1. & 2. Hubert and Iohn Van Eyck

WEre both born at Maseyck in the Low Countries, upon the Meuse. Hubert about the year 1366. John not long after, They were the first Inventers of painting in Oyle, whereby the Colours not only receive a Gloss, but are preserved from fading. John, though he was Scholar to his Brother Hubert, yet by his In­dustry excelled him in knowledge of the art, and in his inven­tions: Witness that incomparable piece of his in St. John's Church at Ghent, in which are 330 figures, the Faces so well diversified that one cannot but admire at. The Horses haires, the leaves of the trees, and herbs are so delicately touched, that they seem even to wave with the Air. Phillip the 2d of Spaine gave 2000 Ducats for a Copy of it, not being able to procure the Original at any price: Hubert died in the year 1426. And was buried in the Cathedral at Ghent. John died at Bruges, and was buried there.

3. Hierom Boschius or Ierom Dubois.

Had a peculiar inclination and faney to paint Apparitions and Spirits: In a piece of his, representing Hell, is most ad­mirably described the horrid shapes and deformed ugliness of the infernal Spirits, the strange punishments of the damned in Rivers, as it were, of fire, tempestuously rolling and mingled with thick darkness and smoke, so that his Painting causes ra­ther a horror mixt with admiration, than any delight to be­hold, several of his pieces were carried to the Escurial, and placed there by order of the K: of Spaine. He died about the year 1500.

4. Roger of Brussels, otherwise called Roger Vander Weyde,

Was the author of those memorable representations of Justice which are to be seen in the Town-Hall of Brussels: The 1st of which represents the Emperor Trajan in his expe­dition against the Dacians at the head of his Army, doing Justice upon the complaint of a poor Woman, against a Soldi­er that had murthered her son; The Woman appears prostrate at the Emperor's feet, demanding Justice, with a counte­nance that expresses a grief sufficient to excite compassion in the most obdurate, in the Emperor is to be seen a Severe Majestick air, that makes his looks terrible, yet seeming moved at the importunity of the afflicted mother, causes the Soldier to be brought forth, in whose face appears the: marks of his guilt, and the tokens of death; The hangman with a fierce and savage look standing by ready to execute the sentence of death to be pronounced against him. In another, you behold an aged person, pale and languishing on a purple bed, yet as if wrath supplied force to his feeble limbs, He seems, as it were, to start up half naked, and with eyes, though half dead, yet sparkling with indignation, and gnashing his teeth, he catches by the hair of the head fast hold of a young man of goodly Aspect, and furiously strikes him to the heart with a Dagger. One would presently imagine the old man, of the two, to be the Criminal; But the truth of the story will make it appear otherwise: For, Archambraut Prince of Brabant understanding that his Nephew and Heir had ravished a young woman, he commanded his Judges to proceed to punish him according to the severity of the Law; but they slightly passed it over, be­cause the Criminal was not only the next Heir, but upon the point of succeeding his dying Ʋncle. This neglect of theirs so provoked Archambraut, that having concealed his indigna­tion for some time, and finding his end approaching, he sent for the young Prince to his bed side, and seeming, as if he had somthing to impart to him concerning his succession, he seized upon him as you have heard, and stabbed him to expiate his Crime with his blood: This famous Painter died in the year 1529.

5. Theodore Van Harlem

Flourished in the year 1462. As appears by a peice of his at Leyden, upon which is written in Golden letters in Latin to this effect. Theodore of Harlem made me at Louvain in the year 1462, God grant him everlasting rest. This is all that re­mains of him, yet is enough to evidence that he was an excel­lent Artist.

6. Bernard of Brussels

A good Painter of Chaces, Forests and the hunting of wild beasts; Of this sort are those pieces which he made for the Emperor Charles the 5th, representing the Forest of Soigne, and the curious Prospects that surround it, in which the said Emperor, and the most considerable Persons of his Court that attended him in this noble exercise are drawn to the life. His designs of this kind are so excellent, that they were adjudged proper to be imitated in the richest Tapistries that could be made for the Palaces of the Princes of the Austrian family. There are 16 small pieces of his representing several Princes and Princesses of the Illustrious House of Orange, which were thought worthy to be copied by John Jordans one of the best Painters of Antwerp. He lived about the year 1530.

7. Iohn Mabusius

Was born at Haynaut upon the Sambre, a person of a disso­lute and vitious life, yet an excellent Artist. For his debauch­eries the Magistrates of Middleburgh put him in prison, where he had leisure to invent several curious Designs which were much esteemed: Two of his Pieces being the Pictures of 2 young Princes, were brought into England, and placed in the Gallery at Whitehall. He was Contemporary with Lucas Van Leyden, and his Rival in the art. He died at Antwerp 1. Oct. 1532. And was buried in the Cathedral.

8. Ioachim Patinier.

Born at Dinant in Flanders, his principal Imployment was in Landskips; Albert Durer had that esteem for him as to draw his Picture to preserve the memory of so fine a Painter. Notwithstanding the beauty of his Works, he is much blamed for his disorderly life, being the greatest Drunkard, as he was the best Painter of his time, never out of a Tavern, until forced by necessity to work for a supply to his Debaucheries.

9. Quintin Mesius

Was brought up in the profession of a Smith at Antwerp, where falling in love with one of the Damosels of that Countrey, [Page 2]and perceiving that his dirty profession and the noise of his Anvil was dislastful to his Mistress, and that she preferred a Painter that was his Rival before him, he immediately chang­ed his hammers and Anvil for pencils and Tables and became so successful that he soon obtained not only the possession of his Mistress but the name of one of the most famous Painters of his time. Several of his Pieces have been seen in England. K. Charles the 1st had an head of Erasmus of his doing in Oval, the Duke of Buckingham, and Earl of Arundel, had the Pictures of several persons of Quality in the Low-Countries so lively painted that nothing could be more natural. He died in the year. 1529.

10. Lucas Van Leyden,

So called from the place of his birth, was renowned both for Graving and Painting; From his youth he gave proofs of his excellent Genius, having, when he was but 9 years of age, graven several Copper-Plates so well as to receive the Appro­bation of the most Judicious in that Art. Among many things that spread his fame, is that fine Picture of the Curing the Blind man by our Saviour, where he brings in several Persons mani­festing their attention by variety of Looks, above all there ap­pears a glorious Majesty in our Saviour who moves towards the poor man with a great deal of Compassion, the Blind man, is represented to be guided by a Youth, and coming to our Sa­viour in such a manner as discovers both the sence of his Mise­ry, and his impatience to be cured, he seems to beg this favour with a hope that diffuses through his Countenance a Joy mixt with respect and admiration; at the Bottom of the Peice is a Landskip, which much embellishes and sets off the other Beauties of the Work. He died at Leyden in the year 1533. In the 39th year of his age, after an Enterview betwixt him and Mabusius at Middleburgh, where falling out in their Cups, occasioned by their emulation of each other, Lucas fancied himself to be poisoned, and with this conceit died.

11. Iohn Holland:

Borne in the Low Countries: A very good Painter of Landskips, Woods, and Groves, with Satyrs, Nymphs, Faunes, Dryades, and other Rural Gods: He died at Antwerp about the year. 1540.

12. Iustus Clivensis.

He lived at Antwerp the place of his Nativity in the year. 1554. Hap'ned to be distempered in his braine, which hin­dred that perfection he was like otherwise to have attained unto.

13. Matthew Cock:

Of Antwerp, came behind none of his time in painting Landskips and prospects of Countrey Towns and Villages. He died about the year 1560.

14. Henry de Bless.

Borne at a Town called Bovines near Dinant and lived about the year. 1550. Grew to great perfection without any assis­tance, but his own happy Genius, and his diligent observation of Joachim Patiniers Works, whose house he frequently visited, and got those secrets thence which made his Landskips so de­servedly celebrated. There is at Amsterdam a piece of his of the disciples going to Emaus, the Passion, the Resurrection, and some others of his Designs, but the best of his Works were bought up for the Emperor Rodolphus, and transported to Ger­many. He Painted an Owl always as a mark of his Pieces, in­timating perhaps thereby, his clear apprehension of the Art amidst the obscurity of his education.

15. Iohn Mayo commonly called Ver­meyen

Borne at Beverwyck in Holland in the year 1500. Was well versed in Designing, in Geometry and Perspective. The Empe­ror Charles 5th employed him as his domestick Painter in de­signing his Military Expeditions. He was with him at Turis, where he made a description of the Town as it was besieged by Sea and land, and the manner of its being taken; From his De­signs of this sort was the Models taken of those curious Ta­pestries in the Escurial. He was called John with the great Beard, which he took a great pride to nourish, it was so long that though he was tall himself, yet he could stand upright when it touched the ground, The Emperor would sometimes divert himself with seeing it unloosed playing with the wind and sometimes whisking in the faces of the standers by. He died at Brussels Anno Domini 1559. aged 59. Years.

16. Peter Coeck

Born at Alost in Flanders, about the beginning of the 16th Century, was the disciple of Bernard de Bruxels under whom he profited exceedingly: Went into Turkey with some Mer­chants where he ventured against the Laws of that Countrey, which forbids Images to draw several pieces expressing the manners and customes of the Turks in their Mariages, Burials, solemn Feasts, the Marching and incamping of their Armies, all very pleasant to behold; after his return from Turkey he writ and published some curious Books of Architecture, Geometry, and Perspective, and translated Sebastio Serli out of Italian.

17. Iohn Schoorel

Was born in a Village called Schoorel, near the Town of Alc­mar in Holland, was the disciple of Mabusius; Having travailed to the Holy land, and viewed the chiefest rarities of Palestine, particularly the river Jordan, of which he took a draught upon the place, and made good use of, in Painting the History of Joshua leading the Israelites through that river, he described the City of Jerusalem, the Holy Sepulcher and other the most remarkable things there, as they stand at this day. Pope Adrian the 6th made him overseer of the Belveder, he Painted the Picture of the said Pope, which is to be seen in the Colledge, which Adrian founded at Louvain. He was well skilled in Poe­try, Musick and Languages; he died 1562. His picture was drawn by Antonio More, from whence the graven plate is taken.

18. Lambert Lombard

Of the City of Leige, not only attained to a great perfection in Painting, but also to a great skill in the Mathematicks, Geo­metry and Architecture, as appears by several of his Designs which have been cut in Wood and Copper by very good hands for the use of Architects. Many famous persons were brought up by him, namely Goltzius, Francis Floris, William Cayo, and others. His Paintings are most of them in the Empe­rors Pallace.

19. Peter Brugel

Was the disciple of Peter Cock, a great observer of the Acti­ons of Boors and Peasants and very happy in imitating them with his Pencil. In Italy he drew a prospect of the affrightful Alpes, the Torrents, and dismal Precipices there, which was of good use to him in Painting our Saviours Temptation in the Wilderness, where he livelily represents the craggy rocks, and steep Mountains, how some of them hide, as it were, in­sensibly, their rops in the Clouds, and foggy mists that surround them. His Tower of Babell is a piece much esteemed, as also St. Pauls Conversion, and the Massacre of the Innocents, which he has represented with all the Cruelties of a bloody Tragedy. But his chiefest Excellency, was in Painting Countrey Feasts, and the debaucheries of the Boors. He flourished in the year 1565 and died at Brussels 1570 A person more grave in his dis­course and actions, then in his works, for what Piece soever he made, though of seriousness and devotion, he could not refrain mingling some facetious humour or other with it, which was the common Mark whereby his pieces were known.

20. William Cayo.

Born at Breda; beloved of all for his virtuous manner of life, he chiefly set himsel to draw faces by the life, which he did with that approbation, that there was scarce a person of Quality of his time in that Countrey, but were drawn by him; That of Cardinal Granvil, and the Prince of Orange, above others are most admired; The Duke of Alva Governor of the Low Countries at that time for the K. of Spaine sent for him to Brussels to draw his picture, which while he was doing, struck with horror (as he confessed to some of his friends a lit­tle before his death) at the bloody resolutions and actions of the said Duke, he fell sick of a fever and died, the same day that the Counts Egmont and Horne, two of the most Illustrious Per­sons of the Low Countries lost their heads.

21. Luke Gassel

Born at Helmont in Brabant. It is observed that the Italians generally excel in History and great Figures, the Dutch in Landskips, and small, so this our Painters chief excellency lay in Landskips wherein he knew so admirably well, how to represent the rugged Rocks the rapid Torrents, and the shady Groves, giving to all such a delightful Prospect, and so fit a distance, that his Pieces yeild great pleasure and satisfaction to behold. He died at Brussels about the year. 1560.

22. Francis Floris,

Born at Antwerp. Besides his great Judgment, he was so quick and ready in his designs, that when Philip the 2d of Spaine made his Solemn Entry into Ant­werp, he in one day Painted a large Victory, Embe­lished with Tropheys of Armes, and filled with so many other Ornaments, that it was thought to be the work of some months, and the effect of much labor and study; His Pictures had this peculiar Ornament that they were most of them enriched with somthing of Antiquity, suited most ingeniously to his Subject, as may be seen among many others, in his Battle of St. Michael, and Lucifer in the Church of Notredam, at Antwerp, where you see the Devils tumbling headlong from the battle­ments of heaven, into a deep Abysse of flaming Sulphur, in such a dreadful and horrid manner, as seems rather the work of some in­fernal Pencil, than of any mortal. At Brussels there is a last Judg­ment incomparably done. His way of Painting was strong his fleshy colours full of life, and spirit, his Drapery free, yet so artificially composed, as to lessen nothing of the proportion or form of the members. In fine, as he excelled most of his age, he would no doubt have excelled himself, had he not been too much addicted to mispence of his time, in Intemperance and debauchery, wherein he somtimes took a pride to bear away the Bell, he died in the year 1570. or thereabouts, at An­twerp, in the 50th year of his age.

23. Cornelius de Bie,

Was no Painter himself, but the son of an eminent Painter Adrian de Bie, and a great lover of Art and Ingenuity. Was the first that began the collecting the Heads of this Book, which was afterwards perfected by other hands, in memory where­of, his own Head is thought not improper to be inserted with the rest.

24. Octavio Venus

Was Born at Leyden, in the year 1558. of a very good Family, his Father being one of the principal Magistrates of that City, brought up in Learning under Cardinal Groesbeck, Bishop and Prince of Liege, un­der whom he profited exceedingly, in all manner of polite li­terature. At the same time that he studied Philosophy, Poetry, and Mathematicks; he also exercised himself in Painting, by the advice and assistance of Thadaeus Zuchero, who foresaw some­thing extraordinary in his blooming years: At length he be­came renowned nor only for his works, which he wrote in Di­vinity, History and other Sciences, but for the rare strokes of his Pencil, which recommended him into the service of the Em­peror, the Duke of Bavaria, and the Elector of Cologne, where he was entertained with respect suitable to his deserts, He was afterwards employed by the Prince of Parma, Governor of the Low Countries, for the King of Spaine who made him his Engi­neer and Painter. He was of so excellent a disposition, that it be­ing joined with great Learning and Industry, made him belov­ed by all the Court. His Picture of the Arch-Duke Albert, and the Infanta Isabella, drawn in full proportion, was sent to K. James the 1st of England. Antwerp has several of his pieces in divers Churches. He had the glory of forming the mind of Rubens, the Apelles of the age. He died at Brussels in the year. 1625. Aged about 71. He left behind him 2 daughters both excellent in their fathers Art, the eldest named Cornelia who was married to a rich Merchant at Antwerp, the other. Ger­trude, who hath signalized both her love to his memory, and her Pencil, by drawing his Picture in the manner as you see it here represented by the Graver.

25. Adam Van Dort

Was famous for many magnificent Designs, which are to be seen in the hands of several Lovers; was taught to paint by his Father Lambert Van Oort. Antwerp was the place of his Nativity in the year. 1557. And of his burial in the year. 1641.

26. Abraham Blomaert

Was born at a place called Gorcum, in Holland, in the year. 1564. His Father Cornelius Blomaert was a very good Carver and Architect, and having in his house the Designs of several great Masters, particularly of Francis Floris, his son fell to imitating them especially the designs of Floris, making a discovery, by his own observation alone, of the rare secrets of the Art, so that he may be said to have formed himself an Artist. Among the many rare productions of his Pencil, that curious Piece at Ʋtrecht is very remarkable, of Apollo and Diana killing the children of Niobe with their Darts, which the Emperor Rodolphus was so charmed with, that he would not be satisfied till he got him to make another of the same sort. The Count de Lippe had a Banquet of the Gods very ingeniously designed by him, in which the Faces of Venus, Juno and Pallas are most incompara­ble. That Piece of his must not be forgotten, wherein he has Painted to the life all sorts of Shell-fish and Sea-Monsters, with Tritons riding in Triumph in the midst of tempestuous Billows; and at a great distance Andromeda chained to a rock, and Per­seus in the Air, hastning to her Deliverance: Nothing can be more pleasant than his Landskips, of which, with other of his Designs, there are several curious Prints to be seen, graven by the hands of Muller, Saenredan and others.

