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A CATALOGUE, 
 
CATALOGUE RAISONNE 
 
 THE SELECT 
 
 COLLECTION OF ENGRAVINGS 
 
 AN AMATEUR. / 
 
 LONDON 
 
 MDCCCX.WIII. 
 
 1% 
 
\ 
 
PREFACE. 
 
 It has been too much the custom in this country, to .consider 
 engraving more with reference to its mechanical utility, than with 
 regard to its higher qualities ; as it has been chiefly encouraged in 
 the decoration of books, and the illustration of scientific and 
 mechanical treatises. By those, however, who have taken an 
 interest in its progress and perfection, its importance as a rich in- 
 tellectual gratification, must be fully estimated ; since it enables us 
 to form an intimate acquaintance with the noblest works of art, 
 through the medium of their translation by the graver ; and to 
 possess ourselves of the productions of those eminent masters who 
 have exercised the etching needle as well as the pencil : all to be 
 effected within the compass of means which would be exhausted by 
 the purchase of a very few paintings of value. 
 
 Of a Collection of Prints, in the more enlightened meaning 
 of the term, no opinion can be formed from the specimens of 
 common occurrence. The scarcity of the genuine productions of 
 the celebrated and meritorious engravers of all times, and the still 
 
ii 
 
 greater rarity of even moderately good impressions of them, may 
 serve to account for the difficulty of appreciating the merits of the 
 great masters who have practised this admirable art. 
 
 The collection, which it is here intended to describe, has been 
 formed with considerable care, during a series of years, by oppor- 
 tunities of acquisition which are never again likely to occur ; as it 
 is generally understood, that on the continent little remains to be 
 explored, where treasures of the art were known or are supposed to 
 exist. Most of these treasures are now beyond reach : many of 
 them in Public Museums, and in the cabinets of princes, inacces- 
 sible to the most sanguine and persevering collector. 
 
 In forming the series of specimens which is the subject of these 
 pages, three objects have been kept in view : a limited illustration 
 of the History of Engraving, from the practice of the art of 
 working in Niello in the 15th century, and the discovery of taking 
 impressions on paper, to the present period : an assemblage of the 
 best works of the most important masters, to effect that illustration ; 
 and their acquisition in the most perfect state of impression and 
 preservation. 
 
 It is conceived that these objects have been accomplished ; 
 as fortunately in the productions of the early artists, as in those of 
 more recent, and of modern date. In collections, however, upon 
 a similar principle, the choice of masters, and the preference of 
 their works, cannot of course, be subjects of general agreement. 
 
Ill 
 
 An admirer of the art of engraving, wishes to leave some 
 testimony of the pleasure he has derived from his pursuit as the 
 collector and possessor of these specimens ; and he could not, 
 therefore, deny himself the additional amusement of describing 
 them ; of prefixing a short biography of each master where it was 
 practicable ; and of adding such anecdotes of the prints collected, 
 as seemed to him to be interesting. 
 
INTRODUCTION. 
 
 N almost all the histories of the Art of Engraving on 
 Copper, much notice has been usually taken of Wood 
 Engraving as its natural and immediate precursor; 
 particularly that species used in the decoration of 
 works produced before the invention of moveable 
 types ; which containing text illustrated with 
 figures engraved on the same wooden blocks, are 
 commonly called " Block Books.'" Of these, a most 
 satisfactory account will be found in " Heineckeii's Idee generate ;" Janseri's 
 Essai sur Vorigine de la Gravure ;" and " Ottleifs Inquiry into the origin 
 and early History of Engraving.'''' It has been judged interesting, for this 
 reason, to preface this Collection by the introduction of a very singular, 
 and it is believed also unique specimen of block printing with fixed type, 
 and likewise of a specimen of one of those wood-cuts, engraved and after- 
 wards coloured, to supply the devotional uses of those whose circumstances 
 precluded them from the purchase of paintings. 
 
 The first is a sheet 16 inches in height, by 11 inches in width, surrounded by 
 a double border, the inner of which is filled up with diagonal lines. 
 The title is in the centre at top, and runs thus : — 
 
 " Jtartpiunt trmptattoncs tomtoms trmptaittis f)omtnem 
 " toe septem || pecratts mortalitms ct rorum rami's. 
 " C?t stattm sequttur tocfensto torn || angelt rustotots 
 " Ijontims contra fftt sacram scrtpturam allrgantts. 
 
 On the left stands the Devil with horns, wings, a tail, long flap ears, and 
 legs ending in large claws ; holding in his right hand instruments of torture, 
 and turned towards the man who stands with his back to the demon, and is 
 in the habit of a monk ; between them are these words, " Diabolus teptans 
 dieit." On the right is an angel flying, in the attitude of suggesting to the 
 
 B 
 
ii 
 
 man the words of defence, and between is this sentence ; " Angelus defendens 
 contra dicit." Then follow the seven deadly sins, ranged under the demon, 
 with seven branches of temptation applying to each, and against every branch 
 a text of scripture in opposition to it, as the defence uttered by the angel, 
 with a reference to the chapter and verse. 
 
 The whole block is rudely and irregularly cut, and the impression from it 
 printed with ink of a grey tint, apparently by the effort of imperfect and 
 unequal pressure. 
 
 Mr. Ottley, in page 754 of his Observations on the Art of Engraving on 
 Wood, has the following passage : — 
 
 " The style of art which was practised by the most ancient engravers on 
 " wood, was extremely simple. The designs from which they worked, were 
 " little more than outlines ; the engraved blocks furnished the lineaments of 
 " the figures, and the illuminist supplied the rest. By degrees, a few light 
 " hatchings were introduced, thinly scattered upon the folds of the draperies 
 " and other parts of the figures ; and occasionally, where the opening of a 
 " door, or a window, or the mouth of a cavern, was to be expressed, the 
 " block was left untouched, that it might print black in such places, and 
 " thereby diminish the task of the colorist. It was soon discovered, that 
 " with a little labour of the wood-engraver, much more might be done in 
 " this way. It was easy to represent the figure of Lucifer with its appro- 
 " priate blackness, and at the same time, to exjiress the internal markings of 
 " his body and limbs, by means of thin white lines hollowed out in the block. 
 " The ornamental borders which often surrounded the devotional cuts of 
 " those times, were rendered more attractive to the eye by the opposition of 
 " broad white and black lines, and sometimes intermediate spaces of greater 
 " extent were enlivened by large white dots, cut out (or perhaps punched) 
 " at equal distances in the block, or decorated with sprigs of foliage or small 
 " flowers, relieved by a similar process upon a black ground. Gradations of 
 " shadow next began to be attempted in the figures and other parts of wood 
 ' : engravings by means of white dots, differing from each other in their mag- 
 " nitude and proximity, according to the degree of darkness required. 
 
 " This mode of finishing engraving in wood, appears to have been prac- 
 " tised at Mentz, amongst other places, at an early period of the invention 
 " of typography, and was afterwards occasionally resorted to by the wood- 
 " engravers of other countries." 
 
 The print about to be described, is a specimen of the style of wood-engra- 
 ving thus noticed by Mr. Ottley, and the foregoing passage is extracted 
 in support of the opinion of the possessor of the print in question, who con- 
 siders it to be without doubt a wood~cut. Two similar specimens, and a 
 
Ill 
 
 duplicate of one of them, were found in the covers of the Mazarine Bible 
 belonging to Mr. Nicol, and lately sold by auction by Mr. Evans : these 
 specimens were sold at the same time, and were considered by some as 
 impressions from metal plates. Were the fact thus, the early history of 
 engraving on copper or other metals, with a view to taking impressions on 
 paper, would receive new light and an earlier aera ; but a close and candid 
 examination of the prints in question, will, it is conceived, produce an oppo- 
 site conviction. 
 
 Hie Apparition of our Saviour to St. Gregory. 
 
 On the left of the print, the pope with his tiara on his head, is kneeling on 
 a pavement ornamented with fleurs de lis ; his hands are raised in the atti- 
 tude of devotion, before an open book placed on an altar. To the right is 
 another person also kneeling, whose head is covered with a calotte, and who 
 holds an open book in both hands. In the middle, above the altar, the 
 figure of the Saviour is seen, half length, on a cloth extended by two angels. 
 All the lighter parts of this print are worked with slender and distant cross 
 hatchings. At the bottom is an inscription indicating the subject, in white 
 letters on a black ground. 
 
 This engraving, which is slightly illuminated, is one of those devotional 
 prints which have been found pasted in the covers of books of the fifteenth 
 century, in the old conventual libraries of Germany. See " Heinecken's Idte 
 generate, pp. 250, 251 :" height 10 in.; width 7 in. 
 
 This impression, which is from the Storck collection, is mentioned by 
 Zani in his " Enciclopedia Metodica," Part II. Vol. VIII. p. 14. 
 
EARLY 
 
 ITALIAN SCHOOL. 
 
Pcrucm sc 
 
 EARLY 
 
 ITALIAN SCHOOL. 
 
 WORKS OF NIELLO ON SILVER. 
 
 HE art of engraving ornaments and figures on 
 plates of metal, is of the highest antiquity, having 
 been practised by the Egyptians, Greeks, and 
 Romans. At a much later period, this art gave 
 rise to works of Niello, which are engravings on 
 plates of silver, or other metal, the hollows 
 of which, formed by the instrument tracing 
 the design, were afterwards filled with a black 
 "' composition, called in Italy " Niello" derived 
 from the Latin word " Nigellum." This composition was a mixture of 
 melted silver, copper, lead, sulphur, and borax. When the plates were thus 
 
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 filled, the niello which protruded beyond the surface was polished off, leaving 
 only the incrusted composition in the traces ; so that the smooth plates ex- 
 hibited every stroke of the design however delicate, and the niello became 
 so firmly fixed, that it has been found impossible effectually to remove it 
 from the plates, by the most powerful and ingenious methods. 
 
 The period of the invention of this art is not known. It was, however, in 
 use in France, in the early part of the seventh century, and continued to be 
 practised with various success, until it attained perfection at Florence, in the 
 fifteenth, in the decoration of the vessels and ornaments of the church, 
 of cups, boxes, hilts of swords, knife handles, and female trinkets. 
 
 The chief artists who worked in Niello in the fifteenth century at Florence, 
 were Matteo Dei, Antonio del Pollajuolo, and Maso or Tommaso Finiguerra, 
 celebrated all three, but the last more particularly, for the workmanship of 
 Paxes or plates with scriptural ornaments, tendered to the devotees at the 
 altar, to kiss.* 
 
 There is reason to believe, according to Bartsch,-\ that the art of working 
 in Niello was also practised at the same time in Germany, although of this 
 there is no certain trace ; but judging from the prints of the meritorious artist, 
 called the " Master of 1466," he thinks that the Germans must have been 
 well acquainted with it, as the productions of the engraver alluded to evince 
 an intimate knowledge of goldsmiths' work. An elaborate essay on works 
 of Niello, has been very recently published at Paris, by M. Duchesne, to 
 which he has added an ample Catalogue raisonnee of 428 Nielli on silver, 
 and impressions of Nielli on sulphur and paper. — A portion of those 
 here described, are to be found in M. Duchesne's work ; and his numbers 
 are therefore referred to at the end of this Catalogue. 
 
 The following are specimens of Niello on silver : — 
 
 1. A circular plate representing the virgin surrounded by angels appear- 
 ing to a saint or father of the church, who is seated on the right of the sub- 
 ject, with an open book, about to write, and who is devoutly regarding the 
 heavenly vision. — Behind the seat of the saint appear the head and part of 
 the body of a young man. 
 
 2. A similar plate, representing the archangels Michael, Raphael, and 
 Gabriel, whole length figures, standing. 
 
 Each of these subjects is 1| inches in diameter, and both are inclosed in 
 
 * One of the most important of these Paxes by Finiguerra, was executed for the Church of St. John 
 at Florence, where it now is. An equally important one by the same artist is in the possession of Mr. 
 Samuel Woodburn. 
 
 f See "Peintre Gravcui','' vol. xiii. 
 
9 
 
 the same circular brass frame. No impressions of them on sulphur or on 
 paper appear to be known. They are from the Collection of Sir Mark Sykes. 
 
 3. A plate representing - the penitence of Saint Jerome in the desert, who is 
 kneeling- in front of a rocky cavern, on the right of the subject, baring his 
 bosom with the left hand, and preparing to wound himself with a stone, 
 which he holds in the right : his head is surrounded by a solid nimbus : 
 close to the Saint is a lioness drinking at a small stream. 
 
 On the left is another Saint, or probably the same, clothed in a monastic 
 habit, seated, and reading in a large book, which he holds with both hands : 
 near him are a lion couchant and a cardinal's hat. 
 
 Above this groupe, is a rock, on which is planted a crucifix, and through 
 an aperture in the rock, is seen the head of a man. 
 
 The distance is all rocky ground, interspersed with a few trees, and sur- 
 mounted by monastic and other edifices ; and at the upper extremity of the 
 subject, on the right, is the sun darting his beams on the buildings. 
 
 The animals, the trees, the buildings, and the nimbus round the Sainfs 
 head, are gilt. 
 
 This niello, hitherto undescribed, and which is of a truly chaste and beau- 
 tiful design, and of exquisite workmanship, is probably the performance of 
 Francesco Francia.* — Height 3| inches, width 2| inches. 
 
 4. — 5. Two very small circular plates, representing in half length figures, 
 the one, Christ on the Cross, the other, the Virgin and Child. 
 
 These two specimens are of very inferior workmanship, and are inclosed 
 in the same brass frame. — Diameter f of an inch. 
 
 IMPRESSIONS ON SULPHUR FROM WORKS OF NIELLO. 
 
 Finiguerra, to whom we owe the discovery of taking impressions from en- 
 graved plates, had no doubt perfected many such plates before any other 
 ideas occurred to him and his contemporaries, than those which they had 
 adopted from their predecessors, of filling them with niello. 
 
 It would appear, however, that the artists of that period, occasionally de- 
 sired to preserve memorials of those important and elaborate nieUi, which 
 they had probably executed for opulent patrons. In order so to do, we are 
 told, that previously to filling their engravings with the composition before 
 mentioned, they impressed them upon a paste made of exceedingly fine 
 earth, which, of course, produced a reverse of the subject. Upon this mould 
 of earth they then poured liquid sulphur, and thus formed a perfect model of 
 
 * See Vasari, vol. I. pa. 481, for an account of this artist's reputation as an engraver in niello. 
 
 C 
 
10 
 
 their work in the original direction : they afterwards introduced into the 
 lines of the work on the sulphur, a black tint with smoke, or some kind of 
 ink or water color, which produced on the surface, all the delicate appear- 
 ance of the original plate, when subsequently filled with niello. The diffi- 
 culty of accomplishing this, by the process detailed, and with so peculiar 
 a material as sulphur, in the exquisite and perfect manner in which it is done, 
 must have been immense. 
 
 These sulphurs, almost all of which have been lost, were held in the 
 highest estimation, and appear to have been richly gilt and inclosed in 
 shrines as objects of reverence.* 
 
 The four following are in perfect preservation : — 
 
 6. JESUS CHRIST WASHING THE FEET OF HIS DISCIPLES. 
 
 This work is of the most chaste design and delicate execution, surrounded 
 by a small border, and arched within at the top : it is attributed to Finiguerra. 
 
 7. THE LAST SUPPER OF OUR LORD. 
 
 The subject is surrounded by a border, but not arched within as the last. 
 It is a performance of great taste and delicacy, and is also attributed to 
 
 Finiguerra. 
 
 8. THE CRUCIFIXION OF OUR LORD. 
 
 On each side of the cross is an angel. The Magdalen extends her arms 
 to receive the Virgin, who appears on the point of fainting in those of 
 St. John. On the cross is the inscription" /jvr/." To the left of the subject a 
 pennon attached to the point of a lance bears the letters " spqr and to the 
 right, on a banner, is a scorpion. This piece, which has a black ground, 
 is inferior both in design and execution to the last, and is evidently by a 
 different hand. 
 
 9. THE BODY OF OUR LORD BEWAILED BY THE MARIES. 
 
 In the distance is the city of Jerusalem. This piece has also a black 
 ground ; it is without a border, and is nearly of the same execution as the 
 Crucifixion. 
 
 These four sulphurs, each of which is 2| inches high by £ inches wide, 
 were formerly part of a shrine in the Camaldolite Convent near 
 
 * Two impressions in sulphur of the Pax mentioned in the note in page 8, exist : one is in the 
 cabinet of the Duke of Buckingham, the other in the collection of Count Durazzo. 
 
11 
 
 Florence, and are those spoken of by Lanzi in the last edition of his 
 " Storia Pittorica delta Italia." Edit. 1809. vol I. pa. 90. They are 
 enclosed in a wooden frame of four compartments, and from the 
 traces which still remain, seem to have been richly gilt and orna- 
 mented. They are from the collection of Sir Mark Sykes, and were 
 formerly in that of Sig. Storck of Milan. The plates from which these 
 sulphurs were taken, do not appear to exist, nor is an impression on 
 paper from either of them known. 
 
 IMPRESSIONS ON PAPER FROM WORKS OF NIELLO. 
 
 To Finiguerra, as before observed, we are indebted for the discovery of the 
 art of taking impressions on paper from engraved plates. 
 
 He had the good fortune to make this discovery about the year 1452, at 
 Florence, his native city. The manner in which it is said to have taken 
 place, and the interesting details of the almost romantic production of 
 the first print, have not reached us. The earliest efforts upon which we are 
 enabled to pronounce, though of course very incompletely printed, are never- 
 theless beautiful performances. Of these essays, so highly interesting to the 
 lovers of art, the rarity is extreme, as is that of impressions from 
 all works of niello by the artists of the period. Probably one or two only 
 of each were taken as memorials, and without a view to publication in the 
 first instance, as we infer from the reversed inscriptions. 
 
 Afterwards, when the importance of the discovery began to be appreciated, 
 it is apparent, that plates executed in the same style as those intended to be 
 filled with niello, were printed for publication ; and Finiguerra and his con- 
 temporaries, became expert to a surprising degree, in the art of taking such 
 impressions. 
 
 Among the following specimens, several, it will be seen, were impressions 
 taken from plates afterwards filled with niello, as they contain reversed in- 
 scriptions ; many of the others were probably of a similar description, and a 
 portion has been printed with an express intention of being published, as 
 in the instance of those by Pellegrini da Cesena. 
 
 SPECIMENS BY ARTISTS WHOSE NAMES ARE UNKNOWN. 
 
 10. HERCULES RENDING THE NEMEAN LION. 
 
 He is turned towards the left, and on a scroll above his head is written, in 
 letters reversed, the word " ercvle." At the top are two holes for fixing the 
 plate. 
 
 c 2 
 
12 
 
 11 — 12. THE TRIUMPH OF JULIUS C.ESAR. 
 
 This subject is in two pieces, which were engraved for the handle of a 
 knife. On one, are Roman senators, followed by an army ; on the other, 
 Ceesar in a triumphal car, drawn by two elephants; over his head is a scroll, 
 on which is inscribed in reversed letters the word " sezaro." 
 
 18. ARION. 
 
 He is represented with his violin in the left hand, and his bow in the other, 
 riding on a dolphin and directing his course to the left : in the distance is a 
 city built on high rocks. 
 
 Another impression is in the Royal Library at Paris, but the plate and 
 sulphur are not known ; there is a slight variation in the two impressions, 
 which Duchesne has noticed. 
 
 14. THE STORY OF JUDITH AND HOLOFERNES. 
 
 This is an impression taken from a plate of irregular form, intended for 
 one side of a knife handle : It is a composition of numerous figures, and its 
 companion is in the possession of Mr. Ottley. 
 
 15. JUSTICE. 
 
 She is seated on the back of a lion, with the scales in her right hand, and 
 in her left a sword : This piece is an impression from a circular plate. 
 
 16. A FEMALE SEATED ON THE GROUND, (probably SAPPHO.) 
 
 She is turned towards the right, and is playing on the lyre : This is also 
 from a circular plate. 
 
 Of the three preceding nielli no other impressions are known. 
 
 17. BUSTS OF A MALE AND A FEMALE WARRIOR. 
 
 They are placed opposite to each other in niches. The man is armed with a 
 cuirass, and a helmet ornamented with three faces. The bust of the female is 
 clothed only with a loose drapery, but on her head is a helmet surmounted 
 by the figure of a winged genie holding a cornucopia: This impression is 
 printed in blue ink. 
 
 Impressions of the same niello are in the Royal Library at Paris, the 
 collection of the Marquis Malaspina, and in the Durazzo cabinet. 
 Bartsch, in describing the Copy, (vol. xiii. pa. 58,) notices the right 
 hand bust as that of a man, and Duchesne so describes it. 
 
13 
 
 18. GROTESQUE AND ARABESQUE ORNAMENTS. 
 
 At the top are two figures of Sphynx, back to back, with a cornucopia on 
 the head of each. Two satyrs are in similar positions. On a small tablet 
 are represented two ships, and from the tablet two chimerical figures are 
 suspended by the hands : Above is a medallion representing the figure of 
 a man feeding Pegasus. 
 
 Another impression was in the collection of M. Durand. 
 
 19. A NAKED FEMALE, WITH LONG HAIR, SEATED. 
 
 She is perhaps intended to represent Venus, and is turned towards the left. 
 Upon her head are the wings of Mercury, and she rests her left hand on the 
 caduceus : An impression is in the possession of Mr. Binda. 
 
 20. A TRITON CARRYING OFF A NYMPH. 
 
 He is swimming towards the right : This niello is much like the work of 
 Pellegrini. 
 
 21. THE HEAD OF THE YOUNGER CYRUS BROUGHT IN A BASIN OF BLOOD 
 
 TO HIS BROTHER ARTAXERXES : 
 
 The subject is a composition of six figures. Upon the throne of Artax- 
 erxes, on the right, is inscribed the word " cirro." 
 
 22. MERCURY. 
 
 He appears in the act of running towards the left : a flowing drapery 
 hangs from both arms ; with the right hand he holds the caduceus, and ex- 
 pands the drapery with his left. An impression was in the collection of Sir 
 M. Sykes. 
 
 23. AN UNKNOWN SUBJECT. 
 
 On the left of this piece, which is a composition of seven figures, a Roman 
 Emperor or Magistrate is represented, seated on a throne, and addressing an 
 old man, who with a lifted sword, seems prepared to cut off the head of a 
 young female kneeling before him. To the right are two soldiers, one of 
 whom bears a standard, on which is inscribed " decreto." 
 
 Of the three preceding nielli, Nos. 20, 21, and 23, no other impressions 
 are known. 
 
 24. AN OLD MAN KNEELING AT HIS DEVOTIONS. 
 
 He is turned towards the left. — Above is a large wreath or garland, sup- 
 ported by a naked man and an angel : through the garland is seen the upper 
 
14 
 
 part of a female figure, blowing two trumpets, and on the left is another 
 female with a hook in her right hand ; an open hook also lies on the ground : 
 Another impression is in the Royal Library at Paris. 
 
 The foregoing nielli are described in M. Duchesne's Catalogue. 
 
 SPECIMENS WHICH HAVE NOT BEEN HITHERTO DESCRIBED. 
 
 25. JUDITH. 
 
 She is standing turned to the right, holding the head oiHolof ernes in her 
 right hand, and the sword in her left, which is raised. Height 1| inch, 
 width | of an inch. 
 
 26. MERCURY. 
 
 He is turned towards the left. With his right hand he holds the caduceus, 
 and with the left a cornucopia : He is naked, except his sandals and a light 
 drapery thrown over his left arm. Height 1| inches, width f of an inch. 
 
 27. VULCAN. 
 
 He is seated on a bank to the right, and is in the act of striking, with the 
 uplifted hammer, a thunderbolt which lies on the anvil. From a tree to the 
 left hangs a shield, a sword, and other armour, and near the anvil is a cuirass. 
 Height If inch, width f of an inch. 
 
 28. A female figure (probably DIANA.) 
 
 She is seen in front, standing and looking upwards, with her left hand 
 extended, while in her right she holds a shield, and a long arrow or javelin. 
 Height 1^ inch, width f of an inch. 
 
 29. A FEMALE FIGURE REPRESENTING PRUDENCE. 
 
 She is clothed in a high dress, and is turned towards the right. In her 
 left hand she holds a mirror, into which she is looking, and in her right 
 hand is a serpent : This piece is an upright oval. Extreme height 1 inch, 
 extreme width f of an inch. 
 
 30. PERSEUS AND ANDROMEDA. 
 
 Andromeda is seated on a rock to the right, her hands tied behind her, 
 which Perseus, with wings, just returned from the conquest of the Gorgons, 
 appears to be unbinding. In the back-ground is the monster on the sea, 
 coming to devour Andromeda. M. Duchesne calls this subject Psyche 
 Height If inch, width f of an inch. 
 
15 
 
 A niello of the same composition, marked with the letter P, was in the 
 Sykes Collection. Mr. Binda also possesses one of a similar subject, and 
 treated in the same manner ; but all are by different hands, and the specimen 
 here described is greatly superior in workmanship to the others. 
 
 31. TWO NAKED WARRIORS. 
 
 A vase is held up between them, which each supports with his right 
 hand, while the shield of each resting on the ground is held with the left. 
 The figure on the right has a slight drapery or mantle thrown over his 
 shoulders, and some ornament on his head. Height \\ inch, width 
 f- of an inch. 
 
 32. A WOMAN AND A BOY. 
 
 They are walking towards the right. The female wears a high dress 
 and a close cap, and holds up her robe in front with her left hand, while 
 with her right she conducts the boy, who wears a sort of vest, and carries a 
 cornucopia. Height l\ inch, width f of an inch. 
 
 33. A WARRIOR. 
 
 He is dressed in a close habit, ornamented in the front,with a kind of chevron, 
 and carries a large shield. He has a small round hat on, over a full head 
 of hair, and wears boots. He is turned towards the right, but looks to the 
 left, and is in the act of drawing his sword : on each side is a rock. Height 
 If inch, width f of an inch. 
 
 34. TWO DANCING CUPIDS. 
 
 They face each other, and have on caps, like the puddings formerly worn 
 by infants learning to walk. Height If inch, width f of an inch. 
 
 35. PORTRAIT OF A WARRIOR. 
 
 He is turned to the right, and wears a richly ornamented helmet, pointed 
 at the top, and with a dragon crest. His beard is pointed, and his dress is 
 a robe open at the bosom, shewing an embroidered vest. Height l\ inch, 
 width f of an inch. 
 
 36. PORTRAIT OF A YOUNG MAN OF QUALITY. 
 
 He is looking towards the right, and wears a round cap, turned up par- 
 tially behind, over very long hair. A close dress comes up to his throat, 
 and his arms are crossed over his breast, under a mantle, from which his 
 left hand is seen. Height If inch, width f of an inch. 
 
16 
 
 37. PORTRAIT OF A YOUNG FEMALE. 
 
 She is turned to the right. Her hair is dressed in three circular divisions, 
 and she wears a rich necklace, and a close dress. This niello is much orna- 
 mented with flowers and foliage on each side. Height If inch, width 
 | of an inch. 
 
 Each of these nielli has two holes for fixing the plate, either in a white 
 or black space, chiefly in the midst of scroll-work. 
 
 38. A COMBAT OF NINE MEN. 
 
 Two of each party are on horseback. Those on the right are apparently 
 Roman warriors. The foremost of them is bareheaded, and holds a sceptre 
 in his right hand ; another carries a banner, and a third a pennon, inscribed 
 " spqr" in reversed letters. 
 
 The hostile party, two in front on foot, and as many on horseback follow- 
 ing, armed with lances, are attacking the Romans, two of whom are beaten 
 down and defeated. 
 
 This piece appears to be a rather modem impression of a very early per- 
 formance. In the centre, near the top, is the mark of the hole through 
 which the plate was fastened. Width 5f inches, height 2f inches. 
 
 SPECIMENS BY PELLEGRINI DA CESENA * 
 
 39. THE RESURRECTION OF OUR LORD 
 
 The sun and moon are seen at the feet of the Saviour, and on each side is 
 an angel in the attitude of adoration. In the foreground are three soldiers 
 sleeping, while at a distance is a crowd of persons flying in terror towards the 
 city of Jerusalem. At the bottom, outside the border which incloses the 
 subject, is the name of the artist, thus written: " de opvs peregrini. ce s ." 
 Of this print Zan'i, ( Enclclopedia Metodica, part u.vol. ix. pa. 87 J mentions 
 
 * The name of this artist was unknown to Bartsch and Ottley, who have described some pieces by 
 him under the above monograms : Vide Bartsch, vol. xiii. pa. 207. Ottlvy, pa. 568. To M. Duchesne 
 the discovery of his name is due : (" F.ssai surles Niellos," }>age 68, #c.) 
 
17 
 
 a first impression with the inscription " opvs peregrino"* only, hut does not 
 state where he saw it. The second he describes as being in the Durazzo col- 
 lection, with three other nielli by the same artist, though it is not mentioned by 
 Bartscli among the copies of the nielli in that cabinet. 
 
 Another impression is in the Royal Library at Paris, in a finished 
 state as to the back ground, which is not so much worked upon in the one 
 just described, but the inscription is the same in both. The present specimen 
 is from the collections of Storck and Sir Mark Sykes. 
 
 40. ARABESQUE ORNAMENTS. 
 
 Two winged horses are placed back to back, and beneath them are two 
 children, each holding in one hand a shield, and in the other a tablet con- 
 taining the representation of a face : another tablet is suspended on each side, 
 bearing the letters S C. At the bottom are two flying horses, and between 
 them a shield with the monogram P. 
 
 An impression of this niello is in the Royal Library at Paris; one also was 
 in the collection of Sir M. Sykes, but the impression just described is not 
 mentioned by M. Duchesne. 
 
 41. A FEMALE REPRESENTING PRIDE. 
 
 She is seated in a landscape, upon a dragon, and is seen nearly in front : 
 in her left hand is a mirror, and in the right a cornucopia. In the back- 
 ground are four tall trees, and the top is indented. At the bottom is the 
 mark P in a narrow margin, and below this, as well as round the subject, is 
 a line. Height 2f inches, width If of an inch. 
 
 This niello has not been hitherto described. 
 
 * The existence of a first impression such as Zani describes, seems to be confirmed by the observation, 
 that the words " opvs peregrini" are in the centre of the plate, and the words " de ces'' are not at 
 the distances in which they would have been placed, had they been originally inscribed with the rest: 
 The latter word is by this means unnecessarily cramped and abbreviated. This would be a further proof 
 also in support of M. Duchesne's construction of ourartist's four initial letters, and would be a reason 
 for the erroneous position of the Latin words which they signify. 
 
 By Zani this artist is considered, from the inscription on this print, to be a native of Cesena, a city 
 of Romagna, not very distant from Bologna, but nearer to Ravenna. Ottley describes him, ("Introduction 
 to Facsimile Specimens of Early Masters," pa, 6 of the Catalogue,) as of Cesio, in Feltrino. Cesio it 
 is submitted, is less likely to have given birth to this ingenious man than Cesena, which is nearer to 
 two cities, both of them remarkable at that period for the engravers they had produced. 
 
 D 
 
ENGRAVERS OF THE EARLY ITALIAN 
 
 SCHOOL. 
 
 MASO or TOMMASO FINIGUERRA, 
 
 to whom we are so greatly indebted, was a goldsmith, and was born at 
 Florence. He was an excellent draftsman, and in addition to superior exe- 
 cution of important works in basso-relievo, surpassed all his contemporaries 
 as an engraver in niello. The period of his birth is not exactly known, but 
 according to ZanYs account, he was born about 1418, and died about 1460. 
 He is believed to have been a disciple of Massaccio. A Pax of the Assump- 
 tion, executed by him in silver about 1452, is still preserved in the church 
 of St. Giovanni at Florence, of which two existing sulphurs are mentioned in 
 page 10. From one of these it is conjectured that Finiguerra took an impression 
 on paper, perhaps that now in the Royal Library at Paris, and thus produced 
 the first print. The late Sir Mark Sykes possessed also an impression on 
 paper from another Pax, which was first discovered by Mr. Ottley, and 
 purchased by Mr. S. Woodburn, at the sale of Sir Mark's collection in 1824. 
 Mons. Durand, of Paris, likewise possessed an impression of a Pax by 
 Finiguerra, which has passed into the collection of Prince Charles. 
 
 From the account given by Zani, it appears, that Finiguerra soon afterwards 
 profited by this discovery, so as to engrave plates intended for publication, as 
 the specimen about to be described, in all probability was not filled with 
 niello, if we may judge from the impressions existing, which are more nu- 
 merous than those of other nielli. 
 
 42. THE ADORATION OF THE MAGI. 
 
 A composition of more than forty figures. In the foreground, the Virgin 
 is seated near the stable with the infant Jesus on her lap, who is extending 
 
19 
 
 his hands towards a vase presented to him by one of the kings kneeling. 
 On the roof of the stable are three angels, playing on musical instruments. 
 Near the stable, St. Joseph, wrapped in a mantle, is leaning on his staff. 
 The second of the Magi is on horseback to the left, with a page and two of 
 his suite. Near the middle ground appears the third of the Magi also on 
 horseback, bearing a vase : he is preceded by three men, and followed by 
 two pages, behind one of whom is a monkey. Towards the centre of the 
 print, a young man of quality, on foot, with a large hat and feather, and hold- 
 ing his horse's bridle, is conversing with an angel whose hands are crossed 
 on his breast. In the distance on the right, is a rock, on which a shepherd 
 is seated, surrounded by his flock, and playing on the bagpipe. Behind, in 
 all directions, are persons on horseback, and with loaded camels. Beyond 
 these, is the city of Bethlehem, surrounded by ramparts, and to the right are 
 several small hills, each surmounted by a tower : the star appears in the sky. 
 
 The heads of the Virgin, St. Joseph, and the angels are encircled with solid 
 nimbi, similar to those in the Pax of St. Giovanni, at Florence. The work- 
 manship of every part is delicate, and the impression is in the most perfect 
 state of preservation. The subject is inclosed in a border, indented at the 
 top and on the sides, and in the margin are numerous small trials of the 
 graver in minute faces, eyes, noses, &c. From the circumstance of the 
 angels playing on the instruments of music with their left hands, the original 
 plate was probably a work of niello, though as before noticed it was perhaps 
 never filled with the composition : it appears to have been fixed in a 
 frame, through fifteen small holes in the indents. 
 
 This impression is described and eulogized hjZani " Materiali, &c."pa 48, 
 and in the note pa. 124. Height to the margin of the plate, 4| inches, 
 width 4| inches. 
 
 Since this reference was made to ZanVs " Materiali," I have perused his 
 more detailed account of the present specimen in his " Enciclopedia Meto- 
 dica " Part 2, vol. 5, pa. 153, &c. where, after mentioning the print as being 
 in the Martelli collection, he states as follows : — 
 
 " I saw it (an impression) afterwards in Rome, at Sig. ConcoWs, picture and 
 " print dealer, who called it the work of Martin Rota, and who asked me no 
 " more than a sequin for it, having marked on the back of this print " Martin 
 " Rota I Zecchino." I wished to treat for it at once, and might have had it 
 " for less than that price, but being struck with surprise, I told the dealer 
 " candidly that I did not think it by Rota, but certainly much more an- 
 " cient, and that I believed it rather to be by Finiguerra. This immediately 
 " gave rise to his withholding it from me, first with an excuse that he wished 
 
 D 2 
 
20 
 
 " to keep it himself, and then that he had promised it to somebody else. I 
 " found that I had neglected the advice of the poet Gasparo Visconti, in one 
 " of his sonnets, ' Tal qual la sorte torla bisogna" and I had almost similar 
 " reason to grieve. 
 
 " I am comforted, however, to learn that this identical impression has 
 " reached the hands of the illustrious Sig. Seratti, who furnished me with a 
 " fac simile drawing for my own own use." 
 
 Zani adds, that he had since compared this with the Coronation or 
 Assumption of the Virgin in the Royal Collection at Paris, and thought, after 
 a scrupulous examination, that it was not the work of Finiguerra himelf, but 
 of a contemporary or scholar. 
 
 It is also mentioned in LanzVs " Storia Pittorica" Tom I., pa. 92, and in 
 pa. 100, note ( C) ; in Ottley 1 s " Enquiry" pa. 315, and in his " Introduction 
 to fac simile specimens.'''' Duchesne considers it to he the work of Finiguerra. 
 
 Six or seven other impressions on paper are known. One is in the Royal 
 Library at Paris; another in the collection of the Duke of Buckingham; a 
 third is in that of Mr. Ottley, and the fourth, which belonged to Sig. Mar- 
 telli, of Florence, as noticed by Zani, is now in the possession of Mr. Ven- 
 dramini. 
 
 BACCIO BALDINI 
 
 was a goldsmith, and was born at Florence between the years 1460 and 
 1480. According to Vasari, this artist was the first engraver who succeeded 
 Finiguerra. Being, it is said, a very indifferent draftsman, he was indebted 
 to Sandro Botticelli for the designs from which he engraved his prints. His 
 execution is dry, but neat and delicate. It is impossible, however, with 
 certainty to assign any particular pieces to him individually, as neither he nor 
 Botticelli marked their engravings with names, monograms, or any sign of 
 distinction, so that it is very dubious which of the subjects designed by 
 Botticelli were engraved by him, or which by Baldini. 
 
 " Among the first uses, says Mr. Ottley, (Enquiry, pa. 361) to which the 
 " new art of calcography appears to have been applied, was that of making 
 " almanacks." He then proceeds to quote the set of engravings described 
 by Strutt, which are in the British Museum, part of the collection of Dr. 
 Monro, which he considers to be certainly of the Florentine School, and most 
 probably by Baldini. These engravings consist of the seven Planets, and a 
 
21 
 
 frontispiece by way of almanack, which, from the directions there contained 
 to find Easter from the year 1465 to the year 1517 inclusive, must, Mr. 
 Strutt conjectures, have been executed as early as 1464 ; as from the con- 
 tinued regularity of dates, there could not be any mistake in the first. Mr. 
 Ottley remarks, that the impressions in the Museum appear to have been re- 
 touched. After repeating Strutfs full description of them, he adds, that this 
 series, admitting the above argument as to their date to be conclusive, as 
 appears to have been universally allowed, is decisive evidence of the early 
 establishment of Calcography at Florence, where, without doubt, these prints 
 were executed. 
 
 Mr. Ottley next notices two other prints of the planets belonging to a set 
 of larger dimensions, " somewhat still more ancient," one in the collection 
 of Mr. Lloyd, the other in that of Mr. Douce, in which the general subjects 
 represented are much the same as in the corresponding pieces of his first 
 described set, but the arrangement of the groups is varied ; and he observes, 
 in a note to this passage, that the subjects introduced in the planets engraved 
 in the 15th and 16th centuries in Italy and Germany, were conventional; and 
 that, though varied in the arrangement of the compositions, the general 
 occupations of the chief groups were strictly adhered to. 
 
 Mr. Ottley describes minutely the two planets Mars* and Luna, of this 
 larger set, and gives a copy of the chariot of Luna — see pages 368 to 371. 
 He infers their greater antiquity from the ruder orthography of the inscrip- 
 tions, and the almost invariable occurrence of the letter S in a reversed direc- 
 tion ; an error to which an engraver chiefly accustomed in the early part of 
 his life, to engrave inscriptions on plate, would for a long time be liable. 
 Mr. Ottley thinks they bear a strong resemblance in manner to the prints in 
 the Monte Santo diDio; but to these, from the less frequent occurrence of the 
 letter S reversed in the latter, they would of course be prior. The set of Planets 
 about to be described, is that to which the two prints just mentioned belong, 
 and which are questionless more ancient than those in the British Museum. 
 They are all first impressions, though printed when the plates had been much 
 used, and are in perfect preservation. As two only were known to the 
 author of the valuable " Enquiry," and no one of the set has been described 
 by any other writer,! their peculiarities are here detailed, with their differ- 
 ences from those in the British Museum, which have so deeply engaged the 
 interest and attention of Strutt, Jansen, and Ottley. 
 
 * The impression of the Planet Mars, noticed as then belonging to Mr. Lloyd, has been lately added to 
 the set here described, and from its prior state forms a most interesting duplicate.-— It occurs in page 2o. 
 
 f The same set is said to be in the Royal Collection at Paris, but wholly retouched. As both are with- 
 out the Almanack, it probably did not form a part of this set. 
 
22 
 
 43. VENUS. 
 
 The Goddess appears in the clouds, riding in her chariot towards the left 
 of the print, drawn by doves. In the front stands Cupid, who has just 
 discharged an arrow at one of the lovers on the right. On the opposite side 
 is a battlemented building, with a gate and a balcony over it. In the 
 balcony are three ladies dropping flowers on the group below, while another 
 lady on a rampart beyond, is holding a wreath, to which a lover is ex- 
 tending his hands. Over the gate is written " omnia vincit amor.' 1 '' In 
 each comer to the right and left is a pair of lovers seated ; a lady, standing 
 near them, is placing a wreath on the head of a cavalier, beside whom 
 are two others, one playing on the guitar. In the middle is a couple 
 dancing to the sound of the tambourine, played by a female on the right. 
 Behind these is a large table, with j>art of a banquet, and further in the 
 back ground a covered bath, where three persons are bathing. On the 
 chariot wheels are the Bidl and the Balance, inscrihed " toro" and "bilance," 
 the signs of the zodiac under this planet's influence. At the bottom of this, 
 and the six other plates, is an inscription of ten lines, importing the qualities 
 of the planet represented. The following portion is given as a specimen of the 
 whole, and the termination of each line is marked to shew the singular 
 division of the words : — 
 
 VENERE ESEGNO FEMININO POSTO NEL TERZO CIELO EFREDDO EVMIUA 
 TENPERATA LAlV || ALE AlVESTE PROPIETA AMA BELLI VES TIM EN Tl ORNATI 
 DORO EDARGENTO E CHANZONE EG || A V DII E GVCHI ET E LASCIVA EA DOLCE 
 PARLARE E BELLA NEGLIOCHI E NELLA FRONTI EDICORPO LEGGI \\ ERI PIENA 
 DI CARNE EDIMEZANA STVRA, 8fC. 
 
 Throughout this, and the remainder of the inscription, the letters is reversed, 
 and the letter q is formed by turning the letter p. 
 
 The dimensions of each print are 12 inches in height, and 8j inches in 
 width. 
 
 Differences in the print of the same planet at the British Museum : — 
 As a preliminary observation, it should be remarked, that the planets 
 themselves in all these copies or imitations are placed in the same direction 
 as in the larger prints, that is, looking towards the left, although the subjects 
 are in almost every case reversed. 
 
 In consequence of this, Cupid here appears to shoot at the ladies in the 
 balcony. The Bull's head on the chariot is reversed, and the word " Bilance^ 
 is wanting. Instead of the battlemented building, is one with a pent-house 
 roof; and two figures only are dropping flowers instead of three. There is no 
 inscription over the gate. The front only of the bath is seen, with two persons 
 
23 
 
 bathing, instead of three. On the left, instead of the two lovers, is a lady 
 seated, playing on the tambourine. The dress of the dancing female too 
 is wholly different, and the table is scarcely seen. 
 
 In the inscription for posto we read posta ; for efrcddo, fredda ; for pro- 
 pieta, proprieta ; for guchi, giiocki ; &c. 
 
 44. Jupiter. 
 
 He is riding on the clouds in his chariot, drawn by two eagles, dressed in 
 a robe, and with a cap on his head, and a sceptre in his left hand. Ganymede 
 is kneeling before him, with a bason in one hand and a vase in the other. 
 On the wheels of the chariot are the signs Sagitarius and Pisces ; a scroll 
 under the former is without inscription : that under the latter bears the 
 word " p/soe." In the distance is a mountainous landscape, with figures on 
 horseback and on foot, hunting and hawking. A young man of quality, 
 with a falcon, is particularly remarkable. On the right, immediately oppo- 
 site, under a large rock, is a man holding in two dogs, and to his left is a 
 dwarf with another dog. In the foreground, to the right, is an arbour, in 
 which are seated Dante, Petrarch, and Boccacio; and to the left, at the side 
 of the arbour, is a king or emperor on his throne, to whom five persons, 
 three of them kneeling, are doing homage. The inscription commences 
 thus : — 
 
 GIOVE EPIANETA MASCULINO POSTO NEL SESTO CIELO CALDO E UMIDO 
 TENPERATO DI NATURA DARIA DOLCIE SANGUIGNO SPERANTE ALLENGNO, SfC. 
 
 Differences in the print of this planet at the British Museum: — 
 The throne and dress of Jupiter are different. The word " Zagitarie," which 
 in the print above described is wanting under the sign, here appears. The 
 arbour is totally different, and the group doing homage consists of only four 
 persons : instead of the large rock in the background, is a town or city on a 
 hill. 
 
 In the inscription the word umido is written humido, for tenperato we read 
 temperato, for dolcie, do Ice, for allengno, allegno, &c. 
 
 45. SOL. 
 
 He is represented, splendidly armed, with a crown upon his head, and 
 seated in his chariot, drawn by four horses: upon the chariot-wheel is the 
 zodiacal sign of the lion, inscribed "ijso."' In the background is a castle upon 
 a hill, and some figures are seen shooting at a mark with cross-bows ; near 
 them are three pilgrims at a splendid shrine of the virgin, over which is 
 written " aye regina." Several persons are engaged in pitching stones, in 
 
24 
 
 mock fights and wrestling; near one of these, a dwarf is standing, with a 
 sword under his arm. In the front, an emperor is seated on a throne surmounted 
 by cupids, before whom three tumblers are exhibiting their feats of activity. 
 Close by the emperor are three attendants, richly dressed ; on the thigh of 
 the one on the left of the throne, are the words "droit mant." The in- 
 scription under the print begins : — 
 
 SOLEE PIANETA MASCVLINO POSTO NEL QVARTO CIELO CALDO E SECHO INFOCATO 
 CHOLERICO DI COLORE DORO CVPIDO DI REGNARE DISIDEROSO, 8fC. 
 
 Differences in the print of this planet at the British Museum : — 
 The name of the planet is written above, which in this plate of the larger 
 set is wanting. The chariot is different : and instead of the three men praying 
 at the shrine, are two figures kneeling at the foot of a crucifix on a rock. 
 The king wears a crown instead of a regal cap ; has two attendants only 
 instead of three; and the cupids over the throne, which is altogether different, 
 are wanting. The word disideroso is written diseroso. 
 
 46. MARS. 
 
 He is seated in his chariot, drawn by two horses, and represented com- 
 pletely armed, with wings upon his head, and a sword in his right hand : 
 upon the wheels of the chariot, are the Ram and the Scorpion, and under them 
 are written the words " ariete'" and " iscarpione." At a small distance is a 
 castle, before which peasants are fighting with the military, and a man is re- 
 presented ringing the alarm bell ; while outside the walls a soldier is leaning 
 on his shield. To the left are hay ricks and a farm house. A party of soldiers is 
 seen falling upon the peasants, seizing their women, and driving off their 
 cattle. From the left a troop of knights, in armour, is arriving : below these, 
 on the right, are two frightened children. The inscription begins thus : — 
 
 MARTE E SEGNO MASCVLINO POSTO NEL QUINTO CIELO MOLTO CALDO FOCOSO 
 EA QVESTE PROPRIETA DAMARE MILITIA BATTAGLIE ET VCCISIONE MALIGNO 
 D1CORDINATO, 8fC. 
 
 Differences in the print of the same planet in the British Museum : — 
 The car of the god is in the greater part white, instead of being richly 
 worked, and the castle is totally different; there is a less number of armed 
 knights ; the figure resting on his shield is wanting, and there is neither the 
 farm-house, nor the party of men near it, and only one frightened child. 
 
 The word quinto is abbreviated thus, qto., which led to Strut fs 
 error, in calling it quarto. In almost every case the letter S is placed in 
 the ordinary direction, while in the larger print it is invariably reversed. 
 
25 
 
 47. A DUPLICATE IMPRESSION OF THE PLANET MARS, 
 
 being that noticed by Ottley as then in Mr. Lloyd's collection : It shews 
 the state of the plate before the shadows were worn away. 
 
 48. SATURN. 
 
 He is seated in his chariot, drawn by two dragons, and in his right hand 
 he holds a scythe : upon the chariot wheels are the signs of the Goat and the 
 fVaterbearer, inscribed " cap i corn o" and " aqvario." The distant land- 
 scape consists of mountains crowned with castles ; and a figure is seen 
 hanging from a gallows, on the top of which is a cross. Nearer, is a man 
 ploughing with two oxen, while three men and a woman are thrashing com 
 in an open field, and a man is turning the corn with a fork. To the left 
 is a monastery, at the door of which a monk is seated, who, as well as 
 several others nearer the spectator, is at work. Two of these monks are 
 making baskets, and a third is chopping wood on a block. - Near them 
 is a man cutting down a tree on the bank of a river, on the opposite shore 
 of which is a party of men — the first of them holding a brush and a long 
 broom, the second a bucket on a pole, and the third a long ladle. In the 
 foreground to the left is a prison, and before it a man seated, with his legs 
 and arms in the stocks ; just beyond are several figures, and among them a 
 woman with a child : Close in the left corner, are three other figures, a 
 cripple, a woman, and a monk with a kettle of soup. In the middle of the 
 print is a man with a long stick in one hand, and a basket in the other, and to 
 the right are men killing hogs, one of which is hanging on a tree. The 
 inscription begins as follows : — 
 
 SATVRNO E PIANETA MASCVLINO POSTO NE SETTIMO CIELO FREDDO E SECHO 
 MA ACCIDETALMENTE VMIDO DI NATVRA DI TERRA MANICONICO DI NATVRA DI 
 PIONbO, 8fC. 
 
 Differences in the print of this planet in the British Museum : — 
 The word " capicorno" under the wheel of the chariot, is properly spelt 
 " capricorno ;" the car is different, but the man ploughing, is turned 
 to the left, as in the larger print. Only three persons are threshing, and 
 there is no forker : The woman with the child is wanting ; but one beggar 
 appears with the monk in the left comer; the convent is different, and 
 instead of three monks at work, there is only one. 
 
 In the inscription, instead of " di natvra di pionbo" we read " di colore 
 
 DI PIONBO," 8fC. 
 
 E 
 
26 
 
 49. MERCURY. 
 
 He is seated in a chariot, holding the caduceus, and drawn by two hawks ; 
 on the wheels of the chariot are the signs " virgo" and " Sagittarius" but 
 the scrolls underneath are without the names. The inside of a city is repre- 
 sented, with the view of a street ; and in the front, to the left, is a large 
 building, which an artist is apparently decorating in fresco, while another is 
 grinding colours on a stone. Below is a goldsmith's shop, with three persons 
 behind the counter ; one of whom, in a cap, is examining a niello, or even 
 possibly a print or a copper plate, through a glass : a man in the street is hand- 
 ing a vase to one of the shopmen. Nearer to the left corner, is a bust on a 
 Corinthian capital. In the centre, are four philosophers, one holding a celes- 
 tial sphere ; and below there is seen a table with provisions, at which are seated 
 a youth of quality, and a sturdy peasant or beggar in conversation. In a 
 building to the right, is a musician playing on an organ to two persons, 
 while the instrument is supplied with wind from a common bellows, blown 
 by an old man. Below this group are two men of science reading, amidst 
 a file of books, while a third is regulating a clock. The inscription begins : 
 
 MERCVRIO E PIANETO MASCHVLINO POSTO NEL SECONDO CIELO ET SECHO MA 
 PERCHE LA SVA SICITA E MOZTO PASSIVA LVI E FREDDO, SfC. 
 
 Differences in the print of this planet in the British Museum : — 
 The signs under the chariot, instead of " f/rgo" and " Sagittarius,'''' are 
 " v/kgo" and " gemini" and bear those names. The architecture is all 
 different. There are no listeners to the organ player. At the table, which 
 is not all seen, are two totally different figures, and the back ground is 
 wholly unlike. In the goldsmith's shop, are only two persons instead of 
 three, and no man looking at a niello or plate. 
 
 In the inscription, ths word " pianeto" is written " pianeta" — " mascbv- 
 
 i/JVO," " MASCVLINO," SfC. 
 
 50. LUNA. 
 
 She is seated in her chariot, drawn by two females, holding a bow in her 
 left hand, and an arrow in her right : upon the wheel of the chariot is the 
 sign of the Crab. The distance represents a mountainous country, with 
 a castle and a town. To the right, on the bank of a river, are fowlers setting 
 their nets, three of whom are concealed in an arbour. Two figures are fishing 
 from a boat, while others are swimming near, and there are two men with 
 bows, one of whom is shooting. Near these, eight persons at a table are 
 looking at the feats of a juggler in a fool's dress, with an ape at his feet. In 
 the foreground to the right, is a water mill, part of the wheel of which ap- 
 
27 
 
 pears : There is a bridge over the river, with a sun dial in the centre. Upon 
 the bridge are a man on horseback, and an ass fallen under his load, while 
 two men are striving- to raise him. Below the bridge, naked figures are in 
 the water, fishing with nets ; and from a pier of the bridge one is angling 
 with a line. Quite in the corner, to the right, the miller is tying a sack ; and 
 near him is a naked man plunging into the river. On the opposite bank, an 
 old man, richly dressed, is holding a fish. 
 The inscription begins : — 
 
 LA LVNA E PIANETA FEMININO POSTO NE PRIMO CIELO FREDA HE VMIDA ET 
 FLEMA TICHA MEZANA TRALMONDO SVPERIORE ET LO INFERIORE AMA LA 
 GEOMETRIA, fyc. 
 
 Differences in the print of this planet in the British Museum : — 
 Underneath the sign of the zodiac, is written its name " cancer.'''' Instead 
 
 of two men with bows, only one appears ; and one person only in the arbour 
 
 instead of three. There are only six spectators round the juggler, and but 
 
 one man to raise the fallen ass. On the shore is a person with a cap fishing. 
 
 There are but two men with nets, and the sun dial and the figure holding 
 
 the fish are wanting. 
 
 In the inscription we read, instead of " jv.e" — " nel instead of" he vmida" 
 
 — "js vmida;" the word " et" before " flematicha," is omitted; and the 
 
 word " tralmondo," is written " tra el mondo" &c. 
 
 The copies or imitations in the British Museum, for such they may be called, 
 however interesting, must be deemed by every practised eye as deficient 
 in drawing, when compared with the originals here described. These last 
 are, in almost all respects, truly graceful and expressive designs, and display 
 everywhere Italian taste. In the others it will be particularly remarked, in 
 addition to their inferiority, that the artist has materially abridged the 
 number of figures in the groups, to save his labour. 
 
 The order of these planets should probably have been thus : — Luna, Mer- 
 curio, Venere, Sole, Marte, Giove, Saturno ; but they are described in the 
 succession adopted by Strutt. 
 
 The following very curious engraving, is conformable in its execution to the 
 productions of that artist, who engraved the celebrated and beautiful pack 
 of cards called " II giuocho di Tarrocci." It is here introduced as likewise 
 a probable work of Baldini, and it is the more interesting, as it bears a 
 conspicuous mark, which, though hitherto without an explanation, and 
 
 E 2 
 
28 
 
 perhaps not now capable of any, is intended, we may presume, to designate 
 the name of the artist. 
 
 51. THE DEATH OF ORPHEUS. 
 
 Orpheus is seen in the middle of the subject, naked, except his mantle, 
 and supporting' himself on his right hand, with one knee on the ground. 
 His left hand, which holds the mantle, is raised to his head in the attitude 
 of defence against two nymphs, who are in the act of beating him to death 
 with large clubs, while he appears to supplicate one of them to spare him. 
 This nymph is seen from behind, but the other in front; and both are 
 clothed in graceful drapery. To the left, is a child running away frightened. 
 Behind the child is a great tree with a single stem, which reaches to the top 
 of the print. In the background, are two high and steep rocks, one of which 
 is surmounted by a fortified city and a large tower. The lyre, or rather the 
 guitar, of Orpheus, is on the ground before him ; and over his head is the 
 following flourish or cypher : — 
 
 This interesting print, which is most delicately executed, well printed and 
 perfectly preserved, is considered to be unique. (See Ottley's " Enquiry" 
 pages 403 and 404, where it is described.) Width inches, height 5| inches. 
 It originally belonged to the Riccardi family, and afterwards to Mr. Lloyd 
 and Sir Mark Sykes. 
 
 SANDRO or ALESSANDRO FILEPEPI, called 
 SANDRO BOTTICELLI. 
 
 This artist was born at Florence in 1437, and died in 1515. His family 
 name was Filepepi, but he took that of a goldsmith named Botticelli, to whom 
 his father had apprenticed him, and was afterwards known by the name of 
 Sandro Botticelli. Not having any taste for his business, he quitted it to 
 apply to painting under Fillipo Lippi, and became an excellent designer and 
 painter. Vasari relates, that being of a literary turn, he wrote a commentary 
 on a portion of Dante ; designed the " Inferno" and engraved it, (" lo mise 
 in stampa") about which he spent much time, neglected his painting, and 
 brought his affairs into disorder. Vasari adds, that he engraved many of his 
 
29 
 
 designs, but that the engravings were badly executed. His best production, 
 according to that author, is " The triumph of Faith of Fra. Girolamo Savonarola 
 di Ferrara" of whose sect he was a great partisan. No print by Botticelli, 
 answering to this title, has been hitherto discovered, and it is generally 
 supposed, that the piece afterwards described in this catalogue as " The 
 Preaching of Fra. Marco da Monte Sta. Maria in Gallo" is the print in 
 question. Baldinucci (vol. 4, p. 64,) states, that the engravings of Botticelli 
 were suppressed, on account of the superior excellence to which the art 
 attained soon after his works had appeared : a very singular circumstance. 
 It would be difficult, if not perhaps impossible, correctly to decide, whether 
 Botticelli engraved in conjunction with Baldini, or if the former executed 
 plates alone : in the latter case, on account of their suppression, their 
 number must be very limited. Ottley inclines to the notion that a few en- 
 gravings are certainly the work of Botticelli, that he executed others jointly 
 with Baldini, and that the latter also engraved alone. 
 
 52. THE ADORATION OF THE MAGI; 
 
 A composition of more than sixty figures. To the right the Virgin is 
 seated near the stable, on a basket reversed, holding on her lap the 
 infant Jesus, to whom one of the Magi has presented a vase, and appears 
 to be kissing the foot of the infant. Behind him are the two other Magi, 
 kneeling ; the one an old, the other a young man : the hats of the Magi, 
 encircled with crowns, are held by their servants. Behind these, and 
 extending entirely to the left of the print, is an immense concourse of 
 people on horseback and on foot; and in the foreground are two leopards, 
 four dogs in couples, and another leopard muzzled : two of the dogs are 
 drinking. At the right hand corner St. Joseph is seated, his head reclining 
 on his left hand, which rests upon his knee. The distance is composed of 
 mountains, and a few leafless trees, except in the right corner at top, where 
 the towers of a city appear. The heads of the Virgin, of St. Joseph, and the 
 infant, are surrounded with solid nimbi. This interesting print appears to 
 be an early impression from the plate, printed with ink of a grey tint ; and 
 the plate itself seems, from some traces of buildings in the sky, to have had 
 another subject begun upon it. It is not described either by Bartsch or 
 Ottley, and is probably the only impression known. It formed part of the 
 collection of the Count de Fries, although not included in the sale of his 
 prints, which took place at Amsterdam. Width 15 inches, height 10^ inches. 
 
 The following is ZanVs account of this extraordinary engraving, from 
 which additional interest arises, on considering the Magi to be portraits of 
 three celebrated personages. 
 
30 
 
 " I experience the greatest vexation, in not being able to state where I 
 have seen this precious engraving ; but it has wholly escaped my memory. 
 I can only affirm, that I must have met with it either in Germany or in Italy, 
 once only : certainly not in France. 
 
 " I natter myself that I am not deceived, while entitling this master an 
 " anonymous artist of the Florentine school,'''' in considering myself as having 
 well grounded motives for attributing this production (the invention, how- 
 ever, especially,) to Sandro Botticelli. 
 
 " Vasari, in his life of this artist, gives us to understand that he {Botticelli) 
 painted a small picture with figures three quarters of a cubit each in length, 
 which was placed in the Church of Sta. Maria Novella, between the two 
 doors of the principal front, near the entrance, in the centre of the left side, 
 representing the Adoration of the Magi; in which much affectionate pro- 
 priety was expressed in the figure of the old man, who is kissing the foot of 
 the Saviour, overcome with tenderness ; well denoting that he has at length 
 attained the object of his very tedious journey." 
 
 " The figure of this king, is the portrait of Cosimo de Medici the elder ; 
 and of all which now exist, is the most lively and natural. The second king 
 is Giidiano de Medici, the father of Clement the Vllth. He ajDpears intently 
 and devoutly rendering mental homage to the child, and tendering his gift ; 
 and the third king, who is kneeling, and seems, while adoring, to give 
 thanks and confess the true Messiah, is Giovanni, the son of Cosimo." 
 
 He then proceeds to praise the picture : — 
 
 " Vasari's description of the three kings, and that given by me of the 
 print, agree so well, that I am obliged, if I may so say, to believe that the 
 print is an exact copy of the picture. I ought, however, in truth to observe, 
 that at the time when the print was before me, I had no motive for thinking 
 so ; but on meeting with the foregoing description, the identity of posture of 
 the first king in both pieces, immediately struck me. 
 
 " The amateur who has the good fortune to possess this veiy rare print, 
 can examine it scrupulously with the description of the picture. The paint- 
 ing is no longer in the church. Whether what I have here hazarded be true 
 or not, there will always be found amateurs to whom the description of 
 prints, according to the method I have pursued, will be more useful than 
 the mere indication of their titles. As to the engraving of the piece in 
 question, I am more inclined to attribute it to Baldini than Botticelli." — 
 Zani Enciclopedia Metodica, Part II. Vol. v. pa. 155, fyc. 
 
 Since introducing the above remarks of Zani, I find that Mr. Ottley, in 
 his "Enquiry," vol. I. pa. 407, has translated the same passage from Vasari, 
 
31 
 
 relative to the picture of Botticelli ; and, in a note, states the picture itself 
 to be then (1816) in his own possession. The existence of this engraving, 
 however, was unknown to him. 
 
 53. THE PREACHING OF FRA. MARCO DA MONTE SANTA MARIA 
 
 IN GALLO. 
 
 Fra. Marco was a brother of the order of the Minor Franciscans, of the 
 Monastery of Sta. Maria in Gallo, a village near Ancona. He is represented 
 preaching from a pulpit, placed near the left of the print at the bottom. His 
 numerous congregation, some standing, some sitting on benches and chairs, 
 occupy the extent of the subject. Above, in the middle, is the mount or 
 bank of charity, instituted by .Fra. Marco, and represented by a large pile or 
 money, near which priests are distributing alms to the poor. Towards the 
 background, the seven works of mercy are represented in as many different 
 houses ; four of which are on the left, and the three others on the right. In 
 the front of the houses on the same side, St. Gregory is seen in a chapel, to 
 whom our Saviour is appearing during the celebration of Mass. In the dis- 
 tance, is a part of the globe of the earth, surmounted by a dome of stars ; 
 above which, in the midst of the heavens, are Christ and the Virgin, seated 
 on each side of the celestial glory, which is represented by a circle of 
 white, surrounded by two rows of cherubim : The heavens are filled with 
 saints and angels. To the left, at the bottom, in an impression described by 
 Bartsch, vol. xm. page 89, is an inscription beginning " septem misericor- 
 di/e" and ending, " pm. lvci reddita, 1632;" but this inscription in the 
 impression now describing, is wanting. 
 
 Bartsch considers this to be a copy only of a print of the 15th century. 
 There seems, however, little or no doubt that it is the original, not published 
 till 1632. See Ott ley's " Enquiry" vol. I. pa. 425 to 428. The wood cut 
 there mentioned, as being in a tract of the year 1494, and partly copied from 
 Botticelli's engraving, seems to confirm the assertion. 
 
 The impression now describing, is the one alluded to in Mr. Ottley's 
 account, and in which the inscription is erased, but it is not altogether cer- 
 tain that it ever contained this inscription ; as the part where it should have 
 occurred, has been supplied, and a perfect impression in the Royal Library 
 at Paris, although differing in no other respect, is without the inscription. 
 
32 
 
 ANTONIO DEL POLLAIUOLO. 
 
 This artist was born in Florence in the year 1426, of very low parentage. 
 He was placed by his father with Bartoluccio Ghiberti, a goldsmith of great 
 reputation ; and becoming, under his instruction, a very skilful artist, he was 
 employed, about 1450, by Lorenzo Ghiberti, who was then executing the 
 bronze gates for the Baptistry of Florence, to assist him in that great work, 
 which he did with success ; and was soon after considered a consummate 
 artist. Vasari informs us, that " he did some stories in competition with 
 Maso Finignerra ; in which he equalled him in diligence, and surpassed him 
 in design." Antonio executed for the Consoli delVarte Mercatante, twobassi 
 rilievi, representing the supper of Herod, and the dancing of the daughter 
 of Herodias, which are among his chefs d'ceuvre, and several Paxes for the 
 church at St. Giovanni at Florence. He quitted this profession, however, in 
 order to attach himself to painting, in which he became eminent. He is 
 considered to have understood the anatomy of the human figure better than 
 any preceding artist. 
 
 On the death of Sixtus the IVth,m 1483, he was invited to Romehy Innocent 
 the Vlllth, his successor ; and he there executed in metal, the monument 
 of the latter pontiff, and of his predecessor. It is by some considered not 
 altogether certain that Pollaiuolo engraved the print here described, and 
 that the inscription, would perhaps only mean to intimate that he was the 
 designer of the subject ; but the better opinion is otherwise. 
 
 Antonio, and his brother Pietro, an ingenious artist, died shortly after each 
 other at Rome, in the year 1498. 
 
 54. A BATTLE OF NAKED FIGURES. 
 
 This print represents ten naked men, from nine to eleven inches in 
 height, armed with various offensive weapons, and fighting in a wood. In 
 the centre of the piece, two warriors, each of them having hold of a chain 
 with the left hand, are combating with sabres. The background represents 
 a forest, and on one of the trees is a tablet with this inscription, " opvs 
 pollaioli Florentine" This print, which Mr. Ottley thinks was engraved 
 between 1460 and 1470, is no doubt the same eulogized by Vasari. Bartsch, 
 vol. xill. page 202 — Ottley, 445. 
 
33 
 
 GHERARDO. 
 
 Mr. Ottley, in his " Enquiry,''' page 427, seems much inclined to the 
 opinion, that the following print is the production of the above-mentioned 
 artist, who was a contemporary of Dom. Ghirlandajo, a painter in miniature. 
 Vasari states, that Gherardo engraved a crucifixion after Martin Schongauer ; 
 and as the print about to be described, seems in its execution to be an imi- 
 tation of the German mechanism of engraving, Mr. Ottley thinks himself 
 borne out in his conjecture by Vasari' s account of a similar performance of 
 Gherardo; but with great submission to Mr. Ottley, there are strong evidences 
 in it of the work of Robetta. 
 
 55. THE DEATH OP VIRGINIA. 
 
 In the middle of the subject, Virginius, in armour, and wearing a helmet 
 with wings, is about to plunge his poinard into the bosom of his daughter. 
 Both these figures are seen in front view. Behind Virginia, on the left, is 
 another female in profile, who is endeavouring to arrest the stroke of the 
 dagger. On the right, is the Consul Appius, wearing a crown of laurel, and 
 standing in the midst of a group of men, whose gestures are expressive of 
 terror and astonishment. On the left, in the background, are three soldiers, 
 two of them armed with spears ; and on the same side, in the foreground, is 
 a child who holds a torch, talking to another astride on a stick, with a toy 
 windmill in his left hand. The background represents a rocky landscape, 
 with a few leafless trees. Bartsch describes this print among the anony- 
 mous engravings of the Italian School. Vol. xni. pa. 108, No. 5. 
 
 ROBETTA. . 
 
 Of this artist no other account can be given, than the information of Vasari, 
 that he was a goldsmith, and one of the members of the society of artists 
 called " La Compagnia del Paiuolo" founded by Gio. Francesco Rustichi, 
 who met alternately at supper at each other's houses. 
 
 That Robetta was a man of considerable talents, will appear from his 
 works. Mr. Ottley, with justice, in which he is supported also by Hicber, 
 
 F 
 
34 
 
 places the performances of this artist at the latter part of the 15th century, 
 in contradiction to the opinion unaccountably formed by Bartsch, that his 
 works belong to the early part of the 16th. 
 
 56. THE ADORATION OF THE MAGI. 
 
 This is one of the most capital of RobettcCs productions, and has the name 
 of the artist at full length at the bottom of the print. Bartsch, Vol. xm. 
 No. 6. Ottley, 464. Zani. e.m. Part n. Vol. v. pa. 207. 
 
 The original plate, Zani tells us, was purchased by Sig. Carlo del Maino 
 in 1 806, who informed him that the subject of Adam and Eve, by the same 
 master, was engraved on the back of it. 
 
 57. CERES AND TWO INFANT SATYRS. 
 
 The head of the Goddess is encircled by a garland of corn. In her hand 
 is a thyrsis ending in a vase filled with fruit and grain. She is carrying one 
 infant satyr, and the other is close beside her : the distance is a landscape, 
 in which are seen two satyrs playing. This perhaps is the most elegant of 
 Robettd's performances. Bartsch had not seen it, but describes it on a friend's 
 authority. No. 16. Ottley, 467. 
 
 58. A VENUS AVITH CUPIDS. 
 
 Towards the middle of the piece, appears a leafless tree, with a tablet 
 suspended to it, on which the traces of the name of Robetta are perceptible, 
 though covered with hatchings. Bartsch, No. 18. Ottley, 468. 
 
 UNKNOWN ARTIST, WHOSE ENGRAVINGS ARE MARKED 
 WITH THE INITIALS 
 
 PP. 
 
 This artist, whose name is totally unknown, was by Lanzi considered to 
 be Pietro Peruglno. He thought at least that Peragino was the designer of a 
 print which he has described, and of some others noticed by Bartsch, bearing 
 the above mark: but in the second edition of his work in 1809, he has, it 
 appears, omitted the passage altogether, as not considering his opinion 
 sufficiently well founded. Bartsch seems very doubtful whether the prints 
 which he has attributed to this artist, and marked with the letters PP. are 
 
35 
 
 all by the same hand. Ottley considers, that between two of them there is 
 no resemblance whatever, and that the marks also are dissimilar. The print 
 which is next described, is a performance of great spirit, delicacy, and 
 talent, and is evidently the work of a master of no common genius. 
 
