HISTORY of Chalcography by J.E. SCULPTURA: OR THE HISTORY, and ART OF CHALCOGRAPHY AND Engraving in Copper. WITH An ample enumeration of the most renowned Masters, and their Works. To which is annexed A new manner of Engraving, or Mezzo Tinto, communicated by his Highness' Prince Rupert to the Author of this Treatise. XXXI. EXOD. XXXV. Implevi cum Spiritu Dei, Sapientia, & Intelligentia, & Scientia in omni Opere, etc. LONDON, Printed by J. C. for G. Beedle, and T. Collins, at the Middle-Temple Gate, and J. Crook in St. Paul's Churchyard. 1662. TO THE HONOURABLE, AND LEARNED GENTLEMAN, ROBERT boil Esq; SIR, HAving upon your reiterated instances (which are ever commands with me) prepared this Treatise concerning the History of Chalcography etc. I thought myself engaged, to signify to the rest, that may possibly receive or Satisfaction, or Benefit from it, to whom they are obliged for the Publication of it. The truth is, as it respects the pains which I have taken, it bears not the least proportion with my ambition of serving you; but as you are pleased to judge it useful for the encouragement of the Gentlemen of our Nation, who sometimes please themselves with these innocent diversions (Collections worthy of them for divers respects) and, especially, that such as are addicted to the more Noble Mathematical Sciences, may draw, and engrave their Schemes with delight and assurance, I have been induced to think it more worthy your Patronage, and of my small Adventure, who profess to have nothing so much in my desires, and which I more avow the pursuit of, then to employ the whole remainder of the life, which God shall assign me, and that I can redeem from its impertinencies, in contributing to that great and august design, which your illustrious, and happy Genius does prompt you to, of cultivating the Sciences, and advancing of useful knowledge, emancipated from the strong contentions, and little fruit of the former; Envy, and imposture of the latter Ages. Sir, This is not in the least to flatter you, nor can I have other aim in it, then that by your great Example, I might excite such as (like you) have Parts and Faculties, to things that are glorious, and wortby of them. Your studies are so mature and universal, your travels so highly improved, and your Experience so well established; that, after I have celebrated the Conversation which results from all these perfections, it is from You alone, that I might describe the Character of an accomplished Genius, great, and worthy our Emulation. But though your modesty does not permit me to run through all those Transcendencies; yet, the World is sufficiently instructed by what you cannot conceal, that I say nothing of servile, and which will not abide the Test; so as I have been often heard to exult in the felicity of this Conjuncture of ours, which (since those prodigies of Virtue, the illustrious Tycho, Bacon, Gilbert, Harvey, Digby, Galileo, Peiresky, De Cartes, Gassendi, Bernier [his Disciple now in Persia] and the late incomparable Jacomo Maria Favi etc.) has produced us nothing, which will support the comparison with you, when I shall pronounce you (and as indeed your merits do challenge it) the Phoenix of this latter Age. And now that I mentioned Signior Favi, I will not conceal with what ecstasy, and joy I lately found his memory (which I have so much, and so often heard mentioned abroad, by such as had the happiness to know him intimately) consecrated by the eloquent pen of Monsieur Sorbiere, in a discourse of his to Monsieur Vitre, concerning the utility of great Travel and Foreign Voyages; because it approaches so near to the Idea which I have proposed, and may serve as an encouragement and example to the Gentlemen of our Nation, who, for the most part wander, and spend their time abroad, in the pursuit of those vain and lower pleasures, fruitless, and altogether intolerable. But Sir, I will crowd no more into this Epistle (already too prolix) which was only designed to accompany this piece, and some other useful, and more liberal diversions of this nature, which I cannot yet produce: But every thing has its time, and when I would redeem it to the best Advantage, it is by entertaining it with something that may best declare to all the World, how greatly I account the honour of being esteemed Sir, Your most humble, and Most obedient Servant J. EVELYN. Sayes-Court 5. April 1662. An Account of Signior Giacomo Favi by Monsieur Sorbiere. GIacomo Maria Favi of the House of the Marescotti of Boulonia, died above thirty five years of age, near fifteen years since, in the City of Paris. It is a History worthy of Record, and that all the World should take notice of this incomparable Person, as that great Wit and polite Philosopher Monsieur Sorbiere does describe him: For as much (says he) as it seems to be a very great reproach, that neither Prince, nor State have hitherto had the consideration, or the courage to undertake, what one particular person alone did resolve upon for the universal benefit, and good of the public: For it was upon this design, that he engaged himself expressly, making the most exact observations, and collecting the Crayons, Prints, Designs, Models and faithful Copies of whatsoever could be encountered through the whole Circle of the Arts and Sciences; the Laws, and the Customs practised wherever he arrived. He had already acquired by study a thousand worthy and curious particulars; He Designed excellently well, understood the Mathematics; had penetrated into the most curious parts of Medicine, and was yet so far from the least pedantry; that he would (when so disposed) play the Gallant as handsomely as any man, and which he was indeed able to do, enjoying a plentiful Revenue of near three thousand pounds sterling a year, which he ordered to be paid him by Bills of Exchange, wheresoever his Curiosity should invite him. But otherwise, truly his Equipage was very simple, and his train reduced to one only servant, which he was wont to take in every town where he made any stay. He had already visited Italy, Germany, Poland, Swethen, Denmark, Holland and England, from whence he came into France, to go into Spain. Finally, he arrived at Paris in Anno 1645. with one Bourdoni a Sculpto●, dwelling near the Thuyleries, where he no sooner appeared, but he was immediately found out, and known by all the Virtuosos, and as soon informed himself of all that were extraordinary, and conspicuous for all sorts of curiosities, whereof he carefully took notice; but especially he made an intimate acquaintance with one Monsieur Petit, a very rare and curious person, and indeed greatly resembling the Genius of this noble Gentleman, as being one, who for these fifty years past, discovered a wonderful ardour for the Sciences, and a diligence so indefatigable in the research of all estimable, and worthy Inventions, as that it is a thousand pities (and a thing not to be conceived indeed without infinite regrette) that this Age of ours could never yet approach him. So laudable and worthy of praise, has his expenses been upon divers Machine's and Experiments, beyond the forces of a Private Person; that had he but been supported (as at first he was by the French King, and the great Cardinal de Richlieu, under whom he enjoyed divers honourable and handsome Employments) he had perhaps, amongst all the Arts through which he run, found out some Abridgements and Perfections, new, and altogether stupendious; and as indeed, he has already done to admiration, so far at least, as his discretion, and his Affairs would give him leave. But to return to our new Democritus, Signor Favi; He had made provision of sundry huge Volumes, which were no other than the Designs of all sorts of Instruments and Machine's that he had seen and perused; besides a world more which he had sent away into Italy: For this curious person neglected nothing, but went on collecting with a most insuperable diligence, all that the Mechanics had invented for Agriculture, Architecture, and the Fabric of all sorts of Works, belonging to Sport's, and to clothes, for Use and for Magnificence. There was nothing so small, and to appearance, trifling, which he did not cast his eyes upon, and which he had not some hand in, or improved, even to the least minutiae; whither it were a device of some ●aspe, the Latch of a door, a simple Lock, 〈…〉 the Reader despise this condescension o● so great a person, for— inest sua gratia parvis. the Cover or Patin of a Cup, a Dress, etc. even to a very Tooth-picker: so as he showed no less rhen two hundred Toys for Children to play withal: forty several ways of Ploughing the ground, a world of Forges and Mills for various uses. He visited all the excellent Workmen and Artisans, and took Samples, and Patterns of all their rare inventions, and something of their making. Then for Receipts and Secrets, he possessed an infinite number of all kinds the most rare and excellent; some whereof he purchased at great prizes, and others he procured by Exchange. He learned the Tongues wherever he came with extraordinary felicity, and sometimes would frequent the Recreations, and Exercises of the places where he sojourned, which he used to perform with a sacillity, and address so gentile, and natural, as if he had yet been but a very Youth: For by this means he found, that he gained the easier, and more free access into the best Companies, so extremely noble, dissintressed and agreeable was his fashion and manner of conversation: And though in sundry Encounters, and Courts of Princes he had been frequently regaled with very considerable presents; yet would he never receive any from great Persons; as Chains of Gold, and Medailles, Diamonds and Jewels that were offered him, unless haply, it were some Title of Honour and Prerogative; a● the permission to bear an Eagle, o● a Fleur de lis in his Coat of Arms, or the like: And when he had thus exhausted a Kingdom, or a Place of all that was Curious, and made Acquaintance with all the Persons of merit in a State, he traveled presently into another; so as there was hardly a Court to be found, where he had not finished his harvest in three or four months, till he arrived at Paris, where indeed, he was infinitely surprised, and busied among such an innumerable many of able, and curious Persons of all kinds. He had four Lodgings in several parts of Paris, that so he might be near a retreat in whatsoever quarter he should happen to be in pursuit of Curosities; for he used to go much on foot, and alone; because he would not be troubled, nor observed by impertinent Servants: But in sine, purposing from hence to travel shortly for China by means of the Portugal, he took so much pains about describing, and observing the magnificent preparations which were made for the Marriage of the Queen of Poland, that he sell sick of a Fever and died, to the universal regret and sorrow of all that had ever so much as heard of him. And no sooner d●d this sad accident come to the ears of the King; but he sent diligently to search out all his four Lodgings, to see, if by any means, aught of his Collection could be retrieved; but they were all immediately dispersed and it was never found what became of them. The Count Marescotti his Kinsman, then at Paris, recovered only that single Volume, wherein was contained the Names, Arms, and devices of the hands of all the Princes of Europe, whom he had had the honour to approach: But his intention was, as I have been credibly informed by one that did often converse with him (though Monsieur Sorbiere is silent of it) after he had travelled over all the World (for his design was no less ample) at Return into his Native Country, to compile, and publish a Complete Cycle and History of Trades, with whatsoever else he should judge of Use and Benefit to mankind: But this had been a Charity, and a Blessing too great for the World; because it does not depart from its Vices, and impertinencies, and cherish such Persons, and the Virtues which should render it worthy of them. A TABLE of the Titles, of the CHAPTERS and their several CONTENTS. CHAP. I. Of Sculpture, how derived, and distinguished, with the Styles, and Instruments belonging to it. Pag. 1 The CONTENTS. SCulptura and Caelatura how they differ. p. 1 T●micae, Defectores what. 2 Plaisti●e, 2. The Mother of Sculpture. 22 Pa● adigmatice, what 2, 7 Gypsochi, Colaptice, Li●hoxoi, Glyphice, what. 2 Anagogice, what 2, 7 Anaglyphice, 2 its antiqnity. 22 Diagl●yphice, Encolaptice, what. 2, 4 Tore●tice. 1 Encausti● Art, 2. how it occasioned the invention of Brais●Prints. 36 Proplastic Art, Protypus, Modulus, Diatretice, and Calices diatreti, what 2 Argentum asperum & pustulatum. 3 Ebur pingue▪ 3 Dim● diae en inentiae the same with Basso Relievo, and Mezzo Relievo. 3 Sca●ptus, S●aptus, Scalpturatus. 4 Scalpo, Scul●● derived. Caelum 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 what, and whence derived. 4, 5 Tori, 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 5 Vliss●s ●hield, Ancaesa Vasa, what. 5 Cavatores what, Graphatores, whence our English Gravers, Sculpture defined. 6 justruments of Graving▪ Style what. Why sometimes made of bone Scalprum. Coelum, Coeles, Coeltes. Allusions in Job 10. to all the kinds of ancient Writing and Graving. 7, 8 Graphium, 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 etc. 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, Punction, Polisher, Point. 8, 9, 30 Graving Instruments sometimes fatal weapons. 8 Cassianus martyred, and Erixion slain with a Gaving Style. 8 Arare campum cereum, Cerei pugillares, and stylum vertere, what. 9 Ta●lle douce, Burin, Intaglia, B●lino, and the difference 'twixt Graving and Etching. 9 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 a conjecture of the modern name of a seal, 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 the same with Charath. 10 CHAP. II. Of the Original of Sculpture in general. p. 11 The CONTENTS. ADam the first inventor of Sculpture. p. 11 Books written by Adam. 11, 12 The fall of Adam did not impair his infused habits. 12 Sculpture long before the universal Flood. 12 Of the Antediluvian Patriarchs. 13 Sculpture in stone and brick at Joppa. ib The Celestial Sciences first engraven, where, and how long continuing. ib The books of Seth and Enoch. ib Of Cham. ib Zoroaster, when he flourished, his learning, curiosity and engraving of the Liberal Arts 13, 14 Pi●us Mi●andula's pretence of the books of Zoroaster, the Magi, etc. 14 Sculpture after the Flood. ib Sculpture propagated by Noah. Sculpture before Moses. ib Objections answered. 15, 20 Mercurius Trismegistus engraved in stone many Mysterious things. 15 Obelisks erected by Misra 400 years before Moses ib How many transported to Rome. 17 The Tables of stone Engraven by the Finger of GOD. Sculpture honoured by God. 15 Sulpture abused to Idolatry no rational prejudice. ib Sculpture elder than Idolatry. 16 Teraphin, and Penates, what. ib Sculpture preserved the memory of the dead. ib Bezaleel, and Aholiab Sculptors. ib The sacerdotal pectoral. ib Graving used by the Egyptians before they invented Letters. ib Hyer●glyphics, what 16, 17 By whom interpreted. 17 Amongst the Danes. 24 And Acadiae. 34 Horapollinis n●tae. 17 Letters by whom invented, and the contest about it. ib How they were derived to the several Nations. 18 Typographical art mistaken by Peter Calaber. 17 Sculpture and Letters Coaebous. 18 Columns erected by Seth. ib Writing with ink in paper a novelty in respect of Parchment. 18, 19 Sculpture on Marbles, Slates, writing on Bark, beaus, Tabletts of wood, Paper, Linen, Wax, Ivory and Silk. 18, 19 Book, our English name for Liber whence derived. 19 Laws, divine and humane how consigned of old. id Hieronicae, and where preserved, 19 Writings before Homer's not known to the Greeks 20 Tatian when he flourished. ib A pa●age cited out of him proving the Antiquity of Recording by Sculpture. 20 Hesiods poems engraven in Lead. ib G●aetians when they had sculpture first, and where it was in its highest perfection. 21 Achilles and Her●ules shields engraven. ib The chariot of the Sun, and Vehicula Caelata. ib enoch's prophecy. 22 Rings engraven, their use and dignity. ib Intaglias in iron, gold, stones, etc. ib Talismans' and Constellated seulptures. ib CHAP. III. Of the Reputation, and Progress of Sculpture amongst the Greeks and Romans down to the middle Ages; with some pretensions to the Invention of Copper-Cuts, and their Impressions. p. 23 The CONTENTS. SCulpture where, and when in it●s ascendent. 23, 24. 28. Statues to what head reducible. 24 Sculp●o●es Ma●●●oris, Metal. in Gypsum, etc. ib Signa at Rhodes, Athens and other places in what prodigious numbers ib Statues, as many as of men. ib The contest betwixt Art and Nature in point of fertility. ib. Statues, improveable to a policiq, as well as expenceful magnificency. ib 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 15 ●yrgoteles only permitted to engrave the Effigies of Alexander the great. 25 The Pictures of Queen Elizabeth and other Princes how prophan●d and abused. 25, 26 Augustus would have his figure cut only by Dioscorides, and why. 26 Sculpture in what materials most eminent. 26 Dipenus, Prometheus, Ideocus, Eu●i●apus, Lysistratus, Demophilus, Dedalus, Leochares, Policarmus, Myrme●ides all famous Sculptors. ib Figulina vasa Caelata, why broken by Cotys. 27 Hydriae engraven, and Bread. ib Gold seldom engraven, and why. ib Mentor his curious works. ib Acragus his works. ib Boethus' Masterpieces. 28 The works of Calamis, Antipater, Stratonicus, Tauriseus, Aristeus, Eunicus, Hecates, Praxiteles, Posidonius, Ledus, Zopirus, Pytheus. 28 Medalists, who most excellent, and in what Empp. times the best were cut, when they degenerated. 28, 60 Sculpture, when it degenerated in Greece, and Rome. 29 And whence its decay proceeded. 30, 31 Sculpture, when it arrived at Rome. 29 Sculpture and Writing when first among the Danes and Norvegians. ib Runic Characters. ib Graef sex, what. 30 Vice, and Avarice, the occasion why sculpture degenerated, and is not since arrived to the perfection of the Ancients. 31 By what means it may recover. 32 Alexander Magnus, Augustus, Francis 1. Cesimo di Medici's, and Charles the V. celebrated for their affection to Arts. 31 Time and leisure required to bring a work to perfection. 32 Sulpture and Chalcography ancient in China, on what aterials, and how wrought. 33 Letters in Europe first cut in wood. ib The In●k-maker for the press dignified amongst the Chinezes with a liberal ●alary, and priviledge●, and not accounted a Mechanic. ib Sculpture found in Mexi●o, and other parts of Ameri●a. 34 Typography not found out by the Greeks' and Romans to be much wondered at, and why. ib CHAP. IU. Of the Invention, and Progress of Chalcography in particular; together with an ample enumeration of the most renowned Masters and their works. p. 35 The CONTENTS. ENgraving on Plates of Brass for Prints when first appearing. 35 Typography wh●n first produced in Europe. ib P●ints in the infancy of this Art. ib The Devil a Moro●hrom. ib M. Z. M. C. what they import. ib What Sculptors added the year of our Lord to their works. 3● Who were the first Gravers of Prints. ib Martin S●hon The Todes●o of the first Print-gravers. ib The Italian gravers and their works. 36, etc. ad 63 Maso Finiguerra, the first Print-graver in Italy. 36 Enameling gave the first hint for the Engraving of Prints. 37 The graving of Prints, from how mean a commencement, arrived to this perfection. ib Ba●cio Baldini his works, and countersign. ib Albert Durer, when he flourished, his incomparable works; con●est with Lucas, and Mark Antonio, and how precious his works. 37, 38, 39, 40, 63 Lucas Van Leyden, his works, emulation of Durer. 39, 40, 63 Mark Antonio, when he flourished, his works, contestation with Albert, etc. 39, 42 For what vile prints reproved. 45 Raphael Urbin how he honoured the gravings of M. Antonio. 37 Martin of Antwerp his works, how esteemed by M●chael Ang●lo. ib R. S. what it signifies. 42 Marco di Ravena his works. 43 A. VI what it imports 44 Gi● anni Battista Mantuano his works. 46 IBM whose name it signifies. ib Sc●astiano da Regio ' s works. ib Georgio Mantuano ' s works. ib Etching in Aqua Fortis when first produced. 47 Damascus Symeters. ib Vago de ca●pi, his new manner of cutting for divers colours, and his works. ib The works of Baldassare Peruzzi, Francisco Parmegiano, Beccafumi, Baptista Vincentin●, Del Moro, Gir●l●mo Cocu. 48 Giacamo del Cavaglio his works both in copper and stones. 48, 49 Enea Vico de Parma his Medails and other gravings. 49 The works of Lamberto Suave, Gio Battista de▪ Cavaglieri. ib The works of Antonio La●ferri, T●maso Barlachi, Antonio Labbaco, Titian, Giulio Buoras●ni, Battista Franco, Renato, Luca Penni, Francisco Marcol●ni. 50, 51 The works of Gabriel Giolit● 52 The works of Christo●horo Coriolano, Antonio Salamanca, Andrea Mar●egna, Properti a●de R●ssi (a sculpteress) 52, 53 Martin Ruota, Ja●omo Palma, Augustino and Anibal Carracci. 53, 54 The works of Francisco Vilamena. 55 Giov●nni Maggi, Leonardo, Isabel and Bernardino Parasoli. 56 Cutting, and Engraving in Wood how difficult, and different from Chalcography. ib The works of Antonio Tempesta, Cherubin Alberti. 57 Horatto Borgiani, Raphäel Guido, Jovanri Batt. della Mar●a, Camillo Graffico, Cavalier Salimbene, An-Vaïara 58 Ste●●ano dolla Bella. 59, 90 Cha●t, and Map-gravers 60 Medaile▪ Gravers, and Gravers in metal and precious stones, etc. 60, 61, 62 The Diamond by whom first engraven. 62 Medails, the knowledge of them how noble and profitable, and by what means to attain it effectually, Gentlemen of note skilful Medailists. 62 The German and Flemish Chalcographers, and their works. 63 ad 85 The works of Albert Durer. 37, ad 41, 63, 85 Aldegrave and his cipher, Hans Sibald Beheeme his mark, Jerom Coch. 64, 84, 85. Francis Floris. 65 Cornelius Cort, 66. Justus, Jo. Agid, and Raphäel Sadelers, 67, ●8. Herman Muller, 68 Sim. Frisius, Matth. Miriam, Hans Holbein, Justus Ammanus 69, 84, 85. Holtzhusen, Hans Brossehaemer, Virgilius Solis, his eyes put out for his l●wd gravings; Hen. Golzius 70, 86. Geor Nowolstelle, 70. Matt. and Fred. Greuter, Sanredamus, Cor. Gall, 71. Count Claudt, Swanevelts, Pandern, B●oncho●st, Mattham P. Bril, Nieulant, Boëtius, Londerselius, Van Velde, N. de Bruyn, 72. Aeg Coninxlogensis, Stradanus, Mallery, Bolsuerd, 73. P. Pontius, Suannebourgh, Nesse, Vosterman, Vorst.. 74, 75. Chr. Jeghere, 75 Van. Vorst, Sir Anthony Van Dyke 36 Sir. P. P. Rubens celebrated. 74 The works of P. de Jode, Colaert in steel; Sniiderhoef, Jo. Baurs, Ʋander Thulden, 77. Abr. and Char. ●lomaert, Nantalis, 78, 79. Ferdinand, Verdin, Vriese, Winegard, W. Hondius, Vankessell, Clovet, Caukern, 79. Luc. Kilianus, Cor. Visher, Vovillemont, Nolph, Lombart, 80. Hertoc, Reinbrand, Wincest. Hollar, 81, 82. Hevelius celebrated, 82. Anna M a Schurman celebrated, Breugle, Ostade, Corn, Clock, Queborn, Custos, Le Delf, Dor, Falck, Gerard, Bens, Moefleu, Grebber, Geldorp, Hopfer, Gerard, Bens, Chein, Ache ' d' Egmon●, De Vinghe, Heins, Ditmer, Cronis, Lindoven, Mirevel, Kager, Coccien, Maubease, Venius, Firens, Pierets, Quelinus, Stachade, Schut, Soutman, Vanulch, Broom, Valdet, M●n Her Biscop: 83. Deufken, P. Van Aelst, Swart Jan Van Groennighen, L. Cranach, Jos. Ammanus, Hub. Golzius. 85 The French Chalcographers and their works, 86, ad 98. When they began to be in reputation, 86 The works of P. Bernard, Nic. Beatrice, 86. Phil. Thomasinus, Crisp. Magdal, and Simon de pas. 87. Cl. Melan, Mauperch, La Poutre, Morin, N. Chaperon, Fra. Perier, Adrans, Covuay, Peril, 89 Chavueau, Poilly, Heince, Begone, Huret, Bernard, Rognesson, Rouslet,, Bellange, Richet, L' Alman, Quesuel, Soulet, Bunel, Boucher, Bri●t, Boulange, Bois, Champagne, Charpignon, Corneille, Char●n, Cl. de Lorain, Andran, Moutier, Rabel, Den●sot, L' Aune, Dela Rame, Hayes, Herbin, David de Buy, Villemont, Maret, Toutin, 90. Grand-homme, Cereau, Trochel, Langot du Loi●, L' Enfant, Gaultier, D' Origni, Pr●vost, D● Son, Pere, Nacret, Perret, Daret, Scalberge, Vibert, Ragot, Boissart, Terelin, Deleu, Mauperch, L' Asne, Huret. 91 Calligraphers. ib The works of La Hire, Goyrand, ib. Golignon, Cochin, Isr. Sylvester, Rob. Nantëuil, 91, 92, 93. Jaq. Callot, 93, 94, 95, 96. Abr. Boss 96, 97 Chart Gravers, Cordiers, Riviers, Peroni, Hondius, etc. 97. Gomboust. 98 The English Chalcographers and their works, 98, ad 100 Pain, Caecil, Wright, Mr. Fatthorne, Mr. Barlow, Mr. Gaywood, Lightfoot, Glover, I Fellian, 99 Swisser, 100 Medaile Gravers, and for Intaglia ' s, Mr. Symonds, Rawlins, R●strick, Johnson. 99 Calligraphers, Mr Cooker, Grey, Gething, Billingly, etc. ib An Invitation to the English Chalcographers to publish his Majesty's collection; the benefit and honour of it. 100 The Landscapes, Viewes, Palaces, of England, Levantine parts, Indies, etc. together with the Cities, Isles, Trees, Plants, Flowers, and Animals, to be cut in Copper and reformed, were a most acceptable, and useful work. 101 Painters encouraged to set sheir hands to the Graver. 102 The use of this Collection. ib CHAP. V Of Drawing, and Design praevious to the Art of Chalcography; and of the use of Pictures in Order to the Education of Children. p. 103. The CONTENTS. MEasure and proportion have Influence on all our Actions, p. 103 A saying of Thomas Earl of Arundel and Surrey. ib Drawing of what consequence to the Art of Graving, ib Design the Basis of Sculpture, and of many other free and noble Sciences, 104, 105 Original Drawings esteemed, and for what, ib Antiquity of what effe●, 105 Design and Drawing defined, and distinguished, its antiquity, and invention. 