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ORIGINAL DESIGNS

OF
THE MOST CELEBRATED MASTERS

OF THE

BOLOGNESE, ROMAN, FLORENTINE,
AND VENETIAN SCHOOLS;

COMPRISING SOME OF THE WORKS OF

LEONARDO DA VINCI, THE CARACCI, CLAUDE LORRAINE, RAPHAEL,
MICHAEL ANGELO, THE POUSSINS, AND OTHERS,

IN HIS MAJESTY’S COLLECTION;

ENGRAVED BY
BARTOLOZZI, P. W. TOMKINS, SCHIAVONETTI, LEWIS,

AND OTHER EMINENT ENGRAVERS ;

BIOGRAPHICAL AND HISTORICAL SKETCHES OF L. DA VINCI

AND THE CARACCI.

BY
J. CHAMBERLAINE, F. S$. A.

AND KEEPER OF THE KING’S MEDALS AND DRAWINGS.

LONDON:
PRINTED BY W. BULMER AND CO. SHAKSPEARE-PRESS, CLEVELAND-ROW ;
AND SOLD BY G. AND W. NICOL, BOOKSELLERS TO HIS MAJESTY, PALL-MALL; WHITE AND
COCHRANE, FLEET-STREET; AND COLNAGHI AND CO. COCKSPUR-STREET.
1812.

TO THE KING.

SIR,

With all humility, I presume to avail myself of your Majesty’s gracious per-
mission, to lay at your feet, a Collection of Imitations of some interesting works

of Leonardo da Vinci, in your Majesty's Collection.

A publication which will display, together with the most exquisite efforts of
taste, a knowledge of natural and experimental philosophy, which would have
done honour to a more enlightened age, seems to have a just claim to the
protection of your Majesty, through whose distinguished munificence the Arts,
and Sciences, have arrived at a point of excellence, in this country, unparalleled

at any former period.

Encouraged by this consideration, I venture with less difficulty to crave your
Majesty's auspicious patronage to the memory of so great an Artist; and, under
the shelter of his transcendent merit, to offer this humble testimony of the pro-
found duty and gratitude which I so peculiarly owe to your Majesty, and with

which I shall ever remain,
SIR,

Your Majesty's most dutiful Subject,

and faithful Servant,

FOHN GHAMBERLAINE.

IMITATIONS

ORIGINAL DESIGNS

BY LEONARDO DA VINCI:

CONSISTING OF

VARIOUS DRAWINGS

OF SINGLE FIGURES, HEADS, COMPOSITIONS, HORSES,
AND OTHER ANIMALS;
OPTICS, PERSPECTIVE, GUNNERY, HYDRAULICS, MECHANICS;

AND IN PARTICULAR OF
VERY ACCURATE DELINEATIONS, WITH A MOST SPIRITED PEN,

OF A VARIETY OF

ANATOMICAL SUBJECTS:

IN HIS MAFESTY’S COLLECTION.

PUBLISHED BY

JOHN CHAMBERLAINE,

KEEPER OF THE KING'S DRAWINGS AND MEDALS,
AND
F.S. A.

LONDON:

PRINTED BY W.BULMER AND CO.
AND SOLD BY GEORGE NICOL, BOOKSELLER TO HIS MAJESTY 3
EDWARDS, PALL-MALL; ROBSON BOND-STREET ; AND MESSRS.
WHITE, FLEET-STREET.

1796.

LEONARDO DA VINCI.

Tuts admirable Artist attracted, by the brilliancy of his genius, the notice of
his contemporaries, and ensured the esteem of posterity, by the versatility of his
talents, and the elaboration of his works. He was not one of those men, who
rise to greatness during an age, which has neither rivals to struggle for supe-
riority, nor discernment to award the palm of pre-eminence. He, indeed, must
be allowed to have been a master of his art; who, while he was yet a pupil,
surpassed Verocchio his instructor, who divided the suffrages of Italy, during
the pontificate of Leo the Tenth, with Michael Angelo; and who, at the same
time, drew the admiration, without the envy, of Raphael.

Leonardo da Vinci, was born in the year 1444, in the castle of Vinci,
which is situated in the vale of Arno, at no great distance below Florence.
The castle no longer confers distinction on the artist, but the artist gives
distinction to the castle. He was the son of Pietro da Vinci, a gentleman
of narrow fortune, who observing Leonardo's genius for painting, from his in-
fantine sketches, resolved to cultivate the propensities of his nature, by giving
him the help of art. With this design, Pietro da Vinci placed his son under
the instruction of his friend Andrea Verocchio of Florence, who was not only
a painter and engraver, but a carver, a goldsmith, and an architect. The
good qualities of the pupil engaged the assiduous attention of the master. But,
the vigour of Leonardo’s genius soon surpassed the performances, while his
discretion did not disregard the precepts, of his instructor. The monks of
Valombrosa, near Florence, having employed Verocchio to paint the Baptism
of our Lord, were the unconscious instruments of making this unwelcome
discovery. Leonardo being employed on this occasion by his master to
paint the angel, performed his task with such felicity of design, and superio-
rity of execution, as to throw his master’s parts of the picture into shade;
to gain envied admiration for his own; and thereby to induce Verocchio to
drop the pencil, which, if tradition may be credited, a sense of inferiority
made him relinquish for ever. The scholar immediately assumed the pencil,

which the master had in this manner thrown away in despair.

