SIIImI MICHAEL B. CORDON RAPHAEL MORGHEN’S ENGRAVED WORKS. Of this Letter-Press Edition Only 250 Copies have been Printed. Digitized by the Internet Archive in 2016 https://archive.org/details/raphaelmorghenseOOhals RAPHAEL MORGHEN’S ENGRAVED WORKS BEING A Descriptive Catalogue OF ALL THE ENGRAVINGS OF THIS MASTER THE INSCRIPTIONS GIVEN AT FULL LENGTH, AND THE VARIATIONS OF THE STATES PRECISELY SET FORTH ACCOMPANIED BY BIOGRAPHICAL AND OTHER NOTES WITH A LIFE OF THE ENGRAVER FREDERIC ROBERT HALSEY HARVARD. A.M.; COL. COLL. LL.B. NEW YORK & LONDON G. P. PUTNAM’S SONS Jiraclurboclur |)r£ss 1885 COPYRIGHT BY FREDERIC ROBERT HALSEY 1885 Press of G. P. Putnam’s Sons New York Go, little booke, God send thee good passage, And specially let this be thy prayere, Unto them all that thee will read or hear, Where thou art wrong, after their help to call, Thee to correct in any part or all.” CONTENTS. PAGE Preface vii Life of Raphael Morghen ...... xiii Catalogue of Plates i Chronological List of Plates 167 Index of Artists 1 73 Alphabetical Index of Subjects 175 Errata 183 PREFACE. Some nine years ago the author of this volume made a rough literal translation into English, for private use only, of the quaintly written and primitively constructed monograph on Raphael Mor- ghen, published by the engraver’s friend and admirer, Niccolo Pal- merini, at Florence in 1824. This was the third — and last — edition, with additions. The first and very incomplete edition was published in 1810, and was reprinted verbatim in the “ Annals of the Fine Arts,” 1819, vol. IV., p. 575 et seq. “ Le Cabinet de 1 ’ Amateur,” Paris, 1842, vol. I., p. 97, et seq., published a French literal trans- lation of the edition of 1824, which is the only translation knowm. Palmerini’s work, however, was soon found to be of small practical utility, as it amounted to little more than a tribute of praise penned by an affectionate friend, and without any attempt at giving a detailed account of the various states. It is, in fact, only valuable as giving a tolerably accurate but imperfect chronological list of the plates. From the brief beginning above mentioned the present vol- ume has slowly developed, and has considerably exceeded in its dimensions the original intention. The chief aim has been to point out the changes .in the successive impressions from every plate, and to transcribe with great care and accuracy the inscrip- tions and the discriminative marks on each — i. e„ to indicate clearly the various “ states.” Perfection in such a task is hardly attain- able, but the author trusts that his earnest endeavor will be vii PREFACE. viii appreciated by those who may find a use for the book. It is unfor- tunate that his readers are so much more likely to be minutely critical rather than numerous ; but all information, and the pointing out of such errors of omission and commission as may be found, will be gratefully received and will help make the work more per- fect. The volume is largely a compilation, and in all such publica- tions typographical and other mistakes are all but inevitable. Since its inception it has been to the writer a labor of love, and has been the happy occupation of many a leisure hour and the occasion of forming several very pleasant and enduring personal associations. Its completion has been accomplished by slow degrees, and sometimes it has been laid aside and untouched for months, even years, at a time. That its object has not been fore- stalled during all this period is still a matter of surprise, and the most likely explanation seems to be that the matter treated of is not probably the fashion of the day ; the interest in line-engraving — at least temporarily — is made to give way to the modern English and French schools of etching. The art public wants broad treat- ments, and especially landscapes and architectural effects. Meis- sonnier must yield to Millet ; Meryon to Haig. The author is deeply indebted for the frequent and valuable assistance so universally and generously afforded him ; and especially are his thanks due to the custodians of the public collections throughout Europe, who have shown most unvarying and patient courtesy, particularly those presiding over the Print Room in the British Museum, Messrs. Louis Fagan, Reid, and Colvin. To Mr. Fagan the writer is indebted for much help in art topics, in which Mr. Fagan possesses such broad and learned information, all of which he has so kindly allowed to be freely used in these pages. Messrs. Frederick Keppel & Co., the printsellers in New York, and also the Messrs. Clement and Jules of the Rue des PREFACE. IX Saints-Peres, Paris, and the Messrs. Grandi, of Milan, have most generously permitted the freest access to their large and valuable stocks, and have besides frequently placed their highly prized experience at the author’s disposal. Thanks are also due to the President and Secretary of the Milan Academy of the Fine Arts, who, with the greatest politeness, allowed the writer the amplest facilities for inspecting the treasures of the Brera Collection. To Mr. Alfred Masked, of the South Kensington Museum, he is under special obligation for the proffer of the unrestricted use of his scholarly and valuable “ Catalogue of the Brassey Collection,” privately printed, and of which frequent advantage — by his per- sonal and polite permission — has been taken in these pages. A few words concerning the three most important collections of Morghen’s prints cannot fail to be interesting to his admirers, and the first to deserve notice is the magnificent one in the British Museum, which is so often referred to in this volume. Its origin and history are thus officially described by Mr. Louis Fagan in his “ Handbook to the Department of Prints and Drawings in the British Museum ” : “ It was first formed by Signor Jacopo Tarma, living in the Palazzo Priuli at Venice, and he was aided by Signor Aloisi Albrizzi, an intimate friend of Morghen, to whom the engraver presented several impressions of his works. After the death of Signor Tarma, his heirs parted with the entire collection to Signor Luigi Bardi, who still further added to it ; and he after- wards sold it to Mr. Colnaghi in 1842, from whom it was purchased for the National Collection in May, 1843, for the sum of £ 1,575.” It is by far the most complete in existence, and is remarkable not only for the variety of the states, but also for the fine con- dition of the various impressions. The collection in the Brera, Milan, is, with a few exceptions, composed of impressions given by the engraver as they were X PREFACE . printed, to his friend Gaetano Poggiali, who afterwards parted with them to Giuseppe Bossi. The latter — himself an engraver — often showed these to his friend, the eminent engraver and rival of Morghen, Giuseppe Longhi, who inspected them carefully. This collection consists of unusually choice and rare impressions, some unique ; but is very incomplete. The present writer, on the occa- sion of a visit to the Brera in 1884, was informed by the custodian that several of the portfolios had not been touched for seven years, and it was added that “ they had never seemed to attract much at- tention and were never inquired after ! ” The Brassey Collection — the third and last which need be mentioned — is thus described in the private catalogue by Mr. Alfred Maskell : “ It belonged to Raphael Morghen himself, and was first disposed of by means of a lottery. It was subsequently purchased from the winner (in whose possession it had remained for many years) by two gentlemen, and presented by them to Sir Thomas and Lady Brassey on the occasion of their marriage [Oct. 9, i860]. The collection is one of the most complete in existence, comprising examples of nearly all the subjects engraved by Raphael Morghen, and numerous trial and unfinished proofs.” It would be impossible to gather together to-day any thing like a complete collection, so many unique impressions having been absorbed into and locked up in the various museums and national collections, from which they seldom emerge. As long as any specified impression of any plate is in private possession there is some chance that it may find its way into circulation, but there is little hope of this after it has once got into the possession of a museum. The arrangement of this Catalogue is in the alphabetical order of the titles of the plates. This is, in a measure, an innovation, but after long deliberation it has been decided upon as probably the most convenient. To facilitate its use very full indexes have PREFACE. xi been prepared, both alphabetical and chronological. The need of these is so vital to all works of this character that the greatest attention has been paid to their perspicuity and completeness. The multiplicity and variety of the titles of many of Morghen’s plates have been recorded, so that in the Alphabetical Index the plate can be found under any recognized name. Throughout the Catalogue itself the portraits have been desig- nated by a with a view to making them more conspicuous and more readily discernible. This plan was suggested by its strik- ingly advantageous use in the Catalogue of the Gray Collection, so admirably compiled by Mr. Louis Thies. In describing the states, it was finally thought best to discard the generally used — and much abused — method of referring to “ artist proofs,” “ proofs before letters,” “ with the artists’ names,” “ open letter proofs,” “ lettres grises',' “ prints,” etc., etc. Besides this nomenclature being too vague for the purposes of such exact descriptions as those here attempted, it is at best confused and liable to misconstruction by reason of the ambiguous meanings attached to the technical words. The effort to avoid obscurity and uncertainty has led to the almost total abolition of abbreviations. Many such could have been introduced with advantage, provided the volume were to be read succinctly ; but abbreviations, however clear to the writer, are apt to prove annoying to those who only consult the volume casually. The only contractions, therefore, which have been used are such as Bvit: Mus. for British Museum ; Brera for the Palazzo Brer a, at Milan ; and F.R.H, denoting the author’s private collection. These, and similar names placed after the description of states, are intended as an indication of where the actual impres- sion described was found, and this it was thought might facilitate the detection and correction of any oversights or errors. The dimensions are now first given in English inches, PREFACE. xii and represent the measurement of the entire plate, not of the engraved portion only, unless where the contrary is specially men- tioned. One subject more and the author — with some reluctance that his pleasant occupation, which has extended over so long a time, is at last brought to a close — ends and publishes his book. There have been many chalcographers — some in America, where it is hoped there will be many more. Such engravers as Wille, Longhi, and Visscher have had their works described in detail, besides such general works as those of Bartsch, Nagler, Andresen, Appell, Sieurin, Duplessis, Dumesnil, and in our own day Baker’s Sharp, and, best of all, J. Chaloner Smith’s British Mezzotinto Portraits. There are others too numerous to mention. Even those enumerated are, as a rule, so carelessly and imperfectly carried out that they are of little practical utility to the collector. They bear no comparison, for instance, with Charles Blanc’s masterly Catalogue of Rembrandt. But from this general — and, it is feared, only too just — condemnation, there should be some exceptions made, notably L. E. Faucheux’s Catalogue Rai- sonne of Ficquet, Savart, and the two Grateloups, and above all, Mr. J. Chaloner Smith’s British Mezzotinto Portraits. The latter is — in spite of its occasional errors and omissions — so superior a work that it practically disarms criticism and betokens such patient, learned, and persevering research that it is not likely to be super- seded in its department. New York, June, 1 885. F.R.H. THE LIFE OF RAPHAEL MORGHEN . Raphael Morghen was born at Portici, a few miles from Naples, on the fourteenth day of June, 1761. A memorial tablet has been placed in one of the quadrangles of the ex-royal palace of this town to mark the locality and the day : II 14 Giugno 1761 Qui nacque Raffaello Morghen Principe Fra i Capiscuola Della Italiana Calcografia. Owing to a mistake made by Palmerini in his first edition, this date has been almost universally misquoted as June 19, 1 758 ; but Palmerini himself corrected this in his third edition. Morghen’s life was most uneventful, and even when described by his friend and unqualified admirer, Niccolo Palmerini, amounts to but little more than a chronological list of the plates he engraved or assisted in engraving. * “ What the origin of the family of this renowned professor was is not accurately known. The first ancestor of whom we have any knowledge is his grandfather, who came from Montpellier, * The quotations throughout this Life, unless where otherwise specified, are from ‘ ‘ Opere d’lntaglio di Raff. Morghen, da Niccolo Palmerini, terza edizione, con aggiunte, Firenze, 1824.” The opinions of this biographer are frequently somewhat too unreservedly laudatory ; but they are mostly given literally. xiii XIV THE LIFE OF RAPHAEL MORGHEN. France, and having married a Genoese lady, settled down in Flor- ence, where he started a lace business near the Square of il Giglio (the Lily). In this capital were born to them Filippo and Giovanni Elia, who both applied themselves to the study of drawing. Gio. Elia’s skill can be recognized from his success in the designs executed by him for the work on Herculaneum, published at Naples, which work also gives a criterion of the knowledge and taste of Filippo in engraving ; for his plates far surpass those of all the others who contributed to the same work. These two brothers having, excelled all competitors in their art, moved to Naples, where Filippo mar- ried the daughter of Francesco Liani, the court painter in the ser- vice of Charles III. “ Our Raphael appeared as the first-fruit of this happy union, on the 14th of June, 1761.* His father’s choice of a name proved a wise one, for if, on the one hand, the name of Raphael Sanzio is pronounced with veneration and praise whenever painting is mentioned, for having reached, in this art, a degree of perfec- tion which seems almost unattainable ; on the other hand, the name of Raphael Morghen excites respect and admiration in every one who delights in engraving and the display of intel- ligence in carrying his art — especially as regards its mechanical skill — to the highest excellence. “ He was from boyhood trained in the study of drawing and de- voted himself to it with great assiduity, influenced and directed by both his father, Filippo, and his uncle, Giovanni Elia. At an early age he showed a marked talent for and inclination toward landscapes, and worked in this branch so industriously in crayon and etching that he soon acquired sufficient proficiency to paint sketches in water-colors and even in oils. He soon abandoned these pursuits, however, to devote himself exclusively to engraving.” * His brother Guglielmo, who assisted Raphael in the engraving of several plates, became Instructor in Engraving in the Royal Academy of Fine Arts of Naples, in which office he died at the beginning of this century. THE LIFE OF RAPHAEL MORGHEN. xv In his eighteenth year “ his fond father perceiving the real genius of his son, and mistrusting his own ability to provide him with the best advantages for his advancement, determined to place him under the instruction of Giovanni Volpato, who then justly enjoyed the reputation of the most accomplished engraver in Italy, convinced that in so doing he was acting in the true interest of his son’s progress.” In 1778, therefore, Raphael set out for “that great capital, the actual home and habitation of the fine arts and also of those pursuing their study.” On his arrival he was welcomed by Vol- pato with the most kindly reception, and the latter was not slow in forming the highest estimate of his young pupil’s talents. Mor- ghen’s gentle and pleasing disposition won for him at once the warm personal friendship of his teacher, which remained unbroken till they were separated by the latter’s death, which occurred in 1802. The portrait of Volpato engraved in 1800 is unmistakably the labor of love, tenderly and carefully executed. In 1781 the two plates after Raphael Sanzio, Poetry and Theology, were engraved by Morghen and published by Volpato, whose satis- faction not only with his pupil’s progress but also with his high moral character was so great that he joyfully gave him his daughter Domenica in marriage. In speaking of the Jurisprudence, commenced in this same year, his admiring pupil and biographer quaintly remarks : “ In the very year of his marriage he set to work on the Jurisprudence, a plate terminated with such activity, zeal, and intelligence that by it he plainly manifested to his contemporaries how a man earnestly interested in his art would not be tempted to neglect its energetic pursuit no matter by how happy a combination of circumstances he might be surrounded.” The plate, as soon as it appeared, was loudly praised, and it still is a very highly esteemed and favorite engraving. In the next year, 1782, this was followed by the Messa di XVI THE LIFE OF RAPHAEL MORGHEN. Bolsena, also published by Volpato. “No sooner did these two plates appear, than all experts and discriminating judges hastened to greet in our Raphael the artist who had succeeded in attaining the highest eminence in the engraver’s art. It may be confidently asserted that at this stage he had surpassed the skill of his master ; for in accuracy of drawing, conscientious reproduction of the original, and the brilliancy and grandeur of their execu- tion, even the seven Lunettes by Volpato fall short of these two by Morghen. But it must not be forgotten that the develop- ment and training of his talents were entirely due to Volpato, and without these he could never have accomplished such a splendid pre-eminence in his art, which, together with all great or small gifts, spring from Providence.” In 1784 he entered into partnership with his father-in-law, and for the next six years he worked continuously, the number and im- portance of the plates furnishing abundant evidence of his wonderful industry and untiring application. He produced during this period some of his best work, such as the Parnassus, Diana and her Nymphs, the portrait of Filangieri, St. John in the Wilderness, Rubens’ Holy Family, Theseus, the Madonna di Fries, Aurora, his own portrait — which is properly only a sketch in dry-point, — Lot and his Daughters, the Repose in Egypt, the Seasons, Angelica and Medoro, and the portrait of Lady Hamilton as the Comic Muse, besides a large number of vignettes and book illustrations. In executing these latter he yielded as usual to the solicitation of his friends, and squandered the time he should have spent on more important work. Of the plates of this period probably the best known is the Aurora, and there is no work of Morghen more deservedly admired. The subject is pleas- ing and decorative, and the treatment throughout is most skilfully harmonious and effective. In all plates of this kind, however, the lines are very delicately cut and soon show signs of wear — so graphi- THE LIFE OF RAPHAEL MORGHEN. XVII cally expressed by the French fatigue. This fact should never be lost sight of in estimating impressions from Morghen’s plates. All such as are interested should not fail, before passing judg- ment, to make a comparison between an early and a late state of any of this engraver’s productions, which cannot fail forcibly to illustrate what is here meant. No more striking instance can be selected, perhaps, than the Aurora in its first or even second state, when contrasted with a Calcografia Camerale impression. In the latter there is hardly a line of the original left, and — though the effect is good and it is still valuable in a decorative sense — the plate as engraved by Morghen has ceased to exist. In all similarly retouched plates there is no doubt great merit ; but the original engraver should not share the praise or abuse to which they are liable. In 1790, Morghen paid a short visit to his father and his family at Naples, and as a memento of the occasion he engraved Filippo’s portrait, after a drawing made by his brother Guglielmo. The dry- point in which this was executed seems to have been a favorite style of engraving with Raphael ; and in the many examples he has left he has probably given the best evidence of his individual and personal artistic talent. That is to say, he worked from nature or from his own drawing, and appears separated from the restraints of the designer, a personage to whom most of his more obvious faults are to be traced. No engraver’s plates have been subjected to more frequent or thorough retouchings than Morghen’s. So frequently is this the case that it is safe to say he is more exten- sively known to the general public through his retouched plates than in any other way. And no greater compliment could be paid him, indiscriminating buyers of prints having, as a rule, meant to pay homage to his art when they bought what they thought was his, and thus showed their admiration for his skill even when it ap- peared in its deteriorated form. xviii THE LIFE OF RAPHAEL MORGHEN. On his return to Rome, he began the large plate of the Tomb of Pope Clement XIII. When the engraving was nearly finished, the monument was put in its place in St. Peter’s, and it was at once evident that the light and shade so altered the effect that the entire plate had to be gone over again — a very tedious process. It remains a matter of regret that so much painstaking application was devoted to so uninteresting a subject, and to one which can never hope to secure any popular favor, in spite of its strikingly skilful handling in many particulars, especially in the rendition of the marbles. In March of 1792, the most important and no doubt the most famous portrait ever engraved by Morghen was begun, and it was published before the end of the year ; though so short a time for its accomplishment as ten months seems almost incredible to any one who can appreciate the laborious minuteness and brilliancy of the execution. “ From the date of the Aurora to this period, his [Morghen’s] productions are in a grand and sublime style, and especially can this be said of the Aurora, the Repose in Egypt, the Seasons, and the Horse. In all these, besides the faithful repro- duction of the manner of the respective painters,* — the first duty of a skilful engraver, — there is a surprising cleverness observable in the management of the graver, a fine delicacy in the treatment of the fleshes, an intelligent handling of the folds of the draperies, a brilliancy in the metals, an infinite taste in the landscapes and at- mosphere. Each hair on the horse seems to be reproduced from nature with a minuteness and realistic effect never before achieved, and which would be practically impossible in painting, the truthful- ness of the engraving thus making amends, so to speak, for the absence of color.” The last labor accomplished at Rome was the finishing up of the Nativity, in 1792. In June of this year Raphael was invited * This sounds almost satirical respecting the Repose in Egypt and the Seasons ! THE LIFE OF RAPHAEL MORGHEN. xix by the king to move to Naples and reside there with an annual pension of six hundred ducats ; but on condition that he should only engrave such pictures in the Capo di Monte Gallery as the directors might choose, the subject and its treatment to be under their control. For each plate so engraved he was to receive a reasonable additional remuneration. Fortunately before this offer was accepted another was received from the Grand Duke of Tuscany, Ferdinando III., Jan- uary 9, 1793. This was an invitation to take up his residence at Florence, where he was assured an annual pension of four hundred scudi, a residence, rent free, in whatever part of the city he might prefer, and full permission to engrave for his own account what- ever pictures suited him best ; the only condition imposed being that he should personally preside over an open School of Engrav- ing. This proposal was cheerfully accepted, and in May of the same year Raphael removed to Florence, where, with but few and brief exceptions, he remained during the rest of his life. He had brought with him the outline etchings of the two