V •3

Evelyns Sculptura

With the unpublished Second Part

Hi •

Edited by C. F. BELL

Hi

the Clarendon Tress MCMVI

y

H

Oxford

Printed at the Clarendon Press By Horace Hart, M.A. Printer to the University

INTRODUCTION

THE literary works which illus- trated the contemporary fame of John Evelyn were, with the exception, possibly, of Sylva, or Discourse of Forest Trees, almost forgotten when the pub- lication of his Diary in 1818, reviving an interest in the author, recalled their names at least from final oblivion. B Jore than sixty years had then elapsed

— e the publication of the second coLuvTMast edition (175*^) of Sculp turn -y

ORDER SEC 11 I 1

ie book was valued as curious

PHOTOCOPY ,

a tew antiquaries only, for con-

RARE

earning some scanty references to engravers who flourished in the time of the author, and the earliest men- tion in print of the art of engraving in mezzotint, together with an account of its origin then generally believed to be authentic.

A

vi Introduction

A brief record of the presentation of the treatise by its author to the newly founded Royal Society, on the i oth of June, 1 662, is almost the only mention of it in the Diary, and he has left no definite information about the train of circumstances which led him to its composition or the date at which it was actually written. But the writer of a biographical notice of Evelyn prefixed to the second edition of the book tells us that it was in- tended to form part of a projected c General History of all Trades ?, which would have included a c full view of the several arts of Painting in oyl, in miniature, anealing on glass, enamelling and making marble paper', with the addition of the plan for a royal garden and a moral treatise on the Dignity of Man. This informa- tion the writer professes to have

gathered

Introduction vii

gathered from an examination of Evelyn's unpublished manuscripts, and his conclusion is supported by the prominent position given in the fore- front of Sculptura to the otherwise incomprehensibly irrelevant eulogy of Signor Giacomo Maria Favi ', who is therein accredited with having projected a similar encyclopaedia.

However this may be, Evelyn's other contributions to the literature of the fine arts, important enough in their way — his translation of Fre'art's Parallel of Architecture (1664) and Perfection of Painting (1668) — do not

1 No member of the Fava or Marescotti families, whose name and career correspond with Evelyn's account, is mentioned in biographical dictionaries or even by Fantuzzi, Notice degli scnttori Bolognesi, 1781-94. Evelyn's notice is taken from the Lettres et Discours sur di-verses matieres curieuses (Paris, 1660^ Lettre Ixxxiii, p. 644) of Samuel de Sorbi£re (161 ?-7o)3 a writer now principally remembered as the correspondent of Hobbes and translator of some of his works.

seem

viii Introduction

seem to have been intended to fit into any scheme of this kind, and we are probably not greatly mistaken in assuming that the immediate cause of the publication of the book in its present form was the author's desire to make public the discovery of engraving in mezzotint, which had been communicated to him by Prince Rupert in the spring of irftfo-i. On the 2ist of February in that year he notes in his Diary ^ <• Prince Rupert first shewed me how to grave in Mezzo Tinto*; and on the ijth of March, 'This afternoone Prince Rupert shew'd me with his owne hands the new way of graving called Mezzo Tinto, which afterwards by his permission I published in my Plistory of Chalcography ; this set so many artistes on worke, that they soone arriv'd to that perfection it is

since

Introduction ix

since come, emulating the tenderest miniatures.' It is difficult to imagine how the account of the new art — caenigmaticaP as the author well calls it — given in the sixth chapter of Sculptura can ever have set any artist to work; indeed, the only source of practical instruction in the book is the example of the Prince's own handiwork with which he permitted Evelyn to illustrate it. The author certainly wrote ' a less cryptic ac-

1 This is made clear by a note, for the reference to which I am indebted to Professor A. H. Churchj F.R.S., in the English translation of Bayle's General Dictionary, by Bernard, Birch, and Lockman, 1734— 41, Vol. V. p. 131. This note runs c\Ve have now in our hands, communicated by the very learned Richard Middleton Massey, M.D. and F.R.S., an original manuscript written by Mr. Evelyn, and designed for the Royal Society, and intitled Prince Rupert's new way of Engraving^ communicated by his Highness to Mr. Evelyn. In the margin is this note: — This I prepared to be registred in the Royal Society, but I have not yet ghen it in, so as it still con-

EVELYN b

x Introduction

count of the method of work, but if he ever communicated it to the Royal Society, as he announces his intention of doing, it has been lost or destroyed, for Professor A. H. Church, F.R.S., who has most kindly had diligent search made for the paper amongst the archives of that body, assures me that it is not now to be found there x. No account of the art written by Evelyn has ever been published, and it is therefore

tinues a. secret. In this manuscript he first describes the two instruments employed in this new manner of engraving, viz. the ffatcher, and the Style ; and then proceeds to explain the method of using it.'

The note in Bayle then gives, in Evelyn's own words, the well-known legend of the first idea of mezzotint having arisen from a rust-eaten musket- barrel, and concludes with an account of the primitive imitation of mezzotint produced upon a plate grounded with a roulette instead of with a rocker.

1 It was in the course of this search that the MS. of the second part of Sculptura, hitherto unpublished, was discovered. It is printed for the first time at the end of the present volume.

hardly

Introduction xi

hardly too much to say that the claim which he, in his Diary ^ puts forward on his own account to having pro- moted the growth of the art is as devoid of foundation as that which, in Sculp turn, he advances, in favour of his patron, to having invented it. For, although far from the first to detect its falsehood, Dr. Diamond1 and Comte Ldon de Laborde* long since finally disposed of the legend that Prince Rupert was the discoverer of engraving in mezzotint, and estab- lished the right of Ludwig von Siegen to that honour. Were it not that the Prince's pupil, Wallerant Vaillant, also names him as the originator of the process, in the title of a portrait of him which he executed, it would be impossible not to conclude that

1 ^frchaeologia, xxvii3 p. 405.

2 ffistoire de la gravure en manicre noire, Paris, 1839.

b 2 the

xii Introduction

the fable was the creation of Evelyn, whose servile references to members of the Royal Family in his published works are so curiously at variance with the candid descriptions of their characters in his Diary.

Whether the author of Sculp turn invented or merely supported an un- justifiable statement is now imma- terial, since, conflicting literary testi- monies having long been cast on one side, the c close and attentive study of the prints themselves', recommended by Chaloner Smith, in his admirable summary of the early history of the art ', has amply vindicated the fame of von Siegen's Royal disciple as one who, more than any other of its earlier practitioners, perceived and enlarged the capacities of the new

1 British Me-sgotinto Portraits, Part IV, Division 23 pp. xxvi-xxx.

process

Introduction xiii

process. It thus happens that the interest of the volume to the his- torian of engraving at the present day is once more reduced to the same single page — that containing the specimen of Prince Rupert's work in mezzotint — which excited and baffled the aspiring curiosity of engravers at the time of its publica- tion. With this and a few scattered references to contemporary artists which have been methodically ex- ploited by Walpole and his annota- tors, the artistic historical value of the treatise may be said to be exhausted.

Its strongest appeal to the interest of modern readers is, in fact, based upon other grounds. The dedication to Boyle and the solemn presentation

the Royal Society1 show that it

The copy presented is still in the library of the Society, but it now lacks the print from the plate Prince Rupert.

was

xiv Introduction

was accepted as a serious contribution to scientific knowledge in an era of unprecedented scientific brilliancy. And although it has been preserved, principally by the author's personal renown, from the oblivion which rarely fails to overshadow super- annuated technical literature, its in- terest is very far from being merely personal. For, at the moment of the publication of Sculptura^ Evelyn, at the age of forty-two, had already taken a very prominent place in the ranks of the Virtuosi^ or < Ingenious ' as they are called upon the title- pages of the earlier volumes of the Philosophical Transactions of the J^oyal Society, during a period when the researches of men of this stamp were attracting the respectful attention of the public, and the sympathetic curiosity of Royalty, to a degree

never

Introduction xv

never before and seldom since paral- leled in this country. His travels in Holland and Flanders (1641), in France and Italy (1643-7), and pro- longed residences in Paris during the following five years, had been followed by excursions into many districts of England at that time rarely visited by Englishmen ; his curiosity was insatiable, his taste in- discriminatingly catholic.

How indiscriminatingly catholic the pages of Sculptura amply display, where, < in one work/ as Sir Thomas Browne says of Pineda, Evelyn * quotes more authors than are neces- sary in a whole world >, involving the reader in a cloud of names, which were quite evidently nothing but names to him, bestowing praise at once upon Rembrandt and Claude Mellan, while reserving his most

rapturous

xvi Introduction

rapturous approbation for the no- torious Sudanum of the latter. If we appeal to the Diary in seeking to discover what he really considered the highest manifestation of art, we are led to conclude that an effect of salient relief, and what the French call trompe-Pceily was in his opinion, as in that of most of his contem- poraries, the consummate triumph of graphic art. A confused recognition of this preference may perhaps be detected in the fanciful linking to- gether of sculpture and engraving in this treatise, although this was also, doubtless, an inevitable concession to the historical methods of that period, which presupposed a classical origin for any subject considered worthy of its attention.

This delight in the ingenious and deceptive is, after all, no more than

the

Introduction xvii

the logical outcome of a system of ideas which aspired to include the exact sciences and the fine arts in one great harmony of knowledge. The contributions relating to strictly artistic subjects in the early volumes of the Philosophical Transactions are not numerous, it is true, but they exist, and it is perfectly evident that no idea of their irrelevancy was entertained. In a passage in one of these papers — a review of Evelyn's Perfection of Painting^1 as it happens — the aims of this school of thought are, if somewhat obscurely, expounded. After assuming that the book cwill doubtless animate many among us to acquire a perfection in Pictures, Draughts, and Chalcography, equal to our growth in all sorts of Optical

1 Pbilosofhical Transaction^ No. 39, Sept. n, 1 66B.

Aydes,

•'•".

w

vT-, .2

xviii Introduction

Aydes, and to the fulness of our modern Discoveries', it proceeds to explain that * Painting and Sculpture are ... the fairest Records of Ap- pearances whether celestial or Sub- lunary, whether Angelical, Divine or Humane, and what Art can be more useful or more pleasing to a Philosophical Traveller, an Archi- tect and every ingenious Mecha- nician? All which must be lame without it.'

To one who viewed the history of art in this light every effort was worthy of admiration as it approached or failed to approach the deceptive imitation of natural appearances. And, in order to prove to ourselves how completely this was the case, it is instructive to com- pare the impression, as set down in the Diary, upon a mind predisposed to contemplate the masterpieces of the

Golden

Introduction xix

Golden Age of Italian Art from this point of view, with those gathered in by a kindred mind from that, at once more narrow and more wide-sighted, of a century later, as recorded in the letters of the President de Brosses. The intolerance of de Brosses, his bitter contempt for what he chose to stigmatize as Gothic, is often absurd, but it proceeds from a glowing faith in the reality of a standard of taste of which Evelyn and his associates had not the faintest conception. And this awakes a vivid personal sym- pathy for his opinions, even when they appear to us mistaken; while Evelyn, ingeniously endeavouring to account for his universal gratifica- tion as the solution of a half-under- stood scientific problem, deadens our interest in everything he admires. It is impossible, however, to deny that

as

xx Introduction

as an attempt to bring art criticism within the sphere of Natural Philo- sophy at a moment in the lifetime of Newton, Locke, and Hobbes, Sculptura takes a certain place in the history of English thought which the actual contents of the volume itself might scarcely appear to warrant.

Sculp tura, or the History and Art of Chalcography has passed through two editions only ; the present is, in the main, a reprint of the first, with some corrections and additions, < taken from the Margin of the Author's printed copy,' which were incorpo- rated in the second.

The second edition contains also a translation of all the Greek and Latin passages, and Memoirs of the Author's life. The quotation on the title-page from Exodus xxxi, verses

Introduction xxi

3-5- (according to the Vulgate ver- sion), is given in full. There is no device on the title-page. The dedi- cation runs :

To Sir John Evelyn, Bart,

Fellow of the Royal Society,

This New Edition

of the

History of Chalcography written by his Learned Grandfather

John Evelyn, Esq ;

is respectfully inscribed

by his most obedient and

very humble servant

John Payne March 4, 1757.

The imprint is —

London, Printed for J. Payne at Pope's Head, in Paternoster Row, MDCCLV.

The Bodleian Library possesses a

second

xxii Introduction

second copy of this edition identical excepting for the imprint, which runs : London. Printed for J. Murray (Successor to Mr. Sandby) No. 32, Fleet Street, M.D.CC.LXIX.

The plates illustrating both edi- tions are three in number.

i. The frontispiece engraved from a drawing by Evelyn himself by A. Hertoc, as he tells us (p. 81). Walpole, who gives the name as Hertocks, supplies a short list of the artist's works, and Redgrave, who says he came from the Netherlands, adds that he painted some miniatures. The place of this frontispiece is taken in the second edition by a portrait of Evelyn etched, reversed, by Thomas Worlidge, from the engraving exe- cuted by Nanteuil in idjo. (Diary , June 13, irfyo.)

2. An

Introduction xxiii

2. An illustration (p. 121) of the contrivance for projecting parallel lines on a curved surface. This was re-engraved, reversed, for the second edition.

3. The specimen of mezzotint en- graving executed especially for Evelyn by Prince Rupert. The subject is the head of the Executioner of Saint John the Baptist. It is a copy, re- duced about one-tenth in size, of part of the large plate executed by the Prince at Frankfurt in 165-8. The large plate, impressions from which are exceedingly rare (a repro- duction of a fine copy in the Royal Library at Windsor is given in the Burlington Maga^ine^ vol. ii, p. 270), shows the figure of the Executioner at half-length holding the sword and the head of the Saint ; it is taken, reversed, from a picture, at that time

believed

xxiv Introduction

believed to be by Spagnoletto, at present considered to be the work of one of his pupils, formerly in the Electoral Gallery at Mannheim, and now in the Old Pinakothek at Munich (No. 1289). ^n tne second edition this plate is replaced by a copy of it by

Richard Houston.

C.F.B.

OR TH

HISTORY, and ART

O F

HALCOCrRAPH^

Ei 'graving in Copper.

of the molt re* heir "Works.; T annexed

g3 oiMezz ids PrincfRupen is Trearifi?.

TO THE

HONOURABLE,

AND

LEARNED GENTLEMAN, ROBERT BOYLE Efq;

SIR,

Having upon your reiterated in- ftances (which are ever com- mands with me) prepared this Treatife concerning the Hijlory ^Chal- cography &c. I thought my felf engag^d^ to Jignifie to the rest, that may pojfibly receive or Satisfaction, or Benefit from it, to whom they are obliged for the Publica- tion of it. The truth is, as it refpe&s the pains which I have taken, it bears not

Dedication

the least proportion with my ambition of ferving you ; but as you are pleafed to judge it ufeful for the encouragement of the Gentlemen of our Nation, who fome- times pleafe themf elves with thefe inno- cent diver/tons ( Collections worthy of them for divers refpefts) and, especially >, that fuch as are addicted to the more Noble Mathematical Sciences, may draw, and engrave their Schemes with delight and ajjurance, I have been in- dufd to think^ it more worthy your Pa- tronage, and of my fmall Adventure, who profejje to have nothing fo much in my dejires, and which I more avow the purfuite of, then to employ the whole remainder of the life, which God Jhall ajjigne me, and that I can redeem from its impertinencies, in contributing to that great and auguft defigne, which your

illustrious

Dedication

illustrious, and happy Genius do*s prompt you to, of cultivating the Sciences, and advancing of useful knowledge, emanci- pated from the ftrong contentions, and little fruit of the former; Envy, and imposture of the latter ^4ges.

Sir, This is not in the leaft to flatter you, nor can I have other aime in it, then that by your great Example, I might ex- cite fuch as (lil(e you) have Parts and Faculties, to things that are glorious, and worthy of them. Tourftudies are fo ma- ture and univ erf al, your travels fo highly improved, and your Experience fo well eftablijti'di that, after I have celebrated the Conversation which results from all thefe perfeftions, it is from Tou alone, that I might dcfcribe the Character of an accompli/h'd Genius, great, and worthy our Emulation. But though your modefly c 2 do's

Dedication

do*s not permit me to run through all thofe Tranfcendencies • yet^ the World is fuffi- ciently inftrufted by what you cannot con- ceal) that 1 fay nothing of fervile^ and which will not abide the Teft^ fo as I have been often heard to exult in the felicity of this Conjuncture of ours^ which (Jfnce thofe prodigies of f^irtuey the il- tuftriousTicho, Bacon, Gilbert, Harvey, Digby, Galileo, Peiresky, De Cartes, Gaflendi, Bernier \_kis Difciple now in Perfia] and the late incomparable Jacomo Maria Favi &c.) has produced us nothing^ which will fupport the comparifon with you, when Ijhall 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 what ^ and joy I lately found his memory

(which

Dedication

(which I havefo much^ and Jo often heard mentioned abroad^ by fuch as had the happinefs to know him intimately) confe- crated by the eloquent pen of Monlieur Sorbiere, in a difcourfe of his to Mon- fieur Vitre, concerning the utility of great Travel and Forreign Voyages $ be- caufe it approches fo neer to the Idea which I have proposed) and may ferve as an encouragement and example to the Gentlemen of our Nation^ who, for the mofl part wander^ and Jpend their time abroad^ in the purfuite of thofe vain and lower pleafureS) fruitlefs, and altogether intollerable. But Sir, I will crowd no more into this Epiftle (already too prolix e) which was only dejigtfd to accompany this piece ^ and fome other ufefull^ and more liberal diver/ions of this nature^ which I cannot yet produce : But every thing

has

Dedication

has its time^ and when I would redeem it to the bejt Advantage^ it it by enter* taining it with fome thing that may beft declare to all the World^ how greatly I account the honour of being eft

Sir, Your molt humble,

and Moft obedient Servant

J-

An Account of Signer Giacomo Favi by Monlieur Sorbiere.

Giacomo Maria Favi of the House of the Marefcotti of Boulonia, died above thirty five years of age, neer fifteen years fince, in the City of Paris. It is a Hiftory worthy of and that all the World Jhould notice of this incomparable Perfon^ as that great Wit and polite Philofopher Monfieur Sorbiere do*s describe him : For as much (fayes he) as it feems to be a very great reproch, that neither Prince •, nor State have hitherto had the confideration, or the courage to undertake, what one particular perfon alone did refolve upon for the uni- verfal benefit, and good of the pub- lick: For it was upon this deligne, that he engaged himfelf exprefsly,

making

Account of

making the moft exacft obfervations, and collecting the Crayons, Prints, Dejignes, Models and faithful Copies of whatfoever could be encountered through the whole Circle of the Arts and Sciences ; the Laws, and the Cuftoms pra&ifed wherever he arived. He had already acquired by ftudy a thoufand worthy and curious particu- lars j He Dejign?d excellently well, underftood the Mathematic^, had penetrated into the moft curious parts of Medecine, and was yet fo far from the leaft pedantry; that he would (when fo difpoPd) play the Gallant as handfomely as any man, and which he was indeed able to do, enjoying a plentiful Revenue of neer three thoufand pounds fterling a year, which he ordered to be paid him by Bills of Exchange, wherefoever his

Curiofity

Signor G. M. Favi

Curiofity fhould invite him. But otherwife, truly his Equipage was very fimple, and his train reduced to one only fervant, which he was wont to take in every town where he made any ftay. He had already vifited Italy > Germany, Poland, Swethen, Denmarke, Holland and England, from whence he came into France, to go into Spain. Finally, he arrived at Parts in Anno itf^, with one Bourdoni a Sculptor, dwelling neer the Tbuyleries, where he no fooner appeared, but he was immediately found out, and known by all the Virtuoji, and as foon enformM himfelf of all that were extraordinary, and confpicuous for all forts of curiofities, whereof he care- fully took notice; but efpecially he made an intimate acquaintance with one Monjieur Petit, a very rare and

curious

Account of

curious perfon, and indeed greatly resembling the Genius of this noble Gentleman, as being one, who for thefe fifty years paft, difcover'd a wonderful ardor for the Sciences, and a dilligence fo indefatigable in the refearch of all eftimable, and worthy Inventions, as that it is a thoufand pitties (and a thing not to be con- ceived indeed without infinite re- grette) that this Age of ours could never yet approch him. So laudable and worthy of praife, has his expenfes been upon divers Machines and Experi- mentS) beyond the forces of a Private Perfon; that had he but been fup- ported (as at firft he was by the French Kjn& and the great Cardinal de Richlieu, under whom he enjoyed divers honourable and handfome Em- ployments) he had perhaps, amongft

all

Signer G. M. Favi

all the Arts through which he run, found out fome Abridgements and Per- feftions, new, and altogether ftupen- dious ; and as indeed, he has already done to admiration, fo far at leaft, as his difcretion, and his Affairs would give him leave.

But to returne to our new Demo- critus, Signor Favi ; He had made pro- vifion of fundry huge Volumes^ which were no other then the Dejignes of all forts of Inftruments and Machines that he had feen and perufed; befides a world more which he had fent away into Italy : For this curious perfon neglected nothing, but went on col- lecting with a moft infuperable dilli- gence, all that the Mechanic!^ had invented for Agriculture, Architecture, and the Fabric!^ of all forts of Works, belonging to Sports, and to Cloathes,

for

Account of

for Ufe and for Magnificence. There was nothing fo fmall, and to appear- ance, trifling, which he did not caft his eyes upon, and which he had not fome hand in, or improved, even to the leaft minutite; whither it were a divice of fome Hajfie, the Latch of

Let not ^ & door, a fimple Loc^ the Cover or ftifeM* Patin of a Cup, a Drefs, &c. even to

condcfcention r»- I • I r l_ n J

very Tooth-pict^r : lo as he ihewed

ineftiua no lefs then two hundred Toyes for

gratia *

Children to play withall; fourty feveral wayes of Plowing the ground, a world of Forges and Mills for various ufes. He vifited all the excellent Workemen and Artifans, and took Samples, and Patterns of all their rare inventions, and fomething of their making. Then for Deceits and Secrets, he poflefs'd an infinite number of all kinds the moft rare and excellent;

fome

Signor G. M. Favi

fome whereof he purchased at great prifes, and others he procured by Ex- change. He learned the Tongues wher- ever he came with extraordinary fe- licity, and fometimes would frequent the 'Recreations^ and Exercifes of the places where he fojourned, which he usM to performe with a facillity, and addrefs fo gentile, and natural, as if he had yet been but a very Youth : For by this means he found, that he gained the eafier, and more free ac- cefle into the bed Companies, fo ex- treamely noble, diffintrefs'd and agre- able was his fafhion and manner of converfation : And though in fundry Encounters, and Courts of Princes he had been frequently regaPd with very confiderable prefents; yet would he never receive any from great Perfons ; as Chains of Gold, and Medaillesy Dia- monds

Account of

monds and Jewels that were offered him, unlefs happly, it were fome Title of Honour and Prerogative ; as the per- miflion to bear an Eagle, or a Fleur de lu in his Coat of Armes^ or the like : And when he had thus exhaufted a Kingdom, or a Place of all that was Curious, and made Acquaintance with all the Perfons of merit in a State, he traveled prefently into another; fo as there was hardly a Court to be found, where he had not finifhed his harveft in three or four months, till he arrived at Parts, where indeed, he was infinitly furpriz'd, and buiied among fuch an innumerable many of able, and curious Perfons of all kinds. He had four Lodgings in several parts of Paris, that fo he might be neer a retreat in whatfoever quarter he Ihould happen to be in purfuite of Curiojities ;

for

Signer G. M. Favi

for he us'd to go much on foot, and alone, becaufe he would not be troubPd, nor obferv'd by impertinent Servants : But in fine, purpofing from hence to travell fliortly for China by means of the Portugal, he took fo much pains about defcribing, and obferving the magnificent preparations which were made for the Marriage of the Queen of Poland, that he fell lick of a Fever and dyed, to the univerfall regret and forrow of all that had ever fo much as heard of him. And no fooner did this fad accident come to the ears of the f\ing ; but he lent dili- gently to fearch out all his four Lodg- ings, to fee, if by any means, ought of his Collection could be retriv'd -, but they were all immediately difpers'd, and it was never found what became of them. The Count Marefcotti his Kinsman,

then

Signor G. M. Favi

then at Paris, recovered only that fingle Volume, wherein was contained the Names, Armes, and Devices 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 informed by one that did often converge with him (though Monfieur Sorbiere is Jflent of if) after he had traveld over all the World (for his dejigne was no lejje ample) at^eturne into his Native Country, to compile, and publifh a Compleat Cycle and Hyftory of Trades, with whatsoever elfe hejhould judge of'Ufe and Benefit to mankind : But this had been a Charity, and a BleJJing too great for the World, becaufe it dos not depart from its Ibices, and im- pertinencies, and cherijh fuch Perfons, and the Virtues which Jhould render it worthy of them. A

A TABLE of the Titles, of the

CHAPTERS and their feve-

rall CONTENTS.

(AUTHOR'S Dedication An Account of Signor Giacomo Favi.)

CHAP. I.

Of Sculpture, how derived > and dijlinguijh'd, with the Styles, and Inftruments belonging to it. Pag. i

The CONTENTS.

SCulptura and Cdatura how they differ. p. i

Tomice, Defettores what. a

Plaiflicey a. The Mother of Sculpture. ai

Paradigmatice, what. a, 7

Gypfochiy Colaptice, Lithoxoi, Glypbicc, what. a.

Anagogice, what. a, 7

^naglyphice, a its antiquity. 2.1

Diaglyphice, Encolaptice, what. a, 4.

Toreutice. a Encauftic Art, a, how it occafioned the invention of Brafs-

Prints. 36

Proplaftic Art, Protypus, Modulus, Diatretice. and C*/»V« diatretiy

what. a

lArgentum afpemm & puftulatum. 5

Table and Contents.

Ebur ptngtte. ?

Dimidia eminentis. the fame with Eajfo Relievo^ and Mez.z.0 Relievo. 2

Scalptus, Scaptus, Scalpturatus. 4.

Scalpo, Sculpo deriv'd. 4.

Cdum I6pvos what, and whence deriv'd. 4., j

Tori, xorAos. j

Ulijfes fhield, A»c*/rf Fofd, what. j

Cavatores what, Graphatoret, whence our Englifh Gravers : Sculp- ture defin'd. 6 Inftruments of Graving. Style what. Why fometimes made of bone. Scalprum. Ccelumy Cales, Ceeltes. Allufions in Job 10. to all the kinds of antient Writing and Graving. 7, 8 Graphium, y\v(f>ls &c. tyKo\airrj)p, virayuycvs, y\apls, fffii\ijy Function, Polifher, Point. 8, 9, 30 Graving Inftrumenrs fometimes fatal weapons. 8 Caffianus martyr'd, and Erixion flain with a Graving Style. 8 Arare camfwrn cereum, Cerei pugillares, undjlylum verterey what. 9 Taille douce, Bwrwi, Intaglio,, Bolino, and the difference 'twixt Graving and Etching. 9 @ov\\a a conjecture of the modernc name of a feal, xaP&ffffo> the fame with Charath. 10

CHAP. II. Of the Original of Sculpture in general, p. 1 1

The CONTENTS.

A Dam the firft inventor of Sculpture. p. 1 1

Books written by Adam. n, ia

The fall of Adam did not impair his infufed habits. iz

Sculpture long before the univerfal flood. iz

Of

Table and Contents.

Of the Antediluvian Patriarchs. 13

Sculpture in ftone and brick at Jaffa. ib

The Celeftial Sciences firft engraven, where, and how long continuing. ib

The books of Seth and Enoch. ib

Of Cham. ib

Zoroafter, when he flouriflied, his learning, curiofity and en- graving of the Liberal Arts. 13, 14, Vicus Mirandula's pretence of the books of Zoroafter, the Magit Sec. 14. Sculpture after the Flood. ib Sculpture propagated by Noah. Sculpture before tAofes. ib Objections anfwered. IJT, ao Mercurius Trifmegiftus engraved in ftone many Mysterious things. 15- Obelisk* erected by Mifra 400 years before Mofes. ib How many tranfported to Rome. 17 The Tables of ftone Engraven by the Finger of GOD. Sculpture honoured by God. i j- Sculpture abus'd to Idolatry no rational prejudice. ib Sculpture elder then Idolatry. 16 Teraf hint and 'Penates y what. ib Sculpture preferv'd the memory of the dead. ib BezAleel, and Aholiab Sculptors. ib The facerdotal pectoral. ib Graving us'd by the ts£gyptians before they invented Letters, ib Hyeroglyphicsy what. 1 6, 17 By whom interpreted. 17 Amongft the Danes. 2.9 And AcaditK. 34. Horapollinis not A. 17 Letters by whom invented, and the contest abouc it. ib How they were derived to the feveral Nations. 1 8 Typographical art miftaken by 'Peter Calaber. 17 Sculpture and Letters Cowans. 18 Colomns erected by Seth. ib Writing with ink in paper a novelty in refpe& of Parch- ment. 1 8, 19 Sculpture on Marbles, Slates, writing on Bark, Leavs, Tabletts,

Table and Contents.

of wood, Paper, Linnen, Wax, Ivory and Silk. 18, 19

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

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

Hieronic&y and where preferved. 19

Writings before Homers not known to the Greeks. 2.0

Tatian, when he flourifhed. ib A paflage cited out of him proving the Antiquity of Recording

by Sculpture. 2.0

Hejfods poems engraven in Lead. ib Gratians, when they had fculpture firft, and where it was in

its highest perfection. 2.1

^chiles and Hercules fhields engraven. ib

The chariot of the Sun, and Vehicula Cdota. ib

Enochs prophecy. 2.2,

Rings engraven, their ufe and dignity. ib

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

Talifmans and Conftellated fculptures. ib

CHAP. III.

Of the Reputation, and Trogrefs of Sculpture amongst the Greeks and Romans down to the middle Ages / with feme pre ten /ions to the Invention of Copper-Cuts, and their Imprejfions. p. 2,3

The CONTENTS.

Sculpture where, and when in its afcendent. 2,3, 24, 18 Statues to what head reducible. Z4

Sculptoret lAarmority Mrtv*/, in Gyffum^ &c. ib

SignA

Table and Contents.

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

Statues, as many as of men. ib

The conteft betwixt Art and Nature in point of fertility. ib Statues, improveable to a politiq, as well as expenceful magni- ficency. ib

'A.iroff<j>payiffiJiaTa. ay

Pyrgoteles only permitted to engrave the Effigies of ^Alexander the great. ay

The Pi&ures of Queen Elizabeth and other Princes how pro- phan'd and abus'd. ay, 16

^iuguftus would have his figure cut only by Diofcorides, and why. -2.6

Sculpture in what materials moft eminent. a6

Dipenuf, Prometheus, Ideocuf, Eucirapus, Lyfiftratws, Demophilus, Dedalut, Leochares, Policarmus, Myrmecides all famous Sculp- tors, ib Figulina vafa Calata, why broaken by Cotyt. ir/ Hydri* engraven, and Bread, ib Gold feldom engraven, and why. ib JAentor his curious works. ib *Acra.£Ut his works. ib Boethus's Mafterpieces. a8 The works of Calami*, *Antipa,ter, Stratonicus, Taurifeti*, *Arifteus, Eunictts, Hecates, Praxiteles, Pojtdonius, Ledtu, Zopirut, Pytheus.

a8

Uedalifts, who moft excellent, and in what Empp. times the beft were cut ; when they degenerated. a8, ^o

Sculpture, when it degenerated in Greece, and Rome. 19

And whence its decay proceeded. 30, 3 1

Sculpture, when it arriv'd at Rome. 2.9

Sculpture and Writing when firft among the Danes and Nor- wegians, ib Runic Characters. ib Graf f ex, what. 30 Vice, and Avarice, the occafion why fculpture degenerated, and is not fince arrived to the perfection of the Ancients.

31

By what means it may recover. 32

Alexander

Table and Contents.

^Alexander Magnus, ^uguflus, Francis I. Copmo di Medices, and Charles the V. celebrated for their affe&ion to Arts. 3 1

Time and leafure required to bring a work to perfe&ion. 31

Sculpture and Chalcography antient in China, on what materials, and how wrought. 33

Letters in Europe firft cut in wood. ib

The Inck-maker for the prefs dignified amongft the Chinez.es with a liberal falary, and priviledges, and not accounted a Mechanic. ib

Sculpture found in Mexico, and other parts of America. 34.

Typography not found out by the Greeks and Romans, to be much wondred at, and why. ib

CHAP. IV.

Of the Invention^ and Trogreffe of Chalco- graphy in particular ; together 'with an ample enumeration of the moft renowned Matters and their works. p. 3 5-

The CONTENTS.

