Sculptura, or, The history, and art of chalcography and engraving in copper with an ample enumeration of the most renowned masters and their works : to which is annexed a new manner of engraving, or mezzo tinto, communicated by His Highness Prince Rupert to the authour of this treatise.

Sculptura, or, The history, and art of chalcography and engraving in copper with an ample enumeration of the most renowned masters and their works : to which is annexed a new manner of engraving, or mezzo tinto, communicated by His Highness Prince Rupert to the authour of this treatise.

Table of contents

Title page

TO THE HONOURABLE, AND LEARNED GENTLEMAN, ROBERT BOYLE Eſq;

An Account of Signor Giacomo Favi by Monsieur Sorbiere.

A TABLE of the Titles, of the CHAPTERS and their ſeverall CONTENTS.

CHAP. I. Of Sculpture, how deriv'd, and diſtinguiſh'd, with the Styles, and Inſtruments belonging to it. Pag. 1

CHAP. II. Of the Original of Sculpture in general. p. 11

CHAP. III. Of the Reputation, and Progreſs of Sculpture amongst the Greeks and Romans down to the middle Ages; with ſome prete•ſions to the Invention of Copper-Cuts, and their Impreſſions. p. 23

CHAP. IV. Of the Invention, and Progreſſe of Chalcography in particular; together with an ample enumeration of the moſt renowned Masters and their works. p. 35

CHAP. V Of Drawing, and Deſigne praevious to the Art of Chalcography; and of the uſe of Pictures in Order to the Education of Children. p. 103.

CHAP. VI. Of the new way of engraving, or Mezzo Tinto, Invented, and communicated by his Highneſs Prince Rupert. &c. p. 145

ERRATA.

Authors, and Books which have been conſul•ed for this Treatiſe.

BOOK I. CHAP. I Of Sculpture, how deriv'd, and distinguiſh'd, with the Styles, and Inſtruments belonging to it.

CHAP. II. Of the Original of ſculpture in general.

CHAP. III. Of the Reputatton and Progreſſe of Sculpture amongſt the Greeks, and Romans down to the middle-ages; with ſome pretenſions to the Invention of Copper-cuts, and their Impreſſions,

CHAP. IV. Of the invention and progreſſe of Chalcography in particular; together with an ample enumeration of the most renowned Maſters, and their Workes.

CHAP. V. Of Drawing, and Deſign praevious to the Art of Chalcography; and of the uſe of Pictures in Order to the Education of Children.

CHAP. VI. Of the new way of Engraving, or Mezzo Tinto, Invented, and communicated by his Highneſſe Prince RUPERT, Count Palatine of Rhyne, &c.

AN ADVERTISEMENT

[Page]SCVLPTVRA, Or the HISTORY and ART OF Chalcography.

§

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HISTORY of Chalcography by J.E.

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SCULPTURA: OR THE HISTORY, and ART OF CHALCOGRAPHY AND Engraving in Copper. WITH An ample enumeration of the moſt renowned Maſters, and their Works. To which is annexed A new manner of Engraving, or Mezzo Tinto, communicated by his Highneſs Prince Rupert to the Authour of this Treatiſe.

[figure]

‘XXXI. EXOD. XXXV. Implevi cum Spiritu Dei, Sapientia, & Intelligentia, & Scientia in omni Opere, &c.’

LONDON, Printed by J. C. for G. Beedle, and T. Collins, at the Middle-Temple Gate, and J. Crook in St. Pauls Church-yard. 1662.

TO THE HONOURABLE, AND LEARNED GENTLEMAN, ROBERT BOYLE Eſq;

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SIR,

HAving upon your reiterated inſtances (which are ever commands with me) prepared this Treatiſe concerning the Hiſtory of Chalcography &c. I thought my ſelf engag'd, to ſignifie to the rest, that may poſſibly receive or Satisfaction, or Benefit from it, to whom they are obliged for the Publication of it. The truth is, as it reſpects the pains which I have taken, it bears not [Page] the least proportion with my ambition of ſerving you; but as you are pleaſed to judge it uſeful for the encouragement of the Gentlemen of our Nation, who ſometimes pleaſe themſelves with theſe innocent diverſions (Collections worthy of them for divers reſpects) and, eſpecially, that ſuch as are addicted to the more Noble Mathematical Sciences, may draw, and engrave their Schemes with delight and aſſurance, I have been induc'd to think it more worthy your Patronage, and of my ſmall Adventure, who profeſſe to have nothing ſo much in my deſires, and which I more avow the purſuite of, then to employ the whole remainder of the life, which God ſhall aſſigne me, and that I can redeem from its impertinencies, in contributing to that great and auguſt deſigne, which [Page] your illustrious, and happy Genius do's prompt you to, of cultivating the Sciences, and advancing of uſeful knowledge, emancipated from the ſtrong contentions, and little fruit of the former; Envy, and imposture of the latter Ages.

Sir, This is not in the leaſt to flatter you, nor can I have other aime in it, then that by your great Example, I might excite ſuch as (like you) have Parts and Faculties, to things that are glorious, and wortby of them. Your ſtudies are ſo mature and univerſal, your travels ſo highly improv'd, and your Experience ſo well eſtabliſh'd; that, after I have celebrated the Converſation which reſults from all theſe perfections, it is from You alone, that I might deſcribe the Character of an accompliſh'd Genius, great, and worthy our Emulation. [Page] But though your modeſty do's not permit me to run through all thoſe Tranſcendencies; yet, the World is ſufficiently inſtructed by what you cannot conceal, that I ſay nothing of ſervile, and which will not abide the Teſt; ſo as I have been often heard to exult in the felicity of this Conjuncture of ours, which (ſince thoſe prodigies of Virtue, the illuſtrious Ticho, Bacon, Gilbert, Harvey, Digby, Galileo, Peiresky, De Cartes, Gaſſendi, Bernier [his Diſciple now in Perſia] and the late incomparable Jacomo Maria Favi &c.) has produc'd us nothing, which will ſupport the compariſon with you, when I ſhall pronounce you (and as indeed your merits do challenge it) the Phaenix of this latter Age.

And now that I mention'd Signor Favi, I will not conceal with [Page] what extaſie, and joy I lately found his memory (which I have ſo much, and ſo often heard mention'd abroad, by ſuch as had the happineſs to know him intimately) conſecrated by the eloquent pen of Monſieur Sorbiere, in a diſcourſe of his to Monſieur Vitre, concerning the utility of great Travel and Forreign Voyages; becauſe it approches ſo neer to the Idea which I have propos'd, and may ſerve as an encouragement and example to the Gentlemen of our Nation, who, for the moſt part wander, and ſpend their time abroad, in the purſuite of thoſe vain and lower pleaſures, fruitleſs, and altogether intollerable. But Sir, I will crowd no more into this Epiſtle (already too prolixe) which was only deſign'd to accompany this piece, and ſome other uſefull, and more liberal diverſions [Page] of this nature, which I cannot yet produce: But every thing has its time, and when I would redeem it to the beſt Advantage, it is by entertaining it with ſomething that may beſt declare to all the World, how greatly I account the honour of being eſteem'd

Sir,

Your moſt humble, and Moſt obedient Servant J. EVELYN.

Sayes-Court 5. April 1662.

An Account of Signor Giacomo Favi by Monsieur Sorbiere.

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GIacomo Maria Favi of the Houſe of the Mareſcotti of Boulonia, died above thirty five years of age, neer fifteen years ſince, in the City of Paris. It is a Hiſtory worthy of Record, and that all the World ſhould take notice of this incomparable Perſon, as that great Wit and polite Philoſopher Monſieur Sorbiere do's deſcribe him: For as much (ſayes he) as it ſeems to be a very great reproch, that neither Prince, nor State have hitherto had the conſideration, or the courage to undertake, what one particular perſon alone did reſolve upon for the univerſal benefit, and good of the publick: For it was upon this deſigne, that he engaged himſelf [Page] expreſsly, making the moſt exact obſervations, and collecting the Crayons, Prints, Deſignes, Models and faithful Copies of whatſoever could be encountered through the whole Circle of the Arts and Sciences; the Laws, and the Cuſtoms practiſed wherever he arived. He had already acquired by ſtudy a thouſand worthy and curious particulars; He Deſign'd excellently well, underſtood the Mathematicks; had penetrated into the moſt curious parts of Medecine, and was yet ſo far from the leaſt pedantry; that he would (when ſo diſpoſ'd) play the Gallant as handſomely as any man, and which he was indeed able to do, enjoying a plentiful Revenue of neer three thouſand pounds ſterling a year, which he ordered to be paid him by Bills of Exchange, whereſoever [Page] his Curioſity ſhould invite him. But otherwiſe, truly his Equipage was very ſimple, and his train reduced to one only ſervant, which he was wont to take in every town where he made any ſtay. He had already viſited Italy, Germany, Poland, Swethen, Denmarke, Holland and England, from whe [...]ce he came into France, to go into Spain. Finally, he arrived at Paris in Anno 1645. with one Bourdoni a Sculpto [...], dwelling neer the Thuyleries, where he no ſooner appear'd, but he was immediately found out, and known by all the Virtuoſi, and as ſoon enform'd himſelf of all that were extraordinary, and conſpicuous for all ſorts of curioſities, whereof he carefully took notice; but eſpecially he made an intimate acquaintance with one Monſieur Petit, a very rare and [Page] curious perſon, and indeed greatly reſembling the Genius of this noble Gentleman, as being one, who for theſe fifty years paſt, diſcover'd a wonderful ardor for the Sciences, and a dilligence ſo indefatigable in the reſearch of all eſtimable, and worthy Inventions, as that it is a thouſand pitties (and a thing not to be conceived indeed without infinite regrette) that this Age of ours could never yet approch him. So laudable and worthy of praiſe, has his expenſes been upon divers Machines and Experiments, beyond the forces of a Private Perſon; that had he but been ſupported (as at firſt he was by the French King, and the great Cardinal de Richlieu, under whom he enjoyed divers honourable and handſome Employments) he had perhaps, amongſt all the [Page] Arts through which he run, found out ſome Abridgements and Perfections, new, and altogether ſtupendious; and as indeed, he has already done to admiration, ſo far at leaſt, as his diſcretion, and his Affairs would give him leave.

But to returne to our new Democritus, Signor Favi; He had made proviſion of ſundry huge Volumes, which were no other then the Deſignes of all ſorts of Inſtruments and Machines that he had ſeen and peruſed; beſides a world more which he had ſent away into Italy: For this curious perſon neglected nothing, but went on collecting with a moſt inſuperable d [...]lligence, all that the Mechanicks had invented for Agriculture, Architecture, and the Fabrick of all ſorts of Works, belonging to Sp [...]rts, and to Cloathes, [Page] for Uſe and for Magnificence. There was nothing ſo ſmall, and to appearance, trifling, which he did not caſt his eyes upon, and which he had not ſome hand in, or improv'd, even to the leaſt minutiae; whither it were a divice of ſome [...]aſpe, the Latch of a door, a ſimple Lock, [...] the Reader despiſe this condeſcention o [...] ſo great a perſon, for—ineſt sua gratia parvis. the Cover or Patin of a Cup, a Dreſs, &c. even to a very Tooth-picker: ſo as he ſhewed no leſs rhen two hundred Toyes for Children to play withall: fourty ſeve [...]al wayes of Plowing the ground, a world of Forges and Mills for various uſes. He viſited all the excellent Workemen and Artiſans, and took Samples, and Patterns of all their rare inventions, and ſomething of their making. Then for Receits and Secrets, he poſſeſs'd an infinite number of all kinds the moſt rare and excellent; [Page] ſome whereof he purchas'd at great priſes, and others he procur'd by Exchange. He learned the Tongues wherever he came with extraordinary felicity, and ſometimes would frequent the Recreations, and Exerciſes of the places where he ſojourned, which he us'd to performe with a ſacillity, and addreſs ſo gentile, and natural, as if he had yet been but a very Youth: For by this means he found, that he gained the eaſier, and more free acceſſe into the beſt Companies, ſo extreamely noble, diſſintreſs'd and agreable was his faſhion and manner of converſation: And though in ſundry Encounters, and Courts of Princes he had been frequently regal'd with very conſiderable preſents; yet would he never receive any from great Perſons; as Chains of Gold, and Medailles, Diamonds and Jewels that were offered him, [Page] unleſs happly, it were ſome Title of Honour and Prerogative; a [...] the permiſſion to bear an Eagle, o [...] a Fleur de lis in his Coat of Armes, or the like: And when he had thus exhauſted a Kingdom, or a Place of all that was Curious, and made Acquaintance with all the Perſons of merit in a State, he travell'd preſently into another; ſo as there was hardly a Court to be found, where he had not finiſhed his harveſt in three or four months, till he arriv'd at Paris, where indeed, he was infinitly ſurpriz'd, and buſied among ſuch an innumerable many of able, and curious Perſons of all kinds. He had four Lodgings in ſeveral parts of Paris, that ſo he might be neer a retreat in whatſoever quarter he ſhould happen to be in purſuite of Curoſities; for he us'd to go much on foot, and alone; becauſe he would [Page] not be troubl'd, nor obſerv'd by impertinent Servants: But in ſine, purpoſing from hence to travell ſhortly for China by means of the Portugal, he took ſo much pains about deſcribing, and obſerving the magnifi [...]ent preparations which were made for the Marriage of the Queen of Poland, that he ſell ſick of a Fever and dyed, to the univerſall regret and ſorrow of all that had ever ſo much as heard of him. And no ſooner d [...]d this ſad accident come to the ears of the King; but he ſent diligently to ſearch out all his four Lodgings, to ſee, if by any means, ought of his Collection could be retriv'd; but they were all immediately diſpers'd and it was never found what became of them.

The Count Mareſcotti his Kinsman, then at Paris, recover'd only [Page] that ſingle Volume, wherein was contained the Names, Armes, and Deviſes of the hands of all the Princes of Europe, whom he had had the honour to approch: But his intention was, as I have been credibly inform'd by one that did often converſe with him (though Monſieur Sorbiere is ſilent of it) after he had traveld over all the World (for his deſigne was no leſſe ample) at Returne into his Native Country, to compile, and publiſh a Compleat Cycle and Hyſtory of Trades, with whatſoever elſe he ſhould judge of Vſe and Benefit to mankind: But this had been a Charity, and a Bleſſing too great for the World; becauſe it do's not depart from its Vices, and impertinencies, and cheriſh ſuch Perſons, and the Virtues which ſhould render it worthy of them.

A TABLE of the Titles, of the CHAPTERS and their ſeverall CONTENTS.

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CHAP. I. Of Sculpture, how deriv'd, and diſtinguiſh'd, with the Styles, and Inſtruments belonging to it. Pag. 1

The CONTENTS.

SCulptura and Caelatura how they differ. p. 1

T [...]micae, Defectores what. 2

Plaiſti [...]e, 2. The Mother of Sculpture. 22

Pa [...] adigmatice, what 2, 7

Gypſochi, Colaptice, Li [...]hoxoi, Glyphice, what. 2

Anagogice, what 2, 7

Anaglyphice, 2 its antiqnity. 22

Diagl [...]yphice, Encolaptice, what. 2, 4

Tore [...]tice. 1

Encauſti [...] Art, 2. how it occaſioned the invention of Brais [...]Prints. 36

Proplaſtic Art, Protypus, Modulus, Diatretice, and Calices diatreti, what 2

Argentum aſperum & puſtulatum. 3

[Page] Ebur pingue▪ 3

Dim [...] diae en inentiae the ſame with Baſſo Relievo, and Mezzo Relievo. 3

Sca [...]ptus, S [...]aptus, Scalpturatus. 4

Scalpo, Scul [...] deriv'd.

Caelum [...] what, and whence deriv'd. 4, 5

Tori, [...] 5

Vliſſ [...]s [...]hield, Ancaeſa Vaſa, what. 5

Cavatores what, Graphatores, whence our Engliſh Gravers, Sculpture def [...]n'd. 6

Iuſtruments of Graving▪ Style what. Why ſometimes made of bone Scalprum. Coelum, Coeles, Coeltes. Alluſions in Job 10. to all the kinds of antient Writing and Graving. 7, 8

Graphium, [...] &c. [...], Punction, Poliſher, Point. 8, 9, 30

Graving I [...]ſtruments ſometimes fatal weapons. 8

Caſſianus martyr'd, and Erixion ſlain with a Gaving Style. 8

Arare campum cereum, Cerei pugillares, and ſtylum vertere, what. 9

Ta [...]lle douce, Burin, Intaglia, B [...]lino, and the difference 'twixt Graving and Etching. 9

[...] a conjecture of the moderne name of a ſeal, [...] the ſame with Charath. 10

CHAP. II. Of the Original of Sculpture in general. p. 11

The CONTENTS.

ADam the firſt inventor of Sculpture. p. 11

Books written by Adam. 11, 12

The fall of Adam did not impair his infuſed habits. 12

Sculpture long before the univerſal Flood. 12

[Page] Of the Antediluvian Patriarchs. 13

Sculpture in ſtone and brick at Joppa. ib

The Celeſtial Sciences firſt engraven, where, and how long continuing. ib

The books of Seth and Enoch. ib

Of Cham. ib

Zoroaſter, when he flouriſhed, his learning, curioſity and engraving of the Liberal Arts 13, 14

Pi [...]us Mi [...]andula's pretence of the books of Zoroaſter, the Magi, &c. 14

Sculpture after the Flood. ib

Sculpt [...]re propagated by Noah. Sculpture before Moſes. ib

Objections anſwered. 15, 20

Mercurius Triſmegiſtus engraved in ſtone many Myſterious things. 15

Obelisks erected by Miſra 400 years before Moſes ib

How many tranſported to Rome. 17

The Tables of ſtone Engraven by the Finger of GOD. Sculpture honoured by God. 15

Sulpture abus'd to Idolatry no rational prejudice. ib

Sculpture elder then Idolatry. 16

Teraphin, and Penates, what. ib

Sculpture preſerv'd the memory of the dead. ib

Bezaleel, and Aholiab Sculptors. ib

The ſacerdotal pectoral. ib

Graving us'd by the Aegyptians before they invented Letters. ib

Hyer [...]glyphics, what 16, 17

By whom interpreted. 17

Amongſt the Danes. 24

And Acadiae. 34

Horapollinis n [...]tae. 17

Letters by whom invented, and the conteſt about it. ib

How they were derived to the ſeveral Nations. 18

Typographical art miſtaken by Peter Calaber. 17

Sculpture and Letters Coaebous. 18

Colomns erected by Seth. ib

Writing with ink in paper a novelty in reſpect of Parchment. 18, 19

Sculpture on Marbles, Slates, writing on Bark, [...]eavs, [Page] Tabletts of wood, Paper, Linnen, Wax, Ivory and Silk. 18, 19

Book, our Engliſh name for Liber whence deriv'd. 19

Laws, divine and humane how conſign'd of old. id

Hieronicae, and where preſerved, 19

Writings before Homers not known to the Greeks 20

Tatian when he flouriſhed. ib

A pa [...]age cited out of him proving the Antiquity of Recording by Sculpture. 20

Heſiods poems engraven in Lead. ib

G [...]aetians when they had ſculpture firſt, and where it was in its higheſt perfection. 21

Achiles and Her [...]ules ſhields engraven. ib

The chariot of the Sun, and Vehicula Caelata. ib

Enochs prophecy. 22

Rings engraven, their uſe and dignity. ib

Intaglias in iron, gold, ſtones, &c. ib

Taliſmans and Conſtellated ſeulptures. ib

CHAP. III. Of the Reputation, and Progreſs of Sculpture amongst the Greeks and Romans down to the middle Ages; with ſome prete [...]ſions to the Invention of Copper-Cuts, and their Impreſſions. p. 23

The CONTENTS.

SCulpture where, and when in it [...]s aſcendent. 23, 24. 28.

Statues to what head reducible. 24

Sculp [...]o [...]es Ma [...]oris, Metal. in Gypſum, &c. ib

Signa at Rhodes, Athens and other places in what prodigious numbers ib

Statues, as many as of men. ib

The conteſt betwixt Art and Nature in point of fertility. ib.

[Page] Statues, improveable to a policiq, as well as expenceful magnificency. ib

[...] 15

[...]yrgoteles only permitted to engrave the Effigies of Alexander the great. 25

The Pictures of Queen Elizabeth and other Princes how prophan [...]d and abus'd. 25, 26

Auguſtus would have his figure cut only by Dioſcorides, and why. 26

Sculpture in what materials moſt eminent. 26

Dipenus, Prometheus, Ideocus, Eu [...]i [...]apus, Lyſiſtratus, Demophilus, Dedalus, Leochares, Policarmus, Myrme [...]ides all famous Sculptors. ib

Figulina vaſa Caelata, why broaken by Cotys. 27

Hydriae engraven, and Bread. ib

Gold ſeldom engraven, and why. ib

Mentor his curious works. ib

Acragus his works. ib

Boethus's Maſterpieces. 28

The works of Calamis, Antipater, Stratonicus, Tauriſeus, Ariſteus, Eunicus, Hecates, Praxiteles, Poſidonius, Ledus, Zopirus, Pytheus. 28

Medaliſts, who moſt excellent, and in what Empp. times the beſt were cut, when they degenerated. 28, 60

Sculpture, when it degenerated in Greece, and Rome. 29

And whence its decay proceeded. 30, 31

Sculpture, when it arriv'd at Rome. 29

Sc [...]lpture and Writing when firſt among the Danes and Norvegians. ib

Runic Characters. ib

Graef ſex, what. 30

Vice, and Avarice, the occaſion why ſculpture degenerated, and is not ſince arrived to the perfection of the Ancients. 31

By what means it may recover. 32

Alexander Magnus, Auguſtus, Francis 1. Ceſimo di Medices, and Charles the V. celebrated for their affection to Arts. 31

Time and leaſure required to bring a work to perfection. 32

[Page] Sulpture and Chal [...]ography antient in China, on what aterials, and how wrought. 33

Letters in Europe firſt cut in wood. ib

The In [...]k-maker for the preſs dignified amongſt the Chinezes with a liberal [...]alary, and priviledge [...], and not accounted a Mechanic. ib

Sculpture found in Mexi [...]o, and other parts of Ameri [...]a. 34

Typ [...]g [...]aphy not found out by the Greeks [...] and Romans to be much wondred at, and why. ib

CHAP. IV. Of the Invention, and Progreſſe of Chalcography in particular; together with an ample enumeration of the moſt renowned Masters and their works. p. 35

The CONTENTS.

ENgraving on Plates of Braſs for Prints when firſt appearing. 35

Typography wh [...]n firſt produc'd in Europe. ib

P [...]ints in the infancy of this Art. ib

The Devil a Moro [...]hrom. ib

M. Z. M. C. what they import. ib

What Sculptors added the year of our Lord to their works. 3 [...]

Who were the firſt Gravers of Prints. ib

Martin S [...]hon The Todeſ [...]o of the firſt Print-gravers. ib

The Italia [...] gravers and their works. 36, &c. ad 63

Maſo Finiguerra, the firſt Print-graver in Italy. 36

Enameling gave the firſt hint for the Engraving of Prints. 37

[Page] The graving of Prints, from how mean a commencement, arrived to this perfection. ib

Ba [...]cio Baldini his works, and counterſign. ib

Albert Durer, when he flouriſh'd, his incomparable works; con [...]eſt with Lucas, and Mark Antonio, and how pretious his works. 37, 38, 39, 40, 63

Lucas Van Leyden, his works, emulation of Durer. 39, 40, 63

Mark Antonio, when he flouriſh'd, his works, conteſtation with Albert, &c. 39, 42

For what vile prints reproved. 45

Raphael Vrbin how he honoured the gravings of M. Antonio. 37

Martine of Antwerp his works, how eſteem'd by M [...]chael Ang [...]lo. ib

R. S. what it ſignifies. 42

Marco di Ravena his works. 43

A. VI. what it imports 44

Gi [...] anni Battiſta Mantuano his works. 46

IBM whoſe name it ſ [...]gnifies. ib

Sc [...]aſtiano da Regio's works. ib

Georgio Mantuano's works. ib

E [...]ching in Aqua Fortis when firſt produc'd. 47

Damaſcus Symeters. ib

Vago de ca [...]pi, his new manner of cutting for divers colours, and his works. ib

The works of Baldaſſare Peruzzi, Franciſco Parmegiano, Beccafumi, Baptiſta Vincentin [...], Del Moro, Gir [...]l [...]mo Cocu. 48

Giacamo del Cavaglio his works both in copper and ſtones. 48, 49

Enea Vico de Parma his Medails and other gravings. 49

The works of Lamberto Suave, Gio Battiſta de▪ Cavaglieri. ib

The works of Antonio La [...]ferri, T [...]maſo Barlachi, Antonio Labbaco, Titian, Giulio Buoraſ [...]ni, Battiſta Franco, Renato, Luca Penni, Franciſco Marcol [...]ni. 50, 51

The works of Gabriel Giolit [...] 52

The works of Chriſto [...]horo Coriolano, Antonio Salamanca, Andrea Mar [...]egna, Properti a [...]de R [...]ſſi (a ſculptereſs) 52, 53

[Page] Martin Ruota, Ja [...]omo Palma, Auguſtino and Anibal Carracci. 53, 54

The works of Franciſco Vilamena. 55

Giov [...]nni Maggi, Leonardo, Iſabella and Bernardino Paraſoli. 56

Cutting, and Engraving in Wood how difficult, and different from Chalcography. ib

The works of Antonio Tempeſta, Cherubin Alberti. 57

Horatto Borgiani, Raphäel Guido, Jovanri Batt. della Mar [...]a, Camillo Graffico, Cavalier Salimbene, An-Vaïara 58

Ste [...]ano dolla Bella. 59, 90

Cha [...]t, and Map-gravers 60

Medaile▪ Gravers, and Gravers in metal and pretious ſtones, &c. 60, 61, 62

The Diamond by whom firſt engraven. 62

Medails, the knowledge of them how noble and profitable, and by what means to attain it effectually, Gentlemen of note skillfull Medailiſts. 62

The German and Flemiſh Chalcographers, and their works. 63 ad 85

The works of Albert Durer. 37, ad 41, 63, 85

Aldegrave and his cypher, Hans Sibald Beheeme his mark, Jerom Coch. 64, 84, 85. Francis Floris. 65 Cornelius Cort, 66. Juſtus, Jo. Agid, and Raphäel Sadelers, 67, [...]8. Herman Muller, 68. Sim. Friſius, Matth. Miriam, Hans Holbein, Juſtus Ammanus 69, 84, 85. Holtzhuſen, Hans Broſſehaemer, Virgilius Solis, his eyes put out for his l [...]wd gravings; Hen. Golzius 70, 86. Geor. Nouuolſtelle, 70. Matt. and Fred. Greuter, Sanredamus, Cor. Galle, 71. Count Claudt, Swanevelts, Pandern, B [...]oncho [...]ſt, Mattham P. Bril, Nieulant, Boëtius, Londerſelius, Van Velde, N. de Bruyn, 72. Aeg Coninxlogenſis, Stradanus, Mallery, Bolſuerd, 73. P. Pontius, Suannebourgh, Neſſe, Voſterman, Vorſt.. 74, 75. Chr. Jeghere, 75

Van. Vorſt, Sir Anthony Van Dyke 36

Sir. P. P. Rubens celebrated. 74

The works of P. de Jode, Colaert in ſteel; Sniiderhoef, Jo. Baurs, Vander Thulden, 77. Abr. and Char. [...]lomaert, Nantalis, 78, 79. Ferdinand, Verdin, [Page] Vrieſe, Winegard, W. Hondius, Vankeſſell, Clovet, Caukern, 79. Luc. Kilianus, Cor. Viſher, Vovillemont, Nolph, Lombart, 80. Hertoc, Reinbrand, Winceſt. Hollar, 81, 82. Hevelius celebrated, 82. Anna M a Schurman celebrated, Breugle, Oſtade, Corn, Clock, Queborn, Cuſtos, Le Delf, Dors, Falck, Gerard, Bens, Moefleu, Grebber, Geldorp, Hopfer, Gerard, Bens, Chein, Ach' d' Egmon [...], De Vinghe, Heins, Ditmer, Cronis, Lindoven, Mirevel, Kager, Coccien, Maubeaſe, Venius, Firens, Pierets, Quelinus, Stachade, Schut, Soutman, Vanulch, Broom, Valdet, M [...]n Her Biſcop: 83. Deufken, P. Van Aelſt, Swart Jan Van Groennighen, L. Cranach, Joſ. Ammanus, Hub. Golzius. 85

The French Chalcographers and their works, 86, ad 98. When they began to be in reputation, 86

The works of P. Bernard, Nic. Beatrice, 86. Phil. Thomaſinus, Criſp. Magdal, and Simon de pas. 87. Cl. Melan, Mauperch, La Poutre, Morin, N. Chaperon, Fra. Perier, Adrans, Covuay, Peril, 89 Chavueau, Poilly, Heince, Beg [...]on, Huret, Bernard, Rogneſſon, Rouſlet,, Bellange, Richet, L' Alman, Queſuel, Soulet, Bunel, Boucher, Bri [...]t, Boulange, Bois, Champagne, Charpignon, Corneille, Char [...]n, Cl. de Lorain, Andran, Moutier, Rabel, Den [...]ſot, L' Aune, Dela Rame, Hayes, Herbin, David de Bie, Villemont, Maret, Toutin, 90. Grand-homme, Cereau, Trochel, Langot du Loi [...], L' Enfant, Gaultier, D' Origni, Pr [...]voſt, D [...] Son, Pere, Nacret, Perret, Daret, Scalberge, Vibert, Ragot, Boiſſart, Terelin, Deleu, Mauperch, L' Aſne, Huret. 91

Calligraphers. ib

The works of La Hyre, Goyrand, ib. Golignon, Cochin, Iſr. Sylveſter, Rob. Nantëuil, 91, 92, 93. Jaq. Callot, 93, 94, 95, 96. Abr. Boſſe 96, 97 Chart Gravers, Cordiers, Riviers, Peroni, Hondius, &c. 97. Gombouſt. 98

The Engliſh Chalcographers and their works, 98, ad 100. Paine, Caecil, Wright, Mr. Fatthorne, Mr. Barlow, Mr. Gaywood, Lightfoot, Glover, J Fellian, 99. Swizzer, 100.