plates of the Madonna della Seggiola, and he at once set to work on the larger one, which he soon finished, and dedicated to his patron the Mar- quis Manfredini, in token of gratitude for that nobleman’s impor- tant share in influencing his removal to Florence. It is to be deplored that Raphael’s kind-heartedness and easy temper made him the victim of his friends during the period of his greatest achievements. He was ever ready to engrave for them a card, a vignette, or any other trifling plate out of sheer good-nature ; thus losing valuable time which should have been bestowed on work of a higher order. So great was his assiduity, however, that much that is good and lasting was also accomplished. In 1795 he published the beautiful Madonna del Sacco, and then began at once on the Transfiguration after a drawing by dell’ Era. This he etched and worked on with the burin for nearly XX THE LIFE OF RAPHAEL MORGHEN. a year, when he decided to pay a visit to Rome and compare the outline etching with the original. He at once perceived the weak- ness of the drawing he had been using and its unreliability as a transcript of the original. Luckily Volpato, who had intended himself to engrave the same picture, possessed a drawing made meanwhile by Tofanelli, who had had an excellent opportunity to study it closely on the occasion of the original being taken down from its position in San Pietro in Montorio to be removed to Paris. This Volpato handed over to Morghen, who kept at work on the new plate for several years, interrupted frequently by trivial plates engraved for his friends as well as by several more important ones. About this time his character became clouded with a gloomy and morbid distrust of any cheerful aspect of life or art, and this mor- bidness led him, it is said, to destroy the plate and all but one impression of Venus coming from the Bath, and shortly after all the impressions he could secure of Angelica e Medoro, on the score of their immodesty. In 1800, after nearly three years’ labor, the Last Supper was published, and at once assured to the artist the position of fore- most engraver of his time and the author of a work so preemi- nent that it may be unhesitatingly called the masterpiece of his art. Its only rival is to be found in his own subsequent plate of the Transfiguration. “ All those skilled in the art agree that this sublime work exhibits a successful combination of qualities such that the possession of one alone of them would have sufficed to render immortal the name of any worker in this beautiful and difficult art. In short, if a Wille has made himself famous by the glitter of his metals and the lustre of his draperies ; a Masson by the delicate tracery of his hair ; if a Strange has become illustrious by his taste in the treatment of fleshes ; if, finally, an Edelinck has gained the reputation of the most accomplished master in the discrimi- nating distribution of the lines and by the general effect so much THE LIFE OF RAPHAEL MORGHEN. xxi admired in his plates, what shall we say of Raphael Morghen, who has managed to combine in one plate all these marvellous preroga- tives ? ” He proceeded with minor efforts during the next eleven years ; but working meanwhile from time to time on the second plate of the Transfiguration. Among the portraits executed in this interval the more important are those of Diodato Turchi, Giovanni Volpato, Giorgio Jonas Mayer, Bindo Altoviti, Dante, Petrarca, Tasso, Ariosto, and Napoleon. Of other subjects, the better known are the Madonna del Caravaggio, Murillo’s Penitent Magdalen, La Madonna di Caracci, the head of the Fornarina (on silver), and the Ecce Homo of Leonardo. These eleven years were spent in his usual devotion to his art. But in 1802 his diligence was checked by a severe attack of illness. He was, however, cured of this before the end of the year by the kind offices and the skill of his friend, Dr. Attilio Zuccagni, whose portrait he engraved and pre- sented to him on his recovery. At last, in the year i8n,the long-delayed Transfiguration was published. Its appearance was hailed at once with the accla- mations of the most unlimited encomium, many claiming that it excelled even the Last Supper. It seldom occurs that the product of a great talent receives such immediate and unstinted recognition. Morghen was decorated by, and made a member of, all the promi- nent artistic societies, not only of his native land, but of all Europe, and letters and messages of congratulation poured in on him from every side. His gratification was complete, yet his character remained unchanged, and his unassuming modesty con- tinued to adorn his retiring and industrious life to the last. The news of his fame had reached the ears of Napoleon, and Morghen was summoned to Paris with a view to having him engrave some of the pictures in which the painters of the school of the French Empire were so busily engaged in depicting the XXII THE LIFE OF RAPHAEL MORGHEN. glories of the great Emperor. This was the first journey ever made by Morghen beyond the confines of his native Italy. He left Florence on the first of March, 1812, but found so little delight in the interruption of his quiet life that he only remained away a few weeks and was back again by the second of June of the same year. The picture which had been chosen for reproduction was David’s Napoleon crossing the St. Bernard Pass with his army, and in the following September Morghen was obliged to make another trip to Paris to draw the etching and study the original. On September 9th, therefore, he set out for the second time to leave Italy. His stay on this occasion, though longer than the first, was still brief, as he returned again to his beloved Florence in April of the next year, 1813, bringing his scarcely begun plate with him. This undertaking seems never to have aroused his in- terest, and on Napoleon’s downfall it was, at the request of the French Government, forwarded to Paris in a very unfinished state. It has since been completed by another hand, and these impres- sions are now for sale at the Chalcographie du Louvre. No more striking illustration of the even tenor of Morghen’s life can be cited than this fact, that he never made a journey out- side of Italy except on the two occasions just mentioned. Indeed, he seldom left the three cities in which he at different periods resided, viz., Naples, Rome, and Florence, for more than a hasty excursion into their immediate vicinity. And the story of the remaining twenty years of his life is but a recital of the plates engraved by him or which he directed. The more noticeable of these are the Madonna del Cardellino — one of the most successful efforts to reproduce the sentiment and tone of the original — ; the portrait of the so-called Fornarina, both from the pictures in the Tribune of the Uffizi ; La Madonna del Latte ; the Three Ages ; II Morbetto, unfortunately left a slight sketch ; and La Ma- donna del Granduca. Several of the larger portraits are also of THE LIFE OF RAPHAEL MORGHEN. xxiii this period, viz., from 1813 to 1823, such as Trivulzio, Volta, da Vinci, Madonna Laura, Guicciardini, Lorenzo de’ Medici, Goldoni, Boccaccio, and Dr. Pittaro ; besides a considerable number of heads in his favorite dry-point. In 1827 appeared the Poetry after Carlo Dolci, which is even now one of the most popular of Morghen’s plates, and one which, in spite of his advanced years — for he was then sixty-five, — is care- fully and exquisitely finished throughout. On the lower margin of this final important effort the engraver has traced the following touching farewell to his art : Hie labor extremus validus compesco senilem , Peccet ne posthac in mea damna manum. It is said that he added a few lines to the small plate of the Madonna della Seggiola about this time, but they were unimpor- tant, and the plate was in reality the work of his pupil Calendi. In 1829 he gave the finishing touches to a portrait of Michel Angelo, and began the Madonna di Sassoferrato. Though sometimes temporarily prevented by the advance of old age, Morghen continued to watch over and direct his school and his favorite pupils till his death, April 8, 1833. He was married three times, and his last wife, Aldelia de’ Carlesi, of a noble family of Pistoga, survived him. He was buried in the Church of Santa Croce, Florence, and on his tomb was placed the following inscription : In questa sacra pace riposa Raffaello di Filippo Morghezz nella squisitezza dell’ intaglio in rame facilmente principe. La ragione del taglioy la bonta del disegno , l intelligenza dell' effetto, l ' armonia generale , e un fare prezioso , e una sua propria trasparenza , ama- bilita e soavita gli acquistano il titolo di divino. La Transfigura- zione , la Cena, il Cavallo, monumenti essimj del suo merito, ai poster i V eccelenza dell' italiana incisione attesterano. Artista europeo pos - XXIV THE LIFE OF RAPHAEL MORGHEN. tosi coll', altezza del suo genio nel rango de' piit sublimi, di nuaua immense/, luce la patria deccoro. Canova che in quanto all' arte diede nome al suo secolo, lo accetterra in questa gloria compagno. In 1854 this was removed, and in its place the present monu- ment, in the right transept of Santa Croce, was erected. This tomb represents a sarcophagus on which is the life-size recumbent figure of Raphael Morghen beautifully carved in white Carrara marble by O. Fantacchiotti. Below is this inscription : A Raffaello Morghen principe degl' incisori dell' eta sua N a Napoli il XIX Giu. MDCCLVIII* M. in Firenze gli VIII Apr. MDCCCXXXIII i discepoli e alctmi ammiratori compiendo un voto interrotto dai tempi infelici per le arti belle poserno nel MDCCCLIV Q. M. A. Testimonianza d' affetto non a com- mendazione del nome scritto gici dalla storia fra i piu grandi del secolo. These epitaphs show the enthusiastic esteem and affection in which he was held by his countrymen. One more quotation should be added. Palmerini, his devoted friend, admirer, and pupil, writes as follows in April of 1809, at Florence. “ Our pro- fessor’s, Raffaelo Morghen’s, character is gentle, very religious, most charitable, and he has always sought to avoid all that might distract him from his art. Notwithstanding his retiring nature he has, whenever he has been present, met with the greatest consid- eration in all gatherings of artistic celebrities, and has been the recipient of diplomas from a number of famous academies, such as the Eugenean, that of Napoleon, the Italian of Science, Letters, and Art, and that of Siena ; he is a member of the National Insti- tute of France and a Deputy of the Art Association, one of the three divisions of the Florentine Academy. His character is highly esteemed by all who know him, and no one can fail to have observed with what eagerness the productions of his marvellous * This date should be June 14, 1761, as before stated. THE LIFE OF RAPHAEL MORGHEN. XXV genius have been sought after not alone in Italy, but throughout Europe and even in America. “ By his happy marriage [with Domenica Volpato] he has had fourteen children, of whom only five survive, three boys and two girls.* At his present age of fifty- one [forty-eight] he continues to enjoy excellent health together with that tranquillity of mind which has never forsaken him in spite of the various disturb- ances and vicissitudes to which all humun existence is liable. His unfailing resource has ever been in the pursuit of his studies, which now as indeed from his early youth have formed his delight ; and so continually has his time been thus employed that he has never, so to speak, known what it was to be without occupation. “ His success both in execution and in teaching has been in- contestably great. He has known how to treat different objects in different manners, adapting to each in turn the appropriate lin- ing ; he has followed the distinctive characteristics of each painter, has preserved the correctness in the drawing, and has given due force to the effects of light and shade, a fortunate combination which is seldom met with and which cannot fail to secure a lasting fame to his works.” It is only just that to these panegyrics should be added the following more unbiassed criticism and comment on them, by a great German authority, Dr. G. K. Nagler : “In such words is Morghen extolled both as man and artist, and from them is learned how he was judged by his compatriots. But he did not lack the most sincere praise in foreign lands. Though we must allow to Volpato the merit of having been the first of his countrymen to strive to produce an harmonious and picturesque effect, still we are bound to accord to Morghen the honor of having carried this quality to a pitch hitherto unexcelled. His style is soft, carefully executed in all parts, and brilliant, but * The younger of these two died in 1821. XXVI THE LIFE OF RAPHAEL MORGHEN. without the evidence of any striking boldness. In the lining and shading there is a quiet grace which imparts a pleasing aspect. His efforts aimed at the still higher end of reproducing character and expression, perfection of form in general, and he further endeavored by the discriminating application of light and shade to denote the effects of local coloring. He penetrated into the spirit and style of his models and reproduced a true and faithful trans- cript of them. Morghen is the head of a new school, which he founded, which still continues in Italy, and the influence of which is distinctly to be traced in the better class of the productions of foreign artists.” ALPHABETICAL CATALOGUE OF PLATES . I. Adoration of the Magi , The. N. Poussin pinx Dimensions, i8f x 13-5^. This and the portrait of Joan of Aragon, No. 12, are the only plates in the Musee Royal or Musee Frangais on which Raphael Morghen worked. “The original, No. 29 in the Dulwich Gallery, is a repetition, or more probably an ancient copy, of No. 423 in the Louvre, which latter is larger (5 ft. \\ in. high by 5 ft. 8-| in. wide). The original was painted by Poussin in 1653 for M. de Mauroy. Mrs. Jameson states that the picture in the Dulwich Gallery is probably the one sold in Sir Joshua Reynolds’s collection in 1795.” — Louis Fagan. Raphael Morghen’s name does not occur on this plate, and he probably had little to do with its engraving. In the left foreground St. Joseph behind the Virgin, who holds the nude figure of the Child on her lap. Kneeling before these are the three Magi, behind whom, in the right foreground, are five of their attendants. A standing figure beyond the Magi holds a finger of the right hand to his lips. In the middle ground a temple, in the course of construction, with two pillars, The background a landscape, with a group of attendants, camels, and horses on the right. For a pleasing and exhaustive treatment of the subject of the 2 CATALOGUE OF PLATES. original, see Mrs. Jameson, “ Legends of the Madonna,” London, 1 852, pp. 227 et seq. I. Before all letters. Signed in pencil : Pussino dipinse — Antonio Morghen incise in Firenze. Brassey coll., Masked. II. With the artists’ names. In shaded script: Peint par N. Poussin. — DessinC par Duchemin — Gravd h Florence par Ant. Morghen. F.R.H. 2. Aesculapius and Hygeia. Dimensions, 15^ x 15^. Engraved at Florence, i8o5, after the original ivory diptych then in the possession of the Padre Felice Caronni Barnabita. It is now in the Fejervary collection, in the Mayer Museum, Liverpool, and is described in detail by Pulszky, “ Fejerv.,” Iv., p. 35, and by Masked, “ Ivories, Ancient and Mediaeval,” pp. 166, 167. The original plate used for the engraving was of silver, and, after a limited number of impressions had been struck from it, was presented to the Princess of Vintimiglia, Duchess of Alba. It is now owned by Luigi Bardi, Florence. Trial proof. With some shading in the background ; but the figures etched in outline only. Brit: Mus. I. Before all letters. Brera. II. At right lower corner, in shaded and engraved script : Raffaello Morghen inc: in Firenze. Brit: Mus. III. Under the tablet representing Hygeia, in shaded script: Raffaello Morghen inc: in Firenze Under both tablets, in shaded uncials: Exc M .° Dom n .° Michaeli—Comiti a Witzai The three following lines in shaded script : Domino in Hedervar , Losing , Yreg, &c. — Sac. Cces. Majestatis Cubiculario Antiquissimum ex ebore Diptychon — Aviti in Hungaria Musei Ornamento Ab ejusdem Cimeliarcha Fel. Caronno — B. Ltalo adquisitmn, ac typis illustratum. In small, shaded italic capitals, under the arms : Raphael Mor- ghen D.D.D. With the arms dividing the inscription. Brit: Mus. • F.R.H. AGES, LES TROIS. 3 J. Ages, LeS Tvois (The Three Ages). Gerard pinx. Dimensions, 24J x 2of . Engraved at Florence, 1821, from a picture then in the pos- session of the royal family of Naples. The plate was engraved to order for Gerard, the painter of the original, but he was never satisfied with it, and soon sold it to Messrs. Chaillou, Potrelle, & C ie -, Paris. Trial proof. With some work on the figures, especially on the cloak and hat of the youth. Brassey coll., Maskell. do The landscape, except the sky, uniformly but slighty engraved. The figures outlined with slight burin marks in some parts. Brit: Mus. do In same state as preceding. This proof was sent to Gerard for his suggestions, and by the following remarks, written by him on the margins with pen and ink, it is apparent that he did not hesitate to avail himself of the opportunity. In the top margin he has written : Ces branches , indicating by two lines the topmost branches visible in the two large trees standing together, sont beaucoup trop grosses pour leur places, et elles doivent en outre paraitre a peine. On the left margin is written : En ttinoignant ma satis- faction a Monsieur le Chevalier Morghen je lui ai deja fait observer, dans ma lettre, que les teies et les nuds avoient perdus un peu de caractlre dans le trait. J' invite M r - le ChE Morghen a vouloir bien donner quelques soins a cette partie essentielle. Cepandant comme les formes interieures sont peu artitis, et que dans les ombres les contours ne sont en general qu approcMs, il est difficile de juger quel parti une main trls habile peut tirer de cette preparation. Les beaux ouvrages de M r . Morghen doivent faire penser qu'elle est trls favorable a la perfection. '* La bouche du vieillard remonte un peu du cotd de l' ombre, et la narine du mime cote est un peu trop forte. * Le pouce de la main droite de la mime figure a tie supprimd. * On a supprime aussi un pli de draperie sur le derrilre de V enfant. J’approuve ce changement. Je reco7nmande particulilrmetit le caractlre des tetes, comme plus important dans ce sujet , peutitre, que dans toute autre. Le profile de la tite du jeune homme 4 CATALOGUE OF PLATES. paroit ( autant qu'on puisse en juger maintenani) manquer un peu de grandiose et de noblesse. Celle de la femme ne saurait fare assez belle , tendre et modeste, et les traits du vieillard assez vdndrables , et son expres- sion trop religieuse et reconnaissante. Les nuds (la tfae exceptde') de la figure du jeune homme, feroient craindre un peu de lourdeur , mais encore une fiois, ce ne sont ici que de simples avertisse- ments, la nature de cette preparation ne permettant pas de rendre ces observations plus positives. Brit: Mus. [This inscription is copied with the faults of spelling and accentuation.] I. Before all letters. The impression of this state in the British Museum is signed in pencil, in lower right corner: Raff. Morghen incise ; underneath, in pencil, in Morghen’s handwriting: Prova donata dell' Autore all' Amico e mio Starnpatore Sig r . Luigi Bardi. II. In shaded, engraved script : Peint par Francois Girard — Grave par Raphael Morghen Brit: Mus., on India, with black stamp “ P. L.” in lower right corner. III. In shaded and engraved script : Peint par Franqois Gerard — Grave par Raphael Morghen In open, engraved uncial capitals : Les TrOIS AGES. In shaded small script: Imprime par Chardon. — Depose au B ec tP des Estampes. — chez Chaillou Potrelle , M d g d' Estampes, Rue St. Honor I, Nz 14.2. Brit: Mus.; F.R.H., with stamp “PL” in lower right corner. IV. With the arms. In shaded script : Peint par Gerard — Grave par Raphael Morghen Quand l' homme de la vie entreprend le voyage La femme avec douceur guide ses premiers pas : Elle sait le charmer dans la fougue de I'age Et le console encore aux portes du trepas. In flourished, shaded, uncial capitals, between these verses : Les TrOIS Ages. In small, shaded script: Imprime par Chardon — A Paris , chez Chaillou Potrelle , M d f d' Estampes, Rue S{. Honore', Nz 142. V. Same as IV. ; but, instead of Imprime par Chardon, etc., is substi- tuted in minute, shaded letters : Imp. F. Lamoureux, rue de ALESSANDRI, GIOVANNI DEGLI. 5 Laclpede, 38, Paris. In larger letters : Ecrit par P. Picquet. In small, shaded script: DIpost au B e t w des Estampes. Keppel. 4% Alba , Portrait of the Duchess of, Princess of Vintimiglia. Dimensions, iof x 7^. Engraved at Florence, 1822, for Bardi & Co. A bust, full face, on a blank background. Trial proof. The outline etching. F.R.H. I. Before all letters. Brit: Mus., on India and plain ; F.R.H. II. Close under the bust, in faintly traced, minute script : R. Morghen s. Brit: Mus., on India and plain ; F.R.H. III. R. Morghen s., as in II.; then, in traced script, beneath: La Rose de Palerme. Brit: Mus. IV. R. Morghen s., as before. The title of III. erased, and in its stead, in small, traced script : Son Excellence Df Rosaglia Ventimiglia e Moncada Duchesse de Berwick et d' Alb e &“ &? Brit: Mus. Florence 1822. 5% Alessandri , Giovanni degli , Director of the Florentine Gallery, and President of the Florence Academy of Fine Arts. Dimensions, Ilf x 9^. A bust, in profile, turned to the left. Engraved at Florence, 1817, in dry-point on a blank background. I. Before all letters. Brit: Mus. II. In skeleton script : A Giovanni degli Alessandri delle Liber ali Arti promotore illuminato , e magnanimo Brit: Mus. ; F.R.H. III. Same inscription as in preceding, but all the letters shaded and engraved ; and, in addition, also in shaded and engraved letters : Raffaello Morghen in attestato d' ossequio, D.D.D. Brit: Mus. ; F.R.H. ; Grandi. 6 CATALOGUE OF PLATES. 6 M* Alfieri , Count Vittoiio. F. x. Fabre pinx. Dimensions, x 6. Half length, face looking to the right, in an oval. Engraved at Florence, 1 793 — from the original now in the Uffizi — for the edition of his Works, 6 vols., 8vo, begun to be published at Leghorn, and finished at Lausanne, 1795. Alfieri was born at Asti, in Piedmont, January 17, 1749, and died at Florence, October 8, 1803. “Alfieri etait dune taille haute et noble, d’une figure distinguee, mais peu imposante, quoique son air fut habituellement dedaigneux et hautain ; son front etait grand et ouvert ; ses cheveux epais et bien plantes, mais roux ; ses jambes longues et maigres.” — Ginguene, “ Hist, litteraire de l’ltalie.” Alfieri’s life is full of interest. See his “ Autobiography ” ; Mme. de Stael, in “ Corinne, ou l’ltalie ” ; “ Vita di Vittorio Alfieri,” by Centofanti, Florence, 1842 ; Tiraboschi, “ Storia della letteratura italiana,” Milan, 1822-6. Trial proof. Lacking the pointing only. Brit: Mus., in lower left corner, in pen and ink, Dottor Alfieri. I. Before all letters. Brera. II. In engraved script : F: X: Fabre pinxit Florentice — Raph: Morghen Sculp: 1793. Brit: Mus. ; F.R.H. III. Same as II., with Vittorio Alfieri da Asti added, in open uncial capitals. Brit: Mus. ; Brera. ; F.R.H. y.W* The Same. Ditto pinx. Raph. Morghen direxit. From the same original as the preceding, No. 6. Dimensions, 5x4. A rectangle showing |- of the figure ; engraved with great minuteness : F. X. Fabre dip. — Pietro Ermini dis — Giov n ° Contini inc. Raff 0 , Morghen diresse In open, uncial capitals, Vittorio Alfieri In shaded script, Presso Molini Landi e C 0 ,. Brit: Mus. 8 M* The Same. Ditto pinx. Raph. Morghen direxit. Dimensions, 14J x gf. Engraved at Florence, 1806, by Galgano Cipriani, under Morghen’s direction, -§• face looking to the left. •§- figure seated ALGAROTTI, ILLUSTRATIONS TO. 7 in a chair, the right hand and arm resting on the arm of the chair. On the middle finger is a ring, with a head of Dante in intaglio. A cloak falls over the left shoulder, and is gathered up by the left hand. The poet is represented as much older than in No. 7, ante. The hair is particularly well executed. The last two states of this plate are as follows : I. In traced script : F c ? Saverio Fabre dip: dal vero — Galgano Cipriani incise dalla pittura — Rajfaello Morghen direx In large, plain, open, uncial capitals : VITTORIO ALFIERI. In minute, faintly printed italics : Publicato in Firenze net 1806. F.R.H. II. Same as preceding ; but with VITTORIO ALFIERI re-engraved higher and in smaller, shaded, uncial capitals. In addition, the following dedication, in unshaded script : A Sua Altezza La Sig. Principessa — Luisa di St other g Contessa d' Albany There is also added : Luigi Bardi impresse and D. e D. Galgano Cipriani With the arms. Keppel. This plate was engraved for the Princess to whom it is dedi- cated, and between whom and the poet there existed a most romantic affection. She was the much-abused wife of that unfortunate Stuart, the Chevalier de St. Georges. There is also another plate, very beautifully engraved by Can- tini, from the same original, for the edition of the “Tragedie,” Firenze, Ciardetti, 1820, 6 vols., large 8vo, further illustrated with a plate for each play. In shaded, engraved script : F. X. Fabre dip: — Luigi Scotti dis: — Giovac 0 . Cantini inc: R. Morghen dires: In shaded, uncial capitals : VITTORIO ALFIERI In small, lightly engraved script, at lower margin of plate : In Firenze appo: Guglielmo Piatti Editore dell' Opere Postume F.R.H. gM* Algarotti , Count Francesco , 12 Illustra- tions to the Works of. Algarotti was born at Venice, December 1 1, 1712, and died at Pisa, May 23, 1764- He was a man of most various accomplish- CATALOGUE OF PLATES. merits, and first attracted attention by his attempt to popularize Isaac Newton’s works in Italian. He succeeded in painting and engraving, and was the friend of Frederick the Great and of many men of eminence of his time. His portrait, tomb, and the ten other vignettes described below were engraved at Rome, 1790, for the edition of his works published by Palese, at Venice, 1 79 1-4, under the direction of Dr. Aglietti, 17 vols., small 8vo. There are a number of head-pieces and tail-pieces in these volumes, some designed by Algarotti himself, and engraved (or etched) by Novelli and Bianconi. 