27. Toby Verhaecht

Excellent also at Landskips, was one of Rubens first Masters, of whom he learnt that sort of Painting. He was born at Antwerp in the year 1566. And died in the year 1631. Octavio Venus drew his picture as you see it here represented.

28. Adam Elshamer

Born at Francfort, Anno. 1574. A person of a melancholly temper, delighting for the most part to be amongst Tombs or ruinous places. His works, though few, yet appear to be the pro­duct of much pains and Iudgment; his painting is strong and master-like. He lived not long, and died poor, yet left a lasting Renown behind him.

29. Guydo Rheno

A great D [...]signer and Artist. He that sees those fine Prints which were Etched with his own hand, will soon find how great a Master he was. He was born at Bologne, in the year 1574. And died in 1642. This head is after his own Painting.

30. Peter Paul Rubens.

This famous and renowned person, who was the Ornament and Flower of Painters, not only in the Low-Countries, but in all Europe, was born the 28. June 1577 at Antwerp, of a con­siderable family, upon the feast of St. Peter and St. Paul, whence he had his name. His first Master was Adam Van Noort, one of so ill a temper, that Rubens was forced to leave him, and betake himself to Octavio Venus, by whose good Instructi­ons having attained perfection in his Art; he traviled at 23 years of age to Italy, where he lived 7 years in the service of the Duke of Mantua, by whom he was employed in several Embassies, amongst others to Rome, to copy some Pieces of the most famous Masters before him, wherein he so exactly imi­tated the Originals, that his Copies were exceedingly admired. At Rome he made a great Piece for the Church of Notredame, re­presenting Pope Gregory, and some other Saints, but that prov­ing too little for the place it was designed for, he drew ano­ther and sent the former to the Abby of St. Michael at Antwerp, whither he at length returned, and where he setled, and built a stately House, adorning it with abundance of Statues brought from Italy, insomuch that it was esteemed the best Fabrick of that opulent City, both in regard of the curiousness of its Struc­ture, and the Riches of its inside; amongst which was a Cabinet furnished with such variety of antient Medals, Agates and other choice Rarities, that it might vie with any of the most renowned Princes of Europe. In fine, so great were his ac­complishments, not only in Painting, but in other Sciences, that the Kings of Spaine, France, and England, in testimony of his Merits, conferred on him their several Orders of Knighthood: His most celebrated Pieces are, That of the Doctors treating of matters of Faith, in the Dominican Church at Antwerp. The Ele­vation of the Cross, in another Church there. The taking down our Saviour from the Cross, in the Great Church. Several rare Pieces in the Magnificent Church of the Jesuites, The two principal whereof are at the great Altar; One representing St. Ig­natius exorcising a Demoniack, the other St. Xavier preaching to the Indians: At the great Altar of the Church of the Corde­liers, is an admirable piece of his, Christ crucified between the two Thieves, as also the Death of St. Francis. His Battle of the Amazons, is an incomparable Piece, wherein the agility and manner of fighting among the antients, is represented so arti­ficially, as ravishes the beholders. But that which added much to his Fame, was his beautiful embellishments to the Palace of Luxemburgh, in St. Germains at Paris, built by Mary de Medicis, Queen of France, on the right hand as one enters the Gallery, is contained the History of that Queens Life, represented in 21 large Pieces. In which, Art seems to have done its utmost, to surpass Nature; the vastness of its Design being matter of astonishment to the most skilful in the Art of Painting, and the delicacy of its stokes, with that Harmony and Majesty that reigns over the whole, making them despair of ever attaining so great perfecti­on; Insomuch, that this famous Work has furnished matter for the most elegant Pens of France to celebrate. He was in England [Page 4]when K. James I. erected that Magnificent Structure called the [...]quetting house at Whitehall; the whole C [...]eling whereof as it is to be seen at this day, was Painted and adorned by the hands of this great Master. He Died 30 May 1640. at the same place he was born.

31. Francis Snyders

Born Anno. Dom. 157 [...]. Was the Disciple of Henry Van Ba­len. He painted Hunting-Pieces, Fish, Fruit and other Designs Incomparably well, for which he was esteemed by several great Princes.

32. William Van Neulant

Born at Antwerp, Anno Dom. 1584. Was reckoned one of the best Poets of his time, was brought up to Painting by Savery at Amsterdam; afterwards he travelled to Rome, and lived 3 years with Paul Brill; during his abode there he painted the Ru­ines of Rome and other Rarities there with great exactness, and adorned them with many little Figures and Landskips. He also did wonders in Aqud Fortis. After he had spent some time among the Artists at Antwerp, he returned to Amsterdam where he died in the year 1635.

33. Sr. Anthony Wandyck.

Was the excellent disciple of that Excellent Mr. Rubens. He received his birth at Antwerp 22. March 1593. Had his first Instruction under Henry Van Balen, an Italian Painter; but having seen the admirable Works of Rubens, he left all his De­signs to follow this great Master, as one whom he judged most worthy of his imitation; Rubens charmed with his Wit, con­cealed nothing from him that was necessary to polish him and make him a skilful Artist, being far from envying or seeking to nip his budding Glory. Whilst he lived with Rubens he painted a great number of Faces, among the rest, that of Rubens his wife, which is esteemed one of the best in the Low Countries. He made him 2 Pieces, one admirably representing the taking of our Saviour in the Garden; the other, the Crowning with Thorns. Having done these for his Master, he travelled into Italy to see Titians Works. At his return he made that Incomparable piece for the Monastery of Augustines at Antwerp, of St. Augustine looking stedfastly up into Heaven, which appears open and all shining with light: The Prince of Orange hearing his fame, sent for him to draw his own Picture, his Princesses and his Childrens, which he did to the great satisfaction of that Prince and all that were Curious. No sooner did these rare Pieces ap­pear in publick but the most considerable persons in Holland were ambitious to be drawn by the hand of this curious Artist, and the Nobility of England and France sent on purpose for him that they might participate of the same happiness, and so numerous were they that Van dyck not being able with his ut­most Industry to content them all, drew only those he had most particular esteem for, or such as gratified him most considera­bly. Being arrived in England he was presented to King Charles the 1st, by Sir Kenelm Dighy: The King not only Knighted him, but as a peculiar M [...] of his esteem, presented him with a Massy Gold Chain with his Picture set with Dia­monds, and settled a considerable Pension upon him.

He was a lover of all those of his Countrey, who excelled in any Art, most of whose Pictures he drew with his own hand, and which have been graven from thence by the best Gravers of that time, such as Bolfwaert, Vosterman, Pontius, &c. Some he did himself in Etching. He married one of the fairest and noblest Ladyes of the English Court, Daughter of the Lord Ruthen Earl of Gowry, whose Father being accused of a Conspira­cy against King James the 1st, his Estate was confiscated, so that he had no great matter of Portion with his Wife, but her Beauty and Nobility. He died the same year that his Mr. Rubens did, and was buried in St. Pauls Church, London.

34. Gerard Segars

Was born at Antwerp, and bred up under Abraham Jansens, at the request of some great lovers of Painting he travelled to Rome, where with great diligence and pains, he copied some of the Works of the most famous Italian Painters, furnishing his own Countrey with what he found most rare amongst them. His Copies were esteemed not much inferiour to the Originals. He was so ravished with those miracles of art he beheld there, that he could not without great difficulty be got thence, till Cardinal Zapata, the King of Spains Embassa­dour at Rome, with great importunity prevailed upon him to accompany him to Madrid, where he Presented him to the King, who conferred several Honors upon him as a Mark of his esteem. He so nearly resembled the best of the Italian Painters in their greatest Elegance, that when he had finished that incomparable Piece of the Crucifixion of St. Peter, some of the best Judgments presently took it to be done by the hands of Michael Angelo Caravaggio. Most of the Churches at Antwerp are adorned with his Works. He made for the Duke of Newbourgh a picture of the Blessed Virgin, which pleased him so extraordinarily, that he rewarded him with a Gold Chain, and a Medal over and above the full price of his Work. He fixed at last at Antwerp, where he built himself a stately house, and adorned it with a great Collection of curious Paintings gathered from all parts, with great cost and industry, and there peacea­bly ended his daies in the year 1651. about 60 years of age.

35. Adrian Van Vtrecht.

'Tis observable that no Town, or Province scarce in the Low Countries, has produced so many eminent Painters as that one Town of Antwerp, where this famous person also received his birth 13. January 1599. His chief excellency lay in Fruit-Pieces, Birds, Beasts either as alive or dead.

36. Adam Willaerts

Was born at Antwerp in the year 1577. a neat Painter of Sea-pieces, Ports, Havens, Rivers, Ships, Boats, Barkes, and little Figures in them,

37. Iohn Bavur

Was born at Stratsbourgh, a delicate Painter in Water-co­lours, the Duke of Brassignano sent for him to Rome and en­tertained him in his service, as did also the Emperor Ferdinand afterwards: He died. Anno Dom. 1640.

38. Nicholas Knypfer

Was brought up at Lypsick by Emanuel Nysen Anno. 1603. painted all sorts of Figures very artificially. In the year 1630. He we [...]e to Ʋtrecht and sojourned with the famous Abraham Blomaert where he made several Pieces for the King of Den­mark and other Princes and persons of Quality.

39. Iohn Bylert

Was born at Ʋtrecht of mean Parentage being but the Son of a Glazier, yet advanced his own fortune by his great merits and industry. His designs are held to be very good, his figures were indifferent large and very soft.

40. Iohn Van Balen

Was born at Antwerp in the year 1611. a good Painter both in great and small, had his first instruction under his father Henry Van Balen.

41. Rowland Savery

Painted Landskips, Beasts, Birds, &c. extraordinary fine. He was born in Flanders and made Painter to the Emperor Rodolphus.

42. Henry Vanderborcht

Was born at Brussels, Anno. 1583. From whence he removed to Frankendale, on occasion of the troubles that broke out in his own Countrey, and afterwards to Frankfort. He learned to paint of Giles Valkenborgh. Was a great lover of Rarities and Antique Curiosities. The Earl of Arundel had him in great esteem for his rare Collection of Antient Pieces, and Medals, as also for his painting.

43. Iacob Backer

A good Painter in great, his Designs are good and his Colours lively, a very good Face-Painter, Was born in the year 1608.

44. Deodate Delmont

Lived sometime with Rubens with whom he travelled to Italy and other parts to increase his experience; Rubens when he parted from him gave him a large Testimonial of his Abili­ties by a publick Instrument. He was for several years Painter and Architect General to the Duke of Newburgh, and afterwards he served the Arch-Duke Albert and the Infanta Isabella in the like quality, until his death, which hap'ned in the year 1643.

45. David Teniers, Senior,

Born at Antwerp, Anno Dom. 1582. Where having been instructed by such Masters as Rubens and Elshamer, no wonder if he became famous in this Art, he employed his time principally in Landskips and Figures both great and small. He died Anno. 1649.

46. Adrian Van Newlant.

A very good Painter, of small figures and Landskips, there are, several fine Pieces of his doing, extant, containing the Histories of the Old Testament. His first beginning was un­der Peter Isaac, and Francis Baden at Amsterdam: Where he spent most of his life.

47. Francis of Padoa

An Admirable Painter of great figures, very Copious in his In­ventions, Painted à Face to a miracle, as appears by the Pictures of the Earl of Arundel and his Countess drawn by him. He lived sometimes at Rome, sometimes at Padoa his native place.

48. Peter Franchoys

Was a Painter of good esteem. Born at Malines. He died 11. August 1654.

49. Iohn Both,

A good Landskip Painter, in which his Prospects are pleasant, the foreparts strong and well coloured, enriched with Figures of men and Beasts, well designed, He lived for the most part at Ʋtrecht the place of his birth.

50. David Beck

Was born Delft in Holland, Painter and of the Bedchamber, to the Queen of Sweden, by whose direction, he drew the Pictures of the most Illustrious persons of Christendom.

51. Gerard Honthorst.

Born at Ʋtrecht anno Do. 1592. Brought up by Abraham Bloma­ert, was very good in Designs and in Faces. His sufficiency being known to several Cardinals, he was employed by them in painting the Rarities that Italy at that time afforded, He came afterwards into England, where King James the first, made use of him in several Designs to his satisfaction: In Denmark are many fine Pieces of his to be seen, His last employment was in the service of the Prince of Orange at the Hague.

52. Thomas Willeborts Bossaert

Born at Berghen ap Zoom in Brabant An. Dom. 1613. following diligently the examples of the great Painters, that flourished at that time in the same Countrey, he fell a Designing when very young in the Books which were intended him for other Stu­dies, and preferring his Pencil before all things, he drew his own Picture, (not having then seen 12 years), by the resem­blance in a looking Glass, so like, that those that saw it were amazed, and this he did before he had the least Instruction, from any one, which his Parents perceiving, sent him to a Master that he might enjoy his own Inclination, but because his first Master was but an indifferent Painter, and no ways meet to satisfy his earnest thirst after Learning, he lest him and betook himself to Gerard Segars, under whose better Instruction Art perfected what Nature began, proving a most accomplished Workman after 4 years practice. Antwerp being a place that was as it were the Seat of Arts and where was a Conflux of many eminent Painters, he thought most worthy of his Resi­dence, and the fittest place for him to improve in; There he made such a number of Magnificent Pieces, that gave new Splendour to the ancient beauty of that wealthy City. Henry Frederick Prince of Orange, in the year 1642, and his Son, Prince William employed him, in their Service for several years, in which time he made those excellent Pieces, which were to be seen at the said Princes Palace at the Hague, and other parts of Holland. He Painted most Persons of Quality, that were then living. That great Piece of his, is most admi­rable, at the Hague, where he represents Mars the God of War, on one fide, stirred up, and provoked by the Furies; on the other hand, Peace and concord striving gently to appease and restraine him, among the Figures is a naked woman, whose flesh seems, so natural, so soft and lively, that the Hand is apt to be deceived by the Eye, into an endeavour to feell that which seems to be real Flesh, The Martyrdom of St George in the great Church is also an admirable Piece. He died in the Flower of his Age and his loss was much lamented.

53. Bonaventure Peters

Was born at Antwerp Anno. Dom. 1614. he had a rare Faculty, in Sea Pieces, sometimes representing a Calm Sea, full of goodly Ships and Galleys riding, with Pendants and Streamers display­ed as it were in Triumph, sometimes an outragious Storm, in which, the surious Winds, and foaming billows seem to con­tend with each other for Victory, while some shattered bark or sinking Ship is the Sacrifice that must appease their wrath. His Sea-fights are also very natural, where he observes as to his Design, an exact order, and decorum amidst a seeming confu­sion of Fire, Smoke, blood, Wrecks and Splinters of Ships, &c. He Painted also prospects of Towns Castles &c. very fine.

54. Francis Wouters

Born in the year. 1614 was the disciple of Rubens, a good Painter of Figures in small, chiefly naked, and of Landskips; His Merits promoted him to be Painter to the Emperor Ferdinand the Second, with whose Ambassadour, he travailed into England where, upon the death of the Emperor his Master, in the year 1637, he was made Painter to King Charles the Second when Prince of Wales, and lived a considerable time at London in great esteem.

55. Dauiel Segars,

Brother to Gerard, and born at Antwerp, was a Disciple of John Brugell. He had not scarce his equal among the Anti­ents or Moderns, for his artificial Painting of Flowers, which look as fine and gay as Nature her self produces them in the Spring; when Flora and Pomona Enamels the Fields and Gardens, his Flowers excelling those which Nature gives in this, that his Roses wither not, but always keep their blush­ing Beauty, his Violets never lose their purple, nor his Lilleys their snowy white, but have received a sort of Immortality by his Hand: Having a desire to enter himself into the Soci­ety of the Jesuits; he was admitted into their Convent at Antwerp, and was made a Lay-brother; his Superiours de­siring to make advantage of his Industry, set him to Paint those Histories of their Society, which are to be seen over the Chairs of Confession in their Church at Antwerp. At Rome he drew the most remarkable Rarities that he saw either in the Palaces or Gardens there: His Works are no where to be found, but in Princes Closets, or amongst the Jesuits. Henry Frederick, Prince of Orange, was so desirous to have some­thing of his hand, that he sent his Painter Willeborts on pur­pose to Antwerp to procure some. Segars, by permission of his Superiours, made him a Present of an Oval Bason filled with flowers, upon which he Painted here and there several Butterflies and other little insects, so curiously, that added much to the beauty thereof; The Prince was so pleased with it, that he sent the Society ten massy peices of fiue gold in form of Oranges richly enameled, and a Painters Pallet, and several handles for Pencils all of fine Gold: The Princess of Orange had also presented her the Picture of an Oval bason full of Flowers mingled with Branches of the Orange Tree laden with Oranges, with which she was so taken that She sent the Fathers a Cross of Gold enameled, of above a Pound weight.

