Mob 1 11 23 a rt h o I om e tu . 
 
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 in 2014 
 
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NOTICES 
 
 OF 
 
 ENGRAVERS, 
 
 AND 
 
 THEIR WORKS, 
 
 BEING 
 
 THE COMMENCEMENT OF A NEW DICTIONARY, 
 
 WHICH IT IS NOT INTENDED TO CONTINUE, 
 CONTAINING 
 
 SOME ACCOUNT OF UPWARDS OF THREE HUNDRED 
 MASTERS, 
 
 WITH MORE COMPLETE CATALOGUES OF SEVERAL OF THE MORE 
 EMINENT THAN HAVE YET APPEARED, 
 
 AND 
 
 NUMEROUS ORIGINAL NOTICES 
 
 OF 
 
 THE PERFORMANCES OF OTHER ARTISTS HITHERTO LITTLE KNOWN. 
 
 BY 
 
 WILLIAM YOUNG OTTLEY, Esq. F.A.S. 
 
 &c. &c. 
 
 LONDON: 
 LONGMAN, REES, ORME, BROWN, & GREEN, 
 
 P ATEJtN OSTER ROW. 
 
 1831. 
 
PRINTED BY J. POULTER, 1, GREAT CHESTERFIELD STREET* 
 9T. MARYLEBONE. 
 
ADVERTISEMENT. 
 
 The Reader is referred to the annexed Preface for 
 the plan and scope of the present publication, as it 
 was originally intended. In preparing the portion 
 now printed, however, the Author, always anxious 
 to be accurate, encountered more difficulty than he 
 had anticipated ; and he has since determined to 
 abandon the undertaking-, feeling that in order to 
 complete it according to his plan, more labour 
 would be required than he could resolve to submit 
 to ; and a longer continuance of life and health than 
 at his age, perhaps, he might reasonably calculate 
 upon enjoying. 
 
 But though this volume be only a small part of a 
 projected work of great extent, still, as the different 
 articles it contains are complete in themselves, and 
 in many cases contain information not to be found 
 elsewhere, the Author trusts it may be -considered 
 worthy of a place in the library of the Collector of 
 Prints and other lovers of the Fine Arts. 
 
 London, May 14/ h, 1831. 
 
PREFAC E. 
 
 The Dictionary of Engravers, of which the First 
 Part is now offered to the Public, is intended to contain every 
 notice of importance that may be found in Heinecken, Strutt, 
 Huber, Bartsch, and other writers on prints ; with the addition 
 of such new matter as the authors researches during many 
 years have enabled him to collect, or as may hereafter fall in 
 his way. An extensive collection of prints of his own, and a 
 free access, obligingly permitted, to the cabinets of his friends, 
 to say nothing of public collections, will not unfrequently ena- 
 ble him to record the names of artists unknown to previous 
 writers, or to describe engravings or etchings of merit, which 
 have hitherto escaped observation ; and on the whole, it is pre- 
 sumed that the original portion of this work will be found suffi- 
 cient, both in quantity and interest, to separate it from the 
 numerous class of mere compilations. 
 
 Of the productions of the most esteemed masters, especially 
 the older ones, complete catalogues will be attempted ; as in 
 the justly admired " Peintre Graveur" of Bartsch ; the entire 
 contents of which voluminous publication will of course be 
 given, though in a compressed form, under their proper heads, 
 in this Dictionary ; and not unfrequently with important addi- 
 tions and amendments, as will readily be seen in various articles 
 in the Part now before the reader. 
 
 Thus, of hud. Abriy in the 5th page, two prints are des- 
 cribed, whereas Bartsch has only noticed one; and, moreover, 
 a French inscription on the second print, as well as the style of 
 
PREFACE. 
 
 the workmanship, appears to justify the opinion that the artist 
 was not, as Bartsch has supposed, an Italian, but a French- 
 man. 
 
 The second artist spoken of by Bartsch, and whose prints 
 are also described here, is Jan van Aken. The German 
 writer declares himself ignorant of his country, and the time in 
 which he lived. In the present work, a portrait of him, etched 
 by Jacob Lutma at Amsterdam, in 1653, is described, which 
 appears to establish both these points satisfactorily. If our 
 catalogue of .Van Aken's etchings be compared with that of 
 Bartsch, the latter will be found deficient in various interesting 
 particulars, distinguishing the earlier impressions from those 
 taken afterwards, which are here given ; and the same may be 
 observed of our catalogue of the etchings of Jan Almelo- 
 veen, which contains similar notices, wanting in the " Pein- 
 tre Graveur." To Bartsch's catalogues of the works of Al- 
 bert Altdorfer, Jobst Amman, and some of the other 
 early artists, no inconsiderable additions have been made ; and 
 where, as in the catalogue of Aldegrever, we have been 
 unable to add new matter, we have sought to improve the clas- 
 sification of the prints, by separating the etchings of the diffe- 
 rent masters, from their engravings with the burin, &c. 
 
 It will be seen that several new catalogues have been attempt- 
 ed ; among them those of Adam tElsheimer, Andrea 
 Andreani, and Jacques Androuet du Cerceau ; and, 
 upon the whole, the author trusts that, after an examination of 
 the matter contained in this First Part of his Dictionary, those 
 conversant with the subject will feel disposed to give him some 
 credit for his labour and research ; and at the same time to 
 pardon those errors, which, in a work embracing so much, 
 cannot be always avoided. 
 
 But, above all, it has been the author's desire to comprise 
 every thing that he deemed material upon the subject of prints, 
 within as small a compass as possible, consistently with perspi- 
 
PREFACE. 
 
 vU 
 
 cuity and the necessary detail. He was determined to adopt 
 this course in consequence of the inconvenient extent to which 
 various works on prints, &c. have of late years been swelled : 
 especially by the writers of other countries ; among whom it 
 may be enough to mention Zani, of Parma, who has devoted 
 no less than nineteen volumes of his " Enciclopedia delle Belle 
 Arti" to a mere list of artists' names. Nor is the excellent 
 " Peintre Graveur" of Bartsch free from this objection, which 
 work, of twenty-one volumes, contains no more than the ac- 
 counts of three hundred and ninety-six known artists, and a 
 smaller number of others unknown, whose prints are distin- 
 guished only by inexplicable cyphers or monograms. 
 
 That the author has avoided this fault (and he hopes to have 
 done so without falling into the opposite extreme of too great 
 brevity) will be readily admitted by any one who will compare a 
 few of the catalogues in the present volume with those in the 
 " Peintre Graveur." In Bartsch's work he w ill lind, for exam- 
 ple, that the catalogues of Jan van Aken and Jan Alme- 
 loveen, with their titles, &c. occupy together no less than 
 thirty-eight pages ; whilst, with the additions above-mentioned, 
 both are here comprised in little more than two pages and a half. 
 The catalogue of Ciierubini Alberti takes up eighty pages 
 in Bartsch ; here, about twelve and a quarter : and yet our ac- 
 count of Cherubino contains additional matter. Those of Alde- 
 grever and Altdorfer, in the " Peintre Graveur," lillone 
 hundred and thirty-four pages; whilst they are here given, with 
 additions in the former catalogue, in fifteen pages and a quar- 
 ter. It is unnecessary to carry these comparisons further ; but 
 thus much has been judged proper, in order to account for the 
 quantity of matter given in the present volume ; whic h the 
 reader will find to contain notices of more than three hundred 
 artists, with more complete catalogues of a very considerable 
 number of them than have hitherto been published. 
 
 Of prints of very rare occurrence our descriptions will some- 
 
viii 
 
 PREFACE. 
 
 times be found more ample, even, than those of Bartsch ; but of 
 such as are less scarce, it has often been thought sufficient to 
 notice the subject and dimensions of the print, and the manner 
 in which the engraver has signed his name. It is only neces- 
 sary to add, that a few well-known abbreviations are com- 
 monly used throughout the work ; and that a limited number of 
 others have been occasionally resorted to, in some of the longer 
 catalogues. They are explained below. 
 
 ABBREVIATIONS COMMONLY USED IN THIS WORK. 
 
 b born. 
 
 d died. 
 
 c circa (about). 
 
 h height. 
 
 w width. 
 
 / length. 
 
 l.-w lengthways. 
 
 upr upright. 
 
 N.B. The measurements of the prints are given in English inches. 
 
 ABBREVIATIONS USED OCCASIONALLY 
 
 ded dedication. 
 
 mon. ...... monogram. 
 
 r right. 
 
 1 left. 
 
 t top. 
 
 b bottom. 
 
 c corner. 
 
 m middle. 
 
 h hand. 
 
 (Example : mon. 1540. r. c. t.; read* 
 the monogram, with date 1540, is at 
 the right-hand corner at top.) 
 
 The letter B. followed by a number within brackets, as (B. 8.) refers to 
 Bartsch's catalogue of the works of the engraver under consideration. 
 
 After the description of prints of uncommon occurrence, other initial letters, 
 within brackets, are sometimes introduced, indicating the possessors of the 
 specimens in question ; as (L.) or (T.L.) for Thomas Lloyd, Esq.; (W.M.M.) 
 Wm. Monk Mason, Esq.; (O.) the Author ; (S.) John Sheepshanks, Esq.; 
 (T.W.) Thos. Wilson, Esq. ; (S.W.) Mr. Samuel Woodburn ; &c. 
 
 31, Devonshire Street, 
 February 1830. 
 
DICTIONARY 
 
 OF 
 
 ENGRAVERS. 
 
 ABA. 
 
 HILLEBRAND VANDER AA, 
 
 1692—1706. 
 
 A DESIGNER and engraver of book-plates, who worked 
 chiefly for his brother Peter vander Aa, a publisher of Leiden. 
 Though his prints appear to be numerous, I only know two to 
 which he has affixed his name. 
 
 1. The Portrait of ' Otho, Archiepiscopus et Vicecomes Mediolanensis,' 
 profile in an oval, with underneath his mitre, coronet, &c. * H. v. Aa Del. 
 et Sculp.* It is engraved in a stiff, meagre style, without effect, "and be- 
 longs to a work entitled ' Principium et illustrium Virorum Imagines.' 
 ' Lugd. Batav.' in folio ; wherein are other portraits evidently by the same 
 artist, though without his name. 
 
 2. The Title and Frontispiece to a book in 12mo., * Les Delices de l'ltalie,' 
 both on one plate. The frontispiece represents a female figure with a cor- 
 nucopia and a sceptre, seated upon a globe. 4 A Leide chez Pierre vander 
 Aa, 1706. — Hill, vander Aafec' This is better than his portraits. 
 
 Zani appears to have seen a plate inscribed: ' Lugduni 
 Batavorum excudebant Petrus van der Aa, caelabat H'uUl- 
 brandus van der Aa 9 fratres, 1697.' He mentions also one 
 Hubert vander Aa as an engraver, anno 1700, and notices 
 a print marked * N. v. Aa del. et sculp.' 
 
 ANTONIO DEL ABACCO, or LABACCO. 
 
 1520—1559. 
 
 Studied architecture at Rome under Bramante, and after- 
 wards became chief assistant to Ant. di San Gallo ; after whose 
 designs, in the latter part of that artist's life, he constructed a 
 wooden model of the intended church of St. Peter, no less than 
 thirty-five Roman palms in length ; which was highly commend- 
 ed at the time, and has been ever since preserved in the Vati- 
 
 VOL. I. B 
 
ABB 
 
 can. It is not certain that lie practised engraving, though he 
 is commonly supposed to have done so. The following plates, 
 which pass for his work, are executed in a firm, but neat and 
 delicate manner. 
 
 t« The Front View, the Side View, and the Section of the Church of St. 
 Peter ; not as now executed, but according to the designs of the above 
 named San Gallo ; three pieces, l-w. in fol. each inscribed: ' Forma templi 
 D. Petri in Vaticano. — Pauli III. Pont. Max. liberalita'i dicatum. 
 Antonius S. Galli inventor. Antonins Labaccus eius discip. effector. — Ant. 
 Sal. excud. Romap, m.d.xlviii.' Also the Ground Plan, upr. fol. with- 
 out the name of Abacco : ' M<\is D. Petri ixnographia ex ipso Ant. Sancti- 
 galli exrmplari. Roma? m.d.xl.viiii. — Ant. Sala. excudebat.' The term 
 ' effector* in these inscriptions was doubtless used by Abacco in reference 
 to the model above-mentioned. These interesting prints are rare. 
 2. A Book of Architectural Plates, entitled ' Libro A* Antonio Labacco 
 appartenente a l'Architettura, nel qual si figurano alcune notabili Antiquita 
 di Roma.' The title, ornamented with two female figures, and two aca- 
 demy figures supporting bunches of fruit, was I think engraved after a design 
 of Francesco Salviati. The plates vary in dimensions. One of them, entitled 
 ' La parte dcntro del tempio segnata Y,' contains, as decorations to the 
 architecture, nine statues, which are designed and composed in a great style. 
 
 The work is said to be ' Impresso in Roma,' &c. ' Printed at Rome in 
 our house in the year of our Lord m.d.lviiii,' Sec. 
 
 In Antonio's address to the reader, in the original edition, he states that he 
 had been under the famous Bramante, and Antonio di San Gallo, and that he 
 had made the drawings of all these pieces of architecture : after which he 
 adds : ' And because it has been several times represented to me by my son 
 Mario, that it would be dcsiiable to publish some of these designs,' &c. 
 ' the said Mario offering to undertake the laborious part, ami even to engrave 
 a poi tion of the plates himself, I have thought it well to give this work to 
 the world,' &c. We may conclude, therefore, that some of these plates, 
 at least, are by Mario Abacco, who appears to have been a professed engraver. 
 
 MARIO DEL ABACCO, or LABACCO, 
 
 1558— 15G7. 
 
 The son, as has just been stated, of Antonio Abacco. Zani 
 says he was living in 1582, and conjectures, not unreasonably, 
 that he may have been the author of some of the anonymous 
 prints of which so many were published at Rome, in the middle 
 and latter part of the 16th century, by Ant. Salamanca and 
 Ant. Lafrery. Zani appears to have been unacquainted with 
 the two following pieces, bearing the artist's name. 
 
 1. St. Anthony tormented in the air by demons, copied in small from the 
 well known print of Martin Schongaver, 1 Non est nobis, &c. — Marius 
 Labbaciis cu Privilegio 1567.' h. 5\ w. 4£. 
 
 2. Christ standing, and with both arms supporting the cross. The figure seen 
 to a little above the knees. In the upper marg. we read, 1 Ut qui in ligno/ 
 &c, and in the lower, i Sic deus dilexit, &c. — Marius Labbacus incidebat.' 
 h. \\\ w. 8. This piece is more coarsely engraved than the other; and is very 
 inferior to the architectural plates mentioned in the preceding article. 
 
 PIETRO GIOVANNI ABBAT1. 
 
 1G90— -1708. 
 
 Was a scholar of Ferd. Galli Bibiena, a decorative painter 
 and architect of Bologna of much celebrity. He etched, says 
 Heinecken : 
 
ABB 
 
 1. A Catafalque, or funeral scaffold, after a design of his master. 
 
 He also published a collection of Bibiena's decorative designs, with an engraved 
 title, large upr. fol. bearing his portrait, supported by the figures of Painting 
 and Architecture, with Fame blowing a trumpet, and this inscription : 4 Varie 
 opere di Prospettiva, inventate' — here two or three words are erased in the 
 impression before me — ' da Ferdinando Galli d°. il Bibiena, Bolognese, 
 Pittore et Architetto dell A. S ma . del Sig. Duca di Parma, raccolte da 
 Pietro Abbati, et intagliate da Carlo Antonio liuffagnotti. — Le diede in 
 luce e stampo Giiacomo Camillo Mercati in Bologna, l'anno 1707/ At 
 bottom on the left is inscribed ' Caccioli F.' BufTagnotti, accustomed 
 chiefly to architectural decorations, perhaps found himself incompetent to 
 execute the above-mentioned large figures and portrait. 
 
 2. To this collection belong, I believe, several plates of Theatrical Scenery, 
 about 9£ square, which appear from the inscriptions upon them to have been 
 etched by Abbati himself. These plates are executed something in the man- 
 ner of Matthioli. Under one of them, a Garden Scene with five fountains, 
 we read : ' Inv. Fer. Galli Bibieni Archit. del . — Pictro Gio. Abbati fece.' 
 Another, a View of a Fortress, has similar inscriptions. A third, re- 
 presenting a Ruined Building, with a beam from which is suspended a 
 man in a cage, has. ' Inv. Ferd. Bibiena Arch°. — Pictro Gio. Abati Fccc : 
 C«. B. Int .' ; which last characters must, I fear, be interpreted ' Carlo 
 Buffagnolti Intaglio.' These three plates are executed exactly in the same 
 manner. The most reasonable conjecture concerning them is that they were 
 slightly etched by P. G. Abbati, and afterwards worked upon by BufTagiiotti, 
 so as to make them correspond in general appearance and neatness with the 
 other prints in the collection. 
 
 Other instances of the equivocal signification of the word feet, or fecit, 
 upon prints, w ill be noticed in the course of this work. 
 
 H. ABBE. 
 
 1G70. 
 
 Professor Christ, ' Diet, des Monogrammes,' mentions plates 
 marked with the cursive characters H. A. joined together, w hich 
 he says were engraved by H. Abbe, and published at Antwerp 
 in 1670. Heinecken speaks of this artist as a designer only ; 
 noticing the portrait of Pieter van Predal, a painter of Ant- 
 werp : * Abbe del. — C. Waumans Sc.' and some designs in 
 an edition of Ovid's Metamorphoses, published by Banicr. 
 
 IOS. ABBIAS. 
 
 c. 1G72 ? 
 
 It is possible that the author of the following plates ma) be 
 the same with Giuseppe Abbiali, spoken of in the next article, 
 but I consider it doubtful. Zani, in his Index of artists' names, 
 mentions G. F. Baroncello, as a native or resident of Turin, 
 under the year 1672. 
 
 1. An Exhibition of Fire-works, upon an occasion of public rejoicing, 
 in the middle of a handsome square lined by soldiery. ' Io«. Franc, liaron- 
 cellus Del. — lo». Abbias Sculp.' l-w. in fol. It appears to have come 
 out of a book, is done entirely with the graver, and is a wretched per- 
 formance. 
 
 2. A Banqueting-house, on the borders of a lake whereon are several gon- 
 dolas. I give this on the authority of Mr. Dodd, who speaks of it as belonging 
 to the same set as the other. He styles the artist Giovanni Abbiati or Abbiu, 
 but without giving his authority for the baptismal name. 
 
 B 2 
 
ABE 
 
 GIUSEPPE ABBIATI, 
 
 1700. 
 
 An indifferent Milanese artist, by whom we have a few small 
 book-plates, poorly engraved after his own designs. 
 
 1. The Head-piece to the dedication of a book entitled i Le Scelte Pitture di 
 Brescia ;' Brescia 1700, in 4to. It represents a female warrior, doubtless 
 the Genius of Brescia, walking over the bodies of the vanquished Turks. 
 * Josef Abbiati Delin. et Sculph.' I. 5£. h. 2£. 
 
 2. Two other book-plates of similar dimensions : A Saint, seated on a Lion, 
 writing, 1 G. Abbia fece,' and a Female clothed in Armour, and 
 seated amid implements of war, extinguishing a torch, * G. Abbiati fece.' 
 
 He is also said to have engraved some small battles. 
 
 PAOLO MARIA ABBIATI. 
 
 1686. 
 
 Was also, according to Zani, a native of Milan. We have 
 by him, says Heinecken : 
 
 The Portrait of Jerom Cornaro, procurator of St. Mark, without the 
 name of the painter. 
 
 In Zani's Index I find likewise one Fra Fortunato Abbiati, 
 a Benedictine, mentioned as an engraver. 
 
 J. ABBOT. 
 
 1767. 
 
 An English amateur, by whom, according to Bryant and 
 Dodd, we have a small etching, of a Horse with saddle and 
 bridle, signed /. Abbot, 1767. 
 
 JOSEPH ABEL. 
 
 b. 1756. d. 1818. 
 
 An historical painter, who was born at Aschach in Austria, 
 and died at Vienna. The following etchings, made by him after 
 his own designs, are mentioned in some of the German sale- 
 catalogues : 
 
 1. The Portrait of Himself, upr. in 4to.— Also the Port, of his Father, 
 and that of M. de Molitor. 
 
 2. The Shepherd's Offering— St. JoHN—The Death of Socrates, l-w. 
 in fol. — Venus and Cupid, &c. 
 
 LEONARD ABENTS. 
 
 1576. 
 
 A native of Passau, of which city we have an etching, be- 
 lieved to be by his hand, in the Topography of Braun, marked 
 with his cypher, composed of the letters X. A. f followed by 
 his name thus : * Leonardus Abent patavien : F. — Patavia, 
 Passavia, sive Patavium, &c. — Anno m.d.lxxvi.' /. 19|. h. 
 14£. It is etched with sufficient ability, in the same slight 
 manner as most of the other plates in that well-known work. 
 
 JOHAN LOUIS ABERLI. 
 
 b. 1723. d. 1786. 
 
 This artist was a native of Winterthur, and studied land 
 
A C C 
 
 scape under Henry Meyer, the son of Felix Meyer. He 
 established himself at Berne, where he acquired celebrity by 
 various sets of Swiss Views, most of them delicately etched in 
 outline, either by himself or others after his drawings, and 
 then coloured. Among those etched by Aberli's own hand, 
 Heinecken mentions : 
 
 A View of Berne seen from the North; a View from the Ramparts 
 of Berne ; and a third, representing the Valley of Oberiiasli ; all of 
 them lengthways, in fol. 
 
 J. ABERRY. 
 
 1753. 
 
 Is known only by the following half-length portrait, which is 
 etched somewhat in the manner of Worlidge. 
 
 Sir Watkin Williams Wynn, Baronet * T. Hudson pinxit.— J. Aberry 
 fecit Aquaforti 1753/ h. 12£. iv. 9|. 
 
 LUD. ABRI. 
 
 1673. 
 
 This artist was I think a Frenchman ; though Bartsch, who 
 was acquainted with only one of the two following pieces by 
 his hand, has placed him among the Italians. 
 
 1. The Holy Family. The Madonna is kneeling and seen in profile, and is 
 turned towards the left. She receives a crown and a sceptre from the in- 
 fant Christ, who is standing on that side. Joseph has his right hand on the 
 shoulder of the Saviour ; and behind, on the right, is the little St. John. On 
 a wall behind the figure of Christ, ' Lud. Abri Fee.' and on a pedestal, 1673. 
 The design is pretty, and the plate is etched with ability, in a manner partak- 
 ing of those of Hollar and M. Merrian, but less finished, h. 10. w. 8f . 
 
 2. A Coat of Arms, three roses, each surmounted by a crown, with two 
 female figures as supporters, one holding a crozier, and the other a spade. 
 Motto: i Je Regne par ma Vertu. — Lud. Abry in. Fee' I. 7 J. h. Gg. 
 
 J. ABSOLAM. 
 
 1784. 
 
 By this artist I have now before me the Portrait, in an 
 oval, of ' Thomas Cromwell, Earl of Essex. — Holbein Pinx. 
 J. Absolam, Sculp.' copied, I believe, from a print of II ou- 
 braken. It is very indifferently engraved, and was published 
 in 1784, in Harrison's folio edition of Rapin. 
 
 FRA. NICCOLO ACCIAIOLI. 
 
 1603. 
 
 We learn from the inscriptions on the following- plate that 
 this person was a monk of the order of St. Augustine, and a 
 master of the schools of theology at Florence. 
 
 The Representation of an Altar, upon which is placed the tabernacle 
 containing the Eucharist, with four candlesticks with burning tapers on either 
 side. Over the altar rises a magnificent canopy, supported by pillars and pilas- 
 ters of the Corinthian order, and ornamented, amongst its other decorations, 
 by two statues of angels holding scrolls, on which are inscribed * Duo Seraphin 
 clamabant. — Sanctus, sanctus, sanctus/ Among various inscriptions in dif- 
 ferent parts of the plate, is a long dedication, at top : 1 Perill r >. Viro ac 
 
ACQ 
 
 Clariss ra <>., Senatori, D. Joanni Baptistae Michelotio Patrono Colendis<\ 
 Fratcr Nicolaus Acciaiohus in almo Florentino Gymnasio studii magister 
 S. P. D.,' &c. &c. At the bottom we read : * Disputabuntur, &c. 
 Die xxv. Novembris, 1603. Hora xx. — Bernardinus Pocettus inventor. 
 Adobiecia respondebit idem/ &c. h. 2H. iv. 
 
 This singular plate is coarsely and unskilfully engraved, and is evidently the 
 work of an amateur ; from which circumstance, added to the wording of the de- 
 dication, we may perhaps be justified in attributing it to Acciaioli's own hand, 
 although he has omitted to state expressly that he did engrave it. 
 
 CESAR ANTONIUS ACCIUS. 
 
 1609. 
 
 According to Heinecken, and Mr. Dodd, we have by this 
 artist, who appears to be otherwise unknown: 
 
 A Mountainous Landscape, a spirited etching, done, as Mr. Dodd thinks, in 
 Italy. In the middle is a chapel, on the left is a large house, and in the fore- 
 ground are three figures, one of which is beating a drum. Upon a tablet on 
 the left: * Cesare Antoni Accius, fecit, inv. A.D. 1609/ l-w. in fol. 
 
 ARNOLD VAN ACHEN. 
 
 1700. 
 
 ' He lived,' says Strutt, * in the beginning of the 18th cen- 
 tury, and was brother to a famous drapery painter who resided 
 in London, and was called the tailor Van Achen, from the 
 facility with which he clothed his figures. Arnold,' continues 
 Strutt, ' etched some Frontispieces to Plays, and other small 
 works for the booksellers.' I have never chanced to see any of 
 them. 
 
 ACKERMAN, See Akerman. 
 CHRISTOFANO DALL' ACQUA, or AB AQUA; 
 
 b. 1734. d. 1787. 
 
 A native and resident of Vicenza, where he engraved many 
 things for the publications of the day ; and among them : 
 
 1. Various small Architectural Pieces. 
 
 2. The Portrait of Frederick the Great, King of Prussia, in 4to., and 
 that of Giulio Ferrari, Patricio Vicentino, in 4to., in a book of poems, 
 by Ferrari, in honour of the Prussian monarch. 
 
 3. The following large upright plates are sufficiently well copied by him from 
 the engravings of Strange: Belisarius, after Sal. Rosa, ' Christophorus ab 
 Aqua Civis Vicentinus sculpsit, anno 1709. — Si vende in Vicenza dal 
 suddetto dalf Acqua.' — Apollo crowning Merit, after And. Sacchi. 
 Venus attired by the Graces, after Guido, 1773. 
 
 I find from Zani's Index, that this artist had a son, Giuseppe 
 dalV Acqua, who was living in 1796, and practised engraving ; 
 but I am unacquainted with his works. Mr. Dodd mentions by 
 him a Landscape after Teniers, in which is a group of men 
 playing cards, l-w. in 4to. 
 
 GIOVANNI ACQUARONI. 
 
 C. 1800. 
 
 An artist of Rome, by whom I have now before me a View 
 of St. Peters Church, l-w., in 4to., neatly executed. * Gio. 
 
ADA 
 
 Acquaroni (lis. e inc. — Veduta della Basilica, &c. — In Roma 
 presso Agapito Franzetti al Corso.' It is perhaps one of 
 a set. 
 
 P. or R. ADAM. 
 
 c. 1690. 
 
 Is known by the following small landscapes, which are exe- 
 cuted in a stiff tasteless manner, and partly finished with dots. 
 They are so indifferent as to make it difficult to believe the 
 assertion of Heinecken, that their author was a professor. 
 
 1. A Set of Cottage Scenery, 6 pieces not numbered, l-w. in 8vo. In the 
 foreground of each print is a sitting figure, shaded all over, in the manner 
 of Mellan, without cross hatchings. In the margin, ' P. or R. Adam inv. 
 et fe' the P. or R. 'being joined to the A. in such a manner as to leave 
 it uncertain which was intended. 
 
 2. A Set of Sea.-port Views, rivers with shipping, &c, 6 pieces, same di- 
 mensions, numbered in the margin at bottom. They also have the name of 
 the artist, and upon the first print the address, * I. de Ram Excudit.' 
 
 JACOB ADAM. 
 
 1779—1790. 
 
 This artist, according to Huber, was born about the year 
 1748, at Vienna, where he formed himself by frequenting the 
 Academy of the Arts of Design. Conjointly with Mansfield, he 
 made himself known by many small portraits of celebrated per- 
 sons of the time, for the most part of an 8vo. form, which 
 were engraved with great neatness and delicacy, and published 
 by Artaria and Company, print-merchants at Vienna. 
 
 1. Jo\nn. Herm\nn, L. R. a Ricdesel. ' J. Donat pinx. Teschinae, 1779. J. 
 Adam, sc., Vienna;, 1782.' 8vo. 
 
 2. Ignatius a Rorn, 1 Eques. — Reyrin pinx.— ./. Adam, sc., Vienna, 
 1782.' 8vo. 
 
 3. Maxim. Frioericus, * Arclii-Episcopus et Elector Coloniensis, &c— Job. 
 de Giorgi ad vivum del. 1782. J. Adam, sc., Vienna.' 8vo. 
 
 4. Nic. Jos. a Jacquin, &c — 'Jos. Kreitzinger pinx., Vienna.— ./. Adam 
 sculp., 1784.' 8vo. 
 
 5. Ch. Prince de Ligne, &c— 1 Jos. Kreitzinger pinx Jac. Adam sc., 
 
 1785.' 8vo. 
 
 C. Leopold II. Roi d' Hongrie, &c— * J. Kreutzinger "ad vivum pinx., 
 Vienna in mense, Apr. 1790.— Jacob Adam sculp., Vienna, \7\H).' Hvo. 
 
 7. Ant. Raffael Mengs, the painter, from a picture by himself. Ito. 
 
 8. The Emperor Maximilian I., after Lucas Van Leyden, in 4to., for 
 the Lives of Illustrious Germans, hy Klein. 
 
 9. The representation of the Marriage Ceremony of the Archduke Francis 
 of Austria with the Princess Elizabeth of Wurtenherg, at Vienna, January 6, 
 1788. f J. Ch. Sambash del. — J. Adam sc.' upr. fol., with a description in 
 French. 
 
 JOHN ADAM. 
 
 c. 1790? 
 
 An artist of this country, who engraved portraits for the pub- 
 lications of the day, some of which will he found in the first 
 three volumes of Caulfield's Historv of Remarkable Characters, 
 from the time of Henry VIII. to James IT., and in Herbert s 
 
ADA 
 
 Biography of Scottish Personages of Distinction. We have also 
 by him : 
 
 The Portrait of Queen Elizabeth, and that of Robert Dudley, Earl 
 of Leicester, whole -lengths , in imitation of chalk, after drawings bv Fred. 
 Zucchsro. b J 
 
 ALBRECHT ADAM. 
 
 1810. 
 
 A battle-painter of ability, born, according to Brulliot, at 
 Nordling, in Bavaria, in 1786. Having studied some time at 
 Nuremberg and Munich, he went into the service of the 
 Duke de Leuchtenberg at Vienna; after which he made the 
 campaigns of Italy and Russia. He was living in 1817 at 
 Munich. The following etchings by this artist are mentioned 
 in a recent German catalogue. Some of his earliest pieces, 
 according to Brulliot, are marked with a small capital A inclosed 
 within a larger one. 
 
 1. Stag Huntings, 7 pieces, sm. fol., l-iv. ' Albrecht Adam fee, Aug. V* 
 
 2. The Watering-place for Horses, and the Watering-place for Cows, 
 both on one plate. 
 
 3. Two Stag Huntings, on one plate. 
 
 4. A Mare with her Foal, l-w. in fol. * Alb. Adam fecit,' 
 
 5. Divers Sketches, small Landscapes, and Military Subjects. 
 
 GEORG ADAM. 
 
 1805. 
 
 The following notice of a print by this artist is taken from a 
 recent sale-catalogue written by Brulliot. 
 
 A Landscape with large Rocks, at the foot of which is seated a boy, playing 
 on a pipe. * Georg Adam del. fee. 1805/ l-w. in 8vo. 
 
 ROBERT ADAMS. 
 
 1588. 
 
 Was surveyor of the buildings, &c. to Queen Elizabeth, and, 
 as Walpole observes, appears to have been a man of ability. 
 He died A.D. 1595, and was buried in Greenwich church, 
 with this inscription : ' Egregio viro, Roberto Adams, operum 
 regiorum supervisori, architectural peritissimo. Ob. 1595. 
 Simon Basil, operationum regiarum contrarotulator hoc posuit 
 monumentum 1(501.' 
 
 Walpole states that Adams engraved a large Plan or birds'-eye 
 view of Middleburgh, dated 1588 ; and also, that he drew and 
 engraved a set of Charts, representing the different actions that 
 took place in the channel between the English fleet and the 
 Spanish Armada, which was published in 1589 by Augustine 
 Ryther. This account, which has been adopted by Strutt and 
 others, is very erroneous ; I speak not of the plan of Middle- 
 burgh, of which I know nothing, but of the charts ; for, although 
 the name of Adams appears upon those plates, it is as the de- 
 signer, only, and not as the engraver. I was first assured of 
 
ADA 
 
 this fact by my erudite friend, Francis Douce, Esq., who at 
 the same time informed me of the existence of a copy of the 
 work in the British Museum, which I have since examined. 
 
 This work, which appears to be of extreme rarity, consists of twelve plates, 
 including the title. The Title has this inscription, within an ornament of 
 scroll-work : * Expedition!* Hispanorum in Angliam vera descriptio. 
 Anno D. m.d.lxxxviii ;' at top are the Arms of England, and at bottom, 
 those of the Lord High Admiral ; it has no name of designer, engraver, or 
 publisher ; it measures, I. 19£. h. 14f . 
 
 Then follow ten Charts, of the same dimensions as the Title. They represent 
 maps of the coast, with the different engagements between the fleets, 
 represented, in small, in those parts of the channel where they occurred ; 
 the names of the different towns, castles and sea-ports being inserted in their 
 proper places. The sea in all of them is covered with dots, as is the case in 
 some of Saxton's maps, and the plates, like them, have narrow ornamental 
 borders. They are numbered 1 to 10, at the right-hand bottom corner, and 
 each plate, like the title, has the Arms of England and those of the High 
 Admiral. The chart No. 1, represents the first discovery of the Spanish 
 Fleet off the Lizard Point, and the 10th an attack made upon it by some 
 English fire-ships off Calais. But as copies of all these charts are given upon 
 a reduced scale in Pine's work on the Tapestries of the House of Lords, it 
 becomes unnecessary to speak of them separately. Suffice it for me to add, 
 that each plate is inscribed ' Roberto Adamo authore that the 1st and 4th 
 have the date 1588, and that the 1st, 6th and 7th have also the name of the 
 engraver : ' Augustinus Ryther Sculpsit.' 
 
 The last plate of the work, I. 294 h. 20£, is not numbered. It represents 
 a general map of Great Britain and Ireland, with parts of the continental 
 coast, and shews the tract of the Armada round the two islands, in its way 
 back to Spain. Towards the left, at bottom : i Ro. Adamo Authore — Augus. 
 tinus Ryther Sculpsit,' 
 
 Walpole, as has been said, states that the above plates were 
 published by Ryther in 1589, and perhaps in this he may be 
 correct, although a small book intended by him to accompany 
 them did not make its appearance till the beginning of 1590. 
 This work, an 8vo. or sm. 4to. of only 27 pages, is entitled : 
 
 * A Discourse concerninge the Spanishe fleets invadinge Englande in 
 the yeere 1588, and overthrowne by her Ma ties . Navie under the conduc- 
 tion of the Right-honorable the Lorde Charles Howardo, highe Admiral] of 
 Englande ; written in Italian by Petruccio Ubaldino citizen of Florence, and 
 translated for A. Ryther , unto the wch discourse arc annexed certaine table s 
 expressinge the several exploitcs, and conflictes had with the said fleete. 
 These bookes with the tables belonginge to them, are to be soldo at the 
 shoppe of A. Ryther being a little from Leadenhall, next to the Signe of 
 the Tower.' 
 
 This Title is printed from an engraved plate ; and in the Dedication to the 
 Lord High Admiral, which follows, Ryther speaks of the time which he had 
 * spent in the graving of the seVeral Tables belonging to the booke,' which he 
 terms ( a new yeeres gift so that we may conclude that it was published at 
 the beginning of the year 1590, which is the date of the Colophon. In his 
 address * to the Reader,' he says, * If in the graven tables there be anything 
 which doth not please thee in regard of the worke, I crave pardon for it, 
 because I count my selfe as yet but a yoong beginner, do but yet strive to 
 attaine to that excellencie, which I wish for.' And yet Ryther had, ten or 
 twelve years before, engraved some of the maps in Saxton's collection. He 
 adds, and I give it as a specimen of his good taste : ' In the booke it selfe 
 the truth of every thing is set downe so neare as might be, and therefore it 
 is so much the more to be regarded, being also by my friend translated faith- 
 fully, onely the Italian flourishes were here and there omitted, bicause in our 
 English toong they could "not sound well without suspit ion of Ratterie. Fare- 
 VOL. 1. C 
 
A D A 
 
 weH. Thine A.. Ryther/ Then follows the narrative, in which the different 
 plates are all along referred to in the proper places in the margin; thus: 
 * As appeereth in the 1. table,' ' As appeereth in the 2. table,' «Scc. 
 
 I have been indebted for the loan of this rare and interesting little volume 
 to the courtesy of Roger Wilbraham, Esq., who is also the possessor of what 
 appear to be the ten original drawings, done by some Dutch artist of moderate 
 ability, with the help of which Robert Adams prepared the more careful 
 designs from which the above plates were engraved. 
 
 It is stated by Sandrart, in his * Academia Artis Pictorae/ p. 274, that the 
 designs for the Tapestries of the House of Lords, ten in number, were 
 made by Henry Cornelius Vroom, of Harlem, an eminent ^painter of sea- 
 pieces and shipping, and that they were wove by one Francis Spiring. Pine, 
 in his work on those tapestries, supposes the charts of Robert Adams to have 
 been done for them to be worked after ; and in fact, although the tapestries 
 represent views of the different engagements, whilst the plates of Adams 
 are mere charts, some resemblance between the one and the other is apparent. 
 I incline to the opinion, however, that in the first instance, Vroom made his 
 designs from written descriptions only ; that upon their being transmitted, 
 for approval, to England, the different engagements were not thought to be 
 sufficiently distinguished by him from each other ; and that the charts of 
 Adams were therefore sent to him, with directions to introduce into his work 
 a little more of that appearance of order in the disposition of the contending 
 fleets, which he would there find. 
 
 I have been led to this opinion by a set of prints of a small quarto size, 
 representing the different engagements between the English Fleet and the 
 Spanish Armada, which bear so complete a resemblance of style to the 
 above tapestries, as to leave little or no doubt that they were engraved at the 
 time from the first designs made by Vroom for that work ; for they want that 
 regularity of appearance in the disposition of the two fleets which has been 
 just mentioned. These prints measure : I. 7£ h. 5^, and are engraved in a 
 firm manner, like that of Phil. Galle ; but have no artist's name, and, in the 
 flrst impressions, are not numbered. Mr. S. Woodburne possesses nine of 
 these pieces, some of them however of a later edition, with numbers, mis- 
 placed ; wanting, as I suppose, only one to complete the set ; and duplicate 
 impressions of the four following are in my own collection. 
 
 One of these represents an Engagement near ' Plimmoutii,' which port 
 is seen, with the name inscribed over it, in the upper part of the print on the 
 right. — A second, an Action off < Poortlant/ which name is written in 
 the sky, on the right.' — The third, an Action near * Dunne nose,' which 
 name is also inscribed. — The fourth, is not distinguished by any written name, 
 hut may be known by five alarm-beacons in a line, all of them on fire, in the 
 extreme distance on the left. 
 
 Enough has been said to shew that there exist but very slight 
 grounds for the supposition that the above Robert Adams prac- 
 tised the art of engraving-. 
 
 In closing this article, it may be proper to notice a print, 
 with the name of one R. Adams, which some specimen-collec- 
 tors have erroneously ascribed to the above Rob. Adams. 
 
 The Title to * A BroK of the Prospects of the Remarkable Places in 
 and about the City of London. By John Seller. R. Adams fee.' I. 7i h,.5%. 
 On the left is a female seated with a spear, a sword, and a shield bearing 
 the arms of the City ; behind her are four allegorical figures, and on the 
 right is a view of London Bridge. It is a wretched performance, done about 
 the time of William and Mary. The name of * Robt. Morden,' incompletely 
 erased, is to be perceived in a previous impression of this plate, now before 
 me, so close under the word 4 London,' as to make me suspect that the 
 whole inscription was originally different ; and in this impression the name, 
 R. Adams, which I have found on no other print, does not appear. 
 
ADL 
 
 CHARLES ADAMS. 
 
 c. 1C70? 
 
 Heinecken informs us that this unknown artist engraved a 
 Portrait of Charles Stuart, King of England, on Horseback. 
 Neither Walpole nor Grainger mention this print, and it 
 appears also to have escaped the researches of Strutt. Mr. 
 Dodd once told me that he had seen it in the collection of the 
 late Dr. Combe ; that it was a wretched performance, and ap- 
 peared to him to have been done in England between 16(50 
 and 1680, after the Equestrian Statue at Charing Cross. 
 
 F. E. ADAMS. 
 
 1773. 
 
 An engraver in mezzotinto, whose name appears upon so few 
 prints, that I conjecture, either that he died young, or that he 
 soon quitted engraving to follow some other calling. 
 
 1. A Satirical Print. * Heyday! is this my daughter Anne!' On the 
 left a girl standing, dressed in the extreme of the mode, with an immense 
 head-dress; her old mother, on the right, looking up at her through her 
 spectacles. Fight verses in marg. ' F. E. Adams int-t. et fecit. Pub- 
 lished Dec. 6, 1773, by John Bowles, No. 13, CornhihV The outline is 
 prettily etched, and on the whole it is a tolerably good mezzotinto, large 
 upr. 4 to. 
 
 2. ' Air,'— I suppose for a set of the four Elements. It represents a young 
 lady, a half fig., holding a bird by a string tied to its leg. 4 Raoux pin vit. 
 F. E. Adams fecit. Printed for John Bowles at No. 13, in Cornhill, large 
 upr. 4to. 
 
 Perhaps this artist is the same with E. Adams, who, accord- 
 ing to Bromley, engraved the following portrait in mezzotinto ; 
 the common impressions of which are without his name. 
 
 Richard Watts, founder of the Alms-houses at Rochester, from his bust 
 in front of the same, 8vo. 
 
 LU1GI ADEMOLLf, 
 
 1789—1818. 
 
 An Italian painter, according to Zani a Milanese, who in 
 early life, I believe, was much employed in the decoration of 
 theatres. I knew him personally, in 1798, at Siena. He had 
 considerable fancy and composed with readiness ; but was not 
 a correct designer. We have by him, 
 
 1. Various small Friezes, of Processions, Festivals, &c, etched, 
 and finished in acquatinta. Four large prints l-w., of Roman Triumphs, 
 Circensian Games, &c. with numerous figures and rich architectural 
 backgrounds, in the same manner. Also, 
 
 2. Part of the Plates for an Edition of Dante, published 1821, 
 by Molini, at Florence, in 4 vols. fol. These are in outline. 
 
 PHILIP ADLER. 
 
 A print, which Mr.. Strutt was led erroneously to ascribe to 
 Philip Adler, will be spoken of under the article David 
 
 c 2 
 
A E L 
 
 Hopfer. There appears to be no ground for the supposition 
 that Adler practised the art of engraving. 
 
 ADMIRAL, See Ladmiral. 
 
 J. A. CEPH. A DORR 
 
 ' He styles himself,' says Heinecken, ' a student of philosophy 
 at Leipsig, and engraved for his amusement, 
 The Portrait of Andre Ehrig, Med. Cultor. A. 59, in 8xo.' 
 
 Upon referring to Zani's Index of artists' names, before- 
 mentioned, I find the birth of this person dated in 1720. But, 
 unfortunately, it is added, immediately afterwards, that he 
 flourished in 1610 ! ! In fact, such, and so frequent, are the in- 
 accuracies of this pompous^ Catalogue of forty thousand artists, 
 forming 19 vols, in 8vo., that little use can with safety be made 
 of it. 
 
 ADAM iELSHEIMER, or ELSHEIMER. 
 
 b. 1574.— d. 1620. 
 
 Was born at Franckfort upon the Maine, and was instructed 
 in the rudiments of painting by Philip Uffenbach, an historical 
 painter of ability, now but little known. He afterwards travel- 
 led into Italy, and settled at Rome ; where he applied himself 
 to the painting of very small pictures, for the most part of 
 sacred, or poetical subjects, with landscape-backgrounds, in 
 which every part was studied from nature, and finished with 
 such exquisite delicacy, as soon gained him the reputation of 
 being the greatest master that had yet appeared in that way ; 
 although, from the time his pictures cost him, his gains were 
 not always proportionate, either to their merits, or to the wants 
 of his family. 
 
 Elsheimer was of a melancholy turn of mind, and a lover of 
 solitude ; and his works bear the impress of that character ; 
 consisting in great measure of night-pieces, or of scenes in 
 nature represented under the solemn influence of twilight. His 
 pictures were never numerous, and are now very rarely met 
 with. Fortunately a few of them have been well engraved ; 
 especially seven, by the artist's friend Count Goudt, which will 
 be further noticed hereafter, and which of themselves would be 
 sufficient to immortalize both the engraver and the painter. 
 
 All writers upon prints assert that Elsheimer made a few 
 etchings ; but they are not agreed as to their subjects. I am of 
 opinion, that the four following may be truly ascribed to his 
 hand, and perhaps he may have done one or two others. They 
 are all of extreme rarity. 
 
 1. The Young Tobit leading his Fathfr, when blind. Both are dressed in 
 ample draperies. The boy is on the right, and holds the left hand of the old 
 man with his right hand. He appears leading him forward very carefully, 
 looking up at him, and directing his steps a little towards the right. Behind 
 
A E L 
 
 the figures are trees, and at bottom on the left, under the right foot of the 
 old man, are the characters ' JElsJ" the last letter not clearly expressed. This 
 piece is described by Heinecken, article * Aels.' under the title of ' Joseph 
 leading the infant Saviour.' It is etched with delicacy, and at the same time 
 with a good deal of decision in the masses of shadow, h. 4| ic. 3|. 
 
 2. The Flight into Egypt. — A moon-light scene — same manner as the last ; 
 but more successfully bit in. The Madonna, seated on the ass, embraces the 
 infant with her left hand, resting with the other on the pack-saddle. Joseph 
 is leading the animal through a piece of water ; himself walking on stepping 
 stones. The group moves towards the left, and behind it is a tall ruined 
 building and a tree or two, the stems of which rise to the top of the piece. 
 The moon is in the upper part of the sky, on the right. The effect of this 
 etching is not very powerful, but it is full of spirit. No mark, or artist's 
 name. It is in the British Museum. I. 5^? h. 3f. 
 
 3. Pandora, standing upon the Clouds, with the vase open in her hands. She 
 is seen in profile and turned towards the left. Her cap and hair hang half 
 way down her back, and she has a long train. At her feet, on the left, are a 
 bow and a quiver with arrows, and behind her, on the right, is a vase full of 
 fire, the smoke from which rises high on that side. The draperies partake of 
 the early German school^ as is the case in other works of Elsheimer. The 
 hatchings in the shadows, being very close together, are bit into each other 
 by the aquafortis, so as scarcely to hold the ink in some places. The head 
 has a pretty character. No mark, or artist's name. h. 4£. ? w. 3|. 
 
 4. A Boy with a Horse and two Dogs. The boy is standing and turned 
 towards the left, with his back to the horse, the bridle of which he holds in 
 his right hand. One of the dogs stands by his side, having a cord round his 
 neck, one end of which is twisted round the boy's left arm. The other dog 
 is couching. Same manner as the last, with very decided shadows. No artist's 
 name or mark. h. 7| w. G\. 
 
 NICHOLAS VAN AELST. 
 
 1589— 1 COO. 
 
 A native of Brussels, who in the latter part of (lie lfith cen- 
 tury resided at Rome, and was a very considerable publisher of 
 prints. Heinecken, and some others, suppose him to have been 
 established at Rome as early as the year 1050 or earlier; but I 
 am satisfied that they are wrong in this opinion, which they 
 appear to have carelessly adopted upon finding the name of Van 
 Aelst affixed to prints with early dales, without being- at the 
 pains to enquire if he was really the first publisher of them. 
 
 Hitherto I have not seen any print with the name of Van 
 Aelst followed by the word fecit or sculpsit. 
 
 1. A Set of 12 Prints of Birds is ascribed to him by Heinecken, but I have 
 never seen them. 
 
 Of prints of which he was the first publisher, I shall content myself with 
 mentioning Mie following. Some of them may have been done by himself. 
 They are all very coarse, unfinished performances, 
 
 2. The Facacde of the Church of Jesu, built at Rome in 1575, by Card. 
 Alex. Famese, with long dedication from Van Aelst to Kanuccio Karncse, the 
 Cardinal's nephew, dated January 1589, large upr. fol. This plate bears the 
 mark of Ambrosio Brambilla as engraver. The ded. makes mention of the 
 late troubles in Flanders. One might be led to conjecture that, in conse- 
 quence, Van Aelst had shortly before left his native country. 
 
 3. The Obelisk erected by Sixths V. at St. John Laterans, large upr. fol., 
 with Ded. to the Pope, Sec. ' Nicolum Van Aelst Belga for. icneis insis. 
 dicavit Anno m.d.lxxxviiii.' No engraver's name. 
 
 It is remarkable that this subject is also etched by Brambilla, same size, 
 
AG A 
 
 with same ded., date, and inscriptions; Van Aelst, no doubt, having had tliia 
 duplicate plate engraved, because of the great demand tor impressions. 
 
 A. The Obelisk at S. Maria Maggiore, same date, ded., &c. 
 
 5. The Obelisk at S. Maria del Popolo. Ditto. 
 
 C. A Fountain-, with a colossal statue of a River God, large upr. fol. ' Visitur 
 Romre in Capitolio.— Superiorum permissu, 1000. Roma, Nicolaus Van Aelst 
 formis.' 
 
 7. A Virvr or the Capitol, as it was in the year 1600, ' Capitolii Romani, 
 vera Imago, ut nunc est.— Superiorum permissu 1G00. Romae, Nicolaus Van 
 Aelst formis.' large fol. Liv. 
 
 P. VAN AELST, See Coeck. 
 
 P. AENEiE. 
 
 c. 1685. 
 
 By this artist, of whose life nothing is known, we possess 
 the following portraits, which are sufficiently well executed in 
 mezzotinto. They are rare. 
 
 1. Nicolaus Blancardus, * m. d. et in Academia Franequerana Historian et 
 Literaturae Graecae Professor ordin. iEtatis lxviii. — P. JEne<z fecit et excudit.' 
 Oval. h. 11% (including margin) w. 85. 
 
 2. Henricus Casimirus. ' Nass. Princeps, &c. — P. JEncce fecit. Sumpt. 
 J. Horreus.' Oval, h. 13. (incl. marg.) w. 9f. 
 
 3. Amelia Anhaltina, * Nassavi^e Princeps,' &c. &c. Wife of the above 
 Prince. Same dimensions. f Comit in hoc speculo nitidam Venus, See. 
 P. /Eence fecit. Sumpt. J. Horreus.' 
 
 These two portraits, unknown both to Heinecken and Strutt, appear to 
 have been engraved upon occasion of the marriage of the personages they 
 represent. The exact date of this marriage I know not. Henry Casimir 
 was born 1657 and died in his prime 1696, leaving issue by the above Amelia, 
 daughter of John George Prince of Anhalt, John William Frizio, born Aug. 
 1687. He does not, in the above print, appear to be more than 30 year* 
 of age. 
 
 IOA. AERTS. 
 
 c. 1700. 
 
 An unknown artist, by whom we have the following print, 
 apparently the frontispiece to some satirical book printed in 
 Holland. 
 
 A Satyr supported by a Crutch, with a panier on his back filled with 
 books. At top: ' Tytinillers,' and in the bottom marg. 16 Latin verses. 
 4 Joa. Aerts Sculpt. , in 12mo. 
 
 AFFNER, See Haffner. 
 COUNT D'AFFRY. 
 
 1760. 
 
 Was, according to Heinecken, a Lieutenant-General in the 
 
 King of France's service, and his ambassador to the states of 
 
 Holland. Mr. Dodd, I know not on what authority, states that 
 
 he was living at Paris in 1760. Heinecken says that he etched 
 
 A Landscape, in the foreground of which is a rotunda, and in the distance a 
 steeple. 
 
 J. S, AGAR. 
 
 1800?— 1824. 
 
 An English engraver, by whom we have many excellent 
 
A G G 
 
 prints in the dotted manner, and who, I believe, still practise* 
 the art. 
 
 1. The Portrait of ' Pits VI. Pont. Max.' profile in an oval, after a wax 
 model by Nath. Marchant. ' A. Tendi del. — J. S. Agar sculp.' 8vo. 
 
 2. A Statue of Minerva, * heroic size, in the collection of T. Hope, Esq. 
 J. Agar del. et sc.' Published 1809, upr. fol. 
 
 8. Elizabeth Cecil, 'Countess of Devonshire,' half-length after Van- 
 dyck, for Lodge's Collection of Portraits, in fol., published 1817, and the 
 same in 4to. for the small edition published 1824 — Thomas Wentworth, 
 Ka.rl of Strafford, after Ditto, 1816, for the fol. edition of the same work. 
 
 RALPH AGGAS. 
 
 1560—1589. 
 
 A surveyor in the reign of Elizabeth, supposed to have been 
 a relative of Edward Aggas the printer. There is, I think, no 
 good evidence of his having practised engraving, although from 
 his having been mentioned as an engraver by \V r alpole, Strutt, 
 and others, it becomes necessary, as in the case of Robert 
 Adams, that I should speak of him here ; but he designed, and 
 appears to have been the publisher of the prints which follow : 
 
 1. A Large Plan, or Bird's-eye View of London and Westminster, 
 6 feet 3 inches long, by 2 feet 4 in height, engraved in wood, according to 
 some accounts, upon six, and according to others, upon eight blocks. 
 
 There is so much obscurity, nay seeming discrepancy of evidence, in what 
 has been written by different persons about this old Plan of London, that, 
 upon a first view of the subject, I had but slender hopes of coming at any 
 tbinsc like the truth concerning it. After some research, however, I have 
 satisfied my own mind as to what appear the most material points ; and I 
 »hall now, as briefly as I can, lay before the reader the result of my inquiries 
 and deliberations ; considering the tedious processes of inquiry and delibera- 
 tion, themselves, to be but ill adapted to a work like the present. 
 
 The antiquaries of the last century — Bagford, Letter to Hearne, Feb. I. 
 1714-15 — Vertue, in Walpolc's anecdotes — Gough, British Topography, vol. 
 L pp. 774-5 — speak very decidedly of several impressions of this old plan, 
 extant in their time and examined by them ; and it appears clear that they 
 had seen impressions of at least two different editions. 
 
 It is, moreover, certain that we possess a faithful copy of the original plan, 
 done from an impression of the first edition, engraved, the size of the orignal 
 upon eight plates of pewter, or other soft metal ; which copy was I conjecture 
 done in the reign of William III., by some Dutch engraver who accompanied 
 that monarch to England. The great additions which had been made to lht» 
 metropolis, since the early part ot Elizabeth's reign, when the first edition of 
 the above old plan was published, and the circumstance of its having become 
 of extreme rarity, now rendered it a matter of curiosity, and the Dutc h 
 artist thought it a good speculation to re-engrave it. 
 
 The metal plates themselves, of this copy, afterwards came into the hands of 
 Vertue, who re-published them, with the addition of his name, 1 Vertue, Soc. 
 Antiq. Lond. excudit 1737/ and they were afterwards bought from him by 
 the Society of Antiquaries, now the possessors of them. 
 
 Walpole has carelessly stated that Vertue, himself, re-engraved this copy, 
 in which he has been followed by others. But it is proper to remark (and 
 I have to thank Mr. Douce for first informing me of this fact), that both 
 in the library of the Antiquarian Society, and at the British Museum, there 
 exists an impression of these plates, evidently taken off, I should say, long 
 before Vertue was born. Nor are these, strictly speaking, first impressions ; 
 as marks of the erasure of an inscription of two short lines, perhaps con- 
 
A G G 
 
 taining the name of the artist who made the copy, with its date — are, upon 
 a careful examination, to be discovered in that part where Vertue afterwards 
 put his name, especially in that impression which is preserved in the library 
 of the Society of Antiquaries. 
 
 I ought not to omit to mention that in this copy, as published in 1737, 
 by Vertue, and as it is now printed, a few small alterations appear from 
 what it was at first; as in the church and palace of Lambeth, the houses 
 built against St. Paul's, and two or three other places: but these, made I 
 suppose by some ignoramus, before Vertue had the plates, are, except 
 the first, very trifling; and I can confidently assure those lovers of 
 topographical antiquities who have not leisure to investigate the subject for 
 themselves, that, with these small exceptions, they have in this print a faith- 
 ful copy of the first edition of the old plan in question ; a true representa- 
 tion of the metropolis of this now great empire ' A™. D ni . m.d.lx.' : for this, 
 I doubt not, was the date upon the first edition, as it is the date affixed 
 after the title, ' Civitas Londinum/ in the copy ; the word * circiter,' 
 inserted in smaller characters, above, having been added by the copyist, I 
 suppose, because, in his time, it was thought by some, as Vertue has 
 hinted— see article, Aggas in Walpole — that the old plan represented the 
 city as it was in the time of Henry VIII., or Edward VI. 
 
 The genuineness of this copy, and, as a consequence, the antiquity of the 
 original plan of the first edition, from which it was taken, is proved, be- 
 yond all controversy, by its exact conformity in every part (even to a small 
 tree noticed and justly insisted upon by Mr. Smith, the intelligent gentleman 
 who presides in the print-room at the British Museum), with that engraved 
 about 1570, upon a reduced scale, and published two or three years after- 
 wards, in Braun's large work, entitled 1 Civitates Orbis Terrarum/ which 
 it is certain was copied from the old wood-print ; which small plan was also 
 copied, in * La Cosmographie Universelle/ &c. printed at Paris Anno 1575, 
 in fol. When I first ascertained this fact, after a long and careful com - 
 parison of Braun's plan with the large one in question, at the British 
 Museum, I prided myself not a little upon having made a new and important 
 discovery ; but I now find, though it is not I believe generally known, that 
 Bagford found it out before me, and let him therefore have the credit of it. 
 
 I shall only add respecting the large copy, that any person conversant in 
 the characteristics of wood engraving, will, upon examination, be soon con- 
 vinced that it was made after and in imitation of a wood-print. This appears, 
 throughout, in the absence of cross-hatchings, so difficult of application in 
 wood engraving, but easy in engravings on metal, and most strikingly in the 
 broad black line surrounding the print, done by many strokes of the graver, 
 placed close to each other, so as to imitate the broad black line constantly 
 surrounding old wood engravings. 
 
 As far as I can learn, no impression of the First Edition of the original 
 wood-print in 15G0, is now known ; nor of a Second Edition which there 
 is good reason to believe was published with the addition of new streets or 
 buildings lately erected, many years later in Queen Elizabeth's reign ; for 
 Aggas, in his verses upon the plan of Oxford, hereafter to be mentioned, 
 published 1588, expresses a strong desire to compliment her majesty by 
 publishing the plan of London, with all its improvements, as it then appeared. 
 
 But of a Third Edition, published in the reign of James I., and a 
 Fourth, dated 1628, two or three impressions, at least, appear to be in 
 existence. Mr. Dodd many years ago possessed one of these, of which he 
 has given a description in the 1st Part of his ' Repertorium.' Instead of 
 the arms of Elizabeth, on the left, over the City of Westminster, as in the 
 large copy and in Braun's print, it had the Aims of James I., England, 
 France, and Scotland : but Mr. Dodd observes that part of the block had 
 evidently been taken out in that place, and a new surface supplied, upon 
 which the Arms of James had been afterwards engraved ; and Bagford 
 formerly remarked the same of the two or three impressions which had 
 come under his notice. 
 
 On this print, says Mr. Dodd, are two tablets, one on the left of the 
 observer, the other on the right. The tablet on the left has the title and a 
 long prose inscription, beginning thus ; 
 
A G G 
 
 ? CIVITAS LONDINUM This ancient and famous City of London was 
 
 first founded by Brute the Trojan, in the year of the world two thousand 
 eight hundred thirty and two, and before the nativity of our Saviour Christ, 
 One thousand one hundred and 30, so that since the first building it is 2 
 thousand 7 hundred 30 and 3 Years. And afterwards was repaired and 
 enlarged by King Lud,' &c. &c, and ending with this pious wish : * God 
 prosper it at his pleasure. Amen/ 
 
 I take it for granted, that, in this inscription, Mr. Dodd has followed the 
 spelling of the original. It is somewhat surprising that he did not remark 
 upon the date contained in it, viz. A. D. 1003, the precise year of James' 
 accession to the throne. 
 
 I would further remark that this inscription, which is give* entire by Mr. 
 Dodd, was I think probably printed from moveable type placed within the 
 above mentioned tablet (the alteration of the date, in each edition, seeming 
 to render this necessary), and also that the size of the tablet on the left, in 
 the large copy already spoken of, appears to be of proper dimensions to 
 receive it ; whilst the smaller tablet, on the right, seems equally well 
 adapted to the reception, without waste of space, of the verses about to be 
 noticed. For within the tablet on the right, in Mr. Dodd's print, were 
 these lines : 
 
 ' New Troy my name when first my fame begun 
 
 By Trojan Brute, who then me placed here, 
 On fruitfull soyle, where pleasant Thames doth run. 
 
 Sith Lud my Lord, my king and lover dear, 
 Encreast my bounds, and London, far that rings 
 
 Through regions large, he called then my name. 
 How famous since, I, stately seat of Kings, 
 
 Have flourish'd, aye ; let others that proclaim : 
 And let me joy, thus happy still to see 
 This vertuous peer my soveraign King to be.' 
 
 The last line, which is awkward enough, refers of course to James I., 
 whose arms were at the top of the print, in this edition. I strongly sus- 
 pect that in the former edition, or editions, printed in the reign of Eliza- 
 beth, the line ran thus : 
 
 1 This vertuous fair my soveraign Queue to be,' 
 which, besides the compliment to her Majesty, would have been prettily 
 contrasted to the seventh line, in which the Kings of England arc spoken or. 
 
 Upon the whole it appears certain that an edition of this plan was pub- 
 lished in 1560 ; and it is probable that a second was published soon after 
 1588 ; as we learn from an inscription, already mentioned, in Aggas' Plan 
 of Oxford, printed in that year, that ten years before he had been desirous 
 of publishing it, and we may conclude had been making preparations for it; 
 a third edition, printed in 1G03, has been just described ; and a fourth with 
 the date of 1G18 is spoken of by Vertuc and other writers of the last cen- 
 tury : so that this old plan continued to be printed, doubtless with the re- 
 quisite additions of new buildings, from the early part of Elizabeth's reign 
 till the last-mentioned date ; after which it is probable the blocks were thrown 
 aside and lost. 
 
 I cannot quit this subject, without remarking briefly on an indiscreet and 
 unfounded attack made by Mr. Dodd upon Vertue: though so far from 
 doing this with any adverse feeling, I wish to say that I think the public 
 much indebted to Mr. Dodd for the information he has given us respecting 
 this old plan, as well as for other original and interesting matter contained 
 in his work. 
 
 Walpole, as has been observed, when speaking of the large copy, errone- 
 ously says it was re-engraved by Vertue ; and Mr. Dodd terms it ' a fabricated 
 copy, engraved on pewter, and pubished by Mr. Vertue in the year 1718;' 
 he should have said 1737. 
 
 ' The reason that I give,' continues Mr. Dodd, ' for terming it a fabricated 
 copy, is, that it is not a faithful representation of the original, but given 
 as if taken from a plan of prior execution.' That is, it does not agree, in 
 some, nay, peihaps, several parts, with the original wood-print which Mi. 
 
 VOL. 1. D 
 
A G G 
 
 Dodd formerly possessed. 4 Of such/ he continues, ' I have good reason to 
 believe that none was ever in existence ; for, if any plan so similar to tliis 
 did exist, there could have been no reason for Aggas producing another of 
 the same shape and form, with corrections/ 
 
 Vertue's character as an antiquary, ought to have deterred Mr. Dodd 
 from preferring this random accusation against him. But, laying aside this 
 consideration, it may be affirmed, in answer to the above objection, that 
 from the first introduction of engraving in Europe, and the application of 
 it to Maps, Plans of Cities, &c, it has every-where been customary, upon a 
 new edition of a map or plan being called for, so to alter the plate, 
 plates, or engraved blocks of wood, as that the work should exhibit the city 
 or country with the improvements or discoveries which had been made, since 
 the publication of the preceding edition. 
 
 I have nothing to add concerning Aggas' Map of London, save that, in 
 the old editions, slips of paper were probably added at bottom, printed with 
 moveable type, and explanatory of certain initial letters, which appear, here 
 and there, upon the body of the print. 
 
 2. A Plan, or Bird's-eye View of Cambridge, four feet long by three 
 feet in height, engraved, it is said, on a plate, or plates, of metal, and pub- 
 lished in 1578. 
 
 3. A Plan, or Bird's-eye View of Oxford, also engraved on metal, and 
 of the same dimensions as that of Cambridge. A description of this print, 
 made from a damaged impression preserved in the Bodleian library, is given 
 in the work of Mr. Dodd, from which I extract the following particulars : 
 
 It is entitled ' Celeberrimae Oxoniensis Academiaj Aularum et Collegio- 
 rum,' Sec. ' elegans simul et accurata Descriptio. — Radulpho Agaso autore. 
 An°. Doni. 1578/ In illustration of the meaning of the term ' autore,' in 
 this place, see our account of Robert Adams. The print, as will be presently 
 shown, was not published till ten years afterwards. Distinct representations 
 of the different Colleges and Halls are added at the sides of the plan. Upon 
 a large tablet in the body of the print are these verses : 
 
 Near tenne yeares paste the authour made a doubt 
 
 Whether to printe or laye this work aside 
 Untill he firste had London platted out, 
 
 Which still he craves, although he be denied, 
 
 He thinks the Citie now in hiest pride, 
 And would make shewe how it was beste beseen, 
 The thirtieth yeare of our moste noble Quene. 
 
 The charge not greate, the thing a work of praise, 
 Her present shapp hereafter still to see, 
 
 To keepe length, breadth, and coursinge of the waies, 
 Number, height and forme of buildinges as they bee, 
 Each man to knowe his owne by juste degree, 
 
 With all thinges else that maie adorn the same, 
 
 And leave her praise unto eternall fame. 
 
 Meantime, the measure forme and sight I bringe 
 Of ancient Oxford, noble nurse of skill, 
 
 A Citie seated ritch in everye thinge, 
 
 Girte with woode, water, pasture, corn and hill, 
 He tooke the vewe from north, and so he leaves it still, 
 
 For there the buildinges make the bravest showe, 
 
 And from those walkes the Scholers beste it knowe.' 
 
 Upon a second tablet is inscribed c Augustinus Ryther, Anglus, deliniavit, 
 1588.' Ryther, we know, practised engraving, and probably assisted in 
 engraving the present work ; if it be not entirely by his hand. Perhaps, 
 also, he had been employed to draw the elevations of the principal buildings, 
 above noticed, and the ornamental parts ; and therefore used the term 
 ' deliniavit' upon this occasion, as more honourable than ' sculpsit.' 
 
 I have before observed that the two first staazas of the above verses refer to 
 
A G N 
 
 an intended second edition of Aggas' Plan of London ; although I admit that 
 they contain nothing, in itself, indicative of the existence of a former edition. 
 
 FRANCOIS GERMAIN D'AGINCOURT. 
 
 1758. 
 
 I give his name solely upon the authority of Zani's Index, 
 where he appears as an amateur who practised etching. 
 
 CHEVALIER I. B. SEROUX D'AGINCOURT. 
 
 1782. 
 
 Resided the greater part of his life at Rome, where he pre- 
 pared a very extensive work, since published at Paris, under 
 the title of ' Histoire de l'Art par les Monumens/ G vols, fol., 
 containing 325 plates. Some of the plates were etched by 
 Piroli, but the greater part were done by an inferior French 
 artist whom Agincourt kept with him for that purpose. I knew 
 him intimately at Rome, from 1792 to 1799, and indeed lent him 
 several drawings for his work. He was then far from young. 
 According to Zani, he was still living in 1814. In early life he 
 made the following etchings, which are but indifferent : 
 
 1. An Antique Basso-relievo, representing two Satyrs standing opposite each 
 other and looking into a basin. Above, upon the same plate, are two small 
 vases, one over the other. In the marg. ' trago (Fragonard) del. — iS. d' Agin- 
 court sculp.' h. 8 -J to. 5|. It is slightly etched, something in the manner of 
 Count Cayltis. The upper vase bus been cut off this plate, since its first 
 publication, and later impressions are square. 
 
 2. The Portrait of the Princess Daszhow in an upr. oval, though the 
 print is /. 7| h. 5. ' S. d'A. .. Sc. d, d. d. Roma 1782.' In the impression 
 before me the name of the princess and the other inscriptions are added 
 with a pen. 
 
 3. A Caricature of an Old Musician, standing in profile, with a piece of 
 music in his hand. * S. d'A. Sculp.' 8vo. 
 
 4. The Portrait of ' Franc Joach. Card, de Berms,' head, profile in 
 an oval. ' Les vertus, les talens, &C — S. &* Agincourt.' 8vo. The Cardinal 
 was many years the French ambassador at Rome. The print was done as the 
 frontispiece to a poem entitled i La Religion vengee.' D'Agincourt appears 
 to have employed some indifferent professor to touch it with the graver. 
 
 5. Madame le Brun, seated with her little girl in her anus, after a picture 
 by herself. ( S. d' Agincourt Sc. d. d. — Yiens nta tillc,' <s.c upr. 8vo. I 
 conceive him to have received a more than ordinary degree of assistance 
 in this plate. 
 
 A. AGLIO. 
 
 1810. 
 
 An Italian painter of landscape, who has for some years 
 resided, and I believe is still living, in England. We have 
 by him some slight etchings, little more than outlines, of Land- 
 scapes and figures after G. Poussin and others. 
 
 CLAUDE D'AGLIO, See Dagli. 
 GIOVANNI ANTONIO AGNELLI. 
 
 1590. 
 
 I find him mentioned, as an engraver and publisher of Milan, 
 
 D 2 
 
AGO 
 
 in the Index of Zani, who, I doubt not, met with some print 
 bearing his name. He was probably of the same family with 
 the artist spoken of in the following article. 
 
 FEDERIGO AGNELLI. 
 
 1656—1714. 
 
 An indifferent engraver of Milan. Heinecken mentions by him : 
 
 1. The Portrait of Simplicien, Bishop of Milan. 
 
 2. That of Franc. Arisio. Ord. Conserv. Civit. Cremon. Angelus Maserot- 
 tus Cremon. pinx. 
 
 3. The Duomo of Milan, represented on several folio plates. Carolus Butius 
 Architect, aedif. Fridericus Agnellus sculp. One of these is now before me, 
 ' Disegno della Facciata, &c. — Agnelli /.' It is very coarsly engraved. 
 
 4. A Subject for a Thesis, wherein Hercules is represented on his knees 
 presenting a deer to Jupiter and Diana, after a design of Czesar de Fiori- 
 bus. Add 
 
 5. The Portrait of Pope Innocent XI. (created 1676), in an ornamented 
 oval, very well engraved, in the manner of Mellan, without cross-hatchings. 
 1 Agnellus soul.' h. 8$ w. 6. 
 
 6. A View representing many Pious Edifices, situated upon a romantic 
 mountain : ' Dissegno della Fabrica del S rao . Rosario nel Sagro Monte sopra 
 Varese. — Federico Agnelli sculpi in Milano m.dclvi.' I. 20| h. 15f . This 
 piece is a copy, coarsely engraved, from one by Cesare Bassano. 
 
 7. The Madonna seated on the Clouds, between two Angels with musi- 
 cal instruments, and below shepherds with their cattle, &c. 4 Nuovo disegno 
 dell' Aparicione della B. V. dell' Bosco,' &c. In the margin at bottom is a 
 dedication to the Count Antonio Corio ; and within the subject we read : 
 ' Benedeto de Resegati Inventor. — Fed. Agnelli face.' upr. fol., very bad. 
 
 If all the engravings to which we find the name of Agnelli were the work 
 of the same artist, he must have lived to a great age. But perhaps fthis was 
 not the case; and I am the more inclined to think so, as the earliest prints 
 bearing the name are commonly the best. 
 
 8. The Frontispiece to the 2d edition of ' II Ritratto di Milano' by Torre, 
 4 to., printed at Milan in 1714, a miserable performance, is marked ' Agnel- 
 lus scuU and the book itself was published * Per gV Agnelli Scult. § 
 Stamp. 1 that is by the Agnelli, engravers and printers. 
 
 AGOSTINO DI SANT' AGOSTINO. 
 
 c. 1600? 
 
 I find no account of this artist. Judging from the first of 
 the two following etchings, for I have not seen the other, which 
 I describe on the authority of Heinecken, I should suppose 
 him to have been a painter. 
 
 1. St. John the Evangelist, seated beneath an Arch, writing : after a 
 fresco by Coreggio, in the church of S. Giovanni at Parma. The figure of 
 the saint is turned to the left, but he looks upwards towards the right. At 
 his feet is the Eagle. ' All Ill mo . Sigr. Priore Francesco Rensi,' &c. &c. 
 ' Suo Divotiss. Ser". Agostino di S. Agostino* I. 8 h. 5. It is a masterly 
 painter's-etching, something in the manner of Bart. Passarotti. The same 
 picture has been engraved upon a larger scale by Rosaspina. 
 
 2. The Madonna seated in a Landscape, with the infant asleep in her 
 lap, and at her feet a rabbit ; from the admired picture by Coreggio commonly 
 called 1 La Zingera;' upr. in fol. 
 
 AGOSTINO VENEZIANO, See di Musis. 
 D AG O f Y, See Dagoty. 
 
A G U 
 
 CHRISTOPH LUDWIG AGRICOLA. 
 
 b. 1667. d. 1719. 
 
 A landscape and portrait painter, who, according to Heineo 
 ken, was born at Ratisbon, and, after having- travelled into 
 various countries, died in his own. The first of the two follow- 
 ing etchings is mentioned by Heinecken ; the second by Huber, 
 in the catalogue of the * Cab. de Brandes/ 
 
 1. A Landscape, with the Story of Acteon, marked * Agricola/, 
 
 2. A Landscape, with a river in the foreground : ' C. L. Agricola." I. 4| A. 3. 
 very rare; few impressions having been taken, and the plate being lost. 
 
 CHARLES AGRICOLA. 
 
 1807—1817. 
 
 Born in 1779 at Seckingen in Baden, and now living at 
 Vienna. He is said to have practised painting as well as en- 
 graving. The plates which I have seen by him are delicately 
 etched and finished with great softness and beauty of e fleet, 
 with the burin. 
 
 1. Christ with his Disciples, in the Ship, during the storm, after 
 Elsheimer, 1807, l-w. in 12mo. 
 
 2. Tobit and the Angel, after ditto, 1812, l-w. in l2mo. 
 
 3. The Dead Body of Christ, attended by an angel. « Hannibal Carrach p. 
 C. Agricola Sc. (1)809/ sm. upr. 4to. 
 
 4. The Virgin and Child, after Holbein, upr. 8vo. 
 
 5. The Nativity, a design of great elegance. 1 F. Parmigianino pinx. 
 C. Agricola Sc. (1)817,* Uw. in 4to. 
 
 6. Diana and Calisto, after Domenichino, large 4to. l-w. 
 
 GIOVANNI AGUCCHIA. 
 
 c. 1535? 1500? 
 
 ' An engraver of Milan who lived in the lGth century. lie 
 sometimes marked his plates, G. A.' So says ILeiucckcu, who 
 adds, that ' we have by him :' 
 
 It The Design of the Cathedral of Milan, a large plate, marked 
 i Agucchi fece. Milano.' And 
 
 2. 4 The Beautiful Portal of a Large Building, marked upon the 
 pedestal on the left: G. A/ 
 
 Upon referring to Zani's Index, I find Giovanni Agucchia mentioned by 
 him as an architect of ability, and a designer of architecture, who lived at 
 Milan in 15G0, and practised etching. But I am obliged to confess that 
 in general this writer's tables are very little to be depended on. 
 
 From the words of Heinecken, I have been much disposed to consider 
 the print last mentioned as the same of which Bartsch, in his 1 Peintre 
 Graveur/ vol. 15, p. 540, gives the following description: * An Ancient 
 Triumphal Arch. In the middle of this arch is a large portal, and on either 
 side are two pilasters, each of which has a column of the Corinthian order. 
 Over the entablature" is a pediment. The mark is engraved on one side of 
 the base of the pedestal which is on the left of the print.' h. 9* w. 7$. 
 
 Now the mark referred to by Bartsch consists of the initials G. A. sur- 
 mounted by an instrument resembling a star with four points, which by 
 (Christ and other writers on Monograms, &c. is called ' La Chausse-trappe.* 
 
 Could we be certain that Heinecken had compared the above two prints 
 
A I K 
 
 together, and had found exactly the same style in both, we might reasonably 
 conclude that the mark in question is that of Agucchia. But this print of 
 the Triumphal Arch, as well as others bearing the mark, appears to have 
 been done entirely with the graver, about the year 1535 ; whilst, according 
 to Zani, what Agucchia did was in the way of etching, and about five and 
 twenty years afterwards. So that the matter still appears very doubtful. 
 
 3. We have also with the above mark, several engravings of Bases and 
 Capitals of Columns, Entablatures, &c. of different dimensions, in 
 4to. or 8vo., part of a set of Architectural studies, and if my memory does 
 not deceive me, others, apparently of the same set, bear the initials of 
 Agostino Veneziano, 
 
 AHUMADA. 
 
 c. 1730. 
 
 Probably a Spanish artist. The following small print by his 
 hand is poorly engraved, and finished in the flesh with dots. 
 
 A Saint, in the Habit of an Ecclesiastic, with the infant Jesus in his 
 arms, a half-figure in an oval. * Venerabilis Pater Emmanuel Padial, &c. 
 Obiit, &c, 1725 Ahumada En.' upr. 12tno. 
 
 JEAN BAPTISTE BOYER, MARQUIS 
 DAIGUILLES. 
 
 1698. 
 
 He was counsellor and procurator general of the King of 
 France, at the Parliament of Aix in Provence, and a lover 
 and practitioner of the arts, Having made a large collection of 
 pictures, he caused them to be engraved ; the greater part by 
 Jacques Coelmans and Seb. Barras ; for he did a few of the 
 plates himself. The first edition of this collection of engravings 
 was published soon after the year 1700, and is now very rare. 
 It contained the following pieces by the Marquis' own hand, 
 which are not to be found in the later editions, the plates 
 having been lost. 
 
 1. The Marriage of St. Catherine, after And. del Sarto, engraved with 
 the burin. 
 
 2. St. John the Baptist, after Manfredi, in mezzotinto. 
 
 3. A small Bust of a Man, in mezzotinto. 
 
 4. Two small Subjects, representing the infant Christ, done with the 
 graver, both upon the same plate. 
 
 5. Two Landscapes, after Br£court, done with the graver. 
 
 A second Edition was published at Paris, by Pierre Jean Marriette, in 
 1744, and contained several plates not in the first; among them the four 
 following by the hand of the Marquis, which are distinguished by a star 
 with five points. 
 
 6. The Portrait of the Mistress of Alex. Veronese, (No. 11) a 
 circle within a square, Svo. ' Alexander Veronensis sic suam pinxit, 
 Venetia.' 
 
 7. A Bust of St. John. ' An. Caracci pin.' (No. 16.) sm. 4to. 
 
 8. A Magdalen. 1 Romanelli pinx.' (No. 36.) 4to. 
 
 9. The Adoration of the Magi, from a picture painted by himself. 
 (No. 113.) sin. fol. 
 
 WILLIAM AIRMAN. 
 
 b. 1682. d. 1731. 
 
 A native of Scotland, who enjoyed considerable reputation in 
 
A K E 
 
 his time as a portrait painter ; and indeed his own head is honour- 
 ed with a place in the well-known collection in the Florentine 
 Gallery. We have by him the two following etchings : 
 
 1. The Portrait of George Edwards, the naturalist, in an oval, sur- 
 rounded by birds' feathers, &c. Signed ' W. A. fecit.* sm. 4to. 
 
 2. A Portrait, Anonymous, head and shoulders, of a young man in a wig; 
 said to be that of a Mr. Harrison an apothecary. It is a rough, scratchy, 
 painter's-etching, marked in the marg. on the right: i W. A. Delin.' h. 4£ t 
 to. 3j. 
 
 JOHN AIRMAN. 
 
 b. 1713.— d. 1731. 
 
 The only son of the above, died at the age of 18, having 
 already given promise of his future excellence as an artist. The 
 father, in consequence, died of grief, and both were buried in 
 the same grave. This youth has left behind him, according to 
 Mr. Dodd, a few studies of heads, l-w. in 4to., etched by him 
 after the portraits of Vandyck, two, or more, on a plate; which, 
 judging from the following specimen, the only one I have seen, 
 may be truly termed very creditable performances. These prints 
 appear to be of very rare occurrence. 
 
 Two Heads in Ruffs, after Vandyck ; namely the portraits of L. Vorster- 
 man, and Jac. di Cachopin, but without their names; a slight but masterly 
 etching. * Jo. Aikman fecit aquaforte.' I. $} h- 5£. 
 
 JAN VAN AKEN. 
 
 1653. 
 
 The biographers of the Dutch school of painting furnish no 
 account of this artist; for it is clear that the Jan Van Assen 
 spoken of by Houbraken and, alter him, by Weyderman, was 
 a difFerent person. That Van Aken was a landscape-painter, 
 cannot be doubted, and that, in his time, he was considered a 
 good one, appears from the inscription on a print by a contem- 
 poraneous artist, which, as it has not I believe been noticed In 
 any previous writer, I here describe. 
 
 This print, h. H], w. 7$, is etched by Jacques Lutma, and 'appears to have 
 been intended as the frontispiece to a set of, I believe, twelve designs of 
 shields, or cartouches, of like dimensions, ornamented with the scroll-work 
 so much in vogue at the time. It represents, in a circle, 'i; in diaraetei , 
 surrounded by a similar ornament, the Portrait of Jan van Aki n, and 
 those of one Paul van Vianen, and a third person unknown. Paul van 
 Vianen is seated at work upon an oval picture of Van Aken, which rests on 
 his easel. All three appear in the prime of life : they wear ruffs, and look 
 towards the spectator. Under the circle we read : ' In hac tabella qui ping- 
 itur, Joannes ab Aken; qui pingit, Paulus Viancnsis j uterque arte celeber- 
 rimus;' — and below, in the margin: ' joannes lutma de oude inv.— jacobus 
 lutma fecit aquaforti et exc' 
 
 The Title to the set represents a shield, with two winced infants standing, 
 one on each side, with the attributes of Hercules and Minerva, and, above, 
 another genius flying, with a wreath in each hand, in compliment, as 1 sup- 
 pose, to the two above-named artists. Upon the shield : ' Veelderhande 
 Nieuwe compartemente Getekcnt, door Johannes Lutma de Oude, tot Am- 
 sterdam, A°. 1653/ and below 1 Jacobus Lutma Fecit et excudit.' 
 
A K E 
 
 We have by Jan van Aken one and twenty masterly 
 etchings, which, as Bartsch observes, are in a style much 
 like that of Herman Saftleven, of whom perhaps he was a 
 disciple. Indeed, four of his plates are from the designs of 
 that artist. 
 
 1. A Set of Horses, beautifully etched, and full of spirit. Six pieces, 
 (Bartsch 1—6) /. 3|. h. 2f, numbered on the left at top. On the first print, 
 at top, 4 J. V. Aken fecit.* and at bottom ' Clement de Jonge excud.' The 
 others have neither name nor address. (1) A horse plucking leaves off a tree 
 on the right, another horse behind, and two men upon the ground on the 
 left. (2) A horse standing, and a man on horseback looking at him. (3) A 
 saddled horse, with the bridle thrown over a stump on the right. (4) A horse 
 standing, turned towards the left, and a man lying on the ground. (5) A 
 horse standing, and turned towards the right, and in the background a man 
 leading a horse to water. (6) A horse watering. In the background a horse 
 with its hinder parts towards the spectator, and a man sitting. 
 
 The address of C. de Jonge, on the first print, and the numbers, are erased 
 in later impressions. 
 
 2. A Set of Romantic Landscapes, ten pieces, (B. 7 — 16) /. Of. h. 3|, 
 numbered on the right at top. On the 1st print, on the left, at top, and on 
 that only, ' J. van Aken fecit,' and at bottom on the left, * Clement de 
 Jonge excud/ (1) In the middle, a wooden bridge over a river, and above 
 it, in the distance, a church with pointed steeple. (2) A lake with two men 
 in a boat. A large rocky mountain on the left. (3) A road leading over 
 sand-hills to a village with two churches. Towards the left, a man with a 
 stick driving before him a sheep. (4) In the middle a group of trees on a 
 hillock. In the foreground, a man seated with his back to the spectator 
 conversing with another who is standing. (5) Hunting a deer. (6) A large 
 ruined building, with an ass, two goats, and three sheep. (7) On the right, 
 a broken bank topped with two stunted trees. In the middle, a winding road, 
 by the side of which, at some distance, is a man seated on the ground. 
 (8) On the right a large piece of water. On the left, a man seated by the 
 side of a road. (9) A rocky landscape. Towards the right, a man with his 
 stick over his shoulder. On the left, a small wooden bridge. (10) In the 
 foreground, near the middle, a man on horseback. On the left a road, and 
 on the right a winding river. 
 
 3. A Mountainous Landscape with Figures, (B. 17). In the middle of 
 the foreground, a back figure of a traveller seated on the ground, his horse, 
 with pack-saddle standing beside him. On the right, a woman on a mule 
 and a man on an ass, descending a road. Beyond on that side a bridge of 
 one arch, and a ruined castle on an eminence. At bottom on the left, 'J. F. 
 Aken invc. et fecit.' I. 10. h. 1\. 
 
 There exists a proof before the engraved sky, the marginal line and the 
 name. In the latest impressions, the name of V. Aken is erased, and ' P. 
 Pot,' is substituted at the top of the sky on the left. 
 
 4. A Set of Romantic Landscapes, said to be views on the Rhine, four 
 pieces, after Herman Saftleven, (B. 18—21) numbered on the left at top. 
 At bottom, on the left, in the first print ' H. S. L. (in cypher) inventer/ 
 Jan v. Aken fecit.— Clement de Jonghe excudit.' The other three have no 
 address of publisher ; but they have the « H. S. L. inventer/ and ' J. v. 
 Aken fecit: (1) The foreground on the right is a steep road, all in shadow, 
 on which are four peasants, one of them on horseback. (2) On the right, a 
 winding piece of water with five boats, one of them having a sail. The 
 foreground on the left is a steep rocky bank, tufted with shrubs and trees, 
 at the toj> of which is seen a traveller with his stick over his shoulder and a 
 large bundle on his back. (3) A broad navigable river, emptying itself into 
 the sea. On the shore, on the right in the foreground, are three fishermen 
 with their boat, and at the opposite bank of the river, which is bounded in 
 the middle by a steep rock, are two other boats, one of them covered by a 
 tarpauling. (4) In the middle of the foreground are three travellers 
 
A K E 
 
 reposing by the road side, one of them tying his shoe, and a fourth man 
 standing, leaning on his staff. 
 
 There exist proof impressions of these four pieces, before the numbers, the 
 name, and the engraved skies. Next comes the edition with the address of 
 Clement de Jonghe. In the last impression the name of Clement de Jonghe 
 upon the first plate is erased, and that of ' Nicolaus Visscher' substituted. 
 But I think Visscher must have purchased the plates very early, as some of 
 his impressions appear as good as the others. 
 
 FREDERIC AKEREL, or AKREL. 
 
 1770—1795. 
 
 A Swedish artist, born 1748, who began to practise engrav- 
 ing- without the help of a master; but afterwards studied witli 
 one Akerman, at Upsal, and at Stockholm under Bergquist. 
 In 1773 he visited Paris for a few months ; after which he 
 returned to Stockholm, where he engraved many portraits which 
 are well spoken of by Huber, and where he continued to prac- 
 tise his profession in 1795. 
 
 1. A Set of Views of Buildings at Upsal, engraved there in 1769 and 
 1770. 
 
 2. The Portrait of Doct. Hydren, a Dean at Upsal, engraved there in 
 1771. That of Olof von Dalen, a head in the taste of the Antique, 1772. 
 
 S. An Emblematical Subject, representing a Nymph carried off by a 
 Triton, a large piece, dedicated to the deputation of commerce and inanut'ac 
 tures at Stockholm, where it was engraved. 
 
 All the above were engraved before Akerel's visit to Paris. The following 
 were done afterwards. 
 
 4. The Portrait of Nils Rosen von Rosenstein, a very small oval. 
 That of George Stjernhjelm, 8vo., 1777. Laurentius Petry, 
 Arciibisoop, 8vo. Herr Nicolas Sahlgreen, 4to., 1776. Margaret, 
 second wife of Gustavus I., 4to. Gustavus III., King of Sweden, 4to. 
 
 BERNARD CHRISTOF. AKERMANN. 
 
 c. 1760. 
 
 ' He was,' says Heinecken, * engraver to the university of 
 Upsal; but acquired more reputation by his skill in mechanics 
 than by his engravings/ 
 
 WILHELM AKEKSLOOT. 
 
 1624—1627. 
 
 Lived, it is said, at Haerlem, and practised a close manner 
 of engraving, much like that used by J. Vander Velde in his 
 beautiful prints of night-pieces. Indeed Akersloot himself ap- 
 pears to have been partial to subjects of this kind. His prints 
 are not numerous. 
 
 1. The Portrait of Frederick Henry, Prince of Orange, whole- 
 length in armour, standing in the court of his palace, and holding a shield 
 with the arms of the seven united provinces. ' A. v. Venne pinx. — \\ . 
 Akersloot, fecit* upr. 4to. Also that of Amelia, Princess of Orange, his 
 consort, standing between her two children, with many small figures in the 
 background. 1 A. van Venne pinx.' upr. 4to. 
 
 2. Christ dragged along by the Soldiers, through a piece of water, 
 by torch-light, after his capture in the garden. ' H. H. (Hondins) Inventor 
 
 VOL. I. E 
 
ALB 
 
 W. Akersloot Sculp. 1624.' h. llf. (beside marg.) to. 9. Eight latin verses: 
 * Aspice/ &c. Peter denying Christ, with soldiers iu the foreground 
 playing at cards by fire-light. ' P. Molyn inv. — W. Akersloot fee. 1626. 
 Qui ferus/ &c. Same dimensions. 
 
 3. Ceres inquiring of the Old Woman concerning her daughter Pro- 
 serpine, with the transformation of the youth who had insulted her into a 
 lizard: a night-piece. 'I. V. Velde inv. — W. Akersloot fecit ;' h. 8% (incl. 
 marg. with Dutch verses) w . 6£. 
 
 4. The Title to a book in fol. * Fortification ou Architecture Militaire,' &c. 
 par Samuel Marolois, Amsterdam 1627. — W. Akersloot Sculp.' h. lOf. to. 6f. 
 The Title to a book on Arithmetic, 8vo., with the bust of the author, 
 ' Jacob vander Schuere' in an oval. ' Tot Haerlem,' &c. 1625. — W. Akersl. 
 fee* h. 5£. to. 3£. 
 
 GIROLAMO ALAMANDINI. 
 
 c. 1680? 
 
 No writer that I am acquainted with, makes mention of this 
 artist. He was perhaps a painter, and is placed here upon the 
 authority of the following etching, marked G. A., upon which 
 some one of the time has written the name at length. 
 
 On the left is an altar, raised upon two steps, at which a priest is performing 
 mass. Two boys, his assistants, kneel behind, as well as an old man in a 
 short dress, with a diadem over his head, intended for St. Isidor, and a 
 woman. In the distance are two oxen drawing the plough, guided by an 
 angel. ' Al merito dell IU«">. Sig*. Co. Giuseppe Filippo Caldarini. G. A. 
 D. D. D/ Upon a marg. of an inch and a half, added at bottom by means 
 of another plate, we read ' Vera effigie di S. Isidoro Agricoltore,' &c. and 
 a prayer. The name of Girelamo Alamandini is twice written with a careful 
 hand upon this margin, h. (incl. marg.) 12. to. 7|. The print is a slight 
 paiuter's-etching, something in the manner of Marco San Martiuo. 
 
 ALARDO DE POPMA, See Popma. 
 ANGELO ALBANESI. 
 
 1765 ?— 1784. 
 
 An Italian artist, as I suppose, by whom we have a few 
 clever etchings of views of ancient edifices at Rome, which 
 Strutt thinks were done soon after the year 1700. Judging 
 from the only specimen I have seen, for they are not of common 
 occurrence, I should place them much later. We have also, 
 with the same name, several small prints in the dotted man- 
 ner, which Albanesi appears to have engraved at a more 
 advanced period of his life.in England. 
 
 1. A View of the Arch of Constantine and the Colosseum, one of 
 the etchings above-mentioned, oval. I. 10. h. 6 J. ' Jo. Bo. Fecit. — Angelo 
 Albanesi Sculp.' 
 
 2. St*. M. Magdalena, after a picture by Guidoin the palace Colonna-Pam- 
 phili, at Rome. * A. Albanesi fe. 1779/ In the dotted manner, oval. 
 h. 14. w. 10J. 
 
 3. The Portrait of Capt. Edw. Garner of the Navy, sm. oval, after 
 Sharpies, 1780. Giovanna Bacelli, an Opera dancer, whole-length. — ' J. 
 Roberts del- A. Albanesi sc.' 8vo. These, also, and the following, are in 
 the dotted manner. 
 
 4. Various, of Nymphs Dancing, or employed in Sacrifice, &c. small 
 
ALB 
 
 circles, with dark backgrounds. ' Ang. Kauffman del. A. Albanesi seulp.' 
 English verses, &c. underneath. Published in London 1T84, 8vo. 
 
 FRANCESCO ALBANO. 
 
 b. 1578. d. 1660. 
 
 A native of Bologna, and one of the most eminent painters 
 of the school of the Caracci. He executed some large works, 
 as well in fresco as in oil ; but most of all excelled in small 
 pictures of poetical subjects, in which he often introduced groups 
 of nymphs and cupids which are deservedly admired for their 
 beauty and gracefulness. The following etching is ascribed to 
 the hand of Albano by Heinecken and other writers ; and 
 although it is by no means a successful performance, still it has 
 so much of the character of a painter's work about it, that I 
 should not feel justified in refusing it a place here. 
 
 Dido killing herself. She reclines upon the funeral pile, looking up to 
 heaven, and elevating her right hand ; whilst, with the other hand, she holds 
 the blade of a long sword, the point of which has penetrated her body. Under 
 her figure, resting against the pile, is an oval medallion of a warrior's bust 
 in profile, and towards the left, at bottom, is the artist's name, thus: 1 Albani 
 In.* The head of Dido has a disagreeable character and coarse appearance, 
 principally owing perhaps to the aquafortis having bitten the work into 
 holes in some places, in consequence of the hatchings being placed too close 
 together, h. 10^ ? to. 7f. This print is extremely rare. 
 
 CHERUBINO ALBERTI. 
 C 
 
 b. 1552. d * 1C15, 
 
 Was a native of Borgo S. Sepolcro, a town in the Florentine 
 state, and the son of Alberto Alberti, a skilful carver in wood ; 
 though some writers have erroneously supposed his father to 
 have been one Michele, an assistant of Daniello di Volterra ; 
 and, amongst them, Bartsch, who, nevertheless, in composing his 
 catalogue of Cherubino's prints, was called upon to transcribe 
 an inscription which declares the fact to be as above stated. 
 
 Cherubino is best known as an engraver of the inventions of 
 others. But he was also a learned designer, and in the latter 
 part of his life applied himself to painting, with good success. 
 Lanzi speaks with praise of a picture by him, representing the 
 trinity and various saints, in the cathedral at Borgo, and of 
 the facade of a palace in that town, painted by him in fresco, 
 with friezes and other decorations, fancifully disposed. At 
 Rome, also, in the church called ' la Minerva,' is still to be 
 seen, by his hand, the vault of a chapel, painted in fresco, 
 with figures and ornaments upon a gold ground. 
 
 This artist's style of engraving is bold, and in a great measure 
 original. When Strutt hazarded the remark, which I find 
 since copied by Huber and others, that he owed much of the 
 freedom of his burin to the example of Francesco Villamena, 
 he forgot that by far the greater part of Cherubino's engravings 
 
ALB 
 
 were executed before there is reason to believe Villamena had 
 engraved at all. His prints are sufficiently numerous ; masterly 
 in their execution, but coarse. It is evident that he worked 
 with great rapidity, and was little careful to preserve that 
 delicacy and clearness in his strokes, which are so necessary to 
 give to engraved plates a soft and harmonious effect. He com- 
 monly marked his plates with the monogram given above, 
 though sometimes we find the B omitted, and to a few he has 
 signed his name. 
 
 It is proper to observe that several of Cherubino's plates ap- 
 pear to have been published for the first time by his heirs, so 
 late as the year 1628, though perhaps not so many as is gene- 
 rally supposed ; as of some of the plates, commonly seen with 
 that date, we now and then meet with an impression dated forty 
 or fifty years before, upon the occasion of its first publication 'by 
 the artist himself. With reference to this subject, the work 
 entitled * Lettere sulla Pittura,' &c. furnishes the following in- 
 teresting communication, addressed in 1627 by a son-in-law of 
 Cherubino to the Cav r . del Pozzo, a gentleman of consideration 
 in those times, and a patron of the arts : 
 
 ' I have received the letter, most Illustrious Sir, in which you kindly congra- 
 tulate me upon my safe arrival in my own country, and in which you suggest 
 that, as well in honour to the memory of my father-in-law Sig. Cherubino 
 Alberti, as for the benefit of the property left by him, it would be advisable 
 for me to have those plates of his printed ; expressing, at the same time, 
 your readiness to obtain for us a most ample privilege from the Pope, and, 
 if necessary, from the Grand-Duke of Tuscany, and also assuring us of the 
 Cardinal Barberini's protection of the work ; for which I return yon my 
 most grateful thanks. With regard to the printing of the plates, it will be 
 my chief care to obey any commands that may be received from the Cardi- 
 nal, and to fulfil your wishes ; but upon this matter being resolved on, 
 which is of some importance, it will be necessary that you, most Illustrious 
 Sir, should procure for us other privileges, and also that you should advise 
 us how we ought to act with regard to the dedications, &c. &c. — Borgo S. 
 Sepolcro; Li 8. 4 Giugno 1627. Devotiss. Servitore, Lattanzio Pichi.' 
 
 Upon this letter Bottari, the editor, remarks that ' these 
 
 plates were never collected and printed together, but are still 
 
 in the possession of the heirs of the Alberti family ;' meaning 
 
 to intimate that the intention expressed in it was never fulfilled. 
 
 But in this he is clearly wrong; for 'Pichi does not speak of the 
 
 whole of Cherubino's works of engraving, many of which had 
 
 been done by him for different Roman publishers of prints, or 
 
 sold to them during his life-time, but of those plates only of 
 
 which he was possessed at his death; and these, which were 
 
 numerous, were certainly published, or re-published, b) the 
 
 heirs of Cherubino, several of them with dedication to the 
 
 Card. Barberini, and one or two with dedication to the Cav. 
 
 del Pozzo himself, the year after the date of the said letter. I 
 
 have thought it the more necessary to say thus much, as Heinec- 
 
 ken and others have adopted Bottari's erroneous interpretation 
 
 of Pichi's words. 
 
ALB 
 
 In the following catalogue of this artist's engravings, I have 
 availed myself of Bartsch's valuable work for the description 
 of those pieces which I have not before me, or am not well 
 acquainted with ; omitting however, as in some degree doubt- 
 ful, many of those which have neither the name or cypher of 
 Cherubino : though of them also I give a brief list at the 
 end. It will be seen that in two or three instances I dissent 
 from Mr. Bartsch's opinion ; and I have classed the prints in a 
 different manner. 
 