Leonardo now entered the world with the hopes of youth, to court appro-
bation by the grace of his manners, and to obtain fame by the variety of his
powers. Few artists will be found to have been more successful in attracting
notice, and gaining celebrity. After painting for some time at F lorence, his
reputation as a painter, and his fame as a man, spread over Italy, the most ac-
complished nation in Europe, during that age. He was ere long admired for
talents, the most useful as well as ornamental. Lewis Sforza, the Duke -of
Milan, was by these means induced to invite this extraordinary genius to his
court, in order to profit from his talents. The Duke immediately appointed
him superintendant of the academy of architecture, which had lately been re-
vived, with additional encouragement, and splendour. Leonardo no sooner
assumed. his charge, than he exploded the Gothic modes, which having been
introduced into the old academy by Michalino, had existed for a century, and
directed every practice according to the Roman simplicity, and the Grecian
grace.

The Duke of Milan, knowing the extent of Leonardo’s capacity, and variety
of talents; being desirous of converting both to the use, as well as to the orna-
ment of his country ; engaged this illustrious mechanist in the noble project of
conducting the waters of the Adda, from Mortesana, through the Valteline, and
the valley of Chiavenna, to the walls of Milan; being an extent of two hundred
miles. Leonardo entered on this design with his usual ardour. He is said to
have retired a while to the seat of his friend Sig. Melzi, at Vaverola, where he
might study in quiet those parts of the mathematics, which are most applicable
to mechanics. He looked into history for a knowledge of antiquity. During
a research, which added the lessons of experience to the precepts of theory,
he observed how the Ptolemys had conducted the waters of the Nile, for the
accommodation of Egypt, and he at the same time saw the manner, in which
Trajan had opened a communication between Nicomedia and the sea, by
making navigable the intervenient waters. All difficulties disappeared before
the efforts of genius, which was thus improved by study, and conducted by
experience.

While the Adda was in this manner constrained to benefit Milan bya com-
modious aqueduct, as the Tesino had been rendered tributary, two hundred
years before; the Duke was equally zealous to adorn his metropolis by Leo-

nardo’s pencil. The prince desired him to ornament the refectory of the

Dominicans of Sta. Maria del Gratie with a painting of our Lord’s Supper. The
painter chose that interesting part of the history, wherein our Saviour declared
to the Apostles, that one of them would betray him. In this masterpiece of
his art, Leonardo has shown how well he knew how to exhibit the various
expressions of grief, love, fear, suspicion, and villainy. Being disturbed, while
he was performing this great work, by the impatience of the prior; the painter
is said to have artfully introduced the tasteless priest into the group, in the
character of Judas, with the characteristick features of an odious traitor. The
head of our Saviour he never finished, being unable, as it is conjectured, to ex-
press completely his own conception of God incarnate. Even the rivality of
artists has acknowledged, that Leonardo surpassed himself in this matchless
performance. The design is allowed to be grand, and correct; the heads are
admitted to be admirably varied; the expression noble, and the colouring
fine. Of this inimitable specimen of the art, copies only remain. There is,
however, happily preserved, in his Majesty’s collection, the original draw-
ing for this great performance. Leonardo dignified this refectory with other
pictures, and also painted for the Duke, his patron, our Lord’s Nativity, which
happily remains to this day, in the Emperor’s cabinet, as one of its greatest
ornaments.

Whilst thus occupied, Leonardo frequently retired to Vaverola, the villa
of his friend Sig. Melzi, where he found, in the bosom of friendship, his re-
pose neither interrupted by the visits of admirers, nor his studies incommoded
by the cares of the Academy. It was in this friendly retreat, wherein he en-
Joyed perfect ease, that he composed the greatest number of his works. It was
here that he studied anatomy; that he held frequent conferences with Marc
Antonio della Torre, the professor of anatomy at Pavia, where he dissected
with his own hand, and diligently made those spirited designs from nature,
which were afterwards formed into a collection by Melzi. His skill in that
useful science proved of infinite service to himself, by enabling him to give a
peculiar force to his figures; and will, I flatter myself, prove a lasting benefit
to the world, by stimulating other artists to imitate his diligence, and to emu-
late his skill. He drew a book of Combats, for the use of Sig. Borommeo, a
fencing master, in which he represented the several kinds of engagements, both
on horseback, and on foot. He composed various treatises for the instruction

of the painters of the new academy, which, through his uncommon care, was

then in a very prosperous state. From this detail he appears to have been a
diligent student himself, and an active promoter of the studies of his imitative
disciples.

