hich goes the most to my blood, and with regard
to which Edelinck, with good reason, congratulated himself,
is the portrait of Champaigne. I shall die before I cease to
contemplate it with wonder always new. Here is seen how he
was equally great as designer and engraver."[6]

[Illustration: MARTIN VAN DER BOGAERT.

(Painted by Hyacinthe Rigaud, and Engraved by Gerard Edelinck.)]

And he then dwells on various details; the skin, the flesh, the eyes
living and seeing, the moistened lips, the chin covered with a beard
unshaven for a few days, and the hair in all its forms.

Between the rival portraits by Nanteuil and Edelinck it is unnecessary
to decide. Each is beautiful. In looking at them we recognize anew the
transient honors of public service. The present fame of Champaigne
surpasses that of Pompone. The artist outlives the magistrate. But
does not the poet tell us that "the artist never dies?"

[Sidenote: Drevet.]

As Edelinck passed from the scene, the family of Drevet appeared,
especially the son, Pierre Imbert Drevet, born in 1697, who developed
a rare excellence, improving even upon the technics of his
predecessor, and gilding his refined gold. The son was born engraver,
for at the age of thirteen he produced an engraving of exceeding
merit. He manifested a singular skill in rendering different
substances, like Masson, by the effect of light, and at the same time
gave to flesh a softness and transparency which remain unsurpassed. To
these he added great richness in picturing costumes and drapery,
especially in lace.

He was eminently a portrait engraver, which I must insist is the
highest form of the art, as the human face is the most important
object for its exercise. Less clear and simple than Nanteuil, and less
severe than Edelinck, he gave to the face individuality of character,
and made his works conspicuous in art. If there was excess in the
accessories, it was before the age of Sartor Resartus, and he only
followed the prevailing style in the popular paintings of Hyacinthe
Rigaud. Art in all its forms had become florid, if not meretricious,
and Drevet was a representative of his age.

Among his works are important masterpieces. I name only BOSSUET, the
famed eagle of Meaux; SAMUEL BERNARD, the rich Councillor of State;
FENELON, the persuasive teacher and writer; CARDINAL DUBOIS, the
unprincipled minister, and the favorite of the Regent of France; and
ADRIENNE LE COUVREUR, the