The FOUR 
 EVANGELISTS 
 
 'HOLBEIN 
 
 SOCIETY 
 
Digitized by the Internet Archive 
 in 2015 
 
 https://archive.org/details/fourevangelistsaOOtemp 
 

 
 
 
Gtl)t IDolbetn §>octetp 
 
 COUNCIL. 
 
 SIR WILLIAM STIRLING-MAXWELL, Bart., President. 
 HENRY GREEN, M.A., Vice-President. 
 
 ALFRED ASPLAND, F.R.H.S., Editor. 
 
 ALFRED BROTHERS, F.R A.S. 
 
 JAMES CROSTON, F.S.A., Honorary Secretary. 
 WILLIAM HARRISON, F.S.A. 
 
 WILLIAM LANGTON. 
 
 G. W. NATIER. 
 
I.ONDON : 
 
 WYMAN AND SONS, PRINTERS, GREAT QUEEN STREET, 
 lincoln’s-inn FIELDS, W.C. 
 
THE HOLBEIN SOCIETY'S EAC-SIMILE REPRINTS. 
 
 THE 
 
 FOUR EVANGELISTS. 
 
 ARABIC AND LATIN. 
 
 WITH WOODCUTS 
 
 Designed by ANTONIO TEMPESTA. 
 
 EDITED BY 
 
 ALFRED ASPLAND, F.R.II.S. 
 
 IjEtblisfyeb for tfjc ^olbcm Soctctg bg 
 A. BROTHERS, St. Ann's Square , Manchester ; and 
 TRUBNER & CO., Paternoster Ro7v, London. 
 
 M.DCCC. LXXIII. 
 

 
 
 
 
 
 
 
 
 
 
 
SANCTUM 
 
 D E I 
 
 EVAN GELIUM 
 
 ARAB. L A T. 
 
EVAN GELIUM SANCTUM 
 
 DOMINI NOSTRI JE3U CHRISTI 
 
 CONSCRIPTUM A QUATUOR 
 
 EVANGELISTIS SANCTIS 
 
 ID E S T 
 
 MATTHAEO, MARCO, LUCA, ET JOHANNE. 
 
mpi/> >n^>N no Pn mn» nn ^ n^ini oV now coon n»ov o'?™ 
 cd^&tvd mn' "mi min Nam jvafa o vnm«3 roSn lono mvi 
 
 Et ibunt populi multi , dicent , vcnite 6° asccndamus ad Montem 
 
 Domini , Domum Dei Jaacobi 6° docebit nos vias saas, <& ambu- 
 
 labimus in scmitis gas, quia de Tzione cxibit Lex, 6° Verbum Domini 
 de Jerosolyma. 
 
 Jcsa. II. v. 3. 
 
TABLE OF CONTENTS. 
 
 Pages. 
 
 Title-Pages i — iv 
 
 GeneralTntroduction and Notice of Ant. Tempesta . . i — 24 
 
 Catalogue of the Engraved Works of Tempesta . . . 25 — 51 
 
 Notes to the Catalogue 52 — 55 
 
 Preface of Malanimeus 57 — 62 
 
 Monograms indicating Tempesta’s Work 64 
 
 Reproduction of the Wood Engravings of the Arabic 
 
 Gospels 65 — 136 
 
 Copy of a Page in the Koran, believed to be written by 
 
 Caliph Omar 137 
 
 Battle Scene on Copperplate, designed by Tempesta . 138 
 
INTRODUCTION. 
 
 ■o 
 
 S Oriental philology is foreign to the objects of the 
 
 Holbein Society and is outside the knowledge 
 of the editor, no attempt will be made to reproduce the 
 Arabic text of the four Evangelists. One complete page 
 will be given in facsimile to indicate to the curious the 
 period of the Arabic ; and such literary memoranda will 
 be produced as may be gleaned from the few writers who 
 have noticed the work, or who have written on subjects 
 having close reference to it. These notices are given 
 merely for the purpose of introducing the art work of the 
 sixteenth century. Our last facsimile was of the German 
 artist Ammon, the present introduces an Italian master, a 
 quarter of a century later, viz., Antonio Tempesta. 
 
 The Arabic and Latin edition* of the four Gospels 
 illustrated by Tempesta is a scarce book. It will be found 
 in the British Museum in its various states, except that 
 with the dedication of Rodolus to Cardinal Madrutius ; in 
 the general library there is the Arabic alone, also a copy 
 with the new titlepage and date 1619; another with Mala- 
 nimeus’s preface ; one without preface, which belonged to 
 Isaac Casaubon, and enriched with his MS. notes. Besides 
 these they have one in the King’s Library, and one in the 
 Cracherode Library. As Casaubon died little more than 
 
 * Although this is not the earliest specimen of printing in the Arabic cha- 
 racter, it is the first occasion of the printing of the writings of the Evangelists. 
 It is the editio princeps of the Arabic Gospels. To Fano belongs the honour 
 of bringing out the first Arabic book, viz., “ Septem Horae Canonicae,” in the 
 year 1514. 
 
 B 
 
2 
 
 INTRODUCTION. 
 
 twenty years after it was issued, he must have been one of 
 the earliest possessors of the volume. The Bodleian has it 
 without dedication, introduction, or preface. They have 
 two copies of it in the University Library at Cambridge, 
 but in the same state as that in the Bodleian. 
 
 As an art work it is specially curious ; the only known 
 wood-engravings designed by Tempesta, and though pos- 
 sessed of merit which ranks them with the best Bible cuts* 
 which that prolific century produced, they have escaped 
 the industrious research of Bartsch, Heinecken, and Ottley. 
 How close and exhaustive this search has been we learn 
 from the fact that Bartsch describes 1,460 prints from 
 copper-plates, and mentions many others which he rejected 
 as of doubtful pedigree. Papillon is the only art writer 
 who notices the work, and his notice contains stupid blun- 
 ders. These will be referred to in speaking of Tempesta. 
 Notwithstanding the recognition of Pocock, Michaelis, and 
 other Oriental scholars, this edition of the four Evangelists 
 was “ rescued from almost entire oblivion ” by Malanimeus, 
 and now, as a contribution to art, is rescued from oblivion 
 in the publications of the Holbein SOCIETY. 
 
 Schnurrer,t in his “ Bibliotheca Arabica,” traces the ad- 
 ventures and vicissitudes of this volume with rigorous care 
 and exactness. He says it was printed in folio at Rome, 
 
 1 590-9 c A double edition was issued, one in Arabic 
 alone, another in Arabic and Latin. . 
 
 The Arabic edition has this inscription, first in Arabic, 
 with a Latin translation below, as follows : — 
 
 “ Evangelium Sanctum Domini nostri Jesu Christi, con- 
 scriptum a quatuor Evangelistis sanctis, id est, Mattheo, 
 Marco, Luca, et Johanne. Rcmae, in typographia Medicea. 
 MDXC.” 
 
 “The Holy Gospels of our Lord Jesus Christ, written by 
 the four holy Evangelists, Matthew, Mark, Luke, and John. 
 At Rome, in the Medicean printing-press. 1590.” 
 
 * This must be understood as referring rather to the designs than to the 
 cutting. 
 
 t Bibliotheca Arabica. Auctam nunc atque integram edidit D. Christi- 
 anus Fredericus de Schnurrer. Halae ad Salam. 1811. 
 
INTRODUCTION. 
 
 3 
 
 No preface, the first page beginning with the Gospel of 
 Matthew, and finishing in the middle of page 368. Sub- 
 joined are two lines of Arabic, thus translated : — “ Printed in 
 the city of Rome at the printing-press of the Grand Duke 
 Ferdinand I., in the year of our Lord one thousand five 
 hundred and ninety-one. 1591.” 
 
 The Latin and Arabic edition commences at Matthew 
 with page 9. The reason of the eight omitted pages was 
 to leave room for a dedication, under the hand of John 
 Baptist Raymond, to some monarch or distinguished person. 
 Caesar Malanimeus is the authority for this, in his work 
 printed at Florence in 1773, detailing the history and pro- 
 gress of the Laurentian Library,* page 84. Altered circum- 
 stances prevented either the title-page or dedication being 
 added by Raymond. 
 
 Some copies are seen having in place of a title the fol- 
 lowing, — “ Sanctum Dei Evangelium. Arab. Lat.” Some 
 conclude with the following, in Latin : — 
 
 Address of the Printer to the Reader. 
 
 “ Courteous reader, we have an anxious and difficult task 
 in hand in our printing-press, since it is strange and new, 
 and as yet unseen in our times or by our ancestors, namely, 
 the printing of books in the Arabic, Syriac, Persian, and 
 .^Egyptian characters. What wonder, then, if a few errors 
 are overlooked in the Arabic text of the four Evangelists, 
 seeing that in languages such as Latin, Greek, and Hebrew, 
 most familiar to our presses, large and indeed enormous 
 numbers of mistakes are found ? ” 
 
 Two pen corrections are here suggested, one in the Arabic 
 text at page 103, last line, and one in the Latin at page 
 230, line 3, where eosque qui is to be inserted before non 
 obediunt. The courteous reader is then invited to make 
 
 * The Mediceo-Laurentian Library is contained in the convent attached to 
 the church of San Lorenzo. The Dominican monks sold the library to Leo X. 
 in 1508. In 1532 Clement VII. restored it to Florence. It contains 6,952 MSS., 
 many of great rarity and value. Bandini, the librarian, described them in 
 thirteen folio volumes, 1764-78. The printed volumes number only 1,316. 
 
4 
 
 INTRODUCTION. 
 
 such other corrections of errors as have escaped the dili- 
 gence of the printer. Dated Rome, Medicean printing- 
 press. 1591. 
 
 Some copies are found with a title in Arabic and a Latin 
 translation, thus rendered : — 
 
 “The four sacred Gospels of our Lord Jesus Christ, written 
 in Arabic, translated into Latin, and adorned with cuts. 
 Rome, at the Medicean printing-press. 1619. By permis- 
 sion of the authorities.” 
 
 Schnurrer had seen a copy with a dedication, not dated, 
 of the most fulsome flatter} 7 to Cardinal Madrutius by Jo. 
 Antonius Rodolus. This Rodolus claims for himself the 
 office of type-corrector, and he is reproved by Schnurrer as 
 having been guilty of an absurd fabrication. He describes 
 another copy with a portrait of Cardinal Madrutius, and 
 another again where the address to the reader by the 
 printer is restored, but omitting the date and place. 
 
 For the last change we have to wait for nearly two cen- 
 turies, when Csesar Malanimeus comes forward with the 
 preface, which we have given in full with the translation. 
 Schnurrer concludes with declaring his absolute conviction 
 that all these Latin and Arabic copies represent one and 
 the same edition. A comparison page by page and line 
 by line shows the same peculiarities of type and the same 
 errata. He points out ten. 
 
 As to the size of each edition, 3,000 copies were printed 
 of the Arabic and Latin, according to Assemanio (Biblioth. 
 Med., page 55), and of the Arabic alone 4,000 was the 
 number printed, according to Bandini (Lettera, page 84) ; 
 and latterly the opinion has prevailed that these books are 
 very rarely seen in Europe, as they were nearly all distri- 
 buted in the East. Bandini writes thus : — “ When it was 
 reported that many infidels were converted by the mere 
 reading of these Gospels, Gregory XIII., influenced by this 
 and other causes, desired the copies to be extended to 4,000, 
 of which 1,000 were to be distributed partly amongst the 
 Christians and partly amongst the infidels ; so that either 
 by sale or gratuitous distribution they might be useful in 
 promoting the Christian religion.” 
 
INTRODUCTION. 
 
 5 
 
 Of the result (adds Schnurrer) nothing is known ; it is 
 not likely that the ingenious woodcuts would recommend 
 the books to Mohammedans. We know, on the authority of 
 Bandini, that copies were not unfrequent in Florence, and 
 sold at a moderate price. We are ignorant of the origin of 
 the Arabic text, probably some manuscript in the Medicean 
 Library. 
 
 . Schnurrer completed his “Bibliotheca Arabica” more than 
 sixty years since, and this edition of the Gospels was 
 then probably not unfrequently met with in Italy, as 
 Malanimeus, in 1774, had drawn all the copies from their 
 hiding-place and exposed them for sale. As the price was 
 moderate,* the remainder would probably meet with a 
 ready sale. In English booksellers’ catalogues it is now 
 unseen. 
 
 As to Rodolus and his impudent mendacious dedication, 
 how he obtained possession of copies, or the exact date of 
 his dealing with it, it is impossible to speak with certainty. 
 
 We have no very clear evidence of the date of transfer of 
 the Medicean press from Rome to Florence. The date, 1610, 
 given by Malanimeus as that of the transfer, could hardly 
 be correct, if the date is reliable of an Arabic grammar 
 issued from this press during this year by Raimondi ; and 
 in the year 1619 a false title-page to the four Evangelists 
 was issued. 
 
 Caesar Malanimeus undertook to edit and reproduce the 
 volume, as he tells us, at the instigation of Peter Leopold, 
 and what he did was this : — He wrote a vainglorious preface, 
 chiefly for the purpose of puffing his edition of Kimchi, 
 and his discourse upon the old controversy as to the ren- 
 dering of the Hebrew word r\rhy, virgin, in Isaiah vii. 14, 
 “ Therefore the Lord himself shall give you a sign : Behold, 
 a virgin shall conceive and bear a son, and shall call his 
 name Immanuel.” Malanimeus is commanded to render 
 assistance to the Arabic student, as the text is without 
 vowel signs, and written in the old classical Arabic, and he 
 
 * Brunet states that in Molini’s catalogue the diglott was priced 50 francs, 
 the Arabic 30 francs. 
 
6 
 
 INTRODUCTION . 
 
 excuses himself by pleading his modesty, and his fear lest 
 he should be considered rash and bold. He finds eight 
 pages vacant at the commencement of Matthew, and he 
 ingeniously occupies these by inserting two title-pages, 
 verso the second a quotation from Isaiah, then four pages 
 of the preface ; thus accounting for the missing eight. The 
 new matter is bound up with the old, and the unsuspicious 
 reader, finding the paging all right, the date, Florence, 
 1774, and not curiously scanning the colophon with the 
 date 1594, would naturally suppose that this was a late 
 edition. The paper is well matched, but the water-mark 
 is altogether different. Thus it will be seen that the Arabic 
 Gospels have occasioned two curious literary frauds, — one 
 by Rodolus, the second by Malanimeus. The preface 
 writer carefully avoids all statements of the number of 
 impressions that he discovered amongst the hidden trea- 
 sures, or whether they were in sheets or bound. He gives 
 no information as to the style of the Arabic, whether clas- 
 sical or vulgar, and does not tell us even that it has no 
 vowel signs, but only the diacritic points. The Latin, 
 which is the Vulgate,* altered to suit the Arabic idiom, 
 reads from left to right, the contrary way to the Arabic, a 
 very obvious defect, as the words do not correspond. 
 
 To the kindly interest of a learned friend and distin- 
 guished oriental scholar, Professor Theodores, of Owen’s 
 College, the editor is indebted for the following remarks 
 upon the Arabic Gospels : — 
 
 “ The Arabic version of the four Gospels, first published 
 at Rome in 1591, and subsequently at Leyden and else- 
 where, is looked upon, according to De Wette (Lehrbuch 
 der Einleitung in das N. T. § 21), as a direct translation 
 
 * The edition of the Vulgate published by Sixtus (with a notice prefixed, 
 that any one daring to alter his translation would be excommunicated) was 
 found to swarm with errors, and was rigorously suppressed by Gregory XIV. 
 As a curiosity it is much prized by book-collectors. De Bure says that only 
 one large paper copy was known to exist in all France. At the sale of the 
 Marquess of Lansdowne, in 1806, a copy of this kind, being imperfectly de- 
 scribed, was knocked down for 10s. 6d. It ultimately found its way to Sir 
 Mark Sykes’s shelves. At his sale it realized £^ 2 . I is. ; and a copy, possibly 
 the same, has changed hands for ^39. ros. 
 
INTRODUCTION. 
 
 7 
 
 from the Greek, with occasional interpolations* from the 
 Syriac and Aithiopic Gospels. Between it and the Gospels 
 in the Arabic New Testament, published by the Bible 
 Society, there are numerous though unimportant varia- 
 tions. One of the more notable various readings occurs 
 in Luke ii. 14, where the Roman edition reads : ‘ Glory to 
 God on high, upon earth peace, and among men joy ’ 
 (English version, ‘ Good will towards men’). 
 
 “ The Bible Society’s Arabic Gospels convey the follow- 
 ing interpretation : ‘ Glory to God on high, and upon earth 
 peace to men of good will/ which is in accordance with the 
 reading of the Latin Vulgate, viz ., i Gloria in altissimis Deo, 
 et in terra pax hominibus bonae voluntatis/ and with that 
 of three very ancient Greek manuscripts brought to light 
 by Tischendorf. 
 
 ** The modern division of the Bible into chapters, com- 
 monly attributed to a prelate of the thirteenth century, is 
 not followed in the Roman edition of the Gospels : Matthew 
 consists of 10 1 sections, Mark of 54, Luke of 86, and John 
 of 45, each of which is called Fagl. The modern editions 
 of the Scriptures in Arabic indicate both the Fagl and the 
 chapter, Aghah. 
 
 “ The number of misprints is not inconsiderable through- 
 out the volume, although the printer mentions only two, 
 one in the Arabic text and one in the Latin, in his notice 
 at the end of the work. There are even typographical 
 errors in the Arabic text which have influenced the Latin 
 rendering (Matth. xxiii. 8). 
 
