I m .THE of ^atnttng, AND THE LIVES OF THE painters: CONTAINING, A Compleat Treatife of Tainting^ Designing , and the Ufe of P R I N TS : With Reflections on the Works of the moft Celebrated PAINTERS, and of the feveral SchoWs of Europe , as well ANCIENT as MODERN. Being the Neweft, and moft perfeft Work of the Kind extant. Done from the French of Mon four De P I L E S. To which is added. An E S S AT towards an Engl ijb* School. \ With the Lives and Charters of above ir- S ^lS one of the greatef Encourage ~ ■ merits to moji Writers, that they JL generally Jddrefs to P erf oris who knowing little of the SuhjeSl they treat of it gives them an Opportunity to fay as many kjnd Things as they pleafe of their own Productions, without fear of pepre- henfion : But this Advantage I have en- tirely loji ; for infpeafyng of Painting to you. Sir, I fpea\ to One of the heft Judges of that noble Art, which is not to he un- der food without Penetration, Delicacy, good ISence , a ref rid Tafte^ and a Portion of that Genius which infpird the Painter in his Performance , If 1 fhould fay things boldly to you, and as of my own Know* ledge, you would enfily deteB the Deceit, and my Preemption would he more unpar- donable than my Ignorance . Tet, tho l muf he very Cautious how I go out of My A 2 Veptbj The DEDICATION. 1 Depth 5 lefi 1 fink when 1 attemft to Swm t I may 'Venture farther on your Candour and Humanity than on niy own Judgment 5 were it to the full as good as 1 could wifh it s ’ Tis the Happinefs 5 Sir, of Men of your Fortune ? that they can (Read and See what they think fit for their Pleajure or lnfiru - Bion ; hut this Benefit rather exptfes than improves Many 9 who have not a true Relijb of the Things about which they are curious Vajl Libraries ill-chofen are rather Rub- bijh than Curiofities ; and numerous Col- lections of RiBures injudicioufly made y art the f port and contempt of the SpeBator^ and a Reflection on the Owner. But when fuch Libraries and Collections excel alike in Number and Value ^ they are Treajures of which the greateft Princes are proud . There* s no Gentleman in England who has any thing of this kind in greater Perfection than yourf elf who po fiefs fomething of fe- ver al of the befl Matters that are fpokgn cf in the following Treatifc * and every L)ay in your own Houfe (the Ornament of the finest Square in Europe) you behold fome of the Wonders that the Hands cf Paolo Verpnefe^ Guido, Nicholas Pouflin, <^arlo The DEDICATION. Carlo Maratt, and other excellent Jr lifts have produc'd. By the Nicety of your Choice the World admires that of your Go tit, and are furprixld to fee fo many rare Things together tn a Country where (paintings and the politer Arts, are not fo much encourag'd as in thofe P laces , where , perhaps , the Nobility and Gentry are not fo well qualify d to judge of Merits nor fo well able to reward it as in England. Tetj there are even here Jome few llluftri • ous Perfons , and Men of Worth and Honour , who are folhcitous for the Projperity of the Arts, and contribute , by their Studies and Bounty , towards making themflourijh and prevail among us. Painting is Sifter to Poetry, the Mufes Darlings and tho ' the latter is moreTalka- tive 0 and confequently more able to pu[h her Fortune, yet Painting , by the Language of the EyeSj and the Beauty of a more fenfible Imitation of Nature , makes as ftfrongan Imprejfton on the Souf and deferVes , as well as Poetry , Immortal Honours . Confuls, Emperors and Kings have entertain'd themfelves with the Bxercifes of A l Poetry, The DEDICATION. Poetry, and exalted the Mufe by the Ho- mage they paid her : As much is to be f aid for Painting. One of the four Houfes of the Fabii, as Eminent as any in Rome, j ajjumd the Name of Pi<5tor, for that Fa- 1 bills, their Ancefor , fainted the Temple of Health, and was efeemd the Founder of\ the Old Roman School. More than one of the Emperors in the Bas Empire, fpent many Hours with a Pallet and Pencil, and 7 in the l aft Century, Lewis XIII. learnt 1 to Defign of Vouet. The late Queen ; MARY of Glorious Memory , and her I Sifer our prefent Gracious Sovereign Queen ] ANNE, were both infrutled in this Art by Gibfon the Dwarf. All the Children of the Queen of Bohemia, Daughter to i\ing James 1 . were taught to Faint by HontorlF, and y amongthe refjhe Princefs Sophia, who , with her Sifer the Abbe fs of Maubuiffon, fays Monfeur de Piles, fe diftinguerent par l’habilete de leur; Pingeau. Alexander the Great was not fo fond of his Miftrefs,^x of his Painter, fir he farted with her to fleafe him , and I our own King Charles I. delighted more The DEDICATION. in Tainting than in all the other Sciences \ as much a Maffer as he was of all. But pUy Sir , are too well acquainted with the Hitfory of the Art to he pleas’d with any Information from Me^ nor does it want any other 'Recommendation than the Delight it at once affords the moff fublime Vacuity of the Soulj the Judgment, and the moff delicate Sence of the Body y the Sight to engage the Trotebhon of the Curious : And as you are fo in a Very high Degree 5 I hope 5 Sir y this will he no ungrateful Offerings ffnce y as far as our Author is concern 'dfftis the moff com - pleat and exabl Difcourfe of the IJind that ever was puhhjh'd in fo fmall a Compafs. The Diflertatiofi before his Abridg- ment of the Lives of the Painters has been thought admirable by fevere Criticks, and the Rules he lays down for Tainting , , Jo juff y that they might ferve aljofir Poetry. / do not fay this 5 Sir y to biafs your Opini- on in his favour y that would be equally vain and arrogant ; you are fo well acquainted with our Author in his own Language y that it will be eajj fir you to judge whether he deferVes the Char abler which is given of him or noU He calls his Account of the d i; £*&££$ / The DEDICATION. painters Lives an Abridgment, and that with good reafon y for you will imme- diately perceive that he in dufriou fly avoids entring into the Detail of their Actions : Indeed^ the great efi of them Leonardo da Vinci, Michael Angelo, and Sir Peter Paul Rubens only excepted , did nothing of Conference enough , otherwife than as Pain- ters, to give occafion for any thing to he faidog them worthy the notice of the Pub' 1 lick. In their private Capacities their Lives were hie the r efi of the Bulf of Mankind^ toe mean for the fen of an Hiftorian, and Monfieur de Piles has thought ft to let his floor t Hifory of them contain only juch of their Attions as fervd^to give the World the hefi Idea of them as Painters. He has mcerted none hut what had fome Rela- tion or other to their Art , and that was eaf- ly done in a few T age j, and fome times in a few LineSy unlefs he had defignd to write a Hifory of Pictures, and not of Pain- ters. I believe Gentlemen s Cunofity , m this Caje 0 will go no farther than to kriow where the Painter was horn , whofe j)if ciple he was, what was his Manner, how The DEDICATION. he Executed it y which were his hefl Pieces^ and when he Vyd. Our Author tells us in his Preface, that he had feen all the remarkable 'Books of this kjnd 9 and after he had Examin'd Vafari, Ridolfi, Carlo -Dati, Baglioni, Soprani, the Count Malvafia, Pietro Bellori, Van-Mandre, „ , , , Cornelius de Brie, Felibien, Sandrar and others , thought fox Abridgment necef- fary as well as his Dijfifertation, for large Volumes on the Lives of BrivateMen , mujl certainly contain many trivial Things , and confeojuently prove tirefom. There are few who have Leifure or Application enough to run thro' Ten or Twenty Books on an Art which was intended* chiefly for Pleafure , tho' it has alfo its Opportunities of Inflrutl- ing , as is made appear , we hope , in the following Tranflation. His (fleafons had the fame Weight with Me in the Effay towards an Englilh School. I have written of the Englilh. Mafters, more as they were Painters than as they were IflLen ; And yet 1 haVe 0 with much Pains and Trouble , gather'd together^ from the heft Authorities , Materials enough to The DEDICATION. to malg fome of the Ll'Ve s larger than Mon - fieur de Piles has done his . 1 would not meddle with thofe Mailers that are livings as well knowing that s a tender Jffair y and not to be touch d without running the Rifque of giving general Offence . If Difcreticn would have permitted me to do it y I might have enlargd and adorn d Our School fo muchj that neither the Roman, nor the Venetian, would have had caufe to be ajbamd of its Company. Js it is y His more than a Match for the French; and the German, and Flemifli-Schools, on- ly excel it by the performances of thofe Mailers whom we claim as our Own . Hans Holbein and Van-Dyck are as 7nuch Ours, as Seballian ^ Venice be- longs to the Roman-School, Spagnolet to to the Lombard, or Ellis and De Cham- pagne to the French : Nor have we a jmall Title to Sir Peter Paul Rubens, for ’ twas the Protection and Friendjhip of the Puke of Buckingham, that procur'd him the Opportunities he had of dijlinguijh- ing himfelf above others of his Contempora- ries and Country-Men of the fame Prof eft- on. [Twas the Puke ^/Buckingham that recom? The DEDICATION. recommended him to the Governor of' the Nethei lands, as u proper Perfon to refde at the Court of England, as the fyng of Spain s Minijier. 'Twas here that he per- form'd fome of his heft Pieces, and here that he accpuir d the Char abler of a States- Man, which , no doubt , was a confderable Advantage to his (Reputation as a Painter. But why fhould we he fo unjuf to our Jejfes , as to think, we fund in need of an Excufe, fir pretending to the Honour of a School of Painters as well as the French, who have been in Poffejfon of it almof as long as the Italians. Tou know , Sir , by the many Beautiful Pieces you have feen of thePnncipa/M'afeizs of bothNations , that if they have had their V ouets, their Pouffins, and Je Bruns, we have had our Fullers, our; Dobfons, and our Coopers; and have not only wfnitely cut-done them in Portraits, but have produc'd more Ma- ilers in that kind) than all the reft of* Europe. We may aljo affirm , that the Art is en - debted to us for tfoe Invention of Mezzo- Tinto, and the Perfection of Crayon- Author s Account of Paftils The DEDICATION. Paftils, a name formerly given to Cray- ons, one may fee that the Italians had a Very flight Notion of a Manner that is pra&is’d here with Jo much Succefs. They made their Drawings on a grey Paper ^ with blacky and white Chalky and left the Paper to ferVefor the Middle-Tint. Their Colours were like ours y dry y without any Mixture of Oil or Water . Our Country - Man 0 Mr. Afhfield, multiply d the Num- ber and Variety of Tints, and painted Various Complexions in Imitation of Oilj and this Manner has been fo much im- prov'd among us , that there s no fubjeCl which can be exprefs’d by Oil , but the Crayons can effefl it with equal Force and Beauty . ToUj Sir 0 who are fo good a Critic and fo generous a Patron of the Ait, can- not but wijh we had the fame Advantage us other Schools have in an Academy. 3 Tis true^we have fever al admirable Colle&i- ons, and your own in Particular , whofe Pieces are enough to inform the mejl indu T firms Difciple, and infpire his Genius to arrive at a Maflery m the Art. 1 have heard a famous Painter ajfert 3 That our The DEDICATION. Englifh Nobility and Gentry may boa ft of as many good Pictures., of the beft Italian Mailers, as me itfelf. Churches only excepted, and yet ’tis fi difficult to have Jccefs to any ofthefe Col- lections, unless it he to yours , Sir 3 who feem to haVe made your excellent Collecti- on, as much for the puh/icf InjlruClion , m for your own private Satisfaction , that they are , in a great me afure ^render d ufelefs y life Gold in Mtfers Coffers . Had we an Jca- demy we might fee how high the English Genius would four , and as it excels all ther Nations in Poetry, fo 0 no doubt ^ it would equal , if not excef the greatefi of them all in Paintiitg, were her Wings as well imp'd as thofe Italy, Flanders and France. As for Italy, her Academies have kept her Genius alive , or it would have expir'd with her Mafters , who frjl Jhew'd fhe had one 0 as her Genius in Poetry dyd with. JT aflo, and his Contemporaries . The French, indeed , are a forward Teople^who pretend to ffiVal all Nations of the World in their feVeral Excellencies , yet confides ing they Value themfelves fo much on their £52 Academy, 'tis a matter of wonder to The DEDICATION. fee fo little Improvement in them by it \ And if we are equal only to them now y how much fioould we out-fhine them, had the 'EugYiihDifcip/es in this Art as many Helps and Encouragements as theirs. Sir, ’tis with all poffib/e Refpett that I offer you a Treatife, which has been fimjtid With fo many Difficulties. The Art was new to us y tho the Language of the Origi- nal was not , but we wanted the Advice of thofe Gentlemen whom Mr. Dry den con- futed in his Translation of Frefnoy. If we have errd in Terms y you 'll. y l hope, confider us as the World has been favoura- ble to that immortal Toet for the fame Fault . Could I have fo far prefumd on your Readinefs to oblige all Mankind ? as to have defir d to be enlighten d by you when I was in the Dark, I had committed fewer Errors on my part , but I had no Warrant for that Freedom 5 and tho we communica- ted the whole Work, to all that we believ'd could ajjtjl us in it y yet ’ tis certain ? with all our caution 3 we are far from being In- fallible. Several Majlers y whom 1 have apply d have, di^ J J about the Interpretation of fome The DEDICATION fome Terms, and even French (painter s hafte ajfur’d me, that our Author has us d fome which were unknown before. I tod £ the fence of thofe words from them, and it agreeing with that of the Author, 1 hope, we have no where mifakgn him ; at leaf confider ably. Tie is excufable for his Innovations , on account oj~ his great Tfnow^ ledge in the Art. A was this Gentleman who tranjlated Monfeur FrefnoyV Latin Poem, De Arte Graphics, and wrote the Pc fe Elions upon it, but yet not thinking them JuJficient to explain it as dearly as he would have it, he publifh’d this Bod [ Twen- ty Tears afterwards . He is fill living in Paris, and Defigns and Paints very well limfelf for his DiVerfion, being not of the Profeffwn, however, I doubt from the Cha- racier of the French-School, whether his Practice comes up to his Theory. I am con f cious to my felf that our Tran- flation f him, as to the Stile, falls jhort of Mr. Drydenr Verfion of FrefnoyV Poem. I The Original will, in fome meafure, make amends for that, and it had been happy fir s titir Author , and the whole Art of Painting, if the Gentleman, who added the Lives of the The DEDICATION. the Painters to Mr, DrydenV Tranflati - on, had had Leifure or Inclination to have done for us, what he was fo kind as to do for him , and have fet out the Englifh- School with the Ornaments, that his Judgment and Elegance could have given it, 1 had his Work, before me in the Exe- cution of my own, and endeavour d to imi- tate him in the Account of thofe Englifli t Painters , whom he thought worthy his Ten. They had all been Immortal in his Name and Works, whereas, I can only exfeB to have mine preferV'd by thofe of the Majlers of whom 1 have written. Sir, I beg your pardon for troubling you with fo long a fate of my Cafe , I wijh the Tranjlation and Additions food lefs in need of your ProteBion, and that I had feme bet- ter wap of jbewwg to the World with what Zeal and ^ efpeB 1 am, SIR, Your moft Humble, and moft Obedient Servant* The IDEA of a Pcrfedi PAINTER: or, Rules for forming a Right fudg- ment on the Worlds of the Painters. G BjOOK I, ■€ * s ^ 1C Ehing we muf luppoie in a Painter ; *tis a part o him that cannot be acquir’d by Stud] - - 01 Labour. It fliou d be great to an Iwer the greattirefs of an Art which includes ft many Sciences, and requires fo much Time ant Application to be Matter of as Painting does. A1 low then a Man born with this happy Talent the Pamter mutt regard Vifibie Nature as his ob ’ He haVe an Ima S c of her in hi S; 5 nh°« y a ? he { “pp«“ 10 fee her in par i ular Subjects, but as the ought to be in he] ! Cit ’ and . as would be, were the not hinder’c by certain accidents. B Now ( * ) Now it being very difficult to meet with this perfea State of Nature, ’tis neceflary the Painter fhould improve himfelf by the fame fearch the An- cients made after it with a great deal of care ami capacity, of which they have left us Examples in Sculptures, that in fpite of the fury of Time and Barbarians have been prcferv’d, and are even yet to be feen. He ought, I fay, to have a fuffici- ent knowledge of Antiquity, and to learn by that how to follow Nature ; for the Antique has always been the Rule of Beauty to. the beft Judges. He mull not content himfelf with being exad and regular, he fhould in every thing he does fhew a grand Gtifjko , and above all things a- Void what is mean and inlipid. This grand Gufio in the Works of the Painters,* j is a ufe of the choiceft Effe&s of Nature, fuch as are Great, Extraordinary and Probable. Great, becaufe things are (o much the lefs fcnfible to us, by how much they are little or divided. Ex- traordinary, becaufe what is ordinary does not ftrike us, nor draw ou* attention. Probable, becaufe ’tisrequifice that thefe great and extraor- dinary Things fhould appear to be Poffible, and not Chimerical. The perfeft Painter mud have a iuft Idea of his Profeihon, which may be thus defin’d, Painting is an Art , that by means of Dejign an dCe louring imitates all 'uifibleO bjebls on a flat Superficies. Three things fhould be comprehended in this definition, Dejign , Colouring , and Compofi- tion , and tho’ the latter does not item to be very cleariy expreft, yet it may be underftood by rhefe words Vifible Objects, which imply the matter of the fub]e£tthe Painter propofes to himfelf to re- prefent. He ought to know, and to practice thefe three Parts of his Arc in as much perfection as* ( i ) as poflible : We (hall therefore further explain them in fpeaking of the other parts that depend on them. Compofirion contains two things, Invention and Dij pc/it ion. By Invention the Painter ftiould find out t! ofe Subjects to work upon that ire mo ft proper to be expreft and adorn’d And by Difpofition he ought to place them in the mod advantageous Situation,- and where they will have the gieated EffeCi, the Eye being pleas’d with viewingthefaireft Parts of the Things reprefented, which fliould be Well contrafted. , well diverfify' d, and Well group'd. The Painter, to be perfect, mud defign cor-* really with a good Gufto , and a different Stile, fomctimes Heroic, (bhietim.es Padoral, according to the Character of the Figures he introduces. He mud know, for Example, that the Out-lines which would agree with Divinities, would in no wife be fui table to common People,* Heroes and private Soldiers, the ftrong and the weak, the young and the old ought each ro have their fe- deral Forms. Befides, Nature differing in all her Productions requires that the Painter (hould have an anfwerable Variety in his, and he mud never forget that of all the various Manners of deiigning, there is none good but that which is compos’d of beautiful Nature, and the Antique together. The Attitudes, or Podures of the Figures, (hould be Natural, Expreffive, vary’d in their Atfions, and contrafted in their Members. They (hould be Simple or Noble, Animated or Temperate, according to rhe fubjeCt of the Picture, and the difcrecion of the Painter. I ‘ The ( 4 ) The ExpreJJion muft be juft to the fubject, what relates to the principal Figure fhould be noble, elevated and fubiime, and a Medium ought to be obferv’d between what is exaggera- ted, and what infipid. . The Extremities , l mean the Head, Feet and Hands, muft be drawn with more nicety and ex- aft nefs than the other parts of the Figures, and muft together help to render their Aftion more Expreflive. The Draperies fhould be well let, the Foldings large as few as may be, and well contrafted. The Stuff ought to be heavy or light, according to the quality and convenience of the lubjeet : Sometimes it' fhould be wrought, and of a diffe- rent kind, and fometimes plain, agreeable to the Figure and its Situation, which requires more or lefs Luftre for the Ornament of the Pifture, and for the Oeconomy of the whole. Animals are chiefly characteriz'd by a lively and particular ftroke ofthe Pencil. Landslips fhould not be encumber d with too many Objefts, and the few that are there ought to be well chofen. If a great quantity of Ob- iedts are reprefented together, they muft be in- ~°'enioull y group'd with Lights and Shadows, the placing of them muft be well conneBed , and yet free. The Trees muft be of different Forms, Co- lour, and Touch, as Prudence and the Variety of Nature require. This Touch ought always to be light, as it were in motion ; th e Fore-ground fhould be rich, either by the Objects them- fdves, or at leaft by nicety of Work, which ren- ders things true or palpable. The Sky muft be light, and no Object on the Earth have any of its Aerial Character, except fmooth Waters, and polifh d ( 5 ) polifli'd Bodies, which are fufceptible of the op- polite Colours, as well Celeftial as Terreftrial. The Clouds fliould be well chofen, well touch’d, and well plac’d. The Perfpetfive fliould be very regular, and yet with a Teeming Negligence. In Colouring, which comprehends two things, the Local colour, and the Claro Ofcuro , the Painter fliould inform himfelf very well of both the one and the other. This only will diftinguifli him from thole Artifts, who underftand Meafure and Proportion as well as he, and this will ren. der him the more faithful, and more perf’eft Imitator of Nature. The Local colour is nothing elfe but that which is natural to each ObjeCt in whatever place ’tis found, which diftinguifhes it from o- thers, and which perfectly marks its Character. The Claro Ofcuro is the Art of diftriburing Lights and Shadows advantageoufiy, as well on particular ObjeCls, as on a Picture in general. On particular Objects to give them a convenient Relievo and Roundnefs, and in the Picture in ge- neral roexpofethe Objects with pleafure to the view of the Spectators, by giving the Eye an oc- calion* to reft, which is done by an Ingenious diftribution of great Lights, and great Shadows, which lend each other mutual Afliftance by their Oppofition. Thus great Lights are a Re- pofe for great Shadows, as great Shadows are for great Lights. Tho*, as has been faid, the Claro Ofcuro comprehends the Art of placing all Lights and Shadows well, yet ’tis more particularly un- derftood to be the Knowledge of rightly difpo-, ftng great Lights, and great Shadows, Their Diftribution in this laft fenfe may be made four ways, Firft by the natural Shadows of the Body, Secondly by Groupcs , that is, by di- fpofing the ObieCts in fuch manner, that the Lights may be join’d all together, and the Sha- dows the fame, as one may imperfectly perceive in a Grape, whofe Grains on the fide of the Light make a Mafsof Brightnefs, and on the op- pofite fide a Mafs of Darknefs, yet all together form but one Groupe , and are as one Obje6L This muft be done fo Artificially, that no Affe- ctation may appear in it : The Objects muft feem fo fituated naturally, and as by ^ chance. Thirdly , By the accidents of a fuppos’d Light, and Fourthly , By the Nature and the Body of the Colours, which the Painter may give to hjs Objects, without altering their Character. This part of Painting is the beft and fureft way for a Painter to add Force to his Works, and to ren- der his ObjeCts fenfible, as well in general, as in particular. I don’t find that the way of the Clara Ofcuro was known in the Rowan School, before Tolidoro da Caravagios time who difeover’d it, j and made it one of the Principles of the Art of Painting, and I wonder the Painters, who came after him, did not perceive that the great'effeCt of his Works, on the Spectators, proceeded from the Reft which he gave the fight in grouping his Lights on one fide, and his Shadows on ano- j ther, which he did only by the knowledge of the Clarp Ofcuro : I wonder, I fay, how they . could let foneciffary a part of their Art efcape without taking notice of it. However, the Claro Ofcuro is to be found among fome of the Rowan Painters, yet 'tis not to be eiteem’d as any thing more than a happy effeCt of Genius or Chance, (7 ) and not as proceeding from an eftablifii’d Princi- ple of the Art. Andrew Bofcoli , a Florentine Painter, had a right notion of the Claro Ofcuro, as may be feen by his Works, but the re-eftablifhment of this Principle is owing to Giorgione , whofe Competi- tor, Titian , perceiving it, made ufe of it ever after. In Flanders, Otbo Venius laid it down as a fun- damental in Painting, and communicated it to Rubens, his Pupil. The latter render’d it more fenlible to the Spe&ator, and fhew’d the necefii- ty of it fo apparently, that the beft Flemijh Pain- ters follow’d him in it, and have recom- mended their Paintings by this part of Perfe&i- on,^ for without it all the care they have taken to imitate the particular Obje&s of Nature, with the utmoft faithfulnefs, had not been worth our confideration. In the diftribution of Colours there ought to be an Agreement or Harmony, which has the fame etfeft on the Eye, as Mufick has on the Ear. if there are feveral Groupes of the Claro Ofcuro in a Picture, one of them fliould be more fenlible than rhe reft, and be predominant over the others, that there may be Unity of Objedt, as in the Compofition there fhould be Unity of Subj<&. The Pencilling, if poflible, muft be bold and light but whether ir feems all of a piece, like that of Correggio, or unequal and uneven like that of Rembrant, it ought always to be foft and eafy. If a Painter be forc’d to make ufe of the Li- cences, they fhould be Imperceptible, Judicious, Advantageous andjuftifiable: The three firft forts B 4 belong ( 8 ) belong to the Painters Art, and the laft to Hi- ftory. Whatever Painter is Matter of his Art in n | all the parts we have mention’d, he may de- pend upon it, he is arriv’d to a great de- j gree of Perfection, and his Pictures will infalli- bly be fine, yet not entirely perfeCt, if beauty be not accompany’d with Grace. Grace mutt feafon the parts we have fpoken of, and every where follow Genius 3 Grace fupports and perfects it, but it is not to be fo throughly acquir’d as by any Rules to be demonftrated. A Painter has it from Nature only, and does ] not know that he has it, nor in what degree, nor j how he communicates it to his Works.lt furprifes the Spectator, who feels the effeCt without pene- trating into the true Caufe of it 3 but this Grace does not touch him otherwife, than according to the Difpofition wherein he finds it. We may j j define it ihuSy'Tiswhat pleafes, and gains the Heart, \ i without concerning it [elf with the Under (lav ding. Grace and Beauty are two different things, Beau- ty pleafes by the Rules only, and Grace without • them. What is Beautiful, is not always Grace- j ful 3 but Grace join’d with Beauty is the height j of Perfection. We hive given this Idea of a perfeCt Painter \ in as few words as we could, that we might not \ be tedious to thofe who are in no doubt about the things it contains, but for thofe that defire \ proofs of it, we have endeavour’d to fatisfie them ] in the following Remarks, in which both the | one and the other will find, we have treated of j iuch things as naturally prefented themfeives to I us, and perhaps will not be indifferent to them, j Thej (p) The following Remarks anfwer in Chapters to the feveral Parts of the Idea of a perfect Pain- ter, of which we have fpoken in the forego- ing Treatife, and the Reader, in all the Chapters, fhould by his Memory fupply the Parcs where we have treated of them to explain them. Remarks and Inftrudtions on the < [ S in vain for Men to endeavour with all their might to reach the point of Perfe&i- on, in the Art of Painting, or in any other Art, if they are not born with a particular Talent for the Science they profefs. They will always be uncertain of attaining the end they propofe to themfelves, Rules and Examples may /hew ’em the means of reaching it, but that is not fuffi- cient : If thefe Examples and Rules are not eafy and agreeable to them, they will never be This facility is only found in thofe, who be- fore they learn the Rules of Art, or fee the Works of other Men, have confulted their own Inclination, and examin’d whether they were put upop the choice of their Profefiion by fome inward Light, which is indeed Genius, and is what guides them by the ncareft and eafieft way CHAP. I. Of GENIUS. Pure. ( to ) jto Perfection, rendrtng them infallibly happy s both in the means, and in the end. Genius therefore is that Light cf the Mind y which conduth us to the end by the mo ft eafy Means . ’Tis a Prefent which Nature makes to a Man at the hour of his Birth, and tho’ /he commonly gives it for one thing only, /he is fometimes fo liberal as to make it general in one Perfon, There have been feveral Men on whom /he has beftow’d this yienitude of Influence s y who have with eafe per- form’d whatever they attempted, and always fucceeded in what they undertook : A particu- lar Genius, ’tis true, does not extend its force to all forts of Knowledge as a general one does, but then it penetrates farther into that, over which ’tis predominant. A Painter, in the firfl place, fhould have a Ge- nius, but that Genius muft be corrected by Rules, Reflections and Induftry. He muft have feen much, read much, and ftudy’d much, to direct his Genius, that it may produce things worthy Pofterity. But fince he capnot fee or ftudy every thing he would defire to know in the way to the Perfection he aims at, he may, without fcru- ple, make ufe of another Man’s Studies. CHAP. H. That a Man way , without fcruple , wake ufe of another Mans Studies . I S impoflible for a Painter to reprefent X we ^? not only all the ObjeCts he has not feen, but alfo thofe he has not defend. If he has not ( •* ) not feen a Lion, he can never paint one ^ and if he has feen one, he will always paint it imper- fectly, unlefs he firft dejtgns it after Nature, or afc ter another Man’s Works. For this reafon we ought not to blame a Pain- ter, who having never feen or ftudy’d the Qb- jeCt he is to reprefenr, makes ufe of another Man’s Studies, rather than draw fomething falfe out of his own Head. ’Tis neccffary he Jhould have his Examples in his Memory, or his Table- Bock ; his own, I fay, or thofe of another Man. When a Painter has furni/h’d his mind with Images of the beautiful things he has feen, he adds to, or diminifties them according to his gout, or as his Judgment directs. This change arifes by comparing the Ideas of what he has feen one with the other, and chufing that which he thinks beft. For Example, Raphael in his Youth, while he liv’d with his Mafter Pe - rugino , had only the Ideas of the Works of that Painter in his rnind, but afterwards comparing them with thofe of Michael Angelo, and with the Antique, he chofe that which feem’d beft to him, and out of it form’d a refin’d Gufio , fuch as wc fee now in all his Productions. Thus Genius makes ufe of the Memory, as a Veflel wherein it keeps all the Ideas that prefent themfelves to if. The Painter chufes thofe that are for his purpofe, by the help of his Judgment, and treasures them up in a Magazine, out of which he takes them as occafion requires. ’Twas out of fuch a Magazine (if I may fo ex- prefs my felf) that Raphael took all thofe high Ideas, which he had drawn from the Antique, and thus Albert Durtr , and Lucas *van Leyden drew from theirs, thofe Got hick Ideas, with which which the practice of their time, aiid the nature of their Country, furnifh’d them. A Perfon that has a Genius may invent a fub- jeCt in general, but if he has not ftudy’d particu- lar ObjeCts, he will be embarraft in the Executi- on of his Work, unlefs he has recourfe to the Works of another. If a Painter has neither time nor opportunity to fee Nature, yet as a fine Genius, he may ftu- dy after the Pictures, the Defigns , and the Prints of thofe Mafters, who knew how to choofe their fubjeCts well, and to draw them with Judge- ment. He who would draw a Landskip, and never faw, or never made fufficient Obfervad- ons on the Countries proper to be painted, for the eddnefs or agreeablenefs of the ProfpeCt, will do well, to make his advantage of the Works of thofe who have ftudy’d thofe Countries, or who in their Landskips have reprefented the extraor- dinary EffeCts of Nature. He may look on the Productions of thofe able Painters as fafely as on Nature her felf, and by them alfift his Inventi- on in fome future Production. Toftudy, atfirft, the Works of the belt Mafters will be two ways ufeful to him , one is, he will fee Nalture free from many things, which a Man is oblig’d to throw afide when he Copies after her. The other is, he will by this method learn to make a good choice of Nature, to take nothing from her that is not Beautiful, and to mend what’s defective in her. Thus a Genius well regulated and fupported by the Theory of an Art, not only makes ufe of its own Studies, but alfo turns thofe of other Men 10 its own Advantage Leonard* ( **.). Leonardo da Vinci writes, that the fpots which are to be {ben on an old Wall, forming confus’d Ideas of different Objects, may excite Genius, and help it to produce fomething. Some Pei- fons fancy this AfTertion is an Injury to Genius, Without giving any good reafons for their objeCt- ing to it ; for *tis certain that on fuch a Wall, or fome other fuch like fpot ted thing, r here’s not Only room to form odt of it Ideas in general, but each Painter may conceive different Ideas, according to the difference of his Genius ; and that which is feen in a . confus’d manner only may produce fomething clear, and form an Im- age in the mind of the Artift who fees it accord- ing to his particular Tafte. By this means one Man fhall fee a fine and rich Compofition, becaufe his Genius is fruitful, and his Tafte good ; and another, on the contrary, fhall fee nothing but What is poor, and of an ill Tafte, becaufe his Ge- nius is barren, and his Tafte bad. Let the minds of the Painters be of what Cha- racter they will, each' may difeover enough in fuch an ObjeCt to excite his Imagination, and help him to produce fomething of his own. The Imagination growing warm by degrees, becomes at laft capable, by the fight of a few Figures, to conceive a great Number, and to enrich the Scene of his fubjeCt with certain ObjeCh of his own. Thus he may, as it were, beget extraor- dinary Ideas, which ether wife he had never thought of. We have fhewn that the faying of Leonardo dd Vinci , concerning Genius, does it no Injury ; on the contrary, that ’tis often of great Service to it, as well to thofe who have much, as to rhofe ( *4 ) he faid, that the more a Man has of Genius, the more things he will perceive in thofe forts of Spots, or confus’d Lines. CHAP. III. Of Nature ; Of the Attions of Nature ; O/ the Attions of Habit, and of Education. \T Ature is as much alter’d by the Accidents fhe meets with, as by the Habit fhe con- tradis by feveral Actions, which may be con- fider’d two Ways, when fhe Adis of herfdf, or by Habit to pleafe others. The Actions that are purely natural are thofe which Men would do, if from their Infancy they had been left to them- felves, and the Actions, which are the produdt of Habit, and Education, are'fuch as Men do by the Inftrudtion or Example of Others. Of the lat- ter kind there are as many different forts, as there are Nations, and they are fo mingled with the Actions, purely Natural, that in my Opinion ’tis very hard to difcern the difference. Yet this is what the Painter ought to aim at } for he muft of- ten treat of bubjcdts, where he ought ro Copy pure Nature in the whole, or, in part, and ’tis ne- ceffary there to know the different A diions in which Nature is fct out by the chief Nations of the World. But becaufe the differences of them proceeds from Affedfation, a Veil which difguifes Truth, it fhould be the ittudy of a Painter to di- ftinguifh one from the other, and to know where- in ( '5 ) in the Fidelity, the Beauty, and the fimplicityof Nature confifts, whofe Graces are all owing to her Purity. 9 Tis vifible the Ancient Sculptors fought after this natural fimplicity, and that; Raphael borrow’d from them thofe natural Strokes, which he has every where fpread over his Pieces with a good Gufto. Yet tho’ Nature is the Source of Beauty, ’tis commonly faid, that Art excels her. Several Authors have talk’d thus, and ’tis a Problem which wants very much to be folv’d; CHAP IV. in what Senfe , one way fay , A R T is alovs NATURE. W E fliould confider Nature either as we find her in particular ObjeCts, or in ObjeCts in general, and as Ihe is in her felf. She is gene- rally defective in particular ObjeCts, in the form- ing of which f he is, as we have faid, alter’d by Accidents againft her Intention, which is always willing to produce her Works in Perfection 3 Wherefore, if we confider her according to her Intention, and in her Productions in general, we fliall find her PerfeCt. ’Tis from thefe her works in general, that the Ancient Sculptors took the Perfection of their Figures, from whence Poly - cletes drew the Beautiful Proportions of the Sta- tue, which he made for Pofterity, and which is called the RULE. ’Tis the fame with Painters, the advantageous effects of Nature gave them a defire to imitate them. ( ) them, and a happy Experience, by little and little, reduc’d thofe effects into Preceprs, Thus it was not from one ObjeCt, but from feveral, that the Rules of this Art were eftablilh’d. , if we compare the Art of Painting, which has been form’d out of Nature in general, with any one of her particular Productions, we fliall £nd it comes Ihort of her, and perceive it to true, That Art is above. Nature ; but if we CO pare it with Nature her felf, who is the Model of Art, this Propofition will prefently be found to be falfe. Indeed, to confider things aright, what - ever Care the Painters have taken to Imitate this Mitlrefs of their Art, they have not hitherto been able to reach her j the has an Inexhauftible (tore of Beauties, and for this reafon ’tis laid, that in the Arts we are always Learning: By Experience and Reflection we are continually difcovering fomrthmg New in the effects of Nature, which are without Number, and always different one from the Other. CHAP V. Of the ANTI au E. B Y the Word Antique are meant all the Pieces of Painting, Sculpture and Architecture, which were made as well in zy£gypt, as in Greece from the rime of Alexander the Great to the Irruption ot the Goths , who, out of Rage or Ig- norance deftroy’d all the Fine Arts. The Term Antique is ff ill more particularly us’d, to denote the Sculptures of that Time , as well Statues and BaJJo Relievo's ( *7 ) Relievo's as Medals and * Stones Hn- grav’d. Allthofe pieces of Antiquity * intaglio t are not of an equal Goodnefs, yet ev’n in thofe that are indifferent, there is a certain Beauty which diftinguiflies them from the Works of the Moderns. Tis not of thofe indifferent Pieces that we are ipeaking here, but of the moft perfect Produdti- ons of the Ancients, fiich as we cannot now look on without wonder. An Ancient Author has put them above Nature, and praifcs the Beauty of Mankind but as it has an agreement with the beautiful Statues. Uf8 ) *Tis certain there are few who are able to difcern ah the Delicacy that is to be found in the Ancient Sculptures, becaufe, to do it, the Artifts fljpu d have a Mind proportionable to thofe of the Sculptors that made them. They ftiou’d have a Sublime Guflo, a quick Conception, and an exa£t and lively Performance. They gave their Figures Proportions conformable to their Character, anddefign’d their Divinities by C»»- tours more Eafy, mor e Elegant , and with a greater Go&t than thofe of ordinary Men. They made a refin’d choice of beautiful Na- ture, and found out excellent Remedies,, for the impotence of the matter they work’d with hindring them to imitate all Things. A Painter therefore cannot do better than en- deavour to find out the excellence of thefe Pieces, that he may know the Purity of Nature the bet- ter, and defign the more Learnedly, and the more Elegantly. Neverthelefs, fince there are in Sculpture feverai things that do not agree with Painting, and fince the Painter has, befides, the means to imitate Nature more perfectly ; he ought to regard the Antique, as a Book which is to be tranflated into' another Language, wherein *tis fufficient he keeps to the fenfe and meaning of the Author, without tying himfelf fervilely to his Words. CHAP. ( *9 ) CHAP. VI. Of the Grand GUSTO. I T has been /hewn by the Definition I have given of the grand Guftc, as it relates to the Works of the Paintersjchat ’tis nor to beaccommo- 5° orc ^ nai T rhings. A Mediocrity is not allowable but in the Arts which are neceffary for common rife, and by no means in thofe that are | J nvei ?red only for Ornament and Pleafure, where- i * or f in Painting there muft befomething Great and Extraordinary to Surprize, Pleafe and In- ftru6t, which is what we call the grand Gufto . Tis by this that ordinary Things are made Beau- tiful, and the Beautiful, Sublime and Wonder- ful ; for in Painting, the grand Gufto, the Sub- Ume, and the Marvellous are one and the fame thing. Language indeeed is wanting, but eve- ry thing fpeaks in a good Picture. CHAP. VII. Of the E S S E N C E of Painting, W E have faid, that Painting is an Art which by means of Defign and Colours, imi- tates all vifible Objetts on a fat Superficies. Tis * ,' U f. or ver f near it, that all who have fpoken of this Art have defin’d it, and no body has yet had any thing to fay againft the Definition. It contains three Parts, Compofition, Defign and G i Colouring, ( 20 ) Colouring, which are the Eflence of Painting, as the Body, the Soul and Reafon are that of a Man ; and as Man, by thefe three Parts of him only, thews feveral Proprieties and Agreements that are not part of his Eflence, but the Orna- ment, for Example, the Sciences and Virtues ; fo ’tis only, by the eflential Parts of his Art, that a Painter ihews an infinity of Things which heigh- ten the worth of his Pidtures, tho’ they are not of the Eflence of Painting. Such are the Pro- prieties of Inftrudting and Diverting ; upon which one may ask this confiderable Queftion, CHAP. VIII. Whether Truth of Hiflory he Eflential in painting. »rri 1 S plain that Compofitiori, which is ah X eflential Part of Painting, comprehends j the Objects that are to be met with in Hiflory, of which Truth is the Eflence, and by conse- quence this Fidelity ought to be Eflential in Pain- 1 ting, and the Painter is, on all occafions,oblig d to conform himfclf thereto. To this it has been anfwer’d, that ii Truth of Hiflory be Eflential in Painting, there could be ; no Picture in which it fhould not be found, where- j as there are feveral which reprefent no Hiflory at j all, fuch as Allegorical Pidiures, Landskips,BeaftsJ Fifli Fruits, Flowers, and feveral other Things, which are the pure Eflfe6t of the Painters Fancy, 1 Notwithftanding all this, ’tis certainly true that ; the Painter ought to obferve an exadt Fidelity in the \ ( '** ) the Hiftory he reprefenrs, and that by a curious fearch after the Circumftances which accompa- ny it, he fhould encreafe the Beauty, and the value of his Pi&ure, yet this is nor an Obliga- tion on him which is of the ElTence of Painting, ’tis only an indifpenfible Decency, as Virtue and Science are in a Man. Thus, as a Man is a Man ftill, let him be never fo Vicious and Ignorant, fo a Painter is ftill a Painter, tho’ he be Ignorant of Hiftory ; yet as the Virtues and Sciences are the | Ornaments of a Man, fo tis undeniably true, : that all the Works of the Painters wherein Hi- ftorical Subjects are reprefented, are fo much the | more valuable, by how much the more the Truth of Hiftory is preferv’d, fuppofing that there is I nothing wanting as to the Imitation of Nature, which is Eflential in Painting. A Painter may be very skilful in his Art, and yet know nothing of Hiftory : There are almoft as many Inftances of this, as there are Pictures of Titian, Paolo Ver one fe, Tmtoret, the Baffin's, and feveral other Venetians, whole chiefcl^ care was about the Eftence of their Art j that is, in the j imitation of Nature, and who very little apply’d themfelves to Things that might, or might not be without altering its ElTence. ’Tis in this fenfe the Curious judge of the Pictures of the Painters I have mention’d, or they would not buy them by their weight in Gold, nor would their Works beotherwife among thofe that have the firft place in their Cabinets. And yet ’tis not to be difputed, but that if this ElTence of the Art, in the Pi&ures of the Ve- netian Painters, had been accompany ’d with thofe Ornaments that certainly render fuch Things Juore valuable, I mean the Truth of Hiftory, and C 3 Chro- ■ mm — mm ( '**' ) Chronology, they would have been much more Eftimable even than they are now. We muft, however, confefs, ’cis by this Eflence only that the Painters ought to Inftrudt us, and that we ought to prefer the Imitation of Nature in their Pieces to all other Excellencies whatfoever. If they inftrudt \is,fo much the better; if they don’t, we fhall ftill have the pleafure of viewing a kind of Creation that will both divert and move us. When I would learn Hiftory, I would not go to a Painter for it ; he is an Hiftorian meerly by accident. I would read thofe Books that treat ; of it cxprefsly, and inform my felf by thofe, j whofe effential Duty it is, not only to relate ; Events, bur to doit truly. Neverthelefs, after all I have faid oiuhis Sub- ; je&, I will not pretend to excufe a Painter, where he fliews himfelf a bad Hiftorian ; for a ; Man is always blame-worthy in ill performing j what he Undertakes. If a Painter is about to j - treat of an Hiftorical Subject, and knows no- thing of the Objects which fhould be a part of his Compofuion to render it true, he ought carefully to inform himfelf, either by Books, or from Men of Learning, and if he is negli- gent in this matter, he is without doubt inex-; cufable. I except fuch as have painted Pieces of Devotion, where they have introduc’d Saints of different Ages and Countries, not out of choice but out of a forc’d complaifance for the Perfons that fet them to Work, whofe weaknefs incapa* citated them torefledton thefe Additional Things that might contribute to the Ornament of Pain- ting- . Invention, which is an eflenrial part of Pain- ting, confifts foiely in finding out Objedts prq- per ( 23 ) per to enter into the Compoftion of a Pi&ure, as the Painters Imagination guides him, whether in Things True or Falfe, Fabulous or HiftorieaJ; Suppofe then a Painter flhould imagine Alexan- der the Great was dreft as we drefs at this Day, and fhould reprefent that Conqueror with a Hat and Perriwig, he would doubtlefs doa very ridi- culous thing and be guilty of an unpardonable Error, but his crime would be againll the Truth of Hiftory, and not againft Painting, if the reft of the Things he painted were according to the Rules of Art. But tho* Nature is the E Hence ofPainting, and Hiftory only an Accident, yet this Accident is not lefs worthy of the Painters confideration than the Eftence, in cafe he would pleafe ev< ry body, efpecially the Men of Letters, and fuch as judge of a Picture more by their Underftanding, than their Eyes, and whole Opinion it is, that the Perfection of thefc fort of Works conftfts chiefly in reprefenting Hiftory faithfully, and ex- prefling the Paffions well. CHAP. IX. Of the Imperfett Ideas of PAINTING. T HERE are few Perfons who have a dear Idea of Painting, even among the Painters themfelves ; Several of whom place the whole Ef- fence of their Art in Defign, and others think *tis in the Colouring only. C 4 Thp t 24 ) The greater Part of thofe bred to the Profeffi- on of Learning, have no Notion of Painting but as it relates to the Invention of the Painter, whofe fancy is the chief thing they look on. They examine this Invention narrowly, they difled it, and as it appears more or lefs ingeni- ous, they praife or difpraife the Pidure with- out considering the effed, or to what degree of Perfedion the Painter has carry’d his imitation of Nature. In this fenfe it was, that Sr. Aujlin faid, The knowledge of Tainting, and the Fable is fuperfluous , and at the fame time the Holy Father Commends the profane Sciences. In vain did Titian , Giorgione and Vaolo Veronefe, exert themfelves to excel in the . Elfence of their Art, the imitation of Nature. In vain were they at fo much pains to imitate her fo perfediy as they did, and the Criticks have in vain regarded their Pieces as the mod per fed Copies of Na- ture, if that is not in the firft place to. be confi- der’d. They gave themfelves the trouble of Pain* ] ting to no purpofe, fince corjed prints would fuffice to exercife the judgement of fuCh Criticks, and fill up the extent of their Knowledge. To return to St. Aufiin , if he had had a true Idea I , , v of Painting, as it is only an imitation j mane at ho- Truth, and had reflected that by this H c k that imitation the Souls of the Righteous ] Jaid it. may be a Thuufand Ways rais’d up to j divine Love, he would have written a Panegyrick on this fine Art with fo much the more 3 warmt|i by how much the more he was him- j felf ferilible of every thing that might carry a ] Man to Heaven. Another Father had a jufter ] Idea of Painting, I mean Sr. Gregory of Nice, who after having made a long and beautiful Defcrip- j tion ( *5 ) lion of Abraham's Sacrificing his Son Ifaac has thefe Words, I have often cafi my Eves upon a Pi- cture which reprefents this moving Objefl, and could never withdraw them without Tears, fo well did the Pitture reprefent the thing it / elf even as if the aft ion were then puffing before my fight. CHAR X. How the Remains of the Imperfeft Idea of Painting have been prejervd , in the Minds of many, ever fince its Re-eftabli/hment. I Have in the former Chapter /hewn, that the # Eflence of Painting confifts in a faithful Imi- tation, by which means the Painter may both pleafe and inftruCt, according to the mealure of his Genius. I /hall now treat of thefalfe Ideas of Painting, and in this Chapter /hew how the Re- mains of thofe that are imperfect Aid down to us from our Forefathers. Painting, as well as other Arts, came to be known by the progrefs it made in the Minds of Men. Thofe that began to revive it in Italy and confequently had but weak Principles to go by, drew the Admiration of the Spectators by the Novelty of their Works; and as the number of Painters encreas’d, and Emulation gave them new Lights in their Art, fo the Beauty and Value of their Pieces encreas’d alfo, from whence arofe a great many Lovers and Criticks in Pain- ting, and Things being come to a certain point the World believ’d it impoflible for the Pencil to ( 2 n of Pain- ting. Several have confounded it with Gtnim others with a fruitfulnefs of Thought, others with the Difpoftcion of ObjecTsj hut all thefe Things are different from one another $ where- fore ( J° ) fore I am of Opinion, that to give a dear Ides of Painting, it fhould be call’d Comyofition , divi- ded into two Parts, Invention and Difpofition. Invention only finds out Obje&s for a Pidture, Difpofition places them a-right. ’Tis true thefe two Parts are different, and yet they have fuch a relation to each other, that they may be com- prehended under the fame Name. Invention is form’d by reading Hiftory, and the Fable. *Tis the pure effcdt of the Imagina- tion itr Metaphorical Subjects. It contributes to the Truth of Hiftory, as well as to the Clearnefs of Allegories, and in what manner foever *tis made ufe of, it ought not to keep the mind of the Spectator infufp nCe by any Obfcurity: And yet as faithfully and ingenuoufly as a fubjedt may be chofen, it will never have a good Eftedt, if it is not difpos’d of advantageoufly, as the Qecono- my , and the Rules of Art require, and the juft Mixture of thefe two Parts, is what I call Com - f option. CHAP. XII. Of D E S I G N, the Second Part of Painting* A Good Gufio » and corredtnefs of Depgn , are fo neceffary in Painting, that a Painter who wants them muft do Miracles to attradl the leaft Efteem, and the Dejign being the Bafis and Foundation of all the other Parts ; being what terminates the Colours, and difentangles the Ob- ( 3 « ) Obje&s its Elegance, and Corre&nefs are no kis neceftarv in fainting, rhan the Purity ©£ Language is in Eloquence'. CHAR XIII. Of the ATTITUDES. J N the Attitudes . the Vonderation , and the Cwtraft are founded in Nature ; flie does no Action, bur Ihe fliews thofe two Pairs, and if flie fails of it, fhe rnuft be either depriv’d of Motion, or conftrain’d in her A&ion. CHAP. XIV. Of the EXPRESSIONS. T H E Exprejf/iotis are the Touchftone of the Painters Undemanding; by the juftnefsof ms idiftnbutmg them he fhews his Penetration, and his Djfcernmenr : But there is as much fenfe requir’d in the Spe6iator to perceive, as in the Painter to perform them. A Picture is like a Scene, where each Figure plays its parr. Figures well delign’d, and well colour’d are admirable indeed 5 yet moft People having not a juft Idea of Painting, are not fenfible ot thole Pans of it any farther, than they are ac- Company d with Vivacity, Juftnefs and Delicacy ot Expreihon, which is one of the moft rare Ta- lents ( 3 * ) ' lents of a Painter* and he that is fo happy, as t<* manage his Expreftions well, will not only make them relate to the parts of the Face, but alfo tti thofe of the whole Body, and will expofethem, in fuch manner, that even the moft inanimate Objects fhall agree with the general Exprcflion of the fubjett. CHAP. XV. Of the EXTREMITIES. T H E Extremities which are the Head, Feet and Hands, being the moft known and re- markable Parts of the Body, and thole, which, if one may fo fay, fpeak moft to us in a Pi- cture, they ought to be more terminated than the others, if the A&ion of the Piece expofes them much to view: CHAP. XVI. Of the DRAPERIES. T O fet or caft a Drapery is a term in Pain- ting, by which is. underftood to cloath and drefs a Figure. The word Cafi. feems to me to be fo much the more Expreflive, by how much the more the Draperies ought not to be adjufted as we put on our Cloaths. In following the Cha- racter of Nature, who is far from all fort of Affectation, ( 33 ) Affe&ation, the Folds fliould fall about the Mem- bers, as by chance : They fliould leave enough of them naked, to Akw what they are, and by a careful Artifice contrafi them in flioWing thehi; and, if I may fo exprefs it, carefs them by their tender Windings, and foft Touches. The ancient Sculptors, who had not the ufe of different Colours, becaufe they work’d the fame thing on the fame matter, have avoided thfc large fpreading of the Folds, leaft furrounding the Members they fliould aura# the Eyes,- and hinder its feeing the naked of their Figures, with asrnuch eale as they would have had ’em. For their Draperies , they often made ufe of wet Linnen to cloath their Figures, or elfe they Mul- tiply’d the fame Folds, to the end that this repe- tition might make a fort of Etching , which by its obfcurity renders the Members it furrounds |he ^more fenfible. They have commonly ob- ierv’d this method in their Bajfo Relievo's , and which way foever they manag’d their Draft* ties, they plac’d their Folds in wonderful Order. The Painter, who by the diverfity of his Co- lours and Lights fliould diftinguifli the Members from the Draperies , may govern himfelf by the good Order of the Antique Folds, without imi- tating their number $ and may vary his Stuff ac- cording to the Chara&er of his Figures. Thofe Painters, who did not know what Liberties they are allow d in this matter, have been as much in the wrong in copying the ancient Sculptures, as the modern Sculptors have been in imitating the Painrers. ° The reafon ^vhy the Folds ought to difcover where the Limbs of a Pifture are, is becaufe Painting is on a flat Superficies, and he muft ^ annihi • ( 34 ) ,m\biUu feme things, by deceiving the fight, and leave nothing equivocal to be teen in his Piece • Wherefore the Painter is oblig d to ob- ferve this otder in all his Draperies of what Na- ture foever, either Courfe or fine, rough or olain • and he mud always prefer the May fly of the Folds, to the richnefs of the Stuff, which muft be (hired to the Age and Fafhions of the Hi- ftory that is reprefented. As the Painter ought to avoid all manner of ftiffhefs and hardnefs in his Folds, and be care- ful that they don’t fmell of the L»y-Man> as w t commonly fay, fo he lhould alfo ufe his flying Draperies with diferetion, for they can only be agitated by the Wind in a place where one may leafonably fuppofe it blows, or by the compref- fion of the Air. When a Figure is fuppos’d to be in Motion fuch fort of Draperies are moft ad- vantagious, becaufe they contribute to the Life of a Figure by the Centra? : Yet care mult be taken, that the caufe of it may appear natural and probable, and there fhoufd never be flying Draperies on different (ides in the fame Mure, when they cannot naturally be agitated by any thing but the Wind, and when the Figures are in repofe. Several skilful Painters have commit-, te d this fault without thinking of it. chap: ( 35 ) CHAP. XVII. Of LANDSKIPS. I F' Painting be a fort of Creation, 'its more fenfibly to in Landskips than in any othei: kind of Pictures. We fee there Nature riling Out of her Chaos , the Elements feperated, th^ Earth adorn’d with her various Produ6H6ns, arid the Heavens with their Stars. This fort of Pain- ting contains all the others in little, and there* fore the Painter, who cxercifes it, ought tohave an univerfal Knowledge of the parts of his Art$ it not in fo particular a manner as thofe that are us’d to paint Hiftory, yet, at leaft, fpecula- tively, and in general ; and if he docs not finite all the: Objefls. that.compofe his Picture, or ac- compariy^his Landskip, he is, at leaft, oblig’d to fpecify livelily the Gujlo, and the Character, and by how much the lets his Piece is unfinite’d, to' give it the more vivacity. However, I. do riot pretend to exclude exaft- nefs of work from this Talent ; on the Contrary ’twill be the more admir’d, and the more valu- able for it. t But let a Landskip be never fo well hnite’d, it its merit does not confift in the Com-, parifon of the Objects one with anothef* and if their Character be not thereby prderv’d ; if the. Trofpefls are pot well chofen, or noc well fee off ^ good Intelligence of the Claro Ofcurc yif the Strokes are noc lively, and the Scene animated oy the Figures, by Animals, ot Othef ©bie6ts; which are ufually in Motion j and jf to a good Gujto of Colouring, and to extraordinary Senfa- E* i ftonsV (30 tions, the genuinenefs and truth of Nature are not join’d, the Picture will never beefteem’d, nor be admitted into the Cabinets of the true Cri- ticks. CHAP. XVIII. Of PERSPECTIVE. A Certain Author has faid, that Perfpefli've and Painting are the fame thing, becaufe there is no Painting without VcrfpeBive. Tho’ the Pro- portion is falfe,abfoluteIy fpeaking, in as much as a Body cannot be without Shadow, and yet it is not the fame thing as the Shadow, neverthe- less ’tis true in this fenfe, that a Painter cannot do any thing without Perfpeffive in all his Ope- rations, and that he does not draw a Line, nor ftrike a ftroke with his Pencil, which has not a fhare of this in it at leaft habitually. It regulates the meafure of Forms, and the Degradation of Co- lours in all places of the Picture. The Painter is forc’d to know the necelfity of it, and tho’ his Practice of it is, or fhould be confummate ; yet he will often be expofed to make great Faults a- gainft this Knowledge, if out of Lazynefs he will not confult a-new, at leaft in the moft vifible Places, and take his Rule andCompaftcs with him, that he may put nothing to rifque, nor lie open to cenfure. Michael Angelo has been blam’d for neglecting Verfpctti've, and the greateft Matters of Italy have been fo thoroughly convinc’d, that without ft ’tis ( 3 7 )! 