THE HISTORY OF PAINTING, SCULPTURE, ARCHITECTURE, GRAVING; AND Of those who have Excelled in them: In Three BOOKS. Containing their RISE, PROGRESS, DECAY, and REVIVAL; With an Account Of the most considerable Productions of the best ARTISTS in all Ages: And how to distinguish the true and regular Performances, from those that are otherwise. By P. MONIER, Painter to the French KING, and Professor of Painting, and Sculpture in the Royal Academy at PARIS. LONDON: Printed for T. Bennet, at the Half-Moon, D. Midwinter, and T. Leigh, at the Rose and Crown, and R. Knaplock, at the Angel in St. Paul's Churchyard. MDCXCIX. THE PREFACE. OF all the Products of human Wit, whereof the Brain assisted by the Hand is capable, there are none so admirable and excellent, as the Arts which relate to Designing. The ancient Grecians were of this Opinion. They placed them among the Liberal Arts, and set so great a value on them, that their Slaves were forbidden to learn either Painting, Sculpture, or Architecture. There were only Gentlemen permitted the Honour to Exercise them: And even Princes themselves gloried in the Practice of them. The Romans, who endeavoured to imitate the Grecians in the Perfection of these Arts, had the same Esteem for them; for several Consuls and Emperors took pleasure in employing themselves therein. And these Arts kept up their Excellency, while the Empire was in its height; but they began to decline when that became the Prey of several Tyrants who were the Cause of its Ruin. Painting, Sculpture, and Architecture underwent the like Destiny, for they lost the Protection and Esteem they found under the first Emperors, and at length fell into that ill and rude Manner, which has been since named Gothick or Barbarous. But afterwards they regained new life and vigour under the Protection of several Princes, and Republics, and by the Industry and Application of those ingenious Men who studied them. It has not been without just Reasons that these Three illustrious Professions have always been valued and esteemed at so high a rate, for their Beauties are always extremely pleasing to the Ingenious, and there is nothing which more illustrates the Glory of Princes, than the Productions of Designing. In short, the famous Structures of the Egyptians, Grecians, and Romans eternize the Memory of those Illustrious Persons for whose Glory they were raised: They are also incontestable Witnesses of the Victories which their Great Captains obtained over other Nations. Such clear evidences are more Authentic than any Histories, for they represent to us without any prejudice the Truth of those Things, for which those ancient Buildings were raised by the Art of Designing: It was moreover by means of this Art that Medals were made, which serve to confirm some very doubtful Matters of Fact related by History: And express to us the Actions of Heroes, and transmit their Memory to Posterity. To these advantages may be added that of Military Architecture, which derives its Principles from this Art, and which is very necessary for the Security of Towns, and Defence of Kingdoms. Nor have the Arts of Designing been of less advantage to Princes in the Point of Religion, than for the Defence of their States. The Heathens were very Curious in, and made it a considerable Part of, their Religious Worship to distinguish the Forms they made their Temples of, according to the different Divinities they therein worshipped. Since that time several of those Temples have been made use of (a) At Rome several of the Popes by permission of the Emperors of Constantinople, converted several of the Heathen Temples into Christian Churches, as that of the Pantheon, which is now the Church of Notre-Dame de la Rotonde, and that of Romulus was dedicated to St. Cosmus and St. Damian; and also that of Bacchus which is at present called St. Estienne the round. for the Worship of the true God. But those that have been built on purpose for the Christian Religion surpass those ancient Temples: And this may be seen in several Places, and chief in St. Peter's, at Rome, the noblest Church that was ever seen. The Churches are adorned with Statues, with Bass Reliefs, and Pictures to represent the Mysteries of our Religion, and the Martyrdoms of the Saints. These Subjects managed by ingenious Painters, and Sculptors, make greater and more lasting Impressions upon the Minds of People, than Words can. This was the Opinion of St. Gregory of Nice, and several other Great Men, who were sensibly touched at the sight of these Representations. Moreover Nature, which constantly tends towards what is most agreeable to its self, taught Men Designing before they had found out Characters to Write. This Truth is evident in the Historical Figures (or Hieroglyphics) of the Egyptians, Engraven on Stone, as may be seen on their Obelisks. For those Sorts of Letters are only the Designs of Figures made of some Parts of the Human Body, of Animals, of Plants, and of all sorts of Instruments, which were called Hieroglyphics, and whereof this People made use before they had Letters. Cornelius Tacitus in the Eleventh (b) .... Ac novas literarum formas addidit vulgavitque Comperio quoque graecam literaturam non simul caeptam absolutamque; Primi per Figuras animalium Aegyptii sensus mentis effingebant, & antiquissima monumenta memoriae humanae impressa Saxis cernuntur, & literarum semet inventores perhibent. Book of his Annals favours this Opinion: And it may be very well conjectured that Designing and Painting preceded Writing; nay, within these few Ages we have had an almost undeniable Proof of it. At the discovery of America, we find, that Designing was practised there, although those People had no knowledge of Letters or Writing: And that particularly in the Kingdom of Mexico, where we find, they wrought in Painting and Sculpture. For among several rich Presents which their King Monteczuma made to Ferdinand Cortes, there was a Book of Figures (c) General History of the Indies by Francis Lopez de Gomara. Their Palaces were adorned with Statues, and there were some of Gold. Pag. 94 and 128. They understood also Geography by Designing, Pag. 98. See moreover in that History, Pag. 64. 78. 109. 130. 140. 141. and 157. instead of Letters, resembling the Hieroglyphics of the Egyptians: And Painting was so much in use there, that this Prince showed to the said Captain one of his Courriers, who brought him, painted on a Piece of Cloth, some Spanish Succours, which were newly arrived. Upon this Cloth were represented the Vessels, the Men, the Artillery, the Horses, and the Dogs, whereof those Recruits consisted. The advantage which Cortes moreover in particular received by means of this Painting was very considerable; for some Indian Lords having conspired to kill him, he was advertised thereof by one of them who shown him a Cloth, whereon were designed the Portraits of all the Conspirators, and by these happy means this Captain escaped the danger. The advantage and excellency of the Arts of Designing show the difficulty of attaining to (d) Vigenerus, Pag. 853. Perfection in them, by reason they require a great deal of Knowledge, to succeed well in the Practice of them: For besides a natural Inclination for them, the Rules of them must be very nicely studied; and care must be taken to match good Instructions and a natural Genius for them, together; otherwise it will be impossible to become Excellent in them. These difficulties, in the three last Ages, stirred up an Emulation among several great Princes, jealous of their own Glory, and the Qualifications of their Subjects. They established Academies of Designing at Florence, then at Rome, and Bolonia, and afterwards at Antwerp, and lastly at Paris, where the Painters, Sculptors, and Architects (e) The Royal Academy of Painting and Sculpture was founded in 1648. And His Majesty began in 1665 another Academy at Rome to perfect the Disciples of the Academy Royal; which continues to this present time. compose illustrious Bodies. Those which (f) The King moreover established another particular Academy for Architecture in 1671. Lewis XIV. has erected in his Metropolis, have been the most powerful means that could be invented, to make excellent Painters, Sculptors and Architects. There Youth is taught to Design after Nature, There are also taught the Doctrines of Proportions, Geometry, Perspective, and Anatomy: And every Month there are Conferences upon whatever relates to the Instruction of their Disciples. Among the Lectures which I have had the Honour to read there, upon the Concourse, or Out-lines of Bodies; upon Perspective, Anatomy, and the Motions of the Muscles: And also on the Progress, Fall and Re-establishment of the Arts of Designing, I have chose these latter Conferences to Form out of them the History of the Arts which relate thereunto. In the First Book, I treat of the Original and Progress of Architecture, Sculpture and Painting, from the First Ages of the World, till after the time of the Emperor Marcus Aurelius, when these Arts began to decline. Throughout all this Tract of Time we take notice of the Curiosity of the Kings of Assyria, Egypt, Phoenicia, Persia and Israel to raise huge and extraordinary Buildings. We there remark how these Arts went from the Phoenicians to the Grecians and Carthaginians: And how afterwards they went into Italy, and the Progress they made in Tuscany, and at Rome in the Times of their Kings, of the Republic, and of the Emperors; lastly, we show in what Esteem they were there, and how far Protected till their decay. In the Second Book, we treat of their Fall, and show how the true Manner and Gust of Designing began to decline at Rome, after Commodus down to Constantine; and afterwards, Architecture also decayed: Insomuch that an ill and rude Manner was introduced in Building, in Painting and Sculpture. The Zeal of the Christian Religion contributed very much to the Destruction of the ancient Temples, and Images, as did also the taking of Rome, the Reigns of the Goths and Lombard's, who followed that rude Manner in Italy, and propagated it almost throughout all Europe. But the Magnificence of Architecture was maintained longer in the Eastern Empire than in other Places, and especially at Constantinople, by reason that the First Emperors were very much addicted to Architecture, as we see in Constantius, Theodosius, and in Justinian, who Employed vast Treasures in Building, which for some time kept up Architecture, Sculpture and Painting: These two last suffered very much, since the time of those Princes, by the Iconoclastes, who destroyed the Images, and barbarously persecuted the Painters, and at length these Arts fell entirely in that Empire, in the Reigns of the Mahometans, who suffer none to Design the human Figure, nor any thing that has life. In the Third Book, we show that about the Year 1110, the Arts of Designing began to revive a little at Florence, and in some other Cities of Italy; the Protection they afterwards found under the Kings of Naples, of France, the Republics of Venice and Florence, the great Dukes of Tuscany, and the Popes of that Illustrious House, and several other Princes of Italy, gave means and opportunity to several excellent Genius's to apply themselves with a great deal of Zeal to the Re-establishment of Painting, Sculpture and Architecture. In fine in the Year 1500 I conclude the Re-establishment of these Arts, for it was in this happy Century that they were brought to Perfection by the Famous Designers who flourished about that time. This has been acknowledged by all the Famous Designers of our Age: Who have esteemed it their Glory to Imitate the Works of Raphael, Correggio, Julio Romano, and Titian, and several other Ingenious Men of the last Age. For it has been by means of this imitation that the true Way of Painting and Designing has continued down to us; as also the right Manner of Sculpture and Architecture: As has been practised from the beginning of this Century 1600. by the Famous Carraches, and afterwards by their Disciples Domenichino, Albani, Guido, Lanfranc, Algradi. Afterwards the true Way and Manner was continued in these Three Arts at Rome by Poussin, Francis du Quesnoy, Peter da Cortona and Bernini. As also in Flanders by Rubens and Van Dick: Moreover France by de Brosse, Le Mercier, Le Sueur, Sarrazin, Mansard, Bourdon, Le Brun Mignard, and several other great Men who have flourished in the Arts of Designing. But this true and regular Manner is kept up very successfully at present by those Ingenious Men who compose the Royal Academies of Painting, Sculpture and Architecture: Having determined to follow the Footsteps of the Ingenious Ancients, and the incomparable Maxims of those excellent Genius's who appeared with so much Glory in the Age before them. We may perhaps hereafter present the Reader with a Continuation of this History throughout the Century 1600, which we reserve for a Second Volume. Nor ought it to surprise any, That a Painter should undertake to write an History of Designing, because among other Accomplishments he ought to be Master of, that of being well versed in History is none of the least; for thereby he makes his Works conformable to Truth, and can give a Reason of his Representations: And joining the Theory of his Art with the Practice, he becomes expert enough to compose a System of the Rules of it, far better than those who are not Designers. This was practised by the most Famous Painters of Antiquity, as Apelles, and his Disciple Perseus, and (g) Asclepiodorus, Protogenes, Euphranor, and Praxiteles writ of Painting and Sculpture, as did Argellius and Vitruvius of Architecture. others: The Illustrious Moderns have also written of the Arts of Designing, as Leon Baptista Alberti, Leonardo da Vinci, and several others (h) The chief of the Modern Painters who have writ of Painting since Leon Baptista Alberti, and Leonardo da Vinci, are Vasari, Armenini, P. Lomazzo, F. Zucchero, Albert Dalinea Borgo San Sepolcro, Albert Durer, John Cousin, Charles Alphonsus du Fresnoy; and the chief of those who have writ of Architecture besides Leon Baptista Alberti are Vignola, Palladio, Scammozzi, Serlio, Barbaro, Cataneo, Philbert de Lorme, John Bullant, and du Cerceau. who have treated learnedly of these Arts for the Advantage of those who design to be Excellent therein. The reason why we have rather given this Treatise the Title of the Arts that relate to Designing than the History of Painting, Sculpture and Architecture, is because Designing not only comprehends those Three Parts, but also graving on Copper, cutting in Wood, and graving for Medals, and Damask-work, and Embroidery, and Inlaying and several other Works all depending on Designing. For this Reason all these Arts are put together, and compose those Academies, which are called in Italy, Academies of Designing, where Painters, Sculptors and Architects take upon them successively the first Places: And for this Reason they who intent for any of these Professions, first of all learn Designing, and then determine their Choice to some one in Particular, or sometimes to more, being capable of succeeding therein, if they are first of all good Designers. This has been evident heretofore in Daedalus, Phidias Euphranor, and several others, who were as Excellent in Sculpture and Painting as in Architecture, and also of late in Ghiberto who was a Painter, Architect, Sculptor and Goldsmith: Verochio and Leonardo da Vinci were also Masters of all these Arts, as likewise Bramante, Raphael, Julio Romano, Baldassare, Vignola and Pirro Ligorio who were Painters and Architects: Michael Angelo was equally Excellent in Architecture, Sculpture and Painting, for he was an Excellent Designer. Hence it is, we have taken our Device on the Frontispeice of this Book, which expresses, that Designing is the Parent of Painting, Sculpture and Architecture. And now we cannot but expect that Critics will be making Reflections on the Style we have used throughout this History: But that the Reader may not stick or carp if he meets with any obsolete Terms or Words not much in use, and if the Turn of the Phrase is not always so Nice as he might expect: He must know, that the Author's Design is only to make himself understood by those who learn Designing. Wherefore he hopes that the unprejudiced Reader will not so nicely regard the Politeness of Expression, since his Business is Painting, and he looks upon the rest only as accidental Accomplishments. If this History find a favourable Acceptance, we design hereafter to give an Alphabetical Explication of the Terms most used in the Arts of Designing, whence several Observations may be raised very necessary for the Instruction of the Disciples and Lovers of these Arts. THE CONTENTS. BOOK I. Of the Original and Progress of ARTS that relate to Designing. CHAP. I. GOd is the Author of the Design and Model of Man, or of human Shape. Page 1 CHAP. II. Of the Practice of the Arts of Designing, and their Progress among the Assyrians. p. 4 CHAP. III. Of the Height to which Painting and Sculpture arrived among the Egyptians. p. 6 CHAP. IV. The Egyptians Communicated these Arts to the Phoenicians, and they carried them into Greece. p. 8 CHAP. V The Arts of Designing flourished under the Kings of Israel. p. 11 CHAP. VI Sculpture was Practised by the Babylonians and Persians. p. 12 CHAP. VII. Of the Arts of Designing in Africa and Carthage. p. 14 CHAP. VIII. Of the time wherein Painting began to flourish in Greece. p. 17 CHAP. IX. At the same time that Painting was in its Perfection in Greece, Sculpture and Architecture were so also. p. 21 CHAP. X. How Painting went from Greece into Italy. p. 24 CHAP. XI. Of the Time wherein Sculpture began to be in Esteem among the Romans. p. 28 CHAP. XII. Of the Excellence of the Architecture of the Grecians. p. 33 CHAP. XIII. Of the Perfection of Architecture among the Romans in the time of the Republic. p. 37 CHAP. XIV. Architecture continued at Rome under the Emperors in the same Excellence it had done in the time of the Commonwealth. p. 41 BOOK II. Of the Decay of the Arts of Designing. CHAP. I. Under the Reign of Commodus the Arts of Designing began to Decline. p. 47 CHAP. II. Architecture did not Decline till after Constantine, although Painting and Sculpture did before. p. 49 CHAP. III. The Empire removing to Constantinople, and the setting up of the Christian Religion, contributed to the Ruin of the Arts of Designing. p. 52 CHAP. IV. The taking and Pillaging Rome by the Goths and Vandals contributed to the Ruin of the Arts of Designing. p. 54 CHAP. V The Images in the Primitive Church did not keep up the Arts of Designing at Rome, but gave Birth to that manner which was afterwards named Gothick. p. 56 CHAP. VI The Arts of Designing declined less in the Eastern Empire, than in the Western. p. 58 CHAP. VII. Of the Antiquity of Images in the Christian Religion. p. 62 CHAP. VIII. Of the entire Ruin of these Arts, by the Sect of Mahomet in all the Parts of his Dominion. p. 66 CHAP. IX. Of the Injury Painting and Sculpture suffered by the Iconoclastes. p. 69 CHAP. X. The Dominion of the Goths in Italy brought in the rude Manner. p. 74 CHAP. XI. In the time of the Lombard's the Gothick Way continued in Italy, and in several other Parts of Europe. p. 75 CHAP. XII. From the Time of Charlemagne, the true Manner of Building altered less in Tuscany than in other Countries. p. 78 CHAP. XIII. Reflections on the Fall of the Arts of Designing, and on the Gothick Manner. p. 80 BOOK III. Of the Re-establishment of the Arts of Design. CHAP. I. The Arts began to flourish again in Tuscany, in Architecture and Sculpture. p. 83 CHAP. II. Of the Time when Painting began to be Re-established at Florence. p. 88 CHAP. III. The Liberality of Princes to ingenious Artists, has been a great Means of the Revival of the Arts of Designing. p. 91 CHAP. IV. The Establishment of an Academy of Designing at Florence, was a Means of Re-establishing the Art. p. 95 CHAP. V The French and the Dutch applied themselves to make Painting reflourish, and found out the Secret of Painting in Oil. p. 101 CHAP. VI Of the Invention of Painting in Oil, and its advantage in Painting, and how the Secret went into Italy. p. 105 CHAP. VII. Painting was re-established in several Provinces of Italy. p. 107 CHAP. VIII. The School of Florence became very Famous by the great number of Excellent Men it produced. p. 111 CHAP. IX. Of the Perfection of Painting in the last Age. p. 118 CHAP. X. Of the Painters of Lombardy who contributed to the Re-establishment of the Art. p. 124 CHAP. XI. Painting, in Point of Colours, was brought to its greatest Beauty at Venice. p. 128 CHAP. XII. The same Curiosity was in all the Courts of Europe, and chief in that of Mantua. p. 133 CHAP. XIII. Architecture arrived to a very great Excellency at Rome. p. 137 CHAP. XIV. Architecture began to revive in the State of Venice. p. 141 CHAP. XV. Michael Angelo made Architecture, Sculpture, and the true Manner of Designing flourish at Rome. p. 146 CHAP. XVI. Several Disciples of Michael Angelo, and Raphael continued the Excellency of Painting and Architecture at Rome. p. 153 CHAP. XVII. At Florence the true Way of Sculpture and Painting was continued by some ingenious Men. p. 156 CHAP. XVIII. The Cities of Ferrara, and others of Lombardy and Urbino, furnished the World with several good Painters. p. 160 CHAP. XIX. Painting continued in its Beauty at Venice, as did also Architecture at Venice and Rome. p. 164 CHAP. XX. The Arts of Designing flourished in France under Francis the Is't, and Henry the IId, and their Successors. p. 172 CHAP. XXI. The Flemings perfected themselves in Painting, after they had found the Invention of Painting in Oil. p. 178 CHAP. XXII. How Graving contributed towards the Re-establishment of the Arts of Designing. p. 182 ERRATA. PAge 2. l. 25. for Portraitures read Portraits, l. 29. f. Epercio r. E percio, l. 30. f. dize r. dire, f. si a r. siou, l. 31. f. ritrova Architeta d'all ' r. ritrovata dal ', l. 35. f. suio; popoli r. suo popoli, l. 38. f. pagine r. pagina. P. 3. l. 37. f. Armemini r. Armenini, f. Chevalier, Bisigno, r. Cavalier Bisagno. P. 6. l. 13. P. 10. l. 15. P. 20. l. 37. P. 21. l. 17. P. 31. l. 6 and 26. P. 48. l. 19 f. Engraving r. Sculpture. P. 8. l. 21. f. Dedalus r. Daedalus. P. 9 l. 4. 19 28. 36. P. 19 P. 11. l. 6. f. Workmen r. Artificers. P. 12. r. Laocoon. P. 18. r. Phidias. Amphictyones. P. 21. r. Phidias. P. 23. r. Gnidus, l. 8. f. Diametes r. Diadumenus. P. 24. f. Tarant. r. Tarrentum. P. 25. l. 2. r. Demaratus. P. 26. l. 8. f. those of Sicyone, r. them. P. 35. f. Engraven r. Carved. P. 48. f. Paint and Engrave r. Painting and Sculpture. P. 53. l. 3. f. the Elder r. Majore. P. 54 and 55. f. Imagery r. Stucco. P. 57 f. relish r. manner. P. 59 f. relish of Engraving r. manner of Sculpture. P. 67. f. of vatic r. on the Vatican side. P. 75. f. Vault. r. Arched Roof. and after Gothic r. manner. P. 76. f. Bresse r. Brescia. P. 78. in the Contents f. relish r. Manner. P. 81. l. 16. after Part r. they, and for Pupils r. those who are Studious. P. 84. f. Methods r. Manner. P. 85. f. Water Colours r. Distemper. P. 87. f. Bulloign r. Bologna, and for Ciambeius r. Cimabue, and f. St. Cross r. Holy Cross. P. 89. f. Darotus r. Dante. THE HISTORY OF Painting, Engraving, Architecture, etc. BOOK I. Of the Original and Progress of ARTS that relate to Designing. CHAP. I. God is the Author of the Design and Model of Man, or of human Shape. THE Arts of Designing have had their rise, progress, decay and revival. Designing derives it's Original from the divine Understanding itself, as the first great Exemplar of all Being's: When God created Man, he (a) Gen. Chap. 1. took Earth, and form it into Shape, and breathed into it the Breath of Life; thus the first Design or Draught of human Figure comes immediately from God himself: Who has furnished us with a Faculty receptive of various Ideas, and capable of distinguishing their Forms one from another; this Distinction is the first Principle of Designing: It is connate with us, but improved by Study of the Art, wherein two Things are to be considered, 1st. The Picture or Image of the visible Object in our Imagination. 2dly. The Art of laying it Down, or representing it by the Hand. The Imagination is far stronger in some than in others, either by a natural Genius and strong Tendency this Way, or by a particular Gift of Heaven. For Moses says, of (b) Ex. Chap. 35. Bezaleel, that God had filled him with his Spirit in wisdom, in understanding, and in knowledge, and in all manner of workmanship. It is therefore the Spirit of (c) Philostratus in the Preface to his treatise of Painting says, that the Arts of Designing, were the Invention of the Gods. God which is the first Author of Designing, and it ought rather to be looked upon as a (d) Scamozzi, hints the same Thing in these Words, Epercio à raggione si può dize che il disegno si à più tosto dono Celeste, che cosa ritrova Architeta d'all'ingegno humano in his Book of Architecture, Part I. Lib. I. C. 14. P. 47. Gift of Heaven, than an Invention of Man. This Truth has been acknowledged in all Ages, the Children of Seth, were very careful to engrave on (e) These Pillars were the one of Brick, the other of Stone. Joseph. Lib. I. of Antiquities, C. 2. two Pillars the Principles of Astronomy, That that Science might not Perish in the Deluge which they were assured would happen. Their care was rewarded with the desired Success, for those Pillars remained standing a long time after Noah; and there are some that Writ, that the Sons of Seth found out the Way of representing Images and (f) Leggera che il figlivolo di Seth per generare ne suo; popoli una ment pia, & più benigna, ritrovo il modo di rapresentare loro, le imagine, & figure nostro, per mezzo de la pittura. Paul Lamazzo, Idea del Tempio della pittura pagine, 22. Portraitures in Painting. But in the mean time we have no manner of certainty, that these Arts of Designing were practised before the Deluge. History leaves us in the dark, and relates very little of the Actions of Mankind in the first (g) The first Age comes down from Adam to the Deluge, and comprehends 1656 Years. Age. But we may probably Conjecture, that Noah who had Commerce with the Sons of Seth, who had known Adam, learned those Arts from them, and that he was a very good Geometrician. This is evident from the Structure of the (h) Noah was 100 Years in building his Ark, Gen. C. 6. He built it according to the Symmetry or Proportion of human Bodies, as Paul Lomazzo has remarked in his Treatise of Painting, Lib. I. P. 95. where he asserts that the just Proportions of humane. Stature are 300 Parts in length, 50 broad, and 30 thick, and that according to this Proportion Noah built his Ark, which was 300 Cubits long, 50 broad, and 30 thick or deep. He adds that according to this Proportion, the Ancients used to build their Ships and other Buildings, as the Grecians did that of Argos. Ark, which was a piece of naval Architecture, and presupposed the Art of (i) Of those Authors who have treated of the Art of Designing, some will have it to be a Speculation or Theory assisted by the Memory, and a sort of artificial Industry of the Imagination, employing itself in conformity to the image imprinted on it by the external Object. Others define it the Science of just Proportions of any visible Objects, and a regular Composition demonstrating the Right by certain determinate Measures. Others again will have Designing to be only a clear and vivid Genius, whereof whosoever is deprived is as it were blind, since he can't discern the just Rules and Symmetry of Things. Armemini de veri preccettis D. L. P. C. 4. & le Chevalier, Bisigno in his Treatise of Painting. Vasari thus defines Designing. 'Tis a visible Expression of the Thought the Soul has conceived. Designing, from which Geometry is inseparable. CHAP. II. Of the Practice of the Arts of Designing, and their Progress among the Assyrians. IN the 2d (a) The 2d Age is computed from the Deluge, to the calling of Abraham, and includes 426 Years. Age, the Art of Designing began to appear in Sculpture and Architecture; for after Noah had repeopled the Earth, the Assyrians began to Cultivate these Arts. The first Essay that shown itself, was the Tower of Babel, which was never perfected by reason of the Confusion of the Languages. Belus commonly called Nimrod, the (b) Gen. Chap. 11. This was in the Year of the World 1879. 222 Years after the Deluge, and 127 Years before the Death of Noah. This Nimrod reigned 65 Years according to Euseb. Gen. 10. First King of the Assyrians, was the Author of that famous Structure; and afterwards in the same Place built Babylon, where he arrogated to himself divine Adoration. Ninus' Son erected to him the first Temple in the World, and consecrated (c) 'Twas about the Year of the World 1944, that the Statue of Belus was made, which is the same Idol the Scripture mentions under the Name of Baal, Belphegor, etc. Statues to his Memory; which was the first Rise of Idolatry. It was this Ninus who founded Ninive, a City of (d) Ionas Chap. 3. and Diodorus Siculus L. 3. We here follow the Chronological History of the Sieur de Royaumont Prior of Sombreval, in his History of the Old and New Testament. three Days Journey in length, and made himself Master of all Asia. His Wife Semiramis finished the Walls of Babylon, which were reckoned one of the seven Wonders of the World, to which might have been added, the Gardens wherewith that City was adorned, and which were on the Tops of the Palaces. Semiramis, Moreover caused the Mountain (e) It is not improbable, but that Dinocratus might take this for a Pattern when he proposed to Alexander the Great, to cut out the Mountain Athos into his Statue. Vitruvius' L. 2. The Mountain Bagiston was a Rock of seventeen Furlongs in Circumference; it was Carved into the Statue of Semiramis, with the Figures of a hundred Men offering her Presents. P. Lomazzo Idea del T. del Pitt. P. 22. Valerius Maximus, makes also mention of a prodigiously great brazen Statue of this Queen. Bagiston to be cut in the Shape of several Statues, and carried the Arts and Sciences into (f) Among the Arts of Designing that were practised at Babylon, Painting was one, since that Princess caused to be painted on a Bridge which she built in that City, the Figures of several Animals in Colours, as is reported by Diod. Sic. and the aforesaid P. Lomazzo, P. 22. Egypt, and among the Thebans after having Conquered those Kingdoms. All Historians agree, that Babylon was a very (g) Pliny Lib. 6. Chap. 26. says, That Babylon was sixty Miles in Circumference, That its Walls were two hundred Foot high and fifty thick, that the Temple of Jupiter Belus was standing there in his Time. Herodotus says, This City was four hundred and eighty Furlongs in Circumference. The Death of Semiramis is reported to have happened in the Year of the World, 2038. Justin. Lib. 2. Diod. Sic. Lib. 3. beautiful City; that it was full of magnificent Buildings, and Famous for the Temple of Jupiter Belus: That it had a hundred Gates of Brass, which shows us that the Fusion of Metals was then in Use, and that other pieces of Workmanship which depend on Designing were then discovered. Hence it is also Evident, that the Arts of Designing were not found out by Chance, since those first and excellent Pieces of Architecture and Sculpture could not have been performed without the Help of Art, which had been transmitted down to those great Designers contemporary to (h) Noah died in the Year of the World, 1944. Lamechs' Father lived with Adam fifty six Years. Noah, and removed but two Generations from Adam. CHAP. III. Of the Height to which Painting and Engraving arrived among the Egyptians. THESE Arts having been so successfully practised among the Assyrians, were by them carried into Egypt, and all their Conquests; in so much that the Egyptians were the first who cultivated them. Their Labyrinth was a proof of it. It was a (a) It was the King Petesuccus who built it: It was moreover enriched and dedicated to the Sun by the King Psammaticus, Plin. Lib. 36. Chap. 13. The Obelisks which were transported from Egypt to Rome by Augustus, likewise denote, the vast Magnificence of the Egyptians. Building so admirable, that besides its ingenious Wind and Meanders, there were all the Temples of the Egyptian Gods adorned with Columns of Porphiry, with the Statues of their Divinities and of their Princes, with several rich Palaces which made that Edifice so famous and remarkable, that the first Architects of Grece were wont to travel thither to Study the Depth of the Rules of their Art. This famous Labyrinth and the wonderful Buildings it included, give us a lively Idea of the surprising Greatness of the Architecture and Sculpture of this People; their Pyramids, their Obelisks which are still to be seen, and the Fragment of the Colossal (b) Pliny, Lib. 36. Chap. 12. Image of Sphinx, the Head whereof was a hundred and twenty Foot in Circumference, are evidences of this Truth. In the 3d (c) The third Age of the World began at 2083, from the calling of Abraham to the Year 2517, wherein the Children of Israel went out of Egypt. Age, these Arts flourished in the Reigns of the Pharaohs: Abraham when he travelled into Egypt, Taught there Arithmetic and Astrology. The Assyrians and Chaldeans employed themselves so much in Sculpture, that it became common, not only in the Temples but in Private-houses, as Laban had Idols which his (e) Gen. Chap. 31. Jacob espoused Rachel in the Year 2253, and the eighty fifth Year of his Age. Daughter Rachel stole, when Jacob and his Family parted from him. After that Jacob went and lived in Egypt, where his Posterity increased, and learned the Arts of Designing, and (f) At this time began the fourth Age of the World at 2517, and ended at the building of Scolomon's Temple 2992. gave a Proof of the Progress they had made therein in the Wilderness, by the ill Use they put them to. For being tired with expectation of Moses' return down from the Mount, they made the (g) Exod. Chap. 32. Golden Calf, whereupon he forbidden the making of Idols and Idolatry. After this by the Order of God he chose (h) Exod. Chap. 37. Bezaleel (d) Jos. Lib. 2. of Antiq. zaleel and Aholiab to make Golden Images of Cherubins, and all the Ornaments of Architecture and Sculpture for the Tabernacle, and the Ark of the Covenant. CHAP. IU. The Egyptians Communicated these Arts to the Phoenicians, and They carried them into Grece. WE have no certainty that the Art of Designing was in Grece before the year of the World 2600; but that from the Egyptians it went to the Phoenicians, under Agenor, who Reigned at Tyre. His Grandson Cadmus brought the first Letters and (a) About the Year of the World 2600. It was Cadmus who carried the first sixteen Letters of the Alphabet into Grece. Palamedes added four about the time of the Trojan War. Tacit. Ann. Lib. 11. Plutarch and Pliny, Lib. 7. Chap. 56. Arts into Grece: There he Built Thebes; which he called so from the famous Thebes in (b) This City was so Famous, that Germanicus made a journey on purpose to survey its magnificent Ruins. H. R. de Coiseteau, P. 276 and Cornelius Tacitus, Lib. 2. says, That in that one City were raised 700000 Soldiers. Egypt. About the end of the Third Age (c) In 2496, Athens was founded; and it is supposed Argos was elder than that, and Sicione then Argos. Athens was founded by its First King Cecrops, who came from Egypt; where it is very probable he also laid the first Foundations of the Arts and Sciences: It was here the famous Dedalus was born of the Royal (d) He lived about the year 2644; he was of the Race of the Kings of Athens, Sons of Metion, Cousin-German of Theseus, according to Pausanias in his Attic. Diodorus Siculus, and Eusebius, Lib. 3. of P. E. and Plutarch in the Life of Theseus. Diopenes and the Scylli, were Sons of Dedalus. Milo. p. 828. They were Engravers and lived at Sicione. Plin. L. 36. C. 4. Family, excellent in the Art of Designing, and Famous for his (e) It is thought the Beauty of his Statues gave occasion to the report of their Self-motion. Machine's, and self-moving Statues; he was also the first Engraver we have mentioned in the Grecian History. This Learned Man Traveled into Egypt to see the Labyrinth, from whence he form the design of that he afterwards Built in Crete; and though it was not the hundredth part of that in Egypt, notwithstanding it was so famous for the Beauty of the Architecture and Sculpture, that it was reckoned (f) Plin. Lib. 33. c. 13. among the Seven Wonders of the World. Thirty four years after the Institution of the Olympic Games (g) In the year of the World 2836, began the Olympic Games, from which time the Grecians computed Time by their Olympiads, which returned every Five years. happened the destruction of Troy, at which time Architecture and Sculpture were much cultivated by the (h) Dedalus having lived near 200 years before the destruction of Troy, his School brought up and sent several Engravers to Athens, Sicione, Candie, and Sicily. Milo and Pliny. Lib. 36. c. 4. Grecians. This is sufficiently evidenced by the structure of the Trojan Horse, which an ingenious Engraver made for them, who was also an excellent Architect; (i) His Name was Epeus Dicrateus, Justin. Lib. 20. c. 2. Plin. Lib. 7. c. 56. after that he Built the City of Metapontus; the Citizens (k) This City of Metapontus was in old Lucania, which is Calabria. It is now called Tore di Mare. whereof to testify the Veneration they paid to his Memory, kept the Iron Tools wherewith he made the Trojan Horse, as venerable Relics in the Temple of Minerva. The elegant Description Homer gives us of the Buckler of Achilles, is a sufficient evidence that the Arts of Cutting and Engraving were practised in Grece; for that famous (l) Homer in his Iliads, Lib. 18. It was held in great esteem in the year 3079. Ovid speaks also of this Buckler in the Thirteenth Book of his Metamorphosis. Poet expresses so elegantly the Beauty of that Work, that his Descriptions seem rather to be Engraven than Writ: He moreover feigns, by reason of its Excellence, that it was wrought by Vulcan himself. As for the Trojans, it cannot be denied but that Engraving was in use among them; for that Poet tells us, that Aeneas (m) Aeneas went into Italy in the year 2872; he was the first King of the Latins, after whom, for 543 years there Reigned Nineteen Kings to the time of Romulus. took particular care to carry his Penates, or Household Gods along with him; particularly the Palladium of (n) Plutarch in the Life of Fur. Camillus. The Fifth Age began at the Foundation of Solomon's Temple, and ended at the deliverance of the Jews out of the Babylonish Captivity; containing from the year 2992 to 3468, which is 476 years. Troy, and the Idols of the Samothracians he took along with him into Italy. CHAP. V. The Arts of Designing flourished under the Kings of Israel. ONE hundred and fifty six years after the destruction of Troy, Solomon being about to Build a Temple to the true God, would not undertake that piece of Work, till, by diligent search, he had found out all the most able and ingenious Workmen, both in his own Dominions and elsewhere. To this end he had recourse to the King of Tyre (a) Chron. Book 2. c. 2. The Temple of Solomon was finished in the year of the World 3000. his Friend; who sent him Hiram, whom, through respect, he called Father, and who excelled in all Arts, as appeared by the Architecture of the Temple, and of the (b) Hiram made Two Palaces for Solomon, the one in Jerusalem, and the other in Mount Libanus, Chron. 2. c. 9 Palaces which he enriched with innumerable Ornaments of Sculpture, and Works of Gold. In these spacious Buildings were to be seen the (c) This Throne was of Gold and Ivory with Figures and Lions. Magnificent Throne of Solomon, the Cherubims, the Vessels of Gold, the Altar, the Pillars and great (d) This Sea of Brass and several other rich Works were broke to pieces in the time of Nabuchadnezzar. Sea of Brass, which held 300 Measures of Water, supported by Twelve Brazen Oxen: All which rich Works demonstrate that Hiram was skilled in the Art of Founding, as well as other parts of Designing. Solomon after this, led astray by his Concubines, Built Temples to the Goddess of the (e) The Goddess of the Sidonians was Astarthon, Sidonians, to the Idol of the (f) The Idol of the Ammonites was Moloch. Ammonites, and to that of the (g) And that of the Moabites, Camos. Moabites: After which Jeroboam, and several of the Kings of Israel, continued the Worship of false (h) They Sacrificed to the Idols of Baal and the Golden Calf; and Jeroboam established that Worship, 3 Kings, c. 16. Ahab also Built a Temple to Baal in Samaria, where he had 450 Prophets, and 400 others who served in the Groves, and all were fed at Jezabel's Table. Ahab also reestablished the Idolatry in the High Places, 4 Kings, c. 16. Gods; which made employment for the Gravers and Architects. CHAP. VI Sculpture was practised by the Babylonians and Persians. SCulpture had hitherto been much more used by the Babylonians than by the Jews, because that Kingdom had been always in a very flourishing condition. Nabuchadnezzar made a Golden Image of (a) Dan. c. 3. v. 1. Sixty Cubits high, and Six broad. The Proportion of its breadth to its height, shows us the nice Symmetry that was followed by those Ancient Artists, particularly also in the Statue of Laocon, wherein the same Measures were used; its height was Thirty Measures, and its Diameter Three; thus Multiplying Thirty by Two, and you have Sixty for the height, and Multiplying Three by the same Number, you have Six for the thickness; which are the same Proportions with that great and rich Statue of Nabuchadnezzar. Hence we may Note by the by, That the Excellent Designers of all Ages have made use of the same Rules and Proportions to express the Beauty and Symmetry of Human Bodies by. This magnificent Work of Nebuchadnezzar's sufficiently proves that the Arts of Designing flourished under the Babylonian Monarchy. For to undertake the making a Statue of Gold of Sixty Cubits, there must needs be excellent Gravers in the Kingdom; whence it also appears credible, that that Art had been there successfully continued for Fourteen hundred Years, which was the time since it began to flourish there, as we have noted, under the Reigns of Ninus and Semiramis his Wife. But Cyrus after the Conquest of Babylon, established there the Monarchy of the Persians: It was he who ordered the rebuilding of the (b) First Book of Esdras Chap. 1. Ver. 3. Temple of Jerusalem, and who restored to the Jews their Liberty. He sent (c) Sanabasser was made Prince of Judea by Cyrus, who gave him back the Vessels of the Temple which were 5469 of Gold and Silver. 