106 Accident and chance fruitful mothers. ib Drawing with crayon, pen, & a. the method, and how to be performed with success, 107 Hatching, what, and how attained by imitating good 〈◊〉, and by what method. 108, 109, 110 〈…〉 exact●ess and finishing a fault in Drawing, and why, P ●y●l●●us's Canon, 109 Accurate Designs with the pen not esteemed, and why, 110 Who yet excelled in them to admiration. 110, 111 Mr Ʋander D●use, Francis and John Cleyn, Mr. Francis Carter, etc. celebrated, 111 Col●u●s, the production of a Middle colour wrought on two extremes, 112 R●ben●, and Van Dykes first studies in Italy, 113 Drawing, how necessary, ib Academies erected for the Vi●iu●si by whom, ib For what purpose and how furnished, 116, 117 Greeks, and Romans, how they cherished and ennobled men of Art, 114 S●ulp●ors and Painters chief of the court and retinue to the Emperor of Japan. ib Courts of great Princes how formerly composed, ib How the ancient and most renowned Sculptors were some encouraged, and oth●rs obscured. 116 Painters should sometimes draw with the pen, 117 What Painters made use of prints, 117, 118 And caused their works to be published. 118 How to express the sensation of the Relievo or Extan●i● of objects, by the Hatches in Graving, 119 What shadows are most graceful, 126 And what Artists works best to imitate, ib Of Counter-Hatches, ib One colour, the use, and effect of it, ib Zeu●is used but one colour. ib What other Painters were M●nochromists, and who introduced the rest of the colours, 127 Lights and shades their stupendious effects, ib Coloreè ●hat it means, ib The invention of Ch●alier Woolson to Blazon bearing in coat-armour by hatches without letters, ib To●us what it imports in Graving, ib Of coping after Designs and painting, 128 What prints are to be called excellent, ib How to detect the copy of a Print, from an Original print, 129 Aqua Fortis, for what Gravings most proper, 13● His Highness' Prince Rupert celebrated, and the Gravings by him published. 130, 13 The French King an Engraver, 13● Earl of Sandwich dextrous at Graving, ib What Emperors, Philosophers, Poets, and other of the noble Greeks, and Romans excelled in painting and Graving, 131, 133, 142, 143, 144 Never any of the Ancients excelled in these Arts, but what were Gentlemen, 132 A Slave might not be taught to Grave or Paint, and why, 133 Graving accounted one of the Liberal Arts, by Pliny and Galen. 132 Children instructed in the Graphical arts for what Oeconomick consideration, ib Martia the daughter of Varro, the Princess Loüse, and Anna a Schurman celebrated, ib Great scholars of late skilful in the art of Graving, &c 133 How far the art of Drawing conduces to the Sciences Mathematical. ib Dr. Chr. Wren, Blagrave, Hevelius, etc. celebrated, ib An Orator ought io be skilled in these Arts, and why 134 Of what great use, and benefit the art of Graving may be to the Education of Children superior to all other inventions: 135, and how, 138, 140, 141 142, 143 The Abbot de Maroles his singular affection to, and prodigious collections of Prints, 135, 136 Prints more estimable than painting, and why, 137 What Gentlemen of quality are the greatest collectors of prints in France, ib At how high rates the Prints of the most famous Masters are now sold, ib Collections of Prints recommended to Princes and great persons, and why, ib An Hieroglyphical Grammar, 139 By whom draughts and Prints are celebrated for the Institution of Youth. ib Lafoy Martelay taught all the Sciences by cuts alone, ib Commen●us his Orbis sensualium pictus celebrated, ib The Universal Language how to be most probably contrived, 140 Passi●ns expressible by the art of Design. 142 An useful caution for the Lovers of these Arts, 143, 144 CHAP. VI Of the new way of engraving, or Mezzo Tinto, Invented, and communicated by his Highness' Prince Rupert. etc. p. 145 The CONTENTS. AN advantageous Commutation for omitting the description of the Mechanical part of the vulgar Graving, 145 A paradoxical Graving without Burin, Points or Aqua Fortis, 146 The new Mezzo Tinto invented by his Highness P. Rupert Enigmatically described, and why. 147 ERRATA. PAge 2. line 9 read Paradigmatice, 8. l. 7. 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, 19 l. 15. Scarifying, 20 l. 11. 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, 13 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, 32. l. 11. 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, 33 l 7 ill Pictures, 35. l. 9 Typography 50 l. 28. Dallila, 51. l. 1. Läocoon, 54. 28. fore, 64. l. 18. stories, 78 21. r. those things of deal which, 82 13. Rob. Stapleton, 117. l. Cornices, 119. ult. ply. Note that in p. 99 l. 4. Loggan should have been placed among the Dutch Gravers: The rest are only literal mistakes, as Copy for Copy, etc. which do not at all impeach the sense; and are therefore the more pardonable. Authors, and Books which have been consulted for this Treatise. Aelianus. Angelus Roccha. Aquinas. Arist●tiles. S Augustinus. Ausonius. Baptista Alberti. Biblia Sacra. Bibliander. Boss A. Caniparius. Cassianus. Cael. Rhodoginus. Cedrenus. Cicero. Commenius. Crinitus. Curtius. Cyprianus. Diodo●us. Diomedes. Donatellus. Durer. Epiphanius. Eusebius. gaffarel. Galenus. Gorleus. Guaricus Pompo. Greuter. Herodotus. Hesiodus. Homerus. Horatius. Josephus. Junius F. Juvenalis. Kerkerus. Lä●t. Lae●us Pompon. Lëon Alber●i. Libavius. Licetas. Littleton Adam. Livius. Lubinus. Lucanus. Luithprandius. M●imonides. Manutius. Marolles. Martialis. Nazianzen Greg. O●igines. Ovid●us. Pancirolla. Petronius. Philo. Philostratus. Picus Mirand. Pietro Santo. Plato. Plinius. Plutarch. Du Pois. Pollux Jul. Prudentius. Quintilianus. Rueus. Sabinus. Sal●asius. Scal●ger Jos. Semedo. S●neca. Soli●us. Statius. Suetonius. Suidas. Taci●us. Tatianus. Tertullianus. Theocritus. Trallianus. Trismeg●stus. Thucydides. Varenius. Varro. Vassari. Vatablus. Vermander Car. Verulamius. Virgil●us. Vitruvius. Vopiscus. Vosius. Woolson. Wormius. Sir H. W●tto●. SCULPTURA, Or the HISTORY and ART OF Chalcography. BOOK I. CHAP. I Of Sculpture, how derived, and distinguished, with the Styles, and Instruments belonging to it. THose who have most refined, and criticised upon Technical notions, seem to distinguish what we commonly name Sculpture into three several Arts; and, to attribute specifical defferences to them all: For there is, besides Sculptura (as it relates to Chalcography) Scalptura (so Diomedes) and Caelatura; Lib. 1. L. 3. c. 21. both which, according to Quintilian, differ from the first ratione materiae. For to make but a brief enumeration only: It was applied to several things; as to working in Wood, or Ivory, Tomice, the Artists, Desectores: in Clay, Plastice, Plastae: in Plaster Paradigramatice, the Workmen Gypsochi. In Stone cutting Colaptice, the Artists Lithoxoi; and lastly, in Metals Glyphice; which again is Twofold; for if Wax be used, Agogice; If the Figure be of Cast-work, Chemices; Anaglyphice when the Image was prominent, Diaglyphice when hollow, as in Seals and Intaglia's; Encolaptice when less deep, as in plates of Brass for Laws and Monumental Inscriptions; Then the Toreutice; Cael. Rodig. Antiq. Lect l. 29. c. 24. and the Encaustic for a kind of Enamel; Proplastice forming the future work ex creta, or some such matter, as the Protypus was of Wax for Efformation, and the Modulus of wood; not to omit the ancient Diatretice, which seems to have been a work upon Crystal, and the Calices Diatreti (of which somewhere the Poet Martial) whether embossed or engraven, as now with the point of a Diamond, etc. for I can only name them briefly, the field would be too luxurious to discourse upon them severally, and as they rather concern the Statuary Art, Fusile and Plastic head, which would serve better to adorn some design of Architecture, or merit an express Treatise, then become the present, which does only touch the Metals, and such other materials as had not the Figure finished through all its dimensions; though we night yet safely I think admit some of the Greek Anaglyptic's: Argentum asperum & pustulatum, and, as the Latins term it, Ebur●pingue: for so the Poet, Ep●st ad Mocenium Expositumque alte pingue poposcit ebur, etc. Manutius calls them Dimidiae eminentiae, and the Italians do well interpret by Basso and Mezzo Relievo; hence the Figure is said stare, or exstare: for so Mart. Stat Caper, and Juvenal, stantem extra pocula caprum. As from the similitude, and perfection of the work, Vivere, Spirare, calere, it seemed to breath, and be living, as Virgil expresses it, Excudent alii spirantia mollius aera. And Horace,— Et ungues Exprimet, & molles imitabitur aere capillos. Ludit Acidalio sed non manus aspera nodo Candida non tacita respondet imagine Lygdos. as Martial. For in this manner they used to celebrate those rare pieces of Art, distinct from the Diagliphice, and Encolaptic more properly according with our purpose; and which may haply be as well expressed by Caelatura, and from the signification made a derivative 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 to dig, or make incision. I think Varro may have Scaptus ●or Caelatus; as Cicero Scalptus, and Pliny, Scalpturatus; yet we rather follow them who derive Scalpo, Sculpo, from 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 and 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉; because the best Origination is to preserve the foundation in the ancienter Languages, if the mutation of Letters be warranted, as here in 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 Scribo. The word in the Holy tongue 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 which imports an opening (because the Plate, Stone or whatever else materal they used aperitur aliqua sui parte, was somewhere opened when any thing is engraven upon it) attests rather to the former Etymon, and signification, then to any other material affinity; besides that 'tis also transferrable to those who carve with the cheezil, or work in Boss with the Puntion, as our Statuaries, Goldsmiths and Repairers do. In the Gloss we meet with Caelum 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 etc. which though some admit not, so freely in this sense; Lib. 8. yet Martial, speaking of Embossed Cups more than once calls them Toreumata. Miratus fueris cum prisca Toreumata multum. And why may not the Tori, Brawn, or Collops of fat be expressed by these raised Figures, and they Torosae plump, and (as the French has it) en bon point, as well as Fusil and Fictile ones? Some round Cheezil or Lathe perhaps it was; but we dare only conjecture: Others Coelum a Coedo which is to beat, strike, cut or dig; but by what parallel authority of such a derivative we know not: Varro l. 4 de L. L. Varro yet e Coelo Heaven itself, reaching its Original from the very stars. 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 is another more consonant and harmonious with the ancient 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 Kalangh, which imports to excavate and make hollow as it is frequently interpreted, particularly, 1 Reg. 6. 32, 35. where, what the Vulgar Latin renders Sculpsit; Vatablus makes Caelavit, and Junius Incidit, best of all corresponding with our purpose; and so in the famous wrought shield which Ulysses purchased by his Eloquence, Quintilian applies the word, Lib. 2. c. 18 In Caelatura clipei Achilles, & lights sunt & actiones: For so it seems to have been much used on their Harness; Livy reports of two famous Armies so represented: Liu. hist. l. 9 Or as more allusive yet to our plate, where 'tis said, Caelatura rumpit tenuem Laminam, if the question be not rather, whither these works, like the Ancaesa Vasa, were not raised and embossed, those expressions of Pliny so much favouring their Eminency, where he tells us, speaking of this very Art, ita exole●it, ut sola jam vetustate censeatur usque adeo attritis caelaturis, ne figura discerni possit, time and age had so greatly defaced them. But, may this suffice for the Division, and Denomination of the Art in general; since the Title which we have made choice of, is Universally applicable: for so loquendi consuetudine in ordinary discourse Sculptura, and Scalptura import but one, and the same thing, as Salmasius has well noted on Solinus; and therefore those who wrought any of these hollow cutworks, were by some called Cavatores, and Graphatores, says that Learned Person, whence doubtless, our Gravers may have derived their Appellation. By this than it will not be difficult for any to define what the Art itself is; whither considered in the most general and comprehensive acceptation; or, as it concerns that of Chalcography chiefly, and such as have most Affinity with it; since (as well as the rest) it may be described to be an Art which takes away all that is superfluous of the Subject matter, reducing it to that Form or Body, which was designed in the Idea of the Artist. And this, as sufficiently Universal; unless in favour of the Plastic (which yet does not come under our Cognizance) we will rather receive the distinction which Michael Angelo was used to observe between them, That this last was made by Apposition, which is the quite contrary. But indeed, neither the Paradigmatic, Agogic, or any of the Plastic, can Genuinely, and in Propriety of speech be called Sculpture, without a Catachresis and some Violence; since, nullum simile est id 'em, whither applied to the Matter, or the Tools. And now we speak of Instruments, we shall find that there has been little less controversy amongst the Grammarians, touching them also, then concerning the very Art itself: As whither the 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 Style, or Scalprum is to be called Caelum, Caeles, or Caeltes; noted by the Critics from that Text in 19 Job. Quis mihi det, ut exarentur in Libro Stylo ferreo, aut plumbi Lamina, vel Caelte sculpantur in Silice? (where by the way, 'tis observed, that this verse comprehends, and alludes to, almost all the sorts of ancient Writing and Engraving: Books, Plates, Stone, and Style) and from an old Inscription out of Aldus, and Greuter, Martial, Ausonius, and the Poet Statius use Coelum frequently. Epist.. ●6● Laboriferi Sta●. l. ●. — Laboriferi vivant quae marmora Caelo, Praxitelis, Sylv l. 4. etc.— but we will be sparing. 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 as ●unius: Theocr. Thucyd. Also 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 as much as 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉; so is 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 and 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 in Pollux. Scalprum, is 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 with the same Junius Graphium; Lastly, Stylus 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, in Suidas, 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 the same Pollux; call them Point, Stile, Graver, Punction, Polisher, or what else you please, we will contend no farther about it; For these Instruments (as despicable as they appear) have sometimes proved fatal and dangerous Weapons; as the blessed Cassianus found by sad experience, whose cruel Martyrdom with these Styles is gloriously celebrated by Prudentius, 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 Hymn. IX. And thus was also Erixion slain, for his unnatural affection, by the enraged People, with other examples to be produced out of Seneca, Plutarch, Sueton, and others: For, when upon several of those disorders, 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 (or the carrying about them any Weapons of Iron) was made Capital; they did mischief with these Instruments, till like children's knives, they were converted into Bone, which did only serve them to write withal, and Arare campum cereum, to plough up their Superinduced Tables, and ●erei Pugillares; not much unlike to our Etching with points, and Needles on the Varnish, in Shape, and use resembling them, save where the obtuser end was made more deletive, apt to put out, and obliterate, when they would Stylum vertere, which our Burnisher (another Tool used by Chalcographers) and Polisher performs. But to descend to the modern names both of the Art and Instrument: the French call it in particular Taille douce, Sweet, or tender cut; whither wrought with the Burin (for so they term the Instrument which we the Graver) or, with Aqua Fortis. The Italians, 〈◊〉, or stamp, without Adjunct, and 〈◊〉 which is doubtless the more ancient 〈…〉, as prompting the use both of the Point, Needle, and Etching in A. Fortis, by some so happily executed, as hardly to be discerned from the Bolio, or Graver itself: But the main difference is this, That with the Burine one cuts the piece all at once out of the plate, immediately; whereas, with the point, or stile, we only cut the Varnish, razing, and Scalping as it were, the Superficies of the Plate a little, which afterwards the A. F. corrodes and finishes: A rare Invention, new, expeditious, and wholly unknown to the past Antiquity. Burine then from Bolino; and why not? yea doubtless, this from 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 the Modern name of a Seal, and Instrument of making Seals. To this we might also add 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, Cheret: And we find Charasch, and Charath of the same import with 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 and 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 in the Greek, as Mr. Adam Littleton has acutely observed in his Complexion of Roots: But lest too much of this Stuff should (as Theocritus on another occasion) styles it, 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 smell of the Burine; we will here make an end with hard names, the pedantry and various acceptions of the words; and in the Chapters following endeavour to investigate the Original of the Art itself, and discourse somewhat of the Progress it has made, to arrive at this perfection: For it is not to show how diligently we have weeded the Calepines, and Lexicons (amongst all which there is none over fertile upon these Arts, or so well furnished as we could have wished) but the result of much diligent collecti●on, produced out of sundry Authors to meet in this Chapter, for the ease, and instruction of such as may possibly encounter with difficulties in the Course of their reading such books as treat of the Mechanical or more Liberal Subjects; And, that there might be nothing of deficient as to our Institution, seeing it behooved him that would deduce an History ab origine, to let nothing escape that was in the least or useful, or instructive. CHAP. II. Of the Original of sculpture in general. WE shall not with Epigenes in Pliny, L: 7. c. 6. depose that this Art had its being from Eternity; because it is not sense, and would contradict its invention; but, if that may pass which St. Augustine affirms, that the Protoplast our Father Adam, L. 18. de Civit. Dei. c. 38. or (as others) his good Genius the Angel Raziel, were the first inventor of Letters, Sculpture may derive its Pedigree from the infancy of the World, and contend for its Pre-eminence with most of the Antiquities which it so much celebrates. For, that there went several books about (some whereof had been long since read in the Primitive Church) bearing his venerable Name; as that which Epiphanius and others cite, ex libro Behu, de Poenitentia Adae, Adae R●velatio, etc. we have no reason to contradict: And Tho. Aquinas in his Treatise De ente & essentia, speaks of a Volume of Plants described by Adam; and there are Traditions of a whole Natural History, with several other works of this most Learned of all Men living, as Suidas doubts not to call him; nor do we think that his unhappy Fall did so much concern his rare and infused Habits, as not to leave him the most accomplished, and perfectly instructed in all those Arts, which were so highly necessary, and therefore thus early invented; though whither these Books of his were so miraculously found out, and preserved by the renowned Trismegistus, we leave to the more credulous: But that Letters, and consequently Sculpture, was long before the Flood, we make no scruple of: Suidas, whom but now we mentioned, is peremptory, ascribing (as was affirmed) both Letters, and all the rest of the sciences to Adam 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 etc. We shall not add hereunto, what the Rabbins assert he composed of the precepts given him in Paradise, with the like trash; but pass from these conjectures to others of the Antediluvian Patriarchs mentioned by Josephus, Cedrenus and some other Authors, concerning the Sculptures in ●tone, and Brick, erected at Joppa, containing (as some depose) the Sideral, and Celestial Sciences, proof against the two most devouring and subverting Elements, and lasting some thousands of years after the Universal Cataclysm. The Aethiopians are said at this day to glory much in possessing the Books of Seth and Enoch, as those who have lately written of the Abyssines relate. Origen, St. Augustine, and Hierom have likewise made honourable mention of them; and Tertullian plainly reproves those who (in his time) thought they could not be preserved; Tertul. de habit. mulier. Noah, being himself one of the great Nephews of Seth; and the probability that these Ancient Men of renown, would transmit to Posterity the glorious Actions and Achievements which they had performed; especially Cham (that is Zoroaster) a Spirit so Universally curious, and flourishing above an hundred years before this public Calamity. But to apply this to the honour now of Chalcography, and justify our design; The Author of the Scholastical History upon Genesis speaks of this Z●roasters engraving the Liberal Arts on fourt●●en Columns, seven whereof he affirms to have been of Brass, and the rest of Brick▪ The same is also reported by Serenus, Apud Cassianum. where he adds diversorum Metallorum Laminis, together with some other Inscriptions thus preserved, and which the noble and learned Earl of Mirandula in a certain Epistle of his to Marsilius Ficinus boasts to have the possession of: His words are these, Chaldaici high Libri sunt, si Libri sunt, & non Thesauri: Audi inscriptiones: Patris Ezrae, Zoroastris, & Melchior Magorum oracula. In quibus, & illa quoque, quae apud Guaecos mendosa, & mutila circumferuntur, leguntur integra & absoluta, etc. The Books (saith Picus) if books it be lawful to call them, and not rather most inestimable Treasures, are all in the Chaldy tongue: Observe their Titles: The Oracles of those famous Magi, Ezra, Zoroaster and Melchior; in which those particulars also which have been carried about by the Greeks, maimed and miserably corrupted, are here to be read perfect and entire. Concerning the Art of Sculpture immediately after the Flood, there are few we suppose make any considerable question, as that it might not be propagated by Noah to his posterity; though some there be, that indeed admit of none before Moses; but what then shall we think of that Book of the Wars ●f the Lord, which this sacred Author mentions Num. 21? not to insist upon the 88 ●nd 109. Psalms, by many ascribed to some of the Patriarchs his Predecessors. The above mentioned Mercurius Trismegistus, three hundred years after the Flood, and long before Moses, engraved his secret, and Mysterious things in Stone, as himself reports; reforming what had been depraved by the wicked Cham; some in Letters, some in Figures and Enigmatical Characters; such haply, as were those contained in the magnificent, and stupendious Obelisks erected by Misra the first Egyptian Pharaoh, which being at least four hundred years before Moses (as the most indefatigable Kirker has computed) does greatly presage their Antiquity to have been before that holy Prophet. Obelis, Phamphil: But not to put too much stress upon superannuated Tradition, this we are sure is of Faith, and without controversy; That in Moses we have the Tables of stone, engraven by the Finger of GOD himself; where the commandment is express, even against the abuse of this very Art, as well as an instance of the Antiquity of Idolatry attesting that of Sculpture: THOU SHALT NOT MAKE TO THYSELF ANY GRAVEN IMAGE. Exod. 