9 fis impoflible for any Compofition to be regu- Jar, that they have endeavour’d to go to the bot- tom of it j and in fome De/igmot Raphael , there are to be feen even a fcale of Degrees, fo exaft was he in this point, * ~~ — CHAP. XIX. Of COLOURING, the Third Part of Painting. S Everal Painters have talk’d of Colours fo ve- ry far from what they ought to have done, that I was tempted to endeavour to fet them right, apd wrote a Dialogue in defence of Co- louring, which was printed Four and Twenty Years ago j and having nothing better to fay of j it at this time, _ I muft refer the Reader to that Treatife, wherein I have done n?y utmoft to /hew the Merit and Prerogative of Colours, with all ipoflible Perfpicuity. CHAP XX. Of the Harmony of COLOURS. T HERE is a Harmony, and diflbnance in the kinds of Colours , as there is in the Toms or Degrees of Light, and in a Compofition D ! of S f Mufick, the Notes muft not only be true, ut in the performance the Inftruments muft al- fo be agreeable : And as all Mufical Inftruments do not agree one with another, as for Example, the Lute , and the Hautbois, the Spinet, and the Bagpipe, fo there are Colours that will ne- yer appear together without offence tq the fight j as the' Vermilion with the Green, the Blew with the Yellow j and yet as the moft fharp Inftruments bear a Part with a good Effect, among (everai j others, fo the' moft oppofite Colours being plac’d * Propos, among fivers others which} j are in Union, will fender fome parts of a Picture the more fenfible, efpecially thofe that ftiould predominate, and draw the Eps of the Spe- j &ator. Titian , as I have elfewhere obferv’d, has made this ufe of them in his Triumph of Bacchus , where having plac’d Ariadnt on the Borders of the Pidture, and for that reafon not being able to make her remarkable by the Luftre of the Light, which he preferv-d for the middle of his Piece, he gave her a Vermilion Scarf on a Blew Drapery, as Well to loofen her from his Ground, which was a Blew Sea, as becaufe fhe was One of the principal Figures of his fubjedt, upon which defir’d to attradt the Eye, Paolo Veroy pefe , Tn Tiis Mariage of Canaa , becaufe Chri/h , wjfo is the principal figure pt fhe fubjedl, is parry’d fomewhat into the depth of the Pidture, a(nd that he could not make him be taken notice of by the Brillant of the Claro Ofcuro , has dreft bifn in Blew and Vermilion , thereby to condudfe the light to that Figure. ' • CHA Pj v> « ( 39 ) CHAP. XXI Of the PENCIL. T H E term, Pencil, is fometimes taken for all the parts of Painting, as when we fay. That Raphael*/ Transfiguration is the fine ft Piffnre that ever came from his Pencil , and fometimes *tif to be underftood of the Work it felf, for Example when we fay. Of all the Painters of Antiquity, Apelles*/ Pencil was the moft Learned. In this place the word Pencil fignifies Simply the Ex* terior manner he obferv’d in employing his Colours, when thofe Colours don’t feem too much agitated, or, as One may fay, too much tor- mented by the motion of a heavy Hand j but on the contrary, when the movement appears Free, Ready and Light, we fyy, The Piece is of a good Pencil , yet this freedom of the Pencil is of Tittle worth, if *tis not guided by the Head, and if it does not ferve to ftiew us that the Painter linderftands his Art. In a word, a fine Pencil in Painting, is like a fine Voice in Mufic j both the one, and the other, are valu’d according to the Proportion of the great Effedb, and the Har- mony that accompanies them. CHAP. XXII. Of the LICENCES. T H E Licences are fo necefTary, that all Arts admit qP them $ they are Literally again!! Q 4, the ( 40 )) the Rules , but when We corne to explain our felves, we /hall /hew they aflift them, if they are made ufe of 4 Fropos. Every Man of fenfe thinks they are to the purp.ofe, when, the Piece in which they are employ’d, has the greater Effect by them, and when, by their means, the Painter reaches the end he aims at, which is to impofe on the fight ; but ’tis not every Painter that can make an advantageous ufe of them. There are none but great Genius's who are above Rules, and who know when to make ufe ingenioufly of the Licences , either in the EJJence of the Arr, or in Hiftory. The latter is the more difficult work, and requires our Attention. We /hall fpeak further of it in the following Chapter. CHO XXIII By, what Authority the Painters have repre - Jented under Humane Figures , Things Di- vine, Spiritual and Inanimate. S cripture tells us, in feveral Places, of God’s ap- pearing to Man, either by the Miniftry of his Angels, or in Dreams andVifions. There is a fine defeription of God, under the Form of an old Man, in the Seventh Chapter of Daniel , and the Ninth Verfe. The fame Holy Writ informs us of feveral Apparitions of Angels under humane Forms.- For this reafon, the Church in the Coun- cil of Nice, made no fcruple to allow Painters to reprefent God the Father, under the Figure of a venerable ( 4 * ) venerable old Man, .and Angels under humane Figures. Painters are alfo juftify’d, on the fame account, to give Life to inanimate Things, when they inf- low exadly the Idea the Scripture gives us of them. The Spedator fhould not prefently be fcandaliz d, if he fees facred Things mixt wirh Poetical Fidions, as if Fidion and Poetry were indifpenfably Profane. The Book of Job, rhe Pfalms of David , the Apocalypfe are all Poetical, and full of figurative Expreflions,iwithout rccko-’ ning all the Parables which are in the other par's of the Scripture. Twas in copying the facred Text, that Raphael painting the paffage of Jor~ dan, gave that River a humane Figure, and drew him pufhing back his Waters to their Source. He was warranted to do this by Holy Writ, which to proportion its Expreffions to Man’s Un- demanding, often reprefents divine Things in the fliape of Humane, and for the Infhudion of the Faithful, makes ufe of the moft palpable and lenfible Comparifons and Idea§. We have a Paffage, relating to the fubjed of Rivers, in the P7th ? falm, where it is faid, Let the Floods clap their Hands : Let the $y. 8 . Hills be joyful together . The Painter, who has the fame Intention to inflrud, and to edify, cannot follow a better Pattern. Fouffin, in his Pidure of the finding of Mofes, has obferv’d the fame condud, in reprefenting the River Nik , for which he has been blam’d by ~ lome Perfons, who alledge thefereafons againft him. They fay that Painters fhould not mingle falie Gods with Things relating to our Reli- gion ; that Rivers are falfe Divinities whom the Heathens worfliip’d, and whom we ought not to intro-* ( 4 * introduce in facred Hiftory : And further, that a Painter may well enough reprefent a River, as a River, but not do it under a humane Figure. To all this one may eafily anfwer, that as the Holy Scripture, when it introduces Rivers under humane Figures, had no intention to (peak of thofe the Pagans ador’d, and tho* it might have exprefs- d its felf limply and naturally, yet it makes ufe of a figurative Stile, without fearing to fe- duce the Faithful ; fo alfo a Chriftian Painter, who ought to imitate the Scripture, is very far from endeavouring to alter the Truth of Hifto- ry : He rather drives, conforming himfelf to his ; Original, to ftiewit moreLivclily and Elegantly, not to an Infidel, but to a Chriftian as he is, who being prejudic’d againft the falfe Divinities, ought not to find Out another meaning than that of the Holy Scripture. But with refpeft to Pagan Divinities, which are introduced as fiich, and with rhe Chara&ers that Ihew what they are, ’tis more difficult to ad- mit them in fuch kind of Companions. The Learned have handled that matter by its relation to Poefy, and the caufe remains ftill to be deci- I ded 2 However, the Painter, who has no other way to exprefs himfelf than by thefe forts of Fi- ■ gures, inftead of being blam’d, will always be commended by the belt Judges, when they find them brought in prudently and ingenioufly T j For the falfe Divinities may be conlider’d two Ways, either as Gods, or as Symbolical Figures, j As Gods, the Painters muft never reprefem them, except it is in fubje&s entirely Profane $ and as Symbolical Figures, he may introduce them with diferetion on all Occafions, where he thinks them neceflary. ( 43 ) Rubens, who of all Painters made ufe of thcfe 8ymboU the mod ingenioufly, and the moft learnedly, as may be feen in the Book of the Cardinal Infant's entrance into Antwerp' and bv the Pitturesyof the Gallery of Luxemburg, has been cenfuf d for it : He fliould nor, fay they' have brought Allegorical Figures into his Com- pofitions, nor have mix’d Fable with Truth. To which we may anfwer, that as J lubens has manag-d it, he has not confounded Fable with Truth y he rather has employ'd the Symbols of the Fable to exprefs the fame Truth. In the Pidure of the Birth of Lewis XHIth, on the top of it Clouds, at a diftance he has reprelen" ted C^r on his wing’d Horfe, and on the fide Ajollo m his Chariot mounting on high, to fliew u • ^ r *^ ce was born in the Morning, and that his Mothers delivery was happy. From whence we may infer, that the Painter had no thoughts of reprefenting the Gods, as Gods, but Cafior only as a Conftellation that render’d Events fortunate, and the Chariot of Apollo mounting upwards, to mark the time of the Morning. . • if /,r e l Pa . inter with an Inte ntian to exprefs nimtelr the better^ has thought it neceflary or convenient to reprefen t the Divinities of the Fa- ble among Hiftorical Figures, thofe Symbols muft be look d upon as invifible, and as nqt there any otherwife, than by their Signification. ' ’Tis in this fenle the fecond Council of Nice, authoiizd in what they did by the Scripture, allow d the reprefenrations of God the Father, and the Angels under humane Figures , fof 5$ cre , would have been a greater inconvenience in painting the Perfons of the Holy Trinity, and the Angels, tlian in introducing Pagan Diving ( 44 ) ties in a Pi&ure, if the fenfe, that the former fliould be taken in, were not explain’d. Chrifti- ans being fufficiently prepofieft againft thefefalfe Appearances, which are intended only for their Inftrudion, to profit by them, fhould have the fame Notion of ’em as the Painter, and look up- on them as not there. The Authority for Painting the An- Exod.aj. gels with Wings, is taken from the Ark of the Covenant, and from the 9th Chapter of Daniel, the 21ft Verie; however thefe Paflages do not indifpenfibly oblige Painters to draw Angels always with Wings, they may do jt, or not doit, as their Art, good Senfe, and the Inftru&ion of the Faithful require. The Reader •will eafly perceive *tis a Tap if that argues thus for the Idolatrous Cufiom of reprefenting the Holy Trinity, and the Angels under humane Fi- gures i the Argument is Jo mean it dejerves no Anfwer, and the Voifon fo weak, it needs no Antidote, or ?ve might tjuote againft him, the ythVerje of the 97 th jj Pfalm, the fame he has quoted above, inhere are thefe words. Confounded be all they that ferve graven Images, that boa(l themf elves of Idols', Wor[hip him all ye Gods. CHAP, CHAP. xxrv. Of Naked Figures, and how they may he made of. np H E Painters and Sculptors, who under- X ftand defigning very well, commonly feek after Occafions tofhew the Naked, to gain Efteent and Diftin&ion, for W'hich they are certainly praife-worthy, provided they keep themfelves within the bounds of the Truth of Hiftory, of Verifimility and Modefty. There are fome Sub- jeds, in which a Man may more reafonably re- prefent Nakednefs than in others ; as for Exam- ple, in Fables, when the Scene lies in hot Coun- tries, and we know nothing of the Modes of the People, or when the Labourers of the firft Ages are reprefented. Cato the Cenfor , as Plutarch re- lates, work d Naked among his Labourers, whetf he came from the Senate j and St. Peter was Na- ked when our Saviour appear’d to him after his Refurredion, and found him FilMng with the other Apoftles. Nakednefs may alfo be made pfeof in the reprefentation of Allegorical Sub- jects, the Pagan Gods, or Hero’s j in fliortonaii occafions, where we may fuppofe we look upon fimple Nature, where Cold or Impudence is not predominant, for Cloaths were only invented to keep Men from Cold and Shame. There are, at this day, a great many People, in leveral Parts of the World, who go ftark Naked, either becaufe they dwell in hot Countries, or that Cuftom has taken away the Indecency and Shame of Nakednefs; In a word, the general Ruse, which ( 4 * ) which fltould be obferv’d in this Cafe, is, as we have already faid, that there be nothing again# Modefty or Verifimility. The Painters draw moft of their Figures with their Heads and Feet Naked, Wherein they follow the Di&ares of fimple Na- ture, which eafily accuftoms thofe two Parts to Nakednefs: We fee Examples of this kind, not only in hot Countries, but jri the, midft of the cold Mountains of the Alps, where even the Children go with their Feet naked, in Summer, among the Stones and Flints, and in Winter over the Tee and Snow. But with regard to the Truth of Hiftory, tho’ Nakednefs be a Licence which Pain- ters are poflefsM of, and ufe to the advantage of their Art, yet they, ofteri abufe it. I won’t ex- cept either Raphael or Poufw i. They have repre- sented the Apoftles with their Feet naked, con- trary to what is pofitively faid in the Gofpel, where our Saviour ordering them to take no care for what they fhould put on, commands them to be content with the Shoes they have on their Feet, without carrying others with them. And in the Atls of the Apoftles, when the Angel delivers St. Peter , he bids him put on his Girdle, and tychis Shoes ; from whence we may conclude they were commonly worn. ’Tisthe fame with Mofes , who in the Vifion of the burning Bufti, was warn’d to leave his Shoes, and' yet Raphael Paints his Feet naked, in all the other A&ions of his Life, as if Mofes had never any ShOoes on, but when he was keep* ing his Faihcr-in-Law’s Sheep. , I might here give many more infiances, wherein Raphael , and feveral other Painters after him, have drawn their Figures without Shoes and Stockings, againft Hi- ftory and Verifimility, did not I think what I have faid fufficienr, ( 47 ) *Tis obferv’d th3t the Grecian Sculptors more commonly made their Figures naked than the Roman , but I know no other reafon for it, than that the Greeks chofe fubje&s more agreeable to the defire they had, to have the depths of their Art admir’d, in the ir representing the Conftru- dtion and Union of the parts of Man’s Body. In their Statues they reprefented Gods, rather than Men, and in their BaJJb Relievo s, Bacchanals arid Sacrifices, rather than Hiftories, The Romans , on the contrary, who by their Statues and BaJJo Relievo's, aim’d at tranlmitting the Memory of their Emperors to Pofierity, were neceflarily ob- lig’d to do nothing againft the Truth of Hiftoryi but to drefs their Figures according to the Mode then in Faflhion. CHAP. XXV. Of GRACE, T H E neceifify of Grace in Painting, general- ly fpeaking is a thing that needs no Proof. There s only one difficulty in the matter, to wir,- if this Grace be neceflary in all forts of fubje&s • in Battels, as well as Fefiivals; in Soldiers, as well as Women. I grant it is, and my reafon for it is, that tho * Grace Ihewsit felt firll in the Face, yet *tis not in that part only that it refides ; it confifts chiefly in the turn the Painter gives his Objetfs to render them agreeable, ev’n fuch as are inanimate; from whence it follows, that there may be Grace in the ( 4 «) , the fiercenefs of a Soldier, by the turn which may be givhi to his Air, and his Pollute ; and eveni n Drapery, or any thing elfe, by the man- tier in which it may be difpos’d. Having given thi§ Idea of a perfedt Painter, and Proofs of the feveral parts that go to the forming one, there only remains an Application td the works of the Painters, and to put them as it were in the Scale, not to rejefl: entirely thofe that have not all the Qualities which we have eftablifli’d, but to value them according to their Weight. This Idea may help us to judge of the Deligns of different Matters, I mean of the Degree of their Goodnefs; for ’tis almoft inopeflible to- write with Juftnefs of the originality of a Defign, Or the name of the Author; or to lay down RhleS how he may be known. CHAP. xxvr. Of D E S I G N S. T H E Defigns, of which we intend to fpeak here, are thofe Thoughts that Painters com- monly exprefs on Paper, for the Execution of fome work they are going about. We Ihould place among Deftgns the Studies of great Ma- ilers, that is thofe parts which they havedefign’d after Nature, as Heads, Feet, and entire Figures ; Draperies, Animals, Trees, Plants, Flowers, and, in Ihort, every thing that may enter into theCom- poluion of a Picture 3 lor whether you confider a ( 40 ) a good Defign by irs relation^ to the Pidure of which it is an Idea,, or by relation to fome Part of which it is the Study , it always deferves the Atentionof the Curious. Tho the Knowledge of Defigns be not fo efti- mable, nor of fo large extent as that of Pifiures j tis however delicate and pleafant,beeaufe the great number of them gives thofe that love ’em, more opportunity toexereife their Criticifms, and the Work is all the produdion of the Mind. Defigns denote __ beft the Character of the Mafter, and Inew if his Genius be lively or heavy, if his Thoughts are elevated or common ; in ftort, if he has a good Manner and a good Go«t of all the Parts which may be expreft upon Paper. A Painter who wou d finifh a Pidure endeavours, if one may fo fay, to go out of Himfelf, that he may acquire Praife for fome Parts of his Arr which he knows very well he is not polTeft of* But in making a Defign , he gives a loofe to his Genius, and fliews what he is. For thisreafon it is, that in theColiedions of the Great, we find the Defigns of the beft Matters preferv’d, as well as the Pictures. And yet there are lew Perfons, who are Curi- ous about Defigns , and among thofe few, if lome know the Manner, Icarce any one knows the end. The half-Criticks have no inclination towards this Curiofity , becaufe, having no lufficient notion of the meaning of Defens they have no relilh ofthe Performance, andtake more pleafure in Prints carefully Engrav’d from good Pidures, which may be occafion’d fome- times thro 5 fear of being deceiv’d, and of taking, as it often happens, Copies for Originals, for wane of Experience. There are three Things in general B to ( 50 ) to be obferv’d in Dejlgns, Learning, Spirit and Freedom. By Learning l underftand a good Compofition, a Defign Coned:, and of a good Gout, with a laudable Knowledge of the Claro Ofcuro. By the Word Spirit I comprehend a lively and natural Expreflion thro* the whole Work, of the Subject in general, and the Ob- jects in particular. Freedom is no more than a Habit, which the Hand has contracted, to ex- prefs readily and boldly the Idjea in the Painters Mind, and as there is more or lefs of thefe three Things in a Defign, ’tis the more or lefs valuable* tho’ free Defies are generally accompany’d with a good deal ol Spirit, yet all the Defigm that are made with Freedom, are not, for all that, lenft- bly touch’d i and, if the Learned Defigns are not always free, they are thofe generally which have the mod Spirit in them. I might here name abundance of Painters, whofe Defigm have a great deal of Freedom with- out any Spirit, whole bold Hands produce no- thing but Rambling Performances. I might alfo name feveral able Men, whofe Defigns appear ftiff, tho* otherwife Learned aad Senfible, be- caufe their Hand was reftrain’d by their Judg- ment, and they Study’d, above all things, to make their Out-lines correCt, and their Expreflion juft. I avoid naming them not to offend any body :•] Let every one judge as he thinks fit. This muft be (aid of Freedom, ’tis fo agree- able that it hides, and often excufes a great many Faults, which,* in fuch cafe, are rather at- tributed to an Impetuofity of Genius, than to In- efficiency ; but, we muft own alfo, that Free- dom of Hand does not feem to be Freedom when 'tis confin’d within the bounds of a great Regu- larity. ( y ) lanfy. Thus in the moft corrcft Defons of Ra- fhaei there is a delicate Freedom which is only Vifible to the Eyes of the Learn’d. Iri a word, there are fome Defigns which are not over correct, and which yet are not with- out their Merit, having a good deal of Senfe and Character. Of this fort are the Defigns of William Baur, Rembrant , Renedetti , and fome others D'flgm that are but juft touch’d, and not fi- min d, have more Spirit, and pleafe more, than thofe that are perfected, provided their Character be good, and they put the Idea of the Spectator in a good Way. The reafon is for that the Ima- gination lupplies all the Parts which are wanting Or are not fihifh’d, and each Man fees it accord- ing to his own Goat. The Defigns of thofe Ma- lets, who have more Genius than Learning, °u- en A § ,Ve - occa .^ on t0 experience the Truth of this After tion, but the Defgns of excellent Ma- fters, who Join folidity to a fine Genius , Jofe no. thing by being fin ifti’d, and fuppofing every* thing elfe is anfwerable, Defgns ar e to be efteem d according as they are finifh’d. Tho we ought to value moft thofe Defigns Wherem moft Parts are found, yet fhou’d we not reje^ thofe where there is no more than one, pro- lded ns of fuch a Manner, that if /hews fome Pdn- t\pk of the A rr, or carries with it any fenfible Sin- gularity^which pleafesor inftru&s. Neither ought we torejea thofe that are but Sketches, by whfch , y , b *r FanCy, fince tis curious to remark ac “ concciv’d Zr before they digefted them, and Sketches life ofTo ChL e a r fle h -r Tc ! u . chcs g‘™ Matters make me or to CharaCterife things with a few Strokes. E 2 To ( 52 ) To fatisfy one’s Curiofuy therefore, ’twou’d be well if one had Deftgm of all kinds of the fame Mafter, to wit, not only of his fird, fecond or . laft Manner, but even his lighted Sketches , as well as his mod finifli’d Defigns, I confels, however, the Curious who are purely fpeculanve, don’t fo much find their account in it, as thole who knowing how to Plaice, are more capa- ble of reiiftiing this Curiofity. There is one Thing, which is as the Salt of a Defsgn that tea- fonsit and gives it its relifli, without which tis] worth little or nothing, and which 1 can’t ex- prefs better than by the Word Charaaer. This Charaaer confids then in the manner in which! the Painter thinks Things. ’Tis the Seal that di- J dinguifhes his Works from thofe ot other Men, and which imprints on them the lively Image of j his Mind. ’Tis this Charaaer that agitates our Imagination, and ’tis by this that Skilful Pain- ters, after having Study’d under good Maders, or after the Works ot others, feel themlelves con- drain’d by a Sweet Violence, to let their Genius loofe, and fly with their proper Wings. I exclude out of the number of good Dfgm all that are Infipid, ot which there are three forts. Fird thofe of Painters, who, tho they produce great Compolitions, and are exaft and cor- rea vet fpread over their Works a certain Cold- £*■ y which freezes the Speftator. Secondly, Thofc of Painters, who having more Memory than Genius, are always playing the Plagiaries, and Working by the Idsas they have ftor d up from other Mens Produaions which they hav« fan i or elfe make ufe of fuch as are before their with too little Induftry, and too much Servility And thirdly, Thofe of Painters, who tye them ( 5 ? ) felves up to their Matter's Manner , without ever quitring or enriching it. The Knowledge of Defigns, as well as of Pictures, confifts in two Things, viz,, to find out the Name of the Matter, and the goodnefs of the Dcfign. To know that a Defign is offucha Matter, a Man mutt have view’d with Attention, a great many others of the fame Hand, and have had in his Mind a juft Idsea of the Chara&er of his Ge- nius, and of the Character of his Practice. The Knowledge of the Character of Genius re- quires a great Extent, and a great clearnefs of Mind, to keep the Idasas without confounding them, and the Knowledge of the Character of Practice depends more on a great Habitude, than a great Capacity ; and for this reafon *tis that the moft skilful Painters do not always decide this Point the moft juftly. To know if a Defign be fine, if it be an Original or a Copy, a great deal of Delicacy and Penetration is requifite, together with much Exercife that way, and I queftion whether it can be done without fome Knowledge of manual Practice; and yet, after all, a Man may be deceiv’d. It feerns to me, ’tis eafy to infer from what has been faid, that the Comparifon of the Works of the Painrers, with the Idea vve have eftablifti’d of a perfedt Painter, is the beft way to know what efteetn is due to them. But fince a Man has not always a great number of Pictures at his Difpofal, nor enough finifh’d Defigns to exer- cife his Judgment, and fo to acquire in a fhort time a habit of Judging well, good Prints may ferve inftead of f igures ; for excepting the local Colour, they are fufceptible of all the Parts of Painting j and befides that, they willfhorcen the E i rime ( 54 ) time, and are very proper to fill the Mind with the Knowledge of an Infinity of Things. The Reader, 1 hope, will not be difpleas’d to find heire'what I have difcover’d in this Matter. CHAP. XXVII. Of the Ufefulnefs and Ufe of P R I N T S. M AN is born with a Defire to know, and nothing fo much hinders hisinforminghim as the trouble of Learning, and the eafinefs of for- getting, two Things of which the greateft part of Mankind complain with a great deal of reafon, for fince the Arts and Sciences have been fought after, and to penetrate far into them an Infinity of Volumes have been publifh’d, at the fame time was brought to Light an ObjeCt terrible enough to frighten us from looking into them, and capa- j ble to fhock our Minds, and difhearten our Me- mories. However, we have more reafon than ever to Exercife both the one and the other, Or at leaft to find out means to help them in their feveral Functions. That which we are about toi treat of (the Invention of Prints) is a very power- ful one, and one of the happieft Productions of latter Ages. They are in our Age arriv’d to fo high a De- j gree of Perfection, and good Gravels have gi- ven us fo many on all forts of Matters, that it may truly be faid, they are the Depofitories of all that is Fine and Curious in the World. Their ( 55 ) Their Origin was in the Year 1460, and arofc from one Mafo Pinigtterra, a Goldfmirh of Flo- rence, who grav’d his Plate, when calling fume of it in melted Sulphur, he perceiv’d that what came out of the Mold was mark’d with the lame Prints as his Plate, by the Black which the Sul- pher had taken from his Graving : He try'd to do as much on Silver Plates with wet Paper, by rouling it fmoothly with a Rouler, which aifo fuc- ceeded. This Novelty tempted Baccio Baldini , a Gold- fmith of the fame City, to try whether he could do the fame, and his fuccefs occafion’d him to engrave fever al Plates of Sandro Boticello's Inven- tion and Defign, and upon this Andrew Man- tegna, who was at Rome at that time, fet about engraving fome of his own Pieces, The Knowledge of this Invention getting in- to Flanders, Martin of Antwerp, then a famous Painter, engrav’d abundance of Plates of his own Invention, and fent feveral Prints into Italy, which were mark’d thus, M. C. Vafari in the Life of Marco Antonio, a Painter, gives an Account of the greateft part of his Subjects, of which there was one among the reft, (the Vifion of St. Antho- ny ) that pleas’d Michael Angelo , then veiy young, lo well, for the Invention of it, that he colour’d it. After Martin of Antwerp, Albert Dnrer began to appear, and gave the World an infinite Number of fine Prints, as well in Wood as in Copper, ail which he fent to Venice to be fold, Marco Antonio, who happen’d at that lime to be there, was fo ravifh’d with the Beauty of thefe Prints, that he copy’d Six and Thirty of them, which reprefemed our Saviour’s Psdfton* and thefe Copies were receiv’d at Rents with fo E 4 m o di ( 5 <* ) much the more Admiration, by how much the more they were finer than the Originals. A t the fame time Hugo du Carfi, an Italian Painter of a mean Capacity, but of a Wit apt for Invention, found out, by means of feveral Plates of Wood, the way how to make "Prints refemble Defigns of Clara Ofcuro , and fome Years after the Invention of Etching was difcover’d, which Parmeggiano foon made ufe of. Thefe firft Prints drew the Admiration of all that faw them for their Novelty, and the skilful Painters, who work’d for Glory, were willing to ufe them to fpread their Works over the World. Raphael among others, employ’d the famous Marco Antonio to engrave feveral of his Pictures and Defigns , and thofe admirable Prints were fo renown’d, that they carry’d the name of Rapha- el through the World. A vaft number of Gra- vers have made themfelves famous, fince Marco Antonio , in Germany , Italy, France,md the Low-Coun- tries ,and have publilh’d as well byGraving as Etch- ing, an infinite number of Prints on all forts of Sub- jects, as well Hiftorics, Fables, Emblems, Devi- fes, Medals, Animals, Landskips, Flowers, Fruits, as in general all the vifible Productions of Art and Nature. There’s no body, of what Condition or Profelfion foever, but may profit very much by them. Divines, Monks, devout Men, Philofophers, Sol- diers, Travellers, Geographers, Painters, Sculp- tors, Architects, Gravers, Lovers of the Fine Arts, all that are curious in Hiftory or Antiquity, and, in ftiort, all who having no particular Pro- feflion,but that of Men of Honour, would adorn their minds wiih theKnowledge of thofe Things, that might render them the more worthy of EfUcm, 'T is ( 57 ) Tis not pretended that Perfons are oblig’d to fee all the Prints that have been publifh’d, to know how to profit by them ; the infinite num- ber of them prefenting at once fo many different Ideas to a Man’s view, will rather confound than inform him : Thofe only, who are born with a great and a clear Genius , who’ve been us d, for fome time, to the fight of fo many different Things, can make ’em profitable to them, and fee ’em all without Confufion. Every particular Man may chufe thofe fubjeSs that are moft proper for him, that may either refrefh his Memory or ftrengthen hisjudgment, in which he ffiould be dire&ed by the Inclina- tion he has for Things of his own Gout and Pro- feffion. As for Example, nothing is more fuitaWe to Divines than "Prints which relate to Religion, Our Holy Myfteries, the Sacred Hiftories, and every thing which difcovers the Exercifc, or the Perfecution of the primitive Chriftians ; The Antique Bajjo Relievos , which in many places inform us of the Ceremony of the Heathen Wor- fhip : In fhort, any thing that has relation to our own, whether it be Sacred or Profane. For thofe devout Iubje6ts are moft proper, which raife the Soul to Heaven, and continue it in the Love of God. For Monks, the Sacred Hiftories in general, and what concerns their Order in particular. For Philofophers, all the Demonftrative Fi- gures, which relate not only to the Experiments of Phyfick, but all that may encreafe their Know- ledge in natural Things. For thofe that are bred up to War, the Plan and Elevation of fortify’d Cities, the order of Bat ? ties (58 ) iles and Books of Fortification, of which the democftrative Figures are the greaieft Part. For Travellers, the particular Views of Palaces, of Cities, and confiderable Places, to prepare them for the Things they are to fee, or to pre- serve the Ideas of thofe they have feen. For Geographers, the Maps and Carts neceHa- ry in their Profeffion. For Painters, every thing that may firengthen them iii the federal Parts of their Art, as the jin- tifw Pieces, and thofe of Raphael and Caraeci for the good Gent, corre&nefs of Defign, the Dig- nity of Manner for the choice of the Airs of the Head, the Paflions of the Mind, and the Attitude* : Thofe of Correggio for Grace and De- licacy of the Exprejfions • thofe of Titian, BaJJano, and the Lombards for the Chara&er of Truth, for the fiinple Exprefiions of Nature, and, above al^ for the GoH of Lan dikips : Thofe of Rubens, for the Grandeur and Magnificence of his Invention, and the Artifice of Claro Ofcuro . In fhort thofe that tha* they may be defe^ive in feme particu- lar part of them, may yet have fomething in them Singular and Extraordinary, for the Pain- ters may draw a confiderable Advantage from all the different Manners of thofe that have gone be- fore them, who are, as fo many Flowers, from whence like the Bees they may fuck a Juice,, which incorporating with their proper Subftancc, will bring forth fuch works as are Ufeful and Agreeable. For Sculptors, Statues, MaJJo Relieves, Medals* and other Antique Works, thofe of Raphael^ Po~ lidoro, and the whole Roman School. For Anhitetts, the Books that concern their Brofefliona and that are full of Demonftrative Figures, ( 59 ) Figures of the Invention of their Authors, or copy’d from the Antique. * “ For Gravers , a Collection of Pieces of dif- ferent Manners, as well grav’d as etch\J. This Collection fliould alfo ferve to fliew then* the Progrefs of Graving, from Albert Durer to the Gravers of our own Times, which will include the Works of Marco Antonio , Comeli- tis Cort , the Caracci , Sadelcrs , Pontius , J3olfvert y Goltius , Vojterman , Vifcher, and a great ma- ny more that I have not named, who had a particular Character, and who by different Ways drove all of them to imitate either Nature, when they did fomething of their own Invention, or Pictures of different Manners, when they only aim’d at the faithfulnefs of Imitation. In compa- ting thus the Works of all thefe Mafters, they may judge which of them underftood belt the Management of their Tools, of Light, and the ufefulnefs of Tones , as it relates to the Claro Ofcu - ro ; which of them in their Operations reconcil’d Delicacy and Force bed, and in their Productions were mod fenfible and exaCt, that making a good Ute of thefe Lights, they may have the laudable Ajnbmon to equal or furpafs thefe skilful Matters, For the Curious in Hiftory and Antiquity, eve- ry thing that has been engrav’d belonging to Sacred or Profane Hidory, the Fable, the Antique BaJJo Relievo , the Trajan and Antonint Pillars, the Books of Medals and Stones Engrav’d and feyeral Prints that may help them in the Knowledge of thofe Things they would know or to keep thofe they know already in their Memories. In ftiort, for thofe that to be more Happy, and more Gentleman-like, would form their Geit by the ( 6o ) the ftudy of good Things, and have a reafonable Tincture of the fine Arts , nothing is more necef- fary than good Prints : Their Sight, with a littleRe- fle£tion,will readily and agreeably inform them tff every thing that may exercife their Reafon, and Rrengthen their Judgment. They may fill their Memory with the moft curious Things of all Times, and all Countries, and in learning the different Hittories, learn the feveral Manners of Painting : They will judge readily, by the Facili- ty, with which they may open a few Leaves, and fo compare theProd udtions of one Matter with thofe of another, and by this means, in fparing their time ; they will (pare their expence alfo, for ’tis almoft impottible to put the Pi&ures of as many Matters together in a Room, as will {of- fice to form a perfe# Idea of the work of each Matter, and when at a vaft charge a Man has fill’d a large Chamber with Pictures of different Manners, he cannot have above two or three of each, which is not enough to enable him to make a nice Judgment of the Character of the Painter, or the extent of his Capacity ; whereas, by means of Prints , one may eafiiy fee the Works of feveral Matters on a Table, one may form an Idea of them, judge by comparing them one with another, know which to chufe, and by pra&iiing it often, contra# a Habit of a good Tafte, and a good Manner, efpecially if we do it in the company of any body, that has Difcern- ment in thefe Things, and can diftinguilh what’s good, from what is but indifferent. But as for the Criticks in, and Lovers of the fine Arts^se mutt prefcribe them no Rules; all Things, if we may ufe the Phrafe, are fubjefted to the Empire ot their Knowledge : They entertain them- ( 6 \ ) themfelves by their fight, fometimes in looking on one thing, and lbraetimes on another, be- caufe they reap profit by it,and take pleafure in it. Among other Things in feeing, what has been en- grav’d from the moft famous Matters of Pain- ting, they perceive the Origin, Progrefs, and Perfection of their Works ; they follow them from Giotto , and Andrea Mantegna , down to RaphaelfTitian and the Caracci. They examine the different Schools of thofe times j they fee into how many Branches ; they have been di- vided by the Multiplicy of Difciples, and how many Ways the Mind of Man is capable of conceiving the fame thing ; what Imitation is, and that as many different Manners have come from her as Countries, Ages, Minds or Na- ture by their Oiverfity have produc’d. Among all the good Effc&s that may arife from the ufe of Prints, we (hall content our felvts to Name fix, by which we may ealily Judge of the reft. The fii ft is to divert us by Imitation, in re- prefenting vifible things to us by their Painting. The fecond is to InftruCt by a more forcible and ready manner than by Speech : Things , fays Horace , that enter at the Ear , go more about to come at ns, and touch us left than thofe that enter by the Eyes, which are the more fure and more faithful PE it- nejjes. The Third is to fhorten the time we employ in recoileCling thofe things that have efcap’d our Memory, and to refrelh ic with a glance of the Eye. The Fourth is to reprefent abfent and diftant Things, as if they were before our Eyes, which oihcrwife we cou’d not fee without troublefom Voyages, and great Expence. The i ) , The Fifth is, to afford us by this Means an eafy way of comparing feveral things together, Prints taking up fo little room, and we may make tiife of fo great a npmber and fo different. And the Sixth is* to give one a Taft of good Things, and a Tindture of the Fine Arts which no Gentleman fhou’d be ignorant of. Thefe effedts are general, but every one may imagine the particular Ufes and Benefits of them according to his Underftanding, and his Inclina- tion, arid by thefe particular Benefits or Effedts he may make his Colledtion j for *tis eafy to guefs, that in the Variety of Condition's of which We have been fpeaking, the Curiofity of Prints , thd Order and Choice that is to be obferv’d, depend oh every Man’s Godt and Views . , Thofe, for Example, that love Hiftory feek af- ter thofe Subjedts only that belong to it, and that nothing may efcape their Curiofity, they / follow this Method, which cannot be enough commended. All that relate to particular Coun- tries and Ages are put into one or more Covers, where they may be readily come ar. Fir ft) the Pidtures of the Sovereigns that have govern’d a Country, the Princes and Princeffes defcended from them, thofe that have held any confiderable Office in the State, in the Church, in the Arriiy or Courts of Juftice, thofe that have diftinguifh’d themfelves in different Profeffi- Ons, and particular Perfons who have had any ffiare in Hiftorical Events. Thofe Pidlures are accom- pany ’d with fome Lines in Writing, which de- note the Charadter of the Perfon, his Birth, his remarkable Adtrons, and the time of his Death. Secondly , ( *3 ) Secondly, the geieral and particular Maps of this Country, the ?l3ns and Elevations of Cities* Cattles, Palaces, jnd other Places worthy the Knowledge of the Publick. thirdly , Every hing that has any Relation to Hiftory, as Entriesinto Cities and Feftivals, Fune- ral Proceflions and Pompous, Ceremonies, Modes and Cuftoms : In fcort, all particular Print* which are Hiftoricai. The Colledlion thus made for one Country* is in the fame marner done for all the red. The Invention of this Order is Very inge- nious, and we are iidebted for it to a • M$nfiettr de * Gentleman, otherwife well enough Gan iews. known by his extraordinary Merit, and the Number of his Friends. Such as have an 7 Pallion for the Fine Arts take another Method it their Colle&ions j they doit by the Painters and their Difcipfes. In the R$- man School they place Raphael, Michael Angelo, their Difciples, and their Contemporaries. In that of V * nice , Giorgione , Titian^ the BaJJani, Pooh V trcnefe, Tint or et, and other Venetians. In that of Parma, Correggio , Tarmegiarto, and thofe that fal- low d their Gout. In that of Bologna , theCaracci, Guido Dominic hino, Albani , Lanfranco and Guerch ino. In that of Germany, Albert Durer , Holben, the little Matters, William Baur , and others. In that of Flanders, t)tho V >nius, Rubens, Vandike and thofe that Pradlifed their Rules. In the fame manner they put the Matters of the French School, and thofe of other Countries, in their feveral Qafles„ Others colled! their Prints by the Gravers, with- out refpcdl to the Painters r Others, by fuch and inch Subjedts ; and others, by other Pstlhions, and indeed, ’tis rcafonable that every one foou’d have Liberty ( *4 ) Liberty to do in this what Teems to him to be ufe. ful and agreeable. *Tho one may at any time, ;nd in any Age, benefit ones felf by the fight of ?nnts y yet Youth is more proper for it than any other part of Man’s Life, becaufe Memory is tie Gift of Child- hood, and while Perfons are yomg, they ought to make ufe of it as of a Magazine, to lay up Things, that can contribute rewards forming their Judgment. But if the ufe of Vrints be proitable to Youth, *tis a pleafant and agreeable Entertainment to old Age, which is the proper time for Repofe and Reflection, and in which our Thoughts being no longer diflipated by the Amufenents of our firft Years, we may with the greater Leafure relifh the Pkafure that is to be receiv’d by Prints, whether it be by their informing us of fonething new, or bringing fomc thing to our Mines that we knew before ; whether it be, that havirg a Gufto for the Arts we judge by them of the diferent Producti- ons which the Painters and Gravers have left us, or having no Knowledge of thofe Things, we flatter our felves. that we fhall acquire it $ or in fhort, if we aim at nothing by t but to pleafe our feives by agreeably exciting our Attention in obferving the Beauty, and fngularity of the Vrints that we meet with, for there we fee Coun- tries, Towns, and all the conliderable Places that we have read of in Hiftory, or lave feen in our Travels, in fuch fort that the gieat Variety, and the great Number of rare Thing which we find there may ferve inftead of TraHling, and this may be done with eale by the Ctrious, who have no Strength, Leifure or Convenience to Travel. *Tis ( *5 ) 'TU certain therefore from what we have faid, that the fight of fine Prints by which Youth is in- (trusted, and the Knowledge of old Perfons re- viv’d and confirm’d, muft be ufeful to all the World. We don’t think it neceflary to enter into a Detail of all the feveral Things that might re- commend the ufe of Prints , w’e believe we have faid enough to induce the Reader to draw Con- fluences from it, conformable to his Views, and his Occafions. If the Antients had had the fame Advantage in this as wc have, and if they had, by the means of Prints , tranfmitted what they had done, that was fine and curious, to Pofteriry, we fhouid have di- ftin&Iy known abundance of Things, of which we have but confus’d Ideas in Hiftory ; we fhouid fee the (lately Monuments of Memphis and Baby - l° n , a nd the Temple of yerufalem which Solo- rnan built with fo much Magnificence, we fhouid make a Judgment of the 1 Buildings of Athens, Corinth , and old Rome , with more ground, and with more certainty than we can now by the poor Remains that are left of them. Pau- ; fanias, who has made fuch an exaft Defcription of Greece, and who leads us through all Places, as it were by the Hand, would have accompa- ny’d his Difcourfes with demon (trative Figures, j which might have been handed down to us,ahd we might have feen with pleafure not only the Temples and Palaces as they were in their Perfe- &ion, but we (hould alfo have inherited from the ancient Workmen the Art of good Building. Vitruvius, whole Detnonfirations are loft, would nor have fuffer’d us to be Ignorant of all the In- ftruments and Machines which he has defcrib’d, ft and ( *6 ) and we fliould not find in his Book fo many ob- fcure Places, if the Figures had been preferv’d bv Prints } for in Arts thofe Figures are the light of Difcourfe, and the true means by which an Author can communicate his meaning. ’Tis for want ofthefe means that the Machines of Ar- chimedes and the elder Hiero are loft, and the Knowledge of Diofcorides s Plants, as alfb, of fe- veral Animals, and of a great many of the curi- ous Productions of Nature, which the^ Studies and Meditations of the Antients difcover’d : But not to trouble our felves any longer in grieving for the lofs of Things which we can’t recover, let us profit our felves by Prints that we have a- mongft us. The Idea which I have given the World of a per- feffi Painter, may in my opinion affift the Curious in making a Judgment of Painting : However , fince to know Pictures perfectly requires fometbing more , 1 thought my felf ohlig d to add ivhat has appeat d to me necejjary in that Matter. CHAP. XXVIII. Of the Knowledge of PIG T UR E S. T HERE are three feveral forts of Know- 1 ledge relating to Pictures.- The Firfi con- , fills in difcovering what is Good, and what is Bad in the fame PiCture : The Second has re- fpeCt to the Name of the Author: And the Third is to know whether ’tis an Original or a Copy. ( 6 7 ) i ■v^ f i ^ s To know what is Good, what is Bad in d PICTURE. T HE Firjl of thefc two forts of Knowledge is, without doubt, the molt difficult to be acquir’d ; it fuppofes a Penetration and Finenefs Of Wit, with the Principles of Painting, and on the meafure of thefe Things the Knowledge of the Art depends. Penetration and Finenefs of Wit ferve to make a Judgment of the Invention, of the Expreffion of the Subjedf in general, of the Paffions of the Soul in particular, of Allegories , and of what depends on * Coflume * A Urm if apd Poefy. The Knowledge of Prin- An which fig. ciples helps one to find Times and nifies Mamets, Places out, the caufe of the EfFedts that we admire, 4 whether they proceed from a good Reliffi, from the Corredtnds or Elegance of Defign, or whe- ther the Objeds appear advantageoufly difpos’d, or the Colouring, Lights and Shadows be happi- ly man^g d. Thole that have not cultivated their Minds by the Knowledge of Principles, or at Ieait have fome Speculation of ’em, may how- ever be fenfible of the Effe&s of a fine Tffiure, but can never give a reafon for the Judgment: they make. I have endeavour'd by my Idea of a perfedt Painter to alfift the natural Light of the Lovers of Painting 3 however, I don’t pretend id make them penetrate into the Detail of the Parts 0^ the Art, that’s rather the Bufinefs of the Painters than of the Curious: I would only put thdf Mind*, in a good v/ay towards Knowledge, F * that ( ) that they may, in genera], be able to know what is Good, and what Bad in a PittUre. The Lovers of the Art only, who have Genius and Inclination, are permitted, if we may fo fay, to enter into the Sanctuary, and acquire the Knowledge of this whole Detail by the Lights which they infenfibly gain by ferious Refle- ction. The Gout of the Arts was fo much in Faftiion in the time of Alexander the Great, that to know the bottom of them a little, young Gentlemen were taught to Defign *. By this means thofe that had a T alent, cultivated it by Exercife, they made ufe of it upon Occafion, and diftinguiflfd themfelves by the Superiority of their Know- ledge. I refer thofe, at leaft, who have not any Experience of this Manual Practice, to the Idea I have given of its Perfection. to know who is the Author of a PICTURE. H E Knowledge of the Names of the Au- thors is got by long Practice, and the fight of a great many Pictures of all the Schools, and of the principal Matters that compofe them: There are Six of thefe Schools to which we may give a particular Name, as the Reman , the Vene- tian , the Lombard , the German, the Flemijh , and the French. And, after having by much Applicati- on acquir’d a diftinbb Idea of each of thefe Schools, if we would find out to which of them a Pithire belongs, we mutt compare it with that to which we think it has the neareft affini- ty, and when we have found out the School, we II. muft muff: apply the PiBure to that Painter, whofe Manner agrees mod with that Work; but to know this particular Manner is, in my Opi- nion, the greateft Parr of the Difficulty. There are fome curious Men who form an Idea of a Mafter, by the fight of Three or Four of his Pictures ; and who, after this, believe they have a fufficient Authority to decide what his Manner is, without confidering what care the Painter took about them, and what Age he was of when he drew them. Tis not from particular PiBures of a Painter, but from his Works in general that we judge of his Merit ; for there is no Painter that has not made fome Good, and fome Bad PiBures accord- to his care, or the motion of his Genius. There is none alfo that had not his Beginning, his Progrefs, and his End, that is to fay, Three Manners. The Firfi he took from his Mafter ; the Second he form’d by his Ge»r, in which his Capacity and Genius are to be found ; and the Third commonly degenerates into what we call Manner : For a Painter, who has a long time ftudy d after Nature, is willing without any more trouble to make ufe only of the Experience lie has got. When a curious Perfon has well confider’d rhe different Pi&ures of a Mafter, and has form’d a perfect Idea of his Stile, he may then judge who is the Author of a Picture, without being condemn’d for raflinefs ; tho’ a Critick, who has a Talent, who has ftudy’d and practic’d the Art, may fometimes be deceiv’d in the name of an . Author, y et he will, at leaft, never be de- ceived in the juftnefs and folidity of his Senti- ments. £ 3 There ( 7 ° ) There are Pi&ures made by Difciples, who have Copy’d their Matters very exa&ly in their Judgment and their Manner. Some Painters have follow’d the Gout of another Country, and not their own ; and there are fome who leave one Manner for another, and who have, by this means, made fome Pi&ures which will puzzle the beft Judges to guefs the Name of their Author. Neverthelefs this Inconvenience is not with- out a Remedy for fuch, as not fatisfying them- felves in knowing a Matter’s Hand, have Pene- tration enough to difcover the Chara&er of his Mind. A Skilful Man may eafily communicate the Manner in which he executes his Deftgns, but not the Delicacy of his Thoughts. ’Tis not to find out the Author of a Picture, enough, therefore to know the motion of the Pencil, if the Curious cannot penetrate that of the Mind -> and tho’ -tis very much to have a juft Idea of a Painter’s in his Defign, yet ’tis neceflary to enter into the Character of his Genius, and the Turn which he is capable of giving to his Con- ceptions. I don’ t pretend, however, to flop the Mouths of thofe Lovers of Painting, who have not feen nor examin’d this great number of Pictures. By talking of it they may acquire and encreafe Knowledge. I wpu’d oply, that every one ffiou’d give us the Sence in which he Speaks, by the meafure of his Experience. Modefty, which is fo becoming in Beginners, agrees alfq with the moft Experienc’d, especially in difficult Cafes. in ff ( 71 ) HI. If a P ilia re he an Original or a Copy . IS not my intention todifcourfe here of indifferent Copies, which the Curious will find out at firft Sight, much lefs of bad Ones, which are thought lb by all the World. I fup- pofe then a Copy made by a good Matter, which deferves a ferious reflexion, and makes one doubt, forfome time at leatt, whether ’tis a Copy or an Original. There are three forts of fuch Copies. The firft is done Faithfully, but Servilely. The fecond is Light, Eafy and not Faithful. The Third Faithful and Eafy. The firft which is Servile and Faithful, includes the Defign, the Colouring and theTouches of the Original ; but the fear of Paffing beyond the bounds of this Exa&nefs, and to err againft Fide- lity, makes the hand of the Copyft ft iff, and if ’tis never fo little examin’d, fhews it t6 be what it is. The fecond is more likely to impofe on the Spectator, btcaufe of the lightnefs of the Pencil, but the unfaithfulnefs of the Contours, or Out- lines, undeceive the beft Judges. And the third, which is Faithful and Eafy, made by a Learn’d and light Hand, and above all, in the time of the Original, puzzles the grear- eft Criticks, and often hazards their Pronouncing againft the Truth, tho’ it may be agreeable to Verifimility. As there are fome things which feern to favour the Originality of a Piece, fo there are others that feem to deflroy it, as the Repeti- F 4 tion ( 72 ) tion of the fame Pi&ure, its having been fair- gotten a long time, or coking a little Money : But, tho’ thefe confiderations may have weight, they are fometimes very trivial, for want of being well examin’d. That a Picture is forgot, proceeds often from the hands into which it falls, the Place where it ;s put, the Perfons that fee it, or the little value that the Owner has for Painting. The cheapnefs of it proceeds commonly from the neceifity or Ignorance of the Seller. The Repetition of a Picture, which is a more fpecious Caufe, is not always a fuhftantial Reafon. There is fcarce a Painter but has repeated fome one of bis Works, either becaufe he was pleafed with it, or becaufe he was defired to draw one like it. I have feen two Madonna s of Raphael, ^vhich being out of Curiofity plac’d by one another, would perfuade the Criticks that they were both Originals. Titian has repeated the fame Picture feven or eight times, as a Play that fucceeds is play’d a great many Nights together ; and we fee Several Pictures of the beft Makers of ./^//repeated, which difpute with their other Pieces for Good- nefs and Originality. There have been fome that have deceived the moft skillful Painters ; A- mong many Examples of this kind I lhall think it fufficientto relate one, which is, that of JuIiq Romano , and is taken from Vafari. Frederic II. Duke of Mantua , going through Florence towards Rome , where he went to pay a vi- fit to Pope Clement Vllth, in the Palace of Medici , over one of the Doors faw the Pi6ture of Leo Xth. between the Cardinal of Medici, and Cardinal di Roffi. The Heads were of Raphael, the Drapery of i*lio Romano, and all together admirable. The Duke ( 73 ) Duke look’d upon it earneftly, and became fbin Love with it, that he cou’d not forbear beg- ging it of the Pope when he came to Rome. His Holinefsvery gracioufly gave it him 5 and order’d his Secretary to write to OB avian di Medici to put the Picture up in a Cafe, and fend it to Mantua. OBavian , who was a great lover of Painting, and loath to deprive Florence of fuch a Rarity, invented an excufe to defer fending ir, pretending that the Frame was not Rich enough, and he wou’d get one fitted up for it. This de- lay gave QB avian time to have it Copy’d, which was done by Andrea del Sarto, who imitated e’en the little fpots that were upon it. This Piece was fo like the Original, that OBavian himfelf cou’d hardly diftinguifh the one from the other and that he might not be deceiv’d, he put a pri! yate mark upon the Copy, and a few days af- ter fent it to Mantua . The Duke receiv’d it with all pofhble fatisfa&ion,not doubting but.’t was the Work of Raphael, and Julio Romano. The latter, who was then in the Service of that Prince, had no fufpicion that what was his part of the Picture was not done by himfelf, and had thought it his own doing as long as he liv’d, if Fa far i, who had feem the Copy while it was drawing, had not dif- abus’d him ; for coming to Mantua he was migh- ty well entertain’d by Julio Romano, who fhew’d him all the Duke’s Rarities, faying, That the fnefl thing was fill to be feen , naming the Pi&ure of Leo Xth, done by Raphael, and fhewing it him, Vafari faid, 'Tis very fine, but *tis not Raphael’/. Julio Romano looking on it more attentively, re- ply’d, How, is t not Raphael’* ? Dont I know my own W 5 rk in it ? Dont I fee the Strokes of my Pen- cil, and remember the Striking them ? Vafari an- fwer’d, 1 . •. ' ( 74 ) fwer’d, Ton don't obferve it clofely enough ; I ajjure you , I faw Andrea del Sarto draw this very Pifture $ behind the Canvas you l fee a mark which was -put upon it to difiinguifh it from the Original . Julio 'Romano turning about the Pi&ure, and perceiving it was Matter of Fad, held up his Hands with aftonifhmcnt, faying, I value it as much as if it was Raphael’*, and even more y for ’ tis very furpri- zing to fee fo excellent a Mafler fo well imitated as to deceive One. Now, fince Julio Romano , with all his Skill, after having had Notice given him, and exami- ned the Pidure, paflionately perfifted in the de- ceit ot his Judgment, as his proper] Work, we muft not think it ftrange that other Painters lefs Skilful, fliou’d fometimes be miftaken about the Works of others: For the Truth may be thus hidden to the profoundeft Knowlege, and tho’ a Man may be out as to the Fad, he may not ak j ways be out in his Judgment : However, let a Pidure be never fo well copy’d , a good Critick will perceive exterior Tokens enough upon it to juftifyhis faying boldly what he thinks, without running the rifque of a Cenfure of Raflinefs, if jhe does not lay it down in a Politive tone j but as an Opinion founded on folid Knowledge. It remains for me to fay fomething of thofe Pidures that are neither Original nor Copies, which the Italians call Paftici, from Pajle, becaufe, as the feve- ral things that Seafon a Pafty, are reduc’d to one Taft, fo Counterfeits that coinpofe a Pafiici tend only to effed one Truth. A Painter that wou’d deceive in this way, ought to have, in his Mind, j the Manner and Principles of the Mafter, of whom he wou’d give an Idea, whether he takes any part of a Pidure which that Mafter has made ( 75 ) and puts it in his own Work, or whether the In- dention is his own, and he imitates lightly, not only his Touches, but even his Gout of Defign and Colouring. It often happens that thefe Painters who propofe the Counterfeiting ano- ther^ manner, aiming ro imitate fuch as