 AN ETCHING. 
 
 1. The Madonna, a half-figure, seated with the infant Saviour in her lap, 
 with landscape background. The monogram of Cherubino is on the left, and 
 oh the same side, over the entrance to a building, is the date 1568, when 
 Cherubino was only 16 years of age. An etching, in a circle 8£ in diameter, 
 supposed to be the only one by his hand. (B. 31.) 
 
 PORTRAITS ; 
 
 Most of them, in all probability, after Cherubino's own Designs. 
 
 2. Pope Gregory XIII — bust, within an ornamental frame. Upon a scroll, 
 at bottom : 4 Gregorius XIII. Pon. op. max.' Without the artist's name. 
 h. 10^. w. 1\. (B. 122.) 
 
 3. The same Pontiff — half-figure, within an architectural decoration, with 
 the figure of Justice on the left, and on the right Prudence. At bottom : 
 ' Gregorius XIII. Bononien. Pont, max.' &c. Without artist's name. h. 16^. 
 w. 10h. (B. 123.) 
 
 4. Pope Sixtus V — bust within an ornament, and above two angels support- 
 ing the papal crown. At bottom : ' Xystus V. Pont. Max/ and on the left 
 * Cherub. Albertus fe. 1585.' h. 10£. w. 7£. (B. 120.) 
 
 In a second impression, the portrait of the Pope is turned into that of 
 Henry IV. of France, the royal crown is substituted for the papal, and the 
 name of Cherubino is effaced, Sec. In a third impression King Henry is 
 rubbed out to make way for the Emperor Matthias I., and this impression 
 has the date 1012. 
 
 5. Pope Urban VII. — bust within an ornamented oval ; below, on the left, 
 Justice, and on the right, Charity, and above two angels supporting the 
 tiara, Sec. At bottom : 1 Urbanns VII. Pont. Max. — Cherub. Albertus In. 
 fe/ h. 15}. w. 11*. (B. 127.) 
 
 Urban VII. was Pope only from the 15th to the 27th September 1590. 
 This plate was doubtless commenced, and perhaps finished, during that short 
 interval. It is in every respect a very masterly performance. The head, 
 however, which was engraved with delicacy, was soon effaced, in order to 
 make room for that of Gregory XIV. the successor of Pope Urban, and in 
 this second impression the name of the artist does not appear. 
 0. Henry IV. King of France — bust within an ornament surrounded by figures. 
 4 Hcnricus IV. Gall, et Nav. Rex Christianissimus. — Romae. 1595. — Cherub. 
 Albertus Invent, fe.' h. 15. w. 10. (B. 124.) 
 
 7. Pietro Angeli di Barga, a poet — bust, within an ornamented oval. He 
 is crowned with laurel, and above are two winged genii holding an open book 
 with inscription : ' Quas bonus,' &c. Round the oval : ' Petrus Angelins 
 Bargaesus ann. lxxii.' and on the right at bottom: * Cherub. Albert, fe.' 
 h. 8f w. 5|. (B. 116.) 
 
 In a second impression of this plate the portrait of P. Angeli was effaced, 
 and that of the Emperor Matthias I. substituted, &c. 
 
 8. Jacopo Barozzi, called Vignola, a sculptured bust upon a pedestal with 
 architectural accompaniments, a Frontispiece, with title : ' Le due Regole 
 della prospettiva,' &c. — and Ded. to Jac. Buoncampagni. ' Cherubinus Aloer- 
 pa J In Roma, &c. 1583.' h. 12$. w. 8$. (B. 117.) 
 
ALB 
 
 A second impression is dedicated to the Prince Marc-Ant. Borghese, and 
 dated 1611 ; and a third to Prince Camillo Panfili, with the date 1644. 
 
 9- Wilhel. Damas Lindanub, Bishop of Ruremonde, and a celebrated con* 
 troversialist — bust in an oval : * anno Dni 1585— suae zetat. 60. — Cherub. Alber- 
 tus fe.' A. 4|. w. 3§. (B. 120.) 
 
 Of this plate there are three different impressions. In the first, the back- 
 ground on the right is covered with only one row of hatchings, and the margin, 
 on which is inscribed ' Cherub. Albertus fe/ is all white. In the second, the 
 background on the right is darkened by cross strokes, and the marg., except 
 in that part which has the artist's name, is covered by strokes of the graver. 
 In the third, a small scroll is added, on the left of the head, with the words : 
 fc Quae sursum sunt/ 
 
 SACRED AND DEVOTIONAL SUBJECTS, 
 
 Whether engraved by Cherabino from his oivn Designs, or after those 
 of Artists unknown, 
 
 10. The Annunciation. On the left, at bottom, the date 1571, and the 
 cypher of Cherubino. A. 17£. ti>. 13. (B. 9.) 
 
 11. The Nativity, a large composition, after his own design. At bottom, 
 the arms of Pope Clement VIII. between two tablets with inscriptions : 
 ' En Deus, &c. — Adspice virginei, &c.' and on the right: L Cherubinus Al- 
 bertus Inv. perpetuae observantiae ergo D. D. D.' h. 23f. w. 18§. (B. 11.) 
 
 12. The Flight into Egypt. Two angels are leading the ass ; others are 
 gathering and presenting the infant with dates. On the left, at bottom, is 
 the cypher of Cherubino, with the date 1574. h* 18^. w. 13^. (B. 15.) 
 
 13. The Transfiguration. On the left at bottom: i Romae, 1575, and 
 the cypher, h. 15£. nr. lOf. (B. 25.) 
 
 14. Christ bearing the Cross, his figure seen to the knees. At bottom 
 on the right : * Charbino. alberti fe. 1573', and in the margin : 4 Ne lacrymis, 
 matres, Sec. — Antonij. Lafrerij.' h. 8|., besides marg. w. 6. (B. 20.) 
 
 15. The Dead Body of Christ, supported by an Angel. The cypher 
 at bottom, on the left. Oval. h. 9£. w. 6f. (B. 21.) 
 
 16. The Madonna seated on the Clouds, with the Infant Christ on her 
 lap, and in her right hand a lily. At bottom on the left : * Cum privilegio,' 
 &c, and on the right the cypher of Alberti. h. 5|. w. 5f.. (B. 27.) 
 
 17. The Holy Family, with the Angel presenting the young Tobit. Ap- 
 parently one of Cherubino's earliest performances. On the right at bottom is 
 the cypher, h. 9j. iv. 8. (B. 32.) 
 
 18. The Holy Family. The Infant holds with both hands an open book? 
 turning his head round towards the Madonna, the upper part only of whose 
 body is seen. Joseph is behind on the left, and under his figure is the cypher 
 of Cherubino. Bartsth erroneously ascribes the invention to Raifaelle. It 
 has something of the manner of Pierino del Vaga. h. 11. w. 8£. (B. 33.) 
 
 19. The Assumption of the Virgin. On the left, at bottom, the cypher 
 of Cherubino, and on the right the date 1571. * Cum privilegio,' &c. h. 14£. 
 w. 9|. (B. 36) 
 
 20. The Madonna of the Rosary. St. Dominic and another saint distri- 
 buting rosaries to people of every rank and sex. At bottom on the left: 
 * Privilegio Sti. D. N. greg. Pp. xm.' and on the right the cypher, h, 16. 
 to. lOf. (B. 37.) 
 
 21. The Madonna seated with the Infant upon a Crescent, and 
 surrounded by a glory. At top : ' Mater divine gratiae,' &c, and at bottom 
 a Dedication to Cardinal Justiniani. * Cherubinus Albertus D. D.' h. 17£. 
 iv. 13|. (B. 39.) 
 
 22. St. Carlo Borromeo, kneeling in the Clouds, in adoration of the Ma- 
 donna, who appears Hvith the infant Saviour at the top of the print, on the 
 kft. Various boy-angels, one of them with a scroll : ' Effigies S 11 . Caroli,' 
 
ALB 
 
 &c, and in an oval tablet at bottom a Dedication to Maria Madalena, wife 
 of Cosmo II. Grand Duke of Tuscany : ' Cherubinus Albertus D. D. Romae 
 A . 1611/ This is certainly from his own design, h. 17. w. ll£. (B. 48.) 
 
 According to Bartsch there exists a copy of this print, with the cypher of 
 Cherubino, instead of the name, and without the date. 
 
 23. St. Christopher, with the Infant Saviour on his shoulders, traversing 
 a river. In the middle at bottom is the cypher, with 1 Cum privilegio/ Arc 
 h. 13|. w. 8$. (B. 49.) 
 
 24. St. Francis receiving the Stigmates, supported by two Angel*. 
 At bottom a Dedication to Alfonzo Visconte, the cypher of Cherubino, and 
 the date 1577. h. ll£. w. 7$. (B. 56.) 
 
 25. St. Catherine of Sienna receiving the Stigmates, supported by 
 two Angels. At the bottom corner on the right is the cvpher, and a little above 
 the date 1574. h. 14|. w. 10. (B. 60.) 
 
 26. St. Christina walking on the Water. Two scrolls held by angels; 
 c XPS Christinam ex unda levat. — Unda lavat/ &c., and below: * Serenissi- 
 mae Christianae Lotharingiae. — Cherubinus Albertus d. B. S. S. invent. D. D* 
 h. 17£. w. llf. (B. 61.) 
 
 27. St. Mary Magdalen carried up to Heaven by Angels. At bot- 
 tom on the right is the cypher : one of his early works, h. U£. w. 7 J. (B. 63.) 
 
 PROFANE AND FANCY SUBJECTS, 
 
 Engraved by Cherubino from his own Designs, or after those 
 of Artists unknown. 
 
 28. Prometheus tormented by the Vulturts, one of the artist's finest 
 prints, probably done after a painting executed by himself in a triangular 
 compartment in a vault. The design is excellent; but certainly not by 
 Michelangiolo, to whom Bartsch has attributed it. At bottom : ' Cherubinus 
 Albertus fe. R.9m<z 1582,' with Dedication by the Heirs of Cherubino to the 
 Card. Magalotti. 16? w. 11? (B. 92.) 
 
 29. Venus standing in a Shell upon the Sea, and holding with both 
 hands a sail filled with the wind. The cypher is on the left at bottom, h. 8£. 
 w. 5f. (B. 97.) 
 
 30. The Four Seasons, four pieces, entitled, at top: ' Primavcra — Estate 
 Autumnus — Hyems after triangular compartments painted in a vault, 
 perhaps by Cherubino himself; but certainly not by Polidoro, to whom they 
 are ascribed by Bartsch. Spring is represented by Flora; Summer, 1>\ 
 Ceres; Autumn, by Bacchus; and Winter by an old man with a lon^ 
 beard. At the bottom of each is the cypher of the artist, h. 9£. w. 6^. 
 (B. 101—104.) 
 
 31. Diana, walking towards the right, accompanied by a dog and a stag. On 
 the right at bottom are the cypher and the date 1580. h. 101. id. 7 
 (B.105.) 
 
 32. The Arms of the Card. Aldobrandini, accompanied by allegorical 
 figures, Theology, Philosophy, 6cc. The cypher is on the left at bottom. 
 I. ll£. h. 9|. (B. 114.) 
 
 33. The Arms of a Prelate. On one side Minerva sitting, and on the 
 other Perseus, with other allegorical figures. On the left at bottom: ' Cherub.. 
 Albertus fe.' I. 15|. h. 11. (B. 115.) 
 
 34. An Infant mounted on a Sea-horse, which moves towards the right. 
 The cypher is on the left at bottom, h. 3^. w. 2f . (B. 129.) 
 
 35. A Winged Genius, standing, and turned towards the right, with a globe 
 on which are three fleurs de lis in the right hand, and a trumpet and palm 
 branch in the left. The cypher is at bottom on the left. ' Cum Privilegio, 
 &c. — Unita Virtus,' in the margin, h. 7|, including marg. w. 5§. (B. 130.) 
 
 There exists an impression before the inscription. 
 
 36. A Female Figure, standing, and seen in a back-view. She blows a ti umjtc t, 
 
ALB 
 
 and on her head is a globe marked, according to Bartsch, with the arms of 
 the Medici. The cypher is on the left at bottom, h. 8. w. 5. (B. 135.) 
 
 37. Victory, a flying figure with wings, a shield on her right arm, and in her 
 left hand a trophy. The cypher and date 1628 are at the left bottom corner. 
 1 Laboris Merces. — Cum Privilegio,' &c. in marg. h. 7%. w. 5§. (B. 136.) 
 
 There exists an impression before the ' Cum Privilegio,' &c. 
 
 38. A Winged Genius, Flying, with a palm-branch in one hand, and in 
 the other the crown of the Grand-Duke of* Tuscany. ( Digna sola regnare. 
 Per astra,' &c. The cypher is on the right at bottom, h. 9|. w. 6^. (B. 137.) 
 
 39. Another Genius, Flying, with the arms of the Farnese family, three 
 fleurs de lis, in the right hand, and a palm and an olive-branch in the left. 
 Above in a scroll : * Polo florescere digna.' At bottom on the right is the 
 cypher, ft. 9f. w. 6f. (B. 138.) 
 
 40. Another Genius, Flying, with a scroll in the left hand, and in the 
 right a palm. At bottom : ' Non sine labore.' The cypher, with 1 Cum 
 Privilegio,' &c. is on the left, and on the right: * Romae, 1628.' ft. 9|. 
 w. 6|. (B. 139.) 
 
 41. Another Genius, Flying. He points upwards with the right hand, 
 and in the left has a palm. On the left is the cypher, and on the right the 
 date 1628. In the margin : * Non sine vertute.' ft. 9, w. 6£. (B. 140.) 
 
 42. A Genius seated on a Cloud, sounding a trumpet, which he holds 
 in the right hand. At bottom : ' Virtutis proemium;* on the left the cypher, 
 and on the right the date 1628. ' Cum Privilegio/ &c. ft. 9. (B. 141.) 
 
 43. A Winged Genius in the air, supporting a cardinal's hat over which 
 is a dragon, within a round cartouch. The cypher and date, 1607, on the 
 right, and at bottom : ' Illustriss. et reverendiss. Domini D. Card. Vice- 
 comiti, See. — Ex picturis quas Cherubinus Albertus in eius Villa Tusculana 
 pinxit, has ipsemet incidit.' ft. 10|. w. 6£. (B. 142.) 
 
 44. A Naked Youth standing on a Dolphin, with a trident in his 
 right hand, and a globe bearing the Farnese arms in his left. The cypher 
 is on the left, at bottom, ft. 12£, including margin, w. 6£. (B. 144.) 
 
 45. A Winged Genius, standing on a Globe, whereon are the arms of 
 the Barberini family. He supports with the left hand a tablet with Dedi- 
 cation to Card. Barberini : 4 Haeredes Cherubini Alberti D D. D.' Sec. 
 At bottom on the left is the cypher, and on the right the number (I. 
 ft. 11^-. w. 6£. (B. 145,) Another Winged Genius, standing on a globe, 
 and holding with both hands a tablet. On the left at bottom is the cypher, 
 and on the right the number II. Same dimensions. (B. 146.) 
 
 There exists an impression of these two pieces before the cypher and num- 
 ber; the second having the date 1571 upon the tablet, near the bottom. 
 
 46. Fame, represented by a naked female with wings, who is standing on a 
 sort of a lamp and blowing a trumpet, the figure turned towards the right. 
 The cypher is at the left bottom corner, and in the margin is a latin dedica- 
 tion by the heirs of Cherubino to the Cav. del Pozzo, dated 1628. A. 12| 
 w. 0§. (B. 152.) 
 
 47. A Naked Female, seated on the Clouds, with a balance in her 
 hand. At top : ' Nuda Veritas/ and at bottom : 4 Justi tenor/ See. with 
 Dedication to Cosmo II. Grand Duke of Tuscany. The cypher is on the left 
 at bottom, ft. 15. w. 8£. (B. 153.) There exists a copy without cypher, &c. 
 
 As I am acquainted with Cherubino's style of design, having once possessed 
 some of his sketches, I wish here to state my opinion that all the above single 
 figures were engraved by him after his own drawings or paintings. 
 
 PRINTS BY CHERUBINO ALBERTI AFTER KNOWN MASTERS. 
 After Alessandro Alberti. 
 
 48. S. Susanna, standing on a pedestal, with the palm of martyrdom in her 
 right hand, and in her left a book. On the right : * S. Susanna Vir. et Mar.' 
 On the left : 4 Alexander al Bertus inven./ and in the margin, ' Ex ea quam 
 
A L B 
 
 illmus. et R s . card. Rusticus Romae supa. ostium. S. Susannae. Tit. sui. Po. 
 M.n.i.xxvin.' h. 11. w. 7£. (11. 04.) 
 
 This plate was afterwards cut smaller at the sides and at bottom, and so 
 published with the address: ' Romae Nico. Van Aelst for.' 
 
 After Michel angiolo Buonaroti. 
 
 49. The Dead Body of Christ, supported by Joseph of Arimathea, 
 the Madonna, and Mary Magdalen ; from a group in marble, which 
 was intended by Michelangiolo for his monument, but left unfinished at 
 his death. It is now behind the great altar, in the Duomo at Florence, with 
 an inscription : 4 Postremum Michaelis Bonarotae opus/ &c. Cherubino, in 
 his print, has added a landscape background. At bottom : ' Mich. Angeli 
 Bonaroti Florentini manu Sculpta. Romae — Cum Privilegio D. Greg. XIII.* 
 Without the name of Alberti. h. 18£. w. 12. (B. 23.) 
 
 50. St. Jerome seated in the Desert, meditating upon a Crucifix, 
 On the left at bottom : 1 Michelangelus invcn. — Cum privilegio/ &c. the 
 cypher of Cherubino, and the date 1575. h. 191. w . 13a. (B. 51.) 
 
 51. Prophets and Sybils, in the vault of the Sistine Chapel. Six pieces. 
 
 (a) The Sybil Lybica, and the Prophet Daniel, with the aceompanvinii 
 figures, on one plate. At top : 'Opus quod in Capella, &c. — Maximo He- 
 truriae Duci, &c. — Romae, a.d.m(d)lxxvii — Cherubinus Albertus de Burgh 
 S. Sepulcri Dicavit.' At bottom: ' Cum privilegio snmmi Pontificis, 1628:' 
 
 (b) The Sybil Cumaea, with the accompanying figures. At top: * Opus in 
 Capella Vaticani. — Principi Francisco Card. Barberino. Romae. 1028.' and 
 at bottom : ' Cum privilegio/ &c. (c) The Prophet Ksai \s, with the sur- 
 rounding figures, but without his name, the plate being unfinished. On the 
 right at bottom: * Cum privilegio Smi. Pont.' (d) The Sybil Delphk a, 
 with the surrounding figures. At bottom on the left : 1 Cum privilegio/ &c. 
 (e) The Prophet Ezechiel, &c. but without his name. The plate unfinished. 
 At bottom on the right: 1 Cum privilegio/ Sec. (f) The Sybil Persic a, &c 
 but without her name. At bottom on the right : ' Cum privilegio/ &c. The 
 first of these six pieces, containing a Prophet and a Sybil; measures, I. 21 
 h. 17. The others, h. 17. w. 11. (B. 72—77.) 
 
 It is to be regretted that Cherubino did not take more pains with these 
 plates, and that he did not complete the set. The five last, it is probable, 
 were never published till 1G28. 
 
 52. Academy Figures, from the vault of the Sistine chapel, four pieces, 
 each representing a naked man seated and supporting a Festoon of oak-leaves 
 and acorns, &c. ' M. Ang. B. Fl. Pinx. in Vatic. / ' Michaelangelus pinxit 
 in Vaticano.' &c. The plates were afterwards retouched by Phil. Thomassin. 
 They measure h. 11£, to 12f. w, 7f, to 8£. (B. 147—150.) 
 
 53. The Figure of the Pope's Master of the Ceremonies, in the 
 character of Minos, surrounded by devils, with a serpent twisted round his 
 body; from the Last Judgment. On the right the cypher of Cherubino and 
 the date 1575. h. 12|. w. 8 \. (B. 76.) 
 
 54. A Naked Figure resting with his back against a Cross, from 
 the same picture. ' M. Ang. B. Pinx. in Vaticano. — Cherubinus Albertus /, 
 1580.— Cum privilegio/ &c. h. 13£. w. 6. (B. 09.) 
 
 55. A Group of two Figures fighting in the Air; from the same 
 fresco. At bottom: ' M. Ang. B. Fl. Pinx. in Vatic. — Cherub. Albertus fe. 
 1580. Cum privilegio/ &c. A. 13. to. OJ. (B. 70.) 
 
 5G. The Figure of Adam, (a) in the Last Judgment, not St. John Baptist, as 
 Bartsch supposes, being a standing figure seen in front, the fac e in profile 
 turned towards the left, (b) The Back-Figure of a Man climbing up to 
 Heaven, from the same fresco. These two studies which Cherubino has 
 placed in oval compartments, each decorated with scroll-work, festoons, and 
 two little angels at top, of his own invention, are I think the finest produc- 
 tions of his burin, and prove him to have possessed a more complete know- 
 ledge of the human figure than perhaps any engraver of his time, if we 
 except Agostino Caracci. Upon the first, at top: * Nuda Veritas/ and in a 
 circle, 1 Ul™o. e t R>"o, D. Alexandro Mediccs. S. R. E. Car. Ampliss.' At 
 VOL. I. F 
 
ALB 
 
 bottom : * M. Ang. Pinxit in Vaticauo. — Cum privilegio, &c— Cherub*. 
 Albertus f. Roma, 1591/ The second is entitled at top : < Petit Aethera :' 
 the other inscriptions upon it are the same as in the first. They measure 
 h. 16|. w. 9. (B. 67. 68.) 
 
 Of these two pieces there exist very boldly executed copies of the same 
 size, but in an opposite direction, and without the dedication and the name 
 of Alberti. They are dated in the circles at top : ' Romas, 1591/ and were 
 perhaps engraved by RafFaelle Guidi. 
 
 57. The Figure of a Soldier, seen a back-view ; a study, within an orna- 
 mented oval, taken from the fresco of the Conversion of St. Paul, in the 
 Pauline chapel in the Vatican. At the bottom on the right : ' Romas, 1590,' 
 and the cypher of Cherubino. h. 10§. w. 5|. (B. 143.) 
 
 After Polidoro da Caravaggio. 
 
 58. The Creation of Adam. At bottom: * Romae.— Polidorus de Caravag. 
 invent.' I. lOf. h. 7. (B. 1.) 
 
 59. Adam and Eve driven out of Paradise; and Eve seated, with 
 the infants Cain and Abel, whilst Adam tills the Ground : 
 two pieces, both marked : ' Polidorus de Caravagio invent.' and dedicated in 
 the margin to Card. Magalotto by the heirs of Cherubino, with date 1628. 
 The first has also the cypher of the artist on the right, and the second : 
 ' for Romae C. Albertus.' There exist impressions of both before the dedi- 
 cation, h. 8i, including margin, w. 6|. (B. 2. 3.) 
 
 60. Abraham prevented by the Angel from sacrificing his Son 
 Isaac. ' Polidorus de Caravagio inve. — Illmo. Principi Laurentio Magalotto, 
 &c. — Haeredes Cherubini Alberti D. D. D. Romae.' With the cypher of the 
 artist. * Cum Privilegio, &c. 1628/ /. 8£. h. 7f. (B. 4.) 
 
 61. The Israelites with Vases and Baskets, collecting Manna. 
 Towards the right: * Polidorus de Caravagio Inven.' and the cypher of 
 Cherubino. In the margin a Dedication by J. Orlandi to Caesandro Adriano, 
 with date 1602. I. 16. h. 9. including margin. (B. 5.) 
 
 The first impression is dated 1576, on the right, and is without the Dedi- 
 cation ; which,' again, is effaced in a third impression, marked: ? Nico. Van 
 Aelst for/ 
 
 62. Judith, (a) standing, with the head of Holophernes in her right hand, and 
 a sword in her left. The cypher on the left at bottom. Certainly, I think, 
 from Polidro, though without his name, (b) The companion represents Venus 
 and Cupid, the goddess a back figure. At the bottom corner, on the 
 right, is the cypher, and in the margin : 4 Polydorus. I.' h. 8f, including 
 margin, tv. 5. (B. 6. 93.) 
 
 63. Angels, with Books of Music, singing, four pieces, not numbered, 
 from paintings by Polidoro in the church of S. Silvestro at Rome. Each 
 piece represents a group of two boy-angels. The first has at bottom a long 
 Dedication by Cherubino to Alfonzo Visconti dated 1583, The others have 
 e Polydorus de Caravagio In/ and the cypher of Alberti. h. 8, including 
 margin, tv. 4£. (B. 131—134.) 
 
 64. Neptune, (a) standing in a niche, with the trident in his left hand. On the 
 left, 1 Cherub. // and at bottom, ' Polidorus invent/ The name ' Pluto' 
 is written at top, by error, (b) Saturn, resting with the right hand on his 
 scythe. Below is the cypher, and £ Polidorus de Caravagio I.,' and at top 
 the title ' Saturnus/ (c) Prometheus, standing on a pedestal, and holding 
 with both hands a flaming torch. On the pedestal, the cypher, ' 1590, Poli- 
 dorus in/ These three pieces are h. 8|. w. 4|. (B. 91. 94. 95.) 
 
 The same figures will be found in the set of eight heathen deities engraved 
 after Polidoro by Goltzius. 
 
 65. Two Cupids, supporting a Festoon, which hangs over their shoulders; 
 their figures turned towards the left. In the middle, near the top : * Polido- 
 rus de Caravagio invent/ and at bottom on the right ' Roma;, 1576,' and the 
 cypher. I. 8|. h. 5. (B. 158.) 
 
 66. A small Frieze, the subject Unknown. On the left, a man asleep 
 
ALB 
 
 under a drapery which hangs from a tree, and a little child, followed by a 
 naked female with a large bundle. On the right, a loaded mule, with a 
 woman taking an infant from off its back, and, without the subject, Fame, 
 * fama/ blowing two trumpets. In the upper margin, ' Polidorus de Caravagio. 
 excellentissimus pictor. Roma\ pinxit and under the man sleeping, the . 
 date 1609. It has not the cypher of Cherubino, but the lower margin is want- 
 ing in the impression before me, and may have had it. Not mentioned by 
 Bartsch or Heinecken. I. 4£? h. 1|? 
 
 67. Three Friezes, each with : * Polydorus de Caravagio invent/ and two 
 latin verses, (a) The Muses and Poets upon Parnassus : ' Pegasus elici* 
 ens/ &c. ; the cypher of Cherubino on the right at bottom. (6) Perseus 
 
 TURNING POLYDECTES AND HIS COMPANIONS INTO STONE : 4 Quod VllltUS 
 
 mutent/ &c. and on the left at bottom : ' Cherub. Albertus.' (c) The Rape 
 of the Sabines : i Romulidae spreti ludi/ &c. The cypher, at bottom on 
 the left. I. 8|, to h. 5f. (B. 110—112.) 
 
 68. Perseus turning Atlas into Stone, and the Garden of the 
 Hesperides, two pieces numbered 1. 2. and forming a frieze. On No. 1 : 
 ' Polidorus de Caravagio inv. Roma?/ with dedication to Card. Barberini in 
 the margin, and date 1628. On No. 2., the cypher, on the right, and in the 
 margin : ' Cum Privilegio/ &c. I. (the two pieces) 22f , h. with marg. 6£. 
 (B. 108. 109.) 
 
 69. A Frieze, in five pieces, numbered at bottom, representing at one end 
 the Rape of the Sabines, and at the other, the Triumph of two 
 Roman Emperors, with inscriptions in the margin below. (1) ' Sabinarum 
 rap turn a Polidoro Caravagiensi celeber. pictorem delineatum/ &c. (2) i Sc- 
 reniss. Ferdinando Medicis/ &c. (3) ' Ac Cosmo II. Paternae Virtutis/ 
 &c. (4) ' Albertus Albertus observantiae ergo. D. D. — Cherubinus Albertius 
 Alberti F. (filius) Fecit Romae, Cum Privilegio/ &c. (5) 1 Illustrissimo 
 
 Principi Francisco Cardinali Barberino, &c Cherubini Alberti opera, dvc. 
 
 Haeredes dant dicant, &c. Anno Dni 1628.' These pieces measure, /. 15?, 
 to 19£. h. 6£. (B. 159. 160.) 
 
 70. Mythological Subjects, in Circles, ten pieces numbered on the 
 right at top, except the last ; besides title. The Title represents a winged 
 Genius standing on a globe and supporting a tablet with Dedication : 1 Ul» n «>. 
 Chiappino Vitellio/ &c. and date 1590. It is from Cherubino's own design. 
 h. 9£. to. 6£. (1) Jupiter embracing Cupid. (2) Jupiter and Hermophro- 
 dite. (3) Neptune in his Car. (4) Pluto carrying off Proserpine. (5) Jupi- 
 ter and Antiope. (0) A winged Venus with Cupid. (7) Mercury and Argus. 
 (8) Bacchus, with Fauns and Satyrs. (9) Apollo and Daphne. (10) Mais 
 and Venus surprised by Vulcan. 
 
 These circles measure 5£ in diameter; but the plates vary in size, some 
 having a wider margin than others. They have all the cypher of Cherubino, 
 except the 5th and 10th, and Nos. 1. 2. 8. and 9. have the name of Poli- 
 doro in the margin. (B. 78— 88.) 
 
 71. A Set of Vases, ten pieces, numbered on the right at top , with below 
 the name of Polidoro, and that of Cherubino, or his cypher. Two pieces, 
 representing fanciful designs for knives, after F. Salviati, sometimes accom- 
 pany the set, but they are not numbered. The Jirst plate is inscribed : 
 ' Vasa, a Polydoro, &c. See. — Cherubinus Albertus in aes incidit tttque t didit. 
 Romae, anno 1582.' This plate measures, k. 101. u\ 7$. The remainder of 
 the series are only : h. 9£. iv. G\, These, again, were re-published in 162S, 
 by the heirs of Cherubino, with dedication to Card. Barberini. (13. 161 — 172.) 
 
 After Jacopo Ligozzi. 
 
 72. An Allegorical Design ; Florence seated on a throne, &c, figurative 
 of the dominion of the Medici family. On the left, ' Jacobus higotius invent.' 
 and in the margin : * Diadema Porsenae regis, Stc. — Cherub 8 . Albertus Burg is . 
 inc. Dicavit, 1589.' /. 10£. h. 10. including margin. (15. 157.) 
 
 After Francesco Potenziani. 
 
 73. The Holy Family. The Madonna. is seated on the ground, giving ssfck 
 to the Infant. Joseph sleeps. On the right at bottom, 'Roma,' the Cypher 
 
 ¥ 2 
 
ALB 
 
 of Cherubino, 1576, ' Francs. Potentianus inven.' and in the margin ' Cum 
 privilegio,' &c. ft. with margin, 8f, tv. 6. (B. 30.) 
 
 After Rosso. 
 
 74. The Adoration of the Magi. On the left at bottom: * Cum privi- 
 legio, &c. — Rubeus florentinus inven.' in the middle the date 1574, and on 
 the right : i Romae,' and the cypher of Cherubino. ft. 14f , besides margin. 
 w. 10£. (B. 12.) 
 
 75. Christ praying on the Mount of Olives — the three disciples asleep 
 below. In the middle at bottom: ' Rubeus florentinus Inven.' and on the 
 right: ' Cum privilegio,' &c, the cypher of Cherubino, and ' Romae, 1574.' 
 ft. 15, besides margin, w. lOf. (B. 17.) 
 
 This plate was among those re-published by the Heirs of Cherubino. In 
 this second impression the ' Cum privilegio' is changed, the date is altered 
 to 1628, and the margin has a Dedication to Card. Barberini. 
 
 76. The Stoning of St. Stephen. In the middle at bottom: « Rubeus 
 Florentinus inven.' and on the right : ' Romae, A. 1575.' Lower down is 
 the cypher of Cherubino, and on the right, in the margin : ' formis romae, 
 1602.' ft. 16, including margin, w. ll£. (B. 51.) 
 
 A previous impression has, on the left at bottom : 4 Nobili viro d n °. ponpeo 
 Nigrio Bononiensi, &c. dicatum.' 
 
 77. A Tabernacle, with Columns and Figures — among them four Pro- 
 phets, and Christ holding his cross, placed in niches. On the left at bot- 
 tom : ' Rubeus Florentinus inventor/ on the right : ' Cherubinus Albertus 
 Fecit, Hotnae. 1575,' and in the middle : i Con privilegio de Papa Gregorio 
 XIII. — denuo cum privilegio Urbani VIII. 1628.' On two plates joined : 
 ft. 29|. tv. 18 J. (B. 66.) 
 
 After Raffaelle Sanzio. 
 
 78. The Resurrection of Christ. ' The Saviour appears about to fly, an 
 angel is seated before the entrance of the Sepulchre upon a large stone, the 
 terrified guards are on the left, and in the distance, towards the right, are 
 seen St. Peter, St. John, ?nd the three Maries.' (Heinecken.) On the left 
 at bottom : ' Raphael Urbin. inven. Cum privilegio de papa Gregorio XIII.' 
 the cypher of Alberti, 4 Romae, et denuo cum privilegio Urbani VIII. 1628.' 
 In the middle, within a cartonch, is a Dedication by the Heirs of Cherubino 
 to Card. Barberini, with date 1628, repeated. I. 21£. ft. with margin, 
 16|. (B. 24.) 
 
 79. The Holy Family, with Elizabeth and the little St. John, who is pre- 
 senting a bird to the infant Saviour. At the bottom on the left : * Cum 
 privilegio de Pap. Gregorio XIII., et denuo cum privilegio Urbani VIII. 
 P. M.' and in the margin : ' Opus quod Raphael Urbin. invenit. — D. D. 
 Romae, 1582.' ft. 2H, including margin, tv. 16. (B. 40.) 
 
 80. Two Tritons, one playing on a reed-pipe, the other sounding a shell. 
 At bottom : ' Rafaello Urb. inven — Romae 1579,' and the cypher of Che- 
 rubino. ft. 7|. w. 4£. (B. 90.) 
 
 81. Cupid, with his Bow and Quiver, flying towards the right — a study 
 from a figure by Raffaelle in the Farnesina. Without the cypher. I. 8. 
 ft. 5£. (B. 96.) 
 
 82. Jupiter embracing Cupid — also from the Farnesina. At bottom on 
 the left : * Raphael. Urbin. in. Romae,' and on the right, 1580. ft. 13|. 
 w. 9§. (B. 100.) 
 
 Later impressions have the address of Nic. van Aelst. 
 
 83. Two other pieces from the Farnesina, each containing two of the 
 principal compartments, with the accompanying figures and decorations, 
 (a) The three Graces, and Venus with Juno and Ceres. In the 
 middle at bottom : ' Raphael Urbinas pinxit. — Romae, 1582. — Cum privi- 
 legio Urbani VIII. P. M.' (b) Venus mounting to Olympus, and 
 Venus addressing Jupiter, with dedication by the heirs of Cherubino 
 to Card Magalotti, 1628. I. 22. ft. 12£. (B. 106. 107.) 
 
ALB 
 
 After Andrea del Sarto. 
 
 84. The Annunciation. On the right at bottom : 1 Andreas Sutoris floren- 
 tins. Inven. 1574/ and the cypher of Cherubino. h. II ? w. 8J. (B. 8.) 
 
 85. John baptizing Christ. On the right at bottom: 'Andreas Sutoris 
 Florentinus Inven. 1574/ and the cypher of Cherubino. I. 15|. h. 10^. 
 (B. 1G.) 
 
 80. S. Filippo Benizzi, calling down Lightning from Heaven upon 
 men who had despised his Exhortations — from a fresco in the cloister 
 of the Convent ' dell' Annunziata' at Florence, in two pieces joined. In the 
 middle at bottom, a tablet with Dedication by Cherubino to Card. Ferd. de 
 Medicis, dated 1582, and in the margin six latin verses. I agree with Strutt 
 that this is one of the artist's finest prints, h. 21£, besides margin, to. 19^. 
 (B. 42.) 
 
 87. Faith, represented by a female holding a pix and a cross. At bottom, 
 towards the right : 4 Andreas Sutoris inv., the cypher, 1580, Komae/ and 
 in the middle : i Fides.' h. 8$. w. 5|. (B. 65.) 
 
 After Marco da Sienna. 
 
 88. The Circumcision of Christ. At bottom : * Cherubinus Albcrtus fe. 
 1579. M. Sen. In.' and underneath two latin verses, with the address: 
 * Laurentij Vaccarij Formis. Romae. 1580. Cum Privile.' h. I0§. w. log. 
 (B. 14.) 
 
 After Antonio Tempesta. 
 
 89. Miracles of St. Bernard — three pieces, being Nos. 6, 10, and 12, of 
 a set of 156 prints, engraved after Tempesta by Raff. Guidi and others. 
 (6) The youthful saint in bed, refusing the solicitations of a young female. 
 (10) The saint preaching. (12) At the age of twenty-two, he embraces the 
 monastic order, accompanied by thirty other persons, h. 10^, besides margin. 
 tc. 7£. The cypher, in all three, is on the left at bottom. (B. 44 — 40.) 
 
 After Pellegrino Tibaldi. 
 
 90. Tobit and the Angel. On the left at bottom: ' Peregrinns Bono'", 
 inve. F. Romae/ the cypher of Cherubino, and the date 1575. h. 12 J. w. b[. 
 (B. 58.) Later impressions have : ' Nic. Van Aelst for/ 
 
 After Francesco Vanni. 
 
 91. S. Bernardino of Sienna, half figure, holding a crucifix, accompanied 
 by an angel with a tablet bearing the initials S. H. I. On the left at bottom : 
 4 Franc. Vannus Sen. In. Cherub. Albertus ft. Salve o Franccisi/ (sic) &c. 
 h. 8J. tv. 5$. A second impression has at bottom : ' Divus Bernardinus 
 Senensis/ with I. H. S. on the tablet. (B. 47.) 
 
 After Taddeo Zccchero. 
 
 92. The Nativity. The Madonna holds the Infant in her arms, and is at- 
 tended by three angels. Joseph is seen on the left, leading the ass, and 
 above is the holy spirit. Half way up the print, on the right : ' C. Alber- 
 tus fe.' and in the margin two latin verses : ' Aeternimi vagit Verbum, dec, 
 Tadeus Zucharus inventor.' h. 15£, besides margin, id. 10£. (B. 13.) 
 
 93. The Adoration of the Shepherds, and, above, a conceit of angels. 
 At bottom : ' Thaddeus Zuccarus in Ven.' the cypher of Cherubino, and the 
 date 1575. ' Nico. Van. Aelst formis.' Also the arms of Pope Gregory 
 XIII. < Cum privilegio/ Sec. On two plates joined, h. 22£. tc. 15|. (B. 10.) 
 There exists an impression of this print without the arms, and without the 
 address of V. Aelst. 
 
 94. The Flagellation of Christ. At bottom on the right: 'Tadeus 
 Zuccarus inven.' and the cypher; on the left: 'Con privilegio de Papa 
 Gregorio XIII. et di Urbano VIII. 1628 ' In the margin, a Dedication by 
 Cherubino to Filippo Boncompagni, 1574. h. 20, besides margin, w. 16$, 
 (B. 18.) 
 
 95. The Dlad Body of Christ supported by the Almighty, with 
 
ALB 
 
 angels bearing the instruments of the passion, Sec. On the left at bottom : 
 ' Tadeus Zucarus inven. — con privilegio de papa Gregorio XIII./ and the 
 cypher of Cherubino, 1573. I. 12f. ft. 11%. (B. 22.) 
 
 06. The Conversion of St. Paul. In the middle at bottom : ' Tadeus 
 Zncarus inventor, cum privilegio.' ft. 18£. w. 13|. (B. 57.) 
 
 In a second impression, the last syllable of the word ' inventor' is erased, 
 the cypher of Cherubino, and the word ' Romae/ are added, and, at the 
 right corner, the date 1575. With this change in the inscriptions, we have 
 an edition with : ' Nicolao Van Aelst formis rome 1602,' over the name of 
 Zucchero, and another, with : * Joseph de Rubeis junioris formis/ on the 
 left. 
 
 After Federigo Zucchero. 
 
 97. The Virgin presented at the Temple by her parents. Upon a step, 
 in the middle at bottom : * Cherubinus Alberti so faintly expressed as to 
 be scarcely perceptible. One of his first essays, copied from a print by C. 
 Cort. ft. 10^, besides margin, iv. 7^. (B. 7.) 
 
 08. Christ seated in the Clouds, crowning the Virgin. Towards 
 the right at bottom, the cypher of Cherubino, 1572, and in the margin : 
 ' Federictts Zuccarus inventor.— Cum privilegio,' &c. ft. 14|. iv. 10£. (B. 41.) 
 
 09. St. John the Baptist, standing in the desert, with a book in his left 
 hand, whereon is a little lamb. At bottom on the right : ' Federicus Zuccaro 
 inven./ and on the left the cypher of Cherubino. ft. 9£? w. 6|? (B. 53.) 
 
 100. St. Eustace, with the stag with a crucifix between his horns. At bottom, 
 the cypher of Cherubino : * Federigus Zuccarus inven.' 1575. On the right, 
 the cypher, repeated ; and in the margin : i Joannis Orlandi formis romae, 
 1602.' ft. 10$, besides margin, w. 7£. (B. 52.) 
 
 Antique Statues. 
 
 101. Apollo, (a) seated, holding a reed-pipe. ' Cherubinus al Bertus fe. 1577. 
 Apollinis statua in viridario Cardinalis de Medicis.' (6) Marsias, suspended 
 from a tree, 1 Cherub, al Bert. fe. 1578. — Marsie simulacrum Romae in aedi- 
 bus Vallansibus.' They measure, h. 8|. m 5£. (B. 98. 99.) 
 
 102. The River Tyber, (a) a statue at the Capitol. ' Cherubinus Albertus fe. 
 1571.' I. 8^. h. 5|. (b) The River Nile, with the cypher of Cherubino 
 and the date 1576. I llf. ft. 6£. (B. 154. 155.) 
 
 PRINTS WITHOUT THE NAME OR CYPHER OF ALBERTI, 
 Ascribed to him by Bartsch. 
 PORTRAITS. 
 
 103. 4 II Sig. Cesare Caporali Perugino' — bust nearly front face, in an 
 ornamented oval, around which is the name. Above, a book and two winged 
 genii, one holding a laurel-branch, the other a palm. ft. 5§. w. 3£.(B. 118. ) 
 
 104. Lorovico Curti — bust in an oval: ' laid. Cur. Civ. Bon.' h. 6£. iv. 51. 
 (B.119.) 
 
 I'j5. 4 Diana Mantoana civis Volaterana' — bust, in a decorative frame. At 
 top, in a cartouch, is her name. h. 9^. w. 6^. (B. 121.) 
 
 106. ' Johannes de Austria' — bust, profile, in an oval surrounded by tro- 
 phies. Below two captives, and above Fame with two trumpets, ft. 1I£. 
 w. 1\. (B. 125.) 
 
 SACRED AND DEVOTIONAL SUBJECTS, 
 
 Without the name or cypher of Cherubino. 
 
 107. Christ shewn to the People. Jesus stands on an eminence on the 
 left, attended by Pilate and two soldiers, &c. Below are the heads of 
 three men who appear demanding his crucifixion, h. 10f. iv. 8f. (B. 19.) 
 
 108. The Dead body of Christ on the Clouds, supported by an Angel. At 
 bottom: 1 Magnum pietatis opus. — Cum privilegio, &c. ft. 14^. w. 9|. 
 (B. 26.) 
 
ALB 
 
 109. The Madonna standing in a Glor\ ; the Infant on her right arm and 
 in her left hand a lily. * Cum privilegio,' &c. in marg. h. l\.w. 4£. (B. 28.) 
 
 110. The Madonna, seated with the Infant Christ in her Lap, in 
 a landscape, and beside her Elizabeth and St. John. Joseph is in the back- 
 ground, on the right, holding the ass by the bridle. Said to be after Mazia- 
 no. h. 7|. w. G. (B. 29.) 
 
 111. The Madonna standing in a Niche with the Infant in her Arms, 
 who appears playing with a bird. Perhaps from a Statue, h. 11 J. w. b. 
 (B. 34) 
 
 112. The Madonna seated with the Infant in a Glory, with angels 
 scattering flowers. Above: ' Rcgina Coeli:' below: * A.lla Serma. gran du- 
 chessa di Toscana/ &c, and on the right: 'Cum privilegio,' Sec, h. 11%. 
 w. 7f. (B. 35.) 
 
 113. The Holy Family with Elizabeth and St. John — Joseph kneel- 
 ing on the left. At bottom on the left, 1571, and in the margin : * cum pri- 
 vilegio/ Sec. ; copied from a print by C. Cort. h. 1G|, besides margin, 
 i . lOf. (B. 38.) 
 
 114. St. Benedict and St. Romanus at meat in a cavern, h. llf. w. 8J. 
 (B. 43.) 
 
 115. St. Stephen, Deacon and Martyr, with a palm in the left hand and a 
 book in the right. Supposed one of Cherubino's early works, h. lOf. 
 W. 7h (B. 50.) 
 
 116. St. Francis receiving the Stigmates, The saint is kneeling and 
 turned towards the right ; his companion is in the foreground on the left. 
 h. Of. w. 7|. (B. 55.) 
 
 117. St. Rock — his staff in the right hand, and his left hand on his bosom. 
 Supposed one of the artist's early works, h. 15^. w. 10$. (B. 59.) 
 
 118. St. Magdalen in penitence. Towards the right: L582. h. 12, besides 
 margin, iv. 11$. (B. 62.) 
 
 PROFANE AND FANCY SUBJECTS, 
 Without the name or cypher of Cherubino. 
 
 119. The Arms of a Prelate, with allegorical figures. Upon a scroll at 
 top : « Evehit ad aethera,' &c. /. U\. h. 8|. (B. 113.) 
 
 120. A Stag devouring Scorpions. Upon a scroll: * Membris agit,' Sec 
 h. 3|. w. 2f. (B. 128.) 
 
 121. The Statue of a Roman Emperor, in a Niche, seen foreshortened, 
 from below, unfinished; the head in outline, h. 12£. w. 8. (B. 151.) 
 
 122. A Cartouch, in which is represented a Lute with a broken cord, &c 
 Above, a Satyr and a Satyress, with a scroll : 4 Ut suppleat.' h. 5i. w. 4?. 
 (B. 156.) 4 
 
 DURANTE ALBERTI. 
 
 b. 1538. d. 1613. 
 
 ' Durante Alberti, Cosimo Alberti, and Giorgio Alberti, of 
 the city of Borgo S. Sepolcro,' says Gandellini, ' were, all three, 
 professors of painting: the first two also engraved on copper and 
 wood ; and the third engraved on copper only ; though he did 
 but little, having died young in 1597.' 
 
 It is to be regretted that Gandellini has neither described 
 any of the prints of these three artists, nor given his authority 
 for the assertion that they engraved at all. Durante Alberti, ac- 
 cording to Baglioni, took up his abode in Rome, in the ponti- 
 ficate of Gregory XIII. and resided there till his death. He 
 appears to have been a painter of some eminence. 
 
ALB 
 
 PIETRO FRANCESCO ALBERTI. 
 
 b. 1584. d. 1638. 
 
 Was the son of Durante Alberti, and like him, a painter. 
 We have by him an etching, representing 
 
 An Academy of Design, with groups of students variously employed. To- 
 wards the top is the title : * Academia d. Pitori,' and below upon a stool is 
 the name of the artist, thus : i Petrus Franciscus Albertus Inventor et fecit.' 
 On the left: ' Romae Super, permissu.' The letters i P. S. F.' (Petri Ste- 
 fanoni Formis) are added, at a distance from each other, at the bottom of the 
 plate. L 201. h. 16%. 
 
 I cannot join with Bartsch in the encomiums bestowed by him upon this 
 plate. The figures are poorly drawn, and the performance, on the whole, 
 save that it is cleanly executed, is, I think, but indifferent. 
 
 IGNAZIO ALBERTI. 
 
 c. 1780. 
 
 An engraver who appears to have been a resident of Vienna : 
 the two following pieces by his hand are mentioned in the cata- 
 logues of the collections of Winckler and Brandes : 
 
 1. The Madonna in the Clouds, surrounded by a glory of angels; after a 
 sketch by Anthony Maulbertsch, in fol. 
 
 2. Two Infants, lying on the Ground, after Rubens. * J. Alberti sc.' 
 I. 9|. h. 7f. He is also said to have engraved 
 
 3. Several small Portraits, in 8vo. 
 
 GIOCONDO ALBERTOLLI. 
 
 c. 1785. 
 
 ' A member of the Academy of Fine- Arts at Milan, was the 
 composer and engraver of a set of Arabesque compartments, 
 which are varied in their design and executed with spirit.' So 
 says de Angelis, upon the authority of the second edition of 
 Basan's dictionary. 
 
 Zani does not mention this artist as having etched or engrav- 
 ed, but he notices as an engraver one Ferdinando Albertolli, 
 his nephew. 
 
 H. C. ALBERTUS. 
 
 ' A painter of Saxony,' says Heinecken, ' who painted and 
 engraved,' 
 
 The Portrait of Johan. Seckendorff, rector and professor at Zwickau.* 
 ELEAZAR ALBIN. 
 
 1720—1740. 
 
 A well known naturalist, who wrote and published in this 
 country a considerable work on birds; a second on spiders; and 
 a third, f believe, on fish ; all of them illustrated by numerous 
 plates etched or engraved by himself after his own designs. I 
 have now before me a print, small fol. l-iv. representing ' A 
 Salmon Trout from Berwick on Tweed. — E. Albin 1740.' which 
 is etched with sufficient neatness. 
 
 The family of this person is said to have been German, and 
 
ALD 
 
 the real name Weiss, in english White, but latinized to Albi- 
 nus. The portrait of E. Albin, on horseback, is prefixed to his 
 ' History of Spiders,' 1720, engraved by /. Scotin. 
 
 B. ALBRECHT. 
 
 c. 1740? 
 
 In the catalogue of the Winckler collection I find mention of 
 
 Two Mountainous Landscapes, with rural figures and animals, one a 
 Moon-light scene, the other a sun-rise, engraved by this person, conjointly 
 with K. Ponheimer, after Christian Brand. 4 Chr. Brand pinx.— K. Ponheimer 
 tt B. Albrecht sculp.* large fol. Uw. 
 
 It appears doubtful if this B. Albrecht be the same with Bal- 
 tazar Augustin Albrect, who is spoken of by Heinecken as a 
 painter of history of some eminence. 
 
 N. ALBRECHT. 
 
 The catalogue of Winckler's collection also furnishes the name 
 of this artist. 
 
 Itinerant Musicians at the door of a cottage, after Ostade. ' A r . Albrecht 
 fee' l-w. in 4to. 
 
 C. ALBRECHT. 
 
 An engraver of architecture at Berlin, says Heinecken, who 
 worked for the booksellers. I regret that he has not specified 
 any of his works, nor even informed us whether he lived in the 
 seventeenth, or the eighteenth century. 
 
 MANUEL ALBUERNE. 
 
 1790. 
 
 A Spanish engraver of moderate ability, one, as I suppose 
 of the school of Manuel Salvador Carmona, after the return of 
 that admired artist from Paris* to his native country. The 
 following is the only specimen of his burin that I have hitherto 
 met with. 
 
 The Pobtiiait of Murillo— bust in an oval : ' Retrato de Don Bartolome 
 Murillo, celebre Pintor, See. — Dibufado y Gramdo par Manuel sllbuerne, 
 J 790.' h. 8|, besides margin, w. 6-f. 
 
 HEINRICH ALDEGREVER. 
 
 1527 _/§5_1555. 
 
 Many of the early artists of Germany, and among them some 
 of the most accomplished, applied themselves chiefly to the en- 
 graving of very small plates ; and for that reason have long been 
 known under the title of ' the little masters.' In the foremost 
 rank of these we must place Aldegrever ; although, besides 
 his small prints, he also did a few portraits of more ample 
 dimensions. 
 
 We learn from the inscriptions on two portraits, engraved by 
 him of himself, that he was born, in 1502, at Soest in West- 
 VOL. I. G 
 
A L D 
 
 phalia : but the time of his death is not recorded ; and, indeed, 
 little else appears to be known of him, except that he studied 
 for some time under Albert Durer, and became a good painter, 
 as well as an engraver. 
 
 The prints of Aldegrever are dated from 1527 to 1555, and 
 are engraved with exquisite delicacy ; especially his latter per- 
 formances. But, in order duly to appreciate their beauties, it is 
 necessary to examine fine impressions of them, and these are of 
 rare occurrence. In respect of design, they are not exempt 
 from the faults of the school in which he was educated ; parti- 
 cularly in the draperies, which, like those of Durer, are too 
 much subdivided by small angular foldings, resembling those 
 produced in the bendings of wet paper. 
 
 The following catalogue of Aldegrever's engravings contains, 
 like that of Bartsch, two hundred and ninety pieces ; and I write 
 with by far the greater portion of the prints before me. All ot 
 them are marked with the monogram represented above ; and, 
 in order to economize my pages, I adopt the following abbrevia- 
 tions ; by which I shall be enabled, in a very small space, to 
 point out the particular place which this monogram occupies in 
 each ; which, added to the subject, and dimensions, will render 
 the recognition of any particular engraving described, easy to 
 the reader. 
 
 Abbreviations used in this Catalogue: Mon. for 
 monogram ; r, for right ; 1. left ; t. top ; b. bottom ; c. corner ; m. 
 middle. Where the monogram is accompanied by the date, as is 
 often the case, it is added. Thus, mon. 1540, r. c. t. will be 
 under-stood to mean that the monogram, with the date 1540, is 
 at the right corner of the print, at top ; and so forth. 
 
 ETCHINGS. 
 
 1. An Old Man, crowned with Vine-leaves, bust in front. Mon. 1528, 
 1. c. t. At b. on a tablet : « Wan. dar. is/ &c. h. 3£. w. 2. (B. 187.) It is 
 very spirited. 
 
 2. Orpheus and Euridice. Mon. 1528, r. c. t. h. 3. w. 2. (B. 100.) 
 
 3. A Standard-Bearer, marching, with a goose in the left hand and his 
 standard in the right. Mon. 1528, 1. 1. A. 3£. w. 2. (B. 176.) 
 
 PORTRAITS. 
 
 4. H. Aldegrever, Himself, bust in a broad-brim'd hat. Mon. m. r. At 
 top: * Aldegrevers hec est, &c. Anno sue setatis xxvm/ and at bottom, 
 ' Anno Domini mdxxx. h. 5|. w. 4. (B. 188.) 
 
 5. Another Bust of Himself. Mon. m. 1. At bottom * Anno md.xxxvii. 
 Imago Hinrici Aldegrevers, Suzatien, &c. Anno etatis sue xxxv.' h. 7| 
 w. 5. (B. 189.) 
 
 6. Albert van der Helle, head and hands. Mon. 1538, m. 1. At bottom, 
 < Imago Alberti von der Helle anno sue etatis xxviii.' h. Tf. w. 5. (B. 186.) 
 
 7. Melancthon— bust, turned to the right. Mon. m. 1. At top: 4 Si Deus 
 pro nobis,' &c. At bottom : 1 Plurima qui relegis, &c. Philippus Melanthon, 
 md.xxxx.' h. 6\. w. 5. (B. 185.) 
 
 8. Martin Luther— bust, turned a little to the left. Mon. m. r. At top : 
 
ALD 
 
 • Jacta curam,* Ac. and at bottom: * Asservit Christum, Ac. Martinus 
 Luther us, md.xxxx. h. Gj. w. 4|. (B. 184.) 
 
 9. Wilhelm Duke de Juliers — half figure, the face turned towards the 
 right. Mon. m. r. At top : * Van Gottes Genaden Wilhelm, &c. At bottom : 
 ' Bis duo lustra, &c. — Hinricus Aldegrever Suzatien. faciebat. Anno md.xl.' 
 h. 12$. w. 8f. (B. 181.) 
 
 In a second impression the inscription : * In imaginem illustriss. Princip. 
 Juliae,' &c. is added at bottom. In a Third we have also at bottom : 
 1 HN EAAAXON/ &C. 
 
 10. Jon an. van Leiden, king of the Anabaptists at Munstcr, half figure, 
 turned to the left. Mon. m. 1. At top: « Johan. van. Leiden, Sec. At bot- 
 tom : * Haec facies, hie cnltus, erat cum septra tene, &c. — Henricus Alde- 
 grever Suzatien , faciebat, Anno, mdxxxvi,' &c. h. 12$. to. 8f. (B. 182.) 
 
 In the first impressions of this plate the first line of the inscription at 
 bottom is as above described ; in the second, the letters * re,' are added over 
 the word * tene/ 
 
 11. Bern. Knipperdolling, also a chief of the Anabaptists at Minister, 
 half figure, turned to the right. Mon. m. r. At top : * Waerhaftich,' &c. 
 At bottom : 4 Ignotus nullis Knipperdollingius, &c— Hinricus Aldegrever 
 Susatien. faci, 1536/ h. 12. w. 9. (B. 183.) 
 
 The above portraits are capital performances, and are all, more or less, rare. 
 
 SACRED AND DEVOTIONAL PIECES. 
 
 12. The History of the Fall of Man, 1540. Six pieces not numbered. 
 h. 3|. w. 1\. (a) The Creation of Eve. Mon. 1540, L c. t. (6) God prohi- 
 biting to Adam and Eve the fruit of the Tree of knowledge. Mon. 1540, r. 
 c. b. (c) They eat the forbidden fruit. Mon. 1 540, r. c. t. (d) They are 
 reproved by the Almighty. Mon. 1540, 1. c. t. (e) They are driven from 
 Paradise. Mon. 1540, r. c. t. (f) Adam labouring, and Eve nursing Cain. 
 Mon. 1540, m. t. (Bartsch 1 — 0.) This set is I think one of Aldegrever's 
 most beatiful works. 
 
 13. Adam and Eve with the forbidden Fruit, 1529. Two piecei, single 
 figures, standing. Mon. 1529, 1. c. b. on each. h. 3^. w. 1\. (B. 9. 10.) 
 
 14. The same Subjects, no date. Single figs., standing, (a) Adam. Mon. 
 r. (6) Eve. Mon. 1. (B. 11. 12.) h. 3$. w. 2£. 
 
 15. The Same, 1551. Single figs., standing, (a) Adam. Mon. 1551, 1. c. t. 
 {b) Eve. Mon. 1551, r. c. t. (B. 7. 8.) h. 2£. tc. 1$. 
 
 16. The History of Lot, 1555, in four pieces, not numbered, h. 4$. w. 3$. 
 (a) Lot receiving the three angels. Mon. 1555, 1. c. b. (b) The people of 
 Sodom threaten them violence. Mon. 1555, r. b. (c) Lot and his family led 
 by the angel out of the city. Mon. 1555, in. t. (</) Lot and his daughters 
 in the cave. Mon. 1555, r. c. b. (B. 14 — 17.) 
 
 17. Lot and his Daughters. Mon. 1530, 1. t. h. 3j. u\ 2J. (B. 13.) 
 
 18. The History of Joseph, 1528 and 1532, four pieces not numbered. 
 h. 4£. w. 3. (a) Joseph telling his dream. Mon. 1532, r. b. (b) Joseph and 
 Potiphar's wife. Mon. r. b. the date 1532, on the I. (c) He is accused before 
 Pharaoh. Mon. 1532, m. t. (</) His brothers purchasing corn in Egypt. 
 Mon. b. The date 1528 on the r. (B. 18—21.) 
 
 19. The History of Ammon and Tamar, 1540. Seven pieces not num- 
 bered. The title at the top of each. h. 4 J. w. 3. (a) Amnion informing 
 Jonadab of his passion for Tamar : ' II. Keg. XIII. Jonadab ait,' &c. Mon. 
 1540, r. b. (b) Ammon forces Tamar: * II. Reg. XIII. Ammon vi oppres- 
 sit Thamar/ Mon. 1540, r. b. (c) He sends her away with contumely : 
 
 * II. Reg. XIII. Thamar scidit,' &c. Mon. 1540, m. b. (rf) She complains 
 to Absalom : * II. Reg. XIII. Absalom consolator Thamar/ Mon. 1540, 1. 1. 
 (e) Absalom invites King David and his brothers to a feast: 1 II. Reg. XIII. 
 Tonduntur,* &c. Mon. 1540, 1. c. b. (J) Ammon is killed at the feast : * II. 
 Reg. XIII. Absalom occidit/ &c. Mon. 1540, 1. b. (g) David rending his 
 garments, upon learning the death of Ammon : * II. Reg. XIII. Rex scitlit 
 vestimenta/ &c. Mon. 1540, r. b. (B. 22—28.) 
 
 G 2 
 
ALD 
 
 20. The Judgment of Solomon, 1555. Mon. 1555, r. b. In margin : 
 ' Salomon causam/ &c. h. 4f. w. 3&« (B. 29.) 
 
 21. The Story of Susanna, 1555, four pieces, not numbered, h. 4£. w. 3£. 
 . (a) Susanna bathing. Mon. 1555, m. b. (b) She is accused by the two 
 
 Elders. Mon. 1555, 1. c. b. (c) They are convinced of false testimony by 
 Daniel. Mon. 1555, 1. b. (rf) They are stoned to death. Mon. 1555, r. 
 (B. 30—33.) 
 
 22. Dalilah cutting off the hair of Sampson, 1528, two circles, diam. 
 2 inches. In one, the Mon. 1528, r. In the other, Mon. 1528, m. t. 
 (B. 35. 36.) 
 
 23. Bathsheba, Bathing. 1532. h. 6f . w. 4|. Mon. 1532, 1. 1. (B. 37.) 
 
 24. The Annunciation, and the Nativlty, 1553, two pieces, h. 4£. w. 2|. 
 On the first, Mon. 1553, r. t. On the second, Mon'. 1553, m. b. (B. 38. 39.) 
 
 25. The Parable of the Good Samaritan, 1554, four pieces, numbered 
 in the marg. on the right. 4£. h. 3£, incl. marg. with inscription. (1) The 
 traveller is spoiled by robbers. Mon. 1554, m. b. ' Homo descendens/ &c. 
 (2) He is succoured by the Samaritan. Mon. 1554, r. c. t. * Sacerdos et 
 Levita/ &c. (3) The Samaritan places him on his mule. Mon. 1554, m. b. 
 ' Samaritanus impositum,' &c. (4) The Samaritan pays money for his sup- 
 port upon leaving the Inn. Mon. 1. b. i Samaritanus proficiscens,' &c. 
 (B. 40— 43.) 
 
 26. The Parable of the Rich Man and Lazarus, 1554, five pieces, 
 numbered at top. L 4g> h. 3£, incl. marg. with inscription. (1) The rich 
 man at table, surrounded by attendants. Mon. 1554, t. * Dives Epulo,' &c. 
 (2) Lazarus lying at his door, &c. Mon. 1554, 1. b. Upon another tablet: 
 * Aide Grave in Susato Fecit.' Inscr : * Erumnosus hie Lazarus,' &c. (3) The 
 rich man dying. Mon. 1554, r. t. ' Dives Epulo extremum,' &c. (4) He is 
 brought by the devils to hell. Mon. 1554, r. c. t. 4 Divitem Epulonem,' &c. 
 (5) He sees Lazarus in Abraham's bosom. Mon. 1554, 1. 1. 4 Dives Epulo 
 flammis/ &c. (B. 44—48.) 
 
 These two sets of prints are among Aldegrever's most admired works ; they, 
 and a few others, have been so well copied as to deceive inexperienced 
 collectors. 
 
 27. Christ on the Cross, with, below, the Madonna, St. John, &c. Mon. 
 1553, 1. b. At top : « Sic dicit Dominus,' &c. h. U. tv. 2£. (B. 49.) 
 
 28. The Madonna, with the Infant in her arms, standing on a crescent. Mon. 
 1527, r. b. h. 3£. w. 2\. (B. 51.) This is very like Albert Durer. 
 
 29. The same Subject, Mon. 1553, r. t. h. 4±. w. 2f. (B. 50.) 
 
 30. The Madonna seated with the Infant in her Arms. Mon. 1553, 
 m. t. A. 4£. w. 2£, (B. 52.) 
 
 31. The same Subject, four different designs, 1527. h. 2f, to 2£. w. 2. 
 (a) Mon. 1527, r. c t. (b) Mon. 1527, 1. c. t. (c) Mon. 1527, r. c. b. (d) 
 Mon. 1527, 1. c. t. (B. 53— 56.) AH these have much of Albert Durer's 
 
 32. The four Evangelists, seated in the clouds, four pieces, after the 
 designs of G, Pens. The mon. 1539 at the top of each. They have also the 
 cypher of Pens. h. 4|. w. 3. (B. 57—60.) 
 
 33. St. Christopher with the Infant Christ on his shoulders. Mon. 1527, 
 r. b. (B. 61.) h. 3. 
 
 SUBJECTS OF PROFANE HISTORY AND HEATHEN 
 MYTHOLOGY. 
 
 34. The Labours of Hercules, thirteen pieces, not numbered ; each with 
 two latin verses in the margin, and each marked with the monogram joined to 
 the date 1550. h, 4£, inch marg. w. 2f . (a) Hercules when an infant de- 
 stroying the two serpents : ' Amphitrioniades geminos/' &c. (b) Hercules 
 killing the Nemean lion : < Belua vasta Leo/ *Scc. (c) Hercules and Cacus : 
 i Oppetit Herculeo/ &c. (</) Hercules killing the Hydra : '* Pra^lialernac/ &c. 
 
 manner. 
 
ALD 
 
 (e) He conquers Cerberus : 4 Sponte petit,' &c. (f) Hercules and Anteus : 
 
 * Te premit Addephagus,' &c. (g) He conquers Achelaus : * Herculeo prae- 
 mente,' &c. (h) He kills the dragon of the Hesperides : ' Frugibus extincto,' 
 &c. (i) He assists Atlas to support the universe : ' MHX/9? aetherii,' &c. 
 (k) He protects Hippodamia from tbe Centaurs : 4 Muletat Centauros,' &c. 
 (/) He kills the Centaur Nessus : * Nessus adulterio,' &c. (m) Hercules 
 bearing on his shoulders the two Columns, which mark the boundary of his 
 travels : 4 Virions evulsas,' &c. (n) Hercules subduing the stag, and the 
 death of Hercules : * Veste venenata,' &c. (B. 83 — 95.) 
 
 35. Hercules and Anteus. Mon. 1529, 1. b. h. 4$. w. 3. (B. 9G.) 
 
 36. Hercules killing the Nemean Lion, a circle, diam. 2 inches. Mon. 
 r. t. (B. 97.) 
 
 37. The Judgment of Paris. Mon. 1538, 1. t. h. 3£. w. 2J. (B. 98.) 
 
 38. Paris, with Venus and Cupid. Mon. 1551, r. t. In marg. : 4 Dubium 
 amorem Paris,' &c. h. 3£, inch marg. w. 2. (B. 99.) 
 
 39. Thisbe discovering Pyramus dead, a circle, diam. 2^. The mon. on 
 the pedestal of a vase. (B. 101.) 
 
 40. Thisbe stabbing herself. Mon. 1553, r. b. At top in a tablet: 
 
 * Thisbe, ob mortem pyrami sui proci, se ipsam gladio confodit. h. 4§. w. 3. 
 (B. 103.) 
 
 41. Jason and Medea. Mon. 1529, 1. b. At top on the r. : 4 Yason et 
 Medea.' h. 4f. w. 3. (B. 65.) 
 
 42. Hector combating with the Trojans against the Greeks. Mon. 
 1532, m. b. A frieze. /. 5. h. 2£. (B. 70.) 
 
 42. Rhea Sylvia; a naked figure, standing; on the left a man carrying away 
 her two children. Mon. 1. t. and Inscr. : * Esa. 14. Quod dns, Sec. — Rhea, 
 Romulus, Remus.' h. 5§. w. 3£. (B. 66.) 
 
 44. Mutius Scevola before Porsenna. Mon. 1530, r. b. h. 5£. w. 4|. (B.69.) 
 
 45. Curtius on Horseback, leaping into the Gulph. Mon. 1532, r. t. 
 and Ins. : * Conperta Romana historia,' &c. h. 6. w. 4 J. (B. 68.) 
 
 46. Tarquin and Lucretia. Mon. 1539, r. b. with the mark of G. Pens as 
 designer, h. 4| w. 3. (B. 63.) 
 
 47. The same Subject. Mon. 1553, 1. b. In marg. : * Lucretia a S. Tarq.' &c. 
 h, 4£, 10. 2|. (B. 64.) 
 
 48. Titus Manlius ordering the Decollation of his own Son. Mon. 
 1553, m. b. At top : 1 Titus Manlius filium,' &c. h. 4£. to. 2j. (B. 72.) 
 
 49. Battle between the Armies of Hannibal and Scipio, a frieze. 
 1538. Mon. m. On the left, ' Hannibal;' on the right: 1 Au. Cor. Scipio.' 
 
 8*, h. 2. (B. 71.) 
 
 50. Sophonisba, taking the Poison sent by her husband Massinissa. Mon. 
 1553. 1. b. At top : * Massinissa Scipionis consilio,' &c. h. 4 1 . w. 3. (B. 62.) 
 
 51. An Old Man in Bed, cutting the Throat of his Son. At top: 
 4 Pater, nepus suam mortem, filius degenerans,' &c. Mon. 1.*)j3. I. b. h. 4|. 
 w. 3. (B. 73.) 
 
 52. The Seven Planets. 1533. Seven pieces, h. 3 J. w. 2 1 . (a) Sol, * Gar* 
 inoffenso radios,' &c. Mon. r. (b) 4 Luna, 1533,' at top. Mon. 1. b. 
 (c) 4 Mars,' at top, and Mon. (d) 4 Mercurius,' at top. Mon. 1533, r. b. 
 (e) 4 Jupiter, 1533,' at top. Mon. b. (/) 4 Venus, 1533,' at top. Mon. 
 r. b. (g-) 4 Saturnus, 1533,' at top. No monogram. (B. 74— 80.) 
 
 53. Diana, and Mars, two pieces, (a) 4 Luna,' with mon. 1. near the top. 
 h. 3£. w. 2. (b) 4 Mars,' on the right. Mon. 1529, r. b. h. 3. w. 2J.(B. 81.82.) 
 
 ALLEGORICAL AND MORAL PIECES. 
 
 54. The Virtues and Vices, represented by female figures, standing, four- 
 teen pieces, numbered at top, each with a title, and all with date 1549 accom- 
 panying the monogram except the last. h. 2£. u>.l£. (1) 4 Concordia.' 
 
A LD 
 
 Mon. r. b. (2) * Pax/ Mon. !. t. (3) 1 Diligentia.' Mon. r. b. (4) < For- 
 tUNA.' Mon. r.t. (5) ' Diviti^.' Mon. r. t. (6) < Socordia.' Mon. r. t. 
 (7) ' Luxuria/ Mon. r. (8) * Lascivia.' Mon. r. t, (9) ' Invidia.' Mon. 
 r.t. (10) * Ira.' Mon. Kb. (11) ' Paupertas.' Mon. r. b. (12)' Pa- 
 cientia.' Mon. 1. b. (13) * Gauihvm.' Mon. r. t. (14) Christ. ' Pax 
 nostra Christus/ Mon. 1550 r. (B. 103—110.) 
 
 55. The Virtues and Vices, 1552, fourteen pieces; the former represented 
 by female figures standing, each with a banner ; the latter by female figures, 
 with banners, seated upon different animals. The date 1552 7 accompanying 
 the monogram, is upon each; and each has two latin verse* in the margin. 
 k. 4. inch marg. w. 2£. (a) Humility. Mon. r. * Pectora hetifero/ cScc. 
 
 (b) Christian Love. Mon. 1. t. ' Viribus invidiam,' &c. (c) Patience:. 
 Mon. 1. b. 4 Dotibus herois Patientia/ &c. (d) Chastity. Mon. r. ' Casta 
 pudicitiae,' &c. (e) Charity. Mon. Lb. * Viribus Invidiam,' &c. (/) Dili- 
 gence. Mon. r. ' Gandiater sancti,' &c. (g) Pride. Mon. 1. c. b. * Prima 
 nefandarum/ &c. (A) Envy. Mon. 1. c. t. ' Sqalida livoris," &c. (i) An- 
 ger. Mon. m. t. ' Prvecipiti nullus furor,' &c. (/c) Lasciviousness. Mon. 
 I.e. b. ' Depremit ingenn.is/ &c. (/) Gluttony. Mon. I. t. * Inglunie 
 sus/ &c. (m) Avarice. Mon. m. b. * Proditor infidus raptor,' &c. (;.) 
 Sloth. Mon. r. b. * Fceda pusillanimes,' &c. (B. 117— L30.) This set pf 
 prints is full of beauties. 
 
 56. Faith, &c, four pieces, half figures, each with mon. and date 1528. h. |. 
 tv. 2\ to 2^. (a) Faith, embracing the cross with her left hand, and h< ig 
 a chalice in her right. Mon. I.e. t. (6) Fortitude, ' Fortitudo.' Mow L t. 
 
 (c) Intemperance. She caresses a goat with the right hand, and lias a 
 serpent in the left, Mon. 1. c. t. (d) Judith with the Head of Hoi D- 
 phernes. Mon. r. c.t. (B. 34—131, 132, 133.) 
 
 57. Fortune, represented by a naked female with wings, standing in the 
 clouds upon a globe ; a vase in her right hand, and a bridle thrown over her 
 arm. Mon. 1555, r. t. A. 4|. w. 3$. (B. 143.) 
 
 58. The Remembrance of Death ; a naked female, with an hour-glass in her 
 left hand, standing and turned towards the right. On a globe; * Respice 
 finem/ Mon. 1529, r. c. t. A. 4|. iv. 2%. (B. 134.) 
 
 59. The Dominion of Death, to which all arc subjected by the sin of our first 
 parents; eight pieces, numbered on the r. in the margin. The monogram, 
 with date 1541, is on each, and each has an inscription of three or four lines 
 in the margin. A. 3, incl. marg. w. l|. (1) The Creation of Eve ; * For- 
 mavit Dns. Deus/ &c. Mon. r. c t. (2) Adam and Eve eating the For- 
 bidden Fruit; ' Qua audisti,' &c. Mon. i. c. t. (3) They are driven 
 out of Paradise ; Death attending them; 1 Eniisit eum Dominus/ &c. 
 Mon. 1. 1. (4) Adam labouring; accoro anied by Death ; ' Maledicta ter- 
 ra,' &c. Mon. r. t. (5) Death seizing Tiara of the Pope ; k Moria- 
 tur sacerdos magnus,' &c. Mon. m. t. (6J Fhe Cardinal, selling Indul- 
 gences, is accosted by Deatk ; ' a* qui j;<stiiicatis/ &c. Mon. r. b. 
 (7) A Bishop led off by Death ; ' Percutiatn pastorem,' &e. Mon. m.t. 
 (8J The Ablct seized by Death ; * ipse moiietur,' &c. Mon. r. b. 
 (B. 135—142.) 
 
 FAMILIAR AND FANCY SUBJECTS. 
 
 CO. The Marriage Procession, twelve pieces, nnmbered at the right or left 
 corner, at top; the monogram, with date 1538, occupying the other upper 
 corner. The procession moves to the left. A. 4|. w. 3. to 3£. (1) A man 
 with a wand in his right hand, accompanied by a dog. (2) Two men with 
 torches. (Nos. 3 to 11, inclusive) A Gentleman and a Lady in each. (12) 
 Three Men playing on wind instruments. (B. 160 — 171.) This set is very 
 interesting for the dresses. 
 
 61. Another Marriage Procession, or Dance, eight pieces, not num- 
 bered, each marked at the right or left upper corner, with mon. and date 
 1538. A. 2£. w. l£. The first piece represents two musicians, standing, one 
 playing the violin, the other the guitar. In each of the others are a gentleman 
 and a lady. (B. 144—151.) 
 
A L D 
 
 03. Another ; eight pieces, numbered on the right or left corner at top, the 
 monogram with date 1551 occupying the other upper corner, in each. h. 2£. 
 w. 1£. (No. I) represents three men playing on horns. In each of the others 
 are a Gentleman and a Lady. (B. 152 — 159.) 
 
 63. A Gentleman with a Lute, seated by a lady with a little dog on her 
 lap. A circle, diam. 2$. At top : 1537 ; the mon. b. (B. 172.) 
 
 64. Two Lovers, seated on the ground, the lady presenting an apple to the 
 gentleman. A circle, diam. 2, Mon. 1529, r. t. (B. 173.) 
 
 65. A Soldier, with a Vase of Fire, in die right hand, and in the left a 
 pail of water. Mon. 1529, r. c. b. h. 2£. w. If. (B. 174.) 
 
 66. A Soldier, Journeying, followed by his wife, and a boy carrying a 
 cock, copied after one by I. Binck. h. 2$. tc. 1J. (B. 175.) Bartsch says 
 nothing of its having the monogram. 
 
 67. An Officer with a Standard. Mon. 1540, r. b. (B. 177.) 
 
 68. A Monk with a Woman, (a) surprised by a man with a sword. Mon. 
 1530, m. h. 3$. tc. 2|. Very rare, (b) The Same, with variations, no 
 date or mon. h. 4$. tc. 3. (B. 178. 179.) 
 
 69. A Naked Woman sleeping on a Bed. Mon. 1553, r. t. * Nox et 
 Amor,' &c. a copy, reverse from one by H. S. Beham. h. 4£. tc. 3. 
 
 70. A Wild Man on Horseback, forcibly carrying off a Woman ; 
 a man pursuing them. Mon. 1530, r. t. h. 5 J. tc. 4 J. (B. 68.) 
 
 VIGNETTES, GOLDSMITH'S ORNAMENTS, &c. 
 Prints length-ways, without dale ; b ming with the Smallest. 
 
 71. Vignette (a) with foliage. :v!on. m. t. /. 2. h. 0J-. (16) An infant, with 
 stems of foliage, instead of legs and anus, &c. Mon. m. b. /. 2£. h. 1. 
 (<r) Two fish ; their tails ending in foliage. Mon. m. b. I. 2|. h. 0|. (d) Two 
 branches of foliage tied together in the middle. Mon. m. b. I. 2|. h. 0J. 
 (<) A figure with the head of a satyr and the breasts of a woman, between 
 two branches of foliage. Mon. m. b. /. 2$. h. Of. (/) Two branches of 
 foliage, proceeding from two trumpets. Mon. m. b. I. 23-. h. |Jk (g) A vase, 
 out of which proceeds foliage, and on either side a naked infant, standing. 
 Mon. m. b. I. 2|. h. 1±. (h) On the left a vase, out of which proceeds 
 foliage, on the right a naked infant, standing. Mon. r. b. I. 2 \ h. 1 i . 
 (t) An ornament of foliage, with a mask on each side. Mon. ra. t. /. 3. h. 1. 
 (fc) Two Syrens, back to back ; on each side foliage. Mon. m. b. I. 3. h. l£. 
 (0 Ornament of foliage. In the middle a round, with mon. /. 3}. /UOf. 
 (m) A Triton with two females, one on his left shoulder, the other on 
 his tail. Mon. 1. b. I, 3£. h. 2^. («) An ornament of foliage ; on the left 
 a female Centaur, half-figure, with an Infant. Mon. r. /. 3J. h. 2\. (o) An 
 ornament of foliage, in the middle a cuirass, on the left a mask, and on the 
 right a horse's skull. Mon. I. b. /. 3|. h. 1J. (p) Four Centaurs, each with 
 a woman on his back. Mon. in. t. I. 3i. h. 1J. (q) A group of children 
 dancing ; on the left two on horseback, blowing trumpets. Mon. m. t. /. 4. 
 h. 1|. (r) The alphabet, on a tablet, supported by two naked infants. Mon. 
 in. b. I. 4f , h. 3. (B. 190—206.) 
 
 Upright pieces, without date, 
 
 72. An Infant, («) kneeling on the right knee, and supporting a trophy. 
 Mon. 1. t. h. 2£. tc. 0£. (6) Two cupids supporting a globe. Mon. r. c. t. 
 h. 2 J. w. l£. (c) A cupid, with a vase in his arms, seated on a goat. Mon. 
 r. c. t. h. 2£. w. l£. (d) A Satyr playing the bagpipes, supported in the 
 air by two infants. Mon. r. t. h. 3. w. 1^. (e) A cupid with a trumpet in 
 the left hand, and in the other a piece of foliage, which rises to the top of 
 the piece. Mon. r. b. h. 4f . w. 0$. (/) Two cupids, holding each other by 
 one hand, and having a club in the other. Above, a vase, with ornaments, 
 on which are three other cupids supporting a bear upon a round shield, from 
 which is suspended a tablet, with mon. h. 5£. w. If. (g) Design for the 
 sheath of a dagger. At top, a naked man standing, and turned a little to- 
 wards the right ; at bottom, foliage. Mon. 1. c. t. h. 6g. w. at top, 1|, at 
 
A L D 
 
 bottom, 0$. (h) Another dagger-sheath. At top, a naked woman ; at bot- 
 tom, foliage. Mon. r. c. t. Same size, (i) Another dagger-sheath. At top 
 a gentleman standing, with a hawk on his left hand ; at bottom, foliage. Mon. 
 1. c. t. Same size, (k) Another dagger-sheath. At top, a lady standing in 
 profile, turned to the left, with a flower in her right hand ; at bottom, foliage. 
 Mon. r. c. t. Same size. (B. 207— 21C.) 
 
 Vignettes, Ornaments, fyc, with date. 
 1522. 
 
 73. A Cherub's Head, and on each side a naked infant. Mon. 1522, 1. t. 
 I. 2$. h. 1. (B. 217.) He engraved the same subject, in 1532. I confess I 
 feel some doubt respecting this dated, or said to be dated, in 1522. 
 
 1527. 
 
 74. A Naked Infant, (a) a back-figure, between two dolphins. Mon. m. t. 
 The date on the left. I. If. h. Of. (b) The body of a woman, in the mid- 
 dle ; on each side a dolphin. Mon. 1. t. date, r. t. I. 2£. h. 1. (c) A vase, 
 and on either side an infant seated on a four-footed monster. Mon. m. b. 
 date, on the vase. I. 3. h. 1£. (d) In the middle, a vase, on each side an 
 infant riding on a dolphin. Mon. 1527, m. t. Same size. (B. 218—221.) 
 
 1528. 
 
 75. Vignette ; (a) in the middle a vase out of which proceeds foliage. Mon. 
 1528, m. I. 3. h. 1J. (b) A vase, under which are two females without 
 
 - limbs, back to back. Mon. 1528, m. b. Same dimensions, (c) A vase, and 
 under it a Siren. Mon. 1528, m. b. Same dimensions, (rf) The sheath of 
 a dagger. At top an officer with a standard; at bottom foliage. Mon. 1528, 
 r. t. h. 6g. w. at top, \\. at bottom, Of. (e) Another dagger-sheath. At 
 top, the harlot of Babylon, with a vase in her left hand, and the dragon 
 with seven heads at her feet; below a winged genius and foliage. Mon. 
 
 1528, 1. t. hi 6f. w. at top, 1 J, at bottom, Of. (B. 222—226.) 
 
 1529. 
 
 76. A Vase, (a) in the middle, out of which proceeds foliage. Mon. 1529, m. 
 /. 3. h. 1^. (b) Two winged infants standing ; that on the left, a back-figure ; 
 the other, seen in front, with foliage. Mon. 1529, m. I. 3^. h. 1^. (c) A 
 male and a female Centaur, fighting; their bodies terminating in foliage. Mon. 
 
 1529, m. t. I. 3|. h. 2£. (d) Two naked infants, holding each other by the 
 hand, that on the left, a back, the other a front figure, a vase and foliage. 
 Mon. 1529, m. b. h. 2f . to. If. (e) Three cupids supporting a bear upon a 
 round shield. Mon. 1529, m. Same size. The subjects of this and the last, 
 were engraved a second time by Aldegrever in one piece, in a reverse direc- 
 tion. (See above No. 72-/.) (/) The body of a man in a cuirass, with hel- 
 met, profile, turned to the right, terminating in foliage. Mon. 1529, m. b. 
 h. 3^. w. 2£. (g) At bottom a vase, over it a winged animal in a medallion, 
 and above two dolphins. Mon. 1529, r. b. h. 4f . w. Of. (h) The sheath of 
 a dagger. At top, David, naked, with the head of Goliath, below, foliage. 
 Mon. 1529, r. t. h. 6f. w., sit top, If, at bottom, Of. (i) Another dagger- 
 sheath ; at top, the executionor, having cut off the head of St. John ; below, 
 foliage, h. 6£. w. at top, If, at bottom, Of. (B. 227—235.) 
 
 1530. 
 
 77. A Piece of Ornament. Towards the top, two masks, turned towards 
 each other ; lower down, two monstrous fish. Mon. 1530, 1. b. lu 5|. w. If. 
 (B. 236.) 
 
 1532. 
 
 78. Vignette, (a) In the middle at bottom, a vase,**with ornaments pro- 
 ceeding from it. Mon. 1532, 1. t. w. 2|. h. 1|. (b) An ornament of foliage. 
 Mon. 1532, r. b. w. 2 J. h. If. (b*) Another. Mon. 1532, 1. b. Same size. 
 B. 289. (c) A Cherub's head, and on each side a naked infant. Mon. 1532, 
 r. t. ; the same design which, according to Bartsch, he had engraved in 1522. 
 See No. 73. /. 2J. h. 1. (rf) In the middle, two winged Sphinxes, back to 
 back; above each, a cornucopia, with foliage, &c. Mon. 1532, m. b. Same 
 
A L D 
 
 dimensions, (e) In the middle a man with ass's ears, seated : from the lowrr 
 and other parts of his body proceeds foliage. Mon. 1532, r. b. I. 2§. h. OJ. 
 (/) On the left a Satyr, crouching, with shield bearing mon. and date 1532: 
 the rest is foliage. /. 6L h. 1£. (g) In the middle a vase, from which pro- 
 ceeds foliage, &c. Mon. 1522, r. b. J. 7£. h. If. (h) An infant seated, 
 holding twigs of foliage with both his hands. Mon. 1532, r. c. b. h. 2f. tc. 2. 
 (i) Foliage. Mon. 1532, 1. b. h. 2£. w. 1. (k) At top, a back figure of an 
 infant standing, with his right foot upon a ball. At bottom, three other in- 
 fants, one of them holding a tablet, on the right, with mon. 1532. The rest is 
 foliage, h. 5|. w. If. (l) The sheath of a dagger: at top, a young man, 
 with a lady whom he holds by the hand ; below, foliage. Mon. 1532, r. t. 
 h. G£. w. at top, If, at bottom, Of. (w) Another dagger-sheath : at top, a 
 naked man with his right hand on the shoulders of a female ; below, among 
 other ornaments, a sphynx, a cat's head, and two masks. Mon. 1532, r. t. 
 Same size, (n) Another dagger-sheath : at top, a soldier caressing a naked 
 female; below, foliage. Mon. 1532, r. t. h. Of. w. at top, 1^, at bottom, 1. 
 (B. 23T— 249 and 289.) 
 
 1535. 
 
 79. The Letters of the Alphabet, (a) and on each side three naked 
 children. Mon. 1535, m. b. /. 4f. h. 3. (b) In the middle a Syren, from 
 whose lower parts proceeds foliage, and at each extremity, an infant. That 
 on the right holds a tablet with mon. 1G35. I. 5£. h. 1. (c) Thirteen naked 
 children, dancing a round, to the music of a violin and a trumpet, played by 
 two others, standing on the left. Mon. 1535, r. c. t. I. Q>\. h. 2^. (d) De- 
 sign for a dagger-sheath, with ornaments in relief. At top, the bust of a 
 warrior in a helmet, turned to the left : the sheath ends in a point. Mon. 1535, 
 1. b. h. 5f . to. at top, 1|, at bottom, 0£. (e) Another dagger-sheath of the 
 same kind. At top, the bust of a king, turned to the right. Mon. 1535, 1. b. 
 Same size. (/) At bottom, an infant on the back of a Sphynx which holds a 
 shield. Mon. 1535, 1. b. h. 6§. w. If. (g) An infant supporting another 
 who is seated on the ground, from which rise branches of foliage. Mon. 
 1535, r. t. h. 6f. w. If. (B. 250—25G.) 
 
 153G. 
 
 80. Two Infants (a) holding stems of foliage ; that on the left a front figure, 
 the other, in a back view. Mon. 1536, r. b. I. 5 J. h. 0£. (b) Three designs 
 for clasps, on the same plate. Mon. 1. t. date 153G, r. t. I. 6. h. If. (c) A 
 dagger, in its sheath, with ornaments in relief. In the upper part of the 
 sheath, a naked man and a naked woman, standing. Mon. 153G, r. t. h. 125? 
 w. 4|. (B. 257—259.) 
 
 1537. 
 
 81. Vignette, (a) In the middle, a front figure of a man and the back figure 
 of a woman, from which proceeds foliage, and at the extremities two infants, 
 their backs turned to each other. Mon. 1537, m. I. 6. h. l£. (o) Another, 
 with a man, a woman, and two infants. Mon. 1537, 1. b. /. 6. h. l£. (c) In- 
 fants combatting with bears, a frieze of many figures. Mon. 1537, r. c. t. 
 I. 9$. h. 1. (d) Design for a clasp for a girdle. Mon. 1537, 1. h. 5f. w. 2J. 
 The first impression has the ground white ; in the second it is covered with 
 horizontal strokes of the burin. (<?) Design for the end of the sheath of a 
 sabre. Mon. 1537, 1. h. 5f. to. 2f . (/) A dagger, in its sheath. Mon. 1537, 1. 
 /i. 12? w. 3i ? (B. 2G0— 2G5.) 
 
 1539. 
 
 82. An Infant (a) in the middle of a piece of foliage. Mon. 1539, 1. b. I. 3|. 
 h. ]£. (b) Infants endeavouring to throw two of their companions into a 
 well, against which rests a tablet with mon. The date 1539, 1. t. Same size. 
 (c) Two spoons, crossing each other. Mon. 1539, 1. I. 3$. h. 2f. (</) The 
 bust of an Emperor in profile, turned to the right ; on each side an infant 
 with a horn, from which proceeds foliage. Mon. m. Date 1539, 1. b. /. 5£. 
 h. 0^. (e) A dagger in its sheath, with ornaments in relief. At the upper 
 part of the sheath, a naked man treading on another whom he is striking 
 with a stone in a sling. Mon. 1539, within this subject, h. 121. tc. 3A. 
 (B. 2GG— 270.) 
 
 VOL. 1. H 
 
A L D 
 
 1549. 
 
 83. A.N Ornament of Foliage, (a) with two infants; one in the middle, the 
 other, on the left, holding a tablet with mon. 1549. I. 3^. h. If. (b) Gro- 
 tesque ornament ; a mask, between two cornucopia ; above, two eagles ; and 
 underneath, two satyrs. Mon. 1549, r. t. h. 2f . w. 2. (c) Another — in the 
 middle, a mask ; above, a satyr ; and below, a sphynx, and another satyr, with 
 an infant on his shoulders, &c. Mon. 1549, 1. b. Same size, (d) Another — in 
 the middle, a mask ; below, a satyr and an old man with his head veiled, &c. 
 Mon. r., date 1549, 1. Same size, (e) Another — in the middle, at bottom, 
 a female satyr, seated on a helmet, extending her arms, upon each of which 
 is perched a bird, &c. Mon. 1549, 1. b. Same size. (/) In the middle, 
 two sphynxes upon a tablet with mon. 1549, and below two lizards, h. 3|. 
 w. If. (g) An ornament, in which are two male and two female satyrs. Mon. 
 1549, I. b. h. 3^? w. If. (h) A satyr with two infants on his knees. Mon. 
 1549, m. h. 4£. w. If. (B. 271—277. 279.) 
 
 1550. 
 
 84. An Infant seated, (a) with a trophy of books in the right hand, and a 
 laurel crown in the left. Mon. 1550, r. t. h. 2£. w. Of. (b) Grotesque or- 
 nament : in the middle a mask, at top two infants, and at bottom a male and 
 female Centaur, the latter playing the violin. Mon. 1550, 1. h. 2|. w. 2. 
 (c) Another — in the middle a trophy, surmounted by a bat ; and below a 
 male and female satyr. Mon. 1550, U b. Same size. (B. 280—283.) 
 
 1552. 
 
 85. An Ornament of Foliage (a) which proceeds from two dolphins' heads 
 at the bottom of the print. Mon. 1552, m. b. h. 5^. w. If. (b) Another: 
 in the middle a mask ; at bottom a satyr, from the legs of which rises foliage. 
 Mon. 1552, m. t. Same size, (c) Another — foliage rising from a vase; in 
 the middle a mask ; and, above, a tablet with Mon. 1552. h. 5f. w. 2. (d) 
 Another — at bottom, two sphynxes ; in the middle two cornucopia ; and, 
 above, a mask. Mon. 1552, m. b. Same size. (B. 283—286.) 
 
 1553. 
 
 86. A Vase, (a) surmounted by foliage; on the left a Centaur with the legs of 
 a bull, and on the right a female with the legs of a lion. Mon. 1553, m. t. 
 h. 3£. xv. 2. (b) A cuirass at bottom, from which proceeds foliage. Mon. 
 1553, m. t. h. 5f. w. If. (B. 287. 288.) 
 
 A Wood-Engraving. 
 
 87. A man walking towards the right, where are two men standing who seem to- 
 be his attendants. He has a stick in the right hand, and points with the other 
 to a woman who is kneeling and appears to implore his succcour. In the 
 background is a round tower. Mon. 1. t. Bartsch, p. 455, says it is very 
 well engraved, h. 5f . w. 3|. 
 
 I have only to add, concerning this artist's works, that it 
 appears certain that the large print, commonly called * the 
 bath of the Anabaptists,' and which bears the monograms of 
 Aldegrever and Virgilius Solis, was engraved by Solis after a 
 picture or drawing by Aldegrever; and that the subject was 
 never engraved, as some have asserted, by Aldegrever's own 
 hand. 
 
 H. VAN ALDE, or ALDEMUND. 
 
 1650. 
 
 Heinecken styles this artist a painter and engraver of por- 
 traits, who resided at Amsterdam. We have, he adds, 
 
 1 The Portrait of Gaspar de Charpentier ; an Ecclesiastic of Amster- 
 dam, engraved by him in 1650.' 
 
ALE 
 
 A very coarsely engraved halt-length portrait of this person is now before 
 ine. He is represented in an arm-chair, with a book open before him upon a 
 table, and looking towards the spectator. Upon the margin, which is two 
 inches in depth, we have : 1 Gasparns de Carpentier, Geboren tot Dordrecht, 
 beroepen tot Stydrecht A°. 1636, tot Amersfoort Ao. 1645, tot Amsterdam 
 A°. 1650 in April,' and four Dutch verses. On the left: * H. van Aide J 
 pinxit,' no fecit, or sculpsit, ' Frans Carelse excud.' Although very unlike 
 the work of a painter, it is probably the print of which Heinecken speaks. 
 h. II |, including margin, iv. 8£. 
 
 MANUELE ALEGRE. 
 
 c. 1780? 
 
 A Spanish engraver, who worked under Manuel Salvador 
 Carmona, and whose name I find to the following prints, part 
 of a very interesting series of portraits of illustrious Spaniards. 
 They are neatly executed ; but it will be seen, from the accom- 
 panying inscriptions, that most of them received the last touches 
 from Carmona himself. 
 
 ' D. Josef Pellicer,' (a) a Spanish historian. 1 I. Maea lo dibuxo — M l . Ale- 
 gre lo grabo — D. M 1 . S r . Carmona lo concluyo.' (b) D. Francisco Valles/ 
 physician to Philip II. ' I. Maea lo dibuxo. — Ml, Alegre lo grabo. — Concluida 
 p r . D. Ml. S r . Carmona.' (c) ' Antonio Perez, sublime Estadista, &c. 
 I. Ximeno lo dibuxo. — MK Alegre lo grabo. — D. M 1 . S r . Carmona lo concluyo.' 
 (rf) ' Josef Rivera, Pintor, Sec. — Murio en Napoles por los anos de 1656, 
 a los 67 de su edad. — I Maea lo dibuxo. — M. Alegre lo grabo.' (e) 1 Bar- 
 tolome de Murillo, Pintor, &c. — I. Maea lo dibux6. — Mi. Alegre lo 
 grabo. — D. M 1 . S r . Carmona lo concluyo.' 
 
 These portraits are all half-lengths, within ornamented frames, h. besides 
 margin, 11 A. w. 7\. 
 
 F. ALEN, See F. Allen. 
 MATTEO PEREZ DI ALESIO, or D'ALLECIO. 
 
 1582. 
 
 Baglione gives a short account of this artist, under the name 
 of Matteo da Leccio, among those painters who worked in Rome 
 during the pontificate of Gregory XIII, and further particulars 
 concerning him are to be found in the Spanish writers ; for 
 Matteo, though born, it is said, at Rome, practised the art 
 for some time in Spain, and was probably of Spanish extraction. 
 His works at Rome are described by Baglione as being in a 
 bold style, something like that of Francesco Salviati, and as 
 having considerable relief and force of effect. He states also 
 that Matteo executed various considerable works at Malta ; and, 
 if we may depend on the accuracy of Heinecken, these, or some 
 of them, were done in 1565. 
 
 It appears that about 1583 he visited Spain, taking with him 
 numerous studies which he had made from the works of Michel- 
 angiolo Buonaroti; a circumstance which, joined to a certain 
 boldness of character in his figures, probably gave rise to the 
 belief that he had been educated in the school of that great artist. 
 
 One of the principal works executed by Matteo, during his 
 stay in Spain, was a colossal figure of St. Christopher travcrs- 
 
 H 2 
 
ALE 
 
 ing a river, as usual, with the infant Saviour on his shoulders, 
 in the cathedral at Seville ; which work was finished in 1584. 
 This large figure was much admired by the Spaniards ; more, it 
 appears, than the unassuming artist thought it deserved ; for he 
 one day said to Louis de Vargos, a Spanish painter who had 
 lately finished an extensive work in which among other figures 
 were those of Adam and Eve, that one of the legs of his Adam, 
 was worth more than his own St. Christopher ; * Piu vale la tua 
 gamba che mio S. Christophoro.' It appears that he painte d 
 some considerable works for the churches in South America, 
 and indeed Baglione states that he died there. But the Spanish 
 writers suppose him to have done them during his residence at 
 Seville ; adding that he returned to Rome, where he died in the 
 year 1600. 
 
 Heinecken, referring to Velasco, states that Alesio is said to 
 have made some etchings after his own designs, but that he 
 had never seen any of them. The author of a more recent work 
 entitled : ' Diccionario, &c. de las Bellas Artes en Espana,' also 
 speaks of his etchings, which he describes as very rare ; speci- 
 fying one of them, representing 
 
 1. St. Rock, measuring nine inches and a half in height, by six in width, which 
 he says is much celebrated and sought for. 
 
 I am glad to be enabled to enrich this article with the description of another 
 very capital performance by the hand of this master, which we may conclude 
 is of extreme rarity, as it has escaped the notice of all writers upon prints. 
 
 2. A MAGNIFICENT AlTAR~PIECE, ENRICHED BY TWO COLUMNS AND TWO 
 PILASTERS OF THE CORINTHIAN ORDER, AND CONTAINING, IN VARIOUS 
 COMPARTMENTS, THE HlSTORY OF St. JOHN BAPTIST. 
 
 The principal compartment, in the centre between the two columns, repre- 
 sents John baptizing Christ. On the left, in three small spaces, between the 
 column on that side and one of the pilasters, are represented, the vision of 
 Zacharias in the temple, the birth of St. John, and the meeting of Mary and 
 Elizabeth. In corresponding spaces, on the other side, we have, John ex- 
 horting his disciples, the daughter of Herodias dancing before Herod, and 
 the decollation of the saint in prison. Near the top, over the principal com- 
 partment, John is represented preaching to the multitude in the wilderness, 
 and at the right and left are four other designs of smaller dimensions, two 
 on each side. 
 
