ve been leftin a state of comparative negl 
and obscurity. Canaletti is remarkable for the distinct- 
throughout the whole of 
is Noél Garnier, who lived) about the middle of the 
16th . His manner is 
very 
in general small. He ied many of the prints: of 
Maid ments with sana eioasane but his chobasiies 
are mostly from his own designs. They are executed 
with the graver only, and have merit. Claude 
Mellan introduced a new meth He expressed all 
the varieties of shadow by parallel lines without cross- 
ings, the greatest depth wn ar by only: strength- 
ening the lines, and consequently bringing them closer 
to each other; and the effect /he uced is clear, soft, 
and le. The number of his plates is very con- 
siderable, among which there are many irable por- 
traits. The most singular of all his ions is a 
aes the dy Seetiet, ansaar en 
St Veronica, executed with one spiral line, running in 
concentric circles from the point of the nose to the ex- 
tremity of the work, with the motto, “formatur unicus 
una,” representing, as large as life, the head of Christ, 
crowned with thorns, on a piece of linen. This print 
is not remarkable for any excellence of character or 
design ; we adduce it solely as a speci of his dex- 
ity in the use of the graver, and the whimsical use 
to which he, in weber arm it. Hedied at 
Paris in 1688. But the most iant epoch of French 
ving was the time of Louis XIV. when the mag- 
i ce of the monarch, aided by the taste of his mi- 
nister Golbert, produced such a constellation of artists 
as had never before at one time. The most 
Sous of all were Gerard Edelinck, and 
‘GerardAudran. Thoughtheformer was born at Antwerp, 
he must be considered as belonging to the French school, 
as the splendid works on which his fame rests were all 
executed at Paris, where he settled.; This extraordi- 
nary aftist w t entirely with the graver.; and his 
execution, which is both spirited and finished, dis- 
plates are of 
a most sur- 
_ him in the clearness of his cutting, and the 
after N. Poussin, and other Italian are a last. 
pos rman cn 8 The other of his fa- 
y were all men of talents ; and none of them 
lifer apie gle es co 
f that department 
sidered as the ctions. 
t=] 
There ie of. this ee c 
younger, is the most eminent family. I 
in boldness and freedom, they have hardly 
been equalled in the beauty of’ his’ finishing; and the 
clearness of his stroke, His celebrated \ portraits of 
Bossuet and Samuel Bernard, are considered the finest 
mens of that style of engra’ 
there is different from all the 
i 8 well as ar= 
Sie he pega the feta of a lgueee eahicapentlaa 
. “a 7 
correct : their i oes ee seat re 3 
accessories, are executed with great taste. He gene- 
rally advanced. his plates with the point, to a state 
which left the graver only to give them more harmon 
of effec eed 
and ect ; and if his execution is inferior to 
he has engraved, The number of his plates 
nearly 3000. : isattntho 
There were many other artists of eminence at this 
time, such as Chereau, Cochin, Simonneau, Beauvais, 
Dupuis, &c. but of these our limits do not permit us 
to enter on any i details. 
brilli of colour, to a greater perfection, 
i attiat of hie voolyttay:s but otwi 
the beauty of his execution, his flesh is like marble, 
and his drawing is lame and incorrect, These defects 
lencies, which we have ascribed to Balechon, still far- 
ther. No engraver, since his time, bac ormeaane 
smoothness of his effect; and his style was admirably 
adapted to the subjects he chose, which were in gene~ 
ral the conversations, and other familiar, subjects of the 
Dutch and Flemish painters. He imitated sattin with 
astonishing success. His print,of the death of 
iopiner Detather, affords a wonderful example of this, 
She is habited in white sattin; and though we must 
condemn the taste which dictated such a costume in 
such a subject, every one must admire the talents 
which its execution displays, The flesh in this, as well 
Nanteuil, who.applied himself exclusively to the en: Nanteut 
. The style of Les Le-clere. 