are more Skilful than themfelves, they make better Pictures of this kind, than if they were to do fomething of their own. Among thofe who took delight in Counter- feiting the manner of otherPainters,I ftiall content my felf with naming David Teniers only, who has deceiv’d, and ever will deceive the Curious, who are not prepofleft of his dexterity in transform- ing himfelf into BaJJano and Paolo Veronefe. There are fome of his Paflici made with fo much cun- ning, that the Eyes of the mo ft judicious arefur- priz’d by them at firft Sight, but after having examined them nearer, they foon diffinguifh the One’s Colouring, and the One’s Pencil, from the Other’s. , For Example, David Teniers had a particular Talent in imitating the Bajjans ; but the light and eafy Pencil which he employ’d in this Arti- fice, is the very Proof of his Deceit, for his Pencil, tho’ eafy and light, is not fo lively norfo proper to Chara&erife Objedis, as that of the Baf fans, efpecially as to Animals. ’Tjs true, Teniers underftood the Union of Co- lours ; but there was a certain Grey , predominant in his, and his Colouring had not the vigour and fweetnefs of Giacomo Bajfano's. ’Tis the fame with all Pafiici, and if we wou’d not be de- ceiv’d by them, we fhou’d examine their Gout of Defign, their Colouring, and the Chara&er of their Pencils, with the Originals from whence they were taken. Asu ( 7 me do it- rhe Man reply a, I ask for a Deftgn. Giotto anfwer d, Go Sir, 1 tell you his Holinefs asks nothing el e of me. Up- on this the Pope gave him the Preference, and fern for him to Rome , where among other Things he drew the Picture of Mofatck Work which we mention’d before, as alfo St. Peter s * Bark toft by the Tempeft, which Piece is known to all Painters by the name of Giotto s Veflll. The Sto rv of the Circle thews us, that boldnefs of Hand * was ( 99 ) was, in thofe Days, moft part of a Painters Me* rir, and that the true Principles of Colouring were little or not at all known. Giotto work’d in (everal places, at Florence , Pifa, Rome , Avignon, Naples , and other Cities of Italy : He dy’d at 60 Years old, Anno 1336. and had feveral Difciples as we flail fee in the following Pages. BONJMICO BUFALMJCO Was ingenious in his Compofitions, and plea- tent in his Converfation. As he was painting the Life of Chrift in a Con- vent of Nuns , he came in one Day very ill dreft, and the Sifters asking him why his Mafter did not come? He anfwer’d, he would be there preiently. In the mean time he fet two Chairs together with a Pot upon them, and cover’d them with a Cloak, and a Hat, turning the Fi- gure towards the Work. The Nuns coming a- gain to lee it a little while after, and being fur- pnz’d at the light of this new Workman 3 he told tncnijftoij my Mafler : When they knew the Jelt they were diverted with it, and inform’d at the fame time, That Cloatbs do not make a Man the more Skilful. Another time as he was painting for the Biflop of Arezzo, when he came to his Work, he often found his Pencils out of order, and his Pidure blotted : He us’d to be in a rage about it, and all the Servants of the Houfe difowning the Fault, he lefolv d to watch, and fee who ’twas that plaid him luch a Trick : Wherefore leaving his Work early one Evening, he was no fooner gone from his Place but he faw a Monkey take his fen- H % eils, ( *oo ) cils, and would have dawb’dwhat he had been doing, if Bufalmaco had hot hinder’d him. A Friend of his, whofe name was Bruno , con- futing him how he might give more Exprelfion to his Subject, Bufalmaco told him he had no- thing to do but to make the words come out of the Mouth of his Figures by Labels, on which they might be written : Bruno thought him in earned, and did fo, as feveral foolifli Painters did after him, who refining on Bruno , added Anfwers to Queftions, and made their Figures enter into a fort of Converfation. Bufalmaco dy’d in the Year 1340. STEFANO of FLORENCE, AND < PIETRO LAURATl of SIENA Were Difciples of Giotto , and the firft Painters that took care to fhew the Naked under the Dra- peries $ and to obferve Perfpe&ive more regularly, than any other of their Predeceflors in the Art. Stef ano work’d at Florence , Vi fa and Jjfifi Laurati at Siena and Arezzo. Stcfano dy’d in the Year 1350. in the 49th Year of his Age. AMBROGIO LORENZEffl of SIEtfA, AND So call’d from the place of his Birth, was the firft of the Italian Painters that underftood Pain- ting in Oil. He had fome bufinefs at Naples, where he faw a Picture King Alphonfo had lent him out of Flanders. He was furpriz’d with the Vivacity , the force and the fweetnefs of the ^ Colouring, and perceiving it might be wip’d over with Water without rubbing out any part of it, he left all his Bufinefs to go to Bruges to find out John Van Eik , who was the Author of that Piece. He prefented him with a great many Italian Defigns, and gain’d his good Graces fo far by h^ Complaifance, that he got out of him the fecret of Painting in Oil. An- tonio thought himfelf fo much oblig’d to him for it, that he would not leave Bruges, as long as 'John Van Eik liv’d ; but after the Death of that Pain - ter he refolv d to make a Four into his own Coun- try, and went to fettle at Venice , where he dy’d, and where an Epitaph is to be feen very much in his Commendation, A Perfon, nam’d Dominico , was, among others, one of his Difciples, to whom, out of Gratitude for the Love he bore him, he communicated his Secret. Some bufinefs in his Art call’d this Do - minico to Florence, where he found Andrea del C a- (lagno, who, from a Peafant, was turn’d Painter, and who feeing in what efteem this new fafhion Painting was, made ufe of all forts of Flattery and complaifance to gain the good Graces 6i Dowi* ( 108 ) Dominico , and by that means got out of him this new Invention : He obtain'd his end. Dominico lov’d him, liv’d with him, told him what he knew, and took him into his Bufinefs. Cove- toufnefs foon made Andrea uneafy : He began to imagine, if no body tlfe knew the fecret, he fliou’d get prodigioufly by it, and all Dominico' s Gains would come inro his Pocket ; wherefore, not confidering that he wanted his Benefactor ’s Capacity, he refolv’d to make away with him. To this end he waited for him one Nighr at the corner of a Street, and having aflaflinated him, Went home to his Lodgings, and fet himfelf to work, as if he had not ftirr’d out : He wounded him fo privately, that Dominico not fufpeCling who was his Murderer, order’d himfelf to be carry’d to the Houfe of his cruel Friend to be reliev’d ; and dy’d in his Arms. The Murther had been buried with Andrea , had he not confefs’d it on his Death-Bed. ’Twas the fame Andrea , who, by the Command of the Republick of Florence , Painted on the Walls of the Hall of Juftice, the Execution of the Confpirators who hadconfph’d to deftroy the Medici , which got him the name of Andrea degP Impiccati. At the fame time Vit- torio Vifano was famous in Italy for linking Medals. Alfo Contemporary with Antonio , were Gentile da Fabriano , whom Pope Martin Vth employ’d at St. John di Lateran. He liv’d till he was 88 Years of Age. Lorenzo Cofta, who Painted at BoIog?ja and Ferrara , and whofe Difciples were, DoJJe and Her - cules of Ferrara^ and Cofrno RoJJ'elli, who painted in the Vatican for Pope Sixtus I Vth. and dy’d in the Year 1484, Aged 68 Years. DOMENICO ( «°P ) . - . f ' DOMENICO G HIRLANDAIO* Of Florence , was at firft a Goldfmith, but buy- ing himfelf more in Dejigning than in working at hisTrade, he at length gave himfelf up entirely to Painting. He was a great Mailer, however his Re- putation is not fo much fix’d by his own Works as by his having Michael Angelo for his Difciple. He dy’d at 44 Years of Age, Anno 1493. He had three Sons, and they were all of them Pain- ters, viz,. David , Benedict and Rhodolph. ANDREA VERROCHIO Of Florence , was a good Goldfmith, a Graver, a Mufitian, a Geometrician, a Painter, and a Sculp- tor. ’Tis true his Pictures are painted very drily, and hisColouring is not Artificial, but he under- flood Dejigning well, and gave his Heads, particu- larly Womens, a graceful Air. He defign’d ve- ry much with his Pen, which he manag’d well, and Was the firft that found out the Art of taking and preferving the likenefs of any Face, by Moulding off the Features in Plaifter, after which it became very much in uie. He was not faris- fy’d with the Refemblancc of a Thing, he wou’d go to the bottom of it, and to that end ofren made ufe of Mathematical Experiments, being famous for drawing of Horfes, and undemand- ing Calling. The Venetians wou’d have em- ploy’d him to have made a Statue in Brals of Bartolomeo di Bergamo on Horfeback : He drew a Model of it in Wax $ but another being prefer *3 ( 1*0 ) prefer’ d before him to Caft the Statue, he was fo Mad, that out of Spite he broke off the Head and Legs of his Statue, and fled away. The Se- nate, in vain, fent out orders to flop him, and gi- ving out that they wou’d have his Head cut off if they cou’d catch him, he anfwer’d, if they jhoud cut off his Head, 'twou d be iwpofjible to wake another , whereas he coud eafily wake a Head , and a finer one for the Model of his Horfe. This ’witty anfwer made his Peace, but he had not the plea- fure to put the Horfe in its Place; for, over- heating himfelf in Cafting it, he fell ill of a pleu- rify , and dy’d in the Year 1488, Aged 5 6 Years. Leonardo da Vinci and Vietro Verugino were his Difciples. F IL 1

His Son, who was a handfome younp- Man 0f he had gMrToplwa"’ libeAffi?*' ne f s ofhis death was a ter- nbie Affliction to him, but arming himfelf with Conftancy, he order’d his Corps to be carrv’d in to his Work : houfe, and without /bedding a Tear" drew his Pidure to preferve the Memory of him, finding no ConfoJation but in his Arr Which gav e him what Death had ravilh’d from &LVv T,d f ei 7 a t ‘° *-"• "hither Pop® e in' ^ enr ^ 0r ^nd having Dainrer! retum’d St to C S r Ut o(Gt ”f‘. for his Hohnefs, he return d to Cortona • and being very rich work’d PIETRO COS 1 MO, W S and for whom he work’d T Song Ce bv " tv 6 Where R "f Mi was employ’ll o y Sixtus IV. and twasobferv’d thar rheSrhru Painting was better than Ae W a hh Ah- h.yg° [ him many Difcipfc, and^mong othe^ lov’d Zn A r ‘° a 1 d , i W« d * He lov d Solitude, and his way of Living was ver* Extraordinary. He was fo eager about his R»/ nefs, that he would often former hls B . u «- a rcr the clap was over, he wouki be found nn ^ I" 3 Corncr » and wrapt up in his Cloak. Nothing was more uneafe w hun than 1 1 the ( ) the noife of Children crying. He hated aifa r? hear thofe Cough that had a Cold, the ringing of Bells, and Monks finging Vfalms. * He deligh- ted in Rain above all things, and dy d delirious of a Faralepfy , in the Eightieth Year of his Age, Anno 1511- J LEONARDO da V INC I O pec/-* V 7. f <4 Was 0 f a n oble Family in Tujcany, and A id not degenerate from the Honour of his Aneeftors. His Morals were good, and his Body and Mind Beautiful. He had fo many Talents for all the Arts, that he knew the very bottom of them, and pra&is’d them with Care and Exa£tnefs. His great Variety of Knowledge, inflead of weak- ling that which he had of Painting, ffirengthen d it to fuch a degree, that there never was a Pain- ter before him that came near him, and there never will come any after him, who will not look on him as a Fountain, from whence feveral good Things are to be drawn. He and Tietro Perurim were Difciples together of Andre* Vermhio , who gave him an Opportunity to a- waken his Talent , for the Mafter and the Schol- ar were both born with the fame Genius, except that Leonardo's was the more exten ive. He ■ painted at Florence , at Rowe, and at Milan, and a great many of his Piaures are difperft up and down throughout all Europe. Among other! hings he drew a Pi&ure of our Saviour’s laft Supper, for the Refetfory of the Dominicans at MlDn, which is of exquUite Beauty. He did not nmfh the Head of Chrift, becaufe he could not find out a Model anfwerable to the Image he had form’d in v nis ( "7 ) his Mind, before the War broke out in that Du r- ' chy, and obliged him to leave Milan. He did the fame by Judas alfo, but the Prior of the Convent being impatient to fee the Piece fi- nilh’d, preft Leonardo fo earnestly to have it done that he drew the Head of the Importu- nate Fryar, and put it upon Judas's Shoulders. He was incelfantly bufy’d in Reflexions about his Art, and fpar’d for no Care or Study to arrive at Perfection in it, which h6 at laft attain’d. He was chiefly Solicitous to exprefs the PalTions of the Soul, which he believ’d the moft necelfary thing in his Profeflion, efpecially for thofe who would have the Approbation of Men of Senfe. 1 he Duke of Milan made him Director of an Accademy of Painting ereCted by him in the Ca- pital of his Dutchy. Twas in that City he wrote the Book of Painting, which was printed at Park in 1 65 1. and for which Pou(Jin made the Figures. He wrote feveral other Treatifes that were loft. When Francis I. took Milan , Leonardo retir'd to Florence , where he painted the great Hall of the Council, and found Michael Angelo's Reputation very well eftabiifli’d, which rais’d a mighty Emu- lation between them. Leonardo going to Rome at the EleXion of Pope Leo X. Michael Angelo did the fame, and their Jealoulie grew to fuch a height, that Leonardo left Italy , and went to Pa- rky where he was very well receiv’d by Francis I. By his Prefence and Works he fupported the Re- putation he had accjuir’d, and the French King gave him all polliblej Tokens ofEfteemand Friend- /nip. . The King had fuch a particular Kindnefs for him, that going to Vilic him in his laft Sicknefs, Leonardo would have rais’d himfelf up £0 thank his Majefly for the Honour done him, I 3 the ( *«8 ) the King embracing him to oblige him to lye down in his Bed again, he was taken Speechlefs in the very Moment, and expir’d in the Arms of that Monarch, in the 75th Year of his Age, Anno 1510. Reflections on the Works of LE 0- NJ*3 ) RAPHAEL SANZlQ Was born at Urbin on Good Friday , in the Year 24^3. His Father was an ordinary Painter, and Pietro Perugmo his Matter. His chief Works are in ‘Frefco in the Hall of the Vatican^ and his ***** Pieces are difpers’d up and down in feveral Parts^ ’ of Europe. Having an excellent Underftanding^^^^T^a. he knew that the Perfection of Painting was confin’d to Perugino s Capacity, and therefore he went to Siena to feek out fame other means of advancing himfelf. Here his Friend Pinturrichio ., . ^ got him to be employ’d to make the Cartoons fci the Pictures of theLibrary j but he hadfcarce done^^t^^^^ one before he was tempted to remove to Florence by the great Noife which Leonardo da Vinci , and Michael Angelo's Works made at that time. As foon as he had confider’d the Manner of thofe two Illuftrious Painters, he refolv’d to alter his bwn which he had learnt of Perugino. He re- turn d to Peroufa , where he had opportunity nough to exercife his Pencil ; but the Remem- brance of Leonardo da Vinci's Works put him upon a fecond Journey to Florence , and after having work’d there fome time to ftiengthen his Hand, he went to Rome , where Bramante y his Kinfmarj, prepar’d the Pope by a good opinion cf his Me- rit, for his favourable Reception, and he was fet at Work to Paint the V atican, Raphael began by the PiClure, which is called the School of A- thens , the Difpute of the Holy Sacrament, and the other Pieces which are in the Chamber of th cApoJlolick Signature. His Pains and Care were incredible, and they were fuccefsfui anfwerable co ( 1 ?4 ) to his Induftry, for the Reputation of his Work carries the Name of Raphael throughout the World. 'He form’d the Delicacy of his Gout after the Ancient Statues, and BaJJo Relievo's, which he defign’d a long time with extreme Application. To j-his Delicacy he added a Grandeur of Manner, with which the light of Michael Angelas * Chap- pel at once infpir’d him. ’Twas his Friend Bra - mante who brought him into the Ghappel con- trary to the general Order Michael Angelo had given him when he trufted him with the Keys. Belides the pains that Raphael was at in working after the Ancient Sculptures he hir’d People in Qreece and Italy to Defign for him all the Antique Pjeces that cou’d be found, which, as opportu- nity offer’d, he made ufe of, ’Tis obfervable, that he has not left many, if any at all of his Works, imperfect, and that he finifh’d his Pictures to. a nicety, tho’ he did ’em very quick. He was extreamfy careful to give them fiich Perfection, tfiat there might be nothing to be faid againft them, and on this account it is that we fee ftill fome Drawings of pieces of Pictures, as Hands, Feet, and bits of Drapery , which he has Delign’d * Pietro Bellori, in his Book Intituled, Defcrittione delle Imagini da Rafaele nelle Camere del Vaticano, denies this Story with all his Might , and pretends that Raphael did not owe bis great Gout to any thing but his Study of the Antique ; yet Vafari, who knew Michael Angelo and Raphael, was never contradiBed by any Author ef thofe Times ; on the Contrary three other Authors, who have particularly writ the Life of Michael Angelo, have confirm'd what hi fays, affirms that he learnt it of Michael Angelo : And what renders it very probable, that Raphael made his Advantage of Mi- chael Angelo’/ Works, is a Defign that I have of his own hand , on the back of which is a Drawingjf his Defign' d after one of the Figures which Michael Angelo Painted in the Pope's Chap - C 1 *5 ) three or four times fcb the fame Subjeft, and out of which he chofe thia for his purpofe which was , moft per fedh Tho’ le was very laborious, yet there are few Pi6tu.es to be feen done by his own hand. He pent moft of his time in Defigning, that he night find bufinefs for the great number of Dilfcples that executed his De- signs in feveral Place, chiefly in the Lodgings and Apartments of t;h< Vatican, in the Church of our Lady of Peace , ;ard in the Palace of Chip, which were all done )y his Pupils after his De- figns, except the Galery and one Angle only, where the three Gotdefles are Painted, which was done by himfelf. His good Nature got him the love of all PeopI;, efpecially of the Popes his Contemporaries. Cardinal Bibiano olFer’dhim his Niece in Marriage and Raphael was engag’d to her. But Pope Lo Xth having given him hopes of a Cardinal’s Jap, he made no haft ro Marry her. His Paflion for the Fair Sex deftroy’d him in the Flower of his Age for one day after he had abandon’d himfelf ito Women with excefs, he was taken very ill of i burning Fever, and’ the Phyfitians, from whom he conceal’d the true caufe of his Diftemper, having dealt by him as if he had a Pleurify, quite exftinguilh’d the little fire that was left in his Body. He dy’d on the fame day that he was born, Good- Friday, Anno 15:20. in the Thirty Seventh Year of his Age. Cardinal Bern - bo wrote his Epitaph, which is to be feen upon his Tomb in the Church of the Rotunda at Rome, where he was buried. I will mention only two’ Verfes of it which are admirable. ( l2 <* ) llle hie eft Raphael, timuit> quo fofpite , vincf Rerum Magna Parens , moriente mori. His Difdples were Julio Romano y Giovaniti Francefco Penni , firnam’d i/ Fattore , Pellegrino di Modena , Pierino del Vaga , Polidoro , Caravaggio , turinoy Bartolomeo da Bagna-Cavallo , Timotheo £ %Jrbino,Vincente di SnnGemmiano> Giovanni d'Udine y and others. Several skilful Flemmings alfo were his Difciples, and help’d him in the Execution of his great Works, Bernard van Or lay of Bruf- fels^Michael Coxis of Mechlin and Others, who going back into their own Country, had the Care of executing his Defigns for Tapeftry : Befides his Difciples he had a vaft number of Students and friends who frequented his Houfe, and often Waited upon him Abroad. Michael Angelo meet- ing him one day thus attended, told him, en paf> fant , That he march'd like a Provo (l 'ivith his Ser- jeants about him ; Raphael anfwer’d, And you alone like a Hangman : Thcfe two great Painters were always jealous of each other, as ’tis ufual among Perfons of the fame Profdlion, when Modefty is not Miftrefs of their Sentiments. Reflections on %JfHAEV s Works. There has been no Painter fince the Retlaura- tionof the Art in Italy , who acquir’d filch a Re- putation as Raphael: His Genius was fublime, his Thoughts Fine, his Vein fruittul, and wou’d have appear’d much more fo, had it not been mode- rated by the nicety with which he finifh’d his Pieces, He ( »*7 ) He was rich in his Iiventions, and his Man- p ner of difpofing of tie things he Invented was ' very delicate. If his ligu res were not Group'd by Lights and Shadows they were fo ingenioufiy done by their ACtions, that the Groups were al- ways view’d with pleifure. His Attitudes are noble according to their condition, Contrafod without affectation, Expreflive, Natural, and fuch as always expofe the Deautiful Parts. His De- igns were very CorreCt; to the juftnefs,the Gran- deur and Elegance of tie Antique, he added the fimpiicity of Nature wthout affeCting a particu- lar Manner. There is i great deal of variety to be feen in his Figures and more in the Airs of his Heads, which he cofy’d from Nature, the Mo- ther of Diverfity, and ilways accompany’d with a noble Character in Ddign. His Expreflions are Juft, Ingenious, Elevated and Touching, they an moderate without Cold- nefs, and Lively without Exaggeration. The manner of his Draperie : was poor at firft, but had 3. great Gout at laft and were let with Beauty and Artifice j the Order cf his Folds are fine, and /hews the Naked where it appears to the beft advantage, and chiefly about the Joints. However, he may be blam’d for Drefling al- mpft all his Figures in the fame Stuffs, whereas he might have chang’d them with reafon, and for the Ornament of his Subjects: I fpeak of Hiftorical Ones, for as to Fabulous and Allegorical, in which Divinities are introduc’d, the Painter ought to have more regard to the Majefty of the Folds, than tothe Richnefsof the Stuffs. Raphael being nicely careful to Defign CorreCt- ly, and if we may fo fay, jealous of his Out-line j, aehas mark’d them fomewhat too hard. His Pen- cil ( 128 ) dl tho* light and united, is however dr y. His landslips are neither handfom, nor (f a great Gout. His local Colours are neither Ihining lor (hock- ing ; they are neither very true, nor v;ry fatfe* but his fhadows are a little too black : He never had a clear underftanding of the Cla-o Ofcuro y tho’ it appears by his laft Pieces, that ae fought after it, and endeavour’d to acquire i, as may be feen in his Tapeflries of the Adts of he Apo- ftles, and in his Pi&ures of the Translation : But whatever Raphael wanted in Coloiring, was over- look’d in the abundance of the othtr parts of Painting v of which he wasMafter ; and h* haseven done fome Portraits with refpedt to Lghts and Colours fo well, that they may enter into the Comparifon with Titians , as well as th< St. John in Monfieur the Firft President’s Cabin*, which, for all the parts of Painting, defervesro be rec- kon’d the Author’s Mafter-piece. TouJJin faid of Raphael , That he wa an Angel compar’d with theModern Vaintersjsttt ansfs in Com- parifon of the Ancients. His Judgment a him re- lates only to his Thoughts, his Gout , hs Juftnefs of De/ign , and his Expreflions : The Thoughts of the Ancients are fimple, fublime anl natural, fo are Raphael’s : The Antique Defign s correct, vary’d according to Decency, and (f a great Gout , Raphael’s is the (ame. The Ant late way of the Collocation of the Mufcles is leaned and exadt, and delicate in their Offices. Raphael was not ignorant of this Part, yet we muft con* fefs, that thofe who have ftudy’d Anttomy, as it relates to Painting, may obferve mor< exaitnefs in the Antique , and more delicacy in t'lg Actions of the Mufcles in the Ancienc Pi&uns than in, not ( 129 ) not bnly Raphael's, buc in any other Modern Painters whatfoever. I allow that this great Juftnefs, and great De- licacy in the Action of the Mufdes, regulate the exadlnefs of the Out- lines, but I don’t fee that Raphael was fo much out of the way as to be reckon’d an Afs in Companion of the Antiques. ’Tis true, Raphael form’d the Gran- deur of his Gout from the fine Statues of Anti- quity, and that when he came from his Mafter Rerugino they put him into a right Way: he follow d them implicitely at firft, but at laft per- ceiving that the Road of Painting was different from that of Sculpture, he took from them no more than was juft proper for his Art, and as he grew cider and wifer, he left off the reft This difference is eafiiy to be perceiv’d in the Piftures w f hich he painted at different Times, the latter of which came neareft the Chara&er of Na ture. 9” A e • CO "I rar > , l and Annibal Caracci, gutted their Chara£ler of Nature according as they grew more and more fond of the Anti L - ihey/houd have done as RayWdid, do one and not omit the other ; for this excellent Man not only retain d the good G«i/of the^nw, i ts Grandeur and Beauty, but alfo fpy’d out one thing which neithei Pouffln nor the Caracci ever faw* and that was Grace, which Gift of Nature was’ given him fo plentifully, that he fpread it over every thing that came out of his Hands, and no body can diipute the Preference, with him in it except Correggio, who wanted his Regularity of Defign. Raphael made ufe of Grace to Pet off all the oi.ier parts of Painting, which he pofTeff, K the ( 30 ) the Polfeflion of which acquir’d him the Repu- tation of the beft Painter in the World. GIROLAMO GENGA Of Vrlin, was a Difciple of Pietro Perugino at the fame time with Raphael. He particularly apply’d himfelf to Architecture, and dy d in the Year 1551 , Aged 75. JULIO ROMANO Was the favourite- Difciple of Raphael , as well on account of his skill in Painting, as for the agreement there was in their Manners. He entire- ly follow’d his Matter’s Gg% not only in the Exe- cution of the Defigns he gave him, but alfo in thofe he made himfelf. Raphael treated him like a Father, and left him his Heir jointly with Giovanni Francejco Penni il Fat tore. After Ra- phael's Death thefe two Painters finifli’d feveral Pictures which their Matter had left ImperfcCt. "'fulio Romano was not only an excellent Painter, but alfo underftood Architecture perfectly well. The Cardinal di Medici s, who was afterwards Pope Clement Vllth. employ’d him to build the Palace which is at this day call’d la Vigtte Madame , and when he had finifh’d the Architecture he did the Painting, and other Decorations. The Death of Leo X. was a blow to Julh Ro- mano \ for had his Succeflor Adrian VI. reign’d a- bove a Year, the Fine Arts in Rome woucl have been extinguifh’d, and all the Artiftshad ftaiv d ; bu i Clement VII. fucceeding him, Painting and Painters ( 3 » ) Painters began to revive. As foon as he was ehoten Pope, hefet Julio Romanou work to Paint the Hall of Conflmtine , where Raphael had begun the Hiftory of that Emperor, which hehad Ce- fignl This W oik being finilVd, he drew feveral Pictures for Churches and private Perfons : His * n . ner , e & ai } f0 change at laft, his Colouring into Black and Red, and his Defign into the Seven. , Fre “ e ™o diGonz,a£a , Marquifs of Mantua, hear- ts ot Juho s Capacity, invited him to that City His good Fortune directed him thither, for ha- ving made the Defigns of twenty lewd Prints. Which Marc Antonio Engrav’d, and for which Aretme made the Infcriptions in Verle, he had been feverely puniffi’d for it had he flay’d in r°^ e ^ 35 ,^ le f iea mienr, Marc Antonio met with, iufficiently proves. He was thrown into Goal where hefufferd a great deal, and it had coft hnn his Life if the mterdi of the Cardinal di Medicis , and Baccio Bandinelli , had not fav’d him In the mean time Julio Romano follow’d his Bu- hnefs at Mantua , where he has left eternal Proofs of hts great Ability. He built the Palace T. and made the City of Mantua finer, Wronger, and healthier than before. As to his Painting we may affirm, ’twas at Mantua cheifly that Julio Ro- mano s Genius took Wing, and he ffiewd him- ielf to be what he was. He dy’d there in the ifty Fourth Year of his Age, Anno to the great Grief of the Marquifs, who lov’d him as hi § Brother. He had a Son and Daughter who foiviv d him ; the Son’s Name was Raphael , the F ifnTr^ r i m 2 l rf A Hercules A mong his Difoiples the belt are Vrimaticdo , who came in- to France and one of Mmm, nam'd Ri„ML who dy d young. ' K s Reflexions /e , Ch ^ C /z^/y S /'« Reflections 00 JF^j °f JULIO "* * ~ y 'V ROMANO. Julio Romano was the firft, the moft Learned and the moft perfevering Difciple of Raphael . His Imagination, which was, as it were, bury’d in the Execution of the Defigns of his Matter, as long as he was his Difciple, when flie faw her felf free, took Wing at once ; or, rather as a Torrent, that being penn’d up breaks over its Banks, and runs with an impetuous Courfe, fo Julio Romano , after having produc’d feveral Eafel- Pieces, and painted great Works in the Vatican- Hall from Raphael's Defigns, before and after the Death of his Illuftrious Matter, prefently chang’d his Manner when his Genius was at Liberty, and (utter’d it to take its rapid Courfe, as is to be feen in his Paintings at Mantua : However, it was not that graceful Vein, nor that foft fire of fancy which, tho’ borrow’d before, yet made it doubt- ful to decide, whether home of the Pictures were his, or his Matters. When he was entirely free, and the Piece all his own, he animated it with Ideas more fevere, more extraordinary, and even more exprefllve, but lefs natural than the Works of Raphael. His Inventions were adorn’d by Poefy, and his Difpoficions uncommon and of a good G(At. His Studies of PoliteXearning w£re of great Service to him in his Painting, for in Defigning the Antique Sculptures, he drew thofe Proofs of Learning which we obferve in his Pictures. It v ns ) It feems, by his Works, that his Thoughts were wholly taken up with the Grandeur of his Poe- tical Ideas, and that to Execute them with the fame fire that he conceiv’d them, he contented himfelf with the Pradtife of Defign , which he had chofen, without varying the Airs of his Heads, or his Draperies. ’Tis vifible alfo, that his Colouring, which was never very good, became worfe atlaft 3 for his Local Colours, which were compos d of Brick-Colour and Black, were not f upported by any Intelligence of the Claro Ofcuro . His fierce way of Defining , and bis terrible Ex- preflions became fo habitual to him, that his Works are eafy to be known. This Manner is very grear, ’tis true, being form’d after the An - uque BaJJo Relievo's, which he had carefully ftudy’d, and efpecially the Traj an, and Antonive Pillars which he defign’d throughout, yet thefe fine things, which are fufficient of themfelves ro make a skilful Sculptor, muff be accompany’d with the Verities of Nature to form a great Painter. The Draperies, which commonly con- tribute to the Majefty of Figures, are the fiiame of his, being Poor, and of an ill Goat. . ’There is little variety to be feen in the Airs of his Heads 3 that which is to be found in his Works, confifts only in the different kinds of Objects, of which his Compofitions are full, and in theAjuftments which enrich them, and proceeds from the Univerfality of his Genius for all forts of Painting- he did all well alike. Landslips and Animals, by which means his Produftions, for what they contain, will always be admir’d by the Judicious. " K 1 GlOVANJsk ( >34 ) GIOVANNI FRANC E SCO PENN1 Surnam’d 11 F A ' T r 0 \B This laft Name was given him for his good Husbandry in managing Raphael's Expences, when he liv’d with him, which was to the time of his death, Julio Romano being his Fellow- Dif- ciple. He was very skillful, efpecially in Defigning. He has done a great many things from Raphael’s Thoughts, which pafs for Raphael's own doing, particularly in the Palace of Chigt, as one may obferve by examining them with attention. He had a particular inclination for Landskips, which he Painted very well and enrich’d them with fair Buildings. After his Matter's Death, he alfociated him- felf with Julio Romano , and Pierino delVaga. Thefe three together finiflvd what Raphael left imperfe6t, as well the Hiftory of Conftantine , as other Works in the Palace of Belvedere. They feperated on occafion of a Copy that the Pope wou’d have done of the Pi&ure of the Transfi- guration, which was defgn’d for the Court of France, and Fattore went to Naples , intending to work for the Marquifs del Vafio , but his Confti- tution was fo delicate, that he did not live long, for he dy’din the Fortieth Year of his Age, Anno 1518. L UCA ( 1 3 5 ) LUCA TEN'NI Was Giovanni Francifco's Brother, whom w’e have been (peaking of: He work’d awhile with Tierino del Vaga, his Brother-in-law, at Genoa, and other places of Italy. He went thence into Eng- land, where he did feveral things for King Henry VI IT. and for fome Merchants. He was alfo employ’d by Francis I. at Fontainbleau , and at laftapply’d himfelf to Graving. ANDREA del SARTO Of Florence , was a Taylor’s Son : His Father put him to a Goldfmith, with whom he liv’d Seven Years, during which time he minded De- fgmng more than his own Trade. From the Goldfmith he remov’d to an ordinary Painter, call’d Giovanni Barile , whom he foon left to go to Florence, and enter himfelf with Pietro Cofimo. While he liv’d with him he fet a-part all Sundays and Holidays to Dejign after the bell Mailers, efpe- ciall y Leonardo da Vinci , and 'Michael Angelo, which, in a few Years, taught him his Art. He thought his own Mailer too flow in the Execution of his Works, for which reafon he left him, and be- came acquainted with Francifco Bigio. They liv’d together, and painted feveral things in Florence , and thereabouts, for the Monalleries. He drew a great many’ Madonnas* s. He iscen- fur’d for making ufe of Albert Durer's Prints in a Piece, which he did for the Carmelites. Baccio Bandinelli would have learnt to Paint of him, K 4 but ( «3ella, who work’d in France , Giacomo Sandro , Francefco Salviati and Giorgio Vafari. The fame Fa fart re- ports, that # Andrea del Sarto copy’d fo perfectly, that Frederic Marquifs of Mantua, having on a time, made him copy the Picture of Leo X. with fome Cardinals, becaufe Clement VII. had defir’d that Prince to give him the Original, he did it with fo much Juflnefs, that Julio Romano , who drew the Drapery of that Piece under Raphael , The Author has told this Story more at large f and in another wanner, in the 2>]th Chapter of the firfl Book. ( *37 ) rook his Copy for the Original, and told Vajqri who difabus’d him, Don’t I fee the Strikes that I jiruck with my own Hand • but Fa- fan fliewing him del Sartos Mark, he was con- vinc'd of his Miftake. GIACOMO da ? A NT 0 R MO Of Tufcany , was at Thirteen Years of Age put to learn the Art of Painting of Leonardo da Finch. He was afterwards remov’d to Mariotto Alberti - nelli , from him to Vietro di Cofimo , with whom he flay’d not long, leaving him to place himfelf' with Andrea del Sarto. At Nineteen Years old he fet up for himfelf, and follow’d his Studies fo fuccefsfully, that up- on feeing fome of his firft Works, Michael Ange- lo faid of him, He would raife Tainting to the Skies, Vantormo w as never latisfy’d with what he did, but the praifcs that were given him kept him in Heart. He did feveral Things at Florence that got him Reputation. Having undertaken to paint the Chappel of St. Laurence for the Duke of Florence, and aiming in that work, which lafted Twelve Years, to excel all others he on the contrary came fhort of himfelf. He was a Man of Honour, and very Humble ; he had one qua- lity, and the moft commendable one in the World, which is rarely to be met with in his ProfefTion, which was that he would never fuf- fer any one to fpeak againil ' thofe that were abfent. All his Pieces were done in Florence , where he dy’d of a Dropfie, Anna 1$ $ 6 . Aged 63 Years, 8 ACC/O ( 138 ) BACC10 BANDINELLI Was born at Flounce ; his name was Bartolomeo , which was turn’d into the Diminutive Baccio. His Father was a Goldfmith, and his Mafter, Giovanni Francifco Ruftico , a good Sculptor, whom Leonardo da Vinci us’d often to Vifit, for Ruftico was bred up by Andrea Verrocchio as well as Leonardo ; Ver- rocchio being, a Sculptor, Painter and Architect, and undemanding the Mathematicks very well. Tho’ Baccio Bandinelli had gone through all the Studies neceflfary for an excellent Painter, his Pi- ctures were not lik’d, on account of the Colour- ing which was worth nothing. His ill fuccefs occafion’d his abandoning Painting, and follow- ing Sculpture, in which he became very Skilful. He had fo great an Efteem for his own Works, that he compar’d them with Michael Angelo's whofe Reputation was a great Grief to him. His Productions are at Rome and Florence , where he dy’din the 6 1 Year of his Age, Anno 1559. POLIDQRO da CARAFAGIO So call’d from the place of his Birth, a Village of that name, in the Dutchy of Milan. He came to Rome at the time when Pope Leo X. was rai- fing fome new Edifices in the Vatican > and knowing not how to get his Bread otherwife, for he was very young, he hir’d himfelf to Car- ry Stones and Mortar for the Mafons, who Were at work about that Building. He did this till he was Eighteen Years of Age. At the fame time Raphael ( '39 ) Raphael employ’d feveral young Painters in the fame place to execute his Dejigns. Volidoro , who often carry ’d them the Mortar, with which they made their Frefco , was touch’d with the fight of the Paintings, and folicited by his Genius to turn Painter. He at firft ty’d himfelf to the Works of Giovanni d'Udine , and the pleafure he took tb fee that Painter work, Hir’d up the Ta- lent which he had for Painting. He was very officious and complaifant to the young Painters, and made an acquaintance with them, to whom communicating his Intention, they gave him Ldfons which embolden’d him to proceed. He heartily fet himfelf to Defining, and advanc’d fo prodigioufly that Raphael was aftonifh’d, and fome time after fet him to work with the other young Painters, but he diftinguififd himfelf fo much from all of them, that as he had the great- eft /hare in Executing his Defigns in the Vatican, fo he had the greateft Glory. The care which he had feen his Mafter take in Dejigning the An- tique Sculptures, fhew’d him the way to do the like. He fpent whole Days and Nights in De- jigning thofe beautiful Things, and ftudy’d Anti- quity to a nicety. The Works with which he has enrich’d the Frontifpieces of feveral Build- ings at Rome , Ihew the pains he took in ftudy- ing the Jntiyue. He did very few Eafel- pieces ; mod of his Pro- du&ionsare in Frefco , and of the fame Colour in Imitation of the Bajfo Relievo s. In this fort of Painting he made ufe of the Manner, call’d Scratch d, confifting in a Preparation of a black Ground, on which is plac’d a white Plai- fter* and raking off this white with an Iron Bodkin, we difeover through the holes the black ( *40 ) bJack which fcrves for Shadows. Scratch’d work lafts longeft, but being very rough is unpleafanc to the fight. He aflociated himfelf at firft with Maturino, and the Conformity of their Genius’s, made them Companions in their Studies and Bu- finefs: They liv’d together like Brothers, and their Friendfhip lafted till the Death of Maturino , who dy’d of the Plague, Anno i$z6. Polidoro, after having by Maturino's AtTiftance fill’d Rome with his Pieces, thought to have enjoy’d his Eafe, and the Fruit of his Labours, when the Spaniards , in the Year 1927. btfieg’d that City, and all the Men of An were forc’d to fly, or elfe were ruin’d by the Mifefies of War. Polidno refolv’d to retire to Naples , where he was oblig’d to w ork for or- dinary Painters, and had no opportunity to make himfelf taken notice of ; for the Neapolitan No- bility were in thofe Days more Solicitous to get good Horfes than good Pictures. Seeing himfelf therefore without Bufinefs, and forc’d to fpend what he had got at Rome , he went to Sicily, and underftanding Architecture as well as Painting, the Citizens of MeJJina employ’d him to prepare the Triumphal Arches, for the Reception of Charles the Vth coming from Tunis, which work being finifh’d, Polidoro finding nothing to be done there anfwerable to the Grandeur of his Genius, and having no temptation to (lay, but the Ca~ reffes of a Woman he lov’d, he thought of return- ing to Rome. To that end he drew his Money out of the Bank of MeJJina , which his Man under- ftanding the Night before his intended departure, he confederated himfelf with other Rogues, feiz’d him in his Bed, ftrangled him, and ftabb’d him. After they had committed this Murder, they car- ry*d the Body to the Door of his Miftrefs, that it ( * 4 ' ) It might be thought he was kill’d there by fome Rival, yet God in his Providence fo order’d it, that the Murder was difcover’d. The AJJajfins fled, and every body picy’d Polidord s untimely Fate , his Man, who did not fear any ones miftrufting he had a Hand in his Mailer’s Death, came to make his Lamentation^ over him as well as the reft. A Sicilian Count, one of Polidords Friends, obferv’d his Grief was not at all natural, and luf- pe&ing him to be concern’d in the Crime, had him apprehended. He defended himfelf very ill: He was put to the Torture, confeft all, and was condemn’d to be drawn to Pieces by four Horfes. The Citizens of MeJJina were migh- ty forry for Poliderd s Death, and honourably bury’d him in their Cathedral Church. He was in his Eight and Fortieth Tear when this Fate befel him, Amo 1543. Reflections on the Works of P O LI- DO ^0. Polidoro , as defirous as he was to learn, thought he could not do better than tread in his Mailers fteps, and knowing Raphael had form’d his Goto of Defign alter the Antique Statues, he alTidu- oufly apply’d himfelf to ftudv them, and the principal Bulinefs of his Life was to imitate them, as maybe feenbyfome beautiful Remains of his Works on the Frontifpieces of feveral Houfes in Rome , where he has painted fome BaJJo Relkvo s of his own Invention. His ( * 4 * ) His Genius, which was extraordinary Lively and Fruitful, and his ftudying the Antique Bajjo Relievo's, made him incline to reprefent Battels, Sacrifices, Vafes, Trophies, and thofe Ornaments which are mod remarkable in Antiquities. But, what is altogether furprizing, is, that notwithftariding his great Application to An- tique Sculptures, he perceiv’d the neceflity of the Claro Ofcuro in Painting, and was almoft the only Painter of the Roman School, who made it a Prin- ciple of the Art, and put it in Practice: Indeed the great Mafles of Lights and Shadows which are in his Pictures fhew he was convinc’d, that the Eyes of the Spectator wanted repofe to view a Pi&ure with eafe. * Tis from this Principle, that in the Fraz.es _ which he painted with white and black, his Objects are group'd To artfully, that ’tis impofli- ble for any to be more Beautiful. His Love of the Antique did not hinder his ftudying Nature, and his Gat of Defign , which was very great, and very correct, was a Mixture of the one and the other. His Hand was eafie and excellent, and the Airs of his Heads bold, noble and expreflive. His Thoughts were Sublime ; his Difpofitions full of Attitudes well chofen ; his Draperies well fet, and his Landfchapes of a good Gout. His Pencil was light and foft ; but alter the Death of Raphael, who employ’d him in the Paintings of the Vatican, he very fcldom colour’d his Pieces, applying himfelf altogether to work in Frefco with the Claro Ofcuro. Polidoro's Genius was very much like Julio Ro- mano's, their Conceptious were lively, and form’d after the Goat of the Antique . Their De - fan ( *43 ) fign was great and feverc, and their way new and extraordinary : The difference between them was, that Julio Romano animated his Poetical Compofitions by the impetuofity of his Vein only, and Polidoro always made ufe of the Con- trap, as the mod powerful means to give Life and Motion to his Works. Polidords Genius ap * pears alfo to be more Natural, more Pure, and more regulated than Julio Romano’s. * A NDI^E A COS IMO And MO%TU0 da FELTRO Were the firft that brought Ornamems in ufe in the Modern Painting: They were both very Skilful, and work d in the Claro Ofcuro , in the Manner which the Italians term Sgrafitti, Scratcht- Work. Andrea liv’d 64 Years, and Mortuo for want of Bullnefs turn’d Soldier. He was kill’d in a Battle between the Venetians , and the Turks at 4£ Years of Age. \ 0 s s 0* Was born at Florence , and had no Mafter to teach him the Art of Painting. He apply’d him- felf to the ftudy of Michael Angelo's Works, bur form’d to himfelf a particular Stile. His Genius was fervile, and his Manner of Dejigning , tho’ lear- ned, was a little wild. He did (everal Things at Rom* ( >44 ) Rowe and Veroufa in RafhaeP s Time. His Misfor- tunes brought him into France , where Fran- cis I. gave him a Penfion, and the Superin- tendency of the Buildings at Fontainbleau. He was alfo made a Canon of the Chappel- Royal, and by the King’s Favour, and his own Merit, acquir’d a great Reputation. We may fee what a Matter he was by his Performances in the Galle- ry of Fontainbleau. Roffo was handfome, and had improv’d him- felf by the Knowledge of the Sciences $ but he ful- ly*d all his rare qualities by his Death, which he lhamefully brought on himfelf ; for having caus’d his intimate Friend Francefco Pellegrino to be apprehended on fufpicion of having robb’d him of a confiderable Sum, he was deliver’d over to the Magiftrates, who put him to the Rack, which Pellegrino endur’d, and was declar’d Innocent. Being clear’d he publilh’d a Pamphlet againft RoJJb t who thinking he could never appear after- wards with Honour, fent to Melun for Poifon, pretending to want Vernifti, and taking the Dofe it kill’d him at Fontainbleau , in the Year 1640, in the Forty Fifth Year of his Age. FRAN- ( *4 5 ) FRANCESCO MJZZUOLO Surnam’d f A RME G1A NO, F r om the place of his Birth. He was born in the City of Parma, Anno 1504. He learnt Pain- ting of two of his Coufins, and by the vivacity and readinefs of his Wit, in a little while advanc’d greatly in the Art. The Character of Raphael and Michael Angelo's Works, incited him to go to Rome at Twenty Years of Age. He ftudy’d the bed Things, and particularly Raphael's Painting with great earnednefs : He drew feveral Pieces which got him Reputation, and the favour of Pope Clement Vllth. He minded his bulinefs fo ftrenuoufly, that the very day on which the Spaniards enter’d Rome, and pillag’d it, the Sol- diers found Parmegiano working quietly, as Pro - tegenes was of old at the Siege of Rhodes. This fecurity furpriz’d the Spaniards who firft en- ter’d his Houfe, and they were fo touch’d with the Beauty of his Painting, that they left him without doing him any Harm ; but fome of their Comrades came afterwards, and rook a- way all he had. Upon this he return’d into his own Country, and palling through Bologna was dop'd there a good while by Bulinefs that fell in his way, which having finish'd he went to Parma , and painted there very much. He play’d well on the Lute, and often fpen-t more time on it than on his Painting.He was juftly L blam’d ( U6 ) blam’d for giving himfelf over fo much to Cfy- wlfiry, that he not only left off his Profeffion, but alfo the care of his Perfon, and became a perfcd Salvage. He engrav’d fome of his Dejigns in Wood with the Claro Qfcuro , and fome he Etch’d be- ing the firft that practis’d that fort of Graving , at lead in Italy. He kept one Antonio Front ano , a Graver, in his Houfe, who rob’d him of all his Plates, as well of Copper as of Wood, and alfo of all his Dejigns which made Parmegimo run almoft mad, tho’ the bed part of them were recover’d. At lad he fo abandon’d himfelf to Chymidry, that he waded his Time, his Money, and his Health, anddy’din a miferable Condition of a Diarrhoea, accompany’d with a Fever, in the Thirty- Sixth Year of his Age, Anno 1540. Reflections on the Worlds of PA 2^- MEG I ANO. Tarmegiano's Genius was altogether Gay and Elegant, and tho’ he invented Things with eafe, yet he did net drive fo much to fill his Ccmpojiti- ons with agreeable Obje6ts,as to Defign his Figures with a graceful Air, and to give them Attitudes which might ihow the beautiful Parts, and infufe Life and Action into the whole. But hisUnder- ftanding being of no great Extent, his Intentive- nefs to finifh every particular Figure, leffen’d ve- ry much the Beauty of his Expreffion in general. His Thoughts were befides too common, and we don’t End that he had penetrated very tar into the Heart of Man, or uriderdood the Paifions j however, tho* the Grace of his Works is bur fu- pcificial, ( *47 ) Charming^' ' f!S> neVerthelefs > s «rpnfing and His Invention r was ready : His "AttiikJes were very gi aceful, fo were his Heads ; and ’tis vifible that he endeavour’d more to pleafe this wav than by the juft Expreftion of his SubjeCh He did not confuk Nature much, who is the Mother of Variety He reduc’d her to a Habit which he contracted, Graceful, ’tis true, but ’twas his own, and funk into what we cal! Manner. The Painter, who looks upon Nature as his Obieft ought to confider her in the Variety, as well as in the number of her EffeCts ; and if we for- give him any Reiteration in the fame Piece it muft be only in his Defigns , for which there is no need of cpnfultmg Nature fo exaCtly, nor to *, e the fame care as in a Picture. I know alfo that whatever Drafts the Painters in their Studies make after Nature, their particular Goto con- fhies em to certain Things, which they fall up- on mfenfibly • it cannot be deny’d, but Parmer iano has often reiterated the fame Airs, and the fame Proportions, yet his choice is fo fine, that what DkaSs th ln 3ny ° ne ° fMs Works ’ wil1 alwa >' s pleak us where-ever we meet with it, 7 His Goto of De(ign is loofe and learned, but has too much of Idea and Manner in it. He affeCted to make the Extremities of his Members delicate and fomewhat Lean. His Attitudes are Noble’ Lively and Agreeably Contraded. His Airs of the ead rather graceful, than of a great Gufio , His His Pr S S • Se ? T 1 ’ ^ without Character, ns Di aperies light, and well Contraded. ’Tis nuc the Stuff is almoft always the fame, and the Folds are very carelefs, yei being but a few ^ y give a Gout of Grandeur to the parts they co- L 1 ver. ( ' 4 * ) ver They ate often loofe and flowing, which adds a great deal of Motion to his Figures, but the Caufe of it is not always juft. Notwithftanding the vivacity of his Wit, and the facility of his Pencil, he drew very few Pi- flures; fpending moft of his time in making De- fies, and engraving them upon Plates. The lit- tle I have feen of his Painting, gives me a- clear Idea of a tolerable C Uro Ofiuro , but his Lkal Co- lour is very ordinary and common. Twas this TarmegUno, who by the means of two Copper- plates found out the fecret of Printing on Moz,- ko Tinto Paper, the black and white, and thus to give more roundnefs to his Prints. _ Yet he did not continue the ufe of this Invention long, it reauiring too much care; beiides his ordinary -Prints wire fo much valu’d by every Body, and even by feveral able Matters of Painting, that he did not think it worth his while to be at the trou- ble of making others. ? I£ K del V A G A Was born in 7 'ufcany, where he was pooily bred and was hardly two Years old when his Mother dy’d. His Father was a Soldier, and his. Nurfe a fhe Goat. He came young to Florence, arid was put to a Grocer , who us’d to fend him to the Painters with Colours and Pencils. He learnt of them, at Times, to Defign , and in a little while became the moft skilful of all the young Painters in Flounce. An ordinary Painter, whofe name was \vaga> took him with him to Rome and from his living with him, he was call d del frga, ( 14 9 ) his right name was Buonacorfi. At Rowe he work’d half the Week for Painters, and the other half, together with all Sundays and Holidays, he fpent in Study and Designing. He had fomething of every thing that was good, in his Compofiti- ons; fometimes he might have been found among the Ruins, Peeking after the Antique Ornaments, or defigning the BaJJo Relievo's , fometimes in Michael Angelos Chappel, and fometimes in the Halls of the Vatican. He alfo fludy’d Anatomy, and other Sciences neceflary to his Profeffion. He got fo much Knowledge by hisinduftry, that he was foon known to the bell Mailers 3 and Ra- phael employ’d him jointly with Giovanni d'Udine and others, to help him in the Execution of his Dejigns. Of all his Contemporary, Artifts, none underllood the Ornaments and Decorati- ons of Painting fo well as he, nor more boldly follow’d Raphael's Gufio , as is to be feen by the Pidtures in the Vatican Lodgings, which were perfornfd by him, viz,. The FaJJage of the River Jordan 3 the Fall of the Walls of Jericho 3 the Battel in which Jofhua commanded the Sun to fiand fill 3 our Saviour s Nativity , Baptifm and Laft Sup- per. Raphael's Friendfhip for him procur’d him other confiderable Works in the Vatican , and Vierino fhew’d his Gratitude by his particular Affedtion to him 3 but the Plague driving him out of Rome , he return’d to Florence , where ha- ving painted fome Pieces he went back to Rome. Raphael being dead, he join’d with Julio Romano , and France fco il Fattore to finifh the Worksin the Vatican , which were left imperfedt by their Ma- iler : And to confirm their Friendfhip, he mar- ry’d Francefco' s Sifter in the Year 1 <3*5 3 yet they \Vere feperated two Fears afterwards 3 when the L 3 Spani * ( >50 ) Spaniards befieg’d Rome Tierlno was taken Prifon- er, and forc’d to pay a large Sum for his Ranfome . He went to Genoa, where he was employ’d by Prince Dcria to paint a Palace which he was then Building. In this work he made life of Cartoons , the convenience of which he difcaver’d to one Geronimo Trevifano , a Painter who had laught at them, and to others who cameto-him to learn the advantage of them. From thence he remov’d to Pi fa, intending at his Wife’s re- queft to fettle there, but after he had drawn fome Pictures, he return’d to Genoa, and work’d again for Prince Doria . He then went a ftcond time to Pifa, and from thence to Rome , where Pope Paul III. and Cardinal Farnefe gave him fo much work, that he was forc’d to commit the Execution of it to others, and content himfelf with making the Defigns. At the fame time the Pope fcnt for Titian to Rome, which made P&ejriw fo jealous, and griev’d him fo much, that he did what he could to ob- lige him not to day there long, and to haften back to Venice, in which he lucceeded. The multiplicity of Pier mo’s Bufinefs, and his vivacity in his Performances, drain’d his Spirits in the flower of his Age. At two and forty Years old he fpent his time wholly in vifiting his Friends, and liv’d pleafantly till his Forty- feventh Year when he dy’d of an Apoplexy, Anno 1547. Reflexions ( * 5 * ) Reflexions on the Works of