1 Esdras c. 1. v. 3 and 8, 9, 10, 11. and Chap. 5. v. 14, 15, 16. Assuerus and Artaxerxes are the same. Sanabasser from Babylon to lay the Foundations of that Structure, and commanded the raising of Money for that end; and he also restored to the Jews all the rich Spoils of the Temple of Solomon, which Nabuchadnezzar had carried away when he destroyed it. Artaxerxes did not yield to him in point of Magnificence and Grandeur; for the Galleries and Porches of his Gardens were adorned with (d) There were hung round on every side hang of Azure, Crimson and of Colour of Jacynth. Ester Chap. 1. v. 5, 6, 7. Marble Pillars: He had Beds of Gold and Silver even down to the Floors which were of Alabaster, and inlaid with Emeralds, which rendered a very agreeable and charming Variety. Hence we see, that the Arts of Designing continued in as great Splendour in the Monarchy of the Persians, as in that of the Babylonians. CHAP. VII. Of the Arts of Designing in Africa and Carthage. IN the fourth Age Pygmalion (a) Pygmalion was the Son of Melin. He reigned in the Year of the World 3147. and the 124th of Solomon's Temple. He obliged his Sister Dido to retire the 7th Year of his Reign out of the Kingdom, Dius cited by Josephus Lib. 1. against Apion. Justin. Lib. 18. King of Tyre, did no ways degenerate from the excessive Love the Princes of Phoenicia entertained for the Arts, and this gave Occasion to the Story that was reported of him (viz.) That this King was punished for the Hatred he bore to Women, by falling violently in * Ovid's Metramorphosis, Lib. 8. Love with an Ivory Statue he had made. This demonstrates that Graving was practised with a particular Esteem among the Tyrians, since that Great Prince made it one of his chiefest Pleasures. His Sister (b) Appian General of the Libick War says, That Princess went from Phoenicia with a Colony, and that she carried along with her all the Riches she could get together. She made use of a Stratagem to build that City; for having asked of the Carthaginians as much Land as she could Encompass about with an Ox's Hide, when they had agreed to it, she cut out the Hide into Thongs, and encompassed round the Place where Birsa was built, which Word in Greek signifies Leather. The Fortress of Birsa which was part of Carthage, was built in the Year of the World 1316. Menander Hist. of the Kings of Tyre. It is quoted by Josephus Lib. 8. of his Antiquities, Chap. 13. and Lib. 1. against Apion. Dido, brought the Arts and Sciences among the Carthaginians by establishing herself at (c) Carthage was founded by the Phoenicians fifty Years before the Destruction of Troy; Xorus and Carchedon founded it. Apian Lib. c. 1. Carthage, and the Arts flourished there with that Success, that no Place in the World was in that Point before it. The Statue of Apollo which was in the Temple of that God near the (d) This Gate was called Cotton. Gate of Carthage, sufficiently testifies the happy Progress Sculpture had made therein. This Figure was all of Gold; the Soldiers of Scipio pillaged this * The Temple of Apollo was so Rich that it was all over gilded. Appian of the Lib. War. Chap. 14. Temple which was all over guilt, and broke to pieces that magnificent Statue, which amounted to a thousand (e) The Soldiers made six hundred thousand Crowns of the Gold of this Statue of Apollo: One Talon being valued at six hundred Crowns. One hundred and two Years after the Ruin of Carthage, it was rebuilt by Augustus. Talents of Gold. The Triumph which this General made of the Spoils of Carthage, sufficiently shows that these Arts flourished there, in a very great Height, for Rome had never yet seen any triumphal Entrance that equalled this of Scipio Africanus. For there was displayed a prodigious quantity of Gold and Silver, with a great Number of (f) The ancient Statues which were shown at the Triumph of Scipio, prove, that the Arts of Designing flourished sooner at Carthage than at Rome, App. c. 14. ancient Statues, very rich, and Bucklers of Gold, whereof that of Asdrubal was so excellently Engraved, that it was kept it the Capitol. Whence it appears that those great Carthaginian Generals were very Curious, and Admirers of these Arts, particularly Hannibal, who during his Retreat with Artaxes the King of Armenia, practised Architecture: Since it was he who laid the Platform of the Capital City which from that King was called Artaxata, and surveyed all the Buildings of it at the request of that Prince. (g) Pliny Lib. 35. Chap. 3. (h) Plutarch in the Life of Lucullus. In 1694. There was found in Tripoli, an Ancient Figure which was carried to Versailles, which was the Statue of a Woman clothed, which further proves, that Graving was practised among the Africans. CHAP. VIII. Of the time wherein Painting began to flourish in Greece. THE Arts of Designing were brought into Greece by Cecrops and Cadmus, who carried them along with them out of Egypt and Phoenicia to the Grecians. Painting being one of those Arts, and which had appeared down from the Time of Semiramis, with Architecture and Graving, went also to the Greeks, since that is inseparable from Designing. But the happy Time when Painting began to be in its greatest Splendour in all the States of Greece, was in the eighteenth (a) You must Note, That they did not compute the first Olympiad from the Institution of the Olympic Games: But from the Year of the World 3400, which is about the Time of Azarias' King of Israel, thirty Years before the Foundation of Rome, according to Vigenere in the Tables of Philostratus, p. 328. The Painter Bularchus flourished about the Year of the World 3400, about 300 Years before Alexander the Great. Olympiad, when the famous Painter Bularchus lived, who is most Celebrated of any of those Times. He drew the Battle of the Magnesians, and the Picture was Sold for its (b) It was King Candulus of Lydia who bought this famous Picture: He was the last King of the Race of the Heraclides. Plin. Lib. 35. Chap. 8. This King was before Nabuchadnezzar ninety Years. Pliny says, that he died at the same Time as Romulus, Lib. 35. Chap. 8. weight in Gold; which shows that Painting was then in very high Esteem, which was about the Year of the World 3400. Some Ages after appeared the Works of (c) In the eighty third Olympiad according to Pliny, Lib. 35. Chap. 8. Peneus filled the Temple of Jupiter Olympius with his Pieces, Pausaniar in his Eliac. Androcida a Painter of Cizicenia, painted for the City of Thebes the Battle of Leuctrum. Plutarch in the Life of Pelopidas. They count the sixth Age of the World from the deliverance of the Jews by Cyrus in the Year 3468, and that Age lasts till the Year 4000 Peneus, Brother of Fidias, who painted the Battle of Maraton which the Athenians gained over the Persians with great Applause: And in this excellent Piece, which was in the Porch of Pecilla, he represented the Captains of both sides in the heat of the Battle. (d) Pliny Lib. 35. Chap. 10. Miron and Polignotus, in the ninetieth Olympiad had so great Reputation, that the Athenian Senate ordered them to Paint the Delphic Temple, and that which was called the Porch of Athens. The Amphitrions who were the Heads of the Senate, were so pleased with their Performances, that, as a further acknowledgement of the Merit of these two Painters, they assigned them very fine and handsome Lodgings. At this Time there were a great many very Famous Painters, and among the rest (e) Zeuxis lived in the fourth Year of the ninetieth Olympiad. He raised his Fortunes to that Pitch, that he would sell no more of his Pictures, but gave them away; Thus he presented his Alemena to those of Agrigentium, and Pan to Archelaus. Plin. Lib. 35. Chap. 9 Zeuxis, famous for the Excellence of his Pencil, and the Riches he acquired. He had Contemporary with him Eupompus, Timanthus, Androcida, (f) Pliny farther mentions several other Greek Painters, and among others Euphranor of the Isthmus, who flourished in the hundred and fourth Olympiad. He was also an ingenious Engraver, having made several Pieces in Marble, and some Colossus'. He writ of Symmetry and Colours. Plin. Lib. 35. Chap. 11. And Pausanias in his Atticks, P. 4. tells us of a Gallery where this Painter painted on the Wall the twelve Gods, Theseus the Lawgiver, the Battles of Cadmus, of Leuctrum, and Mantin. Euphranor, Parasius and several others; the last excelled particularly in the Justness of his Proportions: Eupompus brought up Pamphilus the Macedonian, Master of Apelles. Pamphilus was instructed in all the liberal Arts, particularly Arithmetic and Geometry, without which he esteemed it impossible to Succeed in Painting. By his Authority and the Regulations he made in the Academy of Painting (g) Diagraphicon. Pliny calls it Diagraphice, Lib. 5. Chap. 10. he engaged the most considerable Youth of the City of Scicione, and of all Greece, to learn the Arts of Designing, which then were esteemed Liberal, and had in so high Veneration, that only the (h) Plin. Lib. 35. Chap. 10. Nobility and Gentry were permitted to Exercise them. Hence this City became very Famous for the great Number of excellent Painters and Engravers that were bred in it: Apelles who was the Scholar of Pamphilus carried Painting to that degree, that the Ancients allowed him one of the first Places among Painters, by reason of his great Qualifications: Which honour obliged (i) Protogenes was no less esteemed by King Demetrius than Apelles by Alexander. This Prince having besieged Rhodes, went to see him Work in a House he had a little without the City; and as he familiarly asked him how he could Work so Tranquilly, he answered him, That he knew indeed that he was come to make War against Rhodes but not against the Arts. This Prince set so high a Value on the Pieces of Protogenes, that he would not Burn the City for fear of burning them, choosing rather not to take the City than to be the cause of their loss. Plin. Lib. 35. Chap. 10. Protogenes his Rival to acknowledge him for his Master. Thus Alexander the Great justly chose Apelles for his chief Painter; he gave him great Riches, and made him a Present even of his own Mistress (k) Her Name was Campaspe. Alexander gave her to Apelles when he had Painted her. Plin. Lib. Chap. 10. This Author takes Notice that this was one of Alexander's greatest Victories thus to overcome himself, in giving that which he so much loved to this glorious Painter. He painted his Venus Anadiomenes by this Woman, Plin. Lib. 35. Chap. 10. Apelles' writ of the Art of Painting, as did also his Pupil Perseus Vigenerus on the Pieces of Philostratus, P. 55. because he perceived that he was passionately in Love with her. The Persons of Quality had the same Esteem for Painting as this great Prince, wherein they followed his Inclination. This is verified in the Story of Aetion, who after having Painted the Nuptials of (l) Lucian in his Dialogue entitled Herodotus, describes the Beauty of this Picture which was yet to be seen in his Time in Italy. This Author's Authority is sufficient to assure us of the Excellency of this Painter, because he himself was very well skilled in the Art of Designing, and had learned Engraving in his Youth; afterwards he became Intendant in Egypt for Marcus Aurelius. Alexander and Roxana, exposed the Work to public View in the great Assembly of the Olympic Games, where Proxenidas one of the Deputies of Greece then presided. He was so charmed with the Beauty of this Picture, and thence conceived so great an inclination for the Painter, that he gave him his Daughter in Marriage. CHAP. IX. At the same time that Painting was in its Perfection in Greece, Sculpture and Architecture were so also. SCULPTURE, which began to be cultivated with a great deal of Honour in Greece by the famous Dedalus, and those of his School, continued there, and in something above a thousand Years arrived at its highest Pitch of Glory: (a) Fidias' the Athenian flourished in the eighty third Olympiad, and about the three hundreth Year after the Foundation of Rome, Plin. Lib. 3. Chap. 7. The merit of this ingenious Engraver gained him the particular Esteem of Pericles, who shown him a great Respect, and made him Surveyor of the works for the Republic. Paulus Emilius, admiring an excellent Statue of Jupiter done by Fidias, said, he had made it exactly as Homer had described it. Plutarch in his Life. This Consul demanded of the Athenians, when he was at Athens, a Painter and Philosopher to Instruct his Children; they gave him Metrodorus who was both the one and the other, Plin. Lib. 35. Chap. 11. and Plutarch in Paulus Emilius' Life, says, that he not only entertained Grammarians and Rhetoricians and Logicians, but also Painters and Engravers to Instruct his Children. Fidias was one of those who rendered the Art of Engraving most illustrious. His Minerva made of Gold and Ivory, which was twenty five Cubits high, was an incomparable piece of workmanship; and his Jupiter Olympius was no less surprising, which has been esteemed one of the seven wonders of Designing. Glicon the Athenian, who made the Statue of Hercules, which is yet at Rome in the Court of the Palaee of Farnese, was one of the Rivals of this famous Fidias, as also (b) Pausanias' in his Eliac, gives us a very fine description of this Statue of Jupiter Olympius of Gold and Ivory, and of the Figures and Bass Relief which adorned his Throne. He describes also the grandeur of the Temple which was of the Doric order, and was sixty eight Foot high to the Roof. Fidias' made this Statue so big that it could not stand upright in this Temple; whence may be inferred that it was near eighty Foot high. Alcamenes and several others who flourished about that time. After these great Men appeared Scopas, Leocares, Briaxis and Timotheus who made, by order of Qeen Artemisa, the Tomb of Mausolus her Husband: They wrought each of them one (c) On the trunk of this Statue of Hercules is engraved in Greek letters, Glicon the Athenian. Face, and it was augmented by a fifth Artist with a Pyramid of twenty four Degrees: It was sustained by thirty six Columns, and on the top of this great Edifice was a Chariot of Marble made by Pytis the Engraver. This (d) The Mausoleum which Artemisa built: Was in the second Year of the thousandth Olympiad. Mausoleum was one of the seven Wonders of the World, and this is enough to give us an Idea of the Excellency of these designers, and of the beauty of their works. (e) Praxiteles flourished in the hundred and fourth Olympiad, a little before Alexander the Great, and in the three hundred and ninetieth Year of Rome. Plin. Lib. 34. Chap. 8. Lucian gives an elegant description of the Venus Praxiteles made for the City of Gnid. in his Dialogue of Love: This was the Venus that the Gnidians refused to King Nicomedes, who for it, offered to free them from the Tribute they paid him, choosing rather to continue the payment of that Tribute than part from that incomparable Statue. Plin. Lib. 36. c. 11. Praxiteles was one of the most Ingenious and most famous Engravers of his time; and the two Venus' which he made for the Cities of Gnidia and (f) Pausanias' in his Attic. describes several pieces of this Engravers. Coos are so many illustrious Proofs both of his capacity and glory. Polycletes of Sicione made himself also Famous by the curious Statue he made, and principally that of (g) Plin. Lib. 34. Chap. 8. Diametes, which was sold for one hundred and ten Talents. Lysippus (h) Alexander was born in the Year of the World 3698, in the hundred and sixth Olympiad, and three hundred fifty sixth Years before Christ. Engraver to Alexander the Great, gained a very great reputation for his Skill, and for having made seventy Statues in Brass. This Conqueror would have his Statue from no other hand than that of Lysippus, and his Picture by none but (i) Plutarch in the life of Alexander says, that the Portraits of Alexander by the hand of Lysippus, are far before those of other Engravers done since: Also Alexander would be Engraven by none but him. He observed perfectly how Alexander's Neck stood somewhat inclining towards the left side. When Apelles painted him holding a Thunder-Bolt in his Hand, he did not represent him in his true Colours, but a little too brown. This Author speaking of the Passage of Granic. where Alexander lost thirty valiant Men, says, he had their Statues made by the hand of Lysippus. They were afterwards carried to Rome by Metellus. Nardmi P. 321. and Plin. Lib. c. 8. Apelles. Chares, his (k) Chares, was surnamed Lindian, because he was of Lindus, one of the three Cities of the Isle of Rhodes. Plin. Lib. 4. Chap. 7. and Vigenerus on the Tablets of Philostratus. This Colossus was reckoned one of the seven Wonders of the World, it cost sixty thousand Crowns, which was the price Demetrius' equipage was sold for after he had raised the Siege of Rhodes. Plin. Lib. 34. Chap. 8. Who says, there were reckoned up in that City six thousand Statues. Pupil acquired no less esteem for the Colossus he made at Rhodes, which was ninety Foot high. At that time Sculpture was studied so much at Athens and Corinth, that there were made numberless Statues of Marble and Brass, as also in the other flourishing Cities of Greece, and their Colonies, as in Sicily where Dedalus had long before planted the Arts of Designing, and in the Maritime Cities of Italy, particularly at Tarant. Where Lysippus made a Colossus of Brass of sixty Foot high. CHAP. X. How Painting went from Grece into Italy. ROMULUS founded Rome in the (a) Rome was founded in the fourth Year of the seventh Olympiad, four hundred thirty one Years after the destruction of Troy, and seven hundred fifty three before the Christian Aera, or account of time. Year of the World 3330, and reigned there thirty eight Years, and a little before the first Tarquin (b) Tarquin lived about the Year of the World 3401. of Rome 101. This also was about the time of Nabuchadnezzar. one of his Successors, Clcophantus a Corinthian brought Painting among the Latins, and into Toscany. He followed thither Damaret the Father of Tarquin who governed that Province: Thus in a Temple of Adea a City of that Country, was to be seen more ancient Painting than at Rome, which was not defaced in the time of the first Emperors, although it was always bare and uncovered, which proves that the painting was in Fresco. There was to be seen at Lanuvium a Place in Toscony, an Atalanta and a Helena (c) Plin. Lib. 35. Chap. 3. There is a Piece of his to be seen at Rome in the Garden of Aldobrandinus. There are some also on the Pyramid of C. Cestius which are yet to be seen, though they were done in the time of the Commonwealth. by the same Cleophantes, painted naked, and of so charming (d) Plin. Lib. 35. Chap. 3. Beauty, that a certain (e) This Minister's name was Pontio. Minister of the Emperor Caius became passionately in Love with one of them. This Passion of his, sufficiently attests the Excellency of those rare Pieces, and made Pliny to assert that among all the Arts that depended on Designing, there were none that arrived so soon to perfection as that of Painting. The esteem which reigned for this excellent-Art, still increased at Rome in the time of the Consul, Mexala (f) Plin. Lib. 35. Chap. 4. Mexala set up this Picture in the Curia Hostilia in the four hundred and ninetieth Year of Rome. who presented the public with a Piece whereon was painted the Battle he obtained over the Carthaginians, and King (g) Plin. Lib. 35. Chap. 4. Hieron. Scipio also caused the Picture of the victory he gained in Asia to be set up in the Capitol; Fabius Pictor (h) Fabius Pictor. Plin. in the same place. He takes notice of several other Roman Knights who were Excellent at Painting, as Turpilio of Venice, Alterius Labeo, the Praetor, and Proconsul of Provence, Q. Podius Nephew of Q. Podius the Consul, and made by Caesar Co-heir with Augustus. of the race of Consuls signalised himself by the Temple of Health which he painted, this piece was yet remaining in the time of the Caesars. Marcus Scaurus (i) Plin. Lib. 35. Chap. 11. was a very great lover of Painting, he compounded with those of Sicione for the Money they owed the Romans, and instead of Money took Pictures of those of Sicione, and carried them to Rome: The esteem which this Art was in increasing, the Palaces and Temples began to be filled with Pictures, by the Gifts of great Men. Caesar the (k) Plin. Lib. 35. Chap. 4. These pictures of Ajax and Medea were done by Timomachus Bizantinus, he made them for Caesar the Dictator who paid him eight hundred Talents, which was an extraordinary Price. Plin. Lib. 35. Chap. 11. Dictator dedicated the Pictures of Ajax and Medea to the Temple of Venus; Augustus (l) Augustus had them placed in the highest Place of the Forum. Plin. Lib. 35. Chap. 4. hung two in the Court of his Palace, the one of War, and the other of the Triumph of Alexander the Great, painted by the illustrious Apelles. Agrippa his Favourite extremely admired Painting, and gave for two Pictures (m) Plin. Lib. 35. Chap. 4. Agrippa bought them of the Cizenians, the one represented Ajax the other Venus. twelve thousand Sesterces: Tiberius (n) Tiberius' bought this Picture for sixty Sesterces, Plin. Lib. 35. Chap. 10. also set so high a Value on Painting, that he spared no price to obtain the Picture called the Archigallus of (o) Archigallus was a Priest of Cibole. Tertullian in his Apolog. Zeuxis. In the time of Augustus painting was in a very high Esteem, and arrived to it's highest degree of Perfection. Nero (p) Plin. Lib. 36. Chap. 7. Cecilius Metellus among other fine Pictures, wherewith he embellished the Temple of Castor and Pollux, set up there a picture of Flora done to the Life, by reason of its extraordinary Beauty. Plutarch in the Life of Pompey. The Poets also used to exercise Painting, for the Poet Paccuvio painted the Temple of Herculus, which was in the forum Boarium. who was always filled with magnificent Ideas, caused his Picture to be drawn one hundred and twenty Foot high; One of his Servants adorned with Pictures the Porticus of Antium (q) Plin. Lib. 35. Chap. 7. he who began to paint the Plays of the Gladiators was C. Terentius Lucanus. where there were painted several skirmishes of the Gladiators, during the time of the Plays, which was one of the most glorious Festivals of Painting; for the Courtiers not only admired the Arts of Designing themselves, but also engaged their Princes to (r) Painting continued in great Esteem at Rome till after the time of Titus. Attius Priscus and Cornelius Pinus painted the Temple of Honour, as also that of Virtue for that Emperor. Plin. Lib. 35. Chap. 10. encourage them; a happy time for them to arrive to perfection in! CHAP. XI. Of the time wherein Sculpture began to be in Esteem among the Romans. AFTER the Reign of the King's Sculpture began to appear at Rome; they erected a Statue to Horatius (a) In the year of the Foundation of Rome 247. Tit. Liv. Lib. 2. Cocles, to Immortalize the Victory he obtained over the Army of Porsena; and at the same time was set up in the Via Sacra the Equestral Statue of Clelia. But in the time of the Consul Marcus Scaurus this Art was continued with greater ardency, when he embellished his Theatre with Three thousand Metalline Statues. Several other Consuls contributed also by their Victories to the enriching of Rome with the Spoils (b) Plin. Lib. 34. c. 7. they got from the two (c) The Kingdom of Naples, where is Tarant; which was anciently called, Sicily on this side of Phares, to distinguish it from the Island which was called Sicily on the other side of Phares. G. and J. de Blaeu in their Theat. of the World. Plutarch in the Life of Publicola. Sicily's, from Africa and from Greece; the most considerable of these Spoils were the Statues which shone at the Triumphs of these Consuls. This appeared at the Triumphs of Fabius Maximus, of Marcellus, of Scipio, and of Paulus Emilius: Fabius carried from (d) Fabius Maximus could not carry from Tarant. the famous Colossus of Brass of Lysippus, which was Sixty Foot high. And as they were packing up the Booty, the Register asked Fabius, What he would have done with the Gods? meaning the Pictures and Statues of the Gods; he answered him, Let us leave them their angry Gods to further chastise them. He only carried away a great Hercules. Plutarch in the Life of Fab. Maximus. Tarant. a Statue of Hercules of a prodigious Magnitude. He had it set in the Capitol by his own, which was of Brass. Marcellus (e) Rome before the Triumph of Marcellus, had not the right Genius for Painting, Sculpture, and Architecture. The true relish of the Arts of Designing was not yet enkindled in her; she abounded with Barbarian Arms, Harness, Crowns, and Spoils all soiled with Blood. But after Marcellus, the Romans began to consider and dispute one with another concerning the excellency of these sorts of Artists, of their Arts and Performances; whereas before their whole discourse and thoughts had been only employed about War, or Husbandry and Tillage. Thus Marcellus gloried to the Grecians, That he had Taught the Romans how to value the admirable Works of Grece, wherein they were unskilled till his return from Sicily. Plutarch in the Life of Marcellus. when he was called home from Sicily to Rome, brought thither along with him the finest of the Statues and Pictures from Siracuse, to adorn, first his Triumph, and then Rome. The Triumph of Scipio was also very fine by reason of the Statues and Riches he brought from Carthage. But that of (f) Plin. Lib. 35. C. 11. and Plutarch in the Life of Paulus Emilius. Paulus Emilius surpassed them all, his Triumph continued Three days. The first day was wholly taken up in seeing the Painting, and Pictures, and Statues pass along, whereof some were of an extraordinary greatness, with several other Beauties of the Art of Designing, which were drawn through the City on Two hundred and fifty (g) Augustus was very curious in Sculpture, all his Statues which were in his Palaces and in the Temples, were extraordinary. He adorned with Egyptian Spoils his Father's Chapel, the Temple of Jupiter Capitolinus, and those of Juno and Minerva; insomuch that People judged Cleopatra, though then overcome by Augustus, to partake of his Glory, since they set up her Statue, which was all of Gold, in the Temple of Venus. Coiffeteau and Xiphilin, page 84. Chariots. Under the first (h) Plin. Lib. 34. C, 8. Emperors, Sculpture arrived to its highest perfection: The love which the Romans entertained for so celebrated an Art, appeared by a Statue of Lisippus (i) There were yet to be seen in the Workhouse of Zezodorus in Pliny's time, great and small Models of Clay of this Colossus. Plin. Lib. 34. C. 7. which Agrippa placed before his House. Tiberius' admiring the excellence of this Statue, caused it to be removed and set in his Palace; but this so much enraged the People, that they risen in the Theatre against this Emperor, and obliged him to return it to it's former Place. Nero caused his (k) This prodigious Statue was placed in the Via Sacra near the place where Vespasian Built his Amphitheatre, which afterwards took its denomination from that Colossus. Rom. Antiqu. di Nardini. Statue to be made also by Zenodorus; it was of Brass, and One hundred and ten foot high. The Art of Casting such great Colossus' was very wonderful; but it was (l) Plin. Lib, 34. C. 7. lost after the death of this excellent Engraver. As for the Art of Cutting out in Marble, it remained at Rome till after the Emperor Adrian, and that in the same excellence it was in in the time of the first Ancients. For under the Reigns of Vespasian and Titus, the Arts continued to flourish; the fine Sculptures which adorned the Temple of Peace, and the Arch of Titus, show what excellent Engravers there then were. What remains of those excellent Engraving on that Arch, sufficiently testify this truth; as also that incomparable Statue of Laocon, which was found among the ruins of the Palace of that Prince, and which is still admired by all the Lovers of Designing as much as in the time of Pliny, who has left us the Names of the Three (m) Sicut in Laoconte qui est in Titi Imperatoris domo opus omnibus, & picturae & statuariae artis anteferendum ex uno lapide eum & liberos Draconum quae mirabiles nexus de Consilii sententia fecere summi Artifices Agesander & Polydorus, & Atenodorus Rhodii. Plin. Lib. 36. C. 5. ingenious Engravers who wrought jointly this excellent piece of Sculpture, which contained the Statue of Laocon and his Two Children. The excellency of this Art continued under the Reign of Trajan: That great Emperor after his Victories, made it his business to adorn Rome with Architecture and Sculpture. The Sculpture on his Column, and the Bass Relief of Constantine's Arch, which was copied after that of Trajan, are sufficient Testimonies that the Art did not decline in his time, nor in adrians, who succeeded him. For that Emperor was himself skilled in (n) Adrian was skilled in the Mathematics, was an excellent Astronomer, Arithmetician, and Geometer; besides he had a great affection for Medicine and Philosophy. He was an admirable Painter and Engraver, insomuch that he equalled the most famous of Antiquity. Coiffeteau. p. 569. all manner of Polite Learning, in Painting, Engraving, and Architecture; this was the reason he so much advanced the Arts of Designing, that in his Reign they remained in all the splendour they had arrived to. This Learned Prince took also care to enrich his own Tomb with a great number of Statues. He had so great an affection for his Favourite Antinous, that he caused his Statue to be made in Marble; and this is that elegant Figure which is still to be seen in the Palace of Belvidere at Rome, and is one of the finest and most correct Pieces of Antiquity. There were also in the happy Reigns of Antonine and Marcus Aurelius, several excellent Pieces of Sculpture, whereof there yet remain the famous Column of Antonine, the Brazen Horse which is in the Capitol, and some Pieces of Bass Relief to be seen there also; but after the time of these Illustrious Emperors, Sculpture and Painting began to be less minded. CHAP. XII. Of the Excellence of the Architecture of the Grecians. ARCHITECTURE which had arrived to a great perfection among the Assyrians, the Egyptians and the Phoenicians, made no less progress among the Grecians. We have already shown that Dedalus had practised it at Athens, in Candie, and in (a) Dedalus was the first of the Grecians who brought Architecture into Sicily, when he fled thither out of Crete to save himself from the anger of Minos: He was very well received by Gonsales King of that Isle. An. Mundi 2645. Diodor. Lib. 4. Sicily, this Art continued among the ancient Grecians to acquire new degrees of perfection, as well as the other Arts of Designing, which were grown there very Famous. This People demonstrated their capacity in Architecture by their Buildings: And particularly by the Labyrinth of Lemnos, which Emulo, Rholo and Theodorus built in imitation of that famous one of Dedalus. This Labyrinth of (b) Plin. Lib. 36. Chap. 13. Lemnos was so considerable, that it surpassed that of Crete by more than one hundred and forty Columns. The other magnificent Buildings and lofty Temples which adorned the Cities of Greece, make appear the Excellency of their Architecture. The Temple of (c) It was built by the Architect Libon. Pausanias' Eliac. Jupiter Olympius was an admirable Structure, since the Romans found the (d) Scylla caused the Columns of the Temple of Jupiter Olympius, to be taken away to adorn that of Jupiter Capitolinus. Plin. Lib. 36. Chap. 6. Pausanias' in his Attic. gives us a description of another Temple of Jupiter Olympius which was at Athens, and which Adrian enriched with an incredible number of Statues. Columns and Spoils of it so rich that they carried them to Rome to adorn the Temple of Jupiter Capitolinus. The Temple of Cizicus (e) Plin. Lib. 36. Chap. 15. was no less beautiful than that of Olympius, for it was so rich and curiously made, that between all the Joints of the Stones there were inlaid threads of Gold to separate them. As for the Temple of Trallius (f) Vitruvius' in his Book of Architecture. He there tells us also that an Architect ought to be learned, and skilled in designing. built by the Architect Argellius, it must needs have been of an extraordinary Beauty, for he composed a whole Treatise of the proportions of the jonic and Corinthian Orders, according to which that Edifice was built, and consecrated to Esculapius. Argellius worked with his own Hands the most important Parts of it, which shows that he was an Engraver as well as Architect. But of all the Temples of Grece, and all its Colonies, the most Famous was that of Diana of the (g) The Temple of Diana of the Ephesians, was not built by the Amazons, but by Croesus and Ephesius, who gave his Name to the City which was a Colony of the Eleans. It was in the Country of the jonians who built there several Temples. Pausanias' in his Achaia P. 274. Ephesians, which deserved to have been reckoned among the seven Wonders of the World. The first Model of this Temple was made by the ingenious Archiphron; after him Ctesiphon had the management of it, and Dinocrates' (h) It was one named Herostratus who set it on Fire, to gain himself a Name. Dinocrates' rebuilt it; it was he also who built Alexandria by order of Alexander. He was a great Designer (or Modelist) for he proposed to that Prince to form the Mountain Athos into his Statue, which should hold a City in one Hand, and in the other a Vessel to empty the superfluous Waters into the Sea: By means of his great Design he was brought into Alexander's presence, and entered into his Service. Vitruu. Proem. Lib. 2. rebuilt it after it had been burned down. This Structure was four hundred and twenty five Foot long, two hundred and twenty Foot broad, and had one hundred and twenty seven Columns each sixty Foot high: They were the Gifts of so many Kings, whereof thirty six were Engraven, and one was done by the hand of the famous (i) Vigenerus on Philostratus. P. 127. Scopas. The Mausoleum which Artemisa caused to be built, whereof this Engraver worked one of the four sides, was no less admirable for the Architecture than for the Sculpture of it; it contained four hundred and eleven Foot circuit, and was Sixty Foot high up to the Platform, whereon was set a Pyramid sustained by thirty six Pillars, which made that Superstructure equal in height to the rest, and was made by four of the most ingenious Architects and Engravers of all Grece. Architecture continued there in its full height, not only during the time of the (k) Plutarch in the Life of Pericles, tells us, that he was one of the greatest Lovers of Sculpture and Architecture among the Grecians. For this reason the Edifices which he caused to be built at Athens, were very wonderful, both for their beautiful and agreeable Air, and for the diligence wherewith he caused them to be raised; they were built with that care, that in the time of Trajan wherein this Author writ, they seemed as but newly done: They were so very agreeable that they seemed every day more and more beautiful. He who surveyed and took care of all the Buildings of Pericles, was Fidias, who was there Survey or General, though there were several Master-builders, and excellent Workmen present at each Work: For the Temple of Pallas which was called Parthenon, or the Virgin's Temple, and surnamed Hec●●ompedon because it was a hundred Foot every ways, was built by Ictinus and Gallicratidas. The Chapel Eleusin, wherein were performed the secret Ceremonies of their Mysteries, was founded by Caerebus, who set up the first Order of Pillars next the ground, and joined them by their Architraves; but after his death, Metagenes born at the Town of Xipetes made the Cornish, and set up the Pillars of the second Order, and Xenocles of Cholarg. built the Cupolo which covered the Sanctuary. Pausanias' in his Attis. speaks also of this Temple of Pallas P. 1. Grecian Republics, and of their Kings, but also under the Reign of the Roman Emperors, and particularly under that of Adrian, who built several famous Edifices at Athens. CHAP. XIII. Of the Perfection of Architecture among the Romans in the time of the Republic. AFTER Marcellus had (a) Marcellus besides the buildings he erected at Rome, and Gatan. in Sicily made a Park to Exercise the Youth in ● and in the Isle of Samothracia, in the Temple of the Gods they called Cabires, he set up Statues and Pictures brought from Siracuse. Plutarch. conquered Sicily, Architecture grew more and more perfect at Rome; and that which demonstrates this is the Theatre which bears his Name, and which he built. For it is one of the finest and most regular Pieces of Architecture the Ancients have left us. This Art came from Grece into Italy with Painting, and the other Arts of Designing about four hundred and sixty Years before Marcellus, which was in the time of Porsena King of Tuscany. This Prince was so magnificent in building, that he gave orders to make a Labyrinth (b) Plin. Lib. 36. Chap. 13. in Imitation of the Grecians, in the place he designed for his Burial. It was so curious, that it was no ways inferior to the Labyrinth of Crete, or that of Lemnos: Which makes it evident that Architecture flourishing in Toscany, soon went to Rome, after the Romans were Masters of that Province: Insomuch that the Buildings which were erected in that City in the time of the Republic, were nobler than those that were built under the Reign of the Kings. For the great Men of that Republic endeavoured to exceed one another in sumptuous and magnificent Buildings. Marcellus did not content himself only to build his famous Theatre, but he built also a Temple to Virtue and another to Honour. Marius was no less zealous, to leave to Posterity marks of his Victories. His two Trophies in the Capitol are witnesses of this, as also the excellent Architecture of his triumphal Arch at Orange, which is a glorious Memorandum of the Battle he obtained over the Cimbri. But Marcus Scaurus' Son in Law was, of all those illustrious Personages who bore a part in the Government of the Commonwealth, the most noble in his Buildings; for during the time he was an Edil, he embellished Rome with surprising Edifices: His great Theatre is an illustrious Mark of this. It could contain eighty (c) Plin. Lib. 34. Chap. 15. thousand Persons: There were three Scenes the one above the other, with three hundred and sixty Columns: Those of the first Rank were of Marble, and thirty eight Foot high, the second Rank were of Crystal, and the third of gilded Wood This illustrious Person made two other theatres of Wood, sustained on great Axletrees, that after the Plays were done, they might be turned round thereon, and joined into one Amphitheatre, to show the Combats of the Gladiators, of the Athletae or Wrestlers, and of the wild Beasts. There was nothing more glorious in Rome than the Temple of Jupiter Capitolinus. Tarqvinius Superbus (d) Tarquin in building the Foundations of the Temple of Jupiter Capitolinus, laid out forty thousand Marks of Silver, Plutarch in the Life of Publicola. first built it, and after it had been burnt the first time, it was rebuilt by Scylla, and enriched with the Columns of the (e) Plin. Lib. 36. Chap. 6. Temple of Jupiter (f) The Statue of Jupiter Capitolinus in the time of Tarqvinius Priscus, was made of Clay. Plin. Lib. 35. Chap. 12. But under Trajan it was of Gold. Martial, Lib. 11. Olympius,, which he caused to be brought out of Grece, and set up there in place of the Pilasters that were there before: Afterwards having suffered damage by the Fire at the Vitellian Revolution, Vespasian caused it to be mended. But being a third time burnt, it was built again by Domitian more Magnificent than ever it had been before. For this Prince who excessively loved Building, was so curious, that he caused all the (g) The Bodies of these Columns were cut out at Athens of a very fine proportion; but at Rome they were repolished, which made them too slender, and took away their Beauty. Plutarch in the Life of Publicola. Columns to be cut at Athens, and he enriched this Temple to that degree, that he caused it to be all over Gilded, and laid out only for the gild it, twenty one (h) Twelve thousand Talents which the Temple of Jupiter Capitolinus cost building. Plutarch in the Life of Publicela, and Nardini P. 307. whereas the Ancients had not the secret of beating Gold so thin as our Leaf Gold, their gildings were excessive dear. This is the reflection of Nardini. millions and six hundred thousand Livres. The other Buildings made by several Consuls before the Emperors, were all according to regular Architecture, as the Amphitheatre of (i) Plin. Lib. 36. Chap. 15. This famous Amphitheatre of Pompey, was built after his Triumphs in Asia: Five hundred Lions were killed there in five days time, and armed Men engaged eighteen Elephants. Demetrius his Freeman built this great Edifice, and employed to that End the Money he had gathered up in following Pompey's Army. H. R. de Xiphilin, P. 14. This Amphitheatre (according to Pliny, or according to others, Theatre) was the first that was built at Rome. Tacit. Lib. 14. Pompey, which contained above forty thousand Men; It was his Free man Demetrius who caused it to be built in imitation of that of Mitilene. Pompey built near his Amphitheatre the Temple of Victory; and his Palace was an admirable piece of building, as also the House of Lucullus and his Gardens. Moreover in the Consulship of M. Lepidus, and Q. Catulus it is certain that there was nothing finer at Rome, than the Marble Buildings, and Pieces of Painting that were done at the Charges of these great Men, to adorn this City, which at that time had in it an hundred Palaces, that were equal in Beauty to that of Lepidus. As (k) Plin. Lib. 36. Chap. 15. Pliny relates. CHAP. XIV. Architecture continued at Rome under the Emperors in the same Excellence it had done in the time of the Commonwealth. JULIUS CAESAR no lefs affected building than those great Men who went before him: His Palace, and the Circus (a) The great Circus built by Caesar the Dictator was three Stadia or Furlongs in length, and one broad, and encompassed with all its appurtenances four Acres. which he augmented, are sufficient Proofs of it. Augustus also had the same Affection for Architecture, as was evident in his Palace, which by reason of its Beauty was called the great and magnificent Palace of Augustus. Plutarch in the Life of this Emperor, takes notice that he adorned Rome with several public Buildings, rebuilding those that had been ruined, leaving them the Names of their first Founders. His most considerable Buildings were the Temple of Apollo in his Palace, the Porticus, and a Library which he filled with Greek and Latin books, the Mausoleum, and a Park for the People to walk in. Moreover he further finished the Temple of Jupiter Olympius, begun long since at Athens. All the (b) The Romans were so much given to building, that it was the Custom for the Great and Noble Families to show their Pomp and Magnificence by public Edifices, in building Palaces, Galleries and Temples for the ornament and use of the City. This made Augustus approve of and praise Stasilus, Taurus, Philippus and Balbo, who laid out all the Spoils they had got by the