A U D 
ecclefiaftics, and of fuch as made profeffion of obferving 
certain counfels, called evangelic ; fuch as the clergy and 
monks : and they were called theperfeEl by Theodoret. The 
auditors were the laity, and fo denominated, becaufe they 
heard in the church whild others taught and inltrufted. 
AUDITO'RIUM, f. in the ancient churches, was that 
part of the church where the audientes flood to hear and 
be inftrucled. The auditorium was that part now called 
navis ecclcjuz, the nave. In the primitive times, the church 
was fo drift in keeping the people together in that place, 
that the perfon who went from thence in fermon-time was 
ordered by the council of Carthage to be excommunicated. 
AU'DITORY, adj. (auditorius, Lat.] That which has 
the power of hearing.—Is not hearing performed by the 
vibrations of fome medium, excited in the auditory nerves 
by the tremors of the air, and propagated through the 
capillamenfs of thofe nerves ? Newton. 
Auditory, f. [ auditorium , Lat.'] An audience; a col¬ 
lection of perfons alfembled to hear.—Met in the church, 
1 look upon you as an auditory fit to be waited on, as you 
are, by both univerfities. South. 
Auditory Nerves. See Anatomy, vol.i. p. 602 
and 634. 
Auditory Passage, (meatus auditorius,) in anatomy, 
the entrance of the ear. 
AU'DITRESS,yi The woman that hears; a fhe-hearer: 
Yet went die not, as not with fuch difcourfe 
Delighted, or not capable her ear 
Of what was high : fuch pleafure die referv’d, 
Adam relating, fhe foie auditrefs. Milton. 
AUD'LEY, [contrafted of Ethelreda, of cetkel, noble, 
and dread, fear. Sax.] An abbefs of the royal Englifh- 
Saxon blood, wife to Elgfrid, king of Northumberland, 
canonized after his death. 
Audley-End, a fumptuous palace in the county of 
Effex, belonging to the dukes of Suffolk ; built by Tho¬ 
mas Audley, lord high chancellor of England. 
AUDR AN' (Claude), a French engraver, the fird of the 
celebrated artids of that name, was the fon of Lewis Au- 
dran, an officer belonging to the wolf-hunters, in the reign 
of Henry IV. of France, and was born at Paris, in 1592. 
He never made any great progrefs in the art; fo that his 
prints are held but in little elliination. Yet, though he 
acquired no great reputation by his own works, it was no 
fmall honour to him to be the father of three great artids, 
Germain, Claude, and Girard ; the lad of whom has im¬ 
mortalized the name of the family for ever. Claude Au- 
dran retired from Paris to Lyons, where he refided, and 
died in 1677. 
Audran (Carl), a very eminent engraver, and brother 
to the preceding, was born at Paris in 1594. In his in¬ 
fancy he dilcovered much tade, and a great difpofition for 
the arts; and, to perfeft himfelf in engraving, he went 
to Rome, where he produced feveral prints that did him 
great honour. At his return, he fettled at Paris, where 
he died in 1674, without having ever been married. The 
abbe Marolles, who always fpeaks of this artid with great 
praife, attributes 130 prints to him : amongft which, the 
Annunciation, from Annabale Carracci, and the Affump- 
tion, in a circle, from Domenichino, are the mod edeemed. 
In the early part of his life he marked his prints with C, 
or the name of Carl, till his brother Claude publilhed 
fome piates with the initial only of his baptifmal name ; 
when, for didinftion lake, he tiled the letter K, and wrote 
his name Karl. 
Audran (Germain), the elded fon of Claude, men¬ 
tioned above, was born in 1631, at Lyons, where his pa¬ 
rents then refided. Not content with the indruftions of 
his father, he went to Paris, and perfefted himfelf under 
his uncle Carl. His merit was in fuch edimation, that 
he was made a member of the academy, and chofen a 
profelior. He died at Lyons, in 1710, and left behind 
him four fons, all artids; 'namely, Claude, fienoid, John, 
and Louis. 
