Sculptura Hiftorko-Tecbnica : . . OR, THE £&t^^'~ HISTORY and ART O F ENGRAVING. CONTAINING, i. The Rife and Progrefs of Engraving. II. Of Engraving in general, HI. Of Engraving, Etching, and Scraping on Copper, as now pra&ifed. TV. An Idea of a Fine Collection of Prints. V. The Repertorium ; or, A Collection of various Marks and Cyphers, with Additions. To which is now added, A Chronological and Hiftorical Series of the Painters from the Eleventh Century. Extracted from Baldinucci,Florent le Compte,Fairthorne, the Abecedario Pittorico, and other Authors. With COPPER- PLATES. The Fourth Edition. LONDON: Printed for J. Marks, in St, Martin's Lane. M DCC LXX. T H E PREFACE. TO render a Treatife on any Art or Science acceptable to every Reader, it mould certainly be calculated to inftruct as well as entertain ; and in order to fulfil this Intention, it is ne- ceflary that Ideas fhould be prefent- ed to us in fuch a Manner, as to make a ftrong and lading Impreffion upon our Minds : I flatter myfelf that proper Attention has been paid to both thefe Circumftances in the following Treatife, which has hitherto been re- ceived as an ufeful as well as an agree- able Work. A 2 Every iv The P R E F A C E. Every curious Enquirer muft receive infinite Satisfaction, in tracing the various Improvements of any of the Arts from their primary Sources, and obferving with Care the Difficulties they encoun- ter in their Progrefs towards Perfection : But, his Labour will be confiderably di- minimed, if he mould be affifted in the Profecution of his Enquiries by the In- duftry and Attention of others who have before treated on the Subject j for by this Mean6 much Light will be thrown upon the Point in Queftion, and he will be prevented from falling into thofe Errors which he probably would not have efcaped, had he been left to his own Conjectures. The Antients are generally allowed to have excelled in the Art of Painting ; though very few of their Works have been handed down to us, as it was im- pofiible The PREFACE. v poffible to preferve them from the In- juries of Time and other Accidents : Engraving however, ftepped in with its Affiftance, and eftablifhed a lafting Memorial of its Ufefuinefs, by the Pre- fervation of many beautiful Pieces in Painting, as well as in Sculpture, Ar- chitecture ■ &c. the Originals of which have been deftroyed : Painters and other Artifts therefore, are as much obliged to the Invention as the Public ; for with- out it, many of their moffc capital and valuable Performances would have been loft. It may indeed be objected, that Defigning could have anfwered thefe Purpofes ; but let it be considered,, that Drawings as well as Paintings are generally confined to a few PofTefTorss whereas by the Art of Engraving, a : Number of Impreffions may be taken, from one Plate, without the lead Devi- : $tion of a fmgle Line. [ A 3 The vi The PREFACE. The Reader will be led from the Rife of this Art through its various Stages to that Degree of Perfection which it has acquired in the prefect Age : The Hiftorical Part comes firft j Secondly, the Art in general ; Thirdly, Etching} Fourthly, Metzotinto j and Fifthly, an Idea of a fine Colle&ion of Prints j which part deferves particular attention, as the Gentleman will here have proper Rules to aflift him in the choice and difpofition of his Collection, which, when properly arranged, will afford him a Fund of rational Amufe- ment for his leifure Hours. Sixthly, the Characters, or Marks and Cyphers ufed by Engravers &c. with their ex- planation j Seventhly, the Initials ufed by fome Artifts inflead of Marks or Cyphers, or by the fame at other Times j Eighthly, will be given a Chronological and Hiftorical Series of Painters from the The PREFACE. vii the eleventh Century to the prefent Time ; Ninthly, the Student will be furnifhed with an Alphabetical Index of the Chriftian and Surnames &c. and laftly, with an Alphabetical Lift of the Surnames before the Chriftian Names. This Edition is rendered more com- plete by the infertion of feveral Marks omitted in the former, together with the Chronological Series ; the whole being difpofed in a regular Manner, the fe- veral Parts following each other as the Subject leads, which Method I hope will be moil: agreeable to the Reader. THE WMM THE CONTENTS. Page TH E Hijlory of the Art of Engraving. i Of Engraving in General. — - — — 15 Of the Quality of Copper requifite for Plates. 1 7 Directions for conducing the Strokes^ or Cuts 1 of the Graver. - — — — 3 20 1 — - for Engraving the Hair of Men 1 and Beq/ls, and the Beard. — 5 21 > Sculpture. — — — 22 • Stuff's. — — — 23 • Architetlure. — — — 24 ! Landfkips. — — — 25 ; Strokes or Cuts of the Graver. 26 — Water. — — — 2 J • Cljuds. — — — 28 Preferving an Equality and \ Harmony in the Work. — — j 2 9 The Art of Engraving with Aqua Fortis, and \ to make the hard Varnifh. — — 3 47 To make theCompofition of Tallow andOil> to 7 cover thofe Places in the Plate^ where you r 48 would not have the Aqua Fortis eat in- J To x The C O N T E N T S. Page To prepare the Ingredients for making the \ Aqua Fortis/i?r the hard Varnijh. — J ^9 To make the Aqua Fortis. — — To know good Copper from bad. — - — To planijh and polijh the Plate. — — — To apply the hard Varnijh, and make it black. To dry and harden the hard Varnijh on the Plate. To choofe the Needles to make the Tools to etch 7 with. Plate 3. — — — J To whet the Points of the Needles. ■ — — To preferve the Varnijh on the Plate. — — TdEtch. — _ — To guide 'the Needles on the Plate. — — To ufe the Oval- Points, to make large Strokes 1 in etching or graving tv/MAqua Fortis. r Plate 5. — — — J To prepare the Plate for receiving the 7 Aqua Fortis. — — — — J To make a Trough and Frame to hold the Plate 1 when you would pour the Aqua Fortis V on it. — — — J The Manner of cafling the Aqua Fortis on " the Plate, and to cover the Places that are faintefl, and mofl remote from the Eye, with the fore-mentionedMixture, as Occajion requires. — — — — - ' To take the G round or Varnijl) from the Plate, 7 after the Aqua Fortis has done its f 79 Operation. — — — — Of foft Varnijli. To make it, and its Ufes. — - 82 The Manner of laying the foft Ground, or\ o V Qi ni/h. nn the Plate. — — — J V ai nijh, on the Plate, order the Pla Aqua Fortis To border the Plate that it may contain the | 88 The yarnijh. 95 at in by ~| re-grave ( /• fhould be f 90 The C O N T E N T S. xi Page The Manner to lay a white Ground on the ? hard or f oft Varnijh. — — ) 9 2 Another Way to lay a White on the Varnijh. 95 The Manner after the Plates are eat in by ~~ the Aqua Fortis, to touchy or re- that which had been forgot or Jho mended. — — — The fever al Ways of Drawing the Defign \ on th? Plate. — — — 5 99 The Forms of G raving-Tools, and the Manner } of whetting the Graver. Plate 9. 3 The Manner of holding the Graver, with l other Particulars. — — — j The Manner of governing the Hand, &c. 106 Of Mezzotinto, called Scraping orBurniJhing 1 on Copper. — — — — 3 I0 9 An Idea of a fine Colle5lion of Prints. 110 Repertoriutn^ or Marks and Cyphers ofl Engravers and Painters, &c. — — 3 l ^ The Initials ufed by Engravers, for their X Marks. — — — — —3 x 79 A Chronological and Hiflorical Series of the 1 mofl eminent Painters from the Eleventh r 192 Century, &c. — — — - — 3 An Alphabetical Index of the Chrijlian Names ~) and Surnames of the Painters and En- I ^ gravers, with their Places of Abode, and f when they flourifhed, &c. — — <- J An Alphabetical Lifl of the Surnames, before ~i the Chriflian Names, of Painters, En- > 250 gravers and Sculptors. — • ~ — J THE THE H I S T O R Y O F T H E Art of Engraving. OF all the Arts which are defcended from De/igning, none, except Ar- chitecture, Painting, and Sculp- ture, has given fo much Pleafure, or has been of more Ufe, to all Lovers and Pro- felibrs of the Liberal Sciences, than that of Engraving •, whether on Copper, or Wood : for, by this Means, all the cele- brated Performances and Inventions of the moft eminent Mafters, are exceedingly well imitated, and reduced to fo fmall a Size, •as to be communicable to the whole tWorld. 'Tis by the Affiftance of this •Art, thofe who have never crofied the Seas, are acquainted with the magnificent Struc- tures, beautiful Statues, inimitable Paint- ings, &c> with which the Cities, Churches and Palaces of other Countries, and parti- cularly Italy, are adorned : Which is a lingular Pleafure to the Lovers of thofe Arcs, and of no lefs Ufe to thofe who B , profefs 2 The History of the profefs them ; for, as it is an evident Truth, that we have no Ideas but what arife from Senfation, fo confequently the readieft Way to form them, is by con- templating the noble Works of others. This Art, which by the beft Authors is placed among the fxovox^^lo'., was acci- dentally difcovered in the fourteenth Cen- tury, by one Mafo Fmiguerra, an inge- nious Goldfmith and Sculptor of Florence-, who was famous not only tor defigning •and embofilng Figures on Gold and other Metals, but alfo for engraving, and after- wards inlaying them with Metals of other Colours ; which he did in the following Manner. Having defigned and engraved his Figures, he ufed, before he inlayed them, to fill the Engraving with Earth, and cad melted Sulphur on it, which gave it a Sort of an Olive Colour •, after which., preffing a Piece of damp Paper on it, with a fmooth wooden Roller, the En- graving on the Metal remained imprinted on the Paper, juft as if it had been de- figned with a Pen. Baccio Baldini, ano- ther Gold and Silver-Smith of the fame City, began to do the fame; but as he underftood very little of Deligning him- felf, he employed Sandro Botticelli to aflift -him in moft of his Performances : Some of which being feen by Antonio Ad Pol* Art of En graving. g iaiohy a celebrated Defigner of the fame City alfo, who had ftudied Anatomy to learn the Situation and Action of the Muf- cles of the human Body; he engraved fome of his own Defigns on Copper, and amongft the reft a fine Keprefentation of a Battle. This new Manner of Defigning began now to be the Subject of Converfation, and Andrew Mantegna, who was then at Rome, having feen fome of thefe Prints, was fo exceedingly pleafed with them, that he apr plied himfeit with the greateft Diligence to engraving his Triumphs -, which being pro- bably the firft Prints that appeared in Pub- lick, met with univerfal Applaufe, and ob- tained him great Part of that Glory, which was due to the firft Inventors of this Art, becaufe he, by great Study and Applica- tion, brought it to a tolerable Degree of Perfection. But if Mantegna, after what he did, had boafted that he had perfected this Art his Vanity would have deferved as juftly to be laughed at, as old PaUmcn's Tears, who lamented bitterly, believing the World by his Death would lofe the Ufe of Letters : For whoever rightly con- fiders, will fee very clearly, that this fine Art of Engraving, firft with the Graver, and afterwards with Aqua Fortis, in the Courfe of about 280 Years, fince Man- tegna's Death, has made fuch Progrefs, B 2 and 4 :< The History of the and is arrived at fuch Perfection, that it is not only, a« I have faid, of great Ufe to the Profeffors of Architecture, Painting, Sculpture, &c. by communicating to them the noble Inventions of others ; but to all Mankind in general, by acquainting them with whatever is worthy of Obfervation, even in the mod diftant Parts of the Globe. However, we muft do this Juftice to Man- tegnas Memory, to acknowledge, that what he did., excited others, after his Ex- ample, to apply themfelves to this Art 5 iince in 1490, Germany produced // Te- ■defcoy and Ifrael Martin, who firft (hewed an uncommon Diligence in their Works, and gave this Art to the renowned Albert Durer, their Difciple, Lucas of Leyderu, Aldegraue^ and others, who afterwards be- came much abler Artifts than their Mailers. And indeed, to lay the Truth, from this Time, the Graver would have begun to rival the Pencil, had not their Prints, imi- tating the Drynefs of the Paintings of thofe Countries, which want much of the Mel- lozvnefs and Delicacy of the Italian, been! lefs beautiful than they would otherwife. have been which was not a little aug- mented by the Variety of Invention, dir-j ferent Air of the Heads, and particular fiew Manner of cloathing Figures, intro-: duced into xhe Arx of Painting by the emi- •nentj Art of ' Engraving. 5 j nent Italian Matters, among which are I reckoned Baccbiacca r James of Pantormo,. land laftly, Andrew del Sarto, all Florentines, who were continually adding fomething new and graceful to their Works. In the fifteenth Century, and Time of Raphael, Italy produced the celebrated Mark Antonio Raimondi, to whom this Arc is very much indebted, as he was the fnfV who began to reduce it to fo fine a Man- ner, that even Raphael himfdf was fo much pleafed with it, as to defire him not only to engrave many of his beft Paintings, but alio a great Number of his Defigns and fine Inventions, which 'till then had never been feen in Rome, or ellcwhere. His Difciples and Imitators -were Auguftin of .Venice, Sylvtjier and Mark of Ravenna, who, between the Years 1535 and 1560, engraved almoft all Raphael's Paintings, Defigns, and Inventions; as alio thofe of Julio Romano, his favourite Difcipie, from his and Raphael's own Defigns. We nave of Augujliris Engraving, the fine Print of Anatomy, the Slaughter of the Inno- cents, and naked Men, who are torment- ing the Martyr Saint Laurence with Fire; all done from the beautiful Defigns of Baccio Bandinelli, a famous Sculptor of Florence : The laft Piece of which had the Reputation of exceeding the original De- , B 3 %n. 6 The History of the fign. John James Cor aglio, of Verona, alfo imitated Raimondi, and engraved mod of Rojfo's Works, with many Defigns of Pe~\ rin del Fag a, Parmigianino, and Titian, After thefe, Lamb er to Suave applied him- felf diligently to engraving, as may be feen by his thirteen Prints of our bleffcd Saviour/ and his twelve Apoftles ; the fine Piece of Saint Paul fitting and writing,, and the Story of the Refurrection of Lazarus. John Baptijla, of Mantua, a Difciple of Julio Romano, befides many Prints of Por- traits, with a Sort of antique Crefts, pub- lished two fine Pieces of the Burning of Troy. '1 here was alfo yEneas Vico, of Parma, who engraved the Works and De- figns of Rojfo, Bandinelli, and Sahiatiy with many Books of ancient Medals, re- presenting the Effigies of the Emperors, and their Wives, with their Reverfes ; and alfo the Genealogical Tables of the Emperors* and of the Family of EJie. Julio Bonafone engraved the Inventions of Raphael, Julio Romano, Parmigianino, and others •, and Baptijla Franco publifhed many Prints of other Mailers; and Girolamo Cock, a Fle- ming, engraved the fine Works of Martin Hemskirk, his own Inventions, and thofe of many other Matters, which it would be tedious to mention. And Art of En graving. 7 And as it is the particular Property of the human Underftanding to be always in- venting fomething, and as- every Body has an innate Defire to furpafs the reft of Man- kind by fome peculiar Excellency ; it was- not long before Hugo - of Carpi, a Painter of no great Renown in other Refpects, be- gan to publifh wooden Plates of two diffe- rent Impreflions ; the firft of which fhew- ed the Shade, jufi: as Copper Plates do ;. and the fecond,, the Light-, for the Wood being cut away very deep, left the White of the Paper, wherever there was Occafion of Light ; fo that the Prints appeared as if they had been illuminated with Spanijh White. He afterwards invented another Manner of Engraving, by which he made his Prints of three Impreflions; that is to lay, of the deepejt Shade, the lighteji, and of a middling one r making the Lights ap- pear in the White of the Leaf. He en- graved many of Raphael's Works alter this Manner, and was the Occafion, that Bal- thazar Peruzzi, Francis Parmigiano, An- thony of Trent, John Nicholas of Vicenza* and Dominico Beccafumi, afterwards engra- ved many more of them in the fame Man- ner, which fucceeded fo well, as to pleafe the Lovers of this fine Art very much, and alio be of great Ufe to them; but thofe B 4 moft 8 "The History of the moft of alJ, that came from the Hand of Beccafumi. Cornelius Cort, a Fleming, fucceeded thefe, and engraved the Landfkips, and other fine Works of Girolamo Mutiano, Frederick and T addeo Zucchero, Frederick Barrocio, Marcellus Venufto of Mantua, Ca- ravagqio, and the inimitable Picture of the Transfiguration, by Raphael. There was a-ifo Anthony Tempefta, who etched many Pieces of Battles, Huntings, and all Sorts of Animals, as I fhall obferve in his Life ; Martin Rota, who engraved the ce- lebrated laft Judgment of Michael Angelo, in two Plates, one of a greater, and the other of a leffer Size, and feveral others from the Works of Raphael and Frederico Cherubmo Alberti, who did many of Folu doro's Inventions ; and the never enough to be commended Augujlin Caracci, whofe mo ft beautiful Prints are fo well known to the Lovers of this Art, who were all eminent Mafters. Villamena of Affifi, alfo a free, eafy Engraver, and good Defigner, pub- 1 i flicd his Labours, amongft which, the fine Print, of the Prefentation of our Sa- viour in the Temple, from the famous Pic- ture of Paul Veronefe, is very much efteem- ed. in the Time of the Emperor Rodolph, John and Raphael Sadalaer, fiouriflied in Germany, Art of En g r a v i n g. 9 Germany ', and gave great Proofs of their Abilities by the many fine Plates which they publiflieci of the Works and Inven- tions of Martin de Vos, Bajfan, Titian, Jo- seph of Arpino, and other Matters. Their School produced Egidius Sadalaer, their Nephew, who was univerfally allowed to be the beft Engraver of his Age, and led the Way to that fine Manner, which was copied by the beft Mailers of the fucceed- ing one. There was alfo Raphael Guidi, a Tufcan, who engraved many fine Plates from the Works of Jofepb of Arpino ; Har~ man Muler, a very bold and free Engraver ; and the ingenious Henry Goltius, a Hollan- der, who had the Talent of imitating the Stile of many preceding Matters j Philip Tomafmi, who engraved at Rome the Fall of Lucifer, the laft Judgment, the Difpute of our Saviour with the Doctors in the Tem- ple, and the School of Athens, by Raphael, with many Inventions of other Matters ; Matthew Greuter, a Native of Strajburg, who, befides engraving many Plates of his own Invention, retouched fome of Tem- pefta's Plates of Hunting Pieces, and fome of other Engravers ; and Theodore Crager, whofe fine Plate of the laft Supper, from a famous Painting in Frefco, by Andrew del Sarto, is preferved in the Grand Duke of B 5 Tnfcany's lo The History of the Tufcany's Wardrobe. We cannot behold without Aftonifhment, the beautiful Prints of Saenredam, and of the celebrated Swan- burg, who engraved the Defigns of Rubens- and Bloemaert, with extraordinary Delicacy. The next, who became eminent, were James Callot, who, for fmall Figures, ex- celled all his Predeceflbrs in this Art ; and the renowned Stephen della Bella, a Floren- tine. Peter Tempefta, a. good Painter, etch- ed about the fame Time his fine Inven- tions j and Salvator Rofa, a Neapolitan, and celebrated Landfkip Painter, publilhed many of his comical Conceits; in which the Trees and Herbage are touched with furprizing Freedom and after him, that excellent Painter, and worthy Prieft, Peter Aquila, who etched the admirable antique Statues, and beautiful Paintings of Hanni- bal Caracci, in the Gallery of the Farnefe Palace ; and alfo the fine Works of Lan- franco in the Villa Borghefe thofe of Peter of Cortona, in the Sachet ti Palace •, and lome of Ciro Ferris; with 'the noble In- ventions of Carlo Maratti, and fome of his own. Some time after this, France boafled of her Melan, who invented a Sort of Engra- ving, by which he gave his Figures both Light and Sbade^ with fingie Strokes only, without Art c/' Engraving, rr without ever crofting them : He was alfo a Painter, and engraved chiefly his own Works. There was alfo Mr. Lane, who- engraved Hiftory and Portraits almoft after Fillamena's Manner ; and M. Roujfellety who engraved jthe Labours of Hercules from Guido Rent for the French King's Cabinet*, in a very beautiful and expreflive Stile, pe- culiar to himfelf M. Anthony Bos, who both etched and engraved in a Stile of his own,, did not fucceed fo well ; we have of his Engraving the Figures in all the Books of M . Defargue's Works, who was a Ma- thematician, Geometrician,, and Profeffor of Perfpective in the Academy at Paris y . and in a printed Volume of his Lectures. In the Time of Bos,- the famous Nanteuil began to engrave Portraits in a moft beau^ tiful Manner of his own Invention; and Francis Poilly made himfelf eminent by en- graving with great Sweetnefs an infinite Number of. Pieces of Devotion, from the Works of Raphatl, Caracci, Guido Reni, and others ; whilft Cornelius Bloemaert gain-r ed great Reputation at Rome, by engraving many of the Works of Peter of Qortona^, and other Mafters, in the moft foft and de- licate Stile, that was, perhaps, ever feen 'till his Timei and excited that celebrated; Engraver, Francis Spierre, to appiy himielf B6 to< 1 2 The History of the to imitate his fine Manner in the beautiful Prints which he publifhed •, the Out-lines of which are exceedingly fine, but the En- graving is not fo foft and delicate as Bloe- maert's. M. Rulet afterwards engraved at Rome many beautiful Prints, with the Aflif- tance of Ciro Ferri, from his Defigns, and was followed by M. Bodet, who engraved in the fame Stile, at Paris, lor the King's Cabinet, the four Pictures of Albano, which are in the Falconieri Palace at Rotne. There was alfo M. Vanfculp, who did many Hif- tory Pieces and Portraits with great Sweet- nefs and M. Maffon, who, with Mignard's AfTiftance, engraved the Portrait of the Count of Harccurt from one of his Paint- ings. After this, Madam Claudia Stella etched at Paris many very fine Prints, by which me not only acquired great Renown, but almoft put the Male Sex to Shame y and, among others, this ingenious Lady did a beautiful one of Mount Calvary, from a celebrated Painting of the famous Pouffin, which fhe preferved with more Care than her choiceft Jewels. Laftly, M. Edelink, a Fleming, with the AfTiftance of M. Charles k Brun, firft Painter of Louis the XIV. en- graved his Works in a Stile fomething dif- ferent from that which M. Rouffellet prac- tifed at Rome, but more bold, expreffive, Art of Engraving. 