Sculptura-Hiftorico-Technica : 
 
 O R T H E 
 
 HISTORY 
 
 AND 
 
 A R T 
 
 O F 
 
 1 N G R A V I N G. 
 
 CONTAINING, 
 
 I. The Rife and Progrefs of Ingraving. 
 
 II. Of Ingraving in General. 
 
 III. An Idea of a fine Colleftion of Prints. 
 
 IV. The RepertoriuM; or CoIIedion of 
 the various Marks and Cyphers, by which 
 the Prints of the beft Ingravers, &c. are dif- 
 tinguifhed. With Large Additions, 
 
 V. Of Ingraving, Etching, and Scraping on 
 Copper, as noiu pra^ifedy v/ith Cuts to il- 
 lullrate it. 
 
 Extracted from Baldinucct, Florent le Comte^ 
 Faithorne^ the Abcedario PittoricOy and other 
 Authors. 
 
 L O N D O N: 
 Printed for S. H a r DING, on the Pavement ir> 
 t5t Marti?:' ^-Lane, I747» 
 
If 
 
PREFACE. 
 
 TH E Firft Edition of the Repertorium 
 Sculptile-Typicum having been fa- 
 vourably received by the Admirers of 
 the ufeful and agreeable Art of Ingraving^ 
 the Editor^ at the Dejlre of feveral Gen- 
 tlemen^ who thought this Work might be 
 made more extenfively beneficial to the Cu- 
 rious^ has^ in this Edition^ not only con- 
 Jiderably enlarged the Number of Marks, or 
 Cyphers, ufed by Ingravers ; but given a 
 fhort Abridgment of the Hiftory of the 
 Art, with an Idea of a fine Colleftion of 
 Prints : which will inform the Curious of 
 the Beginning and Progrefs of this noble In-- 
 vention^ and give them an Idea^ how to 
 range their Prints in a ufeful Manner. For 
 the Benefit of thofe^ who ^ either profefs the 
 Arty or defire to learn it ^ he has alfo added^ 
 Diredions for Ingravers, fele£led from th^ 
 A 2 , beft^ 
 
iv PREFACE. 
 
 heft and moft afpoved Writers on the Siih 
 jetJ^ "Which will be alfo very ferviceahle to alt 
 Gentlemen^ who make Colk£lions^ hy enabling 
 them to judge of the Goodnefs and Beauty of 
 Prints. To thefe^ hereafter^ will be ftih- 
 joined, another Volume of the Lives of fuch 
 Mafters, who have moft eminently contributed 
 to the Perfe^lion of this Art ; with Catalogues 
 of their Works, and particularly one of thofe of 
 Rembran DTj which has fteverbeen yetpriftted. 
 
 When I ref.e5l on the Ufefulnefs of this 
 ~Art^ I am furprized to find fo few Gentle- 
 men profejfed Admirers of it It requires a 
 large Fortune to make a fine ColleSlion of 
 Paintings^ and great Judgment to avoid Im- 
 pofition^ and underftand their Beauties \ but 
 Prints are adapted to all Ages^ all Ranks of 
 Men^ and all Fortunes ; they coft much lefs 
 than Paintings^ the Knowledge of them is 
 more eafily attained \ and as they comprehend 
 all Sorts of Subje£ls^ they are equally as ufe- 
 ful and entertaining. 
 
 Prints divert Touth^ and inftru5i them at 
 the fame Time^ by the lively Imprejfion they 
 
 mak^ 
 
PREFACE. V 
 
 make on their Minds \ and this Injlruofion is 
 not only more readily received^ hut is more 
 durable than that conveyed hy Words. If 
 you would have a Child learn any Pajfage in 
 Sacred or Profane Hiflcry by armfinghim 
 with a Reprefentation of it^ and explaining 
 the SubjeSl^ he will rarely forget the Im- 
 prejfion^ the different Characters that compofe 
 it J will make on him. 'They are alfo an 
 Amufement to thofe who are arrived at Tears 
 of Maturity^ by recalling many Things to 
 their Minds^ which Length of Time had 
 effaced. 
 
 Prints are alfo as ufeful as entertaining % 
 they reprefent abfent Things to uSj as if they 
 were prefent they convey us infiantly^ with- 
 out Hazard or Expence^ into the mofl dtfiant 
 Countries^ and make us as well acquainted 
 with them^ as with our own \ they commu- 
 nicate to us the Knowledge of many beautiful 
 Objects in thofe Countries^ which we mufi 
 havie been ignorant of^ without their Affif- 
 tance^ and make us Co?item^>oraries {in a 
 Manner ) with the greateft Men of pafi 
 AgeSy hy giving us their lively Refemblance. 
 
 A 3 -r 
 
vi P R E F A C Er 
 
 If the Ancients had enjoyed this Advantage^ 
 we fhould have known ^ by the Means of , 
 Prints^ whatei>er they had^ either fine of'- 
 curious \ the famous temples and fumptuoMS 
 Palaces^ fo celebrated by Hiftorians \- the- 
 magnificent Works of Afiatics, Egyp- 
 tians, Greeks, and Romans ; which De- 
 fcript ions give us but a faint and imperfe^f . 
 Idea of \ . the famous Statues^ zvhofe fad 
 Ruins caufe the Admiration and Regret of 
 dl ConnoilTeurs ; /;/ fljort^ all the Wonders 
 of Antiquity would have been tranfmitted to 
 Pofierity^ by the Help of Ingravingy and we 
 by that Means fhould have inherited all their , 
 Arts and Knowledge. . 
 
 Nothing is alfo more proper to form a 
 ^ afie than Prints : they give us a Tin5lure 
 cf the fine Arts ; they offifi us to arrive at 
 the Knowledge of Pamtings ; for if we ex a- 
 mine them attentively^ they make us eaftly dtf ' 
 cover the different Manner affeHed by each 
 School and Mafier ; and give us an Idea^ 
 andy as it were^^ the Poffeffion of an infinite 
 Number of Pi£fures^ which it would requir-e- 
 an immenfe Sum to purchafe^ and many of 
 
 which 
 
P R E F ACE. vii 
 
 whkh Cannot be purchafed. Thefe are general 
 Advantages of Prints ; particular ones every 
 Body will find^ according to the Extent of 
 his Tafie^ Underflanding^ or Inclination. 
 Tihere is nobody^ of whatfoever Rank or Pro^ 
 feffion^ but may reap great Ufe and Injlruc- 
 tion from the Productions of this Art \ as 
 there are an infinite Number of Subje£ls in- 
 graved or etched : Hiftories, Maps, Fa- 
 bles, Emblems, Devices, Ornaments, Me- 
 dals, Animals, Plants, Flowers, Fruits, 
 Portraits, Cabinets, - i^c. 
 
 Laftly^ there is hardly any SubjeSl^ with "> 
 Regard to which , we cannot either acquire ' 
 feme Knowledge^ or enlarge that we already ; 
 have ^ by the Help of this nobk Art. , 
 
 THE: 
 
THE 
 
 CONTENTS. 
 
 TH E Hijlory of the Art of Ingraving 
 Page I 
 
 Of Ingraving in General 15 
 Of the polity of the Copper requifite for 
 
 Plates 17 
 Dire^ions for conducting the Strokes^ or Cuts 
 
 of the Graver 20 
 for Ingraving the Hair of Men 
 
 and Beafis^ and the Beard 2 1 
 
 for Sculpture 22 
 
 for Stuffs 23 
 
 — foY^ Architecture 24 
 
 for Landskips 2 5 
 
 for the Strokes or Cuts of the 
 
 Graver 26 
 
 — ' for W iter 2 7 
 
 for Clouds 2 8 
 
 -preferving an Equality and Har- 
 
 mony in his Works 29 
 An Idea of a fine Collection of Prints 46 
 
 Colletlion 
 
X CONTENTS. 
 
 CoUeBion of the Marks and Cyphers of In- 
 gravers and Painters • . 73 
 
 ^he Initial Letters ufed by Ingravers/^?r their. 
 Marks III 
 
 An Alphabetical Index of the Chriflian Names 
 and Sirnames of the Ingravers and Fain- 
 ters, with their Places of Abode^ and when 
 they fiourifhed 124 
 
 An Alphabetical Lift of the Sirnames before 
 the Chriflian Names Painters, Ingra- 
 vers and SaA'ptovs 148* 
 
 T'he Art of Ingraving with Aqua Fortis, 
 and how to make the hard Varnidi 163 
 
 How to make the. Compojition or Mixture of 
 fallow and Oil^ to cover thcfe Places in 
 your Plate ^ where you would not have thi 
 Aqua Fortis to eat in 164, 
 
 ■ to prepare the Ingredients for making 
 the Aqua Fortis for the hard Varnifh. 165 
 
 ^ — to make this Aqua Fortis . 166 
 — to know good Copper front bad i6y 
 
 — to planifh and polifn your Plates 168- 
 — — to apply your ba^rd Varnifh on the Plate ^ 
 
 and make it black 171 
 
 — to dry and harden the Varnifh upon the 
 Plate 173 
 
 — to choofe your Needles^ wherewith to 
 make your Tools to etch with ij^ 
 
 to whet the Points of your Needles 1 75 
 
 — — to preferve your Varnifh upon your 
 Plate 176 
 
 How 
 
C O N T E N T S. xi 
 
 How to Etch 177 
 
 guide your Needles upon the Plate 
 
 . ■ lyS 
 
 — — to ufe the oval Points^ to make large 
 Strokes in Etchings or Graving with Aqua 
 Fortis 180 
 
 to prepare your Plate^ to receive the 
 
 Aqua Fortis 1 84 
 
 to make your Through and Frame to hold 
 
 your Plate y when you would pour the Aqua 
 Fortis on it ^ 185 
 
 ^he Manner of cajling the Aqua Fortis upon 
 the Plate ; as alfo^ how to cover the 
 Places that are faintefi^ and moft remote 
 from the Eye^ with the forementioned Mix- 
 ture^ 'as Occafion requires 187 
 
 How to take the Ground^ or Varnijh off the 
 Plate ^ after the Aqua Fortis has done its 
 Operation 195 
 
 0/Soft Varnifh. How to make it^ and the 
 Ufes it is to be put to 198 
 
 7'he Manner, of laying your foft Ground or 
 Varnifh upon the Plate 199 
 
 How to border your Plate y that it may con- 
 tain your Aqua Fortis 204 
 
 ^he Manner how to lay a white Ground upon 
 your hard or foft Varnifh 208 
 
 Another Way^ how to lay a White upon your 
 Varnifh 211 
 
 ^he Manner y after your Plates are eat in by 
 the Aqua Fortis, how to touch up^ or re- 
 grave 
 
xli 'The CONTENTS. 
 
 grave ^ that wJnch-ygu have forgot^ or 
 ~ which you ^njooutd mend or fupply " 2 12 
 The feveral,^ TVays drawing your Defign 
 upon the. Plate 215 
 The Forms of G raving -Tools as alfo the 
 ' Manner ^ of whetting your Graver 218 
 The Manner how to hold^your Graver^ with 
 other . Particulars 220 
 The Manner of governing your Hand in Gra- 
 ving^ and other Purticulars 222 
 Mezzotin.tq, called Scraping or Burnifhin^g 
 on Copper 225 
 
 T H E 
 
THE 
 
 HISTORY 
 
 Art of In GRAVING. 
 
 F all the Arts which are defcended 
 
 chitedture. Painting, and Scul- 
 pture, has given fo much Pleafure, or has 
 been of more Ufe, to all Lovers and Pro- 
 feflbrs of the Liberal Sciences, than th^t 
 of Ingraving'^ whether on Copper, or 
 Wood : for, by this Means, all the cele* 
 brated Performances and Inventions of the 
 moft eminent Mailers, are exceedingly well 
 imitated, and reduced to fo fmall a Size, * 
 as to be communicable to the whole 
 World. 'Tis by the Affiftance of this 
 Art, thofe who have never crofled the Seas, 
 are acquainted with the magnificent Struc- 
 tures, beautiful Statues, inimitable Paint- 
 ings, with which the Cities, Churches 
 and Palaces of other Countries, and parti- 
 cularly Ilaly^ are adorned : Which is a 
 Angular Pleafure to the Lovers of thofe 
 Arts^ and of no lefs Ufe to thofe who 
 
 OF THE 
 
 none, except Ar- 
 
 B 
 
 profeli 
 
^The History^ the 
 
 profefs them ; for, as it is an evident 
 Truth, that v/e have no Ideas but what 
 arife from Senfation, fo cpnfequently 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 fjLovoxpdiyLctJot, was acci- 
 dentally difcovered in the fourteenth Cen- 
 tury, by one Mafo Finiguerra^ an inge- 
 nious Goldfmidi and Sculptor of Florence % 
 who was famous not only for defigning 
 and imboffing Figures on Gold and other 
 Metals, but alfo for ingraving, and after- 
 wards inlaying them with Metals of other 
 Colours which he did in the following 
 Manner. Havirjg defigned and ingraved 
 his Figures, he ufed, before he inlayed 
 them, to fill the Ingraving with Earth, 
 and caft 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 In- 
 graving on the Metal remained imprinted 
 en the Paper, juft as if it had been de- 
 figned with a Pen. Baecio Baldini^ ano- 
 ther Gold and Silver-Smith of the fame 
 City, began to do the fame; but as he 
 underftood very little of Defigning him- 
 felf, he employed Sandro Botticelli to aflift 
 him in moft of his Performances : Some 
 of which being feen by Antonio del Pol- 
 
 kiok^ 
 
A R T of I n g r a V i n g. 5 
 
 laiolo^ a celebrated Defigner of the fame 
 .City alfo, who bad ftudied Anatomy to 
 learn the Situation and A6tion of the Muf^ 
 cles of the human Body ; he ingraved fonie 
 of his ownDefigns on Copper, and amongft 
 the reft a fine Reprefentation of a Battle. 
 
 This new Manner of Defigning began 
 now to he the Subjefl: of Converfation, and 
 Andrew Mantegna^ who was then at Rome^ 
 having feen fome of thefe Prints, was fo 
 exceedingly pleafed with them, that he ap- 
 plied himfelf with the greateft Diligence to 
 ingraving 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 
 Perfedion. But if Mantegna^ after what 
 he did, had boafted that he had perfefted 
 this Art ; his Vanity would have deferved 
 as juftly to be laughed at, as old Palamon*% 
 Tears, who lamented bitterly, believing 
 rthe World by his Death would loofe the 
 Ufe of Letters : For whoever rightly con- 
 fiders, will fee very clearly, that this fine 
 Art of Ingraving y firft with the Graver^ 
 and afterwards with Aqua Fortis^ in the 
 Courfe of about 280 Years, fince Man- 
 t^gna'^ Death, has made fuch ProgrefSj, 
 
 ; B 2 and 
 
.4 "The History of the 
 
 and is arrived at fuch Perfeftion, that it is 
 not only, as I have faid, of great Ufe to 
 the Profeflbrs of Architefture, Painting, 
 Sculpture, i^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 moft diftant Parts of the Globe, 
 However, we muft do this Juftice to Man- 
 tegna's Memory, to acknowledge, that 
 what he did, excited others, after his Ex- 
 ample, to apply themfelves to this Art; 
 fince in 1490, Germany produced II 3lf- 
 defco^ and Ifrael Martin^ who firft (hewed 
 -an uncommon Diligence in their Works, 
 and gave this Art to the renowned Albert 
 .DureTy their Difciple, Lucas of Leyden^ 
 Aldegrave^ and others, who afterwards be- 
 came much abler Artifts than their Matters. 
 And indeed, to fay 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- 
 lownefs 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, dif- 
 ferent Air of the Heads, and particular 
 new Manner of cloathing Figures, intro- 
 duced into the Art of Painting by the emi- 
 nent 
 
A R T ^of I N G R A V I N G. 5 
 
 i«ent J/^?//^;^ Matters, among which are 
 reckoned Bucchiacca^ James of Pantormo^ 
 and 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 Art 
 is very much indebted, as he was the firft 
 who began to reduce it to fo fine a Man- 
 ner, that even Raphael himfelf was fo muc}% * 
 pleafed with it, as to defire him not only to 
 ingrave many of his beft Paintings, but 
 alfo a great Number of his Defigns and 
 fine Inventions, which 'till then had neveir 
 been feen in Rome^ or otherwhere. His 
 Difciples and Imitators were Augufiin of 
 Venice^ and Sylvefter and Mark of Raven- 
 na^ who, between the Years 1535 and 
 1560, ingraved almoft all Raphael's Paint- 
 ings, Defigns and Inventions as alfo thofe 
 of Julio Romano^ his favourite Difciple, 
 from his and Raphael's own Defigns. We 
 have of Augufiin' s Ingraving, 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 beauuful Defigns of 
 Baccio Bandinelli^ a famous Sculptor of ^ 
 Florence : The laft Piece of which, had the ' ^ 
 Reputation of exceeding the original De- 
 B 3 fign. 
 
6 The H i s t o r y cf the 
 
 fign. John James Coraglio, of Verona^ alio 
 imitated Raimondiy and ingraved moft of 
 Rojfo's Works, with many Defigns of P<?- 
 rin del Faga^ Parmigianino^ and Titian. 
 After thefe, Lamberto Suave applied him* 
 felf diligently to ingraving, as may be feen 
 by his thirteen Prints of our blefled Saviour^ 
 and his twelve Apoftles ^ the fine Piece of 
 Saint Paul fitting and writing, and the 
 Story of the Refurreftion of Lazarus. 
 John Baptifta^ of Mantua^ a Difciple of 
 Julio Romano^ befides many Prints of Por- 
 traits, with a Sort of antique Crefts, pub- 
 lifhed two fine Pieces of the Burning of 
 Troy. There was alfo Mneas Vice., of 
 Parmay who ingraved the Works and De- 
 figns of RoJfOy Bandinelli^ and Salviatt^ 
 with many Books of ancient Medals, re- 
 prefenting the Effigies of the Emperors, and 
 their Wives, with their Reverfes ; and alfo 
 the Genealogical Tables of the Emperors, 
 and of the Family of Efte. Julio Bonafone 
 ingraved the Inventions of Raphael^ Julio 
 RomanOy Parmigianino^ and others ; and 
 Baptifta Franco publiflied many Prints of 
 , other Mafters ; and Girolamo Cock^ a Fie- 
 mng^ ingraved the fine Works of Martin^ 
 Hernskirk^ his own Inventions, and thofe 
 of many other Mafters, which it would be 
 tedious to mention. 
 
 And 
 
A R T ^ I N G R A V I N a. 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 Refpefls, be- 
 gan to publilh wooden Plates of two diffe- 
 rent ImprefTions \ the firft of which fhew« 
 ed the Shade^ juft 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 Ingraving, by which he made 
 his Prints of three Impreffions that is to 
 fay, of the deepeji Shade ^ the light eft ^ and 
 of a middling one, making the Lights ap- 
 pear in the White of the Leaf. He in- 
 graved many of Raphael'^ Works after this 
 Manner, and was the Occafion, that Bal- 
 thazar Peruzzi^ Francis Parmigiano^ An- 
 thony of "Trent^ John Nicholas of Vicenza^ 
 and Dominico Beccafumi^ afterwards ingra- 
 vcd 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 
 alfo be of great Ufc to them j but thofe 
 B 4 moft 
 
S H 1 s T o R Y (j/* th'e 
 
 moft of all, that came from the Hand o£ 
 Beccafumi. 
 
 CorneUus Cort^ a Flemings fucceeded 
 thefe, a .d ingraved the Landskips, and 
 other fine Works of Girolamo Mutiano^ 
 Frederick and ^addeo Zucchero^ Frederick 
 Barrocio^ Marcellus Venufio of Mantua^ Ca- 
 ravaggio^ and the inimitable Pi£lure of the 
 Transfiguration, by Raphael. There was 
 alfo Anthony ^emfefta^ who etched many- 
 Pieces of Battles, Huntings, and of all 
 Sorts of Animals, as I fhall obferve in his 
 Life ; Martin Rota^ who ingraved the ce- 
 lebrated laft Judgment of Michael Angela^ 
 in two Plates, one of a greater, and the 
 other of a leflcr Size, and feveral others 
 from the Works of Raphael and Frederico 
 Cherubino Alberti^ who did many of Foli- 
 doro^s Inventions and the never enough 
 to be commended Augufiin Caracci^ whofe 
 rnoft beautiful Prints are fo well known to 
 the Lovers of this Art, who were all eminent 
 Mailers. Villamena of Affift^ alfo a free, 
 eafy Ingraver, and good Defigner, pub- 
 lifhed his Labours, amongft which, the 
 fine Print, of the Prefentation of our Sa- 
 viour in the Temple, from the famous Pic- 
 ture of Raul Veronefe^ is very much efteem- 
 ed. In the Time of the Emperor Rodolpb^ 
 John and Raphael Sadalaery flourifhed in 
 
 Germany^ 
 
Art^Ingraving. 9 
 
 Germany^ and gave great Proofs of their 
 Abilities by the many fine Plates which 
 they pubhflied of the Works and Inven- 
 tions of Martin de Vos^ Bajfan^ "Titian^ Jo- 
 fephoi Arpino^ and other Matters. Their 
 School produced Egidius Sadalaer^ their 
 Nephew, who was univerfally allowed to 
 be the beft Ingraver of his Age, and led 
 the Way to that fine Manner, which was 
 copied by the beft Matters of the fucceed- 
 ing one. There was alfo Raphael Guidi^ a 
 ^ufcan^ who ingraved many fine Plates 
 from the Works of Jofeph of Arpino^ Har- 
 man Muler^ a very bold and free Ingraver, 
 and the ingenious Henry Golttus^ a Hollan^ 
 der^ who had the Talent of imitating the 
 Stile of many preceding Matters ; Philip 
 ^omafini^ who ingraved at Rome the Fall of 
 Lucifer^ the laft Judgment, the Dilpute of 
 our Saviour with the Doftors in the Temr 
 pie, and the School of Athens^ by Raphael^ 
 with many Inventions of other Matters ; 
 Matthew Greuter^ a Native of Strasburg^ 
 who, befides ingraving many Plates of his 
 own Invention, retouched fome of Tem- 
 pejla^s Plates of Hunting Pieces, and forrie 
 of other Ingra vers •, and Tl&^^J^r^ 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 'Tujcmvf^ 
 
10 The H I s T o R y of the 
 
 Tufcany^s Wardrobe. One cannot behold 
 without Aftonifhment, the beautiful Prints 
 of Saenredam^ and of the celebrated Swan* 
 hurg^ who ingravcd 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 Predecefibrs in this Art ; and 
 the renowned Stephen della Bella^ a Floren- 
 -iine. Peter T mpejia^ a good Painter, etch- 
 ed about the fame Time his fine Inven- 
 tions ; and Sahator Rofa^ a Neapolitan^ and 
 celebrated Landskip Painter, publifhed 
 many of his comical Conceits ; in which 
 the Trees and Herbage are touched with 
 liirprizmg Freedom \ and after him, that 
 excellent Painter, and worthy Prteft, Peter 
 Aqiiila^ who etched the admirable antique 
 Statues, and beautiful Paintings of Hanni- 
 lal 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^ ixv the Sachet ti Palace ; and 
 fome of Giro Ferri'B 'j with the noble In- 
 ventions of Carlo Maratti^ and fome of his 
 own; 
 
 Sometime after this, France ho2L^tdi of 
 her Melan^ who invented a Sort of Ingra- 
 ving, by whickhe gave his Figures both 
 I^^ght and ^Shade^ with fingle Strokes, ordj, 
 
 without 
 
A R T ^ I N G R A V I N G.^ I I 
 
 without ever croffing them : He was alfo a 
 Painter, and ingraved chiefly his own 
 Works. There was alfo Mr. Lane^ who 
 ingraved Hiflory and Portraits aim oft after 
 Villamena's Manner ; and M. Roujfellety 
 who ingraved the Labours of Hercules from 
 Guido Reni for the French Y^n^s Cabinet, 
 in a very beautiful and expreffive Stile, pe- 
 culiar to himfeif; M. Anthony Bos, who 
 both etched and ingraved in a Stile of his 
 own, did not fucceed fo well ; we have of 
 his Ingraving the Figures in all the Books 
 of M. Defargue^s Works, who was a Ma- 
 thematician, Geometrician, and ProfefTdr 
 of Perfpedive in the Academy at PariSy 
 and in a printed Volume of his Lectures. 
 In the Time of Bos, the famous Nanteuil 
 began to ingrave Portraits in a moft beau- 
 tiful Manner of his own Invention ; and 
 Francis PotUy made himfelf eminent by in- 
 graving with great Sweetnefs an infinite 
 Number of Pieces of Devotion, from the 
 Works of Raphael^ Caracci, Guido Reni, - 
 and others ; whilfl: Cornelius Bloemaert gain- 
 ed great Reputation at Rome, by ingraving 
 many of the Works of Peter of Cortcna, 
 and other Matters, in the moil: foft and de- 
 Jicate Stile, that was, perhaps, ever feen 
 'till his Time ; and excited that celebrated ; 
 Ingraver, Francis Spierre^ to apply himfeff ^' 
 B 6 " to 
 
12 The History cf the 
 
 V to imitate his fine Manner in the beautiful 
 Prints which he publiflied ; the Out-lines 
 of which are exceedingly fine, but the In- 
 graving is not fo foft and delicate as JS7(?^- 
 maerfs. M. Rulet afterwards ingraved at 
 Rome many beautiful Prints, with the Affif- 
 tance of Ciro Ferri^ from his Defigns, and 
 was followed by M. Bodet^ who ingraved 
 in the fame Stile, at Paris^ for the King's 
 Cabinet, the four Pidtures of Alhano^ which 
 are in the Falconieri Palace at Rome. There 
 was alfo M. Vanfculp^ who did many Hif^ 
 tory Pieces and Portraits with great Sweet- 
 nefs ; and M. Majfon^ who with Mignard^s 
 Affiftance, ingraved the Portrait of the 
 Count of Harcourt from one of his Paint- 
 ings. After this. Madam Claudia Stella 
 etched at Paris many very fine Prints, by 
 which fhe not only acquired great Renown, 
 but almoft put die Male Sex to Shame 
 ^nd, among others, this ingenious Lady 
 did a beautiful one of Mount Calvary^ from 
 a celebrated Painting of the famous Pouffirij 
 which (he preferved with more Care than- 
 her choiceft Jewels. Laftly, M, Edelink^ 
 a Flemings with the Affiftance of M. Charles 
 le Brun^ firft Painter of Louis the XIV. in- 
 graved his Works in a Stile fomething dif- 
 ferent from that, which M. Roujfellet prac- 
 tifed at Rome^ but more bold, expreffive. 
 
Art ^In GRAVING. 13 
 
 and harmonious : We have alfo of his In- 
 graving, the Family of Darius^ a Print very 
 much efteemed in the World, and a Ma- 
 donna^ from a Painting of which 
 is preferved in the French King's Cabinet 
 of Piftures. 
 
 I have here given you an Epitome of the 
 ufeful Art of Ingraving, from its firfl: Dif- 
 Govery at Florence^ 'till through a Series of 
 many Years, it was gradually brought to a 
 State of Perfcdtion by the fucceflive united 
 Labours of the great Mafters 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^ fhall, 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 fame, that 
 is to fay, Defign, Relief, Expreffion of the 
 Paflions, Multiplicity of the Objedls, near 
 and diftant Profpefts of the Country and 
 Buildings, Delicacy of the Out-lines, and, 
 1 might almoft fay, Colouring itfelf. This-, 
 
 I be- 
 
24 St^^ H I s T o R Y &xr. 
 
 I believe, will evidently appear to all, who 
 attentively examine and refieft on the Works, 
 which thefe Mafters have publifhed, hav- 
 ing a due Regard to the Time and Place 
 they lived in ; from the Beginning of this 
 Art, to its Perfedlion, by their united En- 
 deavours, to the common Advantage of 
 allManldnd. 
 
 Of 
 
in General. 
 
 Of In GRAVING in General. 
 
 MY Intention, in treating of this no- 
 ble and ufeful Art, is not fo much 
 to inftru£t the Mailers of this Profeffion, as 
 to inform the Lovers of it, what are the 
 Sentiments of the moft eminent Ingravers 
 of the Academy at Paris^ with Regard to 
 it, and endeavour to infpire the Pubhck 
 with a Love for it, by giving them fome 
 fhort, eafy and ufeful Direftions, how to 
 judge with Certainty of Performances in 
 this Art. 
 
 The Principles, on which this Art is 
 founded, are the fame as thofe of Painting, 
 viz, Deftgn^ which an Ingraver ought to 
 be a perfeft Mafter of, becaufe, without 
 it, he will never be able to imitate a Pic- 
 ture, or Defign, with any tolerable Degree 
 of PerfedioH they may indeed be finely 
 ingraved, but will want both the Juftnefs 
 of the Out- lines, and beautiful Expreffion 
 of the Originals. 
 
 I fliall pafs over in Silence the Manner 
 , in which an Ingraver ought to defign, be- 
 caufe it fhould be the fame in which a 
 Painter does, and only obferve, that He 
 Ihould diligently apply himfelf to defign 
 Hands and Feet from the antique Statues, 
 
 Nature^ 
 
l6 Of I N G R A V 1 N G 
 
 Nature, and the Paintings of the beft Maf- 
 ters, and that he ought particularly to ftudy 
 the Prints of Auguftin Caracci and Villa'* 
 mena^ who have defigned thofe Extremi- 
 ties with great Eafe and Perfeftion : This 
 I fay,' that the Ingraver may acquire a Fa- 
 cility of doing them with a good Gouty and 
 be able to corredt Errors, when he ingraves 
 from the Works of Painters or Defigners, 
 who were not perfeft in this Branch of 
 their Profeflion. 
 
 But when he is to copy the Paintings of 
 eminent Mafters, 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 Charafter, which dif- 
 tinguifhes the Stile of one Mafter from ano- 
 ther and to this End, he fhould defign 
 from the Paintings of Raphaely Caracci^ 
 DominichinOy Pouffifiy and others ; and if 
 he has only an Opportunity of feeing them, 
 and not Time to copy them, he fhould 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 In- 
 graver fhould underftand Perffe£iiv€ and 
 Anhite^ure. 
 
 Perfpe^iiviy by the Degradations of 
 Jlron^ and faint^ enables him with Eafe to 
 
 throw 
 
in General*. i/r 
 
 throw backwards the Figures and other 
 Obje£ls of the Pidure, or Defign, he 
 would imitate; and Architecture^ to pre- 
 ferve the due Proportion of its fcveral Or- 
 ders, which good Painters very often do 
 not give themfelves 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 Ingraver. 
 
 Of the polity of Co p p e r requifite for 
 
 P L AXES. 
 
 TH E Red is the beft, and mofl: fre^ 
 quently made life of, becaufe it is 
 the tougheft^ and adheres moft to the Gra-^ 
 ver ^ many deceive themfelves, wheathey 
 heat it to foften it, on the contrary, 'tis 
 better it fhould be a little hard, provided 
 it is not brittle : To prevent which, they 
 need only give Directions to thofe, who 
 prepare the Plates, to hammer them a little 
 Cold, and take Care, that they are made 
 perfedly fmooth, without Cavities or Flaws, 
 and of equal Strength throughout. 
 
 Before the Ingraver begins to trace any 
 Thing on them, akhough they appear very 
 well polifhed, it will not be improper to - 
 take a Burnifher, and rub them well with 
 it, in order to clear them of what the Stone 
 and Fire may have left, which frequently 
 
 renders.- 
 
l 8 0/ I N G R A V I N G 
 
 renders the Bottom of the Ingraving foul 
 and tarniflied. As to the Gravers, all Ar- 
 tifts know, that they ought to be made of 
 the beft and pureft Steel, without any 
 Mixture of Iron, and well tempered j 
 their Form 'tis needlefs to fpeak of, be- 
 caufe moft Ingravers chufe them according 
 to their Fancy ; however^ thofe are beft^ 
 that are of a moderate Length, almoft 
 fquare, and fmaller at the Point, but Care 
 mufb be taken that they be nottoo thin^ 
 that they may be able to refift the Work, 
 widiout bending or breaking : and the In- 
 graver ought to take particular Care, that 
 his Inftrument is very fharp, and a little 
 turned up at the Point, that he may the 
 more eafily difengage it from the Plate 4 
 and never ingrave any Thingt, with a blunt 
 Inftrument, if he defires his Work fliould 
 be neat and fine, for if he does,- it will ap- 
 pear as if it was only fcratched. 
 
 There are fome who Ihew great Facility 
 in their . Ingraving, others great Labour; 
 and fome who afFeft 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 
 of their Performances feems to have been 
 to Ihew the World, by the winding Cuts 
 
 of 
 
in G E N ERA L . 19 
 
 of their Gravers, that they were Mailers of 
 them ; without giving themfelves any Con- 
 cern about the Juftnefs of the Out-lines, 
 the Expreffion, or the Effects of the Eight 
 and Shade, that were in the Pidture or De- 
 fign they would reprefent. 
 
 The Manner of Ingraving, which ap- 
 pears to me to be done with great Labour, 
 is that which has an infinite Number of 
 Strokes, and Points, confoundoi together 
 v/ithout any Order, which make it look 
 more like a Defign than Ingraving. 
 
 An Ingraver Ihould never, in croffing 
 the firft Strokes with the fecond, make 
 very acute Angles, particularly in reprc:- 
 fenting Flefh ; becaufe it forms a very dif^ 
 agreeable Piece of Taby4ike Lettice-tVork^ 
 which deprives the Eye of that agreeable 
 Repofe, with which it defires to view all 
 Sorts of Objeds. 
 