[Page] Medaile Gravers, and for Intaglia's, Mr. Symonds, Rawlins, R [...]ſtrick, Johnſon. 99

Calligraphers, Mr Cooker, Grey, Gething, Billingly, &c. ib

An Invitation to the Engliſh Chalcographers to publiſh his Majeſties collection; the benefit and honour of it. 100

The Landſkips, Viewes, Palaces, of England, Levantine parts, Indies, &c. together with the Cities, Iſles, Trees, Plants, Flowers, and Animals, to be cut in Copper and reformed, were a moſt acceptable, and uſeful work. 101

Painters encouraged to ſet sheir hands to the Graver. 102

The uſe of this Collection. ib

CHAP. V Of Drawing, and Deſigne praevious to the Art of Chalcography; and of the uſe of Pictures in Order to the Education of Children. p. 103.

The CONTENTS.

MEaſure and proportion have Influence on all our Actions, p. 103

A ſaying of Thomas Earle of Arundel and Surrey. ib

Drawing of what conſequence to the Art of Graving, ib

Deſigne the Baſis of Sculpture, and of many other free and noble Siences, 104, 105

Original Drawings eſteem'd, and for what, ib

Antiquity of what effe [...], 105

Deſigne and Drawing defin'd, and diſtinguiſh'd, its antiquity, and invention. 106

Accident and chance fruitful mothers. ib

Drawing with crayon, pen, &a. the method, and how to be performed with ſucceſſe, 107

[Page] Hatching, what, and how attained by imitating good [...], and by what method. 108, 109, 110

[...] exact [...]eſs and finiſhing a fault in Drawing, and why, P [...]y [...]l [...]us's Canon, 109

Accurate D [...]ſ [...]gnes with the pen not eſteem'd, and why, 110 Who yet excelled in them to admiration. 110, 111

Mr Vander D [...]uſe, Francis and John Cleyn, Mr. Francis Carter, &c. celebrated, 111

Col [...]u [...]s, the production of a Middle colour wrought on two extreams, 112

R [...]ben [...], and Van Dykes firſt ſtudies in Italy, 113

Drawing, how neceſſary, ib

Academies erec [...]ed for the Vi [...]iu [...]ſi by whom, ib

For what purpoſe and how furniſhed, 116, 117

Greeks, and Romans, how they cheriſh'd and enobled men of Art, 114

S [...]ulp [...]ors and Painters chiefe of the court and retinue to the Emperour of Japan. ib

Courts of great Princes how formerly compoſed, ib

How the antient and moſt renowned Sculptors were ſome encouraged, and oth [...]rs obſcured. 116

Painters ſhould ſometimes draw with the pen, 117

What Painters made uſe of prints, 117, 118

And cauſed their works to be publiſhed. 118

How to expreſ [...] the ſenſa [...]ion of the Relievo or Extan [...]i [...] of objects, by the Hatches in Graving, 119

What ſhadows are moſt graceful, 126

And what Artiſts works beſt to imitate, ib

Of Counter-Hatches, ib

One colour, the uſe, and effect of it, ib

Zeu [...]is uſed but one colour. ib

What other Painters were M [...]nochromiſts, and who introduced the reſt of the colours, 127

Lights and ſhades their ſtupendious effects, ib

Coloreè [...]hat it means, ib

The invention of Ch [...]alier Woolſon to Blazon bearing in coate-armour by hatches without letters, ib

To [...]us what it imports in Graving, ib

Of copyng after Deſ [...]gnes and painting, 128

What [...]rints are to be called excellent, ib

How to detect the copy of a Print, from an Original print, 129

[Page] Aqua Fortis, for what Gravings moſt proper, 13 [...]

His Higneſs Prince Rupert celebrated, and the Gravings by him publiſhed. 130, 13

The French King an Engraver, 13 [...]

Earle of Sandwich dextrous at Graving, ib

What Emperours, Philoſophers, Poets, and other of the noble Greeks, and Romans excelled in painting and Graving, 131, 133, 142, 143, 144

Never any of the Antients excelled in theſe Arts, but what were Gentlemen, 132

A Slave might not be taught to Grave or Paint, and why, 133

Graving accounted one of the Liberal Arts, by Pliny and Galen. 132

Children inſtructed in the Graphical arts for what Oeconomick conſideration, ib

Martia the daughter of Varro, the Princeſſe Loüſe, and Anna a Schurman celebrated, ib

Great ſcholars of late ſkillfull in the art of Graving, &c 133

How far the art of Drawing conduces to the Sciences Mathematical. ib

Dr. Chr. Wren, Blagrave, Hevelius, &c. celebrated, ib

An Orator ought io be ſkilled in theſe Arts, and why 134

Of what great uſe, and benefit the art of Gravi [...]g may be to the Education of Children ſuperiour to all other inventions: 135, and how, 138, 140, 141 142, 143

The Abbot de Maroles his ſingular affection to, and prodigious collections of Prints, 135, 136

Prints more eſtimable then painting, and why, 137

What Gentlemen of quality are the greateſt collectors of prints in France, ib

At how high rates the Prints of the moſt famous Maſters are now ſold, ib

Collections of Prints recommended to Princes and great perſons, and why, ib

An Hieroglyphical Grammer, 139

By whom draughts and Prints are celebrated for the Inſtitution of Youth. ib

[Page] La Martelay taught all the Sciences by cuts alone, ib

Commen [...]us his Orbis ſenſualium pictus celebrated, ib

The Vniverſal Language how to be moſt probably contrived, 140

Paſſi [...]ns expreſſible by the art of Deſigne. 142

An uſeful caution for the Lovers of theſe Arts, 143, 144

CHAP. VI. Of the new way of engraving, or Mezzo Tinto, Invented, and communicated by his Highneſs Prince Rupert. &c. p. 145

The CONTENTS.

AN advantageous Commutation for omitting the deſcription of the Mechanical part of the vulgar Graving, 145

A paradoxical Graving without Burin, Points or Aqua Fortis, 146

The new Mezzo Tinto invented by his Highneſs P. Rupert Aenigmatically deſcribed, and why. 147

ERRATA.

PAge 2. line 9. read Paradigmatice, 8. l. 7. [...], 19. l. 15. Scarrifying, 20 l. 11. [...], 13 [...], 32. l. 11. [...], 33 l 7 ill Pictures, 35. l. 9. Typography 50 l. 28. Dallila, 51. l. 1. Läocoon, 54. 28. fore, 64. l. 18. ſtories, 78 21. r. thoſe things of dele which, 82 13. Rob. Stapleton, 117. l. Cornices, 119. ult. ply.

Note that in p. 99. l. 4. Loggan ſhould have been placed among the Dutch Gravers: The reſt are only litteral miſtakes, as Coppy for Copy, &c. which do not at all impeach the ſence; and are therefore the more pardonable.

Authors, and Books which have been conſul [...]ed for this Treatiſe.

[Page]

Aelianus.

Angelus Roccha.

Aquinas.

Ariſt [...]tiles.

S Auguſtinus.

Auſonius.

Baptiſta Alberti.

Biblia Sacra.

Bibliander.

Boſſe A.

Caniparius.

Caſſianus.

Cael. Rhodoginus.

Cedrenus.

Cicero.

Commenius.

Crinitus.

Curtius.

Cyprianus.

Diodo [...]us.

Diomedes.

Donatellus.

Durer.

Epiphanius.

Euſebius.

Gaffarell.

Galenus.

Gorleus.

Guaricus Pompo.

Greuter.

Herodotus.

Heſiodus.

Homerus.

Horatius.

Joſephus.

Junius F.

Juvenalis.

Kerkerus.

Lä [...]t.

Lae [...]us Pompon.

Lëon Alber [...]i.

Libavius.

Licetas.

Littleton Adam.

Livius.

Lubinus.

Lucanus.

Luithprandius.

M [...]imonides.

Manutius.

Marolles.

Martialis.

Nazianzen Greg.

O [...]igines.

Ovid [...]us.

Pancirolla.

Petronius.

Philo.

Philoſtratus.

Picus Mirand.

Pietro Santo.

Plato.

Plinius.

Plutarchus.

Du Pois.

Pollux Jul.

Prudentius.

Quintilianus.

Rueus.

Sabinus.

Sal [...]aſius.

Scal [...]ger Joſ.

Semedo.

S [...]neca.

Soli [...]us.

Statius.

Suetonius.

Suidas.

Taci [...]us.

Tatianus.

Tertullianus.

Theocritus.

Trallianus.

Triſmeg [...]ſtus.

Thucydides.

Varenius.

Varro.

Vaſſari.

Vatablus.

Vermander Car.

Verulamius.

Virgil [...]us.

Vitruvius.

Vopiſcus.

Voſius.

Woolſon.

Wormius.

Sir H. W [...]tto [...].

BOOK I.
CHAP. I Of Sculpture, how deriv'd, and distinguiſh'd, with the Styles, and Inſtruments belonging to it.

THoſe who have moſt refined, and criticiz'd upon Technical notions, ſeem to diſtinguiſh what we commonly name Sculpture into three ſeveral Arts; and, to attribute ſpecifical defferences to them all: For there is, beſides Sculptura [Page] (as it relates to Chalcography) Scalptura (ſo Diomedes) and Caelatura; Lib. 1. L. 3. c. 21. both which, according to Quintilian, differ from the firſt ratione materiae. For to make but a brief enumeration only: It was apply'd to ſeveral things; as to working in Wood, or Ivory, Tomice, the Artiſts, Deſectores: in Clay, Plaſtice, Plaſtae: in Playſter Paradigramatice, the Workmen Gypſochi. In Stone cutting Colaptice, the Artiſts Lithoxoi; and laſtly, in Metals Glyphice; which again is Two-fold; for if Wax be us'd, Agogice; If the Figure be of Caſt-work, Chemice; Anaglyphice when the Image was prominent, Diaglyphice when hollow, as in Seales and Intaglia's; Encolaptice when leſſe deep, as in plates of Braſſe for Lawes and Monumental Inſcriptions; Then the Toreutice; Cael. Rodig. Antiq. Lect l. 29. c. 24. and the Encauſtic for a kind of Enamel; Proplaſtice forming the future work ex creta, or ſome ſuch matter, as the Protypus was of Wax for Efformation, and the Modulus of wood; not to omit the antient Diatretice, which ſeems to have been a work upon Chryſtal, and the Calices Diatreti (of which ſomewhere the Poet Martial) whether emboſs'd or engraven, as now with the point of a Diamond, &c. for I can onely name them briefly, the field would [Page] be too luxurious to diſcourſe upon them ſeverally, and as they rather concern the Statu [...]ry Art, Fuſile and Plastic head, which would ſerve better to adorne ſome deſigne of Architecture, or merit an expreſſe Treatiſe, then become the preſent, which does only touch the Metalls, and ſuch other materials as had not the Figure finiſhed through all its dimenſions; though we mght yet ſafely I think admit ſome of the Greek Anaglyptic's: Argentum aſperum & puſtulatum, and, as the Latines terme it, Ebur [...]pingue: for ſo the Poet,Ep [...]st ad Mocenium Expoſitumque alte pingue popoſcit ebur, &c. Manutius calls them Dimidiae eminentiae, and the Italians do well interpret by Baſſo and Mezzo Relievo; hence the Figure is ſaid stare, or exſtare: for ſo Mart. Stat Caper, and Juvenal, ſtantem extra pocula caprum. As from the ſimilitude, and perfection of the work, Vivere, Spirare, calere, it ſeemed to breath, and be living, as Virgil expreſſes it,

Excudent alii ſpirantia mollius aera.

And Horace,—Et ungues

Exprimet, & molles imitabitur aere capillos.

Ludit Acidalio ſed non manus aſpera nodo

Candida non tacita reſpondet imagine Lygdos. as Martial.

For in this manner they us'd to celebrate thoſe rare pieces of Art, diſtinct from the [Page] Diagliphice, and Encolaptic more properly according with our purpoſe; and which may happly be as well expreſs'd by Caelatura, and from the ſignification made a derivative [...] to dig, or make inciſion. I think Varro may have Scaptus [...]or Caelatus; as Cicero Scalptus, and Plinie, Scalpturatus; yet we rather follow them who derive Scalpo, Sculpo, from [...] and [...]; becauſe the beſt Origination is to preſerve the foundation in the antienter Languages, if the mutation of Letters be warranted, as here in [...] Scribo. The word in the Holy tongue [...] which imports an opening (becauſe the Plate, Stone or whatever elſe materal they uſ'd aperitur aliqua ſui parte, was ſomewhere opened when any thing is engraven upon it) atteſts rather to the former Etymon, and ſignification, then to any other material affinity; beſides that 'tis alſo transferrable to thoſe who carve with the cheezil, or work in Boſſe with the Puntion, as our Statuaries, Goldſmiths and Repairers do. In the Gloſſe we meet with Caelum [...] &c. which though ſome admit not, ſo freely in this ſence;Lib. 8. yet Martial, ſpeaking of Emboſs'd Cups more then once calls them Toreumata.

Miratus fueris cum priſca Toreumata multum.

[Page] And why may not the Tori, Brawn, or Collops of fat be expreſs'd by theſe raiſed Figures, and they Toroſae plump, and (as the French has it) en bon point, as well as Fuſil and Fictile ones? Some round Cheezil or Lathe perhaps it was; but we dare only conjecture: Others Coelum a Coedo which is to beat, ſtrike, cut or dig; but by what parallel authority of ſuch a derivative we know not:Varro l. 4 de L. L. Varro yet e Coelo Heaven it ſelf, reaching its Original from the very ſtars. [...] is another more conſonant and harmonius with the antient [...] Kalangh, which imports to excavate and make hollow as it is frequently interpreted, particularly, 1 Reg. 6. 32, 35. where, what the Vulgar Latine renders Sculpſit; Vatablus makes Caelavit, and Junius Incidit, beſt of all correſponding with our purpoſe; and ſo in the famous wrought ſhield which Ulyſſes purchaſed by his Eloquence, Quintilian applies the word,Lib. 2. c. 18 In Caelatura clipei Achillis, & lites ſunt & actiones: For ſo it ſeems to have been much uſed on their Harneſſe; Livy reports of two famous Armies ſo repreſented:Liu. hiſt. l. 9. Or as more alluſive yet to our plate, where 'tis ſaid, Caelatura rumpit tenuem Laminam, if the queſtion be not rather, whither theſe works, like the Ancaeſa Vaſa, were not rais'd and emboſs'd, [Page] thoſe expreſſions of Plinie ſo much favouring their Eminency, where he tells us, ſpeaking of this very Art, ita exole [...]it, ut ſola jam vetustate cenſeatur uſque adeo attritis caelaturis, ne figura diſcerni poſſit, time and age had ſo greatly defac'd them.

But, may this ſuffice for the Diviſion, and Denomination of the Art in general; ſince the Title which we have made choice of, is Univerſally applicable: for ſo loquendi conſuetudine in ordinary diſcourſe Sculptura, and Scalptura import but one, and the ſame thing, as Salmaſius has well noted on Solinus; and therefore thoſe who wrought any of theſe hollow cut-works, were by ſome call'd Cavatores, and Graphatores, ſayes that Learned Perſon, whence doubtleſs, our Gravers may have deriv'd their Appellation.

By this then it will not be difficult for any to define what the Art it ſelf is; whither conſider'd in the moſt general and comprehenſive acceptation; or, as it concernes that of Chalcography chiefly, and ſuch as have moſt Affinity with it; ſince (as well as the reſt) it may be deſcrib'd to be an Art which takes away all that is ſuperfluous of the Subject matter, reducing it to that Forme or Body, which was deſign'd in the Idea[Page]of the Artist. And this, as ſufficiently Univerſal; unleſs in favour of the Plaſtic (which yet does not come under our Cognizance) we will rather receive the diſtinction which Michael Angelo was us'd to obſerve between them, That this laſt was made by Appoſition, which is the quite contrary. But indeed, neither the Paradigmatic, Agogic, or any of the Plaſtic, can Genuinely, and in Propriety of ſpeech be call'd Sculpture, without a Catachreſis and ſome Violence; ſince, nullum ſimile eſt id em, whither applied to the Matter, or the Tools. And now we ſpeak of Inſtruments, we ſhall find that there has been little leſs controverſie amongſt the Grammarians, touching them alſo, then concerning the very Art it ſelf: As whither the [...] Style, or Scalprum is to be call'd Caelum, Caeles, or Caeltes; noted by the Critics from that Text in 19. Job. Quis mihi det, ut exarentur in Libro Stylo ferreo, aut plumbi Lamina, vel Caelte ſculpantur in Silice? (where by the way, 'tis obſerv'd, that this verſe comprehends, and alludes to, almoſt all the ſorts of antient Writing and Engraving: Books, Plates, Stone, and Stile) and from an old Inſcription out of Aldus, and Greuter, Martial, Auſonius, and the Poet Statius uſe Coelum frequently.Epiſt. [...]6 [...] Laboriferi Sta [...]. l. [...].

[Page]

—Laboriferi vivant quae marmora Caelo,

Praxitelis,

Sylv l. 4.

&c.—

but we will be ſparing. [...] as [...]unius:Theocr. Thucyd. Alſo [...] as much as [...]; ſo is [...] and [...] in Pollux. Scalprum, is [...] with the ſame Junius Graphium; Laſtly, Stylus [...], in Suidas, [...] the ſame Pollux; call them Point, Stile, Graver, Punction, Poliſher, or what elſe you pleaſe, we will contend no farther about it; For theſe Inſtruments (as deſpicable as they appear) have ſometimes proved fatal and dangerous Weapons; as the bleſſed Caſſianus found by ſad experience, whoſe cruel Martyrdom with theſe Stiles is gloriouſly celebrated by Prudentius, [...] Hymn. IX. And thus was alſo Erixion ſlain, for his unnatural affection, by the enraged People, with other examples to be produc'd out of Seneca, Plutarch, Sueton, and others: For, when upon ſeveral of thoſe diſorders, [...] (or the carrying about them any Weapons of Iron) was made Capital; they did miſchief with theſe Inſtruments, till like Childrens knives, they were converted into Bone, which did only ſerve them to write [Page] withall, and Arare campum cereum, to plough up their Superinduced Tables, and [...]erei Pugillares; not much unlike to our Etching with points, and Needles on the Verniſh, in Shape, and uſe reſembling them, ſave where the obtuſer end was made more deletive, apt to put out, and obliterate, when they would Stylum vertere, which our Burniſher (another Tool us'd by Chalcographers) and Poliſher performes. But to deſcend to the modern names both of the Art and Inſtrument: the French call it in particular Taille douce, Sweet, or tender cut; whither wrought with the Burin (for ſo they tearm the Inſtrument which we the Graver) or, with Aqua Fortis. The Italians, [...], or ſtamp, without Adjunct, and [...] which is doubtleſs the more antient [...], as prompting the uſe both of the Point, Needle, and Etching in A. Fortis, by ſome ſo happily executed, as hardly to be diſcern'd from the Bolio, or Graver it ſelf: But the main difference is this, That with the Burine one cuts the peice all at once out of the plate, immediately; whereas, with the point, or ſtile, we only cut the Verniſh, razing, and Scalping as it were, the Superficies of the Plate a little, which afterwards the A. F. corrodes and finiſhes: [Page] A rare Invention, new, expeditious, and wholly unknown to the paſt Antiquity. Burine then from Bolino; and why not? yea doubtleſs, this from [...] the Modern name of a Seal, and Inſtrument of making Seals. To this we might alſo add [...], Cheret: And we find Charaſch, and Charath of the ſame import with [...] and [...] in the Greek, as Mr. Adam Littleton has acutely obſerv'd in his Complexion of Roots: But leaſt too much of this Stuffe ſhould (as Theocritus on another occaſion) ſtiles it, [...] ſmell of the Burine; we will here make an end with hard names, the Pedantrie and various acceptions of the words; and in the Chapters following endeavour to inveſtigate the Original of the Art it ſelf, and diſcourſe ſomewhat of the Progreſs it has made, to arrive at this perfection: For it is not to ſhew how diligently we have weeded the Calepines, and Lexicons (amongſt all which there is none over fertill upon theſe Arts, or ſo well furniſh'd as we could have wiſh [...]d) but the reſult of much diligent collecti [...]on, produc'd out of ſundry Authors to meet in this Chapter, for the eaſe, and inſtruction of ſuch as may poſſibly encounter with difficulties in the Courſe of their reading ſuch [Page] books as treat of the Mechanical or more Liberal Subjects; And, that there might be nothing of deficient as to our Institution, ſeeing it behoov'd him that would deduce an Hiſtory ab origine, to let nothing eſcape that was in the leaſt or uſefull, or inſtructive.

CHAP. II. Of the Original of ſculpture in general.

WE ſhall not with Epigenes in Pliny, L: 7. c. 6. depoſe that this Art had its being from Eternity; becauſe it is not ſence, and would contradict its invention; but, if that may paſſe which St. Auguſtine affirmes, that the Protoplaſt our Father Adam, L. 18. de Civit. Dei. c. 38. or (as others) his good Genius the Angel Raziel, were the firſt inventor of Letters, Sculpture may derive its Pedegree from the infancy of the World, and contend for its Pre-eminence with moſt of the Antiquities which it ſo much celebrates. For, that there went ſeveral books about (ſome whereof had been long ſince read in the Primitive Church) bearing his venerable Name; as that which Epiphanius and others cite, [Page] ex libro Behu, de Poenitentia Adae, Adae R [...] velatio, &c. we have no reaſon to contradict: And Tho. Aquinas in his Treatiſe De ente & eſſentia, ſpeaks of a Volume of Plants deſcribed by Adam; and there are Traditions of a whole Natural Hiſtory, with ſeveral other works of this moſt Learned of all Men living, as Suidas doubts not to call him; nor do we think that his unhappy Fall did ſo much concern his rare and infus'd Habits, as not to leave him the moſt accompliſh'd, and perfectly inſtructed in all thoſe Arts, which were ſo highly neceſſary, and therefore thus early invented; though whither theſe Books of his were ſo miraculouſly found out, and preſerv'd by the renouned Triſmegistus, we leave to the more credulous: But that Letters, and conſequently Sculpture, was long before the Flood, we make no ſcruple of: Suidas, whom but now we mention [...]d, is peremptory, aſcribing (as was affirm'd) both Letters, and all the reſt of the ſciences to Adam [...] &c. We ſhall not add hereunto, what the Rabbins aſſert he compos'd of the praecepts given him in Paradiſe, with the like traſh; but paſs from theſe conjectures to others of the Antediluvian Patriarchs mention'd [Page] by Joſephus, Cedrenus and ſome other Authors, concerning the Sculptures in [...]tone, and Brick, erected at Joppa, containing (as ſome depoſe) the Sideral, and Celeſtial Sciences, proofe againſt the two moſt devouring and ſubverting Elements, and laſting ſome thouſands of years after the Univerſal Cataclyſm. The Aethiopians are ſaid at this day to glory much in poſſeſſing the Books of Seth and Enoch, as thoſe who have lately written of the Abyſſines relate. Origen, St. Auguſtine, and Hierom have likewiſe made honourable mention of them; and Tertullian plainly reproves thoſe who (in his time) thought they could not be preſerved;Tertul. de habit. mulier. Noah, being himſelf one of the great Nephews of Seth; and the probability that theſe Antient Men of renoun, would tranſmit to Poſterity the glorious Actions and Atchievements which they had perform'd; eſpecially Cham (that is Zoroaſter) a Spirit ſo Univerſally curious, and flouriſhing above an hundred years before this publick Calamity. But to apply this to the honour now of Chalcography, and juſtifie our deſign; The Author of the Schol [...]i [...]al History upon Geneſis ſpeaks of this Z [...]roaſters ingraving the Liberal Arts on fourt [...]en Colomns, ſeven whereof he affirms [Page] to have been of Braſſe, and the reſt of Brick▪ The ſame is alſo reported by Serenus, Apud Caſſianum. where he adds diverſorum Metallorum Laminis, together with ſome other Inſcriptions thus preſerved, and which the noble and learned Earl of Mirandula in a certain Epiſtle of his to Marſilius Ficinus boaſts to have the poſſeſſion of: His words are theſe, Chaldaici hi Libri ſunt, ſi Libri ſunt, & non Theſauri: Audi inſcriptiones: Patris Ezrae, Zoroaſtris, & Melchior Magorum oracula. In quibus, & illa quoque, quae apud Guaecos mendoſa, & mutila circumferuntur, leguntur integra & abſoluta, &c. The Books (ſaith Picus) if books it be lawful to call them, and not rather moſt ineſtimable Treaſures, are all in the Chaldy tongue: Obſerve their Titles: The Oracles of thoſe famous Magi, Ezra, Zoroaſter and Melchior; in which thoſe particulars alſo which have been carried about by the Greeks, maim'd and miſerably corrupted, are here to be read perfect and intire.