Wars, with the Surplusage of their Rents which they did not spend, in sumptuous Buildings, thereby to transmit their Memories and that of their Families to Posterity. Tacit. Lib. 3. P. 134. Favourites of this Prince were great Admirers of this Art, among whom (c) Agrippa left by his Will to the Romans his Baths and the Grounds belonging to them for their Entertainment. He also built a magnificent Porticus in the City of Neptune, in memory of his Naval Victories. H. R. de Coiffeteau. The great Herod who was also one of Augustus' Courtiers, had a great Affection for Building. He built in Judea the City named Caesarea in Honour of Augustus, with several fine Palaces and a Haven by the Sea which he made one of the most commodious of all the East. It was this King who embellished and augmented the Temple of Jerusalem, so much regretted by Titus, when he saw it burning at the taking of that City. H. R. de Coiffeteau. Agrippa appeared to be one of the greatest, who by a greatness of Soul truly Noble undertook to adorn the Campus Martis and all the Places round about it. He brought down thither the Water named Aqua Virgins to make Baths, and adorned that Place with Gardens, Porticus' and a great Hall (d) Or Diribtorio. to pay the Troops in, and several other Buildings, whereof the most Famous that is still to be seen entire, is the Temple of the Pantheon (e) Pantheon, called at present the Round Church by reason of the round Figure of its Plan. Some have writ as Dion. Lib. 53. that Agrippa did not found this Temple, but that he only embellished and perfected it, by making the Frontispiece, whereon his Name is Engraved, which has something a better relish of Architecture in it than the rest of that Edifice. Ammian. Marcellinus says, that this Temple, with that of Jupiter Capitolinus, and that of Peace, as likewise that of Venus at Rome, were the first of all for Beauty, in these words: Velut regionent Teretem speciosa Celsitudine fornicatam; and Plin. Lib. 36. Chap. 15. exalts above any other these Buildings: And in Chap. 5. says, that Agrippa adorned the Pantheon with several Figures made by Diogenes the Athenian. . Thus magnificent Building was in very great Esteem in the time of (f) It was in Agustus' time that Vitruvius flourished, to whom he Dedicates his Books of Architecture, which are the only ones we have remaining of the Ancients concerning this Art. Augustus; His last words when dying testify this, he said, That he found Rome built of Brick but he left it built of Marble. This Magnificence of his, inspired his Successors with the same Ambition: For Tiberius was very curious and loved all the Arts of Designing. Nero also took a great Fancy to fine Buildings; this appears by his Palace which was called the gilded House, the remains whereof are of the finest Architecture of Antiquity. It continued in the same excellence under Vespasian and Titus: This is evident by the Temple of Peace, by the Amphitheatre and Triumphal Arch which they caused to be made. Domitian (g) Domitian not only rebuilt the Temple of Jupiter Capitolinus more Magnificent than it had been before; but also his Palace where nothing was finer than the Galleries in the Porticus, the Halls, the Baths, and Apartments for his Women; he was so much enamoured with Building, that like Midas he could have wished every thing he touched might be turned into Gold and Stones. Plutarch in the Life of Publicola. imitated these Princes in their Love for magnificent Buildings: He rebuilt the Temple of Jupiter Capitolinus, more Magnificent than it was before, for he ordered all the finest Pillars that could be found to be brought out of Greece. He moreover built his House more magnificently than any that had been yet seen, as also the Temple of Minerva, and that of the Flavians. The Regularity of Architecture continued and was practised in the same perfection in the time of Trajan (h) He applied himself to the Embellishing of Rome anew with magnificent Buildings, Bridges, Arches and Palaces, the marks whereof remain to this day, but there was nothing so remarkable as the Magnificence of the Circus which bears his Name. Coiffeteau. H. R. by Apollodorus his Architect. The famous Bridge over the Danube which this Prince caused him to build, was wonderful by reason of its largeness, and considering the Rapidity of that River. The Palace of Trajan, and his (i) At Ancone one of these Triumplal Arches is to be seen, found by Le Serlio. At Rome there was another which was pulled to pieces, to adorn that of Constantine with its excellent Sculptures. Nardini P. 407. Plotina Wife of Trajan, caused two Temples to be built which are to be seen at Nismes. Triumphal Arches, and his Magnificent Column, whereon was Engraven the History of his great Actions against the Daci, sufficiently testify the Skill of Apollodorus in the Arts of Designing. This ingenious Architect continued to adorn Rome by his Art, under the Reign of Adrian (k) Adrian also caused sumptuous Temples and other Buildings to be erected at Athens. Pausanias' in his Attit. who not only loved Architecture, but also practised it, for he was jealous of the Merit of Apollodorus, because he did not approve of the Model or Design of the Temple of Venus which that Emperor had made. He also caused the Temple of Pantheon to be repaired, as also that of Neptune, and of Augustus and the Baths of Agrippa. But his finest Piece was the Adrian Bridge with the Mausoleum of that Emperor, which was an excellent Piece of Architecture. Antonine the Successor of Adrian was no less Magnificent in his Buildings; for he erected a stately Temple to Adrian his Father. He repaired his Tomb, the Amphitheatre, the Temple of Agrippa, the Bridge of the Tiber, the Gate of Gaiete, that of Terracina, and the Baths of Ostia, the Aqueduct of Antium, and the Temples of Lavinium. Marcus Aurelius, was also a great lover of the Arts and Sciences; he took particular care to Educate therein his Son Commodus, causing him to learn Designing. Architecture also continued to flourish under several of the latter Emperors, even down to Constantine. The love (l) Among the other buildings of Severus, he caused an Eptizone to be made. See Nardini to know what it is P. 406. Some have thought it was an Edifice that had seven Orders of Architecture the one above another, and all Corinthian: Thus in the Amphitheatre of Vespasian, they placed Corinthian upon Corinthian, because in the Orders of Architecture there is none more beautiful; as to the Composit which the Moderns prefer to the Corinthian; there is no Example of it in Antiquity; they only made use of it in their Triumphal Arches, as in that of Titus; it ought to be placed between the jonic, as participating of that, and the Corinthian. Severus entertained for this Art, appeared in the beauty of his Triumphal Arch, and in the Model he made of a great Hall which contained above a hundred Toises, or six hundred Foot. The Circus of Caracalla was great and splendid; and also under Gordian, Aurelian and Dioclesian there were very considerable Buildings. But after the Reign of Constantine and his Son Constantius Architecture began to decline at Rome; there were no more skilful Architects left, nor Princes whose curiosity led them that way: Hence Architecture lost its ancient Splendour, and began to decline, as Painting and Sculpture had done before, whereof we shall treat in the second Book of this History. BOOK II. Of the Decay of the Arts of Designing. CHAP. I. Under the Reign of Commodus the Arts of Designing began to Decline. IN the First Book of this History we have discoursed of the Original and Progress of the Arts that relate to Designing, until the time they began to decline, and afterwards to fall; in this Second Book we shall continue to relate the causes of their Decay and Ruin. The Roman State in the time of the Republic, and of the first Caesar's, was in very high Reputation for having raised the Arts to their highest Perfection. But this Monarchy, after the death of Marcus Aurelius, began to lose the Grandeur it had before gained. For several Emperors succeeding in a short time one after another, tarnished the Glory of the Empire by their Cruelties and Debaucheries, and Civil Wars, which caused insensibly the Ruin of the Arts of Designing. It was no fault of Marcus Aurelius that the Arts began to decline after his Reign; for he took particular care to Educate his Son Commodus therein, making him learn to Paint (a) Coiffeteau in his Roman History, Pag. and Engrave while he was young, finding his Genius easy and capable of Learning any thing whatsoever. But this good Education was soon stifled, by reason he abandoned himself to all sorts of Debaucheries as soon as he succeeded him in the Throne; which makes us look upon the Reign of Commodus as the beginning of the declension of Painting and Sculpture; and this is evident in the Statue of this Emperor, which is called Hercules Commodus, which is still to be seen at Rome in the Palace of Belvidere (b) This Statue is placed in a Court of the Palace of Belvidere, with those of Antinous, of Apollo, of Laocon and of Venus, of Cleopatra, of the Nile, and of the Tiber, and of Torce, all ancient Figures. . One may note by this Figure, that the Art declined; for although it be of a just and true Proportion, and the Head of it very fine, yet there is not that nicety and perfection which appears in the Statue of Antinous and other Figures that preceded it, and are to be seen in the same Palace. This Art of Engraving continued to decline in the following Reigns, for it is certain that under Severus (c) This Emperor began to Reign in the Year of our Lord 195; from whose Reign to Constantine's is 115 Years. it was very much fallen from the Beauty it had arrived to in the time of the first Caesar's: This is visible by the Triumphal Arch of that Emperor, which is still to be seen at Rome; for in this Work the Sculpture that represents the Historical part is much altered, for it neither has the Designing, nor any thing of the curious Workmanship of the Excellent Ancients. CHAP. II. Architecture did not Decline till after Constantine, although Painting and Sculpture did before. IN this Decay of the Arts of Designing, Architecture did not so soon decline as the other Arts: For in the Arch of Severus it is in its perfect Beauty, and equal to what was done in its most flourishing State. On which account it was happier than Painting or Sculpture, for it maintained its just regularity, till the time of Constantine the Great. The Triumphal Arch of that (a) The Triumphal Arch of Constantine was made 120 Years after that of Severus, near the Year of our Lord 310. It is thought it was finished the Tenth Year of his Empire, others say not till a little before he Died. Among the Eight fine Statues of the Slaves on the Cornish, there are wanting the Heads which were privately carried to Florence by Laurentius de Medicis, according to the report of Giouco. Nardini page 407. These Figures of the Slaves, and all the great Bass Relief which adorned this Arch, were taken from the Arch of Trajan. Emperor is a proof it: The Corinthian Order is therein used in its Purity and Perfection; on the contrary, the Sculpture is very rude and gross: This may be observed in the Bass Relief of the embossing and of other small Figures below the Compartments; which shows evidently that Sculpture, and the Art of Designing in Human Figures were declined at Rome, and reduced to the worst condition they had ever been in. Architecture did not decline so soon as Painting and Sculpture, because it was longer protected by the Princes, by reason of its necessity and usefulness. This is to be seen by Ammianus (b) In his 26th Book he takes notice, that That which caused the greatest Admiration in Hormisda, was the wonderful Fabrics of the Temple of Jupiter Capitolinus, the Amphitheatre, the Pantheon; the Temples of Peace, and of Venus, the Theatre of Pompey, and the Forum of Trajan Marcellinus,.,,,,, who writ the arrival of the Emperor Constantius (c) This Emperor taking Pleasure in surveying these famous Buildings, told Hormisda, That he could not undertake so great things as these, but that he would, at least, endeavour to imitate the making such a Brazen Horse as that of Trajan, which was in the middle of the Forum. To which this Architect answered, That he would first Build him a proportionably fine Stable to put that fine Horse in. V il biondo Italia Illustrata & Nardini. Rom. Antiq. p. 126. the Son of Constantine the Great. He tells us that this Prince brought to Rome Hormisda a famous Persian Architect, to show him the famous Buildings of the Ancients, both in that City and in all Italy. But the truest reason of the continuance of true and well-ordered Architecture, is that the study of it is founded on Measures and Proportions of Geometry and Arithmetic, which makes the imitation of it much more easy than that of the Human Figure; for besides the Measures and Proportions therein to be observed, it is necessary to study the different Postures, the lively Expressions, the Passions and Motions of the Muscles, and an infinity of other Parts, which must be known to be Excellent in Painting and Engraving. These fine Parts and Turns wherein the Excellence of the Arts consists, began first of all to be lost in Designing, which continued without that relish of Art down from the time of the latter Empire, and of Constantine. This is evident in his Triumphant Arch, by his Medals, his Statues in the Capitol, and the Images of Christ Jesus (d) Vasari in his Preface to the Lives of the Painters. and the Apostles, which this Emperor caused to be made in Silver, and set up in the Church of St. John of Latran, which are of an ordinary and common Sculpture. These Faults are also to be seen in the Mosaic Painting, and other Pieces which this Prince caused to be made. On the contrary it was observed, that till that time the Beauty and Art of Architecture and its Ornaments remained, as may be seen in the Capitels of Constantine's Arch, in those of his Baptistery (e) Anastasius gives the Description of it in the Acts of St. Sylvester, as is yet to be seen. Nardini Rom. p. 102. and the Bases of their Columns, where there are Foliages and other Flourishes very well Cut. It is for the same reason we have noted in Architecture, that Sculpture also preserved its Perfection and Beauty longer than the other Arts of Designing, because the aforesaid Sciences are of such use therein. CHAP. III. The Empire removing to Constantinople, and the setting up of the Christian Religion, contributed to the Ruin of the Arts of Designing. THAT which contributed to the destruction of the Art of Designing at Rome, was the removal of Constantine to establish the Empire at Byzantium: For he hired the best Artists in Rome, and carried away an infinite number of (a) Among the Statues which Constantine carried from Rome to Byzantium, were the Four Brazen Horses which are on the Frontispiece of St. Mark at Venice. The Venetians after the taking of Constantinople carried them along with them. Statues, and every thing that was fine and rich, to embellish his new City. At the same time the Zeal for the Christian Religion very much contributed to the declension of Painting, of Sculpture, and of Architecture; for the Christians to extirpate Idolatry, seeing themselves Masters of the Empire, overthrew and broke down the most considerable Statues of the Gentile Gods, and demolished their finest (b) The Popes, and particularly St. Gregory the Great, spoiled the Gentile Temples, and broke the Statues. P. T. de Vasari. p. 75. Temples. This also caused the decay of Architecture; for the Christians transported the Columns of Adrian's Mole to Build therewith the ancient Church of St. Peter at Rome. They did the same by several other celebrated Temples (c) The Pope Honorius the First, took, by Permission of the Emperor Phocas, the Brazen Tiles of the Temple of Romulus, to cover the Church of St. Peter, and turned that Temple into the Church of Comus and St. Damian. Il Biondo. Roma ristaurata. Page 12. This makes it appear, That the Emperors of Constantinople were yet the Masters of Rome, since the Popes could not take away the Brass without ask them leave. Also Boniface the Fourth asked leave of the Emperor Phocas to take and Dedicate the Pantheon to the Blessed Virgin, and to all Saints. V the same Biondo p. 56. Focas Reigned about the Year 590, about 100 Years before Charlemagne had established the Temporal Grandeur of the Church. Il Biondo has Dedicated his Book to Pope Eugenius the Fourth. of that City to Build the Church of St. Paul without the Walls; that of St. Marry the Elder, and of several others, which they embellished for the most part with the curious Relics of the ancient Architecture. But in all these great Structures it is to be observed, that the just Proportions, and orderly distributions of the Ancients are not to be found. Thus all the Arts of Designing, after Constantine had left Rome, decayed continually, and that before the Northern Nations came to ravage and waste the Empire and its Capital. But after that those People completed the Ruin of the ancient Beauty and Orders of those noble Professions, as appeared afterwards. CHAP. IU. The taking and Pillaging Rome by the Goths and Vandals contributed to the Ruin of the Arts of Designing. ABOUT One hundred Years after Constantine, Alaricus King of the Goths, Ravaged Italy, and took Rome: Odoacer King of Italy sacked that City and pillaged it; as also Gensericus King of the Vandals, who with Three hundred thousand Men that he brought out of Africa, laid it waste and almost quite desolate; which was not effected without the destruction of most of the Pieces of Designing. But their greatest Ruin happened in the time of (a) Alaricus took Rome about the Year 412, and Odoacer after that, and then Gensericus in the Year 456; he also ravaged great part of the Kingdom of Naples, principally the Coasts of the Gulf, where there were several fine Pieces of Architecture of the ancient Romans, as at Messina, Cumes, Saia, and Pouzzole. Antiquit. di Pouzzole, di S. Mazzella. Justinian, when Totila King of the Goths made that City sensible of his Indignation. He was not contented to demolish the Walls, and the proudest Structures, but he burned it, and in Thirteen days time it was in great part consumed by the Fire. This did so ruin the Statues and the Paintings, the Pieces of Mosaic Work, and the Imagery, that all of them lost their good Grace and Beauty. For this reason the lower Apartments, and the first Floors of the Palaces, and other Buildings enriched with Pieces of Designing, were wholly buried under the Ruins. Those who afterwards inhabited that desolate City having Planted Gardens on those Ruins, they there buried those fine Pieces of Painting and Sculpture; which being found again after three hundred years, served for the re-establishment of the Arts of Designing. For under those Ruins were found Subterranean Cavities, called Grottoes, where were found several Pieces of Imagery and Painting, which on that occasion were named Grotesque. It is remarkable, that at this taking of Rome by Totila, every thing concurred to the destruction of what was most curious in Sculpture; for the Grecians, who Fortified themselves in the Mole of Adrian, (b) Rom. Antiq. of Nardini p. 480. In the Year 545 Rome was taken by Totila. broke in pieces all the fine Statues wherewith that place was Adorned, and made use of those Pieces to repel the Assaults of their Conquerors. Notwithstanding as this City had been filled with such immense Riches and excellent Statues, so it was almost inexhaustible; for about One hundred Years after the sacking of it by Totila, the Emperor Constantius the Second (c) He was also called Constantine the Third. went thither, and though he was well received by the (d) About the Year 650, 110 years after the taking it by Totila. Romans, yet he did not desist from taking away whatever he found of any considerable Value, and laded therewith several Vessels, which were by a Tempest driven into Sicily, where he was Killed, and the Saracens who went thither took those rich Spoils and carried them to Alexandria. But if the Arts of Designing met with such ill treatment at Rome in the Declension of the Empire, they could expect no better in most of her Provinces; for the Visigoths in Spain, the French in Gaul, and the Vandals in Africa ruined all those stately Structures which the Romans had built in their Colonies, for the flourishing of Arts, which set forth the Splendour of their Empire. CHAP. V. The Images in the Primitive Church did not keep up the Arts of Designing at Rome, but gave Birth to that way which was afterwards named Gothick. ONE would have thought that the Excellence of Designing aught to have kept up at Rome, by reason that from the beginning of the Christian Religion, the Christians made use of Painting and Sculpture to represent the Histories of the old and new Testament, to adorn their Churches and Tombs. This is indeed True; but then, considering that these Paintings and Sculptures were only for the Instruction of Christians in solitary and subterranean Places, where they celebrated Divine Service, they did not trouble themselves with the Curiosities of Designing, nor giving their Pieces that nicety and beauty as those did who lived under the first Caesar's; insomuch, that when the Christians in the Reign of Constantine, had the liberty of erecting Temples to the true God, the Arts of Designing were already declined and almost lost. Thus all the Paintings, and Sculptures, and Imagery, and Pieces of Mosaic Work, which, they made, and were found in the ancient Church were degenerated from the true relish of Designing: And those Pieces of Sculpture (a) On the Mountain Cicilo, is to be seen the Church of St. John and St. Paul, built in the time of Julian the Apostate, which is a very ill Piece of Architecture. and Architecture, (b) At the Church of St. Agnes without the Gate Pia, there is to be seen a Tomb of Porphyry, and because the Sculpture in Bass Relief which is there, represents Children with Vines and Grapes, the Vulgar have falsely supposed it to be the Tomb of Bacchus. This fine piece of Porphyry was the Tomb of the Princesses Constantia's, Daughters of the Emperor Constantine; in this Church are also the Tombs of other Princesses of the same Family; It is also the place where they were Baptised, and which was expressly Built by Constantine. Nardini Rom. Antiq. P. 174. These Bass Reliefs are of no excellent Designing; which shows that Sculpture was much fallen from its Excellence. as also Painting (c) The Painting also which is to be seen on the Mosaic Work of this Church over the Vault, is of no better relish or design. which were made in the first Christian Churches at Rome, are of no better Workmanship. Insomuch, that an ill and rude Way was introduced in all the Arts of Designing, and thereby we may see that the Goths and the Lombard's who reigned at Rome and in Italy, did not carry this ill Way into their own Countries, but continued it only here; and hence it is, that this rude Way of Painting and Sculpture and Architecture is called Gothick. Moreover these Arts being in a state of declension among the Grecians, their Works have been called the Ancient Greek Way, and not the Ancient Way, to distinguish the one from the other. CHAP. VI The Arts of Designing declined less in the Eastern Empire, than in the Western. THE Arts in their Fall, did not decay at Constantinople so much as at Rome, particularly in the third, fourth and fifth Age: By reason that Constantine the Great, his Son Constantius, Theodosius, Arcadius and Justinian (a) The Church of St. Sophia was built by Constantine the Great, repaired by his Son Constantius, and afterwards by Theodofius the Younger. The Emperor Justinian rebuilt it after it had been burnt, with so great Magnificence that he exhausted all the Treasure of his Empire. And he thought that that Temple exceeded Solomon's; and during seventeen Years that he was rebuilding it, he expended thereon thirty four Millions of Gold. H. du Serail. D. Baudiere. were zealous to render the (b) Arcadius caused them to be built there. Metropolis of their Empire, as flourishing and magnificent, as was Ancient Rome. To that end they built great Halls, Aqueducts, Porticus', Circus's, Palaces enriched with Statues which they had among the Spoils of Greece and Asia, and set up in the middle of open Places, Obelisks of (c) In Theodosius' Square was the great Obelisk of Thebes. Egypt and surprising Columns all over Engraven. They built also several other fine and great Churches which they adorned with Painting and Sculpture. Hence it was that the Arts of Designing were maintained with Splendour in Greece: For Constantine did not only set up rich Images in the Temples, but at all the Gates of Constantinople, and of his Palaces, as at that which was called the Gate of the Brazen Porch. The Emperor Constantius had no less esteem for fine Buildings and the Arts of Designing, than his Father. But Theodosius the Great who was a very zealous Protector of them, has left us illustrious Marks of his Esteem for them, in that famous Pillar which he caused to be erected in that City in imitation of that of Trajan: And on this Pillar he caused to be Engraven in Bass Relief, the History of his famous Actions. In this magnificent Work of Theodosius, is to be seen much of the ancient relish of Engraving, which shows that Sculpture was not so much declined in Greece as in Italy. This is very evident in the designment of an illustrious Column, which is still kept at Paris in the Royal Academy of Sculpture and Painting. We may also conclude that Painting kept up in its Excellency longer at Constantinople than at Rome, for these two Arts have always been inseparable both in their rise and fall. The glorious Protection which this great Emperor gave them, appears under the Head de Excusatione Artificum, (d) Picturae Professores placuit ne sui capitis censione, nec uxorum, aut etiam liberorum nomine, nec tributis esse munificos. This Emperor frees them in another Place from the Charges of Lodging. Archiatros nostri Palatii, nec non & Picturae Professores, bospitali, molestia quoad vivent, liberari praecipimus. wherein this Prince frees from all Charges and Tributes the Professors of Painting and their Families. Hence it appears that this Art was exercised in Greece with Honour, and it is very Credible that there were several fine Pieces whereof the Ancient Fathers of the Eastern Church have given us the descriptions and elegy. St. Gregory (e) In an Oration which he made at Constantinople mentioned in the second Nicene Council Ac. 4. are these Words. Vidi saepius inscriptionis imaginem, & sine lacrymis transire non potui, cum tam efficaciter ob oculos poneret Historiam. of Nice assures us, he could not refrain from Tears at the sight of a Picture, wherein Abraham was represented about to Sacrifice his Son: Without doubt this Holy Father would not at all have been touched with any Sense of Grief, if there had not been an extraordinary and lively Beauty in this Piece: In his Oration of St. Theodore (f) Pictor artis suae flores in imaginibus exprimens, res Martyris praeclarè gestas, Labores, Cruciatus, immanes Tyrannorum aspectus, impetus, ardentem illam & flammas evomentem fornacem, beatissimum Athletam, Christique certamini praesidentis, ac praemia dantis, humanae formam imaginis: Haec inquam vobis tanquam in libro loquente, artificiosè describens, Martyris certamina sapienter exposuit. Novit enim etiam Pictura tacens, in parietibus loqui, & utilitatis plurimum afferre. he describes the greatness and magnificence of a Temple Consecrated to that Saint. He takes notice that his Martyrdom was extraordinary well done, and that the Characters of the Grief and Constancy of this Martyr, of the Fierceness and Cruelty of the Tyrant, and the Assistance of our blessed Lord to Crown this happy Saint, were as legible in this Piece as in a Book: Insomuch, that these Pictures on the Walls were like a lively and useful Sermon. Saint Basil (g) Name (says St. Basil), magnifica in bellis gesta, & oratores sapientissimè, & Pictores pulcherrimè demonstrant: Hi oratione, illi Tabulis describentes atque ornantes amboque plures act fortitudinem imitandum inducentes. Quae enim sermo Historiae per inductionem, eadem & Pictura tacens per imitationem ostendit. St. Basil. Hom. 20.11. Mart. confirms the same Thing, and says, that Painters do as much by their Figures, as Orators by theirs; and that both equally serve to persuade, and raise the Contemplators to Virtue: Hence we may conjecture that there was a great deal of Art employed in these Pieces, without which they would not have afforded so much matter of Meditation to these two Fathers. Hence it appears to me, that we have just reason to assert that Painting did continue in its Excellency even till this Time at Constantinople and in the Oriental Churches. This is also apparent, for, that there were some excellent Painters among the Greeks in the Year eight hundred: For there was nothing more surprising, nor of greater usefulness than a Piece of the Day of Judgement done by Methodius, which so sensibly affected Bogoris (h) Curopal. Cedrens. Zonar. related by M H. D. Iconocl. This Methodius was a Monk and Painter. Bogoris employed him to Paint a Palace he had built. He ordered him in general to draw Representations of Terror; taking chief delight in Pictures that represented the Combats of Hunters with Boars, Lions, Bears and Tigers. Methodius finding nothing more Terrible than the Day of Judgement, he painted it admirably well, with all it's most horrible and amazing Circumstances, and above all, the Reprobates on the Left Hand of the Judge, and delivered over by his Sentence to Devils to be dragged into Hell. Bogoris was so touched at the Representations of this Picture, that he immediately resolved without further delay to turn Christian. King of the Bulgarians, that it converted that Prince, and afterwards all his Subjects, to Christianity. Whence we may conculude, That the Honour paid to the Images (i) Constantine the Great enriched Constantinople with several Pieces of Piety; he was not only contented to have built the magnificent Church of St. Sophia, and those of the holy Apostles, but adorned the City with several Images, and among the rest with that of our Saviour, which was on the great Gate of the Imperial Palace, which was called the brazen Gate, because the Porch was covered with Plates of gilded Copper: It was this Emperor who caused this Palace to be built. of the Saints from the beginning of the Christian Religion, has been a great means of the preservation of this Art: For in all the Countries where this Worship has been abolished, Painting and Sculpture did not only decline, but were entirely destroyed. CHAP. VII. Of the Antiquity of Images in the Christian Religion. IMAGES in the Christian Religion begun from the time of Jesus Christ: The first that was made, was made by a Lady, whereof there is made mention in St. Luke Chap. 8. Ver. 46. who drawing near our Saviour behind, touched the Hem of his Garment, and immediately her bloody (a) Luke Chap. 8. v. 46. Issue was cured. This holy Woman as an acknowledgement of her Cure erected in the City of Caesarea a Statue of Jesus Christ. It was of Brass, and at his Feet was the Statue of this Woman, in a supplicant Posture. She was so acceptable to God that he gave a miraculous Virtue, to a Plant that grew at the Foot of this Statue, and when it was grown high enough to touch the Fringe of this Image it healed all Sorts of Diseases (b) Nicene Council 2d. Act. 4. S. Greg. 2. Epist. to Germ. Bishop of Constant. . Several Historians record this Truth, particularly Eusebius of (c) Eusebius Lib. 6.7. Chap. 14. This History is also related by Antipater Bostrensis, and also by Nicephorus, Cassiedorus and Metaphrastus. There is also a large Narrative of all these Ancient Images in the Book of Subterranean Rome. Caesarea, who was an ocular Witness of the Truth of it; and Sozomen reports that Julian the Apostate, by reason of the hatred he bore to Jesus Christ, caused this famous Statue to be taken away, and ordered his own to be set up in its Place: But he was immediately punished for this Sacrilege, for Lightning falling thereon consumed it to Ashes. There are other Authors who writ, that from the time of the Apostles there were also Images of the Painting of Jesus Christ (d) Historiae quoque (says Damascene) proditum est: Cum Abagarus Edessae Rex, eo nomine pictorem misisset, ut Domini imaginem exprimeret; neque id Pictor ob splendorem ex ipsius vultu manantem, consequi potuisset; Dominum ipsum divinae suae ac vivificae faciei pallium admovisse; sicque illud ad Abagarum, ut ipsius cupiditati satisfaceret, mifisse. S. Jo. Damasc. de orthod. Fid. 1.4. Chap. 17. Baron. Ann. Tom. 1. an 31. , and that our Blessed Saviour was the Inventor of them, at the Solicitation of Abagarus King of Edessa, who having heard of the Miracles of Christ Jesus, sent a Painter to draw his Picture; but when he could not lay down the Design of it, by reason of the shining Rays that issued from his divine Looks, our Lord to satisfy the Request of the King of Edessa, covered his Face with a linen Vail, whereon he imprinted his divine Image, and sent it to that Prince by virtue whereof he was healed of a Disease otherwise incurable. In the time of the Apostles were also to be seen Images of the Blessed Virgin; for St. Luke made several of them: This is witnessed by St. Gregory the (e) St. Gregory the II. writing to Leo Isaurus relates the same History, and that they came out of all the East to Worship this Image. Cum Hyerosolymis ageret Christus, Abagarus qui tum temporis dominabatur, & Rex erat urbis Edessenorum, cum Christi miracula audivisset, Epistolam scripsit ad Christum, qui manus suae responsum, & sacram gloriosamque faciem suam ad eum misit. Itaque ad illam non manufactam imaginem mitte ac vide: Congregantur illic Orientis turbae & orant, etc. Patriarch of Constantinople in what he writes to the Emperor Leo Isaurianus. Theodorus (f) Theodorus in his Oration against Leo Isaurus. Annal. T. 9 Annal. 814. and in the 2 d. Council of Nice, the same relation is confirmed by Leo, Lecturer of the Church at Constantinople, who witnesseth the Honour that was paid in his Time to that Image. These are his Words. Leo Religosissimus Lector magnae & egregiae Ecclesiae Constantinopolitanae dixit, & ego indignus vester famulus cum descendissem cum regiis Apocrisariis in Syriam Edessem petivi, & venerandam imaginem, non factam hominum manu adorari & honorari à populo vidi, etc. farther shows us, that the Empress Eudoxia sent one of these Images painted by St. Luke to (g) Lucas vero, qui sacrum composuit Evangelium, cum Domini pinxisset imaginem pulcherrimam & pluris faciendam posteris reliquit St. Theodor. orat. in Leo. Arm. Theod. Lect. Collet. L. 1. Pulcheria Augusta; there is also one to be seen at this Day at Rome, made by the same Saint, which is carefully kept by the Religious of Saint Sylvester. Although the History of the Portrait of Christ Jesus sent to Abagarus, and that of the Portrait of the holy Virgin painted by St. Luke, are scrupled and contested about by some, notwithstanding I thought fit to relate them here, to show the Antiquity of Images after the Example of the second Nicene Council. Those of the Apostles (h) St. Gregory II. in his Epistle to Leo Isaurus, says, of the first Christians who Painted our Saviour, Qui Dominum cum viderent prout viderant venientes Hierosolymam spectandum ipsum proponentes depinxerunt: Cum Stephanum Protomartyrem vidissent, prout viderant spectandum ipsum proponentes depinxerunt: Et uno verbo dicam, cum facies Martyrum, qui sanguinem pro Christo fuderunt, vidissent, depinxerunt. , Confessors and Martyrs have been also Painted and Engraven in the Infancy of the Church. The same Saint Gregory tells us the same Thing, as Pope Adrian I. relates in what he writ to Constantine and Irenaeus. He assures us, that there were kept in the Basilicum and in the Vatican the (i) Had. 1. Epist. to Const. and Irenaeus Baron. Annal. to 3. An. 324. and to 3. An. 785. Portraitures of St. Peter and St. Paul, which are those which Saint Sylvester shown to the Emperor Constantine (k) Constantine to adorn his new City, set up on all the Gates the Image of the holy Virgin, and upon that of his Palace the Image of our Saviour, which Leo Isaurianus caused to be taken away. He also caused to be raised in the middle of his Palaces, fine Statues of our Saviour, in the form of the good Shepherd, and that of the Prophet Daniel in the Lions Den. H. of the Iconocl. of Maimbourg. the Great, after he was converted. Hence we may believe, that the Worship of Images had its rise at the very beginning of the Primitive Church, and that it continued till the time of the Emperor Leo Isaurus in the East, which continued the Practice of the Arts of Designing, although degenerated from their Excellence, yet less so in the Provinces of the East than the West. CHAP. VIII. Of the entire Ruin of these Arts, by the Sect of Mahomet in all the Parts of his Dominion. THE advantage which the Arts of Designing had to maintain themselves longer in the East than in the West, did not last long, for they suffered an entire overthrow in several Provinces of the Grecian Empire, by the Sect of Mahomet, which begun to appear in the Year 624. This false Prophet took Damas', and ruined Syria, and his Sect increasing in Arabia, Egypt, Libya, Barbary, Spain and even on this side the Pyrenean Hills, destroyed all the ancient Buildings, and Pieces of the Arts of Designing, which escaped the Visigoths and the Vandals. But the greatest Desolation was made by the Saracens in (a) They took also about this Time the Isles of Candy, Cyprus and Rhodes in the Year 640. It was they who broke to pieces that famous Colossus of Brass, made by Chares the Indian, which was set up at the Entrance of the Port of Rhodes, where Ships passed between the Legs of this great Statue, which was at last thrown down by an Earthquake, and the Saracens having broken it to pieces carried it to Alexandria; the Brass of it laded nine hundred Camels. This was about the Year 655. Dict. Histor. Italy; they ruled Sicily for a considerable Time: And were Masters of a great Part of the Kingdom of Naples for the space of thirty Years, principally from the City of Regge to that of Gath. Moreover these Infidels carried their Arms even to Rome, and took the Town of Vatic; and burned the Church of St. Peter there (b) Roma illustrata, P. 9 & Italia illustrata di Biondo, P. 135. and St. Paul, under the Popedom of Leo IU. and had almost taken the City. In this space of time these People destroyed every thing that was fine and curious in these two Kingdoms; for at Naples and the Neighbouring Towns there are only some Remains of the fine Houses and Palaces of the ancient Romans: These Palaces were along the Seashore on the Coasts from the Cape of Missena to the other side of the Puzzolo (c) Puzzolo was sacked by Alaricus, Gensericus, and Totila; afterwards it was rebuilt by the Grecians; the Theatre of Puzzolo was one hundred and seventy two Foot long and eighty eight Foot broad. There are yet to be seen the Remains of the Temple of Augustus all of Marble, built by Califurnius. There were also in that City several other Ancient Temples; the most considerable was that of Diana, which had a hundred Columns of an admirable Corinthian order. There is also yet to be seen a Part of the magnificent Temple of Neptune, and the Remains of a Temple of Trajan. . The ancient Fragments which are still to be seen in those Places, denote the Splendour of these Buildings; there is nothing so curious and wonderful as the Fishpond (d) This Place now called the Remainders of the wonderful Fish-pool, is among the Remainders of the Palace which Luculus caused to be built at the Cape of Missona; this subterranean Place was to keep fresh Water for the Fleets. at Missena (e) Missena a fine Ancient City was ruined by the Saracens in the Year 596. Antiq. of Puzz. D. S. M. Near this Place was the City of Cumes, whereof there remains a fine Arch called Arco-felice which is of fine Ancient Architecture. Here is yet to be seen in this Place the Cave of the Cumaean Sybil. The Pavement is enriched with Ancient Paintings after the Mosaic Manner, such as there are at Prenestes. , which points out the footsteps and foundations of a noble Palace: The Remains of the Vineyard of Luculus, of the Baths of Cicero, and of the (f) At the Gate of Tipergol, in Baia, Caligula caused a Bridge to be built of Brick, and paved with Stone which went from thence to Baia. This Bridge served also for Security of the Port, by breaking the great Waves of the Sea; there yet remain of it thirteen great Piles. Suetonius relates the Reasons which induced this Emperor to make this wonderful Fabric. Bridge of Caligula built on the Sea, of the Amphitheatre and Theatre of Puzzolo, of the Temple of Castor (g) There is yet to be seen at Naples the Gate of this Temple, which was Measured and Engraven by Andrew Palladio. and Pollux at Naples, and of several other Ancient Works, which were places of delight of the Romans in that Country, make us regret the Ruin of those fine Buildings. Those mischiefs make us look on this false Religion, as one of the most fatal Plagues that ever happened to Architecture, Sculpture and Painting, for it is one of the Principles of the Mahometan Sect, to make no Image of any living Creature: And this has caused in all the Territories of the Turks not only the declension, but the utter destruction of the Arts of Designing. CHAP. IX. Of the Injury Painting and Sculpture suffered by the Iconoclastes. IN the other Parts of the Empire of Constantinople a hundred Years after Mahomet, the Iconoclastes set about breaking and demolishing of Images: Which could not be done without the great loss of Painting and Sculpture in all the Parts of that Empire. Leo Isaurianus from a mean Birth came to the Empire according to the Prediction of two Jews, who for an acknowledgement to them on that Account ordered the destruction of all Images throughout his Dominions. This gave the first rise to the Heresy of the Iconoclastes, whereof he was chief: For as soon as he thought himself established on his Throne, he showed his Fury against the Catholics by his Edicts, and other Violences. Which particularly appeared when he set on Fire the famous (a) This College or rather Academy (for there were taught all Sorts of Sciences both Human and Divine) was a magnificent Palace built by Constantine the Great; they chose out the most Learned Man in all the Empire to be the first Master or Director. Here was that famous Library which contained six hundred thousand chosen Books, but which perished partly in the Fire in the time of Basilicus and Zeno. Among those that were saved there was a Dragon's Skin of twenty six Foot long, whereon were