13 and harmonious : We have alfo of his En- graving, the Family of Darius, a Print very much efteemed in the World, and a Ma- donna, from a Painting of Raphael, which is preferved in the French King's Cabinet of Pictures. I have here given you an Epitome of the ufeful Art of Engraving, from its firft Dif- covery at Florence, 'till through a Series of many Years, it was gradually brought to a State of Perfection by the fuccefiive united Labours of the great Matters I have enu- merated-, as any ingenious Lover of this Art may eafily perceive, by examining and comparing their Works : And therefore, though moft Countries in Europe have pro- duced many eminent Men of this Profeffion, fince the Time of Edelink, mall, to avoid Prolixity, omit them, becaufe few of the Curious can be unacquainted with their Per- formances, which have introduced into the World a noble Emulation between the Graver and the Pencil, inafmuch as the Ex- cellencies, Requifites and Prerogatives of thefe fine Arts, are nearly the lame, that is to fay, Defign, Relief, Exprefiion of the Paflions, Multiplicity of the Objects, near and diftant Prolpects of the Country and Buildings, Delicacy of the Out-lines, and, I might almoft fay, Colouring itfelf. This, I believe, i?4; The History qf y &c. I believe, will evidently appear to all, who attentively examine and reflect on the Works, which thefe Matters have publiftied, hav- ing a due Regard to the Time and Place they lived in, from the Beginning of this Art, to its Perfection, by their united En- deavours, to the common Advantage of all Mankind. in General. Of Engraving f« General.. MY Intention, in treating of this no- ble and ufeful Art, is not fo much to inftruct the Mafters of this Profeflion, as r to inform the Lovers of it, what are the Sentiments of the moft eminent Engravers- of the Academy at Paris, with regard to it, and endeavour to infpire the Publick with a Love for it, by giving them fome fhort, eafy and ufeful Directions, how to judge with Certainty of Performances In this Art. The Principles, on which this Art is- founded, are the fame as thole of Painting, viz. Defign, which m Engraver ought to- be a perfect Mafter of, becaufe, without it, he will never be able to imitate a Pic- ture, or Defign-, with any tolerable Degree of Perfection ; they may indeed be finely engraved, but will want both the Juftnefs^ of the Out-lines, and- beautiful Expreffion of the Originals. I mail pafs over in Silence the Manner- in which an Engraver ought to defign, be- caufe it mould be the fame in which a Painter does, and only obferve, that he- mould diligently apply himfelf to defign Hands and Feet from the antique Statues, Nature,. 16 O/Engraving Nature, 5 and the Paintings of the belt Maf- ters, and that he ought particularly to ftudy the Prints of Augufiin Caracci and Villa- mena, who have defigned thole Extremi- ties with great Eafe and Perfection : This I fay, that the Engraver may acquire a Fa- cility of doing them with a good Gout, and be able to correct Errors, when he engraves from the Works of Painters or Defigners, who were not perfect in this Branch of their Profeflion. But when he is to copy the Paintings of eminent Matters, then he ought entirely to lay afide any particular Manner of Defign- ing he has acquired, and conform himfelf to that of the Works he would imitate, in order to preferve that Character, which dif- tinguimes the Stile of one Mafter from ano- ther-, and to this End, he mould defign from the Paintings of Raphael, Caracci, Dominichino, Poujftn, and others > and if he has only an Opportunity of feeing them, and not Time to copy them, he mould re- mark all their particular Beauties, and their different Manners of forming the Out-lines of their Figures. It is very neceflary alfo, that an En- graver mould understand Perfpetlive and Architecture. Perfpeclive, by the Degradations of Jlrong and faint y enables him with Eafe to throw backwards /« General. 17 backwards the Figures and other Objects of the Picture, or Defign, he would imitate ; and Architecture^ to preferve the due Pro- portion of its feveral Orders, which good .Painters very often do not give themfclves the Trouble of doing in their Defigns, which are only done by the Glance of the Eye, and commonly left to the Difcretion of the Engraver. Of the Quality of Copper requifite for Plates. TH E Red is the beft, and moft fre- quently made Ufe of, becaufe it is the toughejl, and adheres moft to the Gra- ver ; many deceive themfelves, when they heat it to foften it; on the contrary, 'tis better it mould be a little hard, provided it is not brittle: To prevent which, they need only give Directions to thole, who prepare the Plates, to hammer them a little cold, and take Care, that they are made perfe&ly fmooth, without Cavities or Flaws, and of equal Strength throughout. Before the Engraver begins to trace any Thing on them, although they appear very well polifhed, it will not be improper to take a Burnillier, and rub them well with it, in order to clear them of what the Stone and Fire may have left, which frequently renders rS Of Engraving" renders the Bottom of the Engraving foul and tarnifhed. As to the Gravers, all Ar- tifts know, that they ought to be made of the bell and pureft Steel, without any, Mixture of Iron, , and well tempered ; their Form 'tis needlcfs to fpeak of, be- eaufe moft Engravers chufe them according to their Fancy; however, thofe are belt, that are of a moderate Length, almoft? fquare, and fmajler at the Point, but Care rouft be taken that they be not too thia, that they may be able to refill the Work r without bending or breaking : and the En- graver ought to take particular Care, thac his Inftrument is very fharp, and a little turned up at the Point, that he may the more eafily difengage it from the Plate j and never engrave any Thing with a blunt Inftrument, if he defires his Work mould be neat and fine, for if he does,, it will ap- pear as if it was only fcratched. There are fome who fhew great Facility in their Engraving, others great Labour ; and fome who affect, in croffing their Strokes, to form acute Angles, others* perfect Squares. Thofe, who have the Facility I fpeak of, are Goltzius, Muler, Lucas, Kilian, and fome others-, whofe principal View in many ©f their Performances feems to have been to fhew the World, by the winding Cuts in Ge neral K) of their Gravers, that they were Matters of them ; without giving themfelves any Con- cern about the Jullnefs of the Out-lines* she Exprelfion, or the Effects of the Eight and Shade, that were iathe Picture or De- Cgn they would reprefent. The. Manner of Engraving, which ap- pears to me to be done with great Labour, is that which has an infinite Number of Strokes and Points,, confounded together without any Order, which make it look more like a Defign than Engraving. An Engraver mould never, in croffing, the firft Strokes with the fecond, make very acute Angles, particularly in repre* fenfing Flefe; beeaufe it forms a. very dis- agreeable Piece of ^aby-like Lattice-fVorky which deprives the Eye of that agreeable Repofe, with which it defires to view all Sorts of Objects. The Squares made by croffing the Strokes fliould never have very acute An- gles, except in the Reprefentation of fome Clouds, in Tempefts, and the Waves of the Sea, as alfo in reprefenting the Skins of hairy Animals, and the Leaves of Trees. The Medium, between Square and A- eute, feems to me the beft and moft agree- able to the Eye j as 'tis alfo the moft diffi- cult to do, beeaufe the Irregularity of the Strokes is moft perceptible : However,, 20 Of Engraving they muft not be quite Square, becaufe that refembles Stone too much. Directions for conducing the Strokes or Cuts of the Graver. FIRST, the Engraver mould obferve the Action of the Figures,, and of all their Parts, with their Out-lines ; remark how they advance towards, or recede from his Sight, and conduct his Graver accord- ing to the Rifings or Cavities of the Muf- cles, or Folds, widening the Strokes in the Lights, and contracting them in the Shades, as alfo at the Extremity of the Out-lines, to which he ought to conduct the Cuts of his Graver, that the Figures or Objects reprefented may not appear as if they were gnawn; and lightning his Hand, that the Out-lines may be perfectly formed without feeming ftifF or cut*. And although he- break off his Strokes at the Place where a Mufcle begins, either out of Neceffity to form it, or to give it greater Expreffion j yet they ought always to have a certain Connection with each other, fo that the firft Stroke mould often ferve to make the fecond j becaufe this mews a Freedom of the Graver, and all Engraving is more or lefs beautiful, in Proportion as it feems * The ingenious RouJJellet excelled in this Refpect. free in General. 21 free and eafy. He ought, however, to take Care, that they always flow freely and na- turally, and avoid all odd fantaftical Wind- ings, which proceed rather from Caprice than Necefiity ; and yet not run into the contrary Extreme, and like many young Artifts, who, when they have a Mind to engrave finely, make none but ftrait Strokes, becaufe 'tis eafier to do fo, than conduct the Graver with Judgment, according to the various Rifings and Cavities of the Mufcles, which they do not well under- ftand, becaufe they are ignorant of Ana- tomy and Defign. Directions for engraving the Hair cf Men and Beasts, and the Beard. T H E Engraver mould begin thefe by making the Out-lines of the princi- pal Locks, and afterwards (ketch out the principal Shades, omitting the great Lights, becaufe they may be covered at Pleafure, as he finifhes them, to the very Extremi- ties. They mould be Iketched out, , as it were, in a carelefs Manner, that is to fay, with a few carelefs, free, and at the fame Time, unequal Strokes, to have Room as he finilhes them, to throw into the void Spaces, which proceed from thefe Inequa- lities, lbme finer and thinner Strokes. When 2 2 0/"Engraving When Hair is engraved in this Manner, it appears much more free and natural, than when done otherwife 5 and indeed, it Should be expreffed, as far as poMible, par- ticularly when the Figures are not very Jarge, by fing-le Strokes only; for which Reafon the Engraver mould not attempt to throw in any Strokes, when 'tis well ex- preffed without them ; and if he does flip in any on the fhady Side, to mix and unite it the better with the Flefli, they •muft be exceedingly fmall and fine. For Sculpture, IF he has a Mind to reprefent Sculpture, he mould never make his Work very dark, becaufe, as Statues, &c. are com- >monly made of white Marble, or Stone ; •the Colour reflecting on all Sides does not produce fuch dark Shades as other Mat- ters do. Neither fhould he make Balls in the Eyes of his Figures, as if he had copied a Painting *, or the Hair of the Head and Beard, as it is naturally, which fhews us fome Hairs detached from the reft, and flying in the Air ; for it would be repre- senting Things contrary to Truth, becaufe Sculpture cannot do this. F&r in General. 23 For Stuffs. LInnen fhould be engraved Hner and thicker than other Stuffs, it may be with one fingle Stroke, and if they do ufe two, it maft be only in fome fmall Places, and the Shades ; to give it a Samenefs, and prevent that Harfhnefs it would otherwife have, when oppofed to, or layed on Dra- pery and other darker Bodies, which are croffed with many Strokes. If it is white Cloth, it fhould be engraved with Strokes, Jarge or fmall, proportionable to the. Fine- nefs or Coarfenefs of the Stuff reprefented, but with two Strokes only. It may be ob- jected, there are Inftances where 'tis en- graved with threes to which I anfwer, thofe who have done To, fought to be ex- peditious, and that if the Diverfity of Stuffs can be jeprefented by Engraving, it makes the Piece more agreable, but then the La- bour is much greater, and more fatiguing. It ought to be obferved, that on all Occa- ilons, when there is a Neceffity of croffmg the Strokes, the fecond mould be finer than the firft, and the third than the fecond ; becaufe it makes the Work more foft aud mellow. Stuffs 24 Of Engraving Stuffs that have a Luftre ought to be engraved with ftronger and ftraiter Strokes than others ; becaufe, as they are com- monly of Silk, they produce flat and broken Folds, particularly if it is Sattin,' which is ftiff on Account of its Gum : Thefe being expreffed by one or two Sttokes, according to the Lightnefs or Darknefs of their Co- lours, mould have finer ones between them. Velvet and Pluflj are expreffed in the fame Manner, by fine Strokes between others, only with this Difference; the firft Strokes ought to be much ftronger than for Stuffs, and the finer ones between them, Ihould hold the fame Proportion to them, as thofe in Stuffs have. Metals^ as Veffels of Gold and Copper, or Armour of poliftYd Steel, are to be en- graved in the fame Manner, with fine Strokes between ftrong ones •, it is the Op- pofition of Light to Shade, that caufes the Luftre. For Architecture. PErfpective mews us, that the Strokes which form receding Objects, tend to the Point of View, if a Piece to be en- graved contain any entire Columns, it will be proper to reprefent them, as far as can poflibly in General. 2$ poffibly be done, by perpendicular Lines * becaufe in crofiing them according to their Round nefs, thofe Strokes which are near their Capitals, being oppofed to thofe which are near their Bafis, produce an Effect very difagreeable to the Sight, unlefs they are fuppofed to be at a very great Diftance, which renders the Objects almoft parallel. For Landskips. THOSE, who practife Etching, may- form the Out-lines by it, particular- ly of the Leaves of Trees-, this is fome*- thing more expeditious than Engraving, ,and does as well, provided it be done with Difcretion, and not too ftrong, and that Care be taken in fmifliing it with the Gra- ver, that the Etching be not perceptible, becaufe it has not the Softnefs of Engraving. I think an Engraver cannot do better than conform himfelf to Augufiin Caracci's Man- ner, who etched exceedingly well, but may finilh higher, as Occafion requires s Villa- mena alfo, and John Sadalaer, etched very well, as likewife Cornelius Cort, who did fome Pieces from Mutian, which are very fine, and may ferve as Guides to him. C For 26 Of Engraving For ^ Strokes or Cuts of the Grave r. IN the Reprefentation of Objects that are jltep, the firft Strokes mould be frequently interrupted and broken off; the fecond ftrait, cutting the others with acute Angles, and accompanied with ibme long .Points. If Rocks are reprefented, the le- cond Strokes mould not form the Angles ^fo acute, as for other Things ; becaufe Flints and Pebbles commonly mine more •than other Matters. The Objeds receding towards the Ho- rizon ought .to be touched very lightly, .and charged with very little Shade, though the Mafs mould appear dark, as it may .happen from Tome Shades, .fuppofed to .proceed from Clouds intercepting the Rays of the Sun.; inafmuch as thefe Shades, however ftrong they may appear, are al- ways faint, compared to thofe which are on the Figures and other Bodies in the Fore-part of the Piece, on Account of the iDiftance and Air that intervenes .between •the Objects. !For in General. 27 For Water. AL L Waters are either calm, or agi- tated with Waves like the Sea •, or oy Cafcades and rapid Currents, like Rivers, As for the calm, they are reprefented by ftrait Strokes, running parallel with the Horizon, with finer ones between them, which are to be omitted in fome Places, to make that mining Reflection which pro- ceeds from the Water. By the fame fecond Strokes alfo, made more or lefs ftrong, ac- cording as the Nature of Things requires ; and fometimes by perpendicular ones, the Forms of Objects, either reflected on the Surface of the Water, or advanced at a Diftance on its Banks, are reprefented : ob- ferving that they are to be reprefented jlrongly or faintly, in Proportion as they approach to, or recede from the Fore-part of the Piece •, and if Trees are to be repre- fented, it mould be with Out-lines, parti- cularly if they are in the Fore-part of the Piece, and the Water clear, becaufe they are naturally fo reprefented by the Reflec- tion of the Water. Thofe which are agitated, as are the Waves of the Sea, are reprefented by Strokes, bending according to the Agita- C 2 tios, * s8 Of Engraving ition of the Water, with finer ones between them, cutting them with very acute An- gles. Laftly, thofe which fall with Rapidity from Rocks or Precipices, are to be ex- .preifed by firft Strokes, according to the Nature of the Fall, with finer ones be- tween them, leaving the Lights formed by the Light or Beams of the Sun, falling di- rectly on them, very bright, and the more 4b, as they approach the Fore^part of the Piece. For Clouds. WHEN the Clouds appear thick and agitated, the Graver ought to be turned about, according to their Form and Agitation, and if they produce any dark Shades, which require double Strokes, the fecond mould cut the firft with more acute Angles than in Figures, becaufe it gives a certain Tranfparency very proper for thofe Bodies, which are only Vapours ; but then the firft Strokes ought to be ftronger than the lecond. Flat Clouds, lofing themfelves infenfi- 'bly with the Sky, muft be formed by Stroke* parallel with the Horizon, waved a little, according as they appear more or Ids thick j and if it be necefiary to ufe fe- cond in General. 29 cond Strokes, they fhould cut the firft with rather acuter Angles than in the for- mer, and the Extremities of them fhould' be done with fo light a Hand, as not to form any Out-line. The calm^ ferene Sky mould be expreflfed by parallel Strokes, very {trait, without any Winding. For preferring an Eqjfality and Harmony in the Work. THE principal Objects of a Piece fhould be wholly iketched out, be- fore any Parts of them are finifhed •, as for Example, if 'tis an historical Piece, con- taining Groupes of Figures, two or three of the principal ones fhould be fo perfectly defigned, that their Exprefiion mould be as vifible as if they were only intended for Sketches : For if the Engraver waits to per- fect the Defigning as he finifhes them, he will frequently miltake-, and fometimes not be able to recover himfelf, without defa- cing the whole, and beginning again, which many will not do, for Fear of fpoiling the Neatnefs of their Engraving, in which they have exerted their utmoft Abilities, think- ing the whole Merit of an Engraver confifts in that $ which is the Reafon one fees Abun- dance of Plates finely engraved, but with- C 3 out 30 Of E n grAv i n. g out Expreflion. If any one obje<5ls;to :;tt:oivJ:j.-: ,i ; 9$ ib.iy oj^fgym u>, i.t recent Hit If we examine the- Works of eminent Mafters, we mall find they are not dark* unlefs they are become fo through Length of Time j they have perfectly imitated Nature, which is not fo, particularly ia Flefh, except in Night Pieces* where trie Objects are reprefented enlightened by Tor?