FROM THE LIBRARY OF 
 
 JOHN CHARRINGTON 
 THE GRANGE,SHENLEY 
 
CATALOGUE 
 
 OF A 
 
 COLLECTION 
 
 OF 
 
 ENGRAVINGS, 
 ETCHINGS, 
 
 AND 
 
 WOODCUTS. 
 
HE COLLECTION OF ENGRAVINGS described in the 
 
 following Catalogue is scarcely of sufficient importance to 
 justify the publication ; but in the progress of its arrangement 
 some few notes and memoranda respecting the artist-engravers, 
 and their association with the different schools of painting illus- 
 trated by their productions, have been preserved, which may be 
 of interest to those whose attention is given to the study of the 
 subject. 
 
 The reference-numbers are principally to the descriptions given 
 in Le Peintre-Gravetir, by Adam Bartsch (21 vols. 8vo, Vienna, 
 1803-21), and Le Peintre-Graveiir, by I. D. Passavant (6 vols. 8vo, 
 Leipsic, 1860-4). When the numbers are quoted from other 
 authors, their names are added to the notices of the engravers whose 
 works such numbers relate to. 
 
 RICHARD FISHER. 
 
 Hill Top, Midhurst, 1879. 
 
 A 
 
Digitized by the Internet Archive 
 in 2013 
 
 http://archive.org/details/catalogueofcolleOOfish 
 
CONTENTS. 
 
 SCHOOLS OF ENGRAVING: 
 
 PAGE 
 
 Italian i 
 
 German • .123 
 
 Spanish , . . . . 227 
 
 French . 233 
 
 Flemish and Dutch 265 
 
 English 309 
 
ERRATA. 
 
 Page 132, line 3 from foot, /or "Arozarino" read " Arosarena." 
 Page 205, last line, for "Hans" read " Baithel." 
 Page 264, line 7 from foot, /or " Ouvres" read " CEuvres." 
 Page 347, line i^,/or " Butry" read " Burty." 
 
LIST OF ILLUSTRATIONS. 
 
 PAGE 
 
 The Crucifixion, by the Master I.B Frontispiece 
 
 Arabesque border, with winged children. From " Esopi Vita et 
 
 Fabulse," Naples, 1485 Title-page 
 
 Ornamented border. From "Vita di Sancti Padri," Venice, 1501 
 
 Preceding i 
 
 Initial letter R, with the subject of the Resurrection of our Saviour. 
 
 From "Missale Predicatorum," Venice, 1506 . . . . i 
 Initial letter E, with three children. From " Missale Romanum," 
 
 Venice, 1516 8 
 
 Our Saviour and the Doctors. From " Epistole et Evangelii," 
 
 Florence, 1495 10 
 
 Initial letter G, with the subject of the Assumption of the Madonna. 
 
 From " Missale Predicatorum," Venice, 1506 . . . .11 
 
 Mars and Venus, by the Master L Facing 13 
 
 The Crucifixion, used as the initial letter T. From " Ofificium Beate 
 
 Marie Virginis," Venice, 15 13 15 
 
 Initial letter N. Designed by Geofroy Tory 19 
 
 Initial letter V. From a book printed at Venice, 1496 ... 20 
 Initial letter T. From the alphabet ascribed to Albert Durer . . 22 
 Initial letter W, with the subject of William Tell. From the Bible 
 
 printed by Christoffel Froschover, Zurich, 1531 ... 26 
 Title-page of arabesque design, with full-length figures of SS. Peter 
 
 and Paul in the centre, and the four Evangelists at the corners. 
 
 From "Epistole et Evangelii," Florence, 149s . . Facing 28 
 The Crucifixion. From " Tractate di Maestro Domenico Benivieni," 
 
 Florence, 1496 Facing 29 
 
 Illustration of the Fable of the Woodcutter and the Axe. From 
 
 " Esopi Vita et Fabulae," Naples, 1485 . . . Facing 31 
 Initial letter A. From a book printed at Venice, 1496 . . • 37 ■ 
 The Martyrdom of S. Ursula. From "La Rappresentatione di 
 
 S. Orsola!' 52 
 
viii List of Ilhtstrations. 
 
 PACE 
 
 Initial letter R. From a book printed at Venice, 1496 . . -53 
 
 Initial letter M. Designed by Geofroy Tory 58 
 
 Initial letter E. From an early printed French book ... 63 
 
 Initial letter B. From the alphabet ascribed to Albert Durer . . 68 
 
 Initial letter P. From the srhaller alphabet ascribed to Albert Durer 78 
 
 Initial letter B. From a book printed at Venice, 1495 . . .81 
 
 Initial letter S. From a book printed at Paris, 1538 . . . 98 
 
 Initial letter H. Designed by Geofroy Tory 109 
 
 Initial letter N, with the subject of God the Father enthroned, 
 
 surrounded by angels. From an early printed Florentine book, no 
 Ornamented border, with the story of the Creation, after Hans Hol- 
 bein. From the title-page of the Bible printed by Christoffel 
 
 Froschover, Zurich, 1531 Facing 122 
 
 Initial letter S. From the alphabet ascribed to Albert Durer . .123 
 The Fall of Adam and Eve, after Hans Holbein. From tlie Bible 
 
 printed by Christoffel Froschover, Zurich, 1531 . . .126 
 Our Saviour appearing to Mary Magdalene in the Garden, by Martin 
 
 Schongauer Facing 129 
 
 Initial letter A. From the alphabet ascribed to Albert Durer . . 131 
 Initial letter O. Portrait of the Emperor Maximilian. From 
 
 " Chronicum Abbatis Urspergensis," Strasburg, 1533 . . 133 
 Initial letter O. Portrait of Philip, son of the Emperor Maximilian. 
 
 From the same Chronicle 137 
 
 The Annunciation to the Madonna, by Wenceslaus d'Olmutz Facing 138 
 The Madonna in glory; the Emperor Frederic III. and his son Maxi- 
 milian standing at the sides, the abbot of the monastery of 
 Citeaux kneeling at the foot. From "Novum Beate Marie 
 Virginis Psalterium," Tzenna, 1492 .... Facing 142 
 Title-page to the Apocalypse of S. John, by Albert Durer. Facing 165 
 Initial letter E, From the alphabet ascribed to Albert Durer . . 171 
 Woodcut illustration, by Hans Burkmair, at the back of the title to 
 the second part, " Des bosen Glucks," of " Franciscus Petrarcha 
 Von der Artzney bayder Gluck des guten und widerwertigen," 
 
 Augsburg, 1532 Facing 177 
 
 The Annunciation to the Madonna. Reduced facsimile of a drawing 
 
 in bistre by Hans Holbein Followiiig 180 
 
 Ornamented border. The Chase of the Fox, and the Peasants' Dance, 
 
 after Hans Holbein Preceding 181 
 
List of Illustrations. ix 
 
 PAGE 
 
 Initial letter L. From a book printed at Venice, 1496 . . .193 
 Initial letter C From the smaller alphabet ascribed to Albert Durer 205 
 Initial letter D. From the alphabet ascribed to Albert Durer . . 219 
 The Coronation of the "Madonna. From "Hore in laudem Beatissime 
 
 Virginis Marie." Geofroy Tory, Paris, 1527 . . . ,226 
 Ornamented border. From " Ovidins, Epistote, Heroides," Venice, 
 
 1512 Facing 226 
 
 The Bastinading of S. Antony. From " La Rappresentatione di Santo 
 
 Antonio Abate," Florence, 1572 230 
 
 The Salutation. Illustration by Geofroy Tory to " Ad laudes." From 
 
 " Horse in laudem Beatissimas Virginis Mari^," Paris, 1543 . 232 
 Ornamented title-page, by Geofroy Tory. From " De natura stirpium 
 
 Libri tres Joanne Ruellio authore," Paris, 1536 . Facing 232 
 The Figure of Medusa. From " Opus de Claris sceletisque plurimis 
 
 mulieribus a fratre Ja. Philippo Bergomensi," Ferrara, 1497 . 235 
 Illustration to the Prayers for the Dead. From " Hora; in laudem 
 
 beatiss. semper Virginis Mari.T," by Geofroy Tory, Paris, 15245 
 
 surrounded by an arabesque border, by Geofroy Tory, from 
 
 "Horse in laudem Beatissimpe Virginis Marife," Paris, 1543 
 
 Facing 240 
 
 Ornamented page, by Geofroy Tory. From " Horas in laudem beatiss. 
 
 semper Virginis Marire," Paris, 1524 243 
 
 Ornamented page, by Bernard Salomon. From " La Metamorphose 
 
 d'Ovide Figuree," a Lyon, par Jan de Tournes, 1557 . . 245 
 Ornamented border, with a choir of angels. From " Hore intemerate 
 
 Virginis Marie secundum usum Romanum," achevees 1489 pour 
 
 Anthoine Verard, a Paris 249 
 
 The Last Judgment. From " Heures a lusaige de Rome" (with the 
 
 device of Philippe Pigouchet), Paris, 1498 . ... . 256 
 Ornamented border. From " Ovidio Metamorphoseos vulgare," Stam- 
 
 pato in Venetia, 1497 Faciftg 264 
 
 Initial letter A, with the story of Abraham and Isaac. Engraved 
 
 by Ahasuerus van Londerseel, after Peter van der Borcht, 
 
 Brussels, circa 1550 265 
 
 The Annunciation of the Trinity to the Madonna. From " Novum 
 
 Beate Marie Virginis Psalterium," Tzenna, 1492 . . . 26S 
 Engraved facsimile of an illumination to the Prayers for the Dead in 
 
 a small MS. Flemish Missal 308 
 
X' 
 
 List of Ilhistrations, 
 
 PAGE 
 
 Ornamented border. From " Vita Epistole de Sancto Hieronimo," 
 
 Ferrara, 1497 Facing 308 
 
 Initial letter AV. Used by Wynkyn de Worde, circa 1549 . . 309 
 Death subject. From " Delia arte del ben morire," Florence, circa 
 
 1490 315 
 
 Facsimile of the title to "ABooke of Christian Prayers," London, 
 
 1578 . . . ' 316 
 
 Facsimile of an anonymous engraving satirising the pre-Raphaelite 
 
 school of painters, London, 1857 . . . . Facing 346 
 
 The Last Judgment. From " Epistole et Evangelii," Florence, 1495 353 
 
 I 
 
THE ITALIAN SCHOOL OF ENGRAVING. 
 
 ECENT investigation has 
 created considerable dis- 
 cussion respecting the 
 history of engraving. The 
 process of taking impres- 
 sions on paper from in- 
 cised metal plates was 
 universally regarded as 
 having been discovered 
 in Italy, the names of 
 Fra Filippo Lippi, Bac- 
 cio Baldini, and Sandro 
 Botticelli standing out 
 preeminent as the artists 
 who developed it. An- 
 tonio del PoUajuolo, and 
 the unnamed masters 
 contemporary with him, 
 follow in the list of accomplished draughtsmen who represent the 
 distinctive character of the early Florentine School of Engraving. 
 
 Work in intaglio, from a very remote time, on bone and ivory, 
 can be studied in the British Museum. Of prehistoric implements, 
 with animals and figures delineated upon them, there are examples 
 almost faultless in their correctness of drawing. Accidental appli- 
 cations we can imagine of the earliest specimens of incised surfaces 
 were not infrequent, whereby their designs became imposed upon 
 some impressible material. The laudatory remarks in Pliny's 
 Natural History respecting Varro's discovery for multiplying his 
 " Imagines" of distinguished men bear the interpretation of referring 
 to some process for obtaining by pressure facsimiles of, or transfers 
 from, the originals. Long before the Christian era the practice had 
 doubtless existed not only in China, but in Egypt, of taking imprints 
 from engraved surfaces, by means of colouring matter, upon various 
 
 B 
 
2 The Italian School of Engraving. 
 
 substances capable of receiving them. But no record has come 
 down to us of any defined system whereby such results were ar- 
 rived at. 
 
 The employment of engraving for the reproduction of the com- 
 positions which had been portrayed with a sharp tool upon metal 
 selected for the purpose was brought into operation at the com- 
 mencement of the second half of the fifteenth century, and the 
 question as to the country of its origin has been the subject 
 of much controversy. The fashion, long previously in use, of cutting 
 designs upon plaques and drinking and other vessels of gold and 
 silver, to be filled in with niello, had been revived, and gradually 
 brought to a high state of perfection. Numerous artists were em- 
 ployed in the manufacture, — a large demand having arisen for it, — in 
 the ornamentation of armour, and for ecclesiastical and domestic 
 decoration. The testing this work, previous to the infusion of the 
 niello, by inserting a darkened fluid in the hollowed-out parts, and 
 applying it so as to give a transfer upon paper or other medium, 
 to allow an examination to be made of its progress, has generally 
 been accepted as the commencement in Europe of the invention 
 which received the designation of engraving. Vasari, in his Lives of 
 tlu Painters, says that Maso Finiguerra, a goldsmith, about 1450, was 
 deservedly held in extraordinary repute for his management of the 
 burin and treatment of niello, " as may still be seen in certain paxes 
 made for the church of S. Giovanni at Florence." Vasari's account 
 of the artists in niello, and his estimate of Finiguerra and his con- 
 temporaries, are entitled to consideration from his having early in 
 the sixteenth century devoted himself to the study of the subject, 
 and practically to the pursuit of it, by beginning his career in work- 
 ing as a goldsmith. 
 
 In the Archives of Florence is preserved a record from the 
 Book of the Guild of Merchants, of Calimala, of the year 1452, 
 made by Carlo di Tommaso Strozzi, as follows: "Pace d'argento 
 dorata smaltata e niellata di peso di on. 55, d. 1 1, si fa per la chiesa 
 di S. Giovanni per Tommaso di Finiguerra orafo e se li paga a 
 ragione di fior. i largo 1' oncia, costo in tutto 66 f." The learned 
 Francesco Gori and the Cavaliere Gaburri in 1732 made diligent 
 examination respecting " nielli" and the workers of them, with the 
 view of describing the early history of copperplate engraving ; and 
 the latter, in a communication to Pierre Jean Mariette, informs him 
 that he has examined all the museums in Florence for a print 
 bearing the name or cipher of Finiguerra, and has given the matter 
 up in despair, being only able to obtain a drawing for him of one 
 
 V 
 
The Italian School of Engraving. 3 
 
 of the two paxes, which exist in the most ancient church of S. 
 Giovanni Battista, adding, " They are not, however, both of them 
 the work of Maso Finiguerra, one of them having been made by 
 Matteo di Giovanni Dei." And the Abbe Zani, in his Materiali, 
 quotes the description by Count Seratti of a sulphur in his posses- 
 sion, taken from the pax of the Assumption (the Coronation) of 
 the Virgin by Maso Finiguerra, adding the account given by 
 Seratti, " There have been celebrated, as the principal works of 
 Maso, two paxes, preserved among the treasures of the church of 
 S. Giovanni at Florence. The one representing the Assumption is 
 certainly by him ; it was executed in 1452, and cost upwards of 
 66 florins of gold — a large sum in those times, as appears in the 
 ledger for that year marked AA, preserved in the archives of the 
 church. The other pax was made by Matteo, the son of Giovanni 
 Dei, in 1455, and represents the Crucifixion ; it is very inferior to 
 that of Maso, both in composition and design." 
 
 In the same archives there is the following further entry under 
 signature B, and the date 1455, " Pace si da a fare per la chiesa di 
 San Giovanni a Matteo di Giovanni Dei orafo, e se gli paga florin i 
 28 per intaglio, niello, doratura, e smalto, costo in tutto con 
 r argento fiorini 68, 6 lire i soldi 2 denari." The pax of the Cruci- 
 fixion, now in the Uffizi, is generally regarded as the one which, 
 in accordance with this last order, was executed by Matteo Dei. 
 
 C. F. Von Rumohr, in a pamphlet published at Leipsig in 1 841, 
 contested the ascription of the pax of the Coronation of the Virgin 
 to Maso Finiguerra, attributing it to Matteo di Giovanni Dei. 
 Passavant in his Peintre Graveur (vol. i. p. 193) refers to Von 
 Rumohr's opinion, but considers, especially from his adducing no 
 confirmatory evidence, that there was nothing to disturb Fini- 
 guerra's title. Further research has recently been made by Cavaliere 
 Gaetano Milanese, the Keeper of the Archives at Florence, resulting 
 in no fresh discoveries. But he and the Cavaliere Campani of the 
 Uffizi are disposed to regard the Coronation of the Virgin as the 
 work of Matteo Dei. The Cavaliere Campani recently caused 
 the weight of this pax to be tested, and found it, with the frame 
 and ornamentation (of later date), to weigh 180 grams, equivalent 
 to 3 pounds 6 ounces 12 denari old Florentine weight, whilst that 
 of the Pax for which, according to the foregoing extract from 
 the Archives, commission was given to Finiguerra, was 4 pounds 
 7 ounces (55 ounces 11 denari) old Florentine weight. 
 
 Benvenuto Cellini in his Trattato del Oreficeria, published in 
 1569, writes that in the time of his youth (15 15) the old goldsmiths 
 
4 The Italian School of Engraving. 
 
 of Florence were never ceasing in their praise of Finiguerra's works 
 in niello ; and states in the preface that in the pax made by him 
 "there are piany figures and horses." From the before-named 
 discrepancy in weight, and from there being horses in the pax of 
 the Crucifixion only, and not in that of the Coronation, upon the 
 strength of this incidental remark of Cellini, the pax of the Corona- 
 tion of the Virgin is inferred to have been the work of Matteo Dei, 
 and that of the Crucifixion of Finiguerra. 
 
 Apart from the interest of the argument to which of the eminent 
 goldsmiths the paxes in question are to be appropriated, the print 
 from the Coronation of the Virgin now in the Bibliotheque at 
 Paris, whether taken previous to 1452 or 1455, is still the first 
 authentic impression upon paper from an engraved metal plate in 
 Italy to which priority of date can be assigned. It had belonged to 
 the well-known collection of the Abbe Marolles, and was found and 
 identified in the portfolios of the Bibliotheque in 1797 by the Abb^ 
 Zani, who wrote a most enthusiastic account of his discovery. 
 Subsequently another impression was found by M. Robert Dumesnil 
 in the Library of the Arsenal, but which M. Delaborde, the present 
 keeper of the prints in the Bibliotheque, pronounced to be only a 
 copy. 
 
 The pax, and the print from it, measure 4if inches high 
 and inches wide. At the time of its discovery, Zani likewise 
 obtained from M. Alibert, printseller of Paris, an old drawing of the 
 pax of the Coronation, which was evidently the drawing before 
 mentioned as having been sent by Gaburri to Mariette. 
 
 The existence of the print, necessarily taken prior to the infusion 
 of the niello, whereby the capability of producing further copies 
 was destroyed, affords the reasonable presumption that the practice 
 had become established of taking impressions from other similar 
 plates. The proof is not merely a trial one, as a test whilst in pro- 
 gression, but from the completed work, the correctness of the print- 
 ing showing a methodical system had been arrived at ; and that, 
 if not for years, at any rate for some time previous, a skilled hand 
 had been initiated in the process. 
 
 Much research has been devoted to the elucidation of the history 
 of the invention, and numerous German writers have urged their 
 country's claim to the credit of priority of title to the discovery. 
 No documentary evidence has been found, nor in fact is there any 
 written account of its first utilisation, beyond what we derive from 
 the records at Florence respecting the workers in niello. Some 
 few later-dated prints, undoubted in their authenticity, are extant. 
 
The Italian School of Engraving. 5 
 
 and specimens, antecedent to any previously known, have occasion- 
 ally been brought forward, but their genuineness has failed to be 
 established on being submitted to critical examination. 
 
 Passavant (vol. i. p. 197) writes of Roger Van der Weyden 
 having been at Florence in 1450, and, in support of the argument 
 for his country's claim to the invention, assumes that he most 
 probably was introduced to Finiguerra, then at work upon the pax, 
 and taught him the secret of producing copies direct from the metal. 
 With the evidence the print from the pax affords of the finished 
 ability the Italian artist had acquired in the manipulation of his 
 work, the supposition, whatever its worth, may fairly be reversed, 
 and the instruction Roger Van der Weyden derived from his inter- 
 view probably enabled him to carry back and initiate in Germany 
 the method, practised by the Italian goldsmith, of testing the 
 progress of his work by the impression he took of it ; the one 
 preserved at Paris yielding almost irrefragable evidence that for 
 some time previously the operation had been matured and in use. 
 
 M. Jules Renouvier in his treatise, Des Types et des Manures des 
 Maitres Graveurs XV Sitcle, published at Montpelier in 1853, 
 regarded the discovery of the print from the Finiguerra pax as 
 establishing the claim of Italy to precedence in the application of 
 engraving on metal. In August 1856, however, he contributed a 
 paper to the twenty-fourth number of the Publications de la Socicte 
 Arclieologique de Montpellier, gWmg an account of seven impressions 
 from incised metal plates, printed upon cotton paper, the water- 
 mark of it being three conjoined circles, portion of a series of the 
 Passion of our Saviour, of supposed German workmanship, which 
 by chance had fallen into his hands, the size of them being 103 
 millimetres high by 80 millimetres wide, the one of the Scourging 
 of our Saviour having upon it the date 1446. He described them 
 as being in the style of the xylographic books, " des formes court es, 
 des tetes grosses et in^gales, des attitudes mouvementdes et mal 
 campees, des expressions grimacieres. A ces traits on peut deja 
 reconnaitre I'ecole allemande." 
 
 Criticism upon them was referred to the " facsimile photo- 
 graphique" accompanying the notice, but which photograph unfor- 
 tunately was not published, a printed slip inserted in the number 
 announcing that " la planche gravde pour le memoire de M. 
 Renouvier n'dtant point encore finie, sera distribuee avec la prochaine 
 Livraison." Neither the photograph, nor the "planche gravde," 
 appears to have ever been published, so that our knowledge rests 
 only upon M. Renouvier's description. 
 
6 The Italian School of Engraving. 
 
 In a footnote he adds : " Le papier de toutes ces pieces est dans 
 tonte sa fraicheur ; quelques-unes ont et^ rogndes au-dela du trait 
 carrd, et ont eu leurs angles emportes dans un ddcollage maladroit." 
 In answer to an inquiry addressed to M. Duplessis of the Biblio- 
 th^que respecting them he wrote in July 1877, " Les estampes de 
 M. Renouvier (mort d^puis quinze ans au moins) sont demeur^es 
 en la possession d'un de ses neveux qui les conserve pieusement. 
 J'ai vu I'estampe de 1446. EUe a ^t^ photographi^e et se trouve 
 dans un tirage a part, presque impossible de se procurer maintenant. 
 Je crois parfaitement a I'authenticite de la piece en question, et de 
 sa date, mais c'est une veritable nuage." So that the condition seems 
 materially to have suffered since it first came into M. Renouvier's 
 possession. 
 
 In a sale at Leipsig in 1872 of early prints and woodcuts belong- 
 ing to M. Weigel, there was a German engraving by an unknown 
 master, of whose works we have specimens in the Britilh Museum, 
 of the Madonna surrounded by a choir of angels. The print in 
 question, which has been described by Passavant and other writers, 
 had on the face of it a Gothic P, and the date mccccli. It 
 realised the sum of about 600/. It was carefully examined prior to 
 the sale by amateurs interested in the matter, competent to form an 
 opinion, and the numerals were considered to have undergone 
 alteration, and to be no longer in their original state. 
 
 The large number of imprints upon paper, from the niello plates, 
 which are extant, show how immediately the use of the method was 
 brought into exercise. In rapid succession, upon the spread of the 
 knowledge of its value, the process of engraving upon metal became 
 understood and appreciated by the painters of the time as a means 
 for the more widely extending the production of their designs ; and 
 early in the latter half of the fifteenth century both Italian and 
 German artists rapidly attained considerable skill of execution in 
 the employment of the graver. In the British Museum there is a 
 series of twenty-eight small German engravings of the Passion of 
 our Saviour, illuminated, the subject of the Last Supper having the 
 date 1457. A Martyrdom of S. Catherine dated 1458 is in the 
 Library at Dantzig. The letter A of an alphabet by the so-called 
 "Master of the Banderole" bears the numerals MCCCCLXllll. ; and 
 by the German master of 1466 there is a print of the Madonna and 
 Infant Saviour, the reading of the numbers upon it, whether 146 1 
 or 1467, being somewhat uncertain. Passavant, however, considers 
 the date to have been cut upon the plate when much worn, there 
 
The Italian School of Engraving, 
 
 7 
 
 being early impressions without it. A calendar ascribed to Baldini 
 commences with the year 1465. 
 
 The records of engraving, in its early history in Italy, bring it 
 into association with the eminent painters of the fifteenth century, 
 who applied themselves to the attainment of a knowledge of the 
 process, the engraver distinct from the designer being then unknown. 
 A large proportion of their paintings have perished, owing to the 
 transparent character of the pigments they employed ; and to these 
 early prints we are indebted for the preservation of many of their 
 important compositions in their originality and truthfulness. Draw- 
 ings with the dry point, in fact, they are ; and from the yielding 
 quality of the soft metal employed and the delicate thin lines they 
 are cut with, few impressions could be taken before the plate began 
 to lose its brilliancy. From this cause especially, and from nearly 
 all the specimens saved from destruction having become locked 
 up in the different public galleries in Europe, the opportunity for 
 purchasing them has almost passed away, and their acquisition 
 is now, with very rare exceptions, impossible. In the different 
 collections formed during the last century, and even at an earlier 
 period, examples were far from numerous. The last accumulation 
 of any extent was that of Mr. Conyngham, who had peculiar 
 opportunities of obtaining them from sales in France and Germany 
 occurring at the time and from that of Mr. Wilson in England. On 
 the dispersion of Mr. Conyngham's prints, now more than thirty 
 years ago, the portion comprising the works of the early Italian 
 artist-engravers, including a considerable number of nielli, was 
 secured {inter alia) by purchase for the British Museum, and the 
 series in the National Collection, many valuable additions having 
 subsequently been made, has become one of the most comprehensive 
 in Europe. 
 
ANDREA MANTEGNA, 
 
 Painter and Engraver: born at Padua, 1431 ; 
 DIED AT Mantua, 1506. 
 
 MINENT in the history of painting, 
 the school created by Francesco 
 Squarcione at Padua produced 
 material changes in the cultiva- 
 i tion of art in the middle of the 
 I fifteenth century. With learned 
 taste he had formed a collection 
 of Greek and Roman sculpture, 
 and attracted around him numer- 
 ous pupils and followers, who 
 were trained under his guidance, 
 the affection and esteem long 
 
 surrounding his memory telling of the genial influence with 
 which it was exercised. His early appreciation of Andrea Man- 
 tegna's talent appears by the entry in 1441 on the register of the 
 painters of Padua recording his adoption of him : " Andrea fiulo 
 di M. Francesco Squarcon depentore." Notwithstanding the 
 exceptional knowledge wherewith Squarcione is accredited, and 
 which we know he had such singular power of imparting, there is 
 scarcely the record of any painting by his hand, save a group of 
 Saints at Padua, dated 1452. 
 
 In the Antiquitates Patavm, 1585, p. 372, Scardeone prints an 
 inscription, from a tracing he had taken of it, at the foot of an altar- 
 piece executed by Mantegna for the church of S. Sophia at Padua : 
 " Andreas Mantinea Patavinus, Ann. septem et decem natus sua 
 manu pinxit 1448." The picture, the subject of which is not known, 
 is lost. The date thus quoted fixes 143 1 as the year ofMantegna's 
 birth. He married Nicolosa, the daughter of Jacopo Bellini, and 
 sister of Gentile and Giovanni Bellini ; of this marriage there were 
 four sons, two of them, Bernardino and Francesco, being painters. 
 Previous to the marriage he had a natural son, Giovanni Andrea, of 
 whom there is no further record. 
 
Andrea Mantegna. 9 
 
 One of Mantegna's early pictures is a Madonna surrounded by 
 Saints, painted for the church of S. Zeno at Verona. In 1468 he 
 entered the service of Ludovico Gonzaga, who was then the 
 Marquis, and decorated the palace at Mantua. In 1488 Francesco 
 Gonzaga sent him on a mission to Innocent VIII., and he remained 
 upwards of two years in Rome, painting for the Pope, amongst 
 other works, one of the chapels of the Vatican. 
 
 The drawings in distemper, for the triumphs of Julius Caesar in 
 the great hall of the palace at Mantua, are at Hampton Court. 
 Andreas Andreani made engravings in chiaro oscuro on wood from 
 the frescoes, and published them in 1599, prefaced by a printed 
 title, with a bust-portrait of the Marquis Vincent Gonzaga ; Andrea 
 Mantegna engraved three of the compositions, one of them in 
 duplicate. 
 
 Several of his engraved plates, the Bacchanalian subjects amongst 
 them, have been preserved, and are still in existence. The delicate 
 pencilling of the details of the figures soon became exhausted, and 
 early impressions rarely occur. The print of the Saviour standing 
 between S. Andrew and Longinus, and the unfinished one of the 
 Holy Family in a grotto, are amongst the rarest. The principal 
 portion of the last-named composition was repeated in the picture 
 of the Adoration of the Magi, now in the Tribune of the Uffizi at 
 Florence. And the entombment of our Saviour, so frequently 
 borrowed from, by Raphael and other painters, in impressions in 
 fulness of tone and colour before the shadows became exhausted, is 
 one of the few exceptionally choice prints of this fine period of early 
 Italian art. 
 
 Andrea Mantegna returned from Rome to Mantua on the 6th of 
 September 1490, and a pension was granted to him. In 1496, on 
 a plot of ground appropriated for his use, he erected a house, and 
 lived on terms of intimacy with the leading men of the city until 
 his death, on the 13th of September 1506. He was buried in his 
 own chapel of S. John the Baptist, in the church of S. Andrea. 
 
 Bartsch, xiii. 222 ; Passavant, v. 73, 
 
 The Scourging of our Saviour (1). 
 
 The copy according to Bartsch. Passavant considers this 
 print to be the original. 
 
 The Entombment of our Saviour (3). 
 Very early impression, full of colour. 
 
10 The Italian School of Engraving. 
 
 Our Saviour's Descent into Hell (5). 
 
 Our Saviour after His Resurrection, holding a banner, stand- 
 ing between S. Andrew and Longinus (6). 
 Impression from the plate before it was cleaned. 
 From the MarocJtetti Collection. 
 
 There is a pen -drawing by Mantegna of the composition in the 
 Pinacothek at Munich inscribed " Pio immortali Deo." 
 
 The Madonna with the Infant Saviour in her Arms (8). 
 In the second state. 
 
 Combats of Tritons and Marine Monsters (17, 18). 
 
 There is a Roman bas-relief built into a wall at Ravenna very similar 
 in treatment. 
 
GIULIO CAMPAGNOLA, 
 
 Painter and Engraver: born at Padua, 1481. 
 
 IROLAMO CAMPAGNOLA, 
 the father of Giulio, of a 
 distinguished family of 
 Padua, was in the em- 
 ploy of the Republic of 
 Venice, dominant at 
 Padua at the end of the 
 fifteenth century. He 
 studied painting in the 
 school of Squarcione, and 
 was eminent for his liter- 
 . ary attainments, having 
 amongst other works 
 written a history in Latin 
 I of the early Paduan 
 I painters, from the manu- 
 i script of which, since lost, 
 Vasari made numerous 
 
 quotations. Marvellous accounts are given of the youthful learn- 
 ing and accomplishments of Giulio Campagnola. When scarcely 
 seventeen years of age he entered the service of Duke Hercules of 
 Ferrara, eminent in literature for the printing-presses he established 
 and the important books which there were published. The Duke, 
 during his prosperous reign of upwards of thirty years, was lavish 
 iq his encouragement of art, in the decoration of the city, and 
 renowned for the brilliant Court he held and his patronage of music 
 and the drama. Giulio Campagnola's praises are sung by the poets, 
 his associates, telling of his personal popularity. His skill in science 
 and his knowledge of the Hebrew, Greek, and Latin languages sank 
 into inactivity most probably amidst the luxurious society of Fer- 
 rara. To painting we know that he applied himself, although no 
 picture by his hand is extant. The influence of Bellini and Giorgione 
 is seen in his engravings, interesting from their being amongst the 
 first specimens worked in the dotted manner. 
 
 Of his life this is the extent of our knowledge, and the place and 
 
12 The Italian School of Engraving, 
 
 date of his death are unknown. A clever article respecting him was 
 written by M. Galichon in the Gazette des Beaux Arts for October 
 1862. Bartsck, xiii. 368; Passavant^ v. 162. 
 
 St. John the Baptist (3). After Giovanni Bellini. 
 
 Early impression, with the rough marks on the plate. Zani 
 describes a state before the imprint "Appresso Nicolo Nelli 
 in Venetia," which is close to the margin on the lower right- 
 hand corner. But there is no such state, except from the 
 imprint having been cut off. 
 
 DOMENICO CAMPAGNOLA, 
 Painter and Engraver : born at Padua, 1482. 
 
 DOMENICO Campagnola Bartsch describes as the son, and 
 Passavant as the nephew, of Giulio Campagnola, both of 
 them quoting Lanzi as their authority. Some information respect- 
 ing him was given by M. Galichon in the Gazette des Beaux Arts 
 for November and December 1864. But little is known of his per- 
 sonal history. From the slight particulars remaining we learn that 
 he was one of the first of Titian's pupils, the story of whose envy 
 of his early talent is most likely apocryphal, as in 1 5 1 1 he was 
 occupied in assisting Titian in some decorative works he was 
 employed upon. 
 
 In 1540 he painted the frescoes for the Public Library, and there 
 are other frescoes by him in the churches of Padua. No easel 
 picture by his hand is known. Several additions were made by 
 Passavant to Bartsch's catalogue of his engravings and woodcuts, 
 the number being further increased by M. Galichon. They are mostly 
 signed, but the only dates appearing upon them are 15 17, 15 18. 
 Nothing further has been ascertained regarding him or the time of 
 his death. Zanetti informs us he was buried at Padua in the ceme- 
 tery adjoining the Monastery of S. Antoine, but the date he omits 
 to mention. Bartsch^ xiii. 377 ; Passavant, v. 167. 
 
 A Naked Woman reclining in a Landscape. Inscribed " Do. 
 Camp, 15 17" (7). 
 
I 
 
4 
 
 V 
 
Giovanni Battista del Porto. 
 
 13 
 
 THE MASTER L. 
 
 NO mention has been made of this engraver, and the following 
 print, of which a facsimile is annexed, has escaped the 
 attention of Bartsch and Passavant and other writers. The work 
 is somewhat in the manner of Giulio Campagnola. 
 
 Mars, Venus, and Cupid in a Landscape under a Tree. A 
 fortified town in the distance on the left. The letter " L " is at 
 the foot, towards the right. 4f| inches high by 3jf inches 
 wide. 
 
 NA DAT, 
 
 The Master with the Device of a Rat-trap. 
 
 N unknown engraver of the school of Padua in the early part 
 of the sixteenth century. 
 
 Bartsch, xiii. 362 ; Passavant y v. 173. 
 
 The Two Armies arranged in Order of Battle (2). 
 
 In the first state. In a later state the date 15 30 is added. 
 Passavant specifies the battle as being that in which Gaston de 
 Foix lost his life, in the plains surrounding Ravenna, on the 
 nth of April 15 12. 
 
 GIOVANNI BATTISTA DEL PORTO. 
 
 THE prints of this engraver are marked with the letters " I. B." 
 and a bird. 
 
 Zani supposed him to have been educated at Modena. Marietta 
 considered the mark, from the bird resembling a pigeon, to be the 
 rebus of his name, and mterpreted it as Giovanni Battista Palumbus. 
 The strong bold outline with which his compositions are designed 
 was evidently acquired in the school of Padua ; the character of 
 their drawing is very similar to that of Nicoletta da Modena. In 
 the Gazette des Beaux Arts for December 1859 there is an article 
 by M. Galichon which does not furnish further information, but 
 
14 The Italian School of Engraving. 
 
 gives a descriptive list of the engravings and woodcuts, with some 
 additions, the woodcut of Meleager and Atalanta, previously 
 unnoticed, being illustrated by a reduced copy. 
 
 Bartsch, xiii. 244 ; Passavaiit, v. 149. 
 
 WOODCUTS. 
 
 The Crucifixion. On the left stands the Madonna, with S. 
 John looking up with an expression of intense grief at the 
 Saviour on the Cross, the crucified thieves being on either side. 
 In the mid-distance on the left is Longinus with clasped hands 
 on horseback, and on the right the Centurion pointing to the 
 Saviour. In the foreground on the right are the soldiers 
 quarrelling and casting lots over the vestments. The mono- 
 gram I. B. with the bird is in the centre at the foot. lOrV 
 inches high by 7-^ inches wide. Undescribed by Bartsch or 
 Passavant or by M. Galichon. 
 
 A facsimile reduced in size is placed opposite the title-page of this 
 volume. 
 
 Meleager and Atalanta. The fight with the boar {Pass. 8). 
 Undescribed by Bartsch. 
 
 V 
 
GIROLAMO MOCETO, 
 
 Painter and Engraver: born at Verona circa 1450. 
 
 E engravings of the few 
 sacred subjects by " Hie- 
 roninnus Mocetus," the 
 signature he generally 
 adopted, are, in their ele- 
 vation of sentiment and 
 enlarged method of treat- 
 ment, amongst the most 
 important of the north- 
 ern schools of Italy. His 
 print of S. John the Bap- 
 tistarousedthe emulation 
 of Giulio Campagnola to 
 engrave his adaptation 
 of the composition. 
 
 According to Lanzi he 
 was born either at Bres- 
 cia or Verona, and be- 
 came a pupil of Giovanni 
 Bellini at Venice. All 
 further information is 
 bounded by the dates 
 upon certain of his pic- 
 tures still extant, not regarded as of high artistic merit. 
 
 Vasari relates that Louis XII., on his defeat of the Venetians, 
 occupied their city in May 1 509 and exacted the concession from 
 the church of San Francesco della Vigna of a picture of a dead 
 Christ by Giovanni Bellini, a copy being made and substituted by 
 Moceto, which was greatly inferior to the original. Lanzi mentions 
 two pictures by Moceto — one in the Gallery Correr at Venice, 
 signed and dated 1484 ; and the other in the church of SS. 
 Nazarius and Celsus at Verona, signed and dated 1493, but without 
 naming the subjects of either of them. M. Galichon, in his notice 
 of the Master in the Gazette des Beaux Arts for June 1859, describes 
 two pictures on panel of scenes in the murder of the Innocents, 
 one of them signed " Herolemo Moceto P.," belonging to the Vicomte 
 
1 6 The Italian School of Engraving. 
 
 de Janze of Paris. The four engraved vievys of the city of Nola by 
 Moceto were published in 15 14. 
 
 Bartsch's catalogue of his engravings is limited to eight. The 
 additions of Passavant made the number nineteen, further increased 
 to twenty-one by M. Galichon. Many of the additions, however, 
 are of questionable authenticity. 
 
 Bartsck, xiii. 215; Passavant, v. 1 34. 
 
 The Baptism of our Saviour (2). 
 From the Wellesley Collection. 
 
 The Madonna seated on a Throne, holding the Infant 
 Saviour (4). 
 
 From the Bromley and George Smith Collections. 
 
 The Four Views of the City of Nola {Pass. 16, 17, 18, 19). 
 
 Illustrations of the volume " De Nola Opusculum, distinctum, 
 plenum, clarum, doctum, pulcrum, verum, grave, varium et utile 
 (Auctore Ambr. Leone). Incussum Venetiis Anno Salutis 
 MDXIIII." Folio, red calf. 
 
 JACOPO DI BARBARI, 
 
 Painter and Engraver: born at Venice circa 1450; 
 DIED in Germany circa 15 16. 
 
 JACOPO DI Barbari, known to Bartsch only by the mark on his 
 prints as the " maitre au caducee," is catalogued by Passavant 
 amongst the German artists in the name of Jacob Walch, Bar- 
 bari having been added, as he surmises, from his patrons, the family 
 of Barbari at Venice ; Walch, the German designation for Italy, 
 was but applied to him in Nuremberg, indicative of his nationality. 
 
 In the preface to his treatise on the proportions of the human 
 body, Albert Durer mentions he had been induced to undertake 
 the work from his having been shown, when very young, a design 
 drawn to scale of a man and a woman by an author of the name of 
 Jacobus of Venice, a graceful painter, and that he had resolved to 
 arrive at a similar result. The remark is corroborative of Venice 
 having been Jacopo di Barbari's birthplace. His engravings, in 
 their freedom from the heavier German method of using the burin. 
 
yacopo di Barbari. 
 
 17 
 
 although influenced by his German association, are thoroughly 
 Italian in their execution with the thin dry-point manner of the 
 Paduan school. 
 
 Jacopo di Barbari was born about 1450 ; Albert Durer in 1471. 
 The Italian artist must have gone to Germany not later than the 
 last decade of the fifteenth century, most probably earlier. M. 
 Galichon, in the Gazette des Bemix Arts for October and November 
 1 861, wrote a well-studied essay respecting him, and M. Charles 
 Ephrussi resumed the subject in the number of the Gazette for 
 February 1876. Their main point of difference is the period of the 
 artist's residence at Nuremberg. That it was at the end of the 
 fifteenth century is attested by various circumstances. Besides the 
 preceding mention of his having, when very young, been in commu- 
 nication with him, Albert Durer makes allusion in his letters 
 to their intimacy ; and in his early prints we find several adapta- 
 tions of the designs of the Italian artist. A still stronger confirma- 
 tion is afforded by Jacopo di Barbari's engravings being printed upon 
 paper in use at Nuremberg at the end of the fifteenth century, the 
 water-marks of the Gothic P and the bull's head being of frequent 
 occurrence. 
 
 Prior to or in 1498 Jacopo di Barbari proceeded to Venice, on 
 the invitation of his zealous patron, Anthony Kolb. Kolb was the 
 head of the German merchants, who had their house the Fondaco 
 dei Tedeschi, and commissioned him to make a large bird's-eye 
 view of the city. When completed it was engraved on six blocks 
 of wood, and published at his patron's expense. The figure of 
 Mercury, the God of Comm.crce, the device of the company as well 
 as of the artist, is at the top in the centre, with a Latin inscription 
 and the date MD. In his application to the Seigniory for the privi- 
 lege of publishing it at the price of three gold florins, Kolb urges 
 the great expense he had incurred, and that it had occupied three 
 years in the preparation. The whole production is very German in 
 character, and by the Italians it was frequently attributed to Albert 
 Durer. Passavant considers that the cutting in the wood must 
 have been executed under the immediate superintendence of the 
 artist. 
 
 Albert Durer, in one of his letters in 1506, mentions that Barbari 
 was no longer in Venice. In the Gallery at Augsburg there is a 
 case containing a picture, of but slight value, on the outside of which 
 a pair of gauntlets and a partridge suspended on a nail are cleverly 
 painted, and signed " Jac de Barbarj P. 1504." In the accounts of 
 Diego de Flores, treasurer of the Grand Duchess Marguerite, the 
 
 C 
 
1 8 The Italian School of Engraving. 
 
 Regent of the Netherlands, a receipt in Italian is entered in 1510 
 signed "Jacobus de Barbaris." He is described as painter, attached 
 to the suite of the Duchess, and a payment is made to him for a 
 pourpoint of velvet. Little is known of the dates of his association 
 with the Grand Duchess ; for a considerable period she must have 
 been his patron. In a document under her hand of the ist March 
 15 1 1 she grants him a pension of 100 livres, "for the good and 
 continued services which our well-beloved painter Jacopo di Barbari 
 has rendered as painter and otherwise, and considering his debility 
 and old age, that he has no recognition from us, and that he may 
 for the future have wherewith to live and retain himself in our 
 service, in which he has been from his early days, we have granted 
 him to take and have the sum of 100 livres of pension by each 
 year." 
 
 One further record respecting him is preserved of his having been 
 associated with Mabuse in decorating in fresco the walls of the 
 castle of Zuytborch, belonging to Count Philip, the natural son of 
 Philip le Bon, Duke of Burgundy. 
 
 In Albert Durer's diary in the Netherlands in 1 52 1 there is an 
 entry of his going to Malines on the eighth day after Corpus Christi 
 to see Dame Marguerite, and that she showed him all her beautiful 
 things, pictures by Van Eyck and Jacopo di Barbari being named 
 amongst them ; and that he asked her to give him Master Jacob's 
 book, but she said she had promised it to his successor : Bertrand 
 Van Orley had been appointed painter to the Duchess. 
 
 The time of Jacopo di Barbari's death is unknown ; but in an 
 inventory of the furniture of the Grand Duchess at Malines, dated 
 the 17th July 15 16, pictures of the "deceased" Master Jacopo di 
 Barbari arc mentioned. Bartsch, vii. 516; Passavant, iii. 134. 
 
 Judith holding the Head of Holofernes (i). 
 Our Saviour holding a Banner (3). 
 Mars and Venus (20). 
 
 The figure of Mars was adopted by Albert Durer as a model for the 
 Adam in his print of Adam and Eve (i). 
 
GIOVANNI ANTONIO DA BRESCIA, 
 
 Painter and Engraver of the Paduan School. 
 
 O information has been acquired respect- 
 ing Giovanni Antonio da Brescia. His 
 print of the Flagellation of our Saviour 
 is dated 1509. Gaye, in his Carteggio 
 inediti iV Artisti, ii. 471, gives an ac- 
 count of an appeal made in 15 15 by 
 an artist of his name to the Doge of 
 Venice for a privilege to publish a 
 history of the Emperor Trajan, which 
 he had engraved on wood. Of this 
 history nothing appears to be known. 
 Passavant's account of his having been 
 educated in the school of Mantegna, and that he studied afterwards 
 the works of Albert Durcr, and subsequently went to Rome and 
 joined the school of Marc Antonio, seems to be entirely suppositi- 
 tious, save that the style of his work and his copies after Andrea 
 Mantegna identify him as an artist of the Paduan school. 
 
 Bartsch, xiii. 315 ; Ottley^ ii. 559; Passavant, v. 103. 
 
 Joseph's Cup found in Benjamin's Sack {B. xv. p, 11, 7 ; Pass. 
 V. 27). 
 
 The Madonna ascending the Steps of the Temple (4). 
 
 After a design of Raphael. 
 
 A painting on wood of the composition by Berto di San Giovanni is in 
 the Pinacoteca at Perugia. 
 
 The Holy Family. The Madonna with the Infant Saviour seated. 
 S. Joseph leaning on his staff on the right. S. Elizabeth with 
 the infant S. John on the left (5). After Andrea Mantegna. 
 
 The Scourging of our Saviour, dated 1509 {Ottley, p. 561 ; 
 Pass. V. 29). Not mentioned by Bartsch. 
 From the Ottley Collection. 
 
20 The Italian School of Engraving. 
 
 Two Sibyls and an Angel. After a design of Raphael for the 
 fresco of the Sibyls of S. Maria della Pace {B. xv. 48, 5 ; Pass. 
 V. 108, 38). 
 
 Hercules carrying the Bull of Marathon (10). From an 
 antique bas-relief. 
 
 Four Children dancing, a fifth beating a Drum (19) 
 
 {Ottley, ii. p. 567). 
 
 An Arabesque. A child between a man and woman reclining at 
 the foot ; in the centre a pegasus with two goats ; a woman at 
 the top playing a guitar {Bartsc/i, xiii. 138, 68 ; Pass. v. ill, 58). 
 From the Wellesley Collection. 
 
 ZOAN ANDREA, 
 
 Engraver, i495-i535- 
 
 ARIOUS forms of the letters 
 I. A. are of more frequent 
 occurrence than the initials 
 of any other artist of the 
 early Italian school. There 
 is a series of engravings of 
 the Labours of Hercules 
 inscribed " Opera di Gio- 
 vanni Andrea Valvassori 
 detto Guadagnino," and a 
 large map of Italy with the 
 same inscription, no date 
 being upon either of them. 
 Passavant (vol. i. p. 139) 
 interprets "Guadagnino" by 
 " Gagne-petit," surmising it to be expressive that he worked much 
 for the love of gain. The illustrations of the Bonsignore Ovid in the 
 vulgate, Venice, 1497, are nearly all marked with the I. A., and 
 are more distinctive than any other works attributed to the artist. 
 
Zoan Andrea, 21 
 
 The blocks were subsequently used for a folio edition of the Meta- 
 morphoses, printed at Parma in 1 505, from which Passavant describes 
 them. The same monogram is also found on the illustrations of the 
 Triumphs, in a small octavo Petrarch printed at Venice in 1530. 
 
 Their similarity with the compositions of Andrea Mantegna leads 
 to no identification, the style of drawing which had originated with 
 the great school of Padua having become very generally adopted 
 throughout the north of Italy. There is no biographical notice or 
 information respecting the Zoan Andrea to whom the various prints 
 and woodcuts are attributed by Bartsch and Passavant, and many of 
 them are of extremely varied character and dissimilarity of manner. 
 The supposition of his having been the son of Andrea Mantegna 
 is clearly erroneous in point of time. 
 
 Bartsch, xiii. 293 ; Passavant, v. 79. 
 
 Judith putting the Head of Holofernes into a Sack held 
 BY HER Attendant (i). 
 
 Twelve Children at play ; a dog seated on the left side. A 
 tablet suspended on a leafless tree in the centre is inscribed 
 D.MA.v. {Pass. 40). 
 
 Four Woodcuts, taken from an imperfect breviary (Venice, 1506), 
 measuring 3| inches high by 2\ inches wide : David dancing 
 before the Ark ; the conversion of S. Paul ; a saint pleading 
 before a Roman consul ; and an assemblage of five saints, 
 with God the Father in a glory at the top. With the monogram 
 I. A. on each of them in the lower left-hand corner. 
 
FRANCESCO FRANCIA RAIBOLINI, 
 
 Painter, Goldsmith, and Engraver : born at Bologna, 
 1450; died there, i517. 
 
 """"" ■ ■ ' HE varied acquirements of 
 
 Francesco Francia Raibolini, 
 and his attractive personal 
 qualifications, are best told 
 in the description written of 
 him by his fellow-townsman 
 Nicolo Seccadenari in 15 17 
 in his chronicle, on the occa- 
 sion cf his death : " Mori M. 
 Francesco Francia miglior 
 orefice d' Italia et buonissimo 
 pittore, bravissimo giojelliere, 
 bellissimo di persona, et elo- 
 quentissimo, benche fosse 
 figliuolo di un falegnane." His humble birth detracted nothing from 
 his popularity. How great it was is shown by the crowd of pupils, 
 estimated at upwards of two hundred, who received their training 
 in his studio, exceeding numerically the account given of the 
 renowned school of Squarcione. 
 
 Born at Bologna in 1450, the son of Marco di Giacomo Raibolini 
 a carpenter, his early years were devoted to learning the craft of a 
 goldsmith, in which he attained great proficiency. His knowledge 
 of painting was acquired from Marco Zoppo, who signed his name 
 " di Squarcione," in whose school he had been educated, and hence 
 the Paduan influence, slight as it is, in Francia's paintings. 
 Throughout life he worked at both the occupations he had become 
 so skilled in, and indulged in the conceit of signing his pictures 
 with "aurifex" at the end of his name, adding "pictor" to it on 
 the gold work he ornamented. The refined and devotional senti- 
 ment pervading his compositions, which became so celebrated at 
 Bologna, is seen in its full beauty in the grand, and probably his 
 most important, picture, now in the National Gallery in London, 
 painted for the church of San Fridiano at Lucca, and, with its 
 
Francesco Francia Raibolini. 
 
 23 
 
 lunette of the dead body of our Saviour on the knees of the 
 Madonna, purchased in 1 841 of the Duke of Lucca for 3500/. 
 Another important picture, the Baptism of our Saviour by S. John, 
 is at Hampton Court Palace, of which he likewise made an engrav- 
 ing. Prior to the present century no copperplate engraving had 
 been attributed to Francesco Francia. In the memoir of his life 
 and works by J. A. Calvi (Bologna, 18 12), the Baptism of our 
 Saviour from the last-named picture, catalogued by Bartsch amongst 
 the works of Marc Antonio (22), is ascribed to him. Passavant 
 also transfers to him two other of the Marc Antonio prints, SS. 
 Catharine and Lucia (121), and the Judgment of Paris (339). An 
 interesting episode in Francia's life is the friendship between him 
 and Raphael, attested by Raphael's consignment to him of his altar- 
 piece of S. Cecilia, painted for the Bentivoglio family, for the church 
 of S. Giovanni in Monte, in Bologna, with the request that he would 
 repair any damage or correct it if necessary. The placing the picture 
 over the altar it still adorns was superintended by Francia, very 
 shortly before his death. Vasari narrates that he died of grief on 
 finding how he had been surpassed by his young friend. The story 
 is altogether improbable ; the picture itself has not that especial 
 merit to have aroused the envy of the accomplished Bolognesc 
 artist. There is a connecting link between the two painters, per- 
 ceptible in the engravings of Marc Antonio, executed whilst he was 
 a pupil in Francia's studio. In 1508 Raphael sent to Francia his 
 design for a Nativity, and the composition most probably is pre- 
 served in Marc Antonio's early work (16), which Bartsch ascribes to 
 Francia. Although wanting the vigorous drawing and execution of 
 Mantegna, the art of engraving was fostered into important pre- 
 eminence under Francia's teaching ; and the examination of the 
 early prints of Marc Antonio enables us to trace the progress he 
 made under his master at Bologna. Francia died there in 1517. 
 
 Bartsch, xv. 455 ; Passavant, v. 197. 
 
 The Baptism of our Saviour by S. John the Baptist {B. xiv. 22 ; 
 Pass. v. 197, 201, i). 
 
 The painting by Francia is at Hampton Court Palace. 
 
 First state before the nimbus around the head of our Saviour. 
 
 From the Haivkins Collection, 
 
GIACOMO FRANCIA, 
 Painter and Engraver : born at Bologna, 1485 ; 
 
 DIED there, 1557. 
 
 lACOMO Francia, we learn from Calvi's memoir, was born 
 
 Vjr at Bologna in 1485, and worked under his father Francesco, 
 with whose manner many of his pictures have a close resemblance. 
 Two altar-pieces are dated 15 18, and a Madonna and Saints in 
 the Brera at Milan is dated 1 544. There was a younger son, Giulio, 
 born in 1487, who was only known as his brother's assistant. The 
 engravings marked I. F. are described by Passavant as the work of 
 Giacomo Francia. Bartsch, xv. 455 ; Passavant, v. 222. 
 
 The Holy Family. The Madonna holding the Infant Saviour in 
 a basin, over whom a female attendant pours water. A child 
 is at her feet, and a monkey in the foreground on the left 
 {Pass. 9). 
 
 The Madonna, surrounded by an aureole, the Holy Spirit descend- 
 ing upon her ; S. Catherine and S. Francis on either side ; the 
 Magdalene kneels prostrate on the left, kissing the Madonna's 
 foot ; an angel in the clouds on either side in adoration. Bartsch 
 catalogues it amongst the anonymous Italian engravers (xv. 
 22, 13), and attributes the composition to Raphael. But the 
 drawing, and the engraving likewise, have all the characteristics 
 of the Francia school. BruUiot (ii. 2441) mentions a copy in 
 reverse, ascribing it to Giacomo Francia. 
 
 Christian Charity, with the monogram I. F. (2). 
 First state. 
 
 Lucretia holding a Poniard to her Breast (4). 
 First state ; and an impression in the later state. 
 
 Cleopatra in a Wooded Landscape, applying with her right 
 hand an asp to her breast, and holding another in her left hand, 
 which a winged child at her side on the right endeavours to tear 
 from her (5). 
 
 Venus holding a Quadrant, Cupid by her side ; a naked woman 
 and an old man seated on the right (6). 
 
Robetta. 
 
 25 
 
 Venus with an Arrow in her right hand ; Cupid in front of her, 
 holding his bow {Pass. 12). Catalogued by Bartsch amongst 
 the anonymous Italian Masters (xv. 37, 6). 
 
 Cupid and Psyche on the Clouds {Pass. 13). From a design 
 by Raphael for the two figures in the marriage-feast in the 
 fresco of the story of Cupid and Psyche in the Farnesina at 
 Rome. 
 
 From the Wellesley Collection. 
 
 Engraver of the Florentine School. 
 HERE is no information respecting Robetta beyond the name 
 
 X upon his engravings. Their deficiency of technical drawing 
 imparts to them the appearance of an earlier period than the com- 
 mencement of the sixteenth century ; they are all without date. 
 Passavant attributes the designs to Filippino Lippi. 
 
 Adam and Eve, with their Children (4). 
 The Adoration of the Magi (6). 
 
 The Madonna, with the Infant Saviour and attendant 
 Angels (13). 
 
 Venus surrounded by Cupids (18). 
 
 From tJie Reynolds and Esdaile Collections. 
 
 Hercules and Ant^us (22). 
 
 A Man attached to a Tree by Cupid, with six other figures 
 grouped in a wooded landscape ; a tablet suspended on the 
 right inscribed " Robeta" (25). 
 
 ROBETTA, 
 
 Bartsch, xiii. 392 ; Passavant, v. 57. 
 
EARLY PRINTED ITALIAN BOOKS, 
 With Illustrations by unknown Engravers. 
 
 E know scarcely anything of the 
 engravers who, from the latter 
 part of the fifteenth century, on 
 printing taking the place of manu- 
 script, were employed upon the 
 various books published in the 
 leading Italian cities. Many of 
 the printers were eminent men 
 of their time, and renowned for 
 their learning. The fine books 
 produced in Ferrara at the presses 
 established by Duke Hercules 
 d' Este tell in their dedications of his association with other distin- 
 guished patrons of literature. The Bonsignore Ovid, the first edition 
 of which in the vulgate was printed at Venice in 1497, contains in 
 the text numerous outline woodcuts marked with the monogram 
 I. A., recognised as the work of Zoan Andrea. Surmise has been 
 exhausted, without any result, as to the draughtsmen and engravers 
 occupied upon the Hypnerotomachia Poliphili, the Venetian Boccac- 
 cio of 1492, the Epistole et Evangelii of 1495, and the numerous 
 contemporary illustrated publications of similar character. Many 
 of the accomplished illuminators of manuscripts, whose occupation 
 had passed away, obtained employment in the new field for the 
 exercise of their talent. Wealthy princes and nobles, at whose 
 expense editions of these costly books were issued, are named in 
 deservedly laudatory prefaces. But of the artists to whom we are 
 indebted for their decoration, there is scarcely the record of a name, 
 or a word of commendation of their share in the work. 
 
 FERRARA. 
 
 JACOBI Philippi Bergomesis. De plurimis claris sceletisque 
 mulieribus opus prope divinum. 
 
 With titles in arabesque borders, and woodcut portraits 
 throughout the text, — the treatment of them similar to that of 
 
Early Printed Italian Books. 
 
 27 
 
 the woodcuts of the Poliphilo, printed at Venice about the 
 same time, or somewhat later. The book was pubHshed under 
 the patronage of the then reigning Duke Hercules, who had 
 established printing-presses at Ferrara. In the preface, by 
 the author, the dedication is to Beatrice, Queen of Aragon, 
 Hungary, and Bohemia (wife of King Corvinus of Hungary), 
 so celebrated for his magnificent library. A woodcut repre- 
 senting the presentation of the volume to the Queen is on the 
 reverse of the title. 
 
 Ferrarie Ipressum opera & Ipensa Magistri Laurentii de rubeis 
 de Valentia. tertio kal maias. anno salutis nre MCCCCLXXXXVII. 
 Divo Hercule Duce secundo Ferrariesibus legiptime Imperante. 
 Folio, pJLrple morocco. 
 
 A facsimile of the woodcut of the figure of Medusa is printed as a 
 vignette at the end of the Introduction to the French School of Engraving. 
 
 Vita. Epistole de Sancto Hieronimo vulgare. 
 
 The text illustrated with numerous woodcuts. The titles to 
 the Life and the Epistles, with their large bold type, are fine 
 specimens of printing. One of the borders of the woodcut 
 frontispieces bears the date 1493; there does not seem to have 
 been any earlier or other use of them, than for the book of 
 Philippus Bergomensis, De claris niulieribus. The dedication 
 at the back of the frontispiece to the Epistles is to Eleonora 
 d' Este, Duchess of Ferrara, and Lisabella, her daughter. 
 
 Impressa e la presente opera cosi non diligentia emendata 
 como di iocunde caractere et figure ornata ne la inclita et 
 florentissima cita de Ferrara : par Maestro Lorenzo di Rossi da 
 Valenza : ne gli anni de la salute del mundo MCCCCXCVII., Adi 
 xii. de Octobre. Regnante et iuridicamente et cum humanita 
 el felice et religiosissimo Principe messer Hercule Estense 
 Duca secundo. Spechio de infrangibile fede. 
 Folio, vellum. 
 
 A reduced facsimile of the ornamented border on the second leaf is used 
 for the titW to the English School of Engraving in the present volume. 
 
 FLORENCE. 
 
 Epistole et Evangelii et Lectioni vulgari in Lingua 
 toschana. 
 
 In a circle, in the centre of the arabesque frontispiece occu- 
 pying the size of the page, are full-length figures of SS. Peter 
 and Paul, with small tablets of the Evangelists in the four 
 
28 The Italian School of Engraving. 
 
 corners. The text is illustrated throughout with woodcuts of 
 incidents in the Life and Passion of our Saviour, and other 
 sacred subjects, the blocks of which were subsequently used for 
 the Rappresentationi Sacre, printed at Florence during the six- 
 teenth century. 
 
 Impresso nella inclyta citta di Firenze p. Ser Lorezo de 
 Morgiani et Giovani di Magontia ad instatia di Ser Piero 
 Pacini da Pescia, Anno Domini MCCCCLXXXXV., Adi xxvii. del 
 mese di Luglio. 
 
 Small folio, brown morocco (wanting leaf 8, and sundry leaves 
 much injured). 
 
 A facsimile of the frontispiece is printed opposite ; a facsimile of the 
 woodcut of our Saviour in the Temple with the Doctors is printed as a 
 vignette at p. lo, and another, of the Last Judgment, at the end of this 
 volume. 
 
 Arte (della) del ben Morire, cioe igratia di Dio. Compilato 
 
 et composto per lo reverendo in Christo Padre Monsignor Car- 
 
 dinale di fermo neglianni del nostro Signore MCCCCLIL 
 
 Illustrated with thirty-four woodcuts, twelve of them being 
 
 a series of the " Ars Moriendi." Facsimiles of five are given 
 
 in Dibdin's Decameron, vol. i. p. 140, copied from the volume 
 
 whilst in the library of the Reverend Mr. Rice, the pencil 
 
 directions to the engraver remaining in the margins. 
 
 Finito ellibro del ben morire tucto storiato. Deo Gratias. 
 
 Octavo, cinnamon morocco. (Florence, circa 1490.) 
 
 A facsimile of the illustration on a 2 is printed as a vignette at the end 
 of the Introduction to the English School of Engraving. 
 
 LiBRO DELLI COMANDAMENTI DI DiO. Composto da Frate Marco 
 dal Monte Sancta Maria in Gallo. 
 
 On the title is a woodcut of a seated group of listeners, to 
 whom the friar is preaching. On the reverse of A 2 is a large 
 woodcut of the " Mons Pietatis," superscribed " La Figura della 
 vita eterna o vero del Paradiso et delli modi et vi^ di p. venire 
 a quello," followed by four leaves of " Expositione di pictura." 
 On the reverse of B4 is another woodcut, " Deserto de Syna," 
 and another of " Monte Synay," facing it on B5. The book is 
 described, and a facsimile of the title given, in Dibdin's De- 
 cameron, ii. 30 L 
 
 Impresso in Firenze per Maestro Antonio Miscomini, Anno 
 
 MCCCCLXXXXIIIL 
 Octavo, cinnamon morocco> 
 
(JpiOoIe f ^uanffelu 9 lectioni tjulgati in lingua tofcbana 
 
Early Printed Italian Books. 
 
 29 
 
 Tractato di Maestro Domenico Benivieni Prete Fioren- 
 TINO, in defensione et probatione della doctrina et prophetic 
 predicate da Frate Hieronymo da Ferrara nella citta di Firenze. 
 
 With a woodcut on the title of the friar preaching ; and on the 
 reverse of F iii. an emblematical woodcut occupying the page, 
 the Crucified Saviour being in the centre, surrounded with 
 groups of figures, those in the front bathing in the blood flow- 
 ing from the Saviour's wounds. The cities of " Jerusalem," 
 " Roma," and " Firenze" are in the landscape at the back. 
 
 Impresso in Firenze per Ser Francesco Bonaccorsi, Adi 
 xxviii. di Maggio MCCCCLXXXXVI. 
 Octavo, brown morocco. 
 
 A facsimile of the woodcut of tlie Crucified Saviour is printed opposite. 
 
 RapPRESENTATIONI SACRE: Del nostro Signore Jesu Christo. 
 Stampata in Firenze MDLIX. — Delia Passione del nostro Signore 
 Jesu Christo. — Della Resuretione di Jesu Christo. In Fiorenza 
 MDLXXII. — Del Spirito Santo. In Firenze MDLix. 
 Illustrated with woodcuts. 
 Octavo, bound in one volume, red morocco. 
 
 RAPPRESENTATIONI SACRE : Del Angclo Rafaello et Tobbia. Di 
 Joseph Figluolo di Jacob. D' uno Miracolo di duo Pellegrini. 
 De Sette Dormienti. 
 
 Illustrated with woodcuts. In Firenze MDLIIII. 
 Octavo, bound in one volume, red morocco. 
 
 RAPPRESENTATIONI SACRE : Di S. Theodora, Vergine et Martire. 
 Di S. Orsola, Vergine et Martire. Di Santa Guglielma. Di 
 Stella. 
 
 Illustrated with woodcuts. In Firenze MDLIIII. 
 Octavo, bound in one volume, red morocco. 
 
 A facsimile of the woodcut of the martyrdom of S. Ursula is printed 
 at p. 52. 
 
 La Rappresentatione di Stella, nuovamente ristampata. 
 Illustrated with woodcuts. 
 Octavo, red morocco. No place or date. 
 
 La Rapresentatione di Santo Valentino et di Santa 
 
 GlULIANA E ALTRI MARTIRI. 
 
 Illustrated with woodcuts. In Firenze MDLiili. 
 Octavo, Jmlf-red morocco. 
 
30 The Italian School of Engraving. 
 
 La Rappresentatione di Dieci Mila Martiri Crocifissi nel 
 Monte Arat. 
 
 Illustrated with woodcuts. In Firenze MDLVIII. 
 Octavo, half-brown morocco. 
 
 Rappresentationi sacre : Di Santo Venantio, mdlv.— Di Santo 
 Paulino Vescovo di Lucca. In Firenze, mdlv. — Di S. Antonio 
 Abate, " terribilmente bastonato da i diavoli." In Fiorenza 
 
 ' MDLXXII. 
 
 Illustrated with woodcuts. 
 
 Octavo, bound in one volume, red morocco. 
 
 A facsimile of the woodcut of the bastinading of St. Antony is printed 
 as a vignette at the end of the Introduction to the Spanish School of 
 Engraving. 
 
 La Rappresentatione della Conversione di Santa Maria 
 Maddalena. 
 
 Illustrated with woodcuts. In Fiorenza MDLXXI. 
 Octavo, red morocco. 
 
 Le divote Meditationi sopra la Passione del nostro Sig- 
 nore, chavate et fondate originalmente sopra Sancto 
 bonaventura. 
 
 Illustrated with woodcuts. (Florence.) 
 
 Octavo, cinnamon morocco. ^ 
 
 FANO. 
 
 DeCACHORDUM CllRISTIANUM. Marci Vigerii saonensis San. Mariae 
 transtibe. praesbi. car. seno. gallien. Julio ii. Pont. Max. Di- 
 catum. 
 
 Illustrated with ten woodcuts in arabesque borders, the size 
 of the page, at the commencement of each of the ten " Chordae ;" 
 and thirty-five smaller ones interspersed in the text, in the 
 style of Andrea Mantegna. 
 
 Hieronymus Soncinus in urbe Fani his caracteribus impressit, 
 die X. Augusti MDVII. 
 Folio, green morocco, 
 
 FOSSOMBRONE. 
 
 Paulina DE recta PasCH^ CelebratiONE : ct de die Passionis 
 Domini Nostri Jesu Christi (auctor Paulus Germanus de Mid- 
 delburgo, Episcopus Forosemproniensis). 
 
 Dedicated to Leo X. Illustrated with a large symbolical 
 representation of our Saviour on the Cross, surmounted 
 
Aiboris omne genus una ruina trahit. 
 
Early Printed Italian Books. 31 
 
 with the Madonna holding tlie Infant Saviour in glory ; and 
 some arabesque borders. It is the only known book printed 
 at Fossombrone, and of great rarity (see Cotton's Typographical 
 Gazetteer). In the address at the end to the reader there is a 
 reference to the " Ethiopian" engraver : " Insuper ne nescius 
 oium existas, scire debes Joane Baptista eethiope adulescetulu 
 Iberbe excusoriae artis tyrociniu in hoc opere exercuisse." 
 
 Impressum Forosempronii per octavianu petrutiu. Anno 
 Domini MDXIII. die octava Julii. 
 Folio, lialf-bound. 
 
 MILAN. 
 
 L' Adamo sacra Rapresentatione di Gio. Battista Andreini 
 
 FlORENTINO. 
 
 Illustrated with engravings by Cesare Bassano. . Brunet 
 ascribes the designs to Carl. Antoni Procaccini. 
 The second edition, qiiat'to, calf. Milan, 1617. 
 
 Milton is considered to have derived the idea of his Paradise Lost from 
 the poem. 
 
 NAPLES. 
 
 ESOPI Vita ET FabuL/E. Latine, cum versione italica et allegoriis 
 Fr. Tuppi. 
 
 The Life and Fables illustrated with woodcuts in arabesque 
 borders. 
 
 Impressje Neapoli sub Ferdinando in Siciliae Regno tri- 
 
 Umphatore, sub Anno Domini MCCCCLXXXV. die xiii. Mensis 
 Februarii. 
 
 Folio, brown morocco. 
 
 The block for the fine border on the first leaf of the Fables was sub- 
 sequently used for the title of the celebrated " Editio princeps" of the 
 entire Hebrew Bible, printed at Soncinum by Abraham Colorito in 1488 ; 
 a copy of which rare book, with a ms. Latin translation by Archbishop 
 Cranmer, is in the British Museum. 
 
 A reduced facsimile of the border is used for the title-page of the pre- 
 sent volume. A facsimile of the illustration of the fable of the woodcutter 
 and the axe is annexed. 
 
 PARMA. 
 
 OviDii Nasonis Metamorphosis castigatissima, cum Raphae- 
 lis Regii commentariis, emendatissimis et capitulis figuratis 
 decenter appositis. 
 
 Illustrated with impressions from the blocks cut from the 
 
32 The Italian School of Engraving. 
 
 designs of Zoan Andrea for the edition of the Bonsignore Ovid 
 in the vulgate, Venice, 1497. 
 
 Impressum Parmse expensis et labore Francisci Mazalis, 
 MDV. Cal. Maii. 
 Folio, vellum. 
 
 VENICE. 
 
 Hypnerotomachia Poliphili, ubi humana omnia non nisi som- 
 nium esse docet atque obiter plurima scitu sane quam digna 
 commemorat (opus a Francisco Columna compositum et a 
 Leon Crasso Veronensi editum). Venetiis mense Decembri 
 MID. (1499) in sedibus Aldi Manutii. 
 Folio, green morocco. 
 
 The illustrations have been attributed to Benedetto Montagna and Gio- 
 vanni Bellini. Beyond the small letter b upon two of them, there is 
 nothing to support the attribution. The artist and the engraver of the 
 beautiful designs are alike unknown. 
 
 OviDiO Metamorphoseos vulgare, composta vulgarizata et 
 alegorizata p. loani de Bonsignore de la cita di Castello. 
 
 In the vulgate. The woodcuts with which the text is illus- 
 trated are by Zoan Andrea, and are marked with his mono- 
 gram LA. 
 
 Stampato in Venetia per Zoane rosso vercellese ad instantia 
 del nobile homo miser Lucantonio Zonta fiorentino del 
 MCCCCLXXXXVII. Adi X. del mese de Aprile. 
 Quarto, red morocco. 
 
 Ottley, in his Inquiry iiilo the Early History 
 of Engraving, p. 576, describes sixteen of the woodcuts in Mr. Douce's 
 collection, taken from an incomplete copy of the edition of the Metamor- 
 phoses, illustrated with prints from the same blocks, printed at Parma 
 1509, pronouncing them, and the illustrations of \hQ Poliphilo, to be 
 designed and engraved by the same artist. But they are different in their 
 style of drawing and execution, and, with the exception of the beautiful 
 arabesque border at the commencement of the text, are much inferior to 
 the illustrations of the Poliphilo. 
 
 A reduced facsimile of the border is used for the title to the Flemish 
 and Dutch School of Engraving in the present volume. 
 
 P. OviDii Metamorphosis, cum luculentissimis Raphaelis Regii 
 enarrationibus. 
 
 Illustrated with copies of the woodcuts in the Bonsignore 
 Ovid. 
 
 Venetiis Principe felicis. Leonardo Lauredano, die xx. 
 Aprilis MDXVII. 
 
Early Printed Italian Books. 
 
 33 
 
 Bound in a volume with " Ovidius de Tristibus Venetiis 
 MCCCCLXXXXix." and " Ovidius de Fastis Venetiis MCCCCCii." 
 Folio, green morocco. 
 
 Ovidius, Epistol^ Heroides. 
 
 Illustrated with an arabesque border on the first leaf and 
 woodcuts in the text. 
 
 Impressum Venetiis per loannem Tacuinum de Tridino, 
 Anno Dni. mdxii. die xiii. Mali. 
 Folio, green morocco. 
 
 A reduced facsimile of the border on the first leaf is used for the title 
 to the Spanish School of Engraving in the present volume. 
 
 Vita di Sancti Padri, vulga historiada. 
 
 Illustrated with an arabesque title printed in red and black, 
 and large woodcuts in the style of Andrea Mantegna, of the 
 lives and martyrdoms of the fathers, in circles, coloured. The 
 borders throughout the volume and the figured capital letters 
 are on a black ground dotted with white. 
 
 Impressum Venetiis per Otinum da Pavia de la Luna, Anno 
 Dni. MCCCCCI. Adi xxviii. Luio. 
 Folio, red morocco. 
 
 A reduced facsimile of the border on the first page of the work is used 
 for the title to the Italian School of Engraving in the present volume. 
 
 Officium beate Marie, sm. usum Romanum. 
 
 With several large woodcuts, two of them having the mono- 
 gram of Zoan Andrea. Each page surrounded with borders 
 of subjects, principally from the life of our Saviour and the 
 Madonna, in the style of Andrea Mantegna. Sheet G wants 
 apparently two leaves. 
 
 Venetiis impressum impesis nobilis viri Bernardini Stagnini 
 de Monteferrato. Anno a salutifera incarnatione. Millesimo 
 quingentesimo septimo sexto kls. Octobris. 
 Octavo, old calf. 
 
 A facsimile of the Crucifixion, on the reverse of 05, is used as an 
 initial letter on p. 15 in the present volume. 
 
 Missale pdicatorii multis frigiis, imaginibus, ac Divine Scripture t. 
 Sacrorii Doctoru auctoritatibus ad festivitatu cogruentiam 
 decoratum. 
 
 Printed in black and red. Illustrated with twenty-six large 
 woodcuts, and numerous small ones interspersed throughout 
 the text in the style of Andrea Mantegna, one of the latter — 
 of the Crucifixion — having the monogram of Zoan Andrea. 
 
 D 
 
34 The Italian School of Engraving. 
 
 In clarissima & aplissima venetiar. urbe. — Arte & ipesis Lu- 
 ceatonii de giunta floretini impressum. Anno salutis MCCCCCVI. 
 pridie nonis Februarii. 
 Square octavo, old calf. 
 
 MiSSALE ROMANU NOVITER TPRESSUM. 
 
 Printed in black and red. Illustrated with large woodcuts of 
 the Annunciation and the Crucifixion, and numerous smaller 
 ones throughout the text. 
 
 Missale juxta morem Romane ecclesie expletum plurimis 
 figuris ad celebritatum convenientiam decoratum. Impensisque 
 Lucantonii de giunta floretini Leonardo Lauretano serenissimo 
 Venetiaru principe imperante, Anno a nati Dni. MCCCCCXVI. 
 X. calendas Aprilis i alma Venetiar. urbe ipressum. 
 Folio, purple morocco. 
 
 Fasciculus Medicie. Praxis tam chirurgis quam etiam physicis 
 maxime necessaria, consumatissimi artium et medicine doc- 
 toris Joannis de Ketam alemani. 
 
 Illustrated with nine large woodcuts in outline, in the style 
 of Andrea Mantegna. The fifth edition. 
 Impressum in alma Venetiarum civitate 1522. 
 Folio, vellum. 
 
 VlTE DE SaNCTI PADRI HYSTORIATR 
 
 Illustrated throughout the text with small woodcuts of inci- 
 dents in the lives of the saints. On the arabesque borders 
 which surround the title and the first page of the Lives are the 
 initials I. C. 
 
 Stampate in Venetia per Francesco di Alexadro Bindoni et 
 Mapheo Pasyni copagni, nel Anno MDXXXII. 
 Folio, vellum. 
 
 Francescho Petrarcha, Opera del preclarissimo Poeta. 
 
 Illustrated with woodcuts of the Triumphs, within arabesque 
 borders the size of the page, in the style of Andrea Mantegna. 
 
 Stapadi in Venetia p. Augustino de Zani de Portese, nel 
 MDXV. Adi XX. Mazo. 
 Folio, vellum. 
 
 Francesco Petrarcha, Li Sonetti, Canzoni, et Triomphi di. 
 
 With woodcut border to the title, and woodcuts of the 
 Triumphs, marked with the monogram of Zoan Andrea. 
 
Early Printed Italian Books, 
 
 35 
 
 Stampato in VInegia per Nicolo d' Aristotile detto Zoppino 
 
 MDXXX. 
 
 Small octavo, olive morocco. 
 
 Il Petrarcha, con 1' espositione d' Alessandro Vellutello di novo 
 ristampato con le figure a i triumphi. 
 