ENgraving on Plates of Brafs for Prints when firft appear- in§- 3J

Typography when firft produc'd in Europe. ib

Prints in the infancy of this Art. ib

The Devil a Honochrom. ib

M. z.. M. C. what they import. ib

What

Table and Contents.

What Sculptors added the year of our Lord to their works. 36 Who were the firft Gravers of Prints. ib

ib

The Italian gravers and their works. 36, &c. ad 63

Mafo Ftniguerra, the firft Print-graver in Italy. 36

Enameling gave the firft hint for the Engraving of Prints. 36 The graving of Prints, from how mean a commencement,

arrived to this perfection. 37

Eaccio Ealdini his works, and countersign. ib

^Albert Durer, when he flourifh'd, his incomparable works ;

conteft with Lucas, and "Mark^^4ntoniot and how precious his

works. 37, 3 8, 3 9, 40, 63

L*v« Fit» Lqufai, his works, emulation of Durer. 39, 40, 63 Mark^Antonio, when he flourifli'd, his works, conteftation with

Albert, &C. 39, 42.

For what vile prints reproved. 4^

Raphael Urbin how he honoured the gravings of M. Antonio. 41 Martine of Antwerp his works, how efteem'd by Michael Angela.

37

R. S. what it fignifies. 42

.Marco *# Ravena his works. 43

A. V. I. what it imports. 44

Giovanni Eatttfta Mantuano his works. 46"

I. B. M. whole name it fignifies. ib

Sebafliano da Regio's works. ib

Georgia Mantuano's works. ib

Etching in Aqua Fortit when firft produc'd. 47

JDamafcut Symeters. ib

Vago de Carpi , his new manner of cutting for divers colours,

and his works. ib

The works of Batdajjare Verunz,i> Francifco Vartnegiano, Ecccafomi,

Eaptifta. Vincentino, Del More, Girolamo Cocu. 48

Giacomo del Cavaglio his works both in copper and ftones. 48, 49 Enea Vlco de Parma his Medails and other gravings. 49

The works of Lamberto Suave, Gio. Battifta de Cavaglieri. ib

The works of Antonio Lanferri, Tomafo Earlachi, Antonio Labbaco,

Titian, Giulio Buonafoni, Battifta Franco, Renato, Luca Penni,

Francifco Ularcolini. jo, yi

The

Table and Contents.

The works of Gabriel Giolito. 52.

The works of Chriftophoro Coriolano, Antonio Salamarca, Andrea Mantegna, Propertia de RoJJt (a fculpterefs). ja, 5-3

Martin Ruota, Jacomo Pal ma, ^Auguftino and Anlbal Carracci.

J3> J4-

The works of Francifco Vilamena. jy

Giovanni Magg/, Leonardo, Ifabella and Bernardino Varafoli. f6

Cutting, and Engraving in Wood how difficult, and different

from Chalcography. ib

The works of Antonio Tempefta, Cherubin <Alberti. 57

Horatio Borgiani, Raphael Guido, Jovanni Eatt. della lAarca, Camilla

Grafficoy Cavalier Salimbeney *Anna Vaiana. 58

Steffano della Bella. 59, 60

Charty and Map-gravers. 60

Medaile Gravers, and Gravers in metal and pretious ftones, &c.

60, 61, 62.

The Diamond by whom firft engraven. 62.

JAedails the knowledge of them how noble and profitable, and

by what means to attain it effe&ually, Gentlemen of note

skillfull Medailifts. 6z

The German and Flemijh Chalcographersy and their works.

The works of ^Albert Durer. 37, ad 4,1, 63, 8j

^4ldegrave and his cypher, Hans Sibald Beheeme his mark, Jerom

Cochy 64., 84., 8 j. Francis Florii, 6f Cornelius Corty 66. Juftus, Jo.

~4gid, and Raphael Sadelers, 67, 68. Herman Uuller, 68. Sim.

Frijiusy "Matth. Miriam, Hans Holbeiny Juftus ^Ammanus 69, 84.,

8j. HoltzJnufeny Hans Brojfehaemery Virgilius Solisy his eyes put

out for his lewd gravings ; Hen. Golzjusy 70, 86. Gear. Nmuol-

ftelleyjo. Matt, and Fred. Greutery SanredamtSy Cor. Galley 71. Count

Cloudty SwaneveltSy Pandernt Bronchorjl, lAattham, P. BriV, Nieulant,

Boetiusy LonderfeliuSy Van Velde, N. de Bruyny 72,. t^£g. Coninx-

logenfisy Stradanusy Mallery, Bolfuerdy 73. P. Pentiusy Suanne-

bourgh, Neffey Vojlermany Vorfly 74, ;j. Cfor. ^terf. 7J

Td» For/?, 5"/r Anthony Van Dykg. 36

Sir P. P. Rubens celebrated. 74.

The works of P. de Jodet Colaert in fteel ; Sntiderhoefy Jo. Baurs,

Vander Thuldent 77. *Abr. and Char. Blomaerty KataliSy 78, 79.

Ferdmandy Verdiny Uriefey Winegardy W. Hondiusy Vankeffelly

Clovet

Table and Contents.

Clovet, Caukgrn, 79. Luc. KJlianus, Cor. Vijher, Vovillemont, Nolph, Lombart, So. Hertoc, Reinbrand, Wincefl. Hollar, 81, 82. Hevelius celebrated, 82,. ^Anna M. a Schurman celebrated, Breugle, Oflade, Corn, Clock^ Queborn, Cuflos, Le Delf, Dors, Falck^, Gerard, Bens, Moeftuer, Grebber, Geldorf, Hoffer, Gerard, Bens, Chein, Jch. d* Egmont, De Vinghe, Heins, Ditmer, Cronis, Lindoven, Mirevel, laager, Coccien, lAaubeafe, Venius, Firens, Pierets, Queliniis, Sta- chade, Schut, Soutman, Vanulch, Broom, Valdet, Min Her Bifcop, 83. Deufken, P. Van ^Aelfl, Swart, Jan Van Groennighen, L. Cra- nach, Jof. ^Ammanus, Hub. Golzjus. 84.

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

The works of P. Bernard, Nic. Beatrice, 86. Phil. Thomajtnus, Crifp. Magdal, and Simon de pas, 87. C/. JAelan, Mauperch, La P outre, l/lorin, N. Chaperon, Fra. Verier, ^4udran, Couvay, Peril, 88, 89. Chavueau, Noilly, Heince, Begnon, Huret, Bernard, Rogneffon, Rouflet, EeUange, Richet, L'^Alman, Quefnel, Soulet, Kunel, Voucher, Eriot, Eoulange, ~Bois, Champagne, Charpignon, Corneille, Charen, Cl. de Lorain, ^Audran, JAoutier, Rabel, Denifot, LJ^Anne, De la, Rame, Hayes, Herbin, David de Eie, ViUemont,Maret, Toutin, 90. Grand- homme, Cereau, Trochel, Langot du Loir, L'Enfant, Gaultier, D'Origni, P revofl, De Son, Pere, Nacret, Ferret, Daret, Scalberge, Vibert, Ragot, Eoijfart, Terelin, Deleu, Mauperch, L^fne, Huret. 91

Calligraphers. ib

The works of La Hyre, Goyrand, ib. Golignon, Cochin, Jfr. Sylvefler, Rob.Nanteuil, 91, 91, 93. Jot]. Callot, 93, 94, 95, 96. Abr. Bojfe

96,97

Chart Gravers, Cordiers, Riviers, Teroni, &C. 97. Gombouft. 98

The Englijh Chalcografhers and their works, 98, ad 100. Paine, Cfcil, Wright, Mr. Faithorne, Mr. JUarlow, Mr. Gaywood, Light- foot, Glover, J. Fellian, 98, 99. Swizj^er. 100

Medaile Gravers, and for Intaglia's, Mr. Symonds, Ravelins, Re- ftrict, Johnfon. 99

Calligraphers, Mr. Cooker, Grey, Getting, Willingly, &c. ib

An Invitation to the Englifli Chalcografhers to publifli his Hiajefties colleftionj the benefit and honour of it. 100

The Landfkips, Viewes, Palaces, of England, Levantine parts, Indies, &c. together with the Cities, Ifles, Trees, Plants, Flowers, and Animals, to be cut in Coffer and reformed,

were

*>.\>? •:•

:•<*

Table and Contents.

were a moft acceptable, and ufeful work. 101

Painters encouraged to fet their hands to the Graver. xoz

The ufe of this Collection, ib

CHAP. V

Of 'Drawing and 2)e/igne previous to the Art of Chalcography ; and of the ufe of Tiftures in Order to the Education of Children. p. 103

The CONTENTS.

MEafure and proportion have Influence on all our Action's, p. 103

A faying of Thomas Earle of Arundel and Sumy. ib

Drawing of what confequence to the Art of Graving. ib

Defigne the Bafis of Sculpture, and of many other free and noble

Sciences. 'O4-> 1OJ

Original Drawings efteem'd, and for what. ib

Antiquity of what effect. icy

Defigne and Drawing defin'd, and diftinguifh'd, its antiquity,

and invention. 106

Accident and chance fruitful mothers. ib

Drawing with crayon, pen, &c. the method, and how to be

performed with fuccefle. 107

Hatching, what, and how attained by imitating good Uajlers,

and by what method. 108, 109, no

Overmuch exactness and finiftiing a fault in Drawing, and

why, Yolycletus's Canon. 109

Accurate Defignes with the pen not efteem'd, and why, no Who

yet excelled in them to admiration. no, in

Mr.

Table and Contents.

Mr. Vander Doufe, Francis and John Clejn, Mr. Francis Carter, &c.

celebrated. in, nz

Colours, the production of a middle colour wrought on two

extreams. 112.

Rubens, and Van Dykgs firft ftudies in Italy. 113

Drawing, how neceflary. ib

Academies ere&ed for the Virtuofi by whom. ib

For what purpofe and how furniflied. 116, 117

Greeks, and Romans, how they cherifli'd and enobled men o(

Art. 1 14.

Sculptors and "Painters chiefe of the court and retinue to the

Emperour of Japan. ib

Courts of great Princes how formerly compofed. ib

How the antient and moft renowned Sculptors were fome en- couraged, and others obfcured. 116 Painters fhould fome times draw with the pen. 117 What "Painters made ufe of prints. 117, 118 And caufed their works to be publiflied. 118 How to exprefs the fenfation of the Relievo or Extancie of

obje&s, by the Hatches in Graving. 119

What fliadows are moft graceful. iz6

And what Artifts works beft to imitate. ib

Of Counter- Hatches. ib

One colour, the ufe, and effecl of it. ib

Zeuxis ufed but one colour. ib

What other Painters were Monochromes, and who introduced

the reft of the colours. 1*7

Lights and (hades their ftupendious effe&s. ib

Coloree what it means. ib

The invention of Chevalier Woolfon to Rlazjm bearing in coate-

armour by hatches without letters. ib

Tonus what it imports in Graving. ib

Of copying after Defignes and painting. 118

What Prints are to be called excellent. ib

How to dete& the copy of a Print, from an Original print, i zp AcfM Fortis, for what Cravings moft proper. 150

His Highnefs Prince Rupert celebrated, and the Cravings by him

publifhed. 130, 131

The French King an Engraver. 131

Earle

Table and Contents.

Earle of Sandwich dextrous at Graving. ib

What Emperours, Phtlofophers, Poets, and other of the noble Greeks,

and Romans excelled in painting and Graving.

131, 133, 14,1, 143, 144. Never any of the Antients excelled in thefe 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.

13* Children inftru&ed in the Graphical arts for what OeconomicI^

confideration. ib

Martia'the daughter of Va.no, the PrincefTe Louife, and Anna.

A Schurman celebrated. ib

Great fcholars of late fkillfull in the art of Graving, &c. 133 How far the art of Drawing conduces to the Sciences Mathe- matical, ib Dr. Chr. Wren, Elagrave, Hevelius, &c. celebrated, ib An Orator ought to be f killed in thefe Arts, and why. 134. Of what great ufe, and benefit the art of Graving may be to

the Education of Children fuperiour to all other inventions :

135, and how. 138, 14,0, 141, 141, 143

The Abbot de JAaroles his fmgular affection to, and prodigious

collections of Prints. *3fy T3^

"Prints more eftimable then painting, and why. 137

What Gentlemen of quality are the greateft collectors of prints

in France. ib

At how high rates the "Prints of the moft famous Mafters are

now fold. ib

Collections of "Prints recommended to Princes and great perfons,

and why. ib

An Hieroglyphical Grammar. 139

By whom draughts and "Prints are celebrated for the Inftitution

of Youth. ib

La yiartelay taught all the Sciences by cuts alone. ib

Commenius his Orbit fenfualium piftus celebrated. ib

The Unrverfal Language how to be moft probably contrived. 140 PaJJions expreffible by the art of Defigne. I4Z

An ufefui caution for the Lovers of thefe Arts. 143, 144

Of

Table and Contents.

CHAP. VI.

O/ the new way of engraving, or Mezzo Tinto, Invented, and communicated ty his Highnefs Trine e Rupert. &c. p. 145-

The CONTENTS.

AN advantageous Commutation for omitting the defcription of the Mechanical part of the vulgar Graving. 14,^

A paradoxical Graving without Burin, Points or Acpta, fortis. 14.6 The new MCZ.Z.O Tinto invented by his Highnefs P. Rupert ^Enigmatically defcribed, and why. 147

ERRATA.

{Corrected in text, with the exception of litteral mistakes, as Coffy for Cofy, &c. which do not at all impeach the fence ; and are therefore the more pardonable.)

PART II. The Construction of the Rolling Tress'

Authors, and Books which have

been confulted for this

Treatife.

v£liantu.	Horatiut.	Prudentius.
Angelas RocchA.	Jofephu*.	Quintilianas.
uicjuinas.	Juntas F.	Rueus.
^Ariftotilet.	Juvenalu.	Sabinu*.
S. uiuguftinuf.	K^rkem,.	Salmafiuf.
^Aufoniut.	Laet.	Scaliger Jof.
Baptifta Albcrti.	Lotus Pompon.	Semedo.
Biblia Sacra.	Leon Mberti.	Seneca.
Bibliander.	Libanius.	Solinas.
Boffe A.	Licetas.	Statia*.
Ca.nipa.rim.	Littleton Adam.	Saetoniuf.
Cajjianus.	Livius.	Suidat.
Cd. Rhodoginus.	Lubinu*.	Tacitus.
Cedrenuf.	Lucanus.	Tatianus.
Cicero.	Luithprandms.	TertaUianus .
Commenius.	Maimonides.	Theocritus.
Crinitut.	MLanutitu.	Trallianus.
Curtius.	Uarolles.	Trifmegiftuf.
Cyprianus.	JAartialis.	Thucydides.
Diodorus.	Nazjtanz.en Greg.	Varenius.
Diomedes.	Ongines.	Varro.
Donatella*.	Ovidius.	Vaffari.
Durer.	Pancirolla.	Vatablut.
Epipham'uf.	Petroniut.	Vermander Car.
Eufebius.	Philo.	Verulamius.
GaffareU.	Philoflratas.	Virgiliut.
Galenu*.	Pica* l/Lirand.	Vitruvius.
Gorletu.	Pietro Santo.	Vopifcus.
Guaricu* Pompo.	Plato.	Vossius.
Greater.	Pliniuf.	Woolfon.
Herodotus.	P/utarchus.	Wormiuf.
Hefiodus.	Da Pois.	Sir H. Wotton.
Homerus.	Pollux Jal.

(From the Edition of typographical errors have been corrected in the text of the present reprint)

THE FOLLOWING CORRECTIONS AND ADDITIONS

ARE TAKEN FROM THE MARGIN OF THE

AUTHOR'S PRINTED Copy,

COMMUNICATED BY

SIR JOHN EVELYN, BART.

Page ja, line i6"j after engraved, add. from the paintings now

at Hampton-Court

Page 6*1, line 3 ; after cut, add (which Jerome Lennier shewed me, and, I think, is now in his Majesty's cabinet) Page 68, line a8 j for chosen read executed j line $o,/»r executed

read chosen.

Page 69, line 19 j after Holbein, dele the Dane Page 69, line ii; after Erasmus, add Morise encomium; the

trial and crucifixion of Christ,

Page 8 1, line 4.; after fol. add and for my Parallel of Archi- tecture better than that of this Treatise

Page 8z, line 16; after Warwickshire, add Mr. Asbmole's Garter, Page 83, line 16 ; to Custos is the following addition: Do- minicus Custos, and Wolfgangus Kilian, from the paintings of Wickgram and others, The effigies of the Duke of Bavaria, with the rest in his ^Atrium Heroicum for all the famous persons of that century, both of Europe and Asia. Page 83, line 18 ; for omit read pass.

Page 9i, Insert the following note on line zj ; FLORENT LE COMTE, in his Singuliaritez. D* Architecture, &c. gives a catalogue of the works of NANTEXTIL, in which he mentions My Effigy graven by this rare sculptor, with this impertinent mistake : * YVELIN, dit le fetit mi Lord Anglais, ou le Portrait grec ; [arceau'il y a du Grec au has, OH il est ecrit aussi Mellora retinete: // est en Ovate' (translation follows).

Page 96, line 4 ; after Thesis, add The Seige of la Rachel in large ;

Page ico, line 16 j after Majesty, add the Duke of Norfolk

Page i oa, in the Note; after England, add great-grandfather to the present Duke of Norfolk.

Page 14.6, line ult., Insert the following note on the word applicable. This art, since the publishing of this [first] edition, is arrived to the utmost curiosity and accurateness even of the rarest miniatures, in black and white j and takes in all subjects : the only defect is, that the plates last not so long under the rolling press.

At the end of the book, the AUTHOR has written the following remark : MONIER, a painter of the French king's, has published the history of painting, sculpture, architecture, and graving, in three books; which is translated into English and printed London 1699. *n tne last chapter of the third book, c. az, he treats of TAILLE- douce, but little which is not already in mine.

Or the

HISTORY and ART

OF

Chalcography. BOOK I.

CHAR I

Of Sculpture^ how deritfd, anddiftinguisttd, with the Styles, and fnftruments belonging to it.

THofe who have tnoft refined, and criticized upon Technical notions, feem to diftinguifh what we com- monly name Sculpture into three feveral Arts; and, to attribute fpecifical differen- ces to them all : For there is, befides Scul- B ftura

2, Sculptura, or

ptura (as it relates to Chalcography) Scalptura Lib. i. (ft fiiomedes) and Ctflatura ; Doth which, !' according to Quintilian^ differ from the firft ratione materite. For to make but a brief enumeration only: It was apply 'd to feveral things ; as to working in Wood, or Ivory, Tomice, the Artifts, <Defeftores\ in Clay, T la/lice, fltft* : in Playfter Taradi- gmatice^ the Workmen Gypfochi. In Stone cutting Colaptice^ the Artifts Lithoxoi ; and laftly, in Metals Glyphice\ which again is Two-fold; for if Wax be us'd, A- gogice; If the Figure be of Caft-work, Chemice^ Anaglyphies when the Image was prominent, 'Diaglyphice when hol- low, as in Scales and Intaglio! s ; Encolapti- ce when lefle deep, as in plates of Brajfe for Lawes and Monumental Infcriptions ; Then cat. Rodig. the Toreutic 'e; and the Encauflic for a kind uft* ao. °^ Enamel ; Troplajlice forming the future c. 24. work ex creta, or fbme fuch matter, as the Trotypus was of Wax for Ejfirmation, and the Modulus of wood ; not to omit the an- tient 'Diatretice, which feems to have been a work upon Chryftal, and the Calices 'Dia- treti (of which fbme where the Poet Mar- tial] whether embofs'd or engraven, as now with the point of a Diamond, &c. for I can onely name them briefly, the field would

be

The Hijlory of Chalcography. 3

be too luxurious to difcourfe upon them fe- verally, and as they rather concern the Statu- ary Art, Fufile and Tlaftic head, which would ferve better to adorne fbme defigne of Architecture^ or merit an exprefle Treatife, then become the prefent, which does only touch the Met all s^ and fuch other materials as had not the Figure finifhed through all its dimenfions; though we might yet fafely I think admit feme of the Greeksfaqg/pftJc's: Argentum afperum fe> puftulatum, and, as the Latines terme it, Ebur pingue : for fb the £/>/f? ad Poet, Exfojitumque alte pingue popofcit ebur^ Mo &c. ManutiuscJ&s them fDimidi<£eminenti<e^ and the Italians do well interpret by Bajfo and Mezzo Relievo ; hence the Figure is {aid Bare, or exjiare : for fb Mart. Stat Ca- per^ 2C&&Jufuenal^ftantem extra pocula caprum. As from the fimilitude, and perfection of the work,/^;dr<?, Spirare^ calere^ it feemed to breathe, and be living, as Fngil exprefles it,

Excudent alii fpirantta mollius <em.

And Horace, Et ungues

Exprimet^ & molles imitabiturtere capillos. Ludit Acidalio fed non manus afpera nodo Candida non tacit a refpondet imagine Lygdos.

as Martial.

For in this manner they us'd to celebrate

thofe rare pieces of Art, diflincl: from the

B 2, T)iagliphice

Sculptura, or

'Diagliphice, and Encolaptic more properly according with our purpofe; and which may happly be as well exprefs'd by Ctflatura, and from the fignification made a derivative CLTTQ TOV ff-KATTTetv to dig, or make incifion. I think F'arro may have Scaptus for Ctflatus; as Cicero Scalptus, x&&Tlinie,Scalpturatus\ yet we rather follow them who derive Scalpo^ Sculpo, from yArt</># and yAu0#; becaufe the beft Origination is to preferve the foundati- on in the antienter Languages, if the muta- tion of Letters be warranted, as here in ypct0o> Scribo. The word in the Holy tongue nnHJ which imports an opening (becaufe the Plate, Stone or whatever elfe material they ufd aperitur aliqua fui parte^ was fbme- where opened when any thing is engraven upon it) attefts rather to the former Etymon^ and fignification, then to any other materi- al affinity ; befides that 'tis alfb transferra- ble to thofe who carve with the cheezil, or work in Bojfe with the Tuntion, as our Sta- tuaries, Goldfmiths and Repairers do. In the G/offewe meet with Cxlum Topvo? &c. which though fbme admit not, fb freely in this L&.S. fence; yet Martial, fpeaking of Embofs'd Cups more then once calls them Toreumata.

Miratus fueris cum prifca Toreumata mul- tum. And

The Hi&ory of Chalcography. $

And why may not the Tor/, Brawn, or Collops of fat be exprefs'd by thefe raifed Figures, and they Twofe plump, and (as the French has it) en J?on point, as well as 7^y//and Fiftile ones ? Some round Cheefcil or Lathe perhaps it was ; but we dare only conjecture : Others Cozlum a Cado which is to beat, flrike, cut or dig ; but by what pa- rallel authority of fuch a derivative we know not : F'arro yet e Cce/o Heaven it felf, Varro L + reaching its Original from the very flars. xolhc? is another more confbnant and har- monious with the antient y^P Kalangh^ which imports to excavate and make hollow as it is frequently interpreted, particularly, i Reg. 6. 32,, 3^. where, what the Vulgar Latine renders Sculp fit; F'atablus makes Ck7- lavit, a.n&.JuniusIncidit,\)eR. of all correfpon- ding with our purpofe ; and fb in the famous wrought fhield which Ulyjfes purchafed by his Eloquence, Quintilian applies the word, L#. 2. c. 18. In Ctflatum cltpei ^chillis , ^ lites funt fa> aftiones ; For fo it feems to have been much ufed on their Harnefle; Livy reports of two famous Armies fb reprefented : Or as more L'«- hift- 1> allufive yet to our plate, where 'tis faid, C*e- 9' latura rumpit tenuem Laminam^ if the quef- tion be not rather, whither thefe works, like the Anctefa Vafa, were not rais'd and em- B bofs'd

Sculptura, or

bofs'd, thofe expreffions cfflaA fb much favouring their Eminency, where he tells us, fpeaking of this very Art, ita exolevit^ utjbla jam veluftate cenfeaturufqueadeo attri- tis Ctflaturis^ nefigura difcernipojjit,timz and age had fo greatly defac'd them.

But may this fiiffice for the Divifion, and Denomination of the Art in general ; fince the Title which we have made choice of, is Univerfally applicable: for fb lo- quendi confuetudine in ordinary difcourfe Sculptura^ and Scalptura import but one, and the fame thing, as Salmajius has well no- ted on Solinus: and therefore thofe who wrought any of thefe hollow cut-works, were by fbme call'd Cavatores, and Gra- phatores, fayes that Learned Perfon, whence doubtlefs, our Gravers may have deriv'd their Appellation.

By this then it will not be difficult for any to define what the Art it felf is; whither confider'd in the mofl general and comprehenfive acceptation; or, as it concernes that of Chalcography chiefly, and fiich as have moft Affinity with it; fince (as well as the reft) it may be defcrib'd to be an Art which takes away all that is fuper- fluousoftheSuljeft matter^reducing it to that Forme or Body^ which was dejigrid in thel-

dea

The Hiftory of Chalcography. 7

dea of the ArtisJ. And this, as fufficient- ly Univerfal ; unlels in favour of the Tla- ftic (which yet does not come under our Cognizance) we will rather receive the diftin&ion which Michael Angela was us'd to oblerve between them, That this laft was made by Apportion, which is the quite contrary. But indeed, neither the 'Paradig- matic, Agogic, or any of the Tlaftic, can Ge- nuinely, and in Propriety of fpeech be call'd Sculpture, without a Catachrefts and some Vi- olence ; fince, nullumjimile eft idem, whither applied to the Matter, or the Tools. And now we {peak of Inftruments, we fhall find that there has been little lefs controverfie amongft the Grammarians, touching them alfb, then concerning the very Art it felf : As whither the yAt/0e7oi/ Style, or Scalprum is to be calFd Ctflum, Ctfles, or Ctfltes ; no- ted by the Critic shorn that Text in ip. Job. Quis mihi det, ut exarentur in Libro Stylo ferreo, aut plumbi Lamina, vel Ctflte Jcul- pantur in Silice ? (where by the way, 'tis obferv'd, that this verfe comprehends, and alludes to, almoft all the forts of antient Writing and Engraving: Books, Plates, Stone, and Stile) and from an old Infcripti- on out of Aldus, and G renter. Martial, Au- fonius, and the Poet Statius ufe Ctzlum fre- Ef^t 56 quently. B 4 Laborifei'i Sfat* l- 4-

8 Sculptura, or

i. 4» • • • • Labortferi vivant qua marmora Traxitelis,

but we will be fparing. TAt^V, yhvfalov,

Theocr. ^AVQV aS ^funtUSl Alfb gyXfiAfltTTTWO. VTTCtyU- Thucyd. ^ ^ yJ ' 1. V » fl ^

yar, hafcevTripiov as much as a-ioriptov favovpyov; fo is yA*p/f and AfTov in Tollux. Scalprum^ is xoTTfvf fcvtrriip, with the fame Junius Gra- phium\ LalUy, Stylus ypafalov, o-TvAoz, o-ptfy, in Suidas^ eyxevrpif the fame Tollux ; call them Toint, Stile, Graver, Tunttion, Tolifher, or what elfe you pleafe, we will contend no farther about it ; For thefe In- jlruments (as defpicable as they appear) have fbmetimes proved fatal and dangerous Wea- pons ; as the blefled Cajfianus found by fad experience, whofe cruel Martyrdom with thefe Stiles is glorioufly celebrated by Pru- dentius, wep} (rrs^xivuv Hymn. ix. And thus was alfb Rrixion flain, for his unnatural affe&ion, by the enraged People, with other examples to be produc'd out of Seneca 3 Tlu- tarch, Sueton. and others: For, when upon feveral of thofe difbrders, o-i£ipo<f>opelv (or the carrying about them any Weapons of Iron) was made Capital; they did miC chief with thefe Injlruments, till like Chil- drens knives, they were converted into Bone, which did only ferve them to write

with-

The Hiftory of Chalcography. withall, and Arare campum cereum^ to plough up their Superinduced Tables^ and Cerei Tugillares ; not much unlike to our Etching with points, and Needles on the Vernifh, in Shape, and ufe refembling them, fave where the obtufer end was made more deletive, apt to put out, and oblite- rate, when they would Sty /urn vertere, which our Bumijher (another Tool us'd by Chal- cographers) and Tolijher performes. But to defcend to the modern names both of the Artzn&Inftrument: the French call it in par- ticular Tailk douce ^ Sweet, or tender cut ; whither wrought with the Burin (for fb they tearm the Inflrument which we the Graver) or, with Aqua Fortis. The I tali- ans, Intaglia^ or ft amp, without Adjunct, and Bolino, which is doubtlefs the more antient and warantable, as prompting the ufe both of the Poinf, Needle^ m& Etchings A. Fortis^ by fbme fo happily executed, as hardly to be difcern'd from the Bolio^ or Graver it felf : But the main difference is this, That with the Burine one cuts the peice all at once out of the p/ate, immediately ; whereas, with the point^ ox ft He, we only cut the J^er- nifh, razing, and Scalping as it were, the Superficies of the Plate a little, which af- terwards the A. F. corrodes and finifhes :

A

VSte^

( / II iiU i hi »"

io Sculptura, or

A rare Invention, new, expeditious, and wholly unknown to the pafl Antiquity. Burine then from Bolino\ and why not? yea doubtlefs, this from BouAAa. the Modern name of a Seal, and Inllrument of making Seals. To this we might alfb add ZDirr, Cheret : And we find Charafch^ and Charath of the fame import with %apct<r<7^ and %#p#TTft> in the Greek, as Mr. A 'dam Littleton has acutely obferv'd in his Complexion of Roots \ But leafl too much of this Stuffe fhould (as Theocritus on another occafion) fHles it, y\v<fxivQv TT^Q^QV Jmell of the Burine \ we will here make an end with hard names, the Tedantrie and various ac- ceptions of the words ; and in the Chapters following endeavour to invefHgate the Ori- ginal of the sfrth felf, and difcourfe fbme- what of the Progrefs it has made, to ar- rive at this perfection : For it is not to (hew how diligently we have weeded the Cale- pines^ and Lexicons (amongft all which there is none over fertill upon thefe Arts, or ib well furnifh'd as we could have wifh'd) but the refult of much diligent collection, produc'd out of iundry Authors to meet in this Chapter^ for the eafe, and inftruftion of fiich as may poflibly encounter with difficul- ties in the Courfe of their reading fiich

books

The Hiftory of Chalcography. 1 1

books as treat of the Mechanical or more Liberal Subje&s ; And, that there might be nothing of deficient as to our Institution, feeing it behoov'd him that would deduce an Hiftory ab origine^ to let nothing efcape that was in the leafl or ufefull, or inflru6Uve.

CAP. II.

Of the Original oJJcuJpture in general.