- ches or Lamps. Small Works require finer Engraving than large ones, and in crofiing, the Strokes mould form more acute Angles, that the Engraving may not appear (tiff and dry, notwithstanding the Figures are fmali If the Work requires to be highly finiflieda in General. gr it ought not for that Reafon to be over la- boured, but engraved fo artfully, as to ap- pear done with Eafe and Expedition, al- though it>has coft great Labour and Pains. Large Works,. I mean when the Figures- and Objects are large and bold, require ftrong, firm* and bold Strokes,, and con- tinued as much as can be; that is to fay> never broken off, but when the Mufeles or Folds abfolutely demand it : and the En- graver, as I have- faid before,, in thefe, as well as frnaU Works-, ought to endeavour- ro perfuade the Spectator,, that they were done with Facility and lirste Labour. If is is necc£kry w cr&Sk t^c Sirckcs (at-. it oftcn^is, particularly in the Shades, to exprefs well, the Force and Harmony of a Painting) they mould be croffed the con- trary Way to that they were fketched, and the* Angles formed by the fecond Strokes mould be more acute ; this contributes- much to the Neatnefs and Life of a Print.. There mould never be too much En* graving on the Lights, but they mould be lightly pafTed over, and with few Strokes;. I mean they mould be unconfined, and that the half Shadings, if the Engraver de- fires to finifh to Perfection, mould be very- bright ; becaufe, if they are very dark, they deftroyand hinder the Effect intended by them,, as. it will be difficult to find a C 4 Dark- 32 0/"Engravino Darknefs in the Shades fufficient to give them Life and Roundnefs: and if the En- graving is from a Defign taken from a Painting, the Lights and Shades ought to be rather larger than in the Original ; be- caufe, though it be finifhed ever lo highly, it is never fo exactly done, as the Paint- ing ; which for that Reafon requires more Labour and Trouble, on Account of its Colours. Some may perhaps fay, 'tis impoflible to imitate Colours by Engraving, becaufe we have only White and Black ; when I fpeak of imitating them, I do not pretend to make a Diltinction between Blue and Green* Red and Yellow* and the fame of other Colours j but only to imitate their Majfes % as Vojlermans* Bolfwert^ and fome others have done in their Engravings from Ru- bens : and it is certain, that thofe Works, in which this is done by an ingenious En- graver, will be much more agreeable, and produce a much better Effect. A good Engraver muft therefore, as I have faid, be e very ingenious Man, becaufe he will fometimes meet with bright Colours, one upon another, which produce no Effect, but by their Difference, and caufe what is called a -pierced Body ; an Accident, which ought to be carefully avoided, becaufe it deftroys the Intelligence of Light and Shade, /V- Gener al. 33 Shade. Gare muft alio be taken not to ipoil the principal Lights, by affecting to imitate Colours too much, and particularly of the Figures in the Fore-part of the Piece, becaule this would prevent their ad- vancing, and entirely thwart the Painter's Intention. But as Etchings or Engraving with Aqtis Fortis, is at prefent fo much in Vogue, I find myielf obliged to tell you, it was never carried to fuch Perfection, as at this Time. In this, a ftrong Expreffion of the Pafftons, a fine Underftanding of Light and Shade, and beautiful Manner of Engraving, are equally conjoyned, when it comes from the Hand of an ingenious Artift, who is able to exprefs htmfelf with equal Force and Judgment in all the different Parts of his Profeffion. I mean that Etching which cannot be fine without the Aid of the Graver, which gives it all the Perfection that can be defired ; and which the An- cients have not (hewn in their Performances of this Kind, becaufe they did not fo well underftand the various Graces proper for Painting and Engraving, as the Moderns. However, it will be neceffary to fpecify the Properties peculiar to this Art, to enable the Reader to judge of its Merit. By the Means of Aqua Fortis, all Subjects are carried even beyond Nature, it ads with C 5 fuch $4 Of EN GRAVING' fuch Quicknefs, that it equals the Expedi- tion of the Pencil, and enables an Artift, almoft inftantly, to exprefs the Produ&ions of his Genius with all its Vivacity and Force ; for which Reafon, as 'tis much more expeditious than the Graver, and its Manner eafily known, we fee many apply themfelves to Engraving with' it, bccaufe they can. exprefs the Sprightiinefs of their Fancy, with more Freedom and Expe- dition than with the Graver. Having treated of the Art of Engraving in general, I think it will not be improper in this Place to endeavour to obviate foms Prejudices, which certain Criticks entertain, with regard to it. The Firjl is, That 'tis eafy to diftinguiflv thofe Prints thar have been engraved by the Painters themfelves, or by other Painr ters from 3$ Of Engr A V IN G a. Print of one of Raphael's- Competitions^ with aif the Out-lines traced with an equal Mack Stroke, and with a fine and faint En- graving, without Degradation of Light and Sbade> or Roundnefs of the Figures, as all the Engravings of that Time are; they ap- prove of it, * as if it was Raphael's Manner, which is abfolutely falfe. Thofe, who have it in their Power, have nothing to do,, but compare Mark Antonio's, or any other En-r graver's Prints of that Age, with the ori* ginal Defigns, as I have done,, with re- gard to many of them and they will fee, that they have been far from imitating them exactly. They have even taken the Liber- ty to make Grounds to fome Defigns that had none, and finifh fo.me r'artSj that were but lightly touched, according to their own Fancy. I do not defign to diminifh. the Efteem, that is due to the Merit of thofe Prints,, but value them as much as any Body, and efteem thofe who engraved them, on, two Accounts-, firft, becaufe they have preferved us many fine Works, the Originals of which, are either loft, or cannot be feen by every Body •, and fer condly,. becaufe we ought to regard them as the Inventors of Engraving and there- fore ought to admire, that they were able to carry the Art to fuch Perfection as they .did, particularly Mark Antonio^ and thofe whoj in- General.. 3^ -who- are called M. petite Maitres, whom we ought to ufe with great Indulgence. It would be ridiculous to expect from the Inventors of any Art, all the Perfec- tion k acquires in a Series of Years ; and it is no lefs ridiculous, in- admiring their Works, to fhut our Eyes againft the Dif- coveries that have been made fmce their Time. I think it very reafonable, that their Prints mould bear a better Price than the fine modern ones, not becaufe they are better, but becaufe they are very fcarce,. there being but few good Copies of them extant ; but am perfuaded, if one of the fine modern Prints was as rare, and as ancient as thofe of the firft Matters, it not only would, but ought to bear a bet- ter Price than they do. For Example* the ancient Print of Raphael's Holy Family, taken. from a Painting in the French King's Cabinet, is, in my Opinion, infinitely in«- fcrior to that engraved by Mr. Edelink ; \x~ and yet there are Virtuoji, who have the ancient one, and difdain to look on Mr. Edelink's, 6\it of meer Obftinacy, becaufe they wiH efteem nothing but what is ancient and fcarce. Gentlemen* who know the intrinfick Value of Works, can hardly conceive that Prejudice can go fo far ; and indeed the Dealers in Prints themfejves are to be 40 Of Engraving chiefly blamed for it, for as very few Lo- vers of Prints are competent Judges of them, and therefore rely on what they fay, they out of a mercenary View infpire them with a Contempt for modern Prints, ■becaufe they are cafily to be had, and are continually filling their Ears with the Me- rit of thofe Pieces, which are very rare* and confequently not always to be pur- chafed. Mr. Pic&rf gives us an Inftance of this, which I will relate in his own Words : " One Pefne y an excellent Defigner on Paper, but very indifferent Engraver, engraved the /even Sacraments of Poujfin, each on two Plates. After a certain Number of them had been work'd off, and difperfed in the World, Gerard Au- dran, having bought the Plates, with Pefne's Defigns of them, retouched, and mended them from the faid Defigns, and made them incomparably better than they were before. Gerard Audran's Merit is fo well known, that it needs no Re- commendation ; neverthelefs, a Dealer in Prints (at Paris) had the AfTurance one Day, offering to fell me one of the firft Copies, to fay \ Tbefe are fine, the/e are not ihcfe that were retouched by Audr.an. And thus it is thefe mercenary Wretches prepoffefs the Minds of young Gentle- men, who by frequenting the Company in General 4.1 of others, who have been imbued with the fame Prejudices, are fo confirmed in them, that they are not afterwards to be undeceived, even though a more equita- ble Connoijfcur fhould undertake to do it ; becaufe they think it a Sort of Shame to abandon an Opinion, which they have for many Years believed true, and defended." But this is no . new Prejudice, we find, as I have remarked in the Life of Henry Goltziuj, there were fome Criticks in his Time, who laboured under it, - and were not lefs mortified, when they found them- felves impofed on, by that great Matter's Imitation of the Stiles of Albert Durer, Lu- cas of Leyden, Sec. than thofe were, whom Bernard Picart deceived in the following Manner, which I wiii aifo give you in his own Words : " To undeceive fome who were prepoffefTed with an Opinion, that the modern Engravers could not reprefent the Works of Raphael fo well as thofe did, who were his Contemporaries, I was ob- liged to engrave fome Prints, which had been engraved before by fome of the an- cient Mafters, as by Mark Antonio^ or fome other ; but the Difficulty was to find the Originals, from whence they had engraved them : At lafl. by Accident, I had trie good Fortune to meet with two of them, and after having examined and compared 43 Of Engraving Gompared them with the Prints, which had been formerly made from them, I found fo great a Difference between them y that I did not think myfelf incapable of fucceeding better, and accordingly re-en- graved them v to fee if I could not ap- proach' nearer th© original Deftgns, than my PredecefTors had done.'* The Firfi was a Venus, who touches one of Cupid's Arrows ± and jhews, that- foe feels the Effecls of the Houcb at her Heart : This I engraved, exactly, like the Dtfign,, with- out Ground, or any Addition, The Second was tx-Bactbanall which had; be&ft formerly engraved by jtk£&fthi cf Vt- met. 'iivc Ddign,. iVoiii vvIkjuc i did it*., is certainly the fame from which Augufiin of Venice engraved it ; the Strokes are the fame,, the Size the fame, and one fees that the Out-lines of the Figures are exactly the fame,, but the Mufcles within are quite different.. 3 he Satyrs have Crowns of Ivy on their Heads, which, in the old Print, are like Cuttings or Slips-, the an- cient Engraver has made fmall white Leaves, ., all of the fame Form, ranged on a Ground equally darky whereas,, in the Defign, they are Leaves carelefly difpofed,. which form a Mafs of Light, on a Light, There is a Child, the back Part of whofe Head you. fee, the Hair o£ which refembles .little Iron, in General. 43: Iron Hooks ranged round it*. The Hair o£ the Head, Skia and Beard,, are all extreme- ly faff, and equally blacky which are not fo in the Defign, where the Maflesof Light and Shade are obferved. For. Example,, the Belly of Silenus, in the old Print, has Wrinkles as dark as poflible, and between his Paps are three or four- Things thati look, like Laces to tie them together,, which one knows not what to make of. LalUy, if any. one will give himfelf the Trouble to examine the whole, Part by Pant* he- will find there is not one of them axadt. Nay, even without having the Gii«inal beisrc hior, he n.eei waly. have a. ■fj'Jz kL ± »t" ibe Q»nfijci»ciion v'i t|*s bam**- Body, to judge, that Raphael could, never have acquired the Reputation he juftly has r if his Works were like thofe ancient Prints * becaufe he would have been, inferior to- many Painters, who are much inferior to him. I cannot then comprehend, how thefe Gentlemen will perfuade us this is the true Stile of Raphael ; and that it is, impoffible to engrave his Works at prelent, as the ancient Engravers did. For, fup- pofing a modern Engraver is a Mailer of the Art of Engraving, and can give Fi- gures Roundnefs^ and the Degradations of Light and Shade j why cannot he exprefs a Picluce,. or. De%n,. where all thefe are ob r ferved^ 44 Of Engraving ferved, I do not fay as well, but better, than the ancient Engravers, who had nei- ther that Freedom of Hand, which the good modern ones have, nor underflood how to give Figures Roundnefs, or the Degradations of Light and Shade ? Thofe Engravers might poffibly underftand, figning on Paper very well v but admitting that, it is ftill certain, they had not Free- dom of Hand enough to trace with the Graver what they would on Copper •, and that nothing hinders the modern Engravers from being as good Mafters of Dejign as they were. And 'tis to no Purpofe to al- ledge, that all Ages do not produce great Geniuses ; for it does not require a fuperior Genius, as it does to compofe, or produce Things- of their own Invention : Every Body knows, that all Ages have produced very good Copiers ; and that is all is re- quifite in the prefent Cafe. But thefe Gentlemen's Prejudices do not only extend to the Prints from Ra- fael's Works ; they pretend alfo to draw Confequences from them, for thofe from Rubens. It cannot be denied, but that they are in this Refpedt, in Part, much more in the Right ; for the Prints of Bolfwert? Vqjlermans, Pontius, and Soutman, are fo well engraved, and have fo much of the Painter's Stile in them, that I do not in General. 45 not think they can be exceeded ; and in • this, Rubens has been more happy than Raphael. But there are many other Prints engraved from the Works of Rubens by other Engravers of that Age, which are very ill done, and which thefe Gentlemen hunt after, whilft they defpife others en- graved by Mailers of this Age, though in- finitely more in the Stile of Rubens. In this they are to blame ; for, I believe, there are Engravers now living, who can copy his Works as well as the beft of his Time, and much better than the others. The Reafons I have here afligned, I think fufficient to convince thofe, who are defirous to be undeceived ; but if not, I mall not defift from my Opinion ; being perfuaded it proceeds more from my In- capacity to efbablifh it, than from the Fal- fity of my Maxims, which I leave to fome other more ingenious Artift to juftify. THE '( 47 ) T UK Art of En g r ay i n g WITH AQUA FORT IS. -SECT. I. Tth' A QU A F R T I Si S E G T. VII. To apply the hard Varnifh on the Plate^ and make it black, TAKE your Plate thus cleanfed, and lay- it on a Chafing-Difh with a little clear Charcoal Fire in it, and when it is indifferently hot, take it away, and take-up- fome of the Varnifh with a little Stick, and put a Drop of it on the Top of one of your Fingers ; then lightly touch the Plate with the Top i of your Finger in feveral Places at equal Diftances ; as the uppermofl Figure in the Plate, marked with the Letter mews you and lay no more on one PI tee than on another. And if your Plate grow cold, heat it again as before, carefully keeping it from Duft or Filth. This done (having well wiped the flefhy Part of die Palm of your Hand) tap it upon the Plate, till all the little Spots of Varnilh are equally fpread upon the Plate. After this tapping, wipe or Aide your Hand upon the Varnifh, to make it more fmooth and equal take great Care that there be not too much Varnilh upon the D 4 Plate, 56 The Art of Engraving Plate, and that your Hand be not fweaty ; becaufe the Sweat mixing with the Var- nilh, will caufe little Bubbles, when it is applied to the Fire, which will become little Holes in the Varniih. Your Varnifh being thus fmoothed upon the Plate, the Way to black it is. this. Take a great Tallow-candle lighted, that burns clear ; let rt have but a fhort Snuff ; then place your Plate againft the Wall, (firft driving two lhort Nails for at to reft on,) with the varnifhed Side down- wardj as the lower Figure in the Plate reprefents it. Take heed that your Fingers do not touch the Varnifh ; then take your Candle, and apply the Flame to the Varnifh, as clofe as you can without touching the Varniih with the Snuff of the Candle j guide the Flame all over, till you fee it perfectly black ; then keep it from Duff or Filth till it be dried ; by fetting it on the Ground, the Hand-vice upper- moft, bearing againft the Wall, the Bot- tom of the Plate four or five Inches-from it, and the varnifhed Side innermoft. 'SECT, with Aqu a For t is. 57 SECT. VIII. To dry and harden the Varnijh upon the- Plate. Kindle a Fire in a Chimney with fuch Charcoal as is not fubjecl: to fparkle, and when it is Well kindled, range it in- a Square, fomewhat larger than your Plate,, as the Letter P mews you. Before you place your Plate to be dried, hang up a Cloth in the Chimney to prevent any Soot or Filth from falling down upon it, as you may fee by- the Letters BCD. Then take your Plate and place it in the middle of the Range upon two low Andirons, as the Letter O directs : This done, you will foon perceive the Varnilh to fmoke - } and when you per- ceive the Smoke begins to abate, then take the Plate from off the Andirons, and witlv a Stick (pointed) fcratch near the Side of your Plate ; and if it eafily takes off the Varnifh, you muft lay it again upon' the Andirons for a little Time j take it off, and touch if again -with your pointed- Stick, and if the Varnilh comes not off eafily, then take it from the Fire, and. let it cool. if 58 The Art of En graving If the Varnifli do much refill the Point of the Stick, then prefently throw on fome cold Water on the Backfide of the Plate, to cool it, that the Heat of the Plate may not caufe the Varnilh to be too hard and brittle. If your Plate be not very large, a Cha- fing-Dilh, with clear Charcoal in it, will ferve to harden your Varnilh, taking care to keep your Room free from any Dull, and wrap a Cloth or Paper round your Hand-vice to prevent the Heat coming to your Hand : But if your Plate mould be large, the former Manner is belt, putting another Hand-vice at the oppofite End i always having one to help you. SECT. IX. T choofe the Needles^ wherewith to make the Tools to etch with. Plate 3. CHoofe fome broken Needles of feve- ral Sizes and Bignefs, fuch as break rieat without bending, and of a fine Grain. 'Then take round Sticks of a good firm Wood, not apt to fplit, of the Length of half a Foot, or little lefs, of the Thicknefs of a good large Quill : At the Ends of which Sticks fix in your Needles, fo that they ftand out of the Sticks about as *wth~ A qjj a Fort is. 59 as much as you fee in the following Fi- gure j or ftick your Needles in Pieces of Cane of that Length, taking care to put them in the Centre, and leaving about half an Inch out. SECT. X. 3e whet the Points of the Needles. T» H E R E are two Ways of whetting your Needles, the one round, the other (loping. You muft have an Oil-ftone with a fine Grain, to whet your Needles upon : Thofe you would have to be round, you muft whet their Points fhort, by rubbing them on the Edge of your Oil-ftone, from one End of the Hone to the other, turning them continually round, as the Figure fhews you. The other, which you intend to make doping, firft make blunt, then holding it firm and fteady, whet it Hoping upon one Side only, till it come to a fhort roundifh Oval ; for the long Oval is not fo good to work with. You will need a foft Bruih-pencil to wipe off the Varnifh, which the Strokes of your Needle raife up, in working, as is re-, prefented by the Letter A. D 6 SECT, i jfio ^ Art / Engraving SECT. XI. preferve the Varnijh upon the Plate. YOUR Plate beiag varnilhed, place it on a large fquare Board, and raife up the End from you, fo that it may form a Defk, but take care not to raife it too high, left your Plate Aide down; fome chufe to lay the Plate flat on a Table : JLay a Sheet of clean Cartridge Paper under your Plate, and when you work, put upon it a clean Silk or Linnen Hand- kerchief, or a large Piece of clean Wafh- leather, to reft your Hand upon, to keep it from the Varnifh. When you have Occafion to life your Ruler, to draw ftraight Lift**, take two Pieces of clean Writing Paper, folded fe- veral Times double, about fix Inches long, and half an Inch in Breadth ; lay thefe on your Plate, one at each End, of the Length of the I ines you intend to draw ; then place your Ruler on thefe Pieces of Paper, and take care that the Infide of the Ruler does not touch the Varnifh •, if it ftiould, make your Pieces of Paper thicker, to prevent your Ruler's damaging the Varnilli, and take care to keep your Plate free from with Aqjja Fort is.' -6i. from Filth or Dull, by brufhing it now and then with a Feather. SECT. XIL To etch. IN etching,, you will have Occafion to make divers Sorts of Lines or Hatches, fome bigger, fome fmaller, fome ftraight, fome crooked. To> make thefe, you muft life feveral Sorts of Needles,, bigger or fmaller, as the Work requires. The great Lines are made thefe three feveral Ways 1 . 1. By leaning harder on the Needle, the Point being ihort an*d thick,, makes a large Paflage •, but the Point being round, it will not cut the Varnifh clear. 2. By making divers Lines or Hatches, very clofe one to another, and then by paffing them over again with a thicker. Needle y but this. Way is both tedious, and difficult. 3. By making the Lines with an indif- ferent big Needle, and letting the Aqua Fortis lie the longer on it. Thofe Nee- dles, which you whet Hoping with an Oval, are the beft to make the large Lines with, becaufe with their Sides, they cut what the round Points cannot. PI. 4. SECT, 62 The Art of Engraving SECT. XIII. 7* o guide the Needle on the Plate. YO U may perceive from what is faid, that thofe Points which you intend to make ufe of, for graving with Aqua Fortis^ ought to be whetted exactly round, that they may turn more freely upon the Plate. Some of thofe round Points muft be whetted very (harp, that they may cut the Varnifh and Copper eafiiy. If you find that your Point cuts not freely and fmoothly, 'tis becaufe it is not whetted exactly round. If you have Occafion to make your Lines or Hatches of an equal Bignefs from one End to the other, whether they be ftraight or crooked, as thofe two Lines in the Letters A B reprefent, you muft, as Reafon will tell you, lean on your Point with an equal Force from one End to the other. If you would make your Strokes thicker at one End than at the other, as the fe- cond Letters A B fhew you, then you muft lean on your Point with your Hand harder at the Beginning, and by Degrees lighter and lighter towards the End. If a mm with AqjjaFortis. 63 If you would have your Strokes to be fuch as are reprefented in the third Figure, marked alfo a b, that is to fay, larger in the Middle than at either End ; you muft lean gently at the Beginning, and then by Degrees harder and harder, till you come to the Middle, and then again lighter and lighter till you come to the End. Thefe three Sorts of Lines or Hatches, may indifferently ferve for all manner of hatching your Shadows, in any Defign whatfoever, as appears in the Figures, MN, OP, Q^GR, TEV; wherein is manifeft, that Shadowing is only a Rei- teration of the fame Strokes clofe to one another. If you defire that your etching with Aqua Fortis mould look as like graving as may be, you muft lean hard upon your Needle in thofe Places where you would have the Lines appear deep and large that is, fo hard, that the Needle may make fome Imprefiion in the Copper. And for the fame Reafon you are to lean very light on thofe Places, which you would have appear faint and fmall. If it happens that you have made fome Lines, or Hatches too fmall, and are de- firous to inlarge your Stroke, you muft pafs it over again with a round mort Point, of 64 lie Art of Engraving of fuch a- Thicknefs as you defire your Line mould be of ; and lean ftrong and firm on thofe Parts of the Line, which you would have large and deep. If at any Time, by Reafon of the large Lines or Hatches, which you were to- make, you have ufed an oval Point (which is the beft to cut the Varnilh) you muft af- terwards, with one of your large Needles whetted fhort and round,, pafs in the midft of the faid Strokes firmly and ftrongly, but efpecially in thofe Places which you would, have large and deep. S E C T. XIV. 2fc itfe the Oval Points, to make large Strokes, in etching or graving with Aqua Fortis. Plate 5. YO U may fee in the Figure A B C D the Form of thofe oval Points, that Part next to C defcribes the Lnd of rjieni, and B D their Sides. They are held, much as you hold a Pen, only the flat Side whetted is ufually held towards the Thumb, as is re- presented in Figure iii. Not but that it may be ufed otherwife, with the Face of the Oval turned towards the middle Finger, as is fhewn in Figure iv. But 1 have found I with Aqjja Forties. 