 Following the engraved title is a portrait of Petrarch and 
 Laura, with woodcuts of the Triumphs and initial letters. 
 In Vinegia, Appresso Gabriel Giolito de Ferrari MDXLVII. 
 Quarto, old olive morocco, with devices on the sides. 
 
 Officium Beate Marie Virginis. 
 
 Illustrated with twenty large woodcuts, the text surrounded 
 with small ones, principally of the Passion of our Saviour, 
 and a series at the foot, the width of the page, of the history 
 of the Madonna. On the title is an antlered stag, with its 
 mouth on the ground holding a snake, the word " Olim" being 
 printed on a cartouch in the lower right-hand corner. The 
 same word, as also " ViRTU," is often repeated in the margin, 
 and two other small devices of the stag with the snake. The 
 initials A. F. G. frequently occur. According to Weigel 
 {Kunstcatalog, No. 14,153), the drawings and cuts may have 
 been produced by Marcolini, the printer of the volume, and his 
 friend, Giuseppe Porta della Garfagnana, commonly called 
 Salviati Giovane (Nagler, Monogrammisten, vol. i. p. 281, No. 
 567). 
 
 Venetiis in Officina Francisci Marcolini MDXLV. 
 Small octavo, red velvet. 
 
 IL Decamerone di M. Giovanni Boccaccio, nuovamente alia 
 sua vera lettione ridotto per M. Lodovico Dolce. 
 
 Illustrated with woodcuts and initial letters, many of them of 
 Italian games. 
 
 In Vinegia, Appresso Gabriel Giolito de Ferrari et Fratelli 
 
 MDLII. 
 
 Quarto, red morocco. 
 
 Le Transformationi di M. Lodovico Dolce. 
 Illustrated with woodcuts. 
 
 In Vinegia, Appresso Gabriel Giolito de Ferrari e Fratelli 
 
 MDLIII. 
 
 Quarto, vellum. 
 
 L'Ulisse DI M. Lodovico Dolce, da lui tratto dal I'Odissea 
 d' Homero et ridotto in ottava rima. 
 
36 The Italian School of Engraving. 
 
 Illustrated with a portrait of Lodovico Dolce, dated 1561, 
 and woodcut illustrations and initial letters to each canto. 
 In Vinegia, Appresso Gabriel Giolito de' Ferrari MDLXXIII. 
 
 Quarto, vellum. 
 
 Cento Novelle, scelte da piu nobili scrittori della lingua volgare 
 di Francesco Sansovino. 
 
 With a woodcut illustration to each novel, and ornamented 
 initial letters. 
 In Venetia MDLXVI. 
 Quarto, purple morocco. 
 
 La Comedia di Danthe, col comento di Christophoro Landino. 
 
 Illustrated with a large woodcut at the commencement of 
 
 each of the three divisions, and smaller ones at the head of 
 
 each canto in outline. 
 
 Impress! I Venetia p. Bernardino tjenali et Matthio da parma 
 
 del MCCCCLXXXXI. Adi iii. Marzo. 
 
 Facsimiles from an edition with similar illustrations, printed at Venice 
 the same year, Adi xviii. di Novebrio, are given in Dibdin's .^des 
 Altliorpiana, vol. ii. No. iioo. 
 
 Folio, blue morocco. 
 
 Opere del Divino Poeta Danthe, con suoi comenti (di C. 
 Landino) recorrecti (per Pietro da Figino) in littera cursiva 
 impresse. 
 
 Illustrated with woodcuts. 
 
 Impressa in Venetia per Miser Bernardino Stagnino da 
 Trino de Monferra MCCCCCXII., Adi xxiiii. Novembrio. 
 Quarto, green morocco. 
 
 La Comedia di Dante Aligieri, con la nova expositione di Ales- 
 sandro Vellutello. 
 Illustrated with woodcuts. 
 
 Impressa in Vinegia per Francesco Marcolini ad instantia di 
 Alessandro Vellutello, MDXLIIII. 
 Quarto, olive morocco. 
 
 EsOPUS (a Franc Tuppo historiada). 
 
 Illustrated with woodcuts in outline in arabesque borders. 
 
 Impressum Venetiis per Manfredum de Monteferato de 
 Sustrevo MCCCC93, Adi 17 Agosto. 
 Small quarto, green morocco. 
 
MARC ANTONIO RAIMONDI, 
 
 Engraver: born at Bologna, 1488; died there 
 CIRCA 1530. 
 
 NEW and important epoch 
 in the history of engraving 
 was inaugurated at the 
 commencement of the six- 
 teenth century by the ac- 
 cession of Marc Antonio 
 to the role of painter-en- 
 gravers. Little is known of 
 his personal history. Born 
 at Bologna in 1488, he be- 
 came associated with the 
 youths of his native city, 
 who were fortunate to be 
 selected for admission as 
 
 students in the school of 
 Francesco Raibolini. Passavant added nothing to the particulars 
 given by Bartsch, founded on the account by Vasari ; and, admitting 
 some acknowledged errors and confusion of dates, it is the only autho- 
 rity for the few leading incidents preserved of Marc Antonio's life. 
 
 In addition to drawing and painting, metal-chasing and engrav- 
 ing were objects of study in the school at Bologna ; and to the latter 
 as a means of employment the bent of Marc Antonio's talent was 
 directed. So early as 1505, when but in his seventeenth year, we 
 have his print of Pyramus and Thisbe (322), with that date upon 
 it; and four others, Venus (312), the Nymph and Satyr (319), 
 the group of Cupid and three children (320), and Apollo and 
 Hyacinth (348), all dated in the following year, show the industry 
 wherewith he applied himself They have the slight handling of 
 Francia's teaching, and from their faint incision but few prints 
 could have been taken, before the plates became exhausted, and 
 early impressions are of rare occurrence. In 1508 Marc Antonio 
 went to Venice and North Italy, and of this year we have the more 
 important engraving of Mars and Venus (345), after Andrea 
 Mantegna, dated i6th December 1508. The treatment of the back- 
 
38 The Italian School of Engraving. 
 
 ground employed by the German artists, which Marc Antonio sub- 
 sequently so freely appropriated, is here first seen in the picturesque 
 group of buildings in the distant landscape on the right. Distinctive 
 as the before-named prints are in their treatment, they enable us to 
 designate with tolerable accuracy others in point of time corre- 
 spondent with them. A marked improvement, both in quality of 
 workmanship and in the subjects selected, is discernible in the 
 engravings attributable to the period during the subsequent eighteen 
 months. David with the head of Goliath at his feet (12), the 
 design ascribed to Francia, is noticeably an example of the great 
 progress he had made towards qualifying himself for the reception 
 he met with in Rome. His removal to the city was the important 
 turning-point in his career, and from the prints we derive the know- 
 ledge of the reputation he established so soon after his arrival. 
 The attention necessarily devoted to the careful finish of " Les 
 Grimpeurs," after Michel Angelo (487), dated 15 10, tells us that he 
 must have been there resident for no inconsiderable time prior to 
 its completion. The friendship subsisting between Francia and 
 Raphael initiated an introduction which led to the speedy recogni- 
 tion by the great painter of the young engraver's ability. The 
 reproductions of Raphael's designs in rapid succession bespeak, by 
 the delicacy of their drawing, the care wherewith the engraving of 
 them was superintended, and the intimate association that had been 
 created. Distinguishable amongst the prints of this period are the 
 Adam and Eve (i), the Madonna on the clouds (47), Lucrece (192), 
 Philosophy (381), Poetry (382), the Murder of the Innocents with 
 the chicot (18), and slightly later the Judgment of Paris (245), 
 Except the two last, on which is the monogram M. A. F., none of the 
 prints of this period have any mark, and " Les Grimpeurs" only is 
 dated. The second plate of the Murder of the Innocents (20) has 
 likewise the monogram M. A. F. It is difficult to pronounce a pre- 
 ference between two such specimens of skilful workmanship. 
 From the character of the engraving of the plate with the chicot, 
 and the greater rarity of the impressions, it was apparently first 
 executed and the publication exhausted, before the second was 
 undertaken. Both the impressions in this collection are upon 
 similar paper, with the water-mark of a pair of shears. 
 
 The popularity throughout Germany and Italy of the different 
 series of biblical illustrations by Albert Durer tempted Marc An- 
 tonio to issue facsimile copies upon metal, and publish them as his 
 original work. The series of the small Passion and the Life of the 
 Virgin, as also several of the single woodcuts and some of the 
 
Marc Antonio Raimondi. 
 
 39 
 
 copperplates, were repeated with singular accuracy. He first most 
 probably essayed to make them in the material used for the 
 woodcuts, but abandoned it for the readier means at his command 
 of copying them on metal, in the manipulation of which he was so 
 far more proficient. The evidence of the attempt is the woodcut, 
 with his monogram, of the Incredulity of S. Thomas, prefixed to 
 the rare folio volume Epistole et Evangelii vulgari Hystoriade 
 (Venice, 15 12). The controversy respecting these facsimiles has 
 been fully discussed by the writers upon Albert Durer. The know- 
 ledge acquired in their execution of the more enduring, and conse- 
 quently more profitable, process of cutting the metal in order to 
 give the deep lines necessary for the imitation of the woodcuts, 
 occasioned an alteration in the style of the Italian engraver. No 
 more repetitions upon copper of the painter's drawings were pro- 
 duced ; the pencil-like treatment of the works before enumerated 
 being abandoned for the heavier and bolder system distinctive of 
 his later prints, with the additional inducement of the largely- 
 increased number of impressions capable of being taken. Judging 
 from the peculiar characteristics of his early manner up to 1510, of 
 which " Les Grimpeurs" (then dated) is demonstratively the type, 
 it is difficult to feel that Albert Durer had previously exercised any 
 influence over him, the distinguishing quality of all his engravings 
 prior and up to the period in question being so diametrically 
 different from those of the German artist. The twenty woodcuts 
 of the life of the Virgin were printed and issued at Nuremberg in 
 151 1. The date of 1504 or 1509 is upon that of Joachim and 
 S. Anna, and 15 10 upon the two last, the Death and the Assump- 
 tion of the Virgin ; both of them, very Italian in treatment, are by 
 far the finest of the series. Marc Antonio's copies consist of seventeen 
 only, the title with the Virgin on the crescent, and the two last, not 
 being included. The date upon that of Joachim and S. Anna is 
 omitted. To the Annunciation and the Adoration of the Magi is 
 added the date of 1506, there being none upon either of the wood- 
 cuts. They were issued, palpably intended to pass as originals, and 
 thus antedated for some reason, which defies explanation. The 
 totally opposite handling of his early dry-point prints — four of 
 them, as before noted, being dated in 1506, when he was in his 
 eighteenth year — distinctly proves that work so dissimilar as the 
 deep-cut imitations of the Albert Durer woodcuts could not con- 
 currently have been executed by the same hand. 
 
 We have confirmatory evidence that these imitations were 
 made during the years 1510-11. Albert Durer's S. Christopher 
 
40 
 
 The Italian School of Engraving. 
 
 (103), one of the very few of his woodcuts not having the usual 
 monogram, is dated 1 5 1 1 ; a reversed copy of it in this collection 
 by Marc Antonio, which has not been described — the same size as 
 the woodcut — is corroborative of the justice of the German artist's 
 complaint of the surreptitious appropriation of his designs, the date 
 1511 being omitted, a large A. D. monogram being substituted for 
 it. The three series of the large and small Passion and the Life of 
 the Madonna were all published by Albert Durer in 1 5 1 1 ; and at 
 the end of each is appended the protest and threatened peril against 
 the infringement of the concession granted to him by the Emperor 
 Maximilian. Some reticence in the wording of his strong anathema 
 might have been used by the German artist, considering that with 
 no sparing hand he had himself freely used and copied the works 
 of his own countrymen. Whether the protest and the dread of the 
 Emperor was efficacious in Rome to suppress the sale of the copies 
 is doubtful. The plates were capable of giving a large number of 
 impressions. They are still in existence ; and that they were fully 
 exhausted is shown by the worn-out prints from them frequently 
 met with. 
 
 The altered manner henceforth adopted by Marc Antonio is 
 clearly discernible. No date, subsequent to that of 15 10 on " Les 
 Grimpeurs," was affixed upon any of his prints, and we have nothing 
 to lead us in their critical examination, save the evidence they 
 themselves afford. His delicate method was altogether abandoned, 
 and the far more profitable process, acquired in making the Albert 
 Durer facsimiles, was never afterwards departed from. It was in 
 fact the first introduction in Italy of the thorough use of the burin, 
 the previous productions of the Italian artists having all been made 
 with the dry point in imitation of drawings. 
 
 Amidst the heaviness and strength of expression of these later 
 compositions we still recognise the guiding inflluence of Raphael, 
 continued up to his death in 1520. The Last Supper (26), the 
 Lamenting Madonna with the covered arm (35), the two subjects 
 of the Madonna with the Infant Saviour (61-2), the S. Cecilia 
 • (116), and the Parnassus (247) are amongst the best specimens of 
 this period. Scarcely a sign of decadence is apparent in any, even 
 of the subsequently issued prints, save some evidence of carelessness 
 and hurry, of which Joseph and Potiphar's Wife (9), David and 
 Goliath (10), the Descent from the Cross (32), the Holy Family 
 (57), the Rape of Helen (209), the Three Graces (340), and the 
 Cassolette (489) may be instanced. But in all of them the skill of 
 the great engraver eminently surpasses that of his associates 
 
Marc Antonio Raimondi. 
 
 41 
 
 working with him, and endeavouring to adopt his manner. The 
 crowd of pupils gathered around him tells of the widespread repu- 
 tation his school attained. The genius, however, which had brought 
 it into existence departed with the founder. Notwithstanding the 
 benefit of his precept, the inspiration was there no longer, and the 
 power of the teacher's hand, conspicuous in each print which he left 
 behind him, defied all the efforts of his successors to acquire. 
 
 The twenty illustrations from the drawings of Giulio Romano, 
 made for the sonnets of Pietro Aretino, brought upon him the indig- 
 nation of Pope Clement VII., who committed him to prison, and 
 with difficulty, through the intercession of Cardinal Hippolite de' 
 Medici and the painter Baccio Bandinelli, he obtained his release. 
 A rigorous suppression of these illustrations was instituted by the 
 Pope, and, except some few fragments, they are no longer in exist- 
 ence. The last known set, purchased for 1000/. of M. Waldeck, the 
 dealer in, and restorer of, old prints, was, on the death of the owner 
 in 1830, destroyed, with other similar curiosities, by his executors. 
 
 At the sack of Rome in 1527 Marc Antonio lost his property, 
 and fled to Bologna. Vasari states that he died soon after his 
 return to his native city. Bartsch, xiv. ; Passavant, vi. I. 
 
 Adam and Eve (i). From a design of Raphael. 
 
 In the first state. On thin paper, with the mermaid water- 
 mark. 
 
 A pen-drawing of the figure of Adam, that of Eve being but slightly 
 indicated, is in the University Galleries at Oxford. There is a small 
 picture, varied in the detail, of the same subject on a gold ground at 
 Rome. 
 
 God the Father appearing to Noah (3). After Raphael. 
 
 Early undescribed state. Before the alteration of the extended 
 
 hand of God the Father. The back of the head of Noah's wife 
 
 was afterwards reduced to admit the completion of the face of 
 
 the child she carries, and additions made to the folds of the 
 
 dress. In the subsequent state the detail of the woodwork of 
 
 the cabin and the shadows throughout are much strengthened. 
 
 From tJie Mariette and Ricliardson Collections. 
 
 The treatment is nearly identical with the fresco on the ceiling of the 
 stanza of the Heliodorus in the Vatican. A pen-drawing, shaded, of the 
 group of the mother and children is in the British Museum. 
 
 The same (3). Impression from the finished plate. 
 From the Maroclietti Collection. 
 
42 The Italian School of Engraving. 
 
 Joseph and the Wife of Potiphar (9). From the fresco by 
 Raphael in the Loggie of the Vatican. 
 A drawing of the composition was in the Crozat Collection. 
 
 David. Small full-length figure, undraped, holding the head of 
 Goliath (12). After Francia. 
 From tlie Puccini Collection at Pistoja. 
 
 The Queen of Sheba presenting her Gifts to Solomon (13). 
 After Raphael. 
 
 The grouping is better than that of the fresco in the Loggie. 
 Bartsch ascribes the engraving to Marc Antonio. It is evi- 
 dently, however, by the Master of the die. Passavant states 
 that the original drawing is in the possession of M. Bethmann 
 Holweg of Bonn. 
 
 The Nativity (16). After Francia or Raphael. 
 
 In the first state, before the nimbus around the head of the 
 Madonna. 
 
 The Massacre of the Innocents, with the "chicot" (18). From 
 a sketch by Raphael for the cartoon of the Vatican tapestry. 
 
 Pen-drawings are in the Albertina at Vienna, and the Royal Library at 
 Windsor, 
 
 The same, without the " chicot" (20). 
 
 In the first state. The plate was subsequently reworked. 
 
 This and the preceding print are upon paper from the same 
 mill, having the same water-mark of a pair of shears. 
 
 The. Baptism of our Saviour by S. John the Baptist (22). 
 See Francesco Francia. 
 
 Our Saviour at Supper in the House of Simon the Pha- 
 risee (23). After Raphael. The original design was in the 
 Crozat Collection, No. 120. 
 
 This impression was at the Exhibition of the Art Treasures of the 
 United Kingdom at Manchester in 1857. 
 
 The Last Supper, called " La C6ne aux Pieds" (26). After a 
 drawing by Raphael. 
 
 A bistre drawing, slightly larger than the print, is in the Royal Library 
 at Windsor, considered to be the original. Paintings from the design are 
 in the Hermitage at 5. Petersburg and the Academy at Perugia. 
 
Marc Antonio Raimondi. 
 
 43 
 
 The Descent from the Cross (32), After Raphael. 
 
 There is a sketch of the composition in the Albertina at Vienna. 
 Nothing is known of the original pen-drawing stated by Zani to be in the 
 Collection of Don Ciccia di Lucca at Naples. 
 
 The Madonna lamenting over the dead Body of our 
 
 Saviour, " au bras nud" (34). After Raphael. 
 
 The original drawing, much rubbed, exactly the same in expression as 
 the print, is in the Louvre. 
 
 The same, " au bras couvert" (35). 
 
 From tlie Lely and Beckford Collections. 
 
 The three Maries lamenting over the dead Body of our 
 Saviour (37). 
 Copy B reversed. 
 
 S. Paul preaching at Athens (44). After Raphael. 
 
 After a sketch for the cartoon, from which it slightly varies. 
 
 Mary Magdalene, with her Sister Martha, ascending the 
 steps of a raised platform, on the right of which our Saviour is 
 seated on a throne surrounded by some of His Disciples. Called 
 by Bartsch " Notre Dame a I'Escalier" (45). After Raphael. 
 
 Undescribed copy. The buildings are carried a story higher 
 than in either the original or the copies mentioned by Bartsch. 
 
 Drawings of the composition are in the Albertina and the Louvre, and 
 in the Duke of Devonshire's Collection at Chatsworth. 
 
 The Madonna, with the Infant Saviour, seated on a throne, 
 which is unfinished (46). After Raphael. 
 No picture or drawing is known of the composition. 
 
 The Madonna on the Clouds, holding the Infant Saviour, 
 
 with attendant Angels at her feet (47). After Raphael. 
 
 First state, on thin paper. The plate was afterwards reworked. 
 
 From tlie Lely and Sykes Collections. 
 
 There is a reversed copy in the Royal Museum at Dusseldorf, respect- 
 ing which Andreas MuUer, the Curator, published a pamphlet in i860 
 with facsimiles to prove it to have been engraved by Raphael. 
 
 The Madonna, with the Infant Saviour, on the clouds (52). 
 From a design of Raphael for the Madonna di Foligno. 
 From tlie Debois, Maberly, and Hawkins Collections. 
 Exhibited at Manchester in 1857. 
 
44 Italian School of Engraving. 
 
 The same (53). Engraved a second time by Marc Antonio in a 
 slighter manner. 
 
 Also the copy described by Bartsch, with the angels added in 
 the upper corners by Agostino Carracci. 
 
 The Madonna holding the Infant Saviour, seated on a 
 raised dais. On the left are Tobit, accompanied by the Angel 
 Raphael, S. Jerome being on the right holding a book. Called 
 " La Ste. Vierge au poisson" (54). 
 
 The picture by Raphael is in the Gallery at Madrid. 
 
 The Madonna, with the Infant Saviour and S. Joseph, in 
 front of a ruined building. Called " La Ste. Vierge a la longue 
 cuisse" (57). After Raphael. 
 From the Marshall Collection. 
 
 The Madonna, with the Infant Saviour, and S. Joseph (60). 
 After Raphael. 
 From the Durand Collection. 
 
 No picture or drawing is extant of this or the following engraving. 
 
 The Madonna suckling the Infant Saviour (61). After 
 Raphael. 
 
 From tite Scitivaux, Debois, Maberly, and Hawkins Collections. 
 
 This impression was exhibited at Manchester in 1857, and photo- 
 graphed in Messrs. Colnaghi's Art Treasures of that Exhibition. 
 
 The Madonna seated in a Chair, leaning forward and embrac- 
 ing the Infant Saviour. After Raphael. 
 
 There is a facsimile copy of the print in Ottley's History of Engraving 
 (211), who ascribes it to Marc Antonio. Bartsch catalogues it amongst 
 the anonymous Italian Masters (xv. p. 20). The drawing by Raphael is 
 in the University Galleries at Oxford. 
 
 The Holy Family seated under a Palm-tree (62). After 
 Raphael. 
 
 Probably from a first sketch for the picture in the Museum 
 at Naples, known as the Holy Family, " Del divin amore." 
 There was a drawing of it in the Esdaile Collection. 
 From tfie Esdaile and Hawkins Collections. 
 
 This impression was exhibited at Manchester in 1857, and photo- 
 graphed in Messrs. Colnaghi's Art Treasures of that Exhibition. 
 
Marc Antonio Raimondi. 
 
 45 
 
 The Holy Family, with the Cradle (63). After Raphael. 
 
 From the Hawkins Collection. 
 
 No drawing or picture of the composition is extant. In the Gallery at 
 Wilton House there is a Flemish copy of it. 
 
 Our Saviour and the twelve Apostles (64-76). After Ra- 
 phael. Designed for the Sala Vecchia di Palefrenieri, and 
 painted in terra verde by Giovanni da Udine with surrounding 
 ornaments, all of which have perished. 
 
 The original drawings in red chalk are in the Duke of Devonshire's 
 Collection at Chatsworth. 
 
 S. Peter holding the Keys, standing between two pillars (78). 
 After Raphael. 
 
 Composition for an altar-piece, known as The Five Saints 
 (113). After Raphael. 
 From tJie Dumesnil Collection. 
 
 Mr. Holford has a curious early impression from the plate before 
 many of the shadows were added. A picture ascribed to Raphael is in 
 the Pinacoteca at Parma. The original drawing, much rubbed, is in the 
 Louvre. 
 
 S. Cecilia, with four Saints, two on either side (116). After 
 Raphael. 
 
 The treatment varies materially from the picture by Raphael at Bologna; 
 
 SS. Catherine and Lucie (121). After Francia. 
 
 Passavant ascribes this print to Francia, stating that it cor- 
 responds with the two figures of the Saints in the large altar- 
 piece painted by him in 1502, now in the Museum at Berlin. 
 
 From tJie Hawkins Collection. 
 
 This impression was exhibited at Manchester in 1857. 
 
 Our Saviour and the twelve Apostles (124- 136), The Guar- 
 dian Angel (140), and The Angel Gabriel (149). After 
 Raphael. Different in treatment and much smaller than the 
 preceding series (64-76). 
 The copies described by Bartsch. 
 
 The Madonna and S. Anna, with the Infant Saviour (173). 
 After Raphael. 
 Undescribed copy ; reversed. 
 
46 The Italian School of Engraving. 
 
 Dido stabbing herself (187). After Raphael. 
 
 The background is copied from the engraving of " The Holy- 
 Family" by Lucas van Leyden (5. vii. 85). 
 First state, printed on paper, with the mermaid water-mark. 
 
 There is an impression in the British Museum, before the inscription 
 on the tablet. 
 
 LUCRETIA STABBING HERSELF WITH A PONIARD (192). After 
 
 Raphael. 
 
 On thin paper, with the mermaid water-mark. 
 
 There is a pen-drawing, somewhat different, in Mr. William Russell's 
 Collection. This impression, brought from Italy with the Seratti prints, 
 was, at the sale of them, obtained by Mr. Ottley, and subsequently dis- 
 posed of to Sir Mark Sykes. At the Sykes sale Dr. Wellesley bought 
 and afterwards sold it to the Duke of Bedford. On the dispersion of the 
 Duke's prints by auction in 1838 it was acquired by Mr. Tiffin, from 
 whom it was purchased. 
 
 The same. The four copies A, B, C, and D described by Bartsch. 
 Copy A in two states. 
 From tlie Verstolk Collection. 
 
 Cleopatra on a Couch, applying the Asp to her Breast 
 (199)- 
 
 There is an antique statue in the Vatican, from which the drawing 
 was taken. 
 
 Alexander directing the Deposit of the Books of Homer 
 IN the Tomb of Achilles (207). From the fresco by Ra- 
 phael under the Parnassus in the Stanza della Segnatura. 
 
 Passavant states the subject originated from the tradition 
 that Alexander considered Achilles fortunate in having had 
 Homer for an historian. 
 
 Helen carried away by the Trojans (209). After Raphael. 
 
 A fresco of the composition, transferred to canvas, is in the Hermitage 
 at S. Petersburg, which was formerly in the Villa Rafaele at Rome. 
 
 The Triumph of Titus (213). The original drawing, under- 
 written, " of the Venetian or Lombard School," is in the Louvre. 
 Passavant considers it to be by Sodoma. 
 The copy described by Bartsch. 
 
 The Dance of Children (217). After Raphael. 
 
 A drawing of the group, the originality of which is doubtful, is in the 
 Royal Collection at Berlin. With the copy B of Bartsch, and another 
 undescribed copy. 
 
Marc Antonio Raimondi. 47 
 
 Two Fauns carrying a Child in a Basket (230). From a 
 drawing by Raphael, after the antique. 
 
 A stone sarcophagus is in the Fitzwilliam Museum at Cambridge, 
 brought from Crete, at the lower end of which this design is sculptured. 
 
 The Judgment of Paris (245). After Raphael. 
 
 The drawing referred to by Malaspina has been lost sight of. A picture, 
 probably by some Venetian painter after the Marc Antonio print, was in 
 the possession of Mr. BulteeL 
 
 The Parnassus (247). From a design by Raphael for the fresco 
 on the second wall of the Stanza della Segnatura in the 
 Vatican. The winged children are omitted in the fresco, and 
 there are other considerable variations. 
 From the Van Putten Collection, 
 
 A Bacchanalian Frieze (248). 
 
 From tlie Puccini Collection at Pistoja. 
 
 An antique bas-relief of this composition is in the Museum at Naples. 
 
 Aurora (293). From a sketch by Raphael for a medal for Count 
 Castiglione. 
 
 The Young and Old Bacchant (294). Copied from an antique 
 bas-relief in the Villa Albani. 
 
 Venus and Cupid : " Venus sortant du bain" (297). After Raphael. 
 
 Venus and Cupid in a Niche (311). After Raphael. 
 
 The original silver-point drawing is in the possession of Mr. J. C. 
 Robinson. 
 
 Venus crouching under a Pedestal, on the top of which 
 Cupid leans forward to embrace her (313). From a drawing 
 probably by Francia, after the antique. 
 A red-chalk study for it is in the Royal Library at Turin. 
 
 Venus seated, in a Wooded Landscape, extracting a Thorn 
 FROM her Foot {Ottley, 251). 
 Undescribed by Bartsch. 
 From the Marocfietti Collection. 
 
 Pan SURPRISING the Nymph Syrinx (325> From a design by 
 Raphael for the fresco in Cardinal Bibiena's bathroom in the 
 Vatican. 
 
48 The Italian School of Engraving. 
 
 Apollo, his left arm upraised over his head (333). Engraved from 
 the statue in basalt in the Farnesina at Rome. 
 From the Marochetti Collection. 
 
 With an engraving from the statue, taken from the same 
 view, inscribed at the foot, " Hermaphroditi statua ex basalte 
 duritatis colorisq. ferrei Romae in Pallatio Farnesiano collocata. 
 Ant. Lafrerii Formis Romee mdlil" 
 
 Apollo, leaning against the trunk of a tree, in a niche (334). From 
 a drawing by Raphael for the figure of Apollo in the fresco of 
 the school of Athens. 
 
 A pen-sketch of it is in the Royal Library at Windsor. 
 
 Minerva, her left hand holding a spear, standing on a globe (337). 
 With the copy described by Bartsch. 
 From the Marochetti Collection. 
 
 The Judgment of Paris (339). From a design, probably by 
 Francia, to whom Passavant ascribes this print. 
 
 The three Graces (340). From a drawing by Raphael, after the 
 antique marble group at Sienna. The position of the three 
 figures is the same as in the picture belonging to Lord Ward, 
 but the details are varied. 
 From tJie Puccini Collection at Pistoja. 
 
 Mars, Venus, and Cupid (345). From a design ascribed to Man- 
 tegna, dated " 1508, 16 D." 
 
 Early undescribed state before additional work on the figure 
 of Venus. Alterations of the face of Mars were subsequently 
 made, and stippled work added in the shadows. 
 From tlie Willett Collection. 
 
 The same (345). Photograph from an impression, with the sub- 
 sequent additions and the stippled work, the vessels on the sea 
 being also strengthened. 
 
 The same (345). Impression from the finished plate, with the 
 torch, and the head of Medusa on the shield, and the tree com- 
 pleted. 
 
 This impression was exhibited at Manchester in 1857. 
 
 Hercules and Ant^us (346). After Raphael. 
 
 Two drawings of the group are in the Royal Library at Windsor. ■ 
 
Marc Antonio Raimondi. 
 
 49 
 
 Apollo, Hyacinthus, and Cupid (348), dated "1506, Ap. 9." 
 From a drawing, after a group of statuary, in the style of 
 Francia. 
 
 The Triumph of Galatea (350). From a design of Raphael for 
 the fresco in the Farnesina at Rome. 
 
 Neptune appeasing the Tempest raised by ^jEoIus against the 
 fleet of ^neas. With nine marginal subjects taken from the 
 ^7ieid of Virgil ; called by Bartsch " Le Quos Ego" (352). 
 Supposed to have been engraved as a frontispiece for an edition 
 of the works of Virgil. 
 First state before the stippled work. 
 From tJte Marochetti Collection. 
 
 The original drawing mentioned by Reveley as being in the possession 
 of Lord Hampton has been lost sight of. 
 
 An emblematical Composition, called by Bartsch " Le Songe de 
 Raphael" (359). Probably after Giorgione. 
 
 " Le jeune Homme au Brandon." A composition in a landscape 
 of two women and five men, one of whom on the left holds a 
 horse by the bridle. In the centre a young man stands on a 
 pedestal, upraising a cornucopia, from which flames are issuing 
 (360). The design ascribed to Francia. 
 
 A YOUNG Woman half draped, seated on a lion, her left hand on 
 the neck of a dragon, and looking at herself in a mirror, held 
 extended in her right hand ; called by Bartsch " La Prudence" 
 (371). After Raphael. 
 From the Mariette Collection. 
 
 A Woman holding two Sponges (373). The design ascribed by 
 Bartsch to Francia. 
 
 Philosophy (381). From a design of Raphael for the circle over the 
 fresco of the school of Athens in the ceiling of the Stanza della 
 Segnatura in the Vatican. 
 
 Poetry (382). From a design of Raphael for the circle over the 
 fresco of Mount Parnassus in the ceiling of the same Stanza. 
 
 In the first state, before the delicacy and expression of the 
 face, and of the entire engraving, was impaired by additional 
 
 £ 
 
50 The Italian School of Engraving. 
 
 work. There are impressions, in the British Museum and in 
 
 Mr. Malcolm's Collection, before the inscription on the tablet. 
 
 A very fine black-chalk drawing of the figure of Poetry is in the Royal 
 Library at Windsor. 
 
 The same (382). 
 
 In the finished state. 
 
 A YOUNG Woman watering a Plant (383). After Francia. 
 
 This is another of the prints ascribed by Passavant to 
 Barthel Beham. It is one of Marc Antonio's finest productions. 
 
 Charity (386). After Raphael. 
 
 A DRAPED Female, full length, to whom a child, at her side on the 
 right, offers an olive-branch ; called by Bartsch " La Paix" (393). 
 After Raphael. 
 
 The two Sibyls, " Les deux Femmes au Zodiaque" (397). After 
 Raphael. 
 
 From tJie Wellesley Collection. 
 
 A Group of three naked Women, two of them with flutes in 
 their hands, and a young man, seated, playing the violin : in a 
 landscape (398). In the style of Francia. 
 
 A YOUNG Woman with a Wreath of Ivy-leaves, standing 
 between two men, one of whom on the right holds a small 
 dragon ; a child reclines at the woman's feet : in a landscape 
 (399)- From a design ascribed to Francia, 
 
 A Woman seated on the Ground, with a child in her lap, in 
 conversation with two men (432). From a design ascribed to 
 Francia. 
 
 A Woman seated in Contemplation by a Window, through 
 the opening of which is seen an angel holding a cross (460). 
 
 The engraving is not by Marc Antonio. It must have been executed 
 in the latter part of the sixteenth century from a design of Parmigiano, 
 and is different from the work of any known engraver of the time. A 
 drawing of the composition by Parmigiano is in the Uffizi at Florence. 
 
 Angelica and Medora (484). From a design of Raphael for the 
 fresco in Cardinal Bibiena's bathroom. 
 From tlie St. Aubyn Collection. 
 
Marc Antonio Raimondi. 
 
 51 
 
 The Bathers, a group of three figures ; called by Bartsch " Les 
 Grimpeurs dated 1 5 10 (487). After a drawing by Michel 
 Angelo, of the surprise of the Pisan soldiers, for his fresco for 
 the decoration of the great hall of the Palazzo Vecchio della 
 Signoria at Florence. The cartoon was destroyed by the 
 soldiers of the Medici whilst quartered in the hall in 15 12. The 
 decoration of the opposite side by Leonardo da Vinci, of the 
 defeat of Niccolo Piccinnino, perished from the decay of the 
 medium he had painted it upon. The landscape is copied from 
 the print by Lucas van Leyden, of Mahomet and the Monk 
 Sergius {B.^ vii. 126). 
 
 The Cassolette, supported by two Caryatides (489). From a 
 design of Raphael for a vase for perfume. 
 
 Four of the Medallions of the Popes : Pius H. {Pass. 292) ; 
 Innocent VIII. {Pass. 295); Alexander VI. {Pass. 296); Pius 
 III {Pass. 297). 
 Undescribed by Bartsch. 
 
 Portraits of Raphael (496), and the Fornarina (445). 
 The copies described by Bartsch. 
 
 COPIES AFTER ALBERT DURER. 
 
 The Passion of our Saviour (584-620). The impressions of the 
 Fall of Adam and Eve and of the Expulsion from Paradise in 
 early proof states. With a copy of the frontispiece of the 
 seated Saviour reproduced from the rare print in the Albertina 
 at Vienna. 
 
 The same. Early proofs of eighteen of them before the numbers. 
 From the Wellesley Collection. 
 
 The Life of the Madonna (621-637). Copies from the Albert 
 Durer woodcuts, the same size as the originals. On two of 
 these copies, the Annunciation and the Adoration of the Magi, 
 is the date 1 506. 
 
 Impressions from the worn plates ; duplicates from the 
 Berlin Museum. 
 
 Our Saviour taking leave of His Mother (636). 
 Number 16 of the preceding series. 
 This impression was exhibited at Manchester in 1857. 
 
52 The Italian School of Engraving. 
 
 Our Saviour crucified. The Madonna and S. John standing 
 on either side of the Cross (645). 
 From tfie Durand Collection. 
 
 S. Christopher. Copied in reverse from the Albert Durer wood- 
 cut (No. 103) the same size as the original, with the A. D. 
 monogram added in the upper right-hand corner. The woodcut 
 by Albert Durer has no monogram, but is dated 15 11. 
 Undescribed. 
 
 The Incredulity of S. Thomas. Photograph from the rare 
 undescribed woodcut by Marc Antonio, with the monogram 
 M. A. F., prefixed to the volume Epistole et Evangelii vulgari 
 Hystoriade. Venetia, 15 12. 
 
AGOSTINO DI MUSI, VENEZIANO. 
 Engraver: born at Venice (1490) ; died at Rome (1540). 
 
 ESPECTING Agostino di 
 Veneziano our only infor- 
 mation is derived from the 
 dates upon his prints. He 
 was occupied at Venice in 
 1 5 14. His copy of the 
 Last Supper in the Albert 
 Durer series of the large 
 Passion is dated in that 
 year. He was at Florence 
 in 1 5 1 5, copying the works 
 of Baccio Bandinelli, Ber- 
 nardino Luini, and other 
 painters, and at Rome in 
 1 5 16, the Venus and Cupid 
 (286), from the fresco by Raphael in Cardinal Bibiena's bathroom, 
 having that date upon it. In the same year, and most probably 
 immediately on his arrival in the city, he worked with Marc Antonio, 
 and so continued until its pillage by the Spaniards in 1527, when 
 he sought refuge with Giulio Romano in Mantua, but returned in 
 1528. Several portraits and copies of statues, vases, and architectural 
 subjects were engraved by him, many of them published by Antonio 
 Salamanca. The terminal figures (301-304) and his portrait of 
 Francis I. are dated 1536. Passavant enumerates 188 of his prints. 
 He died at Rome about 1540. Bartsch, xiv. ; Passavant, vi. 49. 
 
 God the Father appearing to Noah. Copy of the print by 
 Marc Antonio (3). 
 
 Abraham's Sacrifice (5). From a design of Raphael for the 
 fresco in the Stanza d' Eliodoro. 
 
 There is a bistre drawing of it in the University Galleries at Oxford. 
 
 The Israelites collecting the Manna (8). After Raphael, 
 differing from the fresco in the Loggie. 
 
54 The Italian School of Engraving. 
 
 Early undescribed state, before much additional work, espe- 
 cially on the faces of the kneeling figures. 
 From the Mariette Collection. 
 
 A drawing from which the engraving was made is in the Thorwaldsen 
 Museum at Copenhagen. 
 
 The Nativity, dated 1531 (17). After Giulio Romano. 
 First state. 
 
 The Bearing the Cross, dated 15 17 (28). From Raphael's pic- 
 ture, " Lo Spasimo di Sicilia," in the Museum at Madrid. 
 First state. 
 
 Study of three Women, called by Bartsch " Les trois saintes 
 Femmes allant visiter le S. Sepulcre" (33). After Michel 
 Angelo. 
 
 Our Saviour being uplifted from the Tomb. On the one side 
 the Madonna and Nicodemus ; on the other S. John and Joseph 
 of Arimathea (36). 
 
 An undescribed reversed copy, with the imprint in the right- 
 hand lower corner, " M. F. Romae." 
 
 The three Maries lamenting over the dead Body of our 
 Saviour (38). After Raphael. Copy of the engraving (37) 
 by Marc Antonio. 
 
 The same Composition, dated 15 16 (39), 
 
 The Body of our Saviour supported by Angels, dated 15 16 
 (40). After Andrea del Sarto. 
 
 The Madonna, with the Infant Saviour and S. John and 
 TWO Angels. The Saviour has a small cross in his hand (50). 
 After Raphael. 
 
 The same Composition, with slight variations, the Saviour not 
 having the cross in his hand, dated 15 18 (51). 
 First state ; with an impression from the finished plate. 
 
 The Madonna holding the Infant Saviour. Tobit, with the 
 Angel, and S. Jerome, at the sides. Copy of the print (54) by 
 Marc Antonio. 
 
Agostino di Musi, Veneziano. 
 
 55 
 
 The four Evangelists, dated 15 18 (92-95). After GiuHo 
 Romano. 
 
 S. Jerome on his Knees in Prayer before a Crucifix. After 
 Raphael. Reversed copy of the engraving (loi) by Marc 
 Antonio. 
 
 S. Jerome seated, with a Book in his Hands, a small lion in 
 front of him (103). After Raphael. Reversed copy of the en- 
 graving (102) by Marc Antonio. 
 
 The Saints of the Order of S. Dominic (112). With fifteen 
 subjects of the life of our Saviour copied from the German 
 engraver Altdorfer, and figures of two of the Apostles, at the 
 sides. 
 
 Bartsch describes the centre composition only. 
 
 The Cum^an Sibyl offering to Apollo Grains of Sand, 
 demanding to live for as many years as the grains were in 
 number (123). From a design ascribed to Raphael. 
 Passavant calls it the Figure of Hope. 
 
 Iphigenia, who lights a Torch at a Brasier, recognising 
 - Orestes and Pylades (194). 
 From the Paar Collection. 
 
 Alexander directing the Deposit of the Books of Homer 
 in the Tomb of Achilles. Copy of the print (207) by 
 Marc Antonio. 
 
 A Battle, described by Bartsch as " La Bataille au Coutelas" (211). 
 After Giulio Romano. 
 
 The drawing is in the British Museum. 
 
 Venus traversing the Sea on a Dolphin's Back, followed by 
 Cupid carrying a torch, a butterfly fluttering in the air above 
 (239). From a design of Raphael after the antique. 
 
 Lycaon changed into a Wolf when about to attack 
 Jupiter in his Sleep (244). 
 Bartsch ascribes the design to Raphael. 
 In the second state. 
 
56 The Italian School of Engraving. 
 
 Venus and Cupid, dated 15 16 (286). From a design of Raphael 
 for the fresco in Cardinal Bibiena's bathroom. 
 The red-chalk drawing is in the Royal Library at Windsor. 
 
 Hercules strangling the Nem^an Lion, dated 1528 (287). 
 
 There is a pen-drawing slightly washed in the Royal Library at 
 Windsor. A picture of the composition by Giulio Romano is in the 
 Palazzo del T. at Mantua. 
 
 The Infant Hercules in his Cradle strangling a Serpent 
 (315). After Giulio Romano. 
 The second state, with the date 1533. 
 
 Hercules AND Ant^us, dated 1533 (316). After Raphael. The 
 same subject by Marc Antonio (346) is differently treated. 
 
 Apollo and Daphne (317). After a design of Raphael. 
 
 Venus seated under a Tree, her left arm extended towards 
 Cupid, holding a torch, approaching her from the left (318). 
 After a design of Giulio Romano. 
 From the Puccini Collection at Pistoja. 
 
 A Woman, with an Attendant, offering her Child at a 
 terminal Statue of Priapus (336). 
 
 The same subject with variations is engraved by Jacopo di Barbari. 
 
 A Woman seated by the Side of a Unicorn. Called by 
 Bartsch "La Purete," dated 15 16 (379). Heineken considered 
 the subject to be Neptune and Philyra. From a design most 
 probably of Giulio Romano. 
 Passavant ascribes it to Bernardino Luini. 
 First state. 
 
 A Woman lying on the Ground caressing a Child, in a 
 landscape arched at the upper corners (410). After a design 
 of Raphael. 
 
 The drawing of the child is similar to that of the child in the 
 arms of the woman on her knees in " The Murder of the Inno- 
 cents," by Marc Antonio. 
 
 A Group of five Men bathing. Called by Bartsch " Les Grim- 
 peurs" (423). From a design of Michel Angelo for the cartoon 
 
Lorenzo di Musi, Veneziano. 57 
 
 for the decoration of the hall of the Palazzo Vecchio della 
 
 Signoria at Florence. 
 
 Second state, with the date 1 5 24. 
 
 A Sorceress seated on a Colossal Skeleton, carried for- 
 ward BY FOUR naked MEN THROUGH A MORASS. Called 
 by Bartsch " La Carcasse" (426). After a design of Raphael. 
 
 The original plate is in the Ducal Collection at Coburg. In the Duke 
 of Wellington's Gallery in London is a picture of the composition which 
 came from the Palace of Madrid, painted by Spagnoletto. 
 
 A Soldier fastening his Dress (463). Study for one of the 
 figures in Michel Angelo's cartoon of Pisa. 
 Undescribed copy. 
 
 A Woman carrying a Vase on her Head, dated 1528 (470). 
 
 A Boat, with two Rowers, in which four Men and 
 Women are seated (473). 
 
 Passavant ascribes the design to Balthazar Peruzzi. 
 
 A Woman standing by a Vase (474). 
 
 A Woman seated by the Side of a Vase (475). 
 
 A Woman standing by the Side of a Vase (478). 
 
 A Soldier holding a Banner, a lion crouching between his 
 feet (482). Copy of the engraving (481) by Marc Antonio. 
 
 There is a pen-drawing of the subject in the Uffizi at Florence ascribed 
 to Michel Angelo, 
 
 Angelica and Medora (485). From a design of Raphael for 
 Cardinal Bibiena's bathroom. 
 
 The composition varies from that of the same subject by 
 Marc Antonio (484). 
 
 A Panel of Ornament, dated 1521 (560). 
 
 LORENZO DI MUSI, VENEZIANO, 1535. 
 
 Bartsch^ xv. 498 ; Passavant, vi. 103. 
 
 Moses striking the Rock {Pass. 2). 
 
 Before the monogram L. M. and the address of Lafreri. 
 From tlie Wellesley Collection. 
 
MARCO DENTE DA RAVENNA, 
 
 Engraver: born at Ravenna; died at Rome, 1527. 
 
 ARCO Dente was a member of a 
 patrician family of that name in 
 Ravenna. There is a date upon 
 one only of his prints — a bas-relief 
 of three children with marine de- 
 vices, emblematical of the port of 
 Ravenna (242). From the inscrip- 
 tion upon it, " Opus hoc antiquum 
 sculp, reperitur Ravenae in asd. 
 Divi Vitalis MDXVIIII.," it was 
 engraved in Ravenna in that 
 year. Vitalis is the patron saint 
 of the city, where he suffered martyrdom under the Emperor 
 Nero, and the great Benedictine church at Ravenna was built 
 and dedicated to him by the Emperor Justinian in 547. Passavant 
 quotes from Zani an early state of the plate, with an inscription, 
 " Opus hoc Divi Vitalis," and an earlier date, MDXV., adding that 
 the bas-relief, known as the Throne of Neptune, is now in the 
 Louvre. Zani, however, at the end of his somewhat discursive 
 account, expresses a doubt whether he had after all ever seen 
 such earlier state. 
 
 Although Marco da Ravenna and Agostino di Musi were not 
 pupils of Marc Antonio, they were evidently attracted to Rome by 
 the employment there obtainable ; and, from their association with 
 him, they acquired his method, many of Marco Dente's engravings 
 being of great excellence. Passavant extends the list of them to 
 sixty-five in number. Girolamo di Rossi, in his History of Ravenna, 
 published at Venice in 1592, states that Marco Dente was killed in 
 the tumult on the taking of Rome in 1527. 
 
 Bartsch, xiv. ; Passavant, vi. 67. 
 
Marco Dente da Ravenna. 59 
 
 The Sacrifice of Noah (4). From a design of Raphael for the 
 fresco in the Loggie of the Vatican. 
 
 God the Father appearing to Isaac (7). After a design of 
 Raphael, different in treatment from the fresco in the Loggie. 
 
 The Annunciation (15). From a design of Raphael for the pic- 
 ture, which is lost, painted for the Grassi family. Bartsch 
 ascribes the engraving to Marco da Ravenna, but it is not like 
 his work. 
 
 From the St. Aubyn Collection. 
 
 Ananias struck dead (42). After the cartoon of Raphael. 
 
 Our Saviour and the twelve Apostles (79-91). Copies of 
 ' the Marc Antonio series (64-76). 
 
 The names on the nimbi around the heads in the Marc 
 Antonio series are omitted. 
 
 S. Michael (106). Copy of the Marc Antonio print (105). 
 
 The Combat between Entellus and Dares (195). After Giulio 
 Romano. 
 
 From the Lely Collection. 
 
 Helen carried away by the Trojans (210). Copy of the Marc 
 Antonio print (209). 
 
 Cupid on his Quiver, floating on the sea (219). In an oval. 
 From an arabesque of Raphael. 
 
 A Composition of three Children, one of them carrying a 
 trident, the others supporting a shell, dated MDXVllll. (242). 
 
 An alto-relievo in marble called the Throne of Neptune is 
 said to be in the Louvre. From the inscription, " Opus hoc 
 antiquum sculp, reperitur Ravense in aed. Divi Vitalis MDXVllll.," 
 the engraving is copied from a sculptured frieze in the Benedic- 
 tine church at Ravenna. 
 
 The Judgment of Paris (246). Copy of the engraving (245) by 
 Marc Antonio. 
 
 Leda and the Swan (283). After Raphael. 
 The pen-drawing is in the Ufi&zi at Florence. 
 
6o The Italian School of Engraving. 
 
 A Satyr carrying a Nymph (300). From a design of GiuHo 
 Romano after the antique. 
 From tlie St. Aubyn Collection. 
 
 The Vintage (306). After Raphael. 
 The copy described by Bartsch. 
 
 Venus extracting a Thorn from her Foot (321). After a 
 design of Raphael for the fresco in Cardinal Bibiena's bath- 
 room. 
 
 Early undescribed state, before the ear was added. 
 
 Venus on the Sea, her left foot on a shell, Saturn and Uranus on 
 the clouds at the top (323). After a design of Raphael for the 
 same bathroom. 
 In the first state. 
 
 And an impression in the second state, with the name of 
 Salamanca. 
 
 From the St. Aubyn Collection. 
 
 Venus and Cupid, supported on dolphins on the sea (324). After 
 a design of Raphael for the same bathroom. 
 In the first state. 
 
 And an impression with the name of Marco Palluzzi. 
 
 Juno, Ceres, and Psyche (327). After a design of Raphael for 
 the series of frescoes of the story of Cupid and Psyche in the 
 Farnesina at Rome. 
 
 First state undescribed, before much additional work. 
 And an impression in the second state. 
 
 The three Graces (341). After the antique. Copy of the en- 
 graving (340) by Marc Antonio, varied in the expression. 
 
 The Triumph of Galatea. Copy A of the engraving (350) by 
 Marc Antonio. 
 
 Laocoon and his Sons (353). Copied from the statue in the 
 Vatican. 
 
 The engraving is from the group before the restorations. It 
 is the only plate on which the engraver inscribed his name, 
 " Mrcus Ravenas." 
 
 A Woman leading a Lion with a Bridle. Called by Bartsch 
 " La Force" (395). After Giulio Romano. 
 
yacopo Caraglio. 
 
 6i 
 
 An old Man in a Child's Go-cart, with an hour-glass on the 
 front of it. A scroll at the top inscribed " Anchora Inparo," 
 and a line at the foot beginning, " lam diu discendum." Ant. 
 "Salamanca excudebat MDXXXVIII." (400). The design is 
 ascribed to Michel Angelo. 
 
 A Battle of Horse and Foot Soldiers (420). After Raphael. 
 There is a bistre-washed drawing of some of the figures in 
 the Collection of the Duke of Devonshire at Chatsworth. 
 
 THE MASTER M. 
 Bartsch, xv. 54 1. 
 
 Death surprising a naked Woman looking at herself in a 
 glass. After Michel Angelo. 
 From tJte Wellesley Collection. 
 
 JACOPO CARAGLIO, 
 
 Painter, Architect, Medallist, and Engraver : born at 
 Parma, 1500; died there, 1570. 
 
 CARAGLIO'S engravings are worked with the dry point in the 
 style of the early Italian painters, and apparently of his own 
 printing. Two only are dated, each of the year 1526. The plates 
 of the Labours of Hercules (44-49) afterwards passed into the hands 
 of Antonio Salamanca, who added his name to the later impressions. 
 Subsequently, becoming eminent as a medallist and gem-cutter, 
 Caraglio likewise acquired considerable reputation as an architect. 
 According to Vasari and the letters of Aretin, he was employed by 
 Sigismund, King of Poland, in 1539, at whose court he remained 
 until 1568. On his patron's death in that year he returned to Parma, 
 and died at a house he had purchased in the environs about 1570. 
 
 Bartsch, xv. 61 j Passavant, vi. 95. 
 
 The Annunciation (2). After Raphael. 
 
 There is a drawing- of the composition by one of Raphael's pupils in 
 the University Galleries at Oxford. 
 
62 The Italian School of Engraving. 
 
 The Annunciation (3). After Titian. 
 
 With an undescribed copy, engraved apparently by Agostino 
 Carracci. 
 
 The Holy Family (5). After the picture by Raphael in the 
 Louvre known as " La Vierge au Berceau." 
 
 The Descent of the Holy Spirit (6). After the cartoon of 
 Raphael. 
 
 In the first state. The most important of Caraglio's prints. 
 Heineken ascribed it to Marc Antonio. 
 
 The Madonna and S. Anna, with SS. Roch and Sebastian 
 on either side (7). Inscribed " lo. lacobus Veronensis Fe." 
 From Caraglio's own design. 
 
 Psyche carried to Olympus by Mercury (50). From a design 
 of Raphael for the series of frescoes of the story of Cupid and 
 Psyche in the Farnesina at Rome. 
 
 The original red-chalk drawing is in the collection of the Duke of 
 Devonshire at Chatsworth. 
 
 The Council of i he Gods (54). From a design of Raphael for 
 the same series. 
 In the first state. 
 
 In the Royal Library at Windsor there is a pen and bistre drawing by 
 Giulio Romano, dififerently treated, of the figures of Jupiter and Neptune. 
 
 A NAKED Man seated on a Griffin, in a weird wooded land- 
 scape, grasping a serpent twisted round his right arm, a colossal 
 bird, with extended wings, attacking him on the left. Called 
 by Bartsch " La Fureur" (58). From a design of II Rosso. 
 
 The Battle " au Bouclier sur la Lance" (59). After Raphael. 
 
 Eneas saving his Father (60). Engraved from the group in the 
 fresco by Raphael of the Incendio del Borgo in the Stanza 
 deir Incendio. 
 
 The Marriage of Alexander and Roxana (62). From a 
 design of Raphael for one of the frescoes in the small casino in 
 the grounds of the Villa Borghese, destroyed during the siege 
 
Francesco Mazzuoli, il Pavmigiano. 63 
 
 of Rome in 1849. The frescoes had been previously removed, 
 
 and are in the Borghese Gallery. 
 
 From tJie Esdaile and Donnadieti- Collections. 
 
 There is a red-chalk drawing from the nude of the whole composition 
 in the Albertina at Vienna, 
 
 FRANCESCO MAZZUOLI, IL PARMIGIANO, 
 
 Painter and Etcher: born at Parma, 1504; died at 
 Casale Maggiore, 1541. 
 
 DUCATED in the study of, 
 the works of Correggio at 
 Parma, Parmigiano subse- 
 quently went to Rome, and 
 was patronised by Clement 
 VII. On the sack of the 
 city in 1527 he fled to Bo- 
 logna, returning afterwards 
 to Parma, and was, at the 
 time of his death in 1541, 
 engaged on the frescoes for 
 the church of La Madonna 
 della Steccata. Amongst 
 them is his well-known 
 composition of Moses breaking the tablets of the law. 
 
 He was the first Italian artist who adopted the use of the etching- 
 needle. But his command of the process was imperfect ; and from 
 the absorption of his time in the numerous paintings he executed, 
 and his futile alchemical researches, he failed to obtain the mastery 
 of it. Mr. Ford was an admirer of the etchings, and energetic in 
 his efforts to induce an appreciation of them. But apart from their 
 being the clever sketches of the talented Lombard painter, the 
 frequent feebleness and incompleteness with which they were bitten 
 has interfered with their popularity. Bartsch, xvi. 6. 
 
 The Resurrection of our Saviour (6). 
 In the first state. 
 From tJie Ford Collection. 
 
64 
 
 The Italian School of Engraving. 
 
 S. Thais in an Attitude of Meditation (io). 
 
 Three winged Children sustaining on their Arms Cupid 
 WHO HOLDS AN Arrow. Inscribed " Fr. Par. Inventor." By 
 an unknown engraver. 
 In the first state. 
 From ttie Mariette Collection. 
 
 THE MASTER OF THE DIE, 
 Engraver at Rome, 1532-1535. 
 
 ASSOCIATED with the immediate followers of Marc Antonio, 
 the engraver of the prints designated, from the mark he used, 
 as the " Master of the Die," takes prominent rank amongst them. 
 Nothing is known respecting him, no clue even to his name having 
 been found. Antonio Lafreri the publisher acquired the plates of 
 his illustrations to Aretin's poem of " Cupid and Psyche," and to 
 the later edition with the verses affixed his name. Lafreri and 
 Antonio Salamanca, who were so largely employed in issuing the 
 works of the engravers, published several of his prints. The subjects 
 are almost exclusively from the works of Raphael ; and although 
 dwarfed and somewhat heavy in drawing, they are of much interest, 
 from their preserving many of the great painter's compositions, all 
 other record of which is lost. 
 
 Bartsch, xv. 1 8 1 ; Passavant, vi. 98. 
 
 Joseph sold by his Brethren, dated 1533 (i). From a design 
 for the fresco by Raphael in the Loggie of the Vatican. 
 
 In the first and second state. With a copy by an undescribed 
 engraver, varied in the drawing of the group and the distant 
 landscape, having the mark of a pruning-hook on a tablet in 
 the lower left-hand corner. 
 
 The Annunciation. Undescribed by Bartsch {Pass. 86). After 
 Raphael. 
 
 First state, before the address of Lafreri. 
 
The Master of the Die. 
 
 65 
 
 Our Saviour carrying his Cross on the Way to his Cruci- 
 fixion, dated 1532 (2). After Raphael. 
 
 Our Saviour after his Resurrection, seated on the tomb, 
 supported by two angels ; S. John and the Madonna on either 
 side : dated 1532 (5). After Raphael. 
 From the Wellesley Collection. 
 
 The Assumption of the Madonna (7). From a study by Raphael 
 for the picture of the Coronation of the Madonna, painted for 
 the convent of Monteluce, which is now in the Vatican. 
 With a reversed copy undescribed. 
 
 The Madonna, with the Infant Saviour, seated on the clouds, 
 sustained by angels, two of them holding a crown over her 
 head (8). After Raphael. 
 
 The Coronation of theMadonna. On a raised dais theMadonna 
 is seated by the side of the Saviour, who holds the crown over 
 her head. The Holy Spirit, in the form of a dove, hovers over 
 them. Above in a glory is God the Father, sustained by 
 angels. On either side of the dais are SS. John and Jerome. 
 Angel children press back the curtains at the sides, and two 
 others, holding a scroll, stand in the centre at the foot (9). 
 
 A copy of this print, in the style of the original, is catalogued by 
 Bartsch amongst the works of Agostino Veneziano (xiv. 56). The com- 
 position is regarded as the design of Raphael for the tapestry woven for 
 the altar of the Sistine Chapel. A pen and bistre drawing of a portion 
 of it is in the Royal Library at Turin. And a pen-drawing is in the 
 University Galleries at Oxford. 
 
 In an article in the Gazette des Beaux Arts for July 1873, M. Paliard 
 gives an account of his having discovered in a room of the private apart- 
 ments of the Pope in the Vatican, called " La Stanza della predica dei 
 famigliari," eight tapestries, the Coronation of the Virgin being amongst 
 them, which appears from the description to be identical with the print, 
 except that S. John is represented as holding a lamb. 
 
 The Trinity, with a Group of Angels, on the Clouds (10). 
 From another study of Raphael for the Monteluce picture of 
 the Coronation of the Madonna. 
 
 Our Saviour's Charge to S. Peter (it). Copy of the fresco by 
 Raphael in the window-opening in the Stanza dell' Incendio 
 in the Vatican. 
 
 The Magdalene (13). After Raphael. 
 
 F 
 
 / 
 
66 The Italian School of Engraving. 
 
 SS. Sebastian and Roch (14-15). After Raphael. 
 
 Venus extracting a Thorn from her Foot, dated 1532 (16). 
 From a design of Raphael for the fresco in Cardinal Bibiena's 
 bathroom. 
 
 Envy driven from the Temple of the Muses (17). From a 
 drawing by Baldassare Peruzzi, after Raphael. 
 
 Cybele in her Chariot (18). 
 
 The History of Apollo and Daphne (19-22). After Giulio 
 Romano. 
 
 Bacchus surrounded by Cupids (23). After Raphael. 
 
 Apollo and Venus in their Chariots (24). After Raphael. 
 
 Jupiter and Ganymede (25), After Raphael. 
 
 Sacrifice to Priapus (27). After Giulio Romano. 
 In the first and second states. 
 
 The Marriage of Jason and Creusa (28). 
 
 Four Amorini and six Children playing with a Goat (29). 
 
 A drawing of the composition is in the Ambrosian Library at Milan, 
 attributed to Parmigiano. 
 
 Apollo and Marsyas (31). After Raphael. 
 
 Four Compositions of Children with Foliage and Fruit 
 (32-35). After designs for the Vatican tapestries, ascribed to 
 Raphael, but probably by Giovanni da Udine. . 
 
 Frieze, with a Child mounted on a Goat (36). After Raphael. 
 
 Frieze, the Triumph of Cupid (37). After Raphael. 
 
 The Marriage Feast (38). From a design of Raphael for the 
 series of frescoes of the story of Cupid and Psyche in the 
 Farnesina at Rome. 
 
The Master of the Die. 67 
 
 The Series of Engravings of the Story of Cupid and 
 Psyche (39-70). 
 
 Vasan attributes the designs to the Flemish painter Michael 
 Coxsis. 
 
 With the verses and the name of Lafreri. 
 
 The same. Proofs, before the verses' and Lafreri's name, of num- 
 bers 43, 44, 48, and 65. 
 
 Psyche sent for the Water of Beauty (71). 
 
 Eneas saving Anchises (72). After Raphael. 
 
 The Victory of Scipio over Syphax, and The Triumph of 
 SciPiO (73-74). From drawings by Raphael after the antique. 
 Impressions before the inscriptions. 
 
 Raphael and the Fornarina (75). 
 From tJte Wellesley Collection. 
 
 ' The Combat of two Gladiators (77). After Giulio Romano. 
 
 The Naval Battle of Actium (78). After Giulio Romano. 
 
 Combat of Men and Animals, dated 1532 (79). After Giulio 
 Romano. 
 
GIULIO BONASONE, 
 
 Painter and Engraver: born at Bologna; died probably 
 AT Rome (1510-1580). 
 
 ' ONASONE'S works were held 
 
 in high estimation by the 
 early writers on Italian art, 
 but they have preserved 
 scarcely any information or 
 particulars respecting him. 
 Cumberland's Anecdotes are 
 useless from their inaccu- 
 racies. The book answered 
 the writer's purpose from its 
 having been the means of 
 inducing the trustees of the 
 British Museum to purchase 
 his very indifferent collection 
 of the Master's engravings. Dr. Wellesley and Mr. Ford were 
 earnest admirers of them ; and from their collections the following 
 series is principally derived. 
 
 Bartsch's exhaustive catalogue is prefixed by a short memoir. 
 Passavant makes three or four doubtful additions. 
 
 Bonasone was a native of Bologna, and studied under Sabbatini. 
 His numerous prints tell of his popularity during a somewhat 
 extended career, the dates upon them ranging from 1531 to 1574, a 
 period of forty-three years. His " Imitando celavit," so frequently 
 engraved upon them, is an ingenious admission of the free use he 
 made of the talent of others in appropriating their compositions 
 whenever the subject pleased his fancy. Fertile in design, but 
 faulty in drawing and execution, there is an individuality in his 
 work materially differing from that of his contemporaries ; and he 
 held his position as an artist-engraver generally without the inter- 
 vention of the publishers, scarcely any of his productions having 
 passed through their hands. 
 
 Bartsch, xv. 103 ; Passavant, vi. 102. 
 
Giulio Bonasone. 
 
 69 
 
 The Creation of Eve (1). After Michel Angelo. 
 From the Fries and Wellesley Collections. 
 
 Noah leaving the Ark, dated 1544 (4). From a design of 
 Raphael for the fresco in the Loggie of the Vatican, the group 
 of Noah and his family differing from that in the fresco. 
 
 Moses striking the Rock, dated 1546 (5). After Parmigiano. 
 From tJie Ford and Wellesley Collections. 
 
 The Cup of Pharaoh found in Benjamin's Sack (6). After 
 Raphael. 
 
 And the copy by the Master P. V. {B. 15, 547). 
 
 Judith giving the Head of Holofernes in charge to her 
 attendant (9). After Michel Angelo. 
 First state. 
 
 From tlie St. Aubyn Collection. 
 
 The Life and Passion of our Saviour (10-37). From the 
 artist's own designs. 
 Mounted in a volume. 
 From tlte Wellesley Collection. 
 
 The Shepherds adoring the Infant Saviour (38). After 
 Giulio Romano. 
 From tJie Lely Collection. 
 
 Our Saviour appearing to S. Peter (41). After Raphael. 
 First state, before the shadow on the hills in the distance. 
 And an impression in the second state. 
 From the Hibbert and Esdaile Collections. 
 
 Our Saviour on the Cross (43). After Michel Angelo. 
 From the Wellesley Collection. 
 
 The Entombment of our Saviour, dated 1563 (44). After 
 Titian. 
 
 The Resurrection, dated 1561 (45). From the artist's own 
 design. 
 
 The Holy Family (48). From the artist's own design 
 
70 The Italian School of Engraving. 
 
 The Madonna fainting, surrounded by four female attendants 
 (50). 
 
 The group reversed from the picture of the Entombment by 
 Raphael in the Palazzo Borghese. 
 From the Wellesley Collection. 
 
 The Holy Family (51). After Giulio Romano. 
 
 The Madonna at the Foot of the Cross, sustaining the dead 
 body of our Saviour (53). After the marble group by Michel 
 Angelo in S. Peter's at Rome. 
 
 The Madonna, with the Infant Saviour (56). After Raphael. 
 From the Brentano Collection. 
 
 The Holy Family, with the Infant Saviour and S. John, 
 dated 1570 (58). After the artist's own design. 
 From tJie Sykes Collection. 
 
 The Holy Family under a palm-tree (59). After the picture in 
 the Belvedere Gallery at Vienna, ascribed to Raphael. 
 From the Wellesley Collection. 
 
 The Madonna lamenting over the Dead Body of our 
 Saviour, extended on a table in front of her (60). After 
 Raphael. 
 
 From tJie Fries and Wellesley Collections. 
 
 The original pen-drawing, washed, is in the Royal Library at Windsor. 
 
 The Madonna on the Clouds, with the Infant Saviour, 
 S. John the Baptist and S. Jerome beneath in adoration, in- 
 scribed " A. S. Scqdebat" (62). After the picture by Parmigiano 
 in the National Gallery in London. 
 
 The Holy Family, in the courtyard of some ruined buildings (63). 
 After the picture of the Holy Family under the oak-tree, by 
 Raphael, in the Royal Gallery at Madrid. 
 From the Wellesley Collection. 
 
 The Madonna at the Foot of the Cross, lamenting over the 
 dead body of our Saviour, dated MDXLVI. (64). After a design 
 by Michel Angelo. 
 
 From t}ie Fries and Wellesley Collections. 
 
Giulio Bonasone. 
 
 71 
 
 The Holy Family, with S. Elizabeth ; on the clouds, on either 
 side, are angels in adoration (65). After the picture by Raphael, 
 now in the Pinacothek at Munich. 
 
 It was painted in 1 506 for Domenico Canigiano of Florence, 
 and is much injured, the angels, seen in the engraving, being 
 obliterated. 
 
 The Holy Family, with S. Joseph and S. John the Baptist as a 
 
 child, the Infant Saviour asleep on the knees of the Madonna 
 
 (66). After Michel Angelo. 
 
 From tJie St. Aubyn Collection. 
 
 No drawing or fresco of the composition is extant ; there are several 
 engravings of it, all varying in detail, by Philippus Sericeus and others. 
 
 The Holy Family (68). After Giulio Romano. 
 
 The Holy Family in a landscape (69). After Titian. 
 
 S. ROCH (70). After Parmigiano. 
 
 S. Paul driving out the Demon (71). After Perino del Vaga. 
 
 S. Paul preaching to the Christians (72). After Perino del 
 Vaga. 
 
 S. Marc writing his Gospel (75). After Perino del Vaga. 
 
 The Birth of S. John the Baptist (76). Inscribed "Jacobus 
 Florentinus Inventor." 
 
 St. George fighting the Dragon, dated 1574 (77). After 
 Giulio Romano. 
 
 A Prophet and a Sibyl (78). Designed by Bonasone, after 
 Michel Angelo. 
 
 The Last Judgment (80). After Michel Angelo's fresco in the 
 Vatican. 
 
 From the MarocJietti Collection. 
 
 SCIPIO wounded, brought from the battle by his son (81). After 
 Caravaggio. 
 
 The Combat of Hector and Achilles. Achilles triumphant in 
 his chariot, dragging behind it the dead body of Hector. With 
 verses at the foot beginning " Hor qui pugnar" (82). After 
 Raphael. 
 
72 TPie Italian School of Engraving. 
 
 Clelia crossing the Tiber (83). After Caravaggio. 
 From the Durand and Wellesley Collections. 
 
 The Battle of Constantine, dated 1544 (84). After a design 
 by Raphael, varying materially from the fresco in the Sala di 
 Constantino. 
 
 Circe and the Companions of Ulysses (86). After Parmi- 
 giano. In a circle. 
 
 Four Designs from the so-called History of the Partition 
 OF THE Universe (93-96). After the frescoes painted by 
 Giulio Romano in the Palazzo del T. at Mantua. 
 
 Three Nymphs and two Satyrs (97). From the artist's own 
 design. 
 
 Jason and Medea (98). A composition by Bonasone after the 
 antique. 
 
 From tlie Wellesley Collection. 
 
 The Rising of the Sun ; Apollo in his car (99). The design by 
 Bonasone. 
 
 Early undescribed state, with portions of the sky white. 
 And an impression in the finished state. 
 From tlie Wellesley Collection. 
 
 Alexander and Roxana (100). After the fresco by Raphael 
 in the Villa Borghese at Rome. 
 From the Mariette and Wellesley Collections. 
 
 Cupid in the Elysian Fields, dated 1563 (loi). The design by 
 Bonasone. 
 In the first state. 
 From the Wellesley Collection. 
 
 Mercury surprising the Daughters of Aglaurus (102). 
 After Bonasone's own design. 
 From the Lely Collection. 
 
 A Bacchanalian Procession of Children, with a chariot 
 drawn by an elephant (103). 
 From the Fries Collection. 
 
 Neptune appeasing the Storm (104). From a design ascribed 
 to Raphael. 
 
 Venus in a Chariot drawn by Swans, with Cupid seated beside 
 her (105). From Bonasone's own design. 
 
Giulio Bonasone. 73 
 
 The Elysian Fields, called by Bartsch "Le Triomphe de 
 I'Amour," dated 1545 (106). 
 First state, undescribed, before " Tom. Barl. exc." 
 And an impression with the printer's name. 
 From the Wellesley Collection. 
 
 Neptune and Philyra (108). After a design ascribed to Raphael. 
 
 The Rape OF EuROPA (109). After Raphael. 
 
 Hercules driving away the Herds of Geryon (iio). The 
 design by Bonasone. 
 From the Fries and Wellesley Collections. 
 
 The Goddess Flora (hi). From a design ascribed to Raphael. 
 
 The Judgment of Paris (112). The design by Bonasone. 
 Early undescribed state, before the sky was finished. 
 And an impression in the finished state. 
 From tlie Wellesley Collection. 
 
 The History of Juno (113- 134). After the artist's own designs, 
 in arabesque borders. Mounted in a volume. 
 From the Wellesley Collection. 
 
 Busts of Jupiter, Juno, Bellona, Pallas, and Hercules and 
 Dejanira (135-9). 
 
 Statues, in Niches, of Leda, Diana, a Muse, and Diana 
 holding a Basket of Fruit (140-143). 
 
 Epimetheus opening the Casket of Pandora (144). The 
 design by Bonasone. 
 
 The Loves of the Gods (146-164). Wanting numbers 149, 153, 
 
 162, and 163. The compositions by Bonasone. Proofs before ^ 
 letters. 
 
 Mounted in a volume. 
 From the Wellesley Collection. 
 
 Terminal Figures of the God Silvanus and a Nymph, and \ 
 of Hercules and Dejanira (165, 166). 
 
 Venus attired by the Graces (167). After Raphael. 
 
 A drawing of the composition by Parmigiano is in the Uffizi at Florence. 
 
74 
 
 The Italian School of Engraving. 
 
 Mercury and Minerva (i68). After Parmigiano. 
 From the Wellesley Collection. 
 
 Pan seated by the Side of a Nymph (170). After Giulio 
 Romano. 
 
 Calypso restraining the Departure of Ulysses (171). The 
 design by Bonasone. 
 From t/ie Wellesley Collection. 
 
 Time represented as an old Man, with three Children 
 IN FRONT OF HIM (1/2). After Giulio Romano. 
 
 Two Tritons and four Water-Nymphs, a table in front of 
 them, on the water (173). After Giulio Romano. 
 From the Wellesley Collection. 
 
 The Bath (177). The design by Bonasone. 
 
 Early state, before the left-hand corner of the plate was 
 finished. 
 
 The Emblems' of Achille Bocchius (179-328). Designed by 
 Bonasone. 
 
 The second edition, bound in red morocco. 
 Portrait of Michel Angelo, inscribed "An. Agens lxxil 
 
 MDXLVL" (345). 
 
 First state, before the circles in the four corners were added. 
 And an impression in the later state. 
 
 Portrait of Raphael (347). Copied from the picture of Raphael 
 and the Fencing Master in the Louvre. 
 First state. 
 
 ./Eneas carrying his Father Anchises, Ascanius walking in 
 front, escaping from Troy in flames. Inscribed on a stone 
 "Jul. Bonasone," with an inscription at the foot beginning 
 " Hsec est Iliacos pietas." 
 Not described. 
 
 From the Wellesley Collection. 
 
 The Statue of Apollo, in a niche. 
 Not described. 
 
 From the Wellesley Collection. 
 
NICOLAS BEATRIZET, 
 
 Engraver: born at Thionville, 1507; died at Rome, 1562. 
 
 NICOLAS Beatrizet was resident at Rome in 1540, his print of 
 Cain slaying Abel (8) bearing that date, and the name of 
 Antonio Salamanca the publisher. Two more of his engravings 
 (9 and 21) were in the following year published by Thomas Bar- 
 lacchi. Subsequently Beatrizet appears to have been in the employ 
 of Salamanca and Antonio Lafreri. Vasari, in his Life of Marc 
 Antonio, says that Lafreri and Barlacchi retained in their service 
 many young men, educating them as engravers, and employing them 
 to execute architectural designs, grotesques, and other illustrations 
 for the works they published. According to the title-page of the 
 first edition of N^^MOxda^s Anatomy, folio, Rome, 1556, illustrated 
 with forty-one plates by Beatrizet, and issued jointly by Salamanca 
 and Lafreri, they were then, it would appear, in partnership. 
 
 The Prophet Jeremiah (10) and S. Michael (30) are two of the 
 best specimens of Beatrizet's work. Dumesnil, in his Peintre Graveur 
 Frangais, vol. ix., classes him in the French school, and gives a 
 comprehensive catalogue of his prints. 
 
 Bartsch, xv. 237 ; Passavant, vi. 117. 
 
 Portrait of Antonio Salamanca, the printseller of Rome (6). 
 
 Cain slaying Abel (8). After Raphael. 
 Proof before the printer's name. 
 
 And another impression, with the address " Ant. Sal. exc." 
 
 Joseph interpreting his Dream to his Brethren (9). After 
 Raphael. 
 
 The Prophet Jeremiah (id). After Michel Angelo. 
 From tJie Wellesley Collection. 
 
 The Annunciation (12). After Michel Angelo. 
 
 The Adoration of the Magi (13). After Giulio Romano. 
 
76 The Italian School of Engraving. 
 
 Our Saviour restoring to Life the Daughter of Jairus 
 (15), After Girolamo Muziano. 
 
 S. Peter walking on the Water (16). Engraved after the 
 mosaic, the " Navicella di S. Pietro," by Giotto, now fixed in 
 front of the portico of S. Peter's. According to Vasari, it was 
 by Giotto himself executed in mosaic, although there is no 
 record of his having so applied his talent on any other occa- 
 sion. 
 
 Our Saviour and the Woman of Samaria (17). After Michel 
 Angelo. 
 
 With the reversed copy A marked " A. L. F." 
 Our Saviour (20). After Girolamo Muziano. 
 
 The Ascension of our Saviour, inscribed " Tomasius Barlachis 
 excudebat, 1541" (21). After a design by Raphael for the 
 Vatican tapestry. 
 
 Our Saviour delivering the Souls from Purgatory. In- 
 scribed " Tomasius Barl. excudeb. 1541" (22). After a drawing 
 by Raphael, which has been lost. 
 In the first state. 
 
 And an impression in the second state, with the address, 
 " Ant. Lafreri restituit, MDLXXI." 
 From the Esdaile Collection. 
 
 Our Saviour holding his Cross (23). After the statue by 
 Michel Angelo in the church of Santa Maria sopra Minerva. 
 
 The Madonna lamenting over the Body of our Saviour 
 at the foot of the Cross (25). After the group in marble by 
 Michel Angelo. 
 
 S. Michael (30). After the picture by Raphael, now in the 
 Louvre. 
 
 The Conversion of S. Paul (33). After the fresco in the Sistine 
 Chapel by Michel Angelo. 
 
 S. Veronica holding the Sudarium (36). After Muziano. 
 From tlie Brentano Collection. 
 
Nicolas Beatrizet. 
 
 11 
 
 The Last Judgment (37). After the fresco by Michel Angelo in 
 the Sistine Chapel. 
 
 The Fall of Phaeton (38). After Michel Angelo. 
 With copies A and B. 
 
 Titius torn by the Vulture (39). Engraved from the fine 
 drawing by Michel Angelo in the Royal Library at Windsor. 
 With the reversed copy. 
 
 A Bacchanalian Group of numerous Children (40). En- 
 graved from the drawing by Michel Angelo, also in the Royal 
 Library at Windsor. 
 
 With the copy described by Bartsch, dated 1553. 
 