written in Letters of Gold Homer's Works. It is remarkable that in this Fire several Ancient Pieces, and among others the Venus of Praxiteles which he made for the Gnidians, were burnt. But after this Library was rebuilt, and filled with three hundred thousand Volumes it was entirely consumed, by being set on Fire by Leo Isaurianus. Cedrens. Zonar. Constant. Manass. College of the Orthodox, therein to Burn the head Master and twelve Professors for having reprehended him for his Errors: And all these generous Defenders of the Faith were therein consumed, with every thing that was of any Value in that Academy, which had the finest Library of all the East. He moreover caused all the Paintings in the Churches to be defaced, and those which could be taken away, whether Pictures or Statues, he caused to be piled up together in the great Square in Constantinople, where they were burnt with all those that could be found in private Houses. Constantine called Copronimus (b) He was so called for having defiled the Church wherein he was baptised, by laying his Ordure in it. Maimb. Hist. Iconeclast. Son of Leo, succeeded him both in the Empire and in the hatred he bore to Images: For it was this Constantine who caused all the admirable Paintings of Mosaic in the Church of Nostre Dame to be cut to pieces, as also those of the Palace of the Blaquernes, which the Empress Pulcheria had caused to be there made, and which even Leo himself had spared, and in their Room this Emperor ordered to be drawn on fresh Plaster, Landscapes and Birds. They broke down and defaced all the Remains of any Images on the Altars and Walls of the Church, and even on the sacred Vessels and Ornaments. Nicetas the false Patriarch, to please this Prince caused all the fine Mosaic Paintings in his little Hall of Audience to be broke to pieces, as also a great Wainscot that reached all along the great Auditory of his Palace, enriched with Bass Relief; and he also caused all the Walls of the Churches to be plastered over, where there were Images painted, that he might not leave the least Footstep of any Images in the Patriarchal Palace, as his two Predecessors had done. After Constantine Copronimus, his Son Leo continued to destroy Images during the five Years which he reigned: But under the Regin of Constantine and Irenaea his Mother they were reestablished. But afterwards Nicephorus after having dethroned this Princess, persecuted the Catholics as did his Predecessors. The Emperor Michael Curopolatus, re-established Religion, and Images for a short time; for he was dispossessed by Leo the Armenian, who was also an Iconoclast, who caused to be defaced, broken and cast into the Sea, and the Fire, all the Images which had been reestablished. Michael furnamed the Lisping, his Son, continued in the same Error. But Theophilus who succeeded this last, was yet a greater Enemy to Images and Painting: For he was not contented to take away those that had escaped the fury of these Emperors, and which only served for Ornament, but also declared himself an utter Enemy to, and Persecutor of all Painters, and forbidden them the Exercise of their Art. This Prohibition was made in particular to the glorious Monk Lazarus, who was an Excellent Painter, who notwithstanding did not desist from painting Pieces of Devotion: Theophilus irritated at this, caused him to suffer great Torments, but he continuing notwithstanding his pious Exercises therein, he caused red hot Plates of Iron to be applied to his Hands, to burn his Flesh, thinking thereby to spoil his Working, and that he could thereafter Paint no more, which made him without any difficulty grant this Excellent Painter to the requests of the Empress Theodora, who begged him. Lazarus being cured of the Wounds he had received by these cruel Torments, and privately shut up in the Church of St. John the Baptist, he there notwithstanding his burnt Hands, made his Image. This happy Lazarus survived Theophilus, and after the Death of this Prince Lazarus painted excellently well the Image of our Saviour, which was set upon the principal Gate of the Imperial Palace which was called the brazen Gate, in the room of that (c) This Image of our Saviour was by Constantine set upon the Gate of his Palace, where there was at the Entrance of it a Porch covered over with Tiles of Brass, this Image was broke by Leo Isaurianus, and afterwards made again by Constantine, and Irenaeus; afterwards taken away by Nicephorus, but set up again by Michael Curopolatus; and lastly taken away again by Leo the Armenian, and made again by St. Lazarus after the Death of Theophilus the last Emperor of the Iconoclastes; this St. Lazarus was a Monk and a Painter, and he painted Images till his Death. Cedrens. Curopol. which Leo the Armenian had caused to be taken away. Hence we may conclude, that the Iconoclastes were the ruiners of Painting and Sculpture in the Grecian Churches, which perfected the destruction of the Arts of Designing, which continued in that Condition to the Fall of the Grecian Empire. The Servitude they were afterwards reduced to, did not permit the revival of those Arts, but only to continue in their Churches the Worship of Images, painted after an ill Way after the (d) That Way which the Italians call the Ancient Greek Way, and not the Ancient Way, has always been in Use in the East since the declension and fall of the Arts. This appears in Venice in the Church of St. Mark, for which the Doge Peter Orseolus caused the best Architects of Greece to be sought out in the Year 997. to rebuild it, as it is at present, where there is not to be seen any Footstep of good Architecture, nor beauty in the Mosaic Paintings, which were then made. There is likewise no more beauty to be found in the Paintings of that Sort, which were there before that time in the Choir of the Chapel of our Saviour in the Year 828. Riosti, delle Maraviglie dell'arte, P. 12. But farther to illustrate what we mean by the Ancient Greek Way, and not the Ancient Way, we understand by the word Ancient all the Works of Design that were made before the Emperor Constantine, both in Greece and Italy, and in the other Countries where these ARTS flourished. Thus all the Statues we have of that Time are of the Ancient Manner. But for the Old Greek Way, it is that which was brought into Italy since St. Sylvester by certain Greeks, to the Year 1200. for in all their Works both of Painting and Sculpture there is nothing to be seen of Curious, but on the contrary of a monstrous Design, such as are the Works in the Churches on this side the Mountains, which are called Gothick: Thus the Old Greek Way, and not the Ancient Way, and the Gothick are the same, the one being as ill as the other. And in all Europe these two ways of working, continued till some ingenious Painters out of Emulation one to another, discovered and revived these ARTS as shall be seen in the third Book. Greek, and not the Ancient Manner. CHAP. X. The Dominion of the Goths in Italy brought in the rude Way. AFTER the Arts of Designing were declined at Rome, in the time of the latter Empire, by all those unhappy Accidents that happened to that City, they also underwent the same Fate in the Provinces of Italy, where the Goths and other barbarous Nations destroyed the fine Roman Buildings, whereof there remain only some famous Footsteps of their Ruin. Theodoricus one of their Kings having established the Seat of his Kingdom at Ravenna, his Reign was long, glorious and peaceful; and as he very much loved Building, he applied himself in his Capital at Rome, and in the principal Places of Romania, and Lombardy to build several Palaces and Churches, which are yet to be seen, all of them of a rude Way, very remote from good Principles of Architecture, and the exact Rules of the Ancients. For these Buildings are after the Gothick Way, which had spread itself through all Italy, and in several other Places of Europe. The Gothick Architects chief embellished their Works with Capricious Ornaments, which were to be seen on the Capitels of their Pillars: They adorned their Works with a great number of small delicate Parts, and several Threads which resembled Osiers, quite contrary to the Ancient Architecture: This Gothick Way is still to be seen in the Churches of Ravenna and other Places which Theodoricus built (a) King Theodoricus caused Palaces to be built at Ravenna, Pavia and Modena after a barbarous Way, which were rather great and rich than well built, or of good Architecture. The same may be said of the Church of St. Estienne de Rimini, of that of St. Martin at Ravenna, and the Temple of St. John built in the same City in the Year 438. by Galla Placidia. In the same City the Church of St. Vital was built in 547. The Queen Theodolinda, caused the Church of St. John the Baptist to be made at Monza, where she caused to be painted the History of the Lombard's; her Daughter Queen Gundiperga, caused one also to be built at Pavia, they are all of the Ancient Gothick. . This is remarkable in the Round Church of St. Mary near this City: The Vault of this Edifice is one only Stone, which also made the Cupolo, which is thirty (b) This Author speaks with certainty thereof, having measured it himself. Foot in Diameter; this causes Admiration in those who are not acquainted with the Beauty of Architecture nor Designing, nor their Proportions. This Church was built by the Queen Amalasonta Daughter of Theodoricus, for a Sepulchre for this Prince. CHAP. XI. In the time of the Lombard's the Gothick Way continued in Italy, and in several other Parts of Europe. THE Gothick Way in the Arts, was continued in Italy after the Goths by the Lombard's, who drove them out thence, and reigned there two hundred and eighteen Years. This appears not only in the Churches of Pavia, of Milan, of Bresse, and other Buildings built by Luitprand, and their other (a) Luitprand built at Pavia the Church of St. Peter il ciel dauro. Didier who reigned after Astolphus, built the Church of St. Peter Olivate in the Diocese of Milan, that of St. Vincent in the City, and that of St. Julia at Bresse, all these Edifices were built at a great Charge, but of a rude and disorderly Way. Vasari P. 77. Kings, but also in all the other Churches in France that were built about that time. For after the French had got the Mastery of the Romans, they banished thence the Arts of Designing, and no more regarded the Excellent Ideas of the Ancient Architecture, such as was to be seen at Orange, Nismes, St. Remi, Bourdeaux and other Places where the Romans had made good Architecture to flourish. But far from that these French Artists forgot, and laid aside the true Method and Rules of the Ancient Architecture: Insomuch, that the Way called Gothick grew into Use with all the Nations of the West. Hence it is that the Church of St. Peter and St. Paul built at Paris, by Clovis the first Christian King, and called at this day St. Genevieve, is of this Gothick Way, and quite contrary to the Rules of good Architecture: One may also take notice of this rude Way of Architecture in the Church of St. Germain-des-Prez, built by Childebert Son of this King; here one may observe the ill State and Condition of Designing and Sculpture on the Capitels and four Bass Reliefs of the Choir of this Church, and in the Figures of the Porticus: For all the Sculptures there, are done without Design, Relish or Art. We may pass the same Judgement on the Painting of those Times as on the Sculpture, for when the true Genius of Design was wanting in the one, it was also deficient in the other: The Church of St. Martin de Tours is a Proof of this. There is to be seen over the great Vault a Crucifix of a sort of Painting not at all exceeding the Graving in the same Church, which is after the ancient Gothick Way. In the Reign of Dagobert was built the Church of St. Dennis in France, which is of the same Sort with those other Buildings, though made with great care and neatness. This Prince built several Churches after the same Way in Alsatia, and several other Provinces of Germany, which he Conquered, and where he left as Marks of his Piety, several Abbeys which he founded. CHAP. XII. From the Time of Charlemagne, the true Relish of Building altered less in Toscany than in other Countries. THIS rude Way of Building continued during the first and second Race of our Kings, as is evident by the Churches Charlemagne built in several Cities of his Empire which are all after the same Way. This Great Emperor after having been Crowned at Rome, and regulated the public and private Affairs of that City, and even those of the Pope, and the Church as to temporal Affairs; he visited the Cities of Italy, and left as a Testimony of his good Will to Florence, the Church of the Apostles which he there built, of a better and finer Order than those that were built before the Reign of this glorious Prince, or the others that were made since the decay of Architecture, to the revival of the Arts of Designing: For the Bodies of the Pillars, the Capitels, and the Arches of the Church are done with a great deal of Grace and true Proportion: This Church has always been esteemed by Architects to be of singular Beauty; and Ser-bruneleschi one of the most famous Artists thought fit to take this Church for a Model of the Churches of the Holy Ghost, and St. Laurence at Florence which are of his Designing. In the Church of the Apostles, may be read on the side of the great Altar, the Foundation of it Engraven on Marble in these Words. In the Year eight hundred and five, the 6th of April, Charles the King of France at his return to Rome entered into Florence. He was received with a great deal of Joy, and presented by the Burghers with several Chains of Gold. There is yet to be seen on the Altar of this Building a Plate of Brass, whereon is written the Foundation and Consecration of it by the Archbishop of Turpin, in the Presence of Roland and Oliver. VII. Die VI Aprilis in resurrectione Domini Carolus Francorum Rex à Roma Revertens, ingressus Florentiam cum Magno gaudio, & tripudio susceptus, Civium copiam Torqueis aureis decoravit. Ecclesia sanctorum Apostolorum in Altari inclusa est lamina plumbea In qua descripta apparet praefata Fondatio, & Consecratio facta per Archiepiscopum Turpinum, Testibus Rolando & Uliverio. Vasari proëmio delle Vite. CHAP. XIII. Reflections on the Fall of the Arts of Designing, and on the Gothick Way. THE Gothick Way continued after Charlemagne, during the second Race of our Kings, and under the Reigns of most part of the third; under these last Princes there was no Change, neither in Architecture nor Sculpture, which is the reason we see nothing well ordered in their Palaces: This is apparent in the Palace of King Robert at St. Martin, and that of St. Lewis at Paris. These Buildings have nothing but the Gothick Way in them. This method continued after this King: And is to be seen in Nostre-Dame at Paris, which his Successors finished. All the Beauty of this Church consists in its vast Greatness and fine Plane, and ingenious Cutting of the Stones, and some delicate small Parts or Pieces of Architecture, which notwithstanding sustain great Weights. Notwithstanding the true Orders of Architecture, and good Sculpture is there wanting; every thing is after the Ancient Gothick Way, which was followed in France till the Reign of Lewis the XII. By what has been said in this Book, we may conclude, that the Arts of Design decayed as soon as the Princes of the latter Empire grew out of love with them, and no longer protected them: This Neglect of them began the Ruin of these Arts, which increased during the Civil Wars, by the sackings of Rome, and the desolation of the Provinces of its Empire. The Infidels and the Heretics contributed much to this Misfortune in several Places, and that even to the total Destruction of these illustrious Professions. But that the Reflections we make on the Fall of these Arts may be useful to those who learn Designing, it will be necessary to know wherein consists the ill and rude Way which was introduced in the time of their Declension, that it may be avoided for the Future. It may be remarked in the first Place in the Gothick Pieces, that what they had of Rude or Ill in them, proceeded from the Ignorance of those that made them, in the just Proportions of the human Figure, which is the solid Foundation of just Designing; since all their Statues are disproportionate. For the most Part have their Heads either too great or too little, the Hands and the extreme Parts too thin and slender, their Postures without any choiceness, nay without intention or expression. Also in the clothing of their Figures, are to be seen clothes cut in Pleats and Folds where naturally there are none; in short, their Works have nothing that can please the View or deserve the Attention of those that are Curious. These are faults which ought to be avoided, as wrong Principles, by the Pupils of Designing: Who ought to apply themselves immediately to the just Proportions of the Ancients, for therein consist the true Beauties of the Art. They ought to begin with the Studies of Geometry and Perspective, and with the Postures which naturally express the different Actions of the Body, and Passions of the Soul. They ought to take care to learn Anatomy, that they may know the Motions of the Muscles, and observe their just Contortions. These are the means which ought to be followed to arrive to the Knowledge of the true Beauty and Excellency of these Arts: It has been hereby, that the excellent Modern Painters, and Engravers, and Architects have made such advances, to whom we are obliged for the Re-establishment of Painting, of Sculpture, and of Architecture: Which shall be the Subject of the Third BOOK of this History. BOOK III. Of the Re-establishment of the Arts of Design. CHAP. I. The Arts began to flourish again in Toscany, in Architecture and Sculpture. AFTER having showed in the Second Book of this History, the causes of the declension and fall of Painting, and Sculpture, and Architecture, by the ill and rude Methods, and decay from that Excellence which they had arrived to among the ancient Grecians and Romans; we will show in this Third Book how these Arts by little and little emerged from the rude Gothick way, and continued their Re-establishment from the year 1013, to the end of 1500; wherein they arrived to their primitive Perfection, and passed from Italy into several other Parts, and particularly into France, by the singular Favour they found under our Kings, Francis the First, Henry the Fourth, and Lewis the Great, who now esteems it as a part of his Glory to have made the Arts of Design to Flourish. These Arts of Designing begun first to be revived in Toscany, before they were known in other Countries. For as the Tuscans were the first among the Ancients who practised them, so they had the advantage of being the first in Italy who raised them from the low state to which they were fallen. Thus in the year 1300 there began to appear at Florence a better sort of Architecture than the ancient Gothick; for in the Church of St. Miniate, Built in that time, Architecture may be observed to creep out of its barbarous Methods, and to Imitate in all the parts of that Building, the way of the Ancients. After this happy beginning, the Arts of Designing continued on to their Perfection in Toscany; and the Pisans in the year 1016 Founded their great Church, called the Dome of Pisa: The Commerce they had by Sea, and particularly into Greece, was a favourable means for the Re-establishment of Architecture and Sculpture, for they brought thence several Columns and Fragments of ancient Architecture of Marble, which they made use of in the Fabric of this Church. They brought together by these means several Engravers in Italy, and also Grecian Painters, who Worked after their own old Methods; for only using in their Painting simple Lines, which they Coloured all over equally without any Shadowing, their Works were not very Artificial; notwithstanding these Remainders of Art taught the Italians the practice of Painting in Water-Colours, in Fresco, and Mosaic. But among all these Grecian Artists, those of Pisa were the most fortunate, in happening on the Architect Bouchet (a) This Architect Bouchet, called by Vasari Buschetto, was a Grecian of Dulichium; he made in the Plan of the Great Church of Pisa, five Allies; this Church is Paved with White and Black Marble; he was Buried here in an honourable Sepulchre, whereon there are Three Epitaphs, this is one of them: Quod vix mille boum possent juga juncta movere Et quod vix potuit per mare ferre ratis, Buschetti nisu quod erat mirabile visu, Dena puellarum .... levavit onus. This Architect understood all the Parts of Architecture, and particularly Mechanics, as this Epitaph proves, having made a Machine, by means of which Ten Women could take up that Weight which a Thousand Couple of Oxen could not move. of Dulichium, the most Ingenious of his time: This he made appear in the Cathedral of Pisa; for besides the greatness and fine Plan he made in this Church, he made use with a great deal of dexterity, of those ancient Pieces of the Grecian Architecture to compose his; which were Fragments that the Pisans had brought from Greece. This famous Building stirred up throughout all (b) In several Cities of Italy were Reared very great Fabrics; at Ravenna in the year 1152, il Buono, Engraver and Architect, Built a great many Palaces and Churches. He Founded at Naples the Castles of Capoano, now called of the Vicarage, and castle Dellüovo, and at Venice the Steeple of St. Mark; which he so well Founded on Piles, that in that great Edifice there has appeared no defect in so long time. At Pisa in the year 1174, one Named William Oltromontano, with Bonnano Engraver, Founded the Steeple of the Dome. These Architects not being acquainted with the practice of Piles, this Steeple sunk on one side, to which it inclines, but because of its hollow, which is round, it does not fall. The Royal Gate of Brass of this Church was made by this Bonnano. Italy, and particularly in Toscany, those who had any Genius for Designing. It was in this City of Pisa where the Pupils of these Greek Architects Built the Church of (c) In the year 1060, near this great Church was Built that of St. John; and it is Recorded in some Memoirs, that the Columns, the Pilasters, and the Vault, were finished in Fifteen Days time. Vasari, p. 79. St. John: They also Built others Consecrated to St. Luke (d) The Church of St. Martin at Luques was Built by the Pupils of Buchette in the year 1061. and some to Pistoia, but they did not at all exceed their Masters: There remain the Footsteps of the old Greek way, chief in the Sculpture, as is to be seen in the Bass Reliefs of St. Martin of Luques, finished by Nicholas (e) These Bass Reliefs were finished in the year 1233. Pisan, who learned of those Grecian Artists, but he surpassed them, for there is a great deal of difference between his Work and theirs. This Nicholas was the first Engraver who began to perfect Sculpture after its revival; for to surpass those who taught him, he set himself to study the fine Bass Reliefs of the Ancients which the Pisans had brought from Greece, and which are to be seen in the Churchyard of Pisa. They are of a good Order, and Ancient, particularly that which represents the Hunting of Atalanta and Meleager. The study of these Bass Reliefs furnished him with sufficient light to make some happy advances in Sculpture; and this he sufficiently showed in the Sepulchre of St. Dominick at Bulloign, and his other Works. This shows that this Art, as well as Architecture, began to arrive to perfection at Pisa, at Bullogn, and at Rome, and (f) About the year of the World 1216, appeared Marchione, Architect and Engraver of Arreze, who Worked much at Rome for the Pope's Innocent the IIId, and Honorius III. who made the fine Chapel of Marble of Presepio, at St. Mary Majeure, with the Sepulchre of that Pope, which is of the best Engraving of those times: But one of the first Architects who began to reform in Italy, was a Germane named James, who Built the great Convent of St. Francis of Stone he dwelled at Florence, where he made the chief Fabrics; he had a Son called by corruption, Jacopo Arnolpho Lapo, who learned Architecture of his Father, and Designing of Cimaboius, and practised also Sculpture. He founded the Church of St. Cross at Florence, and several other Buildings, the most considerable whereof is the Magnificent Church of St. Mary Delfiore, whereof he made the Design and Model. He Died in the Year 1200, there are Engraven in his praise in one of the corners of the Church, these Verses: Annus Millenis centum bis octonogenis Venit Legatus Roma bonitate Donatus, Qui Lapidem fixit fundo, simul & benedixit, Praesule Francisco gestante Pontificatum Istud ab Arnolpho Templum fuit aedificatum. Hoc opus infigne decorans Florentia digne. Reginae Coeli Construxit ment fideli, Quam Virgo pia, semper defend Maria. Florence, which is apparent by the Beauty of the Cathedral of St. Mary Delfiore, which Arnolphus Lapo began to Build in the year 1298, and which Philip Bruneleschi afterwards finished. CHAP. II. Of the Time when Painting began to be Re-established at Florence. PAINTING which was almost lost, began to revive again in the Church of St. Miniate at Florence, as is to be seen in the Mosaic Painting of the Choir: This was done about the Year 1013, and till the Year 1211 wherein Cimabüe was born, we do not see that that Art acquired much perfection. John Cimaboüe was born at Florence with a natural Genius and Inclination to Designing, which made him neglect other Studies to which he was designed by his Father: For he deceived his Tutors, and was continually amusing himself in gratifying the Inclination and Tendency of his Genius. The opportunity which he had of the Society of two Grecian Painters, who came to Florence to Paint the Chapel of Gondis, was very lucky for him to satisfy his Inclination that Way: And when his Father saw him employ all his time in seeing them Work, he began to despair of his Sons succeeding in Learning, and so e'en let him learn to Paint of these two Greeks. The Genius and Application which Cimaboüe had for Design, made him soon surpass his Masters: Insomuch that his Works distinguishing themselves from the ill and rude Ways, which were then in use, spread his Reputation through all the Neighbouring Towns, where he made several Pieces; this began to raise Painting again, and gained this Painter the (a) The Reputation of Cimaboüe was so Great, that he was chosen Architect with Arnolphus Lapo, to order the Fabric of the Church of St. Mary Delfiore at Florence, where he was buried after having lived sixty Years. There are these Words for his Epitaph; Credidit ut Cimabos Picturae castra tenere Sic tenuit .... Nunc tenet astra Poli. But his Pupil Ghiotto passing by and seeing it, alluding to the eleventh Stanza of Purgatory, says on the Inscription of the Sepulchre; Credette Cimabue, nella Pittura Tener lo campo, & hora ha' Ghiote il grido Siche la fama di colui oscura. At the same time with Cimabos flourished Andrew Tafi, a Florentine Painter in Mosaic, he went to Venice to complete himself in the ART, having understood that there were Grecian Painters there, who worked after that Way at the Church of Saint Mark. He engaged Maestro Apollonio one of them to come and Work with him at Florence, where they made several Pieces, and Tafi learned of this Grecian the way of making Enamels, and Plasters that would last a long time; he died in the Year 1294. Esteem and Applause of Men of Credit and Curiosity. Particularly of the Famous Darotus, and the Celebrated Petrarchus. But the greatest Honour which Cimabos received, was when the King of Naples, Charles d'Anjou, went to see him Work on the Picture of St. Mary Novella. This Honour caused a particular Joy in the Citizens of that City, insomuch that they made Feasts and public rejoicings. For this reason we may say, That the Protection which Charles of Anjou (b) Charles of Anjou first King of Naples, also very much honoured Nicholas Pisan the Engraver and Architect; he made him build several Churches, as the Abbey in the Plain of Tagliacozzo, where he defeated Conradio; he built also other Churches, in several Places of Toscany: John Pisan was Son of Nicholas, and was also Engraver and Architect: In 1283 he was at Naples and built there for King Charles the new Castle there, and several Churches, and being returned into Tuscany he made several Pieces of Sculpture at Arezze, and also of Architecture in that Province; he died in 1320. This Engraver had for Pupils Agostino and Agnolo Sanensi: They were in the Opinion of Ghiotto the best Engravers of their time, which procured them the chief Business of Tuscany; they worked also at Bulloin and Mantua, and bred up several ingenious Pupils, and particularly Carvers in Silver, as Paul Aretino Goldsmith, and Maestro Ciono who was excellent therein. James Lanfrance a Venetian, Jacobello and Peter Paul of the same City, learned Sculpture of Augustine and Dagnolo. gave Painting, in the Honour he did Cimabos, was one of the first means of the revival of this ART. Thus Designing and Painting began to Emerge out of Ignorance, wherein they had lain buried for above nine hundred Years in Italy; and Heaven then began to favour them, visibly pouring out its Gifts on the Person of Ghiotto Pupil of Cimabos. For when he was a young Child, and in the Country guarded his Father's Flocks, he practised Designing with a sharp pointed Stone for a Pencil on the Ground which he had made smooth on purpose, where he drew the Figures of his Sheep. One day as Cimabos walked out into the Fields, he found little Ghiotto busied about this Affair, which made him stop and admire him. He asked him, and told him if he had a mind to follow that Employment he would teach him Painting, which he accepted of with all his Heart, having also gained his Father's consent. In a short Time Ghiotto learned of his Master the Principles of the Art, and far surpassed him therein, by the study and imitation of Nature, applying himself chief to draw Pourtraictures and Histories, which gained him so much Reputation, That Pope Benedict the IX. sent for him to Rome, where he drew several Pieces in the Church of St. Peter. After this his Successor Clement the V carried him to the City of Avignon, where he painted several Works in Fresco, and some Pieces for France. But at his return to Florence, Robert King of Naples, writ to Prince Charles of Calabria his Son, to send him Ghiotto to Paint in the Church of St. Clare, which he had newly built. It was very Honourable for this glorious Painter to be sent for by this Generous Prince: He loaded him with Goods, and Honours and Caresses, and took as much Pleasure in seeing him Work as Alexander did in Apelles. CHAP. III. The Liberality of Princes to ingenious Artists, has been a great Means of the Revival of the Arts of Designing. THE Honours and Riches which Cimabos and Ghiotto received from the Popes, and the Kings of Naples, and the Republic of Florence encouraged them to Work and raised Designing and Painting from their low State and Condition. These Favours caused a general Esteem for these Arts: For the better sort of People and the Courtiers always affect what their Prince's love, which insensibly engages the approbation and curiosity of all the People in general. It is therefore most certain that the Esteem of Great Men for Arts, is the first and readiest Means to make them Flourish: The Honour and Riches which Ghiotto (a) Ghiotto was also Architect and Engraver, having made several Pieces in Marble, which with the other of his rare Qualities caused, that by a public Decree, and the particular Affection of the Old Laurence de Medicis, his Portrait of Marble made by le Maiano, was set up in the Church of St. Mary del Fiore with these Verses made by M. Angelus Polibianus. Ille ego sum per quem Pictura extincta revixit. Cui quam recta manus tam fuit & facilis. Naturae deerat, nostrae quod defuit arti, Plus licuit nulli pingere nec melius. Miraris Turrim egregiam sacro aere sonantem Haec quoque de modulo crevit ad astra meo. Denique sum Jottus, quid opus fuit illa refer? Hoc nomen longi Carminis instar erit. had of the Royal Family of Anjou, acquired him very much Reputation in the Republic of Florence. At his return to Naples he had ordered him by that Family an Annual Pension of a hundred Florins of Gold. Thus we may look upon the first Reigns of the Kings of Naples of the House of Anjou, as those who kindled the Sparks of Emulation in Italy, among those who followed the Arts of Designing: Which advanced the Re-establishment of them; and we may say in praise of this August Family, that if the People of Tuscany have had the glory to be the first revivers of these Arts; the French Kings of Naples were the first Protectors of Painting, and the first who made it Re-flourish. The Riches which Ghiotto gained, supplied him with the means of establishing at Florence a School of Designing, famous by the great Number of Pupils that were there (b) Of his Pupils, Tadeo Gaddi was one of the First, and died in the Year 1350. The others were Paccio a Florentine, Ottaviane da Faensa, Guilleaume de Forti, Simon Sanese, Pietro, Cavallini Romain, who worked with Ghiotto on St. Peter's Ship, a Mosaic Painting at Rome: Several others learned Painting of Ghiotto and were his Pupils. But the most Celebrated was Estienne Florentin; it was judged that he much surpassed his Master; there are several Pieces of his in Fresco at Florence, at Pisa, at Milan and at Rome, which are of the best Sort which had till then appeared; he was also a good Architect, and died in the Year 1350. brought up. This Painter was also very well versed in Sculpture and Architecture. He made the Design of one of the fine Brazen Doors of the Chancel in St. John's Church in this City, and it was Engraven by Andrew (c) Andrew Pisan, made several Figures of Marble in the Church of St. Mary del Fiore. And as from his Youth he had also studied Architecture, after the Death of Arnolpho Lapo, and Ghiotto; he was employed by the Republic of Florence to make the Castle of Discarpe: He also built the Church of St. John of Pistoia, and the Duke Gautier of Athens who then Governed that City, employed him in all the Affairs of Architecture, which he undertook, both Civil and Military. The Merit of this Andrew was taken notice of throughout all that Lordship, and he passed through all the Offices of Magistracy: His chief Pieces were done about the Year 1340. He had one Son who was also One of the best Engravers of his Time. Vasari. V dell. Andrè-Organa was Pupil of Andrew Pisan, and he was also a good Engraver, Painter and Architect; he died in the Year 1389; his Brother James was also an Engraver and Architect Pisan..,,:;,., This Man was as Famous for Sculpture, as Ghiotto for Painting; for Andrew following the Designs of this Painter studied the ancient Way with care, and became one of the most Famous of his Time. Estienne Florentin, Tadeus Gaddi, Peter Cavallini, and several others were Scholars of Ghiotto; and not inferior to their Master. These brought up likewise other Pupils, who continued to bring Painting to perfection, and took pains therein which can never be sufficiently applauded; for in the Year 1350 at Florence they form an Academy of Designing, which was the first that was founded since the Revival of this Art. CHAP. IU. The Establishment of an Academy of Designing at Florence, was a means of Re-establishing the Art. IF the Assemblies of the Platonists near Athens, were of Use to the Greeks in forming their Academy: Those of several Painters at Florence were no less so to the Italians, establishing there the first Academy of Design in Italy. To this end there first assembled Ten (a) These Painters who Founded the Academy of Design at Florence were Lapo Gucci, Vanni Cinuzzi, Corfino Buonajuti, Pasquino Cenni, Segnia d'Antignano, Consiglieri Furono, Bernardo Daddi, è Jacopo di Cassentino, & Camarlinghi Configlio Gherardi, è Domenico Pucei all Painters. This Academy was in such Favour with the Government, and afterwards with the Great Dukes of Tuscany, that Cosmus, one of them, would needs be one of their Number, and caused himself to be drawn like a Designer, as is related by I. Armenini, Lib. deal N. P. P. 40. in these Terms. Della qualle si sa Con quanta accortezza, & prudenza il Gran Duca Cosmo ne facesse Conto, & la Ottenesse: Conciosa ch'egli si compiacque non solo di firenza essere nel nuemero delli Academici del disegno; mà volse encora essere ritratto all vivo in uno delli quadri del palco della maggior sala del suo Palagio, che sedendo col Compasso in mano si mostra che misura & linea la pianta di siena, & i so tall forma conferisce & favella col Signior Chiappino. In the time that James Cassentino worked at Arezze, Spinello a Painter of that City contracted a Friendship with him that he might profit by his Knowledge; but he surpassed Cassentino, and the Signior Dardano Arciaivoli caused him to Paint in Fresco the Church of St. Nicholas in the Year 1334, and he made several other Pieces at Florence and Arrezze; it is reported that he equalled him in Designing, and surpassed him far in Colouring. He stayed at Florence during the remainder of the Age 1300. Gherardo Starmini Painter, was in Spain to work for that King where he gained much Honour and Riches. Lippo Florentine, Tadeus Bartoli of Sienne lived at the same time, as also Buonamico Pupil of Tadeus Gaddi and Lorenzetti of Sienne. Painters, who had the Honour to Establish it. They began this Establishment with a great deal of Piety. They founded it under the Auspexes, and after the Invocation of the Great St. Luke: And James Cassentino one of the Pupils of Tadeus Gaddi, made the Picture of the Chapel of the Academy, where this Saint was painted drawing of the blessed Virgin; on one side of the Virgin Cassentini painted all the Academists, and on the other all their Wives. This ingenious Society was afterwards encouraged and assisted by the Princes de Medicis, which perfected at Florence the Establishment of the Arts which relate to Designing: For there have since gone out of that School a great Number of Painters, Engravers, and Architects, who embellished that famous City, and all Italy like another Sicione, where in the time of the first Ancients the first Academy of Designing had been established: This quickly showed at Florence those great Genius's, Laurence Ghiberto, Le Donatele, Ser-Bruneleschi and several other ingenious Contemporaries. This Famous Ghiberto (b) It was about the Year 1400 that Laurence Ghiberto began to appear at Florence; his first Profession was a Goldsmith, which he learned from his Father, but as he took more to Engraving, he made several Medals and engraved Coins, and in the mean time studied Designing and Painting, whereof he made several Pieces at Rimini and Pesaro, but returning to Florence to make those Brazen Gates in St. John's, he continued to make Figures in Brass, as a Saint John Baptist which was set on a Pilaster fuor l'orsan Michele, and two others of the same Metal in the same place. He made also several Curious Shrines, and a fine Triple Crown for Pope Eugenius; it was of Gold and Jewels valued at thirty thousand Ducats of Gold. Afterwards he made a second Brazen Gate for the Church of St. John; his Merit was so much taken notice of, that he became at last supreme Magistrate of Florence, but still practised Architecture, managing for some time the building of the Church of St. Mary Delfiore. was a Goldsmith, Painter, Sculptor and Architect: There are to be seen of his Hand two fine Brazen Gates curiously wrought in the Church of St. John, the Excellence whereof is sufficiently set forth by Michael Angelo, when he says in admiration of them, that they deserved to be the Gates of Paradise. And when the Republic ordered those Works to be made, they chose out Eight of the best Italian Sculptors, who all made Essays in little Models; that thereby they might determine by whom this Work should be made. Donatello and Ser-Bruneleschi, altho' they themselves were of the Number of the Eight, cried out aloud at sight of the Model of Ghiberti, that that Model was the finest of all the Essays proposed: Whereby we may see that there was a very good Understanding between these famous Restorers of Sculpture, and that they did Justice one to another. Donatello gained a great deal of Honour to Sculpture by the excellent (c) Donato, called Donatello, was born at Florence in the Year 1403; he was much addicted to the Art of Designing; he was not only an excellent Sculptor but also practised Plaistery and was very learned in Perspective and Architecture; he made several Pieces, and Figures in Marble at Florence, and other Cities; he lived to be above eighty Years old, and was very liberal towards his Pupils, insomuch, that he always kept a Bag of Money fastened to his Scaffold whereon he taught, for every one of them to take what he had occasion for. One of his best Pupils was Bertoldo and Michellozzo-Michellozzi who was also an excellent Architect, and much in Favour with the Count de Medicis. A little before Donatello died at Florence, Jacopo dalla Quercia began to leave the old Way, and to practise the True. His chief Disciples were Matteo Lucchese and Niccolo Bolognese. At the same time lived also Luca della Robbia, a Plorentine Sculptor of good Reputation. Works which are to be seen of his at Florence. He gave to this Art the Perfection, and fine Air of the Ancients, above any one who did preceded him. This is evident by his excellent Statue of St. George, the Beauty whereof is described at large by Francis Bochi. Ser-Bruneleschi, Friend of Donatello was an excellent Goldsmith, Sculptor and Architect, and revived the true and ancient Way by the indefatigable Care he took, by going to Rome, to discover the true Rules of the ancient Architecture, which yet adorn that City, and stir up the Admiration of the Intelligent beholders. This ingenious Man particularly there studied the admirable Structure of the Pantheon, whence he received a great deal of light, for building the Great Church of St. Mary del Fiore, at Florence, which all the Designers and Architects were almost in despair of ever finishing, which notwithstanding Braneleschi happily brought to Perfection by means of his Study and Pains. The ARTS were not yet arrived to so high a degree of Perfection at Rome as at Florence: For Pope Eugenius the IVth in the Year 1431, ordered the making of the Brazen Gates of the Church of St. Peter in imitation of those of St. John at Florence, and not finding Men capable at Rome, he sent to search them at (d) Simon Brother of Donatello and Antony Filaret, were chosen at Florence to make the Brazen Gates of St. Peter at Rome. Florence; but those who had that Order, did not follow it in finding the most Capable and Ingenious, for those Gates of St. Peter are a great deal less Curious than those of the Baptisterium