 59. A LION HUNT. ♦ 
 
 This subject is composed of numerous and minute figures, among which a 
 young prince is seen hunting a lion. This prince is on horseback, sur- 
 rounded by a dozen cavaliers, and attended by four huntsmen. The letters 
 PP reversed, with a nourish, giving them something the appearance of RR, 
 are in the middle of the print at the bottom. This very interesting and 
 beautiful performance, which has much the appearance of an etching, is full 
 of action and variety, and had not been seen by Mr. Ottley when he published 
 his " Enquiry.' 1 '' It is however described by Bartsch, Vol. xm. pa. 356. 
 
 Of this print Mr. Woodburn has a copy, formerly in the collection of the 
 Count de Fries : it is in a reverse direction, and very indifferently executed. 
 Another impression of the same copy is in the Royal Library at Paris, but 
 the original is not in the collection there. 
 
 ANDREA MANTEGNA. 
 
 HIS great artist was a native of Padua, and 
 was born in 1431. His instructor was Fran- 
 cesco Squarcione, under whom he made rapid 
 progress ; for it appears, that when only seven- 
 teen, he painted the chief altar piece in the 
 church of Sta. Sofia, in Padua, a performance 
 highly praised by Vasari. He married the 
 daughter of Jacopo Bellini, a Venetian painter 
 of eminence ; by which connection he excited 
 the enmity of Squarcione. Mantegna was at 
 length taken into the service of the Marquis 
 Ludovico Gonzaga, at Mantua, where he executed in distemper his celebrated 
 " Triumphs of Julius Caesar," now in the Palace of Hampton Court. This 
 work procured him such extraordinary reputation, that he was in conse- 
 quence invited by Pope Innocent the Vlllth to Rome, where he painted a 
 chapel for that pontiff. This work being finished, he returned in 1490 to 
 Mantua, and died there in 1506. 
 
 F 2 
 
36 
 
 Bartsch and Ottley differ as to that portion of the fourteenth century in 
 which Mantegna engraved his beautiful prints ; and it would seem, on con- 
 sidering 1 the statements of these writers, that the date assigned to them by 
 Bartsch is too recent. 
 
 60. THE FLAGELLATION OF CHRIST. 
 
 This subject is represented as taking place on a pavement, and the en- 
 graving appears to be unfinished. Bartsch, Vol. xm.pa. 227. No. 1. Ottley, 
 pa. 495. 
 
 61. THE ENTOMBMENT OF OUR LORD. 
 
 On the left, under a background of rocks, is a cavern, in front of which is 
 seen our Lord's body, in the act of being deposited in a stone sepulchre, 
 bewailed by two of the Maries. 
 
 In the foreground, the mother of the Saviour, swooning, is supported by 
 Mary Magdalen and another female. Near this group stands St. John, 
 further on the right, St. Longinus, and, on the same side, in the distance, is 
 seen Mount Calvary, with the three crosses. This print is the one which 
 Bartsch considers to be a copy by Gio. Ant. da Brescia, from a similar print 
 by Mantegna. Zani is of a contrary opinion, considering BartscKs original 
 to be the copy, and with far more justice. Ottley thinks both the work of 
 Mantegna ; but from a want of comparison, was induced, in consequence of 
 prior recollection, to give a preference to that which Bartsch terms the 
 original. There is reason to hope that he would have decided otherwise, 
 had he compared the impression here described, with one of the other print. 
 
 The variations in the subject are slight : in BartscKs original the cross 
 has not any inscription, and the birds, which are four in number in the paint 
 just described, are in that but three. It is a capital performance of the ar- 
 tist's early time. Bartsch, Vol. xm. pa. 228, No. 2. Ottley, pa. 497. Zani 
 e.m. part 2, Vol. ix. pa. 35. 
 
 Mocetto was one of the early scholars of Giovanni Bellini, and flourished 
 during the last thirty years of the 15th century. This we learn from Vasari; 
 but no other particulars of his life are known. 
 
 GIROLAMO MOCETTO. 
 
37 
 
 62. THE MADONNA AND CHILD. 
 
 The Virgin, with the infant Jesus in her lap, is seated on an arched throne. 
 On the right of the subject, St. John the Baptist is standing, and on the left 
 another saint ; hut there is nothing to distinguish the latter. This piece is 
 not mentioned by Bartsch. The mark reversed is in the centre, at the bottom. 
 Ottley, 514. — Impression, before the introduction of a figure of the Magdalen 
 near St. John, and of a male and a female figure beyond the other saint. 
 
 63. WARRIORS ON FOOT AND ON HORSEBACK. 
 
 Some of these are engaged in combat : to the left is a soldier carrying a 
 dying man : to the right are two persons loading a mule ; and on the same 
 side, near the margin, is an unfinished figure, chiefly in outline. Near the 
 middle of the print, at the bottom, is the artist's name, written thus : 
 " mocetus." Width 14| inches, height 10|. 
 
 This print, which was unknown to Bartsch and Ottley, is the companion 
 to the print described by Bartsch, under No. 8, of Mocetto's works, ( Peintre 
 Graveur, Vol. xm. pa. 221, J and of another in the Royal Collection at Paris, 
 also unknown to those writers. These three prints, the composition of which 
 is a hattle, were intended to be joined together, the one here described in 
 detail, forming the right hand portion ; the print noticed by Bartsch is the 
 middle, and bears the word " hieronimvs," the baptismal name of the artist ; 
 while the one in the present catalogue, it will be seen, has the word 
 " mocetus'" only. 
 
 An impression of this portion was in the collection of M. Dtirand. One 
 is also described in the Silvestre Catalogue, pa. 181, Art. " bresse," which is 
 considered to be the present specimen. 
 
 MARCELLO FOGOLINO, 
 
 of whom very little can be ascertained, is supposed, on the authority of 
 Boschini and Vendramini, as quoted in Mr. Ottley 1 s "Enquiry," pages 517 
 and 518, to have been a native of Vicenza. In the church of St. Bartolom- 
 meo, in that city, an altar piece, representing the Adoration of the Magi, is 
 much praised by Boschini, as the work of one Marcello Figolino, prior to the 
 time of Giovanni Bellini. 
 
 Mr. Ottley thinks, that the date of the execution of the picture is erroneous, 
 and that Figolino, or Fogolino, nourished soon after the art of engraving came 
 into use at Vicenza ; though he has not satisfactorily identified the Figolino 
 
38 
 
 alluded to, with Fogolino, who has engraved a few prints of a rarity so ex- 
 treme, that the Royal collections of Vienna and Paris, do not contain one 
 specimen ; — neither is one to be found in the British Museum. In the col- 
 lection at Dresden, are the three small prints mentioned by Zani, in his 
 " Materially &c. page 69, as each containing a statue, with the name of the 
 artist written at full length, as it appears in the specimen about to be de- 
 scribed. Heinecken briefly mentions Fogolino' 's having engraved some prints 
 marked with his name, but he does not give any further description of them. 
 Probably three small prints of statues by this master, in the splendid collec- 
 tion of the Duke of Buckingham, are the same as those at Dresden. 
 
 The following is similar in its subject, to a print of which Mr. Ottley 
 states himself to have been possessed ; — upright, however, and not length- 
 ways, as will be seen from its dimensions. It is probably the most curious 
 and interesting specimen of this master, whose engravings may be deemed 
 nearly unattainable. Bartsch, it shoidd be added, classes him before Andrea 
 Mantegna. 
 
 64. THE NATIVITY. 
 
 The left side of the subject represents the ruins of a splendid amphitheatre, 
 the architecture and perspective of which, are well designed. A shed occu- 
 pies the extremity on the snme side, with a thatched roof raised against the 
 ruins, and supported by two trees. Under the shed is the Virgin, seated on 
 a square stone, holding the infant Jestis, whose figure, as well as that of the 
 Virgin, is very graceful. Near them is seen the head of an ox, among the 
 ruins. A little more towards the middle, is a small brick building, with a 
 sloping roof, also erected against the ruins, in the wall of which is a niche, 
 with two small busts. At the foot of this building, is a large architectural 
 fragment of the amphitheatre. To the right, at some distance, is seen St. 
 Joseph, drawing water from a well ; and near him, is the ass. The back- 
 ground consists of farm buildings, with a gateway between, and a pigeon- 
 house, with a ladder at a window, or door, half way up the side. At the 
 corner, to the left, stands a very minute figure. On the right, in the fore- 
 ground, is the trunk of a large tree ; and on the left, close in the corner, on 
 an oblong tablet, covered with light diagonal strokes, the name of the artist 
 is thus written : — marcello 
 fogolino. 
 
 The appearance of the print is like the work of a plate executed with the 
 dry point. It is conjectured that another impression does not exist. Height 
 8 inches, width 6| inches. From the collection of Mr. Cosway. 
 
39 
 
 LIONARDO DA VINCI. 
 
 10NARDO DA VINCI, truly illustrious in art, 
 was born at the castle of Vinci, in the Vol cTArno, 
 in 1452, and died at Paris in 1519. The history of 
 his life is too well known to render any further par- 
 ticulars of his biography in this place, at all neces- 
 sary ; but it is gratifying to add, that the following 
 interesting, and probably unique specimen, is con- 
 fidently believed to be from his hand : it bears all 
 his style and character. A copy of it has been judged 
 an appropriate frontispiece to the present volume. 
 
 65. BUST OF A YOUNG AND BEAUTIFUL FEMALE. 
 
 Her hair is braided and ornamented in a fanciful style. She is seen in profile, 
 turned to the left, and is habited in a rich dress, with slashed sleeves. Height 
 4£ inches, width 3 inches. This curious specimen is from the collections of Sig. 
 Storck and Sir Mark Sykes.* 
 
 There is in the Royal Library at Paris, among the unsorted prints of 
 Marolles, a small circular engraving of a male head, in a similar style, 
 and of similar execution. On the left are the letters "acha," and on the right 
 "li — vi," the last four letters probably denoting the name of the artist. 
 
 * Mr. Ottley is very justly enthusiastic in his assertions of the originality of this performance, 
 which has again recently attracted his critical attention : his sentiments are expressed in the following 
 letter to it's possessor : 
 
 31 Devonshire Street, December 31st. 1827. 
 
 My dear Sir, 
 
 I have been very remiss— but you see I will not let the year close upon us without writing a con- 
 firmation of my former opinion, that the beautiful little print, representing the bust of a young lady in 
 profile, which was formerly in the collection of Sir M. M. Sykes, and now graces your own selectcabinet, 
 was engraved by the hand of Lionardo da Vinci himself, and not after his design bysome contemporary 
 unknown engraver : there is a genuine feeling and knowledge of beauty, evinced by the artist in marking 
 the delicate features in that face, to say nothing of the hair, &c. which every way denote the hand of the 
 original designer, and which, I think, no other engraver of the time possessed in an equal degree. 1 
 always considered it highly probable, that the horses' heads are also by him ; and 1 am much disposed to 
 ascribe to his hand a circular plate, (or two, if I mistake not,) representing the twistings of a rope, which 
 indeed bear his name. Lionardo's not having been hitherto mentioned as an engraver, is to me no 
 objection to the fact having been so. Indeed, from his versatile character, and his fondness for novel 
 studies of all kinds, it is difficult to conceive that he should never have taken up the graver. You are 
 aware that his master Verrochio is expressly termed an engraver by Vasari. Excuse this hasty note from 
 
 Dear Sir, very truly yours, W. Y. OTTLEY. 
 
40 
 
 BENEDETTO MONTAGNA. 
 
 This engraver was a native of the city of Vicenza, and flourished in the latter 
 part of the fifteenth and the early part of the sixteenth century. Several of his 
 prints bear his name at length, and others are marked with the initials B.M. 
 
 65. CHRIST PRAYING ON THE MOUNT OF OLIVES. 
 
 This print is marked "benedecto monctagna" ( not Benedetto montagna, 
 as described by Bartsch,) Peintre Graveur, vol. xm. pa. 335, Na. 4. Ottley, 52 1 . 
 
 66. SAINT BENEDICT INSTRUCTING HIS DISCIPLES. 
 
 The Saint is represented seated opposite to the fraternity, in one of the 
 apartments of the monastery, through the door of which is seen a quadrangle, 
 where a monk is plucking a flower. The court is surrounded by a gallery, 
 or corridor. Bartsch, No. 11. Ottley, 522. 
 
 67. SAINT JEROME SEATED UNDER AN ARCHED ROCK. 
 
 The Saint, half naked, with his left hand raised to his head, in the attitude 
 of meditation, is seated under an arched rock on the left, through which are 
 seen a convent, and several monks walking : in the background, to the right, 
 is a castle, on the bank of a river. A cardinal's hat is in the foreground ; 
 and on the right are the letters B.M. The countenance of the Saint is full 
 of expression, though minutely small. Bartsch, No. 14. Ottley, 524. 
 
 NICOLETG DA MODENA. 
 
 This artist is stated by Vedriani, to have been " a painter of great celebrity, 
 especially in works of perspective, and a most skilful engraver on copper." His 
 family name appears to have been Rosa oxRosex, as he indifferently styles him- 
 self : in one engraving he calls himself de Rubeis, but mostly " Nicoleto da 
 Modena" Bartsch has attributed to this engraver a life of the Virgin, 
 which is unquestionably a production of a much earlier date, probably by 
 Botticelli. 
 
 68. SAINT GEORGE, IN COMPLETE ARMOUR. 
 
 He is standing in the middle of the print, with his right hand on his spear ; 
 and in his left, he holds a cord, to which the dragon is tied. Upon the frieze 
 of a triumphal arch, is written "nicoleto da modena." Bartsch has not de- 
 scribed this piece. Ottley, 541. 
 
41 
 
 69. VENUS AND CUPID. 
 
 Venus is represented naked, and standing in the middle of the print, with 
 a javelin in her left hand, and the golden apple in her right. Cupid appears 
 sleeping on the ground. On the pedestal of a pilaster, is the name "nicoleto." 
 Bartsch, No. 47. Ottley, 54 1. 
 
 ALTOBELLO. 
 
 This artist, who was entirely unknown to Bartsch, and all other writers, 
 j>reviously to Ottley, is the engraver of two pieces. Ottley considers Altobello 
 to have been the artist of that name, who was a painter of considerable emi- 
 nence at Cremona, where, in conjunction with Boccaccio Boccacini, he painted 
 the Life of Christ in the Duomo of that city, — a performance praised by Va- 
 sari, in his life of Garofalo. Padre Resta states this Altobello to have been 
 a scholar of Bramante. 
 
 70. FOUR CUPIDS PLAYING ON MUSICAL INSTRUMENTS. 
 
 They are all standing, and seen in front. The cupid on the left of the 
 print, wears a short vestment, and a cap of a singular form, and plays on 
 the bag pipes. The one next to him, rests his left foot on a large stone, and 
 plays on the guitar ; the third upon a sort of violin ; and the fourth, on the 
 right, wearing a wreath, on the pipe and tabor. These three last figures are 
 naked ; — all have wings, and the back ground is dark : these figures are 
 drawn with superior intelligence and ability. — Width 6| inches, height 5f 
 inches. Ottley, 551. 
 
 A similar impression is in the Royal Collection at Paris. 
 
 The companion print to this piece, which is a dance of four cupids, is now 
 in the possession of Mr. S. Woodburn. It bears a tablet, with the name 
 thus: " altobelo v. f." — Of these last two letters, no satisfactory account 
 can be given, at all consistent with the foregoing particulars of the artist's 
 biography. 
 
 Both prints are from the collections of Mr. Lloyd, and Sir Mark Sykes. 
 
 GIOVANNI BATTISTA DEL PORTO, 
 
 is spoken of by Ludovico Fedriani, as an excellent engraver on copper, as 
 well as Nicoleto da Modena ; but there is no other mention of him in the 
 old writers. Zani thinks, that the ancient engravings marked with the 
 letters I. B. and a bird, are by his hand ; and in this opinion Ottley coincides. 
 
 G 
 
42 
 
 71. SAINT SEBASTIAN TIED TO A LEAFLESS TREE. 
 
 On the left is the executioner, in the act of drawing his bow on the saint : 
 the mark is in the middle, at bottom. Bartsch, Vol. xm. page 245, No. 1. 
 Ottley, 5. 
 
 72. THE FIGURE OF PRUDENCE, REPRESENTED BY A FEMALE WITH 
 
 BRAIDED HAIR. 
 
 She holds a mirror in her right hand, and a twisted serpent in her left. — 
 She is almost naked, a slight scarf only being thrown over her left shoulder, 
 which descends in front to her knees. On a pedestal, to the left, is this 
 inscription: — " istantia expendo prjeteritis sequentia jv^cto." The 
 background is entirely covered with cross hatchings ; and at the bottom of 
 the print, are the letters I. B. with the bird. Height 2| inches, width 2 inches. 
 
 This little print has escaped the researches of Heinecken, Bartsch, and 
 Ottley. 
 
 GIOVANNI MARIA DA BRESCIA. 
 
 This artist, according to Orlandi, was a goldsmith, a painter, an engraver, 
 and a brother of the Order of the Carmelites at Brescia. He flourished, as it 
 appears from his very few productions, in 1502 ; but no particulars whatever 
 of his biography have reached us. 
 
 That he was a painter of some importance, we may infer from several pic- 
 tures by him, of " The Stories of the prophets Elijah and Elisha" in the Car- 
 melite Convent at Brescia. It is probable that the actual number of his 
 engravings is limited to that here described, to one noticed by Strutt, and 
 to the print of the Virgin and Child, first described by Heinecken, in his 
 Dictionnaire, Vol. in. page 327 ; although the latter has likewise particu- 
 larised two more, in which he has been followed by Huber,a,nd other writers. 
 One of these, The " Virgin and Child" (the second of Heinecken), bears no 
 mark, by which its author is certainly to be identified ; and the other, called 
 " The Miracle of St. Gregory," is apparently only a confused repetition of the 
 print about to be described ; especially, as the dates and inscriptions quoted, 
 are so perfectly the same. This, Mr. Ottley has not noticed ; as that intelli- 
 gent writer, and Bartsch, appear not to have seen any other engraving by 
 Gio. Maria da Brescia than the following: — 
 
 73. THE JUSTICE OF TRAJAN. 
 
 The subject is founded on an event related by Paulus Diaconus of the 
 
43 
 
 Emperor Trajan; who, moved by the lamentations of a poor widow, ordered 
 justice to he done on the murderer of her child, although that murderer was 
 the emperor's son ; notwithstanding too, that the emperor was in the act of 
 marching against the enemy. The stoiy further relates, that St. Gregory, 
 walking one day in the Forum of Trajan, where this event was represented 
 in basso-relievo, stopped to contemplate it, and was so moved with the cir- 
 cumstance, that he prayed to the Almighty to save the soul of the heathen 
 emperor from hell. 
 
 Trajan is seen on horseback, in splendid armour, pointing out to a youth 
 near him, (probably his son,) the poor widow, prostrate at the right hand 
 comer of the print, with her dead child in her arms. On the Emperor's 
 horse, is a fly of a magnitude greatly disproportionate. On the same side, 
 towards the top, St. Gregory, wearing the papal tiara, is seen in a balcony, 
 praying to the Almighty, who is on a cloud, in the middle of the print, near 
 the top, holding a cross. — On the side of the balcony is written " divvs gre- 
 goris." — On the frieze, above an arch, in the centre, is this inscription, — 
 " incorruptje justicim sempeternum exemp ;" and close to the left side, 
 on the same frieze, " for. traiani." — Above the central architecture, the 
 name of the engraver appears thus: " opvs. fris. io. mariae- brixiensis. or. 
 carmelitarvm. Mcccccn." This story is interestingly and expressively told. 
 Bartsch, Vol. xm. pa. 312. 
 
 Impressions are in the British Museum, and the Royal Collection at Paris : 
 that in the British Museum, however, is very much damaged. 
 
 GIOVANNI ANTONIO DA BRESCIA. 
 
 This artist is said to have been the brother of the preceding. Ottley 
 considers that many of his engravings were doubtless executed before the 
 year 1500, but that the greater number of them more properly belongs to the 
 early part of the sixteenth century. It does not appear that, like Gio. Maria, 
 he was an ecclesiastic ; — but no particulars of his biography are known 
 to us. 
 
 74. HERCULES DESTROYING THE NEMEAN LION. 
 
 The hero is represented astride over the lion, tearing open his jaws. — Half 
 way up the print, on the right, near the margin, is this inscription, "d.herc. 
 /jvv/cto;" and at the bottom, the letters " io. an. bx." Joannes Antonius 
 Brixiensis. Bartsch, Vol. xm. No. 11. Ottley, 563. 
 
 G 2 
 
44 
 
 75. STATUE OF A NAKED FEMALE, WITH FLOWING HAIR. 
 
 She is standing in a landscape, holding with both hands, a robe, which is 
 partly drawn round her. In the left corner, are these words, — " rome novi- 
 ter repertvm ,•" and in the middle "/o an. brixia?" This piece has ap- 
 parently escaped the notice of Bartsch, and all other writers. Height llf 
 inches, width 8| inches. 
 
 ZOAN ANDREA ; 
 
 OR 
 
 THE ARTIST WHO MARKED HIS ENGRAVINGS 
 
 ZA: 
 
 This engraver was, in all probability, as Mr. Ottley conjectures, a Lombard. 
 His style of engraving resembles that of Mantegna, and Olo. A. da Brescia. — 
 He engraved, among others, a plate of a lion, overcome by a dragon, after 
 Lionardo da Vinci, mentioned by Lomazzo, in his " Trattato della Pitttira" 
 with great encomium. He copied several of the early engravings of Albert 
 Durer, and nourished, it is conceived, about the latter part of the fifteenth, 
 and the early part of the sixteenth century. 
 
 76. SAINT JEROME KNEELING AT HIS DEVOTIONS, IN THE DESERT. 
 This print is a copy, in a reverse direction, from the print by Albert Durer, 
 
 described in Bartsch' s Catalogue, of that master's works, under No. 61, with 
 a very trifling variation. The letters Z. A. are engraved in the middle of the 
 print, at the bottom. Bartsch, Vol. xm. No. 7. Ottley, 583. 
 
 77. AN ALLEGORICAL SUBJECT. 
 
 On the right, Ignorance is represented by a corpulent female, seated on a 
 globe, ornamented with two sphinxes. On her head is a crown, and she 
 rests her left hand on a rudder : behind her stand Envy and Blindness. — 
 A bag of money intended to be emptied into a gulph below the globe, and 
 an already empty bag, denote prodigality. To the right, a fire is consuming 
 some laurel branches ; below which is written " virtus combusta." — To the 
 left, a naked and blind young female, followed by a man, hoodwinked, by 
 means of a cloth tied over his whole head,* and conducted by a dog, is on 
 the brink of a precipice, in which she is about to plunge herself, seduced by 
 
 * This figure is similar to the representation of the ancient " Hoodman blind," in " StruWs Sports 
 and Pastimes," page 346, plate 34. 
 
45 
 
 the sounds of a flute, played by a man with asses' ears, eagles' legs, and bats' 
 wings ; and by the direction of a man, who has also asses' ears. — This en- 
 graving is from a design of Mantegna. Bartsch, Vol. xm. No. 17. 
 
 78. AN ALLEGORICAL SUBJECT. 
 
 Companion to the last. This subject, which is intended to form the lower 
 part of the preceding print, presents, on the right, the figure of Mercury, 
 with one knee on the ground, holding the caduceus in his left hand, and 
 with the right dragging from an abyss one of the blind victims of the reign 
 of Ignorance, who are piled in a huge heap. Daphne, partly changed to a 
 laurel, is seen rising from the rubbish of a ruined building. The words 
 " virt vs desert a" are engraved on a tablet attached to the body of 
 Daphne; and on one of the stones of the ruin, is this inscription : " virtvti 
 s. a. /." Bartsch, No. 18. 
 
 Mr. Ottley has not classed these engravings among the prints of the above 
 artist, but as of the school of Mantegna. 
 
 The present specimens are from the Collection of the Count de Fries. 
 
 THE MASTER of the CADUCEUS. 
 
 This unknown artist is thus commonly styled ; and by Professor Christ is 
 called Francis de Babylone ; though upon what authority does not at all 
 appear. He has been formerly classed among the early artists of Germany 
 or the Low Countries ; but is now very generally considered to be an engraver 
 of the Italian School. Mr. Ottley thinks that his manner has some resem- 
 blance to the early school of Ferrara, and that he flourished at the begin- 
 ning of the 16th century. His engravings have considerable merit, and his 
 designs seem to be all original. According to Brtdliot, there is every reason 
 to believe that his name is Giacomo di Barbary. 
 
 79. APOLLO AND DIANA. 
 
 These are whole length figures, standing on the celestial globe. They are 
 without drapery, and Apollo is in the act of drawing the bow. Bartsch, 
 Vol. vii. pa. 516, No. 16. Ottley, 589. 
 
46 
 
 80. THREE NAKED MEN TIED TO A TREE. 
 
 The one in the centre is standing ; the others are seated : the mark is at the 
 bottom. Bartsch, No. 17. Ottley, 590. 
 
 81. A SACRIFICE TO PRIAPUS. 
 
 Probably from an antique basso relievo. On the right, a female is standing 
 with an infant in her arms ; and on the left is another female, who rests 
 her right arm upon a cornucopia, filled with ears of corn, and holds in her 
 left hand some sprigs of laurel, which she appears to burn in the flames 
 issuing from a vase, placed on an altar before the statue of the god : the 
 heads of an ancient priestess and another woman are seen behind. The 
 caduceus, and a tablet, are suspended from the branch of a tree. 
 
 Bartsch considers this to be a copy from an engraving by Agostino 
 Veneziano, with some variations. Ottley, however, judges it to be the original. 
 Bartsch, No. 1 9. Ottley, 591 . 
 
 GIULIO CAMPAGNOLA. 
 
 This artist was the son of Girolamo Campagnola, and was born in Padua. 
 In the year 1498, when about seventeen years of age, he was received at the 
 court of Hercules, first Duke of Ferrara. 
 
 According to Zani, neither Girolamo, nor his son Giulio, were professional 
 artists ; Vasari, however, expressly mentions Girolamo among the scholars of 
 Squarcione. 
 
 The engravings of Giulio Campagnola are executed with great softness 
 and delicacy, by means of dots, mingled with a few hatchings. He is consi- 
 dered as the inventor of the dotted method of engraving ; but the author of 
 the " Lion Hunt,"'' before described under the initials PP. had previously 
 attempted this in an engraving, noticed in Ottley 's Enquiry, page 474. The 
 engraving of the " Virgin and Child,' 1 '' afterwards described as a dotted specimen 
 in the early German school, may perhaps claim precedence of both in this re- 
 spect. Ottley, however, considers it certain, that Giulio Campagnola was the first 
 who carried it to any degree of perfection. His engravings, which are very 
 few in number, are of considerable excellence. 
 
 82. A YOUNG MAN SEATED IN A LANDSCAPE. 
 
 He holds in his hand a double flute, and appears to be meditating. The 
 design is very much in the manner of Giorgione, but the print is without name 
 or mark, though undoubtedly by Campagnola. 
 
47 
 
 In the usual impressions of this very beautiful performance,the work appears 
 to be executed with hatchings, mingled with dots, the general manner of the 
 artist. The impression now described is a proof, before the introduction of 
 the dots, and is a most chaste and attractive specimen. It has been copied 
 by Agostino Veneziano, with some variation ; and in a reverse direction by an 
 early Italian master. Bartsch, Vol. xm. pa. 373, No. 6. Ottley, 768. 
 
 83. AN ASTROLOGER. 
 
 He is seated in a landscape, measuring with compasses upon a sphere. 
 On the right is a dragon, and, at the bottom of the sphere, the date 1500. 
 This print is usually without the name of the artist, which, in the present 
 impression, is added, probably by himself, with a pen, and the impression is 
 touched with bistre. It has been copied by Agostino Veneziano. Bartsch, 
 No. 8. Ottley, 768. 
 
 84. A CHILD AND CATS. 
 
 A naked child, seated on the step of a hall paved with black and white 
 marble, is caressing three cats, sitting on a pedestal. 
 
 This print, which is worked up in the dotted manner, is a lovely little un- 
 described specimen, and, though without the name, is doubtless by Giulio 
 Campagnola. Height 2f inches, width 2| inches. 
 
 A careful fac-simile forms the head piece to the Italian school of this 
 catalogue, and will, it is hoped, be sufficiently accurate to support the 
 eulogium on the original. 
 
 DOMENICO CAMPAGNOLA. 
 
 Mr. Ottley thinks that this engraver was a native of Padua, and that he 
 was of the same family with Giulio, though not his son, as stated by Bartsch. 
 Domenico is classed among the best of the early scholars of Titian, and his 
 chief works of painting are at Padua, where they are deservedly held in 
 estimation. His engravings are mostly dated in 1517. 
 
 85. THE RESURRECTION OF OUR LORD. 
 
 This is an upright print: on a scroll is engraved " dominicvs campag- 
 nola, 1517." Bartsch, Vol. xm. No. 2. Ottley, 770. 
 
 86. A YOUTH WITH A REED PIPE, AND AN OLD WARRIOR. 
 
 The young man is leaning against a tree, and at the feet of the old warrior 
 is a dog. 
 
48 
 
 The figure of the youth, as Mr. Ottley justly observes, is most graceful, and 
 the whole produces an admirable effect. At the right hand corner, at the 
 bottom, is inscribed " do cap. 1517." Bartsch, No. 8. Ottley, 770. 
 
 87. THE MUSIC PARTY, 
 
 seated under a clump of trees, to the left : to the right is a romantic 
 landscape, with buildings. This print is without name or mark. Mr. Ottley 
 observes, " that the landscape has much the character of Giulio Campagnola, 
 though not dotted, and that the composition is worthy of Giorgione.' 1 
 Bartsch, No. 9. Ottley, 770. 
 
 UNKNOWN ARTIST, WHOSE ENGRAVINGS 
 ARE MARKED 
 
 This artist, whose name is entirely unknown, is sometimes called " nadat," 
 and occasionally " noel dati," but without any sufficient authority. — He 
 is more commonly known as " the master of the mouse trap,'''' from the 
 above devices. 
 
 He engraved, as it was till lately believed, two pieces ; but the collection 
 of Mr. Lloyd presented a third ; a lusus naturae of twins joined together. 
 
 88. THE TWO ARMIES. 
 
 This print, which bears all the artist's devices, is considered, by Ottley, to 
 represent the battle of Ravenna, in 1512, in which the celebrated Gaston de 
 Fo'ix was killed. — He is led to this opinion, from an impression quoted by 
 Bartsch, in the Imperial Collection at Vienna, upon the back of which 
 was written with a pen, in an old hand, " rota de raven a, 1512." Bartsch 
 hastily concluded that these words denoted the name of the artist. 
 
 This plate was retouched, and the scroll lengthened to admit the date of 
 1530. It was no doubt however engraved many years previous to that period, 
 as it was copied by Agostino Veneziano, in a reverse direction. It is a print 
 of great merit, delicately, yet forcibly engraved. 
 
 The impression here described, is before the retouch, and without the date. 
 Bartsch, Vol. xiu. No. 2. Ottley, 771. 
 
49 
 
 UNKNOWN ARTIST, CALLED THE ENGRAVER OF 
 THE YEAR 1515. 
 
 The design and stiff mechanical execution, and the air of antiquity 
 which pervade the prints of this artist, have given rise to the notion of their 
 being the productions of a period far more remote than is really the case : — 
 Heinecken has even attributed one of them to Botticelli ; — Strutt another to 
 Finiguerra. 
 
 No particulars of the history of this engraver are at all known ; — it appears 
 however from a print, dated in 1515, provided this be by the artist in question, 
 that he flourished in that year. His engravings are of excessive rarity. 
 
 89. THE EQUESTRIAN STATUE. 
 
 A naked female, with a royal crown on her head, is reposing on the ground 
 to the right of the print, supporting her left arm on a couchant lion, and 
 holding a cornucopia in her right hand. She is at the base of the pedestal 
 of an equestrian statue, turned to the right, before which are two columns of 
 different shapes. In the back ground are various buildings, and in the front, 
 to the left, is a tree. The tree, the female figure, and the lion, are only in 
 outline. The more finished parts have an effect of bur, as if produced by the 
 dry point. BarUch, Vol. xm. pa. 417, No. 18. From the collections of 
 Mr. Barnard, and Sir Mark Sykes. 
 
 IACIMO FRANCIA. 
 I.F. 
 
 lacimo Francia was the son and one of the principal scholars of Francesco 
 Francia. Mr. Ottley thinks that the style of the engravings which are 
 described, as being the productions of this artist, are so conformable to what 
 might be expected from him, and so nearly resembling the early works of 
 Marc 1 Antonio, that he feels little apprehension in ascribing them to his 
 hand. Bartsch has placed the engravings of this master under a far more 
 recent date in his fifteenth volume, after the works oiMartf Antonio and his 
 pupils ; but they are here introduced on the preferable authority of Mr. 
 Ottley. 
 
 H 
 
50 
 
 90. A FEMALE SAINT, A BISHOP, SAINT FRANCIS, AND SAINT MARTIN. 
 
 The female saint is holding before her, with both hands, a small square 
 picture, representing the Virgin and infant Saviour in a circle, round which 
 is written " ab omni malo defende tuum popvlum." The face of the Saint 
 is raised towards the Holy Ghost, which appears above. To the left is a 
 bishop, holding the model of a church ; behind him a saint with a lily, and 
 to the right, are Saint Martin and Saint Francis. To the left, at the bottom, 
 are the letters I. F. Bartsch, Vol. xv. pa. 456, No. 1. Ottley, 773. 
 
 91. VENUS AND CUPID. 
 
 Venus is standing naked in the middle of the print. She has a square or 
 rule in her left hand, and in the other an apple, which Cupid, on her 
 left, appears to ask for. On the right are an old man and a nymph. This 
 piece is without mark. Bartsch, pa. 459, No. 6. Ottley, 773. 
 
 MARC ANTONIO RAIMONDI. 
 
 r - — — - HIS most distinguished and admired artist was 
 
 \f~ born about 1475, at .BoZo^wz, and, as Fasari informs 
 
 us, was brought forward by Francesco Francia, his 
 master, an eminent engraver in niello, as being 
 the most ingenious of his pupils. Having lived 
 with him many years, he acquired the name of 
 " de Franci" and soon became a more skilful 
 artist than his instructor. He worked excellently 
 in niello, but at length being desirous of travelling 
 to see the productions of other masters, he left Francia and repaired to Venice, 
 where he was well received. 
 
 Here he met with and copied the set of wood cuts by Albert Durer, of T7ie 
 Passion of Christ, which he had purchased with great eagerness ; and re- 
 specting which Albert is said to have complained in person to the govern- 
 ment of Venice. 
 
 Marc 1 Antonio then went to Rome, where he engraved his celebrated print 
 of Lacretia, after a design of Rajfaelle, which was the means of introducing 
 him to that great painter, who, struck with his performance, immediately 
 
51 
 
 offered to employ him in engraving plates from his various compositions. In 
 consequence of Marc 1 Antonio 1 s great and increasing reputation, Marco di 
 Ravenna and Agostino Veneziano became his pupils. 
 
 During the life of Raffaelle, Giulio Romano, from modesty, would not per- 
 mit any of his works to be engraved, that he might not be thought to put 
 himself in competition with his master ; but after Raffaelle 's death, he em- 
 ployed Marc' Antonio to engrave for him. Having, however, very reprehen- 
 sibly, executed the indecent prints to which Aretino's sonnets are appended, 
 he incurred the displeasure of Pope Clement, and the prints themselves were 
 not only prohibited from being sold, but our artist was thrown into prison, 
 from which he was liberated by Cardinal de Medici and Baccio Bandinelli. 
 For the latter, Marc' Antonio soon after engraved his exquisite plate of the 
 Martyrdom of St. Lawrence; but the painter complained to the Pope that 
 Marc' Antonio had committed many errors in engraving the subject from his 
 design. On comparison of the drawing with the print, it was evident, we 
 are told, to all competent judges, that Mar c" 1 Antonio had, on the contrary, 
 corrected BandinellVs drawing, and that with the greatest judgment. This 
 restored him to the Pope's favor, but at the sacking of Rome he was reduced 
 to beggary, being forced to pay a considerable ransom for his liberation. He 
 then left that city, to which he never returned, but died soon afterwards at 
 Bologna. — His life is divided judiciously by Mr. Ottley into three periods : 
 the time he spent with Francia at Bologna ; his stay at Venice ; and his 
 residence at Rome : the latter took place, Mr. Ottley conjectures, in 1510. 
 
 It seems to be almost satisfactorily established, that Marc 1 Antonio, in 
 several instances, was assisted by Raffaelle himself in the execution of his 
 plates ; or that, at all events, he engraved them under that illustrious 
 painter's immediate direction ; particularly the subjects of Adam and Eve in 
 Paradise, and the large plate of Tlie Judgment of Paris. 
 
 The engravings which he executed when resident with Francia, and at 
 Venice, though neat in their mechanism, are laboured both in the design and 
 execution : those engraved soon after his arrival in Rome, and under the 
 auspices of Raffaelle, are exquisite in their design, and highly delicate, yet 
 sufficiently free in their execution : those in his later manner, are bold and 
 scientific ; but the amenity of mechanical appearance, peculiar to the pre- 
 ceding class, is wanting. 
 
 Marc 1 Antonio was a bright ornament to the age in which he lived ; and 
 would be always valuable to the genuine lover of true art, if considered 
 merely as the transcriber of many of the perished productions of Raffaelle : 
 but he has doubtless merit of a high class, which he did not borrow, and 
 this merit has never been denied to him by the discerning. 
 
 H 2 
 
52 
 
 92. ADAM AND EVE EATING THE FORBIDDEN FRUIT. 
 
 This very beautiful j>rint was engraved from a design of Raffaelle, who, 
 more than probably, assisted Marc 1 Antonio in some parts of the outline, par- 
 ticularly in the figure of Eve: This print is a chef d'ceuvre of the artist. — 
 Bartsch, Vol. xiv. No. 1. Ottley,No.\. Zani, e.m. part 2, Vol. it. pa. 235. 
 
 Zanl mentions another human figure, which may be observed in the back- 
 ground of this print ; and against the absurdity of which, and of the buildings 
 introduced into Paradise, he exclaims loudly ; but Raffaelle, or Marc' Antonio, 
 presuming the latter to have taken liberties with the design, must at any 
 rate be defended from the first censure : for on the most scrupulous exami- 
 nation of the print, no such figure is discoverable. There is indeed a small 
 tree or shrub near the place mentioned by Zani, which, from its vague form 
 in the fainter impressions, may have caused this mistake. 
 
 The impression above described, is probably one of the earliest from the 
 plate, as the contour of the face of Eve, and several parts of both figures are 
 less strongly marked, and are superior in effect. 
 
 93. THE MURDER OF THE INNOCENTS. 
 
 From the design of Raffaelle. This is the print with the little tree, called 
 the felcetta or chicot, and is a proof befoi'e the inscription on the pedestal, 
 which usually contains the name of the painter, and the monogram of Marc'' 
 Antonio. It is from the collection of the Marchese del Prie, of Turin. 
 
 This beautiful print, cited by Vasari, was executed soon after Marc'' 
 Antonio's arrival at Rome. — Bartsch, No. 18. 
 
 93*. The same Subject. This is the print without the chicot, and is con- 
 sidered by Bartsch as a copy by Marco di Ravenna, of the plate No. 18 of his 
 catalogue. Zani and Malvasia consider the print without the chicot to be 
 the original, and the No. 18 of Bartsch to be the copy by Ravenna; but, as 
 Mr. Ottley observes, both these are doubtless the productions of Marc Antonio : 
 the print with the chicot is the first and the rarer engraving of the two, 
 and is likewise the more delicate and exquisite performance.* Ottley, 
 No. 10 & 11. Zani, part 2, Vol. v. pa. 349 to 378. The specimen without the 
 chicot is from the collection of Mr. Lloyd. 
 
 * Zani's arguments in favour of the priority of the engraving without the felcetta, are these : — 
 That it bears the undoubted monogram used by Marc' Antonio when at Bologna and at Rome. 
 That the plate with the felcetta bears an engraver's mark never used by Marc' Antonio. 
 That eight, often copies, of this subject, and those the chief ones, are of the print without the felcetta, 
 and five of these with the same monograms of painter and engraver as in that print. 
 That there is an ancient drawing of the subject without the felcetta. 
 
53 
 
 94. LA PIETA. 
 
 The Virgin in a standing posture, is lamenting over the dead body of our 
 Lord : from a design of Rqffaelle, marked with the tablet. 
 
 Marc' Antonio had previously engraved the same subject. In the print 
 above described, the right arm of the Virgin is clothed, and she is represented 
 older than in the prior engraving. Bartsch, No. 35. Ottley, No. 21. Zani, 
 part 2, Vol. rm. pa. 262. 
 
 Zani considers this print as the only original one of the subject by Marc'' 
 Antonio ; and asserts its superiority in the expression and anatomy of the 
 figure of Christ : praises which it certainly deserves. 
 
 95. THE VIRGIN AND CHILD, WITH ST. ANNE, AND ANOTHER AGED 
 
 FEMALE. 
 
 The Virgin is seated with the infant Jesus in her lap. St. Anne stands 
 behind her, with her hands raised in admiration. The cradle of the infant 
 is seen in the middle of the print, and on the right is a vessel of water, near 
 which stands an angel with a vase. After a design of Raffaelle, and marked 
 with the tablet. Bartsch, No. 63. Ottley, No. 34. 
 
 Of this print a most deceptive copy is described by Bartsch. 
 
 96. SAINT JEROME KNEELING AT HIS DEVOTIONS. 
 
 The Saint is prostrate at the foot of a tree, with a skull in his left hand, 
 on which he is most earnestly meditating. Near him is the lion : This beauti- 
 ful and highly-finished engraving, is also from a design of Raffaelle. Bartsch, 
 iVo. 101. Ottley, No. 54. 
 
 97. THE MARTYRDOM OF ST. LAWRENCE. 
 
 This subject is a very rich composition of fifty figures, and is superbly 
 engraved from a design by Baccio Bandinelli, before noticed. It is marked 
 with the usual cypher of Marc' Antonio. Bartsch, No. 104. Ottley, No. 55. 
 
 98. CHRIST IN THE CLOUDS, WITH THE VIRGIN, AND SAINT JOHN THE 
 
 BAPTIST. 
 
 Our Saviour is seated between the Virgin and St. John; below are St. Paid 
 and St. Catherine : a piece absurdly called " Tliejive Saints." This is one 
 of Marc' Antonio's most capital productions, soon after his arrival at Rome, 
 from a studied design of Raffaelle. It is marked with the tablet. Bartsch, 
 No. 113. Ottley, No. 58. 
 
 Of this print there is a deceptive copy. 
 
54 
 
 99. SAINT CECILIA AND OTHER SAINTS. 
 
 Saint Cecilia is standing, accompanied by Saint Paul, Mary Magdalen, and 
 Saint Augustin : above is seen a choir of angels. This beautiful print was 
 engraved by Marc 1 Antonio, from a finished design of Raffaelle for one of his 
 most celebrated pictures. The usual cypher of the artist is upon one of the 
 musical instruments scattered on the ground. Bartsch, No. 116. Ottley, 
 No. 60. 
 
 100. THE MARTYRDOM OF SAINT FELICITA. 
 
 The Saint, while suffering martyrdom, is tortured with the agonizing sight 
 of her sons' heads, presented to her by the executioners, who have just de- 
 capitated them. From a design of Raffaelle, and marked with the usual cypher 
 of Marc 1 Antonio. Bartsch, No. 117 '. Ottley, No. 61. Zani, Part 2. Vol. iv. 
 pa. 238. 
 
 Zani opposes the opinion of Heinecken, that the copy generally assumed to 
 be by Ravenna, is the original; and is angry with Jansen for calling this 
 print and the Mount Parnassus, productions of mediocrity, which he contends 
 could only be meant to apply to the copies. 
 
 The present specimen is a very early impression from the plate, and is 
 from the Collection of the Count de Fries. 
 
 101. CLEOPATRA RECLINING ON A COUCH* 
 
 She is supposed to be expiring, while the asps are twisted round her 
 arms, from the bite of which she has received death. 
 
 This is one of the most delicate of Marc 1 Antonio's prints, from a design 
 of Raffaelle, engraved probably soon after the arrival of the former at Rome. 
 Raffaelle is said to have taken this idea from a celebrated antique statue in 
 the Gardens of the Belvidere. 
 
 This print is with the tablet, and the couch on which the figure reclines 
 is corded. 
 
 102. The subject repeated ; without the tablet, and without divisions or 
 cords on the couch. Bartsch thinks the print first described to have been 
 also first engraved. Bartsch, No. 199, 200. Ottley, No. 120, 121. 
 
 103. DANCE OF NAKED CHILDREN AND CUPIDS. 
 
 The subject represents seven naked children and two cupids, linked hand 
 
 * There is reason to believe that the statue was not intended to represent Cleopatra. The expression 
 differs widely from that of a dying person, and the asps round both arras have all the appearance of 
 mere armlets or ornaments. The figure is more probably Ariadne abandoned at Naxos. 
 
55 
 
 in hand in a chain dance. This is one of Marc 1 Antonio's most enchanting- 
 performances, and was engraved a few years after his arrival in Rome, from 
 a design of Raffaelle. Bartsch, No. 217. Ottley, No. 119. 
 The four copies, A, B, c, and d, described by Bartsch. 
 
 104. TWO FAUNS CARRYING AN INFANT IN A BASKET. 
 
 This subject is taken from an antique basso relievo, and the engraving is 
 one of the most highly esteemed of Marc 1 Antonio 's works. Bartsch, No. 230. 
 Ottley, No. 122. 
 
 105. THE JUDGMENT OF PARIS. 
 
 Raffaelle is said to have borrowed this design from an antique basso 
 relievo, which he afterwards destroyed, in order to secure to himself the 
 honor of the invention ; a meanness which it is impossible for one instant 
 to believe of this illustrious painter. The engraving, which is in the 
 finest time of Marc' Antonio, appears to be one of those in which the contours 
 were traced or corrected on the copper by Raffaelle : it is marked with the 
 cypher. Bartsch, No. 245. Ottley, No. 130. 
 
 106. VENUS APPEARING TO ENEAS UNDER THE FORM OF A HUNTRESS. 
 
 This very beautifid print is an early production of Marc' Antonio, and was 
 probably engraved shortly before he left Bologna. It is also marked with 
 the usual cypher. Bartsch, No. 288. Ottley, No. 218. 
 
 107. ORPHEUS AND EURYDICE. 
 
 Orpheus, crowned with laurel, is playing on the violin, while Eurydice 
 appears to be following him from the mouth of a cavern, under a rock in- 
 tended to represent the infernal regions. Both figures are naked, and that 
 of Eurydice is exquisitely graceful. Mr Ottley thinks that it has much of 
 Raffaelle, and that it was engraved soon after Marc" Antonio 's arrival at Rome. 
 It is without mark. Bartsch, No. 295. Ottley, No. 199. 
 
 An impression of the plate, much worn, cut at the side, and in half to the 
 middle of the figures, accompanies the perfect print. 
 
 108. POESY. 
 
 This subject is from the painting by Raffaelle, in the Vatican; and the 
 print is one of the most lovely of Marc' Antonio's works : It is without mark. 
 Bartsch, No. 382. Ottley, No. 217. 
 
56 
 
 109. THREE DOCTORS OR PHILOSOPHERS CONVERSING. 
 
 They are seated in a landscape, engaged in earnest discussion. All the 
 figures are dressed in the costume of Marc' Antonio's time, and the print, 
 which is engraved with the utmost delicacy, is considered to be from his 
 own design. Bartsch, No. 404. Ottley, No. 117. 
 
 110. IL MORBETTO, OR THE PEST. 
 
 The representation of the sufferings of a town during the plague, pictured 
 according to the description of Virgil, in the Third Book of the Eneid. From 
 a design of Rqffaelle. Bartsch, No. 417 '. Ottley, No. 123. 
 
 AGOSTINO VENEZIANO. 
 A. V. 
 
 Was a native of the Venetian States, and his family name, as appears from 
 several of his prints, was Be Musi, but the city where he was born and the 
 year of his nativity are unknown. 
 
 According to Vasari, Agostino was resident at Florence in the year 1516, 
 where he engraved a print after Andrea del Sarto, which did not satisfy that 
 painter. He afterwards went to Rome, and studied under Marc" Antonio. 
 How long he stayed there, or when he died, cannot be ascertained : his last 
 dated print is in 1536. His early works are weak, meagre, and dry, but he 
 attained eventually to a considerable degree of ability, and became an ex- 
 cellent engraver, although he never, by any means, attained to the perfection 
 of his master. 
 
 111. THE ISRAELITES GATHERING MANNA IN THE AVILDERNESS, 
 
 After Raffaelle. Bartsch, Vol. xiv. No. 8. Impression before the cross 
 lines on the leg of the child to the right. Bartsch notices a similar impres- 
 sion in the Imperial Collection at Vienna, and gives a representation of the 
 difference in fig. 47 of his explanatory plates. 
 
 112. THE THREE MARIES ON THEIR WAY TO THE HOLY SEPULCHRE. 
 
 This print is engraved after a design of Michelagnolo, and has not only 
 been erroneously attributed to Marc 1 Antonio, but has also been sometimes 
 ascribed to Bonasone. It is without mark. Bartsch, No. 33, Zani,part 2. 
 Vol. ix. pa. 99. 
 
57 
 
 The impression which Zani describes as the usual one of this print, is 
 with a black background ; but he mentions three variations, which he had 
 examined. 
 
 The Jirst was in the Storck collection, and in it the ear of that Mary, 
 whose face is seen, and the background, are white. The second was in the 
 collection of the Marchese del Prie, at Turin ; and in that the ear is covered, 
 and the background is white. The third is in the Durazzo collection : the 
 background is black, and one foot of the same Mary, whose face is seen, 
 appears just touching the ground. These variations are not noticed by 
 Bartsch. 
 
 The present impression is similar to that secondly described by Zani, and 
 is conceived to be prior to the foot and the background, and before the 
 alteration in the ear. 
 
 113 A ROMAN EMPEROR, ON HORSEBACK, MEETING A WARRIOR AT THE 
 
 GATE OF A CITY. 
 
 The warrior is followed by two slaves, one of whom is leading a lioness. 
 Bartsch treats this subject as unknown : it was, probably, however, in- 
 tended to represent Androcles receiving his liberty from the emperor Adrian. 
 It is engraved from a design of Raffaelle, and possibly by Marc 1 Antonio, in 
 conjunction with Agostino, as it bears the tablet of the former, and the initials 
 of the latter. If the entire work be that of Agostino, it is doubtless his 
 chef d'ceuvre, and is one of those prints in which he has most successfully 
 imitated the manner of his master. Bartsch, No. 160. 
 
 114. THREE CARICATURE FIGURES. 
 
 These are engraved after Lionardo da Vinci. On the left is a frightful old 
 woman, with a high cap, and of most grotesque features, bstening to a man 
 almost equally ugly, who grasps a money bag : behind is a third figure, with 
 a close cap, whose head and emaciated neck are seen between the man and 
 the woman. On the right, at top, is the mark A. V. and above this the date 
 1516. This print, which has escaped the notice of Bartsch, is described by 
 Heinecken in his Dictionnaire, Vol. i.pa. 536. 
 
 I 
 
58 
 
 MARCO DI RAVENNA. 
 
 There is an almost total deficiency of information for furnishing the 
 slenderest biography of this artist. His family name even was unknown, 
 until Zani, from the authority of a manuscript, discovered it to be dente. 
 The author of this manuscript, it seems, complains that Vasari had omitted 
 Ravenna in his lives of the painters. But this, as Bartsch justly observes, 
 is only so far true, as that there is not any express biography of him ; but he 
 is often mentioned in that of Marc 1 Antonio. Some of his prints, being marked 
 with the cypher SR interlaced, have erroneously given rise to a notion that 
 there were other engravers of Ravenna at this period : an opinion which 
 Zani has recently endeavoured to support.* The monogram in question 
 probably means " Scultore Ravignano," or " Ravennas Sculpsit" as Bartsch 
 expounds it. That he was of Ravenna, we learn from Vasari, and from one 
 of his own prints, marked " Marcus Ravennas." He was the second princi- 
 pal scholar of Marc 1 Antonio, being inferior only to Agostino Veneziano. His 
 faithful copies of his master's performances are his best commendation ; but 
 Bartsch has exceedingly erred in attributing to him as such, some of the 
 finest works of Marc' Antonio, in particular " The Murder of the Innocents ;" 
 to execute which work he was, it is submitted, incapable. 
 
 115. SAINT MICHAEL OVERTHROWING THE DEVIL. 
 
 The demon is at the feet of the archangel, who holds the spear in his right 
 hand, while the left is placed on the hilt of his sword : engraved after Raf- 
 faelle. The mark is on a stone near the demon's head. Bartsch, No. 108. 
 
 116. COMBAT OF ROMAN CAVALRY. 
 
 In the middle of the subject, is a horse rearing against a soldier, on the 
 left, who is opposing him with his spear. On the foreground is a sabre, 
 and to the right of this a shield. Engraved after Raffaelle or Giulio Romano. 
 — The cypher SR interlaced, is in the middle at bottom. Bartsch, No. 420. 
 
 * Enciclopedia Metodica, Part 2, Vol. v. pa. 309. 
 
59 
 
 GIOVANNI JACOPO CARAGLIO 
 
 was born at Parma, and established himself at Verona, where he flourished 
 in 1550. It is conjectured by Bartsch, that he was born about 1500. 
 
 His engravings, which are formed from the study of those of Marc Antonio, 
 are chaste and graceful in the drawing, and neat and correct in the execu- 
 tion. Though his works were much esteemed in his life time, he, considered 
 himself to have talents for a higher department, and became an engraver 
 of cameos, and with such success, that he was patronized by Sigismund the 1st, 
 king of Poland, to whose court he was invited. Vasari relates, that in 1568, 
 being very old, he had remitted considerable sums to his native country, 
 designing to return there. He most probably died shortly afterwards. 
 
 117. THE ANNUNCIATION. 
 
 After Rajfaelle. The angel Gabriel is ascending a staircase on the left, 
 holding a branch of lily in the left hand, and pointing with the right towards 
 heaven, to express his mission. The Virgin is kneeling on the right, and 
 God the Father is represented above. Bartsch, Vol. xv. pa. 67, No. 2. 
 
 118. A BATTLE PIECE. 
 
 On the foreground is a lance with a shield lying on it, underneath which 
 is written — " r. i. jacobvs ver. f ." This is a chef d'ceuvre of Caraglio. 
 After Rajfaelle. Bartsch, No. 59. 
 
 GIULIO BONASONE. 
 
 IULIO BONASONE was a truly original artist, 
 and was born, as it is supposed, about 1510, at 
 Bologna. He was a painter, as well as an engraver, 
 and celebrated in both professions ; but it is evi- 
 dent that he must have been a practised and ex- 
 perienced designer before he began to engrave. 
 
 The mechanical part alone of this art, he never 
 however greatly esteemed, since he appears to have 
 been chiefly animated by the desire of producing 
 subjects of interest and effect. His neglect of 
 many of the essentials, and more of the accessaries of the art, is not to be 
 defended or overlooked, even in consideration of his fertile invention and 
 graceful design. He is greatest when engraving from the creations of his 
 own vivid fancy. He died about 1580. 
 
 I 2 
 
60 
 
 119. CLELIA AND HER COMPANIONS PASSING THE TIBER. 
 
 In the back-ground is the camp of Porsenna, in which they were prisoners. 
 After a design of Polidori di Caravagio. Bartsch, Vol. xv. No. 83- 
 First impression before the address of Lafreri. 
 
 120. AURORA AND TITHONUS. 
 
 Apollo is seen guiding his chariot through the heavens, drawn by four 
 horses, and accompanied by eight of the Hours, and by Time on cratches. 
 Below, on the right, axe Aurora and Tithonus. A winged genius is unveiling 
 the head of the former, while Tithonus is pointing to the earth from whence 
 he sprung. Below these figures we find — " julio sonasone, inventore," 
 and his mark. This exquisite composition is a chef d'ceuvre of the artist. 
 Bartsch, No. 99. 
 
 121 & 122. MERCURY TRANSPORTING PANDORA FROM HEAVEN TO EARTH, 
 AND MERCURY RETURNING WITH PANDORA TO HEAVEN. 
 
 She holds the fatal box, and is gracefully and lightly supported by Mercury : 
 Two very small upright prints, delicately engraved by Bonasone, from his 
 own invention. 
 
 These specimens, which are without the name of the artist, are classed by 
 Bartsch among the anonymous engravings of the school of Marc 1 Antonio. 
 Vol. xv. pa. 35, Nos. 1 and 2. 
 
 123. PORTRAIT OF CARDINAL PIETRO BEMBO. 
 
 He is seen in profile, half length, turned towards the left. At the bottom 
 is this inscription : " petrus bembvs, annum agens lxxvii." Bartsch, No. 344. 
 
 124. PORTRAIT OF MICHELAGNOLO BONARROTI. 
 
 This is likewise a half length portrait, in profile, turned to the right, and 
 in a circle within an octagon. Below is this inscription :" michael angelus 
 
 BONAROTUS PATRITIVS FLORENTINUS AN. AGENS LXXII. MDXLVI." Oil the 
 
 right, " julio, b. f." Bartsch, No. 345. 
 
 This plate was afterwards used in CondivVs Life of Michelagnolo. 
 
 There is a repetition of the same portrait by Bonasone, in a different border, 
 without the name of the artist. 
 
61 
 
 THE MASTER OF THE DIE. 
 
 This artist, who is sometimes called Beatricius the elder, but without 
 sufficient authority, appears to have been a scholar of Marc" 1 Antonio, and is, 
 by Bartsch, thought to have been born about 1512. The date of his death 
 is unknown. 
 
 His figures, Bartsch observes, are too short, and that their heads and their 
 limbs are too large ; but, notwithstanding these defects, he prefers his works 
 to those of Agostino Veneziano, Marc' Antonio 's best scholar, as being more 
 scientific in their design, and more firm in execution ; and he instances the 
 " Historu of Psyche" — many of the pieces of which he thinks are little in- 
 ferior to Marc' Antonio 's performances. The die, from which he is named, 
 and the letter B, are usually found on his engravings. 
 
 125 & 126. APOLLO AND MARSYAS. 
 
 Apollo, seated on a bank, with his lyre in his right hand, is directing a man 
 to flay Marsyas: behind Apollo is seated one of the Muses. The die and 
 the letter B are on the right at bottom. This print is after a design ol 
 Rajfaelle. Bartsch, Vol. xv. pa. 206, No. 31. 
 
 First impression, before the plate was retouched by Philip Thortiassin. 
 
 Second impression retouched, and with the address of Thomassin, and the 
 inscription : " Raphael vrb. inv." 
 
 127. A FEMALE REGARDING HERSELF IN A MIRROR. 
 
 Her right hand is placed on her breast : behind her, on the left, is a man, 
 like a Moor, observing her. 
 
 Bartsch considers the design of this print to be from the hand of Raffaelle; 
 but the costume of the male figure, would infer the designer to be of the 
 Venetian School: It is without mark. 
 
 Heinecken states it to be a copy, in a reverse direction, from another 
 engraving. Bartsch, No. 75. 
 
 ENEA VICO 
 
 was born at Parma about 1520, as Bartsch infers from the several dates on 
 his prints. He is supposed to have quitted his country when very young, 
 
62 
 
 and to have studied at Rome under Tomaso Barlachi, an engraver of no great 
 repute, but better known as a printseller and publisher. 
 
 According to Vasari, Vico was at Florence in 1545, as he mentions that 
 Francis Floris, during his stay there, employed Vico to engrave the Conver- 
 sion of St. Paul, which procured him great reputation. Gori relates, that our 
 artist himself presented to the emperor Charles the Vth, the portrait which 
 he engraved of that monarch, for which he received 200 crowns. 
 
 About 1568, Vico retired to Ferrara, under the protection of Alphonso II. 
 and there, it appears, the remainder of his days were spent. He was a man 
 of scientific acquirements, and particularly learned in the science of medals, 
 on which he published various works highly esteemed. 
 
 128. THE ACADEMY OF BACCIO BANDINELLI. 
 
 BandinelU, and many of his scholars, are here represented in the artist's 
 study ; some are drawing, seated near a fire-place towards the left, while 
 others are employed in the same manner at a table on the right, where 
 BandinelU himself is standing, with an embroidered cross on his habit. At 
 the top, on the same side, is a shelf, with numerous plaster figures, and an 
 open book, with the following inscription : " baccivs bandinellvs invent." 
 To the left, at the bottom, is this address : "romm, petrvs pavlvs palumbus 
 formis." Bartsch, Vol. xv. pa. 306, No. 49. 
 
 First impression, before the name of Vico. The second impression is very 
 feeble, differs in the inscriptions, and has the name of Vico, and the address 
 of Alberti. 
 
 GIOVANNI BATTISTA GHISI. 
 
 (mantuano.) 
 
 This artist was the pupil of Ghdio Romano, and was painter, engraver, and 
 architect. He was bom about 1515, at Mantua : The time of his death is 
 unknown. He engraved twenty prints, which he seems to have executed 
 when a practised engraver. Bartsch considers his performances as somewhat 
 similar to those of Marc 1 Antonio, but more like those of the Master of the 
 Die. The resemblance in either case is, with submission, very slight. 
 
 129. PARIS CARRYING OFF HELEN. 
 
 This print is engraved from a design of Ghdio Romano. At the top are 
 the date, 1539, and the cypher. It is one of the most carefully executed of the 
 engraver's productions. Bartsch, Vol. xv.pa. 381, No. 141. 
 
63 
 
 GIORGIO GHISI, 
 
 (MANTUANO,) 
 
 is usually mentioned as the son of the preceding artist, but this is not au- 
 thenticated, nor are any of the particulars of his history known. 
 
 It is uncertain whether or not he was a painter, but he undoubtedly en- 
 graved many of his prints after his own designs. His early productions are 
 executed with much freedom, and resemble, in some degree, those of Marc 1 
 Antonio. Many of his later prints, though neat to excess, are disagreeably 
 studied, and too minutely treated. 
 
 130. VENUS CARESSING ADONIS. 
 
 Adonis appears just returned from the chace, with his hunting spear, and 
 accompanied by his dogs : The subject was designed by Teodoro Ghisi. The 
 mark of the engraver is towards the right at bottom. Bartsch, Vol. xv. No. 42. 
 
 131. HERCULES REPOSING. 
 
 The hero is extended on the ground, in a rich landscape, leaning on his 
 club, and reposing after his labours. This piece is invented and engraved 
 by Giorgio Ghisi, and is dated in 1567. Bartsch, No. 56. 
 
 132. THE CRIMINALS. 
 
 They are represented in a prison, chained to the floor and walls in various 
 manners. In the background is a man suspended by the arms, with a large 
 stone at his feet. To the left, at bottom, are found the initials of Julio 
 Romano, after whom it is engraved. 
 
 ADAMO GHISI, 
 
 (MANTUANO,) 
 
 is supposed to be the younger brother of the preceding artist, and also a 
 native of Mantua. The date of his birth or death cannot be ascertained. 
 His manner approaches to that of Giorgio Ghisi, but is not so firm, and his 
 design is in general less vigorous. 
 
 The specimen of his talents, however, in the print of Cupids and a dolphin, 
 described in this catalogue, for purity of chawing, would be creditable to 
 any artist of his time. 
 
64 
 
 133. CUPIDS AND A DOLPHIN. 
 
 A cupid is seated on a dolphin, between two other cupids, the one of whom, 
 on the left, holds a fish, the other a bulrush : After Giulio Romano, but with- 
 out mark. 
 
 This print, if it be the work of Adamo Ghisi, is his best performance. 
 Bartsch, Vol. xv. pa. 424, No. 23. 
 
 The same subject has been engraved in a reverse direction by an anony- 
 mous artist. 
 
 134. SERVITUDE : 
 
 Represented by a young- man, bearing a yoke on his shoulders, and whose 
 feet are chained to so heavy a weight, that he cannot rise above his condition. 
 After Andrea Mantegna, who, himself, is thought to have engraved the 
 subject. 
 
 The cypher of Adamo Ghisi is at the bottom, on the left. In the margin is 
 this inscription, " servvs eo laetior quo patientior.' 1 '' Bartsch, No. 103. 
 
 Mr. Ottley possesses an early engraving, perhaps the above mentioned 
 original, by Mantegna, of this print, and he considers his specimen to be 
 unique. 
 
 DIANA GHISI. 
 
 (MANTUANA.) 
 
 This lady, according to Gori, was the daughter of J. B. Ghisi. Her first 
 works are in the manner of Giorgio Ghisi, and those of a later period like the 
 engravings oiAgostino Carrache; but the design, Bartsch observes, is always 
 indifferent, and often very faulty. 
 
 She married Francesco di Volterra, an architect, and from that time became 
 an inhabitant of Volterra. Most of her prints bear the address of Horatius 
 Pacificus, who appears to have been the first publisher of them. They after- 
 wards came into the hands of Rossi and Carlo Lost. 
 
 135. HOLY FAMILY. 
 
 On the right is kneeling a female, presenting a basket of fruit to the infant 
 Saviour, who is seated on the lap of the Virgin. To the left, St. Joseph is 
 leaning on his staff. On the same side of the subject, behind the kneeling 
 female, is a boy standing. The background is composed of ruins, and behind 
 the f irgin is a palm-tree ; near which, in the extreme distance, some moun- 
 tains. On the left, at bottom is written: "franc", salviati in v. diana 
 
65 
 
 i nci deb at romm, 1583." Below the line of the subject, begins this inscrip- 
 tion : "da flores frvctvsq. tjb/," &c. Height 9 inches, width 6£ inches. 
 Undescribed by Bartsch. 
 
 136. A MOUNTEBANK DISPLAYING HIS FEATS. 
 
 He holds several living serpents in his hand, and is amusing a crowd of 
 persons before him, to whom he is selling his drugs and nostrums : after 
 Giulio Romano, without the name or mark of the artist. Bartsch, Vol. xv. 
 pa. 451, No. 44. An impression before the address of Pacificus. 
 
 LATER ENGRAVERS OF THE SCHOOL 
 
 OF ITALY. 
 
 FRANCESCO MAZZUOLI, 
 
 CALLED 
 
 PARMIGIANINO. 
 
 ARMIGIANINO, so called from the city of Parma, 
 his native place, was born there in 1503. Favoured 
 by nature with an early developement of rare 
 talent, he is said to have painted, at the age of 16, 
 Tlie Baptism of our Saviour, an admirable picture, 
 in the collection of Count Sanvitali, at Parma. His 
 design is easy and majestic, the airs of his heads, and 
 the cast of his draperies, are peculiar to himself, and 
 possess a high degree of fascination. He is accused, 
 however, and not unjustly, of a want of nature, and a great neglect of accu- 
 racy in drawing : he is to a certain degree also a mannerist. Among the 
 Italians, he is considered to be the inventor of etching ; but it was doubtless 
 practised long previously to his time, though Parmigianino was probably 
 the first who attempted it in Italy. He died at Casalmaggiore, in 1540. 
 
 K 
 
66 
 
 137. THE ENTOMBMENT OF OUR LORD. 
 
 The most important of the master's etchings. Bartsch, Vol. xvi.pa. 8, No. 5. 
 
 138. * Copy of this subject in a reverse direction, and, as Zani thinks, by 
 Giacomo Bertoja ; but he seems greatly puzzled with the many variations of 
 the subject, which he has himself described. Zani, e.m. Part 2, Vol. vm. 
 pa. 243. Impression before the retouch with the burin. 
 
 139. THE RESURRECTION OF OUR LORD. 
 
 An upright print. Bartsch, No. 6. Zani, Part 2, Vol. ix. pa. SG.f Im- 
 pression not described by Bartsch, and before the retouch. 
 
 ANDREA MELDOLLA, 
 
 CALLED 
 
 SCHIAVONE. 
 
 Respecting this intelligent artist, much diversity of opinion has existed. 
 It is considered by Bartsch,% and also by i><mi, that Meldolla and Schiavone&re 
 two distinct persons, and the reasons for this notion are given at some length ; 
 but it is the opinion of those who have minutely and more recently compared 
 the works of the supposed two artists, that they proceed from one and the 
 same hand. 
 
 Meldolla was born at Sebenico, in Dalmatia, in 1522, and died at Venice in 
 1582. His plates appear all to be engraved after the designs of Parmigianino, 
 with an admirable sense and feeling of that great master's style and tasteful 
 composition. — He seems, as well as Parmigianino, to have engraved on very 
 soft metal ; so that few good impressions could be taken without injury to 
 the plates. These he sometimes heightened, with a tint or wash, but the far 
 greater portion of the existing impressions, are from repaired plates. 
 
 140. THE ADORATION OF THE SHEPHERDS. 
 
 The Virgin is seated with the infant Jesus, on the left ; and, on the right, 
 
 * Mr. Ottley seems satisfied, that this print is also from the hand of Parmiyianino. 
 f From Zani's description, it is doubtful, whether the copy A, described by him, is not the original 
 print, or at any rate a retouched impression of it. 
 + Vol.xvi. pa. 31. 
 
67 
 
 are shepherds in the attitude of adoration, while some are playing on musical 
 instruments. Bartsch, Vol. xvi. pa. 42, No. 6. Impression washed with a 
 yellow tint, probably by the artist. 
 
 141. JESUS HEALING THE TEN LEPERS. 
 
 The lepers are seen to the left, while Jesus, with his disciples on the right, 
 extends his hands towards them in the act of departing : a subject engraved 
 on two plates ; one comprising the group of the lepers — the other, our Lord 
 and his disciples. Bartsch, No. 16. Impression printed with ink of a 
 green tint. 
 
 142. PETER AND JOHN HEALING THE CRIPPLE : 
 
 An upright print. Bartsch, No. 21. Impression before the retouch, and 
 before the cypher of the artist on the pedestal of the pillar : an impression 
 unknown to Bartsch. 
 
 143. HELIODORUS DRIVEN OUT OF THE TEMPLE. 
 
 He is seen on horseback towards the centre of the print, pursued by two 
 angels armed with rods. Bartsch, No. 67. Zani, Part 2, Vol. iv. pa. 235.* 
 
 Impression before the plate was retouched, and the cypher of the artist 
 retraced ;f also unknown to Bartsch. 
 
 144. THE HOLY FAMILY. 
 
 The Virgin is seated in the middle of the subject, turned a little to the 
 right, but her head is inclined to the left ; and she is speaking to a young 
 female saint, who is kneeling, and in the act of raising the infant Jesus to 
 give him to his mother. On the left is a mitred saint, who appears to be 
 adoring the child, while speaking to St. Joseph. Above the whole group, is a 
 covering of trellis-work. 
 