 The Death of Meleager, dated 1543 (41). After Michel Angelo 
 or Perino del Vaga. 
 
 The Sacrifice of Iphigenia, dated mdliii. (43). After Michel 
 Angelo or Baccio Bandinelli. 
 
 The Contention between Reason and Love, dated 1545 (44). 
 After Baccio Bandinelli. 
 
 The Statue of Laocoon (90). 
 
 The Castle of S. Angelo at Rome (ioi). 
 
 The Dream of Human Life. Inscribed at the foot on the left 
 "Michael Angelus Inven." {Pass, vi, 119, 112). 
 In the first state, before the address of Salamanca. 
 
 The original drawing by Michael Angelo is in the collection of the 
 Duke of Saxe Weimar. There is a small painting of the composition in 
 the National Gallery in London. 
 
 Twelve naked Men shooting at a Target, called by Pas- 
 savant " Les Vices tirant i la cible." In the lower left-hand 
 corner " Mich. Ang. Bonaroti Inv.," and the address of Lafreri 
 on the right {Pass. vi. 120, 116). From the drawing by Michel 
 Angelo in the Royal Library at Windsor. 
 
^NEAS VICO, 
 
 Engraver: born at Parma, 15 19; died at Ferrara, 1570. 
 
 RIOR to 1 541 ^neas Vico went 
 to Rome, where he was employed 
 by Thomas Barlacchi, executing 
 for him a series of grotesques (467- 
 490), dated in that year. Antonio 
 Salamanca's name is upon the 
 prints dated in 1 542 ; but subse- 
 quently he appears to have been 
 his own publisher. His portraits 
 of celebrated persons of the time 
 are of great interest. He was a 
 native of Parma, and for many 
 years resided at Venice, associating 
 on terms of intimacy with Titian, the architect Sansovino, Aretin, 
 and the eminent printer Marcolini. Gori copies Vasari's list of his 
 prints, mentioning amongst them the Transfiguration of Raphael 
 and Michel Angelo's Last Judgment, which he had been the first to 
 engrave after the drawing of it made by Bazzaccio. Bartsch writes 
 that assuredly these two prints were not engraved by ^Eneas Vico. 
 No information is to be gleaned from Passavant. But that he did 
 engrave the latter we learn from Aretin 's letter to ^Eneas Vico in 
 January 1546, wherein he encourages him to proceed, and speaks 
 of the honour he merited for having been the first to place this 
 grand work within reach of all the world. In two letters written to 
 him in April and May 1548 Aretin remonstrates against his inten- 
 tion of taking service at the Court of the Grand Duke of Florence, 
 and leaving his art occupation, which induced the intention to be 
 abandoned, and he resumed the exercise of his profession. The 
 presentation to Charles V. of the portrait he had engraved of the 
 Emperor took place in 1550 at Augsburg, whither he had accom- 
 panied Titian, returning to Venice in November ; a letter of Titian 
 to Aretin, dated November 11, mentions that he sends it by .-Eneas 
 Vico. Other interesting notices occur in Aretin's letters. In one 
 of them to Francesco Salviati, in August 1545, he eulogises iEneas 
 
^neas Vico. 
 
 79 
 
 Vice's engraving of that artist's picture of the Conversion of S. Paul, 
 designating him as the very celebrated and worthy emulator of 
 Marc Antonio. 
 
 .(Eneas Vico published several treatises on Numismatics — the 
 Medallions of the Roman Emperors and Empresses — the first with 
 Italian text in 1541, and the second, likewise with Italian text, in 
 1557 — and subsequently the Medallions of the Caesars (407-416). 
 According to Bartsch, he went to Ferrara under the patronage of 
 the reigning Duke Alphonso II. in 1568, and died there about 1570. 
 
 Bartsch, xv. 275 ; Passavant, vi. 121, 
 
 Judith, with her Servant in attendance, holding the 
 Head of Holofernes (i). After Michel Angelo. • 
 
 The Annunciation (2). After a design of Raphael for the fresco 
 in one of the window-openings in the Stanza d' Eliodoro in the 
 Vatican. 
 
 The Madonna, with the Infant Saviour, on the Clouds 
 (4). After Raphael. Copy of the engraving (47) by Marc 
 Antonio. 
 
 Joseph of Arimathea, with the Madonna and holy women in 
 
 attendance, supporting the dead body of our Saviour, at the 
 
 entrance of the tomb, dated 1 543 (7). After Raphael. 
 
 In the first state. 
 
 From the Lely Collection. 
 
 A drawing of the composition by Patmigiano was in Lord Arundel's 
 Collection. 
 
 The Entombment, dated mdxlviii. (8). After Raphael. 
 From tlie Marietta Collection. 
 
 The original pen and bistre-washed drawing is in the Ducal Collection 
 at Gotha, 
 
 The Battle of the Amazons, in an oval (14). After Raphael. 
 The original pen-drawing by Perino del Vaga is in the Louvre. 
 
 Lucretia (16). Copy of the engraving by Marc Antonio (192). 
 After Raphael. 
 
 The Goddess Flora (23). After Raphael. 
 
 Battle of the Lapith^ against the Centaurs, who are 
 striving to carry off the wife of Pirithous (30). After II Rosso. 
 
8o The Italian School of Engraving. 
 
 A FULL-LENGTH FIGURE OF A WOMAN turned to the left, 
 extending her hand to an owl hovering above it (45). Inscribed 
 " Franc. Farm. inv. Aen. Vic. Farm. F. MDXLVin. con. privileg. 
 Ven." 
 
 The copy described by Bartsch. 
 
 The Punishment of the Courtesan, from the story by Albert 
 d'Eyb (46). After Perino del Vaga. 
 
 First state, before the inscription at the foot and the date. 
 And an impression in the second state, with the date 1542. 
 
 The Portraits of the Roman Emperors, from their medals 
 . (257-320). 
 
 " Le Imagini con tutti i riversi trovati et le vite de gli Impe- 
 ratori tratte dalle medaglie et dalle historie de gli Antichi." 
 Quarto. " Enea Vico Farm. F. L' Anno mdxlviii." 
 First edition, with the Italian text, bound in calf 
 From Lord Verney's library. 
 
 The Portraits of the Roman Empresses, from their medals 
 (321-406). 
 
 " Le Imagini delle Donne Auguste intagliate in istampa di 
 rame : con le vite et ispositioni di Enea Vico." 
 Appresso Enea Vico Parmigiano. In Vinegia MDLVII. 
 First edition. Bound in vellum. 
 
GIORGIO GHISI, 
 
 Painter and Engraver: born at Mantua, 1520; 
 DIED there, 1582. 
 
 Y the researches he was induced to 
 make consequent upon an opinion 
 first started by Zani in his Encyclo- 
 pedia, Passavant considered hrs inves- 
 tigation to have resulted in establish- 
 ing that Giorgio Ghisi and his brother 
 Theodore the artist were alone entitled 
 to the patronymic of Ghisi, the other 
 engravers hitherto so called being of 
 the supposed name. Sculptor, of an- 
 other family. The particulars are 
 given in Passavant's Peintre-Graveur^ 
 vi. 134. Early in life Giorgio Ghisi commenced his education in 
 Rome, applying himself to the study of the works of Michel Angelo 
 and Raphael. Giulio Romano had in 1524 been intrusted by 
 Frederic, the reigning Duke of Mantua, with the decoration of his 
 palace, and Giorgio Ghisi was taken into his employment. On 
 Giulio Romano's death in 1546, he returned to Rome, and from his 
 numerous copies of the frescoes and paintings in the city, he must 
 there have passed a considerable portion of his time. His influence 
 and example materially aided the revival of engraving, and helped 
 to arouse the schools of Italy from the decadence they had fallen 
 into since their dispersion in 1527. Many of his engravings are 
 after the pictures of his brother Theodore ; — his six subjects from 
 the angles of the Sistine Chapel, and the large prints of the frescoes 
 of the School of Athens and the " Disputa" are his best works, none 
 other so artistic having appeared since Marc Antonio's death. 
 
 Bartsch, xv. 384 ; Passavant, vi. 137. 
 
 The Shepherds adoring the Infant Saviour (2). After 
 Raphael. 
 
82 The Italian School of Engraving. 
 
 The Holy Family (5). From the picture by Raphael known as 
 the Loreto Madonna, which has been lost. There is a copy of 
 it in the Louvre. 
 
 Our Saviour at Supper with his Disciples (6). Inscribed on 
 the right "Lambertus Lombardus inventor. Hieronymus Gock 
 excude. cum gra et privilegio, 1551." 
 From, the Sykes, Esdaile, and Marshall Collections. 
 
 Six of the Angles of the Sistine Chapel (17-22). From the 
 frescoes by Michel Angelo. 
 First states, before the name. 
 From the Wellesley Collection. 
 
 The Dispute of tpie Sacrament (23). From the fresco by 
 Raphael in the Stanza della Segnatura. 
 
 The School of Athens (24). From the fresco by Raphael in 
 the same Stanza. 
 
 Venus and Vulcan (35). After Raphael. 
 
 A study for the composition, attributed to Giulio Romano, is in the 
 Albertina at Vienna, 
 
 Venus and Adonis (42). After Theodore Ghisi. 
 
 Orion carrying Diana (43). After Lucas Penni. 
 The copy, by Caspar ab Avibus, dated 1563. 
 
 Cupid and Psyche, dated 1574 (45). After Giulio Romano. 
 From the Sykes Collection. 
 
 The Death of Procris (61). After Giulio Romano. 
 
 Angelica and Medora (62). After Theodore Ghisi. 
 
 A YOUNG Woman seated in a Boat, to whom a man is bringing 
 a child (65). 
 
 The Interior of a Prison (66). The engraving is ascribed by 
 both Bartsch and Passavant to the German engraver George 
 Pencz. 
 
Giovanni Baptist a Mantuanus (Ghisi). 83 
 
 An Allegory, called the Dream of Raphael, dated 1561 (67). 
 The composition is ascribed to Lucas Penni, after Raphael. 
 On a tablet at the foot is " Raphelis Urbinatis inventum." 
 
 A Cemetery, the Skeletons rising from their Tombs (69). 
 After " Baptista Britano." 
 
 Portrait of Michel Angelo (71). 
 
 GIOVANNI BAPTISTA MANTUANUS (GHISI), 
 Painter AND Engraver : born at Mantua, 1503; 
 
 HE discussion as to the family of the Ghisi will be found in 
 
 -L Nagler, vol. iii., and in Passavant, vol. vi. p. 134. Sculptore 
 is assumed to be the family name of Giovanni Baptista Mantuanus, 
 and Adam and Diana to be his son and daughter, Giorgio Ghisi and 
 his brother Theodore being of a different family. Giovanni Baptista 
 Mantuanus was a pupil of GiuHo Romano, and assisted him in the 
 decoration of the Palazzo del T at Mantua. Diana Mantuanus 
 married Frangois Ricciarelli, the architect of Volterra, and after 
 her marriage removed to Rome, continuing to reside there until her 
 death. Bartsch, xv. 377 ; Passavant, vi. 1 36. 
 
 The Madonna, with the Infant Saviour and S. John the 
 Baptist (3). After his own design. 
 
 David cutting off the Head of Goliath (6). After Giulio 
 Romano. 
 
 An Allegorical Composition. A man, holding a distended sail, 
 traverses the sea in a scallop-shaped boat, in the hollow of 
 which, at his feet, another man is lying, holding an hour-glass 
 {Pass. vi. 21). 
 
 The figures are copied from the two on the right side of the 
 composition by Michel Angelo, known as the cartoon of Pisa. 
 
 died there, 1575. 
 
84 The Italian School of Engraving. 
 
 ADAM MANTUANUS (GHISI), 
 
 Engraver: born at Mantua (1530). 
 
 Bartsch, xv. 417 ; Passavant, vi. 140. 
 
 The Scourging of our Saviour (2). After Michel Angelo. 
 First state before the monogram and inscription. 
 
 From ttie Wellesley Collection. 
 
 A picture of the composition by Sebastian del Piombo is in the church 
 of S. Peter at Rome. 
 
 The same. The copy by an unknown engraver, somewhat larger, 
 probably by Beatrizet, inscribed " Romae. Ant. Lafreri." 
 
 The Body of our Saviour on the Knees of the Madonna 
 (3). After the marble group by Michel Angelo in the Vatican. 
 First state. 
 
 From tlie Wellesley Collection. 
 
 The Madonna suckling the Infant Saviour (4). After 
 Giulio Romano. 
 
 The Holy Family, with SS. George, Blaise, Nicolas, and Catherine 
 (6). After Giulio Romano. 
 
 First state, undescribed, before the names on the nimbi 
 around the heads of the saints. 
 
 Three Children on the Sea, one of them riding a dolphin (23). 
 After Giulio Romano. With two copies. 
 
 The Figures of the Prophets and Sibyls in the Sistine 
 Chapel in the Vatican (27-98). After Michel Angelo. 
 
 Bound in old red morocco, with a small undescribed portrait 
 of Michel Angelo. 
 
 Fight between a Lion and a Horse (107). After Giulio 
 Romano. With the copy. 
 From the Mariette Collection. 
 
Diana Mantuanus {Ghisi). 
 
 85 
 
 DIANA MANTUANUS (GHISI), 
 Engraver: born at Mantua, 1530; died at Rome, 1588. 
 
 Bartsch, xv. 432 ; Passavant, vi. 141. 
 
 Our Saviour's Charge to S. Peter (5). After the cartoon of 
 Raphael. 
 
 A fine drawing, from which most probably the engraving was made, 
 is in the Louvre. 
 
 The Entombment of our Saviour (8). After Giuh'o Romano. 
 
 The Madonna seated, holding the Infant Saviour, dated 
 1576 (12). After Durante. 
 
 The Madonna, with the Infant Saviour, on the clouds, sur- 
 rounded by a glory of angels (15). After Raphael. 
 From the Fries Collection. 
 
 The Madonna, with the Infant Saviour and S.John, seated 
 in a landscape, dated 1586 (17). 
 , From t/ie Rysbrack and Wellesley Collections. 
 
 The Archangels Michael, Gabriel, and Raphael (31). After 
 Raphael. 
 
 First state before the letters R, V. I. 
 
 M. Gatteaux of Paris has a drawing of the composition by Giulio 
 Romano. 
 
 The dead Body of Patroclus withdrawn from the Battle 
 (35). After Giulio Romano. 
 
 Regulus placed by the Carthaginians in a Barrel pierced 
 with Spikes (36). After Giulio Romano. 
 
 A Charlatan holding some Snakes, a crowd of people in front 
 of him (44). After Giulio Romano. 
 
 A Sacrifice of a Bull at a Statue of Jupiter (46). The 
 fresco by Giulio Romano is in the Palazzo del T at Mantua. 
 
86 The Italian School of Engraving. 
 
 ANONYMOUS ITALIAN ENGRAVERS OF THE 
 SIXTEENTH CENTURY. 
 
 Bartsch, xv. 
 
 The Creation of the Animals (i. i). From the fresco in the 
 Loggie of the Vatican. 
 
 Noah and his Family leaving the Ark, signed" Joa. bapta, de 
 Cavalleriis inci." 
 
 The Sacrifice of Cain (i. 3). An allegorical composition, as- 
 cribed to Aspertino. 
 
 The Sacrifice of Cain and Abel (i. 4). From the fresco in the 
 Loggie of the Vatican. 
 
 In the first state, before the address. And an impression in 
 the second state, inscribed " Ant. Lafreri Sequani formis Rome, 
 1544." 
 
 Joseph describing his Dream to his Brethren (i. 5). From 
 a design for the fresco in the Loggie, 
 
 Joseph making himself known to his Brethren (i. 6). From 
 a design for the fresco in the Loggie. 
 
 The Cup of Joseph found in Benjamin's Sack (i. 7). After a 
 design of Raphael. 
 
 The Nativity, the letters R. V. engraved on a stone (ii. 2). The 
 composition apparently by Giulio Romano, after Raphael. 
 From tJie Wellesley Collection. 
 
 This is the print which Cumberland (p. 450) describes as "a pure 
 etching, of inestimable value, the work of Raffael himself." 
 
 The Flight into Egypt, the letters R. V. engraved on the bridge 
 (ii. 4). After Raphael. Engraved in the manner of Bonasone. 
 
 Our Saviour restoring Sight to a Blind Man (ii. 5). From 
 a design of Perino del Vaga after Raphael. 
 
Engravers of the i6fk Century. 87 
 
 The Madonna on the clouds with a book, holding the Infant 
 Saviour on her lap. After Raphael. The letter R In the lower 
 right-hand corner. Undescribed. 
 
 The Transfiguration, dated 1538 (ii. 9). After the picture by 
 Raphael. 
 
 The Resurrection. Our Saviour holding a banner, stepping 
 forth from the opening of a circular tomb in the centre of the 
 print ; groups of soldiers crouching back on either side ; 
 " RA. VR. IN." on the left, " Romae Ant. Lafrerij, 1575," on the 
 right {London, 342). 
 
 Our Saviour on the Cross, the single figure. Inscribed in the 
 lower left-hand corner " Mich. Ang. Bonaroti, Ino. Nicolai Nelli 
 formis Venetiis, 1 569." 
 
 The Stoning of S. Stephen (ill. 2). After a design of Raphael 
 for the cartoon, from which it materially differs. Copied in 
 Landon (416). There is no other engraving of it. 
 Early state, before the inscription. 
 
 The Madonna seated, the dead body of our Saviour in front 
 of her, Joseph of Arimathea, with S. John and the Magdalene, 
 grouped at the back. Inscribed at the foot, " Michael Angelas 
 Bonarotus Inventor." 
 
 The Combat of the Horatii and Curiatii (Iv. 2). After 
 Giulio Romano. 
 
 SciPio AND Hannibal at the Head of their Armies, address- 
 ing each other from the opposite sides of a river, dated 1541 
 (iv. 5). After Giulio Romano. 
 
 The " Incendio del Borgo" (iv. 6). After the fresco by Raphael 
 in the Stanza dell. Incendio. 
 
 The Victory of Leo X. over the Saracens at Ostia (iv. 7). 
 After the fresco by Raphael in the same Stanza. 
 
 Psyche carried by three winged Children to Olympus, 
 holding in her right hand the vase with the water of Lethe 
 (v. 5). After a design of Raphael for the series of Cupid and 
 Psyche in the Farnesina. 
 
88 The Italian School of Engraving. 
 
 Venus and Cupid (v. 6). After Primaticcio. 
 
 Diana and her Nymphs at the Bath ; Actaeon changing into 
 a stag (v. lo). After an unknown Florentine master. 
 In the first state. 
 
 The Birth of Adonis, with verses at the foot beginning, " O 
 niatris pellex," &c. (v. 12). Before the address of Lafreri, and 
 the date 1 544. 
 
 The Destruction of the Children of Niobe, dated 1541 
 (v. 1 3). After a design ascribed to Raphael {Landon, 364). 
 
 Design for the Fresco of the School of Athens. After 
 
 Raphael {Landon, 354). 
 Undescribed. 
 
 Two Subjects of the Sibyls, from the fresco by Raphael in 
 Santa Maria della Pace, called " Dialectics and Logic" (vi. 5) 
 and " Theology and Metaphysics" (vi. 6). Passavant ascribes 
 No. 5 to Giovanni da Brescia. 
 
 An Allegorical Composition of numerous Figures ; Venus 
 and Cupid in the centre playing at dice, with verses at the foot 
 beginning, " Sio porto in man d'Amor" (vi. 11). After B. 
 Bandinelli. 
 
 THE MASTER I. H. 8. 
 
 Bartsch, xv. 511. 
 
 The Animals leaving the Ark, dated 1556. After Raphael. 
 Undescribed by Bartsch or Passavant. 
 
The Master C. B. 
 
 89 
 
 THE MASTER O. O. V. I. VE N. 
 
 Passavant,v\. 132. 
 
 Laocoon attacked by a Serpent and a Leopard ; his son at 
 the back retreating in terror ; Cupid on the clouds shooting an 
 arrow. The monogram on the right below Laocoon's foot. 
 On a scroll beneath are verses beginning, " Non di laocoonte 
 il dure essempio," &c. 
 
 Before the address of Salamanca and the date 1 542. 
 
 THE MASTER AI. 
 
 Passavanf, vi. 170. 
 
 The Nativity (i). 
 
 THE MASTER C. B. 
 Undescribed. 
 
 Leda and the Swan. Copied from the crayon drawing by 
 Michel Angelo in the National Gallery. The treatment is the 
 same as that of the marble group ascribed to Michel Angelo, 
 now in the Bargello at Florence. At Leda's feet on the right 
 are the children Castor and Pollux and the egg. At the 
 bottom on the left corner, " Michael Angelus Inventor," with 
 the monogram C. B., and at the foot, in the centre, some verses 
 beginning, "Formosa haec Leda est." Passavant (vi. 173) 
 describes a print exactly similar with the monogram C. A. 
 
 With a smaller copy of the same group in a landscape 
 slightly varied, Cupid being at Leda's feet instead of the 
 children. By Sebastian de Valentini. 
 
90 The Italian School of Engraving. 
 
 THE MASTER A. L. 
 
 Undescribed. 
 
 Leda and the Swan in a landscape, differing from the marble 
 group ascribed to Michel Angelo. The head of Leda turned 
 to the right. The monogram, with the date 155 1, on a stone 
 on the left. 
 
 Copy reversed, engraved from the same composition, exactly 
 similar, and the detail of the landscape the same ; equal in 
 height, but rather longer. Catalogued by Bartsch as a copy of 
 the print of the composition by /Eneas Vico. 
 
 ANONYMOUS. 
 
 An Allegorical Composition, " Envy endeavouring to disunite 
 the Gods." In the midst of the group on the left Envy as a 
 haggard woman, with long pendent breasts, grasps in her left 
 hand a forked tongue. Mercury, holding his caduceus, retreats 
 to the right, a woman with two children in her arms being 
 seated in the right-hand corner. There is an inscription at the 
 foot beginning, " Invida viperiis lingua." Ascribed by Landon 
 (404) to Raphael. 
 
 Our Saviour healing the Lame Man. After Michel Angelo. 
 An oblong print, inscribed in the right-hand corner " Ferando 
 Berteli, exc. 1566." 
 
 Venus and Cupid, in a landscape ; Venus, reclining against a tree 
 on the left, drawing an arrow from the quiver suspended on 
 the shoulder of Cupid, who leans over her. On the right a 
 dwarfed pedestal, with masks and Cupid's bow, and a basket of 
 fruit on the top. Inscribed at the foot, *' Martini Petri excude 
 Mich. Ang. Inv.," and two lines of verses on a tablet on the 
 right beginning, " Scaeva parens nato," &c. 
 
 With an etching by G. Vandergutch of the composition 
 beneath a " check'd ticket" for ten guineas, " for a chance of 
 winning the original gallery picture" (of which a description is 
 
Woodcuts and Chiaro-oscuro Prints. 91 
 
 subjoined), "to be raffled for on Saturday the 29th day of 
 March 1735." 
 
 And an engraving by Louis Desplaces of a similar composi- 
 tion, there being a curtain instead of a landscape behind the 
 group, inscribed " Tableau du Palais de Monaco maintenant a 
 I'Hostel de Malignon a Paris, peint sur toile par le Parmesan." 
 
 THE MASTER VR. 
 Undescribed, the R of the monogram reversed. 
 
 S. Michael. After the picture by Raphael in the Louvre. The 
 monogram is in the lower right-hand corner. 
 
 ITALIAN WOODCUTS AND CHIARO-OSCURO 
 
 PRINTS. 
 
 GO DA Carpi in his appeal, 
 dated July 24, 1516, to the 
 Venetian Senate, claims the 
 exclusive privilege of en- 
 graving in his "modo nu- 
 ovo di Stampare chiaro et 
 scuro." To Germany, how- 
 ever, the priority of the in- 
 vention of printing in chiaro- 
 oscuro appears to belong. 
 The date of 1506 is on the 
 Venus and Cupid of the 
 elder Cranach. The " Sor- 
 ceresses," by Hans Baldung 
 Grun is dated 1 5 10. Both of 
 them had first been used for printing from in their original state, 
 the blocks for supplementing the effect in chiaro-oscuro having been 
 subsequently added. The reproducing in different tones of colour 
 the drawings of which they were imitations is a contrivance of 
 
92 The Italian School of Engraving. 
 
 much ingenuity, and it is surprising these spirited facsimiles of the 
 painter's designs have so rarely held their deserved position in the 
 portfolios of amateurs. Strict precision in closely fitting the succes- 
 sive blocks was required, and hence, from carelessness and inatten- 
 tion, a large number of faulty impressions were struck off, prejudicj 
 ing materially the appreciation of them. 
 
 Bartsch, xii. ; Passavant, vi. 205. 
 
 David cutting off tjie Head of Goliath. After Raphael, by 
 Hugo da Carpi (i. 8). 
 
 The Massacre of the Innocents. After Raphael ; impression 
 in outline (ii. 7). 
 
 The Massacre of the Innocents. After Raphael, by Hugo da 
 Carpi (ii. 8). 
 
 Our Saviour at Supper in the House of the Pharisee. 
 After Raphael, by Hugo da Carpi (ii. 17). 
 
 The Descent from the Cross. After Raphael, by Hugo da 
 Carpi (ii. 22). 
 
 The Entombment. After Raphael de Reggio, by Andrea An- 
 dreani (ii. 24). 
 
 The Resurrection from the Tomb. After Raphael, by Hugo 
 da Carpi (ii. 26). 
 
 The Death of Ananias. After Raphael, by Hugo da Carpi 
 (ii. 27). 
 
 Head of our Saviour. By N. B. (ii. 28). 
 
 The Holy Family and Saints. After Ligozzi, by Andrea An- 
 dreani, dated 1585 (iii. 27). 
 
 A Sibyl. After Guido, by B. Coriolanus (v. 5). 
 
 A Sibyl reading ; a child holding a torch. After Raphael, by 
 Hugo da Carpi (v. 6). 
 The original, and the copy. 
 
Woodcuts and Chiaro-oscuro Prints. 
 
 93 
 
 The Tiburtine Sibyl, directing the attention of the Emperor 
 Augustus to the Madonna in the clouds. After Parmigiano, 
 by Antonio di Trente (v. 7). 
 
 The Triumph of Julius C^sar. After Andrea Mantegna. 
 
 In ten sheets, comprising the frontispiece, with the bust- 
 portrait of Vincent Gonzaga, Duke of Mantua, and the nine 
 columns cut out and attached to each of the sheets of the 
 Triumph. By Andrea Andreani, dated MDXCVIIII. (vi. 11). 
 
 Venus, with numerous winged children at play. After Raphael, 
 by Hugo da Carpi. Study for the fresco on the ceiling of the 
 Villa Madama (vii. 3). 
 
 Hercules strangling the Nemean Lion (vii. 17). 
 
 The same Subject in Oblong (vii. 18). 
 
 Hercules driving Envy from the Temple of the Muses. 
 After Balthasar Peruzzi, by Hugo da Carpi (viii. 1 2). 
 
 Raphael and the Fornarina (ix. 3). 
 
 The Infant Saviour, his head on a skull, asleep on the Cross. 
 After Guido (x. 23). 
 
 The Creation of Eve. After the fresco by Michel Angelo on 
 the ceiling of the Sistine Chapel. Inscribed " Hieronimo de 
 Grand i pincsit. Gaspar Ruina fecit" {Pass. vi. p. 222). 
 
 S. Sebastian and five other Saints. After the picture painted 
 by Titian for the church of S. Nicolas at Venice, which is 
 now in the Vatican {Pass. vi. 233). 
 
 The Martyrdom of S. Catherine. After Raphael. Inscribed, 
 " Martiris S. Cecilie, P. C. de Gregoriis, ex. d. m. MDXVii." 
 
94 The Italian School of Engraving. 
 
 ANTONIO SALAMANCA, 
 
 Engraver and Publisher of Prints at Rome, 
 CIRCA 1530-60. 
 
 THE only claim of Antonio Salamanca to be classified as an 
 engraver is from the hesitating inscription upon the print of 
 the " Pieta" after Michel Angelo. His keen shrewdness is depicted 
 in his portrait by Beatrizet. Very many of the prints of the followers 
 of Marc Antonio, published by him, to which we find his name 
 appended in obtrusive type, are from the exhausted plates, coarsely 
 re-worked, materially to their detriment, the preservation of the 
 designs of the artists of them constituting their only value. Others 
 of the Roman publishers, from the addition of " restituit" to their 
 inscriptions in the later printing from the plates, appear to have 
 used the burin for the like purpose. Bryan's Dictionary. 
 
 The Dead Body of our Saviour on the lap of the Madonna. 
 After the marble group of the " Pieta" by Michel Angelo in 
 S. Peter's at Rome. Inscribed "Antonius Salamanca quod 
 potuit imitatus exculpsit, 1547" 
 With a reversed copy. 
 
 GIOVANNI BATTISTA FRANCO, 
 
 Painter and Engraver : born at Venice or Udine, 
 1498; died circa J580. 
 
 Bartsch, xvi. 1 11. 
 
 The Ark of God in the temple of Dagon : Samuel i. c. 5 (6). 
 In the first and second states. 
 
 The Adoration of the Magi {Bartsch, App. 2). 
 With a reversed copy. 
 
 The Scourging of our Saviour (id). After Titian. 
 
Marius Kartarus. 95 
 
 The Entombment of our Saviour (22). After Titian. 
 
 The Madonna, with the Infant Saviour on her lap, S. John seated 
 on the left (29). After Raphael. 
 
 The " PiETA." After Michel Angelo. Inscribed " Ant. Sala. ex- 
 cudebat" {Pass. vi. 179). 
 
 Portrait of Marc Antonio Raimondi {Bartsch, App. 15). 
 Modern copy of this rare print. 
 
 MARIUS KARTARUS, 
 
 Engraver: worked at Rome in the last half of the 
 sixteenth century. 
 
 NEITHER Bartsch nor Passavant renders any information 
 respecting Marius Kartarus. The subjects he selected for 
 his engravings are mostly from the compositions of the great 
 Italian painters. Bartsch surmised, from the initial K of his name, 
 that he was of German origin. But the spelling is Cartarus on the 
 latest dated of his prints. Bartsch, xv. 520 ; Passavant , vi. 157. 
 
 The Madonna seated at the foot of the Cross, lamenting over the 
 
 dead body of our Saviour, extended on the ground in front of 
 
 her, dated 1566 (9). After Michel Angelo. The design was 
 
 made for Sebastian del Piombo, who painted a picture from 
 
 it for the church of S. Francesca in Viterbo, where it now is. 
 
 The engraving differs somewhat in expression from a pencil-washed 
 drawing in this collection, inscribed " Michael Angelo Buonaroti," pur- 
 chased at Messrs. Woodburn's sale. 
 
 The Conversion of S. Paul, dated " In Roma 1567" (17). After 
 Jean Cousin. 
 
 The Last Judgment, dated "In Roma 1569" (18). From the 
 fresco of Michel Angelo in the Sistine Chapel. 
 
 Time carrying his Scythe and an Hour-glass, proceeding 
 towards the left, followed by Death seated sideways on a 
 horse, dated 1563 (22). 
 
 Copied from a group in the print called " La Puissance de 
 TAmour" by the Master P. P. {Bartsch, xiii. p. 357). 
 
g6 The Italian School of Engraving. 
 
 CESARE REVERDINO, 
 
 Painter and Engraver : born at Padua ; worked at 
 Rome in the middle of the sixteenth century. 
 
 Bartsch, xv. 465 ; Passavant, vi. 107. 
 
 The Last Judgment (15). A circular print. From his own 
 composition. 
 
 Leda (21). From his own design. 
 
 The Dance of Peasants — " Le Branle" (34). 
 
 The Dance of eight Children (38). 
 From t/ie Esdaile Collection. 
 
 CiMON in Prison, nourished by his daughter Pero, dated 1542 
 {Bartsch, App. 2). 
 
 GIULIO SANUTO, 
 
 Engraver: worked at Venice circa 1540-1570. 
 
 Bartsch, xv. 499 ; Passavant, vi. 104. 
 
 The Marriage of the Virgin (i). After a painting by JBerto 
 di San Giovanni from a design of Raphael in the Pinacoteca at 
 Perugia. 
 
 S. John the Baptist. Inscribed "Agnus Dei" {Pass. vi. 9). 
 After Michel Angel o. 
 
 The Dead Body of our Saviour reclined on a block of stone 
 sustained by three angels, the Madonna behind them. On the 
 right at the bottom, " M. A. inventor ;" and on the left, " Ant. 
 Sala. excudebat" {Pass. vi. 8). 
 
 Cupid drawing his Bow, standing on a globe upheld by two 
 winged children (4). 
 
Giovanni Battista de Cavalleriis. 97 
 
 The Story of Apollo and Marsyas. In three plates. With 
 
 the inscription on the last plate, " ApoUinis et Marsiae Fabula 
 
 ex clariss. Pictoris Antonii de Corregio pictura" {Pass. vi. lo). 
 
 In the first state, with the dedication on the centre plate to 
 
 "Alfonso II. da Este, Duca quinta di Ferrara. In Venegia, 
 
 MDLXIL, Giulio Sanuti." 
 
 The painting, on the case of a harpsichord, is in the Gallery Litta at 
 Milan. 
 
 Abraham on hls Knees before three Angels {Pass. vi. 
 p. 106). 
 
 PIETRO FACCHETTI, 
 
 Painter and Engraver: born at Mantua, 1535; 
 
 DIED, 1613. 
 
 Bartsch, xvii. 51 ; Passavant, i. 251. . 
 The Holy Family with the Basin (i). After a design of Raphael. 
 
 A painting of the composition by Giulio Romano is in the Dresden 
 Gallery. 
 
 GIOVANNI BATTISTA DE CAVALLERIIS, 
 
 Engraver: born at Lagherino, 1525; died, 1590; 
 WORKED at Rome from 1550 to 1590. 
 
 Le Blanc's Mamiel ; Bryan's Dictionary. 
 
 Our Saviour feeding the Multitude. After Raphael. In- 
 scribed " Joannes Baptista de Cavaleriis Lagherinus incidebat." 
 The large plate {Landon, 300). 
 
 There is a pen and bistre-washed drawing of the whole composition 
 in the Louvre. Also a drawing of the left-hand portion at Windsor 
 Castle by Bragio Bolognese, a painting of it by him being in the refectory 
 of S. Salvatore at Bologna. 
 
 S. Paul struck with Blindness, the sword falling from his 
 hand. After Michel Angclo. 
 
 II 
 
PHILIPPUS SERICEUS, 
 
 Engraver (1530-80). 
 
 ERICEUS was a native 
 of Flanders. His family 
 name, Soye or Syticus, 
 is found thus spelt, as 
 well as in the Latin, Seri- 
 ceus and Sericus, upon 
 his prints. Huber and 
 Zani give some notice of 
 him, as one of the most 
 artistic of the Flemish 
 engravers, who, in asso- 
 ciation with Cornelius 
 Cort, initiated the school 
 at Rome which became 
 so eminent at the com- 
 
 mencement of the latter half of the sixteenth century. 
 
 Bryan's Dictionary, 
 
 The Madonna seated on the ground, with the Infant Saviour 
 asleep on her lap ; behind, on the right, S. Joseph leans for- 
 ward over a pedestal, and on the left is the Infant S. John, 
 holding a small banner. A curtain is suspended at the back 
 of the composition. In the margin at the foot is a line begin- 
 ning, " Nc excitetis puerum. Ant. Lafreri formis, Romse 
 MDLXV." After Michel Angelo. 
 
 Before " Philippus Sericeus fecit" was engraved on the step 
 of the pedestal. 
 
 The Madonna, in front of a suspended curtain, is seated on a 
 stone bench, holding an open book in her right hand, with the 
 Infant Saviour asleep on her knee ; S. Joseph and S. John the 
 Baptist as a child lean forward on either side at the back. 
 Signed " Philippus Sericeus fecit." Inscribed in the margin at 
 the foot, "Dormiente Puero Jesu Divinajnens vigilat." "Michael 
 Angelus Inventor, Ant. Lafrerii formis, Roma; MDLXVI." 
 
 Bonasone engraved the same composition {B. 66). There is a painting 
 of it by Marcello Venusti in the Borghese Palace in Rome. 
 
Philipplis Sericeiis. 
 
 99 
 
 The Crucifixion ; the Madonna standing on the left, S. John on 
 the right, of the cross, an angel on cither side on the clouds 
 above ; the city of Jerusalem in the distance. With an in- 
 scription in the margin at the foot beginning, " Pcccata nostra ;" 
 and a dedication, " Michaeli Bonello, S.R.C., Cardinali Alex- 
 andrino dicatus. Ant. Lafrcri, Romre MDLXVIII." After Michel 
 Angelo. 
 
 In the first state, before Michel Angclo's name, and that of 
 the engraver, " Philippus Syticus fecit." In the later state the 
 names were added, with that of Thomasinus, instead of Lafreri, 
 as the printer, and there is a different inscription and dedica- 
 tion. 
 
 The same Composition without the landscape in the background, 
 identical in drawing, except that our Saviour is raised higher 
 on the cross, and is looking upward towards the right. The 
 method of engraving is somewhat different. 
 
 And a copy smaller in size, having the city of Jerusalem at 
 the back, a skull being at the foot of the cross. Inscribed 
 " Gio. Maria Variana formis, Gcnova." 
 
 S. Veronica holding the Sudarium. After Raphael. With 
 an inscription in the margin at the foot beginning, " Signatum 
 est, &c., Psal. iiii. Romae MDLXVII." 
 From the Brentano Collection. 
 
 The outline of the composition in Landon (433) is taken from this, 
 and not, as there stated, from the print by Marc Antonio, the detail of 
 which is different. 
 
 Moses seated, holding HIS Rod. After Parmigiano. Engraved 
 in an oval. Inscribed at the foot, " F. P. invent, Ant. Sal, 
 excudebat," 
 
loo The Italian School of Engraving. 
 
 ANDREAS MARELLI, 
 
 Engraver : worked at Rome in the latter part of the 
 sixteenth century. 
 
 The Ascension of our Saviour ; an angel on the clouds on 
 either side, the eleven disciples in two groups kneeling on the 
 ground in front ; the city of Jerusalem in the distance. After 
 Raphael. Signed " Andreas Marelli inc." 
 
 First state, before the Latin verses at the foot, and before the 
 name of Lafreri. 
 
 NICCOLO FRANCESCO MAFFEI, 
 
 Engraver ; worked at Rome in the latter part of the 
 sixteenth century. 
 
 Subject from the History of Psyche ; Psyche on her knees, 
 scourged by the three Furies ; Venus at the back, with Cupid 
 and four other children ranged beside her, directing the pun- 
 ishment. From a design, apparently, of Giulio Romano. The 
 monogram R. V. I. at the bottom. Beneath is an inscription, 
 "Al Molto 111'° S-- Don Pietro Venti Miglia. Nicolo Fran'^° 
 Maffei D.D. S. f" 
 
 Undescribed. See Catalogue of the Raphael Collection at 
 Windsor Castle, pp. 134-38, 
 
FEDERICO BAROCCI, 
 
 Painter and Engraver: born at Urbino, 1528; 
 DIED AT Rome, 1612. 
 
 ORN at Urbino, Federico 
 Barocci commenced his edu- 
 cation with his father, Am- 
 brogio Barocci the sculptor, 
 and was placed under the 
 tuition of Baptista Franco, 
 who was then in the city in 
 the service of Duke Guido- 
 baldo. Copies from Correg- 
 gio's frescoes brought from 
 Parma were the principal 
 guide of his studies. Not- 
 withstanding the well-known 
 remark that his figures look as 
 if fed upon rose-leaves, there is much beauty and transparent effect 
 of chiaro-oscuro in his pictures. His principal works are in his 
 native city, and at Rome, where he was employed by Popes Pius 
 IV. and Gregory XIII. His knowledge of engraving was acquired 
 from Baptista Franco. Four only of his prints are catalogued, 
 which convey the spirit and character of his paintings. 
 
 Bartsch, xvii. i. 
 
 The Annunciation (i). After the picture painted for the church 
 of the Madonna at Loreto. 
 From the Mariette Collection. 
 
 The Madonna on the clouds, holding the Infant Saviour (2). 
 
 S. Francis receiving the Stigmata (3). After the picture in 
 the church of the Capuchins at Urbino. 
 Printed on green silk. 
 
 S. Francis, with the Madonna and S. Augustus in adoration of the 
 Saviour. The Pardon of S. Francesco d' Assisi. Dated 1581 (4). 
 After the picture in the church of S. Francesco at Urbino. 
 
1 02 The Italian School of Engraving. 
 
 MARTIN ROTA, 
 
 Engraver: born at Sebenico in Dalmatia, 1536; died 
 AT Venice, 1586; worked principally at Rome and 
 Venice. 
 
 BartscJi, xvi. 245. 
 
 The Crucifixion. Inscribed " Martinus Rota F." (9). 
 From the Marictte Collection. 
 
 The Murder of S. Peter Martyr (20). After the picture by 
 Titian, painted for the church of SS. Giovanni e Paolo at 
 Venice. 
 
 The picture was destroyed by fire in 1 867. 
 Front the Mariette Collection, " 1677." 
 
 The Last Judgment (28). After Michel Angelo. 
 First state. 
 
 Venu.s endeavouring to stay Adonis from the Chase (108). 
 After Titian. 
 
 Apollo flaying Marsyas. Mentioned by Bartsch in his pre- 
 liminary notice of Martin Rota, and ascribed by him to the 
 German engraver, Melchior Meier. 
 
 MICHELE LUCCHESI, 
 
 Engraver: born at Rome, 1539; died 
 there subsequent to 1604. 
 
 Passavant, vi. 166. 
 
 The Martyrdom of S. Peter (6). After the fresco by Michel 
 Angelo. 
 
Cornelius Cort. 
 
 t03 
 
 CORNELIUS CORT, 
 
 Engraver: born at Hoorn in Holland, 1536; 
 DIED AT Rome, 1578. 
 
 CORNELIUS Cort was a pupil of Jerome Cock, the painter 
 and engraver of Antwerp. In his youth he went to Italy, 
 taking up his residence first at Venice, where he was received into 
 the house of Titian, many of whose pictures he copied. He subse- 
 quently removed to Rome, remaining there until his death, and 
 gathered round him a large number of pupils, the great school of 
 the Carracci, and the revival of engraving in Italy, dating their origin 
 from his teaching. Le Blanc's Manuel ; Bryan's Dictionary. 
 
 The Madonna, with the Infant Saviour and S. John, S. Joseph 
 at the back on the left leaning forward, with his hand on a 
 table, dated 1577. After Barocci. 
 
 The Burial of S. Catherine, dated 1575. 
 
 The Magdalene in the Desert, dated 1566. After Titian. 
 The picture, painted for Philip II., is at Madrid. 
 
 The Transfiguration. After the picture by Raphael. 
 
 The Battle with the Elephants. In the lower left-hand 
 corner, " Raph Urbin inv. Cornelio Cort fe." 
 
 The original drawing is in the collection of M. Gatteaux at 
 Paris, and a copy in the Albertina at Vienna, 
 
 Prometheus bound, torn by the Vulture, dated 1566. After 
 Titian. 
 
 The design for the picture was in the Mariette Collection. 
 
AGOSTINO CARRACCI, 
 
 Painter AND Engraver : born at Bologna, 1558; 
 DIED AT Parma, 1601. 
 
 GOSTINO CARRACClwasa 
 pupil in his youth of Cor- 
 nelius Cort. An early 
 training he had received as 
 a metal -chaser prepared 
 him for ready instruction 
 in engraving, subsequently 
 matured by him to such 
 high proficiency. Insti- 
 gated by his cousin Lodo- 
 vico, he associated himself 
 with his younger brother 
 Annibale, and together 
 they founded the famous 
 Academy of Painting at 
 Bologna. To his cultivated taste and classical knowledge is mainly 
 due the conception and designs of the great frescoes Annibale 
 was employed upon in the Farnese Gallery and the churches at 
 Rome. Agostino painted but few easel-pictures. In his use of 
 the burin, however, evidently to him the most attractive employ- 
 ment, he established a new epoch in the art, and devoted himself to 
 the reproduction of the large altar-pieces and other compositions of 
 himself and his contemporaries. By the bold free manner his lines 
 are cut with, a brilliant effect is produced ; and although want of 
 gradation and tone has been raised as an objection to his prints, in 
 a considerable number of them, and notably in his portrait of 
 Titian, and the " Ecce Homo" after the picture by Correggio in the 
 National Gallery in London, the spirit of the originals is admirably 
 rendered, and they rank deservedly among the masterpieces of 
 engraving. Bartsch, xviii. 31. 
 
Agostino Carracci. 
 
 105 
 
 Jacob and Rachel at the Well, dated 1581 (2). 
 
 TOBIT AND THE Angel, dated 1581, " Raphael Regien" (3). After 
 Rafifaellino del Garbo. 
 In the first state. 
 
 In the second state of the plate " Regien" is altered to 
 " Urbin," and the composition became ascribed to Raphael 
 d'Urbino. There is an outline of it in Landon's Raphael. 
 
 Our Saviour shown to the People, dated 1587 (20). After 
 the picture by Correggio in the National Gallery in London. 
 
 The Crucifixion (21). After the picture by Paul Veronese in 
 the church of S. Sebastian at Venice. 
 
 The Crucifixion, in three plates, dated 1589 (23). After the 
 picture by Tintoretto in the church of S. Roch at Venice. 
 
 The Transfiguration, dated 1588 (25). From the design pro- 
 bably of Domenico Pellegrini. It is engraved in Landon 
 (No. 419) amongst the works of Raphael. 
 
 Our Saviour and the Woman of Samaria at the Well, 
 dated 1580 (26). From the artist's own design. 
 
 The Madonna on the clouds, holding the Infant Saviour, dated 
 1582 (32). After Barocci. 
 
 The Madonna on a crescent, suckling the Infant Saviour, dated 
 1589 (34)- After Jacopo Ligozzi. 
 
 The Madonna holding in her arms the Infant Saviour, seated 
 under a tree, dated 1595 (39). After the artist's own design. 
 Bartsch ascribes the engraving to Francesco Briccio. 
 
 The Holy Family, dated 1597 (43). From the artist's own 
 design. 
 
 Our Saviour, the Madonna, S. John the Baptist, and the 
 twelve Apostles (48-62). From the artist's own designs. 
 
 The Temptation of S. Anthony, dated 1582 (63). After 
 Tintoretto. 
 
 From tJie Mariette and St. Aubyn Collections. 
 
 S. Francis, dated 1 595 (67). After Francesco Vanni. 
 
io6 The Italian School of Engraving. 
 
 S. Francis in the Desert, receiving the stigmata, dated 1586 
 (68). 
 
 S. Jerome holding a Crucifix (75). After the artist's own 
 design. 
 
 In the second state, finished by Francesco Briccio. 
 
 S. Jerome contemplating a Vision of the Madonna, dated 
 1588 (76). After Tintoretto. 
 
 S. Sebastian attached to a Tree, dated 1580 (88). 
 From the Mariette Collection. 
 
 The Holy Family in a Landscape, with Mary Magdalene 
 and S. Jerome, dated 1586 (95). After the picture by Cor- 
 reggio at Parma. 
 
 In the first state, before the name of Rascicotti the pub- 
 lisher. 
 
 And an impression in the second state. 
 
 The Holy Family, with S. Catherine and S. Anthony (96). 
 After the picture by Paul Veronese at Venice. 
 From tlie Mariette Collection. 
 
 The Marriage of S. Catherine, dated 1586 (97). After Paul 
 Veronese. 
 
 First state, before the name of CalHari the publisher. 
 
 The dead Body of our Saviour sustained by the Madonna, an 
 attendant angel on the right, dated 1582 (102). After Paul 
 Veronese. 
 
 In the first state, before the publisher's name. 
 
 The Madonna, with the dead Body of our Saviour on her 
 Knees, dated 1579 (104). After the Pieta of Michel Angelo. 
 
 The Madonna, holding her Arms extended over two 
 Ecclesiastics, kneeling in adoration on either side (105). 
 After Paul Veronese. 
 
 Eneas carrying his Father Anchises in his Arms, escaping 
 from the burning of Troy, dated 1595 (i 10). After Barocci. 
 
 Cupid, in the Presence of two Nymphs, overcoming Pan, 
 Inscribed "Omnia vincit amor," dated 1599 (116). 
 From the Lawrence Collection. 
 
Annibale Carracci. 
 
 Mercury and the Graces, dated 1589 ; and Minerva repel- 
 ling Mars (i 17-1 18). After Tintoretto. 
 
 Portrait of Titian, dated 1587 (154). 
 
 In the first state, before the inscription at the top. 
 From the Haivkins Collection. 
 
 ANNIBALE CARRACCI, 
 
 Painter and Engraver : born at Bologna, 1560; 
 died at Rome, 1609. 
 
 AKING prominent precedence 
 amongst his talented family, 
 Annibale Carracci was for 
 some years almost exclu- 
 sively occupied upon the 
 frescoes and other decorative 
 works he executed at Rome. 
 The numerous paintings by 
 his hand, wherewith he en- 
 riched the continental gal- 
 leries — eminentamongstthem 
 being the " Dead Christ with 
 the three Maries" from the 
 
 Orleans Gallery, now one of 
 the principal treasures of the Castle Howard Collection — left him 
 little time for the pursuit of engraving ; but the skill he attained in 
 it is seen in the print known as the " Christ of Caprarola" (4) and 
 the Holy Family (11), both of them, as were nearly all his prints, 
 from his own designs. Bartsck, xviii. 177. 
 
 The AdorAT ion of the Shepherds (2). 
 
 With the copy reversed. 
 
 Our Saviour crowned with Thorns, dated 1606 (3). 
 
io8 The Italian School of Engraving. 
 
 The dead Body of our Saviour, with the Madonna and attend- 
 ant saints, inscribed " Caprarolse 1597" (4). 
 In the first state. 
 
 The Holy Family, with the swallow, dated 1581 (8). 
 
 The Holy Family, with the drinking-cup, dated 1606 (9). 
 
 The Holy Family, dated 1590 (11). 
 
 S. Jerome in the Desert. An etching (14). 
 
 The Magdalene in Penitence (16). 
 
 In the first state, before the letters P. S. F. 
 
 A Design for a Salver. A group with Silenus, in the centre of 
 a border of foliage (18). 
 
 The salver is in the Farnese Palace at Rome. 
 
 The Agony in the Garden. Our Saviour under a tree in the 
 centre towards the right, the cross and the emblems of his 
 passion before him ; an angel with upraised hand in an aureole 
 on the left. 
 Undescribed. 
 
 An etching in the style of his print of S. Jerome (14). 
 
 S. John as a Youth, seated on the ground, a lamb in front of him 
 on the right. The intertwined monogram C. A. B. on the right- 
 hand lower corner {Bnilliot, i. 98). 
 An etching. 
 
LODOVICO CARRACCI, 
 
 Painter and Engraver: born at Bologna, 1555; 
 died there, 16i9. 
 
 AVING been educated under Prospero Fontana, 
 Lodovico Carracci went to Venice, and there 
 studied the works of Titian and Tintoretto, 
 and subsequently the frescoes of Correggio at 
 Parma. Perfecting himself by steady and close 
 application, he was early brought into distin- 
 » i- ' ' guished notice, and the interest his originality 
 
 of style had created attracted crowds of students to Bologna, where, 
 in conjunction with his cousins Annibale and Agostino, he directed 
 the Academy, so renowned in its influence through their teaching, 
 and the important works they were employed upon. Lodovico's 
 principal pictures are at Bologna. The engravings ascribed to him, 
 with the exception of the Holy Family seated under an arch from 
 his own design, are unimportant. Bartsck, xviii. 23. 
 
 The Madonna suckling the Infant Saviour, dated 1592 (i). 
 
 The Madonna holding the Infant Saviour, attended by four 
 angels (2). And a copy by Lucas Kilian. 
 The picture is in the possession of Mr. Antrobus. 
 
 The Madonna, with the Infant Saviour and S. John, dated 
 1604 (3). 
 
 From tJie Mariette Collection. 
 
 The Madonna, with the Infant Saviour and S. Joseph, 
 seated under an arch (4). 
 
CHERUBINO ALBERTI, 
 
 Painter and Engraver: born at Borgo San Sepolcro, 
 1552; died at Rome, 161 5. 
 
 OTWITHSTANDING 
 the advantages Cheru- 
 bino Albert! derived 
 from his companion- 
 ship with the eminent 
 men who were his fel- 
 low students in the 
 school of Cornelius 
 Cort, his engravings 
 contrast unfavourably, 
 in the carelessness of 
 their execution, with 
 those of the Carracci, 
 his associates at the 
 time in Rome. They 
 are valuable, however, 
 in the record they have preserved of contemporary art, especially 
 of the works of Michel Angelo. Bartsch, xvii. 45. 
 
 An Angel supporting the dead Body of our Saviour (21). 
 
 The dead Body of our Saviour sustained by Joseph of 
 Arimathea, the Madonna and a female attendant on either 
 side (23). 
 
 The marble group, left unfinished by Michel Angelo at his 
 death, from which the engraving is copied, is now in the 
 Cathedral at Florence, having been removed from Rome and 
 placed there by Cosmo III., Duke of Tuscany, in 1723. 
 
 The Assumption of the Madonna, the disciples surrounding 
 the tomb, dated 1571 (36). 
 First state, before the inscription. 
 
 The Holy Family (40). After the Madonna della Gatta by Giulio 
 Romano in the Museum at Naples. 
 
 S. Jerome in Meditation in the Desert,, dated 1575 (54). 
 After Michel Angelo. 
 
Michel Agiiolo Amerigi. 
 
 Ill 
 
 CAMILLO PROCACCINI, 
 
 Painter and Engraver : born at Bologna, 1546; 
 DIED AT Milan, 1626. 
 
 Barisch, xviii. 18. 
 
 The Ascension of our Saviour. Inscribed "Viri GaHl?ei," 
 After Raphael. 
 
 GIOVANNI BATTISTA FONTANA, 
 
 Painter and Engraver, of Verona (1559-1580). 
 
 Bartsch, xvi. 209 ; Passavant, vi. 182. 
 
 S. John the Baptist preaching in the Desert {Pass. vi. 
 p. 183). 
 
 MICHEL AGNOLO AMERIGI DA CARAVAGGIO, 
 
 Painter and Engraver : born at Caravaggio, 
 1569; died at Porto Ercole, 1609. 
 
 ENGAGED as a mason in preparing the frescoes for the artists 
 at Milan, Michel Agnolo Amerigi acquired the principles of 
 drawing, and obtained employment as a clever delineator of por- 
 traits and painter of flowers. Subsequently he went to Venice, and 
 after a course of study in the city, particularly of the works of 
 Giorgione, he proceeded to Rome, where he executed numerous 
 pictures for the churches of the city. Obliged to make his escape 
 in consequence of an act of violence and murder, his turbulent life 
 
112 The Italian School of Engraving. 
 
 ended miserably at Porto Ercole in his fortieth year. Two engrav- 
 ings only are known by him, the Denial by S. Peter and the 
 Incredulity of S. Thomas. Le Blanc's Manuel. 
 
 The Incredulity of S. Thomas. Inscribed " Michaellange 
 Caravage pin. J. Robillart ex." 
 
 RAPHAEL SCIAMINOSSI, 
 
 Painter and Engraver: born at Borgo San 
 Sepolcro, 1570; DIED (1620). 
 
 Bartsc/i, xvii. 211. 
 
 A Group of four Saints. Inscribed R. V. I. (94). The design 
 attributed to Raphael. 
 
 See Catalogue of the Raphael Collection at Windsor Castle, 
 p. 123. 
 
 GUIDO RENI, 
 
 Painter and Etcher: born at Bologna, 1579; 
 DIED there, 1642. 
 
 GUIDO Reni was a pupil of the Carracci. In opposition to 
 their teaching, he adopted his transparent method of colour- 
 ing, which became so attractive. His etchings, but slightly worked, 
 are clever renderings of his style of drawing. Bartsch, xviii. 277. 
 
 The Madonna seated with the Infant Saviour, S. Joseph 
 in the distance on the left (i). 
 With a copy reversed. 
 
 The Madonna, with the Infant Saviour asleep on her 
 Breast (2). 
 
 The Madonna, with the Infant Saviour and S. John (6). 
 
Orazio Borgiani. 1 1 3 
 
 The Holy Family, with S. Elizabeth (8). 
 And a copy reversed. 
 
 The Holy Family, with S. Claire (50). After Annibalc Car- 
 racci. 
 
 Our Saviour and the Woman of Samaria at the Well (52). 
 After Annibale Carracci. 
 
 With copies by Jean Episcopius and Ludovicus Mattioli. 
 
 Judith with the Head of Holofernes (Appendix i). 
 
 The Madonna holding a Rosary, with the Infant Saviour 
 (Appendix 6). 
 
 FRANCESCO BRICCIO, 
 
 Painter and Engraver: born at Bologna, 1575 ; 
 died there, 1623. 
 
 Bartsch, xviii. 251. 
 
 The Flight into Egypt (2). After Lodovico Carracci. 
 
 The Holy Family under a Palm-tree (4). After Correggio. 
 In two states. 
 
 ORAZIO BORGIANI, 
 Painter and Engraver: born at Rome, 1577; died 1620. 
 
 Bartsch, xvii. 315. 
 
 The three Maries lamenting over the Body of our 
 Saviour. The body foreshortened (2). 
 
 I 
 
1 14 The Italian School of Engraving. 
 
 VESPASIANO STRADA, 
 
 Painter and Engraver: born at Rome, 1580; died 1624. 
 
 Bartsch, xvii. 302. 
 
 Our Saviour shown to the People (2). A group of four 
 figures. 
 
 The same Subject (3). A group of nine figures. 
 The Madonna and Child (8). 
 
 SISTO BADALOCCHIO, 
 
 Painter and Etcher: born at Parma, 158 i; 
 DIED AT Rome, 1647. 
 
 SISTO Badalocchio was a pupil of Annibale Carracci, and 
 assisted him in the decoration of the Farnese Gallery at Rome. 
 
 Bartschy xviii. 352. 
 
 The Holy Family (25). After Schidone. 
 Cupid and Pan (34). After Annibale Carracci. 
 
 CARLO SARACENI, 
 
 Painter and Etcher: born at Venice, 1585; 
 DIED there, 1625. 
 
 Bnilliot, i. No. 1339 a. 
 
 The Beheading of S. John the Baptist. An etching. 
 
 The Holy Family under a Palm-tree. A group of angels on 
 the right. Inscribed " Carolus Saracenus invent." 
 
Stefano della Bella, 
 
 115 
 
 LAURENT LOLI, 
 
 Painter and Engraver: born at Bologna, 1612. 
 
 Bartsch, xix. 163. 
 
 The Flight into Egypt (i). After Guide 
 And a copy reversed by S. Bernard. 
 
 S. Jerome in the Desert (14). After Sirani. 
 
 Two Groups of Cupids (19, 22), and The Infant Hercules 
 strangling the Serpents (24). 
 
 SEBASTIAN VAIANI, 
 Painter and Engraver at Milan circa 1628. 
 Bartsch^ xx. 124. 
 
 Our Saviour crowned with Thorns. After Annibalc Carracci. 
 Signed " Sebast. Vaianus, sculp. 1627." 
 
 STEFANO DELLA BELLA, 
 
 Painter and Engraver: born at Florence, 1610; 
 died there, 1664. 
 
 STEFANO della Bella studied with Callot under the en- 
 graver Canta Gallina at Florence. Lc Blanc's Manuel. 
 
 Three Children holding up a Salver (394). 
 
 The five Death Subjects (770-774), ovals. 
 
 Death on the pale Horse (776). 
 
ii6 
 
 The Italian School of Engraving. 
 
 PIETRO DEL P6, 
 
 Painter and Engraver: born at Palermo, 1610; 
 DIED AT Naples, 1692. 
 
 Bartsc/i, xx. 245. 
 
 Our Saviour and the Woman of Samaria at the Well (8). 
 After Annibale Carracci. 
 
 GIULIO CARPIONI, 
 
 Painter and Engraver: born at Venice, 1611 ; 
 died there, 1674. 
 
 Bartsch, xx. 175. 
 Our Saviour on the Mount of Olives (2). 
 
 SIMONE CANTARINI, 
 
 Painter and Etcher : born at Oropezza, 1612; 
 DIED AT Verona, 1648. 
 
 SIMONE Cantarini was a pupil of Guido. He went to Rome 
 and subsequently to Mantua, where he remained until his 
 death in the employ of the reigning Duke. Bartsch, xix. 121 
 
 Adam and Eve (i). 
 
 The Repose in Egypt (6). 
 
 The Madonna with the Infant Saviour (18). 
 
 Mercury and Argus (31). 
 
 Fortune (34). After Guido. 
 
Carlo Maratti. 
 
 117 
 
 GIOVANNI BATISTA GALESTRUZZI, 
 Painter and Engraver: born at Florence, 1618. 
 Bartsch, xxi. 51. 
 
 Paris receiving the Apple from Mercury (40). After Anni- 
 bale Carracci. 
 
 GIOVANNI ANDREA PODESTA, 
 Painter and Etcher: born at Genoa, 1620. 
 Bartsch, xx. 168. 
 
 Bacchus and Ariadne (6). After the picture by Titian in the 
 National Gallery. 
 
 A Bacchanalian Scene, a woman lying asleep in the foreground 
 (7). After the picture painted by Titian for Duke Alfonso of 
 Ferrara. 
 
 CARLO MARATTI, 
 
 Painter and Etcher: born at Camurano, 1625; 
 DIED AT Rome, 1713. 
 
 CARLO Maratti went to Rome and became a pupil of Andrea 
 Sacchi. During his long residence there he received con- 
 tinued employment from Pope Alexander VIL and his successors. 
 The few etchings he made convey a good idea of his pictures, but 
 are mannered and feeble in execution. Bartsch, xxi. 89. 
 
 The Holy Family, with the Infant Saviour and two 
 Angels (4). 
 
 The Madonna, with the Infant Saviour asleep. The 
 Magdalene in front (6). 
 
1 1 8 The Italian School of Engraving. 
 
 The Madonna, with the Infant Saviour and S. John (9). 
 
 The Marriage of S. Catherine (to). 
 
 The Infant Saviour with three Angels. Inscribed at the 
 foot " Speciosus forma, &c." By an unknown engraver after 
 Carlo Maratti. 
 
 LUCA GIORDANO, 
 
 Painter and Etcher: born at Naples, 1632; 
 died there, 1705. 
 
 A PUPIL in his youth of II Spagnoletto at Naples, Luca Gior- 
 dano went to Rome, and subsequently in 1692 to Madrid, 
 where he painted the ceiling and staircase of the Escurial, the great 
 saloon of the Bucn Retiro, and various other important works. In 
 1702 he returned to Naples, remaining there until his death. 
 
 Bartsch, xxi. 173. 
 
 Our Saviour and the Woman accused of Adultery (5). An 
 etching. 
 
 PIETRO SANTI BARTOLI, 
 
 Painter and Engraver: born at Bartola, 1635; 
 died at Rome, 1700, 
 
 UNSUCCESSFUL as a painter, Pietro Santi Bartoli devoted 
 himself entirely to engraving, and published various series 
 after the antique sculptures and the frescoes at Rome. His engrav- 
 ings arc hurriedly executed, and of slight artistic merit ; but they 
 are valuable from their preserving the record of many works of art 
 at Rome, especially of the compositions of Raphael. 
 
 Catalogue of the Raphael Collection in the Royal Library 
 at Windsor Castle, 1 876 ; Le Blanc's Manuel. 
 
Domenico Maria Bonavera. 1 19 
 
 Subjects from the Old and New Testament (1-27). After 
 the socle paintings by Raphael in the Vatican. 
 
 The Adoration of the Magi (33). After the tapestry " della 
 Scuola Nuova" in the Vatican. The design ascribed to 
 Raphael. In three plates. 
 
 The Ornaments in the Loggie of the Vatican (299-341). 
 After Raphael. 
 
 Engravings from the Illuminations in the early Manu- 
 script Virgil in the Vatican Library (342-396). 
 
 The History of Leo X. (413-427). From the socle paintings by 
 Raphael in the Vatican. 
 
 JACOPO MARIA GIOVANNINI, 
 
 Engraver: born at Bologna, 1667; died at Parma, 
 
 Bartsch, xix. 420. 
 
 The Frescoes on the Ceiling of the Dome of the Cathe- 
 dral AT Parma, dated 1700 (8-19). After Correggio. 
 
 DOMENICO MARIA BONAVERA, 
 
 Engraver: born at Bologna, 1640. 
 
 The Frescoes of the Cupola of the Cathedral at Parma. 
 After Correggio. 
 
120 
 
 The Italian School of Engraving. 
 
 RAPHAEL MORGHEN, 
 
 Engraver: born at Portici, 1758; died at 
 Florence, 1833. 
 
 The Madonna della Seggiola. After the picture by Raphael 
 in the Pitti Palace at Florence. 
 
 The Madonna del Cardellino. "Mater pulchrse dilectionis." 
 After the picture by Raphael in the Ufifizi at Florence. 
 
 The Last Supper. After the fresco by Leonardo da Vinci in the 
 refectory of the Dominican convent of the Madonna delle 
 Grazie at Milan. 
 
 The Transfiguration. From the picture by Raphael in the 
 Vatican. 
 
 Theology, Poetry, Philosophy, and Jurisprudence. Four 
 plates. After the frescoes by Raphael on the ceiling of the 
 " Stanza della Segnatura" in the Vatican. 
 
 Portrait of Dante. After S. Tofanelli. 
 
 La Fornarina. After the picture by Raphael. 
 
 GIUSEPPE LONGHI, 
 
 Engraver: born at Monza, 1766; died at Milan, 18 ji^ 
 
 The Marriage of the Virgin. From the picture by Raphael 
 in the Brera at Milan. 
 
Michel Angela Buonarroti. 121 
 
 PIETRO ANDERLONI, 
 
 Engraver: born at Brescia, 1784; died, 1849. 
 
 The Madonna, with the Infant Saviour and S. John, in 
 THE Meadow. After the picture by Raphael in the Belvedere 
 Gallery at Vienna. 
 
 The Madonna and Child, with two attendant angels. After 
 . Titian. 
 
 GIOVITA GARAVAGLIA, 
 
 Engraver: born in Pavia, 1790; died at Florence, 
 
 1835- 
 
 The Madonna DELLA Seggiola. After the picture by Raphael 
 in the Pitti Palace at Florence. 
 
 MICHEL ANGELO BUONARROTI, 
 Born near Florence, 1475; ^^^d at Rome, 1564. 
 
 The Works of Michel Angelo Buonarroti, illustrated by 
 engravings and photographs. 
 
 Arranged in three folio volumes. ' 
 
122 The Italian School of Engraving. 
 
 RAPHAEL SANZIO D'URBINO, 
 
 Born at Urbino, 1483; died at Rome, 1520. 
 
 The Works of Raphael Sanzio, illustrated by engravings and 
 photographs. Arranged, according to the Catalogue of the 
 Raphael Collection in the Royal Library at Windsor Castle, 
 prepared by Professor Ruland, 1876. 
 In four folio volumes. 
 
 ANTONIO ALLEGRI DA CORREGGIO, 
 
 Born at Correggio, 1494; died there, 1534. 
 
 The Works of Antonio Allegri da Correggio, illustrated by 
 engravings. 
 
 Arranged in a folio volume. 
 
THE GERMAN SCHOOL OF ENGRAVING. 
 
 IMULTANEOUSLY with the 
 progress of engraving in Italy, 
 its early development in Ger- 
 many was more widely ex- 
 tended, through the popularity 
 attending its introduction and 
 the patronage wherewith it 
 was encouraged. Strongclaims 
 have been urged by the Ger- 
 man writers for their country's 
 title to priority in initiating 
 the invention. The late M. 
 Jules Renouvier published an 
 account in 1856, in the archae- 
 ological journal of Montpclier, of a small copper-plate engraving 
 in his possession of the scourging of our Saviour, having upon it 
 the date 1446, and consequently anterior in point of time to any 
 previously known specimen. Another copper-plate engraving of 
 the Madonna in glory amidst a group of angels, formerly belonging 
 to M. Weigel, carries the date MCCCCLI. Both are more fully 
 noticed, with the doubts as to the authenticity of the numerals on 
 the second of them, in the preceding remarks respecting the Italian 
 school. They are the main evidence in support of the argument 
 that to Germany the discovery must be accredited. 
 
 The period of time the controversy ranges over is but limited ; 
 and by the end of the century the new art developed a perfection 
 ef tf gatmeilt which, during the evolution of now nearly four hundred 
 years, has remained unrivalled. It is not merely their rarity, but 
 the high intrinsic merit of the engravings of these fifteenth-century 
 painters which has invested them with their value. 
 
 An important argument, hitherto received with but slight atten- 
 tion, is the superiority in drawing and artistic workmanship of the 
 niello pax of the coronation of the Madonna, admittedly completed 
 
1 24 The German School of Engraving. 
 
 in 1452. Earlier attempts must necessarily have prepared the way 
 for such skill of execution. The German prints, with attributed or 
 genuine dates prior to 1452, and for many years after, are crude in 
 design and finish ; there is, in fact, no specimen of either country, 
 recognised as belonging to the succeeding fifteen or twenty years, 
 to be compared in technical drawing with the Italian pax ; but 
 before the century had passed away some of the finest engravings, 
 both in Germany and Italy, were published. 
 
 For the origin of taking imprints from dies or raised surfaces, 
 either of wood or metal, a far higher antiquity is claimed, and at a 
 much earlier period stamps in various forms had been so utilised. 
 Woven and other fabrics had long antecedently been ornamented 
 with them. M. Weigel, in his argument respecting their application, 
 especially for pressure-printing upon linen or silk, is of opinion that 
 the first-known instances are of Italian handicraft. Passavant 
 (vol. i. p. 11) quotes a complaint made in October 1441 by the 
 card-makers of Venice to the Senate against the encroachment 
 upon their manufacture : " Carte da zugar e figure depinte stampide 
 fuor di Venazia ;" and that a decree was issued prohibiting, under 
 a penalty, the sale of paintings, printed figures, and cards imported 
 from Germany. At page 20 of the same volume, he gives a 
 detailed account of a print on parchment from a metal plate, tinted 
 in different colours, also belonging to M. Weigel, of a much earlier 
 period, ascribing it to the first half of the twelfth century. It was 
 sold in the before-named sale in 1872, realising about 170/. The 
 subject,, enclosed in an ornamental border, is of our Saviour on the 
 cross, the Madonna standing on the left, S. John on the right, with 
 emblematical figures of the sun and the moon in discs over either 
 arm of the cross. Judging from the photograph, the delicacy of 
 expression in the drawing of the Saviour's face and the fall of the 
 hair from the parting on the forehead over the shoulders is far in 
 advance of the archaic treatment of the time to which the attribu- 
 tion of it is made. If accepted as correct, we must regard the 
 account given by Papillon, in his Traite de la Gravure en Bois 
 (1766), of the eight woodcuts by the twin Curios as no longer 
 apocryphal, and " the chivalrous deeds in figures of the great and 
 magnanimous Macedonian king, the courageous and valiant Alex- 
 .ander," may yet be found on the shelves of the Vatican library. 
 
 The question as to the employment of the process for producing 
 impressions upon vellum or paper prior to 1423 rests entirely upon 
 conjecture, and we arrive at nothing definite previous to the wood- 
 cut of S. Christopher with the Infant Saviour on his shoulders, 
 
The German School of Engraving. 
 
 125 
 
 found by Heineken in the Chartreuse at Buxheim, now belonging 
 to Lord Spencer. The detail of the head of the saint, as also of 
 the Infant Saviour, is sharply and artistically cut, far more so than 
 a large proportion of the woodcuts issued during the remainder of 
 the century. The contrast is so great that surmise has been raised 
 whether the numerals upon the S. Christopher may not have been 
 cut at a date later than they represent, referring back to some event 
 of 1423 intended to be commemorated. There is, however, no doubt 
 that at the commencement of the century, and even at the end of 
 the previous one, considerable progress had been made in the 
 operation of woodcutting, evidence of which is afforded in the 
 curious and comprehensive series of early woodcuts, gathered from 
 the dismembered monasteries, and accumulated in the royal collec- 
 tions both in Vienna and Munich. In 1846 a large woodcut was 
 purchased for the king's library at Brussels for twenty pounds, the 
 subject being the Madonna holding the Infant Saviour, seated in a 
 palisaded garden between two trees, surrounded by SS. Catherine, 
 Barbara, Dorothea, and Margaret, with the date 141 8. It is a 
 spirited composition, of which Baron de Reiffenberg, the conservator 
 of the library, wrote a description. The history given is that an 
 inhabitant of Malines found it pasted on the inside of the lid of an 
 old coffer he was breaking up. M. de Noter, an architect of the 
 city, was present, and took off the torn fragments, putting them 
 carefully together, some old paper of the same period found in the 
 coffer enabling him to make the necessary reparations. The 
 numerals, however, were subsequently pronounced to have been 
 altered or drawn upon, and the Buxheim S. Christopher still there- 
 fore holds priority with respect to date. 
 
 For the promulgation of the block-books and the general practice 
 of block-printing, we are indebted to the great ecclesiastical houses. 
 The issue of figured broadsides and fly-sheets or briefs as a means 
 of religious teaching was brought into active operation within their 
 walls, becoming a source of profitable occupation, soon extended 
 to various other purposes of instruction, to which they were applica- 
 ble. The effect destined to be produced upon the spread of know- 
 ledge through the initiation of an inexpensive medium for its 
 diffusion was but little contemplated by its energetic promoters. 
 The influential establishments of Cologne, Maestricht, Treves, and 
 many others, were the nurseries of learning and the arts in Germany. 
 In Fiorillo's Gesciiichte der Zeic/uieuden Kiinste there are numerous 
 records relating to them. The palace of the Emperor Arnulf 
 (887-899) at Regensberg was decorated by Alfred and Ariram, 
 
126 The German School of Engraving. 
 
 monks of Bavaria, Alfred being a priest of the celebrated monastery 
 of Tegernsee, renowned for its continuous influence throughout 
 many centuries. At Munich there are several woodcuts bearing the 
 arms of the monasteries of Kaisersheim near Donauwerth, and of 
 Tegernsee ; and amongst them is one of S. Benedict, having at the 
 foot " Mansee," S. Benedict being the patron-saint of the Benedic- 
 tine house of Mondsee, near Ischil, in Austria. In Passavant's 
 Peintre Graveiir they are described, and many other woodcuts from 
 the monastery of Tegernsee, where evidently the printing wag 
 extensively pursued. Specimens of them, and of the books from 
 its library, have found their way into private collections ; and the 
 building was not finally dismantled until the present century, being 
 now, with its pleasant aspect over the picturesque lake, converted 
 into a summer-palace of the King of Bavaria. 
 
 In the various archives preserved from destruction are entries 
 of the employment and payment of woodcutters. The name of 
 Ulrich, a " Formschneider," is on the register of the town of Ulm in 
 1398, The "optimus incisor lignorum" whose death is on the 
 register of the Franciscan convent of Noerdlingen, which ceased to 
 be kept after the commencement of the fifteenth century, was most 
 probably only the clever carver by whom the interior fittings of the 
 convent were ornamented. 
 
 These early woodcuts have but recently received a due meed of 
 appreciation. Their intrinsic merit and value in the history of art 
 is now fully recognised, and fine impressions are becoming difficult 
 of acquisition. 
 
Martin Schongauer. 
 
 127 
 
 EARLY GERMAN WOODCUT, 
 Passavaiit, i. 22. 
 
 Our Saviour on the Cross, his head leaning to the left, with 
 the arms of the Monastery of Tegernsee in Bavaria on either 
 side of the cross. Coloured. 
 
 Passavant describes the woodcut from an impression in the 
 Royal Collection at Munich, and considers it one of the first 
 specimens of the art of woodcutting, dating it as of the end of 
 the fourteenth or the beginning of the fifteenth century. 
 
 MARTIN SCHONGAUER, 
 
 Painter and Engraver: born at Colmar circa 1420; 
 died there, i488. 
 
 ' ' HE purity of expression and 
 
 dreamy simplicity in Mar- 
 tin Schongauer's engravings 
 of the Madonna, and the 
 refined and spiritualised dig- 
 nity in his mystic represen- 
 I tations of the persons of the 
 Trinity, have baffled the at- 
 tempts of all succeeding art- 
 ists to imitate, and their 
 idealised creation has re- 
 mained unrepealed by any 
 other pencil. The peculiar 
 cast of feature wherewith he 
 delineated the Saviour's persecutors was easily acquired by every 
 copyist, and became the type adopted by succeeding generations of 
 painters, with exaggerations of ugliness and distortion. 
 
 The feeling of devotion pervading all the productions of his 
 
128 The German School of Engraving. 
 
 pencil increases regret at the imperfect knowledge we have of so 
 accomplished an artist. The family, deriving their name from the 
 village of Schongau on the Leek in Upper Bavaria, had settled in 
 Augsburg, removing thence to Colmar, where Martin Schongauer 
 was born about 1420, and was educated under Roger van der 
 Weyden. In a letter from Lambert Lombard to Vasari, dated 
 April 27, 1565, he writes, " Martin (Schongauer) never abandoned 
 the manner of Roger his master;" and adds some disparaging 
 remarks upon the pupil's inferiority. 
 
 There are portraits of Martin Schongauer at Sienna and Munich. 
 The first, life-size, is inscribed " Hipsch Martin Schongauer Maler," 
 dated 1453, with a coat of arms, in the upper corner, of a half moon 
 gules on a field argent. The portrait at Munich is much smaller, 
 but copied apparently from the Sienna picture. On the back a 
 paper, torn and partly obliterated, is pasted, the writing on it, 
 according to the facsimile published by Bartsch, being as follows : 
 " Mayster Martin Schongawer Maler genant hipsch Martin von 
 wegen seiner kunst geborn zu zu Kolmar Aber von seinen Olltern 
 ain augspurger burger des geschlechtz von herren geporn, ist ges- 
 torben zu Kolmar, anno 1499 — Hornungs Dem got genad — Und war 
 ich sein junger Hans largkmair im jar 1488." This Munich portrait, 
 formerly in the Praun collection at Nuremberg, subsequently passed 
 to Count Fries, and was purchased of him for the Pinacothek. It is 
 the picture from which the engraving at the commencement of the 
 sixth volume of Bartsch's Peintre Graveur was taken, representing 
 a young man about thirty years of age, so that his birth, of which 
 there is no record, most probably took place in 1420, or shortly 
 after. 
 
