When Edelinck arrived in Paris, Nanteuil, his senior by some fifteen years, had a studio at the Gobelins, close to the one where he himself was installed. This seeming equality in the favour accorded to two men, then so unequal in reputation and achievement, would be astonishing unless we remember the object which brought them together, and the very spirit of the institution. Things went on in the Gobelins almost as they did in Florence, in the gardens of San Marco, under Lorenzo de' Medici. Artists of repute worked side by side with beginners: not indeed together, but near enough for the master continually to help the student, and for the spirit of rivalry, the excitement of example, to keep alive a universal continuity of effort. French art had been lately honoured by three painters of the highest order--Poussin, Claude,[38] and Lesueur; but the first two lived in retirement, and far from France; whilst the third had died leaving no pupils, and, consequently, no tradition. It seemed urgent, therefore, in order to perpetuate the glory of the school, to gather together both men of mature talent and men whose talent was yet young and unformed, and to impel them all towards a common object on a common line of work. Colbert it was who conceived and executed the plan, who assembled all the great masters in painting, sculpture, and engraving, whose services he could command, without omitting any younger men who might seem worthy of encouragement. He quartered them all at the Gobelins, and put over them the man best fitted to play the part of their organiser and supreme director. "There was a pre-established harmony between Louis XIV. and Lebrun," says M. Vitet,[39] "and when the painter died (1690), neither he nor his master had as yet permitted any encroachment upon their territory." Lebrun might have appropriated a famous saying of the king, applied it to his own absolute supremacy, and said, with truth, that he alone was French art. Everything connected with the art of design, whether directly or indirectly, from statues and pictures for public buildings down to furniture and gold plate, were all subject to his authority, and were all moulded by his influence. It was an unfortunate influence in some respects, for it made the painting and sculpture of the epoch monotonously bombastic; but to engraving, under whose auspices contemporary pictures were sometimes transformed into real masterpieces, it cannot be said to have been unfavourable. [Illustration: FIG. 83.--JEAN PESNE. The Entombment. After Poussin.]