 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* 
 Gute, feems to me the beft and moft agree- 
 able to the Eye ; as 'tis alfo the moft: diffi- 
 cult to do, becaufe the Irregularity of the 
 Strokes is moft perceptible : However, 
 
20 Of Ingra vii^c 
 
 they muft not be quite Square, becaufe that 
 refembles Stone toa much. 
 
 Directions for cmdiiBing the 
 Strokes or Cuts of the Graver. 
 
 FIRST, the Ingraver fliould obferve 
 the Aftion of the Figures, and of all 
 their Parts; with their Out-hnes ; remark 
 how they advance towards, or receed from 
 his Sight, and condu<5t his Graver accord- 
 ing to the Rifings or Cavities of the Muf- 
 cles, or Foids, widening the Strokes in the 
 lights, and contrafting them in the Shades, 
 as alfo at the Extremity of the Out-hnes, 
 to which he ought to condu6l the Cuts of 
 his Graver, that the Figures or Objetls re- 
 prefented may not appear as if they were 
 gnawn ; and hghtning his Hand, that the 
 Out-hnes may be perfedly formed without 
 feeming ftiff or cut*. And akhough 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 ; 
 yet they ought always to have a certain 
 Gonncftion with each other, fo that the 
 jfirft Stroke Ihould often ferve to make the 
 fecond ; becaufe this fliews a Freedom of 
 the Graver, and all Ingraving is more or 
 lefs beautiful, in Proportion as it feems 
 * The ingenious Rcufellet excelled in this Refpcd. 
 
 free 
 
in G E N E R A 
 
 2il 
 
 Jree 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 Neceflity ; and yet not run into the 
 .contrary Extream,-and like many young 
 Artifts, who, when they have a Mind to 
 ingravc make none but ftrait Strokes, 
 becaufe 'tis eafier to do fo, than condudt 
 the Graver with Judgment, according to 
 the various Rifings and Cavities of the 
 Mufcles, which they do not well under- 
 Hand, becaufe they are ignorant of Ana- 
 tomy and Defign. 
 
 Directions for ingraving ihe Hair 
 ^Men and Beasts, Beard, 
 
 ^ I \ H E Ingraver fhould begin thefe by 
 
 pal Locks, and afterwards fketch out the 
 principal Shades, omitting the great Lights, 
 becaufe they maybe covered at Pleafure, 
 as he finifties them, to the very Extremi- 
 ties. They fliould 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 finifhes them, to throw into the void 
 Spaces, which proceed from thefe Inequa- 
 lities, fome finer and thinner Strokes. 
 
 making the Out-Hnes of the pririci- 
 
 When 
 
22 Of I N G R A V I N G 
 
 When Hair is ingraved in this Manner, it 
 -appears much more free and natural, than 
 when done otherways; and indeed, it 
 lliould berexprefied, as far as poflible, par- 
 ticularly when the Figures are not very 
 large, by fingle Strokes only ^ for which 
 Reafon the Ingraver fhould not attempt 
 to throw in any Strokes, when 'tis well ex- 
 preffed without them ; and if he does flip 
 in any on the fliady Side, to mix and 
 unite it the better with the Flefh, they 
 muft be exceedingly fmall and fine. 
 
 For Sculpture. 
 
 I F he has a Mind to reprefent Sculpture, 
 he fhould never make his Work very 
 dark, becaufe, as Statues, i^c, are com- 
 monly made of white Marble, or Stone v 
 the Colour reflefting on all Sides does not 
 produce fuch dark Shades as other Mat- 
 ters do. Neither fliould he make Balls in 
 V 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 fliews us 
 fome Hairs detached from the reft, and flying 
 in the Air ; for it would be reprefenting 
 Things contrary to Truth, becaufe Sculp- 
 ture cannot do this. 
 
 For 
 
in G E N E R A L. 23 
 
 For S T u F F s. 
 
 LInnen fhould be ingraved fitier and 
 thicker than other StufFs, it may be 
 with one fingle Stroke, and if they do ufe 
 two, it muft 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 
 eroded with many Strokes. If it is white 
 Cloth, it fhould be ingraved with Strokes, 
 large or fmall, proportionable to the Fine- 
 nefs.or Courfenefs of the Stuff reprefented, 
 but with two Strokes only. It may be ob- 
 jeiled, there are Inilances where ^tis in- 
 graved with three ; to which I arifwer, 
 thofe who have don« fo, fought to be ex- 
 peditious, and that if the Diverfity of StufFs 
 can be reprefented by Ingraving, it makes 
 the Piece more agreeable, but then the: La- 
 bour is much greater, and more fatiguing. 
 It ought to be obferved, that on all Occa- 
 iions^ when there is a Necefiity of crofTing 
 the Strokes, the fecond fhould be finer 
 ' than the firfl, and the third than the fecond ; 
 becaufe it makes the Work more foft and 
 inellow. 
 
 Steffs 
 
24 Of 1 N G R A V I N G 
 
 Stuffs that have a Luftre ought to be 
 : ingraved with ftronger and ftraiter Strokes 
 than others ; becaure, 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 
 exprefled by one or two Strokes, according 
 to the Lightnefs or Darknefs of their Co- 
 lours, jQiould have finer ones between 
 them. 
 
 Velvet and Flujh are exprejQed in the fame 
 Manner, by fine Strokes between others, 
 only with this Difference \ the firft Strokes 
 nought to be much ftronger than for Stuffs, 
 and the finer ones between them, fhould 
 hold the fame Proportion to them, as thofe 
 in Stuffs do. 
 
 Metalsy ajs Veffels of Gold and Copper, 
 or Armour of polifh'd Steel, are to be in- 
 graved in the fame Manner, with fine 
 Strokes between ftrong ones ; it is the Op- 
 pofition of Light to Shade, that caufcs the 
 Luftre. 
 
 JFbr Architecture. 
 
 PErfpeftlve fhews us, that the Strokes . 
 which form receeding Objefts, tend 
 to the Point of View ^ if a Piece to be in- 
 graved contain any entire Columns, it will 
 be proper to reprefent the^ji, as far as can 
 
in Genera l. 25 
 
 poffibly be done, by perpendicular Lines ; 
 becaufe in croffing them according to their 
 Roundnefs, thofe Strokes which are near 
 their Capitals, being oppofed to thofe which 
 are near their Bafis, produce an Effeft very 
 difagreeable to the Sight, urilefs they arc 
 fuppofed to be at a very great Diftance, 
 which renders the Objeds almpft parallel. 
 
 For Landskips, 
 
 THOSE, v/ho pradlife Etching, may 
 form the Out-lincs by it, pardcular- 
 ly of the Leaves of Trees ; this is fome- 
 thing more expeditious than Ingraving, 
 and does as well, provided it be done with 
 Difcretion, and not too ftrong, and that 
 Care be taken in finifhing it with the Gra- 
 ver, that the Etching be not perceptiblcj 
 becaufe it has not the Softnefs of Ingraving. 
 I think an Ingraver cannot do better thaa 
 conform himfelf to Aiigujtin CaraccPs Man- 
 ner, who etched exceedingly well, but may 
 finifh higher, as Occafion requires ; Filla- 
 mena alfo, and John Sadalaer^ etched very 
 w^ell, as likewife Cornelius Cort^ who did 
 fome Pieces from Mutian^ which are very 
 fine, and may ferve as Guides to him. 
 
a6 O/* I N G R A V I N G 
 
 For S T R o K E s C u T s of the 
 Graver. 
 
 IN the Reprefentation of Objefls that 
 are Jieep^ the firft Strokes ftiould be 
 frequently interrupted and broken off ; the 
 fecond ftrait, cutting the others with acut(j 
 Angles, and accompanied with fome long 
 Points. If Rocks are reprefented, the fe- 
 cond Strokes fhovild not form the Angles 
 fo acute, as for other Things ; becaufe 
 Flints and Pebbles commonly fhine more 
 than other Matters. 
 
 The Objefls receeding towards the Ho- 
 rizon ought to be touched very lightly, 
 and charged with very little Shade, though 
 the Mafs fhould appear dark, as it may 
 happen from fome 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 
 Diftance and Air that intervenes between 
 the Objefts. 
 
 For 
 
in Genera' L w 
 
 17 
 
 For W A T E 
 
 AL L Waters are either cahn^ or agi- 
 tated with Waves like the Sea ; or 
 by Cascades and rapid Currents^ like Rivers, 
 
 As for the calm^ they arc reprefented by 
 ftraic Strokes, running parallel with the 
 Horizon, with finer ones between them, 
 which are to be omitted in fome Places to 
 make that fliining Refleftion which pro- 
 ceeds from the Water. By the flime fecond 
 Strokes alfo, made more or lefs ftrong, ac- 
 cording as the Nature of Things requires ; 
 and fometimes by perpendicular ones, the 
 Forms of Objefts, either reflefted on the 
 Surface of the Water, or advanced at a 
 Diftance on its Banks, are reprefented : ob- 
 ferving that they are to be reprefented 
 fimigly or faintly^ in Proportion as they 
 approach to, or receed from the Fore-pare 
 of the Piece ; and if ST rees are to be repre- 
 fented, it fhould 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 die 
 Waves of the Sea, are reprefented by 
 Strokes, bending according to the Agita- 
 C 2 t!oa 
 
/ 
 
 28 O/T r N G R A V I N G 
 
 tion 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- 
 preflTed by firft Strokes, according to the 
 Nature of their Fall, with finer ones be- 
 tween them, leaving the Lights formed by 
 the Light or Beams of the Sun, falling di- 
 reftly on them, very bright, and the more 
 fo, 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 fhould 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 fecond. 
 
 Flat Cloudsy loofing themfelves infenfi- 
 bly with the Sky, muft be formed by 
 Strokes parallel with the Horizon, waved 
 a little, according as they appear more or 
 kfs thick y and if it be neceflary to ufe fe- 
 2 cond 
 
in General.^ 29 
 
 cond Strokes, they fhould cut the firtt, 
 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 fhould be exprefled 
 by parallel Strokes, very flrait, without 
 any Winding. 
 
 For preferring an Eqjtality and 
 Harmony in his Works. 
 
 TH E principal Objefts of a Piece 
 fhould be wholly fketched out, be- 
 fore any Parts of them are finifhed ; as for 
 Example, if 'tis an hiflorical Piece, con- 
 taining Groupes of Figures, two or three 
 of the principal ones fhould be fo perfectly 
 defigned, that their Exprefljon fliould be 
 as vifible as if they were only intended for 
 Sketches : For if the Ingraver waits to per- 
 feci the Defigning as he finifhes them, he 
 will frequently miftake \ 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 Ingraving, in which they 
 have exerted their utmoft Abilities, think- 
 ing the whole Merit of an Ingraver confifts 
 in that; which is the Reafon one fees Abun- 
 dance of Plates finely ingraved, but with^ 
 C 3 out 
 
30 0/Ingraving 
 
 out Expreffion. If any one obje^ls to this^ 
 that it is then iifelefs to ingrave neatly \ I 
 anfwer, an Ingraver ought, as far as he 
 can, ' to join Correftnefs and Juflnefs of 
 Defign, with Neatnefs of Ingraving but 
 not negleft the former, and place his whole 
 Merit in the enticing Allurements of the 
 latter, which frequently render his Works 
 infipid and Iifelefs. On the contrary, I 
 would not have him run into the other 
 Extreme, and make his Works faint, but 
 would have them ftrong and bold ; for the 
 Force or a Print does not confiffc in its 
 Darknefs, but in the juft. Degradations of 
 Light and Shade, which ought to be more 
 or lefs ftrong, according as they approach 
 to, or recced from the Sight. 
 
 If v/e examine the Works of eminent 
 Matters, v/e fhall find they are not dark, 
 unlefs they are become fo, through Length 
 of Time ; they have perfectly imitated 
 Nature, which is not fo, particularly in 
 Flefh, except in Night Pieces^ where the 
 Objefts are reprefented enlightened by Tor- 
 ches or Lamps. 
 
 Small V/orks require finer Ingraving 
 than large ones, and in croffing, the 
 Strokes fhould form m.ore acute Angles, 
 that the Ingraving may not appear ftiff and 
 c^ry, notwithftanding the Figures are fmall. 
 If che Work requires to be highly finiOied, 
 
 it 
 
in Genera l, 
 
 k ought not for that Reafon to be over- la- 
 boured, but ingraved 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 ObjeLts are large and bold, require 
 ftrong, firm, and bold Strokes, and con- 
 tinued as much as can be ; that is to fiy, 
 never broken off, but w^hen the Mufcles or 
 Folds abfolutely demand it : and the In- 
 graver, as I have faid before, in thefe, as 
 w^ell as fmall Works, ought to endeavour 
 to perfwade the Spedlator, that they were 
 done with Facility and little L.abour. 
 
 If it is neceffary to crofs the Strokes (as 
 it often is, particularly in the Shades, to 
 exprefs well the Force and Harmony of a 
 'Painting) they fhould be croffed the con- 
 trary Way to that they were Iketched, and 
 the Angles formed by the fecond Strokes 
 Ihould be more acute this contributes 
 much to the Neatnefs and Life of a Print. 
 
 There fhould never be too much In- 
 graving on the Lights, but they fhould b? 
 lighdy pafled over, and with few Strokes ; 
 I m.ean they flhould be unconfined, and 
 that the half Shadings, if the Ingraver de- 
 fires 10 finifh to Perfediion, fhould be very 
 bright ^ becaufe, if they are very dark-;, 
 they deflroy and hinder the Eifeft intended 
 by them, as it will be difficult to find- a 
 C 4 Dark- 
 
32 Of I N G R A V I N G 
 
 Darknefs in the Shades fufEcient to give 
 them Life and Roundiiefs : and if the In- 
 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 fo highly, 
 it is never fo exaftly done, as the Paint- 
 ing ; which for that Reafon requires more 
 Labour and Trouble, on Account of its 
 Colours. 
 
 Some may perhaps fay, 'tis impofTible to 
 imitate Colours by Ingraving, becaufe we 
 have only IVbite and Black ; when I fpeak 
 of imitating them, I do not pretend to 
 make a Diftinftion between Blue and Green^ 
 Red and Tellcw^ and the fame of other 
 Colours ; but only to imitate their Mafes^ 
 as FoJiermanSy Bolfwert^ and fome others 
 have done, in their Ingravings from Ru^ 
 bens : and it is certain, that thofe Works, 
 in which this is done by an ingenious In- 
 graver, will be much more agreeable, and 
 produce a much better EiFe£t. A good 
 Ingraver muft therefore, as I have fald, be 
 a very ingenious Man, becaufe he will 
 fometimes meet v/ith bright Colours, one 
 upon another, which produce no EfFed:, 
 but by their Difference, and caufe what is 
 called a pierced Body ; an Accident, which 
 otight to be carefully avoided, becaufe it 
 deitroys the Intelligence of Light and 
 
 Shade. 
 
in Genera l. f 3 
 
 Shade. Care muft alfo be taken not to 
 fpoil the principal Lights, by affefling to 
 imitate Colours too much, and particularly 
 of the figures in the Fore-part of the 
 Piece, becaufe this would prevent their ad- 
 vancing, and entirely thwart the Painter's 
 Intention. 
 
 But as Etchings or Ingraving with Jq^im 
 Fortis^ is at prefent fo much in Vogue, I 
 find myfelf obliged to tell you, it was never 
 carried to fuch Perfe6lion, as at this Time, 
 In this, a ftrong Expreffion of the Padioiis^. 
 a fine Underftanding of Light and Shade., 
 and beautiful Manner of Ingraving. ai^e 
 equally conjoyned, when it comes from the 
 Hand of an ingenious Artift, who is ablc^ 
 to exprefs lumielf 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 Pcrfedion 
 that can be defired and which the An- 
 cients have not fhewn in their Performances 
 of this Kind, becaufe they did not fo well 
 under ftand the various Graces proper for 
 Painting and Ingraving, a& the Moderns. 
 However, it will be neceflary to fpecify the 
 Properties peculiar to this Art, to enable 
 the Reader to judge of its M^rit. By the 
 Means of Jqua Fortis., all Subje6ls^ are 
 carried even beyond Nature, it afts witli 
 
 C llich 
 
34 Of Ingraving 
 
 fuch Quicknefs, that it equals the Expedi- 
 tion of the Pencil, and enables an Artift, 
 almoft inftantly, to exprefs the Produftions 
 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 ingraving with it, becaufe 
 they can exprefs the Sprightlinefs of their 
 Fancy, with more Freedom and Expe- 
 dition than with the Graver. 
 
 Having treated of the Art of Ingraving 
 in general, I think it will not be improper 
 in; this Place to endeavour to obviate feme 
 Prejudices, which certain Criticks entertaia 
 Y/ith Regard to it. 
 
 The ^irji is,. That 'tis eafy to diftinguifh; 
 .thofe Prints that have been ingraved by 
 the Painters themfelves, or by other Pain- 
 ters from their Works, 
 
 The Secondy That an Ingraver by Pro^- 
 feffioa can never acquire a Painter's Stile of 
 Ingraving i fo that they pretend to be able 
 to know by a Print, whether it was ingra- 
 ved by a Painter, or an Ingraver by Pro- 
 feffion. 
 
 The T'bird and Lajf^ That the modern 
 Ingraver^ cannot poffibly exprefs the Works 
 of the ancient Painters, fo. well as thofe 
 have done, who were their Contempora- 
 becaufe, fay they, every Ingravex 
 
 ingraves^. 
 
in G E N E R A 35 
 
 iTTgraves according to the Gujlo of the 
 Time he lives in, and therefore 'tis impof- 
 fible for a modern Ingraver to exprefs ther 
 Works of Raphael^ in the fame Manner as^ 
 Mark Antonio^ Aiiguftin of Venice^ Sylvejler 
 ©f Ravenna^ Sec. have done. 
 
 After having diligently examined thefe 
 three Opinions, and the Prints in Difpute^ 
 it appears to me, that there is more of 
 Prejudice than Reality in therri. 
 
 • For Example, v/ith Regard to the f rji 
 Opinion^ I have found there are fome Prints 
 ingraved by Sinwn Cantarini from Guido and 
 Louis Caracei^ that are preferable to many^.. 
 that were inconteft'a!3ly ingraved by Guida 
 himfelf i\nd as thefe Gentlemen are at 
 Variance amcngft themfelves, concerning 
 many of Guido' ^ Prints, which fome or 
 them affirm were ingraved by Guido him- 
 felf, and others, by other Hands ; I think 
 this Diverfity of Sen tijnents fufficienrly" 
 ^proves, that their Opinion delerves ro be 
 very little relied en i 
 
 In Oppofitlon to tlie fecond Opinion^ vizi 
 ^hat an Ingraver by Profejfion mn never ac- 
 qtiirc a Painter^ s Stile of L J graving: There are 
 many Pieces ingraved by Gerard' Audr an ^ 
 
 , * .Amongll others, a Print from Lo:us Caracc^i. 
 '^ngrav^d by Sirmn Cantarini, reprefenting a Muj 
 poirefled by an evil Sptrit, which moil thf^fe CxliiOi 
 believe was ingmved bv Gukk hirPrCclf. 
 
 ' C 6.- whiv^l^r. 
 
3 6 Of I N G R A V I N G 
 
 which, I am perfwaded, if thefe Gentlemen 
 had feen without knowing they were done 
 by him, they would rather have thought 
 them the Produclions of a Painter than art 
 Ingraver ; for they are touched with So 
 much Life and Judgment, that I much 
 queftion whether any Painter could have 
 exceeded them. To be convinced of this, 
 they need only look on the Judges in the 
 Print, of the Martyrdom of St. Laurence^ 
 from Le Seur ; on the Pyrrbus faved^ from 
 Pc'ujpjt ; the Rape of Truths from the fame^ 
 €n the Paffage of the Red Sea^ from Ver- 
 dier^ &c. 'Tis true it may be objefted, 
 that the Figures in the Fore-part of thefe 
 Prints have a BoJdnefs and Strength of In- 
 graving, which you do not find in. any 
 Piece ingraved by Painters ; but this is a 
 Perfeftion their Works have not, and na 
 W ay invahdates my Opinion : which is, 
 that thefe Prints have as much Life and 
 Force ^ and even more than are to be found 
 in many Prints ingraved by Painters them- 
 felves. 
 
 To remove this Prejudice, the famous. 
 Bernard Picart chofe feveral Defigns whicb 
 had never been ingraved ; and having pri- 
 vately ingraved them, and printed fbme 
 Copies on^ dirty Paper, he difperfed them 
 under-hand, ; and had the Satisfai5tion to 
 find, that not one of thefe Criticks ever 
 
 li]fpe£led 
 
in General. 37 
 
 fufpefted they were not Prints, which had 
 been ingraved and printed in Italy. One 
 of thefe Pieces was from Pouffin^ and only 
 fketched out, as if with a Pen, which 
 many People took for a Defign another 
 was a fmall Holy Virgin^ in an Oval, from 
 Carlo Maratti^ which had been ingraved 
 before at Paris^ almoft as large as the Life, 
 by his Father Stephen Picart. Thofe, who 
 had never feen the large Print, thought 
 the fmall one the Work of one of Guide's 
 Difcipks, from Guido\ and thofe, who 
 had feen it,, took the fmall one for an Ori- 
 ginal, ingraved by Cark Maratti himfelf. 
 There was alfo a Print of Rebecca^ which 
 they did him the Honour to attribute, both 
 for the Invention and Ingraving, to Carlo 
 Maratti. Three other Prints, the one a 
 Jejuit \ another, a St. Jerom \ and the 
 third, a Holy Virgin on the Clouds : Some 
 thought were done by Guido himfelf, and 
 others, by fome of his Difciples. 
 
 With Regard to the third Opinion, 
 ^kat the modern Ingravers cannot attain the 
 Stiles of the ancient Painters^ becaufe they 
 live in another Age^ and every Age has^ as 
 they pretend^ a peculiar Manner ; Thefe 
 Gentlemen do not obferve, that they con- 
 jfound the Manner of Ingraving, they are 
 i]fed to fee, in thefe old Prints, with the 
 Stile of the Painter ^ fa that when they fee 
 
 a Print 
 
38 Of In G R A V 1 RG 
 
 a Print of one of Raphael"^ CompoOtionsf, 
 With all the Out-fines traced with an equal 
 dlack Stroke, and with a fine 'mA faint In- 
 graving, without Degradation of Light and 
 Shade^ or Roundnefs of the Figures, as all 
 the Ingravings 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 In- 
 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 
 exaftly. They have even taken the Liber- 
 ty to make Grounds to fome Defigns that 
 had none, and finrfli fome Parts, that were 
 but lighriy touched, according to their own 
 Fancy. I do not defign to diminifh the 
 Eftcem, that is due to the Merit of thofe 
 Prints, but value them as much as any 
 Body, and efteem thofe who ingraved 
 them, on two Accounts ; firft, becaufe 
 fchey have preftrved us many fine WorkSj 
 the Originals of which are either loft, or 
 cannot be feen by every Body ^ and fc- 
 ieondly, becaufe we ought to regard them 
 as the Inventors of Ingraving ; and there- 
 fore ought to admire, that they were able 
 to carry the Art to fuch Perfeftion as they 
 did,, particularly Mark AntoniOy and thofe 
 
 who> 
 
in Genera Lr 39 
 
 who are called les peiits Maitres^ whom 
 we ought to life v/ith great Indulgence. 
 
 It would be ridiculous to expeft from 
 the Inventors of any Art, all the Perfec- 
 tion it acquires in a Series of Years ; and 
 it is no lefs ridiculous^ in admiring their 
 Works, to flaut our Eyes againft the Dif- 
 coveries that have been made lince their 
 Time. I think it very reafonable, that 
 their Prints Ihould 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 perfwaded, if one of 
 the fine modern Prints was as rare, and 
 as ancient as thofe of the firft Mafters, 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 Frefich King's 
 Cabinet, is, in my Opinion, infinitely in-^ 
 ferior to that ingraved by Mr, Edelink ; 
 and yet there are Virtuoji^ who have the 
 ancient one, and difdain to look on Mr. 
 Edelink's^ out of meer Obftinacy, becaufe 
 they will eftcera 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 
 
 chiefly 
 
49 Of I N G R A V I N G 
 
 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 eafily 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. Picart gives us an Inftance 
 of this, which I will relate in his owa 
 Words J One Pefne^ an excellent Defigner 
 on Paper, but very indifferent Ingravcr,. 
 ingraved the feven Sacraments of Poujfin^ 
 each, on two Plates. After a certain 
 Number of them had been. workM off^ 
 and difperfed in the World, Gerard An- 
 dran^ having bought the Plates, with. 
 Pefne's^ Defigns of them, retouched, and 
 mended tliem from the faid Defigns, and 
 made them incomparably better than they 
 were before. Gerard Aidran^s Merit is 
 fo well known, that it needs no Re- 
 jcommendation neverthelefs, a Dealer 
 in Prints (at Paris) had the Afllirance one 
 Day, offering to fell me one of the firft 
 Copies, to fay ; ^heje are fine^ thefe are 
 not thofe that were retouched by Audran.. 
 And thus it is thefe mercenary Wretches, 
 prepoffefs the Minds of young Gentle- 
 ' men^ who, by frequenting the Company 
 
in Genera iS. 41 
 
 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 G?;2;^^///^/^r fhould undertake to doit; 
 becaufe they think it a Sort of Shame to 
 abandon an Opinion, v/hich 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 
 Goltzius^ there w€re fome Critics in his 
 Time, who laboured under it, and were 
 not Icfs mortified, when they found them- 
 felves impofed on, by that great Mafter's 
 Imitation of the Stiles of Albci'-t Durer^ Lu- 
 cas of Leyden^ &c. than thofe were, whom 
 Bernard Picart deceived in the following 
 Manner, which I will alfo give you in his 
 own Words ; " To undeceive fome who 
 were prepoflefled with an Opinion, that the 
 modern Ingravers could not reprefent the 
 Works of Raphael^ fo well as thofe did, 
 who were his Contemporaries, I was ob- 
 liged to ingrave fome Prints, v/hich had 
 been ingraved before by fome of the an- 
 cient Maflers, as by Mark Antonio^ or 
 fome other but the Difficulty was to 
 find the Originals, from whence they had 
 ingraved them : At laft, by Accident, I 
 had the good Fortune to meet with twa 
 of them, and after having examined and 
 
 compared 
 
\2 0/ I N G R A V I N' G 
 
 compared them with the Prints, which 
 had been formerly made from them, 1 
 found fo great a Difference between them, 
 that I did not think myfelf incapable of 
 fucceeding better, and accordingly re-in- 
 graved them, to fee if I could not ap- 
 proach nearer the original Defigns, than 
 my PredeceiTors had done/' 
 
 The Firfi was a Vemis^ who touches one 
 cf Cupid's Arrows^ and fljcws^ that /he feels 
 the Effects of the T ouch at her Heart : This 
 I ingraved exactly like the Defign, with- 
 out Ground, or any Addition. 
 
 The Second was a Bacchanal^ which had 
 been formerly ingraved by Augufiin of Ve- 
 nice. The Defign, from whence I did it, 
 is certainly the fame from which Augufiin 
 of Venice ingraved it ; the Strokes are the 
 fame, the Size the fame, and one fees that 
 the Out-lines of the Figures are exadly the 
 fame, but the Mufcles within are quite 
 different. The Satyrs have Crowns of 
 Ivy on their Heads, which, in the old 
 Print, are like Cuttings or Slips ; the an- 
 cient Ingraver has made fmall white Leaves ^ 
 all of the fame Form, ranged on a Ground 
 equally dark ; whereas, in the Defign, 
 they are heaves carelefly difpofed, which 
 form a Majs of Lights on a Light. There 
 is a Child, the back Part of whofe Head 
 you fee, the Hair of wliieh refcmbles little 
 
 Iron 
 
in General. 4 3 
 
 Iron Hooks ranged round it. The Hair of 
 the Head, Skin and Beard, are all extreme- 
 ly fiiff^ and equally blacky which are not fo 
 in the Defign, where the MafTes of Light 
 and Shade are obferved. For Example, 
 the Belly of Silenus^ in the old Print, has 
 Wrinkles as dark as poffible, and between 
 his Paps aie three or four Things that 
 look like Laces to tie them together, 
 which one knows not what to make of. 
 Laftly, if any one will give himfelf the 
 Trouble to examine the whole, Part by 
 1-^art, he will find there is not one of them 
 txa6l. Nay, even"" without having the 
 Original before him, he need only have a 
 juft Idea of the Conftruilion of the human 
 Bcdyy to judge, that Raphael could never 
 have acquired the Reputation he juftly has, 
 if his Works were hke thofe ancient Prints j 
 becaufe he w^ould have been inferior to 
 many Painters, who are much inferior to 
 him. I cannot then comprehend, how 
 thefe Gentlemen will perfwade us this 
 the true Stile of Raphael-, and that it is 
 impoffible to ingrave his Works at prefent, 
 as the ancient Ingravers did. For, fup- 
 pofing a modern Ingraver is a Mafter of 
 the Art of Ingraving, and can give Fi- 
 gures Roundnefs^ and the Degradations of 
 Light and Shade ; why cannot he exprefs a 
 Picture, or Defign, where all thefe are ob- 
 ferved. 
 
44 Q/In GRAVING 
 
 ferved, I do not fay as well, but better 
 than the ancient Ingravers, who had nei- 
 ther that Freedom of Hand, which the 
 good modern ones have, nor underftood 
 how to give Figures Roundnefs^ or the 
 Degradations of Light zndi Shade? Thofe 
 Ingravers might poffibly underftand De- 
 figning on Paper very well ; 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 Ingravers 
 from being as good Matters of Defign as 
 they were. And 'tis to no Purpofe to al- 
 ledge, that all Ages do not produce 
 Geniuses I 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^ 
 phael's Works they pretend alfo to draw 
 Confequences from them, for thofe from 
 Rubens. It cannot be denied, but that 
 they are in this Refpeft, in Part, much 
 more in the Right ; for the Prints of 
 Bolfwert^ Voftermans^ Pontius^ and Soutman-^ 
 are fo w^ell ingraved, and have fo much 
 of the Painter's Stile in them, that I do 
 
 not 
 
in O N E R A lJ 45 
 
 not think they can be exceeded ^ and in 
 this, Rubens has been more happy than 
 Raphael. But there are many other Prints 
 ingraved from the Works of Rubens by 
 other Ingravers of that Age, which are 
 very ill done, and which thefe Gentlemen 
 hunt after, whilft they defpife others in- 
 graved by Matters of this Age, though in- 
 finitely more in the Stile of Rubens. In 
 this they are to blame, for, I believe, there 
 are Ingravers now living, who can copy 
 his Works, as well as the b^ of his Time, 
 and much better than the others. 
 
 The Reafons I have here affigned, I 
 think fufficient to convince thofe, who are 
 defirous to be undeceived but if not^ I 
 fliall not defift from my Opinion ; being 
 perfwaded it proceeds more from my In- 
 capacity to eftablifh it, than from the Fal- 
 fity of my Maxims, which I leave to fome 
 other fhore ingenious Artift to juftify. 
 
46 ^An Idea of 
 
 An Idea of a fine Collection 
 of Prints. 
 
 THIS Colle£tion, which will be very 
 numerous, may be divided into 
 three principal Parts ; the Firfi^ to con- 
 tain all Hijlorkal Subje£ls\ the Second^ all 
 the Subjects of Morality ; and the Thirds 
 every Thing that concerns the Progrefs of 
 the Arts of Paintings Sculpture^ and Ingra- 
 ving ; to which may be added a Fourth^ 
 containing mixt Suhje£ls. 
 
 The Hijiorical Suhje£ls will contain the 
 Hijiory of the Worlds according to its dif- 
 ferent Ages^ Monarchies and Nations ; rc- 
 prefented by many Maps, Battle-Pieces, 
 Medals, Statues, Bafs- Reliefs, Portraits 
 and Buildings, Atchievements and Seals, 
 Devices, Tombs, and other Monunffents of 
 illuftrious Perfons. 
 
 The Moral Suhje5ls will contain a great 
 Number of Emblems, Enigmas and De- 
 vices, concerning the Religion, Manners 
 and Politicks of different Nations, with 
 Keprefentations of the Virtues and Vices. 
 
 The SubjeSis of the Progrefs of the Arts^ 
 will contain the different Stiles of the Arts ; 
 by comparing the antique Remains and 
 Ruins of them, with the Works of the 
 
 Gothick 
 
^ fine Collection ^Prints. 47 
 
 Cothick Ages, and of thofe Matters who 
 have flourifhed within thefe 2 50 Years ; in 
 order, by that Means, to obferve their 
 Original, Increafe and Decay ; and laftly, 
 their Re-eftabhfliment in the Perfeftion and 
 Beauty we now fee them. 
 
 The mixed Subjects 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 exadl Account what each 
 Volume fliould be compofed of. 
 
 The I ft Ihould contain what pafled in 
 the Beginning of the World, according to 
 the Books of Mofes^ Genejis^ Exodus^ Le- 
 vilicuSy Numbers, and Deuteronomy. 
 
 The 2d ought to be a Sequel of the 
 Sacred Hiftory, as it is found in the Books 
 ©f Jojhua, Judges, Ruth, and Kings. 
 
 The 3d Ihould contain the Remainder 
 [of the Hiftory of the Old Teftament, ac- 
 cording to the Books of Efdras, Tobit^ 
 "Judith, EJiher, Job, the Prophets, and the 
 j J^accabees. 
 
 The 4th may fhew us an Abridgment of 
 Nature, the Compofuion of tKe World, 
 i / - 2 according 
 
4-8 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, Riveis, 
 and Fifh ; 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 Compofition, his different 
 Ages, Manners, and Senfes ; his Won- 
 ders, and Inventions in the Liberal and 
 Mechanick Arts. 
 