WE (hall not with Epigenes in "Pliny -, L: 7. c. depofe that this Art had its being from Eternity ; becaufe it is not fence, and would contradict its invention ; but, if that may pafle which St. Auguftine affirmes, that the Tro topi aft our Father Adam^ or (as O-L. 18. < thers) his good Genius the Angel Raziel^l^D wrere the firft inventor of Letters, Scul- pture may derive its Pedegree from the in- fancy of the World, and contend for its' Pre-eminence with moil of the Antiqui- ties which it fb much celebrates. For, that there went feveral books about (fb me where- of had been long fince read in the Trimi- tive Church) bearing his venerable Name ; as that which Epiphanius and others cite,

ex

Sculptura, or

ex libro Behu, de Tcenitentia Ad<e, Ada Re- velatio, <jyc. we have no reafbn to contra- dict : And Tho. Aquinas in his Treatife <De ente jy ejfentia, {peaks of a Volume of Plants defcribed by Adam ; and there are Traditions of a whole Natural Hijlory, with feveral other works of this moll Learned of all Men living, as Suidas doubts not to call him; nor do we think that his unhappy Fall did fb much concern his rare and innis'd Habits, as not to leave him the moft accom- plifh'd, and perfe&ly inftru&ed in all thofe Arts, which were fb highly neceflary, and therefore thus early invented; though whither thefe Books of his were fo mira- culoufly found out, and prefer v'd by the re- nouned Trijmegi&us, we leave to the more credulous : But that Letters, and confequent- ly Sculpture, was long before the Flood, we make no fcruple of: Suidas, whom but now we mention Jd, is peremptory, afcribing (as was affirm'd) both Letters, and all the reft of the Jciences to Adam TOVTOV TTAVTA evpq- &c. We fhall not add hereunto, what

the Rabbins affert he compos 'd of the prse- cepts given him in Taradife, with the like trafh; but pafs from thefe conjectures to others of the Antediluvian Patriarchs men-

tion 'd

The Hiftory of Chalcography. 1 3

tion'd by Jofephus^ Cedrenus and fbme o- ther Authors, concerning trie Sculptures in Sfone, and Brick ', erected at Joppa^ contain- ing (as fbme depofe) trie Sideral^ and Celejlial Sciences^ proofe againft trie two moft devouring and fubverting Elements, and lafting fbme thoufands of years after the Univerfal Cataclyfm. The ^/Ethiopians are faid at this day to glory much in poflef- fing the Books of Seth and Enoch^ as thofe who have lately written of the AbyJJmes re- late. Origen, ^.Augujline^ and Hierom have like wife made honourable mention of them ; and Tertullian plainly reproves thofe who (in his time) thought they could not Tertttif de be prefer ved; Noah^ being himfelf one of habit, the great Nephews of Setb ; and the proba- bility that thefe Antient Men of renoun, would tranfmit to Poflerity the glorious Actions and Atchievements which they had performed; efpecially Cham (that is Zoroafter) a Spirit fb Univerfally curious, and flourifhing above an hundred years be- fore this publick Calamity. But to apply this to the honour now ^Chalcography^ and juftifie our defign ; The Author of the Scho- lajltcal History upon Genefts fpeaks of this Zoroafters ingraving the Liberal Arts on fourteen Colomns^ feven whereof he affirms

to

14 Sculptura, or

to have been of Brafle, and the reft of Brick ; pudcaffia- The fame is alfb reported by Serenus, where m' he adds diverforum Metallorum Laminis, to- gether with fome other Infcriptions\ku& pre- fer ved, and which the noble and learned Earl of Mirandula in a certain Epiftle of his to Marfilius Ficinus boafts to have the pofleffion of: His words are thefe, Chaldaici hi Libri funt, Ji JLibri font, & non Thefauri : Audi infcriptiones : Patris Ezr<e, Zoroaftrzs, & Melchior Magorum oracula. In yuibus, fo> ilia quoque^ qu<e apudGrtfcos mendofa^ & mu- tila circumferuntur, leguntur integra fa abfo- luta, fee. The Books (faith Picus) if books it be lawful to call them, and not rather moft ineftimable Treaflires, are all in the Chaldy tongue : Obferve their Titles : The Oracles of thofe famous Magi, Ezra, Zo- wafterznd Melchior •; in which thofe parti- culars alfb which have been carried about by the Greeks, maim'd and miferably corrupted, are here to be read perfect and intire.

Concerning the Art of Sculpture immedi- ately after the Flood, there are few we fiip- pofe make any confiderable queftion, as that it might not be propagated by Noah to his pofterity ; though fbme there be, that in- deed admit of none before Mofes; but what then fhall we think of \h&Book of the Warn

of

The Hiftory of Chalcography.

of the Lord^ which this iacred Author men- tions Num. 21 ? not to infift upon the 88. and i op. PJalmes^ by many afcrib'd to fbme of the Patriarchs his Predeceflburs. The above mentioned Mercurius Trijmegiftus^ three hundred years after the Flood, and long before Mofes, engrav'd his fecret, and Myfterious things in Stone^ as him- felf reports; reforming what had been de- prived by the wicked Cham ; fome in Let- ters, fbme in Figures and Enigmatical Cha- racters; fuch happly, as were thofe con- tain'd in the magnificent, and flupendious Obelisks erected by Mifra the firft (^Egyptian Pharoah, which being at leaft four hundred years before Mofes (as the moft indefatiga- ble Kirker has computed) does greatly pre- fage their Antiquity to have been before that holy Prophet. But not to put too much flrefle upon fuperannuated Tradition^ this we are fiire is of Faith^ and without contro- verfy ; That in Mofes we have the Tables of Jlone^ engraven by the Finger of GOD him- felf ; where the commandement is exprefle, even againft the abufe of this very J/tf, as well as an inftance of the Antiquity of Ido- latry attefting that of Sculpture : THOU SHALT NOT MAKE TO THY SELF E**L ANY GRAVEN IMAGE. But this which

is

1 6 Sculptura, or

is indeed the firfl writing that we have Scri- pture to vouch for, do's yet prefiippofe En- graving to have been of much greater Anti- quity : What elfe were the Teraphim ? What the PenatesdiLaban ftollen by Rachett The Idols ofTerab? or the ^/Egyptian* &c. But we forbear to expatiate, onely that sc. Sap.c. 14. which is \ryBen. Syrac ibme where in Ecclefi- <w.i ,17). ajfjcus deJivere^ that the Original of Idola- try was from images to preferve the memo- ry of the Dead ; as in procefle of time by the Flatterers of great men it was turn'd to be an objecT; of Adoration, plainly inferrs, Graving to have been Elder then Idola- try.

But now to recover its efteem again be- yond all prejudice (however by others a- bus'd as indeed many of the befl things have been) it was (we know) imputed for a 31. Exod. fpiritual talent in Bezaleel and Jzholiab^ who made Intaglias to adorne the High Priefts Pettoral. And we have faid how the c/£- gyptians reverenced it, as feeming to have us'd it before Letters ; or rather their Hiero- glypics (importing facred Sculpture) were thofe Element s\sy which they tranfmitted to pofterity what they efteem'd moft worthy of Record ; and not (as fome have ima- gin'd) wrap'd up in thofe Enigmatical Fi- gures

The Hiftory of Chalcography. 1 7

gures, the fecrets of their Arts both Divine and Secular : For

Nondum Flumineas Memphis contexerebiblos L Noijerat\ feSaxistantum wlucrefqueferxque^ l' 3 Sculptaquefervabantmagicas animalia Linguas*

whence Tacitus calls them Antiquijfimamo- numenta memorise humane impreffa Saxis. Such as were alfo the Horapottinis note, and all thofe other venerable Antiquities of this na- ture tran {ported to Rome out of c/£g///, in no lefs then two and forty prodigious Obe- life's, of late interpreted by the indufhious Kirker before cited. Suidas attributes the invention to the Fatherofthefaithful\ others to Theut or Hermes, fome to Cadmus and the Thanicians. Bibliander will have Let- ters and Sculpture from Adam ; Jofephus from Henoch ; Thilo from Abraham ; Eufe- bius from Mofes; Cyprian from Satume^ where, by the way ; becaufe 'tis faid he did Litter as imprimere, Teter Calaber (who much affe&s to call him&lfjPomfonzus Ltftus) foo- lifhly deduces, that even the Typographic al Art was known in the Age of this Hero ; but thence (as we faid) it defcended to the t~^£gyptians by Mijraim, and fb was commu- nicated to the Ter/ians, Medes and AJfyrians^ c thence

1 8 Sculptura, or

thence to the Greeks^ and finally, to the Ro- mans from whom it was deriv'dto us, as Peter Crinitus in his i ^ th. book deHonefta Difciplina^ cap. i. out of a very antient MSS. Bibliotbec* Septi- miantf feems to deduce, and thus film me them up together.

Moyfes primus Hebraic as exaravit JLiteras. Mente Thoenices Sagaci condiderunt Attic as. Quas Latini fcriptitamus^ edidit Nico strata. Abraham Syras^ & idem repperit Chaldaicas. Ifis arte non minore protulit <^A±gyptiacas. Gulfila promfit Getarum quas videmus Uteras.

Now, fhould all this but relate to the ie- veral Characters only, it fhall yet ferve our purpofe ; fince whoever was the inventor of Letters^ was alfb doubdefs the Father of Sculpture^ as is apparent, if not by the for- mer colomns eredted by Seth (one whereof Angelus Roccha in his Bibliotheca Vaticana prefumes to have been of Brafle) by feveral other inffcances ; the writing with Ink, in Taper or Tarchment^ being altogether a no- velty in comparrifon to the more antient formes and materials fuch as were the Slit- Jlones^ or Slates which iucceeded the ftately marbles^ and preceeded the thinner leaves of Barky and Tablets of Wood, which from the

Ger-

The Htftory of Chalcography. i

German Silver, fignifying the Fagus or Beech-tree, (whofe Fruit do's ftill with us retain the name of Buch-masT) were called Books, to whatever voluble or folding mat- ter apply ed : For before the invention of Taper, they us'd the leaves of Palmes, as J^arro de Sibylla : then the Rinds of Trees ; afterwards flieets of Lead, Linnen, H^ax, and Ivory, as Plinie and Fopifcus tell us; They writ in Silk amongft the Terfians and Chinefes ; and laftly, were invented Tarch- ment and Taper. But whether in all thefe, or whatever the Subject were (fome few latter excepted) it was Itill by Infculping, Scarifying, and making a kind of Incifion into it ; especially intending to confign to pofterity their Lawes, divine and humane, Roman, ^Egyptian, or Hebrew : For fb of Old.

..... verba minantia fixo Uetam.

^/Ere ligabantur \

according to the Poet. Thus were the Hie- ronic<e prefer v'd in the Temple of Olympian Jove, and the Roman Confms'm the Capitol; and as by thofe innumerable Infcriptions of irrefragable, and undeniable Antiquitie do's appear.

1 legebantur ed. l.

c a

lo Sculptura, or

We have already computed how pro- bable it is, that Sculpture was in ufe in ^/Egypt fbmewhat before, or at leaft as foon as the Patriarch Abraham fet his foot there: But the leffe difcerning Greeks who receiv'd it from the ^/Egypti- ans^ could tell us of no writings of theirs extant before Homer^ if we will give ear to Jofephus^ before that of Tatian (a learned AJfyrian^ and contemporary with Ju Bin Marty f)vj\L£tz he affirmesct^'O/c^pfii; fjiQvo v TrpearfivTepofstrnv o Mav<n>if, STI Jg TUV Trpo 'Svyypaipeav, Aivov,

Movtraiov, '

orrtf {is ryv ^TrcipTVjv ct,(f)iKeTof 'Apio-rect, rdu Tlpoxovvqriov TOV ret ' AptpdrTri rof, 'Ao-jSaAou Te TOV KevTAvpou

Te xcti E&pfaio TOU Kvyrpiov,

CLI TIpo<rfAct,vTi£ov TOV ' &c. Where we have no leffe then feven- teen Grecians nam'd elder then Homer. There are alfo enumerated the names of twenty Argive Kings from Inachus to <dga- memnon, which flrongly infers the means of Recording by Sculpture and Writing to have been very ancient. For fo we read that the Poems of Hejiod were ingraven in Lead. Ariftotle mentions

Daphne

The Hiffory of Chalcography. Daphne a certain Devoir efle of Apollo ; Sabinus, and T)todorus many others. But when, or whoever it were, thence (as we faid) it travell'd into Greece, that Theater of the Arts, where it fbon arriv'd to the fupreamefl height of perfection, when being applied to the forming of Figures, it was celebrated by all the Witty men of thofe, and the fucceeding Ages. Home tells us of the engraving in the Shield of A- J chilles; Hefiod that of Hercules ; not to mention the Sculptures upon the Charriot of the Sun, defcribed by the Poet, becaufe it is altogether fi&itious, though extreamly in- genious, and whence happly they might have their Fehicula Ctflata mention 'd by Q.D/r//- us. But whither now thefe antient and fa- mous pieces were hollow, like thofe of our Burme, or the work of our Cheezil and re- pair'd Emboflements, might feem a difficul- ty to refblve from the frequent interpretati- ons we attributed to the yerbe in the former chapter •; if what we have here atteiled con- cerning the Antiquity of Letters, and con- fequently of flat inci/ions, pronounce not for its preheminence, however this may appear to the more judicious. Add to it, that both 'Plajlica (whatever others may fancy) unlefs we will afcend to the divine figulation of thefiril breathing Statue\k& was ever form 'd

c 3 (and

22, Sculptura, or

(and with Tliny^ derive it to be before, and the Mother^ Sculpture) and the Anaglyptic Art, (not produc'd in the World 'till about the time of Belus, and the beginning of Gentilifme) were not 'till long alter the ufe of Letters^ if Enochs Prophefy were not pre- fer ved by unwritten tradition, and the for- mer ^0fr^>^/Monuments have other foun- dation then the Wit of the Rablins^ which we can by no means aflent to in the generall. Befides, if we apply it to Intaglio? s in Stone, fea/s, and the like, for having been almoft coevous with Rings (what was elfe the Sig- 38. Gen. 1 8. net which JW0/6 left with his Daughter Ta- mar f) it quelHonlels derives its Original before any History at prefent extant in the World, Divine or Humane, was commit- ted to writing : Of which he who has a thirft to fatisfie his Curiofity farther, may confiilt Gorfeus,Qr For tun. Lice tusde AnnulisAnti- quorum\ Where alfb concerning their Scul- pture, firfl in Iron^ then in 6V*/, other Me- tals and Stones; and of which might very much be added, both touching their dignity, fignification, and how they came at length to be worne ib uni verfally. Something we might here likewife infert of their Constella- ted Figures, or Talifmarf sjuyn^ fince engraven upon certain Inflants and Periods of the Suns

ingrefle

The Hiftory of Chalcography.

ingrefle into fuch, and fiich particular fignes of the Zodiac, treated of by Francis Rueus the Thyfitian, Tralianus, and inftar omnium, by the learned Gaffarel at large ; but we haften to that which followes.

CHAP. III.

Of the Reputation andProgreJfe of Sculpture a- mongft the Greeks, and Romans down to the middle-ages; with fome pretenfions to the Invention of Copper-cuts, and their fm- prejjlons.

WE have now done with the Original, and will next endeavour to invefH- gate what progrefs it has made amongft thofe glorious anduniverfal Monarchs, when Sculpture and all other noble Arts were in their Afcendent and higheft reputation ; I mean the Greeks and the Romans ; For to the firft do's Herodotus appropriate the per- fection of this art, not admitting it to have arriv'd at the latter till about the time of Spurius CaJJlus, vi\&n.Baptift<dlberti afcribes it to his country men the Tufcans.

Thofe who have well furvei'd the Natu- ral Hiftory diTliny will eafily commute for c 4 the

2,4 Sculptura, or

the Omiflion, if out of pure indulgence to their eyes only, we forbear the tranfcribing of at leaft three or four intire Chapters, indu- ftrioufly baulking thofe ample and luxurious Fields of Statues, as under the Fufile and i. 33. c. 8. Tlaiflic head ; becaufe it fuites not with our !' -£' c i*' Pre^ent defign and inilitution : For to pafle over the Figures in Metal, thofe of Gypfum and other materials; The Sculptores Mar- moris were fb many, and the Greeks fb ex- travagantly fond of their works, that at Rhodes alone, that fmall Ifland, were no lefle then 73000 Signa; nor were there fewer at Athens, Olympia, Delphi and feve- ral 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 Rife, and be in fiich reputation amongft them; and This to fb high an excefle, as "Pliny records of his Age, that there were almoft as many Statues as Men, by a kind of noble contention (fayes Sr. H. Wot tori) in Element, point of fertility 'twixt Art and Nature, and Architect which He, and my Lord Bacon improve to a

Inftaurat. -•. . ni J -i -.

politique, as well as altogether an expence- ful magnificency. It fhall then fuffice that we be fparing in thefe Inftances, and keep our fel ves to thofe workes in.&Intaglias onl

The Hiftory of Chalcography. 2.y

which do neareft approach our defign ; of which fort may be efleem'd thofe avoa-Qpei- •yio-fAATet, mentioned by Tliny^ in which Art that famous Tyrgoteles did fo excell, as made Alexander the great ordain, that none fhould prefiime to carve his Effigies fave him only; to paint or call him, befides Apel- les and Lyfippus^

Editto vetuit, ne quis Je^pr<eter Apellem^

Tingeret^ aut alius Lyfippo duceret <era HOT. £/>»/?.

Forth dlexandri vultumfimulantia.

Had Queen Elizabeth been thus circumfpect, there had not been fb many vile copies mul- tiply ed from an ill Painting ; as being call'd in, and brought to j^^ar-house, did for fe- where veral years, furnifh the Tajlry-men with Teels for the ufe of their Ovens.

We wifh the fame might pleafe his Ma- jejly^ and that none fave fiich as for their ex- cellent tallent had particular indulgence, might any more dare to reprefent his facred perfbn in painting or Carving then in his Coyne and Royal Signature: For it is ferioufly a reprochfull thing only, to behold how it is proran'd by the hand of fb many vile, and wretched Bunglers (they deferve not the name of Workmen) as blulh not daily to expofe their own lhame, in fb precious and rever'd a Subject : And that the Heads of

Kings

\

* •

[

'2

Sculptura, or

Kings and Heros fhould be permitted to hang for Signes, among Cats, and Ow/es, T)ogs and AJfes, at the pleafure of every Ta- vern and Tippling-houje, we have frequent- ly flood in admiration of: But fo did not that of Alexander as we noted ; nor would Au- guftus make himfelf cheaper, then that great Matter of his time, Diofcorides pleas 'd, whom he particularly chofe to prefer ve, and derive his Divine Effigies to the after Ages, and to the honour of his memory, by what he left in thofe Signets, and other Stones which he cut for that renown'd Em- perour. Thus Sculpture began to be moft e- minent in Stones and Gemms, Auro, Argento, <^/fLre, Ferro, Ligno, Ebore, Marmore, fi- tro, &c. As this Author affirmes; where difcourfing of the famous Works were left by the Matters of note upon record in his time, he feems to afcribe the Invention to one Dipoenus, and Scyllis ; For we fhall not here afcend fb high as Prometheus, or fpeak much of Ideocus, Eucirapus, Lyfiftra- tus, 'Demophilus, T)edalus,LeocharesSPolicar- mus, Myrmectdes, and innumerable others : It would be tedious (as we faid) to tran- fcribe the names but of the Peices only, of all thofe renowned Men whom he there celebrates for their engravings on

Ar-

The Hiftory of Chalcography.

Armour \ Cups, Rings ^ 6Y#/j-,even to the very Figulina F'afa ctflata, fuch as Cotys brake of purpofe, leaft fome other unexpefted acci- dent or mifchance might put him into p/*. paflion, as Plutarch tells the Story : Hydritf^ and water pots were thus wrought, and Pliny {peaks of the Engraving even of Bread: 'Tis yet obfervable, that very few were found who took any pleafiire to en- grave in Gold (as we conceive) being too foft a Metall ; but multitudes that wrought in Silvery efpecially, the famous Mentor of whofe Work Fairo affirmes he had a piece in his pofleflion, which he infinitely valu- ed ; for, it feems, he had never finifh'd a- bove eight, which were moft of them lolt. Two more of his Cups had L. Crajfus the Orator^ priz'd at C. HS. Confejfus eft tamen fe nunquam his uti propter verecundiam au- fum ; fb rich it feems, and magnificent they were, that even this great perfon profeiled he never durfl make ufe of them out of pure modefty, and to avoid the cenlure of being thought too Luxurious : Martial de- fcribes another, where a Lizard was fb lively reprefented, Men were afraid it would bite. Inferta Thialtf Mentoris manu duff a Lacerta vivit, fe> timetur argentum. Next to Mentor, was <Acragus> Boethus,

and

28 Sculptura, or

and Mys, whofe Mafter-piece was expos'd at Rhodes ; efpecially thofe glorious rtfit, and Goblets of the Bacchanalia, engraven by the foremention'd 4cragus, and of Sop cage, Cfiafes, and Hunting: Famous alfb were Calamis, Antipater, and Stratonicus, who engraved the Satyr Sleeping, a flupen- dious piece of Art ; Then there flourifh'd Tamijeus of Cizicum, Arijlus, Eunicusboth of them Mitylenians\ Likewife/ftti/feJ', and the renowned Traxiteles about the time of Tompy: Tofidonius of Ephejus^ and Ledus famous for reprefenting of Battails, &c. To be brief (for their Works are endlefs) 20- pirus^ who engrav'd the Court of the ^4re- opagi in a Cup, and the trial of Ore/test After him lived Tytheus and feveral others too long here to recite. Nor were all thefe Gravers in flat ; but, as we faid, in Relievo fbme of them, and more approching to the Statuary ; Befides fiich as were excellent

^ Galba^ jyc. down to the Reigns of Commodus^ and Tertinax ; for from Sevems it greatly decay 'd, and the moft tollerable engravings of the former, lafted but to Ner- vay the beft being thofe which were cut, and ftamped in the time of Caligula, Clau- dius^ and Nero, about which period Sculp-

ture

The Hiftory of Chalcography. ture beginning to degenerate in Greece, it travell'd and came to Rome now opulent and vi&orious. But after thefe, and the for- merly recorded by Tliny, there were not many who left either Name, or Work famous to Poflerity: For, befides that the Monar- chy was (bon broken and difbrder'd; the later Empp. became lefs Curious, Rich and Magnificent ; fb as even in the time of the Great Conjlantine it {elf, Arts began mani- feftly to degenerate : But, when afterwards the Goths and Saracens had broken in upon the Roman Empire, and made thofe horrid devaltations, they were in a manner utter- ly loft; as the Reliques which they left in Statuary, Sculpture, Architecture, Letters, and all other good Arts do yet teftifie. It is true, that the ruder 'Danes, and Norwegians had in thefe times their Runic writings, or engraven Letters, as in their Rimjioc or Trimftaf; fbme fquare 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; alii) upon Jaw-bones of the greater Filhes, taken on their Coafts : And Wormius in FasJ. 2)an. L. i. chap. 1 8. mentions T>anijh Hierogly- phics, on the Tombs of their old Hero's ;

Lions,

30 Sculptura, or

Lyons, Bears, Horfes, Dogs, Dragons, Snakes, &c. wrought on trie hardeft Rocks together with Runic Characters ; fb as thefe Nations feldom travelled without their Gnef, or Gr<ef-S<ex^ a kind of point orftiletto, with which they us'd to carve out Letters and o- ther Figures upon occafion ; but it was yet fb rude, and their Guflo fb depravd, that they demolifh'd, and ruin'd all thofe goodly fabricks, and excellent Works, whereever they became Matters, introducing their lame, and wretched manner, in all thofe Arts which they pretended to reftore, even when now they became a little more civi- liz'd by the converfation of the more po- lifh'd and flourifhing Countries: For it was not any general, and imaginary decay^ which fbme have conceited to be dirliis'd up- on the univerfal face of Nature, that the fucceeding periods did not emerge, or at- tain to the excellency of the former Ages, antient Mafters^ and renowned workes ; but to the univerfal decay of noble, and heroic Genius 's to encourage them. Trifcis satyr, enim temporibus (faies Tetronms] cum adhuc nudaplaceretvirtus^yigebant Artes ingeriu<e, Jummumque cert amen inter homines erat, nequid profuturumfeculisdiu lateret; Itaque omnium Herbarum Juccos Democritus expreffit\ &

ne

The Plittory of Chalcography. nelapidumPirgultommque vislateret, tetatem inter experimenta confumpfit: Eudoxus quidem in cacumine exceljijjimi montis confenuit^ ut Aftrorum Ctflique motus deprehenderet : fa> Chryfippus ut ad inventionem Jiifficeret, tei Helleboro animum deter fit: Ferum^ ntadplaflas convertar (which comes neareft our in- flance) Lyfippum ftatute unius lineamentis in- hterentem inopiaexftinxit\ &Myron,$uzJ>£ene hominum Animas^ Ferarumquet^Ere compre- henderat^ non invenit heredem. At nos p^ino^ Jcortifquedemerfijieparatasquidemartesaude-- mus cognofcere, fed accufatores antiquitatis^ Pitta tantum docemus <fa> difcimus^ fee. He concludes ; Noli to ergo mirari, fipiftura de- fee it jum omnibus T)iis Hominibufque formo- Jiorvideaturmajfa Auri^ quam quicquid Ky&- les, Phidiafve, Graecnli delirantes fece- runt.

And if thus even in the greatefl height and perfection of the Sciences, the eloquent Satyrift could find juft realbn to deplore their decadence, and cenfiire the vices of that age ; what fhall we fay of ours, Ib mi- ferably declining, and prodigioufly degene- rate ? We want Alexanders^ Augustus's^ fuch as Francis the I. Cofimo di Medices^ Charles the J^. thofe Fathers, and Mec onus's of the arts, who by their liberality and af-

feftion

32, Sculptura, or

fe6Hon to firtue^ mayfKmulate,and provoke men to gallant exploits; and that being thereby once at their eafe from the penurie, and neceffities which deprefle the nobleft mindes, they might work for glory, and not for thofe trifling and illiberal rewards, which hardly would find them bread, Ihould they employ but half that time upon their fludies, which were requifite to bring their labours to the fupremefl perfection; fince according to that faying, ov^ev ruv peydhav cicftvc*) yivereti No thing which is great can be done without leafure : If a quarter of that which is thrown away upon Cards ^ T)ice3 Dogs, Miftrejfes, bafe and vitious G a Hanteries^ and impertinent follies, were im- ploy'd to the encouragement of arts, and promotion of fcience, how illuftrious and magnificent would that age be ; how glori- ous and infinitely happy ? We complain of the times prefent, 'tis ffe that make them bad ; We admire the former, 'tis the ef- fecl: of our Ignorance only ; and which is yet more criminal, in that we have had their examples to inflrucl:, and have made them to reproch us : Pardon this indignati- on of Ours, O ye that love vertue and cul- tivate the fciences !

To returne to our Inftitution again : Scul- pture

The History of Chalcography. 3 3

pture and Chalcography feem to have been of much antienter date in China then with us; where all their writings and printed Records were engraven either on Copper plates or cut in Tablets of Wood, of which fbme we poflefle, and have feen more, repre- fenting (in ill pictures) Landskips, Sto- ries, and the like. Jofephus Scaliger af- firmes that our firit Letters in Europe were thus cut upon Wood, before they invented the Typos <eneos; inftancing in a certain Ho- rologium B. Mari^ which he fayes he had feen Printed upon Parchment a great while fmce : But Semedo would make the World believe that the fbremention'd Chinezes Hift. chin, have been poflefs'd of this invention about Parc- x- fixteen hundred years, fbme others affirme cap* 7> 3700. However, that they were really Matters of it long before us, is univerfally agreed upon ; and (it) is yet in fuch efteem amongit them, that the very Artizan who compounds the Ink for the Preffe, is not accounted amongftthe Mechanic profeflors; but is dignify 'd with a liberal Salary, and particular priviledges. They alfb engrave upon ilone, 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 EVELYN D attelt

34 Sculptura, or

atteft was found in Mexico, and other places of the new world, where they Hierogly- phiz'd both their Thoughts, Hiflories and inventions to pofterity, not much unlike to the^£gff>tzans, though in lefle durable, and permanent matter : The fame likewife Jo. Laet aifirmes of the Sculpture among the jfcaduCj and thofe of JVova Francta ; fb natural (it feems) and ufeful was this art, even to the leaft civiliz'd amongft the Heathens: And there is indeed nothing at which we more admire, and deplore, then that this facile, and obvious inven- tion ; and which would have tranfmitted to us fb many rare and admirable things, was never hit upon among the Greeks and inventive Romans^ who engrav'd fb many fnjcriptions both in Biajfe and Marble ; im- prefled and publifh'd fo many thoufands of medaih^ and coynes as are in the hands and collections of the Pirtuoji^ and the bowels of the Earth, whereever their conquefls ex- tended themfelves, or Eagles difplay'd their wings.

Chap.

The Hiftory of Chalcography 3 5-

CHAP. IV.

Of the invention an d progrejfe of Chalcography in particular ; together with an ample enu- meration of the mo ft renowned Mafters^ana their Workes.

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 14^0. which was near upon $o years after Typography had been found out \>yjohn Guittemberg^ or who ever that lucky perfon were (for 'tis exceedingly controverted) that firft pro- ducM the Invention. There is a collection of antientO^fo'j- adorned withfeveral Sculp- tures (if fb we may terme thofe wretched Gravings in the infancy of this art) where the 'Devil is but one great blot (as indeed he is the Fouleft of the Creation) and the reft of the Figures Monochroms as ridiculous and extravagant; though ftill as the invention grew older, refi- ning and improving upon it. One of the antienteft Gravings which we have feen, to which any mark is appos'd hath M. 3. and Di M.C.

1 6 Sculptura, or

M. C. in one of the corners of the plates; and it was long that they ufed the initial letters of their names, only, and fometimes but one ; as in thofe of Lucas. Albert T)u- rer did frequently add the year of the Lord, and his own age from ten to four- teen, &c. performing fuch things as might lhame moft of the beft Matters, for the true and fteady defign, the incomparable proportion, and itroake of his Graver : But Ifrael^ Martin Schon^ and the Tedefco (who is by fbme firnamed The MafteroftheCan- dlejiick^ becaufe of the foulnefle of his Ink) were of the very firft, as far as we can col- lee!, who publifhed any works of this kind under their names, wrought off by the Rolling-Prefle, and whofe ilender attempts gave incouragement to thofe who have fucceeded.

George J^afari^ who has been exceeding- ly curious in this enquiry, attributes the firft invention of this Art to one Mafo Fini- gtterra a Florentine^ about anno 1460, which exceeds our former computation by 30. years ; but then we are to confider by what progrefle and degrees ; for it was firft only in Silver, to fill with a certain Rncaujlic or black Enamel^ which it feems gave him the firft hint how to improve it in plates of brafs,

which

The Hiftory of Chalcography. 37

which having engraved, he did only fume, taking off the impreflion with a moyft pa- per and a Rolling pin. This mean com- mencement was yet afterwards purfu'd by Baccio Baldini a Goldfmith, his Country- man, whofe works coming to the fight of Andrea Mantegna in Rome, invited that great Painter to give him fome defignes of his own for his encouragement; and from thence it travelTd into Flanders to one Martine of Antwerp, whofe works (as we obferv'd) were ufually counterfign'd with M. the firft whereof were the five wife and five foolijh Virgins, and a Crucifix, which was fo well cut, that Gerardo a Florentine Painter would needs copy it : After this he publifhed his four £vangclifts, our Saviour, and the twelve Apojlles^F^eronica, S. George, Chrift before Tilate, an ajfumption of the B. Virgin, one of the raref t that ever he did ; befides that St. Anthonies temptation, which was fo well performed, that Michael Angelo (exceedingly raviflied with it) would needs wafh it over with his own hands.

The next that appeared of note was the

formerly mention 'd and renowned Albert

*Durer, who flourifhed about the year 1^03.

and who had performed wonders both in

D 3 Copper

38 Sculptura, or

Copper and Wood, had he once fortun'd upon the leaft notion of that excellent manner, which came afterwards to be in vogue, of giving things their natural diftan- ces, and agreeable fweetneffe, the defect of Element whichSir^/./^tf/iwdoes worthilyperftrinee

of Archi- IT. i . if- i T»

tea. both in him, and tome others. But to proceed, Albert being very young fet forth our Lady, fome defignes of Horjes after the life; the Trodigal, S. Sebajlian in little, a Nymph raviftied by a Monfter ; a Woman on Horjeback, T)iana chaftifing a Nymph who flies to a Satyr for prote&ion, in which he difcovered his admirable talent and skill in expreffing Nudities : A Country man and Woman playing on Bagpipes, with Poultry, &c. about them. Penus, or the temptation of the Stove ; his two St. Chri- ftopners, rare cuts. After that, he engraved feveral Stamps in Wood, proof whereof he gave in the decollation of St. Jo. Bapt. with Herodtas^ Pope Stxtus^ St. Stephen^ Lazarus^ S. George, a pajfion in great, the laft fupper, Chrijls apprehenfion in the Garden, defcent into Limbo, and Refur- re6Mon, with eight more Prints of this fubjecl:, which are held to be fpurious : All thefe he publiihed anno i^io. The year following, he fet forth the life of our

Lady

The Hiftory of Chalcography.

Lady in twenty fheets rarely conduced. The Apocalyps in fifteen fheets, of which the Painters have made diffident ufe; Chrift bemoaning our fins ; Then applying himfelf to grave in Copper again, he pub- lifhed his Melancholia, three different Ma- donas, with thirty pieces befides concern- ing the pajjlon, and which being afterwards imitated by that rare Artift Marco Antonio (who had procur'd them at Venice) and publifhed for Originals (fo exactly it feems they were perform'd) did fo infenfe Albert, that he made ajourney to Venice exprefly to complain of the injury to the Senate, and obtain 'd atlaft, that M. Antonio Ihould no more be permitted to fet 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 over- taken him for the fweetnefle of his Burine, though fomething inferiour of defign : Such were a Chrijl bearing the Crofle, and ano- ther of his Crucifixion, Sampfon, T>auid on a horfe, the Martyrdome of S. Peter, Sauly and 'David, the {laughter of Goliah, the famous Tiper, Virgil V, and fome other heads, all which works did fo inflame his Anta- gonift Albert^ that in a laudable revenge, D 4 he

40 Sculptura, or

he publifh'd his arm'd Cavalier or Dream, in which the brightnefle and luftre of the Armour and Horfe is rarely conduced: Then in the year 1^1 2, he fet forth fix other fmallftories ofthepajfion, which Lucas alfo imitated, though hardly reach 'd : Then a S. George, Solomons Idolatry ; the Baptifme of our Lord, Tyramus and Tbisbie, Ahafu- erus and Hefter, dec. Thefe again incited Albert to publilh that Temperantia^ whom he elevates above the clouds, S. Eufiathius and the Hart, a moft incomparable cut ; his Deaths head in a Scutcheon, and feve- ral German Coates full of rare Mantlings and invention. Alfo S. Hierom, a Cbrtft and twelve Apoftles in fmall : anno 1^23. many heads, as that of Erajmus, Cardinal Albert^ the Imperial Electors, and his own, with divers other.