A U D 551 
Audran (Claude), the fecond fon of Claude above- 
mentioned, was born at Lyons, in 1639, and went to Rome 
to dudy painting ; where he fucceeded fo well, that at 
his return he was employed by Le Brun to affid him in 
the Battles of Alexander, which he was then painting for 
the king of France. He was received into the Royal Aca¬ 
demy in the year 1675, and died unmarried at Paris, in 
1684. His virtues (fays abbe Fontenai) were as praife- 
worthy as his talents were great. M. Heineken mentions 
this artid as an engraver, without^fpecifying any of his 
works in that line. 
Audran (Girard, or Gerard), the mod celebrated of 
the family, was the third fon of Claude Audran, and 
born at Lyons in 1640. He learned from his father the 
fird principles of defign and engraving; and, following 
the example of his brother, he left Lyons and went to 
Paris, where his genius foon began to manifed itfelf. Le 
Brun employed him to engrave the Battle of Condantine, 
and the Triumph of that emperor ; and for thefe works 
he obtained apartments at the Gobelins. At Rome, whi¬ 
ther he went for improvement, he is faid to have dudied 
under Carlo Maratti, in order to perfeft himfelf in draw¬ 
ing ; and in that city, where he refided three years, he 
engraved feveral fine plates. M. Colbert, that great en- 
courager of the arts, was fo druck with the beauty of 
Audran’s works whild he refided at Rome, that he per- 
luaded Louis XIV. to recal him. On his return, he was 
appointed engraver to the king, from whom he received 
great encouragement. In the year 1681 he was named 
counfellor of the Royal Academy; and died at Paris in 
1703. He had been married, but left no male ilfue. 
The great excellency of this artid above that of any 
other engraver was, that, though he drew admirably him¬ 
felf, yet he contrafted no manner of his own; but tran- 
feribed on copper limply, with great truth and fpirit, the 
dyle of the mader whole pictures he copied. On viewing 
his prints "you lofe fight of the engraver, and naturally fay, 
it is Le Brun, it is Pouffin, it is Mignard, or it is Le Sueur, 
&c. as you turn to the prints which he engraved from 
thofe maders. Let any one examine the battles above- 
mentioned from Le Brun; the Prefervation of young 
Pyrrhus, from Nicholas PoutTin; the Ped, from Mignard; 
and the Martyrdom of St. Lawrence, from Le Sueur; 
and then judge candidly of the truth of this oblervation. 
The following judicious remarks by the abbe Fontenai 
w ill fully illudrate the merits of Gerard Audran. “ This 
fublime artid, far from conceiving that a fervile arrange¬ 
ment of drokes, and the too frequently cold and affefted 
clearnefs of the graver, were the great effentials of hido- 
rical engraving, gave worth to his works by a bold mix¬ 
ture of tree hatching and dots, placed together apparent¬ 
ly without order, but with an inimitable degree of rade ; 
and has left to poderity mod admirable examples of the 
dyle in which grand compolitions ought to be treated. 
His greated works, which have not a very flattering ap¬ 
pearance to the ignorant eye, are the admiration of true 
connoiffeurs and perfons of fine tade. He acquired the 
mod profound knowledge of the art by the condant atten¬ 
tion and dudy which he bedowed upon the fcience of de¬ 
fign, and the frequent life he made of painting from na¬ 
ture. This great man always knew how to penetrate into 
the genius of the painter he copied from ; often improved 
upon, and fometimes even furpaffed, him. Without ex¬ 
ception, he was the mod celebrated engraver that ever 
exified in the hidorical line. We have feveral lubjefts 
which he engraved from his own deligns, that manifelled 
as much tade as charafter and facility. But, in the Bat- 
tlerof Alexander, he furpaffed even the expectations of 
Le Brun himfelf.” Thefe conlilt of three very large 
prints, lengthwife, each confiding of four plates, which 
join together, from Le Brun; namely, The paffage of the 
Granicus; the Battle of Arbela ; Porus brought to Alex¬ 
ander after his defeat. To this fet are added two more 
large prints, lengthwife, on two plates each, alfo from Le 
Brun, as follow : Alexander entering the tent of Darius ; 
anj 