 . The 5th Ihould contain the fabulous 
 Hiftory of the Ancients, of Saturn and 
 Cybeky of Jupiter and Junoy of Neptune 
 and Amphitrite^ of Galatea^ and many 
 other aquatick and marine Deities ; of 
 Pluto and Proferpine^ of the infernal Deities 
 and Torments ; of Jpollo 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 VenuSy of Cupid and Pfyche^ of Miner'- 
 and the MufeSy of Mercury^ Bacchus^ 
 and Hercules. 
 
 The 7th, a Series of the Hiftory of the 
 Gods, where there will bq fome Fables, 
 Medals and Statues of the Demi-Deities, 
 
 whofe 
 
a fine Collection ofV^mr^. 49 
 
 whofe Names, becaufe of their great Num* 
 ber, I (hall omit. 
 
 The 8th may contain the Hiftory of 
 what is called the Heroick ^imes^ the 
 Voyage of the Argonauts^ the War of 
 ^hebes^ and alfo Ovid'% Metamorphofis. 
 
 The 9th fhould fhew the War of roy^ 
 the Voyages of Mneas and Ulyjfes^ with 
 the laft Aifls of the Heroick Ages. 
 
 In the loth, there may be fome Subjects 
 of the Grecian Hiftory the Medals, Por- 
 traits, and Statues of their illuftrious Men 5 
 with fome Pieces relating to Sicily^ and 
 that Part of Italy^ which was anciently- 
 called the Greater Greece. 
 
 The nth fhould contain fome Maps 
 and Aftions of the firft and fecond Monar- 
 chies of the Ajfyrians and Perftans \ with 
 fome other Afiatkk^ Mgyptian^ and Afri- 
 can Hiftories. 
 
 The 1 2th, the third Monarchy of the 
 Macedonians., comprehending the Ads of 
 Alexander the Greats and his Succeffors. 
 
 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 5 
 under "Tullus Hojlilius^ every Thing that re- 
 lates to their Militia^ and under Tarquinins 
 D Prifcus, 
 
50 An I jy E A of 
 
 Prifcus^ whatever can give us an Idea of 
 their Habits, Ornaments, Magnificence, 
 and Triumphs, with the Pomp of their 
 publick Spedlacles, Feafts, and Baths. 
 
 The 14th may contain Part of the Tranf- 
 aflions of the Roman Republick, from the 
 Expulfion of their Kings, under their Con- 
 fuls and Diftators, 'till the Time of Julius 
 Cafar ; and to make this Volume corn- 
 pleat, there Ihould be a Colleftion of Me- 
 dals, and other Monuments of the ancient 
 Roman Families. 
 
 The 15th, what we have of the Reigns 
 of their Emperors, Julius C^far^ 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 
 feverai Plans of the Marches of Armies, 
 Profpefts of Camps, of Battles, and the 
 Sieges of Cities, purpofeiy omitted in the 
 preceeding Volumes, for to affemble 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 
 fhould be a Colle6lion of all Sorts of Ship- 
 ping, ancient and modern. 
 
 The 17th will fhew us the Subje<5ls of 
 the Birth, Life, and Miracles of our Sa- 
 viour, who was born in the 42d Year of 
 the Roman Empire, under the Reign pf 
 
 Jugujlus J 
 
a fine Collection ^Prints. 51 
 
 Aigufius ; where the Chriftian iEra be- 
 gins. 
 
 The 1 8th may contain the Death and 
 Sufferings of our Lord and Saviour ; and 
 a Col left ion of Holy Parables. 
 
 The 19th, the Reigns of the Emperors 
 Tiberius^ Caligula^ and Claudius under 
 which will be contained the Hiftory of the 
 Infant Chriftian Church, 
 
 The 20th, what pafled under Nero and 
 his Succelfors, to the End of the Reign of 
 Trajan ; and this with Regard to both fa- 
 cr^d and prophane Hiftory. 
 
 The 2 1 ft, the Hiftory of the Dncian 
 War, as it is reprefented in the Colurnn of 
 T raj an. 
 
 The 2 2d fiiould comprehend the Ages, 
 and Reigns of the F.mperors, from Adrian^ 
 to the Government of Alexander^ the Son 
 of Mamm^a. 
 
 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 Theodo- 
 fius'% Reign, which may be called the laft 
 Period of the Roman Grandeur ; and at the 
 End of this Volume ftiould be placed 
 the Ecclefiaftical Geography of the Patri- 
 archates. 
 
 The 25th fliould contain the Diffipation 
 a-nd Divifion of the Roman Empire, which 
 D 2 began 
 
52 An Idea of 
 
 began to be ufurped by the barbarous Na- 
 tions, in the Times of Arcadius and Hono- 
 rius^ and ended in the Eafty by the t-aking 
 of Conjlantinople^ in the Year 1453. 
 
 The 26th, the difmal Conclufion of the 
 Eaftern Affairs in Jfia^ by the Conquefts 
 of Mahomet^ and other Ottoman Emperors, 
 by the Sophies of Perjia^ and the Kams of 
 Tartary. 
 
 The 27th ftiould be a Series of the Ma- 
 hometan Princes, and JEgyptan Sultans ; 
 the Cherifs of Marocco^ and Kings of Bar- ■ 
 bary^ that have reigned in Africa ; and af- 
 terwards there fhould be a Colledion of 
 Hifiorical Pieces relating to this third Part 
 of the Globe ; the AhyJJins^ the Kingdoms 
 of Congo^ and feveral others. 
 
 The 28th fliOuld contain the Habits and 
 Ornaments of the Chriftian Greeks^ and 
 other Subjects of the Grand Seignior ; with 
 thofe of the ^urks and Perjians ; of the 
 ^ artars^ and other barbarous Nations ; and 
 at the End Ihould be a Collection of fome 
 Cruelties, Executions, and Punifliments. 
 
 The 29th fhould be the Commence- 
 ment of the Religious Orders, which were 
 inftituted in the Ec^ and amongft others, 
 of the Orders of St. Anthony^ St. Baftl^ the 
 Crofs-bearcrs^ the JeromitcSy and the Car- 
 mdites. 
 
 The 
 
a fine Collection ^Prints. 53 
 
 The 30th, feme Hiftorical Pieces of the 
 Knights of Malta^ who were a-fo inftituted 
 in the Eajl^ under the Name of Knights 
 Hofpitallers of St. John of Jerufalem. 
 
 The 3 1 ft ftiould contain the Inftitution 
 of the iVefiern Religious Orders, and par- 
 ticularly of thofe of St. Auguftin^ and St» 
 Bennet. 
 
 The 3 2d, the diflferent Orders that have 
 flourifhed in the Eafi^ fince St. Bennet^ to 
 the Time of St. Dominick^ and St. Francis 
 that is to fay, of the CarthuJianSj Fremon- 
 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- 
 leftion of the Images of the Virgin Mary^ 
 which are held in Veneration by moft Ro^ 
 man 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 fliould be 
 a Defcription of his Defert of Averne. 
 
 The 35th fhould be the Sequel of the 
 Order of Saint Francis^ containing fome 
 Pieces relating to the Order of the Capu- 
 chins. 
 
 The 36th fhould contain whatever there 
 is relating to the Orders and Religious 
 D 3 Confra^ 
 
54 Idea of 
 
 Confraternities that have arifen in the 
 Church of Rcme^ fince Sr. Francis and St. 
 Dominick^ to this prefent Time. 
 
 In the 37th there fiiould be a Colleftion 
 of all the Habits and Ornaments of 
 Ecclefiaftical Perfons, and of all the Orderi 
 of Monks and Nuns. 
 
 The 38th fliould be filled with the Re- 
 prefentations oi Religious Ceremonies, and 
 of the Magnificence of the Court of 
 Rome. 
 
 The 39th, with the Ceremonies and 
 Pomps praclifed at the Interments of Chrif- 
 tians, and of the ancient Pagans, and bar- 
 barous Nations. 
 
 The 40th and 41ft fhould contain va- 
 rious publick Rejoicings, and Entries, Tri- 
 umphs, Tournaments, Fireworks, Come- 
 dies, Dances and Mafquerades. 
 
 The 42d, the Chronological Hiftory of 
 the Papacy, divided into Centuries, from 
 the Time of Pope Leo the III. to whom 
 Charles the Great gave the City of Romey 
 to the prefent Pontificate. 
 
 The 43d, the Sequel of the Hiftory of 
 the Wejl^ containing a particular Defcrip- 
 tion of the modern City of Rome^ its 
 Churches, Palaces, publick Buildings, Vil- 
 las, Ornaments, and the remaining Monu- 
 ments of its ancient Grandeur. 
 
 The 
 
j^/^^" Collection ^Prints. 55 
 
 The 44th, Hiftorical Subjefts 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 
 fhould be a CoUedlion of what relates to 
 the Republicks of Venicey Genoa^ Lucca,, 
 Ragufa^ and St, Marino. 
 
 The 46th, the Sequel of Italy^ con- 
 taining the Dominions of the Kings ot 
 the Sicilies^ and Sardinia^ the Grand Duke 
 of 2" ufcany^ Duke of Modena^ and of the 
 Houfe of Aujlriay and other Princes in 
 Italy. 
 
 The 47th, the Hiftorical Subjeds re- 
 lating to the Kingdoms and States of the 
 King of Spain^ in Old Spain, 
 
 The 48 th, thofe of the Kingdom of 
 Portugal \ and afterwards thofe concerning 
 the Defcription of both Spains, 
 
 The 49th (hould be a Colledlion of 
 Hiftorical Pieces, relating to the Dominions 
 of the Houfe of Jujlria^ in the Low Coun- 
 tries, 
 
 The 50th, a Colledtion of thofe relating 
 to the Dominions of the King of Spain in 
 the New fVorld ; and here Ihould be every 
 Thing that regards America. 
 
 The 51ft, the Dominions of the King 
 of Spain in J/ia ; under which Ihould be 
 D 4 comprifed- 
 
56 jin Id IE. A of 
 
 comprifed what relates to the Eaji-Indies^ 
 China ^ Japan ^ India Proper^ and the reft 
 of the Indian Princes. 
 
 The 52d fhould be a Collecflion of what 
 concerns the Republick of the United Pro- 
 vinces. 
 
 The 53d, an Hiftorical Colleftion 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 
 Perfon of King James the IVth of Scotland, 
 and I ft of England ^ with a Defcription of 
 this Monarchy. 
 
 The 55th5 of what regards the Northern 
 States ; that is to fay, Ruffia^ Poland^ 
 Sweden^ Denmark^ and other Northern 
 Countries. 
 
 The 56th (hould contain the States of 
 the Kingdoms of Bohemia^ and Hungary^ 
 the Arch-Dutchy of Aujlria^ the County 
 of ^iroU and other hereditary Dominions 
 of the Houfe of Auftria. 
 
 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 late Emperor. 
 
a fne Collection (j/Trtnts. 57 
 
 The 58th, what relates to the nine 
 Eleftors of the Empire, as well the Eccle- 
 fiaftical as the Secular. 
 
 The 59th, what relates to the other 
 German Frinces, both Ecclefiaftical and 
 Secular. 
 
 The 60th, what regards the Free Cities 
 of the Empire. 
 
 The 6ift Ihould contain whatever re* 
 lates to the Republieks of Switzerland^ Ge- 
 neva^ the Grifons^ the Principality of Neuf- 
 chatel^ and the other Allies and Subjects of 
 the Switzers, 
 
 The 62d, what concerns the Dutchies 
 of Burgundy^ Normandy^ Lorrain^ and Bri- 
 tanyy before they were united to. the French 
 Monarchy. 
 
 The 63d fhould contain the Antiquities 
 of the Gatih^ and the Portraits of their ii- 
 luftrious Men, before the coming of the 
 Franks^ under their firft King, Pharamond. 
 
 The 64th, what regards the Hiftory of 
 the French^ during the firft Race of their 
 Kings, after their Arrival in Gaul^ under 
 the Conduft of Pharamond. 
 
 The 65th, what regards the fccond Race- 
 of their Kings, from PeDWy. to Louis, the 
 Vth. 
 
 The 66th fhould begin with the third 
 Race of their Kings, and contain every 
 Thing that relates to tliem, from Hugh, 
 D 5 Cap^ 
 
58 An Idea of 
 
 Capet, to the End of the Reign of Charles 
 the Fair ; where the Right Line of the 
 eldeft Branch ended. 
 
 The 67th fhould contain what concerns 
 their Kings, of the thiid Rax:e, from Philip 
 of Valois^ to the Death of Louis XI. 
 
 The 68th, the Reigns of their Kings, 
 Charles, the VIII. Ij)uis the XII. Francis 
 the I. and Henry the II. ; and as- by the 
 Marriage of Mary of Burgundy^ with 
 Maximilian^ Europe has been fince divided 
 intathe two Families of Aufirta and Bour^ 
 hon 3 to avoid Confufion, thofe Pieces re- 
 lating to the foreign Wars of the French^ 
 %^ith the Portraits of the eminent Men^ 
 who have been either their Allies or Ene* 
 in es, may be put under the Reigns of their 
 K'ngs. 
 
 The 69th and 70th may contain the 
 Reigns of their Kings, Francis the \\\ 
 Charles the IX. and Henry the III. 
 
 Th" 7ift5 what relates to the Order of 
 the Holy Ghoft^ which was inftituted by 
 Heriry the III. and here may be the Names 
 and Arms of all the Commanders and 
 Knights of the Order, from its firft Infti- 
 ration to the laft Creation. 
 
 The 72d, what relates to the Reign of 
 Henry t\it IV. 
 
 The 73d may contain the Beginning of 
 due Reign of ic'/^r^ the XIII. his Portraits, 
 
^^//i? Collection ^Prints. 59^ 
 
 thofe of the Qiieen, the Princes and Prin- 
 ceflcs of the Blood ; with the Arms or 
 Portraits of the Cardinals, Bifhops, and 
 great Officers of the Crown, and Houfe- 
 hold. 
 
 The 74:th, the Arms and Portraits o£' 
 (omc Ecclefiafticks, Religious,, and Secu- 
 lars, of all Conditions, who lived, and- 
 were rngraved, during the Reign of Louis 
 the XIIL to which may alfo be joined Fan-' 
 Dyk's Portraits. 
 
 The 75th, fome Pieces of the magnifi^ 
 cent Ceremcmies, Rejoicings, and other 
 Feftivals, that paffed in France^ in the 
 Reign of Louis the XIIL 
 
 The 76th, what pafled of the fame Kind 
 in Foreign Countries, during this Reign. 
 
 The 77th, the Pieces reprefcnting the. 
 warlike Exploits of the French .Nation^ 
 from the Beginning of the Reign of Louis 
 the XIIL to the Year 1629; when all thc^ 
 cautionary Towns of the. Protellants were 
 reduced to his Obedience. 
 
 The 78th, tlie military i!\£tions- that 
 pafled in Europe^ from the Ti^ie of Loids: 
 the Xlil. to the Rupture of the. Peace- 
 with Spain^^ in the Year 1635. 
 
 The 79th, the military Adlions, fi*oni 
 the Treaty of Peace at Treves^ to the 
 Death of LciiJs. the XIIL 
 
6o An 1 T> A of 
 
 The 8oth may contain the Habits and 
 Ornaments of the ancient and modern 
 French^ from the firft Eftabhfliment of that 
 Monarchy, to the prefent Time ; to which 
 may be added, thofe of the conquered Pro- 
 vinces, with the Cries of Paris^ Callofs 
 Beggars, and the Country Sports and Paf- 
 times of the French. 
 
 The 8ift, a Series of the military Ac- 
 tions during the Reign of Louis the XIV. 
 the Regency of the Duke of Orleans^ and 
 the Reign of Louis the XV. now hving. 
 
 The 8 2d, a Series of the magnificent 
 Ceremonies, Feftivals, publick Rejoicings, 
 Fireworks, ^c. during the fame Time. 
 
 The 83d fhould be a Geographical De- 
 fcription of the French Monarchy, as it is 
 ^ow divided into Provinces, Parliaments, 
 Governments, Generalities, Diocefes, and 
 Sub-divifions ^ to which fhould be added. 
 Charts of the Coafts, Plans, or Profils of 
 the fortified Towns and FortrelTes, of the 
 principal Chi rches, .and publick Buildings, 
 and of the Royal Palaces, with thofe of 
 the Princes of the Bbod, Nobility, and 
 Gentry. 
 
 The 84th fhould contain Maps of the 
 States and Provinces, with Plans or Pro- 
 fils of the principal Towns and FortreflTes, 
 which have been added to the French Mo- 
 narchy, 
 
a fine Collection ^Prints. 6i 
 
 narchy^ from the Beginning of the Reiga 
 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, fmce 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 
 Se6ts, of Men noted for Impiety or Liher- 
 tinifm^ &c. to which may be added the 
 Reprefentations of Monfters. 
 
 The 87th may be compofed of the Por- 
 traits of Saints and Martyrs, and thofe of 
 their Perfecutors, with Reprefentations of 
 the various Tortures that have been inflift- 
 ed on them., from the Beginning of the 
 World to this Time. 
 
 The Pieces' which will illuilrate the Arts 
 of Paintings Sculpturey and Ingraving^ will 
 alfo compofe many Volumes. 
 
 The ift of which may contain the Ori- 
 ginal of the Art of Painting, in the Egyp- 
 tian Hieroglyphicks, the Alphabets of dif- 
 ferent Nations, fome Bas -Reliefs, Trophies, 
 Rings, Cameos, Vafes, Urns, Ornaments 
 of Architedlure, and ancient Infcriptions 
 and Epitaphs. 
 
62 An K of 
 
 The 2d, fome Pieces relating to the an- 
 cient Hebrews^ with a Colleftion of F'efti- 
 vals. Medals^ and antique Statues. 
 
 The 3d may contain the two Books of 
 the Marquis Jufiiniant^^ Gallery, which are 
 full of antique Pieces ; and the T'rajan Co- 
 lumn, which is the moft entire Piece of 
 Antiquity extant. 
 
 The 4th may fhevv us the Decay of 
 Painting and Sculpture, during 1 100 Years 
 that the Empire was on the Decline ; from 
 Conjlantiney to the End of the fifteenth 
 Century and Ihould be compofed of a 
 great Number of Pieces in the Grecian^ 
 JEgyptian^ and Gothick Stiles, taken from 
 the old Paintings, Tombs, Medals, Seals, 
 and Tapeftry. 
 
 The 5th may be the Books, intitled, 
 Roma Subterranean filled with Pieces in the 
 Decline of the Empire of the Gothick 
 Stile. 
 
 The 6th fhould be the Sequel of the De- 
 cay of the Arts, with feveral Pieces from 
 wooden Plates, which fhew us the Rudenefs 
 of their Defigns, fince the Inventioa of 
 Printing. 
 
 ' The 7th may be the Original: of the Art 
 of Ingnnnng^ about the Year 1490 con- 
 taining many Pieces of the firft and moft 
 ancient Ingravers ; as of Ifrael:, and Mar^ 
 tin TedefcOy the Mafter of Alberi Durer ; 
 
a fine Collection ^Prints. 63 
 
 of Daniel and Jerom Hopfer^ ands feveral 
 others. 
 
 The 8th, the Works of Albert Durer^ 
 the Reftorer of Painting, and great Per- 
 fefter of Ingraving in Germany and the Low 
 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 loth may be filled with Pieces in- 
 gravert on Wood, done in Germany^ fince 
 1500, to this Time, as well by Lucas 
 Grants^ Jacob PenSy Holheins^ Hans Scbauf- 
 fiigy as others. 
 
 The iith may be a Series for Germany 
 and the Low- Countries^ containing fome 
 Pieces of thofc, which are called the Lejfer 
 Majkrsy- that is to fay, of George Pentz^ 
 Aldegraefy Sebalde^ John D^hifpanien^ his 
 Brother, of Virgilius SoUs^ and others, 
 whofe Names and Marks are unknown. 
 
 The r2th fhould be compofed of the 
 Works of Francis Fioris^ who is called the 
 Flemijh Raphael^ and thofe of Martin Hemf- 
 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. 
 ^intin^ George Behan^ Gilles Majfart^ and 
 Qilks Coignet^ of Otho Venius^ Cornelius 
 
64 An Id E A of 
 
 Cortj and Theodore Bernard^ of Amfierdam^ 
 of Francis Klein^ a Dane^ and of John 
 Slrada. 
 
 The 14th fliould 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. Utouch^ Denis Calvaert^ Abra- 
 ham Janjfens^ of Paul Morelfer^ Nicholas 
 Hoey^ Geldorp^ Goltzius^ Jofua^ of Monpre^ 
 John Hcefnaghel^ Gerard of Groninghen^ 
 Cornelius^ Vanfichem^ John Bcl^ David Van 
 Boons ^ and Peter Vander-Borcht. 
 
 The 15th fliouId contain fome of the 
 Works of Henry Hubart^ and James Julius 
 Goltzius. 
 
 The 1 6th fliould be the Works of ml- 
 liam^ and Crifpin de Pas, of Magdalen^ 
 and Barbara de Pas, and of feveral others 
 of that Name. 
 
 The 17th fliould be fl:ill 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 fliould comprehend the Works 
 of John^ Raphael^ Jujius^ and Gilles Sa- 
 dalaery and alfo thofe of Martin de Vos. 
 
 The 19th fliould be fliill a Suite for Ger- 
 many and the Low-Countries, and contain 
 fome Pieces, of Anthony and Jerom Wierx^ 
 2. of 
 
^ Collection ^Prints. 6^ 
 
 of Lucas Vojlerman^ Valdor^ John Saenre- 
 dam^ of John and Herman Muller^ James 
 Mathan^ Simon Phrygius^ Bartholomew Bo- 
 lende^ of Mirevelt^ and the Bolfwert^s^ of 
 Michael Snyders^ Baptift Urintz^ Hans Boly 
 Peter and Gerard de Socle ^ of JJfuerus Lon- 
 derfeel^ and of Adrian CoUaert. 
 
 The 20th fhould be another Suite of 
 Mailers that flourifhed in Germany and the 
 Low-Countries^ in the Beginning of the 
 17th Century ; viz. of Jofeph Heintz^ 
 John of Fingthy John Abhach^ John Rotten- 
 hamer^ of M, Kager^ Peter Candide^ and 
 Dominick CuJloSy of Chrijlopher SchuvartSy 
 John Speccard^ and Gerard Seghers^ of Bar- 
 tholomew Spranghers^ Abraham Bloemaert^ 
 Anthony Van Dyck^ of Abraham Brower^ 
 Gerard Honthorft^ James Jordaens^ and of 
 Robert Prince Palatine. 
 
 The 2ift fliould be the Works of Sir 
 Peter Paul Rubens ^ d, famous Painter of the 
 Low-Countries, 
 
 I would fill the 2 2d with the Reprefen- 
 tations of Night, and other dark, gloomy- 
 Pieces of various Mailers of all Nations ; 
 as of L. Gouih^ J. Velde^ Wittembrouckj 
 Rembrant^ Vanvliet^ and others. 
 
 The 23d fliould be a Collection of di^ 
 vers Landskips, done by Mafters of diffe- 
 rent Nations, that is to fay, of Paul and 
 Matthew Brily of the Sadalaers^ Peter Ster 
 
 phanOy 
 
66 An 1 ID 1. A of 
 
 phano^ Cornelius Cornelia Roeland Savery^ of 
 Monpercbe^ Claude of Lorrain^ of Fouquieres^ 
 Perelles^ of Frederick Scalberge^ Som^ and 
 the Nains^ and feveral others ; to which 
 may be added the Pieces of Ruins^ of 
 Henry of Cleves, Michael Colyns^ and New- 
 land ; with fome Sea-Pieces, and maritime 
 Profpedls. 
 
 The 24th Ihould be ft ill another Suite of 
 different Landfkips, viz. by Peter and 
 John Brughel^ Londerfeel^ J. Velde^ "Tohit 
 Verdach^ Vandehoons^ Merian^ and others. 
 
 The 25th, in order to fee the Re-efta- 
 blifhment of the Arts of Sculpture and In- 
 graving, fhould contain fome Pieces of the 
 firft Painters and Ingravers, as of Anthony 
 Pollarolo^ Andrew and Benedi^ Mantegna^ 
 of Dominick Campagnda^ John of Brefcia^ 
 and James of Verona as alfo of feveral 
 ancient Ingravers, whofe Pieces are only 
 known by their Marks \ as the Mafters of 
 the Name of Jefus^ Mercury^ the Crab- 
 Fijhy the Bird^ the Star^ and feveral 
 others to which I would alfo add, 
 fome Pieces of the firft Italian Painters ; 
 as of Giotto^ Ghirlandaio^ of Hercules of 
 Ferrara^ . of Peter of Perugia^ the Mafter 
 of Raphael^ and of Giorgione^ tlie Mafter 
 of Titian. 
 
 The 26th fhould be a Suite of the Italian 
 Mafters, containing only fome of the 
 
 Works 
 
a fine Collection of Prints. 67 
 
 Works of Raphael of Urbin ; and thofe 
 ingraven only by Mark- Antonio^ and Au- 
 guftin of Venice. 
 
 The 27th, a Suite of the Works of 
 Raphael^ ingraved by the ancient Mafters, 
 from 1530, to 1560; that is to fay, by 
 Julius Bonafone^ Sylvejler and Mark of Ra- 
 venna^ Beatrix of Lorrain^ and others. 
 
 The 28th fliould contain fome Pieces of 
 Michael Angela, 
 
 The 29th (hould be another Suite of the 
 Works of the Italian Matters, containing 
 fome Pieces of Anthony of Ccrregio^ Francis 
 Matzuolo^ firnanied, Parmigiano^ and Fo- 
 lydore of Car av agio. 
 
 The 30th, the Works of T^itian. 
 
 The 31ft fnould contain the Works of 
 Julio Romano^ the Caracci^ and Perin del 
 Vaga^ ingraved by John B. of Mantua,, 
 and Diana,, his Daughter ; as alfo by The- 
 odore Ghift,, and George Julius of Mantua. 
 
 The 3 2d ihould be compofed of the 
 Works of the Painters and Sculptors, 
 that were Contemporaries of Raphael and 
 Michael Angelo^ to the End of the i6th 
 Century, viz. of Baccio Bandinello^ the 
 Salviati^ of Balthazar Peruzzi, Dominica 
 Beccafumi^ of Sodam of Sienna^ Pordenone^ 
 Marcellus Venufto^ and Baptijl^ a Monk of 
 the Order of Camaldoli. 
 
 The 
 
68 An 1 -D A of 
 
 The 33d fliould contain fome Pieces of 
 ^haddeus and Frederick Zucchero^ of Da- 
 niel of Volaterra^ Mark of Sienna^ and 
 Baptifi Del Moro. 
 
 The 34th, fome Pieces of Paul of Ve- 
 rona^ Paul Farinate^ the Bajfans^ of TV;^/<:?- 
 ret^ Baptiji Franco^ of Mutiano, and the 
 cider and younger Palma. 
 
 The 35th, fome Pieces of thofe, who 
 flouriflied between the Year 1 550, and the 
 End of the i6th Century, vi:s^, of Mneas 
 Vico^ Martin Rota^ and Reverdino^ of Ca- 
 millo Proccacinij Baptijl Fontana^ of Cor* 
 nelius Cort^ Pajfaro^ and Sehaftian of Ve- 
 nice. 
 
 The 36th, a Suite of the Works of the 
 Italian Ingravers, who flouriflied towards 
 the latter End of the Sixteenth, and the 
 Beginning of the Seventeenth Century ; 
 that is to fay, of Cheruhino Alberto^ Villa* 
 mena^ of Raphael Schiaminofa^ and the 
 mafmi. 
 
 The 37th fhould contain the Pieces of 
 Francis Vanius^ Ventura^ Salembeni^ of C/- 
 voli^ Michael Angela^ Caravagio^ and the 
 three Caracci. 
 
 The 38th fhould be a Suite of the Works 
 of the Italian Painters of the fcventeenth 
 Century, vi%, of the Capuchin Friars, P/- 
 azzo^ and Cofmo of Caftel Franco^ of Hip- 
 politus Scarzelin^ of Schiavone^ Cangiage^ 
 
 Borgian^ 
 
a fine Collection ^Prints. 69 
 
 Bcrgian^ Charles of Venice^ Pafqualin of 
 Vercna^ Alexander Cafolani^ Bernard Cajlel- 
 lo, Vefpaftan Strada^ Anaftafius Fontehuono^ 
 Francis of Viterho^ Luke Ciamberlani^ An- 
 drew of Ancona^ of Anthony Pomerange^ of 
 Matthew and Frederick Greuter^ of Philip 
 of Naples^ and Stephen della Bella. 
 
 The 39th5 a Suite alfo of the Works of 
 the Painters and Sculptors, that flouriflied 
 in Italy ^ during the feventeenth Century ; 
 that is to fay, of Cavalier Jofepino^ Guer- 
 cino^ Cirano, Francis the Flemings and 
 Marcel of Provence^ the Reftorer of Mo- 
 faick Painting, of Gentileque^ Valentin^ Ed- 
 .ward Fialettij of Peter Beretino of Cortona^ 
 Dominichino^ and Guido Rent. 
 
 The 40th fliould be to fhew the R-e-efla- 
 bliftiment of Painting in France^ and con- 
 tain fomc Pieces of Rene^ King of 
 Sicily y of Leonard da Vinci^ Andrew del 
 Sarto^ and Roffo. 
 
 The 4iiJ: ihould be a Suite of fome of 
 Primaticci6*s> Works, ingraved by Leo of 
 Avefnesj and Anthony Jantus^ his Ingra- 
 vers ; as alfo fome Pieces of Jeffery of 
 Moutiers^ Leonard of Limoges^ Stephen of 
 Lofne^ Rene Boivin^ Luke Penis^ Dominick 
 of Florenee^ and Leonard T'hury. 
 
 The 42d may be filled with the Works 
 of John Couftn^ John Genet ^ of Swifs^ of 
 Littk Bernard^ Peter of La ^our^ Laurence 
 
 the 
 
70 An Idea of 
 
 the Glazier^ Jiifius of Egmont^ and of fe- 
 veral others, ingraved in France^ fince the 
 Commencement of the fixteenth Century. 
 
 The 43d ftiould contain fome Pieces of 
 thofe Maftcrs, who flourifhed at the latter 
 End of the fixteenth Century, and during 
 the Reign of Henry the IV. and Mary of 
 Medicis^ viz, of Freminet du Breuily Bur- 
 mty Caron^ du Bois^ Lallemand^ Thomas dt 
 Leu^ Leonard Gaultiery and others. 
 
 The 44th, the Works of thofe Mafters, 
 %vho flourifli^d about the Middle of the 
 feventeenth Century, that is to fay, of 
 James Blancbard, de Rabel^ Ferdinand^ 
 Ifaias Fournier^ John Lis^ Faher and MaU 
 lerac^ of Ruelle^ Bellange^ and James Callot. 
 
 The 45th fliould alfo be compofed of 
 the Works of James Vhomme^ of Little 
 Francis y Vanmol^ Mellin^ ^ejnel^ St. Igny^ 
 Jojfelin^ Roujfelkt, and Peter Brebiette, 
 
 The 46th may be filled with the Works 
 of the beft French Ingravers, viz. of Clau- 
 dius Mellan^ Gregory Huret^ Peter Daret^ 
 Gilles Roujfellet^ Michael Lafne^ and many 
 others. 
 
 The 47th, with the Works of the moft 
 eminent French Painters, that is to fay, of 
 Simon Voiiet^ Nicholas Poujfin^ James Stella^ 
 Champagne^ Bourdon^ de la Hire^ Vignon^ 
 hoir^ Charles le Brun, and Peter Mignardy 
 ingraved by the beft Matters. 
 
 2 The 
 
a /^/^ Collection ^Prints. 71 
 
 The 48th, I would fill with the fined 
 Pieces of the moft celebrated Ingravers of 
 the feventeenth Century. 
 
 The 49th, 50th, yc. may contain a 
 Collection of Pieces of different Mailers of 
 all Nations, who have either been omitted 
 or forgotten in the preceeding Volumes^ 
 or have flourifhed fince the End of the 
 feventeenth Century as well as of others 
 now living, whofe Names I lhall not fpecify, 
 having an equal Veneration for them all. 
 
 The Subjedls of Morality will alfo form 
 feveral Volumes, viz. 
 
 The I ft may contain fome Emblems of 
 the Chriftian Wor(hip. 
 
 The 2d may be the Reprefentations of 
 the Virtues and the Vices, with their Sym- 
 bols. 
 
 The 3d may contain a Colledion of 
 different Emblems, Fables and Enigmas. 
 
 The 4th, a Colleflion of the Devices of 
 Popes, Kings, Prelates, Princes, Noble- 
 men, and others. 
 
 And laftly, the 5th may be compofed 
 of a Colleftion of Hiftoricai Emblems, De- 
 vices ^nd Eijigmas, relating to Love and 
 Death. 
 
 The Mixed Suhje5ts will alfo compofe 
 fome Volumes, viz, 
 
^2 An Idea of^ 5cc. 
 
 The I ft may be a Colleftion of the re- 
 markable Women, mentioned in the Old 
 and New Teftaments. 
 
 The 2d of Holy Virgins, Martyrs, Fe- 
 male Saints, beatified Nuns, i^c. 
 
 The 3d and 4th may alfo be CoUeftions 
 of Chriftian Emprefles, Queens, and illuf- 
 trious Women of different Nations. 
 
 The 5th may be the Reprefentations of 
 .Roman Ladies, taken from the antique 
 Statues, Buftos, Bas-Reliefs, (^c. 
 