1. The Portrait. \ length ; face turned to the left ; wearing a wig and a velvet coat trimmed with fur. I. Before all letters. The outline of the tablet beneath is etched, but without any shading. The line around the rectangle is only traced, not shaded. Some marks of the graver in the margin, especially on the right. Brera. II. In shaded, uncial capitals on the tablet: FRANCISCUS ALGAROTTUS Close under the tablet, in shaded script : Liotard pinxit — Mingardi del. — Raph. M or ghen sculp. To face title-page, vol. I. Brit: Mus. ; Brera; F.R.H. Dimensions, 7^ x 5§ . 2. The arms of Frederick II, of Prussia, viz. : a single-headed eagle with the monogram “ FR ” on its breast, surmounted by a crown. The escutcheon is supported by a female figure in armor on the left, and by a companion male figure on the right. Below, in shaded script : Mingardi delin. — Raph. Morghen sculp. Head- piece to dedication, vol. I. Brit: Mus. ; Brera ; F.R.H. The dimensions of this, and the 10 vignettes following, are 3| x if. j. Profile medallion head of Algarotti. In shaded Greek characters : AATAPPITTOS In shaded script : Mingardi delin. — Raph. Morghen sculp. Head-piece to p. I, vol. I. Brit: Mus. ; Brera ; F.R.H. 4. The Tomb in the Campo Santo, Pisa , erected by Frederick the Great. ALGAROTTI, ILLUSTRATIONS TO. 9 In shaded capitals on a tablet over the niche : ALGAROTTO OVIDII AEMVLO NEW TONI DISCIPVLO FRIDERICVS MAGNVS On a tablet under the medallion profile at the top of the niche, in minute, shaded capitals: ALGAROTTVS NON OMNI S * On the tablet under the sarcophagus, in minute, shaded capitals: ANNO DOMINI MDCCLXIIII On the large tablet below, in large, shaded, uncial capitals : PI SIS IN CCEME TERIO. In small italics, close to margin of lower tablet: C. Bianconi del. — Raph. Morghen s. To face p. cxxxv., vol. I. Brit: Mus. ; Brera; F.R.H. 5. A vase with a relief representing a funeral procession. Algarottus invenit — Raph. Morghen sculp.; p. 196, vol. I.; and is repeated, p. 144, vol. VIII. Brit: Mus. ; Brera ; F.R.H. 6 . Portrait-head of Isaac Newton in a circular medallion. Around the head : Isaacus Newtonus. Around the outside of the medallion, in shaded script : Mingardi delin. — Raph. Mor- ghen sculp. Head-piece to p. 11, vol. II. Brit: Mus.; Brera; F.R.H. 7. A male figure seated ; on his left, an erect female figure drawing on a wall the outline of the seated figure. A lighted lamp hangs from the ceiling, so as to throw the silhouette of the man on the wall. On his right, leaning against a table, is a cupid. Mingardi delin — Raph. Morghen scul. Head-piece to p. 59, vol. III. Brit: Mus. ; Brera; F.R.H. 8 . A musical trophy. Mingardi delin — Raph. Morghen scul. Head-piece to p. 313, vol. III. Brit: Mus. ; Brera ; F.R.H. Referring to the Non omnis moriar, Horace’s Odes, Book III., Ode 30. IO CA TALOGUE OF PLA TES. p. Head and bust of Peter the Great in a circular medallion. On the left is a winged figure flying, and holding a lighted torch in her right hand. On the right is a semi-recumbent female figure, above whom a bird soars. Around the head : Petr vs Magnvs Underneath : Mingardi delin*. — Raph. Morghen sculp* Page 19, vol. VI. Brit: Mus. ; Brera ; F.R.H. 10. A trophy of the symbols of architecture, music , and painting hung on garlands of flowers. Mingardi delin. — Raph. Morghen sculp. Page 3, vol. VII., and repeated page 287, vol. XII. Brit: Mus. ; Brera ; F.R.H. 11. Two horns tied together with a long ribbon, and with a garland of flowers hanging from each end. Mingardi del. — Raph. Morghen sculp. Page 3, vol. XI. Brit: Mus. ; Brera ; F.R.H. 12. Three medallions overlapping each other, and each show- ing a profile head. Around the head in the left medallion : M.L.Crassvs ; around the centre medallion: Ivl. Cesar.; around the medallion on the right : C.M.Pompejvs. Under- neath : Mingardi delin. — Raph. Morghen sculp. Page 149, vol. XVII. Brit: Mus. ; Brera ; F.R.H. The British Museum and Brera have complete series of these vignettes struck off without the text. The F.R.H. impressions are with the text. loM' Altoviti, Bindo. Raff. Sanzio pinx. Dimensions, 12 x 8f. Engraved at Florence, 1803, from the original, then in the Altoviti Palace in that city. Ludwig I., then King of Bavaria, bought this original in 1808 for the sum of ^6,400. He removed it to Munich, where it now hangs in the Old Pinakothek. This sovereign ordered of the painter Pietro Benvenuti, Professor in the Imperial and Royal Academy of Florence, an oil portrait of Morghen, which he hung in the same gallery as the above, naming the two respectively the “ Raphael of Painting ” and the “ Raphael of Engraving - .” o o ALTOVITI, BINDO. ii The original is now generally conceded to be the portrait of Raffaelle d’ Urbino’s friend and patron, Bindo Altoviti, a wealthy banker then living in Rome ; as such, it was preserved for over two centuries by the Altoviti family. The confusion in regard to the identity arose about the middle of the eighteenth century, through Bottari’s misconstruction of this passage in Vasari : A Bindo Altoviti fece il ritratto suo, quando era giovine , che e tenuto stupendissimo. It seems straining the meaning to make this mean anything but that it was Altoviti’s portrait, and not his own — suo proprio. Melchior Missirini, who has carefully compared this picture with several other portraits of the painter, especially those in Raphael’s own pictures — e. g., in the “ School of Athens,” — states that it is certainly not Raphael’s own portrait. Such authorities as Hermann Grimm and Baron Rumohr, however, still maintain the contrary. At all events, it was engraved by Morghen as Raphael’s portrait, and was purchased as such by the king of Bavaria. One of Benvenuto’s great works is a bronze bust of Bindo Altoviti. Morghen engraved the head and hand only ; the rest is the work of his friend and biographer, Palmerini ; but the whole plate was executed under the former’s supervision and direction, and was finally gone over by him. The original plate is now in the possession of Luigi Bardi, Florence. Trial proof. The outline etching, with the background and a por- tion of the drapery partly engraved. Brit: Mus. ; Brera ; F.R.H. do Finished except the drapery on the back, which lacks a few cross-lines only, and the hand which is still in outline. Brit: Mus. ; Brera. I. Before all letters. Brera; Brassey coll., Maskell ; Sotheby, 1870, £17 10s. This state, in which the plate appears in its perfection, is very rare. II. With the arms. In small, shaded script : Raffaelle Sanzio se stesso dipinse — Raffaelle Morghen inc: in Firenze F.R.H. 12 CATALOGUE OF PLATES. III. Same as II., with the addition, in traced script (the first line in larger characters than the second): All' Ornatissimo Sig. Cav . — Gio Batista Baldelli Niccolb Palmerini quest a opera del bene merito suo — Mcestro in attestato di vera stima dedica , e consacra. Brit: Mus. A counterproof of this state. Brit: Mus. IV. The arms and artists’ names as above, but engraved and shaded. The dedication is changed to engraved and shaded script, and is as follows : All' Ornatissimo Signore — Gio. Batista Baldelli de' Conti di Peciano, Cav: dell' Insigne — Ordine di S. Stefano P. M. Maggiore al Servizio di S. M. 1. R. A — delle Belle Arti Amantissimo. Niccolb Palmerini questa opera del benemerito suo — Mcestro in attestato di vera stima dedica, e consacra In print characters : L' Originate se conserva in Casa Altoviti di Firenze. Brit: Mus. This is the present condition of the plate. 1 1 M* Angelica and Medoro. T. Matteini pinx. Dimensions, iq| x 15^. Engraved at Rome, 1788. Dr. G. K. Nagler, vol. IX., p. 471, makes this statement : “ Die Griinde warum er [Morghen] . . . so viel Abdriicke als er von Angelika und Medoro wieder haben konnte, verbrannte, sind keine andern als Gewissenszweifel ; denn es hatte sich eine Bangigkeit seines Gemuthes bemachtigt, so sehr, dass er alle heiteren Gegenstande der Kunst von sich wies, und jedem frohen Lebensgenusse als siindhaft misstraute.” There are, however, so many impressions known of this plate, that Nagler’s story is unlikely ; it is much more probable of the Venus Coming from the Bath. The plate of Angelica and Medoro was sold by Mr. Day to Niccolo Pagni & Co. There is probably no finer example in engraving of the treatment of flesh and nude figures ; and in these respects, Morghen is seen at his best in the early impressions of this plate. It has been copied, with some success, by Morghen’s pupil, Giovanni Folo. The scene is from Ariosto’s “ Orlando Furioso,” canto XIX., ARAGON , QUEEN OF. 13 stanza 36, where the poet has made the idyllic loves of these two characters world-famous. Trial proof. Before the rectangle. The figure of Medoro, and the sky, blank ; the rest of the plate partially engraved throughout. Brera. I. Before all letters and before the rectangle ; otherwise finished. Brit: Mus. Of the greatest rarity. II. With the shaded rectangle, and in shaded and engraved script: Theodorus Matteini invenit — Raphael Morghen sculp. Romae Brera; F.R.H. III. The artists’ names as in II. ; and, in fancifully shaded, uncial capitals, without flourishes: Angelica e Medoro in varj modi Lega ti insieme di diversi nodi Brit: Mus.; Brera. IV. The artists’ names as in II. The two verses re-engraved in plainer, shaded, uncial capitals, with flourishes. In addition, in smaller letters: Or lan. Fur. Cant. XIX. Stan, j 6 In shaded script: To his Royal Highness Prince Frederic Augustus This Plate is humbly Inscribed, by His Royal Highness's much obliged and most devoted Servant Rome 1795 — Alex r . Day. Brera. 12M • Aragon , Joanna , Queen of. Raffaello Sanzio pinx. Dimensions, I3f x ig£. Engraved at Rome, 1821, for the sumptuous Musee Frangais. The etching was made by Angelo Emilio Lapi. The plate was then handed over to Giovanni Rivera, who engraved the rest of it, except the head and hands, which were executed by Morghen, who, besides, went over the entire plate, giving it its harmony and finish. The original drawing, by Bouillon, is in the possession of the author. It adds an interest to this plate to know that Raffaello himself only painted the hands and head of the original, i. e., those parts engraved by Morghen. The rest was painted by his apt 14 CATALOGUE OF PLATES. pupil, Giuglio Romano, though Raffaello went over the whole finally, as did Morghen. The picture in the Louvre is the original of many school repetitions. That in the Doria Gallery, Rome, is by a scholar of Lionardo da Vinci after Raffaelle’s picture. Passavant, II., 236, and III., 144. Joanna of Aragon was the daughter of Ferdinand of Aragon, Duke of Montaldo, third and natural son of Ferdinand I., King of Naples, who was better known by his final title of Ferdinand the Catholic, of Spain. She married Ascanio Colon na, Constable of Naples and Prince of Tagliacozzo, and was the mother of Marc- Antonio Colonna, the hero of Lepanto (October 7, i 57 i). Vasari is mistaken in calling her Vice-Queen of Naples. Her accomplish- ments and her beauty made her one of the most remarkable women of the sixteenth century. Three hundred poets are said to have celebrated her spotless fame. The same original has been engraved by Lefevre, but the plate is badly executed. Trial proof. Unfinished throughout. The fleshes etched in outline only ; the sky in background blank. Brit: Mus. do The fleshes — except some work on the eyes, lips, and hair, some of the jewels and white parts of the drapery — still etched in outline only. Brit: Mus. This was probably the condition of the plate when Morghen took it in hand. I. Before all letters. Brit: Mus. Sotheby’s, 1856, ,£16 iar. II. With the artists’ names. Grandi. III. In shaded script : Peint par Raphael — Dessint par Bouillon — Gravd par Raph: Morghen. In shaded uncial capitals : PORTRAIT DE Jeanne D'Arragon. Brit: Mus.; F.R.H. IV. The re-touched plate. Same lettering as III., but with the addition of : Ecole Italienne 25 Danlos A ine Miteur — Char don aind imp. Keppel. The plate is now in the possession of Messrs. Danlos & Delisle, Paris. ARIOSTO , LUDOVICO. 15 I jM' Ariosto , Ludovico. Pietro Ermini dis. Dimensions, 13 x 9^. Engraved at Florence, 1807, for the edition of “ Orlando Furioso,” della Tipografia della Societa Letteraria, Pisa, 1809, 5 vols., folio. It is uniform with the portraits of the other “ Fathers of the Language,” Dante, Petrarch, Boccaccio, and Tasso. Ariosto was born at Reggio, in the Duchy of Modena, Sep- tember 8, 1474 ; he died June 6, 1533. “ II avait une belle figure, les traits reguliers, le teint vif et anime, Fair ouvert, bon et spirituel. Sa taille etait haute et bien prise, son temperament robuste et sain. . . . Sa conversation etait agreable, piquante, et respirait la franchise et l’urbanite autant que l’esprit. Ses bons mots etaient pleins de sel ; sa maniere de raconter etait originale et plaisante ; et ce qui manque rarement son effet, quand il faisait rire tout le monde, il etait lui-meme fort serieux.”— C. P. Ginguene, “ Hist, lit. de l’ltalie.” The story of his life is most interesting. His character was admirable, and his talents extraordinary. See Maz- zuchelli, “ Scrittori d’ltalia” ; Baruffaldi, Jr., “ La Vita di M. Ludo- vico Ariosto ” ; also, Valery, “ Due seccoli della letteratura italiana ” ; Tiraboschi, “ Storia della letteratura italiana,” Milan, 1822-6. Trial proof. The outline etching ; the background and the drapery on the back of the figure partly engraved. Brit: Mus., 2 impressions ; Brera ; F.R.H. do The background and drapery partly engraved. The head, with the wreath, the hand and the sheet of paper still in outline only. Brit: Mus. do Much further advanced, but still unfinished through- out. Brit: Mus. I. Before all letters. F.R.H. II. In small, shaded script : Pietro Ermini disegnb — Raffaello Morghen incise Brit: Mus., plain and on India; Brera; F.R.H. III. Same as II., with the addition of Lodovico Ariosto in open, traced, uncial capitals. Brit: Mus.; Brera; F.R.H. IV. Same as III.; but with the addition of Luigi Bardi impresse in shaded script, in the middle of the lower margin. Keppel. V. Same lettering as IV. ; but all the letters shaded. Brit: Mus. 1 6 CATALOGUE OF PLATES. I/J.% Augustus Ccesar, Head of . From an antique marble. Bonaventura Salesa del. Dimensions, gj x 6f . A head nearly full face, turned slightly to the left, in a rectangle. Engraved at Rome, 1789, for Cardinal Despuig, in whose possession the bust then was. The original marble found at Palma, in the island of Majorca, later passed into the possession of the Count di Montenegro. I. On the marble slab, underneath the head, in large, shaded, uncial capitals: AVGVSTVS In smaller, shaded script : Ex Marmore antiquo eoque Pario eximii operis In Museo Antonii Despuigii Under the rectangle, in small, shaded script: Bonav a Salesa deling — Rapid. Morghen sculp { Romae. Below is an engraved scale of measurement, above which, in small, shaded script : Romani pedis uncice. Brit: Mus. ; Brera. II. This plate was subsequently used surrounded by an ornamental frame-work, the latter engraved on a separate plate. On a scroll at the top of the frame is, in slightly shaded capitals : ICONOGRA PHIE COMPLETE DE CESAR A VGVSTE. In the added framework are eight portrait heads of Caesar engraved in outline, after marbles, seals, medallions, and cameos. In skeleton print characters, on a tablet in the lower side of the frame : Les Savans et les Amateurs de la Gravure accueilleront sans doute avec empressement une planche in^dite et posthume du cdl'ebre Raphael Morghen. Cette belle tete d’A UGUSTE,jeune , manquait d ! ICONOGRAPHIE de cet Empereur , publide par Visconti et Mongez. On a done cru bien faire de rennir les divers documens recueillis par ces deux Savans, en les reproduisant dans V encadrement ajoutd a V oeuvre de Morghen. Le buste original fait aujourd' hui partie du Musde de M. le Comte de MONTENEGRO, a Palma (ile mallorca) AUGUSTUS, CONSTANTIUS. 17 In lower right corner, outside the frame, in shaded script: A Monsieur le Comte de Montenegro y Monloro, comme un faible timoignage de souvenir de respect et d' affection. In print characters : J. Tastu In minute, shaded script : Employ / a la Bibliotheque S e Geneviive. In minute script, at left lower corner : Clerget et Reveil del. et sc. F.R.H. There are brilliant impressions of the Morghen plate in this state. 15% A ugustus, Constantins. Engraved for “ Della Moneta libri cinque di Ferdinando Gal- liani,” Napoli, 1780, 4to. No impression of this plate is known. 16. Aurora with Apollo and the Honrs. Some- times called “ The Chariot of Apollo.” Guido Reni pinx. Dimensions, 36 x 20J-. Engraved at Rome, 1788, after the original fresco on the ceiling of the Casino in the garden of the Rospigliosi Palace, Rome. See “ Platner and Bunsen,” III., ii., p. 400. The subject is too well known to need a description. Trial proof. The sky and most of the clouds blank, except in upper right corner, where they have some lines of shading, but are not finished. The figures are scarcely more than outlined. Without the frame. Brit: Mus. do Part of the plate only printed, i. e., the figure flying before the horses, the boy, above them, with a torch, and the horses’ heads and fore-feet. The flying figure, the sky behind her, and that part of the horses which is visible, are finished. Brit: Mus. Dimensions of the engraved portion of the plate, 14 x 16. I. Before all letters. Sotheby & Wilkinson’s, June 12, 1862. II. In shaded and engraved script: Guidus Rheni pinx. — Antonius Cavalucci delin. — Raphael Morghen sculp Romae. The sails have faint perpendicular lines on them. Rigal sale, 1816,^19 16s . ; i8 CATALOGUE OF PLATES. Palmer sale, London, 1868, £6S; Sotheby’s sale, 1874, £7$; Frankfort, 1880, £67. III. The Poggiali catalogue mentions an open letter proof, with a counterproof of the same state. This state is unknown to the author. IV. Before the In ZEdibus, and with the same perpendicular lines on the sails. The artists’ names as in II. In addition, in shaded, uncial capitals : Quadrijugis invectus Equis Sol aureus exit Cui SEPTEM VARIIS CIRCUMSTANT VEST/E US HORAE Lucifer antevolat. Rapidi fuge Lamp ad a Solis Aurora umbra rum victrix ne victa recedas In very large, shaded script : Josepho Rospigliosio S. R. I. Prin- cipi , Zagaroli Duci &c. &c. In smaller, shaded, and slanted letters : Joan. Volpato, et Raph. Morghen D.D.D. There were about 100 impressions of this state printed, and the paper shows the wire-marks. Brit: Mus. ; F.R.H. ; Sotheby, 1875, £ lo . V. The sails still the same as in IV., and the lettering still the same ; except that there is added in lower left corner: In Aedibus Rospigliosiis. Brit: Mus.; Brera ; Sotheby’s, 1875, £1$ 5-y. ; Ditto, £7 15s. VI. Same lettering as in V., but the sails show cross-hatchings. The plate was re-touched in the Volpato school for this state, and the re-touching was executed without reference to the manner of the original. The result is unfortunate. Keppel. VII. Calcografia Camerale impressions. The lettering as in V., but with- out the dedication : “ Josepho Rospigliosio S. R. I. Principi, Zagaroli Duci &c., &c.” There is added in right lower corner: Roma presso la Calcografia Camerale. In this state the plate is practi- cally re-engraved, and there is no attempt at deception. The result is an effective print, but there is no resemblance to the original. Keppel, on India. The plate is now owned by the Calcografia Camerale, in Rome. BACCHANALS , TWO INFANT. 19 iy.% Austria , Archduke Ferdinand of, Eldest Son of Francis II., Emperor of Austria. G. A. Santarelli dis. Dimensions n-J- x 8|-. Engraved at Florence, 1804, for Count Luigi Moncenigo, from a relief model in wax. This is one of the few plates touched by no other hand than Morghen’s. Unfortunately it is from a manifestly weak original. The Prince is represented as a boy of about ten years, half length, in profile, to the left, in an upright oval, sur- rounded by a shaded rectangle. There is no state of this plate known before the inscription as given below, and which was probably engraved as soon as, or before, the plate itself was fully finished. Impressions occur in which the inscription has been altered by hand. The original was the son of Maria Theresa and Francis II., first emperor of Austria. Fie succeeded to the throne on the death of his father, March 2, 1835. At lower right corner of rectangle, in traced script : Raph. Morghen sculp: Florentiae The rest of the inscription, as given below, is in uniform, shaded, uncial capitals of the same size throughout : IMP. CAES. FRANCISCO. II. ET M. THERE SI AE. AVGG. OPTIMIS. FELICI S SIM IS Q. PARENTIBVS EFFIGIEM REGIE PRINCIPIS. ARCHIE) VCIS. FERDINA ND1. A VSTRII REGNO RR. HVNGAR. ET BOJOHOEM. HAEREDIS NA TI. IN. SPEM. IMPERII AN. AET. S.X. A MORGHENIO FLORENTIAE AERE CAELATAM COMES . ALOYSIVS. MOCENICUS. SEB. F. D.D. VINDABONAE. ANNO. MDCCCIII. Brit: Mus. ; Brera; F.R.H., lacking the last three lines. 