65 found the other Manner to be much better, becaufe you may that Way inforce your Strokes with more Strength and Firmnefs. To mew you how to make your Strokes large and deep, and that thefe oval Points are the moft proper for it, take Notice of the two upper, firft and fecond Figures, which are purpofely made the - larger, that you may the better apprehend what mall be hereafter fpoken of them. Your, own Reafon will tell you, that if you lean lightly in making your Strokes, thoffe Strokes will accordingly be lefs deep, fmall- er, and more faint, for the harder, you. lean, the deeper and larger your Strokes will be. Of this you have an Example in the third Figure marked r n s j, where leaning lightly at the Beginning, viz. r % and then harder by Degrees to n, and af- terwards lighter by Degrees to j, you make your Stroke bigger or fmaller ac- cording to your leaning on it, as you find reprefented in the faid third Figure. But if you would have your Strokes come very fmall and delicate at the End, then with the Point of your fmall Needle lengthen out your Stroke, as you find it reprefented in the two Strokes of the fifth Figure. Some- 66 The Art cf Engraving: Some will firft make their Stroke with at round Needle, and then pafs it over again with, an oval Point, to inlarge it in thofe Places,, which they would have deeper and bigger ; but the other is the beft Way. They that- know how to engrave, after they have done etching their Lines with Aqua'. For its, may, with the Afliftance of their Graver, make them neater and deeper. 1 think it not amifs to advife you,, that in making your Strokes, with your oval Points, you muft hold them as up- right and ftraight in your Hand as you can, and accuftom yourfelf to ftrike your Strokes firm and bold, for that will con- tribute very much to their Neatnefs ami Clearnefs. To do this the better, you muft: be very careful to have your Points al- ways well whetted. In thofe Places which you would have appear in your Piece by Way of Land- fkip, or the furtheft Diftance from the Sight, and in thofe Places which ap- proach nearefl the Light, you muft ufe a. very (lender Point, leaning fo lightly with your Hand, as to make a fmall faint Stroke. But when you come to thofe Places, which you would have more fha- dowed, lean fo much the harder, that when you come to eat in with your Aqua Fortisy. with AquaFortis- 67 Fortis, you may cover moft of your faint Places at one and the fame Time ; for you muft know that thofe Strokes, which you lean lighted on, do little more than raife up the Varnifh. » So when you ap- ply your Aqua Fortis to etch it, it will appear much fainter, than in thofe Places where you have leaned with greater Force, though the Strokes are done with one and the fame Needle. Infomuch, that when you mail have covered the greateft Part of your faint Places with your Mixture, thofe Places, whereon you leaned ftrong- eft, will appear deepeft, though they were all covered at the fame Time. In your working be careful to brufh off all the Duft which you make with your Needles. You muft provide yourfelf with fome good white Picture- Varnifh, keep it clofe ftopp'd in a Vial, and when you have Occafion to correct anv falfe Stroke, or alter any fmall Object, take a fine clean Camel's-Hair Pencil, dip it into the Var- nifh, and mix up fome Lamp-Black with it, on a Piece of Glafs, or Oyfter-Shell, (but take care it be not too liquid) which will withftand the Aqua Fortis, and is much better for flopping up fmall Parts, than the Tallow ; after it is dry, you may jBS- The Art of En graving •may work over it, which cannot be done on the Tallow. SEC T. XV. 91? ■prepare the Plate, to receive the Aqua Fortis. YOU R Plate being finifhed and ready for the Aqua Fortis, brum off all the Rubbifh and Duft that is in the. Strokes. And if there happen to be any Strokes which you would not have the Aqua Fortis* eat into, or any Places where the Varnifh is rifbb'd off, then melt your Mixture of Oil and Greafe which you have made, and with a Pencil, bigger or fmaJler r according, to the- Proportion of thofe Places which you would mend, cover thofe Places in- differently thick, and the Aqua Fortis will not eat in. This done, take a Brufh or Pencil, and dip it into the faid Mixture of Oil and Greafe, and rub the Back- Side of you Plate all over, to prevent the Aqua Fortis from eating any Part of it ; but take heed that your Mixture be not too thin or li- quid, for if it be, when you pour your Aqua Fortis on the Plate, it will force it from thofe Places whereto you had ap- plied it.. When with Aqua Fort is. 69 When you find the Mixture begin to grow cold, then put fome fmall Quan- tity of it on your left Hand, thereby to keep it warm, to be ufed as Occafion fhall require. In the Winter Time especially, when the Weather is cold and moift, before you ap- ply your Aqua Fortis to the Plate, it will not be amifs to warm it gently by the Fire, to dry up the Moifture, which the Plate is fubject to by Reafon of the Diftemperature of the Weather. Nay, if it be not warm- ed, it may likely endanger the breaking up of the Varnifh, at the firft pouring of the Aqua Fortis upon the Plate. SECT. XVI. Ho make the trough and Frame to hold the Plate, when you would pour the Aqua Fortis on it. THE Figure oppofite hereto, repre- fents both Trough and Frame. The Letter A is one intire Piece of Elm or Oak, of about four Inches thick, and fix Inches broad, or may be* of fuch a Length as you fhall think fitted for your Ufe. You muft cut this Piece of Wood into the Falhion of a Trough, as the Figure Ihews you, making it a little deeper in the Mid- yo The Art of Engraving die, that the Water running thither, may fall through a Hole made there for that Purpofe. Set this upon an Eafel, as the Figure fhews you. Under the Hole in the Trough, place an earthen Pan well leaded- on the Infide, as you fee in Figure B and therein put your Aqua Fortis, let it not ftand too much below the Trough. The Figure M N O P is one in tire Board, of an indifferent Largenefs, as you may judge by the Figure. About both the Sides and Top or this Board, you muft fallen a Ledge, about two Inches broad, to keep the Aqua Fortls from run- ning off from the Sides, when you pour it in. The Infide of this Board and Trough muft be covered or primed over with a thick Oil-colour, to hinder the Aqua Fortls from eating or rotting the Board. Place the lower End of this Board in the Trough floping againft your Eafel, and you muft fix feveral Pegs of Wood or Nails in the Board, to reft >our Plate on. The Figure Q^defcribes a little earthen Pot well leaded on both Sides, which you muft have to take up your Aqua Fortis out of the Pan, and to pour it on the Plate, SE.CT. mnth A^jja Fortis. 7* SECT. XVII. tfbe Manner of cafting the Aqua Fortis upon the Plate \ and to cover the Places that are faintefi, and moji remote from the Eye, with the fore-mentioned Mixture, as Qccafion re- quires. HAVING obferved the Way of placing the Plate for the receiving of the Aqua Fortis, there remains only to confider the Method you are to follow- in pouring it on, as Occafion requires ; for in fome Works, it will -be neceifary to pour it on ieveral Times, for the Reafons hereafter mentioned. Having a fufficient Quantity of Aqua Fortis in your Pan, fill your earthen Pot, and pour it upon your Plate, beginning at the Top, and moving your Hand equally, fo that it may run all over the Plate alike, taking great heed that the Pot touch not the Plate. Having thus poured it eight or ten Times, the Plate being in the Pofture expreffed in the preceding Figure, you muft turn it crofs-ways, as is reprefented in the upper Part of the follow- ing Figure, marked C$ and pour on it as k lies that way, ten or twelve Times again, as before : This done, turn your Plate fuit- ably to the Pofture exprefled by the lower *jz The Art of Engraving lower Part of the aforefaid Figure, that is to fay, corner-ways, and as it lies fo, pour thereon eight or ten Times ; pouring the Aqua Fortis thus, at feveral Times, for the Space of half a Quarter of an Hour, more or lefs, according to the Strength of the Water, and Nature of the Copper. For if the Copper be brittle and hard, there muft be the lefs Time allowed for the pouring on the Water ; but if ibft, the more. By Chance you may not at the firft be fo well affured of the Strength of your Water, and the true Quality of your Copper it will therefore not be amifs to give you fome Directions how to know both, that you may proceed according to the Strength or Neatnefs, which you expect to find in your Work. For lbme Pieces re- quire more Force, and others more Tender- nefs. To know therefore that the Nature of your Copper, and Strength of your Water, are llich, as the Work you intend requires, pour the Aqua Fortis on your Plate, for the Time, as is before mentioned, for the Space of the fourth Part of a Quarter of an Hour. Then take away the Plate, and throw on it a Quantity of fair W T ater, hold- ing the Pot at a good Height from the Plate, to wafh off the Aqua Fortis-, for if . it with Aqua Fortis. 73 it be not clean warned, the Work will ap- per green, and confequently you cannot fo well perceive the Operation of your Aqua Fortis. That done, hold your Plate before the Fire, at fuch a Diftance, as that, without melting the Mixture which may be upon it, the fair Water may be dried up. Then take a little Piece of Charcoal, and there- with rub off the Varnim in fuch Places where the Strokes are faint •, and if you find that the Aqua Fortis hath eat deep enough in thofe faint Places, melt your Mixture, and having placed your Plate upon a Defk or Table, . take of the faid Mixture, with a Pencil fit for your Work, and cover therewith all thofe Places which you defire mould be tender, and free from any further Operation of the Aqua Fortis : taking great Care that you lay the Mixture thick enough, on the Places which you would have covered ; that is, that the Mix- ture may fill up the Strokes. And it is at this firft Operation, that you are to cover all the fainteft and fweeteft Places. Having held your Plate fo long to the Fire that the Moifture is quite taken off (a Thing only necefTary in the Winter Time) put it again upon your Board, and pour on your Water as before, for the Space of about half an Hour, turning your Plate E from 74 Art ^Engraving from Time to Time, according to the feveral Poftures before exprefTed. That .done, warn off the Aqua b'ortis with fair Water, as before, and dry your Plate by the Fire, taking efpecial Care that you melt not the Mixture which you had before put .upon it. Your Plate being dried, put it upon the Delk, or Table, as before, and having melted your Mixture, cover therewith thofe faint Places and Hatches that are next in Point of Faintnefs to thofe that you had •covered before. For the different Degrees of Faintnefs in the Hatches, you have feveral Examples in the following Figure. You have been before directed how to guide your Needles and oval Points, and have been told how you are to lean ftrongly and firmly on the Places where you would have the Strokes be black and deep, and to flack and lighten your Hand where you would have them faint and tender *, a Thing which very much facili- tates the Operation of the Aqua Fortis. For Inftance, wh?n you have the firft Time with your Mixture covered that Part, which is inclofed by the Line A B C D, and makes a kind of an Oval $ you come at the fecond time, to cover that Space which is between the Line ABC, and the Line EOF; knowing well, that with Aqua Fort is. 75 if you have fuffered the Aqua Fortis to eat for the Time requifite, it will have very near the Effect which you expected. At the upper End of the Plate, you have the Form of a Woman's Arm, where- in you may perceive, by the Line marked abed, as alfo by the other, which lies yet nearer the Shadow, how the fmall Hatches and fainter Places are ordinarily covered at two feveral Operations, as Occafion requires ; though, in the forementioned Ex- ample of the Arm, once covering may luckily ferve. I have alfo thought fit at the Bottom of the Plate, to fet down four feveral Pieces of Ground in Landfkip the firft marked m m m, is the firft covered, being the fartheft of all from the Eye ; then at ano- ther Operation that marked nnn \ then that marked ; there being only that marked wherein the Aqua Fortis eats in full and deep. It may be objected, that the leaning lightly or hardly on the Points in their proper Places in working, may make the Strokes and Hatchings fo, that the Aqua Fortis may eat in anlwerably to your Expectation, without tUe Trouble of covering any Places with your Mixture : To this I anfwer, that the Work will not altogether have that E 2 Effed, yh The Ar t ^Engraving Effect, but will be like the fecond Plate, which I have purpofely made after that Manner : For though you can lean harder >on fome Places, and lighter on others ; yet the Aqua Fortis being poured equally all over the Plate, during the whole Time ; it muft follow, that fome Places will not ^be fo fweet and tender as they ought, and will come far fhort of that beautiful and lively 'Continuity, which you perceive in thofe Lines and Strokes where you ufe the Mixture. If it happen, when you dry your Plate by the Fire to take off the Moifture, as hath been faid before, that the Mixture, for Want of Care, melts and runs into thofe Hatches and Strokes where you would have the Aqua Fortis eat further in ; wipe the Place with a foft Cloth, then take the Crumb of dale Bread, and rub the Place therewith, till fuch Time as you con- ceive you have taken off all the Greafinefs, This Remedy is only applicable in Cafe of Extremity; for you are to obferve^that it is impofiible to take out the Greafe fo dearly, but that it will fomewhat hinder the Ope- ration of the Aqua Fortis. And therefore there muft be the more Care taken to pre- vent Jt. Having with- Aqjcj a F ort i si 77 Having thus covered your Places as- Occafion requires, for the fecond Time, place your Plate on the Board aforefaid, and pour your Aqua Fords on it, for ano- ther half Hour. That done, wafh it with Water, and dry it as formerly, and cover the Places you think require it for the third Time, you muft know, that the faint Places are to be proportionable to, that is, more ©r lefs, according to the leveral Defigns and Pieces you work upon. When this is done, pour your Aqua Fortis upon it, for the laft Time, and it is at this Ope- ration, that you are to beftow more or lefs Time, than in the former, according to the Nature of your Work. For Inftance, if there be in your Plate fuch Hatches and Shadows, as require much Depth and Fulnefs, which confe- quently will be very black, you are to pour on the Aqua Fortis for an Hour or better at this laft Operation alone, that is, proportionably to the former. You may imagine, that no certain or general Rule can be given, either for the conve- nient Covering of the Places, or the ex- act Space of Time that is to be ob- ferved in throwing on the Water: For it cannot be thought, that Callot pour'd as £ 3 much 78 Tbt Art ^Engraving much Water on his little Pieces, as he did on thofe which were bigger. 1 have told you, how you may rub off your Varnifh or Ground, as Occafion re- quires, with a Charcoal, to fee whether the Water hath eat in deep enough : Then you will judge of the Space of Time, that you are to employ in pouring on the Aqua Fonts, by the various Works you are to do ; and where I tell you, that you may beftow an Hour and better on the laft Operation, my Meaning is, in Pieces that require much Blacknefs. Notwithftand- ing which, it is to be confidered, that all Copper, or all Sorts of Aqua Forth, have not the fame Strength, Nature or Equality, therefore it mull be left to Difcretion. Having, as before faid, poured the Aqua For tis upon your Plate for an Hour, more or lefs, as the Work requires, wafii it again with fair Water, and dry it as in the preceding Operations then put it over the Fire, till your Mixture is all melted ; and wipe it very clean on both Sides, with a Linnen Cloth, till you have quite taken away all ths Mixture. SECT. with Aqu a F o :i t i s. 79 SEC T. XVIII. To take the Ground or Varnijh off the Plate after the Aqua Fortis has done its Operation. TAKE Charcoal of Willow, or fome Tuch foft-grain'd Wood, and after you have taken off the Rind, and poured fair Water on the Plate, rub it very even with the Charcoal, as if you were to- polifh Copper, and it will take off the Varnifh. Be careful that no Dull or Filth fall upon the Plate and that the Charcoal be free from Knots and Roughnefs, which might occafion fome fmall Scratches ia ths Plate, and would be difficult to get out, especially in thofe Places which are mod: faint and fweet. Note, you are not to ufe fuch a burnt Coal, as you do, to pol ifh, withal. When the Varnifh is taken off, the Plate is of an unpleafant Colour, by Reafon of the Operation of the Fire and Water upon it. To reduce it therefore to its proper Colour, take fome ordinary Aqua Fortis^ to which add two third Parts of fair Water, and with a little Linnen Rag dipp'd therein, rub your Plate all over, E 4 - and 80 The Art of Engraving and you will find its Colour and Beauty return. Then immediately take a dry Linnen Rag, and wipe it all over to take off all the aforefaid Water. Hold your Plate to the Fire, and pour on it a little Sallad-Oil, and with the Brims of an old Beaver rolTd up, rub your Plate all over with it, and with a Cloth wipe it dry. This done, you will plainly perceive the Places, which require to be touched with the Graver, as for the moft Part it hap- pens, efpecially in thofe Places, which are to be blackeft. For you may judge, that when there are many Strokes and Hatch- ings clofe to one another, there is fo little Varnifh between, that the Aqua Forth com- monly takes it off, and eats under it. But if this happens, when you caff on your Water, you may prefently cover thofe Places, where you perceive the Varnifh break up, with the Mixture; it being more eafy to touch it afterwards with the Gra- ver, than when the Aqua Fortis has made a Pit therein, which, in the Working it off at the K oiling- Prefs,. caufes a large black Patch ; but after fome Copies are taken off, that Patch becomes white, becaufe, there is not any Thing for the Ink to fallen on. Having with A QJJ A F O R T I s, 8& Having covered that Part in Time, you have no more to do, but perfect thofe Strokes and Hatchings, to make them firm and beautiful ; and then your Plate is ready for the Rolling- Prefs. OF 7U Ant offiN^RAViNc O F SOFT VARNISH. \p/ v.' \c/ Vv* vy v> vy v.' v/ vy v^ 1 v.* w w Vv* ww cjj: Hrp lTe (TP iTjb trp dp CTb tT7> cTe iQ> ,rp ffp (T» dnp (TP SECT. XIX. Sic? f«tffo it, and its Ufes. TAKE two Ounces of Virgin Wax, half an Ounce of Burgundy Pitch, half an Ounce of common Pitch, put them into a clean and well-glaz'd earthen Pipkin, and when they are diflblved, take twoOunces of Afphaltum, let it be ground as fine as poffible, and make it into the Pipkin, and with a Stick keep ftirring it over the Fire, that the Afphaltum, and the reft, may in- corporate well together, and be intirely dilfoived, which will be done in about half a Quarter of an Hour ; then take it off the Fire, and let it cool a little, and pour the faid Compofition into a Bafon of fair Water ; your Hands being very clean, put them into it, and take out the faid Mixture before it be quite cold, and having well moulded it, and fqueezed out the with A qua Fort is. $3 the Water, roll it up into Pieces about an Inch Diameter, and two or three Inches long. After it is moulded, wrap it up in a Piece of fine Sarfenet, or Taffata, two or three Times double, and fo ule it. There are feveral other Compofitions of foft Varnilh, that may be ufed, but this I judge the beft of any I have met ■with. Note, You are not to put in fo much s Virgin Wax in Summer, as in Winter. SECT. XX. The Manner of laying the foft Ground or- Varnijh on the Plate. HAVING your Plate well polilhed and- cleanfed from Greafe, take the loft Varnifh prepared as is before mention- ed, and put the faid Plate over a Chafing- difh, wherein a moderate Fire has been kindled, and let it befo heated, thattheVar- nilh may eafily diflblve, as it panes through theSarfenet, in which 'tis wrapped. The Plate being thus heated, take the Varnifli cover'd as aforefaid, and by applying it to the End of the Roll, fpread it upon the Plate whilft it is hot, carrying it lightly from one Side E 6 to 84 The Art of Engraving to the other, until the Plate be covered thin and equal all over : This being done, take fome fine Sarfenet, or other fine Silk, doubled up, put fome fine Cotton into it, and let it be about the Bignefs of an Egg, when tied up, but make it broad at Bot- tom, then dab it gently all over your Plate, where you have laid the Varnifhi taking Care it be not too thick, for when it is* your Work cannot be fo fine and deli- cate as otherwife it would ; if the Plate mould cool, and confequently the Var- nifh, you muft heat it again, that it may receive the Varnifh, as it paries through the Silk. Alfo take great Care, for your more eafily fpreading of it, that neither your Plate, nor Varnifh burns ; which you will eafily perceive, by ob- ferving, that when it is too hot, it cafts itfelf into little Clots and Blifters. As foon as you have fpread your Var- nifti very even upon your Plate, black it over with the Flame of a Candle, after the fame Manner I mentioned before in the hard Varnilh ; taking Care that the Flame approach not too near ; this is to be done in one Cafe, rather than in another, that is, when having black'd it all over, you perceive, the Smoke hath not entered within the Varnifh, by Reafon of its grow- ing • with Aqua Fortis. 