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Sculptura Hijiorico-Technica : 
 
 or, t h % 
 HI STORY and ART 
 
 O F 
 
 ENGRAVING. 
 
 CONTAINING, 
 
 I. The Rife and Progrefs of Engraving. 
 
 II. Of Engraving in general* 
 
 III. Of Engraving, Etching, and Scraping 
 on Copper, as now pra&ifed. 
 
 IV. An Idea of a Fine Colle&ion of Prints. 
 
 V. The Repertorium; or, A Collection 
 
 of various Marks and Cyphers, with 
 Additions, 
 
 To which is now added, 
 
 « 
 
 A Chronological and Hiftorical Series of the 
 Painters from the Eleventh Century. 
 
 Extracted front 
 
 Baldinucci, Flo rent leCompte,Fairthorne* 
 
 the Abecedario Pittorico, and other Authors. 
 
 With COPPER. PLATES. 
 
 The Fourth Edition. 
 
 LONDON: 
 
 Printed for J. Marks, in «$/. Martin* s Lam. 
 
 M DCC LXX. 
 

 THE 
 
 PREFACE. 
 
 TO render a Treatife on any Art 
 or Science acceptable to every 
 Reader, it fhould certainly be calculated 
 to inftrudt as well as entertain ; and in 
 order to fulfil this Intention, it is ne- 
 ceffary that Ideas fhould be prefent- 
 ed to us in fuch a Manner, as to 
 make a ftrong and lading Impreffion 
 upon our Minds : I flatter myfelf that 
 proper Attention has been paid to both 
 thefe Circumftanc'es in the following 
 Treatife, which has hitherto been re- 
 ceived as an ufeful as well as an agree- 
 able Work. 
 
 A 2 Every 
 
iv The PREFACE. 
 
 Every curious Enquirer muft receive 
 infinite Satisfaction, in tracing the various 
 Improvements of any of the Arts from 
 their primary Sources, and obferving 
 with Care the Difficulties they encoun- 
 ter in their Progrefs towards Perfection : 
 But, his Labour will be considerably di- 
 minifhed, if he (hould be affifted in the 
 .Profecution of his Enquiries by the In- 
 duftry and Attention of others who have 
 before treated on the Subjedl 5 for by this 
 Means much Light will be thrown upon 
 the Point in Queftiona. and he will be 
 prevented from falling into thofe Errors 
 which he probably would not have 
 eicaped, had he been left to his own 
 Conjectures. 
 
 The Antients are generally allowed 
 to have excelled in the Art of Painting ; 
 though very few of their Works have 
 been handed down to us, as it was im- 
 
 poffible 
 
The P R E F A C E. v 
 
 poflible to preferve them from the In- 
 juries of Time and other Accidents : 
 Engraving however, ftepped in with 
 its Afliftance, and eftablifhed a lafting 
 Memorial of its Ufefulnefs, by the Pre- 
 fervation of many beautiful Pieces in 
 Painting, as well as in Sculpture, Ar- 
 chitecture &c. the Originals of which 
 have been deftroyed : Painters and other 
 Artifts therefore, are as much obliged to 
 the Invention as the Public ; for with- 
 out it, many of their moft capital 
 and valuable Performances would have 
 been loft. It may indeed be obje&ed, 
 that Defigning could have anfwered 
 thefe Purpofes ; but let it be considered, 
 that Drawings as well as Paintings are 
 generally confined to a fewPoffeffors; 
 whereas by the Art of Engraving, a 
 Number of Imprcflions may be taken 
 from one Plate, without the leaft Devi- 
 ation of a iingle Line. 
 
 A 3 The 
 
vi J& PREFAC E. 
 
 The Reader will be led from the 
 Rife of this Art through its various 
 Stages to that Degree of Perfection 
 which it has acquired in the prefent 
 Age : The Hiftorical Part comes firft ; 
 Secondly, the Art in general ; Thirdly, 
 Etching ; Fourthly, Metzotinto ; and 
 Fifthly, an Idea of a fine Colle&ion of 
 Prints y which part deferves particular 
 attention, as the Gentleman will here 
 have proper Rules to afiift him in the 
 choice and difpofition of his Colle&ion, 
 which, when properly arranged, will 
 afford him a Fund of rational Amufe- 
 ment for his leifure Hours. Sixthly, 
 the Characters, or Marks and Cyphers 
 ufed by Engravers &c. with their ex- 
 planation ; Seventhly, the Initials ufed 
 by fomc Artifts inftead of Marks or 
 Cyphers, or by the fame at other Times ; 
 Eighthly, will be given a Chronological 
 and Hiftorical Series of Painters from 
 
 the 
 
The P R E F A C E. vii 
 
 the eleventh Century to the prefent 
 Time 3 Ninthly, the Student will be 
 furnifhed with an Alphabetical Index 
 of the Chriftian and Surnames &c. 
 and laftly, with an Alphabetical Lift 
 of the Surnames before the Chriftian 
 Names. 
 
 This Edition is rendered more com- 
 plete by the infertion of feveral Marks 
 omitted in the former, together with the 
 Chronological Series -, the whole being 
 difpofed in a regular Manner, the fe- 
 veral Parts following each other as the 
 Subject leads, which Method I hope 
 will be moft agreeable to the Reader. 
 
 THE 
 

 THE 
 
 20 
 
 21 
 
 CONTENTS. 
 
 Page 
 
 TH E Hiftory of the Art of Engraving. i 
 
 Of Engraving in General, — 15 
 
 Of the Quality of Copper requifite for Plates. 1 7 
 
 Direftions for conducing the Strokes , or Cuts 1 
 of the Graver. — — — J 
 
 - for Engraving the Hair of Men } 
 
 and Beajls, and the Beard. — 3 
 * ' Sculpture. — — - — 22 
 
 Stuffs. — — — 23 
 
 ■ • Architecture. — — — 24 
 
 Land/kips. — — — 25 
 
 Strokes or Cuts of the Graver* 26 
 
 ■ IVater. — — -— 2 7 
 
 — — Clouds. — — — 28 
 
 1 ■ ■ Prcferving an Equality and 7 
 
 Harmony in the TVurk. — — j 9 
 The Art of Engraving with Aqua Fortis, and 1 
 
 to make the hard Varnijh. — — 3 '47 
 
 To make theCompofition of Tallow and Oil, to 1 
 
 cover thofe Places in the Plate, where you r 48 
 would not have the Aqua Fortis eat in. J 
 
 To 
 
x The C O N T E N T S. 
 
 Page 
 71? prepare the Ingredients for making the 7 
 
 Aqua Fortis for the bard Varnijh. — £ 49 
 To make the Aqua Fortis. — — 50 
 
 To know good Copper from bad. — • — 51 
 To planijh and poHJh the Plate. — - — ■ — 52 
 To apply the hard VarniJJ), and make it black. 55 
 To dry and harden the hard Varnijh on the Plate. 5 7 
 To choofe the Needles to make the Tools to etch 7 g 
 with. Plate 3. — — — J 5° 
 To whet the Points of the Needles. — — 59 
 To preferve the Varnijh on the Plate. — "~" 60 
 To Etch. ——— — — — 61 
 
 To guide the Needles on the Plate. — — 62 
 To ufe the Oval-Points, to make large Strokes 1 
 
 in etching or graving with Aqua Fortis. ( 64 
 Plate 5. — — — 3 
 
 To prepare the Plate for receiving the\ ,% 
 Aqua Fortis. — — — — J 
 
 To make a Trough and Frame to hold the Plate 1 
 
 %vhen you would pour the Aqua Fortis J* 69 
 on it. — — — 3 
 
 The Manner of cafling the Aqua Fortis on ~\ 
 the Plate, and to cover the Places that I 
 are faintejl, and mofl remote from the f 7 1 
 Eye , with the fore-mentionedMixture, as \ 
 Occafion requires. — — — — 
 
 To take the Ground or Varnijli from the Plate, 1 
 
 after the Aqua Fortis has done its f 79 
 Operation. — — — — -* 
 
 Of [oft Varnijlo. To make it, and its Ufes. — " 82 
 The Manner of laying the foft Ground, orl o 
 Vat ni/J)- nn the Plate. — - — — * «* 
 
 Vat nifl), on the Plate, 
 border the Pla 
 Aqua Fortis 
 
 To border the Plate that it may contain the 1 ™ 
 
 The 
 
The C O N T E N T S. * xi 
 
 Page 
 
 The Manner to lay a white Ground on the 7 
 
 hard or j oft Varnijh. — — J ^ 
 
 Another Way to lay a White on the Varnijh. 95 
 
 The Manner after the Plates are eat in by 1 
 
 the Aqua Fortis, to touchy or re- grave I , 
 that which had been forgot or Jhould be f ^ 
 mended, — — * — ' 
 
 The fever al Ways of Draiuing the Defign \ 
 
 on ths Plate. — — — ) " 
 
 The Forms of G raving-Tools, and the Manner 1 
 of whetting the Graver. Plate g. 3 
 
 The Manner of holding the Graver, with l 
 
 other Particulars. — — , — j ^ 
 
 The Manner of governing the Hand ', &c. 106 
 
 Of Mezzotinto, called Scraping or Burnijhing \ 
 on Copper. — — — — J 
 
 An Idea of a fine Colled ion of Prints. no 
 
 Repertorium 9 or Marks and Cyphers ofl 
 
 Engravers and Painters, &c. — — 3 ^ ' 
 
 The Initials ufed by Engravers, for their X 
 
 Marks. — — — — —S l 79 
 
 A Chronological and Hijlorical Series of the 1 
 
 moft eminent Painters from the Eleventh r 192 
 Century, &c. — — — — 3 
 
 An Alphabetical Index of the Chrijlian Names 1 
 
 and Surnames of the Painters and En- I , 
 gravers, with their Places of Abode, and f 
 when they jlourified, &c. — ' 
 
 An Alphabetical Lijl of the Surna?nes, before 1 
 
 the Chrijlian Names, of Painters, En- ? 250 
 gravers and Sculptors* — — — 3 
 
 THE 
 
THE 
 
 HISTORY 
 
 OF THE 
 
 Art o/~ Engraving. 
 
 OF all the Arts which are defcended 
 from Defigningi none, except Ar- 
 chitecture, Painting, and Sculp- 
 ture, has given fo much Pleafure, or has 
 been of more Ufe, to all Lovers and Pro- 
 fefifors of the Liberal Sciences, than that 
 of Engraving ; whether on Copper, or 
 Wood : for, by this Means, all the cele- 
 brated Performances and Inventions of the 
 moll eminent Mailers, are exceedingly well 
 imitated, and reduced to fo fmall a Size, 
 as to be communicable to the whole 
 World. *Tis by the A ffi fiance of this 
 Art, thofe who have never crofted the Seas, 
 are acquainted with the magnificent Struc- 
 tures, beautiful Statues, inimitable Paint- 
 ings, &c. with which the Cities, Churches 
 and Palaces of other Countries, and parti- 
 cularly Italy i are adorned: Which is a 
 lingular Pleafure to the Lovers of thofe 
 Arts, and of no lefs Ufe to thofe who 
 B profeis 
 
2 The History of the 
 
 profefs them ; for, as it is an evident 
 Truth, that we have no Ideas but what 
 arife from Senfation, fo confequently the 
 readieft .Way to form them, is by con- 
 templating the noble Works of others. 
 
 This Art, which by the beft Authors is 
 placed among the pwoxwwQgfo was acci- 
 dentally difcovered in the fourteenth Cen- 
 tury, by one Mafo Finigucrra, an inge- 
 nious Goldfmith and Sculptor of Florence ; 
 who was famous not onJy for defigning 
 and embofiing Figures on Gold and other 
 Metals, but alfo for engraving, and after- 
 wards inlaying them with Metals of other 
 Colours ; which he did in the following 
 Manner. Having defigned and engraved 
 his Figures, he ufed, before he inJayed 
 them, to fill the Engraving with Earth, 
 and call melted Sulphur on it, which gave 
 it a Sort of an Olive Colour ; after which, 
 preffing a Piece of damp Paper on it, 
 with a fmooth wooden Roller, the En- 
 graving on the Metal remained imprinted 
 on the Paper, juft as if it had been de- 
 figned with a Pen. B actio Baldini^ ano- 
 ther Gold and Silver-Smith of the fame 
 City, began to do the fame; but as he 
 vmderftood very little of Defigning him- 
 felf, he employed Sandro Botticelli to affift 
 him in moil of his Performances; Some 
 of which being feen by Antonio del Pol- 
 
 laiolo* 
 
Art p/ Engraving, 3 
 iaiokj a celebrated Defigner of the fame 
 City alfo, who had ftudied Anatomy to 
 learn the Situation and Adlion of the Muf- 
 cles of the human Body; he engraved fomc 
 of his own Defigns on Copper, and amongft 
 the reft a fine Keprefentation of a Battle. 
 
 This new Manner of Defigning began 
 now to be the Subje<5t of Converfation, and 
 Andrew Mantegna^ who was then at Rome 9 
 having feen fome of theie Prints, was fo 
 exceedingly pleafed with them, that he ap- 
 plied himfelf with the greateft Diligence to 
 engraving his Triumphs; which being pro- 
 bably the firft Prints that appeared in Pub- 
 lick, met with univerfal Applaufe, and ob- 
 tained him great Part of that Glory, which 
 was due to the firft Inventors of this Art, 
 becaufe he, by great Study and Applica- 
 tion, brought it to a tolerable Degree of 
 Perfection. But if Mantegna^ after what 
 he did, had boafted that he had perfected 
 this Art; his Vanity would have deferved 
 as juftly to be laughed at, as old Palamotfs 
 Tears, who lamented bitterly, believing 
 the World by his Death would lofe the 
 Ufe of Letters : For whoever rightly con- 
 fiders, will fee very clearly, that this fine 
 Art of Engraving, firft with the Gravtr, 
 and afterwards with Aqua Fortis, in the 
 Courfe of about 280 Years, fince Man- 
 (egna's Death, has made fuch Progrefs, 
 B 2 and 
 
4 The Histor y of the 
 
 and is arrived at iiich Perfection, that it is 
 not only, as I have faid, of great Ufe to 
 ■the ProfeflTors of Architecture, Painting, 
 Sculpture, &c. by communicating- to them 
 the noble Inventions of others x but to all 
 Mankind in general, By acquainting them 
 with whatever is worthy of Obfervation, 
 even in the mod diftant Parts of the Globe. 
 However, we mull; 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 1 490, Germany produced // 5fi?- 
 Jefco, and If rati Martin, who firft fhewed 
 an uncommon Diligence in their Works, 
 and gave this Art to the renowned Albert 
 Dur£t\ their Difciple, Lucas of Leyden^ 
 Aldegrave^ and others, who afterwards be- 
 came much abler Artiits 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.Dryxefs of the Paintings of thofe 
 Countries, which want much of the Mel- 
 loivnefs and Delicacy of the Italian, been 
 leis beautiful than they would otherwife 
 have been - 9 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 ioto. the Art of Painting by the emi- 
 nent 
 
Art <?/ Engraving. 5 
 
 nent Italian Mafters y , among which are 
 reckoned Bacchiacca, James of Pantormo, 
 and laftly, Andrew del oarto, 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 Ravmondi, to whom' this Art 
 is very much indebted, as he was the ii r ft 
 who began to reduce it to fo fine a Man- 
 ner,, that even Raphael himielf was lb much 
 pleafed with it, as to defire him not only to 
 engrave many of his beft Paintings, but 
 alfo a great Number of his Defigns and 
 fine Inventions, which 'till then had never 
 been feen in Rome, or eifewhere. His 
 Difciples and Imitators were Auguftin of 
 Venice, Sylvejler and Mark of Ra-venna> 
 who, between the Years 1535 and 1560, 
 engraved almoft all Raphael's Paintings, 
 Defigns, and Inventions ; as alio thofe 
 of Julio Romano, his favourite Difciple, 
 from his and Raphaels own Defigns. We 
 have of Auguflm's Engraving, the fine Print 
 of Anatomy, the Slaughter of the Inno- 
 cents, and naked Men, who are torment- 
 ing the Martyr Saint Laurence with Fire; 
 all done from the beautiful Defigns of 
 Baccio Bandinelli, a famous Sculptor of 
 Florence : The laft Piece. of which had the 
 Reputation of exceeding the original De- 
 B 3 fign, 
 
6 The Histoky of the 
 
 fign. John James Coraglio, of Verona, alio 
 imitated Raimondi, and engraved mod of 
 Rojfo's Works, with many Defigns of Pe- 
 rin del Vaga, Parmigianino, and Titian. 
 After thefe, Lamberto Suave applied him* 
 felf diligently to engraving, as may be feen 
 by his thirteen Prints of our bleffed Saviour, 
 and his twelve Apoftks ; the fine Piece of 
 Saint Paul fitting and writing, and the 
 StQry of the Refurrection of Lazarus, 
 John Baptifia, of Mantua, a Difciple of 
 Julio Rotmno, befides many Prints of Por- 
 traits, with a Sort of antique Crefts, pub* 
 lifhed two fine Pieces of the Burning of 
 Troy. There was alio Mneas Vico, ot 
 Parma, who engraved the Works and De- 
 figns of RgJ[o> Bandinelli, and Sahiati> 
 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 Efie. Julio Bonafone 
 engraved the Inventions of Raphael, Julia 
 Romano, Parmigianino, and others *, and 
 Baptifia Franco publifhed many Prints of 
 other M afters \ and Girolamo Cock, a Fle- 
 ming, engraved the fine Works of Martin 
 Hemskirk, his own Inventions, and thofe 
 of many other Matters, which it would be 
 tedious to mention. 
 
 And 
 
the 
 
 Art ^/Engraving. 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 Hugar of Carpi, a Painter 
 of no great Renown in other Refpedts, be- 
 gan to pubhfh wooden Plates of two diffe- 
 rent ImprefTions ; the firft of which (hew- 
 ed the Shade, juft as Copper Plates do -, 
 and the fecond, the Light ; for t"e 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 Spanijb 
 White. He afterwards invented another 
 Manner of Engraving, by which he made 
 his Prints of three Impreffions; that is to 
 fay, of the deepefi Shade, the light eft y and 
 of a middling one, making the Lights ap- 
 pear in the White of the Leaf. He en- 
 graved many of Raphael^ Works after this 
 Manner, and was the Occafion, that baU 
 thazar Peruzzi, Francis Parmigiano, An* 
 thony of Trent, John Nicholas of Vicenza^ 
 and Dominico Beccafumi, afterwards engra-, 
 ved many more of them in the fame Man- 
 ner, which fucceeded fo well, as to pleafe 
 the Lovers of this fine Art very much, and 
 alfo be of great Ufe to them 5 but thofe 
 B 4 raoft 
 
8 The History of the 
 
 rnoft of all, that came from the Hand of 
 
 Beccafumi. 
 
 Cornelius Cort, a Fleming, fucceeded 
 theft*, and engraved the Landfkips, and 
 other fine Works of Girolamo Mutiano, 
 Frederick and Taddeo Zucchero, Frederick 
 Barrocio, Marcellus Vemtfio of Mantua, Ca- 
 ravaggio, and the inimitable Picture of the 
 Transfiguration, by Raphael. There was 
 alio Anthony Tempefta, who etched many 
 Pieces of Batt?l|s, Huntings, and all Sorts 
 of Animals, as I fhall obferve in his 
 Life ?, Martin Rota, who engraved the ce- 
 lebrated iaft Judgment of Michael Angela, 
 in two Plates, one of a greater, and the 
 other of a leffer Size, and feveral others 
 from the Works of Raphael and Frederico >> 
 Ckemhino Alberti, who did many of Poli- 
 doro's Inventions ; and the never enough 
 to be commended Angujtin Caracci, whofe 
 moil beautiful Prints are fo well known to 
 the Lovers of this Art, who were all eminent 
 Matters. Villamena of Affifi, alfo a free, 
 eafy Engraver, and good Defigner, pub- 
 lished his Labours, amongft which, the 
 fine Print, of the Prefentation of our Sa- 
 viour in the Temple, from the famous Pic- 
 ture of PaitlVeronefe, is very much efteem- 
 ed. In the Time of the Emperor Rodolpb y 
 John and Raphael Sadalaer, flourifiied in 
 
 Germany, 
 
Art of Engraving. 9 
 
 Germany^ and gave great Proofs of their 
 Abilities by the many fine Plates which 
 they publifhed of the Works and Inven- 
 tions of Martin de Vqs, Bajjan^ Titian^ Jo- 
 feph of Arpino^ and other Mailers. Their 
 School produced Egidius Sadalaer, their 
 Nephew, who was univerfally allowed to 
 be the bed Engraver of his Age, and led 
 the Way to that fine Manner, which was 
 copied by the beft Mafters of the fucceed- 
 ing one. There was alfo Raphael Guidi, a 
 Tu/can^ who engraved many fine Plates 
 from the Works of Jofeph of Arpino •, Har- 
 man Muler, a very bold and free Engraver % 
 and the ingenious Henry Goltius, a Hollan- 
 der •, who had the Talent of imitating the 
 Stile of many preceding Mailers -, Philip 
 ( Tomafini^ who engraved at Rome the Fall of 
 Lucifer^ the laft Judgment, the Difpute of 
 our Saviour with the Do&ors in the Tem- 
 ple, and the School of Athens^ by Raphael^ 
 with many Inventions of other Mafters * , 
 Matthew Greater \ a Native of Strajhurg^ 
 who, befides engraving many Plates of his 
 own Invention, retouched fome of Fem- 
 pejla's Plates of Hunting Pieces, and fome 
 of other Engravers •, and Theodore Crager^ 
 whofe fine Plate of the laft Supper, from a 
 famous Painting in Frefco y by Andrew del 
 Sarto, is preferyed in the Grand Duke of 
 B 5 Fnfcanfs 
 
io The History of the 
 
 Tufcany's Wardrobe. We cannot behold 
 without Aftonifhment, the beautiful Prints 
 of Saenredam^ and of the celebrated Swan- 
 burg) who engraved the Defigns of Rubens 
 and Bhemaert) v/ith extraordinary Delicacy. 
 The next, who became eminent, were 
 James Callot, who, for fmall Figures, ex- 
 celled all his PredecefTors in this Art ; and 
 the renowned Stephen del/a Bella, a Floren- 
 tine. Peter Tempefta, & good Painter, etch- 
 ed about the fame Time his fine Inven- 
 tions ; and Salvator Rofa, a Neapolitan, and 
 celebrated Landfkip Painter, publifhed 
 many of his comical Conceits ; in which 
 the Trees and Herbage are touched with 
 Hirprizing Freedom; and after him, that 
 excellent Painter, and worthy Prieft, Peter 
 Aquila, who etched the admirable antique 
 Statues, and beautiful Paintings of Hanni- 
 bal Caracci, in the Gallery of the Farnefe 
 Palace ; and alfo the fine Works of Lan- 
 franco in the Villa Borghefe ; thofe of Peter 
 of Cortona, in the Sachetti Palace ; and 
 ibme of Ciro Ferri's ; with the noble In- 
 ventions of Carlo Marattij and fome of his 
 own. 
 
 Some time after this, France boafled of 
 her Melan, who invented a Sort of Engra- 
 ving, by which he gave his Figures both 
 Light and Shade, with fingle Strokes only, 
 
 without 
 

 Art of Engraving. ir 
 
 without ever crofiing them : He was alfo a 
 Painter, and engraved chiefly his own 
 Works. There was alfo Mr. Lane, who 
 engraved Hiftory and Portraits almoft after 
 Villamena's Manner ; and M.. RouJfellet y 
 who engraved the Labours of Hercules from 
 Guido Reni for the French King's Cabinet,, 
 in a very beautiful and expreffive Stile, pe- 
 culiar to himfelf; M. Anthony Bos, who 
 both etched and engraved in a Stile of his 
 own, did not fucceed fo well ; we have of 
 his Engraving the Figures in all the Books 
 of M . Defargue's Works, who was a Ma- 
 thematician, Geometrician, and ProfefTor 
 of Perfpe&ive in the Academy at Paris, 
 and in a printed Volume of his Leftures. 
 In the Time of Bos, the famous Nanteuil 
 began to engrave Portraits in a moft beau- 
 tiful Manner of his own Invention ; and 
 Francis Poilly made himfelf eminent by en- 
 graving, with great Sweetnefs an infinite 
 Number of Pieces of Devotion, from the 
 Works of Raphael, Caracci, Guido Reni, 
 and others-, whilfl Cornelius Bloemaert gain- 
 ed great Reputation at Rome, by engraving 
 many of the Works of Peter of Cortona, 
 and other Matters, in the moft foft and de- 
 licate Stile, that was, perhaps, ever ktn 
 'till his Time ^ and excited that celebrated' 
 Engraver, Francis Spierre, to apply himfelf 
 B 6 to- 
 
1 2 The History of the 
 to imitate his fine Manner in the beautiful 
 Prints which he publiftied ; the Out-lines 
 of which are exceedingly fine, but the En- 
 graving is not fo foft and delicate as Bloe- 
 maert's. M. Rulet afterwards engraved at 
 Rome many beautiful Prints, with the Affif- 
 tance of Ciro Ferri, from his Defigns, and 
 was followed by M. Bodet, who engraved 
 in the fame Stile, at Paris, for the King's 
 Cabinet, the four Pi&ures of Albano, 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. Maffon, who, with Mignard's 
 Affiftance, engraved the Portrait of the 
 Count of Harccrurt 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 almofl put the Male Sex to Shame * 
 and, among others, this ingenious Lady 
 did a beautiful one of Mount Calvary, from 
 a celebrated Painting of the famous Pouffin, 
 which fhe preferved with more Care than 
 her choiceft Jewels. Laftly, M. Edelink, 
 a Fleming, with the Affiftance of M. Charles 
 k Brun, firft Painter of Louis the XIV. en- 
 graved his Works in a Stile fomething dif- 
 ferent from that which M. Roujfelkt prac- 
 tifed at Rome, but more bold, expreffive, 
 
 and 
 
Art ^Engraving, 13 
 
 and harmonious : We have alfo of his En- 
 graving, the Family of Darius, a Print very 
 much elteemed in the World, and a Ma- 
 donna, from a Painting of Raphael, which 
 is preferved in the French King's Cabinet 
 of Pi&ures. 
 
 I have here given you an Epitome of the 
 ufeful Art of Engraving, from its firft Dif- 
 covery at Florence, 'till through a Series of 
 many Years, it was gradually brought to a 
 State of Perfection by the fucceffive united 
 Labours of the great Mailers I have enu- 
 merated; as any ingenious Lover of this 
 Art may eafily perceive, by examining and 
 comparing their Works : And therefore, 
 though mod Countries in Europe have pro- 
 duced many eminent Men of this Profeffion, 
 fince the Time of Edelink, Avail, 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 
 Paffions, Multiplicity of the Objefts, near 
 and diftant Profpe&s of the Country and 
 Buildings, Delicacy of the Out-lines, and, 
 I might almoft fay, Colouring itfelf. This, 
 
 I believe, 
 
14 ^The History cf, &c. 
 
 I believe, will evidently appear to all, who 
 attentivelyexarnineandreflefton the Works, 
 which thefe Matters have publifhed, hav- 
 ing a due Regard to the Time and Place 
 they lived in, from the Beginning of this 
 Art, to its Perfection, by their united En- 
 deavours, to the common Advantage of 
 all Mankind. 
 
 Of 
 
in General 15 
 
 Of Engraving in General. 
 
 MY Intention, in treating of this no- 
 ble and uieful Art, is not fo mucl> 
 to inftru£t the Matters of this Profeffion, as 
 to inform the Lovers of it, what are the 
 Sentiments of the moft eminent Engravers 
 of the Academy at Paris^ with regard ta 
 it, and endeavour to infpire the Publick 
 with a Love for it, by giving them fome 
 fhert, 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 thole of Painting, 
 viz. Defign^ which an Engraver ought to 
 be a perfeft Matter of, becaufe, without 
 it, he will never be able to imitate a Pic- 
 ture, or Defign, with any tolerable Degree 
 of Perfeftion ; they may indeed be finely 
 engraved, but will want both the Juftnefs 
 of the Out-lines, and beautiful Expreffion 
 of the Originals. 
 
