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 https://archive.org/detairs/historyofpaintinOOmoni- 
 
THE 
 
 HISTORY 
 
 O F 
 
 Painting, Architecture, 
 
 Sculpture,) CGraving 5 
 
 AND 
 
 of thofe who have Excell’d in them t 
 
 In Three BOOKS. 
 
 Containing their 
 
 Rise, Progress, Decay, and Revival i 
 
 With an Account 
 
 Of the moll: confiderable Produd:ions of the 
 beft ARTISTS in all Ages; And how to 
 diftinguifh the true and regular Performances, 
 from thofe that are otherwife. 
 
 By P. MO NIE R, Painter to the French KING, 
 and Profeflbr of Painting , and Sculpture in 
 the Royal Academy a.t PARIS. 
 
 L O'N D O N: 
 
 Printed for T. Bennet ^ at the Half -Moon], 
 D. Miiivmtcr , and F. Leigh , at the Rofe and 
 
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THE 
 
 PREFACE 
 
 G F all the Pro(lu(5ts of human 
 W it, whereof the Brain aiTifted 
 by the Hand is capable, there 
 are none fo admirable and excellent, as 
 the Arts which relate to Defigning, 
 
 The ancient Grecians were of thisO- 
 pinion. They placed them among the 
 Liberal Arts, and fet fo great a value on 
 them, that their Slaves were forbidden 
 to learn either Painting, Sculpture, or 
 Archite^ure. There were only Gen- 
 tlemen permitted the Honour to Ex- 
 ercife them: And even Princes them- 
 felves gloried in the Pradice of 
 them. 
 
 The ^nians^who endeavoured to imi- 
 tate the Grecians in the Perfedion of 
 A 3 thefe 
 
ne (PREFACE. 
 
 thefe Arts, had the fame Efteem for thentj 
 for feveral Confuls and Emperors took 
 pleafiire in employing themfelves therein. 
 And thefe Arts kept up their Excellency, 
 while the Empire was in its heighth 5 
 but they began to decline when that be- 
 came the Prey of feveral Tyrants who 
 were the Caufe of its Ruine. Paintings 
 Sculpture, and Architecture underwent 
 the like Deftiny , for they loft the Pro- 
 tection and Efteem they found under 
 the firft Emperors, and at length fell 
 into that ill and rude Manner, which 
 has been fince named Gothick or Bar- 
 barous. But afterwards they regain’d 
 new life and vigour under the Protecti- 
 on of feveral Princes, and Republicks, 
 and by the Induftry and Application 
 of thofe ingenious Men who ftudied 
 them. 
 
 It has not been without juft Reafons 
 that thefe Three illuftrious Profellions 
 have always been valued and efteemed 
 at fo high a rate, for their Beauties are 
 always extremely pleafing to the Ingeni- 
 ous^ 
 
The <P%E¥ACE. 
 
 ous, and there is nothing which more 
 illuftrates the Glory of Princes, than tlie 
 Produdions of Defigning. Infliorc, the 
 famous Striidtures of the Egyftians , 
 GredanSy and (^7fians eternize the Memo- 
 ry of thofe Illuftrious Perfons for whole 
 Glory they were raifed : They are alio 
 inconteftable Witneffes of the Vi6lories 
 which their Great Captains obtain’d over 
 other Nations. 
 
 Such clear evidences are more Aiithen- 
 tick than any Hiftories, for they repre- 
 fent to us without any prejudice the T ruth 
 of thofe Things, for which thole ancient 
 Buildings were raifed by the Art of De^ 
 figning: It was moreover by means of this 
 Art that Medals were made, which lerve 
 to confirm fome very doubtful Matters 
 of Fa6t related by Hiftory : And exprefs 
 to us the Actions of Heroes, and tranl- 
 mit their Memory to Poilerky. 
 
 To thefe advantages may be added 
 that of Military Architedlure, which de- 
 rives its Principles from this Art, and 
 which is very necelTary for the Seciiritv 
 
 A 4 cf 
 
77 ;^' f%EFACU. 
 
 of Towns, and Defence of Kingdoms, 
 Kor have the Arts of Dehgning been 
 of Icfs advantage to Princes in the Point 
 of Religion, than for the Defence of their 
 Siates. The Heathens were very Curious 
 in, and made it a confiderable Part of, 
 their Religious Worfhip to diftinguifli 
 the Forms they made their Temples of, 
 according to the different Divinities they 
 therein worfliipp’d . Since that time fe«f 
 veral of thofe Temples have been made 
 ule of (4) for the Worfliip of the true 
 God. But thofe that have been built 
 on piirpofe for the Chriftian Religion 
 liirpafs thofe ancient Temples: And 
 this pnay be feen in feveral Places, and 
 
 ( /* ) At Rome feveral of the Popes by permif- 
 fion of the Empprors of ConfiantinofU, converted 
 feveral of the Heathen Temples into Chriftian 
 Churches, as that of the Tantheon^ which is now 
 the Church of Notre-Dame de la Rotonde^ and that 
 of Romulus was dedicated to St. Cojmm and St.Da^ 
 mian ,* and alfo that of Bacchus which is at prglent 
 galleg St. EJtknne the round. 
 
 fhjefly 
 
The (pf^EFACE. 
 
 chiefly in St. Peter Sy at (2(om^,the nobleft 
 Church that was ever feen. 
 
 The Churches are adorn’d with Sta- 
 tues, with Bafs Reliefs, and Pidures to 
 reprefent the Myfteries of our Religion, 
 and the Martyrdoms of the Saints. 
 
 Thefe Subjects managed by ingeni- 
 ous Painters,and Sculptors, make greater 
 and more lafting Impreflions upon the 
 Minds of People, than Words can, 
 This was the Opinion of St. Gregory of 
 Nice, and ieveral other Great Men, who 
 were fenfibly touched at the fight of 
 theie Reprefentations. 
 
 Moreover Nature, which conftantly 
 tends towards what is mofi; agreeable to 
 its felf, taught Men Defigning before 
 they had found out Characters to Write, 
 This Truth is evident in the Hiftqrical 
 Figures ( or Hieroglyphicks ) of the 
 Egypt'mnsy Engraven on Stone , as may 
 be feen on their Obelisks, For thole 
 Sorts of Letters are only the Defigns 
 of Figures made of fome Parts of the 
 Human Body, of Animals, of Plants, 
 
 and 
 
The (?(^EFJCE. 
 
 and of all forts of Inftruments , which 
 were called Hieroglyphicks, and where- 
 of this People made ufe before they had 
 Letters. 
 
 Cornelius Tacitus in the Eleventh {h) 
 Book of his Jnnals favours this Opini- 
 on : And it may be very well conjectu- 
 red that Defigning and Painting prece- 
 ded Writing 3 nay, within thefe few Ages 
 w'e have had an almoft undeniable Proof 
 of it. At the difcovery of America^ we 
 find, that Defigning was praCtifed there, 
 although thofe People had no knowledge 
 of Letters or Writing: And that particu- 
 larly in the Kingdom of Mexico^ where 
 we find, they wrought in Painting and 
 Sculpture. 
 
 For among feveral rich Prefents 
 w hich their King Montecxuma made to 
 
 (^h') .... Ac novof liter arum formas addidit 
 •vulga'vitc^'^ Comferio quoq^ gracam literaturam non Ji~ 
 mul captam abfolutamque; Primiper Figuras animalium 
 ey£gjptii fenfus mentis effingebant, ^ antiquijjima mo- 
 numenta memoria humana imprejfa SaxiS cernuntur^^ 
 liter arum femet inventores perhibent. 
 
The f(I^EFJCE, 
 
 Ferdinand Cortes , there was a Book of 
 Figures ( c ) inftead of Letters , re- 
 fembling the Hieroglyphicks of tlie 
 Egyptians : And Painting was fo much 
 in life there, that this Prince fhewed 
 to the (aid Captain one of his Coiir- 
 riers, who brought him, painted on 
 a Piece of . Cloath, (bme SpaniJJ? Suc- 
 cours, which were newly arrived. 
 
 Up on this Cloath were reprefented 
 the VefTels, the Men, the Artillery, 
 the Horfes , and the Dogs, whereof 
 thofe Recruits confided. The advan- 
 tage which Cortes moreover in parti- 
 cular received by means of this Paint- 
 ing was very confiderable5 for fome 
 Indian Lords having confpired to kill 
 him, he was advertifed thereof by 
 
 C c ) General Hiftory of the Indies by Francis 
 Lopez, de Gomara. Their Palaces were adorn- 
 ed^ with Statues_, and there were fome of Gold. 
 Pag. 94 and 128. 
 
 They underftood alfo Geography by De- 
 figning, Pag. 98. See moreover in that Hifto- 
 ry, Pag. 64. 78. 109. 130, 140, 141. and 157. 
 
 one 
 
The (PREFACE. 
 
 one of them who fliewed him a. 
 Cloath, whereon were deligned the 
 Portraits of all the Conlpirators , 
 and by thefe happy means this Cap- 
 tain efcaped the danger. 
 
 The advantage and excellency of 
 the Arts of Dengning jfhew the dif« 
 ficLiky of attaining to { d) Perfe(5tion 
 in them, by reafon they require a 
 great deal of Knowledge, to fucceed 
 well in the Practice of them: For be- 
 iides a natural Inclination for them , 
 the Rules of them muft be very nice»» 
 ly fludied,- and care muft be taken 
 to match good Inftru(5tions and a 
 natural Genius for them, together 5 
 otherwife it will be impoflible to be- 
 come Excellent in them. 
 
 Thefe difficulties, in the three laft 
 Ages, ftirf d up an Emulation among 
 ieveral great Princes, jealous of their 
 own Glory, and the Qualifications of 
 
 ( ) VigenertfSj Sjj, 
 
 their 
 
The <P%BFACE, 
 
 their Subjects. They eftabliflied Aca* 
 demies of Deligning at Florence, then 
 at ^me, and ^Bolonia, and afterwards 
 at Antwerp, and laflly at Tarts, where 
 the Painters , Sculptors, and Architeds 
 { e) compofe illuftrious Bodies. 
 
 Thofe which (/) Lewis XIV. has 
 created in his Metropolis, have been 
 the moft powerful means that could 
 be invented, to make excellent Pain- 
 ters, Sculptors and Archite(51:s. There 
 Youth is taught to Defign after Na- 
 ture , There are alfo taught the Do- 
 ctrines of Proportions, Geometry, Per* 
 IpeCtive , and Anatomy : And every 
 Month there are Conferences upon 
 
 ( c ) The Royal Academy of Painting and 
 Sculpture was founded in 1648. And His 
 Majefty began in i66y another Academy at 
 Rome to perfect: the Difciples of the Academy 
 Royal ; which continues to this prefent time. 
 
 (/) Tbie King moreover eftablilbed ano- 
 ther particular Academy for Architecture in 
 1671. 
 
 ivhat- 
 
The (P^EFJCE. 
 
 v/hatever relates to the Inftru(5lion of 
 their Difciples. 
 
 Among the LeiSlures which I have 
 had the Honour to read there, upon 
 the Concours, or Out-lines of Bodies 5 
 upon Perlpe(5tive , Anatomy , and the 
 Motions of the Mufcles : As alfo on 
 the Progrels, Fall and Re-eftablifliment 
 of the Arts of Deligning, I have chofe 
 thefe latter Conferences to Form out 
 of them the Hiftory of the Arts which 
 relate thereunto* 
 
 In the FirfI: Book, I treat of the 
 Original, and Progrefs of Architecture, 
 Sculpture and Painting, from the Firft 
 Ages of the World, till after the time 
 of the Emperor Marcus Aurelius , 
 when' thefe Arts began to decline* 
 Throughout all this TraCt of Time 
 we take notice of the Curiofity of 
 the Kings of JJfyria, Egypt, ^hoenicia^ 
 <PerJia and I/rael to raife huge and ex- 
 traordinary Buildings. We there re- 
 mark how thele Arts went from the 
 ^hmiktans to the Grecians and Car-' 
 
 thaginians : 
 
The (pfli^EFJCE. 
 
 thagmians : And how afterwards they 
 went into Italy, and the Progrefs they 
 made in Tufcany , and at <^me in the 
 Times of their Kings, of the Repub- 
 ! lick, and of the Emperors 5 laftly, we 
 ! fhew in what Efteem they were there, 
 and how far Protected till their de- 
 cay. 
 
 In the Second Book, we treat of 
 their Fall , and fliew how the true 
 Manner and Guft of Defigning began to 
 decline at (l(ome, after Commodus down 
 to Confiantine-j and afterwards, Archi- 
 te<5ture alfo decay’d: Infomuchthat an 
 ill and rude Manner was introduced 
 in Building, in Painting and Sculp- 
 ture. The Zeal of the Chriftian 
 Religion contributed very much to 
 the Defl:ru61:ion of the ancient Tem- 
 ples , and Images , as did alfo the 
 taking of ^?ne , the Reigns of the 
 Goths and Lombards, who followed 
 that rude Manner in Italy , and pro- 
 pagated it almoft throughout all 
 Europe, 
 
 But 
 
The (p(^BPACE, 
 
 But the Magnificence of Archto 
 <5tiire was maintained longer in the 
 Eaflern Empire than in other Places, 
 and elpecially at Conflantinople , by 
 reafon that the Firfl Emperors were 
 very much addi<5ted to Architedture , 
 as we fee in ConJlantiuSy Theodojlus^ and 
 in Juftiniany who Employed vaft Trea- 
 fures in Building, which for fome time 
 kept up Architedfure , Sculpture and 
 Painting : Thefe two lafi fufFered very 
 muchjfince the time of thofe Princes, by 
 the Iconoclajle s, who dcHroy’d the Images, 
 and barbaroufly perfecuted the Pain-^ 
 ters, a!nd at length thefe Arts fell en- 
 tirely in that Empire , in the Reigns 
 of the Mahometans, who fuffer none to 
 Defign the human Figure, nor any 
 thing that has life. 
 
 In the Third Book, we fliew that 
 about the Year liio, the Arts of 
 Defigning began to revive a little at 
 Florence, and in Ibme other Cities of 
 Italy* the Protedtion they afterwards 
 found under the Kings of of 
 
 FrancCj 
 
. The (p(^EFACE. 
 
 France j the Republicks of Venice arid 
 Florence , the great Dukes of Tufcany, 
 and the Popes of that Illuftrious 
 Houfe , and feveral other Princes of 
 Italy , gave means and opportunity 
 to feveral excellent Genius s to apply 
 themfelves with a great deal of Zeal 
 to the Re-eftablifhment of Painting, 
 Sculpture and Archite< 51 :urea In fine 
 in the Year 1500 I conclude the 
 Re-ellablilhment of thefe Arts , for 
 it was in this happy Century that 
 they were brought to Perfe( 5 tion by 
 the Famous Defigners who floiirilli- 
 ed about that timci 
 
 This has been acknowledged by 
 all the Famous Defigners of our 
 Age : Who have efteemed it their 
 Glory to Imitate the Works of 
 ^phaely Correggio , Julio ^mano , and 
 Titian , arid feveral other Ingeni- 
 ous Men of the lad A^e. 
 
 For it has been by means of 
 this imitation that the true Way 
 
 a of 
 
The (p%EFACE, 
 
 of Painting and Defigning has con- 
 tinued down to us 5 as alfo the 
 right Manner of Sculp’ture and Ar- 
 chite( 5 lure : As has been pra^tifed 
 from the beginning of this Century 
 1600. by the Famous Carr aches , and 
 afterwards by their Difciples • 2 )o- 
 tnenichino , Alhani , Guido , Lanfranc , 
 Algradi. Afterwards the true Way 
 and Manner was continued in thefe 
 Three Arts at ^me by 
 Francis du Quefnoy , Feter da Cortona 
 and Bernini. As alfo in Flanders 
 by ^hens and Van 'Dycf^: Moreover 
 France by de (Brojfe , Le Mercter^ 
 Le Sueur y S arraign , Manfard^ 'Bour^ 
 don , Le Brun Mignard , and feveral 
 other great Men who have flou- 
 rifhed in the Arts of Defigning. 
 
 But this true and regular Manner 
 is kept up very fuccefsfully at pre- 
 fent by thofe Ingenious Men who 
 compofe the Royal Academies of 
 
 Painting 
 
The f^EFJCE. 
 
 Painting , Sculpture and Archite^ 
 <5ture ; Having determin’d to fol- 
 low the Footfteps of the Ingenious 
 Ancients, and the incomparable Max- 
 ims of thofe excellent Genius’s who 
 appear’<l with fo much Glory in 
 the* Age before them. We may 
 perhaps hereafter preferit the Readet 
 with a Continuation of this Hi- 
 ftory throughout the Century 1 6 ooy 
 which we referve for a Second Vo^ 
 lume. 
 
 Nor ought it to furprize any ^ 
 That a Painter fhould undertake 
 to write an Hiftory of Defigning^ 
 becaufe among other Accomplilli- 
 ments he ought to be Mafter ofj 
 that of being well verled in Hifto- 
 ry is none of the leaftj for there- 
 by he makes his Works conforma- 
 ble to Truth , and can give a Rea- 
 fon of his Reprefentations : And 
 joining the Theory of his Art with 
 the Pra(fl:ice , he becomes expert 
 
 a z enough 
 
The T(]^EFACE. 
 
 enough to compofe a Syftem of the 
 Rules of it, far better than thofe 
 who are not Defigners. 
 
 This was pradifed by the moft 
 Fainous Painters of Antiquity , as 
 Apelles , and his Difciple ^erfem^ 
 and ( g ) others : The Illuftrious 
 Moderns have alfo written of the 
 Arts of Deligning , as Leon IBaptifla 
 Alberti^ Leonardo da Vinci , and feveral 
 others ( h ) who have treated learn- 
 
 ( g ) AfcJeflodorUs , Protogenes , Eughranor , and 
 Praxiteles writ of Painting and Sculpture , as 
 did Arg-ellius and Vitrwvim of Architedlure. 
 
 ( h ) The chief of the Modern Painters who 
 have writ of Painting fince Leon Baptfia, Al- 
 berti, and Leonardo da Vinci, are Vafari , Ar* 
 menini, P. Lomazjsco, F, Zucchero, Albert Dal Borgo 
 San Seplcro , Albert Durer , John Coujin, Chanes 
 Alghonjus dti Frefnoy • and the chief of thofe who 
 have writ of Archite<5i:ure befides Leon Bapifia » 
 Alberti are Vignola, Palladio, Scammoxxi, Serlio, 
 Barbaro, Cataneo, Pbilbert de Lorme, John Bullanf, 
 and dti Cerceait. 
 
 edly 
 
Tl?e <p(^EFJCE. 
 
 edly of thefe Arts for the Advan» 
 tage of thofe who defign to, be Ex- 
 cellent therein. 
 
 The reafon why we have rather 
 given this Treatife the Title of the 
 Arts that relate to Dejigning than the 
 Hiftory of Painting , Sculpture and 
 Archite6ture , is becaufe Defigning 
 not only comprehends thofe Three 
 Parts , but alfo graving on Copper, 
 cutting in Wood, and graving for 
 Medals, and Damask -work, and 
 Embroidery, and Inlaying and feveral 
 other Works all depending on De^ 
 Egning. 
 
 For this Reafon all thefe Arts are 
 put together, and compofe thofe Aca- 
 demies , which are called in Italy , 
 Academies of Defigning, where Paint- 
 ers, Sculptors and Archite(5ts take up- 
 on them fiiccelHvely the firfi: Places : 
 And for this Reafon they who in- 
 
 a 3 tend 
 
ri?e T(I^EFJCE. 
 
 tend for any of thefe Profeflions^ firft 
 of all learn Defigning, and then 
 determine their Choice to fome one 
 in Particular, or fometimes to more, 
 being capable of fucceeding therein , 
 if they are firft of all good De- 
 figncrs, 
 
 This has been evident heretofore 
 in Dicdalus , Phidias Euphranor , and 
 feveral others, who were as Excellent 
 in Sculpture and Painting as in 
 Architedfure , and alfo of late in 
 Ghikrto who was a Painter, Archi- 
 tect, Sculptor and Goldfmith : Verochia 
 and Leonardo da Vinci were alfo Ma- 
 ilers of all thefe Arts , as likewife 
 ^ramante , ^phael , Julio ^mano , 
 ^aldajfare, Vignola and Tirro Ligoria 
 who were Painters and Architects: 
 Lfichael Angelo was equally Excellent 
 in Architecture, Sculpture and Paint*' 
 ing, for he was an Excellent De-^ 
 hgnen 
 
 Hence 
 
The <P%^EFACE. 
 
 Hence it is, we have 'taken out 
 Device on the Frontilpeice of this 
 Book , which exprefles , that 'Defign- 
 mg is the parent of Fainting^ Sculpture 
 and ArchiteEiure. And now we can- 
 not but exped: that Criticks will 
 be making Refledtions on the Style 
 we have ufed throughout this Hifto- 
 ry : But that the Reader may not 
 ftick or carp if he meets with any 
 obfolete Terms or Words not much 
 in ufe, and if the Turn of the 
 Phrafe is not always fo Nice as he 
 might expedt : He mull know, that 
 the Author s Delign is only to make 
 himfelf underftood by thofe who 
 learn Defigning. Wherefore he hopes 
 that the unprejudiced Reader will 
 not fo nicely regard the Politenefs 
 of Expreflion . lince his Bulinefs is 
 Painting, and he looks upon the reft 
 only as accidental Accomplilliments. 
 
 If this Hiftory find a favourable 
 Acceptance , we defign hereafter to 
 
 a 4 give 
 
The ^(J^EFACE. 
 
 give an Alphabetical Explication of 
 the Terms moft ufed in the Arts 
 of Deligning , whence feveral Ob- 
 fervations may be raifed very ne- 
 ceflary for the Inftrudlion of the Dil^ 
 ciples and Lovers of thefe Arts. 
 
 
 THE 
 
THE 
 
 CONTENTS. 
 
 • BOOK I. 
 
 Of the Original and Progrefs of 
 that relate to Defigning. 
 
 C H A P. L 
 
 G od is the Author of the .Defign and Model 
 of Man^ or of human Shape. Page i 
 
 G H A P. II. 
 
 Of the TraSlice of the Arts of Defigning^ and 
 their Progrefi among the Aflyrians. p. 4 
 
 CHAP, III. 
 
 Of the Heigh th to vohich Painting and Sculp- 
 ture arrived among the Egyptians. p. 6 
 
 CHAP. IV. 
 
 The Egyptians Communicated thefe Arts to the 
 Phoenicians , and they carried them into 
 Greece. p. 8 
 
 CHAP. V. 
 
 tng flour ijhed under the Kings 
 
 p. 1 1 
 
 CHAP, 
 
 The Arts of Defigt 
 of Ifrael. 
 
The CONTENTS. 
 
 C H A P. VL 
 
 Sculpture was Vra^ifed ly the Babylonians 
 Perfians. p. ix 
 
 CHAP. VII. 
 
 Of the Arts of Dejigning in Africa and Car- 
 thage. P* 14 
 
 CHAP. VIII. • 
 
 Of the time wherein Tainting began to flourifb 
 in Greece. P* t 7 
 
 C H A P. IX. 
 
 At the fame time that Tainting was in its Ter- 
 fetlion in Greece, Sculpture and Archite^ure 
 were Jo alfo, p. xi 
 
 CHAP. X. 
 
 How Tainting went from Greece into Italy, p. 24 
 
 CHAP. XL 
 
 Of the Time wherein Sculpture began to he in 
 EJleem among the Romans. p. 28 
 
 CHAP. XII. 
 
 Of the Excellence of the ArchitePlure of the 
 
 Grecians. P* 33 
 
 CHAP. XIII. 
 
 Of the TerfeBion of ArchiteBure among the ROr 
 
 mans in the time of the Republick* p. 3 7 
 
 CHAP. XIV. 
 
 ArchiteBure continued at Rome under the Em- 
 perors in the fame Excellence it had done in 
 the time of the Commonwealth. P* 4 t 
 
 BOOK 
 
The CONTENTS. 
 
 BOOK 11 
 
 Of the Decay of the Arts of Defigning. 
 
 CHAP, I. 
 
 Under the Reign of Commodus the Arts of 
 Defigning began to Decline. P* 47 
 
 CHAP. II. 
 
 ArchiteAure did not Decline till after Conuan- 
 tine, although Tainting and Sculpture did 
 before. p. 49 
 
 CHAP. III. 
 
 the Umfitve removing to Conftantinople , and 
 the Jetting up of the Chrifiian Religion ^ con- 
 tributed to the Ruin of the Arts of Defign- 
 ing. . p. 5-z 
 
 C H A P. IV. 
 
 the taking and Tillaging Rome by the Goths 
 Vandals contributed to the Ruine of the 
 
 Artf of Defigning. p. 5-4 
 
 C H A P. V. 
 
 The Images in the Trimitive Church did not 
 keep up the Arts of Defigning at Rome, but 
 gave Birth to that manner which was after- 
 wards named Gothick. p. ^6 
 
 CHAP, 
 
The CONTENTS. 
 
 CHAP. VI. 
 
 The Arts of Dejigning declined lef in the Ea- 
 flerii Empire^ than in the Weflern. p. 5 § 
 
 CHAP. JVIL 
 
 Of the Antiquity of Images in the Chrijlian 
 Religion. p. 6 % 
 
 CHAP. VIII. 
 
 Of the entire Ruine of thefe Arts, hy the Sell of 
 Mahomet in all the Parts of his Dominion, 
 
 p. 66 
 
 CHAP. IX. 
 
 Of the Injury Painting and Sculpture fuffered hy 
 the Iconoclaftes. P* ^9 
 
 C H A P. X. 
 
 The Dominion of the Goths in Italy brought in 
 the rude Manner. p. 74 
 
 C H A P. XI. 
 
 In the time of the Lombards the Gothick Way 
 continued in Italy, and in fever al other Parts 
 of Europe. P* 77 
 
 CHAP. XII. 
 
 From the Time of Charlemain , the true Man- 
 ner of Building altered lefi in Tufcany than 
 in other Countries. P* 7 B 
 
 CHAP. XIII. 
 
 Reflexions on the Fall of the Arts of Deflgning, 
 and on the Gothick Manner. p. 80 
 
 BOOK 
 
The CONTENTS. 
 
 BOOK III 
 
 of the Re-eftablilEment of the Arts of 
 Defign. 
 
 CHAP. 1. 
 
 The Aft s began to flourijh again in Tufcany, in 
 Archite^ure and Sculpture. p. 83 
 
 CHAP. IL 
 
 Of the Time when Tainting began to be Re-efia^ 
 
 . blijhed at Ylorence. > p. 88 
 
 CHAP. III. 
 
 The Liberality of Trinces to ingenious Artifls^ 
 has been a great Means of the Revival of the 
 
 Arts of Defigning. P* 9 s 
 
 CHAP. IV. 
 
 The Ejlablifbment of an Academy of Defigning 
 at Florence, was a Means of Re-eflablijhing 
 the Art. P* 95 
 
 C H A P. y. 
 
 The French and the Dutch apply d themfelves to 
 make Tainting refourifh , and found out the 
 Secret of Tainting in Oy I, p. loi 
 
 CHAP- 
 
The CONTENTS. 
 
 9 H A P. VI. 
 
 Of the Invention of Tainting in Oyly and its 
 advantage in Tainting^ and how the Secret 
 went Italy. p. iqc 
 
 CHAP. VII. 
 
 Tainting was Re-eft ahlifh’ d in feveral Trovinces 
 <?/ Italy. p. 107 
 
 CHAP. VIII. 
 
 The School of Florence became very Famous hy 
 the great number of Excellent men it produ- 
 ced, p. Ill 
 
 CHAP. IX. 
 
 Of the Terfedion of Tainting in the loft Age* 
 
 p. II 8 
 
 CHAP. X. 
 
 Of the Taint ers <?/ Lombardy who contributed to 
 the Re-eft ablifhment of the Art, p. 114 
 
 CHAP. XI. 
 
 Tainting^ in Toint of Colours , was brought to 
 its greateft Beauty at VcmtQ, p. ix8 
 
 CHAP. XII. 
 
 The fame Curiofity was in all the Courts of Eu- 
 rope, and chiefly in that of Mantua, p. 133 
 
 CHAP. XIII. 
 
 Architedure arrived to a very great Excellency 
 at Rome. p. 137 
 
 CHAP. XIV. 
 
 Architedure began to revive in the State of "Ve- 
 nice, ( P* 
 
 CHAP. 
 
The CONTENTS. 
 
 CHAP. XV. 
 
 Michael Angelo made ArchiteBure^ Sculpture^ 
 and the true Manner of Dejtgmng flourifh at 
 Rome. p. 1 46 
 
 CHAP. XVI. 
 
 Several Dtfciples of Michael Angelo, and'^i- 
 phael continued the Excellency of Tainting 
 and Architecture at Rome. p. 153 
 
 CHAP. XVII. 
 
 At Florence the true Way of Sculpture and 
 Tainting was continued hy fame ingenious 
 Men. p. 156 
 
 CHAP. XVIII. 
 
 The Cities <?/Ferrara, and others Lombardy 
 and Urbin, furnifh'd the World with feverat 
 good Tainters. p. 1 60 
 
 • CHAP. XIX. 
 
 Tainting continued in its Beauty at Venice^ 
 as did alfo Architecture at Venice Rome. 
 
 p. 164 
 
 CHAP. XX. 
 
 The Arts of Defgning fiouriJF d in France un-^ 
 der Francis the Ift, and Henry the Ild, and 
 their Succejfors. ' p. I7^ 
 
 CHAP. XXI. 
 
 TTjf.Flemings perfected themf elves in Tainting , 
 after they had found the Invention of Taint- 
 ingin Oyl. p. 178 
 
 CHAP. XXII. 
 
 How Graving contributed toivards the Re-ejla- 
 hlifljment of the Arts of Defegning. p. 18?. 
 
ERRATA. 
 
 P Age 2. 1 . 25'. ^ox PortYdtures read FonYaitsX'^ 9 * f. Epercio 
 r. E percioy 1 . 30. f.- di^e v.direy f.fi a r.fiotiy 1 . 31, f.ritrova 
 Archhetd £ aW r. ritro'vatd dal\ 1 . 35:. f. fuio;popoli r. fuo popoli^ 
 I. 38. f. pdgine r. pagina. P. 3. 1 . 37. f. Armemini r. Armeniniy f, 
 Chevalier y BifignOy x. Cavalier Bi[agno, P. 6 A. 13. P. lo. 1 . if. 
 P. 20. 1 . 37. P. 21, 1 . 17. P. 31.1.^ and z6, P. 48. 1 . 19. f. En- 
 graving x. Sculpture. P. 8. 1 . 2i.f. Dedalus x. Daedalus. P. y. I.4. 
 19. 28. 3^. P, ij?. P. ii.l. f. JVorl^menx. Artificers. P. 12. r. 
 Laocoon. P. i8.r. Phidias. AmphiSiyones. P. ii. x.Phidias. P. 23. 
 x.Gnidmy L 8.f. Diametesx.Diadumenus. P. zo^.i.Tarant.x.Tar- 
 rentum. P. 25. 1 . 2. r. Demaratus. P. i6. 1 . 8. f.thofeof Sicyoney r. 
 them. P. 3f. f. Engraven x.Carvd. P. 48. f. Paint and Engrave x. 
 Fainting aiid Sculpture. P. 5'3. 1 . 3. f. the Elder x. Major e. P. 54 
 and f f. f. Imagery r. Stucco. P. 5:7. f. relijh r. manner. P. f. 
 relijh of Engraving x. manner of Sculpture. P. 67. f. of vatic x. on 
 the Vatican fids.P. 7f. f. Vault, x. Arched Roof, and after Got hid 
 •r. manner. P. 76. f. Breffe x.Brefcia. P. 78. in the Contents {.re- 
 liJI) X. Manner. P. 81. 1 . 16. after Part r. theyy and for Pupils 
 X. thofe who are Studious. P. 84. f. Methods x. Manner. P. 8 f . f. 
 Water Colours x. Diftemper. P. 87. f. BuUoign r. Bolognay and for 
 Ciambeim x. Cimabuey and f. St.Crofs x. Holy Crofs. P. 8^. f. Da- 
 rotus X. Dante^ 
 
I 
 
 history 
 
 O F 
 
 Painting, Engraving, Architedure, <src. 
 
 BOOK 1. 
 
 Of the Original and Progrefs of A S 
 that relate to Defigning. 
 
 CHAP. I. 
 
 Go^l is the Author of the Dejigft and Model of 
 Man^ or of human Shape. 
 
 T H E Arts of Defigning have had their 
 rife, progrefs,. decay and revival. De- 
 figning derives it’s Original from the 
 divine Underftanding it felf, as the- 
 firft great Exemplar of all Beings : When God 
 created Man, he ( <? ) took Earth, and formed it 
 into Shape, and breathed into it the Breath of 
 Life ^ thus the firft Defign or Draught of human 
 Figure comes immediately from God himfelf ; 
 Who has furnilb’d us with a Faculty receptive of 
 various Ideas, and capable of diftinguilbing their 
 Forms one from another ^ this Diftindiion is the 
 firft Principle ol Defigning: It is connate with us. 
 
 (a ) Gen. Chap, i. 
 
 B 
 
 but 
 
■% The Htftory of Tainting^ 
 
 but improved by Study of the Art, wherein two 
 Things are to be conlidered, ifi. The Figure or 
 Image of the vifible Objed: in ourTmagination. 
 idly. The Art of laying it Down, or reprefen- 
 ting it by the Hand. The Imagination h far 
 Itronger in fome than in others, either by a na- 
 tural Genius and ftrong Tendency this Way, or 
 by a particular Gift of Heaven. For Mofes fiys, ' 
 of ( ^ ) Bezaleely that God had filled him with his 
 Spirit in wifdom, in under fit anding^ and in knowledge^ 
 and in all manner of workmanjhip. 
 
 It is therefore the Spirit of ( c ) God which is 
 the firft Author of Defigning, and it ought rather 
 to be look’d upon as a ( ^/) Gift of Heaven, than 
 an Invention of Man. This Truth has been ac- 
 knowledged in all Ages, the Children of Seth^ 
 were very careful to engrave on (e) two Pil- 
 lars the Principles of Aftronomy, That that Sci- 
 ence might not Perifh in the Deluge which they 
 were alTured would happen. 
 
 Their care was rewarded with the defired Suc- 
 cefs, for thofe Pillars remained Handing a long 
 time after Noah ; and there are fome that Write^ 
 that the Sons of Seth found out the Way of re« 
 prefenting Images and fif) Portraitures in Paints 
 
 ( b ) Ex. Chap. 3). 
 
 ( c ) Philoftrmis ill the Preface to his treatife of Painting 
 fays, that the Aits of Defigning, were the Invention of the 
 Cods. 
 
 f d ) hints the fame Thing in thefe Words, Epercio 
 
 a raggione fi pud di\e che il difegro fi d piii toflo dono Celejie, che 
 cofz ritrova Archhetd d' all' ingegno humano in his Book of Ar- 
 chitedure. Part I. Lib. I. C. 14. P. 47. 
 
 ( e ) Thefe Pillars were the one of Brick , the other of 
 Stone, jofeph. Lib. I. of Antiquities, C. 2. 
 
 (/) 'ii Seth per generare r.e fiio} popo- 
 
 il unx merle pia., pin benigna, riiroiv il mode di raprejentan 
 loro, le imagine. iA figure, r.ctlro. per Ke\yo de la pittura. Paul 
 
^ngraving^ Architetlure^ &c. 3 
 
 ing. But in the mean time we have no manner 
 of certainty, that thefe Arts of Defigning 
 were pradifed before the Deluge. Hiftory leaves 
 us in the dark, and relates very little of the Acti- 
 ons of Mankind in the firft {g') Age. But we 
 may probably Conjedure, that Noah who had 
 Commerce with the Sons otSeth^ who had known 
 Adantj learnt thofe Arts from them, and that he 
 was a very good Geometrician. This is evident 
 from the Structure of the ( >6 ) Ark, which was a 
 piece of naval Archited-ure, and prefuppofed the 
 Art of (?) Defigning, from which Geometry is 
 infeparable. 
 
 ig) The firft Age comes down from Adam to the Deluge, 
 and comprehends z 6^6 Years. 
 
 ( /; ) Noah was 100 Years in building his Ark, Gen. C. 6 . 
 He built it according to the Symmetry or Proportion of 
 human Bodies, as Paul Loma\^o has remarked in his Treatife 
 of Painting, Lib. I. P. 95:. where he aflerts that the juft Pro- 
 portions ofhumane Stature are 300 Parts in length, so broad, 
 and 30 thick, and that according to this Proportion Not^h 
 built his Ark, which was 300 Cubits long, yo broad, and 
 30 thick or deep. He adds that according to this Proportion, 
 the Antients ufed to build their Ships and other Buildings, 
 as the Grecians did that of Argos. 
 
 (i) Oi thofe Authors who have treated of the Art of 
 Defigning, fome will have ifto be a Speculation or Theory 
 aflifted by_ the Memory, and a fort of artificial Induftry of 
 the Irnagination, employing it felf in conformity to the 
 image imprinted on it by the external Objeft. 
 
 Others define it the Science of juft Proportions of any vifi- 
 ble Objeits, and a regular Compofition demonftrating the 
 Right by certain determinate Meafures. Others again will 
 have Defigning to be onl)f a clear and vivid Genius , where- 
 of whofoever is deprived i$ as it were blind, fince he can’t 
 difcern the juft Rules and Symmetry of Things. 
 
 Armemini de veri preccetti D. L. P. C. 4. 2^ 1 ; Chevalier , Bi- 
 Cgno in bis Treatife of Painting. 
 
 Fdfari thus defines Defigning. ’Tis a vifible Exprefilon of 
 the Thought the Soul has conceived, 
 
 B a 
 
 C ff A P. 
 
4 
 
 the Hiftory of Tainting, 
 
 CHAP. 11. 
 
 Of the Trahlice of the Arts of Defigning, and 
 their Progrefs among the Aflyrians. 
 
 I N the zd a ^ Age, the Art of Defigning be- 
 gan to appear in Sculpture and Archite<51:ure ^ 
 for after Noah had re-peopled the Earth, the Af- 
 fyrians began to Cultivate thele Arts. The firft 
 ElTay that ftiewed it feft^ was the Tower of Ba- 
 bel, which was never perfedled by reafon of the 
 Confufion ot the Languages. 
 
 Belus commonly called Nimrod, the (b) Firft 
 King of the Ajfyrians, was the Author of that 
 famous Strudure,- and afterwards in the fame 
 Place built Babylon, where he arrogated to him- 
 felf divine Adoration. Ninas’ s Son erecfted to 
 him the firft Temple in the World, and confecra- 
 ted ( c ) Statues to his Memory, which was the 
 firft Rife of Idolatry. It was this Ninas who 
 founded Ninive, a City of (d) three Days Jour- 
 ney in length, and made himfelf Mafter of all 
 ^/ia. His Wife Semiramis finifli’d the Walls of 
 
 (a) The zd Age is computed from the Deluge, to the 
 calling of Abraham, and includes yi 6 Years. 
 
 (b) Gen. Chap. n. This was in the Year of the World 
 1875). Years after the Deluge, and 127 Years before the 
 Death of Noah. This Nimrod reigned 6 s Years according to 
 Eujeb. Gen. 10. 
 
 (c) ’Twas about the Year of the V/orld i5>44, that the 
 Statue of Belas was made, which is the fame Idol the Scrip- 
 ture mentions under the Name of Baal, Belphegor, &c. 
 
 ( d ) yonas Chap. 5. and Diodorus Siculus L. 3. We here fol- 
 low the Chronological Hiftory of the Sieur de Royaumont Pri- 
 or of Sombrsval, in his Hiftory of the Old and New Tefta- 
 intnc. 
 
 Babylon, 
 
Engravings Archite^ure, &c. ^ 
 
 Babylon, which were reckoned one of the feven 
 Wonders of the Worlds to which might have 
 been added , the Gardens wherewith that City 
 was adornedj and which were on the Tops of 
 the Palaces. 
 
 Semiramis, Moreover caufed the Mountain 
 ( e ) Bagifion to be cut in the Shape of feveral 
 Statues, and carried the Arts and Sciences into 
 ( y*) Egypt, and among the Thebans after having 
 Conquered thofe Kingdoms. All Hiftorians 
 agree , that Babylon was a very ( ^ ) beautiful 
 City ,• that it was full of magnificent Buildings, 
 and. Famous for the Temple of Jupiter Bel us : 
 That it had a hundred Gates of Br4fs, which 
 Ihews us that the Fufion of Metals was then in 
 Ufe, and that other pieces of Workmanlhip which 
 depend on Defigning were then difcovered. 
 
 ( e ) It is not improbable, but that Dinocratus might take 
 this for a Pattern when he propofed to Alexander the Great, to 
 cut out the Mountain Athos into his Statue. Fitruvius L. 2 . 
 The Mountain Bapfion w'as a Rock of feventeen Furlongs in 
 Circumference ; it was Carved into the Statue of Semiramk, 
 with the Figures of a hundred Men offering her Prefents. 
 T. Loma^yo Idea del 7 ". del Pitt. P. 22. 
 
 VderivA Maximus, makes alfo mention of a prodigioufly 
 great brazen Statue of this Q;:een. 
 
 ( / ) Among the Arts of Defigning that were pradifed at 
 Babylon, Painting was one, fince that Princefs caufed to be 
 painted on a Bridge which fhe built in that City, the Figures 
 of feveral Animals in Colours, as' is reported by Dioi. Sic, 
 and the aforefaid P. Lomawo, P. 22. 
 
 ( f ) Pliny Lib. 6 . Chap. i 6 . fays. That Babylon was fixty 
 Miles in Circumference, That its Walls were two hundred 
 Foot high and fifty thick, that the Temple of Jupitp Belus 
 was ftanding there in his Time. Herodotus fays, This City 
 was four hundred and eighty Furlongs in Circumference. 
 The Death of Semiramis is reported to have happened in the 
 year of the World, 2038. Jufiin. Lib. 2. Piod. Sic. Lib. 3. 
 
 B 
 
 
 Hence 
 
6 
 
 The Htftory of Tainting^ 
 
 Hence it is alfo Evident, that the Arts of 
 Defigning were not found out by Chance, fince 
 thofe firft and excellent Pieces of ArchiteAure 
 and Sculpture could not have been performed 
 without the Help of Art, which had been tranfo 
 mitted down to thofe great Defigners contem- 
 porary to ( ^ ) Noah, and removed but two Ge- 
 nerations from Adam. 
 
 (h) Nonh died in the Year of the World, 1^44. Lmechis 
 Father lived with Adm fifty fix Years. 
 
 CHAP. III. 
 
 Of the Heighth to ivhkh fainting and En~ 
 graving arrived among the Egyptians. 
 
 T hese Arts having been fo friccefsfully 
 pradifed among the Adrians, were by 
 them carried into Egypt, and all their Conquefts ; 
 in fo much that the Egyptians were the firft who 
 cultivated them. Their Labyrinth was a proof 
 of it. It was a. (a) Building fo admirable, that 
 befides its ingenious Windings and Meanders, 
 there were all the Temples of the Egyptian Gods 
 adorned with Columns of Porphiry, with the 
 Statues of their Divinities and of their Princes, 
 with feveral rich Palaces which made that Edifice 
 fo famous and remarkable, that the firft Archi- 
 teds of Grece were wont to travel thither to Study 
 
 ( a ) It was the King l^etefucci'A who built it : It was more- 
 over enriched and dedicated to the Sun by the King Pfani- 
 •Maticiis, Flin. Lib, ^ 6 . Chap. 13. The Obelisks which were 
 tranfported From Egypt to Rome by Auguftics, likewife denote, 
 the yaft Magnificence of the Egyptians. 
 
Engravings ArchiteBurCs &:c." 7 
 
 the Depth of the Rules of their Art. This fa- 
 mous Labyrinth and the wonderful Buildings it 
 included, give us a lively Idea of the furpriling 
 Greatnels of the Archite<fture and Sculpture of 
 this People ^ their Pyramids,their Obelisks which 
 are ftill to be feen, and the Fragment of the Co- 
 loffal ( ^ ) Image of Sphinx, the Head whereof 
 was a hundred and twenty Foot in Circumference, 
 are evidences of this Truth, 
 
 In the (c) Age, thefe Arts flourifh’d in the 
 Reigns of the Pharaohs : Abraham when he tra- 
 veird into Epp, Taught there Arithmetick and 
 Aftrology. The Ajjjrians and employ’d 
 
 themfelves fo much in Sculpture, that it became 
 common, not only in the Temples but in Pri- 
 vate-houfes, as Laban had Idols which his ( e ) 
 Daughter Rachel ftole, when Jacob and his Fa- 
 mily parted from him. 
 
 After that Jacob went and lived in Egypt pihtxe 
 his Pofterity encreafed, and learned the Arts of 
 Defigning, and (/) gave a Proof of the Pro- 
 grefs they had made therein in the Wildernels,by 
 the ill TJfe they put them to. For being tired 
 with expectation of Mofes’s return down fi-om the 
 Mount, they made the (_g-) Golden Calf^ where- 
 upon he forbid the making of Idols and Idolatry. 
 After this by the Order of God he chofe ( ^ ) Be- 
 
 (b) Fliny^ Lib. 3(7. Chap. 11. 
 
 (c) The third Age of the World began at 1083, from the 
 calling of Abraham to the Year 2 5 17, Vfherein the Children 
 of ljrael went out of Egypt, 
 
 (d) ^of. Lib. 2. of Antiq. 
 
 (e ) Gen. Chap. 31. ^acob efpoiifed Rachel in the Year 
 2253, and the eighty fifth*Year of his Age. 
 
 ( / ) At this time began the fourth Age of the World at 
 2517, and ended at the building of Solomons ^ 99 ^* 
 
 (g) Exod. Chip. 32, 
 
 ( h ) E^od, Chap. 57. 
 
8 The Hiftory Qf Tainting^ 
 
 z,«/ee/and Aholiah to make Golden Images of Che- 
 rubins, and all the Ornaments of Architedure 
 and Sculpture for the Tabernacle^ and the Ark 
 of the Covenant, 
 
 C H A P. IV. 
 
 The Egyptians Communicated thefe Arts to the 
 Phoenicians , and They carried them into 
 Grece. 
 
 W E have no certainty that the Art of 
 Defigning was in Grece before the year of 
 the World 2600 ,• but that from the Egyptians it 
 vvent to the Thcenkians , under Agemr , who 
 Reigned at Tyre. His Grandfon Cadmus brought 
 the firft Letters and a') Arts into Grece : There 
 he Built Thebes ^ which he called fo fi’om the fa- 
 mous Thebes in (b) Egypt. 
 
 About the end of the Third Age ( c ) Athens 
 was founded by its Firft King Cecrops, who came 
 from Egypt ; where it is very probable he 
 alfo laid the firft Foundations of the Arts and 
 Sciences ; It was here the famous Dedalm was 
 
 (a) About the Year of the World 2^00. It was Cadmus 
 who carried the firft fixteen Letters of the Alphabet into 
 Grece. Palamedes added four about the time of the Trojan 
 War. Tacit. Ann. Lib. ii. Plutarch and Pliny, Lib. 7. Chap. ^ 6 , 
 
 (b) This City was fo Famous, that Gernunkus made a 
 fourney on purpofe to furvey its* magnificent Ruins. H. Pi. 
 de Coifeteau, P. and Cornelius Ta.citus, Lib. %. fays, That 
 in that one City were raifed 700000 Soldiers. _ 
 
 ( c j In 249^, Athens founded i and it is fuppofed 
 gos was elder than that, and Shme ^hen Argos. 
 
 born 
 
Engravings Archite^urCs See. 9 
 
 born of the Royal (d) Family ^ excellent in 
 the Art of Defigningjand Famous for his (e) Ma- 
 chines, and felf-moving Statues ; he was alfo 
 the firft Engraver we have mentioned in the Gre- 
 cian Hiftory. 
 
 This Learned Man Travelled into Egyrpt to fee 
 the Labyrinth, from whence he formed the de- 
 fign of that he afterwards Built in Crete ^ and 
 though it was not the hundredth part of that in 
 Egypt, notwithftanding it was fo famous for the 
 Beauty of the Architecture and Sculpture, that 
 it was reckoned (f) among the Seven Wonder^ 
 of the World. 
 
 Thirty four years after the Inftitution of the 
 Olympic k Games (g ) happened the deftruCtion 
 of Troy, at which time Architecture and Scul- 
 pture were much cultivated by the { h ) Grecians. 
 
 This is fufficiently evidenced by the ftruCture 
 of the Trojan Horfe, which an ingenious En- 
 graver made for them, who was alfo an excel- 
 lent Architect j ( i ) after that he Built the City 
 
 f d ) He lived about the year 2^44 ; he was of the Race 
 of the Kings of Athens^ Sons of Metion., Coufin-German of 
 Tbefeusj according to Faufanras in his Attk. Diodorus Sku-^ 
 lus^ and Eufebiusj- Lib. 3. of P. E. md Flat arch in the Life 
 of The feus. 
 
 Diopenes and the Scyllij were Sons of Dedalus. Milo. ^p. 82 8. 
 They were Engravers and lived at Sic lone. Flin. L. $6. C. 4, 
 
 ( e ) It is thought the Beauty of his Statues gave occa- 
 fion to the report of their Self-motion. 
 
 ( f } Flin. Lib. 33. c. 13. 
 
 (g) In the year of the World 283d, began the QlympkJi 
 Games, from which time the Grecians computed Time by 
 their Olympiads., which returned every Five years. 
 
 ( h ) Dedalus having lived near 200 years before the de- 
 ftrudlion of Troy, his School brought up and fent feveral En-^ 
 gravers . to Athens , Sicione , Candie , and Sicily. Mila and 
 Fliny. Lib. ^6. c. 4. 
 
 ( i) His was Epeus Dicrateus. ^ufiin* Lib. 20, c. 2, 
 p//?;. Lib. 7. c. rG ■ 
 
 of 
 
lo The Hijiory of Painting^ 
 
 of Metafontus ; the Citizens ( k ) whereof to 
 teftify the Veneration they paid to his Memory, 
 kept the Iron Tools wherewith he made the 
 Trojan Horfe, as venerable Relicks in the Tem- 
 ple of Minerva. The elegant Defcription Homer 
 gives us of the Buckler of AcJoilles, is a fufficient 
 evidence that the Arts of Cutting and Engraving 
 were praftifed in Grece • for that famous ( / ) 
 Poet exprelTes fo elegantly the Beauty of that 
 Work, that his Defcriptions feem rather to be 
 Engraven than Writ : He moreover feigns, by 
 reafon of its Excellence, that it was wrought by 
 Vulcan himfelf 
 
 As for the Trojans^ it cannot be denied but 
 that Engraving v/as in ufe among them ,* for that 
 Poet tells us , that Eneas ( m ) took particular 
 care to carry his Penates, or Houfhold Gods along 
 with him * particularly the Palladium of ( w ) 
 Troy, and the Idols of the Samothracians he took 
 along with him into Italy. 
 
 ( k ) This City of Metapcntiis was in old Lucania^ which 
 is Cduhrin. It is now called Tore di Mare, 
 
 ( I ) Horner in his Iliads^ Lib. i8. It was held in great 
 efteem in the year 30751. Ovid Ipeaks alfo of this Buckler in 
 the Thirteenth Book of his Met amor phofis. 
 
 (m ) Eneas went into Italy in the year 1872 ; he was the 
 lirft King of the Latins^ after whom, for 5:43 years there 
 Reigned Nineteen Kings to the time of Romulus. 
 
 ( n) Plutarch in the Life of Pur. Camillus. The Fifth 
 Age began at the Foundation of Solomons Temple, and end- 
 ed at the deliverance of the ^evps out of the Babylonifi 
 Captivity s containing from the year Z99Z to 34^8, which 
 is 475 years. 
 
 C H A P. 
 
Engravings ArchiteUarCs 6cc. ii 
 
 C H A P. V. 
 
 T^e Arts of Dejigning flourijhed under the 
 Kings of Ifrael. 
 
 O N E hundred and fifty fix years after the 
 deftrudlion of Troy, Solomon being about 
 to Build a Temple to the true God, would not 
 undertake that peice of Work, till, by diligent 
 fearch, he had found out all the moft able and in- 
 genious Workmen, both in his own Dominions 
 and elfewhere. To this end he had recourfe to 
 the King of Tyre (a ) his Friend • who lent 
 him Hiram, whom, through refpecft, he called 
 Father, and who excelled in all Arts, as appeared 
 by the Architecture of the Temple, and of the 
 ( b ) Palaces which he inrich’d with innumerable 
 Ornaments of Sculpture, and Works of Gold, 
 In thefe Ipacious Buildings were to be feeii 
 the (c) Magnificent Throne of Solomon, the 
 Cherubinis, the Veffels of Gold, the Altar, the 
 Pillars and great ( T ) Sea of Brals , which 
 held 500 Meafures of Water, fupported by 
 Twelve Brazen Oxen : All which rich Works 
 demonftrate that Hiram was skilled in the Art of 
 Founding, as well as other parts of Defigning. 
 
 f ^ j Chron.'Rook 2. c. 2. The Temple of Solamon was fi- 
 niflied in the year of the World 3000. 
 
 ( b ) Hiram made Two Palaces for Solomon^ the one in 
 Xujalem^ and the other in Mount Lihanus^ Cbron. 2. c. 9. 
 
 ( c ) This Throne was of Gold and Ivory with Figures and 
 Lyons. 
 
 ( d) This Sea of Brafs and feveral other rich Works w^ere 
 hr9ke to pieces in the time of Nebunhadnenar. 
 
 Solomon 
 
jz The Hiftory of Paintings 
 
 Solomon after this, led aftray by his Concu-' 
 bines. Built Temples to the Goddefs of the {e ) 
 Sidonians , to the Idol of the (^f ) Ammonites y 
 and to that of the ( g ) Moabites : After which 
 Jeroboam y and feveral of the Kings of Ifraely 
 continued the Worlbip of falfe h ) Gods ; 
 which made employment for the Gravers and 
 ArchiteAs. 
 