56. Peter Snyers

Born at Antwerp 1563. A good Painter of Landskips and battles, both in large and small: Was employed in the service of the Arch-Duke Albert and Isabella and several other Princes.

57. Iames Van Es

An Excellent Painter of Fruit-Pieces, Fish, Birds, and Flow­ers, which he did extraordinary well to the Life. He lived for the most part at Antwerp, where he was born.

58. Adrian de Bie.

A Painter of good esteem in great figures and other De­signs: Was born in the year 1594.

59. Adrian Van Venne,

Born at Delft An. Dom. 1599. Had his Instruction at Leyden under Simon Valck and Jerom Van Diest. His chief Excellency lay in Painting in black and white, The King of Denmark, and Prince of Orange had his Painting in great esteem, the latter of whom had several pieces of Hunting done by him: He was also a good Poet as appears by what he writ of that kind.

60. Iames Iordans

Born at Antwerp 19 Mar. 1594. Was brought up by Adam Van Oert his father in Law. An Excellent Painter and De­signer, particularly in History, Poetick Fables, Devotion and the like; He drew several curious things for the King of Sweden and other Princes.

61. Gaspar de Crayer

Was born at Antwerp in the year. 1585. Received his first Instruction under Raphael Coxie. The most considerable Abbeys in the Low-Countries were adorned with his Paintings: In the the Abbey of Vicoigne is to be seen a Piece of fifteen foot high, contained in a Chace of Marble, representing the Passion, extraordinary fine; in that of St. Denis near Mons, is another setting forth, the manner of beheading that Saint; at Ostend, St. Peters Fishing. Brussels being the ordinary place [Page 6]of his abode he did many curious things there. His Picture of Prince Ferdinand as big, as the life is reputed, the best of his Preces, which was sent to the King of Spain, Brother of the said Prince; besides the applause, that Crayer received for this rare Piece of work, he was rewarded, with a Gold Chain, and a Medal, with a yearly Salary, during his life; Arch-Duke [...]pold, being made Governour of the Low Countries, em­ployed him in divers curious designs, about the year 1648. which he performed, to his entire satisfaction.

62. Balthazar Gerbier

Native of Antwerp Anno. 1592. Was at first Painter to the Duke of Buckingham, and afterward to King Charles I. who Knighted him, and made him his Agent at Brussels, in the year [...]. And at London Master of the Ceremonies.

63. Leonard Bramer

Born at Delft Anno. Dom. 1596. Lived for some time in Italy, in the Court of the Prince of Farnese, where he wrought several Pieces in great and small, for him and Cardinal Schalie. At his return to Delft, he made several Pieces for his Highness Fred rick Henry then Prince of Orange, Count Maurice of Nas­sait and other Princes.

64. Cornelius Poulenbourgh

Was born at Ʋtrecht, an admirable Painter in little Fi­ [...]; Beasts and naked Boys which he made exactly to the life, was curious in painting Ruines, Landskips and Prospects of places for distant. In the year 1637. King Charles the first sent for him into England, where he made several pieces for him and afterwards returned to Ʋtrecht.

65. Erasmus Quelin,

Born at Antwerp 19. Nov. in the year. 1607. Was the disciple of Rubens; a very good Philosopher, great designer and Architect, and an excellent Master in Painting in great and small, and well skilled in Perspective.

66. Iohn Casiers

Born also at Antwerp, in the year. 1603. Brought up under Cornelius de Vos, a rare Master as appears by his Pieces, which he wrought for several Churches, for the King of Spaine, Prince Ferdinand; the Arch-Duke Leopold, and other great Princes.

67. David Balii

Received his Birth at Leyden, which place he liv'd in a con­siderable time, and made famous by his Works.

68. Herman Saftleven,

Born at Rotterdam, Anno. 16 [...]9. A very good Landskip Painter: At first he Painted Boors, both Men and Women, Farm houses &c. But his chief de light was afterwards wholly in Landskips. His usual abode was at Ʋtrecht.

69. Iohn Van Bronchorst

Born at Ʋtrecht 1603. He learned first of some Painters upon [...], but they being but sorry Artists, he reaped no great [...] them, by his great diligence and observation, he be­came a skilful Master and good Designer, as his work manifest.

70. Abraham Van Diepenbeck,

Born at Boisleduc, surpassed all that were his Contempora­ties in Painting upon glass (an Art which we have since lost;) afterwards he left that sort of Painting, to imitate his Master Rubens in other curious Designs.

71. Peter Danckers de Ry

Was born at Amsterdam in the year 1605. Was Painter to Ʋlad [...]laus the fourth King of Poland and Swedeland.

72. Daniel Van Heil

Was horn at Brussels Anno Dom. 1604. A good Painter of Landskips, Cities and Houses on fire, &c.

73. Cornelius Iansens

An Incomparable Face-Painter and a good Designer in great and small, he lived sometime at Amsterdam and in England, where he Painted several curious Pieces for the King and Nobility.

74. Iames d' Artois

Born in Brussels Anno 1613. Where he spent most part of his life, and Painted Landskips so rarely, that they were esteemed the most pleasant of that kind in Flanders.

75. Peter Van Lynt

A very good workman both in great and small Figures, in History as well sacred as profane: Was employed for seven years in the Service of Cardinal Gevasius Bishop of Ostie and other Persons of note: Painted both in Oyle and in Water colours. He was born at Antwerp in the year 1609.

76. David Ryckaert,

Born also at Antwerp Anno 1613. A great Master in Coun­trey-designs as in Stables, Barnes and such like Edifices which he made in small, these were esteemed worthy the Closet of the Arch-Duke Leopold and other Princes; He had an especi­al Excellency in representing the light of a Candle.

77. Nicholas de Helt Stocade,

Born at Nimeguen 1614. Lived first at Rome and at Venice, thence he travailed to France, where his Pencil produced such Rarities, that he was made Painter to the French King.

78. Gonzalo Coques,

Born at Antwerp 1618. Was brought up by David Ryckaert Senior, under whom he improved so much, that King Charles the first of England, the Duke of Brandenburgh and Prince of Orange took particular notice of him and employed him: His Designs are excellent, and his pictures in small admirable.

79. David Teniers, Junior,

Was brought up by his father, a most excellent Painter in small figures, and Landskips. The King of Spain, Arch-Duke of Austria, Bishop of Ghent, Prince of Orange, and other Persons of Eminency bought up most of his Works, amongst which that is mightily commended, which he made whilst he was Painter to the Arch-Duke Leopoldus, of the rich Miser in the Gospel, whom he represents, carefully surveying his bags of Gold, and turning over his Deeds and Writings, his wife as carefully sitting by him, and scrupulously weighing each Piece of gold that seems suspitious, in both is to be seen the effects of sordid Covetousness, viz. An anxious care of preserving, without any chearful enjoyment of their great abundance, whilst Death unseen to both stands behind, holding forth an Hour-glass, whose Sand is almost quite run out.

80. Robert Van Hoeck.

Born at Antwerp; Was by the King of Spain made Comptroller of the Fortifications in the Low-Countries. An extraordinary Artist he was in small Figures, his Painting much valued, by many eminent Persons for their rarity.

81. Iohn Baptist Van Heil,

Brother of Daniel Van Heil, a good Painter of pieces of Devotion, Poetical fictions, and Histories, was born at Antwerp in the year 16 [...]9.

82. Iohn Van Thelen

Born at Malines Anno 1618 a Person by birth noble, a dis­ciple of the famous Daniel Segars, of whom he learned to be a very good Flower-Painter.

83. Peter Meert.

A Painter of no mean reputation, as several of his Pieces to be seen in the Churches and Halls belonging to the several Companies at Brussels do sufficiently testify.

84. Iohn Peters

Was born at Antwerp in the year 1624 where he continued most part of his life, Painting Sea Pieces, Calmes, Tempests and Sea-Fights, also Townes Castles &c. Very finely, much after the manner of his brother Bonaventure Peters.

85. Iohn Vender Hecke

Was a famous Flower-Painter as also of Fruits, Beasts, Birds &c. both great and small; after he had spent some time in Italy, in the service of the Duke of Bracciano, he returned to Antwerp, and there ended his days.

86. Luke Franchoys,

Born at Malines, a skilful and renowned Painter in great Designs, and drawing Persons to the life.

87. Charles Van Savoyen,

Born at Antwerp, lived for the most partin Holland; an ex­traordinary Artist in small, especially naked Figures, which were much valued: This Head is of his own Etching.

88. Peter Van Bredal,

Was born at Antwerp Anno Dom. 1630. His Paintings are generally very pleasant and sine.

89. Henry Vanderhorcht,

Born at Frankendale in the Palatinate, from whence he re­moved to Franckfort in the year 1636. The Earle of Arundel passing that way in his Embaisy to the Emperor, took him with him, and employed him in Italy in collecting what rari­ties could be there procured, and afterwards brought him to England, where he continued in his service till the death of the said Earl; after whose decease he was preferred into the Service of King Charles the second then Prince of Wales

90 Iohn Myssens

Born at Brussels 17 May 1612. His usual residence was at Antwerp, where, besides many things which he Painted to the life with singular Judgment, he traded much in making and selling Prints, in the knowledge whereof he was very skilful; To all which as you see in many of the heads of this book, he usually put his name in this manner, Jo. Meyssens excudit.

91. George Van Son,

An Excellent Painter of Fruit and Flowers at Antwerp, where he was born Anno. Dom. 1622.

92. Iohn Baptist Van Deynum

Born at Antwerp, in the year 1620. His excellency lay most in painting small Figures to the life in Water-colours. He was honoured by the place of his birth, with the command of a Company of their trained-bands in quality of a Captain.

93. Iohn Van Keyssel,

Born at Antwerp 1626. a curious Painter of Flowers, and little Insects, &c. which are much esteemed.

94. Henry Berckmans

Born at Clunder near Willemstadt. Was the disciple of Wou­verman the famous Battle-Painter at Harlem, and of Thomas Willeborts, and James Jordaens at Antwerp; His Pieces are much valued, especially his Faces by the life: He lived at Middle­burgh in Zealand.

95. Simon Voilet

Was born at Paris, Jan. 8. 1586. He began to be taken no­tice of, before he was well fourteen years of age, and travailed when very young to Turkey, at the instance of the Baron de Sancy Ambassadour of France to the Ottoman Port, the said Am­bassador taking him in his retinue to draw the Grand Seignor's Picture, and the most considerable places about Constantinople; but Voilet at his arrival, finding the difficulty of performing his Design, by reason of the Turkish Laws, was forced to take a quite different method, from the usual practice, and to imprint in his mind by the force of Imagination the Sultans visage, such as he observed it to be, in his attending the Ambassador at his audience, and at other times; which he did with so much Accuracy, that his Draught of it afterwards when retired to his Chamber, according to those Ideas he had before con­ceived, appeared to resemble the Original as exactly to the life, as if the Sultan had sat on purpose for it: This was look't upon to be so extraordinary an effect of Ingenuity, that he was richly rewarded for it, and was so generally esteemed and applauded by men of Judgment, that divers Copies were made of it by several excellent hands. After this he went to Rome, where he married Virginie Vezzo Vellatrano a Lady of ex­traordinary beauty, and skilful in Painting, as appears by many excellent Prints, that are to be seen after her Designs. During his abode there, he was in good esteem with Pope Ʋrban the 8th, and the Cardinal his Nephew. At length, at the command of Lewis the 13th. his natural Prince, he forsook Rome, and the glories thereof, and returned to France in the year 1628, having left behind him several Monuments of his Pencil, which were held in equal reputation with some of the best in Italy, and placed as a Testimony thereof, in the Church of St. Peters at Rome, where nothing that is common is suffer­ed to come: His first Imployment in his native Countrey was at the Palace of Luxembourgh, which he adorned with many curious Designs. He Painted several fine things for the Lou­vre, and for the Galleries and Chappel of Cardinal Richlieu's Pallace, and also in his Castle of Ruell; for the Mareschal d' Effiats fine House at Chilly, for the Queens Baths, and at St. Germains: The King himself was so delighted with the charm­ing Beauties and Ornaments of his Painting, that he would needs learn of him to handle the Pencil, and often employed his Royal Hand in Drawing of Pictures, which he bestowed a­mong his Favourites after he had taken the Pleasure of doing them, The King of England had so great a fancy for him, that he endeavoured by many Sollicitations to get him into his Service, but could not prevail; yet Ʋouet sent him some of his Pieces, as an acknowledgment of his respect and vencrati­on for so great a Prince. He died at the age of 59 years, to the great grief of a multitude of his Disciples, who in imita­tion of him have raised Painting to as great a pitch, and made it as renowned in France, as in any other part of Europe.

96. Peter Testa,

A famous Roman Painter, excellent in his Designs, especial­ly his Bacchanals, was unfortunately drowned in the Tyber; whether by accident, or, as some say, that being Melancholly he thre himself in, is uncertain.

97. Peter Breugell

A great Painter of Bows, &c. for his extraordinary hu­mour in representing several Scenes of Hell, the Fables of Tantalus, Prometheus, Ixi [...]n, St. Anthonies Temptation, and the like, was Sir-named the Hellish Brugell.

98. Cornelius le Brun.

Chief Painter in Ordinary to the present French King Lewis XIV. Rector and Chancellor to the Royal Academy of Painting and Sculpture in France: His way of Painting is ge­nerally very pleasant, his Designs great and noble. Amongst the many glorious Ornaments of his Pencil with which France is at this day enriched; Constantines Triumph over Maxentius; The Stoning of St. Stephen; The Slaughter of the Innocents and the Battle betwixt Darius and Alexander, with Alexan­ders Triumph, in several Peices, are most considerable; but above all, that of Alexanders going to Darius his Tent, seems to challenge the precedency, in which is an example on the one side, of the Instability of Fortune, in the Mother, Wise, Sister and Daughters of Darius, who from the heighth of happiness and honour, saw themselves in one days time reduced to the extremity of Misery, expecting nothing but Death, or what was worse, Captivity and Slavery; on the other side, of the great Clemency and Moderation of Alexander towards these unfortunate Princesses; the Conqueror, at his first entrance into the Tent, seems to be stopt both by Syfigambis the Mo­ther of Datius, who throws her self at his Feet, and by a Melancholly Scene, that presents it self to his view, of several dazling Objects that seem in various postures to expect their Sentence; in each Face appears so much Majesty and exquisite Beauty, mingled with an intense Sorrow, so lively, and with such variety expressed, that it is hard to discern which is greatest; and he must be very insensible, that can forbear be­ing moved by the one, or charmed with the other. Alexan­der seems at first sight to have laid aside all the roughness of a Soldier, and by the gentleness of his behaviour, and the mildness of his looks, as it were, to promise not only security to their Persons, but all the respect that could be due to their high Birth and Quality; so that from henceforth the Vanquished may be said to be the Victors. In short, this rare Artist seems to have screwed up his Fancy to the highest pitch, to express a vast variety of Ornaments in one Groupe of Figures: The Drapery is all over magnificent and rich, suitable to the Persian Grandeur, and the Luxury that then reigned amongst them; the Colours strong, the Lights large and great upon the foremost Figures, and then by little and little falling softer and decreasing under the Tent, which at the end causes a dark ground, and altogether gives a fine harmony, and an amiable Grace and Lustre to the whole, which appears round as Corregio, elegant as Raphael, and soft as Vandyke used to do.

99. Cornelius Danckers de Ry.

From Painters our Book now leads us to other Artists, no less renowned in their several Arts. He was born at Amster­dam in the year 1561. For full forty years continued Master-Mason and Architect of that famous City, succeeding his Father Cornelius in that Employ; during which time he finished a great many noble and superb Edifices, to the great Improve­ment and enlargement of that City: He built the New Port at Harlem, the three New Churches there, the Exchange for Mer­chants and innumerable other Ornaments to the said place: By great study and experience he invented a way to build Stone-Bridges upon great Rivers, without stopping or divert­ing the Current of the Stream, a proof whereof he made up­on the River of Amsterdam, in the year 1632. by a Bridge 200 Feet in length, and standing upon 7 Arches. He died Anno. Dom. 1634, aged 73 years.

100 Cornelius Cort

both in Holland, in the year 1536. an admirable Master in the art of Graving, which tho it be the same with Painting, as to us Design, yet differs very much from it in the Practice; for the one is performed by the gentle touches and pliableness of the Pencil, the other by the sharpness of the Steel and a steady hand; Painting has its perfection in the natural application of the Colours to the body they should represent, the other only in describing its Contours, Relievos, Lights and Shadows, and though it be reduced only to [...]lack and white, or rather as Artist call it, to Clair-obsture; yet it represents the Superficies of bodies their Form and Roundness, with no less beauty, force and elegance, then the best of Pictures. He made Italy for along time, the place of his residence where he graved the Designs of Raphael Ʋrbin, Titian and others. He died at Rome. Anno. Dom, 1578.