 1 fhall pais over in Silence the Manner 
 in which an Engraver ought to defign, be- 
 caufe it fhould be the fame in which a 
 Painter does, and only obferve, that he 
 fhould diligently apply himfelf to defign 
 Hands and Feet from the antique Statues, 
 
 Nature., 
 
16 O/Engraving 
 
 Nature, and the Paintings of the beft Maf- 
 ters, and that he ought particularly to ftudy 
 the Prints of Augufiin Caracti and Villa- 
 mena^ who have defigned thofe Extremi- 
 ties with great Eafe and Perfection : This 
 I fay, that the Engraver may acquire a Fa- 
 cility of doing them with a good Gout, and 
 be able to correal Errors, when he engraves 
 from the Works of Painters or Defigners, 
 who were not perfect in this Branch of 
 their Profeflion. 
 
 But when he is to copy the Paintings of 
 eminent Matters, then he ought entirely to 
 lay afide any particular Manner of Defign- 
 ing he has acquired, and conform himfelf 
 to that of the Works he would imitate, in 
 order to preferve that Character, which dif- 
 tinguifhes the Stile of one Matter from ano- 
 ther \ and to this End, he fhould defign 
 from the Paintings of Raphael ^ Caracti^ 
 Dominicbino^ Pouffin, and others; and if 
 he has only an Opportunity of feeing them, 
 and not lime 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 En- 
 graver fhould underftand Perfpeflive and 
 Architecture. 
 
 Perjptftnje^ by the Degradations of firong 
 and faint i enables him with Eafe to throw 
 
 backwards 
 
in General. 17 
 
 backwards the Figures and other Obje&s of 
 the Pi&ure, or Defign, he would imitate j 
 and Architecture, to prefesve the due Pro- 
 portion of its feveral Orders, 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 Engraver. 
 
 Of the Quality of Copper requiftle for 
 Plates. 
 
 THE Red is the beft, and mod fre- 
 quently made Ufe of, becaufe it is 
 the toughefl, and adheres moft to the Gra- 
 ver ; many deceive themfelves, when they 
 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 Direftions to thofe, who 
 prepare the Plates, to hammer them a little 
 cold, and take Care, that they are made 
 perfectly fmooth, without Cavities or Flaws, 
 and of equal Strength throughout. 
 
 Before the Engraver begins to trace any 
 Thing on them, although they appear very 
 well poliihed, 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 
 
1 8 Of Engraving 
 
 renders the Bottom of the Engraving foul 
 and tarnifhed. As to the Gravers, all Ar- 
 tifts know, that they ought, to be made of 
 the beft and pureft Steel, without any 
 Mixture of Iron, and well tempered ; 
 their Form 'tis needlefs to fpeak of, be- 
 caufe moft Engravers chufe them according 
 to their Fancy, however, thofe are bed, 
 that are of a moderate Length, almoftf 
 fquare, and fmalier at the Point, but Care 
 rouft be taken that they be not too thia, 
 that they may be able ta refill the Work, 
 without bending or breaking : and the En- 
 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 5 
 and never engrave any Thing with a blunt 
 Inftrument, if he defires his Work fhould 
 be neat and fine, for if he does, it will ap- 
 pear as if it was only fcratched. 
 
 There are fome who fihew great Facility 
 in their Engraving, others great Labour % 
 and fome who afteft, in eroding theis 
 Strokes, to form acute Angles, others, 
 perfect Squares. 
 
 Thofe, who have the Facility I fpeak of, 
 are Goltzius^ Muler, Lucas r Kilian^ and 
 fome others-, whole principal View in many 
 of their Performances feems to have been 
 to (hew the World, by the winding Cuts 
 
 of 
 
in General. j$ 
 
 of their Gravers, that they were Mailers of 
 them ; without giving themfelves any Con- 
 cern about the Juitnefs of the Out-lines, 
 the Exprefiion, or the Effefts of the Light 
 and Shade, that were in the Pi&ure or De- 
 lign they would reprefent. 
 
 The Manner of Engraving, which ap- 
 pears to me to be done with great Labour, 
 is that which has an infinite Number of 
 Strokes and Points, confounded together 
 without any Order, which make it look 
 more like a Defign than Engraving. 
 
 An Engraver fhould never, in crofling 
 the firft Strokes with the fecond, make 
 very acute Angles, particularly in repre- 
 ienting Flefh ; becaufe it forms a very dis- 
 agreeable Piece of Taiy-like Lattice-Work^ 
 which deprives the Eye of that agreeable 
 Repofe, with which it defires to view all 
 Sorts of Objefts. 
 
 The Squares made by croiling the 
 Strokes fhould 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- 
 cute, feems to me the beft and molt agree- 
 able to the Eye; as 'tis alfo the moil diffi- 
 cult to do, becaufe the Irregularity of the 
 Strokes is molt perceptible : However, 
 
 they 
 
2o Of Engraving 
 
 they muffc not be quite Square, becaufe that 
 refembles Stone too much. 
 
 Directions for conducing the Strokes 
 or Cuts of the Graver. 
 
 FIRST, the Engraver fhould obferve 
 the A&ion of the Figures, and of all 
 their Parts, with their Out-lines •, remark 
 how they advance towards, or recede from 
 his Sight, and condu£t his Graver accord- 
 ing to the Rifings or Cavities of the Muf- 
 cles, or Folds, widening the Strokes in the 
 Lights, and contra&ing them in the Shades,. 
 as alfo at the Extremity of the Out-lines, 
 to which he ought to condudt the Cuts of 
 his Graver, that the Figures or Qbje&s 
 feprefented may not appear as if they were 
 gnawn; and lightning his Hand, that the 
 Out-lines may be perfectly formed without 
 feeming ftiff or cut*. And although he 
 break off his Strokes at the Place where 
 a Mufcle begins, either out of Neceffity to 
 form it, or to give it greater Expreffion ; 
 yet they ought always to have a certain 
 Connexion with each other, fo that the 
 firft Stroke fhould often ferve to make the 
 fecond ; becaufe this fhews a Freedom of 
 the Graver, and all Engraving is more or 
 lefs beautiful, in Proportion as it feems 
 * The ingenious Rouffellet excelled in this Refpeft. 
 
 free 
 
/« General, 21 
 
 free and eafy. He ought, however, to take 
 Care, that they always flow freely and na- 
 turally, and avoid all odd fantaftical Wind- 
 ings, which proceed rather from Caprice 
 than Neceffity ; and yet not run into the 
 contrary Extreme, and like many young 
 Artifts, who, when they have a Mind to 
 engrave finely <> make none but ftrait Strokes, 
 becaufe 'tis eafier to do fo, than conduft 
 the Graver with Judgment, according to 
 the various Rifings and Cavities of the 
 Mufcles, which they do not well under- 
 (land, becaufe they are ignorant of Ana- 
 tomy and Defign. 
 
 Directions for engraving the Hair of 
 Men and Beasts, and the Beard. 
 
 TH E Engraver fliould begin thefe by 
 making the Out-lines of the princi- 
 pal Locks, and afterwards fketch out the 
 principal Shades, omitting the great Lights, 
 becaufe they may be covered at Pleafure, 
 as he finidies them, to the very Extremi- 
 ties. They fhould be fketched 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. 
 
 When 
 
12 Of Engraving 
 
 When Hair is engraved in this Manner, it 
 appears much more free and natural, than 
 when done otherwife ; and indeed, it 
 fhould beexprefled, as far as podible, par- 
 ticularly when the Figures are not very 
 Jarge, by fmgle Strokes only, for which 
 Reafon the Kngraver fliould not attempt 
 to throw in any Strokes, when 'tis well ex- 
 preffed without them -, and if he does flip 
 in any on the fhady Side, to mix and 
 unite it the better with the Flefh, they 
 rauft be exceedingly fmall and fine. 
 
 For Sculpture. 
 
 IF he has a Mind tc reprefent Sculpture, 
 he fliould never make his Work very 
 dark, becaufe, as Statues, &c. are com- 
 monly made of white Marble, or Stone •, 
 the Colour reflecting on ail Sides does not 
 produce fuch dark Shades as other Mat- 
 ters do. Neither fliould he make Balls in 
 the Eyes of his Figures, as if he had copied 
 a Painting; or the Hair of the Head and 
 Beard, as it is naturally, which (hews us 
 fome Hairs detached from the reft, and 
 flying in the Air; for it would be repre- 
 lenting Things contrary to Truth, becaufe 
 Sculpture cannot do tkis. 
 
 For 
 
in General. 23 
 
 For Stuffs. 
 
 LInnen fhould be engraved finer 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 other wife 
 have, when oppofed to, or layed on Dra- 
 pery and other darker Bodies, which are 
 crofled with many Strokes. If it is white 
 Cloth, it fhould be engraved with Strokes, 
 large or fmall, proportionable to the Fine- 
 nefs or Coarfenefs of the Stuff reprefented, 
 i>ut with two Strokes only. It may be ob- 
 jected, there are Inftances where 'tis en- 
 graved with three •, to which I anfwtr, 
 thofe who have done fo, fought to be ex- 
 peditious., and that if the Diverfity of Stuffs 
 can be reprefented by Engraving, it makes 
 the Piece more agreable, but then the La- 
 bour is much greater, and more fatiguing. 
 It ought to be obfervcd, that on all Occa- 
 fions, when there is a Neceffity of croffing 
 the Strokes, the fecond fhould be finer 
 than the firft, and the third than the fecond ; 
 becaufe it makes the Work more ibft aud 
 mellow. 
 
 Stuffs 
 
24 Of E N G R AVING 
 
 Stuffs that have a Luftre ought to be 
 engraved with ftronger and ftraiter Strokes 
 than others ; becaufe, as they are com- 
 monly of Silk, they produce flat and broken 
 Folds, particularly if it is Sattin, which is 
 ftiffon Account of its Gum: Thefe being 
 expreffed by one or two Sttokes, according 
 to the Lightnefs or Darknefs of their Co- 
 lours, ihould have finer ones between 
 them. 
 
 Velvet and Fluflo are expreffed in the fame 
 ■Manner* by fine Strokes between others^ 
 only with this Difference; the firft Strokes 
 ought to be much ftronger than for Stuffs, 
 and the finer ones between them, Ihould 
 hold the fame Proportion to them, as thofe 
 in Stuffs have. 
 
 Metals, as Veffels of Gold and Copper, 
 or Armour of polifti'd Steel; are to be en- 
 graved in the fame Manner, with fine 
 Strokes between ftrongones; it is the Op- 
 pofition of Light to Shade, that caufes the 
 Luftre, 
 
 For Architecture. 
 
 PErfpective fhews us, that the Strokes 
 which form receding Objects, tend 
 to the Point of View ; if a Piece to be en- 
 graved contain any entire Columns, it will 
 be proper to reprefent them, as far as can 
 
 poffibly 
 
in General. 25 
 
 poffibly be done, by perpendicular Lines ; 
 becaufe in crofiing them according to their 
 Roundnefs, thofe Strokes which are near 
 their Capitals, being oppofed to thofe which 
 arc near their Bafis, produce an Effeft very 
 difagreeable to the Sight, unlefs they are 
 fuppofed to be at a very great Diftance, 
 which renders the Obje<tl;s almoflt parallel. 
 
 For Landskips. 
 
 THOSE, who pra&ife Etching, may 
 form the Out-lines by it, particular- 
 ly of the Leaves of Trees; this is fome- 
 thing more expeditious than Engraving, 
 and does as well, provided it be done with 
 Difcretion, and not too ftrong, and that 
 Care be taken in finifhing it with the Gra- 
 ver, that the Etching be not perceptible, 
 becagfe it has not the Softnefs of Engraving. 
 I think an Engraver cannot do better than 
 conform himfelf to Augttftin Caracc?% Man- 
 ner, Who etched exceedingly well, but may 
 tinifh higher, as Occafion requires ; Villa- 
 mena alfo, and John Sadalaer, etched very 
 well, as likewife Cornelius Cort, who did 
 bme Pieces from Mutian, wjaich are very 
 fine, and may ferve as Guides "to him. 
 
 C For 
 
 \ 
 
2# Of En graving 
 
 ■For the Strokes or Cuts of the 
 Graver. 
 
 IN the Reprefentation of Objefts that 
 are Jleep^ the firft Strokes ihould be 
 frequently interrupted and broken off; the 
 fecond ftrait, cutting the others with acute 
 Angles, and accompanied with fome long 
 Points. If Rocks are repreiented, the fe- 
 cond Strokes Ihould not form the Angles 
 ;fo acute, as for other Things ; becaufe 
 Flints and Pebbles commonly fhine more 
 than other Matters. 
 
 The Objedts receding towards the Ho- 
 rizon ought to be touched very lightly, 
 and charged with very little Shade, though 
 the Mafs Ihould appear dark, as it may 
 happen from fome Shades, iuppofed 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 thole 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. 
 
 &br 
 
in General. 27 
 
 For Water. 
 
 AL L Waters are either calm, or agi- 
 tated with Waves like the Sea •, or 
 by Caf cades and rapid Currents, like Rivers, 
 
 As for the calm, they are reprefented by 
 itrait Strokes, running parallel with the 
 Horizon, with finer ones between them, 
 which are to be omitted in fome Places, to 
 make that fhining Refle&ion which pro- 
 ceeds from the Water. By the fame fecond 
 Strokes alfo, made more or lefs ftrong, ac- 
 cording as the Nature of Things requires ; 
 and fometimes by perpendicular ones, the 
 Forms of Objects, either reflected on the 
 Surface of the Water, or advanced at a 
 Diftance on its Banks, are reprefented : ob- 
 ferving that they are to be reprefented 
 Jtrongly or faintly, in Proportion as they 
 approach to, or recede from the Fore-part 
 of the Piece ; and if Trees are to be repre- 
 fented, it fhould be with Out-lines, parti- 
 larly if they are in the Fore-part of the 
 iece, and the Water clear, becaufe they 
 are naturally fo reprefented by the Reflec- 
 tion of the Water. 
 
 Thofe which are agitated, as are the 
 
 'Waves of the Sea, are reprefented by 
 
 Strokes, bending according to the Agita- 
 
 C 2 don 
 
 'i 
 
s8 Of Engraving 
 
 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- 
 prefled by firft Strokes, according to the 
 Nature of the Fall, with finer ones be- 
 tween them, leaving the Lights formed by 
 the Light or Beams of the Sun, falling di- 
 re<5tly 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 
 egitatedj 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 
 iecond fhotfld 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 Clouds, lofing themfelves infenfi- 
 bly with the Sky, muft be formed by 
 ■Sorokes parallel with the Horizon, waved 
 a little, according as they appear more or 
 kis thick ^ and it it be neceflary to ufe fe- 
 cond 
 
in General. 29 
 
 cond Strokes,, they fhould cut the firft 
 with rather acuter Angles than in the for- 
 mer, and the Extremities of them fhould 
 be done with fo light a Hand, as not to 
 form any Out- line. 
 
 The calm, ferene Sky fhould be exprefled 
 by parallel Strokes, very ftrait, without 
 any Winding. 
 
 For preferring an Equality and 
 Harmony in the Work. 
 
 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 hiftorical Piece, con- 
 taining Groupes of Figures, two or three 
 of the principal ones fhould be fo perfectly 
 ctefrgned, that their Expreffion fhould be 
 as vifible as if they were only intended for 
 Sketches : For if the Engraver waits to per- 
 feft the Defigning as he finifhes them, he 
 will frequently miftake; and fometimes nqt 
 be able to recover himfelf, without defa- 
 cing, the whole* and beginning again, which 
 many will not do, for Fear of fpoiling the 
 Neatnefs of their Engraving, in which they 
 have exerted their utmoft Abilities, think- 
 ing the whole Merit of an Engraver confifts 
 in that; which is the Reafon one fees Abun- 
 dance of Plates finely engraved, but with* 
 C3 out 
 
30 Of Engraving 
 
 out Exprcffion. If any one objects to this, 
 that it is then ufelefs to engrave neatly \ I 
 anfwer, an Engraver ought, as far as he 
 can, to join Corre&nefs and Juftnefs of 
 Defign, with Neatntfs of Engraving ; but 
 not negleft the former, and place his whole 
 Merit in the enticing Allurements of the 
 latter, which frequently render his Works 
 infipid and lifelefs. On the contrary, I 
 would not have him run into the other 
 Extreme, and make his Works faint, but. 
 would have them ftrong apd bold; for the 
 Force of a Print does not confift in its 
 Darknefs, but in the juft Degradations of 
 Eight and Shade, which ought to be more 
 or leis ftrong, according as they approach 
 to, or recede from the Sight. 
 
 If_ we examine the Works of eminent 
 Mailers, we ftiall find they are not dark* 
 uniefs they are become fo through Length 
 of Time j 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 Works require finer Engraving 
 than large ones, and in eroding, the 
 Strokes fhould form more acute Angles, 
 that the Engraving may not appear ftiff and 
 dry, notwithftanding. the Figures arefmall. 
 If the Work requires to be highly finifhed, 
 
 it 
 
in General. si> 
 
 it ought not for that Reafon to be over la- )J 
 bourcd, but engraved fo artfully, as to ap- 
 pear done with Eafe and Expedition, al- 
 though it. has coft great Labour and Pains. 
 
 Large Works, I mean when the Figures 
 and # Qbje'£ts are large and bold, require 
 flrong, firm, and bold Strokes y - and con- 
 tinued as much as can be; that is to fay, 
 never broken off,, but when the Mufcles or 
 Folds abfolutely demand it: and the En- 
 graver,, as I have faid before, in thefe, as 
 well as fmall Works, ought to endeavour 
 to perfuade the- Spectator, that they were 
 done with Facility and little. Labour. 
 
 If it is necefiary to crofe the Strokes (as 
 it often i^, 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 (ketched, and 
 the Angles formed by the fecond Strokes 
 fhould be more acute; this contributes 
 much to the Neatnefs and Life of a Print. 
 
 There fhould never be too much En- 
 graving on the Lights, but they fhould be 
 lightly paffed over, and with few Strokes ;> 
 I mean they fhould be unconfined, and 
 that the half Shadings, if the Engraver de- 
 fires to finifh to Perfection, fhould be very- 
 bright ; becaufe, if they are very dark, 
 they deftroy and hinder the Effe£t intended 
 by them, as it will be difficult to find a 
 C 4 Dark^ 
 
$2 Of ENGRAVING 
 
 Darknefs in the Shades fufficient to give 
 them Life and Roundnefs : and if the En- 
 graving is from a Defign taken from a 
 Painting, the Lights and Shades ought to 
 be rather larger than in the Original ; be- 
 caufe, though it be finifhed ever lb highly, 
 it is never lb 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 impoffible to 
 imitate Colours by Engraving, becaufe we 
 nave only White and Black ; when I fpeak 
 of imitating them, I do not pretend to 
 make a Difdnftion between Blue and Green, 
 Red and Yellow, and the fame of other 
 Colours ; but only to imitate their Majfes y 
 as Vqftermansy Bolfwert> and fome others 
 have done in their Engravings from Ru~ 
 bens : and it is certain, that thofe Works, 
 in which this is done by an ingenious En- 
 graver, will be much more agreeable, and 
 produce a much better Effeft. A good 
 Engraver muft therefore, as I have faid, be 
 a very ingenious Man, becaufe he will 
 icmetimes meet with bright Colours, one 
 upon another, which produce no Effeft, 
 but by their Difference, and caufe what is 
 called a pierced Body ; an Accident, which 
 ought to be carefully avoided, becaufe it 
 deftroys the Intelligence of Light and 
 
 Shade* 
 
in General. 33 
 
 Shade. Care muft alfo be taken not to 
 fpoil the principal Lights, by affedting to 
 imitate Colours too much, and particularly 
 of the Figures in the Fore-part of the 
 Piece, becaule this would prevent their ad- 
 vancing, and entirely thwart the Painter's 
 Intention. 
 
 But as Etchings or Engraving with Aqua 
 Fortis, is at prefent fo much in Vogue, I 
 find myfdf obliged to tell you, it was never 
 carried to fuch Perfection, as at this Time. 
 In this, a ftrong Exprefiion of the Pafiions, 
 a fine Underftanding of Light and Shade, 
 and beautiful Manner of Engraving, are 
 equally conjoyned, when it conies from the 
 Hand of an ingenious Artift, who is able 
 to exprefs himfelf with equal Force and 
 Judgment in all the different Parts of his 
 Profeffion. I mean that Etching which 
 cannot be fine without the Aid of the 
 Graver, which gives it all the Perfection 
 that can be defired j and which the An- 
 cients have not fhewn in their Performances 
 of this Kind, becaufe they did not fo well 
 underftand the various Graces proper for 
 Painting and Engraving, as the Moderns. 
 However, it will be neceffary to fpecify the 
 Properties peculiar to this Art, to enable 
 the Reader to judge of its Merit. By the 
 Means of Aqua Fortis^ all Subjects are 
 carried even beyond Nature, it aftswith 
 C 5 fuch 
 
34 O/'Engraving 
 
 fuch Quicknefs, that it equals the Expedi- 
 tion of the Pencil, and enables an Artift, 
 almoft inftantly, to exprefs the Productions 
 of his Genius with all its Vivacity and 
 Force -, for which Reafon, as 'tis much 
 more expeditious than the Graver, and its 
 Manner eafily known, we fee many apply 
 themfelves to Engraving with it, becaufe 
 they can exprefs the Sprightiinefs of their 
 Fancy, with more Freedom and Expe- 
 dition than with the Graver. 
 t Havipg treated of the Art of Engraving 
 in general, I think it will not be improper 
 in this Place to endeavour to obviate fome 
 Prejudices, which certain Criticks entertain 
 with regard to it. 
 
 The Firji is, That 'tis eafy to diftinguiflv 
 thofe Prints that have been engraved by 
 the Painters themfelves, or by other Pain- 
 ters from their Works. 
 
 The Second, That an Engraver by Pro- 
 feflion can never acquire a Painter's Stile of 
 Engraving; fo that they pretend to be able 
 to know by a Print, whether it was engra- 
 ved by a Painter, or an Engraver by Pro- 
 feflion. 
 
 The Third and Laft^ That the modern 
 Engravers cannot poflibly exprefs the Works 
 of the ancient Painters, fo well as thofe 
 have done* who were their Contempora- 
 ries -, becaufe, fay they, every Engraver 
 
 •engraves 
 
in General. %c 
 
 engraves according to the Gujlo of the^ 
 Time he lives in, and therefore 'tis impof- 
 fible for a modern Engraver to exprefs the 
 Works of Raphael, in the fame Manner as 
 Mark Antonio, Auguftin of Venice, , Sylvejter- 
 of Ravenna, &c. 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 them. 
 
 For Example, with regard to the firji: 
 Opinion, I'have found there are fome Prints 
 engraved by Simon Cantarini from Guido and. 
 Louis Caracci, that are preferable to many 
 that were inconteftably engraved by Guido 
 himfelf. And as thefe Gentlemen are at 
 Variance amongft themfelves, concerning 
 many of Guido'i Prints, which * fome of 
 them affirm were engraved by Guido him- 
 felf, and others, by other Hands ; I think 
 this Diverfity of Sentiments fufficiently 
 )roves, that their Opinion deferves to be 
 very little relied on. 
 
 In Oppofition to xhe fecond Opinion, viz.. 
 That an Engraver by Profejfwn can never ac- 
 quire a Painter's Stile of Engraving : There are 
 many Pieces engraved by Gerard Audran\> , 
 
 * Amongft others, a Print from Louis Caracci^ 
 engraved by Simon Cantarini, representing a Man 
 poflerTed by an evil Spirit, which moil: of thefe Critics 
 believe was engraved by Guido himfelf. 
 
 C 6 which, 
 
36 Of Engraving 
 
 which, I am perfuaded, if thefe Gentlemen 
 had feen \yithout knowing they were done 
 by him, they would rather have thought 
 them the Produftions of a Painter than an 
 Engraver; for they are touched with fo 
 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 9 on the Pyrrbus faved* from 
 Poujfin > the Rape of Truth* from the fame ; 
 on the Paffage of the Red Sea* from Ver- 
 nier* &c. 'Tis true it may be obje&ed, 
 that the Figures in the Fore-part of thefe 
 Prints have a Boldnefs and Strength of En- 
 graving, which you do not find in any 
 Piece engraved by Painters * but this is a 
 Perfection their Works have not, and no 
 Way invalidates my Opinion : which is, 
 that thefe Prints have as much Life and 
 Force* and even more than are to be found 
 in many Prints engraved by Painters them- 
 felves. 
 
 To remove this Prejudice, the famous 
 jiernard Picart chofe feveral Defigns which 
 had never been engraved * and having pri- 
 vately engraved them, and printed fome 
 Copies on dirty Paper, he difperfed them 
 under-hand, and had the Satis fadion to 
 find, that not one of thefe Criticks ever 
 
 fufpefted 
 
in General. %y 
 
 fufpe&ed they were not Prints, which had 
 been engraved and printed in Italy. One 
 of thefe Pieces was from Poujftn, 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 engraved 
 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 Gutdo'% 
 Difciples, from Guide \ and thofe, who 
 had feen it, took the fmall one for an Ori- 
 ginal, engraved by Carlo Maratti himfelf. 
 There was alfo a Print of Rebecca, which 
 they did him the Honour to attribute, both 
 for the Invention and Engraving, to Carla 
 Maratti. Three other Prints, the one a 
 Jefuit ; 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, 
 ?hat the modern Engravers 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- 
 found the Manner of Engraving, they are 
 ufed to fee, in thefe old Prints, with the 
 Stile of the Painter \ fo that when they lee 
 
 a Print 
 
38 Of Engr atikg 
 
 a Print of one of Raphael's Compofitionsj.- 
 with all the Out-lines traced with an equal 
 black Stroke, and. with a fine 'and. faint En- 
 graving, without Degradation^ of Light and 
 Shade, or Roundnefs of the Figures, as all 
 the Engravings of that Time are; they apr 
 prove of it, as if it was Raphael's Manner, . 
 which is abfolutely falfe. Thofe, who have 
 it in their Power, have nothing to do, but 
 compare Mark Antonio's, or any other En- 
 graver's Prints of that Age, with the orir 
 ginal Defigns, as I have done, with re- 
 gard .to many of them ; and. they will fee, 
 that they have been far from imitating them 
 exactly. They have even taken the Liber- 
 ty to make Grounds to lbme Defigns that 
 had none, and finifii fome Parts, that were 
 but lightly touched, according to their own 
 Fancy. I do not defign to diminifh the 
 Efteem, that is due to the Merit of thofe 
 Prints, but value them as much as any 
 Body, and efteem thofe who engraved 
 them, on, two Accounts; firft, becaufe 
 they have preferved us many fine Works, 
 the Originals of which are either loft, or 
 cannot be feen by every Body ; and fe- 
 condly, . becaufe we ought to regard them 
 as the Inventors of Engraving; and there- 
 fore ought to admire, that they were able 
 to. carry the Art to fuch Perfection as they 
 did, particularly Mark Antonio, and thofe 
 
 who 
 
th 
 
 in General. 39} 
 
 who are called les petit s Maitres, whom 
 we ought to ufe with 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 fhut our Eyes againft the Dif- 
 coveries that have been made fince their 
 Time. I think it very reafonable, that 
 their Prints fhould bear a better Price than 
 die fine modern, ones, not becaufe they 
 are better,, but becaufe they, are very 
 fcarce, there being, but few good Copies of 
 them extant •, but am perfuaded, if one of 
 the fine modern Prints was as rare, and 
 as ancient as thofe of the firft Matters, it 
 not only would, but ought to bear a betr 
 ter Price than they do. For Example, 
 the ancient Print of Raphael's Holy Family* 
 taken from a Painting in the French King's 
 Cabinet, is, in my Opinion, infinitely in- 
 ferior to that engraved by Mr. Edelink ; 
 and yet there are Virtuofi^ who have the 
 ancient one y and difdain to look on Mr. 
 
 delink'^ out of meer Obftinacy, becaufe 
 they will efteem. nothing but what is ancient 
 and fcarce. 
 