18. Bacchanals , Two Infant. F. Mola pinx. Dimensions 12^ x irj. Engraved at Rome, 1780, with the assistance of Volpato. An infant satyr lying on a mound in the foreground pours wine from a 20 CATALOGUE OF PLATES. jug into his mouth. A young satyr peeping through the trees behind him tries to withhold an ass who is browsing on the drinker’s wreath of vine leaves. In the background is a rocky landscape. The Latin line quoted is from Tibullus, Book II., Elegy i. The only known state of this plate is as follows : In shaded script: Franciscus Mola pinx — Volpato et Morghen Sculp, et Vend. Romce In large, shaded, script characters : Bacche veni dulcisque tuis b cornibus uva pendeat. Tibul. Brit: Mus.; Brera ; F.R.H. ip. Bacchanals , Two Infant. F. Mola pinx. Dimensions, same as preceding. Engraved contemporaneously with the preceding, and as a companion to it, illustrating a passage in the 6th Elegy of Tibullus, Book III. Trial proof. Unfinished throughout ; the sky still blank. The fore- ground figure has been touched up with pen and ink to denote more clearly the lights and shades. Brit: Mus. The artists’ names as in /^except that there is here a colon after Sculp: and Vend: The inscription in heavy, shaded script : Care puer, madeant generoso pocula Bacco. Tibul. Brit: Mus.; Brera; F.R.H. 20% Bacciocchi, Elisa Buonaparte , Sister of N apoleon I . Counis del . Dimensions, 8$- x 6^. Engraved at Florence, 1814, in dty point. A full-face bust on a blank background. Canova executed a fine statue of this princess as the Muse Polhymnia. Trial proof. “Proof unfinished.” Brassey coll., Maskell. I. Before all letters. Brit: Mus., on India and plain ; F.R.H. II. In traced script: Elisa Grande Duchesse de Toscane Princesse de Lucques & de Piornbino In smaller script : Dessini par Counis — Gravd par R{ Morghen. Brit: Mus. BARI A TIN SKI, FAMILY OF. 21 III. Same lettering; all the letters shaded except Elisa , which is open script. Keppel. IV. Same ; but all the letters engraved and shaded. Brit: Mus. 21% Baiiatinski, The Family of the Princess. Angelica Kauffman pinx. Dimensions, 25^ x 15-f. Engraved at Florence, 1793-4, for the Princess Bariatinski, who presented the plate to Morghen after two hundred impres- sions had been printed for her own use. It is now in the possession of Luigi Bardi, Florence. “ This plate has been invariably known (see Nagler, Hiiber, Rost, Palmerini, and others) under the title of ‘ The Family of Holstein-Beck,’ but erroneously so. The original painting, which is life size, is in the possession of Prince Wladimir Bariatinsky, at St. Petersburg. The Princess Bariatinski, born in i 75 o, was a daughter of Prince Pierre Auguste Frederic de Holstein Beck, a field-marshal in the Russian army, and married Prince Jean Ser- gueewitch Bariatinski, Russian ambassador at Paris. She died 1811. In this group she is represented with her son Prince Ivan Ivanowitch, who married Lady Mary Dutton, daughter of Lord Sherborne ; the Countess Tolstoy, the daughter of Prince Ivan’s second wife, and her husband, Count Nicholas Alexandro- witch Tolstoy, grand marshal of the palace to the Emperor Alex- ander I. The Princess Bariatinski is seated on the right, resting her arm on the chair, and holding a miniature in her hand, her feet on a footstool. The Count Tolstoy stands near her, holding a book ; his wife near him rests her hand on his shoulder, while with her right she holds up her dress. Behind the two latter is Prince John, a full face, his right hand resting on a table, on which is placed a pedestal with a bust of the Duke of Holstein Beck. In the background are a colonnaded peristyle and draperies.” Maskell. Trial proof. “Proof nearly finished, with names of painter and en- graver.” Brassey coll., Maskell. I. Before all letters. Brera, the only impression known. 22 CATALOGUE OF PLATES. II. Traced lightly with the needle, in small script: Angelica Kauffman pinxit — Raphael Morghen Sculpsit Flor. Brit: Mus. III. The inscription of II. erased. Re-engraved in larger, shaded script: Angelica Kauffman Pinx: Romae — Joan: Bapt: Dell' Era delineabit [sic] — Raph: Morghen Sculp: Flor With the arms. Brit: Mus.; F.R.H. IV. Same as III. ; but delhieabit corrected to delineavit, and, in addition, on each side of the arms, in shaded, engraved script : A fin d' tguilloner le naturel heureicx De tes Enfans cheris , dont tu veux le bien-etre , Tu leur peins les vertus qu' exerqoient les ayeux , Tu cites les exploits qui les ont fait connoitre. Pourquoi chercher , Princesse, aucun de ces modeles? Ta bonte, ta douceur et ton coeur bienfaisant Fournit a ces chers fils tant de leqons si belles ! Si dignes de ton nom si dignes de ton rang ! Dejix de t'imiter Us se sont fait la loi. Jaloux d' etre par tout adores comme toi. Brit: Mus. ; F.R.H. 22 . Bdftolini, Visiting-card for the Senator. Dimensions, 4§ x 3|. Begun at Florence, 1797 ; but, owing to Signor Bartolini’s death, the plate was never finished. Fame, a winged, draped figure, holds a trumpet in her left hand, and with her right points to the arms of the Baldelli family, on a shield resting on a pedestal. On the pedestal, in uncial capitals: II Sena tore Bartolini. These letters are unshaded, except ena tore. On the left is the trunk of a tree, and in the background, in the centre, a distant view of Florence. Brit: Mus., two impressions, one signed in pencil, Rajfaelle Morghen inventb e incise, also another impression as described above. Brassey coll., Masked, an impression with R. M. invento e incise, in pencil. F.R.H., an impression with the signature, R. Morghen s., in pencil, with many graver marks in the margin ; also an impression without any writing, and the margin cleaned. BOCCACCIO , GIOVANNI. 23 2jM* Boccaccio , Giovanni. Vincenzo Gozzini dis. Dimensions, iaj x g. Engraved at Florence, 1822, for the folio edition of the “ Decamerone,” 1816, 4 vols., 4to, published by Didot, uniform with the Pisa edition of the great Italian poets, and which originally contained only a small portrait-head of Boccaccio, engraved in a circular medallion by Rosaspina. Much of this plate was engraved by Giov. Rivera. It is intended as a com- panion to the portraits of Ariosto, Dante, Petrarch, and Tasso. The original plate is now in the possession of Luigi Bardi, Florence. Boccaccio, “ the Father of Italian prose ” and a successful poet, was born, out of wedlock, in 1313, according to the best authorities, at Certaldo, near Florence, where he also died on the 2 1 st December, 1375. As Dante was inspired by his Beatrice, and Petrarch by his Laura, so was Boccaccio by the fair Fiametta, whose identity has never been satisfactorily determined. He was a deep student and admirer of Dante’s writings, and was also a warm friend and the frequent companion of Petrarch. He is mainly celebrated as the author of the “ Decameron,” the tales in which have served so many writers with themes in all languages since. In Boccaccio’s later life he wrote voluminously on more serious subjects. See Girolamo Tiraboschi, “ Storia della lettera- tura italiana,” Milan, 1822-6. Trial proof. The background, the hood — including the part cover- ing the throat — and the wreath partly engraved. The face, cloak, hand, and book etched in outline only. Brit: Mus., 2 impressions, do Same as preceding ; but with some engraved lines on the book. Brera. do With the white book. Nearly, but not quite finished throughout. Brit: Mus. ; F.R.H. I. Before all letters ; the trial marks of the graver not yet removed from the margins. Brit: Mus. ; F.R.H. II. In engraved and shaded script : Vincenzo Gozzini dis: — Raffaello Morghen inc: 1822. Brit: Mus., the margin still uncleaned. 24 CATALOGUE OF PLATES. III. The artists’ names as in II. In addition, in open, traced, uncial capitals : Giovanni BOCCACCIO In print characters of a single line : Firenze presso Luigi Bardi e C°. Bor go degli Albizzi N° -460- Brit: Mus. IV. Same lettering as in III. ; but with all the letters shaded. Brit: Mus., on parchment, India and plain. 2/j.% Buonarroti, Michel Angelo. A. Santarelli dis. „ Dimensions, iof x 7J. A profile head turned to the left in a circular medallion, engraved in dry-point, at Florence, 1817, from an original model in wax. Many impressions were used to illustrate the “ Descrip- tion of the Florence Academy of Fine Arts.” Later it served as frontispiece to Rime de Michel- Angelo Buonarroti con commento di G. Biaggioli, Paris , presso Veditore, 1821, 8vo. Michel Angelo, “ the mighty sculptor, painter, poet, and archi- tect,” “ the last and most famous of the great artists of Florence,” was born at Caprese in the Casentino, March 6, 1475. He died, after a long and eventful life which has left its mark on all ages, in his eighty-ninth year, February 18, 1564. For details of his most interesting and important career, see the able article of Prof. Sidney Colvin, in the “Encyclopaedia Britannica,” 9th edition, vol. XVI., and the authorities there quoted. Trial proof. The outline etching. Brit: Mus. The only other state known is as follows : Around the head, on the medallion, in engraved, open, uncial capitals : MlCHELAGNOLO Buonarroti. In minute, traced script, under the medallion : Rajfaello Morghen incise 25% The Same. Dimensions, I3f x 9J-. A circular medallion with profile head turned to the right. Used as a head-piece to the diplomas of the Florence Academy of Fine Arts. The original plate now belongs to Luigi Bardi, Florence. BOY KNEELING IN PRAYER, A. 25 Impressions occur only in this state : Around the inside of the medallion, in open, uncial capitals: Michel piu che mortal Angel hi vino Underneath, in traced script : Raffaello Morghen incise. Brit: Mus. 26M' The Same. Raph. Morghen dis. Dimensions, Ilf x 8J. Engraved at Florence, 1829. A bust, f- face, turned to the right in an oval surrounded by a rectangle. Trial proof. The whole figure outlined. Brassey coll., Masked, do The background, head, shirt, and collar of the coat, and the left arm partly engraved ; the right arm and coat etched in outline. Brit: Mus. do Those parts partially engraved in the preceding trial proof, now finished. Otherwise unchanged. Brit: Mus. I. With the rectangle, and, in traced script : Raffaello Morghen disegnb e inc: 1829. Brit: Mus. ; F.R.H. II. The lettering of I. shaded and engraved, and, in addition, in open, uncial capitals: Ml CHELA NGIOL 0 BUONAROTTI In shaded script: A l Commendatore A. Ramirez di Montalvo Presi- dente della R. Accademia delle Belle Arti di Firenze Dirett. della R. Galleria e Conservat. dei Monumenti dei Reali Palazzi di Toscana Raffaello Morghen D.D.D. In italics, in lower left corner : Luigi Bardi impresse. Brit: Mus. 2j. Boy Kneeling in Prayer , A. Engraved at Naples, circa 1770. Palmerini gives the title, Un Giovinetto orante in ginnocchioni, and then says: “We have no knowledge of this plate except that it is mentioned in the catalogue of Gaetano Poggiali’s collection, who states that he received an impression from Raphael’s father, Filippo, with the following note : Primo saggio a bulino di R. Morghen da giovi- netto. Palmerini thinks it must have been engraved when the artist was about nine years old. 2 6 CATALOGUE OF PLATES. 28 M* Byron , Lord. Bartolini sculp, marmore. Dimensions, io£ x 8. Engraved at Florence, 1822, from a marble bust, to the order of L. Bardi & Co. The original plate is now in the possession of Luigi Bardi, Florence, face, turned to the left. Lord Byron was born in Holies Street, London, January 22, 1788, and died at Mis- silonghi, April 19, 1824. Trial proof. The outline etching. Brit: Mus. do The head finished ; the neck and chest still in outline etching only. Brit: Mus. ; F.R.H. I. Before all letters. Brit: Mus. II. With R. M. traced close under the bust. Brit: Mus. III. In shaded and engraved script: Emidio Cateni dis: — Bartolini scolpi — Raff f Morghen inc: 1822. Brit: Mus. IV. Same lettering as III., and in addition: LORD BYRON in open, uncial capitals. Brit: Mus. ; Brera. V. Same lettering as IV., but all the letters shaded ; and, in addition, in shaded print characters : Firenze presso Luigi Bardi e C°. Borgo degli Albizzi N° 4.60. Brit: Mus.; Brera; F.R.H. 2(pM' Canova , A.ntonio. P. Benvenuti dip. Dimensions, x 6f. Engraved at Florence, 1824, in a small oval without a rectangle, for Professor Giovanni Rosini’s Saggio sulla Vita e sulle Opere di Antonio Canova , in the edition of Rosini’s Works published by Capurro at Pisa, 1835-53, 11 vols. 8vo. This par- ticular essay is in vol. V. Canova, one of the leading sculptors of modern times, was born in the village of Passagno, November 1, His ability as a sculptor was only equalled by his constant benevolence and uni- form gentleness of character. He died at Venice, October 13, 1822. Morghen has engraved two of his sculptures ; Theseus’ victory over the Minotaur, and the tomb of Pope Clement XIII. For details of his life see Melchior Missirini, “ Della Vita di Ant. Canova,” libri CANOVA, ANTONIO. 27 quattro, Prato, Giachetti, 1824, 2 parts 8vo ; Canova’s friend, Cicognara, “ Biografia di Ant. Canova,” Venezia, 1823. Trial proof. Three quarters finished. Brassey coll., Masked. I. Before all letters. Brit: Mus. ; Brassey coll., Masked. II. In shaded print characters: Pietro Benvenuti dip. — Raff. Morghen incise. In open, uncial capitals: Antonio Canova. Brit: Mus. III. Same lettering as in II., but all the letters shaded. F.R.H. JoM* The Same. Antonio d’ Este sculp, in marm. Dimensions, 8 x 6J. Engraved at Florence, i8o5, from a basso-relievo, as a sur- prise to his friend Canova on his return to Germany. A profile head turned to the left, in an oval, shaded background. The original plate is now in the possession of Luigi Bardi, Florence. It has been well copied by Antonio Perfetti, under Morghen’s supervision. Trial proof. Unfinished throughout, the background blank. Under- neath, in partially erased traced script : Ant. Canova se stesso modellb In distinct, traced letters : R. M. incises Prova unica stampata da me medesimo per la mia Raccolta. Brit: Mus., on yellow paper. I. Before all letters ; and before the indication of the pupil in the eye. Brera, 4 impressions. II. Still before the pupil in the eye, but with the following inscription, by the Abbate Lanzi, in open, uncial capitals : ANTONIO . CANO VAT . EQVITI STATVARIO . ELEGANTIAE . VETERIS . RESTITVTORI FLORENTIA . CVRSIM . PRAETERENVTI . A. cIj.Ij.CCC. V. RAPHAEL . MORGHEN EFFIGIEM . El VS . CESTRO . S VO . INCHOATAM ET . OB . ANGVSTIAS . TEMP ORIS . NON . PERFECTAM . D. D. NE . AMICVM . OPTIMVM . INCOMP ARABILEM XENl . EXPERTEM . DIM ITT A T . Brit: Mus. ; Brera, on India and plain. 28 CATALOGUE OF PLATES. III. Same lettering as in II., but with the indication of the pupil in the eye. Brit: Mus. ; Brera ; F.R.H., with Morghen’s stamp in lower right corner. jiM- Carlo Lodovico and Maria Luisa , King and Queen Regent of Etrmia. G. A. San- tarelli modellavit. Dimensions, 6§ x 4$. Engraved at Florence, 1804, from an original in wax. The two heads are on separate medallions and face each other in profile. Around the inner circumference of the left medallion, in open, uncial capitals : carlo . lodovico . infante . di . spagna . re . D'Etruria. Around the inner circumference of the right medallion, in open, uncial capitals : maria . luisa . infanta . di . spagna . REGINA . REGGENTE . D'ETRURIA. I. Before the artists’ names ; as described. Brit: Mus., on India, marked in pencil unique , and also an impression on plain paper. II. Same as I., but in faintly traced script close to the lower margin of the left-hand medallion: Gio. Antonio Santarelli modellb — Raffaello Morghen inc:m Likewise, close to the lower margin of the right- hand medallion, the same lettering. Brera; F.R.H. Impressions are rare even in this state. 32. Cassano Serra, Arms of the Duke di. Dimensions, 2§ x if. Engraved at Naples, 1778. The Duke di Cassano Serra possessed an unrivalled and mar- vellous collection of early Italian books, which was bought by T. F. Dibdin, in its entirety, for the great — perhaps the greatest — book collector, George John, Lord Spencer. Dibdin has described this collection in A descriptive catalogue of the books printed in the XV. century , lately forming part of the library of the Duke di Cassano Serra , and now the property of G. f., Lord Spencer ; London , printed for the author by Will. Nicol, 1823, imp. 8vo. ; which, counting the AEdes Althorpiana (London, 1822, in 2 vols.), CELLINI BENVENUTO. 29 makes the 7th volume of the Bibliotheca Spenceriana, printed by Bulmer, and published by Longman, London, 18 14— 18 15, 4 vols., imp. 8vo. The catalogue of the Cassano Serra collection is unfortunately carelessly compiled by Dibdin. See J. C. Brunet, “ Manuel du Libraire,” etc., vol. II., p. 679, edition of Paris, 1861. This is a book-plate and represents a simple coat of arms, sur- mounted by a coronet. On a band at each side of the escutcheon is in shaded capitals : Ll — Duca di — Cassano — Serra. In the lower left corner of the plate, in minute, etched script : R. Morghen sc. Brit: Mus. ; F.R.H., with Morghen’s stamp. J3M' Cellini, Benvenuto. Giorgio Vasari dip. Dimensions, 9! x t\. Engraved at Florence, 1822. A bust nearly profile turned to the left, in an oval surrounded by a rectangle, representing Cellini as an old man with a full, white beard, his hair entirely covered by a cap. Cellini was born at Florence, i 5 oo, and died in the same city on the 13th December, 1569. He was the most celebrated artificer and worker in metals of his time. He has left a lasting monument of his genius in the bronze of Perseus holding aloft the head of Medusa, now in the Piazza della Signoria, Florence. His vanity, self-complacency, and quarrelsomeness are so entertainingly set forth in his autobiography that they must be read to be appre- ciated. The best edition is that by Giuseppe Molini, 2d edition, Firenze, 1832, 2 vols. 8vo. Trial proof. Nearly finished throughout, except the collar of the shirt, which is still blank. Brit: Mus. I. A faint etched line only shows the outside of the rectangle, i. e., before the shading of the rectangle, and showing the oval only. Close under the oval, in traced script : Georgio Vasari dip:— Raff 0 . Morghen inc: 1822. Brit: Mus. ; F.R.H. II. Still before the rectangle. The artists’ names as in I.; and, in addi- tion, in open, flourished, traced, uncial capitals: BENVENUTO Cellini Brit: Mus. ; F.R.H. , on India. 30 CATALOGUE OF PLATES. III. Same lettering as in II. ; but all the letters shaded. Brera. IV. With the rectangle. In engraved and shaded script, at lower border of the rectangle: Giorgio Vasari dip . — V. Gozzini dis : — Raff? Morghen inc: 1822 In shaded and flourished uncial capitals: BENVENUTO CELLINI In shaded print letters: Firenze presso Luigi Bardi e C°. Bor go degli Albizzi N°. 4.60. Brit: Mus. ; Brera; F.R.H. 34. Charity. Ignatz Unterberger pinx. Dimensions, I 3 f x I2f. A kneeling female figure, nude to the waist, is surrounded by three children, towards one of whom, who looks over her right shoulder, she bends her head. Her left arm clasps a boy who points to the third child leaning on her right knee and suckling at her breast. Behind the group is a bed seen indistinctly, and through an open casement in the background appears a hilly land- scape. The picture was in reality painted by Ignatius Unterberger, born at Cavalese, 1748 ; died at Vienna, 1797. He was a success- ful student of Correggio’s works, like Mengs, whose friend and associate he was in Rome. On his departure from that city he left this picture behind unfinished and neglected, and, after a time, a flower-piece was painted over it. In 1786— 7 his brother, Christoph Unterberger, sold this, with some other trumpery, to a picture dealer and restorer, Lovera, who, after removing the flower-piece and making the necessary restorations, brought it forward as a newly discovered original by Correggio. In 1792 the English painter and art dealer, Alexander Day, purchased for a large sum the privilege of making a drawing from it, and having it engraved by the then famous Morghen. 'This helped materially to spread the fame of the picture. In 1795, the year the plate was published, Prince Nicolaus Esterhazy, then on a visit to Rome, bought, with the advice of the expert Hofrath Hirt, this, together with a number of other classic works. The price was 1 200 ducats, payable in yearly instalments of 300 ducats, but with a written contract that the sale should be set aside if the picture was proved CHARLES III. OF SPAIN. 3i at any time not to be the work of Correggio. On its arrival in Vienna, whither Prince Esterhazy had it sent, it was at once identified by Ignatius Unterberger, as painted by himself in Rome, and left unfinished twenty-five years before. It was consequently returned to Lovera, in Rome, in 1796, and is now forgotten. See Nagler’s “ Kiinstler Lexicon,” vol. XIX., page 249. A part of the picture, showing the greater portion of the figures, in a circle surrounded by a rectangle, was badly engraved by Bart? Soster, in 1827. There is also a counterfeit of Morghen’s plate ; see I. below. The original Morghen plate is now in the possession of Luigi Bardi, Florence. Trial proof. With very little engraving on the outline etching. Brit: Mus. I. Before all letters. All the impressions in this state are from a cleverly executed counterfeit plate. There were no finished im- pressions taken from the Morghen plate till the next state. II. In shaded script : Antonins Allegri vulgo Coreggio pinx: — Raph: Morghen Sculp: Flor: Brit: Mus.; F.R.H. ; Sotheby’s, 1861, £ 5 5 *- III. The artists’ names as in II. In addition, in shaded and flourished, uncial capitals : PULCHRIORES CHARITUM P INGUN T CHARI PA TIS AMOREM In shaded script, the first line much larger than the other two : To His Hoyal Highness Prince Frederic Augus- tus This Plate , is humbly Inscribed by His Royal Highness's much obliged, and most devoted Servant Rome IJ95 — Alex r . Day. Brit: Mus. ; F.R.H. , with Morghen’s stamp. There is a brilliant counterproof of this state in the Brit: Mus. 35% Charles III. of Spain. Raph. Mengs pinx. Dimensions, 8J x 5-J-. Bust ; face turned to the left, in armor, with an ermine- trimmed mantle over the shoulders ; in an oval frame, surrounded by a rectangle, and resting on a pedestal. Engraved at Rome, 1789, for the Elogio storico di Carlo III, Stamperia Reale di Napoli, 1789, 4to. The portraits of Charles IV. of Spain, No. 37, 32 CATALOGUE OF PLATES. and of Ferdinand IV., King of the Two Sicilies, No. 58, were also engraved for this work. I. “ Proof before letters, with the artists’ names.” Maskell. II. On the tablet beneath the oval, in shaded, uncial capitals: CAROLUS llL. In shaded script : Eq. Antonius Raph. Mengs pinx. — Raphael Morghen sculp. Brit: Mus. ; Brera ; F.R.H. 36% Charles III. of Spain , 3 Illustrations for the Oration at the Fhineral of. Stefano Tofanelli del. Three plates engraved at Rome, 1788-9, for In fvnere Caroli III. Hispan. Regis Catholici Oratio hahita Bernardino Ridolfi , &c., Parmae, ex Regio Typografeo, 1789, 4to. 1. Frontispiece. The Pope, Pius VI., standing under a dais, and waving incense toward the sarcophagus. In shaded script : StepJf. Tofanelli delin. — Raph 1 . Morghen sculp. Brit: Mus. ; Brera, without margin, and in bad condition ; F.R.H. Dimensions, x 7|-. 2. Head-piece to Dedication. A circular medallion, surmounted by laurels, on which are the heads of Charles IV. and his queen in profile to the right. On the left of the medallion is seated a draped female figure holding a cup with both hands on her left knee. On the right, a standing figure of Minerva, a drawn sword in her right hand, and a pair of scales in her left. Seated at her feet is a third woman suckling two nude infants, whom she holds on her knees. At her right, a third nude child. Under, in shaded script : Stephf. Tofanelli delin. — Raph 1 . Morghen sculp. Around the inside of the medallion, in shaded, uncial capitals : carol, iv. rex. aloysia. m. regin. hispan. et. ind. Brit: Mus. ; Brera ; F.R.H. Dimensions, 4! x 6. j. Vignette heading to page i. A round medallion, on the base of a column, showing a profile portrait-head turned to the left. On the left of the medallion is a draped female figure, seated, holding on her knees the pontifical hat, and in her right hand the two keys of St. Peter. In the centre, in front of the medallion, is CHARLES IV. OF SPAIN. 33 a draped female figure, her head resting on her left hand, a round mirror, into which she is looking, in her outstretched right hand. On the right of the base of the column is a draped figure of Minerva, standing. She is leaning her left arm on a short pillar, her head resting on her right hand. She wears a helmet, and her head is turned toward the portrait. At the foot of the pillar, on her left, the fore-part of a lion is visible. In the background, on the left, some poplars ; on the right, an open plain. Around the inside of the medallion, in shaded, uncial capitals : carolus. hi. hi span. et. ind. rex. Under, in shaded script : Stephf. Tofanelli delin. — Raph 1 . Morghen sculp. Brit: Mus. ; Brera ; F.R.H. Dimensions, 4\ x 6 . Besides these plates, there occur in this book three vignettes by Joan. Volpato, and two initials, TV and I. 37M' Charles IV. of Spain. Dimensions, 4f x 4%. Engraved at Rome, 1789, for the same work as No. 35 . No. 58 was also engraved for this work. A bust, in armor, with profile head turned to the left, on an oval medallion in an orna- mented rectangle ; vignette heading to page iv. Beneath the plate are eight lines of print beginning with “ Sire,” and ending with “ e al.” The page at the back of the vignette is blank, except for “ Semper Honos Nomenque Tuum Laudesque Mane- bunt. Virg. Eel. V ” printed across the back of the vignette. The plate throughout — including the portrait — is very nearly a fac-simile of that of Ferdinand IV., No. 58. The rectangles are evidently copies one of the other. A close examination of the details shows they are not identical. The heads are strikingly alike. The original plates are now both in the possession of Luigi Bardi, Florence. I. In shaded, uncial capitals, in lower border of the rectangle : CAROLUS IV At right lower corner of the rectangle, in shaded and engraved script : Raph. Morghen sculp. Without any printing below or at the back. Brit: Mus.; Brera; F.R.H. II. With the printing below and at the back, as described above. Brera. 