101. Theodore Corenhert

Was also an excellent Engraver after the Designs of Martin Hemskirk and others. Was born at Amtterdam, in the year 1522. Was also a good Poet: He died Anno. Dom. 1590.

102 Henry de Keyser,

Born at Ʋtrecht in the year 1565. Was Architect of Amsterdam, and one of the best Carvers in Holland, of which that Magnifi­cent Tomb of the Vrince of Orange at Delft and the Town-Hall, of Amsterdam are sufficient Iustances. He died in Amsterdam. 15. May 1621.

103. Iohn Sadeler

Was born a Brussells in the year 1550. attained to a great excellency in Graving, by his own meer Industry without any to instruct or direct him. His performance is with much Sweetness and subtilty, as appears by what he has done for Martin de Vos and others. In the year 1588, he went to Franck fort and after he had spent some time there, he remov­to Munichen where the Duke of Bavaria honoured him with a Gold Chain and a Medal. In the year 1595, he went to Ve­nice where he died of a fever Anno Dom. 1600.

104. Ralph Sadeler.

Brother of John. Born also at Brussells Anno Dom. 1555. a very fine Graver as may be seen in his Works, particularly in the Jesuit Raderus his lives of the Bavarian Saints, a book chiefly remarkable for its enrious Cutts; also the Book of Hermits, which he and his brother John together graved. He sometimes painted also as well as graved. He accompanied his brother John in his travels to Munichen, and to Venice in which place he also died.

105. Iames Matham

Son in law to the famous Henry Golizius, of whom he learnt to Grave, and attained to great perfection in that art. Was boru at Harlem 15. October 1571. and died 20. January 1631.

106. Iames Francquart.

A person of an indefatigable Spirit, so thirsty of Honour that he applied himself with incredible diligence to Painting, Ar­chitecture, Geometry and Poetry all at one time. After he had satisfied his curiosity in viewing the rarities of Rome, he was chosen Architect to the Arch-Duke Albert and the Infanta Isa­bella, In which Employ, he continued till the death of the said Arch-Dake; after whose decease he employed the utmost se­crets of his art and skill in erecting to his Memory that stately Maus [...]leum which is to be seen in the Church of St Gudule in Brussels, a work so noble, and magnificent that it was thought worthy to be the subject of a Book, containing a description thereof, and the Pomp of his Funeral Solempnity, in Copper Cuts. He was likewise Architect and Ingenier for the Town of Brussels: The form of that magnificent Church of the Jesuits which stands there, and is reputed one of the best contrived in the Low-Countres, is of his Design and ordering. Being a man of no less subtilty in Contrivance and Invention then he was industriou, she invented a little steel Engine, which with the noise it would make by the motion of certain Springs at a determinate time, should wake him at what hour of the night soever, he intended to rise, being set for it accordingly; and at the same time would light his Candle, by means of a little Match dipt in brimstone, which took fire at the striking of the Machine: After he had lived long time at Brussels in much Splendour and Reputation, he died to the great grief of all true Lovers of art in the Low-Countries.

107. Giles Sadeler.

Nephew to John and Raphael was the best Engraver of them all, though they are not without their due praise, inso­much that he was esteemed worthy to be Eugraver to three of the German Emperors successively, to wit, Rodolphus, Mat­thias, and Ferdinand the Second, and was not only an incom­parable Graver, but a very good Painter, oftentimes Design­ing and drawing to the life with his Pencil, several things which he afterwards engraved. He lived at Prague in Bohemia, and there died, Anno Dom. 1629.

108. Henry Hondius,

A good Engraver and Defigner, born at Duffell in Brabant in the year 1573. He was by extract Noble: Having an incli­nation to this art, he set himself to follow the Iustructions of John Wterx, He studied likewise the Mathematicks, Geogra­phy, Perspective, Architecture and Fortification under the directi­ons of the samous Samuel Marelois and others, in all which he attained to good experience, as appears by his Prints, He lived usually at the Hague.

109. Peterd Iode, Senior

Was born at Antwerp, and brought up by Goltzius; a rate Engraver and excellent Designer; dwelt for a long time at Rome, where he made several curious Designs. In the year 1601, he returned to Antwerp his native place where he died 9. August 1634.

110. Paul Pontius

Was born at Antwerp in the year 1603. Was first brought up by Luke Vosterman, after which he lived with Rubens. Was an admirable Artist as appears by many of Rubens his Designs, Vandyke's Heads, and other curious Prints engraven by him.

111. Luke Faydherbe

Was a famous Statuary and Architect, brought up by Ru­bens, under whose Instruction, none ever came but proved excellent, in some Art or other. He was born at Malines, where hsi abode for the most part was.

112. Peter d' Iode, Junior.

Born 22. November 1606. at Antwerp, where he lived under his Fathers instruction, proved a very delicate Graver; at Paris he and his father together engraved some choice Pieces for Monsieur Bon-Enfant and the Sieur L' Imago. Many fine Prints are to be seen of his doing after Rubens, Vandyke and others.

113. Iames Callot

Was a Gentleman of good esteem in Lorrain, born at Nancy in the year 1594. His father was Herauld at Armes to the Duke of Lorraine. In his youth he learned to Grave of one Croce, who made the stamps, by which the money of that Countrey was coined, after which he sojourned for some time with a Painter of Lorraine of sufficient ability; who taught him to design well; by whose Instructions having attained a com­petent skill and Judgment, he travailed, in Company of some Gentlemen of Holland, to Italy, and dwelt a considerable time at Rome; there he applied himself to Etching, finding that more easy to him, and his performance in it freer then Graving; Which he did with so much application and industry, that his works were finished to a Miracle, and became the admiration of all, that had eyes to penetrate into the delicacy and beauty of them: The Duke of Tuscany one of the most curious and magnificent Princes, at that time in Europe, sent for him to Florence, and lodged him in his Palace, near his own Apartment, that he might have the satisfaction of seeing those delightful Curiosities, he was continually at work upon. Here it was, that he Graved, The great Market place at Flo­rence, with so much art and skill that it is not easy to give it it's due commendation: His Miseries of War, The History of our Saviours passion, The Temptation of St Anthony, with a multi­tude of others, show that he was the Miracle of an Artist for Miniature, and had not his fellow in this kind: He was after­wards sent for home, by the Duke of Lorraine, where he marri­ed a Lady of great beauty, rich, and young, with whom he lived the residue of his life in much content and satisfaction. He died much lamented at Nancy 23. Mark 1635. Aged 41. Years, and was buried in the Cordeliers Church, where his loving Consort caused a sumptuous Marble Tomb to be erected to his memory, with his Effigy and Coat of armes viz. Five golden stars in a field azure.

114. Leo Van Heil,

A famous Architect at Brussels, where he was born, Anno. Dom. 1605.

115. Peter Verbrugghen

Was renowned for his rare faculty in Carving all manner of [Page 9]figures in Stone: He lived at Antwerp the place of his birth.

116. Simon Bosboom,

Born at Emden, in the year 1614. a very good Architect and Mason in the service of the Elector of Brandenburgh.

117. Wencestaus Hollar,

Born at Prague in Bohemia, 1607. Was much addicted to working in Miniature and Erching, wherein he proved fa­mous. The Earl of Arundell in his return from Vienna, brought him with him to England, where he lived for some time till the Wars broke out, and then he retired to Antwerp, and there died.

118. Aertus, Quilinus

Born at St. Trude in the Countrey of Liege; An Excellent Architect and Carver in Stone, Wood &c. lived at Antwerp.

119. Stephen de la Belle.

Native of Florence in the year 1614 a very good Painter in Water-colours, and of rare performance in Etching: Was a per­son, of great Judgment, and fruitful Invention. Had the hap­piness to be brought up by the incomparable Callot. His Prints are to be seen in great abundance.

120. Dirick Corenhert.

Brother of Theodore by are as well as nature. Both living for along time together, and performing Designes of like nature

121. Richard Clolin.

Born in the year 1627. A good Geographer, Mathematicion and Graver. His chief business consisted in making and grav­ing Maps and Geographical Tables.

I. Masaccio,

BORN in Tuscany: Was the first that gave a sort of action to his Figures, inspiring a certain Aire of life never before seen in Paint­ing, taking thence all that stiffness which made them formerly look as if they represented life­less Statues, rather then living substances. He had also a peculi­ar excellency in Drapery, retrenching all that confusion which used to render it cumbersome and useless. He Painted many fine things both at Florence and at Rome, of all which the most remarkable was a Piece of St. Peters baptizing several Persons in a River naked, amonst which there is one which appears so prettily and so naturally, as it were, to quiver with cold, that one would think he saw plainly the shaking of the members and the shivering of the skin: And indeed such a marvelous elegance and dexterity attended all he did, that his Example served as a sput to the Industry of Michael Angelo, and Raphael Ʋrbin, and kindled that glorious heat in them, that gave life to their incomparable Workes. But that which was most to be admired was that he performed so many famous things in the compass of a very short life, dying before he was well 26 years of age. This flower being unhappily nipt in the bud and base­ly poisoned by a malitious Villain.

II. Ant [...]nio de Corregio.

Born in a little Village of Lombardy; A Painter of great diligence and indefatigableness, who having not seen the beau­ties of Rome or Florence, yet made the Roman Majesty appear in his pictures and that force that used to be seen in those that came out of those flourishing Schools, neglecting nothing that would add a grace and lustre to his Workes: In the Capuchins Church at Parma was the Annunciation Painted upon the Wall in Fresco, so rich a Piece that when the said Church was to be re-edified, they took care with incredible pains and cost to remove the whole Wall entire, lest they should lose or de­face so rich an Ornament; There is a Nativity of his most in­comparable fine, where the Body of our Saviour appears all resplendent with light, with which the Shepherds seem to have their Eyes dazl'd, covering their faces with their hands in a decent manner, as not being able to endure the brightness of those Rays. A Chorus of Angels appear hovering about them in the air, and seeming to celebrate this glorious Birth with a harmony that one would think nothing less then the hand of an Angel could represent it so artificially. Julio Romano used to say of some of his Pieces, that he could not have thought art could have gone so far. Besides the delicateness of his Co­louring, he gave such a roundness to the Members, and such a delicacy and art in the hairs, that the most accomplished pens were at a loss to describe the elegance of his Pencil and the ravishing tenderness of his Nudities; such is his Venus drawn in a pleasant Landskip, accompanied with Cupids, who are whetting a couple of Arrows on a stone, one headed with Gold, the other with lead, hard by is a fountain, pleasantly Spouting forth Water, which washes the feet of the Goddess, and causes her to seem so really to shiver, that one connot be­hold it, and be altogether unconcerned; This rare person having one day overheated himself in a Journey and drinking cold water by the way fell sick of a fever and died, in the year 1512 being but 40 years of age. Upon which one made the following Verses, which for their elegance ought not to be forgotten.

III. Raphael Vrbin,

Sirnamed so from the place of his birth, which was on Good Friday Anno Dom. 1480 A person of so sweet a disposition and of so great beauty both of mind and body, that from his Infan­cy to his death he was tenderly beloved by all that knew him; Having heard of the great fame and emulation that was be­tween Michael Angelo and Leonard de Vinci he travailed to Florence, where the Examples of those great Spirits so awak­ [...]ned his Industry, that he resolved to do his utmost to equall their Renown, if it were not possible for him to exceed it: At Florence he met with all that he could desire, to satisfie his generous thirst of Glory, and with extream diligence copi­ed all that he could find there worth his Curiofity and la­bour, Adding thereto some Inventions of his own; At length believing Rome to be the firtest Theatre for him to discover his Excellency in, he offered his service to the Pope, by the recommendation of Bramante his near relation and the Popes Architect. The Pope when he saw the charmes of his Pencill was ravished with the sight, preferring him before all others, and indeed nothing was ever seen to equall what he has done nigh the Belveder, where he represents Mount Par­nassus and the Quire of Muses in such a manner as has given astonishment to the ablest Painters: The Fountain of Helicon is environed with a Wood of Lawrell, the leaves whereof seem to move as being agitated by the blowing of the gentle Ze­phyrs, in the Aire are many winged Cupids flying to and fro, and gathering the Branches of the sacred Wood, to compose thereof Garlands for the Muses and the Poets, who appear sit­ting beneath at the feet of the sacred Sisters, singing such divine songs as were inspired by them, There is Virgill, Ovid, Ennius, Tibullus, Catullus, Propertius, and blind Homer amongst the An­tients, Sappho, Dantes, Petrarch, Boccace with several others among the Modern, whom one can hardly believe but are all a live they appear so natural. There is a delicious Landskip ad­joyning [Page 10]adjoining which so pleasantly deceives the sight by its ingenious variely and its distances, that it seems sufficient to invite the beholders to take a turn in those Enameled Meadows and to seek the Pleasure of those shady Groves that present them­selves to view, with so many charming excellencies and De­lights. And it may be truely said of him, that he hath heap­ed together in his Works, all that he could conceive to be sublime, and all those accomplishments the hand is capable of performing. Whilst the Divine Raphael (as he is usually called) displayed here the Treasures of his Art. Michael Angelo was at work on the other side of the Popes Chappel, where he kept himself so reserved, that the Pope himself could scarce get admittance to see his Work, yet Raphael, found an oppor­tunity by the means of Bramante to make his observations of it; which when he saw, he much admired at the strength and boldness of his Strokes, in which he strove to imitate him, so that there arose no small emulation between these two famous Rivals, yet their way of Painting was very different, for Raphael fearing he could not be able to equall Michael Angelo in the strength of his Musculous Nudities, set himself to excell him in the design, and ordering of his Histories, in the loftness of his Subject, the amiable sweetness of his Figures, and the beauty of his Faces, and also in a lively expression of the Passions of the Soul in all which he not only surpassed his great Competitor, but all that came after him Tis reported there is a Piece of his, which he made for the people of Palerma, of Christ bearing his Cross, which was shipwrackt in the Vo [...]age, and afterwards recovered unhurt out of the Water, and being sent to Palerma, was by the people of that place carried to Mount Olivet, where it is said to remaine to this day, and is more adm [...]red by Strangers that pass that way, then the slaming Vesuvius or any other the singularities of that Countrey: There are also some curious Pieces in Cartons now in England, that were designed for Tapistryes, which are by the command of their present Majesties King Widia [...]n and Queen Mary lately set up in Hampton-Court, representing the History of Ananias and Saphira, St. Peters walking to our Saviour upon the Water, St. Pauls entertainment by the Inhabitants of Melita after his ship-wrack, and other Scripture Histories, by the hand of this excellent person. Neither must his School of the Philosophers be forgotten: In which is contained a description of the seve­ral sorts of learned men and Philosophers in the World, dis­puting with each other; in one place are the Astrologers making figures and schemes which they send by the Angel, to the Evangelists to be explained; amongst the rest is Dio­genes with his Cup, which Figure is most excellent, Plato with his Timaeus, and Aristotle with his Book of Ethicks; it is not to be expressed how earnestly and intently the Astrologers and Geometricians are, severally handling the Instruments of their particular Sciences, amonst them is a beautiful young man, who seems with his Arms extended and other Gestures to ex­press his admiration, by this is meant Frederick the second Duke of Mantua, who was at Rome when Raphael painted i [...] there is also Bramante the Popes Arc [...]itect, drawing lines upon the ground with Mathematical Instruments, Zoroaster with a Globe in his hand, and last of all Raphael himself who appears with a modest look; in every Figure there appears so much life and Spirit that makes it incomparable. To conclude, He was a person of a Noble and generous Soul, amiable in his Conver­sation, delighting naturally in doing good, well versed in History both sacred and profane, of which he made good use in all his Works; He died young in the 37th year of his age, on a Good-Friday, the day he was born on.