Biographers, in order to do justice to his creative faculties, have preserved
a little circumstance, which exhibits Leonardo’s mechanick powers in a new,
though less splendid, light. In 1499, when Lewis XII. was about to enter
Milan, the magistrates requested our artist to contrive some device for his en-
tertainment. Leonardo gratified their wishes, and showed his own ingenuity,
by making an automaton, which represented a lion, a beast so courageous as to
march up to the French king, and so civil, as to open its breast, in order to
exhibit the royal escutcheon, with the national fleurs des lis. Trifles, when
they are performed by those, who can execute the greatest works, gratify curio-
sity ; and when they exhibit an uncommon personage in a new, and attractive
situation, they illustrate character.

But ‘“ grim-visaged War” appearing now in Lombardy, frightened, into
safer regions, Peace, ‘‘ the dear nurse of arts, plenties, and fruitful births.”” In
that sad event were involved the Duke of Milan, first, and Leonardo afterwards.
In the fatal year 1500, was our artist’s patron, and the encourager of talents,
overthrown in battle by the French, taken prisoner, and carried into France,
where he died in the castle of Loches. These disastrous events destroyed the
Academy of Milan, dispersed the profefsors, and banished the arts from that
nursery of genius. Leonardo lost every thing, except his capacity, application,
and attractions. Yet, those misfortunes proved advantageous to Italy; Leonardo’s
scholars settling in every town, and benefiting every community by their talents
and labours. He had made painters, carvers, architects, founders, and en-
gravers in precious stones. Out of this school went Francis Melzi, Casar
Sesto, Bernard Lovino, Andrew Solcino, Mark Uggioni, Anthony Boltroffo,
Gobbo, an extraordinary painter and carver; Annibal Fontana, a worker in
marble and precious stones; Bernazzo, an excellent painter of landscapes; Paul
Lomazzo, and other ingenious men. Happy is it for mankind, that partial evil,
which will sometimes derange the system of life, should produce by its effects
a general good, which overbalances the private inconvenience!

The misfortunes of Milan obliged Leonardo to retire to Florence, where
the useful and the ornamental arts were now cultivated under the genial influ-

ence of the Medici. In this shelter from the storms of war, the first object of

our painter’s diligence was an altar-piece for the Annunciata, By this per-
formance, he gained the applause of Florence. Though he may have obtained
little profit, he acquired great popularity, where he had happily spent his
youthful years, and had first been charmed by the voice of praise, and early
incited by the flatteries of hope. But, he seems to have laboured with the most
pleasure on the picture of Mona Lisa, which is usually called la Gioconda;
and which painters have spoken of as a divine piece. He painted also a Flora,
which emulates the Lisa. His pencil continued to adorn the palaces, or to
gratify the nobles of Florence, by pictures, which had been deemed master-
pieces of the art, had they come from any other pencil than Leonardo’s.

Such was now his reputation, that the Florentines resolving, in 1503, to
adorn their Council Chamber, appointed Leonardo, by a publick decree, to
execute that agreeable task. But felicity seldom lasts long. He had the mor-
tification to observe, when he had almost finished one side of the apartment,
that his colours, as fast as they dried, loosened from the wall. He at the same
time experienced another vexation, which was less within his own power to
remedy, and more lasting in its consequences. Michael Angelo, who had ac-
quired a great reputation in his early years, was appointed, at the age of twenty-
nine, to assist Leonardo, at fifty-nine. Like the rivals in the Roman state, the
one could not bear an equal, nor the other a superior. The rivalry of these
illustrious painters, divided Florence into parties, who, as usual on such occa-
sions, embittered their jealousies, without attempting to reconcile their enmities.
The fame of this great contest of skill, and emulation, drew Raphael from the
school of Perugino, to Florence. When Raphael contrasted the works of
Leonardo, with Perugino’s paintings, he was struck with astonishment. The
delicacy and grace of Leonardo’s style, when compared with the hard and dry
manner of Perugino, gave the youthful master a high gratification, and Inspired
him with a new taste. It proves the rectitude of Raphael’s judgment, that he
could immediately renounce the bad habits of his school, and adopt a better
style. It is to this judgment, to the example, and instructions, perhaps, of
Leonardo, that Raphael attained to the perfection of his art, and left behind
him many specimens, which, for the softness and delicacy of his figures, are to
this day, without example, or rivalry.

Leonardo continued to live at Florence, gratified, no doubt, by Raphael's
imitations of him, notwithstanding the vexatious treatment of Michael Angelo.