 (e ] The Goddefs of the Sidonians was AJlanhon-, 
 
 ( f ) The Idol of the Ammonites was Moloch. 
 
 ( g } And that of the Moabites^ Camos, 
 
 ( h ) They Sacrificed to the Idols of Baal and the Golden 
 Calf 5 and Jeroboam eftabliflied that Worfhip, 3 l^ngs^ c. 
 Ahab alfo Built a Temple to Baal in Samaria^ where he had 
 4^0 Prophets, and 400 others who ferved in the Groves, and 
 all were fed at ^e^abel's Table. Ahab alfo re-eftablifhed the 
 Idolatry in the High Places, 4 l^ingSy c. 16, 
 
 CHAP. VI. 
 
 Sculpture ivas praBiferi hy the Babylonians 
 and Perfians. 
 
 S culpture had hitherto been much more ufed 
 by the Babylonians than by the Jeovsy becaufe 
 that Kingdom had been always in a very flou- 
 riftiing condition. Nebuchadnezx^ar made a Golden 
 Image of ( ^ ) Sixty Cubits high, and Six broad. 
 The Proportion of its breadth to its heighth, 
 Ibews us the nice Symmetry that was followed 
 by thofe Ancient Artifts, particularly alfo in the 
 Statue of Laocon , wherein the fame Meafures 
 were ufed j its heighth was Thirty Meafures, •< 
 
 and 
 
 { a ) Van. c. v. i. 
 
EngrAv'mg^ Archite^ure, &:c. 13 
 
 and its Diameter Three ,* thus Multiplying 
 Thirty by Two, and you have Sixty for the 
 heighth, and Multiplying Three by the fame 
 Number y you have Six for the thicknefs * 
 which are the lame Proportions with that great 
 and rich Statue of Nehchadnex^zar. 
 
 Hence we may Note by the by ^ That the 
 Excellent Defigners of all Ages have made ufe 
 of the fame Rules and Proportions to exprefs 
 the Beauty and Symmetry of Human Bodies by< 
 This magnificent Work of Nehchadnezzars fuf* 
 ficiently proves that the Arts of Defigning 
 flouriflied under the Babylonian Monarchy. For 
 to undertake the making a Statue of Gold of 
 Sixty Cubits , there muff needs be excellent 
 Gravers in the Kingdom ; whence it alfo ap- 
 pears credible, that that Art had been there fuc- 
 celsfully continued for Fourteen hundred Years, 
 which was the time fince it began to flourilh 
 there, as we have noted, under the Reigns of 
 Ninus and Semiramis his Wife. 
 
 But Cyrus after the Conqueft of Babylon, efta^ 
 blifii’d there the Monarchy of the Perjians : 
 It was he who order’d the rebuilding of the (b) 
 Temple of yerufalem, and who reftor’d to the 
 Jews their Liberty. He lent ( c ) SanabaJJer 
 jftom Babylon to lay the Foundations of that 
 Strudure, and commanded the raifing of Mony 
 for that endj and he alfo reftored to the Jews 
 all the rich Spoils of the Temple of Solomon, 
 
 ( b ) Firft Book of Efdras i. Ver. 3. 
 
 (c) Sanabajfer was made Prince of ^udei by Qrus, who 
 gave him back the Veflels of the Temple which were ^41?^ of 
 Cold and Silver, i E[drAS c. i. v. 3 and 8, 9, 10, ii, and 
 Chap. f. v. 14, If, and Anuxerxes are the 
 
 lame. 
 
 which 
 
14 The Hijlory of P aintingy 
 
 vjhich.Nehuchadnez,z/tr had carried away when he 
 deftroy’d it. 
 
 Artaxerxes did not yield to him in point of Mag- 
 nificence and Grandeur ,* for the Galleries and 
 Porches of his Gardens were adorned with (i) 
 Marble Pillars : He had Beds of Gold and Silver 
 even down to the Floors which were of Alabafter, 
 and inlaid with Emeralds, which render’d a very 
 agreable and charming Variety. Hence we fee, 
 that the Arts of Defigning continued in as great 
 Splendour in the Monarchy of the Perfansj as 
 in that of the Babylonians. 
 
 ( d) There were hung round on every fide hangings of 
 Azure, Crimfon and of Colour of Jacynth. Efler Chap. i. 
 
 Sy 7 » 
 
 CHAP. VII. 
 
 Of the Arts of Defigning in Africa and 
 Carthage. 
 
 I N the fourth Age Tigmalion ( King of 
 Tyre, did no ways degenerate from the ex- 
 Ceflive Love the Princes of Phxnicia entertained 
 for the Arts, and this gave Occafionto the Story 
 that was reported of him ( 'viz,.) That this 
 King was punilhed for the Hatred he bore to 
 Women, by falling violently in * Love with an 
 
 (a ) Pigmdion was the Son of Melin. He reigned in the 
 Year of the World 3147. and the ii4thof Solomons Tem- 
 ple. He obliged his Sifter Dido to retire the 7th Year of his 
 Reign out of the Kingdom, Dm cited by ^opfhus Lib. i. 
 againft Jufiin. Lib. 18. 
 
 *■ Ovids Metramorphofis, Lib. 8. 
 
 Ivoiy 
 
Engraving, Architeaure, &c. 15* 
 
 Ivory Statue he had made. This demonftrates 
 that Graving was pradlifed with a particular 
 Efteem among the Tyrian^, fmce that Great 
 Prince made it one of his chiefeft Pleafures. 
 
 His Sifter ( ^ ) Dido, brought the Arts and 
 Sciences among the Carthaginians by eftablifliing 
 her felf at ( c ) Carthage, and the Arts flourilbed 
 there with that Succels, that no Place in the 
 World \^as in that Point before it. The Statue 
 of AfoUo which was in the Temple of that God 
 near the ( J ) Gate of Carthage, {\xfhc\tnt\y teftifies 
 the happy Progrefs Sculpture had made therein. 
 
 This Figure was all of Gold ,* the Soldiers of 
 Scipio pillag’d this * Temple which was all over 
 guilt, and broke to pieces that magnificent Statue, 
 which amounted to a thouland ( e ) Talents 
 of Gold. 
 
 ( b ) Appian General of the Libicfi War fays, That Princefs 
 went from Phxnicia. with a Colony, and that Ihe carried 
 along with her all the Riches flie could get together. She 
 made ufe of a Stratagem to build that City ; for having 
 asked of the Cmhagininns as much Land as flie could Encom- 
 pafs about with an Ox’s Hide, when they had agreed to it, 
 Ihe cut out the Hide into Thongs, and encompaffed round 
 the Place where Birfx was built, which Word in Greek figni- 
 fies Leather. 
 
 The Fortrefs of Birfa which w'as part of Carthage-, was 
 built in the Year of the World 131G Menander Hift. of the 
 Kings of Tyre. It is quoted by ^ojeplm Lib. 8. of his Anti- 
 quities; Chap. 13. and Lib. i. againft 
 
 ( c ) Carthage vyas founded by the Phxnicians fifty Years be- 
 fore the Dellruftion of Troy ; Xorm and Carchedon founded 
 it. Apian Lib. c. i. 
 
 f d ) This Gate was called Cotton. 
 
 * The Temple of Apollo was fo Rich that it was all over 
 gilded. Appian of the Lib. War. Chap. 14. 
 
 ( e ) The Soldiers made fix hundred thoufand Crowns of 
 the Gold of this Statue of Apollo : One Talent being valued 
 at fix hundred Crowns. 
 
 One hundred and two Years after the Ruin of Carthage, it 
 was rebuilt by Augnfltn, 
 
 The 
 
1 5 the Hiftory of Tainting^ 
 
 The Triumph which this General made of 
 the Spoils of Carth age f\x^hc\&nt\y lliews thatthefe 
 Arts flourilTi’d there, in a very great Heigth, 
 for Rome had never yet feen any triumphal En- 
 trance that equall’d this of Scipio Africanus. For 
 there was difplay’d a prodigious quantity of Gold 
 and Silver, with a great Number of ( / ) antient 
 Statues, very rich, and Bucklers of Gold, where- 
 of that of Afdrubal was (b excellently Engraved, 
 that it was kept it the Capitol. Whence it ap- 
 pears that thofe great Carthaginian Generals were 
 very Curious, and Admirers of thefe Arts, parti- 
 cularly Hannibal during his Retreat with Ar- 
 taxes the King of Armenia^ praftifed Architecture : 
 Since it was he who laid the Platform of the 
 Capital City which from that King was called 
 Artaxata^ and fur^'^ey’d all the Buildings of it at 
 the requeft of that Prince. 
 
 (f) The antient Statues which were fliewn at the Triumph 
 of Scifioy prove, that the Arts of Defigning flourifli’d fooner 
 at Carthage than at Rome, App. c. 14. 
 
 {g'j Pliny Lib. 35:. Chap, 3. 
 
 {h) Plutarch in the Life of Luctdlut. 
 
 In 1^94. There was found in Tripoly, an Ancient Figure 
 which was carried to Versailles, which was the Statue of a 
 Woman cloathed, which further proves, that Graving was 
 praCtifed among the Africans. 
 
 CHAP. 
 
Bngraving^ ArchiteBure^ &T. 1,7 
 
 CHAP. Viii. 
 
 Of the time wherein Tainting began to floUrifh 
 in Greece. 
 
 T he Arts of Defignihg were brought into 
 Greece by Cecrops and Cadmus, who carried 
 them along with them out of Egypt and Thxnicia 
 to the Grecians. Painting being one of thofe 
 Arts, and which had appeared down from the 
 Time of S emir amis, with Architedure and Gra- 
 ving, went alfo to the Greeks, llnce that isinfepa-^ 
 rable from Defigning. But the happy Time when 
 Painting began to be in it’s greateft Splendor in 
 all the States of Greece, was in the eighteenth {a') 
 Olympiad, when the famous ^ Painter Bularchus 
 lived, who is moft Celebrated of any of thole 
 Times. He drew the Battel of the Magnefians, 
 and the Picture was Sold for it’s ( ^ ) weight in 
 Gold ,* which fhews that Painting was then in 
 very high Efteem, which was about the Year of 
 the World 5400. 
 
 {Sf) You mufl: Note, That they did not compute the firft 
 Olympiad from the Inftitution of the Olympick Games : 
 But from the Year of the World 3400, which is about the 
 Time of A^iirias King of Ifrael, thirty Years before the Foun- 
 dation of Rome, acccording to Vigenere in the Tables of Phi- 
 loflratus, p. 318. The Painter flourilhed about the 
 
 j Year of the World 3400, about 300 Years before Alexander 
 \ the Great. 
 
 ( b ) It was King Candulus of Lydia who bought this famous 
 Piilure : He was the laft King of the Race of the Heradiies. 
 i Plin. Lib. 35:. Chap. 8. This King was before tiabuchadne'war 
 ninety Years. Pliny fays, that he died at the fame Time as 
 ' Romulus, Lib. 3^. Chap. 8. 
 
 c 
 
 Some 
 
1 8 fhe Hijiory of Tamting, 
 
 Some Ages after appeared the Works of ( f ) 
 Tenem, Brother of Fidias^ who painted the Battel 
 of Maraton which the Athenians gain’d over the 
 Terfians with great Applaufe : And in this excel- 
 lent Piece, which was in the Porch of he 
 
 reprefented the Captains of both fides in the heat 
 oi the Battel. ( ^ ) Miron and Tolignotm, in the 
 ninetieth Olympiad had fo great Reputation, that 
 the Athenian Senate ordered them to Paint the 
 Del^hick Temple, and that which was called the 
 Porch of Athens. 
 
 The Amfhitrions who were the Heads of the Se- 
 nate, were fo pleafed with their Performances, 
 that, as a further acknowledgment of the Merit 
 of thefe two Painters, they affign’d them very 
 fine and handfome Lodgings. At this Time there 
 were a great many very Famous Painters, and 
 among the reft ( e ) Zeuxis^ famous for the Excel- 
 lence of his Pencifand tjie Riches he acquired. He 
 had Contemporary withhim Eupompsssj Timanthm, 
 
 f c j Irl the eighty third Olympiad according to Flinyj Lib' 
 t Chap. 8. Peneui filled the Temple of Jupiter Olympim with 
 his pieces, PaufAtuss in his Eltac. 
 
 Jndmida a Painter of Ciycenia, painted for the City of 
 Thebes the Battel of Leubfrum. Plutarch in the Life of Pehpi- 
 das. They count the fixth Age of the World from the deli- 
 verance of the ^ews by Cyrtu in the Year 34^8, and that 
 Age lafts till the Year 4000. 
 d ) Pliny Lib. 3 j. Chap. 10. 
 
 ( e ) Zeuxis lived in the fourth Year of the ninetieth Olym- 
 piad. He raifed his Fortunes to that Pitch, that he would 
 fi^ll no more of his Pit'tiires, but gave them away } Thus he 
 prefented his AUmena to thofe of Agrigentiun-, and Part to 
 Archelaus. Plin. Lib. 3J. Chap. 9. 
 
 Androcida, 
 
EngrAvmgy Arc^HeEure, &c. 19 
 
 Anirociday (f) Euphranor ^ Earafim and feveral 
 others ,* the laft excell’d particularly in the Juft- 
 nels or his Proportions; Eupompm brought up 
 Vamphilus the Macedonian y Mafter of Apelles. Pam-^ 
 fhllfss was inftrucfled in all the liberal Arts, par- 
 ticularly Arithmetick and Geometry, without 
 which he efteem’d it impoflible to Succeed in 
 Painting. , 
 
 By his Authority and the Regulations he rhade 
 in the Academy of Painting ( ^ ) he engaged 
 the moft confiderable Youth of the City of Sclcioney 
 and of all Greeccy to learn the Arts of Deligning, 
 which then were efteemed Liberal, and had in 
 fo high Veneration, that only the ( .6 ) Nobility 
 and Gentry were permitted to Exerciie them. 
 
 Hence this Cit}' became very Famous for the 
 great Number of excellent Painters and Engravers 
 that were bred in it : Apelles who was the Scholar 
 of Pamphilm carried Painting to that degree, 
 that the Antients allow’d him one of the firft 
 Places among Painters, by reafon of his great 
 
 ( f ) Pliny farther rtientiorts feveral Other Gree\ Paittters, 
 and among others Puphranor of the tfimus, who flourilh'd ill 
 the hundred and fourth Olympiad. He was alfo art irtgenious 
 Engraver, having made feVeral Pieces in Marble, artd fome 
 Cotoffus's. He writ of Symmetry and Colours. Plin. Lib. 3 
 Chap. II. And Paufanias in his Atticks, P. 4. tells us or a 
 Gallery where this Painter painted on the Wall the twelve 
 Gods, Thefeus the Lawgiver, the Battels of Cadmus, of Leu- 
 itrum, and Mantin. 
 
 (g ) Piagraphicen. Pliny calls it Piagraphice, Lib. j. Chap’ 
 10. 
 
 ( h) Plin. Lib. 3jr. Chap. lo. 
 
 C % 
 
 Quali- 
 
to The Hiftory of Paintings 
 
 Qualifications : Which honour obliged ( i ) Pro^ 
 togenes his Rival to acknowledge him for his Ma- 
 fter. Thm Alexander the Great juftly c\vo{q AgeU 
 les for his. chief Painter; he gave him great Ri- 
 Chesj and made him a Prefent even of his own 
 Miftreft ( ^ ) becaufe he perceived that he was 
 paflionately in Love with her. 
 
 The Perfons of Quality had the fame Efteem 
 for Painting as this great Prince^ wherein they fol- 
 lowed his Inclination. This is verified in the 
 Story of <t/£tion^ who after having Painted the 
 Nuptials of ( / ) Alexander and Roxana^ expofed 
 the Work to publick View in the great AlTem- 
 bly of the Olympick Games^ where Troxenldas 
 
 ( i ) Protogenes was no lefs efteemed by King Pemetrim than 
 Apelles by Alexander. This Prince having belieged Rhodesy 
 went to fee him Work in a Houfe he had a little without 
 the City 5 and as he familiarly asked him how he could Work 
 lb Tranquilly, he anfwer’d him, That he knew indeed that 
 he was come to make War againft Rhodes but not againft the 
 Arts. This Prince fet fo high a Value on the Pieces of Fro- 
 togenes y that he would not Burn the City for fear of burning 
 them, chufing rather not to take the City than to be the 
 caufe of their lofs. Flin. Lib, 3 ^ Chap. lo. 
 
 {k) Her Name was Campafpe. Alexander gave her to Apel- 
 les when he had Painted her. Flin. Lib. Chap. 10. This Au- 
 thor takes Notice that this was one of Alexanders greateft 
 Viftories thus to overcome himfelf, in giving that which he 
 fo much loved to this glorious Painter. He painted his Venu 
 Anadiomenes hy this Woman, P//n. Lib. 35^. Chap. 10. 
 
 Apelles writ oi the Art of Painting, as did alfo his Pupil 
 Ferleus Figenertii on the Pieces of Fhilojiramy P. 
 
 ( / ) Lucian in his Dialogue entituled Herodotmy defcribes 
 the Beauty of this Picture which was yet to be feen in his 
 Time in Italy. 'XKis Authors Authority is fufficient to aflure 
 us of the Excellency of this'Painter, becaufe he himfelf was 
 very well skilled in the Art of Deligning, and had learnt 
 Engraving in his Youth ; afterwards he became Intendant in 
 Egypt for Marcus Anrelius. 
 
 one 
 

 Engravings Archite^urCs &c. 
 
 one of the Deputies of Greece then prefided. He 
 was fo charm’d with the Beauty ot this PiAure, 
 and thence conceived fo great an inclination for 
 the Painter, that he gave him his Daughter in 
 Marriage. 
 
 CHAP. IX. 
 
 At the fame time that Tainting was in it’s Ter- 
 fetlion in Greece, Sculpture and Archite^ure 
 were fo alfo. 
 
 S CULPTURE, which began to be culti- 
 vated with a great deal of Honour in Greece 
 by the famous Dedalus , and thofe of his School, 
 continued there , and in fomething above 
 a thoufand/Years arrived at its higheft Pitch of 
 Glory : ( « ) Fidias was one of thofe who ren- 
 derd the Art of Engraving moft illuftrious. His 
 
 ( ) Fiditis the Athenian flourifli’d in the eighty third 
 
 Olympiad, and about the three hundreth Year after the 
 Foundation of Kome^ Plin. Lib, 3. Chap. 7. The merit of 
 this ingenious Engraver gain’d him the particular Efteem of 
 Pericles^ who (hewed him a great Refpeft, and made him 
 Surveyor of the works for the Republick. 
 
 Paulus Emilius-y admiring an excellent Statue of Jupitev 
 done by Fidias^ faid, he had made it exadlly as HQmer had de- 
 fcribed it. Plutarch in hU Life, This Conful demanded of 
 the Athenians^ when he was at Athens^ a Painter and Phi- 
 lofopher to Inftruit his Children j they gave him Metrodorus 
 who was both the one and the other, Plin. Lib. 3^ Chap, n. 
 and Plutarch in Paitlta Emilm's Life, fays, that he not only 
 entertain’d Grammarians and Rhetoricians and Logicians, but 
 alfo Painters and Engravers to Inftruit his Children. 
 
 c 3 
 
 Mi- 
 
The Hijlory of Tainting^ 
 
 Mine'rva made of Gold and Ivory, which was 
 twenty five Cubits high, was an incomparably 
 piece of workmanfhip j and his Juftter Olympiut 
 was no lels furprizing, which has been efteemed 
 one of the feven wonders of Defigning. Glkon 
 the Atheniany who made the Statue of Hercuksy 
 which is yef at Rome in the Court of the Palace 
 of Farpefoy w^s ony of the Rivals of this famous 
 Fidiafy as ^Ifo ( ^ ) Alcamenes and feveral others 
 who flourifh’d about that time. 
 
 After thefe great Men appeared Scopasy Ltoca-^ 
 resy Rriaxis and Timothem who made, by order of 
 Qeen Artemifny the Tomb of Ma'*folus her Huf- 
 band : They wrought each of them one (r) Face, 
 and it was augmented by a fifth Artift with 
 a Pyramid of twenty four Degrees : It was 
 fuftained by thirty fix Columns, and on the top 
 of this great Edifice was a Chariot of Marble 
 made by Tytis the Engraver.This(i)Af<«/y<'/««w? was 
 one of the feven Wonders of the World, and this 
 is enough to give us an Idea of the Excellency of 
 thefe defigners, and of the beauty of their works. 
 
 ( A ) Paufanias in his EliOfC, gives us a very fine defcripti- 
 pn of this Statue of Jupiter Olympm of Gold and Ivory, and 
 pf the Figures and Bafs Relief which adorn’d his Throne. 
 He defcribes alfo the grandeur of the Temple which was of 
 fhe poricli order, and was fixty eight Foot high to the Roof, 
 ’Fiiiis made this Statue fo big that it could not ftand uprigh^ 
 in this Temple ; whence may be interred that it was near 
 eighty Foot high, 
 
 ( f ) On the trunk of this Statue of fisrcules is engravedj 
 in Greek letters, Glico-a the Athenian. 
 
 ( d) The Maufeleum which Artemify built : Was in the fe- 
 fpnd Year 9f the thoufandth piympiM'; 
 
Engravings Archite^ures &c, 
 
 (e) Traxiteles was one of the moft Ingenious and 
 moft jfamous Engravers of his time ; and the two 
 VenufS which he made for the Cities of Gnidla and 
 ( / ) Coos are fo many illuftrious Proofs both of 
 his capacity and glory. 
 
 Volycktes of Sicione made himfelf alfo Famous 
 by the curious Statue he made^ and principally 
 that of ( ^ ) Diametes^ which was fold for one 
 hundred and ten Talents. 
 
 LjJippus ( h) Engraver to Alexander the Great^ 
 gain'd a very great reputation for his Skill, 
 and for having made feventy Statues in Brafs. 
 This Conquerour would have his Statue from no 
 other hand than that of Lyfippus^ and his Pidure 
 by none but ( i ) Apelles. 
 
 ( e ) Praxiteles flourifli’d in the hundred and fourth Olym- 
 piad, a little before Alexander the Great,and in the three hun- 
 dred and ninetieth Year of Rom.^ P//W. Lib. 34. Chap. 8. 
 
 Lucian gives an elegant defcription of the Fenus Praxiteles 
 made for the City of Gnid. in his Dialogue of Love : This 
 was the Fenus that the Gnidians refufed to King Nicomedes^ 
 who for it, offered to free them from the Tribute they paid 
 him, chufing rather to continue the payment of that Tribute 
 than part from that incomparable Statue. Plin. Lib. 36^.0. ii. 
 
 (f) Paufanm in his Attic, defcribes feveral pieces of this 
 Engravers. 
 
 (^ ) 34 - Chap. 8. 
 
 ( <7 ) Alexander was born in the Year of the World 36’98, 
 in the hundred and fixth Olympiad, and three hundred fifty 
 fixth Years before Chrift. 
 
 ( O Plutarch in the life of Alexander Portraits 
 
 of Alexander by the hand of Lyfi^pus^ are far before thofe of 
 other Engravers donefince: Alio would be Engraven 
 
 by none but hini. He obferved perfeftly how Alexanders Neck 
 ftood fomewhat inclining towards the left fide. When Apel- 
 les painted him holding a Thunder-Eolt in his Hand, he did 
 not reprefent him in his true Colours, but a little too brown. 
 
 This Author fpeaking of the Paffage of Granic, where 
 Alexander loft thirty valiant Men, fays, he had their Statius 
 made by the hand of Ly/ippus, They were afterwards carri- 
 ed to Rome by Meiellus. Hardrni P. and plin. Lib. c. 8, 
 
 C>^ 4 ha‘! es y 
 
5^4 77;^ Hiflory of Tainting^ 
 
 Chares, his ( /?: ) Pupil acquired no lels efteem 
 for rhe Colojfm he made at Rhodes, which was 
 ninety Foot high. At that time Sculpture was 
 lludied fo much at Athens and Corinth, that there 
 were made numberlefs Statues of Marble and 
 BralSj as alfo in the other flourifhing Cities of 
 Greece, and their Colonies, as in Sicily where Der- 
 dalus had long before planted the Arts of Delign- 
 ing, and in the Maritime Cities of Italy, particur- 
 larly at Tarant. Where Lyfippus made a Colojfus 
 of Brals of fixty Foot high. 
 
 {k') chares, was furnamed Lindian, becaufe he was of 
 tindus, one of the three Cities of the Ifie of Rhodes. Plin. 
 Lih. 4. Chap. 7. and Vigenetu^s on the Tablets of Pkiloflratus, 
 This Coloflus was reckoned one of the feven Wonders of the 
 World, it coil fixty thoufand Crowns, which was the price 
 DemetriKi S equipage was fold for after he had raifed the Siege 
 of Rhodes. Plin. Lib. 34. Chap. 8. Who lays, there were 
 reckoned up in that City fix thoufand Statues. 
 
 C H A P, X. 
 
 Mow Fainting went from Grece into Italy. 
 
 R OMULU S founded Rome in the (a) Year 
 of the World 3550, and reigned there thirty 
 eight Years, and a little before the firft 
 (.b ) one of his Succefl'ors, Cleophantus a Corinthian 
 
 {a) Rome was founded in the fourth Year of the feventh 
 niy.Tipiad, four hundred thirty one Years after the deftru- 
 ffion of Troy, and feven hundred fifty three before the Chri- 
 •ftian 5 /pra, or account of time. 
 
 ( b ) Tarquin lived about the Year of the World 3401. of 
 ifnr ic:. This* alio m’?,s about the time of Hahucbadneqyar. 
 
 brought; 
 
Engravings Archite^ure, &c. 
 
 trought Painting among the Lathes^ and into 
 Tofcany. He followed thither Damaret the Father 
 of Tare^uin who governed that Province : Thus 
 in a Temple of Adea a City of that Coun- 
 try, was to be feen more antient Painting than 
 at Rome , which was not defaced in the time of 
 the firft Emperors, although it was always 
 bare and uncover’d, which proves that the paint- 
 ing w^s in Frefco. 
 
 There was to be feen at Lamvium a Place in 
 Tofcony, an Atalanta and a Helena ( c ) by the fame 
 0eofhantess painted naked, and offo charming 
 Beauty ,that a certain (e) Minifter of the Emperor 
 Caim became paflionately in Love with one of 
 them. ThisPaflion of his, fufficiently attefts the 
 Excellency of thofe rare Pieces, and made Tliny 
 to alTert that among all the Arts that depended on 
 Pefigning, there were none that arrived fo foon 
 to perfecSlion as that of Painting. 
 
 The efteem which reigned for this excellent 
 Art, ftill encreafed at Rome in the time of the 
 Conful, Mexala (f) who prefented the pub lick 
 with a Piece whereon was painted theBattel he ob- 
 tain’d over the Carthaginians^ and K-ing (g) Hieron. 
 Scipe alfo caufed the Pidure of the vidory he 
 gain’d in AJia to be fet up in the Capitol ; Fabiuf 
 
 • (c) Flin. Lib. 35-. Chap. 3. 
 
 There is a Piece of his to be feen at Roms in the Garden 
 of Aldobrundinus. 
 
 There are fome alfp on the Firmid of C. Cefim which 
 are yet to be feen, though they were done in the time of the 
 Commonwealth. 
 
 { d , Flin. Lib. 35^. Chap. 3. 
 
 ( f ) This Minifter’s name w’as Font 20. 
 
 ( / ) Flin. Lib. 3 5:. Chap. 4. Mexala fet up this Pidlure in the 
 (iuxia Hcjlilia in the four hundred and ninetieth Year of Rome, 
 (i) Piin. yb. 35, Chap, 4, 
 
 fi^or 
 
9,6 Tbt Hijiory of faint tng^ 
 
 T0or ( i& ) of the race of Confiils fignaliz’d 
 fiimfelfby the Temple of Health which he paint- 
 ed, this piece was yet remaining in the time of 1 i 
 the Cafars. Marcrts Scaurm ( i ) was a very • 
 great lover of Painting, he compounded with ‘ 
 thole of Sicione for the Mony they owed the Ro~ 
 mans ^ and inftead of Mony took Pictures of 
 thofe of Sicione, and carried them to Rome : 
 
 The efteem which this Art was in encreafing, 
 the Palaces and Temples began to be filled with [ 
 Pi<f^ures, by the Gifts of great Men. Cafar the j 
 ( k) DiiJlator dedicated the Pidures of Ajax and 
 Medea to the Temple of Venus ^ Auguftus t ) 
 hung two in the Court of his Palace, the one 
 of War, and the other of the Triumph of Alex^ 
 under the Great, painted by the illuftrious Apelles. 
 
 Agripfa his Favourite extremely admired Paint- 
 ing , and gave for twp Pidures ( w ) twelve 
 thoufand Sefterces: Tiberius ( « ) alfo fet fo high 
 a Value on Painting, that he fpared no price to 
 
 ( j!> ) Fabius P 0 er. Plin. in the fame place. He takes no- - 
 tice of feveral other Roman Knights who were Excellent at 
 Painting, as Turfilio of Venice, Alterius Labeo, the Prstor, 
 and Proconful ot Provence, * 1 ^ Podius Nephew of Podita 
 the Conful, and made by Cajar Co-heir with Augufim. 
 
 ( i) Plin. Lib. 35:. Chap. u. 
 
 ( ^ ) Plin. Lib. 3 Chap. 4. Thefe pictures of Ajax and 
 Medea were done by Timomachus Bi\antinus, he made them for 
 Cajar the Dictator who paid him eight hundred Talents, 
 which was an extraordinary Price. Plin. Lib. 3^. Chap. ii. 
 
 ( / ) Augujiui had them placed in the higheft Place of 
 the Forum^ Plin. Lib. 35. Chap. 4. 
 
 ( m) Plin. Lib. 3 f. Chap. 4. Agrippa bought them of the 
 Ci^enians, the one reprefented Ajax the other Venus. 
 
 (n) Tiberius bought this Figure for lixty Sefterces, Plin. 
 Lib. 3^. Chap. 10. 
 
 obtain 
 
Engr (mingy Archite^urCy &c. x/ 
 
 obtain the Pidure called the AnhigaUus of ( <? ) 
 Zeuxis. In the time of Augufius painting was in 4 
 very high Efteem, and arrived to it’s higheft de- 
 gree of Perfe<ftion. Nero ( /> ) who was always 
 filled with magnificent Ideas, caufed tus PiiJIure 
 to be drawn one hundred and twenty Foot high’ 
 One of his Servants adorn’d with Pidures the For- 
 ticus of Antium ( ^ ) where there were painted 
 feveral skirmilhes of the Gladiators^ during the 
 time of the Plays, which was one of the moll 
 glorious Feftivals of Painting^ for the Courtiers 
 not only admired the Arts of Defigning them- 
 felves, Dutalfo engagedtheir Princes to ( r ) en- 
 courage them ^ a nappy time for them to arrive 
 to perfodion in ! 
 
 ( 0 ) AnhigaUus was a Prieft of Cibtle. tertullian in his 
 Apolog. 
 
 ( /> ) Plin. Lib. 5<f. Chap. 7. _ 
 
 Cecilius MeteUus among other fine Figures, wherewith he 
 embellifh’d the Temple of C after and Pollux., fet up there a 
 pifture of Flora done to the Life, by reafon of its extraor- 
 dinary Beauty. Plutarch in the Life of Pompey. 
 
 The Poets alfo ufed to exercife Painting, tor the Poet Paf~ 
 (uvio painted the Temple of Berculus, which was in the fi~ 
 fum Boarum. 
 
 ( 2 ) Plin. Lib. 3 f . Chap. 7. he who began to paint the 
 plays of the Gladiators wasC. Terentius Lucanus 
 
 ( r ) Painting continued in great Efteem at Rome till after 
 the time of Titus. Attim Prifcus and Cornelius Pinus painted 
 the Temple of Honour, as alfo that of Fertue for that Etur 
 peror. Plin. Lib. 3f, Chap, to. 
 
 CHAP, 
 
5,8 The Hifiory of Tainting^ 
 
 CHAP. XI. 
 
 Of the time wherein Sculpture began to he in 
 Efieem among the Romans. 
 
 A fter the Reign of the Kings Scul- 
 pture began to appear at Rome ^ they ered- 
 ed a Statue to Horatim (a ) Cocles^ to Immor- 
 talize the Vidory he obtain’d over the Army of 
 Torfena ; and at the fame time was fet up in the 
 Fia Sacra the Equeftral Statue of Clelia, 
 
 But in the time of the Confiil Marcus Scaurus 
 this Art was continued with greater ardency, 
 when he embellilhed his Theatre with Three 
 thoufand Metalline Statues. 
 
 Several other Confuls contributed alfo by 
 their Vidories to the enriching of Rome with 
 the Spoils ( ^ ) they got from the two ( c ) 
 eilySj from Africa and from Greece the moft con- 
 fiderable of thefe Spoils were the Statues which 
 fhone at the Triumphs of thefe Confuls. This 
 appeared at the Triumphs of Fabim Maximus^ 
 of Marcellas^ of Scipio , and of Paulas Emilius .* 
 
 { a) la the year oi the Foundation of Rome Z47. Tit. Liv-. 
 Lib. 2. 
 
 (b) Flin. Lib. 3 4. c. 7. 
 
 { c ) The Kingdom of Naples, where is Tarant ; which was 
 anciently called, Sicily on this fide of Fhares, to dillinguilh 
 it from the Ifland which was called Sicily on the other fide 
 of Fhares. G. and de Blaeu in their Theat. of the World, 
 Flutarfb in the Life of Fublicold. 
 
 Fah'ius 
 
Engravings Archite^ure, &c.’ 29, 
 
 Fabius carried from ( d ) Tar ant. a Statue of fler- 
 cules of a prodigious Magnitude. He had it fet 
 in the Capitol by his own, which was of Brals. 
 
 Marcellas ( e ) when he was called home ffomi 
 Sicily to Rome, brought thither along with him 
 the fineft of the Statues and Piftures from Sira- 
 cufe, to adorn, firft his Triumph, and then Rome. 
 The Triumph of Sdpio was alfo very fine by 
 reafon of the Statues and Riches he brought 
 from Carthage, 
 
 But that of (f ) Paulas Emilias furpaffed them 
 all, his Triumph continued Three days. 
 
 The firft day was wholly taken up in feeing the 
 Painting, and. Pidure^ and Statues pafs along, 
 whereof fome were of an extraordinary great- 
 nels, with feveral other Beauties of the Art of 
 
 { d ) Fabius Maximus could not carry from Tarant. the fa- 
 mous Cololfus of Brafs of Lyfippus^ which was Sixty Foot 
 high. And as they were packing up the Booty, the Regifter 
 ask’d Fabius^ What he would have done with the Gods ? 
 meaning the Piftures and Statues of the Gods ; he anfwer’d 
 him, Let us leave them their angry Gods to further chaftife 
 them. He only carried away a great Hercules, Flmarcb in 
 the Life of Fab. Maximus. 
 
 ( e ) Rome before the Triumph of Marcellusj had not the 
 right Genius for Painting , Sculpture , and Architediure- 
 The true relilh of the Arts of Defigning was not yet en- 
 kindled in her ; flie abounded with Barbarian Arms, Harnefs, 
 Crowns, and Spoils all foiled with Blood. But after Mar- 
 cellus^ the Romans began to confider and difpute one with 
 another concerning the excellency of thefe forts of Artifts, 
 of their Arts and Performances ; whereas before their whole 
 difcourfe and thoughts had been only employed about War,' 
 or Husbandry and Tillage. Thus Marcellus gloried to the 
 Grecians^ That he had Taught the Romans how to value the 
 admirable Works of Grece, wherein they were unskilled till 
 his return from Sicily. Plutarch in the Life of Marcellus. 
 
 { f ) Plin. Lib. C. ii. and Plutarch in the Life of Pau^ 
 lus Emilius. 
 
 De- 
 
30 The Hijloty of Painthg^ 
 
 Defigning, which were drawn through the City 
 on Two hundred and fifty ( ^ ) Chariots. 
 
 Under the firft {h) Emperors, Sculpture ar- 
 rived to it’s higheft perfection : The love which 
 the Romans entertained for fo celebrated an Art^ 
 appeared by a Statue of Ufiffus (i) which 
 uignjfpa placed before his Home. 
 
 Tiberius admiring the excellence of this Statue, 
 caufed it to be removed and fet in his Palace ^ 
 but this fo much enraged the People, that they 
 rofe in the Theatre againft this Emperor, and 
 obliged him to return it to it’s former Place. 
 Nero caufed his ( /^ ) Statue to be made alfo by Zeno~ 
 dorus ; it was of Brafs, and One hundred and ten 
 foot high. The Art of Cafting fuch great Co~ 
 lojjuss was very wonderful ; but it was ( /) loft 
 after the death of this excellent Engraver. 
 
 As for the Art of Cutting out in Marble, it 
 remained at Rome till after the Emperor jidrian, 
 and that in the lame excellence it was in in the 
 time of the firft Ancients. 
 
 ( S ) -^tigujius was very curious in Sculpture, all his Sta- 
 tues which were in his Palaces and in the Temples, were 
 extraordinary. He adorned wdth Egyptian Spoils his Father’s 
 Chappel, the Temple of Jupiter CapitoUnuSy and thofe of 
 ^uno and Minerva ; infomuch that People judged CleopatrUy 
 though then overcome by Augujius, to partake of his Glory, 
 iince they fet up her Statue, which was all of Gold, in the 
 Temple of Fenus. Coiffeteau and Xiphilin, page 84. 
 
 ( /> ) P/z«. Lib. 34. C, 8. 
 
 ( i ) There were yet to be feen in the Workhoufe of Zf- 
 zodortis in Pliny s time, great and fmall Models of Clay of 
 this Colojfus. Plin. pb. 34. C. 7. 
 
 ( k) This prodigious Statue was placed in the Fia Satrx 
 near the place where Fefpafian Built his Amphitheatre, which 
 afterwards took its denomination from that CehJJus, Kent., 
 Antiau. di Nardini, 
 
 ( i ) Plin. Lib, 34. C. y. 
 
 For 
 
Engraving, ArchiteHme, &C 51 
 
 For under the Reigns of Vefpafian and Titus, 
 the Arts continued to flouriih ; the fine Scul- 
 ptures which adorned the Temple of Peace, 
 and the Arch of Titus, ftiew what excellent En- 
 gravers there then were. What remains of thofe 
 excellent Engravings on that Arch, fufficiently 
 teftify this truth ,* as alfo that incomparable Sta- 
 tue of Laocon, which was found among the ru- 
 ins of the Palace of that Prince, and which is 
 ftill admired by all the Lovers of Defigning as 
 much as in the time of Tliny, who has left us the 
 Names of the Three (»?) ingenious Engravers who 
 wrought jointly this excellent piece of Sculpture, 
 which contain'd the Statue of Laocon and his 
 Two Children. 
 
 The excellency of this Art continued under 
 the Reign of Trajan : That great Emperor after 
 his Viftories, made it his bufineft to adorn Rome 
 with Archite<fture and Sculpture. The Sculpture 
 on his Column, and the Baft Relief of Confian- 
 tines Arch, which was copied after that of Tra- 
 jan, are fufficient Teftimonies that the Art did 
 not decline in his time, nor in Adrians, who fiic- 
 ceeded him. For that Emperor was himlelf 
 skilled in ( « J all manner of Polite Learning, 
 in Painting, Engraving, and ArchiteAure j this 
 
 ( w ) Shut in Laccme qui ejl in tin Imperatoris dmo cpus 
 mnibus , ^ piHura ftatuaria artis anteferendum ex uf» 
 pide ewn liberos Vraconum quoe mirabiles nexus de Confilii 
 fententU fecere fummi Artifices Agefander ^ Polydorus, (S' Au^ 
 nodorus ModiL Plin. Lib. ^6. C. 
 
 (n ) was skilled in the Mathematicks, was an ex- 
 
 cellent Aftronomer, Arithmetician, and Geometer, befides 
 he had a great affedion for Medicine and Philofophy. He 
 was an admirable Painter and Engraver, infomuch that he 
 •quailed the molt famous of Antiquity. C^iffetem, p. ^6^. 
 
 was 
 
3x the Hiflory of Paintings 
 
 was the reafon he fo much advanced the Arts of 
 Defigning, that in his Reign they remained in 
 all the Iplendour they had arrived to. 
 
 This Learned Prince took alfo care to enrich 
 his own Tomb with a great number of Statues. 
 He had fb great an affedtion for his Favourite 
 Antmousj that he caufed his Statue to be made in 
 Marble ; and this is that elegant Figure which is 
 ftill to be feen in the Palace of Behidere at Rome^ 
 and is one of the fineft and moft corred Pieces 
 of Antiquity. 
 
 ’ There were alfo in the happy. Reigns of An- 
 tonine and Marcus Aurelius^ feveral excellent Pie- 
 ces of Sculpture, whereof there yet remain the 
 famaus Column of Antonine, the Brazen Horfe 
 which is in the Capitol, and fome Pieces of Bafs 
 Relief to be feen there alfo ,• but after the time 
 of thefe Illuftrious Emperors, Sculpture and 
 Painting began to be lefs minded. 
 
 C H A P. 
 
JBngraving^ Archije^ui'ey &c. 3 3 
 
 CHAP. XIL 
 
 Of the Excellence of the Architeliure of the 
 Grecians. 
 
 A RCHITECTURE Which had arrived 
 to a grbat perfe<5tion among the 
 the Egyptians and the Vhenicians, made no lels 
 
 S rogrels among the Grecians. We have already 
 lewh that Dedalus had pra<5lis’d it at Athensy in 
 Candky and in ( « ) Sicily y this Art continued 
 among the antient Grecians to acquire new de- 
 grees of perfe(ftion, as well as the other Arts of 
 Defigning, which were grown there very Fa- 
 mous. This People demonftrated their capacity 
 in ArchiteAure by their Buildings: And particu- 
 larly by the Labyrinth oi Lemnos y which Emuloy 
 Rholo and Theodoras built in imitation of that fa- 
 mous one of Dedalus. This I.abyrinth of ( ^ ) 
 Lemnos was fo confiderable^ that it furpalfed that 
 of Crete by more than one hundred and forty 
 Columns. 
 
 The other magnificent Buildings afad lofty 
 Temples which adorned the Cities ofGmce,make 
 appear the Excellency of their Architedlure. 
 The Temple of ( c ) Jupiter Olympius was an 
 
 ( ^ ) Dedalus was the firft of the Grecians w^ho brought. 
 Architefture into Sicily., when he fled thither out of Crete to 
 fave bimlelf from the anger of Minos : He was very well re- 
 ceived by Gonfales King of that Ifle. An, Mundi 2^45:. Diodor, 
 Lib. 4. 
 
 { b ) Flin, Lib. 3^* Chap. 13. 
 
 (^ ) It was built by the Architect Libon, Faufanias Eliaa 
 
 D admirable 
 
1 4 Th& Hiftory of Tahting, 
 
 admirable Strudure, fince the Romans found the 
 ( </ ) Columns and Spoils of it fo rich that they 
 cdrried them to Rome to adorn the Temple of Ju- 
 piter Capitolinus. The Temple of Cizkus ( c ) 
 Was no lefs beautiful than that of Olympius^ for 
 it was fo rich and curioufly made^that between all 
 the Joints of the Stones there were inlaid threds 
 of Gold to feparate them. 
 
 As for the Temple of TraUius (/) built by the 
 Architect AYgeUitssy it mull needs have been of an 
 extraordinary Beauty, for he eompofed a whole 
 Treatife of the proportions of theJo»/V and Corin- 
 thian Orders, according .to Which that Edifice was 
 built, and conlecrated: to Efmlapus.. Argellius 
 Work'd with his own Hands the moft important 
 T'arts of it, which IbeWs that he was an Engraver 
 as well as Arcliitedl. 
 
 But of .all the Temples of Grece^ and all its 
 Colonies, the moft Famous was that of Diana 
 of the ( ^ ) Efhefians^ which deferved to have' 
 been reckoned among the feven Wonders of the 
 
 Xd.') Scylla caufed the Columrts of the Temple of Jupiter 
 Olympius^: to be taken away to adorn that of. Jupiter Capita- 
 linus. Pliri. Lib. 35. Cbap. 6. Paufanias in his Jttk. gives 
 us a del'cription of another Temple of Jupiter Olympius which 
 was at Athens^ and which Adrian enrich’d with an incredibk 
 i^urriber of Statues, 
 
 ( e) PUn, Lik 3c?. Chap^ if.' 
 
 ( f ) Vitrtivhts in his Book of Architefture. Me there tells 
 iis alfo that an Architect ought to be learned, and skilled in 
 4 efigning. 
 
 { g) The Temple of iidna of the Ephefamy was not built 
 vj t!ie A7na\ons^ but hy Crtxfus and Ephefiux^ who gave his Name. 
 ?o the City which was a Colony of the Eisanf, It was irf 
 Cnc Country of the Icnians who built there feveral Temples. 
 irt brs Ad: aid \\ 274/ 
 
 W orl4/ 
 
Bngravingy Archite^ure, Bcc, 3^ 
 
 World. The firft Model of this Temple was 
 made by the ingenious Archi^hron i after him Ctefi- 
 fhon h^d the management of it^ and Dinocrates 
 ( ) rebuilt it after it had been burn’d down. 
 
 This Strudure Was four hundred and twenty five 
 Foot long, two hundred and twenty Foot 
 broad, and had one hundred and twenty feven 
 Columns each fixty Foot high ; They were the 
 Gifts of fo many Kings, whereof thirty fix 
 were Engraven, and one was done by the hand 
 of the famous ( i ) Scopas. 
 
 The Maufoleum which Ariemtfa caufed to be built^ 
 Whereof this Engraver Worked one of the four 
 fides, was no lefs admirable for the Architedure 
 than for the Sculpture of it f it contained four 
 hundred and eleven Foot circuit, and was Sixty 
 Foot high up to the Platform, whereon Was fet 
 a Piramid fuftain d by thirty fix Pillars^ which 
 made that Stiperftrudure equal in heigth to the 
 reft, and was made by four of the moft ingeni- 
 ous Architeds and Engravers of all Grecci 
 
 ^ h ^ It wis one named HeroftratuS who fet it on Fire, to 
 gain himfelf a Name. Virwcrates rebuilt it ; it was he alfo 
 who built Alexandria by order of Alexander. He Was a great 
 befigner ( or Modelift ) for he propofed to that Prince to 
 form the Mountain AthcS into his Statue, which Ihould hold 
 a City in one Hand, and in the other a Veflel to empty the fu- 
 perfluoLis Waters into the Sea : By means of his great Delign 
 he w'as brought into Alexander’s prefence, and entred into his 
 Service. Vitriiv. Proem. Lib. i. 
 
 (?) Vigeneriis on Philoftratus. P. 117, 
 
 
 Architediir* 
 
3 6 The Hiflory of Tainting^ 
 
 Architecture continued there in its full heigth^ 
 not only during the time of the {k) Grecian Re- 
 publicks^ and of their Kings^ but alfo under the 
 Reign of the Roman Emperors^ and particularly 
 under that of Adrian^ who built fevera] famous 
 Edifices at Athens. 
 
 ( k) Plutarch in the Life of Fericles^ tells us^ that he was 
 one of the greateft Lovers ()f Sculpture and Architefture 
 among the Grecians. For this reafon the Edifices which he 
 caufed to be built at Athens^ were very wonderful, both fot 
 their beautiful and agreeable Air, and for the diligence 
 wherewith he caufed them to beraifed 5 they w^re built wuth 
 that care, that in the time of Trajan wherein this Author 
 writ, they feemed as but newly done : They were fo very 
 agreeable that they feemed every day more and more beauti- 
 ful. He who furvey’d and took care of all the Buildings of 
 Pericles^ was FidiaSj who was there Surveyor General, though 
 there were feveral Mafter-builders , and excellent Workmen 
 prefent at each Work : For the Temple of Pallas which was 
 called Parthenon^ or the Virgins Temple, and furnamed Heca- 
 tompedon becaule it was a hundred Foot every ways, was 
 built by Iciinus and Callicratidas. 
 
 The Chappel Eleufin^ wherein were performed the fecret 
 Ceremonies of their Myfteries, was founded by Cierebus^^ who 
 fet up the firft Order of Pillars next the ground, and join'd 
 them by their Architraves , but after his death, Metagenes 
 born at the Town of Xipetes made the Cornifh , and fet up 
 the Pillars of the fecond Order, and Xenocles of Cholarg. 
 built the Cupolo which covered the Sanftiiary. Paufanias in 
 his Attic, fpeaks alfo of this Temple of Pallas P, 1, 
 
 c; H A F. 
 
Engravings Archite^ure, &c. 37 
 
 CHAP. XIII. 
 
 Of the PerfeSiion of ArchiteBure among the 
 Romans in the time of the Repuhlick, 
 
 A fter Marcellus had ( ^ ) conquered Si~ 
 dljs Architecture grew more and more 
 perfect at Rome ^ and that which demonftrates 
 this is the Theatre which bears his Name_, and 
 which he built. For it is one of the fineft and 
 moft regular Pieces of Architecture the Antients 
 have left us. 
 
 This Art came from Grece into Italy with Paint- 
 ing, and the other Arts of Defigning about four 
 hundred and fixty Years before Marcellus ^ which 
 was in the time of Porfena King of Tufcanj, 
 This Prince was fo magnificent in building, 
 that he gave orders to make a Labyrinth ( ^ ) in 
 Imitation of the Grecians ^ in the place he defign’d 
 for his Burial. It was fo curious, that it was no 
 ways inferiour to the Labyrinth of CretCy or that 
 of Lemnos : Which makes it evident that Archi- 
 tedure flouriftiing in Tofcany^ fbon went to Romcy, 
 after the Romans were Matters of that Province : 
 Infomuch that the Buildings which were erectted 
 in that City in the time of the Republick, were 
 nobler than thofe that were built under the Reign 
 
 ( .^ ) Mitrcellus bclides the buildings he erefted at Rme^ and 
 Catan, in Sicily made a Park to Exercife the Youth in s and 
 in the Ifle of Sarnothraciiiy in the Temple of the Gods they 
 called Cdbires^ he let up Statues and Pictures brought from 
 Siracufe. Plutarch. 
 
 (b) Plin. Lib. 3^. Chap. 13. 
 
3 $ I'he Hiftory of famtlngy 
 
 of the Kings. For the great Men of that Re- 
 publick endeavour’d to exceed one another in 
 fumptuous and magnificent Buildings. 
 
 Marcellus did not content himfelfonly to build 
 his famous Theater^ but he built alfo a Temple 
 to Vertue and another to Honour. 
 
 Marius was no lefs zealous, to leave to Pofte- 
 rity marks of his Vidlories. His two 'I’rophies 
 in the Capitol are witnelfes of this, as alfo the 
 excellent Architecture of his triumphal Arch at 
 which is a glorious Memorandum of the 
 Battel he obtain’d over the Cimhri. 
 
 But Marcus Scaurm's Son in Law was, of all 
 thofe illuftrious Perfonages who bore a part in 
 the Government of the Commonwealth, the 
 moft noble in his Buildings j for during the time 
 he was an Edlf he embellilh’d Rome with furpri- 
 zing Edifices : His great Theater is an illuftrious 
 Mark of this. It could contain eighty ( c ) thou- 
 fand Perfons : There were three Scenes the one 
 above the other, with three hundred and fixty 
 ' Columns : Thofe of the firft Rank were of Mar- 
 ble, and thirty eight Foot high, the fecond Rank 
 were of Cryftal, and the third of gilded Wood. 
 This illuftrious Perfon made two other Theaters 
 of Wood, fuftain’d on great Axle-trees, that af- 
 ter the Plays were done, they might be turned 
 round thereon, and joyn’d into one Amphithea- 
 ter, to fhew the Combats of the Gladiators, of 
 the Athleta: or Wreftlers, and of the wild 
 Beafts. 
 
 There was nothing more glorious in Rome thari 
 the Temple of Jupiter Capitolinus. X^tquinms Su- 
 
 ( ; ) FUe. Lib. 54. Cfiap, it. 
 
 ' perhri'S 
 
Engravings Archite^nrey &c. 39 
 
 perius ( ^) firft built it^ and after it had beei^ 
 burnt the firft time, it was rebuilt by ScjHa, and 
 enrich’d with the Columns of the ( e ) Temple 
 of yufiter (f) Olympus which he caufed to be 
 brought out of Grece^ and fet up there in place 
 of the Pilafters that were there before; Afterwards 
 having fuffered damage by the Fire at the ViteL 
 Man Revolution, caufed it to be mended. 
 
 But being a third time burnt, it was built again 
 by Vomitian more Magnificent than ever it had 
 been before. For this Prince who exceflively 
 loved Building, was fo curious, that he caufecf 
 all the ( ^ ) Columns to be cut at Athens ^ and 
 he enrich'd this Teniple to that degree, that he 
 caufed it to be all over Gilded, and laid out on- 
 ly for the gilding it, twenty one ( ^ ) niilHon§ 
 and fix hundred thoufand Ovres. 
 
 The other Buildings made by feveral Confuls 
 before the Emperors, were all according to re- 
 gular Archite^ure, as the Amphitheater of 
 
 ( i ) Tartyuin in building the Foundations of the Temple of 
 fupiter Capitolinus^ laid out forty thouf^ndi Marks ^ Silver., 
 flutmh in the Life of fublicoU. 
 
 {b) Flin, Lib. 36:, Chap. 6 , 
 
 (/) The Statue of fupiter Cdphotinus in the time of 
 quinius Frif(;us^ was made of Clay, Plin. Lib, 35'^ Chap, 12^ ^ 
 But under Trajm it was of Gold, Lib. ii, 
 
 X S ) The Bodies of thefe Columns were cut out at 
 of a very fine proportion 3 hut at Rome they were repolifh'd^ 
 which made them too flender, and took away their Beauty 
 FI lit arch, in the Life of Fublkola. 
 