85 ing cold : Therefore it will be convenient to put your Plate again over your Chafing- dilh, and you will lee, as foon as the Plate is hot, the Varnifh will difiblve; and thereby the Black, which the Smoke hath left upon the Varnilh, will pierce as far as the Plate, In doing this, be very careful to have a moderate Fire, and continually remove your Plate, in fuch a manner, that the Varnifh may melt equally all over it, without Burning. After that, let your Plate cool, and when you think fit to work upon it, place your Defign in the fame Manner, as upon your hard Varnifh, (the Backfide thereof being rubb'd with the Dull of Red Chalk, and Black Lead, mixed together) excepting only, that you mufl not lean fo hard with your Point, in drawing the Out-lines of your Defign, left by fo do- ing, the Needle cutting through the Paper, mould rub the Varnifh. Next you proceed to work upon your Plate, with the fame kind of Points, as .thofe which are mentioned for hard Var- nirti, excepting the oval Points, which thofe that etch with foft Varnifh never ufe: Neverthelefs they are very commo- dious, efpecially for the working any Piece ©f Architecture, or making of large Strokes, and 26 The Art vf Engraving: and 'tis left to the Choice of thofe that grave, either to ufe them or not : But one Thing is to be confidered, which you muft bt -very careful of, and that is, how to keep the foft Varnifh upon the Plate, for it is very apt to be rubbed off, if any Thing mould happen to touch it. There are feveral Ways of keeping it unhurt : For Example, working upon the Plain, w em a Deik, place on the Sides of your 'Plate, two little Boards, of what Thicknefs you pleafe, or two little Books ©f the fame Thicknefs, and lay a thiti Board upon them, fo as not to touch the Plate, snd reft your Hand upon this Board as you "Work. Many work with their Plate laid upon an Eafel, as a Painter does when he paints ; but all Men cannot fit in this Manner at "Work, although it is very much approved t)f, for many Reafons, which hereafter fhall be alledged. To work upon the faid foft Varnifh, you muft conveniently place your Board upon a Defk, and lay a Piece of green Bays upon that, and your Plate upon the Bays. Afterwards, take a Linnen Cloth without any kind of Seam, which has "been often put to other Ufes, that it may be very foft. Then double it three or four Times in Folds, and lay it upon yoxrf Varnifh j with A qjj A ForTi s. #7 Varnifh ; and reft your Hand on it; as you do on Sheets of Paper, upon hard Varnilh. The Reafon why this Caution rs to be ob- served is, left the Buttons of your Sleeve ihould rub off the Varnifh. Be very careful, that there is no Duft or Filth upon your Varnifh ; if you fee any upon your Plate, wipe it lightly off with one of your 4arge foft Pencils, ob- serving, that much maore Care is requir- ed for the preierving of foft Varnilh, than of hard •, which made the Author leave it off, efpecially in Pieces that required long Time, and much Pains ; it being much toiore eafy to make a firm Winding-Stroke upon hard Varnifh than upon foft ; becauie the Hardnefs of the Varnifh holds your Point, as it were engaged, which makes the Strokes the deeper, and more like the Firrnnefs and Neatnefs of thofe of a Graver. Moreover, when you are at work on foft Varnifh, you mufl have a fpecial Care, left any other Perfon than a Practitioner of the Art, touch or meddle with your Plate ; and if any kind of greafy Matter happens to drop upon it, your Plate will be incurable : But if it happens to fall upon hard Varnifh, you may clean it with a Linnen Cloth, or Crumbs of Bread, Thofe 88 The Art ^ Engraving Thofe that work upon foft Varnim, if they put their Plate on a Defk or Eafel, are not in fo much Danger of rubbing off their Varnifh, nor need they fo often wipe away that which comes off in work- ing-, for the Plate being placed obliquelyj the fuperfluous Matter falls away of itfelf. I don't think it neceffary to defcribe this Way of working, by a Plate, becaufe it is not probable that any who intend to etch after this Manner, can be ignorant how a Painter works upon an Eafel, there being no other Difference, except that a Painter ufes a Pencil, and a Graver his etching Tools. The Artift muft take Care to reft his Plate very firm, efpecially when he is very intent upon the making of any : exact Strokes. Callot worked upon hard Varnifh, after the fame Manner but it was more to pre- ferve his Health; fuppofing that to fit ftooping to his Work (though it were never fo little) would be hurtful to him. . SECT. XXI. ' T o border the Plate, that it may contain the Aqua Fortis. GE T foft Wax, either red or green ; if it be in Winter, foften it in warm Water i in Summer it will be fuificiently foft with Aqjja Fortis. 89 foft of itfelf : In the managing of it, put it round the Brims of your Plate, raifed about half an Inch above the Surface of the Plate, being, as it were, like a little Ram- part or Wall, (forming at one Corner a Spout to pour the Aqua Fortis off) in fuch Sort, that placing your Plate very level, and afterwards pouring your Aqua Fortis upon it, the Water may be retained, by Means of this Border of Wax, and equally diffufed all over •, but before you pour it on ( to prevent its foaking through, between the Wax and the Plate) dip your Pencil in your prepared Tallow, and flop the under Part neatly, on the In fide of the Wax, fo that the Aqua Fortis may not corrode under it. Having thus fecured your Plate, take double Aqua Fortis, one Part, Water, two Parts, mix them in a Glafs Bottle, or Stone Mug; then pour it gently upon the Plate, fo as that it may remain all over it, the Thicknefs of half a Finger's Breadth. Then you will fee, that the Water will work, and bubble up in thofe ftronger Hatchings, that are mod firmly ftruck ; as for thofe that are fainter, you will per- ceive them clear at firft, and of the Colour of the Copper, the Water not having, on a fud- go The Art / Engraving a ludden, any other Effect than what appears to View. Afterwards, when you have perceiv- ed the Water operate a fmall Time, pour it off from the Plate into fome Veffel, which is moft proper to contain it, as into an earthen Mug well glazed, or the like •, then throw fome fair Water upon the Plate, to extinguifh and wafli away the Remainder of the Aqua Fortis, which was upon it j then dry it by the Fire, as you have been taught before, when we difcourfed of hard Varnim ; as to the foft Varnilh, and Aqua Fortis of the Refiners, be very careful to evapo- rate that Moifture, which, in the Winter Time, is commonly between the Copper and the Varnifh, before you lay on your Aqua Fortis ; which being done, take your Mixture of Oil and Tallow, as is men- tioned in the Beginning of this Dif- courfe of hard Varnifla, and cover thofe Places with it, which ought to be moft tender and fweet ; or Picture Varniili, mix'd with Lamp Black, as mentioned in the Operation of the hard Varnifh ; hav- ing covered them the firft Time, lay again upon your Plate the fame Aqua Fortis which you had taken away, and leave it on for half a Quarter of an Hour, or loager, according to your Difcretion ; then take with Aqua Fortis. 91 take off the Aqua Fortis, and cover with your Mixture the next Places, as you fhall fee Occafion : And if you would have your Lines or Strokes be ftill deeper, then cover the fweeter Part by De- grees with your Mixture, that the Aqua Forth may lie the longer on the deeper Strokes. Laftly, lay on the aforefaid Aqua Fortis again, and leave it on for the Space of half an Hour, or more, according to the Strength of the Water, and Nature of the Work j then take it away, and caft fome fair Water upon the Plate again. This being done, take off your Border of Wax, and heat your Plate, fo that the oily Mixture, and Varoifli, may thorough- ly melt j then wipe it well with a Linnen Cloth, afterwards rub it all over with Olive Oil, and a Piece of old Beaver roll'd up, then touch it over again with your Graver, in thofe Places where it is necef- fary. It is neceflary to obferve, that whilit the Aqua Fortis is upon your Plate, you mult take a Feather, and dip it to the Bot- tom of the faid Aqua Fortis, fweeping it along, to remove the Froth or Scum, which gathers upon your Strokes or Hatchings, whilft the Water performs its Operation ; as alfo, to give the more Way to the Opera- 92 The Art of Engraving tiort of the Water, and fee if the Varnim be not broke up, which the Bubbling of the Water hinders you from difcerning. Take Notice alfo, that the Aqua For its of the hard Varnifh, will ferve excellently well, to eat into the Work made by the aforefaid foft Varnifh, and that the Manner of applying the oily Mixture, is the fame with that of hard Varnifh, and whoever ufes it may be aflured, that it is much better for this Purpofe, than that of the Refiners : Moreover, it is not fo fubjedf. to caufethe Varnifh to break up, nor to many other Accidents ; as being hurtful to the Sight, and Health, as that of the Refiners is ; neverthelefs, let every one make ufe of which Sort he pleafes. SECT. XXII. Vhe Manner of laying a white Ground upon the hard or foft Varnifh. THERE is a Way to whiten your Varnifhes upon the Plate, inftead of making them black with a Candle, which is thus. When you have applied your hard Var- nifti (as has been obferved) upon the Plate, harden it over the Fire, without blacking it, yet in die fame Manner as if it with Aqua Fqrtis. 93 k were blacked, then let the Plate cool, and having got white Cerus, put it into an earthen Difh well leaded, and a little Flanders Starch, fet them over a Fire, and melt them together, making them pretty hot •, that being done, take up the white Cerus, (which ought to be pretty clear) with a Brufh, or great Pencil of Hog's Hair, and whiten your Varnifh with it, laying it as thin and even as you can, then leave it to dry, laying the Plate flat, in fome convenient Place ; if by Chance in whitening it, the White be difficult to fpread, you need only put among the faid white Cerus a Drop or two of the Gall of an Ox, and mix them together in the Dim with your Brufh. For the foft Var- nifh, you may do the fame, after you have laid it -upon your Plate, and extended it very even with the feathered End of your Quills: Some will fay, if they black the Plate, before the White is put upon it, when they come to grave, the Hatchings will be the more black, and confequently will appear fo much the more diftin«5t to the Eye. But to this I an- fwer Firft, When the Plate is blacked, the White will not touch it, nor muft they ven- ture to put fo much Gall, for Fear of fpoiling the Varnifh. Secondly, 94 ^ Art ^Engraving Secondly, If the White mould fpread well, it will not appear otherwife than grey, by R^afon of the blacking of the faid Varnifh, unlefs you lay it fo thick, as to fpoil the whole Work. The marking of your Defign upon foft Varnifh, is performed with the Dull of red Chalk, (as before mentioned of hard Varnifh) or by rubbing the Paper well, or Defign, with the Duft' of black Chalk, or black Lead, when the Vamifh is made white : For red Chalk is moft. proper for a black Ground. When you have graved what you in- tend upon the foft Varnifh, and are going to etch your Plate with Aqua Fortis\ what you have then to do, is to take a little fair Water, fomething more than lukewarm, and call it upon the faid Plate : then with a foft clean Spunge, or Duck's Wing- Fea- thers, moiften the faid white Cerus all over with it - 9 afterwards warn the Plate, to take off the Whiting, and dry it. Laftly, you may lay on which of the two Sorts of Aqua Fortis you pleafe j and for the preferving of the faid white Var- nifh, whilft you are working, you need only lay upon it a Piece of foft Linnen, or Damafk Linnen, inftead of Paper. If mth Aqua Fortis. 95 If you choofe rather to take away the faid Whiting, you muft take fome Aqua Fortis of the Refiners, tempered with fair Water, lay it upon the Plate, difperfmg it all over, which will foak and quickly eat in •, after you have thrown clean fair W ater upon it to take away the Whiting, let the Water dry up, which remains upon the Plate, and caufes it to eat into your Work, as I faid before. Another Way to lay a White on the Varnijh. X very fine upon a Stone, with fair Water, which being done, take Gum- Water, and pour a fmall Quantity of it upon the Stone, and mix it with the Cerus ; then take a large Pencil of Camel's Hair, and with that Pencil take it off the Stone, and fpread it thin all over your Plate j and immediately after, take a larger Pencil of Camel's Hair, and with a very light and gentle Hand, pafs it all over the Plate, fo as to make it lie exactly even in all Parts, that the Strokes of the former Brum, may not appear, then lay your Plate very even, and let it dry, • SECT. XXIII. Cerus, and grind it If 96 The Art of Engraving It will be neceffary to give you this Notice, that yon are not to mix too much Gum with the White, nor too little; for if there be too much, it will break and crack the Varnifh if there be too little, it will eafily rub off : Therefore you muft be careful to ufe no more, than will juft ferve to bind the White upon the Plate. Like- wife you muft have a care not to lay it too thick, for if it be, you cannot work with the Neatnefs and Curiouihefs, you may otherwife. SECT. XXIV. The Manner, after the Plates are eat in by the Aqua Fortis, to touch or re-grave that which you have forgot, or which you would mend or fupply. BEFORE I make an End, it is pro- per to fhew you the Manner how to retouch many Things, according as Need may require, by the Means of Aqua Forth \ if it happens that you have made upon your Copper, any thing that does not pleafe you, and for this Caufe having covered it with your oily Mixture, that the Aqua Fortis fhould not perform its Operation, or that you would add any Ornaments, either with Aqua Fort is. 97 either in Drapery, or any other thing which may be thought on : In this Cafe, take your Plate, and rub it well over with Olive Oil in thofe Places, where there is any thing graven, in fuch Manner that the Blacknefs and Foulnefs, which is like to be in the Hatchings or Strokes, may be taken away. Afterwards take out the Greafe fo thoroughly with Crumbs of Bread, that there may remain none, nor Filth upon the Plate, or in any of the Strokes or Hatchings. Then heat it over a Charcoal Fire, and fpread the foft Varnifh upon It, as has been faid before. What you are to take fpecial Care of, is, that the Hatch- ings, which you would have remain, be filled with Varnifh which being done, black it, and then you may retouch, or add what you intend. Laftly, make your Hatchings with your Needles, accord- ing as the Manner of the Work mall require, being careful, before you put on the. Aqua Fortis^ to cover with your oily Mixture (as is faid before) the firft grav- ing which was upon your Plate ; for if the Varnifti mould not have entred all over, that certainly will : Infomuch that, if there mould happen in fome Places of the Hatchings to be neither Mixture, F nor 9§ The A r t of En graving nor Varnilh, the Aqua Fortis will not fail to enter and fpoil all. Having caufed the Aqua Fortis to eat into your Work, take away your Varnifli from your Plate 9 by the Means of Fire^ as before faid. THE with Aqua Fortis. 99 THE ART O F ENGRAVING. SEC % XXV. "The fever al Ways of drawing the Defign upon the Plate. BEFORE I fpeak of the Manner of managing and whetting your Gra- ver, I think it will not be amifs to let you know the Ways that are ufed in drawing your Defign upon the Plate ; which mult be of the lame Bignefs the Defign or Print is, which you intend to copy. Put your Plate over the Fire, and let it h.eat a little ; then take a Piece of the whiteft Virgin Wax, andfprcad it thin over the Plate, and with a fmooth Feather gently ftroke it all over, fo that it may lie very even and fmooth ; then let F 2 it loo The Art of Engraving it cool. If you intend to copy a Print, and would have it to print off the fame Way when it is graved, with your Print j then you mull place your Print which you would grave, with the Face or printed Side next to your Plate, waxed over as before mentioned ; and having placed it very true, rub the Backfide of the Print with a Burniiher (or any Thing that is fmooth and round.) and you will find, that it will ftick to the Wax which is upon the Copper : When you have fo done, take off the Print, beginning at one Side or Corner, but be careful you take it not off too nattily, for by fo doing, you may tear your Print or Defign; and alfo, if you put your Wax too thick upon the Plate, it will be a Means to<:aufe the fame Inconvenience. But if you would grave it the fame Way, as your Print or Defign is, then take the Duff, of black Lead, or black Chalk, and rub the Backfide of your Drawing or Print all over therewith, and place it with that Side blacked towards the Plate fo waxed, (as before mentioned) and with your Needle, or Drawing Point, draw all the Out-lines of your Defign, and you miU find all thofe Lines upon your Plate ; but if you defire to preferve the Backfide of your Defign from being blacked with the with Aqua Fortis. roi the Duft aforefaid ; then take a fine thin Piece of white Paper of the Bignefs of your Defign, and inftead of rubbing the Back- fide of your Print or Defign, rub one Side of the faid Paper with the Duft or Powder of black Chalk, and placing it with the Side fo blacked, next to the waxed Plate, lay the Backfide of your Defign upon the Paper, and fix them both firm to your Plate at each Corner with a little Wax, then draw the Out-lines of your Defign : only note, that you muft lean fomewhat harder with your Needle in> Drawing. There are other Ways ufed for this Purpofe, which it is needlefs to trouble you with ; only take Notice, that in Cafe you. defire to preferve your Defign from being any Way defaced by the Marks of your Needle in drawing the Out-lines, take a fine Piece of white Paper, and having oil'd it, hold it by the Fire, fo that the Oil may fooner penetrate it ; and having fo done, wipe it very dry with a Linnen Rag, and place the faid Paper upon your Defign, making it faft at each Corner, and you will perfectly difcern your Defign through the Paper; then with a black Lead well pointed, draw all the Out-lines of your Defign upon the faid oiled Paper," which F 3 done > io2 The Art c/Engravin® done, place ft upon the Plate in the lame Manner as before. SEC T. XXVI. 1'he Forms of Graving-Tools, and the Manner of whetting the Graver. PI. 9. TH E upper Part of this Figure will fhew two Sorts of G raving-Tools, the one formed Square, the other Lozenge : The Square Graver makes a broad and fhailow Stroke, or Hatch; and the Lo- zenge makes a deep and narrower Stroke. I he Ufe of the Square Graver, is to make the large ft Strokes j and the Ufe. of the other, is to make the more delicate and lively Strokes. But a Graver made of an indifferent Size between thefe two is befr, and will make your Strokes, or Hatches, fhew with more Life and Vigour \ and yet with fufficient Force, if you manage it properly in your working. The Forms of thefe Gravers, you will fee in the Figures 1. and II. The Hid Figure fhews you how to whet the two Sides of your Graver, which is to be done in the following Manner i you muft have a very good Oil-ftone imooth and flat, and having poured a little Sallad Oil thereupon, take the Graver, and with Aqjja Fort is. 103 and laying that Side of it which you intend (halt cut the Copper flat upon the Stone, whet it very flat and even •, and in doing this, take particular Care to place your Fore-finger very firmly upon the op- pofite Side of your Graver ; that you may carry your Hand fteadily, prefs equally on it, and guide it with the ' more Exactnefs : Then turn the next Side of your Graver, and whet that as you did the other 5 that there may be a very fharp Edge for the Space of an Inch or better ; then turning uppermoft that Edge which you have lb whetted, and fetting the End of your Gra- ver obliquely upon the Stone, carry your Hand exa&ly even, to the End that it may be whetted very flat and floping, in the Form of a Lozenge, making a (harp Point to the Edge, as Figure IIII. (hews you. It is abiblutely necefiaryj to be very exact in the Whetting of your Graver ; for it is impoflible you fliould ever work with the Neatnefs and Curiofity you defire, if your Graver be not very good, and lightly whetted. F 4 i SECT. * 104 ^ Art o/Engraving SECT. XXVII. The Manner of holding the Graver, with other Particulars. YO U may fee alfo, that the uppermoft Part of this Figure defcribes the Form Xit two Gravers to you, with their Handles fitted for Whetting. They that ufe this Art, before they ufe them, commonly cut away that Part of the Knob or Bowl which is at the End of their Handles, and upon the fame Line with the Edge of their Gra- ver; that it may not obftruct or hinder them in their Graving, as Figure II. mews you. For if you work upon a large Plate, you will find that Part of your Handle (if it be not cut away) will reft fo upon the Copper, that it will hinder the fmoath and even Carriage of your Hand in making your Strokes or Hatches ; and will alfo make your Graver run into the Copper in fuch a manner, that you will not be able to manage it as you would. The third Figure defcribes the Way of folding your Graver ; which is in this Manner. You muft place the Knob or Ball of the Handle of your Graver in the with Aqua Fort is. 105 the Hollow of your Hand, and having