 This piece, which is not described by Bartsch, is washed and heightened, 
 apparently by Meldolla himself, and is a chef d'ceuvre. Height 8| inches, 
 width 5| inches. It is from the collection of Sir M. Sykes. 
 
 * Zani accuses Bartsch of not having; satisfactorily explained the subject of this print, 
 f In the cabinet of the Count de Fries, there was an impression of this rare engraving, but re- 
 touched : it was purchased by the proprietor of the collection now describing. 
 
 K 2 
 
68 
 
 CESARE* REVERDINO. 
 
 The date of this engraver's hirth, and all other particulars of his life, are 
 unknown. One only of his prints is dated, and that hears the year 1531. 
 He was, perhaps, a scholar of Marc 1 Antonio, hut not a very creditable one. 
 
 145. DAVID CUTTING OFF THE HEAD OF GOLIATH. 
 
 This action is represented as taking place before the mouth of a great 
 cavern. The giant's body is stretched across the print, his feet towards the 
 left, and his head resting on a stone : there are soldiers seen in the cavern. 
 On one of the stones, above the left knee of the giant, is this inscription : — 
 " goliath interficitvr a davide capvt" 8fc. with the cypher: 
 after Ginlio Romano. 
 
 This print is not described by Bartsch. — Width 6 inches, height 5| inches. 
 Zani, (e.m. Vol.3,pa.2S5,J calls it his chef d'ceuvre. He states the first 
 impression as having the above cypher, but the second, the cypher Cr/. (the 
 e being omitted,) and the address of Petrus de Nobilibus. This, therefore, 
 according to Zani, is the first impression. 
 
 146. THE RETURN OF THE PRODIGAL SON. 
 
 A subject from a design of Parmegianino. Bartsch, Vol.xv. pa. 473, No. 14. 
 
 MARTI NO ROTA 
 
 was born at Sebenico, in Dalmatia, about the middle of the 16th century, and 
 appears to have resided entirely at Venice, and to have died there. He was 
 an artist of considerable repute, from the careful and finished execution of 
 his engravings, which, however, are very deficient in feeling and harmony, 
 
 Not Gasparo, as often quoted. 
 
69 
 
 147. THE LAST JUDGMENT. 
 
 From the celebrated fresco of Michelagnolo, in the Sist'me chapel of the 
 Vatican : The engraver's chef d'ceuvre. Bartsch, Vol. xvi. pa. 260, No. 28. 
 First impression, with the address of Lucas Guarinonij. 
 
 LUDOVICO CARRACHE 
 
 was the son of a butcher, and was bom at Bologna, in 1555. He received 
 his first instructions from Prospero Fontana, and afterwards studied several 
 years under Pasignano. Having profited by the lessons of the greatest 
 masters at Parma, Mantua, and Venice, he returned to Bologna, where he 
 became the founder of a glorious school. He appears to have engraved only 
 five plates, and died in his native city, in 1619. 
 
 148. VIRGIN AND CHILD. 
 
 The Virgin is contemplating the infant Jesus, whom she holds in her 
 arms, and who is adored by angels : an etching, strengthened with the 
 burin. Bartsch, Vol. xvm. pa.24. No. 2. 
 
 AGOSTINO CARRACHE. 
 
 MOST distinguished engraver, and scarcely less 
 celebrated as a painter, was cousin-german to 
 Ludovico, and was born at Bologna, in 1557. He 
 was possessed of extraordinary abilities, and a 
 great literary capacity, which he devoted to the 
 acquisition of every thing delectable in art and 
 science. Indeed his accomplishments are well 
 calculated to excite astonishment ; for he was a 
 poet, a philosopher, a mathematician, a geo- 
 grapher, an astrologer, a musician, and a student in medicine. 
 
 Like his cousin, he received his first instructions in drawing from Prospero 
 Fontana; he learnt modelling from Minganti, and designing with a pen from 
 B. Passarotti. 
 
70 
 
 After having- practised as a goldsmith, he studied engraving under 
 Domenico Tibaldi, and became the most scientific artist of his time ; wanting 
 nothing but a more finished execution to render his works of engraving 
 almost perfect. They are studies well worthy of imitation at the present 
 day. 
 
 Agostino died at Parma, in 1602, leaving behind him a great reputation. 
 Had he not abandoned painting for the greater proficiency in engraving, his 
 pictures would, it is conceived, have equalled those of his brother Annibale. 
 
 149. THE CRUCIFIXION OF OUR LORD. 
 
 This subject is composed of three plates, joined lengthways, and engraved 
 from the celebrated picture by Tintoretto, in the church of St. Eoch, at Venice. 
 Tintoretto is said to have been so struck with the scientific execution of 
 this print, that he confessed it in many respects to surpass the original. 
 
 According to Gori and Boschini, the plate was sent into Flanders, and 
 gilt: this, however, is not the fact, as it is, or lately was, in the possession 
 of Longhi at Bologna, who purchased it from Rasigotti. Bartsch, Vol. xvm. 
 No. 3. Zani, part. 2. Vol. xm. pa. 41 to 47 * 
 
 150. SAINT JEROME. 
 
 The Saint is seen in profile : he holds a crucifix with his left hand, and a 
 stone in the right. Above, on the left, is seen the lion. In the ordinary 
 impressions, we find the artist's name, wtth the initials of the editor 
 Steffanoni, and a latin inscription, commencing, " purpura, fastus," fyc. 
 This was the last plate engraved by Agostino, and was left unfinished at 
 his death. It is the most bold, scientific, and perfect work of the artist, and 
 was afterwards completed by Francesco Brizzi, the pupil of Agostino, under the 
 immediate direction of Ludovico Carrache. Bartsch, No. 75. 
 
 Impression of the plate as left by Ludovico : — the left leg and left arm of the 
 Saint, and the background, to the right at bottom, are only in contour; the 
 lion is partly engraved, but the background, to the left at top, is wholly white. 
 
 151. SAINT JEROME, AFTER TINTORETTO. 
 
 This subject represents the Virgin appearing to Saint Jerome in the air, 
 supported by four angels. The Saint is in the left corner ; and, at his feet, 
 
 * This print is dated in 1589 ; but from the observations of Bianconi, quoted by Zani, it must have 
 been begun in 1587, to allow time for its being published in 1589, with a dedication to Ferdinand, then 
 a cardinal. Malvasia thinks that impressions may exist, bearing a date of 1588; but such are not 
 known. 
 
71 
 
 are the lion and an open book : a chef d'ceuvre. — Impression with the date 
 of 1588— Bartsch, No. 76. 
 
 152. PORTRAIT OF JOHN GABRIEL SIVEL, 
 
 Comedian ; famous for his talent in representing, by himself, a whole 
 comedy. Bartsch, No. 153. 
 
 ANNIBALE CARRACHE. 
 
 Annibale was the brother of Agostino. He was born at Bologna, in 1560, 
 and died at Rome, in 1609. Originally destined for a tailor, he was ignorant 
 of every principle of the art in which he afterwards became so eminent, until 
 taken under the tuition of Ludovico Carrache. His extraordinary genius 
 was at first very slowly developed ; but it suddenly and rapidly unfolded 
 itself, and he produced pictures of first-rate excellence at the age of twenty- 
 eight. From an intense study of the works of Mlchelagnolo and Raffaelle, 
 he became one of the very foremost painters of the Italian School. His 
 engravings are not less meritorious. They differ in their execution indeed, to 
 a surprising degree, and shew the perfect originality of talent of the artist, 
 who understood every method of giving variety to his performances. 
 
 153. SUSANNA SURPRISED BY THE ELDERS : 
 
 an etching which displays the great talents of the master in a high degree. 
 Bartsch, Vol. xvm. pa. 180. No. 1. Proof before the letters. 
 
 154. THE DEAD BODY OF OUR LORD BEWAILED BY THE MARIES. 
 
 The Saviour, taken from the cross, is extended on the lap of the Virgin, 
 who has swooned in the arms of one of the Maries. Near her, St. John is 
 seated, holding the right arm of Jesus, and pointing out the wound to the 
 Magdalen: a subject called " The Christ of Caprarola.''' Bartsch, No. 4. 
 Impression before the address of Nicolo van Aelst. 
 
 155. THE VIRGIN, OUR SAVIOUR, SAINT JOHN THE BAPTIST, AND SAINT 
 
 ELIZABETH. 
 
 The infant Jesus, on the lap of the Virgin, is presenting chink to St. John, 
 in a bowl or porringer ; engraved in 1606 : a subject called " La Vierge a 
 Vecuelle^ Bartsch, No. 9. Proof before any writing. 
 
72 
 
 GUIDO REN I. 
 
 This delightful painter was horn at Bologna, in 1575. Educated in the 
 School of the Carracci, his talents are said to have soon excited the jealousy 
 of his great teachers. No artist, perhaps, ever obtained more general admira- 
 tion, from his fascinating design, easy execution, correct drawing of the ex- 
 tremities, and breadth and grandeur of drapery ; but above all by the noble 
 and graceful air of his female heads. 
 
 These good qualities are, in many respects, found in his etchings ; but it 
 must be allowed, that his prints, like those of Claude Lorraine, do not approach 
 to the excellence which might be expected from so great a painter. He 
 died in 1642, in his native city, miserably poor, from an inveterate habit of 
 gaming, which nothing could conquer. 
 
 156. THE VIRGIN AND THE INFANT JESUS. 
 
 The Virgin holds the infant Saviour in her arms, who is embracing her : 
 Through an arcade, is seen, in a landscape, St. Joseph, walking. Bartsch, 
 Vol. xviii. pa. 282, No. 1 : one of the rarest and most perfect etchings of the 
 master. 
 
 First impression, before the name and address of VanAelst; an impres- 
 sion not noticed by Bartsch. 
 
 157. THE VIRGIN, INFANT JESUS, AND ST. JOHN. 
 
 The Virgin, seen in profile, and turned to the right, is seated near a table, 
 on which is the infant Jesus, extending his arms to St. John, who approaches 
 to kiss his right foot. Bartsch, No. 6. 
 
 Also two copies not described. 
 
 158. HOLY FAMILY. 
 
 This is the first and most agreeable of several prints by Guido, of a similar 
 composition. The Virgin is seated near an arcade : to the right is the 
 infant Jesus, who extends his hand to take hold of his mother's robe ; and to 
 the left is St. Joseph, with a book. In the style of Parmegianino. Bartsch, 
 No. 9. First impression, before the name of Guido. 
 
 159. A GLORY OF ANGELS. 
 
 This subject is from a design by Cangiagio. To the left, at the bottom, 
 in the ordinary impressions, is " lucas cangiasivs mv." and in the margin 
 
73 
 
 an inscription, commencing " jvbilemvs deo, fyc. with a dedication to 
 Signor Vido Tawrelli, hy P. Stephanonius, the editor. Bartsch, No. 45. 
 
 Impression before the heads of the angels at the upper extremity of the 
 plate, and before any writing ; and in which the clouds on each side of the 
 subject are not retouched with the graver. See Bartsch, Vol. xvm. pa. 199 
 and 200, where the present impression is described. 
 
 SIMONE CANTARINI DA PESARO. 
 
 CALLED 
 
 PESARESE. 
 
 This artist was an admirable pupil and imitator of Guido ; and so effectually 
 has he rendered the style and execution of his master in many prints, as to 
 create great difficulty in distinguishing the etchings of the two artists; 
 several of the productions of Cantarini, having been confidently attributed to 
 the hand of Guido. 
 
 Cantarini was born at Oropezza, near Pesaro, in 1612, and died at Verona, 
 in 1648, at the early age of thirty-six. 
 
 160. JUPITER, NEPTUNE AND PLUTO. 
 
 They are represented as offering homage of their crowns to the arms of 
 Cardinal Borghese : a subject invented and engraved by Pesarese. Bartsch, 
 Vol. xxi. pa. 139. No. 29. 
 
 First impression, with the arms of the Cardinal, and the elephant, in the 
 small cartouche at the corner. 
 
 STEFANO DELLA BELLA 
 
 was the son of a sculptor, and was born at Florence in 1610. He received 
 instructions in painting from Cesare Dandini; but afterwards entirely 
 abandoned this, to apply himself to engraving, which he learnt of Remigio 
 Cantagallina : his works are very numerous, and were executed partly 
 in Italy, and partly in France. He died at Florence in 1684. His life has 
 been written by Baldinucci, and also by Jombert, in 1 772, — and the catalogue of 
 
 L 
 
74 
 
 his works by the latter, which is very ample, forms the basis of Heinecken's 
 list. 
 
 161. LE REPOSOIR, OR LA FETE DIEU. 
 
 This print, which is said to be difficult of acquisition in a good state of 
 impression, is dedicated to Monsieur Tuboeuf, and has a long inscription. 
 
 In the impression describing, which is a proof, the inscription and dedi- 
 cation are written in ink, probably by Delia Bella. 
 
 162. VIEW OF THE PONT NEUF OF PARIS. 
 
 First impression, before the weathercock on the church of St. Germain 
 L' Auxerrois. Huber, Vol. iv. pa. 10, No. 54. 
 
 GIUSEPPE RIBERA or RIVERA, 
 
 CALLED 
 
 SPAGNUOLETTO. 
 
 Spagnuoletto was born, according to some writers, at Gallipoli, in Otranto, 
 in 1593 ; and, by the account of others, at San Felipe, in 1588. He 
 was the scholar of M A. Merigi, at Naples, whom he left, in order to study the 
 works of Raff 'aelle, Corregio, and other great masters at Rome, Modena, and 
 Parma. He returned however to Naples, where he established himself, and 
 remained there till his death, which took place in 1656. 
 
 The prints of this great master are remarkable for purity and correctness 
 of design, and for the spirit and facility of their execution. He made little 
 use of the burin, but its effects, however slight, are productive of the desired 
 harmony. 
 
 163. THE MARTYRDOM OF SAINT BARTHOLOMEW. 
 
 This print is the chef d'ceuvre of the artist, and is dated in 1624. Bartsch, 
 Vol. xx. pa. 81, No. 6. 
 
 164. SILENUS AND SATYRS. 
 
 Silenus is stretched on the ground, near a vat filled with grapes, between 
 two satyrs; one of whom is crowning him with ivy, and the other pouring 
 out wine for him. Bartsch, Vol. xx. pa. 84, No. 13. 
 
 First impression before the dedication, " al molto M re - s. don balsamo." 
 
75 
 
 GIOVANNI ANDREA PODESTA 
 
 was born at Genoa, and was the disciple of Giovanni Andrea Ferrari. He 
 resided for a considerable time at Rome, and was a member of the Academy of 
 St. Luke. The date of his birth and death can not be well ascertained. 
 
 165. THE ORCHARD OF LOVE. 
 
 A number of Cupids, near a statue of Venus, are occupied, some in gathering, 
 some in picking up fruit; several are embracing each other; and some are 
 trying upon themselves the power of their own darts. After a painting 
 executed by Titian, for Alfonso the First, Duke of Ferrara. Bartsch, Vol. xx. 
 pa. 173, No. 8. 
 
 Proof before any writing. 
 
 SALVATOR ROSA 
 
 was bom at Renella, near Naples, in 1615, and died at Rome in 1673. He 
 was instructed, in the first instance, by his father, afterwards by Paolo Greco, 
 his uncle ; then by Francanzano, Angelo Falcone, and Ribera. His subjects 
 are remarkable for the choice of picturesque scenery, interspersed with ruins 
 and banditti ; and he is said to have occasionally frequented the romantic 
 haunts of the latter, that he might gratify his prevailing taste by painting 
 their wild resorts, and wilder figures. He also executed battle pieces in a 
 spirited manner. 
 
 His etchings fully coincide with the vivid and brusque character of his 
 pictures. 
 
 166. SAINT ALBERT PERFORMING PENNANCE. 
 
 He is suspended by both arms from a tree, in the midst of a woody and 
 rocky landscape. Bartsch, Vol. xx. pa. 69, No. 2. 
 
 Impression before the day point on the lighter parts of the rocks to the 
 left of the Saint, and before other work in various places : an impression 
 undescribed by Bartsch. 
 
 Impression in the usual state. 
 
 L 2 
 
76 
 
 GIOVANNI BENEDETTO CASTIGLIONE, 
 
 sometimes called Grechetto, was born at Genoa in 1616, and died at Mantua 
 in 1670. Having- commenced his early studies under Giovanni Battista 
 Paggi, and Andrea Ferrari, he was apprenticed to Van Dyck, during his stay 
 at Genoa. Favourable opportunities were offered to him in all the principal 
 cities of Italy, to study and examine the works of the great masters ; which 
 having accomplished, he settled in Mantua, where he resided till his death. 
 
 From the picturesque effect of his etchings, and the magical beauty of the 
 chiaro-scuro, something similar to that in the prints of Rembrandt, the 
 works of Castiglione attract general admiration. 
 
 167. LABAN SEARCHING FOR HIS IDOLS AMONG THE GOODS OF JACOB. 
 
 In the front, to the left, are a ewe and ram reposing. This is a very slight 
 though spirited etching. Bartsch, Vol. xx. pa. 11,* No. 4. 
 
 168. MELANCHOLY: 
 
 Represented by a female studying a volume of judicial astrology, which 
 is spread open at her feet. Bartsch, No. 22. 
 
 169. AN ALLEGORY OF THE VANITY OF HUMAN PURSUITS. 
 
 Two men and a child among the scattered remains and ruins of antiquity, 
 are indicating the instability of worldly affairs. Bartsch, No. 27. 
 
 BARTOLOMEO BISCAINO. 
 
 This artist, whose works in some degree resemble those of the preceding, 
 was also born at Genoa, in 1632, and having first been instructed in the 
 rudiments of painting, by his father, studied under Valerio Castelli, from 
 whose precepts he became an excellent designer. 
 
 His etchings are universally admired for their intelligence, and the graceful 
 expression of the heads. They are spiritedly executed, with a decided hand, 
 and a rapid, yet effective touch. Biscaino died of the plague, in his native 
 city in 1657, at the premature age of twenty-four. 
 
 170. THE NATIVITY OF OUR LORD. 
 
 The Virgin, on her knees, is adoring the infant Jesus, just born. Behind 
 the Virgin, to the left, is St. Joseph, and on the right, at the top, are two 
 
77 
 
 angels in a glory, one holding a censer, and the other a vase of incense. This 
 is considered the chef-d'oeuvre of the artist. Bartsch, Vol. xxi. pa. 185, 
 No. 7. 
 
 Impression before the address of Daman. 
 
 MODERN ENGRAVERS OF THE SCHOOL 
 
 OF ITALY. 
 
 FRANCESCO BARTOLOZZI 
 
 was born at Florence, in 1730. He was instructed in drawing by FerreH, 
 and learnt engraving from Wagner. His etchings, after Ricci, Zucarelli, and 
 Guercino, are much admired, as they exhibit all the fire and spirit of 
 the originals. But his fame is not greatly founded on these ; as 
 it is to his works with the burin, that he is indebted for his settled 
 reputation. They will doubtless always be the admiration of discern- 
 ing judges; while his stippled works in colors, formerly the rage and 
 ^ fashion of a tasteless period, are now no longer the subjects of praise, among 
 even the moderately informed in art. 
 
 To this fashion, the talents of Bartolozzl were long slavishly subservient ; 
 and it is to be regretted, in addition, that even some of those flimsy produc- 
 tions, to which his name appeared, were entirely the performances of pupils 
 unworthy of his instructions. 
 
 He passed the greater portion of his life in London ; but died at Lisbon, in 
 1813, at the advanced age of eighty-three. 
 
 171. CLYTIE REPULSING THE GOD OF LOVE: 
 
 a circular engraving, after Annibale Carrache. All the talent of Bartolozzl 
 is to be found in this excellent work, particularly in the figure of Cupid. 
 Proof on India paper, before the letters. 
 
 172. THE DIPLOMA OF THE ROYAL ACADEMY OF LONDON: 
 
 after G. B. Capriani. In some respects, perhaps, this is the very best work of 
 both artists. 
 
 Impression presented by Bartolozzl to Mr. Lock of Norbury Park. 
 
78 
 
 GIOVANNI VOLPATO 
 
 was born at Bassano, in 1738, and died at Rome, about 1800. He was ori- 
 ginally an embroiderer, but attached himself to engraving from irresistible 
 inclination. Bartolozzi, who instructed him at Venice, was warmly disposed 
 to foster and encourage his talents, which had their opportunity of full dis- 
 play at Rome, where he was employed to engrave the admirable works of 
 Rajfaelle oT Urbino ; and this undertaking established his reputation. 
 
 173. THE SCHOOL OF ATHENS : 
 
 after the fresco, by Rajfaelle, in the Vatican Palace. Proof before the 
 letters. 
 
 RAFFAELLE MORGHEN. 
 
 This very celebrated engraver was born at Portici, near Naples, in 1761, 
 according to the account of his scholar, Nicolo Palmerini, who has published 
 a catalogue of his works, with a sketch of his life, and of the progress of his 
 success in engraving. He received the name of Raffaelle from his father's 
 respect to the great painter. 
 
 In 1778 he became the scholar of Volpato, at Rome, then the most eminent 
 engraver of Italy, whom, however, he has greatly surpassed ; and has attained 
 a reputation, which can scarcely admit of increase. Under Volpatd's 
 direction, he engraved several of the paintings of his great namesake, in the 
 Vatican, which did him infinite credit, and which are preferred to the works 
 of his master. 
 
 In 1792 he went to Naples, and in the following year to Florence, where 
 some of his best works are executed. He married Domenica Volpato, his 
 instructor's daughter, by whom he had a family of fourteen children : five of 
 these are living, and the artist himself, at the advanced age of sixty-six, 
 still continues his profession with delight. 
 
 174. ST. JOHN THE BAPTIST PREACHING IN THE DESERT: 
 
 after the picture by Guido Reni, in the collection of Earl Groscenor. 
 Finished proof, before any writing. Palmerinis Cat. 3rd. Edit. 1824, 
 No. 118. 
 
79 
 
 175. AURORA, ACCOMPANIED BY THE HOURS, PRECEDING THE CHARIOT 
 
 OF THE SUN : 
 
 after the celebrated fresco, by Guido Rem, on the ceiling of the Rosjngliosi 
 Palace, at Rome. Finished proof, before any writing-, the artists' names 
 excepted : an impression remarkable for its color. (P. 125.) 
 
 176. PORTRAIT OF GENERAL FRANCESCO MONCADA, DUKE OF OSSUNA: 
 
 This is after the celebrated equestrian portrait by Van Dyck. Finished 
 proof, before the inscription, and with the date 1592. (P. 162.) 
 
 177. VIRGIN AND CHILD : 
 
 after Raffaelle : a circular piece, called : " La Madonna delta seggiola.'" 
 Finished proof before any writing - . (P. 165.) 
 
 178. THE VIRGIN CONTEMPLATING THE INFANT JESUS ASLEEP: 
 
 a subject in a landscape, after Titian. Finished proof, before any writing. 
 (P. 177.) 
 
 179. Impression with the letters. 
 
 180. THE LAST SUPPER OF OUR LORD J 
 
 after the celebrated painting by Lionardo da Vinci, in the convent of the 
 Dominicans at Milan : one of the eleven proofs before the inscription ; per- 
 fectly finished, except one of the small plates on the table. (P. 180.) 
 
 181. THE PENITENCE OF THE MAGDALEN. 
 
 She is represented kneeling, with dishevelled hair, and clasped hands, in 
 a rocky landscape : after Murillo. Finished proof, before any writing. (P. 188.) 
 
 182. PORTRAIT OF RAFFAELLE D'URBINO : 
 
 after a picture by himself. Finished proof before any writing. (P. 191.) 
 
 183. Impression in which the left-hand is only traced, and the face, the cap, 
 and part of the dress are not finished. 
 
 184. PORTRAIT OF RAFFAELLE'S MISTRESS: 
 
 a subject called La Fornarina : after Raffaelle. (P. 215.) 
 
 Impression in which the outline of the figure is merely traced, but the 
 background finished : on this impression are engraved, by the artist, the words 
 
 " UNICA PROVA, R.M." 
 
80 
 
 185. Impression in which the bust is finished, except the bosom; but the 
 arm is only traced. 
 
 186. Finished proof before any writing. 
 
 187. THE VIRGIN, INFANT JESUS, AND ST. JOHN. 
 
 The Virgin holds an open book, and our Saviour has in his hand a linnet. 
 A subject usually called in France, "La Vierge au chardonneret :" after 
 Rqffaelle. Finished proof before any writing. (P. 213.) 
 
 188. THE VIRGIN AND CHILD. 
 
 A small oval in a square : Ludovico Carrache, pin. Finished proof, on India 
 paper, with the artists' names, but before the inscription. In this manner 
 very few impressions are said to have been taken. (P. 198.) 
 
 LUDOVICO SCHIAVONETTI 
 
 was born at Bassano in 1765, and was the son of a stationer. He discovered 
 an early taste for drawing; so much so, that when only thirteen years old, he 
 was placed under the tuition of Giulio Goldini, a painter. Having j)rofited 
 highly by the instructions he received in design, he applied himself to en- 
 graving ; and, afterwards, from his intercourse with Bartolozzi, in England, 
 derived such useful lessons, as rendered him an engraver of eminence, and 
 remarkable for freedom, blended with correctness. He died in 1810. 
 
 189. FLORENTINE SOLDIERS SURPRISED BY THE APPROACH OF THE 
 ENEMY, WHILE BATHING IN THE ARNO : 
 
 after the celebrated cartoon of Michelagnolo. Proof on India paper before 
 any writing. 
 
 GIUSEPPE LONG HI, 
 
 an eminent artist, now (1827) residing at Milan. 
 
 190. THE MAGDALEN IN THE DESERT. 
 
 She is represented in a recumbent posture, meditating on the contents of 
 a book open on the ground before her : after Corregio. Proof before any 
 letters, and before the arms. 
 
81 
 
 191. THE VIRGIN SEATED IN A LANDSCAPE, WITH THE INFANT SAVIOUR 
 
 AND ST. JOHN : 
 
 called La Madonna del Lago : after Lionardo da Vinci. Proof before any 
 letters, the artists' names excepted ; in which state six impressions only are 
 said to have been taken. 
 
 192. PORTRAIT OF MICHELAGNOLO BONARROTI : 
 
 after a picture by himself. Proof before the letters. 
 
EARLY ENGRAVERS 
 
 OF 
 
 GERMANY AND THE LOW 
 COUNTRIES. 
 
 M 2 
 
(g^S- called THE MASTER OF 1466. 
 
 F this meritorious artist, no certain particu- 
 lars are known to us. His engravings ap- 
 pear to be all original, and very delicate, 
 and are executed in a style peculiar to him- 
 self. Some of those described by Bartsch 
 and Ottley, are dated in 1465, 1466, and 
 1467, and are of great talent ; but no print 
 by him of an earlier date than 1465, appears 
 to have been noticed by any writer. The 
 first specimen by this artist, about to be 
 described, bears, however, the date of 1460 
 
86 
 
 or 1464. — Mr. Ottley, in his Introduction to Facsimile Specimens, 8fc. pa. 
 9, of the Catalogue, doubts the existence of the former of these dates 
 on the print here described. With every respect for Mr. Ottley, this 
 is a question of eyesight : its present possessor has scrupulously examined 
 it, and feels strongly inclined to believe that it is 1460. Its priority 
 as the earliest engraving on copper with a date, would not, however, 
 be impeached, were the last figure established as a 4, instead of a cypher. 
 One or the other it must necessarily be, and is clearly a first essay. This, 
 therefore, will be the earliest ascertained date on any impression from an 
 engraving on copper ; and, in consequence, our artist may more justly be 
 considered as entitled to the appellation of " the master of 1460 or 1464." 
 
 193. THE HOLY FAMILY. 1460 OR 1464. 
 
 The Virgin is seated in a small gothic chapel, with a crown on her head, 
 and her hair flowing on her shoulders : she holds the infant Saviour on her 
 left knee, and offers him an apple. On the right is St. Joseph, andon the other 
 side an angel, both holding long tapers ; the heads of the Virgin and child 
 are each encircled by a solid nimbus. Behind these figures, are three gothic 
 windows ; and the chapel is terminated by a kind of dome, with three other 
 small windows in the lantern. To the centre gothic pinnacle, are attached 
 the keys of St. Peter ; and above the arch of the chapel, outside the dome, 
 and just underneath the window nearest to the left, is the date 1460 or 1464. 
 
 The execution of this print, though neat, is very dry : it nevertheless 
 possesses a promise of the talent of the artist. Height 4 inches, width 
 2| inches. 
 
 194. THE MADONNA. 1467. 
 
 She is standing under an arch, on each side of which is a small shield, or 
 escutcheon. She wears a long veil, and appears to be praying, with her 
 hands joined before an open book, placed on a cushion. In the back-ground 
 are the gothic letter (&, and the date 1467 thus : I&6A. 
 
 This print was unknown to Bartsch ; but is described in the Appendix to 
 the master's works* on the authority of Heinccke?i 's Neuste Nachrichten, Vol.i. 
 pa. 395. Height 5 inches, width 4f inches. 
 
 195. THE ANNUNCIATION. 
 
 In the middle of this print, the Virgin is seen kneeling, with an open book 
 in her right hand : her left is raised, and she is looking down with an air of 
 
 * Vol. vi. of the Peintre Graveur, pa. 48. 
 
87 
 
 humility, listening to the words of the angel Gabriel, who, on the right of 
 the print, with his left knee to the ground, and holding an extended scroll 
 with both hands, is announcing his heavenly mission. The hair of the 
 Virgin is long and flowing, and the holy spirit is seen descending in the 
 shape of a dove on her head, which is encircled by a glory. To the left, in 
 the back-ground, is a gothic casement, with double shutters, and towards 
 the right a vase with lilies : under the casement is a small altar, with an 
 open book, and in the side of the altar, a little door, half shut. 
 
 This print, both in the design and execution, may be considered as one of 
 the most beautiful and graceful productions of the artist: it is without 
 name, date, or mark, and has not been hitherto described. 
 
 It would seem, at first sight, from the description, to bear some resemblance 
 to No. 9, of this master's works, in BartscKs Catalogue ; but, on comparison 
 of details, it is evidently a different print. Height 5f inches, width 4| 
 inches. 
 
 TWENTY-NINE PLAYING CARDS 
 OF A PACK OF FIFTY-TWO, 
 
 WITH TWO VARIATIONS, FOURTEEN DRAWINGS OF OTHER CARDS 
 OF THE SAME PACK, 
 
 AND ELEVEN ANIMALS ON SEPARATE PLATES, FORMING THE MARKS OF SUIT.* 
 
 • 
 
 No. I. — Suit, of which the points are expressed by Human Figures. 
 
 196. THE ACE. 
 
 A savage man, with a long beard, holds in the right hand a bow, and in 
 the left a long staff. This is a drawing. 
 
 197. THE DEUCE. 
 
 In the left corner, at the top of the card, a savage man is sitting on a bank, 
 
 * To preserve the series, the drawings are here described with the engravings, in the order of the pack. 
 
88 
 
 with the left leg stretched out, and holding a cluh with both hands. In the 
 right corner, at the bottom, is another male savage, sitting on a bank, and 
 holding a bow in his left hand : this is also a drawing. 
 
 the three is wanting. 
 
 198. THE FOUR. 
 
 On the left, at the top, is a naked savage, drawing a bow, opposite to a 
 man in a dress of leaf work or skins, whose back is turned, and who is 
 playing on a guitar. To the left, at the bottom, is a naked female savage, 
 with long hair, sitting : she holds out her left hand to another female 
 savage, who is seated on the right, and who holds a reel. 
 
 All the figures forming the points in this and the other engraved cards, 
 are printed from separate plates. 
 
 199. THE FIVE. 
 
 To the left at the top is a diminutive man, dressed in a clothing of leaf- 
 work : he extends his right leg in a dancing posture, on the knee of which 
 his right hand is placed, while he raises the forefinger of the left. To the right 
 is a naked savage, in the act of drawing a bow against the figure last described : 
 the reverse or counterpart of the figure similarly occupied in the four. In 
 the centre is an old savage, his legs extended, turned to the left, and holding 
 a long pole. To the left at the bottom is a man, in a dress of leaves, seen 
 sideways, playing on the guitar, opposite to a young female, half clothed in 
 the same leaf-work, and with long hair. Her left leg, on which her left 
 hand is placed, is crossed over the other leg, and she is beckoning with the 
 right hand to the figure playing on the guitar : she is a counterpart of the 
 third figure in the four. 
 
 200. THE Six. 
 
 On the left, at the top, stands a naked female, with long hair, holding a 
 veil, opposite to whom is the second figure of the four, with the guitar. 
 Below, on the left, is a naked female, sitting and holding a distaff ; and 
 opposite is the naked female who forms the third figure of the four. On 
 the left, at the bottom, is the first figure of the four, drawing a bow, oppo- 
 site to a man in a leaf-work dress, who is blowing a horn : this is a drawing. 
 
 the seven and the eight are wanting. 
 
 201. THE NINE. 
 
 To the left, at the top, is a lion sitting, turned to the right ; the reverse of 
 
89 
 
 the centre figure of the three. Next to this, are the first figure of the five, and 
 the last figure of the four. In the next range are the first and centre figures 
 of the five, (the latter in a reversed direction,) and the last figure of the six ; 
 and in the range at the hottom, are the first figure of the four, the last figure 
 of the five, and a man in a leaf-work dress, seen in front, playing on the 
 guitar, with his head turned a little to the light : this is also a drawing. 
 
 202. THE TEN.* 
 
 A young man is standing on a grass plot, turned to the right, dressed in a 
 long robe, with a cap on his head, from which hangs a scarf or veil, fringed 
 with oak leaves. His left hand is placed on his hip, and his right is raised 
 as in the act of speaking. To the left at the hottom, is the little grotesque 
 figure, which forms the last figure of the six, in a dress of leaf- work, blowing 
 a horn. 
 
 203. THE KNAVE. 
 
 This is a young man in a mantle and cap, covered with fringe. From the 
 cap hangs a scarf, which passes round his .right arm, and is held with his right 
 hand : his left is placed on a girdle, from which hangs a purse. On the 
 left at top is the same grotesque figure, playing on the guitar, which is found 
 in the card of the five. 
 
 204. THE QUEEN. 
 
 She is seated on cushions, turned towards the right, and is dressed in a 
 long robe, and a large mantle. In her right hand she holds a chaplet of 
 beads, over which her left hand is crossed. On her head she wears a veil, 
 surmounted by a crown : this veil passes round her neck, and descends over 
 her right shoulder, between her hands and her dress. On the right at the 
 bottom is a diminutive figure of a naked female covered with hair, in the 
 act of walking towards the left, and holding a long veil with both hands ; it is 
 the reverse of the first figure in the six. 
 
 205. THE KING. 
 
 He is seated in a regal chair, the arms of which are ornamented with figures 
 
 * It is difficult to distinguish tbe tens from the knaves; but the difference of value, as Bartsch ob- 
 serves of the German cards (Vol. x. pa. 70, note; and pa. 84) is denoted by the marks of suit being in 
 the one denomination at the top, and in the other at the bottom of the card. 
 
90 
 
 in niches : the left niche containing an apostle, in a long rohe, and the right a 
 figure with a cluh. The king, who is a man of pleasing features, has frizzled 
 hair, surmounted hy a crown, and wears a long heard : he holds a string 
 of beads in both hands, at the end of which is a tassel. On the left at 
 bottom is the same little grotesque figure, in a dress of leaf-work, seen almost 
 in front, and playing on the guitar, which forms the last figure of the nine. 
 
 No. II. — Suit, of which the points are expressed by Bears and Lions. 
 
 206. THE ACE 
 
 is represented by a large lion couchant, turned to the right, hut the face 
 looking to the front : this is a drawing. 
 
 207. THE DEUCE. 
 
 At the top is a lion rampant seen from behind and turned to the left, and 
 at the bottom is a lioness turned to the right : this is also a drawing. 
 
 208. THE THREE. 
 
 At the top on the left, is a lion rampant seen from behind, the reverse 
 of the first figure of the deuce. In the middle, on the right of the card, is 
 another lion sitting ; and at the bottom on the left, is a third lion turned 
 towards the left, but the head looking upwards to the second lion : — this is 
 likewise a drawing. 
 
 209. THE FOUR. 
 
 To the left at the top is a lion sitting, turned to the right, the reverse of 
 the centre figure of the three ; opposite is a lion passant, roaring. At the 
 bottom on the left, is a bear standing on his left hind leg, his head looking 
 up and his left paw raised ; and opposite to the bear is a lion roaring. 
 
 the five is wanting. 
 
 210. THE SIX. 
 
 On the left at the top, a lion passant is seen opposite to a Hon sitting. 
 These figures are the reverses of those forming the upper range of the four. 
 Below, a lion is looking to the right, the left paw raised, and is sitting 
 
91 
 
 opposite to a lioness couchant. At the bottom on the left is an old lion 
 lying down opposite to a lion sitting, the reverse of the last figure of the 
 three : this is a drawing. 
 
 211. THE SEVEN. 
 
 At the top on the left a lion rampant, a repetition of the first figure in the 
 three, is opposite to a bear, the reverse of the third figure of the four. Below 
 these is a bear sucking his paws, between a couchant lioness and a sitting 
 lion ; and at the bottom are the two lions which form the lower range of the 
 six. 
 
 212. THE EIGHT. 
 
 The top range is formed of the bear in the four, the first lion in the three, 
 and the third lion in the six. The second range contains the first two lions 
 of the four ; and the third range consists of the same lions which form the 
 bottom ranges of the six and the seven, with the addition of the bear sucking 
 his paws. 
 
 213. THE NINE. 
 
 The top range is composed of the first lion of the four, the bear sucking 
 his paws inverted, probably by mistake, and a bear in the attitude of climb- 
 ing. The centre consists of the bear in the four, between the first lion of that 
 card, and the lioness of the six ; and the bottom range contains the first and 
 last lions of the three, and a rampant Hon turned to the left. 
 
 214. THE TEN. 
 
 This is represented by a young man in a habit with one very long sleeve 
 hanging from his right arm, and bordered with a scalloped fringe On his 
 head he wears a large round hat with three ostrich feathers, and a veil or scarf 
 attached to the hat flows down behind : he has clogs on his feet, and is walk- 
 ing with his left hand on his breast. To the left at the bottom, is the lion 
 guardant, which forms the third figure of the six. — This print seems to be 
 an impression from the plate when retouched by the artist. 
 
 215. THE KNAVE. 
 
 A young man with frizzled hair, round which is a garland with a small 
 rosette, appears walking towards the right, and is dressed in a large 
 mantle, with fringe. In his right hand he holds a ring or jewel, and round 
 
92 
 
 his right arm is an embroidered scarf: a white veil flows behind his dress, 
 and round his neck is a collar or necklace. On the left at top is the lion 
 rampant, forming the first figure of the three. 
 
 216. THE QUEEN. 
 
 She is seen in full face, seated on large embroidered cushions : both her 
 hands are placed on her knees, and in the right is an apple or a ball. She 
 is dressed in a large robe and mantle, the latter of which is attached to her 
 left shoulder by a rosette, and she wears a rich necklace. Her eyes are 
 directed downwards, and on her head is a very singular crown, partly formed 
 of birds with extended wings, with a veil above them : at her feet to the 
 left is the lioness couchant of the six. 
 
 217. THE KING. 
 
 This monarch is seated with extended legs on cushions, dressed in a 
 habit almost entirely covered with fringes of oak-leaf: he holds an open 
 letter with both hands, which he appears to be reading. His hair is long 
 and curled, and he wears a crown from which hangs a veil, flowing down 
 behind. On the left, at the bottom, in the folds of his robe, is the lion look- 
 ing upwards, its head turned to the left, which is found in the last figure of 
 the three. 
 
 A duplicate impression of the same King, but retouched by the artist: instead 
 of the lion on the left, at bottom, the lion forming the third figure of the 
 six, and also found in the ten, No. 214, is here placed on the left at top. 
 
 No. III. — Suit, of which the points are expressed by Stags, Sfc. 
 
 218. THE ACE* 
 
 is expressed by a stag with large antlers, couchant and turned to the right, 
 but the face looking in front : this is a drawing. 
 
 * Bnrtsch, Pcintre Gravcur, Vol. x. p. 102, No. 2, describes a card which seems to be the aoo in 
 
 question. 
 
87* 
 
 219. THE DEUCE 
 
 is composed of an unicorn with a tremendous horn, turned towards the right, 
 but his face looking to the opposite side, and of a handsome stag with 
 large antlers, running towards the left. 
 
 220. THE THREE. 
 
 At the top, on the left, is a stag with inclined head, scratching his face 
 with his hind leg : to the right is another stag browsing ; and below, a 
 third lying down, with his head turned towards the right. 
 
 221. THE FOUR. 
 
 At the top, on the left, is a stag with short horns standing opposite to the 
 browsing stag of the three : below, is the stag lying down, found in the deuce ; 
 and opposite is an elk. 
 
 THE five and six are wanting. 
 
 222. THE SEVEN. 
 
 At the top is a doe, between the first stag of the four, and the first stag of 
 the three. In the centre is the browsing stag of the three ; and at the bottom 
 are two fawns and the elk. 
 
 223. THE EIGHT 
 
 is composed of all the stags and fawns of the seven, exactly reversed in their 
 points of view, with the addition of a beast like a lama in the centre of the 
 bottom range. 
 
 224. THE NINE. 
 
 The top and bottom ranges of this card are similar to those of the eight ; 
 and between the two fawns of the seven and eight, is a reversed representa- 
 tion of the large-horned stag of the three. 
 
 225*. THE TEN. 
 
 A man dressed in a mantle, with a fur cap on his head, is walking towards 
 the left on a grass-plot : the fingers of his right hand are seen beyond the 
 mantle in the act of gesticulating. To the right at the bottom is the fawn 
 couchant, which forms the centre figure in the bottom range of the seven. 
 
88* 
 
 226*. THE KNAVE : 
 
 This is a grotesque figure, with his head uncovered, and with frizzled hair, 
 turned to the right : he is dressed in a long coat, edged with fur ; and round 
 his middle is a girdle, from which hangs a dagger. He has clogs on his 
 feet, and holds an open letter in both hands, which he appears to read. 
 To the left at the top is the doe, which forms the centre figure in the first 
 range of the seven. 
 
 227*. THE QUEEN. 
 
 She is seated on a grass-plot, her long hair flowing over her shoulders, 
 and her head adorned with a crown. In her right hand she holds a small 
 mirror, into which she appears to be looking, and where the reflexion of her 
 features is seen. She seems to be dividing her tresses with her left hand, and 
 is dressed in a long robe, which falls all round her in great folds : in the 
 midst of these folds is the browsing stag of the three. 
 
 228*. THE KING. 
 
 He is seated on a gothic throne, his arms crossed over his breast : on 
 his hands are gloves with tassels, but his fingers are concealed by his mantle, 
 which likewise covers the greater part of his person, and the seat on which 
 he is sitting. To the left of the print, at the bottom, is the fawn which 
 forms the first figure in the lower range of the seven. 
 
 No. TV. — Suit, the points of which are expressed by Birds. 
 
 229*. THE ACE. 
 
 This is a large owl turned to the left, but the face seen in front : it is a 
 drawing. 
 
 230*. THE DEUCE. 
 
 A bird at top, like a stork, is looking down upon a bird with expanded 
 wings : this is also a drawing. 
 
89* 
 
 231*. THE THREE. 
 
 At the top is a bird like a heron, with expanded wings, looking down at a 
 cassowary, whose head is turned up and the right leg extended : to the right 
 near the bottom, is the uppermost bird found in the deuce. 
 
 232* THE FOUR. 
 
 At the top, on the left, is a crane, and opposite to this bird, an adjutant. 
 Below is a vulture striding towards another bird of prey, who is stooping 
 with a snake between his beak. 
 
 233*. THE FIVE 
 
 is composed of an owl surrounded by four small birds, two of whom above 
 the owl are flying : this is a drawing. 
 
 the six is wanting. 
 
 234*. the seven. 
 
 In the centre is the owl of the five, surrounded by six birds of various 
 kinds, among which a hoopoe is distinguishable : three of the smaller birds 
 are reversed representations of others in the five. 
 
 235*. THE EIGHT. 
 
 At the top are three imaginary birds, one of which grasps its beak with 
 the left claw. In the centre are two birds with tufted crests, looking fiercely 
 at each other ; and at the bottom are three others, one of which is dress- 
 ing its feathers. 
 
 236*. THE NINE. 
 
 At the top are three tufted birds, one dressing its feathers. In the centre 
 are a pelican, a bird with outstretched wings, and a stork ; and at the bot- 
 tom are three other birds, the one in the centre with expanded wings. 
 
 the TEN is wanting. 
 
 237*. THE knave: 
 
 This is represented by a young man, in the dress of a herald, without a 
 cap, his bushy hair encircled with a garland. His robe is ornamented with 
 
90* 
 
 a deep border of oak leaves. He is turned to the left, and wears ancle boots 
 laced on the outside. On the left at the top is a bird of prey, with expanded 
 wings, its head partly concealed by the left : of this bird there is not any 
 repetition. 
 
 238*. THE QUEEN. 
 
 She is seated on a throne, formed by a large cushion, and is dressed in 
 a robe with enormous sleeves, the ample folds of which cover her whole 
 person. On her head is a sort of cap, ornamented with one large and two 
 small rosettes, and surmounted by a veil, embroidered and fringed. She 
 is turned towards the left, and her crown is placed on a cushion, near her 
 right arm. On the left at the top, is the bird which forms the third figure 
 of the seven. 
 
 A duplicate impression of this Queen, but apparently retouched by the 
 artist ; and instead of the bird on the left at top, is the doe which forms the 
 second figure in the seven of stags. 
 
 the KING is wanting. 
 
 Each of these cards is about 5| inches in height, by inches in width.* 
 
 T7ie eleven separate figures, which are marks of suit, are as follow: — 
 
 A lion rampant : used in the three, the knave, &c. 
 
 A duplicate of the same lion. 
 
 a bear walking, turned to the left. 
 
 A lion in A sitting posture : — the same figure as in the three, the 
 eight, the nine, and the king. 
 
 A lioness rampant : — also forming the last figure of the nine. 
 
 * Three cards of a German pack are described by Bartsch in the Tenth Volume of the " Peintre 
 Graveur," " le valet," pa. 93; " le roi," pa. 100, No. 7; and " un roi," pa. 119, No. 6; which 
 resemble, in some particulars, Nos. 237, 228, and 205, in the present Catalogue ; but they are certainly 
 not the same. 
 
91* 
 
 A lion passing to the right : — used in the four and the eight. 
 
 A lion with A large mane, sitting, and turned to the right : — used in 
 the six and the nine. 
 
 a bear standing on the left hind leg, with his paw raised: — used 
 for the centre of the nine. 
 
 A LION PASSING TO THE LEFT AND ROARING : — Used in the four. 
 
 a lion guardant : — used in the six, the eight, the ten No. 214, and 
 duplicate King, No. 217. 
 
 A bear on His back, sucking one of his paws : — used in the seven, 
 the eight and the nine. 
 
 a lioness couchant : — used in the six, the nine and the queen. 
 
 All these plates are of an irregular form, several of them the exact shapes 
 of the figures which they contain : those indicating the suits on the court 
 cards, are all impressed in spaces curiously left for the purpose, in the work 
 of the larger plates. 
 
 Nos. 214, the duplicates of 216 and 217, and the small plates of animals, 
 are from the Collection of the Count de Fries, all the others are from the 
 Allen Collection. One of the knaves, and a few of the animals, pasted 
 together, are to be found in the Royal Library, at Paris. 
 
 UNKNOWN ARTIST, WHOSE ENGRAVINGS ARE MARKED 
 
 * -w 
 
 Bartsch considers this artist to have been a scholar of the master of 1466. 
 We have no document, however, but his works, to point out the period in 
 which he flourished. 
 
 * In Mr. Ottleys /\ Enquiry, pa. 623 & 624, by mistake this mark is prefixed to the description of 
 engravings marked X only, and vice versa. 
 
92* 
 
 225. DESIGN OF A GOTHIC CHAPEL. 
 
 This chapel is half open, and is surmounted by a dome with three 
 high casements. The floor is paved with squares of black and white 
 marble : it is an excellent specimen of the artist's talent. Bartsch, Vol. vi. 
 pa. 61, No. 18. 
 
 226. THE RAISING OF LAZARUS. 
 
 This print is very singular both in its design and execution ; for the mode 
 of engraving has produced a partial and curious effect of bur. The mark is 
 in the middle at bottom. The present impression is most probably that 
 described by Bartsch, Vol. vi.pa. 66, No. 1. and by Zani, e. M.part 3, Vol. 
 vi. pa. 91. 
 
 227. THE VIRGIN AND CHILD.* 
 
 The Virgin is seen in full face : she is standing, holding the infant Jesus 
 on her arm, and an apple in her right hand. The mark is in the middle, at 
 bottom. Bartsch, No. 3. 
 
 These two specimens are also mentioned in Be Mutt's " Journal Zur 
 Kunstgeschicte," Vol.n.; and in Jansen," Stir Vorigine de la gravure," Vol. i. 
 pa. 134, in the note, as forming Nos. 18 and 19, in the Praim cabinet : — they 
 were afterwards in the collection of the Count de Fries. 
 
 * Mr. Ottley, in his Enquiry, pa. 619, describes a Virgin and Child by this artist, in the British 
 Museum, considering it to be one not mentioned by Bartsch. It is, however, undoubtedly the print 
 No. 3, in Bartsch's Catalogue; though it is not easy to say, whether the Virgin holds an apple, as stated 
 by Bartsch, or a rose, as mentioned by Ottley. 
 
 UNKNOWN ARTIST, 
 
 SOMETIMES CALLED 
 
 WHOSE ENGRAVINGS ARE MARKED THUS. 
 
93 
 
 UNKNOWN ARTIST, WHOSE ENGRAVINGS ARE MARKED 
 
 THUS, 
 
 Of this singular artist, no particulars have reached us. It is presumed 
 that he nourished in 1479; and he has by some, hut very erroneously, been con- 
 sidered a brother, or relative, of Martin Schongauer . 
 
 228. THE CONCERT. 
 
 A young lady is sitting, and playing on the dulcimer, while a young 
 gentleman opposite to her, also sitting, is accompanying her on the guitar : 
 the dulcimer is placed on a small round table. This print is circular. Bartsch, 
 Vol. vi. No. 19. 
 
 229. A GROTESQUE SUBJECT. 
 
 An old male dwarf is wheeling a female dwarf in a barrow. Bartsch, No. 20. 
 
 This specimen is likewise mentioned in De Murr's Journal, Vol. ii.pa. 197, 
 and in Jansen, Vol. i. pa. 136, and is the impression there described, as in the 
 Praun cabinet. 
 
 230. THE SAVAGE AND HIS FAMILY. 
 
 They are seated in a landscape ; the savage, his wife, and their infant 
 child. In this print there is a curious effect of bur, similar to that in the 
 raising of Lazarus, by the artist called Stoss, but more striking, as if pro- 
 duced by the dry point. This impression is mentioned by Zani, e.m. part 2, 
 Vol.ii. pa. 263 & 264. 
 
 This artist is quoted by Matthias Quadt* as the most ancient German en- 
 graver. It is stated that he was a shepherd in the country of Berg ; that, 
 although a rude artist, a designer from nature ; and that he was followed by 
 
 FRANZ VON BOCHOLT. 
 +FvB 
 
 * Herrltchkeit der Deutschen Nation, pa. 426. 
 
94 
 
 Israel van Mecken, &c. This account Heinecken and De Murr have treated 
 as fabulous. Doubtless, however, the artist whose plates are marked 
 as above, preceded Israel van Mecken; since the latter has retouched 
 many of the plates engraved by the former, and has substituted his own 
 initials — a fact well authenticated, and likewise confirmed, by a specimen in 
 this collection. 
 
 Bartsch considers Bocholt to have been the Master of Mecken. Ottley is of 
 opinion that his manner of engraving has a considerable resemblance to that 
 of the Master of 1466, and this would certainly seem to be the case. 
 
 231. ST. PHILIP. 
 
 The saint is standing, and turned towards the right, with an open book in 
 his left hand, and a staff surmounted with a cross, in his right. Bartsch, No. 10. 
 
 232. ST. MICHAEL OVERTHROWING THE DEMON. 
 
 The saint is dressed in a long robe, and is thrusting his lance into the 
 jaws of the devil. The initials F.v.B are in the middle of the print at bottom. 
 Bartsch, Vol. vi. No. 30. 
 
 233. ST. GEORGE. 
 
 The saint is represented conquering the dragon, which is seen on its back 
 in the foreground, pierced with the lance, — part of which the dragon is 
 breaking. At a distance, to the left, is the queen, on her knees, praying, 
 and beside her is a lamb. Bartsch, No. 33. 
 
 First impression ; undescribed by Bartsch, or Ottley, with the letters F.v.B, 
 which were afterwards altered by Israel van Mecken, to his own initials, 
 when the plate was retouched by him ; in which state it is usually found. 
 
 UNKNOWN ARTIST, WHOSE ENGRAVINGS ARE MARKED 
 
 THUS, 
 
 This engraver, according to Ottley,was a native oiZwoll, a town in Holland, 
 in the department of Overissel, or a resident there. His compositions are 
 often full of expression, though very deficient in correctness. He is called 
 by the French, " Le maitre a la navette" from the mark of the shuttle, which 
 distinguishes his prints. No particulars of him, however, are known. His 
 abilities appear to have been considerably under-rated by most writers. 
 
95 
 
 234. OUR LORD CRUCIFIED BETWEEN THE THIEVES. 
 
 In the middle of the foreground, Mary Magdalen is expressing her afflic- 
 tion ; while another of the Maries, and St. John, are supporting the Virgin, 
 who has fainted. On the right is a dog, which appears to he barking at 
 the Magdalen. The name of the artist is at the top, and the mark in the 
 middle at bottom, below the line surrounding the subject : this is a capital 
 performance of the artist. Bartsch, Vol. vi. No. 6. It is not mentioned by Zani. 
 It shews a great deal of talent, and had it been seen by Jansen, who does 
 not appear to have known it, his censure of this artist's works would have 
 been perhaps less severe. — Vide, " Essai sur Vorigine de la gravure" Vol. i. 
 pa. 150, note. 
 
 MARTIN SCHONGAUER. 
 
 HIS meritorious engraver was, as it is now well as- 
 certained, born at Colmar, in 1453. He enjoyed the 
 reputation of being one of the greatest artists of 
 1 his time. His pictures were anxiously bought up, 
 and transmitted to Italy, Spain, France, England, 
 and many other parts of the world. Sandrart 
 relates, that he was on terms of intimate corres- 
 pondence with Pietro Perugino ; and Vasari tells 
 us that Michelagnolo Bonarroti, when a boy, was 
 ,?//' so pleased with Schongauer's print of " St. Anthony 
 tormented by devils," that he copied it in colors. 
 
 The works of Schongauer, as Mr. Ottley observes, "display great invention, 
 notwithstanding the stiffness and meagreness of his naked forms. His 
 draperies are well cast, and his heads are pleasing and expressive, particularly 
 those of his Madonnas, and there is an air of religious modesty and humility 
 in most of his saints and angels." Certainly, in these particulars, he has ex- 
 ceeded all his contemporaries, though he has occasionally shewn himself 
 prominently eccentric. He appears to have acquired great command of the 
 burin from the practice of goldsmiths' work, with which he must have been 
 intimately acquainted. He was certainly, at all events, an ornament to the 
 age he lived in, and we cannot fail to be pleased with the fertility he has 
 exhibited in the resources of his own genius. 
 
96 
 
 •235. THE DEATH OF THE VIRGIN. 
 
 This subject is a fine composition of numerous figures, and is one of the 
 most finished and well known of our artist's productions. Bartsch, Vol. vi. 
 pa. 135, No. 33. Ottley, 651. 
 
 In the present impression, the mark of Schonganer is not engraved on the 
 plate, but appears to have been afterwards added with small stampillae. 
 
 Bartsch, (pa. 135, in the note) mentions Zan-Vs opinion, that in several of 
 the prints of this master, the mark is added with a stampilla ; instancing 
 u Hie Death of the Virgin" and " The Temptation of fit. Anthony:" but 
 believes this assertion of Zani, to be without foundation. His reason for 
 so thinking, is that the letters of any two prints ought to be perfectly similar ; 
 but that in comparing them together, the marks cannot have proceeded from 
 the same stampillae, and it is not to be supposed that Schongauer had many 
 and different ones for the same purpose. 
 
 On examining the impression of the death of the Virgin, just described, it 
 will be seen, without difficulty, not only that the mark of the master has been 
 added, as described by Zani, but that the three characters composing that 
 mark, are from three separate stampillas, the contours of which are distinctly 
 visible. 
 
 236. GOD THE FATHER CROWNING THE VIRGIN. 
 
 The Virgin is on her knees before God the Father, in a gothic edifice ; and 
 an angel is seen towards the left, placing a cushion as a seat for the 
 Virgin. Bartsch, No. 72. 
 
 237. ST. JAMES THE ELDER DEFEATING THE INFIDELS. 
 
 This apostle and patron saint of Spain, appears to be assisting the christian 
 army in conquering the Saracens. This plate is said to have been the last 
 work of our artist, as a portion of it, to the left at bottom, is unfinished. 
 Bartsch, No. 58. 
 
 ISRAEL VAN M EC KEN. 
 
 Heinecken and Zani have confidently asserted their belief, that the en- 
 gravings which bear these marks, are not the production of one individual 
 artist, but of two persons named Israel ran Mecken, who were father and 
 
 1 
 
97 
 
 son. This opinion Bartsch has strenuously opposed in his Peintre Graveur, 
 Vol. vi. pa. 184 : insisting, that although the numerous pieces bearing 
 one or another of the above marks, are not all of equal merit as respects the 
 mechanism of engraving ; some of them bearing evidence that they were the 
 productions of youth, and some of more matured talent ; still they display so 
 marked a resemblance in style, both as to design and execution, as to render 
 it impossible for any jierson, comparing them with each other, not to feel 
 persuaded that the whole are the works of one and the same master. 
 
 Mr. Ottley appears to differ from Bartsch ; more particularly as to some of 
 those pieces considered to be early productions. He is inclined to think that 
 both the Israels practised engraving, and that the plates marked " I.v.M," 
 or " Israhel v.M." were the last executed, and are the works of the son : the 
 reasons which he gives for this opinion seem satisfactory. 
 
 There is no account of the birth or death of the elder Israel ; but from 
 a document in the British Museum, copied from a monumental brass, the 
 death of the younger, it appears, took place in 1503. Both appear to have 
 been natives of Bocholt, or residents there. Bartsch 's censure of the engrav- 
 ings of Van Mecken, is undoubtedly too harsh. Though decidedly inferior 
 to several contemporaries, and possessing no common portion of gothic 
 stiffness, many of their pieces have considerable merit in the execution ; 
 and the Life of the Virgin may be fairly quoted in support of this. 
 
 238. THE PRESENTATION OF THE VIRGIN. 
 
 She is ascending the steps of the temple. This piece is marked " israhel 
 v. and is the third print in the set of the Life of the Virgin. Bartsch, 
 Vol. vi. pa. 215, No. 32. 
 
 239. THE CORONATION OF THE VIRGIN. 
 
 She is represented kneeling, in the middle of the print. This is a rich 
 com])osition, and the last of the same set : it is inscribed, " israhel. v. m. tzu 
 1)oeckhol Bartsch, No. 41. 
 
 240. THE VIRGIN, WITH THE INFANT JESUS. 
 
 The Virgin is standing on a crescent, with the child Jesus in her left arm, 
 and in her right hand is a crucifix. Two angels are holding a crown over her 
 head, while others are playing on musical instruments : below, are the arch- 
 angels Gabriel and Michael, overthrowing the demons. 
 
 This print is marked in the margin, at bottom, thus : " israhel v. m. a" 
 1502 : it is the only dated engraving of the artist. Bartsch, No. 49. 
 
 o 
 
98 
 
 241. THE DEATH OF LUCRETIA. 
 
 She is represented killing herself,in the presence of her husband Collatinus, 
 and the chief persons of Rome. It is inscribed, " pro nece, lucretie pudor" 
 Sec, and is marked " israhel, v. m." Bartsch, No. 168. 
 
 242. THE MORRIS DANCE. 
 
 In the centre of the foliage of a species of acanthus plant, stands T7ie Maid 
 Marian ; on the left below, the Fool with his bauble ; and on the right, the 
 Piper ; while six other men are dancing round Maid Marian, in various atti- 
 tudes. In the middle, at the bottom, is a dog gnawing a bone ; and in the 
 margin below, " israhel, v. at." — Bartsch, No. 201. — This print is particularly 
 noticed in Mr. Donee's admirable dissertation on the Morris Dance of 
 Shakspeare. A copy of it likewise is introduced by Mr. Douce in his work. 
 
 UNKNOWN ARTIST, WHOSE MARK IS 
 
 T W 
 
 243. SAINT CHRISTOPHER CARRYING THE INFANT JESUS* 
 
 On the left, in the foreground, is a person in a German habit, holding a 
 small shield in his right hand, and in his left a lantern. At his feet is a 
 coat of arms, bearing a large nail and a small saw ; and to the right is a rabbit 
 at the foot of a tree. The mark is seen on a tablet above the lantern. Bartsch, 
 Vol. vi. pa.SU. 
 
 WENCESLAS D'OLMUTZ. 
 
 Of this curious master very little is perfectly known. He is stated to have 
 been a goldsmith, upon the authority of a German inscription, on an impres- 
 sion of a print, in the collection of Duke Albert, of Saxe Teschen. That he 
 lived at Olmutz, in Moravia, we learn from the engraving next described, and 
 that he flourished there in 1481. Bartsch ascribes all the ancient engravings 
 marked with W to this artist, but Ottley differs in opinion ; fully persuaded 
 that these engravings are not all by the same hand ; but he has not been 
 able, it appears, to make any perfectly satisfactory discrimination, for want 
 of opportunities for comparison. 
 
 * This print is the only production of the artist noticed by Bartsch : there are, however, some small 
 circular cards by the same engraver. 
 
99 
 
 244. THE DEATH OF THE VIRGIN. 
 
 The same composition as that by" Martin Schongauer : at the bottom is the 
 following h tscription : — 
 
 1£81 
 
 WE KCESLKVS bE OLOHVC£ IB I 6eH . 
 
 Mr. Ottley is uncertain, whether this, or the print by Schongauer, is the 
 original composition. Bartsch, in describing it, states that there is a first 
 impression before the shading in the background. Bartsch, Vol. vi. pa. 328, 
 No. 22. 
 
 UNKNOWN ARTIST, WHOSE ENGRAVINGS ARE MARKED 
 
 w. 
 
 245. SAINT SEBASTIAN. 
 
 The Saint is tied to a tree, and pierced with arrows. The letter W is 
 engraved in the middle, at bottom. Bartsch, Vol. vi. No. 20. 
 
 Bartsch describes a copy of this print, with a minute variation in the 
 branch of the tree at top, from which the present specimen would seem to be 
 that copy ; but it is apparently an erroneous observation, as the print 
 above described bears every appearance of originality. 
 
 246. SAINT CATHERINE. 
 
 She is standing on the broken wheel, and wears a crown. Height 
 3| inches, width 2f inches. 
 
 This print has not been described by Bartsch, Ottley, or any other writer. 
 
 247. THE EFFECTS OF JEALOUSY. 
 
 A naked female between the knees of a satyr, holds a huge jaw-bone ; 
 while a second female, who appears to have surprised them, is in the act of 
 felling the former with a large club, and another satyr is attempting to ward off 
 the blow. Bartsch calls this subject the effects of jealousy, and considers the 
 print to be a copy by Wenceslas cVOlmutz of an engraving by Albert 
 Durer. Ottley, in his Enquiry, (Vol. u. pa. 681 J is of opinion that 
 it is an original production of Wohlgemuth, the master of Albert Durer : it 
 does not bear any accurate resemblance to the death of the Virgin, by Wen- 
 ceslas. Bartsch, No. 52. 
 
 O 2 
 
100 
 
 UNKNOWN ARTIST, WHOSE ENGRAVINGS ARE MARKED 
 
 This artist is called by Sandrart, Albert Glockenthon; but nothing certain is 
 known of him, nor does there appear to be any just foundation for the name 
 thus given, though constantly repeated by other writers. 
 
 248. THE NATIVITY OF OUR LORD, WITH THE MAGI. 
 
 The Virgin is represented in a ruinous building, on the left of the print, 
 surrounded by three angels, who are adoring the infant Jems; while St. 
 Joseph is on his knees, holding a candle. 
 
 The three Magi appear arriving from the right, each with his gift. 
 The star is in the sky, and the mark of the artist is seen in the middle at 
 bottom. This print is justly considered the chef-d'oeuvre of the engraver. 
 Bartsch, Vol. vi.pa. 344, No. 1. Zani, e.m. part 2, Vol. v. pa. 41. 
 
 ALART DU HAMEEL. 
 
 An artist, native of or resident at Bois le Due, in Dutch S. Hertoghen 
 Bosch, or S. Hertoghen Bos, which he has signified by adding the word 
 Bosche to his name, on some of his very singular productions. 
 
 249. THE LAST JUDGMENT. 
 
 This composition is from the design of Jerome Bos, with three latin inscrip- 
 tions : but the awful subject is depicted in a most fantastic, and. it ought 
 to be added, highly reprehensible manner. At the top of the print, a little 
 towards the left, is the name Bosche, and the monogram prefixed to this 
 article. 
 
 There is no other information recorded of this singular artist, than that he 
 was a native of Landshut, a town in Bavaria, on the river Iser. This 
 is stated by Bartsch, on the authority of Pe Murr's Journal, Vol.ii. pa.24l. 
 
101 
 
 His works all possess a surprising- degree of quaintness, bordering on the 
 grotesque. 
 
 250. THE SCROLL PRESENTED. 
 
 This subject, so named by Bartsch, represents the interior of three vaulted 
 chambers ; the central one of which is supported by a large pillar, orna- 
 mented with sculpture, and surmounted by the statues of two buffoons, seated 
 on either side of a tablet, on which is the date 1499. This date is repeated 
 in reversed figures, about the middle. In the foreground, on the left, is a 
 man sitting, playing on the bagpipes ; and near the pillar in the centre, is a 
 young lady, also sitting, of a modest aspect, with a lap-dog on her knee, to 
 whom a gentleman behind the pillar, appears presenting a scroll, whilst a 
 second, in a cuirass, seated on the right, is addressing her. On the 
 collar of the lady's dress are these letters : " am. wnd" and on the left shoulder, 
 " v. jv." In the background, on the left side, a young woman is seen going 
 out at a door, and pointing to a man at another door : the name of the artist 
 is at the bottom. This print is one of the capital productions of the master. 
 Bartsch, Vol. vi. pa. 369, No. 11. Ottley, 697. 
 
 UNKNOWN ARTIST, WHOSE ENGRAVINGS ARE MARKED 
 
 These initials are said, by Sandrart, to denote an artist by some called 
 Martin Zinck, by others, Martin Zatzinger. In the catalogue of 
 engravings written by Paul Behaim, and by Be Murr in his Journal, they 
 are said to signify Matthias Zingel. They have also been interpreted 
 to mean Matthew Zagel. His name is, in fact, quite unknown. From 
 the print of the Entertainment, and its companion, (Nos. 13 and 14 
 of Bartsch's Catalogue,) the former of which is also described below, 
 it is conceived that he resided in the city of Munich. His design and exe- 
 cution would lead to a supposition, that his productions are of a more 
 ancient date than those of some of his predecessors. 
 
 251. THE DECOLLATION OF SAINT CATHERINE. 
 
 She is kneeling, in the middle of the print, turned towards the right. The 
 executioner, who is on the left behind her, with the emperor and his attend- 
 ant, is in the act of drawing his sword ; and, on the right, are three angels, 
 without wings, who kneel, holding a linen cloth, in which to receive the 
 Saint's head. In the distance is a group of five soldiers, three of them on 
 horseback. Bartsch, Vol. vi. pa. 374, No. 8. Ottley, 699. 
 
102 
 
 252. AN ENTERTAINMENT AT THE COURT OF MUNICH. 
 
 The Duke of Bavaria is seen seated at table with a lady, playing at cards, 
 and from the score of each party, it would seem that the lady has the best 
 of the game. Three of the grandees of the court are represented in the fore 
 ground, preparing to dance with their mistresses ; while a fourth is seated 
 with his partner, on the right, and a fifth is advancing towards a lady, seated 
 on the same side. In a gallery, on either hand, are musicians ; and in that 
 on the right, a court fool : at the door of the chamber on the left, is a guard 
 endeavouring to keep out the populace. Over the Duke's head is the date 
 1500, and in the middle, at bottom, the mark of the artist. Bartsch, No. 13. 
 Ottley, 700. 
 
 UNKNOWN ARTIST, WHOSE ENGRAVINGS ARE MARKED 
 
 I £. 
 
 The German engravings upon which these initials are found, appear to be 
 copies from prints by Martin Schongauer. Mr Ottley, therefore, thinks that 
 there is little ground for the opinion that they are the work of Hans Culm- 
 bach, who is said to have been the disciple of Jacob Walch, and after his 
 death to have studied under Albert Durer. 
 
 253. CHRIST CROWNED WITH THORNS. 
 
 This print is one of a set of the Passion of our Lord, copied from Schon- 
 gauer, and in the same direction as the original. Bartsch, Vol. vi. pa. 384. 
 No. 5. 
 
 Of this print (No. 5), as well as Nos. 1, 6, 8, 9, 10, and 11, of the same set, 
 Bartsch has not given a detailed description, as it appears that he had never 
 seen those particular numbers. 
 The whole set has been retouched ; but the present specimen is in the first state. 
 
 UNKNOWN ARTIST, WHOSE MARK IS 
 
 254. ONE OF THE FOOLISH VIRGINS : 
 
 a half length figure. Part of her hair falls on her right shoulder, and she holds 
 the empty lamp with both hands, the left being placed on the opening. — 
 Bartsch, Vol. vi. pa. 390. 
 
103 
 
 This is the only known production of this artist. Martin Schongauer 
 engraved the same suhject. The specimen here described, is from the 
 collection of the Count de Fries. 
 