 ( h) Twelve thoufand Talents which the Temple of 
 ter Capitolinus coft building. Flutarch in the Lif^ of FuUicQ,% 
 and Nardini P. 307. whereas the Antients had not tho 
 iecret of heating Gold io thin as our Leaf Gold» gifdv, 
 were e^cefliYe dear,. This is th^ refteftion of HarMni- 
 
40 The Hifiory of fainting^ 
 
 ( i ) Tomfey, which contained above forty thou(- 
 fandMen,* It was his Freeman Demetrius mho 
 caufed it to be built in imitation of that of Miti- 
 lene, Pompey built near his Amphitheater the 
 Temple of Vidory • and his Palace was an ad- 
 mirable piece of building, as alfo the Houfe of 
 Lucullm and his Gardens. 
 
 Moreover in the Confullhip. of M. Lepidusy 
 and Cattshs it is certain that there was nothing 
 finer at Rome, than the Marble Buildings, and 
 Pieces of Painting that were done at the Char- 
 ges of thefe great Men, to adorn this City, 
 which at that time had in it an hundred Palaces, 
 that were equal in Beauty to that of Lepulus. 
 As ( k) Pliny relates. 
 
 (?) Plin. Lib. Chap, i f . 
 
 This famous Amphitheater of Pmpey , was built after his 
 Triumphs in 5 Five hundred Lions were killed therein 
 five days time, and armed Men engaged eighteen Elephants. 
 Jkmetrius his Freeman built this great Edifice, and employ’d 
 to that End the Mony he had gather’d up in following Pom- 
 pey's Army. H. R. de Xiphilin, P. 14. This Amphitheater 
 ( according to P/iwy, or according to others, Theater )w^s the. 
 flrft that was built at Rome. Tacit. Lib. 14. 
 
 ( O Plin. Lib. ^ 6 . Chap, ly. 
 
 C H A P, 
 
 / 
 
Engraving^ Architecture^ &c. 41 
 
 CHAP. XIV. 
 
 Architecture continued at Rome under the Em- 
 perors in the fame Excellence it had done in 
 the time of the Commonwealth . 
 
 J ULIUS C^SAR no lefs afFeded building 
 than thofe great Men who went before him ; 
 His Palace^ and the Circus (a) which he aug-^ 
 mented, are fufficient Proofs of it. Augufim alfo 
 had the fame Affection for Archited:ure, as was 
 evident in his Palace, which by reafon of it’s 
 Beauty was called the great and magnificent Pa-* 
 lace of Angufim. Rhtarch in the Life of this 
 Emperor, takes notice that he adorn’d Rome'wnh. 
 feveral publick Buildings, rebuilding thofe that 
 had been ruinedjleaving them the Names of their 
 firft Founders. His moft confiderabie Buildings 
 were the Temple of Apollo in his Palace, the For- 
 ticm , and a Library which he filled with Greek 
 and Latin books, the Mauflettmy and a Park for 
 the People to walk in. 
 
 Moreover he further finifhed the Temple of 
 “Jupiter Olympius^ begun long fince at All 
 
 {a) The great Circus built by Cxfir the Dictator was 
 three Stadia or Furlongs in length , and one broad, and cn-. 
 compafled with all its appurtenances four y\cres. 
 
 the 
 
 ./ 
 
the Hiftory of Painting, 
 
 the ( ^ ) Favourites of this Prince were great Ad- 
 mirers of this Art, among whom ( c ) Agrip^a 
 appear’d to be one of the greateft, who by a 
 greatnefsof Soul truly Noble undertook to adorn 
 the Qantpm Martis and all the Places ropn^ about 
 it. 
 
 He brought down thither the Water named 
 Aqua Virginis to make Baths, and adorn’d that 
 Place with Gardens, Porticus’s and a great Hall 
 {d) to pay the Troops in, and feveral other 
 Buildings, whereof the moft Famous that is ftill 
 
 (b) The Romans were fo much given to building, that it 
 was the Cuftom for the Great and Noble Families to fliew 
 their Pomp and Magnificence by publick Edifices, in building 
 Palaces, Galleries and Temples for the ornament and ufe of 
 the City. This made Augufius approve of and praife Stafilusy 
 Taurus, FhiUppus and Balbo, who laid out all the Spoils they 
 had got by the Wars, with the Surplufage of their Rents 
 which they did not fpend, in fumptuous Buildings, thereby to. 
 tranfmit their Memories and that of their Fanl^ies to Pofte- 
 rity. Tacit, Lib. 3, P. 134, 
 
 (c) Agrippa left by his Will to the Romans his Baths and 
 the Grounds belonging to them for their Entertainment. He 
 alfo built a magnifi^cent Porticus in the City of Neptune, 
 memory of his Naval Vidories. H. R. de Coiffeteau, 
 
 The great Herod who was alfo one of Augufius's Courtiers, 
 had a great Afieftion for Building. He built in ^udea the 
 City named Ctejarea in Honour of Augujltts,, with leveralhne 
 Palaces and a Haven by the Sea which he made one of the 
 moft commodious of all the Eaji. It was this King who em- 
 belliflfd and augmented the Temple of Jerufalem^ fo much, 
 regretted by thus^ when he faw it burning at the taking of 
 that City. H. R. de Coiffeteau. 
 
 ( i ) Or Viribitorjc, 
 
Engravings ArchiteBures &c. 43 
 
 to be feen entire, is th? Temple of the Tm- 
 theon ( e ). 
 
 Thus magnificent Building was in very great 
 Efteem in the time of ( /) Augufim ^ His laflt 
 words when dying teftify this, he laid, Hat he 
 found Rome built of Brick but he left it built of Mar- 
 ble. This Magnificence of his, inlpired his Sue- 
 celTors with the lame Ambition : For Tiberius was 
 very curious and loved all the Arts of Defign- 
 ing. Nero alfotook a great Phancy to fine Build- 
 ings ,• this appears by his Palace which was call’d 
 the gilded Houle, the remains whereof are of the 
 fineft Architedure of Antiquity. It continued 
 in the lame excellence under Vejfafian and Titus : 
 This is evident by the Temple or Peace, by the 
 Amphitheater and Triumphal Arch which they 
 cauled to be made. 
 
 ( e ) Pantheon, called at prefent the Round Church by rea- 
 fon of the round Figure of i t’s Plan. Some have writ as P/cb, 
 Lib. 5:3. that Agrippa did not found this Temple, but that he 
 only embellilh’d and perfefted it, by making the Frontifpiece, 
 whereon his Name is Engraved, which has Ibmethiirg a better 
 relifh of Architefture in it than the reft of that Edifice. 
 Ammian. lAarcellims fays, that this Temple, with that of Ju- 
 piter Capitolinus, and that of Peace, as likewife that of Fenus 
 at Rome, were the firft of all for Beauty, in thefe words: Fer 
 lut region?//!. Teretem fpeciofa <^?ljitudine fornicatOM ; and 
 lib. 3(?. Chap. ly. exalts above any other thefe Buildings j 
 And in Chap. j. fays, that Agrippa adorn’d the Pantheon witR 
 feveral Figures made by Piogenes the Athenian. 
 
 ( / ) It was in Aguftus’s time that Fitruvius flourifli’d, ta 
 whom he Dedicates his Books of Archifefture, which are. 
 the only ones we have remaining of the Antients concerning 
 this AxtJ 
 
 Tiotnitiatt. 
 
44 ' 7'he Hiflory of Tainting, 
 
 Domitian ( g) imitated thefe Princes in their 
 Love for magnificent Buildings : He' rebuilt the 
 Temple of Jupter Captolinm , more Magnificent 
 than it was before^ for he ordered all the fineft 
 Pillars that could be found to be brought out 
 of Greece. He moreover built his Houfe more 
 magnificently than any that had been yet feen, 
 as alfo the Temple ol Minerva, and that of the 
 Flavians. The Regularity of Architecture con- 
 tinued and was praftifed in the lame perfection in 
 the time Trajan (^) by ApUodorus his Architect. 
 The famous Bridge over the Danube which this 
 Prince caufed him to build, was wonderful by 
 reafon of it’s largenefs, and confidering the Ra- 
 pidity of that River. The Palace of Trajan, 
 and his ( * ) Triumphal Arches, and his Mag- 
 nificent Column, whereon was Engraven the 
 Hiftory of his great Actions againft the Dad, 
 fufliciently teftify the Skill of ApUodorm in the 
 Arts of Defigning. 
 
 This ingenious Architect continued to adorn 
 Rome by his Art, under the Reign of Adrian 
 
 ( g ) Domitian not only rebuilt the Temple of Jupiter Ca- 
 pitolinus more Magnificent than it had been before ; but alfo 
 his Palace where nothing w as finer than the Galleries in the 
 Porticiis., the Halls, the Baths, and Apartments for his V/o- 
 rneivi he was fo much enamour’d with Building, that like 
 Midas he could have wifli'd every thing he touch’d might be 
 turn’d into Gold and Stones, Plutarch in theLife of PublicoLi, 
 
 { h ) YIq apply’d himlelf to the Embellifliing of Row? anew 
 witii magnificent Buildings, Bridges, Arches and Palaces, the 
 marks whereof remain to this day, but there was nothing fo 
 remarkable as the Magnificence of the Circus which bears his 
 Name. Coijfoteau. H. R. 
 
 ( i ) At Ancone one of tliefe Triumplal Arciies is to be 
 j'cen, found by Le Serlio. At Rawa there was another which 
 was pulled to pieces, to adorn that of Conjlantine with it’s 
 excellent Sculptures. Kariini P.407. Plotina “Wife of Trajan^ 
 caufed tv 0 Teinples to be built which are to be feen at Wfmes. 
 
 ( k) wl.Qi 
 
Engravtngy Archite^ut^e^ &:c. 45- 
 
 {k) who not only loved Architedure, but alfo 
 i^ra(5i:ifed it^ for he was jealous of the Merit of 
 Aj)oUodoms , becaufe he did not aj)prove of the 
 Model or Defign of the Temple of Vems which 
 that Emperor had made. He alfo caufed the 
 Temple of V anthem to be repaired^ as alfo that of 
 Neptme^ and of Augufius and the Baths of Agrippa. 
 
 But his fineft Piece was the Bridge with 
 the Maufoleum of that Emperor, which was an 
 excellent Piece of ArchiteAure. Antonine the 
 Succeffor of Adrian was no lefs Magnificent in 
 his Buildings ,* for he ereded a ftately Temple 
 to Adrian his Father. He repair’d his Tomb, the 
 Amphitheater, the Temple 01 Agrippa^ the Bridge 
 of the Tiber , the Gate of Gaiete, that of Terra- 
 cina, and the Baths of Ofiia, the AqueduA of An-- 
 tium^ and the Temples of Marcus Au- 
 
 relius ^ was alfo a great lover of the Arts and Sci- 
 ences ,• he took particular care to Educate there- 
 in his Son Commodus, caufing him to learn De- 
 figning. Architecture alfo continued to flourilh 
 under feveral of the latter Emperors, even down 
 to Confiantine. 
 
 The love ( / ) Se-verus entertain’d for this Art, 
 appear’d in the beauty of his Triumphal Arch, 
 
 ( ^ ) Adrian alfo caiifed fumptuoiis Temples and other 
 Buildings to be etefted at Athens. Paufanias in his Attic. 
 
 ( / ) Among the other buildings of Severus, he caufed an 
 Epti^one to be made. See Nardini to know what it is P. 406'. 
 Some have thought it was an Edifice that hadfeven Orders of 
 Architedure the one above another, and all Corinthian : Thus 
 in the Amphitheater of Eefpafian, the}^ placed Corinthian upon 
 Corinthian^ becaufe in the Orders of Architecture there is 
 none more beautiful ; as to the Compolit which the Moderns 
 prefer to the Corinthian, there is no Example of it in Antiqui- 
 ty ; they only made ufe of it in their Trium.phal Arches, as 
 in that of Titus-, it ought to be placed between the Ionic., 
 as participating of that, and the Corinthi.in. 
 
^5 The Hijiory of Pditttfngy 
 
 and in the Model he made of a great Hall which 
 contain'd above a hundred Toifes, or fix hundred 
 Foot. The Circus of Caracalla was great and 
 fplendid ,• and alfo under Gordian, Auretian and 
 DiGclefim there were very eonfiderable Build- 
 ings. 
 
 But after the Reign of Confiantine and his Son 
 Gonfiantim Architecture began to decline at Rome ^ 
 there were no more skilful Architects left, nor 
 Princes whofe curiofity led them that way : HenCe 
 Architedure loft it’s antient Splendor, andbegaii 
 to decline, as Painting and Sculpture had done 
 before, whereof we lhall treat in the feeond 
 Book of this Hiftory^ 
 
 
 BOOK 
 
Bngravhgy Anhite^ure, &:e. 
 
 BOOK IL 
 
 Of the Decay of the Arts of Defigningi 
 
 C H A R L 
 
 Under the Reign 0/ Cominodus the Artt of 
 Defignmg began to Decline t 
 
 I N die Firft Book of this Hiftory we have 
 difcours’d of the Original and Progrels of 
 the Arts that relate to Defigning, until the 
 time they began to decline, and afterwards 
 to fall j in this Second Book we fhall continue 
 to relate the caufes of their Decay and Ruin. 
 
 The Roman State in the time of the Repub- 
 lick, and of the firft Cafars ^ Was in very high 
 Reputation for having raifed the Arts to their 
 higheft Perfedion. But this Monarchy, after 
 the death of Marcus Aurelius^ began to lofe the 
 Grandeur it had before gained. For feveral 
 Emperors fucceeding in a fhort time one after 
 another, tarnifli’d the Glory of the Empire 
 by their Cruelties and Debaucheries, and Civil 
 Wars, which caufed infenfibly the Ruin of the 
 Arts of Defigning. 
 
 It was no fault of Marcus AUrelius that 
 the Arts began to decline after his Reign/ 
 for he took particular care to Educate his 
 Son Ccmmodm therein , making him learn to 
 
 Paint 
 
48 The Htftory of ’ Paintings 
 
 Paint ( <j! ) and Engrave while he was youngs 
 finding his Genius eafy and capable of Learn- 
 ing any thing whatfoever. But this good Edu- 
 cation was foon ftifled^ by reafon he abandon’d 
 himfelf to all forts of Debaucheries as foon as 
 he fucceeded him in the Throne ,• which makes 
 us look upon the Reign of. Commodus as the be- 
 ginning of the declenfion of Painting and Scul- 
 pture j and this is evident in the Statue of this 
 Emperor , which is called Hercules Commodus , 
 which is ftill to be feen at Rome in the Palace of 
 Belvidere ( b ). One may note by this Figure, 
 that the Art declin’d ; lor although it be of a 
 juft and true Proportion, and the Head of it ve- 
 ry fine, yet there is not that nicety and perfe<fti- 
 on which appears in the Statue or Ant'mous and 
 other Figures that preceeded it, and are to be 
 feen in the lame Palace. 
 
 This Art of Engraving continued to decline 
 in the following Reigns, for it is certain that un- 
 der Severus ( c) it was very much fallen from the 
 Beauty it had arrived to in the time of the firft 
 Cafars : This is vifible by the Triumphal Arch 
 of that Emperor, which is ftill to be feen at 
 Rome ^ for in this Work the Sculpture that re- 
 prefents the Hiftorical part is much altered, for 
 it neither has the Defigning, nor any thing of 
 
 {a) Colffeuaum\\\s Rom(inVi\{\iOvy^ Pag. 
 
 ( b ) This Statue is placed in a Court of the Palace of 
 PelviJere^ with thofe of Arainous^ of ApoHoy of Laocon an>d 
 of rcnus^ of Cleopatra^ of the Niley and of the Tibcij and 
 of Tvney all ancient Figures. 
 
 ( (■ ; This Fmperor began to Reign in the Year of our 
 I. 'I’d 1 9) 3 from Vv’lioie Reign lo Corjfantivc's is Ji) 
 Yeais. 
 
Bngi'aving^ Architeliure^ &rc. 49 
 
 the curious Workmanfliip of the Excellent 
 Ancients. 
 
 CHAP. n. 
 
 ArchiteBure did not Decline till after Con- 
 ftantine, although Painting and Sculpture 
 did before. 
 
 I N this Decay of the Arts of Defigning, Ar- 
 chiteAure did not fo foon decline as the 
 other Arts ; For in the Arch of Seoerus it is in 
 its perfeA Beauty, and equal to what was done 
 in its moft flourilhing State, On which account 
 it was happier than Painting or Sculpture, for it 
 maintained its Juft Regularities till the time of 
 Confiantine the Great. The Triumphal Arch of 
 that ( ^ ) Emperor is a proof it : The Corin- 
 thian Order is therein ufed in its Purity and Per- 
 fection I on the contrary, the Sculpture is very 
 rude and grofs : This may be obferved in the 
 Baft Relief of the imboffing and of other 
 fmall Figures below the Compartments ; which 
 
 ( ^) The Triumphal Arch of Confiantine was made 120 
 Years after that of Severus^ near the Year of our Lord 510* 
 It is thought it was finiflied the Tenth Year of his Em^ 
 pire, others fay not till a little before he Died* Among 
 the Eight fine Statues of the Slaves on the Cornijl)^ there are 
 wanting the Heads which were privately carried to Florence 
 by Laurentius de Medicis^ according to the report of Giouco, 
 Nardini page 407* Thefe Figures of the Slaves, and all the 
 great Bafs Relief which adorn'd this Arch, were taken from 
 the Arch of Trajan* 
 
 E fhews 
 
50 the HiJlorj of Tainting^ 
 
 iliews evidently that Sculpture, and the Art of 
 Defigning in Human Figures were declined at 
 Rome, and reduced to the worft condition they 
 had ever been in. 
 
 Architedure did not decline fo foon as Paint- 
 ing and Sculpture, becaufe it was longer pro- 
 teded by the Princes, by reafon of its neceflity 
 and ufefiilneli. 
 
 This is to be feen by Ammiams ( b) Marcelli- 
 nm, who writ the arrival of the Emperor Con- 
 ftantws (c ) the Son of Confiantine the Great. 
 He tells us that this Prince brought to Rome 
 Hormifda a famous Rerfian Archited, to fhew him 
 the famous Buildings of the Ancients, both in 
 that City and in all Italy. 
 
 But the trueft reafon of the continuance of 
 true and well-order’d Architedure, is that the 
 ftudy of it is founded on Meafures and Propor- 
 tions of Geometry and Arithmetick , which 
 makes the imitation of it much more eafy than 
 that of the Human Figure ,• for befides the 
 Meafures and Proportions therein to be obfer- 
 ved , it is necelTary to ftudy the different Pd- 
 Ifures, the lively Expreflions, the Paffions and 
 
 (i?) In his ^6th Book he takes notice, that That which 
 cauled the greateft Admiration in Homifduy was the wonder- 
 ful Fabricks of the Temple of Jupiter Capitolirtus , the 
 Amphitheater, the Pantheon j the Temples of Feace^ and 
 of FenitSj the Theatre of Fempey^ and the Forum of Trajan. 
 
 ( c ) This Emperor taking Plealure in furveying thefe fa- 
 mous Buildings, told Hormifda, That he could not under- 
 take fo great things as thefe, but that he would, at leaft, 
 endeavour to imitate the making fuch a Brazen Horfe as 
 that of Trajan, which was in the middle of the Forum . To 
 which this Architeft anfvver’d. That he w ould firft Build 
 him a proper tionably fine Stable to put that fine Horle in. 
 V, il bmdo Italia lUujlrata Nardini, Rom. Antiq. p. ii6. 
 
 , Motions 
 
Engravings Architetiures &cc. 
 
 Motions of the Mufcles^ and an infinity of other 
 Parts^ which muft be known to be Excellent in 
 Painting and Engraving. 
 
 Thefe fine Parts and Turns wherein the Ex- 
 cellence of the Arts confifts, began firft of all 
 to be loft in Defigning, which continued with- 
 out that relilh of Art down from the time of 
 the latter Empire, and of Confiantine. This is 
 evident in his Triumphant Arch, by his Medals, 
 his Statues in the Capitol, and the Images of 
 Chrift Jefus ( </ ) and the Apoftles , which this 
 Emperor caufed to be made in Silver, and fet up 
 in the Church of St. John of Latran, which are 
 of an ordinary and common Sculpture. Thefe 
 Faults are alfo to be feen in the Mofaick Painting, 
 and other Pieces which this Prince caufed to be 
 made. 
 
 On the contrary it was obferved, that til! that 
 time the Beauty and Art of Architecture and its 
 Ornaments remain’d, as may be feen in the Ca- 
 pitels of Confiantine s Arch , in thofe of his 
 Baptiftery ( e ) and the Bafes of their Columns, 
 where there are Foliages and other Flourilhes 
 very well Cut. 
 
 It is for the lame reafon we have noted in Ar- 
 chitecture, that Sculpture alfo preferved its Per- 
 fection and Beauty longer than the other Arts of 
 Defigning, becaufe the aforefaid Sciences are of 
 fuch ufe therein. 
 
 ( rf ) Vnfm in his Preface to the Lives of the Painters. 
 
 ( e ) Anajtafms gives the Defcription of it in the Acfts of 
 St. S]/lveJier, as is yet to be feen. Nardini Rom. p. roi. 
 
 E 2 
 
 C H A P. 
 
The Htftory of Paintings 
 
 \ 
 
 CHAP. III. 
 
 The Emfire removing to Conflantinople, and 
 the fetting up of the Chrijlian Religion , 
 contributed to the Ruin of the Arts of De~ 
 figning, 
 
 HAT which contributed to the deftruAi- 
 
 L on of the Art of Deligning at Rome, was 
 the removal of Confiantine to eftablifli the Empire 
 at Blz>antium : For he hired the beft Artifts in 
 Rome, and carried away an infinite number of 
 (a) Statues^ and every thing that was fine and 
 rich, to embellifii his new City. 
 
 At the fame time the Zeal for the Chriftian 
 Religion very much contributed to the declen- 
 fion of Painting, of Sculpture, and of Archi- 
 tecture ^ for the Chriftians to extirpate Idolatry, 
 feeing themfelves Mafters of the Empire, over- 
 threw and broke down the moft confiderable 
 Statues of the Gentile Gods, and demolilhed their 
 fineft ( ^ ) Temples. 
 
 This alfo cauled the decay of Archite^ure ~ 
 for the Chriftians tranfported the Columns of 
 Adrians Mole to Build therewith the ancient 
 Church of St. Teter at Rome. They did the 
 
 ( .j ) Among the Statues which Confiantine carried from 
 Rome to Bi^antimi, were the Four Brazen Horfes which are 
 on the Frontifpiece of St. Marii at Venice. The Venetians af- 
 ter the taking of Confiantinople earned them along with 
 them. 
 
 ( fc) The Popes, and particularly St. Gregor) the Great, 
 fpoiled the Gentile Temples, and broke the Statues. P. T. 
 de Vafari, p. yj. 
 
 fame 
 
Engravings ArchiteBurCs &c. 5-5 
 
 iame by feveral other celebrated Ternples ( c ) 
 of that City to Build the Church of St. Paul 
 without the Walls ; that of St. Mary the Eldei% 
 and of feveral others^ which they embeliifh’d 
 for the moft part with the curious Relicks of the 
 ancient Archite(5lure. But in all thefe great 
 Strudiures it is to be obferved, that the julf Pro- 
 portions, and orderly diftributions of the Anci- 
 ents are not to be found. 
 
 Thus all the Arts of Defigning, after Confian- 
 tine had left RomCs decayed continually, and that 
 before the Northern Nations came to ravage and 
 wafte the Empire and its Capital. But after that 
 thofe People compleated the Ruine of the anci- 
 ent Beauty and Orders of thofe noble Profeffi- 
 ons, as appear’d afterwards. 
 
 ( c ) The Pope Honwius the Firft, took, by Permiffion of 
 the Emperor Pbocas, the Brazen Tiles of the Temple of Ro- 
 mulus^ to cover the Church of St. Peter, and tuim’d that 
 Temple into the Church of Comus and St. Damian. U Biondo. 
 Roma rijiaurata. Page iz. This makes it appear. That the 
 Emperors of Conftantinople were yet the Mailers of Rome, 
 lince the Popes could not take away the Brafs without ask- 
 ing them leave. Alfo Boniface the Fourth asked leave of the 
 Emperor Phocat to take and Dedicate the Pantheon to the 
 Blefled yirgin, and to all Saints. F. the fame Biondo p. j6'. 
 Few Reigned about the Year about loo Years before 
 Charlemain had eftabliftied the Temporal Grandeur of the 
 Church, ll Biondo has Dedicated his Book to Pope Euge- 
 nlus the Fourth, 
 
 E 3 
 
 CHAP. 
 
54 
 
 C H A P. IV. 
 
 The taking and fillaging Rome hy the Goths 
 and Vandals contributed to the Ruine of the 
 Arts of Defigning. 
 
 A bout One hundred Years after 
 
 Hantine, Alaricus King of the Goths, Ra- 
 vaged Italy , and took Rome : Odoacer King of 
 Italy fack’d that City and pillag'd it j as alfo Gen~ 
 ferkus King of the Vandals , who with Three 
 hundred thoufand Men that he brought out of 
 Africa, laid it wafte and almoft quite defolate • 
 which was not effe<4ed without the deftrudion 
 of moft of the Pieces of Defigning. But their 
 greateft Ruin happened in the time of ( /« ) Ju- 
 flinian, when Tot'da King of the Goths made that 
 City fenfible of his Indignation. He was not 
 contented to demolifli the Walls, and the proud- 
 eft Stru(5l:ureSj but he burnt it, and in Thirteen 
 days time it was in great part confumed by the 
 Fire. This did fo ruin the Statues and the 
 Paintings, the Pieces of Mofakk Work, and the 
 Imagery, that all of them loft their good Grace 
 and Beauty. 
 
 For this reafon the lower Apartments, and the 
 firft Floors of the Palaces, and other Buildings 
 
 ^ (/i ) AUricus took Rome about the Year 41 x-, and Odoacer 
 
 after that, and then Genfericus in the Year s he alfo ra- 
 vaged great part of the Kingdom of Naples^ principally the 
 Coafts of the Gulph, where there were leveral fine Pieces of 
 Architefture of the ancient Romans^ as at Mejfma^ Cimes^ 
 and Founole. Antiquit, di Founolej di S, Manella. 
 
 enrich’d 
 
Engravings ArchiteBures &c. 55’ 
 
 enrich’d with Pieces of Defigning, were wholly 
 buried under the Ruins. Thofe who atcei wards 
 inhabited that defolate City having Planted Gar- 
 dens on thofe RuinSj they there buried thofe fine 
 Pieces of Painting and Sculpture j which being 
 found again after three hundred years^ lervcd for 
 the re-eftablifhment of the Arts of Deiigning. 
 For under thofe Ruins were found Subterranean 
 CavitieSj called Grotto’s, where were found feve- 
 ral Pieces of Imagery and Painting, which on 
 that occafion were named Grotefque. 
 
 It is remarkable, that at this taking of Rome 
 by Totila, every thing concurr’d to the deftructi- 
 on of what was moft curious in Sculpture ,• for 
 the Grecians s who Fortified themfelves in the 
 Mole of Adrian s ( ^) broke in pieces all the 
 fine Statues wherewith that place was Adorned, 
 and made ufe of thofe Pieces to repel the Affaults 
 of their Conquerors. 
 
 Notwithftanding as this City had been filled 
 with fuch immenfe Riches and excellent Statues, 
 fo it was almoft inexhauftible ^ for about One 
 hundred Years after the backing of it by Totihs 
 the Emperor Confiantius the Second ( 0 ) went 
 thither, and though he was well received by the 
 ( d ) Romans^ yet he did not defift fi'om taking 
 away whatever he found of any confiderable 
 Value , and laded therewith feveral Veffels , 
 which were by a Tempeft driven into Sicily, 
 where he was Killed, and the Saracens who wejrt 
 
 (b) Rom. Antiq. of Nariini p. 480. In the Year jqy 
 Rome was taken by Totila. 
 
 ( <r ) He was alfo called Conliantine the Third. 
 
 (d) About the Year 6 so, no years after the taking it 
 by totila. 
 
 E 4 
 
 thither 
 
5 <5 The Hiflory of Tainting^ 
 
 thither took thofe rich Spoils and carried them 
 to Alexandria. 
 
 But if the Arts of Defigning met with fuch 
 ill treatment at 'Rome in the Declenfion of the 
 Empire^ they could expe<ft no better in moft of 
 her Provinces j for the Vifigoths in Sgain^ the 
 French in Gaul ^ and the Vandals in Africa ruined 
 all thofe ftately Structures which the Romans had 
 built in their Colonies, for the flourilbing of Arts, 
 which fet forth the Splendor of their Empire. 
 
 CHAP. V. 
 
 The Images in the Primitive Church did not 
 keep up the Arts of Defigning at Rome, 
 hut gave Birth to that way which was after- 
 wards named Gothick. 
 
 O N E would have thought that the Excel- 
 lence of Defigning ought to have kept up 
 at Rome, by reafon that from the beginning of 
 the Chriftian Religion, the Chriftians made ufe 
 of Painting and Sculpture to reprefent the Hifto- 
 ries of the old and new Teftament, to adorn 
 their Churches and Tombs. This is indeed True ^ 
 but then, confidering that thefe Paintings and 
 Sculptures were only for the InftruCtion of Chri- 
 ftians in folitary and fubterraijean Places, where 
 they celebrated Divine Service, they did not trou- 
 ble themfelves with the Curiofities of Defigning, 
 nor giving their Pieces that nicety and beauty as 
 thofe did who lived under the firft Cafars ,• info- 
 much, that when the Chriftians in the Reign of 
 Confiantine, had the liberty of erecting Temples 
 
 to 
 
Engravings Archite^urCj &c. 57 
 
 to the true God^ the Arts of Defigning were 
 already declined and almoft loft. 
 
 Thus all the Paintings, and Sculptures, and I- 
 magery, and Pieces of Algfaick Work, which, 
 they made, and were found in the antient Church 
 were degenerated from the true relifh of Defign- 
 ing : And thofe Pieces of Sculpture (a ) and 
 Architecture, ( ^ ) as alfo Painting ( c ) which 
 were made in the firft Chriftian Churches at 
 RomCy are of no better Workmanlhip. Infomuch, 
 that an ill and rude Way was introduced in 
 all the Arts of Defigning, and thereby we may 
 fee that the Goths and the Lombards who reign- 
 ed at Rome and in Italy ^ did not carry this ill Way 
 into their own Countries, but continued it only 
 here j and hence it is, that this rude Way of Paint- 
 ing and Sculpture and Architecture is called Gd~ 
 thick. 
 
 ( a ) On the Mountain Cicilo-, is to be feen the Church of 
 St. ^obn and St. Fml, built in the time of Julian the Apo- 
 ftate, which is a very ill Piece of Architefture. 
 
 (b) At the Church of St. Jgnes without the Gate Pia, 
 there is to be feen a Tomb of Porphyry, and becaufe the Sculp- 
 ture in Bafs Relief which is there, reprefents Children with 
 Vines and Grapes, the Vulgar have falfely fuppofed it to be the 
 Tomb of Biccbus. This fine piece of Porjifcjn' was the Tomb 
 of the Princefles Conflamias, Daughters of the Emperor Con- 
 fiitntine ; in this Church are alfo the Tombs of other Princel- 
 les of the_ fame Family ; It is alfo the place where they 
 were Baptized, and which was exprefly Built by Corftmtine. 
 Nnrdini Rom. Anti^. P. 174. ThefeBafs Reliefs are of no ex- 
 cellent Defigning ; which fliews that Sculpture was much 
 fallen from it’s Excellence. 
 
 ( c ) The Painting alfo which is to be feen on the Mofnicli 
 Work of this Church over the Vault, is of no better relifli 
 or defign. 
 
 Moreover 
 
5 8 The Hiflory of Tainting^ 
 
 Moreover thefe Arts being in a Hate of de- 
 clenfion among the Grecians ^ their Works have 
 been called the Antient Greek Way, and not 
 the Antient Way, to diftinguilh the one fi'om the 
 other. 
 
 CHAP. VI. 
 
 The Arts of Defigning declined lefs in the 
 Eallern Empire, than in the Weftern. 
 
 T H E Arts in their Fall^ did not decay at 
 Confiantinople fo much as at Rome, particu- 
 larly in the thirds fourth and fifth Age : By rea- 
 Ibn that Ccnfiantine the Great, his Son Confianti- 
 ns, Theodofius, Arcadius and Juftinian (^) were zea- 
 lous to render the ( ^ ) Metropolis of their Empire, 
 as flourilhing and magnificent, as was Antient 
 Rome, 
 
 To that end they built great Halls, A/^ue- 
 duEls, Rorticm's , Circus’s, Palaces enriched with 
 Statues which they had among the Spoils of Greece 
 and Afia, and fet up in the middle of open Pla- 
 ces, Obelisks of ( c and furprizing Columns 
 
 (T ) The Church of St. Sophia was built by Conjiantine 
 the Great, repaired by his Son Confiantius, and afterwards by 
 Theodofius the Younger. The Emperor ^iiftinian rebuilt it af- 
 ter it had been burnt, with fo great Magnificence tliat he ex- 
 haufted all the Treafure of his Empire. And he thought 
 that that Temple exceeded Solomons ; and during feventeen 
 Years that he was rebuilding it, he expended thereon thirty 
 tour Millions of Gold. H. du Serail. D. Baudiere. 
 
 ( ) Arcadius caufed them to be built there. 
 
 ( c ) In Theodofus's Square was the great Obelisk of Tioebes. 
 
 all 
 
Engravings Archite^urCs &cc. 59 
 
 all over Engraven. They built alfo feveral other 
 fine and great Churches which they adorn’d with 
 Painting and Sculpture. Hence it was that the 
 Arts of Defigning'were maintain’d with Splen- 
 dor in Greece ; For Confiantine did not only fet 
 up rich Images in the Temples , but at ail the 
 Gates of Confiantinofle, and of his Palaces^ as at that 
 which was called the Gate of the Brazen Porch. 
 
 The Emperor Confiantlus had no lefs eileem for 
 fine Buildings and the Arts of Defigningj than 
 his Father. But Theodojius the Great v/ho was a 
 very zealous Protedor of them^ has left us illu- 
 ftrious Marks of his Efteem for them, in that fa- 
 mous Pillar which he caufed to be ereded in that 
 City in imitation of that of Trajan : And on this 
 Pillar he caufed to be Engraven in Bals Relief^ the 
 Hiftory of his famous Adions. In this magnifi- 
 cent Work of Theodofim, is to be feen much of the 
 antient relifh ofEngraving, which fliews that Sculp- 
 ture was not fo much declined in Greece as in Italj. 
 This is very evident in the defignment of an illu- 
 Itrious Column, which is ftill kept at Parps in the 
 Royal Academy of Sculpture and Painting. 
 
 We may alfo conclude that Painting kept up 
 in its Excellency longer at ConfiantinoAe than at 
 Romes for thefe two Arts have always been infe- 
 parable both in their rife and fall. The glorious 
 Protedion which this great Emperor gave them, 
 appears under the Head de Excufatione Artijicums 
 
 d ) wherein this Prince frees from all Charges 
 
 ( d ) Picfura Profeffores placuit ne (ui caphk cen/Ione, nec ux~ 
 orum^ aut etiam liberorum nomine^ r,ec trihutis effe miinificos. 
 This Emperor frees them in another Place from the Charges 
 of Lodging. 
 
 Archiatros noftri Palatii^ me non Pi^ura ProfejJoreSj hofpi- 
 mQleJiia yivm^lib^rari prmipimus, 
 
 am 
 
6o The Hiflory of Tainting^ 
 
 and Tributes the Profeffors of Painting and their 
 Families. Hence it appears that this Art was ex- 
 ercifed in Greece with Honour^ and it is very Cre- 
 dible that there were feveral fine Pieces whereof 
 the Antient Fathers of the Eafiem Church have 
 given us the defcriptions and elogy. 
 
 St. Gregory ( e ) of Nice alTures us, he could 
 not refrain from Tears at the fight of a Pidure, 
 wherein Abraham was reprefented about to Sa- 
 crifice his Son: Without doubt this Holy Father 
 would not at all have been touch’d with any 
 Senfe of Grief, if there had not been an extra- 
 ordinary and lively Beauty in this Piece : In his 
 Oration of St. Theodore (f) he defcribes the 
 greatneis and magnificence of a Temple Con- 
 fecrated to that Saint. He takes notice that his 
 Martyrdom was extraordinary well done, and 
 that the CharacSiers of the Grief and Conftancy 
 of this Martyr, of the Fiercenefs and Cruelty of 
 the Tyrant, and the Affiftance of our blelfed 
 Lord to Crown this happy Saint , v/ere as le- 
 gible in this Piece as in a Book : Infomuch, that 
 thefe Pidures on the Walls were like a lively and 
 uleful Sermon. 
 
 ( e ) In an Oration which he made at Conjluntinople menti- 
 oned in the fecond Nicene Council Ac. 4. are thefe Words. 
 
 ridi fapius infer iptionis imaginem, fine licrymk tranjlre non 
 potiii, cum tarn effcaciter oh oculos poneret Hijioriam. 
 
 (f)PAor artis fua flares in imaginibus exprimens, res Mar^ 
 tyris praclare gejlas^ Ldbores, Cruciatus, immanes Tyranrwrim af- 
 peciui, impetus, ardentem ilhirn ^ flnmmns evomentem fornacem, 
 beatiffimum Athletnrn, Chriflif. certamini prxfidentis, ac pramix 
 dantis, humanx formnm imnginis : Hxc inqunm vobk tnnqunm in 
 libro loiiuente, artificiofe deferibens, Manyris certamina fapienter 
 expofuit. Novit enim etiam PifluTii tacens, jn parietibus lojui, 
 Cf" utUitms plurimum afferre. 
 
 Saint 
 
Engravings Archite^ures &c. 6i 
 
 Saint Bafil ( ^ ) confirms the fame Things an<J 
 faysj that Painters do as much by fheir Figures^ 
 as (Drators by theirs j and that both equally ferve 
 fo perfuade, and raife the Contemplators to 
 Vertue: Hence we may conjecture that there 
 was a great deal of Art employed in thefe 
 Pieces^ without which they would not have af- 
 forded fo much matter ot Meditation to thefe 
 two Fathers. Hence it vippears to me, that we 
 have juft reafon to aftert that Painting did conti- 
 nue in its Excellency even till this Time at Con^ 
 fiantinofk and in the Oriental Churches. This is 
 alfo apparent^ for, that there were fome excellent 
 Painters among the Greeks in the Year eight 
 hundred : For there was nothing more furprizing, 
 nor of greater ufefulnefs than a Piece of the Day 
 of Judgment done by Methodim, which fo fenfi- 
 bly affecfted Bogoris ( h ) King of the Bulgariamy 
 that it converted that Prince, and afterwards all 
 his Subjeds, to Chriftianity. 
 
 {g) Nam ( fays St. Bafil ), magnifica in bellisgefia, & era- 
 tores fapientiffime^ FiHores pidcherrirne demon jlrmt : Hi oratr 
 one^ illi Tabulis deferibentes ornantes ambo-jh pluresad fortiuc* 
 dinem imhandim inducentes, enira fenno- Hiftoria per indit- 
 
 Elonem^ eadem & PiHura tacens per imitamnem cjtendh, St. Ba- 
 fil. Horn. 2 0. II. Mart. 
 
 ( h ) Cur opal. Cedren. Zonar. related by M H. V. JcomcL 
 Thi$ Methodius was a Monk and Painter. Bogoris employed 
 him to Paint a Palace he had built. He order’d him in gene- 
 ral to draw Reprefentations of Terror 5 taking chiefly de- 
 light' in pictures that reprelented the Combats of Hunters 
 with Boars, Lyons, Bears and Tygers. Methodius finAing no- 
 thing more Terrible than the Day of Judgment, he painted it 
 admirably well, with all it’s molt horrible and amazing Cir- 
 cumftances, and above all, the Reprobates on the Left Hand of 
 the Judge, and delivered over by his Sentence to Devils to 
 be dragged into Hell. Bogoris w^as fo touched at the Re- 
 prefentations of this Picture, that he immediately refol- 
 ved without further delay to turn Chriftiari. 
 
 Whence 
 
6z The Hiftory of Tainting^ 
 
 Whence we may conculude^ That the Honour 
 paid to the Images f / ) of the Saints from the 
 beginning of the Chriftian Religion^ has been 
 a great means of the prefervation of this Art : 
 For in all the Countries where this Worfhip has 
 been abolilb’d^ Painting and Sculpture did not 
 only decline^ but were entirely deftroy’d. 
 
 ( O Conftantine the Great enrich’d Conjlantinople with feve- 
 ral Pieces of Piety 5 he was not only contented to have built 
 the magnificent Church of St. and thofe of the holy 
 
 Apoftles, but adorned the City with feveral Images, and 
 among the reft with that of our Saviour, which was on the 
 great Gate of the Imperial Palace, which was called the 
 brazen Gate, becaufe the Porch was covered with Plates of 
 gilded Copper : It was this Emperor who caufed this Palace 
 to be built. 
 
 CHAP. vn. 
 
 Of the Antiquitj of Images in the Chrifiart 
 Religion. 
 
 I MAGES in the Chriftian Religion begun 
 frora the time of Jefus Chrift : The firft that 
 was made, was made by a Lady, whereof there 
 is made mention in St. Luke Chap. 8. Ver. 46. 
 who drawing near our Saviour behind, touched 
 the Hem of his Garment, and immediately her 
 bloody ( ^ ) Ifllie was cured. This holy Wo- 
 man as an acknowledgment of her Cure ere<fted 
 in the City of Cafarea a Statue of Jefus Chrift. 
 It was of Brafs, and at his Feet was the Statue 
 of this Woman, in a fupplicant Pofture. She 
 
 ( <? ) Chap. 8. V. 4if. 
 
 was 
 
Bngraving^ ArchiteBme^ &:c. 63 
 
 was fo acceptable to God that he gave a miracu- 
 lous Vertue, to a Plant that grew at the Foot of 
 this Statue, and when it was grown high enough 
 to touch the Fringe of this Image it healed all 
 Sorts of Difeafes ( ^ )• Several Hiftorians record 
 this Truth, particularly Eufebius of ( c ) Cafa^ 
 re a, who was an ocular Witnefs of the Truth 
 of it ; and Soz^omen reports that Julian the Apo- 
 ftate, by reafon of the hatred he bore to Jefus 
 Chrift,caufed this famous Statue to be taken away , 
 and ordered his own to be fet up in its Place : 
 But he was immediately punilbed for this Sacri- 
 ledge, for Lightning falling thereon confumed it 
 to Aibes. 
 
 There are other Authors who write, that from 
 the time of the Apoftles there were alfo Images 
 of the Painting of Jefus Chrift ( </ ), and that 
 our Bleffed Saviour was the Inventor of them, 
 at the Solicitation of Abagarm King of Edeja^ 
 who having heard of the Miracles of Chrift Je- 
 fus, fent a Painter to draw his Picture; but when 
 he could not lay down the Delign of it, by rea- 
 fon of the fbining Rays that iffued from his di- 
 vine Looks, our Lord to fatisfy the Requeft of 
 
 ( i ) Nicene Council li. AH. 4. S. Greg. 2. Epift. to Germ. 
 Bilhop of Conftant. 
 
 ( c ) Eufebiui Lib. 6. 7. Chap. 14. This Hiftory is alfo 
 related by Antipater Boftrenfis, and alfo by Nicephonis., Cajfio- 
 riorui and Metaphrafltcs. There is alfo a large Narrative of 
 all thefe Antient Images in the Book of Subterranean Rome. 
 
 ( d ) Hiftorits qtio^., ( fays Damascene ) proditum efi ; Cum 
 Abagarm Edejfx Rex, eo nomine piHorem mijilfet, ut Domini ima- 
 ginem exprimeret ; neq-, id PiHor ob fplendortm ex ipjim vultu ma- 
 nantem, conferpui potuiffet 5 Domimim ipfum divince jure ae vivificre 
 faciei pallium admovjjfe ; ficq-, iliud ad Abaganm, la ipfius m- 
 piditati fatisfaceret, miji(je. S. Jo. Damafc. de orthpd. Fid. i. 
 4. Chap. 17. Barpn. Ann. Tom. i, an 31. 
 
 the 
 
^4 the Hiflory of Tainting^ 
 
 the King of Edefa, covered his Face with a lin- 
 neii Vaif whereon he imprinted his divine linage^ 
 and fent it to that Prince by vertue whereof he 
 was healed of a Difeafe otherwife incurable. In 
 the time of the Apoftles were alfo to be feen 
 Images of the BlelTed Virgin; for St. made 
 feveral of them : This is witnelTed by St. Gregory 
 the ( e ) Patriarch of Confiantino'ple in what he 
 writes to the Emperor Leo Ifaurianus. 
 
 thcodorus (f) farther Ihewsus, that the Em- 
 pere6 Eudoxia fent one of thefe Images painted 
 by St. Luke to ( g ) Tulcheria Augujta ; there is 
 alfo one to be feen at this Day at Rome, made 
 by the fame Saint^ which is carefully kept by 
 the Religious of Saint Syhefier. 
 
 Although the Hiftory of the Portrait of Chrift 
 Jefusfent to Ahagarus, and that of the Portrait of 
 
 (e ) St. Gregory the IL writing to Leo Ifaurus relates the 
 fame Hiftory, and that they came out of all the Eaft to Wor- 
 ftip this Image. Cum Hyerofolymis ageret Chriflm^ Abagarus 
 tint turn temporis dominabatur^ ^ Kex erat urbis Edejfenorum^ cum 
 Chrifti miracuU audiviffet^Epiflolam fcripfit ad Chrifinm^ qui ma* 
 7LU/S Jua refponfum^ [acram gloriofamq}, faciem fuam ad eum mi-* 
 fit, Itaqj ad illam non manufaHam imaginem mine ac vide : 
 Congregantur illic Orientk turhce orantj &c. 
 
 ( f ) Theodorus in his Oration againft Leo ifaurus, Annal. 
 T, 9, Annal. 814. and in the 2^. Council of Nice^ the fame 
 relation is confirmed by Leo, Lefturer of the Church at Con- 
 ftantinoplej who witneffeth the Honour that was paid in his 
 Time to that Image. Thefe are his Wovisleo KeligofiJJimus Le- 
 Hor magna egregia^ EccleJJa Confantinopolitanc^ dixit^ ^ ego 
 indignus vefler famulus cum defcendijfem cum regiis Apocrifariis in 
 Syriam Edeffem petivi, iff venerandam imaginem, non faHam homi- 
 num manu adorari .is* honorari d populo vidi, &c. 
 
 { g) Lucas veto, qui facrum compofuit Evangelium, cum Domi- 
 ni pinxiffet imaginem pulcberrimam i^ pluris faciendum pojlem re- 
 liquh ♦S’r, Theodor, orat. in Leo. Arm. 
 
 Thcod, Left. Collet, L. i. 
 
 the 
 
Engravings ArchitetiarCs &c. 65 
 
 the holy Virgin painted by St. Luke, are ferupied 
 and contefted about by Ibme, notwithftanding I 
 thought fit to relate them here , to fiiew the An- 
 tiquity of Images after the Example of the fecond 
 ATirVewe Council, Thofe of the Apoftles { h)^ Con- 
 felTors and Martyrs have been alfo Painted and 
 Engraven in the Infancy of the Church. The 
 fame Saint Gregory tells us the fame Things as 
 Pope Adrian I. relates in what he writ to 
 Conjlantine and Irenaus. He alfures us^ that therd 
 Vvere kept in the Bafilkum and in the Vatican the 
 (i) Portraitures of St. Veter and St. Vaul, which are 
 thofe which Saint Sylojeficr fhewed to the Emperor 
 Confiantine (^k ) the Great^ after he was convert- 
 ed. 
 
 Hence we may believe, that the Worfliip of 
 Images had its rife at the very beginning of 
 the Primitive Church, and that it continued 
 till the time of the Emperor Leo Ifaurus in the 
 Saji's which continued the tradiice of the Arts 
 
 {hj St. G'fegory II. in his Epiftle to Leo Ifaiihis, fays^ 
 of the firft ChriftianS who Painted our Saviour, ^ui Vomi- 
 nim cum viderent prout viderant venientes Hierofolymam fpeSfan- 
 dum. ipfum proponentes depinxerunt : Cum Stepbanum Proto-Marty-’ 
 rem vidifjent, prout viderant fpeHandum ipjum proponentes depinxe- 
 runt : Et uno ver.bo dicam., cum facies Martyrum,qui janguinem pro 
 Cbrifio fuderunt, vidiffent^ depinxerunt. 
 
 { i ) Had. r. Epifi. to Conji. and Irenaus Baron. Annal. to 
 3. An. 324. and to 3. An. 785. 
 
 ( /{ ) Confiantine to adorn his new City, fet up on all the 
 Gates the Image of the holy Virgin, and upon that of his 
 Palace the Image of our Saviour, which Leo Ijaiirianus cauled 
 to be taken aV'ay. He alfo caufed to be railed in the middle 
 of his Palaces, fine Statues of our Saviour, in the form of 
 the good Shepherd, and that of the Prophet Daniel in the Ly-* 
 ons Den. 
 
 H. of the Iconocl. of Maimbourgt 
 
 F ^ of 
 
66 The Htftory of Tainting, 
 
 of Defigning, although degenerated from their 
 Excellence, yetlefs fo in the Provinces of the Eafi 
 than the IVefi. 
 
 CHAP. VIII. 
 
 Of the entire Ruine of thefe Arts, ly the 
 Se^ of Mahomet in all the Parts of his 
 Dominion. 
 
 T H E advantage which the Arts of Defign- 
 ing had to maintain themfelves longer in 
 the Eafi than in the Wefi, did not laft long, for 
 they fuffered an entire overthrow in feveral Pro- 
 vinces of the G WWW Empire, by theSe<ft of Ma^ 
 hornet , which begun to appear in the Year 624. 
 This falfe Prophet took Damas, and- ruined Syria ^ 
 and his Sed: encreafing in Arabia, Egypt, Libia,. 
 Barbary, Spain and even on this fide the Pyrenean 
 Hills, deftroy’d all the antient Buildings, and 
 Pieces of the Arts of Defigning, which efcap’d 
 the Vifgoths and the Vandals. 
 
 But the greateft Defolation was made by the 
 Saracens in ( a ) Italy ^ they ruled Sicily for a con- 
 
 ( 4 ) They took alfo about this Time the Ifles of Candy, 
 Cyprus and Rhodes in the Year <;40. It was they who broke 
 to pieces that famous Coloffus of Brafs, made by Chares the 
 Indian, which was fet up at the Entrance of the Port of 
 Rhodes, where Ships pafled between the Legs of this great 
 Statue, which was at laft thrown down by an Earthquake, 
 and the Saracens having broken it to pieces carried it to Alex- 
 andria ; the Brafs of it laded nine hundred Camels. This 
 about the Year DIB. Hiftor. 
 
 fiderablg 
 
Engravings Archit^BurCs &c. 67 
 
 fiderable Time ; And were Matters of a great 
 Part of the Kingdom of Naples for the fpace of 
 thirty YearSj principally from the City of 
 to that of Gath. Moreover thefe Infidels car- 
 ried their Arms even to i?owe^and took the Town 
 of Vatics and burnt the Church of St. Feter there 
 ( ^ ) and St. Faulj under the Popedom of Leo 
 IV. and had almott taken the City. In this 
 fpace of time thefe People dettroy’d every thing 
 that was fine and curious in thefe two King- 
 doms j for at Naples and the Neighbouring Towns 
 there are only fome Remains of the fine Houfes 
 and Palaces of the antient Romans : Thefe Pala- 
 ces were along the Sea-lbore on the Coatts from 
 the Cape of Mijfena to the other fide of the 
 Fuzz^olo ( c). The antient Fragments which are 
 ftill to be leen in thofe Places^ denote the Splen- 
 dor of thefe Buildings • there is nothing fo curi- 
 ous and wonderful as the Fifhpond ( d ) at 
 
 ( i ) Roma illuftrata, P. 9. CT Italia illujlrata di Biondo, P. 
 
 ( c ) Fuwolo was lacked by Alaricus, Genfericus, and Totilai 
 afterwards it was rebuilt by the Grecians •, the Theater of 
 Pu\^olo was one hundred and feventy two Foot long and 
 eighty eight Foot broad. There are yet to be feen the Remains 
 of the Temple of all of Marble, built by Califur- 
 
 nim. fhere were alio in that City feVeral other Antient Tem- 
 ples ; the moft confiderable was that of Biana, which had a 
 hundred Columns of an admirable Corinthian order. There 
 is alfo yet to be feen a Part of the magnificent Temple of 
 Neptune^ and the Remains of a Temple of Trajan. 
 
 ( d ) This Place now called the Remainders of the wonder- 
 ful Filh-pool, is among the Rem.ainders of the Palace which 
 Luculus caufed to be built at the Cape of Mijfena-, this fubter-* 
 ranean Place was to keep frefh Water for the Fleets. 
 
 F a 
 
 Alijjend 
 
68 The Hijiory.of fainting^ 
 
 Miffena ( e ), which points out the footfteps and 
 foundations of a noble Palace : The Remains of 
 the Vineyard of Luculus^ of the Baths of Gieeroy 
 and of the (/) Bridge of Caligula built on 
 the Seaj of the Amphitheater and Theater of 
 Tuz^x^oloy of the Temple of Cafior ( ^ ) and Tol- 
 lux at Naples of feveral other Antient Works, 
 which were places of delight of the Romans in 
 that Country^ make us regret the Ruine of thofe 
 hne Buildings^ 
 
 Thofe mifchie£ make us look on this falfe Reli- 
 gion, as one of the moft fatal Plagues that ever 
 happened to Architecture, Sculpture and Paint- 
 ing, for it is one of the Principles of the Maho- 
 metan SeCt, to make no Image of any living 
 Creature : And this has caufed in all the Ter- 
 ritories of the Turks not only the declenfion, but 
 the utter deftruClion of the Arts of Defigning. 
 
 ( e ) Miffena a fine Antient City was ruined by the Sara- 
 cens in the Year $96. Antiq. of D. S. M. 
 