 The 6th may contain a Colleftion of the 
 Goddefles of the ancient Pagans j with 
 fome illuftrious Egyptian, Grecian, Jfiaticky 
 Perfian and Mahometan Ladies. 
 
 The 7th may be filled with the Portraits 
 of Women, both ancient and modern, 
 who were either imperfeft, mad, or Profti- 
 tutes. 
 
 The 8th may comprehend a Colleftion 
 of all Sorts of Hunting, Fifhing, and Fow- 
 ling Pieces ; to which may be added, a 
 CoUeftion of all the Animals that arc treat- 
 ed of in the aforefaid Pieces. 
 
 And laftly, the Ninth may be filled 
 with a Number of all Sorts of humerous 
 and grotefque Pieces ; to which may be 
 added, a Colleftion of all Sorts of Mafque- 
 rades. 
 
REP E RTO RIUM 
 
 Sculptile - Tyficum : 
 
 O R A 
 
 Complete Colledion and Explanation 
 Of the Several 
 
 Marks and Cypher^ 
 
 OF 
 
 INGR AVERS, &c. 
 
 °~ HA1<[S Schauflig, thai: 
 
 is, John Schauflig of NordUngen in Germany. 
 We find this Mark in a Folio Book, in 
 Which the Paffion, Refurreaion, and Af» 
 E fcenfion 
 
74 Marks and Cyphers 
 
 cenfion of our Lord are ingraved, with 
 Notes by Ulderic Finder^ printed at Norim- 
 herg in 1507. He ingraved in the Manner 
 of Jlhert Durtr. 
 
 Stoltzius^ he ingraved in the 
 
 Gvthick Tafte. 
 
 ^ Michael Coxis^ his Mark oF 
 certain Arahian Stories in 68 Plates, dated 
 different Years, one is in 1576. 
 
 4- noe8 Noel Gamier^ Ingraver of 
 
 GroJtfc^s, Ornaments, and JFigures, par- 
 ticularly Arts in 48 Pieces. 
 
 ^ * CAP Domenico Campagnola^ a Vene- 
 tian^ and Scholar to Titian ; we meet with 
 feme of his Pieces ingraved in 151 8. His 
 Brother Julio was alfo an Ingraver. 
 
 6. Michael 
 
of Ingravers, cifV. 75 
 
 Michael le Blon^ of Frankfort^ 
 died ill Anijierdam^ Anno 1650. 
 
 7^ 
 
 i?^;/^ Boiviny ingraved feveral 
 Plates of Antient Foliages. 
 
 John Maria da Brefcia^ a 
 Carmelite Friar, in 1502 he ingraved a 
 Virgin fitting in the Clouds, and under- 
 neath, three Saints of the Order of the Car- 
 melites. He had a Brother called John 
 Anthony da Brefcia^ who marked his Plates 
 with the Letters Jo. AN. BX. 1538. ^ 
 
 Micarino^ an Ingraver in the 
 Gothic Manner. 
 
 10. )vfa 
 
 ^ ' WC/ Matthew ZageU ingraved 
 feveral Ornaments, and Grotefque Pieces, 
 per lo traverfoy or with Crofs Strokes ^ he 
 lived in j 500. 
 
 II. Gafpar 
 
76 Mauks md CYPUtRs 
 
 II 
 
 Gafpar Reverdin^ 
 
 or Ravenjiein ; his Pieces are lafciviouB, 
 and two of them reprefent Curtezans fport- 
 ing together. 
 
 lived in 1500. He marked his Plates with 
 the Month and Year in which they were 
 ingraved as in that of the Flood, and 
 another where the Virgin is aloft, and St. 
 Bernard at her Feet ; marked 3d. 
 1524, and the other marked Anno 1544. 
 He likewife ufed the Letter D in which was 
 
 €etus^ he publiflied the Refurreftion of our 
 Saviour, and feveral Battles. 
 
 of Cologn^ lived Anno 1529. He ingraved 
 the Twelve Apoftks> in a Handing Pof- 
 ture. 
 
 a V. 
 
 Hieronymus. Md-' 
 
 Anthony Vuormace^ a Painter 
 
 15, Vuaer 
 
of Ingravers, ^c. 77 
 
 15- JMR 
 
 Vuaer Van Hojfanen^^ 
 ingraved 12 Round Plates of the PaffionL, 
 and underneath various Symbols of our 
 Saviour. He likewife ingraved the Life 
 of Chrift in 60 Plates. 
 
 I ^ .\ Philip Adler Pattdna 
 with this Mark marked on S. Chriofajinus. 
 
 I 
 
 Cornelius Sichen^ 
 ufed thefe two Marks in 108 Plates of the 
 Old Teftament, 1569. 
 
 -JL An unknown Mark on fc • 
 vera! Grotefque Pieces. This Mark differs, 
 very little from Number 55, which is alfo 
 unknown. 
 
 ^^^Ori^ Firgilio Sole ingra- 
 ved a great many Pieces in Copper and 
 Wood, in Hisbin's Tafte. He ingraved 
 the Old and Nev/ Teftaments in 200 Plates ; 
 The Metamorphofes of Ovid in 1 70 fmall; 
 
 E 3 Plates 5 
 
78 Marks and Cyphers 
 
 Plates ; Hunting-Pieces in great and fmali, 
 (ffr. He fometimes made the Letter V on 
 one Side of the Plate, and S on the other. 
 See Number 61. 
 
 He ingraved Six of the Twelve Csefars, 
 and various Ovals in 1579. 
 
 man^ ingraved all kinds of Subjefts : Some- 
 times his Mark is a Vafe of Flowers in the 
 iiiidft of the Letters LH, or the perpendi- 
 cular Stroke of the L in the fecond Stroke 
 of the H. He ingraved 27 Pieces on the 
 Paflion, 
 
 he ufed various Marks, either in the Old 
 Teftament, in Ornaments, in Freezes,, 
 Stories, Grotefque Subjefts, or Deaths 
 which are dragging away feveral Perfons. 
 
 Adrian CoUaerty 
 
 23, Cormety 
 
ef I N G R A V E R S, 79 
 
 ■ G?m^/, made this Mark 
 in Small Subjedls of two Figures each, 
 both Lame, and a Charity with her three 
 Children. 
 
 2.4. \/Q 
 
 J- ^SlLa Martin Hemskirk^ his Marit 
 in various Ornaments, in one of which arc 
 feveral Moles or Wants, 154.8. 
 
 V -JL Thefe two Marks are in 
 various Figures between Niches and Archi- 
 tedture of Chappels. 
 
 Luke Van Cranogio^ or huke 
 Van Craen^ Painter to the Duke of Savoy. 
 His Mark is fometimes LC, with a winged 
 Dragon, and the Year 1509. At other 
 times his Mark is two little Gothic Shields, 
 or with the Mark in Number 35, or 
 L. V. C. He ingraved in Wood and 
 Copper, 
 
 27. A 
 
So Marks and Cyphers 
 
 feyeral Ornaments of Gothic Architedure. 
 
 Nicholas de Bruyn^ he ufed three Marks, 
 in different Times. 
 
 Painter and Ingraver, his Mark : He aMo 
 iifed the Mark A. F. but in very few- 
 Plates. John Burckmayr Auguftano^ made 
 life of the former Mark ; and Matthew 
 Grunevald^ of Afchaffemburgh^ who was 
 Contemporary with Durer as alfo Mark 
 Antonio Raimondi^ in the Life of Chrift, 
 copied from that of Albert Durer^ for 
 which the latter accufed him before the Se- 
 nate of Vmce. 
 
 y Cuerenhert^ his Mark inTe- 
 
 veral ^urkijh Stories, and various Subjeds 
 invented by Martin Hemskirk. 
 
 31, Hisbcl 
 
af Ingravers, Gfr. 8 1 
 
 JL^JJ Hislel Petinj an In graver 
 of Norimberg^ called Hisbin : He ufed this 
 Mark from 151 3 to 1549. Hans ( or~ 
 John) Sebald Be bam 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 In- 
 gravers of the fame Name, and that their 
 Marks difFer'd by changing B in P. See 
 in the /ibcedario Pittorko for Hans Seldd^. 
 Page 220. 
 
 Albert Aliegraft^ of Wefi ; 
 fhalia^ a famous Ingraver, 
 
 3 3 *JG:J3 Hans Brefanck, ingraved tiie 
 Stories of the New Teftament \ and in 
 1619, the Twelve Apoftles, our Sa^ioiwr, 
 and St. Paul 
 
 ^^^ Ot^^^ Lucas Fan Leyden^ a, 
 celebrated Painter and Ingraver, ufed thefe 
 two Marks *, in fome of his Plates we fee 
 Part of th-c Mark at Number 133^ 
 
 35, Hans 
 
§2 Marks and Cypher's 
 
 35 MC 
 
 Hans Kaldung^s Mark, 
 
 which alfo was ufed by Luke Van CranogiOj. 
 but for what Reafon is not known. See 
 
 Number 26. 
 
 X JL^ Hans Baldungy or BaUtdn^ 
 m a Plate reprefenting Horfes, ingraved m 
 1534. The fame Mark was ufed by Hans 
 Br&famer, in his Plates of Curtius riding in- 
 to the Gulph, in his Laocoon^ and Solomon 
 worfhipping the Idol. Horatio Borgiano 
 likewife made ufe of the fame Mark in 
 hts, Plat^5, and fometimes made an. H and 
 
 a B. 
 
 Joji j%nmon^ made much: 
 
 IpcK a Mark. 
 
 39. MartJn 
 
6j Ingravers,' Gff . 8'3 
 
 39* JV^Q-j§ Ar^m« decern; of 
 Romerfwlaen, he alfo marked his Plates 
 thus M + S. 
 
 Periecouter^ his Mark in feve- 
 ral Figures in a Handing Pofture^ ingraved 
 in 1535- 
 
 Daniel Mtgnot feciL^ 
 XV JL Peter Mercand\ 
 
 ^^^0^Or^^<y Peter ^afi, has 
 two Marks, making a P and At other 
 Times his Mark was P. Si^aft^ as in cer 
 tain Grotefque Pieces^ 
 
 44- ^ 
 
 Ix George Pens^ Painter and In- 
 graver of Noriraherg^ together with Mark. 
 Antonio Raimondi^ ingraved the Works of 
 Rafhael in Rome. He ingraved after Aide- 
 graft^s Manner, his Mark was fometimes 
 G. P. 1.554, 
 
 E 6 4C TK- 
 
^4 Marks Cyphers- 
 
 The Mark on a Dead 
 Chrift, under which is written Jean Ladef- 
 peldrickt imenit. The fame Mark is found 
 on other Pieces. 
 
 46.^ 
 
 Feter Cot tarty an Ingraver 
 of Vafes. 
 
 iJL \Sl Andrew An- 
 dreani of Mantua^ he made ufe of thefe 
 two Marks. He ingraved on Wood, a 
 ire tagli^ or three Croffings in his Shades, 
 The fecond Mark is found in the Triumph 
 of Julius C^far in 10 Sheets, ingraved in 
 1599, and w^as invented hy Andrew Man- 
 tegna^ who alfo ingraved on Copper. An- 
 drew Andreani was called il Piccdo Alberto y 
 or Little Albert. 
 
 Cornelius Bus^ or Bofs. 
 
 The 
 
(ff I N G R A V E R S, 85 
 
 11 Xli The Mark of certain 
 Prints of Satyrs, and naked Figures under 
 Trees. 
 
 A Mark under cer- 
 tain Pieces of Foliages and others, in the 
 Arabic Tafte, 1535. 
 
 O Jt^ VV A Mark under a 
 ehrift fupported by two Angels, 1555. 
 
 X. A Mark under certam Ana- 
 tomical Figures, 
 
 S3- . 
 
 \ V W 3 Peter Voeriot oiLorrain^ 
 laigrWer of Portraits. 
 
 Bofsy or Bofchey ufed 
 thefe two Marks, different from Cornelius 
 
 ~ 5S' ^- 
 
S6 Marks and Cyphers 
 
 A Mark on the Twelve 
 Apoftles in a ftanding Pofture, in large 
 Sheets. This Mark diiFers but very little 
 from Nimiber i8. 
 
 s6. F%S 
 
 A Gotl^ic Mark un- 
 
 der Lazarus rifing from the Dead. 
 
 JjP\. Jgojtino ParifinOy nfed this 
 Mark. He ingraved the 8i Images de- 
 figned by Florio Macchi^ which are found 
 in a Book, intitled, ^he Emblems, of Paul 
 Macchi. 
 
 Hans Lutenfach^ who in 
 1560 ingraved in a Book for the Nuptials 
 of the Emperor Ferdinand^ Tilts, Tourna- 
 meats, and Rejoicings, in Callofs Manne:^. 
 
 JLandskips, in one 
 Horfeback killing 
 found under fome 
 
 Mark under feveral 
 of which is a Man on 
 a Dragon ; 'tis alfo 
 little Pieces in which 
 Chrift's 
 
of Ingravers, ^c, 87 
 
 Chrlft's Paffion is ingraved. Sec Num,. 
 ber 154. 
 
 60.^ 
 
 John SchoreV^' Mark under 
 the Twelve different Labours oiHercuh. 
 
 y Virgilio Sole^ of Brujfels^ un- 
 der a dead Chrift, ingraved on a large 
 Plate in 1542. See Number 19. 
 
 62. \s 
 
 olL !L The Mark found in an Old 
 Teftament in 50 Sheets, fome of which are 
 marked S. F. 'Tis likewife found in 105 
 Plates of the Roman Wars, and in 129 on 
 different Subjedls, with Latin Charafters at 
 Top and Bottom. This Artift likewift 
 ufcd the Mark LA, 
 
 63. 
 
 A Gothic Mark.. 
 
 JTVX The Mark on a Print re- 
 prefenting a Satyr piercing a Prieftefs of 
 Racchus with an Arrow. 
 
 65. "tbeodon 
 
88 Marks and Cyphers 
 
 6s- 
 
 Theodore Zaghel^ his Mark 
 in a Woman with her Back towards you. 
 
 JL XV^ A Mark m an Adam and 
 
 Eve. 
 
 A Mark in a Peafant^ who 
 cndeayours to break a Bouo:h from a Tree. 
 
 A Mark under the Four 
 
 Evangelifts. 
 
 kJJLJ Rene^ or Renato Lochon^. 
 under feveral Portraits and Works of Pdi- 
 dorey 1651. 
 
 70. Gx 
 
 -L^ Leonard Gaultier. 
 
 2u Pe:er 
 
oflNGRAVERS, &C. 89 
 
 pi Peler Lomhardi^ lie ingraved 
 the Works of Monfieur Sampagna, 
 
 72. 9^ 
 
 ' 0¥ 7^?^;^ C^x^^j^, ingraved the Works 
 of Mr. Vovet^ and others. 
 
 73 Francis Cauveau^ ingraved % 
 
 great many Plates* 
 
 74. PI 
 
 X-^ P^/^^ D^m^ ingraved various 
 Subjeds and Portraits, 
 
 75- A/T 
 
 X T J— I Michael V Afne^ ingraved 
 the Rudiments of Defigning, and other 
 Plates. 
 
 7 6 . "P^ 
 
 X/ Francis Perier^ Painter and In- 
 graver, publilhed feveral Roman Antiquities 
 1635, as in the Index of Rojft'^ Plates. 
 
 77* J^f^ ^ ;^ certain Gothic 
 
 Pieces dated 1545. 
 
 78^ 
 
go Marks and Cyphers 
 
 78.^ 79E)f\p 
 
 80. f4i 
 
 81. 
 
 figner of ^^rg-^^jj^^, 1546. 
 
 ^5- 
 
 JL The Marks, or Clkra<5ters, 
 from Number 78 to 88, are found in cer- 
 tain Gofbk Plates. 
 
 89. Jacinto 
 
gJ I n g r a V e r s, Be. gj 
 
 Jacinto Giminiant^ of Piftcja^ 
 Scholar to Peter da Cortona. 
 
 The Mark of a certain Mer- 
 chant, who bought a great Number of 
 Copper Plates, under which he fometimes 
 put the Letters A. S. excudit. Anthony 
 Salamanca likewife made ufe of the fame 
 Mark. 
 
 Thefe two 
 
 Marks are in Twelve Pieces copied from 
 the Paintings in the Chappel of Fontainhleau ; 
 on one Side is the firft Mark, fi gnifying S. 
 Martin of Bologna^ who was Francefco Pri* 
 maticcio^ called Abbot of S. Martin's ; on 
 the other is the fecond Mark, which ftands 
 for Anthony Guernier the Ingraver. The 
 Reader will hereafter meet with the other 
 Marks ufed by Abbot Primaticcio. 
 
 Adamo^ a Sculptor of Man- 
 
 tua^ ingraved the Angles of Michael An- 
 gelo Buonaroti^ in feveral Plates, and worked 
 for other Mailers. 
 
 93, Thefe 
 
92 Marks and Cyfuers^ 
 
 two Marks were ufed by Giorgio Ghift^ of 
 Mantua \ he fometimes put Ghtfi-Mant ovarii 
 fecit. 
 
 94- T 
 
 ^ Stephen Colhenfiagh Sc. Rm^ ^ 
 he ingraved the Paintings of Domenichino. 
 
 95- fit 
 
 ^cii Benedetto Cajligliont^ df 
 
 G^;^^^^, a famous Painter and Ingraver of 
 all Subjefts. 
 
 P^/^r y oF 
 Luccay a Painter and copious Ingraver, 
 ufed thefe two Marks, He was Scholar to 
 Peter da Cortona. 
 
 JL The Mark of a Nativity, co- 
 pied from Parmigiano^ ingraved by Luke 
 Kilian. 
 
 Andrew 
 
 Mantegna^ of Mantua^ or Padua^ Painter 
 
 and 
 
of In GRAVERS, Wc. 9^ 
 
 and Ingraver, his Marks : The fecond 
 Mark is found in the lo Plates of the Tri- 
 umph of Julius Cajar^ ingravcd by hitnfelf, 
 and afterwards cut in Wood in 1599, 
 Andrew Andreani of Mantua^ as we ob- 
 ferved in Number 47, 
 
 99 ^ 
 
 Mark An- 
 tonio Raimondi^ of Bologna^ called of Franct^ 
 Raphael Urbin^% Ingraver, his Marks-, 
 which Pieces he marked with the Letters 
 R. S. M. F. intimating by the two firfl: 
 Letters, Raphael Sancio^ by the two lalt 
 Marco Francia^ or Marco fecit. He like- 
 wife employed other Marks, /. e. B. S, 
 fignifying Bononienfis Sculptor. In his 
 Plates copied from Buonaroti he put MI. 
 AG. FLO. i. e, Michael Angelus Florenti^ 
 ms ; and afterwards for his own Mark he 
 employed that of Mantegna^ exprefled in 
 Number 98, which in like manner may 
 alfo fignify Marcus Antonius fecit. In the 
 Life of Chrifl: ingraved by him ^ and co- 
 pied from the Plates of Albef-t Dufer^ of 
 Venice^ he marked the Leaves with Albert 
 Durer'% Mark. 
 
 100. Che- 
 
94 Marks and Cyphers 
 
 Cheru- 
 
 hino ' Alberti Borghegiano^ that is, da Borgt 
 S. Sepolcro^ ufed thefe two Marks. He in- 
 graved the Works of Raphael^ AGchael 
 Angelo^ Polidore^ and others. 
 
 o^^v> Sihejlro da Ravenna^ 
 Marc Antonio* % Scholar and Imitator, from 
 1535 to 1560. He employed himfelf 
 wholly in ingraving the Pieces of Raphael 
 and Julio Romano. 
 
 102. ^0r^in. The firft of 
 thefe Marks is of Bernardo CafteUi^ a Ge- 
 noefe Painter and Inventor. The fecond of 
 Cammillo Congio^ an Ingraver, whole Mark 
 was alfo C. C. fecit. 
 
 103. l/^^ 
 
 \LJ Lewis Valefio^ of Bolog- 
 na, Painter and Ingraver j his Mark was 
 alfo VAL. 
 
 "104. Raphael 
 
oj Ingravers, 95 
 
 X V -Z. JL. Raphael Scaminqffi^ 
 Painter and Ingraver. 
 
 105. r'p 
 
 J? Odaardo Fiaktti fecit. 
 He was a Painter and Ingraver of Bologna. 
 
 Two different 
 Marks ufed by Salvator Rofa^ a Neapolitan 
 Painter and Ingraver. 
 
 ^ ±V1JL A Mark under a Sc. 
 Sebajlian ingraved by Michael of Lucca^ 
 after the Manner of Michelagnolefco^ ^550'y 
 and we find the fame Mark in a Madonna of 
 Raphael^ and after it, ERRT. exc. 
 
 loS. flP Bernard Pajfero, an Ingra^ 
 ver of all Subjcds. 
 
 109. Martin 
 
Marks an^ CyphTsrs 
 
 JLYX V Martin Rota Sabinenfe^ 
 fometitiles marked with thefe Words, 5^- 
 ienzanus fecit. 
 
 oCX3 Z^^^"^ jP^;;;^/ Romano^ ot 
 Luca P. R. was Raphael Ur bin's Scholar, 
 ^nd Brother to Fattorino ; he invented very 
 beautiful Subjeds, which were ingraved bjr 
 'Giorgio Ghift of Mantua in 1^56. 
 
 ^ •'^ ^ •jEQi Henry Goltzitis : This ce- 
 lebrated Dutch Ingraver imitated the man- 
 ner of feveral M afters who lived before 
 him. He ingraved Raphael's Paintings, 
 and thofe of other Mafter&. 
 
 *'^^"C^ James Grand* Homme, ingra-' 
 ved the Portraits of the Herefiarchs, and 
 others after Rembrandt* Manner ; at othef 
 times he marked thus, J. G. Van Uliet. 
 
 Cornelius Serghem, or Ber^ 
 cheny is fomerhing like the Mark 102. 
 
 2 The 
 
llfed I N G R A V E R S. 97 
 
 The Mark of Albert Fla- 
 men in certain Plates of Birds, Beafts, and 
 Fifties. Alexander Badiali^ a Painter and 
 Ingraver of Bologna \ and Anthony Bofs^ a 
 Native of France^ likewife ufed this Mark. 
 
 Two Marks of 
 Peter Vander Nelpe^ an Ingraver of all Sub- 
 jects. 
 
 ^ ^ • JL\/i Theodore Van TuldeHy 
 likewife an Ingraver of all kinds of Sub- 
 jefts. 
 
 117. y 
 
 Francis Fillamena, of Jf- 
 Jtfi, an excellent and expeditious Ingraver. 
 He likewife ufed the following Letters 
 F. V. F. or F. Villam. F. 
 
 Ory/A^ David Van Boons ^ In'V. 
 and after this Mark v/e read Oons % his 
 Plates were ingraved by P. Servator Sc. 
 
 F 119. I G» 
 
93 Marks and Cyphers 
 lip. 
 
 /G. Bronchorji^ in certain 
 Landskips, in which we hkewife find the 
 Letters C. P. /. e. Cornelius Polemhurgb 
 pmit. 
 
 Vofierman^ Painter and Ingraver of Ant- 
 w^erp^ was advifed by Peter Paul R$ibens 
 to apply himfelf to ingraving ; he ingra- 
 ved the Works of the faid Rubens^ as alfo 
 thofe of Raphael^ and Vandyck. 
 
 ^^^ %0V^^ The Marks of 
 Han$ Saenredam^ a Dutchman ; He died in 
 
 JJil James de Gbein e^cudit^ at 
 Charles Ma?ijder^s i6q8* 
 
 124^ Thc^ 
 
 The Mark of Adam 
 yE/Jheimer^ who worked with Peter Breug- 
 
of Ingravers, ^c. 99 
 124. 
 
 ^HT^ The Mark in certain 
 Land skips of Henry Given or de Clef. Mar- 
 tin de Clef alfo made ufe of this Mark. 
 
 125c 
 
 --^^"^^^ This Mark is of Schel- 
 de a Bolfwaert^ ^nd was ufed by him when 
 he had not a mind to fubfcribe his own 
 Name. 
 
 I26.T|_T 
 
 -^^^^ Rembrandt at other tiines 
 he ufed to put Van Rhin inv. He was a 
 Painter and Ingraver» 
 
 127, 
 
 J- V-I. Near this Mark we read 
 Olyn. and thefe are Landskips ingraved by 
 J. Van-Velde. 
 
 ir^ ^ A Mark in certain 
 Landskips and Solitudes, fignifying An- 
 thony Van Vuaterl Inventor; 'tis fome- 
 times joined with the firft of the three 
 Marks that follows next, i. e. H. S. P. 
 made in one. 
 
 P 2 129. Jofeph 
 
100 T^he Initial Letters 
 
 129. 
 
 Jofeph Ribera^ called Spagnoletto^ ufed 
 thefe three Marks at different Times. 
 
 The Mark of a Virgin in- 
 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 15 10. 
 
 132.^ 
 
 This Mark is under a fmalJ 
 Virgin {landing on a Half Moon. 
 
 A Mark un- 
 der a S. Veronica^ holding the Holy Hand- 
 kerchief. The former Part of this Mark is 
 feen in Ibme Plates of Lucas Van Leyden. 
 
 134' 
 
 JL V Mauro Oddi^ of 
 
 Parma^ Ingraver and Painter. 
 
ufed by Ingravers. joi 
 
 135.^1^ 
 
 ^V\, Agoftino^ a Venetian^ Scho- 
 lar to Mark Antonio Raimondi ingraved at 
 Rome^ the Paintings of" Raphael^ Julio Ro- 
 mano^ and others. He alfo marked with 
 the Letters A. V. I. or A. V. 1525. 
 
 ' OT kDMJ Stephen Delia 
 Bella^ qH Florence^ a famous and whimfical 
 Ingraver. His other Mark is S. B. 
 
 Julio Cejare Vcnmti^ an 
 
 Ingraver of Bologna. 
 
 Jofeph Maria Metelli, 
 of Bologna^ a famous and fantaftical In- 
 graver of all kinds of Subjefls. 
 
 139. 
 
 ftT~ Andrea Salmincio, of Bo^ 
 logna, an Ingraver, and Valefio'% Scholar. 
 
 140. Z)<2- 
 
102 Marks and Cyphers 
 140. 
 
 Domenico Beccafumi Siennefe^ 
 a Painter and Ingraver : We alfo find this 
 Mark in certain Wooden Cuts, copied frcra 
 Titian" % Paintings. He died in 1 
 
 141. Tdp 
 
 j}3jL See Number 31, where 
 we find pretty near the fame Mark, 
 
 142.07^ 
 
 ^^-A. Francis de Poilly^ ingra- 
 ved for feveral Mafters. 
 
 jr^m^K3 Anthony Salamanca^ or 
 Ant. Sal exc. 1543. 
 
 1-1 The Mark of Herman 
 Cchlent under the Four Evangehfts and 
 other Plates ; one of Bavid^ of Judith and 
 Lticretia ; and afterwards Adrianus Uuher- 
 tus exc. 1576, 
 
 Raphael Urhin^ a cele- 
 brated Painter and Inventor, whofe Pieces 
 
 were 
 
of I N G R A V E R S, IG3 
 
 were ingraved by the greateft Mafters. In 
 the prelent Mark he gives the Initials of 
 his Name and Sirname. See Number 99.. 
 
 146- TWT 
 
 jy^JL Hans Liefrinck^ who thus 
 marked certain Plates reprefenting Birds 
 and Hunting-Pieces, with Ornaments. 
 
 Domenico Barriera^ of 
 Florence^ who going commonly by the 
 Name of Domenico Fiorentino^ marked fome 
 Plates D. F. 1647, The fame Mark was 
 ufed by Domenico Bonavera, an Ingraver of 
 Bologna^ and Domenico Bettini a Painter, 
 in his Pieces of Flowers and Animals. 
 
 147B) 
 
 148.05^ 
 
 JL 3^ — ^ Anthony ^empejia^ of Flo- 
 rence^ a famous Ingraver : His Mark was 
 fometimes a T. with an E. joined to the 
 Leg of the T. 
 
 Nicolas Beatrici Lothc^ 
 
 ringius fecit. 
 
 F 4 150. ^heo-- 
 
J04 Marks and Cyphers 
 
 T^heo^Qre Cruger^ or Greuger^ 
 
 Ingraver. 
 
 151- AT 
 
 i\l Andreas Vande-Venne pin- 
 xiL VV. Delft. Sc. that is, fVillielmus 
 Delft Sculpfn. 
 
 152, 
 
 ,.^^/3L Henry Van Cliven^ or ClU 
 venfe^ or de Clef a Painter of Antwerp^ 
 who died in 1589, See Number 124. 
 
 Matthew Grunewald^ ^flr- 
 n.imed of Afchaffemhurg^ Painter and In- 
 graver after the Manner of Albert Durer i 
 he died in 1510. 
 
 J-L W. The Mark of feveral 
 little Plates, reprefenting our Saviour's 
 Myfterics, ingraved either by Agnes Freij^ 
 Albert 'Durer'% Wife, or fome Scholar of 
 his. 
 
 155. Gia, 
 
I N G R A V E R S, &C. I05: 
 
 ^SS' C^JC Gio. or {John) Batijia Gal- 
 kfirucci, of Florence^ Ingraver, inferted in^. 
 the Catalogue of Roman Painters, in the 
 Year 1652. He ingraved feveral of the 
 BalTo-Relievos of Polydore. 
 
 Guido Ruggen feciK 
 The Mark of feveral Pieces painted at Fon^ 
 tainehleau by Abbot PrimatkciOy and ini- 
 graved by the abovementioned, who ac> 
 coinpanied him into France. 
 
 ^ The Mark of Jtijlus Sa- 
 dalaer. He fometimes ufed only this Mark 
 at other times he added, Sadalaer. 1, S,. 
 exc, is the fame. 
 
 — d Alexander Jlgardi, Sculp" 
 tor of Bologna^ in a Conclufion ingraved by 
 Francis de Poilly^ 1653. other 
 times made ufe of the fame Mark, but 
 without the G. 
 
 159,. Francis 
 
io6 Marks and Cyphers 
 
 159. Qiv/fT^ 
 
 Francis Maria Fran- 
 cia, an Ingraver of Bclogna. 
 
 JlZ^ V jEneas Vighi^ or 
 Vico^ of Parma. His other Marks are M. 
 
 161 Count de Caylus, of 
 
 Pjm, his Mark, on his Ingravings in 
 Wood, fcfr. from the Drawings of the- 
 greateil Matters. 
 
 p 
 
 y The Mark of Crifpin Paj~ 
 fius., or Crifpin de Pas. 
 
 ^^3'J~i^ The Mark of Varies Al- 
 bertus in a Book of Vafes from Polydsre, 
 
 64.1, 
 
 Cafpar Lttyken. 
 
 165.. George 
 
^/'Ingravers, &c. 107 
 
 65^ 
 
 George Keller, 
 David Teniers. 
 
 167. 
 
 166. 
 
 fecit, 
 
 168,. 
 
 Francis Cauveau. See Nurn - 
 
 ber 73. 
 
 169. 
 
 Henry Horidins. 
 
 St. Mdrtin di Bologna, 
 
 The Mark of Raphael 
 Schiaminoffi de BurgOy on the Heads of our 
 Saviour J the Virgin Mary.^ and the Twelve' 
 F 6 Apoftles^ 
 
io8 Marks and CrFnEtS' 
 
 Apoftles, in 1606 and 1607, as big as the 
 Life. See Number 104. 
 
 Z. Dolendo. 
 
 ■ ^ Anthony ^empejta^% 
 Marks in a Book intitled, in ^atuor Evan- 
 gelijtas Arabice £5? Latine^ printed at Rome. 
 See Number 148. 
 
 ^ 74" • -I^^ Genoelsy on his Land- 
 skips. 
 
 Fecity upon 
 
 feveral Prints from Rubens. 
 
 V^CJ Wenceflaas Hollar Pra- 
 genfis excudit. 
 
 1 77. TP 
 
 IJL^ On the Plates in a Book 
 in lamo. intitled, Liber atione di Vienna daT 
 Armi Ottomane^ di Lotto LQtti. Parma 
 1685. 
 
 J 78. On 
 
e/" I N G R A V E R S, &C. 109 
 
 178. 
 
 )St^ On an Etching of our Sa- 
 viour fainting uader the Crofs. 
 
 179. 
 
 180.^ ^ 
 
 FE. Hen. Cock exc. 1570. 
 
 I o 1 . jf"5^Er|_3 On the Senfes very 
 fmallj 1569. See Number 20. 
 
 r \i J On two Prints, the Wife 
 Men offering, and a Circumcifionj after 
 the Manner of Lucas Van Leyden. 
 
 On the Plates of a Book 
 in Quarto, intitled, Medailks Antiques de 
 Mr. Ant. de Pois. Quarto. 
 
 184. ClUudio 
 
110 Marks and Cyvuers, &c. 
 
 1 84. 
 
 ^ ^ J^\/ Claudio Metelli^ on the 8 a 
 Plates of the Cries of Bologna y by Hanni- 
 bal Carracci. 
 
 See Numbers 19 and 61.' 
 
 186.1"" 
 
 Ifrael Martin^ one of the 
 fiirft Ingravers. Albert Durer^ Lucas Van. 
 Leyden^ and Aldegraft^ were his Difciples. 
 
 "The 
 
^InGRAVERS, &C. Ill 
 
 Nicolas Andrea. 
 
 ^^^^ ^^ll Alexander Badiale, a Pain- 
 ter, ; the fii ft of thefe Marks was ufed by 
 Anthony Bofs. P. 
 