 Gentlemen, who know the intrinfick 
 Value of Works, can hardly conceive 
 that Prejudice can go fo far ; and indeed 
 the Dealers in Prints themfelves are to be 
 
 chiefly 
 
40 O/VEngraving 
 
 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 inipire 
 them with a Contempt for modern Prints, 
 becaufe they are eaiily 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 own 
 Words : iC One Pefne> an excellent Defigner 
 on Paper, but very indifferent Engraver, 
 engraved the /even Sacraments of Pouffin^ 
 each on two Plates. After a certain 
 Number of them had been work'd off, 
 and difperfed in the World, Gerard Au- 
 4ran^ having bought the Plates, with 
 Pefne\ Defigns of them, retouched, and 
 mended them from the faid Defigns, and 
 made them incomparably better than they 
 were before. Gerard Audran's Merit is 
 fb well known, that it needs no Re- 
 commendation ; neverthelefs, a Dealer 
 in Prints (at Paris) had the Afllirance one 
 Day, offering to fell me one of the firft 
 Copies, to fay ; Tbefe 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 
 
 of 
 
in General. 41 
 
 ©f others, who have been imbued with 
 die fame Prejudices, are fo confirmed in 
 them, that they are not afterwards to be 
 undeceived, even though a more equita* 
 ble Connoijfeur fhould undertake to do it ; 
 becaufe they think it a Sort of Shame to 
 abandon an Opinion, which they have for 
 many Years believed true, and defended/' 
 
 Bat this is no new Prejudice, we find, 
 as I have remarked in the Life of Henry 
 GoUzius, there were fome Criticks in his 
 Time, who laboured under it, and were 
 not lefs mortified, when they found them- 
 felves impofed on, by that great Matter's 
 Imitation of the Stiles of Albert Durer, Lu- 
 cas of Leyden^ &c. than thofe were, whom 
 Bernard Picart deceived in the following 
 Manner, which I will alfo give you in his 
 own Words : M To undeceive fome who 
 were prepofTeffed with an Opinion, that the 
 modern Engravers could not reprefent the 
 Works of Raphael fo well as thofe did, 
 who were his Contemporaries, I was ob- 
 liged to engrave fome Prints, which had 
 been engraved before by fome of the an- 
 cient Mafters, as by Mark Antonio^ or 
 fome other \ but the Difficulty was to 
 find the Originals, from whence they had 
 engraved them : At laft. by Accident, I 
 had the good Fortune to meet with two 
 of them, and after having examined and 
 
 compared 
 
4^ Of Engraving 
 
 compared them with the Prints-, which 
 had been formerly made from them, 1 
 found fo great a Difference between them y 
 that I did not think my felf incapable of 
 fucceeding better, and accordingly re-en- 
 graved them, to fee if I could not ap- 
 proach nearer the original Defigns, than 
 my Predeceflbrs had done." 
 
 The Firft was a Venus, who touches one 
 of- Cupid's Arrows ', and fhews, thatifhe feels 
 the EffeUs, of the "Touch at her Heart : This 
 I engraved exa&ly like the Dcfign,, with- 
 out Ground, or any Addition. 
 
 The Second was- a Bacchanal, which had 
 been formerly engraved by Auguftin of Ve- 
 nice. The Defign, . from whence I did it, 
 is certainly the fame from which Auguftin 
 of Venice engraved it ; the Strokes are the 
 fame, the Size the fame, and one fees that 
 the Out-lines of the Figures are exactly the 
 fame, but the Mufcles within are quite 
 different. The Satyrs have Crowns of 
 Jvy on their Heads, which, in the old 
 Print, are like Cuttings, or Slips-.y the an- 
 cient Engraver has madeftnall white Leaves, 
 all of the fame Form,, ranged on a Ground 
 equally dark -, whereas, in the Defign, 
 they are Leaves carelefly difpofed, which 
 form a Mafs of Light, on a Light. There 
 is a Child, the back Part of whofe Head 
 ypxx fee,, the Hair of which refembles little 
 
 Iron, 
 
in General. 43 
 
 Iron Hooks ranged round it. The Hair of 
 the Head, Skin and Beard, are all extreme* 
 h ftiff-* an d equally blacky which are not fo 
 in the Defign, where the Maffes of Light 
 and Shade are obferved. For, Example, 
 the Belly of Silenus^ in the old Print, has 
 Wrinkles as dark as pofiible, and between 
 his Paps are 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 th$ 
 Trouble to examine the whole, Part by 
 Part, he will find there is not one of them 
 exaft. Nay, -jeven without having the 
 Original before him, he need only have a 
 juft Idea of the Conftruftion of the human 
 Body, to judge, that Raphael could, never 
 have acquired the Reputation he juftly hasy 
 if his Works were like thofe ancient Prints ; 
 becaufe he would have been inferior to 
 many Painters, who are much inferior to 
 him. I cannot then comprehend, how 
 thefe Gentlemen will perfuade us this is 
 the true Stile of Raphael ; and that it is 
 poffible to engrave his Works at prefent, 
 ,s the ancient Engravers did. For, fup- 
 ofing a modern Engraver, is a< Matter of 
 he Art of Engraving, and can give Fig- 
 ures Rcundnefs, and the Degradations of 
 ight and Shade , why cannot he exprefs a 
 Pi&ure,. or Defign^ where all thefe are obr 
 
 ferved 3 
 
44 Of Engraving 
 
 ferved, I do not fay as well, but better 
 than the ancient Engravers, who had nei- 
 ther that Freedom of Hand, which the 
 good modern ones have, nor underftood 
 how to give Figures Roimdnefs, or the<* 
 Degradations of Light and Shade ? Thofe 
 Engravers might poffibly underftand 2>- 
 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 Engravers 
 from being as good Mafters of Defign as 
 they were. And 'tis to no Purpofe to at* 
 ledge, that all Ages do not produce great 
 Genius's ; for it does not require a fuperior 
 Genius, as it docs to compofe, or produce 
 Things of their own lr*>ention : Every 
 Body knows, that all Ages have produced 
 very good Copiers \ and that is all is re- 
 quifite in the prefent Cafe. 
 
 But thefe Gentlemen's Prejudices do 
 not only extend to the Prints from Ra- 
 fael's Works \ they pretend alfo to draw 
 Confequences from them, for thofe from 
 Rubens. It cannot be denied, but that 
 they are in this Refpeft, in Part, much 
 more in the Right ; for the Prints of 
 Bolfwert) Vojlermans, Pontius, and Soutman, 
 are fo well engraved, and have fo much 
 of the Painter's Stile in them, that I do 
 
 not 
 
in General. 45 
 
 not think they can be exceeded ; and in 
 this, Rubens has been more happy than 
 Raphael. But there are many other Prints 
 engraved from the Works of Rubens by 
 other Engravers of that Age, which are 
 very ill done, and which thefe Gentlemen 
 hunt after, whilft they delpife others en- 
 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 Engravers now living, who can copy 
 his Works as well as the beft of his Time, 
 and much better than the others. 
 
 The Reafons I have here afligned, I 
 think fufficient to convince thofe, who are 
 defirous to be undeceived ; but if not, I 
 ihall not defift from my Opinion 5 being 
 perfuaded it proceeds more from my In- 
 capacity to eftablifti it, than from the Fal- 
 fity of my Maxims, which I leave to fome 
 other more ingenious Artift to juftify. 
 
 THE 
 
( 47 ) 
 
 THE 
 
 A r t of En grav i n g 
 
 W I T H 
 
 AQUA FORT IS. 
 
 SECT. I. 
 
 -T0 w#fo /^ ^^ Varnijh for engraving with 
 Aqua Fortis. 
 
 TAKE five Ounces of Greek 
 Pitch, or (for Want of that) Bur- 
 gundy Pitch, five Ounces of Ro- 
 fin of Tyre, or Colofonium, 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 Oil j mix 
 
 them 
 
48 The Art /Engraving 
 
 them 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 from 
 the Fire, and (the Varnifh being a little 
 more cooled) drain it though 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 iaft twenty Years, and 
 it will be the better the longer it is kept. 
 
 SECT. II. 
 
 To make the Compofition of Tallow and Oi?> 
 to cover thofe Places in the Plate^ where 
 you would not have the 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 diflblves, 
 keep ftirring it with a fmall Stick, that the 
 Lamp Black and Oil may the better incor- 
 porate ; 
 
with A qjj a F o r t i s. 49 
 
 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 fall on 
 a Plate, or any cold hard Thing ; and if 
 the Drops be a little hardened and firm, it 
 (heweth that the Mixture is Well made. 
 If it is too liquid, 'tis becaufe there is too 
 much Oil •, and then you muft 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 fhould 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 
 grow cold. 
 
 Put in a greater Quantity of Oil in Win- 
 ter, than in Summer. 
 
 SECT. III. 
 
 2V prepare the Ingredients for making the 
 Aqua Fortis for the hard Varnifh. 
 
 TH E Aqua Fortis is made of Vinegar, 
 Salt Armoniack, Bay-Salt, and Vert 
 e Griz. 
 
 D The 
 
50 The Art of Engraving 
 
 The Vinegar muft be of the befi 
 Sort of White-wine ; but if diftilled, it 
 is the better, and not fo fubjed: to break 
 up the V.arniih. 
 
 The Salt Armoniack muft be clear, 
 tranfparent, white, pure, and clean. 
 
 The Bay- Salt muft be alfo pure and 
 clean. 
 
 The Vert de Griz muft be clean, and 
 free from any Scrapings of Brafs. 
 
 The Salt Armoniack, and Vert de Griz, 
 are commonly fold at the Druggifts. 
 
 S EC T. IV. 
 
 To make the 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 
 aa earthen Pot well varniflied, large e- 
 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 little Stick 
 •lometimcs, and take heed that it do not 
 
 boil 
 
with A qua Fort is. 51 
 
 boil over : Having let it boil up two or 
 three Times, take the Pot from off the 
 Fire, and let it cool •, but keep the Pot 
 covered, and when it is cold, pour it into 
 a Glafs Bottle, and let it ftand Hopped a 
 Day or two before yoifufe 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. 
 
 ST* know good Copper from bad. 
 
 COPPER is better for graving than 
 Brafs, either with a Graver, or Aqua 
 Fortis ; becaufe Brafs is too brittle. That 
 Copper is beft, which is free from Flaws, 
 and not too hard, which you may per- 
 ceive by its yellowifh Colour, almoft like 
 Brafs; and if it be too foft, you may cafily : 
 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 
 your Graver, on the Backfide of your 
 Plate ; and that Copper which is belt for- 
 giving, is alfo beft for etching. 
 
 D2 SEC 
 
£2 The Art ^/Engraving 
 
 SECT. VI. 
 
 To planifb and polijb the Plate. 
 
 HERE in England you muft buy 
 your Copper ready forged from the 
 Brafiers. If in London^ there are People 
 who term themfelves Copperfmiths, and 
 prepare the Plates for immediate Ufe, 
 cither large or fmall, at a fix'd Price per 
 Pound. 
 
 It is not neceffary, that they, who 
 defire to engrave, fhould forge and polilh 
 their Copper Piates themfelves ; but becaufe 
 in divers Places they cannot conveniently 
 be had ready polilhed, I have thought 
 fit to kt down 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 planifh your Copper cold, 
 as the Silverfmiths do their Plate : And the 
 more it is beaten, or planifhed with a 
 Hammer, the firmer it is, and lefs fubje6t 
 to Holes or Flaws. 
 
 Your Plate being well planiflied, make 
 choice of the fmootheft Side for polifhing : 
 Before you begin to polilh it, fix it upon 
 
 a Board j 
 
with Aqua Fort is. 53 
 
 a Board ; and when you polifh ir 5 let your 
 Board (to which the Plate is fixed) ftand 
 a little (loping. 
 
 To polifh your Plate, take a Piece of a 
 Grinding-ftone about the Bignefs of your 
 Fift, and fair Water ; rub it firm, 
 and even all over ♦, and in your Rubbing 
 throw Wafer often on it, and continue fo 
 doing, till you cannot perceive any Dents, 
 Flaws, or Marks of the Hammer : 
 Then wafh it clean with Water. After- 
 wards take a good Pumice-Stone, and fome 
 Water, and rub the Plate wirh it till there 
 appears none of the rough Strokes, or 
 Marks of the Stone : Then wafh 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 bad, it will only 
 Aide upon the Plate, and not rub out the 
 D 3 Strokes. 
 
54 The Art ^/Engraving 
 
 Strokes. This done, dry the Plate ; then 
 it is requifite to have it burnifhed over, 
 which Operation is performed by an 
 Inftrument made of well-harden'd po- 
 liihed Steel, fomewhat roundifh, termed a 
 Burnifher, with which you rub 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 the Plate is burnifhed, take a 
 clean Linnen Rag, and rub off the Oil ; 
 then take fine Powder of Chalk, and lay it 
 on the Plate, and with another Piece of 
 fine clean Linnen Rag rub it over the 
 Plate, then brufh off the Chalk, and with 
 a third clean Rag rub the Plate over again, 
 and Jikewife round the Edges, taking Care 
 there be not the leaft Appearance of Oil, 
 or Chalk, left : which being done, take a 
 I'm all 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 ikrew it fail, that the Plate may not flip; 
 this done, your Plate is fitly prepared to 
 lay on your Varnifh. 
 
 SECT. 
 
with A qu a Fo r t i s. 55 
 
 S E C T. VII. 
 
 1*0 apply the hard V ami ft on the Plate^ and 
 make it black. 
 
 TAKE your Plate thus cleanfed r 
 and lay it on a Chafing-Difli with 
 a little clear Charcoal Fire in it, and when 
 it is indifferently hot, take it away, and 
 take up fome of the Varnifh with a little 
 Stick, and put a Drop of it on the Top of 
 one of your Fingers \ then lightly touch 
 the Plate with the Top of your Finger in 
 feveral Places at equal Diftances - 5 as the 
 uppermofl Figure in the Plate, marked 
 with the Letter O, fhews you •, and lay 
 no more on one Plice-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 
 fiefhy Part of the Palm of your Hand.) 
 tap it upon the Plate, till all the little Spots 
 of Varniih are equally fpread upon the 
 Plate. 
 
 After this tapping, wipe or Aide your 
 
 Hand upon the Varnifh, to make it more 
 
 fmooth and equal ; take great Care that 
 
 there be not too much Varnifh upon the 
 
 D 4 Plate, 
 
56 The Art 0/* Engraving 
 
 Plate, and that your Hand be not fweaty-s 
 becaufe the Sweat mixing with the Var- 
 niih, will caufe little Bubbles, when it is 
 applied to the Fire, which wili 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 Figure in the Plate 
 reprefents it. Take heed that your 
 Fingers do not touch the Varnifh ; then 
 take your Candle, and apply the Flame to 
 the Varnifh, as clofe as you can without 
 touching the Varnifh with the Snuff of the 
 Candle •, guide the Flame all over, till you 
 fee it perfedjtly black ; then keep it from 
 Duft or Filth till it be dried ; by fetting 
 it on the Ground, the Hand-vice upper- 
 moft, bearing againft the Wall, the Bot- 
 tom of the Plate four or five Inches from 
 it, and the varnifhed Side innermoft. 
 
 SECT. 
 
with Aqjja Fort is. $j 
 
 SECT. VIII. 
 
 To dry and harden the Varnijh upon tht 
 Plate. 
 
 Kindle a Fire in a Chimney with fuch 
 Charcoal as is not fubjeft to fparkle^, 
 and when it is well kindled, range it ia 
 a Square, fomewhat larger than your Plate, 
 as the Letter P fhews 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 B C D. Then take your Plate 
 and place it in the middle of the Range 
 upon two low Andirons, as the Letter Q 
 directs : This done, you will loon perceive 
 the Varnilh to fmoke ; and when you per- 
 ceive the Smoke begins to abate, then take 
 the Plate from off the Andirons, and with 
 a Stick (pointed) fcracch near the Side of 
 your Plate ; and if it eafily takes off the 
 Varnifh, you muft lay it again upon 
 the Andirons for a little Time ; take 
 it off, and touch if again with your pointed 
 Stick, and if the Varnifh conies not off 
 eafily, then take it from the Fire, and 
 let it cool. 
 
 r> 5 tf 
 
58 The Art ^/Engraving 
 
 If the Varnifh do much refill the Point 
 of the Stick, then prefently throw on fome 
 cold Water on the Backfide of the Plate, 
 to cool ir, that the Heat of the Plate 
 may not caufe the Varnifh to be too hard 
 and brittle. 
 
 If your Plate be not very large, a Cha- 
 fing-Difh, with clear Charcoal in it, will 
 ferve to harden your Varnifh, taking care 
 to keep your Room free from any Dull, 
 and wrap a Cloth or Paper round your 
 Hand-vice to prevent the Heat coming to 
 your Hand : But if your Plate fhould be 
 large, the former Manner is beft, putting 
 .aupther Hand- vice at the oppofite End i 
 always having one to help you. 
 
 SEC T. IX. 
 
 To choofe the Needles , wherewith to make the 
 "fools to etch with. Plate 3. 
 
 CHoofe fome broken Needles of feve- 
 ral Sizes and Bignefs, fuch as break 
 neat without bending, and of a fine Grain. 
 Then take round Sticks of a good firm 
 Wood, not apt to fplit, of the Length of 
 half a Foot, or little lefs, of the 
 Thicknefs of a good large Quill : At the 
 Ends of which Sticks fix in your Needles, 
 -fo that they ftand out of the Sticks about 
 
 as 
 
♦ 4 
 
with Aqua Fortis. 59 
 
 as much as you fee in the following Fi- 
 gure •, or flick your Needles in Pieces of 
 Cane of that Length, taking care to put 
 them in the Centre, and leaving about half 
 an Inch out. 
 
 SECT. X. 
 
 To whet the Points of the Needles. 
 
 THERE are two Ways of whetting 
 your Needles, the one round, the 
 Other floping. 
 
 You muft have an Oil-ftone with a fine 
 Grain, to whet your Needies upon : 
 Thole you would have to be round, you 
 muft whet their Points fhort, by rubbing 
 them on the Edge of your Oil-ftone, from 
 one End of the Hone to the other, 
 turning them continually round, as the 
 Figure ihews 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 ic 
 come to a fhort roundifh Oval -, for the 
 long Oval is not fo good to work with. Y 
 , You will need a foft Brufh-pencil to wipe- 
 off the Varnifh, which the Strokes of. 
 your Needle raife up in working, as is re- 
 prefented by the Letter A. 
 
 D 6 SECT. 
 
6o The Art of Engraving 
 
 t> 
 
 SECT. XI. 
 
 31? preferve the Varnijb upon the Plate. 
 
 YOUR Plate being varnifhed, place 
 it on a large fquare Board, and raife up 
 the End from you, fo that it may form 
 a Defk, but take care not to raife it too 
 high, left your Plate Aide down ; focne 
 
 chufe to lay the Plate flat 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 Wafh- 
 kather, 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^ 
 vera! 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 1 ines you intend to draw ; then 
 place your Ruler on thefe Pieces of Paper, 
 and take care that the Infide of the Ruler 
 does not touch the Varnifh •, if it fhould, 
 make your Pieces of Paper thicker, 
 to preve t your Ruler's damaging the 
 Varnifh, and take care to keep your Plate free 
 
 from 
 
with Aqjta Fortis. 6i 
 
 from Filth or Duft, by brufhing it now and 
 then with a Feather. 
 
 SECT. XII. 
 
 To etch. 
 
 IN etching, you will have Occafion to 
 make divers Sorts of Lines or Hatches, 
 fome bigger, fome fmaller, fome ftraight, 
 feme crooked. To make thefe, you muft 
 ufe feveral Sorts of Needles, bigger of 
 fmaller, as the Work requires. 7"he great 
 Lines are made thefe three feveral Ways. 
 
 i. By leaning harder on the Needle, the 
 Point being fhort an*i thick^ makes a large 
 PafTage •, 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- 
 dies, which you whet ftoping with an 
 Oval, are the bed to make the large Lines 
 with, becaufe with their Sides, they cut 
 what the round Points cannot. PI. 4. 
 
 SECT, 
 
62 The Art of En g rav in g 
 
 SEC T. XIII. 
 
 31? £#/^ /£<? Needle on the Plate. 
 
 YO U may perceive from what is faid, 
 that thofe Points which you intend to 
 make ufe of, for graving with Aqua Fortis, 
 ought to be whetted exadly round, that they 
 may turn more freely ,upon the Plate. 
 Some of thofe round Points muft be whetted 
 very {harp, that they may cut the Varnifh 
 and Copper eafily. If you find that 
 your Point cuts not freely and fmoothly, 
 'tis becaufe it is not whetted exaftly round. 
 
 If you have Occafion to make your 
 Lines or Hatches of an equal Bignefs from 
 one End to the other, whether they be 
 ftraight or crooked, as thofe two Lines in 
 the Letters A B reprefent, you muft, as 
 Reafon will tell you, lean on your Point 
 with an equal Force from one End to the 
 other. 
 
 If you would make your Strokes thicker 
 at one End than at the other, as the fe- 
 cond Letters A B fhew you, then you 
 muft lean on your Point with your Hand 
 harder at the Beginning, and by Degrees 
 lighter and lighter towards the End. 
 
 If 
 
F.62 
 
with Aqua Fortis. 63 
 
 If you would 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 ; you muft 
 lean gently at the Beginning, and then 
 by Degrees harder and harder, till you 
 come to the Middle, and then again 
 lighter and lighter till you come to the 
 End. 
 
 Thefe three Sorts of Lines or Hatches, 
 may indifferently ferve for all manner of 
 hatching your Shadows, in any Defign 
 whatfoever, as appears in the Figures, 
 M N, OP, QjG R, TEVj wherein is 
 manifeft, that Shadowing is only a Rei- 
 teration of the fame Strokes clofe to one 
 another. 
 
 If you defire that your etching with 
 Aqita Fortis fhould look as like graving 
 as may be, you muft lean hard upon your 
 Needle in thofe Places where you would 
 have the Lines appear deep and large ; that 
 is, fo hard, that the Needle may make 
 fome Impreffion in the Copper. And for 
 the fame Reafon you are to lean very 
 light on thofe Places, which you would have 
 appear faint and fmall. 
 
 If it happens that you have made fome 
 Lines, or Hatches too fmall, and are de- 
 firous to inlarge your Stroke, you muft 
 pafs it over again with a round fhort Point, 
 
 of 
 
64 73&* Art c/EngiavIng 
 
 of fuch a Thicknefs as you defire your 
 Line fhould be of - y and lean ftrong and 
 firm on thofe Parts of the Line, which 
 you would have large and deep. 
 
 ]f 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 mud af- 
 terwards, with one of your large Needles 
 whetted fhort and round, pafs in the midft 
 of the faid Strokes firmly and ftrongly, but 
 efpecially in thofe Places which you would 
 have large and deep. 
 
 SECT. XIV. 
 
 To ufe the Oval Points, to make large Strokes, 
 in etching or graving with Aqua Fortis. 
 Plate 5.. 
 
 YOU 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 B D their Sides. They are held, much 
 as you hold a Pen, only the flat Side whetted 
 is ufually held towards the Thumb, as is re- 
 prefented in Figure iii. Not but that it 
 may be ufed otherwife, with the Face of 
 the Oval turned towards the middle Finger, 
 as is fliewn in Figure iv^ But 1 have 
 
 found 
 
with Aqua Fort is. 65 
 
 found the other Manner to be much better* 
 becaufe you may that Way inforce your 
 Strokes with more Strength and Firmnefs. 
 
 To fhew you how to make your 
 Strokes large and deep, and that thefe oval 
 Points are the molt 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 lhall be hereafter fpoken of them. Your 
 own Reafon wilktell you, that if you lean 
 lightly in making your Strokes, thofe 
 Strokes will accordingly be lefs deep, fmaM- 
 er, and more faint j 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 », and af- 
 terwards lighter by Degrees to s y you 
 make your Stroke bigger or fmaller ac- 
 cording to your leaning on it, as you find 
 reprefented in the faid third Figure. 
 
 But if you would have your Strokes 
 come very fmall and delicate at the End, 
 then with the Point of your fmall Needle 
 lengthen out your Stroke, as you find it 
 reprefented in the two Strokes of the fifth 
 Figure. 
 
 Some 
 
66 The Art ^Engraving 
 
 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, which they would have deeper and 
 bigger ; but the other is the beft Way. 
 
 They that know how to engrave, after 
 they have done etching their Lines with 
 Aqua Fortis^ may, with the Affiftance of 
 their Graver, make them neater and 
 deeper. 
 
 I think it not amifs 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 you 
 can, and accuftom yourfelf to ftrike your 
 Strokes firm and bold, for that will con- 
 tribute very much to their Neatneis and 
 Clearnefs. To do this the better, you mud 
 be very careful to have your Points al- 
 ways well whetted. 
 
 Jn thofe Places which you would have 
 appear in your Piece by Way of Land- 
 fkip, or the furtheft Diftance from the 
 Sight, and in thofe Places which ap- 
 proach nearefl the Light, you muft ufe a 
 very {lender Point, leaning fo lightly with 
 your Hand, as to make a fmall faint 
 Stroke. But when you come to thofe 
 Places, which you would have more fha- 
 dowed 9 lean fo much the harder, that 
 when you come to eat in with your Aqua 
 
 FortiSy 
 
with Aqua Fort is. 67 
 
 Fortis, you may cover moft of your faint 
 Places at one and the fame Time; for you 
 muft know that thofe Strokes, which you 
 Jean lighteft on, do little more than raife 
 up the Varnifh. So when you ap- 
 ply your Aqua Forth to etch it, it will 
 appear much fainter, than in thofe Places 
 where you have leaned with greater Force, 
 though the Strokes are done with one and 
 the fame Needle. Infomuch, that when 
 you fhall have covered the greateft Part of 
 your faint Places with your Mixture, 
 thofe Places, whereon you leaned ftrong- 
 eft, will appear deepeft, though they 
 were all covered at the fame Time. In 
 your working be careful to brufh off all 
 the Duft which you make with your 
 Needles. 
 
 You muft provide yourfelf with fome 
 good white Pi&ure-Varnifh, keep it clofe 
 ftopp'd in a Vial, and when you have 
 Occafion to correft any falfe Stroke, or 
 alter any fmall Objeft, take a fine clean 
 Camel's-Hair Pencil, dip it into the Var- 
 nifh, and mix up fome Lamp- Black with 
 it, on a Piece of Glafs, or Oyfter-Shell, 
 (but take care it be not too liquid) which 
 will withftand the. Aqua Fortis^ and is 
 much better for flopping up fmall Parts, 
 
 Bthe Tallow 5 after it is dry, you 
 may 
 
68 The Art of E n g r a v i y g 
 
 may work over it, which cannot be done 
 on the Tallow. 
 
 SEC T. XV t 
 
 To prepare the Plate ', to receive the Aqtra 
 Fortis. 
 
 YOUR Plate being finifhed and ready 
 for the Aqua Fortis^ brufh off all the 
 Rubbifh and Duft that is in the Strokes. 
 And if there happen to be any Strokes 
 which you would not have the Aqua Fortis 
 eat into, or any Places where the Varnifh 
 is rubb'd 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 Brufh or Pencil, and 
 dip it into the faid Mixture of Oil and 
 Greafe, and rub the Back-Side of you 
 Plate all over, to prevent the Aqua Fortis 
 from eating any Part of it •, but take heed 
 that your Mixture be not too thin or li- 
 quid, for if it be, when you pour your 
 Aqua Fortis on the Plate, it will force it 
 from thofe Places whereto you had ap- 
 plied it. 
 