Concerning the Art of Sculpture immediately after the Flood, there are few we ſuppoſe make any conſiderable queſtion, as that it might not be propagated by Noah to his poſterity; though ſome there be, that indeed admit of none before Moſes; but what then ſhall we think of that Book of the Warrs [Page] [...]f the Lord, which this ſacred Author mentions Num. 21? not to inſiſt upon the 88. [...]nd 109. Pſalmes, by many aſcrib'd to ſome of the Patriarchs his Predeceſſours. The above mention'd Mercurius Triſmegiſtus, three hundred years after the Flood, and long before Moſes, engrav'd his ſecret, and Myſterious things in Stone, as himſelf reports; reforming what had been depraved by the wicked Cham; ſome in Letters, ſome in Figures and Enigmatical Characters; ſuch happly, as were thoſe contain'd in the magnificent, and ſtupendious Obelisks erected by Miſra the firſt Aegyptian Pharoah, which being at leaſt four hundred years before Moſes (as the moſt indefatigable Kirker has computed) does greatly preſage their Antiquity to have been before that holy Prophet.Obelis, Phamphil: But not to put too much ſtreſſe upon ſuperannuated Tradition, this we are ſure is of Faith, and without controverſy; That in Moſes we have the Tables of ſtone, engraven by the Finger of GOD himſelf; where the commandement is expreſſe, even againſt the abuſe of this very Art, as well as an inſtance of the Antiquity of Idolatry atteſting that of Sculpture: THOU SHALT NOT MAKE TO THY SELF ANY GRAVEN IMAGE.Exod. [...]. But this which [Page] is indeed the firſt writing that we have Scripture to vouch for, do's yet preſuppoſe Engraving to have been of much greater Antiquity: What elſe were the Teraphim? What the Penates of Laban ſtollen by Rachel? The Idols of Terah? or the Aegyptian? &c. But we forbear to expatiate, onely that which is by Ben. Syrac ſomewhere in Eccleſiaſticus delivered, that the Original of Idolatry was from images to preſerve the memory of the Dead; as in proceſſe of time by the Flatterers of great men it was turn'd to be an object of Adoration,Se Sap. c. 14. plainly inferrs, Graving to have been Elder then Idolatry.

But now to recover its eſteem again beyond all prejudice (how ever by others abus'd as indeed many of the beſt things have been) it was (we know) imputed for a ſpiritual talent in Bezaleel and Aholiab, [...]1. Exod. who made Intaglias to adorne the High Prieſts Pectoral. And we have ſaid how the Aegytians reverenced it, as ſeeming to have us'd it before Letters; or rather their Hieroglypics (importing ſacred Sculpture) were thoſe Elements by which they tranſmitted to poſterity what they eſteem'd moſt worthy of Record; and not (as ſome have imagin'd) wrap'd up in thoſe Enigmatical Figures, [Page] the ſecrets of their Arts both Divine a [...]d Secular: For

Nondum Flumineas Memphis contexere biblos

Noverat;

Lucanus lib. 3.

& Saxis tantum volucriſque feraeque,

Sculptaque ſerva [...]ant magicas animalia Linguas.

whence Tacitus calls them Antiquiſſima monumenta memoriae humanae impreſſa Saxis. Such as were alſo the Horapollinis [...]otae, and all thoſe other venerable Antiquities of this nature tranſported to Rome out of Aegypt, in no leſs then two and forty prodigious O [...]eliſc's, of late interpreted by the induſtrious Kirker before cited. Suidas attributes the invention to the Father of the [...]aithful; others to Theut or Hermes, ſome to Cadmus and the Phoenicians. Bibliander will have Letters and Sculpture from Adam; Joſephus from Henoch; Philo from Abraham; Euſebius from Moſes; Cyprian from Saturne, where, by the way; becauſe 'tis ſaid he did Litteras imprimere, Peter Calaber (who much affects to call himſelf Pomponius Laetus) fooliſhly deduces,Voſſius in Art Hiſt. that even the Typographical Art was known in the Age of this Hero; but thence (as we ſaid) it deſcended to the Aegyptians by Miſraim, and ſo was communicated to the Perſians, Medes and Aſſyrians, [Page] thence to the Greeks, and finally, to the Romans from whom it was deriv'd to us, as Pe [...]er Crinitus in his 17th. book de Honeſta Diſciplina, Cap. 1. out of a very antient MSS. Bibliothecae Septimianae ſeems to deduce, and thus ſumme them up together.

Moyſes primus Hebraic as exaravit Literas.

Mente Phoenices Sagaci condiderunt Atticas.

Quas Latini ſcriptitamus, edidit Nicostrata.

Abraham Syras, & idem repperit Chaldaicas.

Iſis arte non minore, protulit Aegyptiacas.

Gulſila promſit Getarum, quas videmus Literas.

Now, ſhould all this but relate to the ſeveral Characters only, it ſhall yet ſerve ou [...] purpoſe; ſince whoever was the inventor of Letters, was alſo doubtleſs the Father of Sculpture, as is apparent, if not by the former colomns erected by Seth (one whereof Angelus Roccha in his Bibliotheca Vatican [...] preſumes to have been of Braſſe) by ſeveral other inſtances; the writing with Ink, in Paper or Parchment, being altogether a novelty in comparriſon to the more antient formes and materials ſuch as were the Slitſtones, or Slates which ſucceeded the ſtately [...]arbles, and preceeded the thinner leaves of Bark, and Tablets of Wood, which from the [Page] German Bucher, ſignifying the Fagus or Beech-tree, (whoſe Fruit do's ſtill with us retain the name of Buch-mast) were called Books, to whatever voluble or folding matter applyed: For before the invention of Paper, they us'd the leaves of Palmes, as Varro de Sibylla: then the Rinds of Trees; afterwards ſheets of Lead, Linnen, Wax, and Ivory, as Plinie and Vopiſcus tell us; They writ in Silk amongſt the Perſians and Chineſes; and laſtly, were invented Parchment and Paper. But whether in all theſe, or whatever the Subj [...]ct were (ſome few latter excepted) it was ſtill by Inſculping, Scarrifying, and making a kind of Inciſion into it; eſpecially intending to conſign to poſterity their Lawes, divine and humane, Roman, Aegyptian, or Hebrew: For ſo of Old

—verba minantia fixo

Aere ligabantur.

Metam. 1.

according to the Poet. Thus were the Hieronicae preſerv'd in the Temple of Olympian Jove, and the Roman Conſuls in the Capitol; and as by thoſe innumerable Inſcriptions of irrefragable, and undeniable Antiquitie do's appear.

[Page] We have already computed how probable it is, that Sculpture was in uſe in Aegypt ſomewhat before, or at leaſt as ſoon as the Patriarch Abraham ſet his foot there: But the leſſe diſcerning Greeks who receiv [...]d it from the Aegyptians, could tell us of no writings of t [...]eirs extant before Homer, if we will give ear to Joſephus, before that of Iatian (a learned Aſſyrian, and contemporary with Just in Martyr) where he affirmes [...], &c. Where we have no leſſe then ſeventeen Graecians nam'd elder then Homer. There are alſo enumerated the names of twenty Argive Kings from Inachus to Agamem [...]on, which ſtrongly infers the means of Recording by Sculpture and Writing to have been very ancient. For ſo we read that the Poems of Heſiod were ingraven in Lead. Aristotle mentions Daphne a certain Devotreſſe of Apollo; [Page]Sabinus, and Diodorus many others. But when, or whoever it were, thence (as we ſaid) it travell'd into Greece, that Theater of the Arts, where it ſoon arriv'd to the ſupreameſt height of perfection, when being applied to the forming of Figures, it was celebrated by all the Witty men of Thoſe, and the ſucceeding Ages. Homer tells us of the engraving in the Shield of Achilles; Iliad 3. Metam l. 3. l. 3. c. 3. Heſiod that of Hercules; not to mention the Sculptures upon the Charriot of the Sun, deſcribed by the Poet, becauſe it is altogether fictitious, though extreamly ingenious, and whence happly they might have their Vehicula Caelata mention'd by Q. Curtiu [...]. But whither now theſe antient and famous pieces were hollow, like thoſe of our Burine, or the work of our Cheezil and repair'd Emboſſements, might ſeem a difficulty to reſolve from the frequent interpretations we attributed to the Verbe in the former chapter; if what we have here atteſted concerning the Antiquity of Letters, and conſequently of flat inciſions, pronounce not for its preheminence, however this may appear to the more judicious. Add to it, that both Plaſtica (whatever others may fancy) unleſs we will aſcend to the divine figulation of the firſt breathing Statue that was ever form'd [Page] (and with Pliny, derive it to be before, an [...] the Mother of Sculpture) and the Anaglyptic Art, (not produc'd in the World 'till about the time of Belus, and the beginning of Gentiliſme) were not 'till long after the uſe of Letters, if Enochs Propheſy were not preſerved by unwritten tradition, and the former Apocryphal Monuments have other foundation then the Wit of the Rabbins, which we can by no means aſſent to in the generall. Beſides, if we apply it to Intaglia's in Stone, ſeals, and the like, for having been almoſt coevous with Rings (what was elſe the Signet which Judah left with his Daughter Tamar?)38. Gen. [...]8. it queſtionleſs derives its Original before any History at preſent extant in the World, Divine or Humane, was committed to writing▪ Of which he who has a thirſt to ſatisfie his Curioſity farther, may conſult Gorlaeus, or Fortun. Licetus de Annulis Antiquorum; Where alſo concerning their Sculpture, firſt in Iron, then in Gold, other Metals and Stones; and of which might very much be added, both touching their dignity, ſignification, and how they came at length to be worne ſo univerſally. Something we might here likewiſe inſert of their Constellated Figures, or Taliſman's, long ſince engraven upon certain Inſtants and Periods of the Suns [Page] ingreſſe into ſuch, and ſuch particular ſignes of the Zodiac, treated of by Francis Rueus the Phyſitian, Tralianus, and inſtar omnium, by the learned Gaffarel at large; but we haſten to that which followes.

CHAP. III. Of the Reputatton and Progreſſe of Sculpture amongſt the Greeks, and Romans down to the middle-ages; with ſome pretenſions to the Invention of Copper-cuts, and their Impreſſions,

WE have now done with the Original, and will next endeavour to inveſtigate what progreſs it has made amongſt thoſe glorious and univerſal Monarchs, when Sculpture and all other noble Arts were in their Aſcendent and higheſt reputation; I mean the Greeks and the Romans; For to the firſt do's Herodotus appropriate the perfection of this art, not admitting it to have arriv'd at the latter till about the time of Spurius Caſſius, when Baptiſt Alberti aſcribes it to his country men the Tuſcans.

Thoſe who have well ſurvei'd the Natural Hiſtory of Pliny will eaſily commute for [Page] the Omiſſion, if out of pure indulgence to their eyes only, we forbear the tranſcribing of at leaſt three or four intire Chapters, induſtriouſly bau [...]king thoſe ample and luxurious Fields of Statues, as under the Fuſile and Plaiſtic head;l. 33. c. 8. l. 34 c. 12 l. 30. c. [...] becauſe it ſuites not wit [...] ou [...] preſent deſign and inſtitution: For to paſſe over the Figures in Metal, thoſe of Gypſ [...] and other materials; The Sculptores Marmoris were ſo many, and the Greeks ſo extravagantly fond of their works, that at Rhodes alone, that ſmall Iſland, were no leſſe then 73000 Signa; nor were there fewer at Athens, Olympia, Delphi and ſeveral other Cities, whereof whole Armies of them were transferr'd to Rome, after Achaia had been conquered by L. Mummius, at which period the Greek Arts began to Riſe, and be in ſuch reputation amongſt them; and This to ſo high an exceſſe, as Pliny records of his Age, that there were almoſt as many Statues as Men, by a kind of noble contention (ſayes Sr. H. Wott [...]n) in point of f [...]rtility 'twixt Art and Nature, Element. Architect Inſtaurat. Scient. and which He, and my Lord Bacon improves to a politique, as well as altogether an expenceful magnificency. It ſhall then ſuffi [...]e that we be ſparing in theſe Inſtances, and keep our ſelves to thoſe workes and Intaglia's only, [Page] which do neareſt approach our deſign; of which ſort may be eſteem'd thoſe [...] mention'd by Pliny, in which Art that famous Pyrgoteles did ſo excell, as made Alexander the great ordain, that none ſhould preſume to carve his Effigies ſave him only; to paint or caſt him, beſides Apelles and Lyſippus,

Edicto vetuit, ne quis se, praeter Apellem,

Pingeret,

Ho [...]. Epiſt. 2.

aut alius Lyſippo duceret aera

Fortis Alexandri vultum ſimulantia.—

Had Queen Elizabeth been thus circumſpect, there had not been ſo many vile copies multiplyed from an ill Painting; as being call'd in, and brought to Eſſex-houſe,Where my L. of [...] then lived. did for ſeveral years, furniſh the Paſtry-men with Peels for the uſe of their Ovens.

We wiſh the ſame might pleaſe his Majeſty, and that none ſave ſuch as for their excellent tallent had particular indulgence, might any more dare to repreſent his ſacred perſon in painting, or Carving, then in his Coy [...]e and Royal Signature: For it is ſeriouſly a reprochfull thing only, to behold how it is profan'd by the [...]and of ſo many vile, and wretched Bunglers (they deſerve not the name of Workmen) as bluſh not daily to expoſe their own ſhame, in ſo precious and reve [...]'d a Subject: And that the Heads of [Page] Kings and Heros ſhould be permitted to hang for Signes, among Cats, and Owles, Dogs and Aſſes, at the pleaſure of every Tavern and Tippling-houſe, we have frequently ſtood in admiraion of: But ſo did not that of Alexander as we noted; nor would Auguſtus make himſelf cheaper, then that great Maſter of his time, Dioſcorides pleas'd, whom he particularly choſe to preſerve, and derive his Divine Effigies to the after Ages, and to the honour of his memory, by what he left in thoſe Signets, and other Stones which he cut for that renown'd Emperour. Thus Sculpture began to be moſt eminent in Stones and Gemms, Auro, Argento, Aere, [...]erro, Ligno, Ebore, Marmore, Vitro, &c. As this Author affirmes; where diſcourſing of the famous Works were left by the Maſters of note upon record in his time, he ſeems to aſcribe the Invention to one Dipoenus, and Scyllis; For we ſhall not here aſcend ſo high as Promotheus, or ſpeak much of Ideocus, Eucirapus, Lyſiſtratus, Demophilus, Dedalus, Leochares, Policarmus, Myrmecides, and innumerable others: It would be tedious (as we ſaid) to tranſcribe the names but of the Peices only, of all thoſe renowned Men whom he there celebrates for their engravings on [Page] Armour, Cups, Rings, Glaſs, even to the very [...]igulina Vaſa caelata, ſuch as Cotys brake of purpoſe, leaſt ſome other unexpected accident or miſchance might put him into paſſion,Plut. in Apotheg. as Plutarch tells the Story: Hydriae, and water pots were thus wrought, and Pliny ſpeaks of the Engraving even of Bread: 'Tis yet obſervable, that very few were found who took any pleaſure to engrave in Gold (as we conceive) being too ſoft a Metall; but multitudes that wrought in Silver; eſpecially, the famous Mentor of whoſe Work Varro affirmes he had a piece in his poſſeſſion, which he infinitely valued; for, it ſeems, he had never finiſh'd above eight, which were moſt of them loſt. Two more of his Cups had L. Craſſus the Orator, priz'd at C. HS. Confeſſus est tamen ſe nunq [...]am his uti, propter verecundiam auſum; ſo rich it ſeems, and magnificent they were, that even this great perſon profeſſed he never durſt make uſe of them out of pure modeſty, and to avoid the cenſure of being thought too Luxurious: Martial deſcribes another, where a Lizard was ſo lively repreſented, Men were afraid it would bite.

Inſerta Phialae Mentoris manu ducta

Lacerta vivit, & timetur argentum.

Next to Mentor, was Acragus, Boethus, [Page] and Mys, whoſe Maſter-piece was expos [...] at Rhodes; eſpecially thoſe glorious Vaſ [...]s, and Goblets of the Bacchanalia, engrave [...] by the foremention'd Acragus, and of Beſcage, Chaſes, and Hunting: Famous alſo were Calamis, Antipa [...]er, and Stratonicus, who engraved the Satyr Sleeping, a ſtupendious piece of Art; Then there flouriſh'd Tauriſeus of Cizi [...]um, Ariſtus, Eunicus both of them Mi [...]le [...]ans: Likewiſe Hecates, and the renowned Praxiteles about the time of Pompy: Poſidonius of Epheſus, and Ledus famous for repreſenting of Battails, &c. To be brief (for their Works are endleſs) Zopirus, who engrav'd the Court of the Areopagi in a Cup, and the trial of Oreſtes: After him lived Pytheus and ſeveral others too long here to recite. Nor were all theſe Gravers in flat; but, as we ſaid, in Relievo ſome of them, and more approching to the Statuary; Beſides ſuch as were excellent Medailliſts from Auguſtus, Caligula, Claudius, Nero, Galba, &c. down to the Reigns of Commodus, and Pertinax; for from Severus it greatly decay'd, and the moſt tollerable engravings of the former, laſted but to Nerva, the beſt being thoſe which were cut, and ſtamped in the time of Caligula, Claudius, and Nero, about which period Sculpture [Page] beginning to degenerate in Greece, it travell'd and came to Rome now opulent and victorious. But after the [...]e, and the forme [...]y recorded by Pliny, there were not many who left either Name, or Work famous to Poſterity: For, beſides that the Monarchy was ſoon broken and diſorder'd; the later Empp▪ became leſs Curious, Rich and Magnificent; ſo as even in the time of the Great Conſtantine it ſelf, Ar [...]s began manifeſtly to degenerate: But, when afterwards the Goths and Saracens had broken in upon the Roman Empire, and made thoſe horrid devaſtations, they were in a manner utterly loſt; as the Reliques which they left in Statuary, Sculpture, Architecture, Letters, and all other good Arts do yet teſtifie. It is true, that the ruder Danes, and Norvegians had in th [...]ſe times their Runic writings, or engraven Letters, as in their Rimſtoc or Primſtaf; ſome ſquare or long piece of board, or Staff, having an Almanac carved on it: So they engrav'd their Letters on Bones, either whole, or Sliced, and bound up together, like our Tallies; alſo upon Jaw-bones of the greater Fiſhes, taken on their Coaſts: And Wormi [...]s in Fast. Dan. L. 1. chap. 18. mentions Daniſh Hieroglyphics, on the Tombs of their old H [...]r [...]'s; [Page] Lyons, Bears, Horſes, Dogs, Dragons Snakes, &c. wrought on the hardeſt Rock [...] together with Runic Characters; ſo as theſe Nations ſeldom travell'd without their Graef, or Graef-Saex, a kind of point or ſtiletto, with which they us'd to carve out Letters and other Figures upon occaſion; but it was yet ſo rude, and their Guſto ſo depravd, [...]hat they demoliſh'd, and ruin'd all thoſe goodly fabricks, and excellent Works, whereever they became Maſters, introducing their lame, and wretched manner, in all thoſe Arts which they pretended to reſtore, even when now they became a little more civiliz'd by the converſation of the more poliſh'd and flouriſhing Countries: For it was not any general, and imaginary decay, which ſome have conceited to be diffus'd upon the univerſal face of Nature, that the ſucceeding periods did not emerge, or attain to the excellency of the former Ages, antient Masters, and renowned workes; but to the univerſal decay of noble, and heroic Genius's to encourage them. Priſcis enim temporibus (ſaies Petronius) cum adhuc nuda placeret virtus, Satyr. Vigebant Artes ingenuae, ſummumque certamen inter homines erat, ne quid profuturum ſaeculis diu lateret; Itaque omnium Herbarum ſuccos Democritus expreſſit; & [Page] [...]lapidum Virgultorumque vis lateret, aetatem [...]iter experimenta conſumpſit: Eudoxus quidem [...] cacumine excelſiſſimi montis conſenuit, ut Aſtrorum Caelique motus deprehenderet: & C [...]ry [...]ppus ut ad inventionem ſufficeret, ter Helleboro animum deterſit: Verum, ut ad plaſtas converta [...] (which comes neareſt our inſtance) Lyſippum statuae unius lineamentis inhaerentem inopia exſtinxit; & Myron, qui paene hominum Animas, Ferarumque Aere comprehenderat, non invenit heredem. At nos Vino, ſcortiſque demerſi, ne paratas quidem artes audemus cogn ſ [...]ere, ſed accuſatores antiquitatis, Vitia tantum docemus & diſcimus, &c. He concludes; N [...]lito ergo mirari, ſi pictura defecit, cum omnibus Diis Hominibuſque formoſior videatur maſſa Auri, quam quicquid Apelles, Phidiaſve, Graeculi delirantes fecerunt.

And if thus even in the greateſt height and perfection of the Sciences, the eloquent Satyriſt could find juſt reaſon to deplore their decadence, and cenſure the vices of that age; what ſhall we ſay of ours, ſo miſerably declining, and prodigiouſly degenerate? We want Alexanders, Augustus's, ſuch as Francis the I. Coſimo di Medice [...], Charles the V. thoſe Fathers, and Mecaenas's of the arts, who by their liberality and affection [Page] to Virtue, may ſtimulate, and provoke men to gallant exploits; and that being thereby once at their eaſe from the penurie, and neceſſities which depreſſe the nobleſt mindes, they might work for glory, and not for thoſe trifling and illiberal rewards, which hardly would find them bread, ſhould they employ but half that time upon their ſtudies, which were requiſite to bring their labours to the ſupremeſt perfection; ſince according to that ſaying, [...] [...] Nothing which is great can be done without leaſure: If a quarte [...] of that which is thrown away upon Cards, Dice, Dogs, Mistreſſes, baſe and viti [...]us Gallanteries, and impertinent follies, were imploy'd to the encouragement of arts, and promotion of ſcience, how illuſtrious and magnificent would that age be; how glorious and infinitely happy? We complain of the times preſent, 'tis We that make them bad; We admire the former, 'tis the effect of our Ignorance only; and which is yet more criminal, in that we have had their examples to inſtruct, and have made them to reproch us: Pardon this indignation of Ours, O ye that love vertue and cultivate the ſciences!

To returne to our Inſtitution again: Sculpture [Page] and Chalcography ſeem to have been of much antienter date in China then with us; whereall their writings and printed Records were engraven either on Copper plates or cut in Tablets of Wood, of which ſome we poſſeſſe, and have ſeen more, repreſenting (in all pictures) Landskips, Stories, and the like. Joſephus Scaliger affirmes that our firſt Letters in Europe were thus cut upon Wood, before they invented the Typos aeneos; inſtancing in a certain Horologium B. Mariae, Hiſt Chin part▪ 1. cap 7 which he ſayes he had ſeen Printed upon Parchment a great while ſince: But Semedo would make the World believe that the foremention'd Chinezes have been poſſeſs'd of this invention about ſixteen hundred years, ſome others a [...]irme 3700. However, that they were really Maſters of it long before us, is [...]univerſally ageed upon; and is yet in ſuch eſteem amongſt them, that the very Artizan who compounds the Ink for the Preſſe, is not accounted amongſt the Mechanic profeſſors; but is dignify'd with a liberal Salary, and particular priviledges. They alſo engrave upon ſtone, and imprint with it; but with this difference in the working-off; that the paper being black, the Sculpture remains white. More admirable is that which they atteſt [Page] was found in Mexico, and other place [...] of the new world, where they Hieroglyphiz'd both their Thoughts, Hiſtories and inventions to poſterity, not much unlike to the Aegytians, though in leſſe durable, and permanent matter: The ſame likewiſe Jo. Laet affirmes of the Sculpture among the Acadiae, and thoſe of Nova Francia; ſo natural (it ſeems) and uſeful was this art, even to the leaſt civiliz'd amongſt the Heathens: And there is indeed nothing at which we more admire, and deplore, then that this facile, and obvious invention; and which would have tranſmitted to us ſo many rare and admirable things, was never hit upon among the Greeks and inventive Romans, who engrav'd ſo many Inſcriptions both in Braſſe and Marble; impreſſed and publiſh'd ſo many thouſands of medails, and coynes as are in the hands and collections of the Virtuoſi, and the bowels of the Earth, whereever their conqueſts extended themſelves, or Eagles diſplay'd their wings.

CHAP. IV. Of the invention and progreſſe of Chalcography in particular; together with an ample enumeration of the most renowned Maſters, and their Workes.

[Page]

THe Art of Engraving and working off, from Plates of Copper, which we call Prints, was not yet appearing, or born with us, till about the year 1490. which was near upon 50 years after Topography had been found out by John Guittemberg; or who ever that lucky perſon were (for 'tis exceedingly controverted) that firſt produc'd the Invention. There is a collection of antient Offices adorned with ſeveral Scultures (if ſo we may terme thoſe wretched Gravings in the infancy of this art) where the Devil is but one great blot (as indeed he is the Fouleſt of the Creation) and the reſt of the Figures Monochroms as ridiculous and extravagant; though ſtill as the invention grew older, refining and improving upon it. One of the antienteſt Gravings which we have ſeen, to which any mark is appos'd hath M. 3. and [Page] M. C. in one of the corners of the plates and it was long that they uſed the initia letters of their names, only, and ſometimes but one; as in thoſe of Lucas. Albert D [...] rer did frequently add the year of the Lord, and his own age from ten to fourteen, &c. performing ſuch things as might ſhame moſt of the beſt Maſters, for the true and ſteady deſign, the incomparable proportion, and ſtroake of his Graver: But Iſrael, Martin Schon, and the Todeſco (wh [...] is by ſome ſirnamed The Master of the Candleſtick, becauſe of the foulneſſe of his Ink) were of the very firſt, as far as we can collect, who publiſhed any works of this kind under their names, wrought off by the Rolling-Preſſe, and whoſe ſlender attempts gave incouragement to thoſe who have ſucceeded.