34 CATALOGUE OF PLATES. j8. Christ appearing to Magdalen in the Gar- den. Noli me tangere, etc., John XX., i5, 16. F. Baroc- CIO plUX. Dimensions, 22 x 14^. Engraved at Florence, 1 8 1 6, from an original then in the Bonvisi Gallery at Lucca, and which is now in England. Mrs. Jameson — “ Sacred and Legendary Art.,” London, i85o, vol. I., p. 361 — says : “ Baroccio's great altar-piece, which came to England with the Duke of Lucca’s pictures, once so famous and well known from the fine engraving by Raphael Morghen, is poor compared with any of these [viz., the following treatments of the same sub- ject : Duccio’s, the old fresco of Taddeo Gaddi in the Rinuccini Chapel, Titian’s in Mr. Rogers’ collection, Rembrandt’s in the Queen’s Gallery] : Christ is effeminate and commonplace — Mary Magdalen all in a flutter.” But see the same author, “ History of Our Lord,” Lond., 1864, pp. 278, et seq. A. E. Lapi engraved the greater part of this plate, which was sent by Raphael as a present to his father in Naples, together with the Mary Magdalen, No. io5 ; both plates have been lost. Trial proof. “Proof in acqua-fortis (extremely rare).” Maskell. do Unfinished throughout ; the sky blank and the figures etched in outline only. Brit: Mus. do Both figures, and some of the other parts — e. g., the foreground drapery of Magdalen and the three crosses seen through the upper left side of the arch — are etched in outline only. The ground in the imme- diate foreground is also unfinished. F.R.H. This is probably the state of the plate when Mor- ghen took it. do Nearly finished except the figures and the foreground. There is some burin work on the heads, especially Christ’s. Brit: Mus. Remark proof. “ Proof before all letters and with the white reed.” 1861, ^9 9 s. Brassey coll., Maskell. Sotheby. do With the white reed : the plate is finished except the end of one of the reeds in the foreground. This is shaded in some of the trial proofs, but the shading is removed in this state. In shaded and engraved script : Frider: Baroccio pinx: — Stiph: Tofanelli delin : — Raph: Morghen Sculpsit With Morghen’s stamp. Brit: Mus.; Frankfort, 1881, n s. CHRIST AS A CHILD . 35 I. There are false proofs only before all letters, printed about 1872-4 on smooth modern paper. II. In shaded script : Frider: Baroccio pinx: — Steph: Tofanelli delin : — Raph: Morghen Sculpsit In open, traced, uncial capitals : PIO VII. PONT. MAX— CONSTANT! INVICTO With the arms. On the reed is now traced in dotted letters : Pio VII Cosci et Lapi votis susceptis grates agunt Brit: Mus. III. Same as II. ; but with all lettering removed from the reed, and shaded lines substituted. F.R.H. IV. Same as III.; but in addition, in large, shaded, Gothic characters: Noli me tangere and, in the same line, but in smaller letters : Joan: C:XX This line precedes the one beginning Pio VII etc. Under the latter, in smaller, shaded, uncial capitals : OP TIMA R VM. artium. — FAVTORI. PATRONO Then, in shaded script: Arche- typum in Pinacotheca Marchionis Francisci Bonvisi Lucensis — Nicolaus Cosci primus a curia Arch: Flor: et Ang: Aemilius Lapi devoti Santitati ejus Florentiae 1816. Apud Angel: Aemilius Lapi in Acad: Bonarum Artium Under the arms, in print characters: Aloys: Bar di impressit Brit: Mus. jg. Christ appearing to Magdalen in the form of a Gardener. Egidio Sadeler pinx. According to Palmerini this was the first plate engraved by Morghen in Volpato’s school at Rome, 1778 ; but Palmerini had never seen an impression, nor is any known. Charles Blanc, in his unfinished and carelessly compiled “ Manuel de 1 ’ Amateur d’ Estampes,” translates Palmerini’s ortolano into the French ortolan , which is probably the first mention of the miracle of Christ’s trans- formation into a bird ! po. Christ as a Child , holding a wreath of roses. Carlo Dolci pinx. Dimensions, 8 x 5J. Engraved at Florence, 1 8 1 5 , for Artaria, of Mannheim, as a companion to the Madonna del Caracci, No. 93. The original 36 CATALOGUE OF PLATES. plate is now owned by Luigi Bardi, Florence. The engraved portion of the plate only measures 2-f x 2, but shows Morghen at his best at small, minute work. It represents a youthful head slightly inclined to the left, with a draped bust. On the right is a wreath of roses. It is an oval surrounded by a rectangle. There are no trial proofs known. I. Before all letters and before the rectangle. Brit: Mus. II. Before all letters, but with the rectangle. F.R.H. III. Carlo Dolci dep: — Raff ".. Morghen inc: Brit: Mus. IV. The artists’ names as in III., with the addition in shaded, uncial capitals of SALVATORE In shaded script: II quadro Originate trovasi nella Reale Galleria di Monaco. In large print char- acters : Mannheim presso D. Artaria 1815. Brit: Mus. 41 . Christ displaying his wounds. Sic Deus di- lexit Mundum, etc. Carlo Dolci pinx. Dimensions, 12 x 8 f. Engraved at Florence, 1 8 1 8, from a miniature copied from the original painting by Tommaso Nistri. The draperies were en- graved by Emanuele Esquivel, Morghen only outlining them. It was engraved to order for the firm of Luigi Bardi & Co., who had then just begun their business. A half-length figure of Christ seated in the clouds, and with the face slightly turned to the right, showing the wounds in his hands and side. There are two copies, same size as this plate, one by Claudio Artaria, 1832, the other by Massimiliano Capezzuoli. Trial proof. The outline etching, without the rectangle. Brit: Mus. do The fleshes, hair, the globe, and the background partially engraved. Still without the rectangle. Brit: Mus. do The same parts engraved as in the preceding, but more advanced. Without the rectangle. Brit: Mus. Remark proof. With the white cross, i. e., the oval, finished except the cross surmounting the globe, which is left blank. The rectangle is still lacking. Brit: Mus. Accord- ing to Maskell there are 18 impressions of this state. CHRIST PROCLAIMING THE LA W. 3 7 I. With the rectangle, but before all letters. F.R.H. II. In delicate traced script : Carlo Dolci dipinse — Tom: Nistri disegno — Raff f Morghen inc: 1818. Brit: Mus. III. Same as II., but the artists’ names shaded and engraved ; and, in open, traced, uncial capitals: SIC DEUS DILEXIT MUNDUM In small, traced script : Joan. C. III. Brit: Mus. According to Masked there are only 18 impressions of this state. IV. Same as III., and in addition in traced script: All' Ill m ° SigT CavJ Angelo Benedetto Poublon Amantissimo Protettore delle Belle Arti Luigi BardiD. D. D. Firenze presso Luigi Bardi e C° in Borgo degl' Albizzi N 4.60. Brit: Mus. V. Same lettering as IV., but all the letters engraved and shaded. Brit: Mus. 42. Christ proclaiming the Law. Tres sunt qui testimonium dant, etc. Leonardo da Vinci pinx. Dimensions, I2f x gj. Engraved at Florence, 1817, for Luigi Bardi. The fleshes and finishing were executed by Morghen, the rest of the plate was engraved by Emanuele Esquivel. The subject is taken from the original picture of Christ disputing with the Doctors, now in the National Gallery, London. Only a part of the figure of Christ appears in the plate. Trial proof. Unfinished throughout ; the fleshes still in outline only. Brit: Mus., signed in pencil : Morghen j Pinakotheka, Munich, in pen and ink, underneath : Unica pr ova dall' A — F = . do Same as preceding, except that there are a few lines of burin work on the eyes, mouth, and beard. Brit: Mus. do Lacking the finishing touches only. Brit: Mus. I. Before all letters. Brit: Mus. II. In engraved and shaded script : Leonardo da Vinci dip: — Pietro Ermini dis: — Raffaello Morghen inc: Brit: Mus. III. The artists’ names as in II. ; in addition, in open, traced, uncial capitals : TRES SUNT QUI TESTIMONIUM DANT: IN COELO In skeleton script : Joan. c. v. 6. 7. In larger, traced script : 38 CATALOGUE OF PLATES. A S.E. D n . Carlo — Michele Stuart Duca di Berwick e d' Alba , — Conte di Modica, Grande di Spagna — di /? Classe &c. &c. &c. In small script : Luigi Bardi e Comp: D. D. D. In Firenze Appo: Luigi Bardi e Comp: in Borgo deg V Albizzi With the arms. Brit: Mus., on India and plain. IV. Same lettering as III., but all the letters shaded, and, in addition, after Albizzi is added, in a line below : N° 460. Brit: Mus. 43% Clement XIII., The Tomb of Pope. Canova sculp, marmore. Dimensions, 2 gf x i8f. Carlo Rezzonico, Bishop of Padua, of a Venetian family, was born 1716, and raised to the Papacy in July, 1758. His amiable and affable character was sorely tried by the demands of Spain, France, and Portugal, for the suppression of the Jesuits. His apostolical brief in their favor, issued in 1765, showed him to be a strong partisan of that order. His suspiciously sudden death occurred February 3, 1769. Engraved at Rome, 1790, after the original marble monument in St. Peter’s, at Rome, erected by the Pope’s own family. When the plate was nearly finished the monument was placed in its position, and it then became evident that the light and shade materially altered the effect. The engraving was accordingly changed. The most noticeable of the alterations was the suppres- sion of the two figures as seen through the door in the trial proof given below. Trial proof. All the figures, including the lions, are etched in out- line only, except for some few lines in dry-point. Through the open door-way of the tomb two figures are seen in the vault, one holding a lamp. They are only etched in outline and disappear in the finished plate. Brit: Mus. do “ Proof nearly finished. The figures in the doorway taken out.” Brassey Coll., Maskell. I. Before all letters and before the arms. Brit: Mus. ; F.R.H. II. “ Proof before all letters, with the artists’ names.” Brassey coll., Masked. DANTE ALIGHIERI. 39 There are false proofs of this state on modern paper. III. In shaded, engraved script : Antonins Canova inven. et faciebat — Stephanus Tofanelli delin. — Raph. Morghen sculp. Romae In open, uncial capitals : ABVNDIVS . A VRELl . F . — REZZONICVS . SENA TOR . VRBIS . MONVMENTVM . PA TR VI . SANCTISSIMI. SVO . — ET CONCORDISSIMORVM . FRA TR VM . NOMINE. IN . BASILICA . VATIC ANA . — ANNO . M . DCC . LX XXXI I . DICATVM . ARTIFICI . MANV . IN . AERE . EFFIGENDVM . — EXPRESSISQVE . INDE . EXEMPLIS . vvlgandvm . C . With the arms. Brit: Mus., 2 impressions; F.R.H. CoflllC MuSC, The. La Musa Comica. Portrait of Lady Hamilton as the Comic Muse. Angelica Kauff- mann pinx. Dimensions, 17J x i2f Engraved at Rome, 1789. The picture is a portrait of Emma, the beautiful Lady Hamilton, wife of Sir William Hamilton, whose intimacy with Horatio, Lord Nelson, made her so unfortunately conspicuous. She died at Calais, France, in 1816, in misery and want. The original plate is now owned by Luigi Bardi, Florence. A -| figure, full face, draped, appearing from behind a curtain, which is held back by the left hand, while she removes a mask with her right. On her belt is a cameo profile of Lord Nelson. I. In engraved and shaded script : Angelica Kauffman pinxit — Raphael Morghen sculp. Romae. Brit: Mus. II. In shaded script: Raphael Morghen sculp. Romae In large, shaded script : Quam veteres Graij pulchram esfinxere Thaliam esficta est nostro pulchrior in Latio. Brit: Mus. ; F.R.H., on India and plain. /J. Dante xA lighten. Tofanelli del. The larger plate. Dimensions, 13 x gj-. Engraved at Florence, 1803, at the request of Dr. Rosini, to illustrate his edition of “ La Divina Comedia,” della Tipografia 40 CATALOGUE OF PLATES. della Societa Letteraria, Pisa, 1804-9, 4 volumes, folio. This portrait is uniform with those of the four other “ Fathers of the Italian language and poetry ” : Ariosto, Boccaccio, Petrarca, and Tasso. Dante was born at Florence, 1265, and after an eventful and tempestuous life died at Ravenna, 1321. As the grandest poet of Italy, the author of the “ Divina Comedia,” and as one of the most learned men of his time, his name has remained famous for nearly five hundred years. “ Read and commented upon in the Italian universities in the generation immediately succeeding his death, his name became obscured as the sun of the renaissance rose higher toward its meridian. In the seventeenth century he was less read than Petrarch, Tasso, or Ariosto ; in the eighteenth he was almost universally neglected. His fame is now fully vindicated. Translations and commentaries issue from every press in Europe and America. Dante societies are formed to investigate the difficulties of his works. He occupies in the lecture-rooms of regenerated Italy, a place by the side of those great masters whose humble disciple he avowed himself to be.” Oscar Browning. For an excellent and complete work, see Scartazzini, Dante Allighieri , seine Zeit , sein Leben und seine Werke, Biel , 1869. Trial proof. The face, neck, front of the cap, the coat and hand etched in outline only ; the rest only partly engraved. Brit: Mus., two impressions ; Brera ; F.R.H. do The hand still in outline only ; all the rest of the plate uniformly advanced and nearly finished. The margin uncleaned. F.R.H. I. Before all letters. Brit: Mus. ; on India. II. In traced script : Stefano Tofanelli delineb — Raffaello Morghen incise in Firenze. Brit: Mus.; Brera, on India; Sotheby, 1861, £ 4 III. The artists’ names as in II. ; in addition, in open, uncial capitals: DANTE ALIGHIERI Brit: Mus. ; Brera, a counterproof. IV. Same lettering as III., but shaded and engraved. Brit: Mus. V. Same as IV., but in addition, in shaded script, in a line below the title : Luigi Bardi hnpresse. Grandi. DAFNI ED AMORE. 4i 46% The Same. The smaller plate from the same draw- ing as the preceding. Dimensions, 7f x 5f. Engraved at Florence, 1806, for Morghen’s friend’s, Gaetano Poggiali’s, edition of “ La Divina Comedia,” Livorno, Th. Masi, 1807-13, 4 vols. large 8vo. The Poggiali referred to is he who first got together the collection of the Morghens, now in the Brera, Milan, and to whom Palmerini addresses the first part of his life of Morghen. Trial proof. The face, hand, and coat blank. Brit: Mus.; Brera. do The face engraved, but not finished. The hand and coat still blank. Brit: Mus. * do The background, cap, wreath, right arm, and outside (bind- ing) of the book finished. The face partly engraved throughout ; the rest blank. Brera. I. Before all letters. Brera, 2 impressions; on one, on India, is etched in very delicate, traced script : Prova unica per V Amico Sig r . Gae n ° Poggiali R.M. II. In engraved and shaded script: Stefano Tofanelli delin: — Raffaello Morghen inc: Brit: Mus. ; Brera, 2 impressions, one on vellum, the other on white satin ; F.R.H. III. Same as II.; but • in addition, in open, traced, uncial capitals: DANTE ALIGHIERI Brit: Mus. IV. Same as III., but all the letters shaded. Brit: Mus. ; Brera ; F.R.H. V. Same lettering as IV. ; but the title, DANTE ALIGHIERI— still in shaded, uncial caps. — re-engraved nearer the oval, and italicized, i. e., slanted to the right. Grandi. 47. Dafni ed A more. Aug. Nahl pinx. Dimensions, i6f x 13. This and No. 48 were engraved at Rome, 1782 or 1783. An oval in a rectangle. Daphnis, as a shepherd, is seated in a wood, a dog beside him, and looking at a cupid, who points toward a lake in the background, on which is a boat. It is in illustration of the verse from Gesner’s Idyls, quoted below. Salomon Gesner (or Gessner) — born at Zurich, April 1, 1730, died March 2, 42 CATALOGUE OF PLATES. 1788 — was a Swiss painter and poet, and once a very favorite and widely read author. “ It is somewhat difficult for us now to understand the reason of Gesner’s universal popularity, unless it was the taste of the period for the conventional pastoral. His writings are marked, it is true, with sweetness and melody, but the sweetness soon becomes insipidity, and the melody monotony. He represents in most of his works the existence of shepherds in a golden, or rather tinsel, age, and nothing more unreal could possibly be imagined. His men and women are inane and lifeless representations. They are all alike, and all equally uninteresting. Their talk is but meaningless platitude. As a painter, Gesner represented ‘ still country scenes, rocks, springs, and waterfalls, shepherds, and shepherdesses ’ ; in short, the conventional classical landscape.” In shaded and engraved script: Augustus Nahl pinx * — Apud Joan. Volpato In italic capitals, of a single line : DAFNI ED AMORE In shaded, and engraved script : A mor diceva al Pastorello a fflitto : Sciogli la barca, e valichiamo il Jiume ; Ti render a beato il tuo tragitto. Gesner. Brit: Mus. ; F.R.H. j 8 . Dafni e Fille. Ditto pinx. Dimensions, i6f x 13. Engraved at Rome, 1782 or 1783, as a companion to No. 47. The artists’ names in same lettering as the preceding, as are also the title and these three verses : DAFNI £ FILLE Improviso stupor, gioja, ed amore Sfavillano negli occhj degli amanti, E se negli occhj, che sard nel cuore ? Gesner. Brit :Mus. ; F.R.H. There are besides two more plates belonging to this work, both painted by Felix Gianni, and engraved Aptid Joan. Volpato. DIANA AND HER NYMPHS. 43 The quotation under each is respectively as follows : N? I. PRIMO NA VIGA TORE. Quella che fu gia sogno al tuo pensiero , Chi sa, che col passar I'onda marina A mor non sappia convertirlo in vero ? Gesner Canto I. Nell. PRIMO NA VIGA TORE. Miran Vinforme barca , e il marche freme Ma non miran piu altro il lor begli occhi Quand' anno apreso a vagheggiarsi insieme. Gesner Canto II. 4 9% Denison , Portrait of Mr. Dimensions, 15 x gf . Engraved at Florence in August, 1816. The draperies and accessories engraved by Giovanni Calendi ; Morghen engraved the fleshes only, i. e., the head and hands. A full-length figure, seated in a low-backed, plain, arm-chair, wearing a coat with high collar and tight-fitting trowsers and gaiters. The right leg is crossed over the other knee, the left arm hangs over the arm of the chair. The background is blank. Trial proof. “ Proof nearly finished ; but without the head, which is not even in outline.” Brassey coll., Maskell. In this state Calendi handed the plate over to Morghen. I. Before all letters. The coat and trowsers heavily engraved. The hands, head, neckerchief, and waistcoat in dry-point. Brassey coll., Maskell ; Pinakothek, Munich, signed in pencil in Morghen’s hand at lower right corner. 50M' Diana and her Nymphs. Diana’s Hunt. La Cacciadi Diana. Le Prix de Diane. Domenichino Xampieri pinx. Dimensions, 29^ x 19$. Engraved at Rome, 1784, contemporaneously with “Parnas- sus,” No. 137, to which it is a companion, from the well-known original in the Palazzo Borghese, Rome, Platner and Bunsen, III., 44 CATALOGUE OF PLATES. iii., 279. These two plates were the first fruits of the partnership between Volpato and Morghen, which was begun in this year. In the earlier states there is engraved — very indistinctly — per Vamico Puccini on a thong of one of the sandals hung up as prizes. Tom- maso Puccini was an intimate friend of Morghen. Diana, standing on a small mound, holds aloft in her right hand a bow and hoop, in her left a quiver ; on her head her emblem, a crescent. On her right, behind her, a nymph raises a pole hung with trophies and prizes. In the left foreground a group of seven nymphs are shooting. In the centre two nude nymphs bathing, and on the right a seated nude figure looking at a promi- nent group of a nymph and two dogs. There are in all twenty- three figures, all animatedly employed in games and sports, besides two male heads peeping through the foliage in the right foreground. Trial proof. Unfinished throughout ; the sky blank, and many blanks in the figures. Brit: Mus. I. Before all letters. Brit: Mus. II. Traced very indistinctly, in minute script : Dominichus pinxit — Raph. Morghen Sculp. Romce. Brera ; Keppel, on vellum ; F.R.H. According to Maskell there were only five impressions taken of this state. III. The letters in II. not erased ; but engraved over them in heavy, shaded script : Dom cu . s Sampieri vulgo Dominichino pinx. — Raph e } Morghen Sculp. Romce In shaded, uncial capitals: deliae TUTELA DEAE FUGACES. LYNCAS ET SEE EOS COHIBENTIS ARCU. In large, roughly engraved, shaded script : A Sua Eccelenza la Sig r ;* Contessa di Spencer In smaller, shaded script, at lower right corner : Gio n ! Volpato, e Raf. Morghen D.D.D. Keppel. The early impressions of this state are said to be on paper with the water-mark “Pietro Miliani di Fabriano,” but this has not been found to be invariably the case in the many impressions ex- amined. IV. The same lettering as in III. ; but a crack in the plate has occurred, through an accident, between A and Sua in the dedication. These impressions are printed on smooth, thick, white paper. Grandi. ECCE HOMO. 45 5 / M Disegno, 36 Plates for Lo Studio del. Dimensions, igf x 14^. Engraved at Rome, 1783, by Giov. Volpato and Raph. Morghen. The work consists of the plates, and besides 4 leaves of text in Italian and French, and a frontispiece. The title in full is : Principj del disegno tratti dalle piu eccelenti statue antiche per li giovani che vogliono incomminarsi nello studio delle belle arti ; pubblicati ed incisi da Giov. Volpato e Raffaelle Morghen. In Roma nella Stamperia Pagliarini , 1/86. Con Licenza de Superiori. Atlas folio. “ Ouvrage elementaire d’un merite reconnu. L’edition originale etant devenue rare, a ete reproduce avec exactitude par le graveur de l’Academie de Venise, sous un titre italien, Milan, 1831, et sous un titre frangais, Rome, 1833,” large folio. Brunet, “ Manuel du Libraire,” Art. Volpato. 32.^ E,CCe HontO. II Piccolo Redentore. “ Leonardo da Vinci ” pinx. Dimensions, 8f x 5f-. Engraved at Florence, 1807, from an original of the same size as the engraving in the possession of the Trivulzi family, Milan, and attributed to Leonardo. A circular medallion, with head and bust in profile, to the left. The diameter of the circle is 2^ inches. The plate is now in the possession of Luigi Bardi, Florence. I. Before all letters, except the inscription around the inside of the circle, viz., in unshaded, uncial capitals : XPS . REX . VENIT . IN . PACE . ET . DEVS . HOMO . FACTVS . ESP . + • Brit: Mus. II. The same as I. ; but, in addition, in shaded script, close underneath the medallion : Raph: Morghen sculp: Brit: Mus. ; Brera. III. Same as II.; but, in addition, in skeleton script : L' Originale d' egual grandezza creduto di Leonardo, trovasi nella Galleria de' Fratelli Trivulzio a Milano Brit: Mus.; Brera. 46 CATALOGUE OF PLATES. IV. Same as III. ; but with all the letters of the inscription below shaded. The letters around the circle were never shaded. Brit: Mus. ; Brera; F.R.H. 53M' Elci, Count Angelo d\ Dimensions, 14^ x iof. Engraved at Florence, 1817, in dry point for Count d’Elci’s Satire , published there by Piatti in the same year, 4to. Several copies of the book were printed on large paper. The author was born at Florence, 1764, and died at Vienna November 20, 1824. He was of a rich and noble Tuscan family, and, though his writings are poor in point of style, he was an eminent archaeologist, and collected one of the richest libraries of his time in Europe, most of which, on his death, went to the Laurentian Library in his native city. The portrait is a bust in profile, to the left, on a blank background. Trial proof. “ Nearly finished.” Brassey coll., Maskell. I. “ Proof before all letters.” Brassey coll., Masked. II. In unshaded, traced script: Angelo d’ Elci Fiorentino Raffaelle Morghen incise alia punt a secca F.R.H. III. Same as II.; but all the letters shaded, and, in addition, the two lines : P an: 181J in attestato di stima, e venerazione D.D.D. Brit: Mus. ; F.R.H. 54. Etruria , Book-Plate for the King of. Dimensions, 3§ x 3^. Engraved at Florence, 1804, mostly by Raphael’s brother Antonio. The kingdom of Etruria was created by Napoleon I. in 1801, the Grand Duke having been dispossessed of Tuscany. The title of king was conferred on the Bourbon, Louis, Duke of Parma, of the royal house of Spain. The “ kingdom ” ended its existence in 1808, when it was merged into the Grand Duchy of Tuscany, under the sovereignty of Elisa Bonaparte Bacciocchi, Napoleon’s sister, whose portrait Morghen has engraved. See No. 20. FANTONI, GIOVANNI. 