 UNKNOWN ARTIST, BY WHOM THERE IS AN ENGRAVING 
 
 MARKED 
 
 >AV- 
 
 Bartsch describes four prints with these two initial letters, but it does not by 
 any means satisfactorily appear that these engravings are by one artist. Three 
 of the marks, are as different from each other as the productions 
 on which they are found ; and between the specimen here described, and 
 the others, certainly the variance of style and execution, is as manifest 
 as the difference in the marks. Mr. Ottley says, that the following piece 
 may be after a design of Schongauer, as it much resembles his style, and 
 that the engraver, being a foreign artist, meant by these initials, to signify 
 Beau Martin, or Buon Martino, the name by which Schongauer was known ; 
 but for this conjecture, it is submitted, the grounds are far too slight. 
 
 255. THE JUDGMENT OF SOLOMON. 
 
 This is a rich composition of numerous figures. Solomon is seated on the 
 throne, in the middle of the print, the dead infant lying at his feet. On the 
 right are the two mothers, and on the left is the executioner, with his sabre, 
 about to take the living infant from an attendant. On each side of the 
 throne are the nobles of Solomon's court : this print is a chef d'ceuvre. The 
 mark here copied, is in the middle, at bottom. Bartsch, Vol. vi. pa. 392, 
 No. 1 . Zani, e. m. part 2, Vol. m. pa. 337. 
 
 UNKNOWN ARTIST, WHOSE ENGRAVINGS ARE MARKED 
 
 This artist is known among the French by the name of Le Maitre a V dncre, 
 from the device between the initial letters ; but the real name is altogether 
 unknown, and the definition of his device is not certain. 
 
 256. THE VIRGIN AND CHILD. 
 
 The Virgin is seated in a chamber, with the infant Saviour in her lap. In 
 
104 
 
 her left hand is a bonk, in which she appears to be reading, and in her right 
 a rose, which she presents to the child. The mark is in the middle, at bottom. 
 Bartsch, Vol. vi. pa. 396, No. 3. 
 
 UNKNOWN ARTIST, BY WHOM THERE IS AN ENGRAVING 
 
 MARKED 
 
 257. SAINT JOHN THE EVANGELIST. 
 
 The Saint is writing his book of Revelations, in the island of Patmos. The 
 mark is in the middle, at bottom. Bartsch, Vol. vi. pa. 397. 
 
 This appears to be a copy, in a reverse direction, of Schongauer's print, 
 No. 55. 
 
 UNKNOWN ARTIST, BY WHOM THERE IS AN ENGRAVING 
 
 MARKED 
 
 258. A LANDSCAPE. 
 
 On the right is a river, with various buildings on its banks ; and to the 
 left, a high rock occupies all the same side. Below this rock is a small hill, 
 with a few trees ; and, at the foot of the hill, a wall with a door in it. In 
 the foreground, to the left, is a fawn ; and to the right, a man spiritedly 
 drawn, carrying a load on his head, near the river's edge. Hie mark is in the 
 middle, at bottom. Bartsch, Vol. vi. pa. 398. 
 
 ENGRAVING BY AN ARTIST, WITHOUT NAME OR MARK. 
 
 259. VIRGIN AND CHILD. 
 
 The Virgin is seated with the child Jesus on her lap, on a grass plot, and 
 wears a crown of the most curious kind. 
 
 This veiy early engraving is delicately executed with dots. It is a speci- 
 men of great curiosity and interest, and from its style and execution, is pro- 
 bably the earliest specimen of the dotted manner known to exist. Bartsch 
 describes it in Vol. x. pa. 12, No. 5 ; but it is singular that he has not re- 
 marked on the peculiarity of this engraving, though it is conceived to be the 
 identical print from which his description was taken. 
 
V 
 
 105 
 
 EARLY GERMAN ARTISTS, 
 
 WHOSE NAMES ARE UNKNOWN, AND WHO ARE NOT MENTIONED BY 
 BARTSCH OR OTTLEY. 
 
 WITH THE MARK 
 
 260. PORTRAIT OF A FEMALE. 
 
 She wears a rich head-dress, fantastically composed. In the middle of the 
 margin at bottom, is the above monogram, which has escaped the notice of 
 Brulliot. Height 5\ inches, width 3| inches. 
 
 WITHOUT NAME OR MARK. 
 
 261. THE MURDER OF THE INNOCENTS. 
 
 On the right of this piece, which is very gothic, Herod is seen leaning 
 over a sort of wall, looking at one of the men, who is in the act of killing an 
 infant. On the left, are two females standing, and another is seated, Avith 
 an infant in her arms : five other infants are lying dead on the ground. 
 This plate is of a very irregular shape. Extreme width 10| inches; extreme 
 height 6| inches. 
 
 262. TWO RUSTICS WRESTLING. 
 
 This curious specimen is greatly in the manner of the artist whose mark 
 is 1> (X Height 2f inches, width 2| inches. 
 
 An excellent fac-simile of this little print, forms a head-piece to the 
 German School in this Catalogue. 
 
 P 
 
106 
 
 ALBERT DURER. 
 
 ANY interesting particulars have reach- 
 ed us of this celebrated artist, who was 
 born at Nuremberg, on the 20th of May, 
 1471 . He was the son of a goldsmith, 
 who was desirous of bringing him up 
 to his profession ; but the genius of 
 Albert aspiring to the higher depart- 
 ments of the art, he was placed, when 
 he attained his fifteenth year, with 
 Michel Wohlgemuth, to learn painting, 
 and with him remained till 1490, when, agreeable to the custom of that 
 period, he set out on his travels. In 1492 he was received at Colmar, by 
 the brothers of Martin Schongauer, the latter being absent. He returned 
 home in 1494, and soon after married A gnes Frey, the daughter of an eminent 
 mechanic at Nuremberg, who, though beautiful, was of so bad a temper, as 
 to- constitute the misery of his future life. 
 
 In 1506, Albert made a journey to Venice, where he remained till September 
 of that year, painting several pictures : from Venice he visited Bologna, and 
 very soon returned again to Nuremberg. According to Vasari, this journey 
 to Venice was undertaken for the purpose of enforcing his complaints to the 
 magistracy of that capital, against Marc'' Antonio, for having copied his 
 wood-cuts of the Passion of Christ ; which account Bartsch considers to be 
 wholly unfounded. — In 1520, our artist made a journey to the Low Countries, 
 accompanied by his wife and a female servant ; of which tour he kept an in- 
 teresting journal. In 1524 he returned once more to Nuremberg, and died 
 there in 1529, in his 57th year. 
 
 This admirable artist, even in his life time, enjoyed the reputation of being 
 the greatest master of the German School ; but this was not his only merit. 
 He was a painter, an engraver, a sculptor, an architect, and a mathematician. 
 To these talents, he joined the most excellent qualities of the heart, and the 
 utmost urbanity of manners ; and he possessed none of that mean jealousy 
 which has been too common, at all times, amongst his profession. He was 
 intimate with the great men of his day, particularly with Raffaelle, with 
 whom he maintained a most friendly correspondence. 
 
107 
 
 The works of Albert Durer display great fertility of invention, and a sur- 
 prising perfection in the mechanical part of the art ; but he was altogether 
 deficient in grace and ease, which his visit to Italy, it appears, had unfortu- 
 nately no success in bestowing. His engravings however, are, in their kind, 
 decided master-pieces of art. 
 
 263. ADAM AND EVE IN PARADISE. 
 
 They are represented standing near the tree of life : Eve, with her right 
 hand, is receiving the apple from the serpent, while Adam is extending his 
 left to take it from her. Dated 1504. This is one of the most finished and 
 most beautiful of our artist's productions. Bartsch, Vol. vn.pa. 30. No. 1. 
 
 There are said to be impressions, in which only the right leg of Adam, 
 and a part of the background, are finished. 
 
 264. THE NATIVITY. 
 
 The Virgin is represented in the act of adoring the infant Jesus, just born, 
 who is lying on a lai'ge square stone, while St. Joseph is drawing water from 
 a well: a most beautiful and delicately finished engraving, dated in 1504. 
 Bartsch, No. 2. 
 
 265. CHRIST CROWNED WITH THORNS. 
 
 The Saviour is standing, with his hands tied, and his legs covered with a 
 mantle : this production, which is an etching, has been erroneously con- 
 sidered to have been engraved on iron. Dated 1512. Bartsch, No. 21. 
 Impression before the retouch. 
 
 266. THE PRODIGAL SON. 
 
 He is kneeling, in the attitude of prayer, before the trough from which'several 
 swine are seen feeding. In the features of the prodigal, Albert is supposed to 
 have represented his own portrait, at about the age of twenty-eight. Zani, 
 howe ver,thinks this erroneous, and that the print is the copy of an early produc- 
 tion of his master Wohlgemuth. Bartsch, No. 28. Zani, part 2, Vol. vi.pa. 238.* 
 
 267. THE VIRGIN AND CHILD. 
 
 The Virgin is seated on a grass bank, fenced in with planks. She holds 
 
 * In the Encyclopedia of Rces, a ludicrous mistake occurs, with respect to this print. In describing 
 the works of Albert Durer, under the German School of Engraving, among other prints, is noticed 
 " The Infant Prodigy ; a kneeling figure in folio : some pretend that this is a portrait of Durer him- 
 self." This " Infant Prodigy," is doubtless no other than the Prodigal Son by our artist, translated 
 by the compiler, from " L'Enfant Prodigue," in the work of Bartsch, or from some French writer. 
 
 P2 
 
108 
 
 the infant Jesus in her arms, who is playing with a bird. In the foreground 
 towards the left, is a monkey at the feet of the Virgin. Bartsch, No. 42. 
 
 268. SAINT EUSTACHIUS. 
 
 The Saint, in the habit of a huntsman, with his horse and dogs, is 
 kneeling before a stag with a crucifix between its antlers, which suddenly 
 appeared to him while hunting. This print, which is also called St. Hubert, 
 is the largest and most finished of Albert Durer 1 s engravings. It is said that 
 the plate was gilt by order of the emperor Rodolph, in consequence of the 
 high gratification afforded him by this work of the artist. Bartsch, No. 57. 
 
 269. FORTUNE. 
 
 A naked female figure with wings, standing on a globe, holding in one hand 
 a vase, in the other a bridle ; below is a village, said to be Eytas, in Hungary, 
 the birth-place of the father of Albert Durer. By some, this subject is sup- 
 posed to represent Pandora, by others Temperance, and is called The Great 
 Fortune, to distinguish it from a similar subject much smaller, called The 
 Little Fortune, an early production of our artist. Bartsch, No. 77. 
 
 270. MELANCHOLY. 
 
 A female figure, seated in a musing posture, holding a pair of compasses, 
 and surrounded by allegorical subjects : dated 1514 : a capital performance 
 of the master. Bartsch, No. 74. 
 
 271. THE LOVERS. 
 
 They are represented in the German costume of persons of rank, walking 
 to the left in a landscape, in earnest conversation : behind a tree, Death, 
 with an hour-glass, seems on the watch to surprise them. Bartsch, No. 94. 
 This print has been copied by I. van Mecken, Wenceslas oVOlmutz, and an 
 anonymous master. 
 
 272. THE WARRIOR AND WAR-HORSE. 
 
 A warrior, in armour, carrying a halbert, holds an unsaddled horse by the 
 bridle : the horse is turned to the left, and is near the ruins of a building. 
 The date 1505, is at the top of the print. Bartsch, No. 97. There is a 
 smaller subject, very similar, engraved by Albert Durer, in the same year. 
 
 273. A COAT OF ARMS WITH A DEATH'S HEAD. 
 
 A female, in the German costume, is caressed by a savage, who holds the 
 shield containing the armorial bearing: dated 1503. One of the most 
 esteemed and highly finished of the artist's engravings. Bartsch, No. 101. 
 
» 
 
 109 
 
 LUCAS VAN LEYDEN. 
 
 This extraordinary and precocious artist was born in the city of Leyden, in 
 1494. His family name was Jacobs, and he was instructed in the first prin- 
 ciples of design by his father, a painter of some ability, and was afterwards 
 placed under Cornelius Engelbrechtsen, at Leyden, a flourishing artist. 
 
 Lucas is said to have designed and executed works of art when only nine 
 years of age, and to have then already commenced engraving. Very shortly 
 afterwards, he began to paint on glass, as well as in distemper and oil-colours, 
 and at twelve executed a History of St. Hubert, for which he received as many 
 pieces of gold as he was years old. His earliest dated print is in 1508 : he 
 was then only fourteen ; and in two or three subsequent years he executed 
 prodigies of art. The delicacy of his finishing, rendered it difficult to produce 
 perfect impressions of his plates ; and he is reported to have been so sensible 
 of this, as to have uniformly, himself, destroyed all such impressions as were 
 not effective. This circumstance with respect to his engravings, renders fine 
 impressions extremely rare. At the age of 33, our artist visited the Low 
 Countries; but he returned ill, and not without suspicion of having been 
 poisoned ; as from that time he never enjoyed good health, or scarcely quitted 
 his bed, but died in 1533, six years afterwards, at the age of 39. Two days 
 before this event, he was carried into the open air by his earnest desire, to 
 enjoy a last view of nature and the heavens. 
 
 Lucas was not so correct a designer as Albert Durer ; but in the arrange- 
 ment and composition of numerous figures, and in perspective, he was con- 
 sidered superior : VasarVs eulogium well defines the distinction. 
 
 274. DALILAH CUTTING OFF THE HAIR OF SAMPSON. 
 
 Sampson is sleeping on her lap. In the background are the Philistines, 
 armed, and waiting in anxious suspense for the signal to surprise Sampson. 
 This is one of the earliest works of Lucas, and according to Bartsch, engraved 
 about 1508. Bartsch, Vol. vn. pa. 351, No. 25. 
 
 275. THE ADORATION OF THE MAGI. 
 
 This is one of the most capital productions of Lucas, and is full of character : 
 it was engraved in 1513. The mark is on the left at bottom. Bartsch, No. 37. 
 Zani, part 2, Vol. v. pa. 187. 
 
110 
 
 Zani says : " This piece was sold in Holland in the last century, when in per- 
 fect preservation, for a hundred florins. Goltzius, in his great Adoration of 
 the Magi, has much imitated this print ; particularly in the figures of the 
 Virgin and St. Joseph, from which he has therefore not copied merely the idea. 
 This perhaps was the motive for general belief that the work was by Lucas.'''' 
 
 275*. THE RETURN OF THE PRODIGAL SON. 
 
 The father, about the centre of the subject, is stooping to receive his peni- 
 tent child, who kneels before him in the act of supplicating pardon. Many 
 persons are near as spectators, including the obedient son, who regards the 
 scene with interest. In the distance towards the left, is seen a person kill- 
 ing the fatted calf, and to the right the prodigal is again seen kneeling with 
 the swine at their trough : to the right, at bottom, is a tablet, with the 
 letter L. Eveiy part of this print is highly finished, and the gradations of 
 the perspective are admirable. Bartsch thinks that it was engraved in 1510. 
 No. 78. 
 
 276. THE MAGDALEN ABANDONING HERSELF TO THE PLEASURES OF 
 
 THE WORLD. 
 
 In a beautiful hdly and woody landscape, the Magdalen, her head encircled 
 by a glory, is led to the dance by a man, to the sound of a flute and a drum, 
 played by two musicians, near a large tree. Various groups of lovers are 
 scattered about the scene ; and in the background the Magdalen is again re- 
 presented on horseback, following the chase : the date 1519, and the usual 
 mark, are at the bottom on a scroll. This print was executed in the finest 
 time of Lucas, and one of his most capital performances. During the life of 
 the artist even, good impressions were difficult to procure, and were often 
 sold for a florin of gold. The subject is called, The Dance of the Magdalen. 
 No. 122. 
 
 276*. THE MILK-MAID AND COW-HERD. 
 
 This is a small subject, in which the cow-herd appears holding the cow by 
 the horns, while regarding the milk-maid, who carries a heavy pail : it is 
 engraved in Lucas" 1 best manner, and is full of expression : dated 1510. 
 Bartsch, No. 151. 
 
Ill 
 
 LUCAS CRANACH. 
 
 Lucas Cranach, as Professor Christ has proved to us, was born in 1470, at 
 Kronach, in the territory of Franconia, from which town, according to the 
 custom of the times, he derived his appellation. His family name was 
 " sunder." By his contemporaries he was usually called " lucas maler," 
 that is, " Lucas the Painter.' 1 '' — He was sixty years painter to the court of 
 Saxony, and died at Weimar in 1533, at the advanced age of 83. — His en- 
 gravings on copper are very few : the following is the most important : — 
 
 276** THE PENITENCE OF ST. CHRYSOSTOM. 
 
 The Saint is seen in the background, on all-fours. In the middle of the 
 foreground, is a naked female, watching an infant, who sleeps with its head 
 on her lap. The tablet with the initals, the dragon, and the year 1509, is at 
 bottom ; and the shields of arms, copied above, are suspended to a tree : that 
 with crossed swords is the shield of Saxony. Bartsch, Vol. vn. pa. 276, No. 1 . 
 
 HANS ULRIC VAN PILGRIM, 
 
 OR 
 
 PILGRIMSTAB ; 
 
 Called by the French, " Le Maitre au Bourdons Croises," 
 
 WHOSE PRINTS ARE THUS MARKED, 
 
 The name of this artist was probably Pilgrim, signified by the crossed 
 staves ; but all particulars of his life are unknown. He is considered by the 
 Germans as the inventor of engraving in chiaro-scuro, and his prints are of 
 great interest and effect. 
 
112 
 
 277. VIRGIN AND CHILD. 
 
 The Virgin is seated in a walled garden, with the infant Jesus on her lap, 
 who is turning over the leaves of a book : in the background is the sea with 
 a ship ; and on the shore to the right, a castle. Two angels flying, hold a 
 crown over the Virgin's head. The tablet with the master's mark is on the 
 left ; and in the foreground, near the margin, are three rabbits and a bird. 
 This print, and the three following specimens, are engraved in chiaro-scuro 
 of two plates. — Bartsch, Vol. vn. pa. 450, No. 2. See also De Murr, " Kun- 
 stgeschichte" Vol. u.pa. 53 and 347 ; Heinecke, " Neue Bibliotheke" Tom. xx. 
 pa. 57 ; and Jansen, " Sur Vorigine delagravure" Tom. i. pa. 128, where this 
 impression is noticed. It is from the Praun and de Fries cabinets. 
 
 278. PYRAMUS AND THISBE. 
 
 Tfiisbe, represented naked, is standing on the right, in a moonlight land- 
 scape, in an attitude of consternation, near the dead body of Pyramus, ex- 
 tended across the print, with the sword seen in his left side. At a little dis- 
 tance above the body, is a fountain, with a pillar rising from its centre : on 
 the pillar stands Cupid, blindfolded, in the act of drawing his bow. On a 
 tablet attached to a tree, is an inscription in black letters, commencing, 
 " quid venvs in venis possit," &c. The tablet with the mark of the master 
 is at the bottom, on the left. Bartsch, No. 7. 
 
 279. ALCON KILLING THE SERPENT. 
 
 Alcon is seen standing on the left, in a woody landscape, naked, except a 
 helmet on his head. He has just discharged an arrow through the head of 
 the serpent, which appears twisted round the body of his child, who is 
 kneeling on the right : the tablet with the mark is seen between the legs 
 of Alcon. Another tablet is suspended from a tree, with an inscription in 
 white letters, commencing, " alconem plectas torquet simul horridvs 
 anguis" — Bartsch, No. 9. 
 
 280. THE ARMED KNIGHT. 
 
 A knight on horseback, armed cap-a-pie, and wearing a tremendous plume 
 of feathers, is represented riding to the left, holding a lance in his right 
 hand. A foot soldier accompanies him, running beside his horse, and carry- 
 ing a halbert. The tablet with the monogram is on the left, at bottom. This 
 print is rich and powerful in effect. Bartsch, No. 10. 
 
113 
 
 LUDWIG KRUG, or KRUGLEIN, 
 
 — ^^^^^ 
 
 was a goldsmith at Nuremberg, but the period of his birth is not known. 
 Fussli states that he died in 1535, but does not give his authority for this 
 date. His device, Krug, (a jug,) is a rebus of his name ; of which Krug- 
 lein is the diminutive. 
 
 281. THE NATIVITY OF OUR LORD. 
 
 The Virgin, kneeling on the right, and St. Joseph on the left, are 
 adoring the infant Saviour, who is lying in a cradle, towards the middle of 
 the print : a shepherd is seen standing on the left. Bartsch, Vol. vu. pa. 536, 
 No. 1. 
 
 The plate itself, retouched, was in the Praun collection at Nuremberg. 
 Impression before the retouch. 
 
 DIRICK VAN STAAREN, 
 
 WHO MARKED HIS PRINTS THUS, AS A REBUS OF HIS NAME, 
 
 This artist was born in Holland, and appears to have flourished between 
 the years 1522 and 1544. No further particulars of him are known. His 
 christian name was Tlieodorick, of which Dirick is the diminutive. 
 
 282. THE UNIVERSAL DELUGE. 
 
 A rich composition of numerous figures. In the background is the ark of 
 Noah. Dated 1544: the chef d'ceuvre of the artist. Bartsch, Vol. vm.pa. 
 27, No. 2. 
 
 283. JESUS CALLING PETER AND ANDREW. 
 
 Peter and Andrew are fishing from a small boat, on which is the mark, 
 with the date 1523. Bartsch, Vol. vin. pa. 27, No. 3. 
 
 Q 
 
114 
 
 284. PETER WALKING ON THE SEA. 
 
 He is on the point of sinking, while Jesus extends his hand to save him. 
 Dated 1525. Bartsch, No. 4. 
 
 285. JESUS TEMPTED IN THE WILDERNESS. 
 
 He is reproving Satan, whose figure is in the grotesque style of Flemish 
 absurdity. Dated 1525. Bartsch, No. 5. 
 
 286. AN ALLEGORY OF LOVE. 
 
 Cupid is mounted on a snail, the slow paces of which appear to vex him. 
 In his right hand he holds a bow, with the string broken ; and in the left, 
 a broken arrow : with the mark and date. Bartsch, Vol. vm. pa. 38, No. 7. 
 
 287. THE PEAS IN POD. 
 
 In an oval of gigantic peacods and blossoms, two cupids are seen ; one of 
 them is supporting an enormous pod, out of which the other is eating the 
 peas. At the top are the mark and the date — the latter of which is repeated 
 at the bottom, on the left. Bartsch, No. 8. 
 
 The surname of this engraver was probably not that of his family, but 
 of the city ( AltdorfJ where he was born ; but whether Altdorf in 
 Switzerland, or a city of that name in Bavaria, is not certainly known. 
 From the documents at Ratisbon, where our artist's family was established, 
 the town in Bavaria is the more probable place of his birth. He is supposed 
 to have been a scholar of Albert Durer; to whom, perhaps, as a painter, he 
 was equal, but as an engraver most decidedly inferior. He became a senator 
 of Ratisbon, where he was highly respected ; was appointed architect of the 
 city, and died there in 1538. 
 
 UNKNOWN ARTIST, 
 
 WHOSE ENGRAVINGS ARE MARKED 
 
 HL. 1533. 
 
 ALBERT ALTDORFER. 
 
115 
 
 288. THE VIRGIN AND CHILD. 
 
 The Virgin is seated on a throne, near an altar, surrounded by angels. 
 Bartsch, Vol. vm. pa. 4:6, No. 13. 
 
 289. MERCURY LEAPING INTO THE SEA. 
 
 He is represented in armour, and appears falling from the top of a tower. 
 Bartsch, No. 29. 
 
 290. MUTIUS SOEVOLA : 
 
 he is represented burning his right hand. Bartsch, No. 40. 
 
 291. dido. — She is piercing her bosom with a poinard. Bartsch, No. 42. 
 
 292. A FEMALE SEATED ON A DRAGON, IN THE AIR : 
 
 probably Pride. She is holding a minor in her right hand : the background 
 is covered with cross hatchings. This piece is not described by Bartsch. It is 
 noticed, however, by Heinecken, in his Dictionnaire des Artistes, Tom. i. pa. 185. 
 
 BARTHOLOMEW BEHAM. 
 
 BB. 
 
 This artist was one of the most skilful painters of his time, and as correct a de- 
 signer. He Avas born about 1500, and died in 1 tali/, where he was sent by the 
 Duke of Bavaria, about 1540. It is stated by Sandrart, that he resided for a con- 
 siderable time at Rome and Bologna, and studied engraving under Marc 1 
 Antonio. Whoever was his master, great credit is due to the excellent in- 
 structions Beham received, which, with his talents, rendered him one of the 
 most perfect engravers of his day. 
 
 293. PORTRAIT OF THE EMPEROR CHARLES THE FIFTH. 
 
 He is represented three-quarter length, and turned to the right : the print is 
 marked with the usual monogram of the artist. Bartsch, Vol. vm. pa. 109, 
 No. 60. 
 
 294. PORTRAIT OF THE EMPEROR FERDINAND THE FIRST. 
 
 Also a three-quarter length, but turned to the left : a companion to the 
 preceding, and marked with the monogram. Bartsch, No. 61. First im- 
 pression ; before the address of J. ab Heyden. Q, 2 
 
116 
 
 HANS SE13ALD BEHAM. 
 T en Tcr* 
 
 This engraver was the nephew of the foregoing- artist, and was at first his 
 scholar. He was born at Nuremberg about 1502. Having received con- 
 siderable instructions from Albert Durer, he made great progress in engraving, 
 the mechanical part of which he practised with extraordinary perfection. 
 He resided, and followed his profession in his native city till 1540, when he 
 established himself in Franckfort, where he died soon after; having led a 
 dissolute and profligate life. 
 
 295. ADAM AND EVE IN PARADISE. 
 
 They are standing near the tree of life, which is represented as Death 
 entwined by the Serpent : engraved in the year 1543. Bartsch, Vol. vim 
 pa. 1 ] 6, No. 6. First impression ; in which the background consists only of 
 diagonal lines once crossed. 
 
 296 — 307. THE LABOURS OF HERCULES : 
 
 a set of twelve prints. Bartsch, No. 96 to 107. These are among the en- 
 graver's best works. 
 
 308. THE FEMALE TRIUMPH : 
 
 a procession of females, with the inscription : " triumph der-edelen 
 sighaften weiber." — ( Trhimph of the noble and victorious women.) Dated 
 1549. Bartsch, No.} 43. 
 
 309. THE IMPOSSIBILITY. 
 
 A man is endeavouring to root up a tree. This subject, which is allegorical 
 of the vanity of undertaking impossible enterprizes, contains the following 
 German inscription " nimand unterste sich groser ding di im zv thvn 
 vnmuglich siNDTy Dated 1549. Bartsch, No. 145. 
 
 First impression; before the plate was retouched, and before the distant 
 sea was covered with shadow. 
 
 310. DEATH AND THE LADY. 
 
 A young and richly dressed female, is accompanied by Death, dressed as a 
 buffoon: with the inscription: " omnem in hominem venustatem mors 
 abolet.' 1 '' Dated 1541. Bartsch, No. 149. 
 
 First impression ; before the plate was retouched, and before the addition 
 to the grass tuft, near the flower pot. 
 
117 
 
 311 — 320. THE VILLAGE NUPTIALS : 
 
 a set of ten prints ; in the first seven of which are two couples of dancers, 
 and the twelve months of the year, with their familiar German names. 
 Dated in 1546. Bartsch, No. 154—163. 
 
 321. 321*. THE MALE AND FEMALE PEASANTS AT MARKET. 
 
 A peasant is standing, with a halbert in his hand ; and near him are pro- 
 visions for sale. Above, in a scroll, is this inscription, — " deten wir ver- 
 kaufen," — (TJiese will we sell.) A female peasant, in the companion print, 
 holds a rake with her left hand, and turnips in the other. At her feet are 
 two jugs and a basket. In a scroll, above her head, is inscribed — " zum 
 wein wolt wir lavfen," — (To wine will we Jiy.) Bartsch, Nos. 186, 187. 
 
 There are very deceptive copies of these little pieces. 
 
 322. THE THREE SOLDIERS AND THE DOG. 
 
 One of the soldiers holds a long staff; another a halbert : the dog is at the 
 feet of one of the soldiers. Bartsch, No. 196. 
 
 323. THE CENTINEL NEAR THE POWDER CASKS. 
 
 He is speaking to two soldiers : at a distance is a town in flames Bartsch, 
 No. 197. 
 
 324. THE ENSIGN AND THE DRUMMER. 
 
 They are marching. On the left is written — "acker concz ;" above, 
 " klos wvczer ;" and to the right, " in baueren krieg." The two first are 
 the respective names of these worthies, who are supposed to have figured in 
 the Baueren Krieg, or celebrated Peasants' 1 War. Bartsch, No. 199. 
 
 325. THE SOLDIER. 
 
 He holds his sword with the left hand, and with the other a staff. This 
 is an etching: it has the second mark of the artist, and is dated in 1520. 
 Bartsch, No. 203. 
 
 326. THE BUFFOON AND THE TWO FEMALES BATHING. 
 
 The buffoon is dragged by the women towards a great bathing tub. No. 214. 
 
 327. THE PENITENCE OF SAINT CHRYSOSTOM. 
 
 He is seen on all-fours, in the background. In the front is a naked 
 female reclining, and near her, a child. Bartsch, No. 215. 
 
 First impression ; before the inscription, " s. iohannes chrisostmvs," and 
 before the mark of the engraver. 
 
118 
 
 328. Third impression ; with the inscription and the name, and more worked 
 upon. 
 
 329. THE ALPHABET. 
 
 Cupid, seen from behind, is holding with both hands a scroll, containing 
 the letters of the alphabet. Dated 1545. Bartsch, No. 229. 
 
 It appears that Pencz was born at Nuremberg about 1500, and died at 
 Breslaw in 1550. After studying in the school of Albert Durer, he went to Italy 
 to profit by the works of Raffaelle, and engraved many prints under the 
 direction of Marc'' Antonio, which are excellent proofs of his talent. 
 
 330-355. THE LIFE OF JESUS CHRIST: 
 
 a set of twenty-six very small pieces, which are all very spiritedly executed, 
 and highly finished. Bartsch, Vol. tin. pa. 329, Nos. 30 — 54. 
 
 Henry Aide gr ever was born at Souest, in Westphalia, in 1502, but the time 
 of his death is not known. After studying the engravings of Albert Durer, 
 he went to Nuremberg, to place himself under that great artist's tuition, and 
 was one of his best imitators. 
 
 Except in the gothic cast of his draperies, Aldegrever was an artist of 
 merit. He is placed among the " Little Masters;" but his portraits, it is 
 conceived, take him out of that class in a great degree. 
 
 356. PORTRAIT OF WILLIAM, DUKE OF JULIERS; 
 
 represented half length, at the age of 24 : a capital performance of the 
 artist, engraved in 1540. Bartsch, Vol. vm. pa. 414, No. 181. 
 
 GEORGE PENCZ. 
 
 HENRY ALDEGREVER. 
 
119 
 
 First impression ; before the inscriptions in the margin of the lower border 
 of the engraving, which is formed of a sort of window sill. 
 
 357. PORTRAIT OF ALBERT VAN DER HELLE : 
 
 half-length, three-quarters turned to the right — "anno /etatis svm xxr///." 
 Dated 1538. Bartsch, No. 186. 
 
 David Hopfer appears to have been a goldsmith, as may be conjectured from 
 the multiplicity of the ornaments, by which his subjects are often surrounded. 
 Of the three brothers, Daeid,(ox Daniel, for his christian name is uncertain,) ap- 
 pears to be the most pleasing. They all chiefly confined their exertions to 
 copying the prints of others. These copies are sufficiently gothic ; but the 
 few engravings of their own design, are still more stiff, meagre, and mean. 
 The figure placed between their initials, is doubtless intended for a hop, and 
 meant to be a rebus of the family name. — David Funck, a printseller, pur- 
 chased 230 plates by the Hopfer family, and numbered them ; and in this 
 state they are usually found. 
 
 358. THE CRUCIFIXION OF OUR LORD BETWEEN THE THIEVES. 
 
 The soldiers are in the act of piercing our Saviour's side. Bartsch. No. 14. 
 First impression ; before the number, and before the mark was effaced, and 
 the German inscription " Dein leiden, fyc." substituted. 
 
 359. VIRGIN AND CHILD. 
 
 The Virgin, a half-length figure, is supporting the infant Jesus on her left 
 arm, and holding a book in her right hand. Bartsch, Vol. vm. pa. 483. No. 38. 
 Impression before the number. 
 
 360. A FRIEZE OF ORNAMENTAL GOLDSMITH'S WORK. 
 
 Towards the bottom are represented the Virgin and St. John at the foot of 
 the cross : higher up, the Virgin is seen adored by two angels. Bartsch, 
 No. 100. Impression before the number. 
 
 DAVID HOPFER * 
 
 D 
 
 H. 
 
 * It was not considered essential to introduce more than one of this family. 
 
120 
 
 HANS SEBALD LAUTENSACK. 
 
 Of the dates of the birth and death of this engraver we are alike ignorant . 
 Bartsch supposes him to be the son oiPaul Lautensack of Nuremberg, whose 
 portrait he has engraved. He appears to have flourished between 1554 and 
 1560 ; and some of his prints lead to the conjecture that he resided at Vienna. 
 
 361. A LANDSCAPE. 
 
 View of a city on the bank of a river, which extends the whole width of 
 the plate, and over which is a wooden bridge : on the right are three large 
 trees, the tops of which are not seen ; and to the left, on the river's brink, is a 
 willow. The mark and the date 1553, are in the middle, at bottom. Bartsch, 
 Vol. ix. pa. 222, No. 41. 
 
 362. DAVID KILLING GOLIATH . 
 
 This subject is executed on two upright plates joined together. The 
 print is dated 1551, and is the chef-d'oeuvre of Lautensack. Bartsch, No. 51. 
 Zani, E.M.part 2, Vol. m.pa. 278. 
 
 CORNELIUS MATSYS. 
 
 This artist, who appears to have been a Fleming, and who has been con- 
 founded with Cornelius Metensis, from the similarity of their monograms, 
 seems to have had some little elegance of taste, compared with others of his 
 country : he flourished between 1544 and 1566. It does not appear Avhat 
 relation he was to Quintin Matsys, the celebrated blacksmith of Antwerp. 
 
 363. BATH SHE BA BATHING. 
 
 She is turning towards a servant of King David, who appears arriving 
 from the left of the subject : to the right are several of the women of 
 Bathsheba in attendance. On the same side at top are the engraver's mark, 
 the letters in.ven, and the date 1549. Bartsch, Vol. ix.pa. 100, No. 7. 
 
 364. THE PORTRAIT OF HENRY VIII. KING OF ENGLAND. 
 
 Henry is represented half-length, in full face, with his hands joined, and 
 holding his gloves. He wears the usual hat, and a robe bordered with fur. 
 
121 
 
 On the left are the arms of England, with the date 1548 below them, and 
 in a margin above the print is written : "henricus dei gratia rex anglie" 
 followed by the mark of the artist. The mark is repeated, just below on the 
 right, with the date of 1544, both reversed. Bartsch, No. 58 * 
 
 From a portrait of Soils, engraved by one of his contemporaries, we learn 
 that he was bora in 1514, and, according to Doppelmayer , at Nuremberg. 
 He was painter, illuminist and engraver. All his plates, which are very 
 numerous, are of a small size, and many of them rare ; probably from 
 that circumstance only. He employed artists under him in various depart- 
 ments, by which means he amassed a considerable fortune, though he died 
 at the age of forty-eight. 
 
 365 — 373. NINE FAMOUS HEROES OF HISTORY. 
 
 These are, joshua, david, judas machabeus, hector, Alexander, julius 
 cmsar, the emperor charles v., king arthur, and duke Godfrey : a most 
 heterogeneous mixture of persons and costume, in a set of nine small prints, 
 with ornamental borders. Bartsch, Vol. ix.page 253, No. 54 to 62. 
 
 374. SAINT JOHN THE EVANGELIST. 
 
 He is represented standing, seen from behind, and holding a cup in the 
 left hand, from which a serpent is issuing. Bartsch, Vol.ix. pa. 444, No. 4. 
 
 * This print is very curious ; in as much as, though it bears more the appearance of a swine ia 
 the monarch's attire than a human being, it was probably thought by some to be too close a resemblance ; 
 or may have excited the displeasure of some of the king's adherents; since it was evidently published 
 in 1544, four years before Henry's death. It seems to have been then suppressed, and to have been 
 republished in 1548; as the date of the last figure under the arms is most manifestly a conversion of a four 
 toau eight ; and the original date remaining in the print, on the right at top, would confirm this conjecture. 
 
 VIRGIL SOLIS. 
 
 UNKNOWN ARTIST, 
 
 WHOSE ENGRAVINGS ARE MARKED 
 
 FB. 
 
 R 
 
122 
 
 LATER ENGRAVERS OF THE SCHOOL 
 OF GERMANY. 
 
 WENCESLAS HOLLAR. 
 
 F this admirable, but unfortunate artist, we 
 have an interesting biography, by Vertue. He 
 was born at Prague in 1607. Being a gentle- 
 man by birth and education, he became passion- 
 ately devoted to the arts at a very early period 
 of his life. He lost all his fortune most dis- 
 astrously in the thirty years war, and in conse- 
 quence, retired to Franckfort on the Maine, 
 where he studied engraving under Matthew 
 ■"'!'' Merian. Poor, and constantly persecuted by 
 misfortune, he at length attracted the notice of the celebrated Earl of Arundel, 
 in his travels through Germany ; and this nobleman not only took him to 
 England under his protection, but recommended him to Charles I. 
 
 From the subjects in Lord Arundel's collection, he engraved numerous 
 plates ; but the civil war soon after breaking out, put a stop to his prospects 
 of better fortune, and he was made prisoner with others of the royalist 
 party. Having escaped with difficulty, he retired to Antwerp, where he was 
 necessitated to work for the booksellers, at prices which barely afforded him 
 the most scanty subsistence. 
 
 At the Restoration he returned to London, where he was not more fortu- 
 nate; as he could only obtain thirty shillings for drawing and engraving 
 his large view of Greenwich on two plates. He died in the most abject and 
 heart rending poverty in 1677, and experienced the fate of greater men, in 
 having his works eagerly bought up after his death ; an impression of one 
 of his plates often producing, to others, a much larger price than he had 
 obtained for engraving the plate itself. 
 
123 
 
 375. PORTRAIT OF HOLLAR, 
 
 aetatis 40, 1647 ; a small oval, in a cartouche, with the amis of Hollar, a 
 rock between two fleurs de lys, in a shield below the oval. Vertue's Cata- 
 logue, pa. 69. 
 
 376. VIEW OF LONDON, FROM THE TOP OF ARUNDEL HOUSE. 
 
 This was situated in the Strand : on the terrace roof of the house, are per- 
 sons pointing to the prospect, and one is looking down. Vertue, No. 27. 
 
 377. VIEW OF ARUNDEL HOUSE, 
 
 taken from the north : after A. Bier ling, 1638. It represents the buildings 
 in the interior of a quadrangle ; the middle of which shews an outside stair- 
 case to a corridor : on the left is a coach. Vertue, pa. 24. 
 
 378. ANOTHER VIEW OF ARUNDEL HOUSE, 
 
 taken from the south : after the same, 1638, and companion to the last. 
 It represents the quadrangle in the opposite point of view : on the left are 
 many horses and horsemen ; and on the right is a coach. Vertue, pa. 24. 
 
 379 — 384. views of albury in surry ; 
 
 the seat of the Earl of Arundel: a set of six prints, 1645. — No. 1, represents 
 the village on the right bank of the river ; on the left, is a man on horseback. 
 No. 2, is a terrace on the right bank of the river, where ladies and gentle- 
 men are seen walking : on the left bank is a church steeple, marked Shire. 
 No. 3, is a broad view of the river, with the spire of Albury in the left corner. 
 No 4, shews the gardens on the opposite shore of the river ; and on the near 
 bank is the decayed trunk of a tree. No. 5, is a hill, sloping from the left to 
 the river on the right : in a path on the hill are persons walking. No. 6, is a 
 view of the river, with Albury spire on the right bank, and Shire on the left. 
 Vertue, pa. 24. 
 
 385. VIEW OF THE CATHEDRAL CHURCH OF ANTWERP : 
 
 one of the capital performances of the artist. Vertue, pa. 89, No. 5. 
 Impression with the single Latin line of inscription. 
 
 386. PORTRAIT OF HENRY HOWARD, EARL OF SURRY; 
 
 son of Tlwmas Howard, Duke of Norfolk, executed in the reign of Henry VIII. 
 This celebrated and unfortunate nobleman, is well known as the elegant 
 poet of his day, who maintained the beauty, and sung the praises, of the 
 daughter of the Earl of Kildare, under the name of the Fair Geraldine. He 
 is represented at the age of 25, in a cap and feather, wearing a loose robe or 
 
 R 2 
 
124 
 
 cloak : engraved after Holbein. Ferine, pa. 79. Impression before the flowers 
 on the robe of the Earl. 
 
 387. PORTRAIT OF JAMES STANIER, MERCHANT OF LONDON. 
 
 This portrait is in an oval, and is after Garret. In the background are bales 
 of goods, and a view of the sea and shipping. It is dated 1643. Vertue,pa. 80. 
 
 388 — 393. THE MUFFS. 
 
 Six prints, including the large plate, and one left unfinished ; dated 1645-47. 
 Vertne,pa. 124. 
 
 394 — 431. A COLLECTION OF SHELLS : 
 
 a set of 38 plates, and the rarest and most esteemed of the works of 
 Hollar : first impressions before the numbers. This particular set is men- 
 tioned by Vertue in his Catalogue, pa. 114. It was purchased at public 
 auction by Mr. Barnard, the son of Sir John Barnard, on the 30th of Decem- 
 ber, 1750 ; which circumstance Mr. Barnard has himself noticed on the back 
 of one of the set. The rest have likewise his name, and several the date of the 
 purchase repeated. 
 
 LUDWIG VON SI EG EN. 
 
 Ludwig von Siegen was born about 1620. He was a lieutenant-colonel in 
 the service of the Landgraf of Hessen Cassel, and is now very generally 
 acknowledged to be the Inventor of engraving in mezzotinto. 
 
 The print by this artist about to be described, and the portrait of the 
 Landgrqfin Amelia Elisabeth, both dated in 1643, authorize this epoch as 
 the period of the invention of the art. Beyond this, no circumstances in the 
 life of Siegen are handed down to us ; except that he taught the process he 
 had thus invented, to the celebrated Prince Rupert. 
 
 432. PORTRAIT OF ELIZABETH, QUEEN OF BOHEMIA, 
 
 in an oval. She is represented in a rich dress, with a laced collar, and wears 
 a crown. On the left, under the oval, appears, " hondthorst pinxit 
 
 anno ." and we read on the right, "siegen inventor, fecit 1643." — 
 
 Height 20 inches, width 15| inches* 
 
 * A similar impression is ill the Royal Library at Paris. 
 
125 
 
 CHRISTIAN WILLIAM ERNEST DIETRICH, 
 
 called in Italy, Dietriei, was born at Weimar in 1712, and died at Dresden in 
 1774. He was first instructed by his father, and afterwards by Tliiele. He was 
 patronized by the Count de Bruhl ; and, at the recommendation of that noble- 
 man , entered into the service of the King of Poland. Being, however, disgusted 
 with the preference given to Italian artists at that court, he pretended a journey 
 to Holland, but stopped at Weimar ; where, for some time, he exercised his 
 talents to advantage, and returned to Dresden, finding his works in great 
 request. The king sent him to Italy in 1742, but he profited little by 
 this event, in changing his manner, which the monarch desired. His prints 
 are very picturesque in their effect. Many are in imitation of various artists, 
 and several of these are rare, because he used the copper for other subjects, 
 after taking a limited number of impressions. 
 
 433. THE PRODIGAL SON. 
 
 He is presenting himself to the husbandman, to feed his swine : engraved 
 in 1756. Huber and Rost, Vol. n. pa. 100. First impression; before the 
 name of Dietrici, written with the dry point above the name in the usual im- 
 pressions, was erased. 
 
 434. Second impression, in the ordinary state, but before the retouch. 
 
 435. THE MOUNTEBANK : 
 
 a composition of numerous figures : in the style of A. Ostade; dated 1740 : 
 arched at the top. Impression of the pure etching. 
 
 436. THE KNIFE GRINDER: 
 
 in the style of A. Ostade; dated 1741 : impression before the retouch. 
 
 437. THE PEDLAR : 
 
 in the same style ; companion to the Knife Grinder. Dated 1741 : and also an 
 impression before the retouch. 
 
 438. A PASTORAL SCENE. 
 
 This is in the style of Polemburg. In the foreground is a shepherdess, who 
 appears to have been just bathing in the adjacent stream, and is seated on 
 a grassy bank : a rich composition of figures and cattle. Dated in 1741. 
 
126 
 
 GEORGE FREDERICK SCHMIDT 
 
 was born at Berlin in 1712. Being intended for a mechanical employment, 
 he obtained, with great difficulty, permission to devote himself to the arts, 
 and entered the academy of George Paul Busch, at Berlin. In 1736, he 
 went to Paris, and there studied under Nicholas de Larmessin, and in 1742, 
 was, in a most flattering manner, although a protestant, received into the 
 academy by an express order from the French monarch. In 1744 he was in- 
 vited again to Berlin, where he was made engraver to the king. Here he resided 
 till 1757, when, by desire of the Empress of Russia (Elizabeth), he took a 
 journey to St. Petersburg, to engrave her portrait, which he most admirably 
 performed. In 1762, being once more returned to his native city, he executed 
 his beautiful etchings in imitation of Rembrandt, and died in 1775. 
 
 439. PORTRAIT OF COUNT NICHOLAS ESTERHASI : 
 
 after Tocque, dated 1758 : the rarest of Schmidfs portraits. First im- 
 pression before the introduction of the graving tool, which, in the second 
 impression, appears on the border of the print, to the right, according to 
 Bartsch, in his Kupferstichkunde, Vol. //. pa. 268, Art. Schmidt. 
 
 440. THE PRESENTATION OF OUR SAVIOUR IN THE TEMPLE: 
 
 Dietrich pinxit 17 '57 '. G. F. Schmidt, fee. 1769. Huber and Rost, Vol.u. 
 pa. 119. 
 
 441. PORTRAIT OF REMBRANDT. 
 
 He is represented about middle age, half length, his head covered with 
 the usual cap. Rembrandt se ipsum p. G. F. Schmidt fee. 1771. — Huber and 
 Rost, pa. 123. 
 
 442. FLEMISH INTERIOR. 
 
 A peasant is drinking, and another is lighting his pipe : engraved in the 
 manner of CorneUm Visscher. A.Ostade,p. 1667. G.F. Schmidt fecit aqua 
 forti 1757 : fiinished with the burin. — Huber and Rost, pa. 119. 
 
 FERDINAND MULLER. 
 
 For the following interesting particulars of this artist, and his great work, 
 the engraving from The Madonna di S. Sisto, we are indebted to Professor 
 
127 
 
 Bottiger's sketch, translated in the pocket book, called Tlie Forget me not, 
 published in 1825. 
 
 " In 1809, Rittner, an enterprising- printseller of Dresden, gave a highly 
 gifted young artist of Stuttgard, Ferdinand Midler, a son and pupil of the 
 celebrated Chevalier von Midler, who was for many years considered the first 
 engraver in Germany, and who formed a numerous school, the honourable 
 commission to engrave a plate for him, after this picture. The precocious 
 artist had already furnished, in his St. John, after Domenichino, the most 
 positive evidence that his abilities were perfectly equal to the undertaking. 
 The preparations, however, for the work, and the drawing sent for the pur- 
 pose, were far from satisfactory. It was deemed necessary that Midler 
 should repair to Dresden, to make studies from the original ; after which the 
 price of the engraving was fixed at four thousand rix dollars, exclusively of 
 the permission to dedicate the work to the king, for which he received one 
 hundred frederic d'ors, and one hundred impressions. Midler was, mean- 
 while, appointed Professor in the Academy of Arts, at Dresden, with a hand- 
 some salary ; and here he completed, in two years, a performance which will 
 long be considered as a signal triumph of German art. 
 
 " His very success, however, proved his ruin. By his close application 
 during the progress of the work, he impaired his already delicate and weak 
 constitution. To ill health, was soon added a very excusable mortification 
 at having produced a work from which, as it was evident, immediately after 
 its completion, the publisher would not fail to derive incalculable profit. The 
 irritable artist, moreover, thought himself degraded by certain measures 
 adopted in a new organization of the Academy ; and he fell into a melan- 
 choly, which, in spite of the affectionate attentions of his young and amiable 
 wife, niece to the celebrated sculptor Chevalier von Dannecker, of Stuttgard, 
 was not to be removed. It was found necessary to place him in a lunatic 
 asylum at Sonnenstein, near Pima, where, after a few weeks, during which 
 bis mind was wholly absorbed in visions of the blessed Virgin, and other 
 mystic objects, an unlucky fall put a period to his life." 
 
 He died veiy young, but it is questionless, that he had already attained to 
 the very summit of his profession, and has left behind him a reputation un- 
 blemished by failure. 
 
 443. SAINT JOHN THE EVANGELIST ENTRANCED. 
 
 This evangelist is represented as a half-length figure, after a painting by 
 Domenichino: at the bottom is a text in German, from the book of Revelations 
 — " I was in the spirit on the Lord's day, and heard behind me a great voice, 
 as of a trumpet," &c. 
 
128 
 
 First finished impression, with the inscription only traced; with the text in 
 open letters, and before the address of Ramboz* 
 
 444. THE VIRGIN IN THE CLOUDS, WITH THE INFANT SAVIOUR; BELOW, 
 ST. BARBARA AND POPE SIXTUS. 
 
 The Virgin holds the infant Jesus on her right arm ; Pope Status is kneel- 
 ing on the left, in the attitude of adoration, his tiara on the ground near him ; 
 and on the right is St. Barbara. 
 
 In the middle, at the bottom, are two young angels, whose heads and 
 arms only are seen, and in the air, is a glory of the celestial choir : engraved 
 after the picture painted by Raffaelle, for the church of the Frati Neri, at 
 Piacenza, called " La Madonna di S. Sisto di Raffaelle.''' 
 
 Finished proof on India paper, with the inscription traced in oj>en letters. 
 
 * The inscription, it is said, was erased after a very few of these impressions were taken, and some 
 were then printed nit/tout letters. These, and a few in an unfinished state, are, it is believed the only 
 ones without writing. 
 
ENGRAVERS 
 
 FLEMISH AND DUTCH SCHOOLS. 
 
ff.Jfuys sc. 
 
 ENGRAVERS 
 
 OF THE 
 
 FLEMISH AND DUTCH SCHOOLS. 
 
 PART FIRST. 
 
 HENRY GOLTZ or GGLTZIUS. 
 
 ARL VAN MANDER has given us an interesting 
 and succinct biography of Goltzhis ; the more esti- 
 mable as it was compiled by a friend of the artist. 
 Goltzius was born at Muhlbrecht, in the duchy of 
 Juliers, in 1558, and died at Haerlern in 1617. He 
 was the son of a painter on glass, who instructed 
 him in drawing, and he received lessons in en- 
 graving from Coornhert, a man of very slender 
 ^Kj talent. He travelled through Germany into Italy, 
 to study Raffaelle, and the antique ; but it is matter of sincere regret, that 
 this had little or no influence in correcting the extravagance of his manner, 
 which he retained to the last ; always anxious to display his superior 
 mechanical ability, without regard to taste or grace. Notwithstanding 
 
 s 2 
 
132 
 
 these defects, he completely surpassed all his contemporaries ; and, from the 
 great variety in his treatment of his subjects, and the splendor and manliness 
 of his execution, was a most extraordinary artist. 
 
 445. — 450. THE MASTER PIECES OF GOLTZIUS. 
 
 A set of six prints, engraved in 1593 and 1594, in order to imitate the 
 styles of celebrated masters, viz. — 
 
 the annunciation ; in the style of Raffaelle cTUrbino. 
 
 the visitation; in the manner of Parmegianino. 
 
 the adoration of the shepherds ; in the manner of Basan. 
 
 the circumcision ; in the manner of Albert Durer. 
 
 the adoration of the magi ; in the manner of Lucas van Let/den. 
 
 the holy family ; the Virgin seated at the foot of a tree : in the manner 
 of Baroccio. — Bartsch, Vol. in. pa. 15, Nos. 15 — 20. 
 
 451, 452. PORTRAITS OF NOEL DE LA FAILLE, AND HIS WIFE. 
 
 They are represented to the knees. De la Faille is in armour, with one 
 hand on his sword, the other on his helmet ; and the lady holds a hand- 
 kerchief in one hand, and rests the other on a skull. Proofs before the 
 inscriptions round the ovals ; and in the print of De la Faille, instead of 
 Herman Adolf z, the publisher's name, at the bottom of the oval, as in the 
 ordinary impressions, is the motto, " jamais faille.'" Bartsch. Nos. 212, 213. 
 
 453. PORTRAIT OF HENRY GOLTZIUS ; 
 
 the size of life. This print is arched at the top. Bartsch, No. 172. Proof 
 before any writing. 
 
 454. PORTRAIT OF A YOUNG MAN STRIDING ON A LARGE DOG. 
 
 This portrait is said to represent the son of Theodoric Frisius, a Dutch 
 painter : on his left hand the youth holds a falcon. The subject is called 
 " The Dog of Goltzius ;" and the print is justly esteemed as a master-piece of 
 art. Bartsch, No. 190. 
 
 455. VENUS AND CUPID. 
 
 Venus, sitting at the foot of a tree, is holding a bunch of grapes in one 
 hand, and receiving, with the other, some ears of corn, which Cupid presents. 
 Engraved after a print by Agostino Carrache, with considerable variations : 
 a circular plate. Round the subject is inscribed — "sine cerere et baccho 
 
 FRIGET VENUS." 
 
 This print can scarcely be excelled in beauty and delicacy of execution. 
 Bartsch, No. 257. 
 
133 
 
 Bartsch, in his account of it, Peintre Graveur, Vol. 3, pa. 78, has noticed 
 a very deceptive copy ; but the distinguishing marks of the original, he has 
 described as being in the copy, and vice versa. This error he has rectified 
 in his German work, Zur Kupferstichkunde, Vol. 2, pa. 28; where the de- 
 scription of the copy is correct ; being exactly the reverse in its marks of 
 difference from that so called in the " Peintre Graveur.'" 
 
 JAMES MATHAM, 
 
 the son-in-law and pupil of Goltzius, was born in 1571. When he was 
 about nine years old, his mother married Goltzius, who proved an excellent 
 instructor to him. He travelled into Italy, as we learn from the inscriptions 
 on several of his prints, which were engraved at Rome. He died about 1631. 
 His works are very similar to those of his master, but certainly inferior. 
 
 456. THE ALLEGORY OF HUMAN LIFE : 
 
 a picture, according to the ideas of the philosoper Cebes, of all which occurs 
 to man in the career of life : composed of more than two hundred figures, and 
 engraved on three plates, intended to be joined. Bartsch, Vol. in. pa. 166, 
 No. 139. Impressions in which the three divisions are separate, and with 
 uncut margins. 
 
 JAN SAENREDAM. 
 
 This artist, who is placed here as a pupil of Goltzius, was originally the 
 scholar of J. de Gheyn, and has so successfully imitated the manner of the 
 former, that his works are often mistaken for those of his master. His 
 drawing is decided and scientific, with occasional extravagance, in which 
 he imitated his instructor, as well as in his better qualities. 
 
 He died in 1607, but at what age it is not known ; probably in the prime 
 of life, as Goltzius survived him ten years. The earliest date on his prints 
 is 1593, and those so dated seem to be his first essays. 
 
 457. JAEL. 
 
 She is represented to the knees, standing, and holding the nail and ham- 
 
134 
 
 mer prepared to kill Sisera : engraved from a design of Goltzius. Bartsch, 
 Vol.i ii. No. 43, who calls the print Deborah. First impression, before the words 
 "cum. privil. sa. cae. m." &c. : an impression undescribed by Bartsch. 
 
 458. JUDITH. 
 
 She is likewise standing, and holds the head of Holof ernes, which she is 
 giving to her attendant : companion to the preceding print. Bartsch, No. 44. 
 Impression in which the publication privilege is written in ink by Saenredam. 
 
 459. THE CAVERN OF PLATO : 
 
 where a small number of the disciples of that philosopher are collected round 
 the light, while the greater portion of mankind, preferring darkness, pursue 
 only the shadow of Truth, and the vain pleasures of the world : an allegorical 
 subject, after Cornelius Cornells : engraved in 1604. The master piece of 
 Saenredam. Bartsch, No. 39. 
 
 JAN MULLER 
 
 flourished between the years 1589 and 1625, but the particulars of his life 
 are altogether unknown. His firm and decided manner of engraving it 
 would be almost impossible to surpass ; but he is justly reproached with being 
 a mannerist, and he certainly was so in a high degree. 
 
 460. THE RAIDING OF LAZARUS: 
 
 after Bloemart. Bartsch, Vol. m. pa. 274, No. 27. Proof before the letters, 
 and in which the left foot of Lazarus is not finished. 
 
 461. AN ALLEGORY OF THE ARTS. 
 
 Painting, Sculpture, and Architecture banished by the Turks, from the 
 spots in which they most appeared to flourish, retire to Olympus, where Fame 
 opens the road for their reception : a subject composed of two plates joined 
 together ; engraved after Bartholomew Spranger, and called " The Apotheosis 
 of the Arts'' Bartsch, No. 76. 
 
 Impression before any writing, and unfinished in several of the groups to 
 the left, which are only traced : probably unique. 
 
135 
 
 CRISPIN DE PASSE 
 
 was born at Armuyde in Zealand, in 1538. He learnt the art of engraving 
 from Coornhert, and exercised his profession with great success in Utrecht, 
 Amsterdam, Cologne, Paris, and London. 
 
 This artist, whose mind and character were of the most amiable kind, had 
 also a considerable taste for literature, and published a treatise on drawing 
 and engraving, from the preface to which we learn, that he studied under 
 Rubens, Diepenbeck, and Bloemart. He engraved the plates for PluvineVs 
 work on horsemanship, containing the portraits of the principal personages 
 at the court of France ; but some of his best portraits are probably those 
 which he executed in England. The time of his death is unknown. He had 
 a son named Crispin, who also engraved ; but his talent was very inferior to 
 that of his father. 
 
 462. PORTRAIT OF THOMAS PERCY, CONSPIRATOR * 
 
 in an oval with devices, and four small subjects, relative to the plot. At 
 the bottom, is this inscription : h&c est vera et prima originalis editio 
 
 THOJE PERCI, 
 
 463. PORTRAIT OF ELISABETH, QUEEN OF ENGLAND, 
 
 sumptuously dressed, with her crown and sceptre. In this habit she went 
 to St. PauVs Cathedral, to return thanks for the victory over the Spanish 
 Armada : after a design or painting by Isaac Oliver. The chef-d'ceuvre of 
 Crispin de Passe. 
 
 464. PORTRAIT OF PRINCE CHARLES, 
 
 afterwards Charles the First. He is represented in an oval, dressed in a 
 rich habit, with a lace ruff, and the ribbon and George of the Garter. A 
 cloak hangs over his left shoulder : round the oval are his titles in latin, as 
 Prince of Wales, and Duke of Cornwall ; and, at the bottom, a latin inscrip- 
 
 * Percy appears, next to Catesby, to have been the chief actor in the tremendous tragedy of the " Gun- 
 powder Plot ;" but it is remarkable, that notwithstanding the full detection of both, neither perished 
 on the scaffold, as they were killed by the same shot, in the attempt to take them, represented in the 
 medallions of the above print. 
 
 Percy's relationship to the Earl of Northumberland, and his being one of the band of Gentlemen 
 Pensioners, of which that nobleman was captain, and to which Percy was admitted without the usual oaths, 
 entailed upon the earl the severe and unmerited punishment of fifteen years' imprisonment in the 
 Toner. — See Granger. 
 
136 
 
 tion, beginning, " florentis regni columen," &c. This plate underwent 
 two alterations : the second state has merely a slight addition to the work ; but 
 in the third state, the hair is altered, and the peaked beard added, which Charles 
 wore when king, and which renders his face so remarkable. The present is 
 the first impression before the alterations; in which state it is a lovely 
 specimen of superior talent. 
 
 WILLIAM DE PASSE. 
 
 This artist, who was the second son of the preceding, was born at Utrecht 
 about 1572. He was the pupil of his father, whose steps he successfully 
 imitated. He came to England when a young man, where he engraved 
 numerous excellent portraits, and passed the greater portion of his life 
 actively employed. 
 
 465. PORTRAIT OF SIR HENRY RICH* 
 
 This portrait is a small folio, in an oval, and is a chef d'ceuvre of the artist. 
 At the bottom are the titles of Sir Henry m English, and round the oval the 
 same in Latin. This print was published by Thomas Jenner, in Cornhill. 
 
 SIMON DE PASSE 
 
 was the youngest son of Crispin de Passe the elder, and was born at Utrecht 
 about 1574. He was an engraver of almost equal merit with his father and 
 brother, the former of whom was his instructor. With them he came to 
 England, and was employed by Nicholas Hilliard to engrave the portraits of 
 the Royal Family. After staying ten years, he entered into the service of 
 the King of Denmark, and died, as it is conjectured, at Copenhagen. 
 
 * This gentleman, remarkable in the court of James the First, for his handsome person and agreeable 
 manners, was Captain of the King's Guard, and Lord General of the Horse, in 1<>39. .Standing one 
 day with James, while a porter was carrying £3,000 in specie to the Treasury, he whispered to a friend 
 near him, "how happy all that money would make him." James overheard, or learnt, the remark, and 
 bestowed the whole upon him, observing, " You thinh yourself very happy in having so large a sum ; 
 hut I am more happy in obliging a worthy man whom I love." 
 
 Rich was afterwards made Baron of Kensington, and Earl of Holland, and he built Holland House, 
 in what was then considered a retired spot. He it was who settled the treaty of marriage between Charles 
 the First and the illustrious Henrietta Maria, of whom he was a distinguished favorite. 
 
 This nobleman was always variable in his conduct towards the King and Parliament ; and from his 
 pliability to both parties, had not a friend in either. His efforts on the King's behalf, were his last ex- 
 ertions, and they were madly directed. He was shortly afterwards (1(349) beheaded. 
 
137 
 
 466. PORTRAIT OF PAUL VAN SOMER, PAINTER, 
 
 in an oval cartouche, supported by two female figures. Underneath the oval 
 is written, " simon pass sculpsit, anno 1622 hut there is no other inscrip- 
 tion to indicate the portrait. 
 
 467. PORTRAIT OF SIR ROBERT NAUNTON, AMBASSADOR. 
 
 He is represented dressed in his habit of ceremony, standing near a table : 
 the arms of his family, with a rebus and inscriptions, are in the corners of 
 the print, at the top. This engraving, which forms the frontispiece to Sir 
 Robert s work, intituled " Fragmenta Regalia" is not described by Granger. 
 
 Impression before the alteration in the armorial bearings. 
 
 468. PORTRAIT OF HENRY WRIOTHESLEY, EARL OF SOUTHAMPTON. 
 
 He is represented in armour, in an oval, round which is an inscription, 
 containing his titles, which are repeated in English, in the margin below. 
 Published by Sudbury and Humble. 
 
 JEROME WIERX or WIERIX 
 
 was born at Amsterdam about 1551. He was the brother of John and 
 Anthony Wierix, three engravers of untired perseverance, who worked in 
 conjunction. Their productions are stiff, laboured, and ungraceful, but 
 minutely delicate to a surprising degree. Of this assiduous fraternity, 
 Jerome was, it is considered, the most skilful, who is therefore alone intro- 
 duced here. 
 
 469 — 481. THE LIFE OF SAINT IGNATIUS LOYOLA. 
 
 A set of thirteen small and very highly finished plates, including the title. 
 First impressions, with the address of Piermans. 
 
 482 — 484. emblem : the infant Saviour, seated in a human heart; inscribed 
 " origo casti cordis." — saint agnes, in a chamber, — and the annun- 
 ciation : three very small engravings. First impressions, with the address 
 of Piermans. 
 
 485. PORTRAIT OF SIR THOMAS MORE. 
 
 This is a very small print, of which the present impression is a finished 
 proof, before the verses usually in the bottom margin, and before any writing. 
 There is a yet smaller print of the same person, by Wierix. 
 
 T 
 
138 
 
 486. PORTRAIT OF ELIZABETH, QUEEN OF ENGLAND. 
 
 This print, which is usually called " Elizabeth between the pillars" repre- 
 sents the Queen standing in a full, stiff, sumptuous dress, between two columns, 
 with Corinthian capitals, the one surmounted by a pelican feeding its young, 
 the other by a phoenix in flames ; — holding in her right hand the sceptre, 
 and in the other, the globe. Affixed to the pillar, on her right hand, are the 
 arms of England, and to the other pillar is attached a coat of arms, contain- 
 ing the portcullis. Near the Queen's right hand is a table, on which is an 
 open book, with the inscription " posui devm adjvtorem meum." The back- 
 ground represents the ocean and the island of Britain, with castles on its 
 shores, and surrounded by shipping. In the margin below are the Queen's 
 titles, and an inscription commencing " immortalis honos regum" &c. 
 Below this is written, " in honorem serenissimm sum majestatis, banc 
 
 EFFIGIEM FIERI CURABAT JOANNES WOUTNELIUS BELGA, ANNO 1596." This print 
 
 is a chef-d'ceuvre of engraving. There exists a deceptive copy of it. 
 
 JAN SADELER. 
 
 This artist, the founder of a family of engravers, who have done good 
 service, was born at Brussels in 1550. At the age of 20, he published some 
 prints after Crispin van de Broeck, which made him known as a man of 
 talent. He travelled to Cologne, Franckfort, Munich, Verona, Venice, and 
 Rome, which contributed to correct his naturally dry manner ; and embold- 
 ened him to adopt a more vigorous and decided style. He died at Venice 
 in 1610. 
 
 It has not been thought necessary to place in the collection described in 
 this Catalogue, any other specimen of the performances of this family, than 
 the following : — 
 
 487. THE VIRGIN AND CHILD. 
 
 The Virgin is seated on a throne, with the infant Jesus on her lap. St. 
 John the Baptist, and St. John the Evangelist, are near the throne, while two 
 angels are standing by with their censers : engraved after Hans von Achen, 
 1589. 
 
139 
 
 JAMES DE GHEIN, the elder, 
 
 was born in 1565, at Antwerp, and died in 1G15. He learnt the elementary 
 principles of painting from his father, and acquired his knowledge of 
 engraving in the school of Goltzius. He was a man of ability, and con- 
 siderable mechanical talent; but his works are rendered disagreeable by 
 the dry manner too common to the artists of his time and countiy. 
 
 488. DANIEL IN THE DEN OF LIONS. 
 
 At the top of the print, to the left, the angel of the Lord is seen, transport- 
 ing Habbakuk, with the reaper's dinner: a subject engraved after TJieodore 
 Bernard : probably the chef d'oeuvre of de Ghehi. Huber and Rost, Vol. v. 
 pa. 200, No. 44. Zani, e.m. part 2, Vol. iv. pa. 223. First impression, before 
 the address of Bosscher. 
 
 489. PORTRAIT OF HUGO GROTIUS. 
 
 He is represented here at the age of 15, in an oval, with the inscription, 
 
 " QUIM SIB I QUINDENIS ASTRJEA" &C. 
 
 ANTHONY VAN DYCK. 
 
 NTWERP gave birth to this great man, in 1599. 
 He was instructed by his father, who was a 
 painter on glass, and afterwards by Henry von 
 Balen. He then entered the school of Rubens, 
 where his genius soon found its proper scope. 
 By the advice of his master, he visited Italy, 
 and at Venice studied Titian and Paul Veronese, 
 with ardour. From this city he went to Rome 
 and Genoa, and returned to his native countiy a 
 most accomplished artist. His reputation in- 
 duced Charles the First to invite him to England, where his great talents 
 were most successfully displayed in painting the portraits of the King and 
 Royal Family. Charles loaded him with honours, knighted him, and settled 
 a liberal pension upon him. Van Dyck married Maria Ruten, of the Gower 
 family, who was a beautifid, but it seems portionless lady. 
 
 T 2 
 
140 
 
 His pictures were so extravagantly sought for, that he would soon have 
 acquired an immense fortune, had not his princely style of living checked 
 all possibility of accumulation. His portraits are of the highest class of art, 
 and the few etchings which he has left us, ai - e truly worthy of his great 
 name and talents. He died in London in 1641. 
 
 490. PORTRAIT OF FRANCIS SNYDERS, PAINTER. 
 
 Van Dyck etched the head only, of which etching the present is a specimen. 
 The print was afterwards finished with the burin by Jac. Neeffs. 
 
 491. PORTRAIT OF JOHN SNELLINCX, 
 
 painter of Antwerp. Proof before any writing. 
 
 492. PORTRAIT OF VAN DYCK HIMSELF. 
 
 This impression is of the head only, turned as looking over the right 
 shoulder. The print was afterwards finished by Jac. Neeffs. 
 
 493. CHRIST CROWNED WITH THORNS ; 
 
 called the " Ecce Homo.'' 1 
 
 First impression, before the address of Bon Enfant, and before the words 
 " et fecit aqua fortl" in the inscription. 
 
 LUCAS VORSTER MA N the elder, 
 
 was born at Antwerp about 1580. He studied painting under Rubens, but 
 quitted it by that great artist's advice, to devote himself exclusively to 
 engraving, in which he became truly eminent. His prints are executed in 
 a most picturesque manner, with great variety and intelligence of effect, 
 and an admirable discrimination of objects, particularly those after Rubens 
 and Van Dyck, which are master-pieces ; and to him we are also indebted for 
 the first complete expression of this intelligence on copper. 
 
 He visited London, where he resided eight years, well employed by 
 Charles the First and Lord Arundel ; but finding in Van Voerst a rival suffi- 
 ciently powerful to excite his apprehensions, he returned in 1632 to his 
 native country, where he died. 
 
141 
 
 494. THE DEAD BODY OF OUR LORD BEWAILED BY THE MARIES. 
 
 The corpse of the Saviour is extended on the lap of the Virgin, surrounded 
 by angels : engraved after Van Dyck. First impression, before the third line 
 of inscription, which commences, " Per illustri," fyc. and before the word 
 " excudit" 
 
 495. PORTRAIT OF THOMAS HOWARD, EARL OF ARUNDEL. 
 
 This nobleman was the patron of Vorsterman, and the portrait is engraved 
 after Van Dyck. The present impression is a finished proof before any writing, 
 in which state it is not probable that more than one or two impressions exist. 
 
 BOETIUS & BO LS WERT. 
 
 It has been justly said, that Rtibens was fortunate in the choice of the 
 artists whom he employed to engrave his pictures. He was indeed pecu- 
 liarly so with regard to the preceding artist, as well as the three following 
 engravers, who have done great justice to his admirable works. 
 