 “ ‘ The author of the Arabic version is unknown/ says 
 Schnurrer, * Textus Arabicus unde sumtus sit, ignoratur’ 
 (Bibliotheca Arabica, p. 350). His language is that which 
 ever has been and still is used by learned Moslemin from 
 the west coast of Africa to India, and of which the Quran 
 is the universally acknowledged model. This ‘ literary or 
 classical Arabic/ in contradistinction from ‘ vulgar Arabic/ 
 differs, of course, according to the genius of the writer and 
 the subject under treatment ; but it is in a high degree 
 remarkable that the influence of large intervals of time and 
 space has been and is so slight on the character of ‘ literary 
 
8 
 
 INTRODUCTION. 
 
 Arabic.’ An educated Englishman, for instance, is unable 
 to understand, without special training, the writings of his 
 forefathers of but four or five centuries since ; to reproduce 
 the language and style of those times requires the talent 
 and the boldness of a Chatterton. The same may be said 
 of the German and the Frenchman of our time, but not of 
 the educated Arabian in Africa or Asia. The expatriated 
 Emir Abdulkader addressed, on the fourth day of the 
 month Du ’lhaja of the year 1264 of the Flight (=2nd 
 November, 1848), to a Parisian lady, a poem in the style 
 of Arabic to which he is accustomed, that does in no wise 
 betray, by its language , its modern nativity : it might have 
 been a composition of Asmai, the great poet, modestly 
 alluded to by the Emir, who stood in high favour with the 
 Kaliph Harun Arrashfd in those palmy days of Moslem 
 rule long since elapsed. 
 
 “ Differences of longitude and latitude seem to produce 
 as little change on literary Arabic as the effect of cen- 
 turies. Abu Mohammed Hariri, the author of the enter- 
 taining Maqamat, was born at Bagra, near the Persian 
 Gulf ; Abu ’lwalid Ibn Roshd (‘ Averrois che ’1 gran 
 comento feo ’), came from Cordova, in Spain ; Muhammed 
 Nagiruddfn, the compiler of the Ilkanian astronomical 
 tables, belonged to Tus, in Korasan ; Haja Kalfa Mustafa, 
 the incomparable Arabic bibliographer, was a native of 
 Constantinople ; Abu ’ltajeb Motanebbi, the prince of poets, 
 was born at the village of Kendah, near Kufa, on the 
 western bank of the Euphrates ; and the birthplace of Ibn 
 Sina (Avicenna), the master of medical science, was an 
 inconsiderable locality near Bokara, in a country where, in 
 our days, science and art are utterly neglected. All these 
 drew upon the same grammar and upon the same lexicon 
 for the material part of their varied compositions. 
 
 “ The spoken language, or ‘ vulgar Arabic,’ is thus de- 
 scribed by Renan (Histoire des Langues semitiques, i. 
 p. 396 ) : — ‘ Vulgar Arabic is, properly speaking, nothing 
 but classical Arabic deprived of its learned grammar and 
 of its copious accompaniment of vowels. All the final 
 inflections, which express either the cases of nouns or the 
 
INTRODUCTION. 
 
 9 
 
 moods of verbs, are omitted. For the delicate mechanism 
 of the classical syntax, the vulgar tongue substitutes a 
 simpler and more analytical process. Prefixes and separate 
 words mark those differences which the written language 
 expresses by the addition of final vowels ; the tenses of the 
 verbs are determined by words which are joined to the 
 aorist to render the meaning precise. 
 
 “ * With respect to the Lexicon, vulgar Arabic has here 
 likewise rejected that superabundance of words which 
 rather encumbers than enriches the classical idiom. The 
 vulgar tongue admits none but words of the common stock 
 of Semitism, to which, occasionally, a somewhat deflected 
 meaning is given. A few foreign words, varying according 
 to the geographical position of the provinces where Arabic 
 is spoken, and principally adopted from Turkish, change 
 here and there the perfectly Semitic character of that lan- 
 guage, which is still the vernacular idiom of very extensive 
 countries.’ 
 
 “ The Arabic Gospels of the Roman edition are without 
 the vowel-signs, which, in fact, are seldom found in Arabic 
 or other books written in a Semitic alphabet (except the 
 ^Ethiopic). Copies of the Quran and other devotional 
 writings, the correct reading of which is aimed at with reli- 
 gious solicitude, are generally supplied with the vowels and 
 other orthoepic signs. It is remarkable that the Jews, on 
 the contrary, allow no scroll of the law from which the 
 Torah (the Pentateuch) is read in the synagogue to exhibit 
 anything but the bare consonants of the sacred text. The 
 points above or below the letters in the Arabic Gospels 
 are not vowels, but ‘ diacritical points,’ without the assist- 
 ance of which the difficulty of distinguishing most of the 
 letters in the Arabic alphabet from each other would be 
 well-nigh insurmountable. It must be borne in mind that 
 the Semitic alphabets consist of consonants only. 
 
 “ The letters are those called Neski, the simplest and the 
 most generally used of all Arabic characters. There are 
 several styles of caligraphy described by distinct names, 
 such as Thuluth, Yakuti, Reyhani, &c. ; and among the 
 Persians the T'alfq, the Shekesteh, &c., each adapted to 
 
 C 
 
o 
 
 INTRODUCTION. 
 
 some special purpose, in which caligraphy plays a part ; 
 but they are all easily reducible to the common Neski, the 
 origin of which is by some writers carried back to ante- 
 Islamic times. The Kufic characters, specimens of which 
 are rarely met with, are in reality the same as the Neski, 
 and both are evidently imitations of one variety or another 
 of the Syriac alphabet. The Kufic generally appears 
 in ancient inscriptions and on coins of early dates : the 
 superiority of the Neski for expeditious writing must have 
 been very soon recognized. Specimens of all the named 
 styles of Oriental writing, beautifully executed, will be 
 found in Charles Stewart’s ‘ Persian Letters.’ 
 
 “ The tradition of Arabia tells of the existence of a lan- 
 guage and of an alphabet peculiar to the South country, 
 and in vogue there centuries before the Islam. The alpha- 
 bet is known by the name of Musnad, and the language is 
 the Himyaric. Only within the last forty years those tra- 
 ditions have been verified through the discovery of inscrip- 
 tions, in an unknown character, near the city of Sana, and, 
 which is even more important, through the discovery of a 
 population in the centre of the country with a speech of 
 undoubted antiquity, and at the same time differing consi- 
 derably from the Arabic spoken in the rest of the peninsula 
 and elsewhere. These discoveries, in which French scholars 
 have been prominently active, have led to investigations in 
 Germany, France, and England, the results of which tend 
 to establish the identity between the dialect and the inscrip- 
 tions recently discovered on the one hand, and the Himyar 
 language and the Musnad writing of the Arabian traditions 
 on the other hand. (See on this subject the highly interesting 
 article in Renan, ‘ Histoire des Langues semitiques,’ p. 303, 
 et seq.) 
 
 “ The gain to the criticism of the Bible to be achieved 
 from the Medicean edition of the four Gospels in Arabic 
 cannot be estimated at a high rate. The translator does 
 not exhibit a very intimate acquaintance with Hebrew 
 antiquities, or he would probably not have rendered 
 ‘phylacteries,’ in Matt, xxiii. 5, by a word which means 
 ‘ cloaks, mantles, wrappers, pallia, viz. Ardi'yah,’ anything 
 
INTRODUCTION . 
 
 1 1 
 
 but frontlet-bands (Deut. vi. 8), which is the only true 
 description of the ‘ Tephillfn,’ in Greek (from their ritual 
 application) (j)v\aKTiipia. There is (soit dit en passant) 
 something characteristic of national differences in the 
 translation of this term as given by the French Bible of 
 Le Maistre de Sacy, and as it appears in Martin Luther’s 
 version. What the Frenchman describes as ‘ les paroles 
 de la loi ecrites sur des bandes de parchemin,’ the German 
 explains by * Denkzettel.’ ” 
 
 It is curious to observe that the Mohammedans of India, 
 at any rate those whom Mohsan Fani talked with, were 
 quite ignorant of the possession of their sect in Arabia of 
 a translation of portions of the New Testament under the 
 title of the Gospels of St. Barnabas, which is, in truth, 
 only an Islamite version of the four Gospels. In it the 
 word Paraclete is changed into Achmet, and thus the 
 advent of Mahomet is predicted. 
 
 Sale, in his notice to the reader, prefacing the translation 
 of the Koran, gives this account of the MS. : — 
 
 “ The book is a moderate quarto, in Spanish, written in 
 a very legible hand, but a little damaged towards the latter 
 end. It contains 222 chapters of unequal length, and 420 
 pages ; and is said, in the front, to be translated from the 
 Italian by an Arragonian monk named Mostafa de Aranda. 
 There is a preface prefixed to it, wherein the discoverer of 
 the original MS., who was a Christian monk, called Fra 
 Morino, tells us, that having accidentally met with a writing 
 of Irenaeus (among others), wherein he speaks against 
 St. Paul, alleging for his authority the Gospel of St. Bar- 
 nabas, he became exceedingly desirous to find this Gospel ; 
 and that God, of his mercy, having made him very inti- 
 mate with Pope Sixtus V., one day, as they were together 
 in that Pope’s library, his Holiness fell asleep, and he, to 
 employ himself, reaching down a book to read, the first he 
 laid his hand on proved to be the very Gospel he wanted. 
 Overjoyed at his discovery, he scrupled not to hide his 
 prize in his sleeve, and on the Pope’s awaking, took leave 
 of him, carrying with him that celestial treasure, by reading 
 of which he became a convert to Mohammedism.” 
 
12 
 
 INTRODUCTION. 
 
 “ This Gospel of St. Barnabas contains a complete history 
 of Jesus Christ from his birth to his ascension, and most of 
 the circumstances of the four real Gospels are to be found 
 therein, but many of them turned, and artfully enough, to 
 favour the Mohammedan system. From the design of the 
 whole, and the frequent interpolation of stories and pas- 
 sages wherein Mahommed is spoken of and foretold by 
 name as the messenger of God, and the great prophet who 
 was to perfect the dispensation of Jesus, it appears to be a 
 most barefaced forgery. One particular I observe therein 
 induces me to believe it to have been dressed up by a 
 renegade Christian, slightly instructed in his new religion, 
 and not educated in Mohammedan (unless the fault be 
 imputed to the Spanish or perhaps the Italian translator, 
 and not to the original compiler), I mean the giving to 
 Mahommed the title of Messiah, and that not once or twice 
 only, but in several places; whereas the title of the Messiah, 
 or as the Arabs write it, Masih, i.e. Christ, is appropriated to 
 J esus in the Koran, and is constantly applied by the Moham- 
 medans to him, and not to their own prophet. The passages 
 produced from the Italian MS. by M. de la Monnoye are to 
 be seen in the Spanish version almost word for word.” 
 
 Besides this version of the Gospels the Mahommedans 
 have an Arabic translation of the Pentateuch. 
 
 Schnurrer remarks that in sending this Arabic Bible into 
 Mahommedan countries, the wood engravings were little 
 likely to advance missionary work. The passage in the 
 Koran which forbids images would always recur to the 
 memory of the faithful when looking over the pages. 
 
 Carsten Niebuhr, writing a hundred years ago, after a 
 lengthened sojourn in Arabia, remarks upon the absence 
 of all art works, either pictorial or moulded, amongst the 
 natives. He also states that the language of the Koran was 
 taught in the colleges as a learned language. He adds 
 that at the date of his visit there was only one Christian 
 place of worship in Arabia ; that single exception was at 
 Basra. 
 
 The possession by the Arabs of the Christian Scriptures 
 with Mohammedan corruptions and glosses, and their fana- 
 
INTRODUCTION. 
 
 13 
 
 tical repugnance to images, would induce them to look with 
 peculiar disfavour on an orthodox version of the Gospels 
 ornamented and interpreted by engravings. They would 
 take especial exception to the second woodcut, where the 
 Virgin is adoring Christ, which has no text in the Vulgate 
 to authorize it. 
 
 A curious experiment was made during the last century, 
 in translation. An Arabic Bible was issued from Rome 
 for the use of the Eastern Churches, and we are informed 
 by the author of the Bibliographical Dictionary that “ this 
 version is altogether modelled after the Vulgate, and the 
 language of it has been considered barbarous by learned 
 men. When copies of the first volume were sent into the 
 East they could scarcely be understood, and the mission- 
 aries were accused of corrupting the word of God. This 
 occasioned so much disturbance that the work was sup- 
 pressed by Papal authority for many years, till afterwards 
 the whole of the work was printed off.” 
 
 Of Avicenna, mentioned in Malanimeus’s preface, some 
 romantic stories are told in the “ Dabistan, or School of 
 Manners.” This singular book was written in 1645 by a 
 Persian called Mohsan Fani, who died in the reign of 
 Aurengzeb, A.D. 1670. He spent most of his life in India, 
 and describes in his work the religions and manners pre- 
 vailing in Hindostan. As bearing upon the missionary 
 efforts made by the Roman Pontiffs in the East, and which 
 occasioned the publication of the Arabic Gospels, it will be 
 interesting to observe, as stated in the preface to the 
 “ Dabistan,” that “ we can scarce doubt that it was from 
 some Roman Catholic missionary that he (Mohsan Fani) 
 received his information, as he portrays particularly the 
 Roman Catholic doctrine, of which, in my opinion, he 
 exhibits a more faithful idea than that which a great 
 number of Protestants entertain, and are wont to express.” 
 Mohsan Fani, as a remarkably learned man, and a most 
 industrious bookworm, being in communication with the 
 Roman missionaries a few years after the publication of 
 the Arabic Gospels, most probably saw them, and scanned 
 with curious eyes the designs of Tempesta. 
 
14 
 
 INTRODUCTION. 
 
 We give this notice of Fani and his book to render intel- 
 ligible an allusion to him previously. 
 
 The facsimile pages from the Koran are taken from 
 Carsten Niebuhr’s “Travels in Arabia.” He states that 
 they were obtained with great difficulty and expense from 
 the public library at Cairo. The fragment was there trea- 
 sured with deep veneration as the handwriting of Caliph 
 Omar. 
 
 ANTONIO TEMPESTA. 
 
 During the latter half of the sixteenth century art was 
 declining in Italy. It is not our purpose to investigate the 
 causes of this decline ; national misfortunes and the vicis- 
 situdes incident to all human effort may to some minds be 
 considered sufficient explanation ; but whatsoever the causes, 
 the fact is recognized. If great artists were few, patrons were 
 many, and conspicuous among them was Gregory XIII. 
 He gave an extraordinary impulse to building; on every 
 side structures arose bearing the Pontifical arms, and the 
 Roman nobles vied architecturally with the Pope in building 
 palaces. All had to be decorated or hung with pictures. 
 
 It was at this period that Antonio Tempesta opened his 
 studio in Rome, and he soon attracted the attention of 
 Gregory, who employed him in fresco-painting in the gal- 
 lery and loggie of the Vatican. We have no record of the 
 exact date of his settlement in Rome, but it must have 
 been in his early manhood, as he was only thirty years of 
 age when Gregory died, and he had then completed some 
 important works for him. His genius was great, but it had 
 never received its best development, owing generally to the 
 declension of art, and specially to the fact that his two 
 masters, though themselves by no means undistinguished, 
 were only able to introduce him to the portals of art. 
 
 He soon outstripped them, and they probably learnt 
 more from him than he from them. In our search for 
 examples of his work we start from the Vatican, and find 
 much fresco-painting in the north and east sides of the 
 middle loggie, executed by him in imitation of that of 
 
INTRODUCTION. 
 
 5 
 
 Raphael and his pupils. Brought into immediate compe- 
 tition with the great master, and working in a style alto- 
 gether foreign to his custom and tastes, we need not be 
 surprised to learn that it is described of inferior execution. 
 Raphael’s work is represented by Head as “composed of 
 an inexhaustible multitude of the most exquisitely graceful 
 objects, animate and inanimate, arabesque, &c., supposed 
 to have been suggested by the frescoes in the Baths of 
 Titus ; among which those who stop even for a moment to 
 examine and admire the collection cannot fail to recognize 
 very many figures that, copied and recopied for the last 
 three centuries, are now generally introduced into orna- 
 mental designs, and dispersed in familiar forms all over 
 Europe.” The Pope also employed Tempesta to illustrate 
 his missionary Arabic Evangelists, and he accordingly, at 
 what date we know not, drew the designs, which were cut 
 in wood, and which will be more particularly described 
 hereafter. 
 
 What work Tempesta did for the Marchese Giustianini 
 it is difficult to say, as the Palazzo Giustianini has been 
 long dismantled, let out in separate portions, and the 
 pictures dispersed ; but it is recorded that the Marchese 
 was a liberal patron. Some important work of our artist’s 
 is to be seen in the Palazzo Mattei. Amongst pictures by 
 Paul Brill, David, Vandyke, and Tintoretto, Tempesta’s 
 fresco-painting is to be seen in the sixth room. On three 
 sides is a broad band of frieze of panoramic fresco, resting 
 on the Dado, exhibiting * “ an infinite number of small 
 figures of an extraordinarily illustrative and graphic cha- 
 racter. It represents the triumphal entry of Charles V., on 
 being crowned by Clement VII., into the city of Bologna, 
 and exhibits the costume of all the different personages 
 composing the grand pageant with extraordinary accuracy. 
 The Emperor and the Pope are side by side, the former on 
 horseback, and the latter borne on men’s shoulders in the 
 sedia gestatoria, accompanied on each side by the bearers 
 of the flabelli, large fans or screens of peacocks’ feathers, 
 
 * “ Rome.” By Sir C. George Head. Vol. i. p. 396. 
 