IV. Andrea del Sarto.

Was one of the most eminent Painters of Florence, which he attained to be rather by his earnest application to business, and the vivacity of his Spirit, then by the Instructions of his Master: Having attained to a good sufficiency in the Art, he was employed by Pope Leo the 10th to Paint the Triumphs of Julius Caesar, in his Palace of Pogio, together with two other Painters, who not being able to come near his elegancy, were forced to desist from the design, and to leave the whole glory thereof to him alone: He was extraordinary good at Inven­tion as is manifest in those Pieces which contain the story of St. Philips life where he drew arnonst other things, certain Gamesters under a Tree, who for their swearing and blas­pheming, being reproved by St. Philip, instead of reforming derided his Admonitions, when on a sudden two of them are killed by a Thunderclap and the rest terribly frighted, and that the dreadful effects of this sin might appear more amazing, with wonderful art, he drew a woman, running out of her House, at the noise of the Thunder, as if she were frighted out of her wits, also there is a Horse broke loose at the same Noise, who leaping and bounding in an extraordinary man ner expresses the disorder of the whole, very naturally and strong: likewise in the story of St. John Baptists life, where he represents him preaching in the Wilderness to the Multitude, and shows in the burnt hew of his person the austerity of his life, and particularly the air of his countenance is full of Spirit and Zeal, the Auditors appear with great attention (which is variously expressed in several looks and gestures) as astonished at his Doctrine, and when, he comes to bap [...]ze them, 'tis [...]atvellous to see what hast some are making to strip themselves, others appear already in the Water, but all discovering their earnest desire of being cleansed from their sins. He is much esteemed by the Italians to this day, for his rare Pieces which the Florentines preserve with much care and respect, and this they have shown upon all occasions, even in the midst of the sury and insolence of the several Factions that took their turnes there; for when they carried fire and desolation through the Suburbs of the City, they took care to preserve those Pieces of his hand, which were in the Monastery of St. Salvi, even when they spared not the Churches, nor the Cloisters themselves: Frede­rick Duke of Mantoua had a Copy, by his hand, of Pope [...]eo the 10ths Picture done by Raphael which was in the Palace of the Medicis in Florence, and this Copy was the more esteemed, because it was taken for the Original, Julio Romano seeing it in this Princes Closet, could not forbear saying, That it was one of Raphaels Master-Pieces; and this his mistake was not recti­fied until Vasa [...]i showed him the name of the Copier on the reverse of the Picture: One of his most accomplished and best Fieces is Abraham's offering up Isaac, which he did for the King of France: but it happened not to come into his hands, being otherwise disposed of into the Island of Sicilia, hard by Naples: During the fiege of Florence some Commanders that were in the city, having run away with the publick money; order was given, to have them exposed, by being [...]ainted up­on the Front of the Palace of the [...]odesta: and Andrea was de­fired to do it; He excused himself in publick, and gave the doing thereof to one of his disciples, but notwithstanding pri­vately went every day in at a Hole made in the Wall, and came out again by night, so that the work was by him so finished, that the Persons might be known by every one, and seemed to be alive. But afterwards, the Government ordered them to be wip [...]d out, having received satisfaction for the offence: He died of the Plague at Florence, aged 42. years:

V. Leonard de Vinci.

So many and great were the advantages that this famous person received at his birth, both of mind and body, that he may be lookt upon as a Miracle of nature; for besides au ex­traordinary beauty of body, and so wonderful a strength that hewas able with his hands to snap in sunder an Horse shooe, or a Fire-fork, he was [...]ndued with so sharp a Wit, and so subtle and piercing an understanding that he no sooner appli­himself to the study of good Letters, but he became in a short time very skilful in the Mathematicks, Geometry, Musick, Paint­ing; Musick first charmed his soul with its divine Harmony, and having naturally a sweet voice, he often took delight to joyne it to the sound of his Violin which he touched with that dexterity, that made his Musick to ravish the ears of those that heard it; but Painting was the Mistress he most adored, for which reason his father in his youth put him forth to Andrea del Verochio a famous Florentine Painter, who was a [...]onished at his bold beginnings, Verrochio having begun a piece of the Baptism of St. John, ordered Leonard to paint an Angell hold­ing up a Curtain in one part thereof, which he performed with such perfection, that it far surpassed his Masters work, who for vexation to be excelled by his disciple, thence forth abandoned the Pencil. When he was weary of Painting, he used to busy himself, in finding out ways how to levell Moun­tains or make passages through them from one Valley to ano­ther, as also by Machines of his inventing to raise prodigious Weights, draine marshes and such like projections of his working Braine. One day his father being returned from his Countrey house was desired by a friend of his to get him a Target painted by his Son: whereupon remembring what [...]e had read of the Gorgons head and Medusa's shield, he got to­gether a Collection of Serpents, Lizards, and such like Ani­mals, from all which put together he made up the figure of an Horrid Monster whose head, instead of Hairs, was full of Ser­pents, hizzing out of a dark Cavern with their poisonous breath, and sending forth fire and smoke out of its mouth in such a frightful manner that nothing could be more terrible, His father coming into his Chamber to see what he had made upon the Buckler, was so frighted when he saw the Piece which Leonard had placed on purpose in an obscure light, that he recoiled back and could not be induced to enter into the [Page 11]room till Leonard told him it was only the Piece he came for, which his father wondring at, caused another to be made to conten: his friend, and sold it for 300 Ducats to the Duke of Mi­lan. After this the said Duke sent for him, to Milan, where he Painted for the Dominicans there, that admirable Piece of our Saviours last Supper, in which the Countenances of all the Apostles are wonderfully expressed, but especially the two James's in whom there appears so much Majesty and Grace, that endeavyouring afterwards to express our Saviours, he was forced to leave it unfinished, for having a long time pon­dered upon this glorious Subject, he thought his Art was in­sufficient as not having force or elegance enough to represent the ravishing beauties of that divine Face: The Apostles in different expressions of their concern and passion seem very inquisitive and doubtfull who might be the Traytor: And de­signing to represent Judas with the most lively image of the Treason he plotted in his Heart, he took a great deal of time to consider by what Strokes he might represent this Apostate black enough. The Prior of the Convent being vexed at this delay, and thinking he neglected it when he saw him some­times half a day doing nothing but looking upon his Work, that he complained thereof to the Duke, who asking Vinci the reason of it, He replied, ‘that a Painter ought to consider diligently in his mind what is agreable to his purpose, before his Pencill goes to work, that he wanted but two Countenances to fin­ish, to wit, out Saviours and Judas's, for our Saviours he had in vain attempted with the utmost of his skill to represent with that Majesty and worth it ought, the adorable countenance of one who was both God and man, but that he believed hehad now found a means to give Judas his true resemblance, and that he thought the surly and malitious look of the Prior would serve him as a fit pattern for that subject:’ and indeed represented some of the fea­tures of this ignorant Priest therein, to his great discontent; The whole work is a Masterpiece of incredible diligence, inso­much that the very Cloth of the Table is done with so much exactness that Linnen it self, shows not better or finer. He had a marvailous dexterity in drawing persons and humors by the life from those Ideas he conceived of them upon a transi­ent view, an example whereof he gave, in the merry postures of certain Clownes which he had a mind to describe with their ridiculous gestures, for this purpose, he invited several Rusticks to a splendid Feast, and having made himself and them merry with the jaice of the Grape, he uttered several Comieal Fancies amongst them, making them laugh heartily at his facetious Jests, In the mean time he diligently observed all their gestures and deportment, and what it was that wrought such Impressions in their mind, and withdrawing to his Chamber, he painted them in their several humors with so much life and reality that it occasioned no less mirth to be­hold their several Grimaces then those Jests did, that caused them at the banquet. He was well skilled in Anatomy and wrote a Book upon that Subject, and also another of the Art of Painting which was Printed in Italian in the year 1650 and since translated into French, wherein he shows the way to perfection in this Art. He studied likewise Astronomy. When Francis the first entred in triumph into Milan, Leonard contriv­ed for the diversion of this Prince a certain Lyon cur in Wood, which by certain Springs within, stalked along in great state for many paces in a great Hall, and at length stood still be­fore the King, when of a sudden opening its breast, discover­ed it full of Flower de Lys's. Amongst the many Faces which he painted to the life, is one of a Lady of incomparable beauty, which he took so much pains in, that he spent four Months about it; and lest the Lady should be tired by such tedious sittings, or by Melancholy, obscure or cloud that brightness that shone through her sprightly looks, he got Musick and Drolls to divert her all the while, to keep her in constant chearfulness. This was so rarely, finished with such an Air of Joy and pleasantness, and the Minutest things so exactly represented, that it yielded great delight to all that saw it. Francis the first King of France gave 4000 Crownes for it and placed it at Fountainbleau, where it still remains: And the rarity of it was so admired, that the Senate of Florence having built a stately Hall in the publick Palace, made an Order to have it painted by Leonard, who being glad of this occasion to show, he was no less an Artist then Michael Angelo, in great Des [...]gns, set about it, having with much Ingenuity prepared a Machine that instead of a scaffold carried him up and down in an instant at pleasure, The Subject was, a Bat­tle of Nicholas Piccinino one of the Duke of Milan's Commanders, never was there seen such a representation of fury, disorder, and terror as appears there. Among others, there are some Gentlemen contending for a Standard, where the furiousness in attacquing and the obstinacy in defending it, is most livelily and curiously represented; in the thickest of the Conflict appears a couple of Horses raised upwards on an end, striking with their forelegs, and seeming to bite each other with that fury as if they were alive, under neath the Horses feet are two Figures short'ned, lying one upon another; the one with his Arms raised on high, doing his utmost to strike the other to the Heart with his Dagger; and the other strugling with his Arms and Legs as earnestly to avoid it; every where about it is an ingenious variety of Helmets, Breast plates, and other Arms, and Attirals of War, very agreable. After this he tra­vailed to France, where he was received by the King with great kindness: A little after his arrival, he fell sick of his last sickness, when being visited by the King he had the honour to expire in the Arms of that great Monarch, as he was raising himself to receive him with due respect; the King finding him dying, could not forbear to embrace him in his last Agony, with the utmost affection and grief imaginable for so great a loss: He died in the 65th year of his age.

VI. Francis Mazzuoli

Was Born at Parma; in his Infancy he lost both his Fa­ther and Mother, but was taken care of by two Ʋncles, who loved him tenderly, and spared for nothing in his Education; He seemed from his Cradle to be inclined to this Art, and to be born for a Pencil; He was no sooner put to School, but instead of minding his lesson, would be filling papers with divers figures, which even then he made exceeding well pro­portioned; whereupon his Relations seeing something extra­ordinary in this his Inc [...]ination, resolved not to be wanting to such hopeful begsunings, and therefore put him forth to be instructed by some of the best Painters thereabouts, so that Mazzuoli, at the age of 16, made such delicate Pictures, that it was matter of admiration to see so much Perfection and Ele­gance in the Work of so young an hand; Hearing the great same of Raphael, and Michael Angel [...], he desired leave of his Uncles to Travel to Rome, to see their Works. When he was there, that he might manifest to that Academy, that, it did not possess all the Glory of the Pencil, and the better to please their delicate Palate, he painted a Madona, with the Child Jesus pick­ing Flowers out of an Angels Bosom, with utmost care; and that he might yet merit their further applause, by some furprizing novel­ty, he drew upon a Piece of Wood, embossed in Mezzo-Relievo, his own picture, together with the Chamber he was in, and all its furniture as they appeared to him by the reflexion of a Looking-glass which was of the same bigness with his Wood, and then covered the whole with a dark sort of colour, yet something shining, that represented so exactly the transpa­rency of a Looking-glass, and the sight was so ingeniously de­ceived by it, that one could not presently discern but it was a real Looking-glass: He made for Pope Clement the Seventh a Piece of the Circumcision, in which he introduces a three­fold different light, with marvailous subtlety, one comes from the luminous body of the Child Jesus, the other from cer­tain Torches that lighten the Steps, the third from a Wide open­ing where the sight has room to expatiate it selt in a large Perspective. This industrious persons was so earnest and in­tent upon his Work, that when Charles Duke of Bourbon took Rome by Storm, he was insensible of the Town's disaster, until he saw himself surrounded with the enemies Souldiers in the Chamber he was painting in, and which was strange, these persons enured to blood and rapine, were so mollifyed with the delicate Charms of his Art, that instead of offering violence to him, they promised to protect him, and were as good as their Word, keeping him secure during all the time of the disorder and the sacking of the Town. Much after the same manner tis reported to have happened to Protogenes, When Demetrius laid siege to Rhodes, he continued all the while the Town was besieging, painting in a House he had without the Walls, Demetrius sent to know of him how he durst venture himselfe without the Walls: ‘I knew very well, said he, oh King, your Quarrel is only with the Rhodians, not with Arts.’ The King took him into his Protection, and took so much delight to see him paint, that he even neglected the care of the Assaults, and the Conquest of the Town. But to leave this digression, and return to Mazzuoli, after he had thus escaped being plundered, he retired to Bologne, where, amongst many others, he gained an extraordinary reputation, by a picture of the Blessed Virgin which he made for the Pope, in which the Virgin appears, not only with an astonishing beau­ty, but with an extraordinary vivacity of Carnation, that shows it self through a sort of yellow Muslin extreme fine; and the Head-tire is made with such delicacy and Art, that the Hairs seem loose and to flow in Curles with the wind. This Piece was so admired, that there were above fifty Copies made of it immediately, and sent through all Italy. No less curious was his Picture of the Emperor Charles the fifth with a little Boy presenting him with a Globe of the World. At last he fell to the unprofitable study of Alchimy, wherein he spent much time and mony to little purpose, and died in the year 1640, aged but 36. years.

VII. Le Rosso.

When he first set himself to Painting, he was resolved to propose none for his Imitation but Michael Angelo, and at­tained to such an habit, that his Paintings have an extraordi­nary Roundness, and are very strong; Florence, his native place, being filled with disturbances and factions, he was ob­liged to retreat to places of greater security and quiet: Fran­cis the first King of France, desiring to have him in his service, sent for him to his Court; thither therefore he Travelled, and taking Venice in his way, he Painted a rare Piece for the Poet Aretine, of the Amours of Mars and Venus. Being arriv­ed in France, he finished many curious Pieces; the most re­markable amongst them are those in the Galleries at Foun­tainbleau, some representing the noble actions and exploits of King Francis the first. Others the Histories of Cleobis and Biton, Two brothers drawing their Mother, that was extreme antient, in a Chariot to the Temple of June: Jupiter and Danae, with the Golden shower: Adonis dying in the Arm [...] of the Graces, and Venus appearing in great despair in a Chariot drawn by two Doves. The Battle between the Centaurs and Lapithees: A Venus chastizing Cupid for his forsaking Psyche: Chiron the Centaur instructing Achilles: The story of Semele's being consumed with Lightning by Jupiter: The Burning of Troy: A Tempest in a Black and dark night where amidst the light that is caused by terrible flashes of lightning, one sees the raging fury of the Sea excellently represented, and the different actions of seve­ral men, who endeavour to save themselves from the Wrack; yet notwithstanding perish miserably in the Waves: This last is esteemed the best of all that have been mentioned, and is supposed to design the misfortunes of France in the Battle of Pavia: But the rarest of all his Works is a Bacchus and a Venus in two several Pieces; in both which he seems to have aimed at the utmost perfection he was able: The Bacchus seems so delicately soft and fleshy, that it looks more like a real body then a Figure represented by Colours only; on one side of it is a Satyr who lifting up a Curtain, thrusts forward his Goatish Visage, and seems to be much pleased to behold the jolly Lad; about him are several Antique Vessels, painted some of Gold, silver, Chrystal, and Earth, as the Trophies of a Bacchanalian Combat, with so great variety of Invention, that makes it extreme pleasant: He had an excellent way of painting Still-life, of which sort one is very-famous which he made, containing all that was necessary for the service of a Royal Feast, ranging in order. Ʋtensils of all sorts, Cups, Basons, Candlesticks Salvers, Salt-sellers &c. All of such different formes, and so curious, that the King caused them to be imi­tated in silver gilt, and made use of them in his Reception of the Emperor, Charles the fifth at Fountainbleau. In fine he grew exceeding rich by the excellency of his Workmanship, living in much splendor and magnificence, keeping both men and Horses in great abundance, his House as full of sumptuous and rich furniture as the greatest Lord, himself was honoured by the chiefest of the Court, reverenced by all lovers of Art, and so beloved by the King, that he often found him more profuse in his liberality to him, then otherwise; But behold here the miserable uncertainty of worldly prosperity, in the height of all his Gran sure and Felicity, of a suddain he fell into a miserable condition by an unhappy disaster that befel him upon this occasion; It happened that Rosso was robbed of a considerable sum of money, and a certain Florentine that frequently haunted his House, as his friend, and a great lover of Art, was suspected by him of the Robbery, Rosso having great Authority, caused him to be imprisoned and put to the Torture, where he maintained his Innocency with that con­stancy that procured his Release, After which resenting the disgrace with indignation; and finding his body mangled and broken by the excess of his Tortures, he prosecuted Rosso with all eagerness imaginable, resolving to leave nothing un­attempted to have his full satisfaction and revenge; Rosso fearing the ill consequences of so s [...]erce a pursuit, and struck with remorse at the unjust treatment of this innocent person; formed a horrid design to make himself away, which he did by poison that he got a Peasant to bring him from Paris, under a pretence that he had occasion for it to make a Varnish of. The poison was so strong that the Peasant had like to have lost his hand in which he carried it. He had a great understanding in mixing his Colours, and to distribute them in the lights and shadows of his Drapery with such Art, that few have been able to imitate them. His Carnation was usu­ally very natural and full of life, and distinguished as to the Ages and Passions, with marvellous Judgment; Besides the roundness of his Nudities, he gave to every part its proper and regular motion, by true observations of the Muscles making it appear he was well versed in Anatomy, and other like necessary qualifications of a good Painter: He died Anno Domini 1540,