ex- tended your Fore-finger towards the Point of your Graver, laying it oppofite to the Edge that mould cut the Copper, place your other Fingers on the Side of your Handle, and your Thumb on the other Side of the Graver, fo that you may guide, your Graver flat and parallel with the Plate ; as you may fee in Figure II II. Be careful that your Fingers do not in- terpofe between the Plate and the Graver, for they will be troublefome, and hinder you in carrying your Graver level with the Plate, fo that you cannot make your Strokes with that Freedom and Neatnefs you otherwife may. This I think fit to give you Notice of in this Place, becaufe you muft firft learn to hold your Graver perfectly well, and be able to practife with- out Pain or Difficulty-, or elfe you will » not acquire that Readinefs and Command of Hand, which is required in an accurate and ikilful Engraver. SECT. io6 The Art cf Engraving SECT. XXVIII. The Manner of governing the Hand in Graving, and other Particulars. HAVING defcribcd the Way of holding your Graver, the next 1 hing is to fhew you how to guide it upon the Plate, in making of your Strokes, either ftraight or crooked. To work with the more Eafe and Convenience, you muft have a ftrong round Leather Cufhion filled with Sand, or fine Dull ; let it be made about half a Foot broad in the Dia- meter, and three or four Inches deep j lay this upon a Table which ftands faft and firm j then lay your Plate upon the Cufhion, as is feen in Figure II. in the former Sec- tion. When you make any ftraight Strokes, hold your Graver as directed before ; and when your Strokes are to be deeper or broader in one Place than in another, where you would have them deepen:, you muft prefs your Hand hardeft but in making of a ftraight Stroke, be very care- ful to hold your Plate firmly upon the Cuftiion. When you make any crooked or winding Strokes, hold your Hand and Graver with Aqua Fort is. 107 Graver fteadily, and as you work, turn your Plate againft your Graver ; otherwise it will be impoflible for you to make any crooked or winding Strokes with that Neat- nefs and Command of Hand, you by this Means may. If, when you are working, your Graver happens to break the Point often, it is too hard tempered ; to cure which, take a red hot Charcoal, and lay the End of your Graver upon it, and when you per- ceive it grow yellowilh, dip it in Tallow : If your Graver become blunt without break- ing, it is worth nothing. It will be convenient for you to have a Piece of Box,, or hard Wood, to ftrike the Point of your Graver into* after you have fharpened it; which will take off all the Roughnels about the Point, that was caufed by whetting it upon the Oil-ftone. After you have graved Part of your Work, it will be neceffary to fcrape the Plate with the fharp Edge of another Graver, carrying it even- upon it, to take off the Rougiinefs of the Strokes ; but in fo doing, take heel not to make any new Scratches in your Work. . That you may the better fee what is. graved, roll up dole a Piece of black Felt or Caftor, liquored over a. F 6 little* 10S Tfce Art of Engraving little with Olive Oil, and rub the graved Places with it : If you perceive any Scratches in your Plate, rub them out with your Burnifner ; and if you have graved any of your Strokes too deep, you may make them appear fainter by rubbing them with the fame. Mezzot^jtOj with Aqua Fort is. 109 Mezzotinto, called Scraping or Burnijh- ing on Copper. TA K E a well polifhed Copper Plate, and make it all over rough one Way, with a particular Engine defigned for that Purpofe, then crofs it over again with the fame Engine, and if there is Oc- cafion, crofs it over a third Time ; till it be made rough all over alike. When you have thus roughed the Plate, then rub Charcoal, black Chalk, or black Lead over the Plate, and draw your Defign with white Chalk on it ; then take a Tracer, made of the Point of a Needle, blunted round, ftuck at the End of a Piece of Cane, and trace out the Out- lines of the Defign, which you drew with the white Chalk : And where you would have the Light ftrike the ftrongeft, take a Burnifher, or Scraper, and burnifh that Part of the Plate as clean and fmooth as it was, when the Plate was firft polifhed. Where you would have the Light fainter, there you muft not polifh it fo much 5 and after this Manner you muft either increafe or diminifh the Light in your Defign, by mak- ing it fainter or ftronger, as the Neceflity of the Work requires, An • no An Idea of An Idea of a fine Collection of Prints. THIS Collection, which will be very numerous, may be divided into three principal Parts ; the Firjt, to con- tain all Hiftcrical Subjects ;. the Second, all the Subjecls of Morality, and the Third,, every Thing that concerns the Progrefs of the Arts of Painting, Sculpture and Engra- ving ; to which may be added a Fourth* containing mixed Subjecls. The hifiorical Subjecls will contain the llifiory. of the World, according to its dif- ferent Ages, Monarchies and Nations ; re- prefented by many Maps, Battle-Pieces,. Medals, Statues, Bafs-Reliefs, Portraits and Buildings, Atchievements and Seals,. Devices, Tombs, and' other Monuments of illuftrious Perfons. The Moral Subjecls will contain a great Number of Emblems, Enigmas and De- vices, concerning the Religion, Manners and Politicks of different Nations, with- Reprefentations of the Virtues and Vices. The Subjecls of the Progrefs of the Arts, wilt contain the different Stiles of the Arts ; by comparing the antique Remains and Ruins of them, with the Works of the Co thick a fine Collection of Prints, hi Gothkk Ages, and of thofe Matters who have flourifhed within thefe 250 Years ; in order, by that Means, to obferve their Original, Increafe and Decay ; and laftly, their Re-eftablifhment in the Perfection and Beauty we now fee them. The mixed Subjefls may contain Volumes of Portraits of eminent Women, Hunting- Pieces, various comical and grotefque Sub- jects, &c. But as thefe three different Sorts of Subjects deferve a more accurate Defcrip- tion, that the Curious may fee what each Volume ought to contain, in order to form a more agreeable Symmetry between them ; I will give an exact Account what each Volume mould be corftpofed of. The fir ft mould contain what pafTed in the Beginning of the World, according to the Books of Mofes, Genefis, Exodus, Le- viticus, Numbers, and Deuteronomy*. The 2d ought to be a Sequel of the Sacred Hiftory, as it is found in the Books oijojlma, Judges, Ruth, and Kings. The 3d fhouid contain the Remainder of the Hiitory of the Old Teftament, ac- cording to the Books of EJdras, Tobit, Judi'.b, Eflher, Job, vthe Prophets, and the Maccabees. The 4th may fhew us an Abridgment of Nature, the Composition of the World, according 112 An Idea of according to the Poets and ancient Heathen Philofophers ; the four Elements ; the Heavens, the Conftellations, Planets, and fixed Stars ; the Fire ; the Air, Winds, and Birds ; the Water ; the Seas, Rivers, and Fifh j the Earth, its ancient Geogra- phy ; fome uncommon Trees, Flowers, and other Curiofities of Nature \ Time, the Hours, the Months, and Seafons \ the fabulous People and Animals ; Man, his Creation and Composition, his different Ages, Manners, and Senfes j his Won- ders, and Inventions in the Liberal and Mechanick Arts. The 5th mould contain the fabulous Hiftory of the Anpents, of Saturn and Cybele, of Jupiter and Juno, of Neptune and Amphitrite, of Galatea, and many other aquatick and marine Deities ; of Pluto and Proferpine, of the infernal Deities and Torments ; of Apollo and Diana ; which may be confirmed by their different Medals and Statues. The 6th, what may ferve to illuftrate the fabulous Hiftory of Mars, of Vulcan and Venus, of Cupid and Pfycbe, of Miner- va and the Mufes, of Mercury, Bacchus, and Hercules. The 7th, a Series of the Hiftory of the Gods, where there will be fome Fables, Medals and Statues of the Demi-Deities, whofe a fine Collection of Prints. 113 whofe Names, becaufe of their great Num- ber, I fhall omit. The 8th may contain the Hiftory of what is called the Heroick Times, the Voyage of the Argonauts, the War of Thebes, and alfo Ovid's Metamorphofes. The 9th mould mew the War of Troy, the Voyages of ALneas and Ulyfes, with the laft Acts of the Heroick Ages. In the 10th, there may be fome Subjects of the Grecian Hiftory •, the Medals, Por- traits, and Statues of their illuftrious Men; with fome Pieces relating to Sicily 9 and that Part of Italy, which was anciently called the Greater Greece. The nth mould contain fome Maps and Actions of the firft and fecond Monar- chies of the AJfyrians and Per/tans; with fome other Afiatick, Mgyptian, and Afri- can Hiftories. The 1 2th, the third Monarchy of the Macedonians, comprehending the Acts of Alexander the Great, and his Succefibrs. The 13th the Commencement of the fourth Monarchy of the Romans', the Reigns of their feven Kings ; under Numa Pompilius may be ranged all thofe Pieces, which relate to the Religion, Sacrifices, Ceremonies, and Burials of the Romans; under Tullus Hojlilius, every Thing that re- lates to their Militia ; and under Tarquinius Prifcus, Ip4 Jin Idea c/ Prifcus, whatever, can give us an Idea of their Habits, Ornaments, Magnificence, and Triumphs, with the Pomp of their publick Spectacles, Feafts, and Baths. The 14th may contain Part of the Trans- actions of the Roman Republic!*, 'from the Expulfion of their Kings, under their Con- iuls and Dictators, 'till the Time of Julius Ccgfar; and to make this Volume com- pleat, there fhould be a Collection of Me- dals, and other Monuments of the ancient Reman Families. The 15th, what we have of the Reigns of their Emperors, Julius Ca>far y and Au- gujlus. In the 1 6th, we may fee the Manner of making War,, of the Greeks, Romans ■, and ancient Barbarians. We may here have feveral Plans of the Marches of Armies, Profpects of Camps, of Battles, and the Sieges of Cities, purpofely omitted in the preceding Volumes, to afTemble them here together, in order to give us an Idea of the ancient Manner of making War ; and at the End of this Volume, there lhould be a Collection of all Sorts of Ship- ping, ancient and modern. The 17th will fhew us the Subjects of the Birth, Life, and Miracles of our Sa- viour, who was born in the 42d Year of the Roman Empire, under the Reign of Augujlus i a fine Collection of Prints. 115 Augufius ; where the Chriftian iEra be- gins. The 1 8th may contain the Death and Sufferings of our Lord and Saviour; and a Collection of Holy Parables. The 19th, the Reigns of the Emperors fiberius, Caligula, and Claudius ; under which will be contained the Hiftory of the Infant Chriflian Church. The 20th, what pafled under Nero and his Succeftbrs, to the End of the Reign of frajan; and this with Regard to both fa- cred and prophane Hiftory. The 2 1 ft, the Hiftory of the Dacian War, as it is reprefented in the Column of frajan. 1 " V The 2 2d mould comprehend the -Ages, and Reigns of'the Emperors, from Adrian, to the Government of Alexander, the Son of Mammxa. The 23d, the Emperors from Alexander^ to the Time of Conjlantine the Great. The 24th, the Empire of Conjlantine and his Children, to the End of fheodo.- ftiis\ Reign, which may be called the lafl Period of the Roman Grandeur ; and at the End of this Volume fhould be placed the Ecclefiaftical Geography of the Patri- archates. The 25th fhould contain the Difiipation and Divifion of the Roman Empire, which began x 1 6 ^ Idea c/ began to be ufurped by the barbarous Na- tions, in the Times of Arcadius and Hono- rius, and ended in the Eaji, by the taking of Conjlantinople, in the Year 1453. The 26th, the difmal Concluiion of the Eaftern Affairs in AJta, by the Conquefts of Mahomet^ and other Ottoman Emperors,- by the Sophies of Perjia y and the Kams of Tartary. The 27th mould be a Series of the Ma- hometan Princes, and JEgypian Sultans ; the Cherifis of Morocco, and Kings of Bar- bary, that have reigned in Africa •, and af- terwards there fhould be a Collection of Hiflorical Pieces relating to this third Part of the Globe ; the Abyjjins, the Kingdoms of Congo ) and feveral others. The 28th mould contain the Habits and Ornaments of the Chriftian Greeks, and other Subjects of the Grand Segnior •, with thofe of the T urks and Per/tans ; of the T artars, and other barbarous Nations ; and at the End mould be a Collection of fome Cruelties, Executions, and Punilhments. The 29th mould be the Commence- ment of the Religious Orders, which were inftituted in the Eajl and amongft others, of the Orders of St. Anthony, St. Bafil, the Crofs- Bearers, the Jeromites, and the Car* indites. The a fine Collection of Prints. 117 The 30th, fome Hiftorical Pieces of the Knights of Malta, who were alfo inftituted in the Eafi, under the Name of Knights Hofpitallers of St. John of Jerufalem. The 31ft mould contain the Inftitution of the Weftern Religious Orders, and par- ticularly of thofe of St. Auguflin, and St. Bennet. The 3 2d, the different Orders that have flouriflied in the Eafi, fince St. Bennet, to the Time of St. Dominick, and St. Francis ; that is to fay, of the Carthuftans, Premon- Jlratenfes, of the Shady-Valley, the Mathu- rins, and of the Order of the Cifiercians. The 33d fhould contain the Order of the Dominicans^ and fome Hiftorical Pieces of the Holy Rofary ; and afterwards a Col- lection of the Images of the Virgin Mary, which are held in Veneration by mod Roman Catholicks. The 34th, whatever can give us an Idea of the Life of St. Francis, and of the moft remarkable male and female Saints of his three Orders and laftly, there mould be a Defcription of his Defert of Averne. The 35th mould be the Sequel of the Order of Saint Francis, containing fome Pieces relating to the Order of the Capu- chins. The 36th mould contain whatever there is relating to the Orders and Religious Confraternities 1 1 8 An Idea of Confraternities that have arifen in the Church of Rome, fince St. Francis and St. Domimck, to this prefent Time. In the 37th there fliould be a Collection of all the Habits and Ornaments of Ec- clefiaftical Perfons, and t)f all the Orders of Monks and Nuns. The 38th. Ihould be filled with the Reprefentations of Religious Ceremonies, and of the Magnificence of the Court of Rome. The 39th, with the Ceremonies and Pomps practifed at the Interments of Chri- ftians, and of the ancient Pagans, and barbarous Nations. The 40th and 41ft mould contain various publick Rejoicings, and Entries, Triumphs, Tournaments, Fireworks, Comedies, Dances and Mafquerades. The 4id, the Chronological Hiftory of the Papacy, divided into Centuries, from r.he Time of Pope Leo the Hid, to whom Charles the Great gave the City of Rome, to the prefent Pontificate. The 43d, the Sequel of the Hiftory of the Weft, containing a particular Defcription of the modern City of Rome, its Churches, Palaces, publick Buildings, Villas, Orna- ments, and the remaining Monuments of its ancient Grandeur. The a fine Collection of Prints, i 19 The 44th, Hiftorical Subjects relating to Italy in particular ; and firft of the Temporal State of the Pope, as it is now- a-days, both within, and out of Italy. The 45th fhould contain the Sovereign States of Italy ; and in this Volume there fliould be a Collection of what relates to the Republicks of Venice , Genoa, Lucca^ Ragufa, and St. Marino. The 46th, che Sequel of Italy, con- taining the Dominions of the Kings of the Sicilies, and Sardinia, the Grand Duke of Tufcany, Duke of Modena, and of the Houle of Aujlria, and other Princes in Italy. The 47th, the Hiftorical Subjects re- lating to the Kingdoms and States of the King of Spain*, in Old Spain. The 48th, thole of the Kingdom of Portugal; and afterwards thofe concerning the Defcription of both Spains. The 49th mould be a Collection of Hiftorical Pieces, relating to the Dominions of the Houfe of Auftria, in the Low Coun- tries. The 50th, a Collection of thofe relating to the Dominions of the King of Spain in the New World; and here mould be every Thing that regards America. The 51ft, the Dominions of the King of Spain in Afia ; under which fliould be comprifed 120 An Idea of comprifed what relates to the Eaft-Indies, China, Japan, India Proper, and the reft of the Indian Princes. The 52d fliould be a Collection of what concerns the Republick of the United Pro- vinces. The 53d, an Hiftorical Collection of whatever regards the Kingdoms of England and Ireland, to the End of the Reign of Queen Elizabeth. The 54th, of what relates to the King- dom of Scotland-, and to the three King- doms of England, Scotland, and Ireland* fince the Union of thofe Crowns in the Perfen of King James the Vlth of Scotland, and Ift of England j with a Defcription of this Monarchy. The 55th, of what regards the Northern States v that is to fay, Ruffia, Poland, Sweden, Denmark, and other Northern Countries. The 56th mould contain the States of the Kingdoms of Bohemia, and Hungary, the Arch-Dutchy of Auflria, the County of Tirol, and other hereditary Dominions of the Houfe of Aujlria. The 57th, the Hiftorical Subjects con- cerning the Emperors of Germany, from Conrad, Duke of Franconia, who trans- ferred the Empire from the French to the Germans, to the kte Emperor. The a /^Collection ^Prints. 12 i The 58th, what relates to the nine Electors of the Empire, as well the Eccle- fiaftical as the Secular. The 59th, what relates to the other German Princes, both Ecclefiaftical and Secular. The 60th, what regards the Free Cities of the Empire. The 6 1 ft mould contain whatever re- lates to the Republicks of Switzerland, Ge- neva, the Grifons, the Principality of Neuf- chatel, and the other Allies and Subjects of the Switzers. The 6 2d, what concerns the Dutch ies of Burgundy, Normandy, Lorrain, and Bw- tany, before they were united to the French Monarchy. The 63d mould contain the Antiquities of the Gauls, and the Portraits of their il- luftrious Men, before the coming of the Franks, under their firfb King Pharamond. The 64th, what regards the Hiftory of the French, during the firfh Race of their Kings, after their Arrival in Gaul, under the Conduct of Pharamond. The 65th, what regards the fecond Race of their Kings, from Pepin, to Louis the Vth. The 66"th fliould begin with the third Race of their Kings, and contain every Thing that relates to them, from Hugh G Capet, 122 An Idea of ■Capet, to the End of the Reign of Charles the Fair ; where the Right Line of the ■elded Branch ended. The 67th mould contam what concerns their Kings of the third Race, from Philip of Valois, to the Death of Louis XI. The 68th, the Reigns of their Kings, Charles the VIII. Louis the XII. Francis the I. and Henry the II. 5 and as by the Marriage of Mary of Burgundy, with Maximilian, Europe has been fiace divided into the two Families of Aujlria and Bour- bon ; to avoid Confufion, thofe Pieces re- lating to the foreign Wars of the French, with the Portraits of the eminent Men, •who have been either their Allies or Ene- mies, may be put under the Reigns of their Kings. The 69th and 70th may contain the Reigns of their Kings, Francis the II. Charles the IX. and Henry the III. The 71ft, what relates to the Order of the Holy Ghoft, which was inftituted by Henry the III. and here may be the Names and Arms of all the Commanders and Knights of the Order, from its firft Insti- tution to the laft Creation. The 72c!, what relates to the Reign of Henry the IV. The 73d may contain the Beginning of the Reign of Louis the XIII. his Portraits, thofe a fine Collection p/Trints. 123 thofe of the Queen, the Princes and Prin- cefles of the Blood ; with the Arms or Portraits of the Cardinals, Bifhops, and great Officers of the Crown, and Houfe- hold. The 74th, the Arms and Portraits of "fome Ecclefiafticks, Religious, and Secu- lars, of all Conditions, who lived, and were engraved, during the Reign of Louis :the XIII. to which may alfo be joined Van- Dyk's Portraits. The 75th, fome Pieces of the magnifi- cent Ceremonies, Rejoicings, and other Feftivals, that palled in France, in the Reign of Louis the XIII. The 76th, what palled of the fame Kind in Foreign Countries, during this Reign. The 77th, the Pieces reprefenting the warlike Exploits of the French Nation, from the Beginning of the Reign of Louis the XIII. to the Year 1629 ; when all the cautionary Towns of the Proteftants were reduced to. his Obedience. The 78th, the military Actions that parTed in Europe, from the Time of Louis the XIII. to the Rupture of the Peace with Spain, in the Year 1635. The 79th, the military Aftions, from the Treaty of Peace at Treves^ to the Death of Louis the XIII. G 2 The £24 ^ l I-D-EA Of The 8oth may contain the Habits and Ornaments of the ancient and modern French^ from the firft Eftablifhrnent of that Monarchy, to the prelent Time ; to which -may be added, thoie of the conquered Pro- vinces, with the Cries of Paris, Callous Beggars, and the Country Sports and Paf- rtimes of the French. The 8 1 ft, a Series of the military Ac- tions .during the Reign of Louis the XIV. the Regency of the Duke of Orleans, and the Keign of Louis the XV. now living. The 8 2d, a Series of the magnificent Ceremonies, Feftivals, publick Rejoicings, Fireworks, Cs?f . during the fame Time. The 83d mould be a Geographical De- fcription of the French Monarchy, as it is now divided into Provinces, Parliaments, Governments, Generalities, Diocefes, and S ub-di virions ; to which fiiould be added, Charts of the Coafts, Plans, or Profils of .the fortified Towns and FortrefTes, of the ^principal Churches, and publick Buildings,, .and of the Royal Palaces, with thofe of ,the Princes -of the Blood, Nobility, and Gentry. The 84th mould contain Maps of the .States and Provinces, with Plans or Pro- -rils of the principal Towns and FortrefTes, ■which have been added to the French Mo- narchy, r a fine Collection of Prints. it$ narchy, from the Beginning of the Reign of Louis the XIII. to the prefent Time. The 85th, the Portraits of all the emi- . nent Men in the Kingdom of France, ei- ther for Arts or Arms, fince the Reign of Louis the XIII. to the prefent Time •, to which may be added, thofe of Flanders, and other Countries. The 86th may be compofed of the Por- traits of thofe People, who ought to be avoided ; fuch as, the Authors of different Sects, of Men noted for Impiety or Liber- tinifm, &c. to which may be added the Reprefentatrons of Monfters. The 87th may be compofed of the Por- traits of Saints and Martyrs, and thofe of their Persecutors, with Reprefentations of the various Tortures that have been inflict- ed on them* from the Beginning of the World to this Time. The Pieces which will illuftrate the Arts of Painting, Sculpture, and Engraving, will alfo compofe many Volumes. The 1 ft of which may contain the Ori- ginal of the Art of Painting, in the Mgyp* tian Hieroglyphicks, the Alphabets of dif- ferent Natibns, fome Bas- Reliefs, Trophies* Rings, Cameos, Vafes, Urns, Ornaments of Architecture, and ancient Infcriptions and Epitaphs. G3 The 126 An Idea qf The 2d, fome Pieces relating to the an- cient Hebrews, with a Collection of Fefti- vals, Medals, and antique Statues. The 3d may contain the two Books of the Marquis Jujliniani's Gallery, which are full of antique Pieces ; and the 'Trajan Co- lumn, which is the mod entire Piece of .Antiquity extant. The 4th may mew us the Decay of Painting and Sculpture, during 1 100 Years that the Empire was on the Decline; from Conjlantine, to the End of the fifteenth Century ; and mould be compofed of a great Number of Pieces .in the Grecian, ^Egyptian, and Gothkk Stiles, taken from the old Paintings, Tombs, Medals, Seals, and Tapeftry. The 5th may be the Books, intitled, Roma Subterranea, filled with Pieces, in the Decline of the Empire, of the Gothiik Stile. The 6th mould be the Sequel of the De- cay of the Arts, with feveral Pieces from wooden Plates, which mew us the Rudenefs of their Defigns, fince the Invention of Printing. The 7th may be the Original of the Art of Engraving, about the Year 1490 con- taining many Pieces of the firft and molt ancient Engravers ; as of Jfrael, and Mar- tin T edefco, the Mafter of Albert Durer of a fine Collection c/Trints. 