 At the top of the print, between two little angels blowing trumpets, is an 
 oval shield with inscription : * Inter natos mulierum non surrexit major. 
 Matth. XI.' Under the chief picture we read : ' Ego vox clamantis in deserto,' 
 &c. and upon one of the steps of the altar : ' Matthaeus Perez de Allecio 
 inventor, incidebat. Romce. cum privilegio. Greg, XIII. Pont, Max. AD. X. 
 
 MDLXXXI1.' 
 
 The margin is divided in the middle by a coat of arms. On the left is a 
 Dedication of three lines : ' Ill m o. et excell mo . D. Joanni Georgio Caesarino, 
 &c. — Operis sui, in Ara majori, Ecclae S. Joannis, Melitae facti, exemplar, 
 typis ameis expressum, Matthaeus Perez de Allecio pictor. D. IV and on the 
 right are six latin verses. ' Nomen Joannis,' &c. On two large plates, joined. 
 h. 28£. tv. lSTf, 
 
 This print is etched throughout with a good deal of care, and neatly 
 strengthened in the darker parts with the graver. It is not improbable that, 
 in the architectural portion of the work, Matteo may have called in the aid 
 of some professed engraver. I am obliged to add that, although the groups 
 in the different compartments are sufficiently well composed, the drawing of 
 the naked parts of the figures, especially in the larger compartment in the 
 
ALE 
 
 centre, is not such as, from the reputation of the artist, I should have been 
 led to expect. I conclude that he was better skilled in the use of the 
 brush than of the pen or crayon; and, notwithstanding the above defects of 
 drawing, can readily imagine that this rich piece of architectural and picto- 
 rial decoration, as painted by his bold pencil, produced an imposing effect. 
 
 The following piece is anonymous ; but it resembles the above in so many 
 peculiarities of style, and especially in the defects of drawing which I have 
 alluded to, that I think myself justified in ascribing it, also, to Mattco 
 d'Alesio. 
 
 3. The dead Body of Christ, supported, or otherwise attended, by six 
 angels, and adored by St. Francis, who, kneeling on the right, embraces 
 the left arm of the Saviour with his right hand. An etching, strengthened 
 in the dark parts with the burin, h. including margin, 15. w. 8£. Arched 
 at top. In the margin, is this singular inscription: 
 
 QV TV TENTA SOR PER 
 
 OS NC TOR TE EMIT 
 
 H NV SALVA MOR RED 
 
 INNOCENZIO A LESS AND RI. 
 
 c. 1765 ?— 1780? 
 
 Is said to have been a native of Venice, where it appears that 
 he worked some time under Wagner, and afterwards with Ear- 
 tolozzi. At length, he established himself in that city as a print 
 merchant, in company with Pietro Scataglia ; from which period 
 we commonly find their names, conjointly, upon the plates engrav- 
 ed and published by them. 
 
 1. The Portrait of i Jac5H>o Co. Riccati,' bust in an ornamented oval. 
 4 Alexander Longhi tleliK — Innocens Alessandri Sculp. Venetiis upr. Ato. It 
 is indifferently engraved in the stroke manner. 
 
 2. The Annunciation, (a) after Fran, le Moine, ' Salve, nec, &c. — Alessan- 
 dri sc. — Wagner exc* upr. fol. arched at top. (b) The Flight into Egypt, 
 after the same, also published by Wagner, upr. fol. 
 
 3. The Madonna, standing with the Infant Christ upon the clouds, and below 
 a mitred saint kneeling, and an angel with a torch. ' Jo. l>att a . Piazzetta pin. 
 Inoc. Alessandri Sc. appo F. Bartolozzi Ven a . — Ex Tabella,' &C. upr. fol. 
 This plate is much in the manner of Bartolozzi, who doubtless worked upon it. 
 
 4. The Madonna with the Guardian Angel, and the Souls in Purga- 
 tory, after Sebastiano Ricci. In fol. 
 
 5. The four Liberal Arts. Astronomy — Music — Geometry— and Painting, 
 half-figures, four pieces, after Domenico Majotto, in fol. 
 
 €>. The Bust of an Old Man with a Beard, the size of nature, in imita- 
 tion of red chalk. 1 I. B. Tiepolo in Excellentissimo Viro Friderico Comiti 
 
 Savorniano Senatori Amplissimo, D. D. D. Innocens Alessandri et Petrus Sca- 
 taglia Sculp. — Apud Innocentium Alessandri Venetiis.' upr. fol. 
 
 ANTONIO DI ALESSIO. 
 
 1570. 
 
 Zani, in his Index, before mentioned, styles this person a 
 designer, engraver, and print-merchant ; adding that he nourish- 
 ed in 1570, which date he had perhaps seen upon some work 
 engraved and published by him. I have now before me by his 
 hand, as I suppose : 
 
 A Title, and three other pieces; part of a Book of Ornaments: 
 /. 7£. h. 5.— — («) The Title is an oblong cartouch, ornamented by scroll-work, 
 
ALE 
 
 &c, and from the bottom of it are suspended palettes, pencils, and other 
 implements of painting. In the middle, at top, an owl, surrounded by other 
 birds, is seen viewing itself in a round mirror. Upon a long tablet in the 
 middle is the following dedication : ' Al Mag. M. Antonio Lafreri. Si come 
 d'ogni pio nostro pensiero/ &c. * As it is proper that all our pious thoughts 
 should be directed to God, the living fountain of every good ; so, the works 
 of those individuals who apply themselves to the study of any particular 
 science, ought not to be offered except to persons of genius and intelligence. 
 I, therefore, shall with reason be approved by the world, for dedicating to 
 you, who are so great an encourager of this art and so well skilled in it, these 
 few performances which my love of the art has caused me to produce, &c. 
 
 Antonio di Alessio.' (6) This piece is arched at top with trellis-work. At 
 
 bottom are twosphynxes with fish's tails, and a trophy. (c) In an oval, in 
 
 the centre, is a triton playing on a violin. In the middle, at top, is a large 
 
 mask ; and at bottom are two sphynxes. (d) Within a long tablet, in the 
 
 middle, is a trophy of arms and armour; and at top are two sphynxes and 
 a vase full of flowers. Upon the frame of the tablet, on the left, are the 
 letters G C, and underneath them an M from which rises a triple cross, 
 the upper part of which surmounts the two former letters. This I take to 
 be the mark of a publisher. These plates are executed with the burin, in 
 a manner not very unlike that of Hans Collaert, but less skilfully. 
 
 Antonio Lafreri, as is well known, was a considerable publisher of prints at 
 Rome in the 16th century, and had probably shewn some kindness to Anto- 
 nio di Alessio, who therefore dedicated to him the work in question. I have 
 no reason to suppose this artist of the same family as Matteo di Alesio. 
 
 JOHN ALEXANDER. 
 
 1717—1752. 
 
 A native of Scotland, and a descendant of George Jameson, 
 sometimes called the Scotch Vandyck. We learn from the fol- 
 lowing prints by his hand, that in 1717-18 he was studying at 
 Home, and that in 1728 he was again a resident of his own 
 country. There exists a half-length portrait of * George Drum- 
 mond, late Lord Provost of the City of Edinburgh,' &c. engraved 
 in mezzotinto by A. Bell, at Edinburgh, after a picture painted, 
 as I suppose, by this same artist, under which we read : « J. 
 Alexander Pinxit, 1752.' 
 
 1. A Set of five Plates after Raffaelle ; viz. (a) the Title, with 
 Dedication to Cosmo III, Grand-Duke of Tuscany, ' J. Alex r . fecit Romce, 
 A. D. 1718/ and four pieces of a fan shape, painted on the ceiling of one of 
 the chambers of the Vatican : (ft) The Almighty appearing to Noah. 
 ' Raphael Sanctius Urbinas invenit et pinxit in Vaticano. — Joannes Alex r . de- 
 lint, it Sculpt. R omcE , A. D. 1717. Veni in terrain/ &c. (c) Abraham's 
 Sacrifice. ' Raphael, &c. — Joannes Alexander delin*. et Sculpt. Roma, A. D. 
 1718. — Nunc cognovi/ &c. (d) Jacob's Vision of the Ladder : ' Ter- 
 
 |. ram in qua dormis/ &c. The names of the artists as before, 1718. (e) The 
 Deity appearing to Moses in the Burning Bush : ' Vadam et Videbo/ 
 &c, 1717. The title measures, /. 16£. h. 12|; the others, 1. 18, to 19£. h. 10£. 
 
 The above etchings, though coarse, are not without merit : the two following 
 are rather more finished. 
 
 2. The three Angels appearing to Abraham : (a) ' Tres vidit, unum 
 adoravit.' (6) Lot and his Family leaving Sodom : * Plusquam incen- 
 dium/ &c. ; being from two of the series of Bible subjects painted by Raf- 
 faelle in the Loggia of the Vatican. Each marked : ' J. Alex r . del. et Sculp, 
 ex OrigK* I. 7. h. 5£. 
 
 3. The Portrait of George Jameson, with his Wife and Child; fi- 
 gures to the middle: ' Georgius Jameson Scotus, Abredonensis, patriae suaa 
 Apelles, ejusque Uxor, Isabella Tosh, et films. Geo. Jameson Pinxit Anno, 
 
ALF 
 
 1G23. — J. Alexr. pronepos, fecit Aqua forte, A.D. 1728.' h. including mar- 
 gin, 8jf. w. 5|. 
 
 WILLIAM ALEXANDER. 
 
 b. 1767. d. 1816. 
 
 Was born at Maidstone, and is said to have shewn, even in 
 infancy, a strong disposition for the" fine arts. At an early age he 
 was chosen professor of drawing to the Royal Military College 
 at Great Mario w ; and he afterwards accompanied Lord Ma- 
 cartney in his embassy to China, where he made many excellent 
 sketches, illustrative of the manners and dresses of the inhabi- 
 tants. Upon his return to England, he etched forty- eight of 
 these, in a slight but masterly manner, and with great neatness, 
 upon soft varnish, so as to imitate chalk drawings ; and they 
 were published in 1797 by G. Nicol, Pali-Mall. The plates 
 are of a large 4to. size and inscribed : ' W. Alexander fecit. 9 
 A list of them will be found in Mr. Dodd's work, already men- 
 tioned. 
 
 In the year 1808, Mr. Alexander was appointed keeper of 
 the collection of prints at the British Museum ; an office for 
 which his obliging manners, joined to his other attainments, pe- 
 culiarly well qualified him, and which he continued to hold tilJ 
 his death. 
 
 DON EPIFANIO D ALFIANO. 
 
 1591—1607. 
 
 A monk of Valombroso, who practised engraving, in which 
 art it is not improbable he had been instructed by Dom. Vitus, 
 another monk of the same convent. 
 
 Zani, in his Index, supposes D. Vitus and d'Alfiano to be 
 one and the same person ; but I am satisfied that he is wrong in 
 the opinion. We have by Don Epifanio, 
 
 1. The Genealogical Tree of the Ricci Family, a large plate, l-w. in the 
 
 work entitled ' Delle Famiglie Nobili Florentine di Scipione Anunirato Fi- 
 
 renze, 1615,' in fol. The plate, however, was engraved long before ; being in- 
 scribed e D. Epiphanius de Alfiano Mo7i us . Vallimbrosan*. incid. 1591.' Several 
 plates in the volume bear the name of the other artist above-mentioned, thus ; 
 ■ D.Vitus mon.V. f/ « D.Vitus VVM. fecit.' ' D.Vitus fe. 1581.' « D. Vitus 
 M.V. fee. 1580/ * D.Vitus fee.' < D.V. fe/ all of them engraved from eight 
 to ten years earlier than that by D. Epiphanius, which, again, is inferior to 
 them in merit. 
 
 2. A Set of Festivals and Decorations, engraved by him in 1592, is 
 mentioned by Heinecken. I am only enabled to describe two of the pieces, 
 (a) A Fanciful Procession ; one of those pageants so much in vogue at 
 Florence in the 10th and 17th centuries. The principal personage is Neptune, 
 who is seated in a lofty car drawn by four horses, and preceded by trumpe- 
 ters, and a great number of figures on horseback bearing vases and cornuco- 
 pia, intended to personify the Gods of the River; and others on foot holding 
 torches. The procession is ingeniously made to take a winding course, so as 
 to render the whole visible within a small compass. At the right hand corner 
 at bottom : * D.Epiph*. fee' Z.12f . h 9|. (b) An Opera Scene. In the mid- 
 dle is a rocky mount on the summit of which is seated Apollo playing on a large 
 violin ; below, and on either side of him, are the Muses ; and in a cavern, at 
 bottom, is a River God. On either side of the mount is a grotto; within 
 which arc nymplis with musical instruments, &c, and upon the ground, at 
 
A L G 
 
 the foot of the mount, are various birds cackling. On the right at bottom : 
 ' D. Epifo. d'Alfiano Moneo. Vallombrosano f. 1592.' I. 13J. h. 9%. These two 
 pieces are engraved with the burin in a close manner something like that of 
 Renatus Boyvin, but with less ability, and appear to have been done after 
 the designs of some good Florentine artist of the time. 
 Heinecken also mentions by Don Epifanio : 
 3. A Book of Writing, engraved in 1607, in which he styles himself * Pri- 
 ore dello Spirito Santo di Firenze/ 
 
 NIC. GUILIELMUS ALFOXtiE, See le Fleur. 
 ALESSANDRO ALGARDI. 
 
 b. 1602. d. 1654. 
 
 Was a native of Bologna, and in his youth studied drawing 
 in the school of Lodovico Caracci ; but soon feeling a stronger 
 bias towards sculpture than painting, he placed himself under 
 Giulio Cesare Conventi, a Bolognese professor of that art. Al- 
 gardi became at length the most eminent sculptor of his time, 
 and was employed in many large works at Rome, when he died, 
 among which the immense alto-relievo of the story of Attila, in 
 St. Peter's, is particularly celebrated. 
 
 It is said that Algardi engraved on copper with the burin ; 
 and the two following pieces are ascribed to him by Heinecken 
 and others ; perhaps upon the authority, originally, of a MS. me- 
 morandum of Mariette, or of some older critic : 
 
 1. Christ expiring on the Cross: ' Alex. Algardus inv.' — no name of en- 
 graver. — ' Romae, ex officina Dom. de Rubeis/ large upr. fol. Cat. de Winck- 
 ler, and Heinecken. Diet. 
 
 2. The deliverance of the Souls out of Purgatory, a small oval, 
 anonymous, engraved, says Heinecken, by Algardi. 
 
 Strutt mentions these two prints, and in such terms as to lead to the suppo- 
 sition that he had seen them ; for he observes that they are in a style ' very 
 like that of Agostino Caracci ; all executed with the graver, in a bold open 
 manner, slight and free;' and Huber remarks that Algardi is supposed to have 
 learned the art of engraving from Agostino; not remembering that that great 
 artist died in 1602, the very year in which Algardi was born. 
 
 Upon the whole, although it is very possible that Algardi may have engraved 
 with the burin, sufficient evidence of the fact appears wanting. That 
 he occasionally amused himself with etching, there is every reason to believe. 
 Malvasia, who from the time and place in which he lived may be considered 
 as good authority in this matter, mentions in his list of prints after Annibale 
 Caracci, Vol. i. p. 107, an etching representing, 
 
 3. A Beggar-man, standing, with a dog at his feet, on the left, which he 
 tells us was commonly said to be done by Algardi ; for I can by no means 
 admit the strange supposition of Bartsch, that Malvasia intended to ascribe 
 to him, not the etching, but only the three lines in the barbarous Bolognese 
 dialect which we read in the margin : 
 
 * Andei vu a lavora fievi de porche, 
 Ma non have besogn' de lavora, 
 Perche a disna v' aspettano le forche.' 
 
 This print, is etched in a loose painter-like manner, though with sufficient 
 care, and is full of character. It measures, A. 11, including margin, w. 6|. 
 
 The piece which follows appears to have been unknown to Malvasia. It is 
 exactly in the same manner as the preceding. 
 
 4. A blind Beggar-man, led by his Dog ; and two boys in the back- 
 
A L G 
 
 ground on the right, who appear mocking him. h. 7$, w, 6|. These two 
 etchings are very rare. 
 
 Bartsch, without any authority, has attributed these pieces to Pietro Fac- 
 cini, in which, I am satisfied, he is in error. 
 
 The following etching has not I believe been noticed by any writer on prints. 
 
 5. The Dead body of Christ. The figure is represented at full length, 
 lying at the entrance of the sepulchre ; the chest being somewhat raised by 
 the elevation of the ground on the right. The head, falling back, is seen 
 much foreshortened. The background, on the left, is formed by the cavern ; 
 and through an opening, on the right, are represented the lower part of one 
 of the crosses, and, in the distance, the two others. At the left corner at 
 bottom is the cypher of the artist, composed of an A intersected by a G ; 
 though the letters arc not clearly defined. This etching, which I doubt not 
 is by the hand of Algardi, has something of the character of Guido's man- 
 ner. I. 5£. h. 4. 
 
 The following print appears to have been seen by Rartsch, accompanied by 
 a MS. note of Mariette, stating it to have been engraved as well as designed 
 by Algardi's own hand. 
 
 6. Cupid and Fortune crow ning a young Warrior, who has along wand 
 or spear in his right hand, and rests with the other upon a buckler, on which 
 is this inscription : * II Medoro in corona,' &c. On the right at bottom is the 
 abbreviated name of the master, thus : 4 Alex. AV h. f>£. u: 3£. 
 
 Bartsch styles this print a frontispiece, and thinks it by Simon Guillain ; 
 finding it, as he says, exactly in the same manner as the frontispiece to the set 
 of trades of Bologna. Of this work I have now to speak : for, notwithstanding 
 the initials of Simon Guillain appear upon most of the plates it contains, and 
 his name in the title-page, still, it is equally certain that he was assisted in it 
 throughout by Algardi ; who it # is very probable etched with his own hand 
 several of the more difficult pa*fc, and perhaps a few of the entire figures ; 
 although, as Crespi, another Bolognese artist, did at a later period with 
 Mattioli, he permitted Guillain to put his initials to them. 
 
 7. The Trades of Bologna, a set of 80 pieces, after drawings by Annibalc 
 Caracci ; besides an ornamented frontispiece, with the portrait of Annibale, 
 designed by Algardi ; the whole etched, with the assistance and under the 
 superintendence of Algardi, by Simon Guillain. 
 
 This work, in the first edition, which, from the errors committed by Bartsch 
 in speaking of it, I suppose he never saw complete, has the following title: 
 ' Diverse Figure, al numero di ottanta, disegnate di penna, nell' horc di 
 ricreatione da Annibale Carracci, intagliate in rame, e cavate aagli originali, 
 da Simone Guilino Parigino. Dedicate a tutti i virtuosi, et intendenti della 
 professione della pittura, e del disegno. In Roma, nella stamparia di Lodo- 
 vico Grignani MDCXLVI. Con licenza de' superior!.' In folio. 
 
 So far, it is true, we have no mention of Algardi's having had any part in 
 the work. But this title is followed by twenty-two pages of letter- press, 
 addressed to the lovers of the art by Giovanni Atanasio Mosini, the person 
 who had had the plates done, and was then the proprietor of the original book 
 of drawings. After stating how it came into his hands ; that it contained 
 seventy-five pieces only ; and that he had been urged by many artists and 
 amateurs who had seen them, to have them engraved ; he contimu I : 
 
 * Percio, (seguendo io il vostro consiglio),' &c. ' Therefore (following 
 your advice) having resolved to have them etched, in order to imitate more 
 easily the strokes of the pen, I have been careful, above all things, that the 
 outlines should be exactly conformable to the Originals : and I have succeeded 
 in making them worthy of publication ; having also added five other figures of 
 the same author, drawn in the same manner and of the same size as the others, 
 which have been obligingly lent to me by friends, in order to add them at the 
 end of the volume ; as they also do honour to the master-hand that did them, 
 and like the others, will be approved by those who examine them. But when 
 Simon Guillain, a studious and diligent young French artist, undertook the 
 task, he, in order to perforin it the better, determined to make application 
 to one who might be qualified to give him from time to time such advice and 
 instruction as the case might require ; and as upon former occasions he had 
 VOL. I. I 
 
A L G 
 
 received assistance of this kind from Algardi, the sculptor, he had recourse to 
 him ; and so, comparing each plate with the original drawing, he has with 
 the help of his advice, and in this diligent manner, by degrees perfected 
 every figure. And when the whole were done, the French artist, desiring 
 also to engrave the portrait of Annibale, as a frontispiece to the book* 
 received this further service from Algardi, namely, that with his own hand' 
 he designed for him the said portrait, accompanied by such ornaments as 
 might make it proper for the purpose,' &c. 
 
 Thus much I have thought it right to extract from the text accompanying 
 these prints, in order to rectify the incorrect statement of Bartsch concerning 
 them. I shall only add, concerning the Frontispiece with the Portrait of 
 Annibale Caracci, that it is dated 6 Romae MDCXLVL under the portrait, 
 and that at the left corner, at bottom, it is marked ( A L Del,/ the two letters 
 being joined together in cypher, and underneath, 6 S. G.' It measures 
 h. 10£. w. 6|. 
 
 The 80 prints which follow, represent, with one or two exceptions, single 
 figures only, and, excepting two or three, are of about the same size as The 
 frontispiece. Most of them have the names or initials of An. Caracci and S. 
 Guillain ; but a few are without. The plates differ considerably in merit 
 and the work of a more intelligent hand than Guillain's is I think apparent in 
 many of them. 
 
 In the first edition of this work, above spoken of, the plates are, most of 
 them, numbered at bottom with Arabick numerals, conformably to a printed 
 list of the plates given at the end of the text. In an edition published in 
 Rome in 1740, the title of each print is, I think, added upon the plate itself 
 and in a still later impression the initials of Caracci and Guillain are erased. ' 
 
 COUNT FRANCESCO ALGAROTTI. 
 
 b. 1712. d. 1764. 
 
 This gentleman, a Venetian by birth, is well known by his 
 writings, some of which treat expressly upon the fine arts. He 
 died in the year 1764 at Pisa, whither he had gone for the re- 
 covery of his health, and was buried in the ' Campo Santo/ 
 where a handsome monument was afterwards erected to his me- 
 mory by his friend and admirer Frederick the Great. We have 
 by his hand a few spirited etchings, executed with a delicate 
 point, much in the manner of Tiepolo. According to Heinecken, 
 he sometimes marked his plates with a cypher, composed of the 
 letters C. A. ; but, hitherto, I have not met with any so dis- 
 tinguished. 
 
 1. Four plates of Studies of Heads. I. 7f . h. 5£. Rare. (a) At the 
 
 top, on the left, two masks, seen in front, and on the right a small figure of 
 a female heathen diety, also seen in front. This plate also contains twelve 
 heads or masks in profile ; and at the bottom on the left is inscribed : i Coe. 
 
 Francesco Algarotti inv. et inc. li 10. Febo. 1744.' (b) On the left, at top, 
 
 the bust of an old man with a turban and a large beard, seen in front, and 
 two heads, one of them a pantaloon with a long nose, in profile ; at bottom, 
 a bust of a man, nearly in profile, the heads of two satyrs and a female, two 
 horses' heads and a helmet ; and above, on the right, seven other masks or 
 heads. Some parts of this plate are from sketches by Tiepolo, whose name 
 appears twice, at bottom. Half way up the print, on the right, is inscribed : 
 
 * Algarotti.' (c) Twelve small heads or masks, all, except two, looking to 
 
 the right ; very slightly etched : ' Coe. Francesco Algarotti Inv. et Inc. il di 
 
 29 Febo. 1744.' (d) In the middle, a group of seven half-length figures 
 
 and heads, very slightly etched ; and at bottom, on the right, a larger head 
 of an old man with a great beard, seen in front. No name or mark. 
 
 The above four pieces are all that I have seen by the hand of Algarotti ; I 
 add the three following, upon the authority of Heinecken. 
 
A L I 
 
 2. A Plate (a) containing thirteen Heads in the style of the An- 
 tique, dated ' 13. Feb. 1741.' (6) A study of various heads, and two Ro- 
 man soldiers, done at Dresden. (c) A group of five heads in profile. 
 
 JACQUES ALTAMET. 
 
 b. 1727. d. 1788. 
 
 This artist was born at Abbeville, and studied under Le Bas. 
 In the early part of his life he gave proofs of his ability in many 
 small Vignettes, which he did for the decoration of books. He 
 afterwards acquired considerable eminence, especially as an en- 
 graver of landscape ; though he also, occasionally, treated sub- 
 jects of a different kind. His prints possess an agreeable clear- 
 ness of effect, and are engraved with great delicacy. The 
 following are among the most admired. 
 
 Landscapes with Figures and Animals, after Nic. Berghem. 
 (a) A large upright piece in the Dresden gallery. No title, 1 J. Aliamet sc.' 
 
 h. 221. w; . ic}. (/>) ' L'Espoir da gain, &c. — Berghem Pinx. J. Aliamet 
 
 sculp? I. 11^. h, with margin, lOf. (c) ' La Rencontre des deux Villa- 
 
 geoises,' and (d) ' L'Entretien de voyage,' two small pieces, l-w. Id. sc. 
 
 •(e) ' Le Four a briqnes.' Id. sc. I. 15. h. 13. (/) * Vuc pres du Golfe 
 
 de Tarente.' Id. sc. 1. 10}. h. 8. (#) 1 Ancien Port de Genes,' &c. Id. 
 
 *c I. 20. h. 19$. {h) ' La Rachat de l'Esclavc.' Id. sc. I. 2G£. h. 19|. 
 
 (i) ' Grande Chusse au Cerf.' Id.sc. I. 25^. h. 19.}. 
 
 2.. Emblematical Figures, after C. N. Cochin, part of a numerous set 
 of plates by various engravers, small upr. 12mo. engraved at Paris, 1773-1782. 
 
 (a) * La Discretion,' two female figures : ' C. N. Cochin del. J. slliamet 
 
 Sail.' (b) ' La Fidelitc,' three figures. Id. sc. (c) 1 La Magnificence/ 
 
 two figures. Id. sc. (</) ' L'Espcrance,' two figures. Id. sc. These pieces 
 
 are very delicately engraved. 
 
 3. Moon-lights, after Aart van der Neer. (a) 1 Le Lever de la 
 
 Lune, J. Aliamet sc.' I. 12^. h. 10 J. {b) * Vue de Boom sur le Rupel. 
 
 Id. sc. I. 20^. h. 15. 
 
 4. Incantations, after D. Teniers. (a) ' Lo Depart pour le Sabat.* 
 
 (b) ' L'Arrivee an Sabat. J. Aliamet sc. ' Companions, h. 15. /. 11. 
 
 5. After Adrien Van den Velde : ' Les Amusemens de 1'Hyver. J. Alia- 
 met Sc.' I 14|. h. 12%. 
 
 6. Sea-coast Views, &c, after Vernet. The four times of the Day, 
 
 four pieces, I. 18. h. 14., viz. (a) ' Le Matin;' with Dedication to M. de 
 
 Villette. (b) ' LeMidi;' with Dedication. (c) ■ Le Soir;' with Dedica- 
 tion to M. le Rebours. (</) 1 La Nuit;' with Dedication to M. le Marquis 
 
 de Villette. (<?) ' Premiere Vue du Levant;' with latin dedication, and 
 
 date 1760. (/) ' Deuxieme Vue du Levant;' with latin dedication; com- 
 panions. I. 18. h. 14. («') 1 Incendie Nocturne;' with latin dedication. 
 
 /. 20 k h. 1GJ-. (h) ' Rivage pres de Tivoli ;' with dedication. /. 22. h. 18. 
 
 (i) 'Les Italiennes laborieuses ;' with dedication. /. 18. /t. 14. (k) 'Terns 
 
 orageux ;' with Dedication to M. Vialy. /. 17$, h. 14. 
 
 7. Landscapes and Figures, after Wouvermans. (a) ' Haltc Espag- 
 
 nole ;' with 12 French verses. ' Jac. Aliamet sc.' I. 16£. h. 13£. (b) ' Garde 
 
 avancee de Houlans,' its companion ; same dimensions. 
 
 FRANCOIS ALIAMET. 
 
 b. 1734. d. c. 1787. 
 Tlte younger brother of Jacques Aliamet, came into England 
 when young, and studied under Strange ; whose bold manner 
 he afterwards strove to imitate. In the latter part of his life 
 
 i 2 
 
A L I 
 
 he became that artist's assistant ; and hence, the prints bearing 
 his own name are not very numerous. F. Aliamet possessed 
 sufficient power of burin, but not much taste ; besides which he 
 was, unfortunately, seldom employed to engrave after good pic- 
 tures. His death, I am told, was occasioned by a tile falling 
 upon his head on a windy day. The following are some of his 
 principal works. 
 
 1. The Portrait (a) of ' James Hay, Earl of Carlisle. Aliamet Sculp,' 
 (b) ' Catherine, Countess of Desmond. Aliamet Sculpt.* 4to. book- 
 plates, (c) He also did some portraits for an edition of Smollett's History of 
 England, 
 
 2. * Mrs. Pritchard, in the character of Hermione, in the Winter's Tale,' 
 whole-length. ' R. E. Pine, invent, et pinx. F. Aliamet sculp.' Published 
 17C5, large upr. fol. 
 
 3. The Annunciation ; from Le Moine ; large plate l-w. in fol., in which he 
 styles himself * Francois-Germain Aliamet' 
 
 4. The Adoration of the Shepherds. 1 Annibale Caracci pinx 1 . Richd. 
 Earlom delint. F. Aliamet Sculpsit.' Published by Boydell, 1764 j large 
 upr. fol. This is one of his best prints. 
 
 5. The Circumcision ; after Guido Rheni ; a large oval, also published by 
 Boydell. 
 
 6. St. Stephen stoned. From a picture by Eust. Le Sueur, in the Houghton 
 Coll. * F. Aliamet sculpsit.' Published, 1.773, by Boydell. large fol. l-w. 
 
 7. A Sacrifice to Pan. 6 Andrea Sacchi pinx 1 . J. Boydell excud*. 1769. F. 
 Aliamet sculpsit.' large fol. l~w. 
 
 8. Venus Sleeping ; after Fr. le Moine. ' F. Aliamet sc, T. Major exc' 
 l-w. in fol. 
 
 9. The Bathers, and Bathing; two pieces, after Watteau ; ' Aliamet sc. J. 
 Boydell exc. 1775.' I. 9. h. 8. 
 
 10. A Landscape, (a) with a River, and a Stone Bridge; after F.Boucher. 
 i F. Aliamet sc. J. Boydell exc. 1775.' (b) A Landscape, with a River, 
 after Wouvermans. f F. Aliamet sc.' Companions. I. 11-|. h. 8. 
 
 11. The Surrender of Calais to King Edward III. (a) 'R.E.Pine 
 pinx. F. Aliamet sculp.' Published 1771, by the painter, from whom Boy- 
 dell appears to have purchased the plate the same year ; his address with that 
 date being added, (b) Canute the Great reproving his Courtiers ; 
 its companion. Artists' names the same. Published 1772. large plates, l-w. 
 in fol. 
 
 I. ALIX. 
 
 c. 1670. 
 
 He is said to have been a disciple of Philippe Champagne, 
 and a painter ; though we hear little or nothing of his pictures. I 
 have only seen the last of the following prints by his hand. They 
 are all, I believe, finished with dots, in the manner of Jean 
 Morin, from whom he probably learned the art of engraving. 
 De Angelis, in his additions to Gandellini, and Malaspina, in 
 the catalogue of his collection, lately printed, stale, upon I know 
 not what authority, that I. Alix was born in 16*15. 
 
 1. The Portrait of ' M re . Jean du Verger de Hauranne, Abb6 de S. 
 Ciran,' with six French verses. ' P. Champaigne Pin.' Alix Scul. Cum Pri- 
 vil. Be.' h. llf . to. 7£. Malaspina. 
 
 lu the Cat. de Brandcs, Vol. i. p. 201 , I find mention of the same portrait, 
 
 as engraved by Morin, but of larger dimensions. 
 
ALL 
 
 2. The Holy Family, small fol. after Raffaelle, marked : R. V. P. This is 
 ascribed to I. Alix, by Heinecken, who says it is engraved with taste. 
 
 3. Christ, giving the Benediction, his left hand resting on the Globe, 
 a half-figure. * Champaigne pinx. I. Alix sculp, et exc. Omnia per ipsum 
 facta sunt,' &cc. large fol. A second impression has : * H. Weyen exc/ Cat. 
 de Winckler. 
 
 4. The Sudarium, with the Face of Christ; ' Vir dolorum.— /. Alix 
 Sculp, et ex. Cu. pr. Re.' h. with margin, 5£. w. 3|. All these prints are rare. 
 
 ALIX, or ALLIX. 
 
 1790—1810. 
 
 A French engraver, by whom we have a few landscapes, which 
 are executed with taste and delicacy ; and who is perhaps still 
 living. I learn from Mr. Dodd that, since the date of these, he 
 has applied himself to etching and aquatinta ; in which way he 
 has done many things for Bance, a publisher at Paris. Zani, 
 indeed, styles him * P. M. Alix Bance from which I conjec- 
 ture that he may have married into that family. 
 
 1. Vue Generale de la Ville de Leon-Forte ; for the * Voyage Pit- 
 toresque de Naples et Sicile,' No. 47. ' Dessinee par Chatelet. Gravte par 
 Mlix.' l-w. in fol. 
 
 2. A Sea-coast View, (a) with a large round tower, on the right, situated 
 on a rock. ' Le Prince del. Alix sculp.' No. 53, of the Cab. de Poullain. 
 l-w. in 4to. (b) A Landscape with Goats and Sheep ; after Vander 
 Does. i Alix sc.' No. Ill, of the same work. I. 6j|. h. 5, besides margin. 
 This plate has a rich, soft effect. 
 
 3. The Rape of Proserpine, from a large landscape with figures in the 
 Orleans gallery. ' Peint par Nicolo Dell' Abate. Grave par Alix.' 1. 8J. 
 h. 7, besides margin. 
 
 SAMUEL ALKEN. 
 
 1780. 
 
 An artist of London, best known by landscapes, and views, 
 executed by him in aquatinta ; though he appears to have been 
 capable of doing figures also. 
 
 1. A New Book of Ornaments ' Design'd and Etch'dby Sam 1 . Al/ccn,' &c. 
 This title is on an ornamented oval supported by two figures, one of them 
 naked, which are cleverly drawn and shaded with dots. upr. 4to. Etched, I 
 suppose, about 1780. 
 
 2. The Gypsies, a landscape and figures. 4 Painted by B. (should be R.) 
 Wilson. Sam 1 . Allan fecit.' London, Published 1783. Aquatinta. /. 14J. 
 h. 10, including margin. 
 
 3. A Wild Bull, and a Wild Cow, of the breed preserved in Gisburnc 
 Park, two pieces, after drawings by W. Fryer. 
 
 4. Views of Castles, and other topographical plates, in aquatinta. 
 
 ALLAIS. 
 
 1752? 
 
 A painter of Paris, according to Heinecken, who occasionally 
 amused himself with engraving, and by whom we have : 
 
 A Monumental Piece, * L'Epitaphe,' to the memory of Louis Due d'Orlcans, 
 who died in 1752 at the Abbey of S. Genevieve. It is described in the Dijon- 
 val Catalogue, No. 9548, as an upr. print, designed and etched by Allais. 
 
ALL 
 
 L. I. ALLAIS. 
 
 c. 1800. 
 
 Probably of the same family as the above, and perhaps the 
 person whom I find mentioned, as a resident of Paris, in the 
 * Almanach du Commerce,' of the year 1817. 
 
 Le Comte Struense, (a) port, in an ornamented oval: i Grave par AllaisS 
 h. besides margin, 6^. to. 4§. (b) The Portrait of a Lady. Same frnn 
 and dimensions. 4 Dessine et Grave 1 par L. I. Allais.' The name of the per- 
 son represented is wanting, in the impression before me. Both these pieces 
 are delicately executed in aquatinta. 
 
 DAVID ALLAN. 
 
 b. c. 1740. d. 179G. 
 
 A Scotch artist, of no mean talent, was born' at Edinburgh ; 
 studied painting at Rome from 1768 to 1777 ; staid on his re- 
 turn, a year or two, in London ; and afterwards, established 
 himself as a figure and portrait painter in his native city ; where 
 he succeeded Runciman as master of the academy of design. 
 
 Allan occasionally amused himself with etching, sometimes 
 shading his plates with aquatinta. He seldom, if ever, attempted 
 subjects of a high class ; but contented himself with representing 
 scenes in common life, as he saw them. Although he had not 
 the inventive genius of a Hogarth, his choice of objects and in- 
 cident is always good ; and his works possess sentiment, hu- 
 mour, and character, without the alloy of caricature. 
 
 1. The Interior of a poor Painter's Work-shop, at Naples ; — admira- 
 ble ! The artist is seated at his easel, at work upon a picture of Vesuvius. 
 Around him, on the walls, are wretched daubs of the King and Queen of 
 Naples, the Madonna, and S. Gennaro, the only other subjects he painted. A 
 little boy is scrawling a horrible figure on the ground ; and on the left is the 
 painter's daughter, a pretty modest girl, seated with her back to the specta- 
 tor, knitting. * D. Allan inv*. § etchtJ h. 9f . w. 7\. 
 
 2. The Calabrian Shepherds, playing the ' Pastorale* to the Infant Jesus 
 on Christmas day, at Rome. ' D. Allan inv*. § etch'd.* Same size. 
 
 3. A Hermit on the Appian way, at Albano, near Rome. The Her- 
 mit is seated reading, in the foreground on the right, by the road side. At 
 some distance is a friar, receiving alms from a traveller on horseback, and 
 further olf, on the left, is the tomb of the Horatii. ' I>. Allan inv*. § etcWd." 
 Same dimensions. 
 
 4. A * Highland Dance/ a composition of many figures. Aquatinta, with 
 scarcely any etching. ' D. Allan inv*. et Fecit.' Published by him, 1783, at 
 Edinburgh. I, 20. h. with margin, 13f. 
 
 5. Presbyterian Penance. In a gallery, on the left, a young man standing 
 in penance : on the right, the minister addressing him from the pulpit : an 
 extensive composition, quite Hogarthian ! ' Da. Allan inv*. et Tinta fecit Edr. 
 1784.' 1. 13|. ti. 11, besides margin. 
 
 6. A Set of Designs, from the Gentle Shepherd; twelve pieces, or 
 more, each entitled at top : 4 Gentle Shepherd,' and numbered. ' D. Allan 
 inv, et Aq-tinta fecit.' h. 9. besides margin, tc. 7. 
 
 HUYCH ALLARD. 
 
 c. 1650 ? 
 
 According to Heinecken, was a designer and an engraver ; 
 
ALL 
 
 and, he might have added, a publisher. What relationship he 
 bore to the two other Allards, who will presently be mentioned, 
 is unknown. All three were indifferent artists, and appear to 
 have resided in Holland. It is not always easy to separate their 
 works, as many of them bear the surname of Allard, only. 
 The two following* portraits by H. Allard are mentioned by 
 Heinecken. 
 
 1. David (a) Gloxin, I. V. D. 1 Huych Aluerd sc.* (6) ( Adrianus Paw. 
 
 Legat. Holland. Huych Alaerd sc.' Add, 
 
 2. The Table of Cebes ; ' Cebetis Thcbani Tabula/ as it is called ; a very 
 extensive allegorical composition. On the left, at bottom : * H. Alardt Ex- 
 cudebat,' and in the margin, long latin and Dutch inscriptions. It is coarsely 
 engraved, and is perhaps a copy from a better print, after the design of some 
 considerable master. Large fol. l-w. 
 
 ABRAHAM ALLARD. 
 
 c. 1GGD ? 
 
 Was a print-seller, as well as a designer and engraver, and 
 resided at Leyden. I find mentioned by him, 
 
 1. A Set of Butterflies, in eight pieces. 
 
 2. A Frontispiece, representing the four ages, engraved by him after a de- 
 sign by A. Blooteling. 
 
 3. Views of Towns. « Lcs Villes de Frise cxactemcnt desslnces et gravies par 
 Abraham Allard d Leide.' 12 pieces l-w. 
 
 4. ' Deliciae Rusticae, ofte Boercn Banket vit ge<*evcn, door Carel Allard. 
 Abr. Allard fee' Five humorous pieces, of different dimensions, repre- 
 senting peasants. I. 4 to 6 inches, h. 2 to 4. Cat. de Brandes. 
 
 5. A Garden, with a Fountain and many Figures. 1 Hct. Lust Hof 
 van flora. A. Allard cecinit. C. Allard edit.' « etched,' says Strutt, ' and 
 finished in a stiff, bad style, with tbe graver.' A very large print l-w, 
 
 CAREL, or CHARLES ALLARD. 
 
 1070—1088? 
 
 He lived at Amsterdam and was a considerable publisher. 
 He engraved in mezzotinto, as well as in the stroke manner, but 
 with very little ability, 
 
 1. The Portrait of * Renatus Cartesius, Philos. Fr. Hals pinx., C. 
 Alaerd sc.' 
 
 2. A Quaker's Meeting. ' De Quakers Vergadering. Egb. Hemskerk pinx. 
 Londini. Carol. Allard fecit et exc. Amst.' large upr. fol. According to one 
 of my notes, this piece is indifferently executed in mezzotinto. 
 
 The following, though, like many others, they only bear his name as pub- 
 lisher, were probably engraved by him. 
 
 3. Children Sporting, (a) four plates l-w. in 4to., coarsely copied from the 
 etchings of Ferdinand. * L. Tetterlin inv. C. Allard exc' (/>) Tin; Mi u- 
 der of the De Witts, four subjects on the same plate, copied in a stiff 
 laboured manner after the originals of R. de Hooghe, 4 1' Amsterdam Gedruckt 
 by Carel Allardt op den Dam.' l-w. in fol. 
 
 ETIENNE ALLEGRAIN. 
 
 b. 1G45. d. 1730. 
 
 A French landscape-painter, member of the academy of Pa- 
 
ALL 
 
 ris, who is said to have etched a few pieces from his own de- 
 signs. Basan, 2d edition. 
 
 GIUSEPPE ALLEGRINI. 
 
 1744. 
 
 A print-publisher of Florence, who it is said, also, practised 
 engraving, lleineeken mentions by him : 
 
 The Madonna, (a) her hands elevated ; oval : ' Ecce mater tua/ &c. 174G. 
 (b) Another Madonna, a half-figure, with the infant Christ : * Egreditur 
 virga de radice/ &c. a small print, (c) The Circumcision, a plate l-w. : 
 c Gius. Allegrini Stamp, in rame,' &c. (d) The stoning of St. Stephen, 
 l-w. (e) Rinaldo and Armida, a small plate. (/) An Opera-Scene, 
 a large piece, l-w., after the designs of Jos. Chamant. 
 
 We may conclude that his abilities as an engraver were but small ; as in a 
 work published by him, of 50 views of Villas, &c. in Tuscany, large fol. l-w. : 
 ' Vedute delle Ville e d'altri luoghi della Toscana/ not one of the plates bears 
 his name as the engraver. On the title, which is engraved by Gio. Gottofre- 
 do Seuter, we read : i Appresso Giuseppe Allegrini Stampatore in Rame. Fi- 
 renze 1744/ 
 
 FRANCESCO ALLEGEINL 
 
 1760—1786. 
 
 An engraver of Florence, probably of the same family as the 
 preceding. We have by him a set of portraits of eminent per- 
 sons of Tuscany, the figures seen to below the breast, which, 
 being engraved after authentic originals, are highly interesting ; 
 though they are but slightly executed, and, as works of art, do 
 not exceed mediocrity. I mention only a few of them : 
 
 1. * II divino Galileo di Vincenzio Galilei, (a) Patrizio Fioro.,* &c. ? 
 from a picture by Giusto Subtermans. ' Giuseppe Zocchi del. — Franco. Alle- 
 grini inci. 1762/ h. llf, including margin, with short biographical notice, 
 w. 7f . The others are of similar dimensions, &c. (b) 1 Giovanni, Ci via- 
 ble, Fiorentino, Ristoratore insigne della Pittura. F. Allegrini sc. 1786/ 
 (c) ' II divino Michel-Angelo Buonaroti/ 1763. (d) * II divino Poeta 
 Dante Alighieri/ (e) 4 Francesco Petrarca Fiorentino, celebrissimo 
 Poeta/ &c. (/) 'Pietro Aretino, celebre e bizzarro Poeta/ &c. 1766. 
 (g) i Giovanni Boccaccio, eruditissimo Fiorentino/ (h) 6 Francesco di 
 Niccolo Berni/ 1770. (i) 1 Niccolo di Giovanni da Uzzano/ 1763. 
 
 2. He likewise engraved the Frontispiece to the collection entitled : * Cento 
 Ritratti della Real Famiglia de Medici/ which was published in 1762. 
 
 G. L'ALLEMANP, See LALLEMAND. 
 F. ALLEN. 
 
 1652. 
 
 An obscure engraver, by whom Strutt mentions having seen 
 the first of the following plates, which perhaps had the name 
 Francis at length ; for so, that writer styles him. 
 
 1. The Frontispiece (a) 8vo., to a book entitled : ' Dialogus D. Urbani 
 Regi/ Lubeck 1652, with the figure of Moses, on one side, and that of 
 Christ, on the other, and, below, a view of Lubeck. (b) Another Fron- 
 tispiece : ( De Nutritione foetus in utero. Dantisci, &c. 1655. /. Allen fecit.* 
 h. with margin, 6§. w. 5£. 
 
 2. Sacred Subjects, from a Dutch book of Hymns. (a) The Isralite wo- 
 men rejoicing at the destruction of Pharaoh and his host in the red sea. 
 
ALL 
 
 At the bottom on thn right «/• allcn fecit.' 1. 4£. h. 3.— (6) The parable of 
 the labourers sleeping, and the Devil sowing tares. On the left at bottom : 
 
 /. Allen fecit.' Same size. (c) Christ with his disciples and Martha and 
 
 Mary at the tomb of Lazarns. At bottom on the right : ' f. alien fecit.' 
 Same size. All these are executed in a close soft manner of engraving, but 
 with very little ability. 
 3. The Portrait of Joannes Burgenhagius, Pomeranus, &c. half-length, 
 with a book open in his hands: 'fallen fecit,' badly drawn, and coarsely 
 executed with the graver, h. 10J. including margin, w. 6£. 
 
 With respect to one Flopert van Allen, 1686, spoken of by 
 Heinecken, and afterwards by Strutt, I have only to say that I 
 find no good reason to suppose he practised engraving. 
 
 JEAN CHARLES ALLET. 
 
 1690— 1732. 
 
 This engraver is supposed to have been a native of Paris, 
 but resided the greater part of his life at Rome, where it is 
 thought he died. He commonly signed his plates with both his 
 baptismal names ; but a few, according to Heinecken, are 
 inscribed Charles Allet, only ; whence some persons have erro- 
 neously imagined that there were two engravers of the same 
 surname. He appears to have been desirous to imitate C. Bloe- 
 mart and F. Spierre, but is very inferior to his models. I men- 
 tion only a few of his prints . 
 
 1. The Portrait (a) of Pope Alexander VIII, for a dedication, after H. 
 Calendrncci. ' J. C. Allet £c. Romce 1G95.' in fol. (6) Pope Clement XI. 
 bust in an ornamented oval, within a square. At top, the arms of the pontiff, 
 and in a cartouch at bottom : 1 de vultu tuo presidium.' In the margin on 
 the left : ' Jo. Carol. Allet Scvlp. Romae, Sup. perm. A. 1701.' h. with mar- 
 gin, 12^. w. 9£. (c) Cardinal Aloisio Amodei, after I. M. Morandi, 
 1690, in fol. (d) Andrea Pozzo the Jesuit and Architect, 1712, in folio. 
 (<?) < Carol. Eman. I. J. C. Allet ad vivam, 1732/ 
 
 2. A Saint Subject, representing S. Gaetano and other figures, from Lazaro 
 Baldi. ' Gio. Carlo Allet Sculp. S. Gaetano della nobillssima famiglia Ticni, 
 &c. Roma, 1698.' h. 18£, including margin, w. 13. 
 
 3. The Nativity, after Simone Cantarini ; 1 Joannes Carolus Allet Sculptor 
 Aerarius. Romae Super perm. An. 1713/ h. 18£, including margin, id* llh 
 This print has a soft agreeable effect. 
 
 4. S. Vincenzio di Paulo, preaching, from Aureliano Milani. * S. Vin- 
 centius a Paulo, Fundator Congregationis, &c. Jo. Carolus Allet Sculp, 
 Romce Sup. perm. An. 1730/ h. 17, including margin, w. 10|. This piece 
 is engraved something in the manner of Spierre, but very inferior. 
 
 5. Ananias (a) restoring sight to St. Paul. ' Ananias 1 manum impo- 
 nens,' &c. from a celebrated picture of Pietro Berettini da Cortona, in the 
 church of the Capuchins at Rome. 1 Jo. Car. Alet Sculp.' h. with margin, 
 1 9£ w. 13^. (b) The Vision of St. Paul, from another altar-piece of* 
 Berettini in the same church, upr. fol. These are considered two of Allet's 
 best prints. 
 
 CAV. SILVIO DEGLI ALLI. 
 
 1G58. 
 
 1 He etched,' says Zani, Par. I. Vol. ii. p. 273, ' the scenes 
 of a theatrical piece, entitled Ipermestra, which was represented 
 at Florence in 1658, in honour of the birth-day of a prince of Spain. 
 
 VOL. I. K 
 
A L L 
 
 * This Silvio degli Alii,' he adds, ' was a page of the Card. Gio. 
 Carlo of Tuscany, who caused the piece to be represented. He is 
 spoken of in the description which was printed at Florence, to- 
 gether with the Ipermestra, in the same year ; where it is said, p. 32, 
 that the plates, &c. are engraved by the Sig. Cavalier e Silvio 
 degli Alii, 8< c. a person of singular talent in the fine arts/ &c. 
 
 ALLIX, See Alix. ALLOJA, See Aloja. 
 
 A LESS AND RO ALL OR I. 
 
 b. 1535. el. 1607. 
 
 "Was the nephew and disciple of Angiolo Bronzino, and is 
 sometimes styled the younger Bronzino. He had considerable 
 powers as a designer, and was one of the last of the Florentine 
 painters who strove to maintain the vigorous style of Michel- 
 angiolo. The following description of a print, said to be by his 
 hand, is extracted from the catalogue of the Malaspina collection. 
 
 ' An Allegorical Representation of the French Monarchy. In 
 the middle is a Queen, with a crown on her head, and a child in her arms. She 
 holds a kind of sceptre surmounted by a lily ; and other lilies are here and 
 there introduced in the composition. She is attended by four personages of 
 rank resting upon large shields, and many other persons with banners and 
 standards ; and in the middle, at her feet, are two river gods. At bottom, on 
 the right, is the name of the artist, thus : f Ales. Alori // An engraving in 
 wood. /. 14. h. 8$.' 
 
 ADELAIDE ALLOU. 
 
 1771. 
 
 A French lady, by whom we have a set of etchings of ruins in 
 Italy, six in number according to Heinecken, after the designs 
 of H. Robert and Fragonard. They are so much in the manner 
 of St. Non's etchings that, did they not bear her name, they 
 might pass for his ; and, if I mistake not, they are sometimes 
 found united to the works of that distinguished amateur. I am 
 only acquainted with four following : 
 
 1. View (a) of an old Castle, on the road between Rome and Naples, 
 now used as a post-house : ' Vue d'un Ancien Chateau, &c. Robert del. 
 Adelaide Allou sc. 1771.' upr. 4to. (6) The Tomb of Virgil, near Naples: 
 * Vue dn Tombeau de Virgile, &c. Robert del. Adelaide Allou sc. 1771/ l-iv. 
 in 4to. (c) A ruined Temple near Naples, supposed to have been dedi- 
 cated to Diana : i Vue dessinee d'apres nature, cS^c. Robert del. Adelaide 
 Allou sc.' l-w. in 4to. ((I)The Remains of an Ancient Amphitheatre. 
 Inscription wanting in the impression before me. ' Fragonard del. Adelaide 
 Allou sc. 1771/ l-w. in 4to. Mr. Dodd also mentions by her : 
 
 2. A Set of six Landscapes, or Views, enriched with vases or sculpture. 
 ' H. Robert del/ l-w. in 4to., and 
 
 3. A Set of four Etchings of Antique Vases from her own designs. 
 
 M. F. ALLOUEL. 
 
 1764. 
 
 Heinecken states that this person engraved the following por- 
 trait at Paris : 
 
ALM 
 
 1. Jean Baptiste Rousseau, dated 17G4. Mr. Dodd also mentions by him 
 a piece entitled : 
 
 2. ' Le Pere de Famille/ representing an old man playing on the violin, 
 with five children. ' A. V. Ostade p. M. F. Alloucl sc. 1702/ in fol. 
 
 ALLOUIS. 
 
 c. 1740. 
 
 The Dijonval catalogue mentions by this artist : 
 
 Six Plans and three Elevations, of the house of Mr. Be-rthous, 9 pieces, 
 after the designs of Meissonnier, marked : ' Allouis sc.' 
 
 JAN ALMELOVEEN. 
 
 c. 10G0. 
 
 A Dutch artist, known only by the following thirty-seven etch- 
 ings ; seventeen of which are from his own drawings, and the 
 rest after those of Herman Saftleeven. The last are executed 
 with great delicacy, and have much of (he style of the original 
 master; but the former are poor, common-place performances, 
 and shew that, although a good etcher, he was woefully deficient 
 as a designer. 
 
 1. The Portraits of Fope Clement X. and Gisbertus Voetils, half- 
 length figures, each with one hand upon the shoulder of the other. Upon a 
 paper which the pontiff holds in the right hand, are the names of hoth ; and 
 upon an open book, below, arc six Dutch verses : * Van Eeren Sat.,' &c. and 
 the name of the artist: ' I. /. Almeloveen Inv. ct fee' It is a wretched print, 
 but said to be rare. h. G§. to, 4J. (Bartsch, S7.) 
 
 2. A Set of six Landscapes, after his own Designs. I. 7$. /t., includ- 
 ing margin, bl. (H. 21— 20.) The name: ' Joan. ab. Almeloveen inv. et fee' 
 is in the margin, on the right, of each print. The first impressions are not 
 numbered ; the second, which have a coarser appearance, from the plates 
 having perhaps been re-bitten, have the numbers, 1 to 6, added, after the 
 name. In the last impressions, the address : ' G. Valk excudit, No. 72,' is 
 
 found on the first print of the set. (1) On the left, the arched entrance 
 
 into a town situated on the sea-coast. (2) A Road, with two men talking ; 
 
 on the left, two others reaping. (3) A Town on the right, with a wind- 
 mill. (4) A group of five Trees, towards the left; below, a woman on 
 
 horseback, four other figures, and a dog, running. (5) On the left, a 
 
 Town on an eminence j in the middle a singularly formed rock; and on the 
 left a boat with a sail. (0) In the middle distance, on the right, a moun- 
 tain, with a village half way up, and a tower at the top. 
 
 3. A Set of ten Landscapes, River-views, also from his own Designs. 
 
 Not numbered. I. 6. h., with margin, 3£, to 4. (li. 27— 3G.) (a) On the 
 
 right, two men standing, in conversation, and a little dog. * Joan, ab Alme- 
 loveen inv. et fee.'' in the margin on the left. (b) A Cabaret in the centre, 
 
 with a door and five windows ; near it eight figures. * Johan. Almeloveen inv. 
 
 ct fee' in the margin on the light. (c) On the left, a barge and a sailing 
 
 boat, and in the centre a small boat landing her cargo. 4 Joan. Almeloveen 
 
 Inv. et fecit,' in the margin on the left (d) In the centre, a loaded 
 
 barge, and a small boat, and on the right two sailing boats. ' Joan. Alme- 
 loveen Inv. et fecit,' in the margin on the left. (lej In the foreground on 
 
 the left, a Cabaret with a sign. Without artist's name. (/) In the cen- 
 tre, a road, with four gentlemen standing in conversation; and on the left 
 
 a rocky bank. Without name. (g) A boat loaded with barrels and two 
 
 men in it, towed by a man on shore to the right. 4 J.A.f.,' in margin on 
 
 the left. (h) A bridge with three arches, towards the left. In the pargin 
 
 of this and the two following : ' Johan. Almelween inv. ct fee.' (t) In thy 
 
 K 2 
 
A L O 
 
 middle of the foreground, two gentlemen standing in conversation .(&) On 
 
 the right, a bridge of four arches, seen in perspective. 
 
 4. A Set of twelve Views of Dutch Villages, with boats, after H. 
 Saftleeven. Not numbered, h., with margin, iv. 2. (B. 1 — 12.) The 
 name of each village is engraved in the margin, and on the first of the set : 
 i H. S. (in cypher) invent. I. Almeloveen fee.' (a) ' Capel.' (b) ' Jaars- 
 veld/ (e) 'Langerack/ (cf) 'Krimpen.' (e) ' De Hoecti van kleyn 
 Ammers.' (/) ' Loopick/ (g) 4 Thienhoven by Ameyde.' (ft) ' Groot 
 Ammers.' (i) ' Schoonhoven/ (k) ' Lekker-kerck/ (I) 1 Lecxmond.' 
 (m) * Streeskerck. 
 
 5. The Four Seasons, represented in four landscapes of a lozenge form, 
 numbered, after the designs of H. Saftleeven. The plates 4£ square. 
 (B. 13 — 16.) The title of each plate and the number are in the margin at 
 bottom ; and the first has also, ' H. S. invent. J. Almeloveen fee' (1 ) ' Ver.' 
 (2) * jEsTAs.' (3) « Autumnus/ (4) ' Hiems.' These four pieces are 
 finished in the distances with very great delicacy, and fine impressions of them 
 are uncommon. A small number were taken off before the inscriptions ; and 
 these are very rare. 
 
 GIUSEPPE ALOJA. 
 
 1756—1767. 
 
 A Neapolitan engraver of moderate talents, who was much 
 employed at Naples in the publications of the day. We have 
 by him : 
 
 1. The Portrait of the Bishop Giovanni di Palafox, eminent for 
 his piety. 
 
 2. A View of Naples and its environs, in four large pieces. 
 
 3. Part of the Plates, in a work entitled : ' Statica de Vegetabili,' pub- 
 lished at Naples in 1756. 
 
 4. Many plates in the first five volumes, of the magnificent work entitled, 
 i Delle Antichita di Ercolano.' Naples, 1 757— 1767. The two volumes 
 since published are not before me. 
 
 VINCENZIO ALOJA. 
 
 1789. 
 
 Probably a son of the last-mentioned artist. He resided at 
 Naples, and was an indifferent engraver of landscape. 
 
 1. Two Landscapes, companions, with Pastoral Figures and Sheep ; entitled 
 in the margins : < La Tranquilita/ and ' II Gregge;' each with the name of 
 the artist, thus : ' Vine. Alloja Profes™. delle R. Scuole deW Arti del Disegno 
 incise. In Napcli presso l'autore.' h. 10%, besides margin, to. lOf. 
 
 He also engraved some plates of antiquities near Naples ; amongst them : 
 
 2. The Temple of Serapis : 1 Avanzi del Tempio di Giove Serapide a Poz- 
 zuoli. Ph. Hackert pinx. 1789. Vine. Aloja Sculp. Giorgio Hackert direx.* 
 I. 21 f. h. 14|, besides margin. 
 
 BALD ASS ARE ALOISI, called GALANINO. 
 
 b. 1578. d. 1638. 
 
 Was a relative, as well as a disciple, of the Caracci ; and is 
 spoken of as an historical painter of considerable powers. After 
 having done himself credit by various works at Bologna, he es- 
 tablished himself at Rome, where, not perhaps meeting with so 
 much encouragement as he had anticipated in figure-painting, he 
 applied himself to portrait; in which line of art he was very sue- 
 
ALP 
 
 cess ful. It appears not a little singular, under the supposition 
 that he really merited the praises bestowed upon him by the 
 Italian writers as a painter of history, that not one of the etch- 
 ings which he has left us is from his own design. We have 
 by him : 
 
 1. A Set of 50 Plates, besides Title, of the Scriptural Pieces, 
 
 PAINTED BY RAFFAELLE IN THE LOGGIA OF THE VATICAN J and COm- 
 
 monly called Raffaelle's Bible. These prints measure, I, 7. h. 5., besides mar- 
 gin with short latin inscription; and, except the title, are numbered, 1 to 50. 
 According to Bartsch, they are copies, in an opposite direction, from the 
 well -known set of etchings by Lanfranco and Sicto Badalocchio. The Title 
 is ornamented by two children seated, supporting the arms of Gioseppo Bcr- 
 nagli ; and above is inscribed : 4 Historia del Testamento vecchio dipinta in 
 Roma nel Vaticano da RafFaello di Urbino. All' M* . Hire. Sig re . D°. Gioseppo 
 Bernagli, &c. Giovanni Orlandi D. D. D., &c. Balda es . Aloisi Bon. Fe. f 
 &c. 1613/ The subjects are as follow : 
 
 (1) The Creation of Heaven and Earth. (2) God dividing light from dark- 
 ness. (3) God creating the Sim and the Moon. (4) The creation of the 
 
 Animals. (5) The creation of Adam and Eve. (G) Adam and Eve eat- 
 ing the forbidden fruit. (7) Their expulsion from Paradise. (8) They 
 
 are subjected to labour. (9) Noah constructing the Ark. (10) The De- 
 luge. (11) Noah leaving the Ark. (12) Noah's Sacrifice. (13) Mel- 
 
 chisedec meeting Abraham. (14) Abraham receiving the three Angels. 
 
 (15) Lot and his family leaving Sodom. (10) Abimelcch witnessing the 
 
 caresses of Abraham and Sarah.- (17) Isaac blessing Jacob. (18) Isaac 
 
 blessing Esau. (19) Jacob's vision of the ladder. (20) God announcing 
 
 to Abraham the extent of his posterity. (21) Jacob and Raphael at the 
 
 well. (22) Jacob bargaining with Laban for Uachacl. (23) Jacob's 
 
 Journey. (24) Joseph telling his dream to his brethren. (25) Jo- 
 seph sold by his brethren.- (20) Joseph and the wife of Potiphar. 
 
 (27) Joseph explaining Pharaoh's dream. (28) The finding of Moses. 
 
 (29) Moses and the Burning Bush, (30) The passage of the Israelites 
 
 through the Red Sea. (31) Moses receiving the tables of the law. 
 
 (32) The adoration of the Golden Calf. (33) The column of light in the 
 
 camp of the Israelites. (34) Moses shewing to the people the tables of the 
 
 law. (35) Moses striking the rock. (30) The Israelite army marching 
 
 through the river Jordan. (37) The taking of Jericho. (38) Joshua 
 
 commanding the SUn and Moon to stand still. (39) Samuel anointing Saul 
 
 king. (40) David killing Goliath. (41) David's triumphal entry into 
 
 Jerusalem. (42) David perceiving Bathshebain the bath. (13) Solomon 
 
 anointed king. (44) The Judgment of Solomon. (45) Solomon building 
 
 the Temple of Jerusalem. (40) The Queen of Sheba visiting Solomon. 
 
 (47) The Nativity of Christ. (48) The adoration of the Magi. — -(49) John 
 
 baptizing Christ.- (50) The last Supper. (Bartsch, 1—50.) 
 
 It is observed by Bartsch that the above etchings are very inferior to the 
 originals of Lanfranco and Badalocchio, from which they were taken. The 
 set appears to be extremely rare, and to have escaped the notice of all 
 previous writers. 
 
 2. St. Rock, distributing his Fortune among the Poor. Copied, in 
 an opposite direction, from the celebrated etching by Cuido, after Annibale 
 Caracci. In the margin : 1 Baldassuro Aluhio Bobm, jeeit. S. Kocco chc 
 dispensa la sua roba A'Poviri. Anibale Caracio Boloniensis. Inven. Anno 
 1614.' I. 17|. h. llf, besides margin. This copy is etched in a masterly 
 manner, bat wants the delicacy of the original. (B. 51) 
 
 EMANUEL ALPKO. 
 
 c. 1710. 
 
 I find no mention of this artist; who, there is little doubt, was 
 a Sicilian. The following- print, bearing- his name, is executed 
 
ALT 
 
 in a stiff, close manner of engraving ; and might be taken for a 
 production of the beginning of the 17th century, did it not 
 clearly appear to have been done in commemoration of the re- 
 capture of the city of Messina by the Spaniards, a hundred 
 years afterwards. 
 
 A sort of Triumphal Arch, supported by numerous columns, and decorated 
 with statues, banners, and armorial bearings. In a compartment, over the 
 arch, the Spanish troops are represented scaling the ramparts of Messina ; 
 and in another, above it, is a long inscription : * D. O. M. Aloysium Moncada 
 regio sanguine purpuratum Martis propugnaculurn,' &c. At bottom, on the 
 left: Emanuel Alpho sculpsit.' h. 12§. ic. 9. (O.) 
 
 ALEIiECIIT ALTDORFER. 
 
 1500 jp^ 1519. 
 
 It was formerly thought that this artist was a native of AltdorfT, 
 in Switzerland; but Mr. Wilde, a senator of Ratisbon in the 
 last century, found reason for the belief that he was born at a 
 town of the same name near Landshut, in Bavaria. It is shewn 
 by documents, that the family was established in Ratisbon, and 
 its environs, in the 15th century. The name of Albrecht Alt- 
 dorfer is found registered among the citizens of Ratisbon in 
 the year 1511 ; it appears that, after having passed through va- 
 rious civil offices, he was at last made a member of the interior 
 senate, and architect of the town ; and it is added that he died 
 there, without issue, A. D. 1538. It is said that the city still 
 possesses some of his pictures, and that a complete collection of 
 his engravings is preserved at the house of the magistracy. 
 AHdorfer is commonly said to have been a disciple of Albert 
 Duref ; but for this there appears to be no good authority. He 
 is classed with the little masters ; as most of his engravings are 
 of small dimensions. Bartsch describes 96 pieces by him on 
 copper, several of them etchings, and 63 on wood : BruHiot 
 has noticed three or four others ; and my own collection, and 
 that of a friend, enable me still further to perfect the list. His 
 engravings on copper want that clearness and brilliancy of exe- 
 cution which we find in the works of Aldegrever, the two Behams, 
 and several other old German masters ; but his wood-prints unite 
 great neatness of execution, with spirit. These last, especially, 
 appear to entitle him to a respectable rank as a designer, whilst 
 they prove him to have been, unquestionably, a man of power- 
 ful and inventive genius. 
 
 The same abbreviations are used in this catalogue, as in 
 that of Aldegrever. 
 
 ETCHINGS. 
 
 I. A Soldier, with a hat and feathers^ standing and seen in front. He clasps 
 his sword with the left hand, and with the right holds his halbert, which 
 he has thrown over his shoulder. On the left are two corinthian columns. 
 Mon. 1. b. Dark background. Very spirited, k. 4f. to. 3£. This print, which is 
 
ALT 
 
 in my friend Mr. Lloyd's collection, is mentioned neither by Heinecken, 
 Bartsch, nor Brulliot. 
 
 2. The Interior of the Synagogue of Ratisbon. In a tablet, at top: 
 * Anno dni. dxix. judaici Ratispona Synagoga justo dei judicio fundit. est 
 eversa.' Mon. m. b. h. Of. w. 5. (B. 63.) 
 
 3. The inside of the Portico of the same Synagocue. In a tablet, 
 at top: ' Portions Sinagogae jndaicae Ratisponen. Fracta 21 die Feb. 
 Ann. 1519/ Mon. m. b. h. Of. tv. 4f. (B. 04.) 
 
 4. Landscapes, upright. Three pieces. (a) In the middle is a steep bank, 
 
 with a fir-tree growing from it, to the trunk of which, halfway up the print, 
 
 is attached a tablet with mon. h. G£. w. 4£. (b) In the foreground on the 
 
 right is a fir-tree, which rises to the top of the print. Beyond is a chain of 
 mountains, half way up one of which, near the middle of the piece, is a large 
 
 castle. Mon. 1. t. h. 9. to. 7. (c) In the middle is a fort, flanked by a 
 
 round tower, built on a steep rock, below which is a river. A fir-tree is in 
 the foreground on the right. Mon. m. t. h. 5$. to. 4.{. (B. 00—03.) 
 
 5. Landscapes, lengthways. Six pieces. I. 6\, to 6|. h. 4$. (a) In the 
 
 middle a road, which appears to go strait into the picture; on the right a 
 
 steep mountain ; and on the left some distance. Mon. L t. (b) A chain of 
 
 mountains which recede towards the right. At the foot of them, on the left, 
 trees and a few buildings. In the foreground, a little to the right, rise two lir- 
 
 trees, close together, by the side of a road. Mon. 1. t. (c) In the middle 
 
 a village, with a water-mill and a square tower, situated at the foot of an im- 
 mense rock, which occupies all the right of the print. On the left another, 
 still steeper rock ; and in the foreground, on that side, two firs growing near 
 each other. Mon. r. t. but different in form from that commonly used by 
 
 Altdorfer. (</) A town situated on the banks of a river, which occupies 
 
 the right, and takes a winding course into the distance on that side. In the 
 
 middle is a small fort with a tower, built on an eminence. Mon. in. t. (e) In, 
 
 the foreground towards the right, is a fir-tree, which rises to the top of the piece: 
 another tree occupies the left edge of the print, and at some distance is seen 
 a third. Below is a river, on the further side of which, on the left, is a fort 
 
 flanked by two square towers. Mon. m. t. (/) A mountainous landscape, 
 
 enriched here and there with wood. In the distance on the left a large river, 
 on the banks of which are buildings ; in the middle ground near the centre a 
 hillock, on which is a group of trees; and to the right two firs. Mon. L t. 
 (B. 09—74.) 
 
 6. Goblets, Ewers, and Vases, twenty-two pieces, varying in dimensions. 
 (B. 75 — 90.) Bartsch, in speaking of these, mentions the exact distance be- 
 tween the top of the plate and the upper-line of the monogram, in some of 
 them; as furnishing, together witli the measurements of the prints, sufficient 
 means of distinguishing one from another ; in which I follow him. (a) A 
 Vase. Mon. 1^, from the top. h. l\. to. (b) A Vase. Mon. If, from 
 the top. h. 4£. to. 3^. (c) An Ewer ; its handle on the left, and a Siren 
 on the right. Mon. in. t. h. OJ. u\ 5\. (</) A Vase, the base ornamented 
 with three winged infants, without arms, seated. Mon. m. t. h. Ok. tc. 44. 
 (e) A Vase ; the ground behind it dark. Mon. 2j, from top. h. o|. tv. if. 
 (/) A Goblet, in a niche. Mon. b. h. G£. w. 4£. (§•) A Goblet, with 
 Cover. Mon. m. t. k. G£. to. (U) A Goblet, h. 6$. iff. 4J-. (i) A 
 Goblet ; on the cover of which is a warrior with a shield and a spear, h. 6J. 
 tv. 4^. (k) A Goblet, with Cover. About the middle, are three pome- 
 granates, h. 8|. tv. 4^. (I) A Goblet, with Cover. Mon. 4}, from the 
 top. h. 8|. iff. A\. (m) A Goblet, with Cover. Mon. 4}, from the top. 
 h. 81. to. 4^. (n; A Goblet, on the cover of which is an infant Hercules 
 strangling the serpents, h. 8J. to. 4|. (o) A Goblet, with Cover. Mon. 
 3, from the top. h. 9. to. 4^. (;>) An Ewer, its handle on the left, and a 
 dragon on the right. Mon. ni. ft, 9. to. 4^. (</) A Goblet, with Cover, 
 Mon. 8£, from the top. ft. 9}. to. 4£. (r) A Goblet. Mon. If, from the 
 top. h. 7\. to. S£. (s) A Goblet, with Cover. Mon. If, from the top. 
 ft. 7\. to. 4§v (0 A Goblet, ornamented with three cherubs, ft. 7 j. to. 4$. 
 (u) A Goblet. Mon. l£, from the top. ft. S\. to. 4.V. (it?) Two Goblets, on 
 one plate, h. 8 J. tv. 5|. (.r) Three Goblets, ditto, ft. 8|. it?. 5 J. 
 
ALT 
 
 ENGRAVINGS WITH THE BURIN. 
 
 7. The Portrait of Martin Luther ; bust, profile, turned to the right, 
 within a circle of foliage. At top : D. M. L. Mon. m. b. h. 2|. w. If. (B. 61.) 
 
 8. Sampson, tearing open the lion's jaws. Mon. 1. c. t. h. If. w. If. (B. 26.) 
 
 9. Sampson, carrying off the gates of Gaza. Mon. r. b. h. If. w. I£. (B. 2.) 
 
 10. Sampson and Dalilah. Mon. r. t. h. If. w. If. (B. 3.) 
 
 11. Judith standing, with the head of Holophernes on the point of her sword. 
 Mon. r. c. t. h. 2|. w. If. (B. 1.) 
 
 12. Solomon's Idolatry. Mon. 1. b. h. 2f . w. 1|. (B. 4.) 
 
 13. The Holy Family. The Madonna is seated with the Infant in her lap, 
 and seen in front. Joseph stands on the left, resting with his right hand upon 
 his stick. Landscape background. Mon. in. t. h. 3|. w. 2. (B. 5.) 
 
 14. The Madonna standing, with the Child in her arms, and St. Anne ar- 
 ranging the cradle; on which is the monogram, h. 2J. w. 2\. (B. 14.) 
 
 15. The Madonna, seated with the Infant on her lap, and turned 
 towards the right; where, in the background, is a large tree. Mon. h c. t. 
 h. If. w. If. (B. 12.) 
 
 16. The Madonna, with the Infant on her lap, turned towards the 
 light, where are two youths kneeling, one of whom presents a jug to the Sa- 
 viour. Mon. 1507, 1. b. h. 2£. w. 2. (B. 15.) 
 
 17. The Madonna, seated in a Landscape, with the Infant standing on her 
 lap, giving the benediction. Mon. r. b. h. 6^. iv. 4f. (B. 17.) 
 
 18. Christ, driving the Money-changers from the Temple. Mon. 
 1. c. b. h. 2f. w. If. (B. 6.) 
 
 19. Christ on the Cross : with the Madonna standing on the left, and St. 
 John on the right. Mon. m. b. h. 2f . w\ If. (B. 7.) 
 
 20. The Crucifixion. Jesus is upon the cross, on the left : on the right is the 
 Madonna fainting in the arms of St. John ; with other figures. Mon. r. b. 
 h. 5f. w. 3*. (B. 8.) 
 
 21. The Madonna, standing with the Infant in her Arms, upon a 
 Crescent. Mon. 1. c. t. h. 2%. iv. If. (B. 11.) 
 
 22. The Madonna, seated, with the Infant on her lap, upon a throne, sur- 
 rounded by little angels. Mon. upon the throne, h. 2§. iv. If. (B. 13.) 
 
 23. The Madonna, standing, with the Infant on her left arm, to whom she 
 presents an apple. Mon. r. b. Date, 1509, at top. h. 4|. iv. 3. (B. 16.) 
 
 24. The Madonna, seated in the Clouds, with the Infant on her lap, 
 and turned towards the right; where is a saint standing, perhaps St. John, 
 and apparently addressing her. Mon r. c. t. h. 4. w. 2f. Mr. Lloyd's coll. 
 It is one of Altdorfei's most beautiful prints, and hitherto undescribed. 
 
 25. The Infant Saviour, standing. He has a globe in the left hand ? 
 and with the other gives the benediction. Mon. 1. b. h. 3. w. If. (B. 10.) 
 
 26. The Decollation of John the Baptist. In the background a large 
 gate, at the top of which is the mon. with date 1517. h. 7% . w. 6f . (B. 18.) 
 
 27. St. Catherine seated, and turned towards the left, with a sword on her 
 lap, which she appears to be drawing from the scabbard. Behind, on the left, 
 is the wheel. Mon. 1506, r. c. b. A. 2f. w. If. (O.) 
 
 28. St. Christopher, traversing the river, with the Infant Saviour on his 
 shoulders. Mon. m. t. h. 2£. w. 2\. (B. 19.) 
 
 29. St. George, killing the Dragon. Mon. r. h. 2f. w. If. (B. 20.) 
 
 30. St. Jerome, standing in his cave, reading. Mon. m. 1. h. 4£. w. 2f . (B. 21.) 
 
 31. St. Jerome, walking from his Church, attended by the Lion. Mon. 
 r. c. b. h. 4f. iv. 4f. (B. 22.) 
 
 32. St. Sebastian, standing, tied to a column, and turned a little towards the 
 
ALT 
 
 left, where in the distance are four small figures, and part of a town. Mon. 
 I. b. h. 3^. to. If. (B. 23.) 
 
 33. St. Sebastian, standing, and turned towards the left; his arms bound to 
 the branches of a large tree. Mon. 1511, 1. c. b. h. 3f. to. If. (Brulliot.) 
 
 34. The Court of a Cloister; on the right, a woman in a mantle, em- 
 bracing a column with the right hand, and having the left on a book. Mon. 
 r. b. h. 2f. to. If. (B. 24.) 
 
 35. Two Anchorites seated on the right ; the devil tempting them un- 
 der the form of a naked female. Mon. I. b. ; and date 1506 on the trunk of a 
 tree. h. 4|. w. 4£. (B. 25.) 
 
 36. Hercules carrying the two Columns. Mon. l.b. h. If. to. If. (B. 27.) 
 
 37. Hercules and a Muse, standing, and both naked; the former with a 
 cornucopia in the right hand, the latter with a lyre. Mon. m. t. h. 2§. 
 w. If. (B. 28.) 
 
 88. Mercury, in armour, with a winged helmet, having just leaped from a 
 tower into the water; the caduceus in his right hand. Mon. I.e. b. h.2\. 
 w. If. (B.29.) 
 
 30. Neptune seated on a sea-serpent, which moves to the light. Mon. r. b. 
 I. If. h. 1. (B. 30.) 
 
 40. Neptune, in his car, drawn by sea horses and conducted by tritons, carry- 
 ing off a nymph. Mon. m. t. I. 3£. h. 1$. (B. 31.) 
 
 41. Venus, standing, with a cornucopia in her left hand, and a naming heart 
 in her right, attended by two cupids. Mon. r. b. h. 2|. w. If. (B. 32.) 
 
 42. Venus, in a crouching posture, in the bath ; cupid behind, on the right, 
 upon a pedestal, whereon is the monogram. Copied from a print of Marc' 
 Antonio, h. 2f. to. If. (B. 33.) 
 
 43. Venus, seated, wiping her feet after bathing; cupid standing on the left. 
 Mon. m. t. Also after Marc' Antonio, k. 2f to. If. (B. 34.) 
 
 44. Venus, recumbent, with two cupids. Mon. r. t. I. 2f. h. If. (B. 35.) 
 
 45. The Judgment of Paris. Mon. 1. b. h. 2|. to. If. (B. 36.) 
 
 46. A Centaur, turned to the left, bearing a vase of fire. Mon. 1. c t. h. If. 
 w. If. (B. 37.) 
 
 47. Two Satyrs fighting for a Woman. Mon. r. c. t. h. 2$. to. If. (B. 38.) 
 
 48. Amphion on a Dolphin, a violin in his right hand, followed by a nymph 
 on another dolphin. Mon. r. c. b. h. 2f . to. If. (B. 39.) 
 
 49. Munus Scevola burning his hand. Mon. 1. b. h. 2f. to. If. (B. 40.) 
 
 50. Dido killing herself. Mon. and name : * Dido/ r. c. b. h. 2f. 
 w.1$. (B. 42.) 
 
 61. A naked Female seated upon a Pedestal, on the left. Below, on the 
 right, people with lanterns. Mon. 1. b. h. 3. to. If. (B. 43.) 
 
 52. Pyramus and Thisbe. The dead figure of Py ramus boldly foreshortened. 
 A very fine design. Mon. r. b. A. 2|. w. If. (B. 44.) 
 
 53. A Cupid riding on a Stick. Mon. r. b., and a Cupid with an in- 
 flated Bladder. Mon. 1. b. Companions, h. If. w. 1. (B. 45. 46.) 
 
 54. A Soldier walking to the right, with a long staff over his shoulder. Mon. 
 r. t. h. 2f. to. If. (B. 49.) 
 
 65. A Man in Armour, standing and turned to the left, with a pot in the 
 right hand, and a loaf in the left. Mon. 1. h. 3£. to. 2. (B. 50.) 
 
 56. A Drummer, marching to the right, beating his drum. Mon. 1510, 1. b. 
 h. 2f. w. If. (B. 51.) 
 
 67. A Standard-bearer, standing and seen in front, his head inclined a lit- 
 tle to the right. Mon. 1. c. t. h. 2f . to. If. (B. 52.) 
 
 58. Another Standard-bearer. Mon. 1500, r. b. h. 2f.tr. If. (B. 53.) 
 
 VOL. I. . L 
 
ALT 
 
 59. A Man "standing, playing on the Violin, Mon. I. b. h. 21. 
 to. If. (B. 54.) 
 
 60. A Man seated, and turned to the right, with a bar of wood on his knees, 
 and his head resting on his left hand. Mon. 1. c. b. h. If. w, 1£, (B. 55.) 
 
 61. A Woman seated in a bath, and turned to the left. Mon. I. c. t. h, 14. 
 w. \\. (B. 56.) 
 
 62. A Winged Female, naked, standing on a star; a torch in her right hand, 
 and in her left a staff, from which hangs a tablet with monogram, h. 3£. 
 w. 1£. (B. 58.) 
 
 63. A Winged Venus, with Cupid standing on a globe on which is mon. 1511. 
 The figures on a dark ground. Rare. h. 3|. w. If. (B. 59.) 
 
 64. A Female seated on a Dragon with bat's wings. Her left hand Is on 
 her bosom, and in her right she holds a mirror. On a dark ground Mon. 
 1506, r. b. h. 3£. ic. 3. (Brulliot.) 
 
 65. Head of a young Man with long hair, turned towards the right. Mon. 
 r. b., and date 1507, 1. b. h. l£. w. i. (B. 62.) 
 
 66. A Standard-bearer and a Lady, half figures, on the same plate; 
 the former on the right, the latter on the left. Mon. r. t., on the standard. 
 /. 2£. h. If. (Brulliot.) 
 
 67. A Perfume-Box ; with a ring at the top, in which is the mon. h. 1&, 
 to, 1. (Brulliot.) 
 
 68. A Pomegranate, at bottom on the right, from which proceeds foliage. 
 Mon. r. c. b. I. If. h. 1* (O.) 
 
 69. An Ornament of Foliage. Tablet with mon. 1. t. h. 2|. w. If. (B.65.) 
 
 70. A Piece of Ornament. In the middle a Candelabrum, and at top a 
 Cherub, and two Cornucopia, on each of which is perched a bird. Mon. in. 
 A. 2|. w. If. (O.) 
 
 PIECES ASCRIBED TO ALTDORFER, BUT WITHOUT HIS 
 MONOGRAM. 
 
 71. Christ, crowned with Thorns, a half-figure, naked and seen in a 
 back-view, addressing himself to the Madonna, who, with her hands crossed 
 < n her bosom, is on the left. Date, 1519, r. t. h. 2f . w. If. (B. 9.) 
 
 72. Lucretia stabbing herself. She is seated, naked, and turned to the 
 right, h. 2. w. l\. (B. 41.) 
 
 73. A Naked Infant, with a sword by his side, riding on a stick, h. 1|. 
 w. 1*. (B. 47.) 
 
 74. An Infant in a Car, drawn to the left by nine others. /. 4f. h. 0£. (B, 48.) 
 
 75. A Naked Female, seated on a Cuirass, and turned to the left ; said 
 to be copied after a piece by B. Beham ! h. 2£. to. If. (B. 57.) 
 
 76. A Naked Female, standing. She has a bonnet with long feathers, and 
 looks into a mirror which she holds in the right hand. h. 3f . iv. 2. (B. 69.) 
 
 ENGRAVINGS ON WOOD, 
 
 1. The History of the Fall of Man, and of his Redemption through 
 Christ ; in 40 pieces, which are not numbered ; although, for the conveni- 
 ence of reference, I have used numbers in the following list. Some of the 
 compositions are, I think, admirable ; especially the 19th, 23d, 28th, 29th, 
 30th, and 32d. They are all marked with the monogram, h. 2|. w. Ig. 
 (B. 1-^40.) 
 
 The subjects are as follow: — (1) Adam and Eve eating the forbidden fruit. 
 
 (2) Adam and Eve driven out of Paradise. (3) The High Priest refusing 
 
 the offering of Joachim. (4) An angel appearing to Joachim. (5) Joa- 
 chim embracing St. Anne. (6) The Virgin Mary when a child, ascending 
 
 the steps of the Temple. (7) The Annunciation. (8) The meeting of 
 
 Mary and Elizabeth. (9) The Nativity. (10) The Adoration of the 
 
 Magi. (11) The Circumcision. (12) The presentation of the Infant 
 
ALT 
 
 Saviour in the Temple. (13) The flight into Egypt. (14) Christ dig- 
 
 puting with the Doctors. (15) The Transfiguration (16; Christ taking 
 
 leave of his Mother. (17) His entry into Jerusalem. (18) The Last 
 
 Supper. (19) Christ praying in the Garden. (20) Christ taken in the 
 
 Garden. (21) He is brought before Caiphas. (22) Christ before Pi- 
 late. (23) The Flagellation. (24) Christ crowned with thorns. (25) 
 
 Christ rejected by the Jews. (26) He is delivered to be crucitied. 
 
 (27) Christ bearing his Cross. (28) Christ nailed to the Cross. (29) The 
 
 raising of the Cross. (30) Christ expiring on the cross. (31) Christ 
 
 taken down from the Cross. (32) The dead body of Christ in the lap of 
 
 the Virgin, at the foot of the Cross. (33) The Burial of Christ. (34) 
 
 Christ's descent into Limbo. (35) His Resurrection. (36) Christ ap- 
 pearing to Mary Magdalen. (37) The Ascension. (38) The death of 
 
 the Madonna, in the presence of the Apostles. (39) The Last Judgment. 
 
 (40) The Madonna standing, with the Infant Christ in her arms, within a glory. 
 
 According to Heinecken, an edition of 38 of these prints, some of them 
 copies, was published at Zuric, in 1604, by a person the initials of whose 
 name were G. L. F., with this spurious title : ' Alberti Dureri Noriberg. 
 German. Icones Sacra?, &c. nunc primum e tenebris in lucem editae, 1604/ 
 in 4to., with a description of the subjects in verse. 
 
 2» Abraham's Sacrifice. Mon. 1. 1. h. 4|. w. 3£. (B. 41.) 
 
 3. Caleb and Joshua with the Bunch of Grapes brought by them 
 from Canaan. Mon. 1. b. Same dimensions. (B. 42.) 
 
 4. Jahel and Sisara. Mon. 1. c. b. Same size. The figure of Sisara boldly 
 foreshortened. (B.43.) 
 
 5. The Annunciation. Mon. m. t. Date 1513, r. Same size. (B. 44.) 
 
 6. The Adoration of the Shepherds. Mon.l. t. Same size. (B. 45.) 
 
 7. The Murder of the Innocents. Mon. 1. b. Date 1511, r. h. 7£. w. 5$. 
 (B. 46.) 
 
 8. The Resurrection of Christ. Mon. 1512, r. b. h. 9. w. 7. (B. 47.) 
 
 9. The Madonna, standing, with the Infant Christ in her arms, in a Church. 
 Mon. 1. b. h. 4|. w. 3|. (B. 48.) 
 
 10. The Madonna seated upon a Throne, on the left, with the Infant 
 on her lap ; a man in a religious habit kneeling before her. Mon. 1, b. h. G§. 
 u\ 4f. (B. 49.) 
 
 11. The Madonna standing on a Crescent, with the Infant in her arms, 
 upon an Altar. On one side, St. Christopher and St. Barbara, and on the 
 other St. George and St. Catherine, in niches. Mon.m. U h. llf.w. 81. (B. 60.) 
 
 12. The Madonna of Ratisbon ; from an Image, formerly in the Cathedral 
 of that city. At bottom: ' Ganntz schon bistu,' &c, three times repeated. 
 Mon. r. b. In clair-obscure ; though there exist impressions from a single 
 block only. h. 13|. w. 9f. (B. 51.) 
 
 13. The Decollation of John the Baptist. Mon. 1512, r. b. h. 8. 
 w. G-J. (B. 52.) 
 
 14. St. Christopher with the Infant Christ upon his shoulders, 
 traversing the river. He seems scarcely able to support his burthen. See the 
 legend. Mon. 1513, r. h. 6£. w. 4|. (B. 53.) 
 
 15. St. Christopher seated on the ground, and the Infant Saviour 
 about to mount upon his shoulders. Mon. m. near U h. if. to. 3]. (B. 54.) 
 
 16. St. George killing the Dragon. Mon. 1511, I.e. b. h. 7§. u\ 5}. (B.55.) 
 
 17. St. George standing upon the vanquished Dragon, his lance in 
 the left hand, and his right resting on his haunch. Without mon. h. 5. 
 w. 3f. (B. 56.) 
 
 18. St. Jerome, kneeling in his cave before a crucifix. The lion standing on 
 the left. Mon. m. near b. Most beautifully executed, h. 6|. tr. 4f. (B. 57.) 
 
 19. St. Jerome, kneeling before a crucifix, and turned to the left. Mon. 1. b. 
 h* 2§. w. l£. (B. 58,) It is sometimes found within an ornamented border. 
 
 L 2 
 
ALT 
 
 20. A Magnificent Font, in a Church. On the left, Joseph, the Ma- 
 donna and Child, and an angel ; on the right, two other angels. Mon. m. b. 
 h. 9£. w. 7. (B. 69.) 
 
 21. The Judgment of Paris. Mon. 1511, r. c. b. h. 8. w. 6§. (B.60.) 
 
 22. Thisbe, weeping over the dead Body of Pyramus. Mon. r. t. 
 h. 4f. w. If. (B. 61.) 
 
 23. A Standard-bearer. Mon. I. b. h. 4£. w. 3|. (B. 62.) 
 
 24. A Cavalier and a Lady, seated in conversation under a tree, behind 
 which is seen the head of his horse. Mon. 1511, r. near t. An excellent de- 
 sign, ft. 5$. «\4. (B. 63.) 
 
 ALTOBELLO. 
 
 c. 1495. 
 
 The records which we possess of the early Italian schools of 
 art, make mention of but one person of the name of Altobello ; 
 and this was Altobello Melone, a painter of some eminence of 
 Cremona, who, at the close of the fifteenth century, painted, in 
 concurrence with Boccaccio Boccacino, certain stories of the life 
 of Christ, in the Duomo of that city, of which Vasari speaks 
 with praise, in his life of Benvenuto Garofalo. Padre Resta, in 
 one of his letters, published p. 341, in the third volume of the 
 * Lettere sulla Pittura, &c.' states Altobello to have been a scho- 
 lar of Bramante ; nor is the fact improbable, though he has omit- 
 ted to give his authority for it ; as it is known that Bramante 
 practised painting, successfully, at Milan, as well as architecture, 
 from 1476 to 1499. 
 
 The three following engravings were first described by me, in 
 1816, in my ' Inquiry into the Early History of Engraving/ 
 The two first were then in the collection of Mr. Lloyd, and the 
 third was in my own ; and upon that occasion I attributed the 
 last piece to Andrea Mantegna, to whom the invention had long 
 been generally ascribed. The whole afterwards passed into the 
 collection of Sir M. M. Sykes ; and upon comparing and re-ex- 
 amining them, in 1824, when preparing, as I did, the catalogue 
 of that splendid cabinet for public sale, I saw reason to doubt 
 the accuracy of my former judgment, as to the last print; of 
 which I there observe, p. 77, ' that, in its style of execution, 
 it bears a very strong resemblance to the two engravings by Al- 
 tobello, hereafter to be mentioned.' Since this last period, I have 
 been gratified by finding a print after an undoubted picture by 
 Altobello, in a work entitled ' La Pittura Cremonese,' published 
 at Milan in 1824. It represents the flight into Egypt, and is 
 one of the frescoes painted by him in the Duomo of Cremona. 
 Suffice it to say that the ass in this picture is led by an angel, 
 whose figure, in its attitude, style of design, and general charac- 
 ter, agrees so strikingly with the figure in the old print in 
 question, as to leave no doubt in my mind that both are by the 
 same artist. 
 
 1. Four Cupids, hand in hand, Dancing. Three of them have short 
 thin draperies ; besides which, the last but one, on the right, has a tanciful 
 
ALT 
 
 cuirass, made of the skin of a lion's head, and scale armour on hi6 shoulders. 
 The cupid on the left is naked, and holds in his right hand a ribbon, to which 
 is attached a tablet, on which we read : i ALTOBELO. V. F. I. 6f. h. 5|. 
 (S. W.) See * Fac-similes of scarce and curious Prints,' London, 1826, where 
 it is copied. 
 
 2. Four Cupids playing on Musical Instruments. They are all standing 
 and seen in front. The Cupid on the left border of the print wears a short 
 vestment, and a cap of a singular form, and plays the bagpies; the one next to 
 him rests his foot on a large stone, and plays the guitar ; the third plays upon a 
 sort of violin ; and the fourth, on the right, wears a wreath, and plays on the 
 pipe and tabor. The three last are naked. This print is of the same dimensions 
 as the preceding, to which it was doubtless intended as the companion. (T. W.) 
 
 3. A Young Man bearing a Yoke on his Shoulders, and dragging 
 after him a heavy ball, attached by a chain to his ancles. He directs his 
 steps towards the right, but looks round to the left. The design, which is 
 extremely beautiful, has been hitherto ascribed to Mantegna; but I am satis- 
 fied that, in giving it to Altobello Melone, I restore it to its real author, h. 7J. 
 w. 5\. (O.) A fac-simile of this unique print is given in the ' Inquiry' above 
 mentioned ; and we have also a copy of it in an opposite direction, and in a more 
 finished manner, engraved by Adam Mantuanus in the ICth century, with 
 this inscription : ' Servus eo laetior quo patientior.' 
 
 These three pieces bear the appearance of having been done on a metal less 
 hard than copper ; and are executed in a loose manner, with a delicate point, 
 with strokes only once crossed. The figures, in all of them, are drawn with 
 sufficient intelligence; the ground immediately behind them is dark; and 
 on the plain below are sprigs of herbage and small stones. With respect to 
 the letters V. F. under the name of 4 Altobelo,' in the first print, I have only to 
 repeat the conjecture advanced by me in the work just mentioned, that the 
 first character, which may be supposed to include the letters IV, was intended 
 to stand for Inventor, and the second for Fecit. 
 
 ANDREA ALTOMONTE, 
 
 c. 1725. 
 
 Was probably a relative of Martino Altomonte, a Neapolitan 
 painter, born 1657, who spent the latter part of his life at Vi- 
 enna, where he died, according to Heinecken, in 1745. All that 
 appears to be recorded of Andrea Altomonte is, that he was one 
 of those who assisted Premier in engraving' the pictures of the 
 Imperial collection in that capital ; which work was published 
 there, J 728 — 1733, in four parts in folio. The following is the 
 only plate I am acquainted with, to which he has put his name. 
 
 Abraham, offering the Ram upon the Altar whereon he had in- 
 tended to sacrifice his Son IsAAC. The patriarch and his son are both 
 kneeling, and turned towards the left. Upon the marg. : ' David Tenicrs 
 Pinx. An. 1653. Cum Privileg. S. C. M. Andr. Altomonte Ing™. Del. et Inci.' 
 h. 9, including margin, w. Q\. It is etched a good deal in the manner of 
 Prenner, but with less softness and finish. 
 
 WILHELM ALTZENBACH, 
 (Father and Son) and 
 GERARD ALTZENBACH. 
 
 1650—1671. 
 
 Heinecken states that the two William Altzenbachs, father and 
 son, worked some time at Paris, under Landry ; and that they 
 afterwards established themselves at Strasburgh, where there lived 
 also one Gerard Altzenbach, a publisher ; though, according to 
 
A M A 
 
 Zani, Gerard also was an engraver. The history of these artists 
 seems to require further illustration. Their works are not of fre- 
 quent occurrence. Heinecken mentions the following : 
 
 1. The Portrait (a) of C.Magnus Gerard, (b) Bible Subjects, 20 pieces 
 engraved by Altzen bach and others, (c) Christ victorious, upr. with in- 
 scription : ' Ubi est mors, Sec. G. Altzenbach exc/ (d) The Marriage of 
 St.Catherine, half-figures upr. engraved by Wilhelm Altzenbach the younger. 
 Gerard Altzenbach exc. (e) St. Bridget kneeling before Christ, upr. after 
 Toussaint. (/) The Martyrdom of St. Margaret, tepr. after the same. 
 (g) A Set of Flower-pieces, after Toussaint and others, engraved by W. 
 Altzenbach and Fr. Brun, Add 
 
 2. A View of the Cathedral at Aix la Chapelle ; numerous figures in 
 the foreground : 4 Basilica divas Virginis matris dei Marias, Aquis G. A. Carolo 
 Magno extructa,' &c. also a German inscription. * Gerardus Altzenbach Civis 
 Coloniensis Dedicabat, Anno Domini 165U. den 10 July.' Very well engraved, 
 in the manner of F. Brun. k. w. 10^. (O.) 
 
 8. Joanna Hervy, widow of Claude Morelli, oval. Four verses underneath : 
 ' A spice Septeno,' &c. engraved something in the manner of Landry, but in- 
 ferior. ' G. (Guglielmus) Alzenbach Sculpebat, 1671/ /i. 8|. ic. 6|. 
 
 N1COLO ALU. 
 
 1G87— 1707. 
 
 Zani appears to have seen prints with the above dates, one or 
 more of them inscribed : * Nicol. Alu Scul. Parmae ; which 
 determines the place of this artist's residence. The following 
 devotional print by him, is now before me : it is a wretched per- 
 formance, done entirely with the graver ; 
 
 The Madonna and Child, within an ornament; the former a half-figure. 
 At top : ' Acervus tritici,' &c, and at bottom : 4 Flos campi fructus ventris, 
 &c. N. Alu F: h. 7|. w. 6£. 
 
 POMPONIO AMALTEO, 
 
 1578. 
 
 Born at Udine, it is said, about 1505, was one of the best 
 followers of Pordenone ; whose daughter he married, and whose 
 school of painting-, in the Friuli, he succeeded to, upon the 
 death of that great artist. Zani cites an inscription, from which 
 it appears that Pomponio was living in 1583 ; and to him, also, 
 I am obliged for the following description of an etching by 
 his hand. 
 
 Adam and Eve driven out of Paradise. The Angel is in profile, has a 
 sword in the right hand, and with the left pushes forward the unhappy 
 Adam, who, looking round, seems to inquire of him which way he ought to 
 go. The Serpent is in the tree, and in the clouds above is represented the 
 Almighty, surrounded by Cherubim. Under the right foot of the angel is 
 inscribed: ' Pomponi Friulensis Fecit 1578,' in three lines. From what Zani 
 says, I imagine the date to be imperfectly denned. He never saw the print 
 but once, in the collection of Count Remondini at Bassano. h. tv. 5. 
 (Zani, P. II. vol. ii. p. 253.) 
 
 JACQUES FRANCOIS AMAND, 
 
 c. 1760. 
 
 Died at Paris in 1769 ; in the autumn of which year an histo- 
 rical picture, painted by him some time before, upon his reception 
 
A M A 
 
 as a member of the Royal Academy, was exhibited in the Louvre, 
 which is spoken of in writings of the time as a work of great 
 merit. See * Lettres sur les Peintures, &c. exposees au salon 
 du Louvre depuis 1767 jusqu'en 1779, &c. A Londres, chez 
 John A damson, 1780,' in 12mo. ; where the artist is lamented, 
 as one carried off in the commencement of his career. He was 
 also esteemed as a designer of subjects of familiar life, landscapes, 
 &c, and made a few etchings, which are not of common oc- 
 currence. 
 
 1. A Young Woman with a Naked Child on her Lap, whom she ts 
 feeding with a Spoon. In the margin on the left : ' Amand inv. et scuS 
 A very pretty etching, in the manner of Le Prince, or H. Robert. The head 
 and shoulders of the woman are thrown into shadow ; and her figure is turned 
 towards the right, h. 4|. w. 3. 
 
 2. A Landscape, (a) in the middle of which is an old neglected church, or 
 chapel. In the foreground, on the right, is a man walking, with a sack over 
 his shoulder, and a staff in his left hand. Upon a tablet, over the door of 
 the cliHrch : i amand del, et sc.* This piece is etched with a light point, but 
 less finished than the forme*. /. llf. h. 8|. (6) Another Landscape by 
 him is mentioned in the Dijonval catalogue, but not described. Also the fol- 
 lowing print, with the erroneous addition of 1 Le Bas exc. for the two 
 identical impressions there spoken of are before me, and have no such address. 
 