of St. John, built by the Illustrious Ghiberti. There appeared afterwards at Florence, Andrew Verrocchio, who by means of his vast Study, became of a Goldsmith an excellent Sculptor and Engraver, not only in Brass, but also in Marble: He was also a good Architect; and when he was esteemed of the Rank of the first Sculptors he was preferred to Donatello, and to Ghiberti in making St. Thomas feeling the Side of our Saviour, which he made of Brass, for the Oratory of St. Michael. But as Verrocchio studied every Thing belonging to Designing, he would also needs practise Painting with the same Ardour as Sculpture, for which reason he left off working at that, and set himself to Painting, and brought up therein several Excellent Pupils; among the rest Peter Perdugino and Leonardo da Vinci. This last from his Youth began to surpass his Master. Verrocchio seeing this, left off his Pencil, and betook himself again to Sculpture; his last Piece was that Famous Figure in Brass on Horseback of Bartholomew Cogleone da Bergamuos, which is to be seen in Venice in the Square of St. John and St. Paul. Florence was moreover the Country of Dominick Ghirlandaio, whom Nature made a Painter; for those who had the Education of him bred him a Goldsmith, but he soon left it to follow Painting. Dominick working at the Goldsmith's Trade, applied himself continually in the Shop to drawing those who passed by, and afterwards quitted that Profession, and gave himself wholly up to Painting. At last Pope Sixtus the IVth sent for him to do some Pieces in his Chapel of the Vatican. He was accustomed to say, that Designing was the true Painting, and that Mosaic was the most lasting, in which he particularly excelled. This Painter brought up several Ingenious Disciples, of the number of which was the Great Michael Angelo Buonaruoti, who deserves to be esteemed among the best. Leon Battista Alberti (e) Leon Battista Alberti, was born at Florence of the Noble Family of the Alberti's; he writ in Latin a Treatise of Architecture divided into twelve Books printed in 1481. It was Translated into Italian by Cosimo Bartoli; he has also writ Books of Painting and Sculpture Translated by Monsieur Du Fresne into the same Language. This Author did not stop at these Arts, he also writ of several other Sciences; he was the first who ever attempted to reduce Italian Verses to the Measures of the Latin, as is to be seen in his Epistle. Questa pur estrema miserabile Pistola Ate, che spregi miseramente mando noi. We have not the Year wherein he died, but it was at Florence and he was buried at the Church of St. Cross: That of St. Francis at Rimini whereof he made the Design, was begun in the Year 1447, and in 1472 the Duke of Mantua sent for him to come to him, whence we may judge of the ●●me when he flourished. at the same time very much improved the Arts of Designing: For he was very well versed in Arithmetic, Geometry and other Learning, which made him Ingenious in all the Arts. This may be seen by the excellent Treatises of Painting, Sculpture and Architecture which he left behind him: He was the First of the Moderns who writ of them, and there are some Pieces of Architecture to be seen of his of very good Method and Order at Florence, at Rimini, and at Mantua. Thus the Arts of Designing continued to revive in Tuscany both in Theory and Practice, by the Protection which they there found, which produced a great number of good (f) Among the Excellent Masters in Painting of this time, may be reckoned, Paul Uccello, a Florentine-Painter, because he applied himself to find out the Rules of Perspective, which no body before him had done. But of all the Painters of that time, the most Excellent, was Masaccio of St. John, di Valdarno, although he died in the Year 1443. at 26 Years old; his principal Piece was the Chapel of Brancacci, in the Church of the Carmelites at Florence, for that Work has been very much studied by all the famous Designers who followed after him, and where they learned the true Gust of Painting, as did the Friar John da Fiesole, Friar Philip Philippini, Alexis Baldovinetti, Andrew dal Castagno, Andrew dal Verrocchio, Dominick Ghirlandaio, Sandro di Botticello, Leonardo da Vinci, Peter Perrugino, Fra. Bartholomew of St. Mark, Marriotto Albertinelli, Michael Angelo, and Raphael Urbino; it was here he began to learn the Principles of his admirable way, and several other Painters after Masaccio. Vasari, V. delli Pitt. p. 299. Masters, and ingenious Disciples, in the Florentine Academy, who afterwards spread over other Cities of Italy, where they contributed to the Re-establishment of these Arts. CHAP. V. The French and the Dutch applied themselves to make Painting reflourish, and found out the Secret of Painting in Oil. THE Florentines, and the other Italians, were not the only Persons who laboured to perfect Painting: For some others on this side of the Mountains contributed much thereunto, although they had not the same advantages for Designing, as those of Italy, in having for Models and Patterns the fine Bas-reliefs of the Ancients. The Generosity of Charles the VIth contributed very much towards it among the French; and was the first means to engage our Nation to Employ more than ordinary care on Painting, and particularly on Glass, which is called Glass-Painting (a) This is so true, that in the time of Pope Julius the Second, there was at Rome Claudius Francis, who was a Painter on Glass; it was he who surveyed all those sorts of Works, which were made in the Churches, and the Pope's Palace. But as Bramanti had heard talk of the Ingenuity of William da Marcilla, he caused the Sieur Claudius to write to him, which he did, offering him a good Pension to come to Rome, where he painted on Glass, the great Windows which are in the Hall, near the Pope's Chapel; but they were broke in pieces at the Sacking of Rome by the Shot of the Arquebusses. Marcilla did also some of the same sort of Paintings in the Apartments of the Vatican, and in the Church of St. Mary, and in that de l'Anima; after which the Cardinal de Corton carried him to his City, where he Painted both on Glass, and in Fresco, several Pieces, which were very much esteemed, for he was an Excellent Designer, full of Invention and Variety in Composing of his Histories; this appears particularly in the great Windows of the Chapel of the Albergotis, in the Cathedral of Arezzo, which Marcilla painted after having worked at Corton; they are so Excellent, that Vasari calls them Divine, both for the fine Expressions of Christ, calling St. Matthew from the receipt of Custom, and of the other Apostles, as well as for the fine Architecture, and the Landscapes which adorn that History. Marcelli was so much considered in that City, that it obliged him to stay there till his Death, which happened in 1537. He had several Disciples, whereof George Vasari was one; Vasari, Vita of William da Marcilla. , and which is used in Churches, wherein the French have surpassed the Italians, and other Nations. For this King to (b) It was in the Year 1430. that King Charles the 6th granted new Privileges to Henry Mellein, Painter and Glafier, and to all of that Art, in Confirmation of those that had been granted by the Kings, his Predecessors, to Painters and Glaziers, which proves that there were then Painters in France, and that if the Art was not then in its Perfection, it was not for want of Protection from our Sovereigns, since to animate their Subjects to the Exercise of so noble an Art, they exempted them from all sorts of Imposts. See the Book of the Establishment of the Royal Academy of Painting and Sculpture, page 45. excite his Subjects to the Love and Practice of Painting, granted them great Privileges, and Exemption from Taxes, and Subsidies, and Lodging of Soldiers. Flanders which had been anciently a Province of this Kingdom, applied itself at that time very much to Painting, and above all to drawing of Portraits, which drew the Flemings from the Gothick Manner, and by this means Painting arrived to Perfection in that Province, by reason of the great number of Painters, which were in all the Low-Countries, and of the considerable Commerce they made of their Pictures in Foreign Countries. But among all these Painters, he to whom the Art is the most obliged, is John Van-Eick, surnamed of Bruges, because he came to inhabit there. He was an Extraordinary Chemist, and by help of that Art he found out new Varnishes for his Pictures, that wanted it, as do all those that are wrought in Distemper. But one Day as he had finished a Picture with a great deal of Care and Time, he varnished it, and set it to dry in the Sun; but as soon as he perceived that the Heat had warped it, and cracked it so that one might see through the Joints of it, which spoiled it: To avoid such Accidents for the future, he found he must seek out for a Varnish that might dry in the Shade; and because he found that the Oil of Walnuts and Linseed, were the most drying, he made use of them with some other Drugs, and so made a new Varnish, which no Painter in the World had yet found out, and which was so earnestly desired. After this he tried to mix his Colours with these Oils, and seeing that they were not endamaged by Water, but that that made the Colour sink somewhat the deeper, and that it shined without Varnish; He found out by this means, with a great deal of Joy, that profitable Invention of Painting in Oil. He made thereof several Pictures, the Reputation whereof presently spread itself throughout all Europe; and this excited a great Curiosity in Painters to know how John of Bruges made his Painting so perfect. In the mean time he kept his Secret to himself, and permitted no body to see him Work, that he might make so much the more advantage of his Discovery. But this Painter becoming old, imparted his Secret to Roger of Bruges, his Pupil, and Roger communicated it to Ausse, who was his, which gave occasion to bring Painting in Oil into use, and to the Flemish-Merchants to make an advantageous Traffic of it throughout the World, although the way of Painting in Oil did not go out of Flanders for several Years, till the time that certain Florentine-Merchants sent out of the Low-Countries a Picture of John of Bruges, to Alphonsus, the first King of Naples. This Picture for the Beauty of the Figures, and the Invention of the Colouring, was very much esteemed by this Prince, and all the Painters of his Kingdom, and among the rest by Antonello da Messina, who had so vehement a desire to learn the Secret of Painting in Oil, that he immediately went from thence to Bruges in Flanders. CHAP. VI Of the Invention of Painting in Oil, and its advantage in Painting, and how the Secret went into Italy. ANtonello damn Messina was scarce arrived in Flanders, but he contracted an acquaintance with John of Bruges, by Presents which he made him, of several Pieces of Designing after the Italian way; and John seeing himself Old, resolved to teach Antonelle to Paint in Oil, and he did not leave off till he had perfectly attained that way. Antonello, after the Death of John van Eick, returned into Italy to impart the Secret he had learned; but when he had been some Months at Messina, he went to Venice (a) Antonello died at Venice at 49 Years of Age, and the Painters of that City performed his Obsequies with a great deal of Honour; and in Memory of the Secret which he had showed them of Painting in Oil, they Engraved on his Tomb this Epitaph, Antonius Pictor, proecipuum Messaniae suae, & Siciliae totius Ornamentum hac humo contegitur. Non solum suis Picturis, in quibus singulare artificium, & venustas fuit, sed, & quod coloribus oleo miscendis splendorem, & perpetuitatem primus Italicae Picturae contulit: summo semper Artificum Studio celebratus. About this time appeared at Milan, Vellano the Sculptor, Disciple of Donatello, who finished in that City the Work which his Master had left imperfect; he was at Rome, and worked for Pope Paul, the Venetian, in the Year 1464. Also Paulus Romanus, a Sculptor, distinguished himself at Rome; he was Employed by Pope Pius the Second; the Figure of St. Paul, which is at the Entrance of the Bridge of St. Angelo is his. This Paulus was also an excellent Worker in Gold; he made also the Apostles in Silver, which were on an Altar in the Pope's Chapel, and which were pillaged by the Imperialists at the taking Rome. One of his Contemporaries in Sculpture, was Mino; he made the two Figures of St. Peter and St. Paul, which are placed in the Entrance of that Church, and the Sepulchre of Paul the Second in the same Church. , where he established himself, and made several Pictures, which were esteemed by the Nobles, and by all those of the City, which acquired him a great Reputation. Among the Painters that flourished at Venice at that time, Dominicus Venetianus was one of the most celebrated; he very much caressed Antonelle at his Arrival, and thereby acquired his Friendship, insomuch that he showed him the way of Painting in Oil. After which Dominick in the Year 1478. carried this way of Painting in Oil to Florence. He there made several Pieces after this new way; but he was unfortunately Assassinated by Andrew dal Castagno, who became Jealous of his Knowledge, although he had learned from him the way of Painting in Oil. Thus Antonello and Dominick carried this way to Florence and Venice, and the way of doing it became known throughout all Italy, which was very advantageous to this Art, in bringing it to the Perfection it arrived to, in the Year 1400, and the whole Century 1500. CHAP. VII. Painting was re-established in several Provinces of Italy. IN the other Provinces of Italy, as well as in Tuscany, and the State of Venice, there were several Persons at the same time applied themselves to revive the Honour of the Arts of Designing, but not in so great a number as at Florence, where their Genius's were naturally inclined to learn it; and who also had among them the advantage of an Academy of Designing, which was in no other Cities. Thus we see that the Art began to come to Perfection not only at Venice, but also at Ferrara, at Mantua, and at Bulloign, where Francis Francia was of the first Rank. Laurence Costa of Ferrara, his Disciple, made several of the finest Pieces that had yet ever appeared there, although they were only painted in Distemper. Costa was very much honoured by Francis Gonsague, Marquis of Mantua, who caused him to Paint a Chamber in his Palace of St. Sebastian: This Painter had several Pupils (a) Costa had moreover for his Disciples, Laurence Hercules da Ferrara, and Lewis Malino: Laurence had so great Friendship for his Master that he did not leave him during his Life. He designed better than Costa, as is apparent by the Pieces he made in the Chapel of St. Vincent, in the Church of St. Petronio at Bulloign: Dosso also learned of Costa, and excelled particularly in making Landscapes. Benvenuto Garofola, was also his Pupil, before he went to Study at Rome. , and it was he who taught the first Principles of the Art to Old Dosso da Ferrara. Andrew Mantegna learned Painting about this time of James Squarcione (b) Besides Andrew Mantegna, who was a Disciple of Squarcione, Laurence da Lendinara, Dario da Trevisa, and Marco Zoppo, a Bolonian, were his Disciples also. Andrew Mantegne was Knighted, and died at Mantua in the Year 1517. This was his Epitaph. Esse Parem hunc noris, si non praeponis Apelli, Aenea Mantinéae qui simulachra vides. of Milan, who lived at Mantua: Andrew was very much esteemed by Gonzagues, Marquis of that State: The Triumph which he painted in his Palace, of which there is to be seen a Print, gained him so much Reputation, that Pope Innocent the Eighth sent for him to Rome, to Paint the Palace of Belvidere; and after having acquired a great deal of Honour at the Court of Rome, he returned to Mantua, where he ended his Days. Gentil damn (c) Gentil damn Fabriano made some Pieces that were highly praised by Michael Angelo. Pisanello, a Painter, of Verona, was Contemporary with Gentil, and he was very much esteemed by Michael St. Michael, Architect of Verona; he excelled also in graving Medals, which he made appear by those he did at Florence, of all those Illustrious Persons, who assisted at the Council held there with the Grecians. Il Biondo and Il Giovio, very much extolled the Medals of Pisanello. In the same Age, 1400. there flourished in Tuscany, several Excellent Painters in Miniature, who were the Friar John da Fiesole, Don Bartholomew, Abbot of St. Clement, and Gherardo Fabriano.,,,.,,;,,,, practised Painting at Verona, and taught it to James Bellini, who was contemporary with Dominick Venetianus; but when this last left Venice to dwell at Florence, there was no body left at Venice to dispute with him the Precedency. He had two Children, (d) John Bellin made several Pieces at Venice, and lived 90 Years; he had also for his Disciples, James da Montagna, Rondinello da Ravenna, Benedict Coda da Ferrara, and several others of Lombardy and Trevisan; as for Gentil Bellin, he died at 80 Years of Age. Vivarini was one of his Contemporaries, and he worked with the Bellinis in one of the Halls of the Palaces of St. Mark, but he died young. Francis Mosignori, a Veronese, was Disciple of Andrew Mantagna; he wrought at Mantua, where he made several Pieces; and at Verona he died in the Year 1509. John and Gentil, whom he taught to Paint; they surpassed their Father in a little time, and we may truly say, it was these two Brothers who introduced the right Method of managing Colours in the Venetian School, after having brought up several Ingenious Disciples, one whereof was the Famous Georgeone da Castel-Franco. The Reputation of the two Brothers, Bellini, increasing at Venice daily, by the great number of Pictures which they made, went even to Constantinople, for the Republic made a Present of their Works to Mahomet the II. who was so charmed therewith, that he sent for the Painters who had done them. The Senate immediately sent Gentil Bellin, who at his Arrival at Constantinople, presented that Emperor with one of his Pictures, who so much admired it that he thought it impossible for Man to Express any thing so much to the Life. This Great Prince not being able to keep Gentil any longer by reason of his Religion, which forbids Pictures, took his leave of this Famous Painter, heaping Honours upon him, as on a Person of the highest Reputation, offering him to grant him any thing he would demand of him. But Bellin only desired a Letter of him to signify to the Republic the Satisfaction he had received in him, which this Sultan readily and joyfully consented to; and Bellin (e) John Bellin, in his old Age, only drew Portraits, and introduced the Custom among the Nobles of Venice to have their Pictures drawn, them and their Families, a Custom very beneficial to the Painters. at his return gave it the Senate, who assigned him a Pension during Life. CHAP. VIII. The School of Florence became very Famous by the great number of Excellent Men it produced. As Painting became more perfect at Venice, by those Ingenious Painters I have mentioned, so the Great (a) One of the greatest Genius's in Painting of the Age, 1400. was Dominick Ghirlandaio, of whom we have made mention in the Fourth Chapter, which is evident by the great number of his Excellent Works. Nature gave him a very great Inclination for Painting, which was the reason he left off from his Youth following the Trade of a Goldsmith, wherein his Father had Educated him; he was the first who invented that Dress which the Florentine-Maids wear on their Heads, called Ghirlande; whence he was named Dominick Ghirlandaio. As he succeeded in the true Methods of Painting, he imitated in his Colours the Ornaments of Gold, which till that time were done with real Gold. The Reputation of Dominick got to Rome, where Pope Sixtus the Fourth sent for him to Paint in his Chapel; at his Return to Florence, he painted the Chapel of Ricci, which was one of the chief Pieces; he was used to say that Designing was true Painting, and that Mosaic was the most durable; he died at 44 Years of Age, in the Year 1493. His Disciples were David and Benedict Chirlandaio, Sebastian Maimardi, Michael-Angelo Buonarotti, and several other Ingenious Florentine-Masters. At the same time Benedict da Maiano distinguished himself at Florence in Sculpture and Architecture, as did also Anthony and Peter Pollaivoli, Florentine Painters and Sculptors; they died at Rome, whither Pope Innocent, the Successor of Sixtus the Fourth caused them to come; they were very Curious, and the first, who studied Anatomy, whereby they made their Works the more perfect. There appeared also at Florence about this time, Philip Lippia, Painter, who first taught to Paint varieties of Clothing in his Figures, and therein imitated the Ancients; he had a great Genius in Ornaments and Grotesque, he wrought also in Plaster; and died at 45 Years of Age. Moreover Luke Signorelli of Cortone, got Reputation by his Painting in that City, and in Arezzo; he had a fertile Invention, and a great deal of Grace in Composing his Histories, and designed very well Naked-Figures. Genius's in that Art continued daily to bring about the Re-establishment of the Arts of Designing. Among the rest, the Illustrious Leonard da Vinci became a great Master therein; for from his Birth he had all the Advantages of Nature, which procured him an easy Entrance into all the Arts that depend on Designing, and Mathematics, Music, and Poetry, wherein he was Excellent. Leonard learned of Andrew Verrocchio Painting and Sculpture, but in a short time surpassed his Master in Painting; he studied Perspective, and the Arts that depend thereon, and penetrated into the most hidden Secrets of Anatomy, (b) Leonard damn Vinci, Michael Angelo, and all the best Designers studied Anatomy. Da Vinci carefully recommends that Study in his Treatise of Painting, as does also Lomazzo in his. Charles Alphonsus of Fresnoy, and D. P. his Commentator, have also shown the necessity of Myology to become Excellent in Designing. The Author of the Discourses on the Lives, and the Works of the most Excellent Painters, is also of this Sentiment; but in treating of this Science, he explains himself in very confused terms, for he mistakes the Tendons for the Nerves; for in writing of the Statue of Laocoon, in a Conference, in the Academy, he expresses himself thus, saying, The Nerves and Muscles form the chief Appearances of that Statue. And in his Book of Discourses, speaking of the Muscles, he teaches in Page 315. of P. T. That there must be had a special regard to the Muscles and Nerves: And in Page 556. he says, That their Motions depend on the Fabric of the Bones, and Situation of the Muscles and Tendons, which sustain them, and cause their Action. In another place he says, As the Muscles and Nerves are more supple and pliant; which causes an Alteration in the Nerves, etc. It will not be amiss, to Explain this for the sake of young Beginners. To do this, you are to consider Three Parts in each Muscle; the Head, the Belly, and the Tail, which are only their Beginning, Middle, and End; this end of the Muscle, is that which is called the Tendon, resembling Cords, which the Author of the Discourses calls Nerves, at the Feet of Laocoon; where it is evident, that they are the Tendons of the long and short Entensors of the Fingers, which end at the Articulations of each of them, being there very visible, by reason of the dolorous Motions, which Agesander, the Sculptor, shows this Figure to have made at the biting of several Serpents. As to what this Author says, That the Tendons sustain the Muscles, and cause them to Act; this is to speak without any understanding in Anatomy or Design; he might have said, That the Tendons end the Muscles, but not that they cause their Motion. For the Animal Spirits give Motion to the Muscles, which are communicated to them by the Nerves, which are their Vehicle; but these Nerves are diffused, and lose themselves among the Membranes, and Flesh, by small Ramuli or Branches, which end like Hairs; so that they cannot be seen without the Skin; on the contrary, they are the Tendons that are there seen, which indeed the Ancient Language calls Nerves, when Anatomy was not arrived to that Perfection as nowadays. This appears in an old Translation of the Bible, Gen. 32.25. where the Angel after having wrestled all Night with Jacob, not being able to overcome him, touched him on the Nerve of the Thigh, and immediately it dried and withered, and he became Lame (this Nerve is properly the Tendon of the Muscle, called the Biceps of the Thigh). In Memory of this Action, the Children of Israel did not Eat in Animals this part, like the Tendon, which was withered in Jacob by the touch of the Angel of the lord Idem, Ver. 32. which evidentlv proves, that it is not only the Nerve, but the Tendon which makes part of the Muscle. and the Motion of the Muscles, by the Studies which he made under Mark Anthony de la Tour, Professor in that Science. The Beauty of the Celebrated Leonardo, advanced his Reputation throughout all Italy, and beyond it, which made Lewis Sforza, Duke of Milan, send for him to come to him. The first thing he set about, was to Re-establish the Academy of Architecture, founded at Milan a hundred Years before, by Micheline. For he shown the way to that Assembly to leave their old Gothick Manner. He made for this Prince several Pictures, and among the rest, the admirable Supper of the Refectory of St. Dominick: He found out the Invention of making the Canal, which carries the Water from Adda to Milan, and to make that River navigable for thirty Miles beyond it. But as Leonardo was always meditating on extraordinary Things, for the Glory of the Prince whom he served, he made a Model in Earth of a Figure on Horseback, of a remarkable height, and singular Beauty, with a design to Cast it in Brass; but that was not done, whether for the difficulty of Founding so great a Work, or for some other Reason; and this fine Model was ruined when the French conquered the Milanese. After Lewis Sforza was carried into France, Leonardo returned to Florence, where he Painted several Pieces, and designed upon large thick Paper, like Pasteboard, which Raphael also made use of, and thereon brought to Perfection the Method of Perrugin, his Master. Julian de Medicis did no less Honour to Leonardo da Vinci, than the Duke of Milan. For, besides the other Caresses he showed him, he carried him to Rome to the Election of Leo the Tenth, and he received of this Pope the like Honour; but the Jealousy between him and Michael Angelo displeased the Court of Rome, and obliged him to go into France, where Francis the I. had passionately desired his Company, for the Esteem he had for his Person, and Pictures, which hung up in his Closet at Fontainbleau. In this Royal House this Painter grew Aged, and made an Illustrious End; for after he had received much Honour and great Riches from this Generous Prince, he fell Sick; and when his Majesty was advertised of it, he went to Visit him. Da Vinci would needs raise himself up to receive so glorious a Visit; whereon finding himself extreme Ill, the King approaching him Embraced him, and he Expired (c) Leonardo damn Vinci died at the Age of 75 Years; besides his Treatise of Painting, which is Printed, he composed several other Books; one of the Anatomy of Human Bodies with Figures; one of the Anatomy of an Horse; another of Lights and Shadows; and one of the Nature, Weight, and Motion of the Water, filled with Designs of Machine's; but unfortunately they were never Printed. John Baptista Strozzi has left us these Verses in his praise: Vinci costui pur solo Tutti altri: & Vince Fidia, & vince apelle: Et tutto il lor vittorioso Stuolo. He had for his Pupils, John Antony Boltraffo, a Milanese; Francis Melzi of the same City; and some hold that Andrew de Solario was also his Pupil. in his Arms. This Great Monarch loved Learning and Arts, with so much Passion, that he esteemed it a Glory to Paint and Design; and it may be said, That this King revived Painting, and Sculpture, and Architecture. For he was not contented to send for Leonardo da Vinci only, but he drew from Florence a great number of Ingenious Men, as Andrew (d) Andrew del Sarto was Born at Florence in 1478. he learned the Trade of a Goldsmith; then he took to Painting under Peter Cosimo, who was then esteemed to be one of the best Painters in Florence. He studied also in the Council-Hall, the Pieces done by Leonardo da Vinci and Michael Angelo, and made several admirable Pieces at Florence, as the Cloister of the Annunziata, lafoy Madonna del Sacco, and several others, which gained him a very great Reputation. His Disciples were James de Puntormo Solosmeo, F. Franciso di Sandro, Francis Salviati, George Vasari, and Andrew Sguazzella, who very much imitated him; he worked in a Palace a little without Paris, as also did the said Vasari; and it is very probable, that it was from hence that those Pictures were carried to Paris, which are in the great Gallery of the Jesuits, which have the Way of Designing, and Method of Andrew del Sarto. Andrew lived forty two Years. M. Peter Vettori made this Epitaph on Andrew del Sarto. Admirabilis ingenii Pictori, ac Veteribus illis omnium judicio comparando, Dominicus Contes discipulus, pro laboribus, in se instituendo susceptis, grato Animo posuit. Vixit Ann. 42. Ob. A. MDXXX. del Sarto, Rosso, Dominick; the Florentine, Salviati, and several other Excellent Painters, and Excellent Sculptors; as he did also from Mantua, Primaticcio, a Bolonian, and Nicholas of Modena, all of whom worked in, and embellished the Royal Houses, and stirred up the French to Emulation, which made them very much improve in the Art of Designing. Among these Illustrious Italians, Andrew del Sarto held the first Rank in the Florentine-School, for the Correctness of his Designing, and because he had raised Painting to his highest Degree of Perfection. Peter Perugino (e) Peter Perugino died at 78 Years of Age, in the Year 1524. Besides his Disciple Raphael, he had several other very ingenious ones, as Pinturicchio Perugino, Rocco Zoppo, a Florentine, Philip Salviati, Le Monte Varchi, Baccio Ubertino, a Florentine, Peter John, a Spaniard; but one of his best, was Andrew Lewis d'Ascesi, and Benedict Caporali, who also gave himself to Architecture, and made Comments on Vitruvius. had the same advantage at Florence, and at Rome, where he made several Excellent Pieces, and particularly in the Chapel of Sixtus the Fourth. But that which augmented the Glory of this Ingenious Painter, was, that he had for his first Disciple, Raphel Sanzio d'Urbin. CHAP. IX. Of the Perfection of Painting in the last Age. IT was Raphael d'Urbin, who raised Painting in the last Age to its highest degree of Perfection: His Works which are at Rome, at Florence, at Bologna (a) At Bologna in the Church of St. John on the Hill are some admirable Pieces of Raphael, which represent St. Cecilia with other Saints. Raphael, when he had finished this Picture, sent it to Francis Francia a Painter of Bologna, praying him to take care to set it up at the Altar he had disigned it for; Francia who believed himself to be a better Painter than in reality he was, and who had a great Desire to see the Works of Raphael, whom he only knew by Fame, and by the great Reputation he had gotten, was glad of this Occasion, but he had no sooner taken the Picture out of its Case, but he was so surprised at its Excellence, and thereupon conceived such a Melancholy by finding himself so much Inferior to Raphael, that he fell Sick and in a few days died. Vasari, Vita de Pitt. etc. Francis Francia was born in the Year 1450; he was brought up a Goldsmith, wherein he excelled in working in Enamel, and graving of Coins for Money; his Medals equalled those of Caradosse, as is to be seen by those of Pope Julius the IId. of the Signior Benti-Voglio, and by all the Coins of the Money of Bologna which he cut as long as he lived. He took up Painting after he was acquainted with Andrew Mantegna; he was the first Painter of Bologna, and excelled all the Bolognians that went before him; his School was so Famous that by relation of Malvasia, he had brought up two hundred Disciples; one of the best who learned of Francia was Laurence Costa, whereof we have spoken in the VIIth Chap. Malvasia Vite d'ye Pitt. This Author denies what Vasari relates of the Death of Francia, because this Painter had seen other Pictures of Raphael, before he received that of St. Cecilia; and had testified to Raphael in Letters that passed between them, the Esteem he had for him, as the Painter of Painters; which he takes notice of in these Words, che tu solo il pittor sei d'ye pittori. Malvasia moreover complains of Vasari, That he would not own that there were Painters at Bologna at least as soon as at Florence, for he says, that in the Year 1115 to 1140 there appeared at Bologna Guido, Ventura and Orson, who embellished with Pictures the Churches of La Madonna de Lambertazzi, of St. Estienne, and several others of that City. Afterwards appeared Marin the Goldsmith and Engraver, and Franco de Bologna Painter, contemporary of Giotto, who notwithstanding followed the Gothick Way; in the mean time they were very much praised by Dante: Franco worked for Pope Benedict the IXth, in the Vatican. It was he who set up the first School of Painting at Bologna, and brought up several Pupils, and among the rest Simon, Jacob de Avanzi, and Vitale who surpassed him. This last flourished about the Year 1345, and the others in 1370. At first Simon only painted Crucifix's, whence he got the Name of Simon of the Crucifix; and as for Jacob he only drew Pictures of the Virgin: Their Works have been praised by Michael Angelo and the Characci. At the same time appeared Galeazzo of Ferrara and Christosano da Modena, these Painters wrought in the Church called La Case di Mezzo, without the Gate Mammola: And all their Works appeared in the Year 1400. Jacob moreover worked with Aldigieri de Levio a Famous Painter. Lippo Dalmasio was Disciple of Vitale and taught Painting to M. Galante the Bolognians This Lippo as Malvasia pretends painted in Oil. From the Year 1400. Painting grew more and more to Perfection at Bologna by Mattheo; one of his most famous Pieces was at St. Francis, which he painted in Oil in 1443 under the little Gate of the Fishery. Afterwards Severus of Bologna wrought in 1460. James Ripenda painted several Pieces at Rome, and Designed the whole Trajan Column; there were at that time several very good Bolognian Painters, whereof Marco Zoppo was One, his Works appeared about the End of the Age 1400, he was Disciple of Squarcione: But his greatest Glory was to have brought up Francis Francia who revived Painting at Bologna, from the low Estate whereunto it was fallen, and introduced the true Method and Gusto of Designing and Painting as we have shown. and in France are illustrious Proofs of it, and give Subject both for our Admiration and Study. This rare Person had a very happy Genius, and from his Infancy a great Inclination for Painting: He learned the Principles from his Father, in the City of Urbino, which was his Native Country: But his Father seeing that from his Youth he exceeded him, put him to Peter Perugino one of the most renowned Painters of Florence: Whom Raphael in a short time so well imitated, that oftentimes the Work of this Disciple surpassed that of his Master. After Raphael had left Perugino, he traveled to Sienna, where he heard of the great Esteem that was made at Florence, of a Piece whereon was designed a Battle which the Famous Leonard da Vinci made for the Council Hall. He understood also that there was another Piece of Designing very much admired, which Michael Angelo had done in the same Hall, where Leonard and Michael Angelo had painted each one half. This obliged Raphael to leave his Work to go to Florence to see these two Famous Pieces: Which he had no sooner seen, but he bethought himself that he must study hard to acquire those Excellences in Designing, wherein he then acknowledged himself inferior to those two Ingenious Painters. Thus he studied very hard to acquire the true Idea of those fine Airs of the Head, that roundness, force and perfection of the Works of Leonard: he also observed the Beautiful outlines of the naked Figures, in the Designs of Michael Angelo, and that that Beauty and Correctness proceeded from the true Proportion, and natural Situation of the Muscles, and the just observation of their Motions; Raphael that he might acquire this Knowledge, set himself diligently to study Anatomy, and his whole Design was to quit the manner of his Master Peter Perugino, wherein he happily succeeded: For it was generally more petite, a dryer, and a harder manner than that of Leonardo, or Michael Angelo. This Method of Perugino had not that roundness nor true Gusto as the Pieces of Frà Bartholomew (b) Bartholomew, according to the Language of that Country called Baccio, began to learn Painting under Benedict de Maiano, and afterwards under Cosimo Rosselli, and at last he set himself to Study the Works and Method of Leonard da Vinci▪ He was persuaded by the Famous Jerom Savonarola, a Dominican, to quit Temporal Affairs, and to burn all his Works and Designs, among which were several naked Figures, and by a Vow became one of that Religious Order, in the Convent of St. Mark at Florence; whence he was since named Frà Bartholomew, of St. Mark; he died at the Age of 40 Years in 1517; his Disciples were Cechino del Frate: Benedictus Ciamfanini, Gabriel Rustici and Frà Paolo Pistolese. , of St. Mark, one of the Imitators of Leomard. Bartholomew by help of his Studies, and the great Esteem he had for the Works of that Excellent Man, arrived to that degree of Perfection in true Designing, that he was one of the most Excellent Painters of his Time. Several Pictures which are at Florence and at Lucca, in the Churches of St. Martin and St. Romanus are illustrious Proofs it: They appear to this Day as fresh as if they were newly painted: For besides the Beauty of their Designing they had a very fine Colour, and a wonderful Relief caused by a just distribution of Light and a grand Force of Shadow, with an admirable Union and Perfection. The Beauty of these excellent Pieces very much charmed Raphael at Florence, and obliged him to contract an intimate Friendship with Bartholomew, from whom he learned with a great deal of Care and Advantage the way of Painting and Colouring: The Friendship of Raphael was also no ways disadvantageous to Frà Bartholomew, for Raphael communicated to him the Rules of Perspective, which he was not before so well acquainted with as he. Thus Raphael Sanzio, joining to the Gifts Heaven had favoured him with, all the care and different Studies that were necessary, form that fine Method of his, which shines through all his rich and judicious Compositions. His Postures are easy, natural and lively in each Expression, his Proportions elegant and taken from the fine Figures of the Ancients, all the Airs of his Faces so noble that they seemed to have something of Divine in them; in short, he finished all the Extremities of his Figures with the utmost Perfection, and had the truly fine Way of clothing them; these are those excellent Parts of the Art which make his Pictures the most perfect among the Moderns, which this great Painter has made appear in the Palace of the Vatican, in all the Halls, and all the Lodges which he painted. This is particularly to be seen in his Piece of the Transfiguration at St. Peter's, in Montorio, which has always been esteemed as one of the chief Pieces of Painting, and best Pictures in the World. Those also which Francis the I. caused him to make in Oil, and which are carefully preserved in the Cabinet of the King, sufficiently testify this Truth. This Piece of the Transfiguration was also the chief Ornament of his Funeral Pomp, which redoubled the public Sorrow, when they saw that admirable Picture, near the Body of that rare Person, and that Death had so soon deprived that Excellent Painter of Life, who will always live in the memory of the Lovers of this Art. By this it is easy to judge that Raphael, was the most excellent Genius in this ART, of the last Age, and that he carried it to its highest Perfection. But we may also say, that this admirable Man was Happy to flourish under the Popedoms of Julius the IId. and Leo the Xth. Princes very zealous for the revival of the Arts of Designing. For this last Pope loved Raphael with such an Affection, that at the time this Excellent Painter died, this Generous Pope had proposed to Honour him with a Cardinal's Hat (c) M. Esprit Flechier Bishop of Nismes, relates this of Raphael in his History of Cardinal Ximenes Tom 2. P. 187. Raphael made Julius Romanus, and John Francis his Heirs who were his Pupils; he died at the Age of 37 Years, and was buried in the Rotunda, where Bembo made his Epitaph, D. O. M. Raphaeli Santio Joan. F. Verbinat. Pictori Eminentiss. Veterumque Emulo, cujus spirantes prope Imagines si contemplere, Naturae atque Artis foedus facile impexeris. Julii II. & Leonis X. Pont. Max. Picturae, & Architect. Operibus gloriam auxit A. XXXVII. integer integros, Quo die natus est, eo esse desiit VIII Id. April. M. D. XX. Ille est hic Raphael, timuit quo sospite vinci Rerum magna Parens, & moriente mori. , and these Hopes hindered Raphael from concluding a Marriage with the Niece of Cardinal de Bibbiena, who desired it with a great deal of Zeal. CHAP. X. Of the Painters of Lombardy who contributed to the Re-establishment of the ART. AT the same time that Raphael and his School revived Painting at Rome, the ingenious Artists of Lombardy (a) In Lombardy, and the Provinces of the State of Venice, there were several Contemporary Painters, Disciples of the Bellini, who contributed to the Re-establishment of Painting in several Cities, although we only consider them as of the second Class, and these are the Dossi of Ferrara, Sebeto of the same City, Jacobello de Florus, Guerriero of Milan, Justus and Jerom Campagnola, Julius his Son, Vincent de Bresse, Lewis Vivarino, John Baptista de Corrigliano, Mark Basarini, Giovannetto Cordeliaghi, Bassiti, Bartelemi Vivarino, John Mansueti, Victor Bellin, Bartelemi Montagne de Vincenze, Benedictus Diada, John Bonconsil and Victor Scarpaccio who was the best of them all. There were also in those Countries at the same time several Good Sculptors, as Bartelemi de Regge and Augustin Busto. There was also at Bresse, Vincent Verochio who was Excellent at Painting in Fresco; there was also in the same City Jerom Romanino, a good Designer and ingenious Artist; but the most Excellent of those Painters at Bresse was Alexander Moretto. But to return to Verona, there were very Good Painters, for, besides Maestro Zeno a Veronese, Liberale was very Excellent, who was a Disciple of Estienne Veronese, who had also others, as John Francis Caroto of the same City, Paul Cavazzuol and Francis Torbido, also Baptista