1 6 
 
 INTRODUCTION. 
 
 as at the present day. After the Pope and the Emperor 
 follow the cardinals on horseback, each cardinal bare- 
 headed, and bearing his scarlet hat elevated on a pole 
 resting on the pommel of the saddle. After the cardinals 
 follow the principal ecclesiastical and military authorities, 
 and then the nobility and notables, comprising altogether 
 some hundred figures from end to end, each finished so 
 carefully that not only may persons so inclined investigate 
 the minutest points of dress and costume most satisfac- 
 torily, but one may readily fancy every individual face a 
 likeness of the original. Of the higher personages, some 
 are in litters attended by sumpter mules ; but every one 
 of higher and of lower grade, whether on foot or on horse- 
 back, inasmuch as all are represented upon a long line of 
 foreground at equal distance, is delineated with the same 
 exactness ; so that if it were required to make a perfect 
 examination of the whole series, hardly less time than a 
 whole morning would suffice for the purpose.” As this 
 palace was only erected in 1615, and Tempesta died in 
 1630, it must have been the work of his matured hand. 
 
 - Visitors to Rome rarely see an interesting specimen of 
 Tempesta’s work, that decorating the church of S. Stephano 
 Rotondo. Having nothing attractive in its appearance, 
 being, as its name implies, circular, and badly built of brick, 
 and being moreover out of the way, it attracts few visitors, 
 but it will well repay a visit. It will require a long visit to 
 examine with anything like care the wonderful panorama 
 it contains. The whole is devoted to the illustration of 
 the suffering of the martyrs of the early Christian Church. 
 Nearly five hundred lineal feet of the walls are thus occu- 
 pied, and about half of it is executed by Tempesta; the 
 rest by Pomerancio. In the foreground are large figures, 
 very carefully painted, giving with horrible exactness the 
 various forms of torture in every variety of incident which 
 Pagan cruelty enforced ; in the background smaller groups, 
 engaged in the same fearful work. Bryan mentions that a fine 
 picture of the Murder of the Innocents is to be seen in this 
 church. He may possibly have mistaken this martyr fresco 
 for the painting he describes. More agreeable work of our 
 
INTRODUCTION. 
 
 17 
 
 artist’s may be seen at the Villa Pamfili Doria ; a boar- 
 hunt, executed in chiaroscuro, and in his most spirited 
 manner, adorns the wall. 
 
 The best-known work of Tempesta is a broad frieze 
 along the base of the ceiling of the chamber of the Aurora 
 in the Rospigliosi Palace. The group by Guido, occu- 
 pying a large flat central space in the ceiling, and still 
 apparently as bright and lustrous as when it left the artist’s 
 hand, is a trying neighbour ; but the frieze representing the 
 Triumph of Love and Virtue holds its own, and sustains 
 the painter’s fame. 
 
 It was unfortunate for this master that Vasari wrote his 
 lives of the painters just before his time. Vasari, whose 
 gift it was to gather from all quarters, memoirs, biographical 
 incidents, and anecdotes, would have told us something of 
 his domestic life, of his joys and sorrows, of his triumphs 
 and his failures ; but no subsequent writer took up the 
 broken thread of Vasari’s narrative till time had obliterated 
 the traces of his citizenship and of his home. A portrait 
 exists of him, and is the sole record of what manner of 
 man he was. His reputation was by no means confined to 
 Rome, as will be evident from the following extract from 
 Lanzi.* Speaking of the Florentine school, he says : — 
 
 “Antonio Tempesta was among the first to acquire a 
 celebrated name in Italy for landscapes and for battles. 
 He practised engraving, prepared cartoons for tapestry, 
 and gave scope to his genius in the most fanciful inven- 
 tions in grotesque and ornamental work. He surpassed 
 his master in spirit, and was inferior to none, not even 'to 
 the Venetians. In a letter on painting by the Marquis 
 Giustiniani he is adduced as an example of great spirit in 
 design, a gift conferred by nature, and not to be acquired 
 by art. He attempted few things on a large scale, and 
 was not so successful as in small pictures. The Marquis 
 Niccolini, the Order of the Nunziata, and several Floren- 
 tine families, possess some of his battles painted on ala- 
 
 “ History of Painting in Italy.” By Abbate Luigi Lanzi. Roscoe’s trans- 
 lation. 
 
 D 
 
i8 
 
 INTRODUCTION. 
 
 baster, in which he appears the precursor of Borgognone 
 (Cortese), who studied him attentively. He most fre- 
 quently painted in fresco, as at the Villa Caprarola, in the 
 Este villa at Tivoli, and in parts of Rome, from the time 
 of Gregory XIII. Most of the historical pictures in the 
 Vatican Gallery are his work ; the figures, a palm and a 
 half high, display astonishing variety and spirit, accom- 
 panied by beautiful architecture and landscapes, with every 
 species of decoration. He is not, however, very correct, and 
 his tints are sometimes inclined too much to a brownish 
 hue ; but all such faults are pardonable in him, as being 
 occasioned by that pictoric fury which inspired him, that 
 fancy which hurried him from earth, and conducted him 
 through novel and sublime regions unattempted by the 
 vulgar herd.” 
 
 In a subsequent passage on the third epoch of the Roman 
 school he observes : — 
 
 “ But in battles and hunting-pieces none in these times 
 equalled Antonio Tempesta. He was followed, though at 
 a considerable interval, by Francesco Allegrini.” 
 
 That Tempesta had many imitators and copyists is cer- 
 tain ; but it is scarcely safe to attempt a list, as on revising 
 those variously given in the different dictionaries of painters, 
 we find the mistakes of Felibien and Pilkington repeated, 
 and such confusion between the names of Antonio Tem- 
 pesta, II Tempesta, and Tempestino or Tempesta,* that 
 no reliance can be placed on their statements. 
 
 In leaving Tempesta as a painter, and in leaving much 
 unsaid because the authorities are questionable, it may be 
 stated that though he was inferior to the great painters of 
 the so-called golden age of Italian art, he was certainly one 
 
 * II Tempesta’s proper name is Peter Molyn or Mulier, and Tempestino’s 
 patronymic was Marchi : the former derived the sobriquet of Tempesta from 
 the spirit which he infused into his storm pieces, and Marchi acquired his name 
 of Tempesta or Tempestino simply because he was Molyn’s pupil. Regard 
 for the reputation of Antonio should clear him from being confounded with 
 Molyn, who whilst residing at Genoa was convicted of the murder of his wife, 
 and condemned to death. He escaped capital punishment, and on the bom- 
 bardment of Genoa in 1684 by the French, the prisons were opened and the 
 painter escaped. 
 
INTRODUCTION . 
 
 *9 
 
 of the most distinguished men of his period, and as a painter 
 is better understood and more valued on the Continent than 
 in England. 
 
 As an engraver it is sufficient to quote the authority of 
 Adam Bartsch that even his less remarkable prints may be 
 studied with advantage by engravers, and that he owes his 
 wide reputation chiefly to his work with the graver. Hei- 
 necken says, in his “ Idee G^neraffi,” — “ The work of this 
 artist is tolerably complete in the Dresden Saloon, and fills 
 four large volumes.” Such was Bartsch’s estimation of the 
 contents of these volumes, that he devotes fifty pages of 
 his “ Peintre Graveur ” to their description. As his pre- 
 fatory remarks are short, we give them in full : — 
 
 “Antonio Tempesta, painter and engraver, was born at 
 Florence in 1555, and died 1630, aged seventy-five years. 
 He was a pupil of Santa Siti and of John Stradan. 
 
 “ There are few artists who equal Tempesta in his fer- 
 tility of resource in composition : his groups are spirited, 
 his figures exhibit elegance and grace, and his design, though 
 not pure, indicates extraordinary skill. 
 
 “ Battles, hunting-pieces, marches, and cavalry-fights are 
 the subjects which he treats by preference. Although his 
 horses are too fleshy, they have the merit of variety in their 
 attitudes and movements. The heads of these animals are 
 treated nobly. 
 
 “All the prints of Antonio Tempesta are deeply bitten in 
 with aquafortis : this gives them an appearance of crude- 
 ness little likely to please the eye of the amateur ; but the 
 knowledge of drawing and the freedom of hand make up 
 for what they want in delicacy. 
 
 “Although the general finish of the prints of Tempesta 
 is little remarkable, engravers may obtain useful lessons in 
 laying the first plans of their works when they have horses 
 to introduce. 
 
 “ There are besides many engravings of Tempesta which, 
 even disregarding their spirited freedom of touch, deserve 
 to be collected by amateurs in their portfolios. 
 
 “ Tempesta is indebted chiefly for his wide reputation to 
 his engravings. His work of this kind is very extensive. 
 
20 
 
 INTRODUCTION. 
 
 “ The catalogue which we now submit to the public num- 
 bers 1,460 prints, and we believe that it is tolerably 
 complete ; though, according to Gori, there are some who 
 pretend that Tempesta’s plates amount to 1,519. Many 
 of these are dated, the oldest in the year 1589, the most 
 recent in 1627.” 
 
 Adam Bartsch was keeper of the imperial prints at 
 Vienna. He was born in 1757, and died in 1820 or 1821. 
 He was by profession an engraver, and his natural preju- 
 dices in favour of his own branch of art led him to value 
 an artist rather by his work with the burin than with the 
 brush. Never effusive, he censures with critical accuracy, 
 and praises with philosophical moderation. Lanzi, on the 
 other hand, more universal in his tastes, evidently regarded 
 Tempesta more as a painter than as an engraver. Lanzi 
 died in 1810, in his seventy-eighth year. Roscoe, in the 
 memoir prefixed to the translation of “ The History of 
 Painting in Italy,” describes the work as “ one of the most 
 complete models- of sound historical composition of which 
 the modern age can boast.” And again : — “ During the 
 period of his travels through Italy, in pursuit of antiquities,* 
 he had carefully collected materials for a general history of 
 painting, which was meant to comprise, in a compendious 
 form, whatever should be found scattered throughout the 
 numerous authors w T ho had written upon the art. These 
 materials, as well as the work itself, had gradually grown 
 upon his hands, as might be expected from a man so long 
 accustomed to method, to criticism, to perspicuity ; in short, 
 to every quality requisite in the philosophical treatment of 
 a great subject:” 
 
 Lanzi’s great learning and untiring research enabled him 
 to use with discretion the art literature in existence, to 
 discriminate fable from truth, and to distinguish sound 
 criticism from idle conceits. Still speaking of his work on 
 painting, Roscoe proceeds : — “ It brings into full light the 
 leading professors of the art, exhibits at due distance those 
 
 * He was head antiquary and director of the Florentine Gallery, so 
 appointed by Duke Leopold, mentioned by Malanimeus. 
 
INTRODUCTION. 
 
 21 
 
 of the second class, and only glances at mediocrity and 
 inferiority of character insomuch as to fill up the great 
 pictoric canvas with its just lights and shades.” 
 
 After these extracts from Roscoe, we shall be in a better 
 position to value at their true worth the criticisms of Lanzi 
 upon Tempesta, and to rescue the latter from the neglect 
 and almost contempt which many travellers feel for this 
 artist’s works, — travellers gaining their first knowledge 
 of art under the guidance of ignorantly-written hand- 
 books. 
 
 The specimen plate which we give in the Appendix 
 exhibits fairly Tempesta’s engraving, and indicates to the 
 experienced eye the merits and defects of his work on 
 copper, — the bold vigorous drawing, nobleness of mien in 
 the figures, and at the same time the evident haste of an 
 impetuous artist, and the want of tenderness in the back- 
 ground. It is singular that we have only one series of 
 wood-engravings designed by the same hand, as it was 
 early work, and Tempesta must have felt that he possessed 
 in a high degree the art of designing on wood, and as he 
 evidently had not much fancy for the mechanical parts 
 of engraving, wood-designing would have enabled him to 
 transfer the after-process to meaner hands. Possibly it 
 was the meanness of some of the hands which deterred 
 him from further attempts in this direction. Several work- 
 men were evidently employed to cut the blocks to illustrate 
 the Arabic Gospels : the least masterly of them are signed 
 L. P. Compared with the others, they are coarse and 
 stiff, with badly-discriminated texture, and with hands and 
 feet roughly rendered. 
 
 We mentioned before that Papillon was the only writer 
 on art known to us who has mentioned these woodcuts. 
 His notice is short, and, as usual with him, mistaken as to 
 facts. He states that the initials represent Luca Penni. 
 This artist was born in 1500, and died in 15 30, five years 
 before Tempesta was born. He then states that these 
 engravings were cut many years before the book was 
 printed, thus attempting to accommodate the failing dates. 
 Who the L. P. was it is now impossible to say ; several 
 
22 
 
 INTRODUCTION. 
 
 engravers about this time used the same initials ; but as 
 the work is poor, it is useless to follow the inquiry. 
 
 In addition to the general distrust which prevails in 
 reference to Papillon’s statements, Heinecken furnishes a 
 special reason for distrust. He met Papillon in Paris, and 
 accepting his statement that St. Louis had forbidden play- 
 ing cards, he inserted this mistake as a fact in a work he 
 was publishing. He closes his notice of Papillon with 
 these words : — “ I find that this writer is too ignorant to be 
 quoted in future.”* Thus Bartsch, not having seen the 
 Arabic Gospels, disregarded his notice of Tempesta’ s wood- 
 cuts. In order to make this memoir of Tempesta in this 
 work as complete as possible, we give a translation of 
 Bartsch’s catalogue, abridged, but sufficiently full for the 
 identification of prints. Opportunities of collation are 
 few, but all available references have been made. The 
 editor’s son, Lees Aspland, has undertaken this portion of 
 the work. 
 
 Bible cuts of the sixteenth century were generally small, 
 sometimes so small as to render them very indistinct, and 
 carelessly printed. Those of Tempesta are five inches 
 wide and four deep. In taking the negatives, Mr. Brothers 
 has slightly reduced them to bring them within the printing 
 limits of the usual HOLBEIN SOCIETY’S volume. Unlike 
 the Italian woodcuts of the earlier part of the century, it 
 will be observed that the process of cross-hatching has been 
 introduced. This method of obtaining strength had been 
 long in use in Germany before the Italians adopted it. 
 The process of concave lowering was not then known to 
 the Italian woodcutters. Since the time of Bewick, so 
 Jackson informs us, it has been generally adopted to mark 
 the lights, and to give tenderness to parts. It is accom- 
 plished by slicing the block to the depth of a sixteenth 
 part of an inch or more. Tempesta’s wood-engravings had 
 not the advantage of this method, and consequently we 
 
 * Papillon’s treatise, though historically untrustworthy, is interesting and 
 valuable as a description of methods. He did much to advance the art of 
 wood-engraving, and it is creditable to his ingenuity that Jackson reports that 
 there is scarcely any method now practised that was not known to him. 
 
INTRODUCTION. 
 
 23 
 
 fail to have those nice gradations of light and shade which 
 distinguish more modern woodcuts. 
 
 It is not contended that these are satisfactory speci- 
 mens of Italian wood-engraving, i. e. of wood-engraving 
 at its best period ; — they are interesting as representing 
 Italian xylography at the close of the sixteenth century, 
 when Copperplate was rapidly superseding woodcuts. They 
 represent a period when wood-designers were disappearing 
 and woodcutters were becoming more and more me- 
 chanical ; when wood-engraving in its higher forms had 
 disappeared from its chosen seat, Germany. Doubtless 
 Tempesta could have secured better work if he had sent 
 the designs to be cut in Venice or Lyons ; but he probably 
 intrusted the cutting to Roman workmen, and the result is 
 that those signed L. P., whoever he was (certainly not 
 Luca Penni, as stated by Papillon), retain some of the 
 vigour of Tempesta’s designs, and notably in the woodcut 
 of St. Luke, where the daring outline of the artist is pre- 
 served ; but most of them, besides coarseness and angu- 
 larity, exhibit an unskilful crosshatching which destroys 
 the sense of modelling in the limbs, and introduces a 
 disagreeable blackness in the entire engraving. Those 
 executed by other hands, whilst more delicate and gene- 
 rally agreeable, whilst more graceful and generally dis- 
 criminative of texture and with less of deformity in the 
 extremities, certainly fail to render satisfactorily the extra- 
 ordinary spirit of Tempesta’s designs. The two editions 
 of the Arabic Gospels, representing seven thousand copies, 
 could only have been completed by wood-blocks, or at 
 least fourteen copper-plates, and the latter would have to 
 be printed before the typographer could finish his work, 
 and the expense of the work would have been much 
 increased. 
 
 Taken as a whole, and in spite of the deficiencies of the 
 workmen, they exhibit the power and skill of the artist, 
 serve as historic records of the then condition of xylo- 
 graphic art in Rome, and add another wood-designer, 
 hitherto without general recognition, to Italy in the six- 
 teenth century. 
 
24 
 
 INTRODUCTION. 
 
 The four Evangelists have their appropriate symbols. 
 Amidst an endless variety of these Tempesta has selected 
 those in vogue with the German engravers, and gives 
 Matthew, attended by an angel holding an inkstand ; 
 Mark with his winged lion ; Luke with a winged bull ; 
 and John with his eagle. The same arrangement of 
 symbols may be seen painted on a rood-screen in the 
 church at East Ruston, in Norfolk. 
 
CATALOGUE 
 
 OF THE 
 
 ENGRAVED WORKS OF TEMPESTA. 
 
 I N Bartsch the size of the prints is given in inches and 
 lines, in this Catalogue it is given in inches and frac- 
 tions of an inch. 
 
 The contractions used are h for height, and w for width. 
 At the end of the Catalogue an Additional Catalogue is 
 given, containing a description of works either not clearly 
 identified with any in Bartsch, or omitted by him. 
 
 Many of the prints are inscribed with a name followed 
 by the word formis, forma, for, excudit, or excud. This 
 signifies that the person named is the publisher. 
 
 In the notes appended to the Catalogue the authority for 
 the statements made is added at the end in brackets. 
 
 For shortness, (Bryan) is used to express Bryan’s Dic- 
 tionary of Painters and Engravers, edited by Stanley, 
 and published by Bohn, 1865. 
 
 CATALOGUE EXTRACTED FROM BARTSCH. 
 OLD TESTAMENT. 
 