Lucas again in emulation of thefe, fet forth his Jojeph and four Evangelifts, the Angels appearing to Abraham ; SuJ'anna^ T>avid praying, Mordecay triumphing; Lot, the Creation of Adam and Eve\ the Itory of Cain and Abel, viz. anno 1 5*2.9. But what procur'd him immortal glory was his great Crucifix^ Ecce Homo, and Conversion of St. Taut-, in which he exceeded himfelf both for the work and ordinance; the

diflances

The Hiftory of Chalcography. 41

diftances being better conduced then Al- berts^ and indeed fo well obferv'd, as gave light even to fome of the beft Painters that fucceeded him; fb much are they obliged to this Art, and to this rare Workman: He graved alfb feveral Madonas^wt blefled Saviour and Apo?iles\ together with divers Saints, Armes and Mantlings, a Mountebanc and many more.

But to return now into Italy from whence we firft Tallied; in the time of Raphael Urbine flourifhed the renouned Marco An- tonio^ who graved after thofe incomparable pieces of that famous Painter, to whom he was fo 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 me- morial of it lafts ; though to speak truth, even of this rare Graver, the Pieces which he hath publifhed feem to be more eftima- ble yet for the choice and imitation, then for any other perfection of the Burine\ as forming moft of his figures and touches of too equal force, and by no means well obferving the diftances, according to the rules of Perfpeclive, that tendernefTe, and as the Italians terme it, Morbidezza, in the hatchings, which is abfolutely requifite

to

Sculptura, or

to render a piece accomplifh'd and without reproch.

We have recited above, what he Cop- pied after Albert Z>urer ; But being at Rome, and applying himfelf to Raphael, he cut that rare Lucre ti a of his, which he per- form'd fb much to fatisfa&ion, that di- vers excellent painters defir'd him to Pub- lifh many of their Works : This produc'd Urbines Judgment of Paris, at which the City was fo ravifh'd, that they decreed the Golden apple to Antonio, before the fair Goddeffe: Then he fet forth the Slaughter of the Innocents, Neptune, the Rape of Helena, all of them of Raphaels defigning : Alfb the Martyrdome of St. Fe- lix in the boyling Oyl, which purchased him fo 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-prefs, 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 thefe there is a /^^defign'd by Raphael, Abra- ham and his Handmaid : After this he gra- ved all thofe round defignes painted in the Vatican by the fame hand ; Likewife the

Caliope,

The Hijlory of Chalcography. 43

Caliope, Trovidentia, Juftitia, the Mufes, Apollo, Tarnaffus, the Poets ; ^Eneas and ^nchijes, the famous Galatea, all of them after Raphael: Alfo the three Theological Ferities, and four Moral, Pax, Chrift, and the Twelve: Several Madonas, St. Hierome, Tobit, St. Jo. Baptijl, and divers other Saints ; befides many prints after the Cartoons of Raphael which had been de- flgn'd to be wrought in TapeJIry and Arras; as the ftory of St. Peter, Taul^ Stephen^ John, St. Catharine, and fundry heads to the life, &c. efpecially that incomparable one of Tietro Aretino the Poet : fbme things like- wife being fent by Albert jDurer out of Germany to Raphael^ were, upon his recom- mendation, afterwards cut by M. Antonio, together with the Innocents, a Ccenaculum, and St. Cecilia s Martyrdom of Raphaels invention: Then he publifh'd his twelve <dpoftles in little, and divers Saints for the help of painters, as St. Hierome, the naked Woman, and the Lyon, after Raphael, Au- rora, and from the Antique, the three Graces. Marco di Ravenna was one of Antonio's Schollars, who had alfb together with Au- guftino Fenetiano, the honour to dignifie his

5 ravings with Raphaels Cypher ; though the itter often us'd A. V. I. his own initial

letters ;

44 Sculptura, or

letters ; of both their cutting are a Madona^ with a Chriftus mortuus^ and in a large fheet the B. Virgin praying, and a Nati- vity in great alfo : The Metamorphofis of Lycaon^ a Terfumer^ Alexander magnus and Roxana^ a Cana %)omini, the Annuntiation^ all defign'd by Raphael-^ befides thefe were fet forth two Stories of the Marriage of Pfyche\ and indeed there was hardly any thing which ever Raphael either painted or defign'd, but what were graven by one, or both of thefe Workmen; belides divers other things after Julio Romano^ viz. all that he painted in Raphaels Lodge, or Gallery in the Vatican ; fome whereof are figned with M. R. and others with A. V. to {hew they had been imitated by others, as was the Creation ; the Sacrifice of Cain and Abel, Noah^ Abraham ; the Paflage over the red fea; The Promulga- tion of the Law ; the fall of Manna^ T)a- Did and Goliah^ which alfo M. Antonio had publiflied before : as like wife the Temple of Solomon^ his Judgment on the Harlot s^ the Queen of Sabas vifit, and many other Hiftories colle6led out of the Old Tefta- ment, all which were publifhed before Raphaels deceafe : For after that, Augujlino wrought with Baccio Bandinelli^ a fculpter

of

The HiStory of Chalcography.

of Florence, who caus'd him to grave his Antonius and Cleopatra^ very rare things, with divers other deiigns; as the {laugh- ter of the Innocents, divers Nudities, and Clad Figures ; not to omit thofe excellent and incomparable Drawings and Paintings of Andrea del Sarto after which he graved; though in the Chrifto mortuo not altoge- ther fiicceeding fo well as had been wifhed. But to come again to Marco Antonio (be- caufe there is not a paper of his to be loft); after Raphaels death, did Julio Romano publifh fbme of his own defignes in print : I fay, after his Death ; for before, though he were an excellent painter; yet durft he never take the boldnefs upon him. Such were the T>uel of Horfes, a Fenus which he had formerly painted: The penance of Mary Magdalen^ the four Euangelifts and fome Bajfi Relievi, with many things that Raphael had defign'd for the Corridor of the Vatican, and which were afterward retouched by Tomajb Bar- lacchi: We will not contaminate this di£ courfe with thofe twenty vile defignes of Julio cut by M. Antonio^ and celebrated with the impure verfes of Teter Aretino^ by which he fo difhonour'd this excellent Art, as well as himfelf; becaufe it deferved a

feverer

4<S Sculptura, or

feverer Animadveriion and Chaftifement then was infli&ed upon him for it ; though to commute for this Extravagancy, he pub- lifh'd the Martyrdome of S. Laurence^ in which he alfb reformed thofe defignes of Baccio Bandinelli to the great reputation of the Art of Chalcography.

About the fame time flourifh'd Giouan- ni Battifta Mantuano Difciple ofGiuleo Ro- mano ^ who publifh'd a Madona^ his armed Mars and P^enus^ the burning of Troy^ an extraordinary piece ; his prints are ufually fign'd I. B. M. Alfo his three Sheets of Battails (cut by fbme other hand), a Phy- fitian applying of Cupping Glafles to a Woman; Chri&s Journey into <^£gfpt, Romulus and Rhemus^ the Stories of Tluto^ Jupiter and Neptune ; the miferies of Im- prilbnment, Interview of the Armies of Scipio and Hanibal\ St. John Baptifts Na- tivity, cut by Sebajliano de Reggio ; all, af- ter Julio Romano.

Giorgio Mantuano fet forth the Facciata of the Popes Chappel, M. Angelos Judge- ment, St. 'Peters Martyrdome, the Con- verfion of St. Taul^ &c. And fome plates were fent abroad about the year 1^30. eaten with Aqua Fortis after Tarmejano ; For, as ab tere^ deventum ad Tabulas ceratas

in

The Hiftory of Chalcography. 47

in writing, the ufe of the TaUmpJe&us± Ta- ble books, Plumbs lamella and the like ; fo hapned it alfo in this Art of Chalcogra- phy; and Etching with Corrofive waters began by fome to be attempted with lau- dable fuccefs, as in this Recital we fhall frequently have occafion to remember : But, whither thofe Symeters and Blades brought us from T>amafcus, and out of Syria, and wrought with thefe fbrong waters, might give any light to this expe- ditious and ufefull invention, we are not yet inform'd; and the effecl: was fiiffici- ently obvious, after that of the Burine had been well confidered.

Ugo 1 de Carpi did things in ftamp, which appeared as tender as any Drawings, and in a new way ofCfiaro Scwo, or Mezzo Tin- to by the help of two plates, exactly con- ter-calked2, one ferving for the ihadow; the other for the heightning ; and of this he publifh'd a Sybilla after Raphael, which fucceeded fo rarely well, that he im- prov'd the curiofity to three Colours ; as his ^Eneas and dnchifes, defcent from the Crofs, ftory of Symon Magus, a T)avid af- ter the fame Urbin, and a T^enus do teftifie : This occafioned many others to imitate him, as in particular,

1 Vagt ed. I 2 counter-calked ed. i

48 Sculptura, or

Baldajfare Teruzzi (who graved the Hercules^ Tarnajfus^ the Mufes) and Fran- cijco Tarmegiano^ who having fet out T)i- ogenes in this guife, a very rare print, in- ilrufted Antonio di Trento in the Art, who publiftied his Teter and Taul in Charo o/curo, the Tyburtine Sybil! and a Madona ; but none was there who exceeded thofe of Beccafumi ; efpecially, his two Apoftks in wood, and the Akhimiji in A^ua, Fortis.

Fran. Tarmegiano (whom we already mention ?d) may be efteemed for one of the firft that brought the ufe of A. Fortis into reputation ; fo tender and graceful! were fome of his Etching^ as appears in that rare T>ejcent of the Crofs, Nativity and feveral other pieces.

Baptifta J^icentino^ and T>elMoro fet forth many curious Landskips,

Girolamo Cocu the Liberal Sciences, &c.

Giacomo del Cavaglio cut many things af- ter Roffo Fiorentino^ as the Met amor phofis of Saturn into a Horfe, the Rape of Trofer- pine^ Antoninus ^and the Swan ; fbme of the Herculean Labours; a book of the Gods and their transformations, whereof part are after Terino del J^aga^ alfo the Rape of the Sabines, an incomparable print,

had

The Hiftory of Chalcography. 40

had it been perfeft ; but the City of Rome hapning at that time to be in fome difbr- der, the plates were loft : He graved like- wife for Tarmegiano the Efpoufals of our Lady, and a rare Nativity after Titian ; not to conceal his admirable talent in cutting of Onixes, Chriftals, and other eftimable ftones.

Enea fico de Parma engraved the Rape of Helena after old Rojfo, a Vulcan with fome Cupids about him: Leda after Mich. Angelo : The <dnnuntiation defign'd by 77- tian ; the ftory of Judith, the Portrait of Cofimo di Medices, &c. Alfb the conteit 'twixt Cupid and Apollo before the Gods ; the Converfion of St. Taul in great, a very rare ftamp : The head of Jovanni de Medici i Charles the V. and fome rare Me- dails which are extant in the hands of the Curious: He alfb publifrrd St. George \ feveral habits of Countries; The Stem- mata or Trees of the Emperours and divers other Famous Pedegrees.

Lamberto Suave fet forth 13 prints of Chrift and his Difciples far better graved then defign'd, alfo the Refurre&ion of Lazarus^ and a St. Paul, which are skilfully, and very laudably handled.

Gio. Battifta de Cavaglieri has cut the

EVELYN E defcent

Sculptura, or

defcent from the Crofs, a Madona and many others.

Antonio Lanferri^ and Tomafo Barlacchi graved divers things after Michael Angelo^ and procured fo many as were almofl num- berlefle : But what they publiih'd of bet- ter ufe were divers Grotefcos, Antiquities and peices ferving to Architecture^ taken out of the old buildings and Ruines yet extant, which afterwards Selaftiano Serli refining upon, compos 'd the better part of that excellent book of his : And of this nature are the things publifh'd by Antonio JLabbaco^ and Barozzo da Fignola.

The Famous Titian himfelf left fome rare things graven with his own hand in wood, befides his Tharo in the great Car- toons^ divers Landskips, a Nativity^ St. Hierom, S. Francis ^ and in Copper a Tan- talus^ Adonis^ alfo in Box the Triumph of Faith, Tatriarchs^Sybills^Innocents^ Apoftles^ Martyrs^ with our Saviour borne up in a Chariot by the four Evangelists, Z)o&ors, and Confeffors\ Alfo the B. Firgin^ a St. Anna, which he firft painted in charo ofcu- ro on the Sepulcher of Luigi Trivifano in St. Giovanni e Taola & Venice ^ Samjbn and ^allila^ fome Shepheards and Animals; Three Bertuccie fitting, and encompafled

with

The Hiftory of Chalcography.

with Serpents like the Laocoon ; not to men- tion what were publifhed by Giulio Buo- najbni, and thofe which were cut after Raphael, Giulio Romano, Tarmegiano and feveral others.

Baptifta Franco a Venetian Painter, has (hewed both his dexterity in the Graver, and Aqua Fortis alfb; by the Nativity, Adoration of the Magi, Predication of St. Teter, Some A#s of the Apojlles, Hiftories of the Old Teftament after feveral excel- lent Matters :

Renato did divers rare things after Rojfo, as in that of Francis the Firjl his paffing to the Temple of Jupiter ; The Salutation of the B. Virgin, and a daunce of ten women, with feveral others.

Luca Tenni publifhed his two Satyrs whipping of Bacchus ; a Leda, Sufanna and fbme things after Trimaticcio : alfb the Judgement of Paris, IJaac upon the Altar ; a Chrijl^ a Madona Efpoufing of S. Catha- rine ; the Metamorphojis of Calijla, Concili- um T>eorum^ Tenelope and fbme others in Wood. Who does not with admiration and even extafie behold the works of Francefco Marcolini^. Efpecially, his Gar- den of thoughts ; Fate, Envy, Calamity, Fear, Trayfe, fo incomparably cut in Wood. E 2, Nor

Sculptura, or

Nor lefle Worthy of Commendation are the Gravings of Gabrielle Gtolito, in the Orlando of Ariofto ; as alfo thofe eleven pieces of Anatomie made for Andrea, fejfalius defign'd by Calcare the Flem- ming, an Excellent Painter, and which were afterwards engraven in Copper by Fal- verde in little.

Chrtftophero Coriolano graved the heads in Safaris lives of the Painters, being af- ter the defignes of the fame Safari ; they are in wood, and rarely done.

Antonio Salamanca did put forth fome very good things.

Andrea Mantegna that admirable Painter, engraved his Triumphs of Cdfar with great Art; as like wife Baccanalias, andfea- Gods, a Chrift taken from the Crols, his Burial, and Refurre&ion ; which being done both in Brafs and Wood, were con- ducted with that skill, as for the ibftnefs and tenderneffe of the lights, they ap- peared as if they had been Painted in Miniature.

Nor may we here omit to celebrate for the glory of the Sex, Tropertia de RoJJl a Florentine Sculptrefs ; who having cut fhi- pendious things in Marble, put forth alfo Fome rare things in Stampt to be encoun-

tred

The Hiftory of Chalcography.

tred amongft the Colle&ions of the Cu- rious.

And about this age, or a little after, flou- rifhed Martin Ruota^ famous for his Judg- ment after Michael Angelo in a fmall volume, much to be preferred to that which is com- monly fold at Rome in fb many iheets; like wife his St. Anthony and divers more. Jacomo Talma has (befides his excellent book of Drawing) fet forth many rare pieces, very much efteem'd.

Andrea Mantuan graved both in Wood and Copper ; of his were the Triumph of our Saviour after Titian^ and fbme things in Charo of euro after Gio : di Bologna and T)omenico Beccafumi^ whom but now we mentioned; alfb the Roman Triumphs in imitation of Mantegna^ a Chriflus mortuus after dlexand. Cafolini^ &c.

Finally, towards the end of this Century, appeared sluguftino and Annibal Caracci^ moft rare Painters and exquifite Engra- vers ; for indeed when thele two Arts go together, then it is, and then only, that we may expeft to fee the utmoft efforts and excellency of the Bolino : amongft the fa- mous pieces communicated to us by thefe Matters, we may efteem the Monetti^ <^/£-

, and ^.Hierom. After

5*4 Sculptura, or

After Tintoret the large and famous Cruci- fix of three fheets in S. Roccos fchool which fb ravifhed the Painter : Mercury and the Graces, Sapientia, Tax, Abundantia chafing Mars away ; The Ecce homo of Correggio, S. Francis of Cavalier Fanni: a J^enus in little with a Satyr, and fbme other nudities with fbmething a too luxurious Graver : S. Giujlinas Martyrdom of Taulo F'eronezes, S. Catherine, and that renown'd S. Hierom of Correggio ; Alfb in Aqua fortis his bro- ther Hannibal etched another Fenus ; the Woman of Samaria at the well, a Chrift in little, and a Madona with the Bambino, and S. ^0^# ; The famous xS". Roch and the fpitefull coronation with thornes : The Chriftus mortuus bewailed by the devout fex, the original painting whereof hangs in the D. of Tarmas Palace at Caprarvola, and is in the Cut one of the tenderft and rareft things that can be imagined, abating the vilenefs of the Plate, which was moft unfortunately chofen, though through that accident, rendred inimitable, and never to be counter- feited : There is likewife his Magdalen and a Landskip touch 'd with the Graver a little ; likewife a Sylenus, all of them incomparably defign'd, nor indeed, did any of the fore celebrated Artifh exceed the Carracci, efpe-

The Hiftory of Chalcography. 5*5-

daily Hannibal, for the noblenefle and freedom of his poflures, bodies and limbs, which he exprefs'd in greateft perfe&ion ; We may not omit the Turification which he grav'd, and J^ittamena made in large, nor the S. Anthony -, the Original whereof is in the Palace of Signior Francifco della Figna at F'enice, nor laftly the Refureftion and the two Genaculas.

In the time of Sixtus Quintus and fince, lived Francifco J^tttamena a rare workman, whether conlider'd for the equality of his hatches, which he condu&ed with a liber- ty and agreeablenefs fuitable to the per- fection of his delign (as is fufficiently apparent in that famous Plate, which he engrav'd after Taulo J^eroneze^ reprefenting Chrift in the Temple) or in thofe things after the Vatican paintings by Raphael^ ibme whereof being never finifhed, came into a private hand. The Triumphant J^enus on the fea ; Mofes, fome cuts after Fredrick^ Barrocch in Aqua fortis^ divers Catafalcos of excellent Architecture, Igna- tins Lyola\ the ftory of TJyche containing many fheets ; a combate of men cafting ftones at one another ; and laftly, that la- borious and ufefull book, comprehending the Hi Storical Columns of Trajan, defign'd E4 by

5 6 Sculptura, or

by Julio Romano, and Girolamo 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 fight.

Giovanni Maggi was an excellent Painter and Etcher, as he has fufficiently difcover- ed in his rare Terfpe Stives, Lands kjps, and his Roma in the Larger Chartoon ; likewife in the nine priviledg'd and ftationary Churches, with the three Magi who offer prefents to our Saviour in aflufion to his name.

Leonardo, Ifabetta, and Bernardino Ta- rafol, that we may furnifh all the forts of Art in this kind, cut exquifkively in wood, which is a graving much more difficult ; be- caufe all the work is to be abated and cut hollow, which is to appear white ; fo that (by a feeming paradox) as the Matter diminifhes the Forme increafes, as one waftes, the other growes perfect. Thefe all flourifhed about the year 1^60, and left us three little hiflories of the Salutati- on, Fifitation, and St. John Baptift : Alfo Chrifts wafhing his Difciples feet, and the cuts to Caftor Durantes Herbal : Ifabetta, who was his wife, publifh'd a book of all the forts of Toints, Laces, and Embrode-

ries

The Hiftory of Chalcography. 5-7

ries, with other curious works for the Ladies, being all of her own invention (except the Frontifpiece only, which is f^ilamenas) and the Plants in the Herbal of the Prince Cefi d' Aquafporte, a learned perfbn of that Age. Laftly, the fbn did alfo put forth Ibme few things of his work ; but was a far better Painter in Frefco.

Antonio Tempefta was a most exact and rare designer, for which his works are much more eftimable, then for the excel- lency of his Points and Needles : he has left us of his eflayes in A. F. the Hiftories of the Fathers, the twelve Moneths of the year, Roma in a very large volumne ; an incomparable Book of Horfes, 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 Metamorphq/is of Ovid-, the Battails of the Jewes, efpecially that of the Amarlakites in great^ the Crea- tion and Old Teftament^ Torquato Tajfos Jerufalemma Liberata^ the Birds and Faul- conry in Tietro Olinas Book, with divers others well known, and much elteemed by the jTirtuofi.

Cherubin Alberti has celebrated his in- comparable Graver in that prefentation of

our

1 j' »

Sculptura, or

our Lord in the Temple; the Adam expulfed out ofParadtfe: In the Tuti, divers Fafas, and other pieces which he wrought after Tolydoro de Caravaggio and Michael Angelo, commonly ibid at Rome, and universally colle<3ed.

Horatio Borgiani cut the Hiftory of the Bible in the Teriftyle of Raphael at the Vati- can, fb often made mention of, and out of which, as from a School of the nobleft Science, moft of the great Painters of the World have fince taken forth their Leflbns : He likewife publifhed fome things in Char' Ofcuro, which were rarely height- ned.

Raphael Guido a Tujcane, engraved many pieces after Cavalier Arpino, as the Flagel- lation, Romulus, Tcarus^'The AngelusCuftos, Ceres, Bacchus, a Chriftus mortuus, and St. Andrew the Apoftle after Barroccio.

Jovanni Baptifta dell a Marca put forth many devices of Shields, Armour, Bujls, and Trophies cut in wood.

To thefe we might add thofe excellent things of Camillo Grajfico, and Cavalier Sa- limbene, Anna F'aiana, with innumerable more; But we have yet other fruitful! Countries to vifit, to whofe praifes we mufl be juft ; only we may not forget the incom-

para-

The Hiftory of Chalcography. parable Stephano T>etta Bella a Florentine Painter now, or lately living, whofe intire colle6Uon in A.fortisis defervedly admir'd, and here in particular to be celebrated by me, in acknowledgment of fome obligation I have for his civilities abroad : And of this Artift's works, flowing, and moft luxu- rious for invention, are thole things which in imitation of Callot he did in little, being yet very young : As the Scenes and dances of the Horfes at the Marriage of the Duke ofTufcany ; Compartimenti, Cart ells, Orna- ments and Capricios for Carvers and Em- broderers: A book of Gobbi, and divers f^ajas, Land skips in Rounds and others : A .book of Beasts done exceedingly to the na- tural : The principles of Z)e/igne, Heads, and other touches very rare and full of fpirit, feveral pieces of our Lady, Chrift, St. jfojeph, &c. Jacobs defcent into <^>£gypt : The Proceffion and Expofure of the Sa- crament, where there is an Altar of curious Architecture inrich'd with feftival Orna- ments: The Cavalcado of the Tolonian Embajfadour into Rome, with divers other proceedings, Pieces of Tolonians, Terfians, and Moores on Horfeback breathing a rich and noble fancy : Alfo Seiges, Engines for War, with Skirmijhes, Land and Sea

Fights :

<5o Sculptura, or

Fights: The Metamorpho/is o£ Ovid\ The Sultana and her fbn taken by the Knights of Malta^ and to conclude, (for there is no end of his Induftiy) the Profpecl: of the Tont Neuf& Paris, then which there is not certainly extant a more lively representa- tion of the bufie Genius of that Mercurial Nation; nor a piece of greater variety as to all encounters and accidents, which one can imagine may happen amongft fb nu- merous a people and coneourfe of Man- kind.

Laftly (for they were likewife fbme of them Gravers in Copper and very rare Chakographers) we mult not omit to make honourable mention here of thofe incompa- rable Sculptors and Cutters of M&&J/J$ whither in Gemms or Metals ; fiich as were (befides thofe we touch 'd in the former chapter) Vittor, Gambello^ Giovanni dal Cavino the Tadouan^ and a Son of his ; Ben- venuto Cellini1, Leone Aretino, Jacopo da Treffo, Fred. Bonzagna ; and above all Gio. Jacopo^ who have almoft exceeded, at leail approach'd the Antients : To thefe may we add Giovanni da Caftel Bolognefe^ Matteo dal Nafaro, Giovanni dal Cornivole^ T>omenica Milaneze^ Tietro Mariade Tejcia^ and Ludovico his Son, Falerio

1 Bmvenuto Cellini] Benevento Cellini edd.

The Hifiory of Chalcography. 6"i

Fincentino who had been in England \n. the time of Queen Elizabeth, and left a Sar- donix which he cut, reprefenting the head of that famous Heroine, inferiour to none of the Antients: There was likewife Mi- chelino, who with the above named Ludo- vico, and Fincentino, had fb accurately counterfeited the antient Medails, that the mofl knowing Antiquaries were often at a lofle to diftinguifh them : Such were alfb Luigi Arichini, Alejfandro Ctffari called the Greek, fo much celebrated for that ftu- pendious Medal ion of Taul the Third, and the head of Thotius the Athenian which he cut in an Ontx, comparable, by the Uni- verfal Suffrages, to any of the Antients : We could reckon up the works alfb of ma- ny of the reft, but it is not requifite, after we have given this taft, and would merit an exprene Treatife. Likewife thofe of Antonio de RoJJl, Cofimo da Trezzo, Thilip- po Negarolo, Go/par and Girolamo Mijuroni^ Tietro Taulo Galeotto, Taftorino di Sienna, not omitting that famous Tharodoxus of Milan, Fran. Furnius, and Sever us of Ra- venna, &c. whofe works were in Gold, Sil- ver, Copper, Steel, Achates, Cornelians, Onixes, Chrijlal, Jaf'per, Heliotrope, La- zuli, Ametheiftis, &c. yea, and to fhew

how

62, Sculptura, or

how much fome of thofe Modern Matters exceeded the Antients, even the Diamond, that hitherto infuperable gemme, was fubdu'd by the famous Treccia of Milan, who with ftupendious fuccefle cutting the King of Spams Armes in a Noble Table, was the firft that ever engrav'd, or made impreffion into that Obdurat ftone. It will become fuch to be well acquainted with thefe Mailers Labours, and their man- ner, who afpire to be knowing, and to im- prove their Judgment in Medaitts and In- taglias, that neceflary, Ornamental and No- ble piece of Learning ; and not only to be well skilTd in their way of defign ; but to be able alfo to perform fomething in the Art themfelves : For liich were those inge- nious and Illuftrious Spirits, Geo. Batttfta Sozini of Sienna, and Roffo de Giugni of Florence, Gentlemen of note; and fuch; with us, is our Noble and worthy Friend, JZlias .Ajhmole Efq ; whofe Learning, and other excellent qualities deferve a more glorious infcription.

Finally, that excellent Medalifl Moun- fieur Rot i, now entertain 'd by his Majefty for the Mint, and a rare "Workman as well for Intaglias in ilone, as Metal, is not to be here omitted.

We

The Hifiory of Chalcography.

We fhall fpeak in the next of thofe Germans and Flemmings who excelled in the Art of Chalcography, not that they have exceeded fome of the French ; but, becaufe they were before them, and Uni- verfally admired : of thefe, the Antejignani were the foremention'd Albert T)urer; that Prodigie of fcience, whofe works we have already recounted upon occafion of Marco Antonio^ and therefore fhall here for- bear the repetition ; as alfo those of Lucas ^ whofe works (confifling in all of about Lxx. fheets, and which I have known fold for near an hundred pounds Berlin^ to one* that as well underftood the value of mony, as of that rare Colle6Uon ; he being one of the greatefb Merchants of dam. Books in Europe) are to be taken blind- fold as they fay ; provided the impreffions be black, well conferved, of equal force, and not counterfeit, as there are feveral of them which be ; difcernable only by the curious, and accurately skilfull : For fuch (amongft others of T)urers) are the Crea- tion of Adam^ the ftory of Z.0/, Sufanna^ the Crucifix which he cut in a fmall round plate of Gold for the Emperours fword, and is fixed on the pummel, not before mention'd : his arm'd Cavalier and Satyre^

and

6~4 Sculptura, or

and indeed, almoft all that ever He, or Lu- cas graved and fet forth.

The Works of Aldegrave, who came very near Albert, and flourifti'd about the fame Age, are worthy the Colle6Hon: His pieces are diftinguifli'd by the Cypher

* A of his initial Letters* in imitation of -/GV 2)urery as likewife the Author of the Jep- tem opera mifericordi<e, ftories of the book of the Kings, Artemifta, &c. whose gravings are counteriign'd with G.P. I.E. publifh'd the four Evangelifts, Adam, a Country fel- low, a Bifhop, a Cardinal, Satyrs, &c. M. the Prodigal fon, the Evangelifts, &c. fbme whereof are Copies after Albert, and moft of their works done in fmall plates.

Hans Sib aid Berne hath done wonders in thofe fmall figures, flories, and nakeds which he publifh'd ; it fhall not be requifite to recite here the Catalogue ; becaufe his mark I-s-B is fixed to moft of his works, though now and then profan'd by the hands of others.

Jerome Coch a Flemming cut a Mojes, 32, fheets of the ftory of Tfyche, defign'd by one Michael a Painter of the fame Coun- try, very rarely conduced: Alfo_Z>tf//7tf and Samfm\ The deftru<5Hon of the Thiliftines, the Creation of Adam, &c. 27 Stories of

the

The Hiflory of Chalcography. 6?

the Old-Teftatnenf nobly defign'd by Mar- tino, and as well graved : Alfb the Hiflo- ry of Sufanna : Another book of the Old, and New Teflament : The Triumph of Pa- tience, a rare Cut : the Heart on the An- vile, and divers Emblems full of curious Figures ; many facred Triumphs ; Fraud, Avarice; a Bacchanalia, and a Mojes after Bronzini, in emulation whereof, Gio. Mantuano publifh'd his Nativity, an incom- parable print ; after which Jerome graved for the Inventor, twelve great fheets of Sorcerejfes, the Battails of Charolus the V. and for F'erefe1 a painter, the Terfpe&ives which pafs under his name, with 2,0 leaves of feveral Buildings ; befides the St. Mar- tine in a book full of T> evils; For Giro I. Bos, the Alchimijl, the feven deadly Sins, the lajl Judgment, a Carnoval; and, after Francis Floris ten pieces of Hercules La- bours, the Duel of the Horatii and Curatii, the Combate of the Tigmies and Hercules, Cain and Abel, Abraham ; the Deciffion of Solomon between the two Harlots, and in flimme, all the actions of humane life.

And now that we mentioned Francis Floris of Antwerp, the rare things which he publifh'd in ftamp, purchas'd him the name of the Flemmijh Michael Angelo.