de Angelo his Nephew. Moro learned from his Youth of Georgeon, and whom he left an Account of a Quarrel they had at Venice, and retired to Verona, where for some time he left Painting, and afterwards took it up again in the School of Liberale. no less contributed towards it in their Country: So that we may look upon the beginning of the last Age, as the happy Time wherein the Arts of Designing arrived in Italy to their highest Perfection. For about that time, Antony (b) Antony damn Correggio was he who brought Painting in Lombardy to its higest degree of Perfection; he made two Pictures for Duke Frederick of Mantua, which he sent to the Emperor; when Julius Romanus saw them, he confessed that no body had advanced Painting and Colouring to so high an Excellence before. These two Pictures were carried to Rome by Queen Christina, one whereof is a Leda with other Women bathing themselves, which are of an incomparable Beauty and Perfection, as are also those in the King's Cabinet painted both in Oil and water Colours. Correggio received at Parma a payment of sixty Crowns in Quatrini (Money of Copper,) by carrying of which he so overheated himself that he died at the Age of 40 Years; he made his Chief Pieces about the Year 1512. M. Fabio Segni a Florentine Gentleman made this Epigram on him: Hujus cum regeret mortales Spiritus artus Pictoris, Charites supplicuere Jovi. Non aliâ pingi dextrâ Pater alme rogamus, Hanc praeter; nulli pingere nos liceat. Annuit his votis summi regnator Olympi Et juvenem subitò sidera ad alta tulit. Ut posset melius Charitum simulacra reserre Praesens, & nudas cerneret inde Deas. da Correggio...,.,., by a particular Instinct of Nature, without having any Master, acquired a very agreeable and charming Way of Painting. This ingenious Man may be well termed the first Painter of Lombardy, although the course of his Life was but short, and his Merits not sufficiently known to those who employed him: Notwithstanding his excellent Works had the happiness of being Esteemed as Patterns of the finest Way of Painting, and to have showed the true Relish and Perfection of the Art to Baroche, to Procaccino and the Famous Caraches, who all zealously imitated him, and particularly Studied his Works: Especially those which made the City of Parma so Famous, as the Paintings in Oil of this Illustrious Painter, which are in the Churches of St. Anthony, St. John and St. Francis, and in other Places: But Hannibal Caracche set himself to study the finest Ways, the fine Airs of the Head, the Roundness, and the Relief which are very surprising in those admirable Strokes, which Correggio painted in Fresco, in that City in the Churches of the Cathedral and of St. John. It was from these fine Pieces that the Chevalier Lanfranc, took his Idea, in that fine Piece he did at Rome, in the Church of St. Andrew de Laval, and in others that he painted at Naples; for Le Corregio was the first of the Painters who made that Sort of Pieces in Fresco: And of such a surprising Design, that the Figures seemed straight and upright contrary to the Nature of the concave Superficies of the Vault, and those excellent Pieces serve still for Patterns to those who study the same Sorts of Work. We may also rank among the famous Painters of Lombardy, Francis Mazzuolo (c) Parmeggiano was a very handsome Man, of a very fine Air, and looked more like an Angel than a mortal Creature. Parmeggiano after he went from Rome gave himself to Alchemy, and made several trials to six Mercury, which deprived us of the rest of his Works. Besides Parmeggiano, the City of Parma furnished us with several other Good Painters, as Michael Angelo Anselmi, who made a Piece after a Carton of Julio Romano in the Church of Notre-Dame della Stoccha, and made there several other Pictures. Jerom Mazzuolo Cousin of Parmeggiano gained also a great Reputation. Polidore as well as several other Ingenious Men left Rome when the Imperialists came to Besiege it; he went to Naples where he painted some Fronts of Palaces, and some Pictures in Oil: Afterwards he went to Messina, where he made several Pieces in Fresco and in Oil, and as he was about to return to Rome again, he was assassinated in his Bed by his Servant who rob him in the Year 1543. called Parmeggiano, and Polidore Caravaggio: The Beauties which are to be seen in the Pictures of the first, Surprise at first Sight of the beholders; which was caused by his agreeable Way of Painting. He had so happy a Genius, that at the Age of sixteen Years he made of his own head several fine Pictures at Parma, and in the State of Mantua, where he worked till he was nineteen Years of Age, and then he went to Rome; the Reputation of the Works of Raphael, and of Michael Angelo drew him thither: He carried along with him three little Pictures, and his own Portrait; which were no sooner seen by Cardinal Datary, but he was introduced to Pope Clement the VIIth. who was charmed with the Beauty of his Pictures. Parmeggiano by this means got into the Service of the Pope, for whom he made several Pieces, and, during the time he was at Rome he so much studied the Paintings of Raphael, that People used to say of him, that the Spirit of that great Painter was transfused into Parmeggiano. This young Painter had such a Love, and so assiduous an Application to his Art, that being at Rome when it was Sacked by the Imperialists in 1527, and some Soldiers entering into his Chamber when he was at Work, he was not at all concerned, and so he was taken and set to be ransomed: And bought himself off by some of his Pictures, being happily fallen into the Hands of a Germane Captain who was a great lover of Designing; but he was no sooner at Liberty, but he was taken again by other Soldiers, who rob him of all he had. This misfortune caused his Return into Lombardy, where in 1548, he died at thirty six Years of Age. Polidore da Carravaggio learned Painting in the School of Raphael, and perfected himself by a through Study of the Ancients: His Painting is very Admirable, so well mixed with Lights and Shadows, that it made him pass in that Point for the best Painter that ever was. The Art of Designing is very much indebted to him for his rich Inventions of Trophies, Vessels and other Ornaments which he left to Posterity. CHAP. XI. Painting, in Point of Colours, was brought to its greatest Beauty at Venice. THE School of the Bellini having, as we have seen, begun to revive the true Gust of Painting; their famous Disciples Georgeone and Titian, did much exceed them; for they were acknowledged, as they yet are, by all Painters, for the greatest Masters in the Arts of Colouring, and making Landscapes, that ever were. Georgeone (a) George del castle Franco was surnamed Georgeon by reason of his fine Aspect. del castle Franco. was brought up at Venice; he learned to play on the Lute to admiration, and having also a good Voice, he became an Excellent Musician. He also applied himself there to Painting, where after having in a short time learned the Way of the Bellini, he surpassed them, by reason of the vivacity of his Genius, and his strong Inclination to Painting, and his Studies on the Pieces of Leonardo da Vinci, whom he happily imitated in the force and sweetness of his Manner. It was by these means that Georgeone attained to the true Way of Painting and Colouring, for which he was famed at Venice and in Trevisan, and for the Pieces in Fresco which he there painted, and for the Pieces in Oil of the Portraitures of the greatest Captains, as that of the Prince Gaston de Foix which is to be seen in the King's Cabinet. He also gave proofs of his Wit and Knowledge in a Dispute he had at Venice with some Sculptors, concerning the Preeminence they pretended to over the Painters, because Sculpture represents all the Parts of the Body, whereas Painting represents only one: But he showed them the contrary of this in one of his Pictures, wherein he shown four different Sights or Parts of a Figure. To do this he painted a naked Man who shown his Shoulders, and on the Ground he represented a Fountain where were to be seen by Reflection the (b) The Reflections of Objects from polished and shining Bodies, as well as from Diaphanous ones, like the Water, are very agreeable in Pictures, when made by the Rules of dioptics, as is done by the Illustrious Poussin, who in that as well as some other Parts of Painting has exceeded all other Painters. The Author of the Discourses, etc. witnesseth this, and blames Painters for neglecting the Study of them. He gives us in that Part of his Book the Reason of those Sorts of Reflections by a Geometrical demonstration on a Landscape he Engraved; whereon is represented a Terras Walk and a Pillar thereon on the Bank of a River, where they are reflected: But for this Landscape he did not choose a good Designer, for on the Water he shows Places beyond the Column over the top of it, where there could only be the Reflection of the Terras; wherefore this Example ought not to be taken for a Pattern; in the mean while it is easy to find the Practice of representing these Reflections: It is only necessary to take the Height of the Objects on the River's Bank, and lay them down perpendicularly in a right line forwards to the place where the extremity of the Object reflected would come. But to find the Reflection of those that are distant from the Bank of the River, you must prolong the Surface to the Plan of the Elevation of the Bodies, and so take the Height of this Plan found or imagined, and turn it perpendicularly forwards, than its extremity will be the term of the Reflection of the Object that appears on the Water. In the explication of the principal Terms of Painting, we will give a more ample Demonstration of this in Figures. Foreparts of the Figure. On one of the sides he made a Suit of polished Armour whence one of the Sides was reflected, and on the other side there was seen a Looking-Glass which reflected the other: And after this way Georgeone represented at one View those different Aspects; and this Picture was esteemed one of the best of his Painting. This excellent Person died at the Age of thirty four Years of the Plague in 1511, with this further Encomium, that he had taught the true Way of Painting to Titian and Sebastian, afterwards called Frate del Piombo. Titian Vecellio of Cadora was born in 1477, he came to Venice at ten Years of Age, where he gave the first hints of his Inclination to Painting; his Friends put him to John Bellino, where he presently discovered an excellent Genius for learning all the Arts necessary and requisite to Painting. But in the Year 1507, finding that the Method of Georgeone surpassed that of Bellino, he imitated Georgeone with a great deal of care, and became his Disciple, and even exceeded him, for he became the most famous Colourer of his Time: As all Painters have since acknowledged. This obliged Michael Angelo to say when he knew Titian at Rome, That if at the beginning of his Studies, he had been as happy as the Florentines, and the Romans, to have had as well as they the Antiquities to have learned by, he would been the first Painter in the World. Notwithstanding Titian Designed the best of any of the Venetian School; he particularly excelled in Design those of the last Age, and this appeared in his Picture of Loves which was at Rome, in the Ludovisian Vineyard: For the Illustrious Poussin studied afterwards with the Famous Sculptor Francis Fiamingo, who made the Cupids in that Piece, and who by this means learned thereby the true Gusto and way of making Infants, whereby he got so great an Esteem for Sculpture. Moreover this great Reputation of Titian (c) The Merit of Titian was so much valued by Charles the Vth, that he honoured him with the Dignity of a Knight and Count Palatine, and gave him several Marks of his Esteem; One day as the Emperor was seeing him Paint, Titian let fall his Pencil, the Emperor immediately took it up, saying, that Titian deserved to be served by Caesar; and the Grandees of the Court being jealous of the Honours the Emperor heaped on him, the Emperor said He could every Day make Great Men, as they were, but he could not make a Titian. As often as he painted this Great Prince, he received a Present of a thousand Growns of Gold. Among the rest of the Princes of Europe whose Portraits he drew, he did that of Francis the Is, which is still in the Cabinet of the King at Versailles, and appears very lively. Titian moreover began the Designs of several Pieces in Mosaic in the Church of St. Mark, which were finished by Valerius and Vincent Zuccheri, the best Artists of those Times. Titian died of the Plague in the Year 1576, Aged 99 Years. Several Painters endeavoured to follow the Manner of Colouring of Titian; but he had but few Disciples, because he did not care to take the Pains of Instructing them: Among those he did Teach, the most Ingenious were John de Calker, who lived not long, and died at Naples, and Paris Bordone of Trevisano, who imitated Titian the best of any. He made some excellent Pieces in Oil, and in Fresco at Venice, at Vicenza, and at Trevis, with several fine Portraits and Pictures in the Churches: He came into France and served Francis the Is, whose Portrait he made, as also those of the handsomest Ladies at the Court, and several Pieces of History. He also worked for the Princes of the House of Lorraine; then he went and painted at Ausburg and Milan, whence he retired into his Country, and only worked for his Pleasure, and lived very happily to the Age of 75 Years, and then died. John Marius Verdizzoti, an illustrious Citizen of Venice, was a great Intimate of Titian, and aught to be reckoned among his Disciples, since he learned of him to Paint. There are Engraven some Designs of Verdizzoti, which are Esop's Fables, very curiously done. made him sought to by all the Princes of Europe, to draw their Pictures, of whom he obtained great Honours and large Pensions: Those which he obtained from Charles the Vth, and Philip the IId, sufficiently testify the Esteem they made of his Merit in Italy, Germany and Spain, where he gloriously embellished the Escurial, as he had done other famous Cabinets of Europe. CHAP. XII. The same Curiosity was in all the Courts of Europe, and chief in that of Mantua. BY the Examples of all those great Men we have but now mentioned, it is evident, that this Curiosity had got among the Great Princes of the last Age, who gave Proofs even to Emulation of their endeavours to Revive the Arts of Designing. Thus Painting and Architecture made great Progresses by the Protection they found from the Princes, and the Ingenuity of those Excellent Persons who Cultivated them. At this time these Arts continued to flourish at Mantua; for after Designing had begun to be established there by the Curiosity of those Marquis' and Duke's, who employed Leon Baptista Alberti Costa, and Andrew Mantegna, the famous Julio Romano made that City very fine. Thus, when this Illustrious Designer had finished Painting Constantine's Hall at Rome, which Raphael, his Master, was to have done; Frederick, Duke of Mantua, went thither, where he was so charmed with Julio, that he obliged him to leave Rome, and come to Mantua. He there immediately ordered him to Build the Palace of T. whereof he afterwards painted all the Apartments; and it was in these Magnificent Works, that he showed the Greatness and Vivacity of his Genius; there is to be seen on the four sides of the Hall, which is painted in Fresco, the Overthrow of the Giants; and on the Ceiling, Jupiter darting his Thunderbolts; as also all the rest of the Gods amazed at their Boldness. Julio, moreover, painted the Loggia or Gallery of this Palace, where are the Histories of David; and also Embellished the Great Hall with the Fables of Psyche and Bacchus. He adorned several other Apartments with Pictures and Stucco-work, which were all very admirable. He painted, moreover, several Battles out of Homer's Iliads in the Palace of St. Sebastian, and made fine Pieces of Tapestry for the Duke of Ferrara, which represented the Combats and Triumph of Scipio Africanus, whereof the King, the Duke of Mantua, and the Duke of Modena; have each a Suit of Hang, very richly heightened with Gold (a) These Tapestries were made in Flanders by Nicholas and John Baptista Roux, very ingenious Workmen. . But as his Genius was universal, and he excelled in all the Parts of Designing; Architecture, which is one of them, took up most of his time at Mantua; for besides the Palace of T. which he Built, he made the Church of St. Peter, and several others of a very regular Architecture. It was he also who found the way of preserving that Noble City from the Inundations of Water of the Lake, which runs round it; he Built there several Magnificent Palaces, and caused the great Streets to be enlarged, which are very beautiful. Julio Romano gained so much here by the Esteem of the Duke, and of the Cardinal his Brother, that he used to say, this Painter was more Master of Mantua than he himself. Thus the Esteem and Honour he received of these two Princes, engaged him to stay there, and not return to Rome, although the Pope desired it, to make him chief Architect of St. Peter's Church (b) Julio Romano died at the Age of 45. in 1546. There was made on him this Epitaph, Romanus Moriens secum tres Julius Artes Abstulit (haud mirum) quatuor unus erat. This great Painter had several Disciples, the best were Primariccio, a Bolognian, John dal Lione, Raphael dal Colle Borghese, Benedict Pagni da Pescia, Figurino da Faensa, Rinaldo and John Baptista Mantuano, and Fermo Guisoni. At Cremona, near Mantua, Painting began to flourish ever since Pordenone made there some Pieces in Fresco, and in Oil, which showed the true Gusto of Painting to Camillo, Son of Boccacino, to Bernard da Gatti, called Soardo, who worked at Panna, and to Galeazzo Campo, who had three Sons Painters, Julius, Anthony, and Vincent. Julius became famous; his Disciples were his two Brothers, and Lactantius Gambaro of Brescia: But those who did him the most Honour, were Four Sisters of a Noble Family, who learned Painting of Julius Campo. They were named Sophonisba, Lucia, and Europa, and Anna Angosciola; Sophonisba was carried by the Duke d'Atra into Spain, and entered into the Service of the Queen; the Beauty of her Works being made known to Pope Pius the IVth, he desired to have by her Hand, the Picture of that Queen, which was admired by all Rome; the Pope returned his Thanks to this Illustrious Paintress by a Letter; her Two Sisters were also very famous for Painting. Vasari, Vita di B. Garosalo, p. 561. In Sculpture, as well as Painting, there have been Women very famous, particularly Porperzia d'ye Rossi of Bologna, who was very much admired in that City for her Painting, and by the Works she made in Marble; she died in the time that Clement the VIIth came to Bologna to Crown Charles the Vth. This Pope had a great desire to see this Illustrious Lady, but she died some days before that Ceremony. At Breast there were also Jerom Mutiano, Jerom Romanino, and Alexander Moretti, who gained considerable Reputation. Milan also brought up some very good Painters, one of the most Ancient of whom, is Bramantine, who worked for Pope Nicholas the Vth. in the Vatican; but his Painting was taken down, and Raphael has since painted the same place. He was also an Architect, and made several Designs and Buildings at Milan, which were of use to Bramante, when he first studied Architecture in that City. At the same time Busto, Surnamed Bambaia, distinguished himself among the Sculptors of his time, by several Pieces he made at Milan, and particularly by the Sepulchre of the Count of Foix, which is in the Church of St. Mark, which was made with extraordinary Care and Patience. The Adam and Eve which are on the Front of the Dome at Milan, is of Christopher Gobbo, who was Contemporary with Bambaia; there were also other Sculptors and Architects, who Embellished that City and Dome with their Works, as did Angelo, Il Ceciliano, Tofanon Lombardino, Silvio da Fiesole, and Francis Brambilati; but Painting was perfected at Milan, after the Works of Leonardo da Vinci appeared there. One of the most Excellent Milanese Painters, was Gaudence: His Works are to be seen in that City, at Versailles, and at Veralla. There were some who imitated Leonardo, as Marco Uggioni; but he to whom, among the Milanese Painting is most obliged to, is Paul Lomazzo, who has writ very learnedly on all Parts of the Arts, which Works of his are very useful for all Designers. His Books were printed at Milan in 1584., and 1590. . This shows us, that not only Painting flourished in several Cities of Italy, and at Mantua; but also that Architecture has always been inseparable from Designing; and more particularly to show the Progress of Architecture after its arrival. I will begin with it from the time of Bruneleschi, 100 Years before Julio Romano. CHAP. XIII. Architecture arrived to a very great Excellency at Rome. THE famous Ser-Bruneleschi began to bring Architecture out of the rude Gothick Manner, which had been practised at Florence, and other places, down to 1400. For he established in that City the use of the Doric, jonick, and Corinthian Orders, in all their Purity, and according to those just Rules he had studied at Rome in the Ancient Buildings. Leon Baptista Alberti followed the Footsteps of this Illustrious Architect and Sculptor, and in Imitation of him continued at Florence the true Gusto of Architecture, by reason that he was an excellent Geometrician and good Designer. His Treatise of the Orders, and his Works of Architecture, are a proof of it. The famous Bramante, by his Excellent Architecture, continued to improve the latter part of this Age, as Bruneleschi and Leon Baptista had done; and also the beginning of the Age, 1500. wherein he lived. Bramante learned Painting from his Youth, and gained his Livelihood thereby for a long time, in the State of Urbino, (where he was Born) and in several Cities of Lombardy, where he made several Pictures. But as he had also a Genius for very great things, he went to Milan to consider the Building of the great Church there, then under the Conduct and Management of Caesarianus, a very Ingenious Architect; and Bernardino da Trevio, a Milanese, also a good Painter, and Architect, and Engineer, who was very much esteemed by Leonardo Vinci, though his way of Painting was somewhat dry. The Reflections which Bramante made on this famous Church, together with the knowledge he gained by those two Architects, who were the Managers and Designers of it, made him have a mind to apply himself wholly to the Study of Architecture; whereupon he went to Rome, where having kept together what he had gotten by Painting, he surveyed with a particular Care and Curiosity the magnificent Ancient Buildings of that City, those of Tivoli and of La Villa Adriana; his Affection to Architecture led him also to Naples, to observe all the fine Remainders of Antiquity which are there and thereabouts. He there met with the Protection of the Cardinal Archbishop, who had such an Esteem for him, that a little after he Engaged him to make at Rome the Cloister of the Church of Peace. Afterwards he was employed by Pope Alexander VIth. and he showed his Skill in the Architecture of the Palace of the Chancery, and of the Church of St. Laurence in Damaso. He embellished, moreover, several Churches in Rome, by Frontispieces of his own Designing; that of St. James of the Spaniards, of St. Mary del l'Anima, and of St. Mary del Popolo, are convincing proofs of it; as also the little Temple of the Doric Order, which is consecrated to St. Peter in Montorio: These Works and several others gained him so much reputation, that he was ackowledged the best Architect of his time; insomuch, that in 1503. Julius the Second being Pope took him into his Service, where he continued to gain Admiration by his Buildings in the Lodgings of the Vatican, and by those of the Palace of Belvidere. But that whereby this famous Architect got the greatest Credit, was his Design of the (a) The Design of St. Peter's Church by Bramante, is to be seen on the Reverse of the Medals of Julius the Second, and of Leo the Tenth, excellently well Engraven by Carradosso, who made also a Medal of Bramante. great Church of St. Peter at Rome, and the Foundation he laid of that incomparable Building (b) Bramante died in 1514. Aged 70. He was buried in St. Peter's Church, and very much regretted by all the Ingenious in the Arts of Designing; it was he who brought Raphael to Rome, and instructed him in Architecture. This Architect, besides the Beauty of the Orders which he brought into use again, found out several fine things in Architecture, as the way of making Vaults in Plaster, which was also used by the Ancients. Vasari. Vit. deal Bramante. . Raphael Urbino, after the Death of Bramante, took care of the Architecture of that Church; and there is also to be seen of his, the Chapel of Chigi in St. Mary del Popolo; but Death, which at 37 Years of Age put a period to his Life, has deprived us of those excellent Works which otherwise he would have left to Posterity. Architecture continued at Rome in its Excellence by Baldassare (c) Baldassare Peruzzi of Sienna, from his Youth learned Designing and Painting at Sienna; afterwards he went to Rome, and painted in Fresco the great Altar of St. Humphrey, and two Chapels at St. Roch; afterwards Augustine Chigi contracted a Friendship with him, which first induced him to study Architecture, and make him the Model of his Palace de Chigi, in the Street of Longare, where he painted several Figures, and fine Pieces of Perspective, wherein he was Excellent. Julius the Second employed him to Paint in the Vatican; and he painted several Fronts of Palaces at Rome, after which he was sent for to Bologna to Design the Portico of St. Petronio, and to several other Parts in Italy; as to Carpi, where the great Church is of his doing, as also that of St. Nicholas; afterwards he returned to Rome, where he built the Palaces, which are next that of the Farnese's: and Pope Leo the Tenth employed him also in several things, and among the rest, to Paint some Scenes for Comedies, which were so much the more surprising, because it was Baldassare who first brought them into use; for he was very Excellent in placing Lights true in Perspective. It was he who continued on the great Chapel of St. Peter, which Bramante had begun. But in 1527. when Rome was sacked by the Spaniards, Baldassare was so unfortunate as to be taken Prisoner, and not only lost all he had, but was very ill treated: Because he had a good Presence, the Spaniards took him for a Priest in disguise; and having afterwards understood that he was a Painter, and one of those who were esteemed by Charles de Bourbon, they made him draw the Portrait of that Prince after his Death, by which means Baldassare obtained his Liberty, and went to Sienna stripped of all he had. After the Wars were ended he returned to Rome, where he continued to Work, and Comment on Vitruvius, which he did not finish by reason Death prevented him: He was buried in the Rotunda near Raphael, with this Epitaph, Balthasari Perutio Senensi, Viro & Pictura, & Architectura, aliisque ingeniorum artibus adeo excellenti, ut si Priscorum occubuisset temporibus, nostra illum felicius legerent. Vix. Ann. LV. Menses XI. Dies XX. Lucretia, & Jo. Salustius optimo Conjugi, & Parenti, non sine lacrymis Simonis, Honorii, Claudii, Aemilioe, ac Sulpitiae minorum filiorum, dolentes posuerunt. Die 4 Januarii, M. D. XXXVI. Peruzzi, where are to be seen of his designing some Palaces of a fine and elegant Proportion, which command the Attention and Admiration of the Spectators, filling them with an agreeable pleasure in considering their Beauty, the effect of a rare Designment; for Balthasar excelled in Painting and Perspective, before he practised Architecture, and had in that Art several Disciples; Serlio was one of the first, who made any Proficiency by the Designs of Balthazzar, for he composed those Books we have under the Name of Sebastiano Serlio Bolognese. CHAP. XIV. Architecture began to revive in the State of Venice. GOOD Architecture began to revive in the Provinces of the Republic of Venice, according to the true Gusto of the Ancients, for there were several Illustrious Architects who came from Verona, who were happy in being Born in a City where there were so many Relics of fine Architecture: For it is most certain that the best Precepts which can be given in the Arts of Designing, are fine Examples, whereon Youth Casting their Eyes and Thoughts with a particular Inclination for Designing, cannot but succeed: And this is an Advantage which the Italians have had above other Nations, who have rendered themselves famous in Architecture, Sculpture, and Painting; insomuch, that it is not a wonder that in the last Age they have surpassed others. Those Ingenious Veronese Architects, were jocund, Michael San Michael, and John Maria Falconetti. jocund was called Friar John jocund, ever since he wore the Habit of the Dominicans; and though his first Talents were Learning and Theology, he was notwithstanding an excellent Architect, and learned in Perspective; for from his Youth he exercised himself in the true ancient way of Architecture, by his Studies after the theatres, Amphitheatres, Triumphal-Arches, and other Relics of Ancient Buildings, which make Verona famous. When jocund set himself to practise this Art, he was immediately very much favoured by Maximilian, who gave him Orders to rebuild at Verona the Bridge, which is called the Stone-Bridge, and which is very considerable, by reason of the Rapidity of the River, and its moving Bottom. jocund from his Youth had studied the Antiquities at Rome, and even the very Inscriptions, whereof he composed a very fine Book, which was presented to the old Duke Laurence de Medicis. He also made Notes on Caesar's Commentaries, and designed the Description of the Bridge, which that Emperor made over the Rhine. After this jocund was sent for from Rome by Lewis the Twelfth, for whom he raised several Buildings; the most famous were the Bridges of Notre Dame at Paris, which this Prince ordered him to make, on the Building whereof Sannazar, his Friend, made this Epigram, Jocundus geminum imposuit tibi Sequana Pontem. Hunc tu jure potes dicere Pontificem. But jocund at his return to Rome, by the Death of Bramante, was made one of the Surveyors of the Fabric of St. Peter, with Raphael d'Urbin, and Anthony Sangallo. jocund also made at Venice some surprising Works, for he found out the Invention of turning away part of the Waters of the Brinte, that they should not fill the Common Shores of that City with Sand and Earth, which that River brought down along with it, and by these means he preserved Venice from the Accidents which threatened it. Budaeus says in Honour of this Great Man, that he returned Thanks to God that he had so good a Master in Architecture, as jocund, who exceeded Vitruvius. Michael San Michael, studied the Principles of Architecture at Verona, under his Father and Uncle, who were very good Architects; but at Sixteen Years of Age he went to Rome, and there measured the fine Ancient Buildings round about it, and thereby became skilled in every part of Architecture, insomuch that Pope Clement VIIth. gave him a Pension to go with Sangallo, and Fortify the Frontiers of the Ecclesiastic State, particularly Parma and Placentia. Afterwards he returned to Verona, whose fine Gates he made, and the Republic employed him in the Principal Buildings of the State, in the Levant, and on the Terra Firma, among which may be reckoned the Fortress of Lido. Moreover, John Maria Falconetti, who was also of Verona, was a very famous Architect: He learned Painting of his Father; but because he did not get much by it, he set himself to Study the Antiquities of the City; after which he went to Rome and Naples, to Survey the Buildings of the Ancients, where he employed himself for the space of twelve Years, and omitted nothing in his Designs, neither there, nor in the Parts round about. But as he had not sufficient Means to continue his Studies long, he employed himself some Days in the Week in Painting, thereby to supply his Necessities. Afterwards returning to Verona, and finding there no opportunity of employing himself in Architecture, he found himself obliged to take up Painting again; but through good luck he found in that City Signior Cornaro, who was a great lover of Architecture, who caused him to come to his House, where he dwelled twenty one Years; he employed himself all this while in Working, and exercising that Art, which Falconetti had so much studied. Thus these three Illustrious Architects of Verona introduced the true Gusto and Way of Building into the Venetian State. This true and regular Way of Building was continued there, and even augmented by James Sansovino, a Florentine, who embellished Venice with the greatest and most regular Buildings that are there to be seen. The famous Sansovino began from his Youth to study Designing and Sculpture at Florence, which he very successfully practised; he entertained a great Respect for Andrew del Sarto, an Excellent Painter. After this he went to Rome, where he got acquainted with Raphael and Bramante, who did him Justice in their Recommendations of his Skill to Leo the Tenth. The French, and the Spaniards, and the Germans, had at that time great Inclinations to build themselves National Churches at Rome. The Florentines also obtained the same favour from the Pope. The Florentines caused several Models to be made by Raphael, Baldassare, Anthony Sangallo, and Sansovino. It was the Design of this last that they chose: And Sansovino began to build the Church of St. John for the Florentines according to the Model he had made of it. But this building was discontiuned during the Popedom of Adrian the VIth, a Fleming by his Country, who had no affection nor gust for the Arts of Designing: Insomuch, that if he had reigned long these Arts would have infallibly sunk into their old obscurity, at least at Rome. Clement the VIIth succeeded him, and prevented this misfortune; for he set to Work all the Ingenious in these Arts: And James Sansovino continued by these means the Fabric of the Church of the Florentines till the Year 1527, wherein the Army of Charles the Vth besieged Rome, which chased away from that City a great Number of excellent Men. Sansovino (a) James Sansovino died at Venice at the Age of 78 Years; he brought up several Disciples at Florence and at Venice, who were Nicholas, called il Tribolo, who wrought in the Abbey of Mount Cassin, Jerom de Ferrara, who wrought much at Loretta and Venice. James Colonna learned also Sculpture of Sansovino, and died at Bologna, Titian da Milan, Peter de Salo, James Alexander Vittoria of Trente, Thomas de Lugan, James Bressan, Bartholomew Amannatti and Danese Catanee who were all good Sculptors and Architects. retired to Venice to go thence to France into the Service of Francis the Is't who very much desired him. But being arrived at Venice with a design to get something there, because he had lost all his Goods at the pillaging of Rome; his Merit was represented to the Doge Gritti, and that he could prevent the Ruin which threatened the Dome of St. Mark. Immediately by the Order of the Doge Sansovino undertook it, and by the help of some pieces of Timber and Iron-bands which he invented, he set this great Work out of danger. This gained him so much Reputation that the Super-intendency of the Works of the Dukedom, which became vacant, was given him. The first Work which he made for the Republic was Zecca, which is the Chamber for the Money, or Treasury, with a great deal of beauty and advantage: Afterwards he was employed about the Fortifications of the Venetian State. Afterwards he built the new Architecture that embellishes the Palace of St. Mark. He made also several Works of Brass and Marble in the Church; and considering all the fine Structures wherewith he enriched Venice, we may say of him that he advanced Architecture in that City to its highest Perfection. CHAP. XV. Michael Angelo made Architecture, Sculpture, and the true Way of Designing flourish at Rome. THE great Michael Angelo Buonaruoti, had the same Honour at Florence and Rome as Sansovino at Venice: For he shown his Capacity in Architecture in those two Cities, and in the last Age advanced that Art to its highest Perfection. The reason of this is very evident and no ways surprising, for being the greatest Designer of his Time he became also the greatest Architect, when he applied his Time wholly to it as he did during his last Years. Michael Angelo was born at Florence in 1474, with a natural Inclination for Designing; for although in his Youth he was brought up to Learning, notwithstanding he busied himself always in private about Designing: And as his Father saw that he had a very great Inclination for Painting, he put him to Dominick Ghirlandaio, for him to instruct him therein; and in a little time Michael Angelo distinguished himself from other Disciples, by the surprising Facility wherewith he designed: This great Genius was very fortunately favoured by Prince Laurence de Medicis, by reason of the great Passion this Prince had to assist the Revival of the Arts, by assisting Men skilled and learned therein. This generous Temper made him establish in the Gallery of his Gardens an Academy which he filled with fine Pictures and Pieces of Sculpture both Ancient and Modern. Afterwards he caused to be sought out at Florence those Young Designers who promised most, to whom he allowed Pensions to promote the conveniency of their Studies. Those of the School of Ghirlandaio were chosen the first, and particularly Michael Angelo, who had so lively a Genius for all the Parts of Designing, that one day having taken up a piece of Marble, he set about making a Head, tho' as yet he had never handled a Chisel; which so much surprised Prince Laurence, that he conceived so great an Affection for Michael Angelo, that besides the Pension he allowed him, he did him the Honour to admit him to his own Table, and gave him a Lodging in his Palace. After the Death of this Prince, his Successor Peter de Medicis, continued to Michael Angelo the same Affection he had been favoured with by the Great Duke his Father. Signior Soderini Gonfaloniere of the same Republic, had no less esteem for this ingenious Man than these two Princes; and about the same time Michael Angelo made a Cupid of Marble which was sent to Rome, and hidden under Ground, to pretend that it was an Ancient one: It was afterwards dug up and sold for such to Cardinal St. George, and this Cupid passed for one of the most rare and fine Pieces of Antiquity. Hereby this famous Sculptor acquired a great Reputation at Rome; whither he went for the first time: He continued Sculpture there with a great Application, and made a Bacchus of Marble with several other admirable Statues. At his return to Florence he applied himself with the same diligence to that fine Art, and made a Marble David, which was set up before the Palace. Peter Soderini, and all the Citizens were so charmed with this Piece, that they obliged this famous Designer to make some more of them, some in Brass and others in Painting. Then Gonfaloniere ordered him to Paint one half of the Council Hall, and Leonardo da Vinci the other. It was here that Michael Angelo made a Piece to Parallel that of Leonardo da Vinci which was so famous. Michael Angelo in this Work gave proofs of the Excellence of his Designing, both in respect of the composition of the Subject, which was the War of Pisa, and in his correctness in naked Figures: And to have an opportunity of showing it the better, he chose the time when several of the Soldiers used to bathe themselves in the River Arno, to introduce into his Designing naked Figures, in which he was Excellent; it was this famous Piece that gave Raphael and several others an insight to the Perfection of Designing. Julius the IId being raised to the Papal Chair sent for Michal Angelo to Rome, resolving to engage him to make him a Mausoleum in St. Peter's ad vincula. Here is to be seen that fine Figure of Moses and several others, and the excellent Architecture, which joined together make this fine Sepulchre. This great Design was not executed according to the largeness of its first Model, but was reduced to what it is, whence France has the Honour of two Statues of Marble which were to be placed on each side of the Sepulchre, and which are at present in the Castle of Richelieu. The working of this Mausoleum was for a long time interrupted, because the Pope set Michael Angelo to Paint in Fresco the arched Ceiling of the Chapel of Sixtus the IVth, which so much raised his Reputation, that besides the general Applause he received at Rome, he received considerable Presents from Pope Julius: He deserved both the one and the other; for he alone painted that Vault after so admirable a way, that the famous Caraches, who came after him, took thence their magnificent Ideas in the Painting of the Palace of Farnese at Rome. Julius the IId being dead, Leo the Xth his Successor honoured Michael Angelo no less than he had done, for he employed him in the Architecture of the Front of St. Laurence at Florence, and his Model gained more Esteem than any other. After this in the Popedom of Clement the VIIth, he made in the Vestry of the same Church, the Sepulchre of the House of Medicis, and that Sepulchre even till this time has passed for a wonder both of Architecture and Sculpture. This excellent Person moreover showed that he was Ignorant in nothing in all the Arts of Designing; for he also fortified the Mount St. Miniate at Florence, and thereby hindered their Enemies from becoming Masters of it. But when the Wars of Italy in 1525 obliged several ingenious Artists to leave Rome and Florence, Michael Angelo was one of that Number, and went to Venice, where the Doge Gritti, to whom he had the honour to be known, caused him to make the Design of the Bridge of Rialto, which is one of the Masterpieces of Architecture. He painted in that City some Pictures, and among others that of Leda, which he gave to the Duke of Ferrara, who sent it to Francis the Is. The Wars of Italy being ended, Michael Angelo returned to Rome, and there finished the Sepulchre of Julius the IId, after which he painted by order of Pope Paul the IIId the great Front of the Altar, whereon he represented the last Judgement, and it was this only which was not finished of all the Paintings of this Chapel. The Fame of this great Work in Fresco, which is all over the World, sufficiently denotes its Excellence. Michael Angelo in his old Age applied himself more to Architecture than Painting and Sculpture, because after the death of Antony Sangallo Architect, the Pope preferred Michael Angelo to any other, and made him chief Architect of the Fabric of St. Peter, and of the Apostolic Chamber, although he would have excused himself