He also created large religious works with geometric layouts and poses. According to Barbara Brejon de Lavergnée, writing in "The Dictionary of Art", Mellan's use of the single line gives "an abstract effect" and, "as an engraver he proved sensitive to the classical ideal developed by Nicolas Poussin, Jacques Stella and others in Paris in the middle of the 17th century." Among Mellan's reproductive engravings are two frontispieces for religious works after designs by Poussin (1640; Préaud no. 294) and Stella (1641; Préaud no. 296).