1 Dries se ed. 2. ; ? Vriese EVELYN p Of

66 Sculptura, or

Of the fame Country was that incompa* rable Cornelius Corf; we will commence with \hzjudgment of Michael Angelo which he cut in little : Moft of his things were after Frederic T.ucchari^ and fome few of Raphaels ; befides his Landskips and other Cravings, after Girolam Mutiano, which are very excellent : Alfo John Baptift, St. Hierom, St. Francis •, Mary Magdalen, St. Eu- Jiachius, the Lapidation of S. Stephen de- iign'd by Marco Fenujlo the Mantuan. A Akm>/Vf after ThadeoZuccharo, St.s4nne,&.c. Alix) a Nativity in great after Tolydore-. The Transfiguration; The fchool at Athens-^ The Battail of Elephants ; fbme Gravings after %)on Julio Clovio, and Titian^ which had they been accompanied with that tendernefs, and due obfervation of the di- flances, that accomplifh'd the fucceeding Gravers, had render 'd him immortal, fb fweet, even and bold was his work and defign in all other coniiderations. We men- tion'd Titian ; for about 1^70. Cor. Cort did ufe to work in that famous Painters houfe, and Graved for him that Taradije he made for the Emperour; St. Lazarus Martyrdom, Califte and the Nymphs^ Tro- metheus^ Andromeda, the fore-nam'd Mag- dalen in the defart, and St. Hierom, all of them of Titians invention. We

The Hiftorf of Chalcography. 67

We come now to Juttus, John, <^£gi- dius, and Ralph Sadelers, who lived in the time of the Emperour Rodulphus, and publifh'd their almoft numberlefs labours; we can therefore inftance but in ibme of the moft rare; fuch as were that Book divided into three parts, i . Imago lonitatis^ a. Boni & mali fcientia, 3. Bonorum & malorum Confenfio, defign'd by Martin de F^os\ The F^ejligia of Rome tenderly and finely touch'd in 5-0 iheets: The 12, Roman Emperour s and Emperejfes afterTi^ ^ rarely graved by Giles ^ a Madona with

our Saviour, and St. Jofeph after Raphael, Chrijlus Flagettatus, and the head of Ro- dulphus II. with various capriccios, and inven- tions about it, as alfb that of the Emperour Mat Mas, adorn 'd with the chaplet of Medails; the calling of S. Andrew, \syjohn and Giles in brotherly emulation : Four books of Ere- mites admirably conduced by Raphael, a c<ena T)omini zfaxTintoret, and another Fla- gellation of Arpino's : Divers Landskips, The i a Moneths ; the great Hall at Trague, the Effigies of Martin de Pros by ^/Egidius; The Emperour and Emprefle in their Robes of State ; an Adoration of the Magi after Zuchari : Adonis and J^enus after Titian : a Crucifix after Jac. Talma, a Refurreftion in F i great :

68 Sculptura, or

great : the rich Epulo, St. Stephens Lapida- tion, the Original whereof is at Frist ft: a S. Sebaftian^ Thefe by Giles: John engrav'd after M. defos a fcholar dtTintorets already mentioned, the Creation and many hifto- ries out of Genejis : Ralph cut alfo the Life of Christ ; the Credo by way of Embleme : In, fumme (for their whole collection is not to be crouded into this Catalogue) they have all of them publifhed fiich incompara- ble gravings ; that 'tis the greateft pitty in the world, they had not flourifhed in the time of the great Raphael, and the good Mailers, for they were not only accurate and punctual imitators; but gave to their works that foftnefle, life, and Cokre (as Artifts terme it) which accomplices all the reft ; Efpecially, John and Raphael in what they graved after Mich, de P~os, Baf- fano and others whofe Rufticities they fet forth : thofe of ^/Egidius in great, being a defcent from the Crofle of Barrocctos inven- tion, the other a Flagellation defign'dbyj^ pho Tin1 can never be fufficiently celebrated. After the Sadelers appeared Herman Mutter with a very bold Bolino, and like- wife Janus who graved many things after Sprangers, worfe chofen (for the con- vulfive and even 'Demoniac poitures) then executed. * chs^ino ed. i But

The Hiftory of Chalcography. 69

But the imitations of the Graver by Si- mon Frijius the Hollander, who wrought with the Aqua fortis of the Refiners, are altogether admirable and inimitable, the {broke and conduct confider'd, had the de- fign (excepting thofe of his Birds which are indeed without reproch) contributed in any proportion to his dexterity.

After him came the Swiff e Matthew Miri- am, who had he perform'd his heightnings with more tendernefle, and come fweetly off with the extremities of his hatchings, had proved an excellent Matter : His works are ufefol and innumerable in Towns, Land- skips, Battails (thofe efpecially fought by the great Guftavus) &c. the Soft Ferni/h and feparating A. F. was the inftrument he ufed.

We have feen fbme few things cut in Wood by the incomparable Hans Holbein the T>ane, but they are rare, and exceeding difficult to come by ; as his licentioufnefle of the Friers and Nuns, Rrafmus, the ^Daunce Macchabree, the Mortis imago which he painted in great, in the Church at Bafil, and afterward graved with no leffe art, and fome few others : But there is extant a book of feveral Figures done in the fame material by one Justus Ammannus Tigur. MDLXXVIII. which are incomparably F 3 de-

Sculptura, or

defign'd and cut: In the Epiftle whereof, one Holtzhujen a Gentleman of Frankfort is commended for his univerfal knowledge, and particularly his rare talent in this Art, which it is there faid he (hewed, by won- derful contrivances at the celebration of Martin Luthers Nuptials, and therefore worthy to be taken notice of.

Hans Brojfehaemer befides feveral other things, hath cut in wood a triumph of the Emperour Maximilian into Neuremberge.

P'ergilius Solis graved alfo in wood the flory of the Bible, and the Mechanic Arts in little, but for imitating thofe vile poftures of Aretine, had his eyes put out by the fen- tence of the Magiftrate.

Henry Golzius was a Hollander, and wanted only a good, and judicious choice to have render 'd him comparable to the profoundeft Maflers that ever handled the Burin, for never did any exceed this rare workman ; witnefle, thofe things of his af- ter Gafparo Celio, the Gallatea of Raphael San- tio, and divers other pieces after 'Poly dor da Carravaggio, a Hierom, Nativity, and what he did of the A&s of the A pottles, with Th. Galle, &c. but he was like wife an excellent painter.

George Nouvoljlett was of Mentz in Ger- many, an admirable Graver in Wood: he

pub-

The Hiftory of Chalcography. publifh'd that <^/£neas in little, and fbme Hiftorical parts of the Bible very well per- form'd; alfo divers of the Fathers after Tempeftd) beiides the Jerufalemma liberata of Bernardino Caftelli in Quarto, with many Cartels of Armes and Harnefles, and fbme Figures to a Breviary -, &c.

Matbew Greuter publiih'd a curious book of Letters, the City of Rome in an ample forme, and a large Map of Italy ; the Old and New Tejlament, the Church of Straf- burge^ an harmony 'twixt the T)ecalo.gue and the Lords prayer very ingenioufly repre- fented in Picture, with feverall other things laudably performed ; But his Ion

Frederic did infmitly exceed the Father, as may be feen by thofe many curious Gravings which he has cut after Tietro Be- ret in Cor "ton , and the famous Sin drew Saccus egregious Painters.

Sanredamus did publifh many excellent cuts, efpecially thofe which he coppied after Lucas van Leiden, of which we have formerly given a hint for their fakes, who are collectors of thefe curiofities, and may not happly be yet arriv'd to the judgment of being able to difcerne them from the Originals ; Alfo fome things after Goltzius.

Cornelius Galle in his St. Trifcas Baptifm, F ^ Tapen-

72. Sculptura, or

Tapenheim 's and other heads after /^. T>yke^ has fhew'd what he was able to perform, not to mention abundance of Frontijpeicesand other lefle confiderable of his workes. But the

Count Cloudt^ a Knight of the Talatinat has publifh'd, though very few, yet fome ftupendious things, efpecially that of our B. Saviours flight into t^Egypt by night, the Itory ofTobit, and about three or four more worthy of all admiration.

Swanevelts Hiftory of St. John, withdivers Landskips.

Tandem's defcent from the Croffe, Matt ham's Chrift and St. John, a Fenus after Rotenhamer, Pope Innocent X. &c.

Bronchorfts rare Etchings, efpecially thofe Ruines and Ant kali as of Rome: and fiiperiour to all, the incomparable Land- skips fet forth by Paul ffri H (lomz of which have been Etched in Aqua for tis\>y Nieu- lanf) do extreamly well merit to be placed in this our Theater: For to be brief, be- caufe we can only recite the moil remark- able and worthy the collection. Mattham is famous for Fruits ; Boettus^ or Adam Bol- fuerd for his Rufticks after Bkmaert^ Lon- devfelms has taken exceffive pains in his Landskips ; and fb has fan F'elde in fome few : but above all, Nicholas de Bruyn (after

1 Goudt ed. i

The Hiftory of Chalcography

Conmxlogenfis) is wonderful for Bojcage^ and the induftry of his undertak- ing works of that large Volume, which Theodore de Bry (refembling him in name) has been as famous for contra&ing ; though both of them of a Dutch heavy fpirit, and perfe&ly iuting with the times and places : notwithftanding has this latter performd fome things in little very laudably: Nor with lefle ingratitude, amongft others may we forget the Nova reperta of Stradanus by Theodor Galle^ who alfo publifhed the whole procefle of making iilk of the worm, and certain other works in Manufacture, all of them reprefented in Sculpture.

Mallery in his Teccati fomes after Mic. de fcs, has performed wonders as to the fubtilty and imperceptible duftus of the Graver.

Boljuert fet forth the Sacra Eremus Afcett- carum, after Bkmart and others, but above all is he to be celebrated for thofe rare heads, and other ftories graved after the Paintings of Rubens and fan Dyke^ which for their fakes, who are dilligent collectors of the renouned perfons of the late Age, we fhall not think amifs to mention. Such were the Dutchefle of Orleans^ Arch Duke silbert^ Juftus Lypfius^ and others after Pan Ztyfo, Lejfius and Bellarmine, Jefuites

after

74 Sculptura, or

after T>iepenbec\ after the fame hands did "Paulus "Pontius grave the head ofSigtfmmd King of jPo/and, Count Timentelo^ &c. at \£iRubens\ T>onphil\ deGufman,T)onAleuar: Buzan an incomparable cut ; T)on Car. de Colunna, Rubens picture bare headed, for there is another in a hat : Gafp. de Grayer, Simon de P^os\ Maria de Medices, Cdfar Alexand. Scaglia, Conft. ffugens the learned Father of our moft ingenious Friend Mon- fieur Soylecom, fo worthily celebrated for his difco veries of the Annulus about Saturne-y the Tmdule clock., and univerfal Mathema- tical Genius. G of per Gavartius the Law y er ; Gafp. Reveftyn ; Guftavus Adolphus King ot Sweden, Jacobus de Breuch^ the Princefle of Brabanfon^ that rare head of Frederic ffenric Prince of Orenge, and his own, with many more after f^an Dyke^ befides the Jefuit Canifius^ R. Urbin Painter, and o- thers whom he grav'd after T>iepenbec^ &c. And fince we mention 'd Sir T. Taule Ru- bens we may not pretermit thofe many ex- cellent things or that great Polititian, a learned and extraordinary perfbn, fet forth in fb many incomparable Gravings by the admirable works of Suannebourg, the above named Tontius and Bolfwert, Neffe, Softer- man, yorft, and other rare Maflers in

this

The Hiftory of Chalcography.

this Art: Such are (to inftance in fbme only) his battail of the Amazons ^ St. Roch, our B. Saviour compofs'd to Burial, the Fight of Lyons, his great Crucifix^ Con- verfion of S. Taul, St. Teter in the fhip, a Nativity, the Magt\ The bloody Cata- ftrophe of Cyrus ; Solomons fir ft Sentence ; St. Catharines efjx>ufals, the tribute de- manded of our Lord; Sufanna and the Elders, St. Laurence Martyred ; the Palaces of Genoa ; with divers others to be en- countr'd amongft the Merchants of Prints, who frequently vend the copies for the origi- nals to the lefle wary Chapmen: Chr. Jeghre has cut the Temptation of our Saviour in wood very rarely performed after this great Matter : And befides the former mention 'd, Lucas J^ofterman, and Forf? are never to be forgotten fb long as the memory of his Schollar SvcAnt.F'an Z>fke is famous, for the heads of Marqueffe Spinola ; Char, de Malle- ry^ Horatius Gentilefcus ; Jo. Count of Na- JawJ fan Milder \ <P. Stevens^ and Cor. Sachtleven^ which he engrav'd after a new way, of Etching it firft, and then pointing it (as it were) with the Burine afterwards, which renders thofe latter works of his as tender as Miniature^ and fuch are the heads of Fan T>yke himfelf, Jo. Livens, Cor.

7 6 Sculptura, or

Schut, Corn, de J^os, T>eodat del Mont, Lucas van Uden, Jodocus de Momper, Wencejl. Coe- berger, Painters; Count de Offono, Duke of Bavaria, the Arch-Dutchefle Clara, the laft Duke of Orleans, Anton. Connebifon, P. Stevens, and many others, together with thofe other pieces of Hiftory, viz. the Sepulture of Chrift, and S. George after Raphael, Magdalene under the Crofle, our B. Saviour in his Agony after Carraccio, the Sufanna, St. Laurence, and what but now we mention 'd after Rubens \ divers heads after Holbein, as that of£rajmus, the D. of Nor- folk, and others of the Arundelian collection.

Fan Forft, Competitor with fofterman, has likewife graven a number of Heads after Vandyke; I {hall only name the learn- ed Sr. Kenelme %)igby in a Thilofophical\&- bit : our famous Architect Inigo Jones, and thofe two incomparable figures of Charles the Martyr and his Royal Confbrt the ^Mo- ther now living : And to fhew what honour was done this Art by the befl of Painters,

Sr. Ant. Vandyke did himfelf etch divers things in A. Fortis\ efpecially a Madona, Ecce Homo, Titian and his Miftrefs, JEraJ- mus Roterodamus, and touched ieveral of the heads before mentioned to have been grav'd by Fofterman.

After

The Hiftory of Chalcography.

After this great Matters paintings, did Peter dejode grave the Effigies ofGenovefa Widdow to Car. Alex. Duke of Croi\ "Paulus Helmatius^ the Learned Tutea- nus ; the Bifhop of Gendt^ the face where- of is thought to be Etched by F*. 1)yke him- felf; he graved Jo. Snettinx a Painter: befides a book of defigning very rare ; and the many other prints after his Mafter Golf- zius (whofe Difciple he was) which both Te- ter, and his Son of the fame name, have en- graved for Monfieur Bon Enfant of Taris, &c.

Colaert graved fbme things rarely mfteel. Sniiderhoef\u& engraven the heads of moft of the Learned Dutch, after feveral painters, with good fuccefle : as thofe of Heinjius^ Grotius, Barleus, &c. not forgeting that flu- pendious Lady Anna Maria a Schurman^&c.

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

Zander Thulden publifhed the whole Hi- flory Q^UlyJfes, being the work of the Fa- mous Trimaticcio at Fontain Bleau Etched alfo in A.F. and fb defign'd, as few preten- ders to this Art did ever exceed him : And fb, as we but lately mention 'd, are the pa- pers of the inimitable Suanebourge which ftrike a ravifhing effect in all that be- hold them, for the admirable tendernefle,

and

Sculptura, or

and rare conduct of the hatches ; efpecial- ly thofe which he cut after the drawings of Abraham Blomaert, and Rubens.

But now that we mention Blomaert^ whofe works we have celebrated in gene- ral, becaufe they fmell fbmething of a 'Dutch fpirit, though otherwife well engra- ven ; There is at Rome (if we miftake not) a Son of his named Cornelius, who in that S. Francis after Guido Reni, and thofe other pieces after the defign of thofe great Matters Mounfieur TouJJlne, Tietro Cortone, &c. to be feen in the books fet forth by the Jefuit Ferrarius, his Hejperides, Flora, t^Edes Barberini, &c. hath given ample Teftimony how great his abilities are ; for, certainly, he has in fbme of thefe ftamps arrived to the utmoft perfection of the Bo- lino, though ix>me Workmen will hardly allow him this Rlogie. But thofe things of the incomparable Natalis, a Ligeois, (and therefore reckon 'd here amongft the Germans) pafs without the leaft contradicti- on for the utmoft effort of that inftru- ment. Such are that St. Catharines Efpou- falls after Bourdon, which feems to be a very piece of Painting : The two Mado- nas in conteft with Toilly : The Thefts ; and the chapter of the Carthujians, all after

the

The Hiftory of Chalcography.

the Life arid his own defign, a ftupendious work : alfo the heads of Jacob Cat*, one of the States of Holl. painted by T)ubordieu ; and fbme few things more, as the exa&nefs and Curiofity of what he un- dertakes requires, fufficient to difcover the admirable perfection of this great Artift: For we do not mention feveral Frontij- pieces which he has likewife engraven, with equal Induftry.

Ferdinand has befides many others, graved after the fame Bourdon, the flory of Ulyjfes and Andromache :

Uriefe and F'erden are famous for their perfpeffives.

H^megard his Roman Peffigia, &c.

William Hondius^ befides thofe things which adorn his Mapps, which are the largefl Tlanifpheres, has very rarely engraven his .own Head, after a painting d£fratufykci nor with lefle Art has J^ankejfel done that of Charles the fifth after Titian : Clovet^ Car. Scribonius the Jefaits.

Caukern has graven the flory of that pious Daughter, who gave fuck to her im- prifon'd Father; a fight of Boores, with divers others after Rubens and Vandyke, &c. befides thofe which are extant in Mr. Ogle- byes Homer , Bible, my Lord ofJVew Cajiles

Ca-

8o Sculptura, or

Cavalerizzo, Sec. defign'd by T)iepenbec, wliofe rare Talent, that Theater, or Temple of the Mufes publifhed by that Curioufly Learned, and Univerfal Colle&or of prints, the Abbot of Fittoin^ (of whom we (hall have occafion to difcourfe in the next Chapter) do's fufficiently illuftrate.

Lucas Kilianus has rarely graved the Murther of the Innocents ; the Miracles of the Fifh ; Annuntiation^ Circumcifion^ and fbme Plates in the Hortus Eyftetten/is, &c.

Fifcher, viz. Cornelius (for there is ano- ther who has publifhed divers Landskips) hath moft rarely Etched a certain Dutch Kitchin, where there is an old Man taking Tobacco, whilft his Wife is a frying of pancakes : alfb a Fiddler accompanied with boy es and girles, painted by Oftade: but above all, admirable is the defcent, or Christ us Mor~ tuus after Tintoret, both grav'd and Etch'd, as indeed, I ftiould have faid of the reft.

profvtUemont has Etched our Saviours cha- fing the facrilegious Merchants out of the Temple after the fame Tintoret^ which is very rare.

Nolp the twelve moneths, efpecially the boyftrous March.

Lombart^ many plates for Mr. Oglebyes as like wife that induftrious Inter- preters

The Hiftory of Chalcography. 8 r

preters Pi&ure after our famous Mr. Lilly, in which he has performed laudably : Nor muft I here forget Mr. Hertoc who has grav'd the Frontifpiece for EIKflN BAS. in/07, and that of this Treatife, with many other.

To thefe we may add the incomparable Reinbrand, whofe Etchings and gravings are of a particular fpirit; efpecially the old Woman in the furr: The good Samari- tane, the Angels appearing to the Shep- heards; divers Landskips and heads to the life ; St. Hierom, of which there is one very rarely graven with the Burine-, but above all, his EcceHomo ; defcent from the Crofs in large ; "Philip and the Eunuch, &c.

Wincejlaus Hollar a Gentleman of Bohe- mia, comes in the next place, not that he is not before moft of the reft for his choyce and great induftry (for we rank them very promifcuoufly both as to time and preheminence) but to bring up the Rear of the Germans with a deferving per- fon ; whofe indefatigable works in Aqua Fort is do infinitely recommend themfelves by the excellent choyce which he hath made of the rare things furnifh'd out of the Arundelian collection ; and from moft of the beft hands, and defigns; for fuch were thofe of Leonardo da J^inci^ Fr. Tarmenjis,

EVELYN G Titian,

82, Sculptura, or

Titian, Jul. Romano, A. Mantenio, Corregio, Perino del Fago, R. Urbin, Seb. del Tiombo, Talma, Alb. T)urer, Hans Holbein, Fan- dike^ Rubens, Breugle, Baffan, ^/Eljheimer, Brower, Artois and divers other Mailers of prime note, whofe Drawings and Paintings he hath faithfully copied; be- fides feveral books of Landskips, Townes, Solemnities, Hiftories, Heads, BeasJs, Fouls, fnfeffs, yejfels, and other fignal pieces, not omiting what he hath Etched after T)e Clyne, Mr. Streter, and "Dankert, for Sr. Rob. Stapletons Juvenal, Mr. Rofs his Silius, cPolyglotta Biblia, the Monastic on, firft and fecond part, Mr. *Dugdaks Taules, and Sur- vey of IF'arwic kjhire, with other innumera- ble Frontifpieces, and things by him pub- lifhed and done after the life; and to be (eo nomine) more valued and efteemed, then where there has been more curiofity about Chimeras, and things which are not in Na- ture: fb that of Mr. Hollars works we may juflly pronounce, there is not a more uferul, and inftruclive Collection to be made. The learned Hevelius has (hewed his ad- mirable dexterity in this Art, by the feve- ral Thafes and other Ichonifms which adorn his Selenographia, and is therefore one of the noblelt inftances of the extraordinary

ufe

The Hiftorf of Chalcography. 83

ufe of this Talent, for men of Letters, and that would be accurate in the T)ia- gramms which they publifh in their works.

The no lefle knowing slnna Maria a Schurman is likewife skilled in this Art, with innumerable others, even to a Prodigy of her Sex. For the reft, we {hall only call over their names, after we have cele- brated the extravagant fancies of both fazBreugles, as thofe of the fe\ ren deadly fms, Satyrical pieces againft the Nuns and Friers ; with divers Hiftories, Drolleries, Landskips, fantaftic Grilles and Grotefaues of thefe two rare Rhy paragraph >.r; not farther to tire our Reader with the particulars and feveral works of Oftade,Corn,Chck, Queborne, Cuftos, k T>elfe, (who has put forth the Pourtrai&s of many learnedperfons)Z)0r.r, Fakk, Gerard, Sens, Moeftuer, Grebber, Geldorp^ Hopfer^ 6V- rard^ Bens, Chein, Ach\ d' Egmont, de Finghe, Heins, 'Ditmer^ Cronis, Lindoven, Mirevel, Kager^ Coccien, Maubeufe, Feni- us, Firens, Wierets, Quelinus, Stachade^ Se- hut, Soutman, PanukA, Broon, J^aldet, Loggan, whom we exprefly omit ; becaufe we have introduced a fufficient number, and that this chapter is already too prolix.

Only we would not omit Min Here Bi-

fcop a learned advocate now of Holland,

G 2, who

84 Sculptura, or

who for his ftory of Joseph and Benjamin^ where the cup is found in his fack, and thofe other few cuts among the hands of the curious, muft not be paiied over in ob- livion ; as we had like to have done fome of the old, and beft Matters by having hitherto omitted.

T>ruefken his King of the Boors mHunga- ria, eaten alive by the Rebels whom he fe- duced; with feme other cuts in wood known by his mark, which was commonly a clufter of Grapes :

Tieter Fan Aelft, his Cavalcad of the Grand Signior to Santta Sophia, and feveral Turkifh habits, on which iubje£t alfb

Swart Jan Fan Groennighen hasfet forth many remarkable things, Caravanns, T'tlgri- mages to Mecha, &c.

Lucas Cranach, Tiltings, Huntings, Ger- man Habits, and the portraits of all the Dukes of Saxony to his time :

Joos Ammanus (whom we already men- tion'd) divers of the Mechanic Arts ; not omitting all thofe excellent Wood Cuts of Hans Schinfiyn and Adam ^f//0r£efpecially this laft, known by the two Capital AA of the Go tick forme included one within the other, as the D is in that of Albert <Durers.

Hubert Goltzius has cut in wood a book

of

The Hiftory of Chalcography. of \hzRomanEmpsrours in two Colours; this name recals to mind an omiffion of ours in ibme of thofe excellent Chalcographers al- ready recorded, and in particular, the in- comparable imitations of Henry Goltzius after Lucas Fan Ley den in the Tajfion^ the Chriftus mortuus or Tieta ; and thofe other fix pieces, in each of which he fb accurately purfues jDurer, Lucas, and fome others of the old Matters, as makes it almoft impo£ ble to difcerne the ingenious fraud.

We did not fpeak of the heads of the famous men in the Court of the Emp. fet forth by ^/Egid. Sadder •; as Raphael (his Brother) had the Bavaria Sanfta^ reprefem ting all the Saints of that pious Country.

Albert 2)urers Teuerdank or Romantic defcription of the Amours of Maximilian and Maria de Burgundy, the book is in High *Dutch\ He has likewife cut Tetrachs Utriuf- que Fortune Remedia^ which admirable trea- tife being tranflated into the German Lan- guage, is adorn 'd with the Gravings of Hans Sibald Bheem^ Ammanus, Aldegrave, and moil of the rare Matters of that age : Final- ly, he has cut the ftories of Apuleius\&$> gold- en Ajfe : and fprinkled divers pretty inven- tions and Capriccios in an old impreffion of Cicew's Efiftlesi And with this recollection G 3 of

85 Sculptura, or

of what we had omitted in the foregoing Paragraphs (to which they are reducible) we will take leave of the Dutch Sculptors, and paffe on to

The French, who challenge the next place in this Recenfion, for their gravings in Taille T)ouce, which began to be in repu- tation after Rojfo the Florentine painter had been invited and Carefs'd by that Worthy and illuftrious Mec*enas of the Arts, Francis the firfl: about which time Tetit Bernard of Lyons publifh'd the flories for the Bible of St. Hierom, per- forming fitch things in little, for the De- fign and Ordinance,, as are worthy of imi- tation: fb greatly he approch'd the An- tique in the garb of his Figures, Diftances, Archite&ure, and other acceflbries of the Storie : We have fbme of thefe engraven by this Artift, and printed long fince at Lyons, with the Argument under each cut, in the Englifh verfe of thofe times, which appears to have been done about the be- ginning of the Reformation, wThen, it feems, men were not fb much fcandaliz'd at holy reprefentations.

Nicholas Beatricius a Loraneze graved his Horfe conflicts, and feveral books of Animals, and Wildbeafls. The Wid-

dowes

The Hiftory of Chalcography. 87

dows fbn raifed to life, the Annuntiation after M. Angelo, the Ark of the Catho- lick Church after that rare Table of Mofaic in S. Teters of Giotto^ &c.

ThillippusThomafinus labours are worthy of eternity, fo excellent was his choice, fo accurate his graver ; witnefle the fall of Lucifer, the univerfal judgement, the fhip we but now mention 'd ; the feven works of mercy ; B. Felix, the Miracles of the Capucines, the Statues of Rome in little ; the labours of many famous perfons ; the bap- tifme of our Saviour, after Salviati \ St. John the Evangelifl in the boyling Oyle ; St. Stevens Lapidation after Ant. Tomarancio ; the Magi of Zuccharo; Mary prefented in the Temple, offiarroccio ; the fife of St. Ca- tha rine; Fama, divers fea Monfters after Ber- nardino Tajfero ; and fbme things of Fanni ; not to omit his Camea collected from feve- ral curious Achates and other precious Hones, befides Shields, Trophies, Gordian Knots, with variety of inftruments and other works too long here to recite minutely.

Chrijpinus de "Pas and his filler Magdalen (whither French or Dutch) have engraven many excellent things after Breugle\ efpe- daily Landskips; the perfecution of the Prophets and Apoftles, with feveral more : 64 But

88 Sculptura, or

But that Lilerum Belgium by Simon de <Pas his Father, or Brother (I know not whi- ther) dedicated to Prince Maurice of Natif- Jaw is a very rare cut.

Who has not beheld with admiration the incomparable Burtne of Claudius Melan^ celebrated by the great Gajfendus and em- ploy'd by the moft noble and learned Tcireskius ? The Sudarium of St. F'cronica^ where he has formed a head as big as the life it felf with one only line, beginning at the point of the Nofe, and fo by a fpiral turning of the Graver finifhing at the utmost hair, is a prodigy of his rare Art and invention; becaufe it is wholly new, and perform'd with admirable dex- terity: Nor has he lefle merited for his St. Francis^ St. Bruno ; the pointed Magda- len, Pope Urbane the Fill, and divers others to the life, efpecially thofe of the Illuftri- ous Jufliniani, Teireskius, and the feveral frontifpieces to thofe truly Royal works, To- ets, and other Authors printed at theLoure.

Mauperch has pubfifhed fbme pretty Landslips; La Tautre many moft ufefull varieties and Ornaments for Architects, and other Workmen; Florid, and full of Fanfie ; efpecially the ceremonies at the Co- ronation of the prefent French King. .

Mo-

The Hiftory of Chalcography.

Morine, has left us a St. Bernard^ a his great Crucifix '; fbme rare Heads; e£ pecially that reprefenting our B. Saviour and other things in A. Fortis, performed with fingular Art, and tendernefle ; as al- Ib fbme rare Landskips and Ruines after Tokmburch and others.

N. Chaperon has etched the Xyftus or Gallery of Raphael in the J^atican^ with in- comparable fuccefle, as to the true draught : and fo has that excellent painter the late

Francis Terier thofe Statues and Bajp-re- lievos of Rome, preferrable to any that are yet extant.

Audrans St. Catharine after Titian who is not ravifh'd with ?

Couvajr has engraven the three devout Captive Knights, and what may appear very extraordinary, ut au<e celant nomina c<e- latura aperiat, the firft part of 'Dejpauteri- us's Grammar in picture, or Hieroglyphic for the Duke of Anjou the now Monfieur.

Terel has difcovered a particular talent for Landskips, if not a little exceeded in the darknefle of his fhades : but his ruines of Rome are very rare : he has likewife a fon that graves.

The excellency of invention in the Ro- mances. and Hiftories adorn 'd by the hand

of

*

"•

Sculptura, or

of Chauveau is not to be pafled by ; efpe- cially thofe things which he has done in the Entretienne de Beaux Efyrits ofMon/ieur Tie Marefts, and in feveral others.

But the pieces which Toilly has fet forth, may be ranked (as they truly merit) a- mongft the greateft Mailers we have hi- therto celebrated: fuch as (for inftance in a few) That admirable Thefes with the Portrait of Cardinal Richlieu ; and in emu- lation with the formerly named Natalis, (befides the St. Catharine of Bourdon) thofe things which he hath grayed after Mtgniar, which are really incomparable, alfo divers Hiftories after le Brun, &c.

But we fhould never have done with the Artifts of this fruitful and inventive Country as Heince^ Begnon^ Huret^ Ber- nard ^ Rognejfon, Roujlet^ a rare workman, witnefle his Frontifpiece to the French Tolyglotta Bible defign'd by Bourdon and ktely put forth; Bettange^ Richet^ I'Alman^ Quefael, Sou/et, Bunel^ tjie laudable Bou- cher^ Briot) Boulauge^ Bqis, Champagne, Charpignon, Corneille, Caron, Claud de Lo- rain, Audran^ Moutier, Rabel^ T)enifoty Laune^ T>e la Rame\ Hayes^ Herbin^ T)a- i)id de Bie, yittemont, Marot excellent for his buildings and Architeiture ; Tout in y

Grand-

The Hiftory of Chalcography.

Grand-homme, Cereau, Trochel, Langot du Loir, L Enfant Difciple of Melan ; Gaul- tier^ T>y Origni, Trevoft, T>e Son, Terei, Nacret, Tenet, T>aret, Scalberge, Libert ; Ragot who has graved fbme things well af- ter Rubens, Boijfart, Terelin, Z)e Leu ; Be- fides Mauperche for Hiftories, U <dfhe \vho has grav'd above 300 Portraits to the life, and is a rare Artift: Huret, full of rich invention ; not omitting the famous Gravers of Letters and Calligraphers, fuch as are Le Gagneur, Lucas Materot, Frifius, 1)uret^ Tauce, Le Beaugran, Beaulieu^ Gou- genot^ Moulin^ Raveneau, Jea, Jaques de His, Moreau, Limojin, La Be, F^ignon^ Barbe ffOr and a world of others whofe works we have not had the fortune to fee; For as heretofore ; fb efpecially at prefent, there is no country of Europe which may contend with France for the numbers of fuch as it daily produces, that excel in the art of Chalcography, and triumph with Kk&Burine.

La Hyre has Etched many things af- ter the Antique, as Bacchanalia's and feve- ral other.

Goyrandisfecond to nonefor thofe Towns and Ruines, which he has publifh'd, efpeci- ally what he has performed in <^/£dibus Barbeiini.

Colig-

Sculptura, or

Colignon no lefle excellent in his gravings after Lincler.

And Cochin in thofe large Charts and fieges of Townes after the Ingeneer Beau- lieu: But

Ifrael Syfaefter is the Hollar of France : For there is hardly a Town, Caftle, Noble- mans houfe, Garden or Profpect in all that vaft and goodly Kingdom which he has not fet forth in AF. befides divers parts and views of Italy: above all in thofe which are etched after the defignes of Monfieur Lincler ( whilfl he lived my worthy Friend) as the City of Rome in Trojile ; a morcel of St. Teters by it felf ; and that profpecl: of the Loure^ which laft doth far tranfcend the reft of his works, and may be efteem'd one of the beft of that kind which the World has extant, for the many perfe6Uons that aflemble in it.

There is at prefent Robert Nanteuil an ingenious perfbn, and my particular friend, whofe Burine renders him famous through the World : I have had the happinefle to have my Tortraift engraven by his rare Bu- rine ; and it is therefore eftimable, though unworthy of the honour of being placed a- mongft the reft of thofe Illuftrious perfbns, whom his hand has render'd immortal:

For

The History of Chalcography.