Of all his works at this period of his life, two pictures are only remembered ;
the Virgin with her Infant, and a Baptist’s head.

Rome had hitherto no attractions for Leonardo, while he had no leisure
for visiting Rome. The exaltation of Leo X. to the pontificate gave him an
occasion however of visiting, in 1513, that venerable mistress of the world.
He appears to have been received here with less attention than was due to his
merits, or was satisfactory to his expectations. Owing to whatever cause,
Leo treated our artist with disregard; saying, what he had probably heard at
Florence, that he could expect nothing from a painter, who thought of finishing
his works, before he had begun them.

Leonardo soon grew weary of Rome, since Rome was inattentive to Leonardo.
The truth probably is, that being now old, he was unable to contend with such
rivals as Michael Angelo, and Raphael, who were supported by fashion, a
mistress, who is ever enamoured with youth, and always delights in change.

Leonardo was, in this manner, induced to accept the invitation, which he
had received from Francis I. At his advanced age, he was enabled by hope,
to perform his journey to France in 1514. He was received by that splendid
monarch at Fontainebleau, with the most flattering attention. What was of
more importance to our painter, at the age of seventy, the generosity of Francis
made his mode of life easy to him, though the artist was too feeble, from age
and infirmities, to be able to execute works of considerable magnitude. The
fatigues of his voyage, and the change of climate, are supposed to have brought
on the distemper which, at the end of four years, carried him to his grave.
After languishing a while, amid the king’s attentions, he made his will, with
the royal assent, on the twenty-third of April, 1518, whereby he bequeathed
to M. Franceso di Melzo, a gentleman of Milan, all his books, papers, and
instruments, which related to the art of painting. At the age of seventy-five,
he died at Fontainebleau, on the second of May, 1519, enjoying in his last
moments the satisfaction of beholding that monarch’s goodness to him; for it
is confidently related, that the prince, making him a visit during his illness,
and Leonardo, exerting himself beyond his strength, to evince his gratitude for
such condescension, fell into the monarch’s arms, in which he expired, op-
pressed by his weakness, and overpowered by his feelings. He was followed
to his tomb, by the universal regret of the enlightened part of Europe, when

rivalry had ceased, and enmity was vain.

se)

Such was the end of one of the most uncommon men, the world has ever
produced.

Of Leonardo it has been said, with hyperbolical praise, that he enjoyed
from nature, all which nature can give. He certainly had a very handsome
person, which he was studious to adorn with every accomplishment of art.
He was blessed with athletick strength, and he was diligent to invigorate it
by bodily exercises, which, as he performed with dexterity, gained him popu-
lar applause. During his riper years, when he had relinquished all thoughts
of marriage, he allowed, with careless inattention, his hair and beard to grow in
wild luxuriance, till he appeared, at length, with the venerable intelligence of
an ancient Druid. He seems to have been delighted with this appearance ; for,
as Vasari assures us, from good authority, Leonardo made a sketch of his own
head, in this character, which remained among his drawings. This invaluable
sketch is happily preserved in his Majesty’s collection, and is prefixed to the
following work, by the King’s liberal permission. In the engraving of Barto-
lozzi, which is worthy of the original, we see the prevailing features of Leo-
nardo’s mind, mildness and knowledge. In the eye, is portrayed his vivacity
and penetration. To politeness and address, there were united in that universal
genius, great strength and elevation of mind; a never-failing energy, and un-
wearied application ; extensive learning, and pleasant conversation. He not
only played on the lyre, but he invented one of an improved construction: and
in addition to all those extraordinary accomplishments, he had a taste for poetry.
With regard to a man of such universality of talents, and habits of diligence,
it may be easily supposed that his writings must have been numerous.

1. He wrote a Treatise on Hydraulicks. This work contains many draughts
of machines, for conveying, raising, and supporting water.

2. A Treatise of Anatomy. This work is likewise embellished with a great
number of draughts, which were all carefully drawn from nature; some of
which are now submitted to the publick, for the benefit of students in the va-
rious branches of anatomical study.

3. The Anatomy of a Horse; which is mentioned by Vasari, Borghini,
and Lomazzo. Leonardo had a peculiar talent, in drawing that noble animal,
and designed this treatise for the use of those who paint battles, or triumphs.

4. A Treatise of Perspective. In this work, Leonardo teaches the mode of

drawing figures larger than the life, which is so greatly praised by Lomazzo.

5. A Treatise of Light and Shadow; which remains in the Ambrosian
library at Milan. The author treats this useful subject as a philosopher, a
mathematician, and a painter. Leonardo shows how well qualified he was to
discuss these topicks, by his knowledge of the effects of lights and colours,
which he managed in his practice with unrivalled skill.