Sz>o inTufcany, where his Father and Mother then liv’d. He was put to Nurfein the Village of Settiniano , a place noted for the refort ot Sculptors, of whom his Nurfes Hus- band was one, which gave rife to the faying of him, That Michael Angelo fuck'd in Sculpture with his Milk. His violent Inclination to Defining , , oblig’d his Parent to place him with Domenico Ghklandaw. The Progrefs he made rais d the jealoufy of his fellow-DifcipJes fo. much, that 1 TorrigianOy ( '57 ) Tcrrlgiano , one of them, gave him a blow on the Nofe, the marks of which he carry’d to his Grave. He thought the beft way to be reveng’d on him was to overcome him in his Profelfion, and by his Studies and Productions, to put an end to the Competition of his Companions, and acquire the efteem of Perfons of the beft Quality and Intereft, which he did effectually. He ereCted an Academy of Painting and Sculp- ture at Florence , under the Protection of Lorenzo di Media.}, who was a lover, of the Fine Arts. He was bellowing his Care and Application upon it when the Troubles of the Houfe of Medicis o- blig’d him to remove to Bologna , from whence he went to Venice , and from thence return’d, in a little while, to Florence. ’Twas about this time he made an Image of Cupid , carry’d it to Rome , broke off one of its Arms, and bury’d it,, keep- ing the Arm by him. He bury’d it in a place which he knew was to be dug up, and the Cupid, being found, was fold to the Cardinal of St Gre- gory for Antique : Michael Angelo ditcover d the fallacy to him, by fhewing him the Arm he had referv’d for that purpofe. The Works he perform’d at R> me, and Bra- mantes Advice, whom Raphael had inftigated to it, put the Pope on Painting his Chappel and em- ploying Michael Angelo about it. Michael lent for feveral Florentine Painters to aflift him, among whom were Graunachio Bugiardino> and Giuliano di San Gallo y the latter underftanding Frefco very well, which Michael Angelo knew lit- tle of. The Painting being finiftv’d, moft of the Painters, and particularly Raphael's , expectation was balk’d, for he had never defil’d his Friend Bramante to procure that Employment for his Com. ( 1 5 » ) Competitor, had he not thought the Task greater than he^ con’d go thro’ with. Bramante , as we have laid in the Life of Raphael, was entrufted by Michael Angelo , with the Key of the Chappel, and an Order to let no body what foe ver fee his Work : However, he once admitted Raphael, who found the Painting to be of 16 great a Guflo of Defign, that he refolv’d to make his advantage of it, and, indeed, in the firft Picture which Ra- phael produc’d afterwards, and that was the Pro- phet Ifiaiah, for the Church of St. Aufiin, Michael Angelo immediately difcover’d Bratnante's Trea- chery. This Palfage is the grcateft praile that can be given to Michael Angelo* s Works, and is, at the lame time, a proof of Raphael* s Love of bis Art j That he wou’d make ule of what was good, even in the Works of his Enemies, not fo much for his own Glory, as for the Glory of his Profeliion. Upon the Death of Julius II. Michael Angelo went x.o Florence, where he made that admirable Piece of Sculpture , the Tomb of the Duke of Florence. He wa-s interrupted by the Wars, the Citizens obliging him to Work on the Fortifica- tions of the City; but forefeeing that their Pre- cautions wou’d be ufelefs, he remov’d from Flo- rence to Ferrara, and thence to Venice. The Doge Gritti wou’d fain have entertain’d him in his Service, but all he cou’d get out of him was a Defign of the Bridge Rialto : For Michael Angelo was 'an excellent Architeft, as one may fee by the Palace of FameJ'e, by his own Houle, and by the Capitol , which is an Edifice of a great Gcilt, Whets ( *59 ) When he return’d to Florence , he painted the Fable of La da, with Jupiter turn’d into a Swan, for the Duke of Ferrara , which piece being not enough elfeem’d, he fent it by M'mio, his Difci- ple, into France , together with two Boxes of De- fig” h the be ft and greateft part of his Thoughts. Francis t. bought the Lada , and put it Up at Fon- taine- bleau, and the Defigns were difperft up and down by the hidden Death of Minio. The amo- rous Pathon of this Lada was reprefented fo iivelily, and fo lafcivioufly, that Monfieur de No- yen , Minifter of State, order’d it to be burnt out of a fcruple of Conference. , By the command of ?aul III. Michael Angelo painted his famous Piece of the. Laft Judgment , which is an inexhauftible ftore of Science , for all thofe that would dive to the bottom of it. The Defign is of a great Gufto. He took an incredi- ble deal of Pains to reach the Perfection of his Art. He lov’d Solitude, and us’d to fay, That Fainting was jealous, and requir d the whole Man to her f elf. ^ Being ask d, Why he did not marry ? He anfwer’d, Fainting was his Wife , and his Works his Children.. Michael Angelo had great Ideas s which he did not borrow from his Mafters. His ftudying after the Antique , and the Elevation of his Genius infpir’d him with them. His Deftgm were iearn’d and correct, and the Gufto, if I ma y u e Bie Phrafe, terrible, and if fome Perfons cannot find in them, the Elegance of the Antique they muft allow, that his Gufto is rich, and that common Nature in comparifon with it is poor. . Raphael, as we have obferv’d, was oblig’d to 11111 * or alteration of his Manner, which he learnt at the fight of Pope Sixtus' s Chappel, f 0r befors ( i6o ) before that he had (fill too much of VerUglno s in his Com portions. There are feveral Perfons, who f ho’ they confefs Michael Angelo's Thoughts are great, yet will not allow ’em to be natural, and think they are fometimes Extravagant. They fay alfo, that though his Defigns are learned, they are over-charg’d ; that he has taken too many Licences againlt the Rules of Terfpettive, and that he did not underftand Colouring , of which we fhall fay more in our Reflections on his Works. *Tis enough to let the World know that this great Man was belov’d and efteem’d by all the Sove- reign Princes of his time, and that he will be ftill the Admiration of Pofterity. He dy’d at Rowe, Anno 1564, at Ninety Years Old. Cojmo Medicis ordered his Body to be fecretly un- bury’d,and brought to Florence , where he was in* terr’d in the Church of Santa Croce , in which Magnificent Obfequies were perform’d for him, and his Tomb is to be feen in Marble, confifting of three Figures, Tainting , Sculpture and Architecture, all of his own hand. (Refleffions on the Works of MIC HA E L ANGELO. Michael Angelo was one of the firft that ba- nifh’d the little Manner, and the remainders of the Gothic out of Italy . His Genius was of a vaft extent and his Temper made his Guflo incline to Severity and Caprice, yet among his Capricious Imaginations, if there are fome things extravagant, there are others Angularly beautiful, and of what kind lbever his Thoughts were, they were always Great. The V ( Iff*' ) The Criticks of that Age preferring the Ex- cellence of Defign to all the other parts of Pain- ^S* Michael Angelo fludy’d it with incredible amduity, and arriv d to a great Knowlegeof that Art, as ma y be feen by his Pictures and Sculptures j yet he did not join the Purity and Elegance of the Contours or Out-lines, to his Grand Gup , for having made his Obfervation on the Body of Man, as it is in its grcateft lorce, he drew the Members of his Figures too powerful, and, as we fay, loaded his Defign, not that he negktfed the Antique, but he was mot willing to be indebted for his Art to any thing but himfelf. He alfo examin’d Nature, whom he look d upon as his Objedt more than the An- uque Statues, which he did not think fit to Copy He under flood perfe&ly well the knitting of the Bones, thejoyning of the Members, the Origin, Infertions andOffices of the Mufcies 5 and, indeed he was lo confcious of his own Skill, that he took too much care to let the Spectator fee it forheexprcfl the Parts of the Body fo ftronglyj *^ at he d f 0 5S et rhere Was a Skin above the Mufcies which fofren’d them : However, he has obferv d this more in his Sculpture, than in his Paintings. His Attitudes are, for the mod part, difagree- able, the Airs of his Heads fierce, his Draperies not open enough, and his Exprejfiom not very natu- ral ^ yet, as wild as his Productions are, there’s Elevation m his Thoughts, and Noblenefs in his Figures: In fliorr, the Grandeur of his Guflo is a proper remedy for the meannefs of the Fie- T-a i V as even u ^ e ro R*P&**1% as we have ! a , alrcad Jf> J° cure Lim of that drynefs which he learnt of Pietro Peru^inot M Michael Michael Angelo knew very little of Colouring, his Carnations have too much of the Brick-Co- lour for the Lights, and of black for the Sha- dows ; tho’ ’tis not certain whether he colour’d his Pictures himfelf, or whether he employ’d fame Florentine Painters, whom he fent for to help him in his great Undertakings. The Pi&ures which Fra: BafUano drew after Michael Angelos Defigns , are notjike the others, the Colouring is better, and has fomething of the Venetian Gufto. To re- turn to the Defigns of Michael Angelo , which are the moft valuable part of his Produ&ions, if they are not entirely perfect, there is fo much Science in them, that his Works will contribute a great deal towards making Students, Matters, if they have difcernment enough to ufe them as they ought ; nevertheless ’twou’d be Matter of wonder if Michael Angelo's Reputation had liv’d till now, in cafe bis Knowledge of Sculp- ture, and of Civil and Military Architecture, had not been more Celebrated than his Skill in Pain- ting. SEBJST UNO daVEKETIA Commonly call’d Fra BAST UNO del F 10 MB O Took his Name from an Office given him by Pope Clement VII. in the Lead Mines. He was born at Venice, and his firftMafter was Giovanni Bellino , whom he left on account of his Age to place himfelf with Giorgione , of whom he learnt ( '*3 ) a Gujlo of Colourings which he never quirted. He had got a good Reputation at Venice , when Au* gufliniChigi carry’d him to Rowes where he ap, ply’d himfelf to Michael Angelo , who lik’d him fo well, that he took extraordinary care to teach him Deflg that he might juftify the Choice Fra Bafiiano had made of him for his Mafter, ra- ther than Raphael, for the Painters of Rome were at that time divided, fame were for Ra- phael, znd fome for Michael Angelo. Fra Bafiiano wou d not only not make.choice of Raphael for his Mafter, but he fet up for his Competitor, to which end he drew the Pi&ure of the Transfigu- ration at the fame time that Raphael made his for Francis l. In this Pi&ure he reprefents the Re- turre&ion of Lazarus . The Piece is at Nar - bonne. After Raphael's Death, Fra Bafiiano,hy his own Merit, and the Piote&ion of Michael Angelo, be- came the chief Painter in Rome. Julio Romano only difputed that Title with him. Certain it is Fra Bafiiano s Manner was Grand, and ’tis e- nough to fay, that his Works were like Michael Angelos for the Defign, and like Giorgione's for the Colouring. He was a long time about bis Pictures, which was the reafon he left many of them Imperfeft. There is a very fine one of his, Toe Visitation of the Virgin in the Chappel Roy- al at Fontainbleau. " J Fra. Bafiiano , notwithftanding his Preference of Michael Angelo to Raphael, quarrelled with the rormei, who was angry with him for attempting so paint a Pi&ure in Oil, contrary to his Opini- on, His Mafter faid that fort of Painting was jPJPff 1 Women, and that Frefco was really the Work of a Man. His Office in the Lead Mines ^ z frying- ( ><54 ) bringing him in fufficient toSubfift him handfome- ly ,and being naturally a Lover of eafe, he bent his Thoughts only to make his Life eafy, fome- times Exercifing himfelf with Poetry, and fome- times with Mufick, for he play’d very well on the Lute, He found out the way of Painting in Oil upon Walls, fo that the Colours, fliou’d not change which was by aPlaifter compos’d of Pitch, Maftic and Quick- Lime. He dy’d in the Year 1547. Aged 6 z Years, PJN1ELE %ICC1ARELL1 da VOLTE tf^R^A Thislaft Name, by which he commonly was call’d, was given him from the Place of his Birth, Volterra in Tufcany. He was Difciple firft to An* tony de Verceil , and afterwards to Balthazar of Siena : But in the end he apply’d himfelf wholly to Michael Angelo's Manner, who, on feveral oc- cafions, was his Protestor. His fineft Pieces are at %» E R 1 C O ZUCCHE%0 Was born in the Dutchy of Urhin , in a Village call’d Agnolo in Vado. His Parents carry’d him to the Jubilee at Rome , in the Year 1550. and put him to his Brother Taddeo , who was then one of the moft Famous Painters in Italy . Frede- rico } not liking his Brother’s Corrections, and find- ( *72 ) finding he was ftrong enough in his Art to ftand by himfelf,fet up for a Mafter-Painter. They did both a great deal of Work at Capraiola y and Frederica finifh’d the Peices which his Brother, who dy’ 7 ^ ) Genius, light Underftanding, and Health e- nough to run the Race of Painting in a little time. „ t> IETR O TESTA A Native of Sacca , was, from his Youth, car- ry d away by a violent Inclination to Defign. The Renown of the Roman Painters tempted him to vifit Rome , He went thither in a Pilgrim’s Ha- bit, and not being well enough vers’d in the Profefiion he was defirous to follow, he liv’d tniferable to the laft degree, fpendirig his time in Defignlng the Ruins, Statues and Pi&ures at Rome. Sandrart tells us, that meeting him one day Defining the Ruins about Rome in a wretched Condition, having fcarce wherewithal to cover his Nakednefs, he took pity of him, carry’d him to^ his Houfe, cloath’d him, fed him, and employ'd him to Defign feveral things in the Gallery of Jufimiano^ after which he recommen- ded him toother Matters, who fet him to Work. He was iuch a Man-hater, and fo wild, that San - drart cou’d hardly have any of his Company. He had Defign d the Antiques fo often, that he had them by Heart 5 but his Genius was fo fiery and licentious, that all the pains he took lerv’d him to little purpofe and the Trouble he gave himfelf about his Pidlures fucceeded as ill, as may be feen by the few Pieces that are left ot his, by the little value that is fet on them thro* his bad Colouring, and the hardnefsof his Pencil. Indeed he was only Commendable for his Dr. Jigns and Prints , of which he Engrav’d part him- felf ; Part was done by CefareTe/ta , and the reft by by other Gravers. There is a great deal of Fancy, Gayety and Practice in them, but little InrelU : gence of the Claro Ofcuro , little Reafon, and little .fuftnefs. Being on the Banks of the 7)^r De- fining a Profpeti, the Wind blew off his Hat into the River, and as he was endeavouring to regain it, he accidentally fell in, and was drown’d about the Year 1648. TIETRO B ERETTIN1 Of Cortona in lufcany , was bred up in the Houfe of Sacbetti at Rome , and prov’d to be one of the moft agreeable Painters that ever was. His Genius was fruitful, his Thoughts full of blowers and Graces, and his Execution Eafy. His Talent being for Grand Compofitions, ,and his Imagination lively, hecou’dnot put that Con- llrainr upon himfeif as to finifh a Pi&ure en- tirely, for which reafon his little Pieces, when they are examin’d nearly, feem to want very much of the Merit of hi sGreat Productions. He vvas not Correct in his Defig ns , Ex- prellive in the Paflions, or Regular in the Folds of his Drapery , but every where a Mannerifi: Yet there is Grandeur, Noblenefs and Grace in all his Works j not that Grace which was the Portion of Raphael and Correggio , which touches the Minds of Men of Senfe to the quick. His was a general Grace that pleas’d every Bo- dy, and that confided rather in a Habit of making the Airs of his Heads always agreeable, than in a fingular choice of Exprefiions fuitable to each SubjeCl 3 for as I have faid, he did not care to look back upon what he had done, nor to enter N t into ( >78 ) into a Detail of each thing in his Pieces. He endeavour’d only to make ’em Fine all together, and was highly applauded for the magnificence of his Works in the Churches and Palaces of Rome and Florence. He has given undoubted Proofs of his Capacity in the new Church of the Fathers of the Oratory at Rome % in the Valaces of Barherini and Vamphilio , and in other Places. There was nothing ill in his Colouring , efpeci- ally his Carnations , which would have been bet- ter, had they been more vary’d, and more Study d. As for his Local Colours he never went out of the Roman School, but in giving them a Union a* mong themfelves, and that Agreement which the Italians call Uagez,z,a. The Ornaments of his Works were admirable, his Landskips of a good Gu(lo, and he underftood Painting in Frefco better than any one who went before him. His Temper was mild, his Converfation agree- able, andhis Manners fincere. He was Charitable, Officious, a good Friend, and fpoke well of every Body. He was fo Laborious, that the Gout, with which he was very much troubled, could not hinder his Painting j but his Sedentary Life, and too much Application to his Bufinefs, encreas’d the Diftempcrfo far, that it kill’d him in the 6 oth Year of his Age, Anno 1669. A N ( ' 79 ) A N ABRIDGMENT OF THE LIVES OF THE VENETIAN PAINTERS booTTTv: GIACOMO BELLINO O V Vc«!cc, was Difciple of Gentile *. hum, and Competitor with that Dome. - '??’ who wasaflaffinated by Andrea del Ca . H j^, not 1° famous by his Works as y the good Education which he gave to his two ■ N 1 Sons ( >8o ) Sons Gentile and Giovanni Bellino , who were the founders of the Venetian School. He dy’d about the Year 1470- G ENTILE BELLINO Of Venice, Eldeft Son of Giacomo , of whom we have been fpeaking, was the mod skilful of all the Venetian Painters, his Contemporaries. Gen- tile Painted the Hall of the Great Council , and^ did fome other Pieces at Venice, mod part of them in Dijlemper, for Painting in Oil was not then much in life. Mahomet II. Emperor of the Turks, having feen one of his Pi&ures, mightily admir’d It, and defir’d to entertain the Author in his Service. He wrote to the Senate for him, and they accordingly fent him to Con - dantinople , where Gentile was very well receiv d by the Grand Signior. He painted (everal things for his Highnefs, which were extrcamly lik’d, efpecially his Portraits j and as the Turks have a great Veneration for Sr. John ^Baptifi, Gentile painted the Decollation , and fhew d it to the Em- peror to have his Approbation of it « But the Grand Signior found fault that the Skin of the Neck, which was feparated from the Body, was too high, and to convince him that his Criticifm was ]uft, he order d a Slave to be brought to him, and Commanded his Head to be immediately ftruck off in the Prefence of Belhno, that he might fee, that prefently after the Head is feperated from the Body, the Skin of the Neck (hr inks back. The Painter was fo frighted at this Demonftration, that he could not be at reft while he was at Confiatitinople , wherefore In- venting venting fome Excufe, he defir’d leave to return Home, which the v Emperor granted. The Grand Signior made him feveral Noble Prefems, put a Gold Chain about his Neck, wrote recommen- datory Letters to the Senate in his Favour and on this account he had the Order of St. Mark conferr’d on him with a confiderable Penfion for Life. He dy’d at Fourfcore Years of Age, Anno 1 50 1. GIOVANNI BELLINO , Gentile $ Brother and Difciple, laid the Foun- dation of the Venetian School by the ufe of Oil, and the Care he took to Paint every thing after Nature. There are feveral of his Pieces to be feen at Venice : His laft Work was a Bacchanal for Alphonfe , I. Duke of Ferrara ; but dying be- fore he had finifh’dit, Titian did it for him, and added a fine Landskip to it. As skillful as this his Difciple was, he had fuch a refpe£t for his Mafter, that to give him all the Glory of the Picture, he wrote on it thefe Words : JOHANNES BELLINUS MCCCCCXIV. Giorgione was his Difciple at the fame time with Titian. Bellino dy’d in the Year 1512. Aged 90 Years. His and his Brother’s Port raits are in the King’s Cabinet. N 3 Refle&ions ( *82 ) Reflexions on the Works of G I 0 - VJKN1 BEL LI NO. Giovanni and Gentile Bellino had an ill Gufio in De/igning , and painted very drily j but Giovanni having learnt the fecret of Painting in Oyl , ma- nag’d his Pencil with more foftnefs, and tho* there appears a great deal of drynefs in his Pro- ductions, yet he did better than his Predeceflors of his Profeffion.and deferv’d to be diftinguifh’d from them, not only becaufe he rranfmitted free- ly to the Painters that fuccecded him, the ufe of Oil in Painting, but alfo becaufe he was the firft who endeavour’d to join Union to theVivacity of Colours, ^ the latter being till his time the great- eft part of the Merit of the Venetian Painters ; but in Giovanni's we fee at once a Propriety of Co- lours, and the beginning of an Harmony, which was enough to rouze the Talent of Giorgione fo famous for his Colouring. The wonderful Progrefs of thisDifciple, as well as Titian , open’d, even the Eyes of their Mafter : For Bellino' s Manner , in his firft Pieces, was too dry, and that of his latter Pictures is good e- nough, both for D fign and Colouring , for which they are admitted into the Cabinets of the Curi- ous j and there are fome at Vienna, among the Emperor’s Collections, which have fomething of the boldnels of Giorgione's Lights and Colour - ing. The Gujlo of B, l lino's Dcfigns , is a little Go- thic : His AttituJ.es are not well chofen, but the Airs of his Heads are Noble, There ( '*3 ) There are no lively Expreflions in his Pieces, and the Subjects of which he treated, being, for the moft parr, Madonna s, gave him no occafion for them. However, he did his utmoft to Copy Nature exactly, and finifli’d his Pictures fo fer- vilely, that he had not time to apply himfelf to give them a great Character. The DOS SO's Of Ferrara , made themfelves famous by the good Gufto of their Colouring, and efpecially by their Landslips, which are very Fine. Alphonfo , Duke of Ferrara , employ’d them very much, and honour’d them with his Favour. They were not fo happy in the Court of Francefco Maria , Duke of Urbin, who fet them to Work in Frefco in the New Palace, which the Architect Genga had built for him, but that Prince not beingfatis- fy’d with their Painting, deftroy’d it. ’Tis true it deferv’d the leaft Commendation of all their Produ&ions, whatever Care they took about it, fo certain it is, that let a Man be at never fo much pains in the Execution of his Work, he fhall not fucceed, if the firft Conception of it was bad. They kept up their Reputation, not- wirhftanding this Difgrace, and produc’d feveral beautiful Pieces. The Elder of them being grown old, and his Eyes bad, was not fit for Bufi- hefs, wherefore theDuke of Ferrara allow’d him a Penfion for his Subfiftance. He dy’d at a great Age, and his younger Brother, whofe Name was Battifta , furviving him, perform’d many good Pieces after the Death of his Elder Brother. N 4 GIORGIONE ( » 8 4 ) GIORGIONE So call’d by reafon of his Courage, and Noble Afpet, was born at Caftel-Franco> in Trevifano , a Province in the State of Venice , Anns 1478. and tho’ he was but of indifferent Parentage, yet he had a great Soul. He was Gallant, lov’d Mufick, had an agreeable Voice, and play’d well on feve- ral Inftruments. At firft he apply’d himfelf in- duftrioufly to Dejign the Works of Leonardo da Vinci and then plac’d himfelf with Giovanni Bel - lino to learn to Paint. But his Genius having form’d a Gufio fuperior to that of his Matter Giovanni , he cultivated it by the Sight and Study of Nature, whom he afterwards faithfully imi- tated in all his Productions. Titian was extream- ly pleas’d with his bold and terrible Guflo, and intending to make his advantage of infrequent- ly vifited him, under pretence of keeping up the Friendfhip they had Contrated at their Matter BeUinos. But Giorgione being jealous of the New Manner he had found out, contriv’d an excufe to forbid Titian his Houfe as handfomly as he cou’d ; upon which Titian became his Rival in his Art, and was fo careful to Copy the Life ex- actly, that by his care and Reflections he excell’d Giorgione , in difcovering the Delicacies of Na- ture- However, Giorgione was ftill in Reputation for a Guflo , to which no body had hitherto arriv’d. The mod part of his Performances are at Venice ^ and having painted very much in Frefco , and not living long enough to do many other Pictures, his Cabinet-Pieces are extreamly rare.- He dy’d in the Year 1 5 1 1 . when he was fcarce Thirty two Years of Age, Re- ( >8J ) Reflections on the Works of GIORGIONE. Giorgione being but Thirty two Years old when he dy’d, and having done few Grand Compofiti- ons,one cannot well judge of theGreatnefs of his Genius. The beft of his Performances is at Venice, on the Front of the Houfe wherein the German Merchants have their Meetings, on that fide which looks towards the Grand Canal. He did this Piece of Painting in Competition with Titian, who painted another fide of that Building: But both of thefe two Pieces being almoft en- tirely ruin’d by Age/tis difficult to make a Right Judgment of them, or of Giorgione's Talent by that Performance, fo we muft reft fatisfy’d with a few Eafel-Pieces , and fome Portraits that he drew. Every Man Painting himfelf in what kind of Pidfcure foever he employs his Pencil a- bout, we may perceive by thofe of Giorgione , that he had a facility of Underftanding, and a vivacity of Imagination. His Gufioof Defign is delicate, and has fome- thing in it like the Roman School, tho’ *tis not fo much exprefs’das is neceflary for the Perh-dtion of his Art, he always being more careful to give a roundnefs to his Figures, than to make ’em Corredt. His Gu/lo was Grand, Picquant , and his Hand Eafy. He was the firft who found out the admi- rable elfedls of Strong Lights and Shadows , and made ufe of bold Colours $ and *tis a matter of Wonder to confider how, all of a fudden, he foar’d ( 1 85 ) foar’d From the Low Manner of Belli™' s Colour- ing, to the fupream height to which he rais’d Co- lours in his Art, by joining an excream force with an extream Sweetnefs. He underdood the Claro Ofcuro very well, and the Harmony, of the Tout Enfemble , or the whole together of a Picture. For his Carnations he us’d four Capital Colours only, the Judicious mix- ture of which made all the difference of Ages and Sexes in his Pieces. But in thefe four Colours we ought not to Comprehend neither the white which ferves inftead of Lighr, nor the black, which is the Privation of it. It appears by his Works, that the Principles of the Art which he had found out, were fimple, that he was perfect Mailer of them, and that hjs greated Artifice was to fhew the value of Things by Comparifon. The Gud of his Landskips is exquifite, both for the Colours and the Oppofitions , and befides giving a Force to his Colours , unknown before his Time, he had a way to keep them frefih, efpecially his Greens. Titian obfcrving to what degree of Elevation Giorgione had carry’d his Art, thought he had pad beyond the bounds of Truth , and tho* he Imitated, in fome things, the boldnefs of his Colouring , yet, as one may fay, he tam’d the fiercenefs of his Colours , which were too Salvage. He temper’d them by the va- riety of Tints , to the end that he might render his Objects the more Natural, and the more palpable: But notwithftanding all his efforts to excel his Rival, Giorgione dill maintain’d his Pod, of which no body has hitherto been able to dif- podefs him, and ’tis certain, that if Titian has made TlTIJNO VECEL LI Was born at Cadore , in Friuli a Province in the State of Venice, Anno 147 7. He was of Noble Extraction, being defended from the Ancient Family of the Vecelli. At about Ten Years Old his Parents fent him to one of his Uncles that iiv d at Venice , who taking notice of his Incli- nation to Painting, put him to Giovanni Bellino. He ftudy d moftly after Nature, whom he copy’d jer vilely, without adding to her, or taking from £r l o. r Ut .* n ^ ea r 1507. observing the great effect of Giorgione's Works, he follow’d his Manner u r . lhat ^^out making Lines, he imitated the living Beauties of Nature, whom helookt on with other Eyes than before, and ftudy’d her with extraordinary Application : Yet this did not hinder his Dejigning carefully at other times, by which he alfo became an able Defigner. Giorgione perceiving what Progrefs Titian had made in his Profeffiop, by following his Manner , broxe off all Correfpondence with him, and ever after they were Profels’d Rivals : Their Jea- lo ily of each other lafted till* Death took off Giorgione at Thirty two Years of Age, and left the Stage clear t o Titian. In his Eight and Twen- tieth Year be publifVd his Print of the Triumph of Faith in Wood, wherein are reprefented the Patriarch's , the Prophets , the Apofiles , the Evange- li(ls and . Martyrs. This Piece gave vaft hopes of him, and t was laid upon it, that if he had feen the Antiquities, he wou’d have furpaft Raphael and Michael Angelo, j-j c ( 1 88 ) He painted a Portico at Vicenza in Frefco , re- prefenting the Hiftory of Solomon. He painted alfo the Palace of Grimani at Venice , and fome paflages of the Story of St. Anthony at Padua. The three Bacchanals , which, are in the Cuftody of Cardinal Aldobrandino , were drawn for the Duke of Ferrara. She of the three Bacchanals , that has a Naked Woman afleep near her on the forepart of the Picture, was begun by Giovanni Bellino. When Titian painted thefe three Bac- chanals, his Miftrefs Violenta ferv’d him for a Model. Befides this he drew the Portraits of the Duke Alpbonfo, and his Dutchefs, which were Grav’d by Giles Sadeler. In the year 15:46. Cardinal Farnefe fent for him to Rome , to draw the Pope s Pi6ture. He made fome other Pi&uresand Pieces of Painting, which were admir’d by Michael Angelo , and V a- fari , who fays he pity’d the Venetian Painters, in that they minded Dejigning no more than they did. Titian perform’d a great number of Pieces, both Publick and Private, as well in Oil as in Frefco ; befides an innumerable Quantity of Por- traits. He drew the Emperor Charles V.'s Picture three times $ and that Monarch us d to fay on this OCCafion, That he had thrice been made Immor- tal by the Hands of Titian. To Reward him, he Knighted him, Created him a Count Palatine, and aifign’d him a confiderable Penfion. Henry III. coming from Poland to France, cou’d not go thro’ Venice , without vifiting Titian } and all the Poets of his time Sung his Praifes. Elis Eafel- Pieces are fcatter’d up and down throughout Eu- rope. The fineft of them are at Venice , in France and Spain. There never was a Painter who liv’d fo long as Titian , nor fo eafiiy and happily, ex- ‘ • ‘ . cepting ( » 8 0 ) cepting only his Jealoufy of Pordenone , which neverchelefs turn’d to his advantage. He was univerfally belov’d and efteem’d , and full of Years, Honours and Wealth. He dy’d at lad of the Plague, Anno 1576. being Fourfcore and Nine- teen Years of Age. He had a great many Difciples ; the chief of ’em were his Brother Francefco Vecelli , his Son Horatio Vecelli, Tint or et, and Other Venetians', be- fides whom he had three Flemish Difciples, that he valu’d, viz. John Cakar , Diteric Barents and Lambert Zujtrus, who all dy’d young. Reflections on the Works of TIT IJN. Tho’ Titians Genius was not Brillant and Lof- ty, ’twas however, Fruitful enough to treat of great Subjects of all kinds. There never was a more Univcrfal Painter, nor one who knew bet- ter how to give each Object its true Character. He was bred up in the School of Giovanni Bellino , where his Education, his frequenting Giorgione's Company, his refolute Study of Nature for ten Years together ; and above ail, the folidity of his Undemanding and Refle&ions, difeover’d to him the Myfteries of his Art, and made him pe- netrate farther than any other Painter, into the Eflence of Painting. If Giorgione fhew’d him the End that he ought to Aim at, he laid the way to it on a folid Bajis , wherein all that have fol- low’d him, have acquir’d efteem, and are in- debted to» him for their Science and Reputation. Had there never been a Titian, there had never been ( «PO ) been a Bajjan , a Tintoret , a PWo Veronefe , nor bundance of Painters, who have giv’n Glorious Marks of their Capacity, in all parts of Chriften- dom. Yet, tho’ was very faithful in his Imi- tation of Nature, he wanted Fidelity in his Re- prefentations of Hiftcry, having hardly done any thing of that kind, wherein he has not commit- ted fome fault or other. There is nor, Vis true, much Fire in his Dif* pofitions, yet they are well fill’d and very regu- lar. He was very Exadt in giving thofe Attitudes to his Figures, which might Ihew the moft beau- tiful parts of the Body. He was fo. careful to have the whole together of his Pieces judicioufly concerted, that he often repeated them, to fave himfclf the Trouble of thinking again. Thus there are feveral Magda - lens of his, feveral Venus's and Adonis s , wherein he has only chang’d the Ground , to have it be- liev’d that they were all Originals. We may fuppofe, that he was helpt fometimes by his Dif- ciples, efpecially the three Flantands , who were Excellent Painters, and of whom Diteric Barent was his Favourite. After thefe Difciples had done their bell to make their Copies like the O- riginals, and their Mailer had touch’d them over again with frelh Views, why fhou’d not they be valu’d as much, as if they had been all of Titi- ans Hand ? and why are not the Copies as Efti- mable as the Originals ? Titian form’d his Guft of Defigning after Nature. He did, as Volycletus of old, fearch after what was Fine in her 3 and he fucceeded in Women and Children. He De- fign’d them with a delicate Gufto. He Imprint- ed on them a Noble Air, accompany’d with a cer- ( * 0 ' ) certain pleating negligence of the Head-drdfes, the Draperies and Ornaments of Habits, that are wholly peculiar to him. He was not fo happy in the Figures of Men, which he did not always Dcfign with Corre&nefs or Elegance. However, in this he did like Michael Angelo. He propos’d in his Guft of Defigning them, to imi- tate Nature in her greateft Vigour, and made the Mufcelling ftrong, to give the greater Character to his Figures. The difference between him and Michael Angelc , is, the latter was more profound in his Dejigns , and mingled a fenfible Expreffion of the Mufcles, with a Guft of the Antique , whereas Titian neglected the Antique , and in his Works, rather increas’d than diminifli’d the tendernefs of Nature, whom he only imitated. There’s no exaggeration in his Attitudes they are Simple and Natural ; and in his Heads> he feems to bufy himfelf rather in a faithful Imita- tion of exterior Nature, if I may be allow’d the Phrafe, than in a lively Expreffion of the Paf- fions. His Draperies are fometimes mean, and favour of a little Gufto and if he has imitated the Stuffs perfectly, he has often difpos’d of them ill. The Folds fecm rather to fall by chance than to be fet by a good Older and a good Principle of Art. All the Painters allow, that none of their Profelfion ever came near Titian for Land* kips : His Figures are compos’d of few Objects, but thofe are admirably weilchofen. The forms of his Trees are vary’d, their touches light, mel- low, and without Manner. But he carefully ob- serves in all his Landskips, to fhew fome extraor- dinary effect of Nature, which moves one by its fenfiblenefs, tingularity and truth. His Co- louring ( ip2 ) louring in all parts of it is wonderful ; and tho* he is not quite fo Bold in it as Giorgione , he is more exad and more delicate. He was very faithful in his Local Colours , and plac’d them always fo, as to raife the Merit of one Objed, by comparing it with another ; and thus he, in fome meafure, by the force of his Art, fupply’d the defed of Colours, 'which of themfelves cannot anfwer to all the effeds of Na- ture. The truth that is to be found in his Local Colours is fo great, that they leave no Idea of the Colours which are on the Pallet , and when we look on his Pieces, we ought not to fay his Carnations are made of fuch and fuch Colours, but rather that they are really Flefh, and that his Draperies are the real Stuff : So nicely does eve- ry thing maintain its Charader, and not one of the Colours in the Compofition of them all, is to be diftinguifh’d from the other. We cannot deny, but that Titian underftood the Claro Ofcuro , and when he did not fhew it by Groupes of Light and Shadows, he did it fufficient- ly by the nature of the Colours of his Draperies, and the diftribution of his Objeds, whofe natu- ral Colour always agreed with the place where it was laid } whether forward or backward, or where-ever he thought it moft advantageous to place it. His oppofitions are at once Bold and Sweety and he learnt of Nature the Harmony of his Co- lours, rather than from the Participation 6f the Claro , and the Brown as Paolo Peronefe&id. He finilh’d his Pieces extreamly, and had no very particular Manner in the managing of his Pencil, becaufe his Studies, and the care he took to temper one Colour by another, took away the ap- ( "93 ) appearance of a Free Hand, tho’ his Hand was really Free. ’Tis certain the fenfible Marks of that freedom have their Merit j They 2re Gay and Pleafant to the Sight, when they are the re- fultofa refin’d Habit, and a warm Imagination. But there are in Titians Works fuch lively agreeable to the Character of the Objedts, that they flatter the Tafte of the true Cruicks, much more than the fenfible ftrokes of a Bold Hand. Titian had in his time four Manners ; the firft that of Giovanni Bellino , his Matter; the fecond that of Giorgione , his Competitor ; a third, which was very much ftudy’d, and was properly his own; and a fourth, which degenerated into a Habit, and was always Solid. His firft Manner was a little Dry , his fecond very Bold, as is to be teen by his Pidture of St. Mark , which is at Ve- nice in th e Vefiry of the La Salute ; by that of t le Five Saints in St. Nicholas*s Church, and by otners. His third Manner confifted in a iuftand beautifulimitation of Nature, and was very much labour d by his exadtnefs in touching his Pieces oyer again here and there, fometimes with Vir- gin Timsj in the Lights, and fometimes with g azin- } in the Shadows. His Manner , on ac- count °t thefe things, as trivial as they are, feem d the Jefs ; free but ’twas the more ftrong, and the more finifli’d. The fourth was a free Manner , Which he pra- xis d towards the latter part of his Life, either not being able to fatigue himfelf fo much as he could before, or believing he knew a way how to fpare himfelf the trouble, and do as well with- out it. Of this latt Manner are his Pidtures of the Amuntmion, and the Transfiguration, which ® are ( *94 ) ate at San Salvador ; the St. Jama of San Lio , the St. Laurence at the Jefuits Church, the St. Jerome of Santa Maria Nova , the Ventecojl of La Salute , and feveral others. There are Fifty Pictures to be feen in publick at Venice, in which Titian has lhewn all the Manners I have fpoken of. To conclude, if the Painters of the Roman School furpaft Titian in Vivacity of Genius, in Grand Comfofitions , and in a Gujlo of Defign, no body will difpute with him the Excellence of Co- louring j and he has been always in that part of Painting a Guide to all true Painters. F RANGES CO VECELLl , Titians Brother. Was at firft a Soldier in the Italian W ars, bur Peace being reftor’d to Italy, he went to.his Bro- ther Titian at Venice, where, applying himfelf to Tainting, , he became fo great a Matter of Defign, that Titian grew jealous of him, and fearing he might in time ecclypfe his Reputation, he fet him againft his Profeflion, and put him upon taking up another. He fell to making of Ebony Ca- binets, adorn’d with Figures and Architecture, which, however, did not hinder his Painting a Tortrait now and then for a F n f?d. *j ls Pictures, and thofe which allarm d his Brot er Titian , are of Giorgione's Gu(lo , and pafs for his, even with feveral Men of Senfe. ( «P7 ) HORATIO V EC E LL1 Titians Son, Painted Portraits after his Father’s Manner. He did very little, being more taken Up wkh Chymiflry than Painting. He dy* d of the Plague in the flower of his Age, and in the fame year with his Father, Anno 1576. GIACOMO ^0 BUS Tl, Call’d TINT 0 a , Genoa , and Friuli. He was fent for to Ferrara by Duke Hercules II. to Finifh fome De- fig™ for Tapi (try, which he had begun at Venice, but he was fcarce arriv’d at that City, before he fell ill and dy’d, leaving this Work unfinifh’d, which was the Travels of Ulyjfes. He was in his Fifty Sixth Year when he departed this Life : Some fay he was poyfon’d. The Duke of Fer- rara was at the Charge of his Funeral, which was Pompous and Magnificent. He had a Ne- phew of his own Name, Pordenone , who was his Difciple, and another Difciple, Pomponio Am'al - teo , who marry’d his Daughter. GIROLAMO MllTlJNO , A Native of Brefcia in Lombardy , ftudy’d fome time under the Difciple of Bymanani, whom he left to apply himfelf to Titians Manner, but en- deavouring to ftrengthen his Knowledge of De- fign, he went to Rome , and work’d with Tad- deo Zucchero. He there Defignd much after the Antique, and good Pi&ures, and made a confide- rable Number of Portraits. He fini fil’d the De- fig™ of the BaJJi, Relievos of Trajan s Column, which Julio Romano began. He had them grav’d, and Ciaconius aflifted him in it. Pope Grego- ry XIII. employ’d him, and ’twas out of Favour to him, that his Holinefs founded the Academy of ( *07 ) of St. Luke at Rome, which was confirm’d by a Brief of Pope Sixtus V. Tho* Mutiano underflood Hiftorical Painting, he was more fond of Landslips, and was more a Mafter of them. His Manner had fome thing of the Flemifh in it, in the Touches of his Trees, which the Italians have not ftudy’dfo much as the Flamands , tho* they are very Ornamental in Landskips. He accompany’d the Trunks of his Trees with every thing which he thought wou’d render them agreeable. He commonly imitated the Chefnut Tree, and was wont to fay, that no Trees were fo proper to be painted. Cor- nelius Cort Grav’d after his Dejigns feven great Landslips^ which are very fine. Mutiano dy’din the Year 1590, Aged Sixty two Years. By his Will he left two Houfcs to St. Luke' s Academy in Rome, and order’d, that if his Heirs dy’d without Iflue, all his Eftate fhould go to that Academy to build an Hofpitai for the benefit of fuch young Students as came to Rome t and wanted Relief. GIACOMO TALMA Call’d PALMA VECCHIO, The Old Talma , was born in the Territory of Bergamo in the Year 15:48. In his Paintings he ftiew’d a great Strength of Colourings and a good Gufi of Defignings tho* he was born in Lombardy ; yet having been Titians Difciple, I thought it proper, rather to place him in the Venetian than ( 208 ) in the Lombard School. His Manner was fo like his Mafter’s,that the latter leaving a Defcentfrom the Crofs unfinilh’d at his Death, Palma was chofen to put the laft Hand to it, which he did out of refpeft to Titians, Memory, as he fliew’d by the following words that are ftill to be read on the Picture. Quod Titianus inchoatum reliquit , Palma reverenter perfecit , Deoqj dicavit Opus . Among his Works which are fliewn at Venice , the fineft is the St. Barbara in theChurch of Santa Maria Formofa. He dy’d in the Forty Eighth Year of his Age, Anno 1596. by which we may fee he was not call’d old on account of his Age, but to diftinguifli him from Talma the younger his Nephew and Tintoretto's Difciple, whofe Stile very much refembled that of his Mafter Tintcret. He painted a great many Pictures at Venice , and dy’d in the Year 1 613. GIACOMO da < PONTE, da A S 5 A N 0 5 The Son of an indifferent Painter call’d Fran - cefco da Ponte , who firft liv’d at Vicenza , from whence he remov’d to BaJJano , being charm’d with the Situation of the place where he fet- tled, and was very careful to give his Son Gia- como a good Education. The Youth having learnt the Rudiments of Painring of his Father 4 , went to Venice , and was Bonef acids Difciple. Here he Copy’d Titian and Tarmegiano's Works, after C 20 p ) which he return’d to BaJJano, and follow’d the natural bent of his Genius , that inclin’d him to draw every thing after Nature, whom he had always before him in the Execution of his Pieces. Tho’ he Defend Figures very well, he particu- mrJy appiy’d him felt to the Imitation of Beap ana Landslips , becaufe thofe things were more common, and more advantageous for Painting, in the place of his Abode, than others. Accord- ingly he fucceeded in them to Perfection, elpeci- ally in Subje&s that treated of the Fields, and if there are not fo much Noblenefs and Elegancy as one cou’d with in his Biftory-Pieces, there is at lead, a great deal of Force, Temper and Fideli- ty. His love of his Art, and his facility in his Performances, made him produce a vaft quantity of Pidtares which are difpers’d up and down throughout all Europe. He work’d commonly for Merchants, who exported his Pieces into feveral Countries. He dy’d in the Year leor. at Four- icore and Two Years Old, and left four Sons, braneejco, Leandro , Giovanni Battifia and Giro- lamo. F %A N CES CO da BJ S SAKO. i lie Eideft fettled at Venice , and exceli’d his Brothers in hts Profeffion. He was very thought- ful and jus Mefancholly was fo great, that at laft , him ; He fanc y’ d often that Bailiffs were t‘ h ' S u hee t'“ Arre(l llim ’ and hearing feme body knock at his Door when he had one of thefe mad mI; h- Up0n 5”?’ h r thou S h[ they were come to take him, and therefore leap'd out of the Window loelcape them as he imagin’d. By the fail his Brains ^ Were ( 2>0 ) were beat out againft the Pavement, and he dy’d a the Forty fourth Year of his Ag z,Anno 1594. L EA N B 3^0 ^ BA S SJNOy His Brother, follow’d his Father Giacomo's Manner, as well as Francefco , but he did not give fo much force to his Pieces as his Elder Brother. He had an excellent Talent for Face-? aiming, and made it his chiefeft Bufinefs. He drew a Tor- trait of the Doge, Marini Grimani , for which he was Knighted. He lov’d to drefs well, to live freely, and keep the beft Company, but ’twas al- ways running in his Head that fomebodyor o- ther wou’d Poyfon him. Tis laid, that all the four Brothers, Sons of Giacomo da ?onte,\vere fubiea to fuch fancies, their Mother being fome- what inclin’d to Madnefs. He dy’d at Venice, Giovanni Battijla and GiroUmo, the two other Brothers, employ’d themfelves in copying their Father’s Works : Giovanni Battifia dy d in the Year 1613. and Girolamo, who, from a Phyfitian had turn’d Painter, in the Year 1617. Reflections on the Works of the B A S S A NS. Giacomo da Bajjano, the Father of the four Brothers, is the only Perfon I fhall ipeak or, be- cause I look on his Sons but as his Copylts, for they imitated him in all their Pictures, and if they did any thing more, ’twas rathe * ff ™^ ( 211 ) effect of their Memory, than of their Genius. In a word, if they had Merit, ’twas purely an E- manation from their Fathers Giacomo da BaJJano % was, without doubt, born with a Talent for Painting, for of all the Paint- ers whofe Productions I have feen, I never met with one who follow’d lefs their Mailers Man- ner, than this Giacomo. He quitted it to give himfelf up intirely to Nature, who gave him what he had of Genius, and, in the place of his abode, the means for him to cultivate it. Baf- fano confiderd this.Miftrefs of Arts, by the Cha- racters which make her moll fenlible and moll to be known. He Itudy’d her with great appli- cation in particular ObjeCts, and then compos’d Pictures of lingular worth. If his Talent was not for the Heroick and Bifiorical Kind, which require Dignity, he has treated his P afioral Sub- jects well, and all fuch as was proportionable to his Genius ; for of whatever Manner his ObjeCts were, he knew how to difpofe of them advan- tageoufly, by the good effect of the whole-To- gether, and if fome particular things are ill ad- j uftcd and ill turn’d, he has at lealt render’d them like and probable. His Dejigns were not Noble or Elegant, neither did the molt part of his Subjects require them to be fo, but he was CorreCt in his way. His Draperies were dull and there was more of Exercife than Truth in the Execution of them. His Local Colours maintain’d their Character very well. His Carnations are very Frelh and very True. His Colours conform admirably well to thofe of Nature. His Landskips are of a good Gujlo. His Frofpetfs are well chofen. He fhews a good Intelligence of the Clara Ofcuro. His P * Touches ( 212 ) Touches are lively, and the Colours of his Di- fiances always True, but fometimes a little too Black in the neareft places, into which fault he fell by endeavouring to preferve the Character of his Luminous Obje6ts. He has drawn a great many Night Pieces, and the cuftom he had ac- quir’d of making ftrong Shadows, perhaps con- tributed to the ill ufe he fometimes made of ’em in his Day-Pieces. His Pencil is firm and fteady, and guided with fo much juftnefs, that no man ever touch’d Animals fo Artfully and Exactly. I don’t know whether there are many of his Pieces in France , but l am fure thofe that I faw of his in the Churches of Bafiano , have a Frefhnejs and a Brill ant, that appear’d to me to be Extraordina- ry, and fuch as 1 have not feen elfewhere. JULIO LIC IN 10, Call’d TO KDENONE the Lounger Of Venice, was a Difciple of the Great Vorde- none. His Unkle was a good Defigner, and un- derftood Painting in Frefco to Perfection. The Unkle’s and the Nephew’s Works are often con- founded thro’ the conformity of their Names. Julio was employ’d in feveral places. He paint- ed the Front, of a Houfe in Ausburg , in Frefco, wherein Monfieur Chanterell now lives. This Piece is very well preferv’d, and in honour of the Au- thor’s Memory, the Magiftrates have plac’d this Jnfcription on it. ( 2 >3 ) Julius Licinius Civ is Venetus & Auguflanus , hoc zAEdificium his Piffuris Injignivit i hiccecyue ultimam mnnum Pofuit , Anno i£ p. 162. in the Venetian School, but the Lives of thofe two Painters have fuch relati- on to Raphael and Michael Angelo that we thought we could not reafonably feperace them. ABRIDGMENT OF THE LIVES OF THE L 0 M B ARD PAINTERS. BOOKV. ANTONIO da CO^XBGGIO, QO Call’d from the place where he was born, a Town in the Dukedom of Modena , Anno 1472. When Painting reviv’d in Italy,in the days of Cimabue , its beginnings Were but weak, and it did not arrive at Perfection on a fudden j ( 21 5 ) it reach’d it by degrees. The Difciples always added fomething to the Progrefs their Matters made in it before them, and there’s nothing fo this which does not commonly happen to all Arts. But we muft here admire and refpefl: a Genius, that againft the ordinary courfe of Painting, without having feen Rome , the Anti- quities or the Works of the mod able Painters, without favour or prote&ion, or going from Home for it, in the midft of Poverty, and with- out any other helps than the contemplation of Nature, and the affedtion he had for his Bufi- nefs, has produc’d Works of a fublime Kind, both for the Thoughts and the Execution. His Chief Pi&ures are at Parma and Modena, and his Cabinet- Pieces are very rare. Raphael's Fame tempted him to go to Rome. He conlider’d attentively the Pictures of that Great Painter, and after having look’d on them a long time, without breaking Silence, he faid, Anch ’ Jo [on Pittore , I am fi ill a Painter. Yet all the fine Pieces that he had made, cou’d not draw him out of the extream Mifery he w'as in, his Fami- ly being very burthenfom, and his Price fmall. Going on a time to Parma to receive Fifty Crowns, he was paid in a fort of Copper- Money called GHtadrino's. His joy that he had got it to carry home to his Wife, made him that he did not mind the weight of his Money, with which he loaded himfelf in the heat of the Summer, and being to lug it twelve miles on foot, the Burthen, the Walk, and the Weather, threw him into a Pleurify, of which he died at Forty Years old, Anno 1^13. P 4 Rc- t(ty />*-&•-*& j crt oota**^ ^£<_- ye-/*/t cti^- ** z ~ g * >.iM/ * /t c*^/«.-">*< A.**le. 6 u. s Y**. 7 t*- '/*- \ 7cr*jt Cas A/*u4*-**i a'^&A/aSi* j/i/ « iv Sp-**-* 4 *! 0 ^ W^vW; rasa- rtA-J}' ?-*-*- . J -V-/ /o^AjxJFLl srto^ma^ A?f 'AtfA .' <*#- <&**./$**-$ I &'<*•<-: €-• - • Reflections on the Works ofCO®- %_EGG 10 . We don’t find that Correggio borrow’d any thing from other Men’s Works, every Thing is new in his Pictures, his Conceptions, his De- sign* his Colouring, and his Pencil j and this Novelty has nothing in it but what is good. His Thoughts are Sublime, his Colouring Deli- cate and Natural, and his Pencil Eafy and De- ’ lightful, as if it had been guided by the Hands of an Angel. His Out- lines are not CorreCl, but iheir Gufto is great. He found out certain natu- ral and unaffected Graces for the Airs of his Heads, for his Madonna s> his Saints and little Children : Add to this, the Union that appears in his Works, and his Talent of moving the Heart by the delicacy of his Expreffions, and we fhall have no difficulty to believe, that the Knowledge which he had of his Art was a Gift of Heaven, rather than an effect of his Studies. Francefco Francia , who ought to have been plac’d here, is put among the Roman Painters, Page 1 13. as alfo Rolidcro Caravaggio , p. 138. Tarmegiano , p. 1 45. Pellegrino of Modena , p.153. and Trlmaticcio , p. 165;. The reafon of our placing them there, was becaufe we conlider’d the Man- ner they follow’d mo/e than the Country where they were born 3 and perhaps the Reader will not be difpleas’d to fee Raphael's Difciples coming af- ter their Matter. The ( 2 *7 ) The C A%^AC H\ viz. LODIF ICO , AilGUSTlNO, and ANNIBALE . The three CarracFs , who acquir’d fo much Reputation and Glory by their Pi&ures, were all born at Bologna. Lodovico came into the World in the year 1555. and was Coufin-German to Augufiino and Annibale : Being elder than they, and aPainter before them 5 they were his Difciples. His Mafter was Profpero Fontana , who, difeovering but little Fire in his Painting, would have diftwaded him from it, and reprov’d him fo roughly, that Lodovico left his School. His Talent kept him in heart, and he refolv’d to have no other Mafter but the Works ot the Great Painters. He went to Ve- nice^ where Tintoretto feeing fomething of his doing, encourag’d him to proceed in hisProfef- fion, and foretold he ftrou’d in time be one of the Top of it. This Prophetick Applaufe, animated him in his refolutions to acquire the Maftery of his Art. HeStudy’d Titian's, Tintorett's , and Pao- lo Veronefe' s Works at Venice \ La Pafiignano's , and Andrea del Sarto's at Florence j Parmegiano's and Correggio's at Parma , and Julio Rcmano's at Man- tua but of all thefe Mafters, he who touch’d him moft lenfibly was Correggio , whofe Manner he ever after follow’d. Augufiino was born in the year 1557. and An- nibale in 1 560. Their Father’s Name was An- tonio, a Taylor by Trade, yet he was very care- ful ( *« 8 ) ful to give his Sons a good Education. He bred Auguftino a Scholar, his inclination Teeming to lead him to Learning ; but his Genius afterwards carry’d him away more violently to the Arts, wherefor q Antonio put him to a Goldfmith, whom Augufiino quitted in a little while, and went home to his Father, where he bufy’d himfelf a* bout the knowledge of feveral things indifferent- ly. He gave himfelf up to every thing that pleas’d his Fancy j to Painting, Graving, Poetry, Mu- fick, Dancing, and the Mathematicks, with o- ther commendable Exercifes, which adorn’d, but divided his underftanding. On the contrary, all Annibale s Thoughts ran upon Painting. He ftudy’d it in company with his Brother, but the difference of their Tempers made ’em quarrel perpetually, and hinder’d the Fruit of their Studies. Augufiino was Fearful and Studious, Annibale Bold and Venturous. Augu- jlino lov’d the Company of Men of Senfe and Quality, Annibale was always for converfing with his Equals, and avoided the Society of thofe that were better born than himfelf. Au- gufiino pretended to domineer by his right of Seniority, and the variety of his Learning, An- nib ale defpis’d it and minded only Deligning. Augufiino was very follicitous to profit by his Studies, and not to let the leaft Punctilio of Science efcape him, Annibale was more lively and made his way every where eafy. Thus it being almoft impoffible to make them agree, their Father parted them, and fent the Elder to Lodo - •vico Caracci , who wou’d alfo have his Brother Annibale with him, when by theExarapIe of hisZeal to reach the Perfection of his Art, by infpiring them with the fame Love for his Profeffion, by *♦ pro- ( 2'9 ) promifingto Communicate all he knew of it to them, and his Knowledge was now very well fpoken of j and in fliort, by the fweetnefs of his deportment and his Prudence, he moderated the Antipathy that was naturally between them, and their Ambition, to excel in the Art increafing every day, they all three enter’d into a very ftri<5fc Friendfliip, forgetting every thing but their care to become Makers. However, Auguftinos ftudies of Painting were often interrupted by thofe of Graving, which he learnt of Cornelius Cort , not being willing to quit an Exercife which he had fhewn a Genius for ever fince he was fourteen Years old : Yet, tho’ he acquir’d an excellence in Graving, his Love of and his Talent for Painting, recall’d him always to this Art as to his Center. Annibale , who never wander’d from his Pro- feflion to inform himfelf of all things neceflary to it, went thro’ Lombardy to Venice. He cou’d not contain his Raptures at the fight of Correggios Works in Parma. He wrote to Lodovico , and pray’d him to excite his Brother Auguftino to come and fee the Wonders he had feen at Parma , laying, He coud never find out a better School ; That neither Tibaldi, Nicolini, nor even Raphael in his St. Cecilia, had done any thing comparable to the extraordinary things he faw in Correggio’/ Pi- ctures j that all was great and graceful j that Au- guftino and he fhoud with pleafure fludy thofe Beau- tiful Pieces , and live lovingly together. From Lombardy Annibale went to Venice, where the new charms which he found in the Works of Titian, Tintoret , and Paolo Veronefe put him upon Copying thePi&ims of thofe Great Men with Care. At ' 2 20 N : \ / At laft thefe three Painters having made the utmoft advantage of their Reflections on the Works of others, United themfelves fo perfectly that they continu’d almoft always together, to- dovico communicated his difeoveries to his* Co- lins, and they receiv’d them with all poflible Ea- gernefs and Gratitude. He propos’d to them to Unite alfo their Sentiments, and their Manner and upon their objecting to him,’twou’d bediffi’ cult to penetrate into all the Principles of fo pro- found an Art, and to be enlighten’d in all the doubts ariling in fo Copious a Science, he an- Iwer’d there was no likelihood that three Perfons who fought after the Truth, and had feen and examin’d thoroughly fo many different MW, „ ihou d be deceiv d. They refolv’d therefore to perfue and aug- ment the Method they had begun. They per- form’d feveralthingsin fcveral Places, which infpite of the open and under-hand Dealing of thofe that envy’d them got them Reputation and Friends: And thus finding their Credir to encreafe, they laid the Foundation of that Celebrated School, which ever fince has gone by the Name of the Carracci's Academy. Hither ail the young Students who gave great hopes of their becoming Mailers, reforted to beinftru&ed in the Rudimenrs of Painting. Here the Carracci, Taught freely and kindly thofe things that were proportionable to the Qualifi- cations of their Difciples. They eftabliih’d cer- tain Models well chofen, for Men and Women, Lodoylcds charge was to make a Colle&ion of Antique Statues, and Bajjo Relievo's. They had Defigm of the beft Mailers, and curious Books Qn all Subjects relating to their Art. One An- thony r ( 221 ) thony de laTour, a great Anatomifi, taught what belong’d to the knitting andMotibn of theMufcIes, with Reference to Painting. There were often Di- fputations in the Academy, and not only Painters but Men of Learning propos’d difficult Qiie- ftions to be decided, and Lodovicos Judgment was, in all Cafes, their Oracle. Every body was well receiv’d, and Youth being excited by Emu- lation, the young Men fpent whole Days and Nights in Study there: For tbo' Hours were allotted to Treat of different Matters, yet, at all times, they might improve rhemfelves by the An- tiquities, and the Defers which weretobefeen there. The Conde di MAvafia fays, that the Brinci* pies of Lodovico, the Cares of Auguftino, and the Zeal of Annibale, fupported this Academy. The Reputation of the Carracci reaching Rome, Car- dinal Edoardo Farnefe , who w & parte per lui e Servitore } &una fiandetta neiTetti dove lavora & tira la C anti a tutto il di come un Cavallo , e fa Loge Camare e * Sale equadri & Ancone & Clavori da Mille Scuti eflenta e crepa & ha poco Gttflo an - cor a di tal Servitu ma quefio , di gratia non fi dica ad alcuno. Atlaft after inconceivable Pains and Care, having finiftfd the Paintings of that Gal- lery, in the Perfection we now fee them, he hop’d Cardinal Farnefe wou’d have rewarded him proportionably to the excellence of the Work, and to the time it took him up, which was eight Years, but one Don Juan de Caflro a Spaniard , who had a mighty Influence over the Cardinal, infinuated to him, that according to his Calculation * ( 224 ) Calculation, Annibale would be well paid if he gave him 500 Crowns of Gold. The Mom=y was brought him, and he was fo furpriz’d at the Injuftice done him, that he cou’d not fpeak a Word to the Per fan that brought it. This ill Ufage made a terrible impreflion on his Mind, his Chagrin threw him into a Con- fumption, and fliorten’d his Days. His Mclan- cholly did not hinder his Amours j and his De- bauches at Naples , whither he was retir'd for the Recovery of his Health, helpt him forward to his Grave in the Fiftieth Year of his Age, Anno 1609. While Annibale Work’d at Rome % Lodovico was Courted from all parts of Lombardy , efpecially by the Clergy to make Pictures for theirChurchesj and we may judge of his Capacity, and his fa- cility, by the great number of Pictures he made, and by the Preference that was given him to other Painters. In the midft of his Occupations Annibale Sol- licited him to Come to Rome and alfift him with his Advice about his Work in the Famefe Gal- lery , and he entreated him fo earneflly, that Lodovico cou’d not put off the Journey. He arriv’d at Rome , and after having Corrected fe- veral things in that Gallery, and painted himfelf one of the Naked Figures, which fupports the Medaillon of Sirinx , he return’d to Bologna , ma- king a very Oiort flay at Rome. When he had Eftablifh’d and Supported the Reputation of the Carracci , and fix’d it to all Poftericy, he dy’dat 63 Years of Age, Anno 1618, Lodovico ( 22 5 ) Lodovico was born in r j 5:3;, and dy’d in i 6 iS Aguftino was born in 1557, and dy’din iooj; Annibale was born in 1 560, and dy’d in 1609’* The Caracci had abundance of bifciples, the moft famous of whom were Guido Domenichim , Lanfrancoy Sijlo Badalocchi , Albania Guercino , Maftellettay Pamco,BattiJla, Cavedone Iacconey &c. Had the Caracci had no Reputation Oi their own, the Merit of their Difcjples woti’d have render’d their Name llluftrious in fuceeed- mg Times. Reflections on the Works of the CJ p tbe P oci,it y of their Undemanding. The lebmte^lf 1 ^ ° n r Wch ^ fo nnded fhe Ce" Guide in the F We aVC mc " tion ’ d ’ were rheir Their li h - X r CU !? ! ’ of 3,1 'heir Works. Their Manner s refemble each other, and all the Q- difference ( zt6 ) difference that is to be found in them, proceeds from the Diverfity of their Tempers: Lodovito had lets fire, but more Grandeur, more Grace, and more Sweetnefs than Augujlino or Annibale . Augu- ftino had more Gayety, and Annibale more Bold- nets and Singularity of Thought, than either of the othertwo. His Defigns were more profound, his Exprettions more lively, and his Execution more Firm. The Caracci took from the Antique Sculptures, and the beft Matters of their Art, as much as they cou’d to form a good Manner , but they have not drain’d the Fountain dry, they have left more in the Antiquities , in Raphael , in 'Titian and Cor- reggio, than they have taken from them. Tho’ Annibales Chara&er was more for Pro- phane than Pious Subjefts, he has, however, treated fome of the latter kind very Vathetickly, efpecially the Story of St. Francis. But Lodovico lucceeded in thefe Pictures better than Annibale, he gave graceful Airs to his Madonnas after Cor- rerzio 9 s Manner. Annibale’s Genius inclin d him rather to fiercenefs than delicacy, and more to Gallantry than Modefty. As for Augujlino his Studies of Painting were often interrupted by thofe of Graving, of which he was a perfeS Matter. He alfo diverted himfelf with other Exercifes, by which means he made Pieces of Painting, and the greatefi part of thofe he die make, pafs for his Brother s. . Annibale having ftudy’d very little and applying himfelf wholly to Painting, he m his Grand Com- pofitions frequently made ufe of his Brother Ah- a-u (lino's Affiftance,and that of Monhgmor Aguchr, by the Inftruaions they gave him, informing and confirming his Genius. a jj ( 2 2 7 ) Ail the three Caracci Defign & with a good Gufio. Annibales Guflo mended and encreas’d by his Abode at Ropie, as one may fee by his Per- formances in the Farnefe Gallery. The Defign is loaden we muft confefs, but that Load is fo fair and fo Learned, that it pleafes even rhofe who Condemn it ; for his Gufto is a Competition of the Antique of Michael Angelo's Manner and of Na- ture : His AfFe&ion for new Beauties ma- king him forget the old ones, he quitted the Bolognian Manner for the Roman : The former was foft and Mellow, and according as he encreas’d his Gufl of Deftgning, , he diminifh’d that of Co- louring: Thus the Defign of hk laft Works came to be more expreft, but his Pencilling is not fo tender and agreeable as in his firft. This fault is common to almoft all the Pain- ters that Defgnd Corredily • they imagin’d they loft the Fruit of their Labours, if they did not let the World fee how far they were Mafters of that part of their Art, and that the Spe&ators wou’d forgive them for what they fell ftort in other Parrs, fatisfying themfelves with the regu- larity of their Defign. They were afraid it fhou’d be over-look d, and to prevent it, have made no fciuple to offend the tight by the Crudity of their Out-lines. Annibale had an excellent Genius for Landslips. The forms of his Trees are exquifite. The De/frns that he made of them with a Pen, are wonder- ful for their Chara&er and Senfe. His Touches are well chofen ; they confift of a few ftrokes - but thofe that are there exprefs a great deaf and what I have (aid of the Landslips agrees with all his Defigns. In all his vilible Objefts of Nature there is a Charaaer which diftin- guifhes (' 228 ) guifhes them* and makes them appear more fen- fibly to be what they are, Annibale knew how to take his Charader, and has made ufe of it in his Defigns with equal Senfeand Judgment. Not- withftanding he had a great ekeem for Titian and Correggios Works, his Colouring is not extraor- dinary. He did not underkand the Dodrine of the C/f vro Ofcuro , and his Local Colours are not much to be valu’d. Thus, if there is any thing good in the Colouring Part of his Pictures, ’tis not fo much the effed of the Principles of Aft, as the happy Movement of his Genius, or the Remembrance of Titian and Correggio s Works. However, there never was a Painrer who was more univerfal, more eafy, and more certain in every thing he did ; nor that was more gene* rally approv’d than Annibale . GUIDO RENT. Was born at Bologna in the Year 1574. the Son of Daniel Reni , an excellent Mufitian. He learnt the Rudiments of Painting under Denis Calvert , a Flemijh Maker, who had then a good Reputation, but the Academy of the Caracci at Bologna beginning to be talk’d of, Guido left his Maker, and enter’d himfelf in that School. In his firk Pieces he follow’d entirely the Manner of his New Makers, and chiefly imitated Lcdo- vicoy becaufe he found more Grace and Gran- deur in his Compofitions, than in thofe of his Kinfmen. He afterwards endeavour’d to find out a Manner on which he might fix. He went to Rome and Copy’d all forts of things there. He was charm’d with Raphael's Pidfrires, and pleas’d with the Spirit of Caravaggio's, i le try’d every ( 229 ) every Stile, and at laft hit upon oneagainft which no body had any thing to fay. Indeed, it was Orear, Ealy, Graceful, and got him vaft Riches and an equal Reputation. Michael Angelo daCar a- vaggio, being angry that he fad fuddenly chang’d his Manner, which was ftrong and brown.foi- one quite oppolite toit,fpoke very contemptibly of his Pictures, and his infolentExpreffions might have had ill confequences, had not Guido prudently avoided difputing with a Man of his impetu- ous Temper. Guido returning to Bologna grew famous for the care he took in finiftiing his Pieces, and per- ceiving that the Perfons o t Quality were eager to hav c them, he fet a Price upon them ac- cording to the number of Figures in each pi- cture, and every Figure he valu’d at one hun- dred Rowan G'rpwns. Bythefe high Prifes Guido found himfelf, in a httle while, very well at eafe, and liv’d nobly till an imnioderate Lo ve of Gaming feiz’d him He was unfortunate, and his LolTes reduc’d him to Necelhues that he cou’d not go thro’. His Friends us d aJ imaginable Arguments to dilTuade him horn Play, bur he would not give it over. He lent his Pidures to be fold Under-hand at a fqr- ry Rate and took it for fuch as he had before letus d large Sums for. As foon as he had got the httle Money he had for ’em in his Pocket, he im- mediately went to look out for his Gamefters to nave his revenge. At laft, as one Pallion weakens another, his Loi’e of Gaming leffen'd that of * ainting lo tar, that he never thought of his Re- pucation in what he did, but only to rid his Work, and get Subfiftance Money. His chief Pictures are in the Cabinets of the Greats He ' ( 230 ) perform’d alike well in Oil, and Frefco. Themoft noted of his Pieces is that which he painted in Concurrence with Domenichino in the Church of St. Gregory. Except his Vice of Gaming, he was a Man of good Morals, and cou’d he have Corrected that Fault, wou’d have been an Ac- complied Perfon. He dy’d at Bologna, Anno 1640, in the 67th Year of his Age. Reflections on the Works of GUIDO. Tho’ there appears no great Capacity in Guido s Produ&ions, yet one may fee by them, that his making but few Grand Compojitions , was rather for want of Opportunity than Genius'. However it mult be own’d, that his Talent was not equally proper to treat all forts of Subjects, fuch as were! Devout and Pathetic fuited beft with his Temper ; Grandeur, Noblenefs, Sweetnefs and Grace were the Character of his Mind. He has fpread them fo much over all his Works, that they are the principal Marks which diltinguiln him from other Painters. . His Thoughts are delicate, 2nd the Dilponti- on of his Obie&s in general, and of his Figures in particular*^ good. , . Guido being the firft and favourite Diiciple of the Caracci , he, for a while, imitated their Gufio of Defign, and their Manner ; but at lalt he form d one of his Own, which was neither fo Firm, to tx- preft, nor fo Learned as Annibale' s, yet it came nearer to Nature, efpecially in the Extremities , be- ing the Head, Feet and Hands. He had particular tender ftrokes for certain parts which he defign’d in a particular Way, as the Eyes Gr.. < rfcs Mouth little, the Noftnls fomewhat ( a 3 1 ) fomewhat clofe, the Hands and Feet rather Plump than fenfibly articulated. He made his Feet too Short, and the Toes too clofe. ’Twas not that he did not know what he did, which was the occafion of his not exprefling exactly the A ti- culation of the Members, but to avoid a kind of Pedantry, which he faid there was in fpecify. ing them too much : However, there was a Me- dium between the one and the other Extream which he ought to have q^ferv’d. As for his Heads , they yield no manner of precedence to thofe of Raphael , either for Cor- redlnefs of Dejtgn, or Delicacy of ExpreJJion^ ef- pecially the upper part of ’em, tho’ he did not commonly treat of Subjects that were capable of furnishing him with fo great Variety of Expref- fions, as are in Raphael's. His Merit confifted in that moving Beauty, which, in my opinion, did not proceed fo much from a regularity of Fea- tures, as from a lovely Air which he gave the Mouth, that had fomething in it between a fmile and ferioufnefs, and in the Graces of the Mouth, with a certain Modefty which he put in the Eyes. His Draperies are well fet, and of a Grand Gup. His Folds are large, and fometimes bro- ken. He employ’d them ingenioufly to fill up the void places, and to agroup the Members and Lights of the Figures, chiefly when they were a- lone. In a word, no Body ever underftood how to adjuft the Draperies better than Guido , nor to drefg his Figures more nobly than he, without theleaft affe&ation. There are no Landskips of his to be feen, and when he treated of a Subjedl which requir’d a« ny extent, he made ufe of another hand. 0*4 tffo ( 2J2 ) His Colouring is like that of the Caraccl y in the Pictures he drew after his firft Manner. He has alfo painted fome in the Manner of Caravaggio ; buit finding there was too much Labour in it, and besides, that it did not pleafe every Body, he took to another Manner , which the Italians call Vaga. Of this kind he drew feveral agreeable Pieces, in which there is a great Union of Colours , tho’ they are weaker than in his other Manners ; for being by little and little accuftom’d to this weak - nefs, he neglected his Carnations , or, perhaps, en- deavouring to make them more delicate, he gave them a certain Grey Caft, which often fell into a Livid Colour. He wasabfolutely Ignorant of the Claro Ofcuro , as was all the School of the Caracci , yet, like his chief Matter Lodovico , he fometimes pra6tis’d Jc more thro’ the greatnefs of his Gufto , than any Principles of Art, in retrenching from his Objects all thofe Minutia which divide the Sight. His Pencil was light and eafy, and he was fo well fatisfy’d that a freedom of Hand was ne- ceffarv to pleafe, that he gave fome bold ftrokes to his Work after he had labour’d it, to take off all fufpicion of what Time and Pains it coft him. At the latter end of his Life he was reduc’d to fuch Straits by Gaming that he had no need to ufe this Artifice, being oblig’d to difpatch his Work as faft as he cou’d to get him fubfiftance ; and this has left a natural Freedom on his laft Pieces which are not fo finifh’d as his former. In fliorr, in whatever Manner or Time he pain - ted his Pictures, his Thoughts are fo delicate, his Figures- fo noble, his Exprefiions fo fweet, his DrelL§ fo Rich, and every thing fo graceful, that he was, and ever will be univerfally admir’d. DOMENICO. i - ifi , ^ \ . v; ( * 33 : ) DOMENICO ZJM

or if the goodnefs of his Senfe, and the folidity of his Re- flections, did not ferve him inftead of a Talent, and enable him to produce things worthy Pofte- rity. He was born with a thoughtful Temper, by no means agreeable to the Activity which Painting requires. The Studies of his Youth were obfcure, his firft Works contemptible, his Perfeverance was condemn’d for lofs of Time, and his Silence reckon’d ftupidity ; yet this obftinacy of his in his Srudies, was the only thing that fpite of the advice and laughter of his Fellow- Difciples, heap’d him up a hidden Trealure of Knowledge, which he in time laid open. In fliort, his Soul fhut up like a Silk-Worm in her Cod, after having for a long time Work’d in a fort of folitude, finding it had quite thrown off the Ignorance that it labour’d under , and farm’d ( *35 ) warm'd by the activity of his Thoughts, took Wing, and made it felf admir’d, not only by the Caracdy who had fupported him, but by their Difciples, who had endeavour’d to dilhearcen him and diffwade him from a Profefiion he wou'd, they thought, never be Matter of. His Thoughts were Judicious from the begin- ning i they were afterwards elevated, and want- ed but little of reaching the Sublime , if he did not reach it in fome of his Works j as the Angles of the Dome of St. Andrew s Church in Rome , the Communion of St. Jerom, his David , Adam and Eve in the King’s Cabinet , Our Saviour carrying his Crofs , in the cuftody ofMonfieur L' Abbe de Camps, and fome other Pieces feem to reftify. His Attitudes were well enough chofen, but he underftood very ill the placing of his Figures, and the Difpofition of the whole together . In other parts of his Art, as the Corre&nefs ofDeJign , the Expreflion of his SubjeCt in general, and the Paf- fions in particular, and the variety and fimplici- ty of the Airs of his Heads, he is notinferiour even to Raphael. Like him he was very jealous of his Out-lines , and has exprefs’d them ftill more drily ; and tho’ he has not fo much Noblenefs and Grace, he does not want either of thofe Excellencies. His Draperies are very bad, very ill fet, and cxtreamly ftiff. His Landskips are of the Gufto of the Caracci , but executed with a heavy Hand. His Carnations have a grey Caft, and have not the Character of Truth \ and his Claro Ofcuro is worft of all. His Pencil is Heavy, and his Paint- ing Dry. The progrefs he made in his Art increafing only by his Labour and Reflections, the Merit of Jiis, Works advanc’d with his Age, and his laft Pieces ( 23 fitions were good, and his Dejigns of an ill Gout. He had not underftanding enough to chufe well, or to Cor- rect Nature. All his Application was. to Colour- ings and he fucceeded wonderfully in it. His Local Colours are very much ftudy’d, and by the great Knowledge he had of Lights, joyn’d to the exadfc variety with which he mingled his Colours on his Pallet, without breaking, or as we fay, torturing them with his Pencil, th eTruth that appears in all his Works is equally Perfect and Surprizing. His Attitudes have no choice in them. His Draperies are like, but ill Set, and his Figures are not agreeably adj Lifted, nor as becomes their Chara&ers. He knew nothing of Grace or Noble - vefs , and if either of them is to be met with in fome of his Pieces, ’twas not done out of choice but by chance. However, he drew feveral Pi&ures which de- ferv’d the Name of Grand Compojitions , and he finifli’d ( *47 ) finish’d them with extraordinary nicety. If he was not Matter of all the pares of Painting, we mutt own that his Portraits at leaft are not to be cenfur’d. His Exprettions are not very lively. By his Works one may eafily perceive he did not fo much confider what wou’d contribute to make his Pictures agreeable, as what wou’d render his Objeds fenfible, in which he was fuc- cefsful by the Claro Ofcuro , by an excellent Gufio in Colouring , by a terrible Force, an agreeable fweetnefs, and the Melloweft Pencil that ever was. BA(%THOLOMEO MANFRED 1 Of Mantua, was Caravaggio's Difciple, and imi- tated his Manner very exactly. The Subjects of his Pidures are generally Perfons playing at Cards or Dice. He dy*d young. Gios. <^ihera call’d SPJGNOLETTO. A Native of Valentia in Spain, was Caravaggio's Difciple, and like his Matter had a ftrong Manner , imitating Nature very faithfully : But his Pencil was not fo mellow as Michael- Angelo's. Spag - noletto delighted in painting Melancholy Sub- jeds. His Works are difpers’d over all Europe, chiefly at Naples , where he liv’d a long time, and drew abundance of Fine Pieces. R 4 A N ( * 4 8 ) A N ABRIDGMENT O F T H E LIVES O F T H E German and Flemtjh PAINTERS BOOK VI. Hubert and John Van-E T B Rrothers, Natives of MaJJeyk on the Meufi, were the firft Painters in the Low- Countries that did any thing worth taking notice of ; for which reafon we may reckon them the Founders of the Flemifii School. Hubert was the Elder Bro- ther, he bred up John , and the latter ftudy’d fo affiduoufly ( * 4 9 ) afliduoufly, that he equali’d his Matter and Elder Brother Hubert. They had both of them Ge- nius and Skill, they work’d together and became famous by their Performances ; they drew feve- ral Pictures for T bilip the good Duke o f Burgundy that which was fet up in St. Johns Church at Gaunt was univerfally admir’d. Philip I. King of Spain, not being able to obtain the Original got a copy of it, which he carry’d into Spain with him. The fubject of this Piece was taken out of the Revelations, where the OJd Men adore the Lamb. This Picture is, to this day, look’d upon as a Wonder, and there being a great deal of Care taken to preferve it, ’ris ftill very fr eft. ’Tis cover’d, and never expos’d to view but on Holidays, or at the delire of Perfons of the firft Quality. After Hubert's Death, which happen’d in the Year 142 6. his Brother John remov’d to Bruges and living altogether in that Town, he was thence call’d John of Bruges. ’Twas this John, who, in fearching after a Harnijl) that might give more force to his Colouring, found out that Linfeed On mingled with Colours , had a very good effect without making ufe of any Vamijh at all. To him the Art of Painting is indebted for the Per- fection to which it is arriv’d by means of this new Invention: And thus John of Bruges's Works encreafing in Beauty, were bought up by the Great, and had one of the firft Places in their Cabinets. i he Picture which he fent to Alphonfo,KLwg of Naples , was the occalion of the Dilcovery of the Secret of. Painting in Oil in Italy, as we have fhewn ^n the Life of Antonio da Mejjina. John of Bru- ffs was efteem’d as well for the Solidity of his Judg- ( * 5 ° ) Judgment, as for his Skill in Painting. The Duke of Burgundy had fo good an Opinion of his Merit, that he made him a Councillor of State. He dy ’d in Bruges , Anno I 44 - 1, 2nd wa s buryd in St. Donates Church. His Sifter Margaret would never Marry, that fte might be the more at Liberty to exercife her felf in Painting, which (he paflionacely lov’d. ALBERT DURER Was born at Nuremberg on Good-Friday , Anno ? 47 1 . the fame day of the Year which gave birth to Raphael XJrbin. Albert Durer , a curious Jewel- ler and Goldfmith of that Town, was Father of Albert whofe Life we write, and Taught him his own Art, and that of Graving. At Fifteen Years of Age he put him to Michael Wolgemuth > a good Painter in Nuremberg , Van-Mander be- ing in an Error when he fays he was Martin Scions Difciple. Tis true, Alien woudvery fain have had him for his Matter, but Martin s Death prevented it. After having fpent three Years with Michael Wokemuth, he Traveh’d to Flanders , and from thence thro* Germany to Venice . At his return he Marry’d, being then near Three and Twenty Years of Age ; about that time he began to pub- lifh feme of his Prints. He grav’d the Three Graces r, fomDeaths-Heads , and other Bones of Dead Mew, and A Hell with Diabolical Speftresy after the manner of Ifrael of Mechlin. Above the Three Graces there’s a Globe, on which thefe three Letters aretobefcen, O. G. H. as much as to fay in the German Tongue, O Gott Hute\ God Defend us from Enchantments. He was then about 1 6 Yean V 2 5 l ) Old, to r ’twas in the Year 1497. that he grav’d this Piece. Having put his Genius in Motion he apply’d himfelf to the Study of Defign , and’be- came fo great a Matter of it, that all his Con- temporary Country-men of the Profeflion made his Works their Rule, and even feveral Italians benefited themfelves by his Prints , as they have done fince, tho’ with more Addrefs and Difguife. He was careful in all his Plates to put down the Year in which they were Grav'd, a very commendable thing, for the curious may judge by that how old he was when he did them. In the Picture of Our Saviours Paffion , he difpofes the Lord's Supper according to the Opinion of Oecolampadius. That of Melancholy is his fineft Piece, and the Things that enter into the Com- pofition of his Subjefts, are a Proof of Albert's Skill j his Madonna's are Angularly beautiful Albert put down alfo on his Pictures the Year in which they were painted, and Sandrart , who law more of them than any one elfe, fays he did not fee any of an older date than the Year 1C04. by which he gives us to underftand, that Albert did nothing of that kind till he was Thirty three Years of Age. Maximilian the Emperor gave Durer for the Arms of Painting Three Crowns, two in Chief and one in Point. The Character of a Man of Honour, which he always maintain’d, his good Senfe, and his Eloquence gifts bellow’d on him by Nature, procur’d him a Seat among the Councellors of tt C * ^ Nuremberg. His Genius was fo Univerfal, that he follow'd the bufinefsof his Profeflion, and, at the fame time, with eafe minded the Affairs of the Publick, He was Labo- Laborious, of a fweet Difpofition, and his For* tune fo good, that he might have enjoy’d a plea- sant Repofe, if his Wife had not difturb’d his Happinefs. She was of fuch a Covetous greedy Temper, that tho’ they had no Children, and were Rich enough, yet fhe was always teazing him to get more. Her Clamours were fo trou- bleforn to him. they diftraCted him in his Labours and made his Life uneafy. To get rid of her he went into the Low-Countries, where he Con- tracted a clofe Friendfhip with Lueas of Leyden . His Wives Trouble, her Tears, and Promifes to behave her felf better for the future, prevail’d on his Friends at Nuremberg to advife him how much fhe was alter’d, and to invite him to re- turn. He was perfuaded by them to try her once more, but flie foon grew as bad as ever, and tho : he was one. of the nioft prudent and belt natur’d Men in the World, fhe us’d him fo ill, that he broke his Heart withforrow, in the fifty feventh Year of his Age, Anno 1528. Albert himfelf wrote his Father’s Life four Years before he dy’d ; Sandrart has given an ac- count of it after that of Albert the Son, who wrote moftof the things himfelf which we have faid of him. He talks very freely, and with a great deal of Humility of his Father’s Poverty, how hard it was for him to get his- Bread and of the Mifery he liv’d in while he was young. The moft furprizing thing in his whole Life is, that he cou’d work fo much, and finifti fuch a vaft number of Pictures, when his Circumftances were fo low as they were at fir ft, and his Wife fo great a Shrew. He wrote a Treadfe of Geometry, PerfpeCtive, Fortification, and the Proportion of Humane Figures. Several Atn •'-> ' ‘ thors ( ) tbors have fpoken bf him with Honour, and among others, Erafmus and Vafari. Reflections on the Works of Albert Tourer. No Man ever fhew’d fo vaft and Univerfal a Genius for the Arts as Albert Durer . After he had rry’d alrnoft all of them, and exercis’d himfelf in them feme time, he at laft refolv’d to confine himfelf to Painting andGraving .Tho’ by dividing his time between the one and the other Art, one wou’d think it wou’d have hinder’d his Perfecti- on in either, yet he matter'd them both by an extraordinary application, and became perfect in both Graving and Painting. But Example, and the firft things thatprefent themfelves to our Eyes when we apply to any Profeflion, being apt to incline our Gout to the fame way, and to give the fame turn to our Thoughts, Albert fuffer’d for want of being put into a right Method at firft-, by the fight of the inoft beautiful Pieces, by a* good Education, and by the ftudy of the Antique. His Vein was fruitful, his Compositions Grand, and tho’ the Gothic Gu(lo prevail’d in his Time and Country, yet his Productions afforded matter e- nough, not only for the German Painters, but even for the Italians to learn by. He was bold in the Execution of his Defigns. He did whatever he fee himfelf about, and was fo clean, and fo ExaCt in all his Performances, that one may perceive he was entirely Matter of the Principles of his Art, which he had laid down as fuch in his Mind, and which related chiefly to Defign : However, ’tis furprizing, that having been at fo much pains to know the ftruClure of Humane Bodies, he fliould make fo little o f it ( 254 ) for in moft of his Works, except the Virgins and Virtues , which accompany the Emperor Maxi- milians Triumph, his Defign is poor and of an ill Gufto. He imitated Nature only according to his own Idea of her, and was fo far from en- creafing her Beauty, or feeking out the Graces that may be found in her, that he very rarely copy’d thofe beautiful Places, which Fortune often fur- nifties a Painter with. He was more happy in the choice of his Landskips, which are generally fet off with agreeable and extraordinary Pro- fpedts. In ftiort, his Performances, as much as they were admir’d by his Country-men and Contem- poraries, don’t deferve now to be examin’d ac- cording to the Rules of the feveral parts of Paint- ing, for, if there is one good property in them, there are a great many bad ones. Neverthelefs, we muft do that juftice to Albert's Memory, to own that tho’ his Designs were of a Gothic Gufto , they were Learned, and the Novelty of his Prints ac- quir’d him a great deal of Reputation ; upon which Vafari lays of him, If this Excellent and Exaff Artift , whofe Genius 'was fo Univerfaf had been Born in Tulcany, as he was in Germany ; and had had the opportunity of Studying the Beautiful \ Pieces that are at Rome, as the reft of us have done y he would have been the beft Fainter of Italy, as now he is to be reckon'd the moft rare and moft celebrated Genius of the Flemilh School. GEORGE TENS Of Nuremberg , Study’d Raphael's Works very much, and underftood the Art of Graving on Copper, as well as that of Painting. He aflifted Marc- • ( *55 ) Marc- Antonio in divers of his Performances and when he return’d to his own Country, he drew a great many Pictures, and grav’d feveral Plates on Subje&s of his own Invention, which are fo many Proofs of the Beauty of his Genius and of his Skill. He put down the Letters of his Name on his Pieces thus, G. P. and was an Ar- till very Famous in his time. ( PETER CJND1TO Of Munich , was a Man of Skill ; he painted al- moft all the Palace of Munich , for Maximilian , Duke of Bavaria , who had taken him into his Service. He drew the Dejigns of the Hermits of Bavaria , which were Grav'd by Raphael ana John Sadeler , as alfo feveral other things of his De/igning, . The Four Doctors of the Churchy which he Dejign d % were engrav’d by Giles Sadeler. At the fame time flouri/h’d Matthew Grunew alt, who painted after the Manner of Albert Durer. CORNELIUS ENGELBERT Of Ley den, was Contemporary with Candito and Grunewalt. Several very good Pieces of his Drawing, are to be feen at Leyden and Utrecht, He had two Sons, who imitated his Manner ve- ry exactly, Cornelius Cornelii and Lucas Corneliij The latter finding there was nothing to be got by Painting , fo little was it encourag’d in hi# Time and Country, was forc’d to turn Cook , but his Genius wou’d not let him abandon an Art iri which he might eafily arrive to Perfe&ion, fo he return d to his firft Profelfion» and became a Mafter. He ( * 5 * ) He went to England , and was employ’d by Henry VIII. who took him into his Favour as well as into his Service. BERNARD Van 0%LA T, Of BruJJtls , was Painter to Margaret, Gover- nour of the Low -Countries, for whom he did fc- veral fine Pieces, as alfo for the Churches in that and other Cities in Brabant and Flanders. When he drew any Pi6ture of confequence, he laid fome Leaf-Gold for his Ground, and painted up- on it, which kept his Colours frefh, and in cer- tain places added a Luftre to them, efpecially in a Celeftial Light, which he painted in a Picture of the Day of Judgment, that is in the Chap- pie of the Alms-Houfe at Antwerp. He drew a great many Defigns for Tapiflries by Order of the Emperor Charles V. and the chief of the Tapi- ftry-Work, which was done for the Pope, and other Princes at that time, after Raphael's De - Jlgns, was committed to his care to fee them well Executed. He was one of Raphael Ur bin's Dif- ciples. MICHAEL COX1S Of Mechlin , learnt the principles of his Art of Bernard Van Orlay, after which he went into Ita- ly, was Raphael's Difciple, and generally made ufe of his Ideas in the Pictures he drew , for his own Invention was barren and brought forth with difficulty. His Defgn and Colouring were of Raphael's Gout. When he return’d to Flanders, he had the management of the Execu- tion of fome of Raphael's Defigns for Tapi (try. ( *J7 ) He dy’d at Antwerp , 1592. being fouiTcore and fifteen years of age. LUCAS of LETT) EN Was taught the firft principles of Painting by his Father, but Nature had bcftow’d on him fo many advantageous Qualities for the Art, that at Nine Years old he began to Engrave, and at Fourteen publish’d feveral Plates, as confiderable for their Beauty as their Number. His knowledge of Painting was as forward as that of Graving, and his Performances in both Were exadt and clean. He follow’d the Stu- dies neceflary to his Profeflion with extream diligence ; and if the time he fpent in looking after the effects of Nature, had been employ’d in ftudying the Antique, what was faid of Albert Durer on the like occafion, might have been faid of him, viz., that his Works wou’d have been ad- mir’d in all Ages. He was Magnificent in his way of Living, drefs’d well, and fpent his Money freely. Lucas and Albert carry ’d on a friendlyCorrefpon- dence together, and were emulous of each others Works, without Jealoufy. When Albert put forth a Plate, Lucas publilh’d another, and lea- ving it to the World to judge of their Merit, they were the firft that did Juftice to one another, prai- iing each others Performance, without either envy or jealoufy 5 Bafe Paflons in feme Men of Art , for which no Excellence can attone. The Friendship between Albert and Lucas encreas’d very much at their Interview in Holland , whi- ther Albert went to vifit his Competitor and Friend, two Names which are very feldom to be reconcil d. Some time after Albert's return to S Nurem - ( 258 ) Nuremberg , Lucas made a Tour to Zealand and Brabant , to vifit the Painters of thofe Provinces ; which Journey not only coft him a great deal of Money, but his Life alfo , for *tis faid a Flujhing- er, of his Profession, out of Jealoufy of his Merit, poifon’d him at an Entertainment to which he had invited him. He liv’d in a languifliing con- dition fix years after, during which time he al- moft always kept his Bed. What troubled him mod was, that he cou’d not work at eafe ; how- ever, he had fuch a Love for his Art, that ill as he was, he cou’d not forbear working a Bed, and being told, that his application to it in the con- dition he was in, wou’d haften his End, he re- ply’d, Be it Jo 5 I 'will have my Bed to be a Bed of Honour , and cannot dye in a better Pojlure than with my Pencil in my Hand. He was fcarce Forty Years old when he departed this I ife, Anno 1 533. and perhaps the Poifon that did him moft hurt, was following his Bufinefs with too muchearneft- nefs in his tender Age, when Nature wou’d have form’d a better conftitution for him, had fhe not been prevented by other Employments, about which he fet her to Work. QUlKTlTSl MJTSTS * otherwife call’d* The Farrier of ANTWERP. After having follow’d the Trade of a Farrier or Blackfmith, near 20 Years, he fell lick of a Di- ftemper, which hinder’d his working fo much, that he cou’d not get his Bread, fo he was forc’d to go home to his Mother for fubfiftence, but flie being both old and poor, had much ado to maintain her felf. While he was at his Mother’s, a ( 2*9 ) a Friend of his coming to fee him, by chance i hew d him a Print, which a Fryar had inft then given him. At the fight of it , * he felt within himfelf a violent Inclination to Copy it, which he did with fome fort of Succefs, and this begot in him a defire to Learn rhe Art of Painting. He began to fludy it, and finding him- l as were, in another- Element, both Natural and Plcafant, he grew well, and made a confider- able progrefs in his new Profeffion. An acci- dent happen’d foon afrer, which quicken’d his Zeal to arrive to a Perfection in the Art. He fell in Love with a Painter’s Daughter, who was very Handfome , and bclov’d by a Painter much more a Matter than he was. Love and E- mulation fpurr’d him on in the Profecution of his Studies, and made him leave nothing undone that might contribute to render him more Skil- ful, in order to fupplant his Rival. This Story is told in another manner by fome Who will have Love to have been the foie Agent in the Matter, and that Cupid took the Hammer out of his hand, and put the Pencil into it. This is the common Opinion, and his Epitaph is much to the fame purpofe, as alfo fe- veral Epigrams Written on the fame SubjeCK There are a great many Pictures 0 f his Drawing at Antwerp, and among others a De* [cent from the Crop, in our Ladies Church. He generally did Half higure t and by which means his Works being robe remov’d with cafe ' from place to place, are difpers’d thro’-out all Europe. His Mannnn was lingular, and had no- thing in it like that of other Painters. ’Twas finifh d, and his Colouring ftrong. He liv’d a long time, and dy*d <^nno 151$, S i 'Johri ( i6o ) JOHN of CALCA\, or CALKE%, , Native of Calcar, a Town in the Dutchy of Cleves, was a very excellent Man, but his un- timely death hinder’d his fhewing himfelf to the World, as otherwife he wou’d have done. In the year 15:3.6. he enter’d the School of Titian , and made fuch Progrefs in it, that feveral of his Figures and Defigns have pals’d for Titians , in which many good Judges have been deceiv’d, and ’tis probable many more will be fa From Venice he went to Rome , where, having made himfelf very well acquainted with Raphael's Man- ner, he (laid a while, and then proceeded to Na- ples, in which City hedy’d, Anno 15:4.6. ’Twas this Calcar who Defignd the Anatomical Figures for Andreas Vefaliuss Book of Phyfick and Anato- my, as alfo the Portraits of the Painters, that are before the Lives written by Vafari , which is enough to ferve for an Encomium upon him. Among other Pieces he drew a Nativity , repre- fenting the Angels around the Infant Chrift,and has {b order’d the difpofition of his Pi&iire, that the Light proceeds all from the Child. ’Tis an admirable Piece. Rubens, who was owner of ir, wou’d not part with it as long as he liv’d, but alter his Death Sandrart bought it, and fold it again to the Emperor, who feta high Value up- on it. VETER K^OUC Was born in the Town of Alofl , and Difci- ple to Bernard Van Orlay , who had liv d with Raphael. He went to Rome, and having a hap- py ( *6 1 ) py difpofition of Genius, improv’d himfelf fo much by the fight of the beautiful Things he faw there, that he form’d an Excellent Go»t, and became a very Corre& Designer. When he re- turn’d to his own Country, he undertook the charge of dire&ing the Execution of feme Ta- piftry- Work after Raphael's Defigns, and burying his Wife, after he had liv’d with her ten Years without having any Children, he was perfwaded by forre Merchants of Brufels , to undertake a Voyage to Conftantinople j but when he arriv’d there, finding there was nothing for him ro do but to Draw Dejigns for Tapiftry, the Mahome- tan Religion not allowing the Turks to reprefent any Figures, he fpent his time in Defigning the particular Profpeets in the Neighbourhood of Conflantinople , and the manner of the Turks Li- ving, of which he has left feveral Wooden Cuts , that may alone fuffice to give an Idea of his Me- rit. In one of thefe Pieces he has reprefented himfelf under the Figure of a Turk, Handing up- right, and pointing to another Turk , who holds a Pike. After his Voyage to Confiantmople , he went and fettl’d at Antwerp, where he drew fe- yeral Pidfures for Charles V. and in the latter part of his Life, he wrote a Treatife of Sculpture, Geometry, and Perfpedfive. He alfo Tranflated Vitruvius and Serlio into the Flemijh Language, being himfelf a very good Archiredh He dy’d in the Year 1 550. ALBERT ALDEGRAEF Of the City of Zoufl in Weftphalia, where he painted a great many fine Things for the Church- es, and among others, a Nativity , worthy the S 3 admi- ( i6z ) admiration of the Curious. He did very little elfe where, bufying himfelf more about Graving than Painting, as we mav guefs by the vaft number of prints which are every whereto befeen of his, and by which one may fee he was a Correct De- figner, that his Expreifions were Graceful, and that he woud have made an Excellent Painter, had he Travelled into Italy. JOHN of M ABUSE, Born in a Village of Hungary call’d Mabufe , was the Contemporary of Lucas Van Leyden. Af- ter having in his Youth work’d very much, he went to Italy , from whence he came ro Flanders , and was the fir ft that fhew’d the Flemijh Matters how to Treat of Hjftorical Subjects in their Com- pofitions, and to expofe the Naked , which had not till his time been put in pra&ice. His Pieces are very common in the Low-Countries, and in England . He was in his younger fays fober and ftudious,^ but in the latter part of his Life, too much addicted to Drinking. The Marquefs of Verens entertain’d him in his Service many years, and this Nobleman being inform’d that the Em- peror Charles V. intended tocome and lodge with him, to receive him more Magnificently, order’d that all his Dometticks fhou’d be drcft in White Damask, 3nd Mabufe among the reft was to be fo array’d: ButMz/w/^inftead of giving his Mea- fure to have a fort of Robe made for him, that he might make his appearance with other of the Marquiftcs Servants, deiir’d to have the Damask, pretending he would contrive a whimlical fhape with ir, tor the diversion of the Spectators j whereas his true meaning was to fell it, toraife Money ( 2 where he Dejign d his and Michael- Angelo’s Works, after the Antique Sculptures, and the Ruins of the Ancient Buildings. Pope Adrian VI. being about that time ad vane d to St. Peter s Chair, he gave Schorel the charge of Super Inrendant of the Buildings at Belvedere ; but after the Death of this Pontiff, who Reign’d little more than 3 year and half, Schorel return’d to the Low-Coun- tries, He ilaid a while at Utrecht , and drew fe- veral rare Pieces there. He pafs’d thro 1 France as he return’d home, and refus’d the oilers which were made him on the part of Frances I. out of his Love to eafe and a quiet Life. He was en- du’d with feveral Virtues and Sciences, being both a M ulician Poet and Orator. He underftood four Languages well, the Latin , French , Italian and German is good Humour and good Qua- lities, got him the Love and Efteem of all that knew him. He dy’d Anno 15 61. in the Sixty Seventh ye^r of his Age. Two Years before his Diceafc, Anthony More> his Difciple, drew his Picture. ~ LAM, ( * 6 f ) LAMBERT LOMBARD Of Liege , was very induftrious to learn every thing that related to his Profeflion. He ftudy’d the Antique very much, and was the firft that brought into his Country a Method very far from the Gothick and Barbarous Gufto, which was then predominant there. He fet up a fort of Academy at his Houfe, where, among many more, Hubert Goltius , Frans Floris, and William Kay t were his Difciples. The Prints which were En- graved after his Works fhew what his Goto was. Sandrart an&others pretend that Svavius andLo**- lard were the fame Perfon. He fays, that Lom- bard in his Youth was call’d Lambert Systerman , and that afterwards he chang’d his Sirname into SvaviuS) as more Harmonious than Suterman . Thus he put down on his Prints. L. Svavius In- ventor. Sandrart adds, that Fan-Mandir miftakes |n making Lombard and Svavim two Perfons* The Curious may exercife their Criticifms on this matter, by comparing the Prints mark'd with each of their Names one with another, which Sandrart allures us were done by one Maq at different times. Dominick Lampfon , Secretary to the Bifhop of Liege , very well known to the Learned World, wrote the Life of Lombardy who yvas his intimate Friend. The fame Lampfon wrote a Copy of Verfes on Lucas Gajjell , a rare Landskip-Vainter at that: Time. He was very Idle, and liv’d and dy’4 at Brufels, JOHN ( 2 66 JOHN HOLBEIN 5 Better known by bis German Name Hans Hol- bein, was the Son of John Holbein , a Skillful Painter, who liv’d at Ausburg, where he work’d a long time, and then remov’d to Bafil in Swif ferland. Here Hans , or John his Son, was born in the Year 1498. He learnt of his Father the firfl Rudiments of the Art, and follow’d his Studies with Extream eagernefs ; but the Elevation of his Genius foon rais’d him above his Matter. His Productions had a great deal of Force in them, and were of a great Char afar. He painted Our Saviour s Paffion in the Town-Houfe of Bafil , in a Picture confiding of eight Parts, and contain- ing as many Subjects of Chuff's Sufferings . He painted alfo in the Fifh-market of that Town a Dance of Peaf ants, and Death's Dance : Thefe two Pieces are Engravd in Wood . Erafmus , who was his Friend, and had had his PiCture drawn by him feverai times, imagining lha iSwifferlarid was a very improper Country ro do Juftice to Holbeins Merit, propos’d to him rogo to England , promifing, by means of Sir Thomas More , to prepare the way for his favou- rable reception by the King. Holbein readily ac- cepted the Propofal, and the rather, becaufe his Wife was fuch a Termagant flie would never let him be at reft. In England he drew a vaft number of admirable Portraits ; among others thofe of Henry VIII, and his Children, Prince Edward , the Princefs Mary , and the Princefs Eli - tcabeth. He painted Hiftory -Piece sin feverai Places, a of which are Grand Compoftions, viz. TbeTriumpb of Richey and the Condition of Poverty , Frederick Zwchera ( 2ch be wrote ANT HO NT MO <11 E, A Native of XJtrecht , was Difciple to John Schorel, and a great Imitator of Nature His Manner was ftrong, Tw and Firm. He diew a vaft number of Portraits in the Courts of Spain Portugal, and that of CWer V. for which he was paid very High Prizes, befides the Prefenrsthat were made him, by which Means he got a good , TraveI! ^ inro Ita h* and tho’ his Chief Buiinefs was drawing of Portraits , he has however, done fome Hiftory- Pieces very fine in their kind. There is one of thefe in the Prince of Conde's Cabinet, in which our Saviour is repre- sented rifen from the Dead, between St. Peter and Sc. Paul. The Merchant, who Sold this Pi- cture to the Prince, got a great deal of Money by (hewing it at the Fair of St. Germain. There is an equal Degree of Force and Truth in it. Anthony More dy’d at Antwerp at Fifty Six Tears of Age. Teter Bruegel, call’d Old Brueghel , Took his Name from the place of his Birth Brueghel near Breda. He was a Peafants Son, and Peter Kouc s Difciple, whofe Daughter he Mar- ry d. He work’d with Jeremy Kcuc , after whofe Manner he did a great many things. He went to France , and afterwards to Italy. Tho’ he has Treated of all forts of Subjects, yet he delighted moft in drawing Sports , Dances , Marriages , and Meetings of Country-People , among whom he of- ten ( 2 7 1 ) ten mingled himfelf to take the more exa£fc no- tice of their Actions, and to fee what they did at thofe times, which Obfervations made him the beft Painter of that kind that ever was. He ftudy’d Landskips in the Mountains of Friuli, was very ftudious and referv’d, minding nothing but what Contributed to his advancement in the Knowledge of his Profeflion, wherein he became very famous. There are feveral of his Pi- ctures in the Emperor’s Cabinet, and the reft of his Works are difpers’d up and dowd Europe* efpecially in the Low-Countries. He enter’d him- feif in the Academy of Painters at Antwerp, Anno l ** 1 ' F %A N S F L O^IS Was the Son of a good Sculptor at Antwerp , and follow’d his Father’s Profelfion till he was Twenty Years old, when he went to Liege to learn the Art of Painting of Lambert Lombard , and from thence Travell’d to Italy , ^where he apply’d himfelf ftrenuoufly to Defigning. Accord- ingly he Dejign d every thing that was to Tils Go&t, and above all, Michael Angelo & Works. When he return’d into his own Country he grew fa- mous and rich, his Performances being good and numerous ; but tho’ he was a Man of Senfe, and his Converfation agreeable to Perfons of the beft Condition, yet he abandon’d himfelf fa to the love of Wine, that he became Incollera- ble even to his moft intimate Friends : Never- thelefs, he lov’d his Bufinefs as much as he did his Bottle. He work’d Seven Hours a day with Application and Pleafure, and the re- maining part he fpent with his Drinking Companions. He never play’d unlefs he was forc’d ( 272 ) fore d to it, and us d to fay, My Work keeps me alive , but Play -would kill me. He was Call’d the Raphael of Flanders. He dy’d Anno ICTO, at co Years Old. 5 CHRISTO? HE<\ SCHWARTS Was born at Ingolftadt, and Painter to the Duke of Bavaria. He did a vaft number of Pieces at Munich , asvtfell in Frefco as in Oil. San- drart fpeaks much in his Commendation, and as if he was one of the mod Skillful Painters of his Age, especially in Frefco. He dy’d Anno 1594.. WILLIAM Kji T Of Breda , ftudy’d the Art of Painting at Liege with Frans Floris , under Lambert Lombard. San - drart having commended him as a Skillful Pain- ter , Praifes him alfo as a Man of Honour. He liv’d at Antwerp very fplendidly. He drew a great number of Portraits , little inferior to thofe of jinthony More. As he was drawing the Dukeiof Alva's Picture, an Officer belonging to the Courts of Juftice, came to receive hisExcellenciesOrders concerning the Count d'Egmont. Kay pretended he did not underftand Spanijh , fo the Duke fpoke his Mind freely in his Prefence, and bad the Officer fee that the Count was Executed without De- lay, which Order made fuch an Imprdfion on the Mind of our Painter , who lov’d the Nobili- ty of his Country, that he went home, fell lick, and dy’d, Anno 156$. HUB ERT ( 273 ) HUBERT GO LTlUS, A Native of Venlo, was bred up at Wirtemburg, where his Parents liv’d, and Learnt the Firft principles of his Art of Lambert Lombard. He had a particular Genius for Antiquity and publifh’d. feveral large and fine Volumes on the Hiftory of Medals. He did little in Tainting. He had two Wives, and the latter was fo ill humour’d/ that it Ifiorten’d his Days. PETER and FRANCIS POURBUS Father and Son, the former born at Goude , and the latter at Bruges. Each of them in the place of his Birth did a great many fine Pieces which are yet in the Churches, and remain fufficient Proofs of their Capacity. Francis having been, for fome time, his Father’s Difciple, remov’d to Frans Floris, whom he excell’d in Colouring. He was a better Painter than his Father, and there are ad- mirable Pictures of his Drawing in the Town- Houfe at Paris. The Father dy’d in the Year 1583. and the Son, Anno 1622. D / T E R 1 C B A R E N T Of Amfierdam^ was Son of a very ordina- ry Painter, but the darling Difciple of Titian , wuh whom he liv’d a long while, and whole Picture he drew, which is now in the Hands of Peter IJaac a Painter in Am(lerdam. When he left Venice , he return’d to that City and fettl’d there, where he perform’d many rare Pieces, and dy d at 48 Years Old, Anno 1582, JOHN ( 274 ) JOHN BO L Of Meeblin, was born in the Year 1534.. He was a very Skillful Man, and work’d alrnoft always in Little , as well in 0 / 7 , as in Miniature and Di~ (temper. He was employ’d two Years by the Elector -Palatine at Heidlcberg , from whence he went to Mons, and thence to Amfierdam , where he dy’d, Anno 159$. Goltius Engrav’d his Epi- taph, and his Picture with it. James and Row- land Savery were his Difciples. I MJRTIN HEMSt^I^K. Was a Teafant s Son. His Father liv’d in a Village call’d Hemskirk in Holland , where Mar- tin was born. In his Youth he was fo dull, that the Matter, with whom he w r as put, fent him hack to his Father, defpairing that he would ever be good for any thing. Hemskirk' s Genius, like Fruit that is ripe late, fome time after ftirr’d him up to try once more his Succefs in the Art. He went to another Matter, and by indefatigable Application arriv’d to a great degree of Per- fection in his Profeflion. He was fome time un- der the Difcipline of Sobered , whofe Reputation made him delirous to learn of him. His Genius, by little and little, made its way thro’ all diffi- culties, and he became a Correft Painter, Eafy and Fruitful in his Inventions. He went to Rome, and intended to flay there a long time, but after he had been there about three Years, an accident happen’d to him, which oblig’d him to return to his own Country. He fettled at Haer - hm, and liv’d there the remainder of his Days. Mott ( 275 ) Mofi of his Works were Engrav d. Vajari gives a particular account of them, commends them, and fays Michael Angelo was fo pleas’d with one of the Prints, tha: he had a mind to Colour ir. However, one may fee by the Prints of Hems - kirk's Works, that he did not underftand the Claro Ofcuro, and that his Manner of Dejigning was Dry. He was threelcore and Sixteen Years Old when he dy’d, Anno 1 5:74. CHARLES Van UJKDER Was a Gentleman born. His Father was Lord of the Mannor of Meulebrac in Flanders , where his Son Charles was bad, and a great deal of Care taken about his Education. The Youth /hewing early an inclination to Painting, his Fa- ther put him to Lucas de Heer , a famous Painter in thofe days, and afterwards to Peter Udalric. While he was under the Difcipline of die latter, he drew feveral Hifiory-Pieces , taking the Sub- jects from the Holy Scriptures : At the fame time he wrote P lays, for he was a Poet as well as a Painter. When he was about 16 Years old he went to Rome, where he flay’d three Years, and then remov’d to Germany. At Vienna he made feveral Jriumphal Arches for the Emperor Rodolphns's Publick Entries, after which he return’d to Meulebrac, the Place of his Nativity. The War breaking out about Religion, he re- tir’d to Courtray , where he painted feveral things for the Churches, and particularly a Saint Cathe- rine, which was very much Commended. When he return’d to his Eflate at Meulebrac he was robb’d of all he had, and having no- thing left for his Subfiftance, he went aboard a T x ~ VefleJ ( 27<5 ) Veflel bound for Haerlem , where he foon reco- ver’d the Wealth he had loft, and fpent his time in the Exercife? of Painting and Poetry. Among other things he drew the Hiflory of Chrifl's VaJJi- ( * 7 % ) ’tis probable it might be from an ill Opinion of his Performances, for ’tis ftrange that Sprangher , who form’d his Manner in Italy, fhould have improv’d it no more by the beautiful Things he faw there, and fhould give himfelf up entirely to the warmth of an Irregular Fancy. I fay this without any intention to leflen the Merit of his Works, which have a great deal of Spirit in them, and were efteem’d by many Perfons of Quality, efpecially by the Pope, who Comman- ded him to go on, notwithftanding what Vafari faid againft him : However, ’twas on Condition he fhould fhew his Defigns before he began any I Pictures for his Holinefs, to the end they might be Corrected where they wanted it. By this j Mans Sprangher finifh’d his Thoughts, which before were little more than Sketches (truck out of the Fire of his Imagination ; Upon all which we may make this Reflection, that ’twas not his Gout of Defign that pleas’d the Pope and the Ro- mans, who approv’d his Performances, but that there was fome other part of the Art, in the Manner of this Painter, which was unknown to Vafari , and which had fo good an EffeCl on the Eyes of fuch as were not prejudic’d againft him, : that it fupported the Character of his Works, in fpite of Jealoufy or Envy. Sprangher , after having made abundance of Pictures in feveral Places of Rome, was chofen, by John of Bologna , the Duke of Florences Sculp- tor, to be fent to the Emperor Maximilian II. who had deflred a Skilful Painter of him. Sprang gher did a great quantity of Pictures for that Emperor, and Rod Ipbus who fucceeded him, at Vienna and Prague. He went afterwards imo his own Country, and Tr^ veil’d from one City to ano» ( 279 ) another in the Netherlands having been abfent from thence^Years. He was very much honour’d wherever he came, and when he had feen ail the Places he intended to fee, and vifited all his Friends, he return’d to Prague, where he fettled, at?d dy’d in a very old Age. HEN^r GOLTIUS Was the Son of John Goltim , a famous Painter on Glafs. He was born in the Year 1558. in a Village call’d Mulbrec , in the Dutchy of Juliers. He learnt his Art at Haerlem , and marry’d there. His Wife had had a former Husband, and by him a Son, whofe Name was Matthew , whom Goltim taught to Engrave. His Troubles, occa- fon’d by fome CrofTes in his Domeftick Affairs, threw him into a Diftemper which turn’d to a ftiortnefs of Breath, and that to Spitting of Blood, which continu’d three Years, and he could find no Remedy for it : In Defpair o r Life he refolv’d to Travel to Italy. His Friends did what they could to difTuade him from a Journey, which they thought none but a Mad-man would un- dertake in his Condition. They fhew’d him what danger he was about to run, and that his health was fo ill fettled it might coft him his Life. He anfwer’d, He had rather die learning fomething , thanLive in fuch a languishing State as he was in, and that [ince his own Country agreed with him no better , he would try another. Accordingly he went thro’ mod of the chief Cities of Germany, where he vifited the Painters, and the Curious. To prevent his being known, he. paft for his Man’s Servant, pretending he was entertain’d by him for his Skill in Painting . By this means he heard what One is; T 4" a$d. (280 ) and t’other faid of his Works, without know> iog who he was, which was a great pleafure to him. His Difguife, his Diverfion, the Exercife of his Journey, and the different Air of the Countries thro’ which he Travell’d, had fuch an Effect on his Mind and Body, that he recover’d his former Health and Vigour. He Defign’d an infinite number of Pieces at Rome and Naples , as well after the Antique, as after Raphael , Polidoro , and other famous Ma- § fters. He painted very little himfelf, and his Di- ftemper taking him again, he was forc’d to en- ter into a new Courfe of Phyfick. The Phy- ficians cur’d him by a Milk-Diet, and advis’d him to return to his Native Air. He came back to Haerlem , where he Grav'd feveral things in feveral Manners , and at laft having form’d a particular one, he put forth abundance of fine Prints drawn after the Dcfigns w r hich he brought out of Italy with him. One may perceive, by the Prints that were of his Invention, that his Gok, of Defigning w r as not very natural, and that his Manner l'ome- thing in it that was wild : However, ’tis vifible alfo, that he manag’d his Graver with great Ilea- dinefs, and extraordinary Lightnefs. He dy’d at Haerlem Anno 1617. At Fifty Nine Years of Age. J 0 HN van A C H. So call’d from the Place of his Father’s Abode, which was Aix la Chape lie. He himfelf was born at Cologne in the year 1556. Having been Cs prang- her s Difciple for fome Time, he Traveli’d from one City to another ail over Italy , feeking after opportunities to improve himfelf in the Study ( *8i ) Study of his Art. From Italy he went to Ger- ?mny, where the Emperor Rodclphus took him into Favour, and fent him to Rowe to Defgn the Antiques. This Prince was a Palfionate Lover of the Fine Arts , a good Critick in them^ and a great Encourager of Merit in all Artifts. John 'van Ach , at his return, Work’d a long while for the Emperor. His Performances deferve Praife, and got him the Chara&er of the greateft Ma- iler of his Time. The Emperor valu’d him as well for his Prudence, as Skill ; and he em- ploy’d all his Credit at the Imperial Court, to oblige Men of Merit. He dy’d there loaden with Riches and Honour, and belov’d and Efteem’d by all that knew him. JOSEPH HE IN T S Of Bern , was entertain’d in the Emperor Ro - dolphus s Service, at the fame time that John van Ach, Spravgher , Hufnagle, Brueghel , Rowland Sa~ very, John and Giles Sadeler- , and others were em- ploy’d by him. The Emperor fent him into Italy , to Defgn the fineft Statues and PiBures, and he fuc- ceeded fo well therein, that he was particularly favour’d by that Prince, for whom he did a great many admirable Pieces, which were Engrav d by the Sadeler s, Lucas Kill an, and Ijaac Mayer of Frankfort. He dy’d at Prague, very much la- mented by Perfons of the belt Quality, for he was himfelf a Man of Honour. He had a Son who was a Painter. Matthew ( Z8l ) Matthew and Taul Bril 9 Brothers^ Of Antwerp, were good Landskip- Painters, and good Topographers, Matthew being employ’d on the Works of the Vatican, his Brother Paul came to Rome , where they did each of them fe- veral things in Frefco. Matthew dy’d in the year 1584. Paul his younger Brother, who liv’d to be 72 years old, left a vaft number of rare Pieces behind him, when he departed this Life, Anno 1612. His Works are in moll of the Cabinets of the Curious, and very much efteem’d by them. CORNELIUS CORNELIUS Of Haerlem , was the Son of Peter Cornelius , a Skilful Painter. He was born in the year 15:62, and tho’ he had never been in Italy , drew a great many very fine Pieces, and bred up good Difciples. He joyn’d with Charles van Mander , in erecting an Academy of Painting at Haerlem , about the year of our Lord 1595. JT> AM Dan NO 0 (]^T Of Antwerp, was Son and Difciple of Lam- bert van Noort. He Painted in Great, and had the Reputation of being a Majler. He was fo full of Bufinefs, he had not time to go out of his own Country. He was Rubens' s firft Mafler, and dy’d at Antwerp , Anno 1641 . being fourfcore and four years old. QT HQ ( 2»3 ) 0 T H O V E N I U S, Or Ottavio Venus, a Dutchman , was defcended of a confiderable Family in the City of Leyden, and born in the year 1556. He was carefully edu- cated by his Parents in the Study of the Belles Lettres. He learn’d at the fame Time to Defign of Ifaac Nicholas. He was but fifteen years old, when the Civil Wars oblig’d him to leave his Country ; he retir’d to Liege , firifh’d his Studies, and there gave the firft proofs of the Beamy of his Mind. He was particularly known to Cardinal Groof- heck, who gave him Letters of Recommendation when he went to Rome, where he was entertain’d by Cardinal Maduccio His Genius was fo a&ive that he at once apply’d himfelf to Philofophy, Poetry, the Mathematicks and Painting. He be- came a great Proficient in Defigning under the difcipline of Frederico Zucchero. He acquir d an excellence in all the parts of Painting, efpechlly in the knowledge of the Claro Ojcuro 5 by which he was reckon’d in Italy, to be one of the moft Ingenious and moft Univerfal Men of his Age. He liv’d at Rome feven years, during which Time he perform’d feveral rare Pieces, and then pairing into Germany, was receiv’d into the Emperor s Service. After this the Duke of Bavaria and the Elector of Cologn employ’d him, but all the advantages that he got by his Service in the Courts of Foreign Princes, cou’d not detain him there ; he had a defire to return into the Low -Countries 3 whereof Alexander Farnefe, Prince of Parma s yvas then Governor. He drew his Picture, arm’d Cap-a-pe, which confirm’d his Reputation in the Netherlands. After the death of that Prince, Ye* . ' ■ ■ • rim . { *84 ) nius retir’d to Antwerp, where he adorn’d the principal Churches with his Paintings. The Arch-Duke Albert , who fucceeded the Prince of Parma in the Government of the Low-Countries fent for him to Brujfels , made him Mafter of the Mint, and tfeo’ it took up much Time, Otho found leifure to exercife himfelf in his Pro- felfion. He drew the Arch-duke and his Wire the Infanta Isabella's Portraits in Great, which were fent to James I. King of Great Britain : And to ftiew his knowledge of Politt Learning , as well as that of Painting, he publish’d feveral Treatifes, embdlifhing them with Cuts of his own Dcfignwg, as Horace’ s Emblems , The Life of Tho- mas Aquinas, and the Emblems of Love , all which I have feen, and in which there is a great deal of Art and Grace. Venius Dedicating the Emblems of Profane Love to the Infanta Ifabella, fhe oblig’d him to do the like by Divine Love. Lewis X III. made him very fair Offers to tempt him to enter into his Service, but he wou’d never leave his own Country, fatisfying 1 imfelf with the' Character and Employments he held there.