February 1857. He appears to the best advantage in his transcripts of the works of ancient masters, especially Raphael, whose characteristics he renders with the