ace in art.

[Sidenote: Edelinck.]

Younger than Nanteuil by ten years, Gerard Edelinck excelled him in
genuine mastery. Born at Antwerp, he became French by adoption,
occupying apartments in the Gobelins, and enjoying a pension from
Louis XIV. Longhi says that he is the engraver whose works, not only
according to his own judgment, but that of the most intelligent,
deserve the first place among exemplars, and he attributes to him all
perfections in highest degree, design, chiaro-oscuro, aerial
perspective, local tints, softness, lightness, variety, in short
everything which can enter into the most exact representation of the
true and beautiful without the aid of color. Others may have surpassed
him in particular things, but, according to the Italian teacher, he
remains by common consent "the prince of engraving." Another critic
calls him "king."

It requires no remarkable knowledge to recognize his great merits.
Evidently he is a master, exercising sway with absolute art, and
without attempts to bribe the eye by special effects of light, as on
metal or satin. Among his conspicuous productions is the TENT OF
DARIUS, a large engraving on two sheets, after Le Brun, where the
family of the Persian monarch prostrate themselves before Alexander,
who approaches with Hephaestion. There is also a HOLY FAMILY, after
Raffaelle, and the BATTLE OF THE STANDARD, after Leonardo da Vinci;
but these are less interesting than his numerous portraits, among
which that of PHILIPPE DE CHAMPAIGNE is the chief masterpiece; but
there are others of signal merit, including especially that of MADAME
HELIOT, or _La Belle Religieuse_, a beautiful French coquette praying
before a crucifix; MARTIN VAN DER BOGAERT, a sculptor; FREDERIC
LEONARD, printer to the king; MOUTON, the Lute-player; MARTINUS
DILGERUS, with a venerable beard white with age; JULES HARDOUIN
MANSART, the architect; also a portrait of POMPONE DE BELLIEVRE which
will be found among the prints of Perrault's Illustrious Men.

The PHILIPPE DE CHAMPAIGNE is the head of that eminent French artist
after a painting by himself, and it contests the palm with the
Pompone. Mr. Marsh, who is an authority, prefers it. Dr. Thies, who
places the latter first in beauty, is constrained to allow that the
other is "superior as a work of the graver," being executed with all
the resources of the art in its chastest form. The enthusiasm of
Longhi finds expression in unusual praise:

"The work w