 Near this Place w'as the City of Cumes^ whereof there re- 
 mains a fine Arch called Arco-felke which is of fine Antient 
 Architediure. Here is yet to be feen in this Place the Cave 
 of the Cumaan Sybil. The Pavement is enriched with Antient 
 Paintings after the Mofaicli Manner, fuch as there are at Fre- 
 r.ejies. 
 
 ( / ) At the Gate of Tipergol, in Baia, Caligula caufed a 
 Bridge to be built of Brick, and paved with Stone which went 
 from thence to Baia. This Bridge ferved alfo for Security of 
 the Port, by breaking the great Waves of the Sea ; there yet 
 remain of it thirteen great Piles. Suetoniiis_ relates the 
 Reafons which induced this Emperor to make this w'onderful 
 Eabrick. 
 
 ( g ) There is yet to be feen at Naples the Gate of this 
 Temple, which was Meafured and Engraven by Andrew Pai- 
 ladic. 
 
 C H A P. 
 
Engravings ArchiteMurCs &c. 6<) 
 
 CHAP. IX. 
 
 Of the Injury Tainting and Sculpture fuffered 
 hy the Iconoclafles. 
 
 I N the other Parts of the Empire of Ccyrycn- 
 tinople a hundred Ypars after Mahomet, the I- 
 conoclafies fet about breaking and demoliniing of 
 Images; Which could not be done without 
 the great lof? of Painting and Sculpture in all 
 the Parts of that Empire. 
 
 Leo Ifaurianus from a mean Birth came to the Em- 
 pire according to the Prediction of two ftws, 
 who for an acknowledgment to them on that Ac- 
 count ordered the deftruAion of all Images 
 throughout his Dominions. This gave the hilt 
 rife to the Herefy of the Icpnoclafies, whereof he 
 was chief : For as foon as he thought himfelf 
 eftablilh’d on his Throne, he Ihew’d his Fury 
 againft the Catholicks by his Edicts, and other 
 Violences. Which particularly appear’d when he 
 fet on Fire the famous ( ^ ) College of the Or- 
 
 ( it ) This College or rather Academy ( for there were 
 taught all Sorts of Sciences both Human and Divine ) was a 
 ipagnificent Palace built by Conflanting the Great; tlrey chofe 
 out the moft Learned Man in all the Empire to be the nrft 
 Mafter or Director. Here was that famous Library wliidi 
 contained fix hundred thoufancl chofen Books, but which 
 perifhed partly in the Fire in the time of Bajilicui And Zeno, 
 Among thofe that were laved there was a Dragon’s Skin of 
 twenty fix Foot long, whereon w ere written in Letters of 
 Gold Homer’s Works. It is remarkable that in this Fire feve- 
 ral Antient Pieces, and among others the Feniis of Praxiteles 
 which he made for the Gnidians, were burnt. But after this 
 Library was rebuilt, and fill’d with three hundred thoufiind 
 Volumes it was entirely confum.ed, by being let on Fire by 
 leo l[iiiriiinns. Cedren, Zonar. Conftavt. Minaff. 
 
 F 3 thpdoOj, 
 
70 The Hijlory of Tainting^ 
 
 thodox^ therein to Burn the head Mafter and 
 twelve ProfelTors for having reprehended him 
 for his Errors : And all thefe generous Defen- 
 ders of the Faith were therein confumed^ with 
 every thing that was of any Value in that Aca- 
 deniy^ which had the fineft Library of all the 
 Eafi. 
 
 He moreover caufed all the Paintings in the 
 Churches to be defac’d, and thofe which could 
 be taken away, whether Pidures or Statues, he 
 caus’d to be pil’d up together in the great 
 Square in Conpantinoj>le^ where they were burnt 
 with all thofe that could be found in private 
 Houfes. 
 
 Confiantine called Co^ronimus (_ h ') Son of Leo, 
 fuceeeded him both in the Empire, and in the ha- 
 tred he bore to Images : For it was this Confian-- 
 tine who caufed all the admirable Paintings of Afo- 
 faick in the Church of Nofire Dame to be cut to 
 pieces, as alfo thofe of the Palace of the Bla^ 
 quernesy which the Emprefs Fukheria had caufed to 
 be there made, and which even Leo himfelf 
 had fparedj and in their Room this Emperor 
 ordered to be drawn on frefh Plaifter, Land- 
 skips and Birds. They broke down and defac’d 
 all the Remains of any Images on the Altars and 
 Walls of the Church, and even on the ficred 
 Veflels and Ornaments. 
 
 Nicetas the falfe Patriarch, to pleafe this Prince 
 caufed all the fine Mcfakk Paintings in his little 
 Flail of Audience to be broke to pieces, as alfo 
 a great Wainfcot that reached all along the great 
 
 ( i ) He wasfo called for having defiled the Church where- 
 in he was baptized, by laying his Ordure in it. Maimb. 
 Bii. Iccnodafi, 
 
 Audi- 
 
Engravings Architectures &c. 71 
 
 Auditory of his Palace^ enrich’d with Bafs Relief* 
 and he alfo caufed all the Walls of the Churches 
 to be plaiftered over, where there were Images 
 painted,^hat he might not leave the leaft Foot- 
 ftep of any Images in the Patriarchal Palace, 
 as his two Predeceffors had done. 
 
 After Confiant'me Copron'tmus , his Son Leo con- 
 tinued to deftroy Images during the five Years 
 which he reigned : But under the Regin of Con- 
 ftantine and Irenaa his Mother they were re-efla- 
 bli/hed. But afterwards Nkef horns after having 
 dethron’d this Princels, perfecuted the Catholicks 
 as did his Predeceffors. 
 
 The 'Emperor Michael Curo^/olatuss re-efl:.ablifii’d 
 Religion, and Images for a fiiort time ,• for he 
 was difpoffefs’d by Leo the Armenian, who was al- 
 fo an Iconoclafis who caufed to be defaced, bro- 
 ken and caft into the Sea, and the Fire, all the 
 Images which had been re-eftablifhed. Michael 
 furnamed the LiJ^ing, his Son, continued in the 
 fame Error. But Theoghilus who fucceeded this 
 laft, was yet a greater Enemy to Images and 
 Painting: For he was not contented to take 
 away thofe that had efcaped the fury of thele 
 Emperors, and which only ferved for Orna- 
 ment, but alfo declared himfelf an utter Ene- 
 my to, and Perfecutor of all Painters, and for- 
 bid them the Exercife of their Art. 
 
 This Prohibition was made in particular to 
 the glorious Monk Laz^arus, who was an Excel- 
 lent Painter, who notwithftanding did not delift 
 from painting Pieces of Devotion : Theofhilus ir- 
 ritated at this, caufed him to fuffer great Tor- 
 ments, but he continuing notwithftanding his 
 pious Exercifes therein, he caufed red hot Plates 
 of Iron, to be apply’d to his Hands, to burn his 
 
 F 4 FleJh, 
 
7x The Hiflory of Tainting^ 
 
 Flefhj thinking thereby tolpoilhis Working, and 
 that he could thereafter Paint no more, which 
 made him without any difficulty grant this Ex- 
 cellent Painter to the requefts of the EmpreE 
 Theodora, who begged him. Laz,arus being cured 
 of the Wounds he had receiv’d by theie cruel 
 Torments, and privately ffiut up in the Church 
 of St. John the Baftifi, he there notwithftand- 
 ing his burnt Hands, made his Image. 
 
 This happy Lax^arus furviv’d Theophilus, and 
 after the Death of this Prince painted ex- 
 
 cellently well the Image of our Saviour, which 
 was fet upon the principal Gate of the Imperial 
 Palace which was called the brazen Gate, in 
 the room of that ( c J which Leo the Armenian 
 had caufed to be taken away. 
 
 Hence w'e may conclude, that the Iconocla- 
 fies were the ruiners of Painting and Sculp- 
 ture in the Grecian Churches, which perfeded 
 the deftrudion of the Arts of Defigning, which 
 continued in that Condition to the Fall of the 
 Grecian Empire. The Servitude they were after- 
 wards reduc’d to, did not permit the revival of 
 thofe Arts,but only to continue in their Churches 
 the Worlhip of Images, painted after an ill Way 
 
 ( f ) This Image of our Saviour was by Confiantine fet up- 
 on the Gate of his Palace, where there was at the Entrance 
 of it a Porch covered over witfuTiles of Brafs, this Imag? 
 was broke by Leo ifaurianus, and afterwards made again by 
 Conftamine, and Irenxm ; afterwards taken away by Nkepho- 
 rta, but fet up again by Michael Curopolatuf 5 and laftly taken 
 'away again by Leo the Armenian, and made again by St. La\a-, 
 rut after the Death of Theophilus the laft Emperor of the Ico- 
 noclafles ; this St. La\arus w'as a Monk and a Painter, and he 
 |)ainted Images till his Death. Cedren. Curopol, 
 
 after 
 
Engravings Archlteliurej &c. 73 
 
 After the (d) Greek, and not the Antient Man- 
 ner. 
 
 (d) That Way which the It duns call the Antient Gr^el^ 
 Way, and not the Antient Way, has alw^ays been in life in 
 the Eajl lince the declenfion and fall of the Arts. This ap- 
 pears in Venice in the Church of St. Mitrliy for which the 
 Doge Feter Qrfeolus. caufed the beft Architefts of Greece to be 
 lought out in the Year 997. to rebuild it, as it is at prelent, 
 where there is not to be feen any Footftep of good Architcr? 
 fture, nor beauty in the Mofdcfi Paintings, w' hich were then 
 made. There is likewife no more beauty to be found in the 
 Paintings of that Sort, which were there before that time 
 in the Choir of the Chapel of our Saviour in the Year 828. 
 Riofii^ delle Maraviglie deW arte^ P. 12. 
 
 But farther to illuftrate what we mean by the Antient 
 Greeli Way, and not the Antient Way, w^e underfrand by 
 the word Antient all the V/orks of Defign that w^ere made be- 
 fore the Emperor Conflantine^ both in Greece and and in 
 the other Countries where thefe ARTS flourifhed. Thus 
 all the Statues we have of that Time are of the Antient Man- 
 ner. 
 
 But for the Old Greek Way, it is that wRich was brought 
 into fince St. Sylvefterhy certain to the Year 
 
 1200, for in all their Works both of Painting and Sculpture 
 there is nothing to be feen of Curious, but on the contrary 
 of a monftrous Defign, fuch as are the Works in the Churches 
 on this fide the Mpuntains, which are called Gothick : Thus 
 the Old Greek Way, and not the Antient Way, and the Gp- 
 thick are the lame, the one being as ill as the other. And in 
 all Europe thefe two w^ays of working, continued till fome 
 ingenious Painters out of Emulation one to another, dii'eo- 
 vered and revived thefe ARTS as Ihull be feen in the third 
 Book/ 
 
 C H A R 
 
7he Hiftory of Painthtg, 
 
 74 
 
 CHAP. X. 
 
 T/je Dominion of the Goths in Italy brought 
 in the rude Way, 
 
 A fter the Am of Defigning were de- 
 clined at Romey in the time of the latter 
 Empire^ by all thofe unhappy Accidents that 
 happened to that City, they alfo underwent 
 the fame Fate in the Provinces of Italy, where 
 the Goths and other barbarous Nations deftroy’d 
 the fine Roman Buildings, whereof there re- 
 main only fome famous Footfteps of their Ruine. 
 
 Tkeodorkus one of their Kings having eftablifh- 
 ed the Seat of his Kingdom at Rawnna, his 
 Reign was long, glorious and peaceful ,* and as 
 he very much loved Building, he apply ’d him- 
 felf in his Capital at Rome, and in the principal 
 Places of Romania, and Lombardy to build feveral 
 Palaces and Churches, which are yet to be feen, 
 all of them of a rude Way, very remote from 
 good Principles of Architedure, and the exad: 
 Rules of the Antients. For thefe Buildings are 
 after the Gothkk Way, which had fpread it felf 
 through all Italy, and in feveral other Places of 
 Europe. The Gothkk Architeds chiefly embel- 
 lifh a their Works with Capricious Ornaments, 
 which were to be feen on the Capitels of their 
 Pillars: They adorn’d their Works with a great 
 number of fmall delicate Parts, and feveral 
 Threds which refembled Ofiers, quite contraiy 
 to the Antient Architedure : This Gothkk Way 
 
 is 
 
Engravings Archite^urCs &cc. 
 
 IS ftill to be feen in the Churches of Rave7i^ 
 m and other Places which Theodorkus built (a). 
 
 This is remarkable in the Round Church of 
 St. Mary near this City: The Vault of this E- 
 difice is one only Stone^ which alfo made the 
 Cupolo^ which is thirty ( ^ ) Foot in Diame- 
 ter ; this caufes Admiration in thofe who are not 
 acquainted with the Beauty of Architeilure nor 
 Defigning^ nor their Proportions. This Church 
 was built by the Queen Amalafonta Daughter of 
 Theodorkm^ for a Sepulcher for this Prince. 
 
 ( ^ ) King Theodorkus caufed Palaces to be built at Ravenna j 
 Pavia and Modena after a barbarous Way, which were rather 
 great and rich than well built, or of good Architecture. 
 The fame may be faid of the Church of St. Eftienne de Ri- 
 mini-, of that of St. Martin at Ravenna-, and the Temple of 
 St. " 3 ohn built in the fame City in the Year 438. by Galla 
 Placidia- In the fame City the Church of St. Fital was built 
 in 5^47. The Queen Theodolinda-, caufed the Church of St. ^obn 
 the Baptijl to be made at Mon\a-, where (he caufed to be paint- 
 ed the Hiftory of the Lombards her Daughter Qn^m Gundk 
 ferga-, caufed one alfo to be built at Pavia-, they are all of 
 the Antient Gothic^- 
 
 ( b) This Author fpeaks with certainty thereof, having 
 ineafured it himfelf. 
 
 CHAP, XI. 
 
 the time of the Lombards the Gothick Way- 
 continued in Italy, and in Jeveral other 
 Tarts of Europe. 
 
 T he Gothick Way in the Arts, was continu-, 
 ed in Italy after the Goths by the Lombards^ 
 who drove them out thence, and reigned there 
 two hundred and eighteen YCiirs. This appears 
 
 not 
 
7(5 The Hifiory of Tainting^ 
 
 not only in the Churches of Pa'vla, of Milatf 
 of Brefe^ and other Buildings built by Luitprand, 
 and their other {a) Kings, but alfo in all the other 
 Churches in France that were built about that 
 time. 
 
 For after the French had got the Maftery 
 of the Romans, they banilb’d thence the Arts of 
 Defigning, and no more regarded the Excellent 
 Idea’s of the Antient Architecture, fuch as was 
 to be feen at Orange, Nifmes, St. Remi, Bordeaux 
 and other Places where the Romans had made 
 good Architecture to flourilb. 
 
 But far from that thefe French Artifts forgot, 
 and laid afide the true Method and Rules of the 
 Antient Architecture : Infomuch, that the Way 
 called Gothick grew into Ufe with all the Nations 
 of the Wefi. 
 
 Hence it is that the Church of St. Peter and 
 St. Paul built at Pans, by Clo’vis the firft Chri- 
 ftian King, and called at this day St. Genevieve, 
 is of this Gothick Way, and quite contrary to the 
 Rules of good Architecture : One may alfo take 
 notice of this rude Way of Architecture in the 
 Church of St. Germain-des-Prez, , built by Childe- 
 hert Son of this King ,• here one may obferve the 
 ill State and Condition of Defigning and Sculp- 
 ture on the Capitels and four Baft Reliefs of the 
 Choir of this Church, and in the Figures of th^ 
 Porticus : For all the Sculptures there, are done 
 without Defign, Relijb or Art. 
 
 ( ) Luitpyand built at Pdvi^n the Church of St. Peter il del 
 dduro, Vidier who reigned after Ajiolphus^ built the Church of 
 St. Peter Olivate in the Diocefs of Milan^ that of St. Vincent 
 in the City, and that of St. .at Breffe^ all thefe Edifices 
 were built at a great Charge, but of a rude and diforderly 
 Way. PaUriP, 77. 
 
 We 
 
Engravings ArchiteUuYes &c. 77 
 
 We may pafs the fame Judgment on the Paint- 
 ing of thofe Times as on the Sculpture^for when 
 the true Genius of Defign was wanting in the 
 one, it was alfo deficient in the other : The 
 Church of St. Martin- de Tours is a Proof of this. 
 There is to be feen over the great Vault a Cru- 
 cifix of a fort of Painting not at all exceeding 
 the Graving in the fame Church, vi/hich is after 
 the antient Gothick Way. 
 
 In the Reign of Dagobert was built the Church 
 of St. Dennis in France, which is' of the lame 
 Sort with thofe other Buildings, though made 
 with great care and neatnefs. This Prince built 
 feveral Churches after the lame Way in AtfaHa, 
 and feveral other Provinces of Germany, which 
 he Conquered, and where he left as M.arks of his 
 Piety, feveral Abbies which he founded. 
 
 CHAP. 
 
7 ^ 
 
 The Hiflory of Tainting^ 
 
 CHAP. X 1 1. 
 
 From the Time of Charlemain, the true Re^ 
 lijh of Building altered lefi in Toicany 
 than in other Countries. 
 
 T his rude Way of Building continued du- . 
 
 ring the firft and fecond Race of our Kings, 
 as is evident by the Churches Charlemain built 
 in feveral Cities of his Empire which are all 
 after the fame Way. 
 
 This Great Emperor after having been Crown’d 
 at Rome, and regulated the publick and private 
 Affairs of that City, and even thofe of the Pope, 
 and the Church as to temporal Affairs • he vifit- 
 ed the Cities of Italy, and left as a Teftimony of 
 his good Will to Florence, the Church of the 
 Apoftles which he there built, of a better and 
 finer Order than thofe that were built before 
 the Reign of this glorious Prince, or the others 
 that were made fince the decay of Architecture, 
 to the revival of the Arts of Defigning : For the 
 Bodies of the Pillars, the Capitels,and the Arches 
 of the Church are done with a great deal of 
 Grace and true Proportion: This Church has 
 always been efteemed by Architects to be of 
 fingular Beauty ,• and Ser-brunelefchi one of the 
 moft famous Artifts thought fit to take this 
 Church for a Model of the Churches of the 
 Holy Ghoft, and St. Laurence at Florence which 
 . are of his Defigning, 
 
 Jn 
 
Engravings Archite^urCs &c. 7 p 
 
 In the Church of the Apoftles, may be read 
 on the fide of the great Altar, the Foundation 
 of it Engraven on Marble in thefe Words. In 
 the Year eight hundred and five, the 6th of 
 Aprils Charles the King of France at his return 
 to Rome entred into Florence. He was receiv’d 
 with a great deal of Joy, and prefen ted by the 
 Burgers with feveral Chains of Gold. There is 
 yet to be feen on the Altar of this Building 
 a Plate of Brafs, whereon is written the Foun- 
 dation and Confecration of it by the Arch- 
 bilhop of Farpn^ in the Prefence of Roland and 
 Oliver. 
 
 VII. Die VI. A^rilis in refurreBione 
 Domini Carolus Francorum Rex d Roma 
 RevertenSy ingrejjus Florentiam cum 
 Magno gaudioy trifudio fufceptus^ 
 
 Citium copam T^orcpeis aureis decoravit* 
 
 Ecclejia fanBorum Apfiolorum in 
 Altari inclufa efi lamina plumbea 
 In qua defcripa afparet prafata 
 Fondatioy Confecratio faBa per 
 Archiepifcopum Turpinumy T^efiibm 
 Rolando Uliverio. Valari proemio 
 delle Vice. 
 
 f 
 
 C H A p. 
 
The Hifiory of Tainting^ 
 
 8o 
 
 CHAP. XIII. 
 
 P.efietlions on the Fall of the Arts of Defigning^ 
 and on the Gothick Way, 
 
 / 
 
 ^ I HE Gothick Way continued after Charle- 
 maln^ during the fecond Race of our Kings, 
 and under the Reigns of moft part of the third • 
 under thefe laft Princes there was no Change, 
 neither in Architedure nor Sculpture, which is 
 the reafon we fee nothing well ordered in their 
 Palaces : This is apparent in the Palace of King 
 Robert at St. Martin^ and that of St. Lewis at 
 Paris. Thefe Buildings have nothing but the 
 Gothick Way in them. This method continued 
 after this King : And is to be feen in Nofire-Dame 
 at Tarisy which his SuccelTors finifhed. 
 
 All the Beauty of this Church confifts in its 
 vaft Greatnefs and fine Plane, .and ingenious 
 Cutting of the Stones, and fome delicate fmall 
 Parts or Pieces of Architecture, which notwith- 
 ftanding fuftain great Weights. Notwithftand- 
 ing the true Orders of Architecture, and good 
 Sculpture is there wanting ,• every thing is after 
 the Antient Gothick Way, which was followed 
 in France till the Reign of Lewis the XII. 
 
 By what has been faid in this Book, we may 
 conclude, that the Arts of Defign decay’d as foon 
 as the Princes of the Latter Empire grew out of 
 love with them, and no longer protected them ; 
 This NegleCt of them began the Ruine of thefe 
 Arts, which encreafed during the Civil Wars,^ 
 by the fackings of Romcy and the defolation of 
 the Provinces of its Empire. The Infidels and 
 
Bngraving^ Archite^urej &c. Sr’ 
 
 the Hereticks contributed much to this Misfortune 
 in feveral Places^ and that even to the total De- 
 ftruftion of thefe illuftrious Profeffions. 
 
 But that the Refledions we make on the Fall 
 of thefe Arts may be ufeful to thofe Who learn 
 Defigning, it will be neceffary to know where- 
 in confifts the ill and rude Way which was intro- 
 duced in the time of their Declenfion, that it 
 may be avoided for the Future. ,j 
 
 It may be remarked in the firft Place in the 
 Got hick Pieces^ that what they had of Rude or 
 111 in them, proceeded from the. Ignorance of 
 thofe that made them^ in the juft Proportions of 
 the human Figure, which is the folid Foundati- 
 on of juft Defigning,fince all their Statues are dif- 
 proportionate. For the moft Part have their 
 Heads either too great or too little, the Hands 
 and the extreme Parts too thin and flender, their 
 Poftures without any choicenels, nay without in- 
 tention or expreffion. Alfo in the cloathing of 
 their Figures, are to be feen Cloaths cut in Pleats 
 and Folds where naturally there are none ,* in 
 Ihort, their Works have nothing that can pleafe 
 the View or deferve the Attention of thofe 
 that are Curious. 
 
 Thefe are faults which ought to be atoided, as 
 wrong Principles, by the Pupils of Defigning : 
 Who ought to apply themfelves immediately to 
 the juft Proportions of the Antients, for therein 
 Gonfift the true Beauties of the Art. 
 
 They ought to bepin with the Studies of Geo- 
 metry and Perlpediiive, and with the Poftures 
 which naturally exprels the different A<ftions of 
 the Body, and Paflions of the Soul. They 
 ought to take care to learn Anatomy, that they 
 
 G may 
 
8^ The HiJiorj of Tainting^ 
 
 may know the Motions of the Mufcles_, and ob- 
 ferve their juft Contorfions. 
 
 Thefe are the means which ought to be follow- 
 ed to arrive to the Knowledge of the true Beauty 
 and Excellency of thefe Arts : It has been hereby, 
 that the excellent Modern Painters, and Engra- 
 vers, and ArchiteAs have made fuch advances, 
 to whom we are obliged for the Re-eftablilbment 
 of Painting, of Sculpture, and of Archite<fture ; 
 Which lhall be the Subje<ft of the Third BOO K 
 of this Hiftory. 
 
 BOOK 
 
Engraving^ ArchiteBure^ &c. 
 
 BOOK IIL 
 
 Of the Re-eflablifhment of the Arts of 
 Dehgn. 
 
 CHAP. I. 
 
 The Arts began to flour ijb again in Tofcatiy^ 
 in Archite^ure and Sculpture, 
 
 A fter having fhewed in the Second 
 Book of this Hiftory, the caufes of the 
 declenfion and fall of Painting , and 
 Sculpture, and Arehitedure, by the 
 ill and rude Methods, and decay from that Ex- 
 cellence which they had arrived to among the 
 ancient Grecians and Romans ^ we will fhew in 
 this Third Book how thefe Arts by little and lit- 
 tle emerged from the rude Gothkk way, and 
 continued their Re-eftablifhment from the year 
 loi:;, to the end of ijooj wherein they ar- 
 rived to their primitive Perfections and palTed 
 from Italy into feveral other Parts, and particu- 
 larly into France, by the fingular Favour they 
 found under our Kings, Francis the Firft, Henry 
 
 G 7^ the 
 
8-4 37 ^^ Hiftory of Paintings 
 
 the Fourth ^ and Le-wis the Great , who now 
 efteenis it as a part of his Glory to have made 
 the Arts of Defign to Flourilh. 
 
 Thefe Arts of Defigning began firft to be re- 
 vived in before they were known in other 
 
 Countries. For as the were the firft among 
 
 the Ancients who pradifed them^ fb they had 
 the advantage of being the firft in Italy who rai- 
 fed them from the low ftate to which they were 
 fillen. Thus in the year 1 300 there began to 
 appear at Florence a better fort of Architecture 
 than the ancient Gothkk 3 for in the Church of 
 St. Miniate , Built in that time , Architecture 
 may be obferved to creep out of its barbarous 
 Methods, and to Imit'ate-in all the parts of that 
 Building, the way of the Ancients. 
 
 After this happy beginning, the Arts of 
 Defigning continued on to their Perfection 
 in Tofcany ,• and the Pifans iii the year 1016 
 Founded their great Church, called the Dome 
 of Pifa r The Commerce they had by Sea , 
 and particularly into Greece , was a favour- 
 able means for the Re- eftablifhnient of Ar- 
 chitecture and Sculpture , for they brought 
 thence feveral Columns and Fragments- of 
 ancient Architecture of Marble , which they 
 made ufe of in the Fabrick of this Church. 
 
 They brought together by thefe means fe- 
 veral Engravers in Italy , and alfo Grecian 
 Painters, who Work'd after their own old 
 Methods ,• for only ufing in their Painting 
 fmple Lines, which they Coloured all over 
 4*qually without any Shadowing, their Works 
 
 were 
 
Engravings Archite^urCs &c. 85’ 
 
 were not ver};: Artificial j notwithftanding thefe 
 Remainders of Art taught the Italians the 
 pradice of Painting in Water-Colours , in 
 FrefcOj and Mofaick. 
 
 But .among all thefe Grecian Artlfts .^ riiofe 
 of Vifa were the moft fortunatCj in happening 
 on the Architect Bo.mhet (a ) of Dulichimn ^ the 
 moft Ingenious of his time ; This he made 
 appear in the Cathedral of Fifa ; for 
 
 befides the greatnefs and fine Plan he 
 
 made in this Churchy he made ufe with a 
 great deal of dexterity^ of thofe ancient Pie- 
 ces of the Grecian ArchiteAure to compofe 
 his ,* which were Fragments that the Pifims 
 had brought from Greece. 
 
 This fapious Building ftirr’d up throughout 
 
 (a) This Architeft Bouchet , called hy Fafari BufckettOy 
 was a Grecian of Vulichium 5 he made in the Plan of 
 the Great Church of Fi[ay five Allies 5 this Church is 
 Paved with V/hite and Black Marble 5 he was Buried 
 here in ^ an honourable Sepulchre , whereon there are 
 Three Epitaphs, this is one of them : 
 
 ^uoi vix mille houm p^jfent juga junHaviovere 
 Et qiiod vix fount per mare ferre ratisy 
 Bufchetti nifu ^uod erat mirabile vi^iu 
 Pena fuellarum .... I'evavit onus. 
 
 This Architefl underflood all the Parts of Architefture, 
 and particularly Mechanicks, as this Epitaph proves, having 
 made a Machine, by means of which Ten Women could 
 take up that Weight w hich a Thoiifand Couple of Oxeij 
 .could not move. 
 
 G 3 All 
 
8(5 The Hijlory of fainting^ 
 
 all ( /> ) Italy, and particularly in Tofcany, tliofe 
 who had any Genius for Defigning. 
 
 It was in this City of Tifa where the Pupils 
 of thefe Greek Archite^s Built the Church of 
 ( c ) St. fchn : They alfo Built others Confe- 
 crated to St. Luke ( d ) and fome to TtHoia, but 
 they did not at all exceed their Matters : There 
 remain the Foottteps of the old Greek way , 
 chiefly in the Sculpture^ as is to be feen in the 
 Bafs Reliefs of St. Martin of Luques, finifbed by 
 Nicholas ( e ) Tifan, who learn’d of thofe Grecian 
 Artitts^ but he ttirpafs’d them^ for there is a great 
 deal of difference between his Work and theirs. 
 
 This Nicholas was the firtt Engraver who be- 
 gan to perfect Sculpture after its revival ^ for to 
 furpafs thofe who taught him^ he fet himfelf to 
 ttudy the fine Bafs Reliefs of the Ancients which 
 the Tijans had brought from Greece, and which 
 
 ( b ) In feveral Cities of Italy were Reared very great Fa- 
 bricks 5 at Ravenna in the year 1151, il Buono, Engraver and 
 Architedl, Built a great many Palaces and Clnirches. He 
 Founded at Naples the Caftles of Capoano, now called of the 
 Vicaridge, and Caliel Dellmvo, and at Venice the Steeple of 
 St. Marli ; which he fo well Founded on Piles, that in that 
 great Edifice there has appear’d no defedl in fo long time. 
 
 At Pifa in the year 1174, one Named William Oltromon- 
 tano, with Bonnano Engraver, Founded the Steeple of the 
 Dome. Thefe Architeas not being acquainted with the 
 practice of Piles, this Steeple funk on one fide, to which it 
 inclines, but becaufe of its hollow, which is round, it does 
 not fall. The Royal Gate of Brafs of this Chuixh was 
 made by this Bonnanc. 
 
 ( c ) In the year io^o,near this great Church was Built that 
 of St. ^ohn j and it is Recorded in fome Memoirs, that the 
 Colu.mns , the Pilafters , and the Vault , were finiflied iq 
 Fifteen Days time. Fafari, p. 79. 
 
 ( d) The Church of St. Martin at tuques was Built by the 
 Pupils of Buchette in the year ro6i. 
 
 I c ) Xhele Bafs Reliefs were finillied in the year i a 3 3* 
 
Engravings ArchiteBurCs &ic. 87 
 
 are to be feen in the Church-yard, of Vifa. They 
 are of a good Order^ and Ancient^ particularly 
 that which reprefents the Hunting of Atalanta 
 and Meleager. 
 
 The ftudy of thefe Bafs Reliefs furniilied him 
 with fufficient light to make fome happy advan- 
 ces in Sculpture j and this he fufficiently fliew’d 
 in the Sepulcher of 'St, ’Dominick at BuUolgn^ and 
 his other Works. This rtiews that this Art^ as 
 well as Architecture^ began to arrive to perfe- 
 ction at Tifa^ at BuUogn^ and at Rome^ and ( f) 
 Florence^ which is apparent by the Beauty of the 
 Cathedral of St. Mary Delfiore^ which Arnolfkus 
 Lapo began to Build in the year 1298^ and which 
 Philip Brunelefchi afterwards finifhed. 
 
 (f) About the year of the World 11 16^ appear’d Mar- 
 chioney Architeft and Engraver of who Work’d much 
 
 at K.ome for the Popes Innocent the Illd, and Honorhis III. who 
 made the fine Chappel of Marble of Frefeploj at St. Mary 
 Majeure^ with the Sepulcher of that Pope, which is of the 
 beft Engraving of thofe times : But one of the firft Archi- 
 tects who began to reform in Italy^ was a German named 
 ^ames^ who Built the great Convent of St. Francis of Stone 
 he dwelt at Florence^ where he made the chief Fabricks 3 he 
 had a Son called by corruption, Jacopo Arnolpho LapOy who 
 learn’d Architecture of his Father, and Defigning of cima- 
 boiusy and praCtifed alfo Sculpture. He founded the Church of 
 St. Crofs at Florence^ and feveral other Buildings, the moft con- 
 fiderable whereof is the Magnificent Church of St. Mary Del- 
 forcy whereof he made the Defign and Model. He Died in 
 the Year 1200, there are Engraven in his praiie in one of the 
 corners of the Church, thefe Verfes : 
 
 Annus Millenis centum his oSfonogenis 
 Venit Legatus F.oma honitate Donatusy 
 ^li Lapidemfixit fitndoy firnul (S' benedlxity 
 Fr^efule Francifeo geftante Fontificatuni 
 Jiiud ab Arnolpho Templum fuit Aljicatum^ 
 
 Hoc opus infigne decorans Florentia digne, 
 
 Regin^e Cteli Conftruxit rnente fdeliy 
 ^tam Virgo pia^ femper defends Hwa. 
 
 Q 4 
 
 CHAP, 
 
88 
 
 The Hifiory of Tainting, 
 
 CHAP. I I. 
 
 Of the Time when Tainting began to he Re-ejia^ 
 hlifhed at Florence. 
 
 P AINTING which was almoft loft^ began 
 to revive again in the Church of St. Miniate 
 at Florence, as is to be feen in the Mofaick Paint- 
 ing of the Choir : This was done about the Year 
 lor^, and till the Year 1211 wherein CimaboUe 
 was born, wedonotfee that that Art acquired 
 much perfedion. 
 
 John Cmahoiie was born at Florence with a natu- 
 ral Genius and Inclination to Defigning, which 
 made him neglecft other Studies to which he was 
 defign’d by his Father; For he deceived his Tu- 
 tors, and was continually amufing himfelf in 
 gratifying the Inclination and Tendency of his 
 Genius. The opportunity which he had of the 
 Society of two Grecian Painters, who came to 
 Florence to Paint the Chappel of Gondts, was very 
 lucky for him to fatisfyhis Inclination that Way : 
 And when his Father faw him employ all his time 
 in feeing them Work, he began to defpair of his 
 Sons fucceeding in Learning, and fo e ne let him 
 learn to Paint of thefe two Greeks. 
 
 The Genius and Application which CimaboUe 
 had for Defign, made him foon furpafs his Ma- 
 hers : Infomuch that his Works ^diftinguifliing 
 themfelves from the ill and rude Ways, which 
 were then in ufe, fpread his Reputation through 
 all the Neighbouring Towns, where he made 
 feyeral Pieces this be^jan to raife Painting again. 
 
Engravings Archite^urfs &c. 89 
 
 and gained this Painter the ( a ) Efteem and Ap- 
 plaufe of Men of Credit and Curiofity. 
 
 Particularly of the Fam(^ns Darotus^ and the 
 Celebrated Petrarchus. 
 
 But the greateft Honohr which Clmabos recei- 
 ved^ was when the King of Naples^ Charles / 
 Anjou^ went to fee him Work on the Pidure of 
 St. Mary Novella. This Elonour caufed a particu- 
 lar Joy in the Citizens of that City^ infomuch 
 that they made Eeafts and publick Rejoy cings. 
 
 ( ^ ) The Reputation of Cimaboue was fo Great, that he 
 was chofen Architeil with Arnolphus Lapo^ to order the Fa- 
 brick of the Church of St. Mary Velfpre at 'Florence^ where 
 he was buried after having lived fixty Years. There are thele 
 Words for his Epitaph s 
 
 Credidh lit Cimabos Pleurae caftra tenere 
 Sic tenuit ... * Nunc tenet afira Poll. 
 
 But his Pupil Ghiotto pafling by and feeing it, alluding to 
 the eleventh Stanza of Purgatory, fays on the Infcription of 
 the Sepulcher 5 
 
 Credette Cimabue, neUa Pittura 
 Tener lo campo^ ^ hora hit Ghiote ilgrido 
 Siche la fama di colui ofeura. 
 
 At the fame time with Cimabos flourifli'd Andrew tafi^ 
 a Florentine Painter in Mofaicli , he went to Fenke to 
 compleat himfelf in the ART, having underftood that 
 there were Grecian Painters there, who work 4 after that 
 Way at the Church of Saint Mark.. He engaged Maeflro 
 Apollonio one of them to come and Work with him at Flo- 
 rence^ where they made feveral Pieces, and Tafi learned of this 
 Grecian the way of making Enamels , and Plaillers that 
 would laft a long time 3 he died in the Year izp^. 
 
 For 
 
Hifiory of Tainting^ 
 
 For this reafon we may fay. That the Prote- 
 Aion which Charles of Anjou (b) gave Painting, 
 in the Honour he did Cimahos, was one of the 
 firft means of the revival of this ART. 
 
 Thus Defigning and Painting began to Emerge 
 out of Ignorance, wherein they had lain buried 
 for above nine hundred Years in Italy ^ and Hear- 
 ven then began to favour them, vifibly pouring 
 out its Gifts on the Perfon of Ghiotto Pupil of Ci- 
 mahos. For when he was a young Child, and in 
 the Country guarded his Fathers Flocks, he pra- 
 dJ:ifed Defigning with a fliarp pointed Stone for a 
 Pencil on the Ground which he had made fmooth 
 on purpofe, where he drew the Figures of his 
 Sheep. One day as Cimahos walk’d out into the 
 Fields, he found little Ghiotto bufied about this 
 Affair, which made him ftop and admire him. 
 He asked him, and told him if he had a mind to 
 follow that Employment he would teach him 
 
 ( b ) Charles of Anjou firft King of Naples^ alfo very much 
 honour’d Nicholas Pifan the Engraver and Architeft 5 he made 
 him build feveral Churches, as the Abby in the Plain of Tagli- 
 acowo^ where he defeated Conradio y he built alfo other 
 Churches, in feveral Places of Tofcany : ^ohn Pifan was Son of 
 Nicholas^ and was alfo Engraver and Architeft: In 1283 he 
 was at Naples and built there for King Charles the new Caftle 
 there, and feveral Churches, and being returned into Tnfcany 
 he made feveral Pieces of Sculpture at Are^ey and alfo of 
 Architecture in that Province 3 he dy’d in 1320. This En- 
 graver had for Pupils Agoftino and Agnolo Sanenfi : They were 
 in the Opinion of Ghiotto the beft Engravers of their time, 
 which procured them the chief Bufinefs of Tnfcany \ they 
 work’d alfo at Bulloin and Mantiict^ and bred up feveral inge- 
 nious Pupils, and particularly Carvers in Silver, as Paul A- 
 retino Goldfmith, and Maeflro Ciono who was excellent therein. 
 parties Lanfrance a Venetiany ^acobello and Peter Paul of the 
 fame City, learnt Sculpture of Auguftine and Dagnolo. 
 
 Paintings 
 
Engravings ArchiteBures &c. 91 
 
 Painting, which he accepted of with all his Heart, 
 having alfo gained his Fathers confent. 
 
 In a fliort Tirne G Motto learnt of his Mafter the 
 Principles of the Art , and far furpalTed him 
 fherein, by the ftudy and imitation of Nature, 
 applying himfelf chiefly to draw Pourtraidures 
 and Hiftories, which gain’d him fo much Repu- 
 tation, That Pope BenediH the IX. fent for him to 
 RomCs where he drew feveral Pieces in the Church 
 of St. Teter. After this his Succeffor Clement the V. 
 carried him to the City of AMgnon, where he 
 painted feveral Works in Frefco, and fome Pieces 
 for France. 
 
 But at his return to Florence ^ Robert King of Na- 
 ples, writ to Prince CW/er of Calabria h\s Son, to 
 fend him G Motto to Paint in the Church of St. Clare, 
 which he had newly built. It was very Ho- 
 nourable for this glorious Painter to be fent for by 
 this Generous Prince : He loaded him with 
 Goods, and Honours and Careffes, and took as 
 much Pleafure in feeing him Work as 
 did in Apelles. 
 
 CHAP. III. 
 
 The Liherality of Princes to ingenious Artifis, 
 has been a great Means of the Revival of 
 the Arts of Defigning. 
 
 T he Honours and Riches which Cimabos 
 and Ghiotto received from the Popes, and 
 the Kings of Naples, and the Republick of Flo- 
 rence encouraged them to Work and raifed Defign- 
 
 ing 
 
The Hijlory of Tainting^ 
 
 ing and Painting from their low State and Con- 
 dition. Thefe Favours cauied a general Efteem 
 for thefe Arts : For the better fort of People 
 and the Courtiers always affed what their Princes 
 love_, which infenfibly engages the approbation 
 and curiofity of all the People in general. 
 
 It is therefore moft certain that the Efteem of 
 Great Men for Arts, is the firft and readieft Means 
 to make them Flourilh ; The Honour and Riches 
 which Ghiotto ( a ) had of the Royal Family 
 of Anjouj acquired him very much Reputation in 
 the Republick of Florence. At his return to Na- 
 fles he had ordered him by that Family an Annu- 
 al Penfion of a hundred Florens of Gold. Thus 
 we may look upon the firft Reigns of the Kings 
 of Naples of the Houfe of Anjou^ as thofe who 
 kindled the Sparks of Emulation in Italy, among 
 thofe who followed the Arts of Defigning : Which 
 advanced the Re-eftablifliment of them ,• and we 
 may fay in praife of this Auguft Family, that 
 
 ( 4 ) Ghiotto was alfo Architedl and Engraver, having made 
 feveral Pieces in Marble, which with the other of his rare 
 Qualities caufed, that by a publick Decree, and the particu- 
 lar Affeftion of the Old Laurence de Medick, his Portraidl of 
 Marble made by le Maiano, was fet up in the Church of 
 St. Mary del Fiore with thefe Verfes made by M. Angelus Folh 
 bianus. 
 
 lUe ego fum per quem FiHura extinHa revixit. 
 
 Cui quam recia manus tarn fuit io’facitis. 
 
 Haturx deerat, noftrx quod defuit arti, 
 
 Plus licuit nulli pingere nec melius. 
 
 Miraris Turrim egregiam facro are fonantem 
 fixe quoqi de modulo crevit ad afira meo. 
 
 Veniqy [urn ^ottus, quid opus fuit ilia referre P 
 Hoc nomen longi Carminis injiar erpt. 
 
 if 
 
Engravings Archite^urCs &c. ^3 
 
 if the People of Tufcany have had the glory 
 to be the firft revivers of thefe Arts ; the French 
 Kings of Naples were the firft ProteAors of Paint- 
 ing, and the firft who made it Re-flourilh. 
 
 The Riches which Ghiotto gain’d, fupply’d him 
 with the means of eftabliflring at Florence a School 
 of Defigning, famous by the great Number of 
 Pupils that were there ( ^ ) brought up. 
 
 This Painter was alfo very well verfed in Scul- 
 pture and Archite<fture, He made the Defign of 
 one of the fine Brazen Doors of the Chancel in 
 St. John^ Church in this Cit}', and it was En- 
 graven by Andre-iv ( c ) Fifan. 
 
 { b ) Of his Pupils, Tadeo Gaddi was one of the Firft, and 
 dyed in the Year 1350. The others were Paccio a Florentine^ 
 Cttaviane da Faenfa^ Guilleaume de Forti^ Simon Sanefe^ Fktr^y 
 Cavallini Rmain^ who work’d with Ghiotto on St. Peters Ship,, 
 a Mofaicfi Painting at Rome : Several others learnt Painting of 
 Ghiotto and were his Pupils. But the moft Celebrated was 
 Eflienne Florentin ; it was judged that he much furpafled his 
 Mafter^ there are feveral Pieces of his in Frefco eLt Florence^ 
 at Pi[a^ at Milan and at Rome^ which are of the beft Sort 
 which had till then appear’d 5 he was alfo a good Architeft, 
 and dyed in the Year i35'o. 
 
 ( c ) Andrew Pifan^ made feveral Figures of Marble in the* 
 Church of St. Mary del Fiore. And as from his Youth he had 
 alfo ftudied Architefture, after the Death of Arnolpho LapOy. 
 and Ghiotto I he was employed by the Republick of Florence 
 to make the Caftle of Vifcarpe : He alfo built the Church of 
 St. john of Piftoia^ and the Duke Gautier of Athens' who 
 then Govern’d that City, employ’d him in all the Affairs of 
 Architefture, which he undertook, both Civil and Military. 
 The Merit of this Andrew was taken notice of throughout ail 
 that Lofdftiip, and he pafled through all the Offices of Magi- 
 flracy : His chief Pieces were done about the Year 1340. 
 He had one Son who was alfo One of the beft Engravers of his 
 Time. Fafari. F. dell. Andre-Organa was Pupil of Andrew 
 Pifanj and he was alfo a good Engraver, Painter and Archi- 
 tedl, he dyed in the Year 138^ 3 his Brother ^a?nes was allb 
 m Engraver and Architect, 
 
 This 
 
The Hiftory of Tainting^ 
 
 This Man was as Famous for Sculpture, as 
 Ghiotto for Painting ,* for Andrew following the 
 Defigns of this Painter ftudied the antient Way 
 with care, and became one of the moft Famous 
 of his Time. 
 
 Efiienne Florentine Tadeus Gaddi, Veter f^avaUini, 
 and feveral others were Scholars of Ghiotto ,• and 
 not inferiour to their Mafter. Tli'efe brought up 
 iikewife other Pupils, who continued to bring 
 Painting to perfeftion, and took pains therein 
 which can never be fufficiently applauded ,• for in 
 the Year 15J0 at Florence formed an Acade- 
 my of Defigning, which was the firft that was 
 founded fince the Revival of this Art. 
 
95 
 
 Sftgravmg, ArchiteHure^ &c. 
 
 CHAP. IV. 
 
 The Bftahlijhment of an Academy of Defigntng at 
 florencG^was ameans of Re-ejlahlijhing the Art * 
 
 I F the Aflemblies of the Tlatonifis near Athens, 
 were of Ufe to the Greeks in forming their 
 Academy : Thofe of feveral Painters at Florence 
 were no lefs fo to the Italians, eftablifhing there 
 the firft Academy of Defign in Italy. To this 
 end there firft aflembled Ten ( <? ) Painters^ who 
 had the Honour to Eftablifh it. 
 
 ' H I ^ . .J 1 11 '■ ■ ■■■■ ' I II ■ I ■ I " 'll !■! i.i .. ... 
 
 {a.) Thefe Painters who Founded the Academy of Defign 
 at 'Florence were Lap Guccij Vanni Cinuwi^ Corfino Buonamiy 
 Tafquino Cennty Segnia X AntignanOy Conjiglkri Furonoy Bernar- 
 do Vaidiy e Jacopo di CaJfentinOy Camarlingbi Conjiglio Ghe- 
 rardiy e Domenico Pucci all Painters. 
 
 This Academy was in fuch Favour with the Government, 
 and afterwards with the Great Dukes of Tu[ca,nyy that Cofmusy 
 one of them,would needs be one of their Number, and caufed 
 himfelf to be drawn like a Defigner , as is related by I. Arme- 
 niniy Lib. del N. F. P. 40. in thefe Terms. Della qualle fi fa 
 Con quanta accone\yLy ^ pruden\a il Gran Duca Cofmo ne facefj'e 
 ContOy ^ la Ottenefl'e : Conciofa ch'egli fi compiacque non folo di fi- 
 ren\a effere nel nuemero delli Academici del difegno 5 ma volfe enco- 
 ra effere ritratto al vivo in uno delli quadri del palco della maggior 
 fala del fuo PalagiOy che fedendo col Compaffo in mano fi moftra cbe 
 mifura linea lapianta di fienUy & cbe fu tal forma conferifce 
 & favella col Signkr Cbiappino. 
 
 In the time that fames Caffentino work’d at Are^^e^ Spinello 
 a Painter of that City contraded a Friendfhip with him that 
 he might profit by his Knowledges but he furpaffed CaffentinOy 
 and the Seignior Dardano Arciaivoli caufed him to Paint in 
 Prefco the. Church of St. Nicbolasmtht Year 1334, and he 
 made feveral other Pieces at Florence and Arre^^e s it is report- 
 ed that he equalled him in Defigning, and furpafled him far in 
 Colouring. He flay’d at Florence during the remainder of the 
 A^e 1,300. Gherardo Starmini Painter, was in Spain to work 
 for that King where he gain’d much Honour and Riches, lippo 
 FlorentinCy Tadeus Bartoli of Si enne lived at the fame time, as 
 alfo Buonamico Pupil of Tadeus Gaddi and Lorenietti of sienne. 
 
 They 
 
9 6 T'he Hifiory of Paintings 
 
 They began this Eftablilbment with a great 
 deal of Piety. They founded it tinder the Au- 
 fpices, and after the Invocation of the Great 
 St. Luke : And James Cajfentino one of the Pu- 
 pils of Tadeus Gaddi, made the Pi(fl:ure of the 
 Chappel of the Academy^ where this Saint was 
 painted drawing of the bleffed Virgin ; on one 
 fide of the Virgin CaJJentini painted all the Aca- 
 demiflsj and on the other all their Wires, 
 
 This ingenious Society was afterwards encou- 
 raged and affifted by the Princes de Medkis, which 
 perfeded at Florence the Eftablifhment of the Arts 
 which relate to Defigning ; For there have fince 
 gon out of that School a great Number of Paint- 
 prSjEngravers^and Architeds,who embellilh’d fhat 
 famous City, and all Italy like another Sickne, 
 where in the time of the firft Antients the firft 
 Academy of Defigning had been eftablifii’d : 
 This quickly fhew’d at Florence thofe great Ge- 
 nius’s, Laurence Ghiherto, Le Donatele, Ser-Brunelef~ 
 chi and feveral other ingenious Contemporaries. 
 
 This Famous Ghiber'to ( ^) was a Goldfmith, 
 
 ( b) It was about the Year 1400 that Laurence Ghiberto 
 began to appear at Florence 5 his firft Profeflion was a ,Gold- 
 fmith, \yhich he learn’d from his Father, but as he took more 
 to Engraving , he made feveral Medals and engraved Coins, 
 and in the mean time ftudied Defigning and Painting, where- 
 of he made feveral Pieces at Rimini and Pefaro^ but returning 
 to Florence to make thofe Brazen Gates in St. ^ohns^ he conti- 
 nued to make Figures in Brafs, as a Saint ^ohn Baptifi which 
 was fet on a Pitafler fuor For[an Michele-, and two others of the 
 lame Metal in the fame place. He made alfo feveral Curious^ 
 Shrines, arid a fine Triple Crown for "Po^(tEugenius i it was 
 of Gold and Jewels valued at thirty thoufand Ducats of Gold. 
 Afterwards he made a fecond Brazen Gate for the Church of 
 St. ^ohn his Merit was fo much taken notice of, that he be- 
 came at laft fupreme Magiftrate of Florence^ but ftill pradlifed 
 Architedure , managing for fome time the building of the 
 Church of St, Pelf ore. 
 
 Paintexy 
 
EngrtXvtng^ Architeilure^ 6 zc. 97 
 
 Painterj Sculptor and Archited : There are to be 
 feen of his Hand two fine Brazen Gates curioufiy 
 wrought in the Church of St. John, the Excel-* 
 lence. whereof is fufficiently fet forth by Michael 
 Angelo, when he fays in admiration of them, that 
 they deferved to be the Gates of Paradife. And 
 when the Republick ordered thofe Works to be 
 made, they chofe out Eight of the , beft Italian 
 Sculptors, who all made ElTays in little A'lodels , 
 that thereby they might determine by whom 
 this Work mould be made. 
 
 Donatello and Ser-Brmelefchi , altho’ they them- 
 felves were of the Number of the Eight, ciy^’d 
 out aloud at fight of the Model of Ghiberti, 
 that that Model was the fineft of all the ElTays 
 propofed : Whereby we may fee that there was a 
 very good Underftanding between thefe famous 
 Reftorers of Sculpture, and that they did Juftice 
 one to another, Donatello gain’d a great deal 
 of Honour to Sculpture by the excellent ( c ) 
 Works which are to be feen of his at Florence. 
 
 ( c ) Donato, called Donatello, was born at Florence in the 
 Year 1403 ; he was much addided to the Art of Defigning ; 
 he was not only an excellent Sculptor but alfo pradifed 
 Plai{tery,and was very learned in Perfpedive and Architedure; 
 he made feveral Pieces, and Figures in Marble at Florence, and 
 other Cities ; he lived to he above eighty Years old, and was 
 very liberal tov/afds his Pupils, inlomuch, that he always 
 kept a Bag of Mony faftned to his Scaffold whereon he tauglir, 
 for every one of them to take what he had occafion for. One 
 of his beft Pupils was BertoUo and Mkhello\\o-Michello\%i who 
 was alfo an excellent Archited, and much in Favour with the 
 Count de Medicis. 
 
 A little before Donatello died at Florence, Jacopo dalla Quer- 
 cia began to leave the old Way, and to pradife the Truer 
 His chief Difciples were Matteo Lucchefe and Niccolo Bolognefe. 
 At the fame time lived alfo Luca della Robbia, a Florentine 
 Sculptor of good Reputation. 
 
 H 
 
9 8 The Hiflory of Painting, 
 
 He gave to this Art the Perfedion, and fine' 
 Air of the Antients_, above any one who did pre-^. 
 ceed him. 
 
 This is evident by his excellent Statue of 
 St. George, the Beauty whereof is defcribed at 
 large by Francis Bochi. 
 
 Ser-Brunelefchi, Friend of Donatello Was an ex- 
 Gellent Goldfmith , Sculptor and Archited, and 
 revived the true and antient Way by the indefati-. 
 gable Care he took, by going to Rome, to difcover 
 the true Rules of the antient Architedure, which 
 yet adorn that City, and ftir up the Admira-* 
 tion of the Intelligent beholders. This ingeni- 
 ous Man particularly there ftudied the admirable 
 Strudure of the Fantheon , whence he received a 
 great deal of light, for building the Great Church 
 of St. Mary del Fiore, at Florence, which all the 
 Defigners and Architeds were almoft in delpair 
 of ever finifhing, which notwithftanding Brune- 
 lefchi happily brought to Perfedion by means of 
 his Study and Pains. 
 