 1. God creating the Animals. Marked “Ant. Tempest, flore f.” 
 h. i2 T %Tn. ; w. 16-j^in. 
 
 2-13. History of the Creation of the World. Series of 12 plates. 
 h. 3-}-£ in. ; w. 4 T 4 T in. 
 
 E 
 
26 
 
 CATALOGUE OF THE 
 
 (2.) God creates the Heaven and Earth. Marked “ Tem- 
 pest .... in Roma.” 
 
 (3.) He separates the Earth from the Waters. §ame 
 inscription. 
 
 (4.) He creates the Herbs and the Trees. 
 
 (5.) He creates the Sun, Moon, and Stars. 
 
 (6.) He creates the Fishes and Birds. 
 
 (7.) He creates other Animals. 
 
 (8.) He creates Man and Woman. 
 
 (9.) He places them in Paradise. 
 
 (10.) He commands them not to eat of the Tree of Life. 
 (11.) Adam and Eve, seduced by the Serpent, eat the For- 
 bidden Fruit. 
 
 (12.) God reproaching them for their Disobedience. 
 
 (13.) Adam and Eve driven from Paradise. 
 
 14-233. History of the Old Testament. Series of 220 plates. 
 h. 2i% in. ; w. 2 T 6 X in. 
 
 234. Battle of the Jews and Amalekites. Two plates joined to 
 form one. h. i8 r Vin. ; w. 29 in. Dedicated by Ant. 
 Tempesta to Pompeo Targoni. 
 
 235-259. Combats and other military operations illustrating the Bible. 
 
 Series of 25 plates. Numbered 1 to 24, and marked with 
 Tempesta’s monogram. Rome, 1613. h. 7 in. ; w. io-j^-in. 
 (235.) Frontispiece containing the Arms of .Cosmo II., 
 Grand Duke of Tuscany, and Allegorical figures, 
 and a dedication to him. 
 
 (236.) Cain killing his brother Abel. 
 
 (237.) Abraham overcoming the Army of the Enemy, who 
 held Lot as a prisoner. 
 
 (238.) Lot and his Family restored by Abraham to their 
 Country. 
 
 (239.) Moses commanding the Hebrew Army against the 
 Ethiopians. 
 
 (240.) The Defeat of the Ethiopians. 
 
 (241.) The Defeat of the Hebrews by the Canaanites. 
 
 (242.) The Egyptians pursuing the Hebrews. 
 
 (243.) The Army of Pharaoh lost in the Red Sea. 
 
 (244.) The Defeat of the Amalekites by the Hebrews. 
 
 (245.) The Taking of Jericho. 
 
ENGRAVED WORKS OF TEMPEST A. 
 
 2 7 
 
 (246.) Joshua commanding the Sun to stand still. 
 
 (247.) Joshua burning the Chariots of the Enemy. 
 
 (248.) Gideon choosing his Soldiers. 
 
 (249.) Gideon striking Terror in the Enemy’s Camp. 
 
 (250.) The Death of Abimelech. 
 
 (251.) David killing Goliath. 
 
 (252.) The Triumph of David. 
 
 (253.) The Death of Saul. 
 
 (254.) The Death of Absalom. 
 
 (255.) Elisha, having blinded the Army of Syria, carries 
 away the King of Israel. 
 
 (256.) The Angel of Death destroys the Army of Sennacherib. 
 (257.) Jehosaphat giving Praise to God for the Victory. 
 (258.) Judith and Holophernes. 
 
 (259.) The Hebrews rebuilding Jerusalem. 
 
 The early copies of these plates bear on the title, “ Nicolaus van 
 Aelst formis, 1613 later copies, “ Steffano Scolari forma in Venetia, 
 1660.” ( See Note 1.) 
 
 NEW TESTAMENT. 
 
 260-275. Illustrations to the New Testament and the Four Evangelists. 
 
 Series of 16 plates, marked with the monogram of Tem- 
 pesta. h. in. ; w. i-^-in. 
 
 (260.) The Virgin surrounded by Angels. 
 
 (261.) The Annunciation. 
 
 (262.) The Visitation. 
 
 (263.) The Nativity of Christ. 
 
 (264.) The Presentation in the Temple. 
 
 (265.) The Adoration of the Magi. 
 
 (266.) The Circumcision. 
 
 (267.) The Flight into Egypt. 
 
 (268.) The Resurrection of Lazarus. 
 
 (269.) The Crucifixion. 
 
 (270.) The Pentecost. 
 
 (271.) The Prophet David. 
 
 (272.) St. Matthew. 
 
 (273.) St. Mark. 
 
 (274.) St. Luke. 
 
 (275.) St. John. 
 
2 8 
 
 CATALOGUE OF THE 
 
 276-290. The 15 Mysteries of the Rosary. Series of 15 plates. 
 
 h. 2 t 4 ¥ in. ; w. 2 T %-in. Unmarked, but each plate has 
 in the margin a Latin verse. 
 
 (276.) The Annunciation. 
 
 (277.) The Visitation of St. Elizabeth. 
 
 (278.) The Nativity. 
 
 (279.) The Presentation in the Temple. 
 
 (280.) Christ disputing with the Doctors. 
 
 (281.) The Prayer in the Garden. 
 
 (•282.) The Flagellation. 
 
 (283.) The Crown of Thorns. 
 
 (284.) The Crucifixion. 
 
 (285.) The Carrying of the Cross. 
 
 (286.) The Resurrection. 
 
 (287.) The Ascension. 
 
 (288.) The Pentecost. 
 
 (289.) The Assumption of the Virgin. 
 
 (290.) Her Coronation in Heaven. 
 
 291-324. Illustrations to the Life of Christ. Series of 34 oval plates. 
 
 h. 2f§- in. ; w. 2-^ in. Engraved in a slight, masterly 
 manner, with an uncrossed stroke {graves au seal trait). 
 
 325. The Flight into Egypt — St. Joseph leads the ass towards the 
 
 right, h. 9-^ in. ; w. 7 xx in. Marked with Tempesta’s 
 monogram. 
 
 326. Jesus Christ crucified between two thieves. Below are 
 
 the Virgin, St. John, and St. Magdalen, h. I7 x 2 x in. ; 
 w. I3 X 8 X in. Marked “ Antoni. Tempesta inuen. et fecit, 
 16 1 2.” In the margin are two Latin verses and a dedi- 
 cation by Pietro Stephanoni to Peter Enriquez de 
 Herrera. 
 
 Proofs are found, although rarely, without either the verses or dedi- 
 cation. {See Note 2.) 
 
 THE VIRGIN. 
 
 327. The Virgin on a Crescent, surrounded by Cherubims. 
 
 h. 3 X 3 X in. ; w. 5^ in. Unmarked. 
 
 328. The Virgin, enthroned, giving Rosaries to St. Dominic and 
 
 St. Catherine of Sienna, h. 1 1 in. ; w. 7-^ in. Marked 
 “ Ant. Tempest, fe.” Dedicated to Curce Cinquino. 
 
ENGRAVED WORKS OF TEMPESTA. 29 
 
 329. The Virgin (half-length) crowned by two Angels, h. 1 i-£r in.; 
 
 tv. 9-rV in. Marked “ Natalis Bo 118 ,” and with Tempesta’s 
 monogram. ( See Note 3.) 
 
 SAINTS. 
 
 330-343. Jesus and the Apostles, including St. Paul. Series of 14 
 plates. h% 7 W in. j iv. 5~nr to 5 1^ in. 
 
 Each piece is marked with Tempesta’s monogram, and numbered. 
 
 (330.) The Saviour seated. 
 
 (331.) St. Peter, 1. 
 
 (332.) St. Paul, 2, 
 
 (333.) St. Andrew, 3. 
 
 (334.) St. James, 4. 
 
 (335-) St. John, 5. 
 
 (336.) St. Thomas, 6. 
 
 (337-) St. James, 7. 
 
 (338.) St. Philip, 8. 
 
 (339.) St. Bartholomew, 9. 
 
 (340.) St. Matthew, 10. 
 
 (341.) St. Simon, n. 
 
 (342.) St. Thaddeus, 12. 
 
 (343.) St. Matthias, 13. 
 
 344-357. Christ, the Virgin, the Twelve Apostles, and St. Paul. Series 
 of 14 plates, h. 19-^ in. ; w. 13^ in. 
 
 Each plate marked with the mark of Tempesta and the name of 
 Nic. van Aelst. Each plate has at the bottom two scenes from the 
 life of the Saint. 
 
 (344.) 1. Jesus Christus, containing a dedication to Pope 
 Gregory IV., by Nic. van Aelst. 
 
 (345.) 2. S. Maria. 
 
 (346.) 3. S. Petrus Apostolus. 
 
 (347.) 4. S. Andreus Apostolus. 
 
 (348.) 5. S. Joannes Apostolus. 
 
 (349-) 6. S. Jacobus minor Apostolus. 
 
 (35a) 7. S. Thomas Apostolus. 
 
 (351.) 8. S. Philippus Apostolus. 
 
30 
 
 CATALOGUE OF THE 
 
 (352.) 9. S. Bartholomeus Apostolus. 
 
 (353.) 10. S. Mathaeus Apostolus et Evangelista. 
 
 (354.) 11. S. Simon Apostolus. 
 
 (355.) 12. S. Thadaeus Apostolus. 
 
 (356.) 13. S. Matthias Apostolus. 
 
 (357.) 14. S. Paulus Apostolus. 
 
 358-374. Various Saints. Series of 17 oval plates, h. 244 in. ; 
 w. 2^4 in. 
 
 In the same style as Series 291-324, graves au seul trait. 
 
 375-389. The Life of St. Philip Benizi. Series of 15 plates, including 
 the frontispiece, h. 3^- in. ; w. to 244 in. Num- 
 bered 1 to 14. Inscribed “Vita B. Philippi Benicii — ad 
 alendam pietatem universi sui ordinis, CIOIOXC?. 
 Romae.” 
 
 390-462. The Virgin Martyrs of Rome. Series of 73 oval plates, 
 exclusive of title-page, which is inscribed “ Imagini di 
 molte S.S. Virgini Rom e ,” &c. “ Gio. Ant. de Paoli 
 
 form.” h. 2-f% in. ; w. 4^ in. The title-page is engraved 
 by an unknown hand. 
 
 .These are proofs of the plates engraved for the work entitled 
 “ Historia delle Sante Vergini Romane, &c., opera di Antonio Gallonio. 
 Roma, 1591.” 4to. Each plate bears the name of the saint, &c. 
 There are proofs existing before any letters. 
 
 463-489. The Life of St. Anthony, Patriarch of the Hermits of the 
 East. Series of 27 plates, not including frontispiece. 
 h. 7 in. ; w. 6 in. Numbered 1 to 27. Dedicated by 
 Tempesta to Cardinal Cinthio Aldobrandini. 1597. 
 
 In a later edition the dedication is effaced and replaced by the 
 inscription “Vita S. Antonii Abbatis — Antonius Tempesta fecit. Si 
 Stampano in Roma alia pace,” &c. 
 
 490. St. J. Capistran, of the Order of St. Francis. His miracles 
 
 are represented in 12 compartments ranged round the 
 plate, h. 18 in. ; w. I2 l r £in. Dedicated by Tempesta 
 to Cardinal Charles de Medici. 1623. 
 
 491. St. Dominic. After B. Sprangers. h . 18 in. ; w. 14 in. 
 
 Marked in the margin, “ Cesar Caprianicus formas 
 Romae.” {See Note 4.) 
 
ENGRAVED WORKS OF TEMPEST A. 
 
 3i 
 
 492. St. Eustachius meeting a Stag with a Crucifix between its 
 
 antlers, h. 6 T *V in. ; w. 9-^ in. Inscribed in the margin 
 “ S. Eustachius,” and Latin verses beginning “Venator 
 predam cupiens,” &c. 
 
 493. St. Jerome in the Desert, h. 6^ in. ; w. 9 T *V in. 
 
 N.B. The copy Bartsch had seen had lost its margin. 
 
 494. St. Francis receiving the Stigmata, h. 6^ in. ; w. 9^ in. 
 
 In the margin is inscribed “ S. Franciscus,” and Latin 
 verses beginning “ Vulnera diuini dum,” &c. 
 
 495. St. Jerome meditating on the Last Judgment, h. i6|§ in. ; 
 
 w. 13-^ in. Marked “Ant. Tempesti inu. et fecit.” — 
 “ Baptista Parmensis Formis Romas. 1590.” ( See 
 Note 5.) 
 
 496. The Conversion of St. Paul the Apostle, h. 13-1% in. ; w. 
 
 17^ in. Marked “ Anto. Tempesti inuenit et incidit.” 
 The plate is dedicated to Lucas Cavalcante by Tempesta. 
 
 497. St. Frances, accompanied by an Angel clothed as a Priest, 
 
 surrounded by representations of the Ceremonies 
 observed in Rome on her Canonization, h. 14-^ in. ; 
 w. I9t ^ in. Marked “ Ant 8, Temp us incidit.” 
 
 498-544. The various punishments suffered by the Christian Martyrs. 
 Series of 47 plates, h. 7^ to 7-^ in. ; w. 5 in. 
 
 These plates were engraved for a work entitled “ Trattato de gli 
 
 Instrumenti di Martirio usateda Gentili contro Christiani descritte 
 
 et intagliate in rame. Opera di Antonio Gallonio. In Roma. 1591.” 
 4to. The plates in this edition are marked at the bottom with the 
 numbers of the pages. A Latin edition of this work was published in 
 Paris in 1660, entitled “ De Sanctorum Martyrum Cruciatibus. Antonii 
 Gallonii,” &c. To this latter edition is prefixed a frontispiece by an 
 unknown hand, dated 1659. The plates in this translation are very 
 weak, and the numbers of the pages are effaced. 
 
 SECULAR HISTORY. 
 
 545-556. The chief Actions of the Life of Alexander the Qfeat. Series 
 of 12 plates, including the frontispiece, h. 7-^ in. ; 
 w. 1 o-^j- in. The plates are numbered 1 to 12. The 
 frontispiece is inscribed “ Alexandri magni prcecipuse 
 
32 
 
 CATALOGUE OF THE 
 
 res gestae ab Antonio Tempesta Florentino aeneis formis 
 expressae — CI3.10C.VIII. Venduntur Antverpiae, apud 
 Jo. Bapt. Vrintium.” In a later edition “ Car. de Mal- 
 lery ” appears as the publisher. 
 
 557. View of Two Statues of Alexander the Great overcoming 
 
 Bucephalus, by Phidias and Praxiteles, h. 13-fV in. ; 
 w. 18 in. Marked “Ant. Tempest, fee.” 
 
 558. The Equestrian Statue of the Emperor Marcus Aurelius 
 
 Antoninus in the Capitol at Rome. h. 17^- in. ; w. 
 1 2-1%- in. Unmarked. Dedicated by Nic. van Aelst to 
 Cardinal Odoardo Farnese. {See Note 1.) 
 
 559. The Death of Camillus in the Fight between the Latins 
 
 and Trojans. Two leaves forming one print, h. 
 io-j-| in. » «/. 31-Ar in. Marked “ Ant. Tempesti fecit.” 
 — “Cesar, de or, in.” — “ Sta. Fo. Ro. 1591.” The 
 second proofs marked “Joannes Orlandi excudit.” 
 560-595. The War of the Romans and Batavi. Series of 36 plates. 
 
 h. 5xV in. ; w. 7-^ in. Mostly marked. Numbered 
 1 to 36. The frontispiece is marked “Ant. Tempesta f.” 
 
 These plates have been published with descriptions under the title 
 “ Batavorum cum Romanis Bellum, &c., Auctore Othone Vaenio, &c. 
 Antverpiae. 1612.” Oblong 4to. {See Note 6.) 
 
 596-607. The twelve first Roman Emperors on horseback. Series of 
 12 plates, h. 11 in. ; w. 8^ in. Numbered 1 to 12, 
 and preceded by a frontispiece inscribed “ XII Caesares 
 in equestri forma eleganti-ssime efheti Antonio Tem- 
 pesta Florentino inventore atque incisore.” — “ Battista 
 Panzera Parmen. formis. Romae. 1596.” Dedicated 
 to Giacomo Bosio. {See Note 5.) 
 
 608-616. The four principal Heroes and five Heroines of Rome on 
 horseback. Series of 9 plates, h. 5 in. ? ; w. 3^- in. 
 Each plate marked with the name or mark of Tempesta, 
 and one also with “ Joannis Orlandi a Pasquino formis. 
 Romae. 1 597.” 
 
 617. \ Frieze with a Combat of Roman Horsemen imitating an 
 antique bas-relief, h. 4-Ar in. ; w. 15-Aj- in. Unmarked. 
 On the right is a horseman, whose horse falls on its 
 head, and beyond him a trumpeter. 
 
ENGRAVED WORKS OF TEMPESTA. 33 
 
 618. The Triumph of a Roman Emperor, drawn from ancient 
 monuments. Two plates joined to form one. h. 
 17^. in.; w. 27-tV in. Marked “Antonii Tempeste 
 Florentini inventoris opus. Romae, anno salutis 1603.” 
 Dedicated to Raymond Turre, Count de Valsasino, by 
 Tempesta. 
 
 619-627. The most celebrated Passages of Rivers by Armies. Series 
 of 9 plates, h. 5-^ in. ; w. 10-A- in. Each plate has a 
 description in Italian of its subject. 
 
 These plates seem to have been intended to illustrate some book, as 
 they are marked with letters. 
 
 (619.) The Passage of the river Centrites by Xenophon. 
 (620.) The Passage of the Ister by Alexander the Great. 
 (621.) That of the Granicus by the same. 
 
 (622.) That of the Tanais by the same. 
 
 (623.) That of the Hydaspes by the same. 
 
 (624.) That of the Rhone by Hannibal. 
 
 (625.) That of the Rhone by the Elephants of the army of 
 Hannibal. 
 