 189. jacohus Bink, Painter and 
 
 Sculptor. 
 
 4t4- 
 
 Peter Brehiette^ Painter. 
 
 19^ -(c^ or CC inv. ^cm-k 
 
 Cignani^ Painter. 
 
 ^9^'(^^^^ StephaniiS Colbenftaghy 
 much like Number 125. 
 
 ^93* , 01- ^Dde Larmejfin. 
 
 194-ffl 
 
 195. Cor- 
 
112 The Matlks and Cyphers, &c. 
 
 CorTTelius Vifcher. 
 
 N. B. Number 62 is alfo the Mark of 
 Simon Frizius ; and Number 128 is alfo that 
 of Antonius Waterlo. 
 
^he Initial Letters ufed 
 hy Ingravers for their 
 Marks. 
 
 A B. ^hefe two Letters joined together^ with 
 an F tj^uing out from the B, is the Mark 
 of Alexander Badiale of Bologna, Pain^- 
 ter and Ingraver. 
 
 Ab. Bl.. -v Abraham Bloemaert, an inde- 
 
 A, Hl}^^' ^ fatigahle Dutch Ingraver. 
 
 A. Both. Andrew Both. 
 
 gos. L.. ^ logna, a celebrated Pain- 
 
 Ag. Bononise, J 
 
 A. D. J. F. Anthony de Jacquart Fecit. 
 He ingraved feveral Pieces. 
 
 A. D. Bruin, fee Number 20. 
 
 A. G. Albert Glockentonius in^ the Twehje 
 Plates reprefenting our Saviour's Pajfion. 
 
 A. F. A Mark found in fome Plates of Al- 
 bert Durerj fee Number 30. 
 
 A. C. P. 
 A. C. 
 
 ^re all Marks of Au- 
 guftino Carracci of Bo- 
 
 ter and Ingraver. 
 
 A. L. P; h 
 
112 The Initial Letters 
 
 A. L. P. I. Anthony Licinio Pordenone 
 inv. Edward Fialetti fc. 
 
 A. P. M. A. Abbas Primaticcius inv. Mark 
 Anthony exc. This Mark is found in a 
 Plate reprefenting a Shepherd lying under a 
 Tree ; and another holding his Hand on u 
 univerfal Planefphere. 
 
 A. S. See Number 90. 
 
 M. V. See E. V, Jignifying Eneas Vighf, 
 or Y ICO \ and fee Number 160. 
 
 A, V. •> Agoftino the Venetiaru See 
 
 A. V. L ^ Number 135. 
 
 B. John Sebald Beham. See Number 31. 
 Jlbbot Primaticcio, who in France was 
 called Bologna, ufed the Letter B for 
 his Mark, ^Twas aljo ufed by il Bonafoni, 
 and likewife by Domenico Beccafumi, in- 
 ter feeling it with a Line^ as in Num- 
 ber 140. 
 
 BAL. SEN. Baldaffar Senefe, i. e. Baldaf- 
 far Peruzzi of Sienna. 
 
 B, B. Bartholomew Boham of Norimberg ; 
 he ingraved in Rome, and in Bologna 
 with Mark Antonio Raimondi. Bar- 
 tholomew Bifcaino, a Genoefe Painter^ 
 alfo ufed thefe Letters in fuch Plates as 
 were of his own Invention. 
 
 B. B. A. F. Baccio Eandineili,. a Floren-J * 
 tine Archite5f. 
 
 Bei;t fecit. James Belli. See J. B. F. 
 
 B.C. 
 
llfed ^ylNGRAVERS. 113 
 
 B. C. Equ. Bartholomew Coriolanus, of 
 Bononia, Knight, 
 
 B. F. V. F. Baptift Francus Venetus fecit. 
 
 B. M. VVV. Bernardo Malpucci, ^/Man- 
 tua, Painter and Ingraver ; he ingraved 
 in Wood with three "Tools \ with the fir ft 
 he made the Profil, with the fecond the 
 Shadows, and with the third the Lights. 
 
 Bol. Inventor. ■> Julio Eonafoni, of Bo- 
 
 Bonafo fc. 1545. ^ logna. See J. B. F. 
 
 B. P. Bartholomew Paffarotti, of Bolognaj^ 
 a Painter. 
 
 B. S. Bartholomew Shenius, cr Bononienfis 
 Sculptor. 
 
 B. Z. 158 1. Bern. Zan. 
 
 C. B. Cornelius Bols. ms Artifi ingra- 
 ved Julio Romano'^ Bacchanal. Se^ 
 Number 130. 
 
 C. Bl. -^Cornelius Bloemaert, Son of A-- 
 
 Corn. Bio. ^ braham the famous Dutchman. 
 
 C. Bleker. ^e Mark of Cornelius Bleker 
 in certain Hiftorical Landskips^ 1636. 
 
 C. C. Fecit. Camillus Congius. See Num- 
 ber 102. Charles Cignani, <?/ Bologna, 
 Painter^ Inv. He alfo ufed two C V, the one 
 within the other. 
 
 C. D. F. Charles David Fecit. 
 
 CI. Mell. fc. Rom^, Claudius Mella- 
 nus. See M. inv. 
 
 C. L. fee. Cafpar Luykeu fecit. 
 
 C« P« 
 
114 Initial Letters 
 P. Cornelius Polemburgh pinxit, John 
 Bronchorft inc. See Number 119. 
 
 C. Schcenius, Martin Schocnio, of Calem- 
 bach Painter^ and Ingraver in the 
 Time of Albert Durer. He died in 
 I486. Some of the Curious think him to 
 he the fame with Buonmartino. See Num- 
 ber 39. 
 
 D. Domenxhino, of Bologna, a famous 
 Painter and Inventor. 
 
 D.B. Bernard Gallo, called the Shorty in- 
 graved fever al Works ^ and among the reft 
 OvidV Metamorphofes^ and the Old and 
 New Teflament printed at Lyons 1559. 
 
 D. F. Domenico of Florence. See Num^ 
 der 147. 
 
 D. H. David Hopfer, Brother of Lambert^ 
 noted down in Number 21, and of Je- 
 rome ; all three German Ingr avers. 
 
 D. M. C. Domenico Maria Canuti, a co^ 
 pious Painter of Bologna. 
 
 DO. CAP. 151 8. Domenico Campagnola, 
 of Venice. 
 
 E. V. Eneas Vighi, ^?rVico, ofYzxm^^tngra- 
 ved the TVorks of Ro^\^ Titian, Buonaroti, 
 Julio Clovio, and of Baccio Bandinelli. 
 
 E.V. H, EfaiahVanHulfen. 
 
 P. B. 
 
tlfed 4y I N G R A V E R S. XX ^ 
 
 F. B. Francis Briccio, of Bologna, Pain- 
 ter ; he ingraved the Pieces of Lewis Car- 
 racci. 
 
 F. B. B. Father Bonaventura Bifi, of Bo- 
 logna, called il Padre Pittorino, or the 
 Painting Fryar. 
 
 F. B. V. I. Frederic Barocci, of Urbino, 
 inv. He fometimes inftead of the I, 'put F, 
 that isy Fecit. 
 
 Fr. Bol. Inv. Francis of Bologna Inventor, 
 that is^ Abbot Primaticcio. 
 
 F. C. Francefchino Carracci, of Bologna, 
 younger Brother to Auguftin and Han* 
 nibal. 
 
 F. L. D. Ciatres exc. ^he Mark of a 
 
 Dealer in Prints. 
 F. P. Francis Primaticcio, of- Francefco 
 
 Parmegiano, who fometimes put an Y only j 
 
 in his Wooden Cuts ingraved with three 
 
 "Tools. 
 
 F. P. J, V. Bonafius. Thefe Letters are 
 found in a Madonna of Francefco^ Pri- 
 maticcio, ingraved by Julio Bonafoni. 
 
 F. T. F. Flaminio Torre fecit. He was a 
 Painter and Ingraver. 
 . F. V. B. 
 
 Francis Vanni Fecit. Fran^ 
 F. V. F. ( cis Villamena ufed this and 
 F Villam, F.^ the following Mark. See 
 J Number 117^ 
 
 G. A. 
 
ii6 The Initial Letters 
 
 G. A. "The Heirs ^/ John Agncchia. 
 
 G. F. Giorgio of Mantua Fecit. In a 
 Piece of PrimaticcioV reprefenting Vul- 
 can' j Forge. See Nmnher 93.. 
 
 G. M. F. Giorgio of Mantua, in other 
 Pieces of the ahovernentioned Primaticcio. 
 
 G. P. George Pens. See Number 44. 
 
 G. R. ^Guido Reni, of Bologna, a ce- 
 
 G. R. F. > lebrated Paifiter^ Fecit. 
 
 G. R. B. C. F. Guido Reni, in the Over- 
 throw of the Giants^ iitgraved by Bartho- 
 lomew Coriolano. 
 
 G. S. F. Gio. or (John) Sirani Fecit. 
 
 Guil. Baur 1640, William Baur, Painter 
 to the Emperor. 
 
 G. V. S. G. Van Scheindel Fee. and V.V. 
 Buytuvech. inv, 
 
 Har. Holbenius. Holbenius ^Haerlem^ 
 
 H. B. This Mark was ufcd by Hans Burck- 
 mair, who ingraved 36 Hijiorical Pieces 
 relating to the Empire. Hans Brofamer^ 
 who lived in 1538, and Horatio Borgiani 
 of Rome. See Number 36. 
 
 H. Bol. Hans Bol, /. e. John Bol, in cer* 
 
 tain Landskips. 
 H. C. Hans Liefrinck, in certain Plates of 
 
 Birds ^ and Parties of Huntings in Freezes, 
 
 See Number 14.6. 
 H. H. Hans Holbein. 
 
 HO. 
 
ufed by In gravers. 117 
 
 HO. FF. 1599, In a Print of Pharaoh'^ 
 Army drowned y by Paul Farinati, of Yq- 
 rona. 
 
 H. S. 1558. Hercules Septimius Muti- 
 nenfis.. In certain Figures and Ornaments 
 of Buildings. 
 
 H. V. C. 1 51 7. Hans Van Culmhac, was 
 Albert DurerV Scholar. 
 
 I. A. See Number 62. 
 
 J. B. James Binckius. J. B. and a Bird^ 
 is another Mark of a different Author in a 
 David, who fets his Foot on Goliah'j- 
 ■ Heady after Albert Durer'^ Manner. 
 
 J. B. JVT. John Baptifta, of Mantua, was 
 Scholar to Julio Romano he ingraved 
 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 Caefar Procacclnus 
 Inventor. 
 
 J. G. Bronchorft. See Number 119. 
 
 J. G. Van Uliet, is the fame as James 
 
 Grand-homme. See Number 1 1 2» 
 J, H. Jerom Hopfer. 
 
 Julio Bonafoni fecit. 
 See other Marks at 
 the Letter B. Bo- 
 nafo 1544, was an-- 
 other of his Mark^. 
 
 L H. 
 
ii8 I'he Initial Letters 
 
 LH. W. 1570. 
 J. K. James Kerver. 
 I. L. 1712. J. Luyken. 
 
 I. M. Ifrael Meek, in certain Suhje£fs of the 
 Pajftvn^ and other Plates. See l.Y .M. 
 The fame Mark was alfo ufed by Ifrael 
 Martino, fuppofed to be the fame with 
 Buonmartino, who lived in 1490. 
 
 L. fee. Joannes Livius fecit. He ingraved 
 after RembrandtV Manner. 
 
 Jo. Guill. Baur. John William Baur. 
 See William Baur. 
 
 Jo. AN. BX. John Antonius Brixianus, 
 1538. See Number 8. 
 
 L R. W. 
 
 J. S. Juftns Sadalaer exc. John Saenredam 
 iifed the like Mark^ joining the J to the S* 
 See Number 121. and 157. 
 
 J. S. B. John Sebald Beham. See B, and 
 Number 3 1 . 
 
 L V. M. Ifrael Van Mechelen, or Meche- 
 lini, or Van Meek, and of Lomazzo, 
 ftr named of Mentz ; he lived before Albert 
 Durer, and fometimes marked his Plates 
 with his Name Ifrael, only. 
 
 L, C. Civ. F. with the firfl C in the perpen- 
 dicular Stroke of the L, is the Mark of 
 Ludovico Cardi, firnam^d Civoli, a V\o* 
 TQntmt Painter^ in a Plate of the Supper 
 of the Pharifee. 
 
 L. C. 
 
ufed ^j^Ingravers. ng 
 
 Lewis Caracci Inven- 
 L. C. F. B. ( tor. Francefco Brie- 
 Lod. C. I. Fr. Bri. T cio intaglio, or in- 
 
 J graved. 
 L. C. '7 Lewis Carracci, in his three Plates 
 L, O. C. J ingraved with his own Hani. 
 L. D. In a Sacrifice^ and Alexander the 
 
 Greats hy Jbkot Primaticcio. 
 ^ Q ^ Luke Van Cranogio, or Luke 
 j^' y' Q > Van Craen, Painter of Savoy, 
 
 ) Anno ic^og. See Numhr t S. 
 L. H. Lambert Hopfer. See Number 2 1 . 
 L. K. A. Luke Kilian, of Augsburg, 
 
 graved Tintoret*^ and Spranger'j Works. 
 L. Lambert Lombard, or Sufterman, 
 L. L. > or Suavius, all which ftgnify the 
 L. S. 3 y^^^ P erf on. 
 L. L. Lorenzo Lolli, Guido Reni'j 
 Lollius. > Scholar. 
 
 Lucas, P. R. Luke Penni, the Roman, 
 Raphaels Scholar. See Number 110. 
 
 L, V. V. Luke Van Uden, in fome of 
 TitianV Landskips. 
 
 L. Lucas, ^/ Ley den. See Number ^4^^ 
 
 M. A. F. Sei Number gg. 
 M. C. Martin dc Clef, or Clivenfis Au- 
 guftanus. 
 
 M. D, Vos. Martin de Vos, a celebrated 
 Inventor for Ingravers» 
 
 Mel. 
 
I20 The Initial Letters 
 
 Mel. Gir. fee. Melchior Girardini fecit. He 
 
 was a Painter and Ingraver at Rome. 
 M. G. Matthew Greater, Ingraver^ horn 
 Strasburg, Ann. 1566. 
 
 Mel. fc. Rom2e.i633. 3 Paris. 
 
 MI. AG. FLO. Michael Angelo, of Flo- 
 rence, i. e. Buonaroti. 
 
 M. L. Melchion Lorichius. 
 
 M. Merian. Matthew Merian. 
 
 M+.S. Martin de Secu, or Schonio, call- 
 ed by fome Buonmartino, was Albert Du- 
 rer'j- Mafier. See Number 39. 
 
 M.R. Mark - Ravennate, or Ravignano, 
 z. e. Mark ^/Ravenna, Scholar to Mark 
 Antonio Raimondi. See R. S. 
 
 M. Z. Martin Zinkius, /, e. Zazingeri, 
 1500. See Number 10. 
 
 Nadat, has marked his Plates with a Mole 
 
 or Want-trap. 
 N. B. Nicholas de Bruyn, See Number 28. 
 N. B. L. F. Nicholas Beatrici Lotharingius 
 
 fecit. See Number 149. 
 N. C. F. Nicholas Chapron, a Frenchman^ 
 
 fee. Anno 1649. He ingraved Ra,phzcV s 
 
 Galleries^ painted in the Vatican. 
 N.M.D. Nicholas Manuel de Berna, 151 8. 
 N P. or P N, Peter Nolin. 
 
 M. inv. 
 Mel. p. & fc. 
 Mellan. 
 
 2 
 
 P. B. F. 
 
ufed by I isr G R A V E R s. 1 21 
 
 T> T> "p -V 
 
 P B* * jP^^^'' Blancus fecit & incidit. 
 
 P. C. Paul Caliari, /. e. Paul Veronefe, 
 
 Painter and Inventor, 
 P. F. Paul Farinati of Verona, Fainter and 
 
 'Inventor, 
 
 P. H. Peter Hys, in certain Pieces of De- 
 votion. 
 
 Phil. Th. 1589. Philip Tomafini. 
 
 P. John Sebald Beham. See Letter B. and 
 
 the Letters V. P. 
 P. Quaft. Peter Qiiaft. See Number 43. 
 Pi. Ss. Bart. Peter Santi Bartoli, Ingraver 
 
 ^/Perugino in Rome. 
 P. S. F. Peter Stefanoni fecit, "this Artijl 
 
 ingraved the Caracci'j Works. 
 P. V. Borcht. inv. & fc. Peter Van del 
 
 Borcht. 
 
 R. ^he Mark of Ravignano, and under- 
 neath R. V. I. that is^ Raphael Urbino 
 Inv. MR. 
 
 R. B. T. A. Robetta. 
 
 R. S. M. A. 7 0 Ar. 7 
 
 R S M F 3 Isumber 99. 
 
 R. S. Ravignanus Sculpfit. See M. R. 
 R. S. M. R. Mark ^/Ravenna, He put this 
 
 Mark to Raphael Sancio Urbino'i Pieces. 
 R. V. A. Gaudenfis Sculp. The Mark of 
 
 feveral Pieces invented by Peter da Cor- 
 
 tona. 
 
122 ^he Initial Letters 
 S. 
 
 S. B. Stephen della Bella of Florence. See 
 Number 136. 
 
 S. B. D. Pidor. Under an Annunciation^ 
 invented by Peter Candido. 
 
 S. C. Simon Cantarino, called of Pefaro., 
 Painter and Ingraver. 
 
 S. C. F. Stephen Carteron fecit, j6i6. 
 
 Sebenzanus fecit. T!his is Martin Rota of 
 Sabina. See Number 109. 
 
 S. F. Simon Frifius fc. "Thefe are Portraits 
 ingraved by Henry Hondius. See Num- 
 ber 62. 
 
 S. G. S. Simon Guillain fc. T^his Artijlwho 
 was born in Paris, ingraved 80 different 
 Figures of Hannibal Caracci, called the 
 Cries of Bologna, Anno 164.6. 
 
 S. P. Simon Pafleus. 
 
 S. P. F: Stephen du Perac fecit. 
 
 Strada. Vefpafian Strada of Rome. 
 
 T. Anthony Tempefta of Florence, Painter 
 
 and Ingraver. See Number 148. 
 T. C. Theodore Criiger. See Number 150. 
 
 VAL. Valefio, John Lewis Valefio of 
 
 Bologna. See Number 103, 
 Van Rhin in. Rembrandt de Rein. See 
 
 Number 126. 
 V* C. Vincenzio Caccianemici, a Nobleman 
 
 of Bologna, and Painter. 
 
 Vel. 
 
tlfed 1 N G R A V E R S. J 23 
 
 Vef. S. Vefpafiano Strada <?/Rome. 
 
 v. P. or B. or P. or J. S. P. were four 
 Marks ufed by John Sebald Beham, zvhen 
 he did not care to put his own Name^ 
 which is found Number 31. 
 
 V. S. 1622. Valentine Sezenius. T'he 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. Mark ufed by an antient Ingra- 
 ver in a St. Bartholomew and a St. 
 George. 
 
 W. D. H, Will. Henius. 
 W. H. V^enceQaus Hollar. 
 V^. P. Will. Pafle. 
 
 Z. A. Zazingeri, or M. Z, Martin Zinkius, 
 as was before mentioned. 
 
 0 2 
 
124 An Alphabetical l-^-D'E-iL 
 
 A N 
 
 Alphabetical INDEX 
 
 OF THE 
 
 Chriftian Names and Sirnames 
 of the Ingravers and Pain- 
 ters, with their Places of 
 Abode, and when they flou- 
 rifhed, &c. 
 
 A. 
 
 A Bbot Primaticcio, ufed the following 
 ji \ Marks, A. P. M. A. or B. or Fr. 
 
 BpL or F. P. See 'Number 91. 
 A. Blotholinus. 
 
 Abraham Bloemaert, Ab. BL he died in 
 1647, aged 94. 
 
 Adam ^Iflieimer, lorn in 1574. See Num- 
 ber 123. 
 
 Adam Mantovano. Number 92. 
 
 A. D. Bruin. Number 20. flor. in 1579. 
 
 Adrian Collacrt. Number 22. 
 
 Adrian Hubert. Number 144. 
 
 Agnes Frey, JVife of Albert Durer. Num ■ 
 ber 154, She lived in 1510. 
 
 Agoftino 
 
I N G R A V E R I 25 
 
 Agoftino Parifino. 'Number 57. 
 
 Auguilin Carracci, A. C. or Agos. of 
 
 Bolog ia, died in 1602, ciged 
 AiigufLin Metelli, a Fainter of Bologna. 
 
 He died in 1660. 
 Auguftin Veneziano, or K, V, ficr, in 
 
 1525. Number 135, 
 Albert Aldegraft, of Weftphalia, fior. in 
 
 1 55 1. Number 32. 
 Albert Altorfio, ^/Sweden, for. in 151 1. 
 Albert Clovet, for. in 1675. 
 Albert Durer, or A. E. of Nuremberg, 
 
 He died in 1527, aged 5 8 . Number 30. 
 Albert Flamen, for, in 1641. Number 114^. 
 Albert Golckentonio, A. G. 
 Alexander Algardi. He died in 1654^ 
 
 aged 56. Number 158. 
 Alexander Badiali ^/Bologna, A. B. 
 Alexander Specchi. 
 
 Andrew Andreani, ofNiz.ntm^for. in i6oo» 
 
 Number 4^. 
 Andrew Both, A. Both. 
 Andrew CamafTei, a Painter of Eevagna, 
 
 He died in 1695. 
 Andrew Laurent, ^/ Paris, now living. 
 Andrew Mantegna, of Mantua. He died 
 
 in 1 51 7. 
 
 Andrew Salmincio, of Bologna, flor, in 
 1640. Number 139. 
 
 Andrew Vande Venne, flor. in 1662. Num- 
 ber i^i. 
 
 G 3 Andi'ew 
 
126 An Alphabetical Index. 
 
 Andrew Wolfgangus, ^/Saxony. 
 Anthony Bofs, a Frenchman. Number 114. 
 Anthony di Jacquart, A. D. I. F. 
 Anthony da Trento. He lived in 1550. 
 Anthony Francefco Lucini. 
 Anthony Guernier. Numher 91. 
 Anthony Lanferrius. 
 Anthony Licini, A. L. P. I. 
 Anthony Maffon, Paris, fior, in 1698,. 
 aged 66. 
 
 Anthony Salamanca, flor. in 1664, Num- 
 bers 90, and 143. 
 
 Anthony Tempefta, or T. He died in 
 1630, aged 75. Number 148. 
 
 Anthony Vandyke, a Painter. He died in 
 1641, 
 
 'Anthony Van VuaterL Number 128. 
 Anthony Wierx. 
 
 Anthony Vuormace. Number 14. 
 Arman Muller. 
 
 'Arnold Van Weflerhout, flor. in 
 B. 
 
 Baccib Baldino, flor. in 1500. 
 
 Baccio BandineUi of Florence, B. B. A. F. 
 
 ^550- 
 
 Baldazzar Peruzzi, BAL. SEN. He died 
 
 in 1536, aged 55. 
 Bartholomew Bifcaino ^/Genoa, B. B. He 
 
 died m. 1657. 
 
 Earthoiomew 
 
^ I N G.R AVERS. 127 
 
 Bartholomew Boham, B. B. of Nurem- 
 berg, flor. in 153 1. 
 
 Bartholomew Chilian, or Kilian, of Augf- 
 burg, for, 1683. 
 
 Bartholomew Co^iolano of Bologna, B. C. 
 Equ. flor. in 1640. 
 
 Bartholomew Gagliardi. He died in 1620. 
 
 Bartholomew Paifarotti, a Painter of Bo- 
 
 , logna, B. P. died in 1578. 
 ~ Bartholom.ew Schenio, B. S. ^/Bologna. 
 
 Baptift Brittiano, of Mantua. 
 VBaptift Franco, ^/Venice, died in 1^61. 
 
 Bellange, a Frenchman. 
 
 Benedift Farjat, flor» in 1702. 
 
 Bernard PaiTaro. Number io8. 
 . Bernard Balieu, flor, in 1700. 
 
 ^Bernard Caftelli. Number 102. He died 
 in 1629. 
 
 Bernard Gallo, D. B. flor. in i55g, 
 Bernard Malpucci, B. M. ^/Mantua. 
 Blodelingus of Amfterdam. 
 Bonafoni : See Julius Bonafoni, flor. in 
 
 Buonmartino : See Ifrael Vanmechelin. 
 Bernard Baron, ^/London, now living. 
 
 C. 
 
 Camillo Graffico, of Forli, 
 
 Cammillo Porcaccini. He died in 1628. 
 
 Cam.millo Congio, or CC. Number 102. 
 
 G 4 Gaprarola 
 
128 An Alphabetical Index 
 
 Caprarola 1597. He ingraved the 'Death cf 
 Chriji from Hannibal Carracci,. on Silver^ 
 in Caprarola. 
 
 Charles Alet, flor. in 1693. 
 
 Charles A udran, ^/Parig. 
 
 Charles BufFagnotti, of Bologna, flor. in 
 1704. 
 
 GharleS' Cefio, an Ingraver. 
 
 Charles Cignani, a Fainter ^/Bologna, CC. 
 
 Charles David, C. D. F. 
 
 Charles de laHay, fior. in 1682. 
 
 Charles Maratti, a Painter^ of Rome, died 
 
 in 1713, aged 88, 
 Charles Saraceni : He died in 1625. 
 Cefar Fantetci. 
 
 Cherubino Alberti : He died in 161 5. Nmi- 
 
 ber 100. 
 Claudius Audran. 
 
 Claudius Mellan, ^/ Parish CI Mel. died in 
 
 16885 aged qA. 
 Claudia Stella, Paris, for. in 1686; 
 Ciro Ferri, of Rome ^ he died ini6go. 
 Conrad Mayr, cf Zurich, died in 1638, 
 
 aged 33. 
 
 Conrad Waumans, flor. in 1666'. 
 Cormet. Number 23. 
 Cornelius Berghem, (?r Berchen. Number 113. 
 Cornehus Bleker, flor. in 1636. C, Bleker. 
 Cornelius Bloemaert, C. Bio. born in 1603. 
 C. B. andfl^or. in 1665, 
 
 Cornelivs 
 
I N G R A V E R S. I 29 
 
 Cornelius Bofs, or Bus. Numbers 54, 
 and 130. 
 
 Cornelius Cort, of Holland, he died in 
 
 i^y^, aged ^2. 
 Cornelius Gallo, flor, in 164^). 
 Cornelius Heviflen. Number 38. 
 Cornelius Polemburg, of Utrecht, C. P. 
 
 died in 1660, aged j/i^. Number 119. 
 Cornelius Sichen. Number ij. 
 Cornelius Vermulen, flor. in 1706/ 
 Crefcenzius de Honofri. 
 Crifpin Faflasus, Fafle Cologn, died 
 
 in 1626. , Number 163. 
 Cuerenhert. Number 29. 
 
 D. 
 
 Daniel Mignot. Number 41. 
 David Hopfer, D. H. flor. in 1568. 
 David Van Boons. Number 118. 
 Diana, ofM.2iX\tu2i^fI:>elivedin 1566 
 Dieterico Mayr, be died in 1658, aged 87. 
 Dirich Vander Staren. Number 12. 
 Domenichino, D. d?/ Bologna, died in 1641, 
 aged 60. 
 
 Domenic Barriera, of Florence. Number 
 147.^ 
 
 Domenic Beccafumi, he died in 1549. 
 
 Number 140. 
 Domenic Campagnola, 1518. Number 5. 
 Domenic degli Ambrogi, of Bologna. 
 Domenic Maria Bonavera, of Bologna, 
 
 G 5 Domenic 
 
130 Ah Alphabetical V't^Tf'Ex 
 
 Domenic Maria Canuti, of Bologna, D, 
 M. C. 
 
 Domenic Maria Fontana, died in 1607, 
 aged 64. 
 
 Domenic Tempefta, ^ Florence, flor. in 
 
 1704, aged 62. 
 Domenic Tibaldi, of Bologna, he died in ^^ 
 
 1582, aged /i^2. 
 
 E. 
 
 Edelinck, ^/ Paris, died in 1707. 
 Edward Fidetti, ^/Bologna, for. in 1612. 
 
 Number- 10 
 Elias Hainzelman, Augfburg; 
 Elizabeth Sirani, a Paintrefs of Bologna, . 
 
 died in 166^^ aged 26. 
 Eneas Vighi, or Vico, E. V. livedo* 
 
 in 1550. Number 160. 
 Erhardus, (?/ Paris. 
 Efaias VanrHulfe% E. V. H. 
 
 F. 
 
 Eabritius Chiari, ^Rome, he die'd in 1695, ^ 
 Frederick Barocci, Urbino, F. B. V. L - 
 
 horn in 1^28, diid in 1612^ aged S4., 
 Elaminius Torre, of Bologna, F. T. F... 
 
 he died in 1661. 
 Ploriys Macchi, (?/ Bologna, flor. in 1600, 
 Francis Aquila*. 
 
 Francis Briccio, F. B. of Bologna, fior. in - 
 1600, 
 
 Francefchin: j 
 
^Ingravers. 131 
 
 Francefchin Carracci, of Bologna, flor, in 
 1622. 
 
 Francis de Neve, of Antwerp. 
 
 Francis de Poilly, i?/' Paris. Number 142. 
 
 Francis Maria Francia, of Bologna. Ntm- 
 
 her 159, fior. in 1704. 
 Francis Giovane. 
 
 Francis Grimaldi, Bologna, j^^'r. in 1668* 
 Francis Guerrieri. 
 F. L, D. Ciatrcs. 
 Fr. Lovemont, fior. in 1662. 
 Francis Mazzola, of Parma. 
 Francis Melloni, of Bologna. 
 Francis Spierre, Nancy, died in i88ip 
 aged 
 
 Francis Steen, or Vander Steen, of Ant- 
 werp. 
 
 Francis Stringa, a 'Painter of Modena^ 
 
 for. in 1704. 
 Francis Tortebat. 
 
 Francis Vanni, a Painter of Sienna. He 
 died in the Tear 1610, aged 47. 
 
 Francis Villamena, for, in 1623, aged 60. 
 Number 11 
 
 Francis Bonaventura Bifi, F. B. B, of Bo- 
 logna. 
 
 Francis Cauveau, of France, died 1675, 
 
 Number 73. 
 Francis Perrier,^/ Burgu;^dy, /^^r. 1635, 
 
 Number 76. 
 Francis Terzi, of Bergamo, 
 
 G 6 G; Ga^ 
 
132 An Alphabetical Ind-ex* 
 G. 
 
 Galiot Nardois. 
 
 Gafpar Rcverdin. Number 11. 
 Gerard Fontana. 
 
 Giacinto Giminiani. Number 89. 
 
 Giles Rouflelet, flor, in 1686. 
 
 Giles Sadeler. He died in 1629, ^S^^ 59 - 
 
 Giodoco Aman, ^/Zurich, Jlor. in 1588. 
 
 George Chriftofano Eimert, of Ratifbon^ 
 
 for. in 1683, 
 George Ghifi, ^^/^Mantua* Number go^. 
 George Pens, of Nuremberg. Number 44. 
 George Periindt, barn Franconia, died.in 
 
 1663, aged 60.. 
 Giovachino Bocklaer, <?/ Antwerp. 
 Gjobbo.de Carracci. , 
 Guido Ruggeri. Number 156. 
 Guido Reni, G. R,,. of Bologna, died in 
 
 1642, aged 68. 
 
 Hr 
 
 Hans ^. John) Baldungh, or Baldvin, 
 
 flor.. in 1574. Num-ber 36. 
 Hans Bol, H.B. d?/ Mecklin, /^?r. in 1541. 
 Hans. Brefanck* Number ^'^.^ 
 Hans Brofamer, ^^?r. Z;^ 1538. Number 36. 
 Hans Burckmayr, Augflburg, died in 
 
 15 1 7, ^^d'i 44. Number 30. 
 Hans Liefrinck, H. L. Number 1^6. 
 Hans Lutenfa'ch. Number 58. 
 Hans Schauflig., Number 
 
 Haas 
 
of T'^ G R A V E R S. 133 
 
 Hans Van Culmack, H. V. C for. in 
 1517. 
 
 Hannibal Carracci, a Painter of Botogna, - 
 
 A.. C. P. died in 1609;. 
 Henry Bloemaert, for. in 16 ^y/ 
 Henry Cli ven, he died in 1589. Numbers 
 
 124. and 152. 
 Henry Blofeuvertus F rifius. 
 Henry Goltzius, of Holland ; he died in 
 
 1 6 1 7, aged 59. Number 1 1 1 . 
 Henry Hondius, born in 1573. 
 Herman Coblent. Number 144. 
 Hercules .Bazicaluva, of Florence, for. in 
 
 1 64 1. 
 
 Hercules Septimius, H. S.- Hercules 
 
 Setti, , Modena, for. in i^yi, 
 Hisberto Venio. 
 
 Hieronymus, or Jerome Mocetus. Num- 
 ber 13. 
 
 Hisbel, or Hisbin. Number 0,1. 
 Hoefnaghel, J oris Hoefnaghel, a Painter 
 
 ^/Antwerp, he died in 1600. 
 Horace Borgiano, H. B. ^/Piftoia. Nunh- 
 
 ber ^6. 
 
 Hiacinth Giminiani. S^ee Giacinto; 
 Hubert Audenaerd. 
 
 Hubert Goltzius, he^ died about the Tear 
 
 1583, aged 57. 
 Hubert Vincentini. 
 
 i 
 
 1. James 
 
134 -^^^ Alphabetibal Index. 
 I. 
 