47 In the circular medallion, surmounted by a crown, at the top, in shaded script, on a blank background : di S. M. il Re d' Etruria On the tablet below, in open, uncial capitals, also on a blank background : NIL IN VITA MINE TV A There are no artists’ names or other inscription. Brit: Mus. ; F.R.H., with Morghen’s stamp. ggM* Fantastici, Fortunata Sulgher. Angelica Kauffman pinx. Dimensions, 6f x 4. Engraved at Florence, 1 794, for the edition of this Improvisa- trice s Poems, published at Leghorn, 1794. f face to the right; draped bust and head, wearing a jewelled turban ; in an oval. I. “ Proof before all leters, with the artists’ names.” Brassey coll., Maskell. II. In shaded script, close under the lower border of the oval: Angelica Kauffman pinxit. — Raph: Morghen Sculp: ijgp In traced, open, uncial capitals: FORTUNATA SULGHER FANTASTICI Brit: Mus., on blue and on plain paper; F.R.H. 56% Fantom, Giovanni. F. Tenderini pinx. Dimensions, x 5-J. Engraved at Florence, 1822, for the edition of the author’s works published by Giuseppe Tofani, Italia [Firenze], 1823, 3 vols. large 8vo. A profile head turned to the right in a circular medallion, surmounted by a laurel wreath in which is a harp. A ribbon hangs from the wreath on each side of the medallion. 48 CATALOGUE OF PLATES. Trial proof. The head and the wreath above in outline etching only. The horizontal background lines engraved. Before the name on the ribbon. Brit: Mus. do Only lacking the final touches. Still before the inscrip- tion on the ribbon. Brit: Mus. I. Before all letters, with the name on the ribbon. Brit: Mus. II. In small, shaded script, close under the medallion : Franciscus Tenderini pinxit. — Raph: Morghen Sculpsit Brit: Mus.; F.R.H. III. Same as II.; but, in addition, in open uncial capitals: EFFIGIEM . TV SCI . HOF A TII . ICO NIC AM RAPHAEL . MORGHEN POSTERITATI . TRADEBAT AN . M . DCCC . XXII . F.R.H. y/M* Ferdinand III., Grand Duke of Tus- cany. Dimensions, I 3 f x 8-f. Engraved at Florence, 1814, for the Descrizione dell ’ Apparato fatto in Firenze etc., dalla Reale Academia delle Belle Arti etc., Firenze, presso Carli , 1814. The reverse of the medallion was engraved by A. E. Lapi on the same plate, and was designed by Palmerini, Morghen’s biographer. Ferdinand was turned out of his dominions by Napoleon in 1801, but was restored in 1814. A profile head turned to the right in a circular medallion. The only state known is as follows : Around the inside of the medallion, in open, uncial capitals: FERDINANDVS' III' D' G ' P ’ R ' H ' FT ’ B ' A 'A ' M ' D ' E TR VR * The reverse shows the Grand Duke seated on a throne accom- panied by four draped allegorical female figures. Around the top of this medallion, in open, uncial capitals : VIRTVTES ' FOEDERA TORVM ' Between the obverse and reverse, in minute, shaded script: Raph. Morghe?i et A: E: Lapi Sculp : FERDINAND III., OF TUSCANY. 49 Below these two sides of the medallion, in shaded and engraved uncial capitals : FERDINANDO . Ill . M . E . D . FOEDERATORVM . VICTORIA . CONCORDIA . IVSTITIA . PACE ETRVRIAE . REDDITO COLLEGIA . ARTIVM . QVAE . AD . GRAPHICEN . MVSICEN DECLAMATIONEM . OPIFICIA . PERTINENT PEGMATA . CVM . STATVIS . PICTVRIS . ORNAMENTISQVE AERE . PROPRIO . LAETA . POSVERE . VT . VETERA OPTIMI . PRINCIPIS . ERG A . PA TRIAM . MERITA SPESQVE .NOVAS . OMNIVM . ANIMO . CONCEPTAS IN . MEDIUM . PROFERRENT . Brit: Mus. ; F.R.H. 58M' The Same. G. Ender pinx. Dimensions, 14.% x 10J. Engraved at Florence, 1821. A -f face and bust, in an oval surrounded by a rectangle, showing a uniform partially covered by a cloak. There are conspicuous bows on the shoulders and at the throat. The portrait of Maria Ferdinanda di Sassonia, No. 112, was engraved in the next year as a companion to this. Morghen began two plates from this original. The first was put aside after four impressions of the outline etching were printed. This is described in the first trial proof given below. In the second plate the face is nearly but not quite so full. Trial proof. The pure outline etching without the rectangle. Brit: Mus. ; Brassey coll., Maskell. The second plate begins with : Trial proof. With only a few marks of the burin. Brit: Mus. do Lacking the final touches only and before the rectangle. Brit: Mus. I. Before all letters and before the rectangle. Brit: Mus. ; Brassey coll., Maskell. II. Before the rectangle. In delicately traced script close under lower margin of the oval : Raffaelle Morghen incise in Firenze 1821. Brit: Mus. “ Two impressions were made in this state.” Maskell. 50 CATALOGUE OF PLATES. III. With the rectangle, under which the same letters appear as in II. Brit: Mus., plain and on India. IV. Same as III. ; but, in addition, in unshaded, traced script : Sua Altezza Imperiale e Reale In flourished, open, traced, uncial capitals : L’ARCIDUCA ferdinando III. In flourished, open, traced, Gothic letters : Granduca di Toscana ec. ec. ec. Brit: Mus. ; F.R.H. V. Same as IV. — i. e., all the lettering traced — but with the addition of the following dedication, etc., in unshaded script : A Sua Al- tezza I „ e R „ Maria Ferdinanda Principessa di Sassonia In open, uncial capitals: Granduchessa di Toscana EC. EC . EC. In minute script: Luigi Bardi impresse — Raffaelle Morghen D „ D „ D „ Brit: Mus.; F.R.H. VI. Same as V. ; but all the letters shaded, and before Raffaelle Morghen incise 1821 is added, in small, shaded script : Da un Acquarello di Giovanni Ender , on the same line. Grandi. VII. The retouched plate. To the inscription is added, in shaded and engraved script: A spese di Luigi Bardi e C° Bor go degli Albizzi N° 4.60. Brit: Mus. ; Brera. ffgM' Ferdinand IV., King of Naples and Sicily. Dimensions, 4% x 4-J. Engraved at Rome, 1789, for the Elogio Storico di Carlo III. In this same work occur the portraits of Charles III. and IV., also by Morghen. See Nos. 35 and 37. The resemblance of this plate with No. 37, the portrait of Charles IV., is very striking. Both plates are now owned by Luigi Bardi, Florence. “ Ferdinand I., King of the United Kingdom of the Two Sicilies, was, until 1817, Ferdinand IV., King of Naples and Sicily. He was born at Naples in 1 75 1 , the third son of Don Carlos, King of Naples, afterwards Charles III. of Spain. He married, in 1768, Maria Carolina, Archduchess of Austria, daughter of Maria Theresa. His reign was tempestuous and embroiled. It is of this prince that the story is told that, at the time of the revolution in FERDINAND IV., OF NAPLES AND SICILY. 5i 1820, when the crowd clamored at the palace and demanded a constitution, he replied to their demand : Oui, mes enfants, vous aurez une constitution, vous en aurez meme deux si vous les voulez.” Maskell. This plate is a head-piece to page V. Under it are printed five lines of italics, beginning Sire and ending no. The page at the back is a full printed page. The only state known is as follows : In the lower border of the frame, in shaded, uncial capitals : FERDINANDUS IV At right corner below, in shaded and en- graved script: Raph. Morghen sculp: Brit: Mus. ; Brera ; F.R.H. 6 oM * The Same . Francesco Liani pinx. Dimensions, 16J x Ilf. Engraved at Naples, 1 777, as a companion to the portrait of Maria Carolina, No. 111. Impressions of either of the plates de- scribed below are rare. Raphael Morghen has here used the same plate on which his father, Filippo, had engraved the same personage at a younger age, some seventeen years before. Raphael erased this head and re- engraved it representing the king at a more advanced age. The original plate — by Filippo Morghen, first published in Le Antichita di Pozzuoli , Baja e Cuma, Napoli, 1 769, large oblong folio — represents the king when a youth, in an oval, half length, full face, in armor, wearing the Golden Fleece. Around the border of the frame, in large, shaded capitals : ferdinandvs . iv. dei . gr . vtrivsq. sic . et . eier . rex. On the top stone of the pedestal, in shaded script : Natus Neapoli die — XII. Jan. MDCCLI. On the stone below, in shaded, uncial capitals : quo carolus— et AMALIA HI SPAN . — REGES IN NATI SUI — VVLTVS ALA C RI- TA te absentes — exhilarentur. On the lowest stone, in shaded, print characters : Philippics Morghen- — Effinxit An. MDCCLX. With the arms. Brit: Mus., also on blue paper. In the Raphael Morghen plate the head is changed to repre- sent the king much older. The lace at the neck is altered, and the ribbon of the Order of the Fleece is made narrower. The hair fall- 52 CATALOGUE OF PLATES. ing on the broader ribbon is also altered. But these alterations have been so cleverly carried out that they would probably pass unnoticed if the earlier plate were not so well known. This plate of Raphael’s first appears with the same lettering as described above, but with the date on the lowest stone changed to MDCCLXXII. Brit: Mus., on yellow paper ; Brera, with pen and ink inscription, in Raph. Morghen’s hand, in lower right corner : Rajfaelle Morghen feci in Napoli Stampa rara donata al amico Poggiali dalT Incisore. Raphael’s plate next appears with the inscription on the low- est stone, changed to : Eivsq. Filivs Raphael Patrem Aemvlatvs An. MD CCLXXVII. ad Vivvm Expressit. Brit: Mus., on blue paper, and plain. 6iM* Filangiem, Gaetano. Steph. Tofanelli pinx. Dimensions, io| x . A private plate, engraved at Rome, 1786, for Filangieri’s family. This great Italian publicist was born at Naples, August 18, 1752, and died, after a most industrious life, July 21, 1788. La Scienza della Legislazione , which formed his main labor throughout his life, and which he left unfinished by his early death, still remains as a monument of his learning, sound judgment, and wide range of thought, and places him in the same rank with Vico, Beccaria, and Montesquieu. He was of noble descent, being the third son of Cesar, Prince of Arianello, while on his mother’s side he was con- nected with the ducal house of Fragnito. He was married in 1783 to Carolina von Frendel, an Hungarian lady. He is here repre- sented as a very young man, head and bust looking to the left, wearing a military uniform. On the left breast of the coat are a star and two other decorations. In an oval surrounded by a rec- tangle. The only state known is as follows : In shaded script, at lower right corner of rectangle : Raph. Morghen sculp. In open, uncial capitals : Gaetano Filan- FORNARl , THE MARCHIONESS. 53 GIERI In heavy, shaded script: De Principi di Arianello, nato il 1 8. Agosto Vanno 1J52 ; mor\ il 20. Luglio dell' anno rj88. F.R.H. 62.% Fisionomie Cognite. Raff. Sanzio pinx. Dimensions, 15 x 10. Two plates of outline figures, engraved at Rome, 1782 or 3, as keys to Raphael’s pictures of Pope Leo and Attila, and of Par- nassus. 1. Pope Leo and Attila. Inside the rectangle, forming a frame : Effigies Cognitae. / Joannes Cardlis de Medici postea Leo X. 2 Leo X. 3 Petrus Perusinus 4 Attila. Under the rectangle : S. Leo Papa primus Attilae Hunnorum Regi in Italiam infensis armis ad Urbis excidium festi,, nanti occurrit , majestate et eloquio ad Mincium sistit, ac specie occulis objeda BB. Petri et Pauli Apo,, stolorum districtis in eum gladijs minitantium , dimissis animis re infedagressum referre cogit. Brit: Mus., signed in pencil : Raff e . Morghen scolpi Brera. 2. Parnassus. Effigies cognitae in Montis Parnassi tabula depidae sigillatim propriis nominibus indicantur. / Laura 2 Petrarca 3 Dantes 4 Homerus 3 Virgilius 6 Tibal- deus 3 Boccacius 8 Sannazarus 9 Ovidius 10 ILora- tius 11 Pindarus. Brit: Mus., signed in pencil : Raff e . Morghen scolpi Brera. 6j.% Fornari, The Marchioness Co stanza Raimondi de . S. Panario pinx. Dimensions, iof x 7f . Engraved at Florence, 1818, for the Abbate D. Luigi Martini. Palmerini engraved the draperies and background, regarding which he says : Fui amichevole mediator e presso il Cav. Morghen per che, lo intagliasse , e si contento che fossero da me eseguite le vesti, ed il fondo , il quale e uscito dall' acquaforte di quella forza vellutata , come lo vedi , non essendovi di bulino che le inevitabili attacature, 0 riunioni verso la figura, cosa chi io acceno, perche da talunni impu- 54 CATALOGUE OF PLATES. tata di sfacciato ardimento. This was engraved as a private plate, and, never having been published, is rarely met with. The only two impressions known to the writer are those described below. The portrait represents an old lady, half-length, the hair entirely covered by a lace cap, which extends below the chin. The collar is open, and a shawl thrown over the shoulders. In an upright oval without a rectangle. I. All the letters faintly traced. In minute script : 5 . Panario dis : in Genova 1815. — Raff 0 .. Morghen inc : in Firenze In open, uncial capitals: costanza fornari In skeleton script : Senno virile ha il Cielo a te concesso Sensibil alma nobil core , e schietto , Con tutte poi le grazie del tuo sesso ; E del tao sesso senza alcnn difetto. In open, traced, print characters : Pignotti Brit: Mus., in pencil : Dono dell' amico Martini II. The artists’ names remain as in I., but all the other letters — except Pignotti — are shaded. F.R.H. 64..% “ Fornarina, La .” “ Raff. Sanzio ” pinx. Dimensions, I2|- x g. This plate was begun in Florence, i 8 o 5 , and finished there, 1814. The identity of the portrait is entirely unsettled. It is very unlikely that it represents a mistress of Raphael, and it is well established that the name Fornarina — bakeress — was never known till the eighteenth century, and that it could never have applied to the original of this portrait, who is called by some Vittoria Colonna, by others the Duchess Elizabeta d’Urbino, or Emilia Pia, or Beatrice Pio da Ferrara. The person referred to by Vasari, vol. VIII., pp. 35, 44, 45, 58 , is probably a different woman. See Passavant I., 183; II., No. 95 ; III., p. 114. The picture in the Uffizi, engraved by Morghen, and which is very unlike the others of the so-called Fornarina in the Pitti, Barberini, and Sciarra galleries, is by several claimed to be by the hand of Sebastiano del Piombo, though Passavant denies this. ‘ ‘ FORNA RINA , LA." 55 It is certainly — whoever was its original, or whoever the painter may have been — a splendid work of art, and worthy of its exalted position among the masterpieces in the Tribune. It is a nearly half-length figure, with the head two thirds turned to the left, and bent slightly forward. In the hair a slight wreath, and an ear- ring in the left ear. The right hand reaches across to grasp a thick fur lying on the left shoulder. The low waist is of blue velvet. There are two cleverly executed copies of this plate : one engraved by Samuele Levi Polacco under Galgano Cipriani’s direc- tion ; the other by Antonio Morghen, Raphael’s brother. Impres - sions of these plates, if before all letters, may easily be mistaken for the same state of the original Raphael Morghen plate, which last is now in the possession of Luigi Bardi, Florence. Trial proof. do do do do do The background, the hair at the back of the head, the cloak and fur on the left shoulder partly engraved ; the rest in outline. Brit: Mus., below, in pencil : Prova unica dopo della quale rifeci il partito de' capelli dietro l' or echio [sic for orecchio\ . The same ; but, in addition, the hair nearly finished. Brit: Mus., etched in lower margin, unica prova, after which, in pencil : R. M. The hand, arm, and bodice still etched in outline only ; the throat slightly engraved ; the rest nearly finished. Brit: Mus. The hand, arm, and bodice still etched in outline only ; the throat slightly engraved ; the rest finished. Brera. The arm, to the middle of the hand, and the ruffle between the fur and the flesh, blank ; also the string around the neck. The throat still unfinished. The dotted lines on the shaded half of the hand not crossed. Brit: Mus. Same as preceding, but with the ruffle on the left shoulder engraved. Brit: Mus. I. “A finished proof before any writing.” Wilson, No. 186. II. In shaded script : Raph: Sanctuis pinxit — Petrus Ermini delin: Raph: Morghen sculp. Flor: In open, traced, uncial capitals : RAPHAELIS AMICITIA — CELEBERRIMA In smaller, italicized, 56 CATALOGUE OF PLATES. open, traced, uncial capitals : la FORNARINA With the arms. Brit: Mus. ; Brera ; F.R.H. III. “A proof with a dedication to General Manfredini ” is mentioned in the Manfredini catalogue, and there called “ unique.” IV. Same inscription as in II. ; but with all the letters shaded, and, in addition, in shaded script : Johanni Alexandria Liberalium. Artium — Acad: Praesidi et R. Pinacothecae — Flor: Praefecto. In smaller, shaded script: Aloysius Bar di excudit — Raph: Mor- ghen D.D.D. With the arms. Brit: Mus., on India and plain. 6j)M' Fomanna , The head of the figure in the trans- figuration called La. Raff. Sanzio pinx. Dimensions, diameter 2-|. Engraved at Florence, 1806, on a circular silver medallion about the size of a silver dollar, as an experiment. It was never finished, and after a few impressions had been taken the plate was presented by Morghen to the Princess of Vintimiglia, Duchess of Alba. Trial proof. The outline etching only. Brit: Mus. ; Frankfort, 1880, £2 8s. do Some dry-point added in the hair. R.M. lightly traced below. Brit: Mus., two impressions, do The hair finished in dry-point. Brit: Mus. 66M> Francis I. of Austria. Dimensions, nf x 9^. Engraved at Florence, 1819. A head and bust in profile turned to the left, in dry-point on a blank background. Francis II., born r 768, succeeded his father as Emperor of Germany in 1792. In 1806 he renounced this title and took that of Francis I., Emperor of Austria. He died in 1835. I. Before all letters. Brit: Mus. ; F.R.H. FULGER, MAD AM A. 57 II. “Proof with two lines in traced letters; the word ‘Alla’ before ‘ Maesta,’ and an entire line (the third) erased on the impression. Not in B. M.” Brassey coll., Masked. This is evidently a mistake. III. In large, shaded, Gothic letters: Francesco I. In shaded script: Iniperator d' Austria, Re d'Ungherict e di Boemia. In small, traced script : Firenze , presso Luigi Bardi e Comp : — Raff 0 . Morghen inc: alia punta secca. Brit: Mus.; F.R.H. IV. “ Lettered proof, with dedication in traced letters.” Brassey coll., Masked. V. Same as III.; but with Imperator corrected to Imperatore , and, in addition, the following, in shaded script : A sua Ecc z f il Sig. Conte Antonio Appony Commendatore del I. Or dine di Leopoldo Gran- Croce dell' Or d: di S. Giuseppe di Toscana e di quello Const an- tiniano di Parma, Ciamberlano Consigliere intimo attuale di S. M. I. e R. A. e suo Inviato Straor dinar io, e Ministro Plenipotenziario presso la Corte di Toscana e di Lucca Amantissimo e Protettore delle Belle Arti In smaller, shaded script: Raffaello Morghen inc: i8ig. — Luigi Bardi e Comp. D.D.D. In print characters: Firenze presso Luigi Bardi e Comp: Brit: Mus. 6y% Fulger, Madama. Dimensions, 8J x 5|. Engraved at Florence, 1794. A half length of a young and pretty woman seated in a landscape, in a rectangle. The face and figure are two thirds turned to the left, her arms, bare to the elbows, crossed in her lap. She holds a book in her left hand with the thumb between the leaves. There are two patches on her left cheek, and her hair is fancifully dressed in curls. This plate, which never had any inscription beyond the engraver’s name, is now the property of Luigi Bardi, Florence. It is almost entirely engraved by Galgano Cipriani, Morghen having done little more than to give it the finishing touches. I. Before all letters. Palmerini states that there were very few, if any, impressions of this state besides the one in his possession. Mr. 58 CATALOGUE OF PLATES. Maskell mentions one in the Brassey coll., but this may be the same formerly owned by Palmerini. No others are known. II. In shaded script, at lower right corner : Raffaello Morghen inc. F.R.H. 68. Gabriel , The Archangel, l. Sabatelli pinx. Dimensions, i6f x 12. Engraved at Florence, 1800, in the matita, or crayon-drawing, manner, and is the only plate so engraved by Morghen. Even this was practically entirely the work of A. E. Lapi, in 1798. Morghen went over it and gave a few finishing touches, and it was then published with his name as engraver. An oval with head and winged shoulders. The nimbus is a shell surrounded by a circle. Three quarter face to the right. The original is sup- posed to have moved the eyelids in a miraculous manner on the 30th of January, 1798. I. Before all letters. Brera, printed in bistre. II. The artists’ names, in roughly traced script : L. Sabatelli del: — R. Morghen sculp: close under the oval. In large, shaded script : Immagine dell' Arcangiolo S. Gabbriello , In smaller, shaded script : che si venera in Firenze nel R. Ritiro delle Ancille della SS: Incarnazione d? le Montalve in Ripoli, e che si rese prodigiosa pel Movimento degl' Occhi , il di jo = Gennajo ijg8. Brit: Mus., plain and in bistre ; Brera; F.R.H. 6 Engraved during a short visit to Naples in 1790. The portrait of Raphael Morghen’s father, and earliest instructor in engraving, from a drawing by Raphael’s brother Guglielmo. A profile head and bust, turned to the right and facing a head and bust of Raphael engraved by Guglielmo, in profile, turned to the left, and on the same plate. The reversed portrait of Raphael, No. 126 , is from the same drawing of his brother. All these are in dry-point on a blank background. Trial proof. Filippo’s head only ; touched up with pencil and pen and ink. Brit: Mus. I. In heavy, shaded script : Philippus Morghen — Raphael Morghen In shaded italics : Gugl. Morghen del. — Raphael Morghen sculp. — M. DCC. XC. — Gugl. Morghen del. et sculp. 1790 In large, square, print, capital letters : NOS INGENIO SI MOX DA TURI PROGEN/EM INGENIOSIOREM. Brit: Mus. ; F.R.H. II. Filippo’s portrait only ; retouched. In heavy, shaded script : Filippo Morghen Incisore in Rame In smaller, similar script: A M" Henry Layard : Morghen inc: Brit: Mus. Dimensions of this plate, 8 x 5f. 126 M* Morghen , Raphael. Dimensions, iof x Engraved at Rome, 1787, in dry-point, for his friend Tom- CATALOGUE OF PLATES. 1 14 maso Puccini, at whose death the plate passed into the possession of Tommaso’s heirs, the Puccini family, at Pistoja. A profile head and bust turned to the right, from the same original as the preceding, No. 125, but reversed ; on a blank back- ground, except for some unimportant shading behind the head. Raphael is here represented at the age of twenty-six. In minute, traced script : Raffael Morghen Lncise se med° alia Punta Secca ~ . in Segno d' Amicizia per il Sig r . Tommaso Pticcini dell' Arte Amantissimo To which Puccini has added : Nec Sculpi melius , nec potuit melior. Brit: Mus. ; Brera, on India and plain ; F.R.H. 127.% Morghen , Raphael. Ipse del. Dimensions, Ilf x gj. Engraved at Florence, 1819. A profile head and bust turned to the left, engraved in dry-point on a blank background. This is chronologically thirty-two years later than the preceding, No. 126, but it does not appear so. By the date, Raphael Morghen should have been at this time forty-eight years old. Schiavonetti has copied this plate in stipple. The original is now owned by Luigi Bardi, Florence. I. Before all letters. Brit: Mus., on India and plain. II. In unshaded script : Raffaello Morghen Se Stesso disegnb ed incise alia Punta Secca In traced, print characters : In Firenze presso Luigi Bardi e C° Borgo degli Albizzi N° go. Brit: Mus., on India and plain ; Brera; F.R.H., on India and plain. III. The title in reversed , heavily shaded letters. In pencil below : Prova unica del Rame donata da Luigi Bardi all 1. e R: Galleria di Firenze Unico esemplare — dello Scritto inciso al diritto — N° 1 In heavy print characters : Raffaello Morghen In heavily shaded script : delineb ed incise se stesso Brit: Mus. In the Brit: Mus. there is also a counterproof of this state, in MURAT, JOACHIM. 1 15 the lower margin of which is written in pencil : N„ 2. — Controcalco della Prova precedente N° , 2 Controcalco. IV. In heavy, shaded script (except 1819 and the last line, which are in print characters) : Raffaello Morghen disegno ed incise se Stesso 1819. Ai SSJ Fratelli Domenico , e Gio: Maria Artaria di Mannheim In segno di sincera Amicizia Luigi Bardi D.D.D. In Firenze presso Luigi Bardi e C° Bor go degli Albizzi N° 460. Brit: Mus. ; Brera. 1 28 M' Murat , Vignette engraved for General Joachim. Dimensions, 8f x 5. Engraved at Florence, 1800, for this brilliant and dashing cavalry officer, whose eventful career from his humble origin to royalty, and finally to an untimely and unfortunate end forms one of the most interesting histories in that period of stirring events. This vignette was engraved at his request during a visit he made to Florence in this year. He did not become King of Naples till eight years later. He was born 1768 and fell a victim to his own rashness in 1 8 1 5 . The figure of Minerva in armor, seated, and holding in her right hand a spear, one end of which rests on the ground. On her left is a heap of arms, fasces, standards, flags, etc. ; on her right is a tree of which only the trunk and lower branches are seen. The background is a hilly landscape. I. In uncial capitals : libertL — egalitL On the band : repub- LIQUE FRANQOISE Under the vignette: Raffaelle Morghen sculp. In engraved and shaded script : Au quartier General In larger, similar letters : Murat General en Chef Brit: Mus. ; Brera. II. The same lettering, but with the accents on the final E in libertL and egalitL altered to grave accents, franqoise is changed into FRANQAISE. Brera. CATALOGUE OF PLATES. 