6. Of Leonardo, the principal work, is an excellent Treatise on Painting.
The Italian copy. was first published at Paris in 1651; it was printed the same
year in a French translation, by R. du Fresne, with figures by Nicolas Poussin,
in folio; and it was reprinted at Paris in 1716, in duodecimo. From this last
edition, the Treatise of Painting was translated into English, and published
by John Senex, London, 1721, in octavo. This is the only work of Leonardo,
which, till now, has been ever laid before the publick; though his writings
have been often mentioned, and always with applause.

It may appear presumptuous in me, to offer to an enlightened publick, this
sketch of the life, and specimens of the works, of Leonardo da Vinci: yet must
my good intentions be my best apology. I was urged by an ardent desire to
gratify the lovers of the arts, by multiplying the fine performances of that great
master, at a period, when they can be imitated in a style, which is not unwor-
thy of Leonardo’s excellence. I was encouraged by the favourable opinions
of the late Dr. William Hunter, the physician, and John Hunter, the surgeon,
as well as by some of the ablest anatomists of the present day, with regard to the
utility of such a publication; and my previous desire was carried into final
resolution, by the gracious facility, with which his Majesty gave his permission
to publish, from the works of Da Vinci, in the Royal Cabinet, whatever might
be deemed either useful, or ornamental, to his people.

It may gratify curiosity, to inform the reader, how any part of the works
of Leonardo, should have contributed to ornament his Majesty’s collec-
tion. The whole of the artist’s labours were bequeathed by will, to Sig.
Melzi, as a grateful tribute of sincere friendship. After his decease, they
were collected into thirteen volumes, and deposited at Vaverola, where they
had been chiefly composed. Here they remained, after the decease of Melzi,
Leonardo’s legatee, in the possession of his infant heirs. From these chil-
dren, were those invaluable treasures obtained by the unfair pretences of
Gavardi, their tutor: but he was induced by the zealous representations of

Mazzenta to return the whole to Horatio Melzi. In a moment of unconscious

ignorance, or absurd gratitude, the rich bequest of Leonardo was given back
by Horatio Melzi, to Mazzenta. But, being made sensible at length by Pompeo
Leoni, the statuary of the king of Spain, of the real value, and infinite impor-
tance, of what he had bereaved his family, Melzi prevailed on Mazzenta to re-
deliver to him seven of the thirteen volumes; of the other six volumes, Cardinal
Borromeo had one volume, which is now in the Ambrosian library; Ambrose
Figgini had another, which has since descended to Hercules Bianche, his heir;
Charles Emanuel the Duke of Savoy, had a third volume; and the other
three volumes, became the property of Pompeo Leoni, by whose heir they were
sold to Galeazzo Lonato.

In this manner, were the last wishes of Leonardo frustrated, either by acci-
dent, or design, to gratify the world, and extend his fame.

It was one of the three volumes, which became the property of Pompeo
Leoni, that is now in his Majesty’s cabinet. It is rather probable than cer-
tain, that this great curiosity was acquired for King Charles I. by the Earl of
Arundel, when he went ambassador to the Emperor Ferdinand II. in 1636, as
may indeed be inferred from an instructive inscription over the place, where
the volumes.are kept, which sets forth, ‘¢ that James, King of England offered
‘* three thousand pistoles for one of the volumes of Leonardo’s works.” And
some documents in the Ambrosian library give colour to this conjecture. This
volume was happily preserved, during the civil wars of the last century,
among other specimens of the fine arts, which the munificence of Charles I.
had amassed with a diligence equal to his taste. And it was discovered
soon after his present Majesty’s accession, in the same cabinet where Queen
Caroline found the fine portraits of the court of Henry VII. by Hans
Holbein, which the King’s liberality permitted me lately to lay before the
publick.

On the cover of this volume is written, in gold letters, what ascertains its
descent; Disegni di Leonardo da Vinci restaurati da Pompeo Leont.

It consists of a variety of elegant heads, some of which are drawn with red
and black chalks, on blue, or red paper; others with a metal pencil on a
tinted paper; a few of them are washed and heightened with white; and
many are on common paper. The subjects of these drawings are miscellaneous;
as portraits, caricatures, single figures, tilting, horses, and other animals ;

botany, opticks, perspective, gunnery, hydraulicks, mechanicks, and a great

number of anatomical subjects, which are drawn with a most spirited pen,
and illustrated with a variety of manuscript notes.

This volume contains, as has already been mentioned, what is of more
importance, the very characteristick head of Leonardo, as it was sketched

by himself; and now engraved by that eminent artist, Mr. Bartolozzi.

CO NiaE-ESN T S.