 Boetius a Bolswert was born at Bolswert, in Frieseland, about 1580. It is 
 not known of whom he acquired his instruction. He established himself at 
 Antwerp as a printseller, and, in conjunction with his brother, engraved and 
 published a considerable number of scriptural subjects. 
 
 Boetius was a good engraver, but, except in a very few instances, decidedly 
 inferior to his brother Scheltius. 
 
 496. THE LAST SUPPER OF OUR LORD. 
 
 This is a very large print, and is engraved after Rubens. Basan, Vol. nt. 
 pa. 26, No. 62. A chef d'ceuvre of Boetius. First impression, before the ad- 
 dress of Huberti. 
 
 497. THE CRUCIFIXION. 
 
 Our Lord is between the two thieves ; a soldier is piercing his side, and 
 another is breaking the legs of the thief on the right : engraved after Rubens. 
 Below is the title, " jesus crucifixvs." This is probably the very best 
 work of Boetius. — Basan, No. 87. First impression, before the date, and pub- 
 lished by Bolswert himself. 
 
142 
 
 SCHELTIUS -k BOLSWERT 
 
 AS the brother of the preceding artist 
 and was born at Bolswert, about 1536. 
 He was the intimate friend of Rubens, 
 who is said, himself, to have worked on 
 the plates engraved after his pictures 
 by this artist. This, however, Watelet 
 understands to mean, merely as having 
 worked on certain proofs, which he 
 touched as a direction to the engraver. 
 Scheltius was an artist of consummate 
 skill, and although he possessed, as he 
 has shewn, all the talent requisite for the highest finish, he never suffered 
 himself to be seduced from the more essential qualities of the art. The 
 brilliancy and spirit of his burin, and the beauty, depth, and vigour, of his 
 colour, have rarely been equalled, and perhaps never excelled. The date of 
 his death is unknown. 
 
 498. THE MARRIAGE OF THE VIRGIN, 
 
 after Rubens. Basan, Vol. nr. pa. 2. No. 1. Finished proof, before the in- 
 scription " virgo disponsata^c." and before any writing. 
 
 499. CHRIST CROWNED WITH THORNS : 
 
 after Van Dyck : a very large plate. Huber and Rost, Vol. v. pa. 273, No. 6. 
 Zani, e.m. part 2, Vol. vn. pa. 225. First impression, with the light on the 
 nostril of the man who is seen buffeting the Redeemer ; the print in this state, 
 is also less worked upon in several places. 
 
 500. PORTRAIT OF ADRIAN BROUWER, FLEMISH PAINTER. 
 
 This is engraved after Van Dyck, and is a finished proof, before any 
 writing. 
 
143 
 
 PAUL DU PONT, or PONTIUS. 
 
 This artist was the pupil of Lucas Vorsterman, and was born at Antwerp, 
 about 1596. Like Scheltius a Bolswert, he engraved under the immediate 
 superintendence of Rubens; to which circumstance his great perfection may 
 be attributed. 
 
 Pontius is considered to be the equal of Vorsterman, and of Scheltius a Bols- 
 wert. All were eminent : the first in delicacy and variety, Bolswert in facility 
 and intelligence, and Pontius in force and general effect. He was equally 
 happy in portrait as in history. 
 
 501. THOMIRIS COMMANDING THE HEAD OF CYRUS TO BE BATHED IN 
 
 HUMAN BLOOD. 
 
 This print is an admirable performance of Pontius. It bears the inscrip- 
 tion : " satia te sanguine, fyc." and is engraved after Rubens. Basan, 
 Vol. in. pa. 3, No. 22. 
 
 502. PORTRAIT OF RUBENS, 
 
 engraved from a painting by himself. Finished proof, in an oval shape, 
 afterwards made square ; before any writing, and before the border. 
 
 503. PORTRAIT OF JAN DE HEEM, 
 
 painter of Utrecht ; after Van Dyck. Finished proof, before any writing. 
 
 HENRY, COUNT GOUDT. 
 
 This delightful artist, who was by birth and education a gentleman, and 
 a Count Palatine of the Rhine, was born at Utrecht, in 1585, where he died 
 about 1630. 
 
 At a very early age he became a devoted and enthusiastic admirer of the 
 arts, and went to Rome, to study in the Academy, where he became intimately 
 acquainted with the unfortunate Elsheimer, who was his instructor. The 
 scholar proved his master's best benefactor ; for he relieved him from the 
 pressure of debt, and from a prison, by the liberal purchase of his pictures. 
 Some of these he engraved, with an intention to imitate the peculiar effects 
 produced by that painter. 
 
 After Elsheimer's death Goudt returned to Utrecht, where a female, who 
 
144 
 
 was enamoured of him, ignorantly administered to him a love philtre, which 
 created an occasional aberration of intellect, and ended in his premature 
 death. During his lucid intervals, the arts were his entire consolation and 
 amusement ; and few can view his works without a feeling for their beautiful 
 peculiarities, and for the singular fate of their author. 
 His engravings consist of seven pieces, viz. : — 
 
 504. THE ANGEL AND TO BIT. 
 
 The latter is carving the fish under his arm : an effect of twilight, en- 
 graved after Elsheimer, in 1608. Proof before any writing. 
 
 505. Impression in the ordinary state. 
 
 506. THE ANGEL AND TOBIT. 
 
 The latter is dragging the fish after him : also after Elsheimer ; engraved 
 in 1613 : an effect of night. 
 
 507. LANDSCAPE WITHOUT FIGURES. 
 
 This landscape is called " Aurora, or the Break of Day," and was engraved 
 in 1613 ; but as it is without the name of any painter, perhaps it was designed 
 by Goudt himself. 
 
 508. PHILEMON AND BAUCIS ENTERTAINING JUPITER AND MERCURY. 
 
 A beautiful and picturesque subject, after Elsheimer, and engraved in 
 1612. 
 
 509. CERES IN SEARCH OF PROSERPINE. 
 
 Ceres, in search of her daughter, having requested from an old woman per- 
 mission to quench her thirst, punishes a boy who mocked her while drink- 
 ing, by changing him into a lizard : an admirable effect of night : after 
 Elsheimer, and engraved in 1610. This subject is sometimes absurdly called 
 
 " The Sorceress.'''' 
 
 510. THE FLIGHT INTO EGYPT. 
 
 The scene is a woody landscape, with a vista seen by moon and star light, 
 near a river : it is without the name of any painter, and was engraved in 1613. 
 
 511. THE DECAPITATION OF ST. JOHN THE BAPTIST: 
 
 a night-piece, of delicate and minute workmanship. It is engraved on an 
 oval plate, after Elsheimer. Huber and Rost, Vol. v. pa. 318. 
 
145 
 
 JONAS SUYDERHOEF 
 
 was born at Leyden about 1600. He was the scholar of Peter Soutman,hut 
 soon became a greater artist than his master. He was eminently successful 
 in his combination of the etching- needle and the burin, with which he pro- 
 duced the most picturesque effects. His portraits are very estimable, and 
 his mode of rendering the touch of the pictures which he engraved, is sur- 
 prising. 
 
 512. THE TREATY OF MUNSTER ; 
 
 in which are portraits of the sixty plenipotentiaries assembled to ratify the 
 peace : engraved after G. Terburgh. Huber, Vol. v. pa. 360, No. 8. The chef 
 d'ceuvre of Suyderhoef. 
 
 Proof before any writing, and before the inscription "pax optima rerum," 
 on the tablet suspended against the wall on the left, but otherwise finished.* 
 
 CORNELIUS BLOEMART. 
 
 This artist, is the first who gave to his plates the delicate finish of the 
 burin, in engraving subjects of a large size. 
 
 He was born at Utrecht in 1603, and died at Rome in 1680. He was first 
 instructed by his father in the principles of design, but became afterwards 
 exclusively attached to engraving, and applied himself to arduous study 
 under Crispin de Passe. Having soon outstripped his instructor, he visited 
 Paris in 1630, and there highly distinguished himself by his engravings 
 from the collection of The Temple of the Muses. At length he fixed his resi- 
 dence in Rome ; and may be said to have formed an epoch in the history 
 of engraving, and to have laid a foundation for the French School, subse- 
 quently so celebrated. 
 
 513. THE VIRGIN AND CHILD. 
 
 The Virgin is seated on a throne, with the infant Saviour : on the right 
 side stands St. Roch, and on the left St. Sebastian : engraved after Baroccio. 
 
 514. ST. PETER RAISING TABITHA FROM THE DEAD : 
 
 engraved after Guercino : beautiful for colour and execution, and the chef 
 d'ceuvre of Bloemart. 
 
 * In the volume of the works of Suyderhoef, belonging to the Count de Fries, was a proof of this fine 
 print ; but exceptionable in condition. It is the only other impression before the writing, hitherto known. 
 
 U 
 
146 
 
 CORNELIUS VISSCHER. 
 
 ORNELIUS VISSCHER was born in Holland 
 about 1610, but tbe precise place of his birth is not 
 handed down to us, though it is conjectured to have 
 been Haerlem. He was the scholar of Soutman; but, 
 disdaining the ordinary lessons of his art, he 
 opened for himself a career altogether new. His 
 combination of effects from the etching needle and 
 the burin, are productive of the happiest success, 
 since he seemed to sport with both at will. To 
 dilate on the merits of this artist, would be out of 
 the question here, though perhaps very few engravers better deserve praise. 
 
 Visscher never succeeded so well, as when he engraved the subjects of his 
 own invention, and his compositions are admirable. His choice qualities 
 are well discriminated by Watelet. 
 
 Hecquet compiled a catalogue of his works, which will be found at the end 
 of Hasan's " Dictionnaire des Graveurs." Though very useful, it is decidedly 
 imperfect, as many plates of importance are not introduced. 
 
 The period of Cornelius Visscher's death, like that of his birth, does not 
 appear to be ascertained. 
 
 515. THE PANCAKE WOMAN, OR THE MAKER OF DUTCH FRITTERS, 
 
 CALLED KOUCKS. 
 
 This print is designed by C. Visscher himself. Hecquet, pa. 26, No. 14. 
 Impression before the address of Clement de Ionghe. 
 
 516. THE RAT CATCHER. 
 
 Near him is a boy holding a pole, at the end of which is a basket of live 
 rats : also designed by C. Visscher. Hecquet, No. 16. Finished proof be- 
 fore the inscription. 
 
 517. THE BOHEMIAN, OR GYPSEY NURSE. 
 
 She is suckling a young child, and two other children are with her, one of 
 wbom is fastened to her back, and is crying : designed by C. Visscher. Hecquet, 
 No. 17. Finished proof before the name of Visscher, and before any writing. 
 
147 
 
 518. PORTRAIT OF ANDREAS DEONYSZOON WINIUS : 
 
 a portrait commonly called the Pistol Man, from the fire arms placed in the 
 apartment where he is represented sitting. In the margin, at bottom, are 
 ten lines of verse, and an inscription from a separate plate. 
 
 Kempfer in his travels, makes honorable mention of the character and 
 abilities of Winius. He was born in Holland, but entering in early life into 
 the service of Russia, was employed in the commissariat, held the office of 
 consul, and others of importance. 
 
 This print is one of the rarest and most beautiful of Cornelius Visscher's 
 works. From the large beards worn by the persons represented in this and 
 the two following portraits, they are commonly called in France, " Lesgrandes 
 barbes de Visscher." Hecquet, pa. 36, No. 3. 
 
 519. PORTRAIT OF GELLIUS DE BOUMA, 
 
 minister of the Gospel at Zutphen : represented with a large square beard ; 
 and near him is an open book ; at the bottom are eight Dutch lines : de- 
 signed by Visscher from the life. Proof before the writing in the open book, 
 except on a single leaf. Hecquet, pa. 37, No. 4. 
 
 520. PORTRAIT OF WILLIAM DE RYCK. 
 
 This person was a celebrated oculist at Amsterdam. He is represented 
 with his left hand on his breast, and wears a large flowing beard. At the 
 bottom is a Dutch inscription of twelve lines. This plate underwent several 
 changes ; in the first the lips are not distinctly seen, but are covered by the 
 beard ; and in the second the right ear is less worked upon than in the third. 
 The portrait is evidently a wonderful likeness, from its appearance of indi- 
 viduality. Hecquet, pa. 37, No. 5. Impression on vellum. 
 
 521. PORTRAIT OF JAN DE PAEP, 
 
 agent for furnishing clerks to the merchants at Amsterdam. This is the smaller 
 portrait of two engraved by Visscher, after his own design. It is half length, 
 and the hands are not seen. Hecquet, pa. 43, No. 25. Finished proof before 
 any writing. 
 
 522. PORTRAIT OF POPE ALEXANDER VII. 
 
 This Pontiff is represented in an oval surrounded by a cartouche, on each 
 side of which below, is a child supporting a garland of fruit, to adorn the 
 Pope's coat of arms. At the bottom are an inscription and six Dutch lines. 
 Hecquet, pa. 41, No. 18. First impression, before some work on the face 
 of the portrait. 
 
 U2 
 
148 
 
 JAN VISSCHER 
 
 was the brother of Cornelius, and was born at Amsterdam in 1636. He by 
 no means possessed the talents of his brother ; but in his engravings after 
 Berghem and Ostade, his touch is so picturesque, that his plates have all the 
 appearance of painters' etchings : his drawing, however, is not always 
 correct. 
 
 523. PEASANTS PLAYING AT BACKGAMMON. 
 
 They are assembled before the door of a village ale-house, under a trellis : 
 engraved after A. Ostade. Finished proof before any writing. 
 
 524. FLEMISH INTERIOR : 
 
 companion to the preceding. A woman is spinning and a man winding on the 
 reel ; a child stands between them, near the woman, laughing. Finished proof 
 before any writing. 
 
 525. DANCE AND MERRRY-MAKING OF PEASANTS. 
 
 They are in a village ale-house carousing : a subject called " Berghem's 
 Ball^ from its being after a design by that painter. Finished proof before 
 any writing. 
 
 PETER CLOU VET, or CLOUET, 
 
 was born at Antwerp in 1606. He had the good fortune to visit Italy at an 
 early period, where, in conjunction with Spierre and Bloemart, he perfected 
 himself in engraving. He also visited Paris and England, and in the latter 
 country was munificently patronized by the Dttke ofNeiccastle, whose portrait 
 he has engraved in the print about to be noticed. He returned after- 
 wards to Antwerp, where he engraved much from the paintings oi Rubens, 
 and where he probably died ; but the period of his decease is unknown. 
 
 526. THE FAMILY OF THE DUKE OF NEWCASTLE,* 
 
 assembled in an apartment of his mansion at Bolsover: a composition of 
 
 * William Cavendish, Duhe of Newcastle, represented in this very beautiful print, and of whom 
 Clarendon gives so fine a portrait, is certainly not well used by Walyole, who affects to admire the 
 
149 
 
 fourteen figures. The Duke and Duchess, seated in armed chairs, crowned 
 with laurel, and surrounded by their family, are listening to stories related 
 hy a youth of the company, at the Duke's right hand : engraved after Abm. 
 Diepenbecke, as the frontispiece to a work written by the Duchess, entituled, 
 " Nature's Picture, drawn by Fancy's Pencil to the Life," published in 1656. 
 Both the painter and engraver were patronized by the Duke, and this is 
 Clouefs masterpiece. — Huber, Vol. v. pa. 410, No. 9. 
 
 One of the only two proofs before the verses usually at the bottom, and be- 
 fore any writing, but finished : the other is in the Illustrated Clarendon of 
 the late A. H. Sutherland, Esq. The present impression is from the collec- 
 tion of Sir Mark Sykes. 
 
 ABRAHAM BLOOTELING. 
 
 Abraham Blooteling was born at Amsterdam in 1634. It is supposed that 
 he was instructed in the school of Visscher. He came to England, where he 
 remained two years, was most handsomely received, and liberally paid. He 
 engraved in mezzotinto as well as in the line manner, and was a very indus- 
 trious and valuable artist. 
 
 Dulte's philosophy, iD sitting; down, after his various misfortunes, " contented with the utmost idlenesses 
 of literature."* 
 
 His Grace, as it appears from the account of his Duchess, lost above £700,000 in the civil wars ; a 
 vast sum now ; enormous at that time; and all spent in the service of his master, to whom his attach- 
 ment was unimpeachable. No wonder, that he appeared to Clarendon, to be " tired of a course of life, 
 nhich could not ivell suit his humour ;" and we can hardly blame that species of philosophy, which in- 
 duced him, after such sacrifices, to seek his own comfort in literature. 
 
 Mr. D. Israeli very justly censures Walpole's flippant "picture of foolish nohility, in this stately 
 poetic couple." 
 
 Maryaret Lucas, the Duhe's lady, was certainly a pedant : but although she appears to have written 
 a great many ponderous folios, including the Life of her husband ; she was admitted to have been an 
 exemplary wife, of a strictly virtuous character, and a very domestic woman. How she contrived to 
 find time for performing the duties of her station, as she is said to have done, and for writing twelve 
 folio volumes, it is not now easy to learn. She was a dabbler in every thing — philosophy, poetry, and 
 plays. 
 
 The Duhe was also a dramatic writer ; but his books on Horsemanship, are the only works by which 
 he is now remembered. — See D' Israeli's " Curiosities of Literature." 
 
 * Royal and Noble Authors, Vol.2, pa. 12. Strawberry Hill, 1757. 
 
150 
 
 527. PORTRAIT OF M. HE RM ANNUS LANGELIUS, 
 
 an ecclesiastic and a man of letters of Amsterdam : he is represented holding 
 a hook : engraved after Fr. Hals. A large margin below, contains usually 
 an inscription. Finished proof before any writing. 
 
 528. PORTRAIT OF PETER SCHOUT. 
 
 This person, who was a Canon of Utrecht, is represented on horseback in 
 a landscape. The subject is called " The Cavalier," and sometimes, but erron- 
 eously, the portrait of " Moelman." The figure is painted by P. Netscher, the 
 horse by Ph. Wouvermans, and the landscape by Wynants. This is the 
 chef-d'oeuvre of Blooteling. 
 
 Proof before the inscription and the engraver's name at the top ; before 
 the cross-lines on the pistol-holster, on the background to the left, and on a 
 small part of the hat : an impression of a brilliant effect, and perhaps unique. 
 
 GERARD VALCK 
 
 was born at Amsterdam about 1626. He was originally the servant of 
 Blooteling, from whom he learnt engraving, and whose sister he afterwards 
 married. 
 
 He came into England with his brother-in-law, and returned with him to 
 Holland. Valck, when in London, worked some time for David Loggan. He 
 was a very good engraver, both in the line manner and in mezzotinto, and 
 his portraits are much esteemed. 
 
 529. PORTRAIT OF ROBERT LORD BROOKE, BARON BROOKE. 
 
 This nobleman is represented in a flowing wig, in an oval. The print is 
 in folio, and is dated 1678 : it is a portrait of great beauty. 
 
 JACOB HOUBRAKEN 
 
 was born at Dort in 1698, and died there in 1780. He was indebted for his 
 eminence to little beyond his own genius. By studying the works of 
 Edelinck and Nanteuil, he arrived at a rare degree of perfection, particularly 
 by the occasional contrasts of delicate finish in his heads, and of picturesque 
 boldness in his draperies and accessories. 
 
151 
 
 530. PORTRAIT OF RICHARD HERVEY, M.D., 
 
 the discoverer of the circulation of the blood : after Bemmel : engraved for 
 " Birch's illustrious Lives,'''' published by Paul Knapton* Finished proof 
 before the letters. 
 
 531. PORTRAIT OF SIR WALTER RALEIGH : 
 
 engraved for the same work. Similar proof. 
 
 532. PORTRAIT OF THE EARL OF MORTON : 
 
 engraved for the same work. Similar proof. 
 
 * The " Portraits of Illustrious Men," are considered as the great work of Houbraken. The orna- 
 ments, however, which surround the portraits, were designed as well as chiefly engraved, by Gravelot. 
 But this is not all : there is reason to believe that the greater part of the portraits, as well as their 
 accessories, were sent by Knapton to Houbraken in a very forward state ; the work of Gravelot. This 
 is the case, for instance, with the beautiful plate of Anne Bolegn, which the writer of this remark pos- 
 sesses in different states : the first, though very forward, has none of the work of Houbraken. He has 
 also seen many others in the same state, and some never published with the set. 
 
 A near relative of the writer, who died in 1799, at a very advanced age, had a long conversation with 
 Houbraken, as to his payment of those whom he employed ; and he found our artist to be truly penu- 
 rious and miserable. 
 
FLEMISH AND DUTCH SCHOOLS. 
 
 PART SECOND. 
 
 ETCHINGS BY PAINTERS, 
 
 ACCORDING TO THE 
 
 ftrraitgrnttttt of U&vtut). 
 
 PAUL REMBRANDT GERRITZEN, 
 
 SURNAMED 
 
 VAN RHYN. 
 
 F this extraordinary painter, Fitseli justly 
 observes, " that he never made any regular 
 approach to the Temple of Fame, hut seems to 
 have suddenly stolen the key, and entered the 
 building." He was born on the 16th of June, 
 1606, in the mill of his father, on the banks 
 of a canal, formed by the waters of the Rhine, 
 \ between the villages of Leyerdorp and Kon- 
 kerk, near the town of Leyden. 
 Having exhibited early proofs of a lively 
 genius, every effort was made by his father to 
 procure him a liberal education. For this purpose he was sent to the 
 College of Leyden ; but his ardent passion for painting, precluded all attempts 
 to study, and his father soon, wisely, gave way to his son's irresistible in- 
 clinations. 
 
 Who first instructed him in his art, is not satisfactorily determined ; but 
 Van Swanenbourg is generally believed to have had that honour. He after- 
 
 x 
 
154 
 
 wards attended the school of Peter Lastman for a few months, and worked 
 for some time under James Plnas. 
 
 As a colourist, he stands foremost in the Flemish School ; and for his emi- 
 nence in this department of his art, seems to be indebted only to his own 
 original and vivid talents. No sooner had his mind predetermined effects, 
 than his hand hastened to render them with almost infallible success ; and 
 he appears to have accomplished, by precipitate and careless touches, as un- 
 corrected as they were unpremeditated, that which years of labour and re- 
 flection have never enabled other artists to attain. 
 
 In his prints, to which the present slender memorandum is more especially 
 applicable, the chiaro-scuro is unrivalled ; and the expression of his heads, 
 particularly those of old age,both in his historical compositions, and in his por- 
 traits, has never been exceeded. Unfortunate however in his choice of sub jects, 
 from the country in which he was born and lived, and his obstinate refusal 
 to study the antique ; his attempts to render the beautiful, sometimes excited 
 unpleasant feelings, and his efforts to depict the sublime, are chiefly failures ; 
 though there are certainly exceptions to this last censure. In drawing 
 the female figure, he was sometimes so truly unhappy, as to create sensa- 
 tions of disgust, where he most wished to please. 
 
 In the execution of his prints, though his method of treatment has been 
 by no means understood beyond the narrow circle of his favorite pupils, he 
 aj>pears to have had recourse to the etching needle, to a skilful and peculiar 
 use of the dry point, and to the burin ; and to have combined some or all of 
 these in the execution of the same plate, capriciously, though satisfactorily; 
 and producing rather pictures than prints, being frequently the offtracts of 
 his own imagination on the copper, with little previous design or study. 
 
 Of etching alone, Joseph relating his Dream, described in this catalogue, 
 may be quoted as a specimen ; and the landscape called the Canal, of dry 
 point. The print called The Hundred Guilder,* exhibits the effects of 
 etching and dry point united ; as with the latter he produced that brilliancy 
 and freshness of effect called the bar, only to be found in the earliest impres- 
 sions of his plates. It is conjectured, that the Portrait of the Burgomaster 
 Six, combines all his various modes. This print, and The Hundred Guilder, 
 are considered his chefs d'amvre, although, among his portraits, many can 
 lay claim to almost equal merit. 
 
 Rembrandt, it is well known, was avaricious to an excess, and resorted to 
 the expedient of creating variations in his plates, in order to enhance their 
 
 * This print, which represents Christ healing the sici multitude, is universally known by the name 
 of " the Hundred Guilder," from the circumstance of an impression having been valued at that price 
 ( about £10), soon after its publication by Rembrandt. 
 
155 
 
 price, and increase their demand ; and bis biographers charge him with 
 practices, in this respect, not at all creditable to his honor, particularly in 
 the disposal of his works. 
 
 He had the good fortune to find a munificent patron in the rich Burgo- 
 master Six, whose portrait is mentioned before, and to whom he was often 
 indebted for being rescued from bad company, into which his singularities 
 had led him. 
 
 He died at Amsterdam in 1674, at the age of 68, leaving a son, who, accord- 
 ing to the accounts we have received of him, did not inherit a single spark 
 of his father's genius. 
 
 533. PORTRAIT OF REMBRANDT : 
 
 half length, and seen in three-quarter face, his arm resting on a sill, or sup- 
 port of stone work. This is the best of his own portraits etched by himself. 
 Dated 1639. Bartsch, No. 21. 
 
 534. JOSEPH TELLING HIS DREAM TO HIS FAMILY. 
 
 Zani considers the old woman in bed to be Leah, and not Joseph's mother, 
 as usually supposed, who must have been then dead. Dated 1638. Bartsch, 
 No. 37. Zani, e.m. part 2, Vol. m. pa. 77. 
 
 First impression ; in which the face of Joseph's brother, who stands behind 
 him dressed in a turban, is unshaded, and the curtain, and many other parts 
 of the print, are less worked upon. 
 
 535. THE TRIUMPH OF MORDECAI. 
 
 Haman appears in the act of uttering the proclamation. On the right, in 
 a balcony, are Ahasuerus and Esther. Bartsch, No. 40. 
 
 536. THE ADORATION OF THE SHEPHERDS. 
 
 A night piece, in the dark manner. Bartsch, No. 45. First impression ; 
 on China paper, and before the planks and stall in the background. 
 Second impression; on China paper, but with the planks and stall. 
 
 537. OUR SAVIOUR PREACHING TO THE PEOPLE. 
 
 Jesus is standing near an arch or gateway. This subject is called J7ie 
 Little La Tombe, from the circumstance of the figure of La Tombe, a diminu- 
 tive advocate, being introduced among the group of hearers. Bartsch, No. 67. 
 
 Second impression ; on China paper, with the bur, and in which the sleeve 
 of the man to the left with a turban, is very dark. 
 
 X 2 
 
156 
 
 Another impression in the same state, more brilliant in appearance, but 
 with less bur, and on white paper. 
 
 538. OUR SAVIOUR HEALING THE SICK. 
 
 A subject called " The Hundred Guilder :' 1 '' a chef d'ceuvre of the artist. 
 Bartsch, No. 74. 
 
 Impression on China paper, before the bur was removed from the figure of 
 the woman holding the sick child ; from the hands of the man whose back is 
 towards the spectator ; from the dog ; from various heads in the upper group 
 to the left, and before the diagonal lines on the neck of the mule : an im- 
 pression undescribed by Bartsch.* 
 
 Impression on China paper, in which the bur on the parts noticed in the 
 preceding impression, has been removed ; and the lines on the neck of the 
 mule, together with more work in the darker shades and in the dome, are 
 added to produce a brilliant effect. 
 
 This is the first impression, described by Bartsch ; and the print just 
 noticed, has been usually considered as the finest known in that state. 
 
 539. JESUS CRUCIFIED BETWEEN THE TWO THIEVES. 
 
 One of the disciples embraces the cross to which our Lord is fastened : a 
 large print called " The TJiree Crosses." Dated 1653. Bartsch, No. 78. 
 
 First impression ; in which the head of the old man, led off in distress by 
 several persons to the left, is merely traced in outline, and before the name 
 of Rembrandt, and the date. 
 
 Third impression ; with the name and date, and the composition of the 
 subject totally altered. 
 
 540. SAINT FRANCIS PRAYING. 
 
 The Saint is represented kneeling, with his hands joined on an open 
 book, at the foot of a large tree, and near a crucifix : dated 1657. Bartsch, 
 No. 107. 
 
 541. THE MARRIAGE OF JASON AND CREUSA. 
 
 This print was engraved as the frontispiece to a tragedy called Medea, 
 written by the Burgomaster Six, when secretary of the city of Amsterdam ; 
 it is dated 1648. Bartsch, No. 112. 
 
 * Mr. Barnard possessed another impression of this print in the same early state, It is now in the 
 British Museum. The impression in this collection, which has been recently compared with it, is in a 
 preferable condition. Mr. Barnard has made a remark on the back of the one here described, as 
 being " the finest in England.'' 
 
157 
 
 First impression before the name and verses, and in which the statue of 
 Juno, has on its head a calotte or skull cap ; and the robe of Medea, and the 
 habit of her page, are much shorter than in the subsequent impressions : 
 this last peculiarity is not noticed by BartscJi. 
 
 Second impression ; also before the name and verses, but on the head of 
 Juno a crown is substituted for the calotte, and the dresses of Medea and her 
 page are lengthened. 
 
 542. THE SHELL CALLED THE DAMIER: 
 
 dated 1650. Bartsch, No. 159. 
 
 Impression with the black background, but before various work found in 
 the usual impression. This variation is not noticed by Bartsch. 
 
 543. LANDSCAPE. 
 
 Three trees of the same height, and placed at equal distances, are seen on 
 an eminence to the light. The sky is cloudy and stormy : a subject called 
 " Hie Three Trees." Dated 1643. Bartsch, No. 212. 
 
 544. LANDSCAPE. 
 
 A village is seen, in the middle of which is a large square tower, and from 
 the centre of the print to the right side, runs a wooden fence. Dated 1650. 
 This print is arched at top, and is called " The Landscape with the Square 
 Tower r— Bartsch, No. 218. 
 
 545. LANDSCAPE. 
 
 In the middle of the subject are several cottages, surrounded by trees, and 
 in front a canal. To the right is a high road, and in the distance a village, 
 the church of which is visible : a small sailing vessel is seen behind two 
 little trees on the left. This plate is of an irregular form, and is called " T7ie 
 Canal" Bartsch, No. 221. 
 
 First impression ; on China paper, before the bur was scraped off. This 
 variation is undescribed by Bartsch, but is noticed by Daulby in his Cata- 
 logue, pa. 139, No. 213. 
 
 546. LANDSCAPE ; 
 
 representing, on the right, a village surrounded by trees, extending the 
 whole breadth of the print. In the middle is a gate with two buttresses ; 
 and to the right are the roofs of several houses, above which rises a ruined 
 tower. Bartsch, No. 223. 
 
 First impression ; on China paper, in which the tower is terminated by a 
 
158 
 
 dome ending in a point, and with bur in the sky, afterwards effaced even 
 in impressions retaining the pointed tower : a subject called " Hie Landscape 
 with the pointed Tower." 
 
 Second impression ; in which the tower is without a dome, as if in ruins. 
 
 547. LANDSCAPE. 
 
 The centre is occupied by a farm house, and behind it, to the left of the 
 print, is a hay shed, with a cart under it. A female peasant, followed by a 
 dog, is passing over a little wooden bridge. In the distance, to the left, is a 
 town ; and in that to the right, a country seat, surrounded by trees, on the 
 banks of a large river. This print is dated 1641. It is one of the principal 
 landscapes of Rembrandt. Bartsch, No. 225. 
 
 548. LANDSCAPE ; 
 
 arched at the top. On the left is an obelisk, the summit of which is inter- 
 rupted by the margin of the plate : a subject on that account called " Tlie 
 Obelisks Bartsch, No. 227. 
 
 549. LANDSCAPE. 
 
 On the left are three cottages, between the two first of which, a woman is 
 seen walking, followed by a dog barking. On the the right is a canal, with 
 a vessel sailing. Bartsch, No. 228. 
 
 550. LANDSCAPE. 
 
 A cottage, or farm-house, with a tree on each side of it, on the bank of a 
 river. The cottage is inclosed by wooden pales. Bartsch, No. 232. 
 
 551. LANDSCAPE, 
 
 of the greatest rarity. A large canal extends the whole breadth of the 
 print ; part of its banks are covered with reeds : near the middle are two 
 men, one of whom is fishing, while a peasant is seen carrying two milk pails. 
 Bartsch, No. 256. 
 
 552. PORTRAIT OF AN OLD MAN, WITH A GREAT BEARD AND FUR CAP. 
 
 He is dressed in a velvet mantle, and is sitting in a chair, on an arm of 
 which he rests his right elbow. Bartsch, No. 262. 
 
 553. PORTRAIT OF AN OLD MAN. 
 
 He has a large square beard, and on his head is a fur cap, the top of which 
 appears to be divided in the middle : dated 1640. Bartsch, No. 265. 
 
159 
 
 554. PORTRAIT OF YOUNG HAARING. 
 
 He is represented seated in an arm chair, behind which is a window 
 with a curtain rod; dated 1655. Bartsch, No. 275. 
 
 First impression ; before the curtain rod on the window, before the hands 
 and face were lightened, and before the name and date. 
 
 Second impression, on China paper ; with the hands and face clearer, with 
 the curtain rod, the name, and the date, but before the picture in the 
 background, which appears in the ordinary impressions. 
 
 555. PORTRAIT OF JANUS LUTMA, 
 
 a celebrated goldsmith at Groningen, seated in an arm chair, in an apartment 
 in which is a window, with a bottle in it ; on the table are the names of Lutma 
 and Rembrandt, and the date 1566. Bartsch, No. 276. 
 
 First impression ; in which the aqua fortis has failed. It is before the win- 
 dow and bottle, and before the names of Lutma and Rembrandt. It is an 
 impression undescribed by Bartsch. 
 
 Second impression ; worked up to a brilliant effect ; but still before the 
 window and bottle, and before the names of Lutma and Rembrandt. 
 
 Third impression ; with the window, &c. and the names and date. 
 
 556. PORTRAIT OF RENIER ANSLO, 
 
 Anabaptist Minister. He is dressed in a habit edged with fur, and wears 
 a slouched hat : He is sittting in a chair, before a table, on which are 
 three books — the upper one open ; and his right hand, which holds a pen, 
 is placed on another book, set upright on the table. On the back of an arm 
 chair near him, are the name of Rembrandt, and the date 1644, the last two 
 figures reversed. This is one of the fine portraits of the master. Bartsch, 
 No. 271. Impression on China paper. 
 
 557. PORTRAIT OF JAN ASSELIN ; 
 
 a celebrated Dutch j>ainter, called Crabbefje. He is seen standing, with a 
 high crowned hat on. Bartsch, No. 277. 
 
 Second impression ; on China paper, and in which the easel near him has 
 been effaced, but the traces remain. 
 
 558. PORTRAIT OF EPHRAIM BONUS, 
 
 a Jewish physician, descending a staircase, after considering the case of a 
 patient : one of the most expressive of Rembrandfs portraits. Bartsch, No. 278. 
 
160 
 
 559. PORTRAIT OF WTENBOGARDUS, 
 
 a Dutch minister, of the sect of the Remonstrants ; in an oval, but engraved 
 on an octagonal plate : dated 1635. Bartsch, No. 279. 
 
 Second impression ; with the angles left on the sides of the plate : an im- 
 pression undescrihed by Bartsch. 
 
 560. PORTRAIT OF JOHN CORNELIUS SILVIUS, 
 
 a Divine, and a man of letters. The figure is enclosed in an oval, and the 
 hand, as in the act of addressing the congregation, is projected, with its 
 shadow, beyond. Round the subject is an inscription, commencing, " spes 
 mea crristi," &c. Bartsch, No. 280. Of this print no variation is known. 
 The present impression is on the entire sheet. 
 
 561. PORTRAIT OF UTENBOGARDUS, 
 
 the banker. Tins personage was receiver-general to the States of Holland, 
 and is commonly called " TJie Gold-weigher,'''' from the nature of his employ- 
 ment in this print : dated 1639. Bartsch, No. 281. 
 
 Impression before the retouch by Rembrandt, and before the pieces of 
 money in the cask which appears standing upright : an impression unde- 
 scribed by Bartsch. 
 
 562. PORTRAIT OF COPPENOL, 
 
 the writing-master. This print is the large plate called " T7ie Great Cop- 
 penol, v to distinguish it from a portrait of the same individual, of a smaller 
 size, also engraved by Rembrandt. Bartsch, No. 283. 
 
 Impression undescrihed by Bartsch ; before the calotte on the head of 
 Coppenol was entirely finished ; before several folds in the curtain on the 
 right at top, and before the habit was completely shadowed in several places. 
 
 563. PORTRAIT OF THE BURGOMASTER SIX. 
 
 Jan Six, the friend and patron of Rembrandt, is here represented standing 
 at an open window, with his back to the light, attentively reading a book, 
 which he holds with both hands. This print combines all the varied talent 
 of the artist, and was engraved in 1647. Bartsch, No. 285. 
 
 Impression on China paper ; before the background was strengthened ; 
 before the additional work on the stick which supports the Burgomaster 's 
 hat; before the words " jan six m. 29," in the margin to the left, and with 
 the two middle figures of the date 1647 reversed. It is not mentioned in this 
 state by Bartsch, but is noticed by Daulby in his Catalogue, No. 265. 
 
 An impression prior to this, in which the window sill extends half way up 
 the Burgomaster 's arm, is in the Royal Library at Paris. 
 
161 
 
 564. PORTRAIT OF A JEWISH BRIDE. 
 
 She is sitting in an elbow chair, with a loose flowered gown, or toilet 
 cloth, over her shoulders : her hair flows down to her waist behind, and her 
 head, encircled with a string of pearls, is uncovered, according to the custom 
 in Holland among Jewish women going to be married. She is in an apart- 
 ment with stone walls. This subject is called " The Great Jewish Bride,'" 
 to distinguish it from a smaller female portrait by Rembrandt, a figure of St. 
 Catherine, called " Tlie Little Jewish Bride.' 1 '' Bartsch, No. 340. 
 
 First impression ; in which only the bust and a part of the background are 
 finished. The latter is entirely varied in the subsequent impressions. 
 
 565. Third impression ; undescribed by Bartsch, or any other writer ; with the 
 shading of dry point on the hands; but before the divisions in the stone wall, 
 forming the column to the right, and before other small additions to the 
 architecture. This impression is neither in the Royal Library at Paris, nor 
 in the British Museum. 
 
 566. Fourth impression '; completely finished. 
 
 FERDINAND BOL. 
 
 This artist, who trod very closely in the steps of his admirable teacher, 
 was born at Dort ; but the year of his birth is not known. 
 
 Rembrandt, in whose school he studied, was so attached to him, that he 
 bestowed upon him his most zealous attentions. By these, Bol so truly pro- 
 fited, that he became his perfect imitator ; and some of the best works of the 
 scholar, have been frequently considered as those of the master. He died at 
 Amsterdam in 1611, rich and respected. 
 
 567. A PHILOSOPHER MEDITATING. 
 
 He is seated in an arm chair, dressed in a large robe, and wears a cap. 
 His left arm rests on a table, on which are some books and a globe ; and his 
 right hand, in which he holds a pair of sj>ectacles, reclines on his knee. This 
 piece is arched at top. Bartsch, No. 5. 
 
 568. AN OLD PHILOSOPHER READING. 
 
 He holds the book with both hands, on a table, near which he is seated : he 
 wears a long beard, and his head is uncovered : on the table are globes. 
 This print is dated 1642. Bartsch, No. 6. 
 
 Y 
 
162 
 
 569. PORTRAIT OF AN OFFICER. 
 
 He wears a cap and feather, and a gorget. Both his hands rest on the 
 pummel of his sword. Dated 1645. Bartsch, No. 11. 
 
 570. PORTRAIT OF A YOUNG MAN. 
 
 He wears a hat, with two feathers, and is dressed in a large mantle, edged 
 with fur : dated 1642. Bartsch, No. 13. 
 
 571. A YOUNG FEMALE AT A WINDOW. 
 
 She is seen in full face, and her head is covered with a veil. She reclines 
 her left arm on a window sill, and holds a pear in her right hand : dated 
 1651. Bartsch, No. 14. 
 
 JAN LIVENS 
 
 was horn at Leyden, in October, 1607. He was originally taught by George 
 van Schooten, and afterwards entered the school of P. Lastman, being then 
 only ten years of age. He painted, at twenty, a picture which was pur- 
 chased by the Prince of Orange, who resigned it to the English Ambassador, 
 and by him it was given to the king. It represented a scholar holding a 
 book before the fire of a grenade : this picture was the foundation of the 
 artist's fame. He in consequence, came to England, where he remained three 
 years, and painted the portraits of the king and queen, and many of the 
 court. From thence he returned to Antwerp ; but the time and place of his 
 death are not known. It does not appear that Livens made use of the dry 
 point, though it was his great study to imitate Rembrandt 's manner. 
 
 572. SAINT FRANCIS SEATED IN A CAVERN. 
 
 He is directed towards the left, from whence the light comes. His cowl 
 is over his head, and his hands are crossed in the act of devout meditation. 
 Bartsch, No. 6. 
 
 Impression before the work of the burin ; of a light, clear, and spirited 
 effect, and before the plate was reduced : undescribed by Bartsch. 
 
 573. Impression worked upon throughout, but before the cypher of Livens, 
 and before the plate was reduced : this is the first impression, described by 
 Bartsch. 
 
 574. Impression of the plate reduced ; described by Bartsch as the second. 
 
163 
 
 575. PORTRAIT OF EPHRAIM BONUS ; 
 
 the same Jewish physician so expressively characterized by Rembrandt, 
 seated in a chair. This is a fine portrait, finished with the burin, but 
 it is far inferior to the print by the great master. Bartsch, No. 56. 
 Impression, before the address of Clement de Ionghe. 
 
 576. BUST OF AN OLD MAN. 
 
 The head is turned to the right of the print. He wears a beard and mus- 
 tachios, his hair is frizzled ; and he is dressed in a robe, with an embroidered 
 collar. This subject is engraved with great spirit, on wood. Bartsch, 
 No. 60. 
 
 577. A VENETIAN NOBLE OR SENATOR. 
 
 He is seated in an arm chair, dressed in a white robe, over which is a vest- 
 ment of black velvet. His head is covered with a little square cap or bon- 
 net : this print is also engraved on wood, and with a surprising effect, from 
 a picture or a design by Titian — Bartsch, No. 61. 
 
 First impression, before the block was repaired. 
 
 PAUL POTTER. 
 
 T would be almost impossible to appreciate too 
 highly the merits of this artist, who died at the 
 premature age of 29, a painter of consummate 
 skill. He was born at Enkhuisen, in 1625, and was 
 instructed by his father, an artist of very inferior 
 abilities. At 15 years of age, he was already accom- 
 plished ; but the unusual application which he be- 
 stowed on his profession, in order to comply with 
 the eager demands for his works, combined with 
 his own excited faculties, operated on a weak constitution, and put an end 
 to his life, after an illness of confirmed debility, in 1654. 
 
 Y 2 
 
164 
 
 578 — 585. CATTLE. 
 
 A set of eight prints, viz. :— The Bull.— The Cow, standing near one lying 
 down. — The Cow near the wooden fence. — The Cow grazing. — The Cow 
 
 with the crooked horn. — The watering Cow. — The fighting Steers. The two 
 
 Cows seen from behind. — Bartsch, Vol. i. pa. 41, Nos. 1 to 8. This set is 
 called " The Bull Book" from the Bull which forms the title, and the print 
 of which is dated 1650. 
 
 First impressions, before the address of Clement de Ionghe. 
 
 horses : a set oijive prints, dated 1652 : viz. : — 
 
 586. THE FRIEZ ELAND HORSE. 
 
 He is a grey horse, seen in profile, turned towards the right : his mane is 
 plaited, and tied with ribbon. He is standing in a meadow, on the bank of 
 a river, on the opposite shore of which a town is seen. The background 
 is covered with hatchings. 
 
 First impression, in which the tail is shorter than in the ordinary impres- 
 sions, not extending to the shadow thrown by the feet. 
 
 587. THE NEIGHING HORSE. 
 
 He is seen in profile, turned to the left. His head is raised, and his 
 mouth open, in the act of neighing : he stands on the bank of a large river. 
 Near him is another horse, on the right. 
 
 588. THE GELDING. 
 
 An English dappled gelding, with a docked tail, seen in profile, and turned 
 to the left, except the head, which looks towards the front : in the distance 
 is a village with trees ; and in the foreground to the left, another horse. 
 
 First impression, with a variation in the tail, described in the German work 
 of Bartsch, after noticed. 
 
 589. THE CART HORSES. 
 
 Two tired cart horses are seen on a little elevation, beyond which are an ex- 
 tensive meadow, and a village ; and to the left, in front, a decayed tree, and 
 a hedge. 
 
 590. THE FOUNDERED HORSE. 
 
 To the right, is a miserable, jaded, worn-out horse, with his eyes half 
 closed, scarcely able to crawl, holding his head down : at a distance, to the 
 left, is a dead horse, near a road, scented by two dogs. Bartsch, Nos. 9 to 13. 
 
165 
 
 The variation in the print of the Gelding, is not noticed by Bartsch, in his 
 Peintre Graveur ; but it is described, with a variation of the Foundered Horse, 
 in his Anleitung Zur Kupferstichkunde, Vol.n. pa. 216. 
 
 KARL DU JARDIN. 
 
 Du Jardin was born at Amsterdam in 1635, and was the most esteemed 
 pupil of the celebrated Berghem. At an early age he repaired to Rome, 
 where his pictures were soon in high estimation ; but his expences 
 exhausted his profits. Returning to Holland, he stopped at Lyons, and 
 there married a woman in years, whose fortune enabled him to repair 
 the effects of excessive extravagance. Disgusted with his wife, when 
 her money had accomplished his purposes, he quitted her under the pretence 
 of accompanying some friends to the Texel ; embarked for Leghorn, and 
 made the best of his way to Rome ; where, meeting with his former success, 
 he plunged into the same dissipation. Quitting Rome for Venice, he died 
 immediately on his arrival at the latter place, in 1678. 
 
 591. FRONTISPIECE. 
 
 A ruined fountain is seen in the midst of bushes : the water runs from a 
 spout into a square basin, and from thence into a smaller one in front. — 
 Bartsch, Vol.i. pa. 165, No. 1. 
 
 592. THE MULES. 
 
 Two loaded mules appear coming towards the foreground. In the dis- 
 tance, to the right, a man on horseback, is driving two other mules before 
 him to the left of the print. Bartsch, No. 2. 
 
 593. THE TWO HORSES. 
 
 A tired cart horse, foreshortened, is seen sleeping. At a little distance, a 
 lean old horse is descending a little eminence, and turning towards the left. 
 In the background, to the right, is a house surrounded with trees, and in- 
 closed by a wall. Bartsch, No. 4. 
 
 594. THE DOGS. 
 
 Two hounds are lying down, — one on the right, with his legs stretched 
 to the front ; the other behind him, curled round, with his head towards 
 
166 
 
 his hind legs. A little more in the distance, to the right of the print, are 
 seen the implements of the chase, — a net, a cage with a decoy bird, fowling 
 pieces, and a cross bow : to the left, is a cover for the fowler. Bartsch, 
 No. 5. 
 
 595. THE THREE HOGS NEAR THE STABLE. 
 
 In the foreground are seen three hogs, one turned to the left, the others to 
 the right of the print : they are stretched on a dunghill, sleeping. Two 
 other hogs are at a trough before a stable door, in the distance to the left. 
 Bartsch, No. 8. 
 
 596. THE TWO MEN AND THE GREAT STONE IN THE BROOK. 
 
 In the foreground is a stream, extending the whole breadth of the print ; 
 to the right a man walking in the water, is speaking to another man, who 
 is endeavouring to remove a large stone from the brook. On the bank to 
 the right, is a rock with two trees ; the other part of the bank in the fore- 
 ground is covered with bushes and foliage, beyond which are seen moun- 
 tains. Bartsch, No. 10. 
 
 597. THE FOUR GOATS. 
 
 In the middle of the subject, is a goat standing, turned to the right of the 
 print ; another goat is lying down at a little distance. Near the right, 
 in front, are two kids ; and, in the background on the same side, is a fence, 
 with a tree near it. Bartsch, No. 13. 
 
 598. THE THREE SHEEP AND THE GOAT. 
 
 Two of the sheep, opposite each other, are lying before the open door of a 
 shed to the left of the print : at the corner of the shed, on the same side, are 
 two great trees. At a little distance, is a lamb standing, turned towards the 
 background, but its head looks to the front of the subject ; a goat is lying 
 close by, the head of which is not seen. Bartsch, No. 14 ; who calls this last 
 animal a sheep. 
 
 599. THE TWO HOGS. 
 
 On the left, a fat hog, foreshortened, is seen lying on a dung-heap : at a 
 little distance, is another hog standing, seen nearly from behind, with 
 its head held down. To the left, is a stable, behind a hedge ; at the 
 corner of which is perceived the trunk of a tree ; and in the foreground to 
 the right, are some large-leaved plants. Bartsch, No. 15. 
 
167 
 
 600. THE THREE HOGS NEAR A HEDGE. 
 
 One of them is sleeping on the right of the print, its head turned towards 
 the left: another is lying close behind, the head raised and turned to- 
 wards the light side; and the third is standing in the middle of the subject, 
 turned towards the left. In the background, is a hedge with trees behind it. 
 Bartsch, No. 16. 
 
 601. THE GREAT TREES WITH EXPOSED ROOTS. 
 
 To the right is a hill, on the top of which are two trees, with the trunks 
 crossed, and the roots partially exposed. Below the hill is a stream, which 
 stretches along the width of the print, and the banks of which are clothed 
 with tufts of trees. On a little bridge across the stream, are a man and two 
 goats. Further in the distance, is a mountain with a flat summit, crowned 
 with trees ; and in the left, still beyond, a steeper mountain. Bartsch, No. 17. 
 
 602. THE FOUR MOUNTAINS. 
 
 The foreground is a champaign country, with three clusters of trees. In 
 the distance, are four mountains of unequal heights, rising successively to- 
 wards the background : the near one has a wood at its foot, and a castle 
 on the top. To the right are some sheep, and on the other side is an ass. — 
 Bartsch, No. 18. 
 
 603. THE BOY AND TWO ASSES. 
 
 To the right, in the distance, is a brook with a waterfall. On the bank, 
 near the middle of the subject, is a man, seen from behind ; near him, more 
 in front, are two asses, the one standing, the other lying down : a great tree, 
 the trunk of which only is seen, grows on the left. The opposite bank of the 
 river consists of rock and wood, with a group of trees. Bartsch, No. 19. 
 
 604. THE MULETEERS. 
 
 A large tree on the right, in the foreground, rises to the margin of the 
 plate at top, leaning towards the middle. A steep hill, further distant, 
 stretches from the right across the greater part of the subject ; it is clothed 
 with trees to the right, and on the brow to the left, are seen two mules driven 
 by a man. In the middle of the print, another muleteer is driving two loaded 
 mules over a ford in the stream, at the foot of the hill. Bartsch, No. 20. 
 
 605. THE MAN AND HIS DOG. 
 
 In the foreground is a river, extending across the subject. To the left is 
 a rock, with bushes at its foot, and on its summit a great tree, rising to the 
 
168 
 
 top of the plate. Towards the middle is a peasant, seen from behind, ac- 
 companied by a dog. Beyond the opposite bank, is a barren hill, which 
 occupies the whole distance. Bartsch, No. 21. 
 
 606. THE DROVER AND THREE OXEN. 
 
 Near a rock, on the left, a brook runs towards the front, and falls over a 
 flat stone, near the middle of the subject, in the foreground : at the foot of 
 the rock is a bush with a tuft of trees. The bank to the right is high ground, 
 on which are three oxen — one is standing, the others are lying down ; and 
 near them, the drover is sitting with his dog by his side. Bartsch, No. 22. 
 
 607. THE TWO HORSES NEAR THE PLOUGH. 
 
 Tn the foreground to the left, a horse seen from behind, is standing near 
 a plough. At a little distance, on the opposite side, is another horse, hold- 
 ing down his head to graze. Bartsch, No. 25. 
 
 608. THE OX AND THE ASS. 
 
 An ox is standing in front, turned towards the left. An ass is seen in pro- 
 file, with his head close to the flanks of the ox In the distance is a moun- 
 tain, rising to the right. Bartsch, No. 26. 
 
 609. THE FEMALE PEASANT FORDING THE BROOK. 
 
 On the left of the subject, a female peasant, with her clothes held up, is 
 passing through a stream. She appears calling to her dog, which is seen 
 jumping up behind a loaded ass. The ass is turned towards the right, and is 
 holding down its head to drink : between its legs is a ram. Bartsch, No. 27. 
 
 610. THE MULE WITH A BELL. 
 
 A mule with a halter and bell, is seen standing in a meadow. In the 
 distance, towards the right, are two asses lying down. There is a small 
 margin within the plate, at the bottom. Bartsch, No. 29. 
 
 611. THE OX AND THE CALF. 
 
 In the middle of the subject, is an ox standing, turned towards the back- 
 ground on the left. At a little distance, on the same side, is a calf lying 
 down ; and further on, a shepherd sitting, seen from behind. In the back- 
 ground is a village, at the foot of a hill. Bartsch, No. 30. 
 
 612. THE SHEPHERDESS AND HER DOG. 
 
 The shepherdess is sitting near the middle of the print, with a distaff in 
 
169 
 
 her hand : her head is turned towai'ds her dog, sitting on her left, looking 
 at her : the flock occupies the right of the subject. In the distance is a hill, 
 clothed with trees, on the summit of which is a house : a tree, on the 
 left in the foreground, extends to the top of the plate. Bartsch, No. 31. 
 
 613. THE FLOCK OF SHEEP AND GOATS. 
 
 A sheep, seen from behind ; another sheep, seen in profile, looking to the 
 left ; and two goats, seen in front, are all lying down near each other : a 
 third goat, looking towards the right, is standing on the left of the print. 
 The distance is a mountain of vast extent. Bartsch, No. 33. 
 
 614. THE COWS, THE BULL, AND THE CALF. 
 
 A cow is standing in the middle of the subject, turned towards the left : 
 a calf, with its back seen, is lying at the feet of the cow ; and a bull is 
 standing up behind the latter. In front, to the left, is the fallen trunk of a 
 tree ; and further, in the distance, are two cows. Bartsch, No. 34. 
 
 615. THE SHEEP LYING DOWN. 
 
 A sheep, seen in front, is lying down, turned towards the left of the print : 
 in the background is a village. Bartsch, No. 37. 
 
 616. THE SHEEP AND THE FLIES. 
 
 A sheep lying down, is seen in profile, and turned towards the right : a 
 swarm of flies is buzzing round its head. Bartsch, No. 38. 
 
 617. THE SHEEP NEAR THE HEDGE. 
 
 A sheep is seen in profile, lying down, turned towards the right, and 
 holding down its head : just beyond, on the same side, is a hedge. Bartsch, 
 No. 39. 
 
 618. THE TWO SHEEP. 
 
 A sheep standing, is seen nearly from behind, raising its head : another 
 sheep, seen in front, is lying down opposite, towards the left. Bartsch, No. 40. 
 
 619. THE DOG AND THE CAT. 
 
 To the right is a dog, coiled up, asleep ; at a little distance is a cat, also 
 sleeping. The background is entirely black with cross hatchings. Bartsch, 
 No. 41. 
 
 z 
 
170 
 
 620. LANDSCAPE AVITH TWO GOATS. 
 
 This is a very small etching, representing- a village with trees, and a large 
 round tower to the right of the print: on the opposite side are two goats — 
 one lying down, the other gnawing a dry tree. Bartsch, No. 4J7 : two im- 
 pressions. 
 
 621. THE STAGS ON THE RIVER'S BANK. 
 
 A large river, at the foot of steep hills, is seen through two great rocks, 
 which rise to the top of the subject on each side : in the foreground to the 
 right, are two stags ; and two others are seen on the hank of the river. — 
 This print is also very small. — Bartsch, No. 48 ; who calls the animals goats. 
 
 622. THE WAGON BEFORE THE INN DOOR. 
 
 This subject represents a country of great extent ; and in the distance is 
 a large mountain, which stretches the whole width of the plate. To the right, 
 on a little eminence in the foreground, is a wagon, at the door of an inn ; and 
 near it are two men, one with a staff across his shoulder. This print is the 
 same size as the preceding. Bartsch, No. .50. 
 
 The prints of Dn Jardin were etched, as" it seems, between the years 
 1652 and 1660 : his name, or his initials, and the date, appearing on most 
 of them. In the first mentioned year, our artist was only 17; but all 
 his works, as Bartsch observes, are performances of nearly equal spirit 
 and beauty. They are to be found in four different states. In the first they 
 are not numbered, and are without the address of any publisher : in this state 
 are all the specimens here described, and the frontispiece is before the 
 name and date. The addresses of G. Falk and P. Schenk were then added ; 
 these were effaced in the third impressions ; and in the fourth state, ten of the 
 prints are reduced in size. 
 
 JAN LE DUCQ. 
 
 This master was the pupil of Paul Potter, and was born at the Hague in 
 1636. He was a most successful imitator of his master; but having an un- 
 conquerable inclination for the army, he entered it, and attained the rank of 
 a captain. He did not, however, remain long in this profession, as it appears 
 that he was Director of the Academy of Painting in his native city, where he 
 died in 1671. 
 
171 
 
 623 — 630. VARIOUS DOGS, 
 
 a set of eight prints, viz. : — The Title, representing a basso relievo, of three 
 Dogs. — The Dog asleep. — The Dog and Bitch. — The Bitch and Puppy. — 
 The Disputed Meat. — The Envious Dogs. — The Dogs Fighting. — The Dog 
 Drinking. — Bartsch, Vol. i.pa. 201, Nos. 1 to 8. 
 
 631. A DOG STANDING UP, AND A DOG SLEEPING. 
 
 This is one of the rare prints of the master; and the present impression 
 is that from which Bartsch' s description and copy were taken, and is from 
 the collection of the Count de Fries. — Bartsch, No. 10. A proof of the copy 
 by Bartsch, accompanies the original. 
 
 ADRIAN VAN DE VELDE. 
 
 MOTHER remarkable instance of precocious 
 talent appears in this artist, who was born at Am- 
 sterdam in 1639. The anecdotes of the early deve- 
 lopment of his genius, are remarkable; and par- 
 ticularly his attachment to the study of cattle. This 
 so astonished Wynants, that he instantly took him 
 into his school, predicting infallible success. The 
 wife of Wynants extended the prediction ; " For 
 you think," said she, " that you see here a 
 scholar ; but he will be your master." Her opinion was fully verified. In 
 the midst of an unrivalled career, however, Adrian was carried off suddenly 
 at the age of 33. 
 
 632 — 641. DIFFERENT ANIMALS : 
 
 a set of ten etchings, viz. : — The Cow -herd and Bull. — The Cow lying down. 
 — The Three Oxen. — The Two Cows and the Sheep. — The Three Cows. — 
 The Ox in the Water. — 'Die Horse. — The Calf. — The Dogs. — The Goats. — 
 Bartsch, Vol. i. pa 215, Nos. 1 to 10. First impressions, before the address 
 of Danckerts, which usually appears in the first print. 
 
 642. THE COW AND THE TWO SHEEP. 
 
 They are standing at the foot of a tree : this print is dated 1670. Bartsch, 
 No. 11. z 2 
 
172 
 
 643. THE PIED OX. 
 
 He is standing with three sheep : dated 1670. Bartsch, No. 12. 
 
 644. THE TWO COWS. 
 
 This piece is without date ; hut was no doubt engraved in 1670. Bartsch, 
 No. 13. 
 
 645. THE EWE AND TliE LAMB. 
 
 This is a very small print, also dated in 1670. Bartsch, No. 14. 
 
 646. THE TWO SHEEP LYING DOWN; 
 
 a very small print, companion to the last: also dated 1670. Bartsch, No. 15. 
 
 These pieces are all chefs d'ceuvre ; and the last << , e in particular, are 
 astonishing- specimens of talent. 
 
 HERMAN SAFTLEVEN, or ZACHTLEVEN, 
 
 was born at Rotterdam, in 1609 ; but the particulars of his life are unknown. 
 He resided chiefly at Utrecht, and is conjectured to have died in 1685. The 
 prints of this artist, as we learn from their dates, were engraved between the 
 years 1640 and 1669, and are nearly of equal merit ; probably from his having 
 only begun to engrave when already an experienced painter. 
 
 His treatment of the landscapes which he has given us, is truly pictur- 
 esque and varied, and his skies are far more carefully executed, than those 
 in the etchings of other painters. In two of his pieces here described, he has 
 exhibited a minute and delicate finish, absolutely astonishing ; especially as 
 it appears that these were produced at the age of 58. 
 
 647. LANDSCAPE. 
 
 A view of a large river and two villages : the river appears to wind 
 through an immense tract of mountainous country : on the left side is a lofty 
 rock, clothed with trees ; and on a little eminence to the right, a man is 
 sitting : dated 1667. Bartsch, Vol. i. jm.239, No. 18. 
 
 First impression, before a high rock on the left : undescribed by Bartsch. 
 
 648. Second impression ; with the rock, and otherwise more worked upon 
 in various places. 
 
173 
 
 649. LANDSCAPE : 
 
 companion to the preceding. To the right is a large steep rock, crowned 
 with huildings, and the foot clothed with trees. In the middle-ground is 
 seen a field, which a labourer is ploughing. To the left is a city on the 
 hank of a river, at the foot of a lofty mountain, in part covered by woods. 
 On the right, in the foreground, is a man sitting on a stone, near a gate, in 
 a hedge : a subject called " The Labourer." This print, and the preceding, 
 its companion, are probably views on the Rhine, and are chefs d'ceuvre of 
 Saftleven : the delicacy of their execution is surprising. Bartsch, No. 19. 
 
 First impression ; before much additional work on the mountains to the 
 left, and prior to the shadows on the trunk of the tree, and on the back of the 
 peasant sitting on a stone. Rigal, Cat. pa. 318, No. 702. 
 
 650. Second impression ; with the additional work and with the shadows. 
 
 651. LANDSCAPE. 
 
 The entrance to a wood, with two large trees on the left. In the centre 
 of the background, a sportsman is making a sign, with his right arm extend- 
 ed, to another, approaching with his gun on his shoulder: dated 1644. 
 Bartsch, No. 27. 
 
 652. LANDSCAPE ! 
 
 companion to the preceding. On the right is a large tree, the branches 
 of which extend over all the upper part of the plate. Near the middle of the 
 print, is a man seated on a hillock, extending his right arm, in the act of 
 speaking to a traveller : behind him is another man, leaning on a stick. The 
 foreground of the subject is an eminence, from which is seen a vast extent of 
 country. Dated 1647. Bartsch, No. 28. 
 
 653. LANDSCAPE, 
 
 representing a chain of mountains, with gentle declivities sloping off to the 
 distance on the right, where the sun is rising. In the foreground, near the 
 middle, is a man with a bundle on his back, and a staff in his hand, driving 
 four hogs : on a hill, in the distance, are travellers in a vehicle. This subject 
 is called " The Swine-herd,'' 1 and is dated 1649. Bartsch, No. 30. 
 
 First impression ; in which the hogs, the driver, the hill, the vehicle, the 
 traveller, and the trees on the summits of the mountains, are shadowed 
 with the dry point. The bushes in the foreground, and the shadows thrown 
 by the hogs and driver, are extremely effective, transparent, and clear : un- 
 described by Bartsch. — Rigal, Cat. pa. 322, Nos. 709 — 10. 
 
 654. Second impression ; much worked upon, and rendered heavy and opaque. 
 
174 
 
 655. VIEW OF THE VILLAGE OF NIEUWENRODE, 
 
 situated on the river Vecht, near Utrecht : an oblong print, dated in 1653. 
 In the centre of the margin at bottom, is a shield with armorial bearings. 
 Bartsch, No. 31. 
 
 656. LANDSCAPE, 
 
 representing a large river, which winds in a serpentine course along the 
 background, between mountains. On the right, in the immediate foreground, 
 is a hill, divided into two heights, and surmounted by trees ; and between 
 the heights, is a path, on which are two figures walking towards the 
 right. Below, and near the river, are two other figures ; and the banks on 
 the left are skirted with trees. This print is of a very striking effect, approach- 
 ing to the taste of Rembrandt ; and was unknown to Bartsch. It is without 
 name or mark. Width 3| inches, height 2| inches. A copy of it forms a 
 head-piece to the Flemish and Dutch Schools in this Catalogue. 
 
 JACOB RUYSDAEL. 
 
 Ruysdael was born at Haerlem in 1635. He made considerable progress in 
 the study of the Latin language, medicine, and surgery, and is said, by 
 Houbraken, to have been celebrated for skilful operations in the latter science. 
 Painting, however, had so powerful an influence over him, that he abandoned 
 every thing to attach himself to that art alone, having already, at the age 
 of 12, produced pictures which surprised connoisseurs. 
 
 In consecpience of the extraordinary gratification which he derived from 
 the works of Berghem, he sought out and became intimate with that great 
 man, at Amsterdam. He afterwards returned to Haerlem, where he died 
 about 1681. His etchings, though slight and apparently negligent, are full 
 of taste and truth. 
 
 657. LANDSCAPE. 
 
 A farmhouse in ruins, is seen situated on the banks of a stream : a peasant is 
 walking over a little rustic bridge, followed by a dog. This subject is called 
 " Ttie Little Bridge.' 1 '' Bartsch, Vol. i. pa. 311, No. 1. 
 
 Impression before the sky : undescribed by Bartsch. 
 
175 
 
 658. LANDSCAPE. 
 
 A large tree, divided near the top, into two great branches, one of which 
 is broken ; the other branch, which is leafless, leans to the right ; while the 
 roots of the tree itself are laid bare, and are seen above the earth. In the 
 foreground on the left, are two peasants, followed by a dog. Bartsch, No. 2. 
 
 Impression before the sky : undescribed by Bartsch. 
 
 ADRIAN VAN OSTADE. 
 
 STADE, one of the greatest ornaments of the 
 Flemish School, though in reality a native of 
 Germany, was born at Lubeck in 1610. He 
 studied, as it is asserted, under Frank Hals, 
 at Haerlem, at the same time with Adrian 
 Brouwer, who became his intimate friend. On 
 the rumour of a war, he prepared to return to 
 his native country ; but in passing through 
 Amsterdam, was induced by an amateur to 
 remain there. It was about 1662, when he 
 established himself in that city, where he 
 
 passed the remainder of his life, and died in 1685. — Ostade had the rare 
 quality of relieving his figures from their backgrounds, to a surprising de- 
 gree, and of infusing into his groups a spirit of life seldom surpassed. His 
 most esteemed works were produced in the years 1647 and 1648. 
 
 The collection of this great master's etchings, about to be described, which 
 comprises his whole work, will be found interesting, from its variety of im- 
 pressions, which are probably as many as have been hitherto brought 
 together. 
 
 BUSTS. 
 
 659. PEASANT AVITH A BLACK CAP. 
 
 A laughing peasant, is seen in profile, turned to the right : he wears a cap, 
 which covers his left eye. Bartsch, No. 1. 
 Impression before the name and border line. 
 
176 
 
 600. Impression with the name and border line. 
 
 661. A FEMALE PEASANT LAUGHING ; 
 
 companion to the preceding : she is seen in full face, and wears a white 
 cap, and a black dress. No. 2. 
 
 Impression before the name and border line. 
 
 662. A PEASANT WITH A POINTED CAP. 
 
 An old peasant is seen in full face, with a beard and mustachios : he wears 
 a ruff, and a black pointed cap, with a white rim. No. 3. 
 
 Impression before the work near the shoulder was extended to the edge of 
 the plate, and before the border line. 
 
 663. Impression before the work, but with the border line. 
 
 664. Impression, in which the work is extended from the shoulders to the 
 edges of the plate. 
 
 665. A LAUGHING PEASANT. 
 
 A laughing peasant is seen in three-quarter face, turned to the right : 
 he wears a flat cap. No. 4. • 
 Impression in which the background is wholly white ; probably unique. 
 
 666. Impression in which the background is entirely shadowed. 
 
 667. Impression in which that background has been effaced. 
 
 HALF LENGTH FIGURES. 
 
 A — Single Figures. 
 
 668. THE SMOKER. 
 
 A peasant is seen in front, seated near a table, on which he rests his left 
 arm, while he is lighting his pipe from a little chafing dish, which he holds 
 with his right hand : engraved on an oval plate. No. 5. 
 
 Impression with a border line within the oval. 
 
 669. THE LAUGHING SMOKER. 
 
 A peasant is laughing, turned to the right ; but his face is seen in front. He 
 is seated at a table, holding his pipe with the left hand, and resting his 
 
 I 
 
177 
 
 right arm on the back of his chair. No. 6. — Impression before some work 
 on the lower part of the jacket, and under the edge of the table. 
 
 670. Impression in the ordinary state. 
 
 671. A DUTCH BAKER SOUNDING HIS HORN. 
 
 A peasant, seen nearly in front face, but with his body turned towards 
 the right, and his head a little to the left, is standing at his door, in the act 
 of blowing a cow's horn, which he holds in his right hand. This subject 
 represents a Dutch baker announcing his batch of bread. No. 7. 
 
 Impression of the pure etching . 
 
 672. Impression retouched with the dry point. 
 
 673. THE HURDY-GURDY PLAYER. 
 
 A man, wearing a high cap, with a feather, is playing on the hurdy-gurdy. 
 He is turning the winder of the instrument, which is on his left side, under 
 his arm. No. 8. 
 
 Impression of the pure etching ; but touched with pen and bistre, perhaps 
 by the artist. 
 
 674. A duplicate of this impression. 
 
 675. Impression retouched with the dry point. 
 
 676. A PEASANT LEANING ON HIS HATCH. 
 
 A peasant appears leaning, with both arms, on the hatch of his door, 
 looking out : he is turned towards the left. A pitcher hangs from a little 
 shed above the door, the top of which is surrounded by a vine ; and to the 
 right below, is a bench, partly seen. No. 9. 
 
 677. THE SMOKER AT HIS WINDOW. 
 
 A peasant, in a large cloak, is looking from a window, and apparently 
 laughing. He is turned towards the right of the print : in his right hand is 
 a pipe, and in his left a jug. No. 10. 
 
 Impression before the border line on the left. 
 
 678. Impression with this border line. 
 
 B — Two Figures. 
 
 679. RUSTIC COURTSHIP. 
 
 A female, with her left arm resting on the hatch of a door, is defending 
 
 A A 
 
178 
 
 herself from the kisses of an old peasant, whose right hand is round her waist. 
 No. 11. 
 
 Impression of the pure etching, and before the name of Ostade. 
 