 3. The Work-shop of a Gilder ; in which are many persons, male and 
 female, occupied in the different processes of gilding picture frames and 
 other furniture. On the right is seated a woman, who appears giving direc- 
 tions to a little girl with a basket, and on the ground below her is an infant. 
 I. h. 13. The first impression is an etching, prepared with more diligence 
 than freedom of manner, as if with the intention of having the plate after- 
 wards finished with the burin ; but without that regularity in the work whic h 
 marks the hand of a practised engraver. It is perhaps, in part at least, by 
 Amand. The second impression is unskilfully worked upon, almost all over,, 
 with the dry point or the burin ; though the plate is still unfinished. They 
 are both without any name or other inscription. (O.) 
 
 I find, also, two pieces ascribed to this artist in the Rigal catalogue, entitled 
 ' La Bouillie/ and 4 Le Maitre d'Ecole,' but I am not acquainted with them. 
 
 FRANCESCO AMATO. 
 
 c. 1GT0? 
 
 Known only by the following etchings, which are executed 
 with a loose and delicate point, and clearly shew him to have 
 been an artist of no mean attainments. Some have seen in these 
 plates a resemblance to the manner of Biscaino of Genoa ; but 
 De Angelis conjectures, not unreasonably, that their author was 
 of the school of Naples, and of the same family with one Anto- 
 nio Amato a Neapolitan painter of the 16th century. 
 
 1. St. Joseph, seated, and turned towards the left, with the Infant Christ 
 upon his knee, whom he appears teaching to read. Behind him, on the right, 
 two fluted columns, and in the background, trees. On the left, at bottom.: 
 ' Franc. Amatus In.' h. 10£. w. 7\. (Bartsch 2.) 
 
 2. St. Jerome, seated, in profile, reading. He is turned to the left ; behind 
 him is a rock, and at his feet is the lion. On the left, near the bottom : 
 i Franc. Amatus In.' h. 10^. to. 7\. The naked parts of this figure are 
 marked with great delicacy and intelligence. (B. 3.) 
 
 3. St. Christopher. His figure is seen in front, and he rests with the right 
 hand upon the palm-tree which serves turn for a staff, whilst, stooping down. 
 
AMB 
 
 he stretches out the other towards the Infant Saviour, who is seated on the 
 ground on the right. Same manner as the two pieces above, though done with 
 less care and delicacy. Without the artist's name. The second impressions 
 of this plate have : ' s. cristoforo/ in large characters in the sky. h. 9§. 
 w. 7|. (B. 4.) 
 
 4. The Prodigal Son. He is seated on the left, with his right hand on his 
 bosom, and looks up to heaven, pointing with the left hand to two swine which 
 are before him on the right. Without the artist's name. h. 9. w* 6f. (B. 5.) 
 I do not remember to have seen this print. 
 
 5. The Holy Family. The Madonna is seated on the right, with the Infant 
 Saviour on her lap, who holds with both hands the reed-cross of the little St. 
 John, while the latter kisses one of his feet. On the left is Joseph, resting 
 his elbow on a pedestal, reading. No artist's name. This piece is less finished 
 than the others, and in all respects inferior to them ; though I agree with 
 Bartsch in ascribing it to the same hand. h. 7£. w. 5|. (B. I.) 
 
 CHRISTOPHER AMBER GER, 
 
 c^ 1530. 
 
 Was a native of Nuremberg-, but established himself at Augs- 
 burg, where he died about 1550. Amberger was a painter of 
 some eminence, and is said to have been a disciple of Holbein, 
 and to have followed his manner. Marolles, Florent le Comte, 
 and others, mention him also as an engraver in wood ; but 
 Heinecken is silent as to his pretensions in this way. Zani, in 
 his Index, states that he etched, having perhaps seen some piece 
 bearing his name ; and he boldly adds, — for it is more than he 
 could be sure of, — that ' he never engraved in wood/ 
 
 DOMENICO DEGLI AMJBROGI. 
 
 1653. 
 
 An artist of Bologna, called also Menichino del Brizio, be- 
 cause he had been a scholar, and was for a long time the chief 
 assistant of Francesco Brizio. He executed many considerable 
 works in fresco, had an easy flow of invention, was a bold de- 
 signer, and excelled in that mixed kind of decorative painting 
 which the Italians term * quadratura.' Heinecken states that ' ac- 
 cording to Malvasia, he engraved, in 1653, some pieces in clair- 
 obscure ;' but I can find no passage to that effect in the Bolog- 
 nese writer. He appears to have made two or three etchings 
 which, Bartsch says, resemble a good deal in manner those of 
 L. Lolli. I have not seen them. 
 
 1. A Design for a Thesis. In the upper part of the print, is St. Charles 
 Borromeo seated in a glory of angels, extending his hands to receive a large 
 paper which is presented to him by three angels, and on which is written : 
 4 Accipe Carole Bonrhomaee,' &c. Six other little angels, three of which are 
 on the ground below, are about to take to him various shields with inscriptions ; 
 and in the foreground, on the right, is an angel seated, with a shield of armo- 
 rial bearings, over which is a scroll with the motto : ' Tout a la Foy/ Below: 
 ' Julius Cavalerius,' &c. On the right: * domi. del Bricio. I. JF7 and on the 
 left: * Disput. publ. Bonon., &c.' h. 19£. w. 14. (B. 1.) 
 
 2. Painting and Sculpture, represented by two female figures ; one of 
 them employed in painting a coat of arms, the other in chiselling the orna- 
 ment surrounding it. The escutcheon is supported by three winged infants, 
 
A M E 
 
 and over it is a cardinal's hat held by two others. On the left is the figure of 
 Poetry, seated on a deer, writing ; and in the foreground on the same side 
 are a flute and a violin. Without the artist's name, h, 7. w. 4|. (B. 2.) 
 
 The following piece is mentioned by Heinecken. I take it for granted that 
 it is an etching. 
 
 3. ' A Female in a Triumphal Car, conducted by Neptune ; holding in 
 her hands two flambeaux and a serpent. Engraved by himself.' 
 
 AMBROSI. 
 
 c. 1780? 
 
 Heinecken, Vol. IV. p. 609, of his ' Diet, des Artistes/ after 
 mentioning four views in the vicinity of Tours, engraved by Pa- 
 ris after Agm. T. Desfriches, states that the same were also en- 
 graved in Italy on a reduced scale, in four ovals, by Ambrosi. 
 It appears from De Angelis, that this person was an indifferent 
 engraver of landscape, who resided at Venice, where, in con- 
 junction with other engravers, he made many similar copies of 
 foreign views, &c. for the printsellers. 
 
 AMELIE, See Coiny. 
 MICHELANGELO AMERIGHI, called CARAVAGGIO. 
 
 b. 15G9. d. 1009. 
 
 This celebrated painter finds a place in the present work, in 
 consequence of a small etching, bearing his name ; but on which 
 Heinecken erroneously read ' Carraccio,' instead of 1 Caravagio/ 
 I consider it to be undoubtedly by the hand of the last men- 
 tioned artist. 
 
 1. Peter denying Christ; a composition of three figures, little more than 
 the busts of which are seen. St. Peter is on the left ; his face is seen in a 
 three-qiu'rter point of view, his left hand is on his hosom, and he appears to 
 be denying the assertion of the maid-servant, who is represented in profile 
 on the right, stedfastly looking him in the face, that 1 he also was with Jesus 
 of Nazareth.' Behind, between Peter and the woman, is a young man in a 
 bonnet with two feathers, who, looking at the female, points with his left 
 hand to the apostle. At the left corner, at top, is Inscribed : ' caravagio f. 
 Roma 1603,' in three lines; though, inconsequence of the aquafortis having 
 accidentally corroded the plate at that corner, some of the letters do not ap- 
 pear very distinct. This etching is boldly done with a few strokes, and appears 
 the work of half an hour. L 5J. h. 4§. It is rare. (O.) 
 
 I mention the following piece, because it is ascribed to Caravaggio by 
 Huber, and is not common ; though I am satisfied it is by another hand. 
 
 2. The Incredulity of St. Thomas; a composition of four figures, seen 
 to a little above the knees. Our Saviour stands on the left, holding open 
 his drapery with the right hand, whilst, with the left, he grasps the right 
 arm of St. Thomas, who thrusts his fore-finder into the wound in his side. 
 Behind, are two of the other apostles, attentive spectators of the action. 
 This print does not in the outlines shew the hand of a great master, though, 
 in other respects, it possesses merit. It is probably by P. Biard, a French 
 artist, of whom future mention will be made in the proper place. In the 
 margin on the left: 1 Michaellange Caravagc pingit.' I. 11 |. h. including 
 margin, 8f. (O.) 
 
 There exist two impressions of this plate. In the First the whole appears 
 lightly etched. In the Second, almost every part is coarsely worked over 
 with the graver ; and, among other changes, the ground behind Thomas and 
 the two other apostles, on the right, which is white in the first impression, 
 
 VOL. I. M 
 
AMI 
 
 is oorered by two rows of hatchings. This second impression has, morever, 
 ' I. Robillart ex.' on the right, in the margin. 
 
 AMES. 
 
 1777. 
 
 He was probably an amateur, I find his name to the follow- 
 ing- portrait, and know nothing else concerning- him. 
 
 The Rev. James Rouquet, profile, turned to the left, within an oval, over 
 which is a celestial crown supported by two little angels. Under the name : 
 - Died 16th Nov. 1770, &c. Ames Delin*. et Sculpt. 1777 ;' though I am not sure 
 that, in the impression before me, the last figure of the date may not have 
 been altered with a pen. It. is etched in a close manner, but with little ability, 
 and touched here and there with the graver, h. 6. w, 4|. 
 
 BLAS AMETLLER. 
 
 c. 1786 ? 
 
 A Spanish engraver, of the school of Carmona, who did some 
 of the plates for the series of Spanish portraits, of which men- 
 tion has been made in the article of Manuele Alegre. They are 
 very neatly executed ; among them are the following : 
 
 1, ( D. Luis de Gongora, (a) &c. Poeta Lyrico, &c. Josef Maea lo 
 dibuxo. Grabado por Bias Ametller baxo la direccion de Carmona/ (6) ' D. 
 Diego Velasquez De Silva: Pintor, See. I. Maeo lo dibux6. Bias 
 Ametller lo grabb.' These portraits are half-lengths, within ornamented frames. 
 A. besides margin, 11^. w. 7\. 
 
 2. The Madonna and Child, half figures. 1 Bart°. Murillo lo pint6, Franco. 
 Agustin lo dibujo, Bias Ametller lo grabb.' I. 8. h. besides margin, 7|. 
 
 FRANCESCO AMICI. 
 
 c. 1760 ? 
 
 An engraver of Florence, by whom Heinecken mentions the 
 following devotional pieces : 
 
 1. Four small Octagon Prints. (a) Christ before Pilate. (b) Christ 
 
 bearing his cross. (c) Christ in the Garden of Olives. (rf) The burial 
 
 of Christ. 
 
 2. Four other Octagons ; standing figures of Saint6 : (a) St. Francis. 
 
 (Z>) St. Anthony. (c) S. Giovanni di Dio. (d) St. Nepomucenus. 
 
 3. Four other Saints, upright pieces. (a) St. Simon. (6) St. Philip. 
 
 (c) The Madonna. (d) St. Matthias. 
 
 JACOPO AMICONI. 
 
 b. 1675. d. 1752. 
 
 A Venetian painter, who enjoyed considerable reputation in 
 his time throughout Europe. He appears to have loved change 
 of scene, and after having practised his art some time at Munich 
 visited England in 1729, where, according to Walpole, he staid 
 ten years and amassed a moderate fortune. He then returned to 
 Venice, but probably remained there but for a few years, since 
 we find that he died in Spain, painter to the court, in 1753. 
 
 Amiconi occasionally amused himself with engraving; and in- 
 deed it is asserted by Heinecken and others, that he first gave 
 
A M L 
 
 instructions in that art to Joseph Wagner, who was for many 
 years his servant or assistant, and the companion of his travels ; 
 and who, in his turn, was the master of the celebrated Barto- 
 lozzi. Softness and breadth of effect were the qualities which 
 Amiconi chiefly sought to attain, as well in his pictures, as in 
 the prints done from them, whether by himself or, under his 
 guidance, by his pupil ; and it is to be regretted that, in fur- 
 therance of his object he too often sacrificed his outlines. Wag- 
 ner, at a later period, appears to have become aware of this error, 
 and to have endeavoured to correct it; and Bartolozzi, as every 
 one knows, was a fine draftsman. We have but few plates 
 bearing the name of Amiconi as the engraver ; but these ap- 
 pear to be sufficient to establish his claim to be considered as 
 the inventor of a style of engraving which, though certainly not 
 the best, commanded the suffrages of Europe during half a 
 century. 
 
 1. The Madonna and Child. She is seen in front, having before her the 
 infant Jesus, who is asleep in his cradle. In the margin on the left: ' J. Ami- 
 goniPinxit et fecit.' h. with margin 7, w. 5} r (Bartsch 1.) 
 
 2. The Saviour, a half figure, of which the right hand is seen; with title: 
 ' Salvator Mundi,' in 8vo. j engraved, says Hcinecken, by Amiconi himself. 
 
 3. Jupiter and Calisto. 4 Giove di Cintia i can prendc, &c. G. Amiconi 
 Pin. et Sculp.' I. 14. h. with margin, 10£. (B. 2.) 
 
 4. Zephyrus and Flora. ' A Zeffiro, da cui regno ebbe Flora su i nor, 
 &c. Jacobus Amiconi Pinxit et Sculp.' Same dimensions, (li. 8.) 
 
 These two pieces are etched and finished, with great softness of effect, with 
 the graver. 
 
 5. Narcissus, a study. His figure is naked, except that a drapery crosses his 
 middle. He is seated on a bank, and supporting himself upon both arms, 
 leans forward looking down towards the right bottom corner of the plate, as if 
 to view himself in the water, though no water is seen. Behind the figure on 
 the left is a rock which rises to the top of the piece. In the margin on the 
 left: 'Amiconi,' in characters reversed: a very masterly etching. A. with 
 margin, 3§. w. 2-|. Not hitherto described. (().) 
 
 6. The Four Elements, four upright pieces, engrared according to Hci- 
 necken, by Amiconi himself. (1) Earth, represented by a gardener pre- 
 senting a girl with a nosegay. (2) Fire, A peasant and his wife escaping 
 from their cottage which is in fiames. (3) Air. A peasant with a bird's-nest 
 which he presents to a young female. (4) Water. A fisherman giving a 
 fish to a young female. 
 
 CARLOTTA AMICONA. 
 
 c. 1G35. 
 
 Was the sister of Jacopo Amiconi, and during her stay with 
 him in England is said by Heinecken to have engraved the fol- 
 lowing print in mezzotinto ; which, however, I have never seen : 
 
 The Figure of a Female Opera Dancer, with four verses underneath : 
 * The fair Auretti, 6cc. London, printed for Rob. Saver.' In fol. 
 
 CARL GUSTAVUS AB AMLING. 
 
 b. 1651. d. 1702. 
 
 Was born at Nuremberg, and when yet young attracted the 
 
 M 2 
 
A M L 
 
 notice of Maximilian- Emanuel, Elector of Bavaria, who invited 
 him to Munich, and afterwards sent him to Paris to study en- 
 graving- under Francois de Poilly. Upon his return he was 
 made engraver to the court, and it appears that he resided at 
 Munich during- the remainder of his life. His works consist 
 chiefly of portraits, many of which he engraved after his own 
 designs ; but he also did subjects of another kind, and among 
 the rest a set of plates after tapestries in the castle at Munich, 
 which are esteemed. His style bears some resemblance to that 
 of his master, but wants its power ; besides which, he was but 
 imperfectly skilled in drawing. Still, on the whole, he was one 
 of the best German engravers of portraits of his time. His 
 prints are not very common. The following list of them is in 
 great measure taken from Heinecken. 
 
 PORTRAITS. 
 
 1. Maximilian-Emanuel — Elector of Bavaria — 'Thomas Macolinus Musi- 
 cus, &c. ad vivum pingebat. Ser. Elect. Chalcographus C. G. Amling Sculps. 
 1670.' An oval, in folio. Rare. 
 
 2. The same Prince. J. B. Champagne pinx. ; large folio. 
 
 3. The same Elector, engraved in 1682, in fol. 
 
 4. The same Personage, in small. 
 
 5. An Equestrian Statue of the same Prince : ' Amling, fee, Monachii.' 
 
 6. Marie-Antoine, Electress of Bavaria, in 8vo. 
 
 7. Maximilian Philip, Prince of Bavaria: 'Carl Gust, ab Amling del. et sc. 
 1675/ Oval, in fol. (Cat. Winckler.) 
 
 8. Henrietta Maria Adelaide, Electress of Bavaria, engraved in 1675, af- 
 ter J. Delamonce ; oval, large fol. 
 
 9. Marie- Anne-Victoire of Bavaria, after Thos. Macolini. 
 
 10. Ferdinand-Marie, Elector of Bavaria, 1676, oval, in fol. 
 
 11. An Anonymous Portrait ; the bust of a warrior in armour, in an oval. 
 Below, two female allegorical figures; and above, on the right, a winged ge- 
 nius supporting a curtain ; delicately engraved. The face of the warrior 
 finished with dots. In the margin, on the right : ' C. G. ah Amling Sculpsit, 
 1702.' h. with margin, 9|. w, 6^. 
 
 12. Another Anonymous Portrait, of the same kind : ' Justitia et Pax 
 osculat® sunt,' engraved also in 1702. 
 
 13. Another Anonymous Portrait, also enriched with figures : ' Tro- 
 phaeum Mavortis Boici aeternae admirationi positum. A. Wolff del. C. G.ab 
 Amling Sculpsit Monachii.' Sm. 4to. 
 
 14. Another Anonymous Portrait, with four devices at the corners, and 
 the inscription : 4 Hae tibi erunt artes/ Large 4to. So says Heinecken. 
 But this portrait, if I am right in supposing it the same now before me, is 
 copied on a smaller scale, by Westerhout, with ' Maximiiianus Emanuel D. 
 G.Utriusque Bavarian et superioris Palat. Dux/ &c. It represents the bust 
 of the Elector in armour, in an ornamented oval, with the devices Hei- 
 necken speaks of at the four corners ; but the other inscription is : ' Hae 
 tibi sunt artes. iEneid VI.' The margin is cut off, but the top of the artist's 
 name remains. It is one of his most finished prints. 
 
 15. John Tzerclaas, Count de Tilly, a General. 1677, in 4to. 
 
 16. John, Count de Berlo de Bruss, a Bavarian General. ' Carl Gustav. 
 Amling, ad vivum a se dclinealunt, et in acs incisum. D.D. 1680.' Oval, hi fol. 
 
A M L 
 
 17. 'Casparus Schmid, ab Hast, et Pyrenbach/ in an ornamented oval: ' C, 
 G. ab Amlin^ delin. et sculpsit A. 1682/ h. 8|. w. 6|. 
 
 18. ' Joh. Conrad Herold, ab Hofflingen/ ecclesiastical counsellor to the 
 Duke of Bavaria. « C. G. a& Amling del et Sculpsit/ in 4to. 
 
 19. The Abbot of S. Uirich, at Augsburg: 4 Romanus libcri et impe- 
 rialis Monasterii, Sec. C. G. ab Amling ad vivum del. et sc. Monachii,' in fol. 
 
 20. Alexander-Sigismond, Count Palatine of the Rhine, and Bishop of 
 Augsburg, after P. F. de Haniiton, in fol. 
 
 21. R. P. Petrus Marinus Sormannus, < toti Ord. S. Franc. Minister ge- 
 neralis,' in a medallion, with allegorical figures. ' C. G. ab Amling Sculp.' 
 h. 10i. iv. 6£. 
 
 22. Marcus ab Aviano, a theologian, 1680, in an oval. 
 
 23. ' Carolus Welser, a Neunliof, &c. C. G. ab Amling sc. 1697/ h. 14. 
 w. 10f. 
 
 24. D. Franciscus Oxner, &c. bust in an oval, with arms and German in- 
 scription below. * S. Elector Calcograph Carl Gustav. Amling ad vivum del. et 
 sculp. 1679.' h. 81. w. 5$. 
 
 35. Ernestus Peickhofen, &c. ^erm' 1 . Elect. Bav. Cons, et Quaestor, &c. 
 Monachij, D.D. m.d c.lxxiii. Carolus Gustavus ab Amling delineator et 
 sculptor.' Head and shoulders in an oval. h. lOf. w. 1\. This and the 
 four following portraits have escaped the notice of Heinecken. (O.) 
 
 26. REV m »s. &c. 4 D. D. Placidus,' &c. Abbot; bust in an oval, with an angel 
 over it with a trumpet, removing a curtain. 4 Hyec fades, <^c. Amling ad 
 vivum del. et Sculp. Monachii.' h. 6}. w. 4^. (O.) 
 
 27. Jo. Germanus Barbier, &c. 4 F, J, Geiger del, Ch. G. Ambling sc.* 
 h.7\. w. 5^. (Cat. de Brandes.) 
 
 28. Marcus Christoph. L. B. de Meyer. 4 C. G. Amling del. et sc. 1694.' 
 h. 8$. iv. 6|. (Cat. de Brandes.) 
 
 29. Michael Schmidt, ' Consul, civitatis Gcdanensis/ Without artist's name. 
 h. llf. w. 7|. (Cat. de Brandes.) 
 
 39. Six Portraits on one Plate, for the 'Academia' of Sandrart, viz. 
 
 Anne Neuberger. His own Portrait. Sir Peter Lely. Jo. Phil. 
 
 Lemke. Bart. Flamael, and G. A. Sevin. 
 
 31. A YOUNG PttlNCE CONDliCTED TO THE THRONE BY HERCULES AND 
 
 Nestor. ' Ungaria. Amling sculp. Monachii.' In 4to. 
 
 DEVOTIONAL PIECES, ALLEGORY, fcc. 
 
 32. Madonnas, (a) The Virgin and Child, with attributes, and the por- 
 traits of tiie Duke Joseph-Clement, and the Duchess Violante-Beatrice of 
 Bavaria. Drawn by J. A. Wolff, and engraved by Amling. large upr. fol. 
 (A) The Miraculous Image of the Holy Virgin of Consolation. 
 4 C. G. Amling Sc. Monachii, 1682.' Oval, large fol. (c) The Miracu- 
 lous Image of the Madonna, in the church of St. Peter, at Munich; 
 drawn by J. A. Wolff, and engraved by Amling. (d) 4 Vera Effigies B. 
 Mariae Virginis in Taxa, apud Augustinianos : C. G. Amling del. et 
 sculp.' large 4to. (e) 4 Imago cerea B. Mariae Virginis, Congrega- 
 tionis minoiis Monachii; C. G. Amling del et sculp.' 4to. (/) 4 Imago B. 
 Mariae V. in saccllo Rothensi. Io. Andr. Wolff del. C. G. ab Amling 
 sculp.' in 4to. 
 
 33. Saints, (a) 4 S. Jacobus Major, Patronus Burghasy,' a small print. 
 (6) 4 Vero ritratto di S. Francesco d'Assisi, fatto a Roma nel Vati- 
 cano da Carlo Gustavo ab Amling :' small fol. (c) St. Ignatius, founder of 
 the Jesuits. 4 Joh. Andr. Wolff del. C. G. ab Amling sculp.' 8vo. («') St. 
 Ignatius ; in armour : 4 Militantis Ecclesiae Gedeon a small print, (c) St. 
 Francis Xavier : a small print. (/) St. Nicholas of Tolentino, in an 
 oval of laurel wreaths: 4 Io. Andr. Wolff pinx. C. G.ab. Amling, S. E, Bav, 
 Elect. Calcographus sculp,' 1691 ;' large fol. (g) R. P. Charles Spinola, 
 
A M M 
 
 drawn and engraved by the same, large upr. fol. (h) S. Johan. a S, Fa- 
 
 cundo, large oval, by the same, (i) St. Felix, martyr, half-figure, by the 
 same. 8vo. (k) All-Saints, bv the same. 4to. (/) St. Goddard, kneel- 
 ing before the Madonna : * Jo. Drenwet del. C. G. ab Amling Sculps.' large 
 upr. fol. (m) St. Anthony before the Infant Saviour, a small print, (n) 
 A Mitred Saint performing Mass : ' Sicut incensum in conspectu, &c. 
 Delamonce inv. ab Amling fee.' a small print. 
 
 34. The Tapestries in the Castle at Munich, made after the designs 
 of Pieter Candido ; twenty -five prints, of which 23 were engraved by C. G. 
 ab Amling. (a) The History of the Emperor Otho I. de Wittels- 
 bach, chief of the house of Bavaria, in 13 pieces of different dimensions. 
 
 (b) Day and Night, 2 pieces, (c) The Four Seasons, 4 pieces. (<i) 
 Four Months of the Year ; viz. August, September, October, and 
 December, 4 pieces. The months of May and- July were engraved by Zim- 
 merman. These prints bear the name of Amling as the draftsman as well as 
 engraver, and are dated in the different years in which they were done. One 
 of the principal pieces, representing a procession, with Louis de Bavaria on 
 horseback, under a canopy, &c. is now before me : * Ludovicus Cognomine 
 Bavarus, Ludovici Severi, &c. Filius, &c.' and is inscribed : ' P. Cand. 
 pinxit, C. G. ab Amling ilelin. et Sculpsit, 1696,' so that the Cat. de Winck- 
 ler is wrong in stating them to be dated from 1 697, to 1706 ; which last date, 
 the reader will observe, is four years after the death of ab Amling. The plates 
 are preserved in the Royal treasury at Munich, and it has been customary with 
 the Electors of Bavaria to present impressions of them to distinguished indivi- 
 duals. In point of merit, they are inferior to the artist's portraits. 
 
 35. A Triumphal Arch, in honour of the Elector Maximilian-Emanuel, 
 with emblems respecting it ; 10 pieces engraved by Amling at Munich. 
 
 36. A Thesis ; (a) dedicated to the Emperor Leopold and his son Prince Jo- 
 seph. ' R. P. Antonius Lublinsky Can. Regul. Lat. S. Aug. delin. Olom. 
 C. G.ab Amling fee. Menachii;' large fol. l-iv. (6) Another Thesis, dedi- 
 cated to Marie-Antoine, Electress of Bavaria. ' Amling sculp. Monachii.' 
 
 (c) Another Thesis, in which is the Madonna trampling on the serpent, 
 accompanied by the four doctors of the church : 4 Amling fee.' large upr, 
 fol. (</) Another Thesis, in which are two angels conquering the dragon. 
 ' I. A. Wolffgang del. C. G. ab Amling scul. 1692.' in fol. 
 
 37. Pieces by him in Sandrart's ' Academia.' (a) A Frontispiece. 
 
 (b) A Statue of Mercury. (c) The Statue of the Knife-grinder. (rf) 
 
 The group of the Emperors M. Aurelius and L. Verus, standing figures, em- 
 bracing each other. 
 
 JOBST AMMAN, or AMMON. 
 
 b. 1539. I.A. d. 1591. 
 
 This eminent artist was born at Zuric, but established him- 
 self about 1560 at Nuremberg-, where he appears to have chiefly 
 resided during the remainder of his life. He painted, it is said, 
 both in oil and upon glass ; but is now best known by the nu- 
 merous wood-prints which were engraved after his designs for 
 various publications of the day, or by his etchings on copper. 
 Jobst Amman had great invention ; drew and composed with 
 surprising facility ; and was so perseveringly industrious, that 
 one George Keller, who had been four years his apprentice, 
 assured Sandrart that his master, during that time, made as 
 many drawings as would fill a waggon. 
 
 There is every reason to believe that a large proportion of the 
 wood-cuts which we possess after his designs were engraved by 
 others ; and indeed, several pieces bear the initials of the wood- 
 
A M M 
 
 engravers who did them, in addition, sometimes, to those of 
 Jobst Amman, as the designer. But it does not follow that he 
 never engraved in wood at all ; and Bartsch, when he made that 
 assertion, forgot, as upon some other occasions, that his opinion, 
 however he might think it well-founded, did not amount to cer- 
 tainty. In the following catalogue of this artist's works, I have 
 availed myself of the labours of Heinecken and Bartsch ; pre- 
 ferring, however, the arrangement of the latter writer ; and I 
 have been enabled in a small degree to add to the list, from my 
 own collection. 
 
 ETCHINGS. 
 
 1. Celebrated Women of the Old Testament ; a set of 12 pieces, arched 
 at top, with inscriptions, h. 3§. w. 2|. (a) ' Eva die Geberin. Jobst Amman 
 fecit. Steffan Herman exc' (6) ' Sara die gesegnet.' (c) ' Rebecca die 
 gehorsam.' (rf) « Rahel die holdtsellig.' (e) ' Lea die geduldig.' (f) ( J\- 
 hel die redlich.' (g) ' Ruht die guetig.' (h) 1 Michal die gethreu.' (i) 
 'Abigael die vernunfftig.' (A;) ' Judith die Messig.' (/) ' Hester die 
 Sanfftnriitig. LA.' (m) * Susanna die Keusch.' (B. 1.) 
 
 2. The twelve Months of the Year, represented by the figures of men 
 of different conditions, 12 pieces of an oval form. h. 3^. to. 3-§. Tlie name 
 and number of the month is towards the top of each, and the mark I. A. near 
 the bottom. The first has: ' Jo. Amman fe. St. Herman ex.' (B. 3.) I do 
 not airree with Bartsch in supposing the set of prints of the Apocalypse, 
 described by him under No. 2, and marked with a G. and a P., to be by Jobst 
 Amman. 
 
 S. The Employments of the twelve Months of the Year, 12 pieces, 
 curved, which when joined together, forma circular frieze, fitted to decorate 
 the edge of a large dish or of a shield. The initials I. A. at the top of each. 
 Thev contain extensive compositions of small figures. I. at top. 104, at bot- 
 tom" Of. h. 2f. (B. 4.) 
 
 4. The five Senses, represented by female figures, in ovals, which are sur- 
 rounded by ornaments; with title, 6 pieces. The title represents, by ani- 
 mals, the four Elements, and has on a tablet, at bottom : 1 Job. Amman fe. 
 St. Herman ex. 1580.' The figures are etched by J. Amman ; the surround- 
 ing ornaments were probably added with the graver by S. Herman. The 
 names of the Senses are art the bottom of the plates, in latin, h. 3}. w. 2$. 
 (B.5.) 
 
 5. Various Figures of Warriors, in different attitudes and costume, 
 three, or four, upon a plate ; 8 pieces ; I. 4J. by 2J, etched with great intelli- 
 gence and delicacy. The first has two warriors standing, one on each side 
 of a cartouch, on which is inscribed : ' Jost Aman Inventor Norimberg. 
 Stephan. Herman excusit Onnoltzbachensis. 1590.' (B. 0.) 
 
 6. Soldiers and others Fighting, whether with swords or staves, 8 pieces, 
 marked I. A. On the first is a little herald, between a drummer and a fifer. 
 I. 3|. h. 2}. (Heinecken.) 
 
 7. Artisans of different Denominations, fighting, armed with the 
 implements of their art. 12 pieces, ovals. /. 3 J. /*. 2|. On the first: ' Ebon 
 kommt mich an, &c.' (Heinecken.) Bartsch describes five of the set, each 
 marked I. A. (a) A painter with his easel-stick and a dauber with a large 
 brush, (b) Two goldsmiths, one armed with pincers and the other with a 
 pair of bellows, (c) Two sculptors with drills, (d) A blacksmith with a 
 large file, and an apothecary with a syringe, (e) Two men, one with a brush, 
 the other with something resembling a ham. (B. 7.) 
 
 8. A set of Huntings, 8 pieces. I. 0. h. If. Under the first, represent- 
 ing hare-hunting: ' Jobst Aman fe. Stefan. Herman ex.' Each has the initials 
 I. A. and the cypher of Herman, composed of the letters H. S. (B. 8.) 
 
 9. The Liberal Arts, T pieces, f. 8£. h, 3£. engraved iu 1577. (Heinecken.) 
 
A M M 
 
 10. The Elector and other Princes of Bavaria, with their Wives, 
 standing figures ; 80 plates, etched by Jobst Amman, and for the most part 
 bearing his initials, h. 7f . u: 5§. (B. 9.) 
 
 11. Portraits of the Kings of France, 42 pieces, h. 4§. w. 3|. ; 20 
 others, completing the set, being by Virgilio Solis. The series begins with 
 Pharamond and ends with Henry III., each print containing the bust of the 
 monarch in a medallion, and, in a compartment underneath, some story of his 
 life. They were published with a title on which are two winged genii, holding 
 a laurel crown over the arms of France, and this inscription : ' Effigies regum 
 Francorum omnium, &c. Caelatoribus Virgilio Solis Noriber: et Justo Am- 
 man Tigurino Noribergae, 1576. In Officina Catharinae Theodorici Gerlachii 
 relictae Viduae/ &c. in 4to. (B. 10.) 
 
 12. ' Perspectiva corporum regularium; Das ist, &c. That is, examples 
 of the five regularly-formed bodies, whereof Plato writes in his Timaeus, and 
 Euclid, in his Elements, &c. brought very ingeniously into perspective. . . . 
 by a method never before seen in use, by Wenceslas Jamitzer, Citizen and 
 Goldsmith at Nuremberg, 1568.' In fol. 
 
 This work contains 50 plates ; viz. 43 of studies, and 6 ornamented titles ; 
 besides the general title of the book ; the whole etched by Jobst Amman. 
 The former were, of course, done by him from the designs of Jamitzer ; but 
 the latter, which shew much fancy and are etched with great delicacy, appear 
 to be entirely his own. The plates are not numbered. The Title of the 
 Work (a) is printed with moveable characters within an oval frame or car- 
 touch, surrounded by four allegorical female figures with attributes, and the 
 names : ' Arithmetica, Geometria, Architectura, Perspectiva/ and two winged 
 infants or genii : 1 Inclinatio,' and ' Dili»entia.' This plate measures, h. 10£. 
 to. 7#., and has the initals I. A. at an inch from the bottom; though they es- 
 caped the eye of Bartsch. The remaining plates are a little smaller, being 
 from 9f to 10. by 6| to 7. The six other Titles or Frontispieces are prefixed 
 to the different classes of studies into which the work is divided. The First 
 (b) is intended to represent the Element of Fire ; in the centre is a large 
 flame issuing from a vase, at bottom ; and around it are children with lamps 
 and lanterns, fiery dragons, and other accessorial introductions. It is marked 
 under the vase, I. A., and is prefixed to the first four plates of studies, marked 
 at top: A. (c) The Second represents the Element of Air. In the middle 
 is a large pair of bellows, and around are cupids with appropriate attributes, 
 birds, butterflies, &c. It has the initials I. A. at bottom ; and is prefixed to 
 the next four plates of studies, marked E. (d) The Third has a large leaf 
 in the centre, around which are cupids with baskets of fruit, &c, this piece 
 denoting the element Eaith. The initials I. A. are at the bottom of a little 
 basket on the left of the print, which is placed before four plates of studies 
 marked I. (e) The Fourth represents the E'ement of Water; a large 
 shell occupies the centre, and around are cupids with vases, fish of various 
 kinds, &c. The letters I. A. are upon a trident, on the left, and this piece is 
 prefixed to four plates of studies marked O. (/) The Fifth has in the 
 centre, a large circle of light, above which are the sun and a large star, and 
 on either side are three cupids with spheres, quadrants, and other astronomi- 
 cal instruments. On the right near the bottom, are the initials I. A. This 
 piece is followed by four plates of studies marked V. (g) The Sixth, and 
 last, Title, appears to be intended to denote the ordinary employments of 
 mankind in this sublunary state. At top are three infants, one of them in a 
 military dress, beating a drum ; and below are two others, one of which has 
 a bow. The initials I. A. are in the middle at bottom. This plate and the 
 twenty-three plates of studies which follow it, and complete the work, are ob- 
 longs. /. 10. h. 7. Having spoken of the ornamented titles, I shall add now 
 a few words concerning the other plates. 
 
 The first twenty consist of perspective views of the five regular solids, and 
 of various forms fancifully derived from them ; each plate containing six 
 designs, in circles. The subject of the first four plates, marked A, is the 
 Triangular Pyramid ; of the second four, marked E, the Octohedron ; of 
 tbe third, I, the Cube ; of the fourth, O, the Icosahedron ; (two of these 
 having the initials I. A, with the date 1567, and a third the initials only) ; 
 and the fifth, V, represent the Dodecahedron. The artist's plan appears to 
 
A M M 
 
 have been, first, to represent the figure itself, and such forms as are produced 
 by cutting parts from it ; secondly, to present the figure itself, and its deri- 
 vatives, in another point of view ; thirdly, to shew such forms as may be 
 obtained by combining two of the simple figures, in such a way as that the 
 angles of the one should proceed from the centres of the sides of the other. 
 The manner in which the complex figures have been obtained from the simple 
 ones, can, for the most part, be easily traced ; but sometimes, in consequence 
 of the arbitrary sections made in them, this becomes difficult. 
 
 Of the twenty-three plates at the end, the first two are marked A ; the 
 Becond two, E ; the third, I ; the fourth, O ; and the fifth, V ; and these 
 ten plates represent perspective views of the figures above named, hollowed 
 out and perforated ; the remaining thirteen being devoted to fanciful delinea- 
 tions of the sphere, the cone, and the wheel. (B. 11.) 
 
 A second edition of this curious set of prints was published, with two leaves 
 of letter-press, at Amsterdam, in 1G18, under the title of ' Sintagma, In 
 quo Variae Eximiaque corporum,' &c. 
 
 13. Military Subjects, &c. 15 pieces, ft. 142. w , io|. representing marches 
 of troops, encampments, battles, on land and at sea, &c. The plates are 
 marked with numbers referring to some book for which they were intended. 
 Six of these etchings bear the initials of Jobst Amman, and one piece has the 
 date 1572. (B. 12.) 
 
 ETCHINGS— SINGLE PIECES. 
 
 14. The Portrait of Gaspar »e Coligni, half-length, turned a little 
 towards the left, in an oval surrounded by ornaments and allegorical figures. 
 At top : i Effigies Gasparis de Coligni, D. de Castilione, Amirali» Francis.' 
 In a cartouch below, the massacre of St. Bartholomew's, Aug. 24, 1572. At 
 bottom: ' Fecit Norimbergae Jost Amman Tigurinus 1573.' ft. 14A. w. lOf. 
 (B. 17.) 
 
 15. Frederick, Bishop of Wurzbourg, half-length, turned towards the 
 left, in an oval, ornamented with allegorical figures : * Fridericus Dei Gratia/ 
 &c. At bottom, I. A. 1572. ft. llf. to. 8J. (B. 18.) 
 
 16. Hans Sachs, a celebrated poet of Saxony, at the age of 81 ; bust, nearly 
 in front. At top, his name ; at bottom : ' Zwey Monath, &c. M.D.LXX VI.' 
 and the initials I. A. Bartsch says this piece is done with the burin, ft. 12 J 
 with margin, w. 8 J ? (B. 19.) 
 
 17. * Sigismundus Feierabendt bibliopola, aetatis suae XI. II. Anno 
 MDLXIX,' half-length, turned towards the left, in an oval surrounded by 
 ornaments, and four allegorical figures. Without the artist's initials, ft. 94. 
 w. 7f. (B.20.) 
 
 18. Portrait of a Man, half-length, with a polygon in the left hand, which 
 he is measuring with compasses ; in an oval surrounded by four allegorical fi- 
 gures. Without the artist's initials, ft. 10^. w. 8|. (B. 21.) 
 
 19. Eight Busts, on the same plate; four of men, and four of females; so 
 disposed that each man has opposite to him a female. The first bust on the 
 left is that of a warrior in a helmet, which is ornamented with a small coronet. 
 Near it are the initials I. A. Done, according to Bartsch, with the burin. 
 J. 6$. ft. If. (B. 22.) 
 
 20. A Shield of Armorial Bearings. Quartering^ a tnrk's-head and a 
 shoe (sabot) : helmet with crest, a turk's-head ; supporters, a lion ami a winged 
 dragon. At top, two winged genii with garlands of flowers. At bottom, on 
 the left, I ; and on the right, A. ft. 7$. w. 6%. (B. 23.) 
 
 21. The Council of the Germanic Empire, in which is seated the Em- 
 peror, surrounded by Kings, Dukes, Margraves, &c. Towards the left, at 
 bottom : I. A. An oval. /. 13£. ft. 10-f. (B. 13.) 
 
 22. An Allegorical Design, in honour of the Emperor Maximilian 
 II. within an ornamented oval ; at the top of which, on either side, is a figure 
 of Victory, with a wreath in the right hand, and a palm in the left. In the 
 centre of the piece, is represented the Emperor, in complete armour, kneel- 
 ing upon a sort of tabernacle, whereon is inscribed : ' Templum Pacta.' He 
 
 VOL. I. N 
 
AMI 
 
 has a large sword in his right hand, and with the left touches the sacred vo- 
 lume, which is supported by an angel, and on which is written : 4 spes mise- 
 ris.* Upon the step of the tabernacle are seated Peace, Wisdom, and Vic- 
 tory ; on his right hand stands Justice, on his left Faith ; and upon a base- 
 ment, on either side, decorated with the statues of eminent persons of the 
 Old Testament in niches, are the virtues, Patience, Benignity, Fortitude, 
 Magnanimity, Truth, Charity, Hope, and Temperance, also standing. In 
 the sky are two Angels supporting the Imperial diadem ; Christ, surrounded 
 by the symbols of the four Evangelists, and Angels with the instruments of 
 the Passion, &c. ; and on the ground, below, are six figures kneeling, their 
 hands raised in supplication ; the three on the left being intended to denote 
 Unanimity, Piety, and the Church, and those on the right, the subjects of 
 his imperial majesty. These three are male personages ; but the Virtues, <fec. 
 are all represented by female figures, with their appellations written in latin. 
 The print has various other inscriptions, and among them three in latin verse, 
 which occupy three tablets, one at the top, and two at bottom. These are 
 printed with moveable characters upon separate papers, and are added by 
 pasting. They begin thus : ' Scis Caesar, custos Orbis,' &c. ' Haud secus,' 
 &c. ' Nos infinitas bellorum,' &c. At six inches and a quarter from the bot- 
 tom, are the initials I. A. ; and below, at the edge of the plate, M.D.LXXI. 
 h. 27%. w. 19£. (O.) 
 
 23. A Sacred Allegorical Representation ; same form and dimensions 
 as the last. In the spandles of the oval, at top, are two figures of Victory, 
 each holding a wreath with both hands. In the sky is represented Christ, 
 seated on the globe, with an olive-branch in the right hand, a sword in the 
 left, and his left foot resting on the cross. On either side of him are angels 
 with the instruments of the passion, &c, and below him are twelve female 
 figures with attributes seated on the clouds, each with her title in latin : 
 ' Philanthropia, Pax, Misericordia, Lux Mundi,' &c. In the centre of the 
 
 f>rint is Truth, 6 Veritas,' represented by a winged female, standing with a 
 arge open book under her left arm, in which is written, 4 Ecce Angnus Dei 
 qui tollit peccata Mundi/ and her right hand pointing to heaven : on each 
 side of her is another winged female ; that on her right being in the act of 
 baptising an infant whose father and mother kneel below, whilst the other is 
 employed in administering the eucharist. Within an arch, under the figure 
 of Truth, is hell ; and on the ground below are eight prostrate, or kneeling 
 figures, denoting Sin, Contrition, Penitence, &c., distinguished by letters 
 of the alphabet, A to H, of which the explanations are given in papers 
 printed with moveable type, in two tablets at bottom, similar to those in the 
 other print. The inscription in the tablet, at top, commences : ' Christus. 
 Venite ad me omnes/ &c. In the middle, near the bottom : I. A. ; and un- 
 derneath : * Ios. Amman F. M.D.LXXI.' These two prints, from their dimen- 
 sions, and the care with which they are executed, merit perhaps to be consi- 
 dered as the artist's most capital performances on copper. It is remarkable 
 that neither Heinecken nor Bartsch appear to have been acquainted with 
 them. (O.) 
 
 24. The Storming of a Fortified Town. The walls of the city, fortified 
 by various round towers, are on the left ; the attack is made simultaneously 
 by cannon, bombshells, and infantry scaling the walls ; and on the right are 
 two large bodies of troops drawn up in squares. At bottom, near the left 
 corner of the print, are the initials I. A., the former letter intersecting the 
 first stroke of the latter ; and within the lower division of the A. is a small 
 capital g, the signification of which is unknown to me. Three inches further 
 to the right is the date ' 1564.' In different parts of this plate are letters of 
 reference, shewing it to have been accompanied originally by letter-press. It 
 is undoubtedly by Jobst Amman, and though slightly etched, is full of spirit. 
 I. 22. h. (O.) 
 
 25. A View of a Small Fortified Town, by Night, with numerous per- 
 sons, some in a carriage, and others on foot and on horseback, witnessing a 
 display of rockets and other fireworks which are thrown from the, walls and 
 bastions. Towards the right, at bottom, * 1570. Jos. Amman F.' Bartsch 
 supposes this plate to have been engraved with the burin, but I think it 
 
A MM 
 
 chiefly done by etching. The figures and horses are admirably varied in their 
 grouping and attitudes, and the effect of night is finely represented. On the 
 whole, it is a masterpiece. /. 13£. h. (B. 14.) 
 
 2G. The Dresses and Manners of the Four Quarters of the Globe > 
 those of the European nations being represented in a compartment at top, 
 and those of Asia, Africa and America^ in three compartments below. The 
 initials I. A. are upon a vase in the middle compartment at bottom. I. 18. 
 h. 14. (B. 15.) 
 
 27. A Triumphal Arch, of three openings. Under the middle archway are 
 two officers, one of whom has a halberd ; in "a balcony above are musicians, 
 and at top is the imperial eagle. Without the initials of the artist. I. 20£. 
 h. 16. (B. 16.) 
 
 WOOD-ENGRAVINGS, IN BOOKS, OR SETS. 
 
 28. ' Biblia, das ist die ganze heilige Schrift. D. Mart. Luther. Frankf. am 
 Mayn. 1565, Durch Georg Raben, Sigismund Feyerabend und Weygand 
 Hanen Erben.' In fol. This work, according to Bartsch, contains a great 
 number of scriptural subjects ; I. 6. h. 4f . a large proportion^ of which appear 
 to have been done after the designs of Jobst Amman. (B. 1.) 
 
 29. Stories of the New Testament, &c, 78 pieces, I. 3£. h. 2|. Three 
 only of these pieces have the initials of Jobst Amman ; the others are with- 
 out any artist's mark. They were published with this title : ' Kunstliche 
 und wohlgerissene Figuren/ &c. Darch Jost Amman, Burgern zu Nurn- 
 berg. Frankf. am Mayn 1579. Durch Peter Fabricius, auf Kosten Sigis- 
 munds Feyerabend/ in 4to. The preface is followed by a cut representing 
 the prophet Elijah fed by the raven, h. 4|. w. 4£, and an emblematical 
 piece of the same size. The scriptural pieces, have latin verses at top, and 
 German at bottom. (B. 2.) 
 
 30. * Icones Livianae : praecipuas Romanorum historias, &c. m.d.lxxii/ 
 being a set of 75 pieces, representing subjects of the Roman history, I. 6. 
 h. <±\ ; each with the initials of Jobst Amman, besides which six pieces bear 
 the mark of two wood-engravers who cut them. (B. 3.) 
 
 These prints were first employed in a Latin Edition of Livy, published at 
 Frankfort on the Mayne, in 1568, in fol. 
 
 31. ' Kunst und Lehrbuch, &c. (a) or A Book of Art, and Instruc- 
 tion, in which to learn to draw and paint, 1578,' in 4to. (b) 
 ' Desgleichen Zweytes Buch. Jost Ammons neues Kunstbuch, &c. 
 1580,' in 4to. These works were reprinted with additions, after the artist's 
 death, under this title: (c) ' Kuntsbuchlein,' &c. or ' A little Book of 
 Art, wherein, besides the representations of many persons of high and low 
 rank, both Ecclesiastics and Seculars, as well as those of the Turkish Em- 
 perors and their chief men, are contained all kinds of masterly designs and 
 figures ; as the seven planets, the ten ages, &c. by the late excellent and far 
 renowned Jost Amnion of Nuremberg. Frankf. am Mayn 1599, Durch Ro- 
 manum Beatum, in Verlegung Johann Feyerabends.' In 4to. This admira- 
 ble volume contains, according to Heinecken, 298 pieces, though Bartsch says 
 289. Twelve of them bear the initials of Jobst Amman, and several have 
 the marks of the wood-engravers who cut them. The prints are of a small 
 4to. size, and furnish abundant proof of the inventive genius of their author, 
 and of his great power as a designer. The two sets, each of 10 pieces, 
 representing the Ages of Man, and Woman, are particularly excellent. 
 (B. 4.) 
 
 32. * Artliche und kunstreiche Figuren, &c. Frankfurt am Mayn, in 
 Verlegung Sigmund Feyerabend, 1584.' This work contains 92 cuts of armed 
 men and others on horseback, studies of horses, females on horseback, &c. 
 which, if I rightly understand Bartsch, were afterwards, in 1599, introduced 
 into the collection last mentioned. (B. 5.) 
 
 83. Costumes of the Roman-Catholic Clergy, &c. i Cleii totius Ro- 
 manae ecclesiae subjecti, sen pontificiorum ordinum omnium omnino utriusque 
 sexus, habitus, artificiosissimis figuris, &c. nunc primum a Judoco Ammanno 
 
 N 2 
 
A M M 
 
 exprcssi, &c. Francofurti sumpt. Sigismundi Feyerabendij. 1585/ in 4to. 
 It consists of 103 prints, without the artist's initials, h. 3§. w. 2f. (B. 6.) 
 
 34. The Dresses of Women of different Nations ; 122 pieces, h. 3|. 
 w. 2f ; published with title : * Gynaeceum, sive theatrum mulierum, &c. 
 Artificiosissimis nunc primum figuris, &c. expressos a Jodoco Amano, &c. 
 Francofurti, impensis Sigismundi Feyerabendij, 1586.' In 4to. Each cut 
 has two latin verses at top, and two at bottom. They are without the artist's 
 initials. (B. 7.) 
 
 35. Jobst Amman's Book of Trades ; entitled : < n*va*Xia omnium illibe- 
 ralium mechanicarum aut sedentariarum artium genera continens, &c. Per 
 Hartmannum Schopperum. Francof. ad Moenum, 1568. A pud Georgium 
 Corvinum, impens. Sig. Feyerabend.' In 8vo. It contains 130 pieces, A. 3 J. 
 w. 2|. There are several other editions. (B. 8.) 
 
 36. Huntings; a set of 40 pieces, I 4|. h. 3£ : * Kiinstliche wohlgerissene 
 neue Figuren, &c, durch den kunstreichen und weitberuhmten Jost Amnion. 
 Frankfurt am Mayn 1592. Durch Johann Feyerabend, in Verlcgung Sig. 
 Feyerabends Erben.' The cuts have latin verses, at top, and German at bot- 
 tom. Two pieces have the initials I. A. and five others the marks of wood- 
 engravers. (B. 9.) These blocks were again printed in a book of instructions 
 for hunting, in German, with the title: ' Adeliche Weydwercke, &c. Franck- 
 furt am Mayn, Bey Job. Wilhelm Amraon und Willi. Serlin Buchh. Im Jahr. 
 1661/ In 4to. This J. W. Amnion was probably of the same family as the 
 artist, and, at this time, a chief proprietor of the engraved blocks left by him. 
 
 37. The Tricks of the Fox, a set of 50 pieces, /. 2£. h. If ; in a work 
 entitled : ' Hartmanni Schopperi Speculum vitae aulicae. De admirabili fal- 
 lacia et astutia Vulpeculae Reinikes, &c. Francof. ad Moenum 1574/ in 
 12mo. Ten of the cuts have the initials I. A. (B. 10.) 
 
 38. Bible-Subjects, 24 pieces, with the initials I. A. I. 6. h. 4|. in an edition 
 of the Jewish antiquities of Josephus, published at Francfort on the Mayne, 
 1580, infol. A larger number of wood-cuts in the same book were engraved 
 after the designs of Tobias Stinuner. (B. 12.) 
 
 39. Wood-Engravings in a Book upon Cookery : ' Ein neu Kochbuch.' 
 &c, by Marc Rumpolt. Frankfort, 1581, published by I. Feyerabend. In 
 fol. This book contains a great number of wood-cuts, several of them after 
 
 the designs of Jobst Ammon, and some bearing his initials. (a) Vignette 
 
 in the title-page, representing a kitchen, with a man-cook and his female 
 
 assistant. I. 4^. h. 3£. (b) Head-piece to the Dedication, containing the 
 
 arms of Anne of Denmark, wife of Augustus Elector of Saxony, /. 5^. h. 5. 
 (c) A Prince seated on his throne, giving orders to the persons of his court ; 
 
 with the mark of the wood-engraver, h. 4|. to. 4^. (d) A Prince speaking 
 
 to one of his ministers, who stands before him, on the right. In the fore- 
 ground on the left is a dog. Same size.- -(e) A man accompanied by a dog, 
 
 delivering a vase to a gentleman, who is standing on the right ; with the mark 
 
 of a wood-engraver. Same size. (/) A Cup-bearer, with a goblet in his 
 
 right hand, and at his feet a dog, h. 4f . iv. 3f . (g) An Imperial banquet, 
 
 in a magnificent hall. On the left, at bottom, the initials I. A, and on the 
 
 right the mark of a wood-engraver. I. 54. h. 4 J, (A) A Royal banquet. 
 
 I. 5-|. h. 4|. (i) A nobleman with a goblet in his right hand, speaking to 
 
 a lady who is standing by him. h. 5. w. 4£. (k) A banquet of the King 
 
 of Hungary ; on the left, guards, and on the right musicians. I. 5f . h. 4. 
 (/) Lazarus, at the foot of the stairs of the rich man's palace. The initials 
 
 I. A. on the right. I. 5|. h. 4J. (m) The Marriage of Cana. The initials 
 
 I. A. on the left. Same size. (B. 14.) 
 
 40. Wood-Engravings, in a Book upon the Art of War, entitled: 
 * Kriegszbuch, Ander Theyl. Von Wagenburgk, &c. Getruckt zu Franck- 
 furt am Mayn r \m Jar nach Christi Geburt 1573.' In fol. This title is or- 
 namented with two vignettes, each representing a cannoneer with a piece of 
 artillery. The volume, itself, is not before me ; but only the above title to 
 the 6econd part, and 85 wood -engravings belonging to it ; over the last of 
 which, representing a figure of Fame, in an oval, within a square ornament, 
 4f. in diam. is this colophon : ' Getruckt zu Franckfurt am Mayn, durch 
 
AMI 
 
 Martin Lechler, In verlegung Sigmundt Feyerabendt/ and underneath : 
 * Anno m.d.lxxiii.' The work appears to have been unknown both to 
 Heineckcn and Bartsch, and I shall therefore briefly describe the chief 
 prints it contains, which are among Jobst Amman'* most spirited perfor- 
 mances; premising that several of them, according to the custom of the time 
 in work6 thus ornamented, are repeated two or three times in different parts 
 
 of the volume. (a) Three Vignettes, without marginal line, I. 5£. h. 1£ 
 
 to If; each representing a cannoneer with one or two pieces of artillery, in 
 the manner of those on the title, (b) Another Vignette, I. 4£. h. 2f, 
 representing a waggoner with four horses, on one of which he is seated, (c) 
 Baggage-carts, conducted by military, moving to the left. I. 4|. h. 2|. 
 (d) Various pieces of Artillery, cannon-balls, &c. I. 5^. h. 2| ; the 
 initials I. A. on the right. (<?) A Cannoneer, with a piece of ordnance, 
 taking aim at a tower. I. 5£. h. 2. (/) A large Cannon, with a soldier 
 guarding it; 5$. h. 4. (g) Two Mortars, with a guard, I. 5f . H. 4. 
 (h) A group of Waggons laden with military stores. I. 5£. h. 4. (i) Va- 
 rious Cannon, pointed at two towers, I 0$. h. 4. (k) Two Mortars 
 throwing shells, in the presence of various officers on horseback, I, 5 J. 
 w, 4. (/) The Bombardment of a fortified Town. I. 5%. (m) A, 
 Set of 52*pieces, of an oval form, h. 4£. tc. 3-J, which are printed 
 within ' passe-par-touts,' ornamented with trophies and figures of which there 
 are fifteen different from each other, h. 5f. w, 5-J. These 52 pieces repre- 
 sent the dresses and employments of all classes of persons belonging to an 
 army, with appropriate backgrounds ; the method of holding court-martials • 
 military punishments ; councils of war ; the sending, or receiving of ambas- 
 dors ; marchings of troops ; battles, &c. One print of the set, only, bears 
 the initials of Jobst Amman, the others having no artist's mark whatever. 
 This print represents a group of soldiers playing cards, jbc and on the left 
 are three large barrels, upon the furthest of which are the initials I. A. in 
 cypher, and immediately, underneath, what appears to me to be the little 
 knife, or other instrument, which is often found accompanying the mono- 
 grains of the wood-engravers of the time ; though I will not too much insist 
 upon this appearance, as it is possible the artist may have intended it for an 
 instrument used in drawing, (n) Fourteen Pieces. /. 5jj. h. 4. viz. 
 Four officers on horseback, on the left, the bearers of a letter to the Governor 
 
 of a besieged town. Men undermining a fortified city. The taking of a 
 
 city by storm ; the initials I, A. at bottom, on the right. A march of In- 
 fantry through a defile ; on the left an officer on horseback, in complete ar- 
 mour. A combat of Turkish and European Cavalry. A combat of Mus- 
 covite and Turkish Cavalry. Two, of naval engagements. A Turkish 
 
 General seated in his tent; two Turks standing on the left, addressing him. 
 A Turkish Banquet, at which are entertained two European Ambassadors. 
 
 An amicable meeting between a Turkish and an European General. A 
 
 messenger delivering a letter to a king, who is seated on the left ; on the right 
 
 the initials I. A. Turkish troops leading persons of every age and sex into 
 
 captivity. A king on his throne, on the left, listening to the address of an 
 
 Ambassador. (o) The Emperor of Germany on his throne; and on either 
 
 side the princes of the empire ; and a Judge, before whom is brought a cri- 
 minal ; two pieces, which I think by some inferior designer. /. 5 ft. h. 4|. 
 (p) A circular piece, surrounded by an ornament, at the top of which is the 
 Imperial Eagle, and at the corners, the figures of Justice, Faith, Charity, 
 and Peace. It represents a general in armour, addressing the Emperor who 
 is seen in front, seated on his throne ; his courtiers standing on either side 
 
 and in the foreground, h. 5|. w. 5. (q) The Turkish Emperor, seated on 
 
 his throne, on the left, listening to the address of two Tartar Ambassadors 
 who have brought him tribute ; an oval, within an ornament. I. 5£. h. 4*. 
 (r) A General on horseback, haranguing his army; in a cartouch. /. 5|. 
 
 fi. 4|. (s) The Portrait, half-length, of a man in a military habit, with a 
 
 cap and feather ; perhaps the author of the book ; an upr. oval, in one of the 
 passe-par-touts used for the 6ctof 52 pieces already described. w. 5. 
 
 Heinccken mentions two or three other books, with wood-cuts by Jobst 
 Amman, which I have omitted to notice ; doubting whether the same blocks 
 may not have been also printed in some of the above. 
 
A M M 
 
 DETACHED PIECES, ENGRAVED IN WOOD. 
 
 41. Martin Luther, half-length, nearly in front ; in a circle within a border 
 ornamented with four scriptural subjects. Within the circle : ' D. Martinus 
 Luterus ;' and in the middle at bottom : I. A. /. 5. h. 4^. ( B. 19.) 
 
 42. Steph. Bathory, prince of Transilvania, elected King of Poland ; died 
 158C : half-length, turned towards the right; his right hand on the hilt of his 
 sword, and the left on his haunch. In the middle at bottom are the initials 
 I. A. h. 12f. w. 9f. (B. 20.) 
 
 43. The History of Adam and Eve, from their creation to the death of 
 Abel; the whole represented in one piece, printed in clair-obscnre from two 
 blocks. In the middle at bottom are the initials I. A. h. lOf. w. 7^. Impres- 
 sions of this piece, printed from a single block, are introduced in the Latin 
 edition of Josephus, of 1580, before-mentioned. (B. 15.) 
 
 44. St. Christopher, with the infant Saviour on his shoulders; the initials 
 
 I. A. on the right, h. 9f . w. 6§. (B. 18.) 
 
 45. A Tournament, held at Vienna, by order of the Emperor Maximilian 
 
 II. The initials I. A. with date 1565, towards the right at top. I. 13§. h. 8. 
 (B.21.) 
 
 40. An Allegorical Representation : \ Designatio picturae, officium boni 
 coloni exprimentis ;' with explanations printed with type. In the middle at 
 bottom, the initials I. A. and on the left the mark of the wood engraver. 
 h. 15£. w 9$. (B. 23.) 
 
 47. Time drawing Truth from Obscurity, in spite of the opposition of 
 two demons; the background, an extensive landscape. The initials I. A. 
 with date 1562, are on a bridge on the left. I. 17{. h. (B. 24.) 
 
 48. An Allegorical piece on Commerce. In the foreground, on the left, 
 a female figure representing Obligation ; and on the right another denoting 
 Liberty. A man, standing in the middle, and two groups of other men, 
 a little lower in the piece, on the right and left, denote Integrity, the know- 
 ledge of Languages, and Taciturnity. These figures are represented in a 
 large hall, wherein are accountants, weighers of money, men packing mer- 
 chandize, &c. and in various tablets are German verses, printed with movea- 
 ble type. The initials I. A. are on a package, on the left. /. 23|. h. 11 
 (B. 25.) 
 
 49. A Procession of Military, in five pieces joined. A Captain on horse- 
 back followed by two men with halberds and two with musquets ; three men 
 with musquets, and a drummer and a fifer ; four men with halberds, a boy 
 with a goose on his back, and a soldier with a spear ; three other soldiers 
 with spears, and a part of the followers of the troop, &c. The initials I. A. 
 are on the last piece. I. 68. h. 10^. The first piece is higher than the others. 
 (B. 26.) 
 
 50. A View of St. Mark's Place at Venice, with the Procession of the 
 Doge and Senate, &c, before embarking in the Bucentaur, for the ceremony 
 of espousing the Sea. The initials of the artist are about the middle at bot- 
 tom. In fourteen pieces, joined. I. 74^. h. 30. Rare. (B. 27.) 
 
 JOHANN AMMAN, or AMMON. 
 
 1623. 
 
 We have by this artist, according to Heinecken, a set of 
 wood-prints of the Passion of Christ, with Latin verses, which 
 was published in 1623, at Amsterdam. 
 
 JOHANN AMMAN, or AMMON. 
 
 c. 1725. 
 
 I find this person's name to the following portrait, in which 
 
A M S 
 
 the face is finished with dotting. It is a very indifferent per- 
 formance. 
 
 ' Ion. Fridericus Osterwald, Redemise Neocomensis Pastor. Nat. A°. 
 moclxiii. Ioh. Amman Scul. Scaphus.' in an oval, with four latin verses: 
 * Hie Ostervaldi est levis umbra/ &c. /*. 7. w. 4|. 
 
 JOHANN AMMON. 
 
 1624. 
 
 Heinecken states him to have been a native of SchafThansen, 
 
 and mentions six portraits by him. He was probably the same 
 
 person whose name I find to the following title. 
 
 An Engraved Title; on the left, Christ, standing on a pedestal, with the 
 globe in his left hand ; and on the right, on a similar pedestal, St. Paul with 
 his book and sword. At top in an oval, John baptising Christ; and at bot- 
 tom, in another oval, the Last Supper. The letters I. A. arc within a sort 
 of commercial mark, on each pedestal. The Title: * Guilielmi Whitakeri 
 Angli, S. Theologian, &c. Sumptibus Joannis Ammonii civis ct Bibliopola; 
 Francofurtensis. m.dcxxiv,' is printed in the middle, with moveable type. 
 This piece is engraved in the manner of Mcrrian. I do not answer for its 
 being by the hand of I. Amnion, h, 7£. w. 6. 
 
 CLEMENT. AMMON. 
 
 1G50— 1660. 
 
 According to Heinecken, he was a son-in-law of Theodore de 
 Bry; to whose extensive work of portraits, called * Biblio- 
 theca Calcographica,' he added two volumes with this title : 
 * VII and VIII. Pars, Bibliothecae Calcographioae, id est 
 Continuatio secunda et tertiaiconum virorum illustrium, Sculp- 
 ture Clement. Ammonia Chalcograph. Franco/. Franco!', ad 
 Moen. 1650/ and J 652, in 4to. These two volumes contain, 
 together, .100 portraits, of which Heinecken has given a list. 
 He also mentions by him : 
 
 1. The Portrait of the Elector Palatine, and that of the Electres* 
 Caroline, two pieces in 8vo. engraved in IC6I. 
 
 2. Joh. Henr. Ursinus, a Theologian. ' jAconus Gothofredus Juris- 
 
 consultus, &c. CI. Ammon fe.' with two latin verses in margin. ' Exprimit 
 ista,' &c. ; bust in an oval. h. with margin, 6|. w. 5. This last piece, which 
 is before me, is engraved in a harsh stiff manner. 
 
 CORNELIS PLOOS VAN AMSTEL. 
 
 b. 172G. d. 1799? 
 
 A gentleman of Amsterdam ; well known, as a connoisseur, 
 and amateur artist. Having got together a line collection of 
 original drawings of the Dutch painters, he amused himself 
 during many years in the attempt to produce prints exactly re- 
 sembling them, by means of different plates executed in various 
 manners, as the occasion required, and printed in colours con- 
 formable to the originals ; one of his imitations being often the 
 result of three, four, or perhaps a greater number of plates of 
 exactly the same dimensions, printed, one after the other, upon 
 the same paper, with the different tints required. The margins 
 
AMS 
 
 of the prints were then cut off, which would otherwise have 
 betrayed the process by which they had been done ; and the 
 prints, being mounted on tinted paper, like drawings, assumed 
 to a common eye the appearance of being so ; and indeed several 
 of them are truly excellent performances. 
 
 The following catalogue of Van Amstefs works will be found 
 more complete than any hitherto published, having been made 
 from the identical collection which the artist kept during his 
 life-time for his own use ; and which is now in the possession of 
 a distinguished collector in this country. I am uncertain whether 
 he died in 1799, or early in the year following. His collection 
 of prints and drawings, &c. was sold at Amsterdam, in March 
 1800. 
 
 ETCHINGS, AND MEZZOTINTOS. 
 
 1. Bust of a Man in a broad-brimmed Hat, 4 M. v. d. Berg 1650,' &c. 
 an Etching, done, according to a Mem. in MS. on the back, in 1738, when the 
 artist was only 12 years old : 3 inches square. 
 
 2. Four Cupids playing with a Festoon, after De Wit; a slight, but 
 clever etching, imitating the effect of basso-relievo. Date, in MS. 1742. 
 I. 7|. h. 2. 
 
 3. A Study of two Heads, one over the other, a slight, masterly etching. 
 Date, in MS., 1759. h. 4. w. 2£. 
 
 4. His own Portrait ; bust, on a paper suspended in a niche, with wreaths, 
 palette, trumpet, &c. h. 5|. w. 3^. i O. Ploos v. Amstel, Jac. Cornsz Inv. 
 fecit, 1762. Natus 4 January 1726;' in MS. on the back. 
 
 6. Bust of a Rabbi with a round flat Bonnet, seen in front, sfyle of 
 Rembrandt; date 1756, in MS. The artist's first attempt at mezzotinto. 
 h. 6|. iv. 4^. 
 
 6. An unknown Subject. An armed man, holding his sword to the breast 
 of a gentleman, to prevent him entering the door of a house, at which a lady 
 is standing with a candle, beckoning him towards her. * Corn. Troost pinx. 
 Corn. Ploos v. Amstel fee. 1759. Hopman Ulrich,' and eight Dutch verses. 
 A mezzotinto. h. llf, besides margin, w. 9. 
 
 IMITATIONS OF DRAWINGS, 
 
 Arranged alphabetically, according to the Names of the Original Artists. 
 
 7. The Frontispiece ; a Pedestal, at top of which is a cupid holding a shield 
 with armorial bearings. Upon a drapery attached to the pedestal: f Viro 
 Amplissimo, Nobilissinio Ionae Witsenio, &c. D. D. D. Inventor, Cornelius 
 Ploos van Amstel, D. 1 Feb*. 1765/ On two plates; etching, on a tinted 
 ground, heightened with white, h. 9|. to. 9. 
 
 8. H. Avercamp. A winter scene, on a canal, with people skaiting. In the 
 foreground, two gentlemen, two boys, and two ladies, one of whom has a 
 mask. On the left the cypher of Avercamp, with date 1621. In colours. 
 /. 8|. h. 8j. 
 
 9. L. Backhuysen. Three Sea pieces ; Indian ink. (a) A Breeze. On 
 
 the right at top : « L. Backhuizen, 1694/ /. 7f . h. 3f . (b) Sunrise ; very 
 
 fine effect; in the foreground, on the right, a fisherman walking. /. 8f. 
 
 h. 5f . (c) Moon-light ; its companion ; at top, on the left, ' L. Backhuizen.' 
 
 I. 8±. ft. 51. 
 
 10. Corn. Beg a. An Interior; an old woman, a back-figure, seated near a 
 cradle : another old woman by her side. At top on the right : ' C. bega 
 1654.' Pen and bistre, h. 7. to* 6$. 
 
 11. ic, Berchem. On the left a wide river; a ferry boat crossing with cat- 
 
A M S 
 
 lie ; on the right, a gftrl seated on a mule, a shepherd, three cows, a goat and 
 some sheep. At top on the left : ' C. Berghem f. 1654/ Bl. chalk and Indian 
 ink. /. 9. h, 5 J. 
 
 12. A nil ah am Bloeiyiaert. The Madonna, a half-figure, with the infant Christ, 
 within a circle surrounded by roses ; pen and bistre-wash, heightened. At 
 bottom on the left : • A. bloemert fecit.' h. 6£. w. 6£. 
 
 13. J. de Bray. Five Burgomasters with high-crowned hats, seated round a 
 table ; another, uncovered, standing behind. Pen and Indian ink. On the 
 back of a chair : ' J. D. Bray 1663/ I. 11$. h. 8|. 
 
 14. S. de Bray. A woman seated in a chair, reading ; half-figure, in profile, 
 turned towards the right. Black and red chalk, h. 6$. w. 6. 
 
 15. A. Brower. A Boor sleeping, with his back against a wooden partition » 
 three others carousing in the background, on the left. Pen and bistre* 
 h. 7£. w. 6£. 
 
 1G. P. Coopse. View on the Dutch coast; a calm. At bottom on the right : 
 ' P. Coopse fee' Pen, washed with a little colour. I. 8f . h. 4£. 
 
 17. S. vander Does. A man driving a flock of sheep and goats through a 
 ruined archway. On the right : * S. V. Does 1699.' Indian ink. /. 6£. h. 5£. 
 
 18. Gerard Dow. A young lady seated before a harpsichord, with a music- 
 book in her hand ; half-figure. Black and red chalk. At top, on the right : 
 4 G. D. 1660/ h. 6£. iv. 5|. 
 
 19. C. Dusart. (a) Killing Pigs; pen and Indian ink. At bottom on the 
 
 left : ' Corn, du Sart.' h. 7f . to. 6£. (b) A Boor walking by a tree, with 
 
 a bottle in his hand ; three other figures in the background. Pen and Indian 
 ink. At bottom on the left : 1 Corn, du Sart.' h. 7 J. w. 6. 
 
 20. Ant. Van Dyck. Bust of a man in a high-crowned hat ; profile turned 
 to the left ; said to be the portrait of Van Goyen. Black and red chalk. 
 h. 6. w. 5£» 
 
 21. G. V. Eeckhotjt. (a) The front of a cottage, and on the left some 
 
 trees ; an artist is seated outside the door, and two persons from within arc 
 
 looking at him. Pen, and bistre-wash. A fine effect. /. 8. h. 6£. (A) In 
 
 the middle, a woman seated under a tree ; another woman and a little boy 
 standing near ; on the left is a pig, and in the background are houses. At 
 bottom on the right: 1 G. V. Eeckhout 1670.' Pen, and Indian ink. Fine 
 
 effect. I. 7J. h. 5g. (c) Florists seated at a table ; a gardener bringing in 
 
 a basket of plants. On the right at bottom: * G. V. Eeckhout fe. Pen 
 and bistre. I. 5. h. 3$. 
 
 22. I. Esselens. A canal view, with boats loading. On the right, at bottom : 
 e t. E/ Black chalk and Indian ink. {.10$. A.' 6$. 
 
 23. A. v. Everdingen. A village with waggons, and various figures; in 
 bistre. At bottom, on the left, 1 A. V. E.' 1 ,11. h. G|. 
 
 24. G. Flinck. An officer in a flat bonnet, with a perspective-glass in his 
 hand ; half-length. Black chalk. At bottom on the left : 1 G. flinck f. 1G43.' 
 hi 9f. w. 7*. 
 
 25. H. Goltzius. Half-length of a young lady, resting with her left hand on 
 a book. Black and red chalk. At top on the left : ' H. G. 1G12.' h. lug . w. 8£. 
 
 26. I. V. Goyen. Three landscapes and figures, black chalk and Indian ink. 
 (a) A Dutch market ; on the right, a statue on a pedestal ; on the left at 
 
 bottom : 4 VG 1653/ I. 10£. h. G|. (b) A cattle market, its companion ; 
 
 same size ; on the right, at bottom : ' VG. 1653/ (c) A Village, with a 
 
 well on the left, * VG 1651/ /. 10£. h. 5J. 
 
 27. I. v. Huysum. (a) Fruit in a basket ; pen and Indian ink. At bottom 
 
 4 Jan van Huysum fecit.' h. 8. w. 6£. (6) Flowers in a vase ; same style 
 
 and dimensions. (c) Flowers in a vase ; highly finished in colours. At 
 
 bottom, on the left : e Jan van Huysum fecit, 1735/ h. 9£. iv. 6£. (rf) 
 
 A Fruit-piece ; same manner and dimensions. These two pieces appear to 
 have been, in part, coloured by hand. 
 
 VOL. I. O 
 
A M S 
 
 28. Karl du Jardin. Four sheep before a hovel; Indian ink. Above the 
 door 1 K. du Jardin.' It is No. 14 of Du Jardin's etchings. I. 6§. h. 4|. 
 
 20. Langhans. A man seated at a table, sealing a letter; another warming 
 himself at a stove, which a servant is stirring ; pen and bistre. I. 4§. h. 3$. 
 
 30. L. v. Leyden. The Judgment of Solomon; pen, and bistre-wash. At 
 bottom on the left, « 1515. L.' h. lOf. to. 8£. 
 
 31. Karl v. Mander. A Lady, and a Gentleman, each playing on a lute. 
 On the left < KM. 1G03 ;» pen, and Indian ink. h. 6|. w. 5§. 
 
 32. I. v. Meer de Jonghe. A Landscape, with a lofty chateau in the back- 
 ground ; still water on the right ; and a man driving cattle, in the foreground 
 on the left. Indian ink. At bottom, on the left : *- L v. der meer de Jonge f. 
 1704.' h. 7£. 
 
 33. G. Metsu. A woman seated, with a frying-pan ; black chalk. At top, 
 on the left : < G. Metsu.' h. ll|. w. 8f. 
 
 34. F. v. Mieris. (a) A Gamester, seated at a table, with cards and money; 
 
 in the background another, who appears to have been a loser. Black chalk. 
 
 At bottom on the left : 4 F. van Mieris.' h. 7£. w. 5f. (b) Two Studies, 
 
 each of a lap-dog ; black chalk. I. 3^. h. 2£. 
 
 35. G. Netsciier. A young lady seated, playing on a lute ; her dress bordered 
 with fur. Indian ink. On the left: ' C. Netsciier Ao. 1664.' h. 6£. to. 5. 
 
 36. Adrien Ostade. (a) A man with a jug in his left hand, addressing 
 
 another in the street; pen and Indian ink. At bottom, on the right: 
 
 * A. V. O.' h. 4. tv. 3. (6) A mun seated in a cbair, outside a house. At 
 
 bottom, on the right: ' A. V. O.' Same style and dimensions. (c) An In- 
 terior. On the left, a man seated smoking ; on the right, another, seated 
 with his back to the spectator: behind, a man standing with a drinking-glass 
 in his hand ; in the middle, a little child, and beyond, a woman coming in at 
 the door ; pen, and Indian ink. At bottom, on the right : ' AVO.' A. 4£. 
 
 w. 3f. (d) Another Interior. A man, his wife and three children ; one of 
 
 them holding some linen to the fire, which is on the right; pen, and Indian 
 
 ink ; from a capital drawing, h. 9§. tv. 8|. (e) Study of a child, in a front 
 
 and back view ; a slight sketch in chalk. At bottom on the right : - AVO.' 
 
 h. 3§. w. 3. (/) A boor, with a pipe, seated and turned to the left; in 
 
 colours, h. 3£. w. 2|. (g) Another boor, seated and seen in front; a jug 
 
 in one hand, and a diinking-glass in the other. At bottom on the right : 
 
 ' AVO.' Also in colours, h. 3f. to. 2|. (h) The interior of a farm-house ; 
 
 a woman seated, with a child in a cradle by her side, and a man talking to 
 her from outside the window. At bottom : ' A. v. Ostade 1672.' From a 
 
 capital drawing in colours. I. 7|. h. 5|. (i) An Interior ; two men, a 
 
 woman, and a child ; one of the tonner seated on the left, reading the news 
 
 paper. In colours, h. 9|. tv. 7|. (/t) A fidier amusing the company at 
 
 the door of an ale-house. At bottom on the left : * A v Ostade 1673.' From 
 one of the artist's most capital coloured drawings, h. 13|. w. II J. 
 
 37. Rembrandt. (a) An old woman, a back-figure, looking out over a 
 
 hatched door ; half-length ; pen, and bistre-wash, with a little colour. Great 
 
 effect, h. 6. w. 5f. (h) A young boy with a bioad-brimmed hat, leaning 
 
 over the lower part of a door ; pen, and bistre- wash, with a little colour ; 
 great effect. It is supposed by some to be the portrait of Rembrandt's son 
 
 Titus, h. 9§. w. 7f. (c) An old woman, and a younger one, at the door 
 
 of a house ; the latter with an enraged child in her arms, followed by two 
 other children : a pen sketch, slightly washed with Indian ink. Full of na- 
 ture ; the expression of the child, admirable, h. 8^ to* 5|. 
 
 38. P. Saenredam. The inside of a Church ; an artist seated at the foot of a 
 pillar, drawing. Great effect of sunshine. Fen, Indian ink, and colour. 
 h. 7£. tv. 6. 
 
 39. I. Saenredam. A carpenter and his wife, stooping down to a box, which 
 is on the ground. At bottom, on the left : ' I. Saenredam.' Pen, and In- 
 dian ink. 6| square. 
 
 40. H. Saftleven. Two small views; black chalk, h. 3f. to. 2\. 
 
AND 
 
 41. G. Schalcken. A young woman seated at work at a table, by candle- 
 light ; bistre, h. 4£ . w. 3£. 
 
 42. Jan Steen. A lawyer and his client ; pen, and Indian ink. At bottom, 
 on the right: ' I. Steen 1672.' h. 6£. to. 5 J. 
 
 43. Terburg. A young lady drinking out of a large glass; a salver held be- 
 fore her by a page ; and a gentleman in a hat and cloak. Bistre, h. 13 J. w. 9. 
 
 44. W. Vandervelde. (a) A calm ; on the left a three-masted vessel at 
 
 anchor; at bottom, on the right: ' W. V. V.' Pen, and Indian ink-wash. 
 
 I. 9f. h. 4|. (b) Another calm ; on the left, a three-decked vessel firing 
 
 a gun; at bottom, on the left: ' W. V. V.' Same manner, h. 6£. w. 5§. 
 
 45. Ad. Vandervelde. A man washing his feet in a river, and a young wo- 
 man standing near him ; with cattle and sheep. Bistre, h. 10. w. 9£. 
 
 46- C. Visscher. Portrait of a Gentleman, seated in a chair ; half-length. 
 On the right : * C. Visscher fecit Ao. 1651/ Black chalk. A. 11 J. w. 9f. 
 
 47. Ph. Wouwermans. (a) A man standing on the right, holding a loaded 
 
 horse by the bridle, and conversing with two girls who are washing. At top, 
 on the right, the cypher of Wouwermans and date, 1CG0. Indian ink ; highly 
 
 finished. I. 7£. h. 5£. (b) A man about to mount his horse, which is held 
 
 by a boy on the left. At top on the left : * PHWY Sketch, in Indian ink. 
 
 48. Tnos. Wyck. The Entrance to an Italian Town; in the middle, a man 
 loading a mule. On the left : « T. Wyck ;' bistre. I. 9. h. 5|. 
 
 49. De Wit. (a) A study of five naked children with a vase : pen, and 
 
 Indian ink, heightened. At bottom, on the left : ' I. D. Wit.' h. 8£. w. 5%. 
 (b) Another of naked children ; one hanging a quiver on a tree ; pen and 
 bistre, heightened, h, 7\. iv. 4$. 
 
 The impressions of Ploos van Amstel's plates, which were 
 taken oiY during his life-time, are, I believe, commonly marked 
 on the back with his crest, or coat of arms. A new and hand- 
 some edition of the principal plates have l>een recently com- 
 pleted by Mr. Josi, now the possessor of them ; together with 
 many other fac-similes of fine Dutch drawings engraved by him- 
 relf ; the whole accompanied by biographical sketches of the 
 painters and remarks on their works. In fol. 
 
 E. ANDERSOHN, See Andresoiin. 
 ANDOVARD. 
 
 c. 1700. 
 
 An indifferent engraver of Paris, whose name is found to the 
 three following pieces. 
 
 1. The Portrait of Count Maurice de Bruhl; whole-length, after 
 Bertaux ; in fol. 
 
 2. Two Sea-coast Scenes: ' Vaisseau de Guere, ike. Peintpar Mr. Flotte 
 S. Josephe, gravS a Veau forte par Andovard, termine au burin par Roc. Bru- 
 net;' and its companion, 4 Soleil Couchant, Stc. A Puns, cSx.' Large print 8 
 l-w. ; not good. 
 
 GEORGE ANDRE. 
 
 c. 1590 ? 
 
 The only mention I find of this artist, is in the Cat. of the 
 Winckler collection, which possessed the following print after 
 Johan. ab Ach, bearing his name. The reputation of ab Ach, 
 
 o 2 
 
AND 
 
 although considerable in his life- time, did not afterwards con- 
 tinue to be such as to induce the engravers of later times to 
 make many prints from his works ; and it therefore seems pro- 
 bable that George Andre was the painter's contemporary. 
 
 ' The Ecce Homo/ a fine^whole-length figure of Christ, whom the soldiers 
 have entirely despoiled of his vestments, preparatory to his crucifixion ; in- 
 scribed : ( Joh. ab Ach pictor. George Andre ;' large fol. 
 
 SIMON liENAED DE ST ANDRE, 
 
 b. 1614. d. 1677. 
 
 "Was a native of Paris, and died in that city, a member of 
 the Royal Academy. He had been a disciple of Louis Bobrun, 
 and, like him, excelled in portraits ; though it is said that he 
 also made designs for the Gobelin tapestries. We have by him a 
 considerable number of plates, etched in a picturesque manner, 
 and slightly finished with the graver ; most of them from the 
 paintings of Charles le Brun. 
 
 1. The Infant Saviour, contemplating a Cross, which he has upon his lap ; 
 in the background, the instruments of the passion, and a representation of 
 moon-light : ' S. Andre fee. a Rome. Se vend a Paris chez J. Richer/ Small 
 4to. (Heinecken.) 
 
 2. The Paintings of Charles Le Brun, in the Gallery of Apollo, 
 jn the Louvre; 46 plates of different dimensions, including some pieces 
 which were not executed. Among them are the following : (a) France, in 
 the character of Minerva, seated triumphant; on the right three Cu- 
 pids recording her actions upon a shield : ' A Messire Jean Paul Bignon, Abbe 
 de St. Quantin, &c. Par son tres-humble et tres-obeissant Serviteur, De 
 St Andre.' h. I2£, besides margin, w. 10. (b) Diana r- her Car, drawn 
 by two does. A ceiling piece. Octagon, in a border. ' Invente et peint par 
 C Le Brun ; dessine et grave par St Andre.' diam. 13£-. (c) Cybile in her 
 Car, drawn by two lions; on the left, sleeping nymphs discovered by satyrs, 
 Sec. ; a design for part of a vaulted ceiling : * Grave d'apres I'esquisse de Mr. 
 le Brun, dont le tableau ra' 'est pas peint, par St Andre". Ce vend a Paris chez 
 De St Andre dans le Louvre, et Rue St. jacques au Buste de Monseigneur ;' 
 a large-sheet print, l w. 
 
 ZOAN ANDREA. 
 
 c. 1485. 5- A, 1505. 
 
 A name given by Zani to an early Italian engraver of con- 
 siderable merit, by whom we have a few plates marked Z. A. 
 Zani supposes him to have been of the school of Venice ; the 
 christian-name Giovanni, he observes, is pronounced, and even 
 written, Zoan, in the Venetian dialect; the Z therefore stands 
 for Zoan, and the A for Andrea. I have elsewhere (' Inquiry,' 
 p. 574, et seq.) questioned the accuracy of this judgment, and 
 do not now see reason to alter my opinion concerning it. This 
 old artisfs manner of engraving closely resembles that practised 
 by Mantegna, Bramante, and Gio. Antonio da Brescia. One 
 of his plates, at least, appears to have been done from a design 
 of Mantegna ; another, representing • a Lion vanquished by a 
 Dragon,' after Lionardo da Vinci ; and upon the whole there 
 seems better reason to place him in the Lombard school than in 
 
AND 
 
 the Venetian. After all, I have judged it convenient to give 
 admission to the fancied Zoan Andrea in this place ; the name 
 having heen rendered familiar to print-collectors by Bartsch and 
 other late writers. I shall make mention of certain wood-en- 
 gravings, bearing the initials z. a. and i. a. when I come to speak 
 of Giovanniandrea Vavassore, an artist who resided at Venice 
 at the close of the 15th and the commencement of the 16th cen- 
 tury, and with whose name Zani was unacquainted. 
 
 1. Judith, standing and seen in front ; a sabre in her left hand, and in her 
 right the head of Holofernes, which she is putting into a sack held by an old 
 woman, who is standing on the left. Behind these figures is the bed of Holo- 
 fernes, under a canopy, at the top of which is inscribed: diva iudit. The 
 letters Z. A. are upon a globe with which one of the supports of the bed is 
 ornamented. After a design of Mantegna. h. 12f . w, 9. (Bartsch 1,) There 
 exists another early print of the same design, in a reverse direction, without 
 any artist's mark, and without: diva iudit. h. 12*. w. 9£. 
 
 2. Hercules and Dejanira; naked figures, standing; the former on the 
 right, resting with both hands on his club and seen in front ; the latter on the 
 left, seen in a back view. These figures, though in a dry style, are outlined 
 with intelligence, and well proportioned. The design has much of the charac- 
 ter of Lionardo. The initials Z. A. are in the middle at bottom. ^ h. 9 
 w. 5. (B. 9.) 
 
 3. Three Cupids standing. That on the left is seen in a back view. He 
 has a shield on the left arm, a torch in the right hand, and appears looking 
 at an owl which is perched on the stump of a tree. The two other Cupids 
 hold, by its legs, a dead eagle. The initials Z. A. are in the middle at bottom. 
 /. 8£. /*. 6 J. (B. 13.) 
 
 4. A Lion vanquished by a Dragon, admirably engraved after a fine de- 
 sign of Lionardo da Vinci, mentioned by Lomazzo, p. 330, * Trattato della 
 Pittura.' The Lion seems overcome with terror at the horrible aspect of his 
 assailant, and is moving, with enfeebled steps, towards the right. The ini- 
 tials Z. A. are at bottom under the left hinder foot of the lion. I. 9£. h. 7. 
 (B.20.) 
 
 5. Grotesque Designs, for the Decoration of Pilasters, 12 pieces, 
 about h. 20£. w. 3. One of the set, only, bears the initials of the artist. 
 
 (B. 21 — 32.) («) At the bottom, a triton, turned towards the right; a 
 
 trumpet in his left hand, and in his right a serpent ; an infant with a torch 
 being seated behind him. Towards the upper part of the compartment, a 
 cupid seated, with a sort of sceptre in his right hand and a palm in the left. 
 (b) At bottom, a Syren playing the violin, between two infants, standing, 
 with wind instruments. Over these figures, two infants kneeling, and be- 
 tween them, on an oval: d. mar. v. (c) At bottom, two infants with 
 
 helmets, that on the left frightening the other with a serpent. (d) At bot- 
 tom, a triton touching with his left hand the strings of a sort of violin, 
 which he supports witli the right. Above this figure are two infant satyrs, 
 each armed with a syringe. The initials Z. A. at the right corner at bottom. 
 (e) At bottom, two four-footed animals with the wings and heads of eagles, 
 back to back ; half-way up the print, two cupids standing, each with a hal- 
 berd. (/) At bottom a Syren with two infants, of which that on the right 
 
 of the print holds a serpent with both his hands. Towards the top, two in- 
 fants fighting, each armed with a stick and a shield. {g) At bottom, four 
 
 infants playing together; over them, in an oval: ' d. mar. v.' (/t) At 
 
 bottom, three infants playing upon clarions; one of them seated, the other 
 two standing. At top, the Infant Saviour standing, with the globe in his 
 
 left hand. (i) At bottom, four infants ; two of them standing on a circular 
 
 basement, the other two below ; one of which is giving drink to a little dog 
 
 out of a vase. (k) At bottom a Satyr, seated and seen in front, a violin 
 
 in his left hand and the bow in the right. Half way up the print, two chil- 
 dren standing and embracing each other. (/) At bottom, two Sphinxes, 
 
AND 
 
 each resting with one of its fore-feet upon a small oval shield. Over them, 
 
 two infants seated. (m) At bottom, two Sphinxes; at top, two infants 
 
 standing, each holding a large palm-branch with one hand, and resting with 
 the other arm upon a candelabrum which is between them. This last piece is 
 somewhat smaller than the others. In some parts of these plates, cross 
 hatchings are used, though but sparingly. These ornaments are all on a 
 white ground. There exists a copy of one of the first piece, and perhaps of 
 others, with the ground dark and the figures reversed. (O.) 
 
 6. TWO OTHER PIECES OF GROTESQUE ORNAMENT, RESEMBLING CANDE- 
 LABRA. (a) At bottom, the head of an old man with a long beard, seen 
 
 in front, and, over it, two other heads in profile, without beards, looking at 
 each other. A little higher is a group of six cupids seated ; and above are 
 introduced, successively, two dolphins, two sphinxes without arms or wings, 
 and again two dolphins. The initials Z. A. are in the middle, at bottom. 
 
 A. 15|. w. 4. (B. 33.) (b) This piece appears supported upon two lions' 
 
 feet, and, at three inches from the bottom, over a small head in profile, is in- 
 scribed : ' heneas. troia.' Above are two cupids with trumpets, over two 
 masks in profile, &c. The initials Z. A. are in the middle at bottom. I write 
 this description from an incomplete print in the collection of Mr. Lloyd, which 
 w hen entire I suppose to have been of the same size as the other. Anonymous 
 copies with variations exist of these two pieces, done perhaps by Jo. Ant. 
 Brixianus. 
 
 7. Copies from Prints by Albert Durer. (a) The Madonna and 
 Child, with a Monkey ; reverse of the original. The initials Z. A. in 
 the middle at bottom, h. Of. w. 4f. Not in Bartsch. (A) The Madonna 
 seated, suckling the Infant, from a small print of Albert Durer dated 
 1503. This copy, which I suppose to be in an opposite direction to the. origi- 
 nal, has the initials Z. A. and the date 1505. Zani, who mentions it, Par. II. 
 Vol. 4, p. 57, does not give its dimensions. The original measures, h. 4£. 
 w. 2J. (c) St. Jerome kneeling at his Devotions, in the Desert; 
 reverse of the original. The copyist has omitted the stone which, in Albert's 
 print, the Saint holds in his right hand. The initials Z.A. in the middle at 
 bottom, h. 12|. w. 8J. (B. 7.) (<:/) The Penitence of St. Chrysostom, 
 called by Bartsch, S.Genevieve; reverse of the original ; the letters Z. A. 
 in the middle at bottom, h. 7. w. 4£. (B. 8.) (e) A Nymph carried 
 away by a Sea-Monster; reverse of the original; which is No. 71, of 
 Bartsch's Catalogue of Durer's engravings ; not No. 72, as he erroneously 
 states, Tom. XIII. p. 300. h. 9g. w. 7*. (B. 10.) 
 
 I have omitted in the above catalogue a few pieces ascribed 
 by Bartsch to this Zoan Andrea, but which have not his mark. 
 The most important are after Mantegna, and will be noticed 
 when I come to speak of that great artist. 
 
 NICOLAS ANDREA. 
 
 1578— 1585. 
 
 Nothing- seems to be known of this artist except what may be 
 collected from the inscriptions on his engravings, which are lew 
 in number. It appears from these that he resided some time at 
 Constantinople, where he perhaps was taught engraving by Mei- 
 chier Lorch. If so, he did but little credit to his master. 
 
 1. Gilles de Noailles, French Ambassador at Constantinople, half-length, 
 seated at a table with books and papers. In the background on the right, 
 the monogram N A. surmounted by F. At bottom: * ./Eg. de Noailles Abb. 
 insu. et S. Amandi Christie. Mtls. a secretiorib. Cons, et apud Selimum et 
 Amuratem Turc. Impres. Legat. An. aetatis. 53. Nicolans Andrea. Faciebat. 
 ■Constant inopoli. 1578.' h. 6|. w. 5. (O.) 
 
 2. Joachim de Sintzendorf, envoy of the Emperor Rodolph II., at Con- 
 stantinople; half-length, seen nearly in front. At bottom, on the left, an 
 
AND 
 
 emblem ; on the right, a stone with inscription : i Joachimus a Sinzendorf, 
 &c. Anno rest. Sal. mdlxxx. Aeta. vero suae xxxv. Nicolaus Andrea F. 
 ConstantinopolL' The monogram towards the top, on the right, h. 9\. 
 tv. 6$, (B. 3.) * 
 
 3. George Has, carpenter to the court of Vienna, half-length, seen nearly 
 in front, with a pen in the right hand. This portrait is surrounded by an 
 architectural border. At top : 1 Opifex ingeniosus, raro pecuniosus at 
 bottom : ' Georg Has, Ro. Kay. May. Hof Tischler und Burger zu Wien. 
 1581.^ The monogram, half way up the plate, on the left. h. lOf. w. 8£. 
 
 4. Rebecca giving drink to Eliezer; in the background two camel- 
 drivers, and several camels. In the middle at bottom, the monogram, with 
 date 1585, and on the left, on the fountain: 'Genesis, cap. 24.' h. 14. 
 w. 10f. (B. 1.) 
 
 ALESSANDRO DI ANDREA. 
 
 c. 1700. 
 
 ' A painter, a native of Abruzzo, and a disciple of Solimena ; 
 who etched for his amusement, and died in 1711.' So says 
 Heinecken, without, however, citing his authority, or men- 
 tioning any print by his hand. Possibly he may have com- 
 mitted some error ; and this artist may be the same with the 
 following-. I find no notice of Alessandro di Andrea in Domi- 
 niei's account of the scholars of Solimena. 
 
 T. ANDREW, or D'ANDRE. 
 
 c. 1090? 
 
 This unknown artist was I believe first noticed by Strutt, 
 who discovered the first of the two following etchings, bearing 
 his name. The other, though etched in a looser manner, and 
 less finished, is I think certainly by the same hand. The dif- 
 ference in the signatures upon the two prints is merely that the 
 artist has latinized his name, in one case, and written it in his 
 own language, in the other. I entirely differ with Strutt, as to 
 the merit of the first piece. The design has great elegance, and 
 the whole, though slight, is drawn and etched in a masterly man- 
 ner. D' And re, I conclude, was a French painter, who had 
 studied in Italy. 
 
 1. An Allegorical Design, apparently intended as a Frontispiece 
 to the works of Julius C.'ESAU. A little to the left stands a graceful 
 female figure, resting with her right arm upon a pedestal on which is placed 
 a Bust. She has an open volume in the right hand on which is inscribed 
 * Giulio Cesare Opera,' and in the left, which is raised over her head, she 
 holds a wreath of laurel. Behind this figure, on the right, is seen the 
 Genius of War, represented with the feet of a Harpy, and seated weeping; 
 and in the foreground is another winged figure, with a bow and a quiver of 
 arrows, fallen with its face to the ground. On the left at bottom : * T. An- 
 drea I. et Fee. h. 7f . w. 4£. (O.) 
 
 2. The Removal by Night, of persons dead of the Plague; a com- 
 position of about sixteen figures. Slight, but very spirited. In the back- 
 ground, a statue upon a pedestal, seen in a back-view. In the foreground, 
 on the left, a man with a lantern, and another stooping to take up the body 
 of a woman whose dead inf ant lies beside her, &c. In the margin on the 
 left: « D'andre jnv. Et fecit.' I. 8£. h. 7, besides margin. (O.) 
 
A N D 
 
 JOSEPH ANDREA DE. 
 
 c. 1770? 
 
 A Spanish engraver of the last century, by whom, according- 
 to Heinecken, we have several indifferent plates of devotional 
 subjects. 
 
 ANDREA AND RE AN I. 
 
 1584 1610. 
 
 An eminent engraver in wood, who was born at Mantua, and 
 died, according to Baglione, at a very advanced age in 1623. 
 The art of imitating the chiaro-scuro drawings of great masters 
 by means of two or more engraved blocks of wood, of the same 
 dimensions, printed one after the other, with differents tints, 
 upon the same paper, had been much practised in Italy in the 
 early part of the 16th century ; after which it fell into disuse. 
 Andreani, towards the close of the century, saw the advantages 
 of this method, and devoted himself to its practice ; though he 
 adopted in some respects a different system from most of his 
 predecessors ; marking his outlines with more decision than they 
 had done, and often depending, for the effect of his prints in 
 the dark parts, upon the imitation of pen-hatchings, rather than 
 of dark tints, laid on with a brush. 
 
 Independently of his own performances in this way, Andre- 
 ani appears to have collected together many of the chiaro-scuro 
 blocks of the older engravers, and to have republished them in 
 the latter part of his life at Mantua ; erasing, in some instances, 
 the names of the real artists, and substituting his own monogram, 
 above represented. I of course omit these in the following list. 
 It appears from the inscriptions on his prints that in the years 
 1584-5 he was at Florence, and that from 1586 to 1593 he 
 resided at Siena. 
 
 1. The Portrait of Albert Durer, engraved in chiaro-scuro, in 1588, 
 at Siena. (Heinecken.) 
 
 After Domenico Beccafumi, called Mecarino. 
 
 2. Eve. She is kneeling, and seen in front, and looks upwards to the right, 
 where a ray of light is represented proceeding from a cloud, At bottom on 
 the left : ' Mecarino Inventore. And*. Ir.tagliatre. Mantno., &c. md.lxxxvii/ 
 Two blocks of tint, besides the block representing the outlines and pen 
 hatchings. Part of the celebrated pavement of the Duomo at Siena, h. 18^. 
 w. 12f. (B. Vol. X. p. 21. No. 1.) 
 
 3. Abel, kneeling at his Altar, the figure turned towards the left. Also 
 from the pavement of Siena. Same manner; marked, according to Bartsch, 
 with the letters CV. which I suppose mean Cav. (Francesco) Vanni, who 
 appears to have made all these drawings of Beccafumi's pavement for Andre- 
 ani to engrave from. h. 16. w. 12j. Rare. (B. p. 21. No. 2.) 
 