127 of Daniel and Jerom Plopfer, and feveral others. The 8th, the Works of Albert Durer x the Reftorer of Painting, and great Per- fecter of Engraving in Germany and the how- Countries^ about the Year 1520. The 9th, a Sequel for the Works of the German and Low-Country Mafters, contain- ing fome Pieces of Lucas of Leyden. The 10th may be filled with Pieces en- graven on Wood, done in Germany, fince 1500, to this Time, as well by Lucas Cranis, Jacob Pens, Holbeins*, Hans Scbauf- flig, as others. The 1 1 th may be a Series for Germany and the Low -Countries, containing fome Pieces of thofe, which are called the Lejfer Mafters ; that is to fay, of George Pentz, Aldegrqef, Sebahle, John W hifpanien, his Brother, of Virgilius Solis, and others, whofe Names and Marks are unknown. The 1 ath fhould be compofed of the. Works of Francis Ploris, who is called the Flemijh Raphael, and thofe of Martin Hem/kirk. The 13th fhould be a Sequel for Germa- ny and the Low-Countries, containing fome Pieces of Lambert Suave, Lambert Lom- bard, of Peter Brughel, John Mabufe, M. Quint in, George Behan, Gilles Majfart, and Gilles. Coignet, of Otho Venius, Cornelius G 4 Corty 128 An Idea of Cort, and Theodore Bernard of Amjlerdam, of Francis Klein, a Dane, and of John Slrada. The 14th Ihould be ftill a Sequel for Germany and the Low-Countries, contain- ing fome Pieces of Charles Mander, and Francis Pourbus, of Diterlin, and Lambert Lenoir, H. Vtouch, Denis Calvaert, Abra- ham Janjfens, of Paul Morelfer, Nicholas Hoey, Geldorp, Goltzius, Jofua of Monpre, Jchn Hcefnaghel, Gerard of Groninghen, Cornelius Vanfichem, "John Bol, David Van Moons, and Peter Vander-Borcht. The 15th fhould contain fome of the Works of Henry Hubart, and James Julius Goltzius. The 1 6th mould be the Works of Wil- liam and Crifpin de Pas, of Magdalen and Barbara de Pas, and of feveral others of that Name. The 1 7th Ihould be ftill a Suite for Ger- many and the Low-Countries, comprifing fome of the Works of Nicholas de Bruyn, of Theodore de Bry, and of James de Ghein. The 1 8th mould comprehend the Works of John, Raphael, Juftus, and Gilles Sa- dalaer, and alfo thofe of Martin de Vos. The 19th mould be ftill a Suite for Ger- many and the Low- Countries, and contain fome Pieces of Anthony and Jerom Wierx, of a fine Collection o/"Prints. of Lucas Vofttrman, Valdor, John Sae'nre- dam, of John and Herman Mulkr, James Mathan, Simon Phrygius, Bartholomew Do- lende, of Mir eve It, and the Bolfwert's, of- Michael Snyder s, Baptift Urintz, Ham Bol^., Peter and Gerard de Sode, of AJfuerus Lon- derfeel t and of Adrian Collaert. The 20th mould be another Suite of Mafters that flourifhed in Germany and the Low-Countries, in the Beginning of the 17th Century viz. of Jofeph Heintz^ John of Vingth, John Abhach, John Rotten- bamer, of M. Kager, Peter Candide, and Domini ck Cufios, of Chrijlepher Schuvarts$^ John Speccard, and Gerard Seghers, of Bar- tholomew Spranghers, Abraham Bloemaert^ . Anthony Van Dyck, of Abraham Brower, Gerard Honthorft, James Jordaens y and of . Robert Prince Palatine. The 21ft fhould be the Works of Sir Peter Paul Rubens, a famous Painter of the. Low-Countries. I would fill the 2,2 d with the Reprefen* rations of Night, and other dark, gloomy ' Pieces of various Mafters of all Nations;, as of L. Gouth, J. Velde, fVittembrouck, Rembrant, Vanvliet^ and others. . The 23d fhould be a Collection of di- vers Landfkips, done by Mafters of differ rent Nations, that is to fay, of Paul and Matthew Br/7, of the Sadalaers, Peter St&- G 5 phono > 130 An Idea of phano, Cornelius Cornell, Ro eland Savery, of Monperche, Claude of Lorrain, of Fouquieres, Perelles, of Frederick Scalberge, Som, and the Nairn, and feveral others ; to which may be added the Pieces of Ruins, of Henry of Cleves, Michael Colym, and New- land ; with fame Sea-Pieces, and maritime Profpedts. The 24th mould be ftill another Suite of different . Landfkips, viz. by Peter and John Br ugh el, Londerfeel, J. Velde, Tobit Verdach, Vandeboons, Menan, and others. The 25th, in order to fee the Re-efta- blifhment o: the Arts of Sculpture and En- graving, mould contain fome Pieces of the firft Painters and Engravers, as oft Anthony Pollarolo, Andrew and Benedict Mantegna, of Dominick Campagnola, John of Brefiia, and James of Verona ; as alfo of ieveral ancient Engravers, whofe Pieces are only known by their Marks ; as the Mafters of the Name of Jefus, Mercury, the Crab- Fi/b, the Bird, the Star, and feveral Others ; to which I would alfo add, fome Pieces of the firft Italian Painters fts of Giotto, Ghirlandaio, ot Hercules of Ferrara, ot Peter of Perugia, the M after of Ra bael, and ot Giorgione, the Matter of Titian. 1 he z6th mould be a Suite of the Italian Mailers, containing only fome of the Works a fine Collection ^/"Prints. 131 Works of Raphael of Urbin ; and thofe engraven only by Mark Antonio, and Au- gujiin of Venice. The 27th, a Suite of the Works of Raphael, engraved by the ancient Matters, from 1530, to 1560 ; that is to fay, by 'Julius Bonajjone, Sylvejler and Mark of Ra- venna, Beaitrix of Lorrain, and others. The 28th fhould contain fome Pieces of Michael Angelo. The 29th mould be another Suite of the Works of the Italian Mafters, containing fome Pieces of Anthony of Corregio, Francis Matzuolo, fir named Parmigiano, and Pq- lydore of Caravagio. The 30th, the Works of Titian. The 31ft fhould contain the Works of Julia Romano, the Caracci, and Perin del Vaga, engraved by John B. of Mantua, and Diana, his Daughter ; as alfo by Theo- dore-Ghifi, and George Julius of Mantua. The 3 2d fhould be compofed of the Works of the Painters and Sculptors, that were Contemporaries of Raphael and Michael Angelo, to the End of the 16th Century, viz. of Baccio Bandinello, the Salviati, of Balthazar Peruzzi, Dominico Beccafumi, of Sodam of Sienna, Pordenene, Mar alius Venujlo, and Baptijl, a Monk of the Order of Camaldoli. G6 The 132 An I ml a of The 33d fhould contain fome Pieces of Tbaddeus and Frederick Zucchero, of Da- niel of Volaterra, Mark of Sienna, and Baptijl Del Moro. The 34th, fome Pieces of Paul of Ve- rona, Paul Farinate, the Bajfans, of ret, Baptijl Franco, of Mutiano, and the elder and younger Palma. The 35th, fome Pieces of thofe, who fiourifhed between the Year 1550, and the End of the 16th Century, viz. of JEneas Vico, Martin Rota, and Reverdino, of Ca- mi lb Proccacim, Baptijl Fontana, of Cor- nelius Cort, Pajfaro, and Sebajlian of Ve- nice. The 36th, a Suite of the Works of the Italian Engravers, who fiourifhed towards the Litter End of the Sixteenth, and the Beginning of the Seventeenth Century; that is to fay, of Cherubino Alberto, Villa- mena, of Raphael Schiaminofa, and the To- mafini. The 37th fhould contain the Pieces of Francis Vanius, Ventura, Salembeni, of Ci- voli, Michael Angelo, Car av agio, and the three Caracci. The 38th fhould be a Suite of the Works of the Italian Painters of the feventeenth Century, viz, of the Capuchin Friars, Pi- azza, and Co/mo of Cajlel Franco, of Hip- politus, Scarzelin, of Schiavone, Cangiage, Borgian, a fine Collection of Prints. 133 Borgian, Charles of Venice, Pafqualin of Verona, Alexander Cafolani, Bernard Caftel- lo, Vefpajian Strada, Anajlaftus Fontebuono, Francis of Viterbo, Luke Ciamberlani, An- drew of Ancona, of Anthony Pomerange, of Matthew and Frederick Greuter, of Philip of Naples, and Stephen delta Bella. The 39th, a Suite alfo of the Works of the Painters and Sculptors, that flourifhed in Italy, during the Seventeenth Century ; that is to fay, of Cavalier Jofepino, Guer- cino, Cirano, Francis the Fleming, and Marcel of Provence, the Reftorer of Mo- faick Painting, of Gentileque, Valentin, Ed- ward Fialetti, of Peter Beretino of Cortona, Dominichino, and Guido Rent. The 40th fhould be to mew the Re-efta- blifhment of Painting in France, and con- tain fome. Pieces of Rene, King of Sicily, of Leonard da Vinci, Andrew del Sarto, and Rojfo. The 41ft fhould be a Suite of fome of Primaticcio's Works, engraved by Leo of Avefnes, and Anthony Jantus, his Engra- vers as alfo fome Pieces of Jeffery of Moutiers, Leonard of Limoges, Stephen of Lofne, Rene Boivin, Luke Penis, Dominick of Florence, and Leonard Thury. The 42d may be filled with the Works of John Coujin, John Genet, of Swifs, of Little Bsrnardy Peter of La T our, Laurence the 134 '-dk* Idea of the Glazier, Jujius of Egmont, and of fe- veral others, engraved in France, fmce the Commencement of the fixteenth Century. The 43d mould contain fome Pieces of thofe Mailers, who flourimed at the latter End of the fixteenth Century, and during the Reign of Henry the IV. and Mary of Medicis, viz. of Freminet du Breuil, Bur- net, Caron, du Bets, Lallemand, Thomas de Leu, Leonard Gualtier, and others. The 44th, the Works of thofe Matters, who flourimed about the Middle of the feventeenth Century, that is to fay, of James Blancbard, de Rabel, Ferdinand, Ifaias Fournier, John Lis, Faker and Mal- lerac, of Ruelle, Bellange, and James Callot. The 45th mould alfo be compofed of the Works of James Vhomme, of Little Francis, Vanmol, Meliin, Quefnel, St. Igny, JoJJ'eiin, Roujfellet, and Peter Brebiette. The 46th may be filled with the Works of the Beit: French Engravers, viz. of Clau- dius Melian, Gregory Huret, Peter Daret, Gilles Roujfellet, Michael Lafne, and many others. Th* 47th, with the Works of the moft eminent trench Painters, that is to fay, of Simon Fciiet, Nicholas Pcujfm, James Stella, Champagne, Bourdon, de la Hire, Vignon, Loir, Charles le Brun, and Peter Mignard, engraved by the belt Matters. The a fine Collection of Prints. 135 The 48 th, I would .fill with the finefr Pieces of the moft celebrated Engravers of the feventeenth Century. The 49-th, 50th, &c. may contain a Collection of Pieces of different Matters of all Nations, who have either been omitted or forgotten in the preceding Volumes, or have flourished fince the End of the feventeenth Century ; as well as of others now living, whofe Names I mall not fpecify, having an equal Veneration for them all. The Subjects of Morality will alfo form feveral Volumes, viz. The ift may contain fome Emblems of the Chriftian Wormip. The 2d may be the Reprefentations of the Virtues and the Vices, with their Sym- bols. The 3d may contain a Collection of different Emblems, Fables and Enigmas. The 4th, a Collection of the Devices of Popes, Kings, Prelates, Princes, Noble- men, and others. And laftly, the 5th may be compofed of a Collection of Hiltorical Emblems, De- vices and Enigmas, relating to Love and Death. The Mixed Subjefls will alfo compofe •fome Volumes, viz. 136 An Idea of, &c. The firft may be a Collection of the re- markable Women, mentioned in the Old and New Teftaments. The 2d of Holy Virgins, Martyrs, Fe- male Saints, beatified Nuns, &fr. The 3d and 4th may alfo be Collections of Chriftian Emprefies, Queens, and illuf- trious Women of different Natrons. The 5th may be the Reprefentations of Roman Ladies, taken from the antique Statues, Bultos, Bas-Reliefs, Gfr. The 6th may contain a Collection of the GoddefTes of the ancient Pagans *, with fome illuftrious Egyptian, Grecian, Jftatick^ Perjian, and Mahometan Ladies. The 7th may be filled with the Portraits of Women, both ancient and modern, who were either imperfect, mad, or Profti- tutes. The 8th may comprehend a Collection of all Sorts of Hunting, Filhing, and Fow- ling Pieces; to which may be added, a Collection of all the Animals that are treat- ed of in the aforefaid Pieces. And laftly, the ninth may be filled with a Number cf all Sorts of humorous and grotefque Pieces ; to which may be added, a Collection of all Sorts of Mafque- rades. REP ER- ( i37 >; REPERTORIUM Sculpt He- Typtcum : OR, A Complete Collection and Explanation Of the Several Marks and Cyphers o F ENGRAVERS, Sec. ^fe^ ^^C* ^^S? ^(r ti^c ^^5r^ ^^Pc 1 ^ ^^(? ^i^f ^^5? ^S^f i . M °~ HANS Scbaufig, that is, John Schauflig of Nordlingen in Germany. "We find this Mark in a Folio Book, in which the Paflion, Refurrection, and Af- cenfion 138 Marks and Cyphers cenfion of our Lord are engraved, with. Notes by Ulderic Finder^ printed at Norim- berg in 1507. He engraved in. the Manoec of Albert Durer. ill Stoltzius, he engraved in the Got hick Tafte. *8l Michael Corns 9 his Mark of certain Arabian Stories in 68 Plates, dated different Years^ one is in 1576. Noet Garmre, Engraver of Grotefques, Ornaments, and Figures, parti- culary of Arts in 48 Pieces. . DO 5 CAP Domenico Campagnola, a Vene* tian 9 and Scholar to 'Titian j we meet with lome of his Pieces engraved in 151 8. His Brother Julio was alfo an Engraver. 6- Michael of Engravers, &c. 139 Michael le Blcn, of Frankfbrt, Painter to the Duke of Savoy. His Mark is fometimes L C, with a winged Dragon, and the Year 1509. At other times his Mark is two little Gotbick Shields, or with the Mark in Number 35, or L. V. C. He engraved in Wood and Copper. 27. A 144 Marks and Cyphers feveral Ornaments of Gothick Architecture. Nicholas de Bruyn, he ufed three Marks, in different Times. veral 5T urkifh Stories, and various Subjects invented by Martin HemJkirL Painter and Engraver, his Mark : He alfo ufed the Mark A. F. but in very few Plates. John Burckmayr Augujiano made ufe of the former Mark •, and Matthew Grunevald, of Aj chaff emburgh, who was Contemporary with Durer \ as alfo Mark Antonio Raimofldi, in the Life of Chrift, copied from that of Albert Durer, for which the latter accufed him before the Senate of Venice. A Mark placed over Albert Durer, of Norimberg, 31. Hifbel ^Engravers, &c. 145 His b el Peun, an Engraver of Norimberg, called Hisbin : He uled this Mark from 1513 to 1549. Hans (or John) Sebald Beham alfo ufed the - fame Mark in his Plates. Some are of Opinion, that the Mark at Number 141 is Hisbin's Mark. Others, that there were two En- gravers of the fame Name, and that their Marks differ'd by changing B in P. See in the Abcedario Pittorico for Hans Sebald, Page 220. Albert Aldegraft, of Wejl- fhalia, a famous Engraver. Hans Brefanck) engraved the Stories of the New Teftament j and in 1619, the Twelve Apoftles, our Saviour, • and St. Paul. ^ J OV ^Pi Lucas Van Leydw, a celebrated Painter and Engraver, ufed thefe two Marks-, in fome of his Plates we fee Part of the Mark at Number 133. II 35. Hans 146 Marks and C y p h e r s Hans Kaldung's Mark, which alfo was ufed by Luke Van Cranogio, but for what Reafon is not known. See Number 26. Hans Baldung, or Baldutm, in a Plate reprefenting Hories, engraved in 1534. The fame Mark was ufed by Ham Brofamer, in his Plates of Curtius riding in- to the Gulph, in his Laocoon, and Solomon worfhiping the Idol. Horatio Borgiano likewife made ufe of the fame Mark in his Plates, and fometimes made an H and aB. fuch a Mark. Joft Ammorty made much Cornelius Hevijfen, 39. Martin of En gravers, &c. 147 CL )S Martin de Secu, of Romerfiolaen he alfo marked his Plates thus, M + S. 4^* Periecouter, his Mark in feve- ral Figures in a Handing Pofture, engraved in 1535. Daniel Mignot fecit, 42. J^/J" p^ r Mercand. 43 two Marks, making a P and Q. At other Times his Mark was P. Quajt, as in cer- tain Grotefque Pieces. 44- § George Pens, Painter and En- graver of Norimberg, together with Mark Antonio Raimondi, engraved the Works of Raphael in Rome. He engraved after Aide- graft's Manner, his Mark was fometimes G. P. 1554. Hi - 45. The a 4*8 Marks and Cyphers The Mark on a Dead Chrift, under which is written Jean Ladef- peldrickt invenit. The fame Mark is found on other Pieces. Peter Cottart, an Engraver Andrew An- dreani or Mantua., he made ufe of thefe two Marks. He engraved on Wood, a tre tag/?, or three Croflings in his Shades. The fecond Mark is found in the Triumph of Julius Cafar in 10 Sheets, engraved in 1 599, and was invented by Andrew Man- tegna, who alfo engraved on Copper. An- drew Andreani was called il Piccolo Alberto, or Little Albert. Cornelius Bus, or Bofs. 49. The . and after this Mark we read Oons ; his Plates were engraved by P. Servator Sc. 119. 1 G. 1.6-2 Marks and Cyphers 9* . ft) I G. Bronchorjl, in certain Landfkips, in which we likewife find the Letters C. P. i. e. Cornelius Polemburgh pnxit. 120.T /£_ or ir JL^JT%ZL V 4 Luke Vofterman, Fainter and Engraver of Ant- werp, was advifed by Peter Paul Rubens to apply himfelf to engraving ; he engra- ved the Works of the faid Rubens, as alio thofe of Raphael, and Vandyck. The Marks of Hans Saenredam, a Dutchman : He died in 1607. 122. J(jj James de Ghein excudit, at Charles Mander's 1608. The Mark of Adam Mljheimer, who worked with Peter Breug- *Tbel. 124- The of Engravers, "&c> 163 4 a Th« Mark in certain Landfldps of Henry Given or de Clef. Mar- tin de Clefalfo made ufe of this Mark. ^ ^ * This Mark is of Schelde a Bolfwaert, and was ufed by him when he had not a mind to fubfcribe his own Name. .L^-JL Rembrandt ■■, at other times he ufed to put Van Rhin inv, He was a Painter and Engraver. JJtJl. Near this Mark we read Olyn. and thefe are Landlkips engraved by J. Van-Velde. 128. AA/~ * V A Mark in certain Landfkips and Solitudes, fignifying An- thony Van Vuaterl Inventor; 'tis fome- times joined with the firft of the three Marks that follow next, /*. e. H. S. P. made in one. 129. Jofepb 164 Marks and Cyphers Jofeph Ribera, called Spagnoletto, ufed thefe three Marks at different Times; I 30. - ^53/ The Mark of a Virgin en- graved by Cornelius Bofs, and underneath Michael Ange : inv. that is Buonaroti. See Numbers 48 and 54. The Mark of a Virgin Sitting, after the Manner of Durer, and underneath 1510. * ^ ^" This Mark is under a fmall Virgin Handing on a Half-Moon. der a S. Veronica, holding the Holy Hand- kerchief. The former Part of this Mark is feen in fome Plates of Lucas Van Leyden. I 34. A/lSd/^| JL V JL Mauro Oddi 9 of Parma, Engraver and Painter. *35- dgoftwo* of Engravers, &c. 165 I % C . „/V\_ Ago/lino, a Venetian, Scho- lar to Mark Antonio Raimondi, engraved at Rome, the Paintings of Raphael, Julio Ro- mano, and others. He alfo marked with the Letters A. V. I. or A. V. 1525. 136. OV kDJLO Stephen Delia Bella, of Florence, a famous and whimfical Engraver. His other Mark is S. B. o I 37' GjJ^D j u i io Ce j> are y enent ^ an Engraver of Bologna. Jofeph Maria MetelU, of Bologna, a famous and fantaftical En- graver of all kinds of Subjects. 139- Andrea Salmincio, of Bo- logna, an Engraver, and Falejio's Scholar. 140. Do- i66 Marks and Cyphers I40. „ 1 M 3 Uomemco Beccafumi Siennefe^ a Painter and Engraver : We alfo find this Mark in certain Wooden Cuts, copied from ^Titian's Paintings. He died in 1549. See Number 31, where we find pretty near the fame Mark. 142. (Tip VJL Frauds de Poilly, engra^ ved for feveral Matters. Anthony Salamanca, or Ant. Sal. exc. 1543. 144- jEf 1 xhe Mark of Herman Coblent under the Four Evangelifts anc 1 other Plates ; one of David, of Judith, and Lucretia and afterwards Adrianus Ruber- tus exc. 1576. ■ J t^OC? Raphael Urbin, a cele- brated Painter and Inventor, whofe Piece! wer< of Engravers, &c. 167 ^were engraved by the greateft Matters. In the prefent Mark he gives the Initials of his Name and Sirname. See Number 99. marked certain Plates reprefenting Birds and Hunting-Pieces, with Ornaments. Florence, who going commonly by the Name of Domenico Florentine/, marked fome Plates D. F. 1647. The fame Mark was ufed by Domenico Bonavera, an Engraver of Bologna, and Domenico Bettini a Painter., in his Pieces of Flowers and Animals. rence, a famous Engraver : His Mark was fometimes a T. with an E. joined to the Leg of the T. Hans Liefrinck, who thus 147 B) Dommtco Barriers, of ringius fecit. 