 680. Impression with the name of Ostade faintly traced, and written with a 
 long/. 
 
 681. Impression retouched with the dry point; the name of the artist 
 strengthened, and written with a short s. 
 
 In the Royal Library at Paris, is an impression, scarcely more than an 
 outline. 
 
 682. A MAN AND A WOMAN CONVERSING. 
 
 On the left, a woman seen from behind, with a basket on her right arm, 
 is talking to a man standing before her. This man wears a short cloak, and 
 a hat, and has his right hand on his breast. The background is a village 
 street, with an inn to the right. No. 12. 
 
 Impression, in which the window arch is slightly traced ; before a great 
 part of the vine in front of the inn ; and before an alteration in the hat of 
 the figure entering the door. The print in this state has much of the bur. 
 
 683. Impression with the window arch more defined, and with an addition 
 to the vine ; but without the bur. 
 
 684. Impression retouched with the dry point; and with an intention to imi- 
 tate the first. 
 
 C — Three Figures. 
 
 685. THE SMOKERS. 
 
 Three peasants are seen near a cottage fire ; one is sitting on a tub, 
 with a pipe in his left hand, and the other hand on his back. The second 
 is leaning on a little table, and filling his pipe. The third is standing at a 
 distance, with his left hand on his breast, and is raising a drinking glass in 
 his right hand, while he appears to talk to the first. No. 13. 
 
 Impression before the border line. 
 
 686. THE MOTHER AND TWO CHILDREN. 
 
 A female peasant is holding, with both hands, a little child, who is sitting 
 on the hatch of the door, while the woman is standing behind : outside, is a 
 young girl, taking the child by its two hands. Above the door is a little pent- 
 house, overgrown on the right with foliage. No. 14. 
 
 Impression retouched, and with the border line. 
 
179 
 
 687. THE EMPTY PITCHER. 
 
 Three peasants are seen round a table : the one to the left is sitting ; he 
 has his cap drawn over his eyes, and is looking to the bottom of an 
 empty pitcher, which he holds with both hands. Another peasant, with a 
 hat on, who is observing him, sits on the right, with a pipe in his left 
 hand, and his right arm resting on the back of his chair. The third, with 
 a high cap on his head, and with his hand under his coat, is standing at 
 a little distance, and laughing at the peasant with the empty pitcher. In the 
 middle of the background is a door. No. 15. 
 
 Impression in which all the three peasants have caps on. 
 
 688. Impression in which two of the caps are totally changed ; but the 
 traces are distinctly visible, and there is much bur : the door has no cross- 
 piece, and is not shadowed, except to form its shape. 
 
 689. Impression in which the marginal line is strengthened. 
 
 690. Impression retouched. 
 
 691. THE DOLL. 
 
 A female peasant is sitting in front of her cottage, with a little child on 
 her lap : the infant is stretching out its left hand to a doll, which its 
 mother is shewing. Before them is a table, with a pipkin upon it. The 
 father, to the right, at a little distance, is leaning on a rail, and looking at 
 the child, with an expression of pleasure. No. 16. 
 
 Impression of the pure etching. 
 
 692. Impression retouched. 
 
 D — Many Figures. 
 
 693. THE SCHOOL. 
 
 A schoolmaster, to the left of the print, is sitting at a table, in an elbow 
 chair, on which he rests his right arm. He holds a crayon in his left hand, 
 as a mark for a little boy who is standing up before him, reading his alpha- 
 bet, with his hat under his arm : two other scholars are standing near the 
 table, to the left of the master. No. 17. 
 
 Impression of the pure etching. 
 
 694. Impression retouched. 
 
 695. THE QUARREL. 
 
 To the left, a peasant, seen from behind, is sitting on a stool : his arms 
 are raised, in the attitude of preventing another peasant from attacking a 
 
 AA 2 
 
180 
 
 third, in consequence of a quarrel at cards. A barrel appears in the act of 
 falling, on the top of which are the cards with which they had been playing ; 
 and the aggressor holds a knife in his right hand, and in the other the 
 sheath. His adversary, who has risen in a hurry, also holds a knife, and 
 covers his breast with his cap, which he holds in the left hand, as a defence : 
 near them a woman, sitting with a child in her lap, is crying out. No. 18. 
 
 Impression of the etching, which has failed in the effect of the aqua fortis, 
 and before the border line was strengthened. 
 
 696. Impression entirely worked over, and the border line and the name of 
 Ostade strengthened. 
 
 697. THE SINGERS AT THE WINDOW OF A HOUSE. 
 
 At the casement window of a village tavern, a man appears to be bawling 
 out a song, which he holds in both hands. Another man, to the left, is 
 lighting him with a candle : a third peasant appears above the head of the 
 man singing ; and in the background are others, indistinctly seen. Above 
 the window is a vine ; and below it are hanging a jug and a spoon. This 
 print is a night piece, and in Holland is called " De Rederyker.'" No. 19. 
 
 Impression before the vine, the pot and the spoon, and before the name of 
 Ostade, — a slight etching, very much unfinished. 
 
 698. Impression with the vine, the pot, and the spoon, and more worked upon. 
 
 699. A duplicate of this impression. 
 
 WHOLE LENGTH FIGURES. 
 
 A — Single Figures. 
 
 700. A BEGGAR LEANING ON A STICK. 
 
 A beggar, seen in profile, is walking to the left of the subject, leaning with 
 his right hand on a stick, while the other is placed on his back. This print 
 is arched at top. No. 20. 
 
 Impression before the border line. 
 
 701. Impression with a border line all round the subject. 
 
 702. A BEGGAR WITH HIS HANDS BEHIND HIS BACK. 
 
 A beggar is standing, turned to the right, with a cap on his head : he 
 
181 
 
 wears two waistcoats, and has an apron on. His hands are behind his 
 back. No. 21. 
 
 Impression before the border line. 
 
 703. Impression with the border line. 
 
 704. A BEGGAR IN A CLOAK. 
 
 A beggar is seen in front. He wears a large slouched hat, and his whole 
 person is covered by a cloak, with the left sleeve hanging down. He holds 
 his right hand in his bosom. No. 22. 
 
 Impression before the border line. 
 
 705. Impression with the border line. 
 
 706. THE BARN. 
 
 This print represents the inside of an old barn, with a large beam across 
 the middle. Two fowls are seen near some trusses of straw, which are piled 
 between the posts supporting the barn. At the end, near the right, is a 
 woman, her back towards the spectator, stooping down to gather up some 
 hay. No. 23. 
 
 Impression before the cross hatchings on the underside of the lowest 
 beam, and before other slight work. 
 
 707. Impression with additional work, and with the border line strengthened. 
 
 B — Two Figures. 
 
 708. A MAN AND A WOMAN WALKING. 
 
 An old woman is seen walking with a man, and resting her left hand on 
 his shoulder. The woman is wrapped in a long cloak, which comes over 
 her head, and one end of which she holds with her right hand. The man 
 wears a high cap, and a short cloak, and seems to be listening to the woman, 
 as they walk to the right of the print. No. 24a. 
 
 Impression before the border line. 
 
 709. Impression with the border line. 
 
 710. THE SMOKER AND THE DRINKER. 
 
 To the right, in a cottage room, is a peasant, seen in profile, sitting on a 
 tub, and lighting his pipe from a fire-pot, placed on a little triangular 
 table. Another peasant is standing near the middle of the print : he holds 
 
182 
 
 a drinking glass in the left hand, and rests the other on the hack of a chair. 
 No. 24. 
 
 Impression of the pure etching. 
 
 711. Impression retouched, and with the border line strengthened. 
 
 712. THE WOMAN KNITTING AT THE DOOR OF HER COTTAGE. 
 
 A female is occupied in knitting, on the step of her door-way : she is 
 turned to the right of the subject, but her head is inclined towards a man 
 standing on the left, who leans on his stick, and is seen from behind. A 
 fowl is seen in the foreground on the right. This print is arched at the top. 
 No. 25. 
 
 Impression of the pure etching. 
 
 713. Impression retouched, and the border line strengthened 
 
 714. TWO BOYS FISHING FROM A BRIDGE. 
 
 This print is a landscape, representing a canal, with a wooden bridge, on 
 which is a boy fishing : near him is another boy, with a basket. To the left, 
 on the bank of the canal, is a great tree ; and to the right, in the back- 
 ground, a cottage surrounded by trees. No. 26. 
 
 Impression of the pure etching. 
 
 715. Impression retouched, and the border line strengthened. 
 
 716. THE COBBLER. 
 
 To the left is a cobbler, at work in a stall partly underground, erected 
 against a house on the left of the print. On the roof of the stall, is a dog 
 asleep, and in front is a peasant, sitting on a stool, with a pipe in his left 
 hand, talking to the cobbler. No. 27. 
 
 Impression before the shadows on the sleeping dog, on the pump, and 
 in many other places. 
 
 717. Impression more worked upon in eveiy part. 
 
 718. Impression retouched, and the border line strengthened. 
 
 C — Tliree Figures. 
 
 719. THREE GROTESQUE FIGURES. 
 
 On the left is a man standing, seen in profile, with a large slouched 
 hat, and an apron down to his knees: from his back hangs a short cloak. 
 He is turned towards an old woman on the right, who holds a basket in her 
 
183 
 
 left hand, and wears a cloak which covers her nearly from head to foot. 
 Between these two figures, at a little distance, is another man standing, 
 who wears a short cloak, a ruff round his neck, and a high cap. No. 28. 
 Impression retouched, and with the border line. 
 
 720. THE SPECTACLE MERCHANT. 
 
 On the left of the print, an old woman, leaning on the hatch of her door, 
 is talking to a pedlar, who offers her a pair of spectacles. In front, to the 
 left, is a boy, seen from behind, just placing a basket on a bench, and 
 looking at the pedlar. No. 29. 
 
 Impression of the pure etching. 
 
 721. Impression retouched, and in which the shutters are shaded with the 
 dry point. 
 
 722. Impression in which the border line is added. 
 
 723. THE CONCERT. 
 
 In the interior of a cottage, is a woman sitting near a table, singing from 
 a music book which she holds with both hands. To the left is a peasant stand- 
 ing, accompanying her on the violin. Opposite, on the right, another peasant, 
 sitting, holds a drinking glass with the left hand, and with the other beats 
 time on the table. No. 30. 
 
 Impression with the background entirely white, and before the planks on 
 the floor. 
 
 724. Impression with a background introduced, but still before the planks. 
 
 725. Impression in which the planks are added, the whole retouched, and 
 the border line strengthened. 
 
 The first impression is alluded to by Bartsch, who had not seen it, in his 
 Peintre Graveur, as being found in Ploos von AmsteVs catalogue. 
 
 726. THE WOMAN SPINNING. 
 
 To the right is a peasant's cottage, on a little elevation ; and in front is a 
 cellar, two of the steps to which are visible. At the door of the house, a 
 woman is seen spinning ; and by her side, on the right, is a peasant standing, 
 leaning on his stick : a child, seen from behind, sits opposite to the woman. 
 No. 31. 
 
 Impression before the strong shadows on the stone steps leading to the 
 cellar. 
 
 727. Impression with those shadows. 
 
184 
 
 728. THE PAINTER. 
 
 A painter, perhaps Ostade himself, is here represented in his study. He 
 is sitting on the left, working at a picture, which is placed on an easel before 
 him. The light comes in from a large window on the same side of the 
 print. In the background is a winding staircase, under which two children 
 are seen grinding colours. In the margin is an inscription, commencing — 
 " pictor apellma" &c. This print is a chef d'oeuvre of Ostade. No. 32. 
 
 Impression before any writing; in which the painter has a high cap, but 
 it is very little shaded ; the shadows on the painter's hair, and on his back, 
 are not introduced ; and the whole is much less worked upon than the next 
 impression. 
 
 729. Impression before any writing; with the high cap, but much more 
 shaded, and otherwise worked upon. 
 
 730. Impression with the verses — " pictor apellma" &e. ; with the high 
 cap ; but before the words et excvd. after the name of Ostade. 
 
 731. Impression in which the cap is reduced, and the words et excvd. are 
 added. 
 
 D — Four Figures. 
 
 732. THE MALE NURSE. 
 
 Near a fire-place to the right, a peasant sitting, and seen nearly from be- 
 hind, is feeding a child on his lap, while his wife is airing linen at the fire, her 
 head turned to look at the infant. In the background, there is a bed with 
 curtains, and a child is sitting and eating from a bason. No. 33. 
 
 Impression before the border line was strengthened. 
 
 733. Impression with the border line strengthened.* 
 
 734. THE GRACE. 
 
 The father of a family is sitting at a table on the left, with his hat between 
 his arms, and his hands joined in the act of saying grace. To the left of the 
 peasant is his wife, with a child on her lap ; and to the right a boy, seen 
 nearly from behind, holding his cap, in both hands, to his breast. There 
 is a little triangular seat between them, with a dish on it. No. 34. 
 
 Impression, in which the head of the old man saying grace is uncovered. 
 
 735. Impression, in which the old man's head is covered with a skull cap, 
 and is reduced in size. 
 
 * Bartsch mentions some shadows, as appearing in the second impression, on a kettle, &c., and want- 
 ing in the first. These shadows, it would seem, are merely touches of the dry point, worn out in the 
 second impression with the strong border line, but apparent in the first. 
 
185 
 
 736. l'epouilleuse. 
 
 An old woman is routing the head of a peasant, who is sitting at her feet 
 with his pipe in his hand, resting his right arm on her left knee : behind, is 
 another peasant standing, and looking into a jug. In the background is a 
 child, eating from a plate placed on a trunk, near which is a white cat. This 
 print is generally considered not to be the work of Ostade. No. 35. 
 
 E — Many Figures. 
 
 737. THE KNIFE GRINDER. 
 
 The knife grinder, with his apparatus, is placed near a little cobbler's 
 shop ; and the cobbler is giving him a knife to grind. In the background, 
 within a door, is a man talking to a woman, whose head only is seen ; and 
 the distance shews a village street, with figures. No 36. 
 
 Impression of the pure etching, and before the border line was strength- 
 ened. 
 
 738. A MAN AND A WOMAN CONVERSING. 
 
 In the middle of the print, a man and a woman are conversing : the 
 woman wears a cloak, from head to foot, and carries a basket on her left arm. 
 The man, who is opposite to her, wears a short cloak ; and between them is 
 a dog. The background is a village street, where a man is seen carrying a 
 package on his back. No. 37. 
 
 Impression similar to the last. 
 
 739. THE TRAVELLING MUSICIANS. 
 
 A man is playing on the clarinet, and near him is a boy beating a drum 
 before a cottage to the right ; at the door of which is a peasant sitting on a 
 bench, with a jug in his hand : within the door are several persons listening 
 to the music, and several children are near the musicians. No. 38. 
 
 Impression of the pure etching. 
 
 740. Impression more worked upon throughout, and with the border line 
 strengthened. 
 
 741. THE BACKGAMMON PLAYERS. 
 
 Two peasants are playing at backgammon in an alehouse, while another is 
 looking on : further behind, is one smoking. To the right, nearer the fore- 
 
 B B 
 
186 
 
 ground, is a window, on a bench under which, is a peasant sitting, and 
 looking through the open casement. No. 39. 
 Impression of the pure etching. 
 
 742. Impression more worked upon. 
 
 743. THE TWO GOSSIPS. 
 
 An old woman standing, and seen in profile, holds up her gown with both 
 hands, and is talking to another old woman, before her to the right, whose 
 hands are clasped. In the back-ground are some children buying fruit, which 
 a woman is weighing. No. 40. 
 
 744. THE HOG-KILLER. 
 
 This piece is circular, and represents a peasant killing a hog, in front of a 
 cottage, by night, surrounded by his family, while a woman holds a pan to 
 catch the blood. No. 41. In this print Ostade has made many variations. 
 
 Impression, in which the windows of the farmhouse on the right are 
 distinctly seen, and the sky is in part unshaded. 
 
 745. Impression, in which the windows are darkened, the sky is wholly shaded, 
 and the print in general more worked upon. 
 
 746. Impression still darker, and in which the striking lights on the peasant 
 with the high cap standing in the foreground, are contracted. 
 
 747. Impression darker than the preceding, and in which the lights on the 
 peasant with the high cap, are very narrow. 
 
 748. THE PEASANT PAYING HIS SCORE. 
 
 Near the door of a village alehouse, a peasant is seen paying his reckon- 
 ing to the landlady. In the background, to the right, is a group of three 
 peasants conversing ; while the fourth is stirring the fire in a large chimney, 
 and a fifth behind him, is looking into a jug. No. 42. 
 
 Impression before a gridiron in the chimney above the fire, and before 
 some additional work near the door. 
 
 749. Impression with the gridiron and the additional work, and with the 
 border line strengthened. 
 
 750. THE MOUNTEBANK. 
 
 On the right, a mountebank, near a booth, in the form of a tent, is dis- 
 playing his nostrums on a barrel head, and detailing their virtues to a man, 
 a woman, and six children, before him on the left : one of the children holds 
 
187 
 
 a hoop. This piece is arched at top, and is a chef d'ceuvre of the artist. 
 No. 43. 
 
 Impression, in which, instead of a group of four children on the left of the 
 old woman, as in the ordinary impressions, are two different figures, and a 
 farmhouse, in the distance, slightly engraved. 
 
 751. Impression with a group of four children to the left of the old woman, 
 and a border line round the subject. 
 
 752. Impression more worked upon. 
 
 753. Impression still more worked upon than the preceding. 
 
 754. Impression retouched throughout. 
 
 755. THE CROOKED FIDDLER. 
 
 About the middle of the subject, is an old crooked beggar, playing on the 
 fiddle : he wears a short cloak, and is standing before a house, at the door 
 of which is a woman with a child in her arms. Near the woman is a peasant 
 with a pipe, sitting on a bench ; and opposite, further off, a boy with a hoop, 
 is leaning on another bench. No. 44. 
 
 756. THE VIOLIN AND HURDY-GURDY PLAYERS. 
 
 Two peasants are seen at a table, under a great tree, in front of a cottage 
 or alehouse ; while a third is standing near, with a drinking glass in his hand. 
 In front, a peasant is astride on a bench, with a glass in one hand, and a jug 
 in the other ; and behind him a woman is sitting. They are listening to a 
 man and a boy, who are playing on the fiddle and hurdy-gurdy : in the dis- 
 tance is a church tower. No. 45. 
 
 Impression, in which the distant landscape, and the church tower, are 
 very slightly and imperfectly expressed. 
 
 757. Impression, in which the church tower is rendered clear and distinct; 
 but there are none of the shadows on the stones at the alehouse door, and in 
 several other places, which appear in the subsequent impressions. 
 
 758. Impression with these shadows, and with other work. 
 
 759. THE PEASANT'S FAMILY. 
 
 This subject represents the mother of a family in her cottage, feeding her 
 child on her lap, near the chimney corner. Behind her, the father is stand- 
 ing, and is cutting bread for two little boys, who are seen near him at a 
 round table : one of the children is feeding a dog. No. 46. 
 
 Impression before the shadows on the steps of the flight of stairs. 
 
 BB 2 
 
188 
 
 760. Impression with slight shadows on the steps. 
 
 761. Impression still more worked upon, and with the border line 
 strengthened. 
 
 762. THE VILLAGE FESTIVAL IN THE ARBOUR. 
 
 A village festival, in front of an alehouse to the left, is spiritedly repre- 
 sented in this print. Before the alehouse is an arbour, in which are many 
 peasants round a man and a woman, who are seen dancing together to a pipe 
 and tabor, played by a musician raised above the crowd. No. 47. 
 
 Impression before the shadows on the gable end of the house, behind the 
 dancing woman. 
 
 763. Impression before those shadows, but with the border line strengthened. 
 
 764. Impression with those shadows and the border line, and in other places 
 more worked upon. 
 
 765. THE VILLAGE FESTIVAL UNDER THE GREAT TREE. 
 
 In a spacious village street, a fair or festival is celebrated, in front of an 
 alehouse, seen on the right in the foreground, near a large tree, under which 
 several persons are sitting at a table. A man and a woman are advancing 
 to dance in the presence of a group of peasants before the public house, 
 from which a flag is exhibited. In various parts are numerous groupes ; 
 some round a mountebank ; some near a church with a pointed spire ; 
 and some near another alehouse, from which a caravan is departing. No. 48. 
 
 766. THE DANCE IN THE ALEHOUSE ; CALLED " OSTADE'S BALL." 
 
 In the interior of an alehouse, a peasant, seen in front, is holding his cap 
 under his right arm, and is dancing with a woman, who is seen from behind, 
 and whose left hand is on her back. The spectators of this dance are 
 numerous — some standing, some sitting : in front, towards the right, is a 
 a man seated on a little bench, and holding a jug. A staircase ascends to- 
 wards the left, to an upper story ; and at a door on the top of the stairs, is an 
 old man dragging down a female : above them is linen hanging on a line. — 
 This is the largest and most beautiful of the prints of the artist, and in the 
 early impressions has almost the effect of a painting. No. 49. 
 
 Impression before any writing ; before the shadows on the linen hanging 
 up, and before the shade on the breeches of the man descending the stairs. 
 
 767. Impression with those shadows ; with the name of Ostade ; and other- 
 wise more worked upon. 
 
 768. A counterproof of the print in its usual state. 
 
/ 
 
 189 
 
 769. THE DRINKING PARTY. 
 
 Four men and a woman are taking refreshment in a public house : one 
 of the men offers beer to the female ; another is standing, holding a glass, 
 and seems to praise the liquor. To the left, a little boy is giving drink to 
 an infant, standing opposite to him. In the margin at bottom, in the ordinary 
 impressions, are two lines from Tibullus, beginning, — "secure reddamus 
 
 TEMPORA MENSJE," &C. iVtf. 50. 
 
 Impression of the pure etching, much unfinished in every part of the sub- 
 ject, and before the verses. 
 
 770. Impression worked upon throughout, and with the verses. 
 
 Bartsch mentions an impression before the name, but not before the verses : 
 but his description of the first state of this print, seems inexplicit and 
 incorrect. 
 
 771. AN INTERIOR. 
 
 This piece, which is more than doubtful, represents a female peasant seated 
 to the right, in the interior of a cottage, near an open door: opposite to her, 
 is a man sitting, filling his pipe ; and behind him is another standing. There 
 are several figures in the background. As Bartsch justly observes, Ostade 
 can have had no part in this performance, so different from every other etching 
 by his hand. No. 51. 
 
 772. 773. TWO PORTRAITS OF OSTADE. 
 
 They are both engraved after paintings or designs of Dusart, by J. Gole : 
 one represents our artist in a flowing wig, the other in a Flemish hat. The 
 latter is a proof before any writing. 
 
 This collection, which consists of 110 pieces, was formed by Ploos von 
 Amstel, and is mentioned in Bartsch's Peintre Graveur, Vol. i. pa. 358; 
 but very considerable additions have been made to it, since it was originally 
 judged complete. The number of the subjects properly attributed to Ostade 
 is 50, and their variations here described are 60 ; of which 32 are unnoticed 
 by Bartsch. 
 
 The prints of Ostade are almost invariably marked with the initials or the 
 name of the artist. In the usual state of ordinary good impression, they 
 are by no means common : but as all the plates exist, sets of the whole 
 work, in a frightful state of retouched barbarism, are of frequent occurrence. 
 
190 
 
 ANTHONY WATERLOO. 
 
 T is supposed that this pleasing artist was horn 
 ahout 1618; hut whether at Amsterdam or Utrecht 
 is not known. He lived for many years, however, 
 in a place which lies between Maarsen and Breuk- 
 elen, in the environs of the latter city, and died in 
 extreme poverty in an hospital near it, ahout 1662. 
 Waterloo's manner of engraving is altogether 
 peculiar. His subjects are of that kind which may 
 truly be termed rural ; and though in general they 
 consist of very little, are exquisitely chosen to give 
 the effect which he intended ; particularly the woods, coppices, and trees, the 
 foliage of which is probably unrivalled. His only defect seems to be a want 
 of management in the chiaro-scuro, as the lights are occasionally too scat- 
 tered. Having bitten in his plates delicately, he never repeated this opera- 
 tion with the aqua fortis, but by stopping out, in some cases, with a judg- 
 ment peculiar to himself, he obtained the required gradations ; and in others, 
 having suffered the aqua fortis to bite equally, he arranged and perfected 
 the harmony of his plates, and added even the strongest shadows with the 
 burin. 
 
 In consequence of this process, however, when the plates began to wear, 
 the delicate etching soon disappeared, leaving only the coarse work of the 
 burin : and such impressions are improperly considered as retouched. Good 
 impressions of his works are scarce ; and as he rarely made any variations 
 in his plates, those described by Bartsch, at the end of his catalogue are by 
 him considered to be unique ; but although extremely rare, they are certainly 
 not so to that degree. 
 
 774. THE FISHERMAN'S RETURN. 
 
 A village is seen on the bank of a river, extending the whole width of the 
 print; on the shore of which is a high wall, with a scaffolding at top, and 
 an arch-way to the water below ; and further on, is a house with two chimnies, 
 and a hut erected against it. Behind the house, trees are seen above the 
 roof. At a little distance again, is a cottage, and near it, on the edge of the 
 shore, a clump of four trees. In the background are two church spires, and 
 a windmill. A fisherman, in a boat, is seen advancing towards the shore 
 alongside the wall. Bartsch, Vol.ii.pa. 16, A T o. 7. 
 
191 
 
 775. THE AVELL. 
 
 A fort, surrounded by walls, on the bank of a river, occujiies the whole 
 front of the print : to the right is a round tower ; and near this are a house 
 and a long wall, with an arched gateway in it, and a pointed tower at the 
 extremity. Opposite the house is a draw well, at the end of the lever of 
 which, is a machine for raising water to a stage for the use of the house. 
 On this stage is a man emptying the water, and two others are standing 
 below, talking. In the extreme distance, on the river's bank, is a town. 
 Bartsch, No. 9. 
 
 776. THE ANGLERS. 
 
 In the middle of this subject is a bridge on a canal, which winds into the 
 background. A man is sitting on the bridge, fishing ; while another, stand- 
 ing on his left, is similarly employed ; and a third, seen from behind, carries 
 his rod over his left shoulder : near this last figure is a dog. Bartsch, No. 13. 
 
 777. THE PEASANTS ON THE HILLOCK. 
 
 In the middle-ground, a little to the right, is a round hill, or mound of 
 earth, fenced with hurdles, on the top of which is a group of three men — 
 one of whom is sitting, talking to two others standing up before him : a fourth 
 person, a little to the left, beyond the hurdle on which he is leaning, 
 stretches his hand behind him, as directing attention to something. Bartsch, 
 No. 14. 
 
 778. THE WAGON ON THE ROAD. 
 
 This piece is said to represent the sea shore at Schevelingen, near the 
 Hague. A wagon is seen, full of people, drawn by two horses, and preceded 
 by a man on horseback, before whom is a peasant with his wife and child. 
 To the left, in the distance, is the village of Schevelingen, with a large pointed 
 church tower, and some boats are on the sea. Bartsch, No. 15. 
 
 779. THE RAM, THE SHEEP, AND THE GOAT. 
 
 In the foreground, a little to the right, a ram is lying down ; beside 
 which, to the left, is a sheep standing, and seen from behind : beyond the 
 ram, in the hollow, is the head of a goat, looking to the right. On the left, 
 at bottom, near the margin of the plate, is the letter B, and lower down, f. 
 Bartsch concludes these initials to signify that the print was etched by 
 Marc de Bye, whose manner it resembles much more than that of Waterloo. 
 Bartsch, No. 17. 
 
192 
 
 780. THE TWO HERMITS. 
 
 A rock covered with trees and bushes, is surmounted by a chapel. To the 
 left is a little stone bridge, communicating with the land opposite the rock, 
 which is separated by a dell or ravine ; and to the left, in front, is a gentle 
 declivity towards the water, where two hermits are seen walking. Bartsch, 
 No. 47. 
 
 781. THE ASS DRIVER. 
 
 To the left of this subject, is a brook, which flows to the front of the print. 
 One of the banks is high and steep, and seems to consist of three masses. 
 On the top are several trees, — one on the very edge of the precipice, with the 
 roots partly discovered. Below these trees, is a road, leading from the 
 middle to the right of the print, where a man is seen driving a loaded ass. 
 Bartsch, No. 48. 
 
 782. THE CHAPEL. 
 
 On a rise to the left of this print, is a chapel, with a low roof and a turret : 
 five or six steps lead to the door of the building. Behind the roof are 
 numerous trees. Towards the middle, nearer the foreground, is a little 
 elevation, with two trees and a few bushes ; and at the foot is a small 
 ■stream, flowing to the right in front, with a bridge over it, on which is 
 seen a man with a stick. Bartsch, No. 51. 
 
 783. THE BRIDGE OF PLANKS. 
 
 A river, running from the background on the left, divides into two streams 
 in front. One of its banks is steep, and on it are two great trees, surrounded 
 by thick bushes, and a little nearer to the right, is a wood. In the corner, 
 on the same side, is a wooden bridge of four planks, with a gap for a fifth, 
 communicating with a road up the steep bank. Near the bridge are two 
 peasants, one sitting, with a dog ; and on the height is a traveller with a 
 staff on his shoulder, coming towards the foreground. Bartsch, No. 52. 
 
 784. THE MAN AND WOMAN NEAR THE LITTLE BRIDGE. 
 
 To the right is a thick wood, extending half way to the left of the print, 
 and enclosed by a fence ; below which is a stream, which appears to issue 
 from the wood. To the right, along the hedge, is an elevation, communi- 
 cating, by a little bridge, with the opposite side of the stream : on the left of 
 the bridge, in a road, are a man and a woman advancing towards the 
 right to cross the stream. Bartsch, No. 59. 
 
193 
 
 785. THE TRAVELLER AND HIS DOG. 
 
 On an elevation to the right, a broad road, commencing- at the bottom of 
 the subject, winds behind a little rock crowned with trees, on the brow of 
 which are bushes. At a little distance, is seen a traveller passing the rock. 
 He has a bundle at his back, and is followed by his dog. From the middle of 
 the print, a brook flows to the left corner. Bartsch, No. 60. 
 
 The preceding twelve specimens, are portions only of three sets. They 
 are first impressions of the pure etchings ; and each is printed on the whole 
 sheet, as originally published by Waterloo. The plates of these subjects 
 were afterwards worn till reduced to shadows : they were then rebitten, but 
 failed entirely in the operation ; as in the subsequent impressions, the fore- 
 grounds are coarse in the extreme, but the skies and delicate work are either 
 wholly or partially effaced. 
 
 LANDSCAPES— A SET OF SIX PRINTS, viz.:- 
 
 786. THE ENTRANCE TO THE FOREST OVER THE WOODEN BRIDGE. 
 
 In the middle of the subject is a stream, flowing to the front, and extend- 
 ing the whole breadth of the print. A little wooden bridge, defended by a 
 rail only on one side, leads from the right to the left bank of the stream, 
 where it is blocked by a gate of planks. Near the left margin of the print, 
 is the trunk of a great tree ; and a little in the distance, are two other large 
 trees, the tops of which pass the upper margin of the print : beyond is a 
 wood, enclosed with a hedge. Bartsch, No. 107. 
 
 Impression before the retouch. 
 
 787. THE WOOD NEWLY CUT. 
 
 On the right, in front, are three great trees, close to one another, the tops 
 of which are above the print. At some distance, is a portion of wood, which 
 bears marks of having been recently cut, and which is hedged in. Another 
 part, enclosed, is seen in front to the left. A broad road appears to proceed 
 from the wood, towards the foreground, and occupies the lower half of the 
 print on the left. Near the middle, at the corner of the hedge, is a single 
 tree, with several dry branches on the stem, below the foliage. — Bartsch, 
 No. 108. 
 
 Impression (described by Bartsch, page 144;) before the small hanging 
 branches of the tree in the middle of the print, near the corner of the hedge ; 
 
 c c 
 
194 
 
 and with the figures of a woman and a dog, drawn in, it is prohahle, by the 
 artist himself. 
 
 788. Impression before the small pendent branches, but retouched with the 
 burin. 
 
 789. Impression with the small pendent branches, and retouched. 
 
 790. THE MAN AND THE WOMAN FORDING THE STREAM. 
 
 A hill is seen, with a gentle descent to the lower margin of the print on the 
 right, where there is a stream, which a man and a woman appear to be ford- 
 ing : the man has a bundle on his back. They are accompanied by a dog ; 
 and a little ftuther, in the same direction, is a man sitting on the waterside, 
 pulling on his boots. In the front, to the left, are two high trees ; and on 
 the hill is a corn field, enclosed by a hedge. Bartsch, No. 109. 
 
 Impression of the pure etching ; before the dry branches on the upper ex- 
 tremities of the two large trees, near the sky ; before the foliage on various 
 parts of those trees ; on the beautiful tree standing alone ; and among the 
 shrubs on the bank below. 
 
 791. Impression with all these additions. 
 
 792. THE PEASANT WITH THE SHOVEL. 
 
 On the right, appears the beginning of a thick wood of high trees : in the 
 middle is a peasant, seen from behind, talking to a shepherd, stretched on 
 the ground before him. Near the front, on the left, are two grass mounds. 
 The man standing, holds a spade or a shovel in his right hand, and with the 
 other points to the distance on the left. Bartsch, No. 110. 
 
 Impression of the pure etching ; before many small branches, and some of 
 the foliage, in the clump of trees on the right ; before the dry twigs on the 
 extremity of the branches of the largest tree on the same side ; and before 
 much work on the two grass mounds, near the margin to the left. 
 
 793. Impression with all these additions. 
 
 794. THE TRAVELLER RESTING IN THE WOOD. 
 
 To the left, in front, is a large tree, almost leafless, the top of which is 
 above the plate : other small trees and shrubs are twisted round its trunk. 
 In the distance, on the same side, is a stream flowing to the front. In the 
 middle of the print, at a point near the water's edge, are three willows ; 
 and above these, to the right, is a road, on the side of which a traveller is 
 sitting, with a bundle on his back, and holding a long staff : another traveller 
 is seen at a distance on the road. Bartsch, No. 111. 
 
 Impression retouched with the burin. 
 
195 
 
 795. THE TWO MEN IN THE HOLLOW WAY. 
 
 On the right of the subject is an elevation, from which a path descends 
 towards the left ; and midway from the top, is a hollow, in which two men 
 are seen descending the road. The one is visible in the greater part of the 
 figure ; but only the head and shoulders of the other are seen. In the front 
 is water, and in the distance to the left, a town. Bartsch, No. 112. 
 
 Impression of the pure etching ; before much work with the dry point 
 in the foliage and branches of the trees ; and particularly to the left of the 
 print in the foreground, and in the middle. 
 7.96. Impression worked upon throughout. 
 
 These prints are numbered from 1 to 6, in the lower margin on the left ; 
 and on each, in the same margin, is written " Antoni Waterloo fe." 
 
 LANDSCAPES— A SET OF SIX PRINTS, viz.:— 
 
 797. THE GREAT LIME TREE AT THE INN DOOR. 
 
 In the middle of the print is an inn, near an inclosure of trees and shrubs. 
 The inclosure stretches from the house to the right margin of the print ; and 
 at a little distance, in front of it, are two lime trees, and a large single one 
 is opposite to the inn : under the single lime is a bench, with a traveller 
 sitting on it, and close by, are a man on horseback, and other figures near 
 the inn : in the distance is a village. Bartsch, No. 113. 
 
 Impression of the pure etching, and before the work on the background 
 to the left. 
 
 798. Impression wholly retouched. 
 
 799. THE WOMAN AND CHILD ON THE WOODEN BRIDGE. 
 
 In the middle-ground is a hill, with two trees, at the foot of which 
 a woman is seated opposite to a man, who has a bundle at his back, and a 
 staff in his hand. To the left is a stream, with a little fall and a wooden 
 bridge : a female peasant is carrying a basket at her back, across the bridge, 
 followed by a child towards the hill. Bartsch, No. 114. 
 
 Impression before the retouch, but with no other mark of priority.* 
 
 800. THE PATH THROUGH THE WOOD. 
 
 From a wood, seen both to the right and on the left of the print, a road winds 
 
 •» An impression of the pure etching of this subject, is described by Bartsch, in which two small trees 
 in the distance, near the right margin of the plate, are without leaves. 
 
 CC 2 
 
196 
 
 to the foreground, where, on the left, are two large trees, close to each 
 other, the tops of which are not seen : two other large trees, with less 
 foliage, stand together at some distance. In front is a man, carrying on his 
 back a stick, with a bundle suspended to it : he is in the hollow of the road ; 
 where two other figures also are seen in the distance. Bartsch, No. 115. 
 
 Impression of the pure etching ; before the figure of the man near the 
 front ; before those which in the ordinary impressions are at a distance in the 
 road ; and washed in several places by the artist. 
 
 801. Impression with the figures, and worked upon throughout. 
 
 802. THE FARM ON THE WATER'S EDGE. 
 
 In front of the subject is a river, on the left bank of which is a farmhouse, 
 in the middle of trees, inclosed by a hedge with a door in it. On the right 
 bank, a small portion of which only is visible, stands a decayed tree, with but 
 little foliage. On the left bank opposite, are two high trees planted close 
 to each other ; and further on, at an angle, is another group of four trees, 
 two of them willows : at some distance from these, is a man in a boat angling. 
 Bartsch, No. 116. 
 
 Impression before the leaves on the tree to the right; and before a fourth 
 tree among the group on the opposite bank. 
 
 803. Impression with the foliage on the tree to the right ; with an additional 
 tree in the group on the opposite bank ; and with the figures of a man and 
 a woman drawn in, perhaps by Waterloo. 
 
 804. THE HORSEMAN NEAR THE HEDGE. 
 
 On the left is a corn field ; and in the middle of the print, a great tree is seen 
 between two others. The part on which these trees are planted, is bounded 
 in the distance by a wood, and in front by a hedge in a parallel line with 
 the field ; at the end of which, in the distance to the right, is an open gate : 
 near the gate is a man on horseback, coming along a wide road, leading to 
 the front of the print. On the right, in the immediate foreground, are two 
 great trees close together, the tops of which are lost above the plate. 
 Bartsch, No. 117. 
 
 805. THE SHEPHERD SLEEPING ON THE HILLOCK. 
 
 This subject represents an open spot, to the right of which is a single tree, 
 divided into two branching heads : near a fence, about the middle of the 
 print, on the brow of a hillock, is a shepherd asleep, while his flock is feed- 
 ing at some distance a little to the left. Below this hill, in the distance, 
 is a corn field, almost reaped ; and to the left, in front, a single tree. 
 Bartsch, No. 118. 
 
197 
 
 Impression (described by Bartsch, pa. 146 ;) before the little dry branches 
 on the single tree to the left ; before the tuft of grass at the bottom of the 
 trunk ; and before the dry branches at the top of the great single tree to the 
 right. 
 
 806. The ordinary impression, retouched throughout. 
 
 This set is numbered from 1 to 6 in the bottom margin on the right ; and 
 on the left of each, in the same margin, is written the name of the artist. 
 
 807. THE WATER-MILL. 
 
 To the right, is a water-mill, thatched, and surrounded by trees: two large 
 willows are planted in front ; and on a hillock is a large tree, which reaches 
 to the top of the subject. To the left, is a sloping bank, with a little wooden 
 shrine on the summit ; near which a female peasant, with a large round 
 hat is seen, accompanied by a boy with a stick : beyond these figures, in 
 the distance, is a wind-mill. This subject, which is called the Mill of Waterloo, 
 is by Bartsch considered one of the rarest of his works. The name of the 
 artist is at bottom, on the right : it is one of a set of six upright landscapes. 
 Bartsch, No. 119. 
 
 LANDSCAPES, WITH MYTHOLOGICAL SUBJECTS— A SET OF SIX 
 
 PRINTS, viz.:— 
 
 808. ALPHEUS AND ARETHUSA. 
 
 In the middle of a winding river, which flows from the back ground to 
 the left in front, is seen the River God, with his arms extended towards Are- 
 thusa, who is flying on the right bank, her head and right arm raised to 
 heaven, imploring the protection 6i Diana. Bartsch, No. 125. 
 
 809. APOLLO AND DAPHNE. 
 
 Near two beautiful trees in the distance, Apollo is seen rushing from a 
 woody part of the landscape, with his bow in his hand, pursuing Daphne, 
 who is flying along a road towards the middle of the print : her head is 
 anxiously turned back towards Apollo. Bartsch, No. 126. 
 
 810. MERCURY AND ARGUS. 
 
 On the right is a forest, through which a road passes, extending from 
 the background to the front. On the same side, in the foreground, Mercury, 
 leaning against a bank, is playing on the flute, while Argus, ready to fall 
 
198 
 
 asleep, sits near him, and Io, under the form of a cow, is seen hehind Argus. 
 Bartsch, No. 127. 
 
 811. PAN AND SYRINX. 
 
 The river Ladon is seen flowing from the left, to the foreground on the 
 right, stretching the whole breadth of the print. The banks are covered 
 with wood, permitting only the distance towards the right to be seen. To 
 the left, in front, is a large tree, at the foot of which is seen Syrinx flying, 
 with her hands raised, and her open mouth indicating terror : she is looking 
 towards Pan, who is seen in profile in the water. Bartsch, No 128. 
 
 812. VENUS AND ADONIS. 
 
 A mountain is seen, which slopes gently towards the right : on the left it 
 is covered with wood. In front is a little stream, with three great trees on its 
 right bank, where, on the same side, in the foreground, is Adonis, sitting on a 
 mound, holding his boar spear in his left hand, while his right arm is round 
 the neck of Venus, who lies at his feet : near them are the dogs of Adonis, 
 one of which is held by Cupid. Bartsch, No. 129. 
 
 Impression of the pure etching, before much work on the foliage in the 
 distance behind Venus and Adonis. 
 
 813. Impression with that work, but before the retouch. 
 
 814. THE DEATH OF ADONIS. 
 
 In front, near the right, are two large trees; beyond which the ground 
 rises gently towards the same side, clothed with wood. Adonis is seen, in 
 the middle of the subject, stretched on the ground, near the two great trees, 
 his boar spear by his side, and near him a dog, howling : two others are seen, 
 at a distance, chasing the boar. Bartsch, No. 130. 
 
 This set is numbered from 1 to 6 in the left corners, at the top ; and each 
 print is marked with the initials of the artist. 
 
 LANDSCAPES, WITH SUBJECTS FROM THE OLD TESTAMENT— 
 A SET OF SIX PRINTS, viz. :— 
 
 815. THE DEPARTURE OF HAGAR. 
 
 In front, to the left, is a hillock with a group of three trees. To the right, 
 in a high road, Abraham is dismissing Hagar and Ishmael. Hagar has a 
 bundle at her back, and with her left hand appears to repress her tears: 
 Ishmael carries a bow. The road runs beside a hill, and the distance is com- 
 posed of a river, mountains, and villages. Bartsch, No. 131. 
 
199 
 
 816. THE ANGEL COMFORTING HAGAR. 
 
 A large wood extends from the left to the right. The foreground is covered 
 with plants and herbs ; and to the left is a little brook with a waterfall, on 
 the bank of which is a large tree. At some distance, is seen Ishmael stretched 
 on the earth ; while Hagar, sitting in the foreground on the right, appears 
 in deep affliction, listening to the Angel, who stands up before her, pointing 
 to the brook. Bartsch, No. 132. 
 
 817. THE DISOBEDIENT PROPHET. 
 
 The foreground is covered with plants and herbage, among which is seen 
 the trunk of a tree. In the middle are two tall trees, planted near each other 
 on a hillock, between which and some shrubs and underwood near the 
 right, is seen a road rising towards the same side in the back ground. 
 In the middle of this road, is the dead body of the Prophet, and the lion is 
 sitting beside it : at a distance is the ass ; and the city of Bethel is seen at 
 the foot of mountains. — Bartsch, No. 331. 
 
 818. TOBIT AND THE ANGEL. 
 
 This print, which is considered a chef d'ceuvre of the artist, represents 
 to the right, a large tree, extending nearly to the top of the plate : close beside 
 it are two others, the stems of which cross. Beyond, is a hill with a flat sum- 
 mit, rising gently towards the centre of the subject, and forming an abrupt pre- 
 cipice, opposite two rocks, where a torrent is seen rushing into a natural 
 basin. On the brow of the hill is the angel Raphael with Tobit and his dog, 
 about to descend into the valley : the former is pointing to the prospect 
 before them. Bartsch, No. 134. 
 
 819. SEPHORA AND HER SON. 
 
 On the right, is an inn enclosed with a hedge : the door is open, and a 
 crown suspended from a pole forms the sign. A little further in the back- 
 ground, steps appear to lead to a stone bridge, across a stream communicat- 
 ing with a house situated on a rock opposite : a man is seen on the steps. 
 Moses is standing to the right, in the foreground, with a staff in his hand, 
 while the angel is seizing his arm, and threatening to destroy him with 
 a sword. Sephora is on her knees near Moses, holding her child. Bartsch, 
 No. 135. 
 
 820. ELIJAH FED BY RAVENS IN THE DESERT. 
 
 The brook Cherith flows from the left in the back ground, to the fore- 
 ground on the right. To the left, in front, are three great trees, at the foot 
 
200 
 
 of which is Elijah sitting, seen from behind, stretching out his hand to a 
 raven bringing food; while another raven is seen in the air, with bread in its 
 beak: the whole landscape is rich with wood and foliage. Bartsch, No. 136. 
 This set is marked with the initials of Waterloo. 
 
 ALDERT VAN EVERDINGEN. 
 
 Everdingen was born at Alkmaer, in 1621. His first master was Roland 
 Savery, from whom he went to study under Peter Molyn, where he made 
 rapid progress. He was a man of prudent habits, steady conduct, and an 
 excellent understanding. His morals and his religious behaviour, procured 
 him the office of deacon of the reformed church of his native city. He made 
 a voyage to the North ; but being thrown by a storm on the coast of Norway, 
 he remained in that country more than a year, studying and closely copying 
 nature. His etchings for the " History of the Fox,''' are of his very best time ; 
 and his landscapes are highly picturesque, though sometimes executed in 
 too negligent a manner. 
 
 821. LANDSCAPE. 
 
 Near a cottage on broken ground, a man is seen near a little bridge : towards 
 the middle of the subject are three goats lying down ; and on the right is 
 a peasant on horseback, talking to another on his right hand : behind the 
 man on horseback, is a third peasant. The initials of the artist are at bottom. 
 Bartsch, Vol. n. pa. 162, No. 1. 
 
 Impression of the plate in a circular form. 
 
 822. Impression retouched, and the plate reduced to an oval shape. 
 
 823. THE WATER-MILL. 
 
 In the centre of the subject, a mill, with a sloping roof of timber, is built 
 on two rocks, between which, the stream of a river falls rapidly through a 
 trough below the house. To the left is a man with a staff on his shoulder, 
 leading a child ; and above, near the house, is another figure. Bartsch, No. 99. 
 
 824. THE MOUND. 
 
 In the foreground, is a large mound of earth, washed on the left by a 
 stream, which forms a little cascade. On the opposite side of this mound are 
 a man and a woman, sitting on the ground : another man is passing before 
 them, on a road beside a wooden building, seen in front. Bartsch, No. 100. 
 
201 
 
 825. THE FALL NEAR THE WATER-MILL. 
 
 A water-mill is seen on an eminence, to the right; the wheel of which 
 is set in motion by a stream, with a double fall, flowing to the left, where 
 the stream spreads. A man is seen sitting on the trunk of a tree, near a 
 bridge, in a road, which leads to a wood. Bartsch, No. 102. 
 
 The impressions of the three preceding prints, are of the pure etchings, 
 before the border lines. 
 
 826—883. THE HISTORY OF REINEKE FUCHS, OR REYNARD 
 
 THE FOX, 
 
 A SERIES OF FIFTY-SEVEN ETCHINGS, TO ILLUSTRATE THE CELEBRATED POEM BY HENRY 
 VON ALKMAR AN ADMIRABLE AND EXPRESSIVE PIECE OF SATIRE. 
 
 We are indebted to Mr. Roscoe, in his German Novelists, or Tales Trans- 
 lated from the Ancient and Modem Authors in that language, published in 
 1826, for an abridgment of the prose version of this curious work, printed 
 in England in 1694. As the Preface of Mr. Roscoe gives an interesting 
 account of this satirical effusion, and its various editions, a portion is here 
 subjoined : — 
 
 " The real origin of this very curious comical and satirical production, is 
 involved, like most fables of the kind, in considerable doubt and perplexity. 
 The earliest printed German copy would appear to have been that of the 
 year 1498, written in the dialect of Lower Saxony ; though there was a 
 Dutch romance, in prose, bearing the same title, " Histoire van Reynaert de 
 Fc»5," published at Delft in 1485. The former one, of 1498, was afterwards 
 translated into High German, and also into Latin. It has been referred to 
 various individuals as the author ; most commonly to Henry von Alkmar : 
 but that his was not the first story of the kind, would ajipear from his 
 preface, in which he merely assumes the merit of its translation. Nicholas 
 Baumann, who is stated to have written it as a satire upon the chancellor of 
 the Duke of Juliers, is another author to whom it has, with less authority 
 however, been attributed, his edition bearing no earlier a date than 1522. In 
 the translation, it is stated to have been borrowed from the Ltalian and 
 French tongues, but its individual origin is not pointed out. It is so far left 
 in doubt, whether the German author copied from the Dutch publication at 
 
 D D 
 
202 
 
 Delft, where the sole remaining copy is still preserved ; or whether both 
 were translated or imitated from the French and Italian, or some more 
 hidden materials, of which the MSS. have now perished. 
 
 " At all events, the Lubec edition of 1498, is a work so superior in point 
 of power and skill, as well as in its comic incidents and delineations, as to 
 confer upon it the style and character of an original composition. Its alle- 
 gorical scenes are well supported ; exhibiting, under a picture of the court of 
 beasts, the various intrigues and interests of a human court, where every 
 thing is thrown into confusion, and the most dangerous plans are adopted, 
 at the instigation of a wily favourite. By such means the Lion risks the loss 
 of his dominions, while Reynard (who is supposed by some to represent the 
 Duke of Lorrain), and some other personages, doubtless imitated from real 
 life, carry their obnoxious measures. There is an old English translation, 
 published by Caxton, which was executed, it is said, from the Flemish version 
 or original. 
 
 " Gothe's version is an imitation of the work of Alkmar, from the Lower 
 Saxon, composed in hexameter verse, and in modern phraseology. 
 
 " From the number of editions enumerated by the learned Flogel, in his 
 History of Comic Literature,* the German Fox would appear to have been a 
 singular favourite with most nations. Upwards of forty editions are men- 
 tioned, among which three were published in England, besides others which 
 do not appear to have come within the scope of the German writer. The 
 English prose version of 1694, from which the following specimen of the 
 work has been abridged, is one of them, consisting of a free translation, and 
 occasional abridgment of the edition of 1498, upon which most of the sub- 
 sequent editions, indeed, both in Germany and elsewhere, seem to be founded. 
 
 " The German edition of 1498 appeared at Lubec in small 4to, accompanied 
 by woodcuts, in a rude style of illustration, and with a preface of four pages, 
 from the pen of Henry von Alkmar ; the work itself consisting of 241 pages. 
 It is composed in common heroic metre — the heroic metre of low Dutch : a 
 copy is still preserved in the Ducal Library at Wolfenbiittel, with the follow- 
 ing motto : — 
 
 " Ut vulpis adulatio, 
 " Nun in der Werlde blyket, 
 
 " Sic hominis est ratio 
 " Gelyk dem vosse geschicket." 
 
 " At the close is found the date, " Anno Domini, 1498, LubekP It was first 
 made known by Professor Hackmann, in 1709, who printed an edition of it 
 
 * Ge.ichhhte der Komisclwn Litteratur, vol. iii. pa. 40, Liegnitz and Leipsic, 1786. 
 
203 
 
 at Wolfenbuttel, 1711. In the preface, Henry von Alkmar announces him- 
 self as a schoolmaster, who had borrowed his translation from the French 
 tongue, but without throwing any light upon the real author, or noticing 
 any Dutch writers or commentators among his contemporaries. His name 
 has by some been conjectured to be a mere fabrication, and among others by 
 Henry Lackman, and by Busching. Most probably, however, says Flbgel, 
 Alkmar was born in the city of that name in Holland ; he represents him- 
 self as Hofmeister to the Duke of Lothringen (Lorrain), who died in 1508, 
 at whose request the Flemish work was first composed. The Dutch writer 
 expressly disclaims all title to its production, though no prior French and 
 Italian materials, from which he professes to have taken it, have been dis- 
 covered. 
 
 " Gottsched, in his edition, is inclined to think Alkmar the real original 
 author, and that he merely feigned its version from other tongues. Thus 
 some dispute his word, and others his existence ; learned opinions clash with 
 still more learned opinions, and conjectures are heaped upon conjectures." 
 
 1. 
 
 The Fox, mounted on the Ass, is surrounded by a Wolf, a Bear, and a 
 Ram. This forms the Frontispiece to Gottsched 's translation of the poem 
 into modern German, published at Leipsig in 1752. 
 
 2. 
 
 The Lion announces to the animals, who are surrounding him, a grand 
 festival to be given at his palace at Sanden. The Lion is at the foot of a tree, 
 on which the aj>e is climbing. 
 
 3. 
 
 The Fox is accused before the Lion, by Isegrim the Wolf and other animals. 
 
 4. 
 
 This plate represents a circumstance told by Grimbard the badger* to de- 
 fend the Fox, by reminding the Wolf, his accuser, of his cheating the Fox of 
 a plaice, stolen by the latter from a fish cart : the cart is seen at a distance. 
 
 * Mr. Roscoe calls Grimbard "a Goat," and sometimes "the Brock." Brock is a badger ; and this 
 is the animal represented by Everdingen whenever Grimbard occurs. 
 
 DD 2 
 
204 
 
 5. 
 
 Chanticleer the Cock accuses the Fox, before the Lion, of having murdered 
 Coppel, one of his hens. 
 
 6. 
 
 The Cock relates, how the Fox, in the disguise of a monk, insinuated himself 
 into his confidence. 
 
 7. 
 
 The Lion is sitting in council on the punishment to be inflicted on the 
 Fox : near him is the Lioness ; and before them are a Cat, two Wolves, a 
 Dog, a Bear, a Panther, a Hare, and a Badger. 
 
 8. 
 
 Bruin the bear, summons his nephew the Fox, at Malepardus, his resi- 
 dence, to appear before the tribunal of animals. 
 
 9 
 
 The Fox promises to conduct the Bear to a spot where he may find honey 
 in abundance. 
 
 10. 
 
 The Bear is caught by the head and paws in the cleft of a felled oak, 
 where he had been groping for honey by the advice of the Fox. This print 
 is covered with a ground of mezzotinto. 
 
 11. 
 
 The Bear, in his defenceless condition, is attacked by the peasants 
 Lanfert, Bnrkin, and Ablequack, Bane the priest, and his wife Jullock. This 
 plate is also covered with mezzotinto. 
 
 12. 
 
 The Fox insults the Bear in his misfortune. In the background is a 
 water-mill. 
 
 13. 
 
 The Bear, in the Limis presence, complains of the trick played him by 
 
 the Fox. 
 
 14. 
 
 Tilert the cat, deputed by the council of animals, cites the Fox a second 
 time to appear before their tribunal. 
 
205 
 15. 
 
 The Cat is stealing along the side of a barn, to creep into a hole where 
 the Fox has promised her a rich treat of mice. 
 
 16. 
 
 The Cat, caught in a snare, is assailed by the Priest, and by Martinet, 
 and the other inhabitants of the house. This plate, and the preceding one, 
 are covered with mezzotinto. 
 
 17. 
 
 The Fox is cited, for the third time, by Grhnbard the badger. The Fox 
 is seen with his wife Ermelin, and his young ones. 
 
 18. 
 
 The Fox departs with the Badger, recommending his two favourite little 
 ones, Reijnekin and Rossel, to his wife. 
 
 19. 
 
 The Fox confesses to the Badger a trick he played the Wolf. The Wolf 
 is seen pulling the rope of a convent bell, to which the Fox had fastened his 
 two paws. On the left, in the foreground, are the monks of Esinane hast- 
 ening in alarm ; and, on the right, peasants attacking the Wolf. This piece 
 has a strong ground of mezzotinto. 
 
 20. 
 
 Another confession of the Fox : that he had escaped with a roasted fowl, 
 which he stole from the table of an ecclesiastic. The Wolf, who had eaten 
 so much bacon that he could not stir, is concealed in the lower part of a 
 cupboard, where the Fox had advised him to hide. The ecclesiastic is on 
 the left of the print, pursuing the Fox. This plate has likewise a mezzotinto 
 ground. 
 
 21. 
 
 The Badger, to whom the Fox confesses these tricks, gives him absolution, 
 and for penance enjoins him to jump three times over a switch. He is seen 
 performing this penance. 
 
 22. 
 
 The Fox, on his way to the Lion's court, wants to seize a Capon, but is re- 
 primanded by the Badger. 
 
206 
 
 23. 
 
 The Fox, brought before the Lion, is accused by Kayward the Hare, by the 
 Wolf, the Goat, the Bear, Curtise the dog, the Cat, the Cock, Bellin the ram, 
 and Paulter the boar. 
 
 24. 
 
 The Fox is condemned to die, having made a defence to no purpose. 
 
 25. 
 
 The relations of the Fox, finding him sentenced and ready to die, demand 
 their dismissal from court. 
 
 26. 
 
 The Fox, on the point of being hanged, as a last favour, requests permission 
 to confess : he is at the foot of a tree, and the Cat is hangman. 
 
 27. 
 
 The Lion suspends the execution of the Fox, for a last examination. 
 
 28. 
 
 The Fox makes a false confession of a conspiracy, formed by his father 
 against the Lion. 
 
 29, 30. 
 
 The Fox continues his lying confession of the plot. 
 
 31. 
 
 The Fox, continuing his feigned disclosure, holds out to the Lion and 
 Lioness, expectations of recovering the treasure of King Ermetick, stolen 
 from their majesties by the Fox's father. 
 
 32. 
 
 The Lion, having pardoned the Fox, orders the other animals to forget 
 his crimes, and to respect him and his family. 
 
 33. 
 
 The enemies of the Fox are terrified at his pardon and release, and at the 
 prospect of their own danger. 
 
207 
 
 34. 
 
 Execution of an order of the Lion, to cut from the Bern's hack a portion of 
 his skin ; and to flay the two fore paws of the Wolf, and the hind paws of 
 the she Wolf, to make shoes and a travelling bag for the Fox, going on a 
 pretended pilgrimage to Rome. 
 
 35. 
 
 Bellin the ram, as court chaplain, gives his benediction to the Fox, pre- 
 vious to his departure on his pilgrimage. 
 
 36. 
 
 The Fox, arrived at the entrance of his own abode, accompanied by Bellin 
 the ram, and Kay ward the hare, induces the latter to enter, and murders him. 
 
 37. 
 
 The Fox sends back the Ram with a packet to the Lion, which contains, 
 instead of dispatches, the head of the Hare. 
 
 38. 
 
 The Ram returned to court, delivers his supposed dispatches, which Bocart 
 the monkey, as secretary of state, opens ; and produces the Hare's head, to 
 the surprise of all the attendants. The Ram appears to regret his own inno- 
 cent participation, while the Monkey is looking into the bag. 
 
 39. 
 
 The Lion, finding himself thus cheated by the Fox, releases the Bear and 
 the Wolf, imprisoned for having persisted to slander the Fox. 
 
 40. 
 
 A fete is celebrated at the Lion's court, in honour of the Bear and the 
 Wolf, who are dancing together, with paws joined, to a bagpipe played by 
 the Cat. 
 
 41. 
 
 This is the representation of a crime of the Fox, as related by Corbant the 
 crow, to the Lion at the fete. Having found the Fox stretched on the 
 ground, apparently dying, the crow and his wife approached to his succour, 
 when he suddenly jumped up, and bit off the head of the female, who had 
 gone near his mouth to see if he breathed. 
 
208 
 
 42. 
 
 The Lion, irritated against the Fox, commands all the animals to follow 
 him to the Fox's den, to take vengeance. 
 
 43. 
 
 The Badger hastens to inform the Fox of the Lion's intention, and to warn 
 him of the danger : the Fox is plucking two pigeons, and turns his head 
 round to the Badger with a most impudent leer. 
 
 44. 
 
 The Fox, confident of calming the Lion's anger, departs with the Badger; 
 and on the road relates to the latter the trick he played the Wolf, who 
 wished to seize a mare's foal. This trick the print represents. The Mare is 
 to the right, saluting the Wolf's jaws with a kick : the Fox is seen on a hill 
 looking on. 
 
 45. 
 
 The Fox, arrived at the Lion's court, exculpates himself. 
 
 46. 
 
 A Hare or Rabbit is seen running to meet the Fox, to the right. On the 
 same side, in the background, is a wagon ; and in the distance, on the left, 
 a high mountain. The text does not explain this subject, though it appears 
 to relate to Laprel the rabbit, who is not represented before. In the present 
 collection are two impressions of it : one is on China paper, before the sky ; 
 before the shadows on the mountain ; and in every other respect much less 
 finished. 
 
 47. 
 
 The Fox, in exculpating himself by a heap of lies, tells the Lion that he 
 had entrusted to the Bam, for his Majesty, certain inestimable treasures ; 
 particularly a ring, a comb, and a mirror with magical properties. These 
 articles appear on a hillock behind the Lion and Lioness. 
 
 48. 
 
 This is a story, said by the Fox to be represented on the frame of the 
 magic mirror. It is of the Horse, who, jealous of the Stag's swift foot, begs 
 a shepherd to mount him, and promises him the Stag as a reward for his 
 compliance. 
 
209 
 
 49. 
 
 The shepherd, mounted on the Horse, pursues the Stag at full speed. 
 
 50. 
 
 Another story, said to be represented on the frame of the magic mirror. 
 It is of the Ass, who, jealous of his master's caressing- the lap-dog, imitates 
 that animal, that he may receive the same tokens of affection. 
 
 51. 
 
 The third story, which the lies of the Fox represent to be found on the 
 mirror frame. The Fox's father, surprised by dogs while strolling in amity 
 with the Cat, is abandoned by the latter, in violation of a compact, that they 
 should stand by each other in cases of need. 
 
 51a. 
 
 The same subject, engraved a second time : instead of the three dogs closely 
 pursuing the Fox, and only in part seen, are two dogs seen wholly. The figures 
 of the Fox and the Cat are, in this print, shaded much more than in the 
 preceding : this print is also much rarer. 
 
 52. 
 
 The fourth story represented on the mirror frame : the ingratitude of the 
 Wolf, from whose throat the Crane had extracted a bone. 
 
 53. 
 
 The Wolf, irritated at the Lion's pardoning the Fox, brings a fresh accu- 
 sation against him ; that in teaching the she Wolf to catch fish, he induced 
 her to let her tail hang in a pond till it was frozen ; that she was forced 
 to leave a piece of it behind ; and must have perished, but for the accidental 
 arrival of the Wolf himself. 
 
 54. 
 
 This shews another trick played by the Fox on the she Wolf: — The Fox 
 having descended a well in one of the buckets, and not being able to get out 
 again, begs the she Wolf to help him by going down in the other bucket, 
 which of course draws up the Fox again, who leaves the she Wolf in the 
 well, and runs off. This plate has a mezzotinto ground. 
 
 55. 
 
 The Lion, and the council of animals, having consented to a combat be- 
 
 EE 
 
210 
 
 tween the Wolf and the Fox, the latter, in the den of the Ape, receives from 
 Dame Rukenard, the Ape's wife, her advice how to gain the victory * 
 
 56. 
 
 The Fox blinds his adversary by striking him over the eyes with his tail, 
 drenched in sand and water, as advised by Dame Rukenard, the Ape's wife. 
 The Wolf is seen to the right, nibbing his eyes. The Lion, surrounded 
 by the animals, observes the combat from an eminence. 
 
 57. 
 
 This is the tail-piece to GottscheaVs edition. It represents the Ass, harnessed, 
 with the Lion on his back, surrounded by the Bear, the Ram, and the Wolf. 
 
 As GottscheaVs edition was not published till more than a century after the 
 death of Everdingen, the plates, Bartsch observes, cannot have been intended 
 for this, but probably for a Dutch edition of the History of the Fox, jjublished 
 at Amsterdam in 1694. Gottsched has added five plates, engraved by Simon 
 Fokke. 
 
 HERMAN SWANEVELT. 
 
 WANEVELT, also called Herman of Italy, was 
 born about 1620, in Holland, but in what particular 
 place does not appear. It is believed that he was 
 at first the scholar of Gerard Douw. He went, 
 however, to Rome, when very young, and became a 
 pupil of Claude Lorraine. His retired life and 
 habits, and his diligent and constant study of 
 nature, acquired him the name of The Hermit. 
 He grew into very great repute, and his works were 
 purchased at high prices : he died at Rome about 
 1690. The etchings of few masters are more 
 esteemed than those of Swanevelt, from their spirited elegance, and choice 
 of scenery. 
 
 * The subject of this number seems to have been altogether mistaken by Bartsch. The scene he 
 describes has no reference whatever to the story ; at least in that place. 
 
/ 
 
 211 
 
 884—907. LANDSCAPES— A SET OF TWENTY-FOUR SMALL PRINTS, 
 
 CHIEFLY VIEWS IN THE CAMPA6N A OF ROME, VIZ. : 
 
 1. 
 
 Title : Two men standing on the left, are reading the following inscrip- 
 tion on a great stone : — " varim campestrvm fantasije a hermano van 
 
 SWANEVELT INVENTJE, ET IN LUC EM EDIT&, CUM PRIVILEG. REGIS.' 1 '' 
 
 2. 
 
 A hill, on the right, with a great tree in the middle. At the foot of the 
 tree is a man sitting, speakng to another standing, with a staff on his shoulder. 
 
 3. 
 
 A barren hill, on which are two men, one turned to the left : on the same 
 side, near the margin of the print, are trees and bushes ; and in the distance 
 is another hill, with a figure on it. 
 
 4. 
 
 On the right, at the top of a hill, is a round tower, connected by two 
 arches with an ancient building. At the foot of the hill is a man, and be- 
 hind him a woman leading a child. 
 
 5. 
 
 To the left is a steep hill, crowned with wood. In the middle, in front, 
 two figures, seen from behind, are sitting by the side of a road. 
 
 6. 
 
 A stone bridge occupies almost the whole width of the plate. On the left 
 is a hill, with a house on its summit — near which are two figures. Two 
 others are standing opposite to each other, in conversation, on a bank, which 
 fonns the immediate foreground on the right. 
 
 7. 
 
 On the right is a cavern, opposite to which a woman, seen from behind, is 
 sitting on the ground, speaking to a man who is standing up before her : to 
 the left, in the distance, is a large river. 
 
 EE 2 
 
212 
 
 8. 
 
 To the left is a rock, and further in the distance, are five trees : other 
 rocks are on the opposite side ; and in the middle of the background, a man 
 is walking to the right. 
 
 9. 
 
 On the left is an arched rock, through which are seen two little figures, at 
 the foot of another rock. In the middle, in front, is a man, with his staff on 
 his shoulder, walking to the left. 
 
 10. 
 
 To the right is a large bushy tree, at the foot of which are two men sitting 
 opposite to each other ; and to the left is a group of three trees — between 
 which and the first tree, is a road. 
 
 11. 
 
 In the middle, in front, two men, one sitting, the other standing up, are 
 talking ; and at some distance from them is a great tree. In the background 
 appears a steep mountain, crowned with trees and shrubs. From the right, 
 a path on the bank of a river, descends towards the left, and turns again to 
 the foreground. 
 
 12. 
 
 On the right is a river, flowing from the background to the front. To the 
 left, on the top of a hill, is a man with four cows. 
 
 13. 
 
 This subject represents two hillocks : on that towards the right, is the 
 stump of a tree ; and on the other a large tufted tree, at the foot of which 
 a man is seen walking with his staff on his shoulder. In a road two other 
 minute figures are in the distance, towards the right. 
 
 14. 
 
 The foreground on the right is formed of rocks, communicating to the left 
 with a hill, by a little stone bridge of one arch. This hill is surmounted by 
 two trees, near each other, at the foot of which is a figure. To the right, in 
 the road to the bridge, a man is walking, followed by a woman. 
 
 15. 
 
 On the left, in front, are two trees, near a road, where two men are per- 
 
/ 
 
 213 
 
 ceived, one of whom is pointing towards a large steep rock, with a house 
 on its top, situated on the further hank of a piece of water : in the distance 
 is a church. 
 
 16. 
 
 In the middle of the subject, is a great tree with a double stem ; and to 
 the left, a steep rock, covered with bushes on the summit : between this 
 rock and the tree is a figure. Further in the distance, are two little figures 
 walking side by side ; and in the background are some trees and a village, 
 beyond a river. 
 
 17. 
 
 In the middle are two trees, the stems of which cross each other. They 
 grow on a little elevation, near a stream which winds to the distance on the 
 right, and on the bank of which are two figures walking. In the distance, 
 on the left, is a row of tufted trees ; and to the right are mountains, with 
 buildings on a hill at their foot. 
 
 18. 
 
 On the right is a rock, crowned with trees and shrubs, near which is a 
 figure. On the left are bushes in a dell ; and in the distance is a chain of 
 mountains, with a building and trees, in the valley at their base. 
 
 19. 
 
 Towards the right is a rock, on the top of which is a road, leading down 
 to the front of the subject, where a man is seen with a stick in his hand. 
 Another man, with a staff on his shoulder, is walking on the upper extre- 
 mity of the road. The distance is a village, surrounded with trees on the 
 bank of a river, at the foot of mountains. 
 
 20. 
 
 On the right bank of a river, which winds from the distance on the left to 
 the front, are two men walking side by side : the opposite bank is woody : on 
 a little projection of land, is a minute figure ; and in the extreme distance 
 a mountain. 
 
 21. 
 
 In the foreground to the right, are two trees, near which are two men 
 seated, seen from behind : one of them extends his arm towards some houses 
 in the distance on the left. 
 
214 
 
 22. 
 
 Near the centre, on a river's bank, are two men walking, carrying each a 
 staff. On the other side of the river, to the left, is a mountain with a small 
 castellated building on the top, and trees below, reaching along its base to 
 the middleground : in the distance to the right, are also mountains. 
 
 23. 
 
 In the foreground, towards the middle, are two men, seen from behind ; 
 one with a staff on his shoulder. They are walking towards an arched rock 
 on the right, through which, in the distance, is seen another man. On the 
 left are some trees, and in the background mountains are just visible. 
 
 24. 
 
 A river is seen, flowing from the distance on the right, to the foreground 
 on the left, on the right bank of which is the stump of a tree. In the nearer 
 part of the opposite bank, is a steep rock, clothed with tufted trees, on 
 which a man and a woman are walking side by side towards the foreground 
 on the left : in the distance is a mountain. 
 