 When 
 
with Aqua Fort rs. 69- 
 
 When you find the Mixture begin 
 to, grow cold, then put fome imall Quan- 
 tity of it on your left Hand, thereby 
 to keep it warm, to be ufed as Occafion 
 fhall require. 
 
 In the Winter Time efpecially, when the 
 Weather is cold and moift, before you ap- 
 ply your /lqua Fortis to the Plate, it will 
 not be amifs to warm it gently by the Fire, 
 to dry up the Moifture, which the Plate is 
 fubjed: to by Reafon of the Diftemperature 
 of the Weather. Nay, if it be not warm- 
 ed, it may likely endanger the breaking up 
 of the Varnilh, at the firft pouring of 
 the Aqua Fortis upon the Plate. 
 
 SECT. XVI. 
 
 To make the Trough and Frame to hold the 
 Plate, when you would 'pour the Aqua 
 Fortis on it. 
 
 THE Figure oppofite hereto, repre- 
 fents both Trough and Frame. 
 The Letter A is one intire Piece of Elm or 
 Oak, of about four Inches thick, and fix 
 Inches broad, or may be of fuch a Length 
 as you fhall think fitteit for your Ufe. 
 You muft cut this Piece of Wood into the 
 Falhion of a Trough, as the Figure fhews 
 making it a little deeper in the Mid- 
 dle, 
 
70 The Art c/Engraving 
 
 die, that the Water running thither, may 
 fall through a Hole made there for that 
 Purpofe. Set this upon an Eafel, as the 
 Figure fliews you. 
 
 Under the Hole in the Trough, place 
 an earthen Pan well leaded on the Infide, 
 as you fee in Figure B ; and therein put 
 your Aqua Fortis, let it not ftand too much 
 below the Trough. 
 
 The Figure M N O P is one 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 the 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 jour Plate on. 
 
 The Figure Q^defcribes a little earthen 
 Pot well leaded on both Sides, which you 
 muft have to take up your Aqua Fortis out 
 of the Pan, and to pour it on the Plate. 
 
 SECT. 
 
Rs*. 
 
with Aqua Fort is. yi 
 
 SEC T. XVII. 
 
 The Manner of cajling the Aqua Fortis upon 
 the Plate \ and to cover the Places that are 
 faintejl, and moft remote from the Eye, with 
 the fore-mentioned Mixture, as Occa/wn re- 
 quires. 
 
 HAVING obferved the Way of 
 placing the Plate for the receiving 
 of the Agua Fortis, there remains only to 
 confider the Method you are to follow 
 in pouring it on, as Occafion requires ; 
 for in fome Works, it will be neceffary to 
 pour it on leveral Times, for the Reafons 
 hereafter mentioned. Having a fufficient 
 Quantity of Aqua Fortis in your Fan, fill 
 your earthen Pot, and pour it upon your 
 Plate, beginning at the Top, and moving 
 your Hand equally, fo that it may run all 
 over the Plate alike, taking great heed that 
 the Pot touch not the Plate. Having thus 
 poured it eight or ten Times, the Plate being 
 in the Pollure expreffed in the preceding 
 Figure, you muft turn it crofs-ways, as is 
 •reprefented in the upper Part of the follow- 
 ing Figure, marked C ; and pour on it as 
 it lies that way, ten or twelve Times again, 
 as before : This done, turn your Plate fuit- 
 -ably to the Pofture expreffed by the 
 
 lower 
 
jz The Art of Engraving 
 
 lower Part of the aforefaid Figure, 
 that is to fay, corner-ways, and as it lies 
 fo, pour thereon eight or^ ten Times ; 
 pouring the Aqua Fortis thus, at feveral 
 Times, for the Space of half a Quarter of 
 an Hour, more or lefs, according to the 
 Strength of the Wat&r, and Nature of the 
 Copper. For if the Copper be brittle and 
 hard, there muft be the lefs Time allowed 
 for the pouring on the Water j but if 
 foft, the more. 
 
 By Chance you may not at the firft 
 be fo well affured of the Strength of 
 your Water, and the true Quality of your 
 Copper •, it will therefore not be amifs to give 
 you fome Direftions 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 more 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 Quantity of fair Water, hold- 
 ing the Pot at a good Height from the 
 Plate, to wafh off the Aqua Fortis; for if 
 
 it 
 

 with Aqua Fort is. 73 
 
 it be not clean wafhed, the Work will ap- 
 per green, and confequently you cannot 
 fo well perceive the Operation of your 
 Aqua Fortis. 
 
 That done, hold your Plate before the 
 Fire, at fuch a Diftance, as that, without 
 melting the Mixture which may be upon 
 it, the fair Water may be dried up. "Hien 
 take a little Piece of Charcoal, and there- 
 with rub off the Varnifh in fuch Places 
 where the Strokes are faint ♦, and if you 
 find that the Aqua Fortis hath eat deep 
 enough in thofe faint Places, melt your 
 Mixture, and having placed your Plate 
 upon a Defk or Table, take of the faid 
 Mixture, with a Pencil fit for your Work, 
 and cover therewith all thofe Places which 
 you defire fhould be tender, and free from 
 any further Operation of the Aqua Fortis : 
 taking great Care that you lay the Mixture 
 thick enough, on the Places which you 
 would have covered -, that is, that the Mix- 
 ture may fill up the Strokes. And it is at 
 this firft Operation, that you are to cover 
 all the fainteft and fwe'eteft Places. 
 
 Having held your Plate fo long to the 
 Fire that the Moifture is o x uite taken off (a 
 Thing only neceffary in the Winter Time) 
 put it again upon your Board, and pour on 
 your Water as before, for the Space of 
 about half an Hour, turning your Plate 
 E from 
 
74 "The Art ^/Engraving 
 from Time to Time, according to the 
 feveral Poftures before exprefled. That 
 done, wafh off the Aqua bcrtis with fair 
 Water, as beforehand dry your Plate by the 
 Fire, taking efpecial Care that you melt 
 not the Mixture which you had before put 
 upon it. 
 
 Y(5ur 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 feveral 
 Examples in the following Figure, 
 
 You have been before dire&ed how to 
 guide your Needles and oval Points, and 
 have been told how you are to lean 
 ftrongly and firmly on the Places where you 
 would have the Strokes be black and 
 deep, and to flack and lighten your Hand 
 where you would have them ' faint and 
 tender •, a Thing which very much facili- 
 tates the Operation of the Aqua Fords. 
 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 A B C, 
 and the Line EOF* knowing well, that 
 
 if 
 
£». 
 
with Aqjja Fort is. 75 
 
 if you have differed the Aqua Forth to eat 
 for the Time requifite, it will have very 
 near the Effeft which you expected. 
 
 At the upper End of the Plate, you 
 have the Form of a Woman's Arm, where- 
 in you may perceive, by the Line marked 
 abed, as alfo by the other, which lies yet 
 nearer the Shadow, how the fmall Hatches 
 and fainter Places are ordinarily covered 
 at two feveral Operations, as Occafion 
 requires •, though, in the forementioned Ex- 
 ample of the Arm, once covering may 
 luckily ferve. 
 
 I have alfo thought fit at the Bottom of 
 the Plate, to let down four feveral Pieces 
 of Ground in Landfkip ; the firft marked 
 m m m, is the firft covered, being the 
 farthelt of all from the Eye ; then at ano- 
 ther Operation that marked n n n •, then 
 that marked ; there being only thac 
 marked p, wherein the Aqua bonis eats in 
 full and deep. 
 
 It may be objected, that the leaning 
 lightly or hardly on the Points in their proper 
 Places in working, may make the Strokes 
 and Hatchings lb, that the Aqua Forth 
 may eat in anfvverably to your Expectation, 
 without the Trouble of covering any Places 
 with your Mixture : To this I anfwer, that 
 the Work will not altogether have that 
 E 2 Effed, 
 
j 6 The An t ^/Engraving 
 
 Effeft, but will be like the fecond Plate, 
 which I have purpofely made after that 
 Manner-: For though you can lean harder 
 on fome Places, and lighter on others ; 
 yet the ,Aqua Fortis being poured equally 
 all over the Plate, during the whole Time ; 
 it muft follow, that fome Places will not 
 be fo fweet and tender as they ought, and 
 will come far fhort of that beautiful and 
 lively Continuity, which you perceive in 
 thofe Lines and Strokes where you ufe 
 the Mixture. 
 
 If it happen, when you dry your 
 Plate by the Fire to take off the Moifture, 
 zs hath been faid before, that the Mixture, 
 for Want of Care, melts and runs into 
 thofe Hatches and Strokes where you 
 would have the Aqua Fortis eat further in^ 
 wipe the Place with a foft Cloth, then take 
 the Crumb of ftale 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 
 srnpoffible 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 
 
with Aqua Fort rs. jj 
 
 Having thus covered your Places as 
 ©ccafion requires, for the fecond Time, 
 place your Plate on the Board aforefaid, 
 and pour your Aqua Fortis 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 feveral Defigns 
 and Pieces you work upon. When this 
 is done, pour your Aqua Forth upon it, 
 for the laft Time, and it is at this Ope- 
 ration, that you are to beftow more or leis 
 Time, than in the former, according to 
 the Nature of your Work. 
 
 For Inftance, if there be in your Plate 
 fuch Hatches and Shadows, as require 
 much Depth and Fulnefs, which confe- 
 quently will be very black, you are to 
 pour on the Aqua Fortis for an Hour 
 or better at this laft Operation alone, that 
 is, proportionably to the former. You 
 may imagine, that no certain or general 
 Rule can be given, either for the conve- 
 nient Covering of the Places, or the ex- 
 a£t' Space of Time that is to be ob- 
 ferved in throwing on the Water: For it 
 cannot be thought, that Callot pour'd as 
 £ 3 much 
 
7% The Art o/Engraving 
 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 
 jiqua Fonts, by the various Works you are 
 to do ; and where I tell you, that you may 
 bellow an Hour and better on the laft 
 Operation, my Meaning is, in Pieces that 
 require much Blacknefs. Notvvithftand- 
 ing which, it is to be confidered, that all 
 Copper, or all Sorts of Aqua Fortis, have 
 not the fame Strength, Nature or Equality, 
 therefore it muft be left to Difcretion. 
 
 Having, as before faid, poured the Aqua 
 Fortts upon your Plate for an Hour, more 
 or lefs, as the Work requires, wafh 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 qu a Fort is. 79 
 
 S E C T. XVIIk 
 
 To take the Ground or Varnijh off the Plate? 
 after the Aqua Fords has done its 
 Operation. 
 
 TAK E Charcoal of Willow, or fome 
 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 
 polifh 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 
 anight occafion fome fmali Scratches in the 
 Plate, and would be difficult to get out, 
 efpecially in thofe Places which are mod 
 faint and fweet. Note, you are not to ufe 
 fuch a burnt Coal, as you do, to polifli 
 withal. 
 
 When the Varnifh is taken off, the 
 Plate is of an unpleafant Colour, by Reafon 
 of the Operation of the Fire and Water 
 upon it. To reduce it therefore to its 
 proper Colour, take fome ordinary Aqua 
 Fortis, to which add two third Parts of 
 fair Water, and with a little Linnen Rag 
 dipp'd therein, rub your Plate all over, 
 E 4 and 
 
80 The Art <?/' Engraving 
 and you will find its Colour and Beauty 
 return. 
 
 Then immediately take a dry Linnen 
 Rag, and wipe it all over to take off all 
 the aforefaid Water. Hold your Plate to 
 the Fire, and pour on it a little Sallad-Oil, 
 and with the Brims of an old Beaver roll'd 
 up, rub your Plate all over with it, and 
 with a Clcth 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, elpecially in thofe Places, which are 
 to be blacked. 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 
 eafy to touch it afterwards with the Gra- 
 ver, than when the Aqua Fortis has made 
 a Pit therein, which, in the Working it 
 off at the' 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 fallen on. 
 
 Having 
 
with Aqjja Fortis. 
 Having* covered that Part 
 
 u 
 
 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 Rolling- Prefs. 
 
 E 5 
 
 OF 
 
82 The Art c/Engkaving 
 O F 
 
 SOFT VARNISH. 
 
 5* sEB. a* 5* 4* <4j£ 5* <H> <*3> <££ *i5 <xj> crip cup oljp 3Ep <ep 3Ep 5* 
 
 SECT. XIX. 
 
 To make it, and its Ufes. 
 
 TAKE two Ounces of Virgin Wax, 
 half an Ounce of Burgundy Pitch, 
 half an Ounce of common Pitch, put them 
 into a clean and well-glaz'd earthen Pipkin, 
 and when they are diflblved, taketwoOunces 
 of Afphaltum, 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 Afphaltum, and the reft, may in- 
 corporate well together, and be intirely 
 diflblved, which will be done in about 
 half a Quarter of an Hour ; then take 
 it off the Fire, and let it cool a little, 
 and pour the faid Compofition into a Bafon 
 of fair Water; your Hands being very 
 clean, put them into it, and take out the 
 faid Mixture before it be quite cold, and 
 having well moulded it, and fqueezed out 
 
 the 
 
with A qu a For t i s. 83 
 
 the Water, roll it up into Pieces about an 
 Inch Diameter, and two or three Inches 
 long. 
 
 After it is moulded, wrap it up in a 
 Piece of fine Sarfenet, or Taffata, two or 
 three Times double, and fo 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. 
 
 SECT. XX. 
 
 The Manner of laying the foft Ground or 
 Varnifh on the Plate. 
 
 HAVING your Plate well polifhed 
 and cleanfed from Greafe, take the 
 foft Varnifh prepared as is before mention- 
 ed, and put the faid Plate over a Chafing- 
 difh, wherein a moderate Fire has been 
 kindled, and let it be fo heated, that theVar- 
 nilh may eafily diifolve, as it paffes through 
 theSarfenet, in which'tis wrapped. The Plate 
 being thus heated, take the Varnifh cover'd 
 as aforefaid, and by applying it to the End 
 of the Roll, fpread it upon the Plate whilft 
 it is hot. carrying it lightly from one Side 
 E 6 to 
 
84 The Art ^Engraving 
 
 to the other, until the Plate be covered 
 thin and equal all over : This being done, 
 take fome fine Sarfenet, or other fine Silk, 
 doubled up, put fome fine Cotton into it, 
 and let it be about the Bignefs of an Egg, 
 when tied up, but make it broad at Bot- 
 tom, then dab it gently all over your 
 Plate, where you have laid the Varnifh; 
 taking Care it be not too thick, for when it 
 is, your Work cannot be fo fine and deli- 
 cate as otherwife it would ; if the Plate 
 fhould cool, and confequently the Var- 
 nifh, you muft heat it again, that it 
 may receive the Varnifh, as it partes 
 through the, Silk. Alfo take great Care, 
 for your more eafily fpreading of it, that 
 neither your Plate, nor Varnifh burns ; 
 which you will eafily perceive, by ob- 
 ferving, that when it is too hot, it cafts 
 itfelf into little Clots and Blifters. 
 
 As foon as you have fpread your Var- 
 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 Varnifh ; taking Care that the Flame 
 approach not too near ; this is to be done 
 in one Cafe, rather than in another, that 
 is, when having blacked, it all over, you 
 perceive, the Smoke hath not entered 
 within the Varnifh, by Reafon of its grow- 
 ing 
 
with Aqua Fort is. 85 
 
 ing cold : Therefore it will be convenient 
 to put your Plate again over your Chafing- 
 difh, and you will lee, as foon as the Plate 
 is hot, the Varnifh will diflblve; and 
 thereby the Black, which the Smoke hath 
 left upon the Varnifh, 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 Varnifii 
 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, left by fo do- 
 ng, the Needle cutting through the Paper, 
 fhould rub the Varnifh. 
 
 Next you proceed to work upon your 
 Plate, with the fame kind of Points, as 
 thofe which are mentioned for hard Var- 
 nifh, excepting the oval Points, which 
 thofe that etch with foft Varnifh never 
 ufe: Neverthelefs they are very commo- 
 dious, efpecially for the working any Piece 
 of Archite&ure, or making of large Strokes, 
 
 and 
 
86 The Art ^Engraving 
 
 and 'tis left to the Choice of thofe that 
 grave, either to ufe them or not : But one 
 Thing is to be confidered, which you muft 
 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 Defk, place on the Sides of 
 your Plate, two little Boards, of what 
 Thicknefs you pleafe, or two little 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 work with their Plate laid upon an 
 Eafel, as a Painter does when he paints; 
 but all Men cannot fit in this Manner at 
 Work, although it is very much approved 
 of, for many Reaibns, which hereafter fhall 
 be alledged. 
 
 To work upon the faid foft Varnifh, 
 you muft conveniently place your Board 
 upon a Delk, and lay a Piece of green 
 Bays upon that, and your Plate upon the 
 Bays. Afterwards, take a Linnen Cloth 
 without any kind of Seam, which has 
 been often put to other Ufes, that it may 
 bt very foft. Then double it three or four 
 Times in Folds, and lay it upon your 
 
 Varnifh 5 
 
with Aqua Fortis. ty 
 
 Varnifh ; and reft your Hand on it, as you 
 do on Sheets of Paper, upon hard Varnifh. 
 The Reafon why this Caution is to be ob~ 
 ferved is, left the Buttons of your Sleeve 
 fhould rub off the Varnifh. 
 
 Be very careful, that there is no Duft 
 or Filth upon your Varnifh; if you fee 
 any upon your Plate, wipe it lightly off 
 with one of your large foft Pencils, ob- 
 ferving, that much more Care is requir- 
 ed for the preferving of foft Varnifh, 
 than of hard •, which made the Author 
 leave it off, efpecially in Pieces that required 
 long Time, and much 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 Practitioner of the 
 Art, touch or meddle with your Plate ; 
 and if any kind of greafy Matter happens to 
 drop upon it, your Plate will be incurable : 
 But if it happens to fall upon hard Varnilh, 
 you may clean it with a Linnen Cloth, or 
 Crumbs of Bread, 
 
 Thofe 
 
88 Tie Art 0/* Engraving 
 
 Thofe that work upon foft Varnifh, if 
 they put their PJate on a Defk or Eafel, 
 are not in fo much Danger of rubbing 
 off their Varnifh, nor need they fo often 
 wipe away that which comes off in work- 
 ing; for the Plate being placed obliquely, 
 the fuperfluous Matter falls away of itfelf. 
 I don't think it neceffary to defcribe this 
 Way of working, by a Plate, becaufe it is 
 not probable that any who intend to etch 
 after this Manner, can be ignorant how a 
 Painter works upon an Eafel, there being 
 no other Difference, except that a Painter 
 ufes a Pencil, and a Graver his etching 
 Tools. The Artift muft take Care to reft 
 his Plate very firm, especially 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- 
 fer ve his Health ; fuppofing that to fit 
 (looping to his Work (though it were never 
 fo little) would be hurtful to him. 
 
 SECT. XXI. 
 
 To border the Plate^ that it may contain the 
 Aqua Fortis. 
 
 E T foft Wax, either red or green ; 
 
 if it be in Winter, foften it in warm 
 
 Water i in Summer it will be fufficientl 
 
 G 
 
 fo; 
 
 I 
 
with Aqjja Fort is. 89 
 
 foft of itfelf : In the managing of it, put 
 it round the Brims of your Plate, raifed 
 about half an Inch above the Surface of the 
 Pl&te, being, as it were, like a little Ram- 
 part or Wall, (forming at one Corner a 
 Spout to pour the Aqua Fortis off) in fuch 
 Sort, that placing your Plate very level, 
 and afterwards pouring your Aqua Fortis 
 upon it, the Water may be retained, 
 by Means of this Border of Wax, 
 ancl equally diffufed all over •, but 
 before you pour it on ( to prevent its 
 (baking 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 gently upon the 
 Plate, fo as that it may remain all 
 over it, the Thicknefs of half a Finger's 
 Breadth. 
 
 Then you will fee, that the Water will 
 work, and bubble up in thofe ftronger 
 Hatchings, that are 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- 
 
90 The Art gf Engraving- 
 
 a fudden, any other Effe6t than what appears 
 to View. 
 
 Afterwards, when you have perceiv- 
 ed the Water operate a fmail Time, 
 pour it off from the Plate into fotne VefTel, 
 which is moil proper to contain k, as into 
 an earthen Mug well glazed, or the 
 like ; then throw fome fair Water upon the 
 Plate, to extinguiih and wafh away the 
 Remainder of the Aqua Fcrtis y which was 
 upon it; then dry it by the Fire, 
 as you have been taught before, when we 
 difcourfed of hard Varnifh ; as to the 
 foft Vamiih, and Aqua Fortis of the 
 Refiners, be very careful to evapo- 
 rate that Moifture, which, in the Winter 
 Time, is commonly between the Copper 
 and the Varnifti, before you lay on your 
 Aqua Fortis ; which being done, take your 
 Mixture of Oil and Tallow, as is men- 
 tioned in the Beginning of this Dif- 
 courfe x>f hard Varnifh, and cover thofe 
 Places with it, which ought to be moft 
 tender and fweet ; or Pi&ure Varniih, mix'd 
 with Lamp Black, as mentioned in the 
 Operation of the hard Varnifh ; hav- 
 ing covered them the firft Time, lay 
 again upon your Plate the fame Aqua Fortis 
 which you had taken away, and leave it 
 on for half a Quarter of an Flour, or 
 longer, according to your Difcretion •, then 
 
 take 
 
with Aqua Fortis. 91 
 
 take off the Aqua Fortis, and cover with 
 your Mixture the next Places, as you 
 fhall fee Occafion : And if you would have 
 your Lines or Strokes be (till deeper, 
 then cover the fweeter Part by De- 
 grees with your Mixture, that the Aqua 
 Fortis may lie the longer on the deeper 
 Strokes. 
 
 Laftly, lay on the aforefaid Aqua 
 Fortis again, and leave it on for the Space 
 of half an Hour, or more, according to 
 the Strength of the Water, and Nature of 
 the Work * 9 then take it away, and call 
 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 Varnifh, may thorough- 
 ly melt 5 then wipe it well with a Linnen 
 Cloth, afterwards rub it all over with 
 Olive Oil, and a Piece of old Beaver roll'd 
 up, then touch it over again with your 
 Graver, in thofc Places where it is necef- 
 fary. 
 
 It is neceflary to obferve, that whilft 
 the Aqua Fortis is upoa your Plate, you 
 muft take a Feather, and dip it to the Bot- 
 tom of the faid Aqua Fortis, fweeping it 
 along, to remove the Froth or Scum, which 
 gathers upon your Strokes or Hatchings, 
 whilft the Water performs its Operation ; as 
 alfo, to give the more Way to the Opera- 
 tion 
 
 
92 The Art 5/* En graving 
 
 tion of the Water, and fee if the Varnifh > 
 be not broke up, which the Bubbling of 
 the Water hinders you from difcerning. 
 
 Take Notice alfo, that the Aqua Fortis 
 of the hard Varnifh, will ferve excellently 
 well, to eat into the Work made by the 
 aforefaid foft Varnifh, and that the Manner 
 of applying the oily Mixture, is the fame 
 with that of hard Varnifh, and whoever 
 ufes it may be 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. XXII. 
 
 The Manner of laying a white Ground upon 
 the hard or foft Varnifh, 
 
 THERE is a Way to whiten your 
 Varnifhes upon the Plate, inftead of 
 making them black with a Candle, which 
 is thus. 
 
 When you have applied your hard Var- 
 nifh (as has been obferved) upon the 
 Plate, harden it over the Fire, without 
 blacking it, yet in the fame Manner as if 
 
 it 
 
with Aqjcja FeRTis, 93 
 
 it were blacked, then let the Plate cool, 
 and having got white Cerus, put it into 
 an earthen Diflb well leaded, and a little 
 Flanders Starch, fet them over a Fire, 
 and melt them together, making them 
 pretty hot ; that being done, take up the 
 white Cerus, (which ought to be pretty 
 clear) with a Brufh, or great Pencil of 
 Hog's Hair, and whiten your Varnifh 
 with it, laying it as thin and even as you 
 can, then leave it to dry, laying the Plate 
 flat, in fome convenient Place; if by Chance 
 in whitening it, the White be difficult to 
 Ipread, you need o«ly put among the faid 
 white Cerus a Drop or two of the Gall of 
 an Ox, and mix them together in the 
 Difli with your Brufh. For the foft Var- 
 nifh, you may do the fame, after you 
 have laid it upon your Plate, and extended 
 it very even with the feathered End of 
 your Quills-: Some will fay, if they 
 black the Plate, before the White is put 
 upon it, when they come to grave, the 
 Hatchings will be the more black, and 
 confequently will appear Co much the more 
 diftinft to the Eye. But to this I an- 
 fwer •, 
 
 Firft, When the Plate is blacked, the 
 White will not touch it, nor muft they ven- 
 ture to put fo much Gall, for Fear of 
 fpoiling the Varnifh. 
 
 Secondly, 
 
94 T^c Art ^/Engraving 
 
 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 Duft of 
 red Chalk, (as before mentioned of J^ard 
 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 Aqua Fortis\ what 
 you have then to do, is to take a little fair 
 Water, fomething more than lukewarm, and 
 cait it upon the faid Plate : then with a 
 foft clean Spunge, or Duck's Wing- Fea- 
 thers, moiften the faid white Cerus all 
 over with it; afterwards wafh the Plate, 
 to take off the Whiting, and dry it. 
 
 Laftly, you may lay on which of the 
 two Sorts of Aqua Fords you pleafe •, and 
 for the preferving of the faid white Var- 
 nifh, whilit you are working, you need 
 only lay upon it a Piece of foft Linnen, or 
 Damafk jJnnen, inftead of Paper. 
 
 If 
 
" 
 
 with Aqjja Fort is. 95 
 
 If you choofe . rather to take away the 
 faid Whiting, you muft take fome Aqua 
 Fortis of the Refiners, tempered with fair 
 Water, lay it upon the Plate, difperfing it 
 all over, which will foak and quickly eat 
 in ; after you have thrown clean fair Water 
 
 on it to take away the Whiting, let the 
 
 ater dry up, which remains upon the 
 Plate, and caufes it to eat into your Work, 
 
 I faid before. 
 
 w P 
 
 SECT. XXIII. 
 
 Another Way to lay a White on the Varnifo. 
 
 TAKE the bed 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 Camel's 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 
 CamePs Hair, and with a very light and 
 gentle Hand, pais 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. 
 
 If 
 
96 The Art o/Engraving 
 
 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 Yarnifh ; if there be too little, it 
 will eafily rub off: Therefore you muft be 
 careful to ufe no more, than will juft ferve 
 to bind the White upon the Plate. Like- 
 wife you muft have a care not to lay it too 
 thick, for if it be,^ you cannot work with 
 the Neatnefs and Curiouihefs, you may 
 other wife. 
 
 SECT. XXIV. 
 
 The Manner, after the Plates are eat in by 
 the Aqua Fortis, to touch or re-grave that 
 which you have forgot, or which you would 
 mend or fupply. 
 
 BEFORE I make an End, it is pro- 
 per to fhew you the Manner how to 
 retouch many Things, according as Need 
 may require, by the Means of Aqua 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 fhould not perform its Operation, or 
 that you would add any Ornaments, 
 
 either 
 
with A<xva Fortis. 97 
 
 cither in Drapery, or any other thing which 
 may be thought on : In this Cafe, take 
 your Plate, and rub it well over with 
 Olive Oil in thofe Places, where there is 
 any thing graven, in fuch Manner that 
 the Blacknefs and Foulnefs, which is like 
 to be in the Hatchings or Strokes, may 
 be taken away. Afterwards take out the 
 Greafe fo thoroughly with Crumbs of 
 Bread, that there may remain none, nor 
 Filth upon the Plate, or in any of the 
 Strokes or Hatchings. 
 