〈◊〉. But this which is indeed the first writing that we have Scripture to vouch for, does yet presuppose Engraving to have been of much greater Antiquity: What else were the Teraphim? What the Penates of Laban stolen by Rachel? The Idols of Terah? or the Egyptian? etc. But we forbear to expatiate, only that which is by Ben. Syrac somewhere in Ecclesiasticus delivered, that the Original of Idolatry was from images to preserve the memory of the Dead; as in process of time by the Flatterers of great men it was turned to be an object of Adoration, Se Sap. c. 14. plainly infers, Graving to have been Elder than Idolatry. But now to recover its esteem again beyond all prejudice (how ever by others abused as indeed many of the best things have been) it was (we know) imputed for a spiritual talon in Bezaleel and Aholiab, ●1. Exod. who made Intaglias to adorn the High Priests Pectoral. And we have said how the egyptians reverenced it, as seeming to have used it before Letters; or rather their Hieroglypics (importing sacred Sculpture) were those Elements by which they transmitted to posterity what they esteemed most worthy of Record; and not (as some have imagined) wrapped up in those Enigmatical Figures, the secrets of their Arts both Divine a●d Secular: For Nondum Flumineas Memphis contexere biblos Noverat; Lucanus lib. 3. & Saxis tantum volucrisque feraeque, Sculptaque serva●ant magicas animalia Linguas. whence Tacitus calls them Antiquissima monumenta memoriae humanae impressa Saxis. Such as were also the Horapollinis ●otae, and all those other venerable Antiquities of this nature transported to Rome out of Egypt, in no less than two and forty prodigious O●elisc's, of late interpreted by the industrious Kirker before cited. Suidas attributes the invention to the Father of the faithful; others to Theut or Hermes, some to Cadmus and the Phoenicians. Bibliander will have Letters and Sculpture from Adam; Josephus from Henoch; Philo from Abraham; Eusebius from Moses; Cyprian from Saturn, where, by the way; because 'tis said he did Litteras imprimere, Peter Calaber (who much affects to call himself Pomponius Laetus) foolishly deduces, Vossius in Art Hist. that even the Typographical Art was known in the Age of this Hero; but thence (as we said) it descended to the Egyptians by Misraim, and so was communicated to the Persians, Medes and Assyrians, thence to the Greeks, and finally, to the Romans from whom it was derived to us, as Pe●er Crinitus in his 17th. book de Honesta Disciplina, Cap. 1. out of a very ancient MSS. Bibliothecae Septimianae seems to deduce, and thus sum them up together. Moses' primus Hebraic as exaravit Literas. Mente Phoenices Sagaci condiderunt Atticas. Quas Latini scriptitamus, edidit Nicostrata. Abraham Syras, & idem repperit Chaldaicas. Isis' arte non minore, protulit Aegyptiacas. Gulsila promsit Getarum, quas videmus Literas. Now, should all this but relate to the several Characters only, it shall yet serve ou● purpose; since whoever was the inventor of Letters, was also doubtless the Father of Sculpture, as is apparent, if not by the former columns erected by Seth (one whereof Angelus Roccha in his Bibliotheca Vatican● presumes to have been of Brass) by several other instances; the writing with Ink, in Paper or Parchment, being altogether a novelty in comparrison to the more ancient forms and materials such as were the Slitstones, or Slates which succeeded the stately ●arbles, and preceded the thinner leaves of Bark, and Tablets of Wood, which from the German Bucher, signifying the Fagus or Beech-tree, (whose Fruit does still with us retain the name of Buch-mast) were called Books, to whatever voluble or folding matter applied: For before the invention of Paper, they used the leaves of Palms, as Varro de Sibylla: then the Rinds of Trees; afterwards sheets of Lead, Linen, Wax, and Ivory, as Pliny and Vopiscus tell us; They writ in Silk amongst the Persians and Chineses; and lastly, were invented Parchment and Paper. But whether in all these, or whatever the Subject were (some few latter excepted) it was still by Insculping, Scarifying, and making a kind of Incision into it; especially intending to consign to posterity their Laws, divine and humane, Roman, Egyptian, or Hebrew: For so of Old — verba minantia fixo Aere ligabantur. Metam. 1. according to the Poet. Thus were the Hieronicae preserved in the Temple of Olympian Jove, and the Roman Consuls in the Capitol; and as by those innumerable Inscriptions of irrefragable, and undeniable Antiquity does appear. We have already computed how probable it is, that Sculpture was in use in Egypt somewhat before, or at least as soon as the Patriarch Abraham set his foot there: But the less discerning Greeks who receiv●d it from the Egyptians, could tell us of no writings of t●eirs extant before Homer, if we will give ear to Josephus, before that of jatian (a learned Assyrian, and contemporary with Just in Martyr) where he affirms 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, etc. Where we have no less than seventeen Grecians named elder than Homer. There are also enumerated the names of twenty Argive Kings from Inachus to Agamem●on, which strongly infers the means of Recording by Sculpture and Writing to have been very ancient. For so we read that the Poems of Hesiod were engraven in Lead. Aristotle mentions Daphne a certain Devotresse of Apollo; Sabinus, and Diodorus many others. But when, or whoever it were, thence (as we said) it traveled into Greece, that Theatre of the Arts, where it soon arrived to the supremest height of perfection, when being applied to the forming of Figures, it was celebrated by all the Witty men of Those, and the succeeding Ages. Homer tells us of the engraving in the Shield of Achilles; Iliad 3. Metam l. 3. l. 3. c. 3. Hesiod that of Hercules; not to mention the Sculptures upon the Chariot of the Sun, described by the Poet, because it is altogether fictitious, though extremely ingenious, and whence haply they might have their Vehicula Caelata mentioned by Q. Curtiu●. But whither now these ancient and famous pieces were hollow, like those of our Burine, or the work of our Cheezil and repaired Embossments, might seem a difficulty to resolve from the frequent interpretations we attributed to the Verb in the former chapter; if what we have here attested concerning the Antiquity of Letters, and consequently of flat incisions, pronounce not for its pre-eminence, however this may appear to the more judicious. Add to it, that both Plastica (whatever others may fancy) unless we will ascend to the divine figulation of the first breathing Statue that was ever formed (and with Pliny, derive it to be before, an● the Mother of Sculpture) and the Anaglyptic Art, (not produced in the World till about the time of Belus, and the beginning of Gentilism) were not till long after the use of Letters, if enoch's Prophecy were not preserved by unwritten tradition, and the former Apocryphal Monuments have other foundation than the Wit of the Rabbins, which we can by no means assent to in the general. Besides, if we apply it to Intaglia's in Stone, seals, and the like, for having been almost coevous with Rings (what was else the Signet which Judah left with his Daughter Tamar?) 38. Gen. ●8. it questionless derives its Original before any History at present extant in the World, Divine or Humane, was committed to writing▪ Of which he who has a thirst to satisfy his Curiosity farther, may consult Gorlaeus, or Fortun. Licetus de Annulis Antiquorum; Where also concerning their Sculpture, first in Iron, then in Gold, other Metals and Stones; and of which might very much be added, both touching their dignity, signification, and how they came at length to be worn so universally. Something we might here likewise insert of their Constellated Figures, or Talisman's, long since engraven upon certain Instants and Periods of the Sun's ingress into such, and such particular signs of the Zodiac, treated of by Francis Rueus the Physician, Tralianus, and instar omnium, by the learned Gaffarel at large; but we hasten to that which follows. CHAP. III. Of the Reputatton and Progress of Sculpture amongst the Greeks, and Romans down to the middle-ages; with some pretensions to the Invention of Copper-cuts, and their Impressions, WE have now done with the Original, and will next endeavour to investigate what progress it has made amongst those glorious and universal Monarchs, when Sculpture and all other noble Arts were in their Ascendent and highest reputation; I mean the Greeks and the Romans; For to the first does Herodotus appropriate the perfection of this art, not admitting it to have arrived at the latter till about the time of Spurius Cassius, when Baptist Alberti ascribes it to his country men the Tuscans. Those who have well surveyed the Natural History of Pliny will easily commute for the Omission, if out of pure indulgence to their eyes only, we forbear the transcribing of at least three or four entire Chapters, industriously baulking those ample and luxurious Fields of Statues, as under the Fusile and Plaistic head; l. 33. c. 8. l. 34 c. 12 l. 30. c. ● because it suits not wit● ou● present design and institution: For to pass over the Figures in Metal, those of Gyps●● and other materials; The Sculptores Marmoris were so many, and the Greeks so extravagantly fond of their works, that at Rhodes alone, that small Island, were no less than 73000 Signa; nor were there fewer at Athens, Olympia, Delphi and several other Cities, whereof whole Armies of them were transferred to Rome, after Achaia had been conquered by L. Mummius, at which period the Greek Arts began to Rise, and be in such reputation amongst them; and This to so high an excess, as Pliny records of his Age, that there were almost as many Statues as Men, by a kind of noble contention (says Sr. H. Wott●n) in point of fertility 'twixt Art and Nature, Element. Architect Instaurat. Scient. and which He, and my Lord Bacon improves to a politic, as well as altogether an expenceful magnificency. It shall then suffi●e that we be sparing in these Instances, and keep ourselves to those works and Intaglia's only, which do nearest approach our design; of which sort may be esteemed those 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 mentioned by Pliny, in which Art that famous Pyrgoteles did so excel, as made Alexander the great ordain, that none should presume to carve his Effigies save him only; to paint or cast him, besides Apelles and Lysippus, Edicto vetuit, ne quis se, praeter Apellem, Pingeret, Ho●. Epist. 2. aut alias Lysippo duceret aera Fortis Alexandri vultum simulantia.— Haddit Queen Elizabeth been thus circumspect, there had not been so many vile copies multiplied from an ill Painting; as being called in, and brought to Essex-house, Where my L. of 〈◊〉 then lived. did for several years, furnish the Pastry-men with Peels for the use of their Ovens. We wish the same might please his Majesty, and that none save such as for their excellent talent had particular indulgence, might any more dare to represent his sacred person in painting, or Carving, then in his Coy●e and Royal Signature: For it is seriously a reproachful thing only, to behold how it is profaned by the ●and of so many vile, and wretched Bunglers (they deserve not the name of Workmen) as blush not daily to expose their own shame, in so precious and reve●'d a Subject: And that the Heads of Kings and Heros should be permitted to hang for Signs, among Cats, and Owls, Dogs and Asses, at the pleasure of every Tavern and Tippling-house, we have frequently stood in admiraion of: But so did not that of Alexander as we noted; nor would Augustus make himself cheaper, than that great Master of his time, Dioscorides pleased, whom he particularly chose to preserve, and derive his Divine Effigies to the after Ages, and to the honour of his memory, by what he left in those Signets, and other Stones which he cut for that renowned Emperor. Thus Sculpture began to be most eminent in Stones and Gems, Auro, Argento, Aere, ●erro, Ligno, Ebore, Marmore, Vitro, etc. As this Author affirms; where discoursing of the famous Works were left by the Masters of note upon record in his time, he seems to ascribe the Invention to one Dipoenus, and Scyllis; For we shall not here ascend so high as Promotheus, or speak much of Ideocus, Eucirapus, Lysistratus, Demophilus, Dedalus, Leochares, Policarmus, Myrmecides, and innumerable others: It would be tedious (as we said) to transcribe the names but of the Pieces only, of all those renowned Men whom he there celebrates for their engravings on Armour, Cups, Rings, Glass, even to the very ●igulina Vasa caelata, such as Cotys broke of purpose, lest some other unexpected accident or mischance might put him into passion, Plut. in Apotheg. as Plutarch tells the Story: Hydriae, and water pots were thus wrought, and Pliny speaks of the Engraving even of Bread: 'Tis yet observable, that very few were found who took any pleasure to engrave in Gold (as we conceive) being too soft a Metal; but multitudes that wrought in Silver; especially, the famous Mentor of whose Work Varro affirms he had a piece in his possession, which he infinitely valued; for, it seems, he had never finished above eight, which were most of them lost. Two more of his Cups had L. Crassus the Orator, prized at C. HS. Confessus est tamen se nunq●am his uti, propter verecundiam ausum; so rich it seems, and magnificent they were, that even this great person professed he never durst make use of them out of pure modesty, and to avoid the censure of being thought too Luxurious: Martial describes another, where a Lizard was so lively represented, Men were afraid it would bite. Inserta Phialae Mentoris manu ducta Lacerta vivit, & timetur argentum. Next to Mentor, was Acragus, Boethus, and Mys, whose Masterpiece was expos● at Rhodes; especially those glorious Vas●s, and Goblets of the Bacchanalia, engrave● by the forementioned Acragus, and of Bescage, Chases, and Hunting: Famous also were Calamis, Antipa●er, and Stratonicus, who engraved the satire Sleeping, a stupendious piece of Art; Then there flourished Tauriseus of Cizi●um, Aristus, Eunicus both of them Mi●le●●ans: Likewise Hecates, and the renowned Praxiteles about the time of Pompey: Posidonius of Ephesus, and Ledus famous for representing of Battles, etc. To be brief (for their Works are endless) Zopirus, who engraved the Court of the Areopagis in a Cup, and the trial of Orestes: After him lived Pytheus and several others too long here to recite. Nor were all these Gravers in flat; but, as we said, in Relievo some of them, and more approaching to the Statuary; Besides such as were excellent Medaillists from Augustus, Caligula, Claudius, Nero, Galba, etc. down to the Reigns of Commodus, and Pertinax; for from Severus it greatly decayed, and the most tolerable engravings of the former, lasted but to Nerva, the best being those which were cut, and stamped in the time of Caligula, Claudius, and Nero, about which period Sculpture beginning to degenerate in Greece, it traveled and came to Rome now opulent and victorious. But after the●e, and the forme●y recorded by Pliny, there were not many who left either Name, or Work famous to Posterity: For, besides that the Monarchy was soon broken and disordered; the later Empp▪ became less Curious, Rich and Magnificent; so as even in the time of the Great Constantine itself, Ar●s began manifestly to degenerate: But, when afterwards the Goths and Saracens had broken in upon the Roman Empire, and made those horrid devastations, they were in a manner utterly lost; as the Relics which they left in Statuary, Sculpture, Architecture, Letters, and all other good Arts do yet testify. It is true, that the ruder Danes, and Norvegians had in th●se times their Runic writings, or engraven Letters, as in their Rimstoc or Primstaf; some square or long piece of board, or Staff, having an Almanac carved on it: So they engraved their Letters on Bones, either whole, or Sliced, and bound up together, like our Tallies; also upon Jawbones of the greater Fishes, taken on their Coasts: And Wormi●s in Fast. Dan. L. 1. chap. 18. mentions Danish Hieroglyphics, on the Tombs of their old H●r●'s; Lions, Bears, Horses, Dogs, Dragon's Snakes, etc. wrought on the hardest Rock● together with Runic Characters; so as these Nations seldom traveled without their Graef, or Graef-Saex, a kind of point or stiletto, with which they used to carve out Letters and other Figures upon occasion; but it was yet so rude, and their Gusto so depraud, ●hat they demolished, and ruined all those goodly fabrics, and excellent Works, wherever they became Masters, introducing their lame, and wretched manner, in all those Arts which they pretended to restore, even when now they became a little more civilised by the conversation of the more polished and flourishing Countries: For it was not any general, and imaginary decay, which some have conceited to be diffused upon the universal face of Nature, that the succeeding periods did not emerge, or attain to the excellency of the former Ages, ancient Masters, and renowned works; but to the universal decay of noble, and heroic Genius's to encourage them. Priscis enim temporibus (says Petronius) cum adhuc nuda placeret virtus, satire. Vigebant Artes ingenuae, summumque certamen inter homines erat, ne quid profuturum saeculis diu lateret; Itaque omnium Herbarum succos Democritus expressit; & ●●lapidum Virgultorumque vis lateret, aetatem ●iter experimenta consumpsit: Eudoxus quidem 〈◊〉 cacumine excelsissimi montis consenuit, ut Astrorum Caelique motus deprehenderet: & C●ry●●ppus ut ad inventionem sufficeret, ter Helleboro animum detersit: Verum, ut ad plastas converta● (which comes nearest our instance) Lysippum statuae unius lineamentis inhaerentem inopia exstinxit; & Myron, qui paene hominum Animas, Ferarumque Aere comprehenderat, non invenit heredem. At nos Vino, scortisque demersi, ne paratas quidem artes audemus cogn s●ere, sed accusatores antiquitatis, Vitia tantum docemus & discimus, etc. He concludes; N●lito ergo mirari, si pictura defecit, cum omnibus Diis Hominibusque formosior videatur massa Auri, quam quicquid Apelles, Phidiasve, Graeculi delirantes fecerunt. And if thus even in the greatest height and perfection of the Sciences, the eloquent Satirist could find just reason to deplore their decadence, and censure the vices of that age; what shall we say of ours, so miserably declining, and prodigiously degenerate? We want Alexander's, Augustus', such as Francis the I. Cosimo di Medice●, Charles the V. those Fathers, and Mecaenas' of the arts, who by their liberality and affection to Virtue, may stimulate, and provoke men to gallant exploits; and that being thereby once at their ease from the penury, and necessities which depress the noblest minds, they might work for glory, and not for those trifling and illiberal rewards, which hardly would find them bread, should they employ but half that time upon their studies, which were requisite to bring their labours to the supremest perfection; since according to that saying, 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 Nothing which is great can be done without leisure: If a quarte● of that which is thrown away upon Cards, Dice, Dogs, Mistresses, base and vicious Gallanteries, and impertinent follies, were employed to the encouragement of arts, and promotion of science, how illustrious and magnificent would that age be; how glorious and infinitely happy? We complain of the times present, 'tis We that make them bad; We admire the former, 'tis the effect of our Ignorance only; and which is yet more criminal, in that we have had their examples to instruct, and have made them to reproach us: Pardon this indignation of Ours, O ye that love virtue and cultivate the sciences! To return to our Institution again: Sculpture and Chalcography seem to have been of much ancienter date in China then with us; whereall their writings and printed Records were engraven either on Copper plates or cut in Tablets of Wood, of which some we possess, and have seen more, representing (in all pictures) Landscapes, Stories, and the like. Josephus Scaliger affirms that our first Letters in Europe were thus cut upon Wood, before they invented the Typos aeneos; instancing in a certain Horologium B. Mariae, Hist Chin part▪ 1. cap 7 which he says he had seen Printed upon Parchment a great while since: But Semedo would make the World believe that the forementioned Chinezes have been possessed of this invention about sixteen hundred years, some others affirm 3700. However, that they were really Masters of it long before us, is ●universally ageed upon; and is yet in such esteem amongst them, that the very Artisan who compounds the Ink for the Press, is not accounted amongst the Mechanic professors; but is dignifyed with a liberal Salary, and particular privileges. They also engrave upon stone, and imprint with it; but with this difference in the working-off; that the paper being black, the Sculpture remains white. More admirable is that which they attest was found in Mexico, and other place● of the new world, where they Hieroglyphized both their Thoughts, Histories and inventions to posterity, not much unlike to the egyptians, though in less durable, and permanent matter: The same likewise Jo. Laet affirms of the Sculpture among the Acadiae, and those of Nova Francia; so natural (it seems) and useful was this art, even to the least civilised amongst the Heathens: And there is indeed nothing at which we more admire, and deplore, then that this facile, and obvious invention; and which would have transmitted to us so many rare and admirable things, was never hit upon among the Greeks and inventive Romans, who engraved so many Inscriptions both in Brass and Marble; impressed and published so many thousands of medails, and coins as are in the hands and collections of the Virtuosos, and the bowels of the Earth, wherever their conquests extended themselves, or Eagles displayed their wings. CHAP. IU. Of the invention and progress of Chalcography in particular; together with an ample enumeration of the most renowned Masters, and their Works. THe Art of Engraving and working off, from Plates of Copper, which we call Prints, was not yet appearing, or born with us, till about the year 1490. which was near upon 50 years after Topography had been found out by John Guittemberg; or who ever that lucky person were (for 'tis exceedingly controverted) that first produced the Invention. There is a collection of ancient Offices adorned with several Scultures (if so we may term those wretched Gravings in the infancy of this art) where the Devil is but one great blot (as indeed he is the Foulest of the Creation) and the rest of the Figures Monochroms as ridiculous and extravagant; though still as the invention grew older, refining and improving upon it. One of the ancientest Gravings which we have seen, to which any mark is opposed hath M. 3. and M. C. in one of the corners of the plates and it was long that they used the initia letters of their names, only, and sometimes but one; as in those of Lucas. Albert D●rer did frequently add the year of the Lord, and his own age from ten to fourteen, etc. performing such things as might shame most of the best Masters, for the true and steady design, the incomparable proportion, and stroke of his Graver: But Israel, Martin Schon, and the Todesco (wh● is by some surnamed The Master of the Candlestick, because of the foulness of his Ink) were of the very first, as far as we can collect, who published any works of this kind under their names, wrought off by the Rolling-Presse, and whose slender attempts gave encouragement to those who have succeeded. George Vasari, who has been exceedingly curious in this enquiry, attributes the first invention of this Art to one Maso Finiguerra a Florentine, about anno 1460, which exceeds our former computation by 30. years; but then we are to consider by what progress and degrees; for it was first only in Silver, to fill with a certain Encaustic or black Enamel, which it seems gave him the first hint how to improve it in plates of bras●, which having engraved, he did only fume, taking off the impression with a moist paper and a Rolling pin. This mean commencement was yet afterwards pursued by Baccio Baldini a Goldsmith, his Country man, whose works coming to the sight of Andrea Mantegna in Rome, invited that great Painter to give him some designs of his own for his encouragement; and from thence it traveled into Flanders to one Martin of Antwerp, whose works (as we observed) were usually countersigned with M. the first whereof were the five wise and five foolish Virgins, and a Crucifix, which was so well cut, that Gerardo a Florentine Painter would needs copy it: After this he published his four Evangelists, our Saviour, and the twelve Apostles, a Veronica, S. George, Christ before Pilate, an assumption of the B. Virgin, one of the rarest that ever he did; besides that St. Anthony's temptation, which was so well performed, that Michael Angelo (exceedingly ravished with it) would needs wash it over with his own hands. The next that appeared of note was the formerly mentioned and renowned Albert Durer, who flourished about the years 1503. and who had performed wonders both in Copper and Wood, had he once fortuned upon the least notion of that excellent manner, which came afterwards to be in vogue, of giving things their natural distances, and agreeable sweetness, the defect of which Sir H. Wotton does worthily perstringe both in him, Element of Architect. and some others. But to proceed, Albert being very young set forth our Lady, some designs of Horses after the life; the Prodigal, S. Sebastian in little, a Nymph ravished by a Monster; a Woman o● Horseback, Diana chastising a Nymph who flies to a satire for protection, in which he discovered his admirable talon and skill in expressing Nudities: A Country man and Woman playing on Bagpipes, with Poultry, etc. about them. Venus, or the temptation of the Stove; his two St. Christopher's, rare cuts. After that, he engraved several Stamps in Wood, proof whereof he gave in the decollation of St. Jo. Bapt. with Herodias, Pope Sixtus, St. Stephen, Lazarus, S. George, a passion in great, the last supper, Christ's apprehension in the Garden, descent into Limbo, and Resurrection, with eight more Prints of this subject, which are held to be spurious: All these be published anno 1510. The year following, he set forth the life of our Lady in twenty sheets rarely conducted. The Apocalypse in fifteen sheets, of which the Painters have made sufficient use; Christ bemoaning our sins; Then applying himself to grave in Copper again, he published his Melancholia, three different Madonnas, with thirty pieces besides concerning the passion, and which