George Vaſari, who has been exceedingly curious in this enquiry, attributes the firſt invention of this Art to one Maſo Finiguerra a Florentine, about anno 1460, which exceeds our former computation by 30. years; but then we are to conſider by what progreſſe and degrees; for it was firſt only in Silver, to fill with a certain Encauſ [...]ic or black Enamel, which it ſeems gave him the firſt hint how to improve it in plates of braſ [...], [Page] which having engraved, he did only fume, taking off the impreſſion with a moyſt paper and a Rolling pin. This mean commencement was yet afterwards purſu'd by Baccio Baldini a Goldſmith, his Country man, whoſe works coming to the ſight of Andrea Mantegna in Rome, invited that great Painter to give him ſome deſignes of his own for his encouragement; and from thence it travell'd into Flanders to one Martine of Antwerp, whoſe works (as we obſerv'd) were uſually counterſign'd with M. the firſt whereof were the five wiſe and five fooliſh Virgins, and a Crucifix, which was ſo well cut, that Gerardo a Florentine Painter would needs copy it: After this he publiſhed his four Evangelists, our Saviour, and the twelve Apoſtles, a Veronica, S. George, Chriſt before Pilate, an aſſumption of the B. Virgin, one of the rareſt that ever he did; beſides that St. Anthonies temptation, which was ſo well performed, that Michael Angelo (exceedingly raviſhed with it) would needs waſh it over with his own hands.

The next that appeared of note was the formerly mention'd and renowned Albert Durer, who flouriſhed about the years 1503. and who had performed wonders both in [Page] Copper and Wood, had he once fortun'd upon the leaſt notion of that excellent manner, which came afterwards to be in vogue, of giving things their natural diſtances, and agreeable ſweetneſſe, the defect of which Sir H. Wotton does worthily perſtringe both in him,Element of Architect. and ſome others. But to proceed, Albert being very young ſet forth our Lady, ſome deſignes of Horſes after the life; the Prodigal, S. Sebaſtian in little, a Nymph raviſhed by a Monſter; a Woman o [...] Horſeback, Diana chaſtiſing a Nymph who flies to a Satyr for protection, in which he diſcovered his admirable talent and skill in expreſſing Nudities: A Country man and Woman playing on Bagpipes, with Poultry, &c. about them. Venus, or the temptation of the Stove; his two St. Chriſtophers, rare cuts. After that, he engraved ſeveral Stamps in Wood, proof whereof he gave in the decollation of St. Jo. Bapt. with Herodias, Pope Sixtus, St. Stephen, Lazarus, S. George, a paſſion in great, the laſt ſupper, Chriſts apprehenſion in the Garden, deſcent into Limbo, and Reſurrection, with eight more Prints of this ſubject, which are held to be ſpurious: All theſe be publiſhed anno 1510. The year following, he ſet forth the life of our [Page] Lady in twenty ſheets rarely conducted. The Apocalyps in fifteen ſheets, of which the Painters have made ſufficient uſe; Christ bemoaning our ſins; Then applying himſelf to grave in Copper again, he publiſhed his Melancholia, three different Madonas, with thirty pieces beſides concerning the paſſion, and which being afterwards imitated by that rare Artiſt Marco Antonio (who had procur'd them at Venice) and publiſhed for Originals (ſo exactly it ſeems they were perform'd) did ſo inſenſe Albert, that he made a journey to Venice expreſly to complain of the injury to the Senate, and obtain'd at laſt, that M. Antonio ſhould no more be permitted to ſet his mark or Plagia, which was all he could procure of them. Another emulator of Alberts was Lucas van Leyden, whom at his returne into Germany he found had well neer overtaken him for the ſweetneſſe of his Burine, though ſomething inferiour of deſign: Such were a Chriſt bearing the Croſſe, and another of his Crucifixion, Sampſon, David on a horſe, the Martyrdome of S. Peter, Saul, and David, the ſlaughter of Goliah, the famous Piper, Virgil's, and ſome other heads, all which works did ſo inflame his Antogoniſt Albert, that in a laudable revenge, [Page] he publiſh'd his arm'd Cavalier or Dream, in which the brightneſſe and luſtre of the Armour and Horſe is rarely conducted: Then in the year 1512 he ſet forth ſix other ſmall ſtories of the paſſion, which Lucas alſo imitated, though hardly reach'd: Then a S. George, Solomons Idolatry; the Baptiſme of our Lord, Pyramus and Thisbie, Ahaſuerus and Heſter, &c. Theſe again incited Albert to publiſh that Temperantia, whom he elevates above the clouds, S. Euſtathius and the Hart, a moſt incomparable cut; his Deaths head in a Scutcheon, and ſeveral German Coates full of rare Mantlings and invention. Alſo S. Hierom, a Christ and twelve Apostles in ſmall: anno 1523. many heads, as that of Eraſmus, Cardinal Albert, the Imperal Electors, and his own, with divers other.

Lucas again in emulation of theſe, ſet forth his Joſeph and four Evangeliſts, the Angels appearing to Abraham; Suſanna, David praying, Mordecay triumphing; Lot, the Creation of Adam and Eve; the ſtory of Cain and Abel, viz. anno 1529. But what procur'd him immortal glory was his great Cruci [...]ix; Ecce Homo, and Converſion of St. Paul; in which he exceeded himſelf both for the work and ordinance; the [Page] diſtances being better conducted then Alberts, and indeed ſo well obſerv'd, as gave light even to ſome of the beſt Painters that ſucceeded him; ſo much are they oblig'd to this Art, and to this rare Workman: He graved alſo ſeveral Madona's, our bleſſed Saviour and Apostles; together with divers Saints, Armes and Mantlings, a Mountebanc and many more.

But to return now into Italy from whence we firſt ſallied; in the time of Raphael Urbine flouriſhed the renouned Marco Antonio, who graved after thoſe incomparible pieces of that famous Painter, to whom he was ſo dear, that the honour he has done him to poſterity will appear, as long as that School of Raphael remains in the Popes Chamber at the Vatican, or any memorial of it laſts; though to ſpeak truth, even of this rare Graver, the Pieces which he hath publiſhed ſeem to be more eſtimable yet for the choice and imitation, then for any other perfection of the Burine; as forming moſt of his figures and touches of too equal force, and by no means well obſerving the diſtances, according to the rules of Perſpective, that tenderneſſe, and as the Italians terme it, Morbidezza, in the hatchings, which is abſolutely requiſite [Page] to render a piece accompliſh'd and without reproch.

We have recited above, what he Coppied after Albert Durer; But being at Rome, and applying himſelf to Raphael, he cut that rare Lucretia of his, which he perform'd ſo much to ſatisfaction, that divers excellent painters deſir'd him to Publiſh many of their Works: This produc'd Urbines Judgment of Paris, at which the City was ſo raviſh'd, that they decreed the Golden apple to Antonio, before the fair Goddeſſe: Then he ſet forth the Slaughter of the Innocents, Neptune, the Rape of Helena, all of them of Raphael [...] deſigning: Alſo the Martyrdome of St. Felix in the boyling Oyl, which purchas'd him ſo much Fame and Credit; but this Excellent Painter would alwayes from that time forewards, have one of his Servants to attend only M. Antonio's Rolling-preſs, and to work off his Plates, which then began to be marked with R. S. for Raphael Sancio, which was the name of Urbine, and with M. F. for Marco Fecit. Of theſe there is a Venus deſign'd by Raphael, Abraham and his Handmaid: After this he graved all thoſe round deſignes painted in the Vatican by the ſame hand; Likewiſe the [Page] Caliope, Providentia, Justitia, the Muſes, Apollo, Par [...]aſſus, the Poets; Aeneas and Anchiſes, the famous Galatea all of them after Raphael: Alſo the three Theological Vertues, and four Moral, Pax, Chriſt, and the Twelve: Several Madonas, St. Hierome, Tobit, St. Jo. Baptiſt, and divers other Saints; beſides many prints after the Cartoons of Raphael which had been deſign'd to be wrought in Tapeſtry and Arras; as the ſtory of St. Peter, Paul, Stephen, John, St. Catharine, and ſundry heads to the life, &c. eſpecially that incomparable one of Pietro Aretino the Poet: ſomethings likewiſe being ſent by Albert Durer out of Germany to Raphael, were upon his recommendation, afterwards cut by M. Antonio, together with the Innocents, a Coenaculum, and St. Cecilia's Martyrdom of Raphaels invention: Then he publiſh'd his twelve Apoſtles in little, and divers Saints for the help of painters, as St. Hierome, the naked Woman, and the Lyon, after Raphael, Aurora, and from the Antique, the three Graces.

Marco di Ravenna was one of Antonio's Schollars, who had alſo together with Auguſtino Venetiano, the honour to dignifie his gravings with Raphels Cypher; though the [Page] latter often us'd A. VI. his own initia letters; of both their cutting are a Madona, with a Chriſtus mortuus, and in a large ſheet the B. Virgin praying, and a Nativity in great alſo: The Metamorpheſes of Lycaon, a Perfumer, Alexander magnus, and Roxana, a Caena Domini, the Annuntiation, all deſign'd by Raphael, beſides theſe were ſet forth two Stories of the Marriage of Pſyche,; and indeed there was hardly any thing which ever Raphael either painted or deſign'd, but what were graven by one, or both of theſe Workmen; beſides divers other things after Julio Romano, viz. all that he painted in Raphaels Lodge, or Gallery in the Vatican; ſome whereof are ſigned with M. R. and others with A. V. to ſhew they had been imitated by others, as was the Creation; the Sacrifice of Cain and Abel, Noah, Abraham; the Paſſage over the red ſea; The Promulgation of the Law; the fall of Manna, David and Goliah, which alſo M. Antonio had publiſhed before; as likewiſe the Temple of Solomon, his Judgment on the Harlots, the Queen of Saba's viſit, and many other Hiſtories collected out of the Old Testament, all which were publiſhed before Raphaels deceaſe: For after that, Auguſtino [Page] wrought with Bac [...]io Bandinelli, a ſculpter of Florence, who caus'd him to grave his Antonius and [...]lcopatra, very rare things, with divers other deſigns; as the ſlaughter of the Innocents, divers Nudities, and Clad Figures; not to omit thoſe excellent and incomparable Drawings and Paintings of Andrea del Sarto after which he graved; though in the Chriſto mortuo not altogether ſucceeding ſo vvell as had been vviſhed.

But to come again to Marco Antonio (becauſe there is not a paper of his to be loſt) after Raphaels death, did Julio Romano publiſh ſome of his own deſignes in print: I ſay, after his Death; for before, though he were an excellent painter; yet durſt he never take the boldneſs upon him. Such were the Duel of Horſes, a Venus which he had formerly painted: The penance of Mary Magdalen, the four Evangeliſts and ſome Baſſi [...]elievi, with many things that Raphael had deſign'd for the Corridor of the Vatican, and which were afterward retouched by Tomaſo Barlacchi: VVe will not contaminate this diſcourſe with thoſe twenty vile deſignes of Julio cut by M. Antonio, and celebrated with the impure verſes of Peter Aretino, by which he ſo diſhonour'd this excellent Art, [Page] as well as himſelf; becauſe it deſerved a ſeverer Animadverſion and Chaſtiſement then was inflicted upon him for it; though to commute for this Extravagancy, he publiſh'd the Martyrdome of S. Laurence, in which he alſo reformed thoſe deſignes of Baccio Bandinelli to the great reputation of the Art of Chalcography.

About the ſame time flouriſh'd Giouanni Battista Mantuano Diſciple of Giuleo Romano, who publiſh'd a Madona, his armed Mars and Venus, the burning of Troy, an extraordinary piece; his prints are uſually ſign'd I.B.M. Alſo his three Sheets of Battails (cut by ſome other hand) a Phyſitian applying of Cupping Glaſſes to a VVoman; Christs Journey into Aegypt, Romulus and Rhemus, the Stories of Pluto, Jupiter and Neptune; the miſeries of Impriſonment, Interview of the Armies of Scipio and Hanibal; St. John Baptiſts Nativity, cut by Sebaſtiano de Reggio, all, after Julio Romano.

Giorgio Mantuano ſet forth the Facciata of the Popes Chappel, M. Angelos Judgement, St. Peters Martyrdome, the Converſion of St. Paul, &c. And ſome plates were ſent abroad about the year 1530. eaten with Aqua Fortis after Parmeſano; [Page] For, as ab aere, deventum ad Tabulas ceratas in writing, the uſe of the Palimpſestus, Ta [...]e books, Plumbae lamellae and the like; [...]o hapned it alſo in this Art of Chalcography; and Etching with Corroſive waters began by ſome to be attempted with laudable ſucceſs, as in this Recital we ſhall frequently have occaſion to remember: But, whither thoſe Symeters and Blades brought us from Damaſcus, and out of Syria, and wrought with theſe ſtrong waters, might give any light to this expeditious and uſefull invention, we are not yet inform'd; and the effect was ſufficiently obvious, after that of the Burine had been well conſidered.

Vago de Carpi did things in ſtamp, which appear'd as tender as any Drawings, and in a new way of Charo Scuro, or Mezzo Tinto by the help of two plates, exactly conter-calked, one ſerving for the ſhadow; the other for the heightning; and of this he publiſh'd a Syb [...]lla after Raphael, which ſucceeded ſo rarely well, that he improv'd the curioſity to three Colours; as his Aeneas and Anchiſes, deſcent from the Croſs, ſtory of Symon Magus, a David after the ſame Urbin, and a Venus do teſtifie: This occaſioned many others to imitate him, as in particular,

[Page] Baldaſſare Peruzzi (who graved th [...] Hercules, Parnaſſus, the Muſes) and Franciſco Parmegiano, who having ſet out Diogenes in this guiſe, a very rare print, inſtructed Antonio di Trento in the Art, who publiſhed his Peter and Paul in Charo oſcuro, the Tyburtine Sybill and a Madona; but none was there who exceeded thoſe of Beccafumi; eſpecially, his two Apoſtles in wood, and the Alchimiſt in Aqua Fortis.

Fran. Parmegiano (whom we already mention'd) may be eſteemed for one of the firſt that brought the uſe of A. Fortis into reputation; ſo tender and gracefull were ſome of his Etchings, as appears in that rare Deſcent of the Croſs, Nativity and ſeveral other pieces.

Baptiſta Vicentino, and Del Moro ſet forth many curious Landſhips,

Girolamo Cocu the Liberal Sciences, &c.

Giacomo del Cavaglio cut many things after Roſſo Fiorentino, as the Metamorphoſis of Saturn into a Horſe, the Rape of Porſerpine, Antoninus and the Swan; ſome of the Herculean Labours; a book of the Gods and their transformations, whereof part are after Perino del Vaga; alſo the Rape of the Sabines, an incomparable print, [Page] had it been perfect; but the City of Rome hapning at that time to be in ſome diſor [...]er, the plates were loſt: He graved likewiſe for Parmegiano the Eſpouſals of our Lady, and a rare Nativity after Titian; not to conceal his admirable talent in cutting of Onixes, Chriſtals, and other eſtimable ſtones.

Enea vico de Parma engraved the Rape of Helena after old Roſſo, a Vulcan with ſome Cupids about him: Leda after Mich. Angelo: The Annuntiation deſign'd by Titian; the ſtory of Judith, the Portrait of Coſimo di Medices, &c. Alſo the conteſt 'twixt Cupid and Apollo before the Gods; the Converſion of St. Paul in great, a very rare ſtamp: The head of Jovanni de Medici, Charles the V. and ſome rare Medails which are extant in the hands of the Curious: He alſo publiſh'd St. George; ſeveral habits of Countries; The Stemmata or Trees of the Emperours and divers other Famous Pedegrees.

Lamberto Suave ſet forth 13 prints of Chriſt and his Diſciples far better graved then deſign'd, alſo the Reſurrection of Lazarus, and a St. Paul, which are skilfully, and very laudably handled.

G [...]o. Battiſta de Cavaglieri has cut the deſcent [Page] from the Croſs, a Madona and many others.

Antonio Lanferri, and Tomaſo Barlacchi graved divers things after Michael Angelo, and procured ſo many as were almoſt numberleſſe: But what they publiſh'd of better uſe were divers Groteſcos, Antiquities and peices ſerving to Architecture, taken out of the old buildings and Ruines yet extant, which afterwards Sebaſtiam Serli. refining upon, compos'd the better part of that excellent book of his: And of this nature are the things publiſh [...]d by Antonio Labbaco, and Barozzo da Vignol [...].

The Famous Titian himſelf left ſome rare things graven with his own hand in wood, beſides his Pharo in the great Cartoons, divers Landskips, a Nativity, St. Hierom, S. Francis; and in Copper a Tantalus, Adonis, alſo in Box the Triumph of Faith, Patriarchs, Sybills, Innocents, Apoſtles, Martyrs, with our Saviour borne up in a Chariot by the four Evangelists, Doctor [...], and Confeſſors; Alſo the B. Virgin, a St. Anna, which he firſt painted in charo oſcuro on the Sepulcher of Luigi Triviſano in St. Giovanni e paola at Venice; Samſon and Daillia, ſome Shepheards and Animals; Three Bertuccie ſitting, and encompaſſed [Page] with Serpents like the Laocon; not to mention what were publiſhed by Giulio Buoraſoni, and thoſe which were cut after Raphael, Giulio Romano, Parmegiano and ſeveral others.

Baptista Franco a Venetian Painter, has ſhewed both his dexterity in the Graver, and Aqua Fortis alſo; by the Nativity, Adoration of the Magi, Predication of St. Peter, Some Acts of the Apoſtles, Hiſtories of the Old Teſtament after ſeveral excellent Maſters:

Renato did divers rare things after Roſſo, as in that of Francis the Firſt his paſſing to the Temple of Jupiter; The Salutation of the B. Virgin, and a daunce of ten women, with ſeveral others.

Luca Penni publiſhed his two Satyrs whipping of Bacchus; a Leda, Susanna and ſome things after Primaticcio: alſo the Judgement of Paris, Iſaac upon the Altar; a Chriſt, a Madona Eſpouſing of S. Catharine; the Metamorphoſis of Caliſta, Concilium Deorum, Penelope and ſome others in Wood. Who does not with admiration and even ex [...]aſie behold the works of Franceſco Marcolini? Eſpecially, his Garden of thoughts; Fate, Envy, Calamity, Fear, Prayſe, ſo incomparably [...]ut in Wood.

[Page] Nor leſſe Worthy of Commendation are the Gravings of Gabrielle Giolito, in the Orlando of Arioſto; as alſo thoſe eleven pieces of Anatomie made for Andrea Veſſalius deſign'd by Calcare the Flemming, an Excellent Painter, and which were afterwards engraven in Copper by Valverde in little.

Chriſtophero Coriolano graved the heads in Vaſaris lives of the Painters, being after the deſignes of the ſame Vaſari; they are in wood, and rarely done.

Antonio Salamanca did put forth ſome very good things.

Andrea Mantegna that admirable Painter, engraved his Triumphs of Caeſar with great Art; as likewiſe Baccanalias, and ſea-Gods, a Chriſt taken from the Croſs, his Burial, and Reſurrection; which being done both in Braſs and Wood, were conducted with that skill, as for the ſoftneſs and tenderneſſe of the lights, they appeared as if they had been Painted in Miniature.

Nor may we here omit to celebrate for the glory of the Sex, Propertia de Roſſi a Florentine Sculptreſs; who having cut ſtupendious things in Marble, put forth alſo ſome rare things in Stampi to be encountred [Page] amongſt the Collections of the Curious.

And about this age, or a little after, flouriſhed Martin Ruota, famous for his Judgment after Michael Angelo in a ſmall volume, much to be preferred to that which is commonly ſold at Rome in ſo many ſheets; likewiſe his St. Anthony and divers more. Jacomo Palma has (beſides his excellent book of Drawing) ſet forth many rare pieces, very much eſteem'd.

Andrea Mantuan graved both in Wood and Copper; of his were the Triumph of our Saviour after Titian, and ſome things in Charo oſcuro after Gio: di Bologna and Domenico Beccafumi, whom but now we mentioned; alſo the Roman Triumphs in imitation of Mantegna, a Christus mortuus after Alexand. Caſolini, &c.

Finally, towards the end of this Century, appeared Auguſtino, and Annibal Carracci moſt rare Painters and exquiſite Engravers; for indeed when theſe to Arts go together, then it is, and then only, that we may expect to ſee the utmoſt efforts and excellency of the Bolino: amongſt the famous pieces communicated to us by theſe Maſters, we may eſteem the Monelli, Aeneas of Barrochio's invention, and S. Hierom. [Page] After Tintoret the large and famous Crucifix of three ſheets in S. Roccos ſchool which ſo raviſhed the Painter: Mercury and the Graces, Sapientia, Pax, Abundantia chaſing Mars away; The Ecce homo of Correggio, S. Francis of Cavalier Vanni: a Venus in little with a Satyr, and ſome other nudities with ſomething a too luxurious Graver: S. Giuſtina's Martyrdom of Paulo Veronezes, S. Catherine, and that renown'd S. Hierom of Correggio; Alſo in Aqua fortis his brother Hannibal etched another Venus; the Woman of Samaria at the well, a Christ in little, and a Madona with the Bambino, and S. John; The famous S. Roch and the ſpitefull coronation with thornes: The Chriſtus mortuus bewailed by the devout ſex, the original painting whereof hangs in the D. of Parmas Palace at Caprarvola, and is in the Cut one of the tenderſt and rareſt things that can be imagined, abating the vileneſs of the Plate, which was moſt unfortunately choſen, though through that accident, rendred inimitable, and never to be counterfeited: There is likewiſe his Magdalen and a Landskip touch'd with the Graver a little; likewiſe a Sylenus, all of them incomparably deſign'd, nor indeed, did any of the four celebrated Artiſts exceed the Carracci, eſpecially [Page] Hannibal, for the nobleneſſe and freedom of his poſtures, bodies and limbs, which he expreſs'd in greateſt perfection; We may not omit the Purification which he grav'd, and Villamena made in large, nor the S. Anthony, the Original whereof is in the Palace of Signior Franciſco della Vigna at Venice, nor laſtly the Reſurection and the two Caenaculas.

In the time of Sixtus Quintus and ſince, lived Franciſco Villamena a rare workman, whether conſider'd for the equality of his hatches, which he conducted with a liberty and agreeableneſs ſuitable to the perperfection of his deſign (as is ſufficiently apparent in that famous Plate, which he engrav'd after Paulo Veroneze, repreſenting Chriſt in the Temple) or in thoſe things after the Vatican paintings by Raphael, ſome whereof being never finiſhed, came into a private hand. The Triumphant Venus on the ſea; Moſes, ſome cuts after Fredrick Barroccio in Aqua fortis, divers Catafalco's of excellent Architecture, Ignatius Lyola; the ſtory of Pſyſche containing many ſheets; a combate of men caſting ſtones at one another; and laſtly, that laborious and uſefull book, comprehending the Historical Columne of Trajan, deſign'd [Page] by Julio Romano, and Girolan [...]o Mutiano, which at my being at Rome (then quite out of print) I procur'd of his Widow who was then living, but would not part with the Plates out of her ſight.

Giovanni Maggi was an excellent Painter and Etcher, as he has ſufficiently diſcovered in his rare Perſpectives, Landskips, and his Roma in the Larger Chartoon; likewiſe in the nine priviledg'd and ſtationary Churches, with the three Magi who offer preſents to our Saviour in alluſion to his name.

Leonardo, Iſabella, and Bernardino Paraſol, that we may furniſh all the ſorts of Art in this kind, cut exquiſitively in wood, which is a graving much more difficult; becauſe all the work is to be abated and cut hallow, which is to appear white; ſo that (by a ſeeming paradox) as the Matter diminiſhes the Forme increaſes, as one waſtes, the other growes perfect. Theſe all flouriſhed about the year 1560, and left us three little hiſtories of the Salutation, Viſitation, and St. John Baptist: Alſo Christs waſhing his Diſciples feet, and the cuts to Caſtor Durantes Herbal: Iſabella, who was his wife, publiſh'd a book of all the ſorts of Points, Laces, and Embroderies, [Page] with other curious works for the Ladies, being all of her own invention (except the Frontiſpiece only, which is Vilamenas) and the Plants in the Herbal of the Prince Ceſi d' Aquaſporte, a learned perſon of that Age. Laſtly, the ſon did alſo put forth ſome few things of his work; but was a far better Painter in Freſco.

Antonio Tempesta was a moſt exact and rare deſigner, for which his works are much more eſtimable, then for the excellency of his Points and Needles: he has left us of his eſſayes in A. F. the Hiſtories of the Fathers, the twelve Moneths of the year, Roma in a very large volumne; an incomparable Book of Horſes, another of Hunting, the plates now worn out, and retouch'd with the Bolino: St. Hierom, and a Judgement: the wars of Charles the Fifth rarely perform'd: the Metomorphoſis of Ovid; the Battails of the Je [...]es, eſpecially that of the Amalakites in great, the Creation and Old Teſtament, Torquato Taſſo's Jeruſalemma Liberata, the Birds and Faulconry in Pietro Olinas Book, with divers others well known, and much eſteemed by the Virtuoſi.

Cherubin Alberti has celebrated h [...]s incomparable Graver in that preſentation of [Page] our Lord in the Temple▪ the Adam expulſed out of Paradiſe: In the Puti, divers Vaſa's, and other pieces which he wrought after Polydoro de Caravaggio and Michael Angelo, commonly ſold at Rome, and univerſally collected.

Horatio Borgiani cut the Hiſtory of the Bible in the Periſtyle of Raphael at the Vatican, ſo often made mention of, and out of which, as from a School of the nobleſt Science, moſt of the great Painters of the World have ſince taken forth their Leſſons: He likewiſe publiſhed ſome things in Char' Oſcuro, which were rarely heightned.

Raphael Guido a Tuſcane, engraved many pieces after Cavalier Arpino, as the Flagellation, Romulus, Icarus, The Angelus Custos, Ceres, Bacchus, a Chriſtus mortuus and St. Andrew the Apoſtle after Barroccio.

Jovanni Baptiſta della Marca put forth many divices of Shields, Armour, Buſts, and Trophies cut in wood.