116 1 2(pM' Napoleon I . F. Gerard pinx. Dimensions, I7^x 12^. Engraved at Florence, 1807. Prof. Rosini, through Giuglio Cesare Estense Tassoni, ordered this plate to serve as a frontis- piece to the sumptuous edition of the Code Napoleon , published by Molini, Landi, & Co., Florence, 1809, folio. Of this edition there were 1 2 1 copies printed : 1 on extra large vellum paper, with the original drawing and the portrait in four different states ; 3 on blue tinted paper; 12 on double vellum paper ; io 5 on ordinary vellum paper. The plate is now the property of Luigi Bardi Florence. Napoleon the Great (1769-1821) is here represented in his coronation robes at the period of his greatest glory, when all the eyes of the world were directed to him. The portrait is half length, three-quarter face turned to the right, a laurel crown on his head. Around his neck a lace ruff and two pendent bands of lace fall on the ermine-covered breast. He wears the decoration of the Le- gion of Honor, which he himself instituted. On the velvet mantle are embroidered bees, the emblem he chose as his own. The treatment of the fur and lace is particularly skilful and effective. The portrait is marred by the too great breadth of the right cheek — i. e. y the distance is too great from the nose to the ear. This fault exists in the painting, but Tofanelli exaggerated it. That it met with the approval of the Emperor appears from the follow- ing letter written by his Minister to the engraver : “ Monsieur, j’ai mis hier sous les yeux de Sa Majeste les deux exemplaires de son portrait, que vous m’aviez addresses. Elle a daigne temoigner qu’elle agreait volontiers cet hommage. Elle a donne des eloges a votre talent, et j’ai lieu de croire que vous recevrez de l’Em- pereur quelque marque particuliere de sa satisfaction.” Morghen was subsequently decorated with the Legion of Honor. Trial proof. The figure in outline etching only. The background uniformly shaded, but not finished. Brit: Mus. ; Brera ; F.R.H. The background, the hair, and the wreath finished ; the face partly engraved ; the rest in outline. Brit: Mus. ; Brera. do NAPOLEON I. 117 do Finished, except the face, which lacks the final touches only, and the cross of the Legion of Honor, which is still unshaded. Brit: Mus. Remark proof. Finished, except the cross, which still lacks the in- scription around the head in the centre : NAPOLEON EMP DES. FRANCOIS. Brit: Mus. I. Before all letters. The inscription and head on the cross are so faintly engraved that they are very indistinct. Grandi. This and the Remark proof are of great rarity. II. In shaded and engraved script : Steph: Tofanelli deline avit — Raph: Morghen Sculp: Florentiae The head and inscription on the cross are made more distinct. Brit: Mus., on blue paper and plain ; Brera. The three impressions on blue paper referred to above were in this state. III. The same as II. ; but, in addition, in open, traced, uncial capitals: NAPOLEON Brit: Mus. ; F.R.H. There were one hundred im- pressions printed of this state. IV. The same as preceding, but, in addition, in skeleton, traced script : Empereur des Frangais, Roi d 'Italic, et Protecteur de la Confederation du Rhin . Brit: Mus. ; Brera. V. Same lettering as in IV., but all the letters more heavily engraved though still unshaded. VI. The same lettering as preceding, but, in addition, in the middle of the lower margin, in shaded and engraved script : Florence chez Molini, Landi , et O. Brit: Mus. ; F.R.H. VII. Same as VI., but with all the letters engraved and shaded. Brit: Mus. VIII. Same as preceding, but with the address changed to Florence chez Louis Bardi & C e . Brit: Mus. IX. The plate re-touched throughout and lettered as in V., i. e., with- out any address. These impressions are always easily distinguished from the earlier ones by the paper, which, in this state is modern, thick, and smooth, showing no wire marks. 1 18 CATALOGUE OF PLATES. i jo M* Napoleon I. crossing the St. Bernard Pass 071 a horse. David pinx. Dimensions, 28£ x 2of. The etching was begun by Morghen, in Paris, in 1812, on the occasion of his only journey, but one, out of Italy. He carried the plate with him back to Florence, and there did some more work on .it in the next year, but when Napoleon fell from power he left it unfinished. Very few impressions (Maskell says four) were taken before, at the request of the French Government, the plate was sent to Paris, where it was finished, and is now in the possession of the Chalcographie du Louvre , where it is in use at the present time. Napoleon, seated on a rearing charger directed to the left, but turning his head nearly full face, holds the reins loosely in his left hand, while he points onwards and upwards with his right. He is in full general’s uniform, a mantle covering his shoulders, and wearing a cocked hat. He is surrounded by a rugged, moun- tainous landscape, in which some soldiers are seen toiling up a defile. A storm with lightning is raging. Trial proof. The sky blank ; the background mountains uniformly engraved, but not finished. The horse and rider and the foreground partly engraved — mostly in dry-point -^but showing many blanks. The top of the moun- tains behind Napoleon form a continuous line. Brit: Mus. do With scarcely any additional work, except that the tops of the mountains behind the figure of Napoleon are broken and lowered. F.R.H. This was the state of the plate when Morghen sent it to Paris. 1 31. Nativity , The. II Presepio. The Adoration of the Shepherds. Ant. Raph. Mengs pinx. Dimensions, 23 % x i6|. Engraved at Rome, 1792, and the last plate engraved by Morghen before his departure for Naples. The original is N? 1435 in the Museo del Prado, Madrid, — not in the Royal Palace, — and is in the style of Correggio, of whose works Mengs was a diligent NERI, SAN FILIPPO. 119 student. The Virgin displays the Infant Christ to a wondering group of shepherds, who are dazzled by the light emanating from the Infant. Above is a group of winged angels, one of whom holds in his hand an olive branch, and points downwards ; another holds a burning censer. This plate, in which Morghen was assisted by Francesco Rainaldi, was ordered by a Spanish art association, the president of which was the Prince of the Asturias, and it was one of a series from some of the choicest original pictures in Madrid. The title of the work is Collecion de las Estampas grabadas a buril de los cuadros pertenecientes al Rey de Espagna , Madrid, 1792, et seq., royal folio. 48 plates appeared in parts, each part containing 6 plates. They were engraved — be- sides this one by Morghen — by F. Mutaner, B. Amettler, J. Vas- quez, J. Volpato, M. S. Carmona, F. Selma, and others. Trial proof. The outline etching mentioned as unique in the Pog- giali Catal. do Unfinished throughout. No lettering. Brera. I. In shaded and engraved script: Eq. Ant. Raphael Mengs pinxit — Joseph Beraton delin. — Raphael Morghen sculp. Romae Brit: Mus. ; on the lower margin is written in pencil, evidently as a model for the letterer : Esta tabla del Nacimiento que pinto in Roma il Cabal- lero Mengs y esta en el Real Palacio di Madrid — tiene de alto ocho pies de rey y seis de ancho. NB: Che il Rame della sudetta Incisi- one sta in Spagna, ne fu fatto per Commercio. Keppel. II. With the inscription given on the Brit: Mus. impression of I. en- graved, with the following alterations: A comma is added after Nacimiento ; the 0 in pintb is accented ; en is engraved instead of in; a comma is added after Mengs ; de Madrid is engraved in- stead of di Madrid ; and the line beginning NB is omitted. Brit: Mus. : Keppel. 132% Nen , San Filippo. Morghen del. Dimensions, 12^ x 8 f. Engraved at Rome, 1787, for the Padre Carl’ Antonio di Rosa, of the Congregation of the Oratory at Naples. An upright 120 CATALOGUE OF PLATES. oval on a base and surrounded by a shaded rectangle. Nearly full face, looking at the spectator, turned slightly to the left, seated in a chair on the arms of which his elbows rest. He holds in his hands an open book. He is dressed in the simple costume of his order. His beard, which is worn full, is white. On his head a cap. An architectural background. Filippo Neri, “ one of the most remarkable and individual fig- ures amongst the ecclesiastics of the XVI. century,” was born at Florence, July 21, 1 5 1 5 . His father was an obscure lawyer who married Lucrezia Soldi, his superior in social rank. “ His winning, gentle, intelligent, playful, and yet obedient disposition ” earned for him, in his childhood, among his playmates, the title of “ il bon Pippo,” which, at a later age, in Rome, was changed to “ Apostle of Rome,” because of his devout practices, his habitual, self-im- posed austerities, and his indefatigable labors among the poor. In this last named city he founded, in 1548, the celebrated Con- fraternity of the Sanctissima Trinita de’ Pellegrini e de’ Convales- cente, and from this, through his association with other priests, he having been ordained one himself meanwhile, 'he began the Institute of the Oratory in 1 556 , with which his name is universally associated. This community of secular priests is called the Congregation of the Oratory, and was sanctioned by a bull of Ugo Buoncampagno, Pope Gregory XIII., July 1 5 , 1 5 7 5 . The special mark which distinguishes Filippo Neri’s form of ascetic piety from the types accredited before his day was “ practi- cal commonplaceness. He looked like other men ... he was emphatically a modern gentleman, of scrupulous courtesy, sportive gaiety, acquainted with what was going on in the world, taking a real interest in it, giving and getting information, very neatly dressed, with a shrewd common-sense always alive about him, in a modern room with modern furniture, plain, it is true, but with no marks of poverty about it, — in a word, with all the ease, the gracefulness, the polish of a modern gentleman of good birth, considerable accomplishments, and a very various information.” — William Faber. There are many anecdotes told of him which attest his pos- NERT, SAN FILIPPO. 1 2 I session of a playful humor, united with shrewd mother-wit, often urging him to acts with a ludicrous aspect, but which were well calculated to serve his purpose of divesting religion of the hyper- professional garb it wore in his day, and bringing it within the area of ordinary lay experience. This, rather than the atmosphere of supernaturalism with which he is surrounded in the various biographies of him which have appeared, and that to a much greater degree than is common in similar writings, is the true key to his popularity, and to the fact that his name figures often in the folk-lore of the Roman poor, whom he loved so well and served so long." — Rev. R. F. Littledale. He died May 26, i 5 g 5 ; was beatified by Paul V., 1600 ; and canonized by Gregory XV., 1622. This and No. 133 are best en- graved portraits of this truly saintly man. On the shaded base, in heavy, print capitals : s. filippo neri fondat e . della congreg e . DELL' oratorio In shaded script : Cor meum , et caro meet exultaverunt in Deum vivum Ps. 83. v. 3. In the lower margin, in shaded script : Raf f Morghen inc Roma A divozione del P. Carl' Antonio di Rosa della Congregazione dell' Oratorio di Napoli Brit: Mus. ; F.R.H. 133^' The Same. Tofanelli deli. Dimensions, 5^ x 6f. Engraved at Florence, 1802, for the Padre Camillo del Bono of the Roman Oratory. For synopsis of the Saint’s life see ante , No. 132. Both were private plates. A half-length three-quarter face turned to the right, in an oval surrounded by a rectangle, in the same costume as in 132, the hands crossed on the breast, the right holding a rosary. Trial proof. The drapery and hands etched in outline only ; all the rest partly engraved. The oval frame and the rectangle are already engraved in this state. Brit: Mus. do Finished except the hands which are etched in out- line. The margin is uncleaned. Brera I. Before all letters. Brera, two impressions: one on India, the other 122 CATALOGUE OF PLATES. on plain paper ; the latter has many marks of the graver on the margins. F.R.H., on India, signed in pencil at lower right corner Raf Morghen ; the margins cleaned. II. In small, shaded, and engraved script : Steph: Tofanelli inv: et del: — Raphael Morghen sculps: Brassey coll., Maskell ; F.R.H. III. The line of the artists’ names as in II. ; but, in addition, in shaded and engraved, large, cursive letters : 5. Philippo Nerio Patri In smaller, similar letters : C. D. B.filius et cliens omnium postre- missimus patrocinio ejus et ope praesentissima votorum compos effectus. F.R.H. 134% Nun , The Portrait of an Unknown . Dimensions, nf x 8J. Engraved at Florence, 1794. A half-length, nearly full-face, standing figure slightly turned to the left, the eyes looking down and the hands folded out of sight under the scapular, in an oval without a rectangle. Almost entirely engraved by Raphael’s brother, Antonio Morghen. The plate usually occurs with Raphael Morghen Sc: close under the lower right side of the oval in shaded and engraved script. Brit: Mus. ; Keppel ; Grandi ; F.R.H. ; but in the Pina- kothek, Munich, are two impressions, one with Ant. Morghen , the other with Raph. Morghen , etched on lower right side of the oval. 1 35 ^' Ovid. Publius Ovidius Naso. Dimensions, diameter, Engraved at Florence, 1794, for the edition, in Italian, of the Amori Ovidiani, tradtizione anacreontica di Federico Cavriani , Sulmona, 1794, 3 vols., i2mo. The second edition of this transla- tion, Crispoli, 1802, 3 vols., 8vo., also contains this portrait. A profile head to the right in a circular medallion, around the inside of which is 0THIAI02 NA2BN. In minute, shaded script, under the lower border of the circle : Raph: Morghen Sculp: 1794. On the reverse of the page on which is the medallion, in the first edition, is the quotation : PAINTING. 123 Poscimus , si quid vacui sub umbra Lusimus tecum , quod & hunc in annum Vivat, & plures ; age ; die puellis Barbite Carmen. Horat. Od. 32. Lib. 1. On the verso of the impression of the medallion in the second edition, the quotation given above is changed to : Poscimur. Si quid vacui sub umbra Lusimus tecum , quod et hunc in annum Vivat , et plures : age , die Latinum, Barbite , carmen, Hora t. Od. 32 Lib. 1. Brit: Mus. ; Keppel ; F.R.H. 136. Painting. La Pittura. Gav. Hamilton pinx. An emblematical figure. Dimensions, 17^ x 12. Engraved at Rome, 1779, for the artists and brothers, Philip and George Hackert, who were so pleased with Morghen’s suc- cess that they paid him of their own accord more than had been stipulated, and at once gave him the order to engrave the com- panion picture, Poetry, see No. 14.5. Philip Hackert was a land- scape painter of some success, and George engraved several fair plates. A nearly full-length seated figure turned to the right ; the face seen in three-quarters, and the eyes looking at the spectator. She wears a wreath twined in her hair ; her left hand holds a drawing-board, on which is designed a torso ; her right, holding a crayon, rests on her right leg. The figure is draped, except the right shoulder, which is bare. Two trunks of trees are behind her on the left ; in the background, a mountainous landscape with a volcano in eruption. It is said to be intended as a portrait of Lady Hamilton, Lord Nelson’s friend. Trial proof. An outline etching occurs in the Poggiali Catal., and is there termed unique. 124 CATALOGUE OF PLATES. do With very little graver work on the outline etching. Brera. I. In shaded, engraved script : Gavinus Hamilton Pinx ? Seydelmann deling — Rap e ! Morghen Sculpt R omcs% In shaded, uncial capitals : LA — PEINTURE . With the arms and the mottoes on the arms, viz. : Trough ; Tria Juncta in Uno ; and Sola Nobilitat Virtus. II. The same lettering as in I. ; and, in addition, in large, shaded script : A Son Excellence — Guillaume Hamilton In smaller, shaded script : Chevalier de L' Or dr e du Bain, Envois — Extraor- dinaire et Plenipotentiaire de Sa Maiestt Britannique — ct la Cour de Naples ~ In much smaller script: humblement dedie, par son trds Obeissant Serviteur, Rap. Morghen To the left, in similar, small script : Se vend chez George Hackert , Graveur a Rome, Place d'Espagne. In minute, shaded script: Tirt du Cabinet — de S. E. With the arms, as in I. Brit: Mus. ; Brera ; F.R.H. III. Same lettering as the preceding, but with the address changed to Naples: i. e., instead of “ Se vend chez George Hackert ” etc., read, a Naples chez George Hackert Graveur de S. M. le roi de [sic] Deux Sidles . Avec Privilege [sic]. Brit: Mus. ; Brera. IV. The same, with the address changed to Florence. Maskell. 1 3 J . PcirnCISSUS . Apollo and the Muses. Raff. Mengs pinx. Dimensions, 30 x 19J. Engraved at Rome, 1784, after the famous original in the Villa Albani. This and La Caccia di Diana, No. go, were en- graved in the same year, and are pendants, though from widely separated originals by different painters. In the beginning of this year Morghen had entered into a partnership with Giovanni Volpato, his father-in-law and teacher. The two figures furthest to the right, i. e., Melpomene and Polyhymnia, were almost wholly engraved by the inferior hand of Morghen’s young pupil and friend, Francesco Cecchini, who died soon afterwards. Apollo, crowned with a wreath, stands on a slight elevation in the centre of the composition, nude, except for a mantle thrown PAUL, ST. VINCENT BE. 125 round his neck. In his left hand is a lyre, his right holds aloft a wreath of bays ; behind him a recumbent river-god, from whose urn a stream of water flows. On Apollo’s left are five muses ; on his right, four more, besides a fifth figure, viz., the one dancing with Terpsichore. These ten are classically draped. Close be- hind these, in the centre and on the left, some trees. The back- ground, a mountainous landscape on the left, a plain on the right. Trial proof. The outline etching. Mentioned in the Poggiali Catal. do Unfinished throughout, most of the figures merely out- lined. Brera. I. Before all letters. According to Maskell there were seven impres- sions of this state printed. Brit: Mus., two impressions, one with the margins uncleaned, the other with them cleaned. Brera ; F.R.H. II. In shaded script: Ant. Raph. Mengs pinx. — Raph e l M or ghen sculp. Romae In shaded uncial capitals: LUDUNT AONIAE PARNASSI IN COLLE SORORES—STAT MEDIUS LAURO CYTHARAQUE INSIG- NIS APOLLO In large, shaded script : A. Giuseppe Niccola de Azara Miniss 0 . Pleni 0 . di S. M. Carlo III. RI di Spagna presso la S** di Pio VI. In smaller, shaded script : Gio n ? Volpato e Raf. Morghen D.D.D. Brit: Mus.; Keppel ; Grandi. This and the preceding state are said to be printed on paper showing the water-mark “ Pietro Miliani di Fabriano,” but this is not the case in all im- pressions of these states. The impression of I. in the collection of F.R.H. mentioned above has no such water-mark. All the im- pressions are, however, on old paper. III. The same lettering as in II., but “ with the leaf.” This was added at Rome several years later. 1 38 M* Paul , St. Vincent de. Dimensions, 2f x 4J . Half-length figure never fully finished. Brit: Mus., in pencil below : St. Vincent de Paul Morghen. Vincent Depaul (so written in all authenticated signatures) was born at Pouy, near Dax, April 24, 1576 ; and died at Paris, 126 CATALOGUE OF PLATES. Sept. 27, 1660. He was the originator of foundling asylums and hospitals, Sisters of Charity, Lazarists, Pretres de la Mission and similar charitably religious bodies. His influence for all good works of this kind was very great and acknowledged during the latter part of his life. Beatified by Benedict XIII., 1629, he was canonized by Clement XII. June 16, 1737 i jy. Pentini, Vignette for the Marquis Ulisse. Dimensions, 4^ x 3|. Engraved at Rome, 178 7, as a visiting-card. A view of the Monte Cavallo, Rome ; in the centre a public square containing a pyramid flanked by a group of a man and a horse on each side. In the distance, the dome of St. Peter’s. In the right foreground a house ; on the left a wall, on which, in open, uncial capitals : ulisse pentini. At the lower right corner, in shaded script : Raffaelo Morghen sculpt. I. Finished, and with Raffaelo Morghen sculpi ; but before the ULISSE PENTINI on the wall. F.R.H. II. As first described above. Brit: Mus. III. The same as II., but sculpi is changed to inc. Brera. 140M' Pessuti , Arianne. Dimensions, 2f x 2^. Engraved at Leghorn, 1812, for a visiting-card. A small profile head turned to the left on a blank background, executed in dry-point. Arianne Pessuti is said to have lived with Raphael Morghen on very intimate terms, Close under the head in minute, traced, script capitals : R. M. Below, in engraved and shaded, cursive letters : Arianne Pessuti Brit: Mus. ; F.R.H. ipiiQ' Petr area, Francesco. Stef. Tofanelli del. Dimensions, 13 x and 3 vols. atlas folio. Trial proof. The pure outline etching of the two medallions. The inscriptions on the medallions and below them are executed with pen and ink as models for the en- graver. The spellings vary in several instances from those finally adopted, and are as follows : Around the head of the portrait: ATILIO. ZUCCAGNIO . FLOR . PHILOS . MEDIC . DOCT . RAPHAEL . MORGHEN . The reverse has the same inscription as that finally engraved. Below the medallions, in ZUCCAGNI, ATTILIO, M.D. 165 unshaded, uncial capitals : ATILIO . ZVCCAGNIO . FLORENTINO PHILOSOPHIE . ART/SQ. MEDI- CAE . CONS VL TISSIMO IN . REGIO . PHY- SICS S . MUSEO HORTI . BOTA PRAEFECTO ATVRALIVM PRAEFECTO RAPHAEL . MORGHEN SCALP TOR . AERE . LINE AN DO . IMPRIMENDO DE . ARTE . SUA . DONVM . DA T. QVOD . PROBE . DEPOSITVS . CONVAL- VERIT INGENIO . ET . SED ULITA TE . El VS . Brera. do The backgrounds of both medallions shaded ; but the figures in outline only. The letters of the inscription below are shaded in this and in all subsequent states. Brit: Mus. do The same ; but, in addition, the head of the portrait is finished except for the final touches. Brit: Mus. I. As first described above. Brera ; F.R.H. CHR O NO L O GICAL LIST OF PLATES. 1769. NO. PAGE. A Boy Kneeling in Prayer ' . 27 2 5 Landscapes after Londonio, see Shepherds, etc., 2 plates ■ T 55 141 A Sketch of the Trunk of a Tree, see Tree .... . 169 *53 1770. Eight Figures of the Prophets, see Prophets, etc. . . 148 *33 1773- The Game of Ball, see Game, etc. ..... 70 59 The Statue of Isis, see Isis ....... . 80 65 1774. Seven Views near Naples, see Views ..... • *73 156 1777. P. Ferdinand IV 60 61 Maria Carolina 1 1 1 98 The Masquerade at Naples, see Masquerade .... • ”5 101 The Arms of the Duke di Cassano Serra, see Cassano Serra . • 3 2 28 Christ Appearing as a Gardener ...... • 39 35 1779- St. Mary Magdalen, after Guido Reni, see Magdalen . 108 95 Painting, after Gav. Hamilton ■ 136 123 167 CHRONOLOGICAL LIST OF PLATES. 1 68 1780. NO. PAGE. Poetry, after Gav. Hamilton ....... i 4 S 130 Madonna Addolorata ......... 92 81 “ “ 93 81 A Marine View, see Marine, etc. ....... 113 100 Four Illustrations to the History of Germanicus, see Germanicus . 7i 59 1781. Poetry, after Raff. Sanzio ........ 146 131 Theology “ “ ........ 162 146 Jurisprudence, after Raff. Sanzio ....... 82 66 Four Illustrations for the Versi e Prose of the Princess della Roc- cella, see Roccella, etc. ........ 150 *35 The Mass of Bolsena, see Messa, etc 118 104 Portrait after Miereveld, see William II., etc. .... 181 162 Philosophy, after Raff. Sanzio ....... 142 128 Justice « « « ....... 83 67 Dafni ed Amore .......... 47 4 i Dafni e Fille . . . . 48 42 La Madonna dal Frate, see Madonna, etc 105 94 Two Infant Bacchanals, Illustration to Tibullus, see Bacchanals 18 19 “ “ “ “ “ “ “ “ 19 20 Eight Outline Landscapes for Coloring, see Views, etc. 176 158 Lo Studio del Disegno, see Disegno, etc ..... 5 1 45 1784. Parnassus . 137 124 Diana and her Nymphs ........ 5 ° 43 1786. |j. Stanislaus Augustus of Poland 156 141 |1. Cardinal Herzan, see Herzan ...... 77 64 |1. Gaetano Filangieri ........ 61 52 St. John the Baptist, after Guido Reni 152 i37 The Holy Family, after Rubens, see Holy Family, etc. . 78 64 1787- Two Illustrations to Componimenti per le Nozze del Conte Sanvitale see Germanicus, etc. ........ 72 60 Theseus 164 147 |). San Filippo Neri, see Neri 132 119 La Madonna di Fries, see Madonna ...... 102 9 i Aurora ........... 16 i 7 Morghen’s own Portrait (dry-point profile to the right) . 