 Then heat it over a Charcoal Fire, 
 and fpread the foft Varnifh upon it, as 
 has been faid before. What you are to 
 take fpecial Care of, is, that the Hatch- 
 ings, which you would have remain, 
 be filled with Varnifh ; which being done, 
 black it, and then you may retouch, or 
 add what you intend. Laftly, make your 
 Hatchings with your Needles, accord- 
 ing as the Manner of the Work fhall 
 require, being careful, before you put on 
 the Aqua Fortis* to cover with your oily 
 Mixture (as is faid before) the firft grav- 
 ing which was upon your Plate ; for if 
 the Varnifh fhould not have en t red all 
 over, that certainly will : Infomuch that, 
 if there fhould happen in fome Places 
 of the Hatchings to be neither Mixture, 
 F nor 
 
9§ The Art ^/Engraving 
 
 nor Varnifh, the Aqua Fortis will not fai! v 
 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 
 
ivith Aqua Fort is. 99 
 THE 
 
 ART 
 
 F 
 
 ENGRAVING. 
 
 SECT. XXV. 
 
 fhe feveral Ways of drawing the Defign 
 upon the Plate. 
 
 BEFORE I fpeak of the Manner 
 of managing and whetting your Gra- 
 ver, I think it will not be amifs to let you 
 know the Ways that are uied in drawing 
 your Defign upon the Plate ; which mud 
 be of the fame Bignefs the Defign or Print 
 is, which you intend to copy. 
 
 Put your Plate over the Fire, and Jet it 
 heat a little •, then take a Piece of the 
 whiteft Virgin Wax, andfpread it thin over 
 the Plate, and with a fmooth Feather 
 gently ftroke it all over, fo that it may 
 lie very even and fmooth ; then let 
 F 2 it 
 
too The Art c/Enoraving 
 
 it cook 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 mull place your Print 
 which you would grave, with the Face 
 or printed Side next to your Plate, waxed 
 over as before mentioned ; and having 
 placed it very, true, rub the Backfide of 
 the Print with a Burniiher (or any Thing 
 that is fmooth and round) and you will 
 find, that it will 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 haflily, 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 
 Duft of black Lead, or black Chalk, an4 
 Tub the Backfide of your Drawing or 
 Print all over therewith, and place it with 
 that Side blacked towards the Plate fo 
 i&axed, ( as before .mentioned ) and with 
 your Needle, or Drawing Point, draw all 
 the Out-lines of your Defign, and you 
 will find all thofe Lines upon your Plate j 
 fout if you defire to preferve the Backfide 
 of your Delign from being blacked with 
 
 the 
 
with Aqua Fortis. iof 
 
 the Duft aforefaid ; then take a fine thia- 
 Piece of white Paper of the Bignefs of your 
 Defign, and inftead of nibbing the Back- 
 fide of your Print or Defign, rub one 
 Side of the faid Paper with the Duft or 
 Powder of black Chalk, and placing it 
 with the Side fo blacked, next to the 
 waxed Plate, lay the Backfide of your 
 Defign upon the Paper r and fix them 
 both firm to your Plate at each Corner with 
 a little Wax, then draw the Out-lines of 
 your Defign : only note, that you muft 
 lean fomewhat hardef 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 prefer ve your Defign from beibg 
 any Way defaced by the Marks of youfc 
 Needle in drawing the Out- lines, take a 
 fine Piece of white Paper, and having oil'd 
 it, hold it by the Fire, fo that the Oil may 
 fooner penetrate it \ and having fo done, 
 wipe it very dry with a Linnen Rag, and 
 place the faid Paper upon your Defigfv 
 making it fail 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, which 
 F 3 done, 
 
io2 The Art 0/~En6ravin& 
 
 done, place it upon the Plate in the lame 
 Manner as before. 
 
 SECT. XXVI. 
 
 The Forms of Graving-Tools, and the Manner 
 - of whetting the Graver. PI. 9. 
 
 TH E upper Part of this Figure will 
 (hew two Sorts of Graving-Tools, 
 the one formed Square, the other Lozenge : 
 The Square Graver makes a broad and 
 ihailow Stroke, or Hatch j and the I. o- 
 zenge makes a deep and narrower Stroke. 
 The Ufe of the Square Grayer, is to make 
 the largeft Strokes 5 and the Ufe of the 
 other, is to make the more delicate and 
 lively Strokes. But a Graver made of an 
 indifferent Size between thefe two is beft, 
 and will make your Strokes, or Hatches, 
 fhew with more Life and Vigour ; and 
 yet with fufficient Force, if you manage 
 it properly in your working. The Forms 
 of thefe Gravers, you will fee in the Figures 
 1. and II. 
 
 The Hid Figure {hews you how to 
 whet the two Sides of your Graver, which 
 is to be done in the following Manner \ 
 you muft have a very good Oil-ftone 
 fmooth and flat, and having poured a little 
 Sallad Oil thereupon, take the Graver, 
 
 and 
 
with Aqua F'ortis, 103 
 
 and laying that Side of it which you 
 intend fhall* cut the Copper flat upon the 
 Stone, whet.it very flat and even ; and in 
 doing this, take particular Care to place 
 your Fore- finger very firmly upon the op- 
 pofite Side of your Graver -, that you may 
 carry your Hand fteadily, prefs equally on 
 it, and guide it with the more Exa&nefs : 
 Then turn the next Side of your Graver, 
 and whet that as you did the other ; that 
 there rqay be a very (harp 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 Hoping, in the 
 Form of a Lozenge, making a (harp Point 
 to the Edge, as Figure 1III. fhews you. 
 
 It is abfolutely necefiary, to be very 
 exaft in the Whetting of your Graver ; 
 for it is impoffible you fhould ever work 
 with the Neatnefs and Curiofity you defire, 
 if your Graver be not very good, and 
 rightly whetted. 
 
 F 4 SECT, 
 
jo4 < Tbe Art /Engraving 
 
 SECT- XXVII. 
 
 ^he Manner of holding the Graver, with other 
 Particulars. 
 
 YO U may fee alfo, that the uppermoft; 
 Part of this Figure defcribes the Form 
 o.f 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 obftruft or hinder 
 them in their Graving, as Figure II. fhews 
 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 
 
 the 
 
/04 • 
 
with Aqjja Foktis. 105" 
 
 the Hollow of your Hand, and having ex- 
 tended your Fore-finger towards the Point- 
 of your Graver, laying it oppofite to tha* 
 Edge that fhoutd cut the Copper, place 
 your other Fingers on the Side of your 
 Handle, and your Thumb on the other 
 Side of the Graver, fo that you may guide 
 your Graver flat and parallel with the 
 Plate ; as you may fee in Figure II III 
 
 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 Neatnels 
 you otherwife may. This I think fit to 
 give you Notice of in this Place, becaufe 
 you muft firft learn to hold your Graver* 
 perfectly well, and be able to pradtife with- 
 out Pain or Difficulty \ or elfe you will 
 ilot acquire that Readinefs and Command 
 of Hand, which is required in an accurate* 
 and fkilful Engraver. 
 
 F5 SECT. 
 
jo6 The Art ^Engraving 
 
 SECT. XXVIII. 
 
 The Manner of governing the Hand in Graving* 
 and other Particulars. 
 
 TTAVING defcribcd the Way of 
 JUL holding your Graver, the next 
 Thing is to ihew you how to guide it 
 upon the Plate, in making of your Strokes, 
 either ftraight or crooked. To work 
 with the more Eafe and Convenience, you 
 muft have a ftrong round Leather Cufhiorl 
 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 
 t<his upon a Table which ftands fait and 
 firm 5 then lay your Plate upon the Cufhion, 
 as is feen in Figure II. in the former Sec- 
 tion. 
 
 When you make any ftraight Strokes, 
 hold your Graver as directed before ; and 
 when your Strokes are to be deeper or 
 broader in one Place than in another, 
 where you would have them deepeft, you 
 muft prefs your Hand ftardeft ; but in 
 making of a (haight Stroke, be very care- 
 ful to hold your Plate firmly upon the 
 Cufhion. 
 
 When you make any crooked or 
 winding Stroke^ hold your Hand and 
 
 Graver 
 
with A qxj a Fort i s. 107 
 
 Graver fteadily, and as you work, turn 
 your Plate againft your Graver ; otherwife 
 it will be impoffible for you to make any 
 crooked or winding Strokes with that Neat- 
 nefs and Command of Hand, you by this 
 Means may. 
 
 If, when you are working, your Graver 
 happens to break the Point often, it is 
 too hard tempered •, to cure which, take 
 a red hot Charcoal, and lay the End of 
 your Graver upon it, and when you per- 
 ceive it grow yellowifh, dip it in Tallow : If 
 your Graver become blunt without break* 
 ing, it is worth nothing. 
 
 It will be convenient for you to have a 
 Piece of Box, or hard Wood, to ftrike 
 the Point of your Graver into, after you 
 have fharpened it-, which will take off all the 
 Roughnefs about the Point, that was caufed 
 by whetting it upon the Oil-ftone. After 
 you have graved Part of your Work, it 
 will be necefifary to fcrape the Plate with the 
 (harp Edge of another Graver, carrying it 
 even upon ir, to take off the Roughnefs 
 of the Strokes •, 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 
 
 F 6 little 
 
io8 The Art ^Engraving 
 
 little with Olive Oil, and rub the graved 
 Places with it : If you perceive any 
 Scratches in your Plate, rub them out with 
 your Burnifher ; and if you have graved 
 any of your Strokes too deep, you may 
 make them appear fainter by rubbing them 
 with the fame, 
 
 MlZZOTINTd, 
 
Aqua Fortis. 109 
 
 M.ezzotinto, called Scraping or Burnijh- 
 ing on Copper. l 
 
 TAKE a well polifhed Copper Plate, 
 and make it all over rough one 
 "Way, with a particular Engine defigned 
 for that Purpofe, then crofs it over again 
 with the fame Engine, and if there is Oc- 
 cafion, crofs it over a third Time; till it 
 be made rough all over alike. 
 
 When you have thus roughed the 
 Plate, then rub Charcoal, black Chalk, or 
 black Lead over the Plate, and draw your 
 Defign with white Chalk on it \ then take 
 a Tracer, made of the Point of a Needle, 
 blunted round, ftuck at the End of a Piece 
 of Cane, and trace out the Out- lines of 
 the Defign, which you drew with the white 
 Chalk : And where you would have the 
 Light ftrike the ftrongeft, take a Burnifher, 
 or Scraper, and burnifh that Part of the 
 Plate as clean and fmooth as it was, when 
 the Plate was firft polifhed. 
 
 Where you would have the Light fainter, 
 there you muft not polifh it fo much ; and 
 after this Manner you muft either increafe or 
 diminifh the Light in your Defign, by mak- 
 ing it fainter or ftronger, as the NecefTity 
 of the Work requires, 1 
 
 An 
 
no An Idea of 
 
 An Idea of a fine Collection 
 of Prints. 
 
 THIS Colle&ion, which will be very 
 numerous, may be divided into 
 three principal Parts-, the Firjl* to con- 
 tain all Htjtorical Subjects ; the Second \ all 
 the Subjects of Morality ; and the Third* 
 every Thing that concerns the Progrefs of 
 the Arts of Painting* Sculpture and Engra- 
 ving * to which may be added a Fourth* 
 containing mixed Subjeffs. 
 
 The JHiJiorical Subjects will contain the 
 Hiflory of the World* according to its dif- 
 ferent Ages* Monarchies and Nations * re- 
 prefented by many Maps, Battle-Pieces, 
 Medals, Statues, Bafs- Reliefs, Portraits 
 and Buildings, Achievements and Seals, 
 Devices, Tombs, and other Monuments of 
 illuftrious Perfons. 
 
 The Moral Subjetts will contain a great 
 Number of Emblems, Enigmas and De- 
 vices> concerning the Religion, Manners 
 and Politicks of different Nations, with 
 Repreientations of the Virtues and Vices, 
 
 The Subjctls of the Progrefs of the Arts, 
 will contain the different Stiles of the Arts , 
 by comparing the antique Remains anci 
 Ruins of them, with the Works of the 
 
 Gothkk 
 
a fine Collection of Prints, i i i 
 
 Gothick Ages, and of thofe Matters who 
 have flourilhed within thefe 250 Years \ in 
 order, by that Means, to obferve their 
 Original, Increafe and Decay \ and laftly, 
 their Re-eftablifhment in the Perfection and 
 Beauty we now fee them. 
 
 The mixed 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 
 Subje£ts deferve a more accurate Defcrip- 
 tion, that the Curious may fee what each 
 ol'ume ought to contain, in order to form 
 a more agreeable Symmetry between them ; 
 I will give an exaft Account what each 
 Volume fhould be compofed of. 
 
 The firft fhould contain what paffed in 
 the Beginning of the World, according to 
 the Bcoks of Mofes, Genefis, Exodus, Le- 
 viticus, Numbers, and Deuteronomy. 
 
 The 2d ought to be a Sequel of the 
 Sacred Hiftory, as it is found in the Books 
 of Jojhua, Judges, Ruth, and Kings. 
 
 The 3d fhould contain the Remainder 
 f the Hiftory of the Old Teftament, ac- 
 :ording to the Books of EJdras, T'obit> 
 Judith, Ejlher y Job, the Prophets, and the 
 Maccabees. 
 
 The 4th may (hew us an Abridgment of 
 Nature, .the Compofition of the World, 
 
 according 
 
H2 An Idea of 
 
 according to the Poets and ancient Heathen 
 Philofophers ; the four Elements •, the 
 Heavens, the Conftellations, Planets, and 
 fixed Stars ; the Fire ; the Air, Winds, 
 and Birds; the Water; the Seas, Rivers, 
 and Fifh; 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 fhould contain the fabulous 
 Hiftory of the Ancients, of Saturn and 
 Cybeky of Jupiter and Juno, of Neptune 
 and Amphitrite, of Galatea, and many 
 other aquatick and marine Deities; of 
 Pluto and Proferpine, of the infernal Deities 
 and Torments ; of Apollo and Diana ; 
 which may be confirmed by their different 
 Medals and Statues. 
 
 The 6th, what may ferve to illuftrate 
 the fabulous Hiftory of Mars, of Vulcan 
 and Venus, of Cupid and Pfyche, of Miner- 
 Da and the Mufes, of Mercury, Bacchus* 
 and Hercules. 
 
 The 7th, a Series of the Hiftory of the 
 Gods, where there will be fome Fables, 
 Medals and Statues of the Demi-Deities, 
 
 whofe 
 
a fine Collection of Prints. 113 
 
 whofe Names, becaufe of their gFeat Num- 
 ber, I fhall omit. 
 
 The 8th may contain the Hiftory of 
 what is called the Heroick Times, the 
 Voyage of the Argonauts, the War of 
 Thebes, and alfo Ovid's Metamorphofes. 
 
 The 9th fhould fhew the War of Troy, 
 the Voyages of Mneas and Ulyffes, with 
 the laft Afts of the Heroick Ages. 
 
 In the 10th, there may be fome Subjedts 
 of the Grecian Hiftory •, the Medals, Por- 
 traits, and Statues of their illuftrious Men* 
 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 Per/tans*, with 
 fome other Aftatick, Mgypian^ and Afri- 
 can Hiftories. 
 
 The 1 2th, the third Monarchy of the 
 Macedonians^ comprehending the Adls of 
 Alexander the Great, and his Succeflbrs. 
 
 The 13th the Commencement of the 
 fourth Monarchy of the Romans-, the 
 Reigns of their feven Kings ; under Numa 
 Pompilius may be ranged all thofe Pieces, 
 which relate to the Religion, Sacrifices, 
 Ceremonies, and Burials of the Romans ; 
 under Tullus Hojiilius, every Thing that re- 
 lates to their Militia , and under Tarquinius 
 
 PrifcuSy 
 
114 •&* Idea of 
 
 Prifcus, whatever can give us an Idea of 
 their Habits, Ornaments, Magnificence, 
 and Triumphs, with the Pomp of their 
 publick Spe&acles, Feafts, and Baths, 
 
 The 14th may contain Part of the Trans- 
 actions of the Roman Republick, from the 
 Expulfion of their Kings, under their Con- 
 luls and Dictators, 'till the Time of Julius 
 C<efar\ and to make this Volume com* 
 pleat, there fhould 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<efar> and du- 
 gujlus. 
 
 In the 16th, we may fee the Manner of 
 making War, of the Greeks, Romans, and 
 ancient Barbarians. We may here have 
 feveral Plans of the Marches of Armies, 
 Profpe&s of Camps, of Battles, and the 
 Sieges of Cities, purpofely omitted in the 
 preceding Volumes, to aflernble 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 
 Ihould be a Colledtion of all Sorts of Ship- 
 ping, ancient and modern. 
 
 The 17th will rtiew us the Subjetts of 
 the Birth, Life, and Miracles of our Sa- 
 viour, who was born in the 426. Year of 
 the Roman Empire, under the Reign of 
 
 Augufius \ 
 
a fine Collection of Prints. 115 
 
 Aaguflu$\ where the Chriflian iEra be- 
 gins. 
 
 The 18th may contain the Death and 
 Sufferings of our Lord and Saviour \ and 
 a Collection of Holy Parables. 
 
 The 19th, the Reigns of the Emperors 
 Tiberius? Caligula? and Claudius , under 
 which will be contained the Hiftory of the 
 Infant Chriflian Church. 
 
 The 20th, what pafled under Nero and 
 his SuccefTors, to the End of the Reign of 
 Trajan; and this with Regard to both fa- 
 cred and prophane Hiftory. 
 
 The 21ft, the Hiftory of the Dacian 
 War, as it is reprefented in the Column of 
 Trajan. 
 
 The 22d fliould comprehend the Ages, 
 and Reigns of the Emperors, 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 Tbeodo- 
 Jius's Reign, which may be called the lafl: 
 Period of the Roman Grandeur ? and at the 
 End of this Volume fhould be placed 
 the Ecclefiaftical Geography of the Patri- 
 archates. 
 
 The 25th fhould contain the Diffipation 
 and Divifion of the Roman Empire, which 
 
 began 
 
n6 An Idea of 
 
 began to be ufurped by the barbarous Na- 
 tions, in the Times of Arcadius and Hono- 
 rius, and ended in the Eaft, by the taking 
 of Conftantinopky in the Year 1453. 
 
 The 26th, the difmal Conclusion of the 
 Eaftern Affairs in Afia, by the Conquefts 
 of Mahomet, and other Ottoman Emperors, 
 by the Sophies of Perjia, and the Kams of 
 fartary. 
 
 The 27th fhould be a Series of the Ma- 
 hometan Princes, and ALgypian Sultans; 
 the Cheriffs of Morocco* and Kings of Bar- 
 lary, that have reigned in Africa ; and af- 
 terwards ttare fhould be a Colleftion of 
 Hiftorical Pieces relating to this third Part 
 of the Globe ; the Abyjfins, the Kingdoms 
 of Congo ) and feveral others. 
 
 The 28th fhould contain the Habits and 
 Ornaments of the Chriftian Greeks, and 
 other Subje&s of the Grand Segnior; with 
 thofe of the Turks and Per/tans •, of the 
 Tartars, and other barbarous Nations ; and 
 at the End fhould be a Collection of fome 
 Cruelties, Executions, and Punifhments. 
 
 The 29th fhould be the Commence- 
 ment of the Religious Orders, which were 
 inftituted in the Eaji ; and amongft others, 
 of the Orders of St. Anthony, St. Bafil, the 
 Crofs-Bearers, the Jeromites, and the Car~ 
 melites. 
 
 The 
 
a fine Col£ectiqn vf Prints, i iy 
 
 The 30th, fome Hiftorical Pieces of the 
 Knights of Malta* who were alfo inftituted 
 in the Eajl, under the Name of Knights 
 Hofpitallers of St, John ofjerufalem. 
 
 The 31ft Ihould contain the Inftitutioa 
 of the W$ern Religious Orders, and par- 
 ticularly of thofe of St. Augujlin, and St. 
 Bennet. 
 
 The 3 2d, the different Orders that have 
 flouriflied in the Eajl, fince St. Bennet, to 
 the Time of St. Dominick, and St. Francis ; 
 that is to fay, of the Carthuftans, Prernon- 
 Jtratenfes, of the Shady-Valley, the Mat bu- 
 rins % and of the Order of the GJlercians. 
 
 The 33d Ihould contain the Order of 
 the 'Dominicans, and fome Hiftorical Pieces 
 of the Holy Rofary •, and afterwards a Col- 
 Jeftion of the Images of the Virgin Mary, 
 which are held in Veneration by moft Roman 
 Catbolicks. 
 
 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 fhould be a 
 Defcription of his Defert of Aveme. 
 
 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 
 
 Confraternities 
 
1 1 8 An Idea of 
 
 Confraternities that have arifen in the 
 Church of Rome, fince St. Francis and St. 
 Dominick, to this prefent Time. 
 
 In the 37th there fhould be a Colleftion 
 of all the Habits and Ornaments of Ec- 
 clefiaftical Perfons, and of all the Orders 
 of Monks and Nuns. 
 
 The 38th fhould be filled with the 
 Reprefentations of Religious Ceremonies, 
 and of the Magnificence of the Court of 
 Rome. 
 
 The 39th, with the Ceremonies and 
 Pomps praftifed at the Interments of Chri- 
 ilians, and of the ancient Pagans, and 
 barbarous Nations. 
 
 The 40th and 41ft fhould contain various 
 publick Rejoicings, and Entries, Triumphs, 
 Tournaments, Fireworks, Comedies, Dances 
 and Mafquerades. 
 
 The 42d, the Chronological Hiftory of 
 the Papacy, divided into Centuries, from 
 the Time of Pope Leo the Hid, to whom 
 Charles the Great gave the City of Rome, 
 to the prefent Pontificate. 
 
 The 43d, the Sequel of the Hiftory of 
 the Weft, containing a particular Defcription 
 of the modern City of Rome, its Churches, 
 Palaces, publick Buildings, Villas, Orna- 
 ments, and the remaining Monuments of its 
 ancient Grandeur. 
 
 The 
 
a fine Collection 0/* Prints. 119 
 
 The 44th, Hiftorical Subje&s 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 Colle&ion of what relates to 
 the Republicks of Venice, Genoa, Lucca, 
 Ragufa, and St. Marino. 
 
 The 46th, the Sequel of Italy, con- 
 taining the Dominions of the Kings of 
 the Sicilies, and Sardinia, the Grand Duke 
 of Tufcany, Duke oi Modena, and of the 
 Houfe of Aujlria, and other Princes in 
 Italy. 
 
 The 47th, the Hiftorical Subjects re- 
 lating to the Kingdoms and States of the 
 King of Spain, in Old Spain. 
 
 The 48th, thofe of the Kingdom of 
 Portugal-, and afterwards thofe concerning 
 the Defcription of both Spains. 
 
 The 49th Ihould be a Collection of 
 Hiftorical Pieces, relating to the Dominions 
 of the Houfe of Aujlria, in the Low Coun- 
 tries. 
 
 The 50th, a Colle&ion of thofe relating 
 to the Dominions of the King of Spain in 
 I the New World; and here fhould be every 
 Thing that regards America. 
 
 The 51ft, the Dominions of the King 
 of Spain in Afta j under which fhould be 
 
 comprifed 
 
i2o An Idea of 
 
 comprifed what relates to the Eaft-Indies* 
 China* Japan, India Proper* and the reft 
 of the Indian Princes. 
 
 The 5 2d fhould be a Colle&ion of what 
 concerns the Republick of the United Pro- 
 vinces. 
 
 The 53d, an Hiftorical Colle<5Hon 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 
 Perfcn of King James the Vlth of Scotland, 
 and Ift of England * with a Defcription of 
 this Monarchy. 
 
 The 55th, of what regards the Northern 
 States ; that is to fay, Rujfia* Poland, 
 Sweden* Denmark* and other Northern 
 Countries. 
 
 The 56th fhould contain the States of 
 the Kingdoms of Bohemia, and Hungary* 
 the Arch-Dutchy of Aujtria, the County 
 of Tirol, and other hereditary Dominions 
 of the Houfe of Aufiria. 
 
 The 57th, the Hiftorical Subjefts con- 
 cerning the Emperors of Germany, from 
 Conrad, Duke of Franconia, who tranf- 
 ferred the Empire from the French to the 
 Germans, to the kte Emperor. 
 
 The 
 
a fine Collection 0/* Prints. 121 
 
 The 58th, what relates to the nine 
 Electors of the Empire, as well the Eccle- 
 fiaftical as the Secular. 
 
 The 59th, what relates to the other 
 German Princes, both Ecclefiaftical and 
 Secular. 
 
 The 60th, what regards the Free Cities 
 of the Empire. 
 
 The 6 1 ft fhould contain whatever re- 
 lates to the Republicks of Switzerland, Ge- 
 neva, the Grifons, the Principality of Neuf- 
 chatel, and the other Allies and Subjects of 
 the Switzers. 
 
 The 62d, what concerns the Dutchies 
 of Burgundy, Normandy, Lorrain, and Bri- 
 tany, before they were united to the French 
 Monarchy. 
 
 The 63d fhould contain the Antiquities 
 of the Gauls, and the Portraits of their il- 
 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 Gau f , under 
 the Conduct of Pharamond. 
 
 The 65th, what regards the fccond Race 
 of their Kings, from Pepin, to Louis the 
 Vth. 
 
 The 66th fhould begin with the third 
 
 Race of their Kings, and contain every 
 
 Thing that relates to thejn, from Hugh 
 
 G Capet, 
 
122 An Idea of 
 
 Capets to the End of the Reign of Charles 
 the Fair ; where the Right Line of the 
 cldefl Branch ended. 
 
 The 67th iliould contain what concerns 
 their Kings of the third Race, from Philip 
 of Valois, to the Death of Louis XL 
 
 The 68th, the Reigns of their Kings, 
 Charles the VIII. Louis the XII. Francis 
 the I. and Henry the II. ; and as by the 
 Marriage of Mary of Burgundy, with 
 Maximilian, Europe has been iiace divided 
 into the two Families of Auftria and Bour- 
 bon -, to avoid Confufion, thole Pieces re- 
 lating to the foreign Wars of the French, 
 with the Portraits of the eminent Men, 
 who have been either their Allies- or Ene- 
 mies, may be put under the Reigns of their 
 Kings. 
 
 The 69th and 70th may contain the 
 Reigns of their Kings, Francis the II. 
 Charles the IX. and Henry the III. 
 
 The 71ft, what relates to the Order of 
 the Holy Ghoft, which was inftituted by 
 Henry the III. and here may be the Names 
 and Arms of all the Commanders and 
 Knights of the Order, from its firft Infti- 
 tution to the laft Creation. 
 . The 7 2d, what relates to the Reign of 
 Henry the IV. 
 
 The 73d may contain the Beginning of 
 the Reign of Louis the XIII. his Portraits, 
 
 thofe 
 
a fine Collection ^Prints, 123 
 
 thofe of the Queen, the Princes and Prin- 
 cefles of* the Blood ; with the Arms or 
 Portraits of the Cardinals, Bilhops, and 
 
 treat Officers of the Crown, and Houfe- 
 old. 
 