from it. Having accepted this Charge he went to St. Peter's, to see the Model of Sangallo, to finish what remained to be built of that great Church, and after having examined it, he publicly declared that that Architect had made the Model of it without any Art, because without side he had made too many Pillars, one upon another, and unncessary Spires, and too many small Branching and little Members, which are quite contrary to good Architecture; lastly, that this Model was of a Gusto rather Barbarous than Ancient: Besides this he showed that the execution or performance of it would cost a Million more than one that he would make. Michael Angelo caused another Model to be made in fifteen days time which cost only five hundred Crowns, whereas that of Sangallo cost four thousand, and several Years work; so that at last this great Church was finished according to the Design of Michael Angelo in the beauty we see it now, excepting the Front, which is not his, nor so well done as the Architecture of the outermost Tower and the back Part of that Church. While Michael Angelo carried on this Building, he also made several others which make part of the beauty of Rome: Such as the Palace of Farnese, and the Capitol, which excite the Admiration both of Architects and other Ingenious Men. The fine Pieces of (a) Michael Angelo died at Rome the 17th February 1564: He was almost ninety Years of Age. This great Man, besides the Affection of seven Popes whom he served, gained a very great Reputation with Solyman, Emperor of the Turks, with Francis the 1st, Charles the Vth, the Republic of Venice, and all the Princes of Italy, particularly with the great Duke of Tuscany, who reigned at the same time this illustrious Designer died: For when his Body was in the Church of Sancto Apostolo, and the Pope was about to set up a fine Sepulchre for him: This great Duke caused his Body to be privately fetched away to bury it in his Capital City; and since he was not so happy as to have him alive, he was resolved to have him dead; And performed his Funeral obsequies with all imaginable Pomp and Splendour. This Pomp was celebrated in the Church of St. Cross at Florence, attended by all the Gentlemen of the Academy of Design; who, on that occasion gave sufficient Testimony of the Esteem they had for this their Master, by the magnificent Representation, which the Italians call Catafalco, and adorning the whole Church with Painting and Sculpture and Lights. A Panegyric was there pronounced over him by Messr. Benedetto Varchi, and on the Representation was to be read this EPITAPH; Collegium Pictorum, Statuariorum, Architectorum, auspicio opeque sibi prompta Cosmi Ducis, auctoris suorum commodorum, suspiciens singularem virtutem Michaëlis Angeli Bonarotae; intelligensque quanto sibi auxilio semper fuerint praeclara ipsius opera, studuit se gratum erga illum ostendere, summum omnium qui unquam fuerint, P. S. A. ideóque monumentum hoc suis manibus extructum, magno animi ardore, ipsius memoriae dedicavit. After these sumptuous Obsequies, the Great Duke ordered an honourable Place in this Church to build the Tomb of Michael Angelo according to the Design of George Vasari: It is enriched with three great Marble Figures, representing Painting, Sculpture and Architecture, which were made by Baptista Lorenzi, and Giovanni dell'opera, and Valerio Cioli, all three ingenious Florentine Sculptors. Michael Angelo in Painting and Sculpture and Architecture, and his other good Qualities had gained him such an Esteem with the Popes whom he had the Honour to serve; that Julius the IIId used to make him sit by him and talk with him concerning the Arts of Designing: And oftentimes this Pope would take his Part against those who criticised upon him. By all these Honours which Michael Angelo received, and the universal Applause that was given to all his Works; we may conclude that it was this famous Designer, who, in that Age advanced Sculpture and Architecture with the true Way of Designing to the highest degree of Perfection that ever they arrived to, at Rome and Florence. CHAP. XVI. Several Disciples of Michael Angelo, and Raphael, continued the Excellency of Painting and Architecture at Rome. IN the time of Michael Angelo there was at Rome Sebastian (a) Sebastian the Venetian was surnamed Frate del Piombo, which is a Charge of the Apostolic Chamber, which he obtained of the Pope on condition to pay a Pension to John d'Udine, who had been assistant to him in obtaining that Office. This afforded means to Sebastian to live without his Profession, and made him almost leave off Painting. He had a secret Composition which he made of Lime mixed with Mastic and Grecian Pitch melted down together, and laying that mixture on the Walls, mixed with slack Lime that had been heated red hot in the Fire, prevents Painting in Oil on the Walls from growing Black, and being spoiled by the Wet: He died in 1547. Vasari V. di Fra. S. Veni. the Venetian, afterwards called Frate del Piombo. He had learned of John Bellin at Venice the Principles of Painting, and of Georgeone his second Master the true Way of Colouring. This fine Way of Colouring gained him the Friendship of Michael Angelo, when Sebastian came to Rome; Michael Angelo thought that this his grand Manner of Designing joined with that of Colouring, would excel the Pieces of Raphael d'Urbin, but it did not succeed. But the favour and protection which Sebastian received from Michael Angelo made him Prefer him to Baptista Franco, to Perin del Vago, to Baldassar Perruzzi and other Disciples of Raphael. But these ingenious Disciples, tho' they did not equal him, yet they had Qualities which made them always esteemed, and they very much contributed to the perfection of the Arts of Designing, as did also John d'Udine who had been one of them, who Painted all the Animals, the Flowers and Fruits which are in the Works of Raphael. This John had also a great Genius at inventing those sorts of Ornaments, which are called Grotesque. This is to be seen by those he painted in the Rooms in the Vatican, and by the excellent Designs for Tapestry, which he made of that sort of Work, although it is agreed that it might have been done after the ancient Plaster, as some was which was found about that time in the Rooms in the Gardens of Titus, and those which were still remaining in the Temple of Peace, and in the City Adriana, and other ancient Buildings. Notwithstanding all the Designs which were made by John d'Udine (b) John d'Udine died at Rome in 1564, and was buried in the round Church near Raphael d'Urbin his Master. To the same City of Udine, and that of Frioul we are obliged for a great Number of good Painters, as Pellegrino and John Martin d'Udine who were Disciples of John Bellin: Pellegrino was the most Ingenious and very much beloved by the Dukes of Ferrara; he brought up several Disciples. But the most Famous of the Painters of this Province was John Antony Licinio born at Pordenone, a Village distant from Udina twenty five Miles; he had no other instructor than Nature, which he imitated from his Youth; he very much practised Painting in Fresco in the neighbouring Villages: Afterwards he went to Udina where he painted several Pieces in Oil and in Fresco, as as also at Venice and Genova. He was commonly called Pordenone. The way of Georgeone pleased him better than any other. He died in 1540, aged fifty six Years. Ridolfi V de Pitt. Veneti. are so fine that it is questioned whether those of the Ancients were more Excellent; for this John was not only an excellent Painter, but also a very ingenious Sculptor and worker in Plaster, as is apparent in the small Figures of that sort of work which he has mixed among the Ornaments of the Apartments of the Vatican, insomuch that he deserves to be esteemed as the Reviver of Stucco-Work for the perfection to which he carried it: For it was he, who by a through examination of the Materials whereof the ancient Plaster was composed, found that it was made of Lime mixed with Powder of Marble, to give it duration and make it receive a fine Polish and Shining, as Plaster will have when it is worked with care. John Francis surnamed Il Fattore of Florence was a Disciple of Raphael with Julio Romano; and may be justly considered as a Disciple of so worthy a Master, for after the death of that famous Painter, they jointly finished, he and Julio, the great Hall of the Vatican, where they painted the Histories of Constantine. Perrin (c) Perrin del Vago was also buried in the round Church in 1547, at the Age of forty seven; the Principal Disciples of Perrin were Jerom Siciolante de Sermonette and Marcellus Mantuanus. del Vago. a Florentine, and his Brother-in-Law, were also Disciples of Raphael; for Perrin being at Rome where he then studied Antiquities, John d'Udine proposed to Raphael to work in Plaster, and on Painting the Rooms of the Vatican which were then doing, and he painted several of them with Histories out of the Old Testament which were very well done. He afterwards made at Rome, after the death of Raphael some fine Pieces in Fresco, at the Church of the Trinity on the Hill, at St. Marcellus, and several other Churches. But the most considerable Piece of Perrin del Vago, was the Palace which Prince Doria caused him to build at Genova, after a Model of this famous Painter's, wherein he also did the Painting and the Plaster work, which still render that Building the finest and most considerable in all that City. CHAP. XVII. At Florence the true Way of Sculpture and Painting was continued by some ingenious Men. BACCIO (a) Baccio was born in 1487; and died at seventy two Years of Age: He is accused of having taken to pieces the fine Paintings of Leonardo da Vinci and Michael Angelo, which they had done in the Council Hall, whither all the Disigners of Florence went afterwards to Study, and that out of Envy to Michael Angelo. Among the rest who studied this fine Piece of Michael Angelo, Sebastian called Aristotle of St. Gal drew it in little, and kept it very carefully, especially since the Original was ruined. Afterwards in 1540 at the persuasion of Vasari his Friend, he painted it in Oil in two Colours only; Giovo sent this Picture into France to King Francis. Bandinelli., although he died before Michael Angelo, may notwithstanding be accounted one who imitated his Manner: For after he had learned the Trade of a Goldsmith at Florence, he very eagerly studied Designing, and especially that famous Piece of Michael Angelo which was in the Council Hall, so that he had the Advantage of acquiring a correct Way of Designing, to which he joined the Study of Anatomy. Baccio gave proof of his Skill by his Works, and by some Stamps he caused to be engraved by Augustin Venetianus. He also practised Sculpture with a great deal of Applause; for on account of that, and a fine Print of the Martyrdom of St. Laurence, which he procured Mark Antony to Engrave, Pope Clement the VIIth honoured him with the Order of Knigthood of St. Peter. His chief Works in Marble were, the great Figure of Hercules with Cacus, which is in the Square of the Palace of Florence: He made this Piece to accompany that of Michael Angelo, and that of Benvenuto Cellini which stood in the same Square. The Piece of Adam and Eve, which is at the Altar in the Cathedral of Florence, is one of his best and most considerable Works. Benvenuto Cellini was a Person of particular Merit, he was an excellent Goldsmith, and composed a Book which treats of that Art, and the way of casting Figures in Brass. He came into France to serve Francis the Is, for whom he made several Pieces in that Metal: And he had a peculiar Excellence in engraving Coins for Medals and Money. We ought to place among the Illustrious Tuscans of that time Daniel da (b) Daniel da Volterra died at fifty seven Years of Age. Volterra, equally Excellent in Painting, Sculpture and Architecture; he learned of Baldassare Perruzzi, afterwards he was employed under Perin deal Vaga in the Church of Trinity del Monte: And there built the fine Chapel of St. Helen in that Church, and painted over against it another just like it. The Pictures in Fresco which he there made cannot be enough admired, chief that of the Descent from the Cross of our Saviour, the Beauty whereof is sufficiently known throughout the World, by reason of the great Number of Copies of it which are to be seen throughout all Europe. The Excellence of this Picture appears in the Composition, lively Expression and correctness of Design, and the excellency of the Painting. One of his best Pieces of Sculpture is the Brazen Horse in the Royal Square at Paris. Robert Strozzi had Commission from Queen Katherine de Medicis to procure Michael Angelo to make it, but he excused himself by reason of his great Age, and advised this Lord to get Daniel da Volterra to do it, who accordingly undertook it; but he was so unfortunate as to miss the first Cast, but the second time he succeeded. But Death prevented him before he had finished the Statue of Henry the IId, who was to be set on the Horse. Thus this Work remained imperfect by the Death of Daniel da Volterra, and a long time after under Lewis the XIIIth it was carried away from Rome, and the Figure of that King set up in its room, as we see it at this day in the Royal Square. There were other famous Tuscan Painters (d) Dominick Beccafumi of Sienna was also one of the best Painters of Tuscany. He had a natural Inclination for Designing, which made him often of his own acccord Design on the Sand as he kept his Flocks. Afterwards he studied at Sienna the Works of Peter Perugin, and after that at Rome he studied those of Michael Angelo and Raphael; then he went to dwell at Sienna, where he did several Pieces of Painting in the Church of the Dome and in other Places which were very much esteemed. His Assistant at Sienna was Sodoma, who gained a very good Reputation. Beccafumi died in 1549, at sixty five Years of Age. appeared at Florence, at the same time as niel da Volterra at Rome, among whom were Jacob (e) James damn Puntormo was born in 1493, and lived 65 Years; Bronzin learned of him, and may pass for his Disciple. da Puntormo, Francis Bronzin his Disciple, and Salviati. Puntormo began under Leonardo da Vinci, and in 1512 he continued to perfect himself with Andrew del Sarto. Bronzin was in nothing Inferior to him, and there are to be seen of his Hand some Pictures excellently well done. Salviati (f) Francis Salviati was born in 1510, and died at Rome in 1563. learned Designing in the School of Baccio Bandinelli, and Painting of Andrew del Sarto. After having worked for some time at Florence and at Rome, he came in the Year 1554 into France, where he was very well received by Primaticcio then chief Painter and Architect to the King; but as soon as Salviati saw the Works of Rosso, who had been chief Painter to the King, and those of other Painters, he affected to find Faults in them, which raised great Expectations of what he would do: He was employed by the Cardinal de Lorraine to Paint in his Castle of Dampierre, but not being pleased in France he returned to his own Country. CHAP. XVIII. The Cities of Ferrara, and others of Lombardy and Urbino, furnished the World with several good Painters. FLORENCE was not the only City of Italy, which bred Excellent Painters: for Ferrara had several, Dosso and Baptista his Brother were very ingenious. Dosso was very much extolled by the famous Ariosto, and cherished till his Death by the Generous Prince Alphonsus of Ferrara. Alphonsus Lombardi, an Excellent Sculptor, was also Born in the same City; he made several Portraits, witness that which he made at Bologna, of the Emperor Charles the V whereby he gained very great Applause, with an honourable Recompense from that Prince. But one of the best Painters of Ferrara, was Benvenuto Garofalo (a) Benvenuto Garofalo was Born at Ferrara, in 1481. Besides Raphael, who was his Friend, he also contracted Friendship with Georgeone, Titian, and Julio Romano; he grew Blind towards the latter end of his Life, and continued so for nine Years; he died in 1550. at Seventy eight Years of Age; one of his best Pupils was Jerom de Carpi, who went to Copy the fine Pieces of Correggio at Modena, and at Parma; afterwards he worked at Bologna and Ferrara, where he made a large Venus with Cupids, which the Duke sent to King Francis; this Picture is very much praised by Vasari; he died in the Year 1556. 55 Years of Age. There was also of Ferrara, Jerom a Sculptor; he worked since Andrew Contucci, his Master, several Pieces in Marble in the Church of Loretta, where he was employed twenty six Years without any Interruption. ; he began to learn Painting Ferrara, and Cremona, and at Mantua under Corta Ferrara. At nineteen Years of Age he went to Rome for fifteen Months, than he returned to Mantua, and thence to Rome again, where the Works of Raphael, and Michael Angelo's grand Gusto of Designing charmed him so much, that he repent he had spent his Youth in studying the Lombard Manner. This made him resolve to leave them, and become a Disciple and Imitator of Raphael, during the space of two Years, because he found himself very much in favour with that great Man, whom he very unwillingly left for some Affairs of his Family, which obliged him to dwell at Ferrara. Benvenuto Garofalo was there very much esteemed by the Duke, and the principal Personages of that City, for whom he painted several Pieces, in the Churches, and in particular Houses; his Works were very beautiful, by reason he followed very good and just Principles, which he received from Raphael, and took particular care to join thereunto the Imitation of the best Nature. The State of Urbino continued to yield ingenious Men; and the Dukes of Urbino, like them of Ferrara, of Mantua, and of Florence, contributed to the revival of the Arts of Designing. For Jerom Genga, an Excellent Painter, was in great favour with these Dukes. He had studied under Peter Perugino with Raphael Urbino, his Illustrious Countryman; he practised also Architecture, and the Duke Guidobaldo employed him to build, and paint his Palaces of Urbino and Pisaro, and to fortify this last City. Bartholomew, the Son of Genga, was also an Architect and Engineer, as well as his Father. From this State of Urbino came those famous Brethren, Taddeus and Frederick Zucchero, and the celebrated Baroche: Taddeus (b) Taddeus Zucchero Born in the Year 1529. died in 1566. so that he lived but 37 Years. learned the Principles of Painting in the City of St. Angelo in Vado, which was his own Country; but as his Masters were but ordinary Painters, he resolved at fourteen Years of Age to go to Rome, there to study this Art; where having nothing to live upon, he was obliged to work for Picturesellers, and when he had got some Money, he employed himself in Designing, and particularly to Imitate and Copy the Works of Raphael, which he chief studied; by these means he became very Excellent, which may be seen in his fine Works which he has painted in the Castle of Caprarola, and the Church of Trinity on the Hill, at Rome. His (c) Frederick Zucchero bequeathed his Goods to the Academy of St. Luke, Vite d'ye Pittori del C. Baglione, p. 124. He also made Models very well, and was a good Architect, which made him to be so much the more considered by those great Men whom he served. He published a Book, Del'Idea d'ye Pittori, Scultori & Architetti deal Cavaliero Frederico Zucchero, divisa in duo lobri. In Torino 1607. Brother Frederick followed the same way of Painting; for he finished the Pictures which Taddeus had begun, and at his Death left imperfect, and was in nothing inferior to him. Philip the II. sent for him into Spain, where he was well received by that Prince, who employed him to work in the Escurial (d) Frederick Zucchero was not the only Person who embellished the Escurial by his Painting; for Pellegrino Tibaldi wrought several Pieces in the Cloister and the Library. He was born at Bologna in the Year 1522. His Father was of Walsada a Country of the Milanese. Pellegrino after he had learned Defigning, and Painting at Bologna, lived at Rome in 1547 where he studied for some Years the finest Ways of Painting, and worked for Perin del Vago; he painted in that City several Pieces, and among the rest a Chapel in the Church of St. Lewis: Afterwards he returned to Bologna, where he made several Pictures, as he did also at Loretto, at Ancona, and at Milan, where he was made chief Engineer of the State, and Architect of the great Church. Philip the IId. being made acquainted with the Merit of Pellegrino, sent for him into Spain, to Paint the Escurial, where he had a reward of one hundred thousand Crowns, with the Title of Marquis de Valsada; afterwards he continued to practise Painting at Milan, where he died at seventy Years of Age in the beginning of the Popedom of Clement the VIIIth: His Works in the Escurial are described at large in the Life of the Bolonian Painters by Malvasia: He had a Son called Dominick Tibaldi who practised Painting at Bologna, who was also a good Sculptor and Architect. Augustin Carache was one of his Disciples. : At his return to Rome he began the Academy of Designing of (e) Raphael gave to the Society of St. Luke the Picture he had made of that Saint, as also that of the Blessed Virgin, which he painted a long time before that Academy was erected. St. Luke, which was erected by a Brief of Pope Gregory the XIIIth. He was chose the first Protector of that Academy, by all the Painters, with a general Applause, for he was universally beloved not only by them, but by all Persons of Learning for his extraordinary Qualities; he had so great an Affection for them that he left them all his Goods. In the City of Urbino was born the famous Frederick Baroche (f) Frederick Baroche was born in 1528, and died in 1612, after having lived eighty four Years. Baroche brought up Vannius, who followed his Way. , who, as also the Zuccheri's, went to Study at Rome the Art of true Designing by the Works of Raphael; he also imitated in his Pictures the manner of Correggio, nearer than any other. It was this which made his Works complete and very agreeable, and he took a great deal of care in the making of them: Insomuch, that it might have been wished he had been more healthful, and had settled at Rome. He might have kept up towards the end of the last Age the excellency of Painting, which was not maintained at that height, that Raphael Correggio and Titian had carried it to in Italy: By reason that Joseph Arpino and Michael Angelo Carravagio, introduced several manners in that Art quite contrary to the beautiful Style of those Famous Painters. Joseph Arpino was too conceited, and would only blindly follow his own Fancy, without observing either Rules, or Nature; and as for Michael Angelo Carravagio, he took no care in his Choice, neither to follow Nature, or Antiquity in his Compositions: For all the Beauty of his Pictures consisted in the fineness of his Pencil, and liveliness of his Colours. This made the business be for some time neglected in the Roman School of Design, by following these two different manners, till the famous Caraches and their Disciples at the beginning of the last Age, happily Reestabished the true Way of Design and Painting. CHAP. XIX. Painting continued in its Beauty at Venice, as did also Architecture at Venice and Rome. AT Venice the excellency of Painting did not decline during the whole last Age. It was there raised to a very high Degree of Perfection, chief in the fine Way of Colouring by Georgeone, and Titian who lived to be very Old. The Palmas (a) The two Palmas are distinguished by their Ages; the Eldest was James, he lived near Bergamus, and practised the Way of Titian, and learned a great deal of him; he died at forty eight Years of Age. The Younger of the Palmas was of Venice, and Nephew of the Elder; from his Youth he had a great Inclination for Painting. The Duke of Urbino, who had a great Affection for him, let him Study in his Gallery on the Pictures of Raphael and Titian; and afterwards sent him to Rome where he continued to perfect himself for the space of eight Years, by studying the Works of Polydore and Michael Angelo, whence he acquired the true manner. This is to be seen at Venice and in all the Venetian State, which has several of his Pieces, for he wrought very hard to eighty four Years of Age, and then died in 1628. From the time of this Painter, Painting and Colouring declined at Venice. , the Bassans (b) Of the Bassans, the First was James da Ponte, who was born at Bassano in the Year 1510; he learned Painting of his Father Francis da Ponte: Afterwards he perfected himself at Venice by the Pictures of Titian, and the Prints of Parmegiano; afterwards he retired to the City of Bassano, where he wrought during the remainder of his Life, and died at eighty two Years of Age in 1592. His Children were Francis, John Baptista, Jerom and Leander; all continued in the Way of their Father at Venice; but the most Ingenious of these four Brothers was Francis, who died in 1594. Leander practised Painting with a great deal of Credit, for he was honoured with Knighthood at Venice, he died at fixty five Years of Age in 1623. As for Jerom he wrought at Venice, and died at sixty two Years of Age in 1622. , Pordenone, Paris Bordone,;;; and several others were excellent Colourists and contributed to the enriching Venice by their excellent Pictures. The Famous Paul Veronese (c) Paul Callieri was born at Verona in 1532, his Father was a Sculptor, who taught him from his Youth to Design and Model; but as he had a greater Inclination to Painting, he put him to Anthony Badile his Uncle, who was one of the best Painters of Verona, in a short time Paul became very skilful, after which he went and worked at Mantua with Paul Farinati, Dominick Brusasorci, and Baptisia del Moro all of them Young Painters of Verona, whom the Cardinal Hercules caused to come thither to Paint the Chapel of the Cathedral. After Paul had painted several Pieces at Verona and in several Cities of the Venetian State, he settled himself at Venice, where his Works gained an universal Applause and Esteem. This got him several rewards of the Republic above other Painters, who after having made a vast number of Pictures, died at fifty six Years of Age in 1588. and (d) James Robusti called Tintorett, was born at Venice in 1512; from his Childhood he took to Designing on the Walls, and afterwards colouring his Figures with Dyer's Colours, for his Father was a Dyer, who seeing the inclination of his Son put him to Titian, where he remained but a short time: Afterwards he studied Designing of himself, after the Way of Michael Angelo, and the Manner of Colouring of Titian, which he joined with the observation of Nature, and form after this manner his fine manner of Painting, and filied Venice with his admirable Pictures; he died in 1594. Marietta his Daughter was an excellent Paintress; she died at the Age of thirty Years in 1590. Ridol. Vite di Pittori Veneti. Tintoret, continued to embellish the Palaces and Churches of that City and of the Venetian State with a great Number of excellent Pieces: Insomuch that these Pieces both then and still cause admiration in the Curious, and serve for Examples of Study to young Painters, who love this fine Way of Painting and Colouring. For it may be said in Praise of these two excellent Persons, that they were those who brought Colouring at Venice to its highest Perfection. Jerom Mutiano of Brescia, was also of this State and learned the Principles of Painting: Afterwards he perfected himself at Venice by the Pieces of Titian, where he learned the true Way of Colouring, and drawing Landscapes, wherein he was Excellent. After this he went to Rome, where he continued to Study his Art with so much Ardour, that to beat Love out of his Head, which he found somewhat to hinder him, he cut off his Hair, and never stirred from home, till his Picture of the Resurrection of Lazarus was done, and his Hair grown again. This Work, which is to be seen at St. Mary Majore, was very much praised by Michael Angelo, and acquired a very great Reputation to the Painter who made it, as did also that which he painted in St. Peter's, which represents the Visit of St. Antony to St. Paul the first Hermit. He worked for the Cardinal d'Este, who had a very great Esteem for him; he made several other Pictures at Rome, at Orvieta and at Loretto. Among the other good Qualities of Mutiano, he had an extraordinary Way of teaching Youth, and by his Will he left two Houses to the Academy of St. Luke, and also something to build Apartments for the Students of Designing who were Poor; it was he who by his Credit with Pope Gregrory the XIIIth, obtained a Brief of him to found that Academy, and who caused the demolished Church of St. Luke on the Mount Esquilino to be changed into that of St. Martin, which stood at the Foot of the Capitol, and which has been since rebuilt, and embellished according to the Designing of Pietro da Cortona a famous Painter of this Age. Architecture, which had been brought to a very high Degree of Perfection at Venice, by the famous Architects we have mentioned, was continued there after the true and fine Way of the Ancients, by Daniel Barbaro, Scammozzi, and Andrew Palladio, who excelled the others, as the fine Churches he built at Venice sufficiently testify; as also the Palaces and Seats of Pleasure and other Buildings he made in the Venetian State; which are all of a true and fine Way. This, together with the ingenious Books of the Orders of Architecture, and of the Temples of the Ancients which are extant of his, are as so many perpetual Monuments of the Merits of Palladio. This Art (e) Among the best Architects of the last Age, who preceded these last of all, and were contemporary with Michael Angelo, may be reckoned the two Brothers Julian and Anthony da san Gallo of Florence. They were employed by the Republic of Florence, and by the Pope's Alexander the VIth, Julius the IId, and Leo the Xth, and several others, to build several Forts and other Structures. Anthony had the management of the Building of St. Peter's after the Death of Bramante. Julian died at seventy four Years of Age in 1517, and Anthony in 1534. These Verses were made in their praise. Cedite Romani Structores, Cedite Graii, Artis Vitruvi tu quoque cede Parens. Hetruscos' celebrate viros; testudinis arcus, Urna, tholus, statuae, templa, domusque petunt. About this time lived also John James della Porta a Milanese Architect and Sculptor, who built the Dome at Milan. He brought up his Nephew William della Porta to Sculpture; Michael Angelo got him to work at Rome, and procured him the making of the Sepulchre of Paul the IIId, which is to be seen in St. Peter's as also the Office of Frate del Piombo after the Death of Sebastian Venetiano in 1547. has continued at Rome in the same Excellence Michael Angelo brought it to●, Republic by means of several excellent Architects, chief Pirro Ligorio and Vignola, Painters and Architects. Pirro Ligorio was of a noble Family of Naples; from his Youth he studied Designing and Painting. He so passionately loved Ancient Buildings, that he designed only with Pen and Ink near forty Books full, at (f) There are several of those Books of Designing in the Duke of Savoy's Cabinet. Naples and Rome, and all the Provinces where there were any of those Old Buildings, or any Fragments of them remaining. This great Designer, and excellent Painter, as is evident by his ancient Rome Engraven at large; composed also a Book of Circus's, theatres, Amphitheatres, which he published. Painting was also one of his Employments at Rome. He there painted several things in the Oratory of Mercy, as also the Front of the House of Teodoli, and another Front of a Palace in Campo Martio painted in Camajeu (g) By Camajeu is to be understood a Sort of Painting of a Colour wherein the Light and Shadow are both the same, which the Italians call Claro oscuro; the Greek Word Monocromata which Authors use, signifies one Colour. in Yellow and Green; he moreover made several Pieces in divers Parts of that City. Afterwards Pirro Ligorio applied himself entirely to Architecture, and his great Capacity procured him to be Architect of the Pope, and of St. Peter's, under the Pope's Paul the IIId, Paul the IVth and Pius the IVth. But after the Death of Michael Angelo, Vignola was chosen with Pirro Ligorio to survey and manage the Building of St. Peter; and that with Order to follow entirely the Design of Michael Angelo. Ligorio pretended notwithstanding to make some alteration in it, and thereby offended Pope Pius the Vth, who turned him out of his Employ, and so the whole management of that great Edifice remained only to Vignola. This great Man James Barozzi da Vignola went when he was Young to Bologna there to learn Painting, but finding that for want of Means and Instruction, he did not much profit therein; he resolved to set himself wholly to study Architecture, for his inclination led him most that Way: He had also a particular Fancy for Perspective, wherein he found out by his Study those fine Rules he published. But as he knew, that to become an excellent Architect, it was not enough to study Vitruvius, and to fill himself with Ideas of several fine Sciences, but that the Study also of the ancient Buildings was absolutely necessary thereunto, so he resolved to go to Rome to design them. In the mean time his Skill in Painting was a great help to him; For at whiles he still painted, and thereby got sufficient to maintain his Family: This he continued till the Foundation of the Academy of Architecture at Rome was finished. This Academy was composed of several ingenious Men, one whereof was Marcello Cervino, who was afterwards Pope. This noble Assembly chose Vignola to Design and Measure for them all the ancient Buildings, which made him entirely leave Painting, to employ his whole time on Architecture, and thereby to become one of the best Architects of his Age. The Fame of Vignola's Capacity and the Reputation he had got, were the Reason that in 1537 Francis Primaticcio, sent to Rome by Francis the Is't, gave him a Commission to mould and form some of the finest ancient Figures: And afterwards he carried him into France, where he worked for that King, in making several Designs for Buildings, which were but in part finished by reason of the Wars. He also designed on Carton's for Primaticcio the History of Ulysses, painted in the Gallery at Fountainbleau. At the same time, and in the same place Vignola was employed in casting several Statues in Brass, of those he had modelled at Rome, and which are at Fountainbleau, and he was so happy as to light on some very good Founders, insomuch that those Brazen Figures were cast with so much Care, that they scarce needed any further Work. Vignola at his Return to Rome, had the Honour of being the Architect of the Church of St. Peter, and to continue that Building according to the Design of Michael Angelo. He also made the Design of the Church of Jesus: And one of his chief Pieces was the Castle of Caprarola, which he built for Cardinal Farne●● He painted with his own Hand several of the Chambers with Pieces of Perspective, which were agreeable: And for the same Cardinal he finished that side of the Farneze Palace which stands next the Tiber. Vignola was also employed by Philip the IId, King of Spain, to make the Designs of the Church of St. Laurence, and those of the Escurial. His Designs were preferred to above twenty others of the best Architects in Italy, and even to that which was made at Florence by the Academy of Designing. A Design also which Vignola made for the Church of St. Petronio, at Bologna, was preferred to several others. Those who gave this Judgement of it were Christopher Lombard, Architect of the Dome of Milan, and Julio Romano Painter and Architect to the Duke of Mantua. Besides the fine Buildings of Vignola at (h) Vignola died at Rome in 1573 at the Age of sixty six Years. His Life was writ by Egnatio Danti. Rome, and other Places, he has also published a Book of the Orders of Architecture, wherein the beauty and fineness of his Profils have made his Name famous. Several other famous Architects appeared at Rome towards the End of the same Age, and among the rest Maderni, who made the Front of St. Peter's Church. Afterwards Dominick Fontana, besides the Buildings he made for Sixtus the Vth, found out some extraordinary Inventions whereby he transported the Egyptian Obelisks at Rome, and set them up in the Squares of St. Peter, St. John Lateran and St. Mary del Popolo, which 〈◊〉 the finest Ornaments of that City. Fontana 〈◊〉 moreover chosen to be first Architect and Engineer of the Kingdom of Naples. It was in this City he built the magnificent Palace of the Viceroy, and several other Edifices. CHAP. XX. The Arts of Designing flourished in France under Francis the Is't, and Henry the IId, and their Successors. BY what we have said of Vignola, it may be gathered that the true manner of Architecture began to revive in France, and even before his time, for it began under Lewis the XIIth, who caused Jocondo to come out of Italy. King Francis his Successor had the like Inclination not only for Architecture, but also for (a) This great Prince was so great a Lover of these Arts, that he made it one of his Recreations to Design and Paint. Paul Lomazzo Trattato, D. L. Pitt. in these Terms. Epero si leg, i ' l Rè di Francia molte volte si dilettava di prendére lo stile in mano, & essercitarsi nel disegnare & dipingere. Painting and for all the other Arts of Designing. For he sent for several Ingenious Italians into France, to whom he shown particular Favours. Rosso, known in France by the Name of Roux, was among the chiefest of his Favourites. He was a Painter and Architect, of a good Mein, and very Ingenious. This excellent Genius applied himself in his Youth at Florence to study the great Piece done by Michael Angelo in the Council-Hall: Afterwards he painted of himself, without following any Master. Afterwards he went into France where he was so happy as to get the Favour and Affection of the King, who allowed him a Pension of four hundred Crowns. After that he began to Paint the lower Gallery at Fountainbleau, where he painted twenty four Historical Pieces of Alexander the Great: This pleased the King so much that he gave him a Canonship in the Chapel at Paris. Rosso moreover painted several Chambers at Fountainbleau, which after his Death were somewhat changed: There was a Book of several Designs of Anatomy which he had made for the King, about to be engraved (b) Le Roux, whom the Italians call il Rosso, a Florentine Painter and Architect, died at Paris in 1541 of a Melancholy, which he conceived by having inconsiderately accused one of his best Friends of having rob him. The King and all that knew him were very sorrowful for his Death. His Disciples and those who worked for him in Painting and Plaster were Naldino a Florentine, Master Francis of Orleans, Claudius of Paris, Laurence Picard and several others, the most Ingenious whereof was Dominick del Barbieri a Florentine, an excellent Painter and Artist in Stucco-work, and also a good Designer, as is to be seen by his Stamps. , but was prevented by the decease of this Painter. Francis Primaticcio of Bolonia carried on the Works of Rosso at Fountainbleau: He came into France in the Year 1531, a year after the Establishment of Rosso: That which caused this Voyage of Primaticcio, was that the King had heard of the Beauty of the Painting and Stucco-work, wherewith the famous Julio Romano had adorned the Palace of T. at Mantua. So the King desired the Duke to send him a Painter who understood Stucco-work. Primaticcio had been six Years a Disciple of Julio Romano, and had distinguished himself by the Beauty of the Stucco-work he made, by the easiness of his Designing, and by the way he had of managing Colours in Fresco. This Painter was chosen out by the Duke of Mantua for Francis the I. who set him to Paint in Fresco, and work in Stucco, which had not till then been seen in France, and after having had the Honour to serve the King eight Years, his Majesty honoured him with the Charge of a Valet of his Chamber, and afterwards he was rewarded with the Abbey of St. Martin de Troie, whereof Primaticcio assumed the Name. The Works which this illustrious (c) Primaticcio Abbot of St. Martin had several Disciples: The most Ingenious was Nicolo of Modena, known in France under the Name of Messer Nicolo; he painted in Fresco the Gallery of Ulysses at Fountainbleau; he also made several other Pieces in Fresco there. There are some Pieces of his Painting to be yet seen at Beauregar near Blois, and in several Places in France. Person made at Meudon in Architecture, in Sculpture and in Painting, are no less agreeable than those he made in the Gallery and Apartments which he painted at Fountainbleau; and besides the excellent Genius he had for these Arts, he was extraordinary for inventing festival Decorations and such like Ornaments, which he did at Court on several Occasions. Primaticcio made Abbot of St. Martin, continued to serve the Successor of Francis the Is't, in quality of Painter, Architect, and Valet de Chamber to the King. Under Francis the IId, he was made (d) The Abbot of St. Martin was made Surveyor of the King's Buildings, and his chief Architect, in 1559 in room of Philbert de Lorme, whom he succeeded in all his Charges. Surveyor General of the Buildings for his Majesty. That Charge had been executed before by the Father of Cardinal de la Bourdaisiere, and Monsieur de Villeroy. After the Death of Francis the IId; the Abbot of St. Martin continued his Charge of Surveyor General of the Buildings, and by the Order of Katherine de Medicis he made at St. Dennis the Tomb of the Valois: And although that Work remained Imperfect, yet there are to be seen represented on Bass Reliefs the Battles of Francis the Is't, which are of an incomparable Design, and very ingeniously managed according to the Art of Sculpture in the nice Gradations of the Groups of Figures, which appear one standing out before the other. This makes it appear, that it was under the Reigns of these Princes, and this Princess that the Arts of Designing were Re-established in France, and flourished there: For besides the ingenious Italians who laboured in their Revival, the French Nation set themselves with great Success to Architecture and Sculpture; thus the Abbot of Clagni applied himself to the Management of the Building of the Lovure, after Henry the IId had began it. The two du Cerceaux were ingenious Architects, as also Philbert de Lorme and John Bullant (e) Le Primaticcio Abbot of St. Martin died about 1570. The King put in his Place John Bullant to be Architect at Fountainbleau. See Telibien, Of the Works of the Painters, p. 705. From the time of Primaticcio, the true Way in the Arts of Designing began to spread in France, even to painting on Glass; for that reason we see several of that time that are very extraordinary; as