For liich are the French King, trie Queens of Toland and Sweden ; Cardinal Mazerin, whofe Effigies he has graven no lefs then nine times to the life : The Duke ofJLongue- ville; D. of Bouttion, Mantoa, Manjhal Thurene; Prefident Jeannin, Molle, Telier, Ormejfon, the Archbijhop of Tours, Bifhop of S. Malo : L'^bbt Fouquet, and divers others of the long Robe : Alfb Monfieur Hedelin, Menage, Scuderi, Chapelain, Marol- les, and the relt of the wits ; in fiimme, al- moft all the great perfbns of note in France. But that we may conclude this Recen- fion with luch as have moft excell'd in this Art, and give the utmoft Reputation it is capable of. Jaques Callot, a Gentleman of Lorrain, (if ever any) attained to its fublimity, and beyond which it feems not poffible for humane induftry to reach ; e£ pecially, for Figures in little; though he have likewife publifhed fome in great as boldly, and malterly perform 'd as can po£ fibly be imagin'd : what a lofle it has been to the yirtuofi, that he did not more delight in thofe of a greater Volume, fuch as once he graved at Florence, do fufficient- ly teftifie, and which likewife have exalt- ed his incomparable Talent to the fupream- efl point: It might not feem requifite to

mi-

Sculptura, or

minute the works which he has publifhed ; becaufe they are fo univerfally excellent, that a curious Perfon fhould have the whole Collection, (and be carefull that he be not impos'd upon by the copies which are frequently vended under his name; efpe- cially thofe which Monfieur Bojfe has pub- lifhed, and which neareft approach him) were it not highly injurious to his merit not to mention fbme of the Principal; Such are his St. Taul, Ecce homo ; the 'De- moniac cured, after Andrea Bofcolt ; a Ma- dona after Andrea del Sarto ; the four Co- m<edians^ all thefe of the larger Volumne, and fome of them with the Burine. Alfo the paflage of the IJraeittes : St. Lukes Fair dedicated to Cofmo di Medices, a moft ftu- pendious work coniider'd in all its Cir- cumftances, and encounters : fo full of fpi- rit and invention, that upon feveral attempts to do the like, it is faid, he could never ap- proach it; fb much (it feems) he did in that piece exceed even himfelf.

This is alfo well Copied : the Hiftory of the B. Virgin in 14 leaves, the A rfo B/es in great, the murder of the holy Innocent s^ an incomparable work, and almoft exceeding our defcription, as to the fmalnefs, life, perfection and multitude of Figures expref-

fed

The Hiftory of Chalcography.

fed in it. The ftory of the Trodigal: the life and death of our Saviour in 2,0 fmall Ovals very rarely perform'd. The Mar- tyrdom of the Apojiles in 16 leaves wor- thy of admiration : The paffion of our Sa- viour in 7 larger cuts : St. Anthonies tempta- tion, prodigious for the fancy and inven- tion : St. Manfuetus raifing a dead Prince, a Bifhop preaching in a wood : Divers books of Landskips and fea pieces: Efpecially thofe admirable cuts of his in a book intitu- led Traftato di terra Santa^ wherein moft of the Religious Places of Jerufalem^ Temples, Profpe&s &c. about the Holy Landwz grav- ed to the life by the hand of this excellent Mafter ; The Book is very rare and never to be encountr'd amongft the collection of his Prints. The Duke o^Lorrams Palace and Garden at Nancy : alfo another paper of a Tournament there, both of them moft rare things : Military exercifes ; The miferies of war in 1 8 leaves very choice: Thebattail of Thejeus^ Combat at the Barriere^ entrance of the great T>uke with all the Scenes and re- prefentations at the Duke of Florences nu- ptials: the Catafalco errefted at the Emp. Matthias* death : the famous Seige at Ro- chel, a very large print: alfo the night piece of the Cheats and Wenches at play :

MaJ-

Sculptura, or

Mafcarades, Gobbi, Beggars , Gypjyes, Batti and 'Dances, Fantafies, Capriccios, Jubilatio Triumphi B. J^irginis, which was it feems grav'd for a The/is; and finally the Cabaret ; or meeting of Debauchees, which (being the laft plate that ever he grav'd) had not the Aquafortis given it 'till after his deceafe : And thus we have in brief pofted over the ftupendious works of this inimitable Matter, whofe point and manner of etching was nothing inferiour, nay Ibmetimes even ex- ceeded the moft skilful Burine. But at length Sit pudor & finis, I defift, and fhall here conclude the recital of the French Chako- graphers fo many for their numbers, labo- rious in their works, and luxurious of their inventions, after we have done reafon to Monfieur Bojfey who has made him felf fo well known by his moft accurate imitation of Callot, befides the many rare things he has himfelf publifhed. It were altogether unpardonable, that fuch as would accom- plifh themfelves in Etching, fhould be de- ftitute of his entire work ; efpecially thofe of his latter manner perform'd in fingle and mafterly ftroaks, without decuflations and crofs hatchings, in emulation of the Graver. Thofe Signets, Fkurons, capital letters, Tuti, and Compartiments made to a-

dorn

The Htftory of Chalcography.

dorn the Royal imprejjlons at the Lome are worthy of celebration ; becaufe it is im- poffible for the neateft Burine to excell his points and Efchoppes ; and for that it is to him that we have been chiefly obliged for a Treatife which we had prepared of the pru&icaJ, and Mechanical y&\. of this Art of Chalcography, whereof I have already given, accompt elfewhere : it is to the fame Mon- faur du Bojfe that the world is beholden for his ingenuity in publifhing many other rare and ufefull Arts affiflant to Architecture, cDyalling,fyuaringofftones, and encountring the difficulties of the Free-Mafon, befides, thofe excellent Treatifes ofpcrfyeftrve, which from the dictates of Mon/leur des Argues, he has fb laudably communicated: This, and much more we owe to this honeft Mans fame and particular friendfhip.

And laltly, the excellent Chart-Gravers may not be totally excluded of this Cata- logue•; becaufe it is a particular addrefs, and, of late, infinitely improv'd by the care of Tavernier, Sanfon, the Jejuit Briets, de la Rue, du F'al, graven by Cordier, Riviers, Teroni and others ; not forgetting the moft induitrious Bleaus of Amfterdam, who have publifhedthe Atlas's, and other pieces which celebrate their names to polterity; and

.9 8 Sculptura, or

fuch an undertaking has the Ingeneere Gom- bouft perform'd in his Ichnographical plan of Paris lately fet forth, being the refult of near a five years continual labour of mea- furing, plotting, and obferving, to render it the moft accomplifh'd, and teftifie to what ufe, and perfection this noble Art is arriv'd : This we the more readily mention, that thereby we may flimulate 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 fliould think of home a little, and celebrate like wife fbme of our own Country-men, who have worthily merited with their Graver. And although we may not yet boaffc of fuch multitudes by reafbn of the late unhappy differences, which have di- flurb'd the whole Nation, endeavouring to level Trinces, and lay the Mecxnass of This, and all other Arts in the duft ; yet had we a Taine for his Ship, fome heads to the life, efpecially that of Dr. Alabajler^ Sir Ben. Rudyard^ and feveral other things ; A Qedly and a Wright little inferiour to any we have enumerated for the excellency of

their

The Hijlory of Chalcography. 99

their Burines and happy defign ; as at pre- fent we have Mr. Fait home JAv. Barlow^Gay- <wood, Loggan and others who have done ex- cellently both with the Graver, and in Aqua fortis, efpecially in thofe birds and beafts which adorne the Apologues of ^EJbfe publifhed by Mr. Oglebie; and of Mr. Fai- //foTra^wehave that Chrift after Raphael; from fome excellent Mafter, as big as the life, a Madona\ Chr. Jofeph and a Lamb after La Hj/rez very good painter ; The Effigies of my Lord Vifcount Mordaunt^ Sir /^. Tafton, and his Lady, with feveral others after Fan T)yke^ Honiman^ &c.

Lightfoot hath a very curious Graver, and fpecial talent for the neatnefle of his ftroak, little inferiour to Weir1 ; and has publifhed two or three Madonas with much applaufe : Alfo Glover divers heads; as at prefent J. Fettian Difciple of Mr. Faithorne^ who is a hopeful young man: Laftly,for^d'^/7j'and fntagltaswe have Mr. Symonds, Rawlins, Re- ftrick^Johnfon and fome others, whofe works in that kind have hardly been exceeded in thefe later times ; not omitting the induftri- ous Mr. Coker, Gery^ Gething, BiUingly^ &c. who in what they have publifhed for Letters and Flourijhes are comparable to any of thofe 1 wnx ed. i Malters

H2,

i OQ Sculptura, or

Matters whom we have fo much celebrated amongft the Italians and French for Calli^ graphy and fair writing : We have like- wife Switzer for cutting in Wood, the fon of a Father who fufficiently difcover'd his dexterity in the Herbals fet forth by Mr. Tarkinfon^ Lobel, and divers other works with due commendation, not to mention the reft, as yet unknown to us by their names, from whofe induftry we are yet to hope for excellent progrefle.

We do therefore here make it our fiiite to them, as what would extreamly gratifie the curious, and F'irtuoft univerfally, that they would endeavour to publifh fuch ex- cellent things as both his Majefty and di- vers of the Nobleile of this Nation have in their pofleffion ; and to which there is no ingenious perfon that will be deny'd accefs ; fince if their Collections were well en- graven and difpers'd about the World, it would not only exceedingly advance their profit, and reputation; but bring them likewife into a good manner of 'Defigning, which is the very life of this Art, and render our Nation famous abroad, for the many excellent things which it has once again (by the bleffing of God, and the Genius of our moft Illuftrious Prince) re-

cover'd ;

The History of Chalcography. ioi

cover'd ; Efpecially, if joyned to this, fuch as exceed in the talent, would entertain us with moitLandskips, and views of the Envi- rons, Approches and Profpe&s of our noblyfituated^/r0/>0//>, Greenwich, Windfor and other Partsupon the goodly Thames-^ and in which (as we faid) Mr. Hollar has fo worthily merited, and other Countries a- bound with, to the immenfe refrefhment of the Curious, and Honour of the in- duftrious Artift : and fuch we farther wifh, might now and then be encourag'd to travail into the Levantine parts; Indies Eaft and Weft; from whole hands we might hope to receive innumerable, and true 2)e/ignes drawn after the life, of thofe furprifing Landskips, memorable Places, Cities, Ifles, Trees, Plants, Flowers, and Animals, &c. which are now fb lamely, and fo wretchedly prefented, and obtru- ded upon us by the Ignorant, and for want of abilities to reforme them.

And thus we have (as briefly as the fubjecl; would admit) fmifti'd what we had to offer concerning the original andProgrefs of this noble Art : Not, but that there may have been many excellent Mafters omitted by us, whofe names were worthy of Re- cord ; But becaufe they did not occur, H 3 at

io2 Sculptura, or

at the writing hereof, and that we have already introduced a competent, and fuffi- cient number to give reputation to the Art, and verifie our Inftitution. For the reft, if we have fomewhat exceeded the limits of a Chapter (comparing it with thofe which did preceed) it has not been without Pro- fpect had to the benefit of fuch as will be glad of inftruftion how to direct their choice in collecting of what is curious, worthy their procuring, and as the Italian calls them, di buon gufto : For we are far from opining with thofe, who fly at all without judgement or election. In fumme, it were to be wifhed, that all our good painters would enrich our collections with more of their Studies and Ordonances, and not de- fpife the putting of their hands now and then to the Graver: "We have given in- ftances of great Mafters who excell'd in both; and the Draught, if it be good, does fufficiently commute for the other defefts, or what it may feem to want in the neatnefle, and accurate conducing of the Hatches ; fince by this means, we fhould be ftored with many rare 'Defignes, Touches •, and Inventions, which for being only in Crayone^ are cafiial, and more obnoxious to accidents; and can be communicated but

to

The Hiftory of Chalcography. 103

to thofe few, who have the good fortune to obtain their Papers; and (which is yet more rare) the happinefle to under ftand, as well as to talk or them.

CHAP. V.

Of Drawing, and T)e[ign previous to the Art of Chalcography ; and of the uje of Tittures in Order to the Education of Children.

AS the Rules of Meafure and Proportion have an univerfal influence upon all the A6Uons of our lives; it was a memora- ble, and noble faying of a great Per f on of Thomas our Nation, difcourfing to us once concern- ing the dignity of Painting, and the arts L. which attend it : That one who could not T)e- [ignea little, would never make an honeft man: How that obfervation iucceeds in the ge- neral, we have not made it much our ob- fervation ; but this we are bold to pro- nounce. That he (hall never attain to the excellency of a good Chalcographer, who is not more then ordinarily skilTd in the fa- culty and art of 'Drawing ; a thing fo high- ly neceflary, that T>onatettus was wont to tell his Difciples (difcourfing fbmetimes H 4 con-

104 Sculptura, or

concerning the accomplifhment of this Art) that to deliver it in a fingle word, he would fay, DESIGNS ; becaufe it was the very Bafis and Foundation, not only of this, but even of all thofe free and noble Scien- ces of Fortification, Architecture, Terfpe- ffive, and whatfoever alfo pretended to any affinity with the Mat hema ticks, as really leading the Van, and perfeftive of them all. But to treat Methodically of this, or as we have already enlarged in the Hiftory and Progreffe of Chalcography, and the fur- viving labours of the moft renowned Ma- tters, would require no lefle time and pains: It were indeed a noble, curious, and ufeful work, but almoft impoffible to accompliih ; becaufe the Original Drawings of the great Mafters, being difperfed amongfl the hands of the greateft Princes, and men of Science only, are preferved with jealoufie, and efteem'd, as fo many Jewels of greater value, then thofe of Pearles and Diamonds : For fbme of them being the very laft workes, though but imperfect draughts of fo Excellent Artifts; they have for the moft part been in greater efteem, then even thofe of larger bulke and more fi- nifhed; as Tliny inftances in the Iris of the Medea of Timomachus, and

fome

The Hiftory of Chalcography.

fome others ; becaufe (as he there fpeaks) fiich touches did even exprefle the very thoughts and prime conception of the Workman, as well as the Lineaments which he prefents us ; and that there is a certain compaffion in our Natures, which indears them to us, fb as we cannot but love, and defire the hands which perilhed in the midft of fuch famous pieces : Add to this, their inimitable Antiquity, then which (according to Qutntilian) nothing inft. i. 8. do's more recommend things to us, from a c' 3* certain Authority which it universally car- ries with it ; fo as we feem to review what they did of old in this kind ; as if (with Libanms) the Gods had imparted fome- thing of extraordinary to the Matters of the Ages paft, which the nature of man is not now capable of attaining.

Thefe difficulties therefore confider'd, it will not be required of us in this Chapter, which pretends to celebrate and promote the Art of ^Drawing, and 'Defigne, only as it has relation, and is an abfblute requisite to that of Chalcography ', and to prescribe fome directions and encouragements, which may prepare and fit the hand with a com- petent addfeffe therein.

Whether J £>e/ign, and T>raixin^ were x

1 Design was, ed. x the

io6" Sculptura, or

the produ6Uon of Chance or Excogitation, we determine not; certain it is that pra- &ife and experience was its Nurfe and per- ficient ; by fome thus defined to be A vifi- ble exprejjlon of the Hand refembling the conception of the mind \ By which Definition there are who diftinguifh it from "Drawing both as to its Original, and Formality ; For 'Dejign (fay they) is of things not yet appearing ; being but the picture of Ideas only; whereas tDrawwg, relates more to Copies, and things already extant : In fum, as the Hiftorian differs from the Poet, and Horace has well exprefled it,

Tiftoribus atque Toetis

DC A «te Quidlibet audendifemperfuit <equa poteftas.

We could eafily admit this Art to have been the moft antient, and with Thiloftratus^ ^uyyeveo'TetTov TJJ <f)v<ret,of kin even toJVature her feF: But to take it fbme what lower, there goes a tradition, that fome ingeni- ous Shepheard was the inventor of it, who efpying the fhadow of one of his fheep on the Ground (interpos'd between him and the culminating, or declining fun) did with the end of his crook, trace out the Trofik upon the dufl : and truly fome fuch vulgar accident (for chance has been a fruitful Mother) might firft probably intro- duce

The Hiftory of Chalcography. 1 07

duce it; however afterwards fubtiliz'd upon and cultivated, till it at length arriv'd to that degree of excellency and efteem, which it has happily gained, and fo long continued.

But to quit thefe nicer investigations, and proceed to fbme thing of ufe, as it con- cernes the Title of this chapter: The firft and principal manner of Drawing is that with \htpen ; the next with Ovmw, whither black, white, red or any of the inter medial co- lours, upon paper either white or colour 'd : We will not fay much concerning wafh- ing with the pencil, or rubbing in the (hades with T aft ills and dry Compofitions ; becaufe it is not till our T)ifciple be a confummat Artift, that he can be edified with defignes of this nature, and, after which, they are of excellent ufe and effect.

The pen is therefore both the firft, and beft inftru&or, and has then (as all the other kinds) attained its defired end, when it fb deceives the eye by the Magic, and innocent Witch-craft of lights and fhades, that elevated, and folid bodies in Nature, may feem fwelling, and to be emboffed in Tlano, by Art.

To arrive at this, you muft firft draw the exaft lineaments, and proportion of the fubjecl: you would exprefle in profile, Con- tours

io8 Sculptura, or

tours and fingle lines only ; and afterwards, by more frequent, and tender hatches in the lighter places, ftrong, bold, or crofs in the deeper.

By Hatching is underftood a continual Series, or fucceffion of many lines, fhorter, or longer ; clofe, or more feparate ; ob- lique, or direct, according as the work re- quires, to render it more, or lefle inlightned; and is attain'd by praclife with a fwift, even and dextrous hand; though fometimes alfo, by the help of the rule and compafs ; every man being not an Apelles or Troto- genes to work without them. Now the befl expedient to gain a maftery in this Addrefs, will be to imitate fuch prints, and cuts, as are moft celebrated for this perfection : Such (amongft plenty of others) are thofe of Henry Goltzius : The Sadelers, Harman, Sanredam, ^osJerman, and above all, that rare book of Jacomo Talma graven by 0- doardo Fialetti: Of the more Modern, the incomparable Natalis, Nanteutl, Toilly, Cor- nel. Blomaert ; Thefe for the Burin : For Etching > Ca Hot, Morine and Boffe ; efpecially in thofe his latter pieces, which have fo nearly approach'd the Graver. After thefe, let our Learner defign the feveral mem- bers of bodies a part, and then united,

with

The Hiftory of Chalcography. i op

with intire Figures and Stories, till he be able to compofe fbmething of his own, which may fupport the examination of qualified Judges. But the Trpoxdpctyftc*, orfirft draughts of thefe, would not be with too great curiofity, and the fe veral minutiae that appear in many Coppies ; but with a cer- tain free and judicious negligence, rather aiming at the Original, then paining of your- felf with overmuch exaclnefle: foinocerefepe nimiam diligentiam, was an old obfer vation ; and therefore the antient Painters (fay es^/- loftratus) more efteem'd a certain true and liberal Draught, then the neatnefs of the Figure, as he exprefles it in <dmphiarauss Horfe, fw eating after the conflict; fince Drawings and Defignes are not to be like Tolycletuss Canon, which took its feveral parts, from as many perfect bodies, by a itudied, and moft accurate Symmetric : It fhall fuffice that the prime conceptions of our Artift be perform a with lefs conftraint; a coal or penfil of black-lead will ferve the turn, referving the ftronger, and deeper touches for a fecond pafs of the hand over your work ; and lalt of all, penning the Contours, and out lines with a more even and acute touch, neatly finifhing the hatches with a refolute, conftant and flowing hand; efpecially, as it approaches to the

fainter

no Sculptura, or

fainter fhadowes, terminating them in loft and mifty extreams, and thwarted (if you will counter-hate/)) at equal, and uni- form intervals (but not till the firft be dry) or, if with iingle ftroaks (which to us ren- ders the moft natural, and agreeable effects) with full, deep hatches, and their due di- minifhings.

But it would haply be objected, that thefe accurate Delignes of the pen, were never efteemed among the nobler parts of 'Drawing, as for the moft part appearing too finnicall, ftiffand conftrain'd : To this, we reply ; that the remark is not impertinent, as commonly we find by experience : But it has not proceeded from the leaft defect in the Inftrument, but from that of the jlrtift, whofe aptitude is not yet arriv'd to that perfection which is requisite, and does infallibly confirme, and difpofe the hand to whatever it addrefles; affording fb great a delight and fatisfa&ion to fome excellent Workmen, as that they never defir'd to advance further, then this Tri- umph of the pen, which has celebrated their names, and equaliz'd their renown with that of the moft famous Painters : For fuch were (in this nature) the incom- parable Drawings of T>on Giulio Clovio,

Albert

The History of Chalcography. 1 1 1

Albert T)urer, Tajfarotto, yea Titian himfelf, when the fanfie took him : The foremen- tion'd Goltzius, efpecially, for his T>iana fleeping, drawn with a pen on a cloath prim'd in oyl, which was ibmetimes fold at Amfterdam for 2,00 pounds ; and that labo- rious, and moft ftupendious work of his, now part of his Majesties collection, where he has drawn with the pen upon an height- ning of Oyl, a Fenus, Cupid \ Satyr, and fbme other figures, as big as the life it felf, with a boldnefs, and dexterity incompara- ble : and fuch are fome things which we have feen done by Signior Thomafo a Flo- rentine; our ingenious friend Mr. Zander T>oufe (defcended of that noble Janus T)ou- Ja, whofe learning, and courage the great Scaliger, and Grotius have fb worthily cele- brated) now in the Court of England. To thefe we add Rob. Nanteuil at Taris, and of our own Country-men, thofe eight, or ten Drawings by the pen of Francis, and John Cleyn, two hopefull, (but now defceafed) Brothers, after thofe great Cartoons of Ra- phael^ containing the f tories of the jiffs of the Apojlles^ where in a fraternal emulation, they have done fuch work, as was never yet exceeded by mortal men, either of the former, or prefent Age; and worthy

they

Sculptura, or

they are of the honour, which his Majefty has done their memories, by having pur- chafed thefe excellent things out of Ger- many ^ whither they had been tranfported, or, at leafl intended : There is likewife one Mr. Francis Carter (now in Italy) not to be forgotten amongft thofe whofe pens deferve to be celebrated : But it is not here that we are to expatiate far on this par- ticular, as deligning a Chapter only, much lefs lhall we have leafure to proceed to black, and white Chalke (as they call it) upon coulour'd paper, in which thofe ma- ny incomparable, and Original drawings of the old and great Matters are yet ex- tant, wherein a middle Colour wrought upon two extreams, produces (on an in- ftant) that wonderfull, and ftupendious roundnefs, and exftancy, which the Pen is fb long in doing, though fb infallible a guide to its well doing ; that having once attain 'd the command of that inftrument, all other Drawings whatfoever, will feem moft eafie and delightfull : Neither ihall it then be requisite to continue that exa&nefs, fince all Drawing is but as an Hand-mata and Attendant to what you would either Grave or paint.

But by this perfection and dexterity at

The Hiftory of Chalcography. 113

firft, did even thofe renouned Matters, Julio, Tarmegian, and fometimes Tolydor himfelf (not to infiit on Rubens and Van- dyke) proceed, whofe Drawings in this kind, when firft they made their fludies in Italy, were exceedingly curious, and finifheid ; though in all their more recent, and matu- rer Dejlgnes, rather judicious then exacl:, becaufe of that time which fuch minute finifhings did ufually take up; and, that when all is done, it is itill but a Drawing, which indeed conduces to the making of profitable things, but is it felf none.

Yet fb highly neceflary is this of Draw- ing to all who pretend to thefe noble, and refined Arts; that for the fecuring of this Foundation, and the promotion and en- couragement of it, the greatefl Trinces of Europe have erected Academies, furnifhed with all conveniencies, for the exercife, and improvement of the J^irtuofi; Such illullri- ous and noble Genius s were Cofimo di Me- dices, Francis the Firit, Carlo Borromeo, and others, who built, or appointed for them, Stately Appartiments even in their own Palaces, and under the fame Roofe: procuring Models, and endowing them with Charters, Enfranchifements, and ample Honoraries\ by which they attracted to

EVELYN I their

114 Sculptura, or

their Courts, and Countries moft of the refin'd, and extraordinary fpirits in all the Arts and Sciences that were then celebrated throughout the World.

Nor it feems has it been the fole glory of thofe illuflrious Princes to cherifh and eno- ble men of Art : the Greek and Roman of old had them in fpecial veneration ; but in none of their Courts, were men of Science carrefled to that degree, as in that we have read of the Emperours ofjapons at prefent, who does not only entertain, and nobly accommodate them, but never ftirs abroad without their company. Thefe great men /cnp. fayes my * Authour ( meaning Pbyjitians^ JB. "Painters, Sculptors, Mufitians, <&c. quos proprio nomine appellant Contubemium tie/a- rts ) march before the King whither he go forth in Litter or on Horfeback ; and being ele&ed of Perfons of the greatelt birth in his Dominions, they alwayes continue at his Court, richly appointed with fallaries ; but otherwife, to bear no office whatfbever which may in the lealt importune them, eofolum elefti, utlmperatori advoluptatem & deleftationem consortium pr<eftent^ as being therefore only chofen, to recreate and di- vert the Prince with their excellent conver- fation: Thefe being men of the rareit parts,

and

The Hiftory of Chalcography. 1 1 5

and endowments in his Empire, have pre-eminence in all places next the King ; then come the Guards in the reere, which confifl of a more inferiour Nobility : Thus farr the Hi&loriani We know not how this Inflance may in thefe dayes be inter- preted ; but certainly the Courts of Princes were in former Ages, compos 'd of men of the greatefl virtue and talents above the reft, and fuch as poflefs'd fomething of ex- traordinary (befides the wearing of fine cloaths, and making the bone mine) to re- commend them. We infill not on Sculp* tors, and painters only, efpecially, as fuch men are now for the moft part Vitious, or elfe of poor and mechanick fpirits ; but as thofe Antient and Noble Genius's were heretofore accomplifh'd ; and fuch as of late were Raphael, (Durer, Leon ^Iberti, 7) a Finc'^ Rubens, and at prefent, Cavalier Ber- nini, &c. perfbns of moft excellent endow- ments, and univerfally learned, which ren- dred their Fautors and Protestors famous, by leaving fuch marks of their admired Virtue, as did eternize their merits to after Ages.

Thus it was, that Myron, Tolycletus, Thydias, Lyfippus and others of the Antients, procured fuch lafting names by their divine labours : They wrought for Kings, great Cities and Noble Citi- i 2, zens\

i [<5 Sculptura, or

zens : whereas others, on the contrary? (Men haply of no lefle induftry and fcience) had little or no notice taken of them ; be- caufe they received no fuch encourage- ments, were poor and neglected, which did utterly eclipfe and fiipprefs their fame ; fuch as thofe whereof j^itruvius does in the Preface to his third book make mention, where he fpeaks of Chiron the Corinthian, Hellas of Athens, M/agrus of Phocia, Tha- rax the Ephefian, befides AriSlomcnes^ Toly- cles, Nichomachus, and fever al others, who being excellent Matters and rarely en- do w'd, perifh'd in obfcurity, and without any regard, from the unequal hand and di- flribution of fortune, and for want of be- ing cherifhed by Princes and great men : But to return ;

In thefe places had they books of Drawings of all the old, and Renowned Mafters, Rounds, Buffs, Relievos and entire Figures, call off from the beft of the An- tique Statues and Monuments, Greek and Roman ; There was to be feen, the Lao- con, Cleopatra, ^ntinous, Flora, Hercules, Commodus, Fenus, Meleager, Niobe, &c. whereof the Originals a.r£i\\}\.extant at Rome-. There were likewife divers rare and excel- lent Statues, both ofbrajs and marble ; Mode Us and divers fragments of Safes, Colomns,

Capitals

The Hiftory of Chalcography.

Capitals, Freezes, Cornijhes and other pieces moulded from the moil amhentique re- mains of the antient famous buildings, befides a univerfal collection of Medaitts, things Artificial and natural.

But to recover our Drawing again, as it concernes the Art of Chalcography, we have already mentioned iuch of the moft accomplifh'd Gravers, whofe labours and works were propofed for exemplars and imitation: Nor let the mofl fupercilious painter defpife what we have here alledg- ed ; or imagine it any diminution to his Art, that he now and then put his hand to the pen, and draw even after fome of thofe Mafters we have fo much celebrated : what Andrea del Sarto has taken out of the prints of Albert 1)urer, improving, and reducing them to his manner (not for want of in- vention, and plagiary like, as all that have any knowledge of his works can juftifie) has no way eclipfed, but rather aug- mented his glory; as on the other fide, that divine piece of his, the Chriftus mor- tuus, which he gave to be cut by Augufti- no F'enetiano-, The Triumphs, f^afas, and Anatomies of old Rojfo, by whomfoever en- graven, and thofe other things of his af- ter T)omenico Barbieri: Tauk J^eroneze did i 3 much

1 1 8 Sculptura, or

much ftiidy the prints of T)urer, and that incomparable painter Antonio Fajfalacci, (call'd otherwife Alienfe) made notable life of that his prodigious collection of Stamps of the moil rare hands : not to recapi- tulate what were publifhed by Raphael him- felf, and infiniteothers; by which they have fufficiently made appear, the value they attributed to this Art\ by defiring (as much as in them lay) to render their works famous to polterity, by thus com- . municating them to the World, though many times, through the hands but of very vulgar, and ordinary Gravers.

And here we fhould have put a period to this Effay, and the prefent chapter, as having abundantly vindicated the neceffity and worthinefs of 'Defigne and 2) rawing, as it is previous, and introducto- ry to the Art of Chalcography ; had not one curiofity more prevented us ; which be- caufe it so much concernes the conducting of Hatches and itroaks, whither with pen, point^ or Graver; pretending (at lealt very ingenioufly hinting) to a method, how by a conflant, and regular certitude, one may exprefs to the eye, the Senfation of the Relievo, or extancie of objeds, be it by one, or more hatches, crofs and counter,

we

The Hiftory of Chalcography. up

we think not impertinent here to re- cite, as briefly as the demonitration will permit.

The principal end of a Graver that would coppy a Defign, 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 fhades on the Front, flying or turning, in bold, or faint touches ; fo as may belt exprefs the Relief e ; in which Gravers have hitherto, for the molt part, rather imita- ted one another, then improved, or re- fined upon Nature; fome with more, fome with fewer ftroaks : having never yet found out a certain and uniforme guide to follow in this work ; fo as to car- ry their Itroaks with aflurance, as know- ing where they are to determine, with- out manifeitly offending the due rules of perfpective.

If in truth Nakeds, and other polite Bodies were fb formed, as that we might detect the courfe, and inclination of the Threads, Fibers, and Grain, fo as we per- ceive it in Stuffs, Cloth, Linnen and o- ther 'Draperies-, nothing would appear more facile; for let them aflume what ply they will, it does not at all concern i 4 the

i2o Sculptura, or

the tiflue, Tenor or range of the Threads and Wales* (as they call them) which is eafily imitated, both as to their inclinations, and diftances from the point of fight.

But fmce we are much at a lofs, and can perceive no fiich direction or clue in Nu- dities, and other fmooth furfaces, it were haply worth the while, to find out fome expedient which ihould affift the imagina- tion in this affair, and that might encoun- ter the difficulty upon other terje and e- ven objects, by forming fuch flroaks, and directors upon them in our Imagination; obferving, that there are fome parts in them commonly to be diltinguifhed from the Mafs in grofs; for example, the hairs in men, eyes, teeth, nails, &c. that as one would conceive fuch lines, or hatches on thofe Majfes, others may like wife be as well fanci'd upon thofe lefler, and more de- licate members:

To erTecl: this, the following Ichonifme is thus explained.

J Wails, 1661.

'••

Sculptura, or

Suppofe, in the upmofl Figure of this plate, the object (0) to be the reprefentation in p&fpe&ivc of the portion of a Bowie, ex- pos 'd to the beams of the Sun ; and the let- ters c s r t a Frame, or fquare of Wood barr'd and fining in even and ftraight lines, parallel inter fe.

Then another Thread, viz. m n. crofling them in perpendicular. The frame in the mean time fuppos'd to incline towards the Bowie 0 'twixt it, and the Sun, which reprefents to you all thefe threads project- ing their fhadowes upon the Bowie, and the furface where it is fituate.

Suppofe now the fame upon the Relie- vo or Mafe it felf ; it is evident, that thefe Threads, in whatever manner you interpofe the faid Frame 'twixt the Bowie and the Sun, that they will perpetually call their fhadowes parallel inter* Je, cutting it as it were, into feveral planes, uniforme, and pa- rallel alfb.

You fee likewife in this very Figure, that the oblique, and direct fhades o u x y are caufed by the cathetus mtn, and the pointed curved lines upon the Bowie 0, viz. o z n 1 2. &c. are formed by the parallels which interfecl: the perpendicular.