To theſe we might add thoſe excellent things of Camillo Graffico, and Cavalier Salimbene, Anna Vaiana, with innumerable more; But we have yet other fruitfull Countries to viſit, to whoſe praiſes we muſt be juſt; only we may not forget the [Page] incomparable Stephano Della Bella a Florentine Painter now, or lately living, whoſe intire collection in A. fortis is deſervedly admir'd, and here in particular to be celebrated by me, in acknowledgment of ſome obligation I have for his civilities abroad: And of this Artiſt's works, flowing, and moſt luxurious for invention, are thoſe things which in imitation of Callot he did in little, being yet very young: As the Scaenes and dances of the Horſes at the Marriage of the Duke of Tuſcany; Compartimenti, Cartells, Ornaments and Capricios for Carvers and Embroderers: A book of Gobbi, and divers Vaſa's, Landskips in Rounds and others: A book of Beasts done exceedingly to the natural: The principles of Deſigne, Heads, and other touches very rare and full of ſpirit, ſeveral pieces of our Lady, Christ, St. Joſeph. &c. Jacobs deſcent into Aegypt: The Proceſſion and Expoſure of the Sacrament, where there is an Altar of curious Architecture inrich'd with feſtival Ornaments: The Cavalcado of the Polonian Embaſſadour into Rome, with divers other proceedings, Pieces of Polonians, Perſians, and Moores on Horſeback breathing a rich and noble fanc [...]: Alſo Seiges, Engines for War, with Skirmiſhes, Land and Sea [Page] Fights: The Metamorphoſis of Ovid: The Sultana and her ſon taken by the Knights of Malta, and to conclude, (for there is no end of his Industry) the Proſpect of the Pont Neuf at Paris, then which there is not certainly extant a more lively repreſentation of the buſie Genius of that Mercurial Nation; nor a piece of greater variety as to all encounters and accidents, which one can imagine may happen amongſt ſo numerous a people and concourſe of Mankind.

Laſtly (for they were likewiſe ſome of them Gravers in Copper and very rare Chalcographers) we muſt not omit to make honourable mention here of thoſe incomparable Sculptors and Cutters of Medails, whither in Gemms or Metals; ſuch as were (beſides thoſe we touch'd in the former chapter) Vittor, Gambello, Giovanni dal Cavino the Padouan, and a Son of his; Benevento Gellini, Leone Aretino, Jacopo da Treſſo, Fred. Bonzagna; and above all Gio. Jacopo who have almoſt exceeded, at leaſt approach'd the Antients: To theſe may we add Giovanni da Caſtel Bologneſe, Matteo dal Naſaro, Giovanni dal Cornivole, Domenica Milaneze, Pietro Maria de Peſcia, Marmita, and Ludovico his Son, Valerio [Page]Vincentino who had been in England in the time of Queen Elizabeth, and left a Sardonix which he cut, repreſenting the head of that famous Heroine, inferiour to none of the Antients: There was likewiſe Michelino, who with the above named Ludovico, and Vincentino, had ſo accurarely counterfeited the antient Medails, that the moſt knowing Antiquaries were often at a loſſe to diſtinguiſh them: Such were alſo Luigi Arichini, Aleſſandro Caeſari called the Greek, ſo much celebrated for that ſtupendious Medalion of Paul the Third, and the head of Photius the Athenian which he cut in an Onix, comparable, by the Univerſal Suffrages, to any of the Antients: We could reckon up the works alſo of many of the reſt, but it is not requiſite, after we have given this taſt, and would merit an expreſſe Treatiſe. Likewiſe thoſe of Antonio de Roſſi, Coſimoda Trezzo, Philippo Negarolo, Gaſpar and Girolamo Miſ [...]roni, Pietro Paulo Galcotto, Pastorino di Sienna, not omitting that famous Pharodoxus of Milan, Fran. Furnius, and Severus of Ravenna, &c. whoſe works were in Gold, Silver, Copper, Steel, Achates, Cornelians, Onixes, Chriſtal, Jaſper, Heliotrope, Lazuli, Ametheistis, &c. yea, and to ſhew [Page] how much ſome of thoſe Modern Maſters exceeded the Antients, even the Diamond, that hitherto inſuperable gemme, was ſubdu'd by the famous Treccia of Milan, who with ſtupendious ſucceſſe cutting the King of Spains Armes in a Noble Table, was the firſt that ever engrav'd, or made impreſſion into that Obdurat ſtone. It will become ſuch to be well acquainted with theſe Maſters Labours, and their manner, who aſpire to be knowing, and to improve their Judgment in Medaills and Intaglias, that neceſſary, Ornamental and Noble piece of Learning; and not only to be well skill'd in their way of deſign; but to be able alſo to perform ſomething in the Art themſelves: For ſuch were thoſe ingenious and Illuſtrious Spirits, Geo. Battiſta Sozini of Sienna, and Roſſo de Giugni of Florence, Gentlemen of note; and ſuch, with us, is our Noble and worthy Friend, Elias Aſhmole Eſq; whoſe Learning, and other excellent qualities deſerve a more glorious inſcription.

Finally, that excellent Medaliſt Mounſieur Roti, now entertain'd by his Majeſty for the Mint, and a rare Workman as well for Intaglias in ſtone, as Metal, is not to be here omitted.

[Page] We ſhall ſpeak in the next of thoſe Germans and Flemmings who excell'd in the Art of Chalcography, not that they have exceeded ſome of the French; but, becauſe they were before them, and Univerſally admired: of theſe, the Anteſignani were the foremention'd Albert Durer; that Prodigie of ſcience,Maſter Bleau of Amsterdam. whoſe works we have already recounted upon occaſion of Marco Antonio, and therefore ſhall here forbear the repetition; as alſo thoſe of Lucas, whoſe works (conſiſting in all of about Lxx. ſheets, and which I have known ſold for near an hundred pounds sterling, to one that as well underſtood the value of mony, as of that rare Collection; he being one of the greateſt Merchants of Books in Europe) are to be taken blind fold as they ſay; provided the impreſſions be black, well conſerved, of equal force, and not counterfeit, as there are ſeveral of them which be; diſcernable only by the curious, and accurately skilfull: For ſuch (amongſt others of Durers) are the Creation of Adam, the ſtory of Lot, Suſanna, The Crucifix which he cut in a ſmall round plate of Gold for the Emperours ſword, and is fixed on the pummel, not before mention'd: his arm'd Cavalier and Satyre, [Page] and indeed, almoſt all that ever He, or Lucas graved and ſet forth.

The Works of Aldegrave, who came very near Albert, and flouriſh'd about the ſame Age, are worthy the Collection: His pieces are diſtinguiſh'd by the Cypher of his initial Letters * in imitation of Durer, as likewiſe the Author of the ſeptem opera miſericordiae; ſtories of the book of the Kings, Artemiſia, &c. whoſe gravings are counterſign'd with G.P.I.B. publiſh'd the four Evangeliſts, Adam, a Country fellow, a Biſhop, a Cardinal, Satyrs, &c. M. the Prodigal ſon, the Evangeliſts, &c. ſome whereof are Copies after Albert, and moſt of their works done in ſmall plates.

Hans Sibald [...]eme hath done wonders in thoſe ſmall figures, ſtones, and nakeds which he publiſh'd; it ſhall not be requiſite to recite here the Catalogue; becauſe his mark I-S-B is fixed to moſt of his works, though now and then profan'd by the hands of others.

Jerome Coach a Flemming cut a Moſes, 32 ſheets of the ſtory of Pſyche, deſign'd by one Michael a Painter of the ſame Country very rarely conducted: Alſo Dalila and Samſon; The deſtruction of the Philiſtims, the Creation of Adam, &c. 27 Stories of [Page] the Old-Teſtament nobly deſign'd by Martino, and as well graved: Alſo the Hiſtory of Suſanna: Another book of the Old, and New Teſtament: The Triumph of Patience, a rare Cut: the Heart on the Anvile, and divers Emblems full of curious Figures; many ſacred Triumphs; Fraud, Avarice; a Bacchanalia, and a Moſes after Bronzini, in emulation whereof, Gio. Mantuano publiſh'd his Nativity, an incomparable print; after which Jerome graved for the Inventor, twelve great ſheets of Sorcereſſes, the Battails of Charolus the V. and for Vereſe a painter, the Perſpectives which paſs under his name, with 20 leaves of ſeveral Buildings; beſides the St. Martine in a book full of Devils; For Girol. Bos, the Alchimiſt, the ſeven deadly Sins, the laſt Judgment, a Carnoval; and, after Francis Floris ten pieces of Hercules Labours, the Duel of the Horatii and Curatii, the Combate of the Pigmies and Hercules, Cain and Abel, Abraham; the Deciſſion of Solomon between the two Harlots, and in ſumme, all the actions of humane life.

And now that we mention'd Francis Floris of Antwerp, the rare things which he publiſh'd in ſtamp, purchas'd [...]im [...] name of the Flemmiſh Michael Angelo.

[Page] Of the ſame Country was that incomparable Cornelius Cort; we will commence with the Judgment of Michael Angelo which he cut in little: Moſt of his things were after Frederic Zucchari, and ſome few of Raphaels; beſides his Landskips and other Gravings, after Girolam Mutiano, which are very excellent: Alſo John Baptiſt, St. Hierom, St. Francis, Mary Magdalen, St. Euſtachius, the Lapidation of S. Stephen deſign'd by Marco Venuſto the M [...]uan. A Nativity after Thadeo Zuccharo, St. Anne, &c. Alſo a Nativity in great after P [...]lydore: The Transfiguration; The ſchool at Athens; The Battail of Elephants; ſome Gravings after Don Julio Clovio, and Titian, which had they been accompanied with that tenderneſs, and due obſervation of the diſtances, that accompliſh'd the ſucceeding Gravers, had render'd him immortal, ſo ſweet, even and bold was his work and deſign in all other conſiderations. We mention'd Titian; for about 1570. Cor. Cort did uſe to work in that famous Painters houſe, and Graved for him that Paradiſe he made for the Emperour; St. Lazarus Martyrdom, Caliſ [...]e and the Nymphs, Prometheus, Andromeda, the fore-nam'd Magdalen in the deſart, and St. Hierom, all of them of Titians invention,

[Page] We come now to Justus, John, Aegidius, and Ralph Sadelers, who lived in the time of the Emperour Rodulphus, and publiſh'd their almoſt numberleſs labours; we can therefore inſtance but in ſome of the moſt rare; ſuch as were that Book divided into three parts. 1. Imago bonitatis, 2. Boni & mali ſcientia, 3. Bonorum & malorum Conſenſio, deſign'd by Martin de Vos: The Veſtigia of Rome tenderly and finely touch'd in 50 ſheets: The 12 Roman Emperours and Empereſſes after Titian, rarely graved by Giles, a Madona with our Saviour, and St. Joſeph after Raphael, Chriſtus Flagellatus, and the head of Rodulphus II. with various capriccios, and inventions about it, as alſo that of the Emperour Mathias, adorn'd with the chaplet of Medails; the calling of S. Andrew, by John and Giles in brotherly emulation: Four books of Eremites admirably conducted by Raphael, a caena Domini after Tintoret, and another Flagellation of Arpino's: Divers Landskips, The 12 Moneths; the great Hall at Prague, the Effigies of Martin de Vos by Aegidius; The Emperour and Empreſſe in their Robes of State; an Adoration of the Magi after Zuchari: Adonis and Venus after Titian: a Crucifix after Jac. Palma, a Reſurection in [Page] great: the rich Epulo, St. Stephens Lapidation, the Original whereof is at Friuli: a S. Sebaſtian; Theſe by Giles: John engrav'd after M. de Vos a ſcholar of Tintortes already mentioned, the Creation and many hiſtories out of Geneſis: Ralph cut alſo the Life of Christ; the Credo by way of Embleme: In ſumme (for their whole collection is not to be crouded into this Catalogue) they have all of them publiſhed ſuch incomparable gravings; that 'tis the greateſt pitty in the world, they had not flouriſhed in the time of the great Raphael, and the good Maſters, for they were not only accurate and punctual imitators; but gave to their works that ſoftneſſe, life, and Colore (as Artiſts terme it) which accompliſhes all the reſt; Eſpecially, John and Raphael in what they graved after Mich. de V [...]s, Baſſano and others whoſe Ruſticities they ſet forth: thoſe of Aegidius in great, being a deſcent from the Croſſe of Barrecci [...]s invention, the other a Flagellation deſign'd by J [...]ſepho Pin, can never be ſufficiently celebrated.

After the Sadelers appeared He man Muller with a very bold Bulino, and likewiſe Janus who graved many things after Sprangers, worſe choſen (for the convulſive and even Demo [...] poſtures) [...] [...]xecuted.

[Page] But the imitations of the Graver by Simon Friſius the Hollander, who wrought with the Aqua fortis of the Refiners, are altogether admirable and inimitable, the ſtroke and conduct conſider'd, had the deſign (excepting thoſe of his Birds which are indeed without reproch) contributed in any proportion to his dexterity.

After him came the Swiſſe Matthew Miriam, who had he perform'd his heightnings with more tenderneſſe, and come ſweetly off with the extremities of his hatchings, had proved an excellent Maſter: His works are uſeful and innumerable in Towns, Landskips, Battails (thoſe eſpecially fought by the great Guſtavus) &c. the Soſt Verniſh and ſeparating A. F. was the inſtrument he uſed.

We have ſeen ſome few things cut in Wood by the incomparable Hans Holbein the Dane, but they are rare, and exceeding difficult to come by; as his licentiouſneſſe of the Friers and Nuns, Eraſmus, the Daunce Macchabree, the Mortis imago which he painted in great, in the Church at Baſil, and afterward graved with no leſſe art, and ſome few others: But there is extant a book of ſeveral Figures done in the ſame material by one Justus Ammannus Tigur, MDLXXVIII. which are incomparably [Page] deſign'd and cut: In the Epiſtle whereof, one Holtzhuſen a Gentleman of Frankfort is commended for his univerſal knowledge, and particularly his rare talent in this Art, which it is there ſaid he ſhewed, by wonderful contrivances at the celebration of Martin Luthers Nuptials, and therefore worthy to be taken notice of.

Hans Broſſehaemer beſides ſeveral other things, hath cut in wood a triumph of the Emperour Maximilian into Neuremberge.

Vergilius Solis graved alſo in wood the ſtory of the Bible, and the Mechanic Arts in little, but for imitating thoſe vile poſtures of Aretine, had his eyes put out by the ſentence of the Magiſtrate.

Henry Golzius was a Hollander, and wanted only a good, and judicious choice to have render'd him comparable to the profoundeſt Maſters that ever handled the Burin, for never did any exceed this rare workman; witneſſe, thoſe things of his after Gaſparo Celio, the Gallatea of Raphael Santio, and divers other pieces after Polydor da Carravaggio, a Hierom, Nativity, and what he did of the Acts of the Apostles, with Ph. Galle, &c. but he was likewiſe an excellent painter.

George Nouvolſtell was of Mentz in Germany, an admirable Graver in Wood: he [Page] publiſh'd that Aeneas in little, and ſome Hiſtorical parts of the Bible very well perform'd; alſo divers of the Fathers after Tempeſta, beſides the Jeruſalemma liberata of Bernardino Caſtelli in Quarto, with many Cartels of Armes and Harneſſes, and ſome Pictures to a Breviary, &c.

Mathew Greuter publiſh'd a curious book of Letters, the City of Rome in an ample forme, and a large Map of Italy; the Old and New Teſtament, the Church of Straſburge, an harmony 'twixt the Decalogue and the Lords prayer very ingeniouſly repreſented in Picture, with ſeverall other things laudably performed; But his ſon.

Frederic did infinitly exceed the Father, as may be ſeen by thoſe many curious Gravings which he has cut after Pietro Beretin Corton, and the famous Andrew Saccus egregious Painters.

Sanredamus did publiſh many excellent cuts, eſpecially thoſe which he coppied after Lucas van Leiden, of which we have formerly given a hint for their ſakes, who are collectors of theſe curioſities, and may not happly be yet arriv'd to the judgment of being able to diſcerne them from the Originals; Alſo ſome things after Goltzius.

Cornelius Galle in his St. Priſcas Baptiſm, [Page] Papenheim's and other heads after V. Dyke, has ſhew'd what he was able to perform, not to mention abundance of Frontiſpeices and other leſſe conſiderable of his workes. But the

Count Cloud [...] a Knight of the Palatinat has publiſh'd, though very few, yet ſome ſtupendious things, eſpecially that of our B. Saviours flight into Aegypt by night, the ſtory of Tobit, and about three or four more worthy of all admiration.

Swanevelts Hiſtory of St. John, with divers Landskips.

Pandern's deſcent from the Croſſe, Mattham's Chriſt and St. Jo [...]n, a Venus after Rotenhamer, Pope Innocent X. &c.

Branchorſts rare Etchings, eſpecially thoſe Ruines and Anticalias of Rome: and ſuperiour to all, the incomparable Landskips ſet forth by Paul Brill (ſome of which have been Etched in Aqua fortis by Nieulant) do extreamly well merit to be placed in this our Theater: For to be brief, becauſe we can only recite the moſt remarkable and worthy the collection. Mattham is famous for Fruits; Boetius, or Adam Bolſ [...]erd for his Ruſticks after Blomaert, Londerſelius has taken exceſſive pains in his Landskips; and ſo has Van Velde in ſome few: but above all, Nicholas de Bruyn (after [Page] Aegidius Coninxlogenſis) is wonderful for Boſcage, and the induſtry of his undertaking works of that large Volume, which Theodore de Bry (reſembling him in name) has been as famous for contracting; though both of them of a Dutch heavy ſpirit, and perfectly ſuting with the times and places: notwithſtanding has this latter performd ſome things in little very laudably: Nor with leſſe ingratitude, amongſt others may we forget the Nova reperta of Stradanus by Theodor Galle, who alſo publiſhed the whole proceſſe of making ſilk of the worm, and certain other works in Manufacture, all of them repreſented in Sculpture.

Mallery in his Peccati fomes after Mic. de Vos, has perf [...]rm'd wonders as to the ſubtilty and imperceptible ductus of the Graver.

Bolſ [...]ert ſet forth the Sacra Eremus Aſceticarum, after Blomart and others, but above all is he to be celebrated for thoſe rare heads, and other ſtories graved after the Paintings of Rubens and Van Dyke, which for their ſakes, who are dilligent collectors of the renouned perſons of the late Age, we ſhall not think amiſs to mention. Such were the Dutcheſſe of Orleans, Arch Duke Albert, Justus Lypſius, and others after Van Dyke, Leſſius and Bellarmine, Jeſuites [Page] after Dipenbec: after the ſame hands did Paulus Pontius grave the head of Sigiſmund Kind of Poland, Count Pimentelo, &c. after Rubens, Don phil: de Guſman, Don Alvar: Buzan an incomparable cut; Don Car. de Colunna, Rubens picture bare headed, for there is another in a hat: Gaſp de Grayer, Simon de Vos; Maria de Medices, Caeſar Alexand, Scaglia, Conſt. Hugens the learned Father of our moſt ingenious Friend Monſieur Soylecom, ſo worthily celebrated for his diſcoveries of the Annulus about Saturne, the Pendule clocks, and univerſal Mathematical Genius. Gaſper Garartius the Lawyer; Gaſp. Reveſtyn; Guſtavus Adolphus King of Sweden, Jacobas de Breuch, the Princeſſe of Brabonſon, that rare head of Frederic Henric Prince of Orenge, and his own, with many more after Van Dyke; beſides the Jeſuit Caniſius, R. Urbin Painter, and others whom he grav'd after Diepenbec, &c. And ſince we mention'd Sir P. Paule Rubens we may not pretermit thoſe many excellent things of that great Polititian, a learned and extraordinary perſon, ſet forth in ſo many incomparable Gravings by the admirable works of Suannebourg, the above named Pontius and Bolſwert, Neſſe, Voſterman, Vorſt, and other rare Maſters in [Page] this Art: Such are (to inſtance in ſome only) his battail of the Amazons, St. Roch, our B. Saviour compoſs'd to Burial, the Fight of Lyons, his great Crucifix, Converſion of S. Paul, St. Peter in the ſhip, a Nativity, the Magi; The bloody Cataſtrophe of Cyrus; Solomons firſt Sentence; St. Catharines eſpouſals, the tribute demanded of our Lord; Suſanna and the Elders, St. Laurence Martyr'd; the Palaces of Genoa; with divers others to be encountr'd amongſt the Merchants of Prints, whoſrequently vend the copies for the originals to the leſſe wary Chapmen: Chr. Jeghre has cut the Temptation of our Saviour in wood very rarely perform'd after this great Maſter: And beſides the former mention'd,

Lucas Voſterman, and Vorst are never to be forgotten ſo long as the memory of his Schollar Sir Ant Van Dyke is famous, for the heads of Marqueſſe Spinola; Char. de Mallery, Horatius Gentileſcus; Jo. Count of Naſaw, Van Milder; P. Stevens, and Cor. Sachtleven, which he engrav'd after a new way, of Etching it firſt, and then pointing it (as it were) with the Burine afterwards, which renders thoſe latter works of his as tender as Miniature; and ſuch are the heads of Van Dyke himſelf, Jo. Livens, Cor. [Page]Schut, Corn. de Vos, Deodat del Mont, Luca [...] van Uden, Jodocus de Momper, Wenceſt. Coeberger, Painters; Count de Oſſono, Duke of Bavaria, the Arch-Dutcheſſe Clara, the laſt Duke of Orleans, Anton. Connebiſon, P. Stevens, and many others, together with thoſe other pieces of Hiſtory, viz. the Sepulture of Chriſt, and S. George after Raphael, Magdalene under the Croſſe, our B. Saviour in his Agony after Carraccio, the Suſanna, St. Laurence, and what but now we mention'd after Rubens, divers heads after Holbein, as that of Eraſmus, the D of Norfolk, and others of the Arundelian collection.

Van Vorst, Competitor with Voſterman, has likewiſe graven a number of Heads after Vandyke; I ſhall only name the learned Sr. Kenelme Digby in a Philoſophical habit: our famous Architect Inego Jones, and thoſe two incomparable figures of Charles the Martyr and his Royal Conſort the Q Mother now living: And to ſhew what honour was done this Art by the beſt of Painters,

Sr. Ant. Vandyke did himſelf etch divers things in A. Fortis: eſpecially a Mad [...]na, Ecce Homo, Titian and his Miſtreſs, Eraſmus Roterodamus, and touched ſeveral of the heads before mentioned to have been grav'd by Voſterman.

[Page] After this great Maſters paintings, did Peter de Jode grave the Effigies of Genovefa Widdow to Car. Alex. Duke of Croi, Paulus Helma [...]ius; the Learned Puteanus; the Biſhop of Gendt; the face whereof is thought to be Etched by V. Dyke himſelf; he graved Jo. Snellinx a Painter: beſides a book of deſigning very rare; and the many other prints after his Maſter Goltzius (whoſe Diſciple he was) which both Peter, and his Son of the ſame name, have engraved for Monſieur Bon Enfant of Paris, &c.

Colaert graved ſome things rarely in ſteel.

S [...]iiderhoef has engraven the heads of moſt of the Learned Dutch, after ſeveral painters with good ſucceſſe: as thoſe of Heinſius, Grotius, Barleus, &c. not forgeting that ſtupendious Lady Anna Maria a Scureman, &c.

Jo. Baurs has deſign'd his Battails with a fine Spirit, but without care in the etching.

Vander Thulden publiſhed the whole Hiſtory of Ulyſſes, being the work of the Famous Primaticco at Fontain Bleau Etched alſo in A. F. and ſo deſign'd, as few pretenders to this Art did ever exceed him: And ſo, as we but lately mention'd, are the papers of the inimitable Suanebourge which ſtrike a raviſhing effect in [...]ll that beheld them, for the admirable tenderneſſe, [Page] and rare conduct of the hatches; eſpecially thoſe which he cut after the drawings of Abraham Blomaert, and Rubens.

But now that we mention Blomaert, whoſe works we have celebrated in general, becauſe they ſmell ſomething of a Dutch ſpirit, though otherwiſe well engraven; There is at Rome (if we miſtake not) a Son of his named Cornelius, who in that S. Francis after Guedo Reni, and thoſe other pieces after the deſign of thoſe great Maſters Mounſieur Pouſſine, Pietro Cortone, &c. to be ſeen in the books ſet forth by the Jeſuit Ferrarius, his Heſperides, Flora, Aedes Barberini, &c. hath given ample Teſtimony how great his abilities are; for, certainly, he has in ſome of theſe ſtamps arrived to the utmoſt perfection of the Bolino, though ſome Workmen will hardly allow him this Elogie. But thoſe things which the incomparable Natalis a Ligeois, (and therefore reckon'd here amongſt the Germans) paſs without the leaſt contradiction for the utmoſt effort of that inſtrument. Such are that St. Catharines Eſpouſalls after Bourdon, which ſeems to be a very piece of Painting: The two Madonas in conteſt with Poilly: The Theſis; and the chapter of the Carthuſians, all after [Page] the Life and his own deſign, a ſtupendious work: alſo the heads of Jacob Catz one of [...]e States of Holl. painted by Dubordieu; and ſome few things more, as the exactneſs and Curioſity of what he undertakes requires, ſufficient to diſcover the admirable perfection of this great Artiſt: For we do not mention ſeveral Frontiſpieces which he has likewiſe engraven, with equal Induſtry.

Ferdinand has beſides many others, graved after the ſame Bourdon, the ſtory of Ulyſſes and Andromache:

Urieſe▪ and Verden are famous for their perſpectives.

Winegard his Roman Vestigia, &c.

William Hondius, beſides thoſe things which adorn his Mapps, which are the largeſt Planiſpheres, has very rarely engraven his own Head, after a painting of Vandyke: nor with leſſe Art has Va [...]keſſel done that of Charles the fifth after Titian: Clovet Car. Scribonius the Jeſuits.

Caukern has graven the ſtory of that pious Daughter, who gave ſuck to her impriſon'd Father; a fight of Bo [...]res, with divers others after Rubens and Vandyke, &c. beſides thoſe which are extant in Mr. Oglebyes Homer, Bible, my Lord of New-Caſtles [Page]Cavalerizzo, &c. deſign'd by Deipenbec, whoſe rare Talent, that Theater, or Temple o [...] the Muſes publiſhed by that Curiouſly Learned, and Univerſal Collector of prints, the Abbot of Villoin, (of whom we ſhall have occaſion to diſcourſe in the next Chapter) do's ſufficiently illuſtrate.

Lucas Kilianus has rarely graved the Murther of the Innocents; the Miracles of the fiſh; Annuntiation, Circumciſion, and ſome Plates in the Hortus Eystettenſis, &c.

Viſcher, viz. Cornelius (for there is another who has publiſhed divers Landskips) hath moſt rarely Etched a certain Dutch Kitchin, where there is an old Man taking Iobacco, whilſt his Wife is a frying of pancakes: alſo a Fiddler accompanied with boyes and girles, painted by Ostade: but above all, admirable is the deſcent, or Christus Mortuus after Tintoret, both grav'd and Etch'd, as indeed, I ſhould have ſaid of the reſt.