being afterwards imitated by that rare Artist Marco Antonio (who had procured them at Venice) and published for Originals (so exactly it seems they were performed) did so insense Albert, that he made a journey to Venice expressly to complain of the injury to the Senate, and obtained at last, that M. Antonio should no more be permitted to set his mark or Plagia, which was all he could procure of them. Another emulator of Albert's was Lucas van Leyden, whom at his return into Germany he found had well near overtaken him for the sweetness of his Burine, though something inferior of design: Such were a Christ bearing the Cross, and another of his Crucifixion, Samson, David on a horse, the martyrdom of S. Peter, Saul, and David, the slaughter of Goliath, the famous Piper, Virgil's, and some other heads, all which works did so inflame his Antogonist Albert, that in a laudable revenge, he published his armed Cavalier or Dream, in which the brightness and lustre of the Armour and Horse is rarely conducted: Then in the year 1512 he set forth six other small stories of the passion, which Lucas also imitated, though hardly reached: Then a S. George, Solomon's Idolatry; the Baptism of our Lord, Pyramus and Thisbie, Ahasuerus and Hester, etc. These again incited Albert to publish that Temperantia, whom he elevates above the clouds, S. Eustathius and the Hart, a most incomparable cut; his Death's head in a Scutcheon, and several German Coats full of rare Mantlings and invention. Also S. Hierom, a Christ and twelve Apostles in small: anno 1523. many heads, as that of Erasmus, Cardinal Albert, the Imperal Electors, and his own, with divers other. Lucas again in emulation of these, set forth his Joseph and four Evangelists, the Angels appearing to Abraham; Susanna, David praying, Mordecay triumphing; Lot, the Creation of Adam and Eve; the story of Cain and Abel, viz. anno 1529. But what procured him immortal glory was his great Crucifix; Ecce Homo, and Conversion of St. Paul; in which he exceeded himself both for the work and ordinance; the distances being better conducted than Albert's, and indeed so well observed, as gave light even to some of the best Painters that succeeded him; so much are they obliged to this Art, and to this rare Workman: He graved also several madonna's, our blessed Saviour and Apostles; together with divers Saints, Arms and Mantlings, a Mountebanc and many more. But to return now into Italy from whence we first sallied; in the time of Raphael Urbine flourished the renowned Marco Antonio, who graved after those incomparible pieces of that famous Painter, to whom he was so dear, that the honour he has done him to posterity will appear, as long as that School of Raphael remains in the Pope's Chamber at the Vatican, or any memorial of it lasts; though to speak truth, even of this rare Graver, the Pieces which he hath published seem to be more estimable yet for the choice and imitation, then for any other perfection of the Burine; as forming most of his figures and touches of too equal force, and by no means well observing the distances, according to the rules of Perspective, that tenderness, and as the Italians term it, Morbidezza, in the hatchings, which is absolutely requisite to render a piece accomplished and without reproach. We have recited above, what he Copied after Albert Durer; But being at Rome, and applying himself to Raphael, he cut that rare Lucretia of his, which he performed so much to satisfaction, that divers excellent painters desired him to Publish many of their Works: This produced Urbines' Judgement of Paris, at which the City was so ravished, that they decreed the Golden apple to Antonio, before the fair Goddess: Then he set forth the Slaughter of the Innocents, Neptune, the Rape of Helena, all of them of Raphael● designing: Also the martyrdom of St. Felix in the boiling Oil, which purchased him so much Fame and Credit; but this Excellent Painter would always from that time forewards, have one of his Servants to attend only M. Antonio's Rolling-press, and to work off his Plates, which then began to be marked with R. S. for Raphael Sancio, which was the name of Urbine, and with M. F. for Marco Fecit. Of these there is a Venus designed by Raphael, Abraham and his Handmaid: After this he graved all those round designs painted in the Vatican by the same hand; Likewise the Calliope, Providentia, Justitia, the Muses, Apollo, Par●assus, the Poets; Aeneas and Anchises, the famous Galatea all of them after Raphael: Also the three Theological Virtues, and four Moral, Pax, Christ, and the Twelve: Several Madonnas, St. Jerome, Tobit, St. Jo. Baptist, and divers other Saints; besides many prints after the Cartoons of Raphael which had been designed to be wrought in Tapestry and Arras; as the story of St. Peter, Paul, Stephen, John, St. Catharine, and sundry heads to the life, etc. especially that incomparable one of Pietro Aretino the Poet: somethings likewise being sent by Albert Durer out of Germany to Raphael, were upon his recommendation, afterwards cut by M. Antonio, together with the Innocents, a Coenaculum, and St. Cecilia's Martyrdom of Raphael's invention: Then he published his twelve Apostles in little, and divers Saints for the help of painters, as St. Jerome, the naked Woman, and the Lion, after Raphael, Aurora, and from the Antique, the three Graces. Marco di Ravenna was one of Antonio's Scholars, who had also together with Augustino Venetiano, the honour to dignify his gravings with Raphels' cipher; though the latter often used A. VI his own initia letters; of both their cutting are a Madonna, with a Christus mortuus, and in a large sheet the B. Virgin praying, and a Nativity in great also: The Metamorpheses of Lycaon, a Perfumer, Alexander magnus, and Roxana, a Caena Domini, the Annunciation, all designed by Raphael, besides these were set forth two Stories of the Marriage of Psyche,; and indeed there was hardly any thing which ever Raphael either painted or designed, but what were graven by one, or both of these Workmen; besides divers other things after Julio Romano, viz. all that he painted in Raphael's Lodge, or Gallery in the Vatican; some whereof are signed with M. R. and others with A. V. to show they had been imitated by others, as was the Creation; the Sacrifice of Cain and Abel, Noah, Abraham; the Passage over the red sea; The Promulgation of the Law; the fall of Manna, David and Goliath, which also M. Antonio had published before; as likewise the Temple of Solomon, his Judgement on the Harlots, the Queen of Saba's visit, and many other Histories collected out of the Old Testament, all which were published before Raphael's decease: For after that, Augustino wrought with Bac●io Bandinelli, a sculpter of Florence, who caused him to grave his Antonius and ●lcopatra, very rare things, with divers other designs; as the slaughter of the Innocents, divers Nudities, and Clad Figures; not to omit those excellent and incomparable Drawings and Paintings of Andrea del Sarto after which he graved; though in the Christo mortuo not altogether succeeding so well as had been wished. But to come again to Marco Antonio (because there is not a paper of his to be lost) after Raphael's death, did Julio Romano publish some of his own designs in print: I say, after his Death; for before, though he were an excellent painter; yet durst he never take the boldness upon him. Such were the Duel of Horses, a Venus which he had formerly painted: The penance of Mary Magdalen, the four Evangelists and some Bassi ●elievi, with many things that Raphael had designed for the Corridor of the Vatican, and which were afterward retouched by Tomaso Barlacchi: We will not contaminate this discourse with those twenty vile designs of Julio cut by M. Antonio, and celebrated with the impure verses of Peter Aretino, by which he so dishonoured this excellent Art, as well as himself; because it deserved a severer Animadversion and Chastisement than was inflicted upon him for it; though to commute for this Extravagancy, he published the martyrdom of S. Laurence, in which he also reformed those designs of Baccio Bandinelli to the great reputation of the Art of Chalcography. About the same time flourished Giovanni Battista Mantuano Disciple of Giuleo Romano, who published a Madonna, his armed Mars and Venus, the burning of Troy, an extraordinary piece; his prints are usually signed I.B.M. Also his three Sheets of Battles (cut by some other hand) a Physician applying of Cupping Glasses to a Woman; Christ's Journey into Egypt, Romulus and Rhemus, the Stories of Pluto, Jupiter and Neptune; the miseries of Imprisonment, Interview of the Armies of Scipio and Hannibal; St. John Baptists Nativity, cut by Sebastiano de Reggio, all, after Julio Romano. Giorgio Mantuano set forth the Facciata of the Pope's Chapel, M. Angelo's Judgement, St. Peter's martyrdom, the Conversion of St. Paul, etc. And some plates were sent abroad about the year 1530. eaten with Aqua Fortis after Parmesano; For, as ab aere, deventum ad Tabulas ceratas in writing, the use of the Palimpsestus, Ta●●e books, Plumbae lamellae and the like; ●o happened it also in this Art of Chalcography; and Etching with Corrosive waters began by some to be attempted with laudable success, as in this Recital we shall frequently have occasion to remember: But, whither those Symeters and Blades brought us from Damascus, and out of Syria, and wrought with these strong waters, might give any light to this expeditious and useful invention, we are not yet informed; and the effect was sufficiently obvious, after that of the Burine had been well considered. Vago de Carpi did things in stamp, which appeared as tender as any Drawings, and in a new way of Charo Scuro, or Mezzo Tinto by the help of two plates, exactly conter-calked, one serving for the shadow; the other for the heightening; and of this he published a Syb●lla after Raphael, which succeeded so rarely well, that he improved the curiosity to three Colours; as his Aeneas and Anchises, descent from the Cross, story of Simon Magus, a David after the same Urbino, and a Venus do testify: This occasioned many others to imitate him, as in particular, Baldassare Peruzzi (who graved th● Hercules, Parnassus, the Muses) and Francisco Parmegiano, who having set out Diogenes in this guise, a very rare print, instructed Antonio di Trento in the Art, who published his Peter and Paul in Charo oscuro, the Tyburtine Sibyl and a Madonna; but none was there who exceeded those of Beccafumi; especially, his two Apostles in wood, and the Alchemist in Aqua Fortis. Fran. Parmegiano (whom we already mentioned) may be esteemed for one of the first that brought the use of A. Fortis into reputation; so tender and graceful were some of his Etching, as appears in that rare Descent of the Cross, Nativity and several other pieces. Baptista Vicentino, and Deal Moro set forth many curious Landships, Girolamo Cocu the Liberal Sciences, etc. Giacomo deal Cavaglio cut many things after Rosso Fiorentino, as the Metamorphosis of Saturn into a Horse, the Rape of Porserpine, Antoninus and the Swan; some of the Herculean Labours; a book of the Gods and their transformations, whereof part are after Perino del Vaga; also the Rape of the Sabines, an incomparable print, had it been perfect; but the City of Rome happening at that time to be in some disorder, the plates were lost: He graved likewise for Parmegiano the Espousals of our Lady, and a rare Nativity after Titian; not to conceal his admirable talon in cutting of Onixes, Crystals, and other estimable stones. Enea vico de Parma engraved the Rape of Helena after old Rosso, a Vulcan with some Cupids about him: Leda after Mich. Angelo: The Annunciation designed by Titian; the story of Judith, the Portrait of Cosimo di Medici's, &c. Also the contest 'twixt Cupid and Apollo before the Gods; the Conversion of St. Paul in great, a very rare stamp: The head of Jovanni de Medici, Charles the V. and some rare Medails which are extant in the hands of the Curious: He also published St. George; several habits of Countries; The Stemmata or Trees of the Emperors and divers other Famous Pedigrees. Lamberto Suave set forth 13 prints of Christ and his Disciples far better graved then designed, also the Resurrection of Lazarus, and a St. Paul, which are skilfully, and very laudably handled. G●o. Battista de Cavaglieri has cut the descent from the Cross, a Madonna and many others. Antonio Lanferri, and Tomaso Barlacchi graved divers things after Michael Angelo, and procured so many as were almost numberless: But what they published of better use were divers Grotescos, Antiquities and pieces serving to Architecture, taken out of the old buildings and Ruins yet extant, which afterwards Sebastiam Serli. refining upon, composed the better part of that excellent book of his: And of this nature are the things published by Antonio Labbaco, and Barozzo da Vignol●. The Famous Titian himself left some rare things graven with his own hand in wood, besides his Pharo in the great Cartoons, divers Landscapes, a Nativity, St. Hierom, S. Francis; and in Copper a Tantalus, Adonis, also in Box the Triumph of Faith, Patriarchs, Sibyls, Innocents, Apostles, Martyrs, with our Saviour borne up in a Chariot by the four Evangelists, Doctor●, and Confessors; Also the B. Virgin, a St. Anna, which he first painted in charo oscuro on the Sepulchre of Luigi Trivisano in St. Giovanni e paola at Venice; Samson and Daillia, some Shepherds and Animals; Three Bertuccie sitting, and encompassed with Serpents like the Laocon; not to mention what were published by Giulio Buorasoni, and those which were cut after Raphael, Giulio Romano, Parmegiano and several others. Baptista Franco a Venetian Painter, has showed both his dexterity in the Graver, and Aqua Fortis also; by the Nativity, Adoration of the Magi, Predication of St. Peter, Some Acts of the Apostles, Histories of the Old Testament after several excellent Masters: Renato did divers rare things after Rosso, as in that of Francis the First his passing to the Temple of Jupiter; The Salutation of the B. Virgin, and a dance of ten women, with several others. Luca Penni published his two Satyrs whipping of Bacchus; a Leda, Susanna and some things after Primaticcio: also the Judgement of Paris, Isaac upon the Altar; a Christ, a Madonna Espousing of S. Catharine; the Metamorphosis of Calista, Concilium Deorum, Penelope and some others in Wood Who does not with admiration and even ecstasy behold the works of Francisco Marcolini? Especially, his Garden of thoughts; Fate, Envy, Calamity, Fear, Praise, so incomparably ●ut in Wood Nor less Worthy of Commendation are the Gravings of Gabrielle Giolito, in the Orlando of Ariosto; as also those eleven pieces of Anatomy made for Andrea Vessalius designed by Calcare the Fleming, an Excellent Painter, and which were afterwards engraven in Copper by Valverde in little. Christopher Coriolano graved the heads in Vasaris lives of the Painters, being after the designs of the same Vasari; they are in wood, and rarely done. Antonio Salamanca did put forth some very good things. Andrea Mantegna that admirable Painter, engraved his Triumphs of Caesar with great Art; as likewise Baccanalias, and sea-Gods, a Christ taken from the Cross, his Burial, and Resurrection; which being done both in Brass and Wood, were conducted with that skill, as for the softness and tenderness of the lights, they appeared as if they had been Painted in Miniature. Nor may we here omit to celebrate for the glory of the Sex, Propertia de Rossi a Florentine Sculptress; who having cut stupendious things in Marble, put forth also some rare things in Stampi to be encountered amongst the Collections of the Curious. And about this age, or a little after, flourished Martin Ruota, famous for his Judgement after Michael Angelo in a small volume, much to be preferred to that which is commonly sold at Rome in so many sheets; likewise his St. Anthony and divers more. Jacomo Palma has (besides his excellent book of Drawing) set forth many rare pieces, very much esteemed. Andrea Mantuan graved both in Wood and Copper; of his were the Triumph of our Saviour after Titian, and some things in Charo oscuro after Gio: di Bologna and Domenico Beccafumi, whom but now we mentioned; also the Roman Triumphs in imitation of Mantegna, a Christus mortuus after Alexand. Casolini, etc. Finally, towards the end of this Century, appeared Augustino, and Annibal Carracci most rare Painters and exquisite Engravers; for indeed when these to Arts go together, than it is, and then only, that we may expect to see the utmost efforts and excellency of the Bolino: amongst the famous pieces communicated to us by these Masters, we may esteem the Monelli, Aeneas of Barrochio's invention, and S. Hierom. After Tintoret the large and famous Crucifix of three sheets in S. Roccoes school which so ravished the Painter: Mercury and the Graces, Sapientia, Pax, Abundantia chase Mars away; The Ecce homo of Correggio, S. Francis of Cavalier Vanni: a Venus in little with a satire, and some other nudities with something a too luxurious Graver: S. Giustina's Martyrdom of Paulo Veronezes, S. Catherine, and that renowned S. Hierom of Correggio; Also in Aqua fortis his brother Hannibal etched another Venus; the Woman of Samaria at the well, a Christ in little, and a Madonna with the Bambino, and S. John; The famous S. Roch and the spiteful coronation with thorns: The Christus mortuus bewailed by the devout sex, the original painting whereof hangs in the D. of Parmas' Palace at Caprarvola, and is in the Cut one of the tenderest and rarest things that can be imagined, abating the vileness of the Plate, which was most unfortunately chosen, though through that accident, rendered inimitable, and never to be counterfeited: There is likewise his Magdalen and a Landscape touched with the Graver a little; likewise a Sylenus, all of them incomparably designed, nor indeed, did any of the four celebrated Artists exceed the Carracci, especially Hannibal, for the nobleness and freedom of his postures, bodies and limbs, which he expressed in greatest perfection; We may not omit the Purification which he graved, and Villamena made in large, nor the S. Anthony, the Original whereof is in the Palace of Signior Francisco della Vigna at Venice, nor lastly the Resurrection and the two Caenaculas. In the time of Sixtus Quintus and since, lived Francisco Villamena a rare workman, whether considered for the equality of his hatches, which he conducted with a liberty and agreeableness suitable to the perfection of his design (as is sufficiently apparent in that famous Plate, which he engraved after Paulo Veroneze, representing Christ in the Temple) or in those things after the Vatican paintings by Raphael, some whereof being never finished, came into a private hand. The Triumphant Venus on the sea; Moses, some cuts after Fredrick Barroccio in Aqua fortis, divers Catafalcoes of excellent Architecture, Ignatius Lyola; the story of Psysche containing many sheets; a combat of men casting stones at one another; and lastly, that laborious and useful book, comprehending the Historical Column of Trajan, designed by Julio Romano, and Girolan●o Mutiano, which at my being at Rome (than quite out of print) I procured of his Widow who was then living, but would not part with the Plates out of her sight. Giovanni Maggi was an excellent Painter and Etcher, as he has sufficiently discovered in his rare Perspectives, Landscapes, and his Roma in the Larger Chartoon; likewise in the nine privileged and stationary Churches, with the three Magi who offer presents to our Saviour in allusion to his name. Leonardo, Isabel, and Bernardino Parasol, that we may furnish all the sorts of Art in this kind, cut exquisitively in wood, which is a graving much more difficult; because all the work is to be abated and cut hauling, which is to appear white; so that (by a seeming paradox) as the Matter diminishes the Form increases, as one wastes, the other grows perfect. These all flourished about the year 1560, and left us three little histories of the Salutation, Visitation, and St. John Baptist: Also Christ's washing his Disciples feet, and the cuts to Castor Durantes Herbal: Isabel, who was his wife, published a book of all the sorts of Points, Laces, and Embroideries, with other curious works for the Ladies, being all of her own invention (except the Frontispiece only, which is Vilamenas') and the Plants in the Herbal of the Prince Cesi d' Aquasporte, a learned person of that Age. Lastly, the son did also put forth some few things of his work; but was a far better Painter in Fresco. Antonio Tempesta was a most exact and rare designer, for which his works are much more estimable, then for the excellency of his Points and Needles: he has left us of his essays in A. F. the Histories of the Fathers, the twelve Months of the year, Roma in a very large volume; an incomparable Book of Horses, another of Hunting, the plates now worn out, and retouched with the Bolino: St. Hierom, and a Judgement: the wars of Charles the Fifth rarely performed: the Metamorphosis of Ovid; the Battles of the Jews, especially that of the Amalakites in great, the Creation and Old Testament, Torquato Tasso's Jerusalemma Liberata, the Birds and Faulconry in Pietro Olinas Book, with divers others well known, and much esteemed by the Virtuosos. Cherubin Alberti has celebrated h●s incomparable Graver in that presentation of our Lord in the Temple▪ the Adam expulsed out of Paradise: In the Puti, divers Vasa's, and other pieces which he wrought after Polydoro de Caravaggio and Michael Angelo, commonly sold at Rome, and universally collected. Horatio Borgiani cut the History of the Bible in the Peristyle of Raphael at the Vatican, so often made mention of, and out of which, as from a School of the noblest Science, most of the great Painters of the World have since taken forth their Lessons: He likewise published some things in Char' Oscuro, which were rarely heightened. Raphael Guido a Tuscan, engraved many pieces after Cavalier Arpino, as the Flagellation, Romulus, Icarus, The Angelus Custos, Ceres, Bacchus, a Christus mortuus and St. Andrew the Apostle after Barroccio. Jovanni Baptista della Marca put forth many divices of Shields, Armour, Busts, and Trophies cut in wood. To these we might add those excellent things of Camillo Graffico, and Cavalier Salimbene, Anna Vaiana, with innumerable more; But we have yet other fruitful Countries to visit, to whose praises we must be just; only we may not forget the incomparable Stephano Della Bella a Florentine Painter now, or lately living, whose entire collection in A. fortis is deservedly admired, and here in particular to be celebrated by me, in acknowledgement of some obligation I have for his civilities abroad: And of this Artist's works, flowing, and most luxurious for invention, are those things which in imitation of Callot he did in little, being yet very young: As the Scenes and dances of the Horses at the Marriage of the Duke of Tuscany; Compartimenti, Cartells, Ornaments and Capricios for Carvers and Embroiderers: A book of Gobbi, and divers Vasa's, Landscapes in Rounds and others: A book of Beasts done exceedingly to the natural: The principles of Design, Heads, and other touches very rare and full of spirit, several pieces of our Lady, Christ, St. Joseph. etc. jacob's descent into Egypt: The Procession and Exposure of the Sacrament, where there is an Altar of curious Architecture enriched with festival Ornaments: The Cavalcado of the Polonian Ambassador into Rome, with divers other proceedings, Pieces of Polonians, Persians, and moors on Horseback breathing a rich and noble fancy: Also Seiges, Engines for War, with Skirmishes, Land and Sea Fights: The Metamorphosis of Ovid: The Sultana and her son taken by the Knights of Malta, and to conclude, (for there is no end of his Industry) the Prospect of the Pont Neuf at Paris, than which there is not certainly extant a more lively representation of the busy Genius of that Mercurial Nation; nor a piece of greater variety as to all encounters and accidents, which one can imagine may happen amongst so numerous a people and concourse of Mankind. Lastly (for they were likewise some of them Gravers in Copper and very rare Chalcographers) we must not omit to make honourable mention here of those incomparable Sculptors and Cutters of Medails, whither in Gems or Metals; such as were (besides those we touched in the former chapter) Vittor, Gambello, Giovanni dal Cavino the Padovan, and a Son of his; Benevento Gellini, Leone Aretino, Jacopo da Tresso, Fred. Bonzagna; and above all Gio. Jacopo who have almost exceeded, at least approached the Ancients: To these may we add Giovanni da castle Bolognese, Matteo dal Nasaro, Giovanni dal Cornivole, Domenica Milaneze, Pietro Maria de Pescia, Marmita, and Ludovico his Son, Valerio Vincentino who had been in England in the time of Queen Elizabeth, and left a Sardonix which he cut, representing the head of that famous Heroine, inferior to none of the Ancients: There was likewise Michelino, who with the above named Ludovico, and Vincentino, had so accurarely counterfeited the ancient Medails, that the most knowing Antiquaries were often at a loss to distinguish them: Such were also Luigi Arichini, Alessandro Caesari called the Greek, so much celebrated for that stupendious Medalion of Paul the Third, and the head of Photius the Athenian which he cut in an Onyx, comparable, by the Universal Suffrages, to any of the Ancients: We could reckon up the