Plate. Drawn by Engraved by
1, Portrait of L. da Vinci - : es Himself. Bartolo
2. A Madonna - - - - - L. Da Vinci Ditto.
3. Woman’s Head, profile 2 2 vets oe Ditto. Ditto.
4, Man’s Head, large, front-face - - - Ditto. Ditto.
5, Plate of Mechanics - - - - - Ditto. Ditto.
6. Three-quarter figure - - - - Ditto. Ditto.
7, Dante and other Poets - - - Ditto Ditto.
8. A Lawyer - - - - - Ditto, Ditto
9. A Figure, with Drapery ¢ = - Ditto. Ditto.
10.) Man’s Head - - - - = Ditto. Ditto.
11.J Female Head 5 % é a Come Nee
12. Female Head, large - - - = Ditto. Ditto.
13. Galley Slave 5 é 3 Ditto. Ditto.
14, Country Girl’s Head - - - - Ditto. Ditto.
15. r
vo, fcareatures - - a o Ditto. Pastorini.
17. Man’s Head - - - - Ditto. Ditto.
18. Portrait of Annibal Carracci - - - Himself. Bartolozzi.
19, Abraham entertaining the Angels - - - Lud, Car, Ditto.
20. Old Man’s Head - = S - An. Car. Ditto.
21 Jacob’s Vision - - - - Lud. Car. Ditto.
22. A Monk’s Head - - - - An. Car, Ditto.
23. Birth of Pyrrhus - - - - Ag. Car. Ditto.
24. David - = = 2 An. Car. P. W. Tomkins.
25. Study for a Head - - = % Ditto. Stephanoff.
26. Virgin and Child and St. Anne - 2 = A, Caracci. Schiavonetti.
27. A Man’s Head - - . 7 Ditto. Facius.
28. Apotheosis of St. Francis - - = Lud. Caracci. J. W. Tomkins.
29. Young Man’s Head - - - - - An. Caracci. Bartolozzi.
30. Virgin and Dead Christ - - = a Ditto. Schiavonetti,
31. Old Man’s Head - - - ~ Ditto. Bartolo:
32. Grand Study of Trees - - > = Claude Lorraine F.C. Lewis.
33.) Ruin of an Arch - - - - Ditto. Ditto.
34.J Part of the Coloseum - = = tases ee
35. Landing of Aineas - - 2 = Ditto. Ditto.
36.) Building and 'Trees - - - - Ae fers
37.J Cattle - - - = c
38. Polyphemus = = = 2 = Ditto. Ditto.
40. }aw0 small Landscapes - - - - Ditto. Tomkins.
Al. The Apulian Youth : 2 > ry Ditto. G. Lewis.
42. Sacrifice - - - - N. Poussin. F.C. Lewis.
43. Sybil - - - - = Raphael. Ditto.
te | sal Landscapes - - - : - Claude, G. Lewis.

Plate.

46, Leda : :

47, Treading the Wine-bags -

48. Pharoah = : 2
49. Holy Family : e
50. ‘Temple of Apollo s :
51. Landscape : : z
52. Dancing Figure : :
53.

: }Ruins of Arches 2 : x
BA,

5D, Medea : . :
56. Head - - 5

57. Wolf ina Boat, an Allegorical Composition
58. Sea View of Buildings :

59. St. John Preaching 4 4

small Landscapes g F ‘

62. Cephalus and Procris a A
63. Virgin and Child and St, John 2
64. Ruins of a Temple and Arches 5
65. Landscape x = 2

66. Large Arches - s 5

CONTENTS.

Drawn by
Raphael.

N. Poussin.
Claude,

Raphael.
Claude.

G. Poussin.
Raphael.

Claude.

N. Poussin,
Bandinelli.

Leon. da Vinci.
Canaletti.
Claude Lorraine.

Ditto.

N. Poussin.
M. Angelo.
Canaletti.
Swaneveldt.
Canaletti

Engraved by
F. C. Lewis.
Ditto
Ditto.

Ditto.
Ditto.
Bartoloz
F.C. Lewis.

G. Lewis.

F. C. Lewis.
G. Lewis,

T. W. Tomkins.
Hawkins.

F.C. Lewis.

G. Lewis.
F.C. Lewis.
Ditto.
Hawkins.

Eddy.
F.C. Lewis.

LEONARDO

Faas joel Demag Wy Lesnar PE Broreved by Farllocet PA. Uitrinl Engyorr to he Moy

IN wis MAJESTY Ss COLI

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From the Orignnal Drawing by Leonards da Vine

IN HIS MAJESITyY’s COLLECTION

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PL. XVI

ENGRAVINGS

FROM THE

ORIGINAL DESIGNS

ANNIBALE, AGOSTINO, AND LUDOVICO

CARACCI,

IN HIS MAFESTY’S COLLECTION.

CONSISTING OF

ELEGANT COMPOSITIONS AND STUDIES

VARIOUS CELEBRATED PICTURES

IN THE DIFFERENT PALACES AND CABINETS

ROME, BOLOGNA, PARMA, MILAN, &c.