 4. Abraham's Sacrifice ; one of the principal compartments of the same 
 Pavement. I. 67. h. 29^ : a chiaro-scuro of three tints, besides the black 
 outlines and hatchings ; printed upon ten pieces of different dimensions, 
 pasted together. 
 
 In the middle of the print, Abraham is represented, standing by the altar 
 
AND 
 
 whereon he has placed his son ; he grasps a sabre in his right hand, and looks 
 up at the heavenly messenger, who forbids the intended sacrifice. Below, on 
 the left, are seated the servants awaiting his return from the mountain, and 
 in the distance on that side the patriarch is represented receiving the previous 
 commands of the angel for the immolation of Isaac. In the distance on the 
 right Isaac is seen embracing his mother upon his departure from home ; and 
 in the foreground, on this side, Abraham and Isaac are again introduced, 
 seated with the servants, after their descent from the mountain. Upon a 
 square stone, at bottom, towards the left, is a long dedication by Andreani : 
 * Al Sermo. S. Franco, M a . della Rovere Duca d'Urbo., &c. Fra le nobilisse. 
 pitture di chiaro scuro, ch'adornano il marmoreo. Pavimto. del Duomo di 
 Siena, &c. In Siena a di xii di Novembre MD.L.xxxvi.' Another edition 
 of this print was published at Siena in 1634, by Vincentio Serafini, with 
 Dedication to ' II Sig r . Cesare Menconi Patritio Perugino,' &c. ; in which is 
 a passage indicating, I think, that Andreani engraved it after a drawing made 
 from the original by Francesco Vanni, as he afterwards did the following. 
 According to Zani there exists an impression of this piece without the chiaro- 
 scuro tints. It is of very rare occurrence, in any state. (O.) 
 
 5. Moses with the Tables of the Law; another large compartment of 
 the same pavement, in eight pieces, joined : I. 73. h. 50 ; the whole engraved 
 upon, and printed from, two blocks; one giving the outlines and pen hatch- 
 ings, the other the middle tints. The distribution of the groups in this com- 
 partment is such that the whole may be divided, transversely, into two equal 
 parts, without injury to the figures ; in the upper division being represented, 
 JMoses on the Mount receiving the tables of the law, Aaron addressing the 
 multitude during his absence, and the idolatrous Israelites killed by the 
 Levites ; in the lower, the formation of the golden calf, the people worshiping 
 it, and Moses indignantly breaking the tables. Upon a tablet at bottom, 
 towards the right, is the dedication : ' All Illmo. e t It" 10 . Sig. II Sig. Cardie. 
 Scipion Gonzaga. Per inventione di Domenico Beccafumi, Sec. Andrea An- 
 driani di Mantoua ha intagliato, stampato, &c. l'Anno mdlxxxx in Siena,' 
 and near the middle, at bottom, under the figure of Moses, is this further 
 inscription : 1 Franciscus Vannius Pictor Senen. Delineavit.' There exists an 
 impression of this print without the middle tint, printed from one block only, 
 and indeed Bartsch appears to have been acrpiainted with no other. That 
 writer erroneously states it to be composed of twelve pieces ; and Zani, with 
 equal inaccuracy, says six. The real number of the pieces is eight, as I have 
 said above. According to Zani there exists an impression without any dedica- 
 tion, and another edition published in Siena in 1014 with dedication to 
 * Francesco Maria Spinola' by Michel. Angelo Vanni Sanese. (().) 
 
 The above chiaro-scuros do not comprize the whole of Beccafumi's cele- 
 brated pavement in the Duomo at Siena ; which, besides numerous other 
 figures introduced in the borders surrounding the principal compartments, 
 contains also a large composition of Moses striking the Rock. The whole, 
 however, badly engraved on three large copper plates, was published at 
 Siena in 1711) by Lelius Cosatti, a gentleman of that city, together with a 
 fourth plate by Maxiiniliauus Limpach, representing the facade, the ground- 
 plan, and the section of the church. It may be proper to observe that the 
 above prints by Andreani convey a very perfect idea of the originals, in 
 which the middle tints are produced by marbles of different shades, lot in, 
 and the outlines and deeper shadows by graved excavations filled with black, 
 so as to give them the appearance of immense drawings, outlined and hatched 
 with a pen and washed with bistre. 
 
 After Giovanni Bologna. 
 
 C. Christ led away to be crucified, and Pilate washing his Hands: 
 from a basso-relievo ; in two pieces joined. I. 25£. h. 17£. Upon a shield, 
 held by a soldier on the right: 4 Gianbologna Scolp. Andrea Andriano Wn- 
 tagiiatore A Giovambatista Deti Gentiriiuomo Fiorentino.' On the left, 
 upon the step of Pilate's throne, is the date mdxxxv, in gothic characters. 
 This piece is printed from four blocks. (B. p. 41. No. 19.) 
 
 7. The I^ape of one of the Sabine Women; from a celebrated group of 
 VOL. I. P 
 
AND 
 
 three figures in marble, existing at Florence ; engraved in three different 
 
 points of view ; h. 18. w. 8|. each with a dedication. (a) The body of the 
 
 woman is seen in front. At bottom, on the left : ' Raptam Sabinam a Joa. 
 Bolog. marm. exculptam Andreas Andreanus Mant. inci, atque Equiti Nice. 
 
 Gaddio dicavit. m.d.lxxxiiii. Flor.* From four blocks. (b) The lower 
 
 part of the woman is seen in a back view. At bottom, on the right : ' Raptam 
 Sabinam a Io. Bolog. marm. excul. Andreas Andreanus Man*, incisit, atq. 
 Bernardum Vechiettum dicavit anno m.d.lxxxiiii.' From four blocks, 
 (c) The figures nearly in the same point of view as in the last. At bottom 
 on the right : L Hoc opus exculpsit Io. Bologna. Andreas Andreanus insisit, 
 atq. dicavit. Ad Illustriss. et Eccel. Ioannem Medic' Printed from two 
 blocks only ; the shadows in this piece being entirely produced by bold 
 hatchings. (B. pp. 93-4. Nos. 1—3.) 
 
 8. The Rape of the Sabines ; from a basso-relievo in bronze upon the pe- 
 destal of the above group ; in six pieces, three at top, and three at bottom y 
 joined : I. 37. h. 29£. Printed from four blocks. On the middle piece, at 
 bottom, on the right: ' Haec est hystoria raptar. Sabinar, in aere sculptar. 
 per Doum Io. Bolognam sereniss. Magni Ere. Ducis sculptorem celeberr.' and 
 on the left : ' Andreas Andreanus Mantuanus earn insisit, impressit. Anno 
 Domini, m.d.lxxxv. Florentiae.' 
 
 In a Second Impression of this piece, the inscription on the right is sup- 
 pressed ; and on the left we read : 1 Ill^o. Domino Ioanni Fuggero, &c. &c. 
 Senis, Anno Domini. M.D.Lxxxvii Junii ;' and the arms of Fuggeri are 
 added above, over the door of a house. (B. p. 95. No. 4.) 
 
 After Alessandro Casolani. 
 
 9. Christ bearing his Cross; on the left the Madonna fainting, assisted 
 by two of her female companions. In the margin the cypher of the painter, 
 composed of the letters A. C. L. i. with dedication : * All. Sig. Fabio Buon- 
 signori Nobile Senese. Andrea Andreani intagliatore in Siena. 1591.' Printed 
 from three blocks, k. 12|. w. 9, (B. p. 42. No. 21.) 
 
 10. The dead Body of Christ, supported on the left by St. John: 
 on the right the madonna fainting, assisted by two of the other 
 Maries. The figures the size of life. Many pieces, joined ; printed from 
 three blocks. On the left at bottom : e Vincentio Gonzago Mantua? et Mon- 
 tisferrati Duci, &c. Ah Alexandro Cassulani lineis coloribusq. ductum, &c. 
 ab Andrea vera Andreani Mantuano variisq. ligneis formis incusum, Sec, Senis, 
 mdxciii.' h. 70. w, 48. Not in Bartsch. (W. M. M.) 
 
 11. The Madonna seated, with the Infant Christ on her Lap. 
 Behind on the left is the little St. John with his Agnus Dei. The figure of 
 the Virgin is seen to the middle of the legs. From three blocks. In the mar- 
 gin the cypher of Casolani and Dedication : < All Sig. Panfilo Beringucci 
 Nobile Senese. Andrea Andreani Intagliatore in Siena, 1591.' h. 11|, be- 
 sides margin, w. 8. (B. p. 57. No. 13.) 
 
 12. The Madonna seated with the Infant Saviour in her Arms, 
 Behind on the right a mitred Saint, of whose figure only the upper part is 
 seen. From three blocks. In the margin : A. C. L. (in cypher) ' Pittore 
 Senese Invertore. Andrea Mantouano Intagliatore, Al Sig. Mutio Pecci 
 Nobile Senese. In Siena. 1591.' h. 11|, besides marg. w. 8£. (B. p. 63. 
 No. 22.) 
 
 13. St. Francis, turned towards the right, embracing a Cross. From three 
 blocks. On the right at bottom, the monogram of Andriani; and in the 
 margin the cypher of Casolani, with Dedication : ' Alia nobilisma. Sigfa. Supi- 
 tia Malavolti delli Berinslusci. Andrea Andreani Intaglre. In Siena. 1591/ 
 h. 11. w. 8|. (B. p. 81. No. 30.) 
 
 14. A Female meditating upon a Skull, which she holds with both 
 hands. From three blocks. In the margin the cypher of Casolani, and Dedi- 
 cation : ' Alia moito IH re . Sigra. l a Sig". Eleonora Montalvi delli Augustini. 
 Andrea Andreani Mantouano Intaglre. in Siena, 1591.' h. \\\, w. 8. (B. 
 p. 148. No. 14.) 
 
AND 
 
 After Io. Fortina Fortunius. 
 
 15. An Emblematical Piece on Death; an architectural deooration with 
 the figures of Adam and Eve, the three Fates, &c. At bottom, on the left : 
 'III. D. Pctro Cabcllo, &c. Ioh. Fortuna Fortunius Inven. Sen. md.lxxxviii.' 
 The monogram of Andreani is on the right. In chiaro-scuro. h. 20. w. 13£. 
 (B. p. 135. No. 13.) 
 
 After Batista Franco, called also Semoleo. 
 
 16. An Allegory on Christian War-fare; numerous figures; from a 
 very capital drawing of the above artist. Bartsch describes it as printed from 
 three blocks ; but in the impression before me two only appear to have been 
 used. It is shaded throughout with hatchings. The lower part represents 
 the Christian hero combatting the Vices : and in the clouds above he is seen 
 on his knees receiving a crown from the hand of the Saviour. At bottom, 
 near the middle are the initials B. F. ; and in a border surrounding the print 
 are Latin and Italian inscriptions : ' Bonum certamen,' 6cc. the cypher of 
 Andreani, and ' fecit anno d. mdcx. Mantuae.' At bottom a Dedication to 
 L. Gonzaga : * Essendo longo tempo stato come sepolto nelle mie mani questo 
 nobile dissegno del Semoleo,' &c. h. 144, besides border, w. lift. (B. p. 130. 
 No. 14.) 
 
 After Jacopo Ligozzi. 
 
 17. The Madonna with the Infant Christ standing on her lap, to 
 whom the little St. John presents a bird. Behind, on the left, is S. Catharine 
 of Siena, and on the right, St. Francis. From four blocks. On the left at 
 top : ' Jacopo Ligozio Veronese, &c. Andrea Andriano Manto. Intagliatore. 
 All. Illo. Signor. Nicolo Gaddi in Fiorenza 1585.* Later and inferior im- 
 pressions have on the right at top : < Hainrich Stacker excu. Monachi.' 
 h. 16£. to. 13 J. (B. p. G7. No. 27.) 
 
 18. Virtue assailed by Love, Sec. a composition of five allegorical figures. 
 From four blocks. On the left at bottom: ' Francisco Medici, &C. Andreas 
 Andreanus incisit ac Dicavit. Jacobus Ligotius Veronens. invenit acFinxit;' 
 and on the right : 1 In Firenze 1585. Lettere Vocale figurate. A. Amore. 
 E. Errore. I. Ignoranza. O. Opinione. V. Virtu.' So in the frst im- 
 pression, which is very rare. In the second, nothing remains of the inscrip- 
 tion on the right, except: ' Firenze 1585.' h. 1<J£. w. 12j. (B. p. 130. No. 9.) 
 
 After Bernardo Malpicct. 
 
 19. The Roman Courtezan, to whom, according to the legend, the people 
 of that city were one day obliged to have recourse for fire. From four blocks. 
 At bottom : • Bernar. Malpitius. Mailt, lnve.' and the cypher of Andreani. 
 k. 1 1 § ? w. 7£. (B. p. 149. No. 15.) 
 
 After Andrea Mantegna. 
 
 20. The Triumph of Julius C^sar, in nine pieces, cumbered 1 to 9 in 
 the margin on the left; besides title, and another piece containing six pilas- 
 ters (three of which the artist also reprinted on another paper in order to 
 make the number required), intended to be placed between the different 
 compartments of the triumph, so as that the whole should form a frieze. 
 From four blocks. Each piece I. 14|. h. besides margin, 14f. 
 
 The Title is ornamented with the bust of Mantegna (not that of Gon- 
 zaga, as Bartsch says), and has a long inscription : 4 Sei m <>. Principi Vincen- 
 tio Gonzagae D. G-. Mautuae ac. Montisferrati optiino Duci. Tabula; Triunphi 
 Cajsaris, &c. ab Andrea Mantinea Mantuano ea diligentia pictffi, &c. (Vasari 
 had given rise to the erroneous belief that Mantegna was a native of Mantua.) 
 Andreas Andrianus par.it er Mantuanus, §c. his Typis Ligneis, &C incisit, &c. 
 Bernar, Malpitius. pict. Mailt. F. (formis?) m.dxcviih.' The procession 
 
 moves to the left. (1) Trumpeters, and Roman soldiers, with pictures 
 
 representing cities taken by assault. (2) Two figures, a male and female, 
 
 standing on a Car, another Car on which are busts and statues. (3) A Car 
 
 filled with trophies, and men bearing vases full of money, &c. (4) Men 
 
 P 2 
 
AND 
 
 bearing other Vases, followed by oxen intended for sacrifice. (5) Ele- 
 phants, supporting candelabra with fire. (6) Men carrying vases of money, 
 
 followed by others with trophies. (7) Captives. (8) Musicians, followed 
 
 by soldiers bearing standards. (9) Caesar seated on his Car, crowned by 
 
 Victory. (B. p. 101. No. 11.) 
 
 After Raffaelle da Reggio. 
 
 21. The Burial of Christ ; the Madonna fainting. From four blocks. On 
 the left, near the bottom : ' Raff, da Reggio Invent. Andrea Andreani Mant. 
 Intagliatore. All' 111 1 ™, et Ecco. Sig. Don Giovanni Medici. 1585.' h. 1G|. 
 rv. 1'2|. (B. p. 44. No. 24.) 
 
 After Giuseppe Scolari. 
 
 22. The Burial of Christ, From four blocks. On the righL at bottom : 
 1 Giuseppe Scolari Vesentino pittore Ecelente Invent.' Cvpher of Andreani. 
 1 In Mantoua.' h. 27. w. \7\. (B. p. 45. No. 25.) 
 
 After Tiziano Vecellio. 
 
 23. Pharoah and his Host drowned in the Red Sea ; in four pieces 
 joined. I. 45. h. 24^. From two blocks ; copied on a reduced scale from the 
 immense wood-print by Dom. delle Grecche. Moses stands on the left. In 
 the middle at bottom, upon a scroll : 4 Titian, inventor.' the cypher of An- 
 dreani, ( Intagliator Mantovano, Al. S. Fabio Bon signori Gentilhuomo Sa- 
 nese dedica l'anno 1589, Siena/ Query the correctness of this date ? (B. 
 p. 25. No. 6.) 
 
 24. The Triumph of Christ; called also the Triumph of Faith, in 
 eight pieces, marked at bottom: A. to H. From a single block. These 
 pieces when joined form a frieze, I. 101. h. 15f . At the left bottom corner 
 of the first piece : ' Titian. Inven. Andreas Andrianus fecit et dicavit D. 
 Jacobi ligoiiae pic. Mag. Due. Etrurian. Roma?.' There exist impressions of 
 this print without the inscription. Rare. (B. p. 91. No. 9.) 
 
 i In the following year, 1508,' says Vasari, ' Titian put forth in a wood- 
 engraving the Triumph of Faith, with an infinite number of figures, our First 
 Parents, the Patriarchs, the Prophets, the Sybils, the Innocents, the Mar- 
 tyrs, the Apostles, and Jesus Christ on a triumphal car, moved forward by 
 the four Evangelists, and the Doctors of the Church ; with the Confessors 
 following it.' Andreani's print was doubtless, therefore, copied from this, 
 which is of such rarity that I am not sure I have ever seen it. I wish we 
 knew the authority for Vasari's assertion, since copied by others, that Titian 
 published this work so early as 1508, as, for composition and design, it is in 
 his greatest manner. 
 
 25. St. Sebastian, St. Catherine, and other Saints ; in all six figures; 
 copied in an opposite direction, with small variation, from the original wood- 
 engraving published, nay doubtless drawn on the block, by Titian himself. 
 From a single block. Upon the end of a broken column, at bottom on the 
 right: 4 Titian Inven.' the cypher of Andreani, ' Intagliator Mantoano; A 
 Fabio Buons". Nobil Senese.' Not in Bartsch. I. 21. h. 16. (O.) 
 
 PIECES AFTER UNKNOWN ARTISTS. 
 
 26. St. Loncinus and St. Andrew, whole-length figures. From three 
 blocks ; surrounded by a border with long inscription : ' Furono dal glorioso 
 Martire Longino Santo portate in questa Citta di Mantova,' &c. . . the cypher 
 of Andreani, ' mantou. F.' h. 12. w. 9£, including the surrounding margin. 
 Bartsch appears to have never seen this piece entire. (O.) 
 
 27. A Skull, the size of nature. From four blocks. At top : ' Memorare 
 novissima tua,' &c. The cypher is half way up the print, on the left. 1. 13| ? 
 h. 11 ? (B. p. 156. No. 28.) 
 
 PIECES WITHOUT ANDREANI'S NAME OR CYPHER. 
 
 28. A Repose on the retufn from Egypt, after a very admired picture 
 by Baroccio. From two blocks ; the shadows being produced by hatchings. 
 
A N D 
 
 The Madonna is about to fill a bowl from a spring of water on the right. 
 Joseph, behind, presents fruit to the Saviour, which he has just gathered. 
 In the foreground, on the left: F. B. V. I. h. 13f. to. 11. (B. p. 3G. No. 11.) 
 
 29. The Madonna and Child, after F. Vanni. From two blocks; the 
 shadows produced by hatchings. The Madonna, a half figure, has her hands 
 joined in devotion. The infant is asleep beibre her on a bed. A very beau- 
 tiful design, of which there exists a small etching by Vanni himself, h. 10^. 
 to. 8. (B. p. 56. No. 11.) 
 
 E. ANDRESOHN, or ANDERSOHN, 
 
 1G80. 
 
 An indifferent engraver of Leipsig, by whom Heinecken 
 mentions several portraits ; among them : 
 
 1. The Bust (a) of Asclepiades ; ' E. Andersohn Sc. Lips.* in 8vo. (/;) 
 John-George, Prince of Anhalt-Dessau ; large fol. (c) Georg. J. 
 Marschall de Biberstein. * P. Hartung pinx.' Large fol. (d) Ernst 
 Rudiger, Count de Stahrenberg, General of the Emperor; in fol. 
 
 2. The Apotheosis of Homer ; from the celebrated Greek Basso-relievo, 
 now in the British Museum, a book-plate cleanly done with the graver. At 
 top on the left: < Tab. XIV. ad A. 1G83;' in the margin: * E. Andresohn. 
 sculps. Lips.' upr. 4 to. (O.) 
 
 AN Dili AM. 
 
 17G3. 
 
 An unknown artist, perhaps an amateur, by whom we have 
 the following- etching ; 
 
 A Lady, seen in a back view, walking in a landscape, attended by an Italian 
 greyhound. Upon a scroll : ' La fidelite me conduit;' and underneath : * Son 
 tres humb. Ser. Andriani inv. et. sculp, an. 1703/ h. 4^. to. 2^. (O.) 
 
 FRANCOIS ANDRIOT. 
 
 1G70—1G90. 
 
 A French engraver of some ability, who worked both at Paris 
 and Rome in a manner something resembling that of Fran, de 
 Poilly. He was probably a scholar of Gantrel ; at least he ap- 
 pears to have worked for him. I mention only a few of his 
 prints, which are not very numerous. 
 
 1. The Portrait of 1 Joannes Everardus, &c. Card. Nidardus, &c. 
 die xxii Fcbruarii mdclxxii.' Oval; published by de Hubris; h. lh. w.5§ 9 
 
 2. The Martyrdom of the Seven Maccabes Brothers ; a large 
 sheet-print l-w. « A. Dieu pinx. Andriot sculp. Contigit septem trades, &c. 
 a Paris chez la veuve Gantrel et Alex. Lenfant son his/ &c. (O.) 
 
 3. Christ insulted and crowned with Thorns; after Domenichino : 
 ' Ego plorans, et oculos meos,' &c. large fol. l-w. 
 
 4. The Incredulity of St. Thomas, after Le Sueur, large fol. l-w. 
 
 5. St Gregory kneeling at his devotions, in a Chapel ; the three other Doc 
 tors of the Church appearing to him in the clouds. After Phil. Champagne. 
 A large print, l-w. 
 
 6. St Ambrose, having learned in a vision the place where StGervais and Pro- 
 tais were buried, causes their bodies to be disinterred and carried to his 
 church. After Phil. Champagne. * F. Andriot sc. Steph, Gantrel exc' a 
 large print l-iv. 
 
 7. The Madonna seated in a Chair, suckling the Infant Saviour; 
 
AND 
 
 on the right an Angel. 4 Quid. Ren. Invenit et Pinxit Roma?. Franc. An- 
 driot Sculpsit. A Paris, Chez VaUet,' &c. Oval. l-w. large fol. This is the 
 most beautiful print I have seen by Andriot. The second impressions have in 
 the margin : * Tanquam Parvulis,' &c. 
 
 8. The Madonna, the Infant Christ and St John; the little St John 
 is presenting a rose to the Saviour. ' Raphael d'Urbin pinxit F. Andriot 
 Sculp. A Paris chez Vallet,' &c. and in the margin: ' Sicut Rosa,' &c. 
 upr. Oval, large fol. 
 
 9. A few of the Statues, in the Vol. published at Rome, in 1691, by De 
 Rossi ; amongst them ' the Boy taking a thorn out of his foot,' No. XXIII 
 engraved much in the manner of Corn. Bloemart. 4 F. Andriot Sculp. Romae ; 
 small upr. fol. 
 
 JACQUES ANDROUET DU CERCEAU. 
 
 1539—1584. 
 
 An eminent French architect, said to have been a native of 
 Paris, but who appears to have resided principally at Orleans 
 and Montargis. I find no mention of the year of his birth or 
 death. The former event probably took place about 1515, the 
 latter towards the close of the century ; certainly, I should say, 
 before 1604, as in that year the Pont-neuf at Paris, which had 
 been begun in 1578 by Androuet, was finished by one Guillaume 
 Marchand, which would scarcely have been the case had the 
 original architect been then living. He was called Du Cerceau, 
 it is said, because of a circle or hoop which hung in front of 
 his house as a sign. 
 
 We have by this artist several interesting works on architec- 
 ture, full of plates etched by his own hand, and which, as they 
 are accompanied by letter-press, have been enumerated by bi- 
 bliographers ; though neither they nor the writers upon prints 
 have sufficiently remarked on their merits, as works of art. But, 
 besides these, we have by him various other sets of prints of 
 smaller dimensions, which are but little known ; some of them 
 architectural, and others representing vases, grotesque orna- 
 ments, &c, and in all of them the figures that occur are 
 sketched in so masterly a manner as to leave no doubt that in 
 his youth he had applied himself to other studies as well as that 
 of architecture. He appears indeed to have been a universal 
 artist, and was probably one of those who worked under Rosso 
 at Fontainebleau ; his figures have much of that artist's character, 
 and we have by him a set of etchings of the grotesque compart- 
 ments which were executed there in painting and stucco-work 
 for Francis I. by the assistants of Rosso, after his designs. 
 
 Although Androuet appears never to have marked his plates 
 with his name or initials, if we except occasionally an engraved 
 title, they may for the most part be easily known by certain pe- 
 culiarities in his manner of etching ; especially the frequent use 
 of straight parallel lines, of the same strength, drawn gradually, 
 further and further from each other, so as to produce gradations 
 of tint, whether on the roofs of his buildings, or in the project- 
 
AND 
 
 ing shadows, or in the representation of curved surfaces ; and 
 indeed the same manner of working is also to be traced in nu- 
 merous plates by his hand wherein architecture has little or no 
 part. His prints are very numerous ; the collection of Marolles 
 had no less than 1,386 pieces, as we learn from the following- 
 passage, p. 123 of his catalogue, printed at Paris in 1686 : 
 
 * The work of this great architect, one of the most celebrated of his time, 
 consists of four volumes ; the first of which contains * The most excellent Build- 
 ings in France, printed at Paris by the author in 1576; to which are added 
 other designs for Buildings by the same ; in the whole 193 prints. 
 
 ' The. 2d volume contains 622 pieces of Cartouches, Rosettes, Sections of Car- 
 pentry, Terms, Pillasters, Trophies, Moresques, Grotesques, Friezes, Vases, 
 with and without covers, Bassi-rclievi ; also Patterns for setting diamonds and 
 Other jewels, and for keys, locks, devices on houses, knockers on doors, em- 
 broidery, enamel work, pannels and ceilings. Also the History of Psyche after 
 Kuffaellc, two stories of Cupid, a Pomona, seven figures dressed in the fashion 
 of the court of Henry III., Statues in niches and Emblematical figures. 
 
 ' The 3d volume contains 261 pieces of Ancient Roman Edifices, Ruins, Ar- 
 chitectural pieces in perspective, in circles, Ceilings ornamented with maritime 
 representations, Compartments for Gardens, Chimney-pieces, Windows, Doors, 
 Buffets, Tables, Bedsteads, Pulpits, Fountains, Wells, and Sepulchral Monu- 
 ments. 
 
 ' The 4th volume contains 307 prints of ' Lessons of Perspective,' of which 
 there is an entire book printed at Paris by Mamert Patisson in 1576. Also 
 another book of Buildings with their plans, Ruins of Ancient Edifices, Tem- 
 ples and Antique Monuments. Also a Second Book of Architecture, another of 
 Porticos and Triumphal Arches, another of Small Temples and other Edifices, 
 Cupolas, Fountains, the Great Hall of the Palace at Paris before it was de- 
 stroyed by lire, and the Facade of a Palace. The work altogether comprises 
 1,386 pieces.' 
 
 I have been induced to give the above passage from Marolles 
 entire, as a very large proportion of the prints it mentions are 
 but little, if at all, known ; and because it appears to me that 
 the works of Jacques Androuet are well deserving of more at- 
 tention than has hitherto been paid to them. The following list 
 may be considered as the ground-work of a catalogue, which I 
 have not at present the means of rendering more complete. 
 
 PLATES BY ANDROUET, NOT STRICTLY ARCHITECTURAL. 
 
 1. Tue Plates to a Work descriptive of the 4 Co.mte du Maine/ 
 printed for the first time at Mans in 1539 by Mathicu de Vaucellea, and 
 again, by the same printer, iu 1575. (' Les Bibliotheques Francoises de la 
 Croix du Maine,' <K:c. 1772. T. 1. p. 38<J. 4 to.) I am unacquainted with this 
 work, which I begin with because of its early date. 
 
 2. Christ taken down from the Cross ; a composition of eighteen figures, 
 including that of a young man in the foreground, on the right, of much larger 
 dimensions than the others, but of which only the head, back, and left arm 
 are seen. Upon a stone towards the left is the date 1543. Further to the 
 left: 4 R. Vrbijn in/ and below the mark of Nic. John Visscher with 4 excu/ 
 The name of Ratfaelle appears to have been added by Visscher ; Zani, Par. 
 II. Vol. 8. p. 1G9, mentions having seen a first impression without it; and 
 the design has much more of the character of Rosso. Zani ascribes the etch- 
 ing to Fantuzzi , but I think it by Androuet. Oval. h. 18$. w. 15§. (O.) 
 
 3. Two Poetical Subjects; much in the manner of Rosso, though perhaps 
 
 they are after Androuet's own designs. («) The Birth of Adonis, a 
 
 composition of thirteen figures, beside* four Cupids in the air, three of them 
 holding a festoon, and the fourth a bow and arrow. I. ll£. h. 7$ (b) Six 
 
AND 
 
 Nymphs, hand-in-hand, dancing a round, and three Satyrs, seated 
 on the right, playing on reed pipes. I. 10|. h. 7£. These two pieces have 
 landscape-backgrounds. The figures in them are drawn with intelligence, and 
 etched with more than the artist's usual care. (O.) 
 
 4. The celebrated Judicial Combat at Montargis, eetween a Dog 
 and the Gentleman who had murdered its Master. The fight is 
 represented as taking place in a temporary amphitheatre of wood in the pre- 
 sence of the king and his whole court. The gentleman has a small shield and 
 is armed with a stick which he holds in the left hand. The dog has just seized 
 him by the throat. At top : 4 Le Combat d'un Chien contre un Gentilhomme 
 qui avoit tue son maistre, faict a Montargis/ It is unnecessary to give a more 
 detailed description of this print, as it is copied, in a reverse direction, in Ol- 
 son de la Colombiere's ' Theatre d'Honneur,' and in the 3d Vol. of Mont- 
 faucon's * Monarchic Francoise,^ the last of which writers has added, under 
 the title at top : ' Soubs le regne de Charles V. en 1371, upon the authority, 
 as he says, of a MS. date on the impression from which he copied. The 
 print measures. /. 13|. h. and was etched by Androuet after a picture of 
 an oval form then and till tiie last century existing over a fire-place in the 
 great hall of the Royal palace at Montargis, where it had been painted by 
 order of the above monarch as a memorial of so singular an occurrence. The 
 impression before me is accompanied by the following inscription, printed 
 from another plate, h. 5§. iv. 3|, doubtless published at the same time by 
 Androuet, and I the more willingly give it entire, in the original language, as 
 it relates the story in a very natural manner, and without certain additions of 
 names and other particulars, tacked to it by the two writers above mentioned, 
 without any good authority, and which are of a nature to throw unmerited 
 discredit on the whole : 
 
 * Un courtisan envieux de la faveur que portoit a un sien conpaignon le Roy 
 de fiance lors faisant sa principale demeure a Montargis l'espia tant qu'il le 
 trouva dedans la forest prochaine acompaigne seulement de son chien on 
 Patanttue l'enterra. le chien qui ne voulut abandonner la fosse de son maistre 
 fut finalement contraint par la fain se retirer en Court vers les amis de son 
 feu maistre Des quelz aiant receu a manger sen retourna aussi tost sur sa fosse 
 et continuant ceste facon tous les jours jquelques uns d'antre eulx le suivi- 
 rent et voians la terre relevee a l'endroit mcsme ou il s'arrestoit y fouirent et 
 trouverent le copps mort leqnel ilz honorerent de plus honorable sepulture, 
 les obseques faictes Thomicide retourna en court quelque temps apres ou le 
 chien 1'aiant aperceu commenca aussi tost a luy saulter au colet et eust on 
 grand peine a Tampescher qu'il ne l'outrageast. Mais continuant ses assaulx 
 toutes les fois qu'il rencontroit son hommeon commenca a soupconner quelque 
 chose du faict taut qu'estant cecy parvenu aux oreilles du Roy fist venir le 
 chien devant luy et commanda que le gen til homme soupconne se cachast an 
 meilleu de tous ses assistans qui estoient en grand nombre. Mais le chien ne 
 fut si tost antre qu'il alia choisir son homme avec sa furie acoustume. Ce cas 
 si estrange avec quelque petit indice fest que le Roy ordonna que pour se 
 purger de ce faict il combatroit le chien avec un baston et auroit le chien un 
 tonneau pour sa retraicte En sa presence fut le gentilhomme vaincu par le 
 chien et contraint confesser la verite de l'homicide et pour perpetuer la me- 
 moir e dun cas si notable l'histoire fut peincte par le commdement du Roy en 
 la grand salle de Montargis comme on la peult veoir encore auiourd hui et a 
 este recommandee par plusieurs et singulierement par j alius scaliger en son 
 livre contre Cardan, exerci. 202.' 
 
 Scaliger's book here referred to was first printed at Paris in 1557 in 4to. 
 Androuet's etching was probably done very soon afterwards, for the purpose 
 of sale to strangers visiting the old palace of Montargis. (O.) 
 
 5. Compartments of Grotesque Ornament; slight but spirited etchings, 
 from the originals executed after the designs of Rosso at Fontainebleau, 
 twenty-nine pieces, some of them uprights, and the others lengthways. I 
 am of opinion that Androuet made these etchings during the reign of Francis 
 I. ; possibly before the death of Rosso. They are not numbered, though for 
 the sake of convenience I have numbered them. 
 
 Upright Pieces, h. 6£. to 1\. iv. 4^. to 5^. (1) A pannel of scroll- 
 work ; in the centre an upright oval within a lozenge. (2) An ornament of 
 
A M 1) 
 
 scroll-work, square; at each corner, a lion's head, two hunches of fruit, and 
 a mask. (3) In the middle, a large standing figure of Diana, with the cres- 
 cent on her head ; the upper and lower parts of the figure, only, being seen 
 
 through openings in the ornament. (4) In the middle, an upright oval 
 
 frame ; on the right, a naked female standing, her hands pressing her breasts ; 
 on the left, a man, the lower part of whose body is covered by a mantle. 
 (5) At top, a festoon of fruit, a stag's head with large horns, and two naked 
 children ; at bottom, on either side, another infant supporting a festoon. 
 This piece was also etched with variations, in a reverse direction, and upon a 
 larger scale, by Fantuzzi, who has inserted a landscape in the vacant space in 
 
 the middle. (See Bartsch, Vol. XVI. p. 423. No. 114.) (6) At top, a 
 
 cupid seated and turned towards the right, holding with his left hand the 
 letter F. (the work having been done for Francis I.) In the middle a circular 
 
 opening with two cnpids over, and two below it. (7) Perhaps the design 
 
 for a mirror. At top, two cnpids seated on a festoon of fruit, between them 
 a naked man with strange head-dress, seated and seen in front, and under 
 him two naked infants, each resting one arm upon a globe ; on either side a 
 
 naked female figure with wings, and legs of a bird, standing. (8) At top, 
 
 two salamanders, their necks twisted together, and two angels, one on either 
 side, sitting ; in the middle an upright oval space, two naked figures sitting 
 and others standing ; at bottom two naked infants on sea horses, and between 
 them the capital letter F. within a crown. A salamander was the device of 
 
 Francis I. (9) Perhaps intended for a mirror. In the middle, an upright 
 
 oval space ; at top, four naked children standing and two sitting ; on the left 
 a naked man standing, his right hand on a shield ; and on the right a naked 
 female standing, with her lefl hand on a shield. There is a larger etching 
 of this piece, with a landscape in the middle, and other variations, perhaps 
 by Fantuzzi. (B. p. 425. No. 121.) (10) At top, a cupid with a large ser- 
 pent; in the middle, an upright oval space, and on either side a statue in a 
 
 niche and two termini ; at bottom, four cupids standing, &c. (11) At top 
 
 two draped figures seated, each with an urn from which water is falling, &c. ; 
 at bottom, two figures with butterfly's wings, the hinder legs of lions, and 
 long tails, embracing each other. 
 
 Pieces lengthways, I. 7. h. 5 to 5£. (12) In the middle an oval space 
 
 l-w.; on either side, a naked female figure with wings, seated. (13; At 
 
 top a sphinx with three bodies and only one head ; on either side, a naked 
 man and a naked woman seated, their legs thrown over each other. There is 
 a bad etching of this in a reverse direction and larger. (B. p. 432 No. 139.) 
 (14 J At top, two cupids seated on a festoon, one of them having four butter- 
 fly's wings; at bottom two female figures with wings, seated, and supporting 
 the ornament above them with both hands. (15) At top, a male and a fe- 
 male figure seated, both having wings, and two satyrs standing ; at bottom, 
 
 two winged sphinxes, back to back. (1G) At top, two naked infants re- 
 
 cumhent on a festoon ; on either side a winged figure standing in profile, 
 blowing a trumpet ; at bottom, a festoon and two winged genii, seated. 
 There is a large indifferent etching of this ornament, reverse, and with varia- 
 tions ; the space in the middle being occupied by a representation of the 
 
 nativity, also, apparently, after a design of Rosso. (B. p. 381. No. 13.) (17) 
 
 At top, four cupids with festoons of fruit ; on either side, an old man, draped, 
 standing in a niche ; in the middle at bottom, three flenrs de lis on a shield. 
 There is a large etching of this piece, reverse, by Fantuzzi, with a land- 
 scape in the middle. (B p. 351. No. 32.) (18) In the middle, at top, an 
 
 ox's skull within a wreath of laurel, and on cither side of it a naked infant 
 seated on a festoon ; lower down, two naked children standing, one on each 
 side ; at bottom, two others sitting, and two female monsters with wings in- 
 stead of arms. (19) Towards the left, a terminus of Pan, with a basket of 
 
 fruit on his head and two naked infants on his shoulders. (20) In the mid- 
 dle, an upright oval frame, on the top of which is seated a cupid with four 
 butterfly's wings ; a festoon falls on either side, over the frame, and is sup- 
 ported by two naked infants. On either side, at top, is a square niche, 
 within which are a cupid and a naked infant, standing. (21) A vacant up- 
 right square, in the middle; and on each side a circular opening. At top, 
 four naked infants and two cupids ; at bottom, on the left, a naked man, and 
 
 VOL. I. Q 
 
AND 
 
 on the right a naked woman, recumbent. (22) At top are festoons, and 
 
 two naked men seated, each resting one arm upon the frame work of the 
 
 opening in the centre. Six other figures of naked children. (23) At 
 
 top, the infant Hercules, seated on the skull of a goat, strangling the two 
 serpents ; at bottom, a man and a woman, recumbent, each attacked by a 
 serpent. This piece is etched on a larger scale, reverse, by Fantuzzi. (B. 
 
 p. 426. No. 123.) (21) In the middle, a large oval space; below it, on 
 
 the left, a naked man recumbent with a child between his legs, and on the 
 right a naked female in a similar posture, with an infant sucking her left 
 breast. At the left edge of the print is a male terminus, and at the right a 
 female. There is a bad etching of this, reverse, and rather larger, with a 
 landscape in the middle, but without the termini. (B. p. 425. No. 120.) 
 (25) In the middle, an oblong opening; on the left, a naked man seen in 
 front, kneeling on the left knee, and four infants ; on the right, a naked 
 female, seated, and four infants. There exists a large etching of this piece, 
 reverse, and with variations, by Fantuzzi, with a landscape in the middle. 
 (20) At top, six naked boys supporting a festoon, two of them standing ; in 
 the middle, a square opening, on either of which is a female term ; in the 
 middle at bottom, two cupids seated, on the left a naked boy, a back-figure, 
 
 holding a festoon, and on the right another seen in front. (27) At top, 
 
 two little cupids, and two men in recumbent postures, each blowing a trom- 
 bone ; in the middle, an oblong opening, and on either side a terminus and 
 two winged figures, &c. (28) At top, six naked infants, sporting with fes- 
 toons, and two female termini ; at bottom, on the right and left, two groups, 
 each representing a male and a female satyr. It is etched in large, reverse, 
 
 by Fantuzzi, with a landscape in the middle. (B. p. 432. No. 140.) (29) 
 
 In the middle, an oblong opening, and over it a small pediment ; on the left, 
 a satyr seated with a basket of fruit on his head, which he holds with both 
 hands ; and on the right a female satyr, employed in the same manner. 
 On either side of each satyr is a naked figure standing in an attitude expres- 
 sive of deep meditation, and below are children sporting. There is a large 
 etching of this piece also, in a reverse direction, and with variations in the 
 figures of the children, by Fantuzzi ; the space in the middle being occupied 
 by a rocky landscape. (B. p. 350. No. 30.) (O.) 
 
 C. Another Set of Ornaments, thirty-two plates, not numbered. They 
 are larger than the last, and more delicately executed. It is not improbable 
 that some of them may represent ceilings, &c. formerly existing at Fontaine- 
 bleau, though I will not assert it. Sometimes, various unconnected compart- 
 ments, of different shapes and dimensions, are introduced upon the same 
 plate. I shall satisfy myself, in the following list, with noticing a single dis- 
 tinctive mark in each print, at least in most instances. 
 
 Upright Pieces, h. 9£ to 10. w. 6| to 6|. (1) In the middle, a man 
 
 on horseback galloping to the right, in a circular frame within a square. 
 (2) In the middle, a small figure of Diana, standing and turned towards the 
 left; her bow in her left hand, and her right hand elevated. (3) In a cir- 
 cular wreath, 1£ from the bottom, a naiad with her arms extended and her 
 
 lower parts ending in fish's tails. (4) At 1| from the bottom, a female 
 
 figure standing under a canopy, with a burning heart in her right hand, 
 
 which is elevated, and a sort of round vase in her left. (5) At top two 
 
 sphynxes, turned towards each other ; the distance between their heads, If. 
 (6) In the middle, at top, a cupid running to the left. He blows a horn, 
 and holds with his left hand a string to which is attached a dog that runs 
 
 before him. (7) At top, If from the right edge of the print, a female 
 
 seated and turned towards the left; a cornucopia in her left hand, and a man- 
 tle upon her head. (8) At top, three circular compartments and two small 
 
 oblongs, all ranged in a line and containing figures ; the centres of them f of 
 
 an inch from the top. (9) A figure of Fame, standing with a trumpet in 
 
 her right hand, and the caduceus in her left ; her feet 2£ from the top, and 
 
 H from the right. (10) This plate contains eight friezes, each one inch in 
 
 height. In the third from the bottom are two cupids, mounted on goats, titling. 
 
 Prints Lengthways. I. 9 to io|. h. 6| to 7\, (11) In the middle, at 
 
 bottom, two large birds, resembling swans, the legs of which are not seen. 
 (12) In the middle, a light circular temple, and within it an altar from which 
 
A N D 
 
 rises a large (lame ; on either side, a fight of steps. (13) At the right and 
 
 left edges of the plate, a vase of which half, only, is seen; a plant growing 
 
 in the vase which rises to the top of the print. (14) At top, are two 
 
 chariots, one on the right and one on the left, each drawn hy two horses and 
 
 containing two figures ; before each chariot are three obelisks. (15) Part 
 
 of a ceiling. Within an ornamented circle, at top, two women, kneeling, 
 one on each side of an altar, whereon stands a large quadruped. (16) Ano- 
 ther ceiling. On the left, at bottom, a figure of nature with many breasts, 
 and on each side of it a female centaur with wings. (17) An oblong com- 
 partment at top, the middle parts of the sides and ends of which are formed 
 by semi-circles ; within it, on the right, Minerva sitting, and on the left, 
 
 cupid and a draped female, standing. (18) Another ceiling. Among the 
 
 ornaments at one end are four female centaurs with wings, and at the other 
 
 four winged sphynxes. (19) Another ceiling, in which are eight sphynxes, 
 
 without wings, and over each of them a bird with a laurel branch in its 
 
 mouth. (20) In the middle, at bottom, an ass walking to the right, laden 
 
 with a barrel ; on the left, following the ass, a man walking with a stick over 
 his shoulder from which hang two bottles ; on the right a woman, with a spit 
 over her shoulder, walking in an opposite direction. (21) In a compart- 
 ment in the middle, at bottom, are three swans, and upon it are two squir- 
 rels. (22) In the middle, at bottom, is a door, within which is a warrior 
 
 in a helmet, seen in a back view and resting with the left hand on his shield, 
 
 who appears conversing with another man whose figure is in shadow. (23) 
 
 A ceiling. In a square compartment in the centre arc warriors on horseback, 
 one of whom appears carrying off a female. Perhaps it may be intended 
 
 for the battle of the Amazons. (24) Part of a ceiling. In an irregularly 
 
 formed compartment, at top, is a river-god, his legs resting on a sphynx, ac- 
 companied by three children. This group was certainly painted at Fontaine- 
 bleau after a design of Primaticcio, and is engraved in small by Stefanus de 
 Lausne. (25) In an irregularly formed compartment, in the middle to- 
 wards the bottom, is an altar from which rise flames and smoke ; on the left 
 
 stands a priest with a mitre, and on the right a suppliant. (2G) A temple 
 
 in the middle at bottom, within which is a figure of Fame, standing on a 
 
 small altar, with a trumpet in each hand. (27) Four compartments, three 
 
 at top, and one at bottom. In a small oblong frame, in the middle at bot- 
 tom, a priest and four other persons sacrificing before a statue which stands 
 on a pedestal on the left. (28) At bottom, a small frieze, 5£ long and 14- 
 inch high, containing many small figures slightly sketched on a dark ground. 
 (29) In the middle, near the top, are two winged sphynxes, each with a 
 small vase on its head. (30) Part of a ceiling ; at top, an octagon com- 
 partment, within a circle, in which is represented Latona with her two chil- 
 dren. (31) In the middle, near the bottom, two naked figures, 1\ from 
 
 each other and back to back, each supporting a burning lamp with both 
 
 hands; the lower parts of their bodies terminating in foliage. (32) At the 
 
 left corner, at bottom, two satyrs, seated back to back, each blowing a twisted 
 
 horn or trumpet. (33) In the middle, near the top, a group of three nu n 
 
 armed with swords, a fourth with a spear, and two dogs. (O.) 
 
 7. Another Set of Ornaments for panels, pilasters, &c. delicately etched, 
 thirty pieces, (though I am not sure the set is entire), /t. 4^. w. 2f. Some of 
 them appear to have been retouched with the graver by a more recent artist. 
 They contain numerous spirited little figures, but I think it unnecessary to 
 speak of them separately. ((>.) 
 
 8. A Set of Vases, forty-five pieces, not numbered, though, as before, I 
 have numbered them. Each plate contains one vase, drawn upon a white 
 ground. All of them are shaded on the right side, except the first, which 
 differs also in its general form from the others. 
 
 Vases without Handles. (1) An oblong vase or bath; in the mid- 
 dle a long tablet, apparently intended for an inscription. /. 5. /*. 2. The 
 
 rest are uprights; h. 5. w. 2. (2) In the middle, a lion walking to the 
 
 left. (3) In the middle, a female mask, a festoon, and a goat's skull. 
 
 Vases with two Handles. (4) A vase standing on a Tripod. (5) 
 
 In the middle, a ring between two lions. (f>) Each handle .ornamented, 
 
 near the top. with a mask in profile. (7) In the middle a statue, a naked 
 
 Q 2 
 
A N D 
 
 figure, on a pedestal ; on each side, a man kneeling to it, and another stand - 
 ing.- (8) In the middle a craw-fish. 
 
 Vases with one Handle, on the left. (9) In the middle a God- 
 dess in a car drawn by four horses. (10) The handle, a satyr in profile. 
 
 (11) On the right, a lion's head in profile ; a festoon in its mouth, one end 
 
 of which is attached to a rosette in the middle of the vase. (12) In the 
 
 middle a cherub. (13) Eight small masks, in different parts of the body 
 
 of the vase. ( ! 4) The handle formed by two serpents, which are twisted 
 
 round the body of a Triton who is blowing a large shell. (15) At the bot- 
 tom of the handle the mask of a satyr with horns, his beard ending in foliage. 
 
 (16) The handle, two serpents, regularly twisted together. (17) At top* 
 
 a small naked figure of a woman with the tail of a serpent. (18) The han- 
 dle, a dog drinking out of the vase. (19) In the middle, a lozenge com- 
 partment ; within it four heads of infants and the mask of a lion. (20) In 
 
 the middle a tall vase, and on each side of it a naked female seated with an 
 
 infant. (21) In the middle, towards the bottom, a crab. (22) On the 
 
 body of the vase, two pait'es of men on horseback, fighting. (23) At the 
 
 top of the handle, the head of a monster, turned to the right, having two 
 
 horns curved backwards. (24) Near the bottom, a mask with two horns ; 
 
 on either side a naked man, seated, taking hold of one of them. (25) At 
 
 bottom of the handle, a mask in profile, with one large horn curved back- 
 wards, and a beard composed of large leaves, from the bottom of which pro- 
 ceeds a piece of twisted foliage.' (26) The handle, a female figure, bent 
 
 backwards and looking up, the lower part of her body covered by a lar<j-e 
 
 leaf. (27) On the left, near the bottom, the skull of an animal in profile, 
 
 from whose horns hang two acorns. (28) In the middle, two festoons, tied 
 
 by a ribbon the ends of which are much twisted on either side, and which at 
 
 top forms three loops. (29) On the body of the vase, the judgment of 
 
 Paris, and at top a large swan. (30) On the neck of the vase, a sort of 
 
 griffin, turned to the right, its body ending in foliage (31) In the mid- 
 dle are suspended two small vases which cross each other. (32) In the 
 
 middle, towards the top, a crab. (33) The top of the handle at its attach- 
 ment to the vase, represents a dragon. 
 
 Vases with one Handle, on the right. (34) On the left, to- 
 wards the top, a cupid in profile turned towards the right. (35) At top, 
 
 on the left, a satyr, crouching under the spout of the vase. (36) At top, 
 
 a griffin with wings and a long twisted tail, turned towards the left. (37 j 
 
 In the middle, a terminus, between two flying figures with wings and two 
 
 cornucopia (38) Six naked infants dancing, hand-in-hand.— —(39) Upon 
 
 the body of the vase, various tritons sporting in the sea. (40) The handle 
 
 is attached to the head of an old satyr who is seated and turned towards the 
 
 left. (41) On the left, near the top, the mask of a satyr in profile; 
 
 another mask, on the neck of the vase, also on the left. (42) In the mid- 
 dle a small tablet ; a figure with a cornucopia seated upon it and, under it, a 
 
 bull. (43) The handle a greyhound looking into the vase. (44) The 
 
 handle ending at top with a head of Apollo, in profile, turned to the left. 
 (45) Three masks, one on the left, one in the middle, and one on the right 
 at the bottom of the handle. (O.) 
 
 9. A Set of Temples, in thirty-four pieces, not numbered, including the 
 Title with long Latin inscription upon a pedestal : ' Jacobus Androvetius du 
 Cerceau lectoribus. S. Quoniam apud veteres, &c. Aurelia?, 1550/ He begins 
 by stating that this little work contains various designs of temples, such as 
 were used by the ancients, some of them copied from real monuments, and 
 others of his own invention, and that the former may be distinguished from 
 the latter, by the titles upon each. He then proceeds as follows : * In the 
 books' (of prints) ' heretofore published by me, three or four edifices of this 
 kind will be found, intermixed with Triumphal Arches and Pyramids ; but 
 for the future I have determined so to arrange my publications as that each 
 species of structure may have a book to itself; as indeed I have now done 
 with Arches. Thus, one book will be devoted to Temples, another to Sepul- 
 chral Monuments, another to Fountains, another to Chimney-pieces, another 
 to Palaces,' &c. We may conclude I think from this inscription, that for 
 some time previous to 1550 Androuet had been a resident of Orleans and a 
 
AND 
 
 publisher of books of prints. These plates of Temples measure I. 5$ to 5|. 
 h, 3$. to 3$., excepting two of them which, together with the title, are up- 
 rights. Seventeen of them profess to be copied from ancient buildings, 
 though with only three or four exceptions they are evidently the ofispiing of 
 the artist's fancy, or invented by some other architect of the time. (O.) 
 
 10. Designs and Plans for Six Dwelling-Houses ; fourteen pieces /- 6-|. 
 to 6$, h. 4| to 4f . The first two plates are marked A and exhibit the per- 
 spective view and plan of the first building ; four plates, marked B, contain 
 two perspective views and two plans of the second ; the plan and view of the 
 third, fourth, fifth and sixth buildings occupy each two plates, marked C, D, 
 E, F. The different apartments are distinguished on the plans by French 
 inscriptions, this small work having no letter-press. (O.) 
 
 IT. ' Livre D'Architecture de Jacques Androuet du Cerceau, contenant 
 les plans et dessaings de cinquantc bastimens tons differens,' &c. The first 
 edition was printed at Paris, according to Brunet, in 1559, in fol. Another 
 edition bears date 1011. It contains 16 leaves of letter-press, and the plans 
 and elevations (sometimes accompanied by sections, tkc.) of fifty mansions, 
 marked 1 to 50 in Roman numerals ; though the plates in the whole amount 
 to 09 ; two plates being sometimes devoted to the description of the. same 
 edifice. They measure, h. 10^. w. 7f. 
 
 In Androuet's dedication of this work to the King, (Henry II, who died 
 the same year in which it was published), he reminds his Majesty that he had 
 formerly honoured him by looking at some small plans and views of temples 
 and dwelling houses which he had designed and printed, (doubtless the above 
 described), and seemed to approve them. That in consequence he then pro- 
 mised to do others, &c. and that he had now recently composed, engraved and 
 printed these plates representing the designs for fifty mansions of different 
 magnitude, &c. 
 
 12. i Second Livre D'Architecture, par Jacques Androuet du Cerceau. 
 Contenant plusieurs et diverses ordonances de Cheminees, Lucarnes, &c. 
 A Paris, De rimprimerie d 'Andre Wechel, 1501.' in fol. It contains Sixty- 
 six plates, not numbered, k. \0h to lujj. w. 7£ to 7£. viz., 21 plates of de- 
 signs for Chimney-pieces, 12 of "Windows, 8 of Doors, 7 of Fountains, Oof 
 Wells, of Pavilions for gardens, &c, and of Sepulchral Monuments. 
 These designs are enriched throughout with statues and bassi-relievi, which, 
 like the architectural parts, are drawn and etched in a most masterly manner. 
 The work has only one leaf of letter-press, besides the Title. 
 
 In his Dedication to the King, (Charles IX), he speaks of having all his life 
 employed himself in illustrating the science of architecture, as the many 
 and various books published by him at different times sufficiently testify ; but 
 that since his Majesty's accession to the throne he had resolved to undertake 
 greater works in that way.' 6cc. He then expresses his desire to be hereafter 
 able to lay before his Majesty his intended work of the Royal Palaces of 
 France, &c. * according to the permission and orders which he had at dif- 
 ferent times received from the kings his predecessors.' 
 
 13. 4 Lemons de Perspective positive, par Jacques Androuet du Cerceau, 
 Architecte. A Paris, Par Mamert Patis-on Imprimeur. m.d.lxxvi.' It 
 contains 11 leaves of letter-press, and GO plates, /t. 7 J. (0. 5|, numbered Lec. 
 (Lecon) I. to LX. several of which are enriched with small figures etched 
 with great delicacy. It appears from the Dedication to * Catherine de Medi- 
 cis, Royne mere du Roy,' that the first volume of the work of the Royal 
 Palaces, <S:c. was not yet published. There is a reprint of this book of Per- 
 spective, with title-page, dedication, &c. verbatim the. same, save only that 
 the date is m.dc.lxxvi. The plates however appear much worn. 
 
 14. * Le Premier Volume des plus excellents Bastements de France, 
 &c. Par Jacques Androuet, du Cerceau, Architecte. A Paris, Pour le dit 
 Jacques Androuet, du Cerceau, m.d.lxxvi.' in fol. 
 
 It has been already shewn that the work of the Royal Palaces of France 
 was many years in hand. In the Dedication of this first volume to Catherine 
 de Medicis, the author talks of speedily publishing a second, and afterwards 
 a third ; it contaius 8 leaves of letter-press, and 75 plates of different di- 
 mensions, exhibiting the plans, elevations, &c. of the following Palaces and 
 
A N E 
 
 private mansions, viz. (Royal Palaces) the Louvre, 9 plates ; — ; Vincennes, 2 
 Chambourg, 3 ;— Boulongne, dit Madrit, 10 ; — Creil, 1 ;— Coussy, 4 j — Folem- 
 bray, dit le Pavilion, 2 ; — Montargis, 5 ; — (one of the plates represents the 
 great hall ; the picture of the combat between the dog and the gentleman is 
 slightly indicated over one of the chimney -pieces) — Sainct Germain, 6 ; — La 
 Muette, 3 ; — (Private Mansions) — Vallery, 5 ; — Verneul, 10 ;— Anssy le Franc, 
 4; — Gaillon, 9; — Manne, 2. 
 
 15. e Le Second Volume des plus excellents Bastiments de France, 
 &c. A Paris, Pour le dit Jacques Androuet du Cerceau, m.d.lxxix.' in fol. 
 This volume, also, is dedicated to Catherine de Medicis : the author, in ad- 
 dressing her, speaks of his advanced age, as a chief cause of its not having 
 been finished sooner : * d'autant que la vieillesse ne me permet faire telle 
 diligence que jeusse faict autrefois.' It contains 7 leaves of letter-press, and 
 72 plates of the following palaces and private mansions, viz. (Royal Palaces) 
 Blois, 5; — Amboise, 3; — Fontainebleau, 7; — Villiers;Costerets, 3 ;— Charleval, 
 5 ;— The Thnilleries, 4 Sainct Maur, 3 ; — Chenonceau, 4 (Private Man- 
 sions) Chantilly, 9 ;— Anet, 10; — Escovan, ;— Dampierre, 4; — Challvau, 3;-— 
 Beauregard, 3 ; — Bury, 4. An edition of both these volumes was published in 
 1607, and another, according to Brunet, so late as 1648. 
 
 16. * Livre d'Architecture de Jacques Androuet, dn Cerceau. Auquei 
 sont contenues diverses ordonnances de plants et elevations de bastiments pour 
 Seigneurs, Gentilshommes, et autres qui vondront bastir aux champs, &c. 
 A Paris, Pour Jacqnes Androuet, du Cerceau, m.d.lxxxii.' in fol. This ac- 
 cording to Brunet is the date of the first edition ; for the copy before me is a 
 reprint dated 1615. The work is.dedicated to the King (Henry III.). The 
 author begins by referring to a conversation which he had had with his Ma- 
 jesty at Montargis relative to various magnificent edifices in France, upon 
 which occasion the King questioned him as to the completion of the work last 
 described, (for, as has been said, a third volume was intended) ; after which 
 he speaks of his age and indisposition, and of his inability to visit and prepare 
 drawings of the fine bnildings not yet published by him, without his Majesty's 
 assistance. This book contains 26 leaves of letter-press, and the plans and 
 elevations of 38 mansions, marked 1 to 38 in Roman numerals ; the plates are 
 64 in number and vary in size ; two or three plates being, in some instances, 
 devoted to the plans and elevations of the same building. 
 
 17. * Petit Traitte des Cinq Ordres de Colomnes, par Jaqnes An- 
 drouet du Cerceau, &c. A Paris, Pour Jaques Androuet du Cerceau, 1583/ 
 small fol. It contains 32 plates, of Columns, Entablatures, &c, h. 7$ to 8^. 
 w. 5£ to 6±, and two leaves of letter-press. I conjecture that the plates were 
 in great part etched by the assistants of Androuet. 
 
 18. ' Livre des Edifices antiques Romains, &c. Par Jaques Androuet, 
 du Cerceau, m.d.lxxxiiii.' in! fol. Brunet, I suppose erroneously, states 
 this work to have been printed in 1583. In the dedication, to the Prince 
 Jaques de Savoy e, Due de Genevois et de Nemours, Androuet speaks of hav- 
 ing recently published a map of Ancient Rome. This book contains two 
 leaves of letter-press and 98 plates of different shapes and dimensions, printed, 
 two, and sometimes three, on a page. They are but indifferent performan- 
 ces, and were probably in great part done by Androuet's pupils after various 
 collections of Roman antiquities before published in Italy. 
 
 PAOLO ANESI. 
 
 c. 1720. 
 
 A landscape-painter of some ability, said to have been the 
 master of Zuccherelli, and whose pictures, according- to Lanzi, 
 are found in considerable number at Rome and Florence. We 
 have by him a set of slight picturesque etchings, some of them 
 views near Rome. The following* are before me. I never saw 
 the set complete . 
 
 Views near Rome, &c. (part of a set, numbered on the right at top), &#f 
 
A N^G 
 
 to 7£. h. with margin, 5\. < Veduta di Porta Castello. P. Anesi del a sc.* 
 
 (Numbered 2.) * Veduta della Madonna del Rosario a Monte Mario. P. 
 
 Anesi del. e sc.* (No. 3.) Veduta delli Zocolanti di Sezzo,' without artist's 
 
 name. (No. 5.) * Veduta de Tevere a mano manca fori di Porta del Popolo. 
 
 P. Anesi del. e sc.' (No. 8.) This piece (No. 11) has no title. Upou a 
 
 road, in the middle of the foreground, is a single figure, seen in a back view, 
 and further off, on the same road, are two others, who appear walking towards 
 a small town in the middle distance. In the margin on the left : * Paolo Anesi 
 inv. e sculp,* 
 
 COUNT OTTAV1ANO ANGARANO. 
 
 c. 1680? 
 
 A Venetian nobleman who amused himself with the arts, and to 
 whose hand is ascribed the following- etching, done after an altar- 
 piece painted by him in the church of S. Danielle at Venice. 
 
 The Nativity, with the Shepherd's offering. In the clouds, at top, an angel 
 with a scroll : ' Gloria in excelsis Deo.' Below, the Infant lying in a basket, 
 Joseph seated on the left, the Madonna on the right, and, behind, the shep- 
 herds. At bottom on the left : < Otta nua . Angaranus Fa. et Pinxit. P. exc* 
 This piece is arched at top. h. 14£. w. 7|. It is etched very much in the 
 manner of Diamantini. (O.) 
 
 NICOLO ANGELI 
 
 1C35. 
 
 Is said to have been a scholar of Remigio Canta-Gallina, and 
 conjointly with him to have engraved, or etched, a set of Festi- 
 vals, in 1()35, at Florence, after the designs of Giulio Parigi. 
 
 GIUSEPPE ANGELI. 
 
 c. 1760. 
 
 I find no account of this engraver, who appears to have re- 
 sided at Lucca, and by whose hand the following print is now 
 before me. 
 
 A View of the Baths of Lucca. On the left are introduced a River-God 
 and two nymphs, and on the right a centaur with a child. 1 Veduta de' Bagni 
 di Lucca, &c. G. D. Malerbi dis. Gius. Angeli Inc. Lucca.* It is engraved 
 with sufficient neatness. I. 20. h. llf, besides margin. 
 
 BATISTA D'ANGELO, and MARCO D'ANGELO, See 
 
 Del Moro, 
 FILIPPO DE ANGELIS, See di Liagno. 
 
 SECONDO DE ANGELIS. 
 
 1757—1767. 
 
 Was one of the artists employed to engrave the plates in the 
 fine work of the Antiquities of Herculaneum, published at 
 Naples, in 1757 and following years, at the expence of the 
 King. We find his name also to a few other book-plates. 
 
 PEDRO ANGELO. 
 
 1603— 1610. 
 
 A Spanish engraver who resided at Toledo and is spoken 
 
A N I 
 
 of as an artist of merit. The ' Diccionario, &c. de las Bellas 
 Artes en Espana,' mentions the following prints by his hand ; 
 
 The Portrait of Cardinal Tavera, half-length, and the Frontispiece 
 of the book of his life, written by Salazar y Mendoza, wherein are the fi- 
 gures of Justice and Temperance supporting the arms of the Cardinal ; which 
 
 work was printed in 1603. -The Portrait of Cardinal Cisneros, 
 
 engraved in 1604. A Madonna, seated on the Moon, and surrounded 
 
 by a glory ; done in 1616. 
 
 This artist is most probably the same with Petrus Angelus, 
 whose name, with the date 1611, Mr. Strutt found upon an or- 
 namental Frontispiece to a folio volume of Lud. Tena's com- 
 mentaries upon St. Paul's Epistle to the Hebrews, in the 
 British Museum, whereon, among other figures is a representa- 
 tion of the Trinity. 
 
 PAUL ANGIER. 
 
 1749—1755. 
 
 An indifferent engraver who resided in London and is said to 
 have been a pupil of John Tinney ; though it is not certain that 
 he was by birth an Englishman. He died, according to Heinec- 
 ken, at the age of thirty. His works consist principally of land- 
 scapes ; the two following are among the best of them. 
 
 1. ' A View of Roman Ruins/ after Panini, a middling-sized plate length- 
 ways, with figures, dated Nov. 4, 1749. 
 
 2. ' A View of Tivoli, &c. Moncheron Pinxt. P. Angler sculp. Published 
 &c. Dec. the 5th 1755 by T. Major/ &c. h. 15£, besides margin, to. 13. 
 This is considered his chef-d'oeuvre. 
 
 3. We have also by him a set of Bunches of dead Game, after C. Huet, 
 small upr. fol. published May 26, 1757, by F. Vivares. 
 
 BENJAMIN ANGLUS, See Ben. Wright. 
 I. ANGUISH. 
 
 c. 1700? 
 
 I find no notice of this engraver, whose name, thus : • I. An- 
 guish Sculp.' is upon a small quarto plate, now before me, re- 
 presenting a blank shield ornamented with foliage and surmount- 
 ed by a helmet, intended to receive armorial bearings ; a blank 
 space being also left, at top, for the crest. It is engraved with 
 sufficient power of burin, without cross hatchings. (O.) 
 
 PIETRO ANICHINI. 
 
 1650. 
 
 An engraver of merit, who appears to have resided at Flo- 
 rence ; but whose name is found only on a very small number 
 of plates. 
 
 1. * Cosmus Princeps Hetruri^e/ bust in an oval: * Ser m « e , Victoria? M. D. 
 Hetruriae, &c. Petrus Anichinius F. D. D. D. in Fir. con 1. dc S.' h. 11|. 
 w. 8. (O.) 
 
 2. Evang elista Torricelli, Mathematician, &c. to Ferdinand II. Grand 
 
ANT 
 
 Duke of Tuscany, said by Keineckcn to be prefixed to his academical lessons 
 printed at Florence in 1715. 
 
 3. ' Eques Cassianus a Puteo, vetnstatis lux, &c. P. Anichinius Bust 
 in an ornamented oval ; engraved in a clear and masterly manner, and full 
 of character and expression, h. 8f. w. 6^ (O.) 
 
 4. The Holy Family. The Madonna is seated and turned towards the left ; 
 the Infant Saviour rests against her knees and is reading a scroll which the 
 little St. John, who is kneeling, presents to him. Joseph stands in the fore- 
 ground, on the left. The background is an alpine landscape. At bottom on 
 the left : i Petrus Anichinius scul. 1G44,' though Heinecken reads the date 
 1G55. I. 9£. h. 6£. This plate is inferior to his portraits. ((>.) 
 
 5. The Good Samaritan, a small plate lengthways. (Hein.) 
 
 L. VAN ANSE. 
 
 c. 1730. 
 
 An engraver whose name I find upon a wretched Bible print, 
 one of a set of book-plates, 7 J. h. 5f , including- a border by 
 which the subject (' I. Sam. 5.') is surrounded. It is marked 
 * L. van Anse Schulp.' 
 
 ANSELME, See Ant. Eisenhoidt, 
 Who is the undoubted author of the celebrated print of Her- 
 cules and Omphale, after Spranger, which is marked with the 
 initial A, followed by a helmet and the word fecit, with the 
 date 1590. It is surprising that the German writers on prints 
 should so long have failed to discover the true interpretation of 
 the above mark ; since the name Eisenhoidt may be not impro- 
 perly translated Iron-hood. 
 
 JEAN LOUIS ANSELIN, 
 
 177G— 1789. 
 
 Was born at Paris in 175-1 and studied under Aug. de Saint- 
 Aubin, whose soft and delicate manner of engraving he has 
 imitated very successfully. He is perhaps still living. 
 
 1. Madame de Pompadour in the character of a Flower-girl, small upr» 
 after Charles Vanloo. 
 
 2. ' La Pardre Naturelle,* a half-length portrait of a young lady. * G. 
 Nctschej' pinx. 1G75. J. L. Ansclin sculp. 177G.' with dedication. It. Besides 
 margin, 9. w, 7\. 
 
 3. ' La Coquette du Village/ Bust and right hand, in an oval : ' St Qucn- 
 tin Pinx. J. L. Ansclin Sculp.' h. 9. w. G|. 
 
 4. ' Le Satyr impatient,' after Carlme, engraved hy him under the direc- 
 tion of St Aubin, l-w. in fol. 
 
 5. The Siege of Calais, after Berthelemy, with date 1789, a large print l-w. 
 
 G. MOLIERE READING HIS TARTUFFE TO LOUIS XIV. AND HIS CoURT AT 
 
 the house of Ninon de Lenclos ; a large print l-w., after Monsiauu 
 
 SEBASTIEN ANTOINE. 
 
 1729. 
 
 An indifferent engraver, said to have been a native of Nancy. 
 
 1. The Portrait of R. P. Augustin Calmet, in an oval, iu fol. engraved 
 at Nancy in 1729. 
 
 VOL. 1. R 
 
ANT 
 
 2. One of the Ceilings at Versailles : ' L'entreprise de Promethee, Sec, 
 Mignard pinx. Seb. Antoine Sculp.' I. 10|. h. 8, besides margin. 
 
 I find also ' Antoine Sculp.' but without any christian name, upon a set of 
 4 small landscapes, l-w. in 4to., after J. Houel. They are bad enough to be 
 by Sebastinn Antoine. 
 
 GIOVANNI ANTONELLI. 
 
 c. 1700. 
 
 Is mentioned in Zani's index as a native or inhabitant of 
 
 Ferrara, living in 1706. The following print, bearing his name, 
 
 is all I have seen by him. It is a wretched performance. 
 
 Pompey causing himself to be declared Emperor ; a composition of 
 many figures, in the manner of P. di Cortona or Ciro Ferri. Near the top, 
 towards the right : ' Plutarc. in vita Pompeii. Pompeius annos natus tres et 
 Viginti,' &c. ; at bottom, on the left : .... ' Recinensis delineavit/ and on 
 the right: ' Io. Antonellus Sculp.' I. 16^. h. 11. (O.) 
 
 SILVIUS ANTONIANUS. 
 
 1567. 
 
 ' An engraver on wood/ says Strutt, ' who according to Pa- 
 pillon, ornamented with cuts a small book of fables, &c. entitled, 
 ' Centum Fabulas ex antiquis Auctoribus delectse,. et a Gabriele 
 Faerno Cremonensi Carminibus explicitae. Antverpia ex offi- 
 cina Christoph. Plantini, 1567.' To each fable he has given a 
 print, the whole of course amounting to an hundred, all which, 
 two or three excepted, are marked with a sort of cypher com- 
 posed of an A and an S,' &c. 
 
 The existence, however, of a wood-engraver of this name 
 appears very doubtful. 
 
 CRISTOFORO CESARE ANTONIT. 
 According to Gandellini he engraved landscapes, &c. Hei- 
 necken observes that he has met with nothing by his hand. 
 
 CARLO ANTONINI. 
 
 c. 1780. 
 
 An engraver of moderate talents who resided at Rome, and 
 whose prints do not appear to be numerous. 
 
 1. A half-length figure of St Peter in the Clouds : ' Imago S. Petri 
 Apostoli, &c. Eques Arpinas pinx. Carolus Antonini del. et sculp.' upv. 8vo. 
 Very poorly engraved. 
 
 2. A singular Basso-relievo representing in many minute Figures 
 the Story of the Iliad, which is preserved in the capital at Rome. 
 « Tabula Iliadem Homeri effingens,' &c. * Carolus Antonini Sculp/ The 
 print measures, 1. 16|. h. lu£, which, if I mistake not, is the size of the 
 original. This is much better than the last. 
 
 3. The famous Cascade at Terni ; 4 Philippus Hackert delineavit. Caro- 
 lus Antonini sculpsit Romae. h. 25f. w. 16. (Cat. de Winckler.) 
 
 H. I. ANTONISSEN. 
 
 17G7. 
 
 I find no account of this artist, except what I collect from the 
 
A N T 
 
 following very masterly etching after a picture of Cuyp, upon 
 which he styles himself a painter of Antwerp. 
 
 A Group of Cattle, standing upon the brink of a broad River, 
 whereon, in the distance, are several small vessels. 1 Grave a Veau forte 
 d'aprcs A. Cuyp, par H. I. Antonissen Peintre d'Anvers A . 1767.' I. 13£. 
 h. 9£, besides margin. If I mistake not, this fine picture is now in the col- 
 lection of Mr. Peel. (O.) 
 
 MARC ANTONIO, See Raimondi. 
 CORNEILLE ANTONISZE. 
 
 1530 T 1551. 
 
 The real signification of the above monogram has hitherto 
 been unknown. Professor Christ says it is supposed to be the 
 mark of one Cornelius Hevissen, a person who probably never 
 had existence ; in which he is followed by Strutt and others. 
 In attributing the wood-prints, so marked, to Cornelius Anto- 
 nisze, which I now do, for the first time, upon the authority of 
 a piece bearing the name of that artist, as well as the said mono- 
 gram, I restore some very meritorious performances, as I be- 
 lieve, to their true author. 
 
 Corn. Antonisze was bom, it is said, at Amsterdam, in 1499, 
 and appears to have been a painter of considerable talent. It 
 is related of him that about the year 1536, he painted a large 
 plan or birds'-eye view of Amsterdam, with all its convents, 
 churches, and other buildings, as they then appeared ; which 
 work he afterwards engraved in wood, in twelve pieces, and 
 published with a dedication to the Emperor Charles V. I re- 
 gret that I have never seen this print, from which it is not im- 
 probable Ralph Aggas took the hint for his large plan of Lon- 
 don, before spoken of. 
 
 1. The Last Supper; in two pieces, joined together, I. 21$. h. 12, besides 
 a margin of 1| at bottom. The monogram is at bottom, on the left, within 
 the subject. 
 
 Bartsch, Vol. IX, p. 153. No. 1, speaks as if this piece was sometimes 
 printed from single blocks, and sometimes with a second block of tint : two 
 impressions, now before me, are both of the latter kind. It appears that he 
 never saw it complete with the margin, which contains 16 Latin verses, 
 printed from another block, and ranged in four stanzas of four lines each ; 
 the first containing the artist's name, thus : 
 
 ' Quist/uls (tries sacrce spectator candide mense 
 
 Respice quid referat ista tabella tibi 
 Cava salutaris graphice hie exeulpta Videtur 
 Arte Viri clari Cornelij Antony J 
 This print is in somewhat a dryer manner than most of the following, and at 
 the same time more diligently finished. I suspect it to be one of the artist's 
 early works. (().) 
 
 2. Mutuis Scevola, burning his hand, a large single figure. The monogram, 
 with date 1536, on the right at top. h. 24. w. 15. (B. 2.) 
 
 3. The Judgment of Paris. Paris is recumbent in the foreground on the 
 right, listening to the instructions of Mercury ; the three Goddesses stand on 
 
 R 2 
 
APE 
 
 the left, and over them, in the clouds, is seen Cupid aiming an arrow at 
 Paris. The impression before me has no mark ; it is moreover coarser in the 
 execution than most of the artist's other prints ; though still I think him the 
 author, at least, of the design. I. 21§. h. 15. (O.) 
 
 4. A winged Female, with a heart surmounted by the Sun in her right hand, 
 and a Sceptre in her left, standing upon a serpent, and seen in front. Behind 
 her is a rainbow. The monogram is on the left at bottom, h. 9|. w. 6|. 
 (B. 8.) This print has an agreeable breadth of manner, and otherwise pos- 
 sesses great merit. 
 
 5. Lasciviousness, one of a set of the vices, as I suppose. It represents a 
 young female walking towards the right. She presses milk from her breast 
 with her right hand, has a feather in her left, and is accompanied by a bear. 
 Above, near her head : ' cusheit,' and at bottom, on the left, the monogram. 
 h. 10|. w. 4£. (O.) 
 
 G. An Allegory on Time and Death. A man advanced in years, a half- 
 figure ; a child before him with its hand on an hour-glass, and on the left, 
 Death. Towards the top, on the right : * Nascendo morimur under the 
 hour-glass : ' Velocitas temporis and upon a book : * Cognitio/ &c. The 
 mark and date 1537 are towards the top, on the right, h. 17^. w. 13^. (B. 4.) 
 
 7. The Triumph of the Ass, in four pieces joined : the second piece hav- 
 ing the monogram with date 1544. I. 58. h. 8|. (B. 5.) I wish Bartsch had 
 enabled me to give a fuller description of this print. 
 
 8. The Counts of Flanders, in 6 pieces, each I. 15|. h. llf , which when 
 joined form a frieze. Each print contains five whole-length figures, in ar- 
 mour ; save that four among these thirty figures represent ladies. Over the 
 head of each personage is his or her coat of armorial bearings, which in the 
 early part of the series is a simple lion rampant. The series ends with the 
 Emperor Charles V. and Philip III. of Spain. The monogram of the artist 
 is on a halberd, on the left, in the second print, and upon another halberd, 
 towards the right, on the fifth. 
 
 9. Another similar Series, in 4 pieces, I. 15£. h. llf, each containing 
 five whole-length figures in armour. Over the head of each personage are 
 two coats of arms ; the first, in the earlier part of the series, is, as before, 
 a lion rampant; the second is in a lozenge, and perhaps represents the arms 
 of the family to which he allied himself by marriage. The monogram of the 
 artist, with date 1551, is upon a shield near the middle, in the second print ; 
 and is repeated in the last piece, near the top, on the right. Neither of 
 these series are mentioned by Bartsch. 
 
 I, H. APEL. 
 
 c. 1750. 
 
 There is little doubt I think that this person was a German, 
 and probably he resided at Darmstadt. The first two pieces 
 loll owing', the only specimens I have seen by him, are etched 
 with a delicate point in a close manner, something like that of 
 De Marcenay, though very inferior. 
 
 1. Two Landscapes with Groups of Peasant-Children amusing them- 
 selves ; I. 9|. h. 7£. each marked : f Seekatz P. 1. H. Apel S.' I suspect, 
 from what 1 find in the Cat. de Winckler, that Apel did six of these pastoral 
 landscapes after Seekatz. 
 
 Johan Conrad Seekatz of Griinstadt in the Palatinate of the Rhine, says 
 the writer of that catalogue, was born in 1719, was painter to the court of 
 Darmstadt, and died in 1770. 
 
 2. A Set of four small Landscapes; two of them represent cottages, 
 with figures on foot and on horseback ; the third, a village market; and the 
 fourth, men on horseback halting at the door of a cabaret. ' A. sc.' l-w. in 
 8vo. (Cat. de Winckler.) 
 
A Q U 
 
 C. APENS. 
 
 1673. 
 
 A very indifferent engraver, who appears to have resided in 
 the low countries ; perhaps at Groningen. 1 am only acquainted 
 with the two following prints bearing his name. 
 
 1. * Samuel Maresitjs S. S. Theologice, &c.,' bust in an oval, with the figures 
 of Religion and Diligence standing, one on each side, done for a Title : 
 ' Systema Theologicum, &c. Groningai Anno mdclxxiii.' On the left : ' C. 
 A pens fecit.'' h.7. w. 5£. (O.) 
 
 2. * Glilielmus Petri Suchtelenius, &c. Anno 1674, &c.' seated in a 
 chair, and seen to below the knees. * D. Meinerdtsnia Pinxit. C. Apens 
 sculp, et excu.' h. besides margin, 16. w. 12|. (O.) 
 
 APOSTOOL. 
 
 1792. 
 
 A native of Holland, I believe, who resided some time in 
 England, where, in J7f>2, he did several plates very neatly in 
 aquatinta, after pictures of the Dutch school; among them the 
 two following. In 1816 he filled the post of Keeper of the 
 Royal Collection of Pictures at the Hague. 
 
 1. A Landscape with a Group of Sheep, a female milking one of their, 
 and a man on horseback ; after K. du Jardin. 1 Published November 1792.' 
 I. 9$. h. 7. 
 
 2. A View on a Navigable River, in Holland, after S. Ruysdael. 
 I. 10&. h. 7 J. 
 
 G. APPELMANS. 
 
 1671. 
 
 A very indifferent engraver, by whom we have : 
 
 1. The Portrait of 'Thomas Bartiiomnus, A. C. 1671,' &c, bust in an 
 oval, prefixed to the octavo edition of that writer's book on Anatomy. ' Hcnr. 
 Ditmer pinx. G. Appelmans sculp.' h. 6. ic. 4. Also many of the anatomi- 
 cal plates in the edition of 1674. 
 
 2. The Entry of a victokious General into a Fortress. 1 G. Ap- 
 pelmans sc.' I. 6£. h. 5. (O.) 
 
 CHRIST. AB AQUA, See dall' Acqua. 
 PIETRO AQUILA. 
 
 1 074— 1696. 
 
 This great artist is commonly supposed to have been a native 
 of Palermo ; where, in his youth, he practised painting. He 
 afterwards applied himself to engraving, in which art 1 suspect 
 his instructor to have been Pietro del Po, then an eminent 
 practitioner at Naples. He was probably still a young man 
 when he took up his abode at Rome, where he appears to have 
 spent the remainder of his life. Zani places his birth in 1(>24, 
 and we may conclude, from the number and magnitude of his 
 works of engraving, that he lived to an advanced age. It is to 
 be regretted that he seldom dated his plates. 
 
 Pietro Aquila had a thorough knowledge of the human figure, 
 
AQU 
 
 and composed, when he chose it, with great facility. He sel- 
 dom if ever attempted to work up his plates to that softness and 
 force of effect which we admire in those of contemporary en- 
 gravers of the French or Flemish schools, and indeed made 
 so little use of the burin that his prints in general may more 
 properly be termed finished etchings than engravings. His works 
 being, for the most part, well known, I think it unnecessary to 
 attempt a complete list of them. 
 
 PIECES SUPPOSED TO BE AFTER HIS OWN DESIGNS. 
 
 1. The Portrait of Livio Odescalchi, with decorations; a large upr. 
 piece. (Hein.) 
 
 2. The Adoration of the Magi, in fol. (Hein.) * 
 
 3. The Flight into Egypt, h. 17, besides margin, w. ll£. 1 Illnstrissimo 
 Domino D. Balthassari Cannizzares de Vigintimilliis, &c. Petrus Aquila ob- 
 servantly ergo D. D. D.' The composition is very beautiful, but I am not 
 sure that it is his own. It is etched very much in the manner of P. del Po, 
 and is doubtless one of his early plates. 
 
 4. The same Subject, differently composed. Two little angels walk before 
 the holy group on the right, carrying baskets with provisions. At bottom, 
 near the middle : ' P. Aquila In et Sculp.' On the right : ' Si stampano per 
 G'io. Jacomo Rossi, &c. /. 7\. h. 5\. 
 
 5. St Jerome. The saint is seated in his cavern, his left leg thrown over the 
 right, and is reading in a book which he holds with the right hand, resting 
 meanwhile his left elbow on a rock. Behind him, on the left, is the lion, 
 sleeping, of which only the head and left paw are seen. At bottom, a little 
 to the left : ' Pietro Aquela inventor et fecitS h. 7\. w. 5£. (O.) 
 
 PRINTS AFTER VARIOUS MASTERS. 
 
 0. The Victory of Alexander over Darius, at the Battle of Ar- 
 bela ; a very large print l-w., in two pieces, joined; after a painting of 
 Pietro Berettini du Cortona, in the Palace Sacchetti, at Rome ; with Dedi- 
 cation to Christina Queen of Sweden. ' Pet. Aq a . del. et 
 
 7. The Rape of the Sabines; after another picture by Berettini in the 
 same Palace. 4 Pet. Aq a . del. et f. ;' a large sheet-print, l-w. 
 
 8. The Sacrifice of Polixena ; another picture by the same artist in the 
 Sacchetti Palace ; a large sheet-print, l-w. 
 
 9. The Triumph of Bacchus ; from the same ; Ditto, Ditto. 
 
 10. Sacrifice to Diana; Ditto, Ditto. 
 
 11. The dead Body of Christ ; his head supported on the lap of the Ma- 
 donna; on the right St Francis, on the left Mary Magdalen, and below two 
 little angels pointing to the wounds in the Saviour's hands and feet ; after a 
 fine picture by Annibale Carracci. This piece is carefully, though somewhat 
 timidly, etched, in a manner a good deal like that of P. del Po, but with 
 fewer dots in the flesh. It was probably done by Aquila very soon after his 
 arrival in Rome, and is dedicated by him to the celebrated sculptor Bernini, 
 whose countenance he respectfully solicits, h. 18, besides margin, w. 12§. 
 Rare. 
 
 12. St Stephen, kneeling; crowned by angels, after An. Caracci ; with 
 dedication to Carlo Maratti. * Piet. Aquila det. inc.' upr. oval. h. 5§. besides 
 margin, w. 4£. 
 
 13. The Celebrated Farnese Gallery ; 1 Galeriae Farnesianae Icones/ 
 &c. after An. Caracci; in 21 large plates, numbered ; besides three Titles, or 
 Frontispieces, and the Portrait of the painter. 
 
 14. The Paintings of An. Caracci, in a Smaller Room of the Far- 
 nese Palace; 'Imagines Faiuesiani Cubiculi/ &c. ; 13 plates, numbered,, 
 
A Q U 
 
 including the Title. These two sets of prints are perhaps, on the whole, the 
 engraver's most capital work. 
 
 15. Moses defending the Daughters of Jethro, a large sheet-print, 
 l-w., after Ciro Ferri. 
 
 16. Moses striking the Rock, ditto, after the same. 
 
 17. The Council of the Gods; * Deorum Concilium,' Sec. after a vaulted 
 ceiling by Lanfranco, in the Villa Borghese near Rome ; in 9 large prints, 
 l-w., not numbered ; the Title included. 
 
 18. The Madonna in the Clouds, with the Five Saints canonized 
 by Pope Clement X, in 1671 : * B. Virgo in Gloria cum quinque Sanctis,' 
 &c. a large upr. print after Carlo Maratti. This is one of P. Aquila's most 
 capital prints. 
 
 19. The Guardian Angel, after the same; with dedication from C. Maratti 
 to Gio. Pietro Bellori. h. 10|, besides margin. w. 7£. 
 
 20. The Death of the Madonna, after Gio. Maria Morandi ; a very ex- 
 cellent composition by an artist of whom little else is, I believe, engraved ; 
 large fol. l-w. 
 
 21. The Battle of Constantine. in four large plates, joined, making a 
 very large print l-w. ; after the celebrated Fresco, designed by Raffaelle and 
 painted by Giulio Romano, in the Vatican. 
 
 22. Part of the Scriptural Subjects painted after the designs of Raf- 
 faelle in the Loggia of the Vatican ; commonly called ' Raffaelle's Bible, viz. 
 from plate 37 to 52, the last of the set, inclusive. The others are by Cesare 
 Fantetti. 
 
 FRANCESCO FARAONE AQUILA. 
 
 1691—1711. 
 
 I find little recorded of this artist, except that he was a 
 native of Palermo. He was probably a younger brother of 
 Pietro Aquila, and like him appears to have spent the greater 
 part of his life at Rome. As an engraver, he was much his in- 
 ferior. I shall mention only a few of his prints ; several of 
 which appear to be confounded, in Heinecken's catalogue, 
 with those of P. Aquila. 
 
 1. Two Cupolas in the Church of St Peter at Rome, executed in 
 Mosaic after the designs of Pietro Berettini da Cortona ; one in the chapel 
 of the Holy Sacrament, the other in that of St Sebastian ; each a large sheet- 
 print. The second, now before me, is dated 1696. 
 
 2. The Battle of Constantine with Maxentius, and The Triumph 
 of Constantine; two large plates l-w. after Andrea Camassei. 
 
 3. First-thoughts of Coreggio, for the Cupola of the Duomo at 
 Parma ; 6 pieces, etched by F. F. Aquila after original drawings then in the 
 collection of Padre Resta : these 6 interesting prints, which are seldom seen 
 together, are of different dimensions, 4to. or small fol. 
 
 4. The Madonna with the Infant Saviour in her Lap, and Joseph 
 at his carpenter's bench in the distance ; from a small picture by Coreggio 
 now at the National Gallery in Pali-Mall. * Franciscus Farao Aquila Chalco- 
 graphus Erosorius Panormitanus d. d. d. Romae 1691.' h. 12|, besides mar- 
 gin, w. 9|. This print is executed with greater boldness of manner than he 
 commonly practised. Possibly, he was assisted in it by P. Aquila. 
 
 5. The Marriage of St Catherine, after a fine picture of Coreggio, now 
 in the Louvre ; in the distance the martyrdom of St Sebastian. Latin dedi- 
 cation, with date, 1711. 1 Fran. Aquila Panorm. Incisor, Sup. permissu.' 
 h. 10£, besides margin, w. 10. 
 
 6. The Madonna with the Infant Christ in her Lap, in the Clouds; 
 
A Q U 
 
 a Saint, kneeling on the left, offering a lily ; and Joseph, on the right, with 
 his rod topped with flowers. * Carlo Maratta iuvet. F. Faraone Aquila del. 
 et Sculp.' h. 12, including margin, w. 8|, 
 
 7» The Pest ; from a celebrated design of Raffaelle, which was also engraved 
 by Marc' Antonio; with dedication to D. Carlo Albani, nephew of Pope 
 Clement XI. /. 9£. h. 9, including margin. 
 
 8. The Frescoes of Raffaelle in the Chambers of the Vatican : 
 * Picturae Raphaelis Sanctii Ui binatis ex aula et Conclavibus Palatii Vaticani, 
 &c. &c. Sup. perm. Anno Dni. mdccxxii ; Franciscus Aquila delineavit, et 
 incidit:' in 19 pieces numbered, including the Title. No. 3 is the Battle of Con- 
 stantine, by P. Aquila, before mentioned, in four sheets, joined ; the rest are 
 large sheet prints Uw. and are each signed : * Fran. Aquila del. et incid.' The 
 work being highly interesting and not very common, I enumerate the subjects. 
 (I) The Title, (2) The Vision of Constantine. (3) The Bat- 
 tle of Constantine. (4) The Baptism of Constantine. (5) 
 
 The Donation of Constantine. All these in the Hall dedicated to the 
 first Christian Emperor. (6) The Heliodorus; this, and the four fol- 
 lowing, are in the first Chamber. -(7) The Mass of Bolsena. (8) 
 
 The Story of Attila. (9) St Peter delivered out of Prison. 
 
 (10) The Ceiling of this, the first, Chamber; in which are four compart- 
 ments of a fan-shape, representing, God appearing to Noah ; Abraham's Sa- 
 crifice ; Jacob's Dream ; and God appearing to Moses in the burning bush. 
 
 The next five prints represent the paintings in the second Chamber. (II) 
 
 The School of Athens. (12) Temperance, Prudence and Forti- 
 tude. (13) The Dispute of the Sacrament. (14) Mount Par- 
 nassus.- — —(15) The Ceiling of the second Chamber ; in which are four 
 Allegorical Female Figures, in circles ; and four smaller, upright compart- 
 ments, representing, Adam and Eve eating the forbidden fruit; the Judg- 
 ment of Solomon ; Apollo and Marsias ; and an Allegorical female personage 
 •contemplating the globe. The remaining pieces are in the third Chamber. 
 (1G) The Victory of Pope Leo IV over the Saracens at Ostia. 
 (17) The Incendio del Borgo. (18) The Coronation of Charle- 
 magne. (19) The Justification of Pope Leo III. 
 
 AQUILA, See Arent Van Halen. 
 POMPEO AQUILANO, or DALLY AQUILA, 
 
 1550—1570. 
 
 So called from the place of his birth, a town in the state of 
 Naples, appears to have been a painter of considerable talents. 
 We have several prints of great merit done after his designs by 
 his fellow-townsman Horatius de Sanctis ; and he himself is 
 also said to have engraved, though the fact seems doubtful. 
 
 TOBIAS AQUILANUS, 
 
 1570. 
 
 Appears to be known only by the following print, which is 
 now before me. 
 
 Christ on the Cross. The Cross stands upon a small mound of earth, upon 
 which lies a skull ; the print has no engraved sky nor back-ground. Four 
 Latin verses, near the bottom : * Summa Deum pietas, &c. Romae Ant. Laf- 
 rerij ;* and below : * Tobias Aquilanus fecit, m. d. lxx.' It is probably from 
 a design of Pompeo Aquilano, and is engraved much in the manner of Eneas 
 Vico. h. 16. w. 11. (O.) 
 
 HORATIUS AQUILANUS, See de Sanctis. 
 
A R D 
 
 LEONARDO DELL' A RCA. 
 
 According to Marolles, he engraved some plates of orna- 
 ments and grotesques. 
 
 FR. TOMAS DE LOS ARCOS. 
 
 1633. 
 
 According to the ' Diccionario, &c. de las Bellas Artes in 
 Espana/ this artist engraved at Cordova, in 1G33, the shield 
 of armorial bearings of Ponce de Leon, for a book on Medicine 
 written by Doctor Francisco de Leyva ; and, in 1634, that of 
 the Count de Santisteban, for a book dedicated to him, with the 
 title : ' Additiones novae resolution, ad Partitarum,' &c. by 
 Gaspar de Hermosilla: also a few devotional pieces. 
 
 JAMES MAC-ARDELL. 
 
 1749— 17C4. 
 
 Was probably born about the year 1705, and died in London, 
 which appears to have been his chief place of residence, on the 
 2d of June, 1765. It is doubtful whether he was a native of 
 Ireland, or born of Irish parents in this country. He is justly 
 considered one of our finest engravers in mezzotinto. His 
 prints, which consist in great measure of portraits, are nu- 
 merous; but, as they are well known, I shall notice only a few 
 of them. 
 
 1. Time cupping the Wing9 of Love ; after Ant. Van Dyck ; large 
 upr. fol. 
 
 2. The finding of Moses ; same dimensions, after a picture by Van Dyck 
 in the collection of the Duke of Devonshire. 
 
 3. George Duke of Buckingham and his Brother, whole-lengths, dated 
 1752, from a picture by Van Dyck in the Palace of Kensington ; large 
 upr. fol. 
 
 4. Rachael, Countess of Southampton, seated in the clouds ; whole- 
 length ; large upr. fol. dated 1758. 
 
 5. The Madonna standing in the Clouds, upon a Crescent, supported 
 by a group of little angels ; from a picture by Murillo in the possession of 
 John Blackwood, Esq. large upr. fol. 
 
 6. St Francis de Paul, whole-length, after the same ; large upr. fol. 
 
 7. Rembrandt's Mother, half-length figure, seated in a chair, reading ; 
 large upr. fol. 
 
 8. Rubens with his Wife and Child; from a picture by Rubens in the 
 collection of the Duke of Marlborough ; large upr. fol. 
 
 9. Helena Forman, Rubens' second wife, with a large feather in her hand, 
 after the same ; large upr. 4to. 
 
 10. A Family Picture, in which is a Lady, seated in an arm-chair, with her 
 four children, after Rubens. It is somtimes called the family of Rubens ; 
 but is thought rather to represent that of Bait. Gerbier. A large square print. 
 
 S ANTES DE ARDUINIS. 
 
 c. 1515. 
 
 He is also called Arduino da Bologna; and, according to 
 vol. i. s 
 
A 11 F 
 
 Gandellini, was both a painter and an engraver in wood ; but I 
 no where find his prints specified. 
 
 CESARE ARETUSI. 
 
 1576. 
 
 A painter of considerable ability of the school of Bologna, 
 whose pictures, however, are now but little known. He is 
 placed here upon the authority of the following very masterly 
 etching, on the back of which some person, apparently of the 
 time, has written ' Cesare Aretusi BoL' that is Bolognese ; for, 
 though some writers suppose Aretusi to have been born at Mo- 
 dena, there seems to be no doubt that he was a Bolognese citi- 
 zen. He died according to Zani in 16 1 2. 
 
 The Madonna, with the Infant Saviour in her Lap, upon the 
 Clouds ; her right hand resting on the shoulder of a saint who is kneeling 
 upon the ground, on the left ; and whose mitre is supported, in the foreground 
 on the right, by two little angels. On the right, in the clouds, is seen the 
 upper part of the figure of an old female saint; her hands crossed on her 
 , bosom. At the bottom of the p)ate is a scroll, apparently intended for an 
 inscription, in the middle of which is a cypher, upon a small shield, viz. a 
 large C, and within it the capital letters ar, joined together. This piece is 
 very boldly etched, with broad hatchings, crossing each other in various di- 
 rections, sometimes nearly at right angles, h. U £. w. 7|. (O.) 
 
 Zani mentions a nephew of the above artist, one Costanzo 
 Aretusi, who lived in 1636, and, according to him, practised 
 both painting and engraving-. 
 
 ANTONIO DE A 11 EE. 
 
 1577. 
 
 The author of the < Diccionario, &c. de las Bellas Artes in 
 Espana,' says of this artist that he designed correctly, in the 
 taste of the Florentine school. He adds that, in the year 1577, 
 he engraved in wood the Frontispiece of a book concerning the 
 family Girones, written by Geronimo Gudiel, and printed at 
 Alcala, in which is represented the shield of armorial bearings 
 of that family, with the figure of Fortitude on one side and that 
 of Prudence on the other. 
 
 JUAN DE ARFE Y V1LLAFANE. 
 
 b. 1535. d. 16... 
 
 A Spanish artist, very celebrated for his works in silver. His 
 life is given at some length in the ' Diccionario/ &c. above 
 cited, where it is said that he engraved in 1590 the Portrait of 
 Alonso de Ercilla, for the first edition of his ' Araucana though 
 the writer seems unable to determine whether it was executed 
 on wood or on some soft metal. It is stated, also, on the authority 
 of P. Burriel, that he designed and engraved the plates in the 
 ' Caballero Determinado,' a poem of Micier Olivier, translated 
 from the French into Spanish by D. Hernando de Acuna, and 
 
A RG 
 
 printed at Salamanca, in 1573, by Pedro Laso. These also are 
 said to have been done on a soft metal. 
 
 ARFWIDSSON. 
 
 c. 1760? 
 
 A Swedish engraver of portraits, mentioned by Heinecken. 
 ANTONIO BARTOLOMMEO ARGELATI. 
 
 1700. 
 
 I find no mention of this artist ; but think it not improbable 
 that he was of the same family as Francesco Argellati, a Bolog- 
 nese painter, whose name appears, with the date 1747, in 
 Zani's Index. The following etching is very boldly executed, 
 and has much of the character of the Bolognese school at 
 the close of the 17th century. It is evidently the work of 
 a painter. 
 
 A Sacred Allegory, clone upon the occasion of a young lady of distinction 
 taking the veil, and dedicated, in compliment, to her father. In the sky, on 
 the left, are several little angels, bearing shields ornamented with various 
 sacred devices. In the foreground, are represented Abraham, kneeling; his 
 son Isaae, pointing up to heaven ; and the young lady herself, who looking up 
 appears to admire the celestial vision. The background, on the left, repre- 
 sents a temple, and on the right, a rocky eminence. On this side, also, is an 
 inscription : ' 1'rofcssando Solennamente, &c. Sigra. Brigjta l»occaferri,' fol- 
 lowed by a copy of verses : ' Io viddi allor,' &c. by Carlantonio Hedori, and 
 ending with dedication : * All' Ill mo . Sig*. Camillo Boccaferri. Antonio Bar- 
 tolo. ArgeUti D. D. D.' Near the middle of the print, at bottom, is a singu- 
 larly-formed monogram, or cypher, (which I take to be that of Argelati), 
 followed by the letter /. and the date 1700. I. 10£. h. 15|. (O.) 
 
 ANT. JOSEPH D'ARGENVILLE. 
 
 b. 1680. d. 170C. 
 
 The family name of the gentleman was Dezaillier. He is 
 well known by his writings ; amongst which are the Lives of 
 the Painters, in French, first printed at Paris, 1745-1752, in 
 3 volumes 4to. and, again, with additions, in 1762, in 4 vols. 
 8vo. It appears that he spent some time at Home, amusing 
 himself occasionally with painting landscapes, several of which 
 he afterwards etched ; witness the following, which are men- 
 tioned by Heinecken : 
 
 1. A Landscape, (a) in which is a Bridge of one Arch. (b) Another, with 
 
 the ruins of a Grot, and of a Aqueduct. (c) A country Villa, upon the 
 
 banks of a river, 1731. (d) Another landscape, in which are a house and 
 
 an ancient mile-stone. (c) Another; a chain of mountains, with a peasant 
 
 mounted on an ass. (/) Another, with houses on the further side of a 
 
 river, and in the foreground a girl with cows. ($•) The ruins of a Temple ; 
 
 dedicated to Madame d'Argenville. (/i) A sort of Fortress built on a rock. 
 