works also of many of the rest, but it is not requisite, after we have given this taste, and would merit an express Treatise. Likewise those of Antonio de Rossi, Cosimoda Trezzo, Philippo Negarolo, Gaspar and Girolamo Mis●roni, Pietro Paulo Galcotto, Pastorino di Sienna, not omitting that famous Pharodoxus of Milan, Fran. Furnius, and Severus of Ravenna, etc. whose works were in Gold, Silver, Copper, Steel, Achates, Cornelians, Onixes, Crystal, Jasper, Heliotrope, Lazuli, Ametheistis, etc. yea, and to show how much some of those Modern Masters exceeded the Ancients, even the Diamond, that hitherto insuperable gem, was subdued by the famous Treccia of Milan, who with stupendious success cutting the King of Spain's Arms in a Noble Table, was the first that ever engraved, or made impression into that Obdurate stone. It will become such to be well acquainted with these Master's Labours, and their manner, who aspire to be knowing, and to improve their Judgement in Medaills and Intaglias, that necessary, Ornamental and Noble piece of Learning; and not only to be well skilled in their way of design; but to be able also to perform something in the Art themselves: For such were those ingenious and Illustrious Spirits, Geo. Battista Sozini of Sienna, and Rosso de Giugni of Florence, Gentlemen of note; and such, with us, is our Noble and worthy Friend, Elias Ashmole Esq; whose Learning, and other excellent qualities deserve a more glorious inscription. Finally, that excellent Medalist Mounsieur Roti, now entertained by his Majesty for the Mint, and a rare Workman as well for Intaglias in stone, as Metal, is not to be here omitted. We shall speak in the next of those Germans and Flemings who excelled in the Art of Chalcography, not that they have exceeded some of the French; but, because they were before them, and Universally admired: of these, the Antesignani were the forementioned Albert Durer; that Prodigy of science, Master Bleau of Amsterdam. whose works we have already recounted upon occasion of Marco Antonio, and therefore shall here forbear the repetition; as also those of Lucas, whose works (consisting in all of about Lxx. sheets, and which I have known sold for near an hundred pounds sterling, to one that as well understood the value of money, as of that rare Collection; he being one of the greatest Merchants of Books in Europe) are to be taken blind fold as they say; provided the impressions be black, well conserved, of equal force, and not counterfeit, as there are several of them which be; discernible only by the curious, and accurately skilful: For such (amongst others of Durer's) are the Creation of Adam, the story of Lot, Susanna, The Crucifix which he cut in a small round plate of Gold for the Emperor's sword, and is fixed on the pummel, not before mentioned: his armed Cavalier and Satire, and indeed, almost all that ever He, or Lucas graved and set forth. The Works of Aldegrave, who came very near Albert, and flourished about the same Age, are worthy the Collection: His pieces are distinguished by the cipher of his initial Letters * in imitation of Durer, as likewise the Author of the septem opera misericordiae; stories of the book of the Kings, Artemisia, etc. whose gravings are countersigned with G.P.I.B. published the four Evangelists, Adam, a Country fellow, a Bishop, a Cardinal, Satyr's, etc. M. the Prodigal son, the Evangelists, etc. some whereof are Copies after Albert, and most of their works done in small plates. Hans Sibald ●eme hath done wonders in those small figures, stones, and nakeds which he published; it shall not be requisite to recite here the Catalogue; because his mark I-S-B is fixed to most of his works, though now and then profaned by the hands of others. Jerome Coach a Fleming cut a Moses, 32 sheets of the story of Psyche, designed by one Michael a Painter of the same Country very rarely conducted: Also Dalila and Samson; The destruction of the Philistims, the Creation of Adam, etc. 27 Stories of the Old- Testament nobly designed by Martino, and as well graved: Also the History of Susanna: Another book of the Old, and New Testament: The Triumph of Patience, a rare Cut: the Heart on the Anvil, and divers Emblems full of curious Figures; many sacred Triumphs; Fraud, Avarice; a Bacchanalia, and a Moses after Bronzini, in emulation whereof, Gio. Mantuano published his Nativity, an incomparable print; after which Jerome graved for the Inventor, twelve great sheets of Sorceresses, the Battles of Charolus the V. and for Verese a painter, the Perspectives which pass under his name, with 20 leaves of several Buildings; besides the St. Martin in a book full of Devils; For Girol. Bos, the Alchemist, the seven deadly Sins, the last Judgement, a Carnoval; and, after Francis Floris ten pieces of Hercules Labours, the Duel of the Horatij and Curatii, the Combat of the Pigmies and Hercules, Cain and Abel, Abraham; the Decission of Solomon between the two Harlots, and in sum, all the actions of humane life. And now that we mentioned Francis Floris of Antwerp, the rare things which he published in stamp, purchased ●im 〈◊〉 name of the Flemish Michael Angelo. Of the same Country was that incomparable Cornelius Cort; we will commence with the Judgement of Michael Angelo which he cut in little: Most of his things were after Frederic Zucchari, and some few of Raphael's; besides his Landscapes and other Gravings, after Girolam Mutiano, which are very excellent: Also John Baptist, St. Hierom, St. Francis, Mary Magdalen, St. Eustachius, the Lapidation of S. Stephen designed by Marco Venusto the Mantuan. A Nativity after Thadeo Zuccharo, St. Anne, etc. Also a Nativity in great after P●lydore: The Transfiguration; The school at Athens; The Battle of Elephants; some Gravings after Don Julio Clovio, and Titian, which had they been accompanied with that tenderness, and due observation of the distances, that accomplished the succeeding Gravers, had rendered him immortal, so sweet, even and bold was his work and design in all other considerations. We mentioned Titian; for about 1570. Cor. Cort did use to work in that famous Painter's house, and Graved for him that Paradise he made for the Emperor; St. Lazarus Martyrdom, Calis●e and the Nymphs, Prometheus, Andromeda, the forenamed Magdalen in the desert, and St. Hierom, all of them of Titians' invention, We come now to Justus, John, Aegidius, and Ralph Sadelers, who lived in the time of the Emperor Rodulphus, and published their almost numberless labours; we can therefore instance but in some of the most rare; such as were that Book divided into three parts. 1. Imago bonitatis, 2. Boni & mali scientia, 3. Bonorum & malorum Consensio, designed by Martin de Vos: The Vestigia of Rome tenderly and finely touched in 50 sheets: The 12 Roman Emperors and Empresses after Titian, rarely graved by Giles, a Madonna with our Saviour, and St. Joseph after Raphael, Christus Flagellatus, and the head of Rodulphus II. with various capriccios, and inventions about it, as also that of the Emperor Mathias, adorned with the chaplet of Medails; the calling of S. Andrew, by John and Giles in brotherly emulation: Four books of Eremites admirably conducted by Raphael, a caena Domini after Tintoret, and another Flagellation of Arpinoes: Divers Landscapes, The 12 Months; the great Hall at Prague, the Effigies of Martin de Vos by Aegidius; The Emperor and Empress in their Robes of State; an Adoration of the Magi after Zuchari: Adonis and Venus after Titian: a Crucifix after Jac. Palma, a Resurrection in great: the rich Epulo, St. Stephen's Lapidation, the Original whereof is at Friuli: a S. Sebastian; These by Giles: John engraved after M. de Vos a scholar of Tintortes already mentioned, the Creation and many histories out of Genesis: Ralph cut also the Life of Christ; the Credo by way of Emblem: In sum (for their whole collection is not to be crowded into this Catalogue) they have all of them published such incomparable gravings; that 'tis the greatest pity in the world, they had not flourished in the time of the great Raphael, and the good Masters, for they were not only accurate and punctual imitators; but gave to their works that softness, life, and Colore (as Artists term it) which accomplishes all the rest; Especially, John and Raphael in what they graved after Mich. de V●s, Bassano and others whose Rusticities they set forth: those of Aegidius in great, being a descent from the Cross of Barrecci●s invention, the other a Flagellation designed by J●sepho Pin, can never be sufficiently celebrated. After the Sadelers appeared He man Muller with a very bold Bulino, and likewise Janus who graved many things after Sprangers, worse chosen (for the convulsive and even Demo●●●● postures) 〈◊〉 executed. But the imitations of the Graver by Simon Frisius the Hollander, who wrought with the Aqua fortis of the Refiners, are altogether admirable and inimitable, the stroke and conduct considered, had the design (excepting those of his Birds which are indeed without reproach) contributed in any proportion to his dexterity. After him came the Swiss Matthew Miriam, who had he performed his heightenings with more tenderness, and come sweetly off with the extremities of his hatchings, had proved an excellent Master: His works are useful and innumerable in Towns, Landscapes, Battles (those especially fought by the great Gustavus) etc. the Sost Varnish and separating A. F. was the instrument he used. We have seen some few things cut in Wood by the incomparable Hans Holbein the Dane, but they are rare, and exceeding difficult to come by; as his licentiousness of the Friars and Nuns, Erasmus, the Dance Macchabree, the Mortis imago which he painted in great, in the Church at Basil, and afterward graved with no less art, and some few others: But there is extant a book of several Figures done in the same material by one Justus Ammannus Tigur, MDLXXVIII. which are incomparably designed and cut: In the Epistle whereof, one Holtzhusen a Gentleman of Frankfort is commended for his universal knowledge, and particularly his rare talon in this Art, which it is there said he showed, by wonderful contrivances at the celebration of Martin Luther's Nuptials, and therefore worthy to be taken notice of. Hans Brossehaemer besides several other things, hath cut in wood a triumph of the Emperor Maximilian into Neuremberge. Vergilius Solis graved also in wood the story of the Bible, and the Mechanic Arts in little, but for imitating those vile postures of Aretine, had his eyes put out by the sentence of the Magistrate. Henry Golzius was a Hollander, and wanted only a good, and judicious choice to have rendered him comparable to the profoundest Masters that ever handled the Burin, for never did any exceed this rare workman; witness, those things of his after Gasparo Celio, the Galatea of Raphael Santio, and divers other pieces after Polydor da Carravaggio, a Hierom, Nativity, and what he did of the Acts of the Apostles, with Ph. Gall, etc. but he was likewise an excellent painter. George Nouvolstell was of Mentz in Germany, an admirable Graver in Wood: he published that Aeneas in little, and some Historical parts of the Bible very well performed; also divers of the Fathers after Tempesta, besides the Jerusalemma liberata of Bernardino Castelli in Quarto, with many Cartels of Arms and Harnesses, and some Pictures to a Breviary, etc. Matthew Greuter published a curious book of Letters, the City of Rome in an ample form, and a large Map of Italy; the Old and New Testament, the Church of Strasburge, an harmony 'twixt the Decalogue and the Lords prayer very ingeniously represented in Picture, with several other things laudably performed; But his son. Frederic did infinitely exceed the Father, as may be seen by those many curious Gravings which he has cut after Pietro Beretin Corton, and the famous Andrew Saccus egregious Painters. Sanredamus did publish many excellent cuts, especially those which he copied after Lucas van Leiden, of which we have formerly given a hint for their sakes, who are collectors of these curiosities, and may not haply be yet arrived to the judgement of being able to discern them from the Originals; Also some things after Goltzius. Cornelius' Gall in his St. Priscas Baptism, Papenheim's and other heads after V. Dyke, has showed what he was able to perform, not to mention abundance of Frontispeices and other less considerable of his works. But the Count Cloud● a Knight of the Palatinat has published, though very few, yet some stupendious things, especially that of our B. Saviour's flight into Egypt by night, the story of Tobit, and about three or four more worthy of all admiration. Swanevelts History of St. John, with divers Landscapes. Pandern's descent from the Cross, Mattham's Christ and St. Jo●n, a Venus after Rotenhamer, Pope Innocent X. etc. Branchorsts rare Etching, especially those Ruins and Anticalias of Rome: and superior to all, the incomparable Landscapes set forth by Paul Brill (some of which have been Etched in Aqua fortis by Nieulant) do extremely well merit to be placed in this our Theatre: For to be brief, because we can only recite the most remarkable and worthy the collection. Mattham is famous for Fruits; Boetius, or Adam Bols●erd for his Rustics after Blomaert, Londerselius has taken excessive pains in his Landscapes; and so has Van Velde in some few: but above all, Nicholas de Bruyn (after Aegidius Coninxlogensis) is wonderful for Boscage, and the industry of his undertaking works of that large Volume, which Theodore de Bry (resembling him in name) has been as famous for contracting; though both of them of a Dutch heavy spirit, and perfectly suiting with the times and places: notwithstanding has this latter performed some things in little very laudably: Nor with less ingratitude, amongst others may we forget the Nova reperta of Stradanus by Theodor Gall, who also published the whole process of making silk of the worm, and certain other works in Manufacture, all of them represented in Sculpture. Mallery in his Peccati foams after Mic. de Vos, has performed wonders as to the subtlety and imperceptible ductus of the Graver. Bols●ert set forth the Sacra Eremus Asceticarum, after Blomart and others, but above all is he to be celebrated for those rare heads, and other stories graved after the Paintings of Rubens and Van Dyke, which for their sakes, who are diligent collectors of the renowned persons of the late Age, we shall not think amiss to mention. Such were the Duchess of Orleans, Arch Duke Albert, Justus Lypsius, and others after Van Dyke, Lessius and Bellarmine, Jesuits after Dipenbec: after the same hands did Paulus Pontius grave the head of Sigismond Kind of Poland, Count Pimentelo, etc. after Rubens, Don phillip de Gusman, Don Alvar: Buzan an incomparable cut; Don Car. de Colunna, Rubens picture bore headed, for there is another in a hat: Gasp de Grayer, Simon de Vos; Maria de Medici's, Caesar Alexand, Scaglia, Const. Hugens the learned Father of our most ingenious Friend Monsieur Soylecom, so worthily celebrated for his discoveries of the Annulus about Saturn, the Pendule clocks, and universal Mathematical Genius. Gasper Garartius the Lawyer; Gasp. Revestyn; Gustavus Adolphus King of Sweden, Jacobas de Breuch, the Princess of Brabonson, that rare head of Frederic Henric Prince of Orange, and his own, with many more after Van Dyke; besides the Jesuit Canisius, R. Urbino Painter, and others whom he graved after Diepenbec, etc. And since we mentioned Sir P. Paul Rubens we may not pretermit those many excellent things of that great Politician, a learned and extraordinary person, set forth in so many incomparable Gravings by the admirable works of Suannebourg, the above named Pontius and Bolswert, Nesse, Vosterman, Vorst, and other rare Masters in this Art: Such are (to instance in some only) his battle of the Amazons, St. Roch, our B. Saviour compossed to Burial, the Fight of Lions, his great Crucifix, Conversion of S. Paul, St. Peter in the ship, a Nativity, the Magi; The bloody Catastrophe of Cyrus; solomon's first Sentence; St. Catharines' espousals, the tribute demanded of our Lord; Susanna and the Elders, St. Laurence Martyred; the Palaces of Genoa; with divers others to be encountered amongst the Merchants of Prints, whosrequently vend the copies for the originals to the less wary Chapmen: Chr. Jeghre has cut the Temptation of our Saviour in wood very rarely performed after this great Master: And besides the former mentioned, Lucas Vosterman, and Vorst are never to be forgotten so long as the memory of his Scholar Sir Antony's Van Dyke is famous, for the heads of marquess Spinola; Char. de Mallery, Horatius Gentilescus; Jo. Count of Nasaw, Van Milder; P. Stevens, and Cor. Sachtleven, which he engraved after a new way, of Etching it first, and then pointing it (as it were) with the Burine afterwards, which renders those latter works of his as tender as Miniature; and such are the heads of Van Dyke himself, Jo. Livens, Cor. Schut, Corn. de Vos, Deodat del Mont, Luca● van Uden, Jodocus de Momper, Wencest. Coeberger, Painters; Count de Ossono, Duke of Bavaria, the Arch-Dutchesse Clara, the last Duke of Orleans, Anton. Connebison, P. Stevens, and many others, together with those other pieces of History, viz. the Sepulture of Christ, and S. George after Raphael, Magdalene under the Cross, our B. Saviour in his Agony after Carraccio, the Susanna, St. Laurence, and what but now we mentioned after Rubens, divers heads after Holbein, as that of Erasmus, the D of Norfolk, and others of the Arundelian collection. Van Vorst, Competitor with Vosterman, has likewise graven a number of Heads after Vandyke; I shall only name the learned Sr. Kenelm Digby in a Philosophical habit: our famous Architect Inego Jones, and those two incomparable figures of Charles the Martyr and his Royal Consort the QUEEN'S Mother now living: And to show what honour was done this Art by the best of Painters, Sr. Ant. Vandyke did himself etch divers things in A. Fortis: especially a Mad●na, Ecce Homo, Titian and his Mistress, Erasmus Roterodamus, and touched several of the heads before mentioned to have been graved by Vosterman. After this great Masters paintings, did Peter de Jode grave the Effigies of Genovefa Widow to Car. Alex. Duke of Croi, Paulus Helma●ius; the Learned Puteanus; the Bishop of Gendt; the face whereof is thought to be Etched by V. Dyke himself; he graved Jo. Snellinx a Painter: besides a book of designing very rare; and the many other prints after his Master Goltzius (whose Disciple he was) which both Peter, and his Son of the same name, have engraved for Monsieur Bon Enfant of Paris, etc. Colaert graved some things rarely in steel. S●iiderhoef has engraven the heads of most of the Learned Dutch, after several painters with good success: as those of Heinsius, Grotius, Barleus, etc. not forgetting that stupendious Lady Anna Maria a Scureman, etc. Jo. Baurs has designed his Battles with a fine Spirit, but without care in the etching. Ʋander Thulden published the whole History of Ulysses, being the work of the Famous Primaticco at Fontain Bleau Etched also in A. F. and so designed, as few pretenders to this Art did ever exceed him: And so, as we but lately mentioned, are the papers of the inimitable Suanebourge which strike a ravishing effect in ●ll that beheld them, for the admirable tenderness, and rare conduct of the hatches; especially those which he cut after the drawings of Abraham Blomaert, and Rubens. But now that we mention Blomaert, whose works we have celebrated in general, because they smell something of a Dutch spirit, though otherwise well engraven; There is at Rome (if we mistake not) a Son of his named Cornelius, who in that S. Francis after Guedo Reni, and those other pieces after the design of those great Masters Mounsieur Poussine, Pietro Cortone, etc. to be seen in the books set forth by the Jesuit Ferrarius, his Hesperides, Flora, Aedes Barberini, etc. hath given ample Testimony how great his abilities are; for, certainly, he has in some of these stamps arrived to the utmost perfection of the Bolino, though some Workmen will hardly allow him this Elegy. But those things which the incomparable Natalis a Ligeois, (and therefore reckoned here amongst the Germans) pass without the least contradiction for the utmost effort of that instrument. Such are that St. Catharines' espousals after Bourdon, which seems to be a very piece of Painting: The two Madonnas in contest with Poilly: The Thesis; and the chapter of the Carthusians, all after the Life and his own design, a stupendious work: also the heads of Jacob Catz one of ●●e States of Holl. painted by Dubordieu; and some few things more, as the exactness and Curiosity of what he undertakes requires, sufficient to discover the admirable perfection of this great Artist: For we do not mention several Frontispieces which he has likewise engraven, with equal Industry. Ferdinand has besides many others, graved after the same Bourdon, the story of Ulysses and Andromache: Uriese▪ and Verden are famous for their perspectives. Winegard his Roman Vestigia, etc. William Hondius, besides those things which adorn his Maps, which are the largest Planispheres, has very rarely engraven his own Head, after a painting of Vandyke: nor with less Art has Va●kessel done that of Charles the fifth after Titian: Clovet Car. Scribonius the Jesuits. Caukern has graven the story of that pious Daughter, who gave suck to her imprisoned Father; a fight of Bo●res, with divers others after Rubens and Vandyke, etc. besides those which are extant in Mr. Oglebyes' Homer, Bible, my Lord of Newcastles Cavalerizzo, etc. designed by Deipenbec, whose rare Talon, that Theatre, or Temple o● the Muses published by that Curiously Learned, and Universal Collector of prints, the Abbot of Villoin, (of whom we shall have occasion to discourse in the next Chapter) does sufficiently illustrate. Lucas Kilianus has rarely graved the Murder of the Innocents; the Miracles of the fish; Annunciation, Circumcision, and some Plates in the Hortus Eystettensis, etc. Vischer, viz. Cornelius (for there is another who has published divers Landscapes) hath most rarely Etched a certain Dutch Kitchen, where there is an old Man taking jobacco, whilst his Wife is a frying of pancakes: also a Fiddler accompanied with boys and girls, painted by Ostade: but above all, admirable is the descent, or Christus Mortuus after Tintoret, both graved and Etched, as indeed, I should have said of the rest. Vovillemont has Etched our Saviour's chasing the sacrilegious Merchants out of the Temple after the same Tintoret; which is very rare. Nolp the twelve months, especially the boisterous March. Lombart, many plates for Mr. Oglebyes' Virgil; as likewise that industrious Interpreters Picture after our famous Mr. Lily, in which he has performed laudably: Nor must I here forget Mr. Hertoc who has graved the Frontispiece for 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, in folio and that of this Treatise, with many other. To these we may add the incomparable Reinbrand, whose Etchings and gravings are of a particular spirit; especially the old Woman in the furr: The good Samaritan, the Angels appearing to the Shepherds; divers Landscapes and heads to the life; St. Hierom, of which there is one very rarely graven with the Burine; but above all, his Eece Homo; descent from the Cross in large; Philp, and the Eunuch, etc. Winceslaus Hollar a Gentleman of Bohemia, comes in the next place, not that he is not before most of the rest for his choice and great industry (for we rank them very promiscuously both as to time and pre-eminence) but to bring up the Rear of the Germans with a deserving person; whose indefatigable works in Aqua Fortis do infinitely recommend themselves by the excellent choice which he hath made of the rare things furnished out of the Arundelian collection; and from most of the best hands, and designs; for such were those of Leonardo da Vinci; 〈◊〉. Parmensis, Titian, Jul. Romano, A. Mantenio, Corregio, Peri●o del Vago, A. Urbino, Seb. del Piombo, Palma, Alb. Darer, Hans Holbein, Vandike, Rubens, Bereugle, Bassan, Aelsheimer, Brower, Ar●ois, and divers other Masters of prime note, whose Drawings and Paintings he hath faithfully copied; besides several books of Landscapes, Towns, Solemnities, Histories, Heads, Beasts, Fouls, Infects, Vessels, and other signal pieces, not omitting what he hath Etched after De Clyne, Mr. Streter, and Dankert, for Sr. Phil. stapleton's Juvenal, Mr. Ross his Silius, Polyglotta Biblia, the Monasticon, first and second part, Mr. Dugdales Paul's, and Survey of Warwickshire, with other innumerable Frontispieces, and things by him published and done after the life; and to be (e● nom●ne) more valued and esteemed, then where there has been more curiosity about Chimeras, and things which are not in Nature: so that of Mr. Hollars works we may justly pronounce, there is not a more useful, and instructive Collection to bemade. The learned Hevelius has showed his admirable dexterity in this Art, by the several Phases and other Ichonisms which adorn his Selenographi, and is therefore one of the noblest instances of the extraordinary use of this Talon, for men of Letters, and that would be accurate in the Diagramms which they publish in their works. The no less knowing Anna Maria a Schurman is likewise skilled in this Art, with innumerable others even to a Prodigy of her Sex. For the rest, we shall only call over their names, after we have celebrated the extravagant fancies of both the