PUBLISHED BY

JOHN CHAMBERLAINE, F.S.A.
AND
KEEPER OF THE KING'S MEDALS

AND DRAWINGS.

LONDON:

PRINTED BY W. BULMER AND CO.

AND SOLD BY GEORGE NICOL, BOOKSELLER TO HIS MAJESTY ;
EDWARDS, PALL-MALL; ROBSON, BOND-STREET; AND MESSRS.
WHITE, FLEET-STREET.

1797.

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THE CARACCIS.

ta the Caraccis, but to Annibal particularly, biography has done such ample
justice, that any additional account of their lives, might seem to be unnecessary;
and indeed the purpose of the subsequent sketch is rather to abridge, than to
add to what has been written: to collect and combine some of the most promi-
nent parts of the Caraccis’ character; to take a slight view of the progress of
their art; to trace them from the imperfect essays of their youth, to the vigo-
rous and matured labours of their manhood.

The lives of the Caraccis are full of instructive lessons, that stimulate to
industry; that inspire hope; that prepare the student to expect, and fit him
for encountering difficulties; that teach him, that activity of effort, and perse-
verance in pursuit, are seldom exerted without success.

Annibal and Augustin Caracci were the sons of tailors; Ludovico was their
cousin. At avery early age they evinced a propensity to the art, in which
they afterwards attained such eminence. Of the genius of Annibal, the follow-
ing early proof was given:—His father, Antonio, whose poverty had obliged
him to sell a small farm, was, on his return from Cremona to Bologna with his
son Annibal, robbed of the money which he had received for his property. He
immediately applied to a magistrate; and Annibal drew with such accuracy
the faces and forms of the robbers, that they were instantly recognized by the
officers of justice, and the money was recovered.

Before the Caraccis arrived at the age of manhood, they displayed such ex-
cellence, that they excited the envy of their contemporaries. The envy of their
contemporaries, however, produced in them only a wish to proceed in their
studies; yet, to avoid the public prejudice which had been raised against them,
they retired a while from their native country ; and making their absence pro-

fitable to their art, they travelled to those places celebrated for the possession

of the masterworks of painting. They applied with the utmost diligence to
improve themselves in their art; they studied nature; they drew after casts;
they contemplated with enthusiasm, and they copied with correctness, the
works of Titian, Correggio, and Paul Veronese; and they acquired a vigour
and truth of outline, a force and harmony of colouring, and a facility of exe-
cution, that entitled them to general applause.

But their style, so different from that of their contemporaries, made but
tardy progress. They were described and decried by their opponents, as rash
innovators; their genius lingered without encouragement, their diligence was
exerted without reward. Upon the minds of the Caraccis, this neglect made
different impressions. The mildness and timidity of Augustin pined under it;
the firm and vigorous mind of Annibal repaid it all with scorn and contempt.
** T wish,” said Augustin to Ludovico, “ that in this our new style, we may
not be mistaken. The public taste is with our opponents. To oppose the
current is always rash, and is sometimes unsafe.’? Ludovico recommended
patience. ‘‘ Fear not,’’ exclaimed Annibal, with energy; ‘‘ let us go on.
Columbus was treated as an idiot, when he suggested the probability of disco-
vering a new world. The works of Titian and Correggio are now held in
universal admiration: we walk in the same path, and shall at length attain
the object of our wishes.” The encouraging speech of Annibal revived the
drooping spirits of Augustin. Their diligence acquired new vigour ; they
resolved to persevere; and they continued their studies with the utmost as-
siduity.

The style of Augustin was at first more fertile and more elegant than that
of Annibal: the former possessed more chastity, the latter more luxuriance.
The drawings of the one, were the correct efforts of judgment; the designs of
the other, were the careless effusions of genius. Annibal saw his errors, and
corrected them. It was usual with them to submit their pictures to each other’s
criticism. The severity of the critic, was not moderated by the tenderness of
the brother; faults were neither palliated nor concealed ; and mutual improve-
ment was the result of this rigorous investigation.

To extend the knowledge of their works, they opened an academy, in which

they taught not only after the best formed living subjects, but after exquisite

casts and heads of antique statues; and they studied anatomy, and they exa-
mined under the ablest masters, as Leonardo da Vinci had done before, the
bones and muscles of anatomical subjects.*

The manner in which they conveyed their instructions was so excellent,
that Guido and Albani urged the impossibility of not improving in the school
of the Caraccis, ‘‘ under whom studying was an amusement, and learning a
diversion.”

Annibal and Augustin afforded a rare example of perseverance and correct-
ness; the drawings for their great works were executed with the utmost care ;
they made separate sketches of the various parts, and they repeated them until
they had overcome every difficulty; they would then, from the different de-
signs, form a correct and perfect whole. The larger part of the drawings,
from which engravings are now published, were done by Annibal, Augustin,
and Ludovico, for their great works.