- He was the firft hnce Polidore C aravaggio,wh. G red uc’d the Claro Of- curo , to a Principle of the Art of Painting. Rubens perfected what he began, and the whole Flemifh School learned it of him. Venius dy’d at Brujfels , Anno 1634. in the threefcore and eighteenth year of his Age. He had two Brothers, Gilbert , who was a Graver , and Peter , a Painter. He had alfo the Honour to breed up the famous Rubens in his Art ‘ JOHN BOTTEHHAME% Was born at Munich in Bavaria, in the year 1564. He learnt the Rudiments of Painting of his Father j ( «*5 ) Father ; but he form’d his Manner in Italy , um der the Difcipline of Tintoret , whofe Difciple he was. He Painted in Frefco and in Oil : His Invention was eafy and agreeable : He Work’d Very much in Frefco at Munich and Ausburg , where there are great Proofs of his Ability ftiil remaining. He got Money apace, but being Extravagant, fquander’d it away as faft as he got it. PETER CORNELIUS DERICK Of the City of Delft , imitated Bajfanos Man- ner fo Naturally, that the Curious are often de- ceiv’d by it. Sir PETER PAUL RUBENS , Whom, in fome fort, we may call the Honour of Painting, was Originally of Antwerp, where his Father John Rubens , of noble Extraction, held the Office of Counfellour in the Senate : When the Civil Wars broke out, they oblig’d him to leave his Country, and retire to Cologn, in which City his Son Peter Paul Rubens was born in the year 1 577 . The care his Parents took of his Educati- on, and the vivacity of his Wit, made every thing eafy to him, that he had a Mind to learn. He was fo ingenious, that ’twas thought his Merit wou’d advance him to his Father’s Poll: But he had not refolv’d upon any Pro- feffion when his Father dy’d, and the Troubles in the Netherlands abating, his Family return’d to Antwerp. He continu’d there his Studies of the Belles Lettres , and at his leifure- hours, di- verted himfelf with Defgning , feeling in himfelf a ( 285 ) a ftrong inclination to the Exercife of that Art, to which he was carry’d away by a fecret im- pulfe of Nature, who had fow’d the Seeds of it deep in his Mind. His Mother, perceiving his defires to improve himfelf in it grew ftronger every day, permitted him to learn to Defign of Adam Van Noort , who was a Painter of fome Note ; but when Rubens had been long e- nough with him to fee that he was not for his purpofe, he remov’d to Otho Venius , who was not only a good Painter, but a Man of Wit, Ma- tter of the Principles of his Art, and well vers’d in the Belles Lettres. Thefe rare qualities agree- ing with Rubens's Genius, the Matter and Difci- ple contracted an intimate Friendfbip, and this was the occafion of his giving himfelf up entirely to his Art, which he at firft intended to learn on- ly for his Pleafure • to which, the Lottes his Fa- mily fufFer’d in the Civil Wars, were no fmall inducement. He Learn’d with fo much eafe, and work’d with fo much application, that ’twas not long before he equail’d his Matter. He only wanted to improve his Talent by Travel : To that end he went to Venice , and in the School of Titian, per- fected his knowledge of the Principles of Co- louring. In this City he became acquainted with one of the Duke of Mantua's Gentlemen, who pro- pos’d to him, on behalf of his Matter, to enter into that Duke’s Service in the fame quality. The Excellent Paintings which are at Mantua , and of which Rubens had heard much talk, were the chief motives to his accepting this Propofal. He foon grew in Credit at the Court of Mantua , where, having carefully ftudy’d Julio Romano's Works, ( 2g 7 ) Works, he made no long day. Thence he went to Rome, and with the fame care appiy’d himfelf to the ftudy of the Antique, the Works of Rapha- el, and every thing that might contribute to his Perfection in his Art. What was agreeable to his G ut he made his own, either by Copying, or making Reflections upon it, which he pre- sently wrote down ; and he -generally accompa- ny’d thofe Reflections with Defigns, drawn with a light ftroke of his Pen, carrying always about him two or three Sheets of Blank- Paper for that purpofe. While he was in Rome, he drew the Pictures for the Altar of the Church of Santa Croce, and others for the Chiefa Nova, belonging to the Fathers of the Oratory. He had been feven years following his Studies in Italy, when he receiv’d advice that his Mother was dangeroufiy ill. He took Poft immediately and return’d to Antjverp, but his Mother dy’d be- fore his arrival. Soon after he marry’d Katherine de Brents, with whom he liv’d four years. He lov’d her extreamly, and when fhe dy’d, wasfo troubl’d at her Death, that he left Antwerp for fome time, endeavouring to divert his Sorrow by a Journey to Holland. He went to Utrecht , to vilit Huntorft, for whom he had a great Value. Sandrart , who was then Hunt or ft's Difciple, wait- ed upon Rubens to all the Cities of Holland, and fays, that as they were on their way from one Town to ’another* Rubens , fpeaking of the Works of the Painters that he had feen in his Journey, prefer’d Hunt or ft's Manner ot Painting, and Blo- w^m’sICom portions, ro any he had feen ; and that he was fo in love with Cornelius Volemburgh's Pictures in Little, that he defir’d him to draw fome for him. Rubens's fecond Wife was Helena For- man, ( 288 ) man, who was indeed a Men for Beauty, and help’d him very much in the Figures of Womert which he Painted. Rubens Reputation fpreading over all Europe there was never a Painter but coveted to have fomething or other of his Drawing ; and he was fo importun’d on this account, that he was forc’d to leave his Defigns to be Executed by his Difci- ples, whofe Pictures he touch’d over again with fre/h Views, a lively Undetftanding, and a rea- dynefs of Hand, anfwerable to the quicknefs of his Wit, which got him a good Elhte in afmall time: But there is a vaft deal of difference be- tween thefe Pieces, and thofethat were all of his own Drawing. The former are an injury to the Reputation of the latter, for they are generally ill de[ign\l , and lightly Painted. Queen Mary of Medicis , Wife of Hemy IV. be- ing defirous that Rubens fhou’d Paint the Luxem- burg Galleries at Paris, invited him to come thi- ther, whither he came at her Requeft to take a view of the Places, and draw his Defigns for two of thofe Galleries. The Hiftory of that Queen’s Life, was intended for the Subjedi of one of his Pieces, and the Life of Hemy IV. for the other. Rubens began the Gallery firft, that was to be Painted with the Story of the Life of Mary of Medicis, which he finifh’d, but the King’s Death happening prefenrly after, hinder’d his conv pleating the Hiftory of his Reign, towards which he had begun feveral Pidtures. The Queen, who lov d^ Painting, and De/ignd very neatly herfelf, oblig’d Rubens to draw two of the Pidtures that were part of her Story, in her Prefence, that Ihe might have the Pleafure to fee him Paint. While ( 28p ) While Rubens was at Paris, the Duke of Buck- ingham happen’d to come there, and became ac- quainted wirh him. He was taken with his good Scnfe • and finding it to be equally fofid and pe- netrating, he recommended him to the Infanta Ifabella , who made him her AmbafTador in Eng- land , to Negotiate a Peace with King Charles I. in the name of her Nephew Philip IV. King of Spain, and in her own. The Treaty took effeft, and King Charles , in acknowledgment of the Service he had done the Crown of England, pre- ferred him, in full Parliament, with a Sword and Garter, both of them enrich’d with Diamonds, and together worth twelve thoufand Crowns. We mufl defire the Reader s excufe for giving him the Trouble of Reading the la ft Paragraph , which is as falfe as ridiculous-, but there fcarce ever was a French Hiforian , who out of the inveterate hatred the French naturally bear our Nation, has not every where, when he [peaks of the affairs of England, done it with all the dlfadvantage that malice and falfhood cou d fuggeft. Even this Writer , otherwife fair and equal in his report of things , cannot forbear reflecting on the Honour of our Country, and to do it if guilty of the great (ft abfurdity in the World. He makes King Charles prefent Rubens with Gifts to the Value of Three Thoufand Pound, for Concluding a Peace beivteen England and Spain, dr if England was fo fond of the Friendflrip of the Spaniards, or fo afraid of their Power , that fle thought jhe cou d not Reward the Man fufflciently that bad been a chief Inftrument in the Treaty , which is as likely as that the King (houd do him fo much Honour in full Par- liament , a Falflty too obvious to need Confutation ‘ but fuch is the veracity of the French Writers, when they have any thing to fay of England, they will IJ not ( 290 ) not name thofe of our Nation, whom they cannot , with- out more than common ajfurance, mention hut with Honour, and for that reafon the whole Englifh School was funk by this Hiflorian. We [hall fay more of it hereafter . The Truth of Rubens’/ Succefs in the Court of England, is. He Concluded the Treaty , and Tainted tbcBanyuetting-Houfefor which the King paid him fo much Money', and as he was a Man of Merit , Knighted him. He fold the Duke of Buckingham fo many PiBures, Statues, Medals and Antiquities^ that the Duke paid him Ten Thoufand Tound for the Pur chafe. He was his intimate Friend j and Ru- bens’/ Character was f uch , that the Duke got as much Honour by Rubens*/ Friendjhip, as Rubens did by his 3 for if the one was great in Favour , Riches, Tower and Dignities, the other was as great in Fame, Merit , Knowledge, and the Glory of being the Prince of his Trofejfion. To return to Monfieur de Files's Hiftory of him, When he went to Spain, to give Philip an ac- count of his Negotiation, he had alfo the Ho- nour of Knighthood from him, belides ma- ny magnificent Prefents. He drew the Por- traits of the Royal Family, and Copy’d fome of Titians for his own ufe. 4 While Rubens was in Spain , Don John, Duke of Bragan^a (who was afterwards King of For - ; tugal) being a Lover of Painting, and hearing much talk of Rubens' s Excellence in that An, ; wrote to fome Lords that were his Friends in j the Court of Madrid, to defire they would fo order the matter, that Rubens might vifit him at Villa Vitiofa , the Place of his Refidence. Rubens was well enough pleas’d with the Journey, and fct out with a great Train, which fome of the j Duke’s Friends giving him notice of, he was fo j frighted,. ( ) frighted that he fent a Gentleman to meet him, and tell him, the Duke his Matter being oblig’d to gd from home about an extraordinary Affair, defir’d him not to come any farther, and thac he woa’d accept of Fifty Piftoles for the Charge he had been at in coming fo far. Rubens refus’d the Piftoles,faying,£fe did not v>ant any Cucb fupply, having brought two Th ouf and along with bimjvbicb he intended to fpend in the Duke's Court in fifteen days , the time he had allotted for his (lay there. Sir Veter returning to Flanders, had the Port of Secretary of State confer’d on him j however, he did not leave off his Profeflion, the extent of his Underftanding being large, enough to do theDu- ties of his Office, and to Exercife himfelf in his Art. Thus loaden with Riches and Honour he liv’d feveral Years. At laft the Gour, with which he had been a long time afflicted, flew up to his Stomach, and kill’d him, Anno 1640. in the fixty third year of his Age. He left two Sons by his fecand Wife : The eldeft fucceeded him in the Office of Secretary of State, and the other was very well provided for by the fhare of his Fathers Eftate, which fell to him. He was good narur’d and obliging ; his Genius was full of Fire, his Senfe Solid and Sublime. He was univerfally Learned ; and for the P 0 - litenefs of his Manners, and the Perfection of his Knowledge, he was belov’d and efteem’d by Per- fans of the befl Rank. He fpoke fix Langua- ges; and when he wrote to Men of Learning, or made any Obfervations on his Art, he always did it in Latin. Never painter produc’d fo many, and fo great Compofitions as Rubens. The Palaces of feveral Princes, and the Churches in Flanders, can give U x fubf- ( ) fubftantial proofs of this aflertion. ’Tis difficult to decide where his Fineft Pieces are. %There is hardly a Place in Europe , but has fome token of his Ability j however, the Cities of Antwerp and Tarts , feem to be the depofitories of his moft valuable Paintings. The good Tudges, and skil- ful Painters, who examine his Works with care, will eafily be convinc’d that Rubens not only carry’d the Art of Painting to a very high de- gree, but that he open’d a way, which will lead thofethat proceed in ir, to Perfection. He had a great many good Difciples, as Da- vid Teniers , Van Dyck , Jordan , j foufl, Soutmans , Diepembeck, Van Tulden, Van Mol, Van Houk , £- rafmus Jguillinus, and others, of all whom Van Dyck diftinguiffi’d himfelf moft, and did his Matter moft Honour. Rubens at firft propos’d to himfelf to imitate Michael- Angelo da Caravaggio* s Manner of Paint- ing, but finding it loo laborious, he left it, and form’d another more expeditious and agreeable to his Genius. One Bren del, a Painter, who was alfo a Fa- mous Chymift, coming to fee him, ask’d him if he would joyn with him in fearching after the Philofophers Stone, telling him to encourage him, he had little more to do to come at it, and they might both of them make their Fortunes by it. Rubens anfwer d. He came too late by above Twenty T tars , for he had himfelf found out the Thilofophers Stone, by the help of his Pencil and Colours. Abraham JohnJcn, a skilful Painter of dint7verp, whofe only fault was Lazinefs and Debauchery, complaining of Fortune, and being jealous of Rubens, challeng’d him, propofing to him to draw each a Picture, as a Tryal of Skill, and to leave ( 293 ) leave it to certain Criticks, to determine whofe Performance was beft Rubens did not think fit to accept of the Challenge, anfwering. That he ■willingly yielded the Preference to him j that both of them Jhoud continue to do their be ft, which he in- tended to the utmoft of his power, and no doubt the Publick would do them both Juft ice. Reflections on the Works of Sir EETE% PAUL RUBENS. Tis very eafy to perceive by the Works of this Painter, that his Genius was of the firft Or- der, which he cultivated by a profound Know- ledge in all forts of Literature, by a nice Enquiry into every thing that had Relation to his Pro- felfion, and by indefatigable Labour. Thus his Invention was ingenious, and accompany’d with all thofe Circumftances that were worthy a Place in his Subjedt. He painted in all kinds, often the fame things, but very differently. No Man e^ ver treated Allegorical Subjects fo learnedly and clearly as Rubens ; and as Allegories are a fort of Language which confequently ought to be Au- thoriz’d by Ufe, and generally Underftood, he always introduc’d thole Symbols in his Pieces , which Medals, and other Monuments of Anti- quity, have render’d familiar, at leaft, to the Learned. As his Invention was Ingenious, fo his Dijfo - (it ion was advantagioUs ; every particular Objed: in his Pictures was feen with pleafure its felf,and contributed alfo to the good Effe& of the whole- together, V $ IW ( J 9 4 ) Jc. J'gtz.y ThO Rubens liv’d feven Tears in Italy $ tho’ he a confiderable Colle&ion of Medals , s**- /'"• / /^" / and Engrav’d Stem • tho he Examin’d, Un- Rood and Extoll’d the Beauty of the Antique, *uL,s/ri< as appears by a Manufcript of his, the Origi- Vm4 which is in m y Cuftody, yet, thro’ Edu- cation, and the Nature of his Country, he fell £ a*jrjr*** ; ^ into a Flemijh Character, and fometimes made an ^ choice offending againft the Regularity of £>0 , , t . O - eu 4 sid, Tjaetration in it. There is a piece of his Drawing the City of Gaunt , a Reprefentation of the /■cFfttt °f the Damn'd, in which there are near 100 ^''/figures Defignd with a good Guflo , and very CorreCtly. ay this we may perceive, that Rubens's •. d/cr*- . , * m. - . — - 1 2/o 2 . Errors in Dejigning proceeded from the Rapidity of his Productions. There are abundance of his Pictures at Paris, efpecially in the Luxemburg-Galltries. I refer the Impartial Criticks to thofe Pieces, and they will find enough, in the Divinities and Principal Figures at leaft, to fatisfy the nicety of their Judgment. He expreft his Subjects with equal Energy and Terfpicuity, to which he added Noblenefs zn&Gran- dear. His particular Fxprejfions are fuitable to the SubjeCt. The Spectator is every* where mov’d by them, and there are fome of them of a Sublime Character.' His Attitudes are fimple and natural without Coldnefs, Ccntrajled and Animated without exag- geration, and vary’d with Prudence His ( *05 ) His Figures are adjufted with a goodG^f , and his Draperies are fet withArt. They are diverfify’d and agreeable to the Sex, Age and Dignity of the Perfons reprefented. The Folds are large, well plac’d, and expofe the Naked without Af- fectation. . . . He has Ihewnas much judgment in his Land- slips as in his Figures , and when he reprefents Vrofpeffs) naturahy ungrateful and infipid as thole of Flanders are, he renders them Picquant by the Claro Of euro, and by the Accidents which he introduces into his Compolition. The Forms of his Trees are nQt very Elegant. They reiemble thole of his own Country too much, and his Touches are not fo fine as Titian s. His Architecture is heavy, and has fomething of the Gothiguc in ir. He often makes ufe of the Licences, but they are Judicigus, Advanta- geous and Imperceptible. Every thing that depends on Colouring is admi- rable in Rubens. He advanc’d the Knowledge Of the Claro Ofcuro more than any Painter ever did, and Ihew’d the Neceflity of it. By his Example he made the method of pleaf- ing the Eyes a Precept. He Collected his Ob- jegs.as on a Bunch of Grapes many 4 9 ra P es ’ whi ch are rhe Parts of it, are in the t pShynany in the Shadow, and the reft faint- ly Colour d to make them go farther back. Ti- t Ua ! i °nce told Tint or et, That in bis greatefi Works a bunch of Grapes had been his principal R, de and his Jurefi Guide. This Jjjemblage of Objeds and Light is call'd a Groups , and let the number of the Figures that enter into a Compofition , be never fo great, Rubens never made above three Groupes in one Piece that the light might not be fcatter’d by a Multi * plicity of Obje&s, alike fenfible and expos’d. , He alio induftrioufly conceal’d the Artifice as much as poflible, and only thofe that undcrftand its Principles can difcover it. His Carnations are very freft, each in its Cha- raCter. His Tints are juft, and employ’d with a freehand, without being Jumbled by the mix- ture, for fear they ftiouid fully and lofe too much or their Luftre or Truth, which appear’d in them when the work was firft done. Rubens ob- ierv d this Maxim with the more care, becaufe ( 2 P7 ) his Performances are Grand and confequently to be view’d aca diftance, wherefore he endeavour’d to preferve the Character of his Objects, and the frefhnefs of his Carnations. To this end he not only did his utmoft to keep his Tints pure, but he made ufe of the moft Lively Colours to have the effedt he intended. He fucceeded in his endeavours, and is the only Perfon who underftood how to join a great Luftre, to a great Character of Truths and ajmongft fo much BrlUant to maintain a Harmony, andafur- prizing Force, for which reafon we may reckon the fupream Degree, to which he rais’d Colour- ing to be one of the moft valuableTaientsof this Painter. He was a Man of an univerfal Genius , and Ex- cell’d as well in Hlfi cry- Painting as in Portraits , Landskip , Animals , and every thing that was proper to be Painted. His Labour was light, his Pencil Mellow, and his Pictures finifh’d, but not like fome Painter's who with over- graining and earneflnefs of finishing their Pieces , do them more harm than good. He had feveral Difciples who executed his Dejigns , on which account many Pictures are attributed to him that were not of his doing. His own works, to which he gave the laft Hand, fhew that never Painter was more eafy in the Execution of his Dejigns and that the wonderful effect which they have on the Eyes of the Spe&ator, did not pro- ceed fo much from his Confummate Experiences as from the certainty of his Principles, - r 4DAU ( *08 ) ADAM ELS HE1MBR Born at Franckfort upon the Main, was a Tay- lor’s Son, and at firft a Difciple of Philip Uffen - hach, a Man of Senfe, who aiming at a greajt many things, had little Experience of the PraBi- cal Part of the Art, tho.’ he was Mafter of the Theory. ^ 4dam having learnt of him as much as he cou’d teach him, went to Rome, where he fpsnt the remainder of his Days. He was very Studious, and Exercis’d himfelf chiefly in little figures. He finifh’d every thing he did ex- treamly : His Colouring was good, and his Com- f options Ingenious. Count Gaude of Utrecht, Grav'd l feven Pieces after him with equal Finenefs and Force. There were feveral other Prints Engrav’d after his Works, part of which he Etch’d him- felf, and part were Grav'd by Madtlain du Pas , and others. • His Memory was fo good, that if he had feen any thing, he wou’d keep it in his Mind for fome time, and then Paint it exactly without Defignim it when he firft faw ir. Tho’ he liv’d in Reputa^ tion at Rome , and fold his Pictures at high Prices, yet he took up fo much Time in finiftiing them, that he cou’d not fell enough to anfwer the Ex- pence of hfiHoufe : This made him fo Melancho- ly, that he hegledted his Bufinefs, and Liv’d only tipon what he cou’d borrow j by which means he ran fo far in Debt, that not being able to get Out of ir, he was thrown into Prifon, where he fell Sick, and tho’ he was loon releas’d, his Di- ftemper continu’d. He cou’d not bear the dis- grace, nor furvive ic ; His Difeafe and Trouble I encreafpg, carried him to his Grave in the year 16101 'A ( *99 ) i£io, The Italians themfelv.es, who had a par- ticular Efteem for him, lamented the lols of him. James-Frneft-Thomas of Landau was his Dif- cipie, and his Pictures are fo lilcc A dam's, that: they are often taken the one.'for the others. B L,0 MAER T, Born at Gorcum, Anno 1567. follow’d his Fa* 1 ther to Utrecht , where he was Fducared, and al- ways Liv’d. His Father was an A^chiceft, his Mailers fome ordinary Painters, whbrrwhe lit up- on by Chance, and he lookt upon the Time he fpent with them, asfo much thrown away. He form’d a Manner to himfeif after Nature, and as his Genius directed him. It was Eafy, Fruit- ful, Graceful and XJniverfal. He understood the Claro Ofcuro. The Folds of his Draperies were large, and had a good Effe& f but his Gout of Dejigning had too much of his own Country in it. There were a vaft number ol Prints Grav'd by the bell Gravers after his Works. He dy’d at fourfeore years of Age, Anno 1647. He had three Sons, of whom Cornelius , the Excellent Gra- ver, was the younged. ; BEN^Y STEM VICK. Stenvkk was the Place of his Nativity. He learnt the rudiments of his Art of John Uries . He delighted in Drawing the FerfteBives of the inlides of Churches, and did every thing in this way that cou’d be done. The Wars of Flan- ders drove him out of his own Country to Frank- fort, where he fettl’d and follow’d his Profellidn till he dy’d, Armo 1603, He had a Son who v i * took 5 ( joo ) took a fancy to the fame kind of Painting. He was employ'd by Charles I. King of England. He liv’d very Honourably at London , and when be dy’d, his Widow remov’d to Amfierdam, where die got her Living by Painting Fer/petlives, as her Husband and Father-in-Law had done be- fore her. AB\AEAM JOHNSON Of Antwerp , had a wonderful Genius for Painting, and in his Youth did fome things that put him above all the young Painters of his Time ; but falling in Love, he negle&ed his Studies and Bufinefs, to follow his Courtfliip. The young Woman liv’d at Antwerp , and he was fo alfiduous in his Addrefles, that he gain’d, and married her. Now, as if he had no more to do, fince he had got a Wife, he minded nothing but his Pleafures, and foon fpent what lie had laid by before he marry’d. His Circum- stances growing low, inftead of blaming his own Lazinefs, he complain’d of the little Juftice that was done his Merir. He grew jealous of Rubens , challeng’d him to draw a Figure with him, and propos’d feveral Perfons to judge whofe Per- formance was beft when they had both done them. Rubens reply’d, He willingly fubmitted to him in that Pointy and the World woud d% them both Juftice^ refuling to accept the Challenge. There are fome of Johnsons Works in the Churches at Antwerp , and a Defcent from the Crofs , which he drew for the Great Church at Bcijleduc> a Piece fo admirably well perform’d, that it has been taken for Ruben s, and indeed, is not inferior to the Works of that Painter. ' •' 1 G 22* m ( 301 ) GERALD SEGRE Of Antwerp, went to Rowe, and after having Study’d the Principles of his Art fome time, gave himfelf up entirely to Manfrede's Manner, and, at laft, excell’d him in the Force and Union of his Colouring, as one may fee by his Painting at Antwerp, and elfewhere. But Rubens and Fan- dyck’s Manners being generaly approv’d of, Segre was forc’d to change his, or his Pi&ures would have lain upon his Hands. His good Senfe, and the Knowledge he had of his Art, made the change eafy to him, and he fucceeded in his new Style. He dy’d at Antwerp , in the year \6$t. leaving a Son of his own Profeflion be- hind him. - MIC BA EL JOHMSON M IRE FELT y • Born at Delft, Anno \$68. was a Goldfmith’s Son, and the Difciple of Anthony de Montfort of Blocland. He Learn’d his Art very eafily, and tho’ he was fuccefsful in his Hiftory-Pieces , yet by little and little he left off that fort of Painting, and did nothing' but Portraits , which he per- form’d with Beauty and Facility. His Reputa- tion was fo great, that he drew a prodigious number of them, and fold them at what price he pleas’d. He never wou’d take lefs than i$o Florins a- piece. William J agues of Delft Grav’d after him, and his Prints are both rftimerous and fine. COR- ( 302 ) CORNELIUS SCHUT Of Antwerp, was Barn with a lively Imagi- nation and a great Talent fot Painting, which is feen by his Productions. He always feafon’d them with Poetical Ideas. He had little Bufi- nefs, and imputing it to Rubens' s Reputation, he was very angry with that Painter, railing at him as one that was Covetous ; but Rubens took no other Revenge of him, than to procure himWork, GERJ^V HUNTO^ST Of Utrecht, was Born inf the year 15:91. and paft for One of the beft Painters of his Time. He was Blomaeris Difciple 5 he afterwards went to Rome, where having Study’d Dejigning , he exercis’d himfelf with fo much application and fuccefs in Drawing Night-Pieces , that no body ever did it fo well as He. When he return’d to Utrecht , he drew feveral Hiftory-Pieces. Hewasfo Sober, and a Man of fo much Honour, that moft of the young Men of Quality of Antwerp, were lent to him to learn to Dejign. He alfo taught the Queen of Bohemias Children to Dejign, the Prince- Palatine, and the four Princefles, their Sifters, were his Difciples. Among whom, her Highnefs, the princefs Sophia, and the Abbefs of MaubttiJJon , diftinguifti’d themfelves by their Skill in Painting. Charles the Firft, King of England, invited Huntorfi to come to London , where he did feveral Grand Performances for his Maje- fty : When he return’d to Holland, he Painted the Prince of Oranges Houfes of Pleafure. In which he drew abundance of Poetical Subje&s, as- ( 303 ) as well m Frefco, as in Oil , particularly in the Palace called la Malfon du Bois , the Boarded Houfe, half a League from the Hague. Sir ANT HO NT FJNDTCf^ Was born at Antwerp, in the year 1599. He had the happieft Pencil that ever any Painter was bleft with, Correggio only excepted, befides whom none can difpute that Excellence with him. Vandyck was Rubens Difciple, and aflifted him in the Performance of his mod confiderable Pieces. He went to Italy, ftaid a fliort time at Rome, and then remov'd to Venice , where he skim’d the Cream (if you will allow the PhrafeJ of Tttians Works, and the Works of the whole Venetian School, to ftrengthen his' own Manner ; proofs of which appear’d in the Pictures he drew at Genoa, where he left behind him many Excel- lent Peices. When he return’d to Flanders, hj£ did feveral Pieces of Hiftory, that rendred his Name famous all over Europe ; but believing he fhou’d be more employ’d in the Courts of Fo- reign Pr inces, if he apply’d himfelf to Painting after the Life ; he refolv’d, at laft, to make it his chief Bufinefs, knowing, it not only to be the m oft acceptable, but the moft advantageous pare of his Profeffion. Befides, he was willing ro fignalize himfelf by a Talent, which Nature had particularly favour’d him with. Cardinal Richlieu invited him into France , where not li- king his Entertainment, he ftaid a very little while j and thence went to England, being fenc lor by King Charles, who receiv’d him very gra- cioufly. He was fo much employ’d in Drawing the Portraits of the Royal Family, and the Lords ( 304 ) of the Court, that he had no time to do an y Hifiory^ Pieces. He did a prodigious number of Portraits , about whicli he took a great deal of care at firft ; bur, at laft he ran them over haftily, and Painted them very flightly. A Friend of his asking him the reafon of it, He reply ’d, l Workt a long Time for my Reputation , and I do it now for my Kitchen. By this method he got a good Eftate, marry’d a Woman of Quality, and kept a noble Houfe. He dy’d in London in the year 1641. at forty two years of Age. ’Tis pro- bable he fhortn’d his days by wafting his Spirits, with too much application to his Bufinefs, with- out which he cou’d not have perform’d the vaft number of Pictures that came out of his Hands. Hanneman and Remy were his beft Difciples. Reflexions on the Works of Sir JNTHO NT FANDTCI^ Never did any Difciple profit more by his Matter’s Leflons, than Vandyck did by Rubens However, tho’ he was Born with a fine Genius ■ i tho’ his Judgement was Solid, and his Imagina- tion Lively ; tho’ he learnt with Eafe, and Pra- ctis’d betimes all his Matter’s Principles, yet his Mind was not of fo large an extent, as that of Ruben S* His Cempofiticns were full, and conducted by the fame Maxims, as were thofe of Rubens ; but his Invention was not fo Learned, nor fo Ingeni- ous as his Matter’s. Tho* he was not very cor- rect, nor very well grounded in the part of De- ftgning , he has neverthelefs done fomething in that kind, that are worthy Efteem : When with the I C soy ) the delicacy of his Choice, he obfer v’d Nature faithfully and judicioufly : He drew feveral Por- traits of a Sublime Character : He difpos’d of them lb, that ic gave them an equal degree of Life and Grace. He always dreft them accord- ing to the Fafhion of the Times, from which he drew what was mod for the advantage of Painting, and fliew’d by it, that nothing is too hard for Art and Genius, which can make the moft ungrateful things beautiful. He De- fijrn d his Heads and Hands with the utmoft Per- fection, and acquir’d a habitude of making the latter exactly beautiful and proporrionable. He chofe his Attitudes agreeable to the Perfons, and took his Time to draw a Face when it had its belt Looks on. He obferv’d its Charms and Graces, he kept them in his Mind, and not on- ly imitated Nature, but heightn’d her as far as he cou d do it, without altering the Likenefs. Thus, befides ihtTruth in VandycJi s Pictures, there’s an Arc which the Painters before him feldom made ufeof. ’Tis difficult to keep within bounds in doing fo. A Painter ought to lee with Van- dyck's Eyes, to find out what is to be found in that matter, to make ufe of his difeoveries, and not to trangrefs the Limits which Nature has preferib d him: Nay, Vandyck himfelf, as admirable a Genius as he was, has not always put this Artifice in Pra&ice without abufing it, especially in the latter part of his Life. Indeed his laft Portraits want much of the Beauty and CorreCtnefs of his Firft. His Judgment was ripe betimes, for his moft valuable Pieces were drawn while he was young, when he did his beft to Eftabliffi his Reputation* The Portraits he drew of the moft Skilful Painters x hi; ( ) bis Friends ; his Performances at Genoa, and thofe he did in the firft fix and feven Years of his abode in England, are his fined Productions, and what acquir’d him the Character of the beft Painter of his Time. Some of his laft Works, which are alfo in England , are flight things : The Colouring is I weak, and falls into the Lead j neverthelefs his Pencil is happy every where ; ’tis light, Flowing, Mellow, and does not contribute a little to the Life, which Vandyck put into every thing he ; painted. If his Performances are not alike per- ] feCt, all in the laft degree, they carry with them, j however, a Great Character of Spirit, Noblenefs , i ; Grace and Truth, infomuch that one may fay of him, that excepting Titian only Vandyck fur* paffes all the Painters that went before him, or have come after him, in Portraits, and thac his i Hiflory-Pieces, in the Opinion of good Judges, ' deferve a place among the Works of the Painters of the firft Rank. We refer the Reader to the Englifh School for a further Account of this Great Majfer, for as he did the greatefl Number, and the mofl valuable of his Performances in England, as the Genius of our 1 Country , preferring Portraits to Hiftory-Pieces, m- clin d him to apply himfelf wholly to Painting after the Life ; as he receiv'd all the Incouragemtnt in ] England which was due to his Merit , liv'd here A marry d and dy' d here, fo he mofl defer vedlyl ought to be plac'd in our School , of which he is the j Honour, and indeed of the Art it felf JTX^IAK B* ) by which means, when he return’d to Antwerp , he made a mixture of Rubens's and Eljheimers Mariners, He drew only Small Figures , for which he was famous. He dy d in the Year 1649. ]0 UK Van B 0 UC of Antwerp, was one of Rubens's good Difci- ples. He went to Rome , where his Knowlege in Colouring was admii’d, In his way back to Flanders , palling thro’ Vienna , the Arch-Duke Leo- pold took him into his Service, which kept him there till the Year i6>o. the laft of Van Houc s Life, who dy’d in the Prime of his Age. JA ME S F OIL §^ll I E R A Flemming , born of a good Family, was dc Mompre's Difciple, and one of the rnoft Celebrated and Learned Landskip- Painters that ever was. The difference between his Fi- gures, and Titian s, confift rather in the Coun- tries Reprefented, than in the Goodnefs of the Pieces. The Principles of the One and the Other are the fame, and the Colouring alike good and regular. He painted for Rubens , of whom he learnt the mod Effential pait of his Ait. The Eledtor -palatine employ’d him at Heidelberg , and thence he went to Paris , where, tho’ he work’d a long time, and was well paid for what he did, yet he grew poor thro’ his want of Condudtand dy’d in the Houfe of an ordinary Painter call’d Sihain, who liv’d in the Suburbs of St. Jaques. He had two Pupils that follow’d his Manner : Their Names were R< l r " ! ' n .' he City of Haerlem. He had a chief! v'the sf!) IUS /? r P ?, imin S> tho’ lie minded M s dy , of SmaU Fig*™, yet he was a U- i erlal Man and very Induftrious in his fearch aftetre^y thing that had relation to his Pro feffion. He made a long ftay at w, where he was belov d and etteem’d by the Painters his T ” em £? ra V eS ,. Hls Manner was Sweet and i rue. rhe Italians gave him the Name of Rim- boccw on account of his extraordinary Figure : His Legs were long, his Body /horr.and his Head iunk into his .Shoulders; but the Beauty of his Mind more than made amends for the Deformity of his Body, and his good Nature and good Man- ners hid the difagreeab/enefs of his Perfon He dy d at threefcore Years Old by an Accident falling into a Ditch near the City of Haerk m in which he was drown’d. It appears by the Manner of his Death, that Divine Vengeance purfu’d him for a Crime he was guilty 0 f at Rome while he liv’d there. He was one Lent taken three or four times, with five Dutchmen of his Acquaintance, easing Flefli on the Banks of the Tiber , without having any occafion for if. A Divine, who had ad vis d them often not to do fo, furpriz’d them at it once more, and feeing that fair Means would not do, threaten’d to put them into the Inquifition, and both the Prieft and the Dutchmen being very much exas- perated, they threw him into the River. ’Tis obfei vable, that all thefe fi Dutchmen dy’d by Water. r/. t 3 * 3 ) The Reader will remember that the Author is a Frenchman, and a Catholick, and the Offenders Hollanders and Proteftants. John Booth 5 and his Brother Henry^ Of Utrecht , were both Blomaert’s Difciples, and both of them very Studious and Induftii- ous in their Profeffion. They went to Rome , where Henry apply’d himfelf to Landskip , imi- tating the Manner of Claude de Lorrain , and John ftudy’d the Drawing of Figures and Animals in Imitation of Bamboccio % Manner. Both of them fucceeded in their feveral Kinds. They agreed to Paint a Picture together ; John drew the Fi- gures and the Animals , and Henry the Landskip , reconciling their Manner fo well, that one would have thought the Piece had been all of one Man’s doing. By this means they finifh’d their Pictures with fo much eafe, and Sold them fo fall, that they refolv’d to continue their Joint* Labours. Henry s Death broke off their Part- nerfhip. He fell into a Canal at Venice one Night going Home, and was drown’d. He was one of Bamboccio's Accomplices in the Death of the Prieft. John return’d to Utrecht , where he work’d and liv’d with Reputation. DJNIEL SEG^E Of Antwerp was a Jefuit, Brother to Gerard Segre , and delighted in Painting Flower-Pieces. He drew them with fo much Freflmefs and Light - nefs i that his Performances w r ere much elieem’d. He obferv’d this Method in the Difpolition of them, to make them ferve for a Border tofome little ( 3 *4 ) iittle Picture, which was plac’d according to his direction. Sir BALTHAZAR GER BIER Of Antwerp , born in the Year 1 5:91. He Painted fmall Figures in Diftempersj and Charles I. King of England^ was fo well pleas’d with his Performances, that he invited him to his Court. The Duke of Buckingham perceiving he was a Man of very good Senfe, as well as a good Pain- ter, recommended him fo zealouGy to his Majefty, that he Knighted him, and fent him to BruJJels , where he a long time refided in Quality of Agent for the King of Great Bri- tain. HERMAN SWANFEILl \ Commonly call’d the Hermit at J\ome y not only becaufe he generally was alone among the Ruins in the Neighbourhood of Rome, Tivoli Frefcati , and other places , but becaufe he often left his Companions to go into the Country, and Study Lands kips after Nature. He became a Ma- iler of that fort of Painting, andalfo Defignd Fi- gures with a very good Gufio. GELDO/RJPy or GELTH0%P , Was a Painter of fo little Merit, that he fhou’d j not have been nam’d here, had not his Induftry to get Money, been very extraordinary. He j underftood Colours tolerably well, but had much ; ado to Defign any thing 5 fo he us’d to procure j other Painters to Dejign (everal Heads, feveral • Feet j ( 3 * 5 ) Feet, and feveral Hands upon Paper, which was prick’d and rubb’d over with Cole-Duft, to aflift him in his Drawing. Thus he maintain d him- felf by the Ignorance of his Chapmen. OLIVER Of London, Painted all forts of Subje&s m Di- ftemper, but was moft employ’d in Painting after the Life. He drew abundance of Portraits in the Courts-of Kmgjamesl. and King Charles I. and no body did better in that kind than him* (elf. He had a Difciple, whofe Name was Cooper , whom Queen Chrifiina of Sweden enteitain d in her Service. , „ . Lely , an Englifh Man, drew very good Portraits after Vandyck's Manner , as well for the Heads, as the Drefs and adjuftments. This is all the French Uiflonan thinks ft to Jay cf the Engliftl School ; tho we (hall prove, that it has been much more Fruitful in Majlers than the Fiench, •whofe Genius in Painting hke that in Mujick , is Vain and Trivial. The Eternal Red and Yellow, that make the principal Part of their Colouring, is an In- flame, how natural' tis for them to love a glaring andfalfe Luftre, even in the Arts, as well as in their Government. In this jhort account of the Engiiln Painters he cannot help Erring, for tho Sir Peter Lely was entirely an Englifh Painter, he was notan £nglifh Man. CORNELIUS VanHEEM Of Antwerp , was an excellent Painter of Fruit, Flowers, and other inaminate Things. A B RA- 1 3>0 ABRAHAM DlTEMBECIy Of Boijleduc , was very much employ’d in his Vouch, in Painring upon Glafs, and afterwards entering the School of Rubens, became one of his beft Difcipks. His Invention was Eafy and Ingenious. The Prints that were Grav'd after his Works, are proofs of it, and among others, thofe he made for a Book, Intituled, The Temple of the Mufes, which performance is alone fufficient to ferve for an Encomium on this Painter. DAVID TENlERSy the Younger, Painted generally [mall Figures. He Defign'd we ll ; his Manner was firm , and his Pencil Light: As for Copying of other Men’s Works he was a perfect Proteus. He transform’d himfelf into as many Mailers as he undertook to Copy, all whom he Counterfeited fo exa&ly, that to this day ’tis hard to diltinguilh the Copy from the Original, in all his Pieces of that kind. The Arch- Duke Leopold made him Director of his Pain- tings, and by his means the Pictures in his Gal- lery were Engraved. KBMB%AHT Van %E1N. ^ He took his Sirname from the Place of his Birth, Van-Rein or Rhine , a Village Situated on an Arm of that River, which runs thro* Leyden. His Father was a Matter, and his Mailer one fiefman, a tolerable good Painter of Am [l er dam. But he ow’d all the Knowledge he acquir’d in his Profelfion, to the goodnew of his Under- * ft and- ( 3*7 ) (landing, and the Solidity of his Reflexions. However, we muft not think to find CorreXnefs of Defign , nor a Gu(lo of the Antique in his Works, He us’d to fay, he aim’d at nothing more than to imitate Living Nature , making that Nature confift only in things Created, fuch as they ap- pear. He had old Pieces of Armour, old Inftru- ments, old Head-drefles, and abundance of old Stuff of divers forts hanging up in his Work- houfe, which he faid were his Antiques : Never-* thelefs, tho’ he pretended to defpife Antiquity , and to form to himfelf a new Manner , he was very curious in getting the fine Defigm that came out of Italy, and had a great ColleXion of them ; as alfb of Italian Prints , tho’ he made little orno ufe of them t fo true it is, that Education and Habit have a mighty Power over the Minds of Men. Notwithftanding he profited himfelf fo little by the Antiquities , he drew a great num- ber of Portraits, with Force, Sweetnefs and Truth or Likenefs, that furprize the SpeXator. His Manner in Etching was very like that in Painting, ’Twas expreffive and lively, efpecially in his Por~ traits , the Touches of which are fo apropos, that rheyexprefs both the Flefh and the Life. There are extant about two hundred and fourfeore Prints of his Drawing. His own Portrait is drawn in feveral of them j and one may guefs by the Tear, which is put down on thofe Prints, that he was born in the beginning of the laft Cen- tury. There are none of the dates before the Year 162.8. and noneafter 1659. Three or four of them (hew, that he was at Venice in 163 $• and 1 636. He marry ’d in Holland. He Grav'd his own, and hisWives Portrait together. He touch’d his Prints over again 4 or 5 times, to change the Chr 9 ( J«8 ) Claro Ofcuro, and heighten the effect they had on the Spectator. It appears he did not always like to have them Workt off on White Paper : Several of his Works are done on Paper faintly ftain’d, chiefly on China Taper , which is of a reddifli Tint, and thefe Proofs are very much fought after by the Curious. He had a way in his Graving, that was ne- ver heard of before, as I know of ; it had fome- thing of a Black Manner in it. Tho’ he was a Man of good Senfe, and had got Money, yet he lov’d to keep mean Company. Some of his Friends told him of it, to whom he anfwer’d, When I have a mind to unbend and recreate my Mind, 1 don’t care fo much for Honour , as I do for Liberty. And being once reprov’d by fome Per- fons, who cou’d be free with him, for the An- gularity of his Manner , in the ufe of Colours, which made his Pictures rugged and uneven, he repiy’d, 1 am a Painter , and not a Dyer. He dy’d at Amfterdam, in the Year 1 668 . Reflections on the Works of dlE MB RANT. The example of Rembrant , is a very fenlible demon ftration of the Power, which Habit and Education have over the mind of Man ; and that Genius is by fo much the more valuable, by how much the more *tis Cultivated. This .Pain- ter was born with a Talent, and a happy difpofi- tion of Soul. He was a Man of Senfe y his V tin was Fruitful ; his Thoughts Fine and Singular j his Compofitions Expreflive, and his Fancy Lively But having with his Milk, fuckt in the Gout of ( S'P ) his Country, being bred np in the continual View of a heavy Nature , and not knowing, till it was too late, a Likenefs or Truth more perfedt than that which he had always Pradtis’d, his Productions have too much of his Habitude in them, notwithftanding the good Seed that was Town in his Mind. Thus w'e cannot find in Rembrant , either Raphael's Gout , or that of the Antique 5 or any Poetical Thoughts, or Elegance of Defign. We meet with nothing, but w hat the Nature of his Country, and a lively Fancy u'ere capable of Producing. He has To me times enrich’d the Po- verty of his Subje&s, by a happy Motion of his Genius, but having no certain Knowledge of Beautiful Proportion , he eafily relaps’d into the ill Gout, to which he had accuftom’d himfelf. For this Reafon, he painted very few Hiftori- cal Subjedts, tho’ he defign d an infinite Number of Thoughts, that were as fenfrble and as as the Productions of the belt Mailers. I have e« nough of his Defign s in my cuftody, to convince every impartial Judge of the Truth of this Af~ fertion ; and tho’ the invention of his Prints is not fo ingenious as that of his Defigns , yet the Beauty of the Claro Ofcuro^nd of the Exprdlions, is fuch, as is rarely to be met with in other Ma- ilers Performances. ’Tis true, he had not a Ta- lent to chufe what was moll Beautiful in Nature for his imitation, but had a wonderful Genius for reprefenting Objects that were prefent before him. The Portraits he drew are fufficient to ju- ftify what I have laid, and are fo far from being below the Works of any other Mailer, that there are few which can (land the Comparifon with his. If J 320 ) If his Out- lines are not Correft, the Touches of his Dejigns are full of Life, and we may per- ceive in the Portraits which he Grav'd, that eve- ry ftroke of his Graver , like that of his Pencil , gave Life and Likenefs to his Obje&s, and fliews the Excellence of his Genius. He underftood the Claro Ofiuro in the higheff degree. His Local Colours are a help to each o- ther, and are moft valuable by Comparifon. His Carnations are as true, as frefh, and as perfect in the Subje&s he has reprefented as Titians. Both of thefe Painters were convinc’d, that there were certain Colours which deftroy’d each other, if they were rnixt to excefs, and that they fliou’d be as little rtiaken as polfible by the motion of the Pencil. They prepar’d their firft Lay with Colours that kindly united, and were as near to the Life, as polfible. On this they laid their Vir- gin Tivts , with light ftrokes of the Pencil ; and thus they imitated the Force and Frefhnefs of Nature. The difference between thofe two Painters in this Matter, is, Titian manag’d his Art fo inge- nioufiy, and withal fo profoundly, that ’tis im- perceptible ; whereas to look clofely on Rem - brant's Works, one may eafiiy diftinguifli his, though at a convenient difiance his Painting ap- pears very well united, both by the exa&nefs of his Strokes, and the harmony of his Colours. He was Mafter of his Pencil , and of the part of Co- louring, which is an undeniable Proof, that his Ability was above cenfure, for he poffeft the beft parts of his Art in a Sovereign degree. G E- ( 3 *' ) GERARD DOU Of Leyden, was a Difdple of' Rembrant ; and tho’ his Manner of Working was quite diffe- rent from his Matters, yet he ow’d his Know- ledge, and the principal Rules of Colouring to Van-Rein. He Painted Little Figures in Oil, which tho’ they are not a Foot high, are neverthelefs as much finifh’d, as if they had been as big as the Life. He drew always after Nature, and view’d his Originals in a Convex Mirrcur. He did very few Vortraits of great Lords or Ladies, becaufe Perfonsof their Quality, have not patience to fit fo long as he wou’d have had them. The Refident of Denmark* s Wife fitting to him for her Picture, he was no lefs than five days in Drawing her Hand only, not to mention how much time he took up about her Head. By this method his Works feem almoft as Perfect as Nature her felf, without iofing any thing of the Frefhnefs, Union or Force of Colouring , or of the Claro Of cure. The common height of his Pictures did not exceed a Foot, and his Price was fometimes fix hundred, lometimes eight hundred, and fome- times a thoufand Livres each Picture, more or lefs according to the time he fpent about it, reckoning after the rate of zo Sols an hour. His Painting- Room was open a- top, for the Light to enter, that he might have the better opportunities for his Shadows, and it was built on the fide of a Canal to avoid Duft. He pounded his Colours on Crystal. He lock’d up his Valle t and Vencils when he had done Work, and when he began it he retted himfelf a little till the Duft was laid. In fair weather he generally went abroad in the Y Fields ( 3 22 ) Fields to take the Air, and repair the Iofs of his Spirits, for he was fo indefatigable in his La- bour, that it confum’d him very much. There are a great many reflexions to be made on his Manner of Painting, and I can’t tell whe- ther *tis as imitable as *tis admirable ; for Painting requires an extraordinary Fire, and that is inconfiftent with the patience and attention which are requifite in fuch fort of Productions. One wou’d think, that the main Skill of a Paint- er is to do great Things with a little Work, that a Picture may feem fini/h’d at a proper di- ftance j but Gerard believ’d, that great Know- ledge and great Labour were compatible, and that an Artift ought to imitate every thing he difcovers in his Model at a nearer View. All that can be faid of it is, that Gerard Dou's Pieces, confifting of few Figures, did not fatigue the Fancy much, and that he was born with a par- ticular Talent for fuch fort of Performances. F %A N CIS MIERIS Of Leyden , was Difciple of Gerard Dou , and follow’d his Matter’s Manner entirely. His Gufio of De/igning was better, his Compofitiom were more graceful, and his Colouring more fweet. He made ufe of a Convex Mirrour, as well as Dou. There are few of his Pieces to be feen, for, dying young he did. not finifh many. There is one of his of abou^ fifteen Inches long, in which he reprefents a Mercers Shop , the Mercer /hewing his Stuffs, and the Cuftomer cheapning of them. There are feveral forts of Stuffs unroll’d in the Piece, and one may very plainly perceive the difference between them. The Figures are good. ( 3*3 ) and the Compofition in every part of it is ad- mirable. He had two thoufand Franks for this Piece, and all that have feen it, were forryfor the untimely Death of fo great a Mailer. He liv’d as if he did not intend to trouble the World long. He took no care of his Affairs, he defpis’d Order, Oeconomy, and was very extravagant. This .Conduct brought him into Debr, and his Debts into Prifon. He was feveral times thrown into | Jayle, and once his Creditors kept him there \ longer than Ordinary. ’Twas propos’d to him to Paint to pafs away the time, and his Creditors offer’d to take a Picture for their Money. He anfwer’ d,'TwasimfoJfible to Work in fucb a 'wretched Place, for that the fight- of the Grates, and the ratling of the Chains difturb' d his fancy . His irregular Courfes Ihorten’d his Life, and carry ’d him off in the Flower of his Age, Anno 1 68$. HJNNEMJN Of the Hague , was Van Dyck's Dilciple, and ‘always follow’d his Maftets Manner , with fuc- jcefs. He drew abundance of Portraits , which jare difpers’d up and down in th e United Pro'vin- ’ ce * i and thofe he Copy’d after Van Dyck are ta- ken for Originals. JAMES JORDANS Of Antwerp, was born in the year 15:94. and Iearn’d the principles of his Art of Adam Van Pfoort . He alfo ftudy’d the Works of the other Famous Painters of that City, and made fuch nice Obfervations on Nature, that the Manner he form’d to himfelf, acquir’d him the Reputation Y % Of ( 3*4 ) of being one of the greateft Matters of the Low- Countries. He wanted only to have been at Rome, as he fhew’d himlelf by his efteem of the Italian Painters, and by the pains he took to Copy Ti- tian, Paolo Veronefe , the Bajjans , and Caravag- gio's Works, where-ever he lit upon them. He was hinder’d travelling thither by an early Mar- riage, which he contracted with his Matter Adam I Van Noort's Daughter. His Talent was for large! Pictures. His Manner was Strong, Sweet and! Faithful. *Tis faid that Rubens, whofe belt prin-| ciples he had made himfelf entirely Matter of,] and for whom he work’d, fearing he wou’d ex- cel him in Colouring, employ’d him a long time to make large Cartoons for Tapiftrits, in Diflem - per, after Sketches in Colours , of Rubens' s own doing. The Tapifiries were for the King of Spain, and Jordans, by a contrary habitude, weaken’d his Knowledge in the Principles of Colouring j which before was ftrong, and represented the Truth of Nature in a wonderful degree. He perform’d many excellent Pieces in Antwerp, 2 n($ other Cities of Flanders , as alfofor the Kings oi Denmark and Sweden. He was indefatigable ir his Labours, and all his Recreation was the Com- pany of his Friends, whom he vifited in the Even ings, his pleafant Humour being a great relie to the fatigues of his Profelhon. He dy’d a fourfcore and four Years old, Anno i6yS. ERASMUS (LU I L L I N U Of Antwerp , was born in the year 1 607. at firft profeft himfclf a Fhilofopher , but he lov’c Painting fo much, that he was forc’d to givi way to his Inclination, and change his Prolelffl oj ( 3*5 ) on. He learn’d bis Art of Rubens, and became a very good Painter. He did feveral Grand Per* formances in Antwerp, and the places thereabouts, for Churches and Palaces ; and tho’ he aim’d at nothing more than the pleafure he rook in fheEx- ercife of Painting, yet when he dy’d he left be- hind him a general Efteem of his Skill, and a wonderful Chara6ter of Merit in his Art. JOACHIM S AND R A R T Was born at Franckfort the nth of May, 1606. and Was Son of Laurence Sandrart, who, having Educated him at theGrammar-S'chool, and finding his Inclination was to Defigning and Graving, fuffer’d him to take his own courfe. Joachim was fo eager to learn, that he went a-Foot to Prague, to put himfelf to Giles Sadeler , the Fa- mous Graver, who perfwaded him not to mind Graving, but apply his Genius to Painting . He accordingly went to Utrecht , and was fometime under the Difcipline of Gerard Huntorft, who took him into England with him, where he (laid till the year 1627. in which the Duke of Buck- ingham , the Patron of Painters and Painting, was aflafiinated by Felton at Port [mouth. Among the rare Pieces which Sandrart faw in England, there is mention made in his Life of the twelve Cafars bigger than the Life, Drawn by Titian , and Engrav’d by Giles Sadeler. ’Tis faid alfo, that after the Duke of Buckinghams Death, the Emperor Ferdinand Ill.’s Agents, bought the Pieces that were in that Duke’s Cabinet, for their Matter, who adorn’d his Palace at Prague with them, where part of them are to this San Aran being at Venice, Cop/d Titians, and Taolo Veronefe' s fineft Pi&ures. Fiom Venice he went to Rome with Blond the Graver , his Coufin- German, where having (laid Tome Years, he be- came one of the moft confiderable Painters of his time. The King of Spain fending to Rome for Twelve Pictures , of the moft skilful Hands that were then in that City, Guido Rent, Guercino da Cento , Giofeppino , A iajjimi, Gentilefchi, Tietro da Cortona, Valentino, Andrea Sacchi, Lan- franco, Domenicbino , Pouflin and Sandrart, were chofen to draw the Twelve Pictures which were fent to that King. The Marquis Jufiniani com- ing to the Knowledge of him, defir’d to have him in his Service, and gave him the Dire&ion of the Graving of the Statues in his Gallery. Sandrart, after a long ftay at Rome, went to Naples, from thence to Sicily and Malta , and at length return’d thro’ Lombardy to Frankfort , where he marry ’d. A great Dearth happen’d foon after, which made him leave Germany to go to Am- fterdam, where he form’d a Society of the Curious. The Famine abating in Germany, he return’d to Frankfort. Not long after he took Poffeffion of the Mannor of Stokau , in the Dutchy of Neu- burg, which was fallen to him j and finding it very much out of repair, he fold all his Fine Pi- Bures , Defgns, and other Curiofities, to raife Mo- ney to put it in Order ; which he had fcarce done before the War broke out between the Germans and French, when the latter, the greatejl Incendiaries in the World, burnt his Houfe entire- ly to the Ground. He re-built it, and made it better than ever ; but fearing a fecond Invafion he fold it, and fettled at Augsburg, where he perform’d feveral fine Pieces : Among others, he ( 327 ) did the Twelve Months of the Year there, which were Grav'd in Holland , with a Defcription of each Piece under it in Latin Verfe. His Wife dying, he Jeft Ausburg , and went toN«- remberg, where he fet up an Academy of Painting. Here he publifh’d feveral Volumes on Subjects . relating to his Profeflion, in which he work’d till he was threefcore and feventeen years old. The moft confiderable of his Treatifes is, The Lives of the Paint ers y being an Abridgment of Sa- fari and Ridolfi for what concerns the Italian Paint- ers, and of Charles Van Mander for the Flemmings of the laft Century. The reft he colledted from Memoirs of his own, which he gather’d from the Report of others, or his own Knowledge, and from this Work we have taken the greateft part of what relates to the Flemish Painters of this Cen- tury, in the account we have given of them. The Life of Sandrart is written at large, at the end of the Book we have fpoken of in the for- mer Paragraph. The Author of it has not put down the day of this Painter’s Death, and we have not been able to learn it elfewhere. He mentions a great number of Pictures, very large and very full of Work, as alfo abundance of Por- traits drawn by Sandrart , of whom he fpeaksas of an excellent Painter. Having feen nothing of his doing, we can make no judgment ofhis skill ■ however, if one may judge of it by the Prints in The Lives of the Painters , to which his i Name js put, he wa§ no extraordinary Artift. Wc may reafonably commend him for the love ofhis Profeflion, which appears every where thro* the whole Treatife, and for his Intention to be fer- yiceablc to the young Painters of his Nation, ( 3 ** ) by fetting before their Eyes, the fine Statues and fail* Edifices in Rowe. Henry Verfchure y a Dutch Painter. Nature adorns the World by variety of Ge- nius’s as fhe Embdlifhes the Earth by diverfity of Fruits, and tho’ (he produces both the one and the other, fometimcs (boner and fometirnes later, (he gives to each its Grace and its Merit. Henry Verjchure, born at Gorcum in the Tear 1627. waS the Son of a Captain then in the Service of the States of the United Provinces. He was one of the Fruits that are ripe early, and his Fa- ther was very careful to have him well Educa- ted. Perceiving by the Pleafure he took in De- Jigning, as foon as he had the ufe of his Reafon, that he had a violent Inclination to Painting, he put him at 8 years ot Age, to a Painter at Gorcum , who did nothing but Portraits. Henry fpent his time in Defigning till he was thirteen years old , when he left his Mailer th e Face-Painter at Gorcum , to Learn the greater principles of his Art of John Bot at Utrecht, who was then in Reputati- on. He liv’d with him fix years, at the end of which term, finding he knew enough of Paint- ing, to benefit himulf by the fine things that are in Italy , he Travell’d thither in the twentieth year of his Age. He went firft to Rome , and em- ploy’d himfelf in Defigning the Figures he faw there, and in frequenting the Academies, but his Genius inclining him to paint Animals, Hunt- tings and Battels, he (ludy’d every thing that might be uftful to him in that way. He De- fig n’d Lavohk.p, and the Famous Buildings, not only in the Neighbourhood of Rome , but all over Itafyo ( 3*9 ) Italy. This Employment gave him a relifli of Architeaure. He became skilfu in it, and one may fee by his Pictures what Inclination he hatt for this Arc, and the good Gout he contrasted m it. He made a long ftay at K orne , Florence and Venice. In the latter City, he grew into Efteem with the Perfons of the beft Quality, by the Ex- cellence of his Performances, and the politeneis of his Manners. At laft, having hv d ten years in Italy , he refolv’d to return to his own Country. He paft thro’ Swijjerland ! into France, and while he was at Vans, met with the Burgo- mafter Marfevin s Son, who was going to ' ma e th tTour of Italy : A little perfwafion prevail d with Verfchure to accompany him. He return d thi- ther, ftaid there three years longer, and then came back to Holland , arriving at Gcrcum m the year 1662. . . His Talent for Battels put him upon employ- ing it in that fort of Painting. He gave himtelt up intirely to the motions oi his Genius, and to exercife it with fuccefs ftudy’d every thing that generally pafles in an Army. He made a Cam- paign Anno i 6 yi. and was particularly ftudious ro obferve Holies of all Kinds and Countries. He Depend divers Encampments, the events in i Bat- tels Routs and Retreats; what happens after a Viaorv, in the place of Battel among the Dead and the Dying mingled with Horfes, and aban- don’d Arms. His Genius was Fine and Fruit- ful and tho’ there was a great deal of Fire in his Thoughts, and in his Work, yet having ftudy d much after Nature, he form d a particular G„/», which never degenerated into what we Call Manner, but comprehended a great '«'? » Objefts, and had move of the Roman than the ( 330 ) Ka^fimoil M a,l r 3nc ? for tosubje* wmcn aic almoft all Modern, the Scenes of his Piftures are generally Beautiful, and the r«mS that compofe them full of Spirit His chief If Irght was i„ his Profeffion.HeVaLlwavs actt m his Hand, and where-ever he came n,7JTj fomethingor other after Nature! if any thing to his Gw, or after a good P C W either Figure,, Building,, or afrij*,. For this aSLrSim rry ,’t r °T Bla ^-Paper,orBook aoout w ith him. I have feen a Score full of his rawings His beft Performances are at the Hague, Amferiam, and Unecfo. He was a Man « fo much Senfe and Honour, that l7e was cho Iiv”d'1n e H e ° f thc **8»«*w of the City he hv d in. He accepted of the Office, on conditi- on he was not requtr d to quit hisProfeffion, which tie lov d better than his Life. He foent h kfi™ very happily, honour’d as a Magiftrate eVeeifd as an Artift, and lov’d by every body - when happening to undertake a fmall Voyage by Sea he was caft away two Leagues from Don and drown _d the 6th of fe 9 o. aged years 5 have in my cuftody a large Volume of Ids Da GALPAR NBTSCHER Born at Prague in Bohemia , was the Son of an Ingmeer, who dy’d in the Service of the rS r U .o!