In France was Jacques Callot, born in 1594, whose works were both numerous and original, and enjoyed a somewhat popular celebrity; among them the most worthy of remark are the “Temptation of St. Anthony,” the “Fair of the Madonna d’Imprunette,” “The Garden” and the “Parterre,” both scenes in Nancy; as well as several series, such as the “Miseries of War,” &c. There were also Michael Lasne, born in 1596, who engraved a number of historical portraits; and Etienne (Stephen) Baudet, who reproduced eight large landscapes after Poussin. [Illustration: Fig. 269.--“Ferdinand I., Brother of Charles V.” Engraved by Bart. Beham in 1531.] A separate notice is reserved for Jonas Suyderoef, born at Leyden in 1600, who, by combining the graver, the etching-needle, and aquafortis, gave an exceptional character to his works. Among the two hundred engravings by this master the most admired are the “Treaty of Munster,” after Terburg; and the “Burgomasters of Amsterdam receiving the News of the Arrival of Queen Mary of Medicis,” after De Keyser. We are now touching closely upon, even if we have not already exceeded, the limits to which we are prescribed by the scope of our notices; but as the history of engraving does not present, like that of so many other arts, the spectacle of a grievous decadence after a period of brilliancy, we cannot without regret come to a conclusion, when mention might still be made of many distinguished names among the engravers of every country. We should also scarcely be able to pass on to another subject without having alluded to those men whose works belong, indeed, to the following epoch, but the date of whose birth connects them with that we are considering. We could not, in fact, assume to have treated of engraving had we passed over in silence Van Dyck, Claude Lorraine, and Rembrandt (Fig. 270), those greatest of masters who were equally celebrated for painting and engraving. In truth, perhaps, we could not say anything of them which would not be superfluous.