VIII. Polidore de Caravage.

Was born in Lombardy. In his youth he was in so mean a condition, that he was forced for his subsistance to be a Com­mon Labourer to Masons, carrying Water and other necessa­ries towards building the Galleries of Leo 10th untill the sight of some of John d' Ʋdines Works excited in him a gene­rous resolution to free himself from this unseemly Profession, and exchange it for something more glorious: A happy occa­sion presented it self to him for this purpose, by the friendship he had contracted with one of D' Ʋdines Schollars, who com­municated to him all his Masters good Instructions, and he followed his business so close, that he soon outstripped his obliging friend, and made himself taken notice of for a rare Artist: Being more addicted to study greatness of Design, than the delicacy of Colouring, he associated himself with one Pelegrine, an experienced Painter of Modena, and they toge­ther painted that curious Piece, of The City of Rome, under the representation of a Woman holding the World in sub­jecton, and to which the subject Nations are presenting their Tribute. The Wrestling of the Olympick Games in the Front of the House of Spinoli, wherein is perfectly described the strength and agility of Bodies. A sacrifice, with all its solempnity; The death of Tarpeia, by the Sabines. He also painted near St. Angelo, the Triumph of Furius Camillus; near to that The History of Phalaris, the Tyrant of Agrigentum, and the manner of Perillus's suffering the Torments of the Brazen Bull, which he himself invented for others: Also a Battle af­ter the antient manner, full of goodly Inventions: Romulus with his plough marking out the Boundaries of Rome. The Court of Savelli is adorned by him with the ravishing of the Sabines, and the defeat of Porsenna by Horatius Cocles: In Mount Cavallo, is a most curious representation of one of the Vestal Virgins carrying water to the Temple, in a Sieve for a proof of her Virginity, another, of the unexspected reliefe which Furius Camillus brought to Rome, at the very instant when King Brennus was employed in seeing the Gold weighed which the vanquished Romans, were to have paid for their ransomes. Indeed Italy never had a person, that painted more of Antiquity, or more correctly then he: He thus bestowed his time in Rome for a long space living in great content and abundance; untill the taking and sacking of that Town by the Duke of Bourbon and his Army, after which he retired to Naples, and then to Messina, where he still increased so much in Wealth, that it proved the unhappy occesion of his death, for a Sicilian which he kept in his service, casting a covetous eye upon his Treasure, took his opportunity in the Night, and strangled him with a Napkin, and after he had robbed him made his escape for some time, but afterwards this bloody Murtherer was discovered and received the due Reward of his Villany.

IX. Iulio Romano

Was the disciple of the incomparable Raphael, whom he so intirely loved and imitated that none of his disciples came nearer the designs of that renowned person: The first proof of his Ability, was in those curious paintings in Leo the 10ths Galleries, of the Creation of Adam, and The sacrifice of Noah: Raphael seeing that he wanted nothing of a compleat Painter, instructed him also in Architecture, and made him the most considerable in that Art next himself and Buonarota, and his affection towards him was so great, as to make him his Heire both of his Goods and glory, leaving his whole Estate to him and one more, upon this condition, that he should finish the History of Constantine which Raphael had begun in the Pope's Palace, judging none fit or capable but him alone to perfect a Work suitable to its first beginning: Which he accordingly set about, after the death of Leo the 10th under the Pontificate of Clement the 7th: Following his Masters design therein, he divided the History of this Emperor into four great pieces. The first represents Constantine making an Oration to his Army, upon the sight of the Cross which appeared to him in the Aire with these words In hoc signo Vinces. The second is the Bat­tle between him and Maxentius and the defeat of Maxentius, who is seen as he is drowning in the Tiber, where he was for­cibly carried by his high-metalled and unruly Horse, that flounces and makes violent struglings in the Water. The Soldiers Armes, and military Ensignes are exactly after the manner of the Antient Romans, the Patterns whereof, Julio took from Trajan's and Antonines Pillars: The next is the Baptism of Constantine by Pope Sylvester; In the 4th is the said Prince at the feet of the same Prelate, who fits upon his Pontifical chair in St. Peters Church, which appears in an ad­mirable Perspective, Constantine presents him with a Modell of Rome in Gold, as a token of his Donation of this City to the Holy See: After he had finished these he travelled to Mantoae where he was kindly entertained by the Duke, who bestowed [Page 13]on him at his first coming, a stately and richly furnished House: This Prince having a de [...]gh to build a noble Pallace for him­self, employed Julio in it, who showed upon this occasio [...]ot only his great skill in Architecture, in the order and design of the building, but adorned the inside with most exquisite rari­ties of painting. In some of the Roomes are described the Amours of Cu [...]id and Psyche; Their marriage: The Banquet of the Gods at her Wedding. Venus her anger against Cupid for forsaking her: The whole surrounded with a Work in Basso-relievo of Fesions, Garlands and Grotesque Work very curious. In the Room of an Antichamber he painted the fall of Icarus in such an Invention, that surpassed the Judgment of the best Artists. He represents him in his flight making towards the Sign Cancer and the Sun entring into that of Leo, which melts the wax of his Wings, and with the force of its Beams sets the feathers on fire, which fly about the Ayre, the smoke whereof and the crackling as they fly in sparkles looks so natural, that the sight makes a man almost think he heard them. Terrour and amazement appears in the Countenance of the audacious youth, his body looks as if it were tumbling headlong from the upper Region of the air with such a swift motion and with that force, that it seems loose from the Cieling and is apt to fright those that suddenly enter the room, he seeming to be just falling in that violent motion upon their heads: Below is the disconsolate Daedalus casting a ruefull look towards heaven, where he sees and bewails the disastrous misfortune of his Son: Although these are admirable, yet be­ing resolved to do his utmost to make something more sur­prizing, he chose for his subject, The story of the Giants en­deavouring to scale Heaven, this was wrought in another Room of the same Palace most incomparably: In the top he painted a Heaven invironed with Clouds where all the fabulous Deities of the Heathens appear in various postures expressing different passions. Juno stirrs up the Winds and Tempests, Pallas prepares for the fight, and seems to consider the success with uncertainty, Venus in a great fright runs to Mars for assist­ance, Neptune secures himself with his Trident, Apollo driving the Charior of the Sun in some confusion is stopt by the Hours, Diana looks pale and wan fearing the Heavens should be de­stroyed, Saturn runs away, to avoid the Confusion, Pan lays hold of a Nymph, that is making her escape, Bacchus, Silenus and several Satyrs are seeking places to retreat to; Ʋulcan having a great Hammer upon his shoulder, looks with much earnestness upon Hercules who is incouraging Mercury to the fight, Jupiter appeares in the top of all the Roof in an admi­rable fore-shortning, and darts his Thunder-bolts with a counte­nance inflamed with anger. Below all, is the field of Battle, the Giants appear heaping Mountain upon Mountain to climb up to Heaven, but are hindred by the resistance of some of the Gods, Jupiter disperses them with his Thunder, Briareus lies groveling under a Mountain that he had torn up with the Trees, houses, and other buildings upon it, others killed with thunderbolts lie stretched out dead in several postures, amongst the rest one lies languishing and gnawing the ground and mak­ing horrid Grim [...]ces through the anguish of his pain; through the cleft of a rock, are several to be seen flying in great con­fusion up and down the fields, which Figures appear very strong and pret [...]y by the light that proceeds from certain flashes of lightning, some are overwhelmed with Rocks, others perish under the ruines of Temples and buildings thrown down by Earthquakes: Among the rest there is a Chimney built so artificially, that one would conclude it to be part of those ingenious ruines; upon it is Pluto drawn followed by Furies, who full of terror accompany him to Hell: Several of his designs have been curiously graven in Copper-plates and published to the World in prints, of which sort are these that follow; A Chyrurgion cupping a Womans shoulder: A Madona travelling to Egypt, where Joseph holds the Ass, while some Angells pull down the boughs of the Date-trees that Christ may gather fruit: A She-wolf giving suck to Remus and Romu­lus: A great Design of a Prison, where the Prisoners are put to torture in several manners. After this Incomparable person had lived a considerable time in these Imployments at Mantua in great splendor and renown, he died to the great grief of all that knew him and his accomplishments, in the year 1546 and in the four and fiftieth year of his age.

X. Iohn D'udine.

Was brought up by Raphael who took a singular affection to him and communicated to him the most curious secrets of his Art. He was the first founder or rather restorer of an In­vention that had been lost for several ages, for it hap'ned that while they were digging under the Ruines of the Empe­ror Titus his Palace, there was discovered several subterranean Valuts, adorned with variety of Grotesk work and of Festoons in Basso-relievo, made of firm and well compacted Plaister, which appeared as sound as if it had been but lately made, D'udine marvailing at the rarity hereof, se [...] himself to consider of the composition of the Plaister, and so earnestly ben [...] [...]is mind thereunto, that after he had made divers Essays, heat last found out the secret of the antient composition of this kind of Plaister, by mingling the Dust or Powder of white Marble with Lime-stone, Raphael was the first to whom [...]e communicated his success, who perswaded him to put it, in practice in Leo the Tenth Galleries: According to his Counsel D'udine made in those Galleries several Birds, fish, and other fancies in Bosso-relievo with so much grace and Art that when it was first seen, it was commonly said that this art appeared rather in its perfection, then in its beginning: In another place of the Popes. Palace he painted a pretty intermixture of Roses and Greens, with the twinings of a Vine, through which is to be seen the Azure of a transparent skye, so that the ten­der Branches and leaves seem to hang loose from the Picture and to wave to and fro at the motion of the Wings of several little birds that are drawn fluttering about it, Art has here so lively imitated Nature, that each seem to have a real motion: As strange and rare as this may be lookt upon to be, yet what he did for the Cardinal de Medicis Palace in Mount Mario in the judgment of some went beyond it; In the Cieling he paint­ed several living creatures in Festoons very fine, in the Garden is a delicate fountain which spouteth forth Water out of the mouth of a Marble [...]lephant; about it are painted to the life a pleasing Variety of several Shel-fish and Sea-Monsters, in imitation of those he had taken out of a Temple of Neptune, discovered about that time, under the ruines of an old Palace. Hard by this was another Fountain, where Nature and Art seemed to strive which could do most to the perfecting the beauty of that solitude, out of the Cleft of a Rock, isued forth a Water as clear as Chrystal which falling by a rebound upon certain Jaspar-stones, seemed to wash of the spots, or rather charmed the sences by the mixture of its Silver froth, with the reflexions of stones of various Colours, and the sweet murmuring of its falling; In the Concavities of the rock were certain little Isicles in appearance, dangling so artificial­ly, that the Eye could hardly discover this delightful cheat; on the top of the Rock was a Lyon cut in Stone, whose hair was supplied by the Moss that grew upon it, and which, by the posture it was in, seemed to Roar: In a Gallery of the Palace of Chigy, which Raphael painted, were some Festons of Flowers and fruit s [...] finely painted by him, as well in their primitive Greenness, as in their full Maturity, that whoever saw them were apt to think they were moved by the agitation of the aire; the variety of Colours is very delightful, rejoic­ing the sight with their curious mixture which seem to trans­cend the beautiful variety of the Rain-bow; neither has he omitted to refresh his Flowers with the gentle breezes of the Zephirs, and the fannings of Aurora's sighs, who seems also to bedew them with her tears, as if she foresaw that some rude hand would soon crop them; the whole is expressed with the greatest resemblance and strength imaginable; Thus he lived delighting in this manner to employ his time, till he was very old, when both his mind and body being weakned with age, his hand wanted that vigour and elegance which he perform­ed in his flourishing years. He died Anno Dom. 1564, aged 70 years, and was buried near his Master Raphael in the Ro­tunda of Rome.

XI. Michael Angelo Buonarota

Was born 16 Mar, 1474, and descended of an antient Fa­mily of the Earls of Canossa: His Father having many Chil­dren, and but a small Patrimony, was forced to put them out to some Employment or other to get their living: Michael Angelo in his youth was much addicted to designing, and drawing Figures upon paper, which his Father taking notice of, when he was fourteen years old, put him to Dominick Ghirlandio, a painter of good repute in Florence, under whom he soon profited beyond all that were of equall standing with him, insomuch that his Master was astonished at the pro­gress he made; One day finding a design of his Masters, which was copied by one of them with a Pen, he boldly touched up the Figures and added a new ornament to his Masters design which was judged very curious: Another time Girlandio, working upon a great design in the New Church of St. Maryes, Michael Angelo for his recreation drew a design of the Scaffold, the Tools, and different postures and figures of the Workmen in their several Employments, with so much art, and ingenuity, that his Master was aston­ished at the sight, and foretold that he would one day be the Miracle of an Artist; Suitable to his excellency in painting was his ability in Sculpture, of which kind, he is much ap­plauded for an old Faune of marble, which he made for Lorenzo de Medicis, laughing with his mouth open, showing his Teeth, some whereof seemed to he wore out with rotten­ness; also the Battle of Hercules, and the Centaurs by the ad­vice [Page 14]of Angelus Politianus; a Hercules for the King of France: for a Roman Gentleman called Jacopo Gallo, a Cupid of Marble, with the figure of Bacchus, holding a Cup in his right hand, and in his left a Tygers skin, and a bunch of grapes, which a Sa [...]yr endeavours to eat of; in which figures are a mixture as it were of both sexes, they having the strength of the men and the toundness and [...]leshiness of the women: A Cupid [...], for a Gentleman of Milan, who sold it for 200 Ducats to the Cardinal St. George: These curious Works making him become famous, he was sent for to Rome, by Pope Julius the second to build a sumptuous Tomb, which the said Popede­signed for himself; but Julius dying before it was perfected, the design was obstructed, and the figures which Michael An­gelo had carved for this Monument were sent to the French King by whom they were charily preserved and put into the Castle of Equan, whence they were afterwards transp [...]rted to Richlieu Clement the seventh coming afterwards to be Pope, and designing likewise a Tomb for himself, Michael Angelo carved him five figures: The first was the Virgin holding the Child Jesus in her Armes, who turns himself very prettily towards his mothers bosome; and four others, representing Day and Night; Aurora and Crepusculum, whereof Aurora is said to be the softest thing in the world. Paul the Third being promoted to the Pontifical Chair, set him to draw that admirable piece of the last Judgment in Sixtus's Chappel in the Vatican, where the greatness of its design is so lofty, and Majestick, and the actions are so Natural, and agreable to the subject, that it is impossible to express its perfections, or give it its due charact­er; on one side is the lively picture of terror and amaze­ment, on the other side, of joy mixt with grief, fear with hope; whatsoever the Poets have seigned of the pleasures of the Elysian fields, or of the Torments of Hell, is there expressed by the bold strokes of his pencil; [...]o that nothing can look more delightful and more terrible both together: Tis report­ed, that the Pope coming one day to see it when it was nigh finished, attended by M [...]sser Biagis, his Master of the Ceremo­nies, whose opinion of it being asked by the Pope, Biagio an­swered, that in his Judgment, it was a very undecent thing to expose such a number of naked figures in so sacred a place as a Chappel, and that it was fitter to be placed in a Bawdy house then in the Popes Chappel. This displeased Michael Angelo so much that as soon as he was gone, he drew this Biagio to the life by the help of his memory, placing him naked in Hell with a great Serpent fastned to his middle, and environed with a Legion of Devills. And all that Biagio could do, could never get it out, but it remains there, as they say, to this day. This Work was eight years a finishing, at the end whereof the people thronged in C [...]ouds to see it on Christmas day 1541, and showed their admiration of the Artist, by repeated accla­mations, making the Aire eccho to the name of Michael Ange­lo. For the D [...]ke of Florence's Palace he made that curious History of the Battle near Pavia in a Cartoon: In the piece is a World of naked figures drawn as swimming in the river Arno to refresh themselves in a time of great hear, while they are thus doing an Alarme is supposed to be given by the sound of the Trumpe [...]s and Drums. Tis most pleasant to see with what hast the soldiers get out of the Water to dress them­selves in order to engage the Enemy and assist their Com­rades, who appear a far of attacqued by some of the Enemies Horse, amongst the rest is an old fellow with a Garland of Ivy about his head, trying to put on his stockings which he finds great difficulty to do by reason of the wetness of his feet, who seems to be so earnest and violent that his mouth looks distorted, and all the Nerves and museles of his body to be strained to get them on. This piece was most admirably de­signed, full of curious and strong shortnings and was the study of all the Painters of that age.