Breugles, as those of the seven deadly sins, Satirical pieces against the Nuns and Friars; with divers Histories, Drolleries, Landscapes, fantastic Grylles and Grotesqus of these two rare Rhyparographs; not farther to tire our Reader with the particulars and several works of Ostade, Corn, Clock, Queborne, Custos, le Delfe, (who has put forth the Pourtraicts of many learned persons) Dor, Falck, Gerard, Bens, Moestuer, Grebber, Geldorp, Hopfer, Gerard, Bens, Chein, Ache: d' Egmont, de Vinghe, Heins, Ditmer, Cronis, Lindoven, Mirevel, Kager, Coccien, Maubease, Venius, Firens, Pierets, Quelinus, Stachade, Sehut, Soutman, Vanulch, Broon, Valdet, whom we expressly omit; because we have introduced a sufficient number, and that this chapter is already too prolix. Only we would not omit Min Here Biscop a learned advocate now of Holland, who for his story of Joseph and Benjamin, where the cup is found in his sack, and those other few cuts among the hands of the curious, must not be passed over in oblivion; as we had like to have done some of the old, and best Masters by having hitherto omitted. Druefken his King of the Boors in Hungaria, eaten alive by the Rebels whom he seduced; with some other cuts in wood known by his mark, which was commonly a cluster of Grapes: Pieter Van Aelst, his Cavalcad of the Grand Signior to Sancta Sophia, and several Turkish habits, on which subject also Swart Jan Van Groennighen has set forth many remarkable things, Caravanns, Pilgrimages to Mecha, etc. Lucas Cranach, Tilt, Hunt, German Habits, and the portraicts of all the Dukes of Saxony to his time: Joos Ammanus (whom we already mentioned) divers of the Mechanic Arts; not omitting all those excellent Wood Cuts of Hans Schin●lyn and Adam Altorf, especially this last, known by the two Capital AA of the Gotick form included one within the other, as the D is in that of Albert Durer's. ●●bert Goltzius has cut in wood a book of the Roman Emperors in two Colours; this name recals to mind an omission of ours in some of those excellent Chalcographers already recorded, and in particular, the incomparable imitations of Henry Goltzius after Lucas Van Leyden in the Passion, the Christus mortuus or Pieta; and those other six pieces, in each of which he so accurately pursues Durer, Lucas, and some others of the old Masters, as makes it almost imposble to discern the ingenious fraud. We did not speak of the heads of the famous men in the Court of the Emp. set forth by Aegid. Sadeler; as Raphael (his Brother) had the Bavaria Sancta, representing all the Saints of that pious Country. Albert Durer's Tenerdack or Romantic description of the Amours of Maximilian and Maria de Burgundy: the book is in High Dutch: He has likewise cut Petraches Utriusque Fortunae Remedia, which admirable treatise being translated into the German Language, is adorned with the Gravings of Hans Sibald Bheem, Ammanus, Aldegrave, and most of the rare Masters of that age: Finally, he has cut the stories of Apuleius his golden Ass: and sprinkled divers pretty inventions and Capriccios in an old impression of Cicero's Epistles: And with this recollection of what we had omitted in the foregoing Paragraphs (to which they are reducible) we will take leave of the Dutch Sculptors, and pass on to The French who challenge the next place in this Recension, for their gravings in Taille Douce, which began to be in reputation after Rosso the Florentine painter had been invited and Caressed by that Worthy and illustrious Maecenas of the Arts, Francis the first: about which time Petit Bernard of Lions published the stories for the Bible of St. Hierom, performing such things in little, for the Design and Ordinance as are worthy of imitation: so greatly he approached the Antique in the garb of his Figures, Distances, Architecture, and other accessories of the Story: We have some of these engraven by this Artist, and printed long since at Lions, with the Argument under each cut, in the English verse of those times, which appears to have been done about the beginning of the Reformation, when, it seems, men were not so much scandalised at holy representations. Nicholas Beatricius a Loraneze graved his Horse conflicts, and several books of Animals, and Wildbeasts. The Widow's son raised to life, the Annunciation after M. Angelo, the Ark of the Catholic Church after that rare Table of Mosaic in S. Peter's of Giotto, etc. Phillippus Thomasinus labours are worthy of eternity, so excellent was his choice, so accurate his graver; witness the fall of Lucifer, the universal judgement, the ship we but now mentioned; the seven works of mercy; B. Felix, the Miracles of the Capucines, the Statues of Rome in little; the labours of many famous persons; the baptism of our Saviour, after Salviati; St. John the Evangelist in the boiling Oil; St. Stevens Lapidation after Ant. Pomarancio; the Magi of Zuccharo; Mary presented in the Temple, of Barroccio; the life of St. Catharine; Fama, divers sea Monsters after Bernardino Passero; and some things of Vanni; not to omit his Camea collected from several curious Achates and other precious stones, besides Shields, Trophies, Gordian Knots, with variety of instruments and other works too long here to recite minutely. Chrispinus de Pas and his sister Magdalen (whither French or Dutch) have engraven many excellent things after Breugle; especially Landscapes; the persecution of the Prophets and Apostles, with several more: But that Liberum Belgium by Simon de Pas his Father, or Brother (I know not whither) dedicated to Prince Maurice of Naussaw is a very rare cut. Who has not beheld with admiration the incomparable Burine of Claudius Melan, celebrated by the great Gassendus, and employed by the most noble and learned Perieskius? The Sudarium of St. Veronica, where he has formed a head as big as the life itself with one only line, beginning at the point of the Nose, and so by a spiral turning of the Graver finishing at the utmost hair, is a prodigy of his rare Art and invention; because it is wholly new, and performed with admirable dexterity: Nor has he less merited for his St. Francis, St. Bruno; the pointed Magdalen, Pope Urbane the VIII. and divers others to the life, especially those of the Illustrious Justiniani, Perieskius, and the several frontispieces to those truly Royal works, Poets, and other Authors printed at the Louvre. Mauperch has published some pretty Landscapes; Lafoy Poutre many most useful varieties and Ornaments for Architects, and other Workmen; Florid, and full of Fancy; especially the ceremonies at the Coronation of the present French King. Morine, has left us a St. Bernard, a S●ul, his great Crucifix; some rare Heads; especially that representing our B. Saviour and other things in A. Fortis, performed with singular Art, and tenderness; as also some rare Landscapes and Ruins after P●lemburch and others. N. Chaperon has etched the Xystus or Gallery of Raphael in the Vatican, with incomparable success, as to the true draught: and so has that excellent painter the late Francis Perier those Statues and Bass-relievos of Rome, preferable to any that are yet extant. Adrans St. Catharine after Titian who is not ravished with? Couvay has engraven the three devout Captive Knights, and what may appear very extraordinary, ut quae celant nomina caelatura aperiat, the first part of Despauterius' Grammar in picture, or Hieroglyphic for the Duke of Anjou the now Monsieur. Perel has discovered a particular talon for Landscapes, if not a little exceeded in the darkness of his shades: but his ruins of Rome are very rare: he has likewise a son that graves. The excellency of invention in the Romances, and Histories adorned by the hand of Chauveau is not to be passed by; especially those things which he has done in the Entretienne de Beaux Esprits of Monsieur De Marests, and in several others. But the pieces which Poilly has set forth, may be ranked (as they truly merit) amongst the greatest Masters we have hitherto celebrated: such as (for instance in a few) That admirable Theses with the Portrait of Cardinal Richlieu; and in emulation with the formerly named Natalis, (besides the St. Catharine of Bourdon) those things which he hath graved after Migniar, which are really incomparable, also divers Histories after le Brun, etc. But we should never have done with the Artists of this fruitful and inventive Country as Heince, Begnon, Huret, Bernard, Rognesson, Rouslet, a rare workman, witness his Frontispiece to the French Polyglotta Bible designed by Bourdon and lately put forth; Bellange, Richet, l' Alman, Quesuel, Soulet, Bunel, the laudable Boucher, Briot, Boulauge, Bois, Champagne, Charpignon, Corneille, Charon, Claud de Lorain, Andran, Moutier, Rabel, Denisot, L'aune, Dela Rame● Hayes, Herbin, David de Buy, Villemont, Marot excellent for his buildings and Architecture; Toutin, Grand-homme, Cereau, Trochel, Langot du Loir, L' Enfant Disciple of Melan; Gaultier, D' Origni, Prevost, De Son, Perei, Nacret, Perret, Daret, Scalberge, Vibert; Ragot who has graved some things well after Rubens, Boissart, Terelin, De leu; Besides Mauperche for Histories, L' Asne who has graved above 300 Portraicts to the life, and is a rare Artist: Huret, full of rich invention; not omitting the famous Gravers of Letters and Calligraphers, such as are Le Gagneur, Lucas Materot, Frisius, Duret, Pause, Le Beaugran, Beaulieu, Gougenot, Moulin, Raveneau, Jea, Jaques de His, Moreau, Limosin, Lafoy Be, Vignon, Barbeed Or and a world of others whose works we have not had the fortune to see: For as heretofore; so especially at present, there is no country of Europe which may contend with France for the numbers of such as it daily produces, that excel in the art of Chalcography, and triumph with the Burine. La Hire has Etched many things after the Antique, as Bacchanalia's and several other. Goyrand is second to none for those Towns and Ruins, which he has published, especially what he has performed in Aedibus Barberini. Colignon no less excellent in his gravings after Lincler. And Cochin in those large Charts and sieges of Towns after the Engineer Beaulieu: But Israel Sylvester is the Hollar of France: For there is hardly a Town, Castle, Nobleman's house, Garden or Prospect in all that vast and goodly Kingdom which he has not set forth in AF. besides divers parts and views of Italy: above all in those which are etched after the designs of Monsieur Lincler (whilst he lived my worthy Friend) as the City of Rome in Profile; a morcel of St. Peter's by itself; and that prospect of the Louvre, which last doth far transcend the rest of his works, and may be esteemed one of the best of that kind which the World has extant, for the many perfections that assemble in it. There is at present Robert Nantevil an ingenious person, and my particular friend, whose Burine renders him famous through the World: I have had the happiness to have my Portrait engraven by his rare Burine; and it is therefore estimable, though unworthy of the honour of being placed amongst the rest of those Illustrious persons, whom his hand has rendered immortal. For such are the French King, the Queens of Poland and Sweden; Cardinal Mazerin, whose Effigies he has graven no less than nine times to the life: The Duke of Longueville; D. of Boullion, Mantoa, Marishal, Thurene; Precedent Jeannin, Molle, Telier, Ormesson, the Archbishop of Tours, Bishop of S. Malo: L'Abbe Fouquet, and divers others of the long Robe: Also Monsieur Hesselin, Menage, Scuderi, Chaplain, Marolles, and the rest of the wits; in sum, almost all the great persons of note in France. But that we may conclude this Recension with such as have most excelled in this Art, and give the utmost Reputation it is capable of. Jaques Callot, a Gentleman of Lorraine, (if ever any) attained to its sublimity, and beyond which it seems not possible for humane industry to reach; especially, for Figures in little; though he have likewise published some in great as boldly, and masterly performed as can possibly be imagined: what a loss it has been to the Virtuosos, that he did not more delight in those of a greater Volume; such as once he graved at Florence, do sufficiently testify, and which likewise have exalted his incomparable Talon to the supremest point: It might not seem requisite to minute the works which he has published; because they are so universally excellent, that a curious Person should have the whole Collection, (and be careful that he be not imposed upon by the copies which are frequently vended under his name; especially those which Monsieur Bosse has published, and which nearest approach him) were it not highly injurious to his merit, not to mention some of the Principal; Such are his St. Paul, Ecce homo; the Demoniac cured, after Andrea Boscoli; a Madonna after Andrea del Sarto; the four Comedians, all these of the larger Volume, and some of them with the Burine. Also the passage of the Israelites: St. Luke's Fair dedicated to Cosmo di Medici's, a most stupendious work considered in all its Circumstances, and encounters: so full of spirit and invention, that upon several attempts to do the like, it is said, he could never approach it; so much (it seems) he did in that piece exceed even himself. This is also well Copied: the History of the B. Virgin in 14 leaves, the Apostles in great, the murder of the holy Innocents, an incomparable work, and almost exceeding our description, as to the smallness, life, perfection and multitude of Figures expressed in it. The story of the Prodigal: the life and death of our Saviour in 20 small Ovals very rarely performed. The Martyrdom of the Apostles in 16 leaves worthy of admiration: The passion of our Saviour in 7 larger cuts: St. Anthony's temptation, prodigious for the fancy and invention: St. Mansuetus raising a dead Prince, a Bishop preaching in a wood: Divers books of Landscapes and sea pieces: Especially those admirable cuts of his in a book entitled Trattato di terra Santa, wherein most of the Religious Places of Jerusalem, Temples, Prospects etc. about the Holy Land are graved to the life by the hand of this excellent Master; The Book is very rare and never to be encountered amongst the collection of his Prints. The Duke of Lorrains Palace and Garden at Nancy: also another paper of a Tournament there, both of them most rare things: Military exercises; The miseries of war in 18 leaves very choice: The battle of Theseus, Combat at the Barriere, entrance of the great Duke with all the Scenes and representations at the Duke of Florence's nuptials: the Catafalco errected at the Emp. Matthias' death: the famous Siege at Rochel a very large print: also the night piece of the Cheats and Wenches at play: Mascarades, Gobbi, Beggars, Gypsyes, Balli and Dances, Fantasies, Capriccios, Jubilatio Triumphi B. Virgins, which was it seems graved for a Thesis; and finally the Cabaret; or meeting of Debauchees, which (being the last plate that ever he graved) had not the Aqua ●ortis given it till after his decease: And thus we have in brief posted over the stupendious works of this inimitable Master, whose point and manner of etching was nothing inferior, nay sometimes even exceeded the most skilful Burine. But at length Sit pudor & finis, I desist, and shall here conclude the recital of the French Chalcographers so many for their numbers, laborious in their works, and luxurious of their inventions, after we have done reason to Monsieur Bosse, who has made himself so well known by his most accurate imitation of Callot, besides the many rare things he has himself published. It were altogether unpardonable, that such as would accomplish themselves in Etching, should be destitute of his entire work; especially those of his latter manner performed in single and masterly strokes, without decussations and cross hatchings, in emulation of the Graver. Those Vignets, Fleurons, capital letters, Puti, and Compartments made to adorn the Royal impressions at the Louvre are worthy of celebration; because it is impossible for the nearest Burine to excel his points and Eschoppes; and for that it is to him that we have been chiefly obliged for a Treatise which we had prepared of the practical, and Mechanical part of this Art of Chalcography, whereof I have already given account elsewhere: it is to the same Monsieur du Bosse that the world is beholden for his ingenuity in publishing many other rare and useful Arts assistant to Architecture, dialing, squaring of stones, and encountering the difficulties of the Free-Mason, besides, those excellent Treatis●s of perspeocti●e, which from the dictates of Monsieur des Argues, he has so laudably communicated: This, and much more we owe to this honest Man's ●ame and particular friendship. And lastly, the excellent Chart-Gra●ers may not be totally excluded of this Catalogue; because it is a particular address, and, of late, infinitely improved by the care of l'avernier, Sa●son, the Jes●it Briets, de la Rue, d● Val, graven by Co●dier, Ri●iers Peroni and others; not forgetting the most industrious Bleau of Amsterdam, who have published the Atlas', and other pieces which celebrate their names to posterity, and such an undertaking has the Ingeneere Gomboust performed in his Ichnographical plan of Paris lately set forth, being the result of near a five years continual labour of measuring, plotting, and observing, to render it the most accomplished, and testify to what use, and perfection this noble Art is arrived: This we the more readily mention, that thereby we may stimulate and encourage the lovers of their Country, freely to contribute to the like attempt of the above mentioned Mr. Hollar, and enable him to proceed with what is now under his hand, for the honour of our imperial City. And now it is certainly time that we should think of home a little, and celebrate likewise some of our own Countrymen, who have worthily merited with their Graver. And although we may not yet boast of such multitudes by reason of the late unhappy differences, which have disturbed the whole Nation, endeavouring to level Princes, and lay the Mecaenas' of This, and all other Arts in the dust; yet had we a Pain for his Ship, some heads to the life, especially that of Dr. Alabaster, Sir Ben. Rudyard, and several other things, A Caecil, and a Wright little inferior to any we have enumerated for the excellency of their Burines and happy design; as at present we have Mr. Faithorne, Mr. Barlow, Gaywood, Loggan and others who have done excellently both with the Graver, and in Aqua fortis, especially in those birds and beasts which adorn the Apologues of Aesop published by Mr. Oglebie; and of Mr. Faithorne, we have that Christ after Raphael from some excellent Master, as big as the life: a Madonna, Chr. Joseph and a Lamb after La Hire a very good painter; The Effigies of my Lord Viscount Mordaunt, Sir W. Paston, and his Lady, with several others after Van dyke, Honiman, etc. Lightfoot ●ath a very curious Graver, and special talon for the neatness of his stroke, little inferior to Wrex; and has published two or three Madonnas with much applause: Also Glover divers heads; as at present J. Fellian Disciple of Mr. Faithorne, who is a hopeful young man: Lastly, for Medails and Intaglias we have Mr. Symonds, Rawlius, Restrick, Johns●n and some others, whose works in that kind have hardly been exceeded in these later times; not omitting the industrious Mr. Coker, Gery, Gething, Billingly, etc. who in what they have published for Letters and Flourishes are comparable to any of those Masters whom we have so much celebrated amongst the Italians and French for Calligraphy and fair writing: We have likewise Swisser for cutting in Wood, the son of a Father who sufficiently discovered his dexterity in the He●bals set forth by Mr. Parkinson, Lobel, and divers other works with due commendation, not to mention the rest, as yet unknown to us by their names, from whose industry we are yet to hope for excellent progress. We do therefore here make it our suit to them, as what would extremely gratify the curious, and Virtuosos universally, that they would endeavour to publish such ex●●●ent things as both his Majesty and divers of the Noblesse of this Nation have in their possession; and to which there is no ingenious person that will be denied access; since if there Collections were well engr●ven and dispersed about the World, it would not only exceedingly advance their profit, and reputation; but bring them likewise into a good manner of Designing, which is the very life of this Art, and tender our Nation famous abroad, for the many excellent things which it has once again (by the blessing of God, and the Genius of our most Illustrious Prince) recovered; Especially, if joined to this, such as exceed in the talon, would entertain us with more Landscapes, and views of the Environs, Approaches and Prospects of our nobly situated Metropolis, Gree●rich, 〈◊〉 and other Parts upon the goodly T●ames; and in which (as we said) Mr. Hollar has so worthily merited, and other Countries abound with, to the immense refreshment of the Curious, and Honour of the industrious Artist: and such we farther wish, might now and then be encouraged to travail into the Levantine parts; Indieses East and West; from whose hands we might hope to receive innumerable, and true Designs drawn after the life, of those surprising Landscapes, memorable Places, Cities, Isles, Trees, Plants, Flowers, and Animals, etc. which are now so lamely, and so wretchedly presented, and obtruded upon us by the Ignorant, and for want of abilities to reform them. And thus we have (as briefly as the subject would admit) finished what we had to offer concerning the original and Progress of this noble Art: Not, but that there may have been many excellent Masters omitted by us, whose names were worthy of Record; But because they did not occur, at the writing hereof, and that we have already introduced a competent, and sufficient number to give reputation to the Art, and verify our Institution. For the rest, if we have somewhat exceeded the limits of a Chapter (comparing it with those which did proceed) it has not been without Prospect had to the benefit of such as will be glad of instruction how to direct their choice in collecting of what is curious, worthy their procuring, and as the Italian calls them, di buon gusto: For we are far from opining with those, who fly at all without judgement or election. In sum, it were to be wished, that all our good painters would enrich our collections with more of their Studies and Ordonances, and not despise the putting of their hands now and then to the Graver: We have given instances of great Masters who excelled in both; and the Draught, if it be good, does sufficiently commute for the other defects, or what it may seem to want in the neatness, and accurate conducting of the Hatches; since by this means, we should be stored with many rare Designs, Touches, and Inventions, which for being only in Crayone, are casual, and more obnoxious to accidents; and can be communicated but to those few, who have the good fortune to obtain their Papers; and (which is yet more rare) the happiness to understand, as well as to talk of them. CHAP. V. Of Drawing, and Design praevious to the Art of Chalcography; and of the use of Pictures in Order to the Education of Children. AS the Rules of Measure and Proportion have an universal influence upon all the Actions of our lives; it was a memorable, and noble saying of a great Person of our Nation, discoursing to us once concerning the dignity of Painting, and the arts which attend it: Thomas Earl of 〈◊〉 l. Matth. of England. That one who co●ld not Design a little, would never make an honest man: How that observation succeeds in the general, we have not made it much our observation; but this we are bold to pronounce. That he shall never attain to the excellency of a good Chalcographer, who is not more then ordinarily skilled in the faculty and art of Drawing; a thing so highly necessary, that Donatellus was wont to tell his Disciples (discoursing sometimes concerning the accomplishment of this Art) that to de●●ver it in a single word, he would say, DESIGN; because it was the very Bans and Foundation, not only of this, but even of all those free and noble Sciences of Fortification, Architecture, Perspective, and whatsoever also pretended to any affinity with the Mathematics, as really leading the Van, and perfective of them all. But to treat Methodically of this, or as we have already enlarged in the History and Progress of Chalcography, and the surviving labours of the most renowned Masters, would require no less time and pains: It were indeed a noble, curious, and useful work, but almost impossible to accomplish; because the Original Drawings of the great Masters, being dispersed amongst the hands of the greatest Princes, and men of Science only, are preserved with jealousy, and esteemed, as so many Jewels of greater value, than those of Pearls and Diamonds. For some of them being the very last works, though but imperfect draughts of so Excellent Artists; they have for the most part been in greater esteem, then even those of larger bulk and more finished; as Pliny instances in the Iris of Aris●ides, the Medea of Timomachus, and some others; because (as he there speaks) such touches did even express the very thoughts and prime conception of the Workman, as well as the Lineaments which he presents us; and that there is a certain compassion in our Natures, which indears them to us, so as we cannot but love, and desire the hands which perished in the midst of such famous pieces: Add to