 (i) The Ruins of a Castle. (k) Cottages at the foot of a ruined Castle. 
 
 U) Ruins, resembling those of the Baths of Dioclesian ; two figures in the 
 
 foreground, one of them on horseback. (w) The Entrance of a town with 
 
 a post in the middle of the road. 
 
 2. The Head (a) of a Young Country-Girl, laughing ; a small square 
 plate, in the manner of chalk ; dedicated to the Countess de Rochehouart ; 
 
 s 2 
 
A R N 
 
 ' M. Ange de Caravage Iuv. Dargenville fecit.' (ft) Another similar 
 
 Head, after Watteau. 
 
 ARNOLD US ARNEMTUS. 
 
 1556. 
 
 I find no mention of this old artist. The following engraving" 
 by his hand is now before me. 
 
 The Prophet Ezechiel : from the fresco by Michelangiolo Buonaroti, in the 
 Sistine chapel. The figure, as in the original, is turned towards the left. 
 Upon the pedestal on the left is inscribed, in characters reversed : 4 Mich.tel 
 Angelus Inventor. 1556. Arnold 8 . Arnemius faciebat ;' after which follows 
 a monogram. It is possible this print, the only impression I have seen, may 
 be a counter proof ; though I should think otherwise. The general action 
 and spirit of the figure are well preserved ; but the extremities are miserably 
 drawn, and the whole is poorly engraved, in a manner faintly resembling that 
 of Bonasone. ft. lOf ? tv. 9 1 (O.) 
 
 JONAS ARNOLD or ARNOUL, 
 
 c. 1670? 
 
 Heinecken states him to have been a painter and engraver of 
 portrait and history, and to have worked at Nuremberg, Ulm, 
 Paris, and other places ; but I am of opinion that, in speaking 
 of his supposed works of engraving done at Paris, he has con- 
 founded him with N. Arnoult. Independently of these, however, 
 Heinecken mentions a small print, engraved by him, with this 
 title : ' Patrona Sodalitatis.' 
 
 JOHAN ARNOLD. 
 
 c. 1760? 
 
 An engraver of little merit, according to Heinecken, who 
 mentions by him : 
 
 1. Daniel in the Lions' Den; after Fr. Xav. Palco ; in 4to. 
 
 2. A Subject taken from the 1st Book of Moses, after Palco the 
 Son, 4to. 
 
 ANTON. ARNOLD. 
 
 1770. 
 
 An engraver born at Koniggraetz in 1735, and a disciple of 
 Reutz. When Heinecken wrote, he was living at Prague; 
 where he engraved devotional pieces, and worked for the book- 
 sellers. 
 
 A. ARNOULT. 
 
 1683. 
 
 A French engraver who resided at Paris, where he acquired 
 some reputation, says Heinecken, by his whole-length portraits 
 of personages of distinction about the court, represented in the 
 stiff' dresses of the time ; of which kind are : 
 
 1. A Set of Six Figures in Fashionable Dresses, published in the years 
 1683-1684, in fol. 
 
 2, Madame la Marquise d'Angeau, at her Toilet, in fol. 
 
A R T 
 
 3, The Four Elements, represented by figures 1 a la mode.' 
 
 4. The Family of the Dauphin, viz. himself, his wife, and his three 
 children, and the portrait of Louis XIV. in an oval frame, suspended to the 
 wall, f N. Arnoult fecit: w. 17§. h. 14£. 
 
 His works, as Strutt observes, are executed in a coarse, tasteless manner 
 of engraving. 
 
 BALTHASAR ARNOULLET. 
 
 c. 1570? 
 
 Papillon, in his work on wood engraving-, Vol. 1, p. 400, 
 mentions the having discovered, in the King of France's Col- 
 lection, a wood-print of the town of Poitiers, 14J French inches 
 long, and 7\ in height, inscribed ; ' A Lyon par Balthasar Ar- 
 noullet, avec privilege de la Majeste Royal pour six ans.' He 
 supposes him to have been the engraver of this view or plan, 
 and to have done others. 
 
 ARRE, 
 
 1 A Swedish artist,' says Strutt, ' by whom we have the por- 
 trait of ' Thorstan Rudeu, Epis. de Linkoping/ in the form of 
 a medallion.' 
 
 BARTOLOME ARTEAGA, 
 
 1627. 
 
 An artist of Seville, who occasionally practised engraving, 
 or etching. The ' Diccionario, &c. de las Bellas Artes,' &c. 
 mentions the two following prints by his hand : 
 
 1. The Shield of Armorial Bearings of the Duke de Olivares ; 
 in a book entitled : i Panegirico de la Poesia,' which was dedicated to him 
 by Hernando de Vera, and printed, in 1G27, at Montilla. 
 
 2. The Frontispiece to a memorial concerning divers law-suits of the Uni- 
 versity of Seville, promoted by the Abbot Gordillc. It contains various cir- 
 cular compartments ; in the middle one is S. Fernando, with two ecclesiastics 
 kneeling at his feet; in another, the head of John the Baptist; in a third, 
 the arms of the University, &c, the whole being sufficiently well done with 
 the burin. 
 
 FRANCISCO ARTEAGA, 
 
 1072. 
 
 A son of Bartolome Arteaga. He etched in the year 1G72, 
 says the writer of the above-mentioned * Diccionario,' two plates 
 for the book of the Festivals which were celebrated at Seville, 
 upon occasion of the Canonization of S. Fernando ; each repre- 
 senting six emblems. 
 
 MATIAS ARTEAGA, 
 
 1672. 
 
 Another son of Bartolome, was born at Seville, and studied 
 painting under Juan de Valdes. From the few etchings I have 
 seen by him, two of which appear to belong to the above-men- 
 tioned book of Festivals, he appears to have been an artist of 
 considerable talent. Two artists of the name of Baldes, and a 
 
A S E 
 
 third called Morales, etched other plates, as I believe, for the 
 same work, 
 
 1. 1 Vera effigies Ferdinandi III. Regis Castell^e & Legionis,' the 
 Saint, himself, as I imagine, halt-length, in his Royal robes, with crown, 
 sword, and a glory round his head, within an oval ; over the portrait are 
 three little angels, two of them holding up a curtain ; and below are two 
 others, holding a scroll with Inscription : 4 Magni Ferdinandi, veros in 
 imagine vultus/ &c. On the left at bottom : * Bartolome murillo pins. 
 Mathias Arteaga sculp, et xcud. 1672/ A very masterly painter's-etching ; 
 /*. 11. w. 7|. (O.) 
 
 2. The Interior of a magnificent Chapel, surmounted by a dome, 
 from which are suspended banners. In the foreground, on the left, the figure 
 of a gentleman, seen in a back view, walking towards the chief altar, and 
 the name of the artist : 4 Mathias Arteaga F.' h. iv. 10$. (O.) 
 
 3. A Cross, within an ornamented oval, and below two pilgrims seated. At 
 top, on a scroll : * Deus Charitas est.' Slightly etched : ' Seville, Mathias 
 Arteaga f. Ao. 1675/ h. 6^. w. 4|. 
 
 4. S. Francisco, and the Triumph of the Sacrament ; after two pic- 
 tures by Herrera, in the Cathedral at Seville. These, and two or three 
 others, are mentioned in the i Diccionario' above cited. 
 
 D. FRANCISCO DE ARTIGA, 
 
 1681. 
 
 A Spanish painter, architect, and mathematician, who was 
 born of a distinguished family at Huesca, and died in 1711. 
 The following plates are said to have been executed by him, 
 partly with etching, and partly with the burin. 
 
 The Facade of the University of Huesca, and the Plates in a Work 
 upon the Old Arragonian Coins, which was published by his country- 
 man Lastanosa, in the year 1681. (' Diccionario, &c. de las Bellas Artes/ dec.) 
 
 COSMAS DAMAN AS AM. 
 
 b. . d. 1739. 
 
 Was a native of Bavaria, and studied painting at Rome, 
 under Ghezzi ; after which he established himself at Munich, 
 where he died, A. D. 1739. He painted both history and por- 
 trait, and, according to Heinecken, engraved or etched the two 
 following pieces, after his own designs, to which he has affixed 
 his name, thus : ' Cosmus AsamJ 
 
 1. An Altar-piece, representing a Franciscan friar, and above, in the clouds, 
 the Madonna surrounded by angels j ' George Christophe Kilian exc. Aug. 
 Vind.' In fol. 
 
 2. Another Altar-piece, in which a Mitred Saint is represented, receiving 
 a book from St Joseph. In fol. 
 
 D. FRANCISCO ASENSIO Y MEJORADA, 
 
 b. . d. 1794. 
 
 A. Spanish engraver, remarkable for the neatness with which 
 he imitated all kinds of letters, as well ancient as modern; but 
 who did not excel in figures. The ' Diccionario de las Bellas 
 Artes,' &c. mentions two chronological tables of the Kings and 
 Queens of Spain, engraved by him, with extreme minuteness 
 
ASP 
 
 of workmanship, upon plates of the diameter, only, of a silver 
 real. He died at Madrid in 1794. 
 
 Zani, in his Index of artists' names, mentions one J. As EN- 
 SI o, under the year 1798. Perhaps this person may be the 
 author of a small portrait, in an ornamented oval, of Pope Pius 
 VI, now before me, At bottom, the arms of the Pope, and : 
 ' Electo en 15 Febrero de 1775. Assensio lo gravoJ It is a 
 wretched performance. 
 
 M. ASINIO. 
 
 161G. 
 
 A Spanish artist, who engraved, in 1GJG at Madrid, the Por- 
 trait of the Queen Margarita of Austria, wife of Philip III, 
 aged 26 years. This portrait, which is something* more than 
 a half-length, is said to be engraved with great delicacy, and is 
 inserted in the life of the Queen written by D. Diego de Gus- 
 man. (< Diccionario, &c. de las Bellas Artes,' &c.) 
 
 ASINIUS, and L'ASNE, See Lasne. 
 J OH AN ASNER. 
 
 b. . d. 1748. 
 
 An indifferent engraver of Vienna, said to have been a pupil 
 of Dietel ; and whose chief employment was to engrave devo- 
 tional pieces. 
 
 FRANTZ ASNER, 
 
 b. 1742. d. . 
 
 A son of I. Asner, born in 3742, was taught engraving by 
 his father-in-law Adam Napert. He was living at Vienna in 
 1778. Heinecken says he was a much better artist than his 
 father, and mentions by him : 
 
 1. A piece representing the Creation of the Sun and Moon, with in- 
 scription : ' Fecitqne Deus,' &c large 8vo. 
 
 2. A little Child with a Dog, a half-figure, after P. Veronese, in 4to. 
 
 LEONARD ASNER, 
 
 c. 1778. 
 
 The brother of Francis, worked under I. Mansveld. Heinec- 
 ken mentions by him : 
 
 A View of the Castle of Konigsberg, near Presbomg, after a drawing 
 by Ign. Muller. 
 
 AMICO ASPERTINI. 
 
 b. 1474. d. 1552. 
 
 A Bolognese painter, said to have been a scholar of Fran- 
 cesco Francia ; though he soon changed the simple and meagre 
 style of that artist for one as far removed from it as possible. 
 He appears to have possessed very considerable genius, and a 
 great share of wild fancy ; but to have been deficient in judg- 
 
ASF 
 
 ment : though it is said that, when he chose to take pains, he 
 sometimes produced works of real excellence. Antonio di Pa- 
 olo Masini, according to Heinecken (for I have not his ' Bo- 
 logna perlustrata,' 1666, 2 vols. 4to. before me), states Asper- 
 tini to have engraved in copper. The following print is attributed 
 to his hand, and perhaps justly ; that the design is by him I am 
 fully persuaded, from what I have seen of his drawings. 
 
 An Allegorical Representation of the Fall of Man. Above, on 
 the right, the Angel driving Adam and Eve out of Paradise ; on the left, a 
 large altar, with an offering burning upon it, and a figure flying, holding a 
 scroll. In the foreground, on the left, is seen Adam, recumbent, with an 
 adz by his side ; on the right, is Eve holding a distaff ; and between them, at 
 a small distance, is seen Cain, as it is supposed, seated on the ground, looking 
 at himself in a mirror. This piece is engraved in a coarse manner, something 
 like that occasionally employed by Bonasone, and has a powerful effect. The 
 figures are carelessly drawn, but in a great style. It has neither mark nor 
 inscription. 1. 12f. h. 9|> (O.) 
 
 The following five pieces, though engraved in somewhat a 
 different manner from the above, are, I am strongly of opinion, 
 from the designs of Aspertini ; and I therefore notice them here, 
 not knowing better where to place them. They are described in 
 Bartsch's XVth Volume, and are marked thus : h— E- 
 
 1. The Adoration of the Shepherds. A composition of eleven figures, 
 including the divine Infant. Joseph is sleeping in the middle of the fore- 
 ground, his head resting on his left hand. Behind the group is a large arch- 
 way, over the opening of which is the monogram. It is executed in a very 
 soft manner, with fine strokes of the graver, but with considerable force of 
 effect. This plate was afterwards spoiled by retouching. In the retouched 
 impressions, the right breast of Joseph is covered by horizontal hatchings. 
 h. 12£. w. 9. (B. 1.) 
 
 2. Christ disputing with the Doctors. He is seated on a throne raised 
 upon six steps ; in the middle of the print, and on either side, are the Doctors, 
 all of whom are standing, except one in the foreground, on the left, who is 
 seated, reading in a large book. The monogram is in the middle, at top. 
 This print, when the impression is fine, has prodigious richness of effect. (O.) 
 h. 12. w. 8f. (B. 2.) 
 
 3. A Frieze of Marine Monsters. The procession moves to the right. 
 The monogram is upon one of the wheels of a car, on the left. I. 15 f. 
 h. 6|. (B. 3.) 
 
 4. The Profanation of Parnassus ; a wild fanciful design, in which several 
 of the muses are represented receiving the addresses of various young men. 
 On the left are a young female and a man standing, who appear to disapprove 
 their licentiousness ; and in the sky, on the right, Pegasus is seen flying 
 away, accompanied by the birds of the grove. The monogram is upon the end 
 of a broken column, in the foreground on the left. 1. 19f . h. 14. 
 
 There are two impressions of this print. In the second, various indecen- 
 cies in the original impression are removed. (B. 4.) 
 
 6. Four naked Men, awaking from Intoxication, near a Wine-fat : 
 in the background, on the left, are four others, each bearing a large vase. 
 The monogram is near the middle, at bottom. The four principal figures in 
 this piece are designed and composed in a great style. I. 23£. h. 12|, (B. 5.) 
 
 FRANTZ. ASPRUCK. 
 
 c. 1595? 
 
 Was a native of Brussels, and a painter ; and it is conjee- 
 
A S T 
 
 tured, from his style, that he was a disciple of Spranger. He 
 occasionally amused himself with engraving, or etching ; com- 
 monly marking his plates with the initials F. A. So says Heinec- 
 ken, who notices the following pieces by his hand : 
 
 1. The four Archangels; Michael, Gabriel, Raphael and Uriel; 
 half-length figures on four plates, in 4to. published by Dom. Custos. 
 
 2. Love and Anteros, half figures, on one plate, marked : * Franz Aspruck 
 B. fecit.' in 8vo. 
 
 3. A Small Piece, engraved by him in the style of a miniature, after a 
 design of Joseph Heintz. 
 
 IOH. WALTHER VAN ASSEN, See Jacob 
 
 CORNELISSEN. 
 
 A. VAN ASSEN. 
 
 1802—1810. 
 
 A designer and engraver of talent ; though I am not aware 
 that he was ever employed in any work of magnitude or impor- 
 tance . He died in London about the year 1817. I suppose, 
 from the name, that he was of Dutch or Flemish extraction. 
 
 1. The Portrait of * Mr. Robert Grave. vEtat. 40, Obiitl802, (Etat. 71/ 
 a small oval. ' Painted by E. Penny, R. A. Engraved by Van Assen.' 
 
 2. 1 John Hamilton Mortimer, Pictor, fac-simile from a drawing in Pen 
 and Ink by himself. A. Van Assen Fecit. Published Feb. 1, 1810, by I. 
 Parry, Bentinck. Street, Soho.' Bust, profile, in an oval, upr. 4to. 
 
 3. Three Nymphs, and a naked Infant, sacrificing to Ceres or 
 Pomona ; the Goddess is seated on a pedestal, on the left. Oval. /. 5. h. 3^. 
 ' Zucchi delint. A. Van Assen Sculp.' It is prettily engraved in the dotted 
 manner. 
 
 ASSCHOONEBECK, See Sciioonebeck. 
 ASSENSIO, See Asensio. 
 
 DIEGO DE ASTOR. 
 
 1 COG— 1640. 
 
 A designer and engraver of Toledo, who is spoken of in Ihe 
 • Diccionario, &c. de las Bellas Artes,' as an artist of ability 
 and reputation; though, from the only print I have seen by him, 
 I am not disposed to rank his pretensions very high. 
 
 1. St. Francis on his knees, contemplating a Skull; engraved by 
 him, in 1606, after a picture by his master, El Greco. 
 
 2. The Frontispiece to the i Historia del ap6stol de Jesucristo Santiago,' 
 1610, written by D. Mauro Castella Ferrer, together with the Portrait, and 
 other plates contained in the book. 
 
 3. A Title-page or Frontispiece: ' Isagoge in Totam Sacram Scripturam, 
 Auctre. Rmo. d. D. Lud. de Tena,' &c small folio, a neat but tasteless perfor- 
 mance. At top, in a square compartment, Christ seated, and the Holy 
 Spirit falling on the Apostles ; on either side, six smaller compartments, each 
 containing a Saint ; at bottom, the armorial bearings of a prelate, and the 
 artist's signature : * Diego de Astor, Fecit, 1619.' (6.) 
 
 4. The Gate of Guadalaxara ; with the figures of Fernan Garcia and 
 Diaz Sanz, engraved by him in 1629. This print is in the history of Segovia 
 
 VOL. I. T 
 
ATT 
 
 by Colmenares. He is also said to have engraved a frontispiece for the same 
 work in 1640. 
 
 FREDERICK ATKINSON. 
 
 1800. 
 
 I find the following notice among my memoranda : 
 
 The Portrait of Hugh Robinson, head in a ruff, ' from an original sketch 
 by himself, 1770. Frederick Atkinson fecit 1800/ 12mo. In the manner of 
 Worlidge. 
 
 JOHN AUGUSTUS ATKINSON. 
 
 1803-7. 
 
 An artist well known by his spirited pictures of battles, and 
 other subjects admitting the introduction of military figures, and 
 now a resident of London, where he was born in 1775. In the 
 year 1784 he accompanied his father in law, Mr. James Wal- 
 ker, to Petersburg ; that gentleman having entered into the 
 service of the Empress Catharine, as engraver in mezzotinto. 
 In the picture-gallery of that court Atkinson prosecuted his 
 professional studies, liberally encouraged by Catharine, and, 
 after her death, by her son Paul I., by whose orders he painted 
 several large pictures of Russian History. Upon his return to 
 England in 1801, he drew and etched an extensive work on 
 Russian Costume, under the following title : 
 
 * A Picturesque Representation of the Manners, Customs, and 
 Amusements of the Russians ; in one hundred coloured plates/ &c., 
 with short descriptions, in 3 Vols, fol., which were published in 1803-1804, 
 by himself and Mr. Walker. The plates are slightly etched, in outline, upon 
 soft ground, and shaded with a little aquatinta. Many of them are very 
 spirited : all shew the hand of a practised designer, and are interesting for 
 the subjects they represent. But it is to be regretted that they are not 
 more studied and finished in the details, and that the task of colouring the 
 impressions was not better performed ; or rather perhaps that such a mode of 
 making them attractive to the vulgar, was resorted to at all. 
 
 The plates of this work, a few of which are uprights, measure 10 inches 
 by 7£, including the margins, all round ; except ten, which are I4|> h. 10. 
 Each piece has the name of the artist in the margin on the left, thus: 
 ' Drawn and Etched by John Augustus Atkinson,' and the title of the subject 
 represented. The plates are not numbered. The following are among the 
 
 best: (Vol. I.) * Finland Sledge. Lapland Sledge, Market for frozen 
 
 Provisions (one of the large plates), -Winter Kibitka, Sledge, Car- 
 riage on Sledges (large),- — Charcoal Bark, Bathing Horses, Gipsies, 
 
 Finland Beggar, Galiotes, Summer Carriers, (Vol. II.) Zbiten- 
 
 shik, Government Bark, Ice Hills (large plate), — —Rafts of Timber, 
 
 (large), Finland Horse, Court Caleche, Yaeger,- Public Festi- 
 val (large), Boutoushniki, Stone Carriage, Finland Carts, (Vol. 
 
 III.) Hot Bath, The Wolf-hunt, Wood-Barks, Farm Yard, Fins 
 
 bringing live Fish to Market, Consecration of the Waters (large), 
 
 Trotting Horse, Noble Tcherkesseian. 
 
 We have also by this artist a set of slight etchings on the soft ground, done 
 by him in 1807, to illustrate an edition of i The Miseries of Human Life,' 
 and various Battles in the Lithographic method, published by Ackermann, 
 which are exceedingly spirited. 
 
 R. ATT WOLD. 
 
 1750. 
 
 A very indifferent artist, whose name I find to the following 
 
A UB 
 
 satirical print upon the rapid advancement of young gentlemen 
 of family in the Navy : 
 
 ' The Naval Nurse, or Modern Commander,* with eight verses; ' From 
 Mid. to Lieutenant, &c. Invented engraved by R. Attwold. Published, &c. 
 1750.' It represents a young Captain seated in his cabin, and an Old Lieute- 
 nant receiving his orders, small upr, 4to. 
 
 ATZELD, See Azelt. 
 L. AUBER. 
 
 c. lG9t). 
 
 A French engraver of some ability ; but of whom I find no 
 notice in our writers on prints. 
 
 1. The Portrait of ' Mr. Boyleau/ head and right hand, in a border 
 with various inscriptions. At bottom : * Au joug de la Raison, &c. Fran, 
 de Troye pinxit. L. Auber sculpsit.' h. lOf. w. 9. This print has something 
 of the manner of Edelinck. (O.) 
 
 2. * Giovanni Boccaccio bust in an oval: ' L. Auber Sc.' 8vo. (O.) 
 
 3. Christ nailed to the Cross; a composition of many figures; one of a 
 set of the life and passion of Christ, some of which were perhaps done by 
 Le Clerc. In the foreground, a little towards the right, is a man kneeling, 
 with his back to the spectator, taking nails out of a basket. At bottom, on 
 the left : 4 L. Auber sc.' I. 3£. h. 2j. The plate is bordered bv a double 
 line. (L.) 
 
 JEAN AUBERT. 
 
 c. 1720. 
 
 According to Heinecken, he was by profession an architect, 
 and died at Paris in the early part of the last century, lie oc- 
 casionally amused himself with engraving, and we have by him : 
 
 1. A Book of Studies for Drawing, from Raffaelle and other great mas- 
 ters, done after drawings by Edme Bouchardon ; twelve pieces, published by 
 Huquier. 
 
 2. Academy Figures, from Bouchardon ; part of a set. One of them is be- 
 fore me : i Ed. Bouchardon del. J. Aubert sculp.' I. 14£. h. 9f . It is boldly 
 etched in the manner of Huquier, who was the publisher. 
 
 3. The Portrait of Gillot ; an upright oval. 
 
 MICHEL AUBERT, 
 
 b. c. 1700? d. 1757. 
 
 He is thought to have been of the same family as the pre 
 ceding artist, and, according to Huber, was born at Paris about 
 the year 1700, and died there in 1757. He was an engraver of 
 considerable ability. Strutt observes that his manner was slight 
 and free, and that in his best historical pieces he seems to have 
 had an eye to the prints of G. Andran. His works are suffi- 
 ciently numerous. I shall mention only a few of them. 
 
 1. Louis XV., on Horseback : < Peint par N. le Sueur. Grave 1 par M. Au- 
 bert.' upr. fol. Louis Dauphin de France; on horseback; same di- 
 mensions. These two plates are engraved in a bold and decided manner. 
 
 2. Mars and Venus, bound by Cupid, from Paolo Veronese, for the Cro- 
 
 zat collection; h. 14£. w. 11. also Mars disarmed by Venus, same 
 
 size, from the same painter, and for the same work. 
 
 T 2 
 
A U B 
 
 3. Venus and Cupid, sleeping upon a bed, after F. Boucher : 4 Ne cessonjs 
 de craindre/ &c. w. 10|. h.1\. 
 
 4. The Return of the Holy Family from Egypt, after Rubens: f II 
 leur £toit soumis,' &c. 
 
 5. Laban seeking for his Gods, and the Reconciliation of Jacob and 
 Esau, two middling-sized upright prints from Etienne Jeaurat; the former 
 engraved in 1739, and the latter in 1744. 
 
 6. Promenade upon the Ramparts, after Watteau ; a large print l-w. 
 
 CHARLES-GERMAIN DE ST AUB1N. 
 
 b. 1721. d. 1786. 
 
 A native of Paris, and elder brother to the two artists next 
 to be noticed. Heinecken states that he held the appointment 
 of designer of * modern costume' to the King, and that he 
 etched or engraved the following small sets of prints, none of 
 which I remember to have seen. 
 
 1. ' Premier Essai de Papilloneries Humaines figures a la mode, I 
 suppose ; six pieces l-w. in fol. 
 
 2. Another, similar set, of six pieces. 
 
 3. ' Mes Fleurettes a book of Flowers : upr. in fol. 
 
 GABRIEL DE ST AUBIN. 
 
 b. 1724. d. 1780. 
 
 A painter and designer of considerable talent, who occasion- 
 ally amused himself with etching ; though his performances in 
 this way are of rare occurrence. It is probable that he commonly 
 destroyed his plates, after he had taken a small number of im- 
 pressions as presents for his friends, and that few if any of thein 
 were intended by him for publication. Heinecken mentions 
 only two plates by Gabriel de St Aubin, viz. the first of the 
 following list ; nor do I find any others particularized by later 
 writers, who appear to have done no more than copy him. The 
 Dijonval collection, however, rich in the prints of the French 
 school, possessed twenty-nine small etchings by this artist, of 
 various shapes and dimensions ; (though in this number were in- 
 cluded two or three different impressions of some of the plates), 
 which are briefly noticed, under No. 9086, in that catalogue. 
 This collection, it is well known, found its way some years ago 
 to England ; and as I have since had the good fortune to fall in 
 with some of these fugitive pieces (I mean the identical impres- 
 sions formerly in the above Cabinet), I shall here briefly des- 
 cribe them. 
 
 1. View of the Exhibition of Pictures, in the Saloon of the 
 Louvre, in 1753 ; a middle-size print length-ways. 
 
 2. Six Statues of Christian Virtues, upon one plate; in 4to. These 
 two mentioned by Heinecken. 
 
 3. A Charlatan addressing a Crowd of People. In the background 
 on the left, an equestrian statue, with a captive at each corner of the pedestal. 
 In margin : i G. de Saivt aubin f. Ce charlatan sur la Scene publique/ &c. 
 A very masterly and spirited little etching ; I. 4£. h. including margin, 3$, (L.) 
 
A U B 
 
 4. Courtship; a Garden scene. On tlie right a lady seated, and a gentle- 
 man on the ground, beside her, whom she caresses, holding her right hand 
 under his chin. In the foreground, on the left, a terminus, thrown down. 
 In the margin on that side : ' Gabriel de St aubin inv.' I. 4£. h. 4. including 
 margin. (().) 
 
 5. Another Courtship. A Girl seated on a bank under a Tree, and turned 
 to the left ; her Lover writing upon a paper which he rests on her bosom, 
 holding his pencil in the left hand. Towards the left, under the feet of the 
 young lady : ' G. de St Aubin: I. 4f . h. 4£. (O.) 
 
 G. An Allegorical Piece of several Figures, upon the Recovery 
 of the Dauphin. In the clouds, Esculapius with the serpent, the cock, 
 &c. ; on the left France, represented by a female figure, kneeling ; on the 
 right the Dauphin, standing, supported by two females. In the margin : 4 G. 
 de St aubin inv. 1755/ and long inscription: 4 La france rend grace a Escu- 
 lape,' &c. very spirited. /. 5^. h. 3|, besides margin. (O.) 
 
 7. Neptune standing in his Car, upon a pedestal, on which are seated a 
 nymph and a river-god; three impressions. The ftrst, unfinished and with- 
 out any inscription ; the second, worked up with pen and Indian ink ; with 
 the following writing : 4 La colere de Neptune. Compose, dessine, et grave 
 par Gabriel de St Aubin, 1756. Execute en bronze chez Monsieur de Julli- 
 enne.' The third is worked upon in several places with etching, or the dry 
 point, and has inscription : * La Colere de Neptune. Gabriel de St aubin in- 
 venit et fecit, No. 1314, du Catalogue de M. de Jullienne.' h. 4£, including 
 margin, w. 3. (O.) 
 
 8. A Scene in a Town; on the right, at the door of a house, a young lady 
 standing between two gentlemen one of whom has drawn his sword, apparently 
 to defend her. In the background, a company of soldiers marching with fixed 
 bayonets. At bottom : * G. de S S.' h. 4J. w. 3&. (O.) 
 
 9. A Garden of Public Resort; the trees hung with festoons, lanterns, 
 &c. ; and ladies and gentlemen dancing. Of this plate there are two impres- 
 sions, both numbered * 2/ on the left, at top, in the margin ; whence it seems 
 probable it was intended for some book. It is more carefully executed than 
 most or any of the artist's other plates. The first impression is without his 
 name. The second, which is delicately finished with the graver (perhaps 
 with the help of Aug. de St Aubin) has 4 Gabriel de St Aubin fecit,' in the 
 bottom margin, h. 5\. w. 3^. (O.) 
 
 10. Two Subjects from the Opera of Tancrede ; very delicately etched, 
 but not sufficiently bit by the aquafortis. In the first, among other figures, 
 is a female in chains, seated in the middle of the piece. At bottom, the title 
 4 Tancrede/ and i Gabriel de St aubin, p'nixit, Scptembre 1700, Suivant le 
 
 costume du 15«ie Siecle observe snr les. . . . idem sc. aqua forti: • The second 
 
 represents a Female Warrior, supported in the arms of her friends, dying ; 
 her helmet, shield and spear at her feet. At bottom, the. title : ' Tancrede. 
 Gabriel de St aubin pinxit Ibre 1700, idem Sculpsit aqua forti: These two 
 pieces measure h. 5, besides margin, w. 3^. (().) 
 
 11. An Allegorical Piece, entitled in the margin ; 4 Allegoric des Manages 
 faits par la Ville de Paris, a la naissanse de m& nr . le due de bourgogne en 1751. 
 G. de St aubin invenit.' In the background, on the left, a circular temple 
 supported by Corinthian columns ; in the sky, on the right, three little cupids 
 supporting an oval picture of the newly-born prince ; and, below, a large group 
 of other Cupids, with Venus, Hymen, Abundance, &c. h. 6£, besides mar- 
 gin, w. 4|. A very successful etching. (O.) 
 
 12. An Allegory on the equal Distribution of the Laws; at top, 
 in the clouds, Justice, Truth, and Mercy ; below, in a room filled with books, 
 a great number of Lawyers seated at a long table. On the left, at bottom: 
 * Gabriel de St aubin inv. et Sculp.' A very spirited performance, done in 
 great part, I think, with the dry point, h. 6g. w. 4|. (L.) 
 
 13. Four Vases, on one Plate; which appears, however, to have been in- 
 tended to be cut into four pieces. That on the left, at top, is ornamented 
 with the figures of four nuked infants ; that on the right with five infants 
 
AUB 
 
 sporting ; the vase at bottom, on the left, has two old men seated on lions ; 
 that on the right, three sea-nymphs with fishes' tails. Under each vase is the 
 name ' Gabriel,' and on the right at bottom are two or three words which I 
 cannot read, and the date 1 1754/ h. 9£. to, 6i. (O.) 
 
 14. Two Satirical Designs, in Circles, on the same plate. In that on 
 the left is a man burning books, &c. ; at bottom, between the two circles, is a 
 fox who appears to have bit off his own tail. This piece is unfinished, and 
 without the artist's name. I. 8£. h. 7£. (O.) 
 
 15. Two Circular Designs on Music, on one plate; done to imitate me- 
 dallions suspended to a wall. The design on the left represents a lady touch- 
 ing a note of the organ with one hand and at the same time blowing a flute, 
 and another female behind her touching the strings of a guitar. The medal- 
 lion on the right represents a lady seated, writing music. Under these two 
 circles are square tablets intended for verses ; for the plate is unfinished. 
 Under the last described figure the artist has written his name in pencil, 
 thus : < Gabriel de St aubin inv. Sculp. 1762/ h. 9±. w. 8f. (O.) 
 
 AUG L SI IN DE ST AUBIN, 
 
 b. 173G. d. 1807. 
 
 The youngest of the three brothers, is said to have studied 
 engraving under Etienne Fessard, and Laurent Cars ; though 
 he followed the manner of neither. He was a member of the 
 Royal Academy of Painting at Paris, designed with great fa- 
 cility and taste, and practised a style of engraving which was 
 well suited, from its softness and delicacy, to the subjects he 
 commonly treated, and the confined dimensions of by far the 
 greater number of his plates. Upon the whole, he appears to 
 merit the reputation he enjoyed, of being one of the most taste- 
 ful and intelligent French artists of his time. I shall notice only 
 a few of his prints, which are very numerous. 
 
 1. Portraits, busts in profile, in circles, after C. N. Cochin; small upr. 4to. 
 (a) ' Esprif. Jh. Ae. Blanchard, &c. Maitre de Musique, &c. Dessine par 
 
 C. N. Cochin. Gravepar Aug. de St Aubin 1767/ (6) < GUaume. Le Blond, 
 
 Maitre de Mathematique, &c. Dessine par C. N. Cochin. Grave 1 par Aug. de 
 
 S. Aubin 1769.' (c) 'Jacques Roettiers, Ecuyer, de l'Academie, &c. 
 
 C. N. Cochin filius del. 1770. Aug. de St Aubin Sculp. 1771/ (d) ' An- 
 dre Danican Phtlidor, Mtre. de Chapelle, &c. Aux Francais etonnes, &c. 
 C. N. Cochin filius delin. Aug. de St Aubin Sculp. 1772/ Besides these he did 
 many similar portraits after the drawings of Cochin, all of them admirable. 
 
 2. ' Mr. Necker/ head in an oval, upr. fol. a very fine portrait : I. S. Du- 
 plessis Pinx. A. de St Aubin Sculp.' 
 
 3. * S. N. H. Linguet,' &c. bust profile in a circle, with books, &c. below: 
 * Aug. de St Aubin ad vivum del et Sculp. 1773,' small upr. 4to. 
 
 4. "' Adriene Sophie Marquise de * * *,' head and bust, profile, looking 
 
 to the left, in an oval, under which are instruments' of music and drawing 
 materials, &c. * Sage ou folle a propos, &c. Aug. de St Aubin a t vivum delin, 
 
 et Sculp.' small upr. fol. ' Louise Emilie Baronne de * * *,' profile, 
 
 turned to the right, within an oval, under which are a burning torch, flowers, 
 Cupid's bow and quiver, and the apple of discord, inscribed ' a la plus belle 
 same dimensions. * L' Amour en la voyant crut voir sa mere un jour, dec. 
 Aug. de St Aubin ad vivum delin. et Sculp.' These I think two of the artist's 
 most beautiful performances. 
 
 5. ' Vertumne et Pomone; Peint par Francois Boucher, &c. Grave 1 par 
 Augustin St Aubin; Dedie A Monsieur Laurent Cars Graveur du Roy, Con- 
 seiner en son Academie de Peinture et Sculpture, Par son tres obeiss^nt 
 Serviteur et Eleve Augustin St Aubin, 1765/ large fol. l-w. 
 
A U B 
 
 6. ' Venus Anadyomene,' called also 1 Venus a la Coquille;' from a picture 
 by Titian in the Orleans collection ; small upr. 4to. 
 
 7. Concert of the Graces and Nymphs, in presence of Venus and Apollo; 
 after Cochin ; engraved in 1777. I say nothing of his small plates for books, 
 which are very numerous. 
 
 AUBRIER. 
 
 ' This name,' says Heinecken, 1 is found upon a portrait of 
 Cesar Borgia, Duke de Valentinois, painted by W.' Query if 
 the same person as Oubrier ? 
 
 ABRAHAM AUBRY, 
 
 1650. 
 
 Was born at Oppenheim, according- to Heinecken, but lived 
 at Strasburg, where he followed the avocation both of engraver 
 and publisher. The prints bearing his name, as the engraver, 
 are not numerous. His manner bears some resemblance to that 
 of M. Merian, who was perhaps his master ; and, if I mistake 
 not, he was a principal publisher of that artist's plates. The 
 two following specimens by him are before me. 
 
 1. A Title, ornamented with many small figures : ' Claudii Claudiani scrip- 
 tores, <fec. Impensis Johannis Naumanni Bibliopolae Hamburgensis 1650. 
 A. Aubry fe.' h. Of. w . 4f . 
 
 2. The Title to a Set of Landscapes, engraved by him after Hollar; 
 * Amoenissimi Aliquot Locorum &c, a Wenceslao Hollar Bohemo delineata?, 
 et a Abrahamo Aubri Aqua for Li acri incisae/ /. 6§. h* 3|. 
 
 PIETER AUBRY. 
 
 1637—1666. 
 
 He is said to have been also a native of Oppenheim and a 
 resident of Strasburg, where he published numerous portraits, 
 many of them engraved by his own hand. He was a very in- 
 different artist, and probably of the same family with the pre- 
 ceding. I shall notice only a few of his plates. 
 
 1. 'Michael Virdungus Kittinga, &c. Ob. 1637. P. Aubry fe. Nos da- 
 mus effigiem, &c.' bust in an oval, 8vo. 
 
 2. ' Effigies, &c. Johannis Kuefferi, &c. Medici Argentor. An. 1645/ 
 half-length, in an oval, surrounded by naked cupids with emblems of Science. 
 Latin verses underneath : 1 En tibi, quisquis, &c. &c, sculpsit ac reverenter 
 obtulit Petr. Aubry.' h. 10|, besides margin, w. 8|. 
 
 3. * Uladislaus IV., par la grace deDieu Rex Poloniae. P. Aubry Sculpsit.' 
 bust in an oval, 8vo. 
 
 4. 1 Casparus,Bauhinus. Pet. Aubry sculpsit* bust in an oval; in 4to. 
 
 5. * Johannes Baptista IIII. Marchio € Stirpe Pompeij, &c. &c. Pet, 
 Aubry Sculpsit 1666;' bust in an oval ; in fol. 
 
 Heinecken mentions also a Johan Philippe Aubry, an 
 engraver and publisher, who] resided at Franckfort on the 
 Mayne ; by whom he notices a Portrait of Charles-Henry Elec- 
 tor of Mentz. 
 
A U D 
 
 AUBRY. 
 
 c. 1680? 
 
 A French engraver ; at least a resident of Paris ; witness the 
 following specimen which is now before me : 
 
 Mary Magdalen in her Cave, kneeling, and turned towards the left 
 She appears reading in a large book of devotion, has a crucifix in her left 
 hand, and her right hand on her bosom. In the clouds, on the left, are 
 tvio angels. At bottom, on the right : ( Aubry Sculp, a St. Thomas du 
 Louvre six French verses in margin : 4 Voiez vous Madeleine/ &c. h. 9, 
 besides margin, w. 7§. This piece is engraved in a coarse manner, with strokes 
 crossing each other at right angles, except in the naked parts of the figures, 
 which are finished with dots. (O.) 
 
 CATHERINE ST AUBYN, 
 
 1789—1797. 
 
 An English lady, whose name, or initials, I find to the fol- 
 lowing etching : 
 
 1. A Young Woman reading, turned to the right; the figure seen to the 
 knees ; copied from one of Bartolozzi's prints after Guercino's drawings : 
 
 * Catherine St Aubyn, March 1788/ in MS., on the book. upr. 4to. 
 
 Dorothy Pentreath, said to have been the last person who spoke the 
 old Cornish language. It represents an old woman, seated, and seen in 
 front, holding a large book with her right hand ; her figure light, on a dark 
 back ground. Not very well etched. i I. Opie R. A. pinxit. C. St Aubyn 
 Sculp, PI. 8th, April 3d 1789' upon margin, small upr. 4to. 
 
 3. Two Views of Pevensea Castle; very well etched. On one of them: 
 
 * Pevensea. C. St. A. 1797 f on the other : < Pevensea C. S. A. 1798/ The 
 last has a group of trees, in the foreground, on the left. They measure 
 
 7J. h. 5. 
 
 ROBERT VAN AUDENAERD. 
 
 b. 1G63. d. 1743. 
 
 This artist, who took his surname from the town of which his 
 father was a native, was horn at Ghent, and early in life studied 
 painting, under Mierhop, and I. van Cleef. In the year 1685 
 he repaired to Rome, where he entered the school of Carlo 
 Maratti ; by whose ad vice he some time afterwards applied him- 
 self to the study of engraving; which he followed professionally, 
 during his future residence at Rome, with equal credit to himself 
 and honour to his master. About the year 1722, he returned to 
 Ghent ; where he resumed the pencil, and painted, it is said, 
 several considerable works, in the manner which he had learned 
 in Italy. Audenaerd and Jac. Frey were the favourite engra- 
 vers of Carlo Maratti, who is said to have recommended to both 
 of them to advance their plates as far as possible by means of 
 etching ; and to use the burin only for the last finishing ; which 
 advice appears to have been more constantly acted upon by the 
 latter artist than by the former. The early prints of Audenaerd 
 are, in general, little more than masterly painter's etchings ; but 
 several of his later and more studied works appear executed 
 almost entirely with the graver, in a clear manner much like 
 
A U D 
 
 » 
 
 that of Cornelius JBloemart. His works are numerous. I shall 
 notice only a few of them ; beginning with his etchings. 
 
 1. The Marriage of the Virgin: ' C. Marattus Pinxit, D . Joan. Bapt. 
 Jjlondel, banc a Se Romce insisam, &c. R. v. Audenaerd, 6cc.' h. 9J, besides 
 
 margin, w. 6|. The Adoration of the Magi; same manner, after 
 
 Ditto : * D Arnoldo Van Kerckhove, &c. R. v. Audenaerd, Amico vero.' 
 h. 8Jj besides margin, to. 6. 
 
 2. The Flight into Egypt; and The Death of Joseph, same manner; 
 eaeb inscribed : ' Carlo Maratti pinx. R. Audenaerd Sculps. Arnoldo Van 
 Westerhout, formis Romse nel parione.' Tbey measure I. 8. h. 7£, besides 
 margin. 
 
 3. The Madonna and Child on a throne, two saints, and many angels; 
 an altar-piece, round at top : ' Carlo Maratti pinx. R. Audenaerd Sculps. 
 Franco. Collignoni for*. Roma; nel parione.' h. 1G|. id. 9. 
 
 4. The Life of St Andrew; etched in the same manner, from the frescoes 
 of Domenichino, in the church of S. Andrea della Valle, at Rome; in five 
 
 pieces of different shapes and dimensions; viz. (a) The calling of 
 
 Peter and Andrew; no name of painter, or engraver; ' Vincentius Bil- 
 
 lij formis Roma\' h. 18|. w. 14. (/;) St John Baptist, pointing out 
 
 Clirist to St Andrew and his companion — no artist's name. I. 14£. h. 9f. 
 (c) The Flagellation of St Andrew; the margin curved on the left 
 side : * Domenichino pinx. R. Audenaerd Sculps, formis Roma;.' /. 17|. 
 
 h. \A\. (d) St Andrew conducted to his Crucifixion ; the margin 
 
 curved on the right: * Domenichino pinx. R. Audenaerd Scidps. Vincentius 
 
 Billij formis Romae.' I. 17. h. (<?) St Andrew carried up to 
 
 Heaven by Angels ; curved at bottom : ' Dominic. Pinx. R. V. A. (cy- 
 pher) Sculps.' h. 9. w. 7f. This set of etchings, the only prints we have of 
 one of Domenichino's finest works, is rare. (O.) 
 
 5. Christ taken down from the Cross; after the celebrated picture at 
 the Church of the Trinita del Monte; same manner: ' Daniel da Volterra 
 pinxit. Do. Lucaj de Somer, &c. R. v. Audenaerd.' h. 15|, besides margin, 
 w, 11|. The following are in his more finished manner. 
 
 C. The Annunciation : ' Angelus Domini nuntiavit Maria;. Carol. Marrattus 
 pinx. R. V. Auden Aerd Scidp.' This is a very beautiful print, done in great 
 part with the graver, h. 17|, besides margin, w. 12 J. 
 
 7. The Holy Family, with the little St John, in a landscape: 1 Qualis 
 est dilectus tuus, &c. Carolus Marrattus delin. R. uan Auden Aerd Sculps.* 
 An Octagon. I. 10. h. 7^, besides margin. 
 
 8. The Death of the Virgin, after the same ; with dedication to Card. 
 Cibo. I. 20. h. 17|. 
 
 9. The Assumption of the Virgin, after the same: ' Quasi Aurora Con- 
 surgens,' &c. h. 18j. w. 14. 
 
 10. Several Plates in de Rossi's Book of Statues, sm. upr. fol. among 
 them the Moses of Michelangiolo, No. CLIV, and the S. Susanna of Fiam- 
 mingo. 
 
 We have also several Portraits, engraved by him with great clearness 
 of burin. ' 
 
 AUDER. 
 
 c. 1770? 
 
 A French engraver, of whom I find the following mention in 
 the catalogue of the Winckier collection and in that of Brandes. 
 
 1. * Premiere, et Seconde Vue des Environs de Dunkerque ;' two 
 pieces after J. Vernet; gravies par Auder. I. 9. h. 8£. 
 
 2. * Premiere, et Seconde Vue de l'Isle de la Grenade. Peint par 
 F. Robell, Gravie par Auder. A Paris chez David, Graveur ;' two pieces, 
 l-w. in fol. 
 
 VOL. I. U 
 
A U D 
 
 P. AUDINET, 
 
 c. 1785. 
 
 A French engraver of moderate talents, who appears to have 
 resided some time in England, and whose name I find to the 
 following prints. 
 
 1. Lear with the dead Body of Cordelia, after Fuseli, for Bell's Bri- 
 tish Theatre, < P. Audinet Sculp.* upr. 12mo. 
 
 2. f Louis XVI. Roy de France/ &c. a head. « London, Published as the Act 
 directs, by M. De Mervi.' upr. 8vo. 
 
 3. A Family dying of Hunger, a clever composition of eight figures - 
 * Grave par P. Audinet d'apres une esquisse de H. P. Danloux. London, 
 Published as the Act directs, by M. De Mervi. > small upr. 4to. 
 
 PIERRE AUDOUIN. 
 
 1790—1810. 
 
 An engraver of considerable merit, who was born at Paris in 
 1768, and studied under Reauvarlet. He is probably still liv- 
 ing. Several of his plates are in the fine work entitled the 
 ' Musee Royal;' among others, the following: 
 
 1. La Belle Jardiniere, a Madonna, after Raffaelle. 
 
 2. The Burial of Christ, after Caravaggio. 
 
 3. Charity ; after Andrea del Sarto. 
 
 CHARLES, or KARL, AUDRAN. 
 
 b. 1594. d. 1674. 
 
 This artist is said to have been the son of one Louis Audran, 
 an officer of the wolf-hunt to Henry IV. of France, and was 
 born at Paris, where at a very early age he applied himself to 
 the study of engraving. Having acquired a competent know- 
 ledge of the rudiments of the art, he repaired to Rome to com- 
 plete his studies, and during his stay there produced several 
 very creditable engravings, the best of which partake of the 
 manner of Cornelius Bloemart, who appears to have been resi- 
 dent there at the time. He commonly marked his plates K. 
 Audran, instead of C. And ran, in order to distinguish them 
 from those of his brother, or cousin, Claude, next to be spoken 
 of, who resided at Lyons. The length of Karl Audran's so- 
 journ in Italy, is not known ; but, upon his return, he established 
 himself at Paris, where he died in 1674. I shall mention only 
 a few of his engravings, which are very unequal in merit, and 
 not numerous. 
 
 1. Four Studies, of the Naked Figure; bold, masterly Etchings, each 
 
 marked K. A. and dated 16'M; Z~5f. to 6. h. 3|. to 4£. (a) A winged 
 
 Genius, a sitting figure ; he holds a i>arhmd in the right hand, and rests the 
 left on his left knee. The mark on the left at bottom ; the date on the right. 
 (b) A Man crowned with Vine-leaves, seated, and turned to the left; 
 his right hand resting on his left knee. The mark on the right ; the date on 
 
 the left at bottom. (c) A Man seated, resting his head upon his arms, 
 
 as if sleeping. The mark in the middle, at bottom ; the date on the right. 
 (d) A Man seated on a Bag in which the Winds are supposed to 
 be confined. He is turned to the left, and rests his left hand on a rock. 
 
AUD 
 
 At bottom, on the left, are the mark and date. These four etchings bear 
 little or no resemblance of manner to Karl Audran's other works ; though 
 from the mark and date upon them they are generally believed to be his. It 
 is possible he may have done them after drawings by CI. Vignon. 
 
 2. The Annunciation. ' Anibl. Carax. Inve. cum privil. Regis. K. Audran 
 Sculp/ h. 14£ besides marg. to. 11. Something in the manner of F. Poilly. 
 
 3. The Assumption of the Virgin, upr. oval, within a wreath. f Domi- 
 nies. Bonnonsi* Inve. et Pinx. Karate. Audran Paris Sculpsit. h. 9$ besides 
 marg. iv. 7£. 
 
 4. The Madonna and Child, a female Saint on her knees caressing the 
 Infant, and St. John presenting an apple to the Virgin ; landscape back- 
 ground : ' Tisian Pin. K. Audran fecit. Oscnleter me osculo,' &c. /. 15. h. 
 11 f besides marg. It is engraved in a hard but clear manner. 
 
 5. An Allegorical Piece, relating to the arms of the Barberini family. On 
 the right, four men with cymbals, dancing ; on the left, two women with an 
 infant who appears assailed by a swarm of bees : ' Andreas Sacchi Roma- 
 nus Inventor. Karol*. Audran Paris. Fecit Romce.' 1. 1G. h. 12£. This print 
 and the following are much in the manner of Corn. Bloemart. 
 
 G, Another Allegorical Design, relating to the same armorial device. 
 Above, in the sky, Jupiter with his thunder and his eagle holding a stone, 
 whereon is inscribed * Arcanis Nodis.' Below, are three men and two fe- 
 males ; and on the right, in the air, is a Cnpid supporting a garland over a 
 swarm of bees: ' Petr. Beretin. Corton. del. K. Audran Paris, inc. Rom.' 
 I 15}. h. 10f. 
 
 This plate was afterwards altered ; the bees were taken out, and a coat of 
 arms surmounted by a cardinal's hat inserted in their stead. The words 
 ' Arcanis Nodis' are also erased. 
 
 7. He also engraved some of the Statues in the Justiniani Collection. 
 Two of them, now before me, are marked ' C. Audran F.' and are very un- 
 finished performances. 
 
 CLAUDE AUDRAN. 
 
 b. 1592. d. 1G77. 
 
 Some writers place the birth of Claude Audran in 1597. It 
 is doubtful whether he was the brother or the cousin of the last 
 mentioned artist. He was born, it is said, at Paris, but esta- 
 blished himself at Lyons, where he died in 1677. Although a 
 very indifferent engraver himself, he was the father of an illus- 
 trious family of artists, and among them of Girard Audran, 
 who is justly considered one of the greatest engravers that ever 
 lived. The following specimens of Claude Audran's work are 
 before me : 
 
 1. An Ornamented Title, infol. ' Sebastiani Berradas Olyssiponensis, &c. 
 Lugduni m.dcxx. C. Audran sennit.* On either side are two heads of 
 Saints of the order of Jesuits, in ovals. It is neatly engraved, and, on the 
 whole, much better than the two portraits which follow. 
 
 2. 4 Zacutus Lusitanus Doctor, &c. Anno 1642;' head and right hand in 
 an oval. * En Zacutum, &c. Claude Audran feci.' h. 11. w. 7. 
 
 3. * Johannes-Henricus Alstedius, Philos/ &c. oval. 1 Nosce qui potest, 
 &c. CI. Audran fecit.' h. lOf . w. 7. These are both book-plates, and very 
 coarse. 
 
 GERMAIN AUDRAN, 
 
 b. 1631. d. 1710. 
 
 The eldest son of Claude, was born at Lyons, in 1631, and 
 studied engraving at Paris, under his relative Karl Audran ; 
 
 u 2 
 
A U D 
 
 after which he established himself in his native city, where he 
 was made a member of the academy, and afterwards chosen a 
 professor. The prints that I have seen bearing his name are 
 not very numerous, nor do they possess any great degree of 
 excellence. The following are before me : 
 
 1. An Ornamented Title, for a work in fol., which I suppose to be entitled 
 
 ' Le Grand Dictionnaire Historique ;' those words being inscribed upon a 
 banner attached to a trumpet, which is held by an angel at the top of the print. 
 Below are the figures of History and Time, and three infants, one of whom 
 is looking through a small telescope. * G. Audran sculp. A Lyon (the date 
 1G59 added with a pen). Ches Jean Girtin,' &c. h. 12. iv. 7f. Very 
 coarsely engraved. 
 
 2. ' Andres Argolus Eques/ &c. oval. « g. Audran Fe. Corporis effigiem, 
 &c. a wretched performance; perhaps engraved before he went to Paris. 
 h. 7|. iv. 5§. 
 
 3. ' Lazarus Riverius, &c. Medicinal Professor, An. 1G53, vet. 63.' oval. 
 e Riverium jures, gee. Ger. Audran fecit.' Very indifferent, h. 10^. w. 6f. 
 
 4. ' P. Theophilus Raynaudus/ a Jesuit; half-length, seated in a chair: 
 f Qui stylus artifices, &c. Ger. Audran sculp. 1GG3.' h. 9. w. T|, Tins plate 
 has merit. 
 
 According to Heinecken, he also etched or engraved : 
 
 5. Various Books of Ornaments, Vases, Fountains, &c. 
 
 6. A Set of Six Landscapes, after Gasp. Poussin, &c. 
 
 CLAUDE AUDRAN, 
 
 b. 1639. d. 1684. 
 
 The second son of the above-mentioned Claude, is styled by 
 Heinecken a painter and engraver, perhaps by a mistake of the 
 press : for he specifies none of his performances in the latter 
 profession ; nor do we find mention of them in other writers. 
 He is said to have assisted Le Brim in painting the battles of 
 Alexander. 
 
 GIRARD AUDRAN, 
 
 b. 1640. d. 1703. 
 
 The third son of Claude Audran, was born at Lyons, and, 
 like his elder brother Germain, repaired young to Paris, in 
 order to perfect himself in his studies. Here his talents caus- 
 ed him to be noticed by Le Brim, after whose pictures he en- 
 graved, in 1666, two very large prints, representing the victory 
 of Constantine over Maxentius, and his triumphal entry into 
 Rome ; the former of which was dedicated by the painter to 
 Louis XIV. In the year following we find him at Rome, 
 where it is commonly said he resided two or three years. Per- 
 haps he twice visited that capital. The portrait of Samuel de 
 Sorbierre was engraved by him at Rome, according to Hei- 
 necken, in 1667; a cieling, engraved by him there alter Pietro 
 da Cortona, is dated 1668; and upon each of a set of four 
 plates of Virtues, after Domenickino, we read : ' G. Audran 
 Sculp. Roma3 1675/ He died at Paris, a member of the 
 
A U D 
 
 Royal Academy, in 1703. The following remarks on the me- 
 rits of Girard Audran are from Strutt. The praise may in the 
 opinion of some be a little exaggerated ; still, I am unwilling 
 to deny that he deserves it all. 
 
 ' I own,' says Mr. Strutt, ' my great partiality for this mas- 
 ter ; and that partiality may by some of my readers be thought 
 to lead me too far, when I say, that I consider him as the 
 greatest engraver, without any exception, that ever existed in 
 the historical line. However, I am not singular in this opi- 
 nion ; and, I believe, a careful examination of the Battles 
 of Alexander alone, engraved by this artist (which are 
 said to be equal if not superior to the pictures) will justify the 
 assertion. His great excellency, above that of any other en- 
 graver, was, that though he drew admirably himself, yet he 
 contracted no manner of his own ; but transcribed (if I may be 
 allowed the expression) on copper simply, witli great truth and 
 spirit, the style of the master whose pictures he copied. On 
 viewing his prints, you lose sight of the engraver, and naturally 
 say, it is Le Brun, it is Poussin, it is Mignard, or it is Le 
 Sueur, &c, as you turn to the prints which he engraved from 
 those masters. Let any one examine the battles above men- 
 tioned from Le Brun, the preservation of the young 
 Pyrrhus from Nicholas Poussin, THE Pest from Mignard, 
 and the Martyrdom of St. Lawrence from Le Sueur, 
 and then judge candidly of the truth of this observation.' After 
 very properly censuring Mr. Gilpin for the strange omission of 
 G. Aud ran's name in his list of great historical engravers, in 
 his * Essay on Prints,' Mr. Strutt closes his remarks concerning 
 him with the following passage from a French writer : 
 
 * This sublime artist,' says De Fontenai, ' far from conceiv- 
 ing that a servile arrangement of strokes, and the too frequent- 
 ly cold and affected clearness of the graver, were the great 
 essentials of historical engraving, gave value to his works by a 
 bold admixture of free hatchings and dots, placed together 
 apparently without order, but with an inimitable degree of 
 taste; and has left to posterity most admirable examples of the 
 style in which grand compositions ought to be treated. His 
 greatest works, which have not a very flattering appearance to 
 the ignorant eye, are the admiration of true connoisseurs, and 
 persons of fine taste. He acquired the most profound know- 
 ledge of the art by the constant attention and study which he 
 bestowed upon the science of design, and the frequent use he 
 made of painting from nature. This great man always knew 
 how to penetrate into the genius of the painter he copied from ; 
 often improved upon, and sometimes even surpassed him,' &c. 
 
 Heinecken, in his * Dictionnaire des Artistes,' has given, as 
 far as he was able, a complete catalogue of the works of Girard 
 
A UD 
 
 Audnm. I shall, in preference, copy Mr. Strati's shorter list, 
 and afterwards add a few other pieces which chance to be before 
 me. 
 
 ' We may, I think/ continues Mr. Strutt, * very properly 
 divide the works of Girard Aud ran into Four Classes, with- 
 out mentioning his portraits. 
 
 ' First, his slight prints or etchings, to which very little or 
 nothing was done by the graver. Among these I shall rank the 
 following : 
 
 1. The Deluge, a large plate, lengthways, from La Fage. 
 
 2. The Passage through the Red Sea, ditto, ditto, from the same. 
 
 3. The Combat of Joshua against the Amalekites ; with other plates, 
 from the same. 
 
 4. The Empire op Flora, from N. Pousshi; a middling-slaed plate, length- 
 ways. 
 
 5. The Preservation of Pyrrhus ; an admirable large print on two plates, 
 leng thways, from the same. 
 
 6. A Cieling from Le Bron, wherein is represented the Four Seasons ; 
 dedicated to Louis XIV. Engraved on five plates, which, being pasted toge- 
 ther, form an oval, &c. 
 
 * Secondly, those more finished, but in a rough, bold man- 
 ner. For example : 
 
 7. Paul and Barnabas at Lystra, from one of the tapestries of RafTaelle 
 in the Vatican. A large print, lengthways. 
 
 8. Coriolanus appeased by his Family, on two plates ; a large print, 
 lengthways, from Poussin. 
 
 9. Time supporting Truth, a large upr. print nearly square, from the same ; 
 an admirable performance. The impressions without the piece of drapery 
 over the figure of Truth are very rare. 
 
 10. The Cieling of the Chapel de Saulx, representing the Accom- 
 plishhent of the Old Law by the New one ; engraved 1681, from Le 
 Brun, on six large plates which join together. Great spirit, character, ex- 
 pression, and beautiful drawing, are wonderfully united in this print. 
 
 11. The Death of St. Francis, from Annibale Carracci; a large upright plate. 
 
 * Thirdly, those in his most finished manner, as : 
 
 12. The Battles of Alexander ; three very large, prints, lengthways, each 
 consisting of four plates, which join together; from Le Brut! ; namely : The 
 Passage of the Granicdp — The Battle of Arbela — Pokls brought 
 to Alexander, after his defeat. 
 
 To this set are added two more large prints, lengthways , on two plates 
 each, from Le Bum, as follows : — Alexander at the Tent of Darhs 
 — and The Triumphal Entry of Alexander into Babylon. The for- 
 mer was engraved by Girard Edelink, and the latter by Girard Audran. It 
 is to ^;e remarked of all these plates, that those impressions are generally 
 most esteemed which have the m ine of Goyton, the printer, marked on them. 
 
 13. The Pest, from Peter Mignard, a large plate, lengthways. In the first 
 impressions, the figure in the clouds is Juno with her peacock behind her; in 
 the latter, the peacock is obliterated, and the wings of an angel are added to 
 the figure. 
 
 14. The Baptism of the Pharisees, on two large plates, lengthways, from 
 
 JS. Poussin. 
 
AUD 
 
 15. The Martyrdom of St. Laurence, from Eustache Le Suenr, a large 
 plate, upright, arched at top. 
 
 16. The Martyrdom of St. Agnes, from Domenichino, of the same size, 
 and usually made a companion for the former. 
 
 ' And Fourthly, such as he did with the graver only : 
 these are but few, and by no means equal in merit, as I think, 
 with the former. I shall only mention : 
 
 17. vEneas saving his Father Anchises from the burning of Troy, after 
 Domenichino : ' jEnee sauvant son Pere/ &c. h, 13f besides margin, to. 9f . 
 
 18. A Frontispiece to the Effigies, of the Popes and Cardinals, published at 
 Rome ; sm. fol. from Ciro FerrL* 
 
 To Mr. Strutt's list, add the following : 
 
 19. Fortitude — Justice — Prudence, — and Temperance, represented by 
 female figures, with attributes, after the celebrated frescoes of Domenichino 
 in the angles of the cupola of the church of S. Carlo at Rome; four pieces, 
 h. 14£ including margin, to. 11. They have two French lines at top, and two 
 Latin at bottom, with artist's name, thus : ' G. Audran sculp. Roma. 1675 ; r 
 but an impression exists without any inscription. 
 
 20. David dancing before the Ark — The Queen of Sheba's Visit to 
 Solomon — Hester before Ahasuerus — and Judith with the Head 
 of Holophernes ; four upr. ovals, each with a line of Latin inscription, 
 and G. Audran sculp. Rome h. lGf . besides marg. w. 14 J. 
 
 21. St. Peter walking to Christ upon the Water, from a celebrated 
 picture of Lanfranco; etched with prodigious boldness and strengthened with 
 tli£ graver. 6 Dedie a Monsieur Perrault, Sec. . . Par son tres-humble servi- 
 teur Audran.' It is arched at top. h. 17f besides marg. w. 12. 
 
 22. Ganymede, an octagon, from a fine picture by Titian, formerly in the 
 Colonna Palace at Rome, and now in the British National Gallery. ' Ticien. 
 pinxit. G. Audran sculp, cum privfl. Reg/ Admirably executed, diam. 8\, 
 
 23. The Flight into Egypt, after Verdier ; ' grave par G. Audran, et se 
 vend a Paris/ &c. A beautifully soft effect, though the work is exceedingly 
 bold. h. 19£ besides marg. w, 15§. 
 
 24. A Set of Emblematical Female Figures, painted by RarTaelle in 
 chiaro-scuro, as Cariatides, in one of the chambers in the Vatican ; 13 pieces 
 upr. fol. numbered on the left at top. On the first, * La Noblesse,' is the 
 title: ' Diverses figures Hierogliphiques, &c. A Paris chez Audran, &c/ 
 
 25. The Cupids with Attributes, painted by RarTaelle, in triangular com- 
 partments, as ornaments to the stories of Cupid and Psyche, in the Palace 
 called the Little Farnese at Rome ; 14 pieces, numbered at top, and at the 
 right bottom corner. On the first : ' Nobil m o. Viro D. Dno. Carolo Le limn, 
 Sec. G, Audran ;' the second has : i Raphael Inventor. G. Audran delineavit 
 et sculpsit Roma;; Sec. the rest have : * R. V. I. G. A. F/ /. 10£. 8^, in- 
 cluding margin. 
 
 BENOIT AUDRAN. 
 
 b. 1661. d. 1721. 
 
 This artist was the second son of Germain Audran, and was 
 born at Lyons, A.D. 1661, He learned the first principles of 
 design and engraving from his father, and afterwards studied at 
 Paris under his uncle Girard Audran. He was honoured with 
 the appellation of engraver to the king, and received a pension ; 
 was made an academician in 1715 ; and died, unmarried, at an 
 estate which he had purchased in the country, A.D. 1721. The 
 engravings of Benoit Audran possess not the boldness and mas- 
 
A U D 
 
 terly freedom which we admire in the works of Girarrt, hut 
 have often, nevertheless, great merit. His outlines are deter- 
 mined, and his drawing is sufficiently correct. The round dots, 
 with which he finishes his flesh upon the Sights, are sometimes 
 too predominant, but in his most finished plates, the mechanical 
 part of the engraving is extremely neat, and managed with 
 taste and judgment. 
 
 The following list of some of his best prints is in great part 
 from Huber. 
 
 PORTRAITS. 
 
 1. Benoit Audran, 1 Graveur du Roi.' after J. Vivien, 4 grave par luimeme,' 
 in 8vo. 
 
 2. 4 Le R. P. Louis de Thomas de la Valette, General de l'Oratoire. 
 B. Audran fecit ad vivum.' fol. 
 
 3. 4 Le R. P. Renaud de l'Oratoire ;* after Bonnet, fol. 
 
 4. Charles le Goux, Archbishop of Narbonne; after Bon de Boulogne; 
 large oval, dated 1708. 
 
 5. Jean-Baptiste Colbert; after CI. le Febre ; large oval, with decorations. 
 
 6. Joseph-Clement, Elector of Cologne ; after J. Vivien ; large fol. 
 
 7. Maximiltan-Emanuel, Elector of Bavaria; * J. Vivien pinx. Use vend 
 chez. ledit Sieur.' large fol. 
 
 8. Henry de Beringhen, first Equerry to the King. 4 Nanteuil del. 1663. 
 Bened. Audran sc. 1710.' fol. 
 
 9. Samuel Frisching, a Swiss General: 4 Basel, Chur, Genf, &c. J. Huber 
 pinxit, Benedictus Audran sculpsit 1713 . parisiis.' oval, h. 11$, besides mar- 
 gin, w. 9^. 
 
 10. Jean-Frederic de Willading, Consul of the Republic of Berne 1718. 
 4 J. Huber pinx. B. Audran sc.* fol. 
 
 11. Equestrian Statue of Lewis XIV. at Lyons; after Desjardins ; en- 
 graved by B. and J. Audran. large fol. 
 
 VARIOUS AFTER ITALIAN MASTERS. 
 
 12. The Baptism of Christ, after Albano, l-w. in folio. 
 
 13. Nessus and Dejanira ; after Guido. fol. 
 
 14. David cutting off the Head of Goliath ; from a picture on stone, 
 in the collection of the King of France, supposed to have been painted by D. 
 di Volterra from a design of Michelangiolo. The subject is repeated with 
 variations on both sides the stone. Jean Audran engraved the other side. 
 l-w. in folio. 
 
 15. A Gypsey telling Fortunes; 1 La Bohemienne, &c.' after Mic. Ang. 
 da Carravagio; in the Crozat Cabinet, lengthways, in fol. 
 
 16. Lot and his Daughters escaping from Sodom; after Paul Veronese : 
 4 grave par Benoist Audran Crozat Cabinet. 14. h. 11 J, besides margin. 
 
 17. 4 Le Degout ;' after a picture by P. Veronese, formerly in the Orleans 
 collection, in fol. Crozat Cabinet. Its companion, 4 L' Amour heureux/ was 
 engraved by L. Desplaces. 
 
 After Charles Le Brun. 
 
 18. Moses defending the Daughters oe Jethro ; a large plate l-w. ; 
 engraved by Jean and retouched by Benoit Audran. 
 
 19. The Espousals of Moses and Sephora, its companion. 
 
 20. The Brazen Serpent in the Wilderness, a large print, l-w. 
 
 21. The Purification of the Virgin, 4 Audran fee. et core' in fol. 
 
A U D 
 
 22. The Raising of the Cross; drawn and engraved by B. Audran y 1700; 
 large folio. 
 
 23. Christ taken down from the Cross ; with dedication to the Card, 
 dc Noailles ; large folio, arched at top. 
 
 24. 'La Hollande accept la Paix ;' from a picture in the Gallery of 
 Versailles. 
 
 After Various French Masters. 
 
 25. Zephyrus and Flora ; after Ant. Coypel ; engraved by Benoit, under the 
 direction of Girard Audran. fol. 
 
 2G. The Baptism of Christ; after P. Mignard ; large print l-w. 
 
 27. Christ with Martha and Mary; after Le Sueur; large print l-w. ; 
 dated 1C90. 
 
 28. St. Paul preaching at Ephesus ; after the same ; large print l-w. 
 
 29. Alexander receiving the Cup from his Physician; after the same. 
 Engraved in 1711. One of his most admired plates. 
 
 30. Venus Bathing, attended by two Cupids ; after N. Fouch6 : ' Benedict 
 Audran Sculp, cum privil. Regis.' h. 13|. w. 10£. 
 
 31. A Group of Young Gentlemen and Ladies, in a landscape ; entitled 
 ' Le Passe-Temps ;' after Watteau : ' B. Audran Sculp.' A very beautiful 
 print. /. 15£. h. 12£, besides margin. 
 
 32. The Twelve Months; six grotesque pieces, painted by ' C. Audran le 
 Jeune.' folio. 
 
 JEAN AUDRAN, 
 
 b. 16C7. d. 1756. 
 
 The third son of Germain Audran, was also born at Lyons, 
 A.D. 1667, and, after having received instructions from his 
 father, went to Paris, to perfect himself in the art of engraving 
 under his uncle Girard. At the age of twenty he gave promise 
 of future celebrity, and his subsequent success was such, that in 
 1707 he obtained the title of engraver to the king, with a pen- 
 sion, and apartments in the Gobelins ; and the following year 
 he was made a member of the Royal Academy. Jean Audran 
 was eighty years of age, before he quitted the graver ; and near 
 ninety when he died at the apartments assigned to him by the 
 king. He left three sons behind him, one of which was also an 
 engraver, as we shall see below. 
 
 The most masterly and best prints of this artist, in Strutt's 
 opinion, ' are those which are not so pleasing to the eye at first 
 sight ;' those in which the work, being far advanced by etching, 
 is finished in a bold rough style, But even in these he thinks 
 the lights are too much and too equally covered ; and that there 
 is not sufficient difference between the style in which he has 
 engraved his backgrounds, and his draperies. 
 
 * At other times/ continues Strutt, ' he seems almost to have 
 quitted the point, and substituted the graver. But here I think 
 he has not so well succeeded. The effect is cold and silvery. 
 See, for example, the Andromache from Silvestre. One of his 
 best finished prints, in this neat style, seems to me to be Cupid 
 and Psyche, from Ant. Coypel.' Upon the whole, Jean Audran, 
 
 vol. I. X 
 
AUD 
 
 though inferior to his uncle, was a great artist. The following 
 list of his best prints, is chiefly from Huber. 
 
 PORTRAITS. 
 
 1. Louis XV., a whole-length figure, standing: « Gobert pinx. Audran sc.' 
 large fol. 
 
 2. Portrait of a Prince, whose name is not mentioned, accompanied by a 
 page, a whole-length figure. After Vivien, large fol. 
 
 3. Clement-Augustus, Prince of Bavaria. After the same, large fol. 
 
 4. Jean-Baptiste Colbert, Marquis de Torcy ; without his name. After 
 Largilliere. Oval, in fol. 
 
 5. Le Due d'Antin, a bust in an oval. fol. 
 
 6. The Abbe Victor-Marie u'Etrees ; after Largilliere ; oval, in fol. 
 
 7. The Cardinal Pietro Ottoboni ; after Trevisani. large fol. 
 
 8. De la Motte Fenelon, Archbishop of Cambray; after Vivien, fol. 
 
 9. Pierre Gillet ; after J. Tortebat. fol. 
 
 10. Franqois-Robert Secousse, seated in an arm-chair; after Rigaud. 
 large fol. 
 
 11. Peter Paul Rubens ; after Van Dyck. 
 
 12. Noel Coypel, 1 peintre ordinaire du Roy, &c. Grave d'apres le dessein 
 de N. Coypel, par J. Audran, pour sa reception a TAcademie en 1708/ oval, 
 h. 14£, besides margin, w. lOf. 
 
 13. Antoine Coyzevox, * Sculpteur Ordinaire du Roy, &c. ; Peint par Hya- 
 cinthe Rigaud, Grave 1 par Jean Awlran pour sa reception/ &c. in an oval, 
 same size. 
 
 VARIOUS SUBJECTS AFTER DIFFERENT MASTERS. 
 
 14. Christ preaching from the Ship; after Raffaelle. large fol. l-w. 
 
 15. The Infant Saviour, recumbent in a landscape, looking at the cross, 
 which three angels in the clouds bear towards him. After Albano. fol. 
 
 16. The Adoration of the Shepherds; afyer Pietro da Cortona: 'J. 
 Audran Sculpsit.' Oval. I ll£. h. 9£, besides margin. 
 
 17. Christ and the Samaritan Woman at the Well; after Ann. Ca- 
 racci. fol. arched at top. 
 
 18. St John administering the Eucharist to the Virgin; after Lodovico Caracci. 
 In folio. 
 
 19. Christ on the Mount of Olives ; after Domenichino. large fol. 
 
 20. St. Andrew led to Execution, worshipping the cross on which he is 
 to suffer; after Guido. large fol. lengthways; engraved from a drawing by 
 Girard Audran. 
 
 21. The Martyrdom of St. Peter, after Guido ; marked, by mistake, with 
 the name of Domenichino. large fol. 
 
 22. St Paul preaching at Athens; after Ciro Ferri; a small frieze. 
 
 23. Galatea; after Carlo Maratti; in the Crozat collection. Fnely engraved. 
 l-w. in fol. 
 
 24. The Miracle of the Loaves and Fishes; after his uncle Claude 
 Audran. large fol. l-tv. 
 
 25. The Battles of Alexander; after le Brun. Copied from the larger 
 prints of Girard Audran. 6 pieces, fol. l-w, 
 
 20. St Augustin seated, holding a Heart; after Ph. de Champagne, 
 large fol. 
 
 27. The Infant Saviour in the Arms of Simeon; after M. Corneille. 
 large fol. l-w. 
 
A U D 
 
 28. The Infant Moses saved from the Nile, and presented to the daugh- 
 ter of Pharaoh by its mother; after Ant. Coypel. large fol. l-w, 
 
 29. Jacob remonstrating with Laban : 'Sept ann Alijs, &c. Dedie" a 
 Messire Jerome, <^c. Ant. Coypel pinxit, Joan. Audran sculp* I. Iff. 
 h. 13f, besides margin. 
 
 80. Esther before Ahaslerus; after the same, large fol. l-w. 
 
 31. The Resurrection of Christ; a large piece arched at top, after the 
 same. 
 
 32. Cupid and Psyche: ' Cupido Psychen accurrit, &c Antonius Coypel 
 invenit et pinxit, Joannes Audran Sculpsit.' I. 19. k. 14 J, besides margin. 
 
 33. Christ healing the Sick: * Ant. Dien. pinx.' The impression before 
 me, perhaps a proof, is without the name of Audran. /. 28£. h. 21, besides 
 margin. 
 
 34. Christ bearing his Cross; after the same ; same dimensions. 
 
 35. The Raising of the Cross; after Van Dyck. fol. 
 
 36. Christ on the Cross; after the same, in fol. 
 
 37. The Miraculous Draught of Fishes ; after Jouvenet. a large piece l-w. 
 
 38. The Resurrection of Lazarus; after the same, a large piece l-w. 
 
 39. Acis and Galatea, with Poliphemus on his rock ; after F. Marot. 
 large fol. 
 
 40. Venus imposing labours on Psyche: * Psiche dolt etre mise anx 
 chaines,' &c. after J. M. Nattier, h. 12, besides margin, w. 11. 
 
 41. Psyche comforted by Cupid; after the same; a companion to 
 the above. 
 
 42. The dead Body of Christ, with St John and two of the Maries 
 lamenting, accompanied by Nioodemus and two Ai gels. Landscape back- 
 ground. After Poussin: 1 J. Audran exc.' large fol. l-w. 
 
 43. The Rape of the Sabines, after the same, large fol. l-iv. One of J. 
 Audran's most capital engravings. 
 
 44. Henri IV. of France, deliberating on hi9 intended Marriage ; 
 
 his Preparations for War in Germany; and the Coronation 
 
 of the Ql een (the last ~ large 6heet print) ; three pieces in the celebrated 
 work of the Luxembourg Gallery, after Rubens. 
 
 LOUIS AUDRAN, 
 
 b. 1670. d. 1712. 
 
 The last son of Germain Audran, born at Lyons in 1G70 ; 
 from whence he went to Paris, after the example of his brothers, 
 to complete his studies in the school of his uncle Girard. He 
 died suddenly at Paris, in 1712. His manner much resembles 
 that of his brothers, whom it is probable he assisted in their more 
 extensive works ; as the plates to which we find his name affixed 
 are few in number. 
 
 1. The Seven Acts of Meiicy ; a set of seven piecos, each with a line of 
 french inscription, and numbered 1 to 7, in the middle at bottom ; copied 
 from the larger plates of Sebastien Bourdon : ' S. Bourdon pinxit. L. Audran 
 sculp.' I. 13£. h. 9$, besides margin. 
 
 2. The Death of Sapphira: * Sapphira super agri,' &c, after N. Poussin. 
 ' L. Audran sarip.' I. 13*. h. <3h> 
 
 3. A Cadavre, sacrilegiously discovered in a Tomb by a Soldier; 
 ' R. A. Houasse pinx. L. Audran sculp. Quel enjoyable objet,' &c. /. 13$. 
 
AVE 
 
 BENOIT AUDRAN. 
 
 1753. 
 
 This Benoit, the second of the name, was the son of Jean 
 Audran, and was also established at Paris. As an artist, he was 
 very inferior to his uncle or father, and, according to Heinecken, 
 engraved but few plates, amongst which are the following : 
 
 1. The Portrait of Jacques Jube, Curate of Asnieres; painted in 1735 
 at Zwol, in Transilvania by B. Brant, and engraved at Paris by B. Audran. 
 
 2. Another of the Cure de S. Gervais, who died at the age of 90; after 
 a bust by Feuillet. 
 
 3. The Descent from the Cross ; a folio print, arched at top, with the 
 inscription : ' Depositum Jesum involverunt Sindone ;' engraved by B. Audran, 
 after a picture of N. Poussin, formerly in the collection of the Count de 
 Bruhl. 
 
 4. Christ with his two Disciples going to Emmaus, in fol. ; from a 
 picture by Paolo Veronese, in the same collection. 
 
 5. A Set of Turkish Heads, in six 4to. pieces, after Ch. Parocel the younger. 
 
 6. A View of the Town of Angouleme, engraved in 1753, after a design 
 of M. de Bianville, a Counsellor of the French Parliament. The parliament 
 happening to be exiled at the time this print appeared, it was qalled f Le 
 fruit de TExil.' 
 
 7. * Le Galant;' a young lady and gentleman in a landscape, surrounded by 
 wreaths and emblematic figures : * A Watteau pinxit, B. Audran Sculp.* 
 h. 14£, besides margin, w. 11. 
 
 8. 1 La Marmote a pedlar boy with a marmot, and a flageolet: ' A. Wat- 
 teau pinxit. B. Audran sculp.' h. 9£, besides margin, w. — * La Fileuse 
 
 a country girl with a distaff ; its companion. From the same. 
 
 P. G. AUDRAN. 
 
 17G5. 
 
 An unknown artist, doubtless of the same family, and perhaps 
 a son of the engraver last mentioned. I have before me the 
 following print, the first of a set of 6 plates of studies of heads. 
 
 Three Heads, two female and one male, etched in a masterly and picturesque 
 manner. Above on the left is this title: ' Six Feuilles de Tetes, Etudes, 
 Gravces d Veau forte par P. G. Audran. 1765.' At bottom we read : * A Paris, 
 chez B. Audran, rue S. Jacq.' h. 8. u\ C£. 
 
 BENOIT AUDRAN. 
 
 1775. 
 
 This artist, the third of the name, was, according to Hei- 
 necken, a grandson of Jean Audran. Jean Audran, he says, 
 had a second son named Michel, who was neither a painter nor 
 an engraver, but became at length possessed of the plates of 
 Girard and his other relations, which were sold after his death 
 in 1771. This Michel, he adds, ' left a son named Benoit, who 
 at present (1778) practises the law, and engraves for his amuse- 
 ment.' 
 
 J. VAN BEN AVELE, or AVEELEN. 
 
 1081—1717. 
 
 An indifferent Dutch artist, who appears to have lived at 
 
A V E 
 
 Utrecht <it tlic close of 1he 17th century, and afterwards took 
 up his abode at Stockholm. 
 
 1. A Frontispiece: * Joh. Lomeier de Lustrationibus Veterum Gentilium 
 with the representation of an ancient sacrifice : ' Ultrajecti, apud Franciscnin 
 Hahna. An. m.dclxxxi. Joh. Van den Avele inventor et fecit.' h. 6§. w. 5£. 
 
 2. Another: 'Introduction a la Geographic par N.Sanson. Utrecht 1G92. 
 J. v. d. Avele. inv. f.' h. &£. iv. 3£. 
 
 3. Another : ' Aentekeninge van Engeland etc. Tot Utrecht by Anthony 
 Schouten, 1699. I. v. d. Avele. inv. /.' h. 5§. ic. 3£. 
 
 4. Another Frontispiece: ' Philippi Cluverii Introdnctio in universam Geo- 
 graphiam, &c. Amsterdam, 1683. Ioh. Vanden Avel invent et fecit.' h.7\. 
 w, 5^. The figures are taken with little variation from a Frontispiece by 
 Rom. de Hooghe. 
 
 5. A View of the Town of ' Aspenaas. 7. V. D. Aveelcn Sc. Holmia, 
 1709.' I. 131. n . 8£. 
 
 6. A View of 4 Stromstad. 1 I. V. D. Aveelcn. Sc. HolmicE, 1713.' I. !3. 
 h. 8i. I have seen others of this set. They are engraved in a soft but formal 
 manner. 
 
 7. The Portrait of c C. Piper/ in an oval, upon a pedestal bearing eight 
 Latin verses : * Ioh. v. d. Aveelen. Sc. Holmice, 1717.' h. 10^. w 6^. 
 
 8. I learn from Heinecken that he also e/igravcd the Armorial Bearings of 
 the Swedish Families, with backgrounds representing landscapes and 
 animals, for a book in folio, which was published at Stockholm in 1712. 
 
 JOSEPH AVELINE, 
 
 b. 1038. d. 1090. 
 
 Heinecken gives us no account of this engraver, except that 
 he was born and died at the periods above stated, and that he is 
 little known. The following are probably by his hand : 
 
 1. A large Title, perhaps intended for a Book of Maps; the middle left 
 blank. On the left is seated Minerva, with a palette and pencils, a bust, 
 compasses, and other instruments at ber feet. It is marked at the bottom on 
 the left : ' j. aveline sculp.,' and bears also the following address: 1 A Paris 
 chez le Sr. Le Rouge Ing r . Geographe du Roy Rue des Gr*». August i us.* 
 h. 19£. w. 12$. It is engraved in a manner something like that of Girard 
 Vander Gucht. 
 
 2. £ Mehemet Espion Time/ &c, a whole-length seated at a table writing : 
 * aveline /.' h. 4£, besides margin, w. 2|. 
 
 3. An Ecclesiastic seated in an Arm-Chair, whole-length turned towards 
 the left. Margin cut off. ' Aveline sculp.' h. 4}, besides margin, w. 2£. 
 
 ANTOINE AVELINE, 
 
 b. 1GG2. d. 1712. 
 
 A French artist who, according to Heinecken, was born in 
 1602, and resided at Paris, where he died in 1712. His en- 
 gravings, which are numerous, are chiefly landscapes and views, 
 executed in a neat but formal style from his own designs. 
 Heinecken mentions by him : 
 
 1. A Set of Six Landscapes, numbered : i Aveline inv. et fee' l-w. in 4to. 
 
 2. Another similar Set of Twelve Pieces, not numbered : 1 Avelim . w. 
 et fee' The following piece now before me perhaps belongs to this set : A 
 Landscape with A distant View of a City ; in the foreground, osj 
 
AVE 
 
 the left, three gentlemen, two of them fishing : i Aveline fecit. P. G^llays 
 exc' I. 8f . h. 6, besides margin. 
 
 3. A Set of Views of Royal Palaces and Gardens, large fol. l-w., 
 containing sixteen Views of Versailles, and twelve of other country 
 
 residences of the French court ; viz. Trianon La Menagerie Two 
 
 Views of Clagni Marli St Germain en Laye -Vincennes St. 
 
 Cloud Meudon Rambouillet Chantilli Chambor. 
 
 4. A Set of Views of Paris ; 12 pieces, large fol. l-w., viz. General 
 
 View of Paris The Invalides Two Views of the Thuilleries The 
 
 Palais Royal Luxembourg The Pont Neuf La Place des Victoires. 
 
 L'Hotel de Ville The Church of ' Nostre Dame.' I. 20. h. 14, including 
 
 margin, which is perhaps the dimensions of the others L'Observatoire. 
 
 La Salpetriere. 
 
 5. A Set of Views of Cities; 20 pieces, viz. Lyons Marseilles 
 
 Havre de Grace Rouen Bordeaux Brest Strasbourg Basil. 
 
 London Amsterdam Rome The Church of St Peter Venice. 
 
 The Piazza of St Mark, at Venice Turin Lisbon Constantinople. 
 
 Jerusalem Tripoli Tangiers. 
 
 PIERRE AVELINE, 
 
 b. 1710. d. 1760. 
 
 This artist, according- to Huber, was born at Paris in 1710, 
 and died there, a member of the academy, in 1760. He is 
 supposed to have been of the same family as Antoine Aveline, 
 just spoken of, and is said to have frequented the school of 
 Jean-Baptiste de Poilly, to whose manner of engraving, the 
 style adopted by Aveline, bears some resemblance. Huber re- 
 marks, that he merits a rank amongst the good French engra- 
 vers ; but regrets that he too often engraved from slight sketches, 
 and that he was not generally more select in the choice of his 
 subjects. His prints, though seldom highly finished, possess a 
 clearness of effect, which is very agreeable. As they are well 
 known, 1 shall mention only a few of them. 
 
 1. The Death of Seneca; after Luca Giordano in the Dresden Gallery. 
 One of his finest prints. /. 20|. h. 13£, besides margin. 
 
 2. Noah preparing to enter the Ark ; and its companion, The Depar- 
 ture of Jacob; after two pictures by Castiglione, in the same gallery, 
 large plates l-w, 
 
 3. The Finding of Moses; after Giorgione: Crozat Cabinet. I. 24|. 
 h. 12$, besides margin. This plate is veuy unfinished. 
 
 4. Jupiter and Io, with fine landscape background; after And. Schiavone; 
 in the same work : ' Peint eur toille, Sec. g rave' par Pierre Aveline.' large fol. 
 l-w. ; a very beautiful print. 
 
 5. Diana and Action; after Bassano ; in the same work. l-w. 
 
 G. A Landscape with Figures and Cattle; from Berghem. large plate 
 
 lengthways. 
 
 7. The Birth of Bacchus; and its companion the Rape of Europa; 
 after Francois Boucher. /. 18£. h. 16£, besides margin. 
 
 8. A Nymph Bathing; after Watteauj entitled * Diane au Bain.' /. 15. 
 h. lOf, besides margin. 
 
 9. Three Groups of Cupids ; after Boucher ; engraved in 1750, viz. 1 L'Amour 
 Nagetif/ — ' Les Amours en Gayete/ — ' Les Amours Folatres.' h. 11^, be- 
 sides margin, w. 9|. Executed with great taste and freedom. 
 
 10. A Set of Academy Fiqures; from Bouchardon. 
 
AVI 
 
 FRANCOIS-ANTOINE aveline. 
 
 1T45— 1759. 
 
 It is clear that either Heinecken was in error when he termed 
 this artist the son of P. Aveline, or that he mis-stated the year 
 of his birth. He is said to have been born, and to have resided 
 some years in Paris, employed chiefly upon works of a trifling 
 character ; after which he came to London, where he died in 
 indigence about the year 1762. 
 
 1. The Four Seasons ; after the designs of P. Aveline. 4 Le Printemps/ 
 * L'Ete/ — ' L'Autoinne,' — ' L'Hyver ;' each marked ' F. Aveline filius sculp ;' 
 the last lias also 1 P. Aveline invenit/ whence it is reasonable to conclude that 
 the two artists were really father and son. I. 8$. h. 6\, besides margin. 
 These pieces are poorly executed, and were, perhaps, some of the artist's 
 first works. 
 
 2. ' La Barque Chinois/ after Boucher, fol. 
 
 3. Five pieces out of six, representing figures in Chinese dresses ; from Boucher, 
 viz. * L'Oiseau a bonne fortune/ — 4 Le Paquet incommode/ — ' Le Concert 
 Chinois/—* Le Me>ite de tout Pays/ — ' La Reveuse.' The sixth was engrav- 
 ed by Balechou. These pieces are engraved in a masterly manner, much in 
 the style of Pierre Aveline. They are marked * Aveline le jeune sc.' h. 10£, 
 besides margin, w. 7%. 
 
 4. A Perspective View of the Illuminations in a Street at Paris, 
 Sept. 8th 1745. ' Les Figures dessinee par Cochin le fils et grave par F. A. 
 Aveline. Da Perspective par Bovait, et Gravh par BaillieuW I. 11£. h. 8$, 
 including margin. This print is not wanting in spirit. 
 
 5. A Set of Chinese Figures, &c. ; after J. Pillement. 1 London, published 
 1759. Fr. A. Aveline Sculp.' Six pieces, l~w. in fol. 
 
 JEAN AVELINE. 
 
 ©. 1750. 
 
 According to Heinecken, he was the brother of Francois,, 
 and a native of Paris, where he was chiefly employed by the 
 booksellers. Heinecken mentions by him : 
 
 1. Two Monkeys, for a book of Animals, fol. 
 
 2. ' La Spectatrice/ a frontispiece, after the design of Gravelot. 12nio. 
 
 3. View of the Chateau de Chenonceau, which was built by Catharine 
 de Medicis ; after a picture by M. Dupin de Franclieu, an amateur. 
 
 J OH AN GOTTFRIED AUERBACH, 
 
 b. 1687. d. 1743. 
 
 He was born at Muhlhausen, and died at Vienna, painter to 
 the court. According to Heinecken, he etched or engraved : 
 
 The Portrait of Himself painting his Wife ; in 8vo. without his sig- 
 nature. 
 
 AUGUSTINUS VENETUS, See De Musis. 
 GASPAR AB AVIBUS, or G. OSELLE. 
 
 1560—1580. 
 
 This engraver appears to have been a native of Cittadella, in 
 the province of Padua ; though as he sometimes subscribes him- 
 self Gaspar Patavinus, some writers have been led to suppose 
 
AVI 
 
 that he was bora in the city of Padua itself. The circumstances 
 of his life are unknown. Strutt seems to have had no reason 
 for conjecturing- that he studied under Giorgio Mantovano,'save 
 that, in two or three pieces, which he copied from that artist's 
 engravings, he endeavoured to imitate his manner. His works 
 possess some merit, but he has no pretensions to rank amongst 
 the eminent engravers of the time. He often signed his prints 
 with a monogram, composed of the letters which form the word 
 Gaspar ; at other times he put Gaspar only, or G. A. P. F. and 
 in a few instances ' Gasparo Osselle Fadovano,' which was his 
 real name ; though, as he more frequently chose to Latinize it, 
 signing* himself « ab Avibus,' I have judged it convenient to 
 place him here. 
 
 1. The Marriage of the Virgin; after Paolo Veronese ; bat without that 
 artist's name. In the margin, four verses : ' Prencli questo fedel, &c. ;' at 
 bottom : * Gaspar ab Avibus Citadelensis Fe. 1577/ The whole enclosed in a 
 narrow ornamental border, h. 13^. w. 9. This plate has much of the manner 
 of Cort. (O.) 
 
 2. The Holy Family, with Elizabeth and the little St John* 
 Upon a tablet, at bottom on the left: ' Gior. Vasari Aretino In. 1565. GA. 
 P. F. Nicol. Nelli exc.' h. 12|. w, 9. This piece is much in the manner of 
 Eneas Vico. (O.) 
 
 3. The Woman taken in Adultery; numerous figures; after Marco del 
 Moro : ' Con privilegio. Gasparo oselle padovano Sc. Benetto Stephani exc.' 
 large fol. l-tv, 
 
 4. The Flagellation of Christ: 4 Et fui flagellatus, &c. Gaspar ab Avi- 
 bus Citadelensis fecit. Luca Bertelli for.' (Hcinecken.) 
 
 5. Christ seated crowned with Thorns, his hands tied together; sur- 
 rounded by small subjects of the passion. ' Gaspar Patavinus f. Nicol. Nelli 
 exc. 156G.' fol. 
 
 6. The Last Supper ; from Lambert Lombard ; carefully copied, from a 
 print by Giorgio Mantovano, in the same direction as the original. On the 
 right : ' Lambertus Lombardus Inventor. Nicolaus Nelli Veneto exc. 
 GASP. F. 1564/ I. 21|. h. 14. 
 
 7. The Dead Body of Christ, supported on the edge of the Sepul- 
 chre, by an Angel; after Fred. Zucchero. On the left, on the lid of 
 the sepulchre : 4 Hie jacuit, &c.' on a stone, in the foreground on the right: 
 * F. Z. IN. G. P. F. N. N. exc* h. 14|. w. 10. Something in the manner 
 of E. Vico. (O.) 
 
 8. Christ seated in the Clouds, surrounded by a glory of Angels. His 
 right hand is elevated, and he appears addressing the apostles, who are 
 standing below. At bottom : * Marco dil moro jnventor. Gaspar oselle pata- 
 vano fecit.' In the margin, eight verses : ' Colui, che in questa guisa, &c. 
 Benetto stephani exc.' h. 17f, besides margin, iv. 12|. An impression of 
 this plate exists without the names of the artists. (O.) 
 
 9. St Rock, with an Angel healing the wound in his thigh ; within an orna- 
 mented oval ; and on each side small compartments representing miracles. 
 At bottom : * In Sereniss. Venet. Urbe, Sec. Gaspar ab Avibus Citadelensis 
 incidebat/ h. 11^. iv. 7|. (O.) 
 
 1C. Abundance ; represented by a female standing between two naked infants, 
 with a large cornucopia full of fruit in her right hand ; after F. Zucchero. At 
 bottom on the left :' F. Z. IN. G.P.F. N. N. exc.' Much in the manner 
 of Vico. h. 9|. iv. 6£. (O.) 
 
 11. Venus Wounded, whilst Bathing, by the Thorns of the Hose 
 Tree ; after Luca Penni ; copied from the print of Giorgio Mantovano, in 
 
AUL 
 
 the same direction as the original. Upon a tablet at bottom : ' GAS.F. 1564.' 
 h. 12*. w , 8 J. 
 
 12. The Hunter Orion carrying Diana on his Shoulders ; after the 
 same ; also copied, but in a reverse direction, from a print by Giorgio Man- 
 tovano. At bottom : * In sylvis habitans,' &c, and upon a tablet on the 
 right, ' Luca Pennis. R. Inven.' the cypher of Gasparo, and the date 15C3. 
 h. 14£ including margin, ib. 10. 
 
 13. Apollo and the Muses on Mount Parnassus ; after the same de- 
 signer, and copied, in the same direction as the original, from another print 
 by Giorgio Mantovano. Upon a tablet near the middle at bottom, * GASP.F.' 
 and towards the right, < N. N. exc. 1563.' 1. 16f . h. 13 J. 
 
 14. The Princes and Princesses of the House of Austria; whole- 
 length figures, two on each plate, with various ornamented titles ; large upr. 
 plates. This work, according to DeAngelis, consists of 5f pieces; though 
 his predecessor, Gandellini, speaks of there being 66. The General Title, 
 according to De Angelis, is thus : ' Francisci Terzii Bergomatis, Serenissimi 
 Ferdinandi Archiducis Austrian, Ducis Burgundiae, Comitis Tirolis, &c. Pic- 
 toris Aulici, Ad invictissimum Ca?sarem Maximilianum II. Romanorum Impe- 
 ratorem semper Augustum Austriacae Gentis Imaginum, Partes quinque. Ve- 
 netiis 1569/ 
 
 The plates, in this very interesting and splendid work, differ somewhat in 
 size ; the Titles to the four first parts, now before me, measure, h. 20£. to. 
 11^ to 15. Each of these is enriched with coats of arms, female allegorical 
 figures, &c, has various inscriptions, and also bears the name of the engraver. 
 On that to the first part (Pars Prima) we have it twice, viz. i Gaspar Pata- 
 vinus incisor Oeniponti (Oetingen) 1569,' on the right and left, and at bot- 
 tom : ' Gaspar ab avibus Citadelensis incisor, et formis. Venetiis/ The few 
 specimens now before me of the whole-length Portraits, themselves, are with- 
 out the artist's name. These plates are clearly executed, in a manner some- 
 thing like that of Cort. 
 
 Some writers on prints have mentioned, as an engraver, one 
 Caesar ab Avibus ; led into error, it appears, by a misnomer 
 of Florent Le Comte. 
 
 THE CHEVALIER AVICE, 
 
 1655. 
 
 A lover of the arts, who lived at Paris, in the middle of the 
 17th century. He appears to have been an excellent draftsman, 
 and occasionally amused himself with engraving-. We have 
 by him : 
 
 1. The Adoration of the Magi, from a picture of Nic. Poussin. * Pous- 
 sin jnv. et pin. Avice Scul. Nec Habuli male texta, &c.' /. 16. h. 15, in- 
 cluding margin. This print is deservedly esteemed. The figures are drawn 
 with great correctness and purity of outline, and the whole is etched in a 
 firm and masterly manner, not very unlike that of Le Pautre. 
 
 Heinecken mentions also by this artist : 
 
 2. Children playing with Grasshoppers, an anonymous etching in folio, 
 likewise from Poussin. 
 
 AVILER, See Daviler. 
 JOH. BAPT. AULINGER. 
 
 c. 1780? 
 
 No writer that I am acquainted with makes mention of this 
 artist, who was doubtless by profession an engraver, and appears 
 
 VOL. I. Y 
 
A V O 
 
 to have resided at Augsburg. The following plate by his hand 
 is now before me : 
 
 * S. C^jcilius Cyprianus;' bust, seen in front, in an ornamented oval; very 
 neatly engraved : ' Joh. Bapt. Aulinger sc. A. V.' h. 5\. tv. 3£. (O.) 
 
 XAVER AUMULLER. 
 
 c. 1810. 
 
 A designer and engraver, according to Brulliot, who was 
 born in the last century, and was living in 1817, when he wrote, 
 at Munich. We have by him, he adds, various small land- 
 scapes, some of them marked with his name, and others with 
 the initials X. A. 
 
 PIETER VANDEN AVONT, 
 
 1645. 
 
 A native of Antwerp, born, it is said, about 1619, and a 
 painter of some eminence. He engraved or etched a few plates, 
 and appears to have been the publisher of a much larger num- 
 ber, executed by Hollar after his designs, as well as from the 
 landscapes of Jacques Artois. The following pieces are ascribed 
 by Heinecken and Huber to his own hand : 
 
 1. The Madonna seated in a Landscape with the Infant Christ on her 
 lap, and receiving a cross from the little St. John, who is kneeling before S. 
 Anne. A lengthways print, without the artist's name. 
 