126 IT 3 CHRONOLOGICAL LIST OF PLATES . NO. PAGE. Vignette Visiting Card for Ulisse Pentini, see Pentini . x 39 126 “ of the City of Todi, see Todi 166 I48 Lot and his Daughters ......... 87 76 The Repose in Egypt, see Repose, etc 149 J 34 The Seasons, see Seasons ........ 154 T 39 Angelica e Medoro ......... 1 1 12 Three Illustrations to the Funeral Services of Charles III. of Spain, see Charles III., etc. ........ 36 32 $. Charles III 35 3 1 |. Charles IV 37 33 |). Ferdinand IV. 59 5° Head of Augustus Caesar, see Augustus ...... 14 16 The Comic Muse, a Portrait of Lady Hamilton, see Comic Muse . 44 39 Head of Jupiter HSgiacus, see Jupiter 81 66 J). Filippo Morghen, Raphael’s Father, see Morghen . 125 xx 3 P. Pope Pius V., see Pius V 144 129 Francesco Algarotti ........ 9 7 Tomb of Pope Clement XIII. 43 38 Suor Maria dell’ Incarnazione ....... 157 142 “ “ “ “ 158 i 43 159 J 43 |). General Moncada, see Moncada ...... 121 107 The Nativity, see Nativity 1 3i 1 18 1793. La Madonna della Seggiola (The larger plate.), see Madonna 100 87 Charity ............ 34 3 ° ffi. Vittorio Alfieri 6 6 |l. Group of the Family of the Princess Bariatinski, see Baria- tinski . . . . . 21 21 |1. Domenica Volpato Morghen, see Morghen .... 124 1 12 |), Fortunata Sulgher Fantastici, see Fantastici .... 55 47 Niccolb Macchiavelli, see Macehiavelli ..... 9 1 80 |). Medallion Head of Ovid, see Ovid x 35 122 |). A Nun *34 122 |). Madama Fulger, see Fulger 67 57 1795. La Madonna del Sacco, see Madonna ...... 99 86 The Transfiguration, Begun, after dell’ Era’s Drawing, see Trans- figuration .......... 167 148 1797. The Last Supper, Begun, see Last Supper 84 68 170 CHRONOLOGICAL LIST OF PLATES . NO. La Madonna di Tiziano, see Madonna ...... 104 Vignette Visiting Card for Senator Bartolini Baldelli, see Bartolini . 22 Venus Coming from the Bath 172 1800. The Last Supper, Finished 84 |). Diodato Turchi 171 La Madonna del Caravaggio 95 Vignette for the Bond of the Monte Redimibile , see Monte , etc. . 122 “ “ General Murat, see Murat . . . . .128 The Archangel Gabriel, see Gabriel ...... 68 The Final Touches to Antonio’s Transfiguration, ji?d? Transfiguration, 167 |p. Giovanni Volpato, see Volpato . . . . . . 179 |p. Giorgio Jonas Mayer, see Mayer . . . . . .116 The Repentant Magdalen, after Murillo, see Magdalen . . 109 1801. The Transfiguration, Begun, after Tofanelli’s Drawing, see Trans- figuration .......... 168 1802. |). Dr. Attilio Zuccagni, and the Obverse of the Medallion, see Zuccagni . . . . . . . . . .182 |). San Filippo Neri, after a Drawing by Tofanelli, see Neri . 133 |). Bindo Altoviti, see Altoviti 10 1803. |). Dante. (The larger plate.) ....... 45 |). Louis XVIII., a profile head after Tofanelli ... 88 |). “ “ a half-length figure ..... 89 1804. ||. The King and Queen-Regent of Etruria, see Carlo, etc . . 31 Vignette Book-plate for the King of Etruria, see Etruria . . 54 |). The Eldest Son of Francis II. of Austria, see Austria . . 17 La Madonna di Caracci, see Madonna ...... 94 |). “ La Fornarina,” Begun, see Fornarina . . . .64 S. Maria de’ Pazzi con la Beata Bagnesi in Gloria . . . 153 1805. |p. Petrarca 141 ^Esculapius and Hygeia ........ 2 P. Canova, after Antonio d’Este ...... 29 1806. |p. Dante. (The smaller plate.) 46 PAGE. 92 22 156 68 154 82 109 “5 58 148 160 101 95 163 121 10 39 78 79 28 46 19 82 54 138 126 2 26 CHRONOLOGICAL LIST OF PLATES. 1 7 l NO. PAGE. The Head Called “ La Fornarina,” in the Transfiguration, see For- narina ........... 65 56 g. Tasso ........... 160 144 !• Napoleon I. ......... . 129 116 1811. The Transfiguration, after Tofanelli’s Drawing, Finished 168 i 5 ° 1812. i- Equestrian Portrait of Napoleon I., Begun, see Napoleon 130 118 !• Arianne Pessuti, see Pessuti ....... 140 126 1814. g- Gian-Jacopo Trivulzio, see Trivulzio ..... 170 *53 La Madonna del Cardellino, see Madonna ..... 96 83 1- Ferdinand III., Grand Duke of Tuscany .... 57 48 I- “ La Fornarina,” Finished, see Fornarina .... 64 54 1- Elisa Bonaparte Bacciocchi, see Bacciocchi .... 20 20 1815. Christ Holding a Wreath of Roses ....... 40 35 g- Pope Leo X., see Leo ........ 86 74 La Madonna del Latte, see Madonna ...... 98 85 1816. 1- Louis XVIII., after Augustin ...... 90 79 |. Carlo Alessandro Volta, see Volta 180 161 Christ Appearing to Magdalen in the Garden .... 38 34 1817. i- Lionardo da Vinci, see Vinci . 178 159 Constanza Raimondi de’ Fornari ...... 63 53 g. Michel Angelo, after Santarelli, see Buonarrotti 24 24 g- Count Angelo d’Elci, see Elci ....... 53 46 g. Giovanni degli Alessandri, see Alessandri .... 5 5 i- Prince Metternich, see Metternich ...... 119 106 Ecce Homo, after da Vinci 52 45 1818. Christ Seated on Clouds (Sic Deus dilexit, etc.) . . . . 41 36 1819. g. Francis I. of Austria ........ 66 56 g- Raphael Morghen (dry-point profile to the left), see Morghen, 127 T14 g- Madonna Laura, see Laura ....... 85 72 172 CHRONOLOGICAL LIST OF PLATES. 1820. NO. PAGE. I- Francesco Guicciardini, see Guicciardini .... 75 62 1- Lorenzo de’ Medici, see Medici ...... 117 IO3 1821. $• Ferdinand III., Grand Duke of Tuscany, after Ender, . 58 49 Three Ages, see Ages ......... 3 3 I- Queen Joanna of Aragon, see Aragon ..... 12 13 1822. !• $• Carlo Goldoni, after Fedi, see Goldoni 73 61 Carlo Goldoni, after Cateni, see Goldoni .... 74 61 !• Maria Ferdinanda, Grand Duchess of Tuscany 112 99 I- Giovacchino Rossini, see Rossini ...... 151 136 $• Giovanni Boccaccio, see Boccaccio ...... 2 3 23 1- The Marchioness of Vintimiglia, Duchess of Alba, see Alba . 4 5 !• Dr. Antonio Pittaro, see Pittaro ...... 143 129 $• Lord Byron, see Byron ........ 28 26 $• Giovanni Fantoni, see Fantoni ...... 56 47 1823. Saint Mary Magdalen, after Carlo Dolci, see Magdalen . no 97 11 Morbetto di Raffaello (The Plague.), see Morbetto 123 in La Madonna del Granduca, see Madonna ..... 97 84 §• Antonio Canova, after Benvenuti, see Canova 29 26 1827. Poetry, after Carlo Dolci ........ 147 132 1829. *• Michel Angelo ......... 26 25 La Madonna della Seggiola (The smaller plate) ; finished in 1832 by G. Calendi, see Madonna IOI 90 1832. La Madonna di Sassoferrato, see Madonna 103 92 INDEX OF ARTISTS. Andrea del Sarto, see Sarto Atoche (Dr. Pittaro), 129 Augustin (Louis XVIII.), 79 Bandinelli, Baccio (8 Prophets), 133 Barbieri, see Guercino Baroccio (Noli me tangere), 34 Bartolini (Byron), 26 “ (Rossini), 136 Bartolomeo, Fra (Madonna), 94 Benvenuti (Canova), 26 Bianconi (Algarotti), 7 Bronzino (Macchiavelli), 80 Canova (Theseus), 147 “ (Tomb of Clement XIII.), 38 Caracci (Madonna), 82 Cardelli (Stanislaus Augustus), 141 Counis (Elisa Bonaparte Bacciocchi), 20 David (Napoleon), 118 d’Este, Antonio (Canova), 27 Dolci, Carlo (Christ as a Child), 35 “ “ (Christ Displaying his Wounds), 36 Dolci, Carlo (Poetry), 132 Du Cros (Marine View), 100 Ender (Ferdinand III.), 49 Ermini (S. M. Mad. de’Pazzi), 138. “ (Tasso), 144 Este, d’, see d’Este. Ettlinger (G. Jonas Mayer), 101 Fabre (Alfieri), 6 Fischietti (Princess della Roccella), 135 Frate, Domenico del (Marriage of Ger- manicus), 60 Garofalo (Madonna del Latte), 85 Gerard (Three Ages), 3 “ (Boccaccio), 23 “ (Napoleon), 116 Gozzini (Maria Ferd. di Sassonia), 99 Grand Jean (History of Germanicus), 59 Guercino (Lot and Daughters), 76 Guido Reni (Aurora), 17 “ “ (Magdalen), 95 “ “ (St. John), 137 Hamilton (Painting), 123 “ (Poetry), 130 Kauffmann (Bariatinski), 21 “ (Comic Muse), 39 “ (Fortunata Sulgher Fantas- tic), 47 Kauffmann (Domenica Volpato), 112 “ (Giov. Volpato), 160 L. A. (Pius V.), 129 Lapi (Monte Redimibile), 109 i73 *74 INDEX OF ARTISTS. Liani (Ferdinand IV.), 50 Lionardo, see Vinci, da Maron (Herzan), 64 Memmi (Mad. Laura), 72 Mengs (Charles III.), 31 “ (Nativity), 118 “ (Parnassus), 124 Miereveld (William of Nassau), 162 Mingardi (Algarotti), 7 Mola (Two Bacchanals), 19 20 Morghen, (Bartolini), 22 “ (Game of Ball), 59 “ (Masquerade at Naples), 101 “ (Pessuti), 126 “ (S. Filippo Neri), 119 “ (Views near Naples), 156 Morghen, Guglielmo (Filippo Morghen), 113 Murillo (Penitent Magdalen), 95 Nahl (Dafni ed Amore), 41 “ (Dafni e Fille), 42 Panario (Fornari), 53 Poussin (Adoration of the Magi), 1 “ (Repose in Egypt), 134 “ (Seasons), 139 Raphael Sanzio (Altoviti), 10 “ (Fisionomie cognite), 53 “ (Fornarina), 54 “ (Head of Fornarina), 56 “ (Joan of Aragon), 13 “ (Jurisprudence), 66 “ “ (Leo X.), 74 “ (Mad. del Cardellino), 83 Raphael Sanzio (Mad. del Granduca), 84 “ (Mad. della Seggiola), 87, 90 Raphael Sanzio (Mass of Bolsena), 104 “ (Morbetto), in “ (Philosophy), 128 “ (Poetry), 13 1 “ (Theology), 146 “ (Transfiguration), 148, 150 Reni, see Guido Rubens (Holy Family), 64 Santarelli (Carlo Lodovico d’Etruria), 28 “ (Michel Angelo), 24 “ (Zuccagni), 163 Tenderini (Giov. Fantoni), 47 Titian (Madonna), 92 Tofanelli (Dante), 39, 41 “ (Filangieri), 52 “ (Funeral of Charles III.), 32 “ (Hercules as a Child), 64 “ (Louis XVIII.), 78 “ (Napoleon), 116 “ (Petrarch), 126 “ (S. Filippo Neri), 121 Van Dyck (Moncada), 107 Vasari (Lorenzo de’ Medici), 103 Veccelli — see Titian Vieira (Turchi), 154 Vinci, Leonardo da (Tres sunt, etc.), 37 “ (Ecce Homo), 45 “ (Last Supper), 68 Zampieri (Diana and her Nymphs), 43 ALPHABETICAL INDEX OF SUBJECTS. NO. Adoration of the Magi, The. N. Poussin ..... i Adoration of the Shepherds, The. Raph. Mengs . . .131 ^Esculapius and Hygeia. An Antique ...... 2 Ages, The Three. Girard ........ 3 “ Les Trois. “ ........ 3 Alba, The Duchess of, Princess of Vintimiglia .... 4 Alessandri, Giovanni degli . . . . . . . 5 Alfieri, Count Vittorio. F. X. Fabre .6 “ “ “ “ 7 “ “ 8 Algarotti, Count Francesco, Illustrations to the Works of . 9 Alighieri, Dante. Tofanelli. The Larger Plate .... 45 “ Smaller “ . . .46 Altoviti, Bindo. Raph. Sanzio ....... 10 Amor, Daphnis and. A. Nahl . . • . . . -47 Angelica and Medoro. Matteini . . . . . . .11 Angelo Buonarotti, Michel. Santarelli ..... 24 “ 25 “ Morghen ...... 26 Apollo and the Muses. R. Mengs . . . . . .137 Apollo, The Chariot of. Guido Reni . . . . ■ .16 Aragon, Joanna, Queen of. Raph. Sanzio . . . . .12 Ariosto, Lodovico. P . Ermini . . . . . . 13 Arms of the Duke di Cassano Serra . . . . . -32 Augustus Csesar, Antique head of. B. Salesa .... 14 PAGE. 118 2 3 3 5 5 6 6 6 7 39 4 i 10 4i 12 24 24 25 124 17 13 iS 28 16 i 75 ALPHABETICAL INDEX OF SUBJECTS. 176 Augustus Constantius. Antique ...... NO. IS PAGE. 17 Aurora with Apollo and the Hours. Guido Rheni 16 17 Austria, Archduke Ferdinand of. Santarelli 17 19 Bacchanals, Two Infant. F. Mola ..... 18 19 “ “ “ “ ..... 19 20 Bacciocchi, Elisa Bonaparte. Counis ..... 20 20 Ball, The Game of. Morghen 70 59 Ballo delle Stagioni. Poussin ...... iS 4 139 Bariatinski, The Family of the Princess. Ang. Kauffmann . 21 21 Bartolini, Visiting Card for the Senator .... 22 22 Bindo Altoviti. Raph. Sanzio ...... 10 IO Boccaccio, Giovanni. Gozzini ...... 2 3 2 3 Bolsena, The Mass of. Raph. Sanzio ..... 118 104 Book-plate for the King of Etruria ..... 54 46 Boy Kneeling in Prayer . . • 27 2 5 Buonarotti, Michel Angelo. Santarelli .... .24 24 U ii U . 2 5 2 4 “ Morghen ..... 26 2 5 Byron, Lord. Bartolini 28 26 Caccia di Diana, La. Dornenichino ..... 5 ° 43 Canova, Antonio. Benvenuti ...... 29 26 Ant. d'Fste ...... 30 2 7 Caracci, La Madonna di. Caracci ..... 94 82 Caravaggio, La Madonna di. Caravaggio .... 95 82 Cardellino, La Madonna del. Raph. Sanzio 96 83 Caritas, I. Unterberger ....... 34 3 ° Carlo Lodovico and Maria Louisa. Santarelli 3 i 28 Cassano Serra, Arms of the Duke of. .... 3 2 28 Cena, La. L. da Vinci ....... 84 68 Cellini, Benvenuto. Vasari . . . . . . 33 2 9 Charity. I. Unterberger . ... 34 30 Charles Lewis and Maria Louisa. Santarelli 3 i 28 Charles III., of Spain. R. Mengs ..... 35 3 i “ “ “ The Funeral Oration of. Tofanelli 36 3 2 Charles IV 37 33 Christ Appearing to Magdalen in the Garden. Baroccio 38 34 “ Appearing to Magdalen in the Form of a Gardener. E. Sadeler, 39 35 “ as a Child, Holding a Wreath of Flowers. Carlo Dolci 40 35 “ Displaying his Wounds. Carlo Dolci .... 41 36 “ Head of. L. da Vinci 5 2 45 “ Proclaiming the Law. L. da Vinci .... 4 2 37 ALPHABETICAL INDEX OF SUBJECTS. 1 77 NO. PAGE. Clement XIII., The Tomb of Pope. Canova 43 38 Comic Muse, The. Ang. Kauffmann . 44 39 Constantius Augustus. Antique .... IS i7 Dafni ed Amore. Nahl 47 4i Dafni e Fille. Nahl 48 42 Dance of the Hours to the Tune of Time. Poussin !54 i39 Dante Alighieri (The Larger Plate). Tofanelli . 45 39 “ (The Smaller Plate). “ 46 4 1 Denison, Portrait of Mr 49 43 De Paul, St. Vincent 138 I2 5 Diana and her Nymphs. Domenichino . 5° 43 Disegno, Lo Studio del ...... 5 1 45 Dog’s Cave, The i74 !57 Ecce Homo. L. da Vinci ..... 5 2 45 Ego vox clamantis, etc. Guido Reni IS 2 i37 Elci, Count Angelo d ’. Morghen S3 46 Etruria, Book-plate for the King of 54 46 Fantastici, Fortunata Sulgher. Ang , Kauffmann . 55 47 Fantoni, Giovanni. Tenderini .... 56 47 Ferdinand III., Grand Duke of Tuscany 57 48 Ender 58 49 Ferdinand IV., King of the Two Sicilies 59 5o “ “ F. Liani 60 5i Filangieri, Gaetano. Tofanelli .... 61 5 2 Fisionomie Cognite. Raff. Sanzio 62 53 Fornari, The Marchesa Constanza Raimondi de’. A. Panario 6 3 53 Fornarina, La. Raff. Sanzio 64 54 “ Head of the Figure in the Transfiguration called. Raff. Sanzio . ' 65 56 Fortunata Sulgher Fantastici .... 55 47 Francis I. of Austria ...... 66 56 “ II. “ Eldest Son of 17 19 Fulger, Portrait of Madama. Morghen 67 57 Funeral Services of Charles III. Tofanelli . 36 3 2 Gabriel, The Archangel. Sabatelli 68 58 Gallo, Visiting Card for the Marchese di. Morghen 69 58 Game of Ball. Morghen ..... 70 59 Germanicus, Four Illustrations Relating to the History of. Grand Jean Orlandese ...... 7 i 59 Germanicus, The Marriage of, with Agrippina. D. del Frate 72 60 i 7 8 ALPHABETICAL INDEX OF SUBJECTS. NO. PAGE. Gesner, Idillj di. A. Nahl 47 4i “ “ “ “ 48 42 Giuoco di Pallone, 11. Morghen ...... 70 59 Goldoni, Carlo. Fedi ......... 73 61 “ “ Cateni ........ 74 61 Grotta del Cane J74 *57 Guicciardini, Francesco. Morghen ...... 75 62 Hamilton, Lady, as tha Comic Muse. Ang. Kauffmann 44 39 Head and Bust of a Man (Tommaso Inghirami) .... 79 65 Hercules as an Infant. Tofanelli ...... 76 64 Herzan, Cardinal. A. Maron ....... 77 64 Holstein-Beck, The Family of the Princess of. Ang. Kauffmann . 21 21 Holy Family. Rubens ......... 78 64 Hygeia, ^Esculapius and. Antique ...... 2 2 Idillj di Gesner. A. Nahl 47 41 “ “ “ “ 48 42 Image de la Vie Humaine. Poussin , see Ages .... 3 3 Inghirami, Tommaso ......... 79 65 Isis, Statue of. Antique ........ 80 65 John the Baptist, St. Guido Reni . ...... 152 i 37 Jupiter, Head of. Antique ........ 81 66 Jurisprudence. Raff.Sanzio. ....... 82 66 Justice. Raff. Sanzio 83 67 Landscape, du Cros, see Marine View ...... 113 100 Landscapes, Two. Londonio , see Shepherds, etc. i55 141 Last Supper, The. L. da Vinci ....... 84 68 Laura, Madonna. S. Memmi ....... 85 72 Leo X., The Pope, with Attila. Raff. Sanzio .... 62 53 “ “ Portrait of Pope. Raff. Sanzio ..... 86 74 Leonardo da Vinci . . ... 178 159 Lorenzo de’ Medici. G. Vasari 117 103 Lot and his Daughters. II. Guercino ...... 87 76 Louis XVIII. of France. Tofanelli 88 78 “ “ “ ...... 89 79 Augustin ...... 90 79 Macchiavelli, Niccolo. A. Bronzino Madonna Addolorata 91 80 92 81 93 106 and Child 94 ALPHABETICAL INDEX OF SUBJECTS. 179 NO. PAGE. Madonna and child ......... 107 94 “ di Caracci. L. Caracci 94 82 “ di Caravaggio ........ 95 82 “ dal Frate. Fra Bartolomeo ..... 105 94 “ del Cardellino. Raff. Sanzio ..... 96 83 “ “ Granduca. “ “ ..... 97 84 “ “ Latte. B. Garofalo ...... 98 85 “ “ Sacco. A. del Sarto ...... 99 86 “ della Sedia. (The Larger Plate.) Raff. Sanzio . 100 87 “ “ ( “ Smaller “ ) “ “ . . IOI 90 “ di Fries. A. del Sarto 102 9 1 “ “ Sassoferrato ........ 103 92 “ “ Tiziano ......... 104 92 “ Laura. S. Memmi ....... 85 72 Magdalen, Half-figure. Guido Reni ...... 108 95 “ The Repentant. Murillo ...... 109 95 “ with the Vase. Carlo Dolci ..... no 97 Maria del Incarnazione, Suor. Matteini .... 157 142 U (i U « “ 158 T 43 iC *59 *43 Maria Carolina, Queen of the Two Sicilies. F. Liani . in 98 “ de’ Pazzi, Santa. P. Ermini ...... i 53 138 “ Ferdinanda, Principessa di Sassonia. V. Gozzini 112 99 “ Louisa. Santarelli ........ 3 1 28 Marine View, du Cros ......... Masquerade, Representing the Procession of the Grand Signor to ”3 100 Mecca. Morghen ......... ”5 IOI Marriage of St. Catharine, The ....... 114 100 Mass of Bolsena, The. Raff. Sanzio ...... 118 104 Mater Divinse Gratise. B. Garofalo ...... 98 85 “ Pulcrpe Dilectionis. Raff. Sanzio ..... 96 83 Mayer, Georgio Jonas. Ettlinger ....... 116 IOI Medici, Lorenzo de’. G. Vasari ....... 117 103 Medoro, Angelica and. Matteini ....... 11 12 Messa di Bolsena, La. Raff. Sanzio ...... 118 104 Metternich, Prince. Morghen ....... n 9 106 Minerva, Vignette with ......... 120 107 Moncada, Francesco di. Van Dyck ...... 121 107 Mont de Piete, Bond of the. Lapi ...... 122 IO9 Monte Cavallo, View of the i39 126 “ Redimibile, Bond Engraved for the. A. E. Lapi 122 IO9 Morbetto di Raffaello, 11. Raff. Sanzio 123 III Morghen, Card of Invitation to Visit the Studio of Filippo 165 148 i8o ALPHABETICAL INDEX OF SUBJECTS. NO. PAGE. Morghen, Domenica Volpato. Ang. Kauffmann . 124 112 “ Filippo. Gugl. Morghen .... 12s ”3 “ Raphael. Gugl. Morghen .... 126 ”3 Ipse ...... 127 114 Murat, Vignette Engraved for General .... 128 ”5 Muse, The Comic. Ang . Kauffmann .... 44 39 Naples, Seven Views near the City of. Morghen . 173 156 Napoleon I. Tofanelli ...... 129 116 “ “ Crossing the Mont St. Bernard. David . 130 118 Nativity, The. R. Mengs ...... 131 118 Neri, San Filippo. Morghen .... 132 119 Tofanelli ..... 133 121 Noli me Tangere. F. Baroccio ..... 38 34 Nun, Portrait of an Unknown ..... T 34 122 Ovid i3S 122 Padua, Eleven Views of the City of. Morghen 175 158 Pagherb di Scudi (Bond of the Monte Redimibile). A. E. Lapi . 122 109 Painting. Gav. Hamilton ...... 1 36 123 Pallone, 11 Giuoco di. Morghen ..... 70 59 Parnassus. R. Mengs ....... i 37 124 Paul, St. Vincent de 138 125 Pazzi, Santa Maria de’. Ermini ..... 153 138 Peinture, La. Gav. Hamilton ..... 136 123 Pentini, Ulisse i39 126 Pessuti, Arianne. Morghen ...... 140 126 Pestilence, The. Raff. Sanzio , see Morbetto 123 rri Peter the Great. Mingardi ...... 9 10 Petrarca, Francesco. Tofanelli ..... 141 126 Philosophy. Raff. Sanzio ...... 142 128 Piccolo Redentore, 11. L. da Vinci .... 52 45 Pittaro, Dr. Antonio. Atoche ..... i 43 129 Pittura, La. Gav. Hamilton ..... 136 123 Pius V., Pope. L. A 144 129 Plague, The. Raff. Sanzio , see Morbetto 123 hi Poetry, G. Hamilton ....... 145 130 “ Raff. Sanzio ....... 146 r 3 i “ Carlo Dolci ....... 147 132 Portrait of Mr. Denison ...... 49 43 “ “ Tommaso Inghirami . . . . . 79 65 Presepio, 11. Raph. Mengs , see Nativity !3! 118 ALPHABETICAL INDEX OF SUBJECTS. 181 NO. PAGE. Prix de Diane, Le Domenichino , see Diana, etc. .... 5 ° 43 Prophets, Eight Figures of the. Bandinelli ..... 148 z 33 Pulcra es et decora, etc. Faff. Sanzio ...... 97 84 “ Raffaelle Sanzio.” Raff. Sanzio ...... 10 10 Redentore, 11 Piccolo ......... 52 45 Repose in Egypt. Poussin ........ 149 i 34 Roccella, Portrait of, and Three Illustrations for her Works. Fischietti , i5° *35 Rossini, Giovacchino. Bartolini ....... 151 136 St. John in the Wilderness. Guido Reni ..... 152 *37 St. Vincent de Paul 138 I2 5 Santa Maria Maddalena de’Pazzi con la Beata Bagnesi in Gloria. Ermini ........... i 53 z 38 Sanvitale, Vignette for the Marriage of Count, see Germanicus 72 60 Seasons, The. Poussin ......... i 54 z 39 Shepherds and Cattle. Londonio ....... 155 141 Sic Deus dilexit Mundum. Carlo Dolci ..... 41 36 Stanislaus Augustus of Poland. Cardelli ..... 156 141 Sulgher Fantastici, Fortunata. Ang. Kauffmann .... 55 47 Suor Maria dell’ Incarnazione. Matteini ..... 157 142 « « « “ * « 158 z 43 a u u u i 59 i 43 Tasso, Torquato (The Larger Plate). Ermini .... 160 144 “ (The Smaller Plate) 161 z 45 Theology. Raff. Sanzio 162 146 Theology. Raff. Sanzio. (The Smaller Plate) .... 163 r 47 Theseus Seated on the Conquered Minotaur. Canova . 164 147 Ticket of Invitation to Visit Filippo’s Studio .... 165 148 Todi, View of the City of 166 148 Transfiguration, The. dell' Era del. Raff. Sanzio 167 148 “ Tofa 7 ielli del. “ “ ... 168 z 5° Tree, The Small Trunk of a 169 153 Tres sunt qui Testimonium dant, etc. L. da Vinci 42 37 Trivulzio, G. Jacopo ......... 170 z 53 Turchi, Diodato. F. Vieira ........ 171 z 54 Tuscany, Grand Duchess of. V. Gozzini, see Maria, etc. 112 99 Venus Coming from the Bath ....... 172 156 Views near Naples, Seven. Morghen . . . . . . i73 156 “ of the City of Padua, Eleven. Morghen .... i 75 z 58 View of the Grotta del Cane ........ 174 z 57 Views in Outline, Eight, intended for Coloring .... 176 158 Vignettes : Arms of the Duke di Cassano Serra, The .... 32 28 1 82 ALPHABETICAL INDEX OF SUBJECTS. NO. PAGE. Book-plate for the King of Etruria ...... 54 46 For General Murat 128 ”5 Full-page Illustration and Title-page Head-piece for the Mar- riage of Count Sanvitale, see Germanicus 72 60 Head-piece to the Bond of the Monte Redimibile . 122 109 Minerva ........... 120 107 View of the City of Todi ....... 166 148 View of the Monte Cavallo, a Visiting Card for Ulisse Pentini, i 39 126 Visiting Card for the Marchese di Gallo 69 58 Vincent de Paul, St 138 125 Vincentini, Visiting Card for the Marchese ..... 177 i59 Vinci, Leonardo da. L. da Vinci ....... 178 i59 Vintimiglia, Princess of. Morghe?i , see Alba .... 4 5 Volpato, Giovanni. Ang. Kauffmaiin ...... 179 160 Volta, Carlo Alessandro. Sabatelli ...... 180 161 Wilhelmus II. Nassovise. Miereveld ...... 181 162 Zuccagni, Dr. Attilio. Santarelli ....... 182 163 ERRATA. Page 8, end of 4th line, read eleven instead often. Page 24, No. 27 should be placed before No. 24. Page 30, before No. 3^ insert : jj a % Cenci, Beatrice. Guido Reni pinx. Dimensions, I2f x 9 £. Engraved at Florence after the celebrated original in the Barberini Palace, Rome. The plate bears the name of Morghen’s pupil, Garavaglia, and has invariably heretofore been wholly at- tributed to the latter. It is most likely only slightly touched by Morghen. See Trial proof below. Trial proof. The background, drapery, and hair only are almost finished ; the face is in outline, and also the turban, and both are touched with pencil. Brit: Mus., Fagan. This impression has the following MS. note, written by Lord Farnham : “ The Original Picture, in the Barberini Palace, at Rome, has not been allowed to be copied for many years. This is an unfinished engraving by Raffaelle Morghen — and the face is in pencil — actually copied on the spot, from the original , by Garavaglia, one of R: Mor- ghen’s pupils. It is, therefore, extremely valuable and is unique, [signed] F.” (This impression was purchased for the Brit: Mus. in May, 1885.) There are impressions before all letters ; with the names of the artists only ; etc. There is nothing to show that Morghen had any part in it after the state described in the trial proof above. The same original has been engraved by Biondi and many others ; but Garavaglia’s plate is considered the best engraving yet made of this subject. 183 ERRATA. 184 Page 34, No. j8, end of line 17, read 108 instead of 105. Nos. <77 and 48 should be placed before No. 45. No. 50, omit H?. No. 5/, omit No. 52, omit Page 130, before No. 145, insert : W* PlUS VII., Pope. J. Bazzoli pinx. Dimensions, i6x 13. Engraved almost entirely by A. E. Lapi. Morghen did little more than give the finishing touches. Trial proof. The head in outline ; the remainder of the plate partially engraved throughout. No hand is visible in this state. Brit: Mus. do The head still in outline only; but the background nearly finished. The subject is altered so that the right hand and forearm are seen, the two fingers and thumb extended as in giving the Pontifical benedic- tion. Brit: Mus. Although the dimensions of this and the preceding trial proof are the same, this is so much changed in the disposition of the figure that there is good reason to suppose that the first plate was abandoned in the state first described and the present one en- graved in its stead. The succeeding impressions are from the latter plate. I. ^Before all letters. Brit: Mus., two impressions. II. “A. E. Lapi sculp Raphael Morghen perfecit ” Palm. III. In engraved, shaded script: Joseph Bazzoli pinx. — Ang. E. Lapi sculp. — Raph. Morghen coepit et perfecit In open, traced, uncial capitals : DEXTER A DOMINI FECIT VIRTU TEM, DEXTER A DOMINI EXALTA VITME In small italics : Ps. nj. In large, skeleton script : Pius — Septimus Pontifex — Maximus In small, traced script, under the arms : Florentiae apud Neolaum Pagni. With the arms. Brit: Mus. IV. Same lettering as in III. ; but all the letters shaded and engraved. Brit: Mus.