 Passavant names a third portrait at Colmar, with the same 
 inscription and date, considering the numerals at the back of the 
 Munich picture, to be 1453 instead of 1488, and, from there being no 
 such artist as Langkmair known, changing the name to Burgmair, 
 with whose writing the inscription bears a supposed resemblance. 
 Ottley quotes an indorsement in Albert Durer's handwriting on 
 one of Martin Schongauer's drawings, belonging to Heineken : 
 " Diess hat der Hubsch Martin gerissen im 1470 jar du er ein junger 
 gesell was." This would fix his birth about 1445. Passavant's 
 interpretation of the numerals is generally regarded as correct. 
 
 In 1470 Martin Schongauer appears as a citizen of Colmar, hold- 
 ing a position of influence, being registered as the proprietor of 
 three houses in the city ; and the school he founded became an 
 important one, attracting numerous students. In 1473 he painted 
 
Martin Schongauer. 
 
 129 
 
 for the church of S. Martin the Madonna with the roses, where it 
 still decorates the altar, and is regarded as the standard whereby a 
 critical judgment can be formed of his works. The charm so attrac- 
 tive in his engravings is wanting in the faces of the mother and 
 child, attributable to the restorations the picture has suffered from. 
 
 M. Gerard in Artistes de V Alsace an Moycn Age^ and M. Goutz- 
 willer in Miisce de Colmar, carry the date of Martin Schongauer's 
 death down to 1499. Passavant, on the authority of M. Hugo of 
 Colmar, quotes an extract from the rent-roll of the church of 
 S. Martin, of the payment of 32 schilling by him in 1490 for the 
 moiety of the rent of a house in the city, and contends for 1499 as 
 the year of the death, suggesting that a mistake must have been 
 made in its insertion on the register. But the register of deaths of 
 the church of S. Martin contains the following entry : " Martinus 
 Schongawer, Pictorum gloria legavit quinque solidos pro anniver- 
 sario suo et addidit i solidum et i d. ad anniversarium paternum a 
 quo habuit minus anniversarium. Obiit die purificationis Mariae 
 
 LXXXVIII." 
 
 In the old Unterlinden convent at Colmar, under the auspices of 
 a Schongauer society, a museum has been established, and the 
 sculptor Bartholdi has decorated it with a statue of the painter. 
 
 Bartsch, vi. 103 ; Passavant, ii. 103. 
 
 The Angel of the Annunciation (i). 
 
 The Annunciation (3). 
 
 The Nativity (5). 
 
 The Adoration of the Magi (6). 
 
 The Baptism of our Saviour (8). 
 
 The Crucifixion, one of the series of The Passion (17). 
 
 The Taking our Saviour to Mount Calvary to be cruci- 
 fied (21). 
 
 The Crucifixion (25). 
 
 From the Hawkins Collection. 
 
 Our Saviour appearing to Mary Magdalene in the 
 Garden (26). 
 
 A facsimile of this print is annexed. 
 
 K 
 
130 The German School of Engraving, 
 The Madonna, with the Infant Saviour (28). 
 
 Cut to the figure. 
 
 The Madonna, with the Infant Saviour, seated on a bank 
 in a landscape (30). 
 
 The Madonna, with the Infant Saviour, seated in a court- 
 yard (32). 
 
 The Death of the Madonna (33). 
 From the Haivkins Collection. 
 
 S. Antony tormented (47). 
 
 Early state, undescribed. With a white space unfinished on 
 the robe on the right side of S. Antony, and before the black 
 spots on the extremity of the wing of the devil on the right. 
 From the Rogers Collection. 
 
 God the Father seated on a Throne (70). 
 
 The Madonna on a Throne, by the Side of God the Father 
 (70- 
 
 From the Hawkins Collection. 
 
 The Coronation of the Madonna (72). 
 
 Our Saviour standing in a wooded Landscape, with three 
 angels on either side {Bartsch, Appendix 34 ; Passavant, ii. 
 p. 113, 6). 
 
 Ascribed by Passavant to the Master Gherardo of Florence. 
 
FRANZ VON BOCHOLT, 
 
 Painter and Engraver: born at Bocholt, 1434. 
 
 CCORDING to the legend re- 
 specting him, Franz von Bo- 
 cholt was a shepherd in the 
 country of Berg, having been 
 born in the diocese of Mun- 
 ster. It is the limit of any 
 knowledge we have respect- 
 ing an artist of great power 
 and originality. No picture 
 by him has been identified, 
 his engravings being the only 
 record of his compositions. 
 The Judgment of Solomon 
 (2), the Annunciation (3), and 
 the S. Michael (30), are amongst the finest of them, and remarkable, 
 considering the period of their execution, in the correct anatomical 
 drawing of the figures, and the gracefulness of their delineation. 
 
 Bartsch, vi. 77 ; Passavant, ii. i86. 
 
 S. Michael victorious over the Devil (30). 
 
 ALBRECHT GLOCKENTON, 
 Metal-worker and Engraver. 
 
 THE name was first given by Sandrart to the initials A. G. 
 with which all this artist's prints are marked. There were 
 two illuminators of a family of Glockenton at Nuremberg, and 
 hence his birth in that city has been surmised. At Wiirzburg most 
 probably he resided, judging by his engraving of the arms of 
 Rodolph of Scherenberg, who was the bishop (1466-1495), a larger 
 
132 The German School of Engraving, 
 
 rendering of the same arms having likewise been made by him for 
 the missal of Wiirzburg of 1484. He is identified with the school 
 of Colmar through his numerous copies after the originals of its 
 founder, and Passavant describes his compositions as being in the 
 style of Martin Schongaucr ; but they differ essentially from them, 
 and are inferior both in drawing and method of workmanship. 
 Practising as a goldsmith and metal-chaser, his engravings are 
 characteristic of his employment, and executed with delicacy and 
 artistic knowledge, with much originality in their treatment. 
 
 The Passion of our Saviour (2-13). 
 
 Late impressions, with duplicates of numbers 3 and 10 in 
 early states. 
 
 The Crucifixion (14). The large plate. 
 
 God the Father seated on a Throne (16). Copied from the 
 print by Martin Schongauer. 
 
 Painter and Engraver: born at Zwolle circa 1460. 
 3 ASSAY ANT quotes an extract from the records of the fra- 
 
 X ternity of Agnctenberg, near Zwolle, on the confines of Hol- 
 land, assuming therefrom that this engraver was known as Jean de 
 Cologne, and was a native of Zwolle. Archaic and mannered in 
 their drawing, having much of the character of Van Eyck's teaching, 
 his engravings are highly interesting from the reverent and expres- 
 sive sentiment pervading their composition. 
 
 The large Crucifixion (6). 
 
 From tlie Durand and Arozarino Collections. 
 
 The four holy Women lamenting over the dead body of our 
 Saviour (7). 
 
 Bartsch, vi. 344 ; Passavant, ii. 1 26. 
 
 THE MASTER OF THE NAVETTE, 
 
 Bartsch, vi. 90 ; Passaimit, ii. 178. 
 
ISRAHEL VAN MECKEN, 
 
 Painter and Engraver: born at Mecken; 
 died at bocholt, 1503. 
 
 N the river Maas, not far from 
 Nuneguen in the south of 
 Holland, there is a small 
 village — Mecken or Meghen 
 — which is regarded as the 
 birthplace of Israhel van 
 Mecken. It has been argued 
 that there were two artists, 
 father and son, of the name, 
 founded upon the two por- 
 traits {B. I. 2), the first of 
 Mecken and his wife, in- 
 scribed " Figuracio facierum 
 Israhelis et Idc cius uxoris," described by Bartsch as portraits of 
 the father and his wife ; and the second of a man with a long beard, 
 having a turban on his head, and inscribed " Israhel van Meckenem 
 Goltsmit." Passavant is evidently correct in interpreting this 
 latter inscription as not applying to the personage represented, but 
 to the engraver ; and a careful examination of the prints shows that 
 one hand alone was engaged upon them. The " tzu Bocholt" several 
 are marked with tells us that he resided principally at Bocholt, on 
 the Westphalian side of the Rhine, in the bishopric of Munster. In 
 1839 M. C. Becker made search through the archives of the town ; 
 and by the extracts which he published in the Kunsthlatt of that 
 year, we find our artist's name in 1482, and at intervals again, 
 through twenty years and upwards, as paying rent for the use, or 
 farming the dues, of a common pasturage. In 1492 there is an 
 entry of his having been sent, accompanied by his wife, with other 
 citizens, on a deputation to Munster, and the payment of the 
 expenses. His tombstone has been discovered in a church in the 
 town, with an inscription that he died in 1503, corresponding with 
 that on the facsimile in Ottley (p. 660) from a monumental tablet 
 
134 
 
 The German School of Engraving, 
 
 of brass : " In the year of our Lord 1503, on the advent of S. Martin, 
 died the worthy Master Israhel van Meckenen. May his soul rest 
 in peace." 
 
 Bartsch, in his criticism of the artist's work, describes it as 
 having all the Gothicism of the age, without any of its beauty, and 
 that the design is mean and spiritless, and often bad in the extreme. 
 M. Thausing designates it as spiritless monotonous manufacture, 
 indicative of the highest point of what a mere goldsmith could do 
 in engraving. Either criticism, however, is very far from being a 
 fair estimate. A large proportion of the eminent men of the time, 
 both in Germany and Italy, had been educated in the art of the 
 goldsmith as well as that of the painter, and to the accomplished 
 skill of many of them as metal-chasers we are indebted for the 
 finest specimens of engraving which have come down to us. Amidst 
 much inferior workmanship, the detail of Israhel van Mecken's 
 draperies, and the method wherewith his shadows are put in, is a 
 great improvement upon that of his predecessors. There are, 
 moreover, many interesting groups of domestic life and customs of 
 the time, clever in their drawing and finished with great care and 
 knowledge of his art, and his scroll-work and ornamental designs 
 are extremely beautiful and characteristic. His numerous copies 
 after Martin Schongauer miss the spirit of the originals they are 
 taken from ; and it is surprising that in appropriating, and substi- 
 tuting his own monogram upon, certain of the plates engraved by 
 Franz van Bocholt, of whom he was the pupil, he did not derive 
 higher inspiration from so talented a master's tuition. 
 
 The long list of his engravings is yet incomplete, several unde- 
 scribed by Passavant having of late years been acquired by the 
 British Museum. The creation of the Slade Art Professorships was 
 the indirect means of reclaiming the valuable Douce collection 
 from the neglect it had remained in at Bodley's Library in 
 Oxford, since the death of the donor in 1834, and brought to light 
 many specimens of the early German masters, including several by 
 Israhel van Mecken, previously unknown. 
 
 Bartsch, vi. 184; Passavant, ii. 190. 
 
 The Nativity (6). Copy reversed of the print (5) by Martin 
 Schongauer. 
 
 The Circumcision (37). 
 
 The Massacre of the Innocents (38), 
 
V. G. 
 
 135 
 
 The Madonna seated in a courtyard (46). Copy reversed of the 
 print (32) by Martin Schongauer. 
 
 The Madonna standing, holding on her right arm the Infant 
 Saviour. Copy reversed of the print (27) by Martin Schon- 
 gauer. 
 
 Undescribed. 
 
 The Apotheosis of the Madonna (48). 
 
 The Madonna crowned (Appendix 43). 
 
 S. Marguerite with the Dragon (129). 
 From t/ie Rogers Collection. 
 
 The Guitar Player and a Lady singing (174). 
 
 The Organ Player (175). 
 
 The Card Players (Appendix 1 14I , 
 
 The Bath of Children (187). 
 
 V. G. 
 
 Bartsch, vi. 390, vii. 456 ; Passavaiit, ii. 139. 
 
 The Crucifixion {B. vii. 458, i ; Pass. ii. 2). 
 From tJie Paar Collection. 
 
136 The German School of Engraving. 
 
 MATH^US ZASINGER (ZAGEL), 
 
 Painter and Engraver : born at Nuremberg ; worked 
 
 HE only indication we have respecting this artist is the inscrip- 
 
 -I- tion Von Murr, in his account of Nuremberg, states to be 
 written underneath a portrait, "Mathseus Zasinger, Sculptor Norimb." 
 Two of his largest prints represent scenes of festivity at the Court 
 of Albert IV., Duke of Bavaria, identifying him with Munich, the 
 distant view in them being of buildings in the city. 
 
 The Martyrdom of S. Catherine (8). 
 
 From the Grunling and Tliompson Collections. 
 
 Giunling, who was formerly the director of the Albertina at Vienna, 
 has written at the back, " Epreuve d'une beaute et conservation extra- 
 ordinaire," 
 
 AT Munich circa 1500. 
 
 Bartsc/i, vi. 371 ; Passavant, ii. 169. 
 
 The two Lovers (16). 
 
I 
 
 WENCESLAUS D'OLMUTZ. 
 Engraver in the latter part of the fifteenth century. 
 
 F Wenceslaus d'Olmutz, be- 
 yond his name and the year 
 148 1 upon the most import- 
 ant of his prints, we have 
 but slight record. Far away 
 in Moravia, amidst other oc- 
 cupation, he employed him- 
 I self in copying the works of 
 Martin Schongauer. It tells 
 us how extensively through- 
 out the North of Europe an 
 interest in the new art had 
 been disseminated. The key- 
 
 note of the master's engravings is the Death of the Virgin, the 
 largest and the most important of them (22), copied in reverse the 
 same size as the Martin Schongauer print {B. 33), with a legend 
 beneath, " 1481, Wenceslavs de Olomvcz ibidem," the generally 
 accepted reading of " ibidem" following Olmutz being that " at the 
 same place" it was produced. In the collection of the Duke Albert 
 of Saxe Teschen is an impression of the print of our Saviour between 
 the Madonna and S.John (17), in the margin of which, in hand- 
 writing of the early part of the sixteenth century, is an inscription, 
 " Dieser stecker hat wenczcl geheisen, ist ein goltschmit gewesen." 
 Fifty-seven prints marked with the letter W are described by Bartsch 
 as the work of Wenceslaus d'Olmutz, more than half of them repro- 
 ductions, the remainder original in their composition. 
 
 Since an early period in the seventeenth century there has been 
 frequent controversy respecting the engraver of these prints, attri- 
 bution of them to Michael Wolgemut, the eminent painter and 
 designer of Nuremberg, having been made. Beyond a W on the 
 subject of Jephthah and his daughter in the ScJiatzbeJialter by 
 Wolgemut, there is no other clue to connect him with them, save a 
 doubtful approximate style in some of his woodcuts. 
 
 The opportunity is but limited for a critical examination and 
 
138 The German School of Engraving. 
 
 comparison of the specimens in England, only a small number, 
 principally in late states, being in the British Museum. That the 
 death of the Virgin, the most important of the series, is by the hand 
 of " Wenceslaus de Olomucz," no question can be raised. And the 
 correctness of the ascription to him of the print of our Saviour 
 between the Madonna and S. John (17), from the before-named 
 writing upon it, is generally conceded. But the greater portion, if 
 not the whole, of the remainder are claimed for Michael Wolgemut. 
 Considering the repute the latter was held in as a painter, equal to 
 that of any of his contemporaries — the price for his pictures being 
 alleged to have been higher than ever was paid to his pupil, Albert 
 Durer — it is difficult to imagine him applying his time to the making 
 facsimiles from another artist's engravings. 
 
 A further interest respecting these works of Wenceslaus d'Olmutz 
 is created from there being prints by Albert Durer of some eight or 
 nine of them. M. Thausing recently revived the question in pronounc- 
 ing them to be by the hand of Michael Wolgemut, with laudatory 
 comment upon their artistic excellence, the gist of his argument 
 being to prove that Albert Durer learned engraving from his 
 Nuremberg master, whose prints were the model from which, in 
 making the copies, he derived his knowledge. Passavant adds 
 twenty-five to the list. An interesting representation of S. Wil- 
 helme, Duke of Aquitaine, not described by Bartsch or Passavant, 
 having at the foot the letter W with an O over it, is different in 
 treatment ; there is an impression in the British Museum wanting 
 the monogram. Amongst Passavant's additions is one of a satirical 
 figure, emblematical of the papacy, with the legend " ROMA CAPUT 
 MUNDI," dated 1496.* Duchesne, in his Voyage d'tine Iconop/iile, 
 1826, described the print as an etching, which, if correct, would 
 render it the first known specimen of the process. 
 
 Bartsch, vi. 317 ; Passavant, ii. 132. 
 
 The Annunciation to the Virgin. The letter W is in the 
 centre at the foot. 
 
 Undescribed by Bartsch or Passavant. 
 A facsimile of the print is annexed. 
 
 * A pamphlet by Melancthon and Luther was published at Wittemberg 
 in 1523, with a woodcut copy of the figure, giving an interpretation of it. See 
 an article in the Gazette des Beaux Arts for November 1873, which is illus- 
 trated with a reproduction of the woodcut. 
 
 1. 
 
MICHAEL WOLGEMUT, 
 
 Painter and Engraver: born at Nuremberg, 1434; 
 died there, i519. 
 
 "ECEIVING liberal remuner- 
 ation for his pictures, Mi- 
 chael Wolgemut was one of 
 the most eminent painters 
 of his age in Germany, 
 when in the year i486 Al- 
 bert Durer became his ap- 
 prentice. His masterpiece 
 is the Perirgsdorfer altar- 
 picture now in the Moritz- 
 kapelle at Nuremberg dated 
 1487. Five large subjects 
 of the Passion, a Crucifixion 
 amongst them, are in the 
 Pinacothek at Munich. An- 
 other Crucifixion is in England, in the possession of Mr. Fuller 
 Russell, purchased from the Campe collection. And in the 
 Belvedere Gallery at Vienna is an altar-piece with wings, represent- 
 ing S. Jerome and other saints, dated 15 11. 
 
 Michael Wolgemut was born in Nuremberg in 1434. The 
 sketch of him in the Albertina at Vienna, and his portrait in the 
 Pinacothek at Munich, both by Albert Durer, the latter, according 
 to the date 15 16, representing him in his eighty-second year, tell 
 of the intimate relations preserved between the master and his 
 eminent scholar. From his domestic history we learn that in 1495 
 he married Barbara, the widow of Hans Pleydenwurff, whose son 
 William, a painter then lately dead, had helped him in his studio ; 
 and that Barbara having died, he married secondly Christina, by 
 whom he had children. His long life seems to have been passed 
 almost uninterruptedly in his native town, until the end of it, in his 
 eighty-fifth year, in 1519. 
 
 We have interesting information respecting the rapid spread of 
 
140 The German School of Engraving. 
 
 the art of vvoodengraving, with which he was associated, and the 
 school he founded at Nuremberg. Whether he ever occupied himself 
 with engraving on copper is extremely problematical. The ascription 
 to him of the plates marked with the letter W is referred to in the 
 preceding notice of Wenceslaus of Olmutz. In 1481, in conjunction 
 with Wilhelm Pleydenwurff, he entered into a contract with the 
 eminent printer Anthony Koberger, for the illustration of a history 
 of the world, then in course of compilation by Dr. Hartman 
 Schedel. The publication, known as the Nuremberg Chronicle, was 
 not effected until twelve years afterwards, in 1493. It was a book 
 exceeding in costliness any that had previously been printed, and 
 the following extract from the colophon, " Ad intuitum autem et 
 preces providorum civium Sebaldi Schreyer et Sebastiani Kamer- 
 maister hunc librum Dominus Anthonius Koberger Nuremberge 
 impressit. Adhibitis tamen viris mathematicis pingendiquc arte 
 peritissimis Michaele Wolgemut et Wilhelmo Pleydenwurff," gives 
 us the names of the liberal providers of the funds for its issue, and 
 of the artists employed in its ornamentation. 
 
 Wolgemut for many years had been engaged in furnishing the 
 designs for the books published by Koberger, and the students in 
 his employ assisted in their preparation and the cutting them in 
 the wood, under his superintendence. Albert Durer has informed 
 us that during his apprenticeship he learned much in the workshop 
 of his master, although greatly teased by his fellow-pupils. 
 
 The large folio Bible of 1483 was issued by Koberger at Nurem- 
 berg, the woodcuts having been previously used for an edition 
 printed at Cologne ; and five years later, in 1488, the folio Passional, 
 with woodcuts of the martyrdoms of the saints, was also published 
 by Koberger at Nuremberg. The two important books, Wolgemut's 
 connection with which we are more cognisant of, are the before- 
 mentioned ClLronicle and the Schatzbelialter, of much greater origin- 
 ality, printed by Koberger in 149 1. It is a mystical treatise of 
 religious teaching, with explanations interspersed in its pages of 
 the compositions, many of them extremely thoughtful and artistic, 
 notwithstanding their archaic delineation. Strutt in his Dictionary 
 expresses the opinion that the woodcuts of the Schatzbehalter, as 
 well as the designs, were by the hand of Wolgemut. In drawing 
 and the improved method of cutting they excel any preceding them. 
 Some few at the conclusion are carelessly executed, but nearly all 
 are of equal merit with the six selected as the best by Passavant, 
 the others in his opinion being very inferior. M. Thausing, in his 
 life of Albert Durer, does full justice to Wolgemut, not only with 
 
Early Printed German Books. 141 
 
 respect to the influence he exercised upon the improvement of 
 wood engraving, but in restoring his paintings to their merited 
 estimation. Passavant, i. 66. 
 
 DER SCHATZBEHALTER DER WAREN REICIITUMER DES hails UN 
 DER EWIGE SELIGKEIT HEISSET. 
 
 With ninety-five woodcuts the size of the page. The letter 
 W is on the subject of Jephthah and his daughter. 
 
 Durch den Erbern unnd Achtpern Anthonien Koberger yn 
 der KeyserHchen Reichsstatt Nurmberg. Nach der geburt 
 Christ! vierzehenhundert und yn dem eynunndneuntzigisten 
 iar aussgedrucket (1491). 
 Folio, calf. 
 
 EARLY PRINTED GERMAN BOOKS, 
 
 With Illustrations by unknown Engravers. 
 
 HIE NACH VOLGET EIN BUCH DER KUNNST dar durch der welt- 
 lich mensch mag geystlich werden, und der schlecht unuer- 
 stendig mensch durch geleichnuss zu Klarer verstendtnuss gothcher 
 sacrament un grosser gehaim der cristenheit mag gepracht un gefurt 
 werde. Das durch einen hochgelerten doctor un lerer der aller 
 durchleiichtigisten grossmachtigiste furstin On frawen fraw Leonaren 
 Romischen Kaiserin mit hochstein vleiss von latin zu teutsch 
 gepracht un iren Kaiserlichen genade geantwort un geschenckt ist 
 worde. 
 
 Das loblich un nuglich buchlin hat getruckt und vo- 
 LENNDET JOHANNES Bamler zu Augspurg am freitag in der 
 andern vast wochen Anno ic. In dem sibcn un sibengigisten 
 iar (1477). 
 
 Small quarto, green morocco. 
 
 This quaint manual of instruction, "whereby the worldly 
 man may become spiritual, and the unlearned man, by means 
 of parables, may arrive at a clear comprehension of the divine 
 Sacrament and of the great mystery of Christianity," is illus- 
 trated with numerous curious woodcuts throughout the text. 
 At the commencement is a full-length figure of our Saviour 
 
142 
 
 The German School of Engraving. 
 
 tied to the column, with a legend on a scroll over his head, in 
 badly-drawn Hebrew characters, intended to express "Jesus of 
 Nazareth, the King of the Jews." 
 
 The " Romischen Kaiserin" for whom it was translated by 
 the " learned doctor" out of Latin into German was Eleanor, 
 the wife of Frederic III., the last emperor who was in person 
 invested with the Roman Imperial crown in Rome. 
 
 Novum beate Marie virgis Psalterium, ad honore omipotetis 
 dei ad eiusde beate Marie virginis celestis et terrestris glose 
 Impatricis Illustrissimi Friderici tcii Impatoris r maximi 
 Maximiliani gloriossimi ab Cappellano Hermano Nitzschewitz 
 pfectu Anno Domini Millesimo quadringeteslmo octuogesimo. 
 Nono lUustrissimo Impatori Friderico ex Lunenborch delatum 
 et Anno Nonagesimo secudo in mense Septebri ad Illustrissimas 
 cesarias man^ presentatu. Ab illustrissima Romana Friderici 
 Impatoris tercii Cancellaria examinatu Cesareo sumptu ad 
 impmedum. pmissum. Nuc et in Tzenna Cisterciensis ordls 
 claustro sub pncipatu dm Nicolai abbatis — no sine modico 
 sumptu impressum. 
 
 In two parts. On the title of the first, consisting of twenty- 
 six leaves, there is a woodcut, of which a facsimile is annexed, 
 representing the Madonna in glory, the Emperor Frederic III. 
 and his son Maximilian standing at the sides, the abbot of the 
 monastery of Citeaux and his clergy at the foot in adoration. 
 On the reverse is another woodcut of the Emperor Frederic on 
 his knees in prayer at a prie-dieu, his son kneeling behind him. 
 In the second part there are also prints from the two woodcuts, 
 and illustrations, many of them extremely grotesque, of the life 
 of the Madonna and of our Saviour as headings of the text, 
 mystical subjects from the psalms and canticles being at the 
 foot, the outer side of each page having a representation of 
 either Frederic or Maximilian, as emperor, kneeling in prayer 
 beneath a vision of the Trinity. 
 S-quare octavo, old impressed calf boards, 
 
 Dtrectorium humane vite alias parabole antiquoru 
 sapientu. 
 
 First Latin edition of a book known as Bidpay's Fables, 
 written in Sanscrit by Vishnu-Sarna, under the title of 
 Pantcha-Tantra. There is a version of it in the East entitled 
 Calila wa Dimna. This Latin translation was made by John 
 de Capua from the Hebrew between 1262 and 1278. 
 
I 
 
Early Printed German Books. 143 
 
 Illustrated with 119 woodcuts, coloured, without place or 
 date. There is no colophon at the end. Brunet considers it 
 to have been printed about 1480. But it is of a later period. 
 Small folio, Russia. From the White Knights' Library.^ 
 
 Die heylige Schrifft, Alte und Neu Testaments. 
 
 With woodcuts, coloured. 
 
 Diss durchleuchtigist werck der gantzen heyligen geschrifft 
 mit schonen figuren bedeutede. Gedruckt durch Anthonium 
 Koburger in der loblichen Keyserlichen reychstat Nurenberg. 
 Nach der geburt cristi des gesetzs der genaden vierzehen hun- 
 dert und in dem dreyundachtzigste iar (1483). 
 Folio, velliiin. 
 
 Passional, das ist der heyligen leben, summer und wintter teyl. 
 With woodcuts of the martyrdoms of the saints, coloured. 
 
 Gedruckt durch Anthoniu Koberger in der Keyserlichen 
 Stat Nuremberg. Im jar unser erlosung da man zalt Tausent 
 vierzehenhundert un im achtundachtzigsten nach christi unsers 
 lieben herren geburt (1488). 
 Folio, stamped vellum. 
 
 Terentius, cu Directorio Vocabuloru sententiaru. Glosa iterlineali 
 artis Comice. Cometariis Donato. Guidone. Ascensio. 
 
 Illustrated with woodcuts, of which Dibdin in his Decameron, 
 vol. ii. p. 426, gives several copies. 
 
 Impressum in urbe Argentina per magistrum Joanne Grii- 
 ninger. Anno incarnatidis dominice Millesimo quaterusq3 cen- 
 tesimo nonagesimo sexto Kalendaru vero Novembrium. Finit 
 feliciter. 
 
 Folio, purple morocco. 
 
 Seusse Heisset. Buchlin das da heisset der Seusse. Translated 
 from the Latin (Orlogium ^Eternas Sapientiae) of Henri de Suso. 
 Illustrated with woodcuts, coloured. 
 
 Gedruckt und vollendet von Anthonio Sorg in der Keyser- 
 lichen Stat Augspurg. Tausen tuierhundert zwaiundachzig iar. 
 Folio, stamped calf boards, 
 
 Der Spiegel menschlicher behaltnuss mit den Evagelie 
 
 UND EpISTELE durch DAS GANTZ jAR. 
 
 At the back of the title is a large woodcut with S. Paul in 
 
144 ^-^^^ German School of Engraving. 
 
 the centre, and the four EvangeHsts in intertwined circles at 
 each corner. 
 
 Illustrated with woodcuts, commencir.!?; with the fall of 
 Lucifer, coloured. 
 
 Gedruckt in d Keyserlichen stat Augspurg von Peter bcrger 
 
 MCCCCLXXXIX. 
 Quarto, red morocco. 
 
 From the monastery of Tcgernsee in Bavaria, having an 
 inscription at the beginning and end, " Dicsbuch ist des closter 
 Tegernsee 1495." 
 
 DAT BOECK VA IHESUS LEVEN. 
 
 Illustrated with woodcuts, many of them the size of the page, 
 and other smaller ones throughout the text, commencing on 
 the reverse of a 1 1 with a full-length figure of our Saviour. 
 The cut of Adam and Eve on the reverse of b 1 1 is copied in 
 Heineken. 
 
 Gheprent in die zeer vermaerde coopstadt Tantwerpen by 
 mij Claes leeu. Int iaer ons heeren MCCCCLXXXVIII. den 
 twintichste dach in novembri Deo gratias. With the device 
 of Claes Leeu. 
 Quarto, old calf. 
 
 Chronicum Abbatis Urspergensis. a Nino Rege Assyriorum 
 magno, usque ad Fridericum II. Romanorum Imperatorem. 
 Paraleipomena Rerum Memorabilium a Friderico II. usq3 ad 
 Carolum V. Augustum. Cum Iconibus Imp. et Principum ad 
 vivum expressis. The portraits are in medallions on a black 
 ground. 
 
 Argentorati apud Cratonem Mylium, mense Martio, Anno 
 
 MDXXXITI. 
 
 With the rare printer's device of the " roaring lion," of which 
 Dibdin gives a woodcut in the Decameron (vol. ii. p. 167) from 
 the copy in York Cathedral, stating that it is the only known 
 book from the press of Crato Mylius. 
 
 Ars Moriedi ex variis scripturaru sentctiis collecta cu figuris, ad 
 resistendum in mortis agone dyabolice sugestioi valens, cuilibet 
 christi fideli utilis ac multum necessaria. 
 
 Illustrated with fourteen woodcuts. Without place or date, 
 printed probably at Nuremberg circa 1490. 
 Octavo, green morocco. 
 
Early Printed German Books, 145 
 
 RiiODiE Urbis obsidionis descriptio. Guillelmi Caoursin Rho- 
 diorum vice cancellarii. 
 
 Illustrated with thirty-five woodcuts the size of the page, the 
 first of them representing Caoursin offering his book to the 
 Master of Rhodes. 
 
 Impressum ulme p. ioanne Reger Anno dni MCCCCXCVI. Die 
 xxiiii. Octob. 
 Folio, olive morocco. 
 
 Stultifera Navis. Narragonice pfectionis nunq satis laudata 
 Navis per Sebastianu Brant. 
 Illustrated with woodcuts. 
 
 In Germanic urbe Basiliensi. nup. opa et pmotione lohanis 
 Bergman de Olpe. Anno salutis nre MCCCCXCVII. 
 Octavo, calf. ^ 
 
 JODOCI Badii ascesii stultifere navicule seu scaphe fatu- 
 arum mulierum. 
 Illustrated with woodcuts. 
 
 Impressit Johannes prusz Civis Argentinensis. Anno salutis 
 MCCCCCII. 
 Octavo, Jialfcalf. 
 
 ESOPI APPOLOGI SIVE MYTHOLOGI, cum quibusdam carminum et 
 fabularum additionibus Sebastiani Brant. 
 
 In two parts. At the beginning of the work is a life of ^Esop 
 and a commendatory epistle to Adclberus de Rappcrg. The 
 portrait of ^sop and the woodcuts in the first part are from 
 the same blocks which were used for an Antwerp edition of 
 i486. By the verses and dedication at the commencement of 
 the second part we learn that the woodcuts in it are after the 
 designs of Brant. His portrait is on the reverse of the verses. 
 
 Impress! Basilee opera et impensa magistri Jacobi de Phortz- 
 heim. Anno dominice incarnatiois primo post quindecim cen- 
 tesimum feliciter finiunt. 
 Folio, brown calf. 
 
 Hexastichon Sebastiani Brant in memorabiles evange- 
 listar. figuras (Ars memorandi). 
 Illustrated with fifteen woodcuts. 
 
 Ista tibi Tohmas Phorcesis cognomento Anshelmi tradidit 
 1502. 
 
 Octavo, vellum. 
 
146 The German School of Engraving. 
 
 Der besciilossen gartes rosenkratz Marie. 
 
 The text illustrated throughout with woodcuts, in the style 
 of Lucas Cranach. The large one of the Crucifixion was sub- 
 sequently used for the series of The Passion by Hans Schaeu- 
 flein, illustrating the " Speculum Passionis" by Ulrich Pinder, 
 Nuremberg 1507. 
 
 Gedriikt un volendet zu Niirmberk durch doctor Ulrichen 
 pinter am tag Dyonisii Nach Christi unsers lieben herren 
 geburt M. fiinff hondert und fiuiff jar (1505). 
 Two vols, folio, velhan. 
 
 Vita divi Vvolfgangi pr^sulis eximii. 
 Illustrated throughout with woodcuts. 
 
 Finit legenda sancti Vvolfgangi. Impressa per venerabilem 
 virum Dominu Joanne Weissenburger. In ducali civitatc 
 Landshut Anno dm 15 16. 
 Small octavo, olive morocco. 
 
 jEsu Christi vita juxta quatuor Evangelistaru narra- 
 TIONES, artificio graphices perq3 eleganter picta. 
 
 Illustrated with 194 woodcuts of the Life and Passion of our 
 Saviour, after the designs of Levinus de Witte Gandensis, 
 whose name we read in the initial letters of the verses " In 
 laudem Pictoris" on the reverse of sheet ++4. The blocks, 
 including that of the title, were used in 1538 by the same 
 printer for Tyndale's New Testament, printed at Antwerp in 
 that year. 
 
 Antverpiae apud Matthaeum Cromme, pro Adriano Kempe 
 de Bouchout. Anno MDXXXVII. 24 Decern. 
 Small octavo, black morocco, by Durii. 
 
ALBERT DURER, 
 
 Painter and Engraver : born at Nuremberg, 1471 ; 
 died there, j 52 8. 
 
 LBERT DURER'S life and 
 works have been investigated 
 by Bartsch, Ottley, Heller, 
 Passavant, Hausmann, and 
 other writers. A valuable 
 addition to the literature of 
 the subject has recently been 
 made by M. Thausing, in his 
 Durer Geschichte seines Lebens 
 tend seiner Kiinst (Leipzig, 
 1876). And in the Gazette 
 des Beaux-Arts, commencing 
 in June 1877, there is a series 
 of able articles by M. Charles 
 Ephrussi on the artist's pictures and drawings, critically examined 
 in their chronological order. 
 
 Born at Nuremberg in 147 1, he worked in his youth with his 
 father as a goldsmith, attaining considerable proficiency in engrav- 
 ing on metal. Anthony Koberger, the printer, was his godfather, 
 and his early studies were materially influenced by association, in 
 the great printer's establishment, with the artists and wood-engravers 
 employed in illustrating the numerous works which emanated from 
 his press. 
 
 The account Albert Durer has left us, in his letters written from 
 Venice, and in the diary he kept during his travels with his wife in 
 the Low Countries, furnishes a material portion of our knowledge 
 respecting him, enhanced by the interesting particulars supplied 
 of contemporary life of the period. In i486 he entered the studio 
 of Michael Wolgemut, who was then at the height of his reputation 
 as a painter, and had attracted numerous pupils to his teaching. 
 On the expiration of his apprenticeship, for the four ensuing years, 
 Albert Durer followed the usual student career ; and being entitled 
 to the freedom of the guilds of the Empire, he exercised the privilege 
 
148 The Germmt School of Engraving. 
 
 he had acquired of visiting and working in the German towns, so 
 many of which were then in fellowship. A portion of the time was 
 probably passed at Colmar with the surviving brothers of Martin 
 Schongauer ; and on the termination of this his " Wanderjahre" he 
 returned home. In the diary he writes that, his apprenticeship 
 being finished, his father sent him to travel, and that he remained 
 absent four years — having gone away after Easter in 1490, he 
 returned after Pentecost in 1494. On the 14th July 1494 he married 
 Agnes, the daughter of Hans Frey. There has been much pro- 
 blematical writing, based on but scant foundation, respecting the 
 parsimony and faults of temper so universally imputed to her. The 
 scandal is traced to a letter of Bilibald Pirkheimer, written when 
 he was out of health, some time after Albert Durer's death, in 
 irritation at the widow's refusal to let him have a pair of stags' 
 antlers he coveted, belonging to his late friend. No other authority 
 exists for the charges, which are refuted by the evidence in Albert 
 Durer's letters and diary of the terms of affection he and his wife 
 lived upon, and by her known liberality after his decease to the 
 members of his family. 
 
 The staunch friendship of his wealthy patron, Bilibald Pirkheimer, 
 which originated in their youth and remained unabated until Durer's 
 death, was of valuable assistance to him in the first few years of his 
 married life, with the limited amount of encouragement we can 
 imagine existed for the young artist's works in the city of Nurem- 
 berg. Pirkheimer's wife, Crescentia, died in 1504; of the picture 
 painted by his friend of the closing scene of her life an account, 
 with the inscription at the foot, whilst it was in the possession of 
 Pirkheimer's grandson, Jean Imhof, is preserved, but the picture 
 is lost. 
 
 In 1505, in the autumn of the year, Durer went to Venice, 
 supplied with the requisite funds by Pirkheimer, and an introduc- 
 tion to Antony Kolb, who was the leading representative of the 
 German merchants resident in the city. Their hall, the Fondaco 
 de' Tedeschi recently destroyed by fire, had been rebuilt, and an 
 order was given to Durer to paint an altar-piece for the new chapel. 
 This altar-piece, known as the feast of rose-garlands, the adoration 
 of the Virgin being the subject of it, in after years passed into the 
 possession of the Emperor Rudolph II., and is now in the monastery 
 of Strachow, near Prague, much injured by time and restorations. 
 Other commissions were executed, the unsatisfactory picture of Christ 
 disputing with the doctors in the Barberini Palace at Rome being 
 regarded as one of them. According to Vasari this journey to 
 
Albert Diirer. 
 
 149 
 
 Venice was undertaken to procure the restriction of copies of his 
 woodcuts being made and sold by Marc Antonio Raimondi. There 
 is, however, no evidence whatever of proceedings for such a purpose 
 having been adopted, nor in fact that at so early a period as 1505 
 copies had been made. The earliest apposition of a date, 1 506, by 
 the Italian engraver upon two of his reproductions from the Life of 
 the Madonna, the year after that in which Durer went to 
 Venice, was made by him most probably for investing them with a 
 supposititious priority, it not being upon the woodcuts. Albert 
 Durer's pursuits during the whole of his visit are accounted for 
 almost day by day, and there is no allusion either in his letters or 
 elsewhere respecting any appeal to the Venetian Senate. These 
 letters, written during his sojourn in the city, are full of natvetd and 
 candour, not the least interesting part of them being his good- 
 natured banter of Pirkheimer — the attractiveness of whose looks 
 had not improved with his years — upon the liberal exercise of his 
 affections. And from them we learn how his engravings were 
 sought after, and the success he met with in gaining the esteem of 
 all with whom he became connected ; far more than, either in learn- 
 ing to dance, an attempted acquirement he abandoned in despair, 
 or in his gem-purchases for his correspondent — an emerald he had 
 bought for him, and written a glowing description about, proving to 
 be but a false one. 
 
 The conjecture that Durer had paid a previous visit to Venice 
 is mainly founded upon the following passage in a letter written by 
 him to Pirkheimer from Venice in 1506 : " He (Bellini) is very old, 
 and is still the best in the art of painting ; and what formerly so 
 well pleased me eleven years ago, pleases me no longer. And if I 
 had not myself seen it I should have believed it from no one else. 
 Let me also inform you that here are many better painters than 
 abroad (draussen) is Master Jacob. But Antony Kolb might 
 swear an oath there lives not on earth a better painter than Jacob. 
 The others laugh at him and say, that, were he so good, he would 
 remain here." The allusion clearly refers back to Albert Durer's 
 admiration of the Venetian painter in his youth, when in association 
 with him at Nuremberg ; and that had he not, by this his visit to 
 Venice, had the opportunity of seeing with his own eyes the works 
 of Bellini and other Italian painters, he could not have believed there 
 were artists superior to Jacopo di Barbari. Antony Kolb's persistent 
 preference is intelligible from his patronage of Jacopo di Barbari 
 during a lengthened sojourn he had made at Venice, and just then 
 recently terminated. A large view of Venice, engraved on wood 
 
1 50 The German School of Engraving. 
 
 from Barbari's drawings, was made at the German merchant's 
 expense ; and on the conclusion of the artist's engagement, he had 
 left the city and returned to the Netherlands, to employment offered 
 him at the court of the Grand Duchess Marguerite. 
 
 Jacopo di Barbari, with very little doubt, was resident in Nurem- 
 berg in the last decade of the fifteenth century. An intimacy with 
 him in his youthful days Durer alludes to in his letters, and his 
 adaptations in his early engravings from those of Jacopo di Barbari 
 printed at Nuremberg bear further witness to the acquaintance, 
 similar evidence continuing down to 1504, the engraving of Adam 
 and Eve of that year having many striking points of resemblance 
 with the Mars and Venus of Barbari {B. 20), the legs of Adam 
 being copied exactly, even in the detail, from those of Mars. 
 
 " Eleven years ago" would only carry us back to 1495, in which 
 year Durer was married and settled in Nuremberg. The straitened 
 circumstances of his parents in his " Wanderjahre" precluded the 
 possibility of their being enabled to send their son on a visit to 
 Venice. His father had a trying struggle to maintain his numerous 
 family, which came on in quick succession, his wife having presented 
 him with eighteen children, of whom Albert was the third. The 
 means for the sustenance of such a household were earned in his 
 precarious occupation as a goldsmith by the most scrupulous thrift, 
 leaving nothing that could be put aside to meet the expense of his 
 son's journey to Italy ; and when undertaken later in life it was 
 only through the pecuniary help of his friend Pirkheimer. Durer's 
 knowledge of the compositions of Andrea Mantegna has been 
 adduced in support of an earlier visit to Venice, there being in 
 the Albertina at Vienna two drawings made by him, of the second 
 portion of the Andrea Mantegna Battle of Tritons (17), and the 
 Bacchanalian Frieze (20), both dated 1494 ; they are, however, 
 evidently copied from the prints. Instances also are given of his 
 adaptations of the great Paduan painter's designs, the only one of 
 them justifying the comparison being S. John in the Albert Durer 
 Crucifixion (24), which is a somewhat weakened transcript of the 
 grand figure of the apostle in the Andrea Mantegna print of the 
 entombment (3). , 
 
 The important period in Albert Durer's career as a painter is that 
 of the six years following his return from Venice in 1506. Whilst 
 there he painted the before-named picture of the " Rosenkranzfest," 
 and had gone back fully imbued with the spirit of Bellini and the 
 works of the Italian artists. The refinement of drawing and 
 enlarged feeling of expression he had acquired is shown in the 
 
Albert Durer. 151 
 
 pictures produced during these six years. The most celebrated of 
 them was the Coronation of the Madonna, painted for Jacob Heller, 
 upon which, and the volets, he was almost exclusively occupied 
 for sixteen months. No picture of the Italian school excels it in 
 religious sentiment and elevation of treatment ; commenced in April 
 1508, it was finished in August 1509, and placed in the Heller 
 Chapel dedicated to S. Thomas, in the church.of the Dominicans at 
 Frankfort. There it remained until 161 5, when Maximilian of 
 Bavaria purchased the centre portion, the Coronation, for an annual 
 payment of 400 florins and the substitution of a copy by Paul 
 Juvenel, a Netherlands painter, and transferred it to his palace at 
 Munich, where unfortunately it was burned in 1674 ; the copy and 
 the original volets are still at Frankfort. A sketch for the picture 
 is in the Ambrosian Library, and the composition is preserved in 
 the beautiful woodcut of the Coronation in the Life of the Madonna, 
 being one of the series bearing the date 15 10, forcibly illustrating 
 the marked improvement and alteration of method adopted after 
 the Venice visit. The Beheading of S. Catherine on the left volet 
 is repeated with some variation in the large woodcut of the same 
 subject {B. 121). The interesting correspondence with Jacob Heller 
 is full of detail respecting the progress of the picture and of others 
 he was engaged upon. In 1507 he painted the full-length figures 
 of Adam and Eve ; and in 1508, having completed the Martyrdom 
 of the ten thousand Christians for the Elector Frederic of Saxony, 
 now in the Belvedere Gallery at Vienna, he commenced the altar- 
 piece for Jacob Heller. The large picture of the Saints in adoration 
 of the Trinity, painted for the chapel of a charitable institution in 
 Nuremberg, also in the Belvedere Gallery, is dated 1511. The last 
 of the series, the imaginative portraits of the Emperors Charle- 
 magne and Sigismund, dated 1512, are in the National Museum at 
 Nuremberg. 
 
 It has been advanced in disparagement of Albert Durer's drawing 
 that he never escapes from the homeliness and every-day life which 
 surrounded him, in the treatment of his female figures. Full of truth 
 and health in their modest simplicity, divested of any attempt at 
 idealism, his Madonnas are delineated with womanly reserve and 
 chasteness of expression, infinitely more attractive than the assur- 
 ance of manner, so frequently a fault of the Italian painters. 
 
 In February 15 12 the Emperor Maximilian visited Nuremberg, 
 and commissions for drawings for the numerous works he contem- 
 plated the publication of, in commemoration of his reign and his 
 own exploits, were given to Albert Durer. They left but little time 
 
1 52 The German School of Engraving, 
 
 for painting, and he was henceforth almost exclusively occupied 
 with engraving and wood-engraving, and designs for it. The great 
 triumphal arch " Ehrenpforte," as also the " Triumph wagen," must 
 have monopolised what leisure he had. During a residence of the 
 Emperor for some months at Augsburg in 1 5 1 8, Albert Durer was 
 sent for, and received with much attention, entering into the society 
 of the court ; and his crayon drawing of the Emperor, in the 
 Albertina, and other portrait sketches were made during his stay. 
 Whilst there the letter from Pirkheimer's sister, the Abbess of the 
 Convent of St. Claire, was written to him. 
 
 The diary of his travels with his wife in the Low Countries in 
 1520-21 informs us of the attention paid to them throughout their 
 progress, and of the personal regard he met with. Maximilian had 
 died in 15 19, and the motive for the journey was to secure his 
 continuance in the post of court painter to the new Emperor, 
 Charles V. Albert Durer was at Aix la Chapelle at the coronation 
 on the 23d October 1520, and the record of his success in the 
 archives of Nuremberg, dated the 4th November following, contains 
 a mandate to the magistrates of Nuremberg for the payment to him 
 of his annual stipend of 100 florins. The renewal of the appointment 
 brought the painter but slight advantage, his known adhesion to 
 the tenets of the Reformers operating as a fully sufficient cause for 
 the neglect he was treated with by the Grand Duchess Marguerite, 
 and the loss of patronage which ensued. 
 
 The demand for his engravings had, however, greatly increased, 
 and in the disposal of them he was principally occupied. Numerous 
 accounts are given of the prices he sold them at and the presents he 
 made of them. And the entries in the diary of his having been 
 engaged in designing coats of arms, particularly specifying one he 
 had made the sketch on wood for, " that it might be engraved," are 
 confirmatory of the argument that the cutting was not done by 
 him. 
 
 The Holy Family with a butterfly (44) is generally deemed to be 
 the earliest print from a copperplate bearing Albert Durer's mono- 
 gram. The four naked women (75) has on the suspended globe the 
 date 1494 or 1497. The period of his highest excellence as an 
 engraver was early in the ensuing century ; the Shield of Arms 
 with a skull (loi) being dated 1503, and the Adam and Eve (i) 
 1504. The portraits of Melancthon and Erasmus bear the date 
 1526, and the woodcut of a siege of a town (137) that of 1527, the 
 year preceding his death. 
 
 His first series of woodcuts is that of the Apocalypse, published 
 
Albert Dtirer. 
 
 153 
 
 in 1498, with German text, having a printed German title prefixed. 
 An edition, witli a Latin text, and the representation of S. John 
 contemplating a vision of the Madonna in glory holding the 
 Infant Saviour in her arms, on the frontispiece, was published in 
 15 1 1. Upon four of the large Passion of our Saviour, and two of 
 the Life of the Madonna, is the date 15 10. Valuable information 
 has been given by Hausmann as to the water-marks of the paper 
 used. The test of priority from these water-marks is far from 
 reliable as a rule, the only sure criterion being the sharpness and 
 brilliancy of the woodcuts themselves. Early impressions of many 
 of them are met with on paper with the bull's head and the ball 
 and cross, those with the bull's head being much the clearest, and 
 evidently first printed. 
 
 The individuality of Albert Durer in all the productions from his 
 pencil is peculiarly observable, and his love of and devotion to his 
 native country stands ever prominently forward. With some few 
 important exceptions, the pictures wherewith he adorned Nurem- 
 berg have been removed to Vienna, Munich, and other galleries ; 
 M. Thausing reduces the number, incontestably considered original, 
 to about twenty-four. But he is still conspicuously the genius loci 
 of the place where he was born and died, and the fine old city, in 
 the quaint originality of its streets and buildings, is eloquent of 
 the memory of the great artist and his associations. 
 
 Important series of his drawings and engravings are in the 
 Royal Library and the Albertina at Vienna, the Library at Munich, 
 and in other German cities, and in the Trippenhuys at Amsterdam. 
 In the British Museum is a volume of some of his finest drawings, 
 acquired with the Soane collection, and several choice and curious 
 prints from the copper-plates ; but the specimens there of the wood- 
 cuts are deficient in quality of impression, and, save a few rare ones, 
 are in late states and unreliable for reference. A fine collection, both 
 of the copper-plate engravings and woodcuts, was made by the late 
 Mr. Cornil of Frankfort, who died in 1875. The collection formed 
 by M. Hausmann became recently on his death the property of his 
 daughter. In London we have the woodcuts accumulated by Abra- 
 ham Ortelius, the geographer, acquired on Ortelius' death in 1598 
 by Michel Colyns, the eminent Dutch architect, and subsequently 
 by Mariette, who sold them to Count Fries of Vienna. They were 
 arranged by Rechberger, the Curator of the Count, in two volumes, 
 in binding similar to that of the Albertina Library. Baron Verstolk 
 of the Hague purchased them, and after the sale by auction on the 
 Baron's death, they passed to the library of Mr. Henry Huth in 
 
154 T^^^ German School of Engraving. 
 
 London, where, undisturbed from their binding, they are now 
 preserved, 
 
 Albert Durer does not appear to have again left his home after 
 returning in 1521. He had early adopted the doctrines of the 
 Reformation, and was zealous in their maintenance, being on terms 
 of intimacy with its leading advocates, the intellectual society of 
 Nuremberg having become one of the great centres of its support. 
 The portraits he painted and engraved of the Reformers afford 
 evidence of his friendship with them. In a letter to Christopher 
 Scheurl from Luther of the 15th March 15 18, he begs to be com- 
 mended to that best of men, Albert Durer, with the message of his 
 holding him in grateful remembrance. And in another of Luther's 
 letters to Eoban Hesse, on the occasion of Durer's death, he writes, 
 " Affection bids me mourn for one who was the best of men." The 
 letter from Durer in 1520 to Spalatin, the chaplain of the Elector 
 Frederic of Saxony, given at length in M. Thausing's Life (the main 
 purport of it relating to certain gratuities and moneys due to 
 him, characteristic of the writer's prudence and thrift), tells of his 
 strong accord with the doctrines of Luther, and the relief he had 
 derived from the perusal of his writings. 
 
 After the celebrated exposition of his opinions, and his refusal to 
 recant them before the Emperor and the concourse of princes and 
 prelates assembled at Worms, Luther left that city under the 
 promise of a safe escort. On the 26th April 1 521, as he entered a 
 forest, he was met by a troop of masked men, and carried off to the 
 Castle of Wartburg. It was but a friendly seizure by his staunch 
 defender the Elector of Saxony to place him in security ; and the 
 circumstances were kept strictly secret. Great alarm, however, was 
 aroused for his safety ; and Durer enters in his journal a long 
 impressive prayer on his behalf, and an appeal to Erasmus to come 
 forward in support of the Protestant cause. 
 
 There is a curious woodcut by Michael Ostendorfer of Ratisbon 
 {Passavant, iii. 310, 13) of a figure of the Virgin accredited with 
 miraculous curative power, in front of a church at Ratisbon, with 
 crowds of pilgrims flocking around in adoration. Mr. William 
 Mitchell discovered an impression of this woodcut in the Library at 
 Coburg, on which Durer had written, with the date 1523, an expres- 
 sion of his antagonism to this pious fraud. " This spectre has risen 
 at Ratisbon against the Holy Scripture, and has been condemned 
 by the Bishop, but tolerated on account of worldly advantages. God 
 help us, that we may become his own, not through dishonour, but 
 through Christ Jesus. Amen." And in a letter dated 5th December 
 
Albert Durer. 
 
 155 
 
 1524, from Durer to Nicolas Kratzer the astronomer, then in the 
 employ of Henry VIII., whose portrait is in the Louvre, he writes, 
 " We are plunged in humiliation and surrounded with peril for the 
 Christian faith, for we are regarded as heretics. May God keep us 
 constant and enlighten our adversaries, those poor blind miserable 
 people, that they may not perish in their errors." 
 
 We gather from the entries in his journal of payments to the 
 doctor and apothecary that symptoms of disease had shown them- 
 selves during the latter part of his stay in the Netherlands, most 
 probably hastening his return home. The last few years of his life 
 must have been troublous ones, whilst suffering from impaired 
 health, in the midst of the agitation of the religious feuds the town 
 was disturbed with. Many of his fellow-citizens, his friend Pirk- 
 heimer amongst them, became lukewarm in their support of 
 Luther's teaching, through very weariness of the continued anxieties 
 surrounding them. We can imagine the climax of his disappoint- 
 ment and anxiety on the discovery of the association, existing 
 amongst the young men who had profited by his teaching, in 
 support of the seditious doctrines of Munzer and his followers, and 
 their consequent dispersion on the trial and banishment of the 
 Behams and George Pencz. Inconvenience resulted from the loss 
 of the latter's services, he having been trained for years in Durer's 
 studio, and retained in his employ as an assistant in his painting. 
 This was followed by the imprisonment in 1525 of his printer, 
 Hieronymus Andrea, for complicity in the Peasants' war. 
 
 With the earnestness of Albert Durer's religious convictions, 
 we can scarcely suppose that he remained inactive during this crisis 
 of the Reformation. But slight reference to him has been discovered 
 in the correspondence of the time. His enfeebled condition evidently 
 hindered the practice of his art, which, knowing his love for it, must 
 have been a sore privation. The only pictures of this period are 
 those of SS. Paul and Mark and SS. John and Peter in the gallery 
 at Munich. His time was devoted to the exertionless employment 
 of writing his speculative treatises on geometry and perspective and 
 fortification, the first of which was issued in 1525 and the second in 
 1527. His more elaborate work upon human proportion was not 
 published until after his deith. He was occupied in preparing the 
 illustrations of it, and in the execution of some few engraved por- 
 traits, as the dates upon them apprise us, until nearly the close of 
 his life ; and there are entries, almost to the last, of his official 
 communications with the town council of Nuremberg, where he 
 died somewhat suddenly on the 6th April 1528. 
 
156 The German School of Engraving. 
 
 A record remains of the different feelings with which his death 
 was regarded by Erasmus and Pirkheimer. In answer to Pirk- 
 heimer's announcement of their friend's death, Erasmus, with 
 characteristic stoicism, replied, " Quid attinet Dureri mortem deplo- 
 rare, quum simus mortales omnes. Epitaphium illi paratum est in 
 libello meo." But the epitaph in the little book was forgotten, there 
 being no trace of its having been written. 
 
 Very different is Pirkheimer's lament in his letter to Ulrich 
 Hutten : " Never have I before experienced such acute grief as the 
 sudden death of our excellent friend Albert Durer has caused me. 
 Of all who have been attached to me by the ties of relationship, 
 there was no one whom I have more truly loved, or esteemed so 
 much for his innumerable virtues and his probity." In the epitaph 
 ' of laboured Latinity which he subsequently composed he writes : 
 
 " Virtus namque manet Dureri, atque inclyta fama 
 Splendebunt donee sidera clara polo. 
 
 Et ne quid tumulo desit, spargamus odores, 
 
 Narcissum, violas, lilia, serta, rosas. 
 
 Felix interea somno requiesce beato. 
 
 Dormit enim in Christo, vir bonus haud moritur." 
 
 The inscription on the bronze tablet on the tomb which Pirkheimer 
 erected to his memory in the cemetery of S. John concludes : 
 
 "Emigravit viii. idiis Aprilis mdxxvhi." 
 
 Bartsch, vii. 5 ; Passavant, iii. 144. 
 
 Adam and Eve, dated 1504 (i). 
 
 The composition has several points of identity with the print 
 of Mars and Venus (20) by Jacopo di Barbari. The legs of 
 Adam are copied almost line by line from those of the figure 
 of Mars. 
 
 At the back is written, in Mr. Barnard's handwriting, " Ac- 
 complished Miss Betty Cooper of St. James's-street."* 
 From tJie Barnard Collection. 
 
 Preliminary drawings are at Vienna and in the British Museum. 
 Impressions from the plate before it was finished, showing the progress 
 of the work, are in the Albertina and the British Museum : the latter 
 was purchased at the Ottley sale in 1837 for 36/. 
 
 * Mr. Barnard, who was a bachelor, lived in St. James's-square. His near 
 neighbour Miss Betty Cooper was a notoriety in his day, and kept a florist's 
 shop in St. James's-street. 
 
Albert Durer. 
 
 157 
 
 The Nativity, dated 1504 (2). 
 From the Hawkins Collection. 
 
 The Passion of our Saviour (3-18). 
 From tJie St. Aubyn Collection. 
 
 Our Saviour in Prayer in the Garden of Olives, dated 15 15 
 (19). An etching. 
 
 The Man of Sorrows with his Arms extended (20). 
 From tlie Maberly and Hawkins Collections. 
 
 The Man of Sorrows with his Hands bound, dated 15 12 
 (21). 
 
 From tlie Maberly Collection. 
 
 The Man of Sorrows seated, dated 15 15 (22). An etching. 
 In the first and second states. 
 
 The Crucifixion, the small round plate (23). Copy by Wierx, 
 and another copy. 
 
 The Crucifixion. The large plate in outline. 
 Undescribed by Bartsch {Pass. iii. 156, 109). 
 From the Paar Collection. 
 
 Our Saviour expiring on the Cross, dated 1508 (24). 
 
 The Sudarium, having upon it the face of our Saviour, held by 
 two angels, dated 1513 (25). 
 From tJie Borduge and Mariette Collections. 
 
 The same, dated 15 16 (26). An etching. . 
 
 The Prodigal Son (28). 
 
 S. Anna and the Madonna (29). 
 
 From the Mariette Collection, " 1660." 
 
 The Madonna, with long Hair (30). 
 Frofu the St. Aubyn Collection. 
 
 The Madonna, with a Crown of Stars, dated 1508 (31). 
 From tlie BuckingJuim and Hawkins Collections. 
 
158 The German School of Engraving. 
 
 The Madonna, with a Crown of Stars, holding a sceptr 
 dated 15 16 (32). 
 
 The Madonna, with short Hair, having a bandelet round her 
 
 head, dated 15 14 (33). 
 
 The Madonna suckling the Infant Saviour, dated 1503 
 (34). 
 
 From the Rogers Collection. 
 
 The Madonna seated, embracing the Infant Saviour, dated 
 1513 (35)- 
 
 Fivjn the Maberly Collection. 
 
 The Madonna suckling the Infant Saviour, dated 15 12 (36). 
 
 From the Gawet Collection. 
 
 The Madonna crowned by an Angel, dated 1520 (37). 
 ) From tlie Dnmesnil Collection. 
 
 The Madonna, with the Infant Saviour swaddled, dated 
 1520 (38). 
 
 From the Beckford Collection. ^ 
 
 The Madonna crowned by two Angels, dated 15 18 (39). 
 
 The Madonna, with the Infant Saviour, seated under a 
 wall, dated 15 14 (40). 
 
 The Madonna, with a Pear, dated 15 11 (41). 
 
 The Holy Family, with a Monkey (42). 
 
 The subject is engraved by Wenceslaus d'Olmutz {B. vi. 21). 
 
 A coloured sketch by Albert Durer of the distant landscape is in the 
 volume of drawings in the British Museum. 
 
 The Holy Family (43). An etching. 
 From the Rogers Collection. 
 
 The Holy Family, with a Butterfly (44). 
 
 The Madonna seated at the Gate of a City, dated 1520 (45). 
 From- the Bammeville Collection. 
 
 Bartsch classified this print amongst the works of Albert 
 Durer, from its having been so by his predecessors, considering 
 
Albert Durer. 
 
 159 
 
 it however to be engraved from his drawing, but not by his 
 own hand. Passavant pronounced it to be by Marc Antonio 
 Raimondi. It is, in fact, composed from fragmentary portions 
 of the Albert Durer woodcuts, cleverly dovetailed together ; the 
 frontispiece to the Life of the Madonna, our Saviour taking 
 leave of His mother, and others of the same series supplying 
 the materials. Mr. Reid, in an article in the Fine Arts Quarterly 
 for October 1866, illustrated with photographs, demonstrated 
 the different appropriations, and ascribed the print to some 
 unknown engraver of the end of the sixteenth or the beginning 
 of the seventeenth century, quoting an unfinished impression 
 on paper with the water-mark of " MARIA" on a scroll, which 
 he deemed to be of that period. 
 
 Five of the Disciples of our Saviour (46-50). 
 
 S. Christopher, dated 1521 (51). 
 
 S. Christopher, dated 1521 (52). 
 
 S. George on Foot, the dragon in front of him (53). 
 From i/ie Maherly Collection. 
 
 S. George on Horseback, the dragon on the ground, dated 1 508 
 (54). 
 
 From tJie Btcckingham and Hawkins Collections. 
 
 S. Sebastian attached to a Tree (55). 
 From the Hawkins Collection. 
 
 S. Sebastian attached to a Column (56). 
 
 S. Hubert (57). 
 
 From tlie T/iompson Collection. 
 
 S. Anthony, dated 15 19 (58). 
 
 S. Jerome seated in the Recess of a Rock (59). An etching. 
 From the St. Aiibyn Collection. 
 
 In the British Museum there is a fine proof before the monogram, 
 on paper with the high crown mark. 
 
 S. Jerome in his Cell, dated 15 14 (60). 
 
i6o The German School of Engraving. 
 
 S. Jerome kneeling in Penitence, in a rocky landscape (6i). 
 In the first state before the plate was reworked. 
 
 FroDi llie Banimeville Collection. 
 
 S. Jerome, the small circular plate (62). Copy by Petrak. 
 
 Four impressions only from the original plate are known, preserved 
 respectively in the collections of the Albertina at Vienna, the King of 
 Saxony at Dresden, the Trippenhuys at Amsterdam, and that of the city 
 of Bremen. 
 
 S. Genevieve (63). 
 
 From the George Smith Collection. 
 
 S. Veronica, dated 15 10 (64). Copy by Petrak. 
 
 The only two known impressions from the original plate are in the 
 collections of the Albertina at Vienna and of Queen Marie at Dresden, 
 the latter having been purchased at the Verstolk sale. 
 
 Alfred III., King of Mercia, and the three daughters of Count 
 
 Guillaume d'Albanac. Called by Bartsch " Le Jugement de 
 
 Paris" (65). Copy by Petrak. 
 
 The only two known impressions from the original plate are in the 
 Albertina at Vienna and the British Museum. 
 
 The three Genii (66). 
 
 Hausmann describes this impression as " Der prachtvollste 
 Abdruck." 
 
 From the Rogers Collection. 
 
 It was exhibited at Manchester in 1857. 
 
 The Sorceress (67). 
 
 Apollo and Diana (68). 
 
 The Satyr and his Family, dated 1505 (69). 
 
 A Study of five Figures (70). An etching. 
 
 Triton carrying off Amymone. The city of Argos on the 
 high ground on the left (71). 
 
 The subject is engraved by Wenceslaus d'Olmutz {B. vi. 52). 
 
 A Man mounted on an Unicorn, forcibly carrying off a naked 
 woman, dated 15 16 (72). An etching. 
 In the first state, before the plate became blurred. 
 
Albert Durer, 
 
 i6i 
 
 The Effect of Jealousy (73). 
 
 The subject is engraved by Wenceslaus d'Olmutz {B. vi. 53). 
 
 M. Charles Ephrussi, in the Gazette des Beaux Arts, for May 1878, 
 traces the motive of this design to a rare Italian print of the death of 
 Orpheus, from which Albert Durer made a pen drawing, the Italian 
 print and the drawing being now in the Museum at Hamburgh, by 
 bequest of M. Harzen. Another similar drawing is in the volume 
 belonging to the Countess of Rosebery, attributed to Andrea Mantegna, 
 in which there is the addition of a crouching lion behind the figure of 
 Orpheus. M. Ephrussi's account is illustrated with several facsimiles, 
 and he pronounces the Durer print to be the one designated by its 
 author in his diary as 'The Hercules.' M. Ephrussi does not allude to 
 the large Albert Durer woodcut (127) inscribed 'Ercules,' the composition 
 of which is analogous with that of the copper-plate engraving. 
 
 The subject still remains unintelligible. It was popular amongst the 
 German artists of the time. The small highly-finished picture by Lucas 
 Cranach, which belonged to M. Schouchart of Weimar is nearly identical 
 in the grouping ; a woodcut of a portion of the composition is given in the 
 account of Cranach in the Histoire des Peintres, by Charles Blanc (Paris, 
 187 s). The collection of the Princess Royal of Prussia contains a silver 
 point drawing of Satyrs, one of them trailing a lion's skin, with naked 
 women and children in a wood, by Lucas Cranach, which most probably 
 was a study for the picture. 
 
 Melancholy, dated 1514(74). 
 
 A lament over the evanescence of worldly pursuits, and 
 the powerlessness of human efforts to master science and 
 knowledge. " For in much wisdom is much grief : and he that 
 increaseth knowledge increaseth sorrow" (Ecclesiastes i. 18). 
 
 The Group of four naked Women, dated 1494 or 1497 (75). 
 
 Passavant adds nothing in explanation of this print. Bartsch 
 interpreted the O.G.H. on the suspended globe to be the 
 appeal in old German, "O Gott, hilf!" But the self-satisfied 
 complacency of the four women, and their unconsciousness of 
 the presence of the ghastly messenger approaching on the 
 left, express no feeling of need on their part for such an 
 i appeal. 
 
 The subject is engraved by Wenceslaus d'Olmutz {B. vi. 51). 
 
 Amongst contemporary engravings of the same group is one 
 by Nicoletta da Modena, dated 1500, having an inscription 
 " detur pulchriori" on the globe, in which three of the women 
 are treated as the three Goddesses, holding severally in their 
 hands attributes of, Juno, Venus, and Minerva, the best 
 designation of the fourth figure being that of Discord. 
 
 M 
 
1 62 The German School of Engraving, 
 
 The Dream (76). The subject is engraved by Wenceslaus d'Ol- 
 mutz {B. vi. 49). 
 
 In the South Kensington Museum there is a German terra-cotta stove 
 exactly similar to the one represented in the engraving. 
 
 Nemesis, or the great Fortune (77). 
 
 This is clearly the print so frequently referred to by Albert 
 Durer as " Nemesis." The alternative of indulgence or self- 
 restraint, offered by the cup in one hand and the bridle in 
 the other, are the severer characteristics of Nemesis rather than 
 those of the Goddess Fortune. The representation suggestive 
 of the influence exercised over men's lives and actions was 
 extremely popular. And in the illustrations of the numerous 
 symbolical writings of the time we have Nemesis, but far more 
 frequently Fortune and Occasio, with every variety of attribute. 
 In the Emblems of Alciatus, Nemesis is winged, holding the 
 bridle. And in those of Achilles Bocchius (No. 67) she stands 
 before Adrastus, King of Argos, holding a full purse in one 
 hand, and a bridle, spur, and a square in the other. 
 From the Rogers Collection. 
 
 The small Fortune (78). 
 
 A Man seated on a Lion, holding a sword in his right hand, 
 and in his left a pair of scales ; rays of light issue from his eyes 
 and around his head. Called by Bartsch " La Justice" (79). 
 From the St. Aubyn and Maherly Collections. 
 
 The Courier. Called by Bartsch " Le petit Courier" (80). 
 
 The Courier. Called by Bartsch " Le grand Courier" (81). Copy 
 by Petrak. 
 
 The only two known impressions from the original plate are in the 
 Royal Library at Vienna and the King's collection at Dresden. It is 
 rude and inexpressive in drawing and execution, and dissimilar from any 
 other work of Albert Durer. 
 
 A Lady on Horseback, resting her right hand on the shoulder of 
 a knight, who stands by the head of her horse (82). 
 The subject is engraved by Wenceslaus d'Olmutz {B. vi. 47). 
 
 The Peasant and his Wife (83). 
 
 The Cook and his Wife (84). 
 
Albert Durer. 
 
 The Oriental and his Wife (85). 
 
 The three Peasants (86). 
 
 From the St. Aubyn Collection. 
 
 The Standard Bearer (87). 
 
 The Group of four Soldiers (88). 
 
 An old Man seizing violently a Woman. Called by Bartsch 
 " Le Violent" (92). 
 
 An old Man seated in Conversation with a Woman, Called 
 by Bartsch " Les offres d'amour" (93). 
 
 A Knight and a Lady, with Death behind a tree (94). 
 
 The subject is engraved by Wenceslaus d'Olmutz {B. vi. 50). 
 From the Wilson, Esdaile, and Hawkins Collections. 
 
 The monstrous Pig (95). 
 
 The Knight of Death, dated 15 13 (98). 
 
 Albert Durer left no clue to the motive of the composition, 
 and the print he names " Ein Rcuthcr" is the only one with 
 which it can apparently be connected. 
 
 Two explanations have been given. It is either the Christian 
 knight, true and firm in his loyalty, undaunted by any conceiv- 
 able obstacle, neither Death nor the Devil being able to turn 
 him from his onward course, of whom the illustrious Franz von 
 Sickengen might have been the type in the artist's mind, with 
 his castle of Landshut on the heights in the distance : or, 
 emblematical of the horrors of war which were then so ruth- 
 lessly exercised in the name of religion, it is the dreaded robber 
 outlaw issuing from his mountain stronghold on his mission of 
 carnage and plunder, with the miseries ever following in his 
 wake made visible in the embodiment of Death and the Devil 
 and their satellites, the hour-glass held up to him indicating 
 that he is starting on his last errand of violence, and that he 
 himself is about to become their prey. 
 
 The absence of all Christian symbolism renders the latter 
 the more probable interpretation. 
 From the St. Audjyn Collection. 
 
 The Cannon, dated 15 18 (99). An etching. 
 
164 The German School of Engraving, 
 
 The Shield of Arms, with the crest of a cock (100). 
 
 Early impression before the marginal line was strengthened. 
 
 The Shield of Arms, with a death's head on the shield, supported 
 by a Satyr caressing a woman, dated 1503 (loi). 
 
 Portrait of Philip Melancthon, dated 1526 (105). 
 
 Portrait of Bilibald Pirkheimer, dated 1524 (106). 
 
 Portrait of Erasmus, dated 1526 (107). 
 
 The original plate is preserved in the Castle of Friedenstein 
 in Gotha. Hausmann describes a brilliant impression in the 
 British Museum, and another belonging to Mr. Slade, as the 
 two finest he was acquainted with. The latter has since also 
 been acquired by the British Museuni under the bequest in 
 Mr. Slade's will. 
 
 Dr. Woltmann writes, "Of all Durer's portraits this is perhaps 
 the least successful." In workmanship it is one of the finest of 
 his engravings. 
 
 ENGRAVINGS ON WOOD. 
 Cain killing Abel (i). 
 
 Samson slaying the Lion (2). 
 
 In the first state, with the ball and cross water-mark. 
 And a later impression. 
 
 The Adoration of the Eastern Kings (3). 
 
 In the first state, with the bull's head water-mark. 
 And an impression in a later state. 
 
 The Passion of our Saviour (4-15). 
 
 Early impressions before the text, except the title which has 
 the Latin verses. 
 
 The Passion of our Saviour (16-52). The small Passion, before 
 the text. 
 
 The Expulsion from Paradise, in the first and second states, 
 the first having the cross hatching on the back of Eve. And 
 
Albert Durer. 
 
 Count Rechberger's facsimile of the rare frontispiece, engraved 
 for the edition with the Latin text. Some few have the high 
 crown water-mark. 
 
 Our Saviour at Supper with hi.s Disciples previous to his 
 crucifixion, dated 1523 (53). 
 With the water-mark of the crown and cross. 
 
 Our Saviour in Prayer in the Garden of Olives (54). 
 
 Our Saviour on the Cross, dated 15 10 (55), with the verses. 
 And an impression without the verses. 
 
 The Crucifixion, with an ornamental border (56). 
 
 Our Saviour on the Cross ; three angels with chalices. On 
 two sheets joined (58). 
 
 The Calvary ; our Saviour crucified between the two thieves (59). 
 In the first and second states. 
 
 The Apocalypse of S. John (60-75). 
 
 First states with the German text, and the rare German text 
 title. Published 1498. 
 A facsimile of the title is annexed. 
 
 The Madonna appearing to S. John the Evangelist. The 
 title to the second — the Latin — edition of the Apocalypse (60). 
 First state before the letterpress. 
 
 The Apocalypse of S. John (60-75). 
 
 In the second state. With the woodcut title of The 
 Madonna appearing to S. John. The text in Latin. Published 
 1511. 
 
 The Life of the Madonna (76-95). 
 
 Impressions before the text, with sundry duplicates, printed 
 on paper with the large bull's head and high crown water-marks. 
 And duplicate impressions of the title, and of the last of the 
 series, with the Latin text, having the admonition " Heus tu 
 alieni ingenii surreptor, &c." 
 
 Front the Alferoff Collection, ivith several additions. 
 
1 66 The German School of Engraving. 
 
 The Holy Family, dated 1 5 1 1 (96). 
 
 Two impressions, on paper with the bull's head and high 
 crown water-marks. 
 
 The Holy Family, dated 1 5 11 (97), with the water-mark of the 
 standing dog. 
 
 The Holy Family (99), with the high crown water-mark. 
 
 The Holy Family in a vaulted chamber, dated 15 18 (icx)). 
 
 The Madonna seated, surrounded by angels (loi). 
 
 In the first state, with the water-mark of the bull's head. 
 
 The Holy Family, with two rabbits (102). 
 
 First state with the ball and cross water-mark. 
 
 S. Christopher, dated 1511 (103). 
 
 S. Christopher, with the flight of birds (104). 
 
 S. Christopher, the tall upright print, dated 1525 (105). 
 
 S. Elias and another Saint, seated in a landscape (107). 
 
 SS. Stephen, Gregory, and Lawrence (108). 
 
 S. Francis receiving the Stigmata (no). 
 
 S. George slaying the Dragon (hi). 
 
 S. John the Evangelist and S. Jerome (112). 
 
 S. Jerome in a Grotto, dated 15 12 (113). 
 
 S. Jerome in his Cell, dated 1511 (114). 
 
 S. Jerome, the small circular print (115). 
 Copy by Petrak. 
 
 The eight Patron Saints of Austria (116). 
 The second state. 
 
 The Slaughter of the ten Thousand Martyrs (117). 
 
 From a design for the picture in the royal collection at 
 Vienna. 
 
Albert Durer. 167 
 A Group of three Bishops (118). 
 
 A Man kneeling before an Altar holding a Scourge in 
 HIS Hand, dated 15 10 (119). 
 
 The Martyrdom of S. Catherine (120). 
 
 The Magdalene carried by Angels to Heaven (121). 
 
 TheTrinitv, dated 1511 (122). 
 First state. 
 
 The Mass of S. Gregory, dated 15 11 (123). 
 The last Judgment (124). 
 
 The Decollation of S. John the Baptist, dated 15 10 (125). 
 
 Herodias receiving the Head of S. John the Baptist, dated 
 1511 (126). 
 
 A Contest of Men and Women, inscribed " Ercules" (127). 
 
 Six Men in a Bath (128). 
 
 Dr. Strater published a pamphlet descriptive of this woodcut. 
 The new disease, which had spread with great virulence, created 
 dismay throughout Europe. It was regarded in the nature of 
 leprosy, and treated as infectious, those who were attacked 
 being kept apart. No idea of its merely contagious character 
 was entertained. Many ecclesiastics of eminence innocently 
 made no secret of their sufferings, and Durer, writing from 
 Venice to Pirkheimer, begged that prayers might be offered up 
 for his preservation from the complaint. A supposed cure by 
 water immersion was very popular, of which the woodcut is 
 most probably an illustration. 
 
 A Knight on Horseback in full Gallop, followed by an 
 armed attendant (131). 
 
 Death and the Soldier, dated 15 10 (132). Wanting the verses. 
 
 The Judgment of Paris. A circular print (134 
 
 Copy by Petrak. 
 
1 68 The German School of Engraving. 
 
 The Rhinoceros ( i 36). 
 
 The Siege OF A Town, dated 1527 (137). 
 In two sheets. 
 
 The Triumphal Arch of the Emperor Maximilian, dated 
 1515 (138)- 
 
 Third edition, published byMollo at Vienna in 1799. Bound 
 in a volume. 
 
 The Triumphal Car of the Emperor Maximilian, dated 
 1523 (139)- In eight sheets, with the Latin text. 
 Second states. 
 
 Four of the Designs for Embroidery (140-143). 
 No. 143 before the monogram. 
 