 The ARTS were not yet arrived to fo high 
 a degree of Perfedion at Rome as at Florence : For 
 Vo'^t Eugenia s thelVt^ in the Year 1431, ordered 
 the making of the Brazen Gates of the Church of 
 St. Peter in imitation of thofe of St. John at Florence, 
 and not finding Men capable at Rome , he fent to 
 fearch them at ( e/ ) Florence ^ but thofe who 
 had that Order , did not follow it in finding the 
 moft Capable and Ingenious , for thofe Gates of 
 St. Peter are a great deal lefs Curious than thofe 
 of the Baptifierium of St.John, built by the Illu-* 
 ftrious Ghiberti. 
 
 ( d ) Simon Brother of Donatello and Antony Filaret , were 
 vhofen at Florence to make tlie Brazen Gates of St. Peter at 
 ^■orae. 
 
 There 
 
Engravings Architectures &c. 99 
 
 There appeared afterwards at Florences Andrew 
 VerroccUos who by means of his vaft Study ^became 
 of a Goldfmith an excellent Sculptor and En- 
 graver^ not only iiiBrafs, butalfo in Marble: He 
 was alfo a good ArchiteA ’• and when he was 
 efteem’dof the Rank of the firft Sculptors he was 
 preferred to Donatello , and to Ghiberti in making 
 St.Tbomas feeling the Side of our Saviour, which 
 he made ofBrafs, for the Orate ry of ^t.Michaeh 
 
 But a&Verrocchio ftudied every Thing belonging 
 to Deligning, he would alfo needs pradife Paint- 
 ing with the lame Ardor as Sculpture, for which 
 reafon he left off working at that, and fet himfelf 
 to Painting, and brought up therein feveral Ex- 
 cellent Pupils ,• among the reft Peter Perdugino and 
 Leonardo da Vinci. This laft from his Youth began 
 to furpafs his Mafter. Verrocchio feeing this,feft off 
 his Pencil, and betook himfelf again to Sculp- 
 ture,* his laft Piece was that Famous Figure in 
 Brals on Horfe-back of Bartholomew Cogleone da 
 Bergamuos , which is to be feen in Venice in the 
 Square of St. John and St. Paul. 
 
 Florence was moreover the Country of Do- 
 minick Ghirlandaios whom Nature made a Painter,* 
 for thofe who had the Education of him bred 
 him a Goldfmith, but he foon left it to follow 
 Painting. Dominick working at the Goldfinith’s 
 Trade, apply’d himfelf continually in the Shop 
 to drawing thofe who paffed by , and afterwards 
 quitted that Profeflion, and gave himfelf wholly 
 up to Painting. At laft Pope Sixtm the INth 
 fent for him to do fome Pieces in his Chappel of 
 the Vatican. Ele was accuftomed to lay, that Deri 
 figning was the true Painting, and that Mofakk 
 was the moft lafting, in which he particularly 
 excelled. This Painter brought up feveral Inge- 
 
 H 2 nioiis 
 
I QO The Htjiory of fainting^ 
 
 nious Difciples, of the number of which was' the 
 Great Michael Angelo Buonarttoti^ who deferves t'o 
 be efteemed among the beft. 
 
 Leon Battifia Alberti ( e ) At the fame time very 
 much improved the Arts of Defigning : For he 
 was very well verfed in Arithmetick, Geo- 
 metry and other Learning, which made him 
 Ingenious in all the Artst, This may be feen 
 by the excellent Treatifes of Painting, Sculp- 
 ture and Architedure which he left behind him : 
 He was the Firft of the Moderns who Writ 
 of them, and there are fome Pieces of Archi- 
 tecture to be fe^ of his of very good Me- 
 thod and Order at Florence , at Rimini , and at 
 Mantua. 
 
 Thus the Arts of Defigning continued to revive 
 in Tufcany both in Theory and Practice, by 
 the Protection which they there found,, which 
 
 ( e ) Leon Battipa Alberti, was born at Florence of the 
 Noble Family ot the Alberti’s ; he writ in Latin a Trea- 
 tife of Architecture divided into twelve Books printed In' 
 1481. It was Tranflated into Italian by Cofmo Bartoli ■, 
 he has alfo writ Books of Painting and Sculpture Tranf- 
 lated by Monfieur Du Frefne into the fame Language. 
 This Author did not flop at thefe Arts, he alfo wrie 
 of feveral other Sciences ; he was the firft who ever at- 
 tempted to reduce Italian Verfes to the Meafures of the 
 Latin, as is to be leen in' his Egiftle. 
 
 ^uejia pur ejirema miferabile Fijlola 
 Ate, cbe fpregi miferamente manh noi. 
 
 Vve have not the Year wherein he died, but it was at Flo- 
 rence and he was buried at the Ghurch of St. Crepe : That of 
 St. Francis at Rimini whereof he made the Delign, was be- 
 gun in the Year 1447, and in 1471 the Duke of MantuX 
 lent for him to come to him , whence we may judge of the 
 rime when he flourifh’d, 
 
 produce^b 
 
Engravingy Architedurey &c. lor 
 
 produced a great number of good ( f) Mafters, 
 and ingenious Difciples, in the Florentine Acade- 
 my, who afterwards ipread over other Cities of 
 Italy y where th^ contributed to the Re-eftablifh- 
 ment of thefe Arts. 
 
 [j] Among the Excellent Mafters in Painting of this 
 time, may be reckoned, 'Ba.ul Uccello^ a Vlorentine-V^iintQV^ be- 
 caufe he applied himfelf to find out the Rules of Perfpeftive, 
 which no body before him had done. But of all the Pain- 
 ters of that time, the moft Excellent, was Mafaccio of St. ^ohn^ 
 dj yaldarnpj ^\thoug\\ he died in the Year 1443. at 16 Years 
 old 3* his principal Piece was the Chappel of Brancacci ^ in 
 the Church of the Carmelites at Florence ., for that 
 has Been very much ftudied by all the famous Defigners 
 who followed after him , and where they learnt the true 
 Gull of Painting , as did the Fryer '^ohn dx Fiefole , Fryer 
 Philip Philippini , Alexis Bddovinetti , Andrew dal Cajlagno , 
 Andrew dal Verrocchio^ DominicfiGhirlandaio^ Sandro di BotticellOy 
 Leonardo da Vinci^ Peter Ferrugino^ Fra, Bartholomew of St. Marf^y 
 Marriotto Albertinelli , Michael Angelo , and Raphael Urbin 3 
 it was here he began to learn the Principles of his admirable 
 way, and feveral other Painters after Mafaccio. Vafari^ V. delli 
 Pitt. p. z 9 
 
 CHAP. V. 
 
 The French and the Dutch apply’ d themfehes 
 to make Tainting rejiourifhy and found out the 
 Secret of Tainting in Oyl. 
 
 T H E Florentlnesy and the other Italians y were 
 not the only Perfons who labour’d to per- 
 fed Painting : For fome others on this fide of 
 the Mountains contributed much thereunto, al- 
 though they had not the fame advantages for 
 Pefigning , as thofs of Italy, in. having for Mo- 
 ld ? dels 
 
102- “fhe Hiftory of Tainting^ 
 
 dels and Patterns the fine Bals-Reliels of the An- 
 cients. 
 
 The Generofity of Charles the Vlth contributed 
 very much towards it among the French; and was 
 the firft means to engage our Nation to Employ 
 more than ordinary care on Painting ^ and par- 
 ticularly on Glafs ^ which is called Glafs-Paint- 
 ing (a)^ and which is ufed in Churches ^ where- 
 in the Frejich have furpaffed the ItaJlans^ other 
 Nations. 
 
 (a) This is fo true, that in the time of Julius the 
 Second, there was at Rome Claudius Francis ^ w^ho was a Pain- 
 ter on Glafs ; it was he who Purvey’d all thofe forts of 
 Works, which were made in the Churches^ , and the Pope’s 
 Palace. But as Bramanti had heard talk of the Ingenuity 
 of William da MarciUa ^ he caufed the Sieur Claudius to 
 write to him , which he did , offering him a good Penfion 
 to come to Komcy where he painted on Glafs-, the great V/in- 
 dows which are in the Hall , near the Pope’s Chappel 5 but 
 they were broke in pieces at the Sacking of Rome by the Shot 
 of the Arquebuffes. Marcilla did alfo lome of the fame fort 
 of Paintings in the Apartments of the Vatican , and in the 
 Church of St. Mary ^ and in that del'Anm^ f after which 
 the Cardinal de Corton carried him to his City, where he 
 Painted both on Glafs, and in Frefco, feveral Pieces, which 
 were very much efteemed, for he was an Excellent Defigner, 
 full of Invention and Variety in Compofing of his Hiftories 5 
 this appears particularly in the great Windows of the Chap- 
 pel of the Aibergotis , in the Cathedral of Are^^o , which 
 Marcilla painted after having work’d at Corton -y they are fo 
 Excellent, that Vafari calls them Divine , both for the fine 
 Expreffions of Chrift, calling St. Matthew from the receipt 
 of Ciiftom, and of the other Apoftles, as well as for the fine 
 Architedlure , and the Landskips which adorn that Hiftory; 
 Marcelli was.fo niuch confidered in that City, that it obliged 
 him to flay. there till his Death, which happened ip 1537. 
 He had feyeral Difiipl^^, whereof George Vafari was* one y-Va^* 
 fariy Vita of WiUiani da Marcilla^ * • . 
 
Engravings Archite^urCs 6:g. 103 
 
 For this King to (b) excite his SubjeAs to the 
 Love and PraAice of Painting , gi'antcd them 
 great Priviledges j and Exemption from Taxes, 
 and Subfidies, and Lodging ot Soldiers. 
 
 Flanders which had been anciently a Province 
 of this Kingdom, apply ’d it felf at that time .very 
 much to Painting , and above all to drawing of 
 Portraits, which drew the Flemings from the Go- 
 thick Manner, and by this means Painting arri- 
 ved to Perfediion in that Province , by ixaibn 
 of the great number of Painters, which were in 
 all the Low-Countries , and of the conhderable 
 Commerce they made of their Pidures in Foreign 
 Countries. 
 
 But among all thefe Painters, he to whom the 
 Art is the moft obliged , is John Van-Ekk , lur- 
 named of Bruges , becaufe he came to inhabit 
 there. He was an Extraordinary Chymill, and 
 by help of that Art he found out new Varnilhes 
 for his Pidures, that wanted it, as do all thofe 
 that are wrought in Diftemper. 
 
 (b) It was in the Year 1430. that King Charles the Cth 
 granted new Priviledges to Henry Melkiu , Painter and Gla- 
 iier, and to all of that Art, in Confirmation of thofe that 
 had been granted by the Kings, his PredecelTors, to Painters 
 and Glaziers , which proves that there were then Painters in 
 grance, and that if the Art was not then in its Ferledion, 
 it was not for want of Protection from our Sovereigns, lince 
 to animate their SubjeCls to the Exercife of fo noble an Art, 
 they exempted them from all forts o/Impofts. See the Book 
 of the Eftablifhment of the Royal Academy of Painting and 
 Spulpture, 45', 
 
1 04 “The Hiflory of Tainting^ 
 
 But one Day as he had finiflied a PiAure with 
 a great deal of Care and Time, he varnilK’d it, 
 and fet it to dry in the Sun ,• but as foon as he 
 perceiv^ed that the Heat had warp'd it , and 
 crack’d it fo that one might fee through the 
 Joints of it, which fpoil’d it : To avoid fuch 
 Accidents for the future , he found he muft feek 
 out for a Varnilh that might dry in the Shade,* 
 and becaufe he found that the Oyl of Wall-Nuts 
 and Linfeed, were the moft drying, he made 
 ufe of them with fome other Drugs, and fo made 
 a new Varnilh, which no Painter in the World 
 had yet found out, and which was fo earneftly 
 defired. 
 
 After this he tri’d to mix his Colours with 
 thefe Oyls , and feeing that they were not en?> 
 damaged by Water, but that that made the Colour 
 fmk fomewhat the deeper, and that it Ihined 
 without Varnilh ,* He found out by this means , 
 with a great deal of Joy, that profitable Inven- 
 tion of Painting in Oyl. He made thereof 
 feveral Pidures , the Reputation whereof pre- 
 fently fpread it felf throughout all Europe ^ and 
 this excited a great Curiofity in Painters to 
 know how John of Bruges made his Painting 1 q 
 perfeA. In the mean time he kept his Secret to 
 himfelf^and permitted no body to fee him Work, 
 that he might make fo much the more advantage 
 of his Difcovery. 
 
 But this Painter becoming old , Imparted his 
 Secret to Roger of Bruges ^ his Pupil, and Rog^er 
 communicated it to Jujfe ^ who was his, which 
 
 gave 
 
Engravings Architectures &c. 
 
 gave occafion to bring Painting in Oyl into 
 life j and to the F/«w/^-Mercliants to make an 
 advantageous Trafick or it throughout the World, 
 although the way of Painting in Oyl did not go 
 out of Flanders Ibr feveral Years , till the time 
 that certain F/ortwowe-Merchants lent out of the 
 Lov^-Countries a Picture of John of Bruges y to Al- 
 fhonfitSy the firft King of Naples. This Pidure for 
 the Beauty of the Figures, and the Invenpioii of 
 the Colouring, was very much efteemed by thif 
 Prince, and all the Painters of his Kingdom, and 
 among the reft by Antonello da Mejjina , w)io had 
 fo vehement a delire to learn the Secret of Paint- 
 ing in Oyl, that he immediately went from 
 thence to Bruges in Flanders. 
 
 CHAP. VI. 
 
 Of the Invention of Tainting in Oyl , and its 
 advantage in Tainting , and how the Secret 
 went into Italy. 
 
 Ntonello da MejJlna was fcarce arrived in Flan- 
 
 JrV dersy but he contra(ffed an acquaintance 
 >vith John of Bruges y by Prefents which he made 
 him, of feveral Pieces of Defigning after the Ita- 
 lian way ‘ and John feeing himlelf Old, relblved 
 to teach Antonelle to Paint in Oyl, and he did not 
 leave off till he had perfeAly attain’d that way. 
 Antonello yTiCtex the Death of John van £;V>^,return- 
 ed into Italy to impart the Secret he had learnt • 
 but when he had been feme Months a; Mejfma , 
 
 he 
 
io6 The Uiflory of Taint iyig^ 
 
 he went to Venice (a)^ where he eftablifh’ci him- 
 felf^ and made feveral Figures ^ which were 
 efteemed by the Nobles ^ and by all thofe of the 
 Cky^ which acquired him a great Reputation. 
 
 Among the Painters that flourilb'd at Venice at 
 that time^ Dominicus Venetian/^s was one of the 
 moft celebrated ^ he very much careffed Anto^ 
 nelle at his Arrival ^ and thereby acquired his 
 Friendfliip ^ infomuch that he fbew’d him the 
 way of Painting in Oyl.‘ After which Dominick 
 in the Year 1478. carried this way of Painting 
 in Oyl to Florence. He there made feveral Pieces 
 
 (jt) Antonello dy'd at Venice at 49 Years of Age, and the 
 Painters of that City perform’d his Obfequies with a great 
 deal of Honour 5 and in Memory of the Secret which he had 
 fhewed them of Painting in Oyl, they Engrav’d on his 
 Tomb this Epitaph, 
 
 Antonim FiHor^ proecipuum Meffania ^ Sicilies totitis Or- 
 nurnentura hac hur/io contegitur. Non folum [uis Ficluris^ in qiiibus 
 fingulare dnificiiimy ((St venuflus fiiit , fedj (s' quod coLoribus olecf 
 mffeendis jplendorem , ^ perpetuitatem primus Italics FiifuriS 
 contidit : fummo femper Artificim Studio celebratus. 
 
 About this time appear’d at Fadua^ Vellano the Sculptor, Dif- 
 ciple of Donatello , who finifh’d in that City the Work which 
 his Mailer had left imperfedl ; he was at Rome, and work’d 
 for Pope Faul^ the Venetian , in the Year 1444. Alfo Faulus 
 Komanus , a Sculptor , diftinguifli’d himfelf at Rome 3 he was 
 Employed by Pope P/^x the Second j the Figure of St. 
 which is at the Entrance of the Bridge of St. Angelo is his. 
 
 This Faulus was alfo an excellent Worker in Gold 3 he made 
 alfo the Apoftles in Silver , which were on an Altar in the 
 Pope’s Chappel, and which were pillaged by the Irnperialifts 
 at the taking Rome. One of his Contemporaries in Sculp- 
 ture , was Mino ; he made the two Figures of St. Feter and 
 St. Faul , which are placed in the Entrance of that Church , 
 and the Sepulchre of Faul the Second in the fame Church. 
 
 after 
 
Engravings Archite^urCs &c. 107 
 
 after this new way ,• but he was unfortunately 
 Affafinated by Andreev dal Cajlagno^ who became 
 Jealous of his Knowledge , although he had 
 learnt froih him the way of Painting in Oyi. 
 Thus AntmeUo and Dominick carried this way to 
 Florence and Venice , and the way of doing it be- 
 came known throughout all Italy, which was 
 very advantageous to this Art^ in bringing it to 
 the Perfedion it arrived to^in the Year 1400^ and 
 the whole Century 1 joo. 
 
 CHAP. vir. 
 
 fainting was R^-eftabtip’ cf in fever alf r evinces 
 of Italy. 
 
 I 
 
 N the other Provinces of Italy , as well as in 
 
 Tufeany, and the State of Venice, there were 
 
 feveral Perfons at the fame time apply’d them- 
 felves to revive the Honour of the Arts of De- 
 fignihg, but not. in fo great a number as at Flo- 
 rence , where their Genius’s were naturally incli- 
 ned to learn it ,• and who alfo had among them 
 the advantage of an Academy of Defigning , 
 which was in no other Cities. Thus we fee that 
 the Art began to come to Perfection not only at 
 Venice, hut a\{o At Fetrnra, cx Mantua, and at .S«/- 
 loign, where Francis Francia was of the firft Rank. 
 Laurence Cofia of Ferrara, his Difciple_, made feveral 
 of the fineft Pieces that had yet ever appear’d 
 there j although they were only painted in Di- 
 
I o8 The Hijiory of Paintings 
 
 Cofia was very much honoured by Francis Gon^ 
 fagucy Marquifs of Mantua , who caufed him to 
 Paint a Chamber in his Palace of St. Sebafiian : 
 This Painter had feveral Pupils fdsj, and it was 
 he who taught the firft Principles of the Art to 
 Old Dojfo da Ferrara, 
 
 Andrew Mantegna learnt Painting about this 
 time of fames Squarcionc (b) of Padua , who lived 
 at Mantua : Andrew was very much efteemed by 
 Gonz^aguesy Marquils of that State : The Triumph 
 which he painted in his Palace, of which there is 
 to be feen a Print, gain’d him fo much Reputati- 
 on, that Pope Innocent the Eighth fent for him to 
 Romcy to Paint the Palace of Behidere; and after 
 having acquired a great deal of Honour at the 
 Court of Romoy he returned to Mantuay where he 
 ended his Days. 
 
 (a) Cofta had moreover for his Difciples, Laurence Hercules 
 ia Ferrara, and Lercis Malino : Laurence had fo great Friendftiip 
 for his Mafter that he did not leave him during his Life. He 
 defiened better than Ccfia, as is apparent by the Pieces he 
 made in the Chappel of St. Vincent, in the Church of St. Pe- 
 trmio at BuUoign : Voffo alfo learnt of Cojia, and excell’d par- 
 ticularly in making Landskips. Benvenuto Garofol4, w^s alfo 
 his Pupil, before he went to Study at Rome. 
 
 (b ) Befides Andrew Mantegna, who was a Difciple of Squar- 
 cione, Laurence da Lendinara, Dario da Trmifa, and Marco Zoppo, 
 a Bolonian, were his Difciples alfo. Andrew Mantegne was 
 Knighted, and dy’d at Mantua in the Year ijiy. This was bis 
 Ppitaph. 
 
 Elfe Parem hunc noris, Jl non praponts Apellf, 
 
 (i,£nea Mantinka qiii fmukchra vides. 
 
Engravings Archite^ures &c. 109 
 
 Gentil da (c) Fabriano praftifed Painting at Ve-* 
 Tonay and taught it to James Bellini y who was con- 
 temporary with Dominick Venetianus ; but when 
 this laft left Venice to dwell at Florence ythQVQ was no 
 body left at Venice to dilpute with him the Prece- 
 dency. He had two Children^ John and Gentil y 
 whom he taught to Paint ^ they furpalTed their 
 Father in a little time^ and we may truly fay^ it 
 was thefe two Brothers who introduced the right 
 Method of managing Colours in the Venetian 
 School^ after having brought up feveral Ingeni- 
 ous Difciples^ one whereof was the Famous Geor^ 
 geone da Cafiel-Franco. 
 
 The Reputation of the two Brothers^ Bellimy 
 encreafmg at Venice daily^ by the great number of 
 Pidures which they made^ went even to Conjlan^ 
 
 ( c ) Gentil da Fabriano made feme Pieces that were highly 
 praifed by Michael Angelo, Fijanello^ a Painter , of Ferona ^ 
 was Contemporary with Gentil , and he was very much 
 efteemed by Michael St. Michael , Architedt of Ferona ; be ex- 
 ceird ^fb in graving Medals, whkh he made appear by thole 
 he did at Florence^ of all thofe lllullrious Peribns, who at 
 filled at the Council held there with the Grecians. II Bionio 
 and li Giovioj very much extolled the Medals of Pifanellv. 
 
 In the fame Age, 1400. there ficurilhed in Tufeany^ feveral 
 Excellent Painters in Miniature, who were the Fryer ^ohn 
 da FiefoUy Bon Bartholomew^ Abbot of St. Clement , and Ghe- 
 rardo. 
 
 (d) ^ohn Beilin made feveral Pieces at Fenice., and lived 
 $0 Years j he had alfo for his Difciples , ^ames da Montagna^ 
 Rcndinello da Ravenna , BenediH Coda da Ferrara , and feveral 
 others of Lombardy and Trevijan 3 as for Gentil Beilin , he 
 dy’d at 80 Years of Age. Vivarini was one of his Contem- 
 poraries, and he work'd with the Bellinis in one of the Halls 
 of the Palaces of St. Ivlarl^^ hut he dy’d young. 
 
 Francis Mofignori^ys Feronefe^was Difciple of Andrew Manx agni'^ 
 he wrought at Mantua^ where he made feveral pieces i and at 
 P^erona he dy’d in the Year i foQ. 
 
tio The Hijlory of Paintings 
 
 tinople, for the Republick made a Prefent of their 
 Works to Mahomet the IL who was fo charmed 
 therewith^ that he fent for the Painters who had 
 done them. 
 
 The Senate immediately fent Ge»u/ Beilin, who 
 at his Arrival at Confiantinople , prefented that 
 Emperor with one of his PidureSj who fo much 
 admired it that he thought it impoffible for Man 
 to Exprefs any thing fo much to the Life. 
 
 This Great Prince not being able to keep Ge»- 
 til any longer by reafon of his Religion , which 
 forbids Pictures j took his leave of this Famous 
 Painter , heaping Honours upon him ^ as on a 
 Perfon of the higheft Reputation , offering him 
 to grant him any thing he would demand of 
 him. But Beilin only defired a Letter of him to 
 fignify to the Republick the Satisfa<a;ion he had 
 received in him , which this Sultan readily and 
 joyfully confented to,* and Beilin (e) at his return 
 gave it the Senate , who afligned him a Penfion 
 during Life. 
 
 (e) ^ohn Beilin , in his old Age, only drew Portraits, 
 and introduc’d the Ciiftom among the Nobles of Fenice to 
 have their Pidlures drawn, them and their Families, a Cuftom 
 Very beneficial to the Painters. 
 
 CHAP, 
 
Engravings Archite^urCs See. 1 1 1 
 
 CHAP. VIIL 
 
 The School of Florence became very Famous hy 
 the great number of Excellent Men it pro-^ 
 ducea. 
 
 S Painting became more perfect' at Venice^ 
 
 JF\_ by thofe Ingenious Painters I have menti- 
 oned^ fo the Great ( a) Genius’s in that Art con- 
 tinued daily to bring about the Re-eftablifliment 
 of the Arts of Defigning. 
 
 (d) One of the greateft Genius’s in Painting of the Age, 
 1400. was Dominic^ Ghirlandaio j of whom we have made 
 mention in the Fourth Chapter, which is evident by the 
 great number of his Excellent V/orks. Nature gave him a 
 very great Inclination for Painting , which w^as the reafon 
 he left off from his Youth following the Trade of a Gold- 
 fmith , wherein his Father had Educated him ; he w as the 
 firft who invented that Drefs w^hich the Florentine-Maids 
 wear on their Heads, called Gbirlande 3 whence he was named 
 JOominicIi Ghirlandaio, As he fucceeded in the true Me- 
 thods of Painting, he imitated in his Colours the Orna- 
 ments of Gold , which till that time were done with 
 real Gold. The Reputation of Vominicfi got to Rome , 
 where Pope Sixtus the Fourth fent for him to Paint in his 
 Chappel 3 at his Return to Florence^ he painted the Chappei 
 of Riccij which was one of the chief Pieces 3 he was uied 
 to fay that Defigning w^as true Painting, and that Mofaidz 
 was the moft durable 3 he dy’d at 44 Years of Age, in 
 the Year 1493. His Difciples were David and Benedik Ghir- 
 landaio , Sebafiian Mdmardi , Michael- Angelo Buonarotti , and 
 feveral other Ingenious FlorentineMa^Qvs. 
 
 At the fame time BenediH da Maiano diftinguiflied himfelf at 
 Florence in Sculpture and Architedlure, as did alio Anthony and 
 Peter PoUaivoli , Florentine Painters and Sculptors 3 they dy'd 
 at Rome^ whither Pope Innocent , the Succeffor of Sixtus the 
 Fourth caufed them to come 3 they vvere very Curious , and 
 
 the 
 
Ill The Hiftory of Painting, 
 
 thefirlf, who ftudied Anatomy, whereby they made their 
 Works the more perfeii. 
 
 There appeared alfo at Fltrence about this time, Philip 
 Painter, who firft taught to Paint varieties of Cloathing 
 in his Figures, and therein imitated the Ancients; he had a 
 ^reat Genius in Ornaments and Grotefque , he wrought 
 alfo in Plaifter ; and died at 4 j Years or Age. Moreover 
 Lul{e Signorelli of Cortone, got Reputation by his Painting in 
 that City, arid in Arewti-, he had a fertil Invention , and a 
 great deal of Grace in Compofing his Hiftories , and de- 
 iigned very well Naked-Figures. 
 
 Among the reft, the Illuftrious Leonard da 
 Vinci became a great Mafter therein ; for from 
 his Birth he had all the Advantages of Nature , 
 which procured him an eafy Entrance into all the 
 Arts that depend on Defigning , and Mathema- 
 ticks, Mufick, and Poetry, wherein he was Ex- 
 cellent. 
 
 Leonard learn’d of Andrew Verrocchio Painting 
 and Sculpture, but in a Ihort time furpaffeci his 
 Mafter in Painting / he ftudied Perfpedive, and 
 the Arts that depend thereon, and penetrated in-, 
 to the moft hidden Secrets of Anatomy, (b) and 
 the Motion of the Mufcles, by the Studies which 
 he made under Mark Anthony de la Tour, Profeflbr 
 in that Science. 
 
 {b} Leonard da Vinci, Michael Angelo, and all the beft Defign- 
 ers ftudied Anatomy. Da Vinci carefully recommends that 
 Study in his Treatife of Painting, as does alfo Lpma^y) in his. 
 Charles Alphonfus of Frefnoy, and D. P. his Commentator, have 
 alfo fhewed the neceffity of Myolop to become Excellent in 
 Deftgning. The Author of the Di^ourfes on the Lives, and the 
 Works of the moft Excellent Painters, is alfo of this Sentiment;' 
 but in treating of this Science , he explains himfelf in very 
 confufed terms, for he miftakes the Tendons for the Nerves ; 
 for in w'riting of the Statue of Laocoon, in a Conference, im 
 the Academy, he exprefles himfelf thus, faying, The Nerves] 
 
Engravings Archite^urCy &c. iij 
 
 and Mufdes form the chief Appearances of that Statue. And in' 
 his Book of Difcourfes Ipeaking of the Mufdes , he- 
 teaches in Page 315. of P. T. That there mufi be had a fpecial 
 regard to the Muftles and Ndvd ; And in Page he fays , 
 That their Motions depend 'on the Fabric k. of thi Banes , and 
 Situation of the Mujcles and Tendons , which fuflain them , 
 and caufe their AHion. In another place he fays , As the 
 Mufdes and Nerves are more fupple and pliant j which caufes art 
 Alteration in the Nerves , &c. It will not be amifs, to Ex- 
 plain this for th 4 fake of young Beginners. To do this, you 
 are to confider Three Parts in each Mufde j the Head , the 
 Belly, and the Tail, which are only their Beginning, Middle, 
 and End j this end of the Mufcle, is that which is called the 
 Tendon , refembling Cords , which the Author of the Dif- 
 courfes calls Nerves , at the Feet of Laocoo^n j '^hi^re it is 
 'evident, tliat they are the Tendons of the long and fliort 
 Entenfors of the Fingers, which end at the Articulations of 
 each of them , being there very vifible , by reafon of the 
 dolorous Motions, which Agefander, the Sculptor, fliews this 
 Figure to have made at the biting of feveral Serpents. As 
 to what this Author fays. That the Tendons fujlain the Mufdes^ 
 and caufe them to AH^ this is to fpeak without any under- 
 ftanding in Anatomy or Deftgn j he might have faid That 
 the Tendons end the Mufdes , but not that they caufe their 
 Motion. For the Animal Spirits give Motion to the Mufdes, 
 which are communicated to them by the Nerves, which are 
 their Vehicle ; but thefe Nerves are diflfufed , and lofe them- 
 felves among the Membranes , and Flefli , by fmall Ramuli 
 or Branches , which end like Hairs ; fcr that they cannot be 
 feen without the Skin'; on' the contrary , they are thfe Ten- 
 i dons that are there leen, which indeed the Ancient Language 
 ! calls Nerves , when Anatomy was not arrived to that Per- 
 fedion as now-a-days. This appears in an' old Tranflatioir 
 I of the Bible, Gen. if. where the Angel after having 
 wreftled all' Night with ^acob , not being able to'ovefcbme 
 him, touched him on the Nerve of the Thigh , and immedi- 
 ately It dry’d and wither’d , and he became Lame ( this 
 I Nerve is properly the Tendon of the Mufcle, called the Bi- 
 i dps of the Thigh). In Memory of this AiSion, the Children' 
 f of Ifrad did riot Eat in Animals this part , like the Tendon,' 
 I which vyas withered in ^acob .hy the touch' of the Angel 
 i 9 - 32. which evidently proyes , that 
 I Nerve, but the Tendon vvbitn makes parr 
 
 ; of the Mufcle; 
 
1 14 the Htjtory of Tainting^ 
 
 The Beauty of the Celebrated Leonardo ^ ad- 
 vanced his Reputation throughout all Italj^ and' 
 beyond it, which made Leiv% Sforz.a , Duke of 
 Milan, fend- for him to come to him. The firft 
 thing he fet about, was to Re-eftablilli the Aca- 
 demy of Architedture, founded at Milan a hun- 
 dred Years before, by Mkhellne. For he fhewed^ 
 the way to that Alfembly to leave their old Go- 
 thick Manner. He made for this Prince feveral 
 Pidures , and among the reft the admirable 
 Supper of the Refedory of St. Dominick i He 
 found out the Invention of making the Canal,. 
 which carries the Water from Adda to Milan , 
 and to make that River navigable for thirty Miles- 
 beyond if. 
 
 But as Leonardo was always meditating on ex- 
 traordinary Things for the Glory of the Prince 
 whom he lerved , he made a Model in Earth of 
 a Figure on Horfeback, of a remarkable heigth,* 
 and fmgular Beauty, with a delign to Call it im 
 Brafs j but that was not done , whether for the 
 difficulty of Founding fo great a Work , or for 
 fome other Reafon ^ and this fine Model was 
 ruined when the trench conquered the Mila- 
 nefe. 
 
 After Lnifis Sforza was carried into France, 
 Leonardo returned to Florence, where he Paintett 
 feveral Pieces, and defigned upon large thick Pa-* 
 per, like Paftboard, which Raphael alfo made ufe 
 of, and thereon brought to Perfedion the Me- 
 thod of Ferrugin, his Mailer. Julian de Medias- 
 did no lels Honour to Leonardo da Vinci, than the 
 Duke of Milan. For, befides the other CarelTes- 
 he ftiew’d him , he carried him to Rome to the 
 Eledion of Leo the Tenth, and he receiv’d of 
 this Pope the like Honour 4 but the Je.aloufy be- 
 tween^ 
 
Engraving^ ArchiteBure, &c. 
 
 j tween him and Michael Angelo difpleas’d the Court 
 jpf Ron^e y and obliged him to go into France, 
 ( where Francis the I. had pafTionately defired his 
 (Company, for the Efteem he had for his Perfony 
 ^nd Picaures j which hung up in his Clofet at 
 Fontainbleau. 
 
 In this Royal Houfe this Painter grew Aged, 
 arid made an Illuftrious End,* for after he had re- 
 ceived much Honour and great Riches’ from this 
 Generous Prince , he fell Sick ,* and when his 
 Majefty was advertiied of it, he went to Vifit 
 him.^ Da Vinci would needs raife himfelf up to 
 receive lb glorious a Vifit ; whereon finding 
 himfelf extream 111 , the King approaching him 
 ' Embrac d him, arid he Expired (ij in his Arms. 
 
 This Great Monarch loved Learning and Arts, 
 with fo much PalSon , that he efteem’d it ^ 
 Glory to Paint and Defign ; and it may be laid. 
 That this King revived' Painting, and Sculpture, 
 arid Architecture. , For he was not contented to 
 lend for Leonardo da Vinci Only, but he drew from 
 
 Ac] Leonardo dd Tzscf died at the Age of 7/ Years; befides 
 hisTreatife ot Painting, which is Printed, he compofed 
 reveral other Books ; one of the Anatomy of Humap Bodies 
 with Figures ; one of the Anatomy of an Horfe ; another of 
 Lights and Shadows ; and one of the Nature , Weight, and 
 Ntotion of the Water, filled with Defigns of Machines ; but 
 unfortunately they were, never Printed, ^ohri Battika Stmri 
 has left us theie Verfes in his praife 1 
 
 ! f inci coftui pur folo * 
 
 i futti altri: i3‘ Fince Fidia, ^ vince ipellS : 
 
 1 Et tutto il lor vittoriofo Stuolo. 
 
 iHe had for his Pupils, $^ohn Antony Boltrafo , z Ailanefe i. 
 ifrancK Mel\i of the fame City ; and fome hold that Andrevf' 
 i is Solar 10 was alfo his Pupil. 
 
 Florence 
 
ti6 The Hifiory of fainting^ 
 
 Florence a great number of Ingenious Men ^ as 
 Andreiv (d) del Sarto ^ ^ojfo y Dofhinick the Floren^ 
 tincy Salviatiy and feveral other Excellent Pain- 
 ters , and Excellent Sculptors ^ as he did alfo 
 from Mantua y Frmatkcioy a Boloniany and Nicho- 
 las of Modena y all of whom work’d in , and 
 embellilh’d the Royal Houles , and ftirr’d up the 
 French to Emulation, which made them very 
 much improve in the Art of Defigning. 
 
 Among thefe Illuftrious Italians y Andr&u) del 
 Sarto held the firft Rank in the FlorentineSchoo^ 
 for the Corrednels of his Defigning, and becaule 
 he had raifed Painting to his higheft Degree of 
 Perfed;ion, 
 
 (d) Andrew del Sarto was Born zt Flounce in 1478; he 
 learnt the Trade of a Goldfmith s th^n he took to Painting' 
 under Perer Cofimo j who was then efteemed to be one of the 
 bell Painters in Florence. He ftudied alfo in the Gouftcil- 
 Hall, the Pieces done hy Leonardo dd, Find znd Michael Angelo, 
 and made feveral admirable Pieces at Florence^ as the Cloyller 
 of the Anmn^iata, la Madonna del Sacco, and feveral others , 
 which gain’d him a very great Reputation. His Difciples I 
 were James de Puntormo Solofmeo, F. Francifo di Sandro, Francis 
 Salviati , George Fafari , and Andrew Sguax^ella , who very 
 much imitated him 3 he work’d in a Palace a little without 
 Paris, as alfo did the faid Pafari ; and it is very probable) that 
 it was from hence thit thofe Pidlures were carried to Paris, 
 which are in the great Gallery of the Jefuits, which have ; 
 the AVay of Defigning, and Method of Andrew del Sart a An- 
 drew lived forty two Years. Mi Peter Fettori made this Epi- 
 taph on Andrew del Sano. 
 
 Admirabilis ingmii PiHori ac Feteribus illh' omni< 
 urn judkiOi comfarando, '■ 
 
 Vominicus Contes difdpulus , pro labor ibas , in fe in- 
 jiituendo fufceptis, grata Animo pofuit. 
 
 Fixit Am; ^2. Ok A^. TsiDXXX. 
 
Engraving^ ArchiteHure^ &:c. 117 
 
 VeUY Terugino (e) had the fame advantage at 
 Florence , and at Rome , where he made feveral 
 Excellent Pieces, and particularly in the Chappel 
 of Sixtus the Fourth. 
 
 But that which augmented the Glory of this 
 Ingenious Painter, was, that he had for his firft 
 Dilciple, Rafhel Smz,io d’Urbin^ 
 
 (d) Peter Perugino dy’d at 78 Years of Age , in the Year 
 I !ri4. Befides his Djfciple Raphael, he had feveral other very 
 ingenious ones, as Pinturicchio Perugino, Rccco Zoppo, a Floren-^ 
 tine, Philip Salviati, Le Monte Parchi, Baccio Ubertino, z Floren- 
 tine, Peter ^obn, a Spaniard 5 but one of his heft, was Andrew 
 Bewis d'Afcefi, and BenediH Caporali, who alfo gave himfelf to 
 Ardiite^ture, and made Comments on Vitruvius. - 
 
 I 3 CHAP, 
 
 J 
 
 \ 
 
XlB The Hiftory of fainting^ 
 
 CHAP. IX. 
 
 0/ the Terfe^iion of Tainting in the lafi 
 Age. 
 
 I T was Raphael i Urhin^ who raifed Painting 
 in the laft Age to its Wghefl' degree of Per- 
 fedion : His Works which are at Rome, at Flo~ 
 rence, at Bologna (a) and in France are illuftri- 
 bus Proofs of it, and give Subjed both for our 
 Admiration and Study. 
 
 ( 4 ) At Bokgm in the Church of St. ^ohn on the Hill are 
 fome admirable Pieces of Raphael , which reprefent St. Ce«- 
 lia with other Saints. Raphael, V^hen he had finilhed this pi- 
 dure , fent it to ’Stands Ftanda a Painter of Bologna , pray- 
 ing him to take care to fet it up at the Altar he had dingn’d 
 it for 5 ’Ftanda who believ’d himfelf to be a better Paintej: 
 than in reality he was , and who had a great Defire to fee the 
 Works of Raphael , whom he only knew by Fame and by 
 the great Reputation he had gotten, was glad of this Occa- 
 fion, but he had no fooner taken the Pidure out of its Cafe, 
 but he was fo furprized at its Excellence, and thereupon con- 
 ceived fuch a Melancholy by finding himfelf fo much Inferi- 
 pur to Raphael, that he fell Sick and in a few days dyed. Fa- 
 ftti. Vita de Pitt. &c. Francis Ftanda was born in the Year 
 i4to j he was brought up a Goldfmith, wherein he excell’d 
 in working in Enamel, and graving of Coins for Money ; his 
 Medals equall’d thofe of Caradofe, as is to be feen by thofe of 
 Pope Julius the lid. of the Seignior Benti-Voglio, and by all 
 the Coins of the Money of Bologna which he cut as long as 
 he lived. He took up Painting after he was acquainted with 
 Andrew Mantegna-, he was the firft Painter of Bologna, andex- 
 ce-’led all the Bolognians that went before him 5 his School was 
 fo Famous that by relation of Malvafia , he had brought up 
 two hundred Difciples one of the beft who learned of Ftanda 
 was laurence Cojia, whereof we have fpoken in the VII th Chapl 
 ^alvafa Vite de Pitt. ’ ' 
 
 This 
 
Btigraving^ Architecture, 6rc. 119 
 
 This Author denies what Fafari relates of the Death of 
 .cia , becaufe this Painter had feen other Piftures of Raphael y 
 before he received that of St. Cecilia \ and had teftified to Ra- 
 phael in Letters that pafled between them, the Efteem he had^ 
 for him, as the Painter of Painters; which he takes notice 
 in thefe WorAsy Che tu folo il pittor fei de pittori- , 
 
 Malvafia moreover complains of Safari , That he v oukl 
 not own that there were Painters at Bologna at leaft as loon as 
 at Florence^ for he fays, that in the Year 1 1 1 5: to 1140 there 
 appear’d at Bologna Guidoy Ventura and Or/ow, who embellifli’d^ 
 with Pictures the Churches of La Madonna de Lambert aniy of 
 St. Eftiennoy and feveral others of that City, Afterguards ap- 
 peared ^farin the Goldfmith and Engraver, and Franco de Be- 
 iogna Painter, contemporary of Giotto y who notwithftanding 
 follow’d the Gothicli Way ; in the mean time they were very 
 much praifed by Vante : Franco work’d for Pope Bewei/S the 
 IXth, in the Vatican, It was he who fet up the firft School of 
 Painting at Bologna , and brought up feveral Pupils, and 
 among the reft "^acoh d£ Avan\iy and/^/t^/e wholurpaf- 
 fed him. This laft flouriflied about the Year 1345, and the 
 others in 1370. At firft Simon only painted Crucifix'’s, w hence 
 he got the Name of Simon of the Crucifix ; and as for ^acoh 
 Le only drew Pictures of the Virgin : Their V»^orks have been 
 praifed by MkhaeL Angelo and the Characd, 
 
 At the fame time appeared Galea^t^o of Ferrara znAchriflofano 
 da Modenaythtk Painters wrought in the Church called La Cafe 
 di Me^^Oy without the Gate Mammola : And all their Works 
 appear’d in the Year 1400. ^ ^acob moreover work’d with AB 
 digieri de Levio a Famous Painter. Lippo Valmafw w^as Difciple 
 of Vitale and taught Painting to^ M, Galante the BologrJan ; 
 This Lippo as Malvafia pretends painted in Oyl. From the Year 
 1400. Painting grew more and more to Perfeftion at Bologna 
 :by Mattheo ; one of his moft famous Pieces w^as at St. Francisy 
 which he painted in Oyl in 1443 under the little Gate of the 
 Filhery. Afterwards SevervA of Bologna WTOught in 14^0. 
 ^ames Kipenda painted feveral Pieces a"t Rome , and Defigned 
 the whole Trajan Column ; there were at that time feveral ve- 
 ry good Bolognian Painters, whereof Marco Zoppo w as One, his 
 Works appear’d about the End of the Age i4oo,he was Difciple 
 of Squarcione : But his greateft Glory w^as to have brought up 
 Francis Francia who revived Painting at Bologna , from the low 
 Eftate whereunto it w^as fallen , and introduced the true Me- 
 thod arid Gufto of Defigning and Painting as we have ftieivn, 
 
 I 4 
 
 This 
 
izo The Hifiory of T ainting^ 
 
 This rare Perfon had a very happy Genius^and 
 from his Infancy a great Inclination for Painting ; 
 
 He learn’d the Principles frpm his Father, in the 
 City of Urhin , which was his Native Country : 
 
 But his Father feeing that from his Youth he exr 
 ceeded him, put him to Teter Terugino one of the 
 moft renowned Painters of Florence : Whom Ra- 
 fhael in a fhort time fo well imitated, phat often- 
 times the Work of this Difciple furpaffed that of 
 his Mafter. h£tQv Raphael Terugino , he 
 
 travelled to Siena^ where he heard of the great 
 Efteem that was made at Florence, of a Piece 
 whereon was defigned a Battel which the Fa- 
 mous Leonard da Vinci made for the Council Hall. 
 
 He underftood alfo that there was another Piec? 
 of Defigning very much admired, which Michael 
 Angelo had done in the fame Hall, where Leonard 
 and Michael Angelo had painted each one half 
 This obliged Raphael to leave his Work to go to 
 Florence to fee thefe two Famous Pieces : Which 
 he had no fooner feen, but he bethought himfelf 
 that he muft ftudy hard to acquire thofe Excellen- 
 ces in Defigning, wherein he then acknowledg- 
 ed himfelf inferiour to thofe tiwo Ingenious Paint- 
 ers. 
 
 Thus he ftudied very hard to acquire the true 
 f dea of thofe fine Airs of the Head, that round- 
 hefs,forceandperfe(ftion of the Works of Leonard ; 
 he alfo obferved the Beautiful outlines of the na- 
 ked Figures, in the Defigns of Michael Angelo , 
 and that that Beauty and Correcftnefs proceeded ' -* 
 from the true Proportion , and natural Situation 
 pf the Mufcles, and the juft obfervation of their 
 Motions j Raphael that lie might acquire this 
 Knowledge, fet himfelf diligently to ftudy Ana-' 
 corny, and his whole Defign was to quit the 
 ■ ........ . manner 
 
Engravingy ArchiteSturey &c. ixi 
 
 manner of his Mafter Teter Perugino, wherein he 
 happily fucceeded : For it was generally more 
 petite , a dryer , and a harder manner than that 
 of Leonardo , or Michael Angelo. 
 
 This Method of PeruginohzA not that roundnels 
 nor true Gufto as the Pieces of Frd Bartholomew 
 ( ^ of St. MarkyOnt of the Imitators of Leonard. 
 Bartholomew by help of his Studies, and the great 
 Efteem he had for the Works of that Excellent 
 Man, arrived to that degree of Perfection in true 
 Defigning^ that he was one of the moll Excellent 
 Painters of his Time. Several Pictures which are 
 at Florence and at Lucca^ in the Churches of St. Mar- 
 tin and St.Romanus arc illuftrious Proofs it : They 
 appear to this Day as frelh as if they were newly 
 painted: For befides the Beauty of their Defigiir 
 ing they had a very fine Colour, and a wonder- 
 ful Relief caufed by a juft diftributipn of Light 
 and a grand Force of Shadow, with an admirable 
 E^nion and Perfection. 
 
 The Beauty of thefe excellent Pieces very much 
 charmed Raphael at Florence , and obliged him to 
 contract an intimate Friendlhip with Bartholomew ^ 
 from whom he learn’d with a great deal of Care 
 
 ( according to the Language of that Coun- 
 
 try called Baccio, began to learn Painting under BenediU de 
 Maiano, and afterwards under Cofimo KcffeUi, and at laft he fet 
 himfelf to Study the Works and Method of Leonard da Find : 
 I^e was perfwaded by the Famous ^erom Savonarola^ a Domini- 
 can., to quit Temporal Affairs , and to burn all his Works and 
 ’ Defigns , among which were feveral naked Figures , and by 
 a Vow became one of that Religious Order, in the Convent 
 of St. Marti at Florence ; whence he was lince named ¥ra Bar- 
 tholomeyogii St. Marti ; he dyed at the Age of 40 Years in 1 5: 17 j 
 his Difciples were Cechino del Frate ; BenediHta Ciamfanini , 
 Gabriel Kufiici and Frd Paolo Pifioleje, 
 
 c|fld 
 
%z% The Hifiory of Paintings 
 
 and. Advantage the way of Painting and Colour^ 
 ing : The Friend/hip of Raphael was allb no ways 
 4iiadvantageous to Frd Bartholomew , for Raphael 
 communicated to him the Rules of Perlpeftive , 
 ivhich he was not before fo well acquainted with 
 as he. 
 
 Thm Raphael Sanzio, joining to the Gifts Hea- 
 ven had favoured him with, all the care and dif. 
 ferent Studies that were necelTary, formed that 
 fine Method of his, which fliines through all his 
 rich and judicious Compofitions. His Poftures 
 are eafy, natural and lively in each Expreflion, 
 his Proportions elegant and taken from the fine 
 Figures of the Antients,all the Airs of his Faces fo 
 noble that they feemed to have fomething of Di- 
 vine in them ; in Ihort, he finifli’d all the Extremi- 
 ties of his Figures with the utmoft Perfedion, and 
 had the truly fine Way of cloathing them ; thefe 
 are thofe excellent Parts of the Art which make 
 his Piduresthemoft perfed among the Moderns^ 
 which this great Painter has made appear in the 
 Palace of the Vatican , in all the Halls, and all the 
 Lodges which he painted. 
 
 This is particularly to be feen in his Piece of 
 the Transfiguration at St. Tetersy in Montorioy which 
 has always been efteemed as one of the chief Pie- 
 ces of Painting, and beft Pidures in the World. 
 Thofe alfo which Francis the I. caufed him to make 
 in Oyl, and which are carefully preferred in the 
 Cabinet of the King, fufiiciently teftify this 
 Truth. 
 
 This Piece of the Transfiguration .was alfb the 
 chief Ornament of his Funeral Romp, which re- 
 doubled the publick Sorrow, when they faw that 
 admirable Pidure, near the Body of that rare 
 Perfon, and that Death had fo foon deprived that 
 
 Excellent 
 
Engravings ArchiteHures &c, 1x3 
 
 Excellent Painter of Life^ who will always live 
 in the memory of the Lovers of this Art. 
 
 By this it is ealy to judge that Raphael , was 
 the moft excellent Genius in this ART, of the 
 laft Age, and that he carried it to its higheft Per- 
 fedion. But we may alfo fay, that this admirable 
 Man was Happy to flouriJh under the Popedoms 
 of Julius the lid. and Leo the Princes very 
 zealous for the revival of the Arts of Defigning. 
 For this laft Pope loved Raphael with fuch an Ah 
 fedlion , that at the time this Excellent Painter 
 dyed , this Generous Pope had propofed to Ho- 
 nour him with a Cardinals Hat ( c ), and thefe 
 Hopes hindred Raphael from concluding a Marri- 
 age with the Neice of Cardinal de Bibbienaj who 
 defired it with a great deal of 2^al. 
 
 ( c ) Af. Efprit Flechier Bifliop of Nifmes, relates this of Rii~ 
 phael in his Hillory of Cardinal Ximenes Tome 2. P. 187. 
 
 Raphael made Julius Rmanus , and ^ohn Francis his Heirs 
 who were his Pupils; he dyed at the Age of 37 Years, and 
 was buried in the Rotunda, where Bembo made his Epi- 
 taph, 
 
 D. O. M. 
 
 Raphdeli S untie Joan, F. Ferbinat, PiHcri Eminent i[s. Fete- 
 rumq\ EmulOj cujus fpir antes prope Imagines Jicontemplere^ Naturae 
 atq}, Artis fxdus facile impexeris, ^ulii 11 . 0 * Leonis X. Pont. Max. 
 
 ^ ArchiteH. Operibus gloriam auxit A. XXXVil. inte- 
 ger integros^ die natus efl , eo ejfe dejiit VIII Id. ApriL 
 ^.D.XX. 
 
 lUe eft hie Raphael , timuit quo fofpite vinci 
 Rerum magna Parens^ moriente mori. 
 
 jC H A P. 
 
y Hijlory af Painthg^ 
 
 CHAP. X. 
 
 Qf the Painters of Lombardy: who contriha^ 
 ted to the Re~ejlahlijhment of the ART. 
 
 A t the fame time that Raphael saiA his School 
 revived Painting at Rome , the ingenious 
 Artifts of Lombardy a') no left contributed to- 
 wards it in their Country : So that we may look 
 upon the beginning of thelaft Age, as the happy 
 Time wherein the Arts of Defigning arrived in 
 Italy to their higheft Perfeftion, 
 
 I f" *, I , ■ ■■ii j iii w III ■ > ii. ■■ j. ii i ■ ■ 
 
 ( ^ ) In Lombardjiy and the Provinces of the State of Venice^ 
 there were feveral Contemporary Painters , Difciples of the 
 BeUinij who contributed to the Re-eftablifliment of Painting 
 in feveral Cities, although we only confider them as of the 
 fecond Clalle, and thefe are the VoIJi of Ferrara^ Sebeto of the 
 fame City, ^acobello de FloruSy Guerriero of Padm^ ^ufiui and 
 J-ermn CumpagnoUy ^ulita his Son, Vincent de Breffey Lewis Vi^ 
 'varinoy ^ohn Baptifia de Corriglianoy Marli B^[ariniy Giavannetti^ 
 Ccrdeliaghi y Bujjiti y Bartelemi Vivarinoy ^ohn Mtznfueti^ 
 Vi^cr Belliny Bartelemi Montugne de Vincen\ey BenediSfus Viaday 
 ^ohn BonconfiL and ViSior Scarpx^ccio who was the beft of them 
 alL There were alfo in thofe Countries at the fame time fe- 
 veral Good Sculptors, as Bartelemi de Regge and Auguftin Bujio. 
 There was alfo at Brejfey Vincent Vembw who was Excellent 
 at Painting in Frefco ; there was alfo in the fame City ^erom 
 Komanmy a good Defigner and ingenious Artift; but the moft 
 Excellent of thofe Painters at Brejfe was Alexander Moretto. 
 Bitt to return to VeronHy there were very Good Painters, for, 
 befides Maefiro Zeno a Veronefe y Liberate was very Excellent^ 
 who was a Difciple of Ejlienne Veronefe , who had alfo others, 
 as ^ohn Francis Caroto of the fame City, Paul Cava^i^uol and 
 Francis Torbido , alfo Baptijia de Angelo his Nephew. Moro 
 learnt from his Youth of Georgeony and whom he left an Ac- 
 count of a Quarrel they had at Venice , and retired to Veronay 
 where for fome time he left Painting , and afterwards took it 
 up again in the School of Liber ale. 
 