150. Tbco- 16S Marks and Cyphers Theodore Cruger, or Greuger, Engraver. Andreas Vande-Venne pin- xit. VV. Delft. Sc. that is, Willielmus Delft Sculp/it. 1 C2. J£f jS/i Henry Van Cliven, or Cli- venfe, or de Clef, a Painter of Antwerp, who died in 1589. See Number 124. named of Afchaffembwg, Painter and En- graver after the Manner of Albert Durer ; he died in 1510. The Mark of feveral little Plates, reprefenting our Saviour's Myfteries, engraved either by Agnes Freij, Albert Durer' s Wife, or fome Scholar of his. 155. Gio. ef Engravers, &c- 169 1 5 5' V jA5f Gio. or (yafaj Gal- kfirucci, of Florence, Engraver, inferted in the Catalogue of Roman Painters, in the Year 1652. He engraved feveral ef the Baflb-Relievos of Polydore* J VaXvZ Guido Ruggeri fecit. The Mark of feveral Pieces painted at Fon- tainebleau by Abbot Primatkcio, and en- graved by the above-mentioned, who ac- companied him into France. 57-^ The Mark of Jufius Sa- dalaer. He fometimes ufed only this Mark ; at other times he added, Sadalaer. I. S. exc. is the fame. Alexander Algardi, Sculp- tor of Bologna, in a Conclufion engraved by Francis de Poilly, 1653. He at other times made ufe of the fame Mark, but without the G. I 159. Francis ij-q Marks and Cyphers Francis Maria Fran- da, an Engraver ot Bologna. I 60. r j- ^^J\/ r JRneas Vighi, 01 yho, of Parma. .His other Marks are M E. V. iE. V. l6l. . ^ % Count de Caylus, o: Pam, his Mark, on his Engravings ir Wood, &c. from the Drawings of th< greateft Matters. l62. } The Mark of Crifpin Pa] faus, or Crifpin de Pas. 163. 2r) The Mark of Charles A bertus, in a Book of Vafes from Poly dor e. C a/par Luyken. 165. Georg ef Engravers, &c. 171 1 66. George Keller. David T enters, 167. £f. C^Ky 7> Efifcopus, or Bl/bop fecit. 168.. Francis Cauveau. See Num- ber 73. 169. IL JL J. 1 //' » J / the Letter B. Bo- Julio. B. V. nafo 1544, was an- J other of his Marks. J. B. M. John Baptifta, of Mantua, was Scholar to Julio Romano ; he engraved the Burning of Troy, and other Pieces of his own Invention. J. B. F. James Belli, a Frenchman, fecit, or Belli fecit. J. C. Proc. Inv. Julius Csefar Procaccinus Inventor. J. G. Bronchorft. See Number 119. J. G. Van Uliet, is the fame as James Grand-homme. See Number 112. J. H. Jerom Hopfer. I. H. 1 86 The Initial Letters- I. H. W. 1570. J. K. James Kerver. I. L. 1712. J. Lu) ken. I. M; Ifrael Meek, in certain Subjetls of th Paffion, and ether Plates. See I. V. M The fame Mark was alfo ufed by Ifraei Martino, fuppofed to be the fame wm Buonmartino, who lived- in 1490. L. fee. Joannes Livius fecit. He engravec after Rembrandt'j Manner. Jo. GuiJI. Baur. John William Baur See William Baur. Jo. AN. BX. John Antonius Brixianus. 1538. See Number 8 . - I. R. W, J. S. Juftus Sadalaerexc. John Saenredan ufed the like Mark, joining the J to the S See Number 121. and 157. J'. S. B. John Sebald Beham. See B, am Number 3 1 . I. V. M. Ifrael Van Mechelen, or Meche- lini, or Van Meek, and of Lomazzo. furnamed of Mentz ; he livid before Alber Durer, and fome times marked his Plate. with his Name Ifrael, only. L. G. Civ. F. with the firfi C in the perpen- dicular Stroke of the L, is the Mark Oj Ludovico Cardi, furnamed Civoli, a Flo rentine Painter, in a Plate of the Suppei of the Pharifee. L. C ufed by Engraver s. 187 ") Lewis Carracci Inven- C. F. B. ( tor. Francefco Bric- ^od. C. I. Fr. Bri. 1" cio intaglio, or en- j graved. L. C. 7 Lewis Carracci, in his three Plates L. O. C. * engraved with his own Hand. Li. D. In a Sacrifice, and Alexander the Great, by Abbot Primaticcio. k q Luke Van Granogio, or Luke -j^' y* q > VanCraen, Painter of Savoy, ^ Anno 1509. See Number 26. L. H. Lambert Hopfer. See Number 21. L. K. A. Luke Kilian, of Augsburg, en- graved Tintoret'j and Spranger'j Works. L» -^Lambert Lombard, or Sufterman, L. L. > or Suavius, all which Jignify the L. S. ^ fame Perfon. L. L. \ Lorenzo Lolli, Guido Reni'j Lollius. * Scholar. Lucas P. R. Luke Penni, the Roman, RaphaePj Scholar. See Number 110, L. V. V. Luke Van Uden, in fome of Titian's Land/kips. L. Lucas of Leyden. See Number 34. M. A. F. See Number 99. M. C. Martin de Clef, or Clivenfis Au- guftanus. M. D. Vos. Martin de Vos, a celebrated Inventor for Engravers. Mel. »88 The Initial Letters Mel. Gir. fee. Melchior Girardini fecit, H was a Painter and Engraver at Rome, j M. G. Matthew Greuter, Engraver, bori at Strafburg, Ann. 1 566. M- inv. \ Are all differed Mel. p. &fc. C Marks of Clau Mellan. ^ dius Mellan o\ Mel. fc. Romae. 1633. ) Paris. MI. AG. FLO. Michael Angelo, of Flo- rence, u e. Buonaroti. M. L. Melchion Lorichius. M. Merian. Matthew Merian. M-f-S. Martin de Secu, or Schonio, collet by fome Buonmartino, was Albert Durer\ Mafier. See Number 39. M. R. Mark - Ravennate, or Ravignano, /. e. Mark of Ravenna, Scholar to Marls Antonio Raimondi. See R. S. ML Z. Martin Zinkius, i. e. ZazingerL 1500. See Number 10. Nad at, has marked bis Plates with a Mol( or Want-trap. N. B. Nicholas de Bruyn. See Number 28 N. B. L. F. Nicholas Beatrici Lotharingiuj fecit. See Number 149. N. C. F. Nicholas Chapron,. a Frenchman fee. Anno 1649. He engraved Raphael*. Galleries , painted in the Vatican. \ N. M. D. Nicholas Manuel de Berna, 1 5 1 8 NP.srP N. Peter Nolin. P. B. F f Painter and Inventor. f. F. Paul Farinati of Verona, Painter and I Inventor- \. H. Peter Hys, in certain Pieces of De- ? votion. Phil. Th. 1589. Philip Thomafini. f. John Sebaid Beham. See Letter B. and i the Letters V. P. f. Quaft. Peter Quaft. See Number 43: Pi. Ss. Bart. Peter Santi Bartoli, Engrave?, I of Perugino in Rome, k S. F. Peter Stefanoni fecit. This Artifi engraved the Carracci's Works, f. V. Borcht inv. & 4c. Peter Van del [ Borcht. R. The Mark of Ravignano, and under- l neath R. V. I. that is, Raphael Urbino I Inv. See MR. R. B. T. A. Robetta. R. S. M. R. Mark of Ravenna. He put this Mark to Raphael Sancio Urbino V Pieces. R. V. A. Gaudenfis Sculp. The Mark of feveral Pieces invented by Peter da Cor- tona. 190 7/6* Initial Letters & S. B. Stephen della Bella of Florence. Si Number 136. S. B. D. Piftor. Under an Annunciation invented by Peter Candido. S. C. Simon Cantarino, called of Pefarc •Painter and Engraver. S. C. F. Stephen Carteron fecit, 1 616. Sebenzanus fecit. 'This is Martin Rota i .Sabina. See Number 109. S. F. Simon Frifius fc. Theft are Portrail engraved by Henry Hondius. See Nud ber 62. S. G. S. Simon Guillain fc. This Artift, wl mas born in Paris, engraved 80 differed Figures of Hannibal Carracci, called ti Cries of Bologna, Anno 164.6. S. P. Simon Palleus. 'S. P. F. Stephen du Perac fecit. Strada. Vefpafian Strada of Rome. T. Anthony Tempefta of Florence, Paint and Engraver. See Number 148. T. C. Theodore Cruger. See Number 15! VAL. Valefio, John Lewis Valefio ! Bologna. See Number 103. Van Rhin in. Rembrandt de Rein. I Number 126. V. C. Vincenzio Caccianemici, a Noblem oj Bologna, and Painter. V ufed by Engravers. 191 fc(. S. Vefpafiano Strada of Rome. r. P. or B. or P. or J. S. P. were four Marks ufed by John Sebald Beham, when he did not care to put his own Name, which is found Number 3 1 . V". S. 1622. Valentine Sezenius. The fame Mark was alfo ufed by Virgilio Sole, men- tioned Number 19. V. S. I. Ventura Salimbeni, of Sienna, Painter and Inventor. V. V. Delft. See Number 151. V. C. V. A Mark ufed by an antient Engra- ver in a St. Bartholomew and a St. George. W. D. H. Will. Henius. W. H. Wenceflaus Hollar. W. P. Will. Parte. !L. A. Zazingeri, orM. Z. Martin Zinkius 5 as was before-mentioned. AN W — ( *9 2 ) «9 ^ In ftfl ^ S "'ft 8 * U ,*• a c *• Si *e .S £ H s -3 -c -J • — ' u. > ^ •a 3 o « T3 U CMC 13 ^ «u > o •XI a (4 . <£ C re ft, bs s Giunta nolfo it 3 a. c J? o "3 63 ^ 1 —lyP^II | ■ I tU TJ < O O O MO .w-> *C MD m to J?> o o til ^ v, 6k bo g o ^ -n c * .2 Si eu o S a 8 S! C3 o O o K c o cj ^- - bO C^h bO « 6 c i> ^3 .s ^ U 11 ^ E CU tt E^ CU U^g «) i OS « 2 3 ° b > 6 fo -sh ON O ( r 95 ) O c nl -■3 bo E-.-5 « -c S3 g i-fl ~ o 1*3 (3 r '■*-« *- i-i »-« * -(T -5 o c S .2*3 = rt 3 a 3 <^> 1. >-i O 5 .SL 5 8 « ^3 ^* k. i-( to . T3 05 e ?^ ta K 05 S3 to ^ 1 05 •xs a c H cc « tJ- t{- c -> <3 CEJ KS fa, ^ o fa, > o ° *3 -C — i .S «> . - o C O to 0< « c 5 o £ -3 ^ 5 .% 2 .Is * • J * ^ -?5 c ^ E -M » + « O r{- -4" ^J" >-<-> O « o O <-<-> VQ 00 „T 3 £ O f "3 S o S 1 g ji 2 J? i -- ^ -S •** btj '£, <*« 3,2 o o <3 O ^ ( *99 ) o — ' <3 « £ ~ e . 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'3. )rtrait: • — 1 -ofal )rtra Ph p* •x) c CJ a >•> fa . >. R hs I Hifto [Hifto [Hifto [ Titia f Hiftc ■If 3 "5! id $ O Co R '3 c a, u, , Q j-, C , o OMj • O •tho oovo O^O O k% On ^5 N O <-<->« O O O OVO >-vO -ON rj* ly-, ly-,^; U-» ly-i U-i U-\ U"i V/*, U-i Wv W-> tM) 'I 5 |.s g -a « 3 O S- Florence. {■ Venice. I Venice and France. > Ventce * I Rome, &c. Whofe Difciples, and in what they excelled. C C « « . . u, >- •» s ■§ 2 . t: t; « 35 ^* Cu oj ^ 5 s w <5 ^ J ^ ^ . . ** 2 . .*"! "5 !^ « S"' « \ S « « 5 § ^ 05 kj . ft, 2; O ft« O b. -tf a cM Si 3 s 8' ( 2IO ) 8 Ci V 4-> U-, CM O c CM CM c " si • 5 ^ ^5 .5 ,2 to- tu C! ^ «* ^ »S *S « So r- -C CM rt i W g U-| Th N lO Kit", t<1 «5 3 a. 2 5 <-> tS i; 3 VOOOVO^'OOOOOO CS t> O OS O . VO ( 212 ) cv i o a, E h ° 35 P o •a a to c -4" ON O q ^t- i> o o o x}- u->oo iy-i O Oh 5 § r it I 4! ■ Q Vu. o =2 '2 4 3D u G O O T3 -2* ^ .£h _J • O 3 £ ^ bC3 5 o c O =3 ft, J a g o aj a? a ij-iVO <-<1*0 l/\*0 «-^VO "-ri^O ir^VO Si o -I ft} ft, ^ J -3 if i I ( 2*7 ) 3 C <3 £ u r^J Pi (J ? J 6 1 ' 1 § I £0 <3 c H- 1 w ^ 1 I ! .12 c CO " S "I <3 JS 2-2 |2 .1 £ a o o is " a ri >> 1- O ^ — y| ""H I 1> u-! l/i^O «^\^0 t-n^O iv-i^O u-i^O ( ai8 ) So i> _ if a R s c CS £! at R J) i a? R * m ^ s ~ S-l O ^ JO •£ OeJ-S u E 6S R ft, 8 m i £ S! T3 C 03 1 •# "2 TJ O 7. ^0 co b£g 3 * Li CU . i-l c u b £ c-^ b b o ^ o as o o <£} f -1 K s >tj III Jul m 5 00 O O + oo r^vo oo in oo u-i\0 >j^^O w-iVO co oo -+00 -i-oo «-i ^ oo ( 220 ) -I O C i ft: i i ts -a £3 U o J) H •5 *» o c 51 <3 . K o T3 O r» o •a T3 C (4 « CD O H« "2 a e a o © »3 2 o S3 S odffi a P I g> «s « Tf-00 ui vo Ch vo t^OO O W« On "■+■ ON N On t\ OnVO OnNO On •«*• O\00 On - is 5^ a, T5 ft £ K cj ffi £ £ Ci K k £ t^.X ft .o £3 • Si ft ex G. Galiot Nardois. Gafpar Reverdin. Number u. Gerard Fontana. Giacinto Giminiani. Number 89. Giles RoufTelet, flor. in 1686. Giles Sadeler. He died in 1629, aged 59, Giodoco Aman, of Zurich, flor. in 1588. George Chriftofano Eimert, of Ratiflbon, flor. in 1683. George Ghifi,.*?/ Mantua. Number 93. George Pens, of Nuremberg. Number 44. George Perundc, born in Franconia, died in 1 663, aged 60. Giovachino Bocklaer, of Antwerp. Gobbo de Carracci/ Guido Ruggeri. Number 156. Guido Reni, G. R. of bologna, died in 1642, aged 68. H. Hans (i. e. John) Baldungh, or Baldvin, flor. in 1574. Number 36. Hans Bol, H. B. of Mechlin, flor. in 1541. Hans Brefanck. Number ^. Hans Brofamer, flor. in 1538. Number 36. Hans Burkmayr, of Augfburg, died in 151 7, aged 44. Number 30. Hans Liefrinck, H. L. Number 146. Hans Lutenfach. Number 58. Hans Schauflig. Number 1. Hans ^Engravers. 235 Hans Van Culmack, H. V. C. flor. in I 5 I 7- Hannibal Carracci, a Painter of Bologna, A. C. P. died in 1609. Henry Bloemaert, flor. in 1 647. Henry Cliven, he died in 1589. Numbers 124. and 152. Henry Blofeuvertus Frifius. Henry Goltzius, of Holland ; he died in 1617, aged 59. Number m. Henry Hondius, born in i$y3> Herman Coblent. Number 144. Hercules Bazicaluva, of Florence, flor. in 1 641. Hercules Septimius, H. S. or Hercules Setti, of Modena, flor. in 1 57 1 . Hifberto Venio. Hieronymus, or Jerome Mocetus. Num- ber 13. Hifbel, or Hifbift. Number '31. Hoefnaghel, Joris Hoefnaghel, a Painter of Antwerp, he died in 1600. Horace Borgiano, H. B. of Piftoia. Num- ber 36. Hiacinth Giminiani. See Giacinto; Hubert Audenaerd. Hubert Goltzius, he died about the Tear 1503, aged 57. Hubert Vincentini. I. James 236 An Alphabetical Index I. James Belli, of France, I, B. F. or Belli fee. • James de Gheyn, flor. in 1615, aged $0. Number 122. James Mattamius, of Haerlem. He died in 1 63 1, aged 60. James Sandrart, of Nuremberg, flor. in 1683. James Vander Heyden, of Augfburg, for. in 1608. James Lutma, of Amfterdam, flor. 168 1. James Grand Homme, I. G. Van Uliet. Number 112. James Kerver, I. K. James Bink, , Catterino P.Domenico, Fioren- tino P. Domenichino, or Dom. Zampieri Dorat, Jac. Dorigni, Michael — — — , Nicolas Doffier, M. Drevet, Peter , Claude Dubois, M. Du Change, Gafpar Duflos, Claude Dupuis, Nicolas , Fr. E. Edelinck, Gerard ~, Nicolas Eimart, Geo. Chrift. Eland, Henry Elipart, J. Ch. Elftrac, Robert Erhard Erlinger, Francis. F. Faber, John, fen. — — , John, jun. Fage, Nicolas la Fatthorn, William Falda, Jo. Baptift Falk, John — r—i Jerpm VERS, &C. 255 Fantetti, Cefare Farjat, Benedict P.Farinati, Paolo Febure, le Ferace, Canute Fevre, Claude le Filian, John P.Finiguerra, Mafo Fiolettus, Edward Flamen, Albert Florae, Guill. Nico- las a Flos, Claude du P.Fontana, Dom. Ma- ria , Gerardo P. ? Veronica Francia, Francefco Maria Francoforma Francus, Baptifta Freij, Agnes Freij, Giacomo Fiizius, Simon Frofno, John Fruytiers, Philip. G. Gagliardus, Philip Gagliardi, Bartolo- meo Galle, Theodore Galle, Philip , Cornelius, fen, — — , Cornelius, jun, i Gallo, Bernardo Gal- 256 An Alphab Galleftrucci, Jo. Bap- tift Gantrel, Stephen Gamier, Noel Gatti, Oliviero Gaudenfis, R. V. A, Gautier, Leonard Georgi, George , John P.kS. De Ghein, Jaq. Ghifi, Geoigio Giffart, Peter Giminiano, Jacintho Giovane, Francefco Giardirii, Melchior Glover, George Gole, John Gomie, Luigt Golkentonius, Al- bertus P.Goltzius, Hubert P. , Henry Gourdelle Graffico, Camillo Granhomme, Jaques Greut, Jofeph Greuter, F. , Theodore P. , Matthew P. , Jo. Frede- rick P.Gribelin, Sam.y^w. — — — , Sam.y««. Grignon, Jaques Grimaldi, Francefeo Grunevald, Matthew Heal LIST Guarnier, Anthony Guerra, Giovanni Guerrieri, Fiancefco P.Guidi, Rafael , Mich. Agnolo, his Son P.Guido Reni Guignon, V. Guillain, Simon Gyger, Jo. Conrad. H. Habert, N. Haelwegh, Albert Hagen, S. Hainzelman, John ■ , Samuel Halbeck, John van HalJeyS. Hanzelman, Elias Harrewin Hay, Charles de la Hemfkirk, Martin Heiden, Jacob ab Heim, W. C. Heince, Zachary Hendricx, Giles Herkenever, Jac. Guil. — — , Leonard Herthemels, Maria Hertz, Jo. Daniel Heviflen, Cornelius Hifben, Peun Hoefnaghel, Joris Hoelwigh, Adrian Hogenberg Holbens, ^Engravers, &c. 257 Holbens, o/Haerlem Hollar, Wencefiaus K. Holftein, P. P.Hondius, Henry -, William Honofri, Crefcenzo Hopfer, Jerom , David , Lambert Houbraken, Jaques Houget, John HoiuTe, Patil de la Hubert, Gafpar , Adrian Huberti, Francis Hulfius, Francis Humbelot Huret, Gregory Huybreclct, Peter Hys, Peter. I. Jacquart, Ant. de Jeaurat, E. Imperiali, Girolamo Jode, Peter de, fen. ■, Peter de, jun. Jolain, Jac. Jongelinx, J. B. , J- P. Jongh, J. de Ifaac Ifac, Jafpar Ifelberg, Peter Jufter, J. Kaldung, Hans Kerver, Jaques Kilian, Lucas, fen. , Lucas, jun. P. , Bartholomew , Wolfgang , Philip Koning, Cornelius Kraling, John Kruger, Lucas Kuflel, Matthew , Melchior. L. Ladelfpeldricht, John Laignel, Nicolas Lamfweard, Stephen van Landry, P. Lanferrius, Antonius Lanfrank, Giovanni Lang, Mauritz Langlois, John Larmeflin, D. de Lafne, Michael Later, John de Lankerken, Corne- lius Laurent, Andrew Laurentio, Efare Laurenzani, Giaco- mo Lauri, Giacomo Lawers, Nicolas Lawers, 258 An Alphabetical LIST Lawers, Conrad Le Bas, Jaques Phil- lipe Lenfant, John Leonart, G. F. , J.F. P.Leonus, O&avius Lens, Bernard Leotard Lepicie P.Leyden, Lucas van Leyfebetten, P. V. Licinio, Antonio Liefrank Liefrinck, Hans Lieu, Thomas de Ligozzi, Giacomo Lifibet, P. Lochon, Rene jP.Lolli, Lorenzo Lombardus, Lam- bertus Lombart, Peter Lommelin, Adrian , G. P.Lorenzini, Padre An- gelo Lorichius, Melchior Louvement, Francis Louys, John Lubin, Jaques Lucchefe, Michael Luciani, Antonio Lucini, Ant. Fran- cefco P.Lutma, Janus Luyken, John Lyvius, John. M. P.Macchi, Floria P.Maggi, Jo. Baptift Magliar, A. P.Major, Ifaac Malleri, Philip de , Charles Malpucci, Beraio P.Mantegna, Andrea Mantuana, Diana Mantuanus, Giorgio , Jo. Baptift Manuel de Berna, Nic. P.Maratti, Carlo Marc. Ant. Raimondi Maria, Domenico Mariette, P. , John Mariotti Martinez Marti no, Ifrael Maffbn, Antoine P.Matham, Jaques P. , Theodore, his Son P.Mattioli, Lodovico Mavelet, Charles Maupini, Paolo P.Mayer, Dieterick , Henry , Conrad P. , Rodolf P.Mazzola, Francefco Meek, or V. Meche- lin, Ifrael Melar, of Engrat Melar, Adrian Mellan, Claude Mellan, G. Melloni, Francefco Mercand, Pierre Mercati, Jo. Baptift Merian, Matthew Merl, John Meffager, John P.Metelli, Agoftino • Giof. Maria Meyflens, John — r— -. — , Cornelius Micarino P.Miele, Giovanni Mignard, Nicolas P, , Pierre Mignot, Daniel Mocetus, Hieronymus Moncornet, B. ftfontbard Moretti, Giufeppi Morin, John Moro, Battifta del Moyreau, John Muller, John < , Harman Muckerken. N. Nadat Nantueil, Robert Napolitano, Filippo Nardois, J. Galiot Natalis, Michael Nefs, Jaques r'ERS, &c. 259 Neve, Francis Nicoletto, da Modena Nuvolftella, Jo. Geo. O. Occo, Adolphus Ocfdi Parmagiano, Mauro Orlandi, Giovanni Ottens, F. P. Panorn, Alois Calab. P.Paul Veronefe, or Ca- liari P.Parafole Norfino, Le- onardo P. Parmegiano, Fran- cefco * Parmegianino, Fran- cefco Pafquilino, Jo. Bap- tift Pafs, Crifpin, fen. ■ . 1 m' ■. , Crifpin, jun. , or Paffeus, Si- mon PafTari, Filippo PafTaro, Bernardino P.PalTarotti, Bartolo- meus Patavinus, Gafpar , Gerard Patigny P t Pautre, John le Payn, John Peel, Matthew Penni, 260 An Alpi Penni, Lucas P.Pens, George P.Peroch, Eftienne P.Perelle, Nicolas Periecouter P.Perrier, Francois P.Perfin, Rainerus Perundt, George P.Peruzzi, Baldafiar Perzyn, Robert Pefarefe, Simon P.Pefne, John Picart, John , Eftienne — — , Bernard Picinae, Elizabeth Piccina, Ifabel, a Nun P.Piccino, Jaques Piccioni, Matteo Picque^ Piper, Francis le Pitau, N. Podefta, Jo. Andrew Poilly, Nicolas de — — , Francis de P.Polemberg, Cornelius P.Pond Pontius, Paulus Pool, Matthew Popels, John PolTemieres, Adrian Preflier, of Copen- hagen Procaccini, Camillo P. Procaccinus, Jul. Caefar. - - 'etical LIST Quaft, Peter Qiieborn, Crifpin P.Quiter, Hermannus Henry R. Randon Raimondi, Marc. Ant. Ravenna, Silvefter da Raven nati, Marco Ravenate, Simon Francis Ravenftein, Gafpar Regnaffbn, N. P.Rembrandt, van Rhin Reverdin, or Raven- ftein P.Ribera, Giufeppi Ricci, Jo. Baptift Ridolfi, P. Robetta Rochfort, de Roger Roghmans, Giertruy Rogheman, Hendr. Lambert Roli, Jofeph Maria Romfteadt, Chrifto- pher P. Rofa, Salvator Rofli, Hieronymus , Henrico — — , Domenico di P. Rofa, Martino Roulet, of Engrav Roulet, Jo. Louts Rouffel, Paul Rouflelet, Giles P.Rubens, SirPeter Paul Rucholle, P. P. ? iEgtdius Rugeri,- Guido. Sadeler, Raphael — , John -, Rodolph , iEgidius — — — , Julius Saenredam, John P.Salamanca, .Antonio Salimbeni, Ventura Salmenicius, Andreas Sandrart, John Jacob P. — * — , Joachim P. , Sufanna Sarrabat, John Saraceni, Carlo Sanagon, John Sauve, John Scalzi, Lodovico Scaminoffi, Raftaello Scaramuccia, Luigi Schauflig, Hans Schenk, Peter P.Schon, Martin Schoonebeek, Adam Schorel, John Scotin, G. ■ , J.B. , Scorza, Simbaldo ERS, &C. 26l Scuppen Sebenzanus Secu, Martin de Scruuter, P. Septimius, Hercules Setti Scupel, John a Sezenius, Valentinus Sichen, Cornelius Silveftre, Sufanna , Ifrael Simon, Peter , John Simmoneau, Car. fen. , Car. jun. Sirani, Giovanni P , Elizabetha P. , Jo. Andrea Skenius, Bartholomew Smeltzing, John Smidtz, of Berlin Smith, John P.Smith, Thomas Snyers, Hendrick Sole, Virgilius Sole, Jo. Jofeph da Sorito, Jo. Baptift Souberaine Soutman, Peter Spagnoletto Specchi, Aleffandro Spiez, Hubert P.Spierre, Francefco Sphinx P.Steen, Francifcus Stella, Claudius Ste- An Alphabetical LIST 262 Stephani, P. Stephanoni, Pietro P.Stivens, Peter Stimer, Tobias Stock, Andreas Stoltzius Strada, Vefpafiano Seringa, Francefco Stuerhelt, F. Suavius, Lombart Suruge Suftermans, Lombart Suyderhoef, John Swanenberg, Wil- liam Sweerts, Michael Sylvett, John T. Tardieu, Nicolas Tafiniere, George Tavernier, M. P. Tempefta, Dome- nico — , Antonio P. Terzi, Francefco Tefta, Pietro , Julio Cefare Tefta na, Jofeph , Jo. Baptift Thelot, Jo. Philip Thibout, B. Thomaflin, E. — — . , H. S.jun. Thourneiffen, H. P.Tibaldi, Domenico Tibo Timus, L. Tinti, Lorenzo Tomafmi, Filippo Tompfon, Philip Robert P.Torre, Flaminio Torrebat, Francois Trento, Antonio da Trofcel, B. — — , John Trouvain, A. Troyen, John. V. Vaccario, Andrea Vsnius, Gisbert Vaillant, William , William Valder, John Valet, William P.Valefio, G. Luigi Valk, John ~i Gerard Vallee, S. Valleius, A. Van iElft, Nicolas ■ Audenard, R. — — Boons, David — ^— Boucle ' '■ Bremden, D'. Craen ■ ' • Culmhac, Hans ■ Dalen, Q. fen. * Dalen, C. jitn. Dyck, Sir An- thony — Gunft, Philip Van of Engravers, &c. 263 P. Van Hoflanen,Uuaet ■ ■ - Hulfen, Efaias Lochum, Mi- chael Luych, H. Mechelin Mecelin, The- odore — Mieris, W. m — Munichuyen — Rhin — Savoyen, Ca- rolus — Schuppen — Scheindel, G. — Semple, Peter Sichem, C. — Sichem, Chrif- topher Schoor, Jaques — Sieklcr, Peter — Somer, Peter — Somer, M. Tulden, The- odore — Uden, Lucas — Uliet Voerft, Robert — — Wefterhout, Arnold — — Vande- Steen, Francis Velde, John p. Velde, Will. P. Venne, Andrew Vandel Borcht, Peter Vanden Embden, Martin Vanden Hoeye, Rom- bout Vander Bruggen, John Doel, Anthony — Heyden, Jacob Nelpe, Peter Staren, Dirick Vanni, Francefco , Jo. Baptift Var, Dirich, the Ne- phew Vans, John Vaflbuns, John Vaughan, Robert Veenhuyfen, J. Venenti, Julio Ce- fare Ven£ziano Verkelie, N". P. , Hans Vermeulen, C. Vertue, George Viani, Giovanni Vicentini, Gio. Nic- cola >— , Uberto Vico, iEneas P. Villamena, Fran- cefco P. Vifcher, Cornelius Vifker 3 John de Vifker, 264 An Alphabetical LIST, &c\ Viflcer, L. —~ — , Nicolas Vivares, F. P.Vivien, John Ulric, Henry Voerterot, Peter V oet, Alexander, jun. Vouillemont, Sel. Vorft, Robert de Vos, Martin de P. Vofterman, Lucas, fen. , Lucas, jun. W. Wagman, Hendrick Waldreiclc Waterlo, Antonius Watteau Waumans, Cofinrad Weigel, Chriftopher White, Robert Widerman, Elias Wierx, Anthony , Hieronymus Will, J. G. Wilant, J. J. W'mgendorf, G. Wirix, John Wolfgang, G. A. P.Wolgemut, Michael P.Wormache, Antonius Z. S. Zabello, Jo. Fran- cefco Zagel, Mattheus , Theodore Zani, Jo. Baptift Zarlati, Giofeffo Zazingeri Zenoi, Domenico Zink, Martin Zylvedt, A, Zyll, C. 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