 (626.) That of the Escaut by Alexander Farnese. 
 
 (627.) That of the Tiber by Francis Sforza. 
 
 628-633. Illustrations of the Life of Margaret of Austria, wife of 
 Philip III. of Spain. 6 plates, h. 4-^- in. ; w . 6^- in. 
 
 The plates are numbered 1, 2, 10, 11, 13, and 20, and form part of a 
 series engraved by Tempesta, Jacques Callot, and Raphael Sciaminose. 
 {See Note 7.) 
 
 634. Plan of the Battle between the Army of the King of Poland 
 
 and the Rebels in 1605. h. 9-^ in. ; iv. 12-^ in. 
 
 At the right is an explanatory map of the picture. Inscribed 
 “ Romae cum Priuilegio, &c. Jacobus Laurus Romanus f. et excudit, 
 «Scc. 1606.” — “ Antonius Tempesta sculpsit.” ( See Note 8.) 
 
 635. Equestrian Statue of Henry II. of France. Done in bronze 
 
 by David Riccio de Volterre. h. 17 in. ; w. 12-^ in. 
 
 Dedicated by Nic. van Aelst to Cardinal Charles de Lorraine. 
 {See Note 9.) 
 
 F 
 
34 
 
 CATALOGUE OF THE 
 
 636. Henry IV. of France on Horseback, h. 18 in. ; w. 13^ in. 
 
 Marked “Anton. Tempest, fee.” — “ Nicolo uan Aelst 
 formis. Romae. 1593.” Inscribed “ Henricus 1 1 1 1 , Rex 
 Galliae et Navarrae.” 
 
 Two states. First etched, and before the name of Nic. van Aelst. 
 Second with the head of the king, engraved by Peter de Jode, 
 and after the addition of the name of Van Aelst. 
 
 N.B. Bartsch gives two dates, 1593 and 1595. Apparently one of 
 these is a mistake of the press, and one date only is intended to be 
 given. ( See Notes 1 and 10.) 
 
 637. Equestrian Statue of Cosmo I., Grand Duke of Tuscany. 
 
 By Giovanni di Bologna, h. 18-^ in. ; w. 14 m. Dedi- 
 cated by Tempesta to Giovanni Nicolini, and marked 
 “ Andrea Vaccario forma in Roma. 1608.” (See 
 Note 11.) 
 
 MYTHOLOGICAL SUBJECTS. 
 
 638-787. Ovid’s Metamorphoses. Series of 150 plates, h. 3-xV in. ; 
 
 w. 4-rsr in. Numbered 1 to 150, and preceded by a 
 frontispiece engraved by an unknown hand, inscribed 
 “ Metamorphoseon sive transformationum ”....“ a 
 Petro de Jode Antverpiano in lucem editi” — “Petrvs 
 de Jode excudit A° 1606.” Later editions marked 
 “ Wilhelmus Janssonius excudit Amsterodami,” instead 
 of “ Petrus de Jode.” 
 
 N.B. See additional list, numbers F and G. (See Note 10.) 
 
 788-799. The Twelve Labours of Hercules. Series of 12 plates. 
 
 h. 3t%- to 3 t V in. ; w. 5i% in. Unmarked, but designed 
 and engraved by Tempesta. They are preceded by a 
 frontispiece, inscribed with a dedication by Nic. van 
 Aelst to Cardinal Francis Maria de Monte. 1608. 
 (See Note 1.) 
 
 800-803. The Four Elements. Series of 4 plates, h. 444 in. ; w. 
 
 7-r? in. Air represented by the Goddess Juno, Fire by 
 the Sun, the Earth by Cybele, and Water by Thetis, 
 accompanied by animals that live in the four elements. 
 
ENGRAVED WORKS OF TEMPEST A. 35 
 
 804-807. The Four Seasons of the Year. Series of 4 plates, h. 
 
 in. ; w. 74-g- in. Represented allegorically by the 
 presiding divinities. Numbered 1 to 4, and bearing 
 two Latin hexameters. Date 1 592. 
 
 808-81 1. The Four Seasons, enframed in arabesques ornamented 
 with figures and medallions of the Signs of the 
 Zodiac. Series of 4 plates. Date 1 592. h. 5-^ in. ; 
 w. 7F§- in. 
 
 812-821. Various Landscapes, with fabulous subjects introduced. 
 
 Series of 10 plates, h. 5^2 in. ; w. 7 A in. Unmarked, 
 but designed and engraved by Tempesta. 
 
 (812.) The Fall of Phaeton. 
 
 (813.) Narcissus at the Fountain. 
 
 (814.) The Rape of Proserpine. 
 
 (815.) Acteon changed to a Stag. 
 
 (816.) The Death of Adonis. 
 
 (817.) The Rape of Ganymede. 
 
 (818.) Daedalus Flying. 
 
 (819.) The Rape of Europa. 
 
 (820.) Syrinx changed into a Reed. 
 
 (821.) Neptune pursuing Ceyx. 
 
 822. Diana and Calisto. h. 8 X V in. ; w. 12 in. Marked 
 
 “Ant. Temp. F.” and “Petr, de Jode excud.” {See 
 Note 10.) 
 
 823. Acteon changed to a Stag. h. 8^ in. ; w. 12 in. Marked 
 
 “Ant. Temp.” and “Petr, de Jode excud.” {See 
 Note 10.) 
 
 824. A Frieze containing Children engaged in the Vintage, and 
 
 others in the Worship of Priapus. h. 244 in. ; w. 14 in. 
 Marked with Tempesta’s mark. 
 
 825. The Fight of the Amazones and the Greeks, h. in. ; 
 
 w. 14 in. Marked “ Antonius Tempesta Inuentor et 
 fecit. Anno Jubilei 1600,” and “ Joannes Orlandi 
 formis,” &c. Dedicated by Tempesta to Giuseppe 
 Cesario. 
 
 826. Orpheus playing to the Birds and Beasts, h. 12 in. ; w. 
 
 16 X V in. Marked “Ant. Tempest, fiorent.,” and “ Romae 
 Joan. Antonius de Pauli formis.” Dedicated by Tem- 
 pesta to Jacobus Sannesius. 
 
36 
 
 CATALOGUE OF THE 
 
 827. A Combat of Centaurs against several animals, h. 13-rV in. ; 
 
 w. 17-^ in. Marked “ Antonius Tempesta inuentor e 
 fecit 5 ’ — “Joannes Orlandi formis Romas, 55 &c. Dedi- 
 cated by Giovanni Orlandi to Count Fortune Cesi. 
 
 VARIOUS BATTLE PIECES. 
 
 828-837. Various Battle Pieces. Series of 10 plates, including fron- 
 tispiece. h. 3-rV in. ; w. 7^ in. Numbered 1 to 9 
 Dedicated by Tempesta to Pietro Strozzi. 
 
 838-847. Various Battle Pieces. Series of 10 plates, h. 3-^ in. ; w. 
 
 10 in. Numbered 1 to 10. Dedicated by Tempesta to 
 Theophilus Torri. Rome. 1599. 
 
 848-855. Various Battle Pieces. Series of 8 plates, not including 
 frontispiece, h. 8t% in . ; w. I2 X 3 X in- Two plates are 
 marked in the margin “Jacobo Kinig Germano, artis 
 in aes incidendi studioso, atque promotori Nicolaus van 
 Aelst Belga hoc Antonii Tempestae opus lubens dedi- 
 cauit. Romas. 1601. 55 The remainder marked with 
 the name of Tempesta. On the frontispiece is a dedi- 
 cation by Tempesta to the Duke de Gallese. ( See 
 
 Note 1.) 
 
 PROCESSIONS AND CEREMONIES. 
 
 856. Catafalque for a Grand Duke of Tuscany, h. 8 in. ; w. 6 in. 
 
 On each side is a large candelabrum, and two plaques 
 suspended one over the other on the wall. Un- 
 marked. 
 
 857. Order of Procession for the Entry of an Ambassador into 
 
 Rome. Four plates, numbered, to form one frieze. 
 h. i-^j- in. ; w. 16^ in. Marked “ Ordine che si tiene — 
 Ant. Tempesti, 55 &c. They are engraved on the same 
 plate, one above the other. Dedication by Giuseppe de 
 Rossi to Vaiovai, Prefect of Rome. 1632. 
 
 858. Order of the Procession attending the Turkish Sultan. Five 
 
 plates, to form one frieze, h. 2-ff in. ; w. 16-^- in. Num- 
 bered 1 to 5. Marked “ Ordine que tiene il Gran Turco 
 quando caualca. 55 — “Ant. Temp. 55 &c. Later prints are 
 marked also “ Ciartres. 55 
 
ENGRAVED WORKS OF TEMPESTA. 37 
 
 859. Order of the Procession when the Pope, after his Accession, 
 
 goes to the Church of St. John Lateran at Rome. 
 h. 13-Ar in. ; w. 19 in. Unmarked. Inscribed “ La 
 cavalcatura con le sue ceremonie,” &c. 
 
 860. The same ceremony in seven plates, comprising one frieze. 
 
 h. 3-^ in. ; w. 16 in. Numbered 1 to 7. Inscribed 
 “ Ordine della cavalcata,” &c. Marked “ Ant. Tempesti ” 
 on one plate. Later prints marked “ Ciartres.” 
 
 861. Order of March for the Entry of Pope Clement VIII. into 
 
 the town of Ferrara in 1598. Two plates joined. 
 h. 14-^ in. ; tv. 20 in. Marked “ Antonius Tempesta 
 in. et sculp. Romse. 1598.” Joseph de Rubeis junior 
 formis. Inscribed “ vero disegno,” &c. 
 
 862. The Ceremony of the Exhibition of the Holy Sudarium in 
 
 the square before the Turin Town hall. h. I5 X V in. ; 
 tv. 23 in. Marked “Antonius Tempesta fecit.” 
 
 The first proofs of this plate have the two figures of Christ on the 
 winding-sheet, printed from a wood block. 
 
 VARIOUS ANIMALS. 
 
 863-886. Horses in various attitudes. Series of 24 plates, h. 1-^- in. ; 
 
 tv. 2-Ar to 2 -j% in. Unmarked, but designed and engraved 
 by Tempesta. 
 
 887-914. Animals of various kinds. Series of 28 plates, h. i-A in. ; 
 
 tv. 2 x s t in. Unmarked, but designed and engraved by 
 Tempesta. 
 
 915-940. Fights between various Animals. Series of 26 plates, in- 
 cluding frontispiece, h. 3iV in. ; w. 4^ in. On the 
 frontispiece is a dedication by Tempesta to Neri Dra- 
 gomanno. 1600. h. yg? in. 
 
 941-968. Horses of various countries. Series of 28 plates, h. 4 XX in. ; 
 
 w. 6 in. Numbered 1 to 28. Preceded by a frontispiece 
 marked “ Anto. Tempe. Florent. invent, et incidit, 
 
 an. 1590,” and by a leaf containing a dedication by 
 Julius Roscius Hortinus to the Duke of Bracciano. 
 
 * Altogether thirty leaves. 
 
 N.B. See No. B, Additional List at the end. 
 
38 CATALOGUE OF THE 
 
 969-990. Birds of various kinds. Series of 22 plates, h. 6^ in. ; w. 
 about 5 in. 
 
 These 22 plates form part of a series of 71, among which 38 are 
 engraved with the graver by Fr. Villamena, some etched with acid by 
 J. Maggi, and the others by Tempesta, who designed the whole series. 
 The names of the birds and the number of the plates engraved by 
 Tempesta are given below. Some only are numbered. 
 
 ( 969 ). 
 
 (970.) 
 
 (97i.) 
 
 (972.) 
 
 (973-) 
 
 (974.) 
 
 (975-) 
 
 (976.) 
 
 (977-) 
 
 (978.) 
 
 (979-) 
 
 (980.) 
 
 (981.) 
 
 (982.) 
 
 (983.) 
 
 (984.) 
 
 (9850 
 
 (986.) 
 
 (9870 
 
 (988.) 
 
 (9890 
 
 (990.) 
 
 Fresone, 59. 
 
 Passera montanara, 61. 
 Fringuellina. 
 
 Merlo. 
 
 Gennara. 
 
 Fagiano, 43. 
 
 Tortora. 
 
 Upupa. 
 
 Storno. 
 
 Passero nostrale. 
 Franguello nostrale, 46. 
 Passaro matusino, 56. 
 Ziolo, 55. 
 
 Verzellino. 
 
 F anello. 
 
 Strillozzo, 57. 
 
 Passero solitario. 
 
 Coda rosso. 
 
 Papagello. 
 
 Cardello. 
 
 Vccello della Madonna, 60. 
 Ladola nostrale. 
 
 (See Notes 12 and 13.) 
 
 HUNTING PIECES. 
 
 991-1014. Various Methods of taking Birds used for the Chase, and 
 training them. Series of 24 plates, h. 7-^ in. ; w. 
 5t% in. Unmarked. 
 
 It is possible that these plates belong to the series numbered in this 
 list 969-990. Some are numbered in the same manner. 
 
ENGRAVED WORKS OF TEMPEST A, 39 
 
 1015-1026. Hunting Scenes. Series of 12 plates, including frontis- 
 piece. h. 3 in. ; w. 4-£r in. Frontispiece rather 
 larger". The frontispiece represents Pallas and Fame, 
 and the arms of Neri Dragomanno, to whom Tem- 
 pesta dedicates the work. 
 
 1027-1074. Hunting Scenes. Series of 48 plates, comprising frontis- 
 piece and a leaf containing the dedication, h . 3-^ in. ; 
 
 • w. 5 -rV in. The frontispiece contains various animals, 
 and the inscription “ Primo libro di Caccie varie 
 intagliate per mano di Antonio Tempesta in Roma, 
 appresso Andrea Vaccario,” &c. The dedication is 
 addressed to Cerasiotes by Giovanni Orlandi. 
 
 1075-1104. Sporting Scenes and Fights between Animals. Series of 
 30 plates, including frontispiece, h. 3-^ to 3-^ in. ; 
 w. 5t%- to 5-ririn. The frontispiece represents ap- 
 pliances of the chase, and is inscribed, “ Venationes 
 ferarum, avium, piscium,” &c. — “Joannes Orlandus 
 formis, Romae, 1602.” Dedicated by Tempesta to 
 Antonio Ubertino. 
 
 1105. A Chase of various Animals. Engraved from an antique 
 cornelian from the cabinet of P. Stephanoni. h. in. ; 
 w. 5-rVin. Unmarked. Inscribed, “ Corneola haec 
 eximie,” &c. 
 
 1106-1120. Various Hunting Scenes. Series of 15 plates, h. 3-^ in. ; 
 
 w. 5-^ in. Nambered 1 to 15. Preceded by a fron- 
 tispiece representing the arms of Neri Dragomanno, 
 supported by a lion and tiger. Dedicated to Drago- 
 manno by Tempesta. 1598. 
 
 1121-1132. Various Hunting Scenes. Series of 12 plates, including 
 frontispiece, h. 4^ in. ; w. 7-rs-in. The frontispiece 
 represents the skin of a lion stretched between two 
 trees. Dedicated by Tempesta to Giacomo Sene- 
 sio — “ Cesari Crapanica forma in Roma.” Date 
 1598. 
 
 11 33 11 39- Various Hunting Scenes. Series of 7 plates, h. 6 T 3 T to 
 7 in. ; w. 9 x 8 t to 10 in. Marked in the margin 
 of each, “Ant. Tempesta invent, et sculp.,” and 
 “ F. L. D. H. Ciartres excudit,” &c. Numbered 
 
40 
 
 CATALOGUE OF THE 
 
 i to 7. There are proofs before the numbers were 
 added. 
 
 It is probable that an eighth piece of this series exists, intended as 
 a frontispiece. 
 
 1140-1147. Various Hunting Scenes. Series of 8 plates, h. to 
 644 in. ; w. io-jV to 10-^ in. Numbered 1 to 8, 
 and preceded by a frontispiece representing two 
 hunters seated near their horses. It bears the 
 address, “ Calistus Ferrante for.,” &c. Dedicated by 
 Tempesta to Giovanni Leoncini, 1609. 
 
 In later editions, the address, Calistus Ferrante, is suppressed, and 
 “ Dom. de Rossi ” inserted. 
 
 1148-1157. Various Hunting Scenes. Series of 10 plates, including 
 frontispiece, h. -A in- ; w. io T V to io-£r in. The 
 frontispiece represents the arms of the Duke Charles 
 de Valois, with Diana, &c., and animals. Dedicated 
 to the duke by Vivot, the celebrated connoisseur. 
 1621. 
 
 Later copies are marked, “ Invent^ et grav£ par A. Tempesta. — A 
 Paris, chez N. Bonnart k l’Aigle.” These last are very bad prints. 
 
 1 1 58-1161. Various Hunting Scenes. Series of 4 plates, h. to 
 844 in. ; w. 12 in. 
 
 (1158.) A Bear Hunt. Marked “Antonio Tempesta in- 
 uen. et f., 1599,” and the publisher’s name, 
 Andrea Vaccario. Dedicated to Giacomo 
 Sannesi. 
 
 (1159.) A Chamois Hunt. Dedicated by Tempesta to 
 G. Sannesi. 
 
 (1160.) The Return from the Chase. Same dedication. 
 
 (1161.) A Stag Hunt. Marked “Anto. Tem.” 
 
 1162-1163. Two Hunting Scenes. 2 plates, h. 9Ain. ; w. 141% in. 
 
 (1162.) A Stag Hunt — a Lady is seated beside a river. 
 
 (1163.) A Double Hunt — on the left a Bear Hunt; on 
 the right a Stag Hunt. 
 
 Both marked “Ant. Temp, inuen. et incid.” 
 
 With Latin inscriptions and the arms of Neri Dragomanno, and 
 dedication to him. 
 