 James Belli, of France, I. B F. cr Belli 
 fee, 
 
 James de GSxvjn^ fior, in 1615, o.ged ^o. 
 
 Number 122. | 
 James Mattamius, of Haerlem. lie died ' 
 
 in 1 63 1, aged 60. 
 James Sandrarr, of Nuremberg, flor. in 
 
 1683. 
 
 James Vander Hcyden, of Augsburg, fior. 
 in 1608. 
 
 James Lutma, ^/Amfcerdam, fior, i68r. 
 James Grand Homme, 1. G. Van Ulieto 
 
 Number 112. 
 James Kerver, I. K. 
 
 James Bink, i?/ Nuremberg, 1500. I. B, 
 
 James Blondeau, fior, in 1690. 
 
 James Callot, ^/Lorrain, ke died in 16350 
 
 James Frei], {:?/Rome, 7iow living. 
 
 James Laurenzani. 
 
 James Lauri. 
 
 James Ligozzi. 
 
 James Maria Gioyannini, of Bologna, he 
 
 died in 171 7. 
 James Matham, cf Holland, he died in \ 
 
 1631. 
 
 John Chantry, fior, in 1662. 
 
 Jerome Flopfer, I. H. 
 
 J. Blondeau, that is^ James^ fior. in i6go. 
 
 J. G. Van Uliet : See James Grand Homme, 
 
 John Coy ay, ^/France, Number y 2. 
 
 John^ 
 
of I n gravers. 13^ 
 John Ladefpeldrickt. Number 45. 
 John le Pautrc, a Frenchman^ Ingraver of 
 
 divers Suhje£is. 
 J. G. Bronchorfl,. Le. John, jier. in 1662. 
 
 Number 119. 
 J. GaL Nardois F. i. e. John Galeot Nar- 
 
 dois fecit. 
 
 John Abach, born m Cologn in 1556, fior, 
 
 in 1597. 
 John Baptift Brixianus, J. B/B. 
 John Baptiil Mantuanus, J. B. M. fior, in 
 
 1500. 
 
 John Culembach, <?/^ Nuremberg, fior. in 
 1512. 
 
 John Francus, Augfburg; 
 
 John George Walderich, of Augfburg. . 
 
 John james: Thourneiflcn, of Bafil, 
 
 in 1667. 
 John Livius, J. L. fee. 
 John {or Hans) Sebald Beham, he died in 
 
 1545. Nmnber 31. 
 John Andrew Podefta, of Genoa, 
 John Andrew Sirani, ^/Bologna, 
 John Baron, ^/France, fior. in 164.4. 
 John Baptift Bolognini, a Painter of Bo^ 
 
 logna. 
 John Baptift Bonaccini. 
 John Baptift Caftiglioni. JNufnher 
 John Baptift Conftantini. 
 John Baptift Coriolanij an Ingraver of 
 
 Bologna., 
 
 John 
 
f y6 An Alphabetical I n d fi x 
 
 John Baptift Falda, <?f Rome. 
 
 John Baptift Galleftrucch Number 155. 
 
 John Baptift Maggi, of Rome, Painter 
 and Ingraver. 
 
 John Baptift, of Mantua, flor, in 1 50b. 
 
 John Baptift Mercati. 
 
 John Baptift Sorito, flor. in 1 62 1 . 
 
 John Baptift Pafqualino, flor, in 1622. 
 
 John Baptift Ricci, of Novara. 
 
 John Baptift Teftana. 
 
 John Baptift Vanni. 
 
 John Baptift Zani, of Bologna. 
 
 John Benedift Caftiglioni, ^/Genoa. Num- 
 ber 95. 
 
 John Calcar, ^/Cleves, he died in 1546, 
 
 John C^far Tefta, Nephew to Peter Tefta. 
 
 John Frederick Greuter, of Straft)urg. 
 
 John Francis Caffioni, an Ingraver in Wood. 
 
 John Francis Ventiirini. 
 
 John Francis Zabello. Number ^'^^^ 
 
 John George Nuvolftellny a German, died 
 in 1624^ 'aged Q^o. 
 
 John Guerra, of Modena, he died about 
 the Tear 161 2. 
 
 John William Baur, See Guil. Baur. 
 
 John Jofeph dal Sole, a Painter of Bo- 
 logna, flor, in 1 704. 
 
 John James Coraglio, of Verona, an InH^ 
 tator of Marc Antonio Raimondi. 
 
 John Lanfranchi, a Painter Parma, died 
 in 1647, aged 66. 
 
 John 
 
of I N G R A V E R S. 137 
 
 Jbhn Lewis Valefio, of Bologna, VAL. 
 
 died in 1643. Ntimber 103. 
 John Lutma, 6/ Amfterdam, fior, in 1681. 
 John Maria, ^/Brefcia. Number 
 John Miele, ^/Flanders, /i?r. z;^ 1648. 
 John Nicola, ^Venice, fior. in 1555. 
 John Orhndi^ Jlcr, in- 1600, 
 John Podefta. 
 
 John Sadeler, he died in 1600, aged 58. 
 John Saenredam, of Holland. Number 121. 
 John Schorel, Bavaria, he died in 1562, 
 
 aged 6y. Number 60. 
 John Trofchel, (/Nuremberg, he died in 
 
 1633. 
 
 John Vianj, a Painter of Bologna, died in ' 
 
 1700, aged 6 
 Jofeph Maria Metelli, flor. in 1 704. Num- 
 
 ber 138. 
 
 Jofeph Maria Roli, Bologna, G. M. R. 
 
 Jofeph Moretti, of Bologna, an Ingraver 
 in Wood and Copper^ born 1657, fior. in 
 1704.^ 
 
 Jofeph Ribera. Number 129, 
 Jofeph Teftana, flor\ in 1654. 
 Jofeph Zarlati, ^'/'Modena. 
 Joris Hoefnaghel, fee Hoefnaghel. 
 Joft Amon. Number 37. 
 liaac Major,. e^/Franckfort, fior. in 1610. 
 Ifrael Martino, L M. Number iS 6. 
 Ifrael Meek,, Van Meek, I. M. pr. 
 in 1623. 
 
 Ifrael 
 
138 Alphabetical I'i^D'EX 
 
 Ifrael Silveftre, of France. 
 J. Van Velde. Number 127. 
 Julius Bonafoni, J. B. E. of Bologna, flor. 
 in ISM- 
 
 Julius C^far Porcaccinus, J. C. Pore. In. 
 
 died in 1626, agedyS. 
 Julius C^far Venenti, of Bologna. Num-- 
 
 ber 137. 
 
 Juftus Sadeler, of Bruflels, I. S. E. flcr. 
 
 in 1620. Number 157. 
 Julius Campagnola, of NmicQ^fiGr. initio. 
 
 L. 
 
 Lambert Lombardo, L. cr L. L. or L. S. 
 
 died in 1 560, aged 60. 
 Lambert Suave, or Sufterman, is the fame 
 
 Lambert Lombardo. 
 Lambert Hopfer. Number 21. 
 Leonard Gualtier, for. in 1618. Num-^- 
 
 ber 70. 
 
 Leonard Parafole Norfmo, for. in \6oq. 
 Lewis Carracd, L. C. died in 16 ig^ 
 aged 64. 
 
 Lewis Cardi Cigoli, L. C. C. of Florence. 
 
 Lewis Mattioli, of Bologna^ for, in 1704. 
 
 Lewis Scalzi. 
 
 Lawrence Loli, L. L. 
 
 Lawrence Tinti, ^/ Bologna,. /i?r. //^ 1666. 
 
 Louvemont, flof, in 1662. 
 
 Luke Ciamberlano. 
 
 Luke 
 
^ I N G R A V B R S. 1 39 
 
 Luke Cranogio, or Van Craen, of V. C. 
 or L. V. C. Numbers 26 and 35. 
 
 Luke de Leida, called of Holland. Num- 
 ber 34. 
 
 Luke Kilian, of Augfourg, Junior^ er 
 
 L. K. A. flor. in 16 ^y, 
 Luke Krugery a German, flor. in 151 6. 
 Luke Penni, <?r Lucas, P. R. Florence, 
 
 flor, in 1528. 
 Luke Van Uden, L. V. V. fior. in 1662, 
 
 aged 67. 
 
 Luke Vorfterman, Antwerp, fior. in 
 
 1629. Number 120. 
 Lewis Gomie. 
 
 Lewis Scaramuccia Perugino, died in 1684, 
 Lewis Philip Boitard, of London,, now 
 living. 
 
 M. 
 
 Marc Antonio Chiarini, <?/ Bologna. 
 Marc Antonio Raimondi, or M. A. 
 
 died in 1528. Number 99. 
 Marc da Ravenna, M. R. 
 Marottus. 
 
 Martin de Clef, M. C. flor. in 14.^6.. 
 Martin de Secu, or M. +S. Number ^g. 
 Martin de Vos, of Antwerp, a celebrated 
 
 Inventor for Ingravers^ dJed in 1604,. 
 
 aged 72. 
 
 Martin Hemfkirk, a principal Inventor for 
 IngraverSy died in 1574, aged 76. Num- 
 ber 2^. ^ Martin 
 
140 An Alphabetical Ind'ex 
 
 Martin Rota,, of Sabina, flor. in I'jis* 
 
 Number 109. 
 Martin' Zinkius, or Zazingeri, M. Z. or 
 
 Z. A. flor. in 1500. 
 Mafo Finiguerri, of Florence, one of the 
 
 firfi Ingr avers on Copper^ in 1460. 
 Matthew Grunevald^ of AfchafFemburg. 
 
 Numhers 3 o, and 153. 
 Matthew Greuter, ^/ Strafburg, M. G. 
 
 he died in 1638, aged 72. 
 Matthew Merian, M. Merian, born in 
 
 B'arbary, in 1593, ^nddiedin 1632. 
 Matthew Kufel, Augfburg. 
 Matthew Piccioni, of La Marca,,j?^r. in 
 
 Matthew Z!age]5 M. Z. Number 10, - 
 Maurice Oddi, died in 1702, aged 6^. 
 
 Number 134. 
 Melchior Girardini, Mel Gir. Fee, of 
 * Rome. 
 
 MelchioT K'ufel; ^/ Augfburg, Brother to 
 
 Matthtw^ for. in 1652. 
 Melchior Lorichio, M. L; 
 Micarino. Number g. 
 Michael L^^fne, died in i66yy aged "ji. 
 
 Number 75. 
 Michael Le Blon. Number 6. 
 Michael A ngelo Guidi, Son of Raphael. 
 Michael Cocxie, died in 1592, aged 
 
 Number 3. 
 Michael Lucchefe.- Number 107. 
 
 Mifchael 
 
' of \ N G R A V EsR So 141 
 
 Michael Natali, of l^od^i^ Jlor.^ift 1665. 
 Michael Volgemut, of Nuremberg, Albert 
 
 Durer'j Mafter^ flor. in 1490. 
 Mr. Lane. 
 Mr. Rolet. 
 Mr. Vanfculp. 
 
 N. 
 
 Nicholas Vicentino, he ingraved the Works 
 ^Parmigiano, andflor.in 1555. 
 
 Nicholas Chapron, of Paris, N. C. fior. in 
 1649, 
 
 Nicholas Manuel, (p/'Bearn, N. M. B. /^?r<. 
 
 in 1 5 1 8. 
 Nicoletto, ^?/Modena. 
 Nicholas Beatricetto. 
 
 Nicholas Beatrici, of Lorrain, N. B. L. F, 
 
 'Number 149. 
 Nicholas Bylli. 
 
 Nicholas de Bruin, N. B. Number 28. 
 Nicholas du Puys, of Paris, now Jiving. 
 Nicholas Dorigny, now living at Paris, 
 Nicholas la Fas, a Frenchman, 
 Nicholas Laigniel. 
 
 Nicholas Mignard, ^/P^ris, died in 1695, 
 aged S 5. • 
 
 Nicholas Perrelle, a Frenchman, Ingraver - 
 to Nicholas Pouflin, and others. 
 
 Nicholas Poilly, a Frenchman, died in 
 1696, aged yo. 
 
 Noel Gamier, flor. in 1618. Number 4. 
 
 O. Oliver 
 
142 -^^^ Alphabetical Index 
 O. 
 
 Oliver Gatti, m Ingraver cf Bologna, flor. 
 
 in 1626. 
 Oliver Dolfin, he died about 1693, 
 
 P. 
 
 Padre Angelo.Lorenzini, Min. Conv. Bol. 
 Paul Brill, of Antwerp, died in 1626, 
 
 aged y 2. 
 Paul Bianchi, P. B. F. 
 Paul Pontius, of Antwerp, f or. in 1660, 
 
 aged 57. 
 Paul Maupini. 
 Periecouter. Number 40. 
 Peter Aquila, for, in 16S1. 
 Peter Artfen. 
 
 Peter Breughel, died in 1556. Number 1230 
 Peter Cottart. Number 46. 
 Peter Daret, ^ Paris, flor. in 1654. Num* 
 her 74. 
 
 Peter de Jode, the Elder ^ lorn in the Tear 
 
 1602, and died in 1634. 
 Peter del Po. 
 Peter Hys, P. H. 
 
 Peter Ifelburgh, <?/CoIogn, fior. in 1^20. 
 
 Peter Lombard, flor. in 1666. Number 71, 
 
 Peter Mercand. Number 42. 
 
 Peter Mignard. 
 
 Peter Quaft. Number 43. 
 
 Peter Ry (brack, on his Landf capes. 
 
 Peter 
 
vf I N O R A V E R S. 143 
 
 P^ter Santi Bartoli, P. SS. Bart. ^/Peru- 
 gia, died in 1700, agtd 65. 
 Peter Soutman. 
 P. Servuter. 
 
 Peter Simon, ^/ Paris, fior. in 1673, 
 
 Peter Stefanoni, P. S. f. 
 
 Peter Stivens, ofyitd^m^flor.tn 1629- 
 
 Peter Tefta, of Lucca, he died in 1651^ 
 aged 41. Number 96. 
 
 Peter Vandcr Borcht, P. V. Borcht. 
 ^ Peter Vander Nelpe. Number 115. 
 
 Peter Vanfickleer. 
 ; Peter Voeriot. Number 53. 
 I Philip Adler, Padua. Number 16. 
 '\ Philip Abiati, ^/ Milan, fior. in 1704. 
 I Philip Napolitano. 
 ^ Philip Paflari. 
 
 \ Philip Thommafini, Phil. Th. jlor in 
 1589- 
 
 R. 
 
 Raphael Guidi, ^/Tufcany. 
 Raphael Sadeler, horn in 1555, Md fior. 
 in 1595. 
 
 Raphael Scaminofli. Number 104. 
 Raphael Sancio, an Inventor. Numbers 
 
 99, and 145. 
 Raymond La Page. 
 
 Ravenftein, or Gafpar Reverdin, fior. in 
 1640. Number 11. 
 
 Rayner 
 
144 -^^^ Alphabetical Ikdex 
 Rayner Perfino, of Amfterdam, a Com- 
 panion of Cornelius Bloemaert. 
 Ravignano, fee Mark da Ravenna. R. S. 
 Regnaflbn, N. flor. in 1646. 
 Rembrandt, or Van Rhin, died in 16685 
 
 aged 62. Number 126. 
 Remigio Cantagallina. 
 Reynold Boivin, alfo Renato. JSumber y. 
 Reynold Lochon. Number 69. 
 Ralph Brein, ^/ Zurick. 
 Ralph Mayr, flor. in 1638. 
 Robert de Vorft, flor. in 1628. 
 Robert Nanteuil, a Frenchman, he died in 
 
 1678, aged 4.^, 
 Robetta, R. B. T. A. 
 R. V. A. Gaudenfis. 
 
 S, 
 
 Saenredam, See Hans {or John) Saenrc- 
 dam. 
 
 Salvator Rofa, a Painter^ Ingraver^ and 
 Pt?^/, Naples ; he died in 1675, aged 
 60. Number 106. 
 
 San Martino, of Bologna, this Arttfi was 
 Abbot Primaticcio, of St. MartinV. 
 Number 91. 
 
 Samuel Hainzelmanus, ^/Angfburg. 
 
 Schelde a Bolfuvert, flor, in 1660. Num- 
 ber 125. 
 
 Scuppen, ^ Paris. 
 
 Saben- 
 
^of I N G R A V E R S. 14^; 
 
 Sabenzaniis. Number 109. 
 Silveftre da Romana. Number 10 1. 
 Simon Cantarini, called of Peiaro, S. G. 
 Simon Frifio. 
 
 Simon Guillain, S. G. of Paris, fior. in 
 164.6. 
 
 Simon, Paris, Jlor. in 1673. 
 
 Sinibaldo Scorza, of Genoa, he died in 
 
 1631, aged 41. 
 Sifto Badalochio, of Parma, fior. in 1607, 
 Spagnoletto, See Jofeph Ribera. Number 
 
 129. 
 
 Stephen della Bella, of Florence. S. B. he 
 
 died in 1664.^ aged ^o. Number j ^6, 
 Stephen Baudet, ef France, for. in 1675,. 
 Stephen Carteron, S. C. F. for, in 161 5. 
 Stephen Colbenftagh, of Rome. Num- 
 ber 94. 
 
 Stephen du Perac, of Parii*, he died in 
 1601. 
 
 Stoltzius. Number 2. 
 Svaneburgh, he ingraved the Works of Ru- 
 bens. 
 
 Sufanna Sandrart, of Norimberg, for. in 
 1683. 
 
 T. 
 
 Theodore Cornher, of Amfterdam, he died 
 in 1590. 
 
 Theodore Crugher, or Greiiger, T. C. 
 Number 150, 
 
 H Th^D« 
 
146 An Alphabetical Index 
 
 Theodore dalla Croce, of Holland. 
 Theodore Mattamio, oj Haerlem, jlor. in 
 1663. 
 
 Theodore Van Tulden. Number 116. j 
 Theodore Zaghel. Number 65. 
 Thomas Barlacchius. 
 Tibo, flor. in 1686. 
 
 Tobias Stimer, ^Schafufe, flor. in 1590. 
 V. 
 
 Yalendne Senezius, V. S. flor. in 1622. 
 
 Van Rhin, See Rembrandt. 
 
 Ventura Sahmbeni, of Sicana, V. S. In. 
 
 aged 56. 
 
 Veronica Fontana, of Bologna, an Ingra- | 
 ver in JVood. \ 
 
 V^fpafian Strada, Vef. S. <?/Rome, died in 
 161 8, aged '^6. \ 
 
 Ugo da Carpi, flor. in 1500. 
 
 Vincent Caccianemici, V. C. ^/Bologna. 
 
 Virgilio Sole, ^'r V. S. Numbers 19, and 
 jSi. 
 
 W. 
 
 Waer Van Hoflanen. Number 15. 
 William Delft, Holland, died in i6g8. 
 
 Number 151. 
 "WiUiam Cortefe. 
 
 William Faithorne, of London, SeJ in 
 i<?90. 
 
of I N O R A V E R S. 147 
 Wencedaus Hollar, a Bohemian, died in 
 1677. 
 
 Wolfgangus Kiiian, ^y" Augfburg, /i?r. in 
 1654. 
 
 W. Vaillant, jlor. in 1675, 
 W. Vaillant, fior, in 1726* 
 
 Z. 
 
 Zazingeri, See Martin Zinldo. 
 i Zinkio is the fame as Martin Zazingeru 
 
 H 2 
 
 An 
 
148 An Alphabetical LIST 
 
 3 
 
 A N 
 
 Alphabetical LIST 
 
 OF THE 
 
 SiRNAMEs before the Christian 
 N A M E S5 of Painters, Ingra- 
 verSy and Sculptors. 
 
 Note, T^he Letters P and S, before the 
 Names ^ Jtand for Fainter ^ or Sculptor. \ 
 
 A Back, John 
 ^ Abiati, Philip 
 Adamo, Mantuano 
 Ackerftout, William 
 Adam, John 
 Adier, Philip 
 
 P.iEIfheimer, Adam 
 Agoftino, Veneziano 
 Aguccio, Giovanni 
 Alberti, Cherubino 
 Aldegraft, Albert 
 
 5. Algardi, Aleflandro 
 Allard, Carolus 
 Alet, John Charles 
 
 Allen, Francis 
 Altorf, Adam 
 Ambrogi, Domenico 
 delli 
 
 Ab- Amling, Corne- 
 lius Guftavus 
 , Caro- 
 lus Guftavus 
 Amon, Juftus 
 
 P. , Jodocus 
 
 Ammon, Claudius 
 Andrea, Nicolas 
 Andreani, Andrew 
 
 Angeloj. 
 
of I N G R A 
 
 Angelo, Michael^ y^^ 
 
 Biionaroti 
 Anrien, J. B. r, 
 Aquila, Francis 
 
 " 5 Petrus 
 
 Artfen, Petrus 
 Aubry, Peter 
 Aveline, fen. 
 Audenaerd, Hubert 
 Audran, Charles 
 
 P. , Gerard 
 
 , Benedidl 
 
 , Claude 
 
 . , , John 
 
 Auroux, Nicholas, 
 B. 
 
 P.Badaloccio, Sifto 
 P.Badiale, Aleffandro 
 ^- Baldung, Hans 
 ^.Barldini, Baccio 
 1^:- Balieu, Bernard 
 
 5 Peter de 
 
 jP.Baltens, Peter 
 
 Balthafar, Peter 
 P.&5.Bandinelli, Bac- 
 cio 
 
 Barbe, John 
 Barlacchius, Thomas 
 Baron, John 
 Baron, Bernard 
 
 P.Barocci, Frederico 
 Baroni, Giufeppi 
 Barri, Giacomo 
 Barriera, Domenico 
 
 F.Bartoli, Pietro Santo 
 Baudet^ Eftienne 
 
 H 
 
 VERS, &V. 149 
 
 P.Baugin, John 
 
 Baumgartner, J. G. 
 
 Bary, Henry 
 P.Baur, Guil. or Jo. 
 AVill. 
 
 P.Bazicaluva, Hercules 
 Bazin, Nicolas 
 
 P.Beatrici, Nicolas 
 Beatricetto, Nicolo 
 Beauvais 
 
 P.Beccafumi,DomenIco 
 Becket, Ifaac 
 Beham, JohnSebald 
 Belange 
 Belli, Jaques 
 Berghem, Cornelius 
 
 P. Bernardi, Gio. 
 Bertrand, Philip 
 Beaufrere, P. 
 Beufecom, T. V. 
 Bertelli, Ferando 
 
 , Lucas 
 
 Bettini, Domenico 
 Beverenfis, Nicafius 
 Bianchi, Paolo 
 Bignon, Francis 
 
 P. & 5. Bink, Jacobus 
 Bie, Jaques de 
 Bifcaino, Bartol. 
 Bif^Fra.Bonaventura 
 Blancus, Paulus 
 Bleker, Cdrnelius 
 Blefendorf, Samuel 
 Blefwart, Henry 
 Blefwick, F. 
 
 P.Bloemaert, Abraham 
 
 3 Bloemaertj 
 
150 An Alphabt 
 
 Bloemaert, Cornelius 
 
 ■ — 5 Frederick. 
 y Hercules 
 
 Blois, A. de 
 P. Block, Daniel 
 
 ^ Emanuel 
 
 P. , Adolphus 
 
 P. 5 Benjamin 
 
 BJon-, Michael le 
 
 Blond, la 
 
 Eloiideau, Jaques 
 
 Bloeteling, A. 
 
 Bocklin, J. C. 
 P.Bocklaer, Joachim 
 
 BoeL, Quirinus 
 
 ,c. 
 
 Boham, Bartolomeus 
 Bois, IvL de 
 Boivin, Rene 
 Boiffavin, L, 
 Boitard, Lewis Philip 
 Bol, Hans 
 P. [^olognefe, Francefco, 
 
 See Primaticcio 
 Eolognini, Jo. Bap- 
 
 tift 
 
 Bolonnois, E. de 
 Bolfwaert, Scalfe a 
 Bolfwerd, Bl. 
 ——-5 Boctius 
 Bolzoni, Andrea 
 Bonaccini, Jo. Eap- 
 
 lift 
 Bonar, A. 
 Bonafone, Julio 
 Bonavera^ Donienico 
 
 tied LIST 
 Bonez;, 
 
 BuonmartinOj Jfrael 
 
 Martin 
 Bonnart, Nicolas 
 Bon vie in us, B. 
 Borgiano, Horatio 
 Borrecheus, Matthew 
 Bos, ar Bus, Gorne- 
 
 lius 
 
 Bos, or Bofch 
 P.BofT, Antoine 
 Both, Andrew 
 Bouche, Pet. Paul 
 Bouchet 
 
 Boulanger, John 
 Boud, "R. 
 Boudan, L. 
 Boutatts, John 
 
 5 Philip, y««, 
 
 ' 5 Frederick ' 
 
 ^P.Balthafar 
 
 , G. 
 
 P.Brebiette, Petep 
 
 P.Brein, Rodolf 
 Brefanck, Hans 
 
 P.Brefcia, Giov, Maria 
 da 
 
 5 Giov. An- 
 tonio 
 P.Breughel, Peter 
 
 Brifsart, P. 
 P. Brill, Paul 
 P.Brifcio, Francefco 
 
 Brittiano, Battifta 
 
 Brixianus, J. Baptift 
 
 Brixianus,^ 
 
of I N G R A 
 
 Srixianus, Jo. An- 
 tonio 
 
 Bronchorft, John 
 
 Brofamer, Hans 
 
 Brufj John 
 
 Brun, G. le 
 P.— 5 Charles le 
 
 S/iin, Horatio 
 
 Brun, Peter de 
 
 Bruin, A. D. 
 
 , Nic. de 
 
 Brye, Theodore de 
 
 Buffagnotti, Carlo 
 P. h 5. Buonaroti, Mi. 
 
 Angelo 
 P^urchmair, Hans 
 
 Burnford, Thomas 
 
 BylU, Nicolo. 
 
 C. 
 
 P.Caccianemici, Vin- 
 
 cenzo 
 P.&S.Calcar, John 
 Callot, Jaques 
 Camafiei, Andrea 
 Campagnola, Dome- 
 nico 
 
 , Julio 
 
 P.Candidus, Peter 
 Gantagallina, Reml- 
 gio 
 
 Cantarino, Simone 
 Canuti, Domenico 
 
 Maria 
 Capitellus, Bernardus 
 Capriolo, Aliprando 
 H 
 
 VERS, 151 
 P.Carracci, Agoftino 
 
 P. , Annibal 
 
 ^ Antonio 
 
 --^ Francefco 
 
 p^ Lodovico 
 
 P. — , Paolo 
 
 Cardi, Lodovico 
 Carpi, Ugo da 
 Cars, J. F.^ 
 Carteron, Stephanas 
 Caffione, J. F. 
 Caftelli, Bernardo 
 Caufe, Henry 
 P.Caftiglione, Jo. Be- 
 
 dia 
 
 , Jo. Bap. 
 
 tift 
 
 P.Cefio, Carlo 
 
 Du Change, G. 
 
 Chapron, Nicolas 
 
 Chafteau, N. 
 
 Du Chaftel^ 
 
 Chaveau, Francois 
 
 Chatres 
 
 Chereau, F, 
 
 Cheron, Elizabeth 
 
 Cherpinion, C. 
 
 Chefneau, Henry 
 
 Chevau, F. 
 P.Chiari, Fabriti'o 
 
 Chiarini, Marc An- 
 tonio 
 
 Cignani, Carlo 
 
 Ciamberlano, Luca 
 
 Ciro, Ferri 
 
 4 P. Clef, 
 
iS2 An Alphabetical LIST 
 
 P.Clefj^/rCliven^Hen.de 
 
 P.-- , Mar- 
 
 tin de 
 P.Clerc, le, jun. 
 
 5 Sebaitien 
 
 Cloe, Aubert 
 Clovet, Albert 
 Clouvet, P. 
 
 , R. 
 
 Cluet, Hubert 
 Coblentz, Herman 
 Cochin, fen» 
 
 , jiin. 
 
 Cock, Jerom 
 Coenhert, Theodore 
 
 • 5 Dirich 
 
 Coenradr, Lowers 
 Cocxis, Michael 
 Coget, Anthony 
 Cokerken, Cornelius 
 
 5 E. van 
 
 Colbenftagh, Stephen 
 CoUaert, Adrian 
 Collin, Richard 
 
 » -5 Nicolas 
 
 Congius, CamiliO 
 Conrad, Abraham 
 Conftantini, Jo. Bap- 
 tili 
 
 Coquin, Lovis 
 Coraglio, Jo. Jacob 
 Coricori, Girolamo 
 Coriolanus, Bartolo- 
 
 meus 
 Cormet 
 
 Cort, Corneliu? 
 
 Cortefe, William 
 Coffin, Lovis 
 Conrad, Abraham 
 Cottart, Peter 
 Cotta, Jac. 
 Couvay, John 
 Cranagio, Lucas 
 Cremonius, Andreas 
 Crepy 
 
 Cruger, Theodore 
 P.Culembach, John 
 Culot 
 
 Cundier, John 
 Curti, Francefca 
 Cuftodis, Domenico. 
 D. 
 
 Dac, John, the fame 
 with John Aback 
 
 Dalla Croce, Theo- 
 dore 
 
 Dankers, Henry 
 Danker t, Cornelius 
 Dannoot, Peter 
 Daret, Peter 
 David, Jerom 
 -, Carolus 
 
 , Henry 
 
 Delft, William 
 
 , Jacob 
 
 Delia Bella, Stephano 
 Del-Po, Pietro 
 Derlois, M. 
 Dertellus, Lucas 
 Defrochers, Eftienn«- 
 
 jun. 
 
 DevauXa Robert 
 
 Diamner^^ 
 
cf 1 N G R A 
 
 Diamner, H. F. 
 P.Dolfin, Olivier 
 
 Doino, 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. Chrill. 
 Eknd, Henry 
 Elipart, J. Ch. 
 Elftrac, Robert 
 Erhard 
 
 Erlinger, Francis. 
 F. 
 
 Faber, John, fen, 
 
 , John, jun, 
 
 Fage, Nicolas la 
 Faithorn, William 
 Falda, Jo. Baptift 
 Falk, John 
 — 5 Jerom 
 
 H 
 
 V E R S, &C. I^ f 
 
 Fantetti, Cefare 
 Farjat, }?enedi£t 
 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- 
 
 P,. 
 
 ria 
 
 , Gerardo 
 
 , Veronica 
 
 Francia, Francefco 
 
 Maria 
 Francoforma 
 Francus, Baptifta 
 Freij, Agnefe 
 Freij, Giacomo 
 Frizius, Simon 
 Frofno, John 
 Fruytiers, Philip. 
 
 G. 
 
 Gagliardus, Philip 
 Gagliardi, Bartolo-- 
 meo 
 
 Galle, Theodore 
 Galle, Phillip 
 
 ' , Cornelius, y};?, 
 
 , Cornelius, 
 
 Gallo, Bernardo 
 5 Gal- 
 
i'54 Alphabetical LIST 
 
 Galleftrucci, Jo.Bap- 
 tift 
 
 Gantrel, Stephen 
 Garnier, Noel 
 Gatti, Oliviero 
 Gaudenfis, R.V.A. 
 Gautier, Leonard 
 Georgi, George 
 
 , John 
 
 f .&5.De Ghein, Jaq 
 Ghifi, Georgio 
 Giffart, Peter 
 Giminiano, Jacintho 
 Giovane, Francefco 
 Girardini, Melchior 
 Giover, George 
 Gole, John 
 Gomie, Luigi 
 Golkentonius, Al- 
 bertus 
 P.Goltzius, Hubert 
 
 P. , Henry 
 
 Gourdelle 
 praffico, Camillo 
 Grandhomine^J.aques 
 Greut, Jofeph 
 Greater, F. 
 
 ^ Theodore 
 
 P. 5 Matthew 
 
 P^J ^ Jo. Frede- 
 rick 
 
 P.Gribelin, Sam. fen. 
 
 " Sam. jun. 
 Grignon,. Jaques 
 Grimaldi, Francefco 
 Gf unevald) Matthew 
 
 Guarnier, Anthony 
 Guerra, Giovanni 
 Guerrleri, Francefco 
 P.Guidi Rafael 
 
 5 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 
 Halle, S. 
 Hanzelman, Ellas 
 Harrewin 
 
 Hay, Charles, de la 
 Hemskirk, 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 
 Hogenbexg 
 
 Holbcn% 
 
of Ingravers, ^c. 155 
 
 Holbens, ^j/Tlaerlem 
 Holiar, Wenceflaus K. 
 Holftein, P. 
 P.Hondius, Henry 
 William 
 
 Hanofri, Crefcenzo 
 Hopfer, Jerom 
 
 , David 
 
 5 Lambert 
 
 Houbraken, Jaques 
 Houget, John 
 HouiFe, Patii de la 
 Hubert, Gafpar 
 
 — , Adrian 
 
 Hubert], Francis 
 Hulfius, Francis 
 Humbelot 
 Huret, Gregory 
 Huybreckr, Peter 
 Hys, Peter. 
 
 I. 
 
 Jacquart, Ant. de 
 Jeaurat, E. 
 Imperiali, Girolamo 
 Jode, Peter de, fen, 
 — — , Peter dQjjun, 
 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, juri, 
 
 . , Bartholomew 
 
 , Wolfgang 
 
 Philip 
 
 Koning, Cornelius 
 Kraling, John 
 Kruger, Lucas 
 Kuflel, Matthew 
 5 Melchior. 
 
