MELILAN (Claude), an engraver of considerable note, was a native of Abbeville in Picardy, and born in 1601. His father was the receiver of the customs in that town; and he took great care of the education of his son. His genius for drawing discovering itself very early in life, he was sent to Paris, and placed under the direction of Simon Vouet in order to perfect himself in that art, and his studies promised success; but he was diverted from his application to them by the desire he had of learning the management of the graver, which he acquired with much facility. From Paris, at the age of sixteen, he went to Rome, where he engraved a considerable number of plates, many of which are held in great estimation; particularly those for the Justinian Gallery, the portrait of the Marquis Justinian, and that of Pope Urban VIII. Returning to France, he married at Paris, and settled there in 1654. The king of France being made acquainted with his merit, assigned him apartments in the Louvre, in the double quality of a painter and an engraver. He acquired a competent fortune, and was greatly esteemed by all who knew him. He died in 1688, aged 87.
Florent le Comte tells us, "That Charles II. was so much pleased with his performances, that he invited him to come into England, making him at the same time very advantageous offers. But the love of his country (continues that author) prevented his accepting of them."
It is remarked, that most of the plates which he engraved at Rome, and before he went thither, are executed in the usual manner; that is, with parallel strokes, crossed with second and third strokes, as the depth of the shadows might require. But afterwards he adopted a new mode of working with single strokes only, without any second strokes laid upon them; and the shadows are expressed by the same strokes being made stronger and brought nearer to each other. The effect which he produced by this method of engraving is soft and clear. In single figures and small subjects he succeeded very happily; but in large compositions, where great depth of shadow was required, he has failed. His neatest plates in this style have an unfinished appearance, by no means suitable to large engravings; but at the same time a lightness exceedingly agreeable when confined to small ones. According to Le Comte, the works of this master amount to 342.