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EDELINCK.

G. GERARD EDELINCK was born at Antwerp, in the Fear 1646, where he received the first principles of his art in the shop of Cornelius Galles, the younger. Cotemporary with many of the disciples of the school of Rubens, he announced, at an early age, the most favourable dispositions, which he afterwards developed with much success. Invited into France, by Colbert, who was desirous of patronizing genius, in whatever country it might be found, Gerard made himself perfect in his profession,' by attending to the counsels of Pitau et Poilly. Charged with the execution of the Holy Family of Raphael, and the picture of Alexander in the Tent of Darius of Le Brun, Edelinck succeeded so completely, that his engravings, in his life-time, were considered as chef d'æuvres in his art. Indeed, all the works of this artist were finished with uncommon care, so that nothing of indifferent merit ever came out of his hands. His Magdalen, and the Christ with Angels, are admirable productions; and the portraits of Desjardins, Rigaud, Dilgerus, and that of Champagne, in particular, are un commonly beautiful; and without recurring to the predeliction of Edelinck for the last performance, it is difficult to decide which is the best production,

Louis the Fourteenth, who encouraged the arts, because he was enamoured of glory, did not suffer so much merit to go unrewarded. Edelinck was made a Knight of the order of St. Michel ; obtained the distinction of Engraver to his Majesty, with a pension and an apartment in the royal hotel des Gobelins. He was admitted into the Academy of Paintings, as one of its directors, and almost all the celebrated personages of the age of Louis the Fourteenth evinced considerable anxiety to have their portraits engraved by him; the facility with which he worked, enabling him to comply with their desires. Few engravers, therefore, have produced a greater number of works. After enjoying a long career of professional distinction, he died in the year 1707, at the age of sixty-six,

A bold and great style, a flowing and correct outline, characterize all the productions of this great artist. His plates have a mellow tone, and are so perfect in point of harmony, that they resemble pictures. Audran, although his manner was directly opposite, is the only engraver that can be compared with him.

The gradations in the works of Edelinck are varied to the degree that is highly requisite, in order to discriminate properly the nature of objects, which his engravings represent, without destroying the general harmony which ought ever to be kept in view,

Although a century has now elapsed since the death of Edelinck, and the art of engraving, since his time, particularly in England, has made rapid progress towards perfection, the productions of Edelinck are still held in much esteem.

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MADAME DE LA FAYETTE.

MADAME DE LA Fayette was the daughter of D'Aymer, Lord of La Virgue, and Governor of Havre. To the most attractive features she combined a tender heart, an enlarged and cultivated mind, a wonderful facility in acquiring knowledge, and a penetration which led her very readily to comprehend the lessons of her masters. These were Menage and le pere Rapin, by whom she was instructed in the Latin tongue.

On her arrival at Paris her acquaintance was sought after by Madame de Rambouillet, by Voiture, Montausier, Callières, and the Duke de la Rochefoucault. The latter confessed himself wholly ignorant of the passion of love ; and, during the last twenty-five years of his life, he conceived the most unalterable friendship for Madame de la Fayette. It was of this nobleman that she said-He, it is true, formed my understanding; but I reformed his heart.

Madame de la Fayette was often honoured with the society of Huet, La Fontaine, Segrais, and many other learned and literary characters, who acknowledged that she had more solidity than Madame de Rambouillet, and more taste than Madlie. de Scuderi. This opinion, and the extreme amability of her disposition in the judgment of Madame de Sevigné, repel, in a very decisive manner, the erroneous idea of La Beaumelle, who thought himself justified, by injurious representations, to avenge the little respect she evinced towards Madame de Maintenon.

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