 Ladelfpeldricht, John 
 Laignel, Nicolas 
 Lamfweard, Stephen 
 
 van 
 Landry, P. 
 Lanferrius, Antonius 
 Lanfrank, Giovanni 
 Lang, Mauritz 
 Langloi«, John 
 LarmeiTin, D. de 
 Lafne, Michael 
 Later, John de 
 Lan ker ken, Gorne- 
 
 lius 
 
 Laurent, Andrew 
 Laurentio, Efare 
 Lau renzan i , Giaco- 
 mo 
 
 Lauri, Glacomo 
 Lav/ers, Nicolas 
 
 Lawcrs, 
 
256 An Alpiahetical lj 1ST 
 
 Lawers, Conrad 
 Le Bas Jaques Phil- 
 lipe 
 
 Lenfant, John 
 Leonart, G. F. 
 
 , J. F. 
 
 P.Leonus, Oftavius 
 
 Lens, Bernard 
 
 Leotard 
 
 Lepicie 
 jP.Leyden, Lucas van 
 
 Leyfebetten, P. V, 
 
 Licinio, Antonio 
 
 Liefrank 
 
 Eieffinck, Hans 
 
 Xieu,. Thomas de 
 
 Ligczzi, Giacomo 
 
 Lifibet, P. 
 
 Lochon, Rene 
 i?.Lolli, Lorenzo 
 
 LombarduSj Lam- 
 bertus 
 
 Lombart, Peter 
 
 Lommelin, Adrian 
 
 , G. 
 
 .RLorenziniy Padre An- 
 gelo 
 
 Lorichlus, Melchior 
 Louvement, Francis 
 Louys, John 
 Lubin, Jaques 
 Lucchefe, Michael 
 Luciani, Antonio 
 Lucini, Ant, Fran- 
 cefco 
 .H.Lutma, Janus 
 Luyken, John 
 Lyvius, John, 
 
 M. 
 
 P.Macchi, Floria 
 
 P.Maggi, Jo. Baptift 
 Magfiar, A. 
 
 P.Major, Ifaac 
 Malleri, Philip de 
 
 5 Charles 
 
 Malpucci, Beraio 
 
 P, Man tcgna , A nd rea 
 Mantuana, Diana 
 Mantuanus. Giorgio 
 
 JcBaptift 
 
 Manuel dcBerna,Nic. 
 
 P.Maratti, Carlo 
 Marc. Ant. Raimoridk 
 Maria, Domenica 
 Mariette, P. 
 
 John 
 
 Mariotti 
 Martinez 
 Martino, Ifrael 
 Maffon, Antoine 
 Matham, Jaques 
 , Theodore^ 
 
 his Son 
 P.Mattioli, Lodovico 
 
 Mavelet, Charles 
 
 Maupini, Paolo 
 P.Mayer, Dieterick 
 
 , Henry 
 
 , Conrad 
 
 p. , Rodolf 
 
 P. Mazzola, Francefca- 
 
 Meek, orY. Meche- 
 : lin, Ifrael 
 
 Melar, Adrian 
 
 Mellan, Claude 
 
 Mellan^. 
 
of I N G R A 
 
 Mellan, G. 
 Melloni, Francefco 
 Mercand, Pieire 
 Mercati, Jo. Baptift 
 Merian, Matthew • 
 Merl, John 
 MefTager, John 
 
 P^Metelii, Agoftino 
 
 P. ,Giof. Maria 
 
 MeyiFens, John 
 
 , Cornelius 
 
 Micarino 
 
 P.Miele, Giovanni 
 Mignard, Nicolas 
 
 P , Pierre 
 
 Mignot, Daniel 
 Mocetus, Hieronimus 
 Moncornet, B. 
 Montbard 
 Moretti, Giufeppi 
 Morin, John 
 More, Battifta del 
 Moyreau, John 
 Muller, John 
 
 ^ , Harman 
 
 Muckerken. 
 
 Nadat 
 
 Nantueil, Robert 
 Napolitano, Fillppo 
 Nardois, J. Galiot 
 Natalia, Michael 
 Nefs, Jaques 
 Neve, Francis 
 NicolettOj da Mcdexia 
 
 VERS, ^C. I 57 
 
 Nuvolftella, Jo. Geo^ 
 
 O. 
 
 Occo, Adolphus 
 Oddi Parmagiano, 
 
 Mauro 
 Oriandi, Giovanni 
 Ottens, F. 
 
 P. 
 
 Panorn, Alois Calabo 
 P.Paul Veronefe, or Ca- 
 liari 
 
 P.ParafoleNorfino, Le- 
 onardo 
 
 P. Parmegiano, Fran- 
 cefco 
 
 Parmegianino, Fran- 
 cefco 
 
 Pafquilino, Jo. Bap- 
 tift 
 
 Pafs, Crifpin, fen. 
 
 , Crifpin, jun, 
 
 5 or PaffeuSj Si- 
 mon 
 PafTari, Filippo 
 Paffaro, Bernardino 
 P.Paffarotti, Bartolo'- 
 meus 
 
 . Patavinus, Gafpar 
 
 5 Gerard 
 
 Patigny 
 
 P.Pautre, John le 
 Payn, John 
 Peel, Matthew 
 Penni^ Lucas 
 
^5 
 
 An Alphabetic 
 
 P.P^ns, George 
 P.Perocb, Eftienne 
 P.Perelle Nicolas 
 
 Periecouter 
 P.Perrier, Francois 
 P.Perfm, Rainerus 
 
 Perundt, George 
 P.Peruzzi^ Baldafiar 
 
 Perzyn, Robert 
 
 Pefarefe, Simon 
 P.Pcfne, John 
 
 Picart, John 
 
 5 Eftienne 
 
 • 5 Bernard 
 
 Picinae, Eh'zabeth 
 
 Piccinajlfabel. a Nu7t 
 P.Piccino, Jaques 
 
 Piccionij Matteo 
 
 Picquet 
 
 Piper, Francis le 
 Pitau, N. 
 
 Poderta, Jo. Andrev/ 
 Poilly, Nicolas de 
 
 — J.Francis de 
 
 P.PoIemberg. Cornelius 
 Pond 
 
 Pontius, Paulus 
 Pool, Matthew 
 Popels, John 
 Poffemrejes, Adrian 
 Pre/lier, of Copen- 
 hagen 
 Procaccini, Camillo 
 P. Procaccinus, Jul. P. 
 Caefar. 
 
 Quaftj, Peter 
 
 :ul LIST 
 
 Queborn, Crifpin 
 Qi^iiter, Herinannus 
 Henry 
 
 R. 
 
 Randcn 
 
 Raimondi, Marc, 
 Ant. 
 
 Ravenna, Sllveftex** da 
 Ravennati, Marco 
 Ravenate, Simon 
 
 Francis 
 Ravenftein, Gafpar 
 Regnaflbn, N. 
 \ Rembrandt, vanRhin^ 
 Reverdin, or Raven- 
 llein 
 
 ^Ribe^3, Giufeppi 
 Ricci, Jo. Baptift 
 Ridolf5, P. 
 Robetta 
 Rochfort, de 
 Roger 
 
 Roghmans, Giertruy 
 Rogheman, Hendr. 
 
 Lambert 
 Roll, Jofeph Maria 
 Romfteadt, Chrifto- 
 
 pher 
 '.P-ofa, Salvator 
 Rofli, Hieronymus 
 
 • , Henrico 
 
 — Domenico di 
 Rofa, Martino 
 Roulet, Jo. Louis^ 
 Rouffel^^ Paul. 
 
 RoulTellet,. 
 
of I N G R A 
 
 Rouflelet, Giles 
 P. Rubens, Sir PeterPaul 
 
 Rucholle, P. 
 P, 5 ^gidius 
 
 Rugeri, Guido, 
 S. 
 
 Sadeler, Raphael 
 
 , John. 
 
 5 Rodolph 
 
 5 -^gidius 
 
 , Juftus 
 
 Saenredam, John 
 
 P.Salamanca, Antonio 
 Salimbeni, Ventura 
 Salmenicius, Andreas 
 Sandrart, John Jacob 
 ^ Joachim 
 
 P. , Sufanna 
 
 Sarrabat, John 
 Saraceni, Carlo 
 Sarragon, John 
 Sauve, John 
 Scalzi, I^odovico 
 Scaminoffi, Raftaelk 
 Scaramuccia, Luigi 
 Sshauflig, Hans 
 Schenck, Peter 
 
 P.Schon, Martin 
 Schoonebeek, Adam 
 Schorel, John 
 Scotin, G. 
 
 , J.B. 
 
 Scorza, Simbaldo 
 Scuppen 
 Sebenzanus 
 Secu, Martin de 
 
 V E R S, &C. I 59 
 
 Scruuter, P. 
 Septimius Hercules 
 Setti 
 
 Scupel, John a 
 
 Sezenius, Valentinus 
 
 Sichen,. Cornelius 
 
 SilveftrCj. Sufanna 
 
 , Ifrael 
 
 Simon, Peter 
 , John 
 
 Simmoneau, Czv.fen. 
 — — , C^r. jun^^ 
 
 Si rani 5 Giovanni 
 
 P. y Elizabetha 
 
 P. , Jo. Andrea 
 
 Skenius^Bartholomew 
 
 Smekzing, John 
 
 Smidtz, of Berlia 
 
 Sm-ith, John 
 P.Smith, Thomas, 
 
 Snyers, Hendrick 
 
 Sole, Virgilius 
 
 Sole, Jo. Jofeph da 
 
 Sorito, Jo. Baptiit 
 
 Souberaine 
 
 Soutman, Peter 
 
 Spagnoletto 
 
 Specchi.,. Aleffandro 
 
 Spiez, Hubert- 
 P.Spierre, Francefco-. 
 
 Spirinx 
 P.Steen, Francifcus 
 
 Stella, Claudius 
 
 Stephani, P. 
 
 Stepbanoni Pietro 
 P.StivejQSj Peter 
 
 Stimer, 
 
j6o An Alphabetual LIS T 
 
 Stimer, Tobias 
 Stock, Andreas 
 Stoltzius 
 
 Strada, Vefpafiano 
 Stringa, Francefco 
 Stuejhelt, F. 
 SuaviuF, Lombart 
 Suruge 
 
 Suftermans, Lombart 
 Suyderhoef, John 
 Swanenberg^ Wil- 
 liam 
 
 Sweerts, Michael 
 Sylvett, John. 
 
 T. 
 
 Tardieu, Nicolas 
 Tafiniere, George 
 Tavernier, M. 
 P. Tempefta, Domc- 
 n ico 
 
 ' 5 Antonio 
 
 P.Terzi, Francefco 
 Tefta, Pietro 
 
 " , Julio Cefare 
 
 Teftana, Jofeph 
 
 \ Jo. Bapf jft 
 
 Thelot, Jo. Philip 
 Thibout, B. 
 Thomaflin, E. 
 
 ^ , H. S./w?;. 
 
 Thourneiffen, H. 
 P.Tibaldi, Domenico 
 Tibo 
 
 Timus, L. 
 Tinti, Lorenzo 
 Tomafini, Filippo 
 
 Tompfon, Philip 
 
 , Robert 
 
 P.Torre, Flaminio 
 Tortebat, Francois 
 Tr^ento, Antonio da 
 Trofcel, B. 
 
 John 
 
 Trcuvain, A. 
 Troyen, John. 
 V. 
 
 Vaccario, Andrea 
 Vasnius, Gisbert 
 Vaiilant, William 
 
 William 
 Valder, John 
 Valet^ William 
 P.Valefio, G. Luigi 
 Valk, John 
 
 , Gerard 
 
 Vallce, S. 
 Valleius, A. 
 Van iElft, Nicolarr 
 — — • Audenard, R. 
 
 Boon?, David 
 
 ' — — Boucle 
 
 Bremden, D. 
 
 Craen 
 
 ■ Culmhac, Hans 
 
 Dalen, fen, 
 
 Dalen, C. jun\ 
 
 Dyck, Sir An- 
 thony 
 
 Gunft, Philip 
 
 HofTanenjUuaet 
 
 — Hulfcn, Efaias 
 
 Van 
 
p.- 
 
 of I N G R A 
 
 Van Lochum, Mi- 
 chael 
 
 Luych, H. 
 
 — Mechelin 
 
 Mecelin, The- 
 odore 
 
 — Mien's, W. 
 
 — Munichuyen^ 
 
 — Rhin 
 
 Savoyen, Ca- 
 rol us 
 
 — Schuppen 
 
 — Scheindel, G, 
 — ' Semple, Peter 
 
 — Sichem, C. 
 
 — Sichem, Chrif 
 topher 
 
 Schoor, Jaques 
 
 ^ Sickler, Peter 
 
 Somer, Peter 
 
 Somer, M. 
 
 — Tulden, The- 
 odore 
 
 Uden, Lucas 
 Uliet 
 
 Voerft, Robert 
 
 W efterhout, 
 
 Arnold 
 
 Vande-Steen, 
 
 Francis 
 ■ Velde, John 
 
 P. Velde, Will. 
 
 P. Venne, Andrew 
 
 Vandel Borcht, Peter 
 Vanden Embden, 
 Martin 
 
 cob 
 
 V E R ^C. 16 I 
 
 Vanden Hoeye^Rom- 
 bout 
 
 Vander Bruggen, 
 John 
 
 — Doel, An- 
 thony 
 
 Heyden^ Ja- 
 
 Nelpe, Peter 
 
 • Staren, Di* 
 
 rick 
 
 Vanni, Francefco 
 
 5 Jo. Baptift 
 
 Var, Dirich, ihc Ne.- 
 
 phew 
 Vans, John 
 Vafibuns, John 
 Vaughan, Robert 
 Veen buy fen, J, 
 Venenti, Julio Ce- 
 
 fare 
 Veneziano 
 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, John de 
 
 Vilker,. 
 
r62 An Alphabetical h I S T, Sfr. 
 
 Vifker, L. 
 
 * 5 Nicolas 
 
 Vivares, F. 
 
 JP. Vivien^ John 
 Ulric, Henry 
 Voerierot, Peter 
 Voet, Alexander,yw;?. 
 Vouillemont, Sel. 
 Vorft, Robert de 
 Vos, Martin de 
 
 P. Vofterman, Lucas, 
 
 Lucas, 
 
 jun. 
 
 W. 
 
 Wagman, Hendrick 
 Waldreicic 
 Waterlo, Antonius 
 Watteau 
 
 Waumans, Coenrad j 
 Weigel, Chriftopher 
 White,. Robert ' 
 
 Widerman, Slia^ 
 Wierx, Anthony 
 
 • 5 Hieronymus 
 
 Will. J. G. 
 Wilant, J. J. 
 Wingendorf, G* 
 Wirix, John 
 Wolfgang, G. A. 
 P.Wolgemut, Michael 
 P. W ormache, Antonius 
 Z. 
 
 S, Zabello, Jo. Fran- 
 ce fco 
 Zage}, Mattheus 
 
 ^ Theodore 
 
 Zani, Jo. Baptift 
 Zarlatij GiofeiFo 
 Zazingeri 
 Zenoi, Domenico 
 Zink, Martin 
 Zylvedt, A. 
 Zyll, C. 
 
( ) 
 
 THE 
 
 Art of I NG RAVING 
 WITH 
 
 ASiUA FORT IS. 
 
 SECT. I. 
 
 How to make the hard Varnijh for ingraving 
 with Aqua Fortis. 
 
 fTrni A K E five Ounces of Greek 
 g Pitch, or (for Want of that) Bur- 
 gundy Pitch, five Ounces of Ro- 
 fin of Tyre, or CGlofonium^ (or for Want of 
 that) ordinary Rofin- : Melt them together 
 over a gentle Fire in a very clean new 
 earthen Pot, well varnifhed, or leaded. 
 Thefe two Things being firft melt- 
 ed, and well mixt together, put into them 
 four Ounces of the beft Nut Oyl ; mix 
 
 thenx 
 
r64 '^he Art Ingr aving 
 
 rhem well together over the fame Fire 
 for a full half Hour, and let them 
 boil well then let this Mixture cool a lit- 
 tle over a gentle Fire ; and afterwards, 
 touching it with the End of your Finger, 
 it will rope (if it be boiled enough ) like a 
 glewy Syrup. Then take the Pot fiom 
 the Fire, and (the Varnifh being a little 
 more cooled) drain it through a fine Lin- 
 nen Cloth, or Taffata, into a well var- 
 nifhed earthen Pot ; or elfe put it into a 
 thick Glafs Bottle, or any other Thing that 
 will not drink it up, and ftop it well. Var- 
 nifh thus made will laft twenty Years, and 
 it will be the better the longer it is kept, 
 
 SEC T. II. 
 
 Hew to make the Compofttion or Mixture of 
 fallow and Oil^ to cover thofe Places in 
 your Plate^ where you would not have thi 
 Aqua Fortis /t? eat in,^ 
 
 TAKE a well glazed earthen Pip-- 
 kin, that will hold about a Pint, 
 put into it half a Pound of hard 
 Tallow, a Wine Glafs of Olive Oil, toge- 
 ther with a Spoonful of Lamp Black, fet 
 it on the Fire, and, as the Tallow difTolves, 
 keep ftirring it with a fmall Stick, that the 
 Lamp Black and Oil may the better incor- 
 porate ^ 
 
nvith A Q^u A F o R T I s. 165 
 
 porate let it boil the Space of ten or 
 twelve Minutes then take a Pencil and 
 dip it in, and let a Drop or two tall on 
 a Plate, or any cold hard Thing ; and if 
 the Drops be a little hardened and firm, it 
 fheweth that the Mixture is well made. 
 If it is too liquid, 'tis becaufe there is too 
 much Oil ; and then you mull put in 
 more Tallow and for the fame Reafon, 
 if too hard, you muft put in more Oil, 
 
 The Reafon why you melt the Oil, and 
 the Tallow together, is to make the Tal- 
 low more liquid, and not cool too faft : 
 For fliould you melt the Tallow alone, 
 you fhall no fooner take it up with the 
 Point of your Pencil to carry it to the 
 Place where you would ufe it, but it will 
 gjGw cold. 
 
 Put in a greater Quantity of Oil in Win- 
 ter, then in Summer. 
 
 SECT. IIL 
 
 How to prepare the Ingredients for making 
 the Aqua Fortis for the hard Varnifb. 
 
 TH E Aqua Fortis is made of Vinegar, 
 Salt Armoniack, Bay-Salt, and Vert 
 de Griz. 
 
 The 
 
i66 I'he Art e?/lNGRAviNG 
 
 The Vinegar muft be of the beft 
 Sort of white- wine ; but if diftilled, it 
 is the better, and not fo fubjeft to break 
 up the Varnilh. 
 
 The Salt Armoniack muft be clear, 
 tranfparent, white, pure, and clean. 
 
 The Bay-Sa!t muft be a!fo pure and 
 clean. 
 
 The Vert de Griz muft be clean, arui 
 free from any Scrapings of Brafs. 
 
 The Salt Armoniack, and Vert de Griz 
 arc commonly fold at the Druggifts. 
 
 S E C T. IV. 
 
 Hew to make thh Aqua Fortis. 
 
 TAKE three Pints of Vinegar, fix 
 Ounces of Salt Armoniack, fix 
 Ounces of Bay-Salt, and four Ounces of 
 Vert de Griz or of each according to this 
 Proportion, as you will make your Quan- 
 tity more or lefs ; put them all together in 
 an earthen Pot well varnifhed, large 
 nough, that it may not boil over : Cover 
 the Pot, and fet it over a quick Fire, and 
 let it boil up two or three Times, 
 and no more : When you perceive it 
 ready to boil, and not before, un- 
 cover the Pot, and ftir it with a litde Stick 
 fometimeSj and take heed that it do not 
 
 boil 
 
with A Q^U A F O R T I 167 
 
 boil over : Having let it boil up two or 
 three Times, take the Pot from off the 
 Fire, and Jet it cool \ but keep the Pot 
 covered, and wlien it is cold, pour it into 
 a Glafs Bottle, and let it ftand flopped a 
 Day or two before you ufe it and if you 
 fhall find it too ftrong in the Etching, 
 pour into it a Glafs or two of the fame 
 Vinegar you made it of. 
 
 SECT. V. 
 
 flow to know ^ood Copper from had, 
 
 CHOPPER is better for graving than 
 i Brafs, either with a Graver, or Jqua 
 Fortis ; bccaufe Brafs is too brittle. That 
 Copper is beft which is free from FIaw5^ 
 and not too hard, which you may per- 
 ceive by its yellowifn Colour, almoft like 
 Brafs ; and if it be too foft, you may eafily 
 perceive it by its too great Pliablenefs in 
 Bending. When you make ufe of it, you 
 will perceive ( in that which is good ) a 
 firm, yet eafy Force in the Entring of 
 jour Graver, on the Backfide of your 
 Plate J and that Copper which is beft for 
 graving, is alfo beft for etching. 
 
 SECT, 
 
i6S ^oe Art (j/'Ingr a ving 
 
 SECT. VL 
 
 How to planijh and polifb your Plate. 
 
 HE R E in England you muft buy 
 your Copper ready forged from the 
 Brafiers, If in London^ there are People 
 who term thcmfelves Copperfmiths, and 
 prepare the Plates for immediate Ufe, 
 either large or fmall, at a fix'd Price per 
 Pound. 
 
 It is not neceflary, that they, which 
 defire to ingrave, Ihould forge and polifli 
 their Copper Plates themfelves but becaufe 
 in divers Places they cannot conveniently 
 be had ready polifhed, I have thought 
 fit to fet icwn the Manner how they may be 
 done. 
 
 Thofe Plates, which you intend to forge 
 and planifh, muft be full as thick as an 
 Half-Crown, becaufe in their forging and 
 planiftiing they will become fomewhat thin- 
 ner. You muft planilli your Copper cold, 
 as the Silverfmiths do their Plate : And the 
 more it is beaten, or planiftied with a 
 Hammer, the firmer it is, and lefs fubjeft 
 to Holes of Flaws. 
 
 Your Plate being well planiftied, make 
 choice of the fmootheft Side for poliftiing : 
 Before you begin to polifli it, fix it upon 
 
 a Board 
 
with A Q^u aFortis. 169 
 
 a Board ; and when you polifh it, let your 
 Board (to wliich the Plate is fixed) ftand 
 a httle fioping. 
 
 To pohfh your Plate, take a Piece of a 
 Grinding-ftone about the Bignefs of your 
 Fift, and fair Water rub it firm, 
 arid even all over ; and in your Rubbing 
 throw Water often on it, and continue fo 
 doing, till you cannot perceive any Dints, 
 Flaws, or Marks of the Hammer : 
 Then wafh it clean with Water. After- 
 wards take a good Pumice-Stone, and fome 
 Water, and mh the Plate with it, till there 
 appears none of the rough Strokes, or 
 Marks of the Stone : Then walh it clean 
 with Water, as you did before. 
 
 Again, do the fame Thing with a fine 
 fmooth Hone and Water, till all the Marks 
 of the Pumice-Stone are quite rubbed out : 
 This done, wafh it clean with fair Water. 
 
 Then choofe out a fmooth Charcoal, 
 without any Knots, or rough Grain, and 
 put it in a well-kindled Fire : Let it be 
 there, till you perceive it red hot 
 - then take it out of the Fire, and 
 -quench it in Water ; then take it out, 
 and pare off the outermoft rind, and 
 rub your Plate with it, and water, till all 
 the fmall Strokes of the Hone are rubbed 
 out. If the Coal be nought, it will only 
 Aide upon the Plate, and not rub out the 
 I . , Strokes, 
 
170 T^he Art ^ Ingraving 
 
 Strokes. This done, dry your Plate ; then^ 
 it is requifite to have it burnifhed over, 
 the which Operation is performed by an 
 Inftrument made of well-hardenM po- 
 lifhed Steel, fomewhat roundi(h, .termed a 
 Burnifher, with which you rub your Plate 
 over, (firft dropping on it fome Drops 
 of Olive Oil ) whereby the Pores of 
 the Copper are the better clofed, and the 
 Scratches of the Charcoal (as there always 
 will remain fome few) effaced. 
 
 After your Plate is burnifhed, take a 
 clean Linnen Rag, and rub off the Oil ; 
 then take fine Powder of Chalk, and lay it 
 on your Plate, and with another Piece of 
 fine clean Linnen Rag rub it over the 
 Plate, then bruih off the Chalk, and with 
 a third clean Rag rub the Plate over again, 
 and likewife round the Edges, taking Care 
 there be* not the leaft Appearance of Oil, 
 or Chalk, left : which being "done, take a 
 fmall Piece of Paper, double it in four, as 
 large as the Chops of your Hand- 
 vice ; the Ufe of it, being to prevent 
 the Teeth of the Hand-vice marking the 
 Copper ; put the Paper on the Edge of 
 your Plate, as much above it as below ; 
 then apply your Hand-vice, and take Care 
 to flcrew it faff, that the Plate may not flip ; 
 this done, your Plate is fitly prepared to 
 lay on yourVarnifh, 
 
 SECT 
 
I 
 
with A Qjj A F o R T I s. lyi 
 
 SECT. VIL 
 
 Hew to apply your hard VarniJIo on the Plate^ 
 and make it black. 
 
 TAKE your Plate thus cleanfed^ 
 ^nd lay it on a Chafing-Difh with 
 a little clear Charcoal Fire in it, and whea 
 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 of your Finger in 
 feveral Places at equal Diftances ; as the 
 uppermoft Figure in the Plate, marked 
 with the Letter O, lliews you ; and lay 
 no more on one Place 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 
 fleftiy Part of the Palm of your Hand ) 
 tap it upon the Plate, till all the little Spots 
 of Varnifli 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 
 ' tliere be not tco much Varnifh upon the 
 I 2 Plate, 
 
172 "The Art ^ Ingraving 
 
 Plate, and that your Hand be not fweaty 
 becaufe the Sweat mixing with the Var- 
 nifh, will caiife little Bubbles, when it is 
 applied to the Fire, which will become 
 little Holes in the Varnifh. 
 
 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 it have but a fhort 
 SnufF; then place your Plate againft the 
 Wall, (firft driving two fhort Nails for it 
 to reft on,) with the varnifhed Side down- 
 ward, as the lower Figui-e in the Plate 
 rcprefents 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 Varnifh with the SnufF of the 
 Candle ; guide the Flame all over, till you 
 fee it perfeftly black ; then keep it from 
 Dufl 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 varniflied Side innermoil. 
 
 SECT. 
 
with A CLU A F o R T 1 s. 173 
 
 SECT. VIII. 
 
 How to dr)\ cr harden the Varni/lj upon 
 the Plate. 
 
 Kindle a Fire in a Chimney with fuch 
 Charcoal as is not Hibjeft to Sparkle, 
 and when it is well kindled, range it in 
 a Square, fomewhat larger than your Plate, 
 as the Letter P fiiews 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 
 direfts : This done, you will foon perceive 
 the Varnifh to fm.oke \ and when you per- 
 ceive the Smoke begins to abate, then take 
 the Plate from off the Andirons, and with 
 a Stick (pointed) fcratch near the Side of 
 your Plate ; and if it eafily takes off the 
 Varnifh, you muft lay it again uv ' : 
 the Andirons for a little Time; t 
 it off, and touch it again with your po'nxl 
 Stick, and if the Vafnifli com.es noL off 
 eafily, then take it from the Fire, and 
 let it cool. 
 
 If 
 
174 ^^^^ Ingraving 
 
 If the Varnifh do much refift the Point 
 of the Stick, then prefently throw on fome 
 coki Water on the back Side of the Plate, 
 to cool it, that the Heat of the Plate 
 may not caufe the'Varnifh to be too hard 
 and brittle. 
 
 If your Plate be not very laige, a Cha- 
 fing^Difn, with clear Charcoal in it, will 
 ferve to harden your Varnifh, taking care 
 to keep your Room free from any Duft, 
 and wrap a Cloth or Paper round your 
 Hand-vice to prevent the Heat coming to 
 your Hand : But if your Plate fhould be 
 large, the former Manner is beft, putting 
 another Hand-vice at the oppofite End ^ 
 always having one to help you. 
 
 SECT. IX. 
 
 How t§ choofe your Needles^ wherewith 
 make your Tools to etch with. Plate 3. 
 
 C'^Hoofe fome broken Needles of fevis- 
 j ral Sizes and Bignefs, fuch as break 
 neat without bending, and of a fine Grain. 
 Then take round Sticks of a good firm 
 W ood, 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 
 
with A Qjj aFortis. 17^ 
 
 as much as you fee in the following Fi- 
 gure \ or ftick your Needles in Pieces of 
 Cane of that Length, taking care to put 
 them in the Centre, and leaving about half 
 Inch out. 
 
 SECT. X. 
 
 Hgw to whet the Points of your Needles. 
 
 THERE are two Ways of whetting 
 your Needles, the one round, the 
 other floping. 
 
 You mult have an Oil-ftone with a fine 
 Grain, to whet your Needles upon 
 Thofe you would have to be round, you 
 muft y/het their Points Ihort, 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 floping, firft, make 
 blunt, then holding it firm and fteady, 
 whet it floping upon one Side only, till it 
 come to a fhort roundifh Oval ; for the 
 long Oval is not fo good to w^ork with. 
 
 You will need a foft Brufh-pencil to wipe 
 off the Varnilh, which the Strokes of 
 your Needle raife up in working, as is repre- 
 icnted by the Letter A. 
 
 I 4 SECT. 
 
376 The Art ^ Ingraving 
 
 SECT XL 
 
 ^0 preferve your Varr^Jh upon the Plate. 
 
 YOUR Plate being varnifhed, place 
 it on a large Square Board, and raife up 
 the End from you, lb that it may forni 
 a Defk, but take care not to raife it too 
 high, leaft your Plate fiide down fome 
 
 chufe to lay the Plate fiat on a Table — 
 
 Lay 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 Wafli- 
 leather, to reft your Hand upon, to keep it 
 from the Varnifh. 
 
 When you have Occafion to ufe your 
 Ruler, to draw ftraight Lines, 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 Lines 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; ifitfhould, 
 make your Pieces of Paper thicker, 
 to prevent your Ruler's damaging xhz 
 Varnifh, and take care to keep your Plate free 
 
 from 
 
with A Q^u A F o R T I s. 177 
 
 from Filth or Duft, by brufhing it now and 
 then with a Feather. 
 
 SECT. XII, 
 How to etch. 
 
 IN etching, you will have Occafion to 
 make divers Sorts of Lines or Hatches, 
 fome bigger, fome fnialler, fome ftraight, 
 fome crooked. To make thefe you muft 
 ufe feveral Sorts of Needles, bigger or 
 fmailer as the Work requires. The great 
 Lines are made thefe three feveral Ways. 
 
 I. By leaning harder on the Nee- 
 dle, the Point being fhort and thick, 
 makes a large Pafiage 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 ; 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 floping with an 
 Oval, are the beft to make the large Lines 
 with, becaufe with their Sides, they cut 
 w^iat the round Points cannot. PI. 4. 
 
 I 5 SECT. 
 
178 The Art ^ Ingravw6 
 
 SEC T. XIII. 
 
 Hew to guide your Needles upon 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 exaftly round, that they 
 may turn m.ore freely upon the Plate. 
 Some of thofe round Points muft be whetted 
 very fnarp, that they may cut the Varnifli 
 ^nd Copper eafily. If you find that 
 your Point cuts not freely and fmoothly^ 
 'tis becaufe it is not whetted exaflly round. 
 
 If you have Occafion to make your 
 Lines or Hatches of an equal Bignefs from' 
 cue 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 
 ©ther. 
 
 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 ligluer towards the End. 
 
wtth A QJJ A F o R T I s. 179 
 
 If you woulcj have your Strokes to be' 
 fuch as are reprefented in the third Figure^ 
 marked alfo a that is to fay, larger in 
 the Middle than at either End 5 you muft 
 lean gently at the Beginning, and then 
 .by Degrees harder and harder, till you 
 come ^o 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 aopears in the Figures, 
 MN. OP. QGR. TEV. wherein is 
 manifeft, that Shadowing is only a Rei- 
 teration of the fame Strokes clofe to one 
 ^another. 
 
 If you ckfire that your etching with 
 Jqua Fortis fliouid look as like graving 
 as may, be, you muft lean hard upon your 
 Needle in thofe Places v/here you would 
 have the Lines appear deep and large^ that 
 is, 'fo hard, that the Needle may make 
 forae Impreilion in the Copper. And far 
 the fame Reafon, you are to lean very 
 light on thofe Places, which you would have 
 appeal- faint Knd linalh 
 
 If it happens that you have made fome 
 Lines, oi' Hatches too ixnall, and are de- 
 frons to iniarge your Stroke, you mufi. 
 pafs it over again ^vith a round (iiort Point. 
 
 16- of 
 
i8o ^he Art Ingraving 
 
 of fuch a Thicknefs as you dcfire your 
 Line Ihould 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 Varnifh) you muft af- 
 terwards, with one of your large Needles 
 whetted fhort and round, pafs in the midft 
 of the faid Strokes firmly and (trongly, but 
 efpecially in thofe Places which you would 
 have large and deep. 
 
 SECT. XIV. 
 
 TIozv to ufe 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 End of them, 
 and BD their Sides. They are held, much 
 as you hold a Pen, only the flat Side whetted 
 is ufjally held towards the Thumb, as is re- 
 prefented in Figure iii. Not but that it 
 may^ be ufcd otherwife, with the Face of 
 ' the Oval turned towards the m.iddle Finger, 
 as is ftiewn in Figure iv. But I have 
 
 found 
 
F. 180 
 
nvith A Qjj aFortis. i8i 
 
 found the other Manner to be much better, 
 becaufe you may that Way inforce your 
 Strokes with more Strength and Firmnefs. 
 