^ k / 0f Fo b J - ,, His Mother being a Roman- Cathduk, was fore d to leave Prague, when the Pnttfmut m ade themfelves Maderfof that City !>he carry d three Sons with her, of whom Gaftlr. was the youngeft. A few Leagues ctftawSS Town ( 33 1 ) Town fhe ftop’d at a Caftle, which, when flie leaft expe&ed it, was befieg’d, and making a vi- gorous Refiftance, thofe that were within it were foon reduc'd to extream want. Gafpar's two Brothers were, among others, ftarv’d tq Death. His Mother fearing to lofe him in the fame manner, found a way out of the Caftle, and made her efcape with the only Child that was left her. Every thing fail’d her but Courage. She Tra- vcl’d on with her Son in her Arms, and by Chance guided her to Arnhem in Gueldland , where fhe met with fome Relief for her felf and her Son. A Do&or of Phyfick, whofe Name was TuU hns y a Man of Wealth and Worth, took a fancy to young JSlet fc her, and had him well Educated, intending to breed him a Phyfttian, but the force of his Genius carrying him to the Study of De- igning , Tulkens gave way to it, and fuffer’d him to follow his Inclination to fainting. When he was at School he could not forbear fcrawling a Defign on the fame Paper upon which he wrote his 1 beams. By this his Patron faw ’twas in vain for him to think of making a Do6tor of him, fo he was put to a Glafter (the only Man in Arnkeim who knew any thing of Painting ) to learn to Defign. Netfcher , in a very little while, finding he knew more than his Mafter, went to Daventer , ro place himfelf with one Terhurg , who was Burgo-Ma- fter of the Town, and a Skilful Painter. He drew all his Pieces after Nature, and had fuch a particular Talent for Painting of Satins , that in all his Ccmpofitkns he contriv’d fome reafon or other to bring them into, his Pictures, and to dif- pofe ! ( 532 ) pofe of fhem fo, that they might receive the Principal Light. ^ Net fiber retain’d this Affectation a long time, and tho he did not introduce his Satins into all forts of Subjects, as his Matter did, yet he made ufe of them in feveral of his Pieces: However, he was fo prudent as not to lex the Affectation appear. Having accjuii d a good Hand at Terburp's, he went to Holland , where he work’d a long time for Picture Sellers, who impofing oil his ealynefs paying him fmall Rates for his Pieces, and Sel- ling them at great ones, he refolv’d to deal no more with them, but to go to Rowe and improve If farther in his Art. He Embark’d on board a Ship bound for Bourdeaux , where when he ar- riv’d, he Lodg’d at a Merchant’s Houfe, whofe Kinlwoman he marry’d, and being diverted by a ttronger Inclination than that he had for Pain- ting, he gave over all thoughts of going to Italy % and return d to Holland. J He fettled at the Hague , the good fuccefs of his Works inviting him to ftay there, and Expe- rience prov d to him, that the beft way for him to maintain his Family, which began to grow numerous, was to apply wholly todrawin- of -Portraits. He became fo PerfeCt, and fo Famous in this fort of Painting , that there was fcarce any c nliderable Family in Holland that had not fome Portraits of his doing. The Foreign Mi- mfters leldom went from the Hague without cai lying lornething of his Drawing with them. By this means his Pieces are to be met with in molt parts of Europe. Don France fco de Melos the Portugal Ambaffador, had his own Picture ana kVGffl Others, drawn by him. Mott of thofe Pieces ( 333 ) Pitces are now at Lisbon , in the Cuftody of the Arch-bifhop. • , . , ,, Charles II. King of England , being charm d with Netfcher s Performances, did his u*- nioft to tempt him into his Service, offering him a large Penfion. But Netfcher having got enough tor his, and his Families Subfiftence, pre- fer’d the Tranquillity of his own way or living, to the tumultuous Life of a great Court. The Pain he generally was in, difturb d the happi- nefs of his Condition. He had been troubled With the Gravel ever fince he was 10 Years Old, arid the Gout taking him feveral Years after, both together brought him to his Grave at the Hague, Anno 1684. in the Forty Eighth year ot his Age. He was one of the beft Painters of the Low- Countries, at leaft of thofe that work’d in Little. His Defigns were Corredt, but his Gujlo in that part of his Art, never vary’d from that of his Country. He underftood the Claro Ofcuro very well, and among his Local Colours, which 1 were all good, he had a particular Talent for Painting of ] innen. His Manner of Painting was very Mel- low : His Touches were not Apparent: How- ever, they were finifh’d. When he intended to give the laft Hand to any Piece, he rub d it over with a Varnifh which did not dry in two or three days, and during that time he had leilurc to manage his Colours over and over to his liking ; thofe efpecially that being neither too hard nor too Liquid, were the more eafily united to thofe which he added a new, without lofing any thing of their freftmefs or their firft Quality. A N ( m ) A N ABRIDGMENT OF THE LIVES O F T H E F R E N C H PAINTERS. BOOK Vtt T Is difficult to affign any time to the Beein- mng of Painting in France , for when trancts I. fern for and Prmaticcio , there were feveral Painters in France , who were able to work under the Direction of th ofe t wo Malters, and abundance of other Italian Painters Who came to Paris for Employment. ThefeiT^ Painters ( 335 ) Painters were Simon le Roy , Charles and Thorna s \Dorigny, Louis Francois , Jean Lerambert, Charles \Charmoy , Jean and Guillaume Rondelet , Germain I Munier , Jean tie Brc^il, Guillaume Hoey , Euflache \du Bois , Antoine Fantofe , Michel Rochelet, Jean I Samfon , Girard Michel , Jannet , Corneille de Lion, l D# Moutier le Fere , and Jean Coufm. Tho’ fome of thefe Painters were greater Mailers than o- I thers, yet their Works were not fo confiderable • as to deferve the attention of the Curious in our | days, unlefs we will Except the Performances of Jannet , Corneille de Lion , Moutier , and Jean Coufm : Of thefe the three firft drew an infinity of Portraits , among which there are fome that are tolerably JEAN COUSIN. As for he is worthy a particular Commendation. He was born at near &?»3,and Study ’d the Fzwe fo ftrenuoufly in his Youth, that he became profoundly Learned, efpecially in the Mathematicks, which is a great help to the regularity of DeJtgn. By this means he was Corred enough in that part of Painting, and has printed a Book on the Subject, that has born many Impreflions, and alone, as fmali as it is, and as little a Figure as it makes, will fuffice to preferve Coufin s Memory a Jong time. He wrote aJfoof Geometry and Perjgetlive. Pain- | ting on Glafs being very much in Vogue in thofe I days, he apply’d himfelf more to that, than to | Drawing of Pictures. One may fee feveral fine | Performances of his in the Churches of the Neighbourhood of Sens, and fome in Paris , par- ticularly in St, Gervafe s Church, where, on the Win- ( 33 <* ) Windows of the Quoir, he Painted the Martyr- dom of St. Laurence , the Hiftory of the Samaritan Woman, and that of the Paralytick. There are feverai Pi&ures of his doing in the City of Sens ; as alfo, fome Portraits: But the chiefeft of his Works, and that which is moft efteem’d, is his Picture of the Lafi Judgment. This Piece is in the Sacriftie of the Minims at Bois de Vincennes, and Was Grav’d by Veter de Jede a Flemming, a good Defigner. This Pi&ure Ihewsthe fruitfulnefs of Coufins Genius, by the Number of the Figures that enter into the Compolition : However, one would with there had been a little more Elegance of Dejign in it. He marry’d the Daughter of the Lieutenant- General of Sens . He carry’d her to Paris , and liv’d there the reft of his Days. His Learning and agreeable Humour acquir’d him theEfteem of the Great. He was well receiv’d at Court, and in favour with Four Kings fuccefiively. Henry the Second , Francis the Second , Charles the Ninth, and Henry the Third. .He work’d alfo in Sculpture, and made Ad- miral Chabot\ Tomb, which is in the Chappel of Orleans , belonging to the Celefiines in Paris. We cannot teilexacftly in what Year JeanCoufm dy’d. ’Tis certain he was living Anno 1689 . and arriv’d to a very great Age. Du B R E U I L and B U N E L Thefe two Painters, after Primaticcio*s Death, were employ’d to finifti the Paintings he was to have done himfelf, had he liv’d long enough. The former painted Fourteen Pictures in one cf the ( 337 ) the Chambers at Fontainhleau , call’d the Stoves, and in Conjunction with Bund , did the little Gallery in the Louvre, that was burnt in 1660. They both dy.’d in the Reign of Henry IV* F <111 MI N ET Of Paris, was the Difciple of his Father, 2 I very indifferent Painter ; but Emulating the Young Men who follow’d the fame Profeffion I at that time he refolv’d to Travel to Italy . His I Chief Abode was at Rome , where he liv’d feven Years, ftudying Michael Angelos Works more \ than any thing elfe. For this reafon his Manner , I eve r after, was not unlike that Great Painters , as one may fee by the Chappel of Fontainhleau , which is moft of his doing. He began this Work in I l ^ e Reign of Henry IV. who honour’d him with his Efteem, and continu’d it in the Reign of Lewis XIII. who conferr’d the Order of St. Mi- chael on him j but he did not enjoy this Honour, nor theFavours of the Court long, for before he had quire finilh’d his Work, he fell lick and dy’d in the Year 1619, Aged 51 Years. Abun- dance of Painters came after Friminet , but.Jn- ftead of improving his Manner, they fell into an fnfipid Gout , to the Scandal of the French Painting. This Gout lafted till Blanchard and Vouet arriv’d from Italy. There w r ere other Painters, whom, I ibecaufe they were employ’d in painting the ; King’s Palaces, I think fit to Name, as du Verac, \ Jerome Baullery, Henry Leramhert , Tafqttier Tetelin, : Jean de Brie , Gabriel Honnoit, Ambroife du Bois , and | Guillaume du Mee. FE RDF Z ( 338 ) F B QT> 1NA N © E L L £, ' , TW he was bom at Mechlin , ought to be plac’d among the French Painters, for that he | work’d moft of his Time at Fans , where he drew a vaft number of Portraits. However, be* I caufe he was a Foreigner, Louis , Henry , and Charles j Baubrun, were better paid than he for their Pictures, tho’ they were inferior to him in their I Art. He left two Sons behind him, who fol- 1 low’d the fame Profeffion. VAQIN, Born at Amiens , painted at Paris with Succefs. j The Pi&ure over the High Altar of the Barefooted Carmelites Church, near the Hotel de Luxemburg, is of his Drawing. We mention him, the ra- ther, becaufe he helpt to put PouJJin in the Way of Painting. Jacques b lanchaqt Of Paris , was born in the Year 1600. He learnt the Rudiments of Painting of Nicolas Bullery , his Uncle, whom he left at 20 Years of Age to Travel into Italy. When he came to Lyons , in his Way thither, he accidentally met with fomebu- finefs in his Profeffion, which being both for his ; Profit and Improvement, he accepted, and ftaid j there four Years. Then he pad on to Rome> ! where he flay’d 18 Months: From thence he I went to Venice, and was fo charm’d with Titians I Colouring , and the Manner of the Venetian School , shat he refolv’d to follow it entirely. He fludy’d it j it With fd much Succefs. th*t a noble Venetian engag’d him to Work for him j but being ill fatisfy’d with the Venetian s Service, he loon left ir, and Venice not long after to return to France. Thg Novelty, the Beauty, and the Force Of his Pencil drew the Eyes of all Paris upon him, and his Painting became fo much in fafhion, that he was out of the Mode who had not fomething or j other of his Drawing inhisCuftody. Thus his Eafel- Pieces became fo common as they are at this day. He painted two Galleries at Paris , the firft is in the Houfe that belongs to Monfieur the Firft PrcfidentP^jr^w/r, and the other, where he reprefented the 1 1 Months of the Year, belongs to Monfieur Je Bullion , Super Jntendant of the Fi- nances. But that which got him the moft Reputa- tion of all his Performances, was the Piauie he drew at Notredame for the Fir (l of May. He re- prefented the Vefcent of the Holy Ghofl, and that Chnrch preferves it with Care, as one of the fi- ned Pieces that belongs to it. Blanchart was in a likely way of making his Fortune in the Flower of his Age, when a Fever and an I m poll u me in the Lungs carry d him oft in his 38th Yean He had two Wives, by the firft he had a Sod and two Daughters. His Son follow’d his Father’s Profeffion, and maintain an ordinary Painter. ] He knew fo much of his Art, by the help of his j Studies elfc where, that at twenty Years old, MorJieur de Sancy , who was going Ambafiador j to Constantinople, took him to be his Painter, j When he was there he drew the Portrait of the Grand Signior, and tho’ it was impoflible to do it otherwife than by his Memory, and from a view of him at the Ambaflador’s Audience, yet it was very like. Having drawn fome other Portraits at Conflantinople, he took Shipping and went to Italy , where he ftaid fourteen years. He was chofen Prince of the Academy of St. Luke at Rome ; and Leuis XIII. who, in confidera* tion of his Capacity, had allow’d him a Penlion during his abode at that City, fent for him in the year 1617, to Work in his Royal Palaces, and above all at Luxemburg. He drew Portraits in Crayons and Paftel with fuch facility, that the King admir’d and deligh- ted to fee him Work. He alfo learnt of him to Defign, in which his Majefty made a wonder- ful progrefs in a little time, Drawing feveral Portraits , which very much refembled fome of - the moft confiderable Perfons at Court. Vouet s Reputation encreafing daily, his Bufi- nefs encreas’d with it. I ftiall not trouble the i Reader with a particular account of his Pro- ductions j the Palaces and chief Houfes at Pa- rs* ( 34 * ) ris are full of them ; befides, he drew a great number of Pictures for Churches and privateMen. At Rome he imitated Caravaggio and Valentino’ s Manner. But when he came to Paris , he had fo much Work that he form’d a Manner to himfelf, more expeditious by Great Shadow sand by General Tints, which he made ufe of, and fucceeded in the better, becaufe his Pencil was Brisk, Lively and Light. ’Twou’d be a matter of wonder to think, what a prodigious number of Pictures he drew, if we did not know that he had a great many Difci- ples whom he bred up in his Manner , who were skilful Painters, and executed his Defigns with eafe, tho’ they were not finilh’d fo well as they fliou’d have been. France is Indebted to him, for deftroying the Infipid and Barbarous Manner that reign’d then, and for beginning to introduce a good Gout. In this he was aflifted by Blanc hart , of whom we have been fpeaking. The Novelty of Veuet s Manner , and the kind reception he gave every Body that came to him, made the Trench Pain- ters, his Contemporaries, fall into it, and brought him Difciples from all Parts, as well thofe who madeProfeflion of the other Arts depending on Defign , as thofe who profeft the Art of Painting only. Moft of the Painters, who have fince been any ways famous in their Profeflion, were bred up by him, as le Brum, Perrier , P. Mignard, Chaperon , Per/on , le Sueur , Corneille , Dorigny , Tar- tehat. Belli , du Frefnoy , and fcveral others, whom he employ’d in making the Ornaments of his Pieces, and De/igns for Tapifiries , as Jufie d'Eg- monty VandriJJ'c, Scalberg , Fatel , Beilin , Van Boucle , Bell-Ange , Cottelle y &q. without reckon- ing a great number of young Perfons, who Z 3 learn’d ( 34 * ) learn d to Vejign of him. Dorigny , who was his Son-in-Law, as well as his Pupil, Grav'd (the greateft part of his Father- in-Laws Works. Vouety rather fpent with Labour than with Years, dyd Anno 1641. in the fifty ninth year of his Age. He had a Brother, whofe Name was Au - lin Vouet , who Painted after his Manner, and was a tolerable Performer. Vouet' s Works were agreeable in comparifon with thofe that had hitherto been made in France, but he was every where a Mannerifi, as well in Defigningy as in Colouring, which was always bad. The Paflions of the Soul are not at all expreft in bis Figures, and he contented himfelf with gi- ving a certain Grace to his Heads, which had no meaning in it. His Cielings are the fineft part of his Performances, and Ihew’d his Difciples the way to make finer than any France had feen before. Vouet had one advantage above other Painters : There never was a Maker, whofe Manner made fuchan Impreflion on the Minds of his Difciples, and was fo generally follow’d by them. But 5 t muft be own’d, that if this Manner deftroy’d the infipid Gout in Francey it introduc’d one fo Unnatural, fo Wild, and being Eafy fo Uni- verfal, that his Difcipks, and moft ofth t French Painters have been debauch’d by it. They can hardly get rid of it to this day, and to fpeak Truth, I believe Vouet follow’d his Intercft more than his f udgement in forming that expe- ditious Manner , we have already mention’d. JVICtfG- C 343 ) NICHOLAS POUSSIN Was born at Andely, a little City in Normandy, in the Year 1594. His Family, however, were Originally of SoiJJons , in which City there were fome of his Relations Officers in the Prefidial Court. John Poutfw, his Father, was of Noble Extraction, but born to a very ftnall Eftate. His Son Nicolas feeing the narrownefs of his Circum- fiances, determin’d to fet up for himfelf as loon as poffible, and chofe Painting for his Profefiion, having naturally a ftrong Inclination to that Art. At eighteen Years old he went to Parts, to learn the Rudiments of it. A Pot Bovin Lord, who had taken a liking to him, put him. to Ferdinand , a Face Painter , whom PouJJin left in three Months time, to place himfelf with Lallemant , . with whom he ftaid but a Month, for perceiving he fhou’d never learn any thing of fuch Matters, he refolv’d not to loofe his Time with them, believ- ing he fhould profit himfelf more by Studying the Works of great Matters, than by the dilci- pline of Ordinary Painters. He work’d a while in Dijletnper, and did it with extraordinary facility. The Cavalier Ma- rino being at that time in Paris , and knowing PouJJin s Genius was above the fmall Performances he was employ’d about, perfwaded him to go with him to Italy j but PouJJin having either tome bufinefs that detain’d him in Paris , or bemg difcouras’d by two vain Attempts he had made before, to undertake that Journey, he did not accompany the Cavalier : However, he pro- mis’d to follow him in a little time. He was as jpod as hit promile, thtfnot till he had dr a wo _ ( 344 ) Sft r rL°n er w T CS ,' n ?aru ' and amon S ‘he v ’ he Death of the Vtrgm, for the Church of nurTv 1 ' . Ha ! in § finilh’d his Bulinefs, he fet out for Rome, in the thirtieth year of his Age iier ^ Cre with his dd Friend, theCava- and mTl f h ° Wa K m,8 'l (y S' ad tofe him, and to be as ferviceablt a? he cou’d to him re- commended him to Cardinal Barberino, telling hts Eminence, VeJereu un G,vane cbe a ,Jfl na dt diamlo. The Cavalier, on whofe Aiiift- ance and Protettion PonJJin very much depended dying foon after he came to Rowe, and Cardinal Bar bur mo vrho defit d to be acquainted with him having noopportuni.yfo,,, Vcuffm had nobody to amft and encourage him. He cou’d fcarce blc tt/^u ht e was forc’d to give away hkr T° lkS f< ? fo htt ' e ’ as wou ’ d hardly pay for his this was his lafl (hift. However his £ oara f , d ' d n n0t f f him ’ He minded his Stu- dies affiduouliy, refolving, whatever came of it to make htmfelf Matter of his Profellion. He ^ad little Money to ipend, and that hinder’d his Converting with any one, which gave him an opportunity to retire by himfelf, and defon the Beautiful things that are in R cme , as wdl 2 as the Works of the famous Reman Fait Tho* he refolv’d when he went from France to Copy the Mures of the greateft Matters, yel he exercis d htmfelf very little that Way He *2"«fc5 " to examine them well, to make his Reflections upon them, and that what but he haH m0fe n WOa ' d be fo much rime 'oft but he had another opinion of the Antique Fi gures. Fie Defin’d thtm with Care, and form’d iuch an high Idea of them in his Mind, that they ( 345 ) they were his principal Obje&, and he apply’d himfelf entirely to the Study of them. He was convinc’d, that the fource of every Beauty and every Grace rofe from thofe-excellentPieces, and that the Antient Sculptors had drain’d Nature to render their Figures the Admiration of Pofterity. His dole Friendfhip with two skilful Sculp- tors V Algarde and Francois Ftamand y in whofe Houfe he Lodg’d, ftrengthn’d, and perhaps be- gat this Inclination : Be it as it will, he never left it, and it encreas’d in him as he grew older, which may be feen by his Works. ’Tis faid, he at firft Copy’d fome of Titian % Pieces, with whofe Colouring , and the touches of his Landskips he was infinitely pleas’d, and endea- vour’d to imitate them, tofet off the good Guflo of Defign , which he had Contra&ed by his Study of the Antique. Indeed, ’tis obfervable, that his firft Pieces are Painted with a better Gout of Colours than his laft. But he loon Ihew’d by his Performances, that generally fpeaking he did not much value the part of Colourings or thought he knew enough of it, to make his Pictures as perfe6t as he intended. He had Study’d the Beauties of the Antique^ the Elegance, the Grand Gufios the Corre&nefs, the Variety of Proporti- ons, the Adjuftments, the Order of the Drape- ries, the Noblenefs, the fine Air, and Boldnefs of the Heads, the Manners , Cuftoms of Times, and Places, and every thing that was beautiful iq the Remainder of the Antique Sculpture , to fuch a Degree that one cafi never enough admire the exa&nefs with which he has enrich’d his Pain- ting in all thofe parts of it. He might, if he had fo pleas’d, have deceiv’d the Judgment of the Publick, as well as Michael- An- $ e h ( 34 * ) gelo did, who, having made a Statue of Cupid, broke off an Arm of it, kept it by him, and bu- ry’d the reft of the Figure in a place which he knew was to be dug up. The Statue being found, every body took it for Antique, till Mi- chael- Angelo, applying the Arm he had by him to the Body of the Figure, convinc’d the Criticks that they were all miftaken, tho* they are of all Men the hardeft to be convinc’d that they are in an Error. We may with as much Realon believe, that if Poujfin had painted in Frefco on the ruins of an old Wall, and kept any part of it by hinr, the World might as eafily have been perfwaded,* that his Painting had been the Work offome Fa- mous Antique Fainter, as they were fatisfy’d that Michael Angelo's Cupid was a piece of Antiquity , there was fuch Conformity between his Paintings and what have been really difcover’d in that manner, and are certainly Antiques. He us d frequently to examine the Ancient Sculptures in the Vineyards about Rome , and this confirm’d him more and more in the love of thofe Antiquities . He wou’d fpend feveral days toge- ther in making his reflections upon them by himfelf. ’Twas in thefe retirements that he con- sider'd the extraordinary effeCls of Nature, with refpedt to tandskips , that he defignd his Ear, his Defiances, his Trees, and every thing which was excellent and agreeable to his Gu(lo< Befides that PouJJin ftudy’d the Antique exaCtly, healfo made curious Obfervations on the Works of Raphael and Domenichino , who, of all Paint- ers in his Opinion, invented beft, Defignd moft correctly, and expreft the Paflions of the Soul tnoft lively, three things which Poutfm look’d up^ on as the moft eflential pares of Painting. ( 347 ) He negle&ed nothing, in flhort, that coud lender bis Knowledge, of thefe three parts of his Arr perfeft. He was altogether as Curious a- bout the general expreffion of his Subjects, which he has adorn’d with every thing that he thought wou’d excite the attention of the beamed. He has left no Grand Compofitions behind him, and all the Reafon we can give for it is, that he had no opportunity to do them 5 for we cannot imagine, but ’twas Chance only that made him apply himfelf wholly to EafeUPteces , of a bignefs proper for a Cabinet, fuch as the curious reqair d of* him Lewis XIII. and Monfieur de Noyers , Minifter of State, and Super-Intendant of the Buildings, wrote to him at Rome , to oblige him to return to France : He contented to it with a great deal ot difficulty. He had a Penfion affign d him, and a Lodging ready furniffi’d at the Tmlleries. He drew the Picture of the Lord's Supper for the Chap- pel of the Caftle of St. Germain , and that which is in the Jefuits Novitiat at Paris. He began the Labours of Hercules, in the Gallery of the Louvre: But the Fadlion of Vouet school railing at him, and his Works, put him out of humour with his own Country He was alfo weary of the Tumultuous way of living in Paris , which never agreed with him; wherefore he fecretly refolvd to return to Rome , pretending he went to_fettle his Dome- flick Affairs, and fetch his Wife ; but when he EOt there, whether or no he found himlelt as in his Center, or was quite put off from any thoughts of returning to France , by the Deaths of Cardinal Richelieu and the King, which hap- pened about that time, he nevw left Italy aftet- ward, ' He . ( 54 « ) He continu’d working on Iris Ea^Pieces, and lent them from \ome to Paris, the French buying them every where as faft as they laid Hands on them, if they were to be bought for Money valuing his Productions as much as Raphael's Fehbien, who has written the Life of this Paintfr very correflly, and at large, gives a particular account °f all his Piftures, and a Defcription of thofe that are molt efteem’d. having liv’d happily to his threefcore and eleventh year, dy d Paralytick, Anno r 66c He marry d Gafpers Sifter, by whom he had no Children. His Hftate amounted to no more than Maty 7 houfand Limes , but he valu’d his Eafe a- bove Riches and prefer’d his Abode at Rome , FormneellwhS Ambition ’ to mkin S his Bi/hop Maflimi^ho was afterwards a Cardinal vihring him on a certain time, their Convention laLcd infenfibly till ’twas night, and the Prelate bemg about to take Coach, PouJJin took the Can- dle in his Hand, lighted him down flairs and waited on him with it to his Coach. The Bi fliop was forry to fee him do it himfclf, an d Con d not help faying, I very much pity yon, Mon- ftear Pouflin, that you have not one Servant ■ and \ pity you more , my Lord , reply d Pouflin, that you have Jo many. He never, made words about the price of his Pictures j he put down his rates on the back of the Canvas, and ’twas always given He had no Difciple. Moft Painters efteems without imitating him. His Manner is too in- acceluble, and when once they enter upon it ;hev ?an t go thro’ with it, ' Re- ( 34 9 ) Reflections on the Works of POUSSIN. Fouffin was born with a great and a fine Geni- ! us for Painting. His early Love of the Antique Figurh put him upon Studying them with Care, I and by his Studies he came to the Knowledge of all their Beauties, and of the difference between them, as to their Goodnefs. He was an excel- cclent Anatomift , and acquir’d a Confummare Habitude of Defign , after the Antique Gufto , yet even in his Dcjigns he did not confider Nature, as the Origin of all Beauty, fo much as he fhou’d have done. He thought Sculpture was to be prefer r’d before her, tho’ fhe is the Miftrift of all Arts, and always valu’d the Imitation of the Andents more than the Life. By this means the Naked of his Figures in moft part of his Pictures, has fomething in it, refembling Painted Stone, and is rather like the hardnefs of Marble, than the delicacy ofFlefh, full of Blood and Life. His Invention in Hiflorical and Fabulous Sub- jects is Ingenious, as alfo in bis Allegories. He chofe them well. He preferv’d Decorum in all of them, efperially in his Heroical Subjects. He introduc’d every thing that cou’d render them agreeable and inftruCtive. Fie expyefs’d them according to their Real Character in joyning the j Paffions of the Soul in particular, to the exprefli- onsof the SubjeCt in general. His Landskips are admirable for their Sites j the Novelty of the ObjeCts of which they are com- pos’d ; the Naturalnefs of the Earth j rhe Va- riety rietyof the Trees, the lightnefs of his Touches; and m /hort, the Angularity of the Matters that enter into his Compofition. They wou’d have been every way Perfeft, if he had ftrengthen’d t em a little more by the Local Colours , and the Artifice of the Claro Ofcuro. When occafion offer’d, he adorn’d his Pictures with Architedlure. He did it with a fine Gout 20 r n- ^ er ^P e< ^i ve 5 which he underftood to perfection, was exadtly regular. He was not always happy in the difpofition of ms Fjgwftj on the contrary, he is to be blam‘d for diftributipg them in the generality of his Compositions too much in Baljo Relievos , and on the fame Line, his Attitudes are not vary’d e- nough, nor fo well contra/led as they might be. His Draperies in all his Pieces are commonly of the fame Stuff, and the great number of his Folds hinders the fimplicity, which adds a Gran- deur to the Work. As fine as his Genius was, and as extenfjve, ’twas not fufficient for all the parts of Painting. He lov’d the Antiquities fo en- tirely, and apply’d himfelf to them fo much, that he had not time to confider his Art in every branch of it. ^ He neglected Colouring. We may perceive by his Works in general, that he knew nothing of Local Colours , or the Claro OCcuro : For which Reafon almoft all his Pictures have a cer- tain grey predominant in them, that has neither force nor effedh Some of the pieces of his firfl Manner, and fome of his fecond, may however be excepted. Yet to examine the matter nar- rowly, we /hall find, that where any of his Co- louring is good, he is indebted for it to what he remembred of that part of his Art, in the Pi- &ures he copy’d after Titian , and was not the ef- ( 35 * ) fe£t of any intelligence of the Venetian Painter^ Principles. In a word, ’tis plain . VouJJln had a very mean Opinion of Colours. In his Life written by Bellori and Felibien , there is a fincere Confeffion that he did not underftand them, and had as it were abandon’d them ; an undeniable proof that he never was Matter of the Theory of Colouring. Indeed, his Colours, as they appear to the Specta- tors, are nothing but general lints, and not the imitation of Nature, which he feidom confut- ed about them. I fpeak of his Figures, and not of his Landskips. In the latter he feems to have confider’d the natural Colours more, and ’tis not difficult to guefs at the Reafon of it : For not being able to find out Lamlskip in the Antique Marble , he was forc’d to feek after it in Nature. As for the Claro Ofcuro , he never had any knowledge of it, and if we meet with it in any of his Pictures, it came there purely by chance.- Had he known that Artifice to be one of the moft eflential parts of Painting, as well for the repofe of the fight, as to give Force and Truth to the whole Compofition of a Picture, he would always certainly have made ufe of it. He wou’d have fought after a way to Groupe his ObieCts and his Lights to the beft advantage, whereas, they are fo difperft in his Pieces, that the Eye knows not where to fix it felf. His chief aim was to pleafe the eyes of the under- ftanding, tho* without difpute, every thing that is inftruCtive in Painting, ought to communicate it felf to the undcrftanding only, by the fatisfa* Ction of the Eyes, by a perfect imitation of Na- ture , and this is the whole Duty, and ought to be the whole Aim of a Painter. Voujjin ( 3J 2 ) Toujpn, by neglefling to Imitate Nature the Fountain of Variety, fell often on very apparent Repetitions, both in the Airs of his Heal, and his Expreffions. His Genius was rather of a No ble, Mafculine and Severe Chara&er, than grace- ful, and one may fee by the Works of this ve- ry Painter, that there may be Beauty fometimes where there is no Grace. His Manner was new and Angular ; he was the Author of it, and we muft own, that in the Parts of h!s A rt, which hepofTeft, his Stile, as we have faid elfewhere, was Great and Heroic, and that take him altogether, he was not only the beft Painter of his own Nation, but equall’d the beft Painters of Italy. FRANCOIS PERRIER A Goldfmith’s Son of the Franche Compte , was a Debauch d young Man, and running away from his Parents, _ went to Rome. As he was on his J°!?l. ne y thither his Money fell fhort , when a Blind Man, who had alfo a mind to go to Rome, perfuaded him to lead him, offering him a Rmd ° f p' he A ! ms . he S° c b F begging on the Road. Berner having no other way to Subfift accepted of his offers, and in this Equipage arriv’d at Rome , where he was again very much Embar- rasd to findjout means to maintain himfelf; for his Blind Beggar s Afliftance either fail’d him, or wasnot lufficient tofupport him. He was reduc’d to terrible Straits at his firft coming, but the ne- ceflity he was in, and the facility of his Genius in a little time put him in a way to get his living. He acquir d an eafy and agreeable Manner of Defignmg, and his Gufio was fo good, that feve- ral ( 353 ) rai young Men addrefl themfelves to him to mend their Deftgm : Some Foreigners bought his of him to fend them home to their Friends to pleafe them, and engage them to fupply them with Money. He became acquainted with Lanfranco , whofe Manner he endeavour’d to follow, and at laft he could manage his Pencil with the fame eafe as he did his Crayons. Finding that he could dis- patch a great deal of Bufinefs, he refolv’d to re- turn to France , and flopping at Lyons he painted the carthufians Cloyfler there. From Lyons he pro- ceeded to Paris , and having work’d forae time for Vouet , who Engrofs’d all the Grand Perfor- mances, he took a fecond Journey to Italy , where he flay’d Ten Years, and return’d to Paris t Anno 1645;. About this time he painted the Gallery of the Hotel Je la Vrilliere , and drew fe- veral Eafel-Pieces for private Perfons. He dy‘d Profeffor of the Academy. He EtchW feveral things with a great deal of Spirit, and, among others, the finefl BaJJo Re- lievo's that are in Rome , a hundred of the rrnft Celebrated Antiquities , and fomc of Raphael's Works. He alfo Gra'v’d in the Claro Ofcuro fome An- tiquities, after a Manner , of which, ’twas laid, he was the Inventor ; but Parmeggiano , as I have obferv’d dfewhere, us’d it a long time before him. It confifls in two Copper Places, whofe Impreffion is made on Paper feintiy flam'd; the one plate is Engrav’d after the ufual way, and that Prints the Black, and the other, which is the Secret, prints the white. A a qjjRUES ( 3 54 !) JA^UES STELLA Born in the Year 1596, was the Son of Fran - eis Stella , a Flemming by Nation, who, in his re- turn from Italy, flopping at Lyons, fettled there, and in that City, Jaques , of Whom we are ] fpeaking, was born. He was but Nine Years old when his Father dy’d, and having Exercis’d himfelffo long in the Art of Painting that he | thought he was capable of improving by the fight of the rare Pieces that are in Italy , he went rhi - 1 ther when he was about twenty years of Age. I Palling thro’ Florence , the great Duke Cofmo di Medicis , hearing of his being there, employ’d him, with other Painters, to prepare the Decora- tions of a pompous Feftival, which he intended to hold at the Celebration of his Son’s Mar- riage. The Duke perceiving that Stella was a Man of Capacity, alfign’d him Lodgings and a Penfion equal to that of C allot, who was then at Florence. He ftaid in this City (even years, and perform’d feveral things in Painting, Deftgning and From thence he went to Rome , where eleven years, which he fpent chiefly in ftudying the Antique Sculptures and Raphael's Paintings . When he had acquir’d a Habitude of a good Taft, drawn divers Pictures that were Engravd, and got a great Reputation in Rome, he refolv’d to return to his own Country, intending however to pafs from thence into the Service of the King j of Spain , who had order’d his Agents to invite j him more than once to accept of that Employ-] menf. He took Milan in his Way to France J Cardinal Albornos offer’d him the Direction of thei Graving. he li/d ( 355 ) the Academy of Painting in that City, but he re fus’d ir. When he came to Paris , and had feeri his Friends, he began to prepare for his Voyage to Spain ; but Cardinal Richelieu hearing of if, ftop’d him, giving him hopes of a better Fortune at home. He prefented him to the King, who aflign’d him a Penlion of a thoufand Livres a | year, and Lodgings in the Galleries at the Lou - j vre. Stella foon fiiew’d himfelf to be a Mafter, and the King honour’d him uith the Order of Sr. Michael , which encourag’d him to do his beft. He painted feveral large Pictures for the King, by whofe Command the greateft part of them were fent to Madrid. He work’d alfo for Churches and private Perfons. Being very Laborious, and the Winter-days fliort, he fpent the Evenings in Dejigning the Hiftories of the Holy Scriptures, Country Sports, and Children’s Plays, which were Engrav’d, and make a large Volume. He alfo drew the De- Jigns gf the Frontifpieces of feveral Books of the Louvre Imprelfion, and divers Antique Ornaments, together with a Frife of Julio Romano's^ which he brought out of Italy with him. He work'd fo indefatigabiy, that it wafted him extreamly, and broke his Conftitution. He confum’d away for five or fix years before he dy’d, which was in the fixtieth year of his age, Anno 1647. Refle&ions on the Works of STELLA . Stella had a fine Genius, his Produ&ions | came eafie out of his Hands, and he treated, A a x with ■ n ( 3 5 we re- folvd to render it into Englifh Reflections on the Works of Monfieur du F^ESNOT. I was iniimately acquainted with du Frefnoy , was his Friend and Confident, and he permitted me to fee him Painr, a favour he feldom did any body, becaufe he took a great deal of pains in his Painting. His Mind was fo full of Knowledge of all forts of Learning, and his Me- mory fo great, furni/hing him with matter of all kinds, whenever he wanted it , that his Converfation, tho’ very profitable, was too much interrupted by Digreilions, by which means he often forgot his principal Subject. This was oc« cafion’d, as fome have faid, by the abundance of his Thoughts, and the fire of his Fancy, As for my part who knew him familiarly, and had made obfervadons on his Judgment, as alfo on the vivacity of his Imagination, I confeft I always thought it to be fine, but not at all lively , on the contrary, the warmth of h*s Fancy was ye* ( 3<*5 ) very temperate. His firft thoughts never pleas d him, he always confider’d a thing twice, and di- gefted it in his mind with all imaginable applica- tion, that he might embellifli it with convenient Graces , and thofe Lights that he acquir’d by his Learning. Purfuant to the Principles he laid down in his Poe m, he endeavour’d to execute his thoughts. He work’d very (lowly, and I wifh his vivacity had been as great as fome imagin’d it, that there might have been more Spirit in his Pencil, and that his Idea’s might have been put in the faireft 'Light. However, by the Theory of his Art , he reached the end he aim’d at, and ’tis to be wonder d that the fame Theory that was fufficient to make him certain of the goodnefs of his Works, had not embolden’d his Hand : All that can be Laid to it is, that great Speculation (lands in need of great Practice, and that Monfieur Du Frefnoy sVfwonXy what he had got by the Performance of a few Pieces. ’Tis eafy to perceive he endeavour’d to imi- tate the CaracciS Gout of Dejign , and Titian'% Colouring , in all his Works, which he often con- fdl himfelf. There never was any French Pain- ter who came fo near Titian as Frefnoy. One may fee a proof of it in the Pi&ure he drew at Venice for Marco Paruta, a Noble Venetian , wherein he re- prefented a Madonna in a Half-length, and alfo in another he made for the fame Nobleman, repre- fenting a Venus lying along. What he has painted in France is of the fame Guflo. , chiefly his per- formance at Rind for Monfieur Bordier , comp- troller of the Finances , which is eftcem’d the fined of his Productions by the bed Judges, But ( 366 ) if he did not draw Pictures enough to make his Name known in feveral parts of Europe, his Poem upon Painting will live as long as the Art, and his Name be preferv’d in it, while the World has an y value for the Profeffion. m/colas m i g at a r b Of Troyes in Champagne , was elder Brother to Tterre Mignard , furnam’d the Roman. Tho* his reputation was not ecjual to Pierre* s, yet he was | Mafter of fo many of the parts of Painting, that he is by no means to be reckon’d among the or- dinary Painters. Their Father, whofe Name was Pierre , was a Soldier, and flay’d twenty years in the King’s Service. He gave his two Sons liberty to follow the Inclination they had to Painting . Nicholas learn’d the Principles of the Art, of the bed Painter that was at Troyes , and to encreafe his knowledge, went to ftudy at Eon- tainbleau after the Antique Figures that were there, and after Primaticcids Paintings : But fee- ing that the Fountain of all the Beauties he ftu- dy’d wasin Italy, he Travell’d thither. Being em- ploy d at Lyons, he ftaid there fonie time, thO* not lo long as at Avignon , where he fell in Love with a young Woman, whom he marry’d when he came back from Italy, on which account he was call’d Mignard of Avignon. He ftaid two years at Rome, and feveral years at Avignon with his Father-in-law. He was fent for to Court by the. King, who had fome knowledge of him while he was at Avignon, when he went to tneet the Infanta of Spain , whom he marry’d Anno 1 659, 1 Mignard Mignard arriving at Paris, was employ’d by the Court, and by private Perfons, about divers Works, in which he fhew’d his Ability. He drew abundance of Portraits 5 neverthelels his Talent was more for Hi (l cry -Painting. His In- vention was Ingenious, and he delighted in treat- ing of Poetical Subje&so However, the fire of his Imagination was very moderate, for which he made amends by great Corre&nefs, and the nicety of his Work. His extraordinary applica- tion to it threw him into a Dropfie, of which bedy’d, Anno 1668. very much lamented by all that knew him , for he was equally a Man of Honour and a Good Painrer. He was Re&or of the Acaderhy when he dy’d, and that whole Body aflifted at the Solemnity of his Funeral, which was perform’d in the Church of the Mendicant Fryars, of the Order of St. Bernard > where he lies bury’d. CLAUDE VIG NON) Born at Tours , follow’d at firft Michael- Angelo da Caravaggios Manner, andfome of his Pictures in that kind have a great deal of Force in them. He difpatch’d his Work fo faft, that he did an in- finite number of Pieces. To go thro* with his Bufinefs, he form’d to himfelf a more Expediti- ous. Manner than that of Michael- Angelo da Cara - vaggio , but it was not fo Strong as that Which he us’d in imitation of Caravaggio.- His Perfor- mances were done with cafe, and he had aparti- cuiar way of u ling his Tints. He plac’d them on the Canvas without mixing them on his Pallet, and as he painted, he always added Colours, not mingling them by the motion of his Pencil, as other ( 3”£. thae appears no Elevation in his Perfor- however he did abundance offe", cold ^n, Ah- C ‘r* Invm,im > but his Genius was He oli ^ ir- m r , a ,S reat mea(u 'e M. he faithfid o d 7 h l mfd , f alwa >' s !0 Nature, whom r^-ff ly t ?^ H edid not know how and* Jwf 6 ° h ° b|tas ' fo as t0 give them Life Zt ?" !■ , H< ; was ignorant of the Art of L , . j '»? thofe things, in imitating Nature, that of n p!lr e m d W ? e ai-' ’fehtntfs, and good Guff, r/ j L and ° f add,r 'S that which makes the £ JSHF1ELD , Was a Gentleman well defcepded, who drew both in Oyl and Crayons. He was Difciplc to Mr. Wright , and painted fome Heads as big as the Life. He firft found out the way to multi- ply the Number and Variety of Tints in Crayons, and therewith to draw various Complexions in imitation of Oyl-Painting : This he perform’d on Paper, and pra&is’d feveral Years with de- fcrv’d Applaufe, He brought thofe Heads to Ten ( 400 ) Teh Pounds Price. From him the prefent Mr. Luttrell had his Inftru&ion, who has improv’d that Invention, and multiply’d the Variety of Colours to effeft any thing ; as alfo found out a method, unknown before, to draw with thofe Chalks or Crayons on Copper-Plates, either by the Life or Hiftorically. B. JOHN BAPTIST GJSPARS, commonly call’d Lely’s Baptijl, Was Born at Antwerp, and brought up in the School of Thomas Willeborts Bojjaert , aDifcipleof Van-Dyck. Coming over itiloEngland in the Time of the Civil Wars, Major General Lambert took him into his Service ; and upon the Happy Re- iteration of King Charles II. Sir Veter Lely being receiv’d for his Majefty’s principal Painter, be employ’d Baptifi to paint his Pollutes, which he perform’d very well, and after his Death he did the like for Mr. Riley, and afterwards for Sir Godfrey Kneller. This Baptifi was a great Judge of Painting, and likewife eminent for his Defigns for Tapiftry, having been an admirable Draftf- man in the Academy* < He dy’d in London about 14 years ago, and lies buried at St. James's. JOHtf C 40 ' ) JOHN BAP TIS TMONNO TE<%, commonly ftil’d the Flower-Timer, Was born at Life in Flanders , and brought up at Antwerp. His Bufinefs there was Hiftoty- Painting $ but afterwards he return’d to Li(le, and apply’d himlelf to Painting Flowers, where- in he fucceeded to Admiration. Monfieur Le Brun having undertaken the Painting of Ferfaittes , employ’d Baptift to do the Flower-Part, wherein he Ihew’d his Excellence, as is yet to be feen in that Palace. His Grace the Duke of Mountague being then Amballador in France , and obfcrving the curioufnefs of this Painter’s Work, invited him over to England , and employ’d him in con- junction with Mefiieurs RouJJeau and La Force, to adorn his magnificent Houle in Bloomsbury , where a great variety of Flowers and Fruit of this Mafter are to be feen, and thofe the belt of his Performance. There are alfo feveral other Pieces of his at My Lord Carlfe s, My Lord Burlington s, and other Perfons of Quality 3 but the moft curious of all, is the Looking-Glafs at Kenjington-bloufe, which he Painted for the late Queen Mary , of Glorious Memory, her Majefty fitting by him almoft all the while. His Flowers have generally in them a Loofenefs and Freedom of Pencilling, together with a Luftre of Colouring, which is inimitable. They are alfo of an Ordonnance very beautiful and furprizing, bearing a good Price fuitable to their great Worth, and are eafy to be diftinguilh’d from thole of other Mailers, by comparing them to- gether, the only way to arrive at a diftin&ion D d of ( 402 ) ' of one Man's Work from anothers. His Befl ; Performances are own’d ro be in England. He j began a vaft Collection of fine Flower Prints, ] RjSiy of which were executed by his own hand, and the reft finiftfd by his Direction. He died | in England about co years ago, and lies buried at St James's. Mr FRANCIS a Perfon of lively Invent! nV Ch j rcil ; H e was quick. ^ noon, and painted very Mr. HEN^T COOK , Painter who^flhis^Zadon her^a^d fo^' Experience and after he had iSvillfe^L^J beft Makers, beca^tofon™ fe.?? ‘ he Painting, butalfoagood Performer 1KIC ^ m by many Publick Pietes* of ^fc’rheS ’ Rece at Ntw-Coliegt- Chaff el in Oxford ml'” he has done at Cbelfea-ColleL at sr ", „ haC S,s*- g4 VftRtt s' tt&sxsvg *•* the (409 ) the Cartoons are particularly remarkable, being drawn in Turpentine Oil, after the. Manner of • Viftemper , of which he is faid to have been the Inventor. He died in London the 1 8th of No- vember 1700, Aged near 58, and lies buried in Sr. Giles's Church. Mr. ALEXANDER COOPER, Was the elder Brother of Samuel Cooper Efq; and, together with him, brought up to Lim- ning by Mr. Hoskins , their Uncle. He perform’d well in Miniature , and going beyond Sea be- came Limner to Christina Queen of Sweden , yet was far exceeded by his Brother Samuel , who was much the greater Mafter. He did likewife Landskip in Water Colours exceeding- ly well, and was accounted an extraordinary Prafts-Man. SAMUEL COOPER Efq; Was born in London in the Year idoy, and brought up under his Uncle, Mr. Hoskins . He was a Performer in Miniature , of whom our Nation can never fufficiently boaft, having far exceeded all that went before him in England in that way, and even equail’d the moft famous Italians , infomuch than he was commonly ftil’d the Pan-Dyck in little , equalling that Mafter in his beautiful Colouring, and agieeable Airs of a Face, together with that Strength, Relievo , and noble Spirit, that ft ft and tender Livelinefs of Flefh, which is inimitable. He had alfo a particular Talent in the loofe and gentile Ma- nagement of the Hair, which he never fail’d to expreli well: But, tho* his Pencil was thus ad- mirable* ( 4 »© ) mirable, yet his Excellency was chiefly conftrrcl to a Head, far below that part of the Body he was not always fo fuccefsful as could have Been wifh’d. The high Prizes his Pieces ftill fell ae, tbo far fhort of their Value, and the great Efteem they are in even at Rome , Venice , and in France , are abundant Arguments of their great Worth, and have emended the Fame of this Mafter throughout all Parts of Europe where Art is valu’d- He fo far exceeded his Mafter, and Uncle, Mr. Hoskins , lhat he became jealous pf him, and finding that the Court was' better pleas’d with his Nephew^s Performances than with his, he took him in Partner with him ; but ftill feeing Mr. Cooper s Pictures were more reliflfd, he was pleas’d to difmifs the Partner- ship, and foour Artift fet up for himfelf, car- rying moft part of the Bufinefs of that time before him. He drew King Charles II. and his Queen, the Dutchefs of Cleveland , the Duke o fYork^ and moft of the Court: But the two Pieces of his which were moft efteem’d, were thofe of Oliver Cromwel , and of one Swing field. The former is now in the Hands of Richard Qrahme, Efq; and by him highly valu’d. The French King once offer’d 150 l. for it, yet could not have ir. The other is in the Ccllettion of Colonel Robert Childe , who fets a great Value upon ir. This laft Picture Mr. Cooper having carried to France , it introduc’d him into the favour of that Co.urr, and was much admir’d there. He Hkewife did feveral large Limnings m an imufual Size, which are yet to be feen in she Queen’s Clofet, and for which Iris Widow receiv’d a Peniion, during her Life , from the Crown. That which brought Mr, Cooper to this Excellency, was his Living in the time of Van- ( 4 1 1 ) Dyck, many of whofe Figures he copy d, and which made him imitate his Stile. . Anfwerable to his Abilities in Painting, was his great Skill |n Mutic, efpeciallv the Lute , wherein he was reckon’d a Matter. ' He was many Years abroad, and Personally acquainted with moft of the great Men in Holland and France , as well as thole or his own Country ; but he was yet more Univer- sal by his Works, which were known through- out all Parts of Chriftendom. He died in London in the Year 1672, at 63 Years of Age, and lies buried in Vancras Church in the Fields, where there is a fine Marble Monument fet oyer hiC} with the following Infcription, R S. E, C Amuel Cooper Armiger , ^ Anglite Apelles f Seculi Artis Decus , Jn qu& excolencta Sicut Meminem, quern Jequeretur 9 invenit. It a nec^ qui Bum affequatur, eft hah Hunts, Supra omne Exemplum , Simul ac omne Exemplar , Minio-Graphices Artifex fummus, Sttmmis Europce Frincipilus noiu$ 9 Et in Fraetio hahitus ; Cuius porrbegregias Animi Dotes, Jngenium expolitijfimum 9 . JUnguarum plurimarum Peritiam * 7 Mores fuavifjtnos, Ut ( 4‘2 ) Ut tarn brevis Talella rite complefti pofet 1 Ipfius unite Mam delineanda fuit f Sed Mode jit or Ille , Dum per Ora , Oculofque Omnium Famd volat Qineres hie potius fuos optavit delitefcere , ty fry in Ecclejue Pace, f elicit er requiefeens Chariffima Conj me Chrifiiand. Qbiit quinto Die Mail Anno. X Gratis fuse 63 . $alu- S tis MDCLXXII. I Mr. C\0 $ Sj \ Was a famous Copyer in the Reigns of King Charles I.and II. A Story goes of him that be- ing employ’d by King Charles I. to Copy feveral ] eminent Pieces in Italy, and having leave of the State of Veniceto copy the fam’d Madonna of Rapha- el* that was in Si.Mark's Church, he perform’d' th? Task fo admirably well, that he is faid to have put a Trick upon the Italians , by leaving his Pi6ture for the Original, which Jaft he brought away with that Celerity and Caution, that tho’ feveral Meflengers were fent after him, he had got fo much the ftart of them, that he car- ry’d the Piece dextroufly off. Afterwards in Oliver's Days, the then Spanijh Ambaflador here Don Alonfo de Cardenes bought this Pi&ure when the King’s Goods were expos’d to Sale, together with the XII. Cafars of Titian , and the King Charles on the Dun Horfe by Van-Dyck (of which laft there is a good Copy by Sir Peter Lely in the Middle Temple- Hall) all which fame fay re- main in the Efcurial to this Day, tho’ others affirm the Pifiture of King Charles on the Dun Horfe, is now in the Poifeilion of the Duke of Bava- ( 4*3 ) Bavaria , who bought it of one Myn-Heer Fan Cullen. This Mr. Crojs copy’d likewife, admira- bly well, Titians Europay which PiCture of his is now in the Collection of the Earl of Kent. D. HENRT and JOHN BANKERS \ Henry was a good Landskip-Painrer, and em- ploy’d by King Charles II. to paint all the Sea- Ports of England and Walesy as alfo all the Royal Palaces, which he perform’d admirably well. He was firft bted a Graver, but upon the per- Twafions of his Brother John took to Painting. ;He ftudied fome time in Italy , before he came ito England. He work’d for great Numbers of our Nobility and Gentry, and had good Rates for what he did, being efteem’d the neateft and beft Painter, in his way, of that time. He left England in the time of the Popijk Plot, being a Roman Cat holicky and died foon after at Amfter- dam. As for John Danker x, he Was a good Hiftory-Painter, and liv’d not many Years after his Brother, dying in like manner at Amfter- dam. WILLIAM VERTj^Et Was a Hiftory-Painter born at Antwerp. He was firft bred ajeweller, but afterwards took to Painting. He for