 Portrait of the Emperor Maximilian (153). 
 
 Portrait of Ulric Varnbuler (155). 
 
 Portrait of Albert Durer (156). 
 
 Second state, before the monogram and date, and an impres- 
 sion in the third state, with the date 1527. 
 
 The Arms of the City of Nuremberg, dated 1521 (162). 
 
 The Arms of Hector Pomer (163). 
 
 A Shield of Arms, supported by a wild man (170). 
 
 APPENDIX. 
 
 Our Saviour on the Cross. The Magdalene kneeling at the 
 foot (6). 
 
 The Madonna seated on a Bank, with the Infant Saviour 
 ON HER Knees (13). 
 
 S. Martin on Horseback dividing his Cloak (18). 
 
 S. Sebald standing in a decorated Porch, holding the model 
 of a church (21). 
 
Albert Durer. 
 
 169 
 
 S. Barbara seated, holding a Chalice with the Eucharist 
 
 (24) . 
 
 S. Catherine seated, the broken Wheel in front of her 
 
 (25) . 
 
 The Head of our Saviour (26). 
 The Dance with Torches (38). 
 
 Das puch der Himlischen offenbarung der heiligen wittiben 
 Birgitte von dcm Kunigreich Sweden. 
 
 Illustrated with fifteen woodcuts the size of the page, two of 
 them repeated, after drawings by Albert Durer. The Imperial 
 Arms {Bartschy 158), " Kuniglicher Maiestal Wappen," are on 
 the third leaf 
 
 In der Kunigklichen stat Nurnberg durch Anthonien Ko- 
 berger burger daselbs im andern nach tausent funff hundert 
 iaren gedruckt. 
 Folio, half calf . 
 
 Opera Hrosvite, illustris virginis et monialis germane gente 
 Saxonica orte nuper a Conrado Celte inventa. 
 
 With seven woodcuts the size of the page, ascribed to Albert 
 Durer. The work commences with a dedicatory preface by 
 Conrad Celtes, the compiler, to Frederick Duke of Saxony, the 
 subject of the first woodcut being Celtes presenting the book 
 to the Duke. 
 
 Impressum Norunbergae sub privilegio Sodalitatis Celticae a 
 Senatu Rhomani Imperii impetrato. Anno Christi Quingen- 
 tesimo primo supra Millesimum. 
 
 It is generally regarded that the abbess had nothing what- 
 ever to do with the work, and that the comedies were com- 
 posed by Conrad Celtes, the drawings being most probably 
 made by Albert Durer at Pirkheimer's request for the Society 
 " Sodalitas Literaria," in illustration of Celtes' publication. 
 Folio, calf. 
 
1 70 The German School of Engraving. 
 
 HANS BALDUNG GRUN, 
 Painter and Wood-engraver: born at Gmund in 
 
 SWABIA, 1470; DIED AT StRASBURG, I552. 
 
 ANS Baldung Grun was a favourite pupil of 
 Albert Durer, and continued on terms of inti- 
 macy with his master, assisting in painting 
 many of his pictures. There is an important 
 altar-piece by him in the Cathedral of Fri- 
 bourg. His clever woodcuts were appreciated 
 by Albert Durer, there being an entry in his 
 diary of the gift to Joachim Patenier of some impressions, and the 
 sale of others. The Adam and Eve (3) and the Sorceresses (55) 
 particularly are of great artistic merit, and rendered very effective 
 by the full dark background with which the latter and some others 
 are finished. Bartsch, vii. 301 ; Passavant, iii. 318. 
 
 ENGRAVINGS ON WOOD. 
 The Descent from the Cross (s). 
 S. Sebastian (37). 
 
 The Body of our Saviour carried to Heaven (43). 
 
 The three Sorceresses (55). 
 
 The three Subjects of Horses in a Wood (56-58). 
 
LUCAS CRANACH, 
 
 Painter and Engraver. 
 
 LUCAS CRANACH (SUNDER) THE ELDER, 
 Born at Cranach, 1472 ; died at Weimar, 1553. 
 
 LUCAS CRANACH THE YOUNGER, 
 Born at Wittenberg, 1515 ; died there, 1586, 
 
 SPECIAL interest attaches to 
 Lucas Cranach the elder from 
 his Hfelong connection with 
 the Electors of Saxony, his 
 association with them and 
 the Protestant leaders having 
 brought him into prominent 
 notice as the painter of the 
 Reformation. His family 
 name was Sunder, his father 
 being an artist in the town of 
 Cranach, from whom and from 
 Matthew Grunewald he ac- 
 quired his education. In his 
 early youth he was taken under the protection of the Elector 
 Ernest, with whose son PVederick he went in 1493 to the Holy 
 Land. Returning to Wittenberg, apartments were assigned to him in 
 the palace, and his rise to distinction as a painter speedily followed. 
 
 The University of Wittenberg was founded by the Elector 
 Frederick in 1502. Martin Luther was professor of theology, and 
 Philip Melancthon of Greek, in the University ; and Cranach, having 
 been chosen a member of the council of the city in 15 19, became 
 allied with the Reformer and his colleagues, under the energetic 
 protection of the Elector. 
 
 His pictures of sacred subjects are for the most part representa- 
 tions of incidents in our Saviour's life, Imbued with the bold and 
 outspoken tone of thought imparted by Luther to all with whom he 
 became allied in his teaching, Cranach's pencil was unsparingly 
 
172 The German School of Engraving. 
 
 applied in satirising with somewhat coarse but vigorous humour the 
 Papacy and the priesthood. 
 
 The Elector Frederic died in 1525, his successor being his 
 brother John, the last of four sons of the Elector Ernest. The 
 Elector John was on his death succeeded by his son John Frederic, 
 who, from the rapid advances the Reformation had made, stands 
 out preeminent as its champion. His father and his uncle had both 
 been equally earnest in its support, and were illustrious for their 
 enlightenment amongst the princes of the age. 
 
 In 1537 Cranach was elected burgomaster of Wittenberg, and 
 continued for several years in intimate relationship with Luther, 
 until the latter's death in 1546 and burial in the royal vaults at the 
 Castle. In 1547 the Elector John Frederic was defeated by 
 Charles V. and taken prisoner at Muhlberg, and his cousin, Duke 
 Maurice of Saxony, was by the Emperor instituted in his stead in 
 the Electorate. Having undergone five years' imprisonment the 
 Elector John Frederic was released, but never recovered his 
 position. And his still more unfortunate son, in an attempt in 1560 
 to regain it, was taken prisoner by Augustus, brother and successor 
 of Maurice, and sent to Styria, where he died after twenty-eight 
 years' captivity. 
 
 Lucas Cranach followed the fortunes of his illustrious patron, and 
 shared with him a great portion of his confinement. The deposed 
 Elector, on his release in 1552, went to Jena, his sons having there 
 established a university, "with his old and faithful friend, Lucas 
 Cranach, seated in the carriage by his side." The venerable artist 
 retired with him to Weimar, and there painted the well-known 
 altar-piece, typical of our Saviour's sacrifice, the three figures at the 
 foot of the cross being portraits of himself and of Luther and 
 Melancthon. He was in his eighty-first year on its completion, and 
 died soon afterwards in 1553. 
 
 One of the most interesting of his pictures is the " Fountain of 
 Youth," in the Berlin Museum, wherein its virtues are demonstrated 
 by the old women immersed being reproduced as young maidens ; 
 the old men are not represented as sharing in the revivifying 
 process. This picture was painted in 1 546, when he was seventy- 
 four years old. His portraits have great reality and truthfulness, 
 and his delineations of fetes and tournaments and hunting scenes 
 give interesting records of German life and of costume and manners 
 of the time. 
 
 Lucas Cfanach the younger, the second son of his father, undei" 
 whom he studied, acquired his method, but with marked inferiority 
 
Lucas Cranach. 
 
 173 
 
 in the spirit of his compositions. Sustained by the favour of the 
 reigning Dukes of Saxony, he resided at Wittenberg, and was chosen 
 burgomaster. In the principal church are many of his pictures, and 
 portraits by his hand of Dukes Maurice and Augustus are in the 
 Dresden Gallery. The German writers, Heller and Nagler, made 
 a division of the works of the father and the son, which Passavant 
 followed. 
 
 The Elector Frederic had granted the flying dragon to the 
 father as a crest in his patent of nobility, and it was used by him 
 and his son. The father, however, alone had the privilege of bear- 
 ing the arms of the Electorate, both shields of which he painted on 
 his pictures, and by them likewise his woodcuts are distinguished. 
 
 Bartsch, vii. 273 ; Passavant, iv. 3. 
 
 ENGRAVINGS ON WOOD. 
 
 Adam and Eve in Paradise (i). 
 In the first and a later state. 
 
 The Repose in Egypt ; the Madonna suckling the infant 
 Saviour, dated 1 509 (3). 
 
 The Repose in Egypt. The Holy Family in a landscape seated 
 under a tree, a troop of angels with hands joined, dancing in a 
 circle around them (4). 
 
 The School, with the Holy Family, in a Chamber (5). 
 
 The Passion of our Saviour (6-20). Six of them before the 
 letterpress. 
 
 Our Saviour and the Woman of Samaria at the Well (22). 
 
 Our Saviour (23) and SS. Peter (24) and Paul (36). 
 
 Passional Christi und Antichristi {Pass. 161). First edition 
 of 1521. Bound in a volume. 
 
 S. Anthony tormented in the Air by Devils, dated 1506 (56). 
 S. John the Baptist preaching in the Desert, dated 1 5 16 (60). 
 
174 The German School of Engraving. 
 
 S, Jerome in the Desert, dated 1509 (63). 
 
 S, George destroying the Dragon (64). 
 
 S. George leaning on his Lance, dated 1506 (67). • 
 
 S. Anna and the Madonna with the Infant Saviour (68). 
 
 S. Ursula and several Saints standing in a boat at a table in 
 front of them, the emblems of the Eucharist being upon it, a 
 large cross with the crucified Saviour at the back ; the Elector of 
 Saxony is in front on the left, and an ecclesiastic on the right. 
 In the upper corners are representations, on the left, of a priest 
 uplifting the host, and on the right, of four angels with the 
 emblems of the Passion. The woodcut is 14 1 inches high and 
 17 inches wide. 
 
 Inscribed at the top, " Sant Ursula pruderschafift zu Braunau." 
 Beneath are printed the rules, orders, and privileges of the 
 Brotherhood of S. Ursula at Braunau in Bavaria, with the 
 statement that Dr. Ulrich Pinder had published a book on the 
 subject at Augsburg. 
 Undescribed. 
 
 S. Mary of Egypt carried by Angels to Heaven, dated 1506 
 (72). 
 
 Marcus Curtius (112). 
 
 Venus and Cupid, dated 1506 (113). 
 
 Considered to be the likeness of La Bella Sabina, the wife 
 of the Elector Frederic, whose portrait was often painted by 
 Cranach. She was a woman of low origin, respecting whom 
 many caricatures were issued. 
 
 Count William d'Albanac offering the choice of one of his 
 daughters in marriage to Alfred III., King of Mercia, dated 
 1508(114). 
 
 The Man-eater (115). 
 
 A Youth on Horseback (116). • - 
 
 The Stag-hunt (119). 
 
 The four Tournaments (124-7). 
 
Hans Burkmair, 
 
 175 
 
 Portrait of Philip Melancthon (153). 
 
 The Fall and the Redemption of Man. Title-page to Die 
 PropJieten D. Mart. Luther. Folio, Wittemberg, 1555. 
 
 An arabesque Border, with a group of angel-children at the foot. 
 Title-page to Die Propheten D. Mart. Luther. Wittemberg, 
 
 HANS BURKMAIR. 
 
 Hans Burkmair the Elder : born at Augsburg, 1473 ? 
 DIED there, 1530. 
 
 Hans Burkmair the Younger (1500-1560). 
 
 ON of Thomas Burkmair, 
 painter and citizen of Augs- 
 burg, Hans Burkmair the 
 elder derived from his father 
 his early teaching. Passa- 
 vant considered him to have 
 been a pupil of Martin 
 Schongauer. The influence 
 of Albert Durer is apparent 
 in the numerous woodcuts 
 he designed with much ori- 
 ginality and a keen sense of 
 humour. The refinement 
 wanting in the treatment of 
 his figures is compensated for by their lifelike delineation and the 
 clearness of his drawing. 
 
 For many years he must have been almost exclusively employed 
 by the Emperor Maximilian in the commemoration of the events 
 and pageants of his reign and the history of his family. The series 
 of woodcuts made for the Emperor — very few, if any, of them 
 having been engraved by Burkmair himself — preserve interesting 
 records of the Imperial Court at Augsburg. In a letter of Conrad 
 Pentinger to the Emperor {Pass. i. 68), he writes that he had paid 
 Hans Burkmair one hundred and thirteen florins, for the joiner and 
 two wood-engravers, for the cutting ninety-two figures. 
 
1 76 The German School of Engraving. 
 
 It is at Augsburg that the Burkmair pictures must be studied, 
 many being there preserved. Numerous portraits by him of the 
 celebrities of his day are in the continental galleries. 
 
 Nothing further is known of either the father or the son. We 
 learn by a letter of the Emperor Ferdinand I. to the Council of 
 Augsburg, dated December 11, 1559, that the younger artist was 
 then living. 
 
 Passavant attributes all the woodcuts subsequent to 1531 to the 
 younger Burkmair. The illustrations to the Petrarc/ui, the joint 
 work of Burkmair and Hans Schaeuflein, which passed through 
 numerous editions, are full of humour and satire, conveying an 
 amusing caricature history of the time. 
 
 Bartsch, vii. 197 ; Passavant, iii. 264. 
 
 A Man seized by Death (40). A chiaro-oscuro print from three 
 blocks. ^ 
 
 Der Weiss Kunig, Eine Erzehlung von den Thaten Kaiser 
 Maximilian des Ersten. Von Marx Treitzsaurwein auf dessen 
 Angeben zusammengetragen, nebst den von Hannsen Burgmair 
 dazu verfertigten holzschnitten. Herausgegeben aus dem 
 Manuscripte der Kaiserl. Konigl. Hofbibliothek. 
 
 With the series of 237 woodcuts printed from the original 
 blocks. And copies by Johannes Schratt (published by Tross, 
 1869), from the impressions in the Imperial Library at Vienna 
 of eight of the thirteen missing blocks, inserted. 
 Wien, auf Kosten Joseph Kurzbockens, 1775. 
 Folio, old mottled calf. 
 
 Kaiser Maximilians I. Triumph. Le Triomphe de I'Empereur 
 Maximilien I. En une suite de cent trente cinq planches 
 gravies en bois, d'apres les desseins de Hans Burgmair, accom- 
 pagndes de I'ancienne description dictee par I'Empereur a son 
 Secretaire Marc Treitzsaurwein. 
 
 Imprime aViennechez Matthias Andre Schmidt, Imprimeur 
 de la Cour, et se trouve a Londres chez J. Edwards, Pall Mall, 
 1796. 
 
 Large folio, brown morocco. 
 
 Images de Saints et Saintes. Issus de la famiUe de I'Empereur 
 Maximilien I. En une suite de cent dix neuf planches gravees 
 
Hans Burkmair. 
 
 177 
 
 en bois par differens graveurs, d'apres les dessins dc Hans 
 Burgmaier. 
 
 A Vienne, chez F. X. Stockl, Marchand d'Estampes. Imprime 
 chez la Veuve Albert!, 1799. 
 Folio, nnbo7ind. 
 
 Impressions taken from the blocks preserved in the Imperial Library 
 at Vienna. They were engraved in 15 1 7-18 ; the dates and the names 
 of the engravers of them are vcritten in ink on the back of the blocks. 
 
 Franciscus Petrarcha. Von der Artzney bayder Gluck des 
 guten und widerwertigen. Aus dem Lateinischen in das 
 Teiitsch gezogen. Mit kiinstlichen fyguren durch aus gantz 
 lustig und schon gezyeret. Das erst Buch Francisci Petrarche 
 von der Artzney des Gutten Gliicks. Das ander Buch Francisci 
 Petrarche vo des Artzney des boscn Gliicks. 
 
 With woodcut titles, and illustrations throughout the text of 
 each part. 
 
 Gedruckt und volendet in der Keyserlichen Statt Augspurg 
 durch Heynrichen Steyner Am ix. tag Februarii, im jar 
 MDXXXII. 
 
 First edition, folio, red morocco. 
 
 Of the woodcut at the back of the title to the second part, " Des bosen 
 Gliicks," a facsimile, sHghtly reduced, is annexed. 
 
 In the collection of the Duke of Devonshire there is a coloured draw- 
 ing in distemper, similar in design to the frontispiece, ascribed to Hol- 
 bein, with his monogram and the arms of the city of Bale, dated 1533. 
 
 N 
 
HANS SCHAEUFLEIN, 
 
 Painter and Wood-engraver : born at Nuremberg, 1490; 
 
 died there, i54o. 
 
 ARLY in life Hans Schaeuflein, the 
 son of a merchant at Nuremberg, 
 entered into the school of Albert 
 Durer, where for some time he 
 continued helping his master in his 
 painting operations. By his own 
 hand there are several pictures in 
 the Munich and Berlin galleries. 
 Numerous books published at 
 Augsburg and elsewhere were 
 illustrated with woodcuts after his 
 designs, those for the Tewrdannck 
 made for the Emperor Maximilian being the most important. 
 
 Bartsch, vii. 244 ; Passavant, iii. 227, 
 
 Speculum Passionis Domini nostri Ihesu Christi (34). 
 
 Per doctorem udalricu Pinder couexu et in civitate impiali 
 Nurenbergen bene visum et impressum finit feliciter. Anno 
 salutifere incarnationis MCCCCCVII. 
 
 Illustrated with thirty-four woodcuts, five being repeated, 
 the size of the page. Two of them, — our Saviour with his 
 disciples proceeding to the Garden of Gethsemane in the style 
 of Albert Durer, and the Crucifixion with the two thieves, 
 larger in size, are by other artists. The block for the latter had 
 been used for the Gartes rosenkmntz Marie, printed at Nurem- 
 berg 1 505. With the book-plate of the Carmelite Convent at 
 Ratisbon. 
 
 Folio, impressed calf. 
 
 The Ecce Homo, surrounded by a border (41), 
 
 Der geuerlicheiten und einsteils der geschichten des 
 loblichen streytparen und hochberumbten helds 
 
 UND RiTTERS HERZ TEWRDANNCKHS. 
 
 Gedruckt in der Kayserlichen Stat Nurnberg durch den 
 
Urse Graf. 
 
 179 
 
 Eltern Hannsen Schonsperger Burger zu Augsburg (132). 
 (Anno Domini Tausent funft hundert unnd im sybentzehenden 
 Jar.) 
 
 First edition, Nuremberg ; large copy on thick paper. 
 Folio, bound in brozvn morocco. 
 
 We learn from the correspondence of Dr. Pentinger with 
 the Emperor that the series of 118 woodcuts illustrating the 
 Tewrdannck, after the designs of Hans Schaeuflein and Hans 
 Burgmair, were engraved by Jost de Necker and Schonsperger, 
 
 Das Plenarium oder Ewagely buoch. Summer und Winter 
 Teyl {Pass. iii. 428). 
 
 Illustrated with large woodcuts of the Nativity, Adoration 
 of the Magi, Crucifixion, Resurrection, and the Descent of the 
 Holy Ghost ; the four first having the monogram of Hans 
 Schaeuflein, on that of the Crucifixion there being the mono- 
 gram H. F. {Bartsch, vii. p. 252, 30). With a small series of 
 woodcuts without monogram, interspersed in the text, of 
 incidents of the life of our Saviour, by Hans Schaeuflein, and 
 another smaller series of similar incidents by Urse Graf, with 
 his monogram {Bartsch, vii. p. 460). The ornamental border 
 of the title has also the monogram of Urse Graf. 
 
 Gedruckt durch den fiirsichtige Adam Petri von Langendorff 
 burger zu Basel. In de iar do man zalt nach Christi unsers 
 herren geburt Tausent fiinff hundert vierzehen iar (15 14). 
 Folio, old stamped calf. 
 
 URSE GRAF, 
 Metal-worker and Engraver at Bale, circa 1520. 
 Bartsch, vii. 456 ; Passavant, iii. 425. 
 
 Passionis Christi, unum ex quatuor evangelistis textum 
 {Pass. ii. p. 140). Ringmannus Philesius ad lec. 
 
 Illustrated with the series of twenty-four woodcuts (2). At 
 the end is the figure of our Saviour, with the emblems of his 
 Passion, standing by the tomb. Passavant considers them to be 
 by Urs Gemberlein. 
 
 Joannes Knoblouchus imprimebat Argen. 
 Folio, blue morocco. 
 
I So The German School of Engraving. 
 
 JEROME BOSCH (AGNEN), 
 
 Painter and Engraver: born 1470; died 1518. 
 
 Bartscli, vi. 354 ; Passavant, ii. 284. 
 
 The Temptation of S. Anthony, dated 1522 [Pass. 2). 
 Engraved on wood, after his own design. 
 
 JOHANN WECHTLIN DE STRASBURG, 
 Painter and Engraver at Strasburg, circa 1500. 
 
 THE engraver designated by Bartsch as Jean Ulric Pilgrim, from 
 researches made at Bale, has, according to Passavant, been 
 discovered to be Johann Wechtlin. The name frequently occurs in 
 the archives of the city of Strasburg. 
 
 Barisch, vii. 449 ; Passavaitt, iii. 327. 
 
 Das leben Jesu Christi gezogen auss den vier Evange- 
 
 LISTEN. 
 
 On the back of the title are some verses, with the initials at 
 the foot I. S. A. ; the first letters of each succeeding line of 
 the verses form the name of the author, "Joannes Scotus 
 Argentinensis." Illustrated with a series of thirty-seven wood- 
 cuts of the Life and Passion of our Saviour. The title-page is 
 by Urse Graf, and five of the woodcut series of the Passion by 
 him are inserted in the volume. 
 
 Gedruckt zu Strossburg durch Johannem Knobloiich in dem 
 iar do man zalt MDViii. Nach Sant Bartholomeus tag. 
 Folio, red morocco. 
 
HANS HOLBEIN. 
 
HANS HOLBEIN, 
 
 Painter and Wood-engraver: born at Augsburg, 1494; 
 DIED IN London, 1543. 
 
 ANS Holbein the younger was born at Augs- 
 burg, 1494-5 > the son of an artist of consider- 
 able talent, many of whose paintings are in the 
 Museum of the city. On the death of his 
 first wife, Hans Holbein the father, according 
 to Von Stetten, married the daughter of Hans 
 Burkmair,with whom he was closely associated. 
 Of this second marriage, Hans the eldest child was, from his early 
 youth, educated in his father's studio. The family, it has been 
 stated, removed to Bale in 1516; but beyond his numerous draw- 
 ings in the Museum, no record exists of the father's residence there, 
 and his death is registered in the Painters' Book at Augsburg in 
 1524. It is clearly ascertained that Hans the son, accompanied by 
 Ambrose his stepbrother (by his father's first wife), went to Bale in 
 the autumn of 1516, — his portraits of the burgomaster Jacob Meier 
 and his wife in the Museum of the city having upon them the date 
 1 5 16, — and that he did not leave Augsburg before the month of 
 June in the same year is proved by his crayon drawing, in the 
 Imhof collection at Berlin, of the bride of Ulrich Fugger of Augs- 
 burg, who was married there on the loth June 15 16. At Bale is 
 his masterly pen-drawing of the Sale of Indulgences in 15 17 by 
 John Tetzel. The rare wood-engraving from it is ascribed to Hans 
 Lutzelburger, as also the other oblong woodcut, its companion, 
 known as the " Christus vera lux," with our Saviour in the centre 
 attracting the crowd of penitents on the left to the emblematical 
 " vera lux" burning before him, and the group of priest-clad recu- 
 sants on the right retreating towards the gulf open to receive 
 them. 
 
 The history of the life and art career of Holbein is narrated in 
 Some Accoimt of the Life and Works of Hans Holbein, Painter of 
 Augsburg, by R. N. Wornum (8vo, London, 1867) ; and in Holbein 
 und seine Zeit, by Dr. Alfred Woltmann (Leipzig, 1866-68). From 
 
1 82 The German School of Engraving. 
 
 them we learn his association with the development of wood-engrav- 
 ing, which early in the sixteenth century rapidly attained such high 
 excellence and importance under the patronage of the Emperor 
 Maximilian. Passavant, in the third volume of Le Peintre Graveur, 
 and A. F. Didot, in his Essai sur VHistoire de la Gravure sur Bois 
 (8vo, Paris, 1863), give descriptions of the different woodcuts attri- 
 buted to Holbein and his brother Ambrose, and of the title-pages 
 and various compositions after their designs, arranged by Passavant 
 according to subject, and by Didot chronologically. Dr. Woltmann, 
 differing in many respects from the last-named writers, in a revised 
 edition of his book, printed at Leipzig in 1874-76, catalogues all the 
 works of Holbein, adopting that of Passavant for the woodcuts, with 
 alterations in the order of their arrangement, and enlarged by addi- 
 tions and critical remarks. 
 
 The brothers were evidently attracted to Bale through the pro- 
 spect of employment by the distinguished printer Froben in the 
 illustration of his publications, the application of engraving for the 
 purpose having then become so popular. Froben succeeded to the 
 business of the Amerbachs, the printers of theological works, they 
 having invited him to join them ; and attained deserved celebrity 
 by editing and publishing in 15 16 a complete edition of the writings 
 of S. Jerome in several folio volumes. On Holbein's arrival in the 
 city, being of the same age as Bonifacius Amerbach, the friend of 
 Erasmus, he became intimate with him, subsequently painting his 
 portrait, dated 14th October 15 19. The collection of Holbein's 
 works accumulated by Amerbach, with evident appreciation of his 
 friend's talent, is in the Bale Museum. 
 
 The humorous marginal illustrations by Holbein to the " StvltitijE 
 Lavs," one of them being a sketch of its author in his study 
 playing the hurdygurdy, and Erasmus's retaliation in inscribing the 
 name of Holbein over the figure of the glutton at table, " nitidus 
 epicuri de grege porcus," show the terms of familiarity existing 
 between the scholar and the artist. The treatise had been written 
 by Erasmus to wile away the hours of a sickness he was invalided 
 with at Sir Thomas More's house. Patinus, in the short memoir of 
 Holbein's life prefixed to his octavo edition in 1676 of the Stultiticz 
 Lmis, illustrated with engravings by Merian of these marginal 
 drawings, quotes the latter part of the story, and thence infers that 
 Holbein was reduced to the lowest state of poverty, " quam et 
 mores inconditi et nimius vini amor adauxit ;" but the inference is 
 a groundless calumny, there being no foundation for it. 
 The first title-page made for Froben, representing Mutius Scsevola 
 
Hans Holbein. 
 
 ■83 
 
 and Porsenna, trophies being on the sides and a group of children 
 at the top, designed for ALnecB Platonici Dialogus de Imrnortalitate 
 Animce, with the monogram H. H. on the left side, was printed at 
 the end of 1 516. In the following year appeared the title-border, 
 with the subject of Calumny dragging Innocence before Midas, 
 and at the top the battle of Arminius and Quintilius Varus, having 
 Ambrose Holbein's monogram A. H. and the date 1517- In that 
 same year several other ornamental frontispieces were executed, 
 especially the interesting one of groups of children in an archi- 
 tectural border, with Froben's device on a shield at the foot, 
 and " HANS, HOLE" engraved on scrolls on either side at the 
 top. 
 
 In 1 5 18 Froben published the Utopia of Sir Thomas More, using 
 the last-mentioned architectural border for the first leaf of sheet C, 
 and another for the title, of rich arabesque design, with the face of our 
 Saviour on a shield held by two angels at the top, and at the bottom 
 the subject of Lucretia stabbing herself in the presence of her 
 husband. This treatment of the story of Lucretia was repeated for 
 the fresco soon afterwards painted by Hans Holbein on the fagade 
 of Jacob van Herstentein's house at Lucerne, unfortunately demol- 
 ished in 1824. On the twelfth page of the book there is a repre- 
 sentation of the Island of Utopia, where yEgidius is on the lower 
 right-hand corner, and on the left Sir Thomas More, and Hythlo- 
 daeus describing his discovery, a ship being moored immediately 
 beyond them. Sir Thomas More's explanation was that he received 
 the account of the Kingdom of Utopia whilst on a diplomatic 
 mission to Antwerp, from a companion (Hythlodaeus) of the navi- 
 gator Amerigo Vespucci, whom he met in company with his friend 
 Peter Gilles (.^gidius). At the head of the text, on the twenty- 
 fifth page, is a representation, of Hythlodseus seated with .^gidius 
 and Sir Thomas More, in his garden, " on a bench covered with 
 green turves," More's son John Clemens approaching on the left, to 
 whom Hythlodaeus is narrating his adventures. 
 
 In 1 5 19 Adam Petri printed in folio " Niiwe Stattrachten und 
 Statuten der loblichen Statt Friburg im Prysgaw gelegen, gedruckt 
 von Adam Petri 15 19," the first page having the arms of the city 
 with two lions for supporters. On the reverse is a large woodcut, 
 occupying the entire page, of the Madonna with the infant Saviour 
 in her arms, seated on a throne under a canopy, S. George holding 
 his banner, standing on the left, and on the right Bishop Lambertus 
 with his crosier, the composition surrounded by an architectural 
 border. The monogram H. H. is at the left-hand corner of the 
 
184 The German School of Engraving. 
 
 dai's. The looped festoons, suspended across the top of the arch, 
 accord with the treatment so frequently occurring in Holbein's 
 bistre drawings for glass-painting. The design has much affinity 
 with the Correggio altar-piece at Dresden, and is similar to that 
 ascribed to Holbein in the church of Renchen, near Solothurn, 
 discovered by Herr Jetter, and restored by Herr A. Eigner, the 
 keeper of the Gallery of Paintings at Augsburg. 
 
 The illustrations to the Utopia, and the altar-piece in Adam 
 Petri's book, were most probably cut in the wood by Hans Holbein. 
 Notwithstanding their crudeness of execution, evidently that of an 
 unpractised hand, the above-named woodcuts have all his charac- 
 teristic drawing and manner. But he thenceforth abandoned the 
 attempt to follow the mechanical occupation of wood-engraving, 
 his talent affording him far more profitable and congenial employ- 
 ment. The numerous title-pages, issued during succeeding years 
 after his designs and classified under his name, are, some few of 
 them, by his brother Ambrose, but the greater proportion by Hans 
 Lutzelburger, and the artist using the monogram I. F., and other 
 unknown engravers. 
 
 Of " Hans Lutzelburger, Formschnider genant Franck," we have 
 no particulars, beyond the fact that members of the family are 
 enrolled on the registers in Bale and Colmar. The name is so 
 printed in full beneath a woodcut of the fight of naked men in a 
 wood, dated 1522, and also beneath a set of initial letters, with 
 Death subjects, on one sheet. The engravings attributed to him 
 have great precision and beauty of outline, accompanied with 
 thorough knowledge of drawing. Those of the unknown artist I. F. 
 are likewise executed with delicacy and distinctness, in many 
 instances closely approaching the workmanship of Lutzelburger, 
 although less artistic in drawing. He is the engraver of the clever 
 composition of the Peasants' Dance and the Chase after the Fox. 
 But the cutting, being in relief upon some soft metal, soon wore 
 down, and the clearness is lost except in early impressions. 
 
 Dr. Woltmann, referring to Froben the printer, attributes to him 
 the monogram L F. from his designation of "calcographus" — a 
 designation he received from his being a type-caster as well as 
 printer, and supplying the printers with their types. Erasmus enthu- 
 siastically eulogises his learning ; and he could scarcely have found 
 time or inclination, in the midst of his onerous duties of editing and 
 printing the abstruse theological works issued from his press, for the 
 making decorative designs for the title-pages of his books. He was 
 sixty years of age in 1520, and too advanced in life to have been so 
 
Hans Holbein. 
 
 occupied, ^here is an initial letter N having the monogram I. F. 
 and the year 1520 upon it. Froben died in 1527. Didot (p. 230) 
 also considered the I. F. affixed to many of the plates in Froben's 
 publications, all of which apparently are of metal, to be his mono- 
 gram. But, according to the most probable interpretation, it is that 
 of Ian (Hans) Franck, who was one of the engravers of Burkmair's 
 Triumphal Procession of the Emperor Maximilian. 
 
 The first series of Bible illustrations Holbein's name is identified 
 with, is that of the twenty-one woodcuts to the Apocalypse of the 
 New Testament, " Das newe Testament yetz Klarlich auss dem 
 rechten grundt Teutsch," printed by Henri Petri in 1523. In 1525 
 Thomas Wolff published another Testament in German ; and in the 
 same year a French edition of it with the translation of Le Fevre 
 d'Estaple, both illustrated with impressions from the last-named 
 blocks. We find them again used for the illustration of the Apoca- 
 lypse of the first edition of the folio German Bible, printed by 
 Christoffel Froschover at Zurich in 1531. They are manifestly from 
 the drawings of Holbein, copied materially after the fifteen woodcuts 
 by Albert Durer, so popular throughout Germany since their first 
 publication in 1498, Holbein adding six other subjects, raising the 
 number to twenty-one, all of them adapted from the Albert Durer 
 series. The German Testament was prefaced by a title-page, en- 
 graved by Lutzelburger, with the monogram " H. L. Fur." in the 
 lower left-hand corner. The Death initial letters embodied in 
 the text of the Testament, impressions of some few of which are 
 likewise found in the first edition of the Froschover Bible, were 
 cut by Lutzelburger, there being prints of the alphabet on one 
 sheet in the Museums at Bale and Dresden, with the inscrip- 
 tion at the foot, " Hans Lutzelburger, Formschnider genant 
 Franck." 
 
 A large proportion of the illustrations of the Old Testament, so 
 well known as the " Icones Veteris Testamenti," must have been 
 drawn by Holbein prior to 1531. The first engravings from them, or 
 rather of sixty-five out of the eighty-eight of the series, are found 
 amongst the numerous woodcuts by various hands, interspersed in 
 the text of the above-named Bible printed in that year, a subse- 
 quent edition of it having appeared in 1536. The remaining twenty- 
 three, comprising many of the most spirited of the " Icones," are 
 not in the Bible ; but in their stead, especially of the Destruction of 
 Pharaoh's host (12), Ruth in Boaz's field (31), David killing Goliath 
 (34), the Taking away the Treasures of the Temple (55), and the 
 Destruction of the Assyrian host (56), there are inferior designs of 
 
 
 
1 86 The German School of Engraving. 
 
 the same incidents, thus palpably affording prima facie evidence 
 that the additional designs were drawn by Holbein, certainly sub- 
 sequent to the first publication of the Bible of 1531, if not of the 
 second in 1536. 
 
 The series of the ninety-two woodcuts of the " Icones Biblicse" 
 (the four preliminary cuts from " Les Simulachres de la Mort" 
 making up the number) appeared in 1538, in their publication at 
 Lyons in that year, by the brothers Melchior and Gaspar Trechsel, 
 with the title, " Historiarum veteris Instrumenti icones ad vivum 
 expressse," a second edition being issued by the same printers in the 
 following year. Many are of inferior execution, but the greater 
 proportion are beautiful specimens of wood-engraving, both in their 
 sharpness of cutting, and in the perfect gradation of perspective 
 and drawing wherewith in so small a space each subject is delineated. 
 From their resemblance in style with "Les Simulachres et Histori^es 
 Faces de la Mort" and numerous other contemporary wood-engrav- 
 ings ascribed, from the like similarity, to Lutzelburger, they are 
 generally considered to have been engraved by him. 
 
 " Les Simulachres" was published by the brothers Trechsel at 
 Lyons in the same year, 1 538. In the preface there is an expression 
 of regret at the death of the " Imaginier," regarded as referring to 
 Lutzelburger. Such also was the opinion of Dr. Woltmann in the 
 first edition of his work. Whilst engaged in making researches 
 amongst the archives of the city of Bale, being employed upon 
 them with the view of obtaining information for Dr. Woltmann, Dr. 
 Edouard His discovered some entries, under the year 1526, relating 
 to Melchior Trechsel of Lyons having given bail, in case other 
 demand should be made, respecting the delivery to him of some 
 woodblocks (" Formen") of a deceased master woodcutter, the name 
 not being given ; and a further entry in the same year of certain 
 claimants against the goods of " Hans," a woodcutter deceased, the 
 name of Melchior Trechsel of Lyons for seventeen gulden being 
 amongst them. The results of Dr. His's researches were published 
 by him in an article in the Gazette des Beaux Arts for December 
 1 87 1, and they were embodied by Dr. Woltmann in the revised 
 edition of his book, which he had materially altered and rewritten, 
 the inference drawn being that the " Hans" in question was Lutzel- 
 burger ; and that consequently, from his having died prior to or in 
 1526, all the woodcuts engraved by him must have been so previous 
 to that year. This argument would materially unsettle the question 
 as to the engraver of many of the subjects of the " Icones," the 
 previously named omissions of the most important of the series 
 
Halts Holbein. 
 
 187 
 
 from the Froschover Bible of 1531 proving that the drawings for 
 these omitted cuts had not then been made by Holbein, and 
 consequently that the alleged engraving of them by Lutzelburger, 
 prior to or in 1526, or even prior to 1 53 1, must be erroneous. 
 
 Contemporaneously with the issue of the " Icones" by the 
 Trechsels, they likewise printed at Lyons in the same year, 1538, 
 a folio Latin Bible, illustrated with impressions from the same 
 blocks, with one, at the commencement, of the Fall of Adam and 
 Eve, oblong in form like those of the " Icones." A woodcut from 
 the design is at the beginning of the Froschover Bible, of which a 
 facsimile is printed at the foot of page 126. 
 
 The engravings throughout "Les Simulachres" are generally 
 regarded as the work of Lutzelburger. The monogram H. L. is on 
 the subject of the Duchess. From the designation in German over 
 each of the forty impressions before the letterpress, it is evident 
 that, prior to the blocks coming into the possession of the Trechsels, 
 other use of them had been intended, than their publication in illus- 
 tration of the French treatise with which they first were issued. The 
 cut of the Astronomer, not included amongst these proofs, is in the 
 first published edition of 1538. In a subsequent edition, printed by 
 the Frellons, also at Lyons, who had succeeded to the business of 
 the Trechsels, twelve more cuts appeared, four of them of children. 
 And in a later one, the seventh, in 1562, the number was increased 
 by eight others. After this no further additions were made. 
 
 The question as to the Dance of Death and the Bible pictures 
 has been investigated by the different writers upon Holbein before 
 mentioned. The passage in the preface to the edition of 1538 of 
 the Dance of Death, " tres grandement vient a regretter la mort de 
 celuy qui nous en a icy imagine si elegantes figures," so frequently 
 considered to refer to the death of Holbein, but whose death did 
 not occur until 1543, is held by Didot to allude to the "Imagier" 
 or " Imaginier" by whom the woodblocks were engraved. He gives 
 a quotation from Ducange's Glossary as to the word " imaginier," 
 that it must be interpreted as the sculptor of the work. The lament 
 in question, so strongly expressed, considered to have reference to 
 Lutzelburger as the engraver of the woodcuts, must be abandoned, 
 if Dr. Woltmann's assumption of his death prior to or in 1526 is 
 correct ; for it can scarcely be deemed as applying to a then com- 
 paratively unknown woodcutter, who had been dead upwards of 
 eleven years. 
 
 Contemporary confirmation of the Dance of Death and the Bible 
 cuts having been engraved from drawings by Holbein is given by 
 
1 88 The German School of Engraving. 
 
 the poet Bourbon de Vandoeuvre, in the verses in the edition of his 
 poems printed at Lyons in 1538, with his portrait prefixed : 
 
 " Dum mortis Hansus pictor imaginem exprimit 
 Tanta arte mortem rettulit, ut mors vivere 
 Videatur ipsa ; et ipse se immortalibus 
 Parem Diis fecerit operis hujus gloria." 
 
 And by his verses prefixed to the second edition of the " Icones" 
 (Lyons, 1539): 
 
 " Cernere vis, hospes, simulacra simillima vivis 
 Hoc opus Holbin^ nobile cerne manus.' 
 
 The two frontispieces to the Froschover Bible, printed in black 
 and red, are amongst the interesting title-pages designed by Hol- 
 bein : the first is surrounded with twelve subjects of the Creation 
 and the Fall of Man ; the second, with incidents in the life of S. 
 Paul. There were no illustrations of the New Testament in the 
 first edition of this Bible, but for the Apocalypse the blocks cut for 
 the Testament of 1523 were again used. To a later edition, 1545, 
 of the Bible were added a series of illustrations of the four Gospels, 
 and reduced copies of those of the Apocalypse. Jackson, in his 
 treatise on wood-engraving, at the end of a long notice of the works 
 of Holbein, gives a copy of the cut of the genealogy of our Saviour 
 from the New Testament compositions, ascribing it (p. 458) to 
 Holbein. But the whole of the series, designed and engraved 
 throughout by one hand, is feeble in design and execution, and has 
 no analogy with the work of Holbein ; the reduced copies of the 
 Apocalypse cuts, although dwarfed in size, retain the characteristic 
 drawing of the originals. 
 
 Holbein remained a citizen of Bale, being employed there and in 
 the neighbourhood until 1526, during which period he executed 
 some pictures for the church of Lucerne, and decorated the walls 
 of the house of Jacob von Hertenstein, as before mentioned. He 
 likewise made numerous designs for glass-painting, and amongst 
 some few of them in England a drawing of the Annunciation is in 
 this collection, of which a reduced facsimile faces the commencement 
 of this notice. In 1526, at the end of the year, on the instigation of 
 Erasmus, and furnished by him with letters to Sir Thomas More, an 
 acquaintance with whom had originated on the occasion of his 
 illustrating the Utopia, Holbein went to England. The plague 
 then raging in the town may have hastened his departure from 
 Bale. He continued to reside in London until his return to Bale in 
 the autumn of 1529, remaining there up to 1531, during which 
 
Ambrose Holbein. 
 
 189 
 
 period he most probably made the drawings for the Old Testament 
 illustrations, or at any rate such of them as first appeared in print 
 in the Froschover Bible of 1531. In 1531 he went backto London. 
 He paid another and his last visit of only a few weeks to Bale in 
 1538, and thenceforth took up his abode in London. In 1539 he 
 was sent to Cleves by Cromwell, and painted the Lady Anne, the 
 daughter of the Duke, and was lucky to be saved from the fate of 
 his patron immediately following that lady's marriage, which the 
 artist's portrait had perhaps helped to bring about. He continued 
 to reside in London until his death in the parish of S. Andrew 
 Undershaft, in the month of November 1543, a victim ultimately to 
 the plague he had hurriedly escaped from in 1526. 
 
 Passavant, iii. 353. 
 
 The Patron Saints of the Town of Fribourg ; the Madonna 
 with the infant Saviour enthroned in the centre. The mono- 
 gram H. H. is on the dais on the left (26). 
 
 De Optimo Reip. statu, Deque nova insula Utopia libellus 
 vere aureus clarissimi disertissimiq^ viri Thomse Mori inclytse 
 civitatis Londinensis civis et vicecomitis. Epigrammata Thomae 
 Mori. Epigrammata Des. Erasmi Roterodami. 
 
 With the two woodcuts (39, 40) and the two titles (92, 103), 
 the second having " HANS, HOLE" on either side at the top. 
 The border with the subject of Mutius Scevola (91) is on the 
 frontispiece to the Epigrams of Sir Thomas More, and the 
 border with the beheading of S. John the Baptist is on the 
 frontispiece to the Epigrams of Erasmus. 
 Basiliae, apud Jo. Frobenium mense Martio An. MDXVlll. 
 Quarto, olive morocco. 
 
 AMBROSE HOLBEIN. 
 
 Passavant, iii. 421. 
 
 The Calumny of Apelles. Title-page to the works of Tacitus. 
 With the monogram A. H., dated 15 17 (i). 
 
 Hercules Gallicus. Title-page to the works of Isocrates. 
 With the monogram H. F. (2). 
 
 Imago vit/E AuliCvE. Title-page to the Apologia of Erasmus (3). 
 
190 The German School of Engraving. 
 
 HANS LUTZELBURGER. 
 
 Passavant, \\\. 445. 
 
 The Dance of Death. After the designs of Holbein (p. 365). The 
 subject of the Duchess has the monogram H. L. 
 
 Proof impressions before the letter-press, wanting the first 
 two of the Creation and the Fall of Man. 
 
 With an impression, before the letter-press, of the woodcut 
 of Death and the soldier, one of the twelve additional illustra- 
 tions first printed in the edition of the " Imagines Mortis" of 
 1547- 
 
 Mounted in a volume. 
 
 Les Simulachres et Historiees Faces de la Mort. A Lyon 
 Soubz I'escu de Coloigne. 
 Illustrated with forty-one woodcuts. 
 
 Excudebant Lugduni Melchior et Caspar Trechsel Fratres 
 1538. 
 
 First edition, quarto, broivn morocco, by Baiizonnet. 
 
 Imagines Mortis. Duodecim Imaginibus prseter priores. Lug- 
 duni sub scuto Coloniensi. 
 Illustrated with fifty-three woodcuts. 
 Lugduni, excudebat Joannes Frellonius, 1547. 
 Fifth edition, small quarto, ornamented green calf, by Kalthoeber. 
 
 HiSTORIARUM VETERIS INSTRUMENTI ICONES ADVIVUM EX- 
 PRESS^ (p. 359). Lugduni sub scuto Coloniensi. 
 Illustrated with ninety-two woodcuts. 
 
 Excudebant Lugduni Melchior et Caspar Trechsel Fratres, 
 1538. 
 
 First edition, quarto, maroon morocco. 
 
 IcONES HiSTORIARUM VETERIS TeSTAMENTI. Lugduni, apud 
 Joannem Frellonium. 
 Illustrated with ninety-four woodcuts. 
 Lugduni, excudebat Joannes Frellonius, 1547. 
 The first of two p-ublications in 1547. For the second the 
 
Hans Franck — /. F. 
 
 191 
 
 blocks were plugged and restored where broken, the prints 
 being heavier and uniform in colour throughout. Several of the 
 verses at the foot were altered, and errors corrected. 
 Fifth edition, quarto, brown morocco. 
 
 The Images of the Old Testament lately expressed, set forthe 
 in Ynglishe and Frenche, vuith a playn and brief exposition. 
 Illustrated with ninety-four woodcuts. 
 
 Printed at Lyons by Johan Frellon, the yerc of our Lord 
 God, 1549. 
 
 The sixth edition, quarto, blue morocco, by Bauzonnet. 
 
 Frontispiece to " Das New Testament," printed by Adam 
 Petri at Bale, 1525. SS. Peter and Paul at the sides, with 
 emblems of the Evangelists in the four corners (73). 
 
 Portrait of Erasmus (57). 
 
 First state, with two lines of verse. 
 
 The Battle of naked Men in a Wood (2). 
 Wanting the inscription at the foot. 
 
 HANS FRANCK-LF. 
 
 The Sending forth the Apostles to preach the Gospel. 
 " Ite in mundum universum." The Trinity in a glory of angels 
 at the top, and emblems of the four Evangelists at the sides. 
 With the monogram I. F. (75). 
 The original plate is preserved at Bale. 
 
 Homer crowned by Calliope, the other Muses attendant in 
 groups. On either side, portraits with their names on scrolls, 
 of philosophers and writers. King Solomon being in the centre 
 at the top. With the monogram I. F. (97). 
 
 The Chase of the Fox (99) and The Peasants' Dance (100). 
 Columns on the sides entwined with fruit-branches and climb- 
 ing children. 
 
 A facsimile of this border is used/or the title to the notice of the 
 works of Holbein. 
 
192 The German School of Engraving. 
 
 Die gantz Bibel. 
 
 Illustrated with two woodcut title-pages, printed in black 
 and red, after the designs of Holbein : the first with twelve 
 subjects of the Creation and the Fall of Man ; the second with 
 events in the life of S. Paul. The text of the Old Testament is 
 illustrated with woodcuts — a great proportion of them from the 
 designs of Holbein ; and that of the Apocalypse of the New 
 Testament, with impressions from the twenty-one woodblocks 
 cut from the designs of Holbein for the New Testament of 
 Adam Petri of 1523. 
 
 Getruckt und voUendet zu Zurich bey Christoffel Froschover 
 
 am xii. tag Meyens in dem jar do man zelt MDXXXI. 
 
 The colophon is of the first part, there being none at the end. 
 
 First edition, folio, old ijnpressed velbiiii, with clasps. 
 
 A reduced facsimile of the first of these frontispieces is used as a title 
 to the German School of Engraving. 
 
 The Woodcuts in the Froschover Bible, cut from a copy of 
 the edition of 1545, arranged with those of the " Icones Biblicse" 
 of the English and French edition of 1549. With the series 
 of woodcuts to the New Testament, taken from the 1 545 edition 
 of the Froschover Bible, followed by reduced copies of the 
 twenty-one Apocalypse illustrations. 
 Mou)ited and hound in a folio volume, Jialf green morocco. 
 
 A Series of Title-pages, Initial Letters, Alphabets, and 
 VARIOUS Woodcuts, after the designs of Holbein. 
 Arranged in a portfolio. 
 
 IVIQPIAS EFKiiMION. Stultitia; Laus Des. Erasmi Rot. Declama- 
 tio, cum commentariis Ger. Listrii et figuris Jo. Holbenii. 
 
 With portrait of Erasmus and two of Holbein, and engraved 
 title by Caspar Merian after a design of Holbein. 
 
 Illustrated with engravings of the 83 designs drawn by Hol- 
 bein in the margins of the copy at Bale of the work printed 
 by Froben in 15 14. Basilese, Typis Genathianis, MDCLXXVI. 
 Octavo, calf. 
 
 MoRi/E Encomium, or a Panegyrick upon Folly. 
 
 Illustrated with rude engravings imitated from the prints in 
 the Bale edition, and a portrait of Erasmus by Sturt. 
 London: C.J. Woodward, 1709. 
 Octavo, calf. 
 
Lucas yacobs van Leyden. 
 
 193 
 
 OuvRE DE Jean Holbein, ou recueil de gravures d'apres ses 
 plus beaux ouvrages. Par Chretien de Mechel. A Basle chez 
 I'Auteur, mdcclxxx. 
 
 IcoNES Veteris Testamenti. 
 
 Illustrations of the Old Testament, engraved on wood, from 
 designs by Hans Holbein (by John and Mary Byfield). 
 
 With an introduction by Thomas Frognall Dibdin (London : 
 Pickering, 1830). 
 Octavo, half morocco. 
 
 Holbein's Dance of Death. 
 
 With an historical and literary introduction, and copies of 
 the fifty-three woodcuts (London : John Russell Smith, 1849). 
 Octavo, cloth. 
 
 LUCAS JACOBS VAN LEYDEN, 
 
 Painter and Engraver: born at Leyden, 1494; 
 DIED there, 1533. 
 
 1 
 
 PIP 
 
 UCAS van LeYDEN'S his- 
 tory, from its commence- 
 ment until the moment of 
 its close, would read as 
 bordering on the imagina- 
 tive, were not the incidents 
 preserved to us authentic 
 in their reality. Dutchman 
 by birth, Fleming in his 
 art association, but far more 
 German in style, it is diffi- 
 cult to decide the school 
 he should be classified with. 
 The son of Hugo Jacobs, 
 he was born at Leyden in 
 1494, and commenced his studies under Cornelius Engelbrechtsen. 
 The character of his work is so much in accordance with that of the 
 German artists, that he has very generally been ranked amongst 
 them. The different writers enumerate a long list of his paint- 
 
194 The German School of Engraving. 
 
 ings ; the triptic of the Last Judgment at Leyden, in its importance 
 and the state of its preservation, being the example from which they 
 can best be estimated. 
 
 His earliest efforts were evidently, from the dates upon his 
 engravings, devoted to their production ; the contemporary popu- 
 larity they attained, both in his own country and in Italy, is attested 
 by the notices of them in Albert Durer's letters, and by Marc 
 Antonio's adaptation of some of their beautiful landscape back- 
 grounds to the designs of Michel Angelo and Raphael he was 
 engaged in reproducing. The print of Mahomet and the Monk 
 Sergius was executed when Lucas van Leyden was only fourteen 
 years of age. The date of 1 508 upon it is unquestionable, and in 
 Marc Antonio's print of " Les Grimpeurs," after Michel Angelo, 
 dated 15 10, the background is copied. 
 
 Placed very early in life in a position of independence through 
 his precocious talent, he married in his twenty-first year a daughter 
 of the wealthy family of Boschhuizen of Leyden. His lavish living 
 and fantastic fashion in dress must have astonished the steady 
 burghers of Holland. Having removed to Antwerp, he found him- 
 self in a more genial atmosphere for displaying his vanity ; and in the 
 height of his elation at being chosen a member of the Painters' 
 Guild of S. Luke, he launched out into all the extravagance and 
 dissipation of the gay city, giving numerous public entertainments 
 to the artists, one dinner alone at Middleburg having cost him sixty 
 florins. Albert Durer, in his diary in 1521, writes that Master 
 Lucas, " a little short man," had invited him to dinner ; he further 
 mentions they had exchanged their printed works (Albert Durer 
 valuing his own at eight florins), and that he had taken Lucas van 
 Leyden's portrait. There is a fine chalk-drawing in Lord Warwick's 
 Collection which has all the appearance of being the portrait in 
 question ; on the lower left-hand corner, in later writing, is a large 
 letter L. placed between the numerals, and beneath them may be 
 detected the nearly erased monogram A.D. with the date. In 1527 
 Lucas van Leyden fitted up a sloop, richly furnished at much cost, 
 and started on an expedition through Zeeland, Flanders, and 
 Brabant, the painter Mabuse accompanying him. The voyage was 
 a continued indulgence in luxurious expense ; on one occasion he 
 appeared in a costume of yellow silk, his dissolute companion being 
 in equally gay attire, — probably the celebrated paper-suit painted 
 by him to imitate the silk he had sold, which had been presented to 
 him by the Marquis de Veere for his appearance in at an entertain- 
 ment held in honour of the Emperor Charles V. 
 
Lucas yacobs van Ley den. 
 
 195 
 
 The climate of the canals and swamps of Holland, uncongenial 
 for such a mode of existence, sent Lucas van Leyden home invalided. 
 Poison was alleged as the cause of his illness ; but his constitution, 
 never a strong one, impaired by the course he had been pursuing, sank 
 under the consumption which had set in, and he died in 1533, working 
 with his pencil in bed nearly to the moment when he was summoned 
 away. His only daughter, who married young, presented him with 
 a grandson as his last breath was flitting, the name of Lucas in his 
 honour having been given to the child ; but a pang and a reproach 
 only was elicited, that he would be forgotten and his young suc- 
 cessor alone be thought of 
 
 Amidst the fevered life he led, his hand was never idle, diligently 
 providing the means for the profusion indulged in. His engravings 
 are very numerous, many of them important in elaborateness of 
 detail and talent of conception. No inspiration was derived from 
 the tranquil subjects of the country around him ; his fertile fancy 
 aided him in the representation of the varied incidents of active 
 life he delighted in, grouping his figures with singular vigour and 
 brightness of arrangement. As an artist of dramatic effect he is 
 unrivalled ; his two important prints of Our Saviour shown to the 
 people, and The great Crucifixion, are brilliant specimens of drawing 
 and clever treatment, the due prominence of the principal personages 
 of the scene being distinctly preserved, whilst the various illustra- 
 tive accessories, introduced with happy thoughtfulness of effect 
 and truth of perspective, in no wise interfere with the motive of the 
 composition. Bartsch, vii. 331 ; Passavant, iii. 3. 
 
 The Fall of Adam and Eve (7). 
 
 Susanna and the Elders, dated 1508 (33). 
 
 The Adoration of the Kings of the East, dated 15 13 (37). 
 
 The Repose in Egypt (38). 
 From the Garford Collection. 
 
 The Baptism of our Saviour (40). 
 
 The Raising of Lazarus (42). 
 
 Our Saviour crowned with Thorns, dated 15 19 (69). 
 
 Our Saviour presented to the People, dated 15 10 (71). 
 
196 The German School of Engraving. 
 
 The Crucifixion, dated 15 17 (74). 
 First state, the date in reverse. 
 
 With impressions in the second state, having the date cor- 
 rected, and in the late state, when the plate had been reworked 
 throughout. 
 
 From the Munro Collection. 
 
 The Madonna with the Infant Saviour seated under a 
 Tree, dated 1523 (84). 
 From tJie Hawkins Collection. 
 
 The Holy Family in a Landscape (85). 
 
 Mary Magdalene in the midst of the pleasures of the world 
 (122). 
 
 This is one of the large and most carefully executed of 
 Lucas van Leyden's engravings. Attempt at an explanation 
 of the subject has been unsuccessful. The designation given 
 is that of Bartsch ; Passavant makes no mention of it. 
 
 The Magdalene in the Desert (123). 
 
 Mahomet and the Hermit Sergius, dated 1508 (126). 
 
 Amongst the Cottonian manuscripts in the British Museum 
 
 is one of the Travels of Sir John Mandeville in the East, dated 
 
 1356, from which the following is an extract : 
 
 'And Machomete loved well a gode heremyte that duelled in the 
 desertes, a myle fro Mount Synay, in the weye that men gon fro Arabye 
 toward Calder and toward Ynde, o day iorny fro the zee, wher the mar- 
 chauntes of Yenyse comen often for marchandize. And so often wentc 
 Machomete to this heremyte that alle his men wer wrothe, for he wolde 
 gladly here this heremyte preche, and make his men wake alle nyght ; 
 and therefore his men thoughten to putte the heremyte to deth, and so 
 befell upon a nyght that Machomete was dronken of gode wyn, and he 
 fell on slepe, and his men toke Machomete's sword out of his schethe 
 while he slepte, and therwyth thei slowgh this heremyte, and putte his 
 sword al blody in his schethe agen. And at morne whan he fond the 
 heremyte ded he was fully sory and wroth, and wolde have don his men 
 to deth ; but thei alle withe on accord (said) that he him self had slayn 
 him whan he was dronken, and schewed him his sword al blody, and he 
 trowed that thei hadden seyd soth. And than he cursed the wyn, and al 
 that drynken it. And therfor Sarrazines that be devout drynken never 
 no wyn ; but some drynken it priuyly, for zif thei dronken it openly thei 
 scholde ben reproued.' 
 
 Christian Faith, represented by an undraped woman holding a 
 cross and the emblems of the Eucharist (127). 
 
Dirk van Star. 
 
 197 
 
 lucretia (134). 
 The Pilgrims (149). 
 
 The Milkwoman, with the cowherd and cows, dated 15 10 (158). 
 
 Uylenspiegel (159). 
 
 The first copy, in the style of the original, described by 
 Bartsch. And the copy by Hondius, dated 1644. 
 
 Adam and Eve, a woodcut (i). 
 
 Painter and Engraver in the Netherlands in the 
 early part of the sixteenth century. 
 
 lAUL Behaim, in his MS. catalogue of 1618, calls this unknown 
 
 JL Master Dietrich von Stern ; Passavant, from the style of his 
 work, considers that he was a native of Holland. His elaborately 
 worked engravings, finished v/ith great care, are evidently from his 
 own designs, several of them being highly artistic in their compo- 
 sition. The dates range from 1522 to 1544. 
 
 S. Peter walking on the Sea, dated 1525 (4). 
 From the Haivkins Collection. 
 
 S. Bernard kneeling in Adoration of the Infant Saviour 
 IN the Arms of the Madonna, dated 1524 (8). 
 
 DIRK VAN STAR, 
 
 Bartsch, viii. 26 ; Passavant, iii. 23. 
 
198 
 
 The German School of Engraving. 
 
 LUDWIG KRUG, 
 
 Metal-worker and Engraver of Nuremberg (1500-1560). 
 
 JEAN Neurdorffer, in his notice of the artists of Nuremberg 
 written in 1546, describes Ludwig Krug as the son of Hans 
 Krug, a goldsmith of Nuremberg ; that he was established 
 there in 1523, and died after 1535. 
 
 The Nativity, dated 1516 (i). 
 
 The Madonna suckling the Infant Saviour, seated on a 
 bank in front of a ruined gateway. 
 Undescribed by Bartsch {Pass. 13). 
 
 Our Saviour with his Hands tied ; an attendant angel on 
 either side holding the emblems of the Passion (6). 
 
 Two naked Women, emblematical of life and death (11). 
 
 Bartscli, vii. 535 ; Passavaut, iii. 132. 
 
ALBERT ALTDORFER, 
 Painter and Engraver: born at Ratisbon circa 1480; 
 
 DIED there, 1538. 
 
 LRICH Altdorfer, the 
 reputed father of Albert 
 'Altdorfer, was living at 
 Ratisbon in 1478 : the 
 family is supposed to have 
 come from Altdorf in 
 Switzerland. Recent re- 
 searches in the town re- 
 cords have brought to 
 light interesting particulars 
 of the artist's life. En- 
 rolled a citizen in 1505, a 
 distinction not conferred 
 j until after the attainment 
 of twenty-five years of age, 
 he must] have been born about 1480 ; in 1509 he received an order 
 from the Council to paint a picture for the choir of S. Peter's Church, 
 followed in quick succession by other commissions. The test of his 
 prosperity is gathered from his acquisition, added to by subsequent 
 purchases, of a house with tower and courtyard still remaining, there 
 being preserved in it several of the stone tablets removed from the 
 Jews' synagogue, the demolition of which he was active in promoting. 
 
 Architecture was his main occupation, and the source of the 
 wealth he acqjimulated. Of his few pictures, the most important is 
 that of the fight between Alexander and Darius, painted for the 
 Archduke William of Bavaria in 1529, now in the Munich Gallery. 
 Notwithstanding an abnegation of all the rules of perspective, it i« 
 a masterpiece of clever painting, with its elaborately minute drawing 
 and finish of the countless hordes of figures introduced into the 
 scene. There are some few other pictures at Augsburg, Nurem- 
 berg, and Berlin : his engravings, minute and thin in their treat- 
 ment, and his woodcuts, are quaint and original. More important 
 engagements, however, monopolised his attention : in 15 19 he was 
 
200 The German School of Engraving. 
 
 a member of the outer Council, busy carrying into efifect a decree 
 for the expulsion of the Jews from the city, and the destruction of 
 their synagogue, of which he made two views, one of the interior, 
 and the other of the portico {B. 63-64), both dated 15 19. A church 
 dedicated to the Madonna was erected on the site, and Altdorfer 
 painted some of the frescoes on its walls. His zeal in these matters 
 was followed by his promotion in 1526 to the inner Council, and he 
 was nominated town architect. The numerous buildings he was 
 employed upon could have left but little time for other occupations ; 
 he erected public halls, a wine and meat market, and at the time of 
 his death, in 1538, he was constructing new fortifications — a con- 
 siderable expenditure having been made upon them. By his will, 
 accompanied with an interesting inventory of his effects, he left his 
 property to his brother Ehrard, an artist, and his two sisters and 
 their descendants. His brother Ehrard, jointly with Jacob Binck, 
 illustrated a German Bible, printed at Lubeck in 1533 by Ludwig 
 Dietz {Pass. iv. 45). Bartsch, viii. 41 ; Passavant, iii. 301. 
 
 The Repose in Egypt (5). 
 
 The Crucifixion (7). 
 
 The Infant Saviour (10). 
 
 The Madonna and Children, dated 1507 (15). 
 
 S. Sebastian (23). 
 
 Hercules and a Muse (28). 
 
 Venus and Cupid (33). The composition is engraved by Marc 
 Antonio. 
 
 Dido (42). 
 
 WOODCUTS. 
 The History of the Fall of Man (1-40). 
 The Sacrifice of Abraham (41). 
 
 The Resurrection of our Saviour, dated 15 12 (47). 
 
Heinrich Aldegrever. 
 
 201 
 
 The three Crosses in front of a decorated porch. Frontispiece 
 to Ein Brieff an den Cardinal Ert::; bisclwff zu Mentz. Mart : 
 Luth. 
 
 Undescribed. 
 
 An Architectural Border with children. Frontispiece to Der 
 Prophet Daniel. Dendsch. Mart. Luther. Wittemberge, 1530. 
 Undescribed. 
 
 HEINRICH ALDEGREVER, 
 Painter and Engraver: born at Paderborn, 1502 ; 
 
 DIED AT SoEST, I558. 
 
 F the numerous artists at the 
 commencement of the six- 
 teenth century, grouped under 
 the designation of the "Little 
 German Masters," Heinrich 
 Aldegrever, as a copper-plate 
 engraver, has left us the most 
 numerous specimens of his 
 industry. The character of 
 his work, in the treatment of 
 foliage and the various ac- 
 cessories of ornamentation, 
 as also in the drawing of the 
 figure, is closely assimilated 
 with that of Albert Durer, although there is no positive evidence 
 of his having been his pupil ; the master's influence, however, is 
 perceptible in the whole series of his compositions. His prints of the 
 four Evangelists, worked out from the drawings of or upon the plates 
 George Pencz the assistant of Albert Durer had commenced and 
 affixed his monogram to, although but slightly confirmatory, suggest 
 a link of association between them. His abnegation of the Church's 
 authority, and his outspoken concurrence in the communistic doc- 
 trines, which were brought under judicial examination at Nuremberg, 
 resulting in the condemnation of his brother artists in 1524, lend 
 support to the received opinion that he was at the time in alliance 
 
202 The German School of Engraving. 
 
 with them, and avoided a similar fate by taking timely warning 
 and making his escape. Munzer and his followers, the preachers of 
 the sedition, were driven from Nuremberg ; and the banishment, 
 immediately following, of the brothers Beham and George Pencz, 
 relieved the city of its dangerous inhabitants. The wholesale 
 destruction of the peasants who joined Munzer, with the execution 
 of the latter in 1525, suppressed for a time all possibility of further 
 revolt. In 1532 however, Aldegrever was in prominent fellowship 
 with the Anabaptist leaders, the fresh outbreak which had arisen 
 in Westphalia assuming more formidable proportions than the pre- 
 vious one so ruthlessly stamped out in 1525. 
 
 Heinrich Aldegrever was the son of Heinrich Aldegrever, " trip- 
 penmacher" of Paderborn, a cutter of the wooden shoes, their 
 manufacture, from the facility of river transport, rendering them 
 most probably an article of no inconsiderable commerce. From his 
 own engraved portrait, dated 1530, his then age being stated upon 
 it as twenty-eight, he was born in 1502, in the same year with 
 Barthel Beham, and two years later than Hans Sebald Beham. 
 Nearly all his prints, upwards of three hundred in number, are 
 dated, ranging, with the exception of a small vignette of 1522, from 
 1527 to 1555. Although inferior in composition and dramatic 
 treatment, there is much approximation in his delineation of the 
 figure and in his method of engraving with that of Lucas van 
 Leyden. In vigour of expression, and refined and masterly manipu- 
 lation of all the accessories of the subject, his portraits have never 
 been surpassed, that of Duke William of Juliers being the most 
 artistically treated and lifelike of all of them ; and his decorative 
 designs and patterns for metal-chasing, in their ready flow of draw- 
 ing, are unrivalled in intricate but harmonious combinations and 
 finish of workmanship. He had taken up his residence in his 
 native city, and continued there for some years in the practice of 
 his profession, until his complicity in the fresh rebellion in 1532 
 induced his removal to Soest ; in that year fourteen of the citizens 
 of Paderborn were executed for heresy in the market-place ; and 
 his father, infirm with age, openly avowed his concurrence in their 
 opinions, and claimed to share the fate of his fellow-townsmen ; 
 the old man's life was spared, a heavy fine being imposed upon 
 him. To the artist's second engraved portrait of himself, dated 
 1537, " Suzatiensis" is added to the name; his portraits of the 
 leaders of the Anabaptists, John of Leyden and KnipperdoUing, 
 are both dated 1536; and although, from their looks of bold 
 effrontery, evidently completed whilst they were ^t the zenith of 
 
Heinrich A Idegrever. 
 
 203 
 
 their short-lived exaltation, the publication was not made until after 
 their execution in January of that year. The attributes of the ball 
 and crown, and the costly paraphernalia wherewith John of Leyden 
 is decorated, notwithstanding the rigid condemnation in their 
 preaching of ornamental attire, show that a far different result had 
 been anticipated, than the annihilation of the dreams of worldly 
 potentiality indulged in. Aldegrever cut the dies for the coins 
 John of Leyden had issued ; and it is surprising he should have 
 escaped, considering his open complicity in the proceedings. The 
 Archbishop of Munster retook the city in June 1535, after a siege 
 of some months : the leaders were subjected to protracted tortures ; 
 and the merciless putting to death of all who had been engaged in 
 supporting their cause accomplished the thorough suppression of it. 
 Escaping across the Rhine to the north-west verge of Germany, 
 Aldegrever found refuge in the depths of the extensive forests of 
 Cleves, and obtained an asylum in the Duke's strongly fortified city, 
 continuing his residence in the district for some years, the portrait 
 he engraved of Duke William of Juliers being dated 1540. 
 
 He must have obtained permission to return to Soest prior to 
 1545, the archives of the town containing entries during that 
 year of legal proceedings with the authorities of Paderborn for 
 the recovery of property inherited from his father, who had died 
 there. The same archives apprise us that at an antecedent period 
 he had been complained against by a fellow-townsman, Daniel, for 
 painting the portraits of Von Hoik and his mistress in the garb- 
 less condition the Anabaptists indulged in. He died at Soest in 
 1558, and was buried in the church of St. Peter. 
 
 Bartsch, viii. 362 ; Passavant, iv. 102 
 
 The History of the Fall of Adam (1-6). 
 From t/ie Hawkins Collection. 
 
 The Madonna, dated 1553 (50). 
 
 The Madonna seated, dated 1553 (52). 
 
 The Madonna seated, dated 1527 (55). 
 
 The four Evangelists, dated 1539 (57-60). 
 
 Titus Manlius, dated 1553 (72). 
 
204 The German School of Engraving. 
 
 Paris, Venus, and Cupid, dated 1551 (99). 
 
 Pyramus and TmsBE, a circular print (loi). 
 
 Our Saviour triumphant, dated 1550 (116). 
 
 A NAKED Woman holding an Apple in one Hand, and an 
 Hourglass in the other, dated 1529 (134). 
 
 The Dance of Death, dated 1541 (135-142). 
 
 Vignette : a Triton carrying a Nymph (201). 
 
 A Dance of Children (205.) The copy. 
 
 A Panel of Ornament, dated 1528 (224). 
 
 Three Children carrying a Bear, dated 1529 (231). 
 
 Design for a Scabbard, dated 1532 (247). 
 
 A Tablet with the Roman Alphabet, three children on either 
 side, dated 1535 (250). 
 
 Dance of fourteen Children, dated 1535 (252). 
 
 The design of the centre group of eight of the children is 
 engraved by Marc Antonio. 
 
 Eight Children at play at the Side of a Bath, dated 
 1539 (267). 
 
 A Panel of Ornament (279). The copy. 
 A Panel of Ornament, dated 1552 (285). 
 
HANS SEBALD BEHAM, 
 
 Painter and Engraver: born at Nuremberg, 1500; 
 DIED AT Frankfort, 1550. 
 
 ONSIDERABLE additions to the 
 accounts collected by Passavant 
 respecting the " Little German 
 Masters" have been furnished in 
 Sebald und Barthel Beham zwei 
 Maler der Deutschen Renaissatice 
 von Adolf Rosenberg (8vo, Leip- 
 zig, 1875). 
 
 The important incident in the 
 career of the brothers Hans Se- 
 bald and Barthel Beham was their 
 trial for blasphemy and sedition 
 in 1524. The promulgation of the 
 principles of the Reformation was unrestrained in Nuremberg, 
 and for some time the far more advanced opinions of Munzer had 
 been stealthily disseminated amongst numbers of the inhabitants 
 without the cognisance of the authorities. On their becoming 
 acquainted with the pernicious character of his teaching, steps 
 were taken for its suppression, resulting in Munzer and Karlstadt 
 with their followers being driven from the city. Amongst the young 
 artists were many energetic disciples of the dangerous doctrines, and 
 a secret brotherhood existed for their support. On the expulsion 
 of the leaders, information was given to the magistrates, and the 
 two Behams and George Pencz, who from the pupil had become the 
 assistant of Albert Durer, were cited before them. An interesting 
 report of the examination has been preserved ; they boldly stated 
 their want of faith in the authority of the Church and the efficacy 
 of baptism and the other sacraments, — George Pencz being the 
 most extreme of the three in the assertion of his disbelief, and his 
 repudiation of all constituted authority. The trial resulted in their 
 banishment from the city. 
 
 Hans Sebald was born in Nuremberg in 1500, Barthel in 1502 ; 
 of Hans Sebald there is an impression of a medallion portrait with "ho-^j^L 
 
2o6 The German School of Engraving. 
 
 the legend Bartolms Beham, aet. xxix. an. xxxi. The name 
 was common in Nuremberg ; and from Martin Beham, who was born 
 there in 1430, and became eminent as a geographer, being errone- 
 ously credited with the discovery of America, their descent is 
 claimed. 
 
 Notwithstanding the violence of their opinions, permission for 
 their return was not long withheld, and they resumed the exercise 
 of their profession, as we learn from the dates upon their engravings. 
 The merciless suppression of the Peasants' war in 1525 must have 
 enforced upon all who had escaped, and still held their dangerous 
 doctrines, a rigid concealment of them. Hans Sebald was again at 
 Nuremberg in 1526, having made the designs for the woodcut illus- 
 trations of a satirical poem against the Pope, printed there in that 
 year ; and his proportions of the horse are dated in 1528, the draw- 
 ings purloined, as it is alleged with some appearance of accuracy, 
 from Albert Durer, who was then recently deceased. The brothers 
 were at Munich on the occasion of Charles V.'s entry into the city 
 in 1530. And at Mayence Hans Sebald was for some time resident, 
 as there he painted the only undoubted picture by his hand, now in 
 the Louvre, for the top of a table for Albrecht the Archbishop, with 
 scenes from the life of David ; it is very minutely drawn, and signed 
 and dated 1534. The originality is questioned of another similar 
 table picture ascribed to him, with rural and sporting subjects, in 
 the Berlin Museum. 
 
 Engraving, however, on copper, and the designing and publishing 
 his numerous woodcuts, were the main occupation of Hans Sebald 
 Beham. Of the first there are nearly three hundred specimens, the 
 earliest distinguishable by the letter P, as the initial of his name, 
 B after a short time being substituted. A small woman's head 
 bears the first date of 15 18. Of the woodcuts, which are equally 
 numerous, several of large size were executed, the doings of his 
 peasant acquaintances supplying incidents for his pencil. His 
 visit to Munich afforded him the subject for one of the most inter- 
 esting (169), the delineation of the triumphal entry of Charles V. 
 into the city, on the loth June 1530. Two others of importance 
 are the story of the Prodigal Son (128) in one composition, engraved 
 on eight blocks, and The village festival (168), dated 1535, on four 
 blocks : the separate groups of the revellers are frequently repeated 
 in his copper-plate engravings. The illustration they convey of the 
 rude habits of the time, in the portrayal of events in the Peasants' 
 war, and of tavern life in its coarse reality, with the names on scrolls 
 over the actors in the scene, renders them of much interest. 
 
Hans Sebald Be ham. 207 
 
 In 1534 Hans Sebald Beham had taken up his abode in Frank- 
 fort, being enrolled a citizen in that year, and continued to live 
 there for the remainder of his days. His coat of arms (254), dated 
 1544, has the legend, " Sebaldt Beham von Nurmberg, Maler jeez 
 wonhafter Burger zu Francfurt." 
 
 His life is alleged to have been an irregular one ; the subjects 
 of many of his prints support the allegation, and his features, from 
 his pencil-sketch of them, are rough and sensual, bespeaking the 
 pursuits he probably indulged in. It has been stated that he kept 
 a house of riotous entertainment in Francfort ; and in an article 
 in the Artitisdies Magazin, 1790, Husgen brings his career to a 
 close by the account that he drowned himself in the river Maine, 
 for which there is no authority. Professor Colvin, in the essays 
 upon the Little German Masters, published in The Portfolio, 1877, 
 remarks that from his taking up his residence in Francfort until 
 the close of his life, on the 22d November 1550, he pursued one 
 incessant course of industry, of which his own hand supplies the 
 evidence in the dates upon his engravings. The demand for them 
 is seen in the frequently recurring rework of the plates as they 
 became enfeebled by printing from ; and their different states are 
 described in a catalogue of the engravings on copper, published by 
 the Rev. W. J. Loftie in 1878. 
 
 Barthel, if not so original, was the more refined of the two artists, 
 there being a delicacy of execution in his prints never acquired by 
 the elder brother. About ninety only are catalogued, 1520 being the 
 earliest date ; their lesser quantity is accounted for by the occupa- 
 tion of his time in painting the numerous pictures he received 
 commissions for. He seems to have been inconvenienced even less 
 than his brother by the youthful bravado of his opinions, the 
 recantation or abandonment of them alone enabling us to account 
 for his having in 1527 been taken into the service of the ultra- 
 Catholic princes, Ludwig and Wilhelm of Bavaria. He painted for 
 them various altar and religious pieces and portraits still extant, 
 but with successive repaintings, in the Castle of Schleissheim. 
 Amongst his portraits one of the Elector Otto Heinrich in the 
 Gallery at Augsburg, from the similarity of the features, was for a 
 long time regarded as that of King Henry VIII. of England. Of 
 his other paintings the most important collection is in the Gallery 
 of Prince Furstenberg, at Donaueschingen, in Wurtemberg. They 
 are mainly of a devotional character, widely at variance with his 
 early disbelief. Amidst his occupation upon these religious paint- 
 ings, he found time to engrave three very beautiful portraits. He 
 
2o8 
 
 The German School of Engraving. 
 
 was at Munich, as before mentioned, with his brother in 1530, on 
 the occasion of the entry of the Emperor Charles V. into the city, 
 and made the drawings for the two engravings of the Emperor and 
 his brother Ferdinand {B. 60, 61), both dated 1531. He subse- 
 quently engraved the portraits of Duke Ludwig of Bavaria {B. 62) 
 and Erasmus Balderman of Nuremberg {B. 63), the latter being 
 dated 1535. Our further knowledge is but slight, and confined to 
 what can be gathered from his prints ; they are all of high merit, 
 and bear comparison with some of the best specimens of Italian 
 workmanship. Their originality, however, and German teaching are 
 undisputed, and the ascription to him by Passavant of certain of 
 the prints of Marc Antonio has no ascertained foundation. In 1527 
 he was in the service of the Bavarian princes. In that year the 
 Spanish troops had entered Rome, and the great school of artists 
 there established was broken up. Any sojourn by Barthel Beham 
 in Italy could not have been until a later period, as for many 
 subsequent years we have the record of the times and places of his 
 employment. Duke Wilhelm of Bavaria sent him to Italy in 1540. 
 Our record ends with the statement by Neudorfer, the writing- 
 master at Nuremberg, that he died obscurely, without men's know- 
 ing, in Italy in the year 1 540. Few of his prints are dated, and it 
 has been considered that after his death his brother Hans Sebald 
 reworked the plates of many of them. This may have been the case 
 in some instances ; but an examination of the style of the two 
 brothers does not go far to establish it, or to disturb the acknow- 
 ledged individuality to which each of them is entitled. 
 
