The sentiment of Christian charity for the poor, who were to him in the place of children, was his last thought,--as witness especially the General Hospital endowed by him, and represented by the preacher as the greatest and most illustrious work ever undertaken by charity the most heroic. Thus lived and died the splendid Pomponne de Bellièvre, with no other children than his works. Celebrated at the time by a Funeral Panegyric now forgotten, and placed among the Illustrious Men of France in a work remembered only for its engraved portraits,[162] his famous life shrinks in the voluminous “Biographic Universelle” of Michaud to the sixth part of a single page, and in the later “Biographic Générale” of Didot disappears entirely. History forgets to mention him. But the lofty magistrate, ambassador, and benefactor, founder of a great hospital, cannot be entirely lost from sight so long as his portrait by Nanteuil holds a place in Art. 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 the Fourteenth. Longhi says that he is “the engraver whose works, not only in my opinion, but in that of the best judges, deserve the first place among exemplars of the art”; and he attributes to him, “in a high degree, design, chiaroscuro, aërial perspective, local tints, softness, lightness, variety, in short everything which can form 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 still remains by common consent the prince of engraving.”[163] 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 attempt 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 Hephæstion. There is also a _Holy Family_, after Raphael, 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 Champagne is the chief masterpiece; and there are others of signal merit, including especially Madame Helyot, or _La belle Religieuse_, a beautiful French coquette praying before a crucifix; Martin van den Bogaert (Des Jardins,) the sculptor; Frédéric Léonard, Printer to the King; Mouton, the Lute-Player; Nathanael Dilgerus, with a venerable beard white with age; Jules Hardouin Mansart, the architect; also a portrait of Pomponne de Bellièvre, which will be found among the prints of Perrault’s “Illustrious Men.”