 The 74th, the Arms and Portraits of 
 fome Ecclefiafticks, Religious, and Secu- 
 lars, of all Conditions, who lived, and 
 were engraved, during the Reign of Louis 
 the XIII. to which may alfo be joined Van- 
 Dyk's Portraits, 
 
 The 75th, fome Pieces of the magniH- 
 cent Ceremonies, Rejoicings, and other 
 Feftivals, that paffed in Fr#nci % in the 
 Reign of Louis the XIII, 
 
 The 76th, what paiTed of the fame Kind 
 in Foreign Countries, during this Reign, 
 
 The 77th, the Pieces reprefeming the 
 warlike Exploits of the Ftwch Nation, 
 from the Beginning of the Reign of Lam 
 the XIII. to the Year 1629 $ w hen al! the 
 cautionary Towns of the Proteftants were 
 reduced to his Obedience, 
 
 The 78th, the military Anions that 
 paired in Europe from the Time of Leuu 
 the XIII. to the Rupture of the Peace with 
 Spabh in the Year 1635, 
 
 The 79th, the military Actions, from 
 the Treaty of Peace at STraw, to the Death 
 of Lms the XIII. 
 
 Gt The 
 
124 ^ n Ib-ea of 
 
 The 8oth may contain the Habits and 
 Ornaments of the ancient and modern 
 French^ from the firft Eftabiifhment 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 8 ill, 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 living. 
 
 The 8 2d, a Series of the magnificent 
 Ceremonies, Feftivals, publick Rejoicings, 
 Fireworks, Gfr. during the fame Time. 
 
 The 83d fhould be a Geographical De- 
 icription of the French Monarchy, as it is 
 now divided into Provinces, Parliaments, 
 Governments, Generalities, Dioceies, and 
 Sub divifions; to which fhould be added, 
 Charts of the Coafts, Plans, or Profils of 
 the fortified Towns and FortrefTes, of the 
 principal Churches, and publick Buildings, 
 and of the Royal Palaces, with thofe of 
 die Princes of the Blood, Nobility, and 
 Gentry. 
 
 The 84th fhould contain Maps of the 
 States and Provinces, with Plans or Pro- 
 iiis of the principal Towns and FortrefTes, 
 Which have been added to the French Mo- 
 narchy, 
 
a fine Collection ^Prints. 12*5 
 
 narchy,, from the Beginning of the Reign 
 of Louis the XIII. to the prefent Time. 
 
 The 85th, the Portraits of all the emi- 
 nent Men in the Kingdom of France, ei- 
 ther for Arts or Arms, fince the Reign of 
 Louis the XIII. to the prefent Time •, to 
 which may be added, thofe of Flanders, 
 and other Countries. 
 
 The 86th may be compofed of the Por- 
 traits of thofe People, who ought to be 
 avoided ; fuch as, the Authors of different 7 
 Se£ts, of Men noted for Impiety or Liber - 
 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 inflict- 
 ed on them, from the Beginning of the 
 World to this Time. 
 
 The Pieces which will illuftrate the Arts 
 of Fainting, Sculpture, and- Engraving, will 
 alfo compofe many Volumes. 
 
 The 1 ft of which may contain the Ori- 
 ginal of the Art of Painting, in the Algyp- 
 tian Hieroglyphicks, the Alphabets of dif- 
 ferent Nations, fome Bas- Reliefs, Trophies, 
 Rings, Cameos, Vales, Urns, Ornaments 
 of Architecture, and ancient Infcriptions 
 and Epitaphs. 
 
 G 3 The. 
 
is6 An Idea of 
 
 The ad* fomc Pieces relating to the an- 
 cient Hebrews, with a Colledlion of JFefti- 
 vals* Medals* and antique Statues. 
 
 The 3d may contain the two Books of 
 the Marquis Juftiniani't Gallery* which are 
 full of antique Pieces ; and the Trajan Co- 
 lumn, which is the mod entire Piece of 
 Antiquity extant. 
 
 The 4th may {hew us the Decay of 
 Painting and Sculpture* during 1 100 Years 
 that the Empire was on the Decline * from 
 Conjlan$ine<> to the End of the fifteenth 
 Century *■ and fhould be cornpofed of a 
 great Number of Pieces in the Grecian* 
 /Egyptian, and Goihick Stiles* taken from 
 the old Paintings* Tombs* Medals, Seals* 
 and Tapeftry. 
 
 Tha 5th may be the Books* intitled* 
 Roma Subterranean filled with Pieces* in the 
 Decline of the Empire* of the Qotbkk 
 Stile. 
 
 The 6th ftottld bo the? Sequel ef th* Dtf* 
 cay of the Arts, with ieveral Pieces tram 
 wooden Plates, which (hew us the Rudenefs 
 of their Defigns* fince the Invention of 
 Printing, 
 
 The 7th may be the Original of the Art 
 of Engravings about the Year 1490 j con- 
 taining many Pieces of the firft and moft 
 ancient Engravers *- as of Ifraet, and Mar- 
 tin Tedefco, the Maft^r of Albert Durer ; 
 
 Of 
 
a fine Collection ^Prints* 127 
 
 of Daniel and Jerom Hopfer, and feveral 
 others. • 
 
 The 8th, the Works of Albert Durer y 
 the Reftorer of Painting, and great Per- 
 fefter of Engraving in Germany and the Low- 
 Countries, about the Year 1520. 
 
 The 9th, a Sequel for the Works of the 
 German and Low-Country Matters, contain- 
 ing fome Pieces of Lucas o$ Ley den* 
 
 The 10th may be filled with Pieces en- 
 graven on Wood, done in Germany, fince 
 1500, to this Time, as well by Lucas 
 Cranis, Jacob Pens, Hdbeins, Hans Scbauf- 
 flig^ as others. 
 
 The nth may be a Series for Germany 
 and the Low -Countries, containing fome 
 Pieces of thofe, which are called the Lejfer 
 Mafters ; that is to fay, of George Pentz, 
 Aldegraef, Sebalde, John D'bifpanien, his 
 Brother, of Virgilius Solis, and others, whole 
 Names and Marks are unknown. 
 
 The 1 2th fhould be compofed of the 
 Works of Francis Ploris, who is called the 
 Flemijh Raphael, and thofe of Martin 
 Hemjkirk. 
 
 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. 
 ^uintin, George Behan, Gilles Majfart, and 
 Gilles Coignet, of Otho Venius, Cornelius 
 G 4. Cort, 
 
128 An Idea of 
 
 Cert, and Theodore Bernard of Amjlerdam, 
 of Francis Klein, a Dane, and of John 
 Strada. 
 
 The 14th fhould be ilill 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 Janffens, of Paul Morelfer, Nicholas 
 Ihey, Geldorp, Goltzias, Jofua of Monpre, 
 John Hcefnaghel, Gerard of Groninghen, 
 Cornelius Vanjichem, John Bol, David Van 
 Boons, and Peter Vander-Borcht. 
 
 The 15th fhould contain fome of the 
 Works of Henry Hubart, and James Julius 
 Goltzius. 
 
 The 1 6th fhould be the Works of Wil- 
 liam and Crifpin de Pas, of Magdalen and 
 Barbara de Pas, and of feveral others of 
 that Name. 
 
 The 17th fhould be ftill a Suite for Ger~ 
 many and the Low-Countries, comprifing 
 fome of the Works of Nicholas de Bruyn, 
 of 'Theodore de Bry, and of James de 
 Ghein, 
 
 The 1 8th fhould comprehend the Works 
 of John, Raphael, Jujlus, and Gilles Sa- 
 dalaer, and alfo thofe of Martin deVos. 
 
 The 19th fhould be ftill a Suite for Ger- 
 many and the Low- Countries, and contain 
 fome Pieces of Anthony and Jerom Wierx, 
 
 of 
 
a fine Collection ^Prints. 129 
 
 of Lucas Vofterman, Valdor, John Saenre^ 
 dam, of John and Herman Mutter, James 
 Mathan, Simon Phrygius, Bartholomew Do- 
 lende^ of Mirevelt, and the Bolfwert's, of 
 Michael Snyders, Baptijt Urintz, Hans Bol, 
 Peter and Gerard de Sode, of Ajjuerus Lon- 
 derfeel, and of Adrian Collaert. 
 
 The 20th fhould be another Suite o£ 
 Matters that flourifhed in Germany and the 
 Low-Countries, in the Beginning of the*- 
 17th Century ; viz. of Jofeph Heintz, 
 John of Vingth, John Abhach, John Rotten-* 
 banter, of M. Kager, Peter ' Landide, and 
 Do mi nick Cuflos } of Chrijl&pher Schuvarts 7 
 John Spec card \ and Gerard S eg hers, of Bar- 
 tholomew Spranghers, Abraham Bloemaertj 
 Anthony Van Dyck, of Abraham Brower, 
 Gerard Honthorjl, James Jordaens, and c£ 
 Robert Prince Palatine. 
 
 The 21ft fhould be the Works of Sir 
 Peter Paul Rubens, a famous Painter of the 
 Low-Countries, 
 
 I would fill the 2 2d with the Reprefen* 
 tations of Night, and other dark, gloomy^ 
 Pieces of various Mailers of all Nations ; 
 as- of L. Gouth, J. Velde, Wittembrouck r 
 Rembrant, Vanvliet,. and others. 
 
 The 23d fhould be a ColJeftion of di* 
 vers Landfkips, done by Matters of diffe- 
 rent Nations, that is to fay, of Paul and 
 Matthew Bril 9 of the Sadaiaers, Peter Ste~ 
 G 5 pkanp % 
 
jjo An Ietea of 
 
 phano % Cornelius Cornell, Roeland Savery, of 
 Monperche, 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 CleveSj Michael Colyns, and New- 
 land ; with fome Sea-Pieces, and maritime 
 Profpe&s. 
 
 The 24th fliould be ftill another Suite of 
 different Landfkips, viz. by Peter and 
 John Brughel, Londerfeel, J. Velde, Tobit 
 Verdach, Vandeboons, Merian? and others. 
 
 The 25th, in order to fee the Re-efta- 
 blifhment of the Arts of Sculpture and En- 
 graving, fliould contain fome Pieces of the 
 firft Painters and Engravers, as of Anthony 
 Pollarolo, Andrew zidBenedift Mantegna, 
 of Dominick Campagnola, John of Bref*ia r 
 and James of Verona 5 as alfo of feveral 
 ancient Engravers, whofe Pieces are only 
 known by their Marks -, as the Matters of 
 the Name of Jefus, Mercury, the Crab- 
 Fijh, the Bird, the Star, and feveral 
 others ; to which I would alfo add r 
 fome Pieces of the firft Italian Painters ; 
 as of Giotto, Ghirlandaio, of Hercules of 
 Ferrara, of Peter of Perugia, the Matter 
 ef Raphael, and of Giorgione, the Matter 
 of Titian. 
 
 The 26th fliould be a Suite of the Italian 
 Matters, containing only fome of the 
 
 Works 
 
a fine Collection ^Prints. 13 1 
 
 Works of Raphael of Urbin ; and thofe 
 engraven only by Mark Antonio^ and Au- 
 gujiin of Venice. 
 
 The 27th, a Suite of the Works of 
 Raphael^ engraved by the ancient Matters, 
 from 1530, to 1560 ; that is to fay, by 
 Julius BonaJfone y Sylvejler and Mark of Ra- 
 venna r Beaitrix of Lorrain^ and others. 
 
 The 28th fhould contain fome Pieces of 
 Michael Angelo. 
 
 The 29th fhould be another Suite of the 
 Works of the Italian Matters, containing 
 fome Pieces of Anthony of Corregio^ Francis 
 Matzuoh) firnamed Parmigiano> and Po- 
 ly dor e of Caravagio. 
 
 The 30th, the Works of Titian. 
 
 The 31ft fhould contain the Works of 
 Julio Romano^ the Caracci, and Perin del 
 Vaga* engraved by John B. of Mantua* 
 and Diana , his Daughter ; as alfo by Theo- 
 dore Ghijiy and George Julius of Mantua. 
 
 The 3 2d fhould be compofed of the 
 Works of the Painters and Sculptors, 
 that were Contemporaries of Raphael and 
 Michael Angelo^ to the End of the 16th 
 Century, viz. of Baccio Bandinello, the 
 Salviati, of Balthazar Peruzzi, Dominico 
 Beccafumi) of Sodam of Sienna^ Pordenone, 
 Marcellus Venufio^ and Bapti/l, a Monk of 
 the Order of Camaldoli. 
 
 G 6 The 
 
132 ^// Idea of 
 
 The 33d fhould contain fome Pieces of 
 Tbaddeus and Frederick Zucchero, of Da- 
 niel of Vo la terra, Mark of Sienna, and 
 Bapiijl Bel Hyloro. 
 
 The 34th, fome Pieces of Paul of Ve- 
 rona % Paul Farinate, the Bajfans, of Tinto- 
 ret, Baptijl Franco, of Mutiano, and the 
 elder and younger Palma. 
 
 The 35th, fome Pieces of thofe, who 
 flourished between the Year 1550, and the 
 End of the 16th Century, viz. of AEneas 
 Vico, Martin Rota, and Reverdino, of Ca- 
 millo Proccacini, Baptijl Fontana, of Cor- 
 nelius Cort, Pajfaro, and Sebajiian of Ve- 
 nice. 
 
 The 36th, a Suite of the Works of the 
 Italian Engravers, who flourifhed towards 
 the latter End of the Sixteenth, and the 
 Beginning of the Seventeenth Century ; 
 that is to fay, of Cherubino Alberto, Villa- 
 mwa, of Raphael Schiaminofa, and the Ta- 
 rn afini. 
 
 The 37th fhould contain the Pieces of 
 Francis Vanius, Ventura, Salembeni, of Ci- 
 voli, Michael Angelo, Car av agio, and the 
 three Caracci. 
 
 The 38th fhould be a Suite of the Works 
 of the Italian Painters of the feventeenth 
 Century, viz. of the Capuchin Friars, Pi- 
 azzc, and Ccfmo of Cajicl Franco, of Hip- 
 politus, Scarzelin, of Schiavone, Cangiage, 
 
 Borgian, 
 
a fine Collection of Prints. 133 
 
 Borgian, Charles of Venice, Pafqualin of 
 Verona, Alexander Cafolani, Bernard Caftel- 
 lo, Vefpajian Strada, Anajlafms Fontebuono 9 
 Francis of Viterbo, Luke Ciamberlani, An- 
 drew of Ancona, of Anthony Pomerange, of 
 Matthew and Frederick Greater, of Philip 
 of Naples, and Stephen della Bella. 
 
 The 39th, a Suite alfo of the Works of 
 the Painters and Sculptors, that flourifhed 
 in Italy, during the feventeenth Century ; 
 that is to fay, of Cavalier Jofepino, Guer- 
 cino, Cirano, Francis the Fleming, and 
 Marcel of Provence, the Reftorer of Mo- 
 faick Painting, of Gentileque, Valentin, Ed- 
 ward Fialetti, of Peter Beretino of Cortona, 
 Dpminichino, and Guido Reni. 
 
 The 40th fhould be to (hew the Re-efta- 
 blifhment of Painting in France, and con- 
 tain fome Pieces of Rene, King of 
 Sicily, of Leonard da Vinci, Andrew del 
 Sarto, and Rojjb. 
 
 The 41ft fhould be a Suite of fome of 
 Primaticcio\ Works, engraved by Leo of 
 Avefnes, and Anthony Jantus, his Engra- 
 vers ; as alfo fome Pieces of Jeffery of 
 Moutiers, Leonard of Limoges, Stephen of 
 Lofne, Rene Boivin, Luke Penis, Dominick 
 of Florence, and Leonard Thury. 
 
 The 42d may be filled with the Works 
 of John Coufin, John Genet, of Swifs, of 
 Little Bernard, Peter of La Tour> Laurence 
 
 the 
 
1*34 -dn Idea of 
 
 the Glazier, Jujlus of Egmont, and of fe* 
 veral others, engraved in France, fince the 
 Commencement of the fixteenth Century. 
 
 The 43d fhould contain fome Pieces of 
 thole Mafters r 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 Breuil^ Bur- 
 net, Caron, du Bois, Lallemand, Thomas de 
 Leu, Leonard Gualtier, and others. 
 
 The 44th, the Works of thofe Mafters, 
 who flourilhed about the Middle of the 
 feventeenth Century, that is to fay, of 
 James Blanchard, de Rabel, Ferdinand* 
 Ifaias Fcurnier, John Lis, Faber and Mal*- 
 lerac, of Ruelle, Bellange, and James Callot. 
 
 The 45th fhould alfo be compofed of 
 the Works of James Vhomme, of Little 
 Francis, Vanmol,. Mellin, ^uefnel, St. Igny, 
 Jejfelin, Roujfellet, and Peter Brebiette. 
 
 The 46th may be filled with the Works 
 of the beft French Engravers, viz. of Clau- 
 dius Mellan, Gregory Huret, Peter Daret, 
 Giiles Roujfellet, Michael Lafne, and many 
 others. 
 
 The 47th, with the Works of the moft 
 eminent French Painters, that is to fay, of 
 Simon Vouet, Nicholas Poujjin, James Stella, 
 Champagne, Bourdon, de la Hire, Vignon, 
 Loir, Charles le Brun, and Peter Mignard, 
 engraved by the beft Mafters. 
 
 The 
 
tjine Collection 0/* Prints. 135: 
 
 The 48th, I would fill with the fined 
 Pieces of the mod celebrated Engravers of 
 the feventeenth Century. 
 
 The 49th, 50th, &c. may contain a 
 Colledion of Pieces of different Mailers of 
 all Nations, who have either been omitted 
 or forgotten in the preceding Volumes, 
 or have flourifhed fmce the End of the 
 feventeenth Century ; as well as of others 
 now living, whofe Names I fhall not fpecify, 
 having an equal Veneration for them all. 
 
 The Subjects of Morality will alfo form 
 fcveral Volumes, viz. 
 
 The ift may contain fome Emblems of 
 the Chriftian Worfhip. 
 
 The 2d may be the Reprefentations of 
 the Virtues and the Vices, with their Sym- 
 bols. 
 
 The 3d may contain a Colle&ion of 
 different Emblems, Fables and Enigmas. 
 
 The 4th, a Colle&ion of the Devices of 
 Popes, Kings, Prelates,, Princes, Noble- 
 men, and others. m 
 
 And laftly, the 5th may be compofed 
 of a C >lledion of Hiftorical Emblems, De- 
 vices and Enigmas, relating to Love and 
 Death. 
 
 The Mixed Subjefts will alfo compofe 
 fome Volumes, viz. 
 
 The 
 
1.36 An Idea of> &c. 
 
 The firft may be a Colle&ion of the re- 
 markable Women, mentioned in the Old 
 and New Teftaments. 
 
 The 2d of Holy Virgins, Martyrs, Fe- 
 male Saints, beatified Nuns, &c. 
 
 The 3d and 4th may alfo be Colie&ions . 
 of Chriftian EmprefTes, Queens,, and ilhif* 
 trious Women of different Nations, 
 
 The 5th may be the Reprefentations of 
 Roman Ladies, taken from the antique 
 Statues, Bulios, Bas-Reliefs, &c. 
 
 The 6th may contain a Colleftion of the 
 Goddeffes of the ancient Pagans •, with 
 fome illuftrious ALgyptian, Grecian^ /Jfiatick, 
 Perfian^ and Mahometan Ladies. 
 
 The 7th may be filled with the Portraits 
 of Women, both ancient and modern, 
 who were either imperfeit, mad, or Profti* 
 tutes. 
 
 The 8th may comprehend a Collection 
 of all Sorts of Hunting, Fifhing, and Fow- 
 ling Pieces; to which may be added, a 
 Collection of all the Animals that- are treatr 
 ed of in the aforefaid Pieces. 
 
 And laltly, the ninth may be filled 
 with a Number cf all Sorts of humorous 
 and grotefque Pieces \ to which may be 
 added, a Collection of all Sorts of Mafque- 
 rades. 
 
 REP ER- 
 
( 137 ) 
 
 REPERTORIUM 
 
 Sculptile-Typkum : 
 
 OR, A 
 
 Complete Collection and Explanation 
 
 Of the S E v E R A L 
 
 Marks and Cyphers 
 
 o F 
 
 ENGRAVERS, &c. 
 
 jii ji* JfiL-dti -«♦«■ ■•*♦'«- ■»*fr^ ■»♦«- -»*^ -«*t , «- ***** i"l!* ^i*. ii* -ijK» ^ti- *S«. -»it* -dt* -*i* -iit* <*& *Jt* ■*&• -Ju -*Jt* 
 
 I- If ^ 
 
 Q=~ 
 
 i7^JV5 Schauflig, that 
 is, ya&fl Scbauflig of Nordiingen in Germany. 
 We find this Mark in a Folio Book, in 
 which the Paffion, Refurreftion, and Af- 
 
 cenfion 
 
238 Marks and Cyphers 
 cenfion of our Lord are engraved, witb 
 Notes by Ulderic Pinder^ printed, at Norim- 
 berg in. 1507, He engraved in the Manner 
 of Albert Durer. 
 
 ■A 
 
 2 
 
 StoltziiiS) fee engraved in the 
 Gothick Tafte. 
 
 QyjLjt Michael Coxis^ his Mark of 
 certain Arabian Stories in 68 Piates, dated 
 different Years, one is in 1576. 
 
 s l0c*O Noel Garmrty Engraver of 
 Grotefques, Ornaments, and Figures, parti* 
 culary of Arts in 48 Pieces. 
 
 ^'vAIr Domenico Campagnola^ a Vent- 
 tian> and Scholar to Titian ; we meet with 
 fome of his Pieces engraved in 151 8. His 
 Brother Julio was alfo an Engraver. 
 
 6* Michael 
 
of Engravers, .&c, 139 
 
 6 -M 
 
 Michael te Bkn> of Frankftrt> 
 died in Amjlerdam^ Anno 1650. 
 
 7& 
 
 Rene Boivin, engraved feveral 
 PJates of antient Foliages* 
 
 *$^ 
 
 loiVi John Maria da Brefcia, a 
 Carmelite Friar, in 1502 he engraved 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. 
 
 ^*- Miearino % an Engraver in the 
 Qothich Manner. 
 
 # %/'VU> Matthew Zageh engraved 
 feveral Ornaments, and Grotefque Pieces* 
 per lo traverfoj or with Crofs Strokes ; he 
 lived in j^oo. 
 
 YitGaftar 
 
140 Marks and Cyphers 
 
 1 1 . (5p op \jd 
 
 ^~^ dr C a/per Reverdin-, 
 
 or Ravenjlein y his Pieces are lafcivious,. 
 and two of them reprefent Curtezans fport- 
 ing together. 
 
 * *Jf\ V Dirich+Vander-Staren, 
 lived in 1500. He marked his Plates with 
 the Month and Year in which they were 
 engraved ; as in that of the Flood, and 
 another where the Virgin s aloft, and St, 
 Bernard at her Feet ; marked 3d Off. 
 1*524, and the other marked Anno j 544, 
 He likewife ufed the Letter D in which was 
 a-V.. 
 
 ^ * X JU/~/ A.\ Jl '-L Hieronymus Md- 
 cetus^ he published the Refurre&ion of our 
 Saviour, and feveral Battles. 
 
 ■ 'T'jiVV. Anthony Vuormace, a Painter 
 of Cologn, lived Anno 1529. He engraved 
 the 'Twelve Apoftles-, in a Handing Pof- 
 ture. 
 
 15. Vuaer 
 

 of En gravers, &c. 141 
 
 »5 
 
 L5&H 
 
 Vuaer Van Hojfanen^ 
 
 engraved 12 Round Plates of the Paffion, 
 
 and underneath various Symbols of our 
 
 Saviour. He likewife engraved the Life 
 
 f Chrift in 60 Plates. 
 
 * 6 -/^\ 
 
 Philip Adler Paticina 
 with this Mark marked on S. Chriofaftnus. 
 
 1 7'GH£Or*ffi Cornelius Sichen, 
 ufed thefe two Marks in 108 Plates of the 
 Old Teftament, 1569. 
 
 8 M 
 
 I 
 
 An unknown Mark on fe- 
 veral Grotefque Pieces. This Mark differs 
 very little from Number 55, which is alfo 
 unknown. 
 
 1 9 • V(Wv Virgilio 'Sole engra- 
 ved a great many Pieces in Copper and 
 Wood, in Hi/bin's Tafte. He engraved 
 the Old and New Teftaments in 200 Plates >, 
 the Metamorphofes of Ovid in 170 fmall 
 
 Plates; 
 
142 Marks and Cyphers 
 
 Plates \ Hunting-Pieces in great and fmall, 
 &c. He fometimes made the Letter V on 
 one Side of the Plate, and S on the other, 
 See Number 61, ■ 
 
 20 '• JlO A D. Bruin, in 1560. 
 He engraved Six of the Twelve C^fars^ 
 and various Ovals in 1579. 
 
 ■'•m 
 
 Lmbreckt Uopfer^ a Get* 
 many engraved all kinds of Subjects : Some* 
 times his Mark is a Vafe of Flowers in the 
 midft of the Letters LH, or the perpendi- 
 cular Stroke of the L in the fecond Stroke 
 of the H. He engraved 27 Pieces on the 
 Pafllon, 
 
 22, iigyc\^M Adrian C*lhert % 
 he ufed various Marks, either in the Old 
 Teftament, in Ornaments, in Freezes, 
 Stories, Grotefque Subjefts, or Deaths 
 which are dragging away feveral Perfons. 
 
 23, Cor met 
 

 ^Enghavers, &c. 143 
 
 a- (7VE 
 
 M S % V-J - 1 — • Gww/ made this Mark 
 in Small Subjedts of two Figures each, 
 both Lame, and a Charity with her three 
 
 Children. 
 
 4-JVE 
 
 Martin Hem/kirk^ his Mark 
 in various Ornaments, in one of which are 
 feveral Moles or Wants, j 548. • 
 
 2 5' v JC Thefe two Marks are in 
 various Figures between Niches and Archi- 
 tecture of Chappels. 
 
 •6.£ 
 
 Luke Van Cranogio^ or Luke 
 Van Cracn> Painter to the Duke of Savoy. 
 His Mark is fometimes L C, with a winged 
 Dragon, and the Year 1509. At other 
 times his Mark is two little Gothtck Shields, 
 or with the Mark in Number 35, or 
 L. V. C. He engraved in Wood and 
 Copper. 
 
 2;. A 
 
144 Marks and Cyphers 
 
 / • 1M V1YL A Mark placed over 
 feveral Ornaments of Gothkk Architefture. 
 
 Nicholas de Bruyn^ he ufed three Marks, 
 in different Times. 
 
 s'JSy^J Cuerenbert, his Mark in fe- 
 veral Turkijh Stories, and various Subjects 
 invented by Martin Hemjkirk. 
 
 3 * jJu\^ Albert Durer, of Norimberg, 
 Painter and Engraver,, his Mark : He alio 
 ufed the Mark A. F. but in very few 
 1*1 arcs. John Burckmayr Augujlano made 
 ufe of the former Mark ; and Matthew 
 Grunevald, of Ajchaffemburgb^ 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 Senate 
 of Venice. 
 
 31. Hijbel 
 
{/"Engravers, &c. 145 
 
 XPJJ Hisbel Peun, an Engraver 
 of Norimberg^ called Hisbin : He uled this 
 Mark from 15 13 to 1549. Hans (or 
 John) Sebald Beham alfo ufed the fame 
 Mark in his Plates. Some are of Opinion, 
 that the Mark at Number 141 is Hisbin 1 s 
 Mark. Others, that there were two En- 
 gravers of the fame Name, and that their 
 Marks differ' d by changing B in P. See 
 ifi the Abcedario Pittorico for Hans Sebald^ 
 Page 220. 
 
 ^ lGi Albert Aldegraft, of Weft- 
 pbalia, a famous Engraver. 
 
 33 feR 
 
 X JL/ /7<zw Brefanck, engraved the 
 Stories of the New Teftament j and in 
 16 19, the Twelve Apoftles, our Saviour, 
 and St. Paul. 
 
 J ^" TJff^i / £«<w VanLeydm y a 
 celebrated Painter and Engraver, ufed thefe 
 two Marks; in fome of his Plates we fee 
 Part of the Mark at Number 133. 
 