Engravings ArchiteBurts &c. 115 
 
 For about that time. Antony (b) da Correggio by 
 a particular Inftind of Nature^ without having 
 any Mafter, acquired a very agreeable and charm- 
 ing Way or Painting. This ingenious Man may 
 be well termed the firft Painter of Lombardy ^ al- 
 though the courfe of his Life was but fbort^ and 
 his Merits not fufficiently known to thofe who 
 employ’d him : Notwithftanding his excellent 
 Works had the happinefs of being Efteem’d as 
 Patterns of the fineft Way of Painting, and to 
 have fhewed the true Relilli andPerfedion of the 
 Art to Barochoy to Vrocaccino and the Famous Cara-- 
 ches^ who all zealoufly imitated him, and particu- 
 larly Studied his Works : Efpecially thofe which 
 
 (b) Antony d^' Correggio was he who brought Painting in Lem- 
 hardy to its higeft degree of Perfection 3 he made two Pi- 
 £lures for Duke Frederkfi of Mantua^ which he fent-to the Em- 
 peror 3 when Julius Komanus faw them, he confefled that no 
 body had advanced Painting and Colouring to fo high an Ex- 
 cellence before. 
 
 Thefe two Pictures \Vere carried to Rome by Queen Chrifii- 
 na^ one whereof is a tedd with other Women bathing them- 
 felves, which are of an incomparable Beauty and Perfection, 
 as are alfo thofe in the Kings Cabinet painted both in Oyl and 
 ^\^ter Colours. Correggio receivei ztFarvm a payment of lixty 
 Crowns in ^atrini (Money of Copper, )by carrying of Which 
 hefo over-heated himfelf that he dyed at the Age of 40 Years 
 he made his Chief Pieces about the Year 
 
 Af. Fabio Segni a Florentine Gentleman made this Epigram- 
 on him : 
 
 fiujus cum regeret mortales Spiritus artus 
 FiHoris^ Charites fupplicuere Jovi. 
 
 Non alii pingi dextrl Pater alme rogamus ^ , 
 
 Hanc prater 3 nulli pingere nos liceat. 
 
 Anniiit his votis fummi regnator Olympi : 
 
 Et jiivenem fubito fidera ad alt a tuUt. 
 
 Ut poffet melius Chaxitum fimulacra referre 
 Frafensy nudas cerneret inde 
 
 maa©- 
 
ii6 "The Hi flory bf Vaintin^^ 
 
 made the City of Varma fo Famous, as the Paine- 
 ings in Oyl of this Illuftrioas Painter, which are 
 in the Churches of St. Anthony y St. John and 
 St. Francis, and in other Places: But Hannibal 
 Caracche fet himfelf to ftudy the fineft Ways, the 
 fine Airs of the Head, the Roundnels, and the 
 Relief which are very furprizing in thofe admira- 
 ble Stroaks , which painted in Frefco , in 
 
 that City in the Churches of the Cathedral and 
 of St. John. It.was from thefe fine Pieces that the 
 Chevalier Lanfranc, took his Idea, in that fine 
 Piece he did at Rome, in the Church of St. An-- 
 drew de La<val, and in others that he painted at Na- 
 fles; for LeCorregio was the firft ot the Painters' 
 who made that Sort of Pieces in Frefco : And of 
 fuch a furprizing Defign, that the Figures feem’dr 
 ftreight and upright contrary to the Nature of the 
 concave Superficies of the Vault , and thofe ex- 
 cellent Pieces ferve ftill for Patterns to thofe who 
 ftudy the lame Sorts of Work. 
 
 We may alfo rank among the famous Painters of 
 Lombardy, Francis M.az/xaiolo (c) call’d Parmeggianoy 
 
 ( c ) ParmeggianO was a very handforii Man , of a very fine 
 Air , and looked more like an Angel than a mortal Creature. 
 Parmeggiano after he went from RCme gave himfelf to Alchymy, 
 and made feveral tryals to fix Mercury, which depriv’d us of 
 the reft of his Works. 
 
 Befides Parmeggiano, the City of Parma furnilh’d us with' 
 feveral other Good Painters, zs Michael Angelo Anfetmi’, wh6' 
 made a Piece after a Carton of ^ulio Romano in the Church of 
 Notre-Dame della Stoccha, and made there feveral other Piiftures. 
 ^erom Ma^^uolo Coufinof Parmeggiano gzimizKo a great Re- 
 putation. 
 
 Polidore as well as feveral other Ingenious Men left Rowe 
 when the Imperialifts came to Befiege it j he vyent to Naples' 
 where he painted feme Fronts of Palaces; and feme Pitlures 
 in Oyl : Afterwards he went to MeffinayWhtK he made feveraf 
 pieces in Frefco and in Oyl , and as he was about to return' 
 to Rome again, he was aflalfinated in his Bed by his Servant; 
 who robbed him in the Year i 
 
Engravings Arehitetlures &c. 127 
 
 and PoUdore Caravaggio : The Beauties which are 
 to be feen in thePidures of the firft , Surprize at 
 firft: Sight of the beholders ,• which was cauled by 
 his agreeable Way of Painting. 
 
 He had fo happy a Genius , that at the Age of 
 lixteen Years he made of his own head feveral 
 fine Pidures at Partnus and in the State of Man-- 
 tna, where he work’d till he was nineteen Years" 
 of Age, and then he went to Rome ; the Repu- 
 tation of the Works o£ Raphaels and of Michael 
 Angelo drew him thither : He carried along witih 
 him three little Pidures , and his own Portrait ^ 
 which were no fboner feen by Cardinal Datarj, 
 but he was introduced to Pope Clement the VIIrA 
 who was charmed with the Beauty of his Pidures. 
 Parmeggiano by this means got into the Service of 
 the Pope, for whom he made feveral Pieces, andy 
 <iuring the time he was at Rome he fo much ftudi- 
 ed the Paintings o£ Raphael, that People ufed to 
 fay of him, that the Spirit of that great Painter 
 was transfufed. into Parmeggiano. 
 
 This young Painter had fuch a Love , and fo 
 afliduous an Application to his Art, that being at- 
 Rome when it was Sacked by the Imperialifts in 
 1527, and fome Soldiers entring into his Cham- 
 ber when he was at Work, he was not at all con- 
 cerned, and fo he was taken and fet to be ranfoni- 
 ed ; And bought himfelf off by fome of his Pi- 
 dures, being happily fallen into the Hands of a 
 German Captain who was a great lover of Defign- 
 ing j but he was no fooner at Liberty, but he was 
 taken again by other Soldiers, who robbed him of 
 all he had. This misfortune caufed his Return 
 itito Lombardy, where in 1 548 , he dyed at thirty 
 fix- Years of Age, 
 
 PoUdore 
 
iiS The H'tflory of Tainting^ 
 
 Tolidore da Carravaggio learned. Painting in th^ 
 School of Raphael , and perfe<5led himfelf by z 
 through Study of the Antients : His Painting is 
 very Admirable^ fo well mixed with Lights and 
 Shadows, that it made him pals in that Point 
 for the beft Painter that ever was. The Art of 
 Defigning is very much indebted to him for his 
 rich Inventions of Trophies, VelTels and other 
 Ornaments which he left to Pofterity, 
 
 CHAP. XL 
 
 Tainting^ in Toint of Colours^ was brought to 
 its gr eat ef Beauty at Venice. 
 
 T he School 6f the Bellini hairing, as we have 
 leen, begun to revive the true Guft of 
 Painting / their famous Difoiples Georgeone and Ti- 
 tian^ did much exceed them i for they were ac- 
 knowledged, as they yet are, by all Painters, 
 for the greateft Matters in the Arts of Colouring, 
 and making Landskips, that ever were. 
 
 Georgeone a') del Cafiel Franco was brought up‘ 
 at Venice - he learn’d to play on the Lute to admi- 
 ration, and having alfo a good Voice, he became 
 an Excellent Mufician. He alfo appl^’d himfelf 
 there to Painting , where after having in a lhoit 
 time learnt the Way of the BeUiniy he furpalTed 
 them, by reafon of the vivacity of his Genius, 
 and his ftrong Inclination to Painting, and his 
 
 ( a) George del Caflel Fr(?W(>was fujrnamed Getrgeon'by rea- 
 
 fon of his m 
 
 Studies 
 
Engravings ArchiteSiurej &c. 119 
 
 Studies on the Pieces of Leonardo da Vincis whoni ' 
 he happily imitated in the force and fweetnefs of 
 his Manner. It was by thefe means that Georgeone 
 attain’d to the true Way of Painting and Colour^ 
 ingj fof which he was faifl’4' Venice and in Trt'vi- 
 fan, and for the Pieces in which he there 
 painted , and: for the Pieces in Oyl of the Por- 
 traitures of the greateft Captains^, as that of the 
 Prince Gafion d'i Loix feen in th6 
 
 Kings Cabinet. , 1 . ' _ 
 
 He alfo gave proofs of his Wit and Knowledge 
 in a Difputel"^ had at Cewice with fome Sculp, tors, 
 concerning ‘ the Preeminence, they pretended to 
 over the Painters, becaufe Sculpture reprefents 
 all the Parts of the Body, whereas Paintmg re- 
 prefents only one: But he iheW’d them the con- 
 trary of thisdn one of Kh Tifturfes, wherein he 
 Ihewed four different Sights of Parts of a Figure. 
 To do this he painted a paked Man who fhewed 
 his Shoulders, and On the'Croutidhereprefented 
 a Fountain where were tQbefeeh by Reflexion 
 the ( ^ ) Fore-parts of the Figure. On one of 
 
 {b) The Reflexions of Obfeds from polifli’d and fliining 
 Bodies, as well as from Diapfonous ones, like the Water, are 
 very agre^ble in Pidlures, when made by the Rules of Diop- 
 ticks, as is done by the Illufttious Foujfin, who in that as 
 welbas foriie other Parts of Painting has exceeded all other 
 Painters. The Author of tfie Difeourfes, witnef- 
 feth this , and blames Painters, for ntgledling the Study of 
 them. He-gives us in that Part of his Book the Reafon of 
 thofe Sorts of Reflexions by a Geometrical demonftration on 
 a Landskip he^ Engraved j whereoi>>is reprefented a Terras 
 V/alk and a Pillar thereon on the Bank of a River, where 
 they are refledfed ; But for this Landskip he did not.chufe a 
 good Defigner, for on the Water he Ihews Places beyond the 
 Colutnn over the top of it , where there could only be the 
 Reflexion of the 1 en as •, wherefore this Exa.mple ought not 
 
 K to 
 
1 3 o the Hiftory of Tainting, 
 
 to be taken for a Pattern; in the meanwhile it is eafy to find 
 the Practice of reprefenting thefe Refleftions : It is only ne- 
 cefFary to take the Heigth of the Objefts on the River’s Bank, 
 and lay them down perpendicularly in a right line forwards 
 to the place where the extremity of theObjeft reflefted would 
 come. But to find the Reflexion of thofe that are diftant from 
 the Bank of the River, you muft prolong the Surface to the 
 Plan of the Elevation of the Bodies, and fo take the Heigth 
 of this Plan found or imagined, and turn it perpendicularly 
 forwards, then its extremity will be the term of the Reflexi- 
 on of the Objed that appears on the Water. In the explica- 
 tion of the principal Terms of Painting, we will give a more 
 ample Demonftration of this in Figures. 
 
 the Tides he made a Suit of polifh’d Armor whence 
 one of the Sides was refledled , and on the other 
 fide there was feen a Looking-Glafs which refleded 
 the other : And after this way Georgeone repre- 
 fented at one View thofe different Alpedls ^ and 
 this Piifture was efteemed one of the heft of his 
 Painting. This excellent Perfbn dyed at the Age 
 of thirty four Years of the Plague in x fi i, with 
 this further Encomium, that he had taught the 
 true Way of Painting to Titian and Sebafiian, af- 
 terwards called Frate del Fiombo. 
 
 "Titian Vecellio of Cadora was born in 1477, he 
 CAxnQ to Venice at ten Years of Age, where he 
 gave the firft hints of his Inclination to Painting • 
 his Friends put him to John BeUino, where he pre- 
 fently difcovered an excellent Genius for learning 
 all the Arts necelfary and requifite to Painting. 
 But in the Year i foj , finding that the Method 
 of Georgeone furpalfed that o{ Bellino, he imitated 
 Georgeone with a great deal of care, and became 
 his Difciple, and even exceeded him, for he be- 
 came the moll famous Colourer of his Time ; 
 As all Painters have fince acknowledged. 
 
 This 
 
Engravingy AnhiteBurCy See. 13 1 
 
 This obliged Michael Angelo to fay when he 
 knew Titian at Rome, That it at the beginning of 
 his Studies , he had been as happy as the Floren- 
 tinesy and the Romans y to have had as well as they 
 the Antiquities to have learned by, he would 
 been the firft Painter in the World. 
 
 Notwithftandlng Titian Dcligned the beft of 
 any of the Venetian School j he particularly ex- 
 celled in Defign thofe of the laft Age, and this 
 appear’d in his Pidture of Loves which was at 
 RomCy in the Ludovifian Vineyard : For the Illu- 
 ftrious Roujjtn ftudied afterwards with the Farp.ous 
 Sculptor Francis FiamingOy who made the Cupids 
 in that Piece , and who by this means learned 
 thereby the true Gufto and way of making In- 
 fants j whereby he got fo great an Efteem for 
 Sculpture. 
 
 Moreover this great Reputation of Titian ( c ) 
 made him fought to by all the Princes of Europe y 
 to draw their Pidures, of whom he obtain’d great 
 Honours and large Penfions : Thofe which he ob- 
 tained from Charles the Vf/&, and Philip the lldy 
 fufficiently teftify the Efteem they made of his 
 Merit in Italjy Germany and Spain y where he glo- 
 rioufly embellilh’d the Efcurial , as he had done 
 other famous Cabinets of Europe. 
 
 ( c ) The Merit of was fo tnuch valued by Charles 
 
 the Vthj that he honoured him with the Dignity of a Knight 
 and Count P<i/^r/we, and gave him feveral Mai*ks of his Efteem; 
 One day as the Emperor w^as feeing him Paint, Titian let fall 
 his Pencil, the Emperor immediately took it up, fayingj that 
 Titian deferVed to be ferved by Ctsfar 3 and the Grandees of 
 the Court being Jealous of the Honours the Emperor heaped 
 on him, the Emperor faid He could every Day make Great Men^ 
 as they were, but he could not make a Titian, As often as he 
 pairtted this Great Prince, he received a Prefent of a thoUland 
 .Crowns of Gold. Among the reft of the Princes of Europe 
 
 K % wmoW 
 
1 3 X The Hiftory of Taht'ingy 
 
 whofe Portraits he drew , he did that of ¥Ydncis the Ifiy 
 which is Hill in the Cabinet of the King at Ferfaillesy and ap- 
 pears very lively. 
 
 Titian moreover began the Defigns of feveral Pieces 
 in Mofaicji in the Church of St. Marf^y which were finilhed 
 by Valerius and Vincent Zuccheriy the beft Artifts of thofe 
 Times. Titian dyed of the Plague in the Year 15:7^, Aged 
 Years. 
 
 Several Painters endeavoured to follow the Manner of 
 Colouring of Titian 5 but he had but few Difciples , be- 
 caufe he did not care to take the Pains of Inftrufling 
 them : Among thofe he did Teach, the moll Ingenious 
 were ^ohn de Callier y who lived not long , and dyed at No,- 
 plesy and Paris Bordone of Trevifanoy who imitated Titian the 
 bell of any. He made fome excellent Pieces in Oyl, and 
 in Frefco at Venice , at Vicenza , and at Trevis , with fe- 
 veral fine portraits and Piftures in the Churches: 
 He came into Prance and ferved Francis the IJiy whofe 
 Portrait he made, as alfo thofe of the hanfomell Ladies 
 at the Court, and feveral Pieces of Hillory. He alfo 
 work’d for the Princes of the Houfe of Lorrain 5 then he 
 w^ent and painted at Aushurg and Milany whence he reti- 
 red into his Country, and only work’d for his Plea- 
 fure, and lived very happily to the Age of 75: Years, and 
 then dyed. 
 
 ^ohn Marius Verdi[\otiy an illullrious Citizen of Venicey 
 was a great Intimate of Titian , and ought to be reckon- 
 ed among his Difciples , fince he learn’d of him to Paint. 
 There are Engraven fome Deligns of Verdiiy>ti , w^hich are 
 Efofs Fables, very curioufly done. 
 
 CHAR 
 
En^ravingj Archite^ure^ &:c. 133 
 
 CHAP. XII. 
 
 The fame Quriofity was in all the Courts of Eu- 
 rope, and chiefly in that of Mantua. 
 
 B y the Examples of all thofe great Men vve 
 have but now mentioned it is evident , 
 that this Curiofity had got among the Great 
 Princes of the laft Age , who gave Proofs even 
 to Emulation of their endeavours to Revive the 
 Arts of Defigning. Thus Painting and Archite- 
 d:ure made great Progreffes by the Protedion 
 they found from the Princes , and the Ingenui- 
 ty of thole Excellent Perfons who Cukivate.d 
 them. 
 
 At this time thefe Arts continued to flourilh 
 at Mantua ,• for after Defigning had begun to be 
 eftablifhed there by the Curiofity of thofe Mar- 
 quifs’s and Dukes, who employ’d Leon Bapifia 
 Alberti Cofta , and Andre-w Mantegna , the famous 
 Julio Romano made that City very fine. 
 
 Thus, when this Illuftrious Defigner had fi- 
 nifli’d Painting Confiantines Hall at Rome , whicii 
 Raphael, his Matter, was to have done j Fm/c- 
 rick^ Duke of Mantua , went thither , where he 
 was lb charm’d with Julio , that he oblig’d him 
 to leave Rome, and come to Mantua. 
 
 He there immediately ordered him to Build 
 the Palace of T. whereof he afterwards painted 
 all the Apartments ,* and it was in thefe Magni- 
 ficent Works, that he jhew’d the Greatnels and 
 Vivacity of his Genius ; there is to be leen cn 
 the four fides of the Hall , which is painted in 
 Frefco, the Overthrow of the Giants j and on 
 
 K 3 the 
 
X34 Hifiory of Tainting^ 
 
 the Cieling ^ Jupiter darting his Thundery- 
 bolts ,• as alfo all the reft of the Gods amazed at 
 their Boldnefs. Julio , moreover, painted thfe 
 Loggia or Gallery of this Palace , where are the 
 Hiftories of David' and alfo Embellifli’d the 
 Great Hall with the Fables of Tfyche and Bac^ 
 chus. He adorn’d feveral other Apartments with 
 Pidures and Stucco-work, which were all very 
 admirable. 
 
 He painted, moreover , feveral Battels out of 
 Homers Iliads in the Palace of St. Sebajlian , and 
 made fine Pieces of Tapiftry for the Duke of 
 Ferrara', which reprefented the Combats and 
 Triumph of Scipio Africanus, whereof the King, 
 the Duke of Mantua , and the Duke of Modena 
 have each a Suit of Hangings, very richly high- 
 ten’d with Gold (a). 
 
 But as his Genius was univerlal, and he excel- 
 led in all the Parts of Defigning^ Archite<fture, 
 which is one of them, took up moft of his time 
 at Mantua i for befides the Palace of 71 which 
 he Built, he made the Church of St. Feter , and 
 feveral others of a very regular Archite<fture. It; 
 was he alfo who found the way of preferving 
 that Noble City from the Inundations of Water 
 of the Lake, which runs round it ,♦ he Built there 
 feveral Magnificent Palaces , and caufed the 
 great Streets to be enlarged , which are very 
 beautiful, 
 
 Julio Romano gained fo much here by the 
 Efteem of the Duke , and of the Cardinal his 
 Brother , that he ufed to lay, this Painter was 
 
 (a) Thefe Tapiftries were made in Handers by Nithdate 
 apd Join Bapifta Rtux, very ingenious Workmen, 
 
 mor® 
 
Engravings Archit enures 135' 
 
 more Matter of Mantua than he himfelf. Thus 
 the Etteem and Honour he received of thefe two 
 Princes, engaged him to ttay there, and not re- 
 turn to Rome , although the Pope defired it , to 
 make him chief Architect of St.Peters ChmQ\\(h). 
 
 This Ihews us, that not only Painting flourilh’d 
 in feveral Cities of Italy , and at Mantua ; but 
 alfo that Architecture has always been infepara- 
 ble from Defigning ,• and more particularly to 
 fliew the Progrels of Architecture after it’s arrival. 
 I will begin with it from the time of Brunelefchiy 
 100 Years before Julio Romano. 
 
 ( b) ^ulio Romano died at the Age of 45. in is ^ 6 . There 
 was made on him this Epitaph, 
 
 Romanm Moriens fecum tres Julius Anes 
 
 Abfiulit (baud mirum) quatuor unus erat. 
 
 This great Painter had feveral Difciples , the heft were Prt- 
 tnariccio , a Bolognian y ^ohn dal Lione , Raphael dal Colle Bor- 
 ghefe , Benedict Pagni da Pefcia , Figurino da Faenfa , Rinaldo 
 and ^ohn Baptifla Mantuano^ and Fermo Guifoni, 
 
 At Cremona , near Mantua^ Painting began to flourifli ever 
 fmce Pordenone made there fome Pieces in Frefco, and in 
 Oyl, which fhew’d the true Gufto of Painting to CaynillOy Son 
 of BoccacinOj to Bernard da Gatti^ called Soar do j who work *^4 
 at Panna^ and to Galeawo CampOy who had three Sons Pain- 
 ters, ^ulius^ Anthony , and Vincent. Julius became famous 5 
 his Difciples were his two Brothers , and LaHantius Gam- 
 baro of Brefcia: But thofe who did him the inoft Honour,, 
 were Four Sifters of a Noble Family, who learnt Painting of 
 Julius Campo. They were named Sophonisha^ Lucia^ and Europa^ 
 znd.Anna Angofciola ; Sophonisba was carried by the Duke d'Alva 
 into Spain , and enter’d into the Service of the Qiieen 3 the 
 Beauty of her Works being made known to Pope Pius the 
 IVth, he defired to have by her Hand, the Pidlure of that 
 (^een, which was admired by all Ro 77 ie 3 the Pope returned 
 his Thanks to this Illuftrioiis Paintrefs by a Letter 3 her 
 Two Sifters were alfo very famous for Painting. Vafari , 
 Pita di B. GarofalOy p. 
 
1^6 The Hrftory of Taintingj 
 
 In Sculpture, as well as Painting, there have been Women 
 very famous, particularly Forper^U ii:" Roffi of Bologna^ who 
 was very much admired in that City for her Painting , and 
 by the Works flie made in Marble; (he died in the time that 
 Clement the VII th .came to bologna to Crown Charles theVth. 
 This Pope had a great defire iDo fee this Illuftrious Lady, but 
 (he died fome days before that Ceremony. 
 
 At Brejie there were alfo ^erom Mutiano , ^erom Roma- 
 nino^ and Alexander Moretti, who gained confiderable Repu- 
 tation. 
 
 Milan alfo brought up fome very good Painters, one of 
 the moft Ancient of whom, is Bramantine , who work’d for 
 Pope Nicholas the Vth. in the Vatican ; but his Painting 
 was taken down , and Raphael has lince painted the fame 
 place. He was alfo en Architeft , and made feveral De- 
 figns and Buildings at Milan ^ which were of ufe to Bra- 
 mantey when he firfl: ftudied Architedlure in that City. At 
 the fame time Bufto , Surnamed Bamhaia , diftinguifhed him- 
 felf among the Sculptors of his time , by feveral Pieces he 
 made at Milan , and particulary by the Sepulchre of the 
 Count of which is in the Church of St. Marlin which 
 was made with extraordinary Care and Patience. The 
 Adam and Eve which are on the Front of the Dome at 
 Milan^ is of Chrijiopher Gobbq^ who was Contemporary with 
 Bambaia ; there were alfo other Sculptors and Architefts , 
 who Embellifli’d that City and Dome with their Works, as 
 did AngelOy 11 CecilianOy Tofanon Lombardino, Silvio da Fiefole, 
 and Francis Brambilati ; but Painting was perfected at Milan^ 
 after the Works of Leonardo da Vinci appeared there. One 
 of the moft Excellent Milanese Painters, was Gaudence : His 
 Works are to be feen in that City, at VerfaiUes y and at 
 Veralla, There were fome who imitated Leonardoy as Marco 
 Vggioni ; but he to whom , among the Milanefe Paint- 
 ing is moft obliged to, is Paul Lomanoy who has writ 
 very learnedly on all Parts of the Arts, which Works of his 
 are very ufeful for all Defigners. His Books were printed at 
 Milan in 1584, and 
 
 CHAP. 
 
Engravings ArchiteBurCs &c. 
 
 137 
 
 CHAP. XIII. 
 
 ArchiteHure arrived to a very great Excellency 
 at Rome. 
 
 T H E famous Ser-Brunekfchi began to bring 
 Architedure out of the rude Gothkk Man- 
 ner, which had been pradifed at Florence , and 
 other places, down to 1400. For he eftablilbed 
 in that City the ufe of the Dorick , lonick , and 
 Corinthian Orders, in all their Purity, and accord- 
 ing to thofe juft Rules he had ftudied at Rome in 
 the Ancient Buildings. 
 
 Leon Bapifia Alberti followed the Footfteps of 
 this Illuftrious Architeft and Sculptor , and in 
 Imitation of him continued at Florence the true 
 Gufto of Architedure, by reafon that he was an 
 excellent Geometrician and good Defigner. His 
 Treatife of the Orders, and his Works of Archi- 
 tedure , are a proof of it. 
 
 The famous Bramante, by his Excellent Ar- 
 chitedure, continued to improve the latter pait 
 of this Age , as Brmelefchi and Leon Bapifia had 
 done j and alfo the beginning of the Age, 1500. 
 wherin he lived. Bramante learnt Painting from 
 his Youth, and gained his Livelihood thereby 
 for a long time, in the State of Urbin, (where 
 he was Born) and in feveral Cities of Lombardy , 
 where he made feveral Pidures. But as he had 
 alfo a Genius for very great things, he went to 
 Milan to confider the Building of the great 
 Church there , then under the Condud and 
 Management of Cafarianm , a very Ingenious 
 Archited ^ and Bernardino da Treruio , a Milanefe, 
 
138 The History of Pahttingy 
 
 alfo a good Painter , and Architedt , and Engi- 
 neer, who was very much efteem’d by Leonardo 
 Vinci, though his way of Painting was fome- 
 what dry. 
 
 The Reflexions which Bramante made on 
 this famous Church, together with the know- 
 ledge he gained by thofe two ArchiteXs , who 
 were the Managers and Defigners of it, made 
 him have a mind to apply hinuelf wholly to the 
 Study of ArchiteXure j whereupon he went to 
 Rome , where having kept together what he had 
 gotten by Painting, he furvey’d with a particular 
 Care and Curiofity the magnificent Ancient Build- 
 ings of that City, thofe of Tivoli and of La ViUa 
 Adriana ^ his AffeXion to ArchiteXure led him 
 alfo to Naples, to obferve all the fine Remainders 
 of Antiquity which are there and thereabouts. 
 He there met with the ProteXion of the CardU 
 nal Archbifliop , who had fuch an Efteem for 
 him, that a little after he Engaged him to make 
 at Rome the Cloyfter of the Church of Peace. 
 Afterwards he was employed by Pope Alexander 
 Vlth. and he fliew’d his Skill in the Archite- 
 Xure of the Palace of the Chancery , and of 
 the Church of St. Laurence in Damafo. He em- 
 bellifh’d, moreover, feveral Churches in Rome, 
 by Frontifpieces of his own Defigning ,• that of 
 St. James of the Spaniards, of St. Mary del I Ani- 
 ma, and of St. Mary del Popolo, are convincing 
 proofs of it ,• as alfo the little Temple of the 
 Dorick Order, which is confecrated to St. Peter 
 in Mont-Orio: Thefe Works and feveral others 
 gain’d him fo much reputation, that he was ac- 
 kowledged the beft ArchiteX of his time^ in- 
 fomuch, that in ifo^. ya/wj the Second being 
 Pope took him into his Service, where he con- 
 tinued 
 
Engr<yvtng^ ArchiteBure^ &c. 139 
 
 tinued to gain Admiration by his Buildings in 
 the Lodgings of the Vatican, and by thofe of the 
 Palace of Behidere, But that whereby this fa- 
 mous Archite<il: got the greateft Credit , was his 
 Delign of the (a ) great Church of St. Peter 
 at Rome , and the Foundation he laid of that in- 
 comparable Building (b). Raphael Urbin, after 
 the Death of Bramante , took care of the Archi- 
 te<fture of that Church ^ and there is alfo to be 
 feen of his , the Chappel of Chigi in St. Mary del 
 Popolo; but Death, which at 37 Years of Age 
 put a period to his Life, has deprived us of thofe 
 excellent Works which otherwife he would have 
 left to Pofterity. 
 
 Architedfure continued at Rome in its Excel- 
 lence by Baldajfare (c) Peruz,z,i, where are to be 
 feen of his defigning fome Palaces of a fine and 
 elegant Proportion, which command the At- 
 tention and Admiration of the Spftators , filling 
 them with an agreeable pleafure in confidering 
 their Beauty , the effecft of a rare Defignment » 
 for Balthaz,ar excelled in Painting ajid Perlpe- 
 
 (a) The Defign of St. Peters Church by Bramante, is to be 
 
 feen on the Reyerfe of the Medals of the Second , and 
 
 of Leo the Tenth, excellently well Engraven by Carradojjo , 
 who made alfo a Medal of Bramante. 
 
 (b) Bramante died in 1^14. Aged 70. He was buried in 
 St. Peter's Church, and very much regretted by all the Ingeni- 
 ous in the Arts of Defigning , it was he who brought Raphael 
 to Rome, and inftrufted him in Architedfure. 
 
 This Architeft, befides the Beauty of the Orders which he 
 brought into ufe again , found out feveral fine things in Ar- 
 chit^ure, as the way of making Vaults in Plaifter , which 
 was alfo ufed by the Ancients. Vafari. Fit. del Bramante. 
 
 (c) Baldajfare Peru!^!^! of Siena, from his Youth learned 
 Defigning and Painting at Siena ; afterwards he went to 
 Rome, and painted in Frefco the great Altar of St. Humphry, 
 
 two Chappels at St. Ro(h ) afterwards Augujline Chigi 
 
 gofltraiSed 
 
1 40 The Hiflory of Fainting^ 
 
 contrafted a Frietidfliip with him , which firft induc’d him 
 to ftudy Architefture , and make him the Model of his Pa- 
 lace de Chigiy in the Street of Longare , where he painted fe- 
 veral Figures , and fine Pieces of Perfpeftive , wherein he 
 was Excellent. Julius the Second employ’d him to Paint in 
 the Vatican y and he painted feveral Fronts of Palaces at 
 RomCy after which he was fent for to Bologna to Defign the 
 Portico of St. Petr onto , and to feveral other Parts in Italy ; 
 as to Carpiy where the great Church is of his doing, as alfo 
 that of St. Nicholas y afterwards he returned to Romoy where 
 he built the Palaces, which are next that of the Farnefe's: 
 and Pope Leo the Tenth employ’d him alfo in feveral things, 
 and among the reft , to Paint fome Scenes for Comedies, 
 which were fo much the more furprizing , becaufe it was 
 Baldaffare who firft brought them into ufe ; for he was very 
 Excellent in placing Lights true in Perfpeftive. It was he 
 who continued on the great Chappel of St. Peter , which 
 Bramante had begun. But in 15:27. when Rome was facked 
 by the Spaniards , Baldaffare was fo unfortunate as to be 
 taken Prifoner , and not only loft all he had , but was very 
 ill treated: Becaufe he had a good Prefence, the Spaniards 
 took him for a Prieft in difguife; and having afterwards 
 underftood that he was a Painter, and one of thofe who 
 were efteemed by Charles de Bourbony they made him draw 
 the Portrait of that Prince after his Death , by which means 
 Balda[fare obtain’d his Liberty , and went to Siena ftrip’d 
 of all he had. After the Wars were ended he return’d to 
 Rome y where he continued to Work , and Comment on 
 Vitruvius , which he did not finifli by reafon Death pre- 
 vented him : He was buried in the Rotunda near Raphaely with 
 this Epitaph, 
 
 Balthafari Perutio Senenfiy Viro iff PiSfura , Ar^ 
 chiteHuray aliif^ue ingenionm artibus adeo excellenti , 
 ut fi Prifcorum occubuijfet temppribusy noftra ilium felir 
 cius legerent, 
 
 Vix. Ann. LV. Menfes XI. Dies XX. 
 
 LucretiXy Jo. Sahifiius optimo Conjugiy ^ Parentiy 
 non fine lacrymU Simorns , Honor iiy Claudii , <s/£milicey 
 ac Sulpitice minorum filiorumy dolentes pofuerunt. Die 4 
 Januariiy M. D. XXXVL 
 
Engrauhg, ArchiteBure, &:c. 141 
 
 Aive, before he pra^tifed ArchiteAure, and had 
 in that Art feveral Difcipks j Serlio was one 
 of the firlt , who made any Proficiency by the 
 Defigns of Balthazx,ar , for he compofed thofe 
 Books we have under the Name of Sehafiiano 
 Serlio Bolognefe. 
 
 CH.AP. XIV. 
 
 Archite^ure began to revive in the State of 
 Venice. 
 
 G ood Archltefture began to revive in the 
 Provinces of the Republick of Venice , ac- 
 cording to the true Gufto of the Ancients , for 
 there were feveral Illuftrious ArchiteAs who came 
 from Verona^ who were happy in being Born in 
 a City where there were fo many Relicks of fine 
 Architedure : For it is moft certain that the bell 
 Precepts which can be given in the Arts of De- 
 figning, are fine Examples_, whereon Youth call- 
 ing their Eyes and Thoughts with a particular 
 Inclination for Defigning , cannot but fucceed : 
 And this is an Advantage which the Italians have 
 had above other Nations^who have render’d them- 
 felves famous in Arcliitedure , Sculpture , and 
 Painting ,• infomuch , that it is not a v/onder 
 that in the lall Age they have furpafled 0- 
 thers. - . 
 
 Thole Ingenious Ferowe/e ArchitedSj wertfo- 
 csnde j Michael San Michael , and John Maria Fal- 
 conetti. Joconde wzs Called Fiyer JohnJoconde, 
 ever fince he wore the Habit of the Dominicans ; 
 
 and 
 
142 - The Hifiory of Paintingy 
 
 and though his fii’ft Talents were Learning and 
 Theology, he was notwithftanding an excellent 
 Arehite<5t, and learned in Perfoedive ,* for from 
 his Youth he exercifed himfelf in the true anci- 
 ent way of Architedure, by his Studies after the 
 Theaters, Amphitheaters,Triumphal- Arches, and 
 other Relicks of Ancient Buildings, which make 
 Verona famous. 
 
 When Joconde fet himfelf to pradife this Art , 
 he was immediately very much favoured by 
 Maximilian , who gave him Orders to rebuild at 
 Verona the Bridge , which is called the Stone- 
 Bridge, and which is very confiderable, by reafbn 
 of the Rapidity of the River, and its moving Bot- 
 tom. Joconde from his Youth had ftudied the An- 
 tiquities at Romcy and even the very Infcriptions, 
 whereof he compofed a very fine Book , which 
 was prefented to the old Duke Laurence de Medi- 
 cis. He alfo made Notes on Cafars Commenta- 
 ries, and defign’d the Defcription of the Bridge, 
 which that Emperor made over the Rhine. After 
 this Joconde was fent for from Rome by Lewis the 
 Twelfth, for whom he raifed feveral Buildings ^ 
 the moft famous were the Bridges of Notre Dame 
 at Paris, which this Prince order’d him to make, 
 on the Building whereof Sannazar , his Friend , 
 made this Epigram, 
 
 Jocundus geminum impofuit tihi Se^uana Tontem. 
 
 Hunc tu jure fotes dicere Femtifcem. 
 
 But Joconde at his return to Rome, by the Death 
 of Bramante, was 'made one of the Surveyors of 
 the Fabrick of St. Peter , with Raphael T Urhin , 
 and Anthony Sangallo. Joconde alfo made at V mice 
 fome furprizing Works , for he found out the 
 
 Invention 
 
Engravings Archite^urCs &:c. 14J 
 
 Invention of turning away part of the Waters 
 of the Brinte , that they fhould not fill the Com- 
 mon Shores of that City with Sand and Earth , 
 which that River brought down along with it , 
 and by thefe means he preferv’d Venice from the 
 Accidents which threatned it. Budam lays in 
 Honour of this Great Man, that he return’d 
 Thanks to God that he had fo good a Mailer 
 in Architedure, as Joconde^ who exceeded Vitru- 
 vius. 
 
 Michael San Michel y ftudied the Principles of 
 Archite(^lure at Verona, under his Father and 
 Uncle, who were very good Architeds ; but at 
 Sixteen Years of Age he went to Rome, and 
 there meafured the fine Ancient Buildings round 
 about it, and thereby became skilled in every 
 part of ArchiteAure , infomuch that Pope Cle- 
 ment Vllth, gave him a Penfion to go with 
 Sangalloy and Fortify the Frontiers of the Eccle- 
 liaftick State , particularly Barma and Tlacentia. 
 Afterwards he returned to Verona, whofe fine 
 Gates he made, and the Republick employ’d 
 him in the Principal Buildings of the State , in 
 the Levant , and on the Te>ra Firma , among 
 which may be reckoned the Fortrels of Lido. 
 
 Moreover, John Maria Falconetti, who was al- 
 fo of Verona, was a very famous ArchiteA : He 
 learnt Painting of his Father ,• but becaufe he 
 did not get much by it, he fet himfelf to Study 
 the Antiquities of the City • after which he went 
 to Rome and Napkf , to Survey the Buildings of 
 the Ancients , where he employ’d himfelf for 
 the fpace of twelve Years , and omitted nothing 
 in his Defigns , neither there , nor in the 
 Parts round about. But as he had not fufficient 
 Means to continue his Studies long, he employ’d 
 
 himfelf 
 
144 Htfiory of fainting^ 
 
 himfelf feme Days in the Week in Painting, 
 thereby to fupply his Neceflities. 
 
 Afterwards returning to Verona , and finding 
 there no opportunity of employing himfelf in 
 Architedure, he found himfelf obliged ro take 
 up Painting again ; but through good luck he 
 found in that City Signior Cornaro , who was a 
 great lover of Architedure, who caufed him to * 
 co'me to his Houfe^ where he dwelt twenty one 
 Years ,• he employ’d himfelf all tliis while in 
 Working_, and exercifing that Art , which 
 netti had fo much ftudied. Thus thefe three II- 
 luftrious Architeds of Verona introduced the true 
 Gufto and Way of Building into the Venetian 
 State. 
 
 This true and regular Way of Building was 
 continued there^ and even augmented by James 
 Sanfo'vino^ a Florentine, who embellifh’d Venice with 
 the greateft and moft regular Buildings that are 
 there to be feen. 
 
 The famous Sanfovino began from his Youth 
 to ftudy Defigning and Sculpture at Florence , 
 which he very fuccefsfully pradifed ^ he enter- 
 tain’d a great Refped for Andrew del Sarto , an 
 Excellent Painter. After this he went to Rome, 
 where he got acquainted with Raphael and Bra~ 
 mante, who did him Juftice in their Recommen- 
 dations of his Skill to Leo the Tenth. 
 
 The French , and the Spaniards, and the Ger- 
 mans, had at that time great Inclinations to build 
 themfelves National Churches at Rome. The 
 Florentines alfo obtain’d the fame favour from the 
 Pope. 
 
 The Florentines caufed feveral Models to be 
 made by Raphael , Baldajfare , Anthony Sangallo , 
 and Sanfovino. It was the Defign of this laft 
 
 that 
 
Engravings ArchiteSiurej &c. 
 
 that they chofe : And Sanfovino began to build the 
 Church of St. John for the Florentines according 
 to the Model he had made of it. But this builct 
 ing was difcontiuned during the Popedom of A- 
 drian the VlfA, a Fleming by his Countrey^ who 
 had no alFedtion nor guft for the Arts of Defign- 
 ing: Infomuch, that if he had reigned long thefe 
 Arts would have infallibly funk into their old ob- 
 fcurity , at leaft at Rome. 
 
 Clement the Vllt^ fucceeded him, and prevent- 
 ed this misfortune ,* for he fet to Work all the In- 
 genious in thefe Arts : And James Sanfovino con- 
 tinued by thefe means the Fabrick of the Church 
 of the Florentines dll the Year I5'i7, wherein 
 the Army of Charles theVthhQfiegeaRomes which 
 chafed away from that City a great Number of 
 excellent Men. Sanfovino (a) retired to FemVe to 
 go thence to France into the Service of Francsit 
 the \fi who very much defired him. 
 
 ’ But being arrived at Venice with a deflgn to 
 get fomething there , becaufe he had loft all his 
 Goods at the pillaging of Rome ^ his Merit was 
 reprefented to the Doge Gritti^ and that he could 
 prevent the Ruine which threatned the Dome of 
 St. Mark. Immediately by the Order of the 
 Doge Sanfovino undertook it, and by the help of 
 feme pieces of Timber and Iron-bands which he 
 
 (a) ^ames Sanfovino died at Venice at the Age of 78 Years j 
 he brought up feveral Difciples at Florence and at Venice , w ho 
 were Nicholas ^ called il Triboloy who wrought in the Abby of 
 Mount Cajfiriy ^erom de Ferrardy who wrought much at Loretta 
 and Venice, Janies Colonn a learn’d alfo Sculpture of Sanfovino^ 
 and died at Bologna , Titian da Padua , Peter de Salo , ^ames 
 Alexander Vittoria of Trente , Thomas de Lugan y ^ames Brejfan y 
 Bartholomew Amannatti and Vanefe Catanee who w'ere all good 
 Sculptors and Architefts, 
 
 L invented , 
 
I 77;^ Uiflory of Tainting^ 
 
 invented, he fet this great Work out of danger. 
 This gain’d him fo much Reputation that the 
 Super-intendency of the Works of the Dukedom, 
 which became vacant , was given him. 
 
 The firft Work which he made for the Repub- 
 lick was Zecca, which is the Chamber for the 
 Money, or Treafury, with a great deal of beauty 
 and advantage : Afterwards he was employ’d 
 about the Fortifications of the Venetian State. Af- 
 terwards he built the new Archite<fture that em- 
 bellilbes the Palace of St. Mark. He made allb 
 feveral W orks of Brafs and Marble in the Church j 
 and confidering all the fine Structures wherewith 
 he enrich’d Venice^ we may fay of him that he ad- 
 vanced Architecture in that City to its higheft 
 Perfection. 
 
 CHAP. XV. 
 
 Michael Angelo tnaefe Archite^ure^ Sculpture^ 
 and the true Way of Defigning fiourtfh at 
 Rome. 
 
 T H E great Michael Angelo Buonaruoti, had the 
 fame Honour at Florence and Rome as San- 
 fovino at Venice: For he Ibewed his Capacity in 
 Architecture in thofe two Cities, and in the laft 
 Age advanced that Art to its higheft Perfection. 
 The reafon of this is very evident and no ways 
 furprizing , for being the greateft Defigner of his 
 Time he became alio the greateft Architect, 
 when he apply’d his Time wholly to it as he did 
 during his laft Years, 
 
 Michael 
 
Engraving^ ArchiteBure^ &:c. 147 
 
 Michael Angelo was born at Florence in 1474, with 
 a natural Inclination for Defigning ,• for although 
 in his Y outh he was brought u£ to Learning^ not- 
 withftanding he bufied himfelt always in private 
 about Defigning : And as his Father law that he 
 had a very great Inclination for Painting , he put 
 him to Dominick Ghirlandaio\ for him to inftruc^t 
 him therein; and in a little time Michael Angela 
 diftinguilb’d himfelf from other Difclples , by the 
 furprizing Facility wherewith he defigned : This 
 great Genius was very fortunately favoured by 
 Prince Laurence de Medicis ^ by reafon of the great 
 Paffion this Prince had to affift the Revival of the 
 Arts , by affifting Men skilled and learned therein* 
 This generous Temper made him eftablifh in the 
 Gallery of his Gardens an Academy which he 
 fill’d with fine Pidlures and Pieces of Sculpture 
 both Ancient and Modern. Afterwards he 
 caufed to be fought out at Florence thofe Young 
 Defigners who promifed moft^ to whom he al- 
 low’d Penfions to promote the conveniency of 
 their Studies. Thole of the School of Ghirlandaio 
 were chofen the firft , and particularly Michael 
 Angelo y who had fo lively a Genius for all the 
 Parts of Defigning , that one day having taken 
 up a piece of Marble he fet about making a 
 Head , tho’ as yet he had never handled a Chifel j 
 which fo much fui-prized Prince Laurence y that 
 he conceived fo great an Affedlion for Michael An- 
 gelo y that befides the Penfion he allow’d him , 
 he did him the Honour to admit him to his own 
 Table j and gave him a Lodging in his Palace* 
 After the Death of this Prince, his SuccelTor Peter 
 de. Medicis , continued to Michael Angelo the lame 
 AfFediion he had been favoured with by the Great 
 Duke his Father. 
 
 L A SignoY 
 
148 The Hiflory of Tainthg^ 
 
 Signor Soderini Gonfaloniere of the fame Repub- 
 lickj had no lefs efteem for this ingenious Man 
 than thefe two Princes,* and about the fame time 
 Michael Angelo made a Cupd of Marble which 
 was fent to Rome , and hidden under Ground , 
 to pretend that it was an Ancient one: It was af- 
 terwards dug up and fold for fuch to Cardinal 
 St. George , and this Cupid palTed for one of the 
 moft rare and fine Pieces of Antiquity. Hereby 
 this famous Sculptor acquired a great Reputation 
 at Rome ,* whither he went for the fiifl time : He 
 continued Sculpture there with a great Applica- 
 tion, and made a Bacchus of Marble with feveral 
 other admirable Statues. At his return to Flo- 
 rence he apply’d himfelf with the fame diligence 
 to that fine Art, and made a Marble David ^ which 
 was fet up before the Palace. Refer Soderini , and 
 all the Citizens were fo charmed with this Piece , 
 that they obliged this famous Defigner to make 
 fome more of them , fome in Brafs and others in 
 Painting. Then Gonfaloniere ordered him to Paint 
 one half of the Council Hall , and Leonardo da 
 Vinci the other. 
 
 It was here that Michael Angelo made a Piece to 
 Parallel that of Leonardo da Vinci which was fo fa- 
 mous. Michael Angelo in this Work gave proofs of 
 the Excellence of his Defigning, both in refpeA 
 of the compofition of the SubjeA, which was the 
 War of Rifa^ and in his corredneft in naked Fi- 
 gures : And to have an opportunity of fhewingit 
 the better , he chofe the time when feveral of the 
 Soldiers ufed to bath themfelves in the River Ar- 
 no, to introduce into his Defigning naked Fi- 
 gures , in whichhe was Excellent,* it was thisfa- 
 mous Piece that gave Raphael and feveral others 
 an infight to the Perfe<Jtipn of Defigning. 
 
Engraving, ArchiteBun, &c. 149 
 
 Julius the lid being raifed to the Papal Chair 
 fent for Michal Angelo to Rome , refolving to en- 
 gage him to make him a Maufokum in St. Peters ad 
 •vincula. Here is to be feen that fine Figure of Mo- 
 y^jandleveral others, and the excellent Archite- 
 <3;ure , which joined together make this fine Se- 
 pulcher. This great Defign was not executed 
 according to the largenefs of its firft Model, 
 but was reduced to what it is , whence Frame has 
 the Honour of two Statues of Marble wliich 
 were to be placed on each fide of the Sepulcher, 
 and which are at prefent in the Caftle or Riche- 
 lieu. 
 
 The working of this Maufokum was for a long 
 time interrupted, becaufe the Pope fet Michael 
 Angelo to Paint in Frefco the arched Ceiling of the 
 Ghappel of Sixtus thelVr^, which fo much raifed 
 his Reputation , that befides the general Applaufe 
 he received at Rome, he received confiderablePre- 
 fents from Pope JuUm : He deferved both the one 
 and the other ; for he alone painted that Vault af- 
 ter fo adipirable a way, that the famous Car aches, 
 who cam^ after him, took thence their magnifi- 
 cent Ideas m the Painting of the Palace of Fame ft 
 at Rome. Julius the being dead, Leo the 
 his SuccelTor horroured Michael Angelo no lefs than 
 he had done , for he employ’d him in the Archi- 
 tecture of the Front of St. Laurence at Florence , 
 and his Model gained more Efteem than any 
 other. . 
 
 After this in the Popedom of Clement the 
 he made in the Veftry of the fame Church, the 
 Sepulcher of the Houfe of Medias, and that Sc- 
 
 E ulcher even till this time has paffed for a wonder 
 Qth of Architecture and Sculpture. 
 
 L 3 
 
 This 
 
150 The Tliflory of Painting, 
 
 This excellent Perfon moreover Ihewed that he 
 was Ignorant in nothing in all the ArtsofDefign- 
 ing ,* for he alfo fortified the Mount St. Miniate 
 at Florence , and thereby hindered their Enemies 
 from becoming Matters of it. 
 
 But when the Wars of Italy in 15:^5 obliged 
 feveral ingenious Artitts to leave Rome and Florence, 
 Michael Angelo was one of that Number, and Went 
 to Venice, where the Doge Gritti, to whom he had 
 the honour to be known, caufed him to make the 
 Defign of the Bridge of Realto, which is one 
 of the Matterpieces of Architedure. He painted 
 in that City lome Pidures, and among others 
 that of Leda, which he gave to the Duke of Fer- 
 rara , who lent it to Francis the I/?. 
 
 The Wars of Italy being ended, Michael Angelo 
 returned to Rome , and there finilhed the Sepul- 
 cher of Julius the II^, after which he painted 
 by order of Pope Raul the IIIi^ the great Front of 
 the Altar , whereon he reprefented the latt Judg- 
 ment , and it was this only which was not finilhed 
 of all the Paintings of this Chappel. The Fame 
 of this great Work in Frefco, which is all over 
 the World, fufficiently denotes its Excellence. 
 
 Michael Angelo in his old Age apply ’d himfelf 
 more to Architedure than Painting and Sculpture^ 
 J)ecaufe after the death of Antony SangAlo Archi- 
 tect:, the Pope preferr’d Michael Angelo to any 
 other, and made him chief Architect of the Fa- 
 brick of St, Refer, and of the Apottolick Cham- 
 ber , although he would have excufed himfelf 
 from it, 
 
 Flaving accepted this Charge he went to St. Re- 
 tefs, to {teethe Model of Sangallo, to finilh what 
 remain’d to be built of that great Church , and 
 after having examined it, he publickly declared 
 
 tbfit 
 
Et^graving^ ArchiteFlure^ &:g. 151 
 
 that that ArchiteA had made the Model of it with- 
 out any Art, becaufe without fide he had made too 
 many Pillars, one upon another , andunnceffary 
 Spires, and too many fmall Branchings and little 
 Members , which are quite contrary to gooci 
 Architecture ,* lafily , that this Model was of a 
 Gufto rather Barbarous than Ancient; Befidcs th.is 
 helliew’d that the execution or performance of it 
 would coft a Million more than one that he would 
 make. 
 
 Michael Angelo caufed another Model to be 
 made in fifteen days time which coft only five 
 hundred Crowns, whereas that of Sangallo coft 
 four thoufand , and feveral Years work ,• fo that 
 at laft this great Church was finilhed according to 
 the Defign of Michael Angelo in the beauty 
 we fee it now , excepting the Front, which 
 is not his, nor fo well done as the Architecture 
 of the outermoft Tower and the back Part of that 
 Church. While Michael Angelo carried on this 
 Building, he alfo made feveral others which make 
 part of the beauty of Rome : Such as the Palace 
 of Farnefe y and the Capitol, which excite the 
 Admiration both of Archite<fts and other Ingeni- 
 ous Men. 
 
 The fine Pieces of ( ^ ) Michael Angelo \n Paint- 
 ing and Sculpture and Architecture , and his other 
 good Qualities had gain’d him fuch an Efteem 
 
 ( /T ) Michael Angelo died at Ronie the 1 7 tb February 156^4 : 
 He was almcft ninety Years of Age. This great Man, befides 
 the AfFeftion of feven Popes whom he fened , gained a very 
 great Reputation with Solymayi^ Emperor of the Turlies , with 
 Francis the I/J, Charles the Vih^ the Republick of Cenice , and 
 all the Princes of Italy , particiilarly with the great Duke of 
 Tttfcany , who reigned at the fame time this illuftrious Defigi> 
 et died : for when his Body was in the Church of Sunefo Ayar- 
 
 L 4 Jfd^Q ^ 
 
1 5'^ The Hijiory of Tainting, 
 
 flolo , and the Pope was about to fet up a fine Sepulcher for 
 him : This great Duke caufed his Body to be privately fetch’d 
 away to bury it in his Capital City ; and lince he was not fo 
 happy as to have him alive^he was refolved to have him dead 5 
 And performed his Funeral obfequies with all imaginable 
 Pomp and Splendor. This Pomp was celebrated in the Church 
 of St. Crofs at Flounce , attended by all the Gentlemen of the 
 Academy of Defign ; who , on that occafion gave fufficient 
 Teftimony of the Efteem they had for this their Mafter, by the 
 maenificent Reprefentation , which the Italians call Catafalco^ 
 and adorning the whole Church with Painting and Sculpture 
 and Lights. A Fanegyricli was there pronounced over him by 
 Mejfr. Benedetto Varchi , and on the Reprefentation was to be 
 read this EPITAPH 3 
 
 Collegium Pilforum y Statuariorum ^ ArchiteBofum ^ aufpicio 
 epefy fibi prompt a Cofmi BucUy auBoris fuorum commodorumy fufpi-^ 
 dens fingularem virtutem Michaelk Angeli Bonarota ; intelligenfqy 
 quanto fibi auxilio femper fuerint pr cedar a ipfius operay Jiuduit fe 
 gratum erga ilium ofiendere , fummum omnium qui unquam fuerint , 
 P. S. A. ideoque monumentum hoc [uis manibus extruBum, magno 
 animi ardorey ipfius memoriae dedicavit. 
 