ENGRAVED WORKS OF TEMPEST A. 
 
 4i 
 
 1164. A Hunting of Birds, h. i3 T 4 T in. ; w. 17^ in. A horse- 
 
 man carrying a falcon, accompanied by a man with 
 a crossbow. Marked “Ant. Te. f.” 
 
 1165. A Wild Boar, Bear, and Stag Hunt. h. 13-rV in. ; 
 
 w. 17-rVin. Marked “Antoni. Tempest, feci.,” and 
 in margin, “ Nicolo van Aelst formis Romas. 1 599.” 
 
 Later copies have “Joseph de Rubeis junior formis Romas,” instead 
 of Van Aelst. ( See Note 1.) 
 
 1166. A Fishing Scene — in front, at the left, two men load a 
 
 cart-horse, h. I 3 T V in. ; w. 1 7-V- in. Blank space for 
 arms. Unmarked. 
 
 1 167. Two Horsemen hunting a Stag — at right a boar hunt, and 
 
 in the distance bear and wolf hunting, &c. h. 13-rV in. ; 
 w. UiVin. Marked “ Antoni. Tempest, fecit.” En- 
 tirely retouched with the graver. 
 
 1168. Stag and Boar Hunts — a horseman points towards a stag 
 
 attacked by dogs and turns his head towards a hunter 
 on foot. h. 13-Ar in. ; w. i 7 tt in. Unmarked, and 
 without any inscription. 
 
 1169. Hunters pursuing Two Stags and a Wild Boar, which 
 
 cross a river, h. 1 5 in. ; rw. 19-Vin. Marked “Ant. 
 Tempest, inu. et fecit,” — “ Romae Joseph de Rubeis 
 iunior formis.” Dedicated by Tempesta to Lucas 
 Cavalcante. 
 
 The first proofs have “ Nicolai van Aelst formis ” in place of “ Jos. 
 de Rubeis.” (See Note 1.) 
 
 1170. Hunting Scene — at the left a horseman carries a hawk, 
 
 and near him is a lady. h. 1 5 X 8 T in. ; w. 20 in 
 Dedicated by Tempesta to Count Perenotto Gran- 
 vellano. 
 
 1 17 1. A Lion Hunt. h. 1544 in. ; w. 20-^ in. Marked “Anton. 
 
 Tempes. in. et fecit.” Dedicated by Tempesta to 
 Marcel Buontempi. 
 
 Later prints have “ Andrea Vaccario forma in Roma.” 
 
 G 
 
42 
 
 CATALOGUE OF THE 
 
 LANDSCAPES. 
 
 1 172-1181. Various Landscapes, with figures. Series of 10 plates. 
 
 h. 4 T 7 T in. ; w. 6 x Vin. Date, 1592. These plates are 
 numbered 1 to 10, and are marked with the letters 
 S. F. R., which stand for u Statii Formis Romae.” 
 
 (1172.) A Man chatting with two Women near a fire at 
 the foot of a rock. 
 
 (1173.) A Stream, on the banks of which is a horseman 
 at the left, and two oxen at the right. 
 
 (1174.) A F ountain in the court of a great palace. Marked 
 “ Joannis Orlandi for. 1598.” 
 
 (1175.) Landscape, with a waggon loaded with casks 
 drawn by two horses galloping. Dated 1592. 
 
 ( r 1 76.) Another, with a horseman going towards the gate 
 of a town on the left, accompanied by a man on 
 foot carrying a hare. 
 
 (1177.) A Stream in a Wood, on the banks of which, at 
 the left, are a stag and hind, and at the right a 
 hunter and his dog. 
 
 (1178.) Landscape, with two Fowlers at right. Dated 
 1592. 
 
 (1179.) Another, with a Peasant loading his Ass with 
 fagots, at the right. 
 
 (1180.) Another, with a high mountain, and at the right 
 two Capuchins driving an Ass carrying a 
 load. 
 
 ( 1 1 8 1 .) View of a Town on a River, with two Fishermen 
 in a boat drawing their net. Marked “ An- 
 tonius Tempest, in. et fecit.” 
 
 1 1 82. Landscape with two Shepherds, one playing the bagpipes, 
 
 the other sleeping, h. 6-1% in. ; w. 9 T Vm- Marked 
 “Anton. Tempesta inuent. fecit.” — “Crist, bianco 
 F or.” 
 
 1183. Landscape, with a Horseman galloping and sounding a 
 
 horn. h . 6^ in. ; w. 9-/^ in. Marked “ Antonius 
 
 Tempesta inuent. fecit.” — “ Christoforo bianco Formis 
 Romae.” 
 
ENGRAVED WORKS OF TEMPESTA. 43 
 
 1184. Landscape, with a Man leading a Mule loaded with a sack. 
 
 h. 6 T Vin. ; w. 8-^ in. Marked “Anton 8 Tempesta 
 inu. fecit.” — “ Ch. Bla. For. Romae.” 
 
 1185. Landscape, at the left a Man and Woman eating. 
 
 h. 6 T Vin. ; w. 8-^ in. Marked “ Anton 8 Tempesta in- 
 uent. fecit.” — “ Cristof. bianco formis.” 
 
 1 1 86. Landscape, with a Cavalier and Lady, accompanied by 
 
 huntsmen and dogs. h. 6 T Vin. ; w. 8fVin. Marked 
 “ Ant 8 Tempesta fecit.” — “ Crist, bianco For.” 
 
 1187. Landscape, with a Man watering his Horse, h. 6 T r vin. ; 
 
 w. 9 in. Marked “ Anton 8 Tempesta inu. fecit.” — 
 “ C. B. formis Romae.” 
 
 VARIOUS SUBJECTS. 
 
 1188-1207. Illustrations to Tasso’s “Jerusalem Delivered”; head- 
 pieces, one for each canto. Series of 20 plates. 
 h. 2-f^-in. ; w. i-^in. These are preceded by a frontis- 
 piece engraved by an unknown hand, inscribed “ II 
 Gofifredo avero Gerusalemme liberata del sig. Tor- 
 quato Tasso. — In Roma appresso Gio. Angel. Ruffi- 
 nelli. 1627.” 
 
 N.B. — These plates possibly form a later edition of the work 
 mentioned in the Additional List, No. I. 
 
 1208-1227. Illustrations to Tasso’s li Jerusalem Delivered”; head- 
 pieces for each canto. Series of 21 plates, including 
 frontispiece, h. 4^ in. ; w. 6 T 8 T in. Numbered 1 to 
 20. In the margin, at the bottom of each plate, are 
 eight Italian verses, except No. 3, where the verses 
 are above. The frontispiece contains a dedication 
 by Tempesta to Prince Thaddeus Barberini. These 
 designs are not similar to those last mentioned. 
 
 N.B. — These plates, or those following, Nos. 1228-1247, are possibly 
 the originals of those mentioned in the Additional List, No. H. 
 1228-1247. Illustrations to Tasso’s “Jerusalem Delivered”; head- 
 pieces for each of the cantos. Series of 20 plates. 
 h. 10 in. ; w. 7-^ in. These designs are not similar 
 to either of the two sets mentioned above. Numbered 
 
44 
 
 CATALOGUE OF THE 
 
 i to 20. Each plate has a border, and at the top a 
 cartouche bearing eight Italian verses. 
 
 N.B. — See note to the preceding series, 1208-1227. 
 
 1248-1267. Various Sacred Emblems. Series of 20 plates, h. 3^2- in. ; 
 
 w. 244 in. Preceded by a frontispiece, h. 444 in. ; 
 w. 244 in. Inscribed, “ Emblemata Sacra S. Ste- 
 phani Caelii montis inter coluniis {sic) affixa. — Studio 
 et opera Julii Roscii Hortini. Ant. Tern, incidit. 
 CID.ID.XXCIX.” 
 
 1268-1328. Devices, of which the subjects are drawn from the arms of 
 the Borghese family. Series of 61 plates, h. 244 in. ; 
 w. 344 m. 
 
 I 3 2 9 _I 33 2 * The Four Ages of the World. Series of 4 plates. 
 
 h. 744 in. ; w. 1 2-Ar in. Each marked with Tem- 
 pesta’s name. The first “ astas aurea ” is also 
 marked “ Nicolo van Aelst formis Romae, 1590.” 
 {See Note 1.) 
 
 I 333~ I 345- The Months, represented by the various occupations of 
 men. Series of 13 plates, including frontispiece. 
 h. 7 in. ; w. io^Vto 10^ in. Dedicated by Tempesta 
 to Cardinal Aldobrandini. 
 
 1346-1357. The Months. Series of 12 plates, h. 4,%-in. ; w. 6^3- in. 
 
 Each marked with the name or mark of Tempesta. 
 The subjects are differently treated to the last. Each 
 has the sign of the Zodiac at the top, and the name 
 of the month in Latin. 
 
 1 358- 1 369. Grotesque representations of the principal Heroes and 
 Heroines of Rome. Half-length, in cartouches. Series 
 of 12 plates, h. 5 x Vin. ; w. 4 in. 
 
 1370. The Ceremonies of a Marriage as observed among the 
 
 Romans, with the accompanying sacrifices, from 
 an antique bas-relief, h. 4-j%-in. ; w. 134^ in. Un- 
 marked. 
 
 1371. Bust of a man in profile, turned to the left. h. 7-A- in. ; 
 
 w. 5 A? in. Inscribed in margin, “ Canossiae familiae 
 nobilissimo stipiti Michaelangelus Bonarotus deline- 
 abat. — Ant. T. inc. 1613.” {See Note 14.) 
 
ENGRAVED WORKS OF TEMPEST A. 45 
 
 1372. Bust of a Woman in profile, turned to the right, h. 7 T 0 T in. ; 
 
 w. 5-fV in. Inscribed in margin, “ Michaelangelus 
 Bonarotus inuen. — Ant. T. inc. 1613.” {See Note 14.) 
 
 1373. Men and Women drinking in a Cave filled with casks of 
 
 wine. h. 9-rV in. ; w. 7-^ in. Marked in margin, 
 “ Nicolai van Aelst formis.” {See Note 1.) 
 
 This print was both designed and engraved by Tempesta. 
 
 1374-1377. Grotesque figure-pieces. Series of 4 plates. h. 5 A in. ; 
 w. 4-nj-in. Unmarked. 
 
 (1374.) A Concert of Instrumental Music. 
 
 (1375.) A Dance. 
 
 (1376.) A Vocal Concert. 
 
 (1377.) A Repast. 
 
 1378-1387. Various designs of Grotesques. Series of 10 plates. 
 
 h. 6^ in. ; w. 5 T 4 T in. Numbered 1 to 10. Each has 
 the mark of Tempesta. 
 
 There is a frontispiece, h. 6 X %- in. ; w. 4-^ in. — inscribed, 
 “ Esemplare del Disegno ” — “ posto in luce nouamente 
 da Giouanni Orlando Romano a Pasquino. 1609.” 
 Dedicated by Orlando to Prince Colonna. 
 
 1388-1427. History of the Seven Children of Lara. Series of 40 plates. 
 
 h. 5t 6 x in. ; w. 7-^- in. Engraved from the designs of 
 Otho van Veen (Otho Venius). Numbered 1 to 40. 
 Explanations in Spanish and Latin. {See Note 6.) 
 1428-1442. The History of the Institution of the Military Order in- 
 stituted by the Emperor Constantine under the pro- 
 tection of St. George. Series of 1 5 plates, h. 6-^ in. ; 
 w. 4-£j- in. 
 
 (1428.) Frontispiece, inscribed “Isagogica historia de 
 Constantino max. imperatore instatuta {sic) mili- 
 tiae angelicae aureatse constantinianae sub titulo 
 magni martyris S. Georgii.” 
 
 (1429.) The Collars of the Order borne in the air by an 
 angel. 
 
 (1430.) The Archangel Michael fighting a dragon. 
 
 (1431.) The Equestrian Statue of the Emperor Con- 
 stantine. — “ Hoc salutari signo,” &c. 
 
4 6 CATALOGUE OF THE 
 
 (1432.) Portrait of the Emperor in his youth, and another 
 when older ; from antique monuments. 
 
 (1433.) That of the Empress St. Helen. 
 
 (1434.) The Arms of the Flavian family between two 
 statues of the Emperor. 
 
 (1435.) The Robes of the Knights of the first, second, 
 and third rank. 
 
 (1436.) The Emperor and the Apparition of the Cross. — 
 “ Prima visio divinitus,” &c. 
 
 (1437.) The second Apparition. — “ Secunda visio Con- 
 stantino max.,” &c. 
 
 (1438.) The third Apparition. — “ Tertia visio Constantino 
 Imp.” &c. 
 
 (1439.) Constantine creating the new Knights. — “ Con- 
 stantinus Max. Imperator Equites,” &c. 
 
 (1440.) The Finding of the true Cross. — “ Crucis Christi 
 inventio,” &c. 
 
 (1441.) Heraclius bearing it in triumph. — “ Crux Christi 
 in pristinum,” &c. 
 
 (1442.) St. George and the Dragon. — “ S. Giorgius militiae 
 Constantinianas,” &c. 
 
 1 443- 1 45 1. The nine principal Churches in Rome. Series of 9 plates. 
 h . 14-^- in. ; w. 19-^ in. Date, 1600. 
 
 (1443.) The Church of St. Peter in the Vatican. — “ Novem 
 ecclesiae urbis una cum principalibus reliquiis, 
 stationibus et indulgentiis.” 
 
 (1444.) The Church of St. John Lateran. “ Benedictio 
 Pontificiae Lateranensis Romae. San Giovanni 
 Laterano Basilica.” 
 
 (1445.) The Church of St. Mary the greater. — “S. Maria 
 Maggiore Basilica.” 
 
 (1446.) The Church of St. Mary of the three Fountains. 
 
 — “ S. Maria Santi Vincentio et Anastasio alle 
 tre fontape, ouero all’ aqua Salvia.” 
 
 (1447.) The Church of St. Paul. — “ S. Paolo Basilica.” 
 
 (1448.) The Church of St. Lawrence beyond the walls. — 
 “ S. Lorenzo fuor delle mura.” 
 
ENGRAVED WORKS OF TEMPEST A. 47 
 
 (1449.) The Church of St. Sebastian in the Appian Way. 
 — “ S. Sebastiano nella via Appia.” 
 
 Two states of this print : — 
 
 1 st. The fagade of the church has a pediment 
 pierced by three windows. The words, “ Nella 
 via Appia ” are engraved below the word “ S. 
 Sebastiano.” Marked “ Nic. van Aelst..” 
 
 2nd. The fagade has a storey pierced with 
 three windows, surmounted by a small pediment 
 with a cross at the top. The words, “ Nella via 
 Appia” are placed at the side of the word “ S. 
 Sebastiano.” Marked “ J. J. de Rossi.” Dated 
 1650. ( See Note 1.) 
 
 (1450.) The Church of the Cross at Jerusalem. “ S. Croce 
 in Hierusalem.” 
 
 (1451.) The Church of 
 
 N.B. Bartsch had never seen the ninth plate of the series, and leaves 
 the name blank. 
 
 1452. View of the Vineyard of the Grand Duke of Tuscany. 
 
 h. 14 in. ; w. ig-g? in. Inscribed, “ Disegno et sito 
 del suntuoso giardino et palazzo adornato con diverse 
 statue antiche del Ser n, ° gran duca di Toscana nel 
 monte Pincio.” 
 
 1453-1459. The Seven Wonders of the World. Series of 7 plates. 
 
 h. 7-Ar im ; w. 10 in. Numbered 1 to 7. This series 
 is preceded by a frontispiece, which is inscribed “ Sep- 
 tem orbis admiranda — Romae, anno CID.IOC.IIX. 
 — Venduntur Antverpiae apud Jo. Bap tam Vrintium/ 
 Dedicated by J. B. Vrint to Charles, Duke de Croy, 
 Prince of Chimay. 
 
 (1453.) The Statue of Jupiter Olympus. 
 
 (1454.) The Colossus of Rhodes. 
 
 (1455.) The Temple of Diana at Ephesus. 
 
 (1456.) The Walls of Babylon. 
 
 (1457.) The Tomb of Mausolus. 
 
 (145S.) The Pharos of Alexandria. 
 
 (1459.) The Pyramids of Egypt. 
 
 Later copies have “Venduntur Antverpiae apud Franc, van den 
 Wyngaerde ” instead of J. B. Vrint’s name. 
 
48 
 
 CATALOGUE OF THE 
 
 1460. Plan of Rome, in ‘twelve leaves, to form one plate. Each 
 
 leaf is h. 19^- in., and w. I4i£ in. Inscribed, “Recens 
 prout hodie jacet almae urbis Romae,” &c., and “Anto- 
 nius Tempesta florentinus invenit, delineavit et incidit. 
 Anno MDCVI.” “ Romae,” &c. Dedicated by J. D. 
 de Rubeis to Cardinal Pamphili. 
 
 1461. Plan of Ancient Jerusalem, as it was in the time of Christ, 
 
 in four leaves to form one plate. Each leaf is h. 
 i5 T Vin., and w. 21 in. Inscribed, “ L’Antichissima 
 citta de Gierusalemme come era,” &c. Marked “ Anto- 
 nius Tempesta fecit.” — “Andrea Vacchario Stampa 
 in Roma alia zeccha vecchia.” 
 
 ADDITIONAL LIST. 
 
 The words Uni. Cat. are used for the Universal Catalogue of Books 
 on Art (under revision), 1870. Where these are used, this is the 
 authority for assigning the work to Tempesta. 
 
 The other contractions used are, — Bodl., Bodleian Library ; B. M., 
 British Museum ; S. K., South Kensington Museum ; Cicogn., Count 
 Cicognara’s Collection, and designate the libraries in which the works 
 are found. 
 
 A. — Sedici Cavalli in varie mosse incisi da Giuseppe Rossi Vicentino. 
 
 8vo. N. p., n. d. Cicogn. 
 