 H 35. Hans 
 
146 Marks and Cyphers 
 
 3 5 • IkIV Hans Kaldung's Mark, 
 which alfo was ufed by Luke Van Cranogio, 
 but for what Reafon is not known. Sec 
 Number 26. 
 
 3 * JL jL3 Hans Baldung^ or Balduin, 
 in a Plate reprefenting Horfes, engraved in 
 1534. The fame Mark was ufed by Hans 
 Brofamer, in his Plates of Curtius riding in- 
 to the Gulph, in his Laocoon, and Solomon 
 worfhiping the Idol. Horatio Borgiano 
 likewife made ufe of the fame Mark in 
 his Plates, and fometimes made an H and 
 aB. 
 
 Joft Animon, made much 
 
 37-JVB 
 
 fuch a Mark. 
 
 Cornelius Heviffen. 
 
 39. Martin 
 
^Engravers, &c. 147 
 
 39* l^UOL ^ Martin de Secu, of 
 Romerfiolaen ; he alfo marked his Plates 
 thus, M + S. 
 
 4" >S Periecouter y his Mark in feve- 
 ral Figures in a Handing Pofture, engraved 
 in 1535. 
 
 4 * • JLyif Daniel Mignot fecit. 
 
 4 2 ' Jt/vJL Peter Merc and. 
 
 43-^/v(5rc§Cj Peter §uaft, has 
 
 two Marks, making a P and Q^ At other 
 Times his Mark was P. £{uaft, as in cer- 
 tain Grotefque Pieces. 
 
 44- (? 
 
 George Pens^ Painter and En- 
 graver of Noritnbergi together with Mark 
 Antonio Raimondi, engraved the Works ©f 
 'Raphael in Rome. He engraved after Aide- 
 graft's Manner, his Mark was fometimes 
 G. P. 1554, 
 
 Hz 45« The 
 
*48 Marks and Cyphers 
 
 ^^ The Mark on a Dead 
 Chrift, under which is written Jean Ladef- 
 peldrickt invenit. The fame Mark is found 
 on other Pieces. 
 
 Peter Cottart, an Engraver 
 of Vafes. 
 
 W-I]F^OrlF S & Andrev, An- 
 dreani of Mantua^ he made ufe of thefe 
 two Marks. He engraved on Wood, a 
 ire taglu> or three Croffings in his Shades* 
 The fecond Mark is found in the Triumph 
 oi Julius Csefar'm 10 Sheets, engraved in 
 1 599, and was invented by Andrew Man* 
 tegna^ who alfo engraved on Copper. An- 
 drew Andreani was called il Piccolo Alberto, 
 or Little Albert. 
 
 * 8 -dh 
 
 Cornelius Bus, or Bofs-. 
 
 49. The 
 
cf Engrave r -s, &c 149 
 
 4PTr I? 
 
 11 Jli The Mark of certain 
 Prints of Satyrs, and naked Figures under 
 Trees. 
 
 5°*1N VV A Mark under cer- 
 tain Pieces of Foliages and others, in the 
 Arabic Tafte, 1535. 
 
 S 1 ;J&\r\l A Mark under a 
 Chrift fupported by two Angels, 1555. 
 
 Jr JL A Mark under certain Ana- 
 tomical Figures. 
 
 53- 
 
 11 YZ-/ Peter Voeriot of Lorrain, 
 Engraver of Portraits. 
 
 S4*^20TX\ Bofs, or Bofcbe, ufed 
 thefe two Marks, different from Cornelius 
 Bofs. 
 
 H 3 55. A 
 
150 Marks and Cyphers 
 
 «-m 
 
 A Mark on the Twelve 
 Apoftles in a Handing Pofture, in large 
 Sheets. This Mark differs but very little 
 from Number 18. 
 
 5 . Jp -^ £j A Gothick Mark un _ 
 
 der Lazarus rifing from the Dead. 
 
 5 7* JfPju dgoftino Parifino, ufed this 
 Mark. He engraved the 81 Images de- 
 figned by Florio Macchi, which are found 
 in a Book, intitled, The Emblems of Paul 
 
 Macchi. 
 
 S°» | K ^l ^ Hans Lutenfach, who in 
 1560 engraved in a Book for the Nuptials 
 of the Emperor Ferdinand, Tilts, Tourna- 
 ments, and Rejoicings, in Callct's Manner. 
 
 ^' % Jrih A Mark under feveral 
 Landfkips, in . one of which is a Man on 
 Horfeback killing a Dragon •, 'tis alfo 
 found under fome little Pieces in which 
 
 Chrift's 
 
^Engravers, &c. 151 
 
 Chrift's Paffion is engraved. See Num- 
 ber 154. 
 
 k 1 John Scborel's Mark under 
 the Twelve different Labours of Hercules. 
 
 01. yv VirgiUo SoI ^ f Bru j e / Si un . 
 
 der a dead Chrift, engraved on a large 
 Plate in 1542. See Number 19. 
 
 «»-3A. 
 
 The Mark found in an Old 
 Teftament in 50 Sheets, fome of which are 
 marked S. F* 'Tis likewile found in 105 
 Plates of the Roman Wars, and in 129 on 
 different Subjefls, with Latin Characters 
 at Top and Bottom. This Artift likewife 
 ufed the Mark I. A. 
 
 63.3$ 
 
 A Gothick Mark. 
 
 The Mark on a Print re- 
 prefenting a Satyr piercing a Prieftefs of 
 Bacchus with an Arrow. 
 
 H 4 65. fheodon 
 
. 152 Marks WCyphers 
 
 ®S*tj\r) Theodore Zagbel, his Mark 
 in a Woman with her Back towards you. 
 
 66.R& 
 
 A Mark in an Adam and 
 
 Eve. 
 
 V/ A Mark in a Peafant, who 
 endeavours to break a Bough from a Tree. 
 
 68.^ 
 
 A Mark under the Four 
 Evan^elifts. 
 
 69- JL 
 
 Rene j or Renato Lochon^ 
 under feveral Portraits and Works of Poli- 
 ciore, 1651. 
 
 70. 
 
 Leonard Gaultier. 
 
 71. Peter 
 
^Engravers, &c. 153 
 
 7 * • I k Peter Lombardi, he engraved 
 the Works of Monfieur Sampagna* 
 
 ' * ' o^ John Covay, engraved the Works 
 of Mr. Vovet 9 and others. 
 
 / J* \p Francis Cauveau, engraved a, 
 great many Plates. 
 
 JiJ Peter Daret, engraved various 
 Subjects and Portraits. 
 
 7 S* xVJLj Michal l 9 Jfne 9 engraved 
 the Rudiments of Defigning, and other 
 Plates* 
 
 / JJ Francis Perier, Painter and En- 
 graver, publifhed feveral Roman Antiquities 
 1635, as in the Index of Roffis Plates, 
 
 77' J/ \L A Mark in certain Gothick 
 Pieces dated 1545. 
 
 H 5 1% 
 
154 Marks and Cyphers 
 
 78 JR. 79 ©\P 
 
 Zo -A 81. 
 
 
 GVL 
 
 82. 
 
 83- 
 
 l^ J. F. Zabelh, a famous Dt- 
 IJgnerof Bergamo, 1546. 
 
 84. 
 
 8 5 G^g 
 
 88. ft 
 
 JL The Marks, or Characters, 
 from Number 78 to 88, are found in cer- 
 tain Gothkk Plates. 
 
 §9. Jacinto 
 
^Engravers, &c. 155 
 
 y» vp j ac i n t Q Giminiani, of Piftoja, 
 Scholar to Peter da Cortona. 
 
 9°- iff 
 
 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. 
 
 9I *3Mta^ff Thefe two 
 Marks are in Twelve Pieces copied from 
 the Paintings in the Chappel of Fontainbleau \ 
 on one Side is the firfl Mark, fignifying S* 
 Martin of Bologna^ who was Francefco Pri- 
 matkciO) called Abbot of S. Martin's ; on 
 the other is the fecond Mark, which (lands 
 for Anthony Guernier the Engraver. 1 he 
 Reader will hereafter meet with the other 
 Marks ufed by Abbot Primaticcio. 
 
 ' •lOi Adamo^ a Sculptor of Man- 
 tua* engraved the Angles of Michael An- 
 gela Buonaroti^ in feveral Plates, and worked 
 for other Mailers. 
 
 H 6 93. Thefe 
 
156 Marks and Cyphers 
 
 93- GM^OrMsT Thefe 
 two Marks were ufed by Giorgio Ghifi, of 
 Mantua ; he fometimes put Gbifi-Mantovan 
 fecit. 
 
 94. *lf 
 
 ^s Stephen Colbenftagb Sc. Roma , 
 he engraved the Paintings of Dotnenicbino. 
 
 ^ \L± Gio. Benedetto Cajiiglioni, of 
 Genoa, a famous Painter and Engraver of 
 all Subjects. 
 
 JlJOTJL Peter Tejla, of 
 
 Lucca, a Painter and copious Engraver, 
 
 ufed thefe two Marks. He was Scholar to 
 Peter da Cortcna. 
 
 y / • j^- T j^ e ^j ar k f a Nativity, co- 
 pied from Parmigiano, engraved by Luke 
 Kilian. 
 
 98-WorlB 
 
 Mantegna, of Mantua* or Padua* Painter 
 
 and 
 
 Andrew 
 
of Engravers, &c. 157 
 
 and Engraver, his Marks : The fecond 
 Mark is found in the 10 Plates of the Tri- 
 umph of Julius Cafar, engraved by himfelf, 
 and afterwards cut in Wood in 1599, by 
 Andrew Andreani of Mantua, as we ob- 
 served in Number 47. 
 
 •$Lr^ 
 
 99* 
 
 lyjLtnry^^ ^ Mark Anto- 
 nio Raimondi, of Bologna, called of France, 
 Raphael Urbin's Engraver, his Marks ; 
 which Pieces he marked with the Letters 
 R. S. M. F. intimating by the two firft 
 Letters, Raphael Sancio, by the two lafl: 
 Marco Francia, or Marco fecit. He like- 
 wife employed other Marks, i. e. B. S. 
 Signifying Bononienfts Sculptor. In his 
 Plates copied from Bumaroti he put MI. 
 AG. FLO. u e. Michael Angelus Florenti- 
 ne ; and afterwards for his own Mark he 
 employed that of Mantegna, exprefled in 
 Number 98, which in like manner may 
 alfo Signify Marcus Antonius fecit. In the 
 Life of Chrift engraved by him, and co- 
 pied from the Plates of Albert Durer, of 
 Venice, he marked the Leaves with Albert 
 Durer's Mark. 
 
 100. Ch- 
 
158 Marks and Cyphers 
 
 XTD Or Ci\ Cberu- 
 lino Alberti Borghegiano, that is, da Borgo 
 S. Sepokro, ufed thefe two Marks. He en- 
 graved the Works of Raphael^ Michael 
 Angelo^ Polidore^ and others. 
 
 * ^y^\j Silvejlro da Ravenna> 
 Mark Antonio's Scholar and Imitator, from 
 1535 to 1560. He employed himfelf 
 wholly in engraving the Pieces of Raphael 
 and Julio Romano. 
 
 102 " 5h0V&n- The firft of 
 thefe Marks is of Bernardo Caftelli> z Ge- 
 noefe Painter and Inventor. The fecond of 
 Camillo Congio, an Engraver, whofe Mark 
 was alfo C. C. fecit. 
 
 1 ° ^ # \Li Lewis Valefio, of Bolog- 
 na. Painter and Engraver * his Mark was 
 alfo VAL. 
 
 104. Raphael 
 
^Engravers, &c. 159 
 
 104.^ 1 >^/\v 
 
 I V / V Raphael Scatninojji, 
 Painter and Engraver, 
 
 5* (P JC Odoardo Fialetti fecit. 
 He was a Painter and Engraver of Bologna. 
 
 10 (gfLorJi, Two different 
 Marks ufed by Sahator Rofa y a Neapolitan 
 Painter and Engraver. 
 
 IVIl 4 A Mark under a St. 
 Sebajlian engraved by Michael of Lucca 9 
 after the Manner of Michelagnolefco, 1550 ; 
 and we find the fame Mark in a Madona of 
 Raphael, and after it, ERRT. exe. 
 
 io8-PD 
 
 \JL Bernard Pafero, an Engra- 
 ver of all Subje&s. 
 
 109. Martin 
 
160 Marks and Cyphers 
 
 ioo.lVR 
 
 -LYA V Martin Rota Sabinenfe, 
 fometimes marked with thefe Words, Sa- 
 benzanus fecit. 
 
 no. 'St 
 
 oCv Luca Penni Romano, or 
 Luca P. R. was Raphael Vrbin's Scholar, 
 and Brother to Fattorino •, he invented very 
 beautiful Subjects, which were engraved by 
 Giorgio Ghifi of Mantua in 1 556. 
 
 "'•Hi 
 
 Henry Goltzius : This ce- 
 lebrated Dutch Engraver imitated the Man- 
 ner of feveral Matters w 7 ho lived before 
 him. He engraved Raphael's Paintings, 
 and thofe of other Matters. 
 
 1 1 2,.* 
 
 James Grand 9 Homme, engra- 
 ved the Portraits of the Herefiarchs, and 
 others after Rembrandt's Manner ; at other 
 times he marked thus, J. G. Van Uliet. 
 
 113* 7! 
 
 K/ZJ Cornelius Berghem, or Ber- 
 
 ihen, is fomething like the Mark 102. 
 
 114. The 
 
of Engravers, &c. 161 
 
 1 l ^'J\}s The Mark of Albert Fla- 
 men in certain Plates of Birds, Beafts, and 
 Fifhes. Alexander Badiali, a Painter and 
 Engraver of Bologna \ and Anthony Bofs, a 
 Native of France, likewifeufed this Mark. 
 
 -S-Nor&T 
 
 II 
 
 Two Marks of 
 Peter Vander Nelpe, an Engraver of all Sub- 
 jedls. 
 
 JlVjL Theodore Van Tulden, 
 likewife an Engraver of all kinds of Sub- 
 jects. 
 
 ' JPy^ Francis Villamena, of Af- 
 fifi, an excellent and expeditious Engraver. 
 He likewife ufed the following Letters, 
 F. V. F. or F. Villam. F. 
 
 cP\jLJ David Van Boons, Inv. 
 and after this Mark we read Oons ; his 
 Plates were engraved by P. Servator Sc. 
 
 119. 1 G. 
 
162 Marks and Cyphers 
 
 -*■ A y # >y^) I G. Broncborftj in certain 
 Landfkips, in which we likewife find the 
 Letters C. P. i- e. Cornelius Polemburgb 
 finxit. 
 
 1Z0 -~L&L or % uu 
 
 Vqfterman, Fainter and Engraver of Ant- 
 werp, was advifed by Peter Paul Rubens 
 to apply himfelf to engraving ; he engra- 
 ved the Works of the faid Rubens, as alfo 
 thofe of Raphael, and Vandyck. 
 
 I % 1 . 9$ Op 3pH§g The Marks of 
 Hans Saenredam, a Dutchman : He died in 
 1607. 
 
 * ^^* JUT James de Ghein excudit, at 
 Charles Mander's 1608. 
 
 I2 3- ^V^> T he Mark of Adam 
 Mljheimtr, who worked with Peter Breug- 
 hel. 
 
 124. The 
 
gf Engravers, &c. 163 
 
 rr J^-f jk e jyr ar i^ j n certain 
 Landfkips of Henry Given or <& Clef. Mar- 
 tin de Clef alto made ufe of this Mark. 
 
 $* JjS&J This Mark is of Scheldt 
 a Bolfwaert, and was ufed by him when 
 he had not a mind to fubfcribe his own 
 Name. 
 
 126.TO- 
 
 . JL\JL Rembrandt ; at other times 
 he ufed to put Van Rhin inv. He was a 
 Painter and Engraver. 
 
 I27, _ 
 
 Near this Mark we read 
 Olyn. and thefe are Landfkips engraved by 
 J. Van-Velde. 
 
 JL\ V A Mark in certain 
 Landfkips and Solitudes, fignifying An- 
 thony Van Vuaterl Inventor ; 'tis fome- 
 times joined with the firfl of the three 
 Marks that follow next, i. e. H. S. P. 
 made in one. 
 
 129; Jofeph 
 
164 Marks WCyphers 
 
 Jofeph Ribercii called Spagnoletto, ufed 
 thefe three Marks at different Times. 
 
 ^ %gS The Mark of a Virgin en- 
 graved by Cornelius Bofs, and underneath 
 Michael Ange : inv. that is Bitonaroti. See 
 Numbers 48 and 54. 
 
 # ^/C The Mark of a Virgin 
 Sitting, after the Manner of Burer r and 
 underneath 1510. 
 
 I 32. 
 
 ,^J This Mark is under a fmall 
 
 Virgin Handing on a Half-Moon. 
 
 133. VXH AM ark „„- 
 
 der a S. Veronica^ holding the Holy Hand- 
 kerchief. The former Part of this Mark is 
 feen in fome Plates of Lucas Van Leyden. 
 
 ^^'iVjLvJ Mauro Oddi, of 
 Parma, Engraver and Painter. 
 
 135- dg°ft ino * 
 
of Engravers, &c. 165 
 
 ^ _zV\_ Agcftino, a Venetian, Scho- 
 lar to Mark Antonio Raimondi, engraved at 
 Rome, the Paintings of Raphael, Julio Ro- 
 mano, and others. He alfo marked with 
 the Letters A. V. I. or A. V. 1525. 
 
 I ^ Q^OV^Qj Stephen Delia 
 Belfo, of Florence, a famous and whimfical 
 Engraver, His other Mark is S. B. 
 
 $ / # iSpC/ y^ Cefare Venenti, an 
 Engraver of Bologna. 
 
 I38 - JVY 2 
 
 Jfo/^fe Maria Metelli, 
 of Bologna, a famous and fantaftical En- 
 graver of all kinds of Subjects, 
 
 *39 # JC?J Andrea Salmincio, of Bo- 
 logna, an Engraver, and Valefio^ Scholar. 
 
 140. Do- 
 
166 Marks and Cyphers 
 
 k ■ jL# Domenico Beccafumi Siennefe, 
 a Painter and Engraver : We alfo find this 
 Mark in certain Wooden Cuts, copied from 
 Titian's Paintings. He died in 1549. 
 
 T * XvX See Number 31, where 
 we find pretty near the fame Mark. 
 
 142. fTT* 
 
 VJJ Francis de Poilfy, engra- 
 ved for feveral Matters. 
 
 Anthony Salamanca, or 
 
 Ant. Sal. exc. 1543 
 
 144- J^T The Mark of Herman' 
 Coblent under the Four Evangelifts andi 
 other Plates ; one of David \ of Judith, andi 
 Lucretia; and afterwards Adrianus Ruber - 
 tus exc. 1576* 
 
 »«.«ac 
 
 Raphael Urbin, a cele- 
 brated Painter and Inventor, whofe Pieces 
 
 were 
 
ef Engravers, &c. 167 
 were engraved by the greateft Mafters. In 
 the prefent Mark he gives the Initials of 
 his Name and Sirname. See Number gg. 
 
 146. JgJ 
 
 Hans Liefrinck, who thus 
 marked certain Plates reprefenting Birds 
 and Hunting- Pieces, with Ornaments* 
 
 47B) 
 
 Domenico Barriera, of 
 Florence, who going commonly by the 
 Nariic of Domenico Fiorentino, marked fome 
 Plates D. F. 1647. The fame Mark was 
 ufed by Domenico Bonavera, an Engraver of 
 Bologna, and Domenico Bettini a Painter, 
 in his Pieces of Flowers and Animals. 
 
 1 ■ * J_ \\* Anthony Tempefta, of Flo* 
 rence, a famous Engraver : His Mark was 
 fometimes a T. with an E. joined to the 
 Leg of the T. 
 
 149- 1&[ 
 
 ringius fecit. 
 
 Nicolas Bcatrici Lotba- 
 150. Thee- 
 
j68 Marks ^Cyphers 
 
 u zk: Theodore Cruger^ or Greuger; 
 
 Engraver. 
 
 •3 /~"\/ Andreas Vande-Veme pin- 
 
 xit. VV. Delft. Sc. that is, Willielmus 
 Delft Sculpfit. 
 
 IC2. 
 
 JN/jl £fe#ry F<z# Ckven, or C/r 
 
 w&/£," or d* C/<?/, a Painter of Antwerp , 
 who died in 1589. See Number 124. 
 
 JAjOUL Matthew Grunewald^ fir- 
 named of Af chaff emburg^ Painter and En- 
 graver after the Manner of Albert Durer ; 
 he died in 15 10. 
 
 1 54- 7/N\ The Mark of feveral 
 little Plates, reprefenting our Saviour's 
 Myfteries, engraved either by Agnes Freij\ 
 Albert Durer's Wife, or fome Scholar of 
 his. 
 
 *55- Gio - 
 
ft 
 
 ^Engravers, &c. 169 
 
 5 5 # (J LBt Gio. or (John) Baiifta Gal- 
 kjlrucci, of Florence, Engraver, inferred in 
 the Catalogue of Roman Painters, in the 
 Year 1652. He engraved feveral of the 
 Baffo- Relievos of Polydore. 
 
 ic6.(R zi 
 
 u . VJULV£ Guido Ruggeri fecit. 
 
 The Mark of feveral Pieces painted wit Fon- 
 tainebleau by Abbot Frimaticcio, and en- 
 graved by the above-mentioned, who ao 
 companied him into France. 
 
 x 57- w" 
 
 V The Mark of Juius Sa : 
 dalaer. He fometimes ufed only this Mark** 
 at other times he added, Sadalaer. I. S. 
 '*£. is the fame. 
 
 ^Zxi i Alexander Algardi, Sculp- 
 tor of Bologna, in a Conclufion engraved by 
 Francis de Polity, 1653. He at other 
 times made ufe of the fame Mark, but 
 without the G. 
 
 1 159. Francis 
 
170 Marks and Cyphers 
 
 * l^/T Jl Francis Maria Fran- 
 da, an Engraver of Bologna. 
 
 ' jl JL--/4 \r ^Etf<w Vighi, or 
 J^m?, of P^ra^ . His other Maris are M. 
 E. V. M. V. 
 
 1 6 1 . /r.u 
 
 C/ X Count d.e Cayxus, of 
 Paris, his Mark, on his Engravings in 
 Wood, &c. from the Drawings of the 
 _greateft Matters. 
 
 ■4 
 
 i6x 
 
 The Mark of Crifpin Paf- 
 feus, or Crifpin de Pas. 
 
 1 " 3 ' 7% The Mark of CW^ /f/- 
 bertus, in a Book of Vafes from Polydore. 
 
 6 4 . $_, 
 
 Cafpar Luyken. 
 
 165. George 
 
^Engravers, &c. ty\ 
 
 65 & 
 
 i66.JJ) 
 
 George Keller. 
 David Tenters. 
 
 167. 0t 
 
 (J^Cy y. Epifcopus, or Bifiop 
 
 168. , 
 
 Francis Cauvetu. SeeNum- 
 
 ber 73. 
 
 ,6 »Hi 
 
 /few? Hondius. 
 
 i7 °-m s , 
 
 Martin di Bologna. 
 .S. 
 
 - . £Vl The Mark of i^W 
 Scbiammffi de Burgo, on the Heads of our 
 Saviour, the Virgin Mary, and the Twelve 
 1 2 Apoftles, 
 
172 Marks and Cyphers 
 
 Apoftles, in 1606 and 1607, as big as the 
 Life. See Number 104. 
 
 J ^-<£) 
 
 Z. Dolendo. 
 
 i73.7r"T7 
 
 ± Jl J — i Anthony Tempefta^s 
 Marks in a Book intitled, in §)uatuor JEvan- 
 gehftas Arabics fcf hating printed at Rome. 
 J3ee Number 148. 
 
 Jl\ A* Genoels, on his Land- 
 fkips. 
 
 I7 ^'V^€£ail^ Fecit, upon 
 feveral Prints from Rubens. 
 
 7 • \^£S Wencejlaus Hollar Pra- 
 eenfis excudit. 
 
 X77. 
 
 iJliL^ On the Plates in a Book 
 in 1 2 mo. intided, Liber atione di Vienna daW 
 Armi Ottomane^ di Lotto Lctti. Parma 
 1685. 
 
 i;8.0n 
 
gf Engravers, &c. 173 
 
 tJyL' On an Etching of our Sa- 
 viour fainting under the Crofs. 
 
 179. tr 
 
 y X FE, Hen. Cock exc. 1570. 
 
 ISO. 
 
 "O 1536. 
 
 181. 4 ti Pl 
 
 ilPlJ On the Senfes very 
 fmall, 1569. See Number 20. 
 
 i\fLJ On two Prints, the Wife 
 Men offering, and a Circumcifion, after 
 the Manner of Lucas Van Ley den. 
 
 8 * 
 
 TO0 J . On the Plates of a Book 
 in Quarto, intitled, Medailles Antiques de 
 Mr. Ant. de Pots. Quarto. 
 
 I 3 184. Claudio 
 
174 Marks and Cyphers 
 
 i s± 
 
 * « > 7V| / Clandio Mete/It, on the So 
 
 Plates of the Cries of Bologna , by Hanni- 
 bal Carracci. 
 
 ' k? * V^ See Nu 
 
 mbers 19 and 61. 
 
 186. 
 
 \ 
 
 f. 
 
 j 7/r^/ Martin^ one of the 
 firfl Engravers. yf/for/ Durer, Lucas Van 
 Leydtn, and Aldegraft, were his Difciples. 
 
 / 1) A Alexander Badiak^ a Pain- 
 ter ; the firft of thefe Marks was ufed by 
 Anthony Bofs* P. 
 
 ' * 1 U Jacobus Binkj Painter and 
 Sculptor. 
 
 190. Peter 
 
vf E N G R A V £ R S, £?£. %f$ 
 
 190. fp*) 
 
 7V/*r Brebiette, Painter. 
 
 191. (g or CCinv. ^ 
 
 Cignani, Painter. 
 
 much like Number 125. 
 
 I0 3* X3I. ^7-^5x6 D -* Idrw ^' 
 
 194*1x1 Hermannus Henr. Quiter. 
 
 * 
 
 95- "V 
 
 Y Cornelius Vifcher. 
 
 I + 196. Tbcmaus 
 
 I 
 
jy6 Marks and Cyphers 
 
 Thomaus Cook/on, an Englijh 
 Engraver, ufed this Mark. Some of his 
 Works bear date from 1609 to 1624. 
 
 197. w^, 
 
 Rpf* > Two Marks made ufe of 
 by Prince Rupert, the firft to a Sa- 
 racen's Head, the latter to a Man with a 
 Spear, both in Mezzotinto ; to him we are 
 indebted for that delicate Art. 
 
 198. 7% 1 
 
 *uf John Evelyn \ Efq; 
 
 liis Mark to five fmall Prints of his Journey 
 from Rome to Naples. 
 
 ss % Ew^zr John Fanfomer' s> which is 
 fometimes miltaken for Paul Vanfomer. 
 
 200. y^/^ T h e Mark on Mi- 
 chael Angelas laft Judgment, of one Foot 
 five Inches by one Foot ten Inches, Rom*. 
 
 201. The 
 
^ Engravers, &c. 177 
 
 JJj) The Mark of Bartholomew 
 Breenbergh) on Landlkips. 
 
 2 ° 2 - A A? 
 
 X V \_A A Mark on a 
 Head of Albert Durer. 
 
 N. B. Number 62 is alfo the Mark of 
 Simon Frizius\ and Number 128 is alfo that: 
 of Ant onius Wat trio* 
 
 mm. 
 
 
 I 5 x 7ie 
 

 ( *79 ) 
 
 
 "The Initial Letters ufed 
 by Engravers for their 
 Marks. 
 