 To fliew you how to make your 
 Strokes large and deep, and that thefe oval 
 j 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 fliall be hereafter fpoken of them. Your 
 own Reafon wi]l tell you, that if you lean 
 lightly in making your Strokes, thofe 
 V Strokes will accordingly be lefs deep, fmall- 
 I -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 where 
 leaning lightly at the Beginning, viz, r. 
 and then harder by Degrees to n. arid af- 
 terwards lighter by Degrees to s, 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. 
 
 2 
 
 Some 
 
iSa The Art .^Ingraving 
 
 Some will firft make their Stroke with a 
 round Needle, and then pafs it over again 
 with an oval Point, to inlarge it in thofe 
 Places, whkh they would have deeper and 
 bigger ; but the other is the better Way. 
 
 They that know how to ingrave, after 
 they have done etching their Lines with 
 Aqua Fortis^ may, with the Affiftance of 
 their Graver, make them neater and 
 deeper. 
 
 I think it not amlfs to advife you, 
 that in making your Strokes with your 
 oval Points, you mull hold them as up- 
 right and ftraight in your Hand as yoa 
 can, and accuftom yourfelf to ftrike your 
 Strokes firm and bold, for that will con- 
 tribute very much to their Neatnefs and 
 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- 
 jfliip, or the furtheft Diftance from the 
 Sight, and in thofe Places which ap- 
 proach nearefb the Light, you muft ufe a 
 veiy flender Point, leaning fo lighdy 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 Jq;ua , 
 
 Fortit 
 
with A Q^u A F o R T I s. 183 
 
 Wortis^ you may cover moft of your faint 
 Places at one and the fame Time ; for you 
 muft know that thofe Strokes, which you 
 Jean lighted on, do little more than raife 
 up the Varnifh. So when you ap- 
 ply your Jqua Fortis to etch it, it will 
 appear much fainter, than in thofe Places 
 where you have leaned with greater Force, 
 though the Stroke^ are done with one and 
 the fame Needle. Infomuch, that when 
 you fhall have covered the greateft Part of 
 your faint Places with your Mixture, 
 thofe Places, whereon you' leaned ftrong- 
 left, will appear deepeft, though they 
 ^vere 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 ycair felf with fome 
 good white Pi£lure- Varnifh, keep it clofe 
 ftopp'd in a Viai, and when you have 
 Occafioh to corre6t any falfe Stroke, or 
 alter any fmall Objeft, take a fine clean 
 'Camel's-Hair Pencil, dip it into the Var- 
 nifli, 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 ylaua Fortis^ and is 
 much better for ftopping up fmall Parts^ 
 than the Tallow ^ after it is dry, you 
 
 may 
 
184 "Tl^e Art ^ Ingraving 
 
 may work over it, which cannot be done 
 on the Tallow. 
 
 SECT. XV. 
 
 How to prepare your Plate^ to receive the 
 Aqua Fortis. 
 
 YOUR Plate being finifhed and ready 
 lor the Aqua Fortis^ brufli oiT all the 
 Rubbifli 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 rubbM off, then melt your Mixture of 
 Oil and Greafe which you have made, and 
 with a Pencil, bigger or fmaller, 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 Brufli or Pencil, and 
 dip it into the faid Mixture of Oil and 
 Greafe, and rub the Back-Side of your 
 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. 
 
 ^Yhe^ 
 
with A Q^u aFortis. 185 
 
 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 
 fliall require. 
 
 In the Winter Time efpecially, when the 
 Weather is cold and moid, before you ap- 
 ply your Jqiia Fortis to the Plate, it will 
 not be amifs to v/arm it gently by the Fire, 
 to dry up the Moifture, which the Plate is 
 fubjeft to by Reafon of the Diftemperature 
 of the Weather. Nay, if it be not warm- 
 ed, it may hkely endanger the breaking up 
 of the Varnifh, at the fir ft pouring of 
 the J^ua Fortis upon the Plate, 
 
 SECT. XVI. 
 
 How to make your Tl rough and Frame to hold 
 your Plate y when you would pour the Aqua 
 Fortis on it. 
 
 TH E Figure oppofite hereto, repre- 
 fents both Trough and Frame. 
 The Letter A is one intTe Piece of Elrn or 
 Oak, of about four Inches thick, and fix 
 Inches broad, or may be of fjch a Length 
 as you fhall think fitteft for your Ufe. 
 You muft cut this Piece of Wood into the 
 Fafhion of a Trough, as the Figure fhews 
 you, making it a little deeper in the Mid- 
 
1 86 I'he Art ^Ingraving 
 
 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 Fort is ^ let it not ftand too much 
 below the Trough. 
 
 The Figure M N O P is one intire 
 Board, of an indifferent Largenefs, as you 
 may judge by the Figure. About both 
 the Sides and Top of this Board, you 
 muft faften a Ledge, about two Inches 
 broad, to keep tlje Aqua Fortis 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 Fortis 
 from eating or rotting the Board. Place 
 the lower End of this Board in the Trough 
 Hoping againft your Eafel, and you muft 
 fix feveral Pegs of Wood or Nails in the 
 Board, to reft your Plate on. 
 
 The Figure 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. 
 
 SECT. 
 
p. 187- 
 
with A Q^u A F o R T 1 8. 187 
 
 SEC T. XVII. 
 
 ^'he Manner of cafting the Aqua Fortis upon 
 the Plate % as alfo^ how to cover the Places 
 that are faintefi^ and moft remote from the 
 Eye^ with the forementioned Mixture^ as 
 Occafion requires. 
 
 HAVING obferved the Way of 
 placing the Plate for the receiving of 
 the Aqua Fortis^ there remains only to con- 
 ficler the Method you are to follow in pour- 
 ing it on, as Occafion requires \ for in 
 fome Works, it will be neceffary to pour it 
 on feveral Times, for the Reafons here- 
 after liientioned. 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, lb that it may run all over 
 the Plate alike, taking great heed that the 
 Pot touch not the Plate. Having thus pour'd 
 it eight or ten Times, the Plate being in 
 the Pofture expreflfed in the preceding Fi- 
 gure, 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 
 it lies that vvay, ten or twelve Times again, as 
 before : This done, turn your Plate fuita- 
 bly to the Pofture expreffed by the 
 
 lower 
 
i8S 7^/^^ Art ^Ingr AviNG 
 
 lower Part of the aforefaid Figure, 
 that is to fay, corner-ways, and as it lies 
 fp, pour thereon eight or ten Times ; 
 pouring the Aqua Fortis thus, at feveral 
 Times, for the Space of half a Quarter of 
 sn Hour, more or lefs, according to the 
 Strength of the W ater, and Nature of the . 
 Copper. For if the Copper be brittle and ^ 
 hard, there mAift: be the lefs Time allowed 
 for the pouring on the Water j but if 
 foft, the more. 
 
 By Chance you may not at the firft 
 be fo well aflTured of the Strength of 
 your Watei', 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 exped to 
 find in your Work. For fome Pieces re- 
 quire m.ore Force, and others more Tender- 
 nefs. To know therefore that the Nature 
 of your Copper, and Strength of your Water, 
 are fuch, 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 Quandty of fair Water, hold- 
 ing the Pot at a good Height from the 
 Plate, to wafli off the Aqua Fortis \ for if 
 
 it 
 
with A Q^u A F o R T I s. 189 ' 
 
 It be not clean wafhed, the Work will ap- 
 pear green, and confequently, you cannot 
 fo well perceive the Operation of your 
 A^iua 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 Varnilh in fuch Places 
 where the Strokes are faint ; and if you 
 find that the Aqua Fortis hath eat deep 
 enough in thofe faint Places, mek your 
 Mixture, and having placed your Plate 
 upon ,aDefl<: or Table, take of the faid 
 Mixture, with a Pencil fit for your Work, 
 and cover therewith, all thofe Places which 
 you defire fliould be tender and free, fi-om 
 any further Operation of the Aqua Fortis : 
 taking great Care that you lay 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 neceflary in the Winter Time) 
 put it again upon your Board, and pour on 
 your Water as before, for the Space of a- 
 bout half an Hour, turning your Plate 
 
 from 
 
190 The Art ^/Ingra^ing 
 
 from Time to Time according to the fe- 
 veral Poftures before expreffed. That 
 done, wafh off the Aqua Fcriis 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 
 Defk, 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 fe veral 
 Examples in the following Figure. 
 
 You have been before direfted, how to 
 guide your Needles and oval Points, and 
 have been told how you are to lean 
 Itrongly 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, when 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 
 
ivith A Q^U A F O R T I s. 191 
 
 if you have fuffered the jG[ua Fortis to"* cat 
 for the Time requifite, it will have very 
 near the EfFe<5l which you expefted. 
 
 At the upper End of the Plate, you 
 have the Form of a Woman's Arm, where- 
 in you njay perceive, by the Line marked 
 ah c d\ 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 Landskip, the firft marked 
 m m is the firft covered, being the 
 fartheft of all from the Eye, thenar ano- 
 ther Operation that marked n nn\ then 
 that marked 0 0 0 \ 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 Strokejs 
 and Hatchings fo, that the Aqua Fortis 
 may eat in anfwerably to your Expe6lation, 
 without the Trouble of covering any Places 
 j with your Mixture : To this I anfwer, that 
 the Work will not altogether have that 
 
 EfFeft, 
 
192 "The Art ^Ingraving 
 
 Efi^6l, 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 Aq^ua Fortis being poured equally 
 all over the Plate, dufing 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 
 thcfe 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 Stale 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 
 impoffible to take out the Greafe fo clearly, 
 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 it. 
 
 Having 
 
mth A Q^u A F o R T i s. 1^3 
 
 Having thus covered your Places as 
 Occafion requires, for the fecond Time, 
 place your Plate on the Board aforefaid, 
 and pour your Aq^ua Fvrtis 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 
 or lefs, according to the fcveral Defigns 
 and Pieces you work upon. When this 
 is done, pour your Aqua Fortis upon it, 
 foi' the laft Time, and it is, at this Ope- 
 ration, that you are to beliow more or lefs 
 Time, than in the form.er, 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 /iqua Fortis^ for an Hour 
 or better at this laft Operation alone, that 
 is, "proportionably to the former. You 
 may imagine, that no certaia-or general 
 Rule can be given, either for the conre- 
 nient Covering of the Places, or the ex- 
 ad Space of Time, that is to be ob- 
 fcrved, in throwing on the Water : For in 
 cannot be thought, that Callot pour'd as 
 K much 
 
194 A^'^ of Ingraving 
 
 much Water on his little Pieces, as he did 
 on thofe which were bigger. 
 
 I 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 
 j^qua For/is, 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 y^qtm Fortis^ have 
 not the fame Strength, Nature or Equality, 
 therefore it muft be left to Difcretion. 
 
 Having, as before faid, poured the Jqua 
 Fortis upon your Plate for an Hour, more 
 or lefs, as the Work requires, wafli 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 the Mixture. 
 
 SECT. 
 
with A <xj5 aFortis. 195 
 
 SECT. XVIII. 
 
 Hrd) to take the Ground^ or Varnipo off 
 the Plate ^ after the Aqua Fortis has 
 done its Operation. 
 
 TAKE Charcoal of Willow, or fotne 
 fuch 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 
 poUfh Copper, and it will take off the 
 Varnifh. Be careful that no Duft or Filth 
 fall upon the Plate ; and that the Charcoal 
 be free from Knots and Roughnefs, which 
 might occafion fome fmall Scratches in the 
 Plate, and would be difficult to get out, 
 efpecially in thofe Places, which are nioft 
 faint and fweet. Note, you are not to ufe 
 fuch a burnt Coal, as you do, to polifh 
 withal. 
 
 When the Varnifh is taken off, the 
 Plate is of an unpleafant Colour, by Reafon 
 of the Operations of the Fire and Water 
 upon it. To reduce it therefore, to its pro- 
 per Colour, take fome ordinary Aq^ua 
 Fortis^ to which, add two third Parts of 
 fair Water, and with a litde Linnen Rag 
 dipp'd therein, rub your Plate all over, 
 K 2 and 
 
'4^ 
 
 and you will find its Colour and Beauty 
 return. 
 
 Then immediately take a dry Lirmen 
 Rag, and wipe it all over to take off ail 
 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 roll'd 
 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 blackefl-. 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 Fortis com- 
 monly takes it off, and eats under it. 
 
 But if this happens, when you caft on 
 your Water, you may prefently cover thofe 
 Places, where you perceive the Varnifh 
 break up with the Mixture, it being more 
 €afy to touch it afterwards with the Gra- 
 ver, than when the Jqua Fcrtis^ has made 
 a Pit therein, which, in the Working it 
 off at the Rolling-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 faften on. 
 
 Having 
 
with A Q^u A F o R T I 197 
 
 Having covered that Part in Time, 
 you have no more to do, but perfeft 
 thofe Strokes and Hatchings, to make 
 them firm and beautiful ; and then your 
 Plate is ready for the R oiling- Prefs. 
 
 OF 
 
198 ^be Art of Ingravinis 
 
 O F 
 
 SOFT VARNISH. 
 
 SECT. XIX. 
 
 How to make it^ and the Ufes it is to he 
 put to. 
 
 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-glazM earthen Pipkin, 
 and when they are diffolved, take two Ounces 
 of Afspaltum, let it be ground as fine as 
 poffible, and fhake it into the Pipkin, and 
 with a Stick keep ftirring it over the Fire, 
 that the Afspaltum, and the reft, may in- 
 corporate well together, and be intirely 
 difibJved, which will be done in about 
 half a Quarter of an Hour \ then take 
 it off the Fire, and let it cool a litde, 
 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 Mfxture before it be quite cold, and 
 having well moulded it, and fqueez'd out 
 
ivith A Qjj A F o R T I s. 1 99 
 'the Water, roll it up into Pieces about an 
 Jnch 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 ufe it. 
 
 There are feveral other Compofitions, 
 of foft Varnifh, 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 
 Virgin Wax in Summer, as in Winter. 
 
 SEC T. XX. 
 
 ^tbe Manner of laying your foft Ground, or 
 Varnifo upon the Plate. 
 
 HAVING your Plate well poliflied 
 and cleanfed from Greafe, take the 
 foft Varnifh prepared, as is before mention- 
 ed, and put the faid Plate over a Chafing- 
 difli, wherein a moderate Fire has been 
 kindled, and let it be fo heated, that the Var- 
 nifh may eafily diflblve, as it paffes through 
 the Sarfenet, in which ^tis wrapped. The Plate 
 being thus heated, take the Varnifh covered 
 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 
 K 4 to 
 
20x> 7}je Art of Ingraving 
 
 to the other, untill the Plate be covered ^ 
 thin and equal all over: This being done, 
 take fome fine Sarfenct, or other fine Silk, 
 doubled up, put fom^ fine Cotton into it, 
 and let it be about the Bignefs of an Fgg, 
 when tied up, but make it broad at Bot- 
 tom, then dab it gently all over your 
 Pfete ; where you have laid the Varnifli-, 
 raking 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 
 fhouH cool, and confequendy the Var- 
 nifli, you muft heat it again, that it 
 may receive the Varnifh, as it pafl^es 
 through the Silk. Alfo take great Care, 
 for your more eafily fpreading of it,, that 
 neither your Plate, nor Varnifli burns 
 V^^hich, you will eafily perceive, by ob- 
 ferving, that when it is too hot, it cafls 
 itfelf into litde Clots and Blifters. 
 
 As foon as you have fpread your Var- 
 nifh, very even upon your Plate, black it 
 over with the Flame of a Candle after the 
 fame Manner I mentioned before, in the 
 hard Varnifli ; taking Care, that the Flame 
 approach r ot too near ; this is to be done 
 in one Cafe, rather than in another, that 
 is, when having black'd it ail over, you 
 perceive, the Smoke hath not entered 
 within the Varnifli, by Reafon of its grow- 
 
with A Q^U A F O R T I S. 201 
 
 iiig Cold : Therefore it will be convenient 
 to put your Plate again over your Chafing- 
 dilL, and you will fee, as foon as the Plate 
 is hot, the Varnifh will diffolve ; and 
 thereby the Black, which the Smoke hath 
 left upon the Varniilh, 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 Duft of red 
 Chalk, and Black Lead, mixed together) 
 excepting only, that you muft not lean fo 
 hard with your Point, in Drawing the- 
 Out-lines of your Defign, leaft by fo do- 
 ing, the Needle cutting through the Paper, 
 fliould rub the Varnifh. 
 
 Next you proceed to work upon your 
 Plate, with the frime kind of Points, as 
 thofe, which are mentioned for hard Var- 
 nifh, excepting the oval Points, which 
 thofe that etch with foft Varnifli never 
 ufe : Neverthelefs they are very commo- 
 dious, efpecially for the working any Piece 
 of ArchitefturCj or making of large Strokes, 
 K 5 and- 
 
20^. The Art ^ IngravIiMG 
 
 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 inuft 
 be 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, 
 fhould happen to touch it. There are 
 feveral Ways of keeping it unhurt : 
 For Example, working upon the Plain, 
 or on a Desk, place on the Sides of 
 your Plate, two little Boards, of what 
 Thicknefs you pleafe, or two httle Books 
 of the fame Thicknefs, and lay a thin Board 
 upon them, fo as not to touch the Plate, 
 and reft your Hand upon this Board as you 
 "work. 
 
 Many v/ork with their Plate laid upon an 
 Eafel, as a Painter does when he paints ; 
 but ail Men cannot fit in this Manner at 
 Work, although it is very much approved 
 ©f, for many Reafons, which hereafter fhall 
 be alledged. 
 
 To work upon the faid foft Varnifli, 
 you muft conveniently place your Board 
 upon a Desk, and lay a Piece of green 
 Bays upon that, and your Plate upon the 
 Bays, Afterv/ards, take a Linnen Cloth 
 without any kind of Scam, 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 your 
 V^^rnifh ^ and reft your Hand on it, as you 
 
 2 do 
 
Wtth A Q^U A F O R T I S. 203 
 
 do on Sheets of Paper, upon hard Varnlfh. 
 The Reafon why this Caution is to be ob- 
 ferved is, left the Buttons of your 
 Sleeve, fhould rub off the Varnifti. 
 
 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 large foft Pencils, ob- 
 ferving, that much more Care is requir- 
 ed for the preferving of foft Varniflb, 
 than of hard ; whieh made the Author 
 leave it off, efpecially in Pieces that required 
 long Time, and m^uch Pains ; it being much 
 more eafy to make a firm Winding-Stroke 
 upon hard Varnifh than upon foft ; becaufe 
 the Hardnefs of the Varnifh holds your 
 Point, as it were engaged, which makes the 
 Strokes the deeper, and more like the 
 Firmnefs and Neatnefs of thofe of a 
 Graver. Moreover, when you are at 
 work on foft Varnifh, you muft have a 
 fpecial Care, left any other Perfon, than a 
 Pra£Vitioner 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 Vai^niQi, you may clean it with 
 a Linnen Cloth, or Crumbs of Bread. 
 
 Thofe 
 
2^04 ^'^^ Art ^ Ingraving 
 
 Thofe that work upon foft Varnilli, if 
 they put their Plate on a Desk or Eafel, 
 are not in fa 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 obliquely,- 
 the fuperfluous Matter falls away of it felf. 
 I don't think it neceflary to defcribe this 
 Way of working, by a Plate, bccaufe 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 exaft 
 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. 
 
 How ta harder ycur Plate^ that it may mn-- 
 tain your Aqua Fortis. 
 
 C'^ E T foft Wax, either red or green ; 
 IT if it be in Winter, foften it in warm 
 Water \ in Summer it will ^be fufEciendy 
 
 foft 
 
with A Q^u A Fort i s. 205 
 
 foft of it felf : 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 Jqua For lis off ) in fuch 
 Sort, that placing your Plite 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 Infide 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 gendy 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, fthat are moft 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- 
 
2o6 The Art of Ingraving 
 
 a fudden, any other Effe6V than what appears 
 to view. 
 
 Afterwards, when you have perceiv* 
 ed the Water operate a fmall Time, 
 pour it oflf from the Plate into fome Veffel, 
 which is moft proper to contain it, as into 
 an earthen Mug well glazed, or the 
 like then throv/ fome fair Water upon the 
 Plate, to extinguifh and w^afh away the 
 Remainder of the Aqua Fortis^ which was 
 upon it, then dry it by the Fire, 
 as you have been taught before, when we 
 difcourfed of hard Varnifli ; as to the 
 foft Varnifh, and Jqua Fortis of the 
 Refiners, be very careful, to evapo- 
 rate that Moifture, which, in the Winter 
 Time, is commonly between the Copper 
 and the Varniih, before you lay on your 
 Jqua Fortis \ which being done, take your 
 Mixture of Oil and Tallow, as is men- 
 tioned in the Beginning of this Dif- 
 courfe of hard Varniih, and cover thofe 
 Places with it, which ought to be moft 
 tender and fweet or Pifture Varnifh, mix'd 
 with Lamp Black, as mjcntioned in the 
 Operation of the hard Varniih \ hav- 
 ing covered them the firft TimiC, 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 
 longer, according to your Dilcretion then 
 
unth A Qjj A F o R T I s. 207 
 
 take off the j^qua Fcrtis^ and cover with 
 your Mixture, the next Places, as you 
 fhall fee Occafion : And if you would hare 
 your Lines or Strokes be ftill deeper, 
 then cover the fweeter Part by De- 
 grees, with your Mixture, that the Aqua 
 Fortis may he the longer, on the deeper 
 Strokes. 
 
 Laftly, lay on the aforefaid Jqua 
 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 ; 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 Varnifli, may thorough- 
 ly melt ; then wdpe it well with a Linnen 
 Cloth, afterwards, rub it all over with 
 Olive Oil, and a Piece of old Beaver roUM 
 up, then touch it over again with your 
 Graver, in thofe Places where it is necef- 
 fary. 
 
 It is neceflary to obferve, that whilft 
 the Jqua Fortis is upon your Plate, you 
 muft take a Feather, arid dip it to the Bot- 
 tom of the faid Jqua 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- 
 tion 
 
2o8 The Art of Ingraving 
 
 tion of the Water, and fee if the Var- 
 nifh be not broke up, which the Bubbhng 
 of the Water, hinders you from difcerning. 
 
 Take Notice alfo, that the A(im Foriis 
 of the hard Varnilli, 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 lame 
 with that of hard Varnifli, and whoever 
 ufes it may be affured, that it is much 
 better for this Purpofe, than that 
 of the Refiners Moreover, it is not fo 
 fubjeft to caufe the 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. XXIL 
 
 The Manner how to lay a white Ground^ upon 
 your hard or foft Varntfh, 
 
 TH E R E is a Way to whiten your 
 V;/irniflies upon the Plate, inftead of 
 making them black with a Candle, which 
 is thus. 
 
 When you have applied your hard Var- 
 nifli ( as has been obferved ) upon the 
 Plate, harden it over the Fire, without 
 blacking it, yet in the fame Manner as if 
 
 k 
 
with A QJJ A F O R T I S. 2C>9 
 
 it were blacked, then let the Plate cool, 
 and having got white Cerus^ put it into 
 an earthen Difh v/ell 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 Varnifli 
 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 
 Difh with your Brufli. For the foft Var- 
 nifli, you may do the fame, after you 
 have laid it upon the Plate, and extended 
 it very even with the feather'd 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 
 diftindt to the Eye. But to this I an- 
 fwer 
 
 Firil, When the Plate is blacked, the 
 white will not touch it, nor mufl: they ven- 
 ture to put fo much Gall, for Fear ol* 
 .fpoiling the Varnifli. 
 
 Secondly^ 
 
2,10 The Art ^Ingraving 
 
 Secondly, If the white fhould fpread 
 well, it will not appear otherwife than 
 grey, by Reafon 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 Varnifh 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 Jqtia 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 Ducks Wing-Fea- 
 thers, moiflen the faid white Cerus all 
 over with it ; afterwards, wafh the Plate, 
 to take off the Whiting, and dry it. 
 * Laflly, you may lay on which of the 
 •two Sorts of Aqua Fortis you pleafe and 
 for the preferving of the faid white V ar- 
 nifli, whilfl you are working, you nee4 
 only lay upon it a Piece of foft Linnen, or 
 Damask Linnen, inftead of Paper. 
 
 If 
 
mith A Q^u aFortis, 211 
 
 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, difperfing it 
 all over, which will foak and quickly eat 
 in ; after you have thrown clean fair Water 
 upon it to take av/ay the Whiting, let the 
 Water dry up, which remains upon the Plate, 
 and caufes it to eat into your Work, as I 
 faid before. 
 
 SECT. XXIII. 
 
 Another IVay^ how to lay a White upon your 
 Varnijh, 
 
 TA K E the beft Cerus, and grind it 
 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 CameFs 
 Hair, and with that Pencil take it off the 
 Stone, and fpread it thin all over your 
 Plate ; 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 exaftly even in 
 all Parts, that the Strokes of the former 
 Brufh, may not appear, then lay your 
 Plate very even, and let it dry. 
 
212 ^he Art i^/* Ingraving 
 
 It will be neceflary to give you this 
 Notice, that you 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 Curioufnefs, you may 
 otherwife. 
 
 SECT. XXIV. 
 
 Here follows the Manner^ after your Plates 
 are eat in by the Aqua Fortis, how to touch 
 up^ or re-grave y that which you have for-- 
 got^ or which you would mend or fuf- 
 ply. 
 
 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 Fortis ; 
 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 fliould not perform its Operation, or 
 
with A Q^u A FoRTis. 213 
 
 that you would add any Ornaments, 
 cither in Drapery, or any other thing 
 which may be thought on: In this 
 Cafe, take your Plate, and rub it well 
 over with OHve Oil in thofe Places, where 
 there is any thing graven, in fuch Man- 
 ner that the Blacknefs and Foulnefs, 
 v/hich 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 m.ay 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 Varnifli ; 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 lhall 
 require, being careful before you put on 
 the Aq^ua Fortis^ to cover with your oily 
 Mixture (as is laid before) the firft grav- 
 ing which was upon your Plate ; for if 
 the Varnifh fhould not have entred all 
 over, that certainly will : Infomuch, 
 ihat, if it ftiould happen, in fome Places 
 
 of 
 
214 7Z^^ Art i^/'Ingr AviNG 
 
 of the Hatchings, there be neither Mixture, 
 nor Varnifli, the Aqua Fortis^ wilh not fail 
 to enter and fpoil all. Having caufed 
 the Aqua Fortis to eat into your Work, 
 take away your Varnifh from your Plate, 
 by the Means of Fire, as before faid. 
 
 THE 
 
with A Q^u aFortis. 215 
 THE 
 
 ART 
 
 O F 
 
 I N G R A V I N 
 
 SECT. XXV. 
 
 ^he fever al Ways of drawing your Deftgn^ 
 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 muft 
 be of the fame Bignefs the Defign or 
 Print is, which you intend to copy. 
 
 Put you Plate over the Fire, and let it 
 heat a little ; then take a Piece of the 
 whiteft Virgin- wax, and fpread it thin over 
 the Plate, and with a fmooth Feather 
 gently ftroak it all over, fo that it may 
 lie very even and fmooth j then let 
 
 it 
 
£i6 The Art ^/Ingraving 
 
 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 ; then you muft 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 Back-Side of 
 the Print with a Burniflier (or any Thing 
 that is fmooth and round) and you will 
 find, that it will flick 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 haftily, 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 caufe the fame 
 Inconvenience. 
 
 But if you would grave it the fame Way, 
 as your Print or Defign is, then take the i 
 Dull .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 Ucfign, and you 
 will find all thofe Lines upon your Plate 
 but if you defire to preferve the Back-Side 
 of your Defign from being blacked with 
 
 the 
 
With A QjJ aFortis. 217 
 
 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 Hud Paper with the Duft or 
 Powder of black Chalk, and placing it 
 with the Side fo blacked, next to the 
 waxed Plate, lay the Back-Side 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 mud 
 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 oiPd 
 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 perfeftly 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, v/hich 
 L done, 
 
2i8 The Art ^ Ingraving 
 
 done, place it upon the Plate in the fame 
 Manner as before. 
 
 SECT. XXVI. 
 
 ^he Forms of- Graving-'Tcoh^ as alfo the 
 Manner of whetting your Graver, PI. 9. 
 
 TH E upper Part of this Figure will 
 jfhew two Sorts of Graving-Tools, 
 the one formed Square, the other Lozenge : 
 The Square Graver makes a broad and 
 fhallow Stroke, or Hatch \ and the Lo- 
 zenge makes a deep and narrower Stroke. 
 The Ufe of the Square Graver, is to make 
 the largeft Strokes ; and the Ufe of the 
 other^ -is to make the more dehcate and 
 lively Strokes. But a Graver made of an 
 indifferent Size between thefe two is beft, 
 and v/ill 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 
 L and II. 
 
 The Illd Figure fhews you how to 
 whet the two Sides of your Graver, which 
 is to be done in the following Manner ; 
 you mufl: have a very good Oil-ftone 
 fmooth and flat, and having poured a little 
 Sallad Oil thereupon, take the Graver, 
 
 and 
 
with A Qjj aFortis. 219 
 
 and laying that Side of it which you 
 intend fliall 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- 
 poflte Side of your Graver ; that you may 
 carry your Hand fteadily, prefs equally on 
 it, and guide it with the more Exaftnefs : 
 Then turn the next Side of your Graver, 
 and whet that as you did the other ; that 
 there rnay be a very fnarp Edge for the 
 Space of an Inch or better ; then turning 
 uppermoft that Edge which you have fo 
 whetted, and fetting the End of your Gra- 
 ver obliquely upon the Stone, carry your 
 Hand exaftly even, to the End that it may 
 be whetted very flat and floping, in the 
 Form of a Lozenge, making a fharp Point 
 to the Edge, as Figure IIIl. fhews you. 
 
 It is abfolutely neceflary, to be very 
 exa£l in the Whetting of your Graver 
 for it is impoflible you fhould ever work 
 with the Neatnefs and Curiofity you defire, 
 if your Graver be not very good, and 
 rightly whetted. 
 
 s E c r. 
 
220 7he Art ^ Ingraving 
 
 SECT. XXVIL 
 
 ^Xbe Manner how to hold your Graver^ with 
 
 7 O U may fee alfo that the nppermoft 
 
 X P?-rt of this Figure, defcribes the Form 
 of 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 obftrudl or hinder 
 them in their Graving, as Figure II. (hews 
 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 fmooth 
 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 holding your Graver ; which is in 
 this Manner. You muft place the Knob 
 or Ball of the Handle of your Graver in 
 
 other Particulars. 
 
 the 
 
 o 
 
with A Q^U A F 6 R T I S. 221 
 the Hollow of your Hand, and having ex- 
 tended your Forefinger towards the Point 
 of your Graver, laying it oppofite to the 
 Edge that fliould 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 
 
 nil. 
 
 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 
 perfeftly well, and be able to pradlife 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 Graver. 
 
 SECT. 
 
2 22 "^-he Art of Ingraving 
 
 SECT. XXVIII. 
 
 7 he Manner of governing ycur Hand in 
 Graving^ and other F articular 
 
 AVI N G defcribed the Way of hold- 
 ing your Graver, the next Thing is to 
 fhew you how to guide your Graver 
 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 Duft ; let it be 
 made about half a Foot broad in the Dia- 
 meter, and three or four Inches deep ; lay 
 this upon a Table which ftands fall and 
 firm ; then lay your Plate upon the cuHiion, 
 as is feen in Figure II. in the former Sec- 
 tion. 
 
 When you make any ftraight Strokes, 
 hold your Graver as direfted before ; and 
 when your Strokes are to be deeper or 
 broader in one Place than in another, 
 v/here you would have them deepeli, you 
 muft prefs your Hand hardeft ; but in 
 making of a ftraight Stroke, be very care-* 
 ful to hold your Plate firmly upon the 
 Cufhion. 
 
 When you make any crooked or 
 winding Strokes, hold your Hand and 
 
 Graver 
 
njoith A Q^tr A F o R T i 223 
 
 Graver fteadily and as you work, turn 
 your Plate againft your Graver otherv/ife 
 it will be impolTible 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 v/hen you per- 
 ceive it grow yellowifh, dip it in Tallow : If 
 your Graver become blunt without break- 
 ing, it is v/orth 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 fliarpened it ; which will take off all the 
 Rouglmefs about the Point, that was caufed 
 by whetting it upon the Oil-ftone. After 
 you have graved Part of your Work, it 
 will be necelfary to fcrape the Plate with the 
 fliarp Edge of another Graver, carrying it 
 even upon it, to take off the Roughnefs 
 of the Strokes j but in fo doing, take heed 
 not to make any new Scratches in your 
 Work. 
 
 That you may the better fee, what 
 is graved, roll up clofe, a Piece of 
 black Felt or Caftor, liquored over 
 
 a lit 
 
224 Art of Ingraving 
 
 ^ little with Olive Oil, and rub the graved 
 Places with it : If you perceive any 
 Scratches in your Plate, rub them out with 
 your Burnifher and if you have graved 
 any of your Strokes too deep, you may 
 make them appear fainter by rubbing them 
 with the fame. 
 
 Mezzotinto^ 
 
with A a.u A F o R T I s. 225 
 
 Mezzo TIN TO, called Scraping or Burnijh* 
 ing on Copper. 
 
 A K E a well polilhed Copper Plate, 
 
 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 poliflied. 
 
 Where you would have the Light fiinter, 
 there you muft not polifh it fo much and 
 after this Manner you muft either increafe or 
 diminifh the Light in your Defign, by mak- 
 ing it fainter or ftronger, as the Necefllty 
 of the Work requires. 
 
 and make it all over rough one 
 
 FINIS. 
 
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