 Bartsch, viii. 112 ; Passavant^ iv. 72. 
 
 Adam and Eve, dated 1536 (5). 
 
 Adam and Eve ; Death standing between them in the place of 
 the tree, with the serpent entwined around his neck, dated 
 1543 (6). 
 
 Adam and Eve driven from Paradise, dated 1543 (7). 
 
 Judith putting the Head of Holofernes into a Sack held 
 BY her Attendant (ii). 
 
 Judith seated, holding the Head of Holofernes, dated 
 IS47 (12). 
 
 Job and his Friends, dated 1547 (16), 
 
Hans Sebald Beham. 209 ' 
 
 Three Subjects of the Madonna (17-19). * 
 
 The Madonna, with the Infant Saviour sleeping on a table, on 
 which is a skull (20). 
 
 The Marriage at Cana (23). 
 
 Our Saviour and the Woman of Samaria (24). 
 
 Our Saviour at Supper in the House of Simon the 
 Pharisee (25). 
 
 The Man OF Sorrows, dated 1520 (26). . - 
 
 Our Saviour standing on the Globe, dated 1546 (30). 
 
 The Parable of the PRODiGyVL Son (31-35). 
 
 Our Saviour and the Apostles, each dated 1520 (36-42). 
 
 The twelve Apostles and the four Evangelists (43-58). 
 
 Combat between Achilles and Hector (68). 
 
 Cimon nourished by his Daughter, dated 1544 (75). 
 
 Cleopatra (77). 
 Dido, dated 1 5 19 (80). 
 
 The Widow appealing for Justice to the Emperor TrajaN 
 (82). 
 
 In two states. 
 
 The Judgment of Paris, dated 1546 (89). 
 
 Venus and Cupid (90, 91). 
 
 The Labours of Hercules (96-107). 
 
 Led a, dated 1548 (112). 
 
 The seven Liberal Arts (121 -127). 
 
 An emblematical Figure, called " La Religion Chretienne vie- 
 torieuse" (128). 
 
 P 
 
210 The German School of Engraving. 
 
 The Knowledge of God and the seven Christian Virtues 
 (129-136). 
 
 Charity (137). 
 
 Good and adverse Fortune (140, 141). 
 
 Death surprising a Woman in her Sleep, dated 1548 (146). 
 
 The young Woman and Death, dated 1541 (149). 
 
 Death seizing a naked Woman, dated 1546 (150). And the 
 copy. 
 
 Death and the three Women (151). 
 
 The Village Festivities, dated 1546 (154-163). 
 
 The Village Feast (161). A reversed engraving by Hans 
 Sebald Beham of the subject in the preceding series with 
 variations, amongst them the couple embracing on the further 
 side of the table being omitted. 
 
 Peasants fighting (165). 
 
 The Bride between her Husband and her Father (185). 
 
 The Standard-bearer and the Drummer, dated 1544 (199). 
 
 Group of naked Children ; a small round plate (210). 
 
 The Buffoon and two Men and two Women seated at a 
 Table (212). 
 
 The two Buffoons (213). 
 
 The Buffoon and two Women at a Bath, dated 1541 (214). 
 
 A Woman reclining, with the penance of S.John Chrysostom in 
 the background (215). 
 
 A Vignette. Two winged children and a cuirass, dated 1544 
 (227). 
 
Hans Sebald Beham. 211 
 
 A WINGED Child surrounded by a scroll with a Roman alphabet, 
 and a child surrounded by a scroll with a German legend 
 (229, 230). 
 
 A Vignette, with a mask, dated 1543 (231). 
 
 A Vignette, with three Satyrs (232). 
 
 A Vignette, with a vase and two winged children (233). 
 
 A RICHLY ORNAMENTED Vase, two children with escutcheons at 
 the base, dated 1531 (242). 
 
 A Vase, the base formed of two dolphins, with a child on either 
 side, dated 1524 (243). 
 
 The Shield of Arms of Seboldt Beham, dated 1544 (254). 
 
 A FANCY Shield of Arms with a lion rampant, dated 1544 (255). 
 
 Vignettes, each of them of a child holding a shield and a helmet 
 (258, 259). 
 
 WOODCUTS. 
 The Passion of our Saviour (84-91). 
 
 The Church of Christ and Antichrist. Title-page of Biblia 
 Sacra Testamenti, Nurnberg, 1530. The Evangelists at the 
 sides, and at the top our Saviour triumphant. 
 Undescribed. 
 
 The Apocalypse of S. John (92-120). 
 
 Typi in Apocalypsi Joannis depicti ut clarius vaticinia 
 Joannis intelligi possint ; on fifteen leaves, printed on both 
 sides of the paper. 
 
 Francoforti Christianus Egenolphus excudebat D.M.XXXIX. 
 Quarto, olive morocco. 
 
 The Hoj-y Family under a Tent (121). 
 
 The Holy Family under a Tree (123), 
 
212 The German School of Engravmg. 
 
 The Banquet of Herodias, in two sheets {Pass. 174). 
 
 Passavant describes the left-hand composition only. In that 
 of the right, of the same size, a party of men and women are 
 feasting at a table in the foreground, and in the landscape 
 beyond is a river, in which are several bathers. 
 
 The seven Planets {Pass. 181- 187). 
 
 In the first states, but damaged and laid down. That of 
 Venus (187) partly deficient. With a copy of Mercurius (185). 
 
 BARTHEL BEHAM, 
 
 Painter and Engraver: born at Nuremberg, 1502; 
 DIED IN Italy circa 1540. 
 
 Bartsch, viii. 81 ; Passavant, iv. 68. 
 
 Cleopatra, inscribed "Cleopatra," before the date (12). 
 Lucretia (14). 
 
 Combat of naked Men, the skull of a horse on the ground on 
 the left (16). 
 
 Combat of naked Men. On a scroll at the top is inscribed 
 "Titus Gracchus," dated 1528 (17). 
 
 Combat of naked Men. The fight for the standard (18). 
 
 Apollo and Daphne (25). 
 
 In the first state, before the inscription " Apollo Daphne" on 
 the tablet at the foot. And an impression with the inscription. 
 
 The Judgment of Paris. A circular print (26). 
 
 Vignette. Four winged children with a chimerical horse (59). 
 
GEORGE PENCZ, 
 
 Painter and Engraver : born at Nuremberg ; 
 PIED at Breslau, 1550. 
 
 EORGE Pencz is the 
 only one of the German 
 artists contemporary with 
 him of whom there is 
 direct evidence that he 
 was a pupil of Albert 
 Durer ; the date of his 
 birth is unknown, and the 
 first notification of him 
 occurs in 1521, in con- 
 nection with the muni- 
 cipality of Nuremberg. 
 The authorities of the 
 city had been thrown 
 into a state of agitation 
 by the announcement of 
 an intended visit from 
 
 the new Emperor Charles V. Albert Durer had just returned from 
 the Netherlands, and was commissioned to decorate the walls of the 
 town-hall, and render them suitable for the state reception to be 
 held. The story of Calumny, after the legend of its treatment by 
 Apelles, then so popular, was deemed to be the best pictorial argu- 
 ment to avert the Emperor's displeasure the council was in much 
 anxiety about. The court-painter was out of health, and unable to 
 undertake the execution of the fresco : but he made the design for 
 the composition, for which he received 100 florins, and his clever 
 pen-sketch of it is in the Albertina at Vienna ; the painting was 
 intrusted to George Pencz, who had for some time been engaged 
 with him as assistant, and the fresco completed under the master's 
 direction still adorns the town-hall of Nuremberg. 
 The intimacy between Albert Durer and his pupil continued until 
 
214 ^'^^ German School of Engraving. 
 
 the trial of the latter with the brothers Beham, in 1524, for their 
 dangerous complicity in the doctrines of Munzer. " Die gottlossen 
 Maler," as he was designated, being the most obnoxious of the 
 three, in the subversive tendency of his opinions, and his repudiation 
 of the authority of any law, divine or human, was with his com^ 
 panions banished from the city. 
 
 Beyond the fact of his having been a native of Nuremberg, nothing 
 has been ascertained of George Pencz's parentage or of his career 
 after 1524. The long list of his engravings tells of the life of 
 industry he pursued during the subsequent quarter of a century. 
 His monogram upon the four prints of the Evangelists engraved by 
 Aldegrever, having also the latter's monogram and the date 1539 
 upon them, indicates an acquaintance between the two artists. 
 A curious feature in the art history of the brothers Beham and 
 George Pencz is the devotion of so large a proportion of their 
 time to the representation of Bible history, considering their strongly 
 expressed disbelief in the efficacy of its doctrines or the teaching of 
 the Church. The life of our Saviour is illustrated by George Pencz 
 with peculiar grace of treatment in a series of twenty-six plates 
 {B. 30-54). The supposition that he went to Rome is supported by 
 his print of the taking of Carthage, inscribed " Julius Romanus 
 inventor," with a tablet at the bottom on the right, " Georgius Pencz, 
 Pictor Nurnberg faciebat anno MDXIXXXIX. ;" the printers' names 
 upon it in the later states showing it to have been first in the 
 hands of Antonio Salamanca, and subsequently of Nicolas van 
 Aelst of Rome. The engraving of The prisoners, after Giulio 
 Romano, No. 66 in Bartsch's catalogue of the works of George 
 Ghisi, is ascribed to Pencz by Passavant, and has much the 
 character of his work. 
 
 Passavant, in his remarks upon the artist's prints, refers to the 
 Triumphs of Petrarch (117-123) to strengthen the attribution he 
 makes of the Murder of the Innocents, after Raphael {B. xiv. 18), 
 to Pencz, adding that it is generally preferred to the print by Marc 
 Antonio {B. xiv. 20). A comparison with these ill-drawn compo- 
 sitions of the Triumphs of Petrarch shows how erroneous is such 
 an ascription ; further proof, if any were needed, is supplied by the 
 impressions from the two plates of the Murder of the Innocents by 
 Marc Antonio in this collection, being printed on paper from the 
 same mill, with the water-mark upon both of them of a pair of shears. 
 
 Neudorffer states that George Pencz's death took place on the 
 same day as that of his son ^gidius, in the month of October 1550, 
 at Breslau. Bartsch, viii. 319; Passavant, iv. loi. 
 
George Pencz. 215 
 Sarah presenting Agar to Abraham (i). 
 Abraham dismissing Agar (3). 
 Esther before Ahasuerus (8). 
 The History of Joseph (9-12). 
 The History of Tobit (13-19). 
 Lot and his Daughters (20). 
 David and Bathsheba (21). 
 The Judgment of Solomon (23). 
 
 Judith and her Servant with the Head of Holofernes (25). 
 Susanna and the Elders (27). 
 Samson and Dalilah (28). 
 
 Our Saviour and the Woman accused of Adultery (55). 
 
 Young Children brought to our Saviour (56). 
 
 The Crucifixion, dated 1547 (57). 
 
 The Good Samaritan, dated 1543 (68). 
 
 The Conversion of S. Paul, dated 1543 (69). 
 
 Medea and Jason (71). 
 
 The Death of Titus Manlius (76). 
 
 The Story of Tarquin and Lucretia (78, 79). 
 
 Dido standing by a Couch stabbing herself (85). 
 
 The Poet Virgil suspended in a Basket (87). 
 
 The Judgment of Paris (89). 
 
 Diana and ActeoN (91). 
 
 The Triumph of Bacchus (92). 
 
2i6 The German School of Engraving. 
 Triton carrying off Amymone (93). 
 
 Socrates and Xantippe (97). 
 
 Slotiifulness " Pigricia" (too). 
 
 The five Senses (105-109). 
 
 The seven Liberal Arts (iio-i 16). 
 From the Marshall Collection. 
 
 The six Triumphs of Petrarch (117-122). 
 Frovi the Marshall Collection. 
 
 HANS BROSAMER, 
 
 Painter and Engraver: born at Fulda, 1506; 
 died at Erfurt, 1552. 
 
 Bartsch, viii. 455 ; Passavant, iv. 32. 
 The Lute-player, dated 1537 (17). 
 
 JACOB BINCK, 
 
 Painter and Engraver: born at Cologne, 1490; 
 died at Konigsberg, 1569. 
 
 FROM the correspondence of Christian III., King of Denmark, we 
 learn that Jacob Binck was in his service as portrait-painter. 
 The King was a patron of art and literature, associating with the 
 learned men of the time ; and in the earnestness of his support of 
 the reformed religion, he engaged at his expense Ludwig Dietz of 
 Lubeck to print a Bible in Danish at Copenhagen, in 1550. It was 
 illustrated with a series of woodcuts designed by Jacob Binck and 
 Ehrard Altdorfer, the blocks having previously been used for a 
 German Bible printed by Dietz at Lubeck, The Copenhagen 
 
I 
 
 yacob Binck. 217 
 
 edition is prefaced with a woodcut portrait and the coat of arms 
 of Christian III. A letter of the correspondence, dated 3d October 
 1549, addressed to Binck at Antwerp, gives an order for the portrait 
 to be designed on the block of wood therewith sent, and directions 
 to have it cut by competent persons, should he be able to find them. 
 
 The copies Jacob Binck made of the prints of Albert Durer 
 and of the Behams associate him with the school of Nuremberg. 
 Nothing is known of his origin or the place of his birth, save the 
 supposition that he was a native of Cologne, from the addition of 
 " Coloniensis" to his name on the print of Saturn, in his series of 
 the heathen gods and goddesses, copied from Caraglio. 
 
 The King's letters apprise us that he was much in request with 
 the members of the family, and engaged by them in the Nether- 
 lands and elsewhere upon various works of architecture and paint- 
 ing. Frequent demands for his return are made in his patron's 
 letters, and in 1560 he went back to Copenhagen, the portrait before 
 mentioned having been printed there in that year. 
 
 Eventually he took up his residence at Konigsberg with his family, 
 the Margrave Albert of Brandenburg having settled upon him an 
 annual stipend. From an official letter to the Duchess of Mecklen- 
 burg, dated 26th August 1569, in reply to her application for some 
 copies of portraits, commissioned to have been executed in plaster, 
 of the deceased Margrave and his wife, the inability to send a 
 favourable reply is stated to be because Binck, who had them in 
 hand, was not long since dead. 
 
 Bartsch, viii. 249 ; Passavant, iv. 86. 
 
 The Madonna holding the Infant Saviour in her Arms, 
 crowned by an angel, dated 1526 [Pass. 109). Copied in reverse 
 from the engraving (37) by Albert Durer. 
 
 Death vanquishing a Soldier (52). 
 
2 1 8 The German School of Engraving. 
 
 THE MASTER I. B. 
 
 PASSAVANT conjectures that this unknown engraver was a 
 native of Nuremberg, and that, from the character of many 
 of his compositions, he visited Italy. He worked in the first half of 
 the sixteenth century, the dates on his prints ranging from 1523 to 
 1530- Bartsch, viii. 299 ; Passavant, iv. 97. 
 
 Venus, dated 1528 (15). 
 
 The Triumph of Bacchus, dated 1528 (19). 
 
 The Battle of naked Men (21). 
 
 Hope (24). • • 
 
 Charity (25). 
 Justice (26). 
 
 Three Children with Armour (33;. 
 
 The Children-vintagers, dated 1529 (35). 
 The composition is in the style of Raphael. 
 
 And a reversed copy of the group on the left-hand side, 
 with the monogram R. B. in the upper right-hand corner. 
 
 JEAN LADENSPELDER D'ESSEN, 
 Painter and Engraver (1511-1554). 
 
 THE inscription on his portrait, " Imago Joannis Ladenspelder 
 Essendiensis anno aetatis suje xxviii.," is the only intimation 
 we have of this unknown artist. The date 1554 is on three of his 
 engravings. Bartsch, ix. 57 ; Passavant, iv. 142. 
 
 The Madonna with a Sceptre, having the Infant Saviour in 
 her arms, standing on a crescent {Pass. 12). 
 
VIRGIL SOUS, 
 
 Painter, and Engraver: born at Nuremberg, 15 14; 
 died there, 1562. 
 
 OPPELMAYER states that 
 
 Virgil Solis was born at 
 Nuremberg ; and from the 
 curiously eulogistic verses 
 printed with his portrait by 
 the unknown Master B. I. 
 {Bartsch, xi. 532, 28), we 
 learn that he died in 1562, 
 aged forty -eight. Bartsch 
 catalogues a long list of his 
 engravings, increased to up- 
 wards of six hundred by 
 Passavant. In a passage of 
 the before-mentioned verses, 
 written in the first person, it is expressed, " I have formed many 
 artists, and the artists call me father." Long after his death the 
 use of the interlaced monogram V. S. was continued by his fol- 
 lowers. Bartsch, ix. 242 ; Passavant, iv. 115. 
 
 The Bath of the Anabaptists (265). After Aldegrever. 
 
 WOODCUTS. 
 
 BiBLISCHE FiGUREN DESS AlTEN (UND DESS NEWEN) TESTA- 
 MENTS, gantz Kunstlich gerissen ; Durch den weitberumpten 
 Vergilium Solis, Maler und Kunststecher zu Niirnberg, 1565. 
 Getrucht zu Franckfurt am Mayn durch Johannem Wolffium. 
 
 Woodcut illustrations of the Old and New Testament. From 
 the library of Dr. White of Lichfield. 
 Oblong quarto, in old calf binding. 
 
220 The German School of Engraving. 
 
 Fabul/E variorum Auctorum : nempe ^sopi, Aphthonii, 
 Gabriae, Babriae, Phaedri, Avieni, Abstemii. Opera et studio 
 Isaaci Nicolai Neveleti cum notis ejusdem in eadem, cum 
 figuris ligneis. 
 Illustrated with woodcuts. 
 
 Francofurti apud Christ. Gerlach & Sim. Beckenstein, 
 Small octavo, red morocco. 
 
 MELCHIOK LORCH, 
 
 Painter and Engraver: born at Flensburg, 1527; 
 DIED AT Copenhagen, 1590. 
 
 Bartsch, ix. 500 ; Passavant, iv. 180. 
 
 Portrait of Albert Durer, dated 1550 (10). 
 
 CORNELIUS MATSYS, 
 
 Painter and Engraver at Antwerp in the first 
 half of the sixteenth century. 
 
 CORNELIUS Matsys is registered as a member of the Fra- 
 ternity of S. Luke at Antwerp in 1531. He was grandson 
 of Quentin, and son of John Matsys, a painter, whose name appears 
 on the books of the same Fraternity in 1501. 
 
 Bartsch, ix. 90, 97 ; Passavant, iii. 97. 
 
 Justice and Prudence (2). Inscribed " COR MET." 
 Bathsheba at the Bath, dated 1549 (7). 
 
Anonymous Engravers. 221 
 
 JOST AMMAN, 
 
 Painter and Engraver: born at Zurich, 1539; 
 DIED AT Nuremberg, 1591. 
 
 A CATALOGUE of his works was published by C. Becker at 
 Leipzig in 1854. Bartsch, ix. 351 ; Passavant, iii. 463. 
 
 A Display of Fireworks outside the Walls of Nuremberg, 
 dated 1570 (14). 
 
 WOODCUTS. 
 
 ITANOnAIA OMNIUM ILLIBERALIUM MECIIANICARUM AUT SEDEN- 
 
 tariarum artium genera continens, per Hartman Schop- 
 perum (8). 
 
 The series of 130 woodcuts illustrating the arts, sciences, 
 trades, and other occupations. 
 
 Impressum Francofurti ad maenum, apud Georglum Corvinum 
 impensis Sigismundi Feyerabent MDLXVlll. 
 Small octavo, velliivi. 
 
 A Tournament held at Vienna by the Emperor Maxi- 
 milian II., dated 1565 (21). 
 
 ANONYMOUS ENGRAVERS. 
 
 The Life of our Saviour, commencing with the Annunciation 
 and ending with the Descent of the Holy Spirit, having a pre- 
 liminary plate of Adam and Eve taking the forbidden fruit, 
 and another at the end of the Last Judgment. In a series of 
 forty-six plates, measuring '^^^ inches high by 2-^^ inches wide. 
 They are all without monogram, number, or mark, except a 
 plain tablet, similar in shape to that used by Marc Antonio, 
 upon three of them — namely. The Scourging of our Saviour, 
 The Presentation of the Reed, and The Nailing to the Cross. 
 There is no water-mark upon the paper. 
 Mounted in a volume, red morocco. 
 
222 The German School of Engraving. 
 
 A. 
 
 Passavant, iv. 155. 
 Pyramus and Thisbe, dated 15 16 (2). 
 
 C. G. 
 
 Bartsch, ix. 17 ; Passavant, iv. 41. 
 Galatea, dated 1537 (2). 
 
 Design for a Frieze, a Satyr seated in the centre, dated 1537 
 {Pass. 25). 
 
 Design for a Vase, with the monogram, and the date 1536. 
 Undescribed. 
 
 G. F. 
 
 Bartsch, ix. 24 ; Passavant, iv. 107. 
 
 Two Children playing with a Lioness and her Cub, dated 
 1537 (8). After a design of Raphael. 
 
 I. S. 
 
 Bartsch, ix. 38 ; Passavant, iv. 158. 
 The Judgment of Paris, with the monogram, dated 1534. 
 
 A. C. 
 
 Bartsch, ix. 117 ; Passavant, iii. 34. 
 
 Death vanquishing a Soldier (39). Copied in reverse from 
 the print (52) by Jacob Binck. 
 
B.A.D. 
 
 223 
 
 N. W., 1531-1537- 
 
 P ASSAY ANT describes an engraving (27) of a dagger-sheath, 
 with the subject of Adam and Eve, having the artist's name 
 " Niclas Wilborn," and dated 1536. 
 
 Bartsch, viii. 543 ; Passavant, iv. 139. 
 
 Judith in the Tent of Holofernes, naked men fighting on 
 either side with horsemen retreating ; the tent inscribed 
 "OLIFRNUS ;" dated 1537 {Pass. 19). 
 
 The Triumph of Paris and Helen, dated 1535 (6). 
 
 PASSAVANT gives a long list of engravings by this master 
 and his pupils, who appear to have worked at Brussels 
 principally in making designs for theological works. On a series of 
 engravings of the Apostles are the dates 15 19-1520. 
 
 Bartsch, viii. 13 ; Passavant, iii, 47. 
 
 The Nativity {Pass. 65). 
 
 A young Woman and an old Man standing by a Pedestal. 
 Inscribed at the foot "Mors omnia mutat," with the monogram 
 {Pass. 2). 
 
 S. 
 
 B. A. D. 
 
 Bartsch, ix. 51 ; Passavant, iv. 173. 
 
224 ^''^^^ German School of Engraving. 
 
 W. C. I. E. F. 
 
 PASSAVANT interprets the monogram as "Wilhelmus Cli- 
 vensis invenit et fecit," and that Wilhelm van Cleef was the 
 brother of Henri and Martin van Cleef. He quotes the opinion 
 of Hazard, that they are the initials of Wenceslaus Coberger, who 
 was a pupil of Martin de Vos. 
 
 Bartsch, ix. 578 ; Passavant, iv. 240. 
 
 The Madonna with the Infant Saviour seated in a 
 Chamber, dated 1586. 
 
 JONAS UMBACH, 
 Painter AND Etcher: born at Augsburg, 1624; 
 
 DIED THERE, I70O, 
 
 There is a catalogue of his prints by Winkler. 
 
 Our Saviour holding the Reed ; three-quarter figure. 
 
 A Fisherman holding a Landing-net ; his dog by his side. 
 An upright print. 
 
 Two Sportsmen reclining, with dogs and game. An oblong 
 print. 
 
 A wooded Landscape ; two men on the right, goats on the left. 
 An oblong print. 
 
 FRIEDRICH AUGUST MORITZ RETZSCH, 
 
 Designer and Engraver of Dresden: born 1779 5 
 died 1857, 
 
 The Series of the Artist's Works, engraved in outline. Bound 
 in two volumes, with a manuscript memoir. 
 Oblong folio. 
 
Ludwig Gruner. 
 
 225 
 
 DANIEL HOPPER, 
 
 Painter and Engraver: born at Augsburg, 15 16; 
 
 HERE were three brothers of the name — Daniel (or David), 
 
 A Jerome, and Lambert, of whom Daniel alone was possessed 
 of any originality ; the art occupation they were engaged in was 
 mainly that of copying and adapting in a coarse and mannered style 
 the works of other engravers. Paul von Stetten, in his Kunst iind 
 Gewerb-GescJirichte der Stadt (Augsburg 1779), gives some account 
 of the family. Bartsch, viii. 471 ; Passava7tt, iii. 288. 
 
 Adam and Eve (i, 2). 
 
 The Last Judgment (15). 
 
 Our Saviour denouncing the Vices of the Priesthood 
 (31). The eight subjects on one sheet. 
 
 FRIEDRICH MULLER, 
 Engraver: born at Stuttgard, 1782; died at Pirna, 
 near Dresden, 1816. 
 
 Th^;^ Madonna di San Sisto. After the picture by Raphael in 
 the Gallery at Dresden. 
 Impression with the letters. 
 
 The Madonna of the Ansidei Family. From the picture by 
 Raphael in the possession of the Duke of Marlborough at 
 Blenheim. 
 Proof before letters. 
 
 Our Saviour on the Mount of Olives. After the picture 
 ascribed to Raphael, formerly belonging to the late Mr. Fuller 
 Maitland, and now in the National Gallery. 
 
 The same Subject differently treated. After the picture by 
 Raphael, formerly belonging to Samuel Rogers, and now to 
 Lady Burdett-Coutts. 
 
 died there after 1549. 
 
 LUDWIG GRUNER, 
 
 Contemporary Artist and Engraver. 
 
 Q 
 
226 The German School of Engraving. 
 
 Our Saviour. Small three-quarter figure, his hand upraised in 
 the act of blessing : " Pax vobis." After the picture by Raphael 
 in the Tosi Gallery at Brescia. 
 
 Proof before letters, and an impression from another plate of 
 the same subject, which was destroyed. 
 
 Our Saviour on the Cross, and four saints. After the picture 
 by Raphael in the possession of Lord Dudley. 
 
 Proof before letters, and a trial impression from the un- 
 finished plate. 
 
 The Christian Knight. After the picture by Raphael in the 
 National Gallery. 
 
 Proof before letters, and a trial impression from the un- 
 finished plate. 
 
 / 
 
I 
 
THE SPANISH SCHOOL OF ENGRAVING. 
 
 PANISH art, and such 
 knowledge as can be 
 gleaned of any early cul- 
 tivation of painting in 
 the country, must be 
 investigated in its eccle- 
 siastical annals. Student 
 life was fostered under 
 the sternest cloister re- 
 gulation, restricting per- 
 missible subjects for de- 
 lineation to penances of 
 austere ascetics, and the 
 sufferings and torments 
 of the wicked, to frighten 
 saints and sinners into submission to priestly guidance. The earliest 
 exposition of its history is El Arte de la Pintura (Sevilla, 1649), 
 by Francisco Pacheco, the master and father-in-law of Velasquez, 
 wherein the rigid discipline painting in his day was trammelled with 
 is minutely narrated. Drawing the undraped figure was altogether 
 forbidden : we learn that an artist at Cordova incurred a severe 
 reprimand — and well he deserved it — for having represented the 
 Madonna at the foot of the cross in a hooped petticoat close at the 
 hips, with a saffron-coloured head-dress : — to draw her feet unshod 
 was an impropriety, the relic of one of her shoes preserved in the 
 cathedral at Burgos making it manifest that she was in the habit of 
 wearing them. Even the drapery adopted by Murillo was defined 
 by the same authority, the Madonna having appeared to Dona 
 Beatriz de Silva, who founded the order of the Immaculate Con- 
 ception, in a blue-and-white dress, which Murillo succeeded in 
 treating with such brilliant transparency. 
 
 The visits of Charles V. to the Netherlands generated a more 
 liberal estimate of art and its creations. Titian happened to be at 
 Bologna in 1530, during a stay the Emperor made in the city, and 
 
228 The Spanish School of Engraving. 
 
 a successful execution of his portrait occasioned an invitation to 
 Madrid, resulting in commissions for many of the best of the great 
 artist's works. The intimacy was continued during Charles V.'s 
 reign ; and on his abdication and withdrawal to the seclusion of 
 Yuste, the celebrated apotheosis of himself and his son Philip, which 
 Titian had painted, was selected for the solace of his retirement. 
 
 Notwithstanding the monastic severity wherewith art was governed 
 throughout the reign of Philip II., much credit must be conceded 
 to him for the patronage he extended to its professors, originating 
 in his gigantic undertaking of building the Escurial, the first stone 
 of which was laid on the 23d April 1563. The subjects of the acres 
 of painted canvas and fresco required for its decoration were 
 chosen with the keenest clerical dogmatism, a large selection being 
 made from martyrdoms of sufferers for the orthodox faith, and from 
 the diabolical scenes of torture invented by the ministers of the 
 Inquisition for suppression of heresy. Amongst many artists per- 
 sonally recognised by the King, Alonso Sanchez was particularly 
 distinguished ; apartments were allotted to him in the palace, and 
 the King addressed him as his " beloved son." The dumb painter, 
 Juan Fernandez Navarrete, received constant employment, not- 
 withstanding a reprimand administered to him by the committee 
 who conducted the works of the Escurial, on account of some 
 accessories introduced into his pictures, that he " should not add 
 any cat or dog or other unbecoming figure, but that all should be 
 saints, and such as incite to devotion." Navarrete made an inef- 
 fectual effort to prevent the mutilation of Titian's Last Supper, on 
 its being cut to the size of a recess in the refectory v/here it was 
 placed. 
 
 Philip III. inherited all his family's bigotry, with but little of 
 their taste ; many however of Titian's masterpieces at Madrid were 
 purchased by him ; and shortly after the commencement of his 
 reign, Rubens, who had been sent to Spain on a diplomatic mission, 
 made there a considerable stay, and painted several pictures for 
 the King. Philip IV. ascended the throne in 1621, when in his six- 
 teenth year ; and his reign is memorable for the release of national 
 art from priestly restriction. Diego Velasquez de Silva was born 
 at Seville in 1599, and died at Madrid in 1660 ; Bartolom^ Est^ban 
 Murillo, also a native of Seville, was born in 1616 ; they were both 
 allowed the free exercise of their talent, and redeemed the Spanish 
 School from the thraldom wherewith its development had been 
 prevented. In 1623 Velasquez went to Madrid on the invitation of 
 the minister Olivarez, and a portrait he made of Philip IV. brought 
 
The Spanish School of Engraving. 229 
 
 him into favour ; of several others subsequently painted eight 
 are still in the royal collection, the well-known equestrian one 
 amongst them. Apartments were allotted to Velasquez in the 
 palace, and a familiar association ensued with the King, remaining 
 unabated until the painter's death ; his landscapes and genre- 
 pictures and lifelike portraits stand out in striking contrast to the 
 dismal canvases wherewith art in Spain had previously been repre- 
 sented. After studying in his native city, Murillo removed to Madrid, 
 and was received with generous encouragement by Velasquez : for 
 two years he worked there, under the great painter's instruction, 
 from the masterpieces collected in the Museum, returning to Seville 
 in 1645. Many of his important compositions were painted for the 
 churches of Seville, and the hospital, " La Caridad." His numerous 
 pictures in the continental galleries and in England tell of the great 
 facility he worked with, his popularity creating an extensive school, 
 retained in its vitality for some time after the founder's death. An 
 accidental fall from a scaffold brought his active life somewhat 
 hurriedly to a close in 1682. 
 
 Philip IV. died in 1665, when his son Charles II. was only three 
 years old ; the management of the State under the extreme bigotry 
 of the Queen Dowager relapsed into the power of the Jesuits, 
 and art in the country rapidly shared the same fate, and never re- 
 vived. Luca Giordano was introduced in 1692 to decorate one of the 
 ceilings of the Escurial, followed by his employment at Madrid for 
 some years, and the pernicious example of his slight rapid manner 
 precipitated the decadence which had taken place. In 1762 Raphael 
 Mengs was appointed his cabinet painter by Charles III., and the 
 influence he exercised was even more prejudicial than had been 
 that of Luca Giordano. 
 
 In 1604 a fire occurred at the country Palace of El Pardo, in 
 which numerous valuable pictures were burned: in 1734 the loss 
 was increased by a similar calamity at the Palace in the Buen Retiro. 
 But far more serious than both of them was the wholesale plunder 
 of Napoleon and his generals. The Museum at Madrid, however, 
 still retains its preeminence amongst the galleries of Europe, 
 especially in its series of pictures by Titian and Velasquez. 
 
 At the commencement of the present century Ferdinand VII. 
 occupied himself in rearranging and making various changes in the 
 royal collections. The fine pictures in the Museum were taken 
 down and stowed away to make' room for gaudy French gilding and 
 decoration, and clocks of every conceivable form and variety ; he 
 removed all that had a semblance of nudity to a reserved gallery. 
 
230 The Spanish School of Engraving. 
 
 access being only permitted by special order. An amusing reference 
 is made in Ford's Handbook of Spain to this penitentiary provided 
 for Venus, Leda, Danae, and other similar improper ladies, Maria 
 Louisa, wife of Charles IV., painted by Goya riding astride her 
 horse, being amongst them. Immediately on Ferdinand's death. 
 Queen Christina, his fourth wife, who survived him, restored them 
 to freedom. 
 
 In the Handbook Spain is said to be no Paradise for the collectors 
 of engravings. Josef de Ribera, who was born near Valencia in 
 1588, and studied under Francisco Ribalta, was the only Spanish 
 painter who attempted the use of the etching needle or the graver, 
 prior to the successful practice of it by Francisco Goya at the end 
 of the last century : — the designation of Ribera as a Spanish 
 etcher is but partially correct, his principal works having been 
 executed at Naples, where he married a wealthy Italian lady, and 
 continued to reside until his death in 1656. Ford's Handbook of 
 Spain, and Sir William Stirling Maxwell's Aiinals of tJie Artists of 
 Spain (3 vols., 8vo, London, 1848), abound with valuable information 
 upon the art of the country. 
 
Francisco Goya. 
 
 231 
 
 JOSEF RIBERA, LO SPAGNOLETTO, 
 
 Painter and Etcher : born at Xativa near Valencia, 
 1588; died AT Naples, 1656. 
 
 JOSEF RiBERA went to Naples in 1606, and became associated 
 with Caravaggio, whose style and manner of painting he 
 adopted. Bartsch, xx. 77. 
 
 The Madonna, S. John, and the Magdalene lamenting over the 
 dead body of our Saviour extended on the ground (i). 
 
 S. Jerome in the Desert reading (3). 
 
 S. Jerome in Terror in the Desert, an angel in the air sounding 
 a trumpet (4). 
 
 The same Subject differently treated (5). 
 
 S. Peter in the Desert kneeling in Penitence (7). 
 
 A Poet crowned with Laurel standing in Meditation (10). 
 
 FRANCISCO GOYA, 
 Painter and Engraver: born in Fuentetodos, 1746; 
 died at Bordeaux, 1828. 
 
 Gazette des Beaux A rts, vols. xxii. iv. v. 
 
 Caricatures of Spanish Manners, entitled " Capnchos, Inven- 
 tados y Grabados al aguaforte por Goya," numbered I to 80, 
 the first in the series being a portrait of Goya. 
 Folio, green morocco. 
 
 The Man garrotted. 
 
 Equestrian Portrait of Philip III. After the picture by 
 Velasquez. 
 
* 
 
THE FRENCH SCHOOL OF ENGRAVING. 
 
 ARLY in the sixteenth 
 century Francis I. de- 
 voted some portion of his 
 lavish expenditure of the 
 national finances to the 
 renovation of the royal 
 palaces, and large sums 
 were spent upon them 
 especially the chateau of 
 Fontainebleau. For the 
 execution of these works, 
 about the year 1530, he 
 enlisted the services of 
 the Italian artist, II 
 Rosso, and subsequently of Francesco Primaticcio, who had risen 
 into repute from his success in decorating the Palazzo del T for the 
 Duke of Mantua ; numerous clever draughtsmen were employed 
 under their guidance, and the so-called school of Fontainebleau, 
 emanating from their teaching, becarne amplified and improved 
 during the reign of Henry II. The name of Diana of Poictiers 
 stands prominently forward as the promoter of the taste then so 
 prevalent, and her chateau of Anet, whither she retired on the 
 King's death, was a model of elaborate device, and the type of the 
 luxurious domestic architecture of the time. 
 
 The influence thus established remained unabated nearly 
 throughout the century.; and in La Renaissance des Arts a la Cour 
 de France of Count Leon de Laborde, an account of the different 
 artists, from the reign of Francis I. down to that of Henry IV., 
 with a dissertation upon their works, will be found. The pictures 
 and crayon sketches of the three Clouets, so lifelike and true in 
 their portraiture, make us acquainted with a large number of 
 the celebrated persons of that eventful period, their gay and 
 brilliant costumes and their costly armour telling significantly of 
 the profuse extravagance which was then so prevalent. 
 
234 The French School of Engraving. 
 
 The enamelled paintings on metal, to which the city of Limoges, 
 the chief place of their production, has given the distinctive name, 
 and which attained their full excellence in the reign of Henry II. 
 preserve, in their unfading transparency, a vivid record of the 
 redundance of colour indulged in. The frescoes of the palaces and 
 houses have nearly all perished ; some remains of those of II Rosso 
 are still at Fontainebleau ; but to arrive at an idea of the fashion 
 then predominant, with its quaint inventions, we must search through 
 the books of the following century, illustrated with reproductions 
 from them, before they had crumbled away. 
 
 The chaser's art had been brought to the highest point of delicate 
 workmanship. Changes of dynasties and revolutions have sent a 
 vast proportion of the finely-wrought vessels of gold and silver to 
 the melting-pot, but the valuable specimens still j>reserved show 
 what perfection the artificers had arrived at in their manufacture. 
 The decoration of metal was a distinct occupation, the richly 
 ornamented armour then in vogue creating a demand for the talent 
 devoted to the imagining and chiselling the elaborate patterns 
 wherewith it was covered, of which the remarkable suits in the 
 Ambras collection and the Louvre are notable examples. Clever as 
 the artists were, their knowledge was rarely extended to the per- 
 petuating in the form of prints the designs they had such power of 
 creating ; this further development of their skill was ready to 
 hand, but no encouragement or taste for such utilisation of their 
 handicraft led them to attempt it. With the exception of the 
 confused and unintelligible fantasies of Jean Duvet, who throughout 
 life was in the service of Francis I. and his sons as a goldsmith, and 
 the prints of the De Laulnes and some few others of inferior merit, 
 engraving, as a separate industry, was not practised. It was pro- 
 fusely used for the embellishment of the books of devotion printed 
 at Paris and many of the cities of the kingdom, multiplied under 
 every conceivable form of variety, and continuous employment was 
 provided for a large number of illustrators, of whom scarcely a 
 name has come down to us, or any nbtification, beyond an 
 occasional monogram. From the beautiful " Livres d'Heures" 
 acquaintance with the high state of finish engraving, in this its 
 limited application, had arrived at, must be sought for; their 
 diversified compositions tell of the advance, as a means for taking 
 impressed transfers, it had made in France early in the sixteenth 
 century : some few Frenchmen went to Italy and became known 
 as print engravers ; but no field for the practice of their profession 
 existed in their own country. 
 
The French School of Engraving. 
 
 235 
 
 At the commencement of the seventeenth century a purer and 
 more esthetic taste started into existence, and art for its own sake, 
 irrespective of its mere adaptation for purposes of embellishment, 
 assumed an independent position. Nicolas Poussin was born in 
 1594, and, amidst all the opposition he encountered, originated a 
 marked improvement in the French School of Painting. Engraving 
 was brought concurrently into recognition by his contemporaries, 
 Claude Gellee and Jacques Callot, who likewise were born in the 
 last decade of the sixteenth century : diametrically differing in the 
 subjects they employed their pencils upon, the patronage they were 
 both encouraged with brought their etchings into deserved popu- 
 larity. 
 
 Line engraving, moreover, assumed in the following century a 
 prominent position, the productions of the Audrans, and their 
 numerous imitators, meeting with a large number of admirers and 
 collectors ; and the great French School, ushered in by Nanteuil, 
 and carried to high perfection by him and his contemporaries and 
 followers, has preserved a series of engraved portraits of historical 
 interest, exceeding that of any other time or country in its compre- 
 hensiveness and importance. 
 
EARLY PRINTED BOOKS, 
 
 With Illustrations by Unknown Engravers. 
 
 ;E material used for pro- 
 ducing the illustrations 
 of the books of devo- 
 tion and romances and 
 other printed books in 
 the different branches of 
 literature, of which there 
 was such an extensive 
 publication in France 
 from the latter part of 
 the fifteenth, until late in 
 the sixteenth century, 
 has frequently been the 
 subject of controversy; 
 their general designa- 
 tion as woodcuts is 
 clearly erroneous, a 
 large proportion of 
 them being cut upon 
 metal plates. 
 
 La Nouvelle Danse Macabre des Hommes. 
 With illustrations of the Dance of Death. 
 
 Cy finit la danse macabre, coposee et imprimee par guyot 
 marchant demourant a paris ou grat hostel du college de 
 navarre en champ gaillart L'an de grace mil quatre cens quatre 
 Vingz et Vnze le xv iour de avril. 
 Small folio ^ purple velvet. 
 
 This copy is described in Sotheby's Principia. 
 
 La Grande Danse Macabre des Hommes et des Femmes 
 
Early Printed Books. 
 
 237 
 
 historide et Renouvellde de vieux Gaulois, en langage le plus 
 poly de notre tems. 
 Illustrated with woodcuts. 
 
 A Troyes : chez Jacques Oudot Imprimeur et marchand 
 Libraire, demeurant riie du Temple. 
 Small quarto, olive morocco. 
 
 Le Livre intitule L'Art et Science de bien vivre et de 
 BIEN MOURIR. Avecques les peines defer. Les ioyes de 
 paridis. Le grat Jugemet. Et plusieurs autres belles hystoires 
 devocieuses et conteplatives. 
 
 Illustrated with woodcuts ; having the device of Francoys 
 Regnault on the title. 
 
 Imprime a paris par Le petit laurens. Pour francoys reg- 
 nault libraire demourant au dit paris En la rue saint iacques 
 a lenseigne saint claude (circa 15 10). 
 Small folio, vellum. 
 
 Heures a lusage de Paris. On vellum. The device of Philippe 
 Pigouchet is on the frontispiece. 
 
 With eighteen large illustrations, and smaller ones in the 
 margins of each page, of biblical incidents, principally from 
 the New Testament ; and arabesques of foliage, birds, and 
 animals. 
 
 Ces presentes heures a lusage de paris furent achevees le 
 xxvi jour de Septembre. Lan. Mil. CCCCIIIIXX et VIII pour Tous- 
 sains de mot iay libraire demourat en la rue de la harpe pres 
 saint cosme. 
 
 Octavo, red morocco, tooled at the sides by Capi. 
 
 This is one of the earliest Books of Hours. It is not described by 
 Brunet, who makes no mention of the editor Toussains de Montjay. 
 
 HoRE intemerate Virginis marie secundum USUM Roma- 
 NUM, INCIPIUNT feliciter. On paper (wanting leaf g 8). 
 
 With numerous large illustrations, commencing with "the 
 measure of the wound" in our Saviour's side. The smaller ones, 
 and those of the margins, are of Old and New Testament sub- 
 jects, and arabesques of children and animals, in outline 
 slightly shaded, differing from the other Books of Hours pub- 
 lished by A. Verard. 
 
 Ces presentes heures furent achevees le viii iour de fevrier 
 lan. Mil. CCCC quatre vingtz et neuf pour Anthoine Verad libraire 
 demourant a paris sur le pont nre dame a lenseigne de saint 
 
238 The French School of Engraving. 
 
 iehan levageliste ou au palais au premier pillier devant la 
 chapelle ou on chante la messe de messeigneurs les presidens. 
 Small octavo, red morocco. 
 
 A facsimile of a portion of one of the margins is printed on page 249. 
 
 Heures a lusaige de . On vellum (wanting the first 
 
 leaf and leaf f iii). 
 
 The twenty large illustrations, the smaller ones throughout 
 the text, and the initial letters are illuminated in gold and 
 colours. 
 
 Ces psentes heures a lusaige de furent achevees le ix 
 
 jour de fevrier mil cinq ces. Pour Anthoine Verard libraire de- 
 mourant a Paris pres le carrefour sainct Severin a lymage sainct 
 Jehan levangeliste. ou au palais devat la chapelle ou len chate 
 la messe de messieurs les presidens. 
 Octavo, brown morocco. 
 
 Heures a lusaige de . On vellum, uncoloured. 
 
 With the same illustrations, and printed principally from the 
 same setting of the type as the preceding volume. But the "horae 
 sanctae crucis" and " sancti spiritus," which there are placed 
 before " ad primum," in this copy follow " ad completorium ;" 
 and other prayers are added to the " horae de sancto spiritu" 
 and ad " completorium" and the penitential psalms. 
 
 Ces psentes heures a lusaige de furent achevees 
 
 le ix jour de fevrier mil cinq ces. Pour Anthoine Verard libraire 
 demourant a Paris pres le carrefour sainct Severin a lymage 
 sainct Jehan levangeliste. ou au palais devat la chapelle ou len 
 chate la messe de messieurs les presidens. 
 Octavo, brown morocco, badly oil-stained. 
 
 Heures a lusaige de Romme. On vellum. 
 
 With large illustrations to the different services of the Life 
 and Passion of our Saviour, and borders on the side of each 
 page of the Dance of Death, and grotesques and rural sports. 
 The device of Philippe Pigouchet is on the title. 
 
 Ces presentes heures a lusaige de Romme furet achevees le 
 viii jour de Aoust. Lan. M.CCCCIIIIXX et xviii pour Simo Vostre 
 Libraire demourat a la rue neuve nostre dame a I'enseigne 
 Sainct Jehan levangeliste. 
 Small octavo, purple morocco. 
 
 Heures a lusaige de Rome. On vellum. 
 
 With twenty-one large illustrations, comprising the three 
 
Early Printed Books. 
 
 239 
 
 additional subjects of the Adoration of the Shepherds desig- 
 nated by their names, the Death of Uriah, and the Last Judg- 
 ment. The borders comprise the Life of our Saviour and the 
 Dance of Death, and pastoral and rustic figures. The title, 
 with the device of Philippe Pigouchet and the initial letters, 
 are illuminated in gold and colours. 
 
 Ces presentes heures a lusaige de R5me furet acheves le xvi 
 jour de Septembre. Lan Mil CCCCIIIIXX et xviii pour Simon 
 Vostre libraire demourant a Paris a la rue neuve nostre dame a 
 lymage sainct Jehan levangeliste. 
 Octavo, large copy, brown morocco. 
 
 A facsimile of the subject of the Last Judgment is printed on page 256. 
 
 HORE BEATE Marie Virginis ad usum Parisiensem. With the 
 device of Thielman Kerver on the title. On paper. 
 
 Containing fifteen illustrations the size of the page, includ- 
 ing, at the commencement of the Prayers for the Dead, the 
 subject of Death and the Pilgrim ; the borders are of sacred 
 subjects and arabesque ornaments. 
 
 Ces presentes heures a lusaige de Paris furent achevees le 
 iii jour de fevrier La. M.CCCCC par Tielma Kerver imprimeur t 
 libraire pour Gillet reinacle libraire demourat a Paris sur le 
 pont Saint Michel a lenseigne de la Licorne. 
 Small octavo, green morocco. 
 
 Heures a lusaige de R5me tout au long sans ries requerir Avec 
 les figures de la vie de Ihome : t la destructiS de hierusale. On 
 vellum. 
 
 The nineteen large and many of the smaller illustrations, 
 especially those at the foot of the pages of the Destruction of 
 Jerusalem, are peculiar to this volume, and the execution of 
 them is different from that of other similar service-books. 
 
 Ces presentes heures a lusaige de Romme tout au long sans 
 ries requerir. Avec les figures de la vie de I'homme et la destruc- 
 tion de Hierusalem ensemble. Et pareillemet les figures de 
 lapocalipse : t plusieurs autres belles hystoires faictes a la mode 
 de ytalie. Ont este nouvellemet Imprimees a Paris par Guil- 
 laume Anabat Imprimeur demourat en la rue sainct Jeha de 
 Beauuays a I'enseigne des Lonis pres les grades escolles de 
 decret. Pour Gillet Hardouyn libraire demourat au bout du pont 
 au chage a lenseigne de la Rose. Et pour Germain Hardouyn 
 
240 The French School of Engraving. 
 
 libraire demourant devant le Palays entre les deux portes a 
 lymaige saincte marguerite. Tout pour le mieulx. 
 Octavo, large copy, brown morocco. 
 
 HORE CHRISTIFERE ViRGlNiS MARIE secudum usum Romanu ad 
 longu absque aliquo recursu cu illius miraculis t figuris Apoca- 
 lipsis et biblianis una cu triuphis cesaris. On paper. 
 
 With twenty-five large illustrations, amongst them being the 
 manifestation by the Sibyl of the vision of the Madonna to the 
 Emperor Augustus. The marginal subjects of the Life of our 
 Saviour are more important in size than those in the other 
 Books of Hours, and the Dance of Death, with the verses accom- 
 panying it, and the twelve sibyls and the duels of the seven 
 cardinal virtues with their opponent vices, are peculiar to the 
 volume. Peignot describes the book and the verses, and Lang- 
 lois gives a long account of it and extracts from the text. 
 
 Simon Vostre : — the coat-of-arms of" Michelette Dubuisson" 
 painted over the title. The Annunciation and the Raising of 
 Lazarus are also illuminated. Almanac from 1508 to 1528. 
 There is no colophon at the end. 
 Large octavo, old calf, tooled at tfie sides. 
 
 Officium Beate Marie Virginis ad usum Romane Ecclesie. 
 
 Illustrated with the series of the Passion and borders of 
 scriptural and other subjects, having the Dance of Death at the 
 foot of the pages, differently treated than in any other of the 
 Books of Hours. The engravings are apparently from metal 
 plates, and somewhat Italian in their style. 
 
 Impressum Lugduni expensis Bonini de boninis dalmatini 
 Anno domini MCCCCLXXXXIX. die xx. Maii. 
 Vellum, stained, and with several restorations. 
 Small quarto, red morocco. 
 
 HORE DIVE VGis Marie scdm veru usum Romanu. Vellum. 
 
 The device of Thielman Kerver is on the frontispiece. With 
 eighteen large illustrations, the smaller ones in the margins 
 being of the Life of our Saviour, the Apocalypse, and the 
 Dance of Death, and arabesque and hunting subjects. 
 
 Finit officiu bte marie virgis scdm usum Romanu totaliter 
 ad longum impssum parisi^ p Thielmanu Kerver Anno dni 
 MCCCCCXI. die xxiiii. Julii. 
 Octavo, olive morocco, by Cap^. 
 
GEOFROY TORY, 
 
 Artist, Engraver, Author, and Printer : born at 
 
 BOURGES, 1485; DIED AT ParIS, I554. 
 
 ORN about 1485 of humble parentage 
 at Bourges, Geofroy Tory, by his own 
 diligence, attained early in life a posi- 
 tion in literature. He was at Paris in 
 1505, engaged during some few fol- 
 lowing years as editor for Henri Es- 
 tienne, the printer and publisher. A 
 visit to Rome in 15 12, where previ- 
 ously he had passed some period of 
 his youth, enabled him to perfect him- 
 self in drawing and design ; and to his 
 association in 1520 with Simon de 
 Colines, who had married Henri Estienne's widow, and succeeded 
 to his business, we are indebted for the numerous beautiful Books 
 of Hours he illustrated. His treatise upon the French language 
 and the alteration of the Gothic type previously in use appeared in 
 1529 under the title of Champ Fleury. Francis I. in 1536 conferred 
 upon him the distinction of king's printer. In 1533 he discontinued 
 his active publishing operations in favour of Olivier Mallard, for 
 whom and for whose successors until his death at Paris in 1554 he 
 continued to ornaqient the works they issued. 
 
 Geofroy Tory, par Aug. Bernard, 8vo, Paris, 1857. 
 
 HOR^ IN LAUDEM BEATISS. SEMPER VIRGINIS MARI.<E secundum 
 consuetudinem curiae Roman£e. ubi orthographia, puncta, et 
 accentus suis locis habentur. Parisiis apud Simonem Colinaeum 
 MDXXIIII. On paper. 
 
 With illustrations in outline and arabesque margins by 
 Geofroy Tory. The first edition, with the device of Simon 
 Colinaeus of the three rabbits on the title. Subsequently 
 
242 The French School of Engraving. 
 
 another title was adopted, with the device of the broken pot of 
 Geofroy Tory, and the date 1525. 
 
 Excudebat Simon Colinseus e regione scholarum decretorum 
 Anno a Christi Jesu Nativitate M.D.XXV. xvii. Cal. Febr. 
 
 Octavo y old impressed calf. 
 
 A facsimile of page Fiii. is printed at p. 243, and of the illustration 
 to the Prayers for the Dead in the centre of the title to the notice of 
 Geofroy Tory. 
 
 HORE IN LAUDEM BEATissiME ViRGiNis Marie secundum con- 
 suetudinem Ecclesie Parisiensis. Venales habentur Parrhisiis 
 apud magistrum Gotofredum Torinu Biturigicum : sub insigni 
 vasae effracti : gallico sermone. Au Pot Casse. The device of 
 the broken pot of Geofroy Tory is on the title. On paper. 
 
 With outline illustrations of the Passion of our Saviour, each 
 page ornamented with margins of flowers and birds. 
 
 Ces presentes heures a lusage de Paris furet achevees le vingt 
 deuxiesme jour Doctobre Mil cinq cens vingt sept Par maistre 
 Simon du bois imprimeur pour maistre Geofroy Tori de bourges 
 q les vend a Paris a leseigne du pot casse. 
 Square octavo, brown impressed morocco. 
 
 A facsimile of the Coronation of the Madonna is printed at the foot of 
 p. 226. 
 
 HOR^ IN LAUDEM BEATISSIM^E ViRGINIS MARI^ ad USUm 
 
 Romanum. Parisiis Apud Simonem Colinaeum 1543. On paper. 
 
 With the series of illustrations of the life of our Saviour, the 
 margins having arabesque borders. On certain of them are 
 tablets, with the dates 1536, 1537, and 1539. 
 Quarto, red morocco. 
 
 A facsimile of the illustration "Ad laudes" is printed on p. 232, and of 
 one of the arabesque borders on the title to the notice of Geofroy 
 Tory. 
 
 HORi^; IN LAUDEM BEATISSIM.E ViRGINIS MARINE ad USUm 
 
 Romanum. Parisiis Ex officina Reginaldi Calderii et Claudii 
 eius filii 1 549. On paper. 
 
 Identical in type and arrangement with the preceding 
 volume, illustrated with impressions from the same blocks. 
 Printed by Regnault Chaudiere (the successor of Colinaeus), 
 with the device of Time on the title. Wanting sheet i 3 and 
 the last three leaves of sheet y at the end. 
 Quarto, in old tooled binding. 
 
Geofroy Tory. 
 
 243 
 
 Frontispiece to the folio volume " De Natura Stirpium 
 LiBRi Tres," by Joannes Ruellius, dated 1536. 
 
 The sides and top of the page are covered with trellis-work, 
 intertwined with vines, foliage, and fruit. 
 A reduced facsimile precedes the French School of Engraving. 
 
BERNARD SALOMON (LE PETIT BERNARD), 
 Painter and Engraver: born in Lyons, 1512; 
 workt^d there circa i 54o-80. 
 
 OTHING is known of the personal his- 
 tory of this clever artist. In a small 
 rare quarto volume printed by Jean 
 de Tournes at Lyons 1560, entitled 
 Hymnes de Temps et de ses Parties, 
 of which there is a copy amongst the 
 Douce books in Bodley's Library at 
 Oxford, we are told in the preface 
 " Le tout sorti de bonne main ; car 
 I'invention est de M. Bernard Salo- 
 mon Peintre autant excellet qu'il y 
 en ayt point en nostre Hemisphere." 
 Brunet makes no mention of the 
 book : in vol. iv., under the titles " Ovid" and " Quadrins Historiques 
 de la Bible," he gives detailed information of the different editions 
 of those works published by Jean de Tournes at Lyons. 
 
 Quadrins Historiques de la Bible. 
 
 With 199 woodcuts. A Lyon, par Jean de Tournes M.D.Lin. 
 Small octavo, calf. 
 
 Figure del Nuovo Testamento. 
 
 Illustrated with woodcuts. In Lione. per Giovanni di Tournes 
 m.d.liiii. 
 
 Small octavo, vellum. 
 
 Quadrins Historiques de la Bible m.d.lx. Figures du nouveau 
 Testament M.D.LIX. 
 
 Illustrated with woodcuts. A Lion, par jan de Tournes. 
 Small octavo, blue morocco. 
 
 La Metamorphose d'Ovide, figures. A Lyon, Par Jan de 
 Tournes. M.D.LVii. 
 
 Illustrated with 176 woodcuts, the pages surrounded with 
 arabesque borders. First edition. 
 Octavo, red morocco, by Bauzonet. 
 From the Slade Library. 
 
Bernard Salomon. 
 
 245 
 
 EXCELLENTE FIGUEREN GHESNEDEN VUYTEN UPPERSTEN POETE 
 
 OviDius. Duer Guilliaume Borluit burgher der Stede van 
 Ghendt. 
 
 Illustrated with the same woodcuts, the text in Flemish. 
 Gheprint tot Lions, By my Jan van Tournes, 1557. 
 Octavo, brown morocco, by Bedford. 
 
CHARLES ETIENNE DE LAULNE, 
 
 Goldsmith and Engraver: born at Orleans, 1518; 
 
 DIED AT StrASBURG, 1 595, 
 
 MONGST the goldsmiths and 
 jewellers at Paris during the 
 reigns of Charles IX. and 
 Henry III., Charles Etienne 
 de Laulne was one of the 
 most talented. The two in- 
 teresting prints of his work- 
 shop, one of them inscribed 
 "Stephanus fecit in Augusta 
 1575," apprise us that he 
 was employed by the court 
 and lodged in the palace ; 
 on the occupation of Paris 
 by the League, and the flight 
 of Henry IIL in 1588, he 
 escaped to Strasburg, and died there in 1595. From his numerous 
 engraved designs for chasings we learn the clever freedom of his 
 drawing, and the fancifulness of his workmanship. 
 
 Le Blanc's Manuel. 
 
 Design for a Frieze of Roman Soldiers, a horseman on the 
 left (Landon, 361). After a supposed drawing of Raphael. 
 
 Five small Designs of Arabesques, for goldsmith's work. 
 
 PHILIP THOMASSIN, 
 Engraver: born in Troves, 1536; died after 1617. 
 
 Our Saviour and the Twelve Apostles. After Raphael, 
 copied from the engravings by Marc Antonio. 
 
 S. Cecilia and other Saints, dated 1617. From the picture by 
 Raphael in the Pinacoteca at Bologna. 
 
 S. Marguerite with the Dragon, dated 1 589. After the picture 
 by Raphael now in the Louvre. 
 
Nicolas Chapron. 
 
 247 
 
 JACQUES CALLOT, 
 
 Engraver and Etcher: born in Nancy, 1592; 
 died there, 1 635. 
 
 EDUCATED under Canta Gallina at Florence, Jacques Callot 
 went to Rome and worked with Giulio Parigi and subse- 
 quently with Philip Thomassin, into whose house he was received 
 as an inmate ; his attentions to the old engraver's young wife 
 abruptly broke ofif the association, and he left the city. The account 
 given by most writers about him is derived from the notes of 
 Mariette. Combining the use of the etching needle with the graver, 
 and working with great rapidity, he initiated a style peculiar to him- 
 self, abounding in versatility and humour ; and the ghastly scenes he 
 delighted in are remarkable for the grotesque accessories they are por- 
 trayed with. The most important of his prints- is the Great Fair of the 
 Madonna del Imprunetta, wherein the different occupations of the 
 countless groups are executed with singular animation and variety 
 of action. His method, which is not difficult of acquisition, continued 
 to attract a large number of imitators down to the present century ; 
 but the freedom of drawing and originality of his compositions has 
 remained unrivalled. There is a comprehensive series of his prints 
 in the British Museum. Le Blanc's Manuel. 
 
 The Temptation of S. Anthony (28). From his own design. 
 
 The Miseries of War. In a series of eighteen plates (125 2- 1270). 
 In the second state. 
 
 The Card-players (1283). 
 
 NICOLAS CHAPRON, 
 
 Engraver: born at Chateaudun, 1596; 
 DIED at Rome, 1656. 
 
 ICOLAS Chapron was a pupil of Simon Vouet. He went 
 to Rome, and resided there until his death in 1656. 
 
 Dumesnily vi. 212. 
 
 Sacr^ Histori.« Acta. The series of fifty-two engravings of the 
 Loggie of the Vatican, after the frescoes of Raphael ; prefixed 
 by a portrait of Chapron. 
 Bound in a volume. 
 
t 
 
 CLAUDE GELLEE OF LORRAINE, 
 
 Painter and Etcher : born at Chateau de Chamagne 
 IN Lorraine, 1600 ; died at Rome, 1682. 
 
 Mm 
 
 EFT an orphan early in life, 
 Claude sought refuge with 
 an elder brother, who was a 
 carver of wood at Friburg ; 
 a far more congenial calling 
 than that of a cook to which 
 it is alleged he was ap- 
 prenticed. Availing himself 
 of an opportunity accident- 
 ally occurring, he went to 
 Rome, going thence to 
 Naples ; and having there 
 derived his first tuition from 
 Godfrey Waals, the painter, 
 he returned to Rome, and 
 entered the service of Agostino Tassi. His inherent talent, and the 
 diligence wherewith he applied himself, brought him speedily into 
 repute as a landscape-painter. 
 
 Claude's perception of atmosphere is unrivalled in the range of 
 art ; and in his etchings, in some four or five of them especially, his 
 power of expressing it in so difficult a medium is not surpassed, even 
 with the aid of colour, either by himself or our great landscape 
 painter ; so delicate was the work, that each printing from the 
 plate lessened its clearness, and impressions in which the full effect 
 is preserved are of very rare occurrence. Under an Italian sky in 
 the early dawn the reality probably can alone be seen ; the haze of 
 morning light before sunrise is beautifully given in Claude's 
 small picture, the Rape of Europa, in the Royal Collection in 
 England ; we see it in early states of the mezzotint of Inverary 
 Pier in Turner's " Liber Studiorum :" — but the colourless transpa- 
 rency of atmosphere has never been more finely rendered than in 
 these etchings of Claude. 
 
 The series of his drawings known as the " Liber Veritatis," in the 
 
Claude GelUe of Lorraine. 
 
 249 
 
 Duke of Devonshire's library at Chatsworth, is additionally interest- 
 ing from the artist's notes about the pictures they were the sketches 
 for ; retained in the volume they were first collected in, and never 
 consequently having been framed or exposed to the sun, their 
 original freshness remains uninjured. Dumesnil, i. 3. 
 
 The Herd of Cattle at the Water (4). 
 
 Dancing by the Side of a River (6). 
 
 The Shipwreck (7). 
 
 Cattle crossing a River, with a counter- 
 proof (8). 
 
 The picture, almost identical, is in the Royal Col- 
 lection in England. 
 
 The Dance under the Trees (10). 
 
 The wooden Bridge (14). 
 
 Cattle travelling in stormy Weather 
 (18). 
 
 First state. 
 
 From the Wellesley Collection. 
 Time, Apollo, and the Seasons (20). 
 
 Large Landscape with Shepherd and 
 Shepherdess (21). 
 First state. 
 
250 The French School of Engraving. 
 
 ABRAHAM BOSSE, 
 Engraver: born in Tours, 1602; died at Paris, 1676, 
 
 The Sculptor, the Painter, the Engraver, and the 
 Printer. 
 
 JEAN BOULANGER, 
 Engraver: born in Amiens, 1607; died at Paris. 
 
 The Madonna with the Infant Saviour, holding a Pink. 
 After a picture by Raphael, which is lost. 
 
 The Madonna with the Infant Saviour. After the picture 
 by Raphael in the Bridgewater Gallery. Proof before letters. 
 
 JEAN MORIN, 
 
 Painter and Engraver: born in Paris, 1612; 
 DIED there 1666. 
 
 The Madonna with the Infant Saviour on her Lap, holding 
 a rose : " Dilectus meus mihi." After a picture by Raphael, 
 which is lost. 
 
 FRANCOIS DE POILLY, 
 Engraver : born in Abbeville, 1622 ; died at Paris, 1693. 
 
 The Madonna with the Infant Saviour. After the picture 
 by Raphael in the Bridgewater Gallery. Proof before letters. 
 
 The Holy Family with S. Elizabeth : " Deliciae meae," &c 
 After the picture by Raphael in the Louvre. 
 
 The Holy Family with SS. Elizabeth and Joseph : " Immor- 
 talitas," &c. After the picture by Raphael called " La Perle" 
 at Madrid. 
 
Gerard Edelinck. 
 
 251 
 
 ALBERT FLAMEN, 
 
 Painter and Engraver: born circa 1620; 
 worked at Paris, 1648-64. 
 
 Bartsch, v. 169 ; Dumesnil, v. 135. 
 
 Orpheus Eucharisticus, sive Deus absconditus : opus novum 
 in varias historicorum emblematum aeneis tabulis incisorum 
 centurias distinctum. Tomus primus. Primam centuriam 
 complectens. The only volume published. 
 
 Illustrated with engraved frontispiece and lOO etchings of 
 emblems. 
 
 Parisiis, Apud Florentinum Lambert MDCLVII. Not men- 
 tioned by Bartsch. 
 Octavo, vellum. 
 
 ANTOINE MASSON, 
 
 Engraver: born in Orleans, 1635; died at Paris, 1700. 
 
 Dumesnil, ii. 98. 
 
 Portrait of Guillaume de Brisacier. 
 
 In the first finished state, with the name spelt " Brisasier." 
 
 GERARD EDELINCK, 
 Engraver: born in Antwerp, 1640; died at Paris, 1707. 
 
 ERARD Edelinck was a pupil of Cornelius Galle. Invited to 
 Paris by the minister Colbert, he was taken into favour by 
 Louis XIV., who knighted him, and granted him a pension. 
 
 Le Blanc's Manuel. 
 
 The Holy Family (10). After the picture by Raphael known as 
 " La grande Sainte Famille," painted for Francis L, in the 
 Louvre. 
 
 Portrait of Philippe de Champaigne (166). 
 
GERARD AUDRAN, 
 Engraver: born in Lyons, 1640; died at Paris, 1703. 
 
 F the numerous family of the 
 Audrans, Gerard and his 
 nephew Jean are the most 
 distinguished. Educated un- 
 der his uncle Charles at Paris, 
 Gerard Audran went to Rome, 
 and was brought into notice 
 by Pope Clement IX. He 
 returned to Paris at the insti- 
 gation of the minister Col- 
 bert, and entered into rela- 
 tionship with the painter Le 
 Brun, who was director-in- 
 chief of the Tapestry Works 
 purchased by Colbert of the brothers Gobelin in 1677. Louis XIV. 
 granted him a pension, and a suite of apartments was assigned to 
 him at the manufactory, where for many years his principal 
 employment was the reproduction of the pictures of Le Brun, the 
 series of the battles of Alexander being the most celebrated. 
 Joubert, in his Manuel de V Amateur d'Estantpes, indulges in 
 exaggerated laudation of the Audrans, describing them as the 
 greatest artists that had ever existed. Dumesnil, ix. 237. 
 
 Moses and the burning Bush. After Raphael. Proof before 
 letters. 
 
 JEAN AUDRAN, 
 Engraver ; born in Lyons, 1667 ; died in Paris, 1766. 
 
 Our Saviour preaching from the Ship. After Raphael. No 
 picture or drawing is known of the composition. 
 
SIR NICOLAS DORIGNY, 
 Painter and Engraver: born in Paris, 1657; 
 
 DIED THERE, 1746k 
 
 DUCATED for the French 
 bar, Dorigny followed his 
 profession at Paris until he 
 was thirty years of age, when 
 he abandoned it for the study 
 of painting, and taking up 
 his residence in Italy, re- 
 mained there for a consider- 
 able period. Returning to 
 Paris he devoted himself to 
 engraving, adopting the man- 
 ner of Gerard Audran. He 
 went to London in 1 711, on 
 the invitation of George I., 
 and for the six following years was engaged upon his reproductions 
 of the Raphael Cartoons at Hampton Court, and of the Transfigura- 
 tion. Shortly after their completion in 17 19 he was knighted by the 
 King. The early impressions of his engravings are distinguishable 
 from their not having the " Eques" prefixed to his name, which he 
 added to all the plates so soon as the distinction was conferred 
 upon him ; the prints thus made the advertisement of his dignity 
 being thereby lessened in value. After an abode for some time 
 in England, employed, not very successfully, in portrait-painting, 
 he returned to France in 1724, continuing there until his death in 
 1746. Le Blanc's Manuel. 
 
 The Series of Engravings after the Cartoons of Raphael 
 belonging to the Royal Collection, now exhibited at the South 
 
254 
 
 The French School of Engraving. 
 
 Kensington Museum. Eight plates, including the title (52-59). 
 First states before " Eques." 
 
 The Indian-ink drawings, made for the engraver to work from, by 
 Francis and Jan Cleyn, formerly in the Royal Collection at Windsor 
 Castle, are now the property of Dr. Griffiths, the Warden of Wadham 
 College, Oxford. 
 
 The Transfiguration. After Raphael (8). 
 
 First state before " Eques." 
 
 The large Indian-ink drawing by Casanova, belonging to the Royal 
 Collection, from which Dorigny executed his engraving, is now exhibited 
 with the cartoons at the South Kensington Museum. 
 
 The Taking down from the Cross. After Volterra (9). From 
 the picture by Daniel da Volterra in the Church of the Monte 
 di Trinita at Rome. 
 Second state. 
 
 The History of Cupid and Psyche. From the frescoes of 
 Raphael in the Farnesina at Rome (30-41). 
 First states. 
 
 The Planets. From the cupola of the Chigi Chapel in Santa 
 Maria del Popola. After Raphael (42-49). 
 First states. 
 
 MICHEL CORNEILLE, 
 
 Painter and Engraver: born in Paris, 1642; 
 died there, i 708. 
 
 Dumesnil, vi. 285. 
 
 Four Subjects from the History of Abraham (1-4). After 
 designs ascribed to Raphael. 
 
 NICOLAS HENRI TARDIEU, 
 
 Engraver: born at Paris, 1674; died there, 1749. 
 
 Portraits of Antoine Watteau and M. de Julienne, the 
 Violoncello-player, in a wooded landscape. From a pic- 
 ture by Watteau. 
 
yacques Philippe le Bas. 
 
 255 
 
 PETER SCALBERGE, 
 Painter and Engraver : worked at Paris in the first 
 
 HALF OF the SEVENTEENTH CENTURY. 
 
 The Entombment of our Saviour. After the picture by 
 Raphael in the Borghese Palace. 
 
 FRANCOIS BOUCHER, 
 
 Painter and Etcher : born in Paris, 1703 ; 
 DIED there, 1770. 
 
 Portrait of Antoine Watteau, three-quarter figure, from a 
 picture by Watteau, with four lines at the foot beginning " Wat- 
 teau par la Nature." 
 
 ETIENNE JOHANDIER DESROCHERS, 
 Engraver: born in Lyons, 1693; died at Paris, 1741. 
 
 Leda. After the large picture by Correggio destroyed by the Duke 
 of Orleans. 
 
 JACqUES PHILIPPE LE BAS, 
 Engraver: born in Paris, 1707; died there, 1783. 
 Le Blanc's Manuel. 
 
 S. Antony preaching to the Birds. After his own design. 
 
 The Bull, dated 1773. After the picture by Paul Potter at the 
 Hague. 
 
 A wooded Landscape, a river on the left ; two men in a boat. 
 After Ruisdael. 
 
 A WOODED Landscape, sheep at a pool in front, dated 1774. After 
 Ruisdael. 
 
JOHANN GEORGE WILLE, 
 
 Engraver: born at Koningsberg, 171 5; 
 DIED AT Paris, 1808. 
 
 RUSSIAN by birth, Wille went 
 early in life to Paris, and applying 
 himselfto the mechanical improve- 
 ment of the art he had adopted, 
 worked out a process very brilliant 
 in its effect. Following the crisp 
 bold manner of Goltzius, he modi- 
 fied its harshness, and reproduced 
 the genre subjects of the Dutch 
 painters with great clearness of 
 drawing, his rendering of the dif- 
 ferent textures of dress being re- 
 markable for its clever reality. He 
 was treated with much distinction during his long life, and elected 
 a member of most of the Continental Academies. 
 
 The Holy Family, called " Le Repos de la Vierge." 
 
 Early proof undescribed, without name or number, and before 
 the circular place was cleared at the bottom for the arms. 
 From tlie Palmer Collection. 
 
 The Death of Cleopatra. 
 Impression with letters. 
 
 The Family Concert. 
 
 First state, before the notes of music on the book. 
 From the Palmer Collection. 
 
 The Satin Gown. 
 
 Impression with letters. 
 
258 The French School of Engraving. 
 
 JEAN JACQUES DE BOISSIEU, 
 
 Amateur Painter and Engraver :^born in Lyons, 1736; 
 died there, 181o. 
 
 JEAN Jacques de Boissieu went to Paris in his youth, and, enter- 
 ing into its art society, became associated with Vernet, Greuze, 
 and the painters of the time. He sketched creditably in the style of 
 the Dutch masters, and made a series of drawings in illustration of 
 his tour in Italy with M. de la Rochefoucauld ; subsequently he 
 confined himself to etching and engraving. There is a biographical 
 account of him by M. Dugas-Montbel, Lyon, 1810. M. Guichardot, 
 the printseller of Paris, compiled a catalogue of his works from the 
 collection of M. Vanden Zande of Paris, which is reproduced in 
 Le Blanc's Manuel. 
 
 VuE Du Chateau de Madrid, pr^s de Paris (71). 
 Lever du Soleil, d'apr^s Claude (116). 
 
 JEAN DUPLESSI-BERTAUX, ' 
 
 Engraver: born at Paris, 1747; died subsequently 
 
 TO 1 8 14. 
 
 A Set of one Hundred original Etchings, drawn and en- 
 graved by J. Duplessi-Bertaux. 
 
 With descriptions in French and English. (Paris : at the 
 editor's, 18 14.) 
 
 MAURICE BLOT, 
 Engraver: born in Paris, 1754; di'ed there, 1818. 
 
 The Holy Family — "La Vierge aux Candelabres." After the 
 picture ascribed to Raphael in the collection of the late Mr. 
 Munro of Novar. 
 
DOMINIQUE VIVANT DENON, 
 
 Painter and Engraver: born at ChAlons-sur-Saone, 
 1747; DIED AT Paris, 1825. 
 
 ARON Denon accompanied 
 Napoleon to Egypt, and 
 when he returned published 
 the well-known costly work 
 commemorative of the expe- 
 dition. The National Mu- 
 seums and that of the Mint 
 were placed under his super- 
 intendence, and their im- 
 provement was materially 
 enhanced by the taste and 
 cultivated knowledge with 
 which he directed their ad- 
 
 ministration. Continued in 
 the appointments after Napoleon's abdication, he held them until 
 his having joined the Emperor on the escape from Elba occasioned 
 his dismissal. 
 
 He possessed a choice collection of early Italian and other prints 
 and etchings, which were catalogued by Duchesne, and sold by 
 auction after the Baron's death in Paris in 1826. The Rembrandts, 
 very fine in quality, were purchased in one lot by Messrs. Woodburn, 
 from whom a large proportion of them passed to Mr. Wilson. A 
 volume of the works of Lucas van Leyden was retained by the 
 Baron's nephew, and subsequently in 1844 sold by him to Messrs. 
 Smith ; the series of the works of that master made by Mr. 
 Brooke was selected from it, — the rare prints of the Uylenspiegel and 
 the great Hagar, now in the British Museum, being amongst them. 
 
 There is a catalogue of Baron Denon's engraved works with the 
 title, " Catalogue des Estampes gravees par le Citoyen D. Vivant 
 Denon, 1803." 
 
 Calumny. After Lucian's description of a picture by Apelles. 
 The original drawing, ascribed to Raphael, is in the Louvre. 
 Engraved in mezzotint. 
 
26o The French School of Engraving. 
 
 PIERRE ALEXANDRE TARDIEU, 
 
 Engraver; Pupil of Wille : born in Paris, 1756; 
 died there, i 844. 
 
 The Communion of S. Jerome. After the picture by Domeni- 
 chino in the Vatican. 
 
 PIERRE AUDOUIN, 
 
 Engraver ; Pupil of Beauvarlet : born in Paris, i 768 ; 
 DIED there, 1822. 
 
 The Holy Family — " La Belle Jardiniere." After the picture by- 
 Raphael in the Louvre. 
 
 The Entombment of Our Saviour. After the picture by 
 Caravaggio. Proof before letters. 
 
 Jupiter and Antiope. After the picture by Correggio in the 
 Louvre. 
 
 JOSEPH THEODORE RICHOMME, 
 Engraver: born in Paris, 1785. 
 
