nty with which he arranged complicated groups made him the pioneer of methods followed by Rembrandt and his forerunners. The Macaberesque note in medieval art is dominant in his work, and there is a piquancy and newness given to the slightest details. A peculiarity in nearly all his figures is the smallness of the heads in proportion to the bodies. His landscapes are inferior to his figure-pieces and architectural plates, though the latter are of great historical and topographical interest ("La Tour de Nesle" with "the Old Louvre"). No authentic finished painting by Callot exists among the great collections, and it is very doubtful if he ever completed a work in oil. The master of the grotesque and humerous was the father of etching in France, and his fame comes from his etchings, which are better than his engravings. He frequently spoiled his splendid point-work with the burin, and his reputation as an aquafortist depends, therefore, more on what he did than on how he did it. Notable among his works are eighteen plates entitled "TheMiseries of War "; twenty-five plates of beggers; "The Holy Family"; "Cosmo III, Grand Duke of Tuscany "; "Charles III of Lorraine ". His last years were spent industriously in Nancy, where he died. He was buried in the church of the Franciscans (Cordeliers). He was noted for his loyalty and courage as a subject of Lorraine, and for his generosity, probity, and kindness of heart as a citizen.
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