 2. The Madonna seated under an Apple Tree, suckling the Infant 
 Jesus ; by her side is the little St. John, with his cross and lamb, accompanied 
 by an angel, who points to a little child, who has plucked one of the apples. 
 lengthways. 
 
 3. The Madonna in the Clouds with the Infant in her Arms. 
 She wears a crown, and holds a sceptre in her left hand. This print, an up- 
 right, without the artist's name, is entitled : i Regina CoehV 
 
 4. St. Mary Magdalen received up into Heaven. Arched at top, and 
 marked : i Pet. van. Avont inv. et exc. cum privil.* I suspect this print to be 
 the same which is now before me. The figure of Mary Magdalen is seen in 
 front, and is covered in the lower part by drapery ; her hands are clasped, 
 and she is supported by two angels. Above are five cherubs, and under the 
 cloud, beneath her feet, are two little angels, naked, and another cherub. 
 At bottom on the left is inscribed * Pet. van Avont inven. et excud. cum pri- 
 vilegio.' h. 8, including margin, w. It is probable that Hollar, or some 
 other professed engraver, assisted Van Avont in finishing this plate. At 
 least, it is executed with considerably more method and delicacy of work- 
 manship than certain etchings of Boys which will be hereafter mentioned. 
 
 5. A Set of 24 Plates of a 12mo. size, in each of which is an Infant or 
 an Angel. These figures were afterwards employed in the collection pub- 
 lished, under the title of : ' Pcedopegnion/ by W. Hollar. 
 
 6. Two Bacchanals of Infants ; viz. The infant Bacchus in his 
 
 Car, drawn by Goats; and The infant Bacchus carried by four 
 
 Infants, and holding a goblet in his right hand; tvto pieces l-w. marked, 
 gays Heinecken : ' Pet. van Avont inv. et exc' though, if I may trust Huber, 
 they are inscribed : 4 Pet. van Avont. inv. fee. et exc/ I. 8|. h. 5|. (Cat. 
 da Cab. de Brandes.) 
 
 To this list of Heinecken, Huber adds the following : 
 
 7. The Four Elements, represented by children ; four pieces. One of 
 
AVR 
 
 these is before me. It represents a naked infant seated on a cloud, with a 
 parrot perched on his left hand. At bottom is the title: ' AEU. van Avoid 
 inv. et exc. Cum privilegio.' 3-§. w. 2£. After a careful comparison of 
 this piece with the two following, I am satisfied that, with the exception of a 
 very few touches of the burin added afterwards by some professed engraver, 
 it is by Van Avont's own hand. (O.) 
 
 The two following pieces appear to have hitherto escaped 
 notice : 
 
 8. Two Children standing, one of them holding a Bunch of Grapes, 
 and an infant Satyr lying on the ground, with his head encircled by 
 vine leaves. On the left at bottom : i P. V. A. fe.* in characters reversed. 
 h. 11. w. Sf. (O.) 
 
 9. An Infant, in a back view, and an Angel, seen in front; both 
 seated naked upon a cloud. Same dimensions, and marked in the same man- 
 ner. These two pieces appear to have been slightly etched, and afterwards 
 unskilfully touched by his own hand with the graver. (O.) 
 
 FRANCESCO AURERI 
 
 1568—1578. 
 
 An engraver in wood, of Cremona, mentioned in Zani's In- 
 dex as a person of ability. 
 
 AVRIL, L'AINE, 
 
 c. 1730 ? 
 
 A French engraver of flowers, ornaments, &c. concerning 
 whom little seems to be known. Heinecken appears to have 
 confounded him with J. J. Avril, next to be spoken of, and who 
 was perhaps his son or nephew. In the Dijonval catalogue, I 
 find mention of the following plates of flowers by his hand : 
 
 1. ' Bouquets de Fleurs/ 6 upr. pieces, after Jean Bapt. Monnoyer. 
 
 2. * Bouquets de Fleurs/ after Tellier (Tessier) — viz, a set of 12 pieces; 
 2 sets of 6 pieces, and — a set of four. One of these Nosegays is now before 
 me : * L. Tessier del, Avril Sculp.' It is numbered (6), measures h* llf. iv. 
 9J, and is engraved in a stiff coarse manner. 
 
 JEAN JACQUES AVRIL. 
 
 1770—1790. 
 
 This artist, according to Joubert, was born at Paris in 1744, 
 and was originally intended for an architect, though, as his in- 
 clination prompted him, he afterwards followed engraving. Huber 
 states him to have been a pupil of I. G. Wille ; and I learn, 
 from the first-mentioned author, that he lived to practise the 
 art, no less than 54 years. He is spoken of, as an engraver, 
 in higher terms than, judging from what I have seen of him, he 
 appears entitled to. 
 
 1. The Portrait of M. Ducis, a writer of Tragedy, and— that of M, Bri- 
 zard, an actor, half-length, upr. pieces, after Adelaide Labille : * Avril sc.' 
 
 2. A Set of Cows : * Cahier de Six feuilles de Boeufs et Vasches, &c./ groups 
 of two or three on each plate ; engraved in a mixed manner, something in 
 imitation of chalk, and numbered 1 to C on the right at top ; each marked : 
 ' J. Pillement del. J. J. Avril scul. 1771/ I. 9£. h. 0J. 
 
 y 2 
 
A U R 
 
 3. A Thunder Storm : 1 Les Voyageurs effrayes par un coup de Tonnerre;' 
 
 after Vernet. A Sunset; * Retour de la Peche,' &c. after the same, 
 
 A Shipwreck : 1 Le Naufrage,' after the same, engraved in 1775. Three 
 pieces l-iv. 
 
 4. ' Le Passage du Rhin ;' a large piece l-iv., after Berghem. 
 
 5. ','Appollon fait danser les Quatres Saisons ;' or rather Mercury, 
 Fame, Bacchus, and Ceres dancing to the music of Apollo, who is seated on 
 the right, playing on his lyre. After N. Poussin. large fol. l-w. 
 
 6. < Venus se venge de Psyche;' after J. Bapt. Fr. de Troy. l-w. : ' J. J. 
 Avril sc. 1779.' 
 
 7. Diana changing Acteon into a Deer; after Albano: * Grave par J. 
 J. Avril 1780.' A large print lengthways in imitation of the soft manner of 
 Beauvarlet. 
 
 8. ( Les Baigneuses Surprises;' companion to the last: ' Grave par J. J. 
 Avril 1781/ It is tamely done, and very weak in the drawing. 
 
 9. The Taking of Courtray in July 1667. Engraved in 1782-3 after Van 
 der Meulen ; a large print l-w. 
 
 10. ' La double Recompense du Merite ;' after P. A. Wille, engraved in 
 1784 ; large fol. 
 
 11. 'La Patriotism Francois;' companion to the last, after the same ; en- 
 graved in 1788. 
 
 12. Penelope and Ulisses ; after Le Barbier ; and The Battle of the 
 
 Horatii and Curiatii ; painted by the same artist in 1785, and engraved 
 by Avril in 1787 ; two large prints l-w. Huber speaks of them as capita} 
 performances. 
 
 13. Catherine II. travelling in her Territories in 1787; a grand 
 composition after Fred, de Meys, engraved in 1790. A very large piece l-w. 
 
 14. Susanna; and its companion The Flight into Egypt; after Van- 
 
 derwerff. The latter, according to Joubert, was the artist's last work. 
 
 NICHOLAS AUROUX. 
 
 1650—1664. 
 
 This engraver was probably a native of Lyons, but he is said 
 to have worked also at Turin, chiefly, it is probable, for the 
 booksellers. Some of his engravings possess merit. 
 
 Heinecken mentions the following portraits by his hand : 
 
 1. Spinola, a Jesuit. — Hermeneus Roxas, a Lawyer. — Lazarus Riverius, 
 Professor of Physic- Vincent Voiture, a Poet. 12mo. Also, 
 
 2. The Madonna seated with the Infant Christ, and the little St. 
 John embracing hi s feet : ' Sancta Maria Mater, &c. a Lyon chez Robert Pi- 
 gout.' fol. Add the following : 
 
 3. The Frontispiece to the second volume of Daniel Sennertns, dated 1650. 
 (Strutt.) 
 
 4. The Portrait of * Charles Fevret, &c. age de 75 ans, 1657:' in an 
 oval. ' N. Auroux sculp.' h. 11^, including margin, w. 7%. 
 
 5. A Frontispiece to a Book of Theology, representing the Madonna, 
 with her head surrounded by a large star, standing upon a pedestal supported 
 by three angels, with Mercury flying behind. Upon the pedestal is inscribed: 
 * Theologia fundamentalist and at bottom is the name of the artist : * N* Au- 
 roux fee* h. 12|. w. Jh 
 
 6. A Young Man seated, playing upon a Clarionet, with other wind 
 instruments at his feet : ' T. Blanchet in. JV. Auroux fee.' h. 8|. w. 6^. 
 
 7. A Vignette, surrounded by a border, representing a figure of Fame, fly- 
 ing, with two trumpets, to which are attached banners, one of them inscribed; 
 
A U S 
 
 * His oculis linguisquc, N. Auroux Sculpsit.' This plate, winch is engraved 
 with freedom and delicacy, in the manner of Corn. Bioemart, is introduced 
 at the bottom of the title-page of a book in folio, printed at Lyons in 1CG4. 
 I. C|. h, 4£. 
 
 WILLIAM AUSTIN 
 
 1753—1780. 
 
 An English engraver, of moderate abilities, who chiefly em- 
 ployed himself in landscape, and was probably a pupil of Major. 
 We have by him : 
 
 1. The Ruins of Palmyra, and views of Antient Rome in its original splen- 
 dour; 10 pieces l-w. viz. — —(I) The grand Entrance into the Temple of the 
 
 Sun in Palmyra. (2) The remains of the great Temple in Palmyra. (3) 
 
 A general prospect of Palmyra, from the North-West. (4) The antient 
 
 city of Palmyra, as it now appears. (5) The Temple of Vesta at Rome, 
 
 &c. (6) An Egyptian Obelisk. The Senate-House, &c. (7) The Mau- 
 soleum of Hadrian. Temple of Peace, &c. — -(8) An antique Torso. The 
 Pantheon, &c. (9) The Temples of Concord, and of Antoninus and Faus- 
 tina, &c. (10) The remains of the Senatorial Bridge, with a view of the 
 
 Tyber. 
 
 2. The Four Times of the Day; four pieces, I. 13£. h. 9£, besides marg. 
 
 * Morning after Waterloo. 1 Noon ;' after Ruysdael : ' Rysdal pinx. 
 
 Austin Sculp. Major excudit.' — * How bright the Hills, &c.' ' Evening ;' 
 
 after Jean Van Goyen. ' Night.' 
 
 3. A Set of Landscapes, slightly etched, after drawings by Lucatelli ; each 
 marked : « Lucatteli I. Austin F.' I. 9£. h. 7J. 
 
 I know not how many the set consists of. 
 
 4. A Set of political Caricatures, pieces: I. 13. h. 10J. * French 
 
 Spies attacked by British Bees: W.Austin, 1780.' * The Spanish Dons 
 
 overtaken by an Ancient Briton.' 'British Invalid driving Foreign Animals 
 
 from the Camp.' * Public Ordinary.' ' A Peep into a Camp kitchen by 
 
 an over-drove Ox.' ' Recruiting Sergeant and Contented Mates.' 
 
 MARIE-ANNE, ARCH-DUCHESS OF AUSTRIA. 
 
 b. 1738. d. 1789. 
 
 The members of this illustrious family are well known to be 
 passionate lovers of the fine arts. I find mention of the follow- 
 ing 1 etchings by this princess. 
 
 A Landscape, dated 1772. Also 16 small Landscapes, Sea-Views, In- 
 teriors, &c. in 8yo. and 4to. 
 
 ELIZABETH ARCH-DUCHESS OF AUSTRIA. 
 
 b. 1713. d. 1808. 
 
 By this princess we have the following small plate, bearing 
 her name . 
 
 A Landscape, with a village on the left ; and on the right, in the foreground, 
 a pollard, and a piece of paling. A poor woman is seen on foot, with a child 
 at her breast, and another upon her back, in a basket. It is a very slight et- 
 ching, inscribed in the margin : ' Elisabetha Arciaa* Austria del. et excud. 
 Anno 1759/ h. 7, besides margin, w. 4f. 
 
 CHARLOTTE ARCH-DUCHESS OF AUSTRIA, 
 
 b. 1752. d. 1814. 
 
 Afterwards queen of Naples. We have by her the following: 
 1. A Peasant sitting on a Tub, turned a little towards the right, with a 
 
A X M 
 
 cup in his left hand, and a pipe in his right. On the right is a cottage, and 
 on the left, a tree. In the margin at bottom : * Dessine et grave" par Uarch»se, 
 Charlotte d'Autriehe 1766/ h. 6^, besides margin. %o, 5. 
 
 2» A Peasant Girl seated at the door of a Cottage, turned towards 
 the right, and caressing a chicken, while others feed at her feet. At bottom 
 in the margin : 4 Dessine et grave par L'Arch^. Charlotte d'Autriehe 1767/ 
 h. 6, besides margin, w. 5. 
 
 3. A Female Peasant walking towards the left, with a basket under her left 
 arm, and a boy behind her, fastening his shoe. In margin : ' Dessine et 
 Grave* par L'Archiduchesse Charlotte d'Autriehe, 1766/ h. 4|. ic. 2f. 
 
 These three pieces are indifferently etched, and appear to have been after- 
 wards touched with the graver by some inferior professor. 
 
 The Arch-Duke Rodolph of Austria, Card, and Arch- 
 bishop of Olmutz, born 1788, is also mentioned as having etched : 
 A Dog lying down, and a View of a Monastery ; 2 pieces l-w. in 8vo. 
 
 C. AUTGUERS, 
 
 1623. 
 
 ' An obscure engraver, who seems only to have worked for 
 the booksellers, and probably resided at Lyons ; for I have seen 
 some few Frontispieces engraved by him for books, which 
 were there published, and one of them is dated 1623. His works 
 are by no means estimable.' (Strutt.) 
 
 Heinecken, also, mentions having seen this name on a subject 
 for a Thesis, with the above date, 
 
 AUTREAU. 
 
 4 An engraver of Portraits, as it should seem, by whom 
 we have the Princess of Hesse Romberg.' So says Strutt, who 
 does not give any date. I find mention in Heinecken of one 
 Jacques Autreau, who died at Paris in 1745 aged about 89 
 years, but nothing is there said of his having engraved. 
 
 AUVRAY, 
 
 1760—1767. 
 
 An artist little known, who, according to Heinecken, studied 
 engraving at Paris, and afterwards resided at Basil. Heinecken 
 mentions by him : 
 
 1. The Portraits of La Ruette, and Preville, two french comedians ; 
 whole-length figures, with landscape backgrounds ; upright pieces, after 
 Monet. Add : 
 
 2. Jean-Louis Baron D'Erlach ; bust in an oval ; and Jean Rodolf de 
 Werdmuller ; ditto, part of a set; the former numbered 1 at top, the 
 latter, 3 : 4 Auvray Sculp,' h. 4£, besides margin, w. 2|. These two pieces 
 are delicately engraved. 
 
 a. A Man of Business in his dressing gown, writing at a table; dedicated to 
 M. Bourcard: * Peint par Juncker a Francfort 1752. Grave a Basle par 
 Auvray.' fol. (Winckler Cat.) 
 
 JOSEPH AXMANN. 
 
 b. 1793. 
 
 A designer and engraver, born at Brunn, in M oravia, May 
 
A Y L 
 
 the 7th 1793, and now living at Vienna. We have by him, 
 among other plates ; 
 
 1. The Portrait of Vandyck, bust, looking over his shoulder: ' Bildniss 
 van Dyck's. Gest. von J. Axmann.' upr. 8vo. Neatly engraved. 
 
 2. The Death of Abel, after Ph. de Champagne, l-w. in 4to. 
 
 3. Sampson and Dalilah, after Vandyck, l-w. in 4to. 
 
 4. Moon-light, after Vander Neer. l-w. in 4to. 
 
 HENEAGE FINCH, EARL OF AYLESFORD. 
 
 b. 1751. d. 1812. 
 
 This nobleman merits a distinguished rank among the amateur 
 practitioners of his time. He was a great admirer of the land- 
 scapes of Rembrandt, as will be perceived in the following small 
 plates done by him of Cottage Scenery ; which, as far as they 
 go, may justly be classed among the most successful imitations 
 that have yet been made of that great artist's manner of etching. 
 He sometimes marked his plates with a cursive A. adding a date, 
 and in some instances, a title ; but in the first impressions these 
 distinctions are often wanting-. I am by no means certain that 
 the following list of his etchings is complete. Although I have 
 arranged some of them in sets, according to their sizes, none of 
 them are numbered. 
 
 1. A Portrait. 'Thomas Stapletonns, Anglus, /Etat, Anno LXIII,' so in- 
 scribed in the margin at bottom. He is seen nearly in front, but turned a 
 little to the left ; wears a high cap, and a cloak lined with fur, and is seen to 
 below the shoulders. No mark. h. 4. to. 4. 
 
 2. Cottage Scenery, &c, a set of 4 pieces, I. 3$. h. 2J. (a) ' A Pig-sty 
 
 in Wales. A 1795.' This inscription is in the sky. I have seen a proof with- 
 out it. The Pig-sty occupies the left of the print ; on its roof is a child's 
 hoop : no pigs are seen. — -— (&) A ruined Cottage ; a tub standing at the door, 
 
 and on the right a water-butt, under some trees. (c) ' Cottage in Wales 
 
 so in the sky, on the right. The nearest part, on the right, seems a shed or 
 cow-house ; the dwelling-house, beyond, has two attic windows with pointed 
 roofs; and behind, on the left, are trees. In the foreground, on the left: 
 
 ' A 1795.' (d) A flat Scene, with a Canal, traversing the print, on which 
 
 are one or two sailing boats; and, upon the bank, a village with three wind- 
 mills. Towards the left, in the foreground, a pollard, and at the right mar- 
 gin, part of another. 
 
 3. Farm-Houses and Cottages; a set of 6 pieces, 1.6, h. (a) On 
 
 the left a dwelling house, of which two gable-ends are seen ; in the middle an 
 open shed, and on the right a large barn with the doors closed. At bottom 
 
 on the right: « T. Malchair del.' (b) A farm-house, with a chimney at the 
 
 gable-end on the right, another near the middle, and below, a cart and some 
 hay. On the right are three figures in conversation ; and in the foreground, 
 on the left, are two female haymakers returning from work, with a little boy 
 
 and a dog. (c) A Farm-house seen in a side view ; on the left the gable- 
 
 etad of a barn, and beyond some trees. The two chimneys, and one of the 
 gable-ends of the dwelling-house, are seen on the right ; also a single tree, 
 and a man in a long great-coat walking to the right, supported by his stick, 
 (rf) A Cottage, the left end of which is dilapidated. The other part has two 
 windows and a hatched door, before which is a tub standing on its side. The 
 
 view of the building is intercepted in the middle by a tree. (e) A thatched 
 
 cottage on the right, with two windows, and a woman leaning over the hatch 
 of the door. Beyond it, on the left, is the broken trunk of a large old tree, 
 
 and behind the cottage are other trees. (/) Two cottages, behind which 
 
 are groups of trees. In the foreground is a canal or brook, over which, on 
 
A Z E 
 
 the right, is a small wooden bridge. This piece and the preceding have a 
 rich effect. 
 
 4. A Cow-house, in a Field ; towards the right is a pollard, under which are 
 two cows, feeding. In the foreground, on the left, is seen part of another 
 pollard ; and in the sky on that side : * A fecit 1794/ I. 6f< h. 4. 
 
 5. A Rustic Cottage and Water-Mill, of which the wheel is seen under 
 a shed. On the right, in the distance, is a tower. Strong effect; very like 
 Rembrandt. /. 6|. h. 3£. 
 
 C. Part of an Old Farm-House, with the entrance, by a ladder, into a 
 barn. These objects, and a wheel-barrow occupy the right of the print. In 
 the foreground on the left are the stump of a pollard, and a mill-stone, and in 
 the background are trees. Very like Rembrandt. I. 7 h. 4^. 
 
 7. Rustic Cottages, &c, a set of four pieces. I. 6%. h. 4|. (a) A cot- 
 tage, extending from the left to three-fourths of the plate. On the right, a 
 peasant with his hands behind him, talking to a young woman who has a bas- 
 ket under her left arm. (b) A rustic cottage, at the door of which are two 
 
 children and a woman resting her left arm upon a large tub which stands on 
 its side. A little towards the right is a girl with a basket walking towards the 
 
 cottage. (c) A stone bridge of one arch abutting on the rocky banks of a 
 
 narrow river. Two oxen appear to have just passed over the bridge. (d) 
 
 A cottage, much dilapidated, with a woman sitting in the door-way. 
 
 8. A Farm-House, of which a tall chimney rises in the middle of the print. 
 On the right are a large tree and a well ; and in the foreground, in the middle, 
 are two or three baskets, a large tub thrown on its side, and a barrel. I. 7-£. 
 
 THOMAS AYRES. 
 
 1694. 
 
 I find his name to two plates of a book of Instructions for 
 Writing-, l-w. in fol., very neatly engraved, and decorated with 
 ornament. The book, according- to a MS. mem. on one of them, 
 was published 1694-5, and dedicated to King William. One 
 of them is inscribed : f Ayres Londini Faciebat, 7 the other : Tho. 
 Ayres fecit, 7 
 
 JOHAN AZELT. 
 
 c. 1750? 
 
 He also signed his name Azeld, or Atzueld, and is said to have 
 resided at Nuremberg. He seems to have worked chiefly for 
 the booksellers, and was a poor artist. Heinecken mentions the 
 following portraits by his hand : 
 
 1. The Emperor Joseph; after A. Hauneman. — P. Marc. D'Aviano. 
 George Frederick, Prince of Waldeck. 4to. — General Monmouth. 4to* 
 Nicolas Egeranus, Architect. — The Kings of Spain, from Ammaric to 
 Charles II. 12mo. — The Kings of Hungary, from Kevi to Leopold. 12mo. 
 The Kings of Bohemia, from Czecho to Leopold. l2mo. — The Kings of 
 Denmark, from Dan to Christian V. 12mo. * He engraved also,' says Hei- 
 necken, ' half the portraits which are introduced in Freheri Theatrum 
 Virorum Eruditione clarorum/ &c. 
 
 I have now before me, a folio plate, h. 12 J. to. 7£. in which are represented, 
 in compartments, the Portraits of Bernhardus Albertus, and fifteen 
 other Theologians. It probably belongs to the last-mentioned work, and is 
 marked : * Azelt sc.* Also 
 
 2. A View of the Villa Pamphili : ' Villas Pamphilae prospectus, &c^ 
 Azelt sc.* I. 17|, h. 9|, besides marg. ; numbered xxxxii, at top on the right" 
 
BAB 
 
 JOHAN MICHEL BAADER. 
 
 c. 1780. 
 
 A painter born about the year 1736 at Eichsted, whence he 
 Went to Paris in 1759 to perfect himself in his studies. At the 
 time Heinecken wrote (1788) he was painter to the Prince- 
 Bishop of Eichsted. That writer mentions the following pieces, 
 etched, or engraved by him after his own designs : 
 
 1. The Head of an Old Woman. 
 
 2. Two Anatomical Figures ; two upright pieces. 
 
 AMAL1E BAADER. 
 
 1T84. 
 
 An amateur artist of talent, who was born at Erding in Ba- 
 varia in 1763, and is said to have received instructions from 
 Georg Dillis, and M. Dorner, late director of the gallery of 
 Munich, where she was living in the year 1817. She occasionally 
 amused herself with etching, and also engraved in the dotted 
 manner ; sometimes marking her plates with a cypher composed 
 of an A and a B, or f A. B.fec' and sometimes with her name 
 thus : ' Amalie Baader inven, et fee' The Rigal catalogue 
 mentions by her : 
 
 1. Cupid, after Correggio; Busts and Portraits, &c. chiefly in 12mo., after 
 Domenichino, Backer, Dorner, and Kelhofer; and Studies, after prints by 
 Schmidt of Berlin ; 28 pieces, some of them dated 1784. Add : 
 
 2. A Half-length figure of a Woman, her neck uncovered; after Do- 
 menichino; an etching : * Gravte par Amalie Baader.' 12mo. 
 
 JOHAN DE BAAN, See Bane. 
 P. E. BABEL. 
 
 f. 1747. d. 1770. 
 
 An artist of Paris, said to have been a goldsmith, who in his 
 time enjoyed considerable reputation as a designer of architec- 
 tural ornaments, some of which he engraved with his own hand. 
 Of these, Heinecken mentions the following : 
 
 1. A Series of Ornamented Fountains, 8 pieces, 4to. ; one of them, be- 
 fore me, is marked * Babel delineavit et sculp.' 
 
 2. A Desion for a Clock ; a large upright piece : 1 Babel sc.' 
 
 3. A Series of Compartments ; 8 pieces. 
 
 4. A River-God ; and Thetis with her Nymphs ; 2 pieces in folio. 
 
 6. The Frontispiece for 1 le Recueil des Troupes Legeres do France, &c. 
 1747. Babel inv. et Sculp.' small upr. fol. Not ill executed. 
 He also engraved several plates for Blondel's Architecture. 
 
 BABIJV, 
 
 17—? 
 
 A designer and engraver of ornaments, at Paris. Heinecken 
 vol. i. z 
 
mentions by him the following books of designs for the use of 
 workers in iron. 
 
 A Book of Grates and Railings. Another of Supports. Five 
 
 Books of Balconies, Railings, &c. 
 
 FRANCIS DE BABYLONE, See Barbari. 
 PETRUS BACCHIUS. 
 
 1650. 
 
 I know nothing of this artist, save that I find his name in 
 Zani's Index, who appears to have seen a print marked ' Pe- 
 trus Bacchius inv. fecit et sculpsit* 
 
 MARCELLO DE BACCIARELLI. 
 
 1756. 
 
 He is said to have been born at Rome, and to have been a 
 scholar of Benefiali. In the year 1756 he accompanied the King 
 of Poland to Warsaw, where he was ultimately made chief pain- 
 ter to the court. Heinecken speaks of him as a painter only ; 
 but Strutt appears to have seen, engraved by his hand : 
 
 The Portrait of August. Stanislaus Poniatowski, King of Poland. 
 ANDREAS BACCIUS. 
 
 e. 1600? 
 
 In the first catalogue of the Abbe Marolles, 1666, p. 107, a 
 print of his is thus mentioned : * Andreas Baccius, pour une 
 figure emblamatique de toules les choses qui sont au monde/ 
 
 E. BACH. 
 
 Strutt observes that he finds this artist cited as having done 
 some historical pieces ; but that he had never seen any of them. 
 I can give no further account of him. 
 
 JACOB CONRAD BACH, or BACK, 
 
 1765. 
 
 An engraver of Franckfort on the Mayne, according to Hei- 
 necken, who mentions by him : 
 
 The Portrait of Frederick III. King of Prussia; also that of 1 Pe- 
 trus Hollandus/ engraved in 1765, in 8vo. 
 
 CHRISTIAN WILHELM BACH. 
 
 1775. 
 
 A German painter ; who, according to Heinecken, designed 
 and engraved in 1775 : 
 
 The Portrait of Jean Gottlieb Dennewitz, a physician. 
 
B AC 
 
 M. DE BACHAUMONT. 
 
 1752. 
 
 An amateur artist of Paris, who, according to Heinecken, 
 engraved for his amusement : 
 
 The Portrait of Francois de Troy, the father ; from a design by Mad me . 
 Doublet. 8vo. 
 
 JACQUES DE BACHELEY, 
 
 b. 1712. d. 1781. 
 
 A designer and engraver, born, according to Huber, at Pont- 
 TEveque in Normandy, and who died at Rouen, a member ot 
 the Academy of that city, in 1781. He did not apply himselt 
 to engraving till at the age of thirty, when he went to Paris, 
 and studied under Le Bas. We have, by him, several land- 
 scapes and sea views after various Dutch artists, which are en- 
 graved with neatness and delicacy ; though they are sometimes 
 deficient in freedom of manner. 
 
 1. A View in Italy, and a View on thb Tydbr. 2 pieces small fol. l-w. 
 after B. Breemberg. 
 
 2. A View of the 1 Pont de Voges;' after the same, fol. l-w. 
 
 3. A View of Rotterdam; after J. Van Goyen, engraved in 1757; large 
 fol. l-w. 
 
 4. The Ca9tle of Ryswick ; and, a View of tub Environs of Utrecht ; 
 after Jac. Ruysdael ; two pieces, fol. l-w. 
 
 5. A Shipwreck: ' Tempete de Groenlande, J. Peters pinx. J. Bachalcy 
 scxUpsit 1757.' /. 20£. h. 13£. 
 
 0. ' La Redoute de Schenck and 4 Vue db l'Entre*5 de la Mbuse 
 alter Bonav. Peters ; two pieces, large fol. l-w. 
 
 7. A View of Havre db Grace; after his own design ; large fol. l-w. 
 
 BACICCIO, See Gaulli. BACK, See Bach. 
 JACOB DE BACKER. 
 
 b. 1G09. d. 1641. 
 
 An historical and portrait painter, of Harlinghen, who appears 
 to have been an artist of some reputation. Heinecken mentions 
 several prints by T. Matham, S. Savry and other good engravers, 
 after his designs or pictures ; also 
 
 1. Rebecca and Eliazer, an etching, by his own hand. 
 
 He notices also the following pieces, without any engraver's name; and 
 which may perhaps be Backer's own work : 
 
 2. The Five Senses, represented by the figures of Nymphs, with landscape 
 backgrounds, 5 pieces l-w. : * Jacob de Backer inv. J. Meissen exc' One of 
 these, as I suppose, is now before me. It represents the sense of Feeling. 
 On the right is Venus naked, sitting under a tree, with a dove perched on her 
 right hand, and pecking at one of her fingers. On the left in the background, 
 is seen Pigmalion embracing his statue, and at bottom : 4 Jacob de Backer 
 invert. 1 It is a scratchy etching, worked up with the burin ; but has so little of 
 the manner of a professed engraver about it, that I suspect it may be Backer's 
 own performance. I. 7§. h. 5$. 
 
 3. A Young Man seated, playing the Lute ; behind \\\m a stag lying 
 down ; a similar piece : * Jo. Meyssens excud. Antwerpiae.' 
 
 z 2 
 
BAD 
 
 4. A Nymph lying on a Bed, looking at herself in a mirror which she holds 
 In the left hand : at her feet is the eagle of Jupiter : ' Jacob BacJcer inv.' An 
 etching ; Lw. in 4to. 
 
 5. Truth, l-iv. in 4to. 
 
 FRANZ DE BACKER, 
 
 1704—1721. 
 
 A painter of Dusseldorf, who studied some time at Rome, 
 and whose portrait, painted by himself, is in the well-known 
 collection in the gallery at Florence. We have by him : 
 
 1. Cain killing Abel; a careful but very masterly etching, after Ant. Schoo- 
 nians. Cain is represented in a back view, striding across the fore-shortened 
 figure of Abel, who is not yet dead. He holds his club with the left hand, 
 and, elevating the other, looks up to the left as if listening with terror to the 
 divine denunciation against him. The altar of Abel is seen, in part, on the 
 right ; and in the distance on the left is that of Cain. In the middle, at bot- 
 tom : * Antonio Schoonians S. C. M. C. P. pinxit.' and in the margin on the 
 right : * F, de Backer fecit 1704.' h. 12|. w. 8f . 
 
 The composition is good, and the drawing is in a great style. The plate is 
 sparingly touched here and there in the dark parts with the graver. (S.) 
 Heinecken mentions by him also : 
 
 2. A View of thb * Hotel de Ville/ at Amsterdam. 
 
 BACKHUYSEN, See Bakhuizen. 
 
 BAGLER-DALBE. 
 
 c. 1800? 
 
 The Rigal catalogue, P. 409 No. 990, mentions by this artist : 
 Two Landscapes ; after Berghem. 
 
 B A CQ UEVILLE, 
 
 17—. 
 
 An amateur of Paris, who, according to Heinecken, engraved : 
 Two Books of Ornaments, forming 12 pieces. 
 
 BACQUOY. See Baquoy. 
 ISTO BADALOCCHIO, 
 
 b. 1581. d. 1647. 
 
 This artist was a native of Parma, and a scholar of Annibale 
 Caracci, whom he followed to Rome, and assisted in some of his 
 considerable works of painting. As an inventor, he has not left 
 many proofs of his ability ; but as a designer he is said to have 
 been preferred by Annibale to almost every other artist of his 
 school. His etchings indeed afford sufficient evidence of his 
 skill in this part of the art ; and the apparent ease and taste 
 with which they are executed, make it to be regretted that he 
 did no more of them. 
 
 1. Scriptural Subjects, after Raffaelle ; 23 pieces, I, 7. h. 5|. (Bartsch 1 
 to 23); being part of the series of frescoes in the Loggia of the Vatican at 
 Rome, commonly called Raffaelle 's Bible. The rest were etched by Giovanni 
 Lanfranco. They are numbered on the right at bottom, and most of them 
 have the name or initials of the engraver. Those by Badolocchio are as follow : 
 
BAD 
 
 (1) The Frontispiece. Two children, seated, one on each side of a car- 
 touch, whereon are the arms of Annibale Caracci, to whom the work is dedi- 
 cated : 4 Historia del testamento vecchio dipinta in Roma nel Vaticano da 
 Raffaelle di Urbino, et intagliata in rame da Sisto Badalocchi et Giovanni 
 Lanfranchi Parmigian.— A) Sig. Annibale Carracci. — In Roma, appresso a 
 
 Giovanni Orlandi. Con licenza de Superior!. 1607/ (5) God separating 
 
 the light, from the darkness : 4 SI. Ba.* (6) The Creation of Heaven and 
 
 Earth.-— —(14) The Deluge: 4 Sist. Ba.'— -—(15) Noah coming out of the 
 Ark : 4 Sisto Badalo. F.'— — (17) Melchisedech meeting Abraham : 4 Sisto 
 
 Bad.' (22) Abimelech discovering Isaac caressing his wife. (23) Isaac 
 
 blessing Esau : 4 Sisto B. Fe. % — — (25) Jacob and Rachel at the well : 1 Sisto 
 
 Ba. F.' (26) Jacob remonstrating with Laban concerning Leah. (29) 
 
 Joseph sold to the Ismaelites : 4 Sisto B.' (31) Joseph explaining Pha- 
 
 roah's dream : * Sisto Bad. F.' (32) Moses in the Bulrushes : 4 Sisto Bad. 
 
 F: (34) The Passage of the Red Sea : 4 Sisto B. F.' (35) Moses with 
 
 the Tables of the Law : 4 Sisto B F.' (39) Moses striking the Rock : 
 
 ' Sisto Bad. F.' (40) The Israelites crossing the river Jordan : 4 Sisto 
 
 B. F.* (44) David killing Goliath : * Sisto B. F.' (45) Bathsheba 
 
 bathing: 4 Sisto Ba.' (47) Solomon anointed king of Israel : 4 Sisto B.F.' 
 
 (49) The building of the Temple: 4 Sisto B. F.' (51) The Queen of Sheba 
 
 visiting Solomon : 4 Sisto Ba. P.* (54) Christ celebrating the Passover with 
 
 the apostles : 4 Sisto Bad. FJ 
 
 2. The Holy Family ; after Schidone. The Virgin is seated, with the infant 
 on her lap, and turned towards the right ; behind her, on the left, is Joseph 
 resting his right hand on the back of her chair, and on the right is the little 
 St. John, with his Agnus Dei. At top on the right : 4 B°. Schidono. inor. 
 Sisto. Bad. inciit.* The figures are seen to a little below the knees, h. 6. w. 5£. 
 (B. 25.) There is a copy of this etching in a reverse direction. Same di- 
 mensions. 
 
 3. The Marriagb op St. Catherine; perhaps after Badalocchio's own de- 
 sign. The Madonna is seated, and seen in front, with the infant Saviour on 
 her lap, who is placing a ring on the finger of St. Catherine, who kneels on 
 the right. On the left is the upper part of the figure of Joseph, who rests 
 his right arm upon a bundle, which is supported on a pack-saddle. The 
 figures are seen to a little below the knees. On the right, at bottom, in mar- 
 gin | of an inch wide : 1 Sisto Ba^. Parma* 1. 6^. h. 6$, besides marg. (B. 26.) 
 
 4. The Baptism of Christ. The Baptist kneels on one knee ; he holds his 
 cross in the right hand, and pours water over the head of the Saviour with the 
 other. In the middle at top, the Almighty is represented upon a cloud, which 
 is supported by three angels, h. 6£. tp. 5. This piece, according to Bartsch, 
 has neither the name nor initials of the artist. (B. 24.) 
 
 5. Parts of the Frescoes of Coreggio, in the Cupola of the Duomo at 
 Parma ; wherein that sublime artist has represented the assumption of the 
 Madonna, 6 pieces, h. lOf. w. 8£ (B. 27—32.) (a) One of the Apos- 
 tles, seen in profile, looking up, and turned to the right. Behind him on 
 an elevated cornice, are a candelabrum and two angels, without wings (as is 
 likewise the case with the others) ; that on the right supporting a large basin 
 with the left hand. At bottom on the right : 4 Sisto B. F.' (b) Two Apos- 
 tles, turned somewhat towards the right. That on the right looks up to 
 heaven, elevating his left hand. On the cornice behind are three angels, one 
 of which appears burning a branch of a tree at the flame of a candelabrum. At 
 
 bottom on the right: 4 Sisto Ba°.' (c) Another Apostle, seen nearly in 
 
 front. He supports his mantle with the left hand, and elevates the right. 
 Upon the cornice a candelabrum, as before, and two angels, both of them on 
 the right. At bottom on the left : 4 Ant. a Corig. inv.' and on the right : 
 
 * Sisto Ba».' (<Z) Another Apostle, seen in front and looking up. He 
 
 holds his left hand above his head, shading his eyes. Upon the cornice, in 
 the middle and on the right, are three angels. W ithout the artist's name or 
 initials. (e) An Apostle looking up, and turned towards the right, ele- 
 vating both his hands; the candelabrum and two angels on the cornice. 
 Without artist's name or initials. (/) St. Gregory on the clouds, sup- 
 ported by four angels ; one of whom holds an open book, and another his 
 
BAD 
 
 erozier. No artist's name or initials. This is one of the four paintings in the 
 spandles of the arches which support the cupola. 
 
 G. The celebrated Statue of Laocoon and his two Sons. At bottom 
 on the left: 1 Sisto Ba. F.' and on the right: 'Andreas Vaccarius formis 
 Rome. 1606.' An admirable etching, h. 15. w. llj. (B. 33.) 
 
 7. Cupid vanquishing Pan ; after a celebrated fresco of Agostino Caracci. 
 The god of love presses with his right hand upon the forehead of Pan, who 
 being thrown to the ground, supports himself upon his right hand, near which 
 is seen his reed-pipe. Without any artist's name or initials. Bartsch ascribes 
 it to Badalocchio ; but I think it somewhat doubtful. h. 7 fa w. 6f . The same 
 design was etched upon a larger scale by Flam. Torre. 
 
 BARTOLOMMEO BADERNA. 
 
 1655— 1681. 
 
 If I may rely upon Zani, he was a native or resident of Pia- 
 cenza. There can be little doubt that he was a painter, and 
 one of some ability. The following etching by his hand is done 
 in a slight but picturesque manner, not very unlike that of Odo- 
 vardo Fialetti. 
 
 A Procession of Children, moving towards the right; after Pordenone ; 
 
 in three pieces, which, when joined, form a frieze; I. 46. h. 2§. (a) The 
 
 Procession is led by an infant with a bough of laurel, and another blowing a 
 
 horn ; in the middle is a third seated on a pig. (b) On the right, is an 
 
 Infant in a car which is pushed forward by other children, the date 1655 on 
 the wheel of the car ; in the middle are dogs running, and barking at a swan 
 which is flying over their heads ; and on the left, upon a tablet, suspended 
 from a tree, is inscribed : 4 Pordenone In. Bart. Baderna PS — ~-{c) In the 
 middle is an Infant pushing forward a sheep, and another with a garland ; the 
 procession is terminated, on the left, by a child riding on a large fish. (O.) 
 
 IL BADESSA. 
 
 c. 1650? 
 
 I find no account of this artist, whom I suspect to have be- 
 longed to the school of Naples. The following is a free painter's 
 etching, something in the manner of Francesco Cozza ; though 
 wanting his delicacy. 
 
 King David playing on the Harp. He is seated and turned towards the 
 right, but looks downwards at a music-book, which is held by a little angel on 
 the left ; behind, on the right, is another little attendant angel. The figure of 
 David is seen almost to the ancles. In the margin at bottom : ' 11 Badessa di 
 sua inventione in aqua forte* h. 5'f, including margin, w. 4|. (WMM.) 
 
 ALESSANDRO BADIALI. 
 
 b. 1623. d. 1668. 
 
 This artist, by profession a painter, was born at Bologna in 
 1623 ; though some writers date his birth in 1626, 1628, and 
 1643. He was a pupil of Flaminio Torre, whose manner he 
 followed, and would probably have become a considerable orna- 
 ment to the school to which he belonged had not his life been 
 suddenly terminated in 1668, by a musket shot fired at him in a 
 broil in the streets of Bologna ; as is expressly asserted by Crespi. 
 Gori and some other writers erroneously place his death in 1671. 
 
 We have by this artist five plates, in which the figures are 
 
BAE 
 
 drawn in a firm manner, and etched with freedom and spirit. 
 
 Four of them are after the designs of his master Flaminio Torre, 
 
 and the other is from Carlo Cignani. Some of his plates are 
 
 marked A.B., or A.B.F., the letters joined together in a cypher. 
 
 !. The Madonna; after Carlo Cignani. The Virgin, a half-length figure, is 
 seated, with the Infant in her arms ; who holds a little cross in his right, and 
 an apple in his left hand. In a narrow margin at bottom, on the left: 
 ■ CCI.' (Carol Cignani Inv.), and on the right the cypher of Badiali. h. S£, 
 including margin, w. 6£. (Bartsch 1.) 
 
 2. The Holy Family ; after Flaminio Torre. The Madonna is seated on a 
 bank, having on her knees the infant Jesus, who looks towards Joseph, who is 
 seated on the left resting with both hands on his stick. On the right are two 
 palm-trees. In the margin below are the arms of Giovanni Francesco Isolani, 
 a senator of Bologna, to whom the print is dedicated. At the bottom on the 
 left : * Flaminio Tori Inventore/ and on the right the cypher of Badiali, with 
 the letters DD. (Dat Dedicat.) h. 13, including margin, w. 9|. (B. 2.) 
 
 3. The Madonna and Child, with St. Anthony of Padua, and S. Fi- 
 lippo Neri. The Madonna is seated under a drapery suspended from a 
 tree, with the Infant Saviour on her lap. St. Anthony, kneeling on the right, 
 receives the caresses of the Infant; while S. Filippo, who kneels on the right, 
 addresses himself to the Virgin. In the margin are the arms of Carlo Gui- 
 dotti, to whom the print is dedicated. At bottom, on the left : 4 Flaminio 
 Torri Inventor/ on the right : * Alisandro Badialli Fecit. DD.' h. 14£, in- 
 cluding margin, w. llf. This plate was afterwards retouched with the burin 
 by some inferior artist. The shade between the lower part of the left leg of 
 the Virgin, and the cord of St. Anthony, which has only a single row of 
 hatchings, in the first edition, is crossed by a second row of hatchings in the 
 retouched impression. (B. 3.) 
 
 4. The Descent from the Cross ; after Flaminio Torri. The body of Je- 
 sus is lying extended on a sheet, at the foot of the cross, his head and body 
 supported upon a piece of rising ground ; behind him, in the middle, is the 
 Madonna, her arms extended ; and on the left is Mary Magdalen, stooping to 
 kiss his feet. . Behind on the left are two other figures ; and in the foreground 
 on the right is a man stooping to pick up the crown of thorns. In the margin 
 below are the arms of Gio. Francesco Isolani, to whom the print is dedicated. 
 At bottom, on the left : * Flaminio Torri Inventore/ and on the right the 
 cypher of Badiali with the letters DD. This print is said to be from a painting 
 in the church of S. Giorgio at Bologna, h. 17f , including marg. w. 13£. (B. 4.; 
 
 5. A Goat-herd sitting on a hillock, and resting with both hands on a thick 
 stick. He wears a round hat, and a sheep-skin about his loins ; and at his 
 feet, on the left, are two goats. An oval. Dedicated to J. B. Caberiani. In 
 the margin below, on the left : * Flaminio Tori Inventor*/ and on the right, 
 the cypher of Badiali, with the letters D. D. /. 12 ? ft. 9f, including margin. 
 (B. 6.) 
 
 ELIAS BAECK. 
 
 b. 1680. d. 1747. 
 
 A painter and engraver of Augsbourg, who was born at Lau- 
 bach, and studied at Rome, where he was named, in the Society 
 of Flemish Painters, Heldenmuth. He afterwards returned to his 
 native country where he worked for some time, but finally es- 
 tablished himself at Augsbourg, where he died in 1747, aged 67. 
 So says Heinecken. What I have seen by him gives me no very 
 high idea of his talents. 
 
 1. A Set of Landscapes with cattle and figures; after Berghem, 15 pieces 
 not numbered, /. 7$. h. 5J. copied apparently from the etchings of Visscher 
 or Danckerts. The first has a large rock, seen in front, with two cows on the 
 
BAE 
 
 tfght, a shepherdess seated on the left, and a man standing talking to her„ 
 Sec. In the margin at bottom : ' Elias Back alias Hcldenmuht sculpsit Roma. 4 
 the others have : 1 E, Back sc. Roma ;' ' Elias Back sc. Rom f * E. B. A. H, 
 sc. ;' * E. B. sc. Roma' generally in the margin, but sometimes in the sky. 
 One has no mark, and another : ' L. R. sc. Roma.' The first impressions of 
 these pieces have also : 4 Si stampa da Matteo Giudici alii Cesarini/ 
 
 2. Similar Subjects; from the same; 3 pieces, I. 10. h. 7§. each marked: 
 * E. B. a. H. sc.' one of them has the date 17 — . 
 
 3. Landscape ; in which are five goats and sheep, and a woman and child 
 seated on the left, in the margin on the left : • Elias Back infint. et sc. Rom' 
 
 4. A Set of Woody Landscapes, engraved by blw in conjunction with Joh. 
 Georg Baeck, 6 upr. pieces numbered, h. 6£ . to. 5|. copied in a reverse di- 
 rection from a rare set of Etchings by W. Bemmet. { 1 ) In the foreground 
 
 on the left a man seated fishing. In the margin : * 1. Jeri Wolff exc. Aug. Vin. 
 
 No. 92. * Ioh Georg Baeck Scul. W. Bemmel inv.' (2) A sportsman with 
 
 his gun, near the middle in the foreground looking up towards the left. The 
 address on the left, the numerals in the middle, (as is the case with the rest 
 
 of the set), and on the right : * Elias Back Sc.' (3) In the background 
 
 towards the right, a man seated on the ground conversing with a woman who 
 is standing with a child in her arms. This and the rest of the set have the 
 
 address on the left, but no artist's name. (4) On the left, a pedlar with a 
 
 load on his back, seated, and a man seen in a back view standing by him. 
 (5) On the left a peasant with a stick over his shoulder. At some distance 
 on the right a man, and a woman with a basket, walking. (6) In the fore- 
 ground on the right a sportsman caressing his dog, and on the left a peasant 
 seated under a tree. 
 
 Heinecken mentions the following portraits by this artist : 
 
 5. Marcus Gerberius, Med. D., &c. 4 E* Baeck Sc. Labaci,' in 4to. The 
 
 Emperor Charles VI. Hieronymus Ostertag. * EL Beck Sc.* 
 
 Abraham Wagner ; engraved in 1711. 8vo. Also : 
 
 6. The Distribution of Bread to the Poor, at Augsbourg. 1740. The 
 
 Illumination of the Hotel des Fuggers. 1741. 
 
 JOHAN GEORG BAECK, 
 
 1703—1724. 
 
 An engraver of Augsbourg, according to Heinecken, and 
 probably a near relation of the last mentioned artist, with whom, 
 as we have seen, he sometimes worked in conjunction. 
 
 Heinecken mentions the following portraits by his hand : 
 
 Theodor Joh. Bentheim, a Theologian, fol. Elias Georg Braemer, 
 
 M. D. ; engraved at Brunswick, fol. GustavUs Adolphus, king of Swe- 
 den, with a representation of his entry into Augsbourg. George I., of 
 
 England. Louis XIV., of France. Gottfried Zaech, 1703, in fol. 
 
 Jacob Martini, 1704. fol. Joh. Rempen, 1709. fol. Christian 
 
 Ludwig Ermisch, a Theologian ; 1724. 
 
 BAECK, See BECK. 
 J. DE BAEN. 
 
 1652. 
 
 Whether or not this artist be the same as the J. de Baan or 
 Bane, mentioned by Heinecken and others as a portrait painter, 
 T will not take upon me to determine. We have by him : 
 
 The burning of the Old Stadthouse at Amsterdam, July 7th 1652 ; 
 a rough, powerful etching. Various persons are seen ascending and descend- 
 ing ladders which are raised against the building. In the middle is a high 
 
B A I 
 
 tower, the flames bursting from its windows. The roof of that part of the 
 building which is on the right has fallen in. In the street below are numerous 
 figures. In the middle at bottom: ' J. d. baen fe.' I. 13^. h. 10£. 
 
 J. A. BAENER, See Boener. 
 M. BAES. 
 
 1630. 
 
 The following title-page, the only specimen I have seen bear- 
 ing the name of this obscure artist, is engraved in a manner 
 not wholly unlike that of Merrian, though very inferior. 
 
 1. The Title to a Book called ' The Love of God. At Doway. Bv 
 Gerard Pinson, 1630. M. Baes fecit.' h. 6. w. 3|. 
 
 Strutt mentions by him : 
 
 2. The Portrait of F. Paulus, a Jesuit, with a sword thrust into his 
 breast. 
 
 J. J. BAESCHEL1N, 
 
 A painter and engraver, who, according to Heinecken, worked 
 some time at Augsbourg, and afterwards went to Switzerland. 
 This, says the above writer, is all that I know of him, save that 
 we have by his hand : 
 
 The Portrait of the Pastor Schelhorn of Memmingen, a celebrated 
 man of letters. It is a large head, singularly engraved, part in mezzotinto, 
 and part in colours, and has a striking effect. 
 
 DAVID BAGLI, See Bailly. 
 CARLO BAGNINI, 
 
 c. 1660? 
 
 I know nothing of this artist, except what I learn from Gan- 
 dellini. According to that writer, he etched : 
 
 1. An Allegorical Piece, bearing allusion to the house of Medici, from the 
 design of Deifebo Burbarini. Also 
 
 2. Moses on the Top of the Mount, surrounded by lightnings, &c. ; with 
 Aaron sacrificing below, and, in the distance, the golden calf; after Ant. 
 Ruggiero. 
 
 T. BAILLET, 
 
 c. 1790. 
 
 An amateur artist, mentioned by Mr. Dodd, who appears to 
 have seen the following piece bearing his name : 
 
 A Landscape, wherein is a fortified castle ; etched after a picture by Rem- 
 brandt in the Choiseul collection. 4to. 
 
 FRANCOIS BAILLEUL, or BAILLIEUL, 
 
 1742. 
 
 Was, according to Heinecken, engraver and geographer to 
 the King of France, and engraved : 
 
 1. The Plates for the work of le Blond, entitled: 4 Essais sur la Castrameta- 
 tion,' printed at Paris in 1748. in 8vo. 
 VOL. I. 2 A 
 
B A I 
 
 2. A General Plan of Paris; engraved by him in conjunction with other 
 artists, 1742. 
 
 3. A Perspective View of the Illumination of la Rue de l\ Fer- 
 ronerie, after the designs of the Messrs. Slodt; the figures drawn by Mar- 
 vie and the perspective by Bovait. 2 pieces l-w. 
 
 Strutt says that he was employed, with a variety of other 
 artists, upon the plates representing : 
 
 4. The Coronation of Louis XV. Engraved at Paris. Add : 
 
 5. The Title-page to the First Volume of Watteau's Works; en- 
 graved after the design of Guiot. large fol. 
 
 N. BAILLIEUL, 
 
 1742. 
 
 He is said to have assisted the last-mentioned artist in the 
 general plan of Paris. 
 
 ALEXANDER BAILLIE, 
 
 1764. 
 
 An English engraver, of but moderate abilities, and little 
 known, by whom we have : 
 
 1. S. Cecilia playing on the Organ, ' Cantate Domino, &c. Francisco 
 Fernando Imperiali pinxit Romae. Alex. Baillie delineavit ct sculpsit 1764. 
 Sold for the Author, at J. Boydell's engraver and printseller,' &c. h. 14£, 
 besides margin, w. 11 J. 
 
 2. The Holy Family ; also after Imperiali : ' Ecce mater virgo, &c* 1764. 
 
 WILLIAM BAILLIE, 
 
 b. 1723. d. 1810. 
 
 This gentleman, best known in this country under the appel- 
 lation of Capt. Baillie, was a native of Ireland, and is said to 
 have been educated in Dublin under Dr. Sheridan. He entered 
 the army when a very young man, and served many years, first 
 as an officer of infantry, and afterwards in the cavalry ; after 
 which he had the good fortune to procure a civil situation under 
 government. Captain Baillie holds a distinguished rank among 
 our amateur artists. A few of his smaller pieces are etched by 
 him after his own designs ; but by far the larger portion consists 
 of plates executed in a mixed manner, partly with etching and 
 the dry point, and partly in mezzotinto, after the pictures or 
 drawings of eminent masters of the Dutch and Flemish schools, 
 among which those from Rembrandt are some of the most esti- 
 mable. The plates of Capt. B. first appeared separately, as 
 they were done. They were afterwards collected together, and 
 published in two volumes by Boydell. 
 
 PIECES AFTER HIS OWN DESIGNS. 
 
 1. The Portrait of ' William Baillie,' half-length, in an oval frame ; 
 with broad-brim'd hat and fur cloak. Two children, one on each side, draw- 
 ing back a curtain. The whole within a square border. /. lOg. h. 9p Chalk 
 manner ; supposed to be by Capt. BailUVs own hand. 
 
 2. A Grenadier performing his Exercise; a small piece, dated 1753. 
 
B A I 
 
 3. The French Fleet overtaken by a Storm. Engraved in 1759, with 
 dedication in Italian to Lord Anson, ' per il suo humilmo. servo W, Baillie 
 30. Reg°. Cavall«a. legiera.' /. 8. h. 5J, including margin. 
 
 4. A whole-length Figure of an Officer; in the distance, an engage- 
 ment of cavalry. At top : ' Spectemur Agendo,' and at the right corner his 
 mark with date 17G0. At bottom: ' II mio Alphiere, (in Greek characters,) 
 Delineato Sf inciso in Quatr' ore, W. Baillie Capo, di 3<>. Reg . Caval. Legiera.* 
 h. 6, including margin, w. 3. Very spirited. 
 
 5. A Shell ; a small piece, in the manner of Rembrandt ; 1761. 
 
 6. St. Peter, with the Tiara ; dated May 4th 1761. 
 
 7. St. Peter, with the keys, in his left hand, walking towards the right. Smail 
 fol. No artist's name or mark. 
 
 8. An Engagement of Cavalry ; * W. B. 1762/ l-w. in fol., in the manner 
 of Rembrandt. 
 
 9. A Landscape, with the Ruins of a Temple, and some figures in Oriental 
 costume ; in the style of Claude Lorrain. No mark, small fol. l-w. Subse- 
 quent impressions are marked : * W. B. in. sculp. 1762.' 
 
 10. A large Landscape, in which is a stone bridge, leading to a town. This 
 plate is said to have been destroyed. 
 
 11. The Sacrifice of Abraham: ' And Isaac said, behold the fire and the 
 wood, &c. W. B.inv. et sculp. 1705.' In the manner of hembraudt. in 4to. 
 
 12. A Man leading a Wild House, with Minerva in the clouds, offering 
 him a bridle. Latin verses in the margin. Engraved in 1770, us a Frontis- 
 piece, to Berenger's work on Cavalry. In 4 to. Scarce. 
 
 13. Portrait of ' Col. Wm. Kellett, Lt. Col. of 39 Regt. of Foot, &c. 
 Drawn Engraved by his old Friend and Brother Officer, W. Baillie, 1780.' 
 half-length. Oval. h. 7$, including margin, ft;. 6. 
 
 14. Two Genii in the clouds, supporting an open book, large 4to. This plate 
 was first entitled : ' Les Amusemens de L'art;' but was alterwards used as a 
 Frontispiece to the collection of the artist's works, with the inscription : 
 4 Amusements of Capt. W. Baillie.' 
 
 15. Bust of an Old Man stooping, and seen in profile. He has a square 
 beard, and wears a small cap, and a gold chain. A small oval, in the manner of 
 Rembrandt, without name or initials. The same, engraved on a larger 
 plate, but without the chain. 
 
 16. Another Old Man, half-length; in the manner of Rembrandt. 8vo. 
 
 17. A Study of several Figures ; amongst them a Persian, seen in a back 
 view ; in the style of Rembrandt. 
 
 PIECES AFTER VARIOUS MASTERS. 
 
 18. • Sofonisba Angusciola Pitthice, Di cui Van Dyk ebbe,' &c, sitting, 
 and painting the Virgin. ' Ipsa Pinxit. W. B.' h. 14, including margin. 
 w. 10. 
 
 19. A Landscape with Cattle, and the Ruins of an old Castle and Bridge; 
 dated 1772. ' From a drawing by Berghem, &c. W. Baillie sculp.' I. 9. 
 h. 7|, besides margin. 
 
 29. A Group of Angels : * From a drawing by Corregio;' or rather Porde- 
 none. At top : * W. Baillie August 1st 1777.' Chalk manner. I. 8$. h. 6|, 
 besides margin. 
 
 21. A Moonlight ; after Cuyp. 1773. l-w. in fol. 
 
 22. * The Anxious Mother and Sick Child;' a design representing va- 
 rious women and children ; in the chalk manner, after Dominiqnino ; dated 
 1773 ; in 4to. 
 
 23. A Landscape ; after Dormer : ' Engraved by Capt. W. B. 1764.' fol. l-w. 
 
 24. A Man seated at a Desk, mending a Pen; after Gerard Douw. 
 upr. fol. 
 
 2 A 2 * 
 
B A I 
 
 25. A young Girl reading, seated in a chair, and seen to the knees ; after 
 the same. An upr. oval. 
 
 26. An Interior, with a Girl making Lace, by the light of a candle; 
 after the same, large fol. l-w. 1773. 
 
 27. A Woman at a Window, a half-length figure, with a lamp ; after the 
 same. 1771. upr, 4to. 
 
 28. The aged Mother of G. Douw, sitting with her hands on her knees; 
 engraved after a drawing by G. Douw, dated 1638 ; in the chalk manner. 
 1775. Oval in fol. 
 
 29. Two Cavaliers, diverting themselves by tickling the nose of a girl, who 
 is asleep in a chair ; after the same ; 1774. in fol. 
 
 30. A Peasant standing, and pouring beer from a bottle into a glass ; and 
 a Peasant sitting on a Barrel, smoking his pipe. Two pieces on one 
 plate. On each : ' Corn. Dusart fe. 1689. W. B. sc. 1767.' h. of each, 4£, 
 besides margin, w. 2-J<- 
 
 31. ' Clarissimus vir Gaspar Gevartius, &c.,' half-length, engraved, in 
 the chalk manner, 1773. ' Van Dyk del 4 . W. Baillie f t .' h. 14, including 
 margin, w. 12. 
 
 32. Portrait of George Villiers, Duke of Buckingham, half-length; 
 after the same. 4to. 
 
 33. Susannah and the Elders before Daniel : ' Convicerat enim Daniel? 
 &c. Eckhout pinx*. W. Bailie sculp*. 1764.' In the manner of Rembrandt ; 
 one of his best prints. I. 15$. h. 13f, besides margin. The plate was re- 
 touched in 1774. 
 
 34. Two Ceilings ; in the one, Apollo ; in the other Bacchus and Ariadne ; 
 after Franceschini. Two circular pieces, in the chalk manner. 1772. 
 
 35. Four Officers in a Room ; two of them playing at backgammon, the 
 
 others looking on ; an etching, after Gerards. Large 4to. Scarce. The 
 
 same Piece in mezzotinto. 
 
 36. View of the Village of Alphen, near Leyden, with several figures ; 
 engraved in the wash manner after Van Goyen. 1771. 
 
 37. The Village of Zeedorp ; after the same. 1777. fol. l-w. 
 
 38. Joseph, a half figure, with the Infant Jesus. Chalk manner, ' From a 
 drawing by Guercino.' 1771. ' W. Baillie /.' I. 10$. h. 9, besides margin. 
 
 39. A Sybil, head and hand; ' From a Painting by Guido. ty. Baillie Sculp.' 
 1771. h. 9$, including margin, w. 6|. 
 
 40. Apollo in his Car, surrounded by the hours; after the well-known 
 fresco of Guido. The figure of Aurora omitted. Oval. 1785, in the manner 
 of chalk. I. 11. h. 7f, besides margin. 
 
 41. Two Cupids, one of whom has the club of Hercules. Chalk manner, after 
 the same, large 4to. 1777. 
 
 42. Portrait of Frank Hals, ' Franciscus Halls Pictor,' half-length, in a 
 broad-brim'd hat : ' Se ipse Pinxit. W. Baillie sc.' In mezzotinto. An im- 
 pression of this print before the addition of the mezzotinto shading, has : 
 ' W. Baillie sculpt. 1765. Fr. Halls pinxt.' 
 
 43. The Portrait i Jas. Turner, a Beggar who valued his time at a shilling 
 an hour in the year 1750.' Bust, seen in front, with white hair and beard. 
 Oval, after a miniature by Nathaniel Hone. h. 3. to. 2^. There exists an 
 impression before the inscription with the date 1762. 
 
 44. ' The Piping Boy ;' in mez. after the same. fol. 1771. 
 
 45. Portrait of Lord Mount-Stuart, half-length ; after the same. Oval 
 in fol. 1779. 
 
 46. The Madonna and Child ; after a drawing by B. Lutti. Oval l-w. in 
 4to. 1767. 
 
 47. A Group of Sheep and Lambs ; in the wash manner, • From a Drawing 
 
J3 A I 
 
 by Vander Mcev junr. W. Baillie sculpt.' Published 1773. /. lOf. h. 71, 
 besides margin. 
 
 48. Portrait of Francis Mieris , from a drawing by himself; chalk man- 
 ner. 1777. in 4to. 
 
 49. A Bacchanal of Children: ' Quo me Bacche, &c. Aurelo. Milani del. 
 W. Baillie Sculp.' a slight etching. I. 7|. h. 5§, besides margin. 
 
 50. A Peasant with his Family, at table, saying grace; after Molenaer. fol. 
 
 51. A Gentleman playing the Guitar, and another the violin; in pre- 
 sence of two ladies ; after the same, in fol. 1774. 
 
 52. A Landscape, with two waggons ; ' From a Drawing by Molyn. W. Bail- 
 lie sculp.' In the chalk manner. 1773. /. 12. h. 7£, besides margin. 
 
 53. A Landscape, with a peasant driving cattle; after Ditto; same manner. 
 1774. fol. l-w. 
 
 54. Another Landscape, with peasants attending cattle, and a large clump 
 of trees in the background, 1654. ' Engraved by Capt. Baillie from a drawing 
 of Molyn, ike' 1777. I. 9. h. 7£, besides margin. 
 
 65. Two Children, inscribed: * Parish Orphans;' after Le. Nain. fol. 1771. 
 
 5C. James Duke of Monmouth, on horseback; a battle in the distance; 
 after Netscher. The first impressions have * meseranter' instead of < miseran- 
 ter/ in the Latin inscription below, large fol. l-w, 
 
 57. Portrait of ' Cors. de Witt ;' half-length, in an oval frame. ' Soevo 
 furor, &c. Netcsher Pinx*. W. Baillie sc. June 17th 1774.' h. 9, including 
 margin, to. 7, 
 
 58. A Peasant at a Window, with a pipe and a jug. i From a picture 
 by A. Van Ostade, in the possession of Wm. Baillie Esq. Engraved by W. 
 Baillie,' 1774. h. including margin, w. 9£. 
 
 59. A Peasant laughing; and another Peasant enjoying himself ; after the 
 same. Two pieces, etched in 1775. in 4to. 
 
 CO. Interior of a Cottage, with eight peasants drinking and smoking ; after 
 the same. 1707. in fol. 
 
 CI. Another Interior, with a peasant reading the newspaper : ' A Ostade. 
 W. Baillie Sculp. 1768.' h. 9£, besides margin, w. 8. 
 
 62. Another Interior; with a peasant standing with Ids back to the fire, 
 and another sitting. ' A. Ostade Pinx*. W. B. 1765.' h. 7£, besides mar- 
 gin, w. G\. 
 
 63. Interior of a Cabaret, with four men and a woman, drinking and 
 smoking at a table ; after the same. 1765. in fol. 
 
 64. A Village School, after the same, l-w, in fol. 
 
 65. The Madonna, half-length, with the Infant Jesus, who is holding a bird ; 
 * From a Painting by Parmegiano. XV. Baillie sculp. 1769.' h. 10, including 
 margin, w. 8. 
 
 66. The Madonna, half-length, with the Infant Jesus, and Joseph. In the 
 chalk manner, after the same. 1771. 4to. 
 
 67. Five Cupids pursuing a Hare; entitled: ' Cupids Hunting :' after N. 
 Poussin. Oval, l-w. 1779. 
 
 68. * The Quarrel of Cupid and Psyche. Engraved by Capt. Baillie from 
 a most beautiful cabinet picture by Nicolo Poussin.' Chalk manner, 1778. 
 Oval. I. 8. h. 7, besides margin. 
 
 69. Christ healing the Sick ; commonly called the Hundred Guilder Print. 
 This, the original plate by Rembrandt, but much worn, having fallen into 
 the hands of Capt. Baillie, he retouched it with great care. After a limited 
 number of impressions had been struck off, the plate was cut into four 
 pieces, which were printed separately, l-w. in fol. 
 
 70. The Burial of Christ : 4 From a capital Drawing by Rembrandt in the 
 
B A I 
 
 collection of Mr. Hudson. Engraved by CK Baillie.' A composition of many 
 figures, one of them holding a torch. I. 12*. h. 9f, besides margin. This 
 piece is said to have been re-engraved in 1774, with alterations. 
 
 71. Christ and the two Disciples at Emaus : * Et adaperti sunt, &c. 
 after Rembrandt, but without his name. fol. 1760. The plate was afterwards 
 worked upon in mezzotinto. 
 
 72. * L'Histoire Touch ante,' a young man reading to an elderly gentleman 
 and a woman ; after Rembrandt ; 1767. l-w. in fol. 
 
 73. The Portrait of Utenbogardus, commonly called the Gold- Weigher ; 
 being the original plate of Rembrandt ; retouched by Capt. Baillie. upr. Ato. 
 
 74. A Jew Rabbi ; half-length, seen in front. ' Rembrandt 1646. W. Baillie 
 1765. Agli Dilitanti, Sec' Dry point ; rich effect, h. 9f, besides marg. w. 7§. 
 
 75. An Old Man, half-length, with long hair, and square beard ; his hands 
 hid in the sleeves of his great coat: ' Dilator, spe lentus, &c. W. B. 1761. 
 Rembrandt/ Dry point and mez. h. 5f , including margin, w. 4£. 
 
 76. Bust of an Old Man, in a cloak ; seen in profile and looking up to the 
 right. At the left corner, at top : ' W. B. 1761.' h. 5£. w. 3£. Without the 
 name of Rembrandt. 
 
 77. An Old Mendicant and his Wife, receiving alms from a gentleman 
 who stands at his door ; from and etching by Rembrandt. 
 
 78. An Elephant ; engraved after a drawing by the same, by : t W. B.' fol. 
 l-W. 1778. 
 
 79. A Battle-piece. < W. B. 1762.' Said to be after Rembrandt. The 
 earliest impressions are without the clouds and dark shadows. /. 13 J. It. 8. 
 
 80. A Landscape ; an open barren scene ; the stump of an old tree in the 
 foreground ; after a drawing by Rembrandt. In the margin ; 4 Tacet et lo- 
 quitur/ with dedication to N. Hone. l-w. in fol. 
 
 81. Another Landscape, a barn with trees, copied from an etching by 
 Rembrandt. 
 
 82. 4 Evening;' a flat River-View, with two windmills on the left. * Rem- 
 brandt delt. W. B. Leyden 1765.' I. I Of. h. 5f, besides margin. 
 
 83. The Marriage of St. Catharine ; after Romanelli. In the chalk man- 
 ner. Oval in 4to. 
 
 84. A Veteran Warrior ; half-length, with light hair and beard, holding 
 the hilt of his sword with his right hand. ' Painted by Salv. Rosa ; engraved 
 by Ct. Win. Baillie 1763;' dry point and mez. h. 8|, including marg. w. 6£. 
 
 85. The Madonna, presenting grapes to the Infant Jesus; chalk manner; 
 after Rothenhamer and Breughel. 1774. Oval h. 8f, besides margin, iv. 7\. 
 
 86. Christ washing the Feet of the Apostles ; a lamp hanging from 
 the ceiling of the room: ' Petrus dixit, &c. Drawn by Mr. P. Tassaert. in 
 the year 1764; engraved by Capt. Wm, Baillie in the year 1787. The original 
 Picture by Rubens is in the Cathedral Church of St. Romhoat at Mechlin.' 
 L 19f . h. 16f, besides margin. 
 
 87. An Infant, in the Clouds, blowing Bubbles : * Engraved from a 
 Painting by Rubens. W. B.' h. 6, including margin, w. 4^. 
 
 88. The Ambassador of Siam to the court of Charles I. ; whole-length, 
 after a drawing by Rubens. 1774. large fol. 
 
 89. Portrait of a Siamese Priest who accompanied the above Ambassador. 
 After the same. Same size. 
 
 90. The.Madonna and Child; after a chalk drawing by Sabbatini. 1773. 4to. 
 
 91. The Holy Family and the little St. John ; ' From an original Pic- 
 ture by Bart, Schidone. W. B. y fol. 
 
 92. A Dutch Alchymist, half-length, in his laboratory ; after Teniers. 
 small fol. l-w. 
 
B A I 
 
 03. Interior of a Cabaret, with peasants drinking and playing at cards ;. 
 after a painting by Tenicrs in the collection of Baron J. Lowther. 1771. fol. 
 
 94. A Philosopher meditating ; a book lying open before him on a table : 
 ' Engraved chiefly by memory from a Picture of Terburgh. W. BailUe.' 
 h. including margin, w. 9g. 
 
 95. William Prince of Orange (father of William III.) on horseback; 
 accompanied by his equerry, and a dog. A fine etching, done chiefly with 
 the dry point, after the same. 1771. in 4to. 
 
 96. Soldiers quarrelling over the Dice; after Valentino. I. 14§ . ft. 10£, 
 besides margin. 
 
 97. A Sea View with four vessels sailing : 1 From a drawing by van de Velde.' 
 4to. l-w. 
 
 98. A Calm at Sea ; with*men of war. In the wash manner, after a drawing 
 by the same. fol. l-w. 
 
 99. Ships in a Gale of Wind; in the wash manner, after the same. 1772. 
 in 4to. 
 
 100. An Old Peasant, half-length, carrying a basket ; from a chalk drawing 
 by Zucchero, 1777. in fol. 
 
 PIETER BAILLIU, or BALLIU. 
 
 1643—1650. 
 
 This artist is said to have been born at Antwerp, about the 
 year 1614, and having acquired the first principles of engraving- 
 in his native city, prooeeded to Italy to perfect himself in his 
 studies. Whilst at Rome, he was employed, with other artists, 
 by Sandrart, to engrave the Justiniani Gallery; after which he 
 returned to Antwerp, where he worked, with success, after the 
 great masters of the Low Countries. Bailliu, although he had 
 not the power of Vorstermans, Bolswert, and Pontius, may 
 nevertheless claim a rank among the good engravers of his time. 
 The following list of his prints is chiefly from Huber. 
 
 PORTRAITS. 
 
 1. Louis Pereira, Envoy at the treaty of Munster ; no painter's name, 4to. 
 
 2. Claude de Chabot, another envoy at Munster. 4to. 
 
 3. Jean Leuber, Counsellor of Dresden, also envoy at Munster. fol. 
 
 4. 4 Henricus Herdingh, Hajreditarius in Hiltorff, &c. 1650 bust in an 
 ornamented oval : ' Anselmus van Hulle pinxit. Pet. de Bailliu sculpsit/ 
 h. 111. w. 7£. 
 
 5. « Antonius Bourbonius, Comes Moretanus, &c.' half-length: ' Antonius 
 van Dyck pinxit. Petrus de Ballu sculpsit. Joannes Meysens excudit Ant- 
 verpiae.' h. 9§, besides margin, iv. 7\. 
 
 6. 1 iLLUsmui. Dominus Honorius Urfeius, &c.' half-length : * Antonius van 
 Dyck pinxit. Pet. de Baillue sculpsit. Joannes Meysens excudit.' h. 9f , 
 besides margin, w. 7|. 
 
 7. Jacob Backer, a Flemish painter: 4 Se ipse del.' 4to. 
 
 8. Johan Bylert, a painter of Utrecht: 1 Se ipse pinx.' 4to. 
 
 9. Pope Urban VIII, seated, giving the benediction. ' P. de BaiUu exc.' fol. 
 
 10. Albert, Prince and Count d'Arenberghe, on horseback: ' Ant. Van 
 Dyck pinx.' large fol. 
 
 11. Lucy Percy, Countess of Carlisle: ' A. V. Dyck pinx. J. Mcyssens ex- 
 cudit.' fol. 
 
B A I 
 
 SACRED AND DEVOTIONAL PIECES, &c. AFTER VARIOUS 
 MASTERS. 
 
 12. Heliodorus driven from the Temple by two Angels; after the paint- 
 ing by Raftaelle in the Vatican, but without the Pope and his guards ; en- 
 graved on two large plates, from the drawings of P. van Lint* Twelve Latin 
 verses and dedication; a very large print /-m\ Rare. 
 
 13. The Dead Body of Christ supported on the lap of the Virgin. On the 
 left are two little angels, one of whom is supporting the hand of Christ, while 
 the other points to the crown of thorns, which lies on the ground. £ Ite meae 
 Lacrymae, &c. Anibal Cars, pinxit. P. de Balliu fecit et excudit.' h. 2l£, 
 besides margin, w. 15§. Very rare. 
 
 14. St. Michael, after the celebrated picture by Guido in the church of the 
 Capuchins at Rome, large upr. fol. # 
 
 15. The Reconciliation of Jacob and Esau; after Rubens: i P. de 
 BaiUu sc. Romboudt Van de Velde ex.* The second impressions have the 
 address of * Gas. de Hollander.' large fob, almost square. 
 
 16. Christ praying in the Garden ; after the same: ' P. de Baillu sculp. 
 F. van Wyngaerde ex.* upr. fol. 
 
 17. Mary Magdalen dying supported by two Angels : ' Gloriosus Obitus 
 Beata> Maria? Magdalena?. P. P. Rubbens pinxit. Pet. de Baillieu sculpsit. 
 Franciscus vanden Wyngaerde excudit/ The impressions with the address of 
 Moermans, are posterior, h. 11 J? besides margin, w. 10£ ? 
 
 18. The Battle between the Centaurs and the Lapith.« : ' Duxerat 
 Hypodamen, &c.' after the same : c P. de Baillu sculp. Nic Lauwers ex/ 
 large fol. l-iv. 
 
 19. Christ kneeling in a Dungeon, with angels bringing before him the 
 instruments of his passion : 1 Ecce flagellatum, &c. Joannes Thomas invenit. 
 Petrus de Balliu sculpsit* h. 14£, besides margin, w. 12. 
 
 20. 1 S. Anastasius' seated in a vaulted chamber, reading; ' Rembrandt van 
 Ryu inv. Petrus de Baillu sc. C. Danckerts exc' fine effect, fol. 
 
 21. The Madonna and Child, with the little St. John, and St. Elizabeth; 
 after Theodore Romboudt. fol. l-w. 
 
 22. Christ on the Cross ; and below, on the right, the Madonna, St. John, 
 and Mary Magdalen, and on the left St. Francis. In the margin a short 
 Greek inscription and six Latin verses : ' Nate ! Dei Soboles, &c/ with date 
 1643. 4 Antonius Van Dyck pinxit. Petrus de Baittiu fecit et excudit* h. 19§, 
 besides margin. w. 14. 
 
 23. The Madonna in the Clouds, with the Infant Jesus standing, near 
 whose feet is a globe and a serpent ; after the same : ' Jesus Maria. Petr. 
 de Baillu sc. C. Danckerts exc.' large fol. 
 
 24. S. Cgecilia standing ; her left hand resting on an organ. * Antonius Van 
 Dyck pinxit. Pet. de Balliu fecit et excudit.' h. 10. w. 
 
 25. Rinaldo sleeping, and bound with wreaths of flowers, by Armida assisted 
 by cupids. Six Latin verses : ' Sopit ut Arnaldum, &c. Antonius Van Dyck 
 pinxit. Petrus de Bailliu sculpsit et excudit.' (Its companion representing 
 Rinaldo surprised by Armida, is engraved by P. de Jode.) h .23, besides 
 margin, w. 16^. 
 
 26. Susanna in the Bath, with the two Elders in the distance; after Mar- 
 tin Pepyn : ' P. de Baillu sc. Gill. Hendrix exc. Antwerp.' fol. 
 
 27. The Flagellation of Christ; after Diepenbeck. Large fol. 
 
 28. Christ crowned with Thorns; after the same. Large fol. 
 
 29. The Burial of St. Peter; a composition of five figures ; after P. van Lint. 
 ' Corpus Bi. Petri aromatibus, &c. P. de Balliu sculp.' and on the left a cypher 
 composed of the letters P. V. L. reversed, h. ll£, besides margin, w. 8£. 
 
 30. The Finding of the true Cross, in the presence of St. Helen; after 
 P. van Lint. Large fol. 
 
B A I 
 
 31. TiiE Emperor Theodosius bearing the True Cross before Sr. 
 Ambrose ; after the same. Large fol. 
 
 32. Christ, as a Child, standing in the Clouds, with the globe of the 
 universe in his right hand, and in the left a sceptre. « P. de Balliu exc. 
 Quilinus In*.' K. 9| ? w. 5 J ? 
 
 BERNARD BAIL1U, or BALLIU, 
 ig7o. 
 
 It is uncertain whether this engraver was of the same family 
 as the preceding. The plates I have seen by him appear to 
 have been all done at Rome, and are engraved in a formal style 
 with hatchings crossing each other at right angles. He may be 
 classed among the inferior imitators of Corn. Bloemart. 
 
 PORTRAITS. 
 
 L Frater, Vincentius Maria Ursini; afterwards Pope Benedict XIII. 
 Dated 1672. fol. 
 
 2. Canute King of Denmark: * C. Panig pinx.' fol. 
 
 3. ' Emanuel Theodosius S. R. E. Presbiter Cardinalis Buglionus Gallus, 
 creatns v. Augus. MDCLXIX.' Bust in an oval : * Bern. Balliu Sculp. Jo. 
 Jacob, de Rubeis formis Romae/ Sec. h. 7£. w. 5$. 
 
 MISCELLANEOUS PIECES. 
 
 4. The Madonna, a half-figure, standing, with the infant at her breast: ' O 
 clementissima, &c. B. Balliu Sculp. Roma Superiorem permis. 1609/ /«. 12, 
 besides margin, w. 10. 
 
 5. The Madonna and Child appearing to St. Peter of Alcantara, who is on 
 his knees : * Sanctus Petrus de Alcantara. Lazarus Bald. In. ot del. Bernard 
 Bailiu sculp. Jo Jabob de Rubeis formis Romae.' /t. 16f , besides marg. w, 11. 
 
 0. Christ standing between St. Peter of Alcantara and St, Mary-Magdalen 
 dei Pazzi. ' Lazaro Baldi pinx. B. Bailiu sc.* fol. 
 
 7. St. Mary-Magdalen dei Pazzi, before the Madonna, after the same. fol. 
 
 8. The Five Saints, canonized by Pope Clement X. in 1G71, ranged, side 
 by side, in one large oblong sheet: 1 Cyras Ferrus inv. Franciscus Brunies 
 del. Bernard de Balen sculp.' (1) St. Cajetanus, with an open book. (2) 
 St. Francis Borgia, with the Eucharist. (3) St. Philip Benitius, holding a 
 lily. (4) St. Louis Bertraud, with a pistol, sunnouuted by a crucifix. (5) 
 St. Rosa, with the Infant Jesus in her arms. 
 
 DAVID BAILLY. 
 
 b. 1588. d. 1038. 
 
 A painter, born it is said at Leyden, and who studied some 
 time in Italy. Brulliot states that he etched in the manner of 
 Tempesta ; and that he marked his plates with the initials ■ D. 
 B.' but without citing any authority for the assertion, or even 
 describing- one of his prints. Heinecken mentions a set of 
 small pieces, entitled : * Bambocci diversi/ bearing the name 
 David Bagli, which he seems to think may be by him, or after 
 his designs. 
 
 J. BAILLY, 
 
 c. 1000? 
 
 Strutt observes that he ' found the name of this artist to some 
 very spirited etchings from Callot, in which the style of that 
 vol. i. 2 b 
 
B A K 
 
 master was exceedingly well imitated ; but without a date.' He 
 is probably the same with Jacques Bailly, a painter of Paris, 
 who was born, according- to Heinecken, in 1629, and died a 
 member of the academy, in 1682. The following small piece 
 by him is before me : 
 
 A Trooper on Foot, in the act of drawing his sword, the handle of which 
 he holds with the left hand ; skirmishes of cavalry in the distance ; a very 
 masterly copy, in a reverse direction, from an etching by Callot. It is marked 
 on the left, in light cursive characters : ' Bailly fe.' h. 5f. h\ 3|. (O.) 
 
 J. BAILY, or BAILEY. 
 
 1767—1700. 
 
 An engraver of maps, views, and antiquities, of moderate 
 talent, said to have been a native of Durham, or its vicinity, 
 and who, among other things, as I learn from Mr. Dodd, en- 
 graved several plates for Dr. Ducarel's Anglo-Norman Antiqui- 
 ties published in 1767, in folio. 
 
 NICOLAS BAILLY, 
 
 c. 1680? 
 
 This artist, according to Heinecken, was the son of Jacques 
 JBailly, and practised landscape painting at Paris. He also en- 
 graved after his own designs : 
 
 A Set of Ten Views of the Environs of Paris, of which two are now 
 before me ; they are etched in the formal manner of Le Clerc, but without 
 that artist's taste, and are marked on the left, in the margin : ' N. Bailly inv 
 et //or 1 Fecit: I. 7|. h. 4. 
 
 FERIGO BAISCH, 
 
 An unknown artist of whom Heinecken met with the following 
 piece, bearing his name : 
 
 Mary Magdalen, half-length, meditating on a crucifix, which she holds in 
 her arms : ' Ferigo Baisch pinx et excud* Campodunum: A print l-w. 
 
 S. BAKER, 
 
 c. 1690. 
 
 A very indifferent English engraver, (Mr. Dodd calls him 
 Samuel Baker) by whom we have a set of costumes a la mode, 
 or part of a set, copied 1 believe from a French work. The fol- 
 lowing specimen is before me : 
 
 ' The Morning Habbitj' a man standing, wrapped in an embroidered morn- 
 ing gown. * S. Baker feS h. 8£, besides margin, w. 6|. 
 
 J. BAKER. 
 
 c. 1790. 
 
 An English artist who appears to have resided at Islington, 
 and was much employed in book-plates, which he engraved very 
 neatly. The two following pieces by him are before me : 
 
 1. Bacchus and Ariadne, i N. Nleughels pinx. J. Baker sculpt: I, 5. h. 4. 
 
BAK 
 
 2. The Muse Urania ; ' engraved by J. Baker JsJiwg-<o».' h. 5\. w. 3£. 
 
 LUDOLPH BAKHUYZEN. 
 
 b. 1G31. d. 1708. 
 
 This eminent marine painter was born at Embden in West- 
 phalia in the year 1G31, and died at Amsterdam in 1708. He is 
 said to have assisted his lather, who held the office of public 
 secretary, till the age of eighteen ; when the beauty of his writing, 
 and his ability in keeping accounts, caused him to be engaged' 
 in the office of a merchant at Amsterdam. It was not till the 
 age of nineteen that he thought of drawing, and then he made 
 use of the instrument he was most accustomed to, the pen ; na- 
 ture being his instructor. Amsterdam presented to his view, a 
 port, constantly full of shipping ; and the drawings which he 
 made from such scenery, he is said to have sometimes sold for 
 a hundred florins, and more. Having been recommended to 
 practise painting, he placed himself for some time under Aldert 
 van Everdingen, who instructed him in the mechanism of the 
 art, after which he resumed with eagerness the study of nature. 
 Determined that no striking effect should escape him, he did not 
 hesitate to face the greatest dangers, and from a frail boat, stu- 
 died tempests in the midst of the sea. From these hazardous 
 expeditions the sailors, seized with alarm, frequently brought 
 him to shore, against his will ; when he would run directly to 
 his study, and there transfer to the canvas the horrors which he 
 had just witnessed. The etchings of Bakhuyzen are far from 
 numerous and are highly prized. 
 
 1. His own Portra.it; seen in front, to the breast ; though he looks rather 
 upwards, to the left, ami the body is turned towards the right. He appears 
 at about the age of 40, wears a long flowing wig and large bands, with two 
 tassels hanging below them ; and between and below the bands are also seen 
 the buttons of his dress, over which he wears a loose cloak. The light comes 
 from the left. It is very delicately etched, and worked upon in parts with the 
 dry point. The background at top has a few horizontal lines. The dress is 
 less finished than the face and hair. ft. llf, besides margin, at bottom 3^. 
 w. 9|. (13. 13.) Two impressions of this plate, t he only ones said to be known, 
 are now before me. One impression has: ' L. Bakhuyze, Ipse fee, aqua forti' 
 at top in the margin on the left ; and lower down in the middle : 4 Ludolf Bak- 
 huyzen both in pencil. The other is worked up with Indian ink, and has : 
 ' Ludolf Bakhuijsen Pictor,' written in large characters with a pen. The in- 
 scriptions on both are by the hand of the artist himself. (Si) 
 
 2. A Gale on the Sea-coast ; on the left a bold shore, with towards the 
 middle a rocky promontory on which is a round tower. On the right is a 
 large vessel at anchor, her stern to the spectator, and beyond is another going 
 put to the sea. On the left, a third ship is represented beating out of the har- 
 bour, (' L.BAKHUI :' reversed, on a flag at her mast), and beyond are three 
 vessels at anchor. This piece is less bit with the aquafortis than those of the set 
 No. 4, and has consequently more delicacy of effect. /. 15^. h. 10. (15.11.) 
 Very rare. (S.) It may be proper to observe in this place, that No. 12,. in 
 Bartsch's catalogue, is not by Bakhuyzcn, but by L. Braser. 
 
 3. A View on the Sands, the morning after a storm; At a distance, on the 
 left, is a large vessel, wrecked on a sand-bank. On the right are two boats 
 which appear to have just arrived from the vessel with goods and passengers. 
 
 2 15 2 
 
B A K 
 
 A man is seen wading through the water with a woman on his back, and 
 another with a child. In the middle a cart with two horses, guarded by sol- 
 diers, appears ready to receive the goods saved, and on either side in the 
 foreground are other guards and spectators. The figures on each side in the 
 foreground are in shadow, and the effect of the whole is very good. /. 6\. 
 h. 4|, be^ideiS £ an inch margin, blank. (S.) Not in Bartsch, but certainly 
 by Bakhuyzeh. 
 
 I place the following well-known set of etchings last in the present list, be- 
 cause they were probably the artist's last performances in this way ; having 
 been done by him at the advanced age of seventy. 
 
 4. River and Sea-Views, with Shipping; Scenes on the Y; ten pieces, 
 including the frontispiece ; /. 9 to Of. h. 6j| to 7£. Prefixed to this set of 
 prints is commonly found an oval mezzotinto portrait of the artist, probably 
 by Gole : * L. Bakhuizen ont71. jaar,' and upon a marginal plate, added below, 
 four Latin verses * Aemuia naturae,' &c. Also an engraved title without or- 
 nament: ' D V. Stroom, en Zee gezichten, &c. Anno 1701. In Amsterdam,' 
 Sec. There exists another leaf, not so commonly met with, containing a copy 
 of Dutch verses in praise pf Ludolf Bakhuizen printed in two columns, and 
 at bottom ; IJjt het Latyn van den Heere Joan van Broekhuizen.' 
 
 Bartsch remarks that of seven of these prints there exist impressions num- 
 bered in the middle at bottom, but that the first impressions are without the 
 numbers. This is an error* In the celebrated collection, now belonging to 
 the Arch-Duke Charles, at Vienna, is a complete set of these etchings before 
 the inscriptions, and also the seven pieces numbered, as described by Bartsch, 
 which are (b to k) in the following list. One of these, at least, I am assured, 
 is unfinished. The numbers in fact appear to have been very soon taken out. 
 The 10 etchings are as follow : 
 
 The Frontispiece, or Title, (a) represents the genius of Amsterdam 
 under the figure of a female seated in the car of Neptune, who stands behind 
 Jier with his trident. The car, drawn by a sea-horse and a unicorn, moves to 
 the right. In the background on the right is the stern of a man of war, and 
 beyond, in the middle and on the left, are other shipping and part of the 
 City. In a narrow margin on the left : * L. Bakhuizen fecit et exc. cum Pri- 
 vil. ord. Hollandize et West-Frjsiae,' which inscription is also on all the others; 
 
 and on a separate plate at bottom, six Dutch verses : * Zoo bouwt,' &c (b) 
 
 A View on the Shore. In the foreground a group of four figures, viz, 
 a fisherman, two women, and a little boy, and a dog. In the background on 
 Jjieleft, a hovel with a flag-staff, and on the right a ship, an anchor, and a sail- 
 ing boat; the sea is nearly calm. On the right, within the coil of a cable, is 
 
 the date 1701 ; reversed. (c) View on the Y; a light breeze. On the 
 
 left a sloop firing a cannon ; in the foreground on the same side three figures, 
 two cows, a sheep, and a dog ; ami in the background a view of Amsterdam, 
 (rf) Very distant View of Amsterdam; a breeze. Near the middle, 
 nearest the spectator, a row boat with six men. Bejond, on the right, a ship 
 of war bearing down towards it; on the left a floating buoy, and three smaller 
 
 sailing vessels. (e) Distant View of Amsterdam ; a breeze. In the 
 
 left corner at bottom, some posts and weeds, with date 1701, reversed, upon 
 a cross rail. Near the middle, a ship of war bearing down a little towards 
 the right ; nearer the spectator, on the right, a small boat with one mast, at 
 
 anchor ; the letters L. B. on the lee-board. (/) A Sea-View, from the 
 
 coast ; a fresh breeze. Towards the right, a vessel sailing from the spectator, 
 but Of hdrbour ; a flag at her stern on which is a lion with the letters L. B. 
 (g-) A Calm', with "Vessels in Harbour* On the left a ship on her beam 
 ends, undergoing repair ; at the left bottom corner a loaded' boat with one 
 figure, near a post for mooring vessels ; and towards the middle 1 a small float- 
 ing buoy with date 1701, i eversed.— — (h) A Coast Scene, a breeze, with 
 men endeavouring to float a fishing vessel. Various other figures oil shore ; 
 among them a gentleman on horseback, and a little boy flying a kite. In the 
 foreground at the right bottom corner: * L BAKH, 17(1,* reversed. — — (?) 
 View of a Landing-place in the Port, with mariy figures, some of 
 them persons who have just landed ; in the middle a porter wheeling luggage ; 
 and on the left a small office for the examination of baggage. ' On the left : 
 *LB. 1701/ (A ) A Stohm ; on the right a round tower on a rock, on part 
 
Ij A h 
 
 of which is 1 L B. 1701.' On the left a large vessel at anchor, in danger of 
 drifting on the rocks ; and on the right three packages floating. 
 
 BAKKER, See Backer. 
 ANTOINE BALDAUF. 
 
 b. 1777. d. 1812. 
 
 A designer and engraver of Germany, said to have been a 
 
 scholar of Fuger, and who died at Vienna in 181:?. It is stated 
 
 that he etched, and also engraved in the dotted manner. The 
 
 following print by him is mentioned in a German catalogue : 
 
 Minerva, with Attributes, as the protectress of painting, after Fuger. 
 l-tv. in fol. 
 
 DON JUAN DE BALDES (or Valdes) LEAL, 
 
 b. 1030. d. 1091. 
 
 A Spanish painter of some eminence, who was born at Cor- 
 dova, but afterwards appears to have settled at Seville. The 
 Diccionario, &c. de Bellas Artes,' &c. mentions the following 
 etchings by his hand : 
 
 1. Three small Plates, representing three divisions of the famous Silver 
 Tabeknacle, constructed hy Juan d'Arfe in the church at Seville; and 
 a fourth giving a general view of the whole. These were etched by him 
 in 1008, by order of the authorities. 
 
 2. A large Plate of the Pomp displayed in the Cathedral of Seville, on 
 the canonization of S. Fernando ; which he himself had planned, in conjunc- 
 tion with the sculptor I'ernardo Simon de Pineda. Etched in 1(571. 
 
 3. The insiije View of the Principal Entiiance to the Cathedral, 
 as it was decorated on the above occasion. At bottom, in an oval tablet be- 
 tween two children : ' Puerta Principal dela Inglesia que sale gradas en 
 frente del Trunfo. Ju. De Bidden Leal F. A. 1G72.' Very masterly, h. 10J. 
 w. 11§. (O.) 
 
 DON LUCAS DE HALVES. 
 
 1G72. 
 
 It is asserted, in the 1 Diccionario, &c. de las Bellas Artes,* 
 that he was born at Seville in 1661, and was a son of the last 
 mentioned artist. It is added that, like him, he was by profes- 
 sion a painter, and occasionally employed himself in etching. 
 If there be no error in the above date, and if Lucas de Baldes 
 was not very much assisted in the four following etchings by his 
 father, he may well claim a place among artists of precose ge- 
 nius ; since they are very spirited, and according to the inscrip- 
 tions upon them, must have been done by him at the early ago 
 of ten or eleven years. 
 
 I. Four Plates of Devices, descriptive of the Virtues of Saint Fernando, 
 in the book entitled : * Fiestas de Sevilla u la Canonizacion de S. Fernando 
 for which work (as has been shewn) Francisco ami Mafias Arteajja also did 
 some plates. Two of these pieces by L. lialdes are now before me, each di- 
 vided into four equal compartments, Doth have inscriptions on scrolls; the 
 first: ' Manibus date Lilia, &c. Simile The, &c. Hac it«r ad asira. Vin- 
 cla Decorant. ;' and at bottom: ' Lucas Unities F. A. 1071,' h. 8{. w. 6|. 
 The other has : ' De Forti, &e. Ccrtat ter, &c. Anna militia?, &c. Vincens 
 
B A L 
 
 lit Vinceret.' and in the middle: < A. 1G72. Lucas Baldes Va.,' &cc. h. 11. 
 w. 7§. (O.) The ' Diccionario' also mentions by him : 
 
 2. The Portrait of Father Francisco Tamariz, taken by him after 
 death, in the Convent of the Jesnits, on the 15th of April 1707. 
 
 3. S. Felix de Cantalicio receiving the Infant Jesus from the hands of the 
 Virgin, who is seated in the clouds, and surrounded by angels. 
 
 4. The Madonna of the Genet (Hiniesta), which is venerated in the 
 Church of St. Julian at Seville j and other devotional pieces. 
 
 DON JUAN DE BALDES. 
 
 1732—1734. 
 
 He was a son of the last-mentioned artist, and appears to have 
 been by profession an engraver. According to the ' Dicciona- 
 rio/ &c. above cited, he engraved various Frontispieces, Por- 
 traits, and Devotional Pieces at Seville, with sufficient correct- 
 ness of drawing and neatness of execution ; among them the 
 following : 
 
 1. The Immaculate Conception, with many angels, &c. Engraved in 173*2. 
 
 2. The Portrait of Fr. Tomas de Santa Maria, a Franciscan; half- 
 length. Engraved in 1734. That of the Rev. P. Contriras ; and S. 
 
 Francisco de Borja adoring the Eucharist, with a glory of angels. 
 
 LA ZZ AIIO BALDI. 
 
 b. 1624. d. 1703. 
 
 A painter of some eminence who was born at Pistoia in 1624, 
 and died in 1703. He appears to have made Rome his chief 
 place of residence, and was one of the scholars of Piet.ro da 
 Cortona. The first of the following etchings (for I have not 
 seen the other) is I believe justly ascribed to his hand. 
 
 1* The Conversion of St. Paul. He has fallen from his horse, and is lying on 
 his back on the left of the print. In the sky, on the right, is seen the Saviour, 
 supported in the clouds by angels. In the margin : * De iSaulo. Paulas, et. 
 Doctor. Gentium. Lazzerus Baldus. Pistvriensis. Invenit et Excudil.' It. 1)1, 
 including margin, w. 7£. (O.) 
 
 Huiber, in his catalogue of the Winckler collection, attributes 
 to this master a print representing : 
 
 2. The Circumcision of Christ, a fi le composition, etched, and marked: 
 * Laz. BaV fol. l-w. 
 
 ANTONIO BALDI, 
 
 1738- .170f). 
 
 A native of Cava in the stat a of Naples, who studied paint- 
 ting for some time under Solim jna, but afterwards applied him- 
 self to engraving under Andrea. iVIagliar ; which art he practised 
 at Naples. 1 shall mention ojily a few of his plates. 
 
 POP;TRAITS. 
 
 1'. The Emperor Charles VI, iji an oval, with arms below, fol. Don 
 
 Carlos King of the two Sici lies. Oval. fol. Maria-Aurelia Car- 
 
 racciola, a Nun. Oval, with » ,wus at bottom, fol. 'D.Diego, Pigna- 
 
 tllli Cortes D'Aragona, &c. [5' with bag-wig and robes. Oval, with aims 
 
B A L 
 
 below : ' Domenico Mondo dipinse. Antonio Baldi incise* It is engraved 
 with sufficient neatness ; the face is in great part finished with dots. *h. 9^. 
 w. 6f. 
 
 VARIOUS SUBJECTS. 
 
 2. S. Ignatio Loyot-a; an oval, with attributes; ' Ant. Baldi ex Prototypo. 9 
 The Communion of S. Maria Egyptiaca: ' Divae Marizc. A. Baldi del. 
 
 ct sc.' S. Filippo Neri in Heaven, before the holy Trinity : ' Cui nomen 
 
 dcdit alma Trias.* St. Emigde in Heaven, before our Saviour: 'Ad 
 
 an»endam Divi Emigdi religionem.' St. Emigde interceding for 
 
 the Neapolitans: i Divo Emigdo in terra? motnm et Neapolis Patrono.' 
 Two pieces in fol. St. Gregory the martyr; with subjects of his mira- 
 cles around ' A.D. 1738. Ant. Baldi fee. Napol;' a large piece dated 1738. 
 
 Zani appears to have seen a print of Baldi's with the signature ; * Ant. 
 Baldus ad victim faciebat. Neap, An. 17G0.* 
 
 CARLO BALDI, 
 
 c. 1746. 
 
 A Neapolitan artist, of whom, says Heinecken, I know no- 
 thing-, except that he is said to have engraved after Solimena. 
 
 BACCIO BALDINI. 
 
 1460—1490? 
 
 All the information we possess concerning this ancient artist,, 
 is contained in a short passage of Vasari, in the introduction to 
 his account of Marc' Antonio, and other engravers ; where, after 
 speaking- of the discovery made by Finiguerra, of the method of 
 taking impressions from engraved plates of metal, (of which 
 something will be said in the proper place), he states that: 'He 
 (Finiguerra) was followed by Baccio Baldini, a Florentine gold- 
 smith ; who, not being a very skilful designer, engraved all that 
 he did from the inventions and designs of Sandro Botticelli/ 
 * Fu seguitato costui da Baccio Baldini Orefice Fiorentino, il 
 quale rcon havendo molto disegno, tutto quello, che fece, fu con 
 inventione, e disegno di Sandro Botticelli.' 
 