 After thefe fumptuous Obfequies , the Great Duke order’d 
 an honourable Place in this Church to build the Tomb of 
 Michael Angelo according to the Defign of George Vafari ; 
 It is inrich’d with three great Marble Figures, reprefen ting 
 Painting , Sculpture and Architefture , which were made by 
 Baptifta Loren^y and Giovanni deW operay zxA Valerio Cioliy all 
 three ingenious Florentine Sculpto^rs. ' 
 
 with the Popes whom he had the Honour to fervg ; 
 that Julim the Illd ufed to make him fit by him 
 and talk with him concerning the Arts of' De- 
 figning: And oftentime? this Pope would take 
 his Part againft thofe who criticiz’d upon him. 
 By all thefe Honours which Michael Angelo recei- 
 ved, and the univerfal Applaufe that was given 
 to all his Works,” we may conclude that it was 
 this famous Defigner, who_, in that Age advanced 
 Sculpture and ArchiteAure with the true Way of 
 Pefigning to the higheft degree of Perfedion that 
 ever they arrived to , at Rome and Florence. 
 
 CHAP. 
 
Engraving, Archite^ure, &c. i5'3 
 
 CHAP. XVI. 
 
 Several Difciples of Michael Angelo, and 
 Raphael, continued the Excellency of Paint- 
 ing and Architecture at Rome. 
 
 I N the time of Michael Angelo there was at 
 Kome Sebafiian ( ) the Venetian , afterwards 
 
 call’d Frate del Piomho. He had learnt of John 
 Beilin at Venice the Principles of Painting, and of 
 Georgeone his fecond Mafter the true Way of Co- 
 louring. This fine Way of Colouring gain’d him 
 the Friendfhip of Michael Angelo, when Sebafiian 
 came to Rome - Michael Angelo thought that this 
 his grand Manner of Defigning join’d with that 
 of Colouring, would excel the Pieces of Raphael 
 d' Urbin , but it did not fucceed. 
 
 But the favour and protection which Sebafiian 
 received ixom Michael Angelo xx\2lAq him Prefer him 
 to Baptifia Franco , to Ferin del Vago , to Baldafiar 
 Ferruz,z>i and other Difciples of Raphael. 
 
 (a) Sebafiian the Venetian was furnamed Frate del Piombo , 
 which is a Charge of the Apoftolick Chamber , M'hich he ob- 
 tain’d of the Pope on condition to pay a Penfion to ^ohn 
 d’ Udine,who had beenaffiftant to him in obtaining that Office. 
 This afforded means to Sebafiian to live without hisProfeffion, 
 and made him almoft leave off Painting. He had a fecret Com- 
 pofition which he made of Lime mixed with Maftick and 
 Grecian Pitch melted down together , and laying that mix- 
 ture on the Walls, mixed with flack Lime that had been heat- 
 ed red hot in the Fire, prevents Painting in Oyl on the Walls 
 from growing Black, and being fpoiled by the Wet : He died 
 in ijr^y. Vitfiti V. di Fra. s. Feni, 
 
 But 
 
The Hijiory of Paintings 
 
 But thefe ingenious Difciples, tho’ they did 
 not equal him, yet they, had Qualities which 
 made them always efteemed, and they very much 
 contributed to the perfection of the Arts of De- 
 igning , as did alfo John d’ Udine who had been 
 one of them , who Painted all the Animals, the 
 Flowers and Fruits which are in the Works of 
 
 John had alfo a great Genius at inventing 
 thofe forts of Ornaments, which are calle<l Gro- 
 tefque. This is to be feen by thofe he painted in 
 the / Rooms in the Vatican , and by the excel- 
 lent Defigns for Tapiftry, which he made of 
 that fort of Work , although it is agreed that it 
 might have been done after the ancient Plafter, 
 as fome was which was found about that time in 
 the Rooms in the Gardens of Titm , and thofe 
 which were ftill remaining in the Temple of 
 Peace , and in the City Adriana , and other anci- 
 ent Buildings. Notwithftanding all the Defigns 
 which were made by John d' Udine (h) are fo 
 
 ( 6 ) ^obn d' Udine died at Rme in and was buried 
 
 in the round Church near Raphael d' Urbin his Matter. 
 
 To the fame City of Udine, and that of we are obliged 
 
 for a great Number of good Painters , as Pellegrino and ^ohn 
 Martin d' Udine who were Difciples of ^ohn Beilin : Pellegrino 
 was the mott Ingenious and very much beloved by the Dukes 
 of Perrara ; he brought up feveral Difciples. But the mott 
 Famous of the Painters of this Province was ^ohn Antony hi~ 
 cinio born at Pordenone, a Village dittant from Udina twenty 
 five Miles ; he had no other inttruClor than Nature, which he 
 imitated from his Youth ; he very much praClifed Painting in 
 Frefco in the neighbouring Villages : Afterwards he went to 
 Udina where he painted leveral Pieces in Oyl and in Frefco, as 
 as alfo at Venice and Genoua. He was commonly called Porde- 
 none. The way of Georgeone pleafed him better than any other. 
 He died in if 40, aged fifty fix Ridolf W. de Pitt. Veneti. 
 
 fine 
 
 Raphael. 
 
 This 
 
Engravings Architectures &c. 15 j 
 
 fine that it is queftioned whether thofe of the 
 Ancients were more Excellent ,• for this John was 
 not only an excellent Painter, but alfo a very in- 
 genious Sculptor and worker in Plaifter , as is ap- 
 parent in the fmall Figures of that fort of work 
 which he has mixed among the Ornaments of the 
 Apartments of the Vatican, infomuch that he 
 deferves to be efteemed as the Reviver of Stucco- 
 Work for the perfection to which he carri’d it : 
 For it was he, who by a through examination of 
 the Materials whereof the ancient Plafter was 
 compoled, found that it was made of Lime mixed 
 with Powder of Marble , to give it duration and 
 make it receive a fine Polifli and Shining , as Pla- 
 fter will have when it is worked with care. 
 
 John Franca liirnamed 1/ Eattore of Florence was 
 a Difciple of Raphael with Julio Romano • and 
 may be juftly confidered as a Difciple of fo wor- 
 thy a Mafter , for after the death of that famous 
 Painter , they jointly finifhed, he and Julio , the 
 great Hall of the Vatican, where they painted 
 the Hiftories of Confiantine. 
 
 Rerrin (c) del Vago a Florentines and his Brother- 
 In-Law, were alfo DifcipleS of Raphael j for Rer~ 
 ■rin being at Rome where he then ftudied Antiqui- 
 ties , John d’ Udine propofed to Raphael to work 
 in Platter ^ and on Painting the Rooms of the 
 Vatican which were then doing, and he painted 
 feveral of them with Hiftories out of the Old 
 Teftament which were very well done. He af- 
 terwards made at Romcy after the death of Raphael 
 
 (c) Perrin del Vigo M'as alfo buried in the round Church 
 ^ r 47, at the Age of forty feven ; the Principal Dilcipies of 
 Perrin were ^erom Siciolame de Sernionette and Marcellui Man- 
 WMh 
 
 feme 
 
1 56 The Hiflory of Painting' 
 
 fome fine Pieces in Frefco, at the Church of the 
 Trinity on the Hill, at St. MarceUm , and feveral 
 other Churches. 
 
 But the moft confiderable Piece of Verrm del 
 Vago^ was the Palace which Prince Doria caufed 
 him to build at Genoua^ after a Model of this fa- 
 mous Painter’s, wherein he alfo did the Painting 
 and the Plafter work, which ftill render that 
 Building the fineft and moft confiderable in all 
 that City. 
 
 CHAP. XVII. 
 
 At Florence the true Way of Sculpture and 
 Painting was continued hy fome ingenious 
 Men. 
 
 B ag CIO (a) BandineUi although he died be- 
 fore Michael Angelo, may notwithftanding 
 be accounted one who imitated his Manner : For 
 after he had learn’d the Trade of a Goldfmithat 
 
 ( rf ) Biccio was born in i487jand died at feventy two years 
 of Age: He is accufed of having taken to pieces the fine Paint- 
 ings of Leonardo da Vinci and Michael Angelo^ which they had 
 done in the Council Hall, whither all tl^eDillgnersof Florence 
 went afterwards to Study , and that out of Envy to Michael 
 Angelo. 
 
 Among the reft who ftudied this fine Piece of Michael An- 
 gelo , Sebaftian called Arifiotle of St. Gal drew it in little, and 
 kept it very carefully, efpecially fince the Original was ruined. 
 Afterwards in i J40 at the perfwafion of Vasari his Friend , 
 he painted it in Oyl in two Colours only 5 Giovo fent this 
 Pidture into Lrance to King Francif. 
 
 Florence , 
 
Engravings ArchiteBure, &c. 157 
 
 Florence s he very eagerly ftudied Defigning, and 
 elpecially that famous Piece of Michael Angelo 
 which was in the Council Hall , fo that he had 
 the Advantage of acquiring a correct Way of De- 
 igning, to which he joined the Study ot Anato- 
 my. Baccio gave proof of his Skill by his Works, 
 and by fome Stamps he caufed to be engraved by 
 Augufiin Venetianus. He alfo pradtifed Sculpture 
 with a great deal of Applaufe,* for on account of 
 that, and a fine Print of the Martyrdom of St. Lau-^ 
 renccy which he procured Mark Antony to Engrave, 
 Pope Clement the With honour’d him with the 
 Order of Knigthood of St. Teter. His chfefWorks 
 in Marble were , the great Figure of Hercules with 
 CacttSy which is in the Square of the Palace of Flor 
 rence : He made this Piece to accompany that of 
 Michael Angeloy aijd that of Benvenuto Cellini which 
 flood in the fame Square. The Piece of Adam 
 and Eve , which is at the Altar in the Cathedral 
 of Florence , is one of his befl and moft confide- 
 rable Works. 
 
 Benvenuto Cellini was a Perfonof particular Me- 
 rit, he was an excellent Goldfmith, and com- 
 pofed a Book which treats of that Art, and 
 the way of calling Figures in Brals. He came 
 into France to ferve Franck the ly?, for whom he 
 made feveral Pieces in that Metal : And he had a 
 peculiar Excellence in engraving Coins for Me- 
 dals and Money. 
 
 We ought to place among the Illuflrious Tufcans 
 of that time Daniel da (^b') Volt err a y equally Ex- 
 cellent in Painting, Sculpture and Architedure^ 
 he learnt of BaldaJJ’are Perruz,z,i , afterwards he 
 
 ( t ) Daniel tla Volterra died at fifty feven Years of Age. 
 
 was 
 
ijS "Tht liiflory of Vainting^ 
 
 was employ’d under del Vaga in the Church of 
 
 Trinity del Monte : And there built the fine Chap- 
 pel of St. He/ew inthat Church, and painted over 
 againft it anotljer juft like it. 
 
 The Pi<ftures in Frefco which he there made 
 cannot be enough admired , chiefly that of the 
 Defcent from the Croft of our Saviour, the 
 Beauty whereof is fufficiently known throughout 
 the World, by reafon of the great Number of 
 Copies of it which are to be feen throughout all 
 'Europe. The Excellence of this Picfture appears 
 in the Compofition, lively Expreflion and cor- 
 re<ftneft of Defign , and the excellency of the 
 Painting. One of his beft Pieces of Sculpture 
 is the Brazen Horfe in the Royal Square at 
 Taris. 
 
 Robert Strozzi had Gommiffion from Queen Ka^ 
 tbarine de Medicis to procure Michael Angelo to make 
 it, but he excufed himfelf by reafon of his great 
 Age , and advifed this Lord to get Daniel da Vol- 
 terra to do it, who accordingly undertook it j but 
 he was fo unfortunate as to mift the firft Call , but 
 the fecond time he lucceeded. But Death pre- 
 vented him before he had finilhed the Statue of 
 Henry the Md ^ who was to be fet on the Horfe. 
 Thus this Work remain’d imperfed; by the Death 
 of Daniel da Volterra^ and a long time after under 
 Tewts the XIIM it was carried away from Rome , 
 and the Figure of that King fet up in its room, 
 as we fee it at this day in the Royal Square. 
 
 There 
 
Engravings Archite^urCs &c. 
 
 There were other famous Tufcan Painters 
 (^d') appear’d at Florence , at the lame time as 
 niel da Volt err a at Romes among whom were Ja- 
 cob da Puntormoy Francis Bronzin his Difciple , 
 
 and Salviati. Pmtormo began under Leonardo 
 da Vincis lyiz he continued to perfec^l 
 
 himfelf with Andrew del Sarto. 
 
 Bronzdn was in nothing Inferiour to him, and 
 thei]e are to be feen of his Hand fome Pidures ex- 
 cellently well done. 
 
 Salviati (/) learnt Defigning in the School 
 of Baccio Bandinelli , and Painting of Andrew del 
 Sarto. After having work’d for fome time at Flo- 
 rence and at Romes he came in the Year i 
 France , where he was very well received, by Pri- 
 maticcio then chief Painter and Archited to the 
 King • but as loon as Salviati law the Works 
 of Rojfos who had been chief Painter to the 
 King and thofe of other Painters , he afFe<9:ed 
 to find Faults in them , which raifed great Ex- 
 pectations of what he would do : He was em- 
 ploied by the Cardinal de Lorrain to Paint in his 
 Caftle of Damfterre , but not being pleafed in 
 France he returned to his own Country. 
 
 (d) Dominicii Beccafumi of Siena was alfo one of the bed 
 Painters of Tufcany.^ He had a natural Inclination for Defign- 
 ing, which made him often of his own acccord Defign on the 
 Sand as he kept his Flocks. Afterwards he fludied at Siena 
 the Works of Peter Perngin , and after that at Rome he ftu- 
 died thofe of Michael Angelo and Raphael then he went to 
 dwell at Siena, where he did feveral Pieces of Painting in the 
 Church of the Dome and in other Places which were very 
 much efteemed. His Afliftant at Siena was Sodoma , who 
 gain’d a very good Reputation. Beccafumi died in i j’49, at 
 fixty five Years of Age. 
 
 ( e ) ^ames da Puntormo -Wishorn in 1 433, and lived rry Years; 
 Bronyn learnt of him , and may pafs for his Difciple. 
 
 ( f) Franck Salviati was born in if to, and died at Rome 
 in if63. CHAP. 
 
i6o The Hifiory of Faintingy 
 
 CHAP. XVIII. 
 
 The Cities <?/ Ferrara, and others 0 / Lombardy 
 and Urbin, furnijh'd the World with feveral 
 good Painters. 
 
 LORENCE was not the only City of Italy^ 
 X' which bred Excellent Painters : for Ferrara 
 had feveral, Dojfo and Bapifia his Brother were 
 very ingenious. Dojfo was very much extolled by 
 the famous Ariojlo , and cherifhed till his Death 
 by the Generous Prince Alyhonfm of Ferrara. 
 
 Alyhonfus Lombardi , an Excellent Sculptor , 
 was alfo Born in the fame City ; he made feveral 
 Portraits, witnefs that which he made at Bologna^ 
 of the Emperor Charles the V. whereby he gain’d 
 very great Applaufe, with an honourable Recom- 
 pence from that Prince. 
 
 But one of the beft Painters of Ferrara y was 
 Ben-venuto Garofalo (a)y he began to learn Painting 
 
 {a) Benvenuto Gmfdo was Born at Ferrara, in 1481. Be- 
 Cdes Raphael, who was his Friend, he alfo contracted 
 Friendfliip with Georgeone , Titian , and ^ulio Romano he 
 grew Blind towards the latter end of his Life, and continued 
 fo for nine Years ; he died in ijfo. at Seventy eight Years 
 of Age; one of his beft Pupils was ^erom de Carpi, who went 
 to Copy the fine Pieces of Correggio at Modena, and at Parma ; 
 afterwards he work’d at Bologna and Ferrara , where he 
 made a large Venus with Cupids, which the Duke fent to 
 King Francis ; this Pifture is very much praifed by Vafari-, he 
 dy’d in the Year i yy Years of Age. 
 
 There was alfo of Ferrara, ^erom a Sculptor; he work’d 
 lince Andrew Contucci, his Mafter, feveral pieces in Marble 
 in the Church of Loretta, where he was employed twenty fix 
 years without any Interruption. 
 
 Ferrara 
 
Engraving^ ArchiteBure^ &c. x6t 
 
 Ferrara and Cremona , and at Alantua under 
 Corta Ferrara. At nineteen Years of Age he went 
 to Rome for fifteen Months_, then he return’d to 
 Mantua , and thence to Rome again ^ where the 
 Works of Raphael, Michael Angelo’ s grand Gu- 
 
 fto of Defigning charmed him fo much , that he 
 repented he had fpent his Youth in (tudying the 
 Lombard Manner. 
 
 This made him refolve to leave them, and 
 become a Difciple and Imitator of Raphael , du- 
 ring the fpace of two Years, becaufe he found 
 himfelf very much in favour with that great 
 Marr , whom he very unwillingly left for fome 
 Affairs of his Family , which obliged him to 
 dwell at Ferrara. 
 
 Benvenuto Garofalo was there very much efteem- 
 ed by the Duke, and the principal Perfonages 
 of that City , for whom he painted feverai 
 Pieces, in the Churches, and in particular Houfes,* 
 his Works were very beautiful, by reafon he fol- 
 lowed very good and juft Principles, which he 
 received from Raphael, and took particular care to 
 joyn thereunto the Imitation of the beft Nature. 
 
 The State of Urbln continued to yield ingeni- 
 ous Men ,' and the Dukes of Urbin, like them cf 
 Ferrara, of Mantua, and of Florence, contributed 
 to the revival of the Arts of Defigning. For Je- 
 rom Genga , an Excellent Painter , was in great 
 favour with thefe Dukes. He had ftudied under 
 Feter Ferugtno with Raphael Urbin , his Illuftrious 
 Countryman j he pradifed alio Architedure, and 
 the Duke Guido-baldo employ’d him to build, and 
 paint his Palaces of Urbin and P/y^ro,and to iortiiy 
 this laft Cjity .Bartholomew ,t\iQ Son of Genga, ai- 
 fo an Archited and Engineer,as well as his Father. 
 
 From this State of Urbin came thofe famous 
 Brethren , Faddeus and Frederick Zucchero , and 
 
 M the 
 
i6% The H'tflory of Tainting^ 
 
 the celebrated Baroche : Taddeus (h) learnt the 
 Principles of Painting in the City of St. Angelo 
 in Vadoy which was his own Country • but as 
 his Mafters were but ordinary Painters , he re- 
 folved at fourteen Years of Age to go to Rome ^ 
 there to ftudy this Art • where having nothing 
 to live upon, he was obliged to work for Pidure- 
 fellers, 'and when he had got fome Money , he 
 employ’d himfelf in Defigning,and particularly to 
 Imitate and Copy the Works of Raphael , which 
 he chiefly ftudied ,• by thefe means he became ve- 
 ry Excellent, which may be feen in his fine Works 
 which he has painted in the Caftle of Caprarola^ 
 and the Church of Trinity on the Hill, at Rome. 
 
 His (c) Brother Frederick followed the lame 
 way of Painting j for he finilb’d the Pidures 
 which Taddeus had begun , and at his Death left 
 Imperfed , and was in nothing inferior to him. 
 
 Bhilip the II. fent for him into Spain, where 
 fie was well receiv’d by that Prince , who em- 
 ploy’d him to work in the Efcurial (d) : At 
 his return to Rome he began the Academy of 
 
 (B) Taideui Zucehero Born in the Year dy’d in is66, 
 fo that he lived but 37 Years. 
 
 (c) Frederick Zucehero bequeath’d his Goods to the Academy 
 of St. Luke-, Vite de' Phtori del C.Baglione, p. 114. He allb made 
 Models very well, and was a good Architeft, which made 
 him to be fo much the more confidered by thole great Men 
 w hom he ferved. He publilhed a Book, Pe I' Idea de' Pittori, 
 Sculcori O' Architetti del Cavaliero Ffederico Zucehero^ divifa in 
 duo lobri. In Torino 1607, 
 
 { d-) Frederick Zucehero was not the only Perfon who em- 
 bellilhed the Efcurial by his Painting ; for Pellegrino Tibaldi 
 wrought feveral Pieces in the Cloyfter and the Library. He 
 was born at Bologna in the Year lyii. His Father was of 
 Valjada a Country of the Milanefe. Pellegrino after he had 
 learnt Deligning , and Painting at Bologna , lived at Kome in 
 If 47 , where he ftudied for fome Years the fineft Ways of 
 Paint ing , and work’d for Perin del fago ; he painted in that 
 City leverai pieces , and among the reft a Chappel in the 
 
 Church 
 
Bngraving^ Arch'iteBure^ &C. 16% 
 
 Church of St. Lewis : Afterwards he returned to Bclogndy 
 where he made leveral Pift tires , as he did alfo at Loretto , at 
 Jncom, znAeit Milan, where he was made chief Engineer of the 
 State , and Architeft of the great Church. Philip the Ud. 
 being made acquainted with the Merit of Pellegrino , ient for 
 him into Spain , to Paint the Efcurial , where he had a re- 
 ward of one hundred thoufand Crowns, with the Title of 
 Marquis de Falfada ; afterwards he continued to pradiie Paint- 
 ing at Milan, where he died at feventy Years of Age in the be- 
 ginning of the Popedom of Clement the Vlllt/p : His Works 
 in the Efcurial are defcribed at large in the Life of the Boloni- 
 An Painters by iMvafia : He had a Son call’d Dominick Tibaldi 
 who pradlifed Painting at Bologna,\vho was alfo a goodSculptor 
 and Architedl. Auguftin earache was one of his Difciples. 
 
 Defignlng Luke , which was creeled 
 
 by a Brief of Pope Gregory the Xlllr^. He was 
 chofe the firft Protedlor of that Acadeniyj by all 
 the Painters, with a general Applaufe, for he 
 was univerfally beloved not only by them , but 
 by all Perfoiis of Learning for his extraordinary 
 Qualities ,• he had fo great an Affection for them 
 that he left them all his Goods. 
 
 In the City of Urbin was born the famous Fre^ 
 derick Baroche ( / ), who,as alfo the Zuccheris^WQnt 
 to Study it Rome the Art of true Defigning by the 
 Works of Raphael; he alfo imitated in his Pidlures 
 the manner of .Correggio, nearer than any other. 
 It was this which made his Works compleat and 
 very agreeable , and he took a great deal of care 
 in the making of them: Infomuch, that it might 
 have been wifh’d he had been more healthful , and 
 had fettled at Rome. He might have kept up to-^ 
 wards the end of the laft Age the excellency of 
 
 ( e ) Raphael gave to the Society of St. Lul^e the Pifrure he 
 had made of that Saint, as alfo that of the Bicffed Virgin? 
 Which he painted a long time before that Academy was eredted^ 
 ( f ) Prederkli Barochs wzsitorn in is'iS, and died in 
 after having lived eighty four Years. 
 
 Bamhe brought up Fannins^ who followed his Way. 
 
 M a V Painting, 
 
 V 
 
1 6.4 The Hiftory of Painting^ 
 
 Pd intingj which was not maintain’d at thatheighth, 
 that Raphael Correggio and Titian had carried it to in 
 Italy : By reafonthat Jofeph Arpinoa.nd Michael An- 
 gelo Carraruagio, introduced feveral manners in that 
 Art quite contrary to the beautiful Stile of thofe 
 Famous Painters. 
 
 Jofegh Arfmo was too conceited_,and would on-- 
 ly blindly follow his own Fancy, without obfer- 
 ving either Rules, or Nature^ and as for Michael 
 Angelo Carra'vagioj he took no care in his Choice, 
 neither to follow Nature , or Antiquity in his 
 Compofitions : For all the Beauty of his Pidlures 
 confifted in the finenefs of his Pencil , and liveli- 
 nefs of his Colours. This made the bufinefs be 
 for fome rime neglecited in the Roman School of 
 Dehgn, by following thefe two different man- 
 ners , till the famous Car aches and their Difciples 
 at the beginning of the laft Age , happily Re- 
 eftabiihed the true Way of Defign and Painting. 
 
 CHAP. XIX. 
 
 Tainting continued in its Beauty at Venice, 
 as did alfo Architetiure at Venice and Rome. 
 
 A t Venice the excellency of Painting did 
 not decline during the whole laft Age. 
 It was there raifed to a very high Degree of 
 Perfection, chiefly in the fine Way of Co- 
 louring by Georgeone , and Titian who lived 
 to be very Old. The Tahnds ( ^ the 
 
 {a) The two Palma's are diftinguifliedby their Ages; the 
 Eldeft was ^ames, he lived near Bergamus, and practiled the 
 Way of Titian , and learnt a great deal of hint 3 he died at 
 Forty eight Years of Age. The Younger of the Palma s was or 
 renke , and Nephew of the Elder; from his Youth he had a 
 great Inclination for Painting. The Puke of Urbin, who had 
 
 a great 
 
Engravings ArchiteBurCs &cc. i6^ 
 
 a great AfFeftion for him , let him Study in his Gallery on 
 the Pidlures of Raphael and Titian ; and afterwards fent him 
 to Rome where he continued to perfect himfelf for the fpace 
 of eight Years , by ftudying the Works of Poljdore and jvf/- 
 chael AngelOjWhQnce he acquired the true manner. This is to be 
 feen at Fenice and in alTthe Venetian State, which has feveral 
 of his Pieces , for he ^Tought very hard to eighty four Years 
 of Age, and then died in 1^28. From the time of this Paint- 
 er, Painting and Colouring declined at Venice. 
 
 Bajfans (^h\ Tordenone^ Parts Bordone^ and feveral 
 others were excellent Colourifts and contributed 
 to the enriching Venice by their excellent Pidiiires. 
 The Famous Paul Veronefe ( c ) and 
 
 (i ) Of the Bajfans^ the Firft was ^ames da Ponte who 
 was born at Bafjano in the Year 1510 j he learnt Painting of 
 his Father Fr/zww da Ponte : Afterwards he perfefted himfelf at 
 Venice hy the Piftures of Titian^ and the Prints of Parmegiano-^ 
 afterwards he retired to the City of BaJfanOj where he wrought 
 during the remainder of his Life, and died at eighty two 
 Years of Age in 1^91. His*Children were ^ohn Bap- 
 
 tifia^ ^erom ^ni Leander^ all continued in the AVay of their 
 Father at Venice ; but the moft Ingenious of thefe four Brothers 
 Francis Who died in is'94. Leander praftifed Painting 
 with a great" deal of Credit, for he was hono'ured with 
 Knighthood at Venice , he died at fixty five Years of Age ia 
 i^r2 3. As for ^^erom he wrought at Venice^ and died at fixty tw^o 
 Years of Age in 1^22. 
 
 ( r ) Paid Callieri was born at Verona in 15' 3 2 , his Father 
 w^as a Sculptor, w^ho taught him from his Youth to Defiga 
 and Models but as he had a greater Inclination to Painting , 
 he put him to Anthony Badile his Uncle , who w^as one of the 
 bell Painters of Verona , in a fiiort time Paid became very 
 skilful , after which he went and work’d at Mantua wfith 
 Paul Farinatij Vominicli Brufajorci^ and Baptijla del Moro all 
 of them Young Painters of Verona , whom the Card inal H^r- 
 cules caufedto come thither to Paint the Chappel of the Ca- 
 thedral. After Paul had painted feveral Pieces at Verona and 
 in feveral Cities of the Venetian State, he fettled himfelf at 
 Venice , where his AVorks gain’d an univerfal Applauie and 
 Efteem. This got him feveral rewards of theRepublick above 
 other Painters , who after having made a vaft number of 
 Pictures, died at fifty fix Years of Age in 15^88. 
 
 M g ( d) Tinto^ 
 
t66 The Hiflory of Fainting^ 
 
 (d ) Tintoret, continued to embellilK the Palaces and 
 Churches of that City and of the Venetian State 
 with a great Number of excellent Pieces ; Info- 
 much that thejfe Pieces both then and flill caufe 
 admiration in the Curious , and ferve for Exam- 
 ples of Study to young Painters , who love this 
 fine Way of Painting and Colouring. Fork may 
 be faid in Praife of thefe two excellent Perfons, 
 that they were thofe who brought Colouring at 
 Venice to its higheft Perfodlion. 
 
 Jerom Mutiano of Brefcia^ was alfo of this State 
 and learnt the Principle's of Painting : Afterwards 
 he perfedfed himfelf at Venice by the Pieces of 71- 
 tian , where he learn’d the true Way of Colour- 
 ing, and drawing Landskips, wherein he was Ex- 
 cellent. After this he went to Rome, where he 
 continued to Study his Art with fo much Ardor , 
 that to beat Love out of his Head, which he found 
 fomewhat to hinder him , he -cut off his Hair, 
 vind never ftirr’d from home, till his Pidlure of the 
 Refurreffcion of Laz,arus was done, and his Hair 
 grown again. This Work, which is to be feen at 
 St. Mary Majore , was very much praifed by Mi^ 
 (hael Angeh, and acquired a very great Reputati- 
 on to the Painter who made it , as did alfo that 
 which he painted in St. Refers, which reprefents 
 the Vifit of St. Antony to St. Raul the firft Hermit. 
 
 ( d) ^ames Robujii called Tintorett y was bom at Fentce in 
 2 f I z 5 from his Childhood he took to Defigning on the 
 Walls, and afterwards colouring his Figures with Diers Co- 
 lours, for his Father was a Dyer, who feeing the inclination 
 of his Son put him to Titiarij where he remain’d but a lliort 
 time ; Afterwards he lludied Defigning of himfelf , aftei’ 
 the V/ay of Michad Angelo^ and the Manner of Colouring of 
 Titijin , which he joined with the obfervation of Nature, and 
 formed after this manner his fine manner of Painting, ^nd fil- 
 led V)inice with his admirable Piftures 5 he died in i ^^4. Ma- 
 rim (I his Daughter was an excellent Paintrefs ; flie died at the 
 Age of thirty Years in RUd. Pittori Vmeti. 
 
Engravings Archite^ures &;c. 167 
 
 He work’d for the Cardinal d' Efie , who had 
 a very great Efteem for him ; he made feveral 
 other Pidures at Rome , at Orvkta and at Loretto. 
 Among the other good Qiialities of Mutlano , he 
 had an extraordinary Way of teaching Youth , 
 and by his V^ill he left two Houfes to the Aca- 
 demy of St. Lukes and alfo fomething to build A- 
 partments for the Students of Deiigning who were 
 Poor it was he who by his Credit with Pope 
 Gregrory the XIIIf^_, obtained a Brief of him to 
 found that Academy , and who caufed the de- 
 molilh’d Church of St, Luke on the Mount EfyuL 
 lino to be changed into that of St. Martins which 
 ftood at the Foot of the Capitol^ and which has 
 been fmce rebuilt , and embellilh’d according to 
 the Defigning of Eietro da Cortona a famous Paiiat- 
 er of this Age. 
 
 Architecture, which had been brought to a very 
 high Degree of Perfection at Venice , by the fa- 
 mous Architects we have mentioned , was conti- 
 nued there after the true and fine Way of the 
 Antients , by Daniel Barbara ^ Scammoz^z^i , and 
 Andrew Palladios who excell’d the others, as the 
 fine Churches he built at Venice fufficiently teftily ,* 
 as alfo the Palaces and Seats of Pleafure and other 
 Buildings’ he made in the Venetian State ,* which 
 are all of a true and fine Way. This, together 
 with the ingenious Books of the Orders of Ar- 
 chitecture, and of the Temples of the Ancients 
 which are extant of his , are as fo many perpe- 
 tual Monuments of the Merits of Palladio. 
 
 This Art ( e ) has continued at Rome in the 
 lame Excellence Michael Angelo brought it to , 
 
 (e) Among the bell Architefts of the lafl Age, who 
 preceeded thefe lad of all , and were contemporary with.Arf- 
 ihael Angelo , may be reckoned the two Brothers pultun and 
 Anthony d.t [an Gallo of Florence. They were employ’d by the 
 
 M 4 B,epublick 
 
1 68 The Hijtory of Paintings 
 
 Bepublick of Ficrme, apd by the Popes Alexander the Vlt/;, 
 Julius the lid, aad LeirtixeXth , and feveral others, to build 
 leveral Forts and other Strudlures. 
 
 Anthony had the management of the Building of St. Peters 
 after the Death of Bramante. Julian died at feventy four 
 Years of Age in and Anthony in 1^34. Theie Verfe? 
 
 v’ere made in their praiie. 
 
 Cedite Romani StruMores, Cedite Grail, 
 
 Artis Fitru-ji tu quoq-, cede Parens. 
 
 Hetrufcos celebrate virqs ■, teftudinis arcus, 
 
 Urna, tholus,ftatuie , templa, domufqy, petunt. 
 
 About this time lived alfo ^ames della Porta z Milanefe 
 Archiceci and Sculptor, who built the Dome at Milan. He 
 brought up his Nephew IViHiam della Porta to Sculpture ; Mi- 
 chael Angelo got him to' work at Rome , and procured him the 
 making of the Sepulcher of Paul the Illd, which is to be 
 feen in St. Pwers, as alfo the Office of Prate del Piombo after 
 the Death of Sebaftian Fenetiano in 1^47. 
 
 by means of feveral excellent Archite6ls ^ chiefly 
 Firro Ligorio and Vignola, Painters and Architedts. 
 
 Firro Ligorio was of a noble Family of Nagles • 
 from bis Youth he ftudied Defigning and Paint- 
 ing. He fo paffionately loved Ancient Buildings_, 
 that he defigned only with Pen and Ink near forty 
 Books iull^ at (/) Nagles and Rome , and all the 
 Provinces where there were any of thofe Old 
 Buildings^ or any Fragments of them remaining. 
 
 This great Defigner, and excellent Painter^ as 
 is evident by his ancient Rome 'Engra.ven at large ,• 
 compofed alfo a Book of Circus’s^ Theaters^ Am- 
 phithearerSj which he publilhed. 
 
 Painting was alfo one of his Employments at 
 Rome. He there painted feveral things in the Ora^ 
 tcry of Mercy , as alfb the Front of the Houfe of 
 Teodoli, ^nd gnother Front of a Palace in Camgo 
 
 ( / ) There are feveral of thofe Books of Defigning in the 
 ppkeof i'ijvcys Cabinet. 
 
 Merth 
 
Engravings Archite^urCs &c. i6^ 
 
 Martlo painted in Camajeu ( ^ ) in ; Yellov/ and 
 Green ,• he moreover made leveral Pieces in di- 
 verfe Parts of that City. 
 
 Afterwards Tirro Ligorio apply ’d himfelf entirely 
 to Architedure, and his great Capacity pinocured 
 him to be Archited of the Pope, and of St. Ve- 
 ters, under the Popes Paul the IWd, Paul the IVr^ 
 and Pitts the Wth. But after the Death of Michael 
 Angelo , Vignola was chofen with Pirro Ligorio to 
 furvey and manage the Building of St. Peter - and 
 that with Order to follow entirely the Delign of 
 Michael Angelo. Ligorio pretended notwithlland- 
 ing to make fome alteration in it, and thereby 
 offended Pope Pim the Nth, who turned him out 
 of his Employ, andfo the whole management of 
 that great Edifice remained only to Vignola. 
 
 This great Man James Baroz.z,i da Vignola went 
 when he was Young to Bologna there to learn 
 Painting, but finding that for want of Means 
 and Inftrudion, he did not much profit therein j 
 he refolved to fet himfeli wholly to ftudy Archi- 
 tedure , for his inclination led him moll that 
 Way : He had alfo a particular Fancy for Per- 
 fpedive, wherein he found out by his Study 
 thofe fine Rules he publillied. 
 
 But as he knew , that to become an excel- 
 lent Archited , it was not enough to ftudy Vi- 
 truvim , and to fill himfelf with Ideas of feve- 
 ral fine Sciences , but that the Study alfo of 
 the antient Buildings was abfolutely neceffaiy 
 thereunto , fo he refolved to go to Rome to 
 defign them. In the mean time his Skill in 
 Painting w.is a great help to him ,• For at 
 
 r— ■ ■ - —— I ■ I. . ■ I, ^ I I. , „ 
 
 (^ ) By Camajeu is to beunderftood a Sort of Painting of 
 a Colour wherein the Light and Shadow are both the fame, 
 which the Italians call Claro ofcuro ; the Greeli V/ord Mono- 
 mmutd which Authors ufcj fignifes pno Colour. 
 
 whiles 
 
lyo The Hifiory of Fainting^ 
 
 whiles he ftill painted and thereby got fuffici- 
 ent to maintain his Family : This he continued 
 till the Foundation of the Academy of Archi- 
 tefture at Rome was finiflied. 
 
 This Academy was compofed of feveral inge- 
 nious Men , one whereof was Marcello Cervino , 
 who was afterwards Pope. This noble Aflem- 
 bly chofe Vignola to Defign and Meafure for them 
 all the ancient Buildings ^ which made him en- 
 tirely leave Painting , to employ his whole time 
 on ArchiteAure ^ and thereby to become one of 
 the bell Architeds of his Age. The Fame of 
 Vignolas Capacity and the Reputation he had got, 
 were the Reafon that in lyjy Francis Trimaticcio , 
 fent to Rome by Franck the I/, gave him a 
 Commillion to mould and form fome of the 
 fineft ancient Figures : And afterwards he carri- 
 ed him into France^ where he work’d for that 
 King, in making feveral Defigns for Buildings, 
 which were but in part finilhed by reafon of the 
 Wars. He alfo defign’d on Carton’s for 
 cio the Hiftory of Ulyjfes ,painted in the Gallery 
 at Fountainhleau. 
 
 At the lame time , and in the fame place 
 Vignola was employ’d in calling feveral Statues 
 in Brafs, of thofe he had modell’d at Rome, and 
 which are at Fountainhleau, and he was fo 
 happy as to light on fome very good Foun- 
 ders , infomuch that thofe Brazen Figures were 
 call with fo much Care , that they fcarce need- 
 ed any further Work. 
 
 Vignola at his Return to Rome , had the Ho- 
 nour of being the Architeft of the Church of 
 St. Peter, and to continue that Building ac- 
 cording to the Defign of Michael Angelo. He 
 alfo made the Defign of the Church of Jefus : 
 And one of his chief Pieces was the Callle of 
 
 Cafrarola, 
 
Engraving, Archite^ure, tSfc. 171 
 
 Caprarohy which he built for Card inal Farnez^e. 
 He painted with his own Hand fe' /eral of the 
 Chambers with Pieces of Perfpedlive, which were 
 agreeable : And for the fame Cardir lal he finilh d 
 that fide of the Farnez^e Palace whici 1 hands next 
 the Fyher. 
 
 Vignola was alfo employ’d by Th.Uip the Hi, 
 King of Spain, to make the Defigns of the Church 
 of St. Laurence , and thofe of the Efcurial. Plis 
 Defi gns were preferr’d to above twenty others of 
 the beft Architeds in Italy , and e''ven to that 
 which was made at Florence by th'?; Academy 
 of Defigning. A DefigJi alfo wibich Vignola 
 made for the Church of St. Vetronio, at Bologna, 
 was preferr’d tofeveral others. Tholfe who gave 
 this Judgment of it were Chrifiopher Lt mhard, Ar- 
 chited of the Dome of Milan , and j 'uUo Romano 
 Painter and Archited to the Duke of Mantua. 
 
 Befides the fine Buildings of Vignola a t (i>) Rome, 
 and other Places , he has alfo publill led a Book 
 of the Orders of Architedure^ Wi herein the 
 beauty and finenefs of his Profils hav p made his 
 Name famous. 
 
 Several other famous Architeds nppear’d at 
 Rome towards the End of the fame Age , and 
 among the reft Maderni , who made .the Front 
 of St. Teters Church. 
 
 Kitzv^axAs Dominick Fontana,htF\^ts, the Build- 
 ings he made for Sixtus the Nth , found out 
 fome extraordinary Inventions wherel sy he tranf- 
 ported the Egyptian Obelisks at Rome , and fet 
 them up in the Squares of St. Veter , St. John 
 Later an and St. Mary del Vopoio, which are the 
 fineft Ornaments of thatCity^ Fontana was more- 
 
172 ^ Hiflory of Tainting^ 
 
 ever chofen t;o be firft Architect: and Engineer of 
 the Kingdom of Naples. It was in this City he 
 buiit the magnificent Palace of the Viceroy, and 
 feveral other Edifices. 
 
 CHAP. XX. 
 
 The Arts of Defigning fiouriflid in France «»- 
 Francis tbeWiy and'HQnxjthe Ild, and 
 their Succejfors. 
 
 B y what we have faid of Vignola , it may be 
 gathered that the true manner of Archi- 
 tecture began to revive in France , and even be- 
 fore his Time, for it began under Le'wis theXIIf^, 
 who caufed jocondo to come out of Italy. King 
 Francis his SucceiTor had the like Inclination not 
 only for Architecture, but alfo for (<?) Painting 
 and for all the other Arts of Defigning. For he 
 lent for feveral Ingenious Italians into France , 
 to whom he fiiewed particular Favours. Rojj'o , 
 known in France by the Name of Roux^ was among 
 the chiefeft of his Favourites. He was a Painter 
 and Architect , of a good Mein , and very In- 
 genious. This excellent Genius apply’d himfelf 
 in his Youth at Florence to ftudy the great Piece 
 done by Michael Angelo in the Council-Hall : Af- 
 terwards he painted of himfelf^ without follow- 
 ing any Maher. 
 
 Afterwards he went into France where he was 
 fo happy as to get the Favour and AfFeCtion of 
 
 ( it ) This great Prince was fo great a Lover of thefe Arts, 
 that he made it one of his Recreations to Defign and Paint. 
 Faul Lo7n.tiio Xrsttatc, D. L. Pitt, in thefe Terms.E^ero fi legge, 
 che 7 Re di Francia moke volte fi dilettava di peniere lo Jlile in 
 mir.o. iX elferchaifi nsldifegnare iX dipingere. 
 
 the 
 
Engravings Archite^urCs &c. ly-^ 
 
 the King, who allow’d him a Penfion of four 
 hundred Crowns. After that he began to Paint 
 the lower Gallery at Fountainhleau where he 
 painted twenty four Hiftorical Pieces of Alexan- 
 der the Great : This pleafed the King fo much that 
 he gave him aCanonfhip in the Chappel atTarA, 
 Rojjo moreover painted feveral Chambers at 
 Fountainhleau s which after his Death were fome- 
 what changed : There was a Book of feveral 
 Defigns of Anatomy which he had made for the 
 King, about to be engraved ( ^ ), but was prevent- 
 ed by the deceafe of this Painter. 
 
 Francis Frimatkcio of Bolonia carried on the W orks 
 of RoJJo at Fountainhleau : He came into France in 
 the Year ly^i, a year after the Eftabliibment of 
 Rojfo'. That which caufed this Voyage of 
 ticcios was that the King had heard of the Beauty 
 of the Painting and Stucco-work, wherewith the 
 famous Julio Romano had adorn’d the Palace of T. 
 at Mantua. So the King defired the Duke to fend 
 him a Painter who underftood Stucco-work, 
 
 Frimatkcio had been fix Years a Difciple of 
 Julio Romano^ and had diftinguifli’d himfelf by the 
 Beauty of the Stucco-work he made , by the eafn 
 nefs of his Defigning, and by the way he had of 
 managing Colours in Frefco. This Painter was 
 chofen out by the Duke of Mantua for Francis the I. 
 
 (b) Le Roux, whom the Italians call il Rojfo, a Florentine 
 Painter and Architedl, died at Faris in 1541 of a Melancho- 
 ly, which he conceived by having inconfiderately accufed one 
 of his beft Friends of having robbed him. The King and all that 
 knew him were very forrowful for his Death. His Difciples 
 and thofe who work’d for him in Painting and Plaifter were 
 Naldino a Florentine, Mailer of Orleans, Claudius oi Fa- 
 ris, Laurence Ficard and feveral others, the moll Ingenious 
 whereof was Dorninkli del Barbieri a Florentine , an excellent 
 painter and Artift in Stucco-work, and alfo a good Defigner, 
 as is to be feen by his Stamps. 
 
 who 
 
174 ^ JHiJiory oj Paintings 
 
 who fet him to Paint in Frefco , and work in 
 Stucco j which had not till then been feen in 
 France j and a fter having had the Honour to ferve 
 the King eight Years, his Majefty honoured him 
 with the Charge of a Valet or his Chamber, and 
 afterwards he was rewarded with thd Abby of 
 St. Martin de Froie , whereof Primaticcio alTumed 
 the Name. 
 
 The Works which this illuftrious ( c ) Perfon 
 made at Meudon in Architedure, in Sculpture and 
 in Painting, are no lefs agreeable than thofe he 
 made in the Gallery and Apartments which he 
 painted at Fount ainhkau and befides the excellent 
 Genius he had for thefe Arts , he was extraordi- 
 nary for inventing feftival Decorations and fuch 
 like Ornaments, which he did at Court on feve- 
 ral Occafions. 
 
 Primaticcio made Abbot of St. Martin^ continued 
 to ferve the SuccelTor of Franck Ij?, in quality 
 of Painter , Archited, and Valet de Chamber to 
 the King. 
 
 Under Francis the Hi, he was made ( i ) Sur- 
 veyor General of the Buildings for his Majefty. 
 That Charge had been executed before by the Fa- 
 ther of Cardinal de la Bourdai/iere^ and Monfieur 
 de Villeroy. 
 
 After the Death of Franck the lid • the Abbot 
 of St. Martin continued his Charge of Surveyor 
 
 ( c ) Vnmdtkcio Abbot of St. Minin had feveral Difciples : 
 The mofl: Ingenious was Nicelo of Modena , known in trance 
 under the Name of Meffer Nicolo •, he painted in Frefco the 
 Gallery of Ulyffes at Founiainbleau ; he alfo made feveral other 
 Pieces in Frefco there. There are fome Pieces of his Paint- 
 ing to be yet feen at Beauregar near Blois, and in feveral Pla- 
 ces in France. 
 
 ( d ) The Abbot of St. Martin was made Sufvej^or of the 
 Kings Buildings, and his chief Archited, in in room of 
 Fhilbert de Lome, whom he fucceeded in ail hi$ Charges- 
 
 General 
 
Engravings ArchiteBurCs &c. 175 
 
 General of the Buildings , and by the Order of 
 Katharine de Medicis he made at St. Dennis the 
 Tomb of the Valois ; And although that Work 
 remained Imperfed: ^ yet there are to be feen re- 
 prefented on Bals RelieJfs the Battles of Francis 
 the , which are of an incomparable Defign , 
 and, very ingenioully managed according to the 
 Art of Sculpture in the nice Gradations of the 
 Groups of Figures^ which appear one Handing 
 out before the other. 
 
 This makes it appear, that it was under the 
 Reigns of thefe Princes, and this Princefs that 
 the Arts of Defigning were Re-eftablilTied in 
 France , and flourilh’d there : For befides the in- 
 genious Italians who labour’d in their Revival, the 
 French Nation fet themfelves with great Succefs to 
 Architedure and Sculpture ^ thus the Abbot of 
 Clagni apply’d himfelf to the Management of the 
 Building ot the Louojre , after Henry the lid had 
 began it. The two du Cerceaux were ingeni- 
 ous Architeits , as alfo Fhilbert de Lorme and 
 John Bullant ( e )y who all of them gave proofs of 
 
 _(e) Le Vrimaxicch Abbot of St. died about ijyo.The 
 King put in his Place -Fotn BulUm to be Architedlat Fvmuin- 
 blem. SttTelibien, Of theV/orks of the Painters, p. 70 y. 
 
 Frorn the time oi' Primaticcio, the true Way in the Arts of 
 Defigning began to fpread in France , even to painting on 
 Glals 5 for that reafonw-e fee feveral of that time that are ve- 
 ry extraordinary 5 as alfo feveral Works in Enamel, whereof 
 there are feveral Pieces which adorn the two Altars in the 
 Chappel of Paris , the Defigninent whereof is very admira- 
 ble and altogether after the Way of ^ulio Romano and Pii~ 
 maticcio : There are alfo feveral earthen Veflelsof that Work 
 painted and enamell’d, which were made in France as well as 
 in Italy. The Abbot of Saint Martin made feveral Defign- 
 ments in Tapiflry, fome whereof are to be feen in Hangings 
 in the Palace ot Conde , and other Princes. 
 
 Among the good Architefis of that time may be numbred 
 Eftienne dePerac , who had the Honour to be Architedl and 
 painter to the King. He painted at Fount. linbleaii the Hall of 
 the Baths, and died in 1600. F. P. 71%. their 
 
176 The Htftory of Taint 
 
 their Skill by the Buildings they eredied, and the 
 Books of Architedlure which they publirtied. 
 
 Moreover the Illuftrious John Gonjou was Ex- 
 cellent in Architedlure and Sculpture : He gave 
 Proofs thereof in his Works at the Louvre, at 
 St. German de T Auxerrois , at the Fountain of 
 St. Innocent and Other Buildings , whereby he 
 fhewed himfelf a good Architect and excellent 
 Sculptor. About this time there appeared other 
 excellent .Sculptors j as Ponce a.nd Barteleml, who 
 were fellow Students at Rome. 
 
 But among all the Sculptors^, the moft remark- 
 able was James (f) d' Angouleme , who was fo 
 skilful as to Rival Michael Angelo in a Model of 
 St. Peters, and who in the Judgment even of the 
 Italians furpaffed therein this great Man. About 
 the fame time Pilon ( ^ ) alfo diftinguilb’d himfelf 
 at Pans by the excellent Pieces of Engraving 
 which he made in feveral Churches and other 
 publick Places. Thus France produced in the laft 
 Age excellent Architeds and Sculptors : She had 
 alfo fome famous Painters, and among the reft 
 
 if) r/geMeraj on the Tablets of Fhiloflratus, P. 85'y. Re- 
 lates that this happened at Rome in isfo. when he was there. 
 He takes notice that this ingenious Sculptor made three great 
 Figures of black Wax , which for their Excellence are kept 
 in the Vatican ; the one reprefents a naked Man to the Life j 
 the other one in the fame Pofture without his Skin , where 
 one may diftinftly fee the Origine and Infer tions of the Muf- 
 cles; and the third is almoft a Skeleton. 
 
 The fame Author tells us further , of a fine Marble Figure 
 reprefenting Autumn, which was in the Grotto of Meudon ■, he 
 fays , that he faw it, and that it was made at Rome: It is 
 very Excellent, and as much Efteemed as any modern Piece, 
 which fliews the Excellency of this Sculptor. 
 
 (g ) There is to be feen of Pilon'sa. St. Francis intheCloy- 
 fter of the Auguftines , and at St. Ratharines a Chappel where 
 there are fine Figures and Bafs Reliefs in Brafs, and in feveral 
 other Churches , and on the Dial of the palace there are fome 
 of his Works. 
 
Engravhgy Archtte£iure, ScC. 177 
 
 John Coufin who flouri/h’d under Henry the lid, 
 Framts the Hdy Charles the and Henry the Hid : 
 The Pidure which is to be feen of his of the Ge- , 
 neral Judgment, among the Minims at St. Vincent, 
 which was very well graved by Peter Jode, Ibews 
 the Excellence of his Defigning and Pencil , as 
 alfo the feveral GlalTes he has painted at St. Ger- 
 'vauxn Paris, Ihew that he was Mafter cf feyeral 
 Arts that relate to Defigning. y 
 
 He was alfo an excellent Sculptor , as may be 
 feen on the Sepulcher of the Admiral Chabot , 
 which is done by him in the Chappel of Orleans 
 at Paris ^ and . tile Treatifes he has made of Geo- 
 metry and Perfpedive fufficiehdy Ihew the Great- 
 nels and extent of his Genius. 
 
 Several other French Painters got a great deal 
 of Reputation about the End of the laft Age at 
 Fount ainhleau, the heft of them were Ferminet, du 
 Brevil, and Bunel X h ) who furpalTed them all • 
 this laft was named Jacob , he was born at Blou 
 in I f ')S,S>on of Francis BunelPAinter , under whom 
 he learnt the Principles of Painting : After he 
 hadperfeded hiiiifelf in Italy , he gave Proofs of 
 his Skill in the Works he made for the King in 
 the little Gallery of the Lou'vre ( i ), which he 
 painted together with Bre'vil. This alfo appear’d 
 
 , ( ) ^icob BuneL went into where he copied thePh 
 
 dures ot Titian ; afterwards he went to Rome where he ftu- 
 died in the School of Frederica Zucchero, to perfed himfclf in , 
 Defigning and Painting. 
 
 _ ( f ) Thefe Works were deftroy’dbya Fire which happen’d 
 in the Gallery of the Lowre in le^o.There is alfo tobeleen of 
 Bunel's, thePidureof the great Altar of tha Mendicant Friers 
 Sit Paris, and alfo in the Church of St. Set'enn fev'eral Figures • 
 of the Prophets, the Sibils, and of the Apoftles painted on 
 a gpld-Ground ; There is alfo to be feen at Blais in- the 
 Quire of the Capuchins, a Pidure which he painted of art ex- 
 cellent Beauty. See the Hiftory of Blais by Bernier, P. jiit 
 
 K In 
 
lyS The Hijiory of Tainting, 
 
 in the TuiUeries , and in the PiAure of the Def« 
 cent of the Holy Ghoft, in the Church of the 
 Augufiins at Varis : The Excellence of this Pi- 
 jJture gain’d him the Approbation of the illuftri- 
 ous Toujjin^ who alTures us, that of all the Pieces in 
 that City , there was not one that equall’d this. 
 
 - • - " - iia 
 
 CHAP. XXI. 
 
 The'^\tmm^sperfe£iedthemfehjes in Tainting^ 
 after they had found the Invention of Taint- 
 ing in Oyl. 
 
 P AIN T IN G in the two laft Ages made a 
 great Progrefs in Flanders : And the Flemings 
 cultivated it with a great deal of Care : For af- 
 ter John of Bruges had found out the Way of 
 Painting in Oyl, in 1410, he brought up feveral 
 Difciples , and among the reft Roger Vander'verden 
 of BrueJfelsj and Havefe who taught this fine Se- 
 cret to Leivis of Louvain. 
 
