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 EDDIUS

2S1

EDESIUS

poems of this kind not found in the "Codex Regius" were edited by Heusler and Ranisch, " Eddica Mi- nora" (Dortmund, 1903). The best translation into German is the metrical version of Hugo Gering (Leip- zig, 1892). The first English version (of the raj'tho- logical songs only) was made by A. S. Cottle (Bristol, 1797). A complete English version is that of Benj. Thorpe (London, 1865-66). The songs are also trans- lated in Vigfusson and Powell's "Corpus poeticum boreale" (Oxford, 1883), and some songs are also rendered in Magnusson and Morris's "Translation of the Volsungasaga " (London, 1870). A new transla- tion by W. H. Carpenter is in preparation (1908).

For the Snorra Edda consult JoxssoN. Den Oldnorske og Oldis- landske Litleraturs Hislorie (Copenhagen, 1894-1902), II, 77- 90, 672 sq.; MOGK, (reschichte der Xorweffisch-isltindischen Li- teratur in PwiJsGrundriss dtr Germanischen Philologie (Stras- burg, 1904\ pp. 698-703; 906-910.

For the Elder Edda consult Jonssov, op. cit., I, 9-321; Mogk, op. cit., 569-636: Golther, Nordische Litteraturgeschichte (Leipzig. 190.5), 10-57. See also the introduction to the edi- tion of Sijmons-Geri-n'g for full bibliographical and critical ma- terial.

Arthur F. J. Remy

Eddius (Aeddi). See Wilfrid of York.

Edelinck, the family name of four engravers. — Gerard, b. in Antwerp c. 1640; d. in Paris, 2 April, 1707. Galle instructed him in the rudiments of his art, and from him, in Antwerp, the youth imbibed that vigour and energy characterizing Rubens' school of engravers, which was later to transform the art in France and impart to it Northern freshness and sim- plicity. In 1665 Gerard came to Paris, studied with de Poilly, quickly surpassed hivn, and almost immedi- ately reached the height of his powers, which remained undiminished until his death. Le Brun and Colbert called Louis XIV's attention to Edelinck, who re- ceived commissions, a pension, the title of engraver to the king, apartments in the Gobelins, and the position of professor in the Gobelins Academy from the mon- arch whose features he depicted in fourteen engrav- ings. In 1675 he was naturalized; in 1677 he became a Royal Academician; and soon thereafter the order of Chevalier of Saint-Michel was conferred upon him.

Edelinck was one of the greatest masters of pure engraving. He never used etching or dry-point on his plates, and of the four hundred that he produced there is not one that is poor or second-rate. Ede- linck's work was epoch-making: he re\-olutionized engra\Tng, abandoning lines that crossed to form squares for lozenge forms. Further, he massed his lines and changed their direction, thus avoiding the monotony that had marked all previous work in France. Edelinck had all the merits of his predeces- sors and, besides, rendered texture, colour, and light and shade as they never before had been rendered. His strokes were clear and bold, and the results beauti- fully finished, harmonious, and silvery. His proofs were the first to possess the quality called technically by engravers "colour". Sometimes they were slight- ly "metallic". Reproductions on steel by Ede- linck frequently suggested more colour and quality in the originals than the latter possessed. He worked with marvellous facility and concealed his consum- mate science under an unobtrusive technic. While he did not confine his burin to portraits, it was these which gave him his great fame, for he so depicted all the notable men of his time, in the Church and the Court, and in literature and art, that we, to-day, gain an insight into their very character. The greater part of his work was reproductive, but he sometimes en- graved from his own drawings, for he was a superb draughtsman. Edelinck was chosen to engrave Raphael's "Holy Family", Le Brun's "Magdalen", and "Alexander Visiting the Family of Darius", the first-named bringing him instant fame. Only two impressions before letters of the "Holy Family" ex- ist. Edelinck's life was one of piety, contentment,

ER.^RD EdELINC

and tireless labour; it was made up of teaching en- graving to his son and his two brothers and working on his own plates. Death found him engraving the "Alexander Entering the Tent of Darius", a superb plate finished by Pierre Drevet. To his family he left a fortune. Plates wholly his own were signed " Ger- ard Edelinck", or "Edelinck eques"; but when his compatriot Pitau or Gaspard Edelinck assisted him the signature was "Edelinck". Among his pupils were Gaspard, Jean, and Nicolas Edelinck, Lombard, and Trouvain. His principal works are: "Portrait of Louis XIV", after Le Brun; "Portrait of Rigaud", after Rigaud ; "Portrait of Mine. H e 1 y o t with a Crucifix ' ', after Galliot; "Por- trait of Philippe de Champaigne", which the artist thought his best work, after Cham- paigne; "Combat of the Four Horse- men", after da Vinci.

Nicolas, son of the preceding, b. in Paris in 1680; d. there in 1730. He studied under his father, Ger- ard, and to per- fect himself sub- sequently went to

Italy. In Venice he produced many plates in the style of his father, whom, however, he never equalled in vigour or quality. He engraved several plates for the Crozat collection. His masterpiece is a "Virgin and Infant" after Correggio.

His works include a "Portrait of his Father", after Tortebat; "Portrait of Cardinal Giulio de' Medici", after Raphael; "Portrait of John Dryden", after Kneller.

JE.4.N, b. ia Antwerp, c. 1643 ; d. in Paris, 1680. He was a younger brother and pupU of Gerard, with whom he worked and whose style he imitated. Plates wholly his own are much inferior to those of his cele- brated brother, though they have considerable merit. "The Deluge", after A. Veronese, is his masterpiece. He made many engravings of the statues in the gar- dens of Versailles.

G.\sPARD-FRANfois, b. in Antwerp, 1652; d. in Paris, 1722. Gaspard, the youngest brother of Gerard, who was his teacher and co-worker, was in- ferior in talent to the other members of the Edelinck family, and did not long follow the career of engraver. Because he used a signature similar to that of Gerard and because his master often helped him with his plates, much of his work is difficult to distinguish from Gerard's.

LipPM.i.v, Engraving and Etching (New York, 1906); Dumes- N-IL, Le peinire graveur franfais (Paris. 1835-50), VII, 169-336; DuPLESSls. Hist, de la Gravure (Paris, 1880); Biographie gene- rale d^s Beiges; Seubert. AUgemeines Kunstler-Leiicon (3 vols., Frankfort-on-the-Main, 1882).

Leigh Hunt. Eden. See Paradise, Terrestri m^.

Edesius and Fmmentius, Tyrian Greeks of the fourth century, probably brothers, who introduced Christianity into Abyssinia ; the latter a saint and first Bishop of Axum, styled the .Apostle of Abyssinia, d. about 383. When still mere boys they accom- panied their imcle Metropius on a voyage to Abys- sinia. When their ship stopped at one of the harbours of the Red Sea, people of the neighbourhood massa- cred the whole crew, with the exception of Edesius