The leading characteristics of Italian art, and particularly Italian engraving, were beautiful outlines and excellent drawing. "Nothing in any stage of Italian art was carelessly or incompletely done. There is no rough suggestion of design, no inexact record of artistic invention." The lines, and especially the outlines, of the early Italian engravings are indisputably exquisite in their expression of grace and beauty, though perhaps weak and unsuitable for the portrayal of vigour and strength. The German engravers reached another extreme. Their drawings were frequently deficient, and even grotesque; but this was more than compensated for by a mingled force and freedom of delineation which, added to a rich imaginative symbolism, was in every respect remarkable. By means of flowing lines they indicated every fold of draperies, emphasised the varied contour of features, or produced an intricate and almost perplexing perspective in their pictures. They frequently sacrificed artistic power for a mere show of dexterous execution, and consequently the engravings of this period were rarely ever sublime in their conceptions. Remarkable for their technique, they were yet productive of a bewildering confusion of ideas and mannerisms. It was undoubtedly this superiority of technique which attracted so much attention to the old German engravers. Their portrait engravings display abundant insight into human character, and in this respect at least exhibit a rare power of pictorial expression. Indefatigable enthusiasm, one of the racial characteristics of the French nation, was exemplified in the reception accorded by her artists to the art of metal engraving. French engraving was distinguished by a felicitous combination of good drawing, skilful execution, and "an aptitude to imitate easily any impression." Outlines were frequently suggested rather than delineated, and although somewhat unconventional in style, French engravings of the seventeenth century displayed few traces of a perfunctory art. Certain vagaries of style, due no doubt to a natural vivacity, indicated an artistic quality of design and execution which was their peculiar inheritance. Of modern French engravers on metal, the Audran family were by far the most notable. For four or five generations that remarkable family showed artistic talent of a high standard of excellence. Gerard Audran, who was born in 1640, was the best known and most gifted member of this family. His productions were everywhere admired. His historical pictures especially were very fine. He was appointed engraver to Louis XIV. Died 1703.