The "Batailles d'Alexandre" finished, Audran engraved Lesueur's "Martyre de Saint Protais;" several Poussins, amongst others the "Pyrrhus Sauvé," the "Femme Adultère," and the radiant "Triomphe de la Vérité," one of the most beautiful (if not the most beautiful) historical engravings ever published; and, after Mignard, the "Peste d'Égine," and the paintings in the cupola at Val-de-Grâce. These several works, where elevation of taste and sentiment are no less triumphantly manifest than in the "Batailles" themselves, are also finished examples of engraving in the literal sense of the word. Audran disdained to flaunt his skill, and to surprise the eye by technical display, but he understood to the utmost all the secrets and resources of the craft, and employed them with more ability than any competitor. Associating engraving with etching, he deepened with powerful touches of the burin those strokes of the needle which had merely served to suggest outlines, masses of shadow, and half-tints. On occasion, short strokes, free as a pencil's, and seemingly drawn at random, with dots of different sizes, distributed with apparent carelessness, sufficed for the modelling of his forms; at others, he proceeded by a consistent system of cross-hatching. Here rough etching work is tumbled about (so to speak) in wild disorder; there a contrary effect is produced by nearly parallel furrows scooped in the metal with methodical exactness; but everywhere the choice and progress of the tools are based on conditions inherent in the nature of the several objects, and their relative positions and distances. Audran did not try to attract attention to any of the methods he employed; he made each heighten the effect of the other, and combined them all without parade of ease, and yet without confusion. So many admirable works secured for Audran a fame such as Edelinck, as Nanteuil himself, had never obtained. The Academy of Painting, which had welcomed him after the publication of his first plates, elected him as one of its council in 1681. The school of engraving which he opened grew larger than any other, and many of his pupils became notable even in his company, and helped to increase the renown of the master who had trained them.[42] Towards the close of his life Audran laid by the burin for the pen. Following Albert Dürer's example, he proposed to put together, in the form of treatises, his life-long observations on the art he had so successfully practised. Unfortunately, this task was interrupted by his death; and, excepting a "Recueil des Proportions du Corps Humain," nothing is left us of those teachings which the greatest engraver, not only of France, but perhaps of any school, had desired to hand on to posterity.