this, their inimitable Antiquity, than which (according to Q●intilian) nothing does more recommend things to us, from a certain Authority which it universally carries with it; 〈…〉 so as we seem to review what they did of old in this kind; as if (with Liba●ius) the Gods had imparted something of extraordinary to the Masters of the Ages past, which the nature of man is not now capable of attaining. These difficulties therefore considered, it will not be required of us in this Chapter, which pretends to celebrate and promote the Art of Drawing, and Design, only as it has relation, and is an absolute requisite to that of Chalcography, and to prescribe some directions and encouragements, which may prepare and fit the hand with a competent address● therein. Whether Design, and Drawing, were the production of Chance or Excogitation, we determine not; certain it is that practice and experience was its Nurse and perficient; by some thus defined to be A visible expression of the Hand resembling the conception of the mind: By which Definition there are who distinguish it from Drawing both as to its Original, and Formality; For Design (say they) is of things not yet appearing; being but the picture of Ideas only; whereas Drawing, relates more to Copies, and things already extant: In sum, as the Historian differs from the Poet, and Horace has well expressed it, — Pictoribus atque Poetis Quidlibet audendi semper fuit aequa potestas. Arte Poet. We could easily admit this Art to have been the most ancient, and with Philostratus, 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉, of kin even to Nature herself: But to take it some what lower, there goes a tradition, that some ingenious Shepherd was the inventor of it, who espying the shadow of one of his sheep on the Ground (interposed between him and the culminating, or declining sun) did with the end of his crook, trace out the Profile upon the dust: and truly some such vulgar accident (for chance has been a fruitful Mother) might first probably introduce it; however afterwards subtilised upon and cultivated, till it at length arrived to that degree of excellency and esteem, which it has happily gained, and so long continued. But to quit these nicer investigations, and proceed to some thing of use, as it concerns the Title of this chapter: The first and principal manner of Drawing is that with the pen; the next with Crayon, whither black, white, red or any of the intermedial colours, upon paper either white or coloured: We will not say much concerning washing with the pencil, or ●ubbing in the shades with 〈◊〉 and dry Compositions, because it is not t●●l our Disciple be a consummate Artist, that he can be edified with designs of this nature, and, after which, they are of excellent use and effect. The pen is therefore both the first, and best instructive, and has then (as all the other kinds) attained its desired end, when it so deceives the eye by the Magic, and innocent Witchcraft of lights and shades, that elevated, and solid bodies in Nature, may seem swelling, and to be embossed in Plano, by Art. To arrive at this, you must first draw the exact lineaments, and proportion of the subject you would express in prosile, Contours and single lines only; and afterwards, by more frequent, and tender hatches in the lighter places, strong, bold, or cross in the deeper. By Hatching is understood a continual Series, or succession of many lines, shorter, or longer; close, or more separate; oblique, or direct, according as the work requires, to render it more, or less enlightened; and is attained by practice with a swift, even and dextrous hand; though sometimes also, by the help of the rule and compass; every man being not an A●elles or Pyrgoteles to work without them. Now the best expedient to gain a mastery in this Address, will be to imitate such prints, and cuts, as are most celebrated for this perfection: Such (amongst plenty of others) are those of Henry Goltzius: The Sadelers, Harman, Sanredam, Vosterman, and above all, that rare book of Jacomo Palma graven by Odoardo Fialetti: Of the more Modern, the incomparable Natalis, Nantevil, Poilly, Cornel. Blomaert; These for the Burin: For Etching, Callot, Morine and Bosse; especially in those his latter pieces, which have so nearly approached the Graver. After these, let our Learner design the several members of bodies a part, and then united, with entire Figures and Stories, till he be able to compose something of his own, which may support the examination of qualified Judges. But the 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 or first draughts of these; would not be with too great curiosity, and the several minutiae that appear in many Copies; but with a certain free and judicious negligence, rather aiming at the Original, then paining of yourself with overmuch exactness: for nocere saepe nimiam diligentiam, was an old observation; and therefore the ancient Painters (says Philostratus) more esteemed a certain true and liberal Draught, than the neatness of the Figure, as he expresses it in Amphiaraus' Horse, sweating after the conflict; since Drawings and Designs are not to be like Polycletus' Canon, which took its several parts, from as many perfect bodies, by a studied, and most accurate Symmetry: It shall suffiice that the prime conceptions of our Artist be performed with less constraint; a coal or pencil of black-lead will serve the turn, reserving the stronger, and deeper touches for a second pass of the hand over your work; and last of all, penning the Contours, and out lines with a more even and acute touch, neatly finishing the hatches with a resolute, constant and slowing hand; especially, as it approaches to the fainter shadows, terminating them in lost and misty extremes, and thwarted (if you will counter-hatch) at equal, and uniform intervals (but not till the first be dry) or, if with single strokes (which to us renders the most natural, and agreeable effects) with full, deep hatches, and their due diminishings. But it would haply be objected, that these accurate Designs of the pen, were never esteemed among the nobler parts of Drawing, as for the most part appearing to finnicall, stiff and constrained: To this, we reply; that the remark is not impertinent, as commonly we find by experience: But it has not proceeded from the least defect in the Instrument, but from that of the Artist, whose aptitude is not yet arrived to that perfection which is requisite, and does infallibly confirm, and dispose the hand to whatever it addresses; affording so great a delight and satisfaction to some excellent Workmen, as that they never desired to advance further, than this Triumph of the pen, which has celebrated their names, and equalised their renown with that of the most famous Painters: For such were (in this nature) the incomdarable Drawings of Don Giulio Clov●o, Albert Durer, Passarotto, yea Titian himself, when the fancy took him: The forementioned Goltzius, especially, for his Diana sleeping, drawn with a pen on a cloth primed in oil, which was sometimes sold at Amsterdam for 200 pounds; and that laborious, and most stupendious work of his, now part of his Majesty's collection, where he has drawn with the pen upon an heightening of Oil, a Venus Cupid, satire, and some other figures, as big as the life itself, with a boldness, and dexterity incomparable: and such are some things which we have seen done by Signior Thomaso a Florentine; our ingenious friend Mr. Ʋander Douse (descended of that noble Janus Dousa, whose learning, and courage the great Scaliger, and Grotius have so worthily celebrated) now in the Court of England. To these we add Rob. Nantevil at Paris, and of our own Countrymen, those eight, or ten Drawings by the pen of Francis, and John Cleyn, two hopeful, (but now deceased) Brother, after those great Cartoons of Raphael, containing the stories of the Acts of the Apostles, where in a fraternal emulation, they have done such work, as was never yet exceeded by mortal men, either of the former, or present Age; and worthy they are of the honour, which his Majesty has done their memories, by having purchased these excellent things out of Germany, whither they had been transported, or, at least intended: There is likewise one Mr. Francis Carter (now in Italy) not to be forgotten amongst those whose pens deserve to be celebrated: But it is not here that we are to expatiate far on this particular, as designing a Chapter only, much less shall we have leisure to proceed to black, and white Chalk (as they call it) upon coloured paper, in which those many incomparable, and Original Drawings of the old and great Masters are yet extant, wherein a middle Colour wrought upon two extremes, produces (on an instant) that wonderful, and stupendious roundness, and exstancy, which the Pen is so long in doing, though, so infallible a guide to its well doing; that having once attained the command of that instrument, all other Drawings whatsoever, will seem most easy and delightful: Neither shall it then be requisite to continue that exactness, since all Drawing is but as an Handmaid and Attendant to what you would either Grave or paint. But by this perfection and dexterity at first, did even those renowned Masters, Julio, Parmegian, and sometimes Polyder, himself (not to insist on Rubens and Vandyke) proceed, whose Drawings in this kind, when first they made their studies in Italy, were exceedingly curious, and finished; though in all their more recent, and ma●urer Designs, rather judicious then exact, because of that time which such minute finishings did usually take up; and, that when all is done, it is still but a Drawing, which indeed conduces to the making of profitable things, but is itself none. Yet so highly neceslary is this of Drawing to all who pretend to these noble, and refined Arts; that for the securing of this Foundation, and the promotion and encouragement of it, the greatest Princes of Europe, have erected Academies, furnished with all conveniencies, for the exercise, and improvement of the Virtuosos: Such illustrious and noble Genius's were Cosimo di Medici's, Francis the First, Carlo Borr●meo, and others, who built, or appointed for them, Stately Appartiments even in their own Palaces, and under the same Roof: procuring Models, and endowing them with Charters, Enfranchisements, and ample Honoraries; by which they attracted to their Courts, and Countries most of the refin'd, and extraordinary spirits in all the Arts and Sciences that were then celebrated throughout the World. Nor it seems has it been the sole glory of those illustrious Princes to cherish and ennoble men of Art: the Greek and Roman of old had them in special veneration; but in none of their Courts, were men of Science carressed to that degree, as in that we have read of the Emperors of Japons at present, who does not only entertain, and nobly accommodate them, but never stirs abroad without their company. These great men says my * Author (meaning Physicians, Painters, Descrip. Reg. 〈…〉. Sculptors, Musicians, etc. quos proprio nomine appellant Contubernium Caesaris) march before the King whither he go forth in Litter or on Horseback; and being elected of Persons of the greatest birth in his Dominions, they always continue at his Court, richly appointed with salaries; but otherwise, to bear no office whatsoever which may in the least importune them, eo solum electi, ut Imperatori ad voluptatem & delecta●ionem consortium praestent, as being therefore only chosen, to recreate and divert the Prince with their excellent conversation: These being men of the rarest parts, and endowments in his Empire, have pre-eminence in all places next the King; then come the Guards in the rear, which consist of a more inferior Nobility: Thus far the Historian: We know not how this Instance may in these days be interpreted; but certainly the Courts of Princes were in former Ages, composed of men of the greatest virtue and talents above the rest, and such as possessed something of extraordinary (besides the wearing of fine clothes, and making the bone mine) to recommend them. We insist not on Sculptors, and painters only, especially, as such men are now for the most part Vicious, or else of poor and mechanic spirits; but as those Ancient and Noble Genius's were heretofore accomplished; and such as of late were Raphael, Durer, Leon Alberti, Da Vinci, Rubens, and at present, Cavalier Bernini, etc. persons of most excellent endowments, and universally learned, which rendered their Fautors and Protectors famous, by leaving such marks of their admired Virtue, as did eternize their merits to after Ages. Thus it was, that Myron, Polycletus▪ Phydias, Lysippus and others of the Ancient, procured such lasting names by their divine labours: They wrought for Kings, great Cities and Noble Citizens: whereas others, on the contrary, (Men haply of no less industry and science) had little or no notice taken of them; because they received no such encouragements, were poor and neglected, which did utterly eclipse and suppress their fame; such as those whereof Vitruvius does in the Preface to his third book make mention, where he speaks of Chiron the Corinthian, helas of Athens, Myagrus of Phocia, Pharax the Ephesian, besides Aristomenes, Polycles, Nichomachus, and several others, who being excellent Masters and rarely endowed, perished in obscurity, and without any regard, from the unequal hand and distribution of fortune, and for want of being cherished by Princes and great men: But to return; In these places had they books of Drawings of all the old, and Renowned Masters, Rounds, Busts, Relievoes and entire Figures, cast off from the best of the Antique Statues and Monuments, Greek and Roman; There was to be seen, the Laocon, Cleopatra, Antinous, Flora, Hercules, Commodus, Venus, Meleager, Niobe, etc. whereof the Originals are still extant at Rome: There were likewise divers rare and excellent Statues, both of brass and marble; Models and divers fragments of Bases, Columns, Capitals, Freezes, Cornishes and other pieces moulded from the most authentic remains of the ancient famous buildings, besides a universal collection of Medaills, things Artificial and natural. But to recover our Drawing again, as it concerns the Art of Chalcography, we have already mentioned such of the most accomplished Gravers, whose labours and works were proposed for exemplars and imitation: Nor let the most supercilious painter despise what we have here alleged; or imagine it any diminution to his Art, that he now and then put his hand to the pen, and draw even after some of those Masters we have so much celebrated: wha● Andrea del Sarto has taken out of the prints of Albert Durer, improving, and reducing them to his manner (not for want of invention, and plagiary like, as all that have any knowledge of his works can justify) has no way eclipsed, but rather augmented his glory; as on the other side, that divine piece of his, the Christus mortuus, which he gave to be cut by Augustino Venetiano; The Triumphs, Vas●s, and Anatomies of old Rosso, by whomsoever engraven, and those other things of his after Domenico Barbieri: Paulo Veroneze did much study the prints of Durer, and that incomparable painter Antonio Vassalacci, (called otherwise Aliense) made notable use of that his prodigious collection of Stamps of the most rare hands: not to recapitulate what were published by Raphael himself, and infinite others; by which they have sufficiently made appear, the value they attributed to this Art; by desiring (as much as in them lay) to render their works famous to posterity, by thus communicating them to the World, though many times, through the hands, but of very vulgar, and ordinary Gravers. And here we should have put a period to this Essay, and the present chapter, as having abundantly vindicated the necessity and worthiness of Design and Drawing, as it is praevious, and introductory to the Art of Chalcography; had not one curiosity more prevented us; which because it so much concerns the conducting of Hatches and strokes, whither with pen, point, or Graver; pretending (at least very ingeniously hinting) to a method, how by a constant, and regular certitude, one may express to the eye, the Sensation of the Relievo, or extancie of objects, be it by one, or more hatches, cross and counter, we think not impertinent here to recite, as briefly as the demonstration will permit. The principal end of a Graver that would copy a Design, or piece composed of one, or more Objects, is, to render it correct both in relation to the Draught, Contours and other particularities, as to the Lights and shades on the Front, flying or turning, in bold, or faint touches; so as may best express the Relief; in which Gravers have hitherto, for the most part, rather imitated one another, then improved, or refined upon Nature; some with more, some with fewer strokes: having never yet found out a certain and uniform guide to follow in this work; so as to carry their strokes with assurance, as knowing where they are to determine, without manifestly offending the due rules of perspective. If in truth Nakeds, and other polite Bodies were so formed, as that we might detect the course, and inclination of the Threads, Fibers, and Grain, so as we perceive it in Stuffs, Cloth, Linen and other Draperies; nothing would appear more facile; for let them assume wh●● fie they will, it does not at all concern the tissue, Tenor or range of the Threads and Wales (as they call them) which is easily imitated, both as to their inclinations, and distances from the point of sight. But since we are much at a loss, and can perceive no such direction or clue in Nudities, and other smooth surfaces, it were haply worth the while, to find out some expedient which should assist the imagination in this affair, and that might encounter the difficulty upon other terse and even objects, by forming such strokes, and directors upon them in our Imagination; observing, that there are some parts in them commonly to be distinguished from the Mass in gross; for example, the hairs in men, eyes, teeth, nails, etc. that as one would conceive such lines, or hatches on those Masses, others may likewise be as well fancied upon those lesser, and more delicate members: To effect this, the following Ichonisme is thus explained. Suppose, in the upmost Figure of this plate, the object (O) to be the representation in perspective of the portion of a Bowl, exposed to the beams of the Sun; and the letters e. s. r. t. a Frame, or square of Wood barred and strung in even and straight lines, parallel inter se. Then another Thread, viz. m. n. crossing them in perpendicular. The frame in the mean time supposed to incline towards the Bowl, O. 'twixt it, and the Sun, which represents to you all these threads projecting their shadows upon the Bowl, and the surface where it is situate. Suppose now the same upon the Relievo or Mass itself; it is evident, that these Threads, in whatever manner you interpose the said Frame 'twixt the Bowl and the Sun, that they will perpetually cast their shadow's parallel inter se, cutting it as it were, into several plains, uniform, and parallel also. You see likewise in this very Figure, that the oblique, and direct shades o u x y are caused by the cathetus m t n, and the pointed curved lines upon the Bowl O, viz. o z n 12. etc. are formed by the parallels which intersect the perpendicular. But the same frame posited between the Sun and a Head in Relievo of white marble, or the like (as in the inferior example) will not render the shadow of the threads alike upon all the parts parallel inter se (as in the former) though the same were supposed to be cut by like plain, and mutual Parallels as was the Bowl O. However, so shall they appear, as to hint the tracing of parallels on the Relievo, or assist the imagination of them there, and consequently, how to design them upon objects made ●fter the same Ordnance in perspective parallel, as one may conceive them upon the Relievo of an Ordnance in Geometrical parallel, viz. as in the Figure O. or to speak more distinctly, supposing them the same on the irregular, as one the regular. Consider then upon the Head, the concourse of those imaginary parallels in perspective, shaded with the pointed lines; and how the intercurrent hatches, which they comprehend, pursue the same course and tenor, or perspective parallelisine. From these instances now, it will not be difficult how to apply the same upon all the sorts of bodies representable by Graving, and to comprehend in one's imagination, the concurrency and uniform tenor of the particles, as we may so call them; Only, there is this particular to be observed, tha● the projecture of the threads will not appear alike perspicuous in the deep, an● shady parts of Relievoes, as upon the illuminated, being lost in the dark: But thi● is easily supplied by the imagination, 〈◊〉 by holding a loose thread parallel to th● shaded, near to the body of the Figure by which the course of the rest may be wel● conceived. And this may serve to giv● great light to him that shall either grave i● Copper, or draw with the pen, for th● Symmetrically conducting of his hatches● determinatively, and with certitude, b● thus imagining them to be Geometrically marked upon the Relievo, or embossemen● of the Natural, wherever he encounter i● and after this conception, to trace them out upon his Plate, or Draught in perspective. And indeed, that which is chiefly considerable and ingenious in this, is, that of their Perspective; since the shades of the lines (in the forementioned example) which were upon the parts more, or less turned, appear to our eye accordingly, with more or less force, which renders clear a different effect, as to the swelling and extancies of the parts, than we find it in works where this method has not been observed; so as truly, this may ●eem to be the most certain expedient of expressing by hatches, the Relievo of objects, whether with the Pen, or Burine. And this ●s the sense of a much larger discourse, which Monsieur du Bosse has proposed, treating of the practice of Perspective upon irregular Surfaces, and we have thought fit to insert into this Chapter; not only because it is new and pretty; but, for that (to us) it appears to be of good use, and as may be seen in some of the late heads graven by the incomparable Nanteville, who had been the sole occasion of this ingenious consideration, about the time of our last being at Paris. But if this (like the diligence of Mechopanes, which Pliny affirms, none was able to understand but an Artist only) seem to be a disquisition more refined then useful; for that few of our Gravers work off from the Round, upon whichalone the observation is practicable; yet shall it be necessary to admonish, that shadows over dark, too deep and sudden, are not commendable in these works, as seldom so appearing in the life; and therefore hatchings expressed by single strokes, are ever the most graceful and natural; though of greater difficulty to execute; especially, being any ways oblique; because they will ●●quire to be made broader, and fuller 〈◊〉 the middle, then either at their entrance or exit; an address much more easy wit● the Burin, and the Pen, then with the point▪ Though Monsieur Bosse's invention of the Eschoppe, does render the making of thi● Sulcus, much more facile: But to attain this Masterly, and with assurance of hand, our Workmen may do well to imitate the Gravings of the Sadelers, Villamena, Savanneburg, Gaultier; but especially Claudius Mellan, Natalis, Poisly, Nantevill, Cornelius Blomar, H. Gaultzius▪ And for the Etchers in Aqua Fortis, Callot, and Du Bosse in some of their last cuts, especially; Though even the counter hatchings also, coming tenderly off, and well conducted, (so as 'tis to be seen in some of the prints of M. Antonio's, C. Cort. Aug. Carracio and other Masters) render both an admirable and stupendious effect: For it is in this well placing of White and black, wherein all this Art, and even that of painting does consist: Thus Aglaphontes used but one Colour, no more did Nitia the Athenian Painter; and it was this Relievo also for which the famous Zeuxis became so renowned: not to insist on Heredices' the Corinthian, and Thelophanes the Sicyonian, who were both of them but Monochromists; and, till Cleophanes came amongst them, no dissemblers, as owning no other Colours but those eminent Contraries; that is, the lights and the shades, in the true managing whereof, so many wonders are to be produced by this Art, and even a certain splendour, and beauty in the touches of the Burin, so as the very Union and colouring itself may be conceived without any force upon the imagination, as we have before observed in these excellent Gravings of Natalis, Rouslet, and Poisly, after Bourdon, and in what Greuter, Blomart, and some others have done after Monsieur Poussin, Guido Rhine, Cortoon, etc. But here by the way, let no man think we mean by this Coloree (as they term it) in Drawing and Graving, such a position of the Hatches as the Chevalier Wolson has invented, Theatre d' honeur. Testes a Gentil. and Pietro Santo the Jesuit has followed, to distinguish their Blazons by: But a certain admirable effect, emerging from the former union of Lights, and shadows; such as the Ancients would express by Tonus, or the Pythagoreans in their Proportions, and imitated in this Art, where the shades of the Hatches intent, and remit to the best resemblance of painting, the Commissures of the light and dark parts, imperceptably united, or at least so