 Adam and Eve, dated 18 14. After the fresco by Raphael on the 
 ceiling of the Stanza della Segnatura in the Vatican. 
 
 The Madonna and Child. After the picture by Raphael known 
 as the " Madonna Staffa," now in the Hermitage at S. Peters- 
 burg, having been purchased in 1871 for 9000/. 
 
 The Holy Family — " La Vierge de Lorette," dated 181 2. After 
 a picture by Raphael which has disappeared. 
 
 A painting of the composition in the possession of Cavaliere 
 Laurie at Florence is alleged to be the original. 
 
 The Altar-piece known as the Five Saints. Engraved for the 
 Musde Royal. 
 
 A bistre drawing is in the Louvre, and there is a painting of 
 it at Parma ascribed to Raphael. 
 
Auguste Gaspard Louis Boucher-Desnoyers. 261 
 
 JEAN BAPTISTE RAPHAEL URBAIN MASSARD, 
 Engraver: born in Paris, 1775 ; died there, 1831. 
 
 The Holy Family, with the diadem, called " La Vierge au Linge." 
 After the picture by Raphael in the Louvre. 
 
 The Burial of Atala, After the picture by Girodet-Trioson. 
 
 AUGUSTE GASPARD LOUIS BOUCHER- 
 DESNOYERS, 
 
 Engraver: born in Paris, 1779; died there, 1857. 
 
 The Madonna and S. Elizabeth — "La Salutation," dated 1824. 
 After the picture by Raphael in the Museum at Madrid. 
 
 The Madonna and Child, of the Tempi family, dated 1824. 
 After the picture by Raphael in the Pinacothek at Munich. 
 
 The Holy Family, with the diadem — "La Vierge au Linge." 
 After the picture by Raphael in the Louvre. 
 
 The Foligno Altar-piece. After the picture by Raphael in the 
 Gallery of the Vatican, known as the Madonna di Foligno. 
 
 The Holy Family and Tobit — " La Vierge au Poisson." After 
 the picture by Raphael in the Museum at Madrid. 
 
 The Madonna della Sedia — " La Vierge a la Chaise." After 
 the picture by Raphael in the Pitti Palace at Florence. 
 
 The Madonna and Child — " La Belle Jardiniere de Florence." 
 After a picture probably by Van Orley, ascribed to Raphael. 
 The picture is not known. 
 
 Ste. Catherine, dated 1824. After the picture by Raphael in the 
 National Gallery, London. 
 
 Faith, Charity, and Hope. After the Predella pictures to the 
 Entombment by Raphael in the Borghese Palace. 
 
262 The French School of Engraving. 
 
 NOEL FRANCOIS BERTRAND, 
 
 Engraver: born at Soisy-sous-Etoiles, 1784; 
 DIED AT Saint Ouen, 1852. 
 
 Portrait of the Emperor Napoleon, life size, engraved in the 
 crayon manner, from a drawing by Eugene Bourgeois, after the 
 full-length portrait by David. 
 
 JEAN MARIE LEROUX. 
 Engraver; Pupil of David: born in Paris, 1788. 
 
 Leda, dated 1835. After a picture ascribed to Leonardo da Vinci. 
 
 FRANCOIS FORSTER, 
 Engraver: born at Locle in Switzerland, 1790. 
 
 Portrait of Raphael. 
 
 La Vierge de la Maison d'Orleans. After the small painting 
 by Raphael now belonging to the Duke d'Aumale. 
 
 La Vierge a la Legende, dated 1847. After a picture by 
 Giulio Romano. 
 
 Les trois Graces. After the painting by Raphael belonging to 
 the Earl of Dudley. 
 
 ACHILLE LOUIS MARTINET, 
 Engraver: born in Paris, 1806. 
 
 La Vierge a l'Oiseau. After the picture by Raphael in the 
 Uffizi at Florence. 
 
 La Vierge aux Palmiers. After the picture by Raphael belong- 
 ing to the Earl of Ellesmere. 
 
 La Vierge a la Redemption. After a picture ascribed to 
 Raphael belonging to Signer Tosoni at Milan. 
 
 ARISTIDE LOUIS, 
 Contemporary Engraver. 
 
 Portrait of the Emperor Napoleon, dated 1841. After 
 Delaroche. 
 
CHARLES MERYON, 
 
 Painter and Etcher: born in Paris, 1821 ; 
 DIED AT Charenton, 1 868. 
 
 'HE Gazette des Beaux Arts 
 in vols. xiv. and xv., gives an 
 account of Charles Meryon 
 with a list and description of 
 his works : the list is very 
 incomplete. 
 
 BorninParis in i82i,theson 
 of an English physician, he 
 entered the French Marine, 
 and during the years 1842-46 
 acted as lieutenant in a voy- 
 age of circumnavigation in 
 the South Seas, and on the 
 coasts of New Zealand and 
 New Caledonia. In 1847 impaired health obliged him to leave the 
 service ; and prompted by his love of drawing, which he had exer- 
 cised in making numerous sketches of New Zealand scenery, he 
 devoted himself to painting, in which he achieved but slight success. 
 Under the teaching of M. Eugene Blery he studied etching, of 
 which he became the most accomplished master the modern 
 French school has produced. Exhausted by the neglect with 
 which his productions were received, and the hard struggle he 
 encountered for existence, he became insane, and died in the hos- 
 pital of Charenton in February 1868. 
 
 A Series of the Etchings by Charles Meryon of views of Paris, 
 comprising numerous early states and duplicates. Arranged 
 in a portfolio. 
 
 JEAN LOUIS ERNEST MEISSONIER, 
 
 Contemporary Painter. 
 
 Les Contes Remois, par M. le Cte. de C. 
 
 With illustrations after the designs of Meissonier (Paris, 1858). 
 Octavo, large paper, green morocco. 
 
264 The French School of Engraving. 
 
 FREDERIC DESIRE HILLEMACHER, 
 Contemporary Etcher. 
 
 Illustrations of the plays of Moliere, one hundred and sixteen 
 etchings, and portrait of Moliere, on Japan paper, 1863-70. 
 With title and descriptive letterpress, of which four copies only 
 were printed — for the British Museum, Sir William R. Drake, 
 Mr. Fisher, and Mr. Justen. 
 Bound in a folio volume, green morocco. 
 
 Galerie Historique des Portraits des Comediens de la 
 troupe de Moliere. 
 
 With etched portraits by Frederic Hillemacher. 
 Second edition, octavo, Lyon, 1 869, green morocco. 
 
 Galerie Historique des Comediens de la troupe de Talma. 
 With etched portraits by Frederic Hillemacher. 
 First edition, octavo, Lyon, 1 866. 
 
 Six Illustrations to Boileau's Lutrin. 
 
 GUSTAVE dore. 
 Contemporary Painter and Engraver. 
 
 L' Inferno (1861), il Purgatorio e il Paradiso (1868) di 
 Dante Alighicri Colle figure di G. Dord (Hachette, Parigi). 
 Ln two volumes, folio, half red morocco. 
 
 The Legend of the Wandering Jew (London, 1857). Folio. 
 
 Ouvres de Francois Rabelais, contenant la vie de Gargantua et 
 celle de Pantagruel (Paris, 1857). 
 Octavo, half red morocco. 
 
 La Legende de Croque Mitaine. Illustree de 177 vignettes 
 sur bois par Gustave Dor^ (Hachette, Paris, 1863). 
 Quarto, lialf red morocco. 
 
 Aventures du Baron de Munchausen (Paris). Quarto. 
 
THE FLEMISH AND DUTCH SCHOOLS 
 OF ENGRAVING. 
 
 N array 
 of talent 
 became 
 develop- 
 ed in the 
 Nether- 
 lands, 
 from the 
 close of 
 the six- 
 teen th, 
 and con- 
 tinned 
 through- 
 out the 
 seven- 
 teenth 
 century, 
 which 
 raise d 
 it as a 
 s c h o o 1 
 
 of painting to an importance rivalling that of any contemporary 
 with it in Europe. Nearly two hundred years prior to its 
 establishment, commencing with the productions of Hubert and 
 John Van Eyck and their followers, the technical skill of painting 
 was brought to the highest refinement in knowledge of colour and 
 accuracy of finish. Numerous artists flourished throughout the 
 sixteenth century, and many of their works were of merited 
 celebrity ; but the earnest and religious abstractedness of the first 
 founders was there no longer, and their reverential sentiment was 
 replaced by exaggerated and vulgarised treatment of the incidents 
 
266 The Flemish and Dutch 
 
 of Our Saviour's Passion, and the sacred subjects selected for illus- 
 tration, degenerating into a conventional manner, ill in accord with 
 the devotional feeling essential for their conception, and totally 
 unaided by the inspiration which guided the great painters of 
 Bruges in their compositions. 
 
 Never was artist more thoroughly adapted than Rubens for the 
 purpose and for the period in which his talents were brought into 
 employment. The Papal influence, with .the help of the wealth of 
 Spain, was all-powerful at the time in Flanders. The fluency of 
 drawing and sensuousness of treatment with which he filled his large 
 canvases, glowing in their richness of colour in emulation of the 
 Venetian school, were mainly applied in support of the doctrines of 
 the Church. Treated with a distinction exceeding that of any 
 painter who had preceded him, he was received into the confidence 
 of the Archduke Albert and of Philip III., continued by Philip IV., 
 and he carried out with acknowledged success the diplomatic 
 missions he was intrusted with. The works he executed for Mary 
 de Medici at Paris, and for Charles I. in London, were commissioned 
 whilst he was at either Court as ambassador. Allegory was then 
 at the height of its absurdity ; the costly expenditure of the nobles 
 of the time created an emulation for the decoration of the ceilings 
 and walls of their mansions. The liberal patronage they were en- 
 couraged with ripened into maturity the abilities of a crowd of 
 pupils and followers, who had gathered around the great master at 
 Antwerp, and profited by his instruction ; and the distinguishing 
 type of his teaching prevailed throughout the whole of the Nether- 
 lands. 
 
 Fostered by the same influence, numerous painters simultaneously 
 rose into popularity in North Holland, characterised by the same 
 brilliancy of tone, but sobered and modified with rare refinement, 
 the distinctive divergence of style being very palpably defined. 
 The progress of the Reformation, so energetically sustained by 
 the Dutch Republic, created a taste diametrically opposed to that 
 which prevailed in Flanders. Painting as an accessory to ecclesias- 
 tical influence was in Holland altogether ignored ; subjects of 
 landscape and animal life, and rural and domestic scenes, were 
 adopted by its artists for delineation, in response to the patronage 
 calling for their production, and they brought the treatment of them 
 to a truthfulness of realistic execution, equal in minuteness of 
 finish and studied perfection of colour to the beautiful conceptions 
 of their early Flemish predecessors. 
 
 These genre pictures, essentially different from those of any other 
 
Schools of Engraving. 
 
 267 
 
 school, were keenly appreciated and purchased for the decoration 
 of their homes by the wealthy Dutch merchants. The taste and 
 critical demand for the acquisition of these cabinet gems of art 
 still predominate in Holland, notwithstanding the numbers of them 
 which have left the country, and become the ornament of so many 
 public galleries and private collections throughout Europe. The 
 estimation they were held in is shown by the scrupulous care they 
 yet are guarded with as the treasured inheritance in many a house- 
 hold, retained in their original condition, and the black-bordered 
 frames wherein they first left the easel.* 
 
 There was no State patronage in Holland, save an occasional 
 commemoration of some patriotic struggle and noble act of self- 
 sacrifice in the country's history. The national records of its art are 
 the portraits and historical groups decorating the public buildings of 
 its principal cities in honour of their eminent men, who during succes- 
 sive periods of peril devoted themselves with heroic courage to the 
 support of the Republic. The painters of them were not surpassed 
 in excellence of skill by those of any other European school ; their 
 uneventful lives passed on for the most part deficient of incident 
 save in reference to their occupation, and the patrons they became 
 associated with. We have but slight knowledge of their career, 
 beyond what is gathered from the dates upon their pictures ; some 
 found their way to Rome, and other Italian academies ; with few 
 exceptions they retained their individuality of style, and returning 
 home resumed the tranquil domestic habits they had been brought 
 up in. But we find scarcely an entry respecting them in the archives 
 of the towns where they resided, or in the political annals of the 
 country ; working diligently in the seclusion of their studios, a local 
 interest was created through the talent they displayed, and an attrac- 
 tive application of it was initiated by many in making drawings, 
 finished with the exactness of oil pictures, from which arose a 
 popular branch of employment, — the foundation for the taste for 
 water-colour painting, now in our time expanded into such wide- 
 spread application in England. 
 
 As regards engraving a vast difference exists between the Flemish 
 and Dutch schools. The mannered but brilliant style commenced 
 by Hendrik Goltzius was adapted for the taste and requirements 
 around him ; his numerous followers and imitators degenerated 
 
 * The small gallery of pictures belonging to the Van Loon family in Am- 
 sterdam, for more than two hundred years preserved intact, was purchased 
 in 1877 for a large sum, and distributed amongst the members of the Roths- 
 child family. 
 
268 
 
 The Flemish and Dutch Schools. 
 
 in copying his exaggerated errors of drawing, without acquiring 
 his technical skill. By the Bolswerts, Vorstermans, Suyderhoef, and 
 other clever masters line engraving was refined and carried to a far 
 better representative method of execution in the reproduction of 
 the pictures of Rubens and his contemporaries. With the exception 
 of Van Dyk, there was scarcely an artist in Flanders who made use 
 of the etching needle. In Holland we have the congeries of 
 painters, with Rembrandt at its head, who, each with a style of his 
 own and distinctive speciality, resorted to the practice of sketching 
 their compositions upon the copper, and produced the numerous 
 exquisite etchings which are unrivalled in their truthfulness to 
 nature in their drawing. 
 
 The British Museum is largely enriched, both with the etchings 
 of Rembrandt, and those of the so-called " Dutch Masters." The 
 accumulation of the latter made by Mr. Sheepshanks was, on the 
 dispersion of his prints, purchased in 1842 for the national collection 
 for 5000/. Additions have been made whenever opportunity 
 occurred, and the series of the etchings of the Dutch school in 
 Great Russell-street has become one of the most extensive in 
 Europe. 
 
FLEMISH ENGRAVERS. 
 
 MARTIN HEEMSKERCK, 
 
 Painter and Engraver: born at Heemskerck, 1498; 
 DIED AT Haarlem, i 574. 
 
 N education at Utrecht under 
 John Schoorel (the incidents 
 of whose career and of his 
 journey to the Holy Land 
 form an interesting episode 
 in his history) had prepared 
 Martin Heemskerck for en- 
 tering the schools at Rome, 
 where his ill-directed study 
 of the works of Michel An- 
 gelo but resulted in his copy- 
 ing them with fantastical ex- 
 aggeration of drawing and 
 the absurd eccentricities of 
 his compositions. There is a catalogue of Martin Heemskerck's 
 prints by Thomas Kerrick. 
 
 The Story of Dives and Lazarus. A series of four prints, 
 dated 155 1. 
 
 BALTASAR BOS, 
 Engraver: circa 1550. 
 
 The Judgment of Paris. An oblong print. Inscribed at the 
 foot, ' Sordent: prae forma ingenium virtus regnum aurum. Bal- 
 tasar Bos fecit, ano 1553.' 
 
 HIERONIMUS COCK, 
 
 Painter and Engraver: born at Antwerp, 15 10; 
 DIED, 157c. 
 
 The Parable of the Wise and Foolish Virgins. After 
 Breugel. With an inscription at the foot beginning " Date 
 nobis de oleo vestro." 
 
HENDRIK GOLTZIUS, 
 
 Painter and Engraver: born at Mulbrecht, 155 8 ; 
 DIED at Haarlem, 16 16. 
 
 NUMEROUS class of en- 
 gravers arose from the 
 teaching of Hendrik Golt- 
 zius, of whom, however, the 
 founder was by far the most 
 eminent. Travelling in 
 Italy and studying in the 
 debased schools of the lat- 
 ter half of the sixteenth 
 century, he followed the 
 then prevailing system of 
 adopting the works of Mi- 
 chel Angelo as the stand- 
 ard for imitation, and suc- 
 ceeded in acquiring all the 
 faults of the great artist, missing his grandeur of conception and 
 design. His undraped figures, their delineation in every impossible 
 position and violence of foreshortening being the favourite subject 
 for his pencil, are grotesque in their perversion of anatomical drawing. 
 The most so are the four circular prints known as the " Tumblers," 
 and that of the dragon destroying the companions of Cadmus, after 
 Bartholomaeus Spranger, the painting of which, presented by the 
 Duke of Northumberland, is properly consigned to the vaults of the 
 National Gallery. His sharp vigorous method, however, of using 
 the burin produced engravings full of clearness and brilliancy ; the 
 small compositions of The Holy Family (25) and Venus (257) are 
 singularly transparent in their minute finish, and his so-called "chefs 
 d'ceuvre" (15-20) and the portrait of the son of Theodoric Frisius 
 with the dog (190) are masterpieces of skilful workmanship. 
 
 Bartsch, iii. I. 
 
Hefidrik Goltzius. 2^1 
 
 The Annunciation (15). In the style of Raphael. 
 
 The Salutation (16). In the style of Parmlgiano. 
 
 The Adoration of the Shepherds (17). In the style of 
 Bassano. 
 
 The Circumcision (18). In the style of Albert Durer. 
 
 The Adoration of the Magi (19). In the style of Lucas van 
 Leyden. 
 
 The Repose in Egypt (20). In the style of Baroccio. 
 The Holy Family (25). A small oval plate. 
 The Passion of Our Saviour (27-38). 
 
 The Madonna lamenting over the dead Body of Our 
 Saviour (41). 
 
 Impression before the monogram. 
 
 Pygmalion and the Statue, dated 1593 (138). 
 
 The Boy and Dog. Portrait of the son of the Dutch painter 
 Theodore Frisius (190). 
 
 Venus "sine Cerere et Baccho" (257). Small oval plate. 
 
 The Tumblers (258-261). After Cornelius Cornells. 
 
 The Dragon devouring the Companions of Cadmus (262). 
 After the picture by Spranger in the National Gallery. 
 
 The Triumph of Galatea. After Raphael (270). 
 
 The Goddesses Pallas, Venus, and Juno. In ovals, dated 
 1596. With the interlaced monogram HG. They are cata- 
 logued by Bartsch as the three most important of the engrav- 
 ings of Johann Saenredam (62-64). 
 
JEROME WIERIX, 
 
 Designer and Engraver: born at Antwerp, 1553; 
 DIED there, 1619. 
 
 HE brothers John, Jerome, and 
 Antony Wierix — the second 
 brother Jerome being by far 
 the most talented of them — 
 were the sons of Antony Wie- 
 rix, a painter at Antwerp. They 
 were engaged contemporane- 
 ously in the illustration of the 
 mystical theology carried to 
 such fantastic exaggeration 
 under the influence of the 
 powerful dogmatism emanat- 
 ing from the Escurial ; the 
 numerous engravings of the 
 three brothers have preserved to us a curious illustrated history of 
 the refined absurdities the wealth and influence of the Spanish 
 Jesuits had introduced into their religious teaching. 
 
 Catalogue raisonne de VCEttvre des Trois Frkres J-, J.., and A. 
 Wierix. Par L. Alvin. Bruxelles, 8vo, 1866. 
 
 The Story of the Infancy of Our Saviour, in a series (with 
 the title) of 13 Plates (441-53). 
 Designed and engraved by Jerome Wierix. 
 
 The Scourging of Our Saviour. After Lucas Romanus (195). 
 In the first state before the address of Adrian Collaert. Alvin 
 describes this print as the most important of Jerome Wierix's 
 works. 
 
 The Madonna lamenting over the dead Body of Our 
 Saviour. After Raphael (263). 
 
 The Rosary. In a series of 8 plates (462-9). 
 
Hans Van Lochorn. 
 
 273 
 
 The Death of the Madonna. After Otto Vaenius (493). 
 The Madonna and Child (608). 
 
 The Legend of S. Lydtwina. The centre subject of S. Lydt- 
 wina accepting the rose-branch from the angel, surrounded by 
 the twelve smaller representations of incidents in her career 
 (808-20). ■ 
 
 The Adoration of the Infant Saviour. In nine plates 
 (1258-66). 
 
 Speculum Virginitatis. In seven plates (1319-25). 
 
 The Series of Illustrations of the History of the 
 Gospel. Engraved by the three brothers Wierix in conjunc- 
 tion with Adrian Collaert and Charles de Mallery. 154 plates 
 (1658-1813). 
 
 " Evangelicae Historiae Imagines Auctore Hieronymo Na- 
 tali, Societatis Jesu Theologo. Antwerpiae, Anno DnI MDXCIII." 
 The text of the work is illustrated with numerous vignettes. 
 
 Folio, old vellum binding, with clasps. 
 
 A Selection of ninety Engravings by Jerome Wierix from 
 the Life of Our Saviour and the Madonna, and the Lives of the 
 Saints. Arranged according to Alvin. 
 
 HANS VAN LOCHORN, 
 
 Nagler Monograininisten, vol. iv. p. 626, No. 1983. 
 
 The Life of the Madonna. 
 
 "Vita Divae Mariae Virginis," in the style of Jerome Wierix. 
 A series of sixteen small plates, 5 in. high by 3^ in. wide, each 
 of them having a description in Latin at the foot. On the first 
 are the initials H. V. L. and I. E. W. on the left. 
 Mounted, in a volume. 
 
 T 
 
Flemish Engravers. 
 
 ADRIAN COLLAERT, 
 
 Engraver at Antwerp in the latter part of the 
 sixteenth' century. 
 
 Triumphus Jesu Christi Crucifixi. 
 
 Illustrated with seventy engravings of crucifixions of Chris- 
 tian martyrs. Antwerpiae, Adrianus CoUaert sculpsit 1608. 
 Octavo, brown morocco. 
 
 HANS COLLAERT, 
 
 Engraver at Antwerp in the latter part of the 
 sixteenth century. 
 
 Cleopatra, by the side of a couch, holding an asp in each hand. 
 
 THEODOR GALLE, 
 Engraver at Antwerp at the end of the sixteenth 
 
 CENTURY. 
 
 Veridicus Christianus. Auctore P. Joanne David, Sacerdote 
 Societatis Jesu. 
 
 With engraved frontispiece and illustrations by Theodor 
 Galle. Antwerpiae, ex ofificina Plantiniana, apud Joannem 
 Moretum, MDCL 
 Quarto, red morocco. 
 
 Paradisus Sponsi et Spons^. 
 
 With 100 illustrations by Theodor Galle. 
 
 Antwerpiae, ex ofificina Plantiniana, apud loan. Moretum, 
 
 MDCVII. 
 
 Octavo, olive morocco. 
 
 ^GIDIUS SADELER, 
 
 Painter and Engraver: born at Antwerp, 1570; 
 died there, 1629. 
 
 The Madonna and Child in a Landscape. After the drawing 
 by Albert Durer in the Albertina at Vienna. 
 Proof before letters. 
 
Theodor de Bry. 
 
 275 
 
 THEODOR DE BRY, 
 Engraver: born at Luttich, 1528; died in 1598. 
 
 IN Le Blanc's Manuel there is a notice of the De Brys derived 
 from Mariette's notes. 
 
 Theatrum Vit^ HUMANiE A. J. J. Boissardo Vesuntino con- 
 scriptum et a Theodoro Bryio artificiosissimis historiis illustra- 
 tum. 
 
 Engraved title of death subjects, with portrait of Boissard, 
 and sixty illustrations by Theodor de Bry. 
 
 Excussum typis Abrahami Fabri, impensis Theodori Bryi 
 Leodiensis sculptoris Francfurdiani Civis, 1596. 
 Quarto, dark olive morocco. 
 
 VlT^ ET ICONES SULTANORUM TURCICORUM : ad vivum ex 
 antiquis mettallis effictse, et descriptas, a Ja. Jac. Boissardo 
 Vesuntino. 
 
 Engraved title, with portrait of Boissard at the back, and 
 forty-seven portraits, in borders of flowers, fruit, animals, and 
 birds, by Theodor de Bry. 
 
 Per Theodoru de Bry Leod. Civem Francf ad msen. A°. 
 MDXCVI. 
 Quarto, calf. 
 
 DiONYSII LEBEI BATILLII REGII MEDIOMATRICU PRiESIDIS Em- 
 BLEMATA. 
 
 Illustrated with engraved frontispiece and portrait of Batillius 
 and sixty-two emblems by Theodor de Bry. 
 Francofurti ad Maenu A° cld. Ld. XCVI. 
 Small quarto, red morocco. 
 
276 
 
 Flemish Engravers. 
 
 JOHANN THEODOR DE BRY, 
 
 Engraver: born at Luttich, 156 i ; 
 
 DIED at FraNCFORT, 1623. 
 
 Two OF THE Series of the History of Creation. After 
 Martin de Vos. Small circular prints. 
 
 The Triumph of Bacchus. After Giulio Romano. 
 
 The Golden Age. After Bloemaert. A circular print. 
 
 Marietta refers to this print as one of the best of De Bry's engravings. 
 
 Atalanta Fugiens. hoc est Emblemata Nova de secretis 
 Nature Chymica. Authore Michaelle Majero. 
 
 With engraved frontispiece and portrait of Michael Maier 
 and fifty illustrations by Johann Theodor de Bry. 
 
 Oppenheimii, ex typographia Hieronymi Galleri sumptibus 
 Joh. Theodori de Bry, MDCXVIH. 
 Quarto, red morocco. 
 
 Engraver: born at Augsburg, 1570 ; died there, 1637. 
 
 Two full-length Portraits, on the same Plate, of Albert 
 Durer, at different periods of age — in 1509 and 15 17 — in an 
 architectural facade. Unfinished proof before letters. 
 From the St. Aubyn Collection. 
 
 HERE were two engravers, father and son, of the name. They 
 
 -1- worked principally at the Hague circa 1 590-1650. 
 
 Eulenspiegel. Copy of the rare print by Lucas van Leyden. 
 
 The Procession to Meulebeck. 
 
 With the drawing by. Peter Breugel, from a portion of which 
 the engraving is taken. At the foot of it is an inscription, 
 the following being the translation : " These are the pilgrims 
 who had to dance on S. John's day from Brussels to Meulebeck, 
 and when they had danced or jumped over a bridge they were 
 cured for a whole year from the S. John's illness." 
 
 LUCAS KILIAN, 
 
 HEINRICH HONDIUS. 
 
Christopher Van Sichem. 277 
 
 BARBARA VAN DEN BROECK, 
 
 Born at Antwerp, 
 
 The Last Judgment. A composition of numerous figures, having 
 an inscription of four lines at the foot in Latin, French, and 
 Flemish, signed, " Crispine Vandenbroeck inven. Barbara filia 
 Crispini sculpsit. Henr. Hond. exc. Hage, 1649." 
 
 NICOLAS DE BRUYN, 
 Engraver: born in Antwerp, 1570; died there, 1635. 
 Le Blanc's Manuel. 
 
 The Passion of Our Saviour, dated 161 8- 19 (64-75). 
 
 CHRISTOPHER VAN SICHEM, 
 
 Engraver, Pupil of Goltzius: born at Delft, 1580. 
 Passavant, iii. 470. 
 
 t SCHAT DER ZiELEN. Dat Is. Het geheele leven ons Heeren 
 Jesu Christi Naer de vyer Evangelisten. Met seer schoone 
 figuren verciert gesneden door C van Sichem voor P. L P. 
 
 Illustrated with nearly 700 woodcuts by Christopher van 
 Sichem of sacred subjects after Albert Durer, Lucas van 
 Leyden, and other German, Flemish, and Dutch artists, 
 t Amsterdam By Pieter L P., 1648. 
 Square octavo, green morocco. 
 
 PiA Desideria emblematis Illustrata. Authore Hermanno 
 Hugone Societatis Jesu. Sculpsit Christophorus ^ Sichem pro 
 P. L P. Typis Henrici Aertssenii, Antverpiae, MDCXXVIIL 
 
 With ornamented title, followed by the Papal arms, and 
 numerous woodcuts of emblems having the interlaced mono- 
 gram C. V. S. 
 Small octavo, vellum. 
 
278 Flemish Engravers. 
 
 \ 
 
 SCHELTE A BOLSWERT, 
 Engraver: born in Bolswert, 1586. 
 
 The Mocking Our Saviour, The Saviour with the Reed. 
 After Van Dyck, with inscription " Plectentes coronam de spinis, 
 &c." 
 
 First state, before the cross-hatching on the leg of the soldier 
 on the right. 
 
 The Crucifixion. After Van Dyck. 
 In the second state. 
 
 The following are the descriptions of the different states of 
 this plate : 
 
 First state, before any letters. The hand of S. John is placed 
 over the Madonna's shoulder. 
 
 There is an impression of this very rare proof in the Biblioth^que 
 at Paris, for which it was purchased (damaged and laid down) at 
 Messrs. Woodburn's sale in London in June 1854. 
 
 Second state. The hand of S. John over the Madonna's 
 shoulder is removed, the hair on S. John's forehead is altered 
 and added to, and the horse's hoofs made out. With " A. van 
 Dyck pinxit," at the bottom of the plate on the left, the name 
 of Van den Enden the printer, and three lines of dedication at 
 the foot. 
 
 Third state. The same as the preceding, but the name of 
 G. Hendrix substituted for that of Van den Enden. 
 
 Fourth state. The hand of S. John restored over the Ma- 
 donna's shoulder, the shadows much darkened, and the plate 
 reworked in part. The name " A. Van Dyck pinxit," on the 
 left erased, and reinserted on the right-hand side. With one 
 line of dedication only. This false proof, from the restoration 
 of the hand of S. John, is very deceptive. 
 
 Fifth state. The hand of S. John again taken out. The 
 name of Van den Enden re-inserted, and the two additional 
 lines restored to the dedication, as in the second state. 
 
 The Holy Family, with S. Joseph seated under a tree on the 
 right. A group of eight winged children playing on the left, 
 four others in the clouds above with musical instruments. 
 After Van Dyck. 
 
SIR ANTONY VAN DYCK, 
 
 Painter and Etcher: born in Antwerp, 1599 ; 
 DIED in London, 1641. 
 
 MINENTLY the most ac- 
 complished of the pupils 
 of Rubens, in whose school 
 at Antwerp he had dili- 
 gently for five years pur- 
 sued his studies, Van Dyck, 
 at his great master's insti" 
 gation, took his departure 
 in 16 1 9 for Italy, being 
 then in his twentieth year; 
 first visiting Venice, going 
 afterwards to Genoa and 
 Rome, and thence to Si- 
 cily. The plague, having 
 broken out at Palermo 
 hurried his departure, and he returned to Flanders, where for some 
 years he occupied such leisure as he could spare from his profes- 
 sional engagements in sketching portraits of his friends and the 
 distinguished men of the time. Numerous commissions were 
 executed by him in embellishing certain of the churches and public 
 edifices of the Flemish cities. In 1632 he went to London on the 
 invitation of Charles I., by whom he was knighted : some few years 
 afterwards he married Maria Ruthven, the granddaughter of the 
 Earl of Gowrie, and continued to receive full employment and 
 distinguished recognition as a painter until his death in 1641, when 
 he was honoured with a public funeral in S. Paul's Cathedral. 
 There is scarcely a mansion of importance in England which is not 
 decorated with one or more specimens of portraiture by his hand ; 
 and it is remarkable that, limited to nine years as his sojourn was in 
 the country, so much work could have been accomplished, especially 
 as his health had failed some time before his death. 
 
 During the period between Van Dyck's return from Italy and 
 his going to England (1626-1632), a series of portraits, to be 
 engraved from his before-named drawings, was projected ; they 
 
28o Flemish Engravers. 
 
 were intrusted to various hands, and corrected under his superin- 
 tendence. Eighty of them were printed by Martin van den Enden, 
 the publication being undertaken at Van Dyck's expense, as we 
 learn by the inscription on the title to the later edition by Gillis 
 Hendrick, "ejusq. sumptibus sere incisse." The portrait etchings 
 he himself made were not then utilised, further than the taking prints 
 from them in the proof state ; there was no connected issue until 
 they passed into the hands of the editor, Gillis Hendrick, who first 
 published them with the "Centum Icones" in 1645. The acknow- 
 ledged number etched by Van Dyck is considered to be nineteen 
 portraits and the two subject compositions of the Presentation of the 
 reed to Our Saviour, and Titian and his mistress. For a long time 
 they were regarded with indifference ; Bartsch did not include them 
 in his Peintre-Graveur, and prior to Mr. Carpenter's iJ/,?7;^(?/r in 1844, 
 no critical account had been written. 
 
 The works upon the subject are Pictorial Notices, consisting of a 
 Memoir of Sir A ntJiony vmi Dyck, with a Descriptive Catalogue of 
 tlie Etchings executed by him, by William Hookham Carpenter (4to, 
 London, 1844) ; Catalogue des Estampes Anciennes de Hermann 
 Weber (8vo, Bonn, 1852) ; Anton van Dyck's Bildnisse bekannter 
 personen von Ignatz von Szwykowski (8vo, Leipzig, 1859) ; and 
 L' Iconographie d'Antoine van Dyck d'aprh les reclurcJtes de H. Weber , 
 par le Dr. Fr. Wibiral (8vo, Leipzig, 1877). 
 
 Our Saviour crowned with Thorns. The presentation of the 
 reed. 
 
 In the first state. 
 
 The Series of eighty engraved Portraits, called " L'lcono- 
 graphie d'Antoine van Dyck." 
 
 In their first states, as printed by Martin van den Enden, 
 before the engraver's name. With the etchings by Van Dyck 
 in the state in which they were issued by Gillis Hendrick in 
 the " Centum Icones" in 1645, ^ earlier impressions being 
 amongst them. Arranged in two volumes. 
 
 And an additional volume of other engraved portraits after 
 Van Dyck. 
 
Cornelis Van Dalen. 
 
 LUCAS VORSTERMAN THE ELDER, 
 Engraver: born in Antwerp, 1578. 
 
 The Entombment of Our Saviour, dated 1628. After the 
 picture by Raphael in the Borghese Palace at Rome. 
 
 S. George and the Dragon. After the picture by Raphael in 
 the Hermitage at S. Petersburg. 
 
 Portrait of Thomas Howard, Earl of Arundel. After 
 Van Dyck. 
 
 First state, having the four lines of title, before the verses. 
 With " Opera Vorstermanni" in the left-hand corner. 
 
 Portrait of Francois de Moncada, Marquis d'Aytone. 
 After Van Dyck. In the first state. 
 
 Portrait of Philippe le Roy, Governor of the Nether- 
 lands. After Van Dyck. 
 
 First state, before letters, with the monogram of Vorsterman. 
 
 CORNELIS BLOEMAERT, 
 
 Engraver: born in Utrecht, 1603; died at Rome, 1680. 
 
 Le Blanc's Manuel. 
 
 The Nativity (27). After the picture by Raphael painted for the 
 Canossa Family. The picture is lost. 
 In the first state, with the name and address of Bloemaert. 
 
 Our Saviour on the Cross (31). After Abraham Bloemaert. 
 
 S. Luke painting the Portrait of the Madonna (52). After 
 the picture by Raphael, in the Academy of S. Luke at Rome. 
 
 CORNELIS VAN DALEN, 
 
 Engraver: born in Antwerp, 1620. 
 
 Le Blanc's Manuel. 
 
 Portraits of Pietro Aretino (19) and Giovanni Boccac- 
 cio (22). After Titian. Proofs before letters. 
 
DAVID ' TENIERS, 
 
 Painter and Etcher: born at Antwerp, i6io; 
 DIED AT Brussels, 1694, 
 
 AVID Teniers the elder 
 was a painter of some repute, 
 having studied for many- 
 years in Rome, and from him 
 his son derived his education : 
 an intimacy with Adrian 
 Brauwer at Antwerp proba- 
 bly influenced the young 
 painter in the choice of sub- 
 jects for his pencil. The 
 Archduke Leopold William 
 appointed him superintend- 
 ent of his gallery, and he 
 made various reduced copies 
 and pasticcios from the pictures, now considered but of little merit. 
 Painting with great facility, he was in the active practice of his 
 profession until nearly the end of his long life of eighty-four years. 
 In Smith's Catalogue raisonn^ of the works of the Dutch and Flemish 
 Masters nearly one thousand pictures, pronounced to be genuine, 
 are described ; his style not being difficult to imitate, of no artist's 
 work has there been such a mass of spurious attributions. 
 
 By the inscriptions upon several etchings, he was engaged with 
 his younger brother Abraham in their publication. The Festival in 
 the yard of a tavern and some few others are by his own hand ; but 
 a large proportion are by Coryn Boel, Franz vanden Wyngaerde, 
 and others. In the Catalogue des Estanipes du Cabinet de M. le 
 Comte Rigal (Paris, 1817) many are enumerated and described, to 
 which the following numbers refer. 
 
 A Village Festival in the Yard of an Inn (776, i). 
 Four small Interiors, with Peasants (776, 2-5). 
 Five full-length Figures of Pilgrims (776, 6-10). 
 
David Tenters. 283 
 
 A Man holding a Glass in his Hand, with his right arm round 
 the neck of a woman, seated at a table (777, 13). 
 
 Interior of a Kitchen, the carcass of a bullock hanging on the 
 left (777, 14). 
 
 Four single Figures of Peasants (777, 35). 
 
 Peasants shooting at a Target (777, 37). An oblong print. 
 
 Peasants playing at Bowls (777, 38). An oblong print. 
 
 Peasants in front of a Public-house, a man and woman 
 dancing to a man playing the bagpipes (777, 39). An oblong 
 print. 
 
 Five Peasants seated in the Yard of a Public-house, a 
 woman with a pitcher coming to them through a gateway on 
 the right (777, 40). An oblong print. 
 
 Interior of a Tavern ; a group of five peasants, two of them 
 playing cards, two others seated at a fire on the left. 
 
 Interior of a Tavern ; a man seated at a table smoking, another 
 standing by him ; in the distance on the left five men playing 
 cards. 
 
 Seven Etchings of Monkeys. 
 
 A Village Festival in front of a Public-house. A lozenge- 
 shaped sign suspended on the left, with a crescent moon, and 
 the date 1640. Signed, " D. Teniers Inventor, cum privilegio. 
 Coryn Boel f. fran'^ Vanden Wyngaerde ex. Antw." 
 
 The Water-Doctor in the centre seated at a table, with an 
 open book upon it, looking to the front at a bottle he is holding 
 up, a woman standing behind him ; on the right, at the back 
 of the room, three men at a table. Inscribed, " D. Teniers in. et 
 excud., cum privilegio. Francois Vanden Wyngaerde. Coryn 
 Boel f." 
 
 The Temptation of S. Anthony. An inscription at the foot 
 beginning, " Beatus vir qui suffert tentationem, &c." An oblong 
 print, inscribed, " D. Teniers in. et pinxit, cum privilegio. F. 
 Vanden Wyng. f " 
 
DUTCH ENGRAVERS. 
 
 REMBRANDT GERRITSZ VAN RYN, 
 
 Painter and Etcher: born at Leyden, 1606; 
 DIED AT Amsterdam, 1669. 
 
 EMBRANDT'S life and art 
 career have been investi- 
 gated by numerous writers ; 
 and in the publications of 
 Gersaint, Daulby, Bartsch, 
 Claussin, Nagler, and Wil- 
 son, the slight particulars of 
 the artist and his family, 
 which have been preserved, 
 are given, with descriptions 
 of his pictures, and cata- 
 logues of every etching by 
 and attributed to him, and 
 of their various states. 
 A later contribution to 
 the literature of the subject, comprising some further information, 
 is UCEuvre complet de Rembrandt, par Charles Blanc (2 vols. 8vo, 
 Paris, 1859-61), published also in quarto with numerous copies of 
 the etchings by Leopold Flameng in 1873. 
 
 In 1877 a selection of the etched works of the master was 
 exhibited in the gallery of the Burlington Fine Arts Club in London, 
 to which Mr. Brodhurst, M. Dutuit of Rouen, Mr. Fisher, Dr. Griffiths 
 (the Warden of Wadham College), Mr. Seymour Haden, and Mr. 
 Holford were the principal contributors. It comprehended, amongst 
 numerous rarities, the only two remaining first states of the Hundred 
 Guilder Piece which have not become locked up in public galleries, 
 and impressions of the rare portraits of Rembrandt holding a sabre 
 (23) in the first state, and of the Dutch advocate Van Tolling (286), 
 the last in two different states. A catalogue was printed, with a 
 
Rembrandt Gerintsz Van Ryn. 285 
 
 preliminary essay by Mr. Seymour Haden, descriptive of the motive 
 and spirit of the artist's work, and disputing the hitherto received 
 ascription of many of the etchings to Rembrandt, delegating 
 them to his pupils. Several of the cherished specimens of 
 collectors' portfolios are severely handled in this denial of the cor- 
 rectness of the attribution of them to the master's hand. The essay 
 led to discussion on the subject by those who dissented from Mr. 
 Haden's opinions. The Reverend Charles Henry Middleton, who 
 had rendered material help in bringing together the valuable prints 
 which were exhibited, wrote a treatise in reply, explanatory of the 
 etchings, and his reasons for the views he entertained. Like other 
 great artists, Rembrandt availed himself of the assistance of the 
 pupils by whom he was surrounded : the possessors of these 
 impugned etchings must comfort themselves with the reflection that 
 they received the imprimatur of his recognition, in their publication 
 with his sanction and signature. 
 
 The collection in the British Museum is of high quality in richness 
 of impressions, and superior, in its comprehensiveness, to those at 
 Amsterdam, Paris, and Vienna. An attempt to bring together the 
 whole of the etchings would now be hopeless. The most perfect 
 series yet remaining in the hands of a private possessor is that of 
 the Duke ofBuccleugh ; originally formed by the late Mr. Heywood 
 Hawkins, who devoted much critical knowledge to its accumulation, 
 opportunity being taken of the dispersion of the valuable portfolios 
 of prints of the Earl of Aylesford and the Baron Verstolk van 
 Soelen of the Hague, to make large acquisitions ; it was subse- 
 quently purchased in its entirety by the Duke of Buccleugh. 
 
 Mr. Chambers Hall made a bequest of many of the master's works 
 to the University of Oxford, and there is an important collection of 
 them in the Fitzwilliam Museum at Cambridge. 
 
 A Descriptive Catalogue of the Prints of Rembrandt, by an 
 Amateur (Thomas Wilson), 8vo, London, 1836. 
 
 Portrait of Rembrandt in a cap and feather (20). 
 
 Portrait of Rembrandt leaning on a stone sill (21). 
 First state, before the band of the cap was continued. 
 
 Portrait of Rembrandt in an oval (23). The sabre print. 
 Second state, cut to the angles. 
 
 Abraham entertaining the Angels (36) 
 
286 Dutch Engravers. 
 
 Abraham's Sacrifice (39). 
 
 The Triumph of Mordecai (44). 
 
 David on his Knees (45). 
 From tJie Hume Collection. 
 
 tobit blind (46). 
 
 The Angel ascending from Tobit and his Family (48). 
 In th,e first state. 
 
 The Angel appearing to the Shepherds (49). 
 In the third state. 
 
 The Nativity (50). 
 In the first state. 
 
 The Circumcision (52). 
 In the first state. 
 
 The Presentation of Jesus in the vaulted Temple (54), 
 In the second state. 
 
 The Flight into Egypt, a night piece (58). 
 
 The Flight into Egypt, the Holy Family crossing a brook (60) 
 
 The Flight into Egypt. In the style of Elsheimer (61). 
 In a late state. 
 
 Our Saviour found by his Parents on their Journey to 
 Jerusalem (64). 
 
 The Madonna with the Infant Saviour on the Clouds 
 (65). 
 
 The Holy Family, Joseph looking in at the window (67). 
 In the first state. 
 
 Our Saviour disputing with the Doctors (69). 
 In the second state. 
 
 OUR Saviour preaching, called " La Petite Tombe" (71). 
 
Rembrandt Gerritsz Van Ryn. 287 
 
 Our Saviour driving the Money-changers out of the 
 Temple (73). 
 In the first state. 
 From the Hume Collection. 
 
 Our Saviour and the Woman of Samaria (74). 
 In the third state. 
 
 Our Saviour and the Samaritan Woman at the Well (75)- 
 An upright print. 
 In the second state. 
 From tJie Hume Collection. 
 
 The Resurrection of Lazarus (76). The small plate. 
 
 The Resurrection of Lazarus (77). The large plate. 
 In the sixth state. 
 From Dr. Finch's Collection. 
 
 The Hundred Guilder Piece (78). 
 In the second state, on plain paper. 
 From the Verstolk Collection, 
 
 Our Saviour crucified between the two Thieves (81). 
 In the third state. 
 
 The Ecce Homo (82). 
 In the second state. 
 
 The Descent from the Cross (84). 
 
 The Crucifixion (86). The small plate. 
 
 The Descent from the Cross (88). 
 From the Hume Collection. 
 
 The Funeral of our Saviour (89). 
 
 Our Lord and the Disciples at Emmaus (92), 
 In the second state. 
 
 The Death of the Virgin (104). 
 In the second state. 
 
288 Dutch Engravers. 
 
 Youth SURPRISED BY Death (113). 
 
 The travelling Musicians (123). 
 In the first and the second states. 
 
 The Goldsmith (127). 
 
 The Pancake Woman (128). 
 
 The Game of Golf (129). 
 
 A Jews' Synagogue (130). 
 In the second state. 
 
 An old Man seen from behind (143). 
 In the second state. 
 
 The ragged Peasant (169). 
 
 L'EsPiEGLE (185). 
 Late state. 
 
 A Painter drawing from a Model (189). 
 
 Academical Figure of a Man, called The Prodigal Son (191). 
 
 Academical Figures of two Men. The Go-cart (192). 
 
 A NAKED Woman reclining (202). 
 In the first state. 
 
 A view of Omval, near Amsterdam (206). 
 From the CImmbers Hall Collection. 
 
 .View of Amsterdam (207). 
 The three Trees (209). 
 
 A Landscape by a Canal, with a peasant carrying milk-pails 
 (210). 
 
 In the second state. 
 From the Garle Collection. 
 
 A Village near the High-road, arched (214). 
 In the third state. 
 
 Landscape, with a man sketching (216). 
 
Rembrandt Gerritss Van Ryn. 289 
 
 The Landscape with a ruined Tower (220). 
 In the third state. 
 
 An arched Landscape, with a flock of sheep (221). 
 In the second state. 
 From the Alfevoff Collection. 
 
 A LARGE Landscape, with a cottage and Dutch haybarn (222). 
 From Dr. Finch's Collection. 
 
 A Village with a canal, and vessel under sail (225). 
 
 A Cottage, with white pales (229). 
 In the second state. 
 
 Rembrandt's Mill (230). 
 
 Doctor Faustus (272). 
 
 In the second state. / 
 
 Clement de Jonge (274). 
 Late impression. 
 
 Abraham Fransz (275). 
 Late impression. 
 
 Young Haaring (277). 
 In the second state. 
 
 John Lutma, Goldsmith of Groningen (278). 
 Late impression. 
 
 Ephraim Bonus (280). The margin added. 
 
 From the Brentano Collection. 
 
 Uytenbogaert. The gold-weigher (283). 
 In the second state. 
 
 Lieven van Coppenol, the writing-master, the large plate (285). 
 In the third state. 
 
 A young Man in a "Mezetin" Cap (291). 
 In the second state. 
 
 The great Jewish Bride (337). 
 In the fourth state. 
 
 U 
 
290 Dutch Engravers. 
 
 S. Catherine, called The little Jewish Bride (338). 
 
 Portrait of Rembrandt's Mother (339). 
 
 Portrait of an old Woman, looking to the left (340). 
 From the Huvie Collection. 
 
 JAN LIEVENS, 
 
 Painter and Etcher: born at Leyden, 1607; 
 died at Antwerp, 1663. 
 
 Death and the Gamblers (ii). 
 
 JAN JORIS VAN VLIET, 
 
 Painter and Etcher: born at Delft, 1610. 
 
 Lot and his Daughters (i). After Rembrandt. With the 
 address of Clement de Jonghe. 
 
 HERMAN SAFTLEVEN, 
 
 Painter and Etcher: born in Rotterdam, 1609; 
 died at Utrecht, 1685. 
 
 HERMAN Saftleven was a pupil of Jan van Goyen. His 
 pictures, held in high estimation, principally consist of views 
 in the neighbourhood of Rotterdam and the country on the banks 
 of the Rhine. His rare etchings are extremely happy in their 
 treatment of woodland scenery. " The Great Tree," with its expanse 
 of distant landscape, is a fine example of drawing of foliage, which 
 he was very successful in expressing. The latter part of his life was 
 passed at Utrecht, where he died in 1685. Bartsch^ i. 235. 
 
 The Wood, with two sportsmen, dated 1644 (27). 
 
 The great Tree, with a group of three men in front, dated 1647 
 (28) From the Thompson Collection, 
 
 A Gate of the City of Utrecht, " De Witte wrouwen poort" (29). 
 
Adrian Brmtwer. 
 
 291 
 
 ALBERT CUYP, 
 
 Painter and Etcher: born at Dort, 1605; 
 
 died there circa 1 672. 
 
 LBERT CUYP was the son of 
 Jacob Gerritz Cuyp, an artist 
 of some reputation, by whom 
 he was instructed. Born at 
 Dort, where his life was 
 passed, a large number of 
 his landscapes are of scenes 
 from the river as it flows 
 past the picturesque town, 
 singularly attractive in the 
 clear glow of their atmo- 
 sphere. He etched eight 
 small plates of cows, of two of 
 which impressions are scarce. 
 
 Andresen. 
 
 The Set of eight Subjects of Cows (i-8), comprising the two 
 rare etchings, the one of cows with two cowherds on the left 
 (2), and the other of five cows recumbent in a receding line (3). 
 With the title to the later issue of six only of the etchings. 
 And two portraits of Cuyp. 
 
 HEINRICH VON GOUDT, 
 
 Amateur Artist and Engraver : born at Utrecht, 1585; 
 
 DIED 1630. 
 
 The Series of seven Engravings. After Elsheimer. 
 
 ADRIAN BRAUWER, 
 Painter and Etcher: born in Haarlem, 1608; 
 
 DIED at AnTM^ERP, 1 64O. 
 
 RAISED from poverty when a lad by Frans Hals, Adrian 
 Brauwer was a fellow-pupil with Adrian van Ostade. The 
 subjects of his pictures tell of the drunken dissipation he indulged 
 
292 Dutch Engravers. 
 
 in, ending by his death in the hospital at Antwerp in his thirty- 
 second year. Le Blanc's Maimel. Rigal Catalogue. 
 
 Boors drinking, one of them asleep, with a mug in his hand. 
 
 The drawing, formerly in the Ploos van Amstel Collection, belongs to 
 Mr. Malcolm of Poltallock. 
 
 Concert of three Men — one with a flageolet, and another with 
 a fiddle — seated before a fire. 
 
 Two SMAL.L BUST-SIZE ETCHINGS OF MEN.one holding a looking- 
 glass, the other a knife. 
 
 CORNELIUS VISSCHER, 
 
 Designer and Engraver: born in Haarlem, 1610; 
 DIED AT Amsterdam, 1658. 
 
 Catalogue of the Works of C. Vissc/ier, by W. Smith,' 1864. 
 
 The Bohemian Woman (44). Fourth state. 
 
 The strolling Musicians at the Door of a House. After 
 Adrian van Ostade (80). First state. 
 
 Old Man and Woman at a Table. After A. van Ostade (82). 
 First state, before the " et" in the inscription. 
 
 Portrait of Henderukus du Booys. After Van Dyck (88). 
 
 JAN VISSCHER, 
 
 Engraver; Brother of C. Visscher : born in Amsterdam, 
 1636; died there after 1692, 
 
 Portrait of Abraham Van der Hulst, Vice-Admiral of 
 Holland. After Van der Heist. 
 
 A Set of four oblong Landscapes, with groups of cattle and 
 figures. After Nicolaas Berghem. 
 
ADRIAN VAN OSTADE. 
 
 Painter and Etcher: born at Lubeck, i6io; 
 DIED AT Amsterdam, 1685. 
 
 CENES of tavern life, as re- 
 presented by Adrian van Os- 
 tade, were frequented by him 
 for their utilisation as subjects 
 for his pictures, to supply the 
 demand their transparent 
 freshness of colour and draw- 
 ing had created, far more than 
 for indulgence in their boister- 
 ous merriment. The groups of 
 portraiture of himself and his 
 family record, by their accom- 
 panying accessories, the re- 
 spectability of the social posi- 
 tion he evidently was proud of, and the comforts he was surrounded 
 with. Their representation, however, and similar conventional 
 compositions, betray the restraint which checked him : escaped from 
 their formality his pencil resumed its freedom, and his pictures of 
 interiors, in the cottage and the rude tavern, and of festive out-door 
 gatherings, are masterpieces in the skill of their grouping and 
 arrangement, enhanced by the talent wherewith he subdues the 
 coarse surroundings incident to such revelries, — the avoidance of 
 everything, save the happier side of his subject, telling the genial 
 refinement of his cheerful nature. Born at Lubeck in 1610, in his 
 youth he removed to Haarlem ; and having finished a diligent 
 studentship under Frans Hals, established himself as a painter in 
 the city, the best period of his life having been passed there. The 
 approach of the French troops in 1662 determined him to return 
 to Lubeck ; but his alarm being abated on his arrival at Amsterdam, 
 he was induced to remain, and continued his residence in the city 
 until his death in 1685. Ostade was one of the first of the Dutch 
 
294 
 
 Dutch Engravers. 
 
 artists who brought the use of water-colour to the high state of 
 perfection it attained, his drawings, almost as numerous as his oil- 
 paintings, being finished with equal care and minuteness. In his 
 prints we have the representation of every phase of peasant life in 
 Holland, his vigorous but delicate touch with the etching needle 
 having given us a series of clever etchings upon the copper, differ- 
 ing in their artistic qualities from the work of any other of the 
 Dutch Masters. Some few are dated ; for the most part, they are 
 attributable to the period during his residence at Haarlem ; one 
 only, "La Poupee Demandee" (i6), was executed after 1670, the 
 last numeral upon it being unintelligible. There is a fine collec- 
 tion of the etchings in the British Museum. At Amsterdam and 
 Haarlem are many curious specimens in unique states. 
 
 Bartsck, i. 347, 
 
 Portrait of Adrian van Ostade, by Jacob Gole. A mezzotint. 
 Proof before letters. 
 
 And the original drawing made by Golc for the engraving. 
 From tJie Verstolk Collection. 
 
 Portrait of Adrian van Ostade, by C. B. Coders. 
 
 Unfinished etching, and a proof impression from the com- 
 pleted plate. 
 
 The Series of the Etchings of Adrian van Ostade, com- 
 prising several pure etchings, the remainder, with slight excep- 
 tion, being from the first finished state of the plates. 
 
 The collection they are principally derived from was formed by 
 Thomas Wilson, and is described in his " Catalogue i-aisotine." On Mr. 
 Wilson's bankruptcy, about 1831, it was sold to Mr. Esdaile. At the 
 Esdaile sale in 1841, Mr. Seguier obtained it for 220/., and at the 
 Seguier sale Mr. Coningham gave the increased price of 309/. 15J. On 
 the dispersion of the latter gentleman's prints in 1845, it was acquired 
 by Mr. Heywood Hawkins, who made various additions, afterwards 
 disposing of it to Messrs. Colnaghi ; by them the series, in the completion 
 of which so much care had been bestowed, was dispersed. The British 
 Museum selected such as were there needed ; some few were bought by 
 Mr. Garle, and the remainder passed to the present collection. 
 
DIRK STOOP, 
 
 Painter and Etcher: born at Dort, 1610; 
 DIED IN Holland, 1685. 
 
 E have an account of Dirk Stoop, 
 and the variation of his Christian 
 name, according to the country 
 where he was located, in Bryan's 
 Dictionary, with a detailed list of 
 his historical prints, and the col- 
 lections they are to be found in. 
 His etchings of horses, signed "D. 
 Stoop," and dated 165 1, were pub- 
 lished in Holland. Employed as 
 painter to the Court of Lisbon in 
 1662, he went in the suite of 
 Catharine of Braganza to London on her marriage with Charles II., 
 and engraved eight prints illustrating the Queen's journey from 
 Lisbon. Having remained in England until 1678, he returned to 
 Holland, and died there in 1685. Bartsch, iv. 91. 
 
 The twelve Etchings of Horses (1-12). Before the numbers. 
 
 JAN BOTH, 
 
 Painter and Etcher: born at Utrecht, 1610; 
 died at Venice. 
 
 THE brothers Both, sons of a glass-painter, were natives of 
 Utrecht, Jan having been born in 1610 and Andries two 
 years later. Instructed in their youth by Abraham Bloemaert, they 
 subsequently were enabled to travel to Rome, the paintings of 
 Claude Lorraine being the subjects of their study and imitation ; 
 and the attention they received induced them to remain in Italy. 
 Working in conjunction, Andries supplying the figures to his elder 
 brother's landscapes, they continued to paint there for many years 
 with great success. The brotherhood was suddenly dissolved by 
 the accidental drowning of Jan at Venice, when Andries returned 
 to Utrecht, and did not long survive his brother, dying in 1650. 
 
296 Dutch Engravers. 
 
 The etchings of landscapes by Jan Both, in their rendering of 
 Italian scenery, are clever transcripts of his pictures, and are 
 more thoroughly imbued with the spirit of Claude's teaching than 
 those of any of his countrymen, who early in the century went to 
 Rome, and painted in the style which was then so prevalent. 
 
 Bartsdi, v. 201. 
 
 The four upright Landscapes (1-4). 
 
 In the first states, with the name of Matham. 
 
 The six oblong Landscapes (5-10). 
 
 In the first states, before the name of Both. 
 
 PETER VAN LAER, 
 
 Painter and Etcher: born at Laaren, 1613; 
 DIED AT Haarlem, 1673. 
 
 PETER VAN Laer in his youth had the advantage of studying 
 at Rome. Either on account of his personal deformity or 
 from his painting fairs or subjects called " bambocciata," he was 
 nicknamed Bamboccio by the Bentivogel Society, of which he was 
 one of the gayest and most talented members. In 1639 he returned 
 to Holland, taking up his residence at Haarlem, where he died in 
 1673. His few clever prints were all apparently etched at Rome. 
 
 Bart sell, i. 3. 
 
 The Sportsman with his Dog (6). 
 
 The Family (15). Described by Bartsch as the most careful of the 
 painter's etchings. 
 
 JAN VAN AKEN, 
 Painter and Engraver: born in Holland in 1614. 
 
 BEYOND Jan van Aken's signature upon certain of his twenty- 
 one etchings nothing is known respecting him. Herman 
 Saftleven's initials are upon some of them as the " inventor." They 
 are cleverly drawn, but much inferior to the skill of the master, 
 whose manner Bartsch considers he copied. Bartsch, i. 271. 
 
 Four Views on the Rhine. After Saftleven (18-21). 
 
Herman Swanevelt. 
 
 297 
 
 ANTONY WATERLOO, 
 
 Painter and Etcher: born at Utrecht, 1618; 
 DIED there, 1662. 
 
 NO authenticated picture by Antony Waterloo is known. Upon 
 none of his clever etchings, of which 136 are described by 
 Bartsch, is there a date ; they are bitten in with strong firm lines, 
 the gradation of their drawing being given with very delicate dry 
 point. Early states of them are rare, for but few could have been 
 printed from the plates, before the fine work wore down, leaving 
 them hard and dry and comparatively worthless in late impressions. 
 He is stated to have been brought to destitution by his habits of 
 intemperance, and to have died in the hospital of his native town 
 in 1662. Bartsch, ii. 3. 
 
 The Mill (119). 
 
 The two Travellers reclining in a Wood (123). 
 Tobit and the Angel (134). 
 
 HERMAN SWANEVELT, 
 Painter and Etcher: born at Woerden, 1620; 
 DIED AT Rome, 1690. 
 
 GERARD Dow was the first instructor of Herman Swanevelt 
 previous to his going to Italy, where he studied the works of 
 Claude Lorraine. His pictures became extremely popular in Rome, 
 where throughout life he continued to reside. But slight informa- 
 tion exists of his personal history : he is stated to have passed his 
 life in seclusion, absorbed in his art occupation. His etchings, 
 mostly of views in the neighbourhood of the city, bespeak by their 
 number the assiduity with which he worked, 116 of them being 
 described by Bartsch. Although somewhat monotonous in their 
 sameness of subject, they are of high artistic excellence, the land- 
 scapes frequently displayed with very happy effect in the distance, 
 beyond a shadowed foreground of trees and foliage. 
 
 Bartsch, ii. 249. 
 
 The Set of Etchings of Animals, and the Satyrs (26-33). 
 The Fishermen (77). 
 
 The Set of four upright Landscapes (112- 115). 
 
 In early states, No. 112 before the cross-hatching on the side 
 of the hills. 
 
NICOLAAS BERGHEM, 
 
 Painter and Jitcher: born in Haarlem, 1620; 
 
 DIED there, 1683. 
 
 I COLA AS, the son of an artist Peter 
 Claas, was born at Haarlem in 1620, 
 and from his father and Jan van 
 Goyen he derived his teaching. The 
 sobriquet of Berghem applied to him 
 in his youth, he retained throughout 
 life as his surname. In Smith's cata- 
 logue upwards of four hundred of his 
 oil-paintings are described, and by no 
 Dutch artist are there more sketches 
 and water - colour drawings extant. 
 Although a few of his etchings are 
 somewhat hard and mannered, for 
 variety of subject and vigour of expression, as studies of animal life, 
 they hold high rank amongst the works of the Dutch painters. Of 
 the dates upon them 1644 is the first, that of 1680 being upon the 
 early state of " La vache qui s'abreuve" (i), the largest and least 
 artistic of the series, executed shortly prior to his death in 1683. 
 
 Bai'tsch, V. 247. 
 
 The Cow drinking (i). 
 In the second state. 
 
 Early Morning ; shepherds asleep on the ground, a cow in the 
 centre of the landscape (2). 
 
 The three Cows reposing (3). 
 
 Counter-proof of the first state, before the name, and before 
 the cross-hatching and additional work on the sky and the 
 hills in the distance. 
 
 The same (3). 
 
 In the second state, before the name, with additional work 
 on the sky and hills. 
 
Nicolaas Bergkem. 
 
 299 
 
 The Bagpipe-player, " le Diamant" (4). 
 In the first state, before Berghem's name. 
 
 The Man seated on a Donkey (5). 
 In the first state, before the sky. 
 From tJie Esdaile and Garford Collections. 
 
 The Herdsman playing a Flageolet (6). 
 In the first state. 
 Froui the Garford Collection. 
 
 The Herdsman talking to a Woman (7). 
 
 The five upright Subjects of Animals (8-12). 
 
 Early impressions, two of them before the numbers. 
 
 The Crossing the Stream (12). 
 
 In the first state, before the landscape. 
 
 The same (12). 
 
 In the second state. The inscription " P. Goos exc." erased. 
 
 The same (12^). 
 
 The second plate. 
 
 The four oblong Subjects of Animals (13-16}. 
 With the numbers. 
 
 Two Heads of a Goat (17-18). 
 
 With copies of them by Worlidge, on one sheet. 
 
 The six Subjects of Cows (23-28). 
 
 With the numbers, but before additional work on the clouds. 
 
 The four Books of Animals (29-56). 
 With the numbers. 
 From the St. Aubyu Collection. 
 
 Artemisa receiving the Casket with the Ashes of King 
 Mausolus. 
 
 Not mentioned by Bartsch. Described by Guichardot in his 
 catalogue of the Camberlyn Collection, and in the catalogue of 
 the Alferoff sale at Munich 1869 (No. 48). 
 
CORNELIUS BEGA, 
 
 Painter and Etcher : born at Haarlem, 1620; 
 died there, 1 664. 
 
 HE etchings of Cornelius 
 Bega, with all their coarse- 
 ness, are free from the offen- 
 sive vulgarity of some of the 
 productions of the later Dutch 
 artists. Born at Haarlem in 
 1620, he became a pupil of 
 Adrian van Ostade, whose 
 manner he copied. He died 
 of the plague in 1664, caught 
 during his persistent courage 
 in nursing a young person he 
 was engaged to be married 
 to, whom every one else had 
 deserted. Bartsch, v. 223. 
 
 An Interior with two Peasants and a Woman. Called by 
 Bartsch " La jeune cabaretiere caress^e" (34). 
 
 HENDRIK NAIWINCK, 
 Painter and Etcher: born in Utrecht circa 1620. 
 
 THE sixteen small landscapes signed " H. Naiwjnck" are the 
 only record of one of the most accomplished etchers of the 
 Dutch School : his woodland scenery is sketched with great refine- 
 ment of drawing, the peculiar delicacy of his foliage being essentially 
 different in its charming treatment from the work of any other 
 artist. No picture by his hand has been recognised. 
 
 Bartsch, iv. 77. 
 
 The two Sets of Landscapes (i, 16). 
 
yacob Riiysdael. 
 
 301 
 
 ALBERT VAN EVERDINGEN, 
 
 Painter and Etcher : born at Alkmar, 1621 ; 
 died there, 1675. 
 
 HERE is not a date to guide us, and but little record of 
 
 -L Everdingen's life, beyond the year of his birth, and of his 
 death, at Alkmar, save what may be gathered from his etchings, 
 replete with his enjoyment of the country, as he sketched its scenery 
 upon the copper with peculiar lightness of hand. Occasionally the 
 figure of a capucin monk appears in the landscape ; and the wild 
 Norwegian views represented tell of travel far away from his native 
 town, where however he is said to have passed his life, and- to have 
 been deacon of the Church. Bartsch enumerates 105 of his etchings, 
 and 57 illustrations of an old German poem of Reynard the Fox. 
 Dr. Strater of Aix la Chapelle, an enthusiastic admirer of his works, 
 has formed a curious and choice collection of them. 
 
 A Landscape, with three men on the right, one of them on horse- 
 back (4). 
 
 A Landscape, two men in conversation on the right (92). 
 
 A Mill built on two Rocks, the water rushing beneath it (99). 
 
 Painter and Etcher: born at Haarlem circa 1635 ; 
 
 IN the whole range of the Dutch School, for truthfulness to Nature 
 and thorough knowledge of his art, the landscapes of Jacob 
 Ruysdael rank almost preeminent. His few rare etchings are 
 equally of exceptional merit. Born at Haarlem, the son of a 
 maker of the ebony frames then the essential adjunct of every 
 picture, he is supposed to have derived his education from Aldert 
 van Everdingen. Bartsch, i. 307. 
 
 The Cornfield bordered by Trees (5). 
 
 Bartsch, ii. 157. 
 
 JACOB RUYSDAEL, 
 
 DIED THERE, 1681. 
 
 The Clump of three Oaks (6). 
 
PAUL POTTER, 
 Painter and Etcher: born in Enkhuysen, 1625; 
 
 DIED AT THE HaGUE, 1 654. 
 
 "~ O artist of Holland has 
 
 more admirably repre- 
 sented animal life than 
 Paul Potter in his pic- 
 ture of " The Bull," 
 with its expanse of 
 transparent meadow 
 landscape, in the gal- 
 lery at the Hague, pur- 
 chased in 1749 from 
 the collection of Wil- 
 lem Fabricius for 56/. 
 Although taken to the 
 Louvre .by Napoleon, 
 and returned in 18 16, 
 fortunately no injury 
 was sustained at the hands of the French picture-cleaners. Its 
 celebrated painter was indebted for his art education to his father, 
 Peter Potter, of Enkhuysen ; the patronage of Prince Maurice of 
 Orange brought him early into notice at the Hague, where his short 
 life of delicate health ended in 1654, in his twenty-ninth year. 
 
 Some few water-colour paintings by him are known. His etchings 
 of animals — many of them of single figures — are perfect in his 
 knowledge of the subject and the reality of their drawing, and 
 arc illustrated with picturesque backgrounds of distant lowland 
 scenery. A clever effect of atmosphere, so difficult of expression 
 without the aid of colour, is preserved in his etching (14) of the 
 eowherd with his cattle. Bartscli, i. 39. 
 
 Eight Subjects of Cows and Oxen (1-8). 
 With the numbers. 
 Fvoin the Maherly Collection, 
 
 The Plough Horses (12). 
 
 The Cowherd (14). 
 
 The Shepherd (15), 
 
 The Bull's Head (16). The copy described by Bartsch and 
 another copy. 
 
Ljxurence Sandraert. 
 
 303 
 
 JAN VAN NOORDT, 
 
 Painter and Etcher of the middle of the 
 seventeenth century. 
 Bai'tsch, i. 16. 
 
 A Group of Cattle, dated 1644. After Peter van Laer. 
 
 ABRAHAM BLOOTELING, 
 Engraver: born in Amsterdam, 1634; died there, 1685. 
 
 ABRAHAM Blooteling was a pupil of Cornelius Visscher, 
 and worked at Amsterdam. He was one of the engravers 
 who first adopted the practice of mezzotinting, and from his 
 numerous English portraits, executed by the process with much 
 freedom of drawing, he must have been employed for some time in 
 England. Le Blanc's Manuel. 
 
 Egbert Meesz Kortenaer, I'Admirael van HoUandt (143). 
 
 ENGRAVINGS IN MEZZOTINT. 
 Judith with the Head of Holofernes (22). Three-quarter 
 figure : the sword in her right hand, the head of Holofernes on 
 a stone parapet in front of her. From the picture ascribed to 
 Raphael, formerly in the Crozat Collection, now in the Her- 
 mitage at S. Petersburg. 
 
 Inscribed " R. S. Urbin pinx. A. Blooteling f. et ex." 
 
 Portrait of Michel Angelo (107). 
 In an oval. 
 
 Franz Mieris. After his own portrait (151). 
 
 Louise Dutchesse of Portsmouth (167). After Sir Peter Lely. 
 In an oval. 
 
 LAURENCE SANDRAERT, 
 
 Engraver: circa 1700. 
 
 Judith, after Raphael. Full-length figure, the sword in her right 
 hand, her left foot upon the head of Holofernes. 
 
 Inscribed at the foot : S. Judith. Rafael Urbin pinx. L. 
 Sa. schulp. A. Blooteling ex." 
 
 The drawing is the same as of the three-quarter figure in the 
 mezzotint engraving by Blooteling. 
 
KAREL DU JARDIN, 
 
 Painter and Etcher: born in Amsterdam, 1635; 
 died at Venice, 1678. 
 
 N the conclusion of an appren- 
 ticeship to Nicolaas Berg- 
 hem, Karel du Jardin went 
 to Rome. Received into the 
 Bentevogel Society, his buoy- 
 ant temperament rendered 
 him one of the gayest 
 amongst its members, with 
 the name of "Barbe deBouc," 
 by which they designated 
 him. The clear aerial trans- 
 parency his pictures were 
 delineated with speedily at- 
 tracted purchasers to his studio. After some years he went back 
 to Holland. His stay, however, was of no lengthened continuance, 
 and he returned to Italy — somewhat hurriedly, it is alleged, to 
 escape from an unsuitable wife he had married — and died in his 
 thirty-eighth year at Venice in 1678. 
 
 In rivalry with his countrymen Jan Both and Swanevelt, who 
 had preceded him in taking up their residence in Rome, and whose 
 etchings of Italian scenery were in much request, Karel du Jardin 
 adopted the practice of the etching-needle, with a keener sense and 
 love of his art, and a finer touch in the use of it. As landscape 
 , drawings they are full of the luminousness so conspicuous in his 
 paintings ; but in their Southern listlessness his cattle miss the life 
 and energy of the great Dutch animal painters. Some few of his 
 groups are beautifully drawn, and are charming studies, full of the 
 energy of his early teaching. The Shepherd playing a flageolet, 
 which in the later publication of the etchings is added to them, and 
 numbered 51, is the work of Nicolaas Berghem. Barfsch, i. 159. 
 
 The Etchings of Karel du Jardin. 
 With the numbers. 
 
 The Group oe Cows (34). 
 
 Early proof, before the numbe!*, 
 Projit the Verstotk Collection, 
 
ADRIAN VAN DE VELDE, 
 
 Painter and Etcher: born in Amsterdam, 1639; 
 
 DIED there, 1672. 
 
 BRIAN 
 
 VAN DE 
 
 Velde 
 was born 
 in Am- 
 sterdam 
 in 1639, 
 almost a 
 contem- 
 p o r a ry 
 of the 
 younger 
 p a inter 
 of m a- 
 rine sub- 
 jects of 
 the same 
 n a m e, 
 but with 
 whom he 
 had no 
 relation- 
 ship. He was placed by his father under John VVynants, and his 
 inbred talent became developed through his keen observation of 
 country pursuits, in association with which his youth was passed. The 
 natural truthfulness his cattle are grouped with, amidst the sunny 
 scenes he was so happy in expressing, created a demand for his 
 pictures, and his skill was frequently brought into request by his 
 brother artists, the animals in many of whose landscapes are 
 painted by him. Although but thirty-three years of age at his 
 death in 1672, upwards of one hundred and eighty of his pictures 
 are enumerated in Smith's catalogue. The treatment of his 
 etchings, with their masterly drawing and bright backgrounds of 
 meadow landscape, is very similar to that adopted by Paul Potter. 
 
 Bartsc/t, i. 211 
 X 
 
3o6 Dutch Engravers. 
 
 Ten Subjects of Animals (i-io). 
 
 Before the address on the first of the series, and before the 
 numbers. 
 
 Three Subjects of Cows and Sheep (11-13). 
 
 The Ewe, and the two Sheep (14, 15). 
 
 The Shepherd and Shepherdess with their Flock (17). 
 
 JAN DE BISSCHOP, 
 
 Painter and Engraver: born at the Hague, 1646; 
 died at Amsterdam, 1686. 
 
 Le Blanc's Mamiel. 
 
 Our Saviour and the Woman of Samaria. After Ann. Car- 
 racci (2). 
 
 The Series of Engravings after Ancient Statues and 
 Pictures : " Paradigmata graphices variorum artificum" (5). 
 Impressions before the numbers. 
 Hagse-Comitis, 1671. 
 Folio, vellum gilt. 
 
 CORNELIS DUSART, 
 
 Painter and Etcher: born at Haarlem, 1665; 
 died there, 1 704, 
 
 CORNELIS Dusart was by far the most talented of the 
 pupils of Adrian van Ostade. His best pictures nearly 
 approach in quality to those of his master, and his etchings are of 
 much executive skill ; but a large proportion are spoiled by their 
 coarse offensiveness of subject. Bartsch, v. 465. 
 
 The Interior of a Tavern, with a seated violin-player. In- 
 scribed at the foot, " Rusticus ex animo, non pullus Hypocrita, 
 gaudet" (The rustic with his whole soul, not like a mute at a 
 funeral, rejoices.) (15). 
 In the first state. 
 From the Barnard Collection. 
 
 And an impression in the second state, with the marks of . 
 the roulette. 
 
 The Village Festival, dated 1685 (16). 
 In the first state, 
 
F. A. Milatz. 
 
 JAN VAN DER MEER, 
 Painter and Etcher: born at Haarlem, 1656; 
 
 DIED, 1705. 
 
 HAVING been taught in his youth by his father, an artist of 
 the same name, Jan Van Der Meer was received into the 
 studio of Nicolaas Berghem, and became one of his most distin- 
 guished pupils. Only two etchings by him are known, both dated 
 in 1685. Bartsch, i. 231. 
 
 The Ewe and two Lambs, dated 1685 (i). 
 Copy of the rare etching. 
 
 Sheep and Lambs, dated 1685 (2). 
 From the Esdaile Collection. 
 
 F. A. MILATZ, 
 
 Painter and Etcher: born at Haarlem, 1763; 
 DIED there, 1808. 
 
 Le Blanc's Mamiel. 
 
 A WOODED Landscape, a road trending to the left, two men in 
 conversation on the right. 
 
THE ENGLISH SCHOOL OF ENGRAVING. 
 
 E have 
 sea rce ly 
 a record of 
 any Eng- 
 lishman 
 practising 
 engraving 
 in this 
 c o u ntry, 
 prior to 
 the com- 
 m e n c e- 
 ment of 
 the seven- 
 t e e n t h 
 cent ury. 
 Numerous 
 books, 
 commenc- 
 ing with 
 those is- 
 sued by Caxton in the fifteenth, and by various printers through- 
 out the sixteenth century, were illustrated with wood and metal 
 engravings ; they were for the most part executed abroad, being 
 imported by the authors for the ornamentation of their publications, 
 and there is nothing to connect the artists of them with any school 
 in England. 
 
 The earliest book with the reputation of having been illustrated 
 by an Englishman, is Compendiosa totins anatoniie delhieatio (£re 
 exarata per TJiomam Geminuvi. Folio, Londini, 1545. The text, 
 in Latin, is that of the celebrated treatise of Vesalius on Anatomy; it 
 is ornamented with a frontispiece the size of the page, in the style 
 
3IO The English School of Engraving. 
 
 of the school of Fontainebleau, of scroll work and caryatide figures, 
 having in the centre the arms of Henry VIII. engraved in outline 
 slightly shaded. The anatomical figures in the body of the book 
 are of different workmanship, being coarse reproductions from the 
 woodcuts of the Bale edition of Vesalius of 1543. 
 
 Nagler, without quoting any authority, states that Thomas 
 Geminus was born at Leeds. In the first Latin and the English 
 editions, Thomas Gemini, as the name is given in English, adds 
 " Lysiensis" to it, the interpretation of which has baffled inquiry. 
 A translation into English was published by Thomas Gemini in 
 1553, the same blocks, for the title and anatomical figures, being 
 used in its illustration, having a dedicatory preface to Edward VI., 
 wherein occurs the following passage, "Wherefore myndyng to 
 rendre unto this Countrey, in whiche by your graces protection and 
 bounteous liberalitie I live, as muche fruite as my poore Industrie 
 and continuall travaill maye possibly bee hable to yelde, I have 
 earnestly applyed myselfe to make common and familiar to all 
 Englishe people, that which in the latin hath ben found profitable 
 amonge so many foren nacions. Whereunto, forasmuch as I am 
 not viy sclfe so pcrfeict and experte in the EnglisJie tongc that I dare 
 ivaraunt or trust myne ozvne dooynges, I have used the studious 
 peines of Nicholas Udall and certain other learned men, whose 
 exercise in translacions and penyng in this tounge hath ben (as I 
 understande) not without some fruite to the common weale." In a 
 subsequent edition, in 1559, with the same title and figures, the 
 name of " Master Richard Eden" is added to the " learned men" 
 whose " peines" the writer had used. This edition is dedicated to 
 the Princess Queen Elizabeth, the royal arms being removed from 
 the centre of the frontispiece, and a portrait of Elizabeth substituted ; 
 she is represented as a young woman, in a close-fitting cap, holding 
 a sceptre, underwritten "Dieu et mon droit." It is the earliest 
 known engraved portrait of the Queen. According to the foregoing 
 information, derived from Gemini's own account of himself, the 
 English nationality hitherto given to him must be abandoned. 
 