 This scanty account ought not I think to be taken in a rigidly 
 literal sense. It is not probable that Botticelli, who was a 
 painter of eminence, should have found time on all occasions to 
 make drawings for Baldini to engrave from; and, indeed, he 
 was sometimes employed for long periods at a distance from 
 Florence ; as in the years 1473-4, when he superintended and 
 assisted in the execution of a large series of fresco paintings, 
 in the well-known chapel, shortly before erected by Pope Six- 
 tus IV., in the palace of the Vatican. Nor can the expression, 
 that Baldini was not a skilful designer, justify our supposition 
 that he was extremely defective in a part of the art which, at all 
 times, it was the pride of the Florentine school to excel in. 
 Perhaps Vasari meant only to say that Baldini was inferior in 
 design and invention to many other artists of the time ; and that, 
 therefore, for many of his principal works of engraving, he 
 availed himself of the designs of Botticelli and other masters. 
 
B A L 
 
 Vasari, in his short account of the infancy of chalcography,- 
 prefixed to his ' lives of Marc' Antonio and others,' betrays 
 evident impatience to proceed. Finiguerra, Baldini, and Man- 
 tegna, are indeed the only ancient Italian engravers he there 
 mentions ; although in other parts of his- work he speaks of the 
 engravings of Pollajuolo, Botticelli, and Gherardo. It seems 
 therefore reasonable to conclude, from his notice of Baldini in 
 this place, that that artist held an eminent rank among the pro- 
 fessional engravers of Florence of his time ; that his works were 
 numerous ; and that, when Vasari wrote, they were well known* 
 It is to be regretted that very few of the early Italian engravers 
 marked their plates either with their names or initials ; and that 
 no piece bearing the signature of Baldini is known. But we 
 possess no inconsiderable number of engravings which, while 
 tbey bear every characteristic mark of the Florentine school of 
 this early period, have so much of the same style of execution 
 as to justify the belief that many of them, at least, (for I will 
 not answer for all) are by the same hand ; and as the name of 
 no other artist presents itself, to whom they can with apparent 
 propriety be attributed, it may not unreasonably be conjectured 
 that those pieces were really done by Baldini. In the plates thus 
 ascribed to this early artist, the outlines, for the most part, are 
 strongly marked, though not very tastefully ; and the shadows 
 are done with fine strokes of little or no curviture, laid close to 
 each other, and crossed by other strokes, often at nearly a 
 right angle. 
 
 I commence the following catalogue of Baldini's supposed 
 works with a notice of twenty-four pieces, which were formerly 
 in the cabinet of the Baron de Stosch, who met with them 
 during his residence at Florence, and which after his death were 
 purchased by a Mr. Otto of Leipsig. Heinecken and Huber 
 ascribed them to Maso Finiguerra; but Bartsch, who saw a 
 duplicate impression of one of them (No. 4.) assures us that 
 they are by the same engraver who executed the set of fifty 
 prints known in Italy under the title of * II Giuoco di Turocchi ; r 
 or rather, he should have said, a set of copies from them ; for I 
 am quite satisfied that those which Bartsch describes as the 
 copies are the true originals. 
 
 PIECES OF A CIRCULAR OR OVAL FORM, LATELY IN THE 
 POSSESSION OF MR. OTTO OF LEIPSIG. 
 Heinecken observes of all these prints, that they do not appear to have been 
 taken off with a press ; but, in the manner described by Vasari, by the ap- 
 plication of a common roller, moved backwards and forwards. 
 
 1. A Female, in great part naked, perhaps intended for Venus. 
 She is lying on the ground, her head to the left, and with her right arm em- 
 braces a scroll, which extends itself above her figure, and on which is this in- 
 scription : 'AMOR. WOLFE. EDOVE. FENONNE. AMOR. NONPUO.' Oval, 
 I. 3£. h. 2£. 
 
 2. A Young Man and a Young Female, stand'ingj the former on the 
 
BAL 
 
 right, the latter on the left ; with between them a circular shield supported 
 Upon a vase, and surmounted by a basket filled with apples. The man has an 
 apple in his right hand ; the female has one in her left, and in her right a 
 wreath of laurel. They seem as if about to throw their apples at each other. 
 Upon this impression, the arms of the Medici family appear sketched with a 
 pen ; and, further, over the man is written: ' piglia </«,' and over the woman : 
 * o amore le g* ;' which may be translated : ' take this,' and : ' Oh ! Love, do 
 you guide it' A circle, diam. 4f . 
 
 Heinecken has given copies of the above two pieces, in his ' Neue Nach- 
 richten and they are repeated at pp. 353, 354, of my ' Inquiry into the 
 Origin and Early History of Engraving/ He says that they appear to have 
 been engraved on the tops of boxes; an assertion which seems ill to accord 
 with the circumstance of the inscription upon No. 1 being in its proper di- 
 rection. It is possible that Heinecken's engraver worked from a finished 
 tracing, and that, not being aware of the peculiar nature of the original print, 
 he thought he did rightly in so engraving his copy, as that the inscription 
 should be read as usual from left to right. 
 
 3. A circular Piece, with a large border, composed of eight bunches 
 of fruit, tied together ; and in the middle a half-length figure of a corpulent 
 young man, who wears a garland of vine-leaves, has a parroquet on his shoulder, 
 and is playing the guitar. Diam. 7£. 
 
 4. Cupid bound to a Tree, and menaced by four Females. He is 
 represented naked, with a bandage over his eyes, and his arms tied over his 
 head to a tree, to which he is also bound near the feet and at the waist. On 
 each side of him are two females, richly dressed in the fashion of the time ; 
 the first, on the left side, menaces him with her fan ; the second, with two 
 arrows and a broken bow ; the third, on the opposite side, holds a quiver, and 
 threatens him with a spindle, and the fourth advances towards him with a 
 knife. A circle, diam* 7£. 
 
 5. Another similar Design. Cupid is here represented with his eyes ban- 
 daged, his wings extended, and his hands tied behind his back. On each side 
 of him, as in the piece last described, are two women : the first seizes him by 
 one of his wings ; the second pulls him by the ribbon which supports his 
 quiver, and menaces him with a battledore ; the third is going to strike him 
 with a large sword, and the fourth has a pair of scizzors. A circle, diam. G|. 
 
 C. Another circular Piece, surrounded by an ornament of foliage, wherein 
 are introduced eight ovals, each containing a beautiful little figure of a Cupid 
 playing upon a musical instrument. In the round space within this border 
 are two heads in profile, a man and a woman, looking at each other. 
 Diam, 7J. 
 
 7. Another Circle, with a border of foliage, in which are six upright ovals, 
 each containing a Cupid playing on a musical instrument. At bottom, in an 
 oval lengthways, a man lying on the ground, with a naked female, to whom he 
 presents a carnation. In the circle in the middle are a gentleman and lady 
 dancing. Diam. 8. 
 
 8. Another Circle, with a border of fruits. In the middle a landscape, in 
 which is seen a bear attacked by five dogs* Above, between two orange- 
 trees, are two cartouches, upon which the arms of the Medici family are 
 sketched with a pen, as in No. 2. Diam. 8. 
 
 9. A Concert, in a Garden. In the near-ground, a cavalier playing on the 
 guitar, seated by a lady finely dressed, who has a garland in one hand, and 
 in the other a rose ; between them, another lady standing, playing on a small 
 harp ; and above, near an enclosure, two lovers caressing each other. On 
 the right is a table laid out with fruit. A circle, diam. 6£. 
 
 10. Another Circle, with small border of foliage. In the middle a mon- 
 strous face seen in front, with large eyes, and hands which open the mouth 
 with two fingers, so as to shew all the teeth. Diam. 7£. 
 
 11. Another Circle, with border of laurel. In the middle a cartouch, and 
 on each side, attached to it by ribbons, a medallion within a border of laurel. 
 That on the left contains the half-length figure of a young man in profile, 
 
 VOL. I. 2 C 
 
B A L 
 
 with a flower in his hand ; that on the right, a lady seen in front. Above, 
 are seen a dog attacking a stag, and a hare running away ; below, a dog is 
 seizing a wild boar, and another is devouring a hare. Diam. 6. 
 
 12. A Lady seated, with a Unicorn between her knees, which she cares- 
 ses with one hand, whilst, with the other, she holds a collar to put about its 
 neck, that she may tie it to the trunk of a tree which is behind her. She 
 wears a garland of flowers, at her feet is a little dog, and on each side is a 
 tree from which hangs a tablet. A circle, diam. 6£. 
 
 13. Judith with the Head of Holofernes. She is standing, dressed in 
 the antique costume ; and holds the head of Holofernes with her left hand, 
 whilst with the right she brandishes a large sabre over her head. The dead 
 body is behind her on the ground, and on each side is a tree, to the trunk of 
 one of which is affixed a cartouch. A circle, diam. 5§. 
 
 14. The same Subject. Judith is standing; she holds the head of Holofer- 
 nes with one hand, and with the other a large sabre, with its point downwards. 
 She is richly dressed, and wears a crown ; and behiud her on the ground is 
 the dead body. A circle, diam. 5£. 
 
 15. A Gentleman and a Lady, promenading in a landscape in which are 
 three cypresses, and in the foreground a young man playing on the pipe and 
 tabor. A circle, diam, 6$. 
 
 16. Jason and Medea. In the middle is a space apparently intended to con- 
 tain armorial bearings ; on the right is a young warrior with a scroll in his 
 left hand, on which is written: gianson. With his right hand, he sustains a 
 large ornamental vase, assisted by a young female, dressed in the ancient 
 costume, who is placed on the other side of the print, and also holds a scroll 
 on which is inscribed : medea. Beneath is a small figure of a ram. A circle, 
 diam. 6. 
 
 17. A Cavalier and a Lady sustaining a Sphere. He is standing upon 
 a piece of rock, on the right, and has in his right hand a scroll containing 
 these words: * amor vuol fe, e dove fe nonne:' the lady stands on 
 another rock, on the left; she is dressed after the antique costume, and holds 
 a scroll whereon are the words : ' amor non puo.' A cherub's head serves 
 as support to a circle in the middle, which is left empty. A circle, diam. 5f. 
 
 18. A Cavalier and a young Lady holding a Crown of Laurel over 
 a Globe ; the gentleman being on the left, the lady on the right. Cupid is 
 seen in the air, shooting an arrow at the cavalier, and beneath is a dog asleep 
 upon some herbage. A circle, diam. 4f . 
 
 19. A Man with his Arms bound to a Tree, and a female who is shew- 
 ing him the Heart, which she has just torn from his bosom. On each side is 
 an escutcheon suspended from a tree. A circle, diam. 4. 
 
 20. The Guardian Angel. He has large extended wings, is dressed in a 
 pontifical habit and a mitre, and is leading an infant by the hand : the back- 
 ground is a landscape. A circle, diam, 4. 
 
 21. A little Cupid standing, his Eyes bandaged, and his Wings 
 extended ; with his bow in one hand, and an arrow in the other. This 
 figure is within a circular border of fruits and flowers, which is supported by 
 two other cupids by ribbons. An oval, I. 8|. h. 4. 
 
 22. A Procession of Cupids. In the middle is represented a car, surmount- 
 ed by a trophy of gabions which throw out flames ; the car being drawn by 
 cupids, some playing on musical instruments, others carrying torches. The 
 procession is opened by a cupid who bears a standard ornamented with flames, 
 on which is inscribed : 4 purita ;' and is terminated by another cupid with a 
 similar standard, inscribed : 1 al fuogedil.' An oval, I. 9|. h. 4. 
 
 23. Two Females, elegantly dressed, seated in a landscape; and sup- 
 porting a border formed of two cornucopia. The circular space in the mid- 
 dle is empty. An oval, I. 7f . h. 2|. 
 
 24. Two Warriors, each with one Knee on the Ground, who support 
 an escutcheon of an octagon form, on which is a female figure, with her 
 hands raised towards heaven. An oval, /. 6f . h. 2|. 
 
BAL 
 
 Among the first uses to which the new art of chalcography 
 appears to have been applied at Florence, was that of making 
 Almanacks. Strutt first described an engraving of this kind, 
 accompanied by seven others, representing the planets with 
 their attributes. They were then in the collection of Dr. Monro, 
 and are now in the British Museum. These pieces much resem- 
 ble in manner the three prints, hereafter to be noticed, in the 
 * Monte Santo di Dio;' though as the impressions appear to 
 have been taken off after the plates had been worn by repeated 
 use, and rudely retouched all over, they want much of that 
 softness and delicacy which, no doubt, the early impressions 
 possessed. Still they appear to be unique. I shall speak of 
 them in the words of Mr. Strutt. 
 
 THE SEVEN PLANETS, WITH AN ALMANACK. 
 
 A Set of eight plates j h. 9£, including margin, tv. 7. 
 
 25. « The Almanack' (1) exhibits a calender of the Saints' days, and a calcu- 
 lation of the day on which Easter would fall, from 1405 to 1517 inclusive. 
 Upon twelve small circles in the middle of the plate, are represented the em- 
 ployments for the twelve months of the year, with the zodiacal sign belonging 
 to each month ; and the gradual increase and decrease of the days is expres- 
 sed by the extent of the shadow upon the border, within which these delinea- 
 tions are inclosed. They areas follow: January. An elderly gentleman 
 seated at a table, spread with provisions, near the fire, holding a glass with 
 liquor in his hand. February. The gardener digging his ground. March. 
 The employment of the two figures represented in this compartment is rather 
 obscure; probably the man is planting shrubs or herbs in the garden, accord- 
 ing to the direction of the lady who is standing by him. April. Hawking, 
 and hunting the hare. May. Running at the ring. June. Mowing. July. 
 Gathering in corn, and thrashing. August. Sickness: the doctor is examin- 
 ing the urinal. September. Gathering grapes. October. Making wine. 
 November. Ploughing. December. Rilling of Swine, and providing good 
 fare for Christmas. 
 
 The following directions are written in Italian, at the bottom of the plate : 
 * If you will know when Easter shall be, find the date of the year in this en- 
 graving, the letter A standing for April, and the letter M for March/ 
 
 20. * Venere.' (2) This plate represents the planet Venus: she appears in the 
 clouds, riding in her chariot drawn by doves, accompanied by Cupid, who 
 has just discharged an arrow at one of the ladies standing in a balcony : at a 
 distance we see an unfortunate lover upon his knees, invoking the assistance 
 of the deity : the rest of the figures appear to be immediately under the di- 
 rection of her powerful influence. On the wheels of her chariot are repre- 
 sented the Bull and the Balance, with these inscriptions: * toro' and ' bi- 
 lance,' the signs of the zodiac over which this planet was supposed to 
 preside. 
 
 * At the bottom of this, and the six other plates, arc inscriptions, Import- 
 ing the properties of thu planets represented upon them. I shall give the 
 following entire, as a specimen for the whole : 
 
 ' Venere. e segno, femenino. posta. nel terzo. cielo. fredda. 
 e vmida. tenperata la quale. aqveste. proprieta. e am a belli. 
 VESTIMENTI. ornati uoro. e DARGENTO. E chanzone e gavdii. e 
 
 GVOCHI. ET. E LACIVA. ET HA DOLCE PARLARE. EBELLA NELLIOCHI. E 
 NELLA. FRONTE. E DI. CORPO. LEGGIERI. PIENA. DI CARNE. E DI. MEZ- 
 ZANA. STATVRA. DATA. A. TVTTI. OPERE. CIRCA. ALLA. BELIZZA. ET. E 
 SOTTO POSTO. ALLEI. LOTTONE E. IL. SVO. GIORNO. EVEN ERDI E LA. 
 PRIMA. HORA. 8. 15. ET 22. E. LA. NOTTE. SVA. E MARTEDI. E IL. SVO- 
 AMICO. E GIOVE. EL NIMICO. MERCVRIO. ET. HA. DVE H ABITATIONNI. EL. 
 TORO. DI. GIORNO. E LIBRA. DI. NOTTE. E PERCONSIGLIERE. EL. SOLE. E 
 
 2 c 2 
 
B A L 
 
 LAVITE. SVA. EX ALTATlONE. EIL PESCE, EL A MORTE EDVMILIAZIONE. E 
 VIRGO. E. VA. IN 10 MESI. 12 SENGI. INCOMINCANDO. DA. LIBERA. E IN 
 25. GIORNO. VA VNO. SENGNO, EIN. VN GIORNO. VA VNO GRADO. E 12 
 
 minvti. e. in vna ORA. 30 minvti.' [Strutt has given copies of this piece, 
 and the Almanack, in his 4 Dictionary of Engravers.'] 
 
 27. 4 Giove/ Jupiter. (3) He is seated in his chariot, in the clouds, with a 
 crown upon his head, and a dart in his left hand ; before him is represented 
 Ganymede, kneeling, with a small vase in one hand, and a cup in the other. 
 The chariot is drawn by two eagles ; and on the wheels are the two signs, 
 Sagittarius and the Fishes, with the words 4 sagitario' and 4 pisce/ The 
 distance is a mountainous country, with figures, on horseback and on foot, 
 hunting and hawking : in the foreground^ towards the right, we see an em- 
 peror upon his throne, with figures doing him homage ; and to the left three 
 figures, representing (as it is supposed) Boccace, Dante, and Petrarch, 
 seated in an alcove, &c, with the Inscription underneath, beginning thus : 
 
 f giove. epianeta mascvlino. posto. nel sesto. cielo. caldo. e 
 
 HVMIDO. TEMPERATO. Dl NATVRA. DARIA. DOLCE. SANG VIGNO. SPE- 
 RANTE,' &C. 
 
 28. 4 Sole,' the Sun. (4) Ho is represented splendidly armed, with a crown 
 upon his head, and seated in his chariot, drawn by four horses ; upon the 
 chariot wheel is the Lion, inscribed beneath, * leo.' In the background, we 
 see a castle upon an hill, and some figures shooting at a mark with cross-bows ; 
 near them are two men, praying to a crucifix ; others are diverting themselves 
 with mock fights, and a laughable figure of a dwarf is standing by them with 
 a sword under his arm; others again are throwing stones and wrestling; 
 whilst in the front an emperor is seated, and three tumblers are depicted 
 before him, exhibiting their feats of activity. The inscription begins in this 
 manner : 
 
 4 SOLE. E. PIANETA. MASCVLINO. POSTO. NEL QVARTO. CIELO. CALDO. E. 
 
 SECHO. infocato. cholerico. di. colore, doro,' &c. 
 
 29. 4 Marte,' Mars. (5) He is seated in his chariot, drawn by two horses, 
 and represented completely armed, with wings upon his head, and a sword 
 in his right hand : upon the wheels of the chariot are expressed the Ram and 
 the Scorpion, two signs of the zodiac, and under them is written : 4 ariete/ 
 and 4 scarpione.' At a small distance is a castle, with figures fighting before 
 it, and a man is represented ringing the alarm bell; in the foreground, a 
 foraging party of soldiers are seen falling upon a company of herdsmen, and 
 seizing their cattle. The inscription begins in the following manner : 
 
 4 MARTE. ESENGNO. MASCVLIM. POSTO. NEL QVARTO. CEILO. MOLTO. 
 CALDO. FOCOSO. ET HA QVESTE. PROPRIETE. DAMARE. M1LIZIA. BATTAGLE. 
 ET VCCISIONI. MALIGNO. DI SCO RDI NATO,' &C. 
 
 30. 4 Saturno,' Saturn. (6) He is seated in his chariot, drawn by tvyo dragons ; 
 in his right hand he holds a scythe, and upon the wheels of the chariot are 
 two signs, the Goat and the Water-Bearer, inscribed: 4 capricorno/ and 
 4 aqvario.' The distant country is bounded with mountains and with castles, 
 and a figure is represented hanging upon a gallows, holding a cross in his 
 hands : near to the spectator is seen a man ploughing with two oxen, in a 
 large space overflowed with water, and other men are thrashing corn in the 
 open field. Towards the left appears an hermitage surmounted with a cross, 
 and the hermit is seated at the door, near which is a man cutting wood, and 
 two other labourers with their tools. In the foreground, to the right, is a 
 prison, and before it a man seated with his legs and arms in the stocks, and 
 two grotesque figures are standing in the front; towards the left are men kil- 
 ling hogs, one of which is hanged upon a tree. The inscription at bottom 
 begins as follows : 
 
 4 SATVRNO. E PIANETA. MASCVLINO. POSTO. NEL SETIMO. CIELO. FRIDDO. 
 E SECHO. MA. ACCIDEITALMENTE. HVMIDO. DI NATVRA. DI TERRA.' &C 
 
 31. 4 Mercurio/ Mercury. (7) He is represented in his chariot, holding his 
 caduceus, and drawn by two birds like hawks ; on the wheels of his chariot 
 are two zodaical signs, the Virgin and the Twins, inscribed 4 virgo,' and 
 
B A L 
 
 'gemini.' We are here presented with the inside of a city ; in the back- 
 ground is a view of a street, and in the front, towards the right, a large 
 building, which the workmen are decorating with ornaments ; below appears 
 the potter with a variety of small vessels, and in front the sculptor carving a 
 head in stone ; above him are two philosophers holding a celestial sphere, and 
 near tliem a table covered with viands; in the building towards the left, we 
 see a musician playing upon an organ ; it is singular enough that the bellows, 
 by means of which the instrument is supplied with wind, resembles the com- 
 mon bellows which we have in our houses at this day : in a compartment below, 
 are two figures at a table writing, and a third is regulating a clock. The per- 
 spective, in which science the artist had here an opportunity of shewing his 
 abilities, is most dreadfully defective. The inscription at the bottom begins 
 in this manner : 
 
 ' MERCVRIO. E PIANETA. MASCVLINO. POSTO NEL SECONDO. CIELO. ET 
 SECHO. MA PERCHE. LA SVA. SICCITA. E MOLTO PASSIVA LVI. E FREDO,' &C. 
 
 32. ' Luna/ the Moon. (8) She is seated in her chariot, drawn by two females, 
 holding a bow in her left hand, and a dart in her right; upon the wheel of 
 the chariot is the zodaical sign of the Crab, with the Latin name ' cancer/ 
 written underneath it. The distance represents a mountainous country, with 
 a castle and a town, very rudely executed. Nearer the eye is a fowler set- 
 ting his nets, figures fishing in a boat, and a man shooting at a flock of birds 
 with a bow and arrow ; near him, some people are seated at a table playing at 
 dice ; in the foreground, towards the left, is a water-mill, part of the wheel 
 of which appears, and a bridge over the river, upon which we see a man on 
 horseback, and an ass fallen down under his load ; beneath the bridge are 
 naked figures in the water fishing with a net. The inscription at the bottom 
 of the plate begins as follows : 
 
 ' LA LUNA. E PIANETA. FEMININO. POSTO. NEL PRIMO. CIELO. FREDA. E. 
 VMIDA. FLEMATICHA. MEZANA TRA EL MONDO. SUPERIORE ET LO. INFE- 
 RIORE. AMA. LA GEOMETRIA,' &C. 
 
 The directions for finding; Easter, in the Almanack, No. 1 
 of the above set of prints, begin, as we have seen, from the 
 year 1465 ; and hence Strutt insists that the work must have 
 been executed as early as the year 1464 : for the artist, he ob- 
 serves, would never have ante-dated it; as * the almanack of 
 course became less and less valuable every year/ This reason- 
 ing* seems fair, and would be conclusive, could we be sure, that 
 the calculation for finding Easter for fifty-two years, from 1465 
 to 1517, had been made expressly for this engraved plate, and 
 that the said directions had not been copied from another alma- 
 nack, done some time before. I make this remark, because as 
 a general rule it would not be safe to rely upon the date of a 
 calendar, as furnishing the true date of a printed book or ma- 
 nuscript; though I am far from desiring to disturb the particu- 
 lar date in question, which is probably the true one. 
 
 ANOTHER SET OF THE PLANETS: 
 Seven pieces, h. 12 J, including margin, w. 8f. 
 Two prints of this series were described by me at pp. 3C8 — 373 of my 
 * Inquiry.' A complete set has since found its way to England, and another 
 set ' is said to be in the Royal Collection at Paris, but wholly retouched.' It 
 is observed by the gentleman from whose elegant volume (' A Catalogue Rai- 
 sonnG of the select Collection of Engravings of an Amateur, London, 1 828') 
 I have taken the liberty to extract the present interesting notice of them, 
 that, 4 as both arc without the Almanack, it probably did not form a part of 
 this set.' 
 
B A L 
 
 The subjects introduced in the many sets of the Planets, which appear to 
 have been engraved in the fifteenth and sixteenth centuries, in Italy, Ger- 
 many, and elsewhere, appear to have been conventional; so much so, that 
 a set of wood prints of the seven Planets, In my possession, probably executed 
 In Nuremburg, about 1520, might be described in nearly the same words as 
 were used by Strutt in describing the above set in the British Museum. The 
 designer, it is true, often varied the arrangement of the several compositions ; 
 but the general occupations of the chief groups represented in these sets of 
 the Planets, appear to have been for the most part strictly adhered to. 
 
 The set now to be spoken of is, I think, decidedly older than that in the 
 British Museum, which appears to have been copied from it with variations. 
 
 33. ' Venus.' (1) The goddess appears in the clouds, riding in her chariot to- 
 wards the left of the print, drawn by doves. In the front stands Cupid, who 
 has just discharged an arrow at one of the lovers on the right. On the oppo- 
 site side is a battlemented building, with a gate and a balcony over it. In the 
 balcony are three ladies dropping flowers on the group below, while another 
 lady on a rampart beyond, is holding a wreath, to which a lover is extending 
 his hands. Over the gate is written ' omnia vincit amor.' In each corner, 
 to the right and left, is a pair of lovers seated ; a lady, standing near them, 
 is placing a wreath on the head of a cavalier, beside whom are two others, 
 one playing on the guitar. In the middle is a couple dancing to the sound of 
 the tambourine, played by a female on the right. Behind these is a large 
 table, with part of a banquet, and further in the background a covered bath, 
 where three persons are bathing. On the chariot-wheels are the bull and 
 the balance, inscribed * toro,' and 4 bilance,' the signs of the zodiac un- 
 der this planet's influence. 
 
 * At the bottom of this, and the six other plates, is an inscription of ten 
 lines, importing the qualities of the planet represented. The following por- 
 tion is given as a specimen of the whole : 
 
 ' VENERE ESEGNO FEMININO POSTO NEL TERZO CIELO EFREDDO EVMIDA 
 TENPERATA LAQVALE AQVESTE PROPIETA AMA BELLI VESTIMENTI ORNATl 
 DORO EDARGENTO E CHANZONE EG AUDII E GVCHI ET E LASCIVA EA DOLCE 
 PARLARE E BELLA NEGLIOCHI E NELL A FRONTI EDICORPO LEGGIERI PIENA 
 DI CARNE EDIMEZANA STVRA,' &C. 
 
 * Throughout this, and the remainder of the inscription (as well as in the 
 other prints of the set), the letter S is reversed, and the letter Q is formed 
 by turning the letter P. 
 
 * Differences in the Print of tlie same Planet at the British Museum. 
 
 4 As a preliminary observation it should be remarked, that the planets 
 themselves, in all these copies or imitations, are placed in the same direction 
 as in the larger prints, that is, looking towards the left ; although the subjects 
 (below) are in almost every case reversed. In consequence of this, Cupid 
 here appears to shoot at the ladies in the balcony. The bull's head on the 
 chariot is reversed, and the word 4 Bilance' is wanting. Instead of the bat- 
 tlemented building, is one with a pent-house roof; and two figures only are 
 dropping flowers, instead of three. There is no inscription over the gate. 
 The front only of the bath is seen, with two persons bathing, instead of 
 three. On the left, instead of the two lovers, is a lady seated playing on the 
 tambourine. The dress of the dancing female, too, is wholly different, and 
 the table is scarcely seen. In the inscription (in the margin), for * posto, ' 
 we read 4 posta ;' for * efreddo,' 4 fredda ; for * propieta,' ' propri- 
 eta ;' for 4 GVCHI,' 4 gvochi ;' &c. 
 
 34. 4 Jupiter. (2) He is riding on the clouds in his chariot, drawn by two 
 eagles, dressed in a robe, and with a cap on his head, and a sceptre in his left 
 hand. Ganymede is kneeling before him, with a basin in one hand and a vase 
 in the other. On the wheels of the chariot are the signs Sagitarius and Pis- 
 ces ; a scroll under the former is without inscription ; that under the latter 
 bears the word ' pisce.' In the distance is a mountainous landscape, with 
 figures on horseback and on foot, hunting and hawking. A young man of 
 quality, with a falcon, is particularly remarkable. On the right, immediately 
 opposite, under a large rock, is a man holding in two dogs, and to his left is a 
 
B A L 
 
 dwarf with another dog. In the foreground, to the right, is an arbour, in 
 which are seated Dante, Petrarch, and Boccacio ; and to the left, at the side 
 of the arbour, is a king or emperor on his throne, to whom five persons, three 
 of them kneeling, are doing homage. The inscription commences thus : 
 
 1 GIOVE EPIANETA MASCVLINO POSTO NEL SESTO CIELO CALDO E VMIDO 
 TENPERATO DI NATVRA DARIA DOLCIE SANGVIGNO SPERANTE ALLENGNO,' 
 &C. 
 
 * Differences in the Print of this Planet at the British Museum. 
 
 ( The throne and dress of Jupiter are different. The word * Zagitarie,' 
 which in the print above described is wanting under the sign, here appears. 
 The arbour is totally different, and the group doing homage consists of only 
 four persons : instead of the large rock in the background, is a town or city 
 on a hill. In the inscription, the word ' vmido,' is written ' hvmido for 
 ' tenperato,' we read ' temperato for ' dolcie/ 1 dolce for * al- 
 
 LENG NO,' * ALLEGNO/ &C. 
 
 35. *Sol. (3) He is represented, splendidly armed, with a crown upon his 
 head, and seated in his chariot, drawn by four horses: upon the chariot-wheel 
 is the zodaical sign of the Lion, inscribed: ' leo.' In the background is a 
 castle upon a hill, and some figures are seen shooting at a mark with cross- 
 bows ; near them are three pilgrims at a splendid shrine of the virgin, over 
 which is written : ' ave regina.' Several persons are engaged in pitching 
 stones, in mock fights, and wrestling ; near one of these, a dwarf is standing, 
 with a sword under his arm. In the front, an emperor is seated on a throne 
 surmounted by cupids, before whom three tumblers are exhibiting their feats 
 of activity. Close by the emperor are three attendants, richly dressed ; on 
 the thigh of the one on the left of the throne, are the words : * droit mant.' 
 The inscription under the print begins : 
 
 1 SOLE E PIANETA MASCVLINO POSTO NEL QVARTO CIELO CALDO E SECHO 
 INFOCATO CHOLERICO DI COLORE DORO CVPIDO DI REGNARE DISIDEROSO, 
 
 4 Differences in the Print of this Planet at the British Museum. 
 
 The name of the planet is written above, which in this plate of the larger 
 set is wanting. The chariot is different ; and instead of the three men pray- 
 ing at the shrine, are two figures kneeling at the foot of a crucifix on a rock. 
 The king (emperor) wears a crown, instead of a regal cap ; has two atten- 
 dants only, instead of three ; and the cupids over the throne, which is alto- 
 gether different, are wanting. The word * disideroso' (in the inscription 
 in the margin) is written * diseroso.* 
 
 3C. * Mars. (4) He is seated in his chariot, drawn by two horses, and repre- 
 sented completely armed, with wings upon his head, and a sword in his right 
 hand ; upon the wheels of the chariot are the Ram and the Scorpion, and 
 under them are written the words * ariete/ and 1 iscarpione.' At a small 
 distance is a castle, before which peasants are fighting with the military, and 
 a man is represented ringing the alarm bell ; while outside the walls a soldier 
 is leaning on his shield. To the left are hay-ricks and a farm-house. A. party 
 of soldiers is seen falling upon the peasants, seizing their women, and driving 
 off their cattle. From the left, a troop of knights in armour is arriving ; and 
 below these, on the right, are two frightened children. The inscription be* 
 gins thus : 
 
 4 MARTE E SEGNO MASCVLINO POSTO NEL QVINTO CIELO MOLTO CALDO 
 FOCOSO EA QVESTE PROPRIETA DAMARE MILITIA BATTAGLIE ET VCCISIONE 
 MALIGNO DICORDINATO,' &C 
 
 4 Differences in the Print of the same Planet in the British Museum. 
 
 * The car of the god is in the greater part white, instead of being richly 
 worked, and the castle is totally different ; there is a less number of armed 
 knights ; the figure resting on his shield is wanting, and there is neither the 
 farm-house, nor the party of men near it, and only one frightened child. 
 The word « quinto* (in the inscription) is abbreviated thus: * qto,' which 
 led to Strutt's error, in calling it quarto. In almost every case the letter S is 
 
BAL 
 
 placed in the ordinary direction, while in the larger print it is invariably 
 reversed. 
 
 37. 4 Saturn. (5) He is seated in his chariot, drawn by two dragons, and in 
 his right hand he holds a scythe : upon the chariot wheels are the signs of the 
 Goat and the Water-bearer, inscribed ; * capicorno,' and ' aqvario.' The 
 distant landscape consists of mountains crowned with castles ; and a figure is 
 seen hanging from a gallows, on the top of which is a cross. Nearer, is a 
 man ploughing with two oxen, while three men and a woman are thrashing 
 corn in an open field, and a man is turning the corn with a fork. To the left 
 is a monastery, at the door of which a monk is seated, who, as well as several 
 others nearer the spectator, is at work. Two of these monks are making 
 baskets, and a third is chopping wood on a block. Near them is a man cut- 
 ting down a tree on the bank of a river, on the opposite shore of which is a 
 party of men, the first of them holding a brush and a long broom, the second 
 a bucket on a pole, and the third a long ladle. In the foreground, to the 
 left, is a prison, and before it a man is seated with his legs and arms in the 
 stocks : just beyond, are several figures, and among them a woman with a 
 child. Close in the left corner, are three other figures, a cripple, a woman, 
 and a monk with a kettle of soup. In the middle of the print is a man with a 
 long stick in one hand, and a basket in the other ; and to the right are men 
 killing hogs, one of which is hanging on a tree. The inscription begins as 
 follows : 
 
 • SATVRNO E PIANETA MASCVLINO POSTO NE SETTIMO CIELO FREDDO E 
 SECHO MA ACCIDETALMENTE VMIDO DI NATVRA DI TERRA MANICONICO 
 DI NATVKA DI PlOflbo/ &C. 
 
 * Differences in the Print of this Planet in the British Museum. 
 
 ' The word ' capicorno,' under the wheel of the chariot, is properly spelt 
 ' capricorno ;* the car is different, but the man ploughing is turned to the 
 left, as in the larger print. Only three persons are thrashing, and there is no 
 forker ; the woman with the child is wanting ; but one beggar appears with the 
 monk in the left corner: the convent is different, and instead of three monks 
 at work, there is only one. In the inscription, instead of * di natvra di 
 pioNbo/ we read ' di colore di pionbo/ &c. 
 38. ' Mercury. (6) He is seated in a chariot, holding the caduceus, and drawn 
 by two hawks ; on the wheels of the chariot are the signs Virgo, and Sagita- 
 rius, but the scrolls underneath are without the names. The inside of a city 
 is represented, with the view of a street ; and in the front, to the left, is a 
 large building, which an artist is apparently decorating in fresco, while ano- 
 ther is grinding colours on a stone. Below is a goldsmith's shop, with three 
 persons behind the counter ; one of whom, in a cap, is examining a niello, or 
 even possibly a print or a copper- plate, through a glass : a man in the street 
 is handing a vase to one of the shopmen. Nearer to the left corner, is a bust 
 on a corinthian capital. In the centre, are four philosophers, one holding a 
 celestial sphere ; and below there is seen a table with provisions, at which are 
 seated a youth of quality, and a sturdy peasant or beggar, in conversation. 
 In a building to the right, is a musician playing on an organ to two persons, 
 while the instrument is supplied with wind from a common bellows, blown by 
 an old man. Below this group are two men of science, reading, amidst a pile 
 of books, while a third is regulating a clock. The inscription begins: 
 
 ' mercvrio e pianeto maschvlino posto nel SECONDO CIELO ET 
 
 SECHO MA PERCHE LA SVA SICITA E MOZTO PASSIVA LVI E FREDDO,' &C. 
 
 ' Differences in the Print of this Planet in the British Museum. 
 ' The signs under the chariot, instead of Virgo and Sagitarius, are ' virgo/ 
 and ' gemini/ and bear those names. The architecture is all different. There 
 are no listeners to the organ player. At the table, which is not all seen, are 
 two totally different figures; and the background is wholly unlike. In the 
 goldsmith's shop, are only two persons, instead of three, and no man looking 
 at a niello or plate. In the inscription, the word ' pianeto/ is written 
 
 * PIANETA / < MASCHVLINO/ < MASCVLINO / &C. 
 
B A L 
 
 3& * Ltna. (7) She is seated in her chariot, drawn hy two females, holding a 
 bow in her left hand, and an arrow in her right : upon the wheel of her 
 chariot is the sign of the Crab. The distance represents a mountainous coun- 
 try, with a castle and a town. To the right, on the bank of a river, are 
 fowlers setting their nets, three of whom are concealed in an arbour. Two 
 figures are fishing from a boat, while others are swimming near ; and there 
 are two men with bows, one of whom is shooting. Near these, eight persons 
 at a table are looking at the feats of a juggler in a fool's dress, with an ape 
 at his feet. In the foreground, to the right, is a water-mill, part of the 
 wheel of which appears : there is a bridge over the river, with a sun-dial in 
 the centre. Upon the bridge, are a man oil horseback, and an ass fallen 
 Under his load, while two men are striving to raise him. Below the bridge, 
 naked figures are in the water, fishing with nets ; and from a pier of the 
 bridge one is angling with a line. Quite in the corner, to the right, the 
 miller is tying a sack ; and near him is a naked man, plunging into the river. 
 On the opposite bank, an old man, richly dressed, is holding a fish. The 
 inscription begins : 
 
 ' LA LVNA E PIANETA FEMIN1NO POSTO NE PRIMO CIELO FREDA HE 
 VMIDA ET FLEMATICHA MEZANA TRALMONDO SVPERIORE ET LO INFERIORE 
 AMA LA GEOMETRIA,' &C. 
 
 ' Differences in the Print of this Planet in the British Museum. 
 
 ' Underneath the sign of the zodiac, is written its name ' cancer/ In- 
 stead of two men with bows, only one appears ; and one person only in the 
 arbour, instead of three. There are only six spectators round the juggler, 
 and but one man to raise the fallen ass. On the shore is a person with a cap, 
 fishing. There are but two men with nets, and the sun-dial and the figure 
 holding the fish are wanting. In the inscription, we read, instead of ' ne,' 
 * nel;' instead of * he vmida,' * e vmida f the word * et/ before f fle- 
 maticha,' is omitted ; and ' tralmondo,' is written ' tra el mondo,' 
 &c. (T. W.) 
 
 I now come lo speak of a series of fifty prints, commonly 
 said to have been intended for playing-cards ; and which are 
 called, by the Italian writers, ' 11 Giuoco di Tarocchi,' and, 
 sometimes, ' II Giuoco di Mantegna' ; from a vulgar notion that 
 they are by the hand of that great artist. Any person conversant 
 with the known engravings of Mantegna will, however, imme- 
 diately perceive that these fifty pieces are of a very different 
 character of design, and wholly unlike them in execution. We 
 have two different sets of them, both engraved in the fifteenth 
 century in Italy; the one copied, with occasional variations, 
 from the other; besides a third set, copied, towards the middle 
 of the sixteenth century, by one Johan Ladenspelder, an artist of 
 Westphalia, and of which I shall here make no further mention. 
 
 The original set, I am of opinion, (though I once thought 
 differently) was engraved at Padua, after the designs of an un- 
 known master of considerable merit, who was probably one of 
 the numerous scholars of Squarcione ; for I consider the designer 
 and engraver to have been without doubt two distinct persons. 
 
 By the favour of Mr. S. Woodburne, I have now before me 
 a quarto book containing twenty-six pen drawings on vellum, 
 representing for the most part groups of figures, which bear in 
 point of costume, choice of attitudes, and many other particu- 
 lars, so striking a resemblance to the figures in the ' Giuoco di 
 
 VOL. I. 2d 
 
BAL 
 
 Tarocchi,' as to convince me that the person who made those 
 drawings, was also the author of the designs from which the 
 prints in that work were engraved ; and it is remarkable that one 
 of these drawings is a study for part of a very beautiful compo- 
 sition, representing ' the Death of Orpheus,' of which a print 
 exists, engraved, with great delicacy, by the same artist who 
 engraved these fifty prints. 
 
 The set of copies is engraved much in the manner which 
 we ascribe to Baldini, and was probably done at Florence. 
 Bartsch considers this set the original ; but after a very careful 
 comparison of the two sets together, I am quite satisfied that he 
 is wrong. Strictly speaking, perhaps, the Florentine copies, 
 only, ought to be placed here ; but as the name of the original 
 artist is unknown ; and as even single specimens of these ancient 
 prints are very rare, I shall probably best consult the wishes of 
 the curious reader by taking the present opportunity of describ- 
 ing both the sets. 
 
 IL GIUOCO DI TAROCCHI 
 A set of fifty pieces; h, 7. w. 3|. 
 
 This series of prints is divided into five classes, of 10 pieces each ; though the 
 whole are numbered, 1 to 50, without interruption; first in Roman numerals, 
 immediately after the titles, and, again, in Arabic figures, at the right bot- 
 tom corner, in the margin. Each Class is distinguished by a capital letter, at 
 the left bottom corner. In the original set, the prints of the First Class are 
 marked E; those of the Second, D; the Third, C; the Fourth, B; and the 
 Fifth, A. In the set of copies, the First Class is distinguished by an S, in- 
 stead of an E ; but the other classes are marked as they are. 
 
 Zani, informs us in his ' Materials,' p. 149, ' that he has found these letters 
 thus interpreted: A. Tutto; B. Bastone : C. Coppe ; D. Danari; E. Spade,.., 
 The S. in the set of copies,' he observes ' will do perfectly well for Spada; 
 must we, therefore, read the E. in the original set, Epee, in French ? This 
 conjecture does not seem very reasonable: it is more probable I think that 
 the artist was accustomed to write the word Spada with the redundant E, 
 Espada ; in the same manner as we have seen the redundant I used in Iscar- 
 pioni, in the print of the Planet Mars above described. 
 
 Bartsch in his 13th volume, has given separate catalogues of both these 
 sets of the Giuoco di Tarocchi ; but does not appear to have seen either set 
 entire. The following descriptions were made with a complete set of the ori- 
 ginals before me ; viz. that formerly in the collection of the Cav. Seratti, and 
 afterwards in that of Sir M. M. Sykes ; and a set of the copies, wanting only 
 three. The Florentine set is less neatly and expertly engraved than the other. 
 It is not a servile copy: several of the figures are a good deal altered, and 
 some of them improved in the drawing. One figure indeed is entirely different. 
 
 Class I. — The ten pieces of this class represent different states and condi- 
 tions of men. In the original set, as has been said, they are distinguished 
 by an E ; and in the other set (a) are marked S. 
 
 40. * E. Misero 1.1/ A poor man almost naked, resting on his stick; the 
 figure turned towards the left. Below are two dogs, one of which is threaten- 
 ing to bite his leg. (a) S. Wanting in the set before me. The figure ac- 
 cording to Bartsch is turned towards the right. 
 
 41. ' E. Fameio II. 2/ A servant carrying a dish with a cover, as if to an 
 entertainment. He is dressed in a short habit, which reaches to the middle 
 of the thigh only, and has a long napkin hung over his right arm and left 
 
 shoulder. His head is uncovered, and he walks towards the left. (a) S. 
 
 In the reverse direction, the servant is walking towards the right. The dra 
 pery or habit does not reach quite so far over the thigh. 
 
B A L 
 
 42. * E. Artixan. III. 3.' A goldsmith in his shop, seated at work, on the 
 right of the print. He appears hammering something on a small anvil ; on 
 the table before him are two hammers, compasses, and other tools ; and on 
 the left Is a forge, with a pair of bellows. Behind him, on the right, is a 
 
 boy, looking over his shoulder. {a) S. The goldsmith, in this print is 
 
 seated on the left, though his figure is turned in the same direction as in the 
 other. He is using the hammer, but the anvil is not seen. The tools on the 
 table are differently disposed, and amongst them is only one hammer. The 
 boy standing behind him is on the left ; and his hands are seen, which is not 
 the case in the other. The furnace is on the right, and the top of the print, 
 within the usual border, is arched. 
 
 43. 1 E. Merchadante IIII. 4.' The merchant is dressed in a loose gown, 
 with large sleeves and a girdle; and wears a cap made of cloth, the folds of 
 which hang down over his right shoulder as far as his waist. He is reading a 
 letter, which he holds in both hands, his head being turned a little towards 
 
 the left. (a) S, The figure is in a reverse direction. The actions of the 
 
 fingers are different. 
 
 44. 1 E. Zintilomo. V. 5.' The gentleman is dressed in a jacket, folded in 
 stiff perpendicular plaits, with a border, reaching half way down the thigh. 
 He is walking towards the right, bearing a falcon on his left hand, and having 
 the thumb of his right hand thrust into his belt. Behind him is a lad, with a 
 brace of small hounds, which he holds by a cord attached to their collars, 
 (a) S. In this piece, the gentleman has a small stick in his right hand ; but 
 he holds a falcon with his left hand, and is walking towards the right, as in 
 the other. The boy behind him, has a sword suspended from his girdle, which 
 is not the case in the other print. 
 
 45. * E. Citavalier. VI. 0/ The cavalier has a dagger, which he holds 
 with both hands ; his figure is turned a little towards the right, but he looks 
 towards the left. Behind him, on the left, is a page, with his sword under 
 
 his right arm. (a) S. The principal figure, is much the same as the other ; 
 
 but it looks towards the right ; and the page is on the right. 
 
 4G. ' E. Doxe. VII. 7/ The Doge of Venice, in his cap and robes, standing, 
 
 turned towards the left. (a) S. As nearly resembling the other as may 
 
 be ; but in a reverse direction. 
 
 47. * E. Re. VIII. 8.' A king, seated on his throne, with a sceptre in the 
 right hand, and his other hand resting upon his haunch. He wears a crown, 
 and is seen quite in front ; his knees are asunder and his right foot is a lit- 
 tle drawn back. The design of this figure, though exactly in the same style 
 as the rest of the set, is entirely different from that in the corresponding 
 
 piece of the other series. (a) S. A king seated on his throne, with a 
 
 sceptre in his right hand. He is seen in a three-quarter point of view, and 
 is a little turned towards the left ; his left foot being somewhat extended 
 forwards. He is dressed in armour, over which he wears a mantle, and his 
 whole figure resembles a Roman emperor. This figure with respect to its 
 costume and general character, is so unlike the others, as only to be account- 
 ed for, I think, by the supposition that this piece was wanting in the set 
 from which the Florentine artist copied ; and that he was therefore obliged 
 to have recourse to his own invention, or to that of some friend, in order to 
 make good the deficiency. 
 
 48. ' E. Imperator. Villi. 9/ An emperor seated on his throne, holding 
 a globe in his right hand, and having the thumb of his left hand thrust into 
 his belt He wears a crown, and is turned a little towards the left, his right 
 leg crossed over his left. At his feet, on the right, is a small eagle. A 
 
 copy of this piece is given in my 4 Inquiry.' (a) S. The figure, at first 
 
 sight, appears the same ; but reversed. There are however two considera- 
 ble variations ; first, he holds a sceptre in the right hand, and secondly, the 
 legs are crossed differently. 
 
 49. * E. Papa. X. 10/ The Roman pontiff seated, and seen in front; hold- 
 ing the keys in his right hand, and resting his left on a large book. This 
 piece is copied iu Mr. Singer's work upon playing curds. (a) S. The 
 
 2 d 2 
 
B A L 
 
 figure in this piece differs from the other fit having less hair. In other re- 
 spects, it is as nearly as possible the same. 
 
 Class //.—Marked in both sets with the letter D. The figures of this 
 class represent Apollo and the nine Muses. 
 
 50. * D. Caliope. XI. 11/ She is seen in front, her right leg, which is fore- 
 most, being uncovered. She blows a long trumpet, the end of it downwards, 
 and has a globe, which is left white, immediately behind her left foot. In 
 the background, on the right, is a fountain, the stream of which issues from 
 
 a rock, and falls into a basin of ornamental sculpture. (a) The figure and 
 
 background are nearly the same, but reversed. The form of the sculptured 
 basin, however, is different, and the globe is placed at the right hand bot- 
 tom corner of the print. 
 
 51. ' P. Vram a. XII. 12.' An easy, graceful figure. She has a pair of 
 cornjpasses in her right hand, and in her left, which is elevated, a globe, or 
 plain, circle. Her right leg is uncovered ; her body is a little turned towards 
 
 the right, and her head towards the left. (a) The whole is nearly the 
 
 same, but reversed. 
 
 52. 4 D. Terpsicore. XIII. 13.' She is seen in front, her head a little re- 
 clining to the left, and holds, with her left hand, a small guitar, which she 
 plays on with her right. She has very long hair, part of which is seen 
 on the left, falling down her back as low as to her knee. The background 
 represents a large river, or arm of the sea; and at her feet, behind her 
 
 on the left, is a globe, or plain circle, as in the two last. (a) The name 
 
 in this piece is spelt * Tersicore,' and the figure is somewhat different. 
 She is playing on the guitar, her body being seen in front, and her head 
 turned towards the left. The globe or plain circle is behind her feet, on 
 the right. The background is the same, but reversed. 
 
 53. * D. Erato. XIIII. 14.' She is playing on the tambourine, and is repre- 
 sented in profile, walking, or rather dancing, towards the right. On the 
 
 right, behind her left leg is a plain globe or circle. (a) The figure is 
 
 nearly the fame, and in the same direction ; but the situation it occupies is 
 somewhat different. In the piece above described, the tambourine touches the 
 border of the engraving on the right ; whereas, in this, there is an interval 
 of a quarter of an inch between the tamborine and the border. 
 
 54. ' D. Polimnia. XV. 15/ Her body is turned a little towards the right, 
 but she looks towards the left. She is playing on a small organ or rigals. Be- 
 hind her on the right, is a globe, or plain circle, (a) Her head is turned 
 towards the right. The figure, at first sight, appears merely the reverse of 
 the other, but it is not exactly so. She touches the notes of the instrument, 
 in both prints, with the right hand. The globe here is on the left. 
 
 55. 1 D. Talia. XVI. 16.' She kneels with her right knee on the ground, 
 and is playing on the violin. She holds the bow in the right hand, and turns 
 
 her head towards the left. (a) The figure is nearly the same as in the 
 
 other, but reversed : she holds the bow in the left hand. 
 
 5C. 'D. Melpomene. XVII. 17/ The lower part of her figure is seen nearly 
 in front, but her face and the upper part of her body are turned towards 
 the left. She blows a horn, and at her feet, on the left, is a plain globe, or 
 
 circle. (a) Reverse of the above ; the figure being turned towards the 
 
 right. 
 
 57. ' D. Evterpe* XVIII. 18/ She is playing on a double pipe ; her back 
 resting against a tree. Her figure is turned towards the left, and at her feet, 
 on the left, is a globe, or plain circle. The design is altogether very pretty, 
 (a) The same reversed, the figure being turned towards the right. 
 
 58. * D. Clio. XVIIII. 19/ She is standing on a swan, which is swimming 
 in the water. Her body is turned a little towards the right, but she looks 
 upwards, towards the left, and her right hand is elevated, in an action ex- 
 pressive of admiration. With her left hand, she holds up her drapery, which 
 is much in the taste of the antique, and extremely elegant. Part of her 
 long hair, which reaches to her legs, is seen behind her figure on either side, 
 
B A L 
 
 The whole is very graceful. («) The same reversed, with little or no 
 
 variation. 
 
 59. ' D. A.POLLO. XX. 20/ He wears a crown, and is seen in front, seated 
 upon a throne formed of two swans, placed back to back ; his feet resting 
 on a celestial globe. His right leg is uncovered, and he has a wand in his 
 right hand, which is pointed downwards, and a branch of laurel in the left. 
 (a) In this piece, the. left leg, and not the right, is uncovered ; but the hands 
 are employed as in the other. 
 
 Class III. — The ten pieces of this set represent the liberal arts, and some 
 of the sciences. They are marked, in both sets, with the letter C. 
 
 60. 1 C. Grammatica. XXI. 21.' Grammar is represented under the sem- 
 blance of an old woman with a hood ; she is turned towards the left, and has 
 
 a file in the right hand, and a vase in the left. (a) The figure is reversed : 
 
 nevertheless, she holds the file in the right hand, and the vase in the left. 
 
 61. * C. Loica. XXII. 22/ She is turned towards the right, her face in pro- 
 file, and appears looking at a dragon covered by a veil, which she holds in 
 her left hand. The right hand is in an attitude expressive of admiration, 
 (a) The same figure reversed. 
 
 62. 4 C. Riietorica. XXIII. 23.' Rhetoric is represented by a female figure 
 of dignified and commanding deportment ; she wears a helmet surmounted by 
 a regal crown, and has a naked sword in her right hand. She is seen in front, 
 and on each side of her is an infant, or genius, with wings, blowing a trum- 
 pet. That on the right of the print has the trumpet elevated. A copy of 
 
 this piece will be found in Mr. Singer's work on playing cards. (a) The 
 
 design, generally, is reversed ; still the principal figure holds the sword in 
 the right hand. 
 
 63. * C. Geometria. XXIIII. 24.' A female figure in the clouds, seen only 
 to a little below the middle. The figure is turned a little towards the left, 
 her face in profile, and with her right hand she appears tracing geometrical 
 figures. Underneath is a landscape. It may be proper to observe that, in 
 this print, the engraver appears, originally, to have engraved a wrong dis- 
 tinguishing letter; viz. an E, instead of a C, and afterwards to have corrected 
 his error, not by erasing the E, but by engraving a C. over the lower part of 
 it; so that both letters appear: in consequence of which some writers have 
 spoken of this print as bearing the monogram of the artist. (a) The gene- 
 ral design is reversed ; but still she is made to trace the geometrical figures 
 with the right hand ; which occasions her attitude to be somewhat different. 
 
 64. 6 C. Aritmetriciia. XXV. 25/ A female of grave demeanour, seen 
 nearly in front, her head a little inclined to the left. She has a girdle round 
 her waist, and on her head a thin drapery covered by a mantle. She appears 
 counting money from the right hand to the left. Around her head are rays, 
 (a) The figure is much the same, save that the hands are differently employ- 
 ed. She holds a tablet in the left hand, on which are the figures from 1 to 10, 
 as well as the number 14,085, and points towards it with the right. 
 
 65. ' C. Mvsiciia. XXVI. 26/ A young female, dressed in the antique 
 costume, her arms naked to the shoulders. She is seated on a semicircular 
 chair without a back, and is playing on a pipe, which she stops with some of 
 the fingers of both hands. By her side, on the left of the print, is a swan, 
 and at her feet are a small portable organ, a lute, and other musical instru- 
 ments. (a) The whole nearly the same, but reversed. 
 
 66. * C. Poesia. XXVII. 27/ She is seated on the ground and turned to- 
 wards the right. Her dress is a tunic, over which is an ample mantle, and 
 upon her head is a garland. She is playing on a pipe which she holds in the 
 right hand, and in her left hand is a vase. In the background, on the right, 
 
 is a fountain. The design is altogether very beautiful. («) The whole is, 
 
 as nearly as may be, the same, but reversed. 
 
 67. 4 C. Philosofia. XXVIII. 28/ She is standing, her body turned a 
 little towards the left; but she looks over her shoulder towards the right. 
 She wears a breast-plate, has a shield ornamented with a gorgon's head, on 
 
B A L 
 
 her left arm ; and rests with her right upon a lance or long arrow. (a) 
 
 The figure, generally, is reversed ; bat still so managed, that she holds the 
 lance with the right hand, and the shield with the left. 
 
 68. < C. Astrolog i a. XXXVIIII. 39.' So numbered by error, in the ori- 
 ginal print ; for the number is right in the copy. Astronomy is represented 
 by a graceful female figure standing, and beautifully draped and with wings 
 to her shoulders. She is crowned with stars and turned to the right ; her 
 face is seen in profile, and she appears contemplating a circle, filled with 
 stars, which is placed opposite to her in the sky. In her left hand is a book, 
 
 and in her right a wand, which she points downwards. (a) The figure is 
 
 nearly the same, but reversed ; the wings, however which in the original are 
 extended upwards, have their points downwards ; and the hands are altered : 
 she still holds the wand in the right, and the book in the left, but the wand 
 is pointed upwards. 
 
 69. * C. Theologia. XXX. 30/ Theology is represented by a female figure 
 with two faces, like the god Janus. One of these faces is that of a woman, 
 and looks upwards towards the left ; the other is that of a man with a long 
 beard, and looks downwards to the right. The upper half only of the figure 
 
 is seen, the rest being hid by a large globe, covered with stars. (a) The 
 
 same, reversed. 
 
 Class IV. — The ten pieces of this class represent astrology, chronology, 
 cosmology, and the four cardinal, and three christian virtues. They are 
 marked, in both sets, with the letter B. 
 
 70. ' B. Iliaco. XXXI. 31/ Astrology is represented by a winged genius, 
 examining the face of the moon which he holds in his right hand ; his figure 
 being turned towards the left. (a) The same figure in a reversed direction. 
 
 71. * B. Chronico. XXXII. 32/ Chronology is represented by a winged 
 genius, holding a dragon with its tail in its mouth, the emblem of eternity, in 
 his right hand. His left hand rests upon his haunch. The figure is turned 
 
 towards the left. (a) The figure is, as nearly as may be, the same, but in 
 
 a reversed direction. 
 
 72. * B. Cosmico. XXXIII. 33/ Cosmology is represented under the figure 
 of a winged genius, holding in his right hand a globe, half terrestrial, and 
 half celestial. He is seen in front and his left hand rests upon his stomach, 
 (a) The figure is nearly the same, but reversed. 
 
 73. * B. Temperancia. XXXIIII. 34/ An elegantly draped female pour- 
 ing liquid from one vase into another. She is turned a little towards the left, 
 and is attended by a small animal resembling a pig, which is looking at itself 
 
 in a mirror placed on the ground, on the left of the print. (a) The same, 
 
 reversed. 
 
 74. ' B. Prvdencia. XXXV. 35/ Prudence is represented by a woman 
 with two faces, viz. That of a female, and that of an old man with a beard ; 
 the figure turned towards the right. With the female face, she is looking at 
 herself in a mirror, which she holds in the left hand. She has a pair of com- 
 passes in the right hand ; and at her feet, on the right, is a cockatrice or 
 dragon. (a) Reverse of the above, with little or no alteration. 
 
 75. * B. Forteza. XXXVI. 36/ Fortitude. She has her head covered with 
 the skin of a lion, and has an iron mace in her right hand, whilst with her 
 
 left she is breaking a column. Behind her, on the left, is a lion. (a) In 
 
 this piece the head of Fortitude is covered with a helmet, and the lion is on 
 the right. She holds the mace however with the right hand ; and the figure 
 is seen in the same direction as in the original print. 
 
 76. * B. Jvsticia. XXXVII. 37/ She is seen in front, and has a pair of 
 scales in her left hand, and a sword in her right. Below, on the right, is a 
 
 crane. (a) In this piece, according to Bartsch, the head of the female is 
 
 seen in a three-quarter view, and turned towards the right ; whereas, in the 
 original, the head is seen in front. 
 
 77. 4 B. Charita. XXXVIII. 38/ A standing figure seen in front, dressed 
 in a loose robe with a girdle, and over it a large mantle, fastened at the breast, 
 
BAL 
 
 by a gem. In her right hand, she holds an inverted purse, from which drop 
 pieces of money : whilst, with the left, she exposes her bosom, from whence 
 issue flames. Below on the left, is a pelican, nourishing her young.' (a) 
 She holds the purse in the right hand, as in the original print, but the peli- 
 can, beneath, is on the right. 
 
 78. * B. Speranza. XXXVIIII. 39/ Hope is represented by a dignified 
 and graceful female, standing, with her eyes looking towards heaven, and her 
 hands raised in an attitude expressive of prayer. The figure is turned towards 
 the left ; on which side of the print, on the ground, is a phoenix standing in 
 
 the midst of the flames. (a) Reverse of the above, with little or no 
 
 variation, 
 
 79. * B. Fede. XXXX. 40/ Faith. A female figure seen in front; her eyes 
 directed towards a chalice, with the host upon it, which she holds elevated in 
 in her right hand. In her left hand is a cross, and at her feet, on the right 
 
 of the print, is a little dog. (a) The figure is reversed, and the dog is on 
 
 the left. She holds the chalice elevated, however, in the right hand, and the 
 cross in the left. 
 
 Class V. — The ten pieces of this class, represent the planets, &c. They 
 are marked, in both sets, with the letter A. 
 
 80. * A. Lvna. XXXXI. 41/ Diana in her car, drawn by two horses; their 
 
 course directed to the left. Below is seen a bay of the sea. (a) The whole 
 
 reversed, with little or no alteration. 
 
 81. f A. Mercvrio. XXXXII. 42/ He is represented playing on a pipe, 
 which he holds in the left hand : having in his right the caduceus. A cock, 
 and the head of Argus, are at his feet. The figure is in profile, and turned 
 
 towards the left. (a) The figure is reversed; but nevertheless he holds 
 
 the caduceus in the right hand, and the pipe in the left. The cock, which 
 is on the left in the former print, is on the right, in this. 
 
 82. * A. Venvs. XXXXIII. 43/ The goddess is bathing herself in a rivulet, 
 on the banks of which are three nymphs, and a Cupid with his eyes bandaged ; 
 
 the former on the right, the latter on the left. (a) The composition in this 
 
 piece is reversed. 
 
 83. 1 A. Sol. XXXXIIII. 44/ Phaeton falling from the chariot of the sun, 
 the course of whic is directed towards the right. The chariot is drawn by 
 four hordes, and guided by a winged genius, who holds the orb of day in the 
 right hand and the reins in the left. (a) Reverse of the above. 
 
 81. ' A. Marte. XXXXV. 45/ Mars is seated on his throne, (or rather his 
 chariot, for wheels are attached to it) with a sword in his right hand. He is 
 
 dressed in complete armour, and at his feet is a dog. (a) The design is 
 
 much the same, though the figure is of a different character. The helmet of 
 Mars is here decorated by wings, which is not the case in the original print. 
 
 85. 1 A. Jvpiter. XXXXVI. 46/ He is represented seated within a glory 
 of an oval form, with a javelin in his right hand. At the top of the glory is 
 perched the eagle ; below is seated a small draped figure, and on the ground 
 
 are several small figures, warriors in armour, lying dead. (a) The head of 
 
 the eagle at top of the print is turned to the left, whereas, in the above de- 
 scribed, it is turned towards the right. The design in other respects, is much 
 the same, except that the dead figures below, are only five in number. 
 
 86. * A. Satvrno. XXXXVII. 47/ He is standing and turned towards the 
 left ; having in his right hand his scythe and a dragon with its tail in its mouth. 
 In his left hand he holds one of Ins children, which he is about to devour ; 
 
 and below are seated four other children. (a) Reverse of the above, with 
 
 little or no alteration. 
 
 87. < A. Octava Spera. XXXXVIII. 48/ A winged female, beautifully 
 draped, supporting, with both hands elevated, a large circle filled with stars. 
 
 The figure is turned towards the left, and the left leg is uncovered. (o) 
 
 The whole reversed. 
 
 88. ' A. Primo Mobile. XXXXVIIII. 49/ A winged female, with beauti- 
 ful drapery, and full of spirit. She supports a large globe with both hands. 
 
BAL 
 
 and appears as if about to spring from the earth, which she touches only vriffr 
 
 her left foot. The figure is seen in profile and turned towards the left. («) 
 
 The figure is turned towards the right. 
 
 89. ' A. Prima Cavsa. XXXXX. 50.' The globe of the earth surrounded 
 by the seven planets, in circles, See. (a) It appears from Bartsch's descrip- 
 tion of this print, that, in addition to the circles, the symbols of the four 
 Evangelists are introduced at the four coiners. (O. — S. W.) 
 
 Mention lias been already made of an unique print of great 
 beauty, by the band of the unknown artist who engraved the 
 original set of the ' Giuoco di Tarocchi,' just described ; and 
 which was without doubt designed by the same person who de- 
 signed those. Under these circumstances it may be objected to 
 its insertion in this place, that it more properly appertains to 
 the ancient school of Padua than to that of Florence. Still, as 
 I may otherwise find no fair opportunity of describing it, I place 
 it here. 
 
 90. The Death of Orpheus. Orpheus is represented on the ground, in the 
 centre of the piece, resting on his right hand and right knee. His left hand, 
 with which he holds a part of his mantle, is raised to his head, as if for its 
 protection : he is looking up towards the right, and seems imploring pity of 
 one of the two nymphs who are beating him to death with long clubs. The 
 nymph on this side is seen in a back view ; the other, on the left, is seen in 
 front. Both these figures are covered by beautiful drapery. The figure of 
 Orpheus, except the mantle on his shoulders, is naked. A little to the left of 
 the nymph which is seen in a front view, a child appears running away terri- 
 fied ; and, immediately behind the child, is a tree which rises to the top of 
 the print. Behind the group is a rocky mount, perpendicular on the right, 
 and surmounted by a walled city with a high tower. The lyre, or rather the 
 guitar of Orpheus, is lying before him on the ground. This little print is 
 shaded with cross hatchings in various directions, like the pieces already de- 
 scribed. The whole is designed with much elegance, and finished throughout 
 with the greatest delicacy. Being, moreover, perfectly well printed, and in 
 excellent preservation, it may justly be termed a most interesting specimen 
 of early Italian engraving. Over the figure of Orpheus is introduced a sin- 
 gular scroll, or flourish, the meaning of which I am unable to explain, and 
 which is faithfully copied at page 404 of my ' Inquiry/ /. 8£. h. 5£. (T.W.) 
 
 THREE PLATES IN THE < MONTE SANTO DI DIO PUBLISHED AT 
 FLORENCE, BY NICOLO. DI LORENZO DELLA MAGNA, in 1477. 
 
 It is probable that these plates, at least the first and second, 
 were engraved after the designs of Sandro Botticelli. 
 
 91. The Mount of Holyness. This piece occurs on the reverse of the last 
 page of the Index, opposite the first chapter of the work. A rocky mountain 
 rises with a rapid ascent, and in a pyramidal form, to more than two-thirds 
 the height of the print. Upon the summit stands the figure of Christ, en- 
 veloped in glory, and surrounded by eight cherubim ; the clouds on either 
 hand being also interspersed with the heads of cherubs, ranged symmetrically 
 at regular distances. From the middle of the print, at bottom, a ladder rises 
 to the top of the mount, which a good friar is represented as beginning to as- 
 cend. On the ground, at bottom, is written : ' Hvmilta/ and upon the 
 steps of the ladder are inscribed : ' Puvdentia. Temperantia. Fortezza. 
 Jvstitia. Timore. Pieta,' &c. Half way up the mount, is a figure of 
 Christ on the cross, near which are written the words : Fede, and Carita. 
 The friar on the ladder addresses his prayers to this crucifix in the following 
 words, inscribed on a label which proceeds out of his mouth : 1 tirami doppo 
 te.' At the bottom of the mount, on the left, is the figure of a young man, 
 richly dressed in the fashion of the time, standing, his eyes elevated towards 
 
JB A L 
 
 lieaven, and his left hand raised over his head, as if to prevent his being 
 overpowered by the brilliancy of the glory above. The following ejaculatory 
 inscription is on a scroll near him : ' levavi ocvlos meos i montes vnde 
 veniat avsilivm michi avsilivm mevm a domino, (the letter S some- 
 times reversed.) On the left leg of this young man is a bandage, inscribed 
 cecita, which is held by a demon at bottom, who has also a long iron hook, 
 with which he assails his desired victim. Parts of this plate are copied at p. 
 375 and 377 of my " Inquiry." The whole measures, h. 9£. w. 7. 
 
 92. Christ in Glory. This, the second plate, is inserted opposite the first 
 chapter of the second book of the work, which treats of the glory of Para- 
 dise. It represents a majestic figure of Christ, standing in a glory of flames, 
 of an oval shape, but pointed at top and at bottom ; the glory being sup- 
 ported by six angels and ten cherubim, which are placed at regular distances 
 around. The Saviour is represented with his left hand on his bosom, and 
 his right hand elevated, as if in the act of giving the benediction. The whole 
 measures, h. 10£. w. 7. Dr. Dibdin has inserted a copy of the Christ and 
 two of the angels, in the 4th volume of his ' Bibliotheca Spenceriana.' 
 
 •93. Hell. The third and last print in this curious volume, is introduced at the 
 bottom of the page, at the end of the second book. It differs in shape from 
 the two others, and is of smaller dimensions ; measuring, /. Gf . h. 4f . The 
 centre represents a colossal figure of Lucifer, standing up to his middle in a 
 large basin, cut in the rock. He is seen in front and has two horns and two 
 large ears ; his shoulders are furnished with bat's wings, which rise to the 
 top of the print, and his body and arms are covered with hair. He has three 
 mouths, with which he is devouring the wicked ; two of whom he grasps in 
 'his hands. On either side of Lucifer ure three caverns, in which the repro- 
 bate are tormented in various manners. In the upper cavern, on the right, 
 one man has his entrails torn out by a devil ; a second, whose body is sur- 
 rounded by a serpent, appears hanging, with his head downwards ; and a 
 third, whose head has been cut off, is holding it in his hands. In the cavern 
 immediately underneath, four culprits, amongst whom is a bishop, are placed 
 around a table covered with viands, of which they are not allowed to partake ; 
 and in the bottom cavern, three men are immersed up to the neck in a caul- 
 dron of boiling fluid. In the upper cavern, on the left, one of the wicked is 
 tormented by a devil with a flaming torch, and a second is cut with an axe. 
 In the cavern underneath, are three of the damned, one of them with a regal 
 crown, enveloped »in flames, and beaten by a devil with a rod. In the lowest 
 cavern, on this side, a devil is seen pouring melted gold down the throat of a 
 miser, and another is emptying a large bag of money into a vase. In a seventh 
 cavern, which is seen at top, between the wings of Lucifer, is a monstrous 
 dragon's head, into the mouth of which a devil is thrusting another of the 
 wicked. 
 
 Further mention will be made of Baldini in our account of 
 Sandro Botticelli ; where two or three sets of prints, supposed to 
 be their joint work, will be described. I now proceed to notice 
 some single pieces, which seem to be by the former artist, and 
 shall close this article with the account of a few others, interest- 
 ing from their rarity, by unknown Italian engravers of the time. 
 
 94. The Crucifixion ; a composition of numerous figures. The lower part 
 of the print represents Christ bearing his cross, followed by the three Maries, 
 to whom, turning his head round, he seems addressing himself, and accom- 
 panied by many horse and foot soldiers. The procession issues from the gate 
 of the city, on the right, and by a bending course ascends the mount; where, 
 at the top of the plate, the Saviour is again represented hanging on the 
 cross, whilst preparations are making for the crucifixon of the two malefac- 
 tors, whose crosses stand one on each side. Against the cross on the right is 
 placed a ladder, on which are seen an executioner busy at work, and the 
 criminal, who is to suffer on it, standing with his arms bound behind him. As 
 a correct copy of this ancient print has been published in ' A Collection of 
 VOL. I. 2 E 
 
£ A L 
 
 Fac-similes,' &c. (Longman and Co. 1826, in fol.), it becomes unnecessary 
 to describe it more particularly. I shall only, therefore, add that it is engraved 
 much in the same manner as the Planets, and that, as far as I can learn, it is 
 unique. In the invention and arrangement of the groups there is much to 
 admire ; in several of the figures, especially those of the Maries, we trace 
 much of the same general character which we observe in the pax of ' the 
 Assumption/ by Maso Finiguerra; and, on the whole, it seems not improba- 
 ble that the plate may have been engraved by Baldini after a design of Fini- 
 guerra, who is commonly thought to have been his friend, and to have first 
 initiated him into the mystery of chalcography, h. 12. w, 8£. (S. W.) 
 
 95. Dead Christ in the lap of the Virgin. She is seated, her arms 
 extended, and seen in front. The body lies on its back, upon her knees ; 
 the head hanging down on the right, and the legs on the left. Behind her is 
 the cross, and under it stand four saints, two on each side ; their names in- 
 scribed on their diadems or glories: ' madalena; iacoma ; salome ; and 
 govanni.' Below is an inscription of four lines: ' iesvs. nazarenvs. 
 cristvs. crvcifisvs. re ivdeorvm. LibERA,' &c. All the S's, except one, 
 are reversed, h. 5£, including margin, w. 3f . (S. W.) 
 
 96. St. Sebastian, bound to a tree pierced with many arrows ; the guardian 
 angel with young Tobit standing below, on the left, and St. Roek on the right. 
 Above, are two angels holding a crown over the head of St. Sebastian, each 
 having also a palm in his hand. In the sky behind the figures are rive lines 
 of inscription ; and in the margin at bottom are four other lines : * angelvm. 
 nobis, medicvm. salvtis/ &c, the S always reversed. This piece appears 
 intended as a companion to the last. h. 5£, including margin, iv. 3|. (S. W.) 
 
 97. ? S. Chaterina da Siena.' This inscription, in which the S's are re- 
 versed, is on the semi-circular pediment, or top, of the ornamented niche in 
 which the saint stands. She is seen in front, having a lily, a palm, and a 
 crucifix, in her right hand, which is extended ; whilst with her left she sup- 
 ports a church. Under her feet is a hideous, prostrate devil. On the right 
 and left, are two small square representatives of stories of her life and mira- 
 cles. Those on the left represent her compassionating souls in purgatory, 
 and hearing mass ; the two on the right shew her curing a possessed girl, and 
 her death. At top, on either side, are three trees. The figure is very indif- 
 ferently drawn. She has a large circular glory, and above it, as if hanging 
 in the air, a large crown. The print has a narrow twisted border, and is en- 
 graved in the manner of the planets, though more coarsely, h. 9|. w. 7f. 
 (S.W.) 
 
 98. Hell; after a Fresco in the * Campo Santo' at Pisa; painted in the 14th 
 cehtuiy by Bernardo Orcagr.a; who is said to have taken for his model the 
 description of Dante. A large hideous figure of Lucifer, having three faces, 
 with the mouths of which he is devouring the wicked, fills the centre of the 
 plate. At the bottom of his abdomen is another face, out of the mouth of 
 which a minor devil is pulling the undigested body of Simon Magus, whose 
 name in characters reversed is inscribed on a label, in order that he may be 
 again eaten. He grasps two other men in his hands, who, at the same time, 
 are bitten by serpents which twist round his arms. The remainder of the 
 plate is divided horizontally into four compartments, wherein the reprobate 
 are tormented in various manners, according to the nature of their crimes ; but 
 as the plate is still, or was until lately, in existence, and as an impression of 
 it may be seen in Monona's ' Pisa Illustrata,' it is unnecessary to describe it 
 more in detail. At each upper corner of the print is a small hole through 
 the plate, and on the left is this inscription : * qvesto. elinferno. del. 
 chaposanto. dipisa.' 1. 11. h. 8|. 
 
 99. St. Jerome. He is kneeling on the right, before a crucifix, which is fixed 
 in tjie earth. His figure is turned towards the left ; he uncovers his bosom 
 with the right hand, and has a large stone in the left, with which he is about 
 to beat himself. In the foreground on the left is a lion biting a lioness, and 
 towards the middle, a lion's cub couching. The background on the left re- 
 presents a seaport view, with two large ships at anchor. This print is of 
 exactly the same dimensions as the last described ; and has the same holes at 
 
B A L 
 
 the two Upper corners. I have little doubt that it is taken from an engraving 
 
 executed by the same ancient artist on the back of the same plate. (O.) 
 
 100. Theseus and Ariadne. The left side of the composition represents 
 the labyrinth, a circular edifice of masonry, reaching more than half way up 
 the print, and upon it is written : ' AbbERiNTO.' On the right are Theseus 
 and Ariadne, standing : she in profile, turned to the left ; he in front. He 
 is dressed in complete armour, and rests his right hand on his club. She is 
 draped in the antique costume, and has wings to her head: she appears 
 offering him three balls, which she supports in her drapery. Under his figure, 
 upon a scroll : ' teseo' (S reversed) ; under tier's upon a scroll : ' Adrian na.' 
 Immediately behind the figure of Theseus, he is represented again, entering 
 the door of* the labyrinth. The distance represents an arm of the sea, ex- 
 tending across the print. Ariadne is represented on the left, standing upon 
 a rocky promontory, a staff with a drapery tied to it in her hands, which she 
 holds up to make a signal to Theseus, whose ship is sailing off in the middle. 
 Under her figure is her name, which is also repeated twice upon scrolls in the 
 water; as is also her figure ; once with her legs only seen, she having preci- 
 pitated herself into the sea; and a second time with Jupiter: * giove/ who 
 naked, and with wings like a cupid, has descended to her succour, and is 
 also represented a second time, in the sky, bearing her up to heaven. On 
 the right is a castle from which a king has just thrown himself into the sea. 
 The character of the figures quite like those in the planets. The plate is 
 strongly shaded, chiefly with diagonal hatchings, and with very few cross 
 strokes. The S's in the inscriptions are reversed, as is also the diagonal 
 stroke of the letter N. /. 10*. h. 7*. (S. W.) 
 
 101. Bacchus seated with Ariadne in a Car, which, except the wheels, 
 is formed entirely of vines, whose branches, loaded with grapes, fill the top of 
 the print. The car moves towards the left, and is drawn by two Centaurs, 
 one of them playing on a pipe, the other upon a lyre. Upon the forepart of 
 the car are two infant satyrs ; above them is an old satyr pulling grapes ; and 
 behind the car is a bacchante, who appears pushing it forward, and holds in 
 her left hand the skin of a hog. This piece is full of spirit, and in respect of 
 invention and composition would do no discredit to a Michelangiolo or a Raf- 
 faelle; still it is engraved exactly in the same manner as the Planets, and was 
 probably designed, in a happy moment, by Sand ro Botticelli. It appears not 
 to have been known to Bartsch, and is perhaps unique. 1. 10J ? h. 7j|. (O.) 
 
 102. A Ship on the Sea, sailing towards the right, with a lady seated at the 
 stern ; the sail of the vessel being held by Fortune, who is represented as a 
 naked figure, standing. In the sea below are two winds, blowing upwards 
 against the ship ; and in the sky, on the left, are two others blowing to the 
 right, forwarding the course of the vessel. In the middle, at top, is the sun, 
 and on the right is seen cupid with a torch. In the sky is an inscription of 
 two linos, part of it damaged and lost, though I venture to restore it: ' i mi. 
 laso. por (tar dal vcnto) alfin. daver. (il mio i) nt (ento). This piece 
 is engraved much in the manner of the St. Catherine : the naked figure is 
 very ill drawn. The S and N are both in the right direction, h. 10. 
 w. 6§. (S. W.) 
 
 103. A Bear Hunt. This piece represents a hunter, who, with his five dogs, 
 is attacking and subduing a bear. The bear is turned towards the right, and 
 has hold of one of the dogs with his paws and teeth : meanwhile two other 
 dogs are biting his head ; a fourth has seized him by the thigh, and the hunts- 
 man, who is behind the bear, on the left, is piercing the animal with his spear. 
 Beyond the group, near the centre of the print, is a large palm tree; and 
 further off is seen a broad river, winding among rocks, h. 11|. w. 8. (S. W.) 
 
 104. A Lady placing a Garland on the Head of a Young Man. The 
 gentleman is represented in profile, kneeling on his 1. knee, and turned to- 
 wards the 1. He looks up respectfully at his mistress who is standing. Part 
 of the orb of the sun is seen above. A circle, diam. 2£. (S. W.) 
 
 105. A Cupid riding on a Dolphin, which moves towards the r. A circle, 
 diam. 2\. It is copied at p. 333 of iny c Inquiry,' &c. (O.) 
 
 106. A Cupid, with his Eyes bandaged, his aims tied behind him, and 
 
 2r2 
 
B A L 
 
 his wings extended, seated on a rock in the midst of the sea. A eircle, diam. 
 2*. (O.) 
 
 107. Various pieces of Ornament ; 4 pieces, (a) A Tripod supporting 
 a Vase, whence springs an ornament of foliage, which, passing through 
 
 a small crown, rises to the t. of the print, h. 4f. w. 1. (b) Another 
 
 Ornament ; same size. The foliage rises from a sort of candelabrum, com- 
 posed of three parts : viz. the base, seen at an angle ; the body ; and a vase at 
 
 top. (c) Another; I. 4| h. 1|. In the centre, something like a pine 
 
 apple, in the midst of four large leaves. The foliage passes through four 
 
 rings, two at either end of the plate. (d) Another Ornament, same 
 
 dimensions, in which a cupid is introduced among the twistings of the foliage. 
 Copied at p. 334 of my i Inquiry.* 
 
 The following I conceive to be not by Baldini. 
 
 108. Hell. The composition a good deal like the two pieces already described 
 at Nos. 93 and 98. The engraving is perhaps not quite so old. It has various 
 inscriptions, in capitals, on labels: ' lvcifero, rrvto, chassio, tolomeo, 
 antenor, &c. lvsyria, avaritcia,' &c. : the S not reversed. h.\\\. w.8f. 
 (S.W.) 5 
 
 109. A Pedlar asleep under a Tree; his basket of wares, behind him on 
 the 1. being assailed by numerous monkeys ; several of which have climbed 
 the tree, and are amusing themselves with its various contents, h. 10-k w* 
 7f. (S.W.) 
 
 110. Single Figures, Heroes, Heathen Gods, &c. ; eight pieces (though 
 perhaps the set may consist of more), h. 5f. iv. 2|. They appear to be very 
 ancient, and each has a simple dark border a 16th of an inch broad, (a) A 
 Warrior on Horseback, turned to the 1. The horse is rearing its fore- 
 legs, not seen. The warrior has an oblong shield on his 1. arm, and upon the 
 
 ground, on the 1., is a circular shield. At t. r. : * sarafino.' (S. W.) 
 
 (b) A Female seated on a Throne, and turned to the r. She wears a 
 crown, has a large mace in the r. h., and elevates the 1. At t. r. : ' palas/ 
 
 (S. W.) (c) A Warrior on Horseback, turned to the 1. He wields a 
 
 long sword with both hands. At 1. 1. ' amone.' (S.W.) (d) A Fowler. 
 
 He is standing, and turned to the r. He has a small bird in his 1. hand, and 
 
 upon a perch on the r., i» a hawk. No inscription. (S.W.) (e) A young 
 
 Man standing, seen in profile, and turned towards the 1. He raises his r. 
 hand, and appears admiring a vase which stands on a pedestal. (No inscript.) 
 
 (O.) (/) A King seated on a Throne, and turned towards the r. 
 
 Upon the ground on the 1. is a vase with a cover. Towards t. r. : 4 lvcio 
 
 cecilio. r.' (O.) (g) A Female, with a Crown on her Head, 
 
 seated on a Car, and turned towards the 1. The back of the car is formed 
 of two dolphins. Before her on a pedestal is a vase with two handles, one of 
 
 which she holds with the r. hand. At t. 1. : 4 polisena.' (O.) (h) A Man 
 
 with Wings at his Shoulders, seated on a horse and turned to the r. 
 He holds a helmet with both hands. At t. : * natanabo.' (O.) 
 
 VITTORIO BALDINI. 
 
 1599. 
 
 A printer of Ferrara, who, according to Papillon, occasion- 
 ally practised wood-engraving. He mentions having seen an 
 edition of the ' Aminta ' of Tasso, published by him in L599, 
 in which are the portrait of that poet, very well engraved in 
 wood, and five vignettes, one prefixed to each Act, the second 
 of which is marked * B F,' for Baldini fecit. 
 
 FILIPPO BALDINUCCI. 
 
 b. 1597. d. 1669. 
 
 A Florentine writer, well known by his extensive work of 
 
B AL 
 
 the Lives of the Painters. According to Heinecken he engraved 
 or etched ; 
 
 The Portrait of Father Benedictus Baccius, a half-figure, before a 
 crucifix. 
 
 JOHN BALDREY, 
 
 1781—1787. 
 
 An English engraver in the dotted manner, by whom, among 
 other pieces, we have the following : 
 
 1. t The Young Florist. J. Baldrey fecit, 1781* ; and, 1 Affection, J. Bal- 
 drey 1782 / two pieces, oval, in fol. after Dr. John Gardiner. 
 
 2. ' Cecilia/ a portrait, h-1., after Hopner, 1782. ' Evelina,' h-I. Painted 
 by I. Hopner. * Engraved by J. Baldrey,* Published 1787. 4to. 
 
 3. * Francis, Lord Rawdon, Sir J. Reynolds pinx. J, Baldrey fee, 1784/ 
 Oval, small 4to. 
 
 4. Robert Foster, a Barber at Cambridge; two different prints, whole- 
 lengths. 1785. 8vo. 
 
 5. ' The Rapacious Quack/ and * The Benevolent Physician/ two 
 pieces. * Ed. Penny pinx. J. Baldrey fee. 1784/ In fol. 
 
 0. Diana and Nymphs. ' C. Maratti pinx/ 1783. Oval l-w. 
 
 7, The Finding of Moses. ' S. Rosa pinx. J. Baldrey sc, 1785/ fol. 
 
 8. * Peasants of the Vale of Llangollen/ two plates with same title. 
 ' H. W. Bunbury del. J. Baldrey.' 1787. Circles, in fol. 
 
 HANS BALDUNG GRUN. 
 
 1510 KB 1534. 
 
 The above cypher or monogram, has, by some writers, been 
 ascribed to Hans Grunewald ; and by others to one Hans Bre- 
 sang, an artist of whose existence, according to Bartsch, we 
 possess no record. There appears to be no doubt that it is the 
 mark of Hans Baldung. Bartsch noticed, in the collection of 
 the Duke Albert de Saxe-Teschen at Vienna, an impression of 
 No. 7, in the following catalogue, on which is written in an an- 
 cient hand : ' Hans Balde groen dit gedaen en goet scildervan 
 estime ;' that is to say : 1 This was done by Johan Baldung 
 Grun, a good and esteemed painter.' Huber, in his ' Manuel' 
 (T. 1. p. 141) states that this artist was a native of Gamund in 
 Suabia, and that he did many works for Switzerland, and for 
 Strasburg, and the places in its vicinity. He adds that some of 
 his most capital pictures are in the Cathedral of Fribourg ; and 
 that one of them has this inscription : * Johann Baldung, Cog. 
 Grien, Gamundianus, Deo et Virtute Auspicibus faciebat, 15] 6.' 
 And Bartsch informs us, that in a Journal of Albert Durer of 
 his travels, preserved by De Murr, is this passage : ' Ich hab 
 Maister Joachim des Grim Hansen Ding geschenkt ;' that is to 
 say : * I have presented to Master Joachim (Patenier) the works 
 of Johann Grun.' All this sufficiently proves the identity 
 of Johann Baldung Grun. I shall only add, that the following 
 prints shew him to have been a bold designer, and to have pos- 
 sessed no small share of imagination. 
 
B AL 
 
 ENGRAVINGS ON COPPER. 
 
 1. Christ at the Column. He is seen in profile, turned towards the r., 
 and appears fainting from weakness. Mon. 1. near b. A circle, diam. 2. 
 (Bartsch 1.) 
 
 2. A Groom with a Horse to which he is about to put the Bridle. 
 The horse is seen in profile and turned to 1. ; the man stands on the further 
 side of him, having the bridle thrown over 1. arm. He holds the horse's mane 
 with 1. h., and his nose with r. Mon. (the letter G reversed) upon a paper 
 attached to a piece of wall, m. r. (B. 2.) This piece is executed with the bu- 
 rin, in a manner not unlike the less finished works of Albert Durer. It was 
 probably done by some professed engraver after a drawing of Baldung. It is 
 very rare. h. 13. w. 8£. (T. L.) 
 
 ENGRAVINGS IN WOOD. 
 
 1. The Portrait of Christopher, Margrave of Baden; bust, nearly 
 in profile, turned to the r. He wears a cap, and a loose coat, fastened at the 
 breast by a button. The head is full of character. At b., in white letters 
 upon a dark ground : « cristofers. marchio. badensis.' At top, mon. 
 1511. h. 6*. w. 4. (B. 59.) 
 
 2. The Transgression of Adam and Eve. The serpent, coiled round the 
 tree, in m. of the print, appears addressing Adam, who standing on the 1. 
 has an apple in his 1. h. Eve standing on the other side, is plucking an apple 
 with the r. h. Mon. r. b. h. 8f. iv. 6|. (B. 1.) 
 
 3. The same Subject. Eve is standing with her back to the tree, having an 
 apple in each hand, and seen in front. Adam, to whom she seems speaking, 
 stands behind her ; resting his 1. h. upon her 1. shoulder. The mon. r. b. 
 date 1519. 1. h. 10. w. Sf, (B. 2.) ' 
 
 4. The same Subject. Eve is represented presenting the forbidden fruit to 
 Adam, who caresses her with the 1. h., and extends the r. in order to pluck 
 more. From a branch of the forbidden tree hangs a tablet, inscribed : 
 * Lapsus humani generis.* The serpent is seen twisted round another tree, 
 on the r. Tablet with mon. 1511. 1. b. Clair- obscure of two blocks, h. 14 £. 
 w. 10. (B. 3.) 
 
 5. Adam and Eve driven from Paradise. The angel, with a flaming 
 Sword, is on the 1. ; our first parents direct their steps to the t. Tablet with 
 mon. suspended from the branch of a tree, m. t. h. 8|. w. 6|. (B. 4.) 
 
 0. Christ expiring on the Cross. His face is turned upwards towards 
 the 1. On the left is the Madonna, standing, enveloped in an ample drapery, 
 which conceals every part of her figure, except the face and part of the 1. h., 
 which she places on her bosom. St. John, looking up, with his hands clasped 
 together, stands on the other side. The impression before me is without the 
 mon. of Baldung ; but it is undoubtedly by him, and is perhaps, on the whole, 
 his finest production. The naked figure of Christ is admirably drawn and 
 full of expression, ft, 9|. ? w. 6^. Not in Bartsch. (O.) 
 
 7. The Madonna, Mary Magdalen, and St. John, weeping over the 
 dead body of Christ, at the foot of the Cross. A very fine design ; the 
 Christ boldly foreshortened. Mon. r. b. h. 8^. iv. 6$. (B. 5.) 
 
 8. The Body of Christ supported against a column by a little angel, his 
 hands and feet bearing the marks of his crucifixion. At bottom, is a scourge, 
 and the crown of thorns. Tablet, with mon. 1517, 1. near b. A very fine 
 design, h. 8f. w. 6. (B. 42.) 
 
 9. The dead Body of Christ, supported in the air, upon a drapery, by 
 four little angels. On the right, another, holding the crown of thorns. Mon. 
 1. near b. A very striking design, h. 8f. tv. 6. (B. 43.) 
 
 10. The dead Body of Christ, a half figure, wearing the crown of thorns, 
 and attended by six little angels; two of which, at top, hold a label, in- 
 scribed: < ecce. homo. 15011' (1511.) Mon. r. c. b. h. 4$. iv* 3A. (B. 41.) 
 
 11. The Conversion of Saint Paul. Three figures, and three horses* 
 
B A L 
 
 very spirited. Christ holding the cross is seen in the clouds, on the left. 
 Mon. 1. b. h. llf. w. 7|. (B. 33.) 
 
 12. Christ and the twelve Apostles, whole-length figures, standing, k. 
 
 8£. w. 5. (B. 6—18.) (a) Christ, in a glory of angels; holding the globe 
 
 in the 1. h., and giving the benediction with r. Mon. r. b. (b) St. Peter ; 
 
 seen nearly in profile, and turned towards 1. ; in his hands, a large key, 
 
 Mon.m. 1. (c) St. Andrew; seen in front, supporting his cross with the 
 
 r. h., and having in 1. a book. Mon. r. b. (d) St. James the Elder ; 
 
 turned a little towards r. He has a staff in the 1. h., and holds up his man- 
 tle with r. Mon. r. b. (e) St. John ; turned a little towards r. ; in his 
 
 I. h. a chalice, in which is a serpent. Mon. r. b. (/) St. Philip ; seen 
 
 in front, an open book in his r. h., and in 1. a staff surmounted by a cross. 
 
 Mon. r. b. (g-) St. Bartholomew ; seen in front; a sabre in his 1. h. 
 
 Mon. r. b. (/i) St. Matthew ; turned a little towards r. ; upon his 1. arm 
 
 a book, in which he is reading, and in his r. h. a halbard. Mon. 1. t., and 
 
 the date, 1519, r. (i) St. Thomas ; his body turned towards r., and 
 
 his head a little towards 1. ; a lance in his r. h. Mon. 1. b. (fc) St. James 
 
 the Younger; turned towards 1., holding with both hands the instrument 
 
 of his martyrdom. Mon. r. b. (0 St. Simon; he is seen in profile, 
 
 turned towards 1., and holds a saw. Mon. r. b. (ni) St. Jude, turned 
 
 towards r. ; a club in his r. h., and in the other a book, wherein he is reading. 
 
 Mon. r. (w) St. Paul; seen in front; a sword in the r. h., and an open 
 
 book in 1, Mon. m. r. 
 
 13. Another Set of the Apostles. 12 pieces, h. 2§. w. If. (B. 19 — 30.) 
 Bartsch appears to have seen only two of these small pieces, which are marked 
 with the usual monogram. 
 
 14. The Almighty, seen in front, and surrounded by a glory of angels, 
 holding the globe in his 1. h., and with the other giving the benediction. 
 Mon. 1519 r. b. h. 4|. w. 8|. (B. 40.) 
 
 15. The Daughter of Herodias, with the head of John Baptist on a 
 charger ; a half figure, turned somewhat towards the right. Mon. r. b. 
 A. 4*. w. 3|. (B. 32.) 
 
 16. St. John Baptist. He is represented as an old man, and is seated with 
 the lamb in his lap, and an open book in his r. h. Mon. 1. b. upon a scroll. 
 h. 7£. w. 6|. (B. 31.) 
 
 17. St. Jerom. He is kneeling on one knee, m. of the print, having a stone 
 in each hand. His figure is turned towards r., where the lion is seen lying 
 down. Mon. 1511. r. b. on tablet, h. 5. w. 3|. (B. 34.) 
 
 18. St. Jerom. He is represented, at some distance, in the middle of a 
 rocky landscape, kneeling on both knees, and turned towards r. In the 
 background over his figure is seen a church, and in the foreground, r. is 
 the lion, standing and turned towards the left. Mon. r. upon tablet, in a 
 hole in the rock. h. 8f. s\ 6. (B. 35.) 
 
 19. St. Sebastian, standing and turned towards r., bound to a tree, and 
 pierced with arrows. He is attended by five little angels, of whom one is 
 unbinding his r. arm, whilst two others are extracting the arrows. Mon. 
 1512, r. b. upon a tablet, h. 5. w. 3f. (B. 36.) 
 
 20. St. Sebastian, bound to a tree, and pierced with arrows. In the sky 
 various little angels, lamenting. Mon. 1514, r. b. upon a tablet, h. 12$. 
 w.9± (B. 37.) 
 
 21. St. Christopher, traversing the river with the Infant Christ on his 
 shoulders ; supporting liimself with both hands upon his staff, and directing 
 his steps towards 1. The hermit with his lantern is in the distance on the r. 
 Mon. 1. b. upon tablet, h. 15£. to, 10|. 
 
 22. St. Domenick, a half figure turned a little towards r. Mon. upon a book, 
 which he turns over with the r. hand, /i. 6£ ? w. 4^? (B. 39.) 
 
 23. St. Mary Magdalen, carried up to Heaven by Angels. She is 
 kneeling and turned towards r., and is supported in the air by six little angels. 
 Upon a small rock, at some distance on the r., is an old man standing, who 
 
BAL 
 
 witnesses her translation. Mon. I. t. on a tablet. Not in Bartsch, h. 5. 
 w. 3f. (O.) 
 
 24. The three Fates. Mon. 1513. 1. 1. upon a tablet, hanging from a tree. 
 h. 8|. w. 6. (B. 44.) 
 
 25. Bacchus sleeping by an empty Barrel, surrounded by seven naked 
 infants. Mon. r. t. on a large tablet, shaded with hatchings, h. 8f . «?. 6. 
 (B. 45.) 
 
 20. Two Women almost naked, seated amid numerous Infants ; one 
 of which, in the upper part of the print, in the middle, bears on his shoulder 
 a tablet with the monogram, h. 5. w. 3|. (B. 46.) 
 
 27. A Cook drawing a Hare which is fastened to a wall on the r. The 
 background represents a kitchen, with a stove. Mon. 1. b. h. 6J. w, 5§. 
 (B. 47.) 
 
 28. Xantippe riding on the back of Socrates, who is on all-fours and 
 turned towards the r. She holds the bridle in the 1. h., and in the r. a small 
 whip; Mon. * 1515/ 1. b. on tablet, h. 13£. iv. 9£. (B. 48.) 
 
 29. Five Pieces, I. 5f . h, 4|. (except the third which is an upright) in the 
 work entitled : * Das Buch der Sunden des Mundes/ by Doctor Geiler of 
 Kaisersperg. Published at Strasbourg, 1518, by J. Grieninger. In fol. 
 (a) A German Soldier pointing out a large crucifix, which stands on the 
 1. at the road side, to his two comrades who are on the r. and of which one is 
 
 drawing his sword. Mon. r. b. (b) A Man sitting at the foot of a hill, 
 
 caressing a young woman who is seated by him on the r. of the print. Mon. 
 
 1. b. (c) An Old Man on his knees adoring the Saviour, who is seen, 
 
 at half-length, in a cloud on the r. at top. In the background, on the 1. four 
 others are seen at their devotions ; and in the middle is a column surmounted 
 by an idol. Mon. r. b. Upright, h. 5|. w. 4|. (d) A Priest celebrat- 
 ing Mass, with a man waiting on him, and three others kneeling on the left. 
 
 Mon, r. b. {e) A Young Man and Woman kneeling before an elderly 
 
 man and woman, who are seated on the left. Mon. m. These five plates 
 were also used in a work entitled: ' Schimpf und Ernst/ in fol. Sine loco 
 et Anno. 
 
 30. Two Men going to a Usurer, who is seated at a table, on the 1., count- 
 ing his money. Mon. m. b. This print also is found in the work last men- 
 tioned. L 5§. h. 4^. 
 
 31. An Incantation Scene. Very spirited. On the r. in the foreground 
 is a sorceress, seated with a pot between her legs, out of which issues a dense 
 column of flame and smoke, which rises on the 1. to the top of the piece ; on 
 the 1. is another, also seated, in a back view, with a cup in her 1. h. elevated ; 
 and between tbem is seen an old hag, a front figure, kneeling, with both her 
 hands raised, supporting a dish whereon are reptiles, and a piece of light 
 drapery. Part of a fourth sorceress is seen behind her ; and above, in the 
 air, is a fifth, riding on a goat. All these figures are naked. On the r. 
 the stem of a withered tree,, with date 1510 engraved on it, and a little 
 above a tablet with mon. hanging from a branch. Chiaroscuro of two blocks. 
 Very rare. h. 15. w. 10±. (B. 55.) (O.) 
 
 Bartsch mentions two copies of this piece, one, reverse, marked with a 
 Gothic L. and the date 1516; the other, the same way as the original, with 
 the mark of Albert Durer and the date 1510. I agree with him in consider- 
 ing Baldung's print as the true original. 
 32. Groups of Wild Horses, 3 pieces, the background in each a forest. 
 I. 13. h. 8|. (a) Seven Horses ; in the background on the r. an ante- 
 lope, and on the 1. a man standing behind a tree. At bottom a monkey 
 
 seated with a tablet, inscribed : ' Jo. baldvng fecit 1534/ (b) Five 
 
 Horses, and in the background on the r. a sixth. Tablet with: ' baldvng 
 fecit 1534.' at r. b. c. (c) Seven Horses, fighting and kicking. Ta- 
 blet, r. b. inscribed ; ' baldvng 1534/ These three pieces are very spirited, 
 (B. 56 — 58.) 
 
GETTY RESEARCH INSTITUTE 
 
 3 3125 01032 9585