 Peter Crifio^ Jufius of Ghent ^ Hugo of Antwerp 
 appear’d fome time after : They work’d only 
 in the low Countries with Reputation, about 
 the End of 1400, and at the beginning of lyoo. 
 In the laft of thefe Centuries feveral other Pain- 
 ters of that Nation began to make themfelves 
 known : Lambert Lombard was at Liege of the firft 
 Rank for Painting and Architefture. He there 
 brought up fome excellent Difciples,* the moft 
 Famous was Francis Floras , who is looked up- 
 on as the Raphael of the Flemijh , by reafon 
 of his true Way of Defigning : William Cay of 
 Breda was alfo a Difciple of Lambert Lombard, he 
 
 paifed 
 
Mtigraijhg, AnhiteSiurCy &c 
 
 toalTed for a very good Painter : There was not in 
 his Works that Fire , and Refolution to be feen 
 as in thofe of Francis Florm , but there appeared 
 more of the Life^ and of Sweetneis and good 
 Grace. There were about that timefeveral Flemijii 
 Matters alfo who gain’d Reputation inltaly^ooth by 
 Painting and Architecture j Michael Cockifian was 
 one of them, it was he who painted the two Chap- 
 pels in Frefco in lyaa in the Church dell’ Animacy 
 after the Italian W ay. There was alfo John de Cal- 
 ker who ought to be etteemed for his Manner of 
 Painting and Defigning : He learnt of the Fa- 
 mous Titian , and defigned fome excellent 
 Stamps and Plates of Anatomy, which made the 
 Book of Andrew Vefalius fo Famous. 
 
 Heemskirky Martin de VoSy and John Strada ttudi- 
 in Italy the true Manner of Defigning and Paint- 
 ing ; Strada made feVeral Pieces at Florence for the 
 Great Duke, particularly feveral Patterns for 
 Tapittry , whereby he ttiewed that he had an 
 univerfal Genius in all the different Parts of Paint- 
 ing ; his great Capacity procur’d him admittance, 
 intothe Academy of Defigning. 
 
 The low Countries produced feveral other Pain- 
 ters ^ Divicy and ^uintin of (^a) Louvain were very 
 much etteemed for their true Imitation of Nature. 
 John deCleves Was excellent inColouTing and draw- 
 ing Portraits : Inlbmuch that Francis the Ifi took 
 him into his Service, during which time he drew 
 a great many ofthe Lords and Ladies of theCourt. 
 
 In the fame Provinces were John d’ Hemeijfeirty 
 
 {a)Vafari fays, that ^intinvfzsoi Louvain '.But ^.f. thinks 
 he was of Antwerp., who, from a good Blackfmith and Farrier, 
 became a good Painter ,through the natural Inclination he had 
 froln his Youth fof Defigning, and the great Paflion be enter- 
 taih'd for a Young Woman, who promifed him Marriage on 
 Condition he became a good Painter ; This encouraged him to 
 learn Painting , which he very fuccefifully accompliib’d. 
 
 N t 
 
1 8o The Hiftory of Tainting^ 
 
 Alart'm CookjJvhn Cornells, Lambert Scoorel, who 
 was a Canon at Utrecht ; John belle Jambe, Di'uick 
 d Harhm and Francis Monfiaret , were Excellent 
 in Landskipsj 'and odd Fantaftick Figures. This 
 laft was imitated by Jerome Hertoghen Bos, Feter 
 Brueghel and Lancelot , who was very Excellent 
 at painting Fires. 
 
 In thefe Countries was alfb Feter Cocuek , who 
 had a great facility and readinefs of Invention , 
 for he made feveral very fine Hiftorical Defigns 
 for Tapiftry,* he had a very good Way, and 
 a great deal of praAice in Archite<fture , which 
 made him tranflate the Books of Serlio into Dutch. 
 But he who of all the Painters of the Low Coun- 
 tries ought to be the moft efteemed was Anthony 
 More Painter to the Ihl King of Spain: The 
 Pidures and Portraits which are to be feen of 
 this famous Painters Hand will always make him 
 pafs for an excellent Perfon ^ he learnt Painting 
 of Lambert Scoorel. 
 
 Several fpeak alfo with a great deal of Praife of 
 Feter-Le Long, who ma.dc At Amfer dam, where he 
 was born , a Pidure of the Virgin with other 
 Saints for which he had two thoufand Crowns. 
 Mathew and Faul Brfl were at that time very Fa- 
 mous for making Land^j^ips,* they wrought a long 
 time at Rome', andin Flanders there -appear d with 
 a' very great Reputation OSlavius Vanveen , who 
 is alfo called Orto-Fenius. He \yas Painter to the 
 pu^e ofFarma, who was Gbvernqur of the Low 
 Countries,, and afterwards to-the Arch Tynkc, [Al- 
 bert. It was he who was Mafter-of the Famous 
 Faul Rubens. ■ ; 
 
 Feter Forbm o£. Bj:uges Was alfo. a Painter j he 
 ta\x^-it Francis his Son to Paint , ,who continued 
 ■to learn under Francis Florus ,• this laft had a Son 
 called Francis, who wrought at F^r 'is 'in the Church 
 
Engravings ArchiteSiurCs &:c. i8i 
 
 of St. Leu of the reformed Jacobins , and in the 
 Stadt-Houfe, where he foewed his great Capacity. 
 
 At the fame time Sculpture flourilh’d in the 
 Low Countries as well as Painting, for thole two 
 Noble Exercifes are Originated from the fame 
 Principle, which is Defigning : For this reafon 
 there were bred in that Country excellent Sculp- 
 tors ^ as WiUiam of Antwerp , John de Dales, Wil- 
 liam Cucur of Hollands James Brufca, all Sculp- 
 tors and Architeds. Brufca made leveral Pieces 
 for the ^een of Hungary ^ and he brought up John 
 Bologna of Douay. 
 
 It was this Famous John Bologna , who gain’d 
 the molt Honour of any to his Nation for Sculp- 
 ture, by the Beauty which appear’d in all his 
 ’Works, which have all of them the true Way 
 and Guft of the Ancients , wherein he perfeAed 
 himfelf in Italy ^ and particularly at Florence ^ 
 where he refided, and lield the firft Place in that 
 Art. He was there employ’d by the Princes 
 de Medicis to make feveral Pieces of Sculpture : 
 The fine Marble Statues, and the great Groupes 
 of Figures in Brals whidi adorn the Squares of 
 Florences of Leghorn, and of Bologna are very charns- 
 ing, and fo many proofs of his Excellence, and 
 Monuments of his Glory. 
 
 - , There are yet at Baris fome Marks remaining 
 of the Excellence of his Workmanfhip, as the 
 Brazen Horfe whereon is the Figure of Hmjthe 
 YSfth in the Square of Bont-neuf: Thus we may 
 fee that both in the Low Countries, and in Frame, 
 as well as Italy , the Arts, of Defigning had their 
 Revival by the Means and. Ways we have fiiewn.- 
 That which farther contributed towards it, was^ 
 the Genius and Application of feveral Ingenious 
 Painters, ; Sculptors and Architeds whcKltourifh’d- 
 in the Centuries 1400 and I j 00, 
 
 ■i N 5 CHAP. 
 
The Hijiory of Fainting^ 
 
 CHAP. XXII. 
 
 flow Graving contributed towards the Re-ejia^ 
 hlifhment of the Arts of Dejtgning. 
 
 T O finilli this laft Book , it remains that we 
 ftiew the Advantage which the Arts of De- 
 figning received by the Invention of Graving , 
 which was found out at Florence in 1460 ^ for this 
 Invention was , and is very ferviceable to bring 
 thofe Arts to Perfection. 
 
 It is certain that the Way of Defigning on Cop- 
 petj with the Tools called the Burin and Tointj 
 was one of the happy Means for the Revival of 
 the Arts : For Graving multiplies and imparts Co- 
 pies of the Defigns, and fine Ideas of Excel- 
 lent Painters, Sculptors and Architeds ^ infomuch 
 that the Prints which are taken oiF from thefe Gra- 
 ved Plates, were of excellent Ufe in the Revival 
 of Defigning, in feveral Countries, which have 
 not hap the Advantage, like Italy y of fine Exam- 
 ples of the Ancient Architecture and Sculpture, 
 and the Works of the nioft excellent Modern 
 Painters and Sculptors, which are happily com- 
 ' municated by the Help of Copper-Plates. 
 
 This has been , and is ftill feen in France , 
 and other Places, that the fine Books of Archi- 
 tecture have made a great many Good Architects^ 
 who without going to Italy , where are the fine 
 Relicks of Antiquity,have formed a true and good 
 Manner , and perfeCte 4 their Studies in this Art 
 by the Help of Graving, which faithfully repre- 
 fents the Plans, Profils, the Elevations and Mea- 
 fures of the finisft Buildings. 
 
 Painting bias ahb the lame Advantage by 
 Prints as Architedure , and has given that way 
 ipU^ Inftrudions to feveral Painters. This may 
 
 be 
 
Engravings Archite^urCs &c. 183 
 
 be remarked by the Prints of Mark Antonio gra- 
 ved after the Defigns of Raphael , which have 
 taught the true manner of Defigning to feve- 
 ral very confiderable Painters. 
 
 The Illuftrious TouJJin is an Example of this_, in 
 the great Application he made in his Youth to 
 I)efign by thofe Prints when he was at Taris. It 
 was here this Great Painter fo happily imitated 
 the manner of Raphael ^ and the Ancients, in his 
 admirable Works. 
 
 The Sculptors moreover received the fame ad- 
 vantage from Graving as the Painters, for that 
 pade the Defigns of the fine Figures of the 
 Ancients familiar to them, and all the fine Bafi 
 Reliefs of the Famous Columns and Triumphal 
 Arches, which are to be feen in the Palaces and 
 Houfes of Rome. 
 
 Graving was found out at Florence by Mafo Fine-- 
 guerra a Goldfmith, who printed all that he grav’d 
 on Silver : Afterwards Baccio BandineUis who was 
 a Florentine Goldfmith, continued that Art, but as 
 he was no good Defigner, he copied the De- 
 figns of Sandro BotkeJli of that City. The In- 
 vention of Graving, being then come to the 
 knowledge of Andrew Mantegna , an Excellent 
 Painter, who was about that time at Rome , he 
 was fo much enamour’d with it , that he fet him- 
 felf to learn it, and he graved Bacchanalians with 
 the Burin, and a great Triumph he cut in WootL 
 which was very Admirable. This Art went af- 
 terwards fromJf<*^ into the Low Countries : Mar- 
 tin of Antwerp who was a Painter , praAifed it, 
 and fent a great many of his Plates into Italy yMid 
 continued to make them better and better. 
 
 After Martin of Antwerp, Albert Durer, in the 
 fame City began to Grave after a better Manner, 
 Pefign and Compofition ,* for he endeavour’d more 
 
 N 4 nearly 
 
184 Hijiory of Tainting^ 
 
 nearly to follow Nature, and approach the Italian 
 way, which he always efteemed the beft : About 
 the Year 1 5-05, he made a fmall Statue of the Vir- 
 gin, which furpaffed the Works of Martin of Ant- 
 werp ^ and he continued to make feveral Plates 
 of Horfes, defign’d according to Nature, with ano- 
 there of the Prodigal Son. ^ 
 
 But when he had graved feveral of thefe 
 Plates with the Burin , and faw, that they took 
 up a great deal of Time, he fet himfelf to Grave 
 on Wood, that he might publilb a greater Num- 
 ber of his Works, and in the Year lyio he pub- 
 lijbed of that Sort of Graving the beheading of 
 St.John^ the Paflion of our Lord, and feveral 
 other Pieces which went quickly off. Albert^ by 
 the efteem People fet on his Works, became ve- 
 ry Rich ,• and this engaged him to Grave again 
 with the Burin , and he made a Piece reprefent- 
 ing Melancholy , three Notre Dames , with the 
 Paflion of our Lord in thirty fix Pieces. 
 
 About this time Francis Francia was efteemed at 
 Bologna of the firft rank of Painters j he had feve- 
 ral Difciples, whereof Mark-Antonio Raimondi was 
 the beft, by reafon of his Capacity in Defigning, 
 which gave him a great Facility in handling the 
 Burin in Goldfmiths Works, in which he was 
 Excellent. But according to a Refolution be 
 took to Travel, he went to Venice. There he faw 
 Stamps which Albert had made with the Burin, and 
 in Wood. They ib pleafed him that he bought 
 of them as far as his Money would reach ,• among 
 the reft he had the Paflion cut in Wood : And af- 
 ter refleding what Honour and Profit he fhould 
 jiav^e gotten, if he had employ’d himfelf to Grave 
 after that way, he i^t length determined to fet 
 bimfelf wholly thereunto , and he fo well copi- 
 that Paflion pf ■dlbert’% on Copper, that it was 
 ‘ ' ' taketi 
 
Engravings Archite^arCs &c. iSj 
 
 taken to have been done on Wood ’ he alfo put 
 the Mark of Albert A. D. thereon , and fo well 
 imitated that Work , that no body took it for 
 Mark- Antonio'shut for Alberis, and it was bought 
 and fold for fuch at Venice infomuch that feme 
 Copies were font to Albert of the Paffion that 
 Mark- Ant onto had done, which made Albert fo ve- 
 ry angry , that he went from Antwerp to Venice 
 to complain to the Republick of the Wrongs 
 Mark-Antonio had done him : But he could obtain 
 nothing thereby, but only that his Mark fhould 
 be no more put to Mark-Antonio s Pieces. 
 
 Albert at his Return to Antwerp found a Com- 
 petitor, Lucas 'Van Leyden^ who fa) though he 
 was not fo good a Defigner as himfolf^ he not- 
 withftanding equall’d him in the Beauty of work- 
 ing with his Burin, as he made it appear in 1 5:09, 
 by two round Prints ,* the one was Chrift carry- 
 ing his Crofs, the other his Crucifixion. 
 
 Lucas continued to fhew his Ingenuity, by a Paf- 
 fion^ which he grav’d in fixteen Pieces, and by 
 his other Works. 
 
 Alberts at this, grew jealous of Lucas’s Know- 
 ledge,* and becaufe he would not be excell’d, he 
 redoubled his Application and Induftry in Gra-r 
 ying. He made leveral fine Prints, as St. EuJ-a- 
 
 ( a) Lucas van Leyden hkA an extraordinary Inclination for 
 Defigning even in his Childhood ; he made Pidlures at the 
 Age of twelve Years ; he apply’d himfelf alfo to Graving ; 
 ft fifte^ Years of Age he had grav’d feyeral Copper Platesj 
 fie died at thirty nine Years of Age in i j 3 3. In the time of 
 Lucas and Albert, there appeared with a great deal of Reputa- 
 tion of He pradlifedallb Graying 5 there are 
 
 of his Hand Wooden Cuts of the Bible, and a Dance of the 
 Dead, which he painted in that City. But his chief Occupa- 
 tion was Painting , w'hich he pradii’ed a long time in England, 
 where he was elteemed the moft Ingenious of his Time ■, he 
 fiie 4 at fifty fix Years pf Ag.e in 1 5 5-4. 
 
i86 The Htjlory of Paintings 
 
 chiusy St. Jeronij and feveral others, which aug- 
 mented his Reputation : For he was not only a 
 good Graver, but alfo a good Painter, Geometri- 
 cian and Archited. 
 
 This may be feen by hisTreatife of the Propor- 
 tions of an human Figure, of Perfpedive and Ar- 
 chitedure: His Works have made his Name(o!) II- 
 luftrious, for they contributed to the Re-efta- 
 blifhment of the Arts in and Germany, 
 
 and alfo in Italy i for they were the Prints of Albert 
 which engaged Mark-Antonio to follow Graving, 
 and made him Grave fo happily the Works 
 of Raphael, that are fo necelTary to all Defigners. 
 
 Thus by the Opportunity Mark-Antonio had of 
 Copying at Venice the Prints of Albert , he acqui- 
 red a facility and readinefs in Graving, and 
 went afterwards to Rome, where the firft Thing 
 he grav’d was a iMcretia, after Raphael : This 
 was fhewn to this great Painter, who at the 6me 
 time contraAed a Friendfhip with Mark-Anthonio, 
 and fet him to Grave a Plate of the Judgment 
 of Raris, another of the Death of the Innocents, 
 and feveral others. 
 
 This was very Advantageous to Raphael , and 
 gained him,as well as Mark-Antonio,^ great Repu- 
 tation throughout all Europe, and created an E- 
 mulation among feveral Defigners, who apply’d 
 themfelves to Graving, and became Difciples of 
 Mark-Antonio. 
 
 (a) Albert Durer died at Nuremberg^ his own Country, in 
 I 5 z 8, at fifty eight Years of Age. This Epitaph is to be read 
 on his Tomb. 
 
 ^utcquii Alberti Vureri mart ale fuit^ conditur 
 hoctumulo, Emigravit Ylll Idus Aprilk, 15:18. 
 
 This ingenious Man was very much honoured by the Empe- 
 rors Maximilian., Charles the V. and Ferdinand King of Hungary. 
 One of his Difciples was Aldegrave a Painter and Graver at 
 Nuremberg, The 
 
Engravings Archite^ure, &c. 187 
 
 The moft Ingenious were Mark de Ravenna 
 and Auguftin Venetianm , who grav’d feveral De- 
 ligns of Raphael and Julio Romano. 
 
 Mark~Antonio after the Death of Raphael, gra- 
 ved the Defigns of Julio Romano , which are 
 obfcene Poftures , for which he was arrefted at 
 Rome , and as he efcaped from Prifon he went 
 to Florence, where he finilh’d his Plate of St- Lau-^ 
 fence, after the Defign of Baccio BandincUi. In the 
 mean while Baccio complain’d to Pope Clement tho. 
 VlltiS that Mark-Antonio Ipoil’d, inftead of imita- 
 ting , his Defigns : This came to his Know- 
 ledge^ and after his Prints were finilhed^ he car- 
 ried them to this Pope, together with the De- 
 iigns of BandineUi, and as his Holinefr was very 
 Skilful in , and a great Lover of Defigning, he 
 judged quite otherwife , and acknowledged, that 
 this ingenious Graver had very much mended 
 the Faults that were in the Defigning of Ban- 
 dinelli. Inlbmuch that by the Beauty of that rare 
 Print, Mark-^Antonio regain’d the Favour of this 
 Pope, which the Poftures of Aretin had unhappi- 
 ly caufed him to lofe. 
 
 But about this time happened the facking and 
 taking of Rome, which reduced Mark-Antonio al- 
 moft to Beggary. For to redeem himfelf out of 
 the Hands of the Imperialifts who had made him 
 Prifoner , he was oblig’d to give them all the 
 Money he had, and fo went from Rome, whither 
 he returned no more. 
 
 About this time was found out the way of 
 Graving in Wood with Chiaro-fcuro , which 
 make the Prints appear as if they w^re height- 
 ened with White by the Pencil ,* and the Per- 
 fon who found out this Invention was Hugo d^ 
 Carpi, an indifferently good Painter, but who 
 hada Genius for feveral Things, There are fome 
 
 pi' 
 
1 8 8 The Hiflory. cf. Tainting^ 
 
 of thefe forts of Prints after Rafkaelp^TannegianOy 
 of Baldajfare and of Beccaftmi, and others. 
 
 The way of Etching with Aqua-fortis began 
 alfo to be pracftifed about this Time, by Parme- 
 giano and Beccafumi , who etch'd feveral Plates. 
 After them Bapifia del Moro a Painter of Verona. 
 etch'd with Aqua-fortis fifty fine Landskips. He 
 was a Difciple of Titian, and would have been 
 one of the moft Famous of his Age, if he had not 
 died before he was thirty Years of Age. 
 
 Jerome Cock , Graved in Flanders the feven libe- 
 ral Arts, and at Rome feveral Prints after the De- 
 figns of Sebafiian Frate del Piomho, and after thofe 
 of Francis Salviati. At Venice, Bapifia Franco an 
 ingenious Painter graved feveral of his Works. 
 In the mean while Graving continued at Rome by 
 James Caraglio of Verona , whom Rojfo the Pain- 
 ter caufed to Grave feveral Prints after his 
 Defigns,* he alfo Graved fome more after Perin 
 del Vaga, Parmegiano and Titian : But Caraglio af- 
 ter he had thus wrought , fet himfelf to Grave 
 on Cryftals and Cornelian , wherein he had no 
 lefs fuccefs than on Copper,- and the King of Po- 
 land fent for him to Work in Graving and Archi- 
 tedure, which he fuccefsfully pradifed in that 
 Kingdom. 
 
 John Bapifia Mantuano of the School of Julio 
 Romano, apply’d himfelf to Graving with the 
 Burin, and made fome fine Prints after the Works 
 of his Matter , which are very much etteem’d ; 
 there are to be feen .fome Prints done by his 
 Daughter which are well grav’d. 
 
 ^y£ncas Vico of Parma, was alfb a Graver 
 and wrought with the Burin he copied the De- 
 figns of Rojfo, of Michael Angelo, of Titian, oiSal- 
 -viati, and of Bandlnelli , and grav’d feveral Por- 
 traits,- That of Charles the V. enriched with Tro-[ 
 
 phies. 
 
Engravings ArchiteEurey 6cc. 1 89 
 
 phies (by which he got a great deal of Praife, 
 and a large Reward^ ) is one of the moft confi- 
 derable of his Works. 
 
 At Rome Nicholas Beatrix Lorain continued this 
 Art,' he work’d Mutian, Michael Ange- 
 lo, and after the Boat of St. Veter, with le- 
 
 veral other Prints, very much efteemed. 
 
 There were other Italian Gravers who diftin- 
 guifli’d themfelves by their Prints sxRome, as Che- 
 rubin Albert, who grav’d the fine Frizes after Toly- 
 dore ; And alfo Vilamen d AJJife for the correcftnefs 
 of his Defigning and the liberty of his Burin. The 
 lame Efteemis due to Antony I’ Abacco, whomea- 
 fured and graved a Book of the ancient Buildings, 
 whichiis one of the moft regular Pieces of Ar- 
 chitefture that has been publifhed. 
 
 There were feveral other ingenious Engravers 
 in the Low Countries ^ Hubert Goltius oiVtnlo was 
 there Famous. He learnt Painting of Lambert 
 Lombard , afterwards he graved feveral Books 
 of Medals of the Emperors, entituled Fafii, and 
 Sicilia, and Magna Grecia,^nA others, of which al- 
 fo he compofed a 'Dilcomkm Latin, and becaule 
 he was very well verfed in Hiftory , he was ho- 
 noured with the Quality of Hiftorian and Pain- 
 ter to Vhllip the lid. He died at Bruges in i 
 Of the fiime Family of Goltius was allb Henry, 
 employ’d himfelf much in Graving and Painting, 
 having .made two Voyages into Italy, to perfe^ff 
 himfelf j befides his Ingenuity in Painting and 
 Graving, he Defigned incomparably v/ell with 
 his Pen. :■ He was born at Venlo in i jjS. Saen- 
 redam. Milt am iter Sf ode, were his Difciples, 
 
 Cornelius Cort, and Martin Rota , fhewed their 
 Capacity by fome Pieces they grav’d after Mi- 
 chael Angela, Mutian and others, as allb yohn, Ra- 
 phael and Giles Sadtkr, who were of Brsiffds, pro- 
 . - - ^ moted 
 
1 9 o "The Hijiory of Tainting^ 
 
 moted very much the Art of Graving , by the 
 Beauty of their Prints. CoUarty Thilif and Come~ 
 lius Gall of the fame Country grav’d there, and 
 afterwards in /f<j!^,with a great ^al of Reputaion. 
 
 This Art appear’d alfo in great Splendour in 
 France in the time of and of the Abbot 
 
 St. Martin ; for Rene, engraved the moft Part of 
 their Works, which are at Fountainbleau. 
 
 Infomuch that in all the Countries where the 
 Arts of Defigning flouriflied. Graving flourilh’d 
 alfo, and was efteemed as a confiderable Part of 
 thofe Arts. 
 
 But the Perfon who moft advanced Gra- 
 ving about the End of the laft Age, and impro- 
 ved it beyond what had been till then done^ 
 was the Vscavons Augufiin Carrachex For, not to 
 mention the Corrednels and excellent manner of 
 Defigning he was Mafter of^ to a very high De- 
 gree, he made the Strokes cut with his Burin ex- 
 treme even, and extraordinarily well managed 
 according to the chief Turns and Forms of his 
 Objeft, even to Landskips, which he touch’d 
 incomparably well. 
 
 From his Youth he learnt Painting at Bologna 
 of Trover Fontana^ afterwards he ftudied Graving 
 and Architediure under Dominick Fibaldi. In a 
 fhort time he exceeded his Mafter, who got con- 
 fiderably by the Ingenuity of his Dilciple. Au- 
 gufiin had alfo a great Love for Sculpture, which 
 made him work in Relievo under Alexander Min- 
 ganti a Bolonian. Notwithftanding which he did 
 not leave off Graving, for he had a general 
 Genius, which led him to Learning, to Geometry, 
 and all its dependencies. 
 
 He went afterwards with his Brother, the Fa- 
 mous Hannibal Carrache to ftudy Painting in Low- 
 hardy j and ta learn the charming fine Manner of 
 
 Paint- 
 
Engraving, Archite^ure, &c. 19 1 
 
 Painting of Correggio : But he left his Brother at 
 Tartna, and went himfelf to Venice, where he em- 
 ploy’d himfelf in graving the Pidures of Tin- 
 toret and Taul Veronefe, and thereby render’d their 
 Works more Famous, by the Beauty of his De- 
 figning, which made his Prints more perfed than 
 thofe of other Gravers. He moreover grav’d 
 leveral Pieces after Correggio, after Baroche, and 
 made alfo feveralPlates after the Life, of his own 
 Invention, which are all very admirable. 
 
 It is alfo True that toward the End of the laft 
 Age , Augufiin Carrache advanced Graving be- 
 yond thofe who had proceeded him ; and that 
 which farther diftinguifh’d him from other Gra- 
 vers, was the excellence and corrednefs of his 
 Defign. For he had fo paffionate a Defire to 
 make thofe Arts Flourifh, that he with his II- 
 luftrious Brother Hannibal , and their Coufin 
 Leivis Carrache eftablilh’d an Academy at J?o- 
 logna. 
 
 It was this Famous School which brought up 
 the moft Ingenious Defigners and Famous Pain- 
 ters of Bologna, who maintained the excellence 
 of Defigning and Painting, in the higheft Pitch 
 thofe Noble Arts have arrived to fince their revi- 
 val. It is to thefe Carraches we are obliged, for 
 having hindred Painting, at the beginning of our 
 Age , from a total Declenfion at Rome , which 
 then threatned it , by reafonthat the Mannerifts 
 of the School of Jofegh Arpino, and thofe of 
 the School of Caravage, who were their Anta- 
 gonifts, got the better of thofe who followed the 
 Gufto of the Ancients, and the noble Man- 
 ner of Raphael. But at laft the Ingenious Difci- 
 ples of the Academy of the Carraches , got the 
 day both from the one and the other, and Re- 
 eftabliibed the true way of Defigning and Pain- 
 ting: 
 
19 X The Hiftory of Paintings ^C. 
 
 ting ; which has ever fince happily continued 
 down to us: And throughout all this Age of i6oo 
 thcfe Arts have appear'd and continued in Perfe- 
 fedion, which ftiall be the Subject of the Second 
 Part of the Hiftory of thefe Arts. 
 
 By the Ingenious Gravers we have mentioned in this 
 laft Chapter , it may be noted that we reckon Graving among 
 the Arts that depend on Defigning and Painting, as Confe- 
 quent to them, for the Painters firft began the right Praftice 
 of it, and to advance it to that high Degree wherein now we 
 fee it. 
 
 V/e may moreover fee that the Way of making the Punchi- 
 oils and Dies for ilriking of Medals, is one Sort of Graving, 
 which depends on Sculpture : And that the moft Excellent 
 Gravers have been all well verfed both in Sculpture and Pain- 
 ting ; for they never Grave their Goins, till they have firft 
 rhodeird their Works : Thus Sculpture preceeds Graving. 
 The ingenious Medallifts in the Time of Henry the lld atid Hen- 
 ry thelYth^ were Sculptors; and we commonly hold,' that 
 ^ohn Goujon made the fineft Medals of ., this firft King, and of 
 Catharine de Medlcis , which are to be feen. ^ohn Rondetle and 
 EjUenne Lanne are alfo famous , who made the Coin under 
 Henry the II, and thofe fine Teftoons of that Prince. 
 
 As to the Medals of Henry the IVtA, ^he fineft are thofe of 
 
 du Pres^ who was an ingenious Graver^ and 
 
 excellent Sculptor ; theBafs Relief which is to be feen in the 
 King of 5*fa7/s Street in Paris is a Proof of this. Graving 
 has been always very much Efteemed, and gain’d a great deal 
 of Credit, as well as the other Arts of Defigning ; theEmpe-^ 
 ror befides Defigning which he learnt , learnf alfo to 
 
 Grave , as we have Ihew’d in the beginning of the Second 
 Book: And we can’t but believe, that his End therein was to 
 make Medals, the Knowledge whereof has always been fomuch 
 Efteemed both amohg the Ancients and Moderns; and 'that 
 which farther proves this, is, that we find no other ways of 
 Graving among th^ Ancients, than that of Graving very 
 deep for making Medals , and Graving fine Stones fot 
 Rings, and others for Seals, which are ^often to be met with 
 in the Cabinets of the Curious/ ' 
 
 Finis 
 
A 
 
 TABLE 
 
 O F T H E 
 
 NAMES of the ARTISTS menti- 
 oned in this HIST ORYi 
 
 P. After the Name Jignifies fainter ; S. Sculps 
 tor; A. Archite^l; G. Graver or Goldfmith; 
 S and A. Sculptor and Architetl ; V. S. A. 
 fainter^ Sculptor and Archite^. 
 
 A 
 
 A Bacco, A. b. 
 
 Abbot de Clagni, A. 
 /Etion, Pi 
 Adrian, A. P. S. 
 
 Agefander, S. 
 
 Angelo, S. 
 
 Agnolo Sanele, S. 
 
 Aldigieri de Levio, P. 
 Aldegrave, P. G. 
 
 Alexander Moretto, P. 
 Alexander Minganti, S. 
 Alexander Moretti, P. 
 
 Albert burer, P. G.^ 
 
 Alphonfus Lombardi, 
 
 Alterius Labeo, P. 
 
 Alexis Baldovinetti, P. 
 Alcamenes, S. 
 
 Andrea Mantegna, P. G. 
 Andrew de Solario, P^ 
 
 O 
 
 bage i8^ 
 I7f 
 zO 
 
 44 47 
 
 iij 
 
 90 
 
 ii9 
 
 t^6 
 
 124 
 
 190 
 
 i83 184 iSj 
 
 t6o 
 
 26 
 
 loi 
 
 2% 
 
 108 133 
 Andrea 
 
'A r A <B L E 
 
 Andrea Del Sartor, p, 
 Andrea Pifano, S. 
 
 Andrea Orgagna, P. S. 
 Andrea Verrochio, S. P. 
 Andrea del Caftagno, P. 
 Andrea Taffj, p. 
 
 Andrea Squarzella, P. 
 Andrea Lewis d’ Aflife, P.^ 
 Andrew Contucci, S. 
 Amico, P. r 
 
 Andrea Palladio, A.‘ " 
 
 Anthonio da Correggio,?.’ 
 Anthony More, P. . 
 Anthonio da fan Gallo, A.' 
 Antonio Pollaivoli, P. $. 
 Anthony Filaret, S. 
 Antonello da Meflina, p. 
 Androcida, P. 
 
 Hannibal, A. 
 
 Hannibal Carrache, P, 
 Apelles, P. 
 
 Apollodorns, A. S- 
 Apollonius, P. 
 
 Argellius, A. S. 
 
 Archiphron, A. 
 
 Arnolpho Lapo, A.' 
 
 Page 14? 
 93 ^ 
 95 
 
 $') Hi 
 101 
 89 
 
 i \6 
 
 117 
 itfo 
 154 
 d8 1^7 
 iiy 
 180 
 
 144 168 
 
 III 
 
 98 
 
 loy lod 107 
 
 n 
 
 16 
 190 
 ip 40 43 
 44 4? 
 
 8p 
 
 34 
 87 8p 
 
 Armenini, P. 
 
 5 
 
 Athenodorus, S. 
 
 31 
 
 Auguftin Carrache, P. G. S. 
 
 163 ip® ipi 
 
 Auguftin, furnamed Bambaia, 
 
 136 
 
 Auguftin Venetianus, G. 
 
 if7 187 
 
 Aufle or Havefle, P. 
 
 178 
 
 Aretine, 
 
 187 
 
 B 
 
 
 T3 Accio Bandinelli, S. 
 
 11 Baccio Uberti, P. 
 
 iy6 iy7 
 
 H7 
 
 Baldaflare Perruzzi, P. S. 
 
 139 144 
 
 Bartholomew Vi\^arini, P, 
 Bartholomew, S. 
 
 Bartholomew de Regge, S. 
 
 144 
 
 176 
 
 124 
 
 ibid. 
 
 Bartholomew Montagne, p^ 
 
 Bartholomew Genga, A, 
 
 161 
 
 Baroche, P. 
 
 iif 
 
 Baptifta Lorenzi, S. 
 
 ly* 
 
 Baptifta 
 
of the a A M B S, 3cc. 
 
 Baptifta Franco, P. Page 
 
 Baptifta de Angelo, P. 124 
 
 Paptifta del Moro, P. G. ^ i88 
 
 BalSiii the elder, was Jacob, Soti of Francis da Ponte Baflano; 
 
 P. 
 
 Francis, 
 
 John Baptifta, P. 
 
 Jerom, P. 
 
 Leander, P. all four Children of Jacobi 
 Baffiti, P. • 
 
 Befaleel, A. S. G. 
 
 Benedidt Coda, P. , 
 
 Benedidl Ghirlandaio, P. 
 
 Benedidlda Maiano, S. Ai 
 Benedid Caporali, A. 
 
 Benvenuto Cellini, S. G. 
 
 Benedid Diada, P. 
 
 Benvenuto Garofola, P. 
 
 Bouchet, ou Bufchetto, A. 
 
 Bernard Daddi, P. 
 
 Blaife, P. 
 
 Bernard de Gatti, P, 
 
 Bernardino da Trevio, P. 
 
 Bramante, Ai P. 
 
 Bramantine, P. A. 
 
 Brunelefchi, A. Si. 
 
 Briaxis, A. S. 
 
 Bularchus, P. 
 
 Buono, A. S. 
 
 Buonamico, P. 
 
 Bunel, P, • 
 
 Du Brueul,P. 
 
 Brufca, 
 
 16S 
 ibid, 
 ibid, 
 ibid, 
 ibid. 
 124 
 8 
 
 109 
 in 
 ibid. 
 117 
 157 
 124 
 108 1^0 
 Sj- 
 95 
 
 1^5 
 
 135 
 
 137 
 
 137 138 139 140 
 13^ 
 
 7-8 57 9 ^ 98 135 
 22 
 
 17 
 
 Si 
 
 9 S 
 
 177 
 
 ibid, 
 
 i8r 
 
 C Alicratidas, A. 4^ 
 
 Camillo, P. 13 f 
 
 Caradoftb, G. ,n8 139 • 
 
 Les deux du Cerceaux, A- 177 
 
 Ceciliano, S. 13^ 
 
 Cicfariano, A _ 137 
 
 Chareilhe Lindian, S. 24 
 
 Charles Alphonfus du Frefnoy, P. i n 
 
 Cherubin Albert, G. 189 
 
 O 2 done. 
 
^ TH 'B L E 
 
 Clone, G. 
 
 Cimabue, P, A. 
 
 Claudius of Paris, S. 
 
 Cleophantus, P. 
 
 Choerebus, A. 
 
 Collaert, G. 
 
 Cornelius Gall, G. 
 
 Cornelius Core, G. 
 
 Commodus, P. G. 
 
 Confilio Gherardi, L' 
 
 Corlino Buonajufti, P. 
 
 Cofmo de Medicis, A. 
 
 Chriftofano, P, 
 
 Chriftopher Gobbo, S. 
 
 Chriftopher Lombard, A. 
 
 Page 98 
 88 90 91 
 
 175 
 i 14 
 
 S 90 
 
 ibid. 
 
 i8p 
 
 48 
 
 .9? 
 
 ibid. 
 
 ibid. 
 
 X 19 
 
 13 ^ 
 
 171 
 
 D 
 
 D Aniel da Volterra, P. S. A^. 
 
 Daniel Barbaro, A. 
 
 Dario da Trevifo, P. 
 
 David Ghirlandaio, P. 
 
 Dxdalus A. S. 
 
 Diogenes, S. 
 
 Diopenes, S. 
 
 Diana Mantuano, G. ' 
 DinoCTates, A. _ 
 
 Divio of Louvain, P. 
 
 Divio d’ Haerlem, P. 
 
 Dominioo Puooi, P. 
 
 Dominioo Ghirlandaio, P, 
 Dominioo Venitiano, P. 
 
 Dominioo Beooafumi, P. 
 Dominioo Tebaldi, P, G. A. 
 Dominioo Brufaforoi, P. 
 Dominioo del Barbieri, P. S. 
 
 Don Bartholomeo, P. 
 
 Donatello, S. 
 
 Doflb, P. 
 
 E 
 
 E MuIo, a. 
 
 Heemskirk . 
 
 Children of Seth, A, 
 
 Eneas Vioo, C. 
 
 i?7 iy8 
 1^7 
 
 108 
 III 
 
 8 9 11 33 
 43 
 9 
 
 isa 
 f 3T 
 
 179 
 
 1 80 
 
 99 101 III I47 
 106 109 
 IS 9 
 161 190 
 167 
 
 175 
 
 109 
 96 97 
 
 J08 i6o 
 
 35 
 
 179 
 
 IS 8 
 
 Epeus 
 
of the K A M E S, Sccl 
 
 Epeus Dicrateus, A. S. 
 Eufranor, P. S. 
 Eupompus, P, 
 
 Etienne Florentin, p. 
 Etienne Veronefe, P. 
 Etienne du Perac, P. A. 
 Etienne Lanne, G. 
 Europe, P. 
 
 Page s> 
 19 
 
 i8 
 
 95 
 
 124 
 
 17s 
 
 191- 
 
 13 J 
 
 F Abius Piftor, 
 
 Federico Zucchero, P. 
 
 Fermo Guifoni, Pi 
 Philip Lippia, P. 
 
 Philip Gal, G. 
 
 Philip Salviati. 
 
 Fontana, A. 
 
 Fra. Bartholomew St. Mark. P. 
 
 Franco, P. 
 
 Francis Monfignori, P. 
 
 Francis Francia, P. 107 
 
 Francis Melzi, P. 
 
 Francifco de Sandro, P. 
 
 Francis Torbido, P. 
 
 Francis Mazzuolo called II Parmegiano, P. 
 Francis Brambilati, S. 
 
 Francis Bronzin, P. 
 
 Francis theFirft, P. 
 
 Francis of Orleans, S. 
 
 Francis Monftaret, P. 
 
 Francis Porbus, P. 
 
 Francis Floras, P. 
 
 Frederick Baroch^ P. 
 
 Frier John da Fielole, P. 
 
 Frier Philip philippini, P. 
 
 Freminet, p. 
 
 26 
 
 1^2 i 6 s 
 
 13? 
 
 112 
 
 190 
 
 117 
 
 171 
 
 ioi 120 121 
 
 119 
 
 109 
 
 n8 119 184 
 fiS 
 116 
 124 
 126 
 136 
 
 159 
 
 .172 
 
 17? 
 
 i8o 
 
 ibid. 
 178 180 
 
 1^3 
 IOI 109 
 IOI 
 177 
 
 G Alante, P. . 119 
 
 Galeazzo Campo, P. 131 
 
 Galeazzo, P. 1 1 9 
 
 Gaudence, P. 13^ 
 
 ^ntil da Fabriano, P. 109 
 
 O J Gentil 
 
'J T A <B L E 
 
 Centil Bellini, P. 
 Georgeone, P. 
 
 George Vafari, P. A.' 
 Gherado Starnini, P. 
 Gherardo, P. 
 
 Ghiberto, G. A.P.S. 
 
 Gioto, P. A. 
 
 Giovanetto Cordegliani, p] 
 Giovanni Dell’ Oprera, S. 
 Giles Sadeler, G, 
 
 Glicon, S. 
 
 Guido, P. 
 
 William Qltramontano, A^ 
 William le Forti, ]P. 
 William de Marcilli, P. 
 William Cay, P. 
 
 William of Antwerp, S.p, 
 iWilliam Cucur, S. A 
 
 Enry Mellin, PJ 
 Henry Goltius, P. G.’ 
 Hercules Procacino, P. 
 Hiram, A. S. 
 
 Hormifda, A. 
 
 Hugo of Antwerp, P. 
 
 Hugo de Carpi, P. G. 
 
 Hugo Goltius, P, G. 
 
 J Acob d’ Avanzi, PJ 
 Jacobello de Flore, P. 
 Jacobello, S. 
 
 Jacopo de Ca^ntino, P. 
 James Caraglio, G. A. 
 James de la Quercia, S. 
 James Lanfranc, S. 
 
 James de la Montagne, Pi 
 James Bellini, P. 
 
 James Puntormo, P. 
 James Ripenda, P. 
 
 Page top I 10 
 top it 8 up 
 loa iiS 
 9 S 
 top 
 '$6 p8 pp 
 Sp po pi 
 124 
 lys 
 
 i8p 
 zt 
 up 
 
 93 
 xoz 
 17S 
 181 
 
 H 
 
 163 
 
 l8p 
 
 It 
 
 JO 
 
 378 
 
 187 
 
 J 
 
 124 
 
 5a 
 
 jS8 
 
 97 
 
 top 
 
 ibid. 
 
 James 
 
of the n AM f S, &.€. 
 
 James Robufti Tintoret, P. 
 Jetinus, A. 
 
 John Van-Eick, P. 
 
 John Beilin, P. 
 
 John Antony Boltrafio,P. 
 
 John Manfueti, P. 
 
 John Bonconfel, P. 
 
 John Francis Caroto, P. 
 
 John Maria Verdizotti, P. 
 John de Calker, P. 
 
 John de Lion, P. 
 
 John Baptifta Mantuano, P. G, 
 John Baptifta Conrigliano, P, 
 John Maria Falconetti, A. P. 
 John d’ Udine, P. S. 
 
 John Martini d’ Udine, P. 
 John Antony da Pordenon, P, 
 John Francis il Fattore, P. 
 John James della Porta, S. 4° 
 John Goujon, S. A. 
 
 James Angouleme. 
 
 James Brufca. 
 
 John Coulin, P. S. 
 
 John Strada, P. 
 
 John Sadeler, G. 
 
 John de Cleves, p. 
 
 John d’ Hemeiflein, P. 
 
 John Bellejambe, P. 
 
 John Rondelle, G. 
 
 John de Dales, S. A. 
 
 John Bologne de Douay, S. 
 John Baptifta Franco, P. G. 
 Jerom Genga, P. A. 
 
 Jerom Siciolante, P. 
 
 Jerom Mutiano, P. 
 
 Jerom Hertoghen Bos, P. 
 Jerom Cock, G. 
 
 Jerom& JuftusCampagnola,P. 
 Jerom Romanino 5 
 Jerom Mazzuolo , P. 
 
 Jerom de Carpi, P. 
 
 Jerom de Ferrara, S. 
 imocent d* Imola, P. 
 
 Jojeph Arpino, P. 
 
 Joconde, A 
 .. I 
 
 Page i6'€ 
 
 10*3 
 
 io<? 
 
 1 1 5 ^ 
 124 
 ihid, 
 ibid* 
 132 
 -131 179 
 
 135 1 88 
 
 141 143 
 ^^^53 15.4 
 
 ibid, 
 
 168 
 
 - 176' 19^ 
 
 176 
 
 /T 1 81 
 
 177 
 
 189 
 
 179 
 
 ibid, 
 
 180 
 19 - 2 . 
 • 18 1 
 ihii. 
 188 
 
 i6'i 
 
 X.$6 16^ 167 
 
 180 
 
 188 
 
 124 
 
 ibid, 
 
 1^6 
 
 100 
 
 1^0 
 
 If 4 
 
 ibid* 
 
 141 J41 143 
 
 O 4 Juliiis 
 
'A tA'BLE 
 
 Julius eampo,P. Pagetjf 
 
 Julius Ofar Procacino, P, 187 
 
 Julian da Sangallo, A. i ^7 
 
 Julius, of Ghent, P. 178 
 
 t 
 
 L Adlantius Gambaro, p. i 3 j 
 
 Lancelot, P. 180 
 
 Lanfranc, P. 
 lapo Gucci, P. 
 
 Lambert Lombard, P. A. 178 
 
 Lambert Scoorel, P. i8o 
 
 lavinia Montana, P. ^ 187 
 
 Laurence Piccard, S. *7 j 
 
 Laurence Hercules,?. 108 
 
 Laurence Colla, p. iqj ng 
 
 Laurence Lendinara, p. 1 0 8 
 
 S. Lazarus, P. 71 7* 
 
 Leocares, A. S. ^ _ ^ at 
 
 Leonardo da Vinci, PJ 'fi It4 txf ito 119 
 
 1^6. 138 
 
 Leon B. Alberti, A. 100 133 
 
 Liberale, p. 124 
 
 Libon, A. 33 
 
 Lippo Dalmafo, P. 
 
 Lilippns,S. t3 24 19 
 
 Lorenzetti, P. 
 
 Lewis Lippo Florentin,P. ibi 4 . 
 
 Lewis Malino, P. 108 
 
 Lewis Vivarino, P. 124 
 
 Lewis of Lovain, P. 178 
 
 Lucas van Leyden, P. G, 13? 
 
 Lucas Signorelli, P. 112 
 
 J.uc de la Robbia, S. 97 
 
 Lucia, P. i3y 
 
 Lucian, S. zo 
 
 M 
 
 M Aderni,_A. 171 
 
 Claudius _ loz 
 
 I^ark Mariotti Albertinelli, P. loi 
 
 Harjf 
 
of the 1>1 A M E S, See. 
 
 Mark Zoppo, p. 
 
 Page ro8 ir^ 
 
 Marcellus Mantuanus, P. 
 
 US 
 
 Mark Ballarini, P. 
 
 IZ4 
 
 Marcello Cervinq. 
 
 170 
 
 Mark Antonio Raimondi, P.G, 
 
 184 
 
 Mark de Ravenna, 
 
 187 
 
 Marco Uggioni, 
 
 13^ 
 
 l^arin, S. 
 
 J19 
 
 Marietta, P. 
 
 
 Matthew Bril, P. 
 
 180 
 
 Matthew Luchefe, P. 
 
 ^7 
 
 Mattheo, P. 
 
 119 
 
 Mafaccio, P. 
 
 loi 
 
 Ma(b Fineguerra, G. 
 
 185 
 
 Martin Rota, G. 
 
 189 
 
 Martin of Antwerp, P. G, 
 
 184 
 
 Martin Cook, P. 
 
 1 80 
 
 Martin de Vos, P. 
 
 179 
 
 Metagenes, A. 
 
 
 Metrodorus, P. 
 
 
 Methodius, P. 
 
 61 
 
 Michael Angelo Buonarotti, P. S. A. 
 
 100 loi in 120 
 
 131 146 147 148 
 
 Michael San Michael, A. 
 
 lop 141' 
 
 Michael Angelo Anfelmi, P. 
 
 126^ 
 
 Michael Angelo Carravaggio,P, 
 
 l6:i 
 
 Michael Cockifien, P. 
 
 179 
 
 Michellozzo Michel , A. S. 
 
 97 
 
 Michelino, A. 
 
 114 
 
 Mino, S. 
 
 106 
 
 Miron, P. 
 
 ll 
 
 'J^AldinOjA. 
 
 N 
 
 175 
 
 . Noah, A. 3 
 
 Nicholas Pifan, S. 8<f 90 
 
 Nicholas da Bologna, S. 97 
 
 Nicholas Beatrix, G. .18? 
 
 Nicholas, and John Baptifta Roux, makers of Tapiftry, 
 
 134 
 
 Nicolo of Modena, p. n iS 1 7 4 
 
 Odlavius 
 
A r A <B L E 
 
 /^Ctavius Vanveen, called Otto-Veniujs, P. Page i8o 
 
 Oftaviano, da Faenza, P. 
 
 91 
 
 Aholiab, A. S. G. 
 
 % 
 
 Orfon, P. 
 
 
 P 
 
 
 ■pAcuvius, P. 
 
 
 Palma the eldeft, p. 
 
 1^4. 
 
 Palma the younger, P. 
 
 ' ibii. 
 
 Pamphilus, P. 
 
 ^9 
 
 Parrafius, P. 
 
 ibid. 
 
 Paris Bordone, P. 
 
 
 Paul Veronefe, P. 
 
 16$ ipr 
 
 Paul Fatinati, P. 
 
 16$ 
 
 Paul Cavazzuola, P. 
 
 124 
 
 S. Paulus Romanus, S. 
 
 IQ^ 
 
 Paul Uccello, P. 
 
 lOI 
 
 PaulAretino, S. G. 
 
 90 
 
 Paul Lomazzo, P. 
 
 13 ^ I72r 
 
 Pafquino Cenni, P. 
 
 9 S 
 
 Peneus, P. 
 
 18 
 
 Pelegrino Tebaldi, P. A. 
 
 i6z 16$ 
 
 Pelegrino d’ Udine, P. 
 
 
 Perrin del Vaga, P. 
 
 1$$ 1S6 iy8 
 
 Pietro Cavalini, P. 
 
 93 
 
 Peter Cocuek, P. 
 
 180 
 
 Peter Crifto. P. 
 
 178 
 
 Peter Pollaivolo, P. S. 
 
 
 Peter John a Spaniard, P. 
 
 117 
 
 Peter Perugino, P. 
 
 loi 117 
 
 Peter Cofimo, P. 
 
 
 Peter Brueghel, P. 
 
 ipo 
 
 Pietro da Cortona, P. 
 
 l 6 f 
 
 Pigmalion, S. 
 
 14 
 
 Pilon, S. 
 
 176 
 
 Pirro Ligorio, P. A. 
 
 iSS 169 
 
 Pifanello, P. G. 
 
 109 
 
 Pitis, s. 
 
 
 Policletes, S. 
 
 
 Phidias, 
 
 18 21 11 ^6 
 
 
 Polignotus, 
 
of the U'J M E S, &c. 
 
 polignotus, P. 
 
 Polidore, S. 
 
 Polidore da Caravaggio, P. 
 Pontius, S. 
 
 Protogenes, P. 
 
 Praxiteles, S. 
 du Pres, S. G. 
 
 Properzia de Roffi,P. 
 
 Proipero Fontana, p. 
 Primaticco, 
 
 R 
 
 Page I 8 
 
 I6S 
 
 IZ7 
 
 17 s 
 20 23 
 
 136 
 
 190 
 
 13s IS 9 170 173 174 
 
 R HoIo, a. 
 
 Raphael Sanzio d’ Urbin, P. A. ' 
 120 122 139 142 
 Raphael dal Colle Broghefe, P. 
 Raphael Sadeler, G. 
 
 Rinaldo Mantuano, P. 
 
 Rinaldo, G. 
 
 Roger da Bruges, P. 
 
 Rondinello, P. 
 
 Roflb or le Roux, P. A- 
 
 S 
 
 3 ? 
 
 loj II7 ii8 
 
 ; 189 
 
 13? 
 
 100 178 
 104 
 
 IG9 
 
 190 171 173 I5'9 
 
 S Alviati, P. _ ijg 179 
 
 Sandro Boticello, P. 1 01 183 
 
 Sanfovino, S. A. J44 145' 
 
 Scammozzi, A. 167 
 
 Scilli, 3. 9 
 
 Scopas, S. A. 22 3 ? 
 
 Sebaftian Frate del Piombo, P. 130 173 188 
 
 Sabaftiano Serlio, A. 141 
 
 Sebeto, P. 124 
 
 Severus, A. 47 
 
 Severus, P. 119 
 
 Silvio da Fiefole, S. 13^ 
 
 Simon, P. 1 1 9 
 
 Simon Brother of Donatelo, S. 98 
 
 Simon Sanefe, P. 95 
 
 Sofonisba, P. 137 
 
 Sognio Dantignano, P, 97 
 
 Solofmeo, P. 116 
 
 Spinello, P. 97 
 
 Squ^cione, P. 108 
 
 . T^deo 
 
A T A 'B L E, Sic'. 
 
 T 
 
 T A<leo Gaddi, P. 
 
 Tadeo Bartoli, P. 
 Tadeo Zuchero, T. P. 
 Terentius Lucanus, P. 
 Theodorus, A. 
 
 Titian of Cadore, 
 
 Timotheus, A. S. 
 
 Tofanon, S. 
 
 Tintoret, /ee James Robufti, 
 Turpilitts, Pi 
 
 V 
 
 V Alerius, p. 
 
 Valerio Cioli, ^ ' 
 
 Vanni Cinazzi,, P. 
 
 Vannius, P. 
 
 Veilano, S. 
 
 Ventura, P. 
 
 Vignola, P. A. 
 
 Vilamen, G. 
 
 Vincent Campo, P- 
 Vincent Zuccheri, P. 
 
 Vincent Verochio, P. 
 
 Vincent de Brefle, P, 
 
 Vital, P. 
 
 Vift or Beilin, P. 
 
 Vidlor Scarpaccio, P. 
 
 Vulcan an Engraver, 
 
 X 
 
 ^X^Enocles, A, 
 
 z 
 
 Z Eno a Veronefe, p, 
 Zenodorus, S. 
 
 Zeuxis, p. 
 
 n 
 
 9f 
 
 I6x 
 
 *7 
 
 BS 
 
 rjo iji i3i 
 iz 
 
 lEg 
 
 i 6 
 
 13a 
 
 jya 
 
 9f 
 
 16 $ 
 
 X 06 
 
 __ 
 
 169 xfo 171 17a 
 
 188 
 
 13a 
 
 • ia4 
 
 ibid. 
 119 * 
 
 124 
 
 ibid. 
 
 10 
 
 
 124 
 30 
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