Vovillemont has Etched our Saviours chaſing the ſacrilegious Merchants out of the Temple after the ſame Tintoret; which is very rare.

Nolp the twelve moneths, eſpecially the boyſtrous March.

Lombart, many plates for Mr. Oglebyes Virgil; as likewiſe that induſtrious Interpreters [Page] Picture after our famous Mr. Lilly, in which he has performed laudably: Nor muſt I here forget Mr. Hertoc who has grav'd the Frontiſpiece for [...], in fol. and that of this Treatiſe, with many other.

To theſe we may add the incomparable Reinbrand, whoſe Etchings and gravings are of a particular ſpirit; eſpecially the old Woman in the furr: The good Samaritane, the Angels appearing to the Shepheards; divers Landskips and heads to the life; St. Hierom, of which there is one very rarely graven with the Burine; but above all, his Eece Homo; deſcent from the Croſs in large; Philp, and the Eunuch, &c.

Winceſlaus Hollar a Gentleman of Bohemia, comes in the next place, not that he is not before moſt of the reſt for his choyce and great induſtry (for we rank them very promiſcuouſly both as to time and preheminence) but to bring up the Rear of the Germans with a deſerving perſon; whoſe indefatigable works in Aqua Fortis do infinitely recommend themſelves by the excellent choyce which he hath made of the rare things furniſh'd out of the Arundelian collection; and from moſt of the beſt hands, and deſigns; for ſuch were thoſe of Leonardo da Vinci; [...]. Parmenſis,[Page]Titian, Jul. Romano, A. Mantenio, Corregio, Peri [...]o del Vago, A. Urbin, Seb. del Piombo, Palma, Alb. Darer, Hans Holbein, Vandike, Rubens, Bereugle, Baſſan, Aelſheimer, Brower, Ar [...]ois, and divers other Maſters of prime note, whoſe Drawings and Paintings he hath faithfully copied; beſides ſeveral books of Landskips, Townes, Solemnities, Hiſtories, Heads, Beasts, Fouls, I [...]ſects, Veſſels, and other ſignal pieces, not omiting what he hath Etched after De Clyne, Mr. Streter, and Dankert, for Sr. Phil. Stapletons Juvenal, Mr. Roſs his Silius, Polyglotta Biblia, the Monasticon, firſt and ſecond part, Mr. Dugdales Paules, and Survey of Warwickſhire, with other innumerable Frontiſpieces, and things by him publiſhed and done after the life; and to be (e [...] nom [...]ne) more valued and eſteemed, then where there has been more curioſity about Chimaeras, and things which are not in Nature: ſo that of Mr. Hollars works we may juſtly pronounce, there is not a more uſeful, and inſtructive Collection to bemade.

The learned Hevelius has ſhewed his admirable dexterity in this Art, by the ſeveral Phaſes and other Ichoniſms which adorn his Selenographi, and is therefore one of the nobleſt inſtances of the extraordinary [Page] uſe of this Talent, for men of Letters, and that would be accurate in the Diagramms which they publiſh in their works.

The no leſſe knowing Anna Maria a Schurman is likewiſe skilled in this Art, with innumerable others even to a Prodigy of her Sex. For the reſt, we ſhall only call over their names, after we have celebrated the extravagant fancies of both the Breugles, as thoſe of the ſeven deadly ſins, Satyrical pieces againſt the Nuns and Friers; with divers Hiſtories, Drolleries, Landskips, fantaſtic Grylles and Groteſqus of theſe two rare Rhyparographs; not farther to tire our Reader with the particulars and ſeveral works of Oſtade, Corn, Clock, Queborne, Cuſtos, le Delfe, (who has put forth the Pourtraicts of many learned perſons) Dors, Falck, Gerard, Bens, Moeſtuer, Grebber, Geldorp, Hopfer, Gerard, Bens, Chein, Ach: d' Egmont, de Vinghe, Heins, Ditmer, Cronis, Lindoven, Mirevel, Kager, Coccien, Maubeaſe, Venius, Firens, Pierets, Quelinus, Stachade, Sehut, Soutman, Vanulch, Broon, Valdet, whom we expreſly omit; becauſe we have introduc'd a ſufficient number, and that this chapter is already too prolix.

Only we would not omit Min Here Biſcop a learned advocate now of Holland, [Page] who for his ſtory of Joſeph and Benjamin, where the cup is found in his ſack, and thoſe other few cuts among the hands of the curious, muſt not be paſſed over in oblivion; as we had like to have done ſome of the old, and beſt Maſters by having hitherto omitted.

Druefken his King of the Boors in Hungaria, eaten alive by the Rebels whom he ſeduced; with ſome other cuts in wood known by his mark, which was commonly a cluſter of Grapes:

Pieter Van Aelst, his Cavalcad of the Grand Signior to Sancta Sophia, and ſeveral Turkiſh habits, on which ſubject alſo

Swart Jan Van Groennighen has ſet forth many remarkable things, Caravanns, Pilgrimages to Mecha, &c.

Lucas Cranach, Tiltings, Huntings, German Habits, and the portraicts of all the Dukes of Saxony to his time:

Joos Ammanus (whom we already mention'd) divers of the Mechanic Arts; not omitting all thoſe excellent Wood Cuts of Hans Schin [...]lyn and Adam Altorf, eſpecially this laſt, known by the two Capital AA of the Gotick forme included one within the other, as the D is in that of Albert Durers.

[...]bert Goltzius has cut in wood a book [Page] of the Roman Emperours in two Colours; this name recals to mind an omiſſion of ours in ſome of thoſe excellent Chalcographers already recorded, and in particular, the incomparable imitations of Henry Goltzius after Lucas Van Leyden in the Paſſion, the Christus mortuus or Pieta; and thoſe other ſix pieces, in each of which he ſo accurately purſues Durer, Lucas, and ſome others of the old Maſters, as makes it almoſt impoſble to diſcerne the ingenious fraud.

We did not ſpeak of the heads of the famous men in the Court of the Emp. ſet forth by Aegid. Sadeler; as Raphael (his Brother) had the Bavaria Sancta, repreſenting all the Saints of that pious Country.

Albert Durer's Tenerdack or Romantic deſcription of the Amours of Maximilian and Maria de Burgundy: the book is in High Dutch: He has likewiſe cut Petrachs Utriuſque Fortunae Remedia, which admirable treatiſe being tranſlated into the German Language, is adorn'd with the Gravings of Hans Sibald Bheem, Ammanus, Aldegrave, and moſt of the rare Maſters of that age: Finally, he has cut the ſtories of Apuleius his golden Aſſe: and ſprinkled divers pretty inventions and Capriccios in an old impreſſion of Cicero's Epiſtles: And with this recollection [Page] of what we had omitted in the foregoing Paragraphs (to which they are reducible) we will take leave of the Dutch Sculptors, and paſſe on to

The French who challenge the next place in this Recenſion, for their gravings in Taille Douce, which began to be in reputation after Roſſo the Florentine painter had been invited and Careſs'd by that Worthy and illuſtrious Mecaenas of the Arts, Francis the firſt: about which time Petit Bernard of Lyons publiſh'd the ſtories for the Bible of St. Hierom, performing ſuch things in little, for the Deſign and Ordinance as are worthy of imitation: ſo greatly he approch'd the Antique in the garb of his Figures, Diſtances, Architecture, and other acceſſories of the Storie: We have ſome of theſe engraven by this Artiſt, and printed long ſince at Lyons, with the Argument under each cut, in the Engliſh verſe of thoſe times, which appears to have been done about the beginning of the Reformation, when, it ſeems, men were not ſo much ſcandaliz'd at holy repreſentations.

Nicholas Beatricius a Loraneze graved his Horſe conflicts, and ſeveral books of Animals, and Wildbeaſts. The Widdowes [Page] ſon raiſed to life, the Annuntiation after M. Angelo, the Ark of the Catholick Church after that rare Table of M [...]ſaic in S. Peters of Giotto, &c.

Phillippus Thomaſinus labours are worthy of eternity, ſo excellent was his choice, ſo accurate his graver; witneſſe the fall of Lucifer, the univerſal judgement, the ſhip we but now mention'd; the ſeven works of mercy; B. Felix, the Miracles of the Capucines, the Statues of Rome in little; the labours of many famous perſons; the baptiſme of our Saviour, after Salviati; St. John the Evangeliſt in the boyling Oyle; St. Stevens Lapidation after Ant. Pomarancio; the Magi of Zuccharo; Mary preſented in the Temple, of Barroccio; the life of St. Catharine; Fama, divers ſea Monſters after Bernardino Paſſero; and ſome things of Vanni; not to omit his Camea collected from ſeveral curious Achates and other precious ſtones, beſides Shields, Trophies, Gordian Knots, with variety of inſtruments and other works too long here to recite minutely.

Chriſpinus de Pas and his ſiſter Magdalen (whither French or Dutch) have engraven many excellent things after Breugle; eſpecially Landskips; the perſecution of the Prophets and Apoſtles, with ſeveral more: [Page] But that Liberum Belgium by Simon de Pas his Father, or Brother (I know not whither) dedicated to Prince Maurice of Nauſſaw is a very rare cut.

Who has not beheld with admiration the incomparable Burine of Claudius Melan, celebrated by the great Gaſſendus, and employ [...]d by the moſt noble and learned Perieskius? The Sudarium of St. Veronica, where he has formed a head as big as the life it ſelf with one only line, beginning at the point of the Noſe, and ſo by a ſpiral turning of the Graver finiſhing at the utmoſt hair, is a prodigy of his rare Art and invention; becauſe it is wholly new, and perform'd with admirable dexterity: Nor has he leſſe merited for his St. Francis, St. Bruno; the pointed Magdalen, Pope Urbane the VIII. and divers others to the life, eſpecially thoſe of the Illuſtrious Juſtiniani, Perieskius, and the ſeveral frontiſpieces to thoſe truly Royal works, Poets, and other Authors printed at the Loure.

Mauperch has publiſhed ſome pretty Landskips; La Poutre many moſt uſefull varieties and Ornaments for Architects, and other Workmen; Florid, and full of Fanſie; eſpecially the ceremonies at the Coronation of the preſent French King.

[Page] Morine, has left us a St. Bernard, a S [...]ul, his great Crucifix; ſome rare Heads; eſpecially that repreſenting our B. Saviour and other things in A. Fortis, perform'd with ſingular Art, and tenderneſſe; as alſo ſome rare Landskips and Ruines after P [...]lemburch and others.

N. Chaperon has etched the Xystus or Gallery of Raphael in the Vatican, with incomparable ſucceſſe, as to the true draught: and ſo has that excellent painter the late

Francis Perier thoſe Statues and Baſſ-relievos of Rome, preferrable to any that are yet extant.

Adrans St. Catharine after Titian who is not raviſh'd with?

Couvay has engraven the three devout Captive Knights, and what may appear very extraordinary, ut quae celant nomina caelatura aperiat, the firſt part of Deſpauterius's Grammar in picture, or Hieroglyphic for the Duke of Anjou the now Monſieur.

Perel has diſcovered a particular talent for Landskips, if not a little exceeded in the darkneſſe of his ſhades: but his ruines of Rome are very rare: he has likewiſe a ſon that graves.

The excellency of invention in the Romances, and Hiſtories adorn'd by the hand [Page] of Chauveau is not to be paſſed by; eſpecially thoſe things which he has done in the Entretienne de Beaux Eſprits of Monſieur De Marests, and in ſeveral others.

But the pieces which Poilly has ſet forth, may be ranked (as they truly merit) amongſt the greateſt Maſters we have hitherto celebrated: ſuch as (for inſtance in a few) That admirable Theſes with the Portraict of Cardinal Richlieu; and in emulation with the formerly named Natalis, (beſides the St. Catharine of Bourdon) thoſe things which he hath graved after Migniar, which are really incomparable, alſo divers Hiſtories after le Brun, &c.

But we ſhould never have done with the Artiſts of this fruitful and inventive Country as Heince, Begnon, Huret, Bernard, Rogneſſon, Rouſlet, a rare workman, witneſſe his Frontiſpiece to the French Polyglotta Bible deſign'd by Bourdon and lately put forth; Bellange, Richet,l' Alman, Queſuel, Soulet, Bunel, the laudable Boucher, Briot, Boulauge, Bois, Champagne, Charpignon, Corneille, Caron, Claud de Lorain, Andran, Moutier, Rabel, Deniſot, L'aune, Dela Rame [...] Hayes, Herbin, David de Bie, Villemont, Marot excellent for his buildings and Architecture; Toutin, [Page]Grand-homme, Cereau, Trochel, Langot du Loir, L' Enfant Diſciple of Melan; Gaultier, D' Origni, Prevost, De Son, Perei, Nacret, Perret, Daret, Scalberge, Vibert; Ragot who has graved ſome things well after Rubens, Boiſſart, Terelin, De leu; Beſides Mauperche for Hiſtories, L' Aſne who has grav'd above 300 Portraicts to the life, and is a rare Artiſt: Huret, full of rich invention; not omitting the famous Gravers of Letters and Calligraphers, ſuch as are Le Gagneur, Lucas Materot, Friſius, Duret, Pauce, Le Beaugran, Beaulieu, Gougenot, Moulin, Raveneau, Jea, Jaques de His, Moreau, Limoſin, La Be, Vignon, Barbe'd Or and a world of others whoſe works we have not had the fortune to ſee: For as heretofore; ſo eſpecially at preſent, there is no country of Europe which may contend with France for the numbers of ſuch as it daily produces, that excel in the art of Chalcography, and triumph with the Burine.

La Hyre has Etched many things after the Antique, as Bacchanalia's and ſeveral other.

Goyrand is ſecond to none for thoſe Towns and Ruines, which he has publiſh'd, eſpecially what he has performed in Aedibus Barberini.

[Page] Colignon no leſſe excellent in his gravings after Lincler.

And Cochin in thoſe large Charts and ſieges of Townes after the Ingeneer Beaulieu: But

Iſrael Sylveſter is the Hollar of France: For there is hardly a Town, Caſtle, Noblemans houſe, Garden or Proſpect in all that vaſt and goodly Kingdom which he has not ſet forth in AF. beſides divers parts and views of Italy: above all in thoſe which are etched after the deſignes of Monſieur Lincler (whilſt he lived my worthy Friend) as the City of Rome in Profile; a morcel of St. Peters by it ſelf; and that proſpect of the Loure, which laſt doth far tranſcend the reſt of his works, and may be eſteem'd one of the beſt of that kind which the World has extant, for the many perfections that aſſemble in it.

There is at preſent Robert Nanteuil an ingenious perſon, and my particular friend, whoſe Burine renders him famous through the World: I have had the happineſſe to have my Portraict engraven by his rare Burine; and it is therefore eſtimable, though unworthy of the honour of being placed amongſt the reſt of thoſe Illuſtrious perſons, whom his hand has render'd immortal. [Page] For ſuch are the French King, the Queens of Poland and Sweden; Cardinal Mazerin, whoſe Effigies he has graven no leſs then nine times to the life: The Duke of Longueville; D. of Boullion, Mantoa, Mariſhal, Thurene; Preſident Jeannin, Molle, Telier, Ormeſſon, the Archbiſhop of Tours, Biſhop of S. Malo: L'Abbe Fouquet, and divers others of the long Robe: Alſo Monſieur Heſſelin, Menage, Scuderi, Chaplain, Marolles, and the reſt of the wits; in ſumme, almoſt all the great perſons of note in France.

But that we may conclude this Recenſion with ſuch as have moſt excell'd in this Art, and give the utmoſt Reputation it is capable of. Jaques Callot, a Gentleman of Lorrain, (if ever any) a [...]tain'd to its ſublimity, and beyond which it ſeems not poſſible for humane induſtry to reach; eſpecially, for Figures in little; though he have likewiſe publiſhed ſome in great as boldly, and maſterly perform'd as can poſſibly be imagin'd: what a loſſe it has been to the Virtuoſi, that he did not more delight in thoſe of a greater Volume; ſuch as once he graved at Florence, do ſufficiently teſtifie, and which likewiſe have exalted his incomparable Talent to the ſupreameſt point: It might not ſeem requiſite to [Page] minute the works which he has publiſhed; becauſe they are ſo univerſally excellent, that a curious Perſon ſhould have the whole Collection, (and be carefull that he be not impos'd upon by the copies which are frequently vended under his name; eſpecially thoſe which Monſieur Boſſe has publiſhed, and which neareſt approach him) were it not highly injurious to his merit, not to mention ſome of the Principal; Such are his St. Paul, Ecce homo; the Demoniac cured, after Andrea Boſcoli; a Madon [...] after Andrea del Sarto; the four Comaedians, all theſe of the larger Volumne, and ſome of them with the Burine. Alſo the paſſage of the Iſraelites: St. Lukes Fair dedicated to Coſmo di Medices, a moſt ſtupendious work conſider'd in all its Circumſtances, and encounters: ſo full of ſpirit and invention, that upon ſeveral attempts to do the like, it is ſaid, he could never approach it; ſo much (it ſeems) he did in that piece exceed even himſelf.

This is alſo well Copied: the Hiſtory of the B. Virgin in 14 leaves, the Apostles in great, the murder of the holy Innocents, an incomparable work, and almoſt exceeding our deſcription, as to the ſmalneſs, life, per [...]ection and multitude of Figures expreſſed [Page] in it. The ſtory of the Prodigal: the life and death of our Saviour in 20 ſmall Ovals very rarely perform'd. The Martyrdom of the Apoſtles in 16 leaves worthy of admiration: The paſſion of our Saviour in 7 larger cuts: St. Anthonies temptation, prodigious for the fancy and invention: St. Manſuetus raiſing a dead Prince, a Biſhop preaching in a wood: Divers books of Landskips and ſea pieces: Eſpecially thoſe admirable cuts of his in a book intituled Trattato di terra Santa, wherein moſt of the Religious Places of Jeruſalem, Temples, Proſpects &c. about the Holy Land are graved to the life by the hand of this excellent Maſter; The Book is very rare and never to be encountr'd amongſt the collection of his Prints. The Duke of Lorrains Palace and Garden at Nancy: alſo another paper of a Tournament there, both of them moſt rare things: Military exerciſes; The miſeries of war in 18 leaves very choice: The battail of Theſeus, Combat at the Barriere, entrance of the great Duke with all the Scenes and repreſentations at the Duke of Florences nuptials: the Catafalco errected at the Emp. Matthias's death: the famous Seige at Rochel a very large print: alſo the night piece of the Cheats and Wenches at play: [Page] Maſcarades, Gobbi, Beggars, Gypſyes, Balli and Dances, Fantaſies, Capriccios, Jubilatio Triumphi B. Virginis, which was it ſeems grav'd for a Theſis; and finally the Cabaret; or meeting of Debauchees, which (being the laſt plate that ever he grav'd) had not the Aqua [...]ortis given it 'till after his deceaſe: And thus we have in brief poſted over the ſtupendious works of this inimitable Maſter, whoſe point and manner of etching was nothing inferiour, nay ſometimes even exceeded the moſt skilful Burine. But at length Sit pudor & finis, I deſiſt, and ſhall here conclude the recital of the French Chalcographers ſo many for their numbers, laborious in their works, and luxurious of their inventions, after we have done reaſon to Monſieur Boſſe, who has made him ſelf ſo well known by his moſt accurate imitation of Callot, beſides the many rare things he has himſelf publiſhed. It were altogether unpardonable, that ſuch as would accompliſh themſelves in Etching, ſhould be deſtitute of his entire work; eſpecially thoſe of his latter manner perform'd in ſingle and maſterly ſtroaks, without decuſſations and croſs hatchings, in emulation of the Graver. Thoſe Vignets, Fleurons, capital letters, Puti, and Compartiments made to adorn [Page] the Royal impreſſions at the Loure are worthy of celebration; becauſe it is impoſſible for the nea [...]eſt Burine to excell his points and Eſchoppes; and for that it is to him that we have been chiefly obliged for a Treatiſe which we had prepared of the practical, and Mechanical part of this Art of Chalcography, whereof I have already given accompt elſewhere: it is to the ſame Monſieur du Boſſe that the world is beholden for his ingenuity in publiſhing many other rare and uſefull Arts aſſiſtant to Architecture, Dyalling, ſquaring of stones, and encountring the difficulties of the Free-Maſon, beſides, thoſe excellent Treatiſ [...]s of perſpeocti [...]e, which from the dictates of Monſieur des Argues, he has ſo laudably communicated: This, and much more we owe to this honeſt Mans [...]ame and particular friendſhip.

And laſtly, the excellent Chart-Gra [...]ers may not be totally excluded of this Catalogue; becauſe it is a particular addreſs, and, of late, infinitely improv'd by the care of l'avernier, Sa [...]ſon, the Jeſ [...]it Briets, de la Rue, d [...] Val, graven by Co [...]dier, Ri [...]iers Peroni and others; not forgetting the moſt induſtrious Bleau of Amſterdam, who have publiſhed the Atlas's, and other pieces which celebrate their names to poſterity, and [Page] ſuch an undertaking has the Ingeneere Gombouſt perform'd in his Ichnographical plan of Paris lately ſet forth, being the reſult of near a five years continual labour of meaſuring, plotting, and obſerving, to render it the moſt accompliſh'd, and teſtifie to what uſe, and perfection this noble Art is arriv'd: This we the more readily mention, that thereby we may ſtimulate and encourage the lovers of their Country, freely to contribute to the like attempt of the above mention'd Mr. Hollar, and enable him to proceed with what is now under his hand, for the honour of our imperial City.

And now it is certainly time that we ſhould think of home a little, and celebrate likewiſe ſome of our own Country-men, who have worthily merited with their Graver. And although we may not yet boaſt of ſuch multitudes by reaſon of the late unhappy differences, which have diſturb'd the whole Nation, endeavouring to level Princes, and lay the Mecaenas's of This, and all other Arts in the duſt; yet had we a Paine for his Ship, ſome heads to the life, eſpecially that of Dr. Alabaſter, Sir Ben. Rudyard, and ſeveral other things, A Caecil, and a Wright little inferiour to any [Page] we have enumerated for the excellency of their Burines and happy deſign; as at preſent we have Mr. Faithorne, Mr. Barlow, Gaywood, Loggan and others who have done excellently both with the Graver, and in Aqua fortis, eſpecially in thoſe birds and beaſts which adorne the Apologues of Aeſope publiſhed by Mr. Oglebie; and of Mr. Faithorne, we have that Chriſt after Raphael from ſome excellent Maſter, as big as the life: a Madona, Chr. Joſeph and a Lamb after La Hyre a very good painter; The Effigies of my Lord Viſcount Mordaunt, Sir W. Paston, and his Lady, with ſeveral others after Van dyke, Honiman, &c.

Lightfoot [...]ath a very curious Graver, and ſpecial talent for the neatneſſe of his ſtroak, little inferiour to Wrex; and has publiſhed two or three Madonas with much applauſe: Alſo Glover divers heads; as at preſent J. Fellian Diſciple of Mr. Faithorne, who is a hopeful young man: Laſtly, for Medails and Intaglias we have Mr. Symonds, Rawlius, Reſtrick, Johnſ [...]n and ſome others, whoſe works in that kind have hardly been exceeded in theſe later times; not omitting the induſtrious Mr. Coker, Gery, Gething, Billingly, &c. who in what they have publiſhed for Letters and Flouriſhes are comparable to any of thoſe [Page] Maſters whom we have ſo much celebrated amongſt the Italians and French for Calligraphy and fair writting: We have likewiſe Switzer for cutting in Wood, the ſon of a Father who ſufficiently diſcover'd his dexterity in the He [...]bals ſet forth by Mr. Parkinſon, Lobel, and divers other works with due commendation, not to mention the reſt, as yet unknown to us by their names, from whoſe induſtry we are yet to hope for excellent progreſſe.

We do therefore here make it our ſuite to them, as what would extreamly gratifie the curious, and Virtuoſi univerſally, that they would endeavour to publiſh ſuch ex [...]ent things as both his Majeſty and divers of the Nobleſſe of this Nation have in their poſſeſſion; and to which there is no ingenious perſon that will be deny'd acceſs; ſince if there Collections were well engr [...]ven and diſpers'd about the World, it would not only exceedingly advance their profit, and reputation; but bring them likewiſe into a good manner of Deſigning, which is the very life of this Art, and rend [...]r our Nation famous abroad, for the many excellent things which it has once again (by the bleſſing of God, and the Ge [...]ius of our moſt Illuſtrious Prince) recover'd; [Page] Eſpecially, if joyned to this, ſuch as exceed in the talent, would ent [...]rtain us with more Land [...]kips, and views of the Environs, Approches and Proſpects of our nobly ſituated Metropolis, Gree [...]rich, [...] and other Parts upon the goodly T [...]ames; and in which (as we ſaid) Mr. Hollar has ſo worthily m [...]rited, and other Countries abound with, to the immenſe refreſhment of the Curious, and Honour of the induſtrious Artiſt: and ſuch we farther wiſh, might now and then be encourag'd to travail into the Levantine parts; Indies Eaſt and Weſt; from whoſe hands we might hope to receive innumerable, and true Deſignes drawn after the life, of thoſe ſurpriſing Landskips, memorable Places, Cities, Iſles, Trees, Plants, Flowers, and Animals, &c. which are now ſo lamely, and ſo wretchedly preſented, and obt [...]uded upon us by the Ignorant, and for want of abilities to reforme them.

And thus we have (as briefly as the ſubject would admit) finiſh [...]d what we had to offer concerning the original and Progreſs of this noble Art: Not, but that there may have been many excellent Maſters omitted by us, whoſe names were worthy of Record; But becauſe they did not occur, [Page] at the writing hereof, and that we have already introduc'd a competent, and ſufficient number to give reputation to the Art, and verifie our Inſtitution. For the reſt, if we have ſomewhat exceeded the limits of a Chapter (comparing it with thoſe which did pr [...]ceed) it has not been without Proſpect had to the benefit of ſuch as will be glad of inſtruction how to direct their choice in collecting of what is curious, worthy their procuring, and as the Italian calls them, di buon guſto: For we are far from opining with thoſe, who fly at all without judgement or election. In ſumme, it were to be wiſhed, that all our good painters would enrich our collections with more of their Studies and Ordonances, and not deſpiſe the putting of their hands now and then to the Graver: We have given inſtances of great Maſters who excell'd in both; and the Draught, if it be good, does ſufficiently commute for the other defects, or what it may ſeem to want in the neatneſſe, and accurate conducting of the Hatches; ſince by this means, we ſhould be ſtored with many rare Deſignes, Touches, and Inventions, which for being only in Crayone, are caſual, and more obnoxious to accidents; and can be communicated but [Page] to thoſe few, who have the good fortune to obtain their Papers; and (which is yet more rare) the happineſſe to underſtand, as well as to talk of them.