But the fame frame pofited between the

Sun

The Hi ft orf of Chalcography. 12.3

Sun and a Head in Relievo of white marble, or the like (as in the inferiour example) will not render the fliadow of the threads alike upon all the parts parallel inter Je (as in the former) though the fame were fiip- pos'd to be cut by like plain, and mutual Parallels as was the Bowie 0. However, fo fhall they appear, as to hint the tracing of parallels on the Relievo^.tt affiit the ima- gination of them there, and confequently, how to defigne them upon objects made after the fame Ordonance in perjpeftive pa- rallel, as one may conceive them upon the Relievo of an Ordonance in G eometrical paral- lel, viz. as in the Figure 0. or to fpeak more diltinclly, fuppofing them the lame on the irregular, as on the regular.

Confider then upon the Head, the con- courfe of thofe imaginary parallels in per- fpeffive, {haded with the pointed lines; and how the inter current hatches, which they comprehend, purfiie the fame courfe and tenor, or perfpeftive parallelisme.

From thefe in{tances now, it will not be difficult how to apply the fame upon all the forts of bodies reprefentable by Graving, and to comprehend in one's imagination, the concurrency and nniforme tenor of the particles, as we may fb call them; Only,

there

12-4 Sculptura, or

there is this particular to be obferved, that the proje&ure of the threads will not ap- pear alike perfpicuous in the deep, and fhady parts of Relievos, as upon the illu- minated, being loft in the dark : But this is eafily fupplyed by the imagination, or by holding a loofe thread parallel to the (haded, neer to the body of the Figure; by which the courfe of the reft may be well conceived. And this may ferve to give great light to him that fhall either grave in Copper, or draw with the pen, for the Symmetrically conducting of his hatches,

determinatively, and with certitude, by thus imagining them to be Geometrically marked upon the Relievo, or emboffement of the Natural, whereever he encounter it, and after this conception, to trace them out upon his Tlate, or Z>raflg/Mnperfpecl:ive. And indeed, that which is chiefly confl- derable and ingenious in this, is, that of their Terfpeftive-, fince the lhades of the lines (in the foremention'd example) which were upon the parts more, or lefle turn'd, appear to our eye accordingly, with more or lefs force, which renders clear a different effecl:, as to the fwelling and extancies of the parts, then we find it in works where this method has not been obferved ; fo as truly, this may

feem

The History of Chalcography. 115-

feem to be the moft certain expedient of exprefling by hatches, the Relievo of obje&s, whether with the Ten, or Burine. And this is the fence of a much larger difcourfe, which Monfteur du Bojfe has propofed, treating of the pra6Hfe of Terfpeftive upon irregular Surfaces, and we have thought fit to infert into this Chapter ; not only becaufe it is new and pretty; but, for that (to us) it appears to be of good ufe, and as may be feen in fbme of the late heads graven by the incomparable Nanteuitte, who had been the fole occafion of this ingenious confidera- tion, about the time of our laft being at Tans.

But if this (like the diligence of Mecho- panes, which Tliny affirmes, none was able to underfland but an Artift only) feem to be a difquifition more refin'd then ufeful ; for that few of our Gravers work off from the Round, upon which alone the obfervation is practicable; yet ihall it be neceilary to admonifh, that (hadowes over dark, too deep and fuddain, are not com- mendable in thefe works, as feldom fo ap- pearing in the life-, and therefore hatch- ings exprefs'd by iingle fbroaks, are ever the molt graceful and natural ; though of grea- ter difficulty to execute ; efpecially, being

any

12.6 Sculptnra, or

any wayes oblique ; becaufe they will re- quire to be made broader, and fuller in the middle, then either at their entrance, or exit\ an addrefle much more eafie with the Burin, and the Ten, then with the point, Though Monfieur Bojfes invention of the EJchoppe, does render the making of this Sulcus, much more facile : But to attain this Maflerly, and with aflurance of hand, our Workmen may do well to imitate the Gravings of the Sadelers, F'illamena, Suaanneburg, Gaultier; but efpecially Claudius Mettan, Nat alts, Toilfy, Nanteuitt, Cornelius Blomart, H. Goltzius\ And for the Etchers in Aqua Fortis, Callot, and *Du Bojfe in fbme of their lafl cuts, ef- pecially ; Though even the counter hatch- ings alfb, coming tenderly ofl^ and well conducted, (fb as 'tis to be feen in fbme of the prints of M. Antonio's, C. Cort, <dug. Carracio and other Matters) render both an admirable and ftupendious effecl: For it is in this well placing ofit^hite and black, wherein all this Art, and even that of 'paint- ing does confif t : Thus Aglaphontes us'd but one Colour, no more did Nicias the Athenian Painter; and it was this Relievo alfo for which the famous Zeuxis became fo re- noun'd : not to infift on Heredices the Co- rinthian

The Hiftory of Chalcography. i

rinthian, and Thelophanes the Sicyonian,*w\vz were both of them but Monochromifts; and, 'till Cleophanes came amongfl them, no diffemblers, as owning no other Co- lours but thofe eminent Contraries ; that is, the lights and the fhades, in the true managing whereof, fo many wonders are to be produc'd by this Art, and even a certain fplendor, and beauty in the touches of the Burin, fo as the very Union and co- louring it felf may be conceiv'd without any force upon the imagination, as we have before obferved in thefe excellent Gra- vings of Natalis, Roujlet, and Toilly, after Bourdon, and in what Greuter, BJomart, and fome others have done after Monfieur Toujfin, 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, fiich a pofition of the Hatches as the Chevalier Wolfon has invented, and Tietro Santo the Jejuite has follow 'd, to diftinguifh their JBla- zons by : But a certain admirable effecl;, e- merging from the former union of Lights, and ihadowes ; fuch as the Antients would expreffe by Tonus, or the Tythagoreans in their Troportiom, and imitated in this Art, where the fhades of the Hatches intend,

and

n8 Sculptura, or

and remit to the beft refemblance of painting, the Commiflures of the light and dark parts, imperceptably united, or at leafl fb fweetly conduced, as that the alteration could no more certainly be de- fin'd, then the Semitons, or Harmoge in mu- fick, which though indeed differing ; yet it is fo gentle, and fb agreeable, as even ra- vifhes our fenfes, by a fecret kind of charme not to be exprefled in words, or difcerned by the ignorant. And this it is, which has rendred it fo difficult to coppy after 1)e- fignes and Tainting ; and to give the true heightnings, where there are no hatchings to exprefs them, unlefs he, that Copies, Defign perfectly himfelf, and poflefs more then the ordinary talent and judge- ment of Gravers, or can himfelf manage the Pencil. But to return to Trints again, we are to underfland, that what the Ar- tifts do many times call excellent, does not alwayes fignifie to the advantage of the Graver-, but more frequently, the 2)e- fign, confifting in the lineaments, proportion and ordonance, if thefe be well, and ma- flerly perform'd, and for which we have fb recommended the praclife of this Art to our JZngliJh Painters in chap. IF". Though, to fpeak of an accomplifh'd piece indeed,

it

The Hiftory of Chalcography. up

it is the refult of integral! caufes only, and where they univerfally encounter.

We do farther add, that for this reafbn, copies are in Trints much more eafily detected, then in paintings^ and by con- fequence, more facile alfo to imitate, as ufing all one kind of Inflrument, and fewer wayes of expreffion : But if there be a difficulty in it, thofe which are Etched in A, F. make it mofl eonfpicuous ; both becaufe the nature of the plates^ and quality of the Waters^ and their operations, may fometimes fall out to be fo very unlike: But, to difcern an Original print from a Copy -print (not to fpeak of fuch plates as have been retouch 'd, and therefore of little value) is a knack very eafily attain'd ; becaufe 'tis almofl impoffible to imitate every hatch, and to make the ftroaks of ex- act and equal dimenfions, where every the leafl defect, or flaw in the Copper it felf, is iufficient to detect and betray the Impoflure, as in that little T>efcent from the crofs of Hanibal Carraccio (already mention'd) is perfpicuous, and which it were abfolutely impoffible to conterfeit. In the mean time, fuch as are profound, and well knowing, do eftablifh their Judgments upon other particulars of the Art, and the very handling it felf. LafUy

130 Sculptura, or

LafHy, that A. F. gives a tendernefs to Landskips^ Trees and Buildings fuperiour to that of the Burine (though that exceed infinitely in Figures) may be feen in that of IJraels view of the Louvre before recited, and in fome other works where there is an indufbrious and fhidied mixture, as in that fecond manner of Foftermans which did fb much pleafe Rubens and Fandyke^ even in the Portraits which that excellent Graver publifhed after thofe great mens paintings.

It was in the former Chapter that we made rehear fal of the molt renowned Gravers and their works; not that we had no more to add to that number ; but becaufe we would not mingle thefe illuftri- ous names and qualities there, which we purpofely referved for the crown of this difcourfe ; we did therefore forbear to men- tion what his Highnefs Trince Ruperts own hands have contributed to the dignity of that Art ; performing things in Graving (of which fbme enrich our collection) comparable to the greatefl Matters ; fiich a fpirit and addrefs there appears in all that he touches, and efpecially in that of the Mezzo Tinto^ of which we fhall fpeak here- after more at large, having firit enumerated

thofe

The Hiftory of Chalcography. 131

thofe incomparable gravings of that his new, and inimitable Stile, in both the great, and little decollations of St. John Baptift,\ht Souldier holding a Spear and leaning his hand on a Shield, the two Mary Magdalens, the Old-mans head, that of Titian, &c. after the fame Titian, Georgioon and others. We have alfofeen opiate Etchedby theprefent French King, and other great perfons ; the Right Honourable the Earl of Sandwich fometimes (as we are told) diverting himfelf with the Burine, and herein imitating thofe Antient and renown'd Heros, whofe names are loud in the Trumpet of Fame, for their skill, and particular atfe&ion to thefe Arts : For filch of old, were JLucius Manilius, and Fabius, Noble Romans \ Tacuvius the Tragick Toet nephew to Ennius ; Socrates the wifeft of men, and Tlato himfelf. Metrodorus, and Tyrrhus the Thilofopher did both defign and paint ; and fo did Fa- lentinian, Adrian and Severus, Empp : fo as the great Taulus ^/fLmilius, efteem'd it of fuch high importance, that he would needs have his fon to be inftru&ed in it, as in one of the mofl worthy and excel- lent accomplifhments belonging to a Prince. For the Art of graving Quintilian like wife celebrates Euphranor, a Polite and K i rarely

1 32, Sculptura, or

rarely endow 'd perfon ; and Tlmy in that Chapter where he treats of the lame Art, obferves, that there was never any one famous in it, but who was by birth or education a Gentleman : therefore He, and Galen in their recenfion of the Liberal Arts, mention that of Graving in particular amongft the moft permanent ; and in the fame Catalogue number it with Rhetorick, Geometry, Logic, AJlronomie, yea Grammar it ielf; becaufe there is in thefe Arts fay they, more of fancy, and invention, then ftrength of hand ; more of the Spirit, then of the Body. Hence Arijlotle informes us that the Grecians did univerfally inftitute jvi>. /. s. their Children in the Art of painting and Drawing, for an Oeconomique reafbn, there fignified, as well as to produce propor- tions in the Mind : Farro makes it part of the Ladies Education that they might the better skill in the works of Embrodery, &c. and for this caufe is his Daughter Martia celebrated amongft thofe of her fair Sex : We have already mentioned the Learned Anna Schurman ; but the Trincefs Louife has done wonders of this kind, and is famous throughout Europe for the many pieces which inrich our Cabinets, exam- ples fufficient to vindicate its dignity, and

the

The History of Chalcography. 133

the value that has been fet upon it ; fince both Emperours, Kings and Thilofophers, the great and the wile, have not difdain- ed to cultivate, and cherifh this honoura- ble quality ; of old fo nobly reputed, that amongft the Greeks, a Slave might not be taught it : How pailionately does Teireski- us, that admirable and univerfal Genius de- plore his want of dexterity in this Art ! Baptifta Albert i, Aldus ^ Tomponius Guaricus^ T)urer, and Rubens were politely learned and knowing men ; and it is hardly to be imagin'd of how great ufe, and conducible, a competent addrefs in this Art of 'Drawing and "Dejigning is to the feveral advantages which occur ; and efpecially, to the more Noble Mathematical Sciences, as we have already inftanc'd in the Lunary works of Hevelius, and are no lefs obliged to ce lebrate fome of our own Country-men famous for their dexterity in this incompa- rable Art; fuch was that Blagrave, who himfelf cut thofe T>iagramms in his Mathematical Jewel; and fiich at prefent, is that rare and early prodigy of univerfal fcience, Dr. Chr. Wren, our worthy and accomplish 'd friend. For, if the ftudy of Eloquence and Rhetorick were cultivated by the greateft Genius's and Heroic perfons K 3 which

Sculptura, or

which the World has produced ; and that by the fiiffrage of the molt knowing, to be a perfect Orator, a man ought to be uni- verfally inftru&ed ; a quality fo becoming and ufefull, ftiould never be neglected. Omnium enim Artium peritus erit Orator^ ft de Omnibus ei dicendum eft : He that would fpeak well upon all fubjecls, fhould be ignorant of none : It was Cicero that taught ^uintilian the importance of it, where he tells us, that in his opinion, no man could pretend to be Omni laude cumulatus Orator^ a perfect and accomplifh'd Orator indeed, nift erit omnium rerum mag- narum atque Artium Jcientiam confecutus. It is the fentence of that great Man, and therefore to be embraced by us, efpecially on this occalion; becaufe it was imme- diately after he had exprefly inftanc'd in Ctflatura & Sculptura^ that of cutting and Engraving : for it is worth the obfervati- on, that the Ages which did moft excell in Eloquence^ did alfo flourifh moft in thefe Arts^ as in the time of T)emofthenes and the fame Cicero ; and as they appear 'd, fb they commonly vaniih'd together; and this remark is univerfal.

But now for clofe of all, and to verifie the admirable ufe which may be deriv'd

from

The Hiftory of Chalcography.

from this incomparable Art above trie reft, let us hear what the learned Abbot of F'illeloin^ Monjleur de Marolles has left upon Record in the Memoires of his own life, Anno 1644. after he had made a very handfbme difcourfe (which we recommend to all good Roman Catholiques) concern- ing Images^ upon occalion of a fuperflitious frequenting of a certain renowned Shrine^ pretended to have done Miracles at Taris, but was detected to be an inpoilure : The paflage is thus,

T)ieu m 'a fait la grace, fee.

I am (faith he) greatly obliged to God, that though I have ever had a iingular af- fection to Images, I was never in my life fuperftitious ; I have yet made a collection fo prodigious, that they amount to no lefs then Jeventy thoufand (he adds after- wards ten thoufand more), but they are all Copper-cuts and engravings of all forts of Subjects imaginable. I began to be ad- di6ted to this kind of Curioiity but fince the year 1641 ; but have fo cherifh'd the humour, that I may truly affirm, with- out the leaf I exaggeration, that I have fome prints of all the Mafters that are K 4 any

Sculptura, or

any where to be found, as well Gravers, as "Defigners and Inventors, to the number of above four hundred ; And thefe are ranged in books of Charts, and Mapps, Cal- ligraphy ^ Architecture, Fortification, Tafticks, Sieges, Circumvallations, Battails, Single- Combats, Naval Fights, Maritime "Pieces, Lands kips, Townes, Caflles, Seas, Rivers, Fountains, J^afas, Gardning, Flowers, Ruines, Terfpeftive, Clocks, Batches, Machines, Goldjmiths Works, forjoj/ners, and Workers in Iron, Copper, Embroidering, Laces, Grotejque, Animals, Habits of federal Coun- tries, Anatomies, Tortraiftures,Cartouches'm& Compartiments, Antiques, Bas-relief s, Sta- tues, Cataphalcos, Tombs, Epitaphs, Fune- ral pomps, Entries, Cavalcados, T)evifes, Me- daitts, Emblems, Ships, Cabinet pieces, Trees, Fruits, Stones, ^Dances, Comedies, Baccha- nalias, Huntings, Armories, Tournaments^ Majfacres, Executions, Torments, Sports, Heroic and Moral Fables, Histories, Lives of Saints, and Martyrs, pieces of the Bible, Religious Orders, Thejes, and above ten thoufand Tortraifts of renowned Terfons, without counting (amongft thefe) a- bove fixfcore Volums of Matters whofe names he there enumerates Alphabeti- cally. This Curiofity (fayes he) I arTe&ed

from

The Hi/lory of Chalcography. 137

from my youth; but did not much culti- vate till of late years, preferring it even before paintings themfelves (for which yet I have infinite elteem) not only for that they are more proportionable to my purfe ; but becaufe they better become our Li- braries : fo that had we a dofen only, that were curious of thefe Collections in France ; efpecially amongft perfons of con- dition (fuch as Monfieur de VOrme, the late Monfieur de la Mechinier^ &c.) Taitte- Douces would come to be extraordinary rarities ; and the Works of Lucas, T>mer^ Marks Antony^ and the Tolite Majlers which are now fold at four, or five hun- dred Crownes a piece, would be then valu'd at three times as much; a thing incredible, did not experience convince us of it; thofe who are touch'd with this kind of affection, hardly ever abandon- ing it, fo full of charmes, variety and in- ftruclion it is. Truly, me thinks, that all Trinces efpecially, and great Men (hould be ftored with thefe Works, preferrable to a World of other trifling Collections, and lefs fruitfull; as comprehending fb many confiderable, remarkable things, and notices of almoft all forts of fubjecls ima- ginable. Thus far the Learned Abbot.

But

138 Sculptura, or

But it leads us yet farther, when we ferioufly reflet, how capable this Art is above all other whatfoever, to infinuate all forts of Notions and things into Children, and be made an Inftrument of Education fuperiour to all thofe Abftrafted termes, and fecondary intentions wherewith Majlers commonly torment and weary their ten- der and weak Capacities: And this we have difcover'd by much experience, and could here produce examples beyond be- liefe in a Child at prefent not fix years old, who does both know, and perfectly comprehend, fuch things and Actions as hardly any at fixteen, fome at twenty have yet attained, who purfue the com- mon Method of our Grammar Schooles, without thefe aids, and advantages: For, fince Nihil eft in Intetteftu, quod non prius fuit infenfu\ and, that as the :?Whad well obferv'd,

Segnius irritant animos demijfa per Aurem Quam qutefunt Oculis fubjefta fidelibus — .

What can there be more likely to in- forme and delight them, dum animus majora non capit, then the pi6hires and re- prefentations of thofe things, which they

are

The Hiftory of Chalcography.

are to learn ? We did mention before the Hieroglyphical Grammar publifhed by 2)r. Cotmay ; and it is well known, how Eilbartkts Lubinus in an Epiftle to the 'Duke of Stetin, has celebrated and con- triv'd an Inffcitution of youth by this Art : Such as was also the Defign of that Prodigie of a Man, La Martelay^ who had already collected and digeffced fuch a choice number of cuts^ and fb univerfall, as by which he more then pretended (for he really effe&ed it) to teach all the Jciences by them alone, and that with as much cer- titude, and infinite more expedition, then by the moft accurate method that was ever yet produced : What a jpecimen of this Jo. Amos Commenius in his Orb is Jenjualium piftus gives us in a Nomen- clator of all the Fundamental things and Aclions of Men in the whole World, is publick, and I dp boldly affirm it to be a piece of fuch excellent ufe, as that the like was never extant ; however it comes not yet to be perceived: A thoufand pitties it is, that in the Edition publifhed by Mr. Hook, the cuts were fb wretchedly engraven : I do therefore heartily wifh that this might excite fome gallant and publick minded perfon, to augment and

pro-

140 Sculptura, or

proceed farther upon that moil ufefull defign, which yet comes greatly fhort of the perfection it is capable of, were fbme additions made, and the prints reformed and improved to the utmoft, by the skill- full hand of fbme rare Artift. In the mean time, what a Treafiiry of excellent things might by this expedient be conveyed, and imprefled into the waxen Tables and Ima- ginations of children; feeing, there is nothing more prepoflerous, then to force thofe things into the Rare, which are vifible, and the pro- per objects of the eye, Forptffurv, is a kind of Universal Language, how diverfe foever the tongues and vocal expreffions of the fe- ver & Nat ions which fpeak them may appear; Solet enim piftura tacens loqui, maximeque prodejfe, as Nazianzen has it.

So as if ever, by this is that long fought for Art moft likely to be accomplifh'd : Nor can any words whatever hope to reach thofe defcriptions, which in a numberlefle fort of things, Picture do's immediately, and as it were at one glance, interpret to the meaneft of capacities : For inftance, in our Herbals, books of Injefifs, Birds, Beajls^ Fijhes, Buildings^ Monuments, and the reft which make up the Cycle of the Learned fome of them haply never feen be- fore,

The Hiftory of Chalcography.

fore, or fo much as heard of, as ^/Elian does upon occafion ingenuoufly acknowledge. And what do we find more in requeft amongft the Antients, then the Images of their Heros and Illuftrious predece£ fors? fuch as Atticus^ and Marcus J^arro collected; all which confider'd, we do not doubt to affirm, that by the application of this Art alone, not only Children ; but even Stripplmgs well ad vane 'd in Age, might receive incredible advantages, pre- paratory to their entrance into the Schoole Intelle&ual, by an Univerfal, and choice Collection of prints and cuts well defign'd, engraven and difpos'd, much after the manner and method of the above nam'd yillckin, which fhould contain, as it were, a kind of Encyclopedia 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 Inftitution of Trinces and Noble Perfons, who are not to be treated with the ruder difficulties of the vulgar Grammar Schoole s only, and abftrufer Notions of things in the reft of the fciences^ without thefe Auxiliaries ; but to be allur'd, and courted into knowledge, and the love of it by all fuch fubfidiaries and helps as may beft reprefent it to them in Tifture, No-

mend a to r^

142- Sculptura, or

menclator, and the moft pleafing defer ipti- ons offenfaal Objefts, which naturally flide into their fluid, and tender apprehenfions, fpeedily pofleffing their memories, and with infinite delight, preparing them for the more profound and folid ftudies.

Seneca indeed feems to refufe ^.Graphical Jctettcesthofe advantages which others of the T hilofophers have given to them amongft the moft Liberal, as reckoning them fomewhat too voluptuary for his Stoical humour : yet did Socrates learn this very Art of Carving of his Father ; ^Diogenes drew the picture of Tlato-, and the Orator Mejfatta commends it moft highly: But what more concernes our prefent inftance, is, that it was by the appro- bation of the great Augujlus himfelf, that §^ Todius the Mute fhould be diligently taught it : We could tell you of a perfon of good Birth in England, who (labouring under the fame imperfection) does exprefs tnany of his conceptions by this Art ofZ)raw?rtg and 2)e- Jigning : And if (as 'tis obferv'd) it furnifh us with Maximes to difcern of general Defects and Vices, efpecially, in what relates to the proportions or humane bodies, it is certainly not to be efteem'd fo inconfiderable as by many it is. Tolygnotus could exprefs thePaffi- ons, w\&j4ri£tides the veryinteriour motions of the foul, if we will believe what is recor- ded:

The Hijlory of Chalcography. 143

ded: But whither it advance to that pre- rogative ; this we read of for certain, (as to our pretence for the Education of Children) that when L. Taulus demanded of the Con- quer'd Athenians a Thilojbpher\.o> inftru6l his little ones, they prefer'd one Metwdorus an excellent Tainter before any of the reft : What Quintilian fayes of Euphranor is fuffi- ciently known ; and if fome great Trinces have not difdain'd to take the Tincil in the fame hand in which they fway'd the Sceptei and the Sword; and that the knowledge of this divine Art was ufefull even to the pre- Luitprand. fervation of the life of an Emperor (for fiich Hlft< was that Conftantinus Torphyrogenitus] it is not without examples fufficient to fupport the dignity of thefe Arts^ that we have with fo much zeal^ recommended them to Trinces and Illuftrious Perfbns.

And now we have but one thing more to add before we conclude this Chapter, and it is for caution to thofe who fhall make thefe Collections for curiofity and ornament only; That where we have faid all that we can of Tbit^ or any other particular Art^ which may recommend it to the favour, and en- dearment of great perfons ; our intention is not, that it fhould fo far engage them in its purfuit, as to take from the nobler parts of life, for which there are more iublime and

worthy

144 Sculptura, or

worthy objects ; but, that with this (as with the reft which are commendable, innocent, and excellent Company) they would fill up all fuch fpaces, and opportunities, as too often lye open, expofe and betray them to mean complyances, and lefle fignificant di- verfions : For thefe was Aratus a great Col- lector, nor lefs knowing in the judgement of Pictures ; fo was J^tndex and many others. — namque htec, quo ties Chelyn exuit, illi ^Defidta eft; hkAoniis amor avocat antris. He allowes himfelf thefe relaxations only when he is tyred with the more weighty af- fairs and concernments : Finally, that they would univerfally contend to do fome great thing, as who fhould mofl merit of the Sci- ences, by fetting their hands to the promote- ment of experimental, & ufefull knowledge, for the univerfal benefit, & goodof Mankind. This, this alone, would render them de- fervedly honorable indeed ; and add a luftre to their Memories, beyond that of their 'Painted Titles^ which (without fome fblid Virtue) render but their defefts the more confpicuous to thofe who know how to make a right eftimate of things, and, by whofe Tongues^ and Tens only, their Tro- phies 2C&&Elogtes can ever hope to furmount, and out-lafl the viciflitudes of fortune.

CHAP.

The Hiftory of Chalcography.

CHAP. VI.

Of the new way of Engraving, or Mezzo Tinto, Invented, and communicated by his Highnejfe Trince RUPERT, Count Palatine of Rhyne,

WE have already advertised the Rea- der in one of our Tr^liminaries, why we did omit what had been by us pre- par'd for the Accomplifhment of the more Mechanical part of the Chalcographical Art : But it was not out of the leaft Delign to abufe him in the Title at the Frontif- piece of this History ; fince we believed he would moft readily commute for the defect of a Myftery fo vulgar, to be grati- fied with another altogether Rare, Extra- ordinary ', Univerfally approvd of, admired by all which have confided d the ejfeffs of it, and, which (as yet) has by none been ever publifhd.

Nor may I without extraordinary in- gratitude, conceal that Illuftrious Name which did communicate it to me ; nor the obligation which the Curious have to that

EVELYN L heroic

146 Sculptura, or

heroic Per/on who was pleas'd to impart it to the World, though by fo incompetent, and unworthy an inflrument.

It would appear a Taradox to difcourfe to you of a Graving without a Graver, Burin, To'int, or Aqua, Fortis; and yet is This perform'd without the affiflance of either : That what gives our mofl perite and dextrous Arti&s the greatefl trouble, and is longefl finifhing (for fiich are the hatches, and deepefl fhadowes in plates) fhould be here the leafl confiderable, and the mofl expeditious; That, on the con- trary, the Lights fhould be in this the mofl Laborious, and yet perform'd with the greatefl facility : That what appears to be effected with fo little Curiofity, fhould yet fo accurately referable what is gene- rally efleem'd the very greatefl ; viz. that a print fhould emulate even the befl of ^Drawings Chiaro oscuro, or (as the Ita- lians term it) peices of the Mezzo Tinto, fo as nothing either of j^ago da Carpi, or any of thofe other Mafters who purfu'd his attempt, and whofe works we have al- ready celebrated, have exceeded, or in- deed approch'd; efpecially, for that of Tortraits, Figures, tender Landskips, and Hiftory, &c. to which it feems mofl ap- propriate, and applicable. This

The Hiftory of Chalcography. 147

This Obligation then we have to his Highnefs PRINCE RUPERT, Count Talatine of Rhyne, &c. who has been pleas'd to caufe the Instruments to be exprefly fitted, to fhew me with his own hands, how to manage, and conduit them on the plate, that it might produce the effects I have fo much magnified, and am here ready to fhew the World, in apiece of his own Illuftrious 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 moft valuable) but a particular grace, as a Speci- men of what we have alledged, and to a- dorn this prefent Chapter.

It is likewife to be acknowledged, that his Highnefs did indulge me the Liberty of publishing the whole manner, and addrefs of this new way of Engraving with a freedome perfe&ly generous, and obliging : But, when I had well confider'd it (fb much having been already exprefled, which may fuffice to give the hint to all ingenious Perfons how it is to be performed) I did not think it neceflary that an Art fo curi- ous, and (as yet) fo little vulgar (and which indeed does not fucceed where the Workman is not an accompliihed 'Defigner, L z and

148 Sculptura, or, &c.

and has a competent talent in painting likewife) was to be proftituted at fo cheap a rate, as the more naked defcribing of it here, would too foon have expos 'd it to.

Upon thefe confiderations then it is, that we leave it thus (^Enigmatical; and yet that this may appear no diffingenuous Rodo- montade in me, or invidious excufe, I profefs my felf to be alwayes moft ready (Jub fi- gillo, and by his Highneffes permiflion) to gratifie any curious, and worthy Per- fon, with as full, and perfect a T)emon- Jlration of the entire Art, as my talent, and addrefle will reach to ; if what I am now preparing to be refer v'd in the Archives of the ROYAL SOCIETY concerning it, be not fufficiently inftru&ive.

PINTS.

AN

ADVERTISEMENT

f~T\Here is a Treatife of Monfieur du Bofles in French, concerning Etching in Aqua Fortis, Constrtt&ion of the Rolling Prefs, &c. which (with fome improvement of the Method) / did long Jince interpret^ and deliver to the Royal Society, in obedience to their Commands: It was my intention to have added it to this Hiftory of mine, as what would have render d it a more accomplijlfd Piece; but, understanding it to be alfo the de/ign of Mr. Faithorn, who had (it feems) tranjlated the fafl part of it, and is himfelf by ProfeJJion a

Graver,

1 5-0 Advertisement

Graver, and an excellent Artift ; that I might neither anticipate the Worlds exfpeH&tion, nor the Workmans pains, to their prejudice, I dejijled from printing my Copy, and fubjoyning it to this dif- courfe. In the mean time, it is to be acknowledged^ that the Author thereof, has dij "cover* d his skill fo honestly , and intirely, that there feems nothing more deferable, as to that particular: And I could wijh with all my heart, that more of our Workmen, would (in imitation of his laudable example) impart to us what they know of their feveral Trades, and Manufactures, with as much Candor and integrity as Monfieur Bofs has done. For what could fo much conduce to their profit and Emolument? when their feveral

Myfteries

Advertuemen t 151

Myfteries being fuhjeiled to the moft accurate Infpedtion and Examen of the more polite^ and enquiring Spirits, they Jhould return to their Authors again fo greatly refind and improved^ and when (through this means alfo) PHILO- SOPHY her felf, might hope to attain fo conjiderable a progress towards her ultimate Terfeftion.

End of Tart I.

INTRODUCTION TO PART II

DURING a recent search in the Library of the Royal Society for John Evelyn's promised account of the process of mezzotint, an interest- ing discovery, or rather re-discovery, was made. One of forty-three guard- books, containing a large number of manuscripts, opens with two papers by our author. The first of these, occupying four pages, is wholly in the handwriting of John Evelyn, and is signed and dated by him January irf, 1 660-1. It contains a conspectus of the subjects to be treated in a pro- posed c History of Arts Illiberal and Mechanick7. These Arts are classi- M fied

ii Introduction

fied into eight groups, of which the eighth and last group contains those which are termed < Exotick and very rare Seacrets '. Almost the last entry here refers to Prince Rupert's new process of engraving. The second manuscript in this guard-book (which is labelled * 3. Mechanicks, Trades, 2') consists of eight leaves 12 inches by 7|, the watermark of which is a device which may represent a covered vase. The leaves are numbered on the recto 6f each, 33 to 39, with 37 in duplicate. The manuscript is shown to be complete by the word FINIS on the fifteenth page: it begins with the description <Booke: II ?; while the heading < Sculptura ? often recurs. It is probable that this manuscript is the remaining part of that from which Evelyn's Sculptura^ Book I, was

printed

to Tart // iii

printed in 1662. The paper was read before the Royal Society on May 14, 1 662.) just one month before he presented a copy of his Sculptum to that body. It would appear that this manuscript originally consisted of forty leaves, of which the first thirty-two carried the contents of Book I. A rough calculation as to the number of words in the printed pages of the first edition of the first Book of the Sculp tura and the number in the Royal Society manuscript tends to confirm this suggestion.