He was a person very studious, and well vers'd in the Holy Scriptures, and Historians both Sacred and Prophane; well skill'd in Philosophy and Poetry, as appears by some Commenta­ries he made upon Dantes and Petrarch, and some Italian Verses very elegantly writ by him to the Lady Marchionesse of Pesquara: As he attained to vast Wealth by his Industry, so he was very liberal and charitable towards the Poor, often giving large Sums for the marrying of Virgins that were poor: to one of his Nephews he gave four thousand Ducats at one time, and another time he bestowed on him ten thou­sand Ducats. Asking one day one of his Servants called Ʋrbino, What he would do after his death? was answered by him, That he must then endeavour to get another Master: Alas! poor man (says Mièhael Angelo) that shall not be if I can help it, and gave him 2000 Ducats to live upon. These and such like Noble Qualifications, with which he was endued, together with his Excellent Parts, made him the Darling of the Age, belov'd and honour'd by the most considerable Princes of the World; as the Emperor Charles V. Francis the I. King of France, the Duke of Tuscany, and the Republick of Venice: Solyman the Magnificent, Emperor of the Turks, endeavour'd by extraordinary offers to get him into Turky, to assist him in some Designs he had on foot: Cardinal Hippolyto de Medicis seeing him one day taken with the beauty of a Horse which was in his Stable, sent him the Horse, with [...] Mules laden with Provender, and a Groom to look after them. Thus ha­ving gained a never dying Fame, and spent a long Life in great content and satisfaction, he vielded up to Nature the Tribute which was due to her, Feb. 1 [...]th. 1564. aged 90 years, and was buried in the Church of St. Peter Major, being attend to his Grave by all the Artists of the City.

XI. Citian

Born in the Year 1480. Was the Disciple of Giorgion, whom he so nearly imitated, while he was under him, that some of his Works were not only supposed to be his Masters, but the best of them; which so anger'd him, that he turned him off, for fear he should one day eclipse the Reputation he had ob­tain'd in the Art; which yet, notwithstanding, he failed not to do; insomuch that the Senate of Venice taking notice of his Merits, made him Painter to their Republick; by which Titian was obliged to make with his own hands the Portraits of all the Doges that were elected in his time, which were to be hung up in the Palace of St. Mark. Some time after he went to the Duke of Ferrara, for whom (amongst other things) he made a Venus accompanied with the Graces, and some Cupids; who never appeared so lovely to the eyes of Paris, as he has represented her in that Piece; he painted also the said Duke as big as the Life, leaning with his Elbow on a Piece of Can­non; for which he was well rewarded, and extremely ap­plauded. After this he returned to Venice, being obliged thereunto by the Duty of his place, and painted a great many Pieces, which serve to this day for an Ornament to their Churches, and most sumptuous Houses; particularly that in the Church of St. Giovanni Epolo, of St. Peter the Martyr is most considerable; the Saint who is something bigger than the Life, appears fallen on the Ground in a Wood; a Soldier attacks him, and gives him such a mortal Wound in the Head, that the horrer of Death appears in his Face, while his Compani­on flying, shews an extraordinary apprehension; In the Air are two Angels environ'd with a sudden Glory that enlightens the Landskip; which way of embelishing his Pieces by Land­skips he learnt of the German Painters, it being a thing not usual among the Italians before: Francis the I King of France coming with an Army into Italy, sent for him to his Camp to draw his picture, the like he did for the Emperor Charles the fifth armed Cap a pee which was so highly valued that he re­cerved ten thousand Crowns for a reward. Also for an Annun­ciation, which he presented the said Emperor, he received two thousand Crowns. In the, year 1546 he was invited to Rome, and presented to the Pope by Cardinal Farnese, who ordered him a lodging in the Belveder, where seeing so many glorious productions of Art, he was resolved also to leave some Monuments of his renowned pencil, which while he was do­ing, Michael Angelo desirous to be better acquainted with a person, whose fame he had heard so much of, went often to see him, and could not deny him the praise that was due to his extraordinary merit, adding that he excelled in the round­ness of his faces and the softness of his Carnation, and that if Titian had been but acquainted with the Antiquities of Rome, he would infallibly have surpassed the greatest masters, of the age. Titian having given satisfaction to the Pope and the best Artists in Rome returned again to Venice laden with honour and wealth. At his arrival he drew Mary Queen-Dowager of Hungary A Prometheus chained to mount Caucasus; Sysiphus rolling the stone in Hell. Tyrius gnawed on by Vulturs. Tantalus gaping after the Apples that fly away from him, and other excellent Pieces of the Poetical Fictions, which since came into the possession of Phillip the second of Spaine and were put into the Escurial. Our Saviour's last Supper which he made for the said King Phillip is a piece of extraordinary beauty and very great, being seven yards long. It is almost incredible what a great number of Portraits he drew of the several Princes and men of Quality in his time. The Emperor Charles the fifth who like Alexander would be drawn by none but this Apelles, was drawn three times by him, for every one of which he received one thousand Crownes, over and above an annual pension of two thousand Crownes out of the Chamber of Naples, and the honour of Knighthood, so that he grew exceeding rich, and arrived to an high degree of honour and reputation; He was of an admirable Constitution; having never been sick in all his life-time, ever pleasant and free; His house was the resort of all the Ingenious, and persons of the best Quality, he himself being extreme well bred and courteous. He had so great a love to his Art, that he continued his Labors therein, till he was fourscore and six years of age, at last he died of the plague at Venice, in the nineteenth year of his age.

XII. Perin del Vaga.

Seemed to be most unfortunate in respect of his first entrance into the World, for his father, who had consumed a good estate in extravagancy, was forced for his subsistance to list himself a Souldier in the service of Charles the Second King of France, when he made his expedition into Italy; His wife who attended him in his misfortunes, was delivered of this Child in the Camp, in the middle of all the Army; He was not above two months old, but the mother dyed of the plague and his father be­ing forced to follow the Army, he was left alone in a Village, where he was brought up by the milke of a She-goat; and his father coming after wards to Bologna, there married a second Wife, who had likewise lost her Husband and Children by the Plague; this made her take compassion of this little crea­ture, and having milk of her own, made an end of bringing it up; It was called Peter, and afterwards Perin; and being left by the father in the hands of some relations at Florence, and they growing weary of keeping him put him to serve an Apothecary; but not likeing that Trade, he was taken into the service of a Painter, called Andrea de Ceri, who conceiving good hopes of the Lad, took all the care imaginable to bring him up, behaving himself rather like a Father then a Master to him, and at last knowing himself not capable enough to make him a compleat Artist, and finding the Boy very ingenious, he put him to Ridolph Ghirlandio, one of the best Painters at that time in Italy, who carried him to Rome, and in a little time he outstripped all the young men that lived at the same time with Ghirlandio: At length having an aspiring mind and a mighty inclination to great designs, such as he saw emi­nent in Michael Angelo Buonarota, and Raphael; he was in­flamed with an incredible desire of imitating them, as most worthy his ambition and choice; but withall considering his owne poverty and mean condition, and how that to get Bread, he must work for the Shops of ordinary Painters, it made him almost despair of ever growing considerable; but at length he surmounted all difficulties, and opened to himself a way to renown by an obstinate persisting in hard labour, and by an extraordina­ry success that attended it, for he divided the week into two Parts, working one half of it for bread, and setting the other half apart for Improvements: Having by this extraordinary di­ligence gained a mighty progress in the Art, he was readily entertained among the disciples of Raphael, who never let slip an opportunity of helping forward any ingenious Artist, and he so easily captivated the affections of that incomparable person, that he employed him in the Galleries of Leo the tenth where all the best Artists of Europe were at work in emulation of each other; He was not long amongst them, but in many things he outdid them and grew in a short time one of the boldest Designer of all Rome, understanding the Mucles and the difficultest part of the Art in naked figures: In this Galle­ry he painted the Battle of [...]osuah and the Amorites a work of, great difficulty in respect of the greatness of the subject, but it was so well performed by him, and so highly approved of that he was ordered to do several other of the Histories both of the Old and New Testament in the same place, in all which their appeared so much beauty and resplendency that made both the Painter and his work, exceedingly admired and esteemed. In the Great Hall called la Sala di Pontifici, the Ceiling was committed to him and John d' Ʋdine, which they divided into seven Ovalls in which they painted, the seven Planets each drawn by the Animal that is appropriated to them by the Poets, As Jupiter by his Eagle, Venus by her Doves, &c. To which they added the Signs of the Zodiack with several of the other Caelestial Constellations most of which figures are of Perin's hand. In the middle of the Roofe is a Round in which are four Figures like four VICTO­RIES, which hold the Popes Crowne and Keys, which figures being shortned extreme masterly are besides adorned with a most beautiful light Drapery which discovers very gracefully so much of their naked Arms and Legs, as is decent. After this he made for the Arch-Bishop of Cyprus certain Faunes, and Bacchinals: for Seignior Baldafini, the Exploits of the Romans from the time of Romulus, to that of Numa Pom­piltus: for Cardinal Bucci the Prophets Isaiah and Daniel: af­ter this He worked with Julio Romano and Francisco Penri in Pope Clement the sevenths Palace, until the sacking of Rome by the Duke of Bourbon, in which time of publick Calamity, Perin was fain to run up and down with his wife and Child, carrying them from place to place to save them from the fury of the Souldiers, and at last he himself was taken prisoner and was forced to pay so great a ransome, with such ill usage that he was like to have run mad, but at length he got over his misfortunes a second time, for Prince Doria finding him out, sent for him to Genoa to direct in the building a new Palace which he designed, and to make the ornaments there­of, Sylvio de Fiesole was employed in making the Statues, and Perin in the design of the Fabrick, and the paintings. He paint­ed in the first place several Trophies, and pieces of Grotesk and in the next the Portraits of the most emment Captains of the House of Dorin, all armed, and over them is written in letters of Gold these words, Magni viri, maxin [...] Duces, opti­ma fecere pro Patria. in another the Shiprack of Aeneas and his Fleet, in which there are naked figures, both dead and alive, great number of Galleys and vessels broken and overset, the Sea most terribly raging in high billows, the Heavens ob­secured and all the tokens of a terrible storm, the whole is surrounded with a curious ornament in Stucco Work, in the second Hall he represented Jupiter durting his Thurder-bolts at the Giants. And out of Ovids Fables he chose some of the most delightful of them to adorne four other Chambers; Some of the other lodgings were painted by his disciples from de, signs of his preparing for them, insomuch that he made that Palace to be one of the wonders of Italy, both as to the magnificence of its building and the beautiful Embelishments of his hand: It was Perins Misfortune to have dissipated in wine, and women the best part of what should have main­tained him in his old age, to repair which Error he fell into another, which was to make himself cheap, by undertaking any little piece for a small sum of ready money; so that be­ing forced to excessive labour, and yet but little coming of it, he began to grow melancholly, and having no other comfort, but as oft as he could, to get to the Tavern, with a good Companion, and there drown his sorrows in a Brisk Glass, which being a Custom he had long frequented, he at last drank to such excess that that together with some other hears of youth brought him to his end at the age of fourty seven years.

XIV. Albert Durer.

Born at Norimbergh, in the year 1470. was both an extra­ordinary Painter and Graver: In the Emperor's Palace at Prague, is to be seen a Christ carrying his Cross, painted by him with much delicacy, which the Town of Norimbergh presented to the Emperor; also the Adoration of the Three Kings; Two Pieces of the Passion; in one of which is himself painted with a Roll in his hand, with this Inscription; Albertus Durerus Noricus faciebat Anno de Viriginis partu 1511. There is also a most ravishing piece of his, of Adam and Eve; upon which an Ingenious Poet made this Witty Descant;

At Franckfort there is an Assumption of his in a Monastery, whose extraordinary beauty brings in a good Revenue to the Religious of that Convent by the great Liberalities of people that come to see it; altho he painted much, yet his chief Em­ployment was in Graving or Cutting Figures in Wood. Nei­ther was he less renowned for some Books which he has pub­lished, then for his graving or painting. Posterity will alwaies be oblidged to him for his Book of the proportion of Bodies. His Rules of Artichecture and of military Discipline is esteemed worthy the curiosity of Princes and Generals of Armies, He was of that courteous and affable temper that gained him the love and esteeme of all that knew him: the Emperors Maximilian the first and Charles the fifth especially signalized their affecti­on to him by many favors. Maximilian one time ordered him to draw some great design in his presence, upon a Wall, which being above his reach, and there appearing nothing ready at hand to stand upon, the Emperor commanded one of his Attendants, to lye down upon the ground that Albert might stand upon his back, till he had finished the outlines of his design, and left this person should think himself too much undervalued to serve as a footstool to a Painter, the Empe­ror in token how much he valued both the Art and the Ar­tist, conferred on him a large degree of honor, and imediate­ly made him noble and gave him for a Coat of Arms. 3 silver Escutcheons in a field of azure. He died in the year 1628 and was buried at Norimbergh.

XIII. Hans Holbeiu.

Born at Basle in Switzerland. His manner of painting was extraordinary and unusual, differing both from the antient and modern way, so that it seems as if he had not been excited or instructed by any Example from others but followed the dictates of his own Genius; and though it be doubted (his way being so peculiar) whether he ever saw any of the rarities of Italy or had any Master to instruct him, yet nevertheless there is nothing to be seen of his doing, but is painted to the utmost perfection as is manifest in that piece of his, of Deaths Dance in the Town-Hall of Basle the design whereof he first neatly cut in Wood and afterwards painted, which appeared [Page 16]so fine to the learned Erasmus, that he requested Holbein to draw his picture, desiring nothing so much as to be repre­sented by so Judicious an Hand. And perceiving by his rare pieces that he deserved a more plentiful fortune and a more illustrious place, he perswaded him to travel to England, pro­mising him considerable advantages from the bounty of Henry the eight a cherisher of Arts. Holbem at his request set for­ward for England, carrying with him Erasmus his picture and Letters of recommendation to Sir Thomas Moore then Lord Chancellour of England. More received him with Joy, and kept him for three years in his House; During which time he drew Sir Thomas's own picture, his wives, childrens and several of his intimate friends and other near Relations which was hung round the Great Hall of his House, where the King being invited one day to a sumptuous dinner, and at his first entrance into the Hall beholding so many ravishing objects, the pictures seeming almost with as much life as the persons they represented, who were most of them then present; and admiring at the excellency of the Workman sent for him and entertained him in his service upon very advantagious Terms. The King manifested from time to time the singular favor and regard he had for him, and particularly upon this occa­sion. Holbein being one day busy upon the picture of a Lady that belonged to the Court, a certain person of great Quality came to him to see him paint, Holbein not being willing to be disturbed, opposed his Entrance in a civil manner, but seeing he would take no denial but attempted to force his way, giv­ing scope to the brisk humour that is natural to those of his Nation, he gave him so rude a repulse that the Earle tumbled from the top of the stairs to the bottom; at the noise of his fall his Attendants flocked about to revenge the affront that their master had received, and mischief would no doubt have ensued, had not Holbein jumpt out of the Window and made his escape to the King to implore his pro­tection, which he did with so good a grace, that the King sent for the Lord and charged him upon his Allegiance to lay aside all resentment and that no violence should be offered upon the utmost perill. Some say he added words to this Effect, Have a care that no mischief befalls him, for though I can make a Lord when I please yet such a painted if lost can never be recovered. His master-piece is that of the, said King as big as the life, and represents his person so lively that this piece discovers the fierceness of his looks, and that severity in his Countenance which made him so dreaded by his subjects; He made also the pictures of Prince Edward and the Princesses Mary and Elizabeth who successively, one after the other swayed the English Scepter. He had one thing very remarkable in him which was, that he painted every thing he did with his left hand. The Plague raging in London, in the year 1554, Holbein was seized therewith, and died in the Six and fiftieth year of his age.

XV. Anthony de Montfort, Bloclant

Was descended of the Illustrious family of the Viscounts of Montfort, in the Province of Ʋtrecht; He learned to paint of Francis Floris whose good Instructions he had no sooner tasted, but he found so many charms in the Work of that great Master, and somuch reputation to follow his steps, that he never ceased imitating him, till he had attained to be a compleat Artist; He bent himself chiefly to work upon the like Noble subjects of History with his Master, after the Italian manner; endeavour­ing above all to imitate the life, to observe all the Rules of Perspective and foreshortnings, and to place the figures well, and in good order; he had an exact Judgment in the composition and mingling his Colours, so that wanting nothing that might render an Artist accomplished, there is nothing in his Designs but what is great and lofty, with all the Embelishments of Art, the truth of which evidently appears in all his Works, parti­cularly, A Bathsheba bathing her self: The History of Joseph and his Brethren are very fine: also A Venus which passeth for a Master­piece, in which, and many others, he comes so near the ele­gance and artifice of the Italians, that one would think he had been bred up in the School of Florence, when indeed he never was above six months in Italy, and had no other Master, but Floris. He died at Ʋtrecht, Anno Dom. 1583.

