When Lebrun was called to the government of the arts, the number of practical engravers in France was already considerable. Jean Pesne, the special interpreter of Poussin, had published several of those vigorous prints which even now shed honour on the name of the engraver of the "Évanouissement d'Esther," of the "Testament d'Eudamidas," and of the "Sept Sacrements." Claudine Bouzonnet, surnamed Claudia Stella, who by the force of her extraordinary gift has won her way to the highest rank among female engravers, Étienne Baudet, and Gantrel--all these, like Jean Pesne, applied themselves almost exclusively to the task of reproducing the compositions of the noble painter of Les Andelys. On the other hand, François de Poilly, Roullet, and Masson (the last so celebrated for his portrait of Count d'Harcourt, and his "Pilgrims of Emmaus," after Titian), and many others equally well known, had won their spurs before they devoted themselves to the reproduction of Lebrun. Finally, Nanteuil, who only engraved a few portraits from originals by the director, was already widely known when Colbert requested him to join, among the first, the brotherhood which he had founded at the Gobelins. As soon as in his turn Edelinck was admitted, he hastened to profit by the advice of the master whom it was his privilege to be associated with; and, aided by Nanteuil's example, and under Nanteuil's eye, he soon tried his hand in the production of engraved portraits. No one indeed could be better fitted than Nanteuil to teach this special art, in which he has had few rivals and no superior. Even now, when we consider these admirable portraits of his, we are as certain of the likeness as if we had known the sitters. Everybody's expression is so clearly defined, the character of his physiognomy so accurately portrayed, that it is impossible to doubt the absolute truth of the representation. There is no touch of picturesque affectation in the details; no exaggerated nicety of means; no trick, nor mannerism of any sort; but always clear and limpid workmanship, and style so reticent, so measured, that at first glance there is a certain indescribable appearance of coldness, no hindrance to persons of taste, but a pitfall to such eager and hasty judgments as, to be conquered, must be carried by storm. Nanteuil's portraits come before us in all the outward calm of nature; possibly they seem almost inartistic because they make no parade of artifice; but, once examined with attention, they discover that highest and rarest form of merit which is concealed under an appearance of simplicity.