The spelling and punctuation of this manuscript are somewhat erratic. It may well be that it was written by an amanuensis from Evelyn's dicta- tion. Colour is lent to this sugges- tion by the occurrence of three blanks in the manuscript representing M 2 three

iv Introduction

three missing words. These blanks have been filled in by words in pencil written in a much later hand, probably that of Thomas Stack, M.D.1 For under the Presidency of Sir Hans Sloane Dr. Stack made, or caused to be made, a copy of Evelyn's original paper in order that it might be inserted in a volume which is now in the Sloane MSS. at the British Museum. This volume contains a copy of the several papers in the original Register Book of the Royal Society, vol. i, with the exception of six, but it also includes three papers not to be found therein. Of these, Evelyn's <The Construction of the Rowling Press, and Manner how to worke off the Plates', is by far the longest. However, in Dr. Stack's

transcript

1 Elected F.R.S., Jan. ^6y

to Tart II v

transcript there is no hint of the fact that he had before him what Evelyn intended to form the second and concluding part of the Sculp tura. The date of this transcript may be fixed by the statement on folio 268, < Collated Jan: 20: 1732 by T. Stack.' The volume in question is Sloane MS. 243, in which Evelyn's paper occupies folios 1 2 7 b- 1 4 1 b. Until the recent re-discovery of Evelyn's original paper, Dr. Stack's transcript of the year 173! remained the only known text. The paper, it seems, was never printed.

One point remains for considera- tion. The c Advertisement ' to Book II of Sculptura refers to Abraham Bosse's Tfaiftt des Manieres de Graver en Tattle Douce sur Pairin in such a way as to lead one to suppose

that

vi Introduction

that Evelyn intended to offer nothing more than a translation of the Appendix to that work. On comparing the Second Book of Sculptura with Bosse's Appendix, c La Maniere d'Imprimer les Planches en Taille Douce : Ensemble d'en Con- struire la Presse ' (pp. 5-7 to 75- of Bosse's first edition, 1 64 5-), such sup- position is confirmed. The six plates with their lettering are exactly de- scribed by Evelyn, while the bulk of the French text is reproduced in the translation. But Evelyn has in some degree rearranged the original mate- rial, and has made additions, altera- tions, and omissions.

The Assistant Librarian of the Royal Society, Mr. A. H. White, has been indefatigable in the search for Evelyn's missing description of the

process

to Tart II vii

process of mezzotint. And although that search has not been successful In this quarter, yet to Mr. White is due the credit of suggesting the series of guard-books as a likely hunting- ground, and also of recognizing the importance of Evelyn's paper, now for the first time printed with the permission of the Council of the Royal Society.

According to the Advertisement appended to his Sculptura Evelyn withheld his adaptation of Bosse's Appendix from publication because he did not like to forestall the similar undertaking of Mr. W. Faithorne. But Faithorne published only the first part of Bosse's treatise in an English version, omitting the Ap- pendix with its six additional plates. A. H. CHURCH.

NOTE :

viii Introduction to Tart IT

NOTE: The six plates, here reproduced from the second edition (1701) of A. Bosse's 4 Appendix ', differ only in one particular from the description given by Evelyn of his figures; — the abbreviations//, and/, of the French terms for foot and inch are used instead off and i.

SCULTTURA

SC VL

BOOKE: II.

The Construction of the Rowling Tress, and R/a(1

° May 14: 6z.

manner how to worke off the Tlates : By Mr. Evelyn.

ADVERTISEMENT

IT is for their sakes; who are many tymes remote from the places where this convenience is to be found, that we have thought good to add this peice of the construction of the Rowling-Press ; and the Instruments which appertaine unto it; and for that it is no where (as we know of) published in print by those who have translated Mons: Bosses Treatise of Etch- ing, to which it is so nessessary an appen- dix : But that which has rendred me more willing to gratifie some persons who desired it, is the great convenience, and allmost necessity of having a Rowling-Tress to be able to accomplish that new way of engrav- ing so lately described and celebrated ; and

to

Sculptura: Tart II.

to persue (as far as my talent reaches) that part of the History of Trades promoted by our illustrious Assembly.

CHAP. I.

Of the Severall fieces belonging to the Row- ling-Tress.

THERE are severall pieces which compose the Press, for the printing of engraven Plates and Copper cutts ; all which are for the most part represented by the next figure in Perspective so distinctly, that any Joyner or Carpenter of an indifferent under- standing may easily comprehend it, with- out much discourse : However, that there be nothing diffident, take the particulars as they follow, together with their exact proportions.

First then provide yourselfe of good and well season'd Oak, of which you are first to frame the two feet, marked C. D., and fower blocks 1. m. to raise, and keep it in the firme posture. two pieces like A. B. which are called the side-beames, or cheeks of the Press ; in each whereof are two mortaises cut with arches r. s. t. u. and

x. y. z.

To face p. i (Part 77 )

The Rvwling Tress.

x. y. z. pierced quite through in right- angles: fower Boxes cutt in like the two P. O. And fower other pieces of wood, viz. n. q. which they alsoe name blocks, and which are made to lodge in the mor- taises of the foresayd side-beames, and to embrace the Tenons of the Rowlers, as wee shall shew hereafter : These fower Boxes are likewise to be notched at a. b. and their two sides lined with braces of Latten. There are alsoe fower spurrs made like I. K. which serve to support the side beames : Fower pieces call'd the Armes of the Press E. F. fower Colomns G. H. whose Tennons are mortals 'd into the ends of the feet and Armes of the Press. The Pise marked L. of which their are two for the traverse piece have after to be explained : the Iron key to skrue the vice M.

The head pieces X. Y. to be dove-tayl'd into the side-beames of the Press to keepe it even above.

The two Rowlers, the upmost J, the neithermost II, these had need be made of excellent walnut-tree, well seasoned, and voide of the least sap or knott.

You have now in the next figure most of the pieces already explained, assembled and formed into a side aspect of the Press : so

that

Sculptum: Tart IT.

that making two such sides, their will need onely three or fbwer pieces more (which the next figure will present you) to perfect its in tire construction.

And in this we have noted the propor- tions marking £ for a foot and i for an Inch, and p for parts or divisions of every Inch : to avoyd the repetition: we have alsoe represented the two Rowlers, and the two upper Boxes AB, together with the two neither-most C. and D, as well to describe the measures, as to shew that the Rowler I ought to have one of its extreames put into the arch, and be mortais'd above by its tenon ; the other tenons to be placed in the mortaise and arch of the other side-beame which is opposite to this: then putting a block of wood in the mortaise below, and upon that one of the boxes ; soe as placing one of the Tenons of the Roller viz. II. it compass the neck about; you must place the other extreame in the very same manner, as you did for the upmost Roller which is marked I.

You are therefore to remember that the Tenons of the upmost Roller are to be put into the boxes of the mortaises together with the two blocks, and then to fill or wedge in the upper part, to the top of the

mortaises,

To face p. 4 (Part 77)

To face p. f (Part 77)

The Rowling Tress.

mortaises, as the figure shews. But first, as we sayd, the Boxes should be shod with latton plates, that the motion or working of the tenons doe not weare, and disorder the Boxes so as not to be able to play freely : The two pieces H. R. and the box Q_ suffi- ciently explaine what we meane hereby : For the piece H, is the latton plate cutt in just proportion for the lining the cavitys of the Box which is made to embrace the Tenons of the Roller, which being bent crooked as R. must be applyd to the said cavity, and fastned by the two eares, with a couple of nailes, upon the mortaises t u of the Box Q^ And in this sort you must prepare fower boxes, which before you set the Press to worke you must well grease, together with the Tenons of the Rollers.

In this figure, together with its measures, you may see how it is mounted and framed ; How first, the Traverse P O doe with its two Tenons and Vises hold the cheeks or side beames fast together. Then the head piece or Summer X Y holds the same cheeks firmely above, being fram'd square and dove tayld into them : or they may [be] fastned by skrews with vises, as the traverse P O is, and as some presses have it.

You have likewise described by the prick 'd

lines

6 Sculptura: Tart II.

lines how the Tenons of the Rollers lye in their Boxes, and the mortaises of the two side- beams, alsoe the moulinett or cross (by our workemen called the wheele) Qj*, which is placed on the square Tenon of the upper Roller I, but of that there is an express hereafter :

The Colomne or right fbote y is cutt off in this figure onely to discover the place where the spur is fastned to the foote, and the side-beame : the other three to be set in the same manner. But for the more accurate explanation of this machine we have described below a part of the two Armes of the Press in a larger figure, where the ends of the piece r r be dove-taild, after the small board o o has bin made to slide into the Cullis or furrow marked on the two Armes m m ; But you must remember to make the upper part of the neithermost Roller (where the Table or (as our men call it) the planke of the Press is to pass) higher by an Inch, or thereabouts, than the dove-taild piece marked rr, and the thin board which it encloses ; for else the table will move to stiffely upon it, which it ought not to doe.

Note that Now the Table or Plate of the Press ^divided (which you have alsoe in figure) should

have

To face p. 7 (Part II)

The Rowling Tress. 7

have 3 feete, 3 Inches in length, in breadth into ia i foote, 9 Inches and about six parts of an pantT* Inch ; and in thickness about a Inch and a halfe, because sometymes there may be occasion to redress and amend it.

The Roller must be exquisitely turned, every way paralelle; and to prevent the splitting of the topmost, it will not be amiss to feroll the ends with a paire of Iron circles, abating the wood to the thickness of the ferolls, as is noted by the printed lines upon the extreames of the Rolle I.

The Moulin et, or wheele represented in the next figure is made to turne the upper Roller, which pressing hard against the interposed Table moves it along with the same motion, and causes it in like manner to turne the undermost Roller, though in a contrary motion :

And here you must be very circumspect that the Table or planke passing betweene these two Rollers, be equally pressed by their surfaces, especially the uppermost, and therefore the Table ought to be exactly even, and the Rollers turned in forme of perfect Cilinders; so as being apply ed to the foresaid Table, there may noe light appeare betweene the Comissures.

The figures of the Moulinett or wheele

are

Sculptura: Tart II.

are twice described on this plate, the first above, before it be applyed to the Tenon of the Roller, and noted with its measures, neare the mortaise and upon one of its handles : the same is alsoe beneath fastned to the Tenon O of the Roller I which Tenon and mortaise are made both square : a b c d is a peice of wood of about an Inch thick, serving onely to fortifie that part of the Moulinet which in working beares the greatest stress.

The several! members of the Rolling- Press being in this readiness, to fitt and adjust the Table and Rollers in their places, you must first take out the blocks and the boxes which embrace and support the Tenons of the upmost Roller, to which the wheele or moulinett is to be joyned, that thrusting in the Table, or Planke, and lifting up the Roller, it may pass under it, and lye betweene both the Rollers, with its smoother side upmost : This don, put in the boxes and blocks againe into their places, and then trye if in turning, the moulinett, the Rollers doe universally touch the imediate surfaces of the Table. Note, that the moulinett is made to take ofi^ and put on without any stay or pin, being made very just to the Tenon O.

CHAP. II

The Rowling Tress.

CHAP. II.

The Tress compleate, 'with all its members^ represented in Terspective^ together with its furniture ', preparation, and working.

'""THE Table or Planke being thus ad- JL justed, to be more sure of its effects : you shall spread a sheet of paper upon it, and on that a reasonable large plate of Copper of equall thickness throughout, and lastly upon the plate one or two pieces of cloath, and cause it all to pass betweene the Rollers ; If the print which the plate leaves on the paper doe perfectly corre- spond, it shews that the Table is sufficiently well fitted : But however it will be requisite that in printing off for good and all, you have often your eye upon the impression, and examine its resemblance to the Archi- type and originall : which you shall dis- cover by comparing them together ; since every the least touch and hatcheur ought to appeare black upon the paper.

Now; albeit we have spoken nothing as yet concerning the cloaths The Printers

EVELYN N black.

io Sculptural Tart II.

black, how to prepare the paper and Inke the plate: with other particularities that follow hereafter : Yet supposing all this furniture in a readiness, we will proceed to shew how you are to worke off the Plates :

The Printer standing before the middle of the front of the Press, and having his feete at B, the greater part of the Table towards him; lett him place one of the blankets evenly upon it, and then put two more upon that; soe as towards the Roller, the upmost blankett exceede the neithermost a little, and so of the rest how many soever.

These Blanketts thus smoothly layd one above another, he turnes the moulinett, and the Roller in moving the Table will easily surmount the Blanketts* and when it has taken hold of about an Inch upon the lowermost, let the Printer turne all the rest of , the blankets over the Roller, laying them exactly smooth and without the least wrinkle, as is noted by the letters f x h e, after this, lay a dry sheete of paper of the same size with that which he hath ready moistned and prepared for the impression (as shall be hereafter taught) upon the Table or Planke betweene the space d e f g, to serve as a marge nt to the plate : upon this

sheete

To face p. 10 (Part 77)

The Rvucling Tress. 1 1

sheete place the plate which is graved. Inked and a little warme, and according to the margent it will afford, as the figure noted C on the face of the graven plate represents, cover it with a sheete of faire paper moistned, such as you desire should receive the impression ; and upon this lay another sheete somewhat moistned with a sponge ; this they usually call the macula- torie or bottome-paper.

This don, and spread exactly even, take offthe blankets from the Roller very gently, and lay them upon the maculatorie, and then turning the moulinet softly, with an even force, it will pass the Table, together with all that you layd upon it, to the other side of the frame, as the Ichonisme demonstrates.

The Rollers thus turned gently, roundly and without joulting (which would indanger the potching, blurring and wrinkeling of the impression) he will find all well, and as it ought to be, But in case the Plates be any of them of unequall thickness, he may rectifie the posture of it, by interserting some small morcells of pastborde or course paper torne and boulstred in, where the inequalities appeare: To proceede then The Plate being passed to the side of the N 2, Press

Sculpture: 7 art II.

Press A, so as the Roller touch onely the edges of the blanketts B and noe part of the paper, let the workeman goe to the same side or end A, and lift up the blanketts altogether, turning them over the Roller, as we shewed above, and after that the maculatorie; Then with the ends of the fingers of both your hands, take off the paper which lyes imediately upon the Plate, but doe it plomb, and gently, least otherwise the sticking of the Inke peele of any part of it : Then consider the Im- pression, if it hath well taken ; Inke your Plate againe (as we shall shew anon) and place it as you did before on the Table in the very same position, laying a cleane wet sheete upon it, and on that the maculatorie, which you had lay'd upon the blankets without any more moistning : Then returne the blankets upon it, laying them even and smooth, as you did before ; and abiding still at A tourning the Moulinet as formerly, the plate will pass to the other end of the Press B from whence it came : This don, following the Plate, take up the blankett, maculatorie, paper that is printed, Inke the Plate, and governe it as you did before, continuing this process as long as you thinke fitt.

But

To face p. 12. (Part II)

The Rowling Tress.

But it will not be impertinent for the ease of the Printer, to place a little Table neere each end of the Press, yet so as they may not incomode his worke; upon each of these Tables spread a sheet of cleane paper, and on these let him lay the impres- sions one upon another, as fast as he takes them up from the Plate, viz. those which he receives from the end of the Press A, on the table next it, and those of the other end upon the Table which is placed next to B.

Then upon the Sumer or head of the Press marked C let the paper prepared and moistned for the impression lye ready.

Thus when the Printer has finished his taske, and wrought off (as they tearme it) as many as he thinks fitt for that day, let him with a little oyle of olive and a Tampon or morcell of searge, oyle his plate, to prevent the drying of the Inke, and sticking thereof in the hatches : espe- cially in the sumer, and where the weather is hott. The same he shall alsoe observe when he has quite don with his plates, and then see that he fetch it out, and cleanse them very perfectly, wrapping them up in papers, and securing them in a drie place till you have farther occasion to make use of, or reprint them.

It

14 Sculptum: Tart II.

It will alsoe be expedient either the same evening, or the next morning, to hang your impressions upon cleane lines wellstretched, taking them from the Tables where they lay piled up ; and thus let them hang till the next day : when being drye and layd againe one upon another they may be kept in a Press for that purpose, betweene a paire of smooth boards one or two dayes; then handling and turning them by dozens, sort them as you thinke best, and dispose of them according to your discreation, for this handling and ordering them, does both finish their drying, and greatly improve the colour.

CHAP. III.

Of the other nessessaries, Instruments and appurtenances belonging to the Tress ; and touched onely in the precedent chapter.

BESIDES the Printers Inke, preparations of the paper &c., which are set downe in chapters apart ; There is appertaining to the Press, and mentioned in what went before, The blanketts, the cloutes of linnen, and the Tampon. And first, the Blanketts

should

The Rowling Tress.

should be made of wollen cloath, or Cotton perfectly well full'd, and purged from the earth. There are some curious Printers who have their Blanketts of a searge which is purely fine on both sides of it, and that they place next to the Plate with two or three other of the more ordinary sort upon it; But those white and cleane Blankets must neither have list or hemm about them ; and it will be convenient to furnish your- selfe with Blanketts of two or three sizes, some larger than others, according to the severall dimensions of Plates and Papers which you have occasion to print off: And forasmuch as by their frequent passing under the Roller, they are squezed together and become stubburne, and churlish : you shall doe well to spread and extend them at night ; and the morning (ere you employ them) to wreath, rub, slap and smooth them till you have rendred them very soft and gentle: Alsoe it will be nessessary to have change and store of them to make use of, whilst those which are too hard, soiled, and full of a certaine glue (which the moistned papers doe in tyme infect them with) be washed and made cleane.

You must likewise be provided with a good quantity of pieces of old linnen-

raggs,

16 Sculptura: Tart II.

raggs, to be employed about cleansing the plates after every impression; These the Printers call wiping clouts. The Tampon or (as we in England call) Rubber and some the ball, is made of good hempen linnen, soft and fine, and if it be halfe worne, it is the better : having enough of this, roule it up together as you would a garter or list ; and as closse and hard as you can posibly together : and thus shape it like a Painters Muller, then take browne thread doubled and very strong, and with a small pack- needle pierce it in severall places, passing through with the thread, and strongly quilting it till it being reduced to about 3 Inches diameter, and 5- Inches thick from end to end ; cutt and pare off one of the ends of it with a very sharpe knife, like a rolle of a saucidge; quilting and shaping the other extreame like to an halfe bowle, that soe you may the better press it downe with the hollow of your hand, when you are to use it for Inking of the Plates.

CHAP. IV.

The Rowling Tress. 17

CHAP. IV. How to make the Trinters Inke.

THE Printers black used for our Plates, is calTd in French noir <P Allemayne, and by our Drugists Keen-rus; it comes from Francfbrd, and is sold by the Salters : That which is excellent is of a velvet colour and somewhat resembling it, friable betweene the fingers like the finest chalke, or flower : and of these properties it is fitt to take notice, for there is a counterfeit sort made of Lees of wine burnt, which is no- thing so faire, but harsh and injurious to the plates.

But first, you must take a good quantity of the purest nut-oyle and put it into a large Iron-pot, to which is .fitted a cover which must lye exactly close, Fill it with- in 4 or y Inches, and then apply the cover: Thus sett it or hang it on a good fire, letting it boyle, but be carefull that it rise not at the begining, nor yet when it doe boyle, least it endanger the house, and therefore your eye must be continually upon it, to keepe it in motion and stirr it

about

1 8 Sculpture: Tart II.

about with some Iron ladle or spatula; soe as being now very hott, it may take fire gently of it selfe. or be easily inflamed with the blaze of a paper, as wine is burnt : When thus it has taken fire, remove it from the Trevet, to a corner of the chimny perpetually stirring it, yet soe as the burn- ing may continue above halfe an hower: and this to make the weaker sort : after it has thus burnt, clapping the cover upon the pot it will be extinguished, provided it be very close, other wise you must cast a cloath upon it, which will imediately suffocate the flame. Then let it coole a little, before you poure it into the vessell, in which you intend to keepe it.

When this is don, fill the pott againe with more raw nut-oyle, as you did before : To make a stronger sort boyling it in the same manner, with this onely difference, that it be suffered to burne a great deale longer, moving and stirring it till it become very thick and glewy, filing and drawing into threads like a syrupe, which you may essay from tyme to tyme, by letting a few droops coole upon the plate. There are some who boyle an onion, or a crust of bread in the oyle, to render it (as they thinke) the less greasie.

If

The Rowling Tress.

If the fire (as frequently) have too violently seized upon it, cast in halfe a pint of fresh oyle : but to prevent all danger, you may boyle it abroad in the open aire, if the weather be calme and seasonable. The Oyle thus prepared, you must grind the bkck upon a Painters marble with a good large muller; Thus take about halfe a pound at a tyme, and bruise it on the stone, then put to it about halfe a pint of your weakest oyle, (being that which you first boiled) or in quantity according to that of your black ; for some colour will drinke up more than other, and it were better to put to little than to much, and therefore in grinding, use discretion; for the drier it be ground, the better : having thus coursely ground it, range and heape it up at one of the corners of the marble, or some other convenient thing which may hold it; then take it in smaller portions, and grind it over againe by degrees till it be exceeding fine, and range this alsoe towards another coine of your stone, and when ''tis all thus ground ; spread it againe upon the marble, and add to it of your strongest oyle about as much as you judge may fill a hens egg : Grind and incorporate these very well, and reserve it for your

use

2,0 Sculptura: Tart II.

use in some earthen pott glaz'd, covering and securing it from dust and ordure ; and thus have you the Inke prepared for your plates ; which if very much worne or not profoundly graven, may have the Inke more [diluted] with the weaker sort of oyle, discreetly tempered; for the care of well making this Inke is soe nessessary, that the black being course, or ill ground, though the ingredients good, both marr the impression and spoyle the plates : Alsoe that the oyle be 01 a fitting consistency, and not too thin; for then the blacking will stick to the hatcheurs, and not on the paper.

Being thus furnished with Inke, the next thing to be provided is a large pan of Iron, to kindle and containe the coales in, alsoe a kind of Grid-Iron (by our worke- men call'd the blacking Iron) which is made with feete, upon which to lay the Plates when you are to heate them, the better to receive the Inke : let the fire for this purpose be gentle, and not to violent, covered with some Ashes.

CHAP. V.

The Rowling Tress. 2,1

CHAP. V.

How to prepare the paper for the Tress, Inke the Tlates and worke of the Proofs, and counter-proofs : with other curious particu- larities.

TO dip your paper of the largest, and all other sizes, you must procure a Tub or vessell of a competent bigness, which you shall halfe fill with water that is very pure and cleane, then having two large and strong boards, broad enough to containe a sheet of paper displaied, and well planed ; let these boards be barred on the other sides, that the paper being on it, you may the better come with your fingers to take it up, by passing them betweene the board and the plate upon which it rests.

Then take ? or 6 sheets of paper spread open, taking them up with your hands at the two edges, and plunge them into the foresaid vessell of water, three or fower tymes, according as the stiffning and gumi- ness of it requires, perfbrme this dextrously and without rumpling: and then earring of them gently, lay them smooth and

evenly

Sculptura: Tart II.

evenly upon the polished side of one of the boards ; This doe till you have soaked as much paper as you intend to print off in a day, placing and heaping the sheets thus one upon another : Then ky the other board (the smooth side downewards) upon the uppermost sheete of the heape, soe as it be all contained betweene the said boards, lastly set a lusty weight upon the top of this board soe as equally to [squeeze] the paper, and press out that which is superfluous: And thus let it continue till you are ready to worke at the Press ; which should be the next morn- ing if this were done the evening before : But if it chance that you have wett more paper than you can print off in that tyme; let that which remaines be still pressed betweene the boards with the next which you dip that night ; and then place it upmost, to be first spent. The paper which is most stiff of the gume in the making, should be more wett than that which is more weake and limber.

Having all things in this readiness, place the wrong side of your engraven Plate upon the grate, or blacking Iron, warming it upon the embers till it be reasonable hott; then with a cleane cloute, take it

by

The Rowling Tress. 2,3

by one of the corners, and lay it flat upon a Table which you ought to place neere your pan : Then with the Tampon (which we but now taught you to make) dipped into the Inke-pott, besmeare the graven face of the plate, sliding, rubbing and tapping it all over; so as the blacking may enter all the stroakes and gravings of the Copper. If the tampon be new it will require more Inke, than if old and often used, which is allready sufficiently soaked. When you have thus done, be carefull to lay your Tampon in such a posture and place, as noe dust or other ordure may stick to it, and ifj by dis- continuing to use it, you find it grow too hard ; pare off the crusted blacking with some of the rolle it selfe, doeing as before. When your plate is sufficiently Inked, take an other cloute (not that which you used before) and wipe off the upper and grosser part of the blacking, together with what may have fould the edges, and the pknke about them ; soe as to make them very cleane ; then laying aside that cloute, and resting the plate still on the Table, wipe the palme of your right hand exceed- ing cleane with a fresh cloute (which you must hold in your left hand) especially the

brawny

Sculptura: 7 art II.

brawny part which is next to the little finger : Then pass your hand firmely over the plate, and wiping it, from end to end, and cross the other way againe, with the same brawny part of your hand; ever now and then wiping it with the cloute held in the hand which staies the plate upon the edge of the Table ; till by this meanes you have intirely cleansed the plate from all the superfluous Inke and blacking, except onely that which is of necessity to remaine in the hatchings and stroakes engraven, the rest being as cleane and immaculate as the margent, or whitest part of the paper : Remember also to wipe and cleanse the edges of the plate, that it may not leave the least staine in the impression; This don, lay your plate a little while on the grate, and when it is a little hott, take it off upon your hands, being before well wiped, and carefull that you touch the edges and back side of it onely, and soe place it upon the Planke of your Rolling- Press as we shewed you in chap. 2,.

But in this worke of cleansing your plates, be sure your hand be not sweaty : For the rest, the cloute with which you wiped off the first blacking whilst it lay thick may serve you severall tymes upon

the

The Rowling Prtss. 2,5-

the like occasion provided it be not to hard and stif£ but for that with which you wipe your hand, it must be frequently changed, and therefore you should be plentifully furnished : You shall likewise put an Apron before you or something like it, to wipe your fingers on> before you take up your wett paper, to applie on, and take off from the plate before and after the Impression.

There are severall other observations, which would be tedious to deduce, since a little judgment and practise will more easily supplye them.

Onely you are to know, that it will be sometymes nessessary to place the bknkets upon the Planke or Table of the Press first : and upon these the Maculatorie, then the paper, or what ever else you would have receive the Impression, and then you shall reverse the plate turning the graven part downewards; and upon that 2, or 3 blankets, to prevent the plate from warp- ing, and spoiling the rollers whilst the moulinet is turning, passing and printing it as before. And this is done onely when there is need of redressing the Plate : as when you print on Satin &c of which more anon.

One may alsoe make Impressions of

EVELYN o many

2(5 Sculptura: Tart IT.

many other coloures, well ground and tempered, as well with the same Oyle for the browner colours, as with other made thick, purified and cleane from greasiness, farr more lively and cleare.

And for as much as there is some diffi- culty in making the black Impression upon guilded paper, wheither overlaid with gold or silver; you shall onely remember to temper halfe a sponfull of oxes gall, to a portion of Black of the quantity of an Egge, mixing it with a little vinegar and bay-salt. But prepare noe more of this blacking than you will imediately employ, as from two howres to two, (sic), because the galle is subject to spoile and corrupt.

Here Monsr. Bosse having sometymes considered prints upon Sattin of divers colours, tooke occasion to invent a way of making some impressions likewise upon colours, which is contrary to what is usually practised by our washers of Prints, who lay their colours upon the Impression onely. And thus it follows. Suppose you have a plate graven, and representing a single figure onely, and which you would cloath with 2 or 3 colours : for instance, the Hatt grey, the haire browne, the cloake red, the Hose and doublet of one colour, the

stockings

The Rowling Tress. 2,7

stockings of another, and soe of the rest.

First of all you must have another plate filed exactly to that, soe as being applyed one upon another there appeare no differ- ence betweene them: then vernishing it with your hard vernish, and [hatching] it as you have bin taught, taking the Impres- sion of the graven plate, freshly wrought off upon some thick paper or card a little moistned, clap the vernished plate imediately upon it adjusting it perfectly to the con- tours, and edges which the graven plate had imprinted; and thus transpose them together upon two blankets, evenly applyed upon the Table of your Rolling-Press, then lay a or 3 more blanketts upon the said Impression and plate, Then turne the mouli- nett, and you shall find the figure (which was first printed on the paper) will have left its perfect Impression upon the vernished plate as counterproofes use to doe. This performd, grave your vernished plate with a very fine poynt, running over onely the simple profiles, and out stroakes of the hatt, cloake, habitt and other particulars, and eate it but shallow with your Aqua Fortis; then take off the vernish, and print off some of these Pictures upon very white o 2, paper

2-8 Sculptura: Tart IL

paper, or grosser (provided it be Allum'd) or upon trie like matter somewhat thicke, and a little moistned, which you may either doe by laying it in some humid cellar, or betweene your other wett papers for a night. These out stroakes being drie, paint all the cloake with a red colour, the Hat with grey, the haire with browne, and soe the rest; then Inking the first more finished plate, place the coloured paper on the blanketts and the Inked plate precisely, and in due posture upon the said paper, then 2, or 3 blanketts upon that againe, and so worke it off as before, This don, you shall find an Impression upon your colours, which dos polish and become them so rarely, as dos infinitely exceed those washings of prints which we mentioned [before].

But you are now to be taught what it is the Printers call a Proofe, and what a countre proofe: The proofe is the first, second or third Impression of a plate which was never before in the Rolling-press, The countre-proofe, is made by the same proofe, being applyed fresh, and all wett as it is evenly upon the Planke or Table of the Rolling-press, then lay upon it a wett paper, on that the maculatorie, and after- wards

The Rowling Tress. ip

wards the blank ette ; Then worke it ofl^ and taking up the leafe, you will find a Count re-proore which the proofe hasrendred you, though somewhat more faint and sweet: And this is ordinarily don, that, exactly answering to the posture of the originall designe, you may the more easily reforme the omissions.

If at any ty me (for want of caution) the Inke become drie in the stroakes and gravings of your Plate, you must boyle it in . Lie, or else revert the plate upon two Iron doggs, and strew about a fingers thickness of Asshes finely searsed and tempered with water upon the surface engraven covering it all over: Then with a little paper or straw inflamed underneath, heate the plate, till the Ashes and the water boile upon it, this will chase out the Inke which was dryed in the stroakes, and mixe it with the Ashes, which you shall then wash off with cleane water, being very circumspect, that when you wipe it drie, none of the ashes remaine, which may endanger the scrazing of it.

The Printers are sometymes obliged to Alume their paper : It is don by dissolving a little comon Alume, in faire water upon the fire, and by plunging their paper in it,

as

go Sculptum: Tart If.

as you were taught in the other. It is not long, since Monsr. Perrier a Bourguignon one of the ablest painters of this age, pub- lished some papers, which were a little browne, wherein the contoures and hatch- ings of the figures were printed black, and the heightnings white, in forme of medaills, which was not onely looked upon as a new Invention: — But so pleasant and beautifull, that it is worth the imitation : The manner whereof Monsr. Bosse thus setts downe.

There must be had two plates of equall size, and exactly adjusted, as in those we have mentioned before : upon one of them grave what you please and finish it ; Then print it off upon large paper, or carte ; and vernishing the other plate (as you did that of which we spake in this chapter concern- ing the different colours) place the vernish- ed side upon the printed proofe accurately; then pass it under the Rollers; and you shall receive a counter-proofe upon your vernish : upon this grave onely the places which you will have heightned, eatching them profoundly with the Aqua Fortis, unless you will grave them with the Burine, which is the surest. This don, the greatest difficulty will be the finding of paper and oyle that may not contract or impart a

yealow

The Rowling Tress. 31

yealow or russet upon the white. For this, the best is nutt-oyle very cleane, to be drawne without fire, and then set in two leaden vessells, in the sun, 'till it be come as thick as the weake oyle for the printers- Inke, of which we have allready spoaken: And for the stronger sorte, expose one of the vessells a longer tyme. After this, pro- cure of excellent white-lead, and when you have washed and ground it exactly fine and cleane, drie it, and then grind it with the oyle somewhat driely; afterwards temper it with the thicker oyle, as you did the printers black : Thus, having Impressions of the first finished plate, black or any other colour upon a gross strong paper, lay them adrying 10 or 12, dayes. Then well moistning or wetting them againe, fill the plate destind for the heightnings with the white colour which you prepared; and having well cleansed the engraven places with the cloute and your hand, place it accurately upon the black impression, and with the blanketts beneath and above, worke it off with the Roller, as you were instructed in the former.

But this says Monsr. Bosse upon con- jecture onely, if the good man may not

have

32, Sculptum: "P art II.

have forgotten to have scene the whole process more exactly described by Georgio Vassari in the first part of the lives of the painters, chap 35- where he speakes of Vago da Carpi. To conclude

You may with the same Oyles print for a need with white massicot, or other light colours instead of white : But first it would be essaid whither oyle of Popies now of late in request with our great painters in England, and other Countries, may not succeede better on these occasions, then the best which can be extracted from walnuts.

FINIS.

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