Since we have spoken somewhat extensively of painting, would it not be unjust to pass in silence over engraving, its daughter, or its sister? Certainly it is not an art of ordinary importance; we have excelled in it; we have above all carried it to its perfection in portraits. Let us be equitable to ourselves. What school--and we are not unmindful of those of Marc' Antonio, Albert Durer, and Rembrandt--can present such a succession of artists of this kind? Thomas de Leu and Leonard Gautier make in some sort the passage from the sixteenth to the seventeenth century. Then come a crowd of men of the most diverse talents,--Mellan, Michel Lasne, Morin, Daret, Huret, Masson, Nanteuil, Drevet, Van Schupen, the Poillys, the Edelincks, and the Audrans. Gerard Edelinck and Nanteuil alone have a popular renown, and they merit it by the delicacy, splendor, and charm of their graver. But the connoisseurs of elevated taste find at least their rivals in engravers now less admired, because they do not flatter the eye so much, but have, perhaps, more truth and vigor. It must also be said, that the portraits of these two masters have not the historic importance of those of their predecessors. The _Conde_ of Nanteuil is justly admired; but if we wish to know the great Conde, the conqueror of Rocroy and Lens, we must not demand him from Nanteuil, but from Huret, Michel Lasne, and Daret,[160] who designed and engraved him in all his force and heroic beauty. Edelinck and Nanteuil himself scarcely knew and retraced the seventeenth century, except at the approach of its decline.[161] Morin and Mellan were able to see it, and transmit it in its glorious youth. Morin is the Champagne of engraving: he does not engrave, he paints. It is he who represents and transmits to posterity the illustrious men of the first half of the great century--Henry IV., Louis XIII., the de Thous, Berulle, Jansenius, Saint-Cyran, Marillac, Bentivoglio, Richelieu, Mazarin, still young, and Retz, when he was only a coadjutor.[162] Mellan had the same advantage. He is the first in date of all the engravers of the seventeenth century, and perhaps is also the most expressive. With a single line, it seems that from his hands only shades can spring; he does not strike at first sight; but the more we regard him, the more he seizes, penetrates, and touches, like Lesueur.[163]