 908. LANDSCAPE WITH A SATYR. 
 
 In the foreground to the left, a Satyr is sitting opposite to two women, 
 one of whom, seen from behind, holds a child before her : this Satyr is 
 playing on the reed pipe, while another Satyr is lying on the ground at some 
 distance : they are on the bank of a river, which extends along the whole 
 right side of the subject, where it is woody. On the left is a hill, with trees 
 at its foot, and others on the summit : this subject is engraved on an oval plate. 
 Bartsch, No. 25. 
 
 909—912. LANDSCAPES, WITH SATYRS— A SET OF FOUR PRINTS, 
 
 viz. : — 
 
 1. 
 
 In the foreground to the right, two Satyrs are seen driving before them to 
 the left a flock of goats, where a large rock, crowned with trees and bushes, 
 extends to the middle of the subject in the distance. In front of this rock 
 is another, near which are three figures, seated ; and to the right is a 
 mountainous background, interspersed with wood. 
 
215 
 
 o. 
 
 To the left in the foreground, is a Dryad on her knees, raising her hand to 
 strike a Satyr on the hack, who is stretched on his stomach, and is playing 
 on the flute : another Nymph, seen from hehind, and sitting, is looking at 
 a Satyr, dancing in the centre of the subject. To the right is a pond, 
 surrounded hy reeds ; and in the background, on the same side, is a high 
 rock, at the foot of which, near some trees, is seen another Satyr, walking 
 on the edge of the pond. 
 
 3. 
 
 On the right is a wood, which extends to the middle of the subject. 
 In the foreground, on the same side, a Satyr, clinging to the trunk of a high 
 tree, offers fruit, which he seems to have gathered, to a Dryad, who holds 
 out her robe to receive it : another Dryad, with a little Satyr in her arms, 
 is standing near. Towards the middle, an old Satyr, with a bag hanging 
 from a stick placed across his shoulder, is walking to the right, in a dell. 
 
 4. 
 
 To the left is a large rock, crowned with trees and shrubs ; and in a cave, 
 towards the foreground, a woman appears sitting near a fire, kindled by a Satyr. 
 In the middle of the subject, another female, seated on the ground, is making 
 her child step towards a Satyr opposite, behind whom is another Satyr stand- 
 ing, and speaking to a nymph. In the distance to the right a river is seen, 
 and beyond, through a woody country, are mountains. Bartsch, Nos. 49 — 52. 
 
 The name of Swanevelt is written in a little margin at the bottom of each 
 plate. 
 
 913. PAN AND SYRINX. 
 
 The river Ladon is seen flowing from the centre of the background to- 
 wards the front, where it spreads widely : the left bank is covered with 
 wood and reeds, where Syrinx is seen taking refuge, her hands are raised, 
 and imploring succour, while her head is turned towards Pan, who, in the 
 act of pursuing her, seizes a bunch of reeds. Bartsch, No. 70. 
 
 Proof before any writing. 
 
 914. Impression with the initials of Swanevelt, and the address of Gio. Batta. 
 de Rossi in P. Navona. 
 
 915. SALMACIS AND HERMAPHRODITUS. 
 
 This subject is a companion to the preceding: it represents a river 
 
216 
 
 flowing from the middle of the background, and spreading along the width 
 of the print, the left bank of which is clothed with large trees, at the foot of 
 one of which, Salmacis, with one knee on the ground, is contemplating 
 Hermaphroditic bathing. The opposite bank of the river is covered with 
 wood. — Bartsch, No. 7 1 . 
 
 Proof before any writing. — The first lettered impression of this print is 
 similar in its address to the preceding. 
 
 The proofs of these subjects of Pan and Syrinx, and Salmacis and Herma- 
 phroditus, are from the collection of M. van den Bosch. 
 
 LANDSCAPES— A SET OF FOUR PRINTS, viz. :— 
 
 916. THE FISHERMEN. 
 
 This piece represents a stream, flowing from the left towards the right in 
 front, and returning to the middle, where it falls, in a small cascade, into 
 a basin, which extends almost entirely across the lower part of the print. 
 On the top of a rock to the left, is a man, seen from behind, talking to an- 
 other, who has a portfolio under his arm. His hand is raised towards 
 a rock, at the foot of which they are conversing. Along the opposite bank of 
 the stream, is a chain of other and higher rocks, steep, and covered to the 
 top w r ith wood. To the right, half way up one of these heights, are three 
 figures on a road which slopes to the water, and leads to the distance on the 
 left. In the foreground to the right, is a fisherman carrying a pail, and 
 standing beside another, who is emptying a bow net full of fish. 
 
 917. THE WOMAN SPINNING, AND THE OXEN. 
 
 On the summit of a hill, in the centre of the print, is a small house sur- 
 rounded by trees, under the shade of which are two figures sitting at a table 
 near the door. In front of the house, on the brow of the hill, is a high wall, 
 extending to the right, where a torrent rushes into a basin below ; and on 
 an elevation to the left, is a woman seated, spinning. On another hillock, 
 in front, are three oxen lying down, while a fourth is seen going towards 
 the basin to chink. On the rocks, a man standing, is looking at a woman 
 and child, who are at the foot of the trees near the house. 
 
 918. THE TWO HORSEMEN. 
 
 On a road, skirted by steep rocks covered with wood, to the right of the 
 subject, are two men on horseback, riding towards the same side, followed by 
 
217 
 
 two men on foot. Below the road, on the left, is a stream flowing from the 
 background to the centre of the print in front; and in the distance are build- 
 ings at the foot of a great mountain. In the foreground to the left, are two 
 men seen from behind, sitting. 
 
 919. THE CASCADE. 
 
 A river is seen, which takes its course from the centre of the background, 
 and falls into a basin across rocks, which occupy the width of the plate in front. 
 A mass of rock likewise, fills all the right side of the print, and is covered with 
 trees and bushes, forming the right bank of the river : on the opposite bank 
 is a hill, on the top of which are trees and a house. In front, on the left, are 
 two trees ; and to the right, a man is sitting at the foot of the rocks, 
 apparently sketching the scene. Bartsch, Nos. 77 — 80. 
 
 In the margin of each of the ordinary impressions, on the right, is the 
 name of the artist. 
 
 The four specimens last described are all proofs before any writing, and 
 are from the collection of M. van den Bosch. 
 
 920. LANDSCAPE ; SUN SET. 
 
 In the foreground, towards the right, are two men walking together: 
 the hand of one is on the shoulder of the other, who is wrapped in a mantle. 
 By the side of the road where they are walking, is a little hill, with a clump 
 of five trees on the top. At the extremity of the road, in the distance, is a 
 man, seen from behind, walking towards a woody spot near a brook, 
 which is on the left of the subject, and the opposite bank of which is clothed 
 with trees : beyond is a great hill, with a house on its summit, and sheep 
 feeding. Four persons are seen in a winding path which leads to the house ; 
 and in the extreme distance is a chain of mountains. Bartsch, No. 81. 
 
 921. THE WOODEN BRIDGE. 
 
 On the left is a rock, covered in front with trees and bushes. In the 
 middle of the subject are two men, near a clump of trees at the end of the 
 rock, walking to a little wooden bridge on the right, which crosses a river 
 at the foot of the rock, and extends to the left along the foreground. On the 
 other side of the bridge is a high mountain, intersected by wood. To the 
 right, in the foreground, are a man and a woman, sitting opposite to each 
 other on the ground. Bartsch, No. 82. 
 
 The impressions of the two preceding prints are those published by 
 Suanevelt himself. 
 
 F F 
 
218 
 
 922—925. LANDSCAPES -THE FLIGHT INTO EGYPT, IN DIFFERENT 
 
 SCENES -A SET OF FOUR PRINTS, viz.:- 
 
 1. 
 
 On the left of the print, a steep hill is seen, clothed with great tufted 
 trees. At the foot of this hill, in the middle of the foreground, St. Joseph, 
 holding a staff in his left hand, is driving before him the ass, on which 
 the Virgin is seated, mapped in a cloak, with the infant Jesus in her arms : 
 their progress is directed to the left. Three cherubim, on a light cloud, 
 precede them, as if guiding their steps. The background to the right, is 
 formed by a high mountain, thickly wooded. 
 
 2. 
 
 This piece presents a mountainous view, with steep rocks clothed with 
 verdure, and vallies studded with trees. In the foreground, to the right, is 
 a great tree on a hillock, washed by a river flowing from the background : 
 over the river is a stone bridge. In front, to the left, St. Joseph is assisting 
 the Virgin to alight from the ass, the head of which is held by an angel, 
 while another angel, kneeling, adores the infant Jesus, who is sitting at a 
 little distance on the ground. 
 
 = : _ 3. 
 
 In the foreground to the left, are high rocks, crowned with trees ; at the 
 foot of which the Virgin is seated, supporting the infant Jesus on her lap 
 with her right hand, while, with the left, she holds the end of a veil. Behind 
 the Virgin are two angels, in attitudes of adoration. In the centre of the 
 print, St. Joseph is seen leading the ass to a river. 
 
 4. 
 
 To the right, in the foreground, the Virgin is seated at the foot of a great 
 tree, with the infant Saviour on her knees ; and behind are two angels, 
 in attitudes of adoration. In the middle of the subject, St. Joseph is seen 
 reposing on the side of a road, and near him is the ass grazing. The road 
 runs along the side of a mountain, and in the distance is another mountain, 
 with buildings on its side. Bartsch, Nos. 97 — 100. 
 
 These are first impressions, published by Swanevelt, whose address was 
 afterwards erased. 
 
/ 
 
 219 
 
 LANDSCAPES— THE HISTORY OF ADONIS— A SET OF SIX PRINTS, 
 
 viz. : — 
 
 926. THE BIRTH OF ADONIS. 
 
 On the banks of a stream, in a romantic and hilly country, intersected by 
 rich woods, Diana is seen receiving into her arms the infant Adonis, of 
 whom his mother Myrrha, changed to a myrtle tree, is just delivered : the 
 nymphs of Diana are assisting the goddess. In the margin is an inscrip- 
 tion, beginning — " adonis naist de mira," &c. 
 
 927. VENUS CARRYING OFF THE YOUNG ADONIS. 
 
 In the glades of a beautiful forest, through which flows a river at the foot 
 of a woody mountain, Diana and her nymphs are seen sleeping in different 
 postures ; while Venus, in the foreground, in a car drawn by two doves, is 
 carrying off the young Adonis from the sleeping goddess. In the margin is 
 written — " venus trovuent diane endormys," &c. 
 
 928. VENUS PRESENTING CUPID AND ADONIS TO DIANA. 
 
 A hollow way or road is seen, the sides of which are woody ; where, 
 in the foreground towards the right, Venus, seen from behind, is offering to 
 Diana the choice of the two children, who are standing side by side before 
 her. The goddess of the chase seems to refuse the choice. She is armed 
 with a hunting spear, and is accompanied by nine nymphs, each bearing a 
 similar weapon. In the distance is a chain of mountains, and at their foot 
 a river. The inscription commences — " diane trovve venus,'" &c. 
 
 929. VENUS PRACTISING ADONIS IN THE CHASE. 
 
 On the left is a thick wood, and to the right is seen a mountainous 
 country, with a winding river. In the foreground, on the same side, Venus 
 is accompanied by Cupid : the latter is discharging an arrow to incite Adonis, 
 who holds a spear in his hand, to pursue some hares, which are on the point of 
 being caught by his dogs. At the bottom is an inscription, beginning — 
 
 " VENUS EXERSE ADONIS," &C. 
 
 930. THE DEATH OF ADONIS. 
 
 In the middle of the foreground, Adonis is seen dead, near a large tree. 
 Beside the body are the dogs of Adonis, growling at the boar, the cause of 
 their master's death, which is running off to the left. In the background, 
 on the same side, is a rock, surrounded by trees ; and in the distance to 
 the right, a river. The inscription commences — " adonis rencontre le 
 
 SANGL1ER," &C. 
 
 FF2 
 
220 
 
 931. VENUS BEWAILING THE DEATH OF ADONIS. 
 
 On the left, the goddess, with her hands raised to heaven, expresses her 
 grief : she is rushing from her car towards the corpse of Adonis, seen on the 
 ground. Cupid is in the air, breaking his bow and throwing away his darts ; 
 and near the body are the two dogs. A large stream flows through a forest, 
 which, opening to the right, discovers a hilly distance. In the margin is 
 written — " venus plevre son adonis,'" &c. — Bartsch, Nos. 101 — 106. 
 
 These prints are numbered from 1 to 6 in the lower margin of each sub- 
 ject : they are impressions published by Swanevelt. 
 
 THE PENITENTS— A SET OF FOUR LANDSCAPES, viz.:— 
 
 932. THE PENITENCE OF THE MAGDALEN. 
 
 To the left is a mass of rocks, covered with trees and bushes. In the 
 foreground the Magdalen is seen reclining on a mat at the entrance of a 
 cavern, reading. Above are two angels on a cloud, playing on musical in- 
 struments. In front, to the right, is a decayed tree, with two stems ; and in 
 the distance a large river, running beside a chain of rocks. 
 
 933. THE PENITENCE OF ST. ANTHONY. 
 
 In the middle of a thick wood, on the bank of a stream which winds 
 to the foreground on the right, St. Anthony is standing with a staff in his 
 left hand, rejecting, by a gesture with his right, fruit presented to him by the 
 Devil, under the form of a satyr : behind the saint is his pig. 
 
 934. THE PENITENCE OF ST. JEROME. 
 
 In the foreground, the Saint is seen, seated before a great square stone, 
 which serves for a table : he is meditating, with his head resting on his left 
 hand, and an open book before him. In the distance to the right, is a 
 cross, erected near the entrance of a cave, at the foot of a high mountain, 
 which occupies all the right side of the print: on the summit of this 
 mountain, are two lions meeting, and seeming to roar. To the left is a 
 woody and hilly country. 
 
 935. THE PENITENCE OF SAINT PAUL THE FIRST HERMIT, AND SAINT 
 
 ANTHONY. 
 
 In the foreground to the left, under a sort of shed at the mouth of a 
 cavern, St. Paid, the first hermit, and St. Anthony, accompanied by his pig, 
 
221 
 
 are sitting opposite to each other, at a square stone tahle, on which are an 
 open book and a skull. The cavern is at the foot of a rock crowned with 
 high trees, and near a chain of mountains extending to the background, 
 where a stream is seen, which flows in a fall to the front, by the side of an- 
 other mountain. In the air is seen a bird, bringing food in its beak to St. 
 Paul.—Bartsch, Nos. 107—110. 
 
 These four prints are impressions published by Swanevelt. 
 
 A SET OF FOUR UPRIGHT LANDSCAPES, viz.:— 
 
 936. THE ASS DRIVER. 
 
 On a road which runs by the side of a mountain on the left, and descends 
 towards the background, is a man riding on an ass, and driving another ass 
 before him : both beasts are loaded with corn sacks. In the foreground to 
 the left, is a hill with three great trees, where a man and a woman are 
 seated, and the head of another figure is seen near them. There are some 
 buildings surrounded by trees, at the foot of a mountain in the background ; 
 and opposite, on the right of the print, is a shepherd with his flock. 
 
 937. THE MOUNTAIN. 
 
 On the right is a very high steep mountain, which rises to the top of the 
 print, covered with trees and bushes, through which a man is seen driving 
 an ass on a road, half-way up the mountain, and which descends to the 
 foreground, where, at the foot, is a stream, which forms a small cascade. On 
 the left is a man leaning on his staff, talking to another, who is pointing 
 with his left hand towards the mountain. 
 
 938. THE GREAT WATERFALL. 
 
 On a road at the top of a hill, which forms the foreground to the left, a 
 peasant is seen walking by the side of a young female, who carries a basket 
 on her right arm. At some distance, a peasant, seen from behind, with a 
 bundle under his arm, is walking towards the background, on the road 
 which descends to the right, where two men are preceded by another man, 
 driving an ass loaded with sacks of corn. In the background, on the right, 
 is a steep mountain, with a waterfall rushing from its summit ; and to the 
 left, in the distance, is a chain of mountains. 
 
 939. THE CLUSTER OF TREES. 
 
 To the right, at the foot of a mountain, is a little rock, on the edge of 
 
222 
 
 which is a cluster of three trees, occupying the centre of the print, and 
 reaching to the top. Below the rock, near the right margin of the print, are 
 two men, sitting on the ground, each with a sheet of paper, as if sketching 
 the scene. In the foreground, a thirsty traveller, kneeling, appears to drink 
 from the brim of his hat, the water of a pond in the right corner. To the 
 left, two men, in short cloaks, are conversing ; and in the background, on 
 the same side, are two others, driving a loaded mule before them : in the 
 distance is a large river, at the foot of mountains. Bartsch, Nos. 112 — 115. 
 
 These four specimens are likewise impressions published by Swanevelt. 
 
 The second impressions have the address of " H. Bonnart, ex. au coq ;" and 
 in the third, which are retouched, this address is erased. 
 
 The foregoing specimens of the etchings of Swanevelt, are mostly from 
 the collection of the Count de Fries. 
 
 DAVID TENIERS the younger, 
 
 was born at Antwerp in 1610, and died at Brussels in 1697. He was the 
 scholar of his father, whom, however, he doubtless greatly surpassed, and had 
 the gratification of enjoying, while living, the full value of his reputation, 
 and of an excellent moral character. His circumstances were affluent — for 
 he was courted, flattered, and well paid by sovereigns. 
 
 His great patron was the Archduke Leopold, and he painted for the King 
 of Spain, and the Queen of Sweden. 
 
 It is difficult to distinguish the etchings of this artist from those of his 
 father, as their style and marks are similar : those which follow are, it is 
 probable, by the son ; but a French artist, de Vivier, has executed several 
 subjects in the style of Teniers, in a manner which leads to a conclusion, 
 that the second specimen here described, and several others of a similar nature, 
 though marked with the monogram of Teniers, are by the hand of de Vivier, 
 who has signed his name to The Temptation of St. Anthony, and a Flemish 
 Kitchen, both doubtless after Teniers, though marked Anton, ran Heuvel, inv. 
 — De Vivier was a pensioner of Louis the XIV. and a favorite. That monarch, 
 affecting to dislike the productions of Teniers, as much perhaps as de Vivier 
 was partial to his works, the circumstance may have given rise to this imi- 
 tation and concealment. 
 
223 
 
 d40. A FLEMISH MERRY-MAKING. 
 
 This is a composition of numerous figures, merry-making in the court of a 
 village inn : in the middle are a man and a woman dancing to the music 
 of the bagpipe, played by a peasant standing on a tub. It is inscribed — 
 
 " D. Teniers, fee. Abraham Tenters exeudit" 
 
 941. THE ALEHOUSE PARTY. 
 
 This scene represents the interior of a tavern. Two peasants are playing 
 at cards — one of them on the right sits in a low chair, and his partner on a 
 wooden block : the last has his head uncovered. A peasant, with a mug in his 
 hand, is smiling at the exposed cards of the player in the low chair, who 
 seems to have won the game. Two men behind, one smoking, the other with 
 his pipe in his hand, are looking on : two others are in the background, near 
 a fire place, the one seated and asleep ; the other standing, with a drinking 
 glass in his hand. On the block upon which the peasant playing at cards 
 is seated, is the monogram of the artist in the ordinary impressions. 
 
 Impression of the pure etching before the monogram. 
 
 942. Impression worked upon with the burin, and with the monogram. 
 
 ROLAND ROGHMAN 
 
 was born at Amsterdam in 1597. He is said to have been the intimate friend 
 of Gerbrand van den Eckhout, and of Rembrandt. He lived to the great age 
 of at least 88, but the exact year of his death is not known. His designs 
 are from nature, but his scenes are seldom judiciously chosen, and too often 
 negligently treated. 
 
 LANDSCAPES— A SET OF EIGHT VIEWS IN HOLLAND, viz.:— 
 
 943. VIEW NEAR NAERDEN. 
 
 To the left is a wall, inclosing a garden, outside which are planted two 
 great trees on the bank of a pond ; and to the right is a road. In the middle 
 of the subject, near a public house, is seen a man on horseback, leading 
 another horse through a gate held open by a peasant. On the right, at top, 
 is written — " Biiyten Naerden." 
 
224 
 
 944. VIEW NEAR HAERLEM. 
 
 To the right is a hill, on the top of which is a man on horseback, on a 
 winding road, which descends, in two places, towards a highway in the fore- 
 ground: on the right of the hill is a hut, surrounded with trees, and 
 inclosed by a hedge. In the foreground a man is standing, and conversing 
 with two persons who are sitting by the side of the road, on which other 
 figures also are seen in the distance. At the top, to the left, is written 
 — " Buyten Haerlem." 
 
 945. VIEW NEAR UTRECHT. 
 
 In the background to the right, are several houses in a row. The most 
 prominent on the same side of the print, is an inn, near which is erected a 
 wooden shed for a stable. In the foreground, near the middle, a gentleman 
 and a lady are walking, seen from behind ; and to the left is a group of trees 
 and bushes. To the right, at the top, is written — " Buyten Utrecht" 
 
 946. VIEW NEAR CAMPEN. 
 
 In the middle of the subject is a cottage, on the bank of the river Yssel, 
 which flows from the left into the distance. Behind the cottage is a cluster 
 of trees, and in the foreground to the right is a man, seen from behind, 
 leading a dog along a road which winds towards the distance on the same 
 side : above, on the left, is written — " Buyten Campen." 
 
 947. ANOTHER VIEW NEAR UTRECHT. 
 
 To the right is an eminence, on the top of which is seen a little hut, sur- 
 rounded by three high trees. Near the hut is a road, descending to the fore- 
 ground towards the Rhine, which is on the left of the print, and over which, 
 at a distance in the centre of the subject, is a little wooden bridge. The 
 background on the left is closed by a long wall, beyond which are seen the 
 roof and spire of a church. On the left, at the top, is written — " Aen Utrecht." 
 
 948. VIEW IN THE WOOD OF SEUNIG. 
 
 In a thick wood, two sportsmen are seen on the left, each with his fowling 
 piece on his shoulder : they are walking on a road, which goes off into the 
 distance, where two other figures are just discernible, one apparently on 
 horseback. In the upper part of the print, near the middle, is written — 
 
 " InH Seuniger bos." 
 
 949. VIEW NEAR MAERSEVEEN. 
 
 A large river is seen, which flows from the lower part of the print to the 
 
/ 
 
 225 
 
 background, occupying the left of the subject, and the banks of which 
 are clothed with trees. To the right, a coach is seen in a road skirted with 
 high trees, reaching to the top of the plate. Near the middle, in the sky, is 
 written — " In Maerseveen?" 1 
 
 950. VIEW OF AERCKEL. 
 
 The river Souwe is seen winding from the left into the background ; and the 
 banks are clothed with trees, among which four high ones are most remark- 
 able : they are on the skirt of a road, leading to a church, surrounded by 
 wood. On the right side of the road, is an old ruined tower, the top of 
 which is covered with trees. Above this, a little to the left, are the words 
 " cTAerckeiy—Bartsch, Nos. 9—16. 
 
 This set is numbered from 1 to 8 in the middle of the lower margin of each 
 print; and the name of the artist appears on the 1st, 4th, 5th, and 7th, of 
 the set, and his initials on the last. They were published by Clement de 
 Ionghe, whose address is on the first of the set. 
 
 THOMAS WYCK 
 
 was born at Haerlem in 1616, and was one of the best painters of his time: 
 the name of his master is not related. He resided many years in Italy, and 
 designed several seaports in the Mediterranean, with great truth and nature. 
 After the restoration of Charles the Second, Wyck came to London, where he 
 passed the remainder of his life, and died about 1686, as generally be- 
 lieved, but, according to Walpole, in 1682. 
 
 LANDSCAPES, EMBELLISHED WITH RUINS— A SET OF FOUR PRINTS, 
 
 viz. : — 
 
 951. THE ROUND TOWER NEAR THE SEA. 
 
 This subject represents a seaport : to the right is a round tower, partly 
 in ruins, and on the mole is a light house. In the foreground to the left, 
 two sailors are carrying a bale of goods to a vessel, partly seen in the centre 
 of the print, in which is a man sitting. 
 
 G G 
 
226 
 
 952. RUINS OF THE TEMPLE OF CONCORD. 
 
 A loaded mule is seen drinking at a fountain, formed in the angle of the 
 ruins of the Temple of Concord, near which, on the right, stands an old 
 house. At a little distance from the mule, on the left, a woman is standing 
 with a basket on her head, followed by a dog. In the foreground to the right, 
 a man, seen from behind, is sitting on a fragment of a pillar. 
 
 953. THE FORGE. 
 
 In a ruined building of various masses, a vault is seen to the right, with 
 a door at its extremity. Under the dome of the vault, a blacksmith is seen 
 at work ; and on a bank or pile, formed by the ruins on the left, a man 
 is sitting. 
 
 954. THE WELL. 
 
 The scene represented here is the interior of a courtyard. In the middle 
 of the print is seen a well, on the brink of which a bucket is placed, suspended 
 from a chain and pulley. Near the well, to the right, are some steps of 
 a staircase ; and a little more in the distance, on the same side, a woman is 
 busied near a large bucket : close by the right hand margin of the print, 
 an ass's head is perceived. To the left, in the immediate foreground, are 
 fragments of ruined pillars. Bartsch, Vol. iv. pa. 145, Nos. 7 — 10. 
 
 In this set, each print bears the initials of the artist. 
 
 These specimens are impressions before the address of J. Danckerta, which 
 afterwards appears on the well in the last print of the set. 
 
 BARTHOLOMEW BREENBERGH. 
 
 This artist, known in France by the name of Bartholome only, was born at 
 Utrecht about 1620, and went to Italy to study ; where he closely applied 
 himself to nature, and to a contemplation of the works of the great masters 
 in landscape and history. His pictures are elegantly composed, and are or- 
 namented with noble ruins and architecture, and with spirited well drawn 
 figures. 
 
 The same excellences recorded of his pictures will apply to his etchings, 
 which are valuable acquisitions to every collection, and are much sought 
 after. 
 
 Breenbergh died, according to Huber, in 1663, and according to others, in 
 1660. 
 
227 
 
 955—971. RUINS IN AND NEAR ROME— A SET OF SEVENTEEN 
 
 PLATES, viz. : 
 
 1. 
 
 The Title : A pedestal surmounted by a ball, with this inscription : — 
 
 " VERSCUEYDEN VERV ALLEN GEBOUWEN SO BLNNEN ALS BVYTEN ROM EN. 
 GETEYCKENT EN GHEETS DOOR BARTHOLOMEVS BREENBERGH SCHILDER. 
 
 gedaen in't jaer, 1640." Various rubied buildings, as tvell in as near Rome ; 
 designed and etched by Bartholomew Br eenbergh, painter, in the year 1640. 
 
 2. 
 
 In the middle of the foreground, a man is seen walking to the right, near 
 a piece of ruined building in front, on the same side, which is deeply in 
 shadow : further in the distance to the left, is a square tower, built be- 
 tween two rocks, with a door-way below ; and in the background is a cir- 
 cular building with a dome. 
 
 3. 
 
 A very high building in ruins is seen, with a great door in it, from whence 
 a man, with a bundle on his back, is coming out and walking to the left : 
 the foreground is filled with masses of rock. 
 
 4. 
 
 To the right is a delapidated house, beyond which is seen a large square 
 tower, with an open staircase : in the foreground is a plough. 
 
 5. 
 
 On the left is a house, near an hexagonal tower, along which extends a 
 vine. At the foot of a flight of steps in front of the house, is a door ; and 
 in the distance to the right, a man is seen ascending some stairs. 
 
 6. 
 
 To the left is a high narrow house, on the side of a broad road, where is 
 seen a woman leading a child by the hand : on the left, at top, is written, 
 B.B.f. 1640. 
 
 7. 
 
 On an elevation to the left, is part of an old wall, which appears to stand 
 up like an obelisk : opposite is another wall, with a door in it, and a great 
 
 gg 2 
 
228 
 
 tree beyond ; and in the distance towards the right, is a man, driving an 
 ass to drink at a fountain. 
 
 8. 
 
 This subject represents a stone bridge of several arches, extending into the 
 distance towards the right. In the foreground, on the same side, a man is 
 walking past a sportsman, who is sitting near a stone with his dog at his 
 feet : on the stone is written, B.B.f. 1640. 
 
 9. 
 
 A castle, with a round battlemented tower, is in the middle of the sub- 
 ject ; below the tower is a wide gateway, through which a road leads in a 
 descent to the left, where a drove of cows is seen. At the bottom, on the 
 same side, is written, B.B.f. 1640. 
 
 10. 
 
 In the centre of the subject, are masses of ruined wall, at little distances 
 apart : one of these corresponds to the arch of a vault extending in its width 
 to the left, where two minute figures are seen. To the right, in the distance, 
 is a ruined circus ; and in the middle of the foreground, which is completely 
 in shadow, a man is seen walking. 
 
 11. 
 
 In the foreground, towards the middle, a man, with a bundle under his 
 left arm, and a stick in his right hand, is walking towards the distance, 
 near a wall in ruins. Towards the left in the background, is a large square 
 tower with battlements ; and on the same side at top, is written, B.B.f. A. 
 1639. 
 
 12. 
 
 The interior of a cavern is lighted from an opening in the background 
 to the left : a capuchin is standing in the middle ; and at a little distance 
 to the left, is another monk, sitting. 
 
 13. 
 
 In the middle of the foreground, two men, side by side, are descending a 
 hill, at the top of which, to the right, is a ruined building, the principal 
 part of which is a high wall, with a great gateway in it : the fore- 
 ground to the right, is rocky, with deep shadows. At the top, on the same 
 side, is written, B.B.f. 163 : the fourth figure is wanting. 
 
229 
 14. 
 
 Towards the distance, in the centre, are three houses, which back upon 
 each other on a hill, at the foot of which is a torrent with two falls, preci- 
 pitating itself from the distance on the right, to the middle of the foreground, 
 where it is crossed by a wooden bridge. 
 
 15. 
 
 To the left is a steep rock, with a few houses on the summit. A waterfall, 
 which flows from the middle of the rock, spreads at its foot, and dashes over 
 several masses into a torrent in front of the subject : on the top, towards 
 the right, is written, B.B.f. A. 1639. 
 
 16. 
 
 A road ascends from the right towards the distance on the left: it is 
 skirted by ruined buildings, among which is a fragment, high in the air, 
 occupying the middle of the plate : on the road is a man driving an ass. 
 
 17. 
 
 In the foreground on the right, is a rock crowned with verdure, at the foot 
 of which, in the middle of the subject, are two figures in shadow ; three 
 others are seen to the left, at the foot of a little eminence, on the top of 
 which is a wall, and beyond trees of different kinds. Nos. 1 — 17. 
 
 Bartsch notices copies of the Nos. 7, 13, 14, and 15, and describes their 
 variations from the originals : it does not appear that the whole set was 
 copied. 
 
 972. RUINS OF THE PALACE OF THE CAESARS AT ROME. 
 
 On a little elevation, are the ruins of the Palace of the Csesars : in the 
 middleground a square mass of building is most prominent; and to the 
 left is a wall, with three window spaces. At top, on the same side, is 
 written, B.B.f. 1640. Bartsch, No. 18. 
 
 973. THE SATYR SEIZING CORISCA BY THE HAIR. 
 
 This subject is taken from the " Pastor Fido" of Chtarini. On the left, in 
 the foreground, Corisca is seen on her knees, defending herself against the 
 Satyr, who is dragging her by the hair. In the background are steep rocks, 
 extending in the distance to the left. No. 19. Bartsch gives no explanation 
 of the subject. 
 
230 
 
 974. RUINS OF THE BATHS OF TITUS. 
 
 A river is seen flowing from the distance on the right, in a winding 
 course, till it reaches the lower part of the foreground on the same side. On 
 its left bank, in the background, are The Ruins of the Baths of Titus, with 
 their long line of arches. In front, to the left, is a young female, sitting on 
 the bank of the river opposite to three Satyrs ; and on the right bank are 
 several clumps of trees, on elevated ground. At top is written, B.B.f. An- 
 1640. No. 20. Bartsch has not recognized the ruins, and calls the subject, 
 " Les Satyres." 
 
 !)75. VIEWS IN THE ENVIRONS OF THE COLISEUM. 
 
 A wide road leads from the distance on the right, to the foreground on the 
 left, skirted with trees ; and in the middle of the subject are the ruins of the 
 Coliseum. To the left is a woman, seen from behind, with a vase on her 
 head, leading a child : in the distance to the right, is a man, holding an 
 ass by the bridle. On the sky towards the left, is written, B.B.f. An 0 . 1640. — 
 No. 21. Bartsch calls the subject merely " La femme condu'isant un jeune 
 fjarcon." 
 
 976. RUINS OF THE BATHS OF CARACALLA. 
 
 In the background to the right, are the remains of this vast structure. In 
 the foreground towards the middle, a man, with a sword by his side and a 
 stick in his hand, is walking in great haste towards a stream, across which 
 a plank is thrown by way of bridge. To the left is a man, sitting on a 
 fragment of a ruined column, near a well, where a third figure also is per- 
 ceptible. On the right, at top, we read B.B.f. — No. 22. Bartsch calls the 
 subject " Le messager empresses 
 
 977. INTERIOR OF THE GROTTO OF THE NYMPH EGERIA. 
 
 In this grotto, called also the Grotto d'Aqua Farella, are five men carous- 
 ing at the long stone table, placed there by the emperor Charles the Fifth. 
 In the foreground, near the middle, a man, seen from behind, is walking to 
 join the party at table. In the middle of the plate at the bottom, on a piece 
 of wood, is written, B.B.f. A 0 . 1640. — No. 23. Bartsch calls the subject 
 simply " Uauberge" and quotes the date as 1646. 
 
 978. THE BACK-BEER. 
 
 A bear is represented in a tub or vat : he is fastened to the wall behind 
 him. On the edge of the tub, in front, is written, Back-Beer, ( Bear of the 
 tub,) the meaning of which is not easily explained. Bartsch thinks it the 
 
231 
 
 device or crest of some family, or a rebus of the name : on the wall is 
 written, B.B.f.—No. 24. 
 
 979. TWO VIEWS IN THE ENVIRONS OF ROME, ON THE SAME PLATE. 
 
 These views are engraved on a very small oblong 1 plate. The one on the 
 left is the tomb on the Via Cassia, and on the right is represented the foun- 
 tain found beside the villa of Pope Julius, near the Porta del Popolo. In 
 the middle of the foreground, a man is seen stooping to remove a stone. On 
 the left, in the sky, is written, B.B.f. 
 
 The other view is of the castle of Buoncompagna, near the Aqua Acetosa, 
 on the banks of the Tiber. In the foreground, near the middle, is a man 
 walking to the left. — No. 25. Bartscli has not recognized the scenes repre- 
 sented in this little etching. 
 
 980—982. THREE PLATES OF FANCIFUL AND GROTESQUE HEADS, 
 
 AFTER DE GHEYN, VIZ. : 
 
 1. 
 
 A variety of male and female human heads mixed with those of fantastic 
 animals, in different directions. Among the most particular, is the head of 
 a man with long hair, and open mouth, on the left : to the right, at bottom, 
 is an owl's head ; and at the top, on the same side, that of a beautiful woman. 
 
 2. 
 
 Four human faces, in profile, are seen at the top of this plate, on the left, 
 and turned towards the right. The first is that of a young female ; the second is 
 an ideal head with a swine's snout ; the third is that of a modest-looking 
 young woman ; and the fourth that of a negro : besides these are various 
 others less remarkable. The two preceding plates are in an upright 
 direction. 
 
 3. 
 
 This plate represents three heads of old men, with enormous noses, seen 
 in profile, and turned to the right. Apart from these is a great number of 
 strange heads, among which those of a young man, with downcast eyes and 
 open mouth, of a young child, and a negro : they are also turned to the right. 
 This plate is engraved lengthways. 
 
232 
 
 Neither of these bizarre productions bears the name of Breenbergh ; but 
 on each is written " De Gheyn, 1638 :" they are, however, acknowledged 
 etchings by our artist. Nos. 26 — 28. 
 
 The prints of Breenbergh are of uucommon occurrence, and numerous 
 errors have existed as to the actual number of his etchings. It appears from 
 BartscJi's Peintre Graveur, that the title page to the " Ruins of Rome,'" has 
 been considered as a general one to his works. Scarcely any collection ap- 
 pears to have possessed the twenty-eight here described, which were lately 
 in the collection of the Count de Fries, and previously in that of Ploos von Amstel. 
 
 The sale catalogue of Marcus, in 1770, describes 25. 
 
 That of Van der Dussen 1774 22. 
 
 Mariette 1775 20. 
 
 Duysell 1784 25. 
 
 Maarseeven 1793 21. 
 
 Brandes 1793 16. 
 
 Nyman 1798 24. 
 
 Baron Coohorn 1801 21. 
 
 Count Rigal 1817 25. 
 
 Fuesslin and Strutt, it appears, notice only 24 ; and Basan the same 
 number, if he can be rightly understood. The accounts given of his works, 
 both by Heinecken and Huber, are exceedingly erroneous. Ploos von Amstel 
 alone appears to have possessed 28 ; but Count RigaVs catalogue, pa. 70, de- 
 scribes one with the initials of the artist, and the date of 1639, not noticed 
 by Bartsch : it seems to be genuine, though described as slight ; but three 
 others there mentioned, are most probably not by his hand. 
 
 RENIER ZEEMAN, 
 
 SrRNAMED 
 
 NOOMS, 
 
 was one of the most celebrated marine painters and engravers, from which 
 circumstances he derived his usual appellation of Zeeman, but his family 
 name was Nooms. The city of his birth is unknown, though he was un- 
 
233 
 
 doubtedly a native of Holland, resided long in Amsterdam, and is said 
 to have been originally a common sailor. He travelled much, and Heinecken 
 informs us, lived sometime at Berlin : he seems also to have been in France 
 and England. His etchings are greatly esteemed, but the careless execution 
 of the skies, in some of his pieces, produces a coarse and disagreeable effect. 
 
 983—995. SEA VIEWS— A SET OF THIRTEEN PLATES, viz.:— 
 
 1. 
 
 Title : In a cartouche, surrounded by shells, is written — " Divers embarque- 
 ments et autre, faicts par Renier Zeeman, a Amsterdam.'''' To the left of the 
 cartouche is a ship, and on the right are two boats. In the margin, at bot- 
 tom, is this inscription — " Gedruckt f Amsterdam, bij Dancker Danckerts 
 inde Calverstraet in de Danckbaerhyt." 
 
 2. 
 
 Sea view : to the left, two rocks and a fortification, near which are two 
 soldiers, and, at a little distance, is a sentry-box. 
 
 3. 
 
 Sea view : to the right are three fishermen in a boat ; and, in the distance 
 to the left, downs. 
 
 4. 
 
 Sea view : to the left, are workmen careening a large vessel. 
 
 5. 
 
 Sea view : to the left are rocks, a fort, and two round towers. 
 
 6. 
 
 Landscape, in which is seen a broad road, on which is a countryman 
 driving an ass, while a female peasant is walking beside him on the left. 
 
 7. 
 
 Sea view : on the shore are three fishermen, near a canal : further in the 
 distance on the left, three others are seen in a fishing boat. 
 
 H H 
 
234 
 
 8. 
 
 Sea view : four vessels are seen at sea ; and on the shore in the foreground, 
 are seven men, two of whom, on the right, hold harpoons. 
 
 9. 
 
 Sea view : various vessels in full sail, are seen bearing towards the left, 
 under a fresh breeze. 
 
 10. 
 
 Sea view: sailors are employed in unloading a cargo from a vessel, while 
 another sailor is seen adjusting the tackle : to the left, at sea, is a ship 
 under sail. 
 
 11. 
 
 A sea storm : three ships are seen in distress ; and towards the left are high 
 rocks. 
 
 12. 
 
 Moonlight view of the ocean : on the shore are three persons near a fire ; 
 and on the sea, in a boat, two sailors are seen, one of whom holds a lantern 
 in his right hand. 
 
 13. 
 
 The morning after the storm: five persons appear to have survived the 
 destruction ; they are standing on the shore, and near them are three dead 
 bodies, and parts of the wreck. To the left, in the background, near a large 
 rock, is a wrecked vessel ; and to the right, in the distance, are three other 
 ships. 
 
 Width of each print 7 inches, height 3§ inches. 
 
 This set is numbered from 1 to 13 in the margin on the left of each sub- 
 ject, except in the first, where the number appears on the right. 
 
 Bartsch, who had never been able to meet with this set, states his igno- 
 rance even of their existence, except from the sale catalogue of Marcus, 
 pa. 468, No. 2294. — Peintre Gravew, Vol. v. pa. 143. 
 
235 
 
 JAN BOTH, 
 
 and his brother Andrew, were the sons and scholars of a painter on glass at 
 Utrecht, who placed them with Abraham Bloemart. When young, they 
 went together to Italy, where Jan studied the works of Claude Lorraine, 
 and Andrew attached himself to the manner of Peter de Laer: the one 
 painted landscapes, which the other enriched with figures and cattle ; and 
 such was the unity of this process, that it is impossible to discover their 
 pictures thus painted, to be by two different artists, though Jan, in truth, 
 was the better painter. 
 
 These two brothers, always happy and united, were returning home one 
 night at Venice, from a party, when Andrew fell into a canal and was drowned. 
 Jan, heart-broken, disgusted with Italy, and desolate, returned to Utrecht, 
 where he soon after died, in 1650, at the age of 40. 
 
 LANDSCAPES— A SET OF FOUR PRINTS, OF AN UPRIGHT FORM, 
 
 viz. : — 
 
 996. VIEW BETWEEN BOLOGNA AND FLORENCE. 
 
 In the middle of a hilly landscape, clothed with trees, a female is seen 
 sitting sideways on a mule, preceded by another mule, and followed by a 
 man with his dog : near them to the left, are several high trees. The 
 ground towards the front forms the bank of a brook, which appears at the 
 lower extremity on the right : to the left, in the distance, is a large moun- 
 tain. At the top, on the right, is written — Both,fe. 
 
 This view is taken at a spot called Aqua Negro, in the road between 
 Bologna and Florence. — Bartsch, Vol. v. pa. 205, No. 1. 
 
 Impression before the address of Matham, which usually follows the name 
 of the artist. 
 
 997. VIEW BETWEEN ANCONA AND SINIGAGLIA. 
 
 On the right are steep rocks, at the bottom of which is a sea-port, with a 
 light-house. In the centre of the subject, a beggar, seen nearly from be- 
 
 HH 2 
 
236 
 
 hind, is standing close to another, who is sitting by the side of a high road, on 
 which is seen a wagon, drawn by two oxen. This view is taken between 
 Ancona and Sinigaglia, looking towards the Adriatic. Bartsch, No. 2. 
 Impression before any writing. 
 
 998. LANDSCAPE. 
 
 A great tree is seen in the centre of the print, extending to the top : it 
 is near a pool. Beyond, a man is seen driving an ox, preceded by 
 a peasant, riding on an ass : in the distance are two others, with a 
 pack-horse. The road on which they appear, is skirted on both sides with 
 trees and bushes, and to the left are barren mountains, extending into the 
 distance. On the right, at top, is written, Both, fe. It does not appear 
 from what spot this view was taken. Bartsch, No. 3. 
 
 Impression before the address of Matham. 
 
 999. VIEW NEAR ANCONA. 
 
 This subject represents a mountainous country, with a chain of rocks on 
 the left, along the side of which is a road, descending to the foreground. 
 Two mules, one following the other, loaded with small barrels, are on the 
 road. At a little distance to the left, are the mule-driver and his dog : on 
 the same side, at the top, is written — Both,fe. The view is taken near 
 Ancona, at a place called Rocca Aquatico. — Bartsch, No. 4. 
 
 Impression before the address of Matham. 
 
 The earliest impressions noticed by Bartsch, of this set, are those with the 
 address of Matham : this address was subsequently erased. 
 
 LANDSCAPES— A SET OF SIX PRINTS, OF AN OBLONG FORM, viz.— 
 
 1000. VIEW OF THE PONTE MOLLE OVER THE TIBER. 
 
 The bridge extends from the left to the middle of the print ; and at each 
 of its extremities is a tower in ruins. Close by the bank, near the centre, 
 are a barge and a boat, loaded with casks ; and to the right, a man, in a 
 cloak, is ordering three sailors to carry some large barrels and a portmanteau, 
 placed on the shore. Two loaded mules are seen coming from the bridge. — 
 Bartsch, No. 5. 
 
237 
 
 Impression before any writing, and in which the sky and the river are 
 much less finished, and many other parts of the whole print less worked 
 upon than in the succeeding impression. In this state it is not noticed by 
 Bartsch. 
 
 1001. Finished impression, but before the name of Both. 
 
 1002. VIEW IN THE APPIAN WAY. 
 
 Towards the centre of the foreground, on a bank of the Tiber, a boy, 
 seen from behind, is holding the bridle of a mule, loaded with two small 
 casks : he is speaking to a peasant on the right, while the mule-driver, to- 
 wards the left, is stooping to adjust his shoe. Further to the right are 
 children playing ; in the background is seen an inn, and nearer to the 
 margin, the remains of an ancient tomb. Bartsch, No. 6. 
 
 Impression before the name of Both. 
 
 1003. VIEW OF THE TIBER IN THE CAMPAGNA OF ROME. 
 
 On the bank of the river, stands a gentleman, near a lady on horseback. 
 They appear to be waiting to cross the river in a ferry-boat, which has just 
 touched the shore, and from which the passengers are preparing to land : 
 in the boat are seen two well-dressed persons, and a peasant with an ox. 
 Towards the foreground, on the left, a countryman is holding the horse of 
 the gentleman who stands on the shore ; and in the distance on the river's 
 bank, is a town, near a mountain. Bartsch, No. 7. 
 
 Impression, in which a portion of the river is scarcely shadowed; in 
 which other parts are altogether unshaded, and the whole plate is less worked 
 upon than in the subsequent impressions. 
 
 1004. Finished impression ; but before the name of Both. 
 
 1005. VIEW NEAR TIVOLI. 
 
 To the left, on an ascent in the background, are several of the buildings of 
 Tivoli, and towards the middle, in the foreground, two cows are seen on the 
 banks of the Teverone : near them a peasant is seated, talking to a man in a 
 cloak, standing before him. Bartsch, No. 8. 
 
 Impression before the name of Both. 
 
 1006. VIEW OF THE TIBER, NEAR MOUNT SORACTE. 
 
 The river extends from the left, at the bottom of the subject, into the ex- 
 treme distance, flowing at the foot of the mountain. In the foreground to 
 the right, three fishermen are seen dragging a net, in the presence of two 
 
238 
 
 men on horseback, and one on foot : quite to the right, near a bush, is a 
 man preparing to load a mule. Bartsch, No. 9. 
 Impression before the name of Both. 
 
 1007. VIEW OF A CASCADE IN SULMONE. 
 
 On the right is a chain of steep rocks, from one of which falls a river, 
 which forms the cascade : over the torrent is a wooden bridge, on which are 
 seen a man, a woman, and two mules, and to the left a man on another 
 mule, riding towards the bridge. This cascade is about 20 miles from Tivoli. 
 Bartsch, No. 10. 
 
 Impression before the name of Both. 
 
 1008. GROUP FROM THE SECOND LANDSCAPE OF THIS SET. 
 
 This group consists of the muleteer, the peasant, the mule, and the boy 
 holding the mule's bridle : it is in a reversed direction. To the right, on a 
 wall, is the date 1638. This little subject is not noticed by Bartsch. — 
 Width 3| inches, height 2| inches. 
 
 The work of Both here described, is from the collections of M. van Leyden 
 and the Count de Fries. 
 
 NICHOLAS BERGHEM. 
 
 ERGHEM, whose paintings and etchings are 
 alike among the most delightful of the works 
 of art, was born at Haerlem in 1624. He was the 
 pupil of his father Peter Klaaze, a painter of 
 mean abilities, but he studied successively in the 
 schools of Jan van Goyen, N. Moojaert, Peter 
 Grebber, and J. B. Weenix, all of whom he has 
 left at an unmeasurable distance, in the exquisite 
 productions of his pencil. The same spirit and 
 taste which render his pictures so attractive, are 
 the ornaments of his delightful etchings. 
 
239 
 
 Berghem, at a very early period, acquired an astonishing reputation, and 
 was as industrious as he was successful. His industry, however, is hy some 
 attributed to the teazing avarice of his wife, who pocketed his gains to the 
 last farthing, whenever they came within her grasp. It appears, however, 
 that her ostensible, and perhaps too her real motive, was to cure his notorious 
 extravagance. In spite of all her precautious, he spent a large sum in col- 
 lecting prints and drawings-. He died in 1683. 
 
 1009. LANDSCAPE, WITH CATTLE. 
 
 The cattle are drinking at a brook near the ruins of an ancient building, 
 while a female peasant is washing her feet, and talking to a man close 
 beside her: a subject called The Drinking Cow ; dated 1683. Bartsch, Vol. v. 
 pa. 253, No. 1. 
 
 First impression, in which the name of Berghem, and the date in the 
 left corner at bottom, are etched only. 
 
 1010. LANDSCAPE WITH THREE COWS. 
 
 In the foreground are three cows ; to the right is a cluster of trees, and 
 the distance represents a mountainous country. In the foreground, near the 
 cows, appears the trunk of a large tree. Bartsch, No. 3. 
 
 Impression before the name of Berghem ; in which the trunk of 
 the tree in the foreground is almost unshaded, and the parts about it are 
 very clear : the whole plate is of a brilliant effect ; and in this state it was 
 unknown to Bartsch. 
 
 1011. Impression (according to Bartsch the first) more worked upon through- 
 out, particularly in the foreground ; but the mountain to the left, and that 
 beyond it, are scarcely shaded, and the cloud above the cluster of trees is only 
 a light outline : it is also before the name of Berghem. 
 
 1012. Impression, (according to Bartsch the second,) before the name of 
 Berghem. The two mountains, and the cloud above the cluster of trees, are 
 lightly shaded with the dry point, and the herbage in the foreground in 
 front of the cow seen in full face, is made lighter, to imitate the impression 
 here first described. 
 
 1013. Impression (the fourth described by Bartsch,) with the name of Berghem, 
 with an additional cloud, and with other work. 
 
 1014. LANDSCAPE. 
 
 This beautiful print represents a woody scene. In the foreground, on an 
 eminence, are a man on horseback, and one on foot ; the latter is playing 
 
240 
 
 on the bagpipes : the subject is called The Bagpiper, and the print is 
 chiefly executed with the dry point. No. 4. 
 
 Impression before the name of Berghem. 
 
 The foregoing- specimens are chefs-d'oeuvre of the artist. 
 
 1015. A goat's head. 
 
 The front of the face of the animal is much in shadow. This print, 
 which is without name or date, is called The rare Goafs Head, and is 
 copied by Bartsch. — No. 22. 
 
 CORNELIUS DUSART, 
 
 or du Sart, was born at Haerlem in 1665. He was the scholar of Adrian 
 Ostade, and though decidedly his inferior, was the best of his pupils. 
 His subjects are nearly the same as those of his master, and have great truth 
 and character without elegance. His etchings are from his own designs, and 
 are mixed with the burin and the dry point. He engraved likewise in 
 mezzotinto ; but some of his works in this kind are not easily distinguishable, 
 when his name is omitted, from those of Gole his publisher, who engraved a 
 great deal in the same manner, after his designs. Dusart died suddenly in 1704. 
 
 1016. a shoemaker's shop. 
 
 A man is endeavouring to fit a female peasant with shoes, while another 
 is reaching down a great variety from a shelf: a subject called " Be Vermaarde 
 Schoemaaker" (The famous Shoemaker.) Bartsch, Vol. v. pa. 474, No. 14. 
 
 Proof before any writing ; less worked upon in every part, but of a clear 
 effect. 
 
 1017. Impression with the inscription, and with the address of J. Gole. 
 
 1018. the tavern revel. 
 
 A man seated, is playing on the fiddle ; before him, among numerous 
 figures, is a fat peasant, with a high cap, dancing with his hands on his hips : 
 dated 1685. In the margin is an inscription, commencing, " Rusticus ex 
 animo," &c. Bartsch, No. 15. 
 
 Impression prior to the mezzotinto ground, which appears in the ordinary 
 state of the plate. 
 
241 
 
 1019. THE VILLAGE FAIR; 
 
 a composition of numerous figures, dancing, tumbling, and merry-making, 
 in front of an alehouse: the principal etching by Dusart : dated 1685. — 
 Bartsch, No. 16. 
 
 1020. THE LOTTERY OF GROTTENBROECK. 
 
 In this subject, a trumpeter is announcing a prize, accompanied by a man, 
 holding in one hand a sealed letter, and in the other a teakettle ; engraved in 
 mezzotinto. Bartsch, No. 40. Proof before any writing. 
 
 1 1 
 
ENGRAVERS 
 
 OF THE 
 
 FRENCH SCHOOL. 
 
 Il2 
 
JEAN DUVET, 
 
 CALLED 
 
 THE MASTER OF THE UNICORN, 
 
 AS a goldsmith at Langres, in France : he was 
 born in 1485, and appears to have practised en- 
 graving until a very advanced age. In many of his 
 prints he has introduced the representation of an 
 unicorn, from which circumstance his usual appel- 
 lation is derived. The singular execution of his 
 prints, gives them an air of antiquity greater than 
 they really possess ; and several writers are led to 
 suppose, from their peculiarity, that he engraved 
 i on a metal less hard than copper. 
 
246 
 
 1021. SAINT JOHN THE EVANGELIST IN A CAULDRON OF BOILING OIL. 
 
 The Saint is undergoing this torture in the presence of the emperor 
 Domitian, who is seated on a throne to the right. The name of the artist is 
 near the middle of the left side ; and near the lower margin, on the right, is a 
 latin inscription, stating that St. John, miraculously delivered from this 
 cruelly devised martyrdom, was banished to the Isle of Patmos, where he 
 wrote his hook of Revelations. This print is arched at top. Bartsch, Vol. vn. 
 pa. 512, No. 36. Zani, e. m. Part 2, Vol. ix. pa. 304. 
 
 Zani mentions this piece as one of a set of subjects from the Revelations. 
 The set he alludes to, consists of 24 prints, but it does not include that just 
 described. 
 
 1022. THE APOTHEOSIS OF HENRY II. KING OF FRANCE. 
 
 The monarch is standing, sword in hand, between an angel, who holds a 
 shield with the arms of France, and a genius with an extended banner. 
 Above the monarch's head is the letter H. This print, which is also arched 
 at top, is without the engraver's name. — Bartsch, No. 45. 
 
 NOE, or NOEL GARN1ER. 
 
 This artist, who, to the prejudice of the claims of the preceding master, 
 has been considered by Heinecken and others, as the earliest French 
 engraver, appears to have been bom about 1520. His design and execution are 
 gothic in the extreme, and very defective. He seems, from the peculiar 
 character of his productions, to have been a goldsmith, but of a more dry 
 mechanical talent than Duvet. Besides the Alphabet, the description of some 
 of the letters of which follow, there are forty-eight plates, and one or 
 two other pieces attributed to him ; but all the accounts of himself and his 
 works are meagre and confused, and his engravings, of which there is no 
 detail given to us, are of great rarity. 
 
 1024. THE LETTER I. 
 
 Each side is occupied by scroll work. The centre, which forms the letter, 
 appears to be composed of a sort of trellis, with twisted ends, extending 
 both at the top and at the bottom of the subject, nearly to each of the extre- 
 mities. A naked man is standing on the base of the letter, grasping the 
 
247 
 
 body of another man, also naked, who is placed astride on his left shoulder, 
 and whose extended hands grasp the scroll work at the top. The subject 
 is perhaps intended to represent Hercules and Anteus. 
 
 1025. THE LETTER K. 
 
 On an arabesque of fantastic flowers, sits a naked boy ; and on the left, above 
 his head, stands another naked child, holding a vine stem with the left hand, 
 and pointing to a bunch of grapes with the right : these two figures form 
 the upright part of the letter. Opposite, on the extreme point, at top, is a 
 bird with extended wings and open beak, to whom the uppermost boy has 
 pointed out the grapes. 
 
 1026. THE LETTER L. 
 
 On a scroll work, which forms the horizontal part of the letter at bottom 
 on the left, stands a soldier, with extended legs, and a sword in the right 
 hand : he is looking up, in the act of defending himself from another 
 soldiei - , whom he grasps round the hips with his left. This last person 
 hangs from the top of the letter by his left hand, and is about to strike at the 
 figure below with his sword : these two men form the upright part of the 
 letter. On the right, at the bottom, a naked female reclines on the horizontal 
 part, and grasps the returning end with her left hand, while gazing at 
 the combat : in the centre is a fancy flower. 
 
 1027. THE LETTER M. 
 
 The centre of this letter is formed of the Tree of Life, round which the 
 serpent is twisted, the upper part of the tempter represents a naked female, 
 with singular claws, and the lower part a monster, terminating in the serpent's 
 tail. This figure is turned towards Eve, who stands on the right side of the 
 letter, while Adam is seen on the left : the spaces are filled with flowers. 
 
 1028. THE LETTER N. 
 
 On the left, a naked boy is sitting on a dolphin. Another boy above, with 
 wings, holds the top of the letter with his right hand, and the dolphin's 
 tail with his left, while his right foot is placed on the right hand of the boy 
 below : the opposite side of the letter is formed of three birds on scroll 
 work ; namely, a cock at the top, an owl in the middle, and a crane below. 
 The centre is filled with fantastic fruit. 
 
 1029. THE LETTER O. 
 
 On the left side of this letter, which is formed of scroll work, stands a 
 
248 
 
 man in a long robe, with a hat and square cut head of hair, supporting 
 himself by a part of the letter. On the right is a female, who wears a 
 flat head dress, and a robe with immense sleeves, holding a scroll work 
 sceptre with both hands. 
 
 1030. THE LETTER P. 
 
 The outline of this letter in the lower part, consists of a rope or cord. To 
 the left on this cord, which he holds with the left hand, stands a man, in a 
 slashed dress ; a cudgel is thrown over his right shoulder, and he is defend- 
 ing himself from another man above,who holds with his left hand the extremity 
 of a curved sword, extended by a figure opposite, while, with his right, he 
 strikes at the man below. The person who holds the curved sword stands 
 with both feet on the right shoulder of a man in a slashed dress, whose right 
 leg is fastened to the cord held by the figure first described : the centre is 
 filled by an imaginary flower. At the bottom the name of the artist is thus 
 written — " Noe G." 
 
 1031. THE LETTER Q. 
 
 The centre of this letter is also filled with an imaginary flower, and its 
 outline is formed by scroll work. In the centre at the top, is a cherub's 
 head ; and on the left stands a man, with a cap and a close dress, playing on 
 the pipe and tabor. On the opposite side is a young female, with a close 
 head dress, and a robe with hanging sleeves ; her hands are crossed over her 
 breast, while in the left she holds a flower : these persons are probably Maid 
 Marian and the Piper of the ancient Morris dance. On the left, at bottom, 
 is a small scroll, with the letters " Noe. G." 
 
 1032. THE LETTER S. 
 
 This letter is chiefly formed of two chimerical serpents, and from the top, 
 a boy is seen flying with outstretched arms from the scroll. A naked 
 female is reclining across the chimerical beast in the centre, and on the 
 lower extremity of the letter, to the left, where it ends in a sort of webbed fin, 
 is seen a naked boy. 
 
 1033. THE LETTER T. 
 
 The centre is filled with an imaginary fruit, and the curving outline of the 
 letter is formed of leafless branches. On the left, round the bend at bottom, 
 is a boy, with one wing on his breast, and another on his back, holding by 
 the leg a large chimerical bird above him with his left hand, and by the 
 tail feathers with the right. Above, is another boy, holding the bird's 
 
249 
 
 wing with his right hand, and pointing with his left. On the right side, at 
 bottom, is an old bearded warrior, with an upraised club in his right hand, 
 and a shield in the other, above whose head appears a naked female, with 
 arms stretched to the top of the letter, as if extended on a cross. 
 
 1034. THE LETTER V. 
 
 The centre is filled with an imaginary fruit. On the left, half way up the 
 letter, Bathsheba is sitting on a square cistern, by way of bath, quite naked, 
 holding her long hair with her left hand, in front, and applying an enor- 
 mous small-tooth comb to the top of her head with the other. On the right 
 is seen King David, at the top of a small battlemented building, in shape 
 and proportion like the stand used for Punch's puppet show ; he wears his 
 crown, and holds his sceptre. Immediately below is a servant or a courtier, 
 holding in his right hand a cap, like a porringer, and looking up at the 
 king, who is issuing his commands respecting the lady. The servant is on 
 the ground at the bottom of the tower, and the king at the top ; but the 
 latter could readily touch his servant's back, by extending his arm. 
 
 These pieces are most barbarously designed ; but they are very decided, 
 and are finished with some care, like the productions of a goldsmith. The 
 backgrounds of the letters themselves, are cross-hatched in various direc- 
 tions, but the whole of each plate, beyond the immediate letter, is covered 
 with horizontal strokes only. 
 
 A fac-simile of the letter Q forms the head-piece to the French School. 
 
 UNKNOWN ARTIST, 
 
 CALLED 
 
 THE MASTER OF THE CRAB. 
 
 This master is so called from the circumstance of many of his prints being 
 marked with the figure of a crab. 
 
 1035. THE ANNUNCIATION. 
 
 On the right of the print, the Virgin is seated, holding in her left hand an 
 open book, and raising her right to welcome the angel Gabriel, who is seen 
 towards the left, holding a sceptre. The background is an apartment, with 
 magnificent columns. The Holy Ghost is seen above, near the centre, j This, 
 though one of the artist's best works, is without the mark. Bartsch, Vol. vu. 
 pa. 527, No. 1. 
 
 K K 
 
250 
 
 1036. THE NATIVITY OF OUR LORD. 
 
 The Virgin is seen in front, half-length, her hands joined, in the act of 
 adoring the infant Jesus, who lies before her, in a square manger of stone, in 
 a ruined building with pillars. St. Joseph is seen on the right, and three 
 angels are on the left. This print, though likewise a capital performance of 
 the artist, is also without the mark. Bartsch, No. 3. 
 
 1037. THE PURIFICATION OF THE VIRGIN. 
 
 The greater part of the subject represents the interior of the Temple, the 
 architecture of which is Roman. The Virgin appears kneeling at the altar, near 
 the high priest, who is holding the infant Jesus ; on the other side of the altar 
 are several persons : St. Joseph is the nearest figure, with a cap, in the fore- 
 ground, and a man is standing near a pillar of the portico, to the left of 
 which the Virgin is again represented as arriving with a crowd. The mark 
 is on the right, at bottom. Bartsch, No. 4. 
 
 1038. THE SAVIOUR CROWNED WITH THORNS. 
 
 The Redeemer is represented half-length, turned towards the left, but 
 the head, crowned with thorns and surrounded by a singular glory, which 
 fills all the background, is turned a little to the right. Our Lord's hands 
 are tied, and the reed is placed in his right hand, while a robe hangs loosely 
 from his left shoulder : the mark is at the bottom on the right. This speci- 
 men, which is delicately and elaborately finished, has escaped the notice of 
 Bartsch. Height 5 inches, width 3| inches. 
 
 JACQUES CALLOT. 
 
 ALLOT was born at Nancy, in 1593 : he was 
 the son of a herald at arms of Lorraine. His 
 parents were noble, and intended him for far 
 other pursuits than engraving, but his great love 
 for that art induced him to leave his father's house 
 at the age of twelve ; and being destitute of all 
 pecuniary resources, he accompanied a troop of 
 gypsies to Florence. Twice he made his escape to 
 Ltaly, and was forcibly brought back by his parents, 
 who, at length, from his importunities, consented 
 to let him return there, and he accordingly, the 
 
251 
 
 third time, went in the suite of a gentleman sent by the Pope to the Duke 
 of Lorraine. 
 
 When he arrived at Rome, he studied drawing under Giulio Parigii, and 
 on leaving him proceeded to learn engraving of Phillipe Thomassin. Callot, 
 however, it appears, unfortunately became enamoured of his master's wife, 
 and was very properly dismissed by his employer. From Rome he went to 
 Florence, where he designed and executed his best works. He was warmly 
 patronized at this period by Cosmo the 2nd, Grand Duke of Tuscany ; and at 
 the death of that nobleman, he returned to Nancy, where he met with an- 
 other protector in Henry Duke of Lorraine. 
 
 At Nancy he married, but had no family. His reputation increasing, 
 Elizabeth Clara Eugenia, Governess of the Low Countries, invited him to 
 Brussels to draw and engrave the siege of Breda. 
 
 In 1628 he went to Paris, by command of Louis XLLL. to engrave the 
 sieges of Rochelle and the Lsle of Rhe, which he executed admirably. It is 
 told to his honour, that he refused the positive and reiterated commands of 
 the king and his minister to engrave the siege of Nancy, his native city, 
 which had been conquered in 1631. The king, pleased with his patriotism, 
 offered him a handsome pension, which he rejected. 
 
 During the troubles in Lorraine, he had resolved to retire with his wife 
 to Florence; but he was seized with an illness which prevented his removal, 
 and died in 1635, at the age of 42. 
 
 Callot has executed a number of engravings, almost surpassing belief. 
 He used the hard varnish on his plates, which soon after his time was 
 abandoned from its inconvenience. 
 
 1039. THE TEMPTATION OF SAINT ANTHONY. 
 
 This eccentric production is dedicated to Monsieur Phelipeaux de la 
 Vrilliere : whose arms are at the bottom, with verses ; it is dated 1635. 
 Impression, with the smaller number of rosettes in the arms of La Vrilliere. 
 
 1040. PANDORA. 
 
 She has just alighted on the earth with the fatal box : above, is seen the 
 assembly of the gods on Olympus, and in the midst Jupiter on his eagle. 
 This is a very small subject. 
 
 Impression, before the thunderbolt in the hand of Jupiter. 
 
 1041. THE FAIR AT GONDRECOURT; 
 
 called also Tlie Little Fair, or, The Players at Bowls : it represents a village 
 
 KK 2 
 
252 
 
 festival, where a great tree is particularly remarkable. Impression before the 
 name of Callot was engraved on the plate : it is here written by the artist. 
 
 1042. THE STAG HUNT. 
 
 This is a large oblong print of great effect, and with numerous figures. 
 Impression before the address of Silvestre, and in which the small boar 
 chace in the background is distinctly visible. 
 
 1043 — 1060. THE MISERIES AND MISFORTUNES OF WAR. 
 
 A series of eighteen prints, and among the most esteemed of the works of 
 Callot. 
 
 Proofs (the title excepted,) before the verses usually at the bottom of each 
 plate, and before the numbers. 
 
 1061. THE GREAT FAIR OF FLORENCE. 
 
 The subject represents a festival held near the church of the Madonna 
 del Imprunetta, about seven miles from the city. This is an impression from 
 the first plate executed at Florence: to the right, in the margin, are the 
 words " in Firenza" Callot repeated the subject, and published it at Nancy, 
 which address distinguishes the second plate. 
 
 1062. THE FAN. 
 
 In this subject is represented a grand fire work at Florence, on the Arno, 
 in 1619, at a festival given by the Weavers and Dyers of the city, who were 
 held in great consideration ; and it is accordingly inscribed with the bur- 
 lesque title of " Battaglia del lie Tessi e del Re Tinta :" from being in the 
 shape of a fan mount, it is usually known by the name of TJie Fan. It has 
 been repeatedly copied. 
 
 1063. THE PUNISHMENTS. 
 
 This print represents the punishment of various criminals in the great 
 square at Florence, witnessed by crowds of spectators. It is a chef d'ceuvre of 
 Callot; admirable from the exquisite grouping and management of the 
 numerous minute figures. Underneath are verses, and above the subject is 
 this inscription, " Supplicium scseleri frsenumr 
 
253 
 
 CLAUDE GELEE, 
 
 CALLED 
 
 CLAUDE LORRAINE, 
 
 was born at the castle of Chamagne, in Lorraine, in 1600, and died at Rome 
 in 1682. His parents, who were poor persons, put him to school, but as he 
 learned nothing there, they apprenticed him to a pastry cook. He had the 
 misfortune to lose his parents at the age of twelve, and in consequence left 
 his country with some of his companions, went to Rome, and hired himself 
 to Agostino Tassi, a landscape painter, and a scholar of Paul Brill. In this 
 situation he attended to his master's horse, was his cook, and mixed his 
 colours. He contrived, however, to take lessons in painting, but his progress 
 was slow, for he possessed only a common-place understanding. 
 
 By unremitting attention, and a continual study of nature, he became 
 one of the greatest landscape painters. He also painted sea-pieces and 
 architecture ; but being totally ignorant of the human figure, he was in- 
 debted to Swanevelt and others, for the greater part of those which we find 
 in his pictures. 
 
 His etchings, though full of merit, are by means so abundant in talent, 
 as we should expect from so great a master. 
 
 1064. LANDSCAPE. 
 
 A river is seen, extending the whole breadth of the print ; to the left is a 
 shepherd, leaning on his stick ; and before him, in the river, are five cows 
 and a goat — three of the cows are drinking. To the right are high hills, 
 and on the top of the nearest is a large residence. 
 
 1065. LANDSCAPE. 
 
 A shepherd is seated near a young female, who is pointing out some 
 object to him ; near them is a drove of cattle going towards a river on the 
 right. 
 
 Impression with a city seen among the trees to the right, and before the 
 name of the artist. 
 
 1066. Impression in which the city is effaced, mountains are substituted, 
 and the name of the artist is added. 
 
254 
 
 1067. LANDSCAPE. 
 
 This piece represents a river, on the banks of which a male and a female 
 peasant are dancing ; and to the right two goats are butting : in the distance 
 is a water-mill. 
 
 1068. LANDSCAPE.^ 
 
 Near the middle of the print, on the rising bank of a river, a man is seated 
 near a great tree, speaking to a female on his right hand, also seated : her 
 back only is seen, and she is raising her head to listen. Three cows, and as 
 many goats, are going towards the river, while other goats are seen more 
 in front : on the right is another large tree. Two boats are on the river, 
 and a chain of mountains and the sea are visible, beyond a promontory. 
 To the left are some steep rocks, and on the nearest of them the ruins of a 
 castle. In the margin on the right, is inscribed, in reversed characters, 
 " Claudius Gelee, fecit, Romas, 1651," and on the left are also traces of the 
 name. Width 7|, height 5|. This print has not before been described. 
 It is a modem impression, from a plate by Claude, which does not appear to 
 have been previously printed. A reduced copy of it will be found opposite 
 to the present page. 
 