many Years drew Hiliory as big as the Life in Englandy with tolerable Succefs; In his Works there were many excellent Parts of a boldnefs of Pencil, whatever there might be ( 4*4 ) be wantltig in Grace, and a pleafing Variety, | He died about Seven Years ago, leaving behind hint a Daughter, whom lie had inftru&ed in his Art. Ldi d Bifliop D I G B L The Reverend Lord Bifhop of Elfin in Ireland \ may very well find a Name in this Account of the Eitglijh Painters, fince he has defervcdly j rais’d one in that Kingdom, where he is arriv'd j to be a Spiritual Peer- His Limning s have much] of Beauty and jtiftneis of Draught in them, andj are to a great Degree Elaborate, with a due rej gard to the graceful part of Nature. He is a { ingle Itiftance O.f any Perfon of that Robe, that has made fo fufficienc a Progress in this Art, as to be voted a Maftet, either in that Kingdom or this, how common foever ’tis in other Nations for the Clergy to apply themlclvesro Painting. Mr. WILLIAM DOB SON) Was a Gentleman born in the Year i6ro, irt St. Andrews Parifli in Holbom , and descended from a Family, at thar time very eminent in Stif Albans. He was both a Hifiory and Face- Pain J ter, being Contemporary with tli 2 t great Mafter| Sir Anthony Van-Dyck y whofe Excellencies he Ca me very near, tho s he fail’d in Lome of hi Graceful Parts 9 yet we are to confider he wan ted the Opportunities the other had of becom- ing Perfeiffi. The greatnefs of his Genius, itoi -thro* the meaner Employments, which were hi Allotment, being put our Prentice very early a As bright as that which guides the Mariner , Dart f wiftly from its darken d Sphere , Attdne re fhall light the World again , Oh, why Jhoud fo much Knowledge die , Or with his la(l kind Breath , Why cou d he not to fome one Friend bequeath The mighty Legacy. But 'twas a Knowledge givn to him alone , That his eternizid Name might be Admir'd to all Pofterity, Py all to whom his grateful Name was known. Come all ye fofter Beauties come , Bring Wreaths of Flowers to deck his Tomb ; Mixtwith the dijmal Ciprefs and the Tew , For he fill gave your Charms their due 3 And from the Injuries of Age and Time , Secur'd the fweetnefs of their Prime * And befi knew how t' adore that Sweetnefs too . Bring all your Mournful Tributes here , And let your "Eyes a filent forrow wear , Till ev'ry Virgin , for a while become , pad as his Fate, and like his Picture Dumb. H, ADRIAN HAN NEMAN, Was both a Hiftory and Face-Painter, born at the Hague. He was Difciple to one Ravefeyh , and came into England , in the Reign of King Charles I. He was employ’d for fome time under Mytens , principal Painter to that King, and con- tinu’d ( 4*9 ) iinued here lixteen Years, at che end of which he went for Holland , and there drew the Princefs- Dowager-Royal, his Highn. the Prince of Orange and all the Court. He likewife drew that Piece, reprefenting Peace in the States Chamber at the Hague ; as alfo the Pifture of two Ufurers telling their Gold, for Myn-Heer Van Wenivin^, Whilft he was doing this bft Pi-ce; he happen d to want Money, whereupon fending to the Perfon he was working for, to borrow a Sum, it was ac- cordingly ftnt him. When r he Picture was fi- nifh’d, it was carry’d home, and the Price de- manded paid for it , but when Myn-Heer thought to have the Money he had lent (having flip’d the opportunity of (lopping it out ofmeer Ge- nerofityj he was anfwer’d, that the Gold which had been borrow’d, was all put into the Pi&ure (meaning that which the Mifers were telling) and that he muft expert no further fatisfa&ion. This Painter died abroad about 20 years ago. Mr. JOHN H AT LES y Was a good Face-Painter, Contemporary and Competitor with Sir Peter Lely. He was fo excel- lent a Copy ft, that many of the Portraits which he did after Van-Dyck , pafs at this day for Ori- ginals of that prodigious Man. He died in Lon- don , in the year 1679, and lies buried in St. Mar- fins Church. EG BERT HEMSK IRKy Was born at Haerlem , and Difciple of De Greb - her. He became very eminent for Painting Drolls after the Manner of Brawer. His Grofs and ( 43 © ) and Comical Genius fucceeded for a long while among us. In moft of his Converfatwsgf as he call d them, you may fee the Piaure^Kd read the Manners of the Man at the fame time : But ro ipeak of his Painting Part, a Thing chiefly aim d atm this fliort Account, there is little fault to be found with it, uniefs fometimes with the Foulnefs of the Colouring. His Drunken- Drolls, ^ ke \ h * and lewd Pieces have been in vogue among waggift Collectors, and the lower Rank of Tirtuo/iHc went m this kind a great way, but after all fell far fliort of Brawer, Teniers , and the reft of his noble fore-runners in the Study of Sots-Paradice He often introduc'd Ins own Picture among his DroU, by means of a Looking Glafs he had upon h.s PMi. He was a Man of Humour, and for that valu'd by the late Earl of Rocbetln, for tvhom he Painted feveral Pieces. He died in London about two years ago, leaving behind him a Son whom he had inftrudted in his way. Mr. NICHOLAS HILLIARD , Was a celebrated Engllfh Limner, who liv’d above too years ago He drew Mary Queen of Scots m Water Colours* when (he was tuTt 18 years of Age, w erein he fucceeded to Admi- ration^, and gain’d a general Applaufb. He was both Gold im lth, Carver and Limner to Queen Elizabeth whofe Picture he drew feveral times parncularlyonce, when he made a whole-length ln , her Tlirone » which Piece was deferv dly efteem’d. There are, moreover, two wonderful Pieces of bis, now in the Poflelfion of bmm Fanjhaw, ECq; and by him valu'd, not with- ( 43 * ) y/ithout feafon, as 9 tis the Opinion of fomegood j udges, at above 5:0 Guineas each, tho’ not much bigger than a Crown-Piece. One of thefe is the Picture ofour Artift himfelf, with this Infecti- on in Gold Letters round it. Nicolaus Hilliardus Attrifaber , Sculptor , & Cele- bris Illuminator S event Reginas Eli [abet hat , Anno 1 577, i/Etatts ftiae 30. The other is the Picture of his Father, fomc- time High-Sheriff of the City and County of Exeter , with this Gold Infcription round it. Rkardus Hill iar Jus eptcndam Vice-Cowes Civfra- tis & Comitatus Exoniat, Anno 1 jdo, n the Wands of the Curious in England, tho they ar verv fcarce. He died in Union about the begin- ning Of King James lid’s Reign. K. WILLIAM DeKElSAR, Was a very neat Landskip-Pamter, after the Manner of E Uhebmr. He was perfealy of he DutcbGout, ing ^^^ghffom“i’me with Mr Landskip-Painter. He imitated various Manners, and drew fome ^ f„,x i “at o“ Tombs, ana icvcui p imitation . . . , . ( 440 ) . Imitation of f'ergaz.om. He was not unskilful j„ painting of Architeflure and Flowers. He died in London about 1 6 Years ago. a Mrs. AMME K1LLIGREW, Was a young Gentlewoman, Daughter of Dr.' Ktlltgrew, Matter of the Savoy, and one of the Prebendaries of mjlmmfier . She painted feve- ral Hittory-Pieces, as alfo fome Portrait, for her Divertton exceedingly well ; as lilcewife fome Pieces of Still-Life. Mr. Becket did her Picture in Mezzo-Tano after her own Painting. She was alfo a Poetefs, and wrot a Book of Poems which were printed. . She liv’d Un- marry d, and died Young about 20 Years ago. Mr -JOHNZACHART KNELLER, Was born at Lubecl, and Brother to the pre- lent Sir Godfrey Kneller. He travell’d to Italy and when he came to England, painted feveral’por- fraits in fmall very neat. He did alfo feveral Pieces m Still-Life exceedingly well. At la ft he took to Water-Colours, and copy’d divers of his Brothers Portraits, in Miniature , with good Succefs. He died in Cogent-Garden about four Years ago, and lies buried in that Church. Major-General L A MB E RT, Was a great Encourager of Painting, and a good Performer in Flowers, as is yet to be feen (44 i ) in the Duke of Leeds's Houfe at Wimble ton. *Tis probable he might have learnt this Art, or at lead been further’d in it by Baptifi Gafpars , whom he receiv’d into his Service at his coming to Eng- land , in the Time of the Civil Wars. His eldeft Son John Lambert Efqj Painted alfo Faces for his Diverfion very well, of whom many Pi&ures are (till to be feen. This laft Gentleman died about four years ago, at his Eftate in Yorkjhire. PROSPER HENRICUS LANCKRWCK , Was of German Extra&ion, and as near as can be guefs’d, born in the year 1618. His Father being a Soldier of Fortune, came with his Wife, and only Son (this Vrofper) into the Netherlands , and that Country being then era- broil’d in War, procur’d a Collonel’s Command, which he enjoy’d not many Years, dying a Na- tural Death at Antwerp. His Widow being a difcreet Woman, fo manag’d her fmall Fortune* as to maintain herfelf fuitable to her Husband’s Quality, and give her Son liberal Education, deligning him for aMonaftery; but his younger Years difcovering a Natural Genius to Painting, by his continual Scrawling on Paper, /he was oblig’d to comply therewith, tho’ with the greateft Reludtancy, and put him to a Painter. Now, tho’ of this Perfon he may be fuppos’d to have learnt the Rudiments of his Art, yet the City-Academy of Antwerp was his chiefeft Pre- ceptor. His Advances in the Science were Pro- digious, and his Natural Genius being for Li- berty, led him to that delightful Branch of Pain- ting, Landskip , wherein he had the Advantage of Myn Heer Van Lj/an s Collection, which was very large, ( 442 , large, and full of curious Pieces of all the emir nent Mailers of Europe. Mr. Lanckrinck made his principal Study after the Pictures of Titian and Salvator Rofa , and by his great Art was foon taken notice of by the Curious. His Mother dy- ing, and coming to fome Fortune young and admir’d for his Performances, he refolv’d to come for England , where he met with a recep- tion fuitable to his great Merit. Sir Edward Sprag, that noble Sea-Commander, being a great Lover of Painting, became his Patron, recom- mending him to feveral Perfons of Quality, and the Virtuofi of that time, among whom was Sir William Williams , whole Houfe was en- tirely furnilh’d with this Mailer’s Pictures, yet which was not long after mod unfortunately burnt ; lo that of this great Painter, there are now but very fewfinifh’d Pieces remaining, he having bellow’d the grearell part of his time, while in England, on that Gentleman’s Pidtures. He was alfo much courted by Sir Veter Lely , who em- ploy’d him in Painting the Grounds, Landskips, * Flowers, Ornaments, and fometimes the Drape- ries ofthofe Pictures he intended to gain Elleem by. As to his Performances in Landskip only, they were wonderful, both as to the Invention, Harmony, Colouring and Warmth ; but above all furprizingly Beautiful and Free in their Skies, which by general Confent excell’dall the Works of the moll eminent Painters in that kind. This may appear by fome Pieces of his, yet to be feen in the Cullody of thofe curious Lovers of Art, Mr Henley , Mr Trevor and Mr Auften, the Father of which jail was hi- great Friend and Patron. His Vi ws are generally broken, rude and uncommon, having in themfome glarings of Light well'un- ( 443 ) derftood, and warmly Painted. The only Cei- ling 1 know of his Painting, was 2t Richard Rends, Efq; at Caufham in Wiltshire, near Bath, which is worth feeing. He practis’d moreover draw- ing by the Life, and fucceeded well in fmall Fi- gures, which were a great Ornament to his Landslips, and wherein he imitated the Manner of Titian. Mr. Lanckrinch being of a debonnair Temper, acquir’d a numerous Acquaintance, among whom was Mr .Robert Heivit^ who being a great Lover of Painting, at his Death left behind him a large and noble Collection of PiCtures.Our Artift was not only a good Bottle-Companion, and excellent Company, but alfo a great Favou- rite of the Ladies, thro’ his exceeding Complai- sance, and comely Appearance. Btft amidft all thefe Delights, little of the latter part of his Life was employ’d in Painting, they being be- liev’d to have much Ihorten’d his Days, for he died in his middle Age in Auguft 1692. None of his time gave greater Teftimony of 2 true Love to, and a great Knowledge in Painting than Mr .Lanckrinck, witnefs his noble and well-chofen Collection of Pictures, Drawings, Prints, An- tique Heads and Models that he left behind him, pioft of which he brought from beyond Sea. Mr. LANIER, Was a Painter well skill’d in the Italian Hands. He was employ’d by King Charles I. beyond Sea, to purchafe that ColleBion made by him, the firft Prince we ever had that promoted Painting in England , to whom he was Clofet- keeper. He gave a particular Mark, by which we diftin- guilh all the Things of this kind which he brought ( 444 ) brought over. By reafon of the Troubles that enfold, we can give no Account of his Death, 1 but that before he died, he had the mortifica- 1 tion to fee that Royal Colle&ion difpers’d. MARQELIU S LAURON, or LA ROO N, Was born at the Hague in the year an• Mailer’s ( 455 ) Matter's Pieces the more Compleat, and rhe be- nefit of (hewing them has not been a iitrle ad- vantageous to his Houfe. Mr. Le Viper drew a- nother famous Droll Piece, .reprefen ting a Con- ttable, with his Mirmidons, in very Natural and Diverting Poftures. He feldom defign’d after rhe Life, and neglected the Part of Colouring : But yet he fometimes, tho’ very rarely, Colour’d Lome of his Pieces, and, as we are inform’d, was not very unfuccefsful in it. He was a great ad- mirer and Imitator of dugufline Carracci , Rem- brant Van Rhine s and HemskirVs Manner of De - fign , and was always in Raptures when he fpoke of Titians, Colouring : For, notwithftanding he never had Application enough to make himfelf Matter of that Part of his Art, he alw r ays admir’d at in thofe that were, dpecially the Italians. He Drew the Pictures ot feveral of his Friends in Black and White, and maintain’d a Character of Truth, which fhew’d, that if he had Thought fit to beftow fo much time, as was neceflary to perfect himfelf in Colouring, he wou’d have ri- vall’d the beft of our Portrait- Painters in their Reputations. Towards the latter end of his Life, having brought his Circumftances into a nar- rower Compafs than he found them on his Fa- ther’s Death, he fometimes took Money. He drevf fome Defigns for Mr. Ifaac Bechet , who per- form’d them in Mezzo-Tinto. Thofe Drafts were generally done at a Tavern ; and, whenever he pleas’d, he cou’d Draw enough in half an Hour to furnifh a Week’s work for Bechet. His Inven- tion was fruitful, and his Drawing bold and true. He underftood Landskip-Painting, and Perfotm’d in it to Perfection. He was particularly a great Matter in PerfpeCtivc. In Defigning of his Land- G g 4 skips ( 45<5 ) I skip's he had a Manner peculiar to himfelf. He always carry’d a Long Book about him, like a Mufick Book, which, when he had a mind to Draw, he open’d, and Looking thro’ it, made the lower Corner of the middle of the Book his Point of Sight, by which when he had form’d his View, he directed his PerfpeClive, and finifh’d his Picture. His Hand was ready, his Strokes bold • and, in his Etching, fhort. He Etch’d fe- veral Things himfelf, generally on Oval Silver- Plates for his Friends, who being, moft of ’em, as hearty Lovers of the Bottle as himfelf, they put ’em to thofe Ufes that were moft ferviceable to them over their Glafles, and made Lids with ’em for their Tobacco-Boxes. He Drew feveral of the Grand Signior’s Heads for SuTaul Rycaut’s, Hiftory of the Turks ) which were Engrav’d by Mr. Elder. In the latter part of his Life he ap- ply’d himfelf to the Study and Pra&ice of Mo- delling in Wax, in Bajfo-Relievofin which manner he did abundance of things with good fuccefs. He Often faid, he wifldd he had thought of it fooner , for that fort of Work fuited better ivith his Genius than any. Had Ire liv’d longer, he wou’d have arriv’d to a great Perfection in it. Being one time at a Tavern with Mr. Faithom, Mr. Sturt the Graver, and others, he Sketch’d a Head with a Coal on a Trencher, and gave it to Mr .Faithorn % who touch’d upon it j in the mean time Mr. L$ Tiger drew another on another Trencher, and ex^ chang d it with Mr. Faithorn for that which he had touch’d. They did thus ten times, and be- tween ’em wrought up theHeads to fuch a height of Force, that nothing cou’d be better done in the kind. Thefe Trenchers are ftill extant, but we cou’d not hear in whofe Hands they are at: prefenr; j ( 457 ) prefenr. Some time before his Death another Eftate fell to him, by the Deceafe of his Mother, when giving himfelf a new Liberty, on the enlar- ging his Fortune, he fell into a Fever by his free way of Living, and making ufe of an Ignorant Surgeon to Let him Blood, the Fellow prick'd an Artery, which Accident prov’d mortal. He was very fat and corpulent, and that might con- tribute to the misfortune that happen’d to him in being let Blood : But however heavy his Bo- dy was, his Mind was always fprightly and gay. He was never out of Humour nor Dull, and had he borrow’d more time from his Mirth to give to his Studies, he had certainly been an Honour to his Country, He dy’d in Alderman- Bury about 8 Years ago, yet lives dill in the Memory of his Acquaintance with the Character of an Accom- plifh’d Gentleman, and a great Mailer in his Art. His Pieces are fcatter’d up and down, chiefly in this City, and the belt, and mod of them, arc in the hands of Mr.Le Vifer, his Brother, a Merchant of London. His Corps was carried from Chritt- Church Hofpital, to the Church of Sr. Mary Mag- dalen Bermondfey in Southwark , were ’twas Bu- ried in a Vault belonging to his Family. R. RE Ml G /US Van LE M TUT aim REM.EE . Was a famous Copyer in the Reign of King Charles II. of the neat Matters, as Stone was of the Great Italians. He was Native of Antwerp^ itnd a great Copyer of ran- Dyck, by whom he o h i • - ’ . was ( 45 * ) was much encourag’d. His Pieces fomenmes, through the Advantage of Time upon them’ pafs for that great Mailers, now Age has a little embrown’d the Tint, foftned the Colouring and perhaps conceal’d fome part of the ftifnefs] whereof he (lands accus’d by the Criticks. He had 1)0 /. for Copying Henry VII. and Henry VIII. in one Piece afrer Holbein , being the Famous Pi&ure that was on the Wall at Whitehall , which was afterwards burnt. He was very famous for the b»_(l Collection of Drawings and Prints of any of his Time,. It was he that bought the ce- lebrated Piece of King Charles I. on Horfeback hy Van. Dyck, now at Hampton- Court, for a fmail matter in the Time of the Troubles, which car- rying over to Antwerp, he was there bid rooo Guinea s for it, and (lood for r^oo ; but think- ing that not enough, he brought it over to 'England again, where the Times being turn’d, and he dill infilling on the fame Sum, he had the Picture taken from him by due courfe of Law, ^(ter it had cod him a great deal of Money to* defend. He died in London about 20 years ago. JOHN RILET E% Was born in London in the year i6±6: He was an excellent Englijh Portrait Painter, who arriv d to his great Skill in that Province, thro* the I nft ruCtion of Mr Zoujl, an extraordinary Dutch Mafter, of whofe Manner he retain’d much, tho perhaps with him he wanted the choiceft Notions of Beauty ; but for the Paint- ing Part of a Face, few have exceeded him of any Nation whatfoever. Had not the Gout, an ( 4 59 ) £nemy to the Sedentary and Studious, carry’d him off, we might have oppos’d a Riley to a Venetian Bombelli , or to all that the French Acade- my has produc’d, in that Manner of Painting, to this day. His Fame rofe upon the Death of Sir Teter Lely , at which time he was recommended to the favour of King Charles II. by Mr Chiffinch , whofe Pifture he drew. He was afterwards em- ploy’d in Drawing fome of the King’s Children, and at laft his Majefty fat to him himfelf. He alfo drew King James II. and his Queen, and King William and Queen Mary upon the Revolution , when he was fworn their Majefties Painter. He was very diligent in the Imitation of Nature, and Studying the Life rather than any particular Manner , by which means he attain’d a pleafant and moft agreeable Style of Painting. His Excel- lence was confin’d to a Head, a great number of which do him Juftice, even in the beft Collections of our Nation. He was Modeft and Courteous in his Behaviour, and of an engaging Conven- tion. He died in the year 1 6pi, at 45; years of Age, and lies buried in Bifliops-Gatc Church. TETER ROES T RATE N 7 Was born at Haerlem , and Difciple of Frans Hals , whofe Manner he at firft follow’d, but af- terwards falling into Still-Life , and having per- form’d an extraordinary Piece, that Sir Peter Lely fhew’d to King Charles, and which his Majefty ap- prov’d, he was encourag’d to purfue that way, which he continu’d to his dying Day. He was an excellent Mafter in that kind of Painting, viz,. in Gojd and Silver Plate, Gems, Shells, Mulical Inftruments, &c, to all which he gave an unu- fual ( 4^o ) fual Luftre in his Colouring, and for which his Pi&ures bear a good price. *Tis faid, that one day promifing to fliew a Friend a Whole-Length of his Matter Frans Hals , and thro* a little delay, his Friend growing impatient to fee it, he fud- denly call’d up his Wife ("his Mifter’s Daughter, whom he had marry’d) and told him die was a Whole Length of that Miller. He died laft Sum- mer was three years in James Street , Covent - Garden , and liesbury’d in that Church. Mrs. SUSANNAH PENELOPE ROSE , Wife to Mr Rofe thejeweller, now living, and Daughrer to Mr Richard Gibfon the Dwarf , be- fore- mention’d, by whom die was inttru&ed in Water-Colours, and wherein lhe perform’d to Admiration. She not only Copy’d finely, but alfo drew exceedingly well, after the Life in Little. She died about 6 years ago, at 4S years of Age, and lies buried in Covent- Garden Church. JAMES ROUSSEAU . , Was a French Landskip-Painter, born at Park. He had great part of his Inftru&ion from Har- man van Swanevelt , who marry’d a Relation' of his. He afterwards Traveled to Italy, where he Study’d fome years, and perfected himfeff in Aichiredture, Perfpe&ive andLgndship, by fol- lowing the Manner of themoft eminent Painters in that kind, and Studying the Antiquities. Re- turning to Paris , he was wholly employ’d, for fome years, by the King at Marly , and die where ; but leaving that Service upon th q Perfection, he. ( 4*0 retir’d to SmJJerlanJ , from whence he was in- vited to return by Monfieur Leuvois , chief Mi- nifter of State, upon all the Promifes of In- demnity imaginable, to finifh what he had begun ; which, refufing to do, he notwith- (fanding made a Prefent to the King of his Drafts and Defigns for that purpofe, and moreover nominated a Perfon to perform the Work. After a little flay in SwiJJerland he came for Holland , from whence he was invited over to England by the Duke of Mountague , who em- ploy’d him at his (lately Houfe in Bloomsbury ^ Upon his coming over hither, he farther im- prov’d himfelf in the Study of Landskip , and added his Beautiful Groups of Trees to the many Drafts he made after Nature, in feveral parts of this Kingdom. His Views ape commonly Sylvan and Solid, his Waters of all kinds, well underftood and tranfparenr, his Fore-Grounds great, and generally well broke ; and in a Word, the whole very Agreeable and Harmonious. His skill in Architecture made him often introduce Buildings into his Landskips , as he did alfo fmali Figures after the Manner of Vcuffin- M3ny of his Pictures are to be feenat Hampton-Ccurt, over the Doors y but far greater numbers are at his Grace the Duke of Mountague’s in Bloomsbury , where in conjunction with La FoJJe and Baptifi the Flower- Painter, he did the Stair- Cafe, and many other parts of that magnificent Fabrick. He had all due Encouragement from that noble Peer, who allow’d him a Penfion during Life, which, how- ever laded but few' years after the finifhing of his- Grace’s Houfe. When wc (peak of Painters, we commonly mean what relates to the Peifor- manee of their Arr, and that we have chiefly con* ( 4^2 ) confin’d ourfetves to in this Account; but in treating of this Perfon, we might lay a better Scene before us of many Inftances of Humanity, joyn’d with his Pious and Charitable A&s, espe- cially that at his Death, in bequeathing almoft all he had to his poor fu (Feting Brethren of the Trot eft ant Perfwafion herein England. He dy’d in London about iz yeais ago. He executed with his own Hand feveral Prints in Aqua Fortes after his own Landskips, from Whence we may form a better Idea of this Matter’s Works. Thefe Plates are now in the Pofieflion of Mr Cooper , the Print- Seller. S. GAS PAR SMITZ, better known by the Name of Magdalen Smithy Was a Dutch Painter, who came over to Eng- land abom z$ years ago. He practis’d his Pro- fettion fome time in London ; but afterwards, upon the* Encouragement of a Lady of Quality’ whom he had inftru&ed in his Art, and from whom he receiv’d a confiderable Penfion, he waited on her Ladyfhip over to Ireland , where he gain’d the greateft Efteem, and had very large Prizes for his Work. He painted Portraits in Oyl of a fmall fize , but his Inclination led him moll to Drawing of Magdalens, from whence he had his Name, and whereof he drew a great number by a certain Englijh Gentlewoman, who part for his Wife. Thefe Ma^dalens were very gracefully difpos’d, beautifully colour’d) expretting the Chara&er of Grief and Penitence, and ( 4^3 ) and the Whole-Together handfomely order’d. Mr. Smitz, had moreover a particular Talent for Pain- ting Fruit and Flowers, infomuch that one Bunch of Grapes of his Performance was fold in Ireland for 40 /. Sterling. He feldom fail’d to in- troduce a I hiftle into the Fore-Ground of his 'Magdalens , which he Painted after Nature with wonderful rieafnefs. He inftrufted with Succefs leveral Scholars, who have lince made good Pro- nciency in the Art j but though he got a great deal of Money by thefe and other means, yet thro his irregular way of Living, he dy’d poor in Dublin about 17 years ago. Mr. T MO MA S ST EVEN SO N, Was bred up under Aggas, and became a good Painter, not only in Landskip, but alfo in Fi- gures and Architecture in Dijlemfer. He was efpecially eminent for Scene-Painting, rho’ his Works are notfo much in efteem at this day, as when he liv’d. Mr. JOHN STONE, Was an extraordinary Copier in the Reigns of King Charles I. and II. He was bred up under CroJs y and having the Foundation of an exqui- fte Drafts-man perform’d feveral admirable Co- pies, after many good Piaures in England. He did a great number of them, and they are rec- kon’d among the fineft of any Englffi Copier, He did alfo fome Imitations after fuch Mailers as he more particularly fancy’d, which Perfor- mances of his are Rill had in great Repute, and receiv’d into the befl QoUdVms among us. He ( 4*4 ) Ipent 37 years abroad in the Study of hkf Art, where he improv’d himfdf in feveral Languages, being befides a Man of fome Learn- ing. He died in London the 24th of Auguft> 1653. and lies buried in S ^Martins. VETER STOOP; Was a Dutch Battle-Painter, who came into England fiom Vortugal; with the lateQueen- Dowa- ger. His chief Study was Battles, Huntings and Havens, which he perform’d for fome time with good Succefs ; but after the arrival of John Wyke in England , who Painted in the fame way, his Pictures were not fo much valu’d by reafop of the greater Excellency of that Matter. This Stoop etch’d feveral Prints of Horfes, as iikewife Queen-Dowager’s Publick Entry. He died here about 20 years ago. Mr. ROB ERT STREATER , Was born in the Year 1624. and bred up to Painting and Defigning under Du Moulin. Be- ing a Perfon of great Induttry, as well as Capa- city, he arriv’d to a very eminent degree in di- vers Branches of his Art, efpecial^r in Hiftory, Architecture and PerfpeCtive, wherein he excel’d all of his Time in England , and ttiew’d himfelf a great Matter by the Truth of his Out~line j, and the Learning of Fore-fhortning his Figures, as may be feen by his Works. He was alfo excel- lent in Landskip , having a mighty Freedom of Pencilling with equal Invention ; and was more- over remarkable for StiU-Life , infbmuch, that there are fome Fruit of his Painting, yet to be feen, which are of the higheft Italian Gu(lo, both for Pencilling, Judgement and Compofition. To do him but common Juftice, he was the greateft, and mod Univerfal Painter that ever England bred, which we owe, in fome meafure, his^ Reading, he being reputed a very good Hiftoiian, which no doubt contributed not a lit- tle to his Perfection in that way of Painting. He had alfo a very good Collection of Italian Books, Drawings and Prints after the belt Matters, was always very vig'lant in Drawing in the Acade- my, and this even in his latter days for the En- couragement of Youth 3 and, in a Word, he njay well be efteeirfd the compleateft Drafts man of his Time. Upon the Happy Reftoration of King Charles II. he was made his Majefty’s Serjeant - Painter, his Merit having recommended him to that Prince, who was a Judge of Painting, and confequently knew 7 well how to reward it. At length by continual Study and Affiduity, he be- came fo afflidted with the Stone, that it made the latter part of his Life anxious to him, infomuch that to get rid of his Pains, which were moft intolJerable, he refolv d to be Cut, which King Charles hearing of, and having a great kindnefs for him, he fent on purpofe to France for a Sur- geon, who coming oVer, and performing his Office, tho’ he did not die under the Opera- tion, he did hot long furvive it, for it was, in great meafure, the caufe of his Death, in the Year 1680, at 56 Years of Age, after he had liv'd in great Efteem and Reputation all his Days. His principal Works were at the Theatre at Oxford, iotnc Cielings at White-hall, which are now burnt; The Battel of the Giants with the Gods at Sir Robert Claytons ; the Pictures of Mofes and Aaron H h at ( 4 66 ) at St, M; fibers Church in Cornhil ; all the ancient and fine Scenes in the Old Play Houfe , and many more of equal Value and Confideration, which 1 have not room to infert. JOHN STBR ECHT, Was a Landskip-Painter, born at Antwerp in Brabant , and brought up in that City under his Eather. He was a clofe Imitator of Nature in all his Landslips, and in his younger days went upon the Rhine, and other adjacent Places, where he Drew feveral pleafant Views in Water-Co- lours, fo that he /pent more of his Life that way than he did in Painting, for which reafon his Drawings were more Valu’d than his Pictures. The occafion of his coming over hither was this. The Duke of Buckingham, in his way home from his Embaffy in France , palling thro’ the Nether- lands ftaid fome time at Antwerp , where meeting with feveral of this Mailer’s Works in Landskip, he was fo well pleas’d with them, that he in- vited him over to England , and promis’d to make him his Painter in that way, which, upon his coming over, he perform’d, and he did a great Number of thofe Pictures for him at Clive- den- Houfe: However, after three or four Years (lay with him, he left him, and perform’d feve- ral Pieces for the Nobility and Gentry of Eng- land, among whom he was, for fome time, in vogue. He alfo drew feveral forts of Cattle with good fuccefs, which he commonly plac’d in his Landskips. He died about three Years ago in London, and lies Bury’d in St. James’s Church, being 73 Years old. T ( 4<*7 ) , ' TV T. Mr. HENRT T/LSOtf, Was an Englijh Face- Painter of good Note, born in London. After he had been Inftru&ed* for fome time, by Sir Peter Lely , in the nature of Face-Painting, he traveJl’d for Italy, where he (laid fix or feven Years, and during that time Copv’d with wonderful Care and Exa&nefs, a great num- ber of Pictures of the beft Mafters,by which means at his return to England, he became not a little fa- mous m the Portrait way, and was much more accceptable to the Curious in his Ait, than he was to a Miftrefs, whom he had courted for a long time, till at length, thro a Melancholy Ha- bit of Body contrasted by her Unkindncfc, and a fedentary Life he (hot himfelf with a Piftol. He had a particular Genius for Crayons , in which he. perform’d admirably well, after the" pj. aures Of Correggio, Titian, mi the Carracci, while he was at Rome. He died at 3 5 Years of Age and lies buried at St. Clements . 5 V. henrt PANDER. borcht, A.Jr !t S b T S }. Fr ^” k ‘ ndale ^ the Palatinate, and flud'ed under his Father of the fame Name Bv r 0 t p' he ,.) Va - S b , rtaking 0Ur - he re- & ,s 5«> wllc " the LatJ of Arundel paffing by that way in his Em- H h a ba 0 y ( 4*8 ) ba (fy to the Emperor, he took him along with him to Vienna, From whence he fcnt him to Italy tocolleCt what Rarities he could procure there for him. At his return he brought him ovtr to England , and he continu'd with him to the Earl’s, Death upon whofe Deceafe he was prefer’d to the Service of the Pi nee of Wales, afterwards King Charles II. when after having liv’d a conlideiable time at London in great Efteem, he return’d to Antwerp where he died. Elis Father was 1 kewife very much va- lu’d by the Earl of Arundel, for his fine Collecti- on of Rarities, and Antique Curioluies. JOHN VANDER-H E T D 0 N, Was a good Face-Painter, and a Native of Bmjjels. Coming over to England , he work’d for Sir Veter Lely in hisDrapetys and Copying, feveral Years, till afterwards marrying, he went irito Northamptonshire, where he was' em- ploy’d by mod of the Nobility and Gentry of that Country. There are feveral of his Pictures to be feen in thofe Parts, efpccially at the Earl of Gainsborough's, my Lord Sherrard’s, and at Bel- ‘voir-Cafllc. He died about nine Years ago at my Lord Sherrard' s, and lies bu ied at Staplefoit- in Leicejler Jhire. ADRIAN FAN-DIES 7, \ Was a fam’d Landskip Painter born at the Hague, but whom we may very well term an Eni[lijh Painter, having been brought up here from his Youth. He was chiefly inftruCted by his Father, who commonly drew Sea-Pieces, but v that ( 4^9 ) that which contributed rnoft to make the Son a Matter, as he often own’d, was drawing after - thole noble Views of England in the Weft cm Parts, and along our Coafts. He alfo drew ma- ny of the ruin’d Caftles in Devcnjhire and Corn- wall being encourag’d by that noble Peer the Earl ©if Bath, at his Seat in thofe Parts. This Painteir’s Diftances have a peculiar Tender ne.fs, and hisij Clouds a Freedom, that few have arriv’d at. Hlad he liv’d in Italy, or been more encou- rag’d therein the ftudy of his beft Manner, he might have equal’d the greateft Landskjp-Pain- ters ei ther of our own, or other Nations j but the lofs of his Legs early by the Qout, and the low Phizes for which he painted after waids check'd his Fancy, and made hitn Jefs careful in his Defigns, which on fome Occafions would be gore not a little aliarm d at it, well knowing how van d encreas’d his Efteem with his Mia- fter. Whilft heli vd with Rubens , he painte;d a ^ rea [u- U Jl^ r Faces > and among the reft of^e M& rs WiFe ’ , which is «d ome the beft Pictures in the Low-Countries. Hie made two more admirable Piters for his Mafterr th l feizing of 0Ul * Saviour in the Garden, and the other the crowning him witrh n°ms. Afrer having finifli’d thefc two fime Pi&urces ( 47 * ) Pi&ures, hetravell’d to Italy to feeTIf mb's « and at his return made that incomparably Piece for the Monadery of the /htguflmi at confiding of St. Auflin looking up ftedfaflly to Heaven, which appears all open and finning with Light. The Prince of 0 range hearing of his Fame, fern for him to draw hisPtincefs and Chil- dren’s Piaures, which he perform d to Admira- tion No fooner had ihefe rare Pieces appear d in Publick, but the mod confiderable Perfons in Holland were ambitious to be drawn by the fame Hand . The Nobility of England _ and France lent likewife on purpofe for this curious Artid, that they might partake of the fame Happmefs, but fo numerous were they, that Van-Dyck not e- ing abh, with his utmod Indudry, to con.ent them all, drew only thofe he had the molt Refpea for, who gratify’d him accoidmgly. Being arriv’d in England , he was prefented S Charles I. by Sir Kenelm Digiy, when the King not only Knighted him as a peculiar Maik of hisEfteem, but alfo made him aPrefeni t of a MafTy Gold-Chain with his Picture fet round with Diamonds ; and befides fettled axonfidei able Penfion upon him. He was a Perfon of low Sta- ture, but well proportion d; very Handlom, Moded, and extreamly Obliging, and moreover a great Bncourager of all thofe of his Countrj, who excell’d in any Art, mod of whole Futures he drew with his own Hand, and which were Engraven after him by the beft Gravers °f that time (as Bolfivaert, Vorfierman , Pontius , oCC.j and fame were etch’d by himfelf. He marry'd one of the Faireft and Nobleft Ladies or the Eng- lift Court, Daughter of the Lord Rutben , Earl of Gown, whole Father being accus’d of a Con- Hh 4 *i?t- f . ( 472 ) P'racy againft King James I. his Eftate was con- hk w- d r f ° that o ad no great Ponion with ms Wife, except her Beauty and Quality. He al- ways went magnificently Drett, had a numerous and gallant Equipage, and kept fo noble a Table in hts Appartment, that few Princes were more vihted, or better ferv’d. Towards the latter end of hisLife growing weary of Face-Painting, andbeine defirous to immortalize his Name by fom; more glorious Undertaking, he went for Paris in hep >s ro be employ’d in the great Gallery of the Lcuvre, bur not Succeeding there he return’d hither, and by his Friend Sir Kenelm Digby , propos’d to the King to make Cartoons for the Banquet tin?- Houfe at Whitehall , the Subject of which was to have been the Initiation of the Order of the Garter the ProceJJlon of the Knights, in their Habits , and the Ceremony of their In(lalment y with St. Georges Feaft, but his Demand of 80000 Pounds being judgd unreafonable, whilft the King was treating with him for a lefs Sum, the Gout, and other Diuempers put an end to his Life. He was bu- ried in St. Paul s Church, and whatever Monu- ment was kt up for him, it was ddtroy’d after- wards by the Fire. WILLIAM VaKDEL^VELDE . , commonly call’d the Old, Was an extraordinary Ship- Painter of Am- Her dam. Coming over into England he was much employ’d by King Charles 11. for whom he painted fcveral of the Sea-Fights between the Dutch and English. He alio underttood Navigation admirably well, and is faid ro have Conduced the English Fleet to the burning of ScheUing. He was the Father of a living Matter, whom no Ag;e (473 ) Age has equall’d in Ship-painting, and this we owe to the Father’s Inftru£lions, who was ap ad- mirable Draftfman of all Maritime Obje£ts, He liv’d at Greenwich, to be the more converfant in thefe things,which were his continual Study, and in which King Charles II. and King James II. gave him all polfible Encouragement, making him their Painter, with a coniiderable Salary, which was afterwards continu’d to his Son, now living. The Father, in his latter days, com- monly drew in black and white, on a Ground prepar’d on Canvas, but which appear’d like Paper. Fie gave an eafy freedom to his Sails and Tackle, as alfo to every part of a Ship due Pro- portion with infinite neatnefs. For his better in- formation in this way of Painting, he had a Mo- del of the Marts and Tackle of a Ship always be- fore him, to that nicety and exadtnefs, that r\o- thing was wanting in it, nor nothing unpropor- tionable. This Model is ftill in the hands of his Son. Old Vandervelde died in London about 14 Tears ago. FRANCIS VJN-ZOON, Was an eminent Dutch Painter of Fruit, Flow- ers and Plants. He was bred up at Antwerp un- der bis Father Old Van&oon, a Painter in the fame way. Having Married a Niece of Serjeant Sweater's, flie brought him into the Bufinefs of feyeral Perfons of Quality, which firft occafion’d his being known. He painted loofe and free, yet kept dole to Nature, and all his Pictures feem drawn by the Life. He began fame large Pieces, wherein he propos’d to draw all the Phy- fical Plants in the Apothecaries Garden at Cbelfea , |ut which Work proving tedious, he delifted from it, having greater Encouragement other ways. He died here in London about four years ago, and lies buried at St. James's. HARMAN VAR&*LSTj Was Elder Brother of the famous Simon Varelfl „ now Jiving. He painted Hiftory, Fruit and Flowers after a Manner very pleafant and well colour d. He Educated feveral Son s, and one -daughter, in the fame way of Drawing, moft of whom are ftill living. He ftudied fome time at Rome , and refided a while in the Emperor’s Court at Vienna , which City he left upon the Turks coming before it in 1 683. He died at ■London about feven Years ago, and lies bury’d m Sf. Andrews Holborn. HEn^r FEi^GJXGONy Was a Dutch Painter of Landskip and Ruins, chiefly the latter, which he perform’d ex- ceeding neatly. His Colouring was very natural, but his Landskip-part commonly too dark and gloomy, appearing as if it was drawn for a INight-Piece. He painted fometimes fmall Por- traits, which were very curious. He left Eng- land fome time ago, and died lately in France. F. de FO^STE^MJN, Was Difciple of Harman Sachtle'ven , and an Extraordinary curious and neat Landskip- Painter in Utile > in which he may very reafonably be (aid to have exceeded all the Painters of his time. He perform’d his Landskips with wonderful Care and Neacnefs after the Dutch Gout . He fpar’d ( 475 ) fpar’d no Pains in his Views, which commonly reprefen t Places on the Rhine, where he had * ftudied and accuftom’d himfelf to take in a large Extent of Hills and Diftance. The extravagant Prizes he demanded for his Pi&ures, hindred him from being often employ’d by King Charles II. who was pleas’d with his Manner of Painting, efpecially that Piece he made of Wind for- Cattle, now extant in the Royal-Collettion . He aceom- pany’d Sir William Soams fcnt by King James If. on an Embalfy to Conflantincyle , but upon that Minifter’s Death he return’d to France, and died there. His Defign in going for lurky was to draw all the jremarkable Views in that Empire, but he was difappointed by his Patrons Death, without whofe Prote&ion he durft not attempt it, to the great Regret of all Lovers of Art. W. Mr. ROBERT WALTER, Was an Englijh Face-Painter, Contemporary with Van* Dyck, and whofe Works, by the Life, beft fpeak their own Prailes. He liv’d in Oliver Cromwell's Days, and drew the Portraits of that Ufurper, and all his Officers, both by Sea and Land. The Great Duke of Tufcany bought an Original of Oliver by this Matter ; the manner this. Having fent over to fome Agent here to purchafe fuch a Pifture for him, the Perfon could light on none to his mind for a Ion** while, till at length hearing of a Woman, a ReJ lation of the Ulurper’s that had one, he went to fee it, and found it, in all Refpe&s, fo well perform’d, that he bid her a good Price for it* She not wanting Money, told him, fince /he had ‘ the ' 47tf ) the Honour to be related to the Prote&or, /he would, by no Means, part with his Picture • but the Gentleman Hill infilling upon having it’ and defiring her to fet what Price /he pleas’d up- on it, /lie thinking to get rid of his Importu- nity by her exorbitant Demand, ask’d him 500 l. for it, when, contrary to her Expe&ation, he had no fooner heard the Sum nam’d, but he told her /he /hould have it, and accordingly paid down the Money immediately, which /he being bound by her Word to take, parted with her Picture even with regret, tho’ at fo great a Rate. 1 This is to be updejrltood to have happen’d in the Protestor’s Life time. Mr. Walker painted alfo Oliver Cromwel, and Major General Lam- bert , both in one Piece, which PiSture is now in the poMionof the Earl of Bradford. His own PiSture drawn by himfclf now bangs in the Founder’s Gallery near the publick Library in Oxford. He died a little before the Restoration. Mr. TA^RETWALTO A 7 * Was an Emlijh Painter, and Difciple of Wal- ker. He Painted Still-Life very well, but his particular Excellence lay in knowing and difco- vering Hands. He was Well vers’d in Italian Pictures, and had the care of the Royal Collection. He was alfo remarkable for mending the Works of many of the great Mailers, that had fuffer’d either by Age or ill Ufage, and this he did bv fever al of the bell Pi&ures at Whitehal. He died in London about 7 years ago. Mr. WILLIAM WISSING, . Was a Face Painter, bred up under Dodaen^ a Hiftory-Painter at the Hague. Upon his co- ( 477 ) ming over to England , he work’d fome time for Sir Peter Lely, whofe Manner he fuccefsfully imitated, and after whofe Death he became fa- mous. He Painted King Charles II. and his Qjeen, King James II. and his Queen, the Prince and Princcis of Denmark, and was fent over to Holland, by the late King James , to draw the Prince and Princefs of Orange, all which he perform’d with Applaufc. What recommended him to the E- fteem of King Charles , was his Picture of the Duke of Monmouth , whom he drew fevera! times, and in ftveral Poftures. He drew mod of the then Court, and w?s Competitor with Sir Godfrey KnelUr, who was at that time upon his Rile. Mr. JVijfmg was a Perfon whofe good Manners and Complaifance, recommended him to mod People’s Etteem. In Drawing his Por- traits, efpecially thofeof the Fair Sex, he always took the Beautiful Likenefs, and When any Lady came to (it to him, whofe Complexion was any ways Pale, he would commonly take her by the Hand, and Dance her about the Room, tili the became warmer, by which means he height- ned her natural Beauty, and made her fit to be reprefented by his Hand. He died much la- mented, at the Age of 3 1, at the late Earl of Exe- ter* s ( Burleigh Houfc i MSortbampton-Jhire") and lies buried in Stamford Church, where that Noble Peer ereaed a Monument for him, with the fol- lowing infeription, StuemBataya 1 ellus educavit , Gallia aliquando fevit, . Anglia cumulatioribm Beneficijs profecuta efi, Artium , qua-s no arias callebat , jujtior Vir facillimis & fvavijfimis Mori bus. Inter Florem & Robur Juventa , VixTrigefimum Secundum Vitre Annum ingrejfus , Wilhelmus IViJfingus Hagenfis, Piftcr ( 478 ) H. S. E. Pi ft or Anttquit Par, Hodiernis Major ; Delij celeb exrimi non degener Difcipultss » Heu Fatum pracoczs Ingenij i §>uam fubito dccerpitur Botrus , Jguia Cateris ffftinantius mature frit : Cujus ad confervandam Memoriam y MunificentiJJimus Joannes Comes Exceftren/ts t Patronorum Optimus , P. M. P. C. Obijt 10. Die Sept. An. i 6 Sj. There is a Mex/^o-Tmto Print of him, under which are thefc Words, Gulielmus mjftngus , inter Piftores , /«; Seculi Ce- leberrimos , »«/// fecttndus j Artis fua non exi~ guum Decus & Ornamentum. Immodicis brevis eft FUtis- . FRANCIS WOUTE^S? Was, born at Lyere, in the year 1614, and bred up in the School of Rubens. He was a good Pain- ter of Figures in Small. , chiefly Nakeds • as alfo o . Landslips.. His Merits promoted him to be principal Painter to the Emperor Ferdinand If and afterwards coming into England with that Emperor s Ambaflador, he was upon the Death ot that Prince, made Gentleman of the Bed- Chamber, and Chief Painter to King Charles II. then Prince of Walt,. He liv’d a confidcrable ?«iri ln g i ea j f r ftcem . and at length retiring to Antwerp , died there. Mu ( 479 ) Mr .MICHAEL WEIGHT, Was an Englijh Portrait-Painter, born of Scotch Parents. He Painted the Judges in Guild-Hall, which Pieces of his are ddervedly in good E- fteem. He alfodrewa High-Land Laird in his proper Habit, and an Irijh Tory in his Country Drefs, both which Whole-Lengths were info great Repute, at the time when they were done, that many Copies were made after them. Mr WrighTs Manner of Painting was peculiar tobimfeif. He was well vers’d in Paintings and Drawings of a!-* molt all Matters. He was likewife well skill’d in Statuary, and had a confiderable Collection of Antique Medals, of which he was an excellent Judge. In his latter days he waited on my Lord Cafilemain in his Embafly to Rome y and was his Lordlhip’s Major-Domo. Returning to England, he died in London about 6 or 7 years ago. THOMAS Van IV IK E y common- ly call d the Old 0 Was Father of John van Wyke y and a famous Painter born at Haerlem. He Painted Landskip* efpecially Havens and Sea-Forts, Shipping and fmall Figures ; but his particular Excellency lay in reprefenting Chymifts in their Laboratories, and Things of like Nature. He follow’d the Manner Of Peter de Laer y alias Bamboccio. He left England after he had liv’d abroad a confiderable Time, and died here about aoyearsago. JOHN Van WYKE> Son of the before- mention’d, was a Dutch Bat- tel* Painter of great Note. He has both in his Horfes ( 4 8 °) Horfes and Landskips, a great Freedom of Pen- cilling and good Colour ; as alfo a great deal of Fire in moft of his Defigns, fome of which are very large, efpecially thole of Sieges and pirch’d Battels, as at Namur , the Boyn^ &c. His Hunt- ting Pieces are alfo in great Efteem among our Country-Gentry, for whom he often drew Horfes and Dogs by the Life, in which he imitated the Manner of Woverman. He died at Mortlack where he had_ liv’d for fome time, about the year 1701. Z. Mr. Z 0 ll.ST or SOEST. Was an eminent Dutch Face- Painter, who came into England about 50 years ago, and found here Encouragement fuitable to his Merit. The Portraits he drew after Men are admirable, ha- ving in them a juft bold Draft, and good Colouring 3 but he did not always execute with a due regard to Grace, efpecially in Women’s Faces, which is an Habit can only be acquir’d by Drawing after the moft perfect Beauties, of which ’tis fufficiently known, our Nation is bet- ter ftor’d than his Country. What we owe more efpecially to him, is for his educating Mr. Riley ^ of whom I have fpoken elfewhere, at large j and therefore, fhaH not need to re- peat any thing here. Mr. Z oufi painted feveral Perfons of very great Quality. His Colouring was very warm, and he was a great Imitator of Nature, but for the moft part he was unfortu- nate in his Choice. He died in London about 30 years ago. FINIS. CONTENTS be Eflential B OOK I. Rules for forming a Right Judgment on th« Works of the Painters. . r Remarks and Inflruttions on the preceding Idea. 9 Chap. I. Of Genius. Chap. II. That a Man may, without any fcrupie, mak« ufe of another Man’s Studies VE C hap. III. Of Nature; Of the Aftions of Nature*, Of the A£Uons of Habit, and of Education. _ *4 Chap. IV. In what Sence one may fay Art is above Na- ture. 1 ? Chap. V. Of the Antique. Chap. VI. Of the Grand Gufio. Chap. VII. Gf the Eflence of Painting. Chap. VIII. Whether Truth of Hiftory Painting. . Chap. IX. Of the ImperfeG: Idea’s of Painting. Chap. %. How the Rf mains of the imperfeS Idea ofPain- ting have been preferv’d in the Minds of Many evet fince its Re-eftablilhment. — — — ~ — 2 5 Chap. XI. Of Companion the firft part of Painting a? C hap. XII. Of Dejign, the fecond part of Painting. 3® Chap. XIII. Of the Attitudes. — 1 chap. XIV. Of the Exprejjions. The CONTENTS. P Ibid. Chap. XV. Of the Extremities. •— — — ' Chap. XVI. Of the Draperies. """" Chap. XVII. Of Land skips. a Chap. XVIII. Of PerJpefiiV!’. — . . 3 6 Chap. XIX. or Colouring, the Third part of Painting. 37 Chap. XX Of the Harmony of Colours Ibtefi Chap. XXI. Of the Pencil. ' * 39 Chap. XXII. Of the Licences ; Chap. XXIII. By what Authority the Painters have repte- fented, under Human Figures, Things Divine, Spiritual and Inanimate. * — 40 Chap. XXIV. Of Naked Figures, and how they may be made ule of * * ■* -■ - ' 4? Chap. XXV. Of Grace. ■ 47 Chap XXVI. Of Deftgns. 4* Chap. XXVII. Of the Ufefulnefs and Die of Prints. 5 4 Chap. XX VIII. Of the Knowledge of Pi&ures # 66 I. Ta know what is Good, and what Bad, in a Pi&Ure. — — ’ ^7 II. To know who is the Author of a Picture. 68 III. To know if a Picture be an Original or a Copy. * 7 . 7 1 BOOK II An Abridgment of the Lives of the Painters, and of the Origin of Painting. - . An Abridgment of the Lives of the Six principal Pain- ters of Greece. *“7 ~ 79 BOOK III. An Abridgment of the Lives of the Roman and Florentine Painters — — 9$ BOOK IV. An Abridgment of the Lives of the Venetian Painters. • 1 — _ *79 BOOK V. An Abridgment of the Lives of the Lombard Painters. ’ 21 * BOOK VI. An Abridgment of the Lives of the German and Flemijh Paintcis. a 4 8 BOOK VII. An Abridgment of the Lives of the French Painters. - ■ • 334 Of the Taft of feveral Nations — 391 BOOK VIII. An Eflay towards an Englijh School of Pain* ten. — ■ ■ 39 8 An The CONTENTS. An Alphabetical INDEX of the Painter $ Nam« in De Piles. A. Page Albani,Francefco. 239 Alberti, Leone Battifta. 103 Albert Durer. 250 Aldegraef, Albert* a 5 i Andrea del Sarto. 135 Angelico, Giovanni 504 Antonio dd Melfina. 107 Apelles. 85 B. Baccio Bandinelli. 138 Balthazar Peruzzi. iyy Bamboccio. 312 Barent, Ditteric. 273 Barocci, Frederico. 174 Balkan, and his Sorts. 208 to 212 . Baftiano del Piombo. 162 Baur, William. . 309 Beccafiumi, Domenico. 1J4 Bellino, Giacomo. 1 79 Bellino, Gentile. 180 Bellino, Giovanni. 1 8 1 Blanchard , Jacques. 348 Blomaert, Abraham. 299 Bo!, John. 274 Both, John and Henry. 3 1 3 Berettini, Pietro. 177 Bourdon, Sebaftian. 368 Brawer, Adrian. 306 Brendel, Frederic. 309 Du Breuil. 336 Bril, Matthew,, 282 Bril, Paul ibid. Brugle, Peter. « 270 Lt Brun, Charles. 378 Bufaltnaco, Bonanaico. 99 C. Page Cagliari, Paolo. 199 Cagliari, Benedetto. 204 Cagliari, Carolo. ibid. Cagliari, Gabriele. ibid. Calcar, John of 260 Candito, Pietro. ay$ The Caracci. 217 Caftagno, Andrea del. Cavallino, Pietro. 100 Champagne, Philip de 372 Champagne.Jean Baptifte de . . 37y De Charmois, Martin. 356 Cimabue. _ 9? Correggio, Antonio dd, 214 Cornelius Cornelius. 282 Cornelius, Peter. 285 Cofimo, Pietro. 1 1 5 Cofimo, Andrea. 143 Couftin, Jean. 335: Coxis, Michael, 150 D. Daniele dd Volterra. 164 Deryck, Peter Cornelius. 28? Dipembeck, Abraham. 31 6 Domenico di Veneria. Domenichino. *33 Dorigni, Michael. 36a The Do{To 4 s. 183 Duccio. Engelbert, Cornelius. 258 Ellheimer, Adam. 297 F. Ferdinando El!e. 338 Fouquier, Jacques. 3 1 1 I i a Fi$ns The CONTENTS. 314 337 130 Frans Flons. * 7 * Francefca, Pietro della. 103 Francia, Francefco. IJ 3 Francis, Simon. 37 ° Friminet, Martin. 337 Du Frefnoy, Charles Alp- honfe. 3 60 G. Gaddo Gaddi. . 97 Gaddo Gaddi,' Taddeo di.101 Gaffel, Lucas. . , Gaud, Henry Count Palatine 310 Geldorp, Gelee, Claude* Genga, Girolamo. Gentile dd Fabriano. George Pens. 2 5 ° Gerbier, Sir Balthazar. 3 1 4 Ghirlandaio, Domenico. 109 Giorgione, 184 Giottino, Thomafo. 102 Giotto, 93 Girard Dau. 321 Giulio Romano. 130 Giovanni d’Udine. 152 Giofeppino. 1 7 5 Goltius, Henry. 279 Golcim, Hubert- 273 Guercino da Cento. 241 Guido Reni. 228 H. Hains or H«ints,Jofeph. 218 Hanneman. 3 2 3 Hemskiik, Martin. 574 Hire, Laurens de la 359 Holbein, Hans. 266 Hontorft, Gerrard. 302 Johnfon, Abraham. 300 John of Bruges. Joaaneus, James. 323 lulio Romano. 130 K. Kay, William. 272 Kouc, Peter. 26a L. 2 6$ a 56 100 1 16 102 105 2-57 z6 2 247 1 12 97 27 6 101 Lambert Lombard. Lanfranco, Giovanni. Laurati, Pietro. Leonardo dd Vinci. Lippo. Lippi, Filippo. Lippi, Filippo, tht Son. no Loir, Nicholas. > 37 8 Lorenzetti, Ambrogio. Lucas of Leyden. M. Mabufe, John of Manfredi, Bartolomeo. Mantegna, Andrea. Margaritone. Martin de Vos. Memmi, Simone. Michael Angelo Buonaroti ijtS Michael Angelo, id Carava- gio. 244 Mignard, Nicholas. 3 66 Mirevelt, Michael* 3°* Mieris, Francis. 322 More Anthony. 270 Mortuo dd Feltro. 143 Mutiano, Girolamo. 206 Murillo, Bartholomeo. 389 Mudo Hernandez el. 390 N. Ne;fcher, Gafpar. 330 O. Oliver, 3 T ? Orgagna, Andrea. 102 Otho Venius. 213 P. Palma vecchio. 207 Pa ! ma. Pamphilus. 83 Parmeggiano. 145 Parrhalius. 82 Pafqualino delh Marca. 153 Paolo V.eronefe. 199 Pellegrino di Bologna. t66 Pellegrino id Modena. 153 Penni, The C O N Penni, Francefco. 134 Penni, Luca. 13? Perrier, Francis. 3J2 Pferino del Vaga. 148 Petel, George. Pietro da Cortona. Pietro Perugino. , *21 Poelembourg, Cornelius. 307 Pinmrricchio, Bernardino. hi Polidoro da Caravaggio, 138 Pontormo, Giacomo da. 1 3 7 Pordenone, il Vecchio. 205 Pordenone, Giulio Licinio. 2It Porbus, Peter and Francis. 273 Pouflln, Nicholas. 343 Primaticcio, Francefco. 16$ Protogenes. 90 Q Qurllinus, Erafmus. 324 Quintin Matfis. 258 R. Raphael Sanzio. 123 Raphael da. Rheggio 173 Rembrant, 316 Ribera, Giofeppe. 247 Richard. 173 Roflb. 143 Rotenhamer, John 284 Rubens, Sr. Peter Paul. 285 S. Salviati, Francefco. i< 5 t> Sandrart, Joachim. 325 Sandro Botticelli. 112 Savery, Rowland. 308 Schouarts, Chtiftopher. 272 Schut, Cornelius. 302 Score 1, John. 263 Segres, Gerrard. 301 Segre, Daniel. 313 Signoielli, Luca. 114 TENTS. Spranghcr,Bartholometv.277 Seephano of Florence. 1 10 Stella, James. 354. Ste nvick, Henry. 299 Stimner, Tobias. 2 6® Strada, John. 277 Swanevelt, Harman. 314 Le Sueur, EufHche. 358 T. Taffi, Andrea.- 96 Teniers, Dtvid, tie Elder. 310 Teniers, David t theTounger 3 16 Tefta, Pietro. 176 Timanthes. 84 Tintoretto, Giacomo Ro- bufti. ipy Tintoretta, Maria. 19S Titiano Vecelli. 187 Torrentius, John. 308 U. Van-Ach, John. 28* Le Valentin. Van-Dyck, Sir Anthony.30; Van- Heem, Cornelius. 319 Van-Eyk, John and Hubert. Van-Houk, John. 311 Van-Orlay, Bernard. 25$ Van Ort, Adam. 2S2 V auni , Francefco. 174 Varin. 338 Vafari, Giorgio. 169 Vecelli, Francefco. 194 Vecelli, Oratio. 19$ Ver-Mandre, Charles. 275 Vcr-Meyen,John Cornelius. 2 59 Verrochio, Andrea. 109 Vetfchure, Henry. 3 28 Vignon, Claude. 367 Vouet. Simon. 340 Z. Zeuxis. 79 Zucchero, Taddeo. 1 69 Zucchero, Frederico. 171 The CONTENTS. An INDEX of the Painter’f Names m the ElTay towards an Englifh School . A. 1 Aggas, Mr. Robert 393 Anderton, Mr. Henry 390 Afhfield, Mr. Edmund Ibid. B. Baptift Gafpars 4 00 Baptift Monnoyer^ 401 Bai low, Mr. Francis 40a Beal, Mrs. Mary 403 Du Bois, Edward. Ibid Boon, Daniel 404 Buckfliorn, Jofeph Ibid. Buftler, 4°J Byer, Nicholas Ibid. C. Carings, Mr. John 408 Carlifle, Mrs. Anne 406 Caufabon, Frederic Ibid. De Cleyn, Francis 4°7 Coloni, Adam Ibid. Coloni, Henry 408 Cook, Mr. Henry Ibid. Cooper, Mr. Alexander 409 Cooper, Samuel Efq j Ibid. Mi', Crois the Copier 41a D. Dankers, John and Henry . . 4*3 Deryke, Wdliam Ibid. Digby, Lord B'jTsop 414 Dobfon, Mr. William Ibid. E. Edema, Gerrard 416 F. Fas thorn, Mr. William 417 Le Fevte de Venife 419 Fktman, Mr} Thomas 418 Freeman, Mr John 4*9 Fuller, Mr. Ifaac 420 G. Garrard, Mark 431 Gafcar, Henry Ibid. Gentilefchi, Horatio 421 Gentilefchi, Artemida 42} Gibfon, Mr. Richard 423 Gibfon, Mr. Wiiliam 424 Gibfon Mr. Edward I bid. Greenhill, Mr. John 425 H. Hanneman, Adrian 428 Hayles, Mr : John 4257 Hemskirk, Egbert. Ibid. Hilliard, Mr. Nicholas 430 Hollar, Wenceflaus 431 Holbein, Hans 432 Hondius, Abraham 536 Hoskins, A*. John 437 Houfeman, James Ibid . Johnfon, Cornelius 438 Johnfon, Martin 439 De Keifar, Henry Ibid . Killigrew, Mrs. Ann* 440 Kneller, Mr. John Zachary Ibid. L. Lambert, Ma}or-Gtncr*l. Ibid. Lanier, Mr. 444 Lanckrinck,ProfperHenricus 441 Lauron, or Laroon, Marce- lius 444 Lely, Sir Peter Ibid. Lemens, Balthazar van 448 Lightfoot.Mr.William Ibid. Loten,John ibid. M,' The CONTENTS. M. Manby, Mr. Thomas 449 My tens, Daniel 449 O. Oliver, Mr. Ifaac 450 Oliver, Mr. Peter 451 P Paert, Mr. Henry 451 Pembroke, Mr. Thomas 45 a Pen, Jacob Icid. Pierce, Mr. Edward Ibid. Le Piper, Mr. Francis 453 R. Remee 457 Riley, John Efy; 458 Reeftraten, Peter 459 Rofe, Mrs. Sufab 460 Rouflcau, James loid. S. Smitz, Gafpar 462 Stephenfon, Mr.Thttnai 463 Stone, Mr. Henry Ibid. Stoop, Peter 494 Streater, Mr, Robert [ Ibid . Sybrecht,John $64 T. Tilfon, Mr. Henry 467 V. Vanderboicht, Henry Ibid- Van-Dieft, Adrian 468 Van- Dyck, Sir Anthony 469 Vandcr*H«y Jon, John 4