also several Works in Enamel, whereof there are several Pieces which adorn the two Altars in the Chapel of Paris, the Designment whereof is very admirable and altogether after the Way of Julio Romano and Primaticcio: There are also several earthen Vessels of that Work painted and enamell'd, which were made in France as well as in Italy. The Abbot of Saint Martin made several Designments in Tapestry, some whereof are to be seen in Hang in the Palace of Conde, and other Princes. Among the good Architects of that time may be numbered Estienne de Perac, who had the Honour to be Architect and Painter to the King. He painted at Fountainbleau the Hall of the Baths, and died in 1600. F. P. 712. , who all of them gave proofs of their Skill by the Buildings they erected, and the Books of Architecture which they published. Moreover the Illustrious John Gonjou was Excellent in Architecture and Sculpture: He gave Proofs thereof in his Works at the Lovure, at St. Germane de L' Auxerrois, at the Fountain of St. Innocent and other Buildings, whereby he shown himself a good Architect and excellent Sculptor. About this time there appeared other excellent Sculptors, as Ponce and Bartelemi, who were fellow Students at Rome. But among all the Sculptors, the most remarkable was James (f) Vigenerus on the Tablets of Philostratus, P. 855. Relates that this happened at Rome in 1550. when he was there. He takes notice that this ingenious Sculptor made three great Figures of black Wax, which for their Excellence are kept in the Vatican; the one represents a naked Man to the Life; the other one in the same Posture without his Skin, where one may distinctly see the Origine and Insertions of the Muscles; and the third is almost a Skeleton. The same Author tells us further, of a fine Marble Figure representing Autumn, which was in the Grotto of Meudon; he says, that he saw it, and that it was made at Rome: It is very Excellent, and as much Esteemed as any modern Piece, which shows the Excellency of this Sculptor d'Angoulême,.:;,.;, who was so skilful as to Rival Michael Angelo in a Model of St. Peter's, and who in the Judgement even of the Italians surpassed therein this great Man. About the same time Pilon (g) There is to be seen of Pilon's a St. Francis in the Cloister of the Augustine's, and at St. Katherine's a Chapel where there are fine Figures and Bass Reliefs in Brass, and in several other Churches, and on the Dial of the Palace there are some of his Works. also distinguished himself at Paris by the excellent Pieces of Engraving which he made in several Churches and other public Places. Thus France produced in the last Age excellent Architects and Sculptors: She had also some famous Painters, and among the rest John Cousin who flourished under Henry the IId, Francis the IId, Charles the IXth and Henry the IIId: The Picture which is to be seen of his of the General Judgement, among the Minims at St. Vincent, which was very well graved by Peter Jode, shows the Excellence of his Designing and Pencil, as also the several Glasses he has painted at St. Gervais in Paris, show that he was Master of several Arts that relate to Designing. He was also an excellent Sculptor, as may be seen on the Sepulchre of the Admiral Chabot, which is done by him in the Chapel of Orleans at Paris; and the Treatises he has made of Geometry and Perspective sufficiently show the Greatness and extent of his Genius. Several other French Painters got a great deal of Reputation about the End of the last Age at Fountainbleau, the best of them were Ferminet, du Brevil, and Bunel (h) Jacob Bunel went into Spain, where he copied the Pictures of Titian; afterwards he went to Rome where he studied in the School of Frederico Zucchero, to perfect himself in Designing and Painting. who surpassed them all; this last was named Jacob, he was born at Blois in 1558, Son of Francis Bunel Painter, under whom he learned the Principles of Painting: After he had perfected himself in Italy, he gave Proofs of his Skill in the Works he made for the King in the little Gallery of the Lowure (i) These Works were destroyed by a Fire which happened in the Gallery of the Lovure in 1660. There is also to be seen of Bunel's, the Picture of the great Altar of the Mendicant Friars at Paris, and also in the Church of St. Severin several Figures of the Prophets, the Sibyls, and of the Apostles painted on a gold-Ground: There is also to be seen at Blois in the Choir of the Capuchins, a Picture which he painted of an excellent Beauty. See the History of Blois by Bernier, P. 521. , which he painted together with Brevil. This also appeared in the Tuilleries, and in the Picture of the Descent of the Holy Ghost, in the Church of the Augustins at Paris: The Excellence of this Picture gained him the Approbation of the illustrious Poussin, who assures us, that of all the Pieces in that City, there was not one that equalled this. CHAP. XXI. The Flemings perfected themselves in Painting, after they had found the Invention of Painting in Oil. PAINTING in the two last Ages made a great Progress in Flanders: And the Flemings cultivated it with a great deal of Care: For after John of Bruges had found out the Way of Painting in Oil, in 1410, he brought up several Disciples, and among the rest Roger Vanderverden of Bruessels, and Havesse who taught this fine Secret to Lewis of Louvain. Peter Cristo, Justus of Ghent, Hugo of Antwerp appeared some time after: They worked only in the low Countries with Reputation, about the End of 1400, and at the beginning of 1500. In the last of these Centuries several other Painters of that Nation began to make themselves known: Lambert Lombard was at Liege of the first Rank for Painting and Architecture. He there brought up some excellent Disciples; the most Famous was Francis Florus, who is looked upon as the Raphael of the Flemish, by reason of his true Way of Designing: William Cay of Breda was also a Disciple of Lambert Lombard, he passed for a very good Painter: There was not in his Works that Fire, and Resolution to be seen as in those of Francis Florus, but there appeared more of the Life, and of Sweetness and good Grace. There were about that time several Flemish Masters also who gained Reputation in Italy, both by Painting and Architecture; Michael Cockisian was one of them, it was he who painted the two Chapels in Fresco in 1522 in the Church dell'Anima, after the Italian Way. There was also John de Calker who ought to be esteemed for his Manner of Painting and Designing: He learned of the Famous Titian, and designed some excellent Stamps and Plates of Anatomy, which made the Book of Andrew Vesalius so Famous. Heemskirk, Martin de Vos, and John Strada studiin Italy the true Manner of Designing and Painting: Strada made several Pieces at Florence for the Great Duke, particularly several Patterns for Tapestry, whereby he shown that he had an universal Genius in all the different Parts of Painting; his great Capacity procured him admittance into the Academy of Designing. The low Countries produced several other Painters; Divic, and Quintin of (a) Vasari says, that Quintin was of Louvain: But A. F. thinks he was of Antwerp, who, from a good Blacksmith and Farrier, became a good Painter, through the natural Inclination he had from his Youth for Designing, and the great Passion he entertained for a Young Woman, who promised him Marriage on Condition he became a good Painter: This encouraged him to learn Painting, which he very successfully accomplished. Louvain were very much esteemed for their true Imitation of Nature. John deCleves was excellent in Colouring and drawing Portraits: Insomuch that Francis the Is took him into his Service, during which time he drew a great many of the Lords and Ladies of the Court. In the same Provinces were John d' Hemeissein, Martin Cook, John Cornelis, and Lambert Scoorel, who was a Canon at Utrecht: John belle Jambe, Divick d' Harlem and Francis Monstaret, were Excellent in Landscapes, and odd Fantastic Figures. This last was imitated by Jerome Hertoghen Bos, Peter Brueghel and Lancelot, who was very Excellent at painting Fires. In these Countries was also Peter Cocuek, who had a great facility and readiness of Invention, for he made several very fine Historical Designs for Tapestry; he had a very good Way, and a great deal of practice in Architecture, which made him translate the Books of Serlio into Dutch. But he who of all the Painters of the Low Countries ought to be the most esteemed was Anthony More Painter to Philip the IId King of Spain: The Pictures and Portraits which are to be seen of this famous Painter's Hand will always make him pass for an excellent Person; he learned Painting of Lambert Scoorel. Several speak also with a great deal of Praise of Peter Le Long, who made at Amsterdam, where he was born, a Picture of the Virgin with other Saints for which he had two thousand Crowns. Matthew and Paul Bril were at that time very Famous for making Landscapes; they wrought a long time at Rome; and in Flanders there appeared with a very great Reputation Octavius Vanveen, who is also called Otto-Venius. He was Painter to the Duke of Parma, who was Governor of the Low Countries, and afterwards to the Arch Duke Albert. It was he who was Master of the Famous Paul Rubens. Peter Porbus of Bruges was also a Painter; he taught Francis his Son to Paint, who continued to learn under Francis Florus; this last had a Son called Francis, who wrought at Paris in the Church of St. Leu of the reformed Jacobins, and in the Stadt-House, where he shown his great Capacity. At the same time Sculpture flourished in the Low Countries as well as Painting, for those two Noble Exercises are Originated from the same Principle, which is Designing: For this reason there were bred in that Country excellent Sculptors; as William of Antwerp, John de Dales, William Cucur of Holland, and James Brusca, all Sculptors and Architects. Brusca made several Pieces for the Queen of Hungary, and he brought up John Bologna of Dovay. It was this Famous John Bologna, who gained the most Honour of any to his Nation for Sculpture, by the Beauty which appeared in all his Works, which have all of them the true Way and Gust of the Ancients, wherein he perfected himself in Italy, and particularly at Florence, where he resided, and held the first Place in that Art. He was there employed by the Princes de Medicis to make several Pieces of Sculpture: The fine Marble Statues, and the great Groupes of Figures in Brass which adorn the Squares of Florence, of Leghorn, and of Bologna are very charming, and so many proofs of his Excellence, and Monuments of his Glory. There are yet at Paris some Marks remaining of the Excellence of his Workmanship, as the Brazen Horse whereon is the Figure of Henry the IVth in the Square of Pontneuf: Thus we may see that both in the Low Countries, and in France as well as Italy, the Arts of Designing had their Revival by the Means and Ways we have shown. That which farther contributed towards it, was the Genius and Application of several Ingenious Painters, Sculptors and Architects who flourished in the Centuries 1400 and 1500. CHAP. XXII. How Graving contributed towards the Re-establishment of the Arts of Designing. TO finish this last Book, it remains that we show the Advantage which the Arts of Designing received by the Invention of Graving, which was found out at Florence in 1460; for this Invention was, and is very serviceable to bring those Arts to Perfection. It is certain that the Way of Designing on Copper, with the Tools called the Burin and Point, was one of the happy Means for the Revival of the Arts: For Graving multiplies and imparts Copies of the Designs, and fine Ideas of Excellent Painters, Sculptors and Architects; insomuch that the Prints which are taken off from these Graved Plates; were of excellent Use in the Revival of Designing, in several Countries, which have not had the Advantage, like Italy, of fine Examples of the Ancient Architecture and Sculpture, and the Works of the most excellent Modern Painters and Sculptors, which are happily communicated by the Help of Copper-Plates. This has been, and is still seen in France, and other Places, that the fine Books of Architecture have made a great many Good Architects; who without going to Italy, where are the fine Relics of Antiquity, have form a true and good Manner, and perfected their Studies in this Art by the Help of Graving, which faithfully represents the Plans, Profils, the Elevations and Measures of the finest Buildings. Painting has also the same Advantage by Prints as Architecture, and has given that way solid Instructions to several Painters. This may be remarked by the Prints of Mark Antonio graved after the Designs of Raphael, which have taught the true manner of Designing to several very considerable Painters. The Illustrious Poussin is an Example of this, in the great Application he made in his Youth to Design by those Prints when he was at Paris. It was here this Great Painter so happily imitated the manner of Raphael, and the Ancients, in his admirable Works. The Sculptors moreover received the same advantage from Graving as the Painters, for that made the Designs of the fine Figures of the Ancients familiar to them, and all the fine Bass Reliefs of the Famous Columns and Triumphal Arches, which are to be seen in the Palaces and Houses of Rome. Graving was found out at Florence by Maso Fineguerra a Goldsmith, who printed all that he graved on Silver: Afterwards Baccio Bandinelli, who was a Florentine Goldsmith, continued that Art, but as he was no good Designer, he copied the Designs of Sandro Boticelli of that City. The Invention of Graving, being then come to the knowledge of Andrew Mantegna, an Excellent Painter, who was about that time at Rome, he was so much enamoured with it, that he set himself to learn it, and he graved Bacchanalians with the Burin, and a great Triumph he cut in Wood, which was very Admirable. This Art went afterwards from Italy into the Low Countries: Martin of Antwerp who was a Painter, practised it, and sent a great many of his Plates into Italy, and continued to make them better and better. After Martin of Antwerp, Albert Durer, in the same City began to Grave after a better Manner, Design and Composition; for he endeavoured more nearly to follow Nature, and approach the Italian way, which he always esteemed the best: About the Year 1503, he made a small Statue of the Virgin, which surpassed the Works of Martin of Antwerp, and he continued to make several Plates of Horses, designed according to Nature, with another of the Prodigal Son. But when he had graved several of these Plates with the Burin, and saw, that they took up a great deal of Time, he set himself to Grave on Wood, that he might publish a greater Number of his Works, and in the Year 1510 he published of that Sort of Graving the beheading of St. John, the Passion of our Lord, and several other Pieces which went quickly off. Albert, by the esteem People set on his Works, became very Rich; and this engaged him to Grave again with the Burin, and he made a Piece representing Melancholy, three Notre Dames, with the Passion of our Lord in thirty six Pieces. About this time Francis Francia was esteemed at Bologna of the first rank of Painters; he had several Disciples, whereof Mark-Antonio Raimondi was the best, by reason of his Capacity in Designing, which gave him a great Facility in handling the Burin in Goldsmith's Works, in which he was Excellent. But according to a Resolution he took to Travel, he went to Venice. There he saw Stamps which Albert had made with the Burin, and in Wood They so pleased him that he bought of them as far as his Money would reach; among the rest he had the Passion cut in Wood: And after reflecting what Honour and Profit he should have gotten, if he had employed himself to Grave after that way, he at length determined to set himself wholly thereunto, and he so well copied that Passion of Albert's on Copper, that it was taken to have been done on Wood; he also put the Mark of Albert A. D. thereon, and so well imitated that Work, that no body took it for Mark-Antonio's but for Albert's, and it was bought and sold for such at Venice; insomuch that some Copies were sent to Albert of the Passion that Mark-Antonio had done, which made Albert so very angry, that he went from Antwerp to Venice to complain to the Republic of the Wrongs Mark-Antonio had done him: But he could obtain nothing thereby, but only that his Mark should be no more put to Mark-Antonio's Pieces. Albert at his Return to Antwerp found a Competitor, Lucas van Leyden, who (a) Lucas van Leyden had an extraordinary Inclination for Designing even in his Childhood; he made Pictures at the Age of twelve Years; he applied himself also to Graving; at fifteen Years of Age he had graved several Copper Plates; he died at thirty nine. Years of Age in 1533. In the time of Lucas and Albert, there appeared with a great deal of Reputation Han Holbein of Basil. He practised also Graving; there are of his Hand Wooden Cuts of the Bible, and a Dance of the Dead, which he painted in that City. But his chief Occupation was Painting, which he practised a long time in England, where he was esteemed the most Ingenious of his Time; he died at fifty six Years of Age in 1554. though he was not so good a Designer as himself, he notwithstanding equalled him in the Beauty of working with his Burin, as he made it appear in 1509, by two round Prints; the one was Christ carrying his Cross, the other his Crucifixion. Lucas continued to show his Ingenuity, by a Passion, which he graved in sixteen Pieces, and by his other Works. Albert, at this, grew jealous of Lucas' Knowledge; and because he would not be excelled, he redoubled his Application and Industry in Graving. He made several fine Prints, as St. Eustachius, St. Jerom, and several others, which augmented his Reputation: For he was not only a good Graver, but also a good Painter, Geometrician and Architect. This may be seen by his Treatise of the Proportions of an human Figure, of Perspective and Architecture: His Works have made his Name (a) Albert Durer died at Nuremberg, his own Country, in 1528, at fifty eight Years of Age. This Epitaph is to be read on his Tomb. Quicquid Alberti Dureri mortale fuit, conditur hoc tumulo. Emigravit VIII Idus Aprilis, 1528. This ingenious Man was very much honoured by the Emperors Maximilian, Charles the V and Ferdinand King of Hungary. One of his Disciples was Aldegrave a Painter and Graver at Nuremberg. Illustrious, for they contributed to the Re-establishment of the Arts in Flanders and Germany, and also in Italy; for they were the Prints of Albert which engaged Mark-Antonio to follow Graving, and made him Grave so happily the Works of Raphael, that are so necessary to all Designers. Thus by the Opportunity Mark-Antonio had of Copying at Venice the Prints of Albert, he acquired a facility and readiness in Graving, and went afterwards to Rome, where the first Thing he graved was a Lucretia, after Raphael: This was shown to this great Painter, who at the same time contracted a Friendship with Mark-Anthonio, and set him to Grave a Plate of the Judgement of Paris, another of the Death of the Innocents', and several others. This was very Advantageous to Raphael, and gained him, as well as Mark-Antonio, a great Reputation throughout all Europe, and created an Emulation among several Designers, who applied themselves to Graving, and became Disciples of Mark-Antonio. The most Ingenious were Mark de Ravenna and Augustin Venetianus, who graved several Designs of Raphael and Julio Romano. Mark-Antonio after the Death of Raphael, graved the Designs of Julio Romano, which are obscene Postures, for which he was arrested at Rome, and as he escaped from Prison, he went to Florence, where he finished his Plate of St. Laurence, after the Design of Baccio Bandinclli. In the mean while Baccio complained to Pope Clement the VIIth that Mark-Antonio spoiled, instead of imitating, his Designs: This came to his Knowledge, and after his Prints were finished, he carried them to this Pope, together with the Designs of Bandinelli, and as his Holiness was very Skilful in, and a great Lover of Designing, he judged quite otherwise, and acknowledged, that this ingenious Graver had very much mended the Faults that were in the Designing of Bandinelli. Insomuch that by the Beauty of that rare Print, Mark-Antonio regained the Favour of this Pope, which the Postures of Aretin had unhappily caused him to lose. But about this time happened the sacking and taking of Rome, which reduced Mark-Antonio almost to Beggary. For to redeem himself out of the Hands of the Imperialists who had made him Prisoner, he was obliged to give them all the Money he had, and so went from Rome, whither he returned no more. About this time was found out the way of Graving in Wood with Chiaro-scuro, which make the Prints appear as if they were heightened with White by the Pencil; and the Person who found out this Invention was Hugo de Carpi, an indifferently good Painter, but who had a Genius for several Things. There are some of these sorts of Prints after Raphael, of Parmegiano, of Baldassare and of Beccafumi, and others. The way of Etching with Aquafortis began also to be practised about this Time, by Parmegiano and Beccafumi, who etch'd several Plates. After them Baptista deal Moro a Painter of Verona etch'd with Aquafortis fifty fine Landscapes. He was a Disciple of Titian, and would have been one of the most Famous of his Age, if he had not died before he was thirty Years of Age. Jerome Cock, Graved in Flanders the seven liberal Arts, and at Rome several Prints after the Designs of Sebastian Frate del Piombo, and after those of Francis Salviati. At Venice, Baptista Franco an ingenious Painter graved several of his Works. In the mean while Graving continued at Rome by James Caraglio of Verona, whom Rosso the Painter caused to Grave several Prints after his Designs; he also Graved some more after Perin del Vaga, Parmegiano and Titian: But Caraglio after he had thus wrought, set himself to Grave on Crystals and Cornelian, wherein he had no less success than on Copper; and the King of Poland sent for him to Work in Graving and Architecture, which he successfully practised in that Kingdom. John Baptista Mantuano of the School of Julio Romano, applied himself to Graving with the Burin, and made some fine Prints after the Works of his Master, which are very much esteemed; there are to be seen some Prints done by his Daughter Diana, which are well graved. Aeneas Vico of Parma, was also a Graver and wrought with the Burin; he copied the Designs of Rosso, of Michael Angelo, of Titian, of Salviati, and of Bandinelli, and graved several Portraits; That of Charles the V enriched with Trophies (by which he got a great deal of Praise, and a large Reward,) is one of the most considerable of his Works. At Rome Nicholas Beatrix Lorain continued this Art; he worked after Mutian, after Michael Angelo, and after Ghiotto the Boat of St. Peter, with several other Prints, very much esteemed. There were other Italian Gravers who distinguished themselves by their Prints at Rome, as Cherubin Albert, who graved the fine Frizes after Polydore: And also Vilamen d'Assise for the correctness of his Designing and the liberty of his Burin. The same Esteem is due to Antony l'Abacco, who measured and graved a Book of the ancient Buildings, which is one of the most regular Pieces of Architecture that has been published. There were several other ingenious Engravers in the Low Countries; Hubert Goltius of Venlo was there Famous. He learned Painting of Lambert Lombard, afterwards he graved several Books of Medals of the Emperors, entitled Fasti, and Sicilia, and Magna Grecia, and others, of which also he composed a Discourse in Latin, and because he was very well versed in History, he was honoured with the Quality of Historian and Painter to Philip the IId. He died at Bruges in 1583. Of the same Family of Goltius was also Henry, who employed himself much in Graving and Painting, having made two Voyages into Italy, to perfect himself; besides his Ingenuity in Painting and Graving, he Designed incomparably well with his Pen. He was born at Venlo in 1558. Saenredam, Matam and Peter Jode, were his Disciples. Cornelius Cort, and Martin Rota, shown their Capacity by some Pieces they graved after Michael Angelo, Mutian and others, as also John, Raphael and Giles Sadeler, who were of Brussels, promoted very much the Art of Graving, by the Beauty of their Prints. Collaert, Philip and Cornelius Gall of the same Country graved there, and afterwards in Italy, with a great deal of Reputaion. This Art appeared also in great Splendour in France in the time of Rosso, and of the Abbot St. Martin; for Renè, engraved the most Part of their Works, which are at Fountainbleau. Insomuch that in all the Countries where the Arts of Designing flourished, Graving flourished also, and was esteemed as a considerable Part of those Arts. But the Person who most advanced Graving about the End of the last Age, and improved it beyond what had been till then done, was the Famous Augustin Carrache: For, not to mention the Correctness and excellent manner of Designing he was Master of, to a very high Degree, he made the Strokes cut with his Burin extreme even, and extraordinarily well managed according to the chief Turns and Forms of his Object, even to Landscapes, which he touched incomparably well. From his Youth he learned Painting at Bologna of Prosper Fontana, afterwards he studied Graving and Architecture under Dominick Tibaldi. In a short time he exceeded his Master, who got considerably by the Ingenuity of his Disciple. Augustin had also a great Love for Sculpture, which made him work in Relievo under Alexander Minganti a Bolonian. Notwithstanding which he did not leave off Graving, for he had a general Genius, which led him to Learning, to Geometry, and all its dependencies. He went afterwards with his Brother, the Famous Hannibal Carrache to study Painting in Lombardy, and to learn the charming fine Manner of Painting of Correggio: But he left his Brother at Parma, and went himself to Venice, where he employed himself in graving the Pictures of Tintoret and Paul Veronese, and thereby rendered their Works more Famous, by the Beauty of his Designing, which made his Prints more perfect than those of other Gravers. He moreover graved several Pieces after Correggio, after Baroche, and made also several Plates after the Life, of his own Invention, which are all very admirable. It is also True that toward the End of the last Age, Augustin Carrache advanced Graving beyond those who had preceded him; and that which farther distinguished him from other Gravers, was the excellence and correctness of his Design. For he had so passionate a Desire to make those Art's Flourish, that he with his Illustrious Brother Hannibal, and their Cousin Lewis Carrache established an Academy at Bologna. It was this Famous School which brought up the most Ingenious Designers and Famous Painters of Bologna, who maintained the excellence of Designing and Painting, in the highest Pitch those Noble Arts have arrived to since their revival. It is to these Carraches we are obliged, for having hindered Painting, at the beginning of our Age, from a total Declension at Rome, which then threatened it, by reason that the Mannerists of the School of Joseph Arpino, and those of the School of Caravage, who were their Antagonists, got the better of those who followed the Gusto of the Ancients, and the noble Manner of Raphael. But at last the Ingenious Disciples of the Academy of the Carraches, got the day both from the one and the other, and Re-established the true way of Designing and Painting; which has ever since happily continued down to us: And throughout all this Age of 1600 these Arts have appeared and continued in Perfefection, which shall be the Subject of the Second Part of the History of these Arts. By the Ingenious Gravers we have mentioned in this last Chapter, it may be noted that we reckon Graving among the Arts that depend on Designing and Painting, as Consequent to them, for the Painters first began the right Practice of it, and to advance it to that high Degree wherein now we see it. We may moreover see that the Way of making the Punchions and Dies for striking of Medals, is one Sort of Graving, which depends on Sculpture: And that the most Excellent Gravers have been all well versed both in Sculpture and Painting; for they never Grave their Coins, till they have first modelled their Works: Thus Sculpture precedes Graving. The ingenious Medallists in the Time of Henry the IId and Henry the IVth, were Sculptors; and we commonly hold, that John Goujon made the finest Medals of this first King, and of Catharine de Medicis which are to be seen. John Rondelle and Estienne Lanne are also Famous, who made the Coin under Henry the TWO, and those fine Testoons of that Prince. As to the Medals of Henry the IVth, the finest are those of ...... du Pres, who was an ingenious Graver, and excellent Sculptor; the Bass Relief which is to be seen in the King of Sicily's Street in Paris is a Proof of this. Graving has been always very much Esteemed, and gained a great deal of Credit, as well as the other Arts of Designing; the Emperor Commodus besides Designing which he learned, learned also to Grave, as we have showed in the beginning of the Second Book: And we can't but believe, that his End therein was to make Medals, the Knowledge whereof has always been so much Esteemed both among the Ancients and Moderns; and that which farther proves this, is, that we find no other ways of Graving among the Ancients, than that of Graving very deep for making Medals, and Graving fine Stones for Rings, and others for Seals, which are often to be met with in the Cabinets of the Curious. FINIS A TABLE OF THE NAMES of the ARTISTS mentioned in this HISTORY. P. After the Name signifies Painter; S. Sculptor; A. Architect; G. Graver or Goldsmith; S and A. Sculptor and Architect; P. S. A. Painter, Sculptor and Architect. A ABacco, A. G. Page 189 Abbot de Clagni, A. Page 175 Aetion, P. Page 20 Adrian, A. P. S. Page 44 45 Agesander, S. Page 113 Angelo, S. Page 136 Agnolo Sanese, S. Page 90 Aldigieri de Levio, P. Page 119 Aldegrave, P. G. Page 186 Alexander Moretto, P. Page 124 Alexander Minganti, S. Page 190 Alexander Moretti, P. Page 136 Albert Durer, P. G. Page 183 184 185 186 Alphonsus Lombardi, S. Page 160 Alterius Labeo, P. Page 26 Alexis Baldovinetti, P. Page 101 Alcamenes, S. Page 22 Andrea Mantegna, P. G. Page 108 133 Andrew de Solario, P. Page 115 Andrea Del Sarto, P. Page 116 144 Andrea Pisano, S. Page 93 94 Andrea Orgagna, P. S. A. Page 93 Andrea Verrochio, S. P. Page 99 112 Andrea del Castagno, P. Page 101 Andrea Taffi, P. Page 89 Andrea Squarzella, P. Page 116 Andrea Lewis d'Assise, P. Page 117 Andrew Contucci, S. Page 160 Amico, P. Page 164 Andrea Palladio, A. Page 68 167 Anthonio da Correggio, P. Page 125 Usum More, P. Page 180 Anthonio da san Gallo, A. Page 142 167 168 Antonio Pollaivoli, P. S. Page 111 Anthony Filaret, S. Page 98 Antonello da Messina, P. Page 105 106 107 Androcida, P. Page 18 Hannibal, A. Page 16 Hannibal Carrache, P. Page 190 Apelles, P. Page 19 20 23 Apollodorus, A. S. Page 44 45 Apollonius, P. Page 89 Argellius, A. S. Page 34 Archiphron, A. Page 35 Arnolpho Lapo, A. Page 87 89 Armenini, P. Page 3 Athenodorus, S. Page 31 Augustin Carrache, P. G. S. Page 163 190 191 Augustin, surnamed Bambaia, S. Page 136 Augustin Venetianus, G. Page 157 187 Ausse or Havesse, P. Page 178 Aretine, Page 187 B BAccio Bandinelli, S. Page 156 157 Baccio Uberti, P. Page 117 Baldassare Perruzzi, P. S. Page 139 144 Bartholomew Vivarini, P. Page 124 Bartholomew, S. Page 176 Bartholomew de Regge, S. Page 124 Bartholomew Montagne, P. ibid. Bartholomew Genga, A. Page 161 Baroche, P. Page 125 Baptista Lorenzi, S. Page 152 Baptista Franco, P. Page 153 Baptista de Angelo, P. Page 124 Baptista del Moro, P. G. Page 165 188 Bassan the elder, was Jacob, Son of Francis da Ponte Bassano, P. Page 165 Francis, ibid. John Baptista, P. ibid. Jerom, P. ibid. Leander, P. all four Children of Jacob. ibid. Bassiti, P. Page 124 Besaleel, A. S. G. Page 8 Benedict Coda, P. Page 109 Benedict Ghirlandaio, P. Page 111 Benedict da Maiano, S. A. ibid. Benedict Caporali, A. Page 117 Benvenuto Cellini, S. G. Page 157 Benedict Diada, P. Page 124 Benvenuto Garofola, P. Page 108 160 Bouchet, ou Buschetto, A. Page 85 Bernard Daddi, P. Page 95 Blaise, P. Page 163 Bernard de Gatti, P. Page 135 Bernardino da Trevio, P. A. Page 137 Bramante, A. P. Page 137 138 139 140 Bramantine, P. A. Page 136 Bruneleschi, A. S. Page 78 87 96 98 135 Briaxis, A. S. Page 22 Bularchus, P. Page 17 Buono, A. S. Page 86 Buonamico, P. Page 95 Bunel, P. Page 177 Du Brueül, P. ibid. Brusca, Page 181 C CAlicratidas, A. Page 43 Camillo, P. Page 135 Caradosso, G. Page 118 139 Les deux du Cerceaux, A. Page 175 Ceciliano, S. Page 136 Caesariano, A. Page 137 Charesthe Lindian, S. Page 24 66 Charles Alphonsus du Fresnoy, P. Page 112 Cherubin Albert, G. Page 189 Cione, G. Page 98 Cimabue, P. A. Page 88 89 90 91 Claudius of Paris, S. Page 173 Cleophantus, P. Page 24 Choerebus, A. Page 36 Collaert, G. Page 190 Cornelius Gall, G. ibid. Cornelius Cort, G. Page 189 Commodus, P. G. Page 48 Consilio Gherardi, L. Page 95 Corsino Buonajusti, P. ibid. Cosmo de Medicis, A. ibid. Christofano, P. Page 119 Christopher Gobbo, S. Page 136 Christopher Lombard, A. Page 171 D DAniel da Volterra, P. S. A. Page 157 158 Daniel Barbaro, A. Page 167 Dario da Treviso, P. Page 108 David Ghirlandaio, P. Page 111 Daedalus A. S. Page 8 9 21 33 Diogenes, S. Page 43 Diopenes, S. Page 9 Diana Mantuano, G. Page 188 Dinocrates, A. Page 5 35 Divic of Louvain, P. Page 179 Divic d'Haerlem, P. Page 180 Dominico Pucci, P. Page 95 Dominico Ghirlandaio, P. Page 99 101 111 147 Dominico Venitiano, P. Page 106 109 Dominico Beccafumi, P. Page 159 Dominico Tebaldi, P. G. A. Page 163 190 Dominico Brusasorci, P. Page 165 Dominico del Barbieri, P. S. Page 173 Don Bartholomeo, P. Page 109 Donatello, S. Page 96 97 Dosso, P. Page 108 160 E EMulo, A. Page 33 Heemskirk Page 179 Children of Seth, A. Page 3 Aeneas Vico, G. Page 188 Epeus Dicrateus, A. S. Page 9 Eufran or, P. S. Page 19 Eupompus, P. Page 18 Etienne Florentin, P. Page 93 Etienne Veronese, P. Page 124 Etienne du Perac, P. A. Page 175 Etienne Lanne, G. Page 192 Europe, P. Page 135 F Fabius' Pictor, Page 26 Federico Zucchero, P. Page 161 162 163 Fermo Guisoni, P. Page 135 Philip Lippia, P. Page 112 Philip Gal, G. Page 190 Philip Salviati. Page 117 Fontana, A. Page 171 Fra. Bartholomew St. Mark. P. Page 101 120 121 Franco, P. Page 119 Francis Monsignori, P. Page 109 Francis Francia, P. Page 107 118 119 184 Francis Melzi, P. Page 115 Francisco de Sandro, P. Page 116 Francis Torbido, P. Page 124 Francis Mazzuolo called Il Parmegiano, P. Page 126 Francis Brambilati, S. Page 136 Francis Bronzin, P. Page 159 Francis the First, P. Page 172 Francis of Orleans, S. Page 173 Francis Monstaret, P. Page 180 Francis Porbus, P. ibid. Francis Florus, P. Page 178 180 Frederick Baroche, P. Page 163 Friar John da Fiesole, P. Page 101 109 Friar Philip Philippini, P. Page 101 Freminet, P. Page 177 G GAlante, P. Page 119 Galeazzo Campo, P. Page 135 Galeazzo, P. Page 119 Gaudence, P. Page 136 Gentil da Fabriano, P. Page 109 Gentil Bellini, P. Page 109 110 Georgeone, P. Page 109 128 129 George Vasari, P. A. Page 102 116 Gherado Starnini, P. Page 95 Gherardo, P. Page 109 Ghiberto, G.A.P.S. Page 96 98 99 Gioto, P. A. Page 89 90 91 Giovanetto Cordegliani, P. Page 124 Giovanni Dell'Oprera, S. Page 152 Giles Sadeler, G. Page 189 Glicon, S. Page 22 Guido, P. Page 119 William Oltramontano, A. Page 86 William le Forti, P. Page 93 William de Marcilli, P. Page 102 William Cay, P. Page 178 William of Antwerp, S.P. Page 181 William Cucur, S. A ibid. H HEnry Mellin, P. Page 103 Henry Goltius, P. G. Page 189 Hercules Procacino, P. Page 125 Hiram, A. S. Page 11 Hormisda, A. Page 50 Hugo of Antwerp, P. Page 178 Hugo de Carpi, P. G. Page 187 Hugo Goltius, P. G. Page 189 ● JAcob d'Avanzi, P. Page 119 Jacobello de Flore, P. Page 124 Jacobello, S. Page 90 Jacopo de Cassentino, P. Page 95 James Caraglio, G. A. Page 188 James de la Quercia, S. Page 97 James Lanfranc, S. Page 90 James de la Montagne, P. Page 109 James Bellini, P. ibid. James Puntormo, P. Page 159 James Ripenda, P. Page 119 James Robusti Tintoret, P. Page 166 Je●inus, A. Page 36 John Van●●●ck, P. Page 103 John Bellin, P. Page 109 John Antony Boltrafio, P. Page 115 John Mansueti, P. Page 124 John Bonconsel, P. ibid. John Francis Caroto, P. ibid. John Maria Verdizotti, P. Page 132 John de Calker, P. Page 132 179 John de Lion, P. Page 135 John Baptista Mantuano, P. G. Page 135 188 John Baptista Conrigliano, P. Page 124 John Maria Falconetti, A. P. Page 141 143 John d'Udine, P. S. Page 153 154 John Martini d'Udine, P. Page 154 John Antony da Pordenon, P. ibid. John Francis il Fattore, P. Page 155 John James della Porta, S. A. Page 168 John Goujon, S. A. Page 176 192 James Angouleme. Page 176 James Brusca. Page 181 John Cousin, P. S. Page 177 John Strada, P. Page 179 John Sadeler, G. Page 189 John de Cleves, P. Page 179 John d' Hemeissein, P. ibid. John Bellejambe, P. Page 180 John Rondelle, G. Page 192 John de Dales, S. A. Page 181 John Bologne de Dovay, S. ibid. John Baptista Franco, P. G. Page 188 Jerom Genga, P. A. Page 161 Jerom Siciolante, P. Page 155 Jerom Mutiano, P. Page 136 166 167 Jerom Hertoghen Bos, P. Page 180 Jerom Cock, G. Page 188 Jerom & Justus Campagnola, P. Page 124 Jerom Romanino; ibid. Jerom Mazzuolo, P. Page 146 Jerom de Carpi, P. Page 100 Jerom de Ferrara, S. Page 160 Innocent d'Imola, P. Page 164 Joseph Arpino, P. ibid. jocund, A Page 141 142 143 Julius Campo, P. Page 135 Julius Caesar Procacino, P. Page 187 Julian da Sangallo, A. Page 167 Justus, of Ghent, P. Page 178 L LActantius Gambaro, P. Page 135 Lancelot, P. Page 180 Lanfranc, P. Page 126 Lapo Gucci, P. Page 95 Lambert Lombard, P. A. Page 178 Lambert Scoorel, P. Page 180 Lavinia Fontana, P. Page 187 Laurence Piccard, S. Page 173 Laurence Hercules, P. Page 108 Laurence Costa, P. Page 107 118 Laurence Lendinara, P. Page 108 S. Lazarus, P. Page 71 72 Leocares, A. S. Page 22 Leonardo da Vinci, P. Page 99 101 112 114 115 120 129 136 138 Leon B. Alberti, A. Page 100 133 Liberale, P. Page 124 Libon, A. Page 33 Lippo Dalmaso, P. Page 119 Lisippus, S. Page 23 24 29 Lorenzetti, P. Page 95 Lewis Lippo Florentin, P. ibid. Lewis Malino, P. Page 108 Lewis Vivarino, P. Page 124 Lewis of Louvain, P. Page 178 Lucas van Leyden, P. G. Page 185 Lucas Signorelli, P. Page 112 Luc de la Robbia, S. Page 97 Lucia, P. Page 135 Lucian, S. Page 20 M MAderni, A. Page 171 Claudius Page 102 Mark Mariotti Albertinelli, P. Page 101 Mark Zoppo, P. Page 108 119 Marcellus Mantuanus, P. Page 155 Mark Bassarini, P. Page 124 Marcello Cervino. Page 170 Mark Antonio Raimondi, P.G. Page 184 Mark de Ravenna, Page 187 Marco Uggioni, Page 136 Marin, S. Page 119 Marietta, P. Page 196 Matthew Bril, P. Page 180 Matthew Luchese, P. Page 97 Mattheo, P. Page 119 Masaccio, P. Page 101 Maso Fineguerra, G. Page 183 Martin Rota, G. Page 189 Martin of Antwerp, P. G. Page 184 Martin Cook, P. Page 180 Martin de Vos, P. Page 179 Metagenes, A. Page 36 Metrodorus, P. Page 21 Methodius, P. Page 61 Michael Angelo Buonarotti, P. S. A. Page 100 101 111 120 131 146 147 148 Michael San Michael, A. Page 109 141 Michael Angelo Anselmi, P. Page 126 Michael Angelo Carravaggio, P. Page 164 Michael Cockisien, P. Page 179 Michellozzo Michael, A. S. Page 97 Michelino, A. Page 114 Mino, S. Page 106 Miron, P. Page 18 N NAldino, A. Page 173 Noah, A. Page 3 Nicholas Pisan, S. Page 86 90 Nicholas da Bologna, S. Page 97 Nicholas Beatrix, G. Page 189 Nicholas, and John Baptista Roux, makers of Tapestry, Page 134 Nicolo of Modena, P. Page 116 174 O OCtavius Vanveen, called Otto-Venius, P. Page 180 Octaviano, da Faenza, P. Page 93 Aholiab, A. S. G. Page 8 Orson, P. Page 119 P PAcuvius, P. Page 27 Palma the eldest, P. Page 164 Palma the younger, P. ibid. Pamphilus, P. Page 19 Parrasius, P. ibid. Paris Bordone, P. Page 132 Paul Veronese, P. Page 165 191 Paul Farinati, P. Page 165 Paul Cavazzuola, P. Page 124 S. Paulus Romanus, S. Page 106 Paul Uccello, P. Page 101 Paul Aretino, S. G. Page 90 Paul Lomazzo, P. Page 136 172 Pasquino Cenni, P. Page 95 Peneus, P. Page 18 Pelegrino Tebaldi, P. A. Page 162 163 Pelegrino d'Udine, P. Page 154 Perrin del Vaga, P. Page 153 155 156 158 Pietro Cavalini, P. Page 93 Peter Cocuek, P. Page 180 Peter Cristo. P. Page 178 Peter Pollaivolo, P. S. Page 111 Peter John a Spaniard, P. Page 117 Peter Perugino, P. Page 99 101 117 Peter Cosimo, P. Page 116 Peter Brueghel, P. Page 180 Pietro da Cortona, P. Page 167 Pygmalion, S. Page 14 Pilon, S. Page 176 Pirro Ligorio, P. A. Page 168 169 Pisanello, P. G. Page 109 Pitis, S. Page 22 Policletes, S. Page 23 Phidias, Page 18 21 22 36 Polignotus, P. Page 18 Polidore, S. Page 165 Polidore da Caravaggio, P. Page 126 127 Pontius, S. Page 176 Protogenes, P. Page 20 23 Praxiteles, S. Page 23 du Pres, S. G. Page 192 Properzia de Rossi, P. Page 136 Prospero Fontana, P. Page 190 Primaticco, Page 135 159 170 173 174 R RHolo, A. Page 33 Raphael Sanzio d'Urbin, P. A. Page 101 117 118 120 122 139 142 Raphael dal Colle Broghese, P. Page 135 Raphael Sadeler, G. Page 189 Rinaldo Mantuano, P. Page 135 Rinaldo, G. Page 100 178 Roger da Bruges, P. Page 104 Rondinello, P. Page 109 Rosso or le Roux, P. A. Page 190 171 173 159 S SAlviati, P. Page 116 159 Sandro Boticello, P. Page 101 183 Sansovino, S. A. Page 144 145 146 Scammozzi, A. Page 167 Scilli, S. Page 9 Scopas, S. A. Page 22 35 Sebastian Frate del Piombo, P. Page 130 153 188 Sabastiano Serlio, A. Page 141 Sebeto, P. Page 124 Severus, A. Page 45 Severus, P. Page 119 Silvio da Fiesole, S. Page 136 Simon, P. Page 119 Simon Brother of Donatelo, S. Page 98 Simon Sanese, P. Page 93 Sofonisba, P. Page 135 Sognio Dantignano, P. Page 95 Solosmeo, P. Page 116 Spinello, P. Page 95 Squarcione, P. Page 108 T TAdeo Gaddi, P. Page 93 Tadeo Bartoli, P. Page 95 Tadeo Zuchero, T. P. Page 161 Terentius Lucanus, P. Page 27 Theodorus, A. Page 33 Titian of Cadore, Page 130 131 132 Timotheus, A. S. Page 22 Tofanon, S. Page 136 Tintoret, see James Robusti, Page 166 Turpilius, P. Page 26 V VAlerius, P. Page 132 Valerio Cioli, S. Page 152 Vanni Cinazzi, P. Page 95 Vannius, P. Page 163 Vellano, S. Page 106 Ventura, P. Page 119 Vignola, P. A. Page 169 170 171 172 Vilamen, G. Page 188 Vincent Campo, P. Page 135 Vincent Zuccheri, P. Page 132 Vincent Verochio, P. Page 124 Vincent de Bresse, P. ibid. Vital, P. Page 119 Victor Bellin, P. Page 124 Victor Scarpaccio, P. ibid. Vulcan an Engraver, Page 10 X XEnocles, A. Page 36 Z ZEno a Veronese, P. Page 124 Zenodorus, S. Page 30 Zeuxis, P. Page 18 27 BOOKS Printed for Thomas Bennet Bookseller, at the Half-Moon in St. Paul's Churchyard. 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