XVI. Henry Goltzius.

Was born in the year 1538 at Mulbracht, in the Countrey of Juliers; in his youth having the misfortune to fall into the Fire, his hand was so burnt and shrives'd that he could ne­ver after open it as it should be; however after he had en­deavoured a little to manage a Pen he accustomed this lame hand to draw so well, that his Father hoping he might prove good at Graving, sent him to learn the grounds of that Art, of Theodore Corenhert. This able teacher instructed him, not on­ly in the manner of Graving, but together with that taught him all that was necessary for him to know, both in History and Poetry, to qualify him for his business; and in a little time, with his good management, he became capable to sall to work upon his own Invention; After this he travailed to Venice, Florence, and other parts of Italy, copying as he went all that he found in the publick Monuments to be rare; but at Rome he took most pains, where he searched after rarities even in places infected with the Plague, to the great hazard of his life; At Naples he designed, The antient Statue of Hercules in the Vice-voys-Palace, and the most eminent Curiosities of the, adjacent places; amongst the rest the famous Grotto's of Pozzuoli. He imitated with such success and skill, notwith­standing the lameness of his hand, the most renowned Gravers of Europe, that he often made his Prints pass for Albert Durer's, or Lucas Van Leyden's, insomuch that the most experienced Judgments perceiving how they were deceived by his ingeni­ous way of varying his manner of Graving, called him the Proteus of the Art; The Passion is done by him after the manner of Lucas. A Madona in imitation of Durer, which he dedicated to the Duke of Bavaria, and was rewarded for it with a Gold chain and a Medal. He drew a Bacchus, with Ceres, Venus and Cupid, with his pen, upon Vellum, which is now at Rome, and is much esteemed; A Faune in the Em­perors Closet, The taking down our Saviour from the Cross, which was sent to the King of Spaine. He was no less happy in his Pencill then he was in working with the Crayon or his [...]en of which sort, his Danae sleeping by Mercury, who watches to give Jupiter an opportunity of enjoying her, and several others, are highly valued; Besides his rare painting, for which this famous Master has not come short of the best Painters of Europe, he has Graven and Published the most noted Pieces of Hem­skirk, Floris, Bloclant and Spranger; which are very usefull for those that would attain to any perfection in the Art of Paint­ing. He brought up James Matham, Peter D' Jode, and other fine Gravers that have filled Europe with their delicate Prints.

XVII. Matthew and Paul Brill

Were brethren, both born at Antwerp, and excellent Paint­ers; Matthew, the eldest, went to Rome, where he was pro­moted to be Painter to the Pope, and made in some Halls of the Vatican several Landskips in Fresco, which were greatly es­teemed. Paul envying his Brothers renown, follows him to Rome, and after his death, succeeded in his Employ. In the year 1682, he made in the Great Hall of the Popes Palace, a piece in Fresco of sixty eight foot long, representing the Mar­tyrdom of St. Clement who is bound to an Anchor, and thrown into a River. In the Popes Chamber he painted six of the most curious Prospects about Rome. Cardinal Matthio had an Hall adorned round by him with Grotesk work and Landskips, and for his Brother Hasdruball, he made six great pieces contain­ing the prospects of his Houses of pleasure; He has left be­hind him many rare designs of Ruines and other fancies which have been communicated to the World in several Prints.

XVIII. Michael Mirevel

Born at Delft in the year 1568. His father in his youth put him to a Writing-Master to learn to write, where he pro­fited so well, that at eight years of Age, he was able to write more sorts of Hands, and much neater and fairer then any Master in the Town. His father being unwilling he should lose the advantage which so happy a beginning seemed to promise, put him to learn of Wierx the Art to manage the Crayon and the Graver which this young Artist in a short time attained to do with as much perfection as he had before done his Pen, insomuch that he was not quite twelve years of age, when he graved of his own Invention The History of the Sama­tan and not much older when he did that of Judith with the Head of Holofernes. The applause which these. Works generally received; animated him with fresh courage and inspired him with a desire to try if he could be as succesful with his Pencill: To this end he went into the service of Bloclant and learnt of him all that was necessary to be observed in Colouring, by means whereof he became so eminent in painting of Faces, that he was lookt upon to be the best in the Low-Countries in that way: Of this sort the most es­teemed are, his Picture of Prince Maurice of Nassau, of the then Princess Dowager of Orange; and Prince Henry her Son, which are of an admirable roundness, and the Carnation very natural and lively. He sometimes took great delight to paint several sorts of Wild-fowle, and the Accommodations for a Kitchen; of this Sort there is one in much esteem in Delft. His painting was so curious and of such reputation, that the Arch-Duke Albert offered him confiderable advantages to draw him to Brussels; But in vain, for he being a Zealous Protes­tant, was unwilling to live in the service of a Prince of the Roman Communion.

XIX. Barthelomew Spranger.

Was the Son of a rich Merchant at Antwerp, born in the year 1546. He discovered his first Inclination to painting by drawing several figures when young in the Book of his fathers Accounts, which though his father, was very angry at, when he first saw it, yet discovering thereby the bent of his Inclination, he sent him to a Painter to be instructed, by which means and his earnest considering the paintings of Flo­ris and also by accustoming himself to reading Poetry he be­came at length a very able Painter. After he had spent some time in France in thus employing his Talent, he passed the Alpes and continued for a while at Milan: There it was that he invented and drew in the ruines of an old Amphithea­tre, A Dance of Witches which procured him so much reputa­tion, that Don Clavio having bought it and shown it to Cardi­nal Farnese; the Cardinal was so taken with it, that he offered a very honourable Allowance to Spranger, to draw him to Caprarole, that his stately Palace there, might be adorned with so curious a pencil. But Spranger having a mind to see Rome steered his course thither, and not long after his arrival there was made Painter to the Pope, and had a sumptuous lodging assigned him in the Belveder over the Laecoon: Being thus raised to honour, he raised his mind to attempt something worthy of his fortune, and in this noble heat of Spirit, he paint­ed that rare Piece of the last Judgment, upon a large Copper­plate of six foot in wideness, where there are five hundred figures perfectly diversified, and disposed after a most admira­ble Order and design, The Pope dying a little after this Piece was finished, it was placed near his Sepulchre for a perpetual ornament thereto, and to preserve the memory both of the Pope and of the Painter together: After this he went into the service of the Emperor Maximilian the second, and after his death, he was entertained by his Successor Rodolphus, and allow­ed an honourable Pension. While he was in this Empe­rors service he painted for him a curious Piece of Mercury in­troducing Psyche into the Councel of the Gods: And another upon Copper representing The City of Rome, under the figure of a Woman with the Tyber, and upon the borders of the River, a Wolfe giving suck to the two young twins Remus and Romulus. He had one extraordinary faculty, namely so retentive a Memory that it faithfully preserved the true Jdeas of au object though he had but once beheld it, by means whereof though he had omitted to draw or design the rarities of Rome when he was there, yet he made use of several of them in embelishing his most magnificent Pieces: A certain Gentleman who had a great affection for a beautiful Lady that belonged to the Coun­tess of Arembergh, and being but seldom able to get a view of her, intreated him earnestly to draw her picture, which he did, after he had seen her but once, with such exactness that resembled every feature to the life, to the no small satisfaction of the admiring Lover The Emperor keeping his Court at Prague, Spranger setled there also, and married a wife the daughter of a rich Merchant, hoping to have Children that might inherit the great wealth he got by his painting, there­upon he enlarged his House with a stately Front and de­signing it to be a place for entertainment of the Arts, he em­belished the out side thereof and the Porch with divers great Figures as big as the life. The Emperor being jealous of his working for others, commanded him to paint for none but himselfe, and thereupon sent for him to his own Palace, where he took such extraordinary delight in the inimitable strokes of his pencill that he would stand by him sometimes for hours together, to see him paint; and to show how greatly he admired the Excellency of his Art, at a solemn Feast, in presence of his Courtiers he with his own hand presented him a Gold Chaine and a Medall, and after­wards in a publick Assembly of the States of the Empire; honoured him and his Posterity with the Title of Nobility: Though his pieces are scarce any where to be seen but in the Emperors Closet, yet the ingenious Goltzius has graven and published divers of them in Prints, among others that incomparable piece of the Banquet of the Gods at the mar­riage of Psyche: And Cupid and Psyche out of Apuletus: After he had got permission in his old age to retire from Court he painted for a friend, of his an admirable piece of Ʋenus and Mercury teaching Cupid to read. Having at length survived his wife and all his children, struck with excessive sorrow for their loss, and overwhelmed with age, he soon after gave up the Ghost and followed them to their long home.

XX. Henry Cornelius Ʋroom

Was born at Harlem Anno Dem. 1 [...]6 [...] trav [...]iling in his younger years to Italy, he was entertained [...] R [...]me in the family of the Cardinal d' Medicis, where meeting with the [...]amous Paul Brill, he made an extraordinary progress in painting, from Rome he went to Venice to paint the Gall [...]ys and maritime Coasts of that Courtrey. Having been [...]ee in Spaine and [...]ound there a good Market for some of his [...], he resolved to re­turn there again with several of his [...], and try his good fortune a second time; but in his Volage there arose a furious Tempest which drove the ship he was in, on the Coast of Portugall and split her on the rocks, called [...] Barlengos, yet not­withstanding he escaped with five and twenty more though with great [...] culty. Part of the Wrecks and goods was throwne up by the waves into an adjoining River, where certain Religi­ous had a Convent near the Banks of the River, who cou [...]ing to gather up the spoils and finding amongst the rest Ʋroom's Paintings, they were so much in admiration of the beauty of them, that they could not but bewail the misfortune of those that had lost so rich a Cargoe, the pieces after they had open­ed them in their Hall, and dryed, they hung them up there, to feast their eyes with the view of such delightful Objects. In the meane time these unfortunate persons that had lost their ship, had scrambled up to the Top of a dreadful Reck, where they were not only exposed to all the rigours and in­juries of the weather, but in apparent danger to [...]dy by fa­mine; after they had been three days languishing for want of food, it was proposed by some amongst them to cast Lots, for one of the Company, to be made a Sacrifice to satisfie, the hunger of the rest. Ʋroom abhoring such a piece of Barbarity and being more ingenious then the rest, advised them to have patience a little longer, and caused a Cloth to be hung up at the head of an Oar which they had saved, to implore the assist­ance of any that might happen to pass that way: These Fa­thers who had saved the Pictures discerning the Signal afar of, set out a Skiffe to their reliefe: When they came to them and understood which of them 'twas, that had made, and was the Owner of those delicate Pictures they caressed him with all the Civilities and Courtesy imaginable, and after they had car­ried them to their Cloister and entertained them with such refreshments as were necessary, they conducted them to Lisbon, from: thence Ʋroom went to St. Ʋbes, where being ready to embarke for his own Countrey, he changed of a sudden his resolution, saying to the Seamen. That that ship would also be cast away, which accordingly hap'ned, just as it was entring into the Texell. During his abode at St. Ʋbes he painted amongst other things, the manner of his own Ship­wrack, and the Coast where he was so near to have perished. After his Return into Holland, being taken notice of for his peculiar Fancy in making the Horrors of a Storm, and of Sea­fights, delightful and pleasant, as they were the Subjects of his Pencil, he was employ'd to draw those great Designs of the Engagement between the English-Fleet and-the-Spanish Armado in the Year 1588; and the Victory which the former obtain'd over the latter, which was not only formidable for number, greatness, and variety of Ships, commanded by Captains of known Experience and Conduct, manned with great numbers of stout Soldiers, provided of all Necessaries for a long Expedition, and prepared with such cost and char­ges, that it might well seem invincible. The Grandeur of such a Subject excited the Ambition of this fine Artist to do something answerable, and indeed he has done the whole to admiration, in ten Pieces design'd for Tapistries, each con­taining what happen'd in the ten days which this bloody Con­flict lasted. The fury of the Assailants, and those that are assailed; the lightning of the artificial Fires, and the thun­dring of the Cannon, Masts flying in Splinters, Ships on fire, sinking half burnt, the Terror of the Soldiers, some pe­rishing in the Sea, others amidst the Flames, the strugling [...] of others to save themselves on Planks, or any thing they could come at, with a thousand different Objects, that both delight and terrifie together in the beholding, manifests that he was ignorant of nothing that was necessary to represent this dreadful Fight with all its becoming Circumstances. Besides what he was paid for this Piece of Work by others, he re­ceiv'd 1000 Florins of the Lord Thomas Howard, our English Admiral. For the States of Holland, he painted the 7th day of this Engagement, which was the bloodiest; which Prince Maurice of Nassau, and Justin de Nassau, Admirals of Hol­land were so pleased with, that they set him to paint the States Fleet assisting at the Battle of Newport: Vroem repre­sented it first of all moving with full Sails, in order of Battle towards the Coasts of Flanders; afterwards he shows it at Anchor in Newport-Road, firing with their Cannon suriously upon the Troops of the Arch. Duke. For this Piece he recei­ved [Page 18]an ample Recompence. After a long Life spent in these pleasant Employments, he died laden with Honour and Wealth.

XXI. Adrian Brauwer.

Excelled all that ever was before him, in expressing several Comical and Extravagant Humors: Was a person of a Jo­vial Disposition, much addicted to Sensuality and Debauche­ry. He seldom work'd but in a Tavern, where in the heat of Wine he invented things that gave a true Character of the wildness and frolicksomness of his Temper; yet with such curiousness and art, that caused admiration to the gravest and most judicious Painters. Having been robbed by certain Pirates on the Coast of Holland, and stripped of his Cloths, he got him a Suit at his Landing made of strong Canvas, upon which he painted several Flowers and Fi­gures most ingeniously, after the manner of Indian Silks; which some Ladies seeing, and taking it to be a rich fort of Silk, enquired up and down amongst the Mercets for some of the same sort, but to no purpose. Some few days after, Brauw [...] got upon the Stage in the Play-house at Amsterdam as soon as the Play was ended; and there taking a wet Cloth in his hand, he wiped out before them all, the whole Pain­ting, and by showing it was nothing but Canvas, undeceived them of their former pleasant mistake. Another time per­ceiving that his Friends slighted him for the meanness of his Habit, he ordered a rich Velvet Suit to be made him, such as the wealthy Merchants at Antwerp used to wear. A Co [...]sin of his, that happen'd at that time to be upon his Marriage, [...] ­ing him in so good an Equipage, invited him to grace the Wed­ding with his Company: Brauwer failed not to be there; and when all the Company much commended the Bravery and Richness of his Apparel, he snatch'd up a Dish of Meat that stood upon the Table, and threw all the Sawce and Grease that was in it upon his Cloaths, saying in a great rage; That it was more fit to bestow the Good Cheer on his Cloaths, since it was for their sake, and not his own that he was invited: Giving them to un­derstand by this action, though it was ridiculous and extrava­gant, that he despised them no less for their Ignorance and Folly, in making more account of the Shell than the Kernel; and in measuring the inward Deserts of men by the goodness of their Out­side and Apparel. His Cloaths being thus smeared over with Grease, he threw them into the Fire, and hasted away to the usual place of his resort, to smoak his Pipe, and drink Brandy, which he was much addicted to. When he had by his continual Excess drained his Purse, and reduced himself to Extremity, he would draw a Design of some Drunken Person or other upon Paper, and send it to the Lovers of Art; and if they did not send him the full Price he de­manded, which was sometimrs 100 Crow [...], he would throw it into the Fire, and after that was burnt, set himself to make some other odd Fancy, until by this new Frolick he had got his Demand. His Faintings were usually some Drunken Clown beaten by his Wife; or a Sottish Fellow with Pot in Hand, smoaking Tobacco: Sometimes a Knot of Sharpers playing at Cards or Dice: Some Young Prodigal endeavouring to decoy a simple Wench: Or a Drunken Quarrel: So that as Rubens and Vandyke were in his time esteemed the best for Grave and Magnificent Designs, so was he for such like Facetious Humors, which though they are not so powerful to excite Laughter, as the Picture of the Old Woman which Zeuxis painted was to him, who as Plutarch relates, beholding his Workmanship, and the Comical Figure it made, fell into such an excessive fit of Laughing, that it suffocated his Spirits, and killed him, yet the very fight of them may serve for a good Antidote against Meiancholy. He died at Antwerp in the 30th year of his Age, overwhelm'd with his Intempe­rance, and so poor, that his Friends were fain to beg for wherewithal to pay the Charges of his Funeral; although had he been a sober and discreet person, he might have at­tained to great Wealth by his Pencil, his Works were so much esteemed.