 Shortly afterwards, in 1569, appeared a work more important in 
 the character and finish of its illustrations, Christian Prayers and 
 Meditations in English, French, Italian, Spanish, Greeke, and Latine, 
 published in that year by the printer John Daye, by whom the 
 numerous woodcuts are alleged to have been cut. On the back of 
 the title are the royal arms, and each page throughout the book has 
 the margin illustrated with scriptural and other subjects, amongst 
 them being a Dance of Death, original in character, differing from 
 
The English School of Engraving. 31 1 
 
 the numerous series of the same subject the French devotional 
 service-books are illustrated with.* 
 
 A map of Cambridge (a bird's-eye view), signed Richard Lyne, 
 1574, is executed with considerable skill and clever drawing, and 
 there are some few other topographical prints by him. 
 
 Many foreign artists had been attracted to England by Henry 
 VIII., whose love of parade gave them ample occupation in the com- 
 memoration of the pageantry of the time, and the improvement of 
 his palaces, in rivalry with Francis I. Hans Holbein came in 1 5 26, on 
 the invitation of Sir Thomas More, and his name is the standard 
 for portrait-painting of the time. Numerous Englishmen contem- 
 porary with and in immediate succession to him were employed, of 
 whom, even of their names, there is scarcely a record. Throughout 
 the reign of Elizabeth the encouragement they received was greatly 
 increased ; but Zucchero, Lucas de Heere, Sir Antonio More, and 
 numerous other foreigners principally monopolised the patronage 
 of the Queen and her court. In the succeeding reigns we have the 
 names of Paul Vansomer, Cornelius Jansen, and Daniel Mytens, 
 English talent still remaining but partially recognised. Van Dyck 
 had visited England in 1629, when he failed to attract attention ; 
 returning in 1632, he immediately received the support of Charles I., 
 who knighted him in the following year, and settled upon him an 
 annuity of 200/. The array of contemporary portraiture to be seen 
 in so many of the great houses in the country, although in a large 
 proportion by the hand of Van Dyck, shows that there was no lack 
 of demand for native talent. Through the encouragement of the 
 king, and Van Dyck's generous recognition, amongst others brought 
 into notice was William Dobson, whose portraits arc of great merit ; 
 he painted several historical pictures, a decollation of S. John the 
 Baptist at Wilton leading his flatterers to call him the English 
 Tintoretto, and on Van Dyck's death the king made him sergeant- 
 painter. Charles I. is deservedly noticeable in that small but 
 extremely useful section of society known by the designation of 
 collectors, who devote such talent as they are possessed of, and the 
 means they have at their command, in selecting and preserving 
 from annihilation the debris of the skilled productions of preceding 
 
 * An account of the book, with facsimile iUustrations, appeared in the Fine 
 Arts Quarterly for January 1867. A copy of it, considered to be unique, 
 which had belonged to Queen Anne, is in the Archiepiscopal Library at Lam- 
 beth. Some few years since an imperfect one was discovered in the library of 
 the late Mr. William Tooke of Russell-square, with marginal MS. notes by 
 Alexander Nowell, who in 1569 was Dean of St. Paul's Cathedral. 
 
312 The English School of Engraving. 
 
 times, which the rising tide of brute force, on coming to the surface 
 at each successive revolution of society, ruthlessly destroys. En- 
 dowed with refinement of taste, appreciative] knowledge, and more 
 than ordinary ability as an amateur draughtsman, he devoted 
 the few years of his life passed in comparative tranquillity, whilst 
 revolution was seething beneath the surface, in the encouragement of 
 art and association with its professors, whom he liberally employed, 
 and in acquiring the fine collection of pictures and drawings, 
 chosen by him with consummate judgment, of which, with some 
 important exceptions, the catalogue only remains to us. During 
 the troubled years at the end of his reign men's thoughts could 
 dwell on but little else save the struggle for existence. 
 
 Some credit is due to Cromwell for the portion of the king's 
 art-treasures he saved for the country. The attention given to 
 portrait-painting was revived under the Commonwealth, and many 
 of the representations of members of it are by Englishmen. The 
 Pretender must have passed many hours as a sitter, judging by the 
 numerous repetitions of him we have upon canvas ; some of the 
 best are by Robert Walker, who studied the manner of Van Dyck. 
 Sir Peter Lely had come to England in 1641 : — on the arrival of 
 Prince William of Orange to be married to the Princess Mary in 
 1643, Lely was presented to the king, and took his likeness and 
 those of the prince and princess ; there is also one by him of 
 Cromwell ; but he remained comparatively unnoticed during the 
 Commonwealth ; on the Restoration he was received at once into 
 favour, and entered into full employment. 
 
 Charles II. had brought home with him the costly taste then being 
 exercised with lavish extravagance by Louis XIV. at Versailles. 
 Antonio Verrio was sent for, and the fashion set by the King for 
 mural and ceiling decoration required the aid of a small army of 
 assistants in depicting the acres of cumbersome allegories which 
 may yet be seen at Hampton Court and Windsor, and at Burghley, 
 Chatsworth, Petworth, and other county mansions. The following 
 description of Verrio's performance at Hampton Court Palace, taken 
 from A Century of Painters by R. and S. Redgrave, applies, with 
 slight variation, to all of them : " In the heavenly region above — at 
 least so far as blue sky and plenty of fleecy cloud cushions for lazy 
 gods and goddesses can make it such — a massive golden table hovers, 
 supported on the clouds by heavy golden lions. Round it in full 
 assembly are grouped the principal and secondary deities. Jupiter 
 and Juno sit at the head. He, of course, is served by Ganymede 
 riding on the eagle, while the bird itself is busily engaged in keeping - 
 
The English School of Engravmg. 313 
 
 firm hold of Jupiter's thunderbolts. Of course, also, Juno is not 
 without her peacock, and Iris is properly sliding down the rainbow. 
 Were it not so common, it would seem curious to find the goddesses 
 naked, while the gods are robed and even bear their armour in 
 heaven ; but then what would Neptune be without his trident, 
 Pluto without his fork, or Time without his everlasting scythe — a 
 most ungainly implement in good society ? Mars and Venus must 
 of rule be love-making, though his armour does not tempt a tender 
 embrace. Juno's bird has beauty enough to claim a place in heaven, 
 but some objection may be taken to Romulus' wolf and Silenus' 
 ass, yet there they both are." The climax of absurdity, however, 
 was reached by the Italian in his representation at Windsor of Our 
 Saviour healing the sick, with portraits of himself, Sir Godfrey 
 Kneller, and Baptist May the surveyor of the works, in long periwigs, 
 standing by as spectators of the miracle. 
 
 Amidst the fashion created, and the prevalent desire for being 
 pourtrayed for present gratification and the benefit of future 
 generations, many English artists shared in the demand. John 
 Greenhill, one of Lely's pupils, attracted much notice, but died at 
 an early age from intemperance. Robert Streater was appointed 
 the King's Sergeant-Painter ; and, amongst other commissions, the 
 theatre at Oxford, still in good preservation, enables us to judge of 
 the talent he displayed. The Court favour, however, on Lely's 
 death, passed to the Dutchman, Godfrey Kneller, who had come 
 over in 1674, and continued in unimpaired occupation and 
 popularity for half a century during the succeeding four reigns. 
 His portraits are very numerous ; the expression in them is always 
 the same, and the overwhelming head-dress of the time was a serious 
 bar to any exercise of imagination, of which Kneller possessed but 
 little, and that little was limited to the mytholpgical accompani- 
 ments so long stereotyped in the country. Another extract from 
 A Century 0/ Painters, descrihing Kneller's picture of "The Landing 
 of William at Torbay," will best illustrate the style so long pre- 
 dominant : " The Dutch hero would appear to have just ridden 
 ashore. He is in a guise so truly comical that had not the prevail- 
 ing fashion masked its absurdity, even the saturnine monarch him- 
 self must have smiled at his own figure. He is dressed in a costume 
 neither Dutch nor Roman, but a farcical compound of the two, fit 
 only for the hippodrome — a flowing curled wig, a cuirass and thigh 
 pieces with an ermine lined mantle clothes the upper part of his 
 body, terminating in bare arms, blue tights and sandals. His 
 white horse, which he bestrides without saddle or stirrups, seems 
 
^ 314 The English School of Engraving. 
 
 dancing a war dance over shield, torch, and sword, the rider sitting 
 with the complacent air of one who is performing an admired feat 
 of horsemanship. Neptune, who may have helped him over the 
 sea, is at his horse's heels, up to the middle in a clump of bull- 
 rushes ! while two ladies, said to represent Flora and Plenty, offer 
 fruits and flowers at the manifest risk of being trampled under 
 foot, and above him, suspended in the air, Peace and Mercury, with 
 a large family of little cupids, have charge of the helmet of the 
 monarch." Kneller lived to take the likeness of George I., by whom 
 he was created a baronet, having been knighted by William III. in 
 1692, and continued the practice of his profession until a short time 
 before his death, in 1723. 
 
 In one branch of portraiture considerable skilled ability had been 
 manifested at an early period, and was practised almost exclusively 
 by Englishmen. To Holbein we are indebted for the first intro- 
 duction of miniatures, and the few and extremely rare examples by 
 his hand are exceptional specimens of life-like treatment and 
 transparent drawing. Our first great painter of them, Nicholas 
 Hilliard, was born in 1547, and from his diligent pencil, as also 
 that of his pupil and successor, Isaac Oliver, not many years his 
 junior, we have derived the numerous characteristic likenesses which 
 are extant, of Queen Elizabeth and James I., and the personages of 
 celebrity during their reigns. Peter Oliver the son of Isaac, and 
 John Hoskins, equally eminent during the reign of Charles I. and 
 the Commonwealth, were followed by Samuel Cooper, the nephew 
 and pupil of Hoskins, to whom higher praise has been attributed 
 than to any of the artists who attained such distinction before him. 
 He continued the series of historical portraits some years into the 
 reign of Charles II., having died in 1672. Pepys names him 
 several times in his diary, and mentions a payment of 30/. for the 
 likeness of his wife. 
 
 Encouraged by the taste which had been created, many foreign 
 engravers found employment in England towards the end of the 
 seventeenth century, conspicuous amongst them being Crispin de 
 Passe and the Hogenbergs, to whom succeeded other members of 
 the de Passe family and Martin Droeshout. Contemporary with 
 them, at the commencement of the eighteenth century, several 
 Englishmen were similarly occupied in the production principally 
 of engraved portraits and book illustrations, Reginald Elstracke and 
 Francis Dclaram taking lead amongst them. The Basiliologia, 
 containing representations of .sovereigns and their associates, chiefly 
 by Elstracke, was published in 161 8. On the return of Charles II., 
 
The English School of Engraving . 315 
 
 he was accompanied by his cousin Prince Rupert, who introduced 
 into England the recently discovered invention of mezzotinting, 
 which became extremely popular, and ^vas largely used in the 
 reproduction of portraits of the time. In 1650 William Faithorne, 
 who during the civil war had taken refuge in France, and whilst 
 there in his compulsory exile worked diligently under Robert 
 Nantcuil, returned and applied with great success in England the 
 skill he had acquired. Many of his prints, that of Oliver Cromwell 
 between the pillars especially, are deservedly some of the coveted 
 acquisitions of collectors. Wenceslaus Hollar, who although born 
 at Prague, is identified with this country as that of his adoption, 
 came back, almost at the same time, in 1652, his patron the Earl of 
 Arundel having died in 1646 at Padua. 
 
 From these two talented engravers dates the establishment of 
 their art in England. 
 
A BoOKE OF Christian Prayers. The woodcut borders through- 
 out the volume, of the title-page of which the above is a 
 facsimile, are printed from the blocks used for the ornamentation 
 of Christian Prayers and Meditations named in the preceding 
 notice of the English School of Engraving. The character of 
 the present book is the same as that of 1569 ; but many of the 
 prayers are altered and modified, and the devotional services 
 in several instances are varied in form. The Arms of England, 
 which are on the reverse of the title of the volume of 1569, are 
 replaced, in the present volume, by a full-length portrait of 
 Queen Elizabeth kneeling in prayer. 
 First edition, black morocco, tooled. 
 
WENCESLAUS HOLLAR. 
 
 Engraver: born at Prague, 1607; died in London, 1677. 
 
 ployment, and following the fortunes of his patron, accompanied 
 him to London, remaining there until the Civil War caused the 
 Earl to escape to Antwerp, where Hollar joined him in 1645. The 
 Earl died at Padua in 1646. Hollar returned to England in 1652. 
 
 In his numerous engravings, nearly three thousand in number, 
 there is nothing of the constrained style of the master from whom 
 he received his instruction. Comprehending, as they do, every 
 variety of subject, the accurate and transparent method of their 
 cutting bespeak the careful study and thorough love of his art with 
 which Hollar pursued his occupation ; his landscapes and architec- 
 tural subjects are masterpieces of delicate drawing and execution. 
 
 The narrative of his ill-requited talent shows how little his en- 
 gravings were appreciated ; and his life, notwithstanding his industry, 
 ended in penury and want in London on the 28th of March 1667. 
 A concise memoir of him is prefixed to the Catalogue of an exhibi- 
 
 OTWITHSTANDING 
 his Bohemian origin. 
 Hollar early in life 
 became identified with 
 the English school of 
 engraving. His edu- 
 cation was derived from 
 Matthew Merian at 
 Francfort. Attract- 
 ing the notice of Tho- 
 mas Howard, Earl of 
 Arundel, whilst Am- 
 bassador at the Court of 
 the German Emperor 
 Ferdinand H., Hollar 
 was taken into his em- 
 
31 8 The English School of Engraving. 
 
 tion of his engravings, held at the BurHngton Fine Arts Club in 
 1873- 
 
 The collection in the British Museum was originally purchased 
 by Sir Hans Sloane of Hollar's widow ; many additions have from 
 time to time been made, and it is now almost complete. Another 
 collection of nearly equal value is in the Royal Library at Windsor. 
 
 There are two catalogues — an English one by Vertue, published 
 in London in 1759 ; and another in German by Parthey, published 
 at Berlin in 1853 — to which the following numbers refer. 
 
 The Adoration of the Magi. A wiijter scene (97). After 
 Brauwer. 
 
 Passion Scenes of Our Saviour's Life. Satirising monks and 
 ecclesiastics (116-131). After Holbein. 
 
 S. Catherine of Alexandria (177). After Raphael. 
 
 The Dance of Death (232-262). After Holbein. 
 
 First states, with the borders ; several before the monogram. 
 
 Christ the Saviour (287). After L. da Vinci. 
 First state, before the inscription. 
 
 The Four Seasons. The full-length figures (606-9). 
 The Four Seasons. The half-length figures (610-13). 
 The Cathedral of Antwerp (824). 
 
 Strasbourg Cathedral, and Strasbourg Cathedral and 
 Clock (892-3). 
 
 Bird's-eye view of London (1012). 
 London Before and After the Fire (1015). 
 Two views of Arundel House (1034-5). 
 Four views of Westminster (1037-40). 
 
 First states. 
 
 Four Landscapes. After Breughel and Peters (863, 1216, 18, 19). 
 Portrait of Hollar, holding the print of S. Catherine (1416). 
 The Tomb of Henry VH. in Westminster Abbey (2303). 
 
WILLIAM HOGARTH. 
 
 Painter and Engraver: born in London, 1697; 
 died there, i 764. 
 
 OMMENCING life as an appren- 
 tice to a working silversmith, 
 William Hogarth was initiated 
 in the mechanical process of cut- 
 ting heraldic designs and inscrip- 
 tions on plate, at the time so 
 much in demand. It was the 
 only technical education he re- 
 ceived, the perfection in the use 
 of the graver subsequently at- 
 tained being through his own 
 intuitive knowledge and industry. 
 Born in London in 1697, the 
 son of a schoolmaster in the parish of Ludgate, on the expiration 
 of his apprenticeship he entered the drawing academy in S. Martin's- 
 lane, then almost the only place for such studies in London ; — 
 his attendance there seems to have been somewhat desultory— not to 
 be wondered at, considering his subsequent designation of the 
 directors as " a body of coach-painters, scene-painters, drapery- 
 painters, picture-dealers, picture-cleaners, and frame-makers." 
 
 In 1720 he was employed as a metal-chaser and engraver, earning 
 a precarious livelihood in executing designs for the booksellers, his 
 illustrations of Apuleius' Golden Ass in 1724, and of Butler's 
 Hudibras in 1726, giving but little promise of the position he 
 attained in the English school of engraving. Taking Callot for his 
 model in his early works, he subsequently acquired a bolder method 
 of handling the burin, in imitating the manner of Sir Nicholas 
 Dorigny, whose prints after the Cartoons at Hampton Court and 
 the Transfiguration by Raphael were then so popular in London. 
 
 Having in 1730 married clandestinely the daughter of Sir James 
 Thornhill, he steadily devoted himself to painting as a profession, 
 acquiring facility in taking portraits, and in groups as conversation 
 pieces, which yielded him a moderate source of income. The signal 
 success attending his two important series of the Harlot's, and the 
 
320 The English School of Engraving, 
 
 Rake's Progress, produced in 1734-5, brought him prominently into 
 notice, and resulted in reconciling Sir James Thornhill to his 
 daughter's marriage, and his recognition of the talent of his eminent 
 son-in-law. 
 
 Confining himself for the most part to the use of simple colours, 
 without resortingto those dangerous mediums under which so many of 
 Sir Joshua Reynolds' best works are hopelessly perishing, he painted 
 with great transparency. His delineation of female beauty, from the 
 abnegation of all attempt at classical refinement and artificiality of 
 treatment, is very naive and charming ; and his portraits, full of 
 manifest truthfulness, rank with those of any of his contemporaries. 
 The set of six, of " The Marriage a la mode," now in the National 
 Gallery, is by far the most attractive o{\\\z genre subjects. Com- 
 pleted in 1744, the studied histrionic skill wherewith they are drawn 
 places them in rivalry with the masterpieces of the Dutch school, in 
 the elaborate but uncrowded details of the background, and the 
 numerous incidental accessories introduced in keeping with the 
 moral of the main story. Their original brilliancy of tone has long 
 since succumbed to repeated layers of varnish, although not yet quite 
 reduced to the condition of the " black masters," against which he 
 so vigorously declaimed. 
 
 Annoyed at their realising only 110 guineas, on his offering them 
 for public competition by auction in the year they were finished, he 
 was induced in his strong self-reliance on his own powers, to embark 
 in a crusade against the fashion then prevalent for acquiring 
 antiques and the works of the Italian artists. An attempted 
 improvement of the uncomfortable picture belonging to the Duke 
 of Newcastle, erroneously ascribed to Correggio, of Sigismunda in 
 grief, with Guiscardo's heart in a salver, and his representation of 
 Danae, where the old woman tests with her teeth the genuineness 
 of one of the pieces of the shower of gold coin, answered no purpose 
 but to create amusement at his irritation, and they were not worth 
 the hours wasted in producing them. 
 
 Hogarth's engraved works preserve a valuable historical record of 
 the time ; and if many of the incidents, extreme in their coarseness, 
 had been omitted, the satire would have lost none of its efficacy, 
 and their artistic skill and inimitable humour would have rendered 
 the series of his compositions a source of interest for every house- 
 hold. The power wherewith he exposed the vices of the period, 
 rarely degenerated into personal sarcasm, except in his controversies, 
 towards the end of his life, with Wilkes and Churchill, for which 
 the acrimony of the attack upon him afforded considerable justifica- 
 
IVilliam Hogarth. 
 
 321 
 
 tion ; the wit, however, on either side was but of feeble pungency. 
 His health was then declining, and he died of dropsy at his house 
 in Leicester-square in 1764, leaving scant means for his widow, 
 who survived him upwards of twenty years, and late in life received 
 a pension from the Academy, the establishment of which her 
 husband had strenuously opposed. 
 
 The collection of his engravings in the British Museum is nearly 
 complete, and contains many rare and curious proofs. The cata- 
 logue in Anecdotes of William Hogarth, by J. B. Nichols, 8vo, 
 London, 1835, describes their different states, and is arranged 
 chronologically. 
 
 SOUTHWARK Fair. Invented, painted, and engraved by William 
 Hogarth (1733)- 
 
 The Harlot's Progress. In six plates (1733-4). 
 First states, before the crosses. 
 From the Garle Collection. 
 
 The Rake's Progress. In eight plates (1735). • 
 First states. 
 
 The Distressed Poet (1736). 
 
 First state, with Pope thrashing Curll on the print by the 
 window. 
 
 The Enraged Musician (1736). 
 
 First state, with the head of the horse in the background white. 
 
 The four parts of the Day (1738). 
 
 Strolling Actresses Dressing in a Barn (1738). 
 First state. 
 
 From the Garle Collection. 
 Taste in High Life (1742). 
 Marriage A la mode. In six plates (1745). 
 Industry and Idleness. In twelve plates (1747). 
 The Gate of Calais (1749). 
 
 The March of the Guards to Finchley (1750). 
 
 First state. With the Sunday date, 30th Dec"", 1750. 
 
 / 
 
322 The English School of Engraving. 
 
 Beer-street, AND Gin-lane (175 i). 
 First and second states. 
 
 Analysis of Beauty. In two plates (1753). 
 
 Four Prints of an Election (1754). 
 First states. 
 
 From the Garle Collection. 
 
 France and England. In two plates (1756). 
 
 Time smoking a Picture (1761). Subscription ticket for the 
 print of Sigismunda. 
 
 The Bathos. " Finis." (1764). 
 
 SIR ROBERT STRANGE, 
 
 Engraver: born in the Orkney Islands, 1721 ; 
 DIED IN London, 1792. 
 
 BERT STRANGE,descended 
 from a Scottish family of 
 Balcasky in Fifcshirc, was 
 born in the Orkney Islands, 
 where his father had settled. 
 He received his education 
 from a drawing-master of- 
 the name of Cooper in Edin- 
 burgh. On the breaking 
 out of the Civil War, when 
 the young Chevalier arrived 
 in Scotland, Strange went 
 to London, and thence to 
 Paris, where he became a 
 pupil of Le Bas, the en- 
 graver. In 1751 he returned to London, and for many years prac- 
 tised engraving with much success, the dates on his prints ranging 
 from 1753 to 1787. George III. knighted him, and he was a 
 member of several of the continental art-societies. 
 
 Bryan's Dictionary. 
 
Francesco BartoloszL 323 
 
 The reading Magdalene (18). After Correggio. Half figure 
 in a circle, dated 1780. 
 
 Cleopatra (23). After Guido. 
 
 Venus recumbent (27). After the picture by Titian in the 
 Uflfizzi at Florence. 
 
 Venus attired by the Graces (30). After Guido. 
 
 Liberality and Modesty (40). After Guide. 
 
 Charles I. and the Marquis of Hamilton (45). After the 
 picture by Van Dyck at Windsor Castle. 
 
 Charles I, in his Robes. Whole length (46). After Van Dyck, 
 
 FRANCESCO BARTOLOZZI, 
 
 Designer and Engraver: born at Florence, 1730; 
 DIED at Lisbon, 1813. 
 
 URING his youth Francesco 
 Bartolozzt was instructed in 
 drawing by Ignatius Hugford 
 of Florence, and becoming 
 associated with Joseph Wag- 
 ner at Venice, acquired the 
 knowledge of engraving under 
 his tuition. Save some few 
 prints of minor importance 
 Wagner employed him upon, 
 nearly all his works were exe- 
 cuted in England, whither he 
 came in 1764. Applying 
 himself industriously through- 
 out a long life, his engravings probably exceeded in number those of 
 any of his contemporaries. Possessed of thorough facility of drawing, 
 he designed with much elegance, and, excepting our English artist 
 Thomas Stothard, he is unrivalled as a graceful illustrator of tales 
 and poetry. 
 
 Nagler, in his Kunstler Lexicon, gives a catalogue of his prints. 
 
 y 
 
324 The English School of Engraving. 
 
 The Holy Family, with Tobit and the Angel. After the 
 picture by Raphael at Madrid. 
 
 Venus reclining asleep, undraped, her left arm over her head. 
 After Annibale Carracci. Engraved in stipple. 
 In an oval. Proof before letters. 
 
 EurHROSiNE. After G. Amiconi. Engraved in stipple. 
 Upright oval. Open letter proof 
 
 * Samson and Dalila. After F. Rigaud. Engraved in line. 
 Proof before letters. 
 
 The THREE Graces. 
 
 COMUS INVITING TlIALIA TO THE REVELS. 
 Proof before letters. 
 
 ArOLLO INSTRUCTING LOVE. 
 Proof before letters. 
 
 Venus surrounded by Cupids. After Cipriani. 
 Proof before letters. 
 
 The Graces crowning the Bust of Raphael, After Cipriani. 
 Proof before letters. 
 
 Love caressed. After Cipriani. A circle, engraved in stipple. 
 
 Pandemonium. After Stothard. 
 
 Ten Book Plates and Concert Tickets. After Cipriani and 
 
 others. 
 
 Proofs before letters. 
 
WILLIAM WOOLLETT, 
 
 Engraver: born at Maidstone, 1735; 
 DIED IN London, 1785. 
 
 DUCATED in the rudi- 
 ments of his work by 
 John Tinney, William 
 WooUett developed land- 
 scape engraving to a 
 perfection previously un- 
 known in England. His 
 reproductions of the Death 
 of General Wolfe and the 
 Battle of La Hogue, after 
 West, show that he was 
 equally skilful in genre 
 subjects. 
 
 Sacrifice to Apollo. After the Altieri picture by Claude. 
 Proof before letters. 
 From the Palmer Collection. 
 
 Roman Edifices in Ruins. After the picture by Claude in the 
 collection of the Earl of Radnor. 
 Impression with the letters. 
 
 JOSEPH STRUTT, 
 Engraver: born in London, 1749; 
 
 died THERE CIRCA 1804. 
 
 THE prints of Joseph Strutt, in the style of crayon drawing, 
 have much the character of Bartolozzi's work. Besides his 
 History of Engraving, he illustrated several archaeological works. 
 
 Adam and Eve. Copied, with material alteration from the 
 engraving by Marc Antonio, as a frontispiece to Strutt's 
 Dictionary of Engravers. 
 Printed in black. 
 
326 The English School of Engmving. 
 
 Illustrations to Bunyan's Pilgrim's Progress. From the 
 designs of Thomas Stothard. 
 The set of sixteen, printed in black, 
 
 LOUIS SAILLIAR, 
 
 Engraver: born in Paris, 1748; 
 worked and died in London, 1795. 
 
 Portrait of William III. when Prince of Orange. After 
 Honthorst. 
 
 "John Boydell excudit 1781." 
 
 JOHN FLAXMAN, 
 
 Sculptor and Designer: born at York, 1755 ; 
 died in London, 1826. 
 
 LTHOUGH Flaxman never 
 applied himself to engrav- 
 ing, he has left a record of 
 his careful studies and 
 mastery of drawing in the 
 beautiful series of illustra- 
 tions of the Greek poets 
 and Dante, engraved in 
 outline after his designs, 
 and issued under his super- 
 intendence. Employed in 
 early life by Josiah Wedg- 
 wood at the Potteries at 
 Etruria, the great popula- 
 rity and success of the es- 
 tablishment was materially enhanced by the ornamentation of the 
 products of the manufactory with his spirited compositions. Having 
 proceeded to Italy, after a stay there of some few years, he was on 
 his return home in 1797 elected an Associate of the Academy, 
 followed by the speedy appreciation of his talent, and his deserved 
 recognition as the most accomplished sculptor of the time. Con- 
 tinuing in the active practice of his profession until nearly the close 
 
yohn Flaxman. 
 
 327 
 
 of his life, he exercised an important influence upon contemporary 
 art by his cultivated taste and the classical treatment of the fine 
 works wherewith he enriched the country. 
 
 Tpie Iliad of Homer. From the compositions of John Flaxman, 
 1805. Engraved by Thomas Piroli, with the two additional 
 plates by William Blake. 
 
 The Odyssey of Homer. From the compositions of John Flax- 
 man. Engraved by Parker and Neagle, 1 805, with the six 
 additional plates first engraved for this edition. 
 
 Compositions from the Tragedies of ^schylus, designed by 
 John Flaxman. Engraved by Thomas Piroli, 1795. 
 
 Compositions from the Works, Days, and Theogony of 
 Hesiod, designed by John Flaxman. Engraved by William 
 Blake, 18 17. 
 
 La Divina Commedia di Dante Alighieri, composto da Gio- 
 vanni Flaxman ed inciso da Tommaso Piroli, 1802. 
 
ENGLISH MEZZOTINT ENGRAVING. 
 
 UMEROUS engravers of the English 
 school arrived at a high degree of per- 
 fection in the practice of mezzotinting : 
 — " La Maniere Anglaise," as it has 
 been called, without being entitled to 
 any such distinctive nationality in its 
 designation. 
 
 The invention is due to Lieutenant- 
 Colonel Von Siegen, an officer in the 
 service of the Landgrave of Hesse 
 Cassel. His portrait of Amelia Eliza- 
 beth, Landgravine of Hesse, is dated 
 1642. Prince Rupert, the son of Fre- 
 deric v., the Elector Palatine, met Von Siegen at Brussels, and 
 acquired from him the knowledge of the process. On the Prince's 
 return with his cousin Charles 11. to England at the Restoration, 
 being appointed Governor of Windsor Castle, he occupied his 
 leisure, amidst his scientific pursuits, in mezzotint engraving, and 
 employed Wallerant Vaillant to prepare the plates for him, by 
 whom the secret was made known, or more probably the Prince 
 rendered his knowledge freely accessible ; — there is no more 
 important illustration of the art than his fine print of the execu- 
 tioner with the head of S. John, after Ribera. Several Englishmen 
 adopted the practice, and their prolific exercise of it is seen in 
 the large number of portraits of Charles H. and the celebrities of 
 his Court. 
 
 At the end of the last, and commencement of the present century, 
 in the reproduction of the portraits and pictures of Sir Joshua 
 Reynolds and his contemporaries, mezzotint-engraving attained 
 its highest state of perfection in England. One of the latest 
 applications of it was in Turner's series of the Liber Studiomiii, 
 and John Martin's imaginative compositions are very effectively 
 reproduced in the mezzotints he executed of them. Since then 
 
English Meszotint Engraving. 329 
 
 the process, with some few exceptions, has fallen almost into 
 disuse. 
 
 The standard work upon the subject is the Histoirede la Gravnre 
 en vinnicre noire, par Leon de Laborde (8vo, Paris, 1839), rendered 
 additionally valuable by the clever copies and facsimiles it is 
 illustrated with. Dr. Hamilton, in his Catalogue raisonnc of the 
 engraved works of Sir Joshua Reynolds (8vo, London, 1874), gives 
 a detailed and biographical account of each portrait. 
 
 In the British Museum there is a large series of mezzotints, and 
 the Duke of Buccleugh for many years has been engaged in form- 
 ing a collection of all the known engravings after Sir Joshua 
 Reynolds, which is nearly complete. 
 
 The Nativity. After a composition ascribed to Raphael. 
 Engraved by Bernard Lens. 
 
 The Madonna and Child. In an oval. Inscribed at the foot, 
 " Done after original of Raphael Urbin (now in y^ Palace of 
 Kensington), in a round of 22 inches Diameter : y" figures as 
 big as y^ life. E. Cooper, ex. cum Privilcgio Regis." 
 
 S. Barbara with the Tower. Half-length figure. After Raphael. 
 Engraved by Wallerant Vaillant. 
 
 The Annunciation to the Shepherds. After Berghem. 
 Engraved by Wallerant Vaillant. 
 First state before the name. 
 From the Barnard Collection. 
 
 The Madonna and Child. After Schidone or Correggio. 
 Engraved by J. Smith, 1700. 
 
 S. Catherine holding a Book, her hands resting on the wheel 
 of her martyrdom. After the picture at Hampton Court 
 Palace, attributed to Correggio. Three-quarter figure. 
 Proof before letters. 
 
 A Mother and Child. In an oval. Three-quarter figure. 
 Proof before letters. 
 
 Jupiter and Io. After Correggio. Engraved by J. Johnson, 
 1743- 
 
 The Fruit and Flower Pieces. After Jan van Huysum. 
 Engraved by Richard Earlom. 
 Proofs before the mottoes under the arms. 
 
330 TJie English School of Engraving. 
 
 The Concert of Birds. After Maria da Fiori. Engraved by 
 Richard Earlom. 
 Proof before letters. 
 
 GODFRIDUS SCHALCKEN, liolding a candle. Three-quarter figure. 
 After his own portrait. Engraved by John Smith. 
 
 Mrs. Ann Warner. Half-length in an oval. After Largilliere, 
 Engraved by John Smith. 
 
 Rembrandt. Three-quarter figure. After his own portrait. En- 
 graved by Richard Earlom, 1767. 
 Proof before letters. 
 
 Lady Whitmore. After Sir Peter Lely. Three-quarter length. 
 Engraved by Thomas Watson, 1778. 
 
 The Countess of Rochester. After Sir Peter Lely. Three- 
 quarter length. Engraved by Thomas Watson, 1779. 
 
 The same, of smaller size. After the same picture. Engraved by 
 James McArdell. 
 
 The Dutchess of Richmond. After Sir Peter Lely. Three- 
 quarter length. Engraved by Thomas Watson. 
 
 Eleanor Gwynne. After Sir Peter Lely. Small half-length, in 
 an oval. Engraved by John Ogborne, 1779. 
 
 George III., and Queen Charlotte. After Johann Zoffany. 
 The pair engraved by Robert Laurie, 1773. 
 
 PORTRAITS AFTER SIR JOSHUA REYNOLDS. 
 
 Lady Bampfylde. Whole length. Engraved by Thomas Wat- 
 son, 1779. 
 
 Proof before letters. 
 
 Lady Catherine Pelham Clinton when a young girl, feeding 
 chickens. Engraved by J. Raphael Smith, 1782. 
 With jthe letters. 
 
 Lady Fenhoulet. Half length. The picture painted when she 
 was Miss Say. Engraved by James McArdell. 
 Proof before letters. 
 
 Miss Kitty Fischer. Three-quarter length. Engraved by 
 Richard Houston. 
 With the letters. 
 
English Mezzotint Engraving. 
 
 331 
 
 Miss Nelly O'Brien, sitting with a white poodle in her lap. 
 Three-quarter length. Engraved by Charles Phillips. 
 Unique proof, before all letters. 
 
 Miss Greenway. Half-length. Engraved by James Watson. 
 Proof before letters. 
 
 Lady Hamilton as "a Bacchante." Half-length. Engraved 
 by J. Raphael Smith, 1784. 
 
 Mrs. Siddons, in the character of the Tragic Muse. Whole-length. 
 Engraved in stipple by Francis Haward, 1787. 
 Open letter proof 
 
 The Ladies Charlotte and Anne Spencer. Two children, 
 
 one holding a mask. Three-quarter lengths, engraved in the 
 
 chalk manner by Schiavonetti in 1790. 
 
 The frightened child was Lady Shaftesbury, who died in 1865, the last 
 survivor of Sir Joshua Reynolds' sitters. 
 
 Mrs. Turner of Clints. Three-quarter length. Engraved by 
 James McArdell. 
 
 Maria, Countess Waldegrave, with her Daughter. Half- 
 length. Engraved by Richard Houston. 
 
 Mrs. Elliot. After Thomas Gainsborough, R.A. Full length. 
 Engraved by John Dean, June 4th, 1779. The figures written 
 in ink. 
 
 Proof before letters, touched upon by the artist. 
 
 Travellers. After George Morland. Engraved by William 
 Ward, 1 79 1. 
 
 John Hoppner, R.A. After his own portrait. Three-quarter 
 figure. Engraved by Charles Turner, 1805. 
 
 The Marriage of S. Catherine. After Correggio. Engraved 
 by William Say, dated 1825. \^ 
 
 The Madonna di San Sisto. After Raphael. Engraved by 
 William Say. 
 
 The Cornfield. After John Constable. Engraved by David 
 Lucas. 
 
JOSEPH MALLORD WILLIAM TURNER, R.A.. 
 
 Painter and Etcher: born in London, 1775 ; 
 DIED AT Chelsea, 1851. 
 
 BOUT 
 the 23rd 
 of April 
 1 775 Tur- 
 ner was 
 born in 
 Maiden- 
 lane,Lon- 
 don. The 
 entry of 
 his bap- 
 tism in 
 the regis- 
 t e r of 
 St. Paul's, 
 C o V e n t 
 Ga rd en, 
 is, " Jo- 
 seph Mal- 
 lad Wil- 
 liam, son 
 of Wil- 
 liam Turner, by Mary his wife. May 14, 1775." 
 
 With the active cooperation of George III., the Royal Academy 
 had been founded in 1768; and William Turner's business relations 
 as a hairdresser with the members of it, from the proximity of his 
 shop in Maiden-lane, most probably attracted attention to the son's 
 early attempts at drawing, resulting in his entry as a student at the 
 Academy when a youth of fourteen ; in the following year, 1790, a 
 sketch he had made of Lambeth Palace was shown upon its walls. 
 The works he sent in during the succeeding ten years, furnish the 
 evidence of his untiring activity and industry in the vocation he had 
 adopted; before he was received as an Associate in 1800, his 
 
Joseph M alloy d William Turner, R.A, 333 
 
 exhibited compositions comprehended views taken in twenty-six of 
 the counties of England and Wales ; his sketch-books deposited in 
 the National Gallery tell of the range of his wanderings, and the 
 carefulness wherewith a record was preserved of every scene and 
 building of interest he was enabled to visit. In 1802, prior to 
 his twenty-seventh birthday, he was admitted to the full honours 
 of the Academy. 
 
 One of Turner's early remunerative occupations, sometimes in 
 companionship with his talented contemporary Thomas Girtin, but 
 far more frequently by himself, was the making drawings of English 
 scenery for book illustration. The first number of Walker's Copper- 
 Plate Magazine, which appeared in 1794, contained an engraving of 
 a view of Rochester, taken by Turner in the summer previous. 
 Throughout life he was pecuniarily concerned in the sale of various 
 line engravings from his pictures and drawings, superintending their 
 progress and directing alterations in the plates. The wealth he 
 had amassed was materially supplemented by their sale — of many 
 of them he was his own publisher, and at the time of his death 
 a large accumulation of impressions remained in his possession. 
 The only etchings executed by him are those for several of 
 the series of mezzotints of the " Liber Stiidionim, illustrative of 
 Landscape Compositions, viz. Historical, Mountainous, Pastoral, 
 Marine, and Architectural." The work was commenced in 1807, 
 with the intention of extending it to one hundred prints, divided 
 into twenty parts of five in each, the price being proofs 25J. prints 
 15^-., subsequently raised to /\2s. and 2\s. 
 
 Mr. Ruskin, in his Modern Painters, gives a detailed description 
 of Turner's " meaning of the entire book." From the title merely 
 we cannot gather any idealised intention, beyond the promised 
 studies under the different heads specified in the announcement. At 
 the period of the issue of the first part in 1807, Turner, in his thirty- 
 second year, was in the prime of life, and already established in the 
 foremost rank of his profession. Claude's pictures were then the 
 subject of admiration and praise in this country, an admiration 
 shared in by Turner ; the inspiration of his art at the time was the 
 determination to acquire the transparent method of their painting, 
 happily accomplished by him with such signal success. The Liber 
 Studionim owed its origin to the example his predecessor had 
 given him in his Liber Veritatis, but with a far different purpose. 
 The Liber Veritatis was a book of sketches, preserved by Claude 
 as a private remembrance of the different pictures which had left his 
 easel ; whilst the Liber Sticdiorum was intended as a series of 
 
334 'I^^^ English School of Engraving. 
 
 original compositions, to be multiplied by the aid of engraving, and 
 issued periodically as a commercial speculation. Mr. Ruskin narrates 
 the motives of the publication, describing the feeling of decay and 
 humiliation wherewith it was conceived by Turner, his explanations 
 of each group of subjects being a connected thesis, from the begin- 
 ning to the close, of sorrow and toil and despondency. In the life of 
 the artist by Walter Thornbury, he quotes the remark made by 
 Turner to Peter Cunningham respecting Mr. Ruskin's commentaries 
 upon his works : " He knows a great deal more about my pictures 
 than I do ; he puts things into my head, and points out meanings 
 in them that I never intended." 
 
 Throughout the varied scenes of Liber, in a large proportion of 
 them, Nature is teeming with life and animation, under her happiest 
 aspect. In rivalry with the etchings of Claude, which stand pre- 
 eminent in their perception of atmosphere, Turner availed himself of 
 the adaptability of mezzotint to convey every gradation of the radiant 
 cheerfulness of summer sunshine : — the glow of it, in its midday 
 warmth, is given in the aquatint of the " Bridge and Goats," and in 
 the " Chain of Alps" by Grenoble, bursting through the clouds upon 
 the range of hills surrounding the vine-clad plain below ; verging 
 more to its setting, in the " Basle," and the " Sun between Trees." 
 Amidst the twelve or more scenes of the tranquillity of evening 
 is the glowing sunset of Turner's favourite subject of Norham 
 Castle, the Claude-like landscape of the " Woman and Tambourine," 
 and the " River Wye," lighted up with the rays bursting through 
 and around the castle on the height, as in the Norham. The diffi- 
 cult and subtle expression of early morning Turner reserved for 
 himself in three of the representations of it engraved throughout by 
 his own hand, the " Calm," the " Junction of the Wye and the 
 Severn," and "Inverary Pier." Exceptionally beautiful as they all are, 
 the " Inverary Pier," with the rising light silvering the distant hills, 
 and stealing through the haze in the air, and over the motionless 
 water of the silent Loch, is a masterly illustration of his knowledge 
 and power of rendering atmospheric effect. But the transparent 
 bloom with which these results were produced, both in Claude's 
 etchings and the prints of the Liber, was equally evanescent — • 
 lessened by each passage of the plate through the press — and the 
 extreme delicacy of their treatment can only be seen and appre- 
 ciated in very early impressions. 
 
 Annoyed Turner necessarily must have been at the ill-success of 
 the undertaking ; but, apart from his just vexation at the neglect 
 it encountered, the story of its management sufficiently accounts 
 
JosepJi Mallord William Turner, R,A. 335 
 
 for the failure. Issued at uncertain intervals during the succeeding 
 twelve years, the thirteenth and fourteenth parts were delivered to 
 subscribers in 1819, when the publication ceased. The irregularity 
 of its appearance was not calculated to render it remunerative ; 
 the impressions were extremely unequal in quality, the distinction 
 between proofs and prints being but indifferently observed, and an 
 examination of a volume of so-called proofs, in the original 
 wrappers, shows that there were many amongst them of very 
 inferior quality. The plates were worn out and exhausted before 
 the use of them was finally discontinued ; and on the stores in 
 Queen Anne-street being released from the long imprisonment they 
 had undergone, and brought to light in Messrs. Christie's sale-rooms 
 in 1873, it was found that a large proportion of first states of each of 
 them, more or less in quantity, had been put aside and accumulated. 
 
 The pains bestowed by Turner upon the engravings, prior to their 
 completion, is seen in the many trial examples still extant, with 
 his written remarks of the alterations to be made. But few 
 proofs before letters had passed into the hands of collectors during 
 the artist's lifetime, and when they did so it was without his 
 knowledge. Shortly after his death, Charles Turner the engraver 
 (in no wise related to the artist), who was associated with him in the 
 promotion of the work and its production, having also mezzotinted 
 three of the series, disposed of a considerable number of early 
 and curious impressions to Messrs. Colnaghi of Pall Mall ; and 
 from Thomas Lupton, and other engravers of them, many more 
 were likewise obtained. Thomas Lahee, by whom they had been 
 printed, also sold a selection he had taken the opportunity of 
 making, distinguishable by the initials T. L. at the back. The idea 
 of proofs before letters does not seem to have been entertained 
 by Turner ; he reserved but few of them, and nearly all such speci- 
 mens now in the portfolios of collectors emanated from the sources 
 above alluded to. 
 
 Certain of the plates for the remainder of the series had been 
 prepared and completed. There were, moreover, some smaller ones 
 in pure mezzotint, without any etching, evidently having no connec- 
 tion with the Liber, their purpose or intended application being 
 unknown. The impressions from the latter in Mr. Stokes' collection 
 had been purchased accidentally at a pawnbroker's, without any 
 cognisance as to the artist of them, and sold in their entirety to Mr. 
 Stokes. A few of the coppers for the unpublished numbers of the 
 Liber and of these smaller mezzotints, were found with Turner's 
 effects, and included in the sale at Messrs. Christie's in 1873 ; the 
 
33^ The English School of Engraving. 
 
 \ 
 
 subsequent printing from them by the purchasers was attended 
 with but indifferent success. 
 
 The collection of Mr. Stokes was by far the most comprehensive 
 which had been formed during Turner's lifetime. On the owner's 
 death it passed by bequest in his will to Miss Clarke, by whom 
 shortly afterwards it was, with Mr. Griffiths' intervention, broken 
 up and dispersed. Mr. Griffiths acted as the agent through whom 
 many of Turner's minor works were brought into the market, he 
 having established a depot professedly to assist artists in nego- 
 tiating the sale of their productions at a small percentage. Turner 
 appointed him one of his executors ; being consulted as to the 
 estimate to be made of the effects, and unable to continue his 
 position in both capacities, he renounced probate of the will, retain- 
 ing that of valuer for the estate, and the large accumulation of draw- 
 ings and engravings continued under his direction until his death. 
 
 Turner died on the 19th December 1851. He never was married, 
 and throughout life kept up but little intercourse with his few 
 distant relatives. By his will he bequeathed the residue of his 
 property, after paying certain legacies, to the Royal Academy, to 
 endow a fund for relieving distressed artists, and the pictures and 
 drawings in his house to the nation, upon certain conditions as to 
 their exhibition. Under this bequest nearly one hundred pictures 
 and many thousand drawings, with numerous .sketch-books, passed 
 to the National Gallery. The will and codicils were so vaguely 
 worded, that the Court of Chancery's interference was essential for 
 their elucidation ; and after a protracted litigation of many years a 
 final decree was made, whereby the bequests to the nation were 
 settled, and the disposition of the residue of his estate was declared, 
 the intended charitable endowments being pronounced invalid. 
 
 Previous to 1872 no classification had been made of the prints 
 of the Liber Siiidiorum, and the critical acquaintance with them was 
 confined to the few amateurs who had applied themselves to the 
 study, and succeeded in procuring early impressions. The Com- 
 mittee of the Burlington Fine Arts Club in the last-named year 
 formed an interesting exhibition of the series in its entirety, 
 gathered from the portfolios of members of the club and other 
 possessors. They were shown in their different progressive states, 
 with many of the original drawings, in consecutive order, and a 
 catalogue with an explanatory preface was written. It was a valuable 
 contribution to the knowledge of the subject, no list having pre- 
 viously been compiled, and Mr. Stokes' manuscript notes were 
 followed in the arrangement. 
 
yoseph Mallord Williain Turner, R.A. 337 
 
 On the 24th March 1873 and four following days Messrs. Christie, 
 in pursuance of the decree of the Court of Chancery, submitted 
 for sale the remaining stock of impressions of the Liber, with the 
 unpublished coppers before alluded to. Amongst the large accumu- 
 lation of them were several of the etchings, and twenty-two com- 
 plete sets in the first states of the mezzotints, the first of which sold 
 for 900/. iSi-., and the remainder at an average of about 390/. each. 
 The five days' auction realised 18,614/. 3-r. 6d. In the course of the 
 same and the following year five other sales were made by Messrs. 
 Christie, under which the line engravings were disposed of 
 
 Mr. Sackvile Bale, Mr. Gambler Parry, Mr. Vaughan, and other 
 collectors possess rare and curious specimens of the Liber. By 
 far the most comprehensive series, surpassing in its extent that of 
 Mr. Stokes, has been formed by Mr. John Edward Taylor. The 
 collection in the British Museum was obtained by purchase from 
 the late Mr. John Pye, the engraver. 
 
 The Life of f. M. IV. Turner, by Walter Thornbury (8vo, London, 
 1862), abounds in particulars industriously collected, but incon- 
 gruously put together. A second edition, ostensibly emanating 
 from the author, but published in 1877 after his death, to which no 
 allusion is made, furnishes some additional information. TIic Life 
 of f. M. W. Turner, by Philip Gilbert Hamerton (8vo, London, 
 1879), is a thoughtful auxiliary treatise, supplying the need which 
 had long been felt of a sensible and judicious criticism of the art 
 and works of our great landscape-painter, and of Mr. Ruskin's 
 eloquent writings respecting them. 
 
 An account of the prints of the Liber Studiorum, comprehend- 
 ing a catalogue of the published and the unpublished plates, with 
 explanations of the marginal marks, whereby the different states of 
 them are distinguishable, is given by Mr. W. G. Rawlinson in his 
 Turner's Uber Studiorum: a Description and a Catalogue (8vo, 
 London, 1878). 
 
 The Series of seventy-one Prints of the Liber Studiorum, 
 comprising a few proofs before letters, with several of the 
 etchings, and the scries complete in the first published states, 
 with impressions of some of them from progressive conditions 
 of the plates. 
 
JOHN MARTIN, 
 
 Painter and Engraver: born at Hexham, 
 NEAR Newcastle, 1789; died in the Isle of Man, 1854. 
 
 ARTIN'S picture of Belshazzar's 
 Feast attracted universal admira- 
 tion. The conception of the sub- 
 ject, worked out with powerful 
 and clever treatment of the scene 
 of crowded revelry, never raised 
 the talented painter beyond the 
 rank of an Associate of the Royal 
 Academy. There is no picture 
 by his hand in the national col- 
 lections. 
 
 Born near Newcastle in 1789, 
 Martin's early knowledge of painting was learned under an Italian, 
 Bonifaccio Musso. In 1806 he went to London, continuing his 
 studies and residence there under Carlo Musso the son, a minia- 
 ture painter of some repute. Martin's first exhibited picture in 
 18 II met with a ready sale, followed by the same fortunate result 
 in the two following years ; but his advancement was prejudiced by 
 repeated misunderstandings with his brother-artists and the art 
 societies of the metropolis, originating for the most part in his own 
 overweening vanity. His Belshazzar's Feast, completed in 1821, 
 gained a prize of two hundred guineas at the British Institution, the 
 sensation it created bringing him into great popularity and remu- 
 nerative employment. He continued the active practice of his 
 profession until struck down by paralysis in the autumn of 1853, 
 resulting in his death in the following February. 
 
 His compositions are remarkable in their clever aerial distances, 
 but marred by the slatiness of tone selected for their expression ; 
 they are, however, highly poetical productions, far in advance 
 of anything previously attempted in England, and had they been 
 represented with a due knowledge of colour and atmosphere, they 
 would have met with a much higher meed of appreciation. Sets of 
 illustrations of the Bible and of Milton's Paradise Lost were etched 
 
Thomas Bewick. 
 
 339 
 
 by Martin upon the copper, and completed in mezzotint by himself 
 or under his superintendence. 
 
 The print after his picture of Belshazzar's Feast was a great 
 success, inducing the execution of some few larger engravings, which, 
 from the confused exaggeration of the scenes of them, and serious 
 faults of drawing, did not sustain the popularity at first created : 
 they were amongst the latest examples of pure mezzotint, an art now 
 almost entirely abandoned ; it is far too unenduring a process for 
 modern trade requirements. Artists' proofs, the trial tests struck 
 off by the engraver, prior to the final finish of his work for publi- 
 cation, are no longer known ; impressions under the designation 
 of proofs, by the modern process of steeling the metal, can be 
 produced without any limit as to number, so long as credulous 
 subscribers will pay proof price for them. Martin's plates could 
 barely have yielded a hundred prints, even if so many, before they 
 began to betray failure in their brilliancy. There is a set in the 
 British Museum, the artist having presented them, with several of 
 the etchings. 
 
 Illustrations of the Bible. A series of twenty prints, designed 
 and engraved in mezzotint \iy John Martin. 
 In a volume, with the letterpress. 
 
 Belshazzar's Feast. After the artist's picture. 
 
 Illustrations to Milton's Paradise Lost. Twenty-four 
 prints. 
 
 Proofs before letters. 
 
 THOMAS BEWICK, 
 
 Wood Engraver : born at Cherry Burn, 1753; 
 DIED at Gateshead, 1828. 
 
 A Descriptive Catalogue of the Works of Thomas and fohn Bexvick, 
 by Thomas Hugo, 1866. 
 
 Fables by the late Mr. Gay. Illustrated with woodcuts by 
 Thomas Bewick. First edition, Newcastle, 1779. 
 Small octavo^ broivn calf 
 
 Z 
 
340 
 
 The English School of Engraving. 
 
 History of British Birds. The figures engraved on wood by 
 Thomas Bewick, Newcastle, 1797- 1804. With the two supple- 
 ments, Newcastle, 1821. First editions. 
 Two vols., octavo ; large paper uncut ; green morocco. 
 
 A GENERAL HISTORY OF QUADRUPEDS. Illustrated with wood- 
 cuts by Thomas Bewick. Fourth edition, Newcastle, 1800. 
 Octavo, calf. 
 
 Emblems of Mortality. Fifty woodcuts after the designs of 
 Holbein. Newcastle, 1789. 
 Octavo, calf. 
 
 TOTHARD made eight etchings from his drawings for the 
 
 O shield presented, about 1822, by the citizens of London to the 
 Duke of Wellington ; they are the only etchings by his hand, and he 
 never attempted engraving. No English artist, however, was more 
 extensively employed in illustrating the writings of his time, and 
 large numbers of his designs have been preserved in the prints of 
 them. A memoir of his life, by his daughter Mrs. Bray, was pub- 
 lished in 1 85 1. 
 
 The Illustrations to the Novelists' Magazine, i78o-s,from 
 the designs of Thomas Stothard. Mounted in four volumes. 
 
 A Selection of EIngravings after Thomas Stothard. 
 Arranged in a portfolio. 
 
 THOMAS STOTHARD, R.A., 
 
 Painter and Etcher: born in London, 1755; 
 died there, 1834, 
 
 \ 
 
WILLIAM BLAKE, 
 
 Painter and Engraver: born in London, 1757; 
 
 died there, i 828. ^ 
 
 ILLIAM Blake's rhapsodical fan- 
 cies, in their innocent aspirations 
 after the subHme, are for the most 
 part but very prosaic creations. 
 His portraits of eminent person- > 
 ages, drawn at night in association 
 with his fellow -visionary John 
 Varley, from their supposed ap- 
 pearance to him at his bidding 
 from the other world, are fre- 
 quently but unimaginative repeti- 
 tions of the known forms of them 
 in engravings. His " Songs of Innocence" and " Songs of Experi- 
 ence" are the best and least irrational of his works. By means of 
 a somewhat peculiar process, acquired, from his account, in its 
 revelation to him in a dream, he produced upon the copper raised 
 surfaces, both of his designs and of the poems written in expla- 
 nation of them, printing impressions and tinting them in vivid 
 colours, his wife aiding in the work, with a result original in thought 
 and very effective in drawing. 
 
 In 1876 the Burlington Fine Arts Club exhibited in their gallery 
 a collection of his drawings and engraved works, and printed a 
 descriptive catalogue, with an essay in illustration. The number 
 was far greater than had ever before been brought into juxtaposi- 
 tion, the contributions of the owners of them enabling nearly every 
 important composition from his pencil to be submitted for inspec- 
 tion. Such an array of representations of the undraped figure had 
 probably never before been displayed, and the opportunity was 
 afforded of studying the peculiarities of the artist, and his unintel- 
 ligible theories. 
 
 His life, in two volumes, by Alexander Gilchrist, 1863, preserves 
 a record of the artist's eccentricities. 
 
 Illustrations of the Book of Job, in twenty-one plates, 
 
 invented and engraved by William Blake, 1825. i 
 
JAMES GILLRAY, 
 
 Designer and Engraver: born in London, 1757; 
 died there, 1815. 
 
 ILLRAY was a pupil of 
 William Ryland, and se- 
 veral engravings in the 
 dotted manner were exe- 
 cuted by him before he 
 became a caricaturist. He 
 learned the art of design 
 as a student at the Royal 
 Academy. From 1779 to 
 1811 he devoted himself 
 to delineating the leading 
 events of the day, with 
 great humour and free- 
 dom of drawing; and of a 
 period of strong political 
 excitement during up- 
 wards of thirty years, his 
 pencil has left a most in- 
 
 teresting satirical history. 
 
 A Selection of James Gillray's Caricatures, arranged in a 
 portfolio. 
 
 ABRAHAM RAIMBACH, 
 
 Miniature Painter and Engraver: 
 BORN IN London, 1776; died there, 1843. 
 
 HAVING served his apprenticeship to John Hall, an engraver, 
 Raimbach entered as a student at the Royal Academy, and 
 attained proficiency as a miniature painter, but resumed his original 
 occupation, in copying Robert Smirke's designs for Forster's edition 
 of the Arabian Nights. He became intimate with Sir David 
 Wilkie, who intrusted him with many of his pictures for engraving, 
 
yohn Burnet. 
 
 343 
 
 upon which he was almost exclusively engaged until his death in 
 1843. 
 
 The Village Politicians. After the picture by Sir David 
 Wilkie. 
 
 Open letter-proof. 
 
 The Rent Day. After the same. 
 Proof impression. 
 
 Distraining for Rent. After the same. 
 The published state. 
 
 Engraver: born in EDmBUROH, 1784; 
 DIED in London, 1868. 
 
 DUCATED under Robert Scott, a landscape engraver at 
 
 J— > Edinburgh, John Burnet went to London on the invitation 
 of Sir David Wilkie, of whose pictures he made many engravings, 
 the most important of them being the Chelsea Pensioners reading 
 the Gazette of the Battle of Waterloo. 
 
 The Blind Fiddler. From the picture by Sir David Wilkie. 
 Open letter-proof 
 
 JOHN BURNET, 
 
 Reading the Will. From the picture by Sir David Wilkie. 
 Open letter-proof 
 
GEORGE CRUIKSHANK. 
 
 Painter and Etcher : born in London, 1792 ; 
 died there, i 878. 
 
 USTAINED by continued 
 interest on the part of the 
 public, Geo. Cruikshank 
 contributed, throughout 
 upwards of seventy years 
 of his Hfe, to the illustra- 
 tion of the ephemeral 
 literature of the time ; 
 and amidst much con- 
 temporary talent his hu- 
 mour in representing the 
 passing follies of the day 
 stands almost unrivalled. 
 Of his political carica- 
 tures, those in relation to 
 the domestic life of George IV. exceeded the limits of allowable 
 satire, broad as at the time it was permitted to be. His delineations of 
 the middle-aged monarch's elaborate efforts to revive, by the aid of 
 the tailor and wig-maker, his vanished attractions, were cruelly comic, 
 and must have been more cutting in their irony than the bitterest 
 words from Hone's pen. His energetic crusade in his later days 
 against intemperance rendered valuable aid to the efforts made for 
 its repression ; admirers of his genius would have wished that his 
 large canvas of the "Worship of Bacchus" had been left unpainted, and 
 that he had limited his advocacy to his skill with the etching needle. 
 
 Mr. Reid, of the department of prints and drawings in the 
 British Museum, has published a full catalogue of his numerous 
 works, an intimacy with the artist affording opportunities for 
 compiling it. But of the vast number of sketches, comprehending 
 every conceivable subject, he had been employed in making, the 
 energy of the most enthusiastic admirer would be baffled in 
 attempting to form a complete collection. 
 
 A Selection of the Etchings of George Cruikshank, 
 arranged and mounted in three folio volumes. 
 
Edward William Cooke, R.A. 345 
 
 A Collection of the Novels and Tales, comprising the volumes 
 of Bentlefs Miscellany and AinszvortJi s Magazine which many 
 of them first appeared, and other pubh'cations iUustrated by 
 George Cruikshank, for the most part in their first editions, 
 inchiding Hone's Tracts, Scraps and Sketches, and the various 
 German and other stories and fairy tales, 
 
 WILLIAM CARPENTER, 
 Contemporary Painter and Etcher. 
 
 Judith with the Head of Holofernes. Etched copy of the 
 picture ascribed to Giorgione belonging to the Royal Academy 
 of London. 
 
 Head of Sir Antony Van Dyck. Copy of the original by Sir 
 Antony Van Dyck. 
 
 A Series of etched Portraits of Friends of the Artist, 
 Privately printed. 
 
 EDWARD WILLIAM COOKE, R.A., 
 Contemporary Painter and Etcher. 
 
 Sixty-five Plates of Shipping and Craft. Drawn and 
 etched by E. W. Cooke. London, 1829. 
 Half-bound morocco. 
 
346 The English School of Engraving, 
 
 IN the Exhibition of the Royal Academy for 1857, there was a 
 picture — No. 283, " Sir Isumbras at the Ford" — by Mr. J. E. 
 Millais. It was a specimen of a mode of art then and since recog- 
 nised by the designation of " preRaphaelite," in which the painter 
 of the picture and Messrs. D. G. Rossetti and W. Holman Hunt took 
 prominent part. Extreme minuteness of detail and elaboration 
 of finish in all the minor accessories of their productions were the 
 leading characteristics they adopted, and Mr. Ruskin was enthu- 
 siastic in laudation and support of the mode in question. 
 
 Shortly after the exhibition of the picture of " Sir Isumbras," a 
 large print, generally reproducing that work, was published anony- 
 mously, the scene representing the passage of a ford, the centre of 
 the composition being occupied by an animal braying vociferously, 
 with " J. R. Oxon" branded on his buttock, his burden consisting 
 of the above-named painters. On the water's edge in the far dis- 
 tance are seen M. Angelo, Titian, and Raphael ; — the first, his arms 
 folded, stands with face averted, whilst Titian and Raphael kneel 
 in front of him, looking towards the animal and his freight, a small 
 scroll proceeding from the younger artist's mouth, with the legend 
 " Orate pro nobis." 
 
 A reduced facsimile is printed opposite. 
 
Francis Seymour Haden. 
 
 347 
 
 J. A. M. WHISTLER, 
 Contemporary Painter and Etcher. 
 
 River Views of London on the Thames, with shipping and 
 boats, the works of James Whistler. Etchings and dry points. 
 With other landscapes, portraits, and genre subjects. 
 
 The series nearly complete, according to the list of them 
 printed by Mr. Thomas, with some early proofs and duplicate 
 impressions of the river views on Japan paper. 
 
 FRANCIS SEYMOUR HADEN, 
 Contemporary Amateur Artist and Etcher. 
 
 Catalogue of the Artisfs Works, privately printed from the 
 Gazette des Beajix Arts, 1867. 
 
 Etudes a L'Eau-FORTE. Notice et descriptions par Philippe Butry. 73> uW-v 
 The series of twenty-five etchings published in Paris and 
 London in 1866, with some trial proofs and several additional 
 etchings. 
 
 A Lady reading. 
 
 Near Romsey on the Test. 
 
 Egham. 1859. 
 
 Greenwich Park. 1859. 
 
 Kensington Gardens. Published by the Etching Club, 1S60. 
 
 Dromore, County Kerry, Ireland. 
 
 A By-road in Tipper ary. i860. 
 
 Kew-SIDE. Before the plate was divided. 
 
 Trial proof, touched upon with black chalk by the artist. 
 
 Meadow at Cranbrook. 1863. 
 
 Penton Hook. ' 
 
 Thames Ditton. 1864. 
 
 A River in Ireland. 1864. 
 
348 The English School of Engraving. 
 
 Horsley's House at Willeslev. 
 
 Horsley's Cottages. 
 
 First state, with white roofs. 
 
 In second state, with roofs in shadow, 1865. 
 
 Marshes orrosiTE Erith. 1865. 
 
 The Turkish Bath, with two figures. 
 
 Breaking up in the Thames of the Agamemnon, Lord 
 Lyon's flagship at Sebastopol. 1870. 
 
 Finished impression. With three ^rial proofs, in different 
 progressive states. 
 
 Calais Pier. After Turner, 1874. 
 First state. 
 
 JAMES CHARLES ROBINSON, 
 
 Contemporary Amateur Artist and Etcher. 
 
 A Series of Etchings of Landscapes published by Messrs. 
 Colnaghi & Co. in 1872. 
 
 With some early proofs and unpublished etchings. 
 
 C. P. AND F. SLOCOMBE, 
 Contemporary Etchers. 
 
 A Selection from the Series of Etchings published by 
 Messrs. Colnaghi & Co. in 1873. 
 
 A Valley Farm, Dwygyplhi, North Wales, 1876. By C. P. 
 Slocombe. 
 
INDEX OF NAMES OF ARTISTS AND ENGRAVERS. 
 
 A., The Master, 222. 
 A.C., The Master, 222. 
 A. I., The Master, 89. 
 Aken, Jan van, 296. 
 
 A. L., The Master, 90. 
 Albert!, Cherubino, 1 1 o. 
 Aldegrever, Heinrich, 201. 
 Allegri, Antonio da Correggio, 122. 
 Altdorfer, Albert, 199. 
 
 Amman, Jost, 221. 
 Anderloni, Pietro, 121. 
 Andrea, Zoan, 20. 
 Andreani, Andrea, 92. 
 Anonymous Engravers : see Engravers. 
 Antonio, Marc : see Raimondi, 37. 
 Audouin, Pierre, 260. 
 Audran, Gerard, 252. 
 Jean, 252. 
 
 B. A.D., The Master, 223. 
 Badalocchio, Sisto, 114. 
 Barbari, Jacopo di, 16. 
 Barocci, Federico, loi. 
 Bartoli, Pietro Santi, 118. 
 Bartolozzi, Francesco^ 323. 
 Bas, Jacques Philippe le, 255. 
 Bassano, Cesare, 31. 
 Beatrizet, Nicolas, 75. 
 Bega, Cornelius, 300. 
 Beham, Barthel, 212. 
 
 ,, Hans Sebald, 205. 
 Bella, Stefano della, 115. 
 Berghem, Nicolaas, 298. 
 Bernard, Le Petit : see Salomon, 244, 
 Bertrand, Noel Francois, 262. 
 Bewick, Thomas, 339. 
 Binck, Jacob, 216. 
 Bisschop, Jan de, 306. 
 
 Blake, William, 341. 
 Bloemaert, Cornelis, 281. 
 Blooteling, Abraham, 303. 
 Blot, Maurice, 258. 
 Bocholt, Franz von, 131, 
 Boissieu, Jean Jacques de, 258. 
 Bolswert, Schelte a, 278. 
 Bonasone, Giulio, 68. 
 Bonavera, Domenico Maria, 119. 
 Books, Early printed : 
 
 English, 309. 
 
 French, 236. 
 
 German, 141. 
 
 Italian, 26. 
 Borgiani, Orazio, 113. 
 Bos, Baltazar, 269. 
 Bosch, Jerome, 180. 
 Bosse, Abraham, 250. 
 Both, Jan, 295. 
 Boucher, Francois, 255. 
 Boucher-Desnoyers : see Desnoyers, 
 261. 
 
 Boulanger, Jean, 250. 
 
 Brauwer, Adrian, 291. 
 
 Brescia, Giovanni Antonio da, 19. 
 
 Briccio, Francesco, 113. 
 
 Broeck, Barbara van den, 277. 
 
 Brosamer, Hans, 216. 
 
 Bruyn, Nicolas de, 277. 
 
 Bry, Johann Theodor de, 276. 
 
 ,, Theodor de, 275. 
 Buonarroti, Michel Angelo, 121. 
 Burkmair, Hans, 175. 
 Burnet, John, 343. 
 
 Caduc^e, Maitre au : see Barbari, 16. 
 Callot, Jacques, 247, 
 Campagnola, Domenico, 12. 
 
350 Index of Names of Artists and Engravers. 
 
 Campagnola, Giulio, ii. 
 
 Cantarini, Simone, ii6. 
 
 Caraglio, Jacopo, 6i. 
 
 Caravaggio, Michel Agnolo Amerigi 
 
 da, III. 
 Carpenter, William, 345. 
 Carpi, Hugo da, 92. 
 Carpioni, Giulio, 116. 
 Carracci, Agostino, 104. 
 
 ,, Annibale, T07. 
 
 ,, Lodovico, 109. 
 Cavalleriis, Giovanni Battista de, 97. 
 C.B., The Master, 89. 
 Cellini, Benvenuto, 3. 
 C.G., The Master, 222. 
 Chapron, Nicolas, 247. 
 Chiaro-oscuro Prints, 91, 
 Claude : see G elide, 248. 
 Cock, Hieronimus, 269. 
 Collaert, Adrian, 274. 
 
 ,, Hans, 274. 
 Cooke, Edward William, 345. 
 Corneille, Michel, 254. 
 Correggio : see AUegri, 122. 
 Cort, Cornehus, 103. 
 Cranach, Lucas, 171. 
 Cruikshank, George, 344. 
 Cuyp, Albert, 291. 
 
 Dalen, Cornelis van, 281. 
 
 Day, John, 310, 316. 
 
 Dei, Matteo di Giovanni, 3. 
 
 Delia Bella : see Bella, 115. 
 
 Denon, Dominique Vivant, 259. 
 
 Dente, Marco, da Ravenna, 58. 
 
 Desnoyers, Auguste Gaspard Louis 
 
 Boucher-, 261. 
 Desrochers, Etienne Johandier, 255. 
 Die, The Master of the, 64. 
 Dord, Gustave, 264. 
 Dorigny, Nicolas, 253. 
 Dujardin, Karel, 304. 
 Duplessi-Bertaux, Jean, 258. 
 Durer, Albert, 147. 
 Dusart, Cornelis, 306. 
 Dyck, Sir Antony van, 279, 
 
 Earlom, Richard, 329. 
 Edelinck, Gerard, 251. 
 Engravers, Anonymous : 
 
 Italian, 86, 90. 
 
 German, 221. 
 Everdingen, Aldert van, 301. 
 
 Facchetti, Pietro, 97. 
 Finiguerra, Maso, 2, 
 Flamen, Albert, 251. 
 Flaxman, John, 326. 
 Fontana, Giovanni Battista, nr. 
 Forster, Frangois, 262. 
 Francia, Francesco, 22. 
 
 ,, Giacomo, 24. 
 Franck, Hans, 191. 
 Franco, Giovanni Battista, 94, 
 
 Galestruzzi, Giovanni Batista, 117. 
 Galle, Theodor, 274. 
 Garavaglia, Giovita, 121. 
 Gellde, Claude, of Lorraine, 248. 
 Gemini, Thomas, 310. 
 G.F., The Master, 221. 
 Ghisi, Adam, 84. 
 
 ,, Diana, 85. 
 
 ,, Giorgio, 81. 
 
 ,, Giovanni Baptista, 83. 
 Gillray, James, 342. 
 Giordano, Luca, 118. 
 Giovannini, Jacopo Maria, 119. 
 Glockenton, Albrecht, 131. 
 Goltzius, Hendrik, 270. 
 Goudt, Heinrich von, 291. 
 Goya, Francisco, 231. 
 Graf, Urse, 179, 
 Grun, Hans Baldung, 170. 
 Gruner, Ludwig, 225. 
 
 Haden, Francis Seymour, 347. 
 Heemskerck, Martin, 269. 
 Hillemacher, Frddcric Desire, 264. 
 Hogarth, William, 319. 
 Holbein, Ambrose, 189. 
 Holbein, Hans, 181, 
 Hollar, Wenceslaus, 317. 
 Hondius, Heinrich, 276. 
 Hopfer, Daniel, 225. 
 
Index of Names of Artists and Engravers. 351 
 
 I.B., Giovanni Battista del Porto, 13. i 
 
 I.E., The Master, 218. 
 
 I.F. : see Franck, Hans, 191. 
 
 I.H.S., The Master, 88. 
 
 I.S., The Master, 222. 
 
 Jardin, Karel du : see Dujardin, 304. 
 
 Kartarus, Marius, 95. 
 Kilian, Lucas, 276. 
 Krug, Ludvvig, 198, 
 
 L., The Master, 13. 
 Ladenspelder, Jean d'Essen, 218. 
 Laer, Peter van, 296. 
 Laulne, Charles Etienne de, 246. 
 Leroux, Jean Marie, 262. 
 Leyden, Lucas Jacobs van, 193. 
 Lievens, Jan, 290. 
 Lochorn, Hans van, 273, 
 Loli, Laurent, 115. 
 Longhi, Giuseppe, 120. 
 Lorch, Melchior, 220. 
 Louis, Aristide, 262. 
 Lucchesi, Michele, 102. 
 Liitzelburger, Hans, 190. 
 Lyne, Richard, 311, 
 
 M., The Master, 61. 
 
 Mafifei, Niccolo Francesco, 100. 
 
 Mantegna, Andrea, 8. 
 
 Maratti, Carlo, 117. 
 
 Marelli, Andreas, 100. 
 
 Martin, John, 338. 
 
 Martinet, Achille Louis, 262. 
 
 Massard, Jean Baptiste Raphael Ur- 
 
 bain, 261. 
 Masson, Antoine, 251. 
 Matsys, Cornelius, 220. 
 Mazzuoli, Francesco, 63. 
 Mecken, Israhel van, 133. 
 Meer, Jan van der, 307. 
 Meissonier, Jean Louis Ernest, 263. 
 Meryon, Charles, 263. 
 Mezzotint Engraving, 328. 
 Michel Angelo : see Buonarroti, 121. 
 Milatz, F. A., 307. 
 
 Moceto, Girolamo, 15. 
 Morghen, Raphael, 120. 
 Morin, Jean, 250. 
 Miiller, Friedrich, 225. 
 Musi, Agostino di, 53. 
 ,, Lorenzo di, 57. 
 
 Na Dat, The Master, 13. 
 Naiwinck, Hendrik, 300. 
 Navette, The Master of the, 132. 
 Nielli, Italian, 2. 
 Noordt, Jan van, 303. 
 N.W., The Master, 223. 
 
 Olmutz, Wenceslaus d', .137. 
 
 O. O. V. L VEN., The Master, 89. 
 
 Ostade, Adrian van, 293. 
 
 Parmigiano : see Mazzuoli, 63. 
 Pencz, George, 213. 
 Po, Pietro del, 116. 
 Podesta, Giovanni Andrea, 117. 
 Poilly, Frangois de, 250. 
 Porto, Del : see LB., 13, 
 Potter, Paul, 302. 
 Procaccini, Camillo, 1 1 1 . 
 
 Raimbach, Abraham, 342. 
 Raimondi, Marc Antonio, 37, 
 Raphael : see Sanzio, 122. 
 Rat-Trap, The Master with the Device 
 
 of : see Na Dat, 13. 
 Ravenna : see Dente, 58. 
 Rembrandt van Ryn, 284. 
 Reni, Guido, 112. 
 
 Retzsch, Friedrich August Moritz, 224. 
 Reverdino, Cesare, 96. 
 Reynolds, Sir Joshua, Portraits after, 
 330. 
 
 Ribera, Josef : see Spagnoletto, 231. 
 Richomme, Joseph Theodore, 260. 
 Robetta, 25. 
 
 Robinson, James Charles, 348. 
 Rota, Martin, 102. 
 Ruina, Caspar, 93. 
 Ruysdael, Jacob, 301. 
 
 / 
 
352 In dex of Names of A rtists and Engravers. 
 
 S., The Master, 223. 
 Sadeler, ^gidius, 274. 
 Saftleven, Herman, 290. 
 Sailliar, Louis, 326. 
 Salamanca, Antonio, 94. 
 Salomon, Bernard, 244. 
 Sandraert, Laurence, 303. 
 Sanuto, Giulio, 96. 
 Sanzio, Raphael d'Urbino, 122. 
 Saraceni, Carlo, 114. 
 Scalberge, Peter, 255. 
 Schaeuflein, Hans, 178. 
 Schongauer, Martin, 127. 
 Sciaminossi, Raphael, 112. 
 Sculptori : see Ghisi, 81. 
 Sericeus, Philippus, 98. 
 Sichem, Christopher van, 277. 
 Slocombe, C. P. and F., 348. 
 Solis, Virgil, 219. 
 Spagnoletto, Josef Ribera Lo, 231. 
 Star, Dirk van, 197. 
 Stoop, Dirk, 295. 
 Stothard, Thomas, 340. 
 Strada, Vespasiano, 114. 
 Strange, Sir Robert, 322. 
 Strutt, Joseph, 325. 
 Swanevelt, Herman, 297. 
 
 Tardieu, Nicolas Henri, 254. 
 
 ,, Pierre Alexander, 260. 
 Teniers, David, 282. 
 Thomassin, Philip, 246. 
 
 Tory, Geofroy, 241. 
 
 Turner, Joseph Mallord William, 332. 
 
 Umbach, Jonas, 224. 
 
 Vaiani, Sebastian, 115. 
 Van Dyck : see Dyck, 279. 
 Velde, Adrian van de, 305. 
 Veneziano : see Musi, 53, 57. 
 V.G., The Master, 135. 
 Vico, ^neas, 78. 
 Visscher, Cornelius, 292. 
 
 ,, Jan, 292. 
 Vliet, Jan Joris van, 290. 
 Vorsterman, Lucas, 281. 
 V.R., The Master, 91. 
 
 Waterloo, Antony, 297. 
 W.C.LE.F., The Master, 224. 
 Wechtlin, Johann de Strasburg, 180. 
 Whistler, J. A. M., 347. 
 Wierix, Jerome, 272. 
 Wille, Johann George, 257. 
 Wolgemut, Michael, 139. 
 Woodcuts, German, 127. 
 
 ,, Italian, 91. 
 Woollett, William, 325. 
 Wyngaerde, Franz van den, 282. 
 
 Zasinger, Mathsus (Zagel), 136. 
 ZwoU : see Navette, The Master of the, 
 132, 
 
Printed by John C, Wilkins. 
 
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