 Uni. Cat. 
 
 B. — Serie di Cavalli in varj movimenti : 30 tavole. Dedicate al Duca 
 
 di Bracciano. 4to. N. p.1590. Cicogn. 
 
 Uni. Cat. 
 
 N.B. This is probably the series numbered in Bartsch 941-968, 
 although the title does not correspond. Possibly both descriptions 
 contain only a part of the full title of the work. 
 
 C. — Figurae Biblicae. AT. Obi. 8vo. (Rome? 1590.?) B. M. 
 
 Uni. Cat. 
 
ENGRAVED WORKS OF TEMPEST A. 49 
 
 D. — II primo e il secondo libro delle Caccie intagliatc per man o di 
 
 AT. Fifty plates. 8vo. Roma. 1598. Cicogn. 
 
 Uni. Cat. 
 
 E. — Nova Raccolta de li animali disegnati et intagliati di AT per 
 
 Gio. Domenico Rossi. 4to. N. p. (1660?) B. M. 
 
 Uni. Cat. 
 
 F. — Metamorphoseon sive Transformationum Ovidianarum, &c. 
 
 ^Eneis formis ab Antonio Tempesta. 
 
 Edition h Fr. Bardi. i2mo. N. p., n. d. Bodl. 
 
 Uni. Cat. 
 
 Another edition, h W. Barr. 4to. N. p., n. d. Bodl. 
 
 Uni. Cat. 
 
 N.B. These are later editions of the series, numbered in Bartsch 
 638-787. 
 
 G. — Metamorphoses, iconibus representatse Ant. Tempesta inventore. 
 
 With plates. 4to. Parisiis : Monurnet. N. d. Uni. Cat. 
 N.B. The illustrations in this work are probably engraved after the 
 series numbered 638-787 in Bartsch. 
 
 H. — La Gerusalemme Liberata di Torquato Tasso con la vita del 
 
 medesimo argomenti incisa ne’ rami del Tempesta. 
 
 Twenty plates. Fol. Urbino. 1735. S. K. 
 
 Uni. Cat. 
 
 N.B. These plates are possibly from the designs series 1208-1227 
 or 1228-1247 in Bartsch. 
 
 I. — II Goffredo con le figure in rame del Tempesta. i2mo 
 
 Roma. 1607. B. M. 
 
 Uni. Cat. 
 
 Repeated with the same illustrations. i2mo. Roma. 
 1621, 1646, 1657. Uni. Cat. 
 
 N.B. The 1607 edition is probably the first edition of the series of 
 designs numbered in Bartsch 1188-1207. 
 
 J. — II Goffredo con gli figure intagliate in rame dal Tempesta. i2mo 
 Roma. 1657. Uni. Cat. 
 
 N.B. These plates are possibly those mentioned No. I, as repeated 
 in 1657. 
 
 H 
 
50 CATALOGUE OF THE 
 
 K. — La Gerusalemme Liberata, tradotta in Lingua Bolognese da 
 
 G. F. Negri. Canti XIII. con annotazioni, e con le figure del 
 Tempesta. Fol. Bologna. N. d. B. M. 
 
 Uni. Cat. 
 
 L. — The Defeat of the Ammonites by Jephtha. h. 74- in. ; w. 104^ in. 
 
 Marked “ A. Tempeest. (sic) inven.” — “ C. Ryckemans schulp.” 
 “ Visscher excud.” 
 
 Inscribed in the margin — 
 
 “ Ammonium in Regem consurgens tristibus armis 
 “ Mispas Castra locans, cogit ad arma viros 
 “ Post votum fugat Ammonios, urbesque viginti 
 “ Occupat, et victor fortia regna premit. 
 
 “Judges, cap. 11, ver. 32.” 
 
 Numbered in the margin 3. 
 
 This plate is one of a series of six illustrating the story of Jephtha. 
 The other five plates are designed by P. de Jode. Numbered in the 
 margin 1 to 6. 
 
 In what form these prints originally appeared is not certain. They 
 are included in a collection of engravings entitled “ Theatrum Bibli- 
 cu'm, hoc est Historiae,” &c., published by Nicolas Johannis Piscator 
 (Nicholas John Visscher), 1650, and containing several hundred 
 engravings, the plates of which he had obtained. (See Notes 10 
 and 15.) 
 
 M. — The Attack on Rome by Charles Duke of Bourbon, h. 1 1^ in. ; 
 
 w. 164^ in. Marked “ Anton. Tempest, invent.” — “ C. Boel 
 incidit.” Numbered in the margin 2. Inscribed in the margin — 
 
 “ Milite Caesareo, Borbonius occupat Heros 
 “ Magnanimus magni Capitolia celsa Quirini 
 “ At fidens armis, <ium moenia scanderet Urbis 
 “ Concidit, heroes sic, sic ire per umbras.” 
 
 • 
 
 This plate is doubtless one of the series of eight prints designed by 
 Tempesta, and engraved by Cornelius Boel, of the battles of Charles V. 
 and Francis I. (See Note 16.) 
 
ENGRAVED WORKS OF TEMPEST A. 51 
 
 WOOD ENGRAVINGS. 
 
 N.— Illustrations to the Four Evangelists. Series of 149 plates, many 
 of them repeated more than once. h. 344 to 4 in. ; w. 4-i-g to 
 5 in., including marginal lines. Designed by Tempesta. Some 
 marked with his monogram, and cut by various hands ; some 
 by an engraver using the initials L. P. 
 
 These plates appear as illustrations to an Arabic edition of the four 
 Evangelists, and also an Arabic and Latin edition, and are fully 
 described in the Introduction, and reproduced on a slightly reduced 
 scale. 
 
NOTES TO THE CATALOGUE. 
 
 Note i. 
 
 Nicolas van Aelts (or Aelst) was born in Brussels, about 1527, and carried on 
 the business of print-selling in Rome from about 1550 to 1600. He frequently, as. 
 in this case, inserted his own name as publisher, sometimes omitting the engraver’s 
 name altogether. Heineken notices a set of 12 plates of birds engraved by him. 
 If these dates are correct, Van Aelst must have been an old man in 1613. — (Bryan.) 
 
 Note 2. 
 
 Pietro Stefanoni was a publisher, and also an engraver. He lived about 1620. 
 His mark as an engraver was usually P. S. F. — (Bryan.) 
 
 Note 3. 
 
 Natalis Bo us probably is the mark of Natalis Bonifaccio or Bonifazio, who 
 worked as an engraver about 1590. His works are usually etchings executed in a 
 free, spirited style. On some of his engravings he has signed his name, Natalis 
 Bonifacius Sibenicensis. — (Bryan.) 
 
 Note 4. 
 
 Bartholomew Sprangher was born at Antwerp, in 1546. He received his art 
 education in the Low Countries. He afterwards travelled through France to Italy, 
 where he remained some years. He went to Vienna in 1575, and was ennobled by 
 the Emperor Rodolphus II. in 1588, He died at Prague about 1628. 
 
 His design is mannered and constrained, and his attitudes affected and unnatural. 
 However, his imagination was ready and inventive, his composition rich, and his 
 execution facile. He occasionally etched in a slight but masterly style. — (Bryan.) 
 
 Note 5. 
 
 Baptista Parmensis, the publisher of the plate catalogued No. 495, is mentioned 
 by Zani as Battista Pensieri da Parma. He was a designer, engraver, book- and 
 print-seller, and was born in 1530, or earlier. He chiefly resided at Rome. His 
 prints are engraved in a style resembling Cornelius Cort. — (Bryan.) 
 
if 
 
 NOTES. 
 
 53 
 
 Note 6. 
 
 Otlio Venius, or Otho van Veen, was of a- distinguished family of Holland. 
 He was born at Leyden, in 1556. His first masters were Isaac Nicolas and Jodocus 
 van Winghen. He went at an early age to Rome and became the pupil of Fcderigo 
 Zuccaro, and, after a residence of seven years, to Germany. Afterwards returning 
 to the Netherlands, he finally established himself at Antwerp, where Rubens was 
 his pupil. He held the office of principal painter to the Archduke Albert, and was 
 appointed Master of the Mint. He died in 1634. 
 
 His works exhibit a fertile and inventive genius ; his compositions are learned 
 and judicious, and his design more graceful and correct than that of his Flemish 
 contemporaries. His heads are graceful and expressive. He was one of the earliest 
 Flemish artists who showed a true knowledge of chiaro-scuro. He distinguished 
 himself in literature, and generally embellished his works with his own designs. 
 The Roman and Batavian war was an exception : here he only appears as the 
 author.— (Bryan.) 
 
 Note 7. 
 
 Jacques Callot was born of a noble family at Nancy, in Lorraine, in 1593. He 
 fled from home at the age of twelve, and, joining a company of gipsies, he found 
 his w r ay to Florence, where he was enabled to study drawing. He afterwards 
 stayed some time in Rome. After an absence he returned to Rome, and studied 
 drawing under Giulio Parigii, and engraving under Philip Thomasin. He soon 
 abandoned the graver for the etching-needle. He afterwards lived at Florence, under 
 the patronage of Cosmo II., then at Nancy, under that of Henry of Lorraine, and 
 in 1628 he went to Paris, and was employed by Louis XIII. His etchings number 
 upwards of 1,500, and display great fertility of invention and variety of style. His 
 best prints are those in which he has confined himself to small figures ; when he 
 attempted a larger scale, his style became heavy. The drawings of Callot are said 
 to possess even more spirit than his prints. The etchings of beggars are probably 
 the best-known works of Callot. 
 
 Raphael Sciaminossi, or Scaminossi, was born about 1570, and was still living in 
 1620. He was a native of Borgo S. Sepulcro, and a scholar of Raffaellino del Colie. 
 He was an historical painter of some merit, but is better known as an engraver. 
 He made a considerable number of etchings in a bold, effective style. His drawing 
 is tolerably correct. He marked his name on his plates sometimes Schiaminossi, 
 and also Sciamonossi. — (Bryan.) 
 
 Note 8. 
 
 Jacobus Laurus, or Giacomo Lauri, an engraver, was a native of Rome. In 
 1612 he published a set of prints entitled “Antiquae Urbis Splendor, &c.,’’ executed 
 with the graver in a poor style. — (Bryan.) 
 
 Note 9. 
 
 David Riccio de Volterre : this is probably meant for Daniello Ricciarelli, 
 generally known as Danielle di Volterra, who was born at Voltcrra circa 1491, 
 
54 
 
 NOTES. 
 
 and died in Rome in 1566. He studied painting under Razzi, and afterwards under 
 Baldassare Peruzzi. Afterwards settling at Rome, he was employed in the decora- 
 tion of the church of La Trinita da Monti. Assisted by the advice of Michael 
 Angelo, he painted there the celebrated picture of the “ Deposition from the Cross.” 
 He afterwards devoted himself to sculpture. He received a commission to execute 
 a bronze equestrian statue of Henry II. of France. The horse only was completed 
 in his lifetime ; but as he had left models for the figure, his executors offered to have 
 the statue finished. This was declined, and the horse, when it arrived in Paris, 
 was used for an equestrian statue of Louis XIII. His style, both in painting and 
 sculpture, was founded on that of his friend Michael Angelo, to whose instructions 
 he was much indebted. — (Vasari.) Tempesta probably made his engraving from 
 the original model or design. 
 
 Note io. 
 
 Peter dejode the elder, the son of Gerard dejode, an artist of Antwerp, was 
 born in 1570. His father was his first master, but he learnt engraving from Henry 
 Goltzius. He afterwards went to Italy for study. He returned to Antwerp about 
 1601. His drawing is very correct, and though his command of the graver is less 
 daring and bold than that of his instructor, he is less mannered and extravagant. 
 He died in 1634, leaving a son named after himself, who rose to still greater dis- 
 tinction as an engraver. — (Bryan.) 
 
 Note ii. 
 
 Giovanni di Bologna was born in Flanders, circa 1525. Early in life he settled 
 in Florence, where he studied sculpture and became the chief of a great school. His 
 style, founded on that of the later period of Michael Angelo, is grand and dignified, 
 although less pure and truthful than the productions of an earlier age. He 
 was a man of genius and of great industry, and, having numerous pupils, he has 
 left a vast number of works. He died at Florence in 1608. — (Italian Sculpture of 
 the Middle Ages, &c. : a descriptive catalogue, byj. C. Robinson, South Kensington 
 Museum. 1862.) 
 
 Note 12. 
 
 Francesco Villamena was born at Assisi, circa 15 66. His master is unknown. 
 He became eminent as a designer and engraver. His style of engraving is bold and 
 facile. His prints are clear, but wanting in power and knowledge of chiaro-scuro ; 
 his correctness of drawing, however, redeems his work. He died about 1626, leaving 
 as the result of his labours numerous prints. — (Bryan.) 
 
 Note 13. 
 
 Giovanni Maggi, a native of Rome, flourished circa 1600. The dates of his birth 
 and death are uncertain, but we have prints by him dated 1595 and 1618. He 
 painted landscapes and architectural views, but is best known as an engraver. He 
 sometimes marks his prints J. Maius. — (Bryan.) 
 
NOTES. 
 
 55 
 
 Note 14. 
 
 Michelagnolo Buonarroti (Michael Angelo) was born in 1474, of a noble family, 
 at Chiusi-e-Caprese, in Arezzo. When fourteen, he was placed to learn painting, 
 under the Ghirlandajos at Florence, and afterwards admitted to the School of 
 Sculpture established by Lorenzo the Magnificent, and of which the sculptor 
 Bertoldo was the chief. He died at Rome in the year 1564. 
 
 Note 15. 
 
 Nicholas John Visscher was an engraver and printseller residing at Amsterdam 
 about 1600. He etched, in a spirited and masterly manner, small landscapes, with 
 figures, &c. He also engraved several portraits. — (Bryan.) 
 
 Note 16. 
 
 Cornelius Boel, a Flemish engraver, born at Antwerp, about the year 1580. He 
 worked chiefly with the graver, in the style of the Sadelers, in whose school it is 
 probable he was instructed. His plates are executed in a clear, neat style, and 
 possess considerable merit. He engraved a set of oval plates for the fables of 
 Otho Venius, published at Antwerp in 1608. His most considerable works were 
 eight large plates of the battles of Charles V. and Francis I., after Antonio Tern pesta. 
 He was probably in England, as appears from one of his plates, the frontispiece to 
 a Bible, published by royal authority in 1611, which is signed, “ C. Boel fecit in 
 Richmond 1611.” We have also by him a portrait of Henry, Prince of Wales, and 
 a plate of The I*ast Judgment, signed, “Cornelius Boel." 
 
 Note 17. 
 
 In the description of the series of Illustrations to the life of Christ (Nos. 291 — 324), 
 the expression “grav4 au seul trait” is translated “engraved in a slight, masterly 
 manner, with an uncrossed stroke.” This form of expression is not to be found in 
 dictionaries, but the translation given in the text is the meaning it now bears : 
 formerly it had a different signification. It seems that it was used, at the time 
 Bartsch wrote, with reference to plates engraved in the style invented by Claude 
 Mellan. His manner of execution was to engrave with a series of parallel lines 
 without hatching, and to give the form, and light and shade, by thickening the lines 
 in parts and by deflecting them slightly. The best known engraving by M ellan was 
 a sudarium entirely engraved with a single spiral line, one end of which was on the 
 nose of Christ’s face, and the other at the edge of the plate. 
 
( 57 ) 
 
 liectori Jjfnlaralnco. 
 