The principal object, indeed, intended by the publishing of these engrav-
ings, is to facilitate to the Artist the means of study and improvement. The
works of the great Masters swell the collections of the curious, but are of little
general use. Access is rarely permitted; and when permitted, affords but few
and partial advantages to the student. He is indulged only with a short and
transient view of excellencies, which require to be examined with the nicest
care, and to be studied with the deepest attention. He, therefore, who multi-
plies engravings from the works of the great Masters, renders no mean service
to the art.

The academy of the Caraccis acquired a high degree of celebrity. The
public opinion, which at first characterized their style only as new, now
allowed that it was natural. The stiff and cold manner of their opponents,
was no longer supported by prejudice; the force of truth prevailed; and the
genius and science of the Caraccis were universally encouraged and adequately
rewarded. They were now employed in many great works.

In the year 1600, Cadinal Farnese invited Ludovico to paint his gallery

» A similar mode of conduct had been adopted by Leonardo da Vinci, whose anatomical drawings are executed in a style of
excellence which has not yet been surpassed. Engravings from those drawings, his Majesty has graciously permitted to be pub-
lished from the original MS. volume in his Collection.

at Rome; but Ludovico, on account of the multiplicity of his engagements
declined the invitation, and recommended his cousin Annibal. Annibal was
at first assisted by Augustin; but a difference in their dispositions and habits,
Augustin being fond of pleasure, and Annibal being passionately devoted to
his studies, occasioned their separation, and Annibal carried! on and completed
the great work alone.

The undertaking occupied eight years; and is finished in a style of such
excellence of disposition, and such harmony of colouring, as to render it unri-
valled. For a work of such rare merit, I am ashamed to relate how inadequate
a recompense was bestowed ;—the sum sent to him by the Cardinal, amounted
to no more than five hundred gold crowns.

Annibal, who had formed a hope that those eight years of labour, would
have procured him a sufficient provision for the necessities of old age, was
deeply affected by the disappointment. A settled melancholy and depression
of spirits seized him; his energy and activity failed him; he retired to Quatro
Fontane; the clear air and retired situation of which might, it was imagined,
recruit his spirits, and restore his health. The air of Quatro Fontane was so far
beneficial, that he returned to Rome, and accepted an offer to paint the Life
of St. Diego, in a sumptuous chapel in the church of St. Giacomo; but his
strength was inadequate to the completion of the work; he was seized with
an apoplectic fit. His melancholy increased ; he went to Naples, the air of
which is milder and purer than that of Rome; but from which, however, he
received no benefit. He returned to Rome, and grew worse: his physicians,
from ignorance of a disorder which a mistaken delicacy had prevented him
from disclosing, treated him injudiciously, and on the 13th of July, 1609,
he expired.

The Caraccis were not remarkable for any personal beauties. Annibal was
careless in his dress, somewhat invidious in his disposition, not courteous in
his demeanour, serious in his deportment, and solitary in his habits; he was
not fond of company, and he retired always from the notice of the great.
Whenever he saw Cardinal Farnese in the streets of Rome, he would avoid
him, and hide himself; and if any of the nobility paid him a visit, he would

escape through one door, as they entered another.

He never forgot the lowness of his birth; and that it might be remembered
by his brother, he once sent him, when he was surrounded by the nobility, a
letter, in which was inclosed a drawing of their father and mother, in the act
of exercising their trade as tailors.

Augustin was of a very different disposition: he was polished in his man-
ners, and elegant in his dress. His lectures were delivered with great clearness,
and his style was so eloquent, that it excited the envy of his brother.

In one of his lectures upon the Laocoon, he dwelt with such animation
upon the beauties of the statue, that the whole audience were warmed into
admiration and applause. Annibal alone remained silent, and seemingly inat-
tentive; at length he started from his seat, and drew upon the wall with great
correctness, and from memory, the admirable statue. ‘‘ Some painters, you
see,” addressing himself to his brother with a sneer, ‘‘ can speak with their
hands!”

Ludovico was dignified in his aspect, and serious in his manners, though
not severe. He was warm in his attachments, and patient and persevering in
his temper; his style was scientific and classical, and the Bolognese preferred
him to either of his cousins; but this preference was surely not the effect of
judgment. Annibal was more original in invention, and more vigorous in
execution ; and Augustin was perhaps more chaste in conception, and more

correct in finishing.

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Engraved by lt Barlolozzt RA Hestorcallingraver to his Mayesty.

PORTRAIT of AN CARACCL
IN HIS MAJESTY S COLLECTION.

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Rbhjhi as theAct directs May 13.1j00 by [Chamberlaine Brompton Midis

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OR:

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[IN HUIS MAJESTY'S COLLECTION.

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[IN HIS MAJESTY’S COLLECTION.

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