 CLAUDE MELLAN. 
 
 This engraver was born at Abbeville, in 1601, and died at Paris in 1688. 
 When very young he went to the latter city, where he was instructed 
 in the elements of his art. From thence he went to Italy, and finding 
 his countryman Vouet at Rome, he placed himself under his tuition, and 
 painted in the style of his master ; but he abandoned painting for engraving, 
 which he practised assiduously, and chiefly after his own designs. His 
 outline is pure, and his style easy and graceful ; but he adopted the 
 extravagant fancy of rendering his subjects with single ranges of lines, 
 instead of crossing the strokes : the effect, particularly in the print of our 
 Saviour's Face, is truly surprising, considering the mode of execution, but 
 the example is not to be imitated, unless with equal skill. 
 
 1069. THE MAGDALEN IN PENITENCE. 
 
 She is reclining in a grotto on a mat : the flesh is executed in the dotted 
 manner. 
 
 Proof before any writing. 
 
255 
 
 1070. TITLE PAGE, OR FRONTISPIECE, 
 
 to a satirical work, intituled, " Les moqueurs moaues" It represents several 
 satyrs, one of whom is seated on a globe, bearing the inscription, " sic se 
 rid end vm dat derisionibus orbis." — Huber and Rost, Vol. vii. pa. 118, 
 No. 22. 
 
 PIERRE LOMBART 
 
 was born at Paris about 1612. He frequented the school of Vouet, but it 
 does not appear from whom he learnt to engrave. After making consider- 
 able proficiency in his art, he came to London, where he was much employed 
 by booksellers, and engraved his twelve celebrated half-length portraits, 
 called The Countesses of VanDyck. He returned to Paris, and died about 1675. 
 
 1071. PORTRAIT OF THE COUNTESS OF CASTLEHAVEN. 
 
 She is represented half-length, standing, holding the right hand to her 
 breast, and her robe with the left : engraved after Van Dyck. This is one 
 of the set of The Twelve Coimtesses of Van Dyck. 
 
 Finished proof before any writing, with the autograph of Lombart. 
 
 FRANCOIS de POILLY. 
 
 This artist was bom at Abbeville in 1622, and died at Paris in 1693. His 
 father was a goldsmith, who, after instructing him in the general principles 
 of drawing, sent him to Paris, to study engraving under Daret. His design 
 is pure, and his engravings, which are clear and brilliant, though some- 
 what cold, are in great esteem. After remaining seven years at Rome, he 
 returned to Paris, where he resided during the rest of his life. 
 
 1072. THE HOLY FAMILY IN A LANDSCAPE. 
 
 The infant Jesus is standing on a cradle. This subject is called, La vierge 
 au berceau^ and is engraved from a celebrated picture by Raffaelle. 
 Impression, with a single line of inscription. 
 
256 
 
 GERARD EDELINCK. 
 
 This great ornament to the French School of engraving, to which, although 
 not a native of France, he justly belongs, was born at Antwerp, in 1627, and 
 died at Paris in 1707. He was the scholar of Cornellius Galle. By the in- 
 vitation of Colbert, he went to Paris in 1665, where he was warmly admired. 
 He was a man of great modesty, had a very humble opinion of his own 
 talents, and thought highly of any favour which he received. 
 
 When the court, charmed with his print of the Holy Family, after 
 Raffaelle, desired to know what recompense would gratify him, he simply 
 requested to be made churchwarden of his parish. 
 
 Watelet observes, that his execution, at once bold, yet finished, gives a 
 profound feeling of colour : that he is more perfect than Bolswert or Pontius, 
 without being less picturesque ; and that he never produced a work of medi- 
 ocrity : all is warm, and his heads are living. 
 
 1073. PORTRAIT OF NATHANAEL DILGERUS, 
 
 Lutheran preacher, with a large beard : one of the distinguished produc- 
 tions of the engraver : dated 1683. 
 
 1074. PORTRAIT OF MARTIN VAN DEN BOGAERT OR DESJARDINS, 
 
 sculptor to the King of France ; after Hyacinthe Rigaud : a chef d'ceuvre. 
 
 Proof before any writing, and before the cross lines on the curtain to the 
 right, but otherwise finished. 
 
 1075. HOLY FAMILY : 
 
 After the celebrated picture by Raffaelle, in the cabinet of the King of 
 France. 
 
 Impression before the arms of Colbert. 
 
 ROBERT NANTEUIL 
 
 was born at Rheims, in 1630, and died at Paris, in 1678. His master was 
 Nicholas Regnesson, who married his sister. He received a good education, 
 and was so devoted to the arts that he engraved his own thesis in philo- 
 sophy. 
 
257 
 
 He was eminently successful in taking likenesses, and is no doubt entitled 
 to rank in the highest class of portrait engravers. His work affords occasion- 
 ally great variety, and the hair of his portraits is expressed admirably, 
 without that fastidious nicety which afterwards led Masson astray. 
 
 1076. PORTRAIT OF JEAN LORET. 
 
 This Jean Loret, who was " de Carenton,en Basse Normandie" as appears by 
 the inscription, was apparently a shrewd caustic fellow, as the verses under 
 the print would imply : he was an advocate, and also editor of the " Gazette 
 Burlesque.'''' 
 
 1077. PORTRAIT OF POMPONNE DE BELLIEVRE. 
 
 President of the Parliament : after Charles Le Brim : a chef d'oeuvre. 
 
 1078. PORTRAIT OF HENRI DE LA TOUR D'AUVERGNE, VISCOMTE DE 
 
 TURENNE. 
 
 The portrait of this celebrated hero, is nearly the size of life ; and is in- 
 scribed " Nanteuil, ad vivum del*. 1665." 
 
 1079. PORTRAIT OF FRANCOIS LE MOTHE LE VAYER. 
 
 This portrait is of considerable beauty ; it is also inscribed " Nanteuil, ad 
 vivum del 1 , etscidpsit, 1661. 
 
 ANTOINE MASSON 
 
 was bora in the OrUannois in 1635, and died at Paris in 1700. He went to 
 the latter city when young, and was at first an armourer and engraver 
 of sword blades, which gave him great practice with the burin. Like 
 Nanteuil, he possessed the talent of painting portraits, which he afterwards 
 engraved, and in which the effect of color is admirable. It is to be regretted 
 that he was capricious in his works, aiming often to produce singular effects 
 by means more wonderful than agreeable. 
 
 1080. PORTRAIT OF MARIN CUREAU, 
 
 Physician to the king, engraved after Mignard, in 1665. Impression be- 
 fore the cross lines on the face. 
 
 L L 
 
258 
 
 1081. PORTRAIT OF GUILLAUME DE BRISACIER, 
 
 Secretaire des Commandemens de la Heine, engraved after N. Mignard, in 
 1664 : a print called " The grey-headed Man" from the admirable execution 
 of the grey hair. The character of Brisacier is to be found in Grammont s 
 Memoirs : his intellect seems to have been questionable. 
 
 Proof before the letters. 
 
 1082. PORTRAIT OF THE COMTE D'HARCOURT. 
 
 This portrait, which is a three-quarter length, is called the " Cadet a la 
 Perle, " on account of the pearl which hangs from the warrior's left ear : 
 engraved after N. Mignard. 
 
 Impression, before the number 4 in the left-hand margin near the top. 
 
 SEBASTIEN LE CLERC 
 
 was born at Metz in 1637, and died at Paris in 1714. He was attached to 
 the arts from an early period, and was instructed by his father. Under the 
 advice of Le Brun, he devoted himself to engraving, and was patronized by 
 Colbert, who gave him an apartment in the Gobelins, and a pension. Le 
 Clerc was likewise engineer, architect, mathematician, and professor of 
 perspective in the Royal Academy of Paris. 
 
 1083. THE ENTRY OF ALEXANDER THE GREAT INTO BABYLON. 
 
 This piece was designed by Le Clerc, and dedicated to the Duke of Orleans, 
 who, finding fault with the artist for shewing the head of Alexander in pro- 
 file only, it was altered by the artist after a few impressions were taken. 
 This is the first impression, with the head of the hero in profile. 
 
 JEAN LOUIS ROULLET 
 
 was born at Aries in 1645, and died at Paris in 1699. He was instructed 
 by Jean L? enfant, and afterwards spent some years in the school of Francois 
 de Poilly, whom he fully equalled. He went to Italy, where he remained 
 
259 
 
 about ten years, and acquired the friendship of Carlo Maratti, and other 
 eminent painters. Roullet may be deemed a very successful engraver, after 
 the greatest masters. 
 
 1084. THE MARIES LAMENTING OVER THE DEAD BODY OF OUR LORD : 
 
 after the celebrated picture by Annibale Carrache. Impression before the 
 inscription in the margin. 
 
 PIERRE IMBERT DREVET. 
 
 Drevet was born at Paris in 1697, and died there in 1739. He was in- 
 structed in drawing and engraving by his father, and his talents for the 
 latter were so precocious, at the age of twelve, as to surpass those of many 
 of the most eminent of his predecessors ; for he then produced a print, which, 
 in some inspects, places even the work of consummate artists at a distance. 
 
 Lecesqtie observes that " it is possible to engrave in a bolder and more 
 picturesque style ; but in the finished and exquisite manner, it would be 
 scarcely possible to surpass him. — His portrait of Bossuet comprehends all 
 that is admirable in his art." 
 
 1085. PORTRAIT OF BENIGNUS BOSSUET, BISHOP OF MEAUX. 
 
 The bishop is represented whole-length, in his robes, standing, with his 
 hand on a book : the print is engraved after a picture by Rigaad. On the 
 back of one of the volumes on the floor, is written " Peint par H. Rigaud," 
 and on a label hanging from the leaves of another, " Grave par P. Drevet, JUs." 
 It is the chef d'ceuvre of the engraver. — Impression, with a strong light on 
 the top of the arm chair, which was afterwards removed : this state of the 
 plate is very early. Dots were subsequently added at the end of the artist's 
 name, for every complete hundred of impressions taken. 
 
 1086. PORTRAIT OF THE DUCHESS OF ORLEANS. 
 
 This is a bust in an oval, engraved in 1723 as a frontispiece to her funeral 
 oration. 
 
 JEAN GEORGES WILLE. 
 
 Wille was born at Konigsberg, in 1715, and came to Paris in 1736, where 
 he originally followed the business of an armourer, but abandoned it for en- 
 
 LL2 
 
260 
 
 graving. While at Strasbourg, on his road to Paris, he met with Schmidt, 
 and these kindred spirits formed a friendship which death alone interrupted. 
 
 On his first arrival in the French metropolis, Wille was so reduced in 
 circumstances, that he was forced to accept a very mean situation at a watch- 
 maker's, which however he soon quitted, and again betook himself to his first 
 employment, at a gunsmith's ; but finding his inclination to engraving in- 
 surmountably strong, he abandoned himself wholly to it, and commenced 
 with portraits, which he executed for Odieuvre, the printseller. 
 
 Hyacinthe Rigaud soon discovered and encouraged his talents, and assisted 
 him with his purse and advice. These benefits, Wille, when he became ce- 
 lebrated, always remembered with gratitude, and himself pursued the same 
 generous conduct towards the young artists of his time. — He died at Paris, 
 in 1808. 
 
 1087. PORTRAIT OF TYCHO HOFFEMAN, OR OFFEMAN : 
 
 engraved after L. Tocqtie, in 1745; without HoffemarCs name. Finished 
 proof before any writing. 
 
 1087*. Impression before the numerous alterations, with the latin inscription 
 " En tibi me sculptum, Sfc.;" and with the artists' names only traced : — that of 
 the painter on the left, and that of Wille on the right* 
 
 1088. SCEUR DE LA BONNE FEMME DE NORMANDIE : 
 
 after Pierre Alexandre Wille. Finished proof before any writing. 
 
 1089. LE JEUNE JOUEUR D'lNSTRUMENT : 
 
 after Godfrey Schalcken, engraved in 1762. Finished proof, before any 
 writing. 
 
 1090. LA MENAGERE HOLLANDOISE : 
 
 engi - aved after Gerard Douw, in 1757 : finished proof, before any writing. 
 
 1091. LA TRICOTEUSE HOLLANDOISE : 
 
 engraved after Francis Mieris, in 1767 : a similar proof. 
 
 * Of this print Bartsch, in his Kupferstichkunde, Vol. n. paye 292, notices four variations with the 
 
 letters; but there are five. In the first, the artists' names are only traced: this Bartsch does not 
 
 mention. — In the second, these names are strongly engraved. — In the third, the same names are placed 
 along the centre, and the others are erased. — In the fourth, the Latin inscription is effaced, and, in- 
 stead, is a Danish inscription, beginning, " Tycho de Ho/man, Assessor," &c. — In the fifth, instead of 
 the Danish inscription, are six English lines, beginning, " Few hnow my face," and ending, " at last 
 undone :" the artists' names are as in the first. 
 
261 
 
 1092. LES MUSICIENS AMBULANS : 
 
 engraved after C.W.E. Dietrich, in 1764 : a similar proof. 
 
 1093. l'instruction paternelle : 
 
 engraved after G. Terburgh : finished proof, before any writing ; before the 
 arms, and before the border ; in which state the effect is truly brilliant and 
 harmonious. This print is a splendid work of art. 
 
 MODERN ENGRAVERS OF THE FRENCH 
 
 SCHOOL. 
 
 JEAN JACQUES DE BOISSIEU 
 
 was born at Lyons in 1736, and died in 1810. Passionately attached to the 
 arts, and having the means of indulging his taste, he devoted himself to 
 painting and engraving, though his friends designed him for the law. At 
 the age of 24, he went to Paris, where he formed a friendship with Vernet, 
 Greuze, and other artists of talent. He returned to Lyons, intending to 
 apply himself to engraving ; but a journey to Ltaly, with Monsieur de la Roche- 
 foucauld, hindered this. — He arrived, however, once more in his native place, 
 and his health not permitting him to continue painting, he practised engrav- 
 ing only, and acquired a well deserved reputation by his admirable prints. 
 
 1094. COOPERS IN A WINE CELLAR. 
 
 This piece is of a most admirable effect, in the style of Rembrandt : it is 
 a large plate ; but Boissieu has engraved a similar subject of a smaller size, 
 called The Little Coopers, to distinguish it from the preceding. — Impression 
 before the asterisk in the margin at bottom, which was added in many of 
 Boissieii's plates, after the early impressions. 
 
 1095. LANDSCAPE. 
 
 View of a river and a bridge in a woody scene : a subject called The Great 
 Bridge. This impression is the pure etching, and before the sky was introduced. 
 
262 
 
 1096. LANDSCAPE. 
 
 To the right is a wood, in which is seen a sportsman, with his fowling- 
 piece on his shoulder, walking towards the middle of the print : engraved 
 after Wynants, and dated in 1805 : a large plate. — Impression on India paper. 
 
 1097. LANDSCAPE; 
 
 companion to the last. It is the view of a river, extending along the whole 
 print, and ornamented with cattle : after Ruysdael. Impression on India paper. 
 
 JEAN GUILLAUME BALVAY BERVIC, 
 or BARVEZ, 
 
 was born at Paris in 1756, and died there in 182 . He was the scholar of 
 J. G. Wille, and was received in the Royal Academy of Paris in 1784. He 
 was also a member of the Institute, and Chevalier of the Legion of Honor. 
 
 1098. PORTRAIT OF DEIJANIRA : 
 
 after the celebrated picture by Guido, in the Musee Royal. Finished proof 
 on India paper, before the inscription, and with the artists' names only. 
 
 ALEXANDRE PIERRE TARDIEU 
 
 was born at Paris in 1756, and is now residing there. He was a scholar of 
 Chevillet and J. G. Wille. 
 
 1099. SAINT MICHAEL OVERCOMING LUCIFER: 
 
 engraved after the celebrated picture by Raffaelle, in the Musee. Finished 
 proof before any writing. 
 
 AUGUSTIN LOUIS BOUCHER DESNOYERS 
 
 was born at Paris in 1799, and is now living there. He was instructed in 
 drawing by Lethiers, and in engraving by Alexandre Tardieu. JJesnoyers 
 is a member of the Institute, and of the Academies of Vienna and Geneva, 
 and is undoubtedly an artist of first-rate ability. 
 
263 
 
 1100. HOLY FAMILY; 
 
 in a rocky cavern ; after Lio. da Vinci : a subject called La Vierge au rockers. 
 Finished proof before any writing-, the names of the artists excepted. 
 
 1101. HOLY FAMILY; 
 
 in a garden ; after the celebrated picture by Raffaelle : a subject called La 
 belle Jardiniere. Finished proof on India paper, marked by Desnoyers as the 
 only impression selected by himself. 
 
 1102. PORTRAIT OF THE EMPEROR NAPOLEON, 
 
 represented whole length, in his robes ; after Gerard. Finished proof before 
 any writing, and before the eagle in the margin at bottom. 
 
 FREDERIC LIGNON, 
 
 living at Paris in 1825. 
 
 1103. PORTRAIT OF MADEMOISELLE MARS, ACTRESS ; 
 
 after Gerard. Proof before the wreaths, before any writing, and before the 
 shading of the border, but otherwise finished. 
 
 JACQUES. P. DE FREY. 
 
 This artist was born at Amsterdam about 1770, and is living at Paris. 
 Although labouring under a paralysis of the right hand, as Monsieur Duchesne 
 informs us, he engraved many plates, with success, for the Muste; but his 
 infirmities increasing, he was forced to abandon his employment, and seek 
 refuge in an hospital. 
 
 1104. THE PRESENTATION OF JESUS IN THE TEMPLE ; 
 
 after Rembrandt : an etching of great effect. Finished proof on India paper, 
 before the letters. 
 
264 
 
 JOSEPH THEODORE RICHOMME 
 
 was horn at Paris in 1786, and was residing there in 1825. There have 
 been few engravers of more splendid talent. 
 
 1105. THE TRIUMPH OF GALATHEA : 
 
 after the well-known picture by Raffaelle. Finished proof, with open 
 letters. 
 
ENGRAVERS 
 
 OF THE 
 
 ENGLISH SCHOOL. 
 
 M M 
 
~-nec trie trua^J?ali!tt £fmaqc : 
 
 ENGRAVERS of the ENGLISH SCHOOL. 
 
 JOHN PAYNE. 
 
 AYNE was the scholar of the celebrated 
 Simon Passe, and was considered by Walpole 
 as " the first Englishman who distinguish- 
 ed himself by the graver." He is reported 
 to have been idle and neglectful, and to 
 have died in poverty before the age of forty, 
 in consequence of his indolence, though 
 recommended to King Charles. He is well 
 spoken of by Evelyn in his Sculptura, and 
 eulogized by T. Rawlins, in 1648, as then 
 lately dead, in an epitaph mentioned by 
 Walpole. He is celebrated by Evelyn for his 
 large print, three feet long, of the great ship, 
 the Royal Sovereign, built by Phineas Pett 
 in 1637, and for the head of Dr. Alabaster : 
 Other particulars of him are unknown. 
 MM 2 
 
268 
 
 1106. PORTRAIT OF WILLIAM ALABASTER, D.D. 
 
 This portrait is in an oval, inscribed — " corn Johnfs," ( Cornelius Jansen J 
 pinxit — " John Payne sculpsit:" with an inscription round the oval, 
 " Gulielmus Alabaster, anno astatis suae lxvi. studii arcanse theologise 33." This 
 print is Payne's chef d'ceuvre. 
 
 WILLIAM FAITHORNE. 
 
 ROM Walpole' s life of this eminent man we learn 
 that he was horn in London, hut in what year is 
 not certain. He was instructed by Peake, an 
 engraver and printseller, with whom Walpole 
 tells us he worked three or four years before 
 the breaking out of the civil war, and he ac- 
 companied his master into the king's service. 
 Being made prisoner at Basing-house, he was 
 brought to London, and confined in Aldersgate, 
 where he practised his profession. After much 
 solicitation he was released, and permitted to re- 
 tire to France, where he was patronized by the Abbe de Marolles. 
 
 About the year 1650, Faithorne returned to England, and married the 
 sister of the notorious Captain Ground, by whom he had two sons and a 
 daughter. He set up a new shop at the sign of the Ship, near Temple-bar, 
 where he followed his art, sold prints and books, and engraved for the book- 
 sellers. Some time after, in 1680, he retired to a more private life, in 
 Printing-house-yard, Blackfriars, still continuing to engrave, but chiefly 
 to paint from the life in crayons. Walpole adds that the misfortunes of his 
 son William broke his spirits, though he was a robust and vigorous man, 
 and he died of a lingering consumption in 1691. 
 
 1107. PORTRAIT OF JOHN PORDAGE,* 
 
 Divine : in an oval. It is one of Faithorne 's fine vigorous prints. 
 
 * This odd mortal was chief of the Behmcn ists ; and, as Granger tells us, preacher of St. Lawrence, 
 Reading, and afterwards Rector of Bradfield, in Berkshire. 
 
 He was a man of the acutest sight and smell ; since, it appears, that he had the faculty, by those 
 means, of detecting good and bad spirits ; in which he was, to the full, as remarkable as the blind lady 
 
269 
 
 1108. PORTRAIT OF ROBERT BAYFIELD, 
 
 Doctor of Physic, in a large hat : it is a small print, in an oval, and is dated 
 1654 : underneath are four verses, beginning, " TKumbratick shape," &c. It 
 is one of the most delicate of Faithorne 's works. 
 Impression, before the address of Sprat. 
 
 1109. PORTRAIT OF THOMAS HOBBS, 
 
 Philosopher: in an oval, round which is this inscription, " En quam modice 
 habitat Philosophia" and below are his name and age. 
 
 Impression, in which his name is erroneously written " Hoobs." 
 
 1110. PORTRAIT OF FRANCIS ROUS, 
 
 Provost of Eton College, in an oval : he wears a very large hat : underneath 
 is an inscription, beginning, " Adam the first this image claims.' 1 '' 
 
 1111. PORTRAIT OF JOHN VISCOUNT MORDAUNT ; 
 
 in an oval border, composed of the armorial bearings of his family and 
 alliances : at the bottom are his titles in Italian. It is a lovely chef 
 d'ceuvre of the engraver. 
 
 1112. PORTRAIT OF CHARLES II. KING OF ENGLAND* 
 
 in a border, round which is written, " Honi soil ' qui ' mal y pense ;" it is a 
 print of a very rich and splendid effect. 
 
 First impression, with the verses at the bottom, " The second Charles,'" &c. 
 
 1113. PORTRAIT OF MARGARET SMITH, 
 
 widow of Thomas Gary, and wife of Sir Edward Herbert. This print, which is 
 after a picture by Van Dyclc, is a chef d'ceuvre, and perhaps the most pleas- 
 ing and satisfactory of the artist's works. — Finished proof before any writing. 
 Only another impression in this state is known to exist : it is in the Royal 
 Library at Paris. 
 
 of recent celebrity, who could distinguish colours through her nose : it docs not appear, however, that 
 either of these parties could see further into a mill-stone than others. 
 
 Pordage says, that "his house was infested,for above a month, with evil spirits," and that once "he 
 had a conflict with a fiery dragon, which filled a large room." He was, in fact, a Spiritual Quixote, 
 and kept in his family one Everard, a sort of Sancho Panza, or Behmenist squire, who, like the real 
 Sancho, seems, according to Granger, to have made game of his master. 
 
 * There is little doubt of the truth of this monarch's observation, " that if he was like his portrait by 
 Riley, he was a devilish ugly fellow." No picture of him, however flattering, can be termed handsome ; 
 but it is to be questioned whether, in fidelity, any representation of him can exceed this by Faithorne, 
 
270 
 
 1114. PORTRAIT, 
 
 in an oval, of a gentleman with flowing hair, dressed in a habit with 
 slashed sleeves, and a cloak, which he holds with both hands ; he has a fall- 
 ing band with tassels, and a sword belt. On the right is a shield of arms, 
 bearing a chevron gules, on a field argent, between three unicorns rampant 
 azure. On a pillar to the left, is written, " Mt. Sue, 24," and at the bottom 
 is the following inscription, " Nec me mea fallit Imago — Guli. Faithorne, de. 
 etfe:"' It is considered to be unique, and is from the collections of Mariette, 
 Sir J. TV. Lake, and Sir Mark Sykes. 
 
 It appears, from a careful search in the Heralds' 1 College, that the arms 
 are those of Rogers of Devonshire. A very accurate fac-simile forms the head- 
 piece to the English School. 
 
 DAVID LOGGAN. 
 
 This artist was born at Dantzick about 1635. He is said, according to 
 Walpole, to have been instructed by Simon Passe in Denmark, and as 
 he passed through Holland, by Hondius. He came to England, and worked 
 for the two Universities, in delineating their buildings. At Oxford his re- 
 putation was partly acquired by his well-known print of Mother Louse, and 
 Dryden has noticed him in the second canto of his Art of Poetry. He 
 married a lady of a good family, left one son, and died in London in 1593. 
 Blooteling and Valck came with him to England. 
 
 1115. THOMAS CRANMER, ARCHBISHOP OP CANTERBURY. 
 
 This print was engraved from a picture by Holbein, for Thorotorts History 
 of Nottingham, at the expence of William Cartwright. The portrait, which 
 is in an oval, is without the engraver's name : at the bottom, in the ordinary 
 impressions, are his arms, and in a margin below, is a Latin account of the 
 plate being engraved at the expence of Cartwright.* 
 
 Proof before any writing, and before the arms. 
 
 on which he has most successfully bestowed all his ability. The plate was intended for a book, and was 
 afterwards materially altered — the verses were removed, and arms substituted ; then the plate was cut 
 down, and used for deeds and public instruments, till it ceased to resemble humanity. 
 
 * Granger and Bromley make two prints of Cranmer out of this : one as in Thoroton's book; the 
 other as published at the expence of Cartwright. 
 
271 
 
 1116. PORTRAIT OF ROBERT STAFFORD, ESQUIRE. 
 
 This portrait is in an oval, round which, in the ordinary impressions, is 
 written, — " Robertas Stafford de Bradfield, in comitatu Berks, Armiger." He 
 is represented with flowing hair, dressed in a robe, and with a laced cravat : 
 underneath are his arms, and some Latin lines commending the elegance of 
 his person. The portrait is a chef d'ceuvre of Loggan, but the party repre- 
 sented does not seem to merit the fulsome compliments of the times so 
 liberally bestowed upon him. Bradfield, his estate, is the same place of 
 which Pordage, noticed in this catalogue, was the rector. — Proof before any 
 writing. 
 
 WILLIAM HOGARTH. 
 
 T is to the honor of Britain that this great 
 painter of the passions and their effects, whose 
 works are so well known and appreciated, was 
 born in London, in 1698. He was appren- 
 ticed to an engraver of arms on plate, one 
 Ellis Gamble, who lived near Snow Hill ; but 
 Walpole tells us, that before his time was 
 out, " he felt the impulse of genius," and that 
 " it directed him to painting." A laughable 
 instance, related by Nichols, first displayed 
 Hogarth's talent, by a very ludicrous sketch he made on his nail of an ale- 
 house quarrel. 
 
 At the expiration of his apprenticeship, he entered the Academy in St. 
 Martinis-lane, and studied drawing from the life, in which, as Walpole 
 observes, he never attained any excellence. He began business about 1720, 
 as an engraver of arms, shop-bills, and book-plates, but no symptoms of 
 genius were discoverable in these. 
 
 In 1730, he married the only daughter of Sir James Thornhill; a stolen 
 match, to which Sir James was only reconciled by seeing the pictures of the 
 Harlot's Progress, just then begun. Soon after this, having summer lodgings 
 at South Lambeth, he became intimate with Mr. Tyers, the proprietor of 
 Vauxhall Gardens, and, in consequence, was induced to embellish these 
 gardens with paintings, some which he executed himself. In 1733 and 
 
272 
 
 1735 his genius became conspicuously known from his " Harlot *s and Rake 's 
 Progresses,'" and in 1745, he acquired additional reputation by his "Marriage 
 a la mode" Shortly after this, he made an excursion to France, and was 
 taken into custody at Calais, for sketching- the gate there, but released on 
 the promise of his landlord that he should return to England. 
 
 About 1757, his brother in law, Mr. Thornhill, resigned the place of 
 King's Serjeant Painter in favor of Hogarth. In 1762 his celebrated quarrel 
 took place with Wilkes, in which it is very generally admitted that Hogarth 
 gave the first offence : if he did so, he was justly punished for it, as he came 
 off quite crippled from the contest. 
 
 During this year, it was that Hogarth's health materially declined, and 
 continued to do so till 1764. He was conveyed from Chiswick to Leicester 
 Fields, on the 25th of October, and died rather suddenly on the following day. 
 
 1117—1122. THE HARLOT'S PROGRESS— A SET OF SIX PRINTS. 
 Impressions before all the alterations in the subjects.* 
 
 THE RAKE'S PROGRESS— A SET OF EIGHT PRINTS. 
 
 This set, which is likewise before all the alterations in the subjects, con- 
 tains also the following variations of priority : viz. 
 
 1123. PLATE I. — THE MISER' S APARTMENT. 
 
 This has the address, " Invented, painted, engraved, and published by 
 William Hogarth " afterwards altered to, " Invented, painted and engraved by 
 William Hogarth, and published, <$•<?." 
 
 1124. PLATE II. — THE RAKE'S LEVEE. 
 
 This plate has the word " Horlot " for " Harlot " in the verses at bottom. 
 
 1125. PLATE III. — THE BROTHEL. 
 
 The publication date is the " 24th June," which was afterwards altered to 
 the " 25th." 
 
 * As these alterations in the subjects are so well known, and are described in Nichols' Anecdotes of 
 Hogarth, they are not repeated here. 
 
273 
 
 1126. PLATE VI. — THE GAMING-HOUSE. 
 
 This is before the words, " Sold at y e Golden Head in Leicester Fields, 
 Lon don -" 
 
 1127. PLATE VII. — THE PRISON. 
 
 This is before the number of the plate : with the word " Horros" instead of 
 " Horrors" in the last line but two of the verses ; before the words Garnish 
 Money " in the book held by the jailor ; before the plate was filled up to the 
 left-hand margin : the writing, which appears on the paper under the 
 " Scheme for paying the National Debt," is scarcely traced. 
 
 1128—1133. THE MARRIAGE A-LA-MODE— A SET OF SIX PLATES. 
 Impressions before all the alterations in the subjects. 
 
 1134. STROLLING ACTRESSES DRESSING IN A BARN. 
 
 Dated 1758. " Painted, engraved, and published by William Hogarth." 
 Impression before the alterations in the play-bill, and in the head-dress 
 of the actress greasing her hair, &c. 
 
 1135. THE MARCH TO FINCHLEY. 
 
 This subject represents the departure of the Guards for Scotland, in 1748. 
 — Impression published on the 30th of December (Sunday), and afterwards 
 altered to the 31st: called " the Sunday print." 
 
 1136. THE COCK PIT. 
 
 " Designed and engraved by W. Hogarth : published in 1759. 
 
 FOUR PR1MTS OF AN ELECTION, viz. 
 
 1137. PLATE I. — THE ELECTION DINNER; 
 
 published in 1755. Proof before any writing: probably unique. 
 
 It may be interesting to point out in what this proof differs from the first 
 lettered impression ; though the variations are few : — 
 
 The oval over the stag's horns is not at all filled in with dark shadow : 
 
 N N 
 
274 
 
 the left arm of the woman swearing the child, has several unshaded places ; 
 and the lower part of the napkin held by the boy making the punch, is much 
 less worked upon. Hogarth has slightly tinted the lemons, for an experi- 
 mental effect, probably to keep down the masses of white, which a little pre- 
 dominate. This proof is of a most brilliant colour. 
 
 1138. Impression before all the alterations which were made in what is 
 described as the second state of the plate, and with the words " Painted, 
 and the whole engraved by William Hogarth.'''' 
 
 1139. PLATE 2. — CANVASSING FOR VOTES; 
 
 engraved by C. Grignion: published in 1757. An impression of the etching 
 only. 
 
 1140. Proof before any wiring. 
 
 1141. First lettered impression ; before the retouch. 
 
 1142. PLATE 3. — POLLING; 
 
 engraved by Hogarth and Le Cave : published in 1758. 
 
 First lettered impression ; before the militia bill, in the maimed voter's 
 pocket. 
 
 1143. PLATE 4. — CHAIRING THE MEMBERS; 
 
 engraved by Hogarth and Aveline : published in 1758. 
 First lettered impression, before all the alterations. 
 
 THOMAS MAJOR. 
 
 TJiomas Major was bom in London, in 1719. He was directly descended, 
 as appears from a pedigree compiled by Mr. White, of Selborne, from that 
 Richard Major, of Hursley, whose daughter was married to the Protector, 
 Richard Cromwell. Major went to Paris to study engraving under Le Bos, 
 and acquired great proficiency. Being there with Wilton the statuary, 
 during the memorable battle of Cidloden, it was determined to imprison the 
 English as reprisals for the capture of an Irish regiment in the service 
 of France. Wilton being more alert or earlier informed, escaped over 
 the roof of the house where they lodged; but Major was taken, and 
 humourously describes the pomp with which, a diminutive individual, 
 about five feet high, he was conveyed by a troop of gens-d'armes, to the 
 
275 
 
 Bastile. In this prison he remained about three months, — long enough to 
 taste the pleasures of solitary confinement, — till the Marquis cT Argenson, the 
 governor, finding him to be a man of talent, procured his release : Major 
 afterwards engraved several of the Marquis's fine pictures. On his return 
 to England, he was appointed engraver to the Prince of Wales, subse- 
 quently to the King, and die engraver to the Stamp Office. On the 24th 
 of March, 1784, the Great Seal of England was stolen, — by whom it is not 
 known, — and Major being sent for by the minister, offered to provide an- 
 other in the shortest possible time. In twenty-four hours he furnished a 
 perfect substitute of brass, and took it to the minister's levee : it was not, 
 however, paid for till after his decease. 
 
 Major afterwards made a Great Seal of silver, which was in use till the 
 union with Ireland. In 1792 the temporary seal of brass was returned to 
 him, and was converted into a tea-urn, in which state it remains ; and as it 
 is seldom used, produces, perhaps less hot water than it would have done as 
 a Great Seal. 
 
 Our artist was intimate with Hogarth, Strange, and all the men of talent 
 of his day. There is a scarce portrait of him when young, engraved by 
 himself from a French drawing. Walpole pays him a just compliment 
 in the last page of his Catalogue of Engravers in England. He died in 
 1799, at the advanced age of eighty. 
 
 1144. LE MANEGE : 
 
 a chef d'ceuvre of the engraver, from the celebrated picture in the possession 
 of the Marquis d 1 Argenson, to whom it is dedicated. 
 
 1145. THE GOOD SHEPHERD: 
 
 a subject illustrating the Prophecy of Isaiah, chap. 40, v. 2, with the latin 
 text " Sicul pastor gregem suum pascet," engraved after Murillo's celebrated 
 picture of the same subject, then in Mr. Major's possession, afterwards sold 
 to the Duchess of Bridgewater. Published in 1772, and dedicated to the 
 Archbishop of York. 
 
 NN 2 
 
276 
 
 SIR ROBERT STRANGE 
 
 was bom in one of the Orkney Islands, in 1721. He was originally intended 
 for the law, but his natural talents induced his friends to place him under 
 the tuition of Mr. Cooper of Edinburgh, a drawing master. The civil wars 
 in Scotland however, unfortunately interrupted his instruction ; and when 
 tranquillity was restored, he came to London, and from thence visited Paris 
 for improvement in engraving, in which he had already made considerable 
 proficiency. On his arrival there, he became the pupil of Le Bas, and after 
 profiting largely by that ingenious artist's advice, and his own industry, he 
 returned to London in 1751, and devoted himself to the arduous branch of 
 historical engraving. — In 1761 he visited Italy, in order to copy some of the 
 most celebrated pictures of the ancient masters, with a view of engraving 
 them, which he performed. He was a member of the Academies of Rome, 
 Bologna, Parma, and Paris. In 1787 he was knighted, and died in 1792, 
 universally esteemed. 
 
 1146. PORTRAIT OF KING CHARLES I, 
 
 whole length, on foot, in a landscape ; he is followed by a page : his horse, 
 which is s behind him, is held by Lord Hamilton. It is engraved after the 
 picture by Van Dyck, belonging to the King of France, and is dated in 1782. 
 Proof before any writing. 
 
 1147. PORTRAIT OF HENRIETTA MARIA, 
 
 Queen of Charles the 1st. : near her is the young Prince of Wales, afterwards 
 Charles the I Id, and she holds in her arms the infant James Duke of York : 
 on a table is her crown. This is engraved after the picture by Van Dyck, 
 in the collection of the King of England : it is dated in 1784, and is a com- 
 panion to the preceding. 
 
 Proof before any writing ; before a considerable alteration in the crown ; 
 and before a necklace and cross of jewels, which, in the usual proofs, and in 
 the ordinary impressions, appear to be hanging over the edge of the table. 
 
277 
 
 WJLLIAM WOOLLETT 
 
 was born at Maidstone in 1735. This great ornament of the English school 
 of engraving, was instructed in the first principles of his art by Tinney, a 
 man of no note : to his own extraordinary genius alone, can we attribute 
 his excellence. He was alike successful in historical and landscape 
 engraving, in both of which he has outstripped most of his countrymen, 
 and has left behind him a reputation which time can never diminish. As a 
 man, he was not less worthy of praise than as an artist, for he was modest 
 and amiable; and so far from envying other engravers, that it is said he 
 never censured their works, nor omitted to point out their merits. He bore 
 with exemplary patience a dreadful and lingering disorder, and, to the great 
 regret of all lovers of art, and to the unspeakable grief of his family, died 
 in 1785. 
 
 1148. CELADON AND AMELIA: 
 
 after Richard Wilson. — Finished proof before the verses. 
 
 1149. CEYX AND ALCYONE : 
 
 after Richard Wilson, 1769 : companion to the preceding. — Finished proof 
 before the verses, and before the alteration in the name of Alcyone, which, 
 in similar proofs, is spelt Alcione. 
 
 1150. APOLLO AND THE SEASONS: 
 
 after Wilson: engraved by Woollett and Pouncy, in 1777. — Finished proof, 
 before any writing. 
 
 1151. CICERO AT HIS VILLA ; 
 
 walking with his brother Quintus, and his friend Attkus : after Wilson, 
 1778. — Finished proof, before the dedication. 
 
 1152. SOLITUDE : 
 
 a rich woody landscape : after Wilson ; engraved by Woollett and Ellis in 
 1778 : companion to the last. — Finished proof, before the dedication. 
 
 1153. APOLLO AND DIANA DESTROYING THE OFFSPRING OF NIOBE : 
 
 after Wilson r a chef d'ceuvre of the painter and the engraver : — impression 
 on India paper. 
 
278 
 
 1154. PHAETON DEMANDING FROM APOLLO PERMISSION TO GUIDE THE 
 
 CHARIOT OF THE SUN : 
 
 after Wilson,1765 : companion to the last : — finished proof, before any writing. 
 
 1155. LANDSCAPE, 
 
 with a cascade, and in the distance a city ; in the foreground to the right, is 
 a figure reclining, speaking to one standing : the subject is called " St. John 
 and the Magdalen," and is engraved after Annibale Carrache. — Finished proof, 
 before any writing. 
 
 1156. THE SPANISH POINTER, 
 
 engraved from a picture by G. Stubbs. — Finished proof before the in- 
 scription. 
 
 1157. THE FISHERY, 
 
 after R. Wright. — Finished proof, before the inscription, and on India 
 paper. 
 
 1158. ROMAN RUINS. 
 
 This is also called " The allegorical evening of the Roman Umpire':" it is 
 after the celebrated picture by Claude Lorraine, then in the collection of the 
 Earl of Radnor. 
 
 Proof before the arms, or any writing, and with the trials of the graver in 
 the margin, but otherwise finished, some little work in the faces of the figures 
 excepted. 
 
 WILLIAM SHARP 
 
 was born in London, in 1746. He was instructed in drawing by West, and 
 in engraving by Bartolozzi. He was a man of singular habits and opinions ; 
 and in religion was a favorer or rather a follower of Brothers, the pretended 
 prophet, whose portrait he has engraved, and of Joanna Southcot : he was 
 much disappointed in the termination of the career of the latter. 
 
 Sharp died in 182 , and was buried at Chiswick. He was a member of the 
 Academies of Munich and Vienna. 
 
279 
 
 1159. LEAR, EDGAR, AND KENT, IN THE STORM : 
 
 From Shakspeare's tragedy of King Lear ; after B. West. Engraved for 
 BoydelVs edition of the plays. 
 Finished proof with open letters. 
 
 THOMAS RANSOM. 
 
 Living in 1825. 
 
 1160. THE COURTSHIP OF DUNCAN GRAY: 
 
 After David Wilkie ; a subject taken from the old Scottish ballad : this print 
 is from a private plate. 
 
 Finished proof, before any writing. 
 
MEMORANDUM 
 
 OF 
 
 THE COLLECTIONS 
 
 TO WHICH VARIOUS SPECIMENS DESCRIBED IN THE FOREGOING CATALOGUE 
 
 HAVE BELONGED. 
 
 Nos. 
 
 Collections. 
 
 Nos. 
 
 Collections. 
 
 Nos. 
 
 Collections. 
 
 1 and 2. Storck, Sykes. 
 
 64. 
 
 Cosway, Sykes. 
 
 98. 
 
 Albrizzi. 
 
 3 to 5. 
 
 Albrizzi. 
 
 65. 
 
 Sykes. 
 
 99. 
 
 Mariette,Dijonval. 
 
 6 to 21. 
 
 Storck, Sykes. 
 
 66. 
 
 1 'L 1 1 ICS. 
 
 100. 
 
 1 " 1 1 ICS. 
 
 22. 
 
 Santini. 
 
 69. 
 
 Sykes. 
 
 103. 
 
 Mariette, Sykes. 
 
 23,24, 
 
 Storck, Sykes. 
 
 70. 
 
 Lloyd, Sykes. 
 
 104. 
 
 Van Piitten. 
 
 25 to 37. 
 
 Santini. 
 
 71, 72. 
 
 Lloyd. 
 
 105. 
 
 Dijonval. 
 
 38. 
 
 Albrizzi. 
 
 73. 
 
 Durand. 
 
 106. 
 
 Sykes. 
 
 39, 40. 
 
 Storck, Sykes. 
 
 74. 
 
 Sykes. 
 
 107. 
 
 Sykes, Ottley. 
 
 41. 
 
 Santini. 
 
 77, 78. 
 
 De Fries. 
 
 108. 
 
 Appiani. 
 
 42. 
 
 Seratti, Sykes. 
 
 79, 80. 
 
 Storck, Sykes. 
 
 109. 
 
 De Fries. 
 
 43 to 50. 
 
 Reville. 
 
 82. 
 
 Sykes. 
 
 110. 
 
 Mariette, De Fries. 
 
 51. 
 
 Riccardi, Lloyd, 
 
 83. 
 
 Durand. 
 
 112. 
 
 Beckford. 
 
 
 Sykes. 
 
 85. 
 
 Sykes. 
 
 113. 
 
 Mariette, Sykes. 
 
 52. 
 
 De Fries. 
 
 88. 
 
 Storck, Sykes. 
 
 114. 
 
 Sykes, Ottley. 
 
 53. 
 
 Lloyd, Sykes. 
 
 89. 
 
 Barnard, Sykes. 
 
 115. 
 
 Dimsdale. 
 
 54. 
 
 Sykes. 
 
 90, 91. 
 
 Sykes. 
 
 116. 
 
 Van Piitten. 
 
 55. 
 
 Lloyd. 
 
 92. 
 
 Mitchell. 
 
 117. 
 
 Sykes. 
 
 57. 
 
 Ottley. 
 
 93. 
 
 Lloyd. 
 
 120. 
 
 Sykes, Ottley. 
 
 59. 
 
 Storck, Sykes. 
 
 94. 
 
 Baker. 
 
 121,122. 
 
 Sykes, De Fries. 
 
 60. 
 
 Sykes. 
 
 95. 
 
 Fouquet. 
 
 125, 126. 
 
 j- De Fries. 
 
 61. 
 
 Durand. 
 
 96. 
 
 De Fries. 
 
 128. 
 
 
 62. 
 
 Sykes. 
 
 97. 
 
 Beckford. 
 
 129. 
 
 Sykes. 
 
 o o 
 
ii 
 
 Nos. 
 
 Collections. 
 
 JVos. 
 
 Collections. 
 
 Nos. 
 
 Collections. 
 
 130. 
 
 Durand. 
 
 196 to238.*AllcnaudDeFries. 
 
 433 to 439. Guichardot. 
 
 131. 
 
 Dijon val • 
 
 226 to 229. Praun, De Fries. 
 
 443. 
 
 Karcher 
 
 132. 
 
 De Fries. 
 
 230. 
 
 Storck, Sykes. 
 
 444. 
 
 Van Piitten. 
 
 135. 
 
 Guichardot. 
 
 231. 
 
 Cardinal Howard. 
 
 462. 
 
 Sykes. 
 
 136. 
 
 Durand. 
 
 232. 
 
 Dimsdale. 
 
 463. 
 
 Dimsdale. 
 
 136. 
 
 Ottley. 
 
 234. 
 
 Durand. 
 
 464. 
 
 Gulston. 
 
 138 130 
 
 
 235. 
 
 De Fries. 
 
 465. 
 
 Sykes. 
 
 1 40. 
 
 Lloyd. 
 
 237. 
 
 Dimsdale. 
 
 466. 
 
 Yates. 
 
 142. 
 
 De Fries. 
 
 239, 240. 
 
 Lloyd. 
 
 467 to 485. Sykes. 
 
 143. 
 
 Lloyd. 
 
 243, 244. 
 
 De Fries. 
 
 491 to 495. Van Piitten. 
 
 144, 146. 
 
 
 245, 246. 
 
 Lloyd. 
 
 496 to 498. De Fries. 
 
 147. 
 
 1* A til H. LICj T till 
 
 247. 
 
 De Fries. 
 
 501 to 503. Van Piitten. 
 
 
 Piitten. 
 
 248. 
 
 Praun, de Fries. 
 
 504 to 51 1. Mariette, Basan. 
 
 148, 149. 
 
 jD ij o n v£l1 • 
 
 251 to 259. De Fries. 
 
 513. 
 
 Van Piitten. 
 
 1 19 
 
 \Tn rict tp Oil ifhn v_ 
 
 ' l . 1 1 H, Ml, \J UIL 11 til 
 
 260. 
 
 Cole, Lloyd. 
 
 516. 
 
 Barnard, 
 
 
 dot. 
 
 261, 262. 
 
 Lloyd. 
 
 517. 
 
 Van Piitten. 
 
 1 1.1 
 
 1 Ox. 
 
 Sykes. 
 
 263. 
 
 Claussin. 
 
 518. 
 
 Dnrand. 
 
 Ill 1 Ifi 
 
 i ■ pit n relnt 
 
 264. 
 
 Dimsdale. 
 
 519. 
 
 Vates. 
 
 157. 
 
 De Fries. 
 
 267. 
 
 Edwards. 
 
 520. 
 
 Barnard. 
 
 158. 
 
 Guichardot. 
 
 271, 273. 
 
 Haring. 
 
 521. 
 
 Yates. 
 
 159, 160. 
 
 De Fries. 
 
 274. 
 
 Edwards. 
 
 523. 
 
 Van Piitten. 
 
 161. 
 
 Vavi Piitten. 
 
 277 to 280. Mariette, De Fries. 
 
 524. 
 
 Gevers. 
 
 162. 
 
 Dijonval. 
 
 281. 
 
 De Fries. 
 
 525. 
 
 De Fries. 
 
 163. 
 
 Boissieu, Guichardot. 
 
 292. 
 
 Mariette. 
 
 526. 
 
 Musgrave, Sykes. 
 
 164. 
 
 De Fries. 
 
 311 to 320. Dimsdale. 
 
 537. 
 
 1st, Barnard ; 
 
 165. 
 
 Guichardot. 
 
 329. 
 
 Storck. 
 
 
 2d, Seratti. 
 
 166. 
 
 De Fries. 
 
 356, 357. 
 
 Mariette. 
 
 538. 
 
 1st, Pond, Hudson, 
 
 
 
 
 
 
 Astley, Barnard, 
 
 167. 
 
 Guichardot. 
 
 359, 360. 
 
 Storck. 
 
 
 Bcckford ; 
 
 170. 
 
 De Fries. 
 
 362. 
 
 Cardinal Howard. 
 
 
 2. Boissieu,Norblin 
 
 172. 
 
 Lock. 
 
 377, 378. 
 
 Sykes. 
 
 541. 
 
 Edwards. 
 
 176 to 187. Artaria, from 
 
 379 to 384. Townley. 
 
 542. 
 
 Van Piitten. 
 
 
 Morghcn. 
 
 385. 
 
 Dijonval. 
 
 545. 
 
 Gevers. 
 
 190. 
 
 Belli. 
 
 387. 
 
 Sykes. 
 
 550. 
 
 Cracherodc. 
 
 193. 
 
 Lloyd. 
 
 394 to 431 
 
 . Barnard. 
 
 552. 
 
 Mariette, Guichar- 
 
 194, 195. 
 
 Dimsdale. 
 
 432. 
 
 Lloyd. 
 
 
 dot. 
 
11] 
 
 jVos. Collections. 
 
 553. Van Piitten. 
 
 554. Claussin. 
 
 555. Van Piitten. 
 563. Burgomaster Six. 
 564 to 566. Dimsdale. 
 
 567. Willet. 
 
 568. Guichardot. 
 
 569. Dijonval. 
 
 570. Gevets. 
 
 571. Dijonval. 
 
 576, 577. Astley. 
 
 578 to 585. De Fries. 
 
 586 to 590. Dimsdale. 
 
 591 to 622. Boissieu, De Fries. 
 
 631. De Fries. 
 
 632 to 641. Claussin. 
 
 642 to 646. Vincent. 
 
 647 to 654. Rigal, De Fries. 
 
 656. Van Leyden, De 
 
 Fries. 
 
 659to773. Ploos van Amstel, 
 Mariette, &c. 
 
 774 to 785. Guichardot. 
 
 786 to 806. Ottley. Baker, &c. 
 
 807. Baker. 
 
 808 to 820. Ottley, Baker, 
 Blake,Woodhouse 
 
 821 to 883. Ottley. 
 
 JVos. 
 
 Collections. 
 
 881 to 908. 
 
 De Fries. 
 
 913 to 919. 
 
 Van den Bosch, 
 
 
 De Fries. 
 
 920 to 939. 
 
 de Fries. 
 
 941. 
 
 Morse. 
 
 943 to 950. 
 
 De Fries. 
 
 951 to 954. 
 
 Dijonval. 
 
 955 to 982. 
 
 De Fries. 
 
 996 to 1008. 
 
 Van Leyden, De 
 
 
 Fries. 
 
 1009. 
 
 Dimsdale. 
 
 1010, 1011. 
 
 De Fries. 
 
 1012to 1014. Dimsdale. 
 
 1021, 1022. 
 
 Dimsdale. 
 
 1035, 1036. 
 
 De Fries. 
 
 1039, 1040. 
 
 Dimsdale. 
 
 1041. 
 
 Van Piitten. 
 
 1042. 
 
 Dimsdale. 
 
 1043 to 1060. 
 
 Dijonval. 
 
 1062. 
 
 Morse. 
 
 1065. 
 
 Manini . 
 
 1069, 1070. 
 
 Van Piitten. 
 
 1071. 
 
 Sykes, Ord. 
 
 1072. 
 
 Mariette,Coulet 
 
 1075. 
 
 Van Piitten. 
 
 1077. 
 
 Hall. 
 
 1078. 
 
 Mariette, Van 
 
 
 Piitten. 
 
 Nos- 
 
 Collections. 
 
 1079. 
 
 Van Piitten. 
 
 1080. 
 
 Guichardot. 
 
 1081, 1083. 
 
 Van Piitten. 
 
 1085. 
 
 De Fries. 
 
 1086. 
 
 Guichardot. 
 
 1087. 
 
 De Fries. 
 
 1088. 
 
 Hall. 
 
 1090. 
 
 Dimsdale. 
 
 1092. 
 
 Van Piitten. 
 
 1093. 
 
 Wille. 
 
 1094. 
 
 Dimsdale. 
 
 1096, 1097. 
 
 Dimsdale. 
 
 1098. 
 
 Bervic's Sale. 
 
 1101. 
 
 Dimsdale. 
 
 1103. 
 
 Van Piitten. 
 
 1107. 
 
 Sykes. 
 
 1111. 
 
 Mariette, Sykes. 
 
 1112. 
 
 Sykes. 
 
 1113. 
 
 Musgrave,Sykes 
 
 1114. 
 
 Sir J. W. Lake, 
 
 
 Mariette, Sykes. 
 
 1115. 
 
 Dijonval. 
 
 1116. 
 
 Ord. 
 
 1137. 
 
 Baker. 
 
 1139, 1140. 
 
 Baker. 
 
 1146. 
 
 Belli. 
 
 1151, 1152. 
 
 De Fries. 
 
 1154. 
 
 De Fries. 
 
 1158. 
 
 Mrs. Nichols. 
 
 oo 2 
 
iv 
 
 NOTE. 
 
 On the subject of Breenbergh's prints, the following are the remarks of a judicious friend, 
 whose collection of etchings is pre-eminently select: — " The Archduke Charles's cabinet at 
 Vienna contains a complete collection of the works of Breenbergh, as described by Bartsch. There is an 
 additional etching (No. 29 of Rigal's Catalogue). The Imperial Collection there is very incomplete, 
 and wants Nos. 2, 3, 24, 25, 26, 27. The Collection in Paris is equally imperfect, and wants Nos. 3, 
 24, 25, 26, 27, 28. A memorandum made at Amsterdam, does not enable me to state whether they 
 want any print, but I think the collection is perfect, as it has the No. 29 of Rigal, and another unde- 
 scribed etching, which is not noticed in any catalogue. Bartsch is mistaken in quoting from Nyman's 
 sale, as he mentions only 24 prints ; that number is contained in lot 20, and there is a second lot of 8, 
 and amongst them the Bait-Beer. As the Rigal catalogue has been mentioned, it may be well to add, 
 that No. 30 there described, is more like P. de Laer ; and No. 31 and 32, by a very inferior hand, but 
 possibly from Breenbergh's designs. I have a portrait certainly by himself, and another landscape, 
 which much resembles his etchings : neither of these is, I believe, described, and I know of no other im- 
 pression of either." 
 
 ERRATA, AND REMARKS. 
 
 Page 44, No. 75. There is an impression of this print in the Royal Collection at Paris ; it is there 
 called Venus. 
 
 Page 70, line 27. For " Ludovico," read " Agostino." 
 
DESCRIPTION 
 
 ILLUSTRATIONS OF THE CATALOGUE. 
 
 The tail-piece to the Italian School, representing Raffaelle correcting on the copper the outline of 
 J/arc' Antonio's plate of Adam and Eve, is a testimony of the friendship of William Young 
 Ottley, Esq. by whom it is designed and engraved. 
 
 SUBJECTS. 
 
 The Frontispiece is a fac-simile of an engraving by 
 Lionardo da Vinci, presumed to be unique : it is 
 copied by ----- - 
 
 The Vignette in the TitlePage represents Protogenes 
 the Painter, discovered by Demetrius at the taking of 
 Rhodes : it is designed on stone by - 
 
 The tail-piece to the Preface, is designed and en- 
 graved by - 
 
 The initial letter of the Introduction, representing 
 amateurs with a print folio - 
 
 The tail-piece to the Introduction, representing 
 the engraving from a painted portrait, compared with 
 the picture and its original - 
 
 The head-piece to the Italian School is a fac simile 
 from a print by Giulio Campagnola, and is engraved 
 by ... 
 
 The initial letter of the Italian School, representing 
 Finiguerra the goldsmith, chasing a vase, is designed 
 and engraved by - ... 
 
 ARTISTS. 
 Mr. Henry Hays. 
 
 Henry Warren, Esq. 
 Frank Howard, Esq. 
 Ditto. 
 
 Ditto. 
 Mr. Periam. 
 
 Frank Howard, Esq. 
 
vi 
 
 PAGE. SUBJECTS. 
 35. The initial letter of the biography of A. Manteyna, 
 
 part of The Triumph of Julius Ctssar 
 
 39. The initial letter of the biography of Lionardo da 
 
 Vinei : a Holy Family - 
 
 50. The initial letter of Mare' Antonio's biography, re- 
 
 presenting Raffaelle and Mare' Antonio, his engraver 
 
 59. The initial letter of the biography of Giulio Bona- 
 
 sone : a Nymph and a Triton ... 
 
 The initial letter of the biography of Parmigianino: 
 Apollo and Daphne ----- 
 
 69. The initial letter of the biography of Agoslino 
 
 Carrache : a Dead Christ - 
 
 The head-piece to the German School, is a fae-simile 
 of an anonymous print of Tivo Rustics Wrestling, 
 and is copied by 
 
 The initial letter of the Master o/1466, representing 
 the Queen of Lyhia and the Dragon, is designed and 
 engraved by - 
 
 95. The initial letter of the biography of Schongauer, 
 
 representing a Saint - - - - - 
 
 106. The initial letter representing Albert Durer engrav- 
 
 ing, is designed and etched by 
 
 122. The initial letter of Hollar's biography 
 
 The tail-piece to the German School, representing 
 Connoisseurs at a Print Sale ... 
 
 The head-piece to the Flemish Sf Dutch Schools, the 
 fac-simile of a rare etching by Saehtleven, is copied by 
 
 The initial letter, the Dog of Goltzius, is designed 
 and engraved by 
 
 139. The initial letter of Van Dyck's biography: an 
 
 equestrian portrait 
 
 The initial letter, representing S. a Bolswert en- 
 graving a picture by Rubens 
 
 The initial letter of C. Visscher's biography ; Viss- 
 cher's Cat ...... 
 
 ARTISTS. 
 Frank Howard, Esq. 
 
 Ditto. 
 
 Ditto. 
 
 Ditto. 
 
 Ditto. 
 
 Ditto. 
 
 Mr. Periam. 
 
 Frank Howard, Esq. 
 
 Ditto. 
 
 Ditto. 
 Ditto. 
 
 George Cruikshank, Esq. 
 Mr. Henry Hays. 
 Frank Howard, Esq. 
 Ditto. 
 
 Ditto. 
 Ditto. 
 
vii 
 
 SUBJECTS. 
 
 The initial letter, representing Rembrandt etching - 
 
 The initial letter of Paul Potter's biography 
 
 The initial letter of A. van de Velde's biography - 
 
 The initial letter of Ostade's biography ; Peasants 
 in an Alehouse 
 
 The initial letter of Waterloo's biography ; part of 
 the Landscape of Tobit - 
 
 The initial letter of Swanevelt's biography - 
 
 The initial letter of Berghem's biography - 
 
 The tail-piece to the second part of the Flemish and 
 Dutch School, representing Connoisseurs at a Print Stall 
 
 The head-piece to the French School is a fac-simile 
 of the letter Q, part of an Alphabet by Noi or Noel 
 Gamier, and is copied by - 
 
 The in itiul letter of Duvet's biography; an allusion 
 to the animal often represented in his prints - 
 
 The initial letter of CalloVs biography; Callot 
 sketching a battle : designed and engraved by 
 
 A reduced copy of a rare print by Claude Lorraine, 
 engraved by 
 
 The tail-piece to the French School, representing 
 Connoisseurs in a Print Shop ... 
 
 The head-piece to the English School, is a fac-simile 
 of an unique portrait by Faithorne, and is copied by - 
 
 The initial letter of Payne's biography, is a minia- 
 ture copy of his portrait of Dr. Alabaster, engraved 
 
 by 
 
 The initial letter of Faithorne 1 s biography : Fai- 
 thorne presenting his engraved portrait of Charles the 
 First, to that monarch, designed and engraved by - 
 
 The initial lettir of Hogarth's biography: part of 
 his Enraged Musician - 
 
 The tail-piece to the English School, representing 
 The Print Room of the British Museum 
 
 The tail-piece to the Memorandum of Collections - 
 
 ARTISTS. 
 Frank Howard, Esq. 
 
 Ditto. 
 
 Ditto. 
 
 Ditto. 
 
 Ditto. 
 Ditto. 
 Ditto. 
 
 George Cruikshank, Esq. 
 
 Mr. Sawyer. 
 
 Ditto. 
 Frank Howard, Esq. 
 Mr. Periam. 
 
 George Cruikshank, Esq. 
 Mr. Sawyer. 
 
 Mr.W.B. Tifpin. 
 
 Frank Howard, Esq. 
 Ditto. 
 
 George Cruikshank, Esq. 
 Frank Howard, Esq. 
 
Vlll 
 
 The tail-piece to the Description of tin Illustrations, represents A Battle of Engravers. In the 
 foreground Hogarth is engaging Masson ; near them Balechou is attacking Woollett, and further in 
 the distance Marc' Antonio is furiously contending with Albert Durer: all these engravers were rivals : 
 aqua fort is bottles, print folios, graving tools, and other instruments of art, form the missiles of 
 attack, and the means of defence. It is designed and engraved by George Criiikshank, Esq. 
 
ALPHABETICAL 
 
 INDEX OF ENGRAVERS. 
 
 Page 
 
 Agostino Veneziano (See Veneziano) 
 
 Aldegrever (Henry) 117 
 
 Altdorfer (Albert) „ 115 
 
 Altobello 41 
 
 Andrea (Zoan) 44 
 
 Anonymous Engravers, without Marks or 
 
 Monograms 104 
 
 Artists unknown : 
 
 of the Anchor 103 
 
 of the Mouse-trap (See Nadat) 
 
 of 1466 85 
 
 of 1515 49 
 
 of the Unicorn (See Duvet) 
 
 of the Die (See Die) 
 
 of the Shuttle (See Zwoll) 
 
 of the Crab 249 
 
 of the Caduceus (See Barbary) 
 
 of the mark «^S< 104 
 
 without Name or Mark 104, 105 
 
 Baldini (Baccio) 20 
 
 Barbary (Giacomo di) 45 
 
 Bartolozzi (Francesco) 77 
 
 Beham (Bartholomew) 115 
 
 Beham (Hans Sebald) 116 
 
 Berghem (Nicholas) 238 
 
 Page 
 
 Bervic, orBarvez (Jean Guillaume) 262 
 
 Biscaino (Bartolomeo) 76 
 
 Bloemart (Cornelius) 145 
 
 Blooteling (Abraham) 149 
 
 Bocholt (Franz von) 93 
 
 Boissieu (Jean Jacques de) 261 
 
 Bol (Ferdinand) 161 
 
 Bolswert (Boetius a) 141 
 
 Bolswert (Scheltius a) 142 
 
 Bonasone (Giulio) 59 
 
 Both (Jan) 235 
 
 Botticello (Sandro) 28 
 
 Breenberg (Bartholomew) 226 
 
 Brescia (Giovanni Maria da) 42 
 
 Brescia (Giovanni Antonio da) 43 
 
 Caduceus (Master of the) 45 
 
 Callot (Jacques) 250 
 
 Campagnola (Giulio) 
 
 Campagnola (Domenico) 
 
 Cantariui (Simone) 
 
 Caraglio (Giovanni Jacopo) 
 
 Carrache (Ludovico) 
 
 Carrache (Agostino) 
 
 Carrache (Annibale) 
 
 Castiglione (Giovanni Benedetto) 
 
Page 
 
 Cesena (Pellegrini da) 16 
 
 Claude Lorraine (See Gelee) 
 
 Clouet, or Clouvet (Peter) 148 
 
 Cranach (Lucas) Ill 
 
 Della Bella (Stefano) 73 
 
 Desnoyers (Aug. Louis Boucher) 262 
 
 Die (Master of the) 61 
 
 Dietrich (Christian Wil. Ernest) 125 
 
 Drevet (Pierre Imbert) 259 
 
 Ducq (Jan le) 170 
 
 Durer (Albert) 106 
 
 Dusart (Cornelius) 240 
 
 Duvet (Jean) 245 
 
 Dyck (Anthony van) 139 
 
 Edelinck (Gerard) 256 
 
 Engravers, Anonymous (See Artists and Mono- 
 grams) 
 
 Everdingen (Aldert van) 200 
 
 Faithorne (William) 268 
 
 Finiguerra (Maso) 18 
 
 Fogolino (Marcello) 37 
 
 Francia (Iacimo) 49 
 
 Frey (Jacques P. de) 263 
 
 Garnier (Noe or Noel) 246 
 
 Gelee (Claude, called Lorraine) 253 
 
 Ghein (James de) 139 
 
 Gherardo 33 
 
 Ghisi (Giovanni Battista) 62 
 
 Ghisi (Giorgio) 63 
 
 Ghisi (Adamo) 63 
 
 Ghisi (Diana) 64 
 
 Goltzius (Henry) 131 
 
 Page 
 
 Goudt (Henry) 143 
 
 Guido Reni 72 
 
 Hameel (Alart du) 100 
 
 Hogarth (William) 271 
 
 Hollar (Wenceslas) 122 
 
 Hopfer (David) 119 
 
 Houbraken (Jacob) 150 
 
 Jardin (Karl du) 165 
 
 Krtjg (Ludwig) 113 
 
 Lautensack (Hans Sebald) 120 
 
 Le Clerc (Sebastien) 258 
 
 Leyden (Lucas van) 109 
 
 Lignon (Frederic) 263 
 
 Livens (Jan) 162 
 
 Loggan (David) 270 
 
 Lombart (Pierre) 255 
 
 Longhi (Giuseppe) 80 
 
 Mair 100 
 
 Major (Thomas) 274 
 
 Masters Unknown (see Artists) 
 Mantuano (see Ghisi) 
 
 Mantegna (Andrea) 35 
 
 Marc'Antonio (see Raimondi) 
 Martin Schoen (see Schongauer) 
 
 Masson (Antoine) 257 
 
 Matham (James) 133 
 
 Matsys (Cornelius) 120 
 
 Mazzuola (Francesco, called Parmegianino) .. 65 
 
 Mecken (Israel van) 96 
 
 Meldolla (Andrea, called Schiavone) 66 
 
 Mellan (Claude) 254 
 
 Mocetto (Girolamo) 36 
 
X.1 
 
 Page 
 
 Modena (Nicoleto da) . 40 
 
 Monograms : 
 
 "5?L (f> 100 
 
 °0TM m 
 
 — .93 
 
 B<5jK, 103 
 
 T>(x#. 93 
 
 FB 121 
 
 92 
 
 FVB 93 
 
 HL n4 
 
 jT.(5. 102 
 
 M5- ». 
 
 PP 34 
 
 T.W. 98 
 
 V d m 
 
 ,W. 99 
 
 W t « 
 
 — \v<f p. » 
 
 Zr-A: « 
 
 Pope 
 
 Montagna (Benedetto) 40 
 
 Morglien (Raffaelle) 78 
 
 Miiller (Ferdinand) * I 26 
 
 Miiller (Jan) I 34 
 
 Musis (Agostino di, see Veneziano) 
 
 Nadat, or the Master of the Mouse-trap 48 
 
 Nanteuil (Robert) 2 56 
 
 Niello, Works of : 
 
 on Silver 8 
 
 Impressions of, on Sulphur 9 
 
 Impressions of, on Paper : 
 
 . by Unknown Artists 11 
 
 by Pellegrini da Cesena . . 16 
 
 byFiniguerra 18 
 
 Ostade (Adrian van) 175 
 
 Parmegianino (See Mazzuola) 
 
 Passe (Crispin de) 135 
 
 Passe (William de) 136 
 
 Passe (Simon de) 136 
 
 Payne (John) 267 
 
 Pencz (George) 118 
 
 Pesaro (Simone da, see Cantarini) 
 
 Pilgrinistab (Hans Ulric van) Ill 
 
 Podesta (Giovanni Andrea) 75 
 
 Poilly (Francois de) 255 
 
 Pollaiuolo (Antonio del) 32 
 
 Pontius (Paul) 143 
 
 Porto (Giovanni Battista del) 41 
 
 Potter (Paul) 163 
 
 Raimondi (Marc'Antonio) 50 
 
 Ransom (Thomas) 279 
 
 Ravenna (Marco di) 58 
 
Xll 
 
 Page 
 
 Rembrandt (Paul) van Ehyn 153 
 
 Reni (Guido) 72 
 
 Reverdino (Cesare) 68 
 
 Ribera (Giuseppe, called Spagnuoletto) 74 
 
 Richomme (Joseph Theodore) 264 
 
 Robetta 33 
 
 Roghman (Roland) 223 
 
 Rosa (Salvator) 75 
 
 Rota (Martino) 68 
 
 Roullet (Jean Louis) 258 
 
 Ruysdael (Jacob) 174 
 
 Saftleven (Herman) 172 
 
 Sadeler (Jan) 138 
 
 Saenredam (Jan) 133 
 
 Schiavone (Andrea) — See Meldolla 
 
 Schiavonetti (Ludovico) 80 
 
 Schmidt (George Frederick) 126 
 
 Schongauer (Martin) 95 
 
 Sharp (William) 278 
 
 Siegen (Ludwig von) , 124 
 
 Solis (Virgil) 121 
 
 Staaren (Dirick van) 113 
 
 Stoss, or Stoltzhirs (Francis) 92 
 
 Strange (Robert) 276 
 
 Suyderhoef (Jonas) 145 
 
 Swanevelt (Herman) 210 
 
 Pagt 
 
 Takdietj (Alexander Pierre) 262 
 
 Teniers the Younger (David) 222 
 
 Valck (Gerard) 150 
 
 Van de Velde (Adrian) 171 
 
 Van Dyck (Anthony) 139 
 
 Veneziano (Agostino) 56 
 
 Vico (Enea) 61 
 
 Vinci (Lionardo da) 39 
 
 Visscher (Cornelius) 146 
 
 Visscher (Jan) 148 
 
 Volpato (Giovanni) 78 
 
 Vorsterman (Lucas) 140 
 
 Waterloo (Anthony) 190 
 
 Wenceslas d'Olmutz 98 
 
 Wierx (Jerome) 137 
 
 Wille (Jean Georges) 259 
 
 Wooden Block ; unique specimens of early 
 
 Printing from 1 
 
 Woollett (William) 277 
 
 Wyck (Thomas) 225 
 
 Zagel, or Zasinger, &c 101 
 
 Zeeman (Renier) 232 
 
 Zwoll, or the Master of the Shuttle 94 
 
 London —1828. 
 P. Richards, 100, St Martin's Lane. 
 
GETTY CENTER LIBRARY 
 
 3 3125 00111 3444 
 
iililliiii 
 
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