 I NTER libros, qui duobus fere abhinc saeculis Romce 
 prodierunt ex amplissimo ac magnificentissimo Lin- 
 guarum exhoticarum Typographeo, quod hortante 
 Gregorio XIII. P. M. aere proprio extruxit Ferdinand us 
 Medices turn S. R. E. Cardinalis, Hie, qui pene ex oblivione 
 erutus nunc iterum Tibi, philarabice Lector, exhibetur, nihil 
 initio tulit praefixum in fronte, nec quidquam ad Eum prae- 
 fatus est Io. Baptista Raymundus, eidem Typographeo 
 Praepositus, & earundem Linguarum Interpres clarissimus. 
 Cujus omissionis ea turn ratio fuit, quia, ut ex monumentis 
 constat, in animo haberent alicui majorum Gentium Prin- 
 cipi dicare, eo consilio, ut pro Ecclesiae bono Linguarum 
 studium in Orbe Christiano promoveretur. Utilitates 
 enim longe maximae cum ad refutandos Infidelium errores, 
 & proferenda Religionis nostrae Pomeria, turn ad sensum 
 Scripturae penitus assequendum, ex hisce hauriuntur, quae 
 apud sexcentos hujus provinciae Scriptores fuse recen- 
 sentur ; & ego in Diatriba, quam inserui in mea versione 
 Kimchiani Commentarii ad Jesaiam, quae nunc proelum 
 exercet, exiguum aliquod specimen dedi pro assignando 
 etymo vocis adversus Hebraeorum commenta. Sed 
 quum jam e vivis excessisset, nullo superstite filio, Fran- 
 ciscus I., Magnus Etruriae Dux anno 15 87 , necesse idcirco 
 fuit, ut Frater ejus Ferdinandus relicta Purpura Floren- 
 tiam rediret ad capessendam Dominationem. Hinc minus 
 alacriter res procedere coepit, donee paulatim prorsus ab 
 excusione cessatum fuit, omneque consilium evanuit ; 
 siquidem plura magni momenti excudenda in promptu 
 erant Latina Toga donata, quae adhuc luce carentia in 
 insigni Laurentiana Bibliotheca hodie adservantur. Neque 
 verb hujus tarn praeclarae Officinae nomen ob id prorsus 
 
 I 
 
58 
 
 PREFACE OF MALANIMEUS. 
 
 interiit, etenim permansit in illis, quae deinceps Earn ex- 
 ceperunt, quae quidem fundamenta sua Huic referunt 
 accepta, quum ex ejusdem Instrumentis ac Cimeliis ha- 
 buerint initium. Ex quo facile intelligi potest, quanto 
 apparatu, quantaque rerum omnium copia instructa fuerit, 
 quandoquidem etiam hodierna die nulla cum Hac non 
 solum in characterum nitore, sed et in apparatu possit 
 comparari, sicuti fidem faciunt ii, qui alias conspexerunt. 
 Quam ob rem tanti aestimata fuit a subsequentibus 
 Principibus, ut pro eximio Regiae Magnificentiae monu- 
 mento habuerint : sic quum nonnullis justissimis de causis 
 distracta fuerit anno 1596, Cosmus II. conditoris filius, 
 omnem lapidem movit, ut rescinderetur Instrumentum, 
 cujus vi, regnante Patre, fuerat alienata, idque peractum 
 fuit anno 1610. Itaque in Mediceorum potestatem quasi 
 postliminio reversa, postea translata fuit Florentiam, et in 
 regio Gazophylacio Palatii veteris collocata, ubi omnino 
 confusa delituit, donee Cosmus III. arcessit e Monte 
 Libano Petrum Benedictum e Marotinarum Gente, qui 
 postea nomen Jesuitarum Familiae dedit, eique man- 
 davit, ut in ordinem redigeret ; qui quidem aliqua ex parte 
 digessit, majorem vero et praecipuam partem, prout erat, 
 reliquit. Denique, PETRUS LEOPOLDUS in humaniorum 
 Literarum instaurationem, quae semper in hac praeclaris- 
 sima Civitate, veluti propria sede, floruerunt, enixissime 
 incumbens, ea etiam, quae praefatus Benedictus reliqua 
 fecerat, jussit me, sane imparem, ad finem perducere ; ad- 
 ductus etiam assiduis Exterorum precibus pro uno'aut 
 altero istorum Exemplarium impetrando. Hisce igitur 
 absolutis, perspectoque defectu, quo Liber hie laborabat, 
 ne quid, quod ad ilium spectat, Lectorem philarabicum 
 latere t, de eo supplendo praecepit. At hujus consilii ea 
 potissimum ratio fuit, quia RELIGIOSISSIMUS PRINCEPS 
 omne regni sui decus ponit I v Trj tig to OeTov svasflsiy, hoc 
 est, in pietate erga Deum, ejusque Divinae Legis obser- 
 vantia, cujus studio Sapientia simul parabilis & Prudentia, 
 duo summae felicitatis sola et certissima instrumenta ; id- 
 circo voluit esse, qui Earn interpretarentur etiam Arabico 
 Idiomate, non admodum ab eo dissimili, quo tradita fuit 
 
PREFACE OF MALANIMEUS. 
 
 59 
 
 initio. Ita enim putavit SAPIENTISSIMUS PRINCEPS multb 
 facilius esse, mentem assequi, et judicia observat, summi 
 Legislatoris percipere, qui dicta factaque mortalium vicTet, 
 muneratur, ulciscitur : qua quidem in re genio subjectae 
 Sibi Gentis indulxit, quae semper solita fuit veritatcm ex 
 purioribus fontibus haurire. 
 
 Haec mihi subeunti jussa DOMINI MEI long& CLEMEN- 
 TISSIMI visum est supplementi loco adscribere, alias, ob 
 ingenioli mei tenuitatem, nunquam in eum me locum 
 adduci passus fuissem, ut huic Operi manus injicerem, 
 quod te, Amice Lector, monitum volo, ne me audaciae ac 
 temeritatis incuses. Quanto autem in pretio sint apud 
 Eruditos Libri, qui ex hac Officina prodierunt, jam gra- 
 vissimorum hominum judicio, immo unanimi omnium 
 consensu declaratum est. Quam ob rem in hac officii 
 mei parte diutius immorari opus non est : illud tantum 
 commemorabo, quod Exteri omnes uno ore fatentur, 
 majorem sibi comparasse gloriam Florentinorum Gentem 
 ob Arabicas, aliasque Orientes Literas, Italiae ac caeteris 
 Europae regionibus illatas, quam ob instauratas Graecas 
 et Latinas. Et re quidem vera praedictus Raymundus 
 “ exegit monumentum aere perennius, regalique situ Pyra- 
 midum altius” in concinnanda editione Avicennae ; cujus 
 etsi unum tantum habuerit exemplar, idque innumeris 
 affectum lacunis, tamen Vir Doctissimus (nescio utrum 
 ingenio, an divinatione usus) ita supplevit, ut quid potius 
 admirentur, quam quid in eo reprehendant, invenerint 
 Eruditi. Vale. 
 
 Dabam Florentiae ex Typographeo Linguarum exho- 
 ticarum V. Kalend. Julii 1774. 
 
 CAESAR MALANIMEUS. 
 
6o 
 
 PREFACE OF MALANIMEUS. 
 
 (translated.) 
 
 Co tfye arafiif=lobtng l&eaitcr. 
 
 A MONGST the books that nearly two centuries ago 
 went forth at Rome from the largest and most 
 magnificent printing-press for foreign languages,, 
 which, under the auspices of Pope Gregory XIII., Ferdinand 
 de Medici, then Cardinal of the Holy Roman Church, esta- 
 blished at his own expense, this, which is rescued from 
 almost entire oblivion, is once more presented to you, 
 Arabic-loving reader. It has no title-page, and John 
 Baptist Raymond, the superintendent of the above-named 
 press, and a renowned scholar and linguist, has given no 
 preface. It appears from various documents that the 
 reason for this omission was, that it was intended to 
 dedicate the work to a prince of one of the chief nations 
 of Europe, so that the study of languages should be pro- 
 moted in the Christian world, for the benefit of the Church. 
 For services of the greatest possible value, as well for the 
 refutation of the errors of infidels and the extension of the 
 pale of our Church, as for the accurate attainment of the 
 meaning of Scripture, are derived from these very works, 
 which numberless writers in this department have ex- 
 haustively reviewed ; and in the dissertation, which I 
 have inserted in my edition of the Commentaries of 
 Kimchi * on Isaiah, now in the press, I have given some 
 slight example, where I have fixed the etymology of the 
 word (Anglice, virgin), as against the Rabbinical 
 
 interpretation. Now, when Francis I., the Grand Duke 
 
 * Kim chi’s Psaller was the first book printed in the Hebrew language, 
 A.D. 1477. 
 
PREFACE OF MALANIMEUS . 
 
 6 
 
 of Tuscany, died in the year 1587, leaving no surviving son, 
 the necessity arose that his brother Ferdinand should re- 
 linquish the purple and return to Florence to undertake 
 the government. From this time the undertaking began 
 to advance with less rapidity ; by degrees the printing was 
 entirely discontinued, and the whole scheme was abandoned ; 
 and this, notwithstanding that several works of great im- 
 portance had already received a Latin garb and were quite 
 ready for the press, the which works, still preserved in 
 the renowned Laurentian library, have never seen the light 
 up to this day. And yet the name of this famous printing- 
 press did not utterly perish on this account, but survived 
 in those which afterwards succeeded to it ; for to it they 
 attribute their own foundation, seeing that they started 
 with the apparatus and “ plant ” that had belonged to it. 
 Hence it may be easily understood how amply it was fur- 
 nished with printing utensils and fittings of all kinds, seeing 
 that even in the present day, as is proved by those who 
 have seen other presses, there is not a single one that can 
 be compared with it, whether in regard to the clearness of 
 the type or the completeness of its apparatus. For these 
 reasons, it was so esteemed by later princes as to be held 
 as a remarkable monument of royal magnificence. Hence, 
 when for certain weighty reasons it was dismantled in the 
 year 1596, Cosmo II., the son of the founder, left no stone 
 unturned to annul the instrument under which it had been 
 alienated, and this was accomplished in the year 1610. It 
 was afterwards removed to Florence, and placed in the 
 royal treasury of the old palace, where it lay hid in utter 
 disorder, until Cosmo III. sent for Peter Benedict, the 
 Maronite, from Mount Lebanon (who afterwards gave his 
 name to a house of the Jesuits), and commissioned him to 
 put it in order. This he accomplished to some extent, but 
 left the greater and principal part just as it was. Lastly, 
 Peter Leopold, devoting the utmost energy to the restora- 
 tion of literature (which has always flourished in this illus- 
 trious State, as its chosen seat), commanded me, though 
 quite unequal to the task, to finish that which the before- 
 mentioned Benedict had left undone. To this he was further 
 
62 
 
 PREFACE OF MALANIMEUS. 
 
 urged by the earnest requests of foreigners to obtain one 
 or other of the aforesaid copies. When this task had been 
 completed, and it was seen what was deficient in the book, 
 he enjoined me to supply that deficiency, that nothing which 
 referred to it might be wanting to the student of Arabic. 
 But the especial reason for this scheme was that my most 
 religious Prince founds all the glory of his reign lv rr} sic 
 to QsTov svasfisia, that is, in piety towards God, and in the 
 observance of His Divine Law, by the study of which both 
 wisdom and prudence, the two alone and surest means of 
 attaining perfect happiness, can be acquired. Therefore 
 he desired that in the translation the Arabic idiom should 
 be preserved as far as possible in the form in which it was 
 originally given. Thus our most wise Prince thought that 
 it would be much easier for the mind to comprehend and 
 recognize the judgments of the Great Lawgiver, who sees 
 and observes the words and deeds of mortals, who rewards 
 and punishes ; and herein he has yielded to the spirit of the 
 people under his sway, who have always been wont to draw 
 truth from the purest sources. In accepting these com- 
 mands of my most Gracious Lord, I have thought it right 
 to add them in an appendix, otherwise, on account of the 
 feebleness of my poor wit, I would never have allowed 
 myself to be induced to lay hand to this work ; and of 
 this, dear reader, I would have you apprised, that you may 
 not charge me with rash hardihood. The high estimation 
 amongst the learned of the publications of this press has 
 been already declared by the weightiest judgments, nay, 
 by universal consent. Wherefore I need not dwell further 
 on this portion of my work ; this alone will I assert, that 
 the glory which Florence has obtained by introducing to 
 Italy and all Europe Arabic and other Oriental works, is 
 greater than that she has gained by the revival of Greek 
 and Latin literature ; and of a very truth, Raymond, by 
 publishing an edition of Avicenna, “ has raised a monu- 
 ment more lasting than brass and higher than the 
 Pyramids.” For, although he had only one copy of this 
 author, and that abounding in countless defects, yet that 
 great scholar (be it by his native wit or by magic 
 
PREFACE OF MALANIMEUS. 
 
 63 
 
 art) has so ably supplied the omissions, that scholars 
 have found it easier to admire than to criticise it. 
 Farewell. 
 
 Written at Florence, from the printing-press of foreign 
 languages, June 27, 1774.* 
 
 GdESAR MALANIMEUS. 
 
 * It is difficult to understand the date intended by Malanimeus. He may 
 have meant July 5, but possibly it may have been intended for what would be 
 represented by a. d. v. Kale ndas Julias, 1774. 
 
Marks of Tempesta. 
 
 XI F, 7Z 
 
 Ant. 'Tenype/tjo f. 
 
 \\ 
 
 % 
 
 A.T/. -AT F. 
 
 TFecit 
 
 Marks of one of the Engravers of the Woodctits in the 
 Arabic Bible. 
 
 
 L-P- 
 
S A N C T U M 
 
 D E I 
 
 EVANGELIUM 
 
 ARAB. L A T 
 
 K 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
EVANGELIUM SANCTUM 
 
 DOMINI NOSTRI JESU CHRISTI 
 
 CONSCRIPTUM A Q_U A T U O R 
 
 EVANGELIST IS SANCTIS 
 
 MATTHAEO, MARCO, LUCA, ET JOHANNE. 
 
ST. MATTHEW. 
 
( 70 ) 
 
 The Virgin adoring Christ. 
 
( 7i ) 
 
 The Adoration of the Magi 
 
( 
 
 72 
 
 The Flight into Egypt. 
 
( 73 ) 
 
 The Massacre of the Innocents. 
 
 L 
 
( 74 ) 
 
 The Baptism of Christ. 
 
( 
 
 ) 
 
 75 
 
 The Temptation of Christ . 
 

 ( 76 ) 
 
 The Sermon on the Mount. 
 
( 77 ) 
 
 Christ cleansing the Leper 
 
( 7 « ) 
 
 The Centurion beseeching Christ to heat his Servant . 
 
79 
 
 ( 
 
 Christ stilling the Storm 
 
( 8o ) 
 
 Christ driving out the Devils. 
 
 
( 8i ) 
 
 Christ curing the Woman 
 
 having an Issue of Blood. 
 
 M 
 
( 82 ) 
 
 Christ raising a certain Ruler s Daughter 
 
( 
 
 ) 
 
 Christ restoring Sight to the Blind Men . 
 
( «4 ) 
 
 Christ -giving Speech to the Dumb Man 
 
( $5 ) 
 
 Christ reproving the Blindness of the Pharisees concerning 
 the Breach of the Sabbath. 
 
( 
 
 86 
 
 ) 
 
 Christ restoring the withered Hand. 
 
( §7 ) 
 
 Christ healing a Man possessed of a Devil ’ blind and dumb , 
 
( 88 , ) 
 
 Christ addressing the Multitude — the Parable of the Sower 
 
( ^9 
 
 Herodias receiving the Head of John 
 
 the Baptist in 
 
 Charger. 
 
 N 
 
 a 
 
( 90 ) 
 
 Christ feeding the Five Thousand. 
 
( 9i ) 
 
 Christ rebuking Peter for his Want of Faith 
 
( 
 
 9 
 
 ) 
 
 The Canaanite Woman s Faith 
 Daughter. 
 
 Christ healeth her 
 
( 93 ) 
 
 Christ delivering unto Peter the Keys of the Kingdom 
 of Heaven. 
 
( 94 ) 
 
 The Transfiguration of Christ. 
 
( 
 
 95 
 
 Christ rebuking the Devil in the Lunatic , 
 
( 96 ) 
 
 Christ calling a little Child and warning the Disciples 
 when they asked Who is the greatest in the Kingdom of 
 Heaven. 
 
( 
 
 97 
 
 ) 
 
 Christ commanding the Disciples to Suffer Little 
 Children to come to Him. 
 
 o 
 
( 98 ) 
 
 The Mother of Zebedees children with her sons, worshipping 
 Christ and desiring a certain thing of Him. 
 
( 99 ) 
 
 Christ's Entry into J erusalem. 
 

 ( IQ o ) 
 
 Christ casting out of the Temple those that bought and sold. 
 
( 
 
 IOI 
 
 ) 
 
 Christ cursing 
 
 the Barren Fig-tree. 
 
( 102 ) 
 
 Christ foretelling the Destruction of the Temple. 
 
( *03 
 
 ) 
 
 Christ in Bethany at the house of Simon , declaring concerning 
 the Woman with an Alabaster Box of very precious Ointment . 
 

 ( i°4 ) 
 
 The Last Supper 
 
( io5 ) 
 
 Christ's Agony in the Garden. 
 
 p 
 
( 
 
 ) 
 
 io6 
 
 Judas betraying Christ with a Kiss . 
 
( 
 
 ) 
 
 107 
 
 Christ spat upon and buffeted. 
 
( !o8 ) 
 
 Christ Scourged. 
 
( 109 ) 
 
 Christ 
 
 the Crown of Thorns. 
 
( 
 
 I IO 
 
 ) 
 
 The Crucifixion 
 
( 
 
 I 
 
 I 
 
 Joseph of A rimathea removing the body of Christ. 
 
( 112 ) 
 
 Alary Magdalene and the other Mary at the Sepulchre ; 
 the A ngel declaring Christ risen. 
 
ST. MARK. 
 
 o 
 
( 1 14 ) 
 
 John Baptizing and Preaching in the Wilderness. 
 
( ”5 
 
 Christ at Capernaum healing the Man sick of a 1 alsy 
 
////- 
 
 ( n6 ) 
 
 Christ at Jericho restoring sight to Bartimeus. 
 
( i i 7 ) 
 
 Christ risen , appearing unto two of the Disciples. 
 
ST. LUKE. 
 
( 1 19 
 
 The Angel of the Lord appearing to Zacharias in the 
 
 Temple. 
 
( 120 ) 
 
 The Annunciation. 
 
( 121 ) 
 
 The Virgin entering the house of Zachanas , 
 and saluting Elizabeth . 
 
 R 
 
( 122 ) 
 
 Shepherds abiding in the field at night ; the Angel of the 
 Lord announcing the Birth of Christ. 
 
( I2 3 ) 
 
 The Circumcision. 
 
( 124 ) 
 
 Christ seated in the Temple , in the midst of the Doctors. 
 
( 125 ) 
 
 Christ restoring to life the Son of the Widow of Nani 
 
( 126 ) 
 
 Christ sees Z ace hens the publican in the sycamore- tree , 
 and announces that he will abide at his house. 
 
( 127 ) 
 
 Christ risen, appearing to the Apostles, and reproving 
 their 7 mb e lief. 
 
ST. JOHN. 
 
( 1 2 9 ) 
 
 The Marriage Feast at Cana. 
 
 s 
 
( J 3° ) 
 
 Christ conversing with the Woman of Samaria at the Well. 
 
( *3i ) 
 
 Christ at the pool of Bethesda cures a certain man , which 
 had an infirmity thirty and eight years. 
 
( 132 ) 
 
 Christ delivering the Woman taken in Adultery. 
 
( '33 
 
 Christ gives sight to the Alan born Blind. 
 
( 1 34 ) 
 
 Christ washes the Disciples feet . 
 
( '35 ) 
 
 Mary Magdalene secs Christ in the Garden. 
 
y 
 
 ROMAE 
 
 Typographic Me due a . 
 M. D. XCl. 
 
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