sweetly conducted, as that the alteration could no more certainly be defined, than the Semitons, or Harmoge in music, which though indeed differing; yet it is so gentle, and so agreeable, as even ravishes our senses, by a secret kind of charm not to be expressed in words, or discerned by the ignorant. And this it is, which has rendered it so difficult to copy after Designs and Painting; and to give the true heightenings, where there are no hatchings to express them, unless he, that Copies, Design perfectly himself, and possess more than the ordinary talon and judgement of Gravers, or can himself manage the Pencil. But to return to Prints again, we are to understand, that what the Artists do many times call excellent, does not always signify to the advantage of the Graver; but more frequently, the Design, consisting in the lineaments, proportion and ordnance, if these be well, and masterly performed, and for which we have so recommended the practice of this Art to our English Painters in chap. IU. Though, to speak of an accomplished piece indeed, it is the result of integral causes only, and where they universally encounter. We do farther add, that for this reason, copies are in Prints much more easily detected, then in paintings, and by consequence, more facile also to imitate, as using all one kind of Instrument, and fewer ways of expression: But if there be a difficulty in it, those which are Etched in A. F. make it most conspicuous; both because the nature of the plates, and quality of the Waters, and their operations, may sometimes fall out to be so very unlike: But, to discern an Original prtnt from a Copy print (not to speak of such plates as have been retouched, and therefore of little value) is a knack very easily attained; because 'tis almost impossible to imitate every hatch, and to make the strokes of exact and equal dimensions, where every the least defect, or flaw in the Copper itself, is sufficient to detect and betray the Imposture, as in that little Desce●● from the cross of Hannibal Carraccio (already mentioned) is perspicuous, and which it were absolutely impossible to counterfeit. In the mean time, such as are profound, and well knowing, do establish their Judgements upon other particulars of the Art, and the very handling itself. Lastly, that A. F. gives a tenderness to Landscapes, Trees and Buildings superior to that of the Burine (though that exceed infinitely in Figures) may be seen in that of Israel's view of the Lovure before recited, and in some other works where there is an industrious and studied mixture, as in that second manner of Vosterman's which did so much please Rubens and Vandyke, even in the Portraicts which that excellent Graver published after those great men's paintings. It was in the former Chapter that we made rehearsal of the most renowned Gravers and their works; not that we had no more to add to that number; but because we would not mingle these illustrious names and qualities there, which we purposely reserved for the crown of this discourse; we did therefore forbear to mention what his Highness Prince rupert's own hands have contributed to the dignity of that Art; performing things in Graving (of which some every our collection) comparable to the greatest Masters; such a spirit and address there appears in all that he touches, and especially in that of the Mezzo Tinto, of which we shall speak hereafter more at large, having first enumerated those incomparable gravings of that his new, and inimitable S●ile, in both the great, and little decollations of St. John Baptist, the Soldier holding a Spear and leaning his hand on a Shield, the two Mary magdalen's, the Old-man's head, that of Titian, etc. after the same Titian, Georgioon and others. We have also seen a plate Etched by the present French King, and other great persons; the Right Honourable the Earl of Sandwich sometimes (as we are told) diverting himself with the Burine, and herein imitating those Ancient and renowned Heros, whose names are loud in the Trumpet of Fame, for their skill, and particular affection to these Arts: For such of old, were Lucius Manilius, and Fabius, Noble Romans: Pacuvius the Tragic Poet nephew to Ennius; Socrates the wisest of men, and Plato himself. Metrodorus, and Pyrrhus the Philosopher did both design and paint; and so did Valentinian, Adrian and Severus, Emp●: so as the great Paulus Aemilius, esteemed it of such high importance, that he would needs have his son to be instructed in it, as in one of the most worthy and excellent accomplishments belonging to a Prince. For the Art of graving Quintilian likewise celebrates Euphranor, a Polite and rarely endowed person; and Pliny in that Chapter where he treats of the same Art, observes, that there was never any one famous in it; but who was by birth or education a Gentleman: therefore He, and Galen in their recension of the Liberal Arts, mention that of Graving in particular amongst the most permanent; and in the same Catalogue numbers it with Rhetoric, Geometry, Logic, Astronomy, yea Grammar itself; because there is in these Arts say they, more of fancy, and invention, than strength of hand; more of the Spirit, then of the Body. Hence Aristotle informs us that the Grecians did universally institute their Children in the Art of painting and Drawing, Polit. l. 8. ●. 3. for an Oeconomique reason, there signified, as well as to produce proportions in the Mind: Varro makes it part of the Lady's Education that they might the better skill in the works of Embroidery, etc. and for this cause is his Daughter Martia celebrated amongst those of her fair Sex: We have already mentioned the Learned Anna Schurman; but the Princess Lovise has done wonders of this kind, and is famous throughout Europe for the many pieces which enrich our Cabinets, examples sufficient to vindicate its dignity, and the value that has been set upon it; since both Emperors, Kings and Philosopher's, the great and the wise, have not disdained to cultivate, and cherish this honourable quality; of old so nobly reputed, that amongst the Greeks, a Slave might not be taught it: How passionately does Pereskius, that admirable and universal Genius deplore his want of dexterity in this Art! Baptista Alberti, Aldus, Pomponius Guaricus, Durer, and Rubens were politely learned and knowing men; and it is hardly to be imagined of how great use, and conducible, a competent address in this Art of Drawing and Designing is to the several advantages which occur; and especially, to the more Noble Mathematical Sciences, as we have already instanced in the Lunary works of Hevelius, and are no less obliged to celebrate some of our own Countrymen famous for their dexterity in this incomparable Art; such was that Blagrave, who himself cut those Diagramms in his Mathematical Jewel; and such at present, is that rare and early prodigy of universal science, Dr. Chr. Wren, our worthy and accomplished friend. For, if the study of Eloquence and Rhetoric were cultivated by the greatest Genius's and Heroic persons which the World has produced; and that by the suffrage of the most knowing, to be a perfect Orator, a man ought to be universally instructed; a quality so becoming and useful, should never be neglected. Quin●il. inst. l. 2. Omnium enim Artium peritus erit Orator, si de Omnibus ei dicendum est: He that would speak well upon all subjects, should be ignorant of none: It was Cicero that taught Quintilian the importance of it, where he tells us, that in his opinion, no man could pretend to be Omni laude cumulatus Orator, De Orat. 1. a perfect and accomplished Orator indeed, nisi erit omnium reram magnarum atque Artium scientiam consecutus. It is the sentence of that great Man, and therefore to be embraced by us, especially on this occasion; because it was immediately after he had expressly instanced in Caelatura & Sculptura, that of cutting and Engraving: for it is worth the observation, that the Ages which did most excel in Eloquence, did also flourish most in these Arts, as in the time of Demosthenes and the same Cicero; and as they appeared, so they commonly vanished together; and this remark is universal. But now for close of all, and to verify the admirable use which may be derived from this incomparable Art above the rest, let us hear what the learned Abbot of Villeloin, Monsieur de Marolles has le●t upon Record in the Memoires of his own life, Anno 1644. after he had made a very handsome discourse (which we recommend to all good Roman Catholics) concerning Images, upon occasion of a superstitious frequenting of a certain renowned Shrine, pretended to have done Miracles at Paris, but was detected to be an imposture: The passage is thus, Dieu m' a fait la grace, etc. I am (saith he) greatly obliged to God, that though I have ever had a singular affection to Images, I was never in my life superstitious; I have yet made a collection so prodigious, that they amount to no less than seventy thousand (he adds afterwards ten thousand more) but they are all Copper-cuts and engravings of all sorts of Subjects imaginable. I began to be addicted to this kind of Curiosity but since the year 1641; but have so cherished the humour, that I may truly affirm, without the least exaggeration, that I have some prints of all the Masters that are any where to be found, as well Gravers, as Designers and Inventors, to the number of above four hundred; And these are ranged in books of Charts, and Maps, Calligraphy, Architecture, Fortification, Tactics, Sieges, Circumvallations, Battles, Single-Combats, Naval Fights, Maritime Pieces, Landscapes, Towns, Castles, Seas, Rivers, Fountains, Vasas, Gardning, Flowers, Ruins, Perspective, Clocks, Watches, Machine's, Goldsmith's Works, for Joiner's, and Workers in Iron, Copper, embroidering, Laces, Grotesque, Animals, Habits of several Countries, Anatomies, Portraitures, Cartouches and Compartments, Antiques, Bas-reliev's, Statues, Cataphalcos', Tombs, Epitaphs, Funeral pomps, Entries, Cavalcadoes, devices, Medaills, Emblems, Ships, Cabinet pieces, Trees, Fruits, Stones, Dances, Comedies, Bacchanalias, Hunt, Armouries, Tournaments, Massacres, Executions, Torments, Sports, Heroic and Moral Fables, Histories, Lives of Saints, and Martyrs, pieces of the Bible, Religious Orders, Theses, and above ten thousand Portraicts of renowned Persons, without counting (amongst these) above sixscore Volumes of Masters whose names he there enumerates Alphabetically. This Curiosity (says he) I affected from my youth; but did not much cultivate till of late years, preferring it even before paintings themselves (for which yet I have infinite esteem) not only for that they are more proportionable to my purse; but because they better become our Libraries: so that had we a dozen only, that were curious of these Collections in France; especially amongst persons of condition (such as Monsieur de l' Orme, the late Monsieur de la Mechinier, etc.) Taille-Douces would come to be extraordinary rarities; and the Works of Lucas, Durer, Mark Antony, and the Polite Masters which are now sold at four, or five hundred Crowns a piece, would be then valued at three times as much; a thing incredible, did not experience convince us of it; those who are touched with this kind of affection, hardly ever abandoning it, so full of charms, variety and instruction it is. Truly, me thinks, that all Princes especially, and great Men should be stored with these works, preferable to a World of other trifling Collections, and less fruitful; as comprehending so many considerable, remarkable things, and notices of almost all sorts of subjects imaginable. Thus far the Learned Abbot. But it leads us yet farther, when we seriously reflect, how capable this Art is above all other whatsoever, to insinuate all sorts of Notions and things into Children, and be made an Instrument of Education superior to all those Abstracted terms, and secondary intentions where with Masters commonly torment and weary their tender and weak Capacities: And this we have discovered by much experience, and could here produce examples beyond belief in a Child at present not six years old, who does both know, and perfectly comprehend, such things and Actions as hardly any at sixteen, some at twenty have yet attained, who pursue the common Method of our Grammar Schools, without these aids, and advantages: For, since Nihil est in Intellectu, quod non prius fuit in sensu; Aristot. and, that as the Poet had well observed. Segnius irritant animos demissa per Aurem Quam quae sunt Oculis subjecta fidelibus—. Horat. What can there be more likely to inform and delight them, dum animus majora non capit, than the pictures and representations of those things, which they are to learn? We did mention before the Hieroglyphical Grammar published by Dr. Couvay; and it is well known, how Eilhardus Lubinus in an Epistle to the Duke of Stetin, has celebrated and contrived an Institution of youth by this Art: Such as was also the Design of that Prodigy of a Man, La Martelay, who had already collected and digested such a choice number of cuts, and so universal, as by which he more than pretended (for he really effected it) to reach all the sciences by them alone, and that with as much certitude, and infinite more expedition, then by the most accurate method that was ever yet produced: What a specimen of this Jo. Amos Commenius in his Orbis sensualium pictus gives us in a Nomenclator of all the Fundamental things and Actions of Men in the whole World, is public, and I do boldly affirm it to be a piece of such excellent us●, as that the like was never extant; however it comes not yet to be perceived: A thousand pities it is, that in the Edition published by Mr. Hoole, the cuts were so wretchedly engraven: I do therefore heartily wish that this might excite some gallant and public minded person, to augment and proceed farther upon that most useful design, which yet comes greatly short of the perfection it is capable of, were some additions made, and the prints reformed and improved to the utmost, by the skilful hand of some rare Artist. In the mean time, what a Treasury of excellent things might by this expedient be conveyed, and impressed into the waxen Tables and Imaginations of children; seeing, there is nothing more preposterous, then to force those things into the Ear, which are visible, and the proper objects of the eye, For picture, is a kind of Universal Language, how divers soever the tongues and vocal expressions of the several Nations which speak them may appear; Solet enim pictura tacens loqui, maximeque prodesse, as Nazianzen has it. So as if ever, by this is that long sought for Art most likely to be accomplished: Nor can any words whatever hope to reach those descriptions, which in a numberless sort of things, Picture does immediately, and as it were at one glance, interpret to the meanest of capacities: For instance, in our Herbals, books of Infects, Birds, Beasts, Fishes, Buildings, Monuments, and the rest which make up the Cycle of the Learned Abbot; some of them haply never seen before, or so much as heard of, as Aelian does upon occasion ingenuously acknowledge. And what do we find more in request amongst the Ancient, than the Images of their Heros and Illustrious predecessors? such as Atticus, and Marcus Varro collected; all which considered, we do not doubt to affirm, that by the application of this Art alone, not only Children; but even striplings well advanced in Age, might receive incredible advantages, preparatory to their entrance into the School Intellectual, by an Universal, and choice Collection of prints and cuts well designed, engraven and disposed, much after the manner and method of the above named Villeloin, which should contain, as it were, a kind of Encyclopaedia of all intelligible, and memorable things that either are, or have ever been in rerum Natura. It is not to be conceived of what advantage this would prove for the Institution of Princes and Noble Persons, who are not to be treated with the ruder difficulties of the vulgar Grammar Schools only, and abstruser Notions of things in the rest of the sciences, without these Auxiliaries; but to be allured, and courted into knowledge, and the love of it by all such subsidiaries and helps as may best represent it to them in Picture, Nomenclator, and the most pleasing descriptions of sensual Objects, which naturally slide into their fluid, and tender apprehensions, speedily possessing their memories, and with infinite delight, preparing them for the more profound and solid studies. Seneca indeed seems to refuse the Graphical sciences those advantages which others of the Philosopher's have given to them amongst the most Liberal, as reckoning them somewhat too voluptuary for his Stoical humour: yet did Socrates learn this very Art of Carving of his Father; Diogens drew the picture of Pla●o; and the Orator Messalla commends it most highly: But what more concerns out present instance, is, that it was by the approbation of the great Augustus himself, that Q. Podius the Mute should be diligently taught it: We could tell you of a person of good Birth in England, who (labouring under the same imperfection) does express many of his conceptions by this Art of Drawing and Designing: And if (as 'tis observed) it furnish us with Maxims to discern of general Defects and Vices, especially, in what relates to the proportions of humane bodies, it is certainly not to be esteemed so inconsiderable as by many it is. Polygnotus could express the Passions, and Aristides the very interior motions of the soul, if we will believe what is recorded: But whither it advance to that prerogative; this we read of for certain, (as to our pretence for the Education of Children) that when L. Paulus demanded of the Conjured Athenians a Philosopher to instruct his little ones, they preferred one Metrodorus an excellent Painter before any of the rest: What Quintilian says of Euphranor is sufficiently known; and if some great Princes have not disdained to take the Pincil in the same hand in which they swayed the Sceptre and the Sword; and that the knowledge of this divine Art was useful even to the preservation of the lise of an Emperor (for such was that Constantinus P●r●hyrogenitus) it is not without examples sufficient to support the dignity of these Arts, Luitprand▪ Hist. that we have with so much zeal, recommended them to Princes and Illustrious Persons. And now we have but one thing more to add before we conclude this Chapter, and it is for caution to those who shall make these Collections for curiosity's and ornament only; That where we have said all that we can of This, or any other particular Art, which may recommend it to the favour, and endearment of great persons; our intention is not, that it should so far engage them in its pursuit, as to take from the ●obler parts of life, for which there are more sublime and worthy objects; but, that with this (as wit● the rest which are commendable, innocen●● and excellent Company) they would fill up all such spaces, and opportunities, as too often lie open, expose and betray them to mean compliances, and less significant diversions: For these was Aratus a great Collector, nor less knowing in the judgement o● Pictures; so was Vindex and many others▪ — Namque haec quoties Chelyn exuit ille Desidia est, hic Aoniis amor avocat antris. Statius Vind. H●rc. Epitrapez. He allows himself these relaxations only when he is tired with the more weighty affairs and concernments: Finally, that they would universally contend to do some great thing, as who should most merit of the Sciences, by setting their hands to the promotement of experimental, & useful knowledge▪ for the universal benefit, & good of Mankind. This, this alone, would render them deservedly honourable indeed; and add a lustre to their Memories, beyond that of their Painted Titles, which (without some solid Virtue) render but their defects the more conspicuous to those who know how to make a right estimate of things, and, by whose Tongues, and Pens only, their Trophies and Eulogies can ever hope to surmount, and outlast the vicissitudes of fortune. CHAP. VI Of the new way of Engraving, or Mezzo Tinto, Invented, and communicated by his Highness' Prince RUPERT, Count Palatine of Rhyne, etc. WE have already advertised the Reader in one of our Praeliminaries, why we did omit what had been by us prepared for the Accomplishment of the more Mechanical part of the Chalcographical Art: But it was not out of the least Design to abuse him in the Title at the Frontispiece of this History; since we believed he would most readily commute for the defect of a Mystery so vulgar, to be gratified with another altogether Rare, Extraordinary, Universally approved of, admired by all which have considered the effects of it, and, which (as yet) has by none been ever published. Nor may I without extraordinary ingratitude, conceal that Illustrious Name which did communicate it to me; nor the obligation which the Curious have to that heroic Person who was pleased to impart it to the World, though by so incompetent, and unworthy an instrument. It would appear a Paradox to discourse to you of a Graving without a Graver, Burin, Point, or Aqua Fortis; and yet is This performed without the assistance of either: That what gives our most perite and dextrous Artists the greatest trouble, and is longest finishing (for such are the hatches, and deepest shadows in plates) should be here the least considerable, and the most expeditious; That, on the contrary, the Lights should be in this the most Laborious, and yet performed with the greatest facility: That what appears to be effected with so little Curiosity, should yet so accurately resemble what is generally esteemed the very greatest; viz. that a print should emulate even the best of Drawings, Chiaro e Scuro, or (as the Italians term it) pieces of the Mezzo Tinto, so as nothing either of Vago da Carpi, or any of those other Masters who pursued his attempt, and whose works we have already celebrated, have exceeded, or indeed approached; especially, for that of Portraits, Figures, tender Landscapes, and History, etc. to which it seems most appropriate, and applicable. This Obligation than we have to his Highness PRINCE RUPERT, Count Palatine of Rhyne, etc. who has been pleased to cause the Instruments to be expressly fitted, to show me with his own hands, how to manage, and conduct them on the plate, that it might produce the effects I have so much magnified, and am here ready to show the World, in a piece of his own Illustrious touching, which he was pleased to honour this Work withal, not as a Venal addition to the price of the Book (though for which alone it is most valuable) but a particular grace, as a Specimen of what we have alleged, and to adorn this present Chapter. It is likewise to be acknowledged, that his Highness did indulge me the Liberty of publishing the whole manner, and address of this new way of Engraving with a freedom perfectly generous, and obliging: But, when I had well considered it (so much having been already expressed, which may suffice to give the hint to all ingenious Persons how it is to be performed) I did not think it necessary that an Art so curious, and (as yet) so little vulgar (and which indeed does not succeed where the Workman is not an accomplished Designer, and has a competent talon in painting likewise) was to be prostituted at so cheap a rate, as the more naked describing of it here, would too soon have exposed it to. Upon these considerations than it is, that we leave it thus Enigmatical; and yet that this may appear no dissingenuous Rodomontade in me, or invidious excuse, I profess myself to be always most ready (sub sigillo, and by his Highness' permission) to gratify any curious, and worthy Person, with as full, and perfect a Demonstration of the entire Art, as my talon, and address will reach to; if what I am now praeparing to be reserved in the Archives of the ROYAL SOCIETY concerning it, be not sufficiently instructive. FINIS. AN ADVERTISEMENT THere is a Treatise of Monsieur du Bosses in French, concerning Etching in Aqua Fortis, Construction of the Rolling Press, etc. which (with some improvement of the Method) I did long since interpret, and deliver to the Royal Society, in obedience to their Commands: It was my intention to have added it to this History of mine, as what would have rendered it a more accomplished Piece; but, understanding it to be also the design of Mr. Faithorn, who had (it seems) translated the first part of it, and is himself by Profession a Graver, and an excellent Artist; that I might neither anticipate the World's expectation, nor the Workman's pains, to their prejudice, I desisted from printing my Copy, and subjoyning it to this discourse. In the mean time, it is to be acknowledged, that the Author thereof, has discovered his skill so honestly, and entirely, that there seems nothing more desirable, as to that particular: And I could wish with all my heart, that more of our Workmen, would (in imitation of his laudable example) impart to us what they know of their several Trades, and Manufactures, with as much Candour and integrity as Monsieur Bess has done. For what could so much conduce to their profit and Emolument? when their several Mysteries being subjected to the most accurate Inspection and Examen of the more polite, and enquiring Spirits, they should return to their Authors again so greatly refined and improved, and when (through this means also) PHILOSOPHY herself, might hope to attain so considerable a progress towards her ultimate Perfection.