CHAP. V. Of Drawing, and Deſign praevious to the Art of Chalcography; and of the uſe of Pictures in Order to the Education of Children.

AS the Rules of Meaſure and Proportion have an univerſal influence upon all the Actions of our lives; it was a memorable, and noble ſaying of a great Perſon of our Nation, diſcourſing to us once concerning the dignity of Painting, and the arts which attend it:Thomas Earl of [...] l. Matth. of England. That one who co [...]ld not Deſigne a little, would never make an honeſt man: How that obſervation ſucceeds in the general, we have not made it much our obſervation; but this we are bold to pronounce. That he ſhall never attain to the excellency of a good Chalcographer, who is not more then ordinarily skill'd in the faculty and art of Drawing; a thing ſo highly neceſſary, that Donatellus was wont to tell his Diſciples (diſcourſing ſometimes [Page] concerning the accompliſhment of this Art) that to de [...]ver it in a ſingle word, he would ſay, DESIGNE; becauſe it was the very Bans and Foundation, not only of this, but even of all thoſe free and noble Sciences of Fortification, Architecture, Perſpe [...]ive, and whatſoever alſo pretended to any affinity with the Mathematicks, as really leading the Van, and perfective of them all.

But to treat Methodically of this, or as we have already enlarged in the Hiſtory and Progreſſe of Chalcography, and the ſurviving labours of the moſt renowned Maſters, would require no leſſe time and pains: It were indeed a noble, curious, and uſeful work, but almoſt impoſſible to accompliſh; becauſe the Original Drawings of the great Maſters, being diſperſed amongſt the hands of the greateſt Princes, and men of Science only, are preſerved with jealouſie, and eſt [...]em'd, as ſo many Jewels of greater value, then thoſe of Pearles and Diamonds. For ſome of them being the very laſt workes, though but imperfect draughts of ſo Excellent Artiſts; they have for the moſt part been in greater eſteem, then even thoſe of larger bulke and more finiſhed; as Pliny inſtances in the Iris of Aris [...]ides, the Medea of Timomachus, and [Page] ſome others; becauſe (as he there ſpeaks) ſuch touches did even expreſſe the very thoughts and prime conception of the Workman, as well as the Lineaments which he preſents us; and that there is a certain compaſſion in our Natures, which indears them to us, ſo as we cannot but love, and deſire the hands which periſhed in the midſt of ſuch famous pieces: Add to this, their inimitable Antiquity, then which (according to Q [...]intilian) nothing do's more recommend things to us, from a certain Authority which it univerſally carries with it; [...] ſo as we ſeem to review what they did of old in this kind; as if (with Liba [...]ius) the Gods had imparted ſomething of extraordinary to the Maſters of the Ages paſt, which the nature of man is not now capable of attaining.

Theſe difficulties therefore conſider'd, it will not be required of us in this Chapter, which pretends to celebrate and promote the Art of Drawing, and Deſigne, only as it has relation, and is an abſolute requiſite to that of Chalcography, and to preſcribe ſome directions and encouragements, which may prepare and fit the hand with a competent addreſſ [...] therein.

Whether Deſign, and Drawing, were [Page] the production of Chance or Excogitation, we determine not; certain it is that practiſe and experience was its Nurſe and perficient; by ſome thus defin'd to be A viſible expreſſion of the Hand reſembling the conception of the mind: By which Definition there are who diſtinguiſh it from Drawing both as to its Original, and Formality; For Deſign (ſay they) is of things not yet appearing; being but the picture of Ideas only; whereas Drawing, relates more to Copies, and things already extant: In ſum, as the Hiſtorian differs from the Poet, and Horace has well expreſſed it,

—Pictoribus atque Poetis

Quidlibet audendi ſemper fuit aequa poteſtas.

Arte Poet.

We could eaſily admit this Art to have been the moſt antient, and with Philoſtratus, [...], of kin even to Nature her ſelf: But to take it ſome what lower, there goes a tradition, that ſome ingenious Shepheard was the inventor of it, who eſpying the ſhadow of one of his ſheep on the Ground (interpos'd between him and the culminating, or declining ſun) did with the end of his crook, trace out the Profile upon the duſt: and truly ſome ſuch vulgar accident (for chance has been a fruitful Mother) might firſt probably introduce [Page] it; however afterwards ſubtiliz'd upon and cultivated, till it at length arriv'd to that degree of excellency and eſteem, which it has happily gained, and ſo long continu'd.

But to quit theſe nicer inveſtigations, and proceed to ſome thing of uſe, as it concernes the Title of this chapter: The firſt and principal manner of Drawing is that with the pen; the next with Crayon, whither black, white, red or any of the intermedial colours, upon paper either white or colour'd: We will not ſay much concerning waſhing with the pencil, or [...]ubbing in the ſhades with [...] and dry Compoſitions, becauſe it is not t [...]l our Diſciple be a conſummat Artiſt, that he can be edified with deſignes of this nature, and, after which, they are of excellent uſe and effect.

The pen is theref [...]re both the firſt, and beſt inſtructive, and has then (as all the other kinds) attain'd its deſired end, when it ſo deceives the eye by the Magic, and innocent Witch-craft of lights and ſhades, that elevated, and ſolid bodies in Nature, may ſeem ſwelling, and to be emboſſed in Plano, by Art.

To arrive at this, you muſt firſt draw the exact lineaments, and proportion of the ſubject you would expreſſe in proſile, Contours [Page] and ſingle lines only; and afterwards, by more frequent, and tender hatches in the lighter places, ſtrong, bold, or croſs in the deeper.

By Hatching is underſtood a continual Series, or ſucceſſion of many lines, ſhorter, or longer; cloſe, or more ſeparate; oblique, or direct, according as the work requires, to render it more, or leſſe inlightned; and is attain'd by practiſe with a ſwift, even and dextrous hand; though ſometimes alſo, by the help of the rule and compaſs; every man being not an A [...]elles or Pyrgoteles to work without them. Now the beſt expedient to gain a maſtery in this Addreſs, will be to imitate ſuch prints, and cuts, as are moſt celebrated for this perfection: Such (amongſt plenty of others) are thoſe of Henry Goltzius: The Sadelers, Harman, Sanredam, Vosterman, and above all, that rare book of Jacomo Palma graven by Odoardo Fialetti: Of the more Modern, the incomparable Natalis, Nanteuil, Poilly, Cornel. Blomaert; Theſe for the Burin: For Etching, Callot, Morine and Boſſe; eſpecially in thoſe his latter pieces, which have ſo nearly approach'd the Graver. After theſe, let our Learner deſign the ſeveral members of bodies a part, and then united, [Page] with intire Figures and Stories, till he be able to compoſe ſomething of his own, which may ſupport the examination of qualified Judges. But the [...] or firſt draughts of theſe; would not be with too great curioſity, and the ſeveral minutiae that appear in many Coppies; but with a certain free and judicious negligence, rather aiming at the Original, then paining of your ſelf with overmuch exactneſſe: for nocere ſaepe nimiam diligentiam, was an old obſervation; and therefore the antient Painters (ſayes Philostratus) more eſteem'd a certain true and liberal Draught, then the neatneſs of the Figure, as he expreſſes it in Amphiaraus's Horſe, ſweating after the conflict; ſince Drawings and Deſignes are not to be like Polycletus's Canon, which took its ſeveral parts, from as many perfect bodies, by a ſtudied, and moſt accurate Symmetrie: It ſhall ſuffiice that the prime conceptions of our Artiſt be perform'd with leſs conſtraint; a coal or penſil of black-lead will ſerve the turn, reſerving the ſtronger, and deeper touches for a ſecond paſs of the hand over your work; and laſt of all, penning the Contours, and out lines with a more even and acute touch, neatly finiſhing the hatches with a reſolute, conſtant and ſlowing hand; eſpecially, as it approaches to the [Page] fainter ſhadowes, terminating them in loſt and miſty extreams, and thwarted (if you will counter-hatch) at equal, and uniform intervals (but not till the firſt be dry) or, if with ſingle ſtroaks (which to us renders the moſt natural, and agreeable effects) with full, deep hatches, and their due diminiſhings.

But it would haply be objected, that theſe accurate Deſignes of the pen, were never eſteemed among the nobler parts of Drawing, as for the moſt part appearing to finnicall, ſtiff and conſtrain'd: To this, we reply; that the remark is not impertinent, as commonly we find by experience: But it has not proceeded from the leaſt defect in the Inſtr [...]ment, but from that of the Artiſt, whoſe aptitude is not yet arriv'd to that perfection which is requiſite, and does infallibly confirme, and diſpoſe the hand to whatever it addreſſes; affording ſo great a delight and ſatisfaction to ſome excellent Workmen, as that they never deſir'd to advance further, then this Triumph of the pen, which has celebrated their names, and equaliz'd their renown with that of the moſt famous Painters: For ſuch were (in this nature) the incomdarable Drawings of Don Giulio Clov [...]o,[Page]Albert Durer, Paſſarotto, yea Titian himſelf, when the fanſie took him: The foremention'd Goltzius, eſpecially, for his Diana ſleeping, drawn with a pen on a cloath prim'd in oyl, which was ſometimes ſold at Amſterdam for 200 pounds; and that laborious, and moſt ſtupendious work of his, now part of his Majesties collection, where he has drawn with the pen upon an heightning of Oyl, a Venus Cupid, Satyr, and ſome other figures, as big as the life it ſelf, with a boldneſs, and dexterity incomparable: and ſuch are ſome things which we have ſeen done by Signior Thomaſo a Florentine; our ingenious friend Mr. Vander Douſe (deſcended of that noble Janus Douſa, whoſe learning, and courage the great Scaliger, and Grotius have ſo worthily celebrated) now in the Court of England. To theſe we add Rob. Nanteuil at Paris, and of our own Country-men, thoſe eight, or ten Drawings by the pen of Francis, and John Cleyn, two hopefull, (but now deſceaſed) Brothers, after thoſe great Cartoons of Raphael, containing the ſtories of the Acts of the Apoſtles, where in a fraternal emulation, they have done ſuch work, as was never yet exceeded by mortal men, either of the former, or preſent Age; and worthy [Page] they are of the honour, which his Majeſt [...] has done their memories, by having purchaſed theſe excellent things out of Germany, whither they had been tranſported, or, at leaſt intended: There is likewiſe one Mr. Francis Carter (now in Italy) not to be forgotten amongſt thoſe whoſe pens deſerve to be celebrated: But it is not here that we are to expa [...]iate far on this particular, as deſigning a Chapter only, much leſs ſhall we have leaſure to proceed to black, and white Chalke (as they call it) upon coulour'd paper, in which thoſe many incomparable, and Original Drawings of the old and great Masters are yet extant, wherein a middle Colour wrought upon two extreams, produces (on an inſtant) that wonderfull, and ſtupendious roundneſs, and exſtancy, which the Pen is ſo long in doing, though, ſo infallible a guide to its well doing; that having once attain'd the command of that inſtrument, all other Drawings whatſoever, will ſeem moſt eaſie and delightfull: Neither ſhall it then be requiſite to continue that exactneſs, ſince all Drawing is but as an Hand-maid and Attendant to what you would either Grave or paint.

But by this perfection and dexterity at [Page] firſt, did even thoſe renouned Maſters, Julio, Parmegian, and ſometimes Polyder, himſelf (not to inſiſt on Rubens and Vandyke) proceed, whoſe Drawings in this kind, when firſt they made their ſtudies in Italy, were exceedingly curious, and finiſhed; though in all their more recent, and ma [...]urer Deſignes, rather judicious then exact, becauſe of that time which ſuch minute finiſhings did uſually take up; and, that when all is done, it is ſtill but a Drawing, which indeed conduces to the making of profitable things, but is it ſelf none.

Yet ſo highly neceſlary is this of Drawing to all who pretend to theſe noble, and refined Arts; that for the ſecuring of this Foundation, and the promotion and encouragement of it, the greateſt Princes of Europe, have erected Academies, furniſhed with all conveniencies, for the exerciſe, and improvement of the Virtuoſi: Such illuſtrious and noble Genius's were Coſimo di Medices, Francis the Firſt, Carlo Borr [...]meo, and others, who built, or appointed for them, Stately Appartiments even in their own Palaces, and under the ſame Roofe: procuring Models, and endowing them with Charters, Enfranchiſements, and ample Honoraries; by which they attracted to [Page] their Courts, and Countries moſt of the reſin'd, and extraordinary ſpirits in all the Arts and Sciences that were then celebrated throughout the World.

Nor it ſeems has it been the ſole glory of thoſe illuſtrious Princes to cheriſh and enoble men of Art: the Greek and Roman of old had them in ſpecial veneration; but in none of their Courts, were men of Science carreſſed to that degree, as in that we have read of the Emperours of Japons at preſent, who does not only entertain, and nobly accommodate them, but never ſtirs abroad without their company. Theſe great men ſayes my * Authour (meaning Phyſitians, Painters, Deſcrip. Reg. [...]. Sculptors, Muſitians, &c. quos proprio nomine appellant Contubernium Caeſaris) march before the King whither he go forth in Litter or on Horſeback; and being elected of Perſons of the greateſt birth in his Dominions, they alwayes continue at his Court, richly appointed with ſallaries; but otherwiſe, to bear no office whatſoever which may in the leaſt importune them, eo ſolum electi, ut Imperatori ad voluptatem & delecta [...]ionem conſortium praestent, as being therefore only choſen, to recreate and divert the Prince with their excellent converſation: Theſe being men of the rareſt parts, [Page] and endowments in his Empire, have pre-eminence in all places next the King; then come the Guards in the reere, which conſiſt of a more inferiour Nobility: Thus farr the Historian: We know not how this Inſtance may in theſe dayes be interpreted; but certainly the Courts of Princes were in former Ages, compos'd of men of the greateſt virtue and talents above the reſt, and ſuch as poſſeſs'd ſomething of extraordinary (beſides the wearing of fine cloaths, and making the bone mine) to recommend them. We inſiſt not on Sculptors, and painters only, eſpecially, as ſuch men are now for the moſt part Vitious, or elſe of poor and mechanick ſpirits; but as thoſe Antient and Noble Genius's were heretofore accompliſh'd; and ſuch as of late were Raphael, Durer, Leon Alberti, Da Vinci, Rubens, and at preſent, Cavalier Bernini, &c. perſons of moſt excellent endowments, and univerſally learned, which rendred their Fautors and Protectors famous, by leaving ſuch marks of their admired Virtue, as did eternize their merits to after Ages.

Thus it was, that Myron, Polycletus▪ Phydias, Lyſippus and others of the Antient, procured ſuch laſting names by their divine labours: They wrought for Kings, great Cities and Noble Citizens: [Page] whereas others, on the contrary, (Men haply of no leſſe induſtry and ſcience) had little or no notice taken of them; becauſe they received no ſuch encouragements, were poor and neglected, which did utterly eclipſe and ſuppreſs their fame; ſuch as thoſe whereof Vitruvius does in the Preface to his third book make mention, where he ſpeaks of Chiron the Corinthian, Hellas of Athens, Myagrus of Phocia, Pharax the Epheſian, beſides Aristomenes, Polycles, Nichomachus, and ſeveral others, who being excellent Maſters and rarely endow'd, periſh'd in obſcurity, and without any regard, from the unequal hand and diſtribution of fortune, and for want of being cheriſhed by Princes and great men: But to return;

In theſe places had they books of Drawings of all the old, and Renowned Maſters, Rounds, Busts, Relievos and entire Figures, caſt off from the beſt of the Antique Statues and Monuments, Greek and Roman; There was to be ſeen, the Laocon, Cleopatra, Antinous, Flora, Hercules, Commodus, Venus, Meleager, Niobe, &c. whereof the Originals are ſtill extant at Rome: There were likewiſe divers rare and excellent Statues, both of braſs and marble; Modells and divers fragments of Baſes, Colomns, [Page]Capitals, Freezes, Corniſhes and other pieces moulded from the moſt authentique remains of the antient famous buildings, beſides a univerſal collection of Medaills, things Artificial and natural.

But to recover our Drawing again, as it concernes the Art of Chalcography, we have already mentioned ſuch of the moſt accompliſh'd Gravers, whoſe labours and works were propoſed for exemplars and imitation: Nor let the moſt ſupercilious painter deſpiſe what we have here alledged; or imagine it any diminution to his Art, that he now and then put his hand to the pen, and draw even after ſome of thoſe Maſters we have ſo much celebrated: wha [...] Andrea del Sarto has taken out of the prints of Albert Durer, improving, and reducing them to his manner (not for want of invention, and plagiary like, as all that have any knowledge of his works can juſtifie) has no way eclipſed, but rather augmented his glory; as on the other ſide, that divine piece of his, the Chriſtus mortuus, which he gave to be cut by Auguſtino Venetiano; The Triumphs, Vaſ [...]s, and Anatomies of old Roſſo, by whomſoever engraven, and thoſe other things of his after Domenico Barbieri: Paulo Veroneze did [Page] much ſtudy the prints of Durer, and that incomparable painter Antonio Vaſſalacci, (call'd otherwiſe Alienſe) made notable uſe of that his prodigious collection of Stamps of the moſt rare hands: not to recapitulate what were publiſhed by Raphael himſelf, and infinite others; by which they have ſufficiently made appear, the value they attributed to this Art; by deſiring (as much as in them lay) to render their works famous to poſterity, by thus communicating them to the World, though many times, through the hands, but of very vulgar, and ordinary Gravers.

And here we ſhould have put a period to this Eſſay, and the preſent chapter, as having abundantly vindicated the neceſſity and worthineſs of Deſigne and Drawing, as it is praevious, and introductory to the Art of Chalcography; had not one curioſity more prevented us; which becauſe it ſo much concernes the conducting of Hatches and ſtroaks, whither with pen, point, or Graver; pretending (at leaſt very ingeniouſly hinting) to a method, how by a conſtant, and regular certitude, one may expreſs to the eye, the Senſation of the Relievo, or extancie of objects, be it by one, or more hatches, croſs and counter, [Page] we think not impertinent here to recite, as briefly as the demonſtration will permit.

The principal end of a Graver that would coppy a Deſign, or piece compos'd of one, or more Objects, is, to render it correct both in relation to the Draught, Contours and other particularities, as to the Lights and ſhades on the Front, flying or turning, in bold, or faint touches; ſo as may beſt expreſs the Reliefe; in which Gravers have hitherto, for the moſt part, rather imitated one another, then improved, or refined upon Nature; ſome with more, ſome with fewer ſtroaks: having never yet found out a certain and uniforme guide to follow in this work; ſo as to carry their ſtroaks with aſſurance, as knowing where they are to determine, without manifeſtly offending the due rules of perſpective.

If in truth Nakeds, and other polite Bodies were ſo formed, as that we might detect the courſe, and inclination of the Threads, Fibers, and Grain, ſo as we perceive it in Stuffs, Cloth, Linnen and other Draperies; nothing would appear more facile; for let them aſſume wh [...] phy they will, it does not at all concern [Page] the tiſſue, Tenor or range of the Threads and Wales (as they call them) which is eaſily imitated, both as to their inclinations, and diſtances from the point of ſight.

But ſince we are much at a loſs, and can perceive no ſuch direction or clue in Nudities, and other ſmooth ſurfaces, it were haply worth the while, to find out ſome expedient which ſhould aſſiſt the imagination in this affair, and that might encounter the difficulty upon other terſe and even objects, by forming ſuch ſtroaks, and directors upon them in our Imagination; obſerving, that there are ſome parts in them commonly to be diſtinguiſhed from the Maſs in groſs; for example, the hairs in men, eyes, teeth, nails, &c. that as one would conceive ſuch lines, or hatches on thoſe Maſſes, others may likewiſe be as well fanci'd upon thoſe leſſer, and more delicate members:

To effect this, the following Ichoniſme is thus explained.

[Page]

[figure]

[Page] Suppoſe, in the upmoſt Figure of this plate, the object (O) to be the repreſentation in perſpective of the portion of a Bowle, expos'd to the beams of the Sun; and the letters e. s. r. t. a Frame, or ſquare of Wood barr'd and ſtrung in even and ſtraight lines, parallel inter ſe.

Then another Thread, viz. m. n. croſſing them in perpendicular. The frame in the mean time ſuppos'd to incline towards the Bowle, O. 'twixt it, and the Sun, which repreſents to you all theſe threads projecting their ſhadowes upon the Bowle, and the ſurface where it is ſituate.

Suppoſe now the ſame upon the Relievo or Maſs it ſelf; it is evident, that theſe Threads, in whatever manner you interpoſe the ſaid Frame 'twixt the Bowle and the Sun, that they will perpetually caſt their ſhadowes parallel inter ſe, cutting it as it were, into ſeveral plains, uniforme, and parallel alſo.

You ſee likewiſe in this very Figure, that the oblique, and direct ſhades o u x y are cauſed by the cathetus m t n, and the pointed curved lines upon the Bowle O, viz. o z n 12. &c. are formed by the parallels which interſect the perpendicular.

But the ſame frame poſited between the [Page] Sun and a Head in Relievo of white marble, or the like (as in the inferiour example) will not render the ſhadow of the threads alike upon all the parts parallel inter ſe (as in the former) though the ſame were ſuppos'd to be cut by like plain, and mutual Parallels as was the Bowle O. However, ſo ſhall they appear, as to hint the tracing of parallels on the Relievo, or aſſiſt the imagination of them there, and conſequently, how to deſigne them upon objects made [...]fter the ſame Ordonance in perſpective pa [...]allel, as one may conceive them upon the Relievo of an Ordonance in Geometrical paral [...]el, viz. as in the Figure O. or to ſpeak more diſtinctly, ſuppoſing them the ſame on the irregular, as one the regular.

Conſider then upon the Head, the concourſe of thoſe imaginary parallels in perſpective, ſhaded with the pointed lines; and how the intercurrent hatches, which they comprehend, purſue the ſame courſe and tenor, or perſpective paralleliſine.

From theſe inſtances now, it will not be difficult how to apply the ſame upon all the ſorts of bodies repreſentable by Graving, and to comprehend in one's imagination, the concurrency and uniforme tenor of the particles, as we may ſo call them; Only, [Page] there is this particular to be obſerved, tha [...] the projecture of the threads will not appear alike perſpicuous in the deep, an [...] ſhady parts of Relievos, as upon the illuminated, being loſt in the dark: But thi [...] is eaſily ſupplyed by the imagination, [...] by holding a looſe thread parallel to th [...] ſhaded, neer to the body of the Figure by which the courſe of the reſt may be wel [...] conceived. And this may ſerve to giv [...] great light to him that ſhall either grave i [...] Copper, or draw with the pen, for th [...] Symmetrically conducting of his hatches [...] determinatively, and with certitude, b [...] thus imagining them to be Geometricall [...] marked upon the Relievo, or emboſſemen [...] of the Natural, whereever he encounter i [...] and after this conception, to trace them out upon his Plate, or Draught in perſpective.

And indeed, that which is chiefly conſiderable and ingenious in this, is, that of their Perſpective; ſince the ſhades of the lines (in the foremention'd example) which were upon the parts more, or leſſe turn'd, appear to our eye accordingly, with more or leſs force, which renders clear a different effect, as to the ſwelling and extancies of the parts, then we find it in works where this method has not been obſerved; ſo as truly, this may [Page] [...]eem to be the moſt certain expedient of expreſſing by hatches, the Relievo of objects, whether with the Pen, or Burine. And this [...]s the ſence of a much larger diſcourſe, which Monſieur du Boſſe has propoſed, treating of the practiſe of Perſpective upon irregular Surfaces, and we have thought fit to inſert into this Chapter; not only becauſe it is new and pretty; but, for that (to us) it appears to be of good uſe, and as may be ſeen in ſome of the late heads graven by the incomparable Nanteuille, who had been the ſole occaſion of this ingenious conſideration, about the time of our laſt being at Paris.

But if this (like the diligence of Mechopanes, which Pliny affirmes, none was able to underſtand but an Artiſt only) ſeem to be a diſquiſition more refin'd then uſeful; for that few of our Gravers work off from the Round, upon whichalone the obſervation is practicable; yet ſhall it be neceſſary to admoniſh, that ſhadowes over dark, too deep and ſuddain, are not commendable in theſe works, as ſeldom ſo appearing in the life; and therefore hatchings expreſs'd by ſingle ſtroaks, are ever the moſt graceful and natural; though of greater difficulty to execute; eſpecialy, being [Page] any wayes oblique; becauſe they will [...] quire to be made broader, and fuller [...] the middle, then either at their entranc [...] or exit; an addreſſe much more eaſie wit [...] the Burin, and the Pen, then with the point▪ Though Monſieur Boſſe's invention of the Eſchoppe, does render the making of thi [...] Sulcus, much more facile: But to attain this Maſterly, and with aſſurance of hand, our Workmen may do well to imitate the Gravings of the Sadelers, Villamena, Sauanneburg, Gaultier; but eſpecially Claudius Mellan, Natalis, Poiſly, Nanteuill, Cornelius Blomar, H. Gaultzius▪ And for the Etchers in Aqua Fortis, Callot, and Du Boſſe in ſome of their laſt cuts, eſpecially; Though even the counter hatchings alſo, coming tenderly off, and well conducted, (ſo as 'tis to be ſeen in ſome of the prints of M. Antonio's, C. Cort. Aug. Carracio and other Maſters) render both an admirable and ſtupendious effect: For it is in this well placing of White and black, wherein all this Art, and even that of painting does conſiſt: Thus Aglaphontes us [...]d but one Colour, no more did Nitia the Athenian Painter; and it was this Relievo alſo for which the famous Zeuxis became ſo renoun'd: not to inſiſt on Heredices the Corinthian, [Page] and Thelophanes the Sicyonian, who were both of them but Monochromists; and, 'till Cleophanes came amongſt them, no diſſemblers, as owning no other Colours but thoſe eminent Contraries; that is, the lights and the ſhades, in the true managing whereof, ſo many wonders are to be produc'd by this Art, and even a certain ſplendor, and beauty in the touches of the Burin, ſo as the very Union and colouring it ſelf may be conceiv'd without any force upon the imagination, as we have before obſerved in theſe excellent Gravings of Natalis, Rouſlet, and Poiſly, after Bourdon, and in what Greuter, Blomart, and ſome others have done after Monſieur Pouſſin, Guido Rhene, Cortoon, &c.