 AB Thefe two Letters joined together, ivith 
 an F iffuing out from the B, is the Mark 
 #/ Alexander Badiale of Bologna, Pain* 
 ter and Engraver. 
 
 Ab. Bl. . i Abraham Bloemaert, an inde- 
 
 A. Bl. ' \ fatigable Dutch Engraver. 
 
 A. Both. Andrew Both. 
 
 a " r } ^ re a ^ Marks > of Au- 
 
 a'q C g u fti no Carracci of Bo- 
 
 / A T logna, a celebrated Pain- 
 
 A% Bononi*,-* ter and En ^ aver - 
 
 A. D. J. F. Anthony de Jacquart Fecit. 
 He engraved fever al Pieces. 
 
 A. D. Bruin, fee Number 20. 
 
 A. G. Albert Glockentonius, in the Twelve 
 Plates repreftnting our Saviour's Paffion. 
 
 A. F. A Mark found in fome Plates <?/ Al- 
 bert Durer, fee Number 30. 
 
 16 A.LP.L 
 
i8o 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 a 
 univerfal Planifphere. 
 
 A. S. See Number 90. 
 
 iE. V. See E. V. Signifying Eneas Vighi, 
 or Vico ; and fee Number 160. 
 
 A. V. 1 Agoftino the Venetian. See 
 A.V.J. 1 Number 135. 
 
 B. John Sebald Beham. See Number 31. 
 Abbot Primaticcio, who in France was 
 called 0/ Bologna, ufed the Letter B for 
 his Mark. 'Twas alfo ufed by il Bonafoni, 
 and likewife by Domenico Beccafumi, in- 
 ierfetling it with a Line, as in Num- 
 ber 140. 
 
 BAL. SEN. Baldaflar Senefe, i. e. Baldaf- 
 far Peruzzi 0/ Sienna. 
 
 jB. B. Bartholomew Boham of Norimberg •, 
 he engraved in kome, and in Bologna, 
 with Mark Antonio Raimondi. Bar- 
 tholomew Bifcaino, a Genoefe Painter^ 
 alfo tiled thefe -Letters in fuch Plates as 
 were of his own lnventicn. 
 
 B. B. A. F. Baccio Bandinelli, a Floren- 
 tine Architect. 
 
 Eeiii itcit. James Belli- See J. B. F. 
 
 B.C. 
 
B 
 
 nfed ^y Engravers, i 8 1 
 
 B. C. Equ. Bartholomew Coriolanus, of 
 Bononia, Knight. 
 
 B. F. V. F. Baptift Francus Venetus fecit. 
 
 B. M. VVV. Bernardo Malpucci, of Man- 
 tua, Painter and Engraver ; he engraved 
 in Wood with three Tools \ with the firft 
 he wade the Profil, with the fecond the 
 Shadows, and with the third the Lights. 
 
 Bol. Inventor. 1 Julio Bonalbni, of Bo- 
 
 Bonafo ic. 1545. * logna. See J. B. F. 
 
 B. P. Bartholomew Pailarotti, of Bologna, 
 a Painter. 
 
 B. S. Bartholomew Shenius, or Bononienfis 
 Sculptor. 
 Z. 1581. Bern. Zan. 
 
 B. Cornelius Bofs. This Artijl engra- 
 ved Julio RomanoV Bacchanal. See 
 Number 130. 
 
 C. Bl. I Cornelius Bloemaert, Son of A- 
 
 Corn. Bio. J braham the famous Dutchman. 
 
 C. Bleker. The Mark of Cornelius Bieker 
 in certain Hiflorical Landjkips^ 1636. 
 
 C. C. Fecit. Camillus Congius. See Num- 
 ber 102. Charles Cignani, 0/ Bologna, 
 Painter ', Inv. Healfo ufedtwo CV, the one 
 within the other. 
 
 C. D. F. Charles David Fecit. 
 
 CI. Mell. ic. Romas. Claudius Mella- 
 nus. See M. inv. 
 
 C. L. fee. Cafpar Luyken fecit. 
 
 C.P. 
 
1 82 The Initial Letters 
 
 C. P. Cornelius Polemburgh pinxit. John 
 Bronchorft inc. See Number 119. 
 
 C. Schoeriius, Martin Schoenio, 0/Calem- 
 bach, Painter and Engraver, in tbe 
 Time of Albert Durer. He died in 
 i486. Some of the Curious think him to 
 be the fame with Buonmartino. See Num- 
 ber 39. 
 
 D. Domenichino, of Bologna, a famous 
 Painter and Inventor. 
 
 D. B. Bernard Gallo, called the Short, en- 
 graved fever al Works, and among the reft 
 Ovid'j Metamorphofes, and the Old and 
 New Teftament printed at Lyons 1559. 
 
 D. F. Domenico <?/ Florence. See Num- 
 ber 147. 
 
 D. H. David Hopfer, Brother of Lambert, 
 noted down in Number 21, and of Je- 
 rome •, all three German Engravers. 
 
 D. M.C. Domenico Maria Canuti, a co- 
 pious Painter of Bologna. 
 
 DO. CAP. 151 8. Domenico Campagnola, 
 of Venice. 
 
 E.V. Eneas Vighi, or Vico, 0/Parma, engra- 
 ved the Works (?/Ro(T], Titian, Buonaroti, 
 Julio Clovio, and tf/Baccio Bandinelli. 
 
 E. V. H. Efaiah Van Hulfen. 
 
 F.B. 
 

 ufed ^ Engravers, 183 
 
 F. B. Francis Briccio, of Bologna, Pain- 
 ter ; he engraved 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, infiead of the I, put F, 
 that is. Fecit, 
 
 Fr. Bol. Inv. Francis of Bologna Inventor, 
 that is^ /^0/Primaticcio. 
 
 F. C. Francefchino Carracci, of Bologna, 
 younger Brother to Auguftin and Han- 
 nibal. 
 
 F. L. D. Ciatres exc. The Mark of a 
 Dealer in Prints. 
 
 F. P. Francis Primaticcio, or Francefco 
 Parmegiano, who fometimes put an F only y 
 in his Wooden Cuts engraved with three 
 Tools. v 
 
 F. P. J. V. Bonafius. Thefe Letters are 
 found in a Madonna of Francefco Pri- 
 maticcio, engraved by Julio Bonafoni. 
 
 F. T. F. Flaminio Torre fecit. He was a 
 Painter and Engraver. 
 
 F. V. B. 
 
 "} Francis Vanni Fecit. Fran- 
 
 F. V. F. f cis Villamena ufed this and 
 
 F. Villam.F.r" the following Mark. See 
 j Number 117, 
 
 G.A. 
 
184 The Initial Letters 
 
 G. A. The Heirs of John Agucchia. 
 
 G. F. Giorgio of Mantua Fecit. In a 
 Piece of Primaticcio'j reprefenting Vul- 
 can'j Forge. See Number 93. 
 
 G. M. F. Giorgio of Mantua, in other 
 Pieces of the abovementioned Primaticcio. 
 
 G. P. George Pens. See Number 44. 
 
 G. R. ? Guido Reni, of Bologna, a ce- 
 
 G. R. F. 3 lebrated Painter, Fecit. 
 
 G. R. B. G. F. Guido Re-ni, in the Over- 
 throw of the Giants, engraved 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. in v. 
 
 Har. Holbenius. Holbenius 0/Haerlem. 
 
 H. B. This Mark was ufed by Hans Burck- 
 mair, who engraved 36 Hijiorical Pieces 
 relating to the Empire -, Hans Brofamer, 
 who lived in 1538; and Horatio Borgiani 
 0/Rome. See Number 36. 
 
 H. Bol. Hans Bol, i. e. John Bol, in cer- 
 tain Land/kips. 
 
 H. C. Flans Liefrink, in certain Plates of 
 
 I Birds, and Parties of Hunting, in Freezes. 
 See Number 146. 
 
 H. H, Hans Holbein. 
 
 HO. 
 
ufed ^Engravers. 185 
 
 HO. FF. 1599. In a Print of Pharaoh 5 s 
 Army drowned, by Paul Farinati, 0/ Ve- 
 rona. 
 
 H. S. 1558. Hercules Septimius Muti- 
 nenfis. In certain Figures and Ornaments 
 of Buildings. 
 
 H. V. C. 151 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 
 Head, after Albert Durer'j Manner. 
 
 'Yfulio Bonafoni fecit. 
 J. BonafoF. 1544./ See other Marks at 
 J. B. F. > the Letter B. Bo- 
 
 Julio. B. L nafo 1544, was an- 
 
 J other of his Marks. 
 
 J. B. M. John Baptifta, of Mantua, was- 
 
 Scholar to Julio Romano ; he engraved 
 
 the Burning of Troy, and other Pieces of 
 
 his own Invention. 
 
 J. B. F. James Belli, a Frenchman, fecit* 
 
 or Belli fecit. 
 J. C. Proc. Inv. Julius Casfar Procaccinus 
 
 Inventor. 
 J. G. BronchorfL See Number 119. 
 J. G. Van Uliet, is the fame as James 
 
 Grand-homme. See Number 112. 
 J. Hi Jerom Hopfer. 
 
 t H. 
 
i8'6 The Initial Letters 
 
 I. H. W. 1570. 
 
 J. K. James Kerver. 
 
 I. L. 1 712. J. Lu ; ken. 
 
 I. M. Ifrael Meek, in certain Subjefts of the 
 
 Pajfion, and ether Plates. See I. V. M. 
 
 The fame Mark was aljo ufed ly Ifrael 
 
 Martino, fupf&fed to be the fame 1 
 
 Buonmartino, who lived in 1490. 
 L. fee. Joannes Liviu c fecit. He engraved 
 
 after Rembrandt'j Manner. 
 Jo. Guilf. Baur. John William Baur. 
 
 See William Baur. 
 Jo. AN. BX. John Antonius Brixianus, 
 
 1538. See Number 8. 
 I. R. W. 
 J. S. Juftus Sadalaer exc. John Saenredam 
 
 ufed the like Mark, joining the J. to the S, 
 
 See Number 121. and 157. 
 J. S. B. John Sebald Bcham. See B, and 
 
 Number 3 1 . 
 I; V. M. Ifrael Van Mechelen, or Meche- 
 
 lini, or Van Meek, and of Lomazzo, 
 
 furnamed of Mentz - 9 he lived before Albert 
 
 Durer, and fome times marked his Piatt s 
 
 with his Name Ifrael, only. 
 
 L. C. Civ. F. with the firjl C in the perpen- 
 dicular Stroke of the L, is the Mark of 
 Ludovico Cardi, furnamed C\voY\, <z Flo- 
 rentine Painter, in a Plate of the Supper 
 of the Pharifee. 
 
 l.g. 
 
ufed by Engravers. 187 
 
 *] Lewis Carracci Inven»- 
 
 L. C. F. B. / tor. Francefco Bric- 
 
 Lod. C. I. Fr. Bri. f cio intaglio, or en- 
 J graved. 
 
 L. C. ? Lewis Carracci, in his three Plates 
 
 L. O. C. > engraved with his own Hand. 
 
 L. D. In a Sacrifice^ and Alexander the 
 Greats by Abbot Primaticcio. 
 
 T p -y Luke Van Cranogio, or Luke 
 
 t'v'c > Van Craen, Painter of Savoy, 
 ^ „ Anno 1509. See Number 2 6 . 
 
 L H. Lambert Hopfer. See Number 21. 
 
 L. K. A. Luke Kilian, of Augsburg, en- 
 graved Tintoret'j and Spranger'j Works. 
 
 L. -) Lambert Lombard, or Sufterman, 
 
 L. L. £ or Suavius, all which fignify. the 
 
 L. S. ^ fame Perfon. 
 
 L. L. I Lorenzo Lolli, Guido Reni'j 
 
 Lollius. J Scholar. 
 
 Lucas P. R. Luke Penni, /i><? Roman, 
 Raphaels Scholar. See Number no. 
 
 L. V. V. Luke Van Uden, in fome of 
 Titian's Landjkips. 
 
 L. Lucas 0/Leyden. See Number 34. 
 
 M. A. F. See Number 99. 
 
 M. C. Martin de Clef, or Clivenfis Au- 
 
 guftanus. 
 M. D. Vos. Martin de Vos> a celebrated 
 
 Inventor for Engravers. 
 
 Mel. 
 
1 88 The Initial Letters 
 
 Mel. Gir. fee. Melchior Girardini feck. He 
 was a Painter and Engraver at Rome. 
 
 M. G. Matthew Greuter, Engraver^ bom 
 at Strafburg, Ann. 1566. 
 
 M. inv. \ Are all different 
 
 Mel. p. &fc. f Marks of Clau- 
 
 Mellan.. f dius Mellan of 
 
 Mel. fc. Romas. 163,3. ) Paris. 
 
 MI. AG. FLO. Michael Angelo, ^/Flo- 
 rence, L e. Buonaroti. 
 
 M. L. Melchion Lorichius. 
 
 M. Merian. Matthew Merian, 
 
 M-f S. Martin de Secu, or Schonio, called 
 by fome Buonmartino, was Albert Durer'j 
 Mafter. See Number 39. 
 
 M. R. Mark - Ravennate, or Ravignano, 
 u e. Mark of Ravenna, Scholar to Mark 
 Antonio Raiiribndi. See R. S. 
 
 M. Z. Martin Zinkius, u e< Zazingeri, 
 1500. See Number 1 o . 
 
 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 engraved Raphael's 
 Galleries, painted in the Vatican. 
 
 N. M. D. Nicholas Manuel de Berna, 1 5 1 8. 
 
 3S P. or P N. Peter Nolin. 
 
 P. B.F. 
 
tifed ^ Engravers. 189 
 
 p t?" ' } Paul Blancus fecit & incidit. 
 
 I\ C. Paul Caliari, r. *. Paul Veronefe, 
 
 Painter and Inventor. 
 P,F. Paul Farinati of Verona, Painter and 
 
 Inventor. 
 P. H. Peter Hys, in certain Pieces of De- 
 votion. 
 Phil. Th. 1589. Philip Thomafini. 
 P. John Sebald Beham. See Letter B. and 
 
 the Letters V. P. 
 P. Quaft. Peter Quaft. See Number 43: 
 Pi. Ss. Bart. Peter Santi Bartoli, Engraver, 
 
 0/Perugino in Rome. 
 P. S. F. Peter Stefanoni fecit. This Artift 
 
 engraved the Carracci's Works. 
 P. V. Borcht inv. & fc. Peter Van del 
 
 Borcht. 
 
 R. The Mark of Ravignano, and under- 
 neath R. V. I. that is % Raphael Urbino 
 Inv. See MR. 
 
 R. B, T. A. Robetta. 
 
 r! s! m'. ?\ SeeNumher 99- 
 
 R. S. Ravignanus Sculpfit. See M. R. 
 
 R. S. ML R. Mark 0/ Ravenna. He put this 
 
 Mark to Raphael Sancio Urbino'j Pieces. 
 R. V. A. Gaudenfis Sculp. The Mark of 
 
 fever al Pieces invented by Peter -da Cor- 
 
 tona. 
 
 S. 
 
igo The Initial Letters 
 
 S. 
 
 S. B. Stephen della Bella of Florence. See 
 Number 136. 
 
 S. B. D. Piftor. Under cm Annunciation, 
 invented by Peter Candido. 
 
 S. C. Simon Cantarino, called of Pefaro, 
 Painter and Engraver. 
 
 S. C. F. Stephen Carteron fecit, 1616. 
 
 Sebenzanus fecit. This is Martin Rota of 
 Sabina. See Number 109. 
 
 S. F. Simon Frifius fc. Tbefe are Portraits 
 engraved by Henry Hondius. See Num- 
 ber 62. 
 
 S. G. S. Simon Guillain (c. This Artijl % who 
 was born in Paris, engraved 80 different 
 Figures of Hannibal Carracci, 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 0/ Florence, Painter 
 
 and Engraver. See Number 148. 
 T. C. Theodore Cruger. See Number 150. 
 
 VAL. Valefio, John Lewis Valeiio of 
 
 Bologna. See Number 103. 
 Van Rhin in. Rembrandt de Rein. See 
 
 Number 126. 
 , V. C. Viocenzio Caccianemici, a Nobleman 
 
 of Bologna, and Painter. 
 
 Vef 
 
ufed by Engravers. 191 
 
 Vef..S. Vefpafiano Strada of Rome. 
 V. P. or B. or P. or J S. P. were four 
 Marks ufed by John Sebald Beham, when 
 
 - he did not care to put his own Name, 
 which is found Number 31. 
 
 V. S.i 62 2. Valentine Sezenius. The fame 
 Mark was alfo ufed by Virgilio Sole, men- 
 tioned Number 19. 
 
 V. S. I. Ventura Sahmbeni, of Sienna, 
 
 - Painter and Inventor. 
 
 V. V. Delft. See Number 151, 
 
 V. C. V. A Mark ufed by an antient Engra- 
 ver in a St. Bartholomew and a St. 
 George. 
 
 W. D. H. Will. Henim. 
 W. H. Wenceflaus Hollar. 
 W. P. Will. PaflTe. 
 
 Z. A. Zazingeri, crM. Z. Martin Zinkius, 
 ms was before-mentioned. 
 
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226 An Alphabetical Index 
 
 A N 
 
 Alphabetical INDEX 
 
 O F T H E 
 
 Chriftian Names and Surnames 
 of the Engravers and Pain- 
 ters, with their Places of 
 Abode, and when they flou- 
 riftied, &c. 
 
 A. 
 
 ABbot Primaticcio, ufed the following 
 Marks, A. P. M. A. or B. or Fr. 
 Bol, or F. P. See Number 91. 
 A. Blotholinus. 
 Abraham Bloemaert, Ab. Bl. he died in 
 
 1647, aged 94. 
 Adam iElfheimer, born in 1574. See Num- 
 ber 123. 
 Adam Mantovano. Number 92. 
 A, D. Bruin. Number 20. flor. in 1579. 
 Adrian Collaert. Number 22, 
 Adrian Hubert. Number 144. 
 Agnes Frey, Wife of Albert Durer. 'Num- 
 . ber 154. She lived in 15 10. 
 
 Agoftino 
 
of Engravers. 227 
 
 Agoftino Parifino. Number 57. 
 
 Auguftin Carracci, A.C. or Agos. C. of 
 
 Bologna, died in 1602, aged 45. 
 Auguftin Metelli, a Painter of Bologna* 
 
 He died in 1660. 
 Auguftin Veneziano, or A. V. flor. in 
 
 1525. Number 135. 
 Albert Aldegraft, of Weftphalia, flor. in 
 
 1 55 1. Number 32. 
 Albert Altorfio, of Sweden, flor. in 1511. 
 Albert Clovet, flor. in 1675. 
 Albert Durer, or A. E. of Nuremberg. 
 
 He died in is 2 l-> a l^ 5 8- Number 30. 
 Albert Flamen 5 /d?r. in 1641. Number 114. 
 Albert Golckentonio, A. G. 
 Alexander Algardi. He died in 1654., 
 
 aged 56. Number 158. 
 Alexander Badiali, 0/ Bologna, A. B. 
 Alexander Specchi. 
 Andrew Andreani, of Mantua, flor. in 1600, 
 
 Number 47. 
 Andrew Both, A. Both. 
 Andrew Camaffei, a Painter of Bevagna. 
 
 He died in 1695. 
 Andrew Laurent, of "Paris. 
 Andrew Mantegna, of Mantua. He died 
 
 in 1517. 
 Andrew Salmincio, of Bologna, flor. in 
 
 1640. Number 139. 
 Andrew Vande Venne, jfcr. in 1662. Num- 
 ber 151. 
 
 L 6 Andrew 
 
228 An Alphabetical Index 
 
 Andrew Wolfgangus, of 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. Number 91. 
 
 Anthony Lanferrius. 
 
 Anthony Licini, A. L. P. I. 
 
 Anthony MaxTon, of Paris, for. in 1698, 
 aged 66. 
 
 Anthony Salamanca, for. in 1664. Num- 
 bers 90, and 143. 
 
 Anthony Ternpefta, 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. 
 
 Arm an Muller. 
 
 Arnold Van Wefterhout, for. in 1681. 
 
 B. 
 
 Baccio Baldino, for. in 1 500. 
 
 Baccio Bandinelli, 0/ Florence, B. B. A, F. 
 
 Baldazzar Peruzzi, BAL. SEN. He died 
 
 in 1536, aged 55. 
 Bartholomew Bifcaino, of Genoa, B. B. He 
 
 died in 1657, 
 
 Bartholomew 
 
^"Engravers. 229 
 
 Bartholomew Boham, B. B. of Nurem- 
 berg, flor. in 1 Si 1 * 
 
 Bartholomew Chilian, or Kilian, of Augf- 
 burg, flor. in 1683. 
 
 Bartholomew Coriolano, of Bologna, B. C. 
 Equ. flor, in 1640. 
 
 Bartholomew Gagliardi. He died in 1620. 
 
 Bartholomew Paflarotti, a Painter of Bo- 
 logna, B. P. died in 1578. 
 
 Bartholomew Schenio, B. S. of Bologna. 
 
 Baptift\Brittiano, of Mantua. 
 
 Baptift Franco, of Venice, died in 1561. 
 
 Bellange, a Frenchman. 
 
 Benedict Farj at, flor. in 1702. 
 
 Bernard Faffaro. Number 108. 
 
 Bernard Balieu, flor. in 1700. 
 
 Bernard Caftelli. Number 102. He died 
 in 1629, 
 
 Bernard Gallo, D. B. flor, in 1559. 
 
 Bernard Malpucci, B. M. of Mantua. 
 
 Blodelingus of Amfterdam. 
 
 Bonafoni : See Julius Bonafoni, flor. in 
 
 1547- 
 Buonmartino : See Ifrael Vanmechdifl. 
 Bernard Baron, of London. 
 
 C 
 
 CamHlo Graffico, of Forli. 
 
 Camilio Porcaccini. He died in 1628. 
 
 Camillo Congio, or CC, Number 102. 
 
 Caprarola 
 
230 An Alphabetical Index 
 
 Caprarola 1597. He engraved the Death of 
 thrift from Hannibal Carracci, on Silver, 
 in Caprarola. 
 
 Charles Alet, for. in 1693. 
 
 Charles Audran, of Paris. 
 
 Charles Buffagnotti, of Bologna, for. in 
 1704. 
 
 Charles Cefio, an Engraver. 
 
 Charles Cignani, a Painter 0/ Bologna, CC. 
 
 Charles David, CD. F. 
 
 Charles de la Hay, for. in 1682. 
 
 Charles Maratti, a Painter ', 0/Rome, died 
 in 1713, aged 88. 
 
 Charles Saraceni : He died 1625. 
 
 Cefar Fantetti. 
 
 Cherubino Albefti : He died in 1615. Num- 
 ber 100. 
 
 Claudius Audran. 
 
 Claudius Mellan, of Paris, CI. Mel. died in 
 1688, aged-y^. 
 
 Claudia Stella, of Paris, for. in 1686. 
 
 Ciro Ferri, of Rome, he died in 1690. 
 
 Conrad Mayr, of Zurich, died in 1638, 
 aged 31. 
 
 Conrad Waumans,./<?r. in 1666. 
 
 Corrnet. Number 23. 
 
 Cornelius Berghem, ^rBerchen. Number 113^ 
 
 Cornelius Bleker, for. in 1636. C. Bleker. 
 
 Cornelius Bloemaert, C. Bio. born in 1603.* 
 C. B. and for. in 1665. 
 
 Cornelius 
 
0/* Engravers. 231 
 
 Cornelius Bofs, or Bus. Numbers 48, 54, 
 
 and 130. 
 Cornelius Cort, of Holland, he died in 
 
 1578, aged 42. 
 Cornelius Gallo, flor. in 1649. 
 Cornelius Heviffen. Number 38. 
 Cornelius Polemburg, of Utrecht, C. P. 
 
 died in 1660, aged 74. Number 119. 
 Cornelius Sichen. Number 17. 
 Cornelius Vermulen, yfor. /» 1706. 
 Crefcenzius de Honofri. 
 Crifpin Pafifeus, or Paffe, of 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 1 18. 
 Diana, of Mantua, fhe lived in 1566. 
 Dieterico Mayr, he died in 1658, aged 87. 
 Dirich Vander Staren. Number 12. 
 Domenichino, D. 0^ Bologna, died in 1641, 
 
 aged 60. 
 Domenic Barriera, 0/ Florence. Number 
 
 i47- 
 Domenic Beccafumi> he died in 1549. 
 
 Number 140. 
 Domenic Campagnola, 151 8. Number 5. 
 Domenic degli Ambrogi, 0/ Bologna. 
 Domenic Maria Bonavera, 0/ Bologna. 
 
 Domenic 
 
232 An Alphabetical Index 
 Domenic Maria Canuti, of Bologna, D. 
 
 M. C. 
 Domenic Maria Fontana, died in 1607, 
 
 aged 64. 
 Domenic Tempefta, of Florence, fior. in 
 
 1704, aged 62. 
 Domenic Tibaldi, of Bologna, he dud in 
 
 1582, aged 42. 
 
 , E. 
 
 Edelink, of Paris, died in 1707. 
 Edward Fioletri, of Bologna, fior, in 1612. 
 
 Number 105. 
 Elias Hainzelman, 0/Augfburg. 
 Elizabeth Sirani, a Paintrefs of Bologna, 
 
 died in 1664, aged 26. 
 Eneas Vighi, or Vko, JE. E. V. he lived 
 
 in 1550. Number 160. 
 Erharaus, of Paris. 
 Efaias Van-Hulien, E. V.. H. 
 
 F. 
 Fabricius Chiari, 0/Rome, he died in 1695* 
 Frederick Barocci, of Urbino, F. B. V. I. 
 
 horn in 1 528, died in 161 2, aged 84. 
 Flaminius Torre, of Bologna, F. T. F. 
 
 be died in i66j, 
 Florius Macchi, of Bologna, fkr. in 1 600. 
 Francis Aquila, 
 Francis Bnccio, F. B. of Bologna, fior. in 
 
 1600. 
 
 Francefchin 
 
of Engravers. 233 
 
 Francefchin Carracci, of Bologna, for. in 
 1622. 
 
 Francis de Neve, of Antwerp. 
 
 Francis de Poilly, of Paris. Number 142. 
 
 Francis Maria Francia, of Bologna, Nurn* 
 ber 159, for. in 1704. 
 
 Francis Giovane. 
 
 Francis Grimaldi, of Bologna, for. in 1668. 
 
 Francis Guerrieri. 
 
 F. L. D. Ciatres. 
 
 Fr. Lovemont, for. in 1662. 
 
 Francis Mazzola, of Parma. 
 
 Francis Melloni, of Bologna. 
 
 Francis Spierre, of Nancy, died in 168 1, 
 aged 38. 
 
 Francis Steen, or Vander Steen, of Ant- 
 werp. 
 
 Francis Stringa, a Painter of Modena, 
 for. in 1 704. 
 
 Francis Tortebat. 
 
 Francis Vanni, a Painter of Sienna. He 
 died in the Tear 1610, aged 47. 
 
 Francis Villamena, for. in 1623, aged 60. 
 Number 117. 
 
 Francis Bonaventuri Bifi, F. B. B. of Bo- 
 logna. 
 
 Francis Cauveau, of France, died 1675. 
 Number j$. 
 
 Francis Perrier, 0/ Burgundy, for. in 1635. 
 Number y6. 
 
 Francis Terzi, of Bergamo. 
 
 G. Ga- 
 
234 An- Alphabetical Index 
 
 G. 
 Galiot Nardois. 
 Gafpar Reverdin. Number n. 
 Gerard Fontana. 
 
 Giacinto Giminiani. Number 89. 
 Giles RoufTelet, flor. in 1686. 
 Giles Sadeler. - He died in 1629, aged 59* 
 Giodoco Aman, of Zurich, flor. in 1 5 8 8 . 
 George Chriftofano