But here by the way, let no man think we mean by this Coloree (as they term it) in Drawing and Graving, ſuch a poſition of the Hatches as the Chevalier Wolſon has invented,Theatre d' honeur. Teſtes a Gentil. and Pietro Santo the Jeſuite has follow'd, to diſtinguiſh their Blazons by: But a certain admirable effect, emerging from the former union of Lights, and ſhadowes; ſuch as the Antients would expreſſe by Tonus, or the Pythagoreans in their Proportions, and imitated in this Art, where the ſhades of the Hatches intend, [Page] and remit to the beſt reſemblance of painting, the Commiſſures of the light and dark parts, imperceptably united, or at leaſt ſo ſweetly conducted, as that the alteration could no more certainly be defin'd, then the Semitons, or Harmoge in muſick, which though indeed differing; yet it is ſo gentle, and ſo agreeable, as even raviſhes our ſenſes, by a ſecret kind of charme not to be expreſſed in words, or diſcerned by the ignorant. And this it is, which has rendred it ſo difficult to coppy after Deſignes and Painting; and to give the true heightnings, where there are no hatchings to expreſs them, unleſs he, that Copies, Deſign perfectly himſelf, and poſſeſs more then the ordinary talent and judgement of Gravers, or can himſelf manage the Pencil. But to return to Prints again, we are to underſtand, that what the Artiſts do many times call excellent, does not alwayes ſignifie to the advantage of the Graver; but more frequently, the Deſign, conſiſting in the lineaments, proportion and ordonance, if theſe be well, and maſterly perform'd, and for which we have ſo recommended the practiſe of this Art to our Engliſh Painters in chap. IV. Though, to ſpeak of an accompliſh'd piece indeed, [Page] it is the reſult of integrall cauſes only, and where they univerſally encounter.

We do farther add, that for this reaſon, copies are in Prints much more eaſily detected, then in paintings, and by conſequence, more facile alſo to imitate, as uſing all one kind of Inſtrument, and fewer wayes of expreſſion: But if there be a difficulty in it, thoſe which are Etched in A. F. make it moſt conſpicuous; both becauſe the nature of the plates, and quality of the Waters, and their operations, may ſometimes fall out to be ſo very unlike: But, to diſcern an Original prtnt from a Copy print (not to ſpeak of ſuch plates as have been retouch'd, and therefore of little value) is a knack very eaſily attain'd; becauſe 'tis almoſt impoſſible to imitate every hatch, and to make the ſtroaks of exact and equal dimenſions, where every the leaſt defect, or flaw in the Copper it ſelf, is ſufficient to detect and betray the Impoſture, as in that little Deſce [...] from the croſs of Hanibal Carraccio (already mention'd) is perſpicuous, and which it were abſolutely impoſſible to conterfeit. In the mean time, ſuch as are profound, and well knowing, do eſtabliſh their Judgments upon other particulars of the Art, and the very handling it ſelf.

[Page] Laſtly, that A. F. gives a tenderneſs to Landskips, Trees and Buildings ſuperiour to that of the Burine (though that exceed infinitely in Figures) may be ſeen in that of Iſraels view of the Louvre before recited, and in ſome other works where there is an induſtrious and ſtudied mixture, as in that ſecond manner of Voſterman's which did ſo much pleaſe Rubens and Vandyke, even in the Portraicts which that excellent Graver publiſhed after thoſe great mens paintings.

It was in the former Chapter that we made rehearſal of the moſt renowned Gravers and their works; not that we had no more to add to that number; but becauſe we would not mingle theſe illuſtrious names and qualities there, which we purpoſely reſerved for the crown of this diſcourſe; we did therefore forbear to mention what his Highneſs Prince Ruperts own hands have contributed to the dignity of that Art; performing things in Graving (of which ſome enrich our collection) comparable to the greateſt Maſters; ſuch a ſpirit and addreſs there appears in all that he touches, and eſpecially in that of the Mezzo Tinto, of which we ſhall ſpeak hereafter more at large, having firſt enumerated [Page] thoſe incomparable gravings of that his new, and inimitable S [...]ile, in both the great, and little decollations of St. John Baptist, the Souldier holding a Spear and lean [...]ng his hand on a Shield, the two Mary Magdalens, the Old-mans head, that of Titian, &c. after the ſame Titian, Georgioon and others. We have alſo ſeen a plate Etched by the preſent French King, and other great perſons; the Right Honourable the Earl of Sandwich ſometimes (as we are told) diverting himſelf with the Burine, and herein imitating thoſe Antient and renown'd Heros, whoſe names are loud in the Trumpet of Fame, for their skill, and particular affection to theſe Arts: For ſuch of old, were Lucius Manilius, and Fabius, Noble Romans: Pacuvius the Tragick Poet nephew to Ennius; Socrates the wiſeſt of men, and Plato himſelf. Metrodorus, and Pyrrhus the Philoſopher did both deſign and paint; and ſo did Valentinian, Adrian and Severus, Emp [...]: ſo as the great Paulus Aemilius, eſteem'd it of ſuch high importance, that he would needs have his ſon to be inſtructed in it, as in one of the moſt worthy and excellent accompliſhments belonging to a Prince. For the Art of graving Quintilian likewiſe celebrates Euphranor, a Polite and [Page] rarely endow'd perſon; and Pliny in that Chapter where he treats of the ſame Art, obſerves, that there was never any one famous in it; but who was by birth or education a Gentleman: therefore He, and Galen in their recenſion of the Liberal Arts, mention that of Graving in particular amongſt the moſt permanent; and in the ſame Catal [...]gue numbers it with Rhetorick, Geometry, Logic, Aſtronomie, yea Grammar it ſelf; becauſe there is in theſe Arts ſay they, more of fancy, and invention, then ſtrength of hand; more of the Spirit, then of the Body. Hence Ariſtotle informes us that the Grecians did univerſally inſtitute their Children in the Art of painting and Drawing,Polit. l. 8. [...]. 3. for an Oeconomique reaſon, there ſignified, as well as to produce proportions in the Mind: Varro makes it part of the Ladies Education that they might the better skill in the works of Embrodery, &c. and for this cauſe is his Daughter Martia celebrated amongſt thoſe of her fair Sex: We have already mention'd the Learned Anna Schurman; but the Princeſs Louiſe has done wonders of this kind, and is famous throughout Europe for the many pieces which inrich our Cabinets, examples ſufficient to vindicate its dignity, and [Page] the value that has been ſet upon it; ſince both Emperours, Kings and Phil [...]ſophers, the great and the wiſe, have not diſdained to cultivate, and cheriſh this honourable quality; of old ſo nobly reputed, that amongſt the Greeks, a Slave might not be taught it: How paſſionately does Pereskius, that admirable and univerſal Genius deplore his want of dexterity in this Art! Baptiſta Alberti, Aldus, Pomponius Guaricus, Durer, and Rubens were politely learned and knowing men; and it is hardly to be imagin'd of how great uſe, and conducible, a competent addreſs in this Art of Drawing and Deſigning is to the ſeveral advantages which occur; and eſpecially, to the more Noble Mathematical Sciences, as we have already inſtanc'd in the Lunary works of Hevelius, and are no leſs obliged to celebrate ſome of our own Country-men famous for their dexterity in this incomparable Art; ſuch was that Blagrave, who himſelf cut thoſe Diagramms in his Mathematical Jewel; and ſuch at preſent, is that rare and early prodigy of univerſal ſcience, Dr. Chr. Wren, our worthy and accompliſh'd friend. For, if the ſtudy of Eloquence and Rhetorick were cultivated by the greateſt Genius's and Heroic perſons [Page] which the World has produc'd; and that by the ſuffrage of the moſt knowing, to be a perfect Orator, a man ought to be univerſally inſtructed; a quality ſo becoming and uſefull, ſhould never be neglected.Quin [...]il. inſt. l. 2. Omnium enim Artium peritus erit Orator, ſi de Omnibus ei dicendum est: He that would ſpeak well upon all ſubjects, ſhould be ignorant of none: It was Cicero that taught Quintilian the importance of it, where he tells us, that in his opinion, no man could pretend to be Omni laude cumulatus Orator, De Orat. 1. a perfect and accompliſh'd Orator indeed, niſi erit omnium reram magnarum atque Artium ſcientiam conſecutus. It is the ſentence of that great Man, and therefore to be embraced by us, eſpecially on this occaſion; becauſe it was immediately after he had expreſly inſtanc'd in Caelatura & Sculptura, that of cutting and Engraving: for it is worth the obſervation, that the Ages which did moſt excell in Eloquence, did alſo flouriſh moſt in theſe Arts, as in the time of Demoſthenes and the ſame Cicero; and as they appear'd, ſo they commonly vaniſh'd together; and this remark is univerſal.

But now for cloſe of all, and to verifie the admirable uſe which may be deriv'd [Page] from this incomparable Art above the reſt, let us hear what the learned Abbot of Villeloin, Monſieur de Marolles has le [...]t upon Record in the Memoires of his own life, Anno 1644. after he had made a very handſome diſcourſe (which we recommend to all good Roman Catholiques) concerning Images, upon occaſion of a ſuperſtitious frequenting of a certain renowned Shrine, pretended to have done Miracles at Paris, but was detected to be an impoſture: The paſſage is thus,

Dieu m' a fait la grace, &c.

I am (ſaith he) greatly obliged to God, that though I have ever had a ſingular affection to Images, I was never in my life ſuperſtitious; I have yet made a collection ſo prodigious, that they amount to no leſs then ſeventy thouſand (he adds afterwards ten thouſand more) but they are all Copper-cuts and engravings of all ſorts of Subjects imaginable. I began to be addicted to this kind of Curioſity but ſince the year 1641; but have ſo cheriſh'd the humour, that I may truly affirm, without the leaſt exaggeration, that I have ſome prints of all the Maſters that are any [Page] where to be found, as well Gravers, as Deſigners and Inventors, to the number of above four hundred; And theſe are ranged in books of Charts, and Mapps, Calligraphy, Architecture, Fortification, Tacticks, Sieges, Circumvallations, Battails, Single-Combats, Naval Fights, Maritime Pieces, Landskips, Townes, Caſtles, Seas, Rivers, Fountains, Vaſas, Gardning, Flowers, Ruines, Perſpective, Clocks, Watches, Machines, Goldſmiths Works, for Joyners, and Workers in Iron, Copper, Embroydering, Laces, Groteſque, Animals, Habits of ſeveral Countries, Anatomies, Portraictures, Cartouches and Compartiments, Antiques, Bas-reliev's, Statues, Cataphalcos, Tombs, Epitaphs, Funeral pomps, Entries, Cavalcados, Deviſes, Medaills, Emblems, Ships, Cabinet pieces, Trees, Fruits, Stones, Dances, Comedies, Bacchanalias, Huntings, Armories, Tournaments, Maſſacres, Executions, Torments, Sports, Heroic and Moral Fables, Histories, Lives of Saints, and Martyrs, pieces of the Bible, Religious Orders, Theſes, and above ten thouſand Portraicts of renowned Perſons, without counting (amongſt theſe) above ſixſcore Volums of Masters whoſe names he there enumerates Alphabetically. This Curioſity (ſayes he) I affected [Page] from my youth; but did not much cultivate till of late years, preferring it even before paintings themſelves (for which yet I have infinite eſteem) not only for that they are more proportionable to my purſe; but becauſe they better become our Libraries: ſo that had we a doſen only, that were curious of theſe Collections in France; eſpecially amongſt perſons of condition (ſuch as Monſieur de l' Orme, the late Monſieur de la Mechinier, &c.) Taille-Douces would come to be extraordinary rarities; and the Works of Lucas, Durer, Marke Antony, and the Polite Maſters which are now ſold at four, or five hundred Crownes a piece, would be then valu'd at three times as much; a thing incredible, did not experience convince us of it; thoſe who are touch'd with this kind of affection, hardly ever abandoning it, ſo full of charmes, variety and inſtruction it is. Truly, me thinks, that all Princes eſpecially, and great Men ſhould be ſtored with theſe works, preferrable to a World of other trifling Collections, and leſs fruitfull; as comprehending ſo many conſiderable, remarkable things, and notices of almoſt all ſorts of ſubjects imaginable. Thus far the Learned Abbot.

[Page] But it leads us yet farther, when we ſeriouſly reflect, how capable this Art is above all other whatſoever, to inſinuate all ſorts of Notions and things into Children, and be made an Inſtrument of Education ſuperiour to all thoſe Abſtracted termes, and ſecondary intentions where with Maſters commonly torment and weary their tender and weak Capacities: And this we have diſcover'd by much experience, and could here produce examples beyond beliefe in a Child at preſent not ſix years old, who does both know, and perfectly comprehend, ſuch things and Actions as hardly any at ſixteen, ſome at twenty have yet attained, who purſue the common Method of our Grammar Schooles, without theſe aids, and advantages: For, ſince Nihil est in Intellectu, quod non prius fuit in ſenſu; Ariſtot. and, that as the Poet had well obſerv'd.

Segnius irritant animos demiſſa per Aurem

Quam quae ſunt Oculis ſubjecta fidelibus—.

Horat.

What can there be more likely to informe and delight them, dum animus majora non capit, then the pictures and repreſentations of thoſe things, which they [Page] are to learn? We did mention before the Hieroglyp [...]ical Grammar publiſhed by Dr. Couvay; and it is well known, how Eilhardus Lubinus in an Epiſtle to the Duke of Stetin, has celebrated and contriv'd an Inſtitution of youth by this Art: Such as was alſo the Deſign of that Prodigie of a Man, La Martelay, who had already collected and digeſted ſuch a choice number of cuts, and ſo univerſall, as by which he more then pretended (for he really effected it) to reach all the ſciences by them alone, and that with as much certitude, and infinite more expedition, then by the moſt accurate method that was ever yet produced: What a ſpecimen of this Jo. Amos Commenius in his Orbis ſenſualium pictus gives us in a Nomenclator of all the Fundamental things and Actions of Men in the whole World, is publick, and I do boldly affirm it to be a piece of ſuch excellent uſ [...], as that the like was never extant; however it comes not yet to be perceived: A thouſand pitties it is, that in the Edition publiſhed by Mr. Hoole, the cuts were ſo wretchedly engraven: I do therefore heartily wiſh that this might excite ſome gallant and publick minded perſon, to augment and [Page] proceed farther upon that moſt uſefull deſign, which yet comes greatly ſhort of the perfection it is capable of, were ſome additions made, and the prints reformed and improved to the utmoſt, by the skillfull hand of ſome rare Artiſt. In the mean time, what a Treaſury of excellent things might by this expedient be conveyed, and impreſſed into the waxen Tables and Imaginations of children; ſeeing, there is nothing more prepoſterous, then to force thoſe things into the Eare, which are viſible, and the proper objects of the eye, For picture, is a kind of Univerſal Language, how diverſe ſoever the tongues and vocal expreſſions of the ſeveral Nations which ſpeak them may appear; Solet enim pictura tacens loqui, maximeque prodeſſe, as Nazianzen has it.

So as if ever, by this is that long ſought for Art moſt likely to be accompliſh'd: Nor can any words whatever hope to reach thoſe deſcriptions, which in a numberleſſe ſort of things, Picture do's immediately, and as it were at one glance, interpret to the meaneſt of capacities: For inſtance, in our Herbals, books of Inſects, Birds, Beaſts, Fiſhes, Buildings, Monuments, and the reſt which make up the Cycle of the Learned Abbot; ſome of them haply never ſeen before, [Page] or ſo much as heard of, as Aelian does upon occaſion ingenuouſly acknowledge. And what do we find more in requeſt amongſt the Antient, then the Images of their Heros and Illuſtrious predeceſſors? ſuch as Atticus, and Marcus Varro collected; all which conſider'd, we do not doubt to affirm, that by the application of this Art alone, not only Children; but even Stripplings well advanc'd in Age, might receive incredible advantages, preparatory to their entrance into the Schoole Intellectual, by an Univerſal, and choice Collection of prints and cuts well deſign'd, engraven and diſpos'd, much after the manner and method of the above nam'd Villeloin, which ſhould contain, as it were, a kind of Encyclopaedia of all intelligible, and memorable things that either are, or have ever been in rerum Natura. It is not to be conceived of what advantage this would prove for the Inſtitution of Princes and Noble Perſons, who are not to be treated with the ruder difficulties of the vulgar Grammar Schooles only, and abſtruſer Notions of things in the reſt of the ſciences, without theſe Auxiliaries; but to be allur'd, and courted into knowledge, and the love of it by all ſuch ſubſidiaries and helps as may beſt repreſent it to them in Picture, Nomenclator, [Page] and the moſt pleaſing deſcriptions of ſenſual Objects, which naturally ſlide into their fluid, and tender apprehenſions, ſpeedily poſſeſſing their memories, and with infinite delight, preparing them for the more profound and ſolid ſtudies.

Seneca indeed ſeems to refuſe the Graphica [...] ſciences thoſe advantages which others of the Philoſ [...]phers have given to them amongſt the moſt Liberal, as reckoning them ſomewhat too voluptua [...]y for his Stoical humour: yet did Socrates learn this very Art of Carving of his Father; Diogens drew the picture of Pla [...]o; and the Orator Meſſalla commends it moſt highly: But what more concernes out preſent inſtance, is, that it was by the approbation of the great Auguſtus himſelf, that Q. Podius the Mute ſhould be diligently taught it: We could tell you of a perſon of good Birth in England, who (labouring under the ſame imperfection) does expreſs many of his conceptions by this Art of Drawing and Deſigning: And if (as 'tis obſerv'd) it furniſh us with Maximes to diſcern of general Defects and Vices, eſpecially, in what relates to the proportions of humane bodies, it is certainly not to be eſteem'd ſo inconſiderable as by many it is. Polygnotus could expreſs the Paſſions, and Aristides the very interiour motions of the ſoul, if we will believe what is recorded: [Page] But whither it advance to that prerogative; this we read of for certain, (as to our pretence for the Education of Children) that when L. Paulus demanded of the Con [...]ur'd Athenians a Philoſopher to inſtruct his little ones, they prefer'd one Metrodorus an excellent Painter before any of the reſt: What Quintilian ſayes of Euphranor is ſufficiently known; and if ſome great Princes have not diſdain'd to take the Pincil in the ſame hand in which they ſway'd the Scepter and the Sword; and that the knowledge of this divine Art was uſefull even to the preſervation of the liſe of an Emperor (for ſuch was that Constantinus P [...]r [...]hyrogenitus) it is not without examples ſufficient to ſupport the dignity of theſe Arts, Luitprand▪ Hiſt. that we have with ſo much zeal, recommended them to Princes and Illuſtrious Perſons.

And now we have but one thing more to add before we conclude this Chapter, and it is for caution to thoſe who ſhall make theſe Collections for curio [...]ity and ornament only; That where we have ſaid all that we can of This, or any other particular Art, which may recommend it to the favour, and endearment of great perſons; our intention is not, that it ſhould ſo far engage them in its purſuit, as to take from the [...]obler parts of life, for which there are more ſublime and [Page] worthy objects; but, that with this (as wit [...] the reſt which are commendable, innocen [...] and excellent Company) they would fill up all ſuch ſpaces, and opportunities, as too often lye open, expoſe and betray them to mean complyances, and leſſe ſignificant diverſions: For theſe was Aratus a great Collector, nor leſs knowing in the judgement o [...] Pictures; ſo was Vindex and many others▪

—Namque haec quoties Chelyn exuit ille

Deſidia est, hic Aoniis amor avocat antris.

Statius Vind. H [...]rc. Epitrapez.

He allowes himſelf theſe relaxations only when he is tyred with the more weighty affairs and concernments: Finally, that they would univerſally contend to do ſome great thing, as who ſhould moſt merit of the Sciences, by ſetting their hands to the promotement of experimental, & uſefull knowledge▪ for the univerſal benefit, & good of Mankind.

This, this alone, would render them deſervedly honorable indeed; and add a luſtre to their Memories, beyond that of their Painted Titles, which (without ſome ſolid Virtue) render but their defects the more conſpicuous to thoſe who know how to make a right eſtimate of things, and, by whoſe Tongues, and Pens only, their Trophies and Elogies can ever hope to ſurmount, and out-laſt the viciſſitudes of fortune.

CHAP. VI. Of the new way of Engraving, or Mezzo Tinto, Invented, and communicated by his Highneſſe Prince RUPERT, Count Palatine of Rhyne, &c.

[Page]

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WE have already advertis'd the Reader in one of our Praeliminaries, why we did omit what had been by us prepar'd for the Accompliſhment of the more Mechanical part of the Chalcographical Art: But it was not out of the leaſt Deſign to abuſe him in the Title at the Frontiſpiece of this History; ſince we believed he would moſt readily commute for the defect of a Mystery ſo vulgar, to be gratified with another altogether Rare, Extraordinary, Univerſally approv'd of, admired by all which have conſider'd the effects of it, and, which (as yet) has by none been ever publiſhd.

Nor may I without extraordinary ingratitude, conceal that Illuſtrious Name which did communicate it to me; nor the obligation which the Curious have to that [Page] heroic Perſon who was pleas'd to impart it to the World, though by ſo incompetent, and unworthy an inſtrument.

It would appear a Parad [...]x to diſcourſe to you of a Graving without a Graver, Burin, Point, or Aqua Fortis; and yet is This perform'd without the aſſiſtance of either: That what gives our moſt perite and dextrous Artists the greateſt trouble, and is longeſt finiſhing (for ſuch are the hatches, and deepeſt ſhadowes in plates) ſhould be here the leaſt conſiderable, and the moſt expeditious; That, on the contrary, the Lights ſhould be in this the moſt Laborious, and yet perform [...]d with the greateſt facility: That what appears to be effected with ſo little Curioſity, ſhould yet ſo accurately reſemble what is generally eſteem'd the very greateſt; viz. that a print ſhould emulate even the beſt of Drawings, Chiaro e Scuro, or (as the Italians term it) pieces of the Mezzo Tinto, ſo as nothing either of Vago da Carpi, or any of thoſe other Maſters who purſu'd his attempt, and whoſe works we have already celebrated, have exceeded, or indeed approch'd; eſpecially, for that of Portraits, Figures, tender Landskips, and Hiſtory, &c. to which it ſeems moſt appropriate, and applicable.

[Page] This Obligation then we have to his Highneſs PRINCE RUPERT, Count Palatine of Rhyne, &c. who has been pleas'd to cauſe the Instruments to be expreſly fitted, to ſhew me with his own hands, how to manage, and conduct them on the plate, that it might produce the effects I have ſo much magnified, and am here ready to ſhew the World, in a piece of his own Illuſtrious touching, which he was pleas'd to honour this Work withall, not as a Venal addition to the price of the Book (though for which alone it is moſt valuable) but a particular grace, as a Specimen of what we have alledged, and to adorn this preſent Chapter.

It is likewiſe to be acknowledged, that his Highneſs did indulge me the Liberty of publiſhing the whole manner, and addreſs of this new way of Engraving with a freedome perfectly generous, and obliging: But, when I had well conſider'd it (ſo much having been already expreſſed, which may ſuffice to give the hint to all ingenious Perſons how it is to be perform'd) I did not think it neceſſary that an Art ſo curious, and (as yet) ſo little vulgar (and which indeed does not ſucceed where the Workman is not an accompliſhed Deſigner, [Page] and has a competent talent in painting likewiſe) was to be proſtituted at ſo cheap a rate, as the more naked deſcribing of it here, would too ſoon have expos'd it to.

Upon theſe conſiderations then it is, that we leave it thus Aenigmatical; and yet that this may appear no diſſingenuous Rodomontade in me, or invidious excuſe, I profeſs my ſelf to be alwayes moſt ready (ſub ſigillo, and by his Highneſſe's permiſſion) to gratifie any curious, and worthy Perſon, with as full, and perfect a Demonſtration of the entire Art, as my talent, and addreſſe will reach to; if what I am now praeparing to be reſerv'd in the Archives of the ROYAL SOCIETY concerning it, be not ſufficiently inſtructive.

FINIS.

AN ADVERTISEMENT

[Page]

THere is a Treatiſe of Monſieur du Boſſes in French, concerning Etching in Aqua Fortis, Construction of the Rolling Preſs, &c. which (with ſome improvement of the Method) I did long ſince interpret, and deliver to the Royal Society, in obedience to their Commands: It was my intention to have added it to this Hiſtory of mine, as what would have render'd it a more accompliſh'd Piece; but, understanding it to be alſo the deſign of Mr. Faithorn, who had (it ſeems) tranſlated the firſt part of it, and is [Page] himſelf by Profeſſion a Graver, and an excellent Artiſt; that I might neither anticipate the Worlds exſpectation, nor the Workmans pains, to their prejudice, I deſiſted from printing my Copy, and ſubjoyning it to this diſcourſe. In the mean time, it is to be acknowledged, that the Author thereof, has diſcover'd his skill ſo honestly, and intirely, that there ſeems nothing more deſirable, as to that particular: And I could wiſh with all my heart, that more of our Workmen, would (in imitation of his laudable example) impart to us what they know of their ſeveral Trades, and Manufactures, with as much Candor and integrity as Monſieur Boſs has done. For what could ſo much conduce to their profit and Emolument? when their ſeveral Myſteries being ſubjected to the [Page] moſt accurate Inſpection and Examen of the more polite, and enquiring Spirits, they ſhould return to their Authors again ſo greatly refin'd and improved, and when (through this means alſo) PHILOSOPHY her ſelf, might hope to attain ſo conſiderable a progreſs towards her ultimate Perfection.

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Title statement

Sculptura, or, The history, and art of chalcography and engraving in copper with an ample enumeration of the most renowned masters and their works : to which is annexed a new manner of engraving, or mezzo tinto, communicated by His Highness Prince Rupert to the authour of this treatise.

Evelyn, John, 1620-1706.

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1662

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Ann Arbor, MI ; Oxford (UK) :

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2006-02 (EEBO-TCP Phase 1).

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A69993

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Wing E3513

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ESTC R351

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12012509

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ocm 12012509

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52448

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Early English books online.

Notes

(EEBO-TCP ; phase 1, no. A69993)

Transcribed from: (Early English Books Online ; image set 52448)

Images scanned from microfilm: (Early English books, 1641-1700 ; 561:16 or 691:3)

Source

— Sculptura, or, The history, and art of chalcography and engraving in copper with an ample enumeration of the most renowned masters and their works : to which is annexed a new manner of engraving, or mezzo tinto, communicated by His Highness Prince Rupert to the authour of this treatise., Evelyn, John, 1620-1706., Rupert, Prince, Count Palatine, 1619-1682., Sorbière, Samuel, 1615-1670. Account of Signor Giacomo Favi..

Extent

[37], [2], 148, [3] p., 1 folded leaf of plates : ill.

Printed by J.C. for G. Beedle and T. Collins,. London :: 1662.. ("Table and contents" [i.e. index]: prelim. p. [24]-[36].) (Advertisement: p. [1]-[3] at end.) (Errata: p. [36].) ("Authors and books which have been consulted for this treatise": p. [37].) (Dedication signed: J. Evelyn.) (The illustration is engraved.) ("An account of Signor Giacomo Favi by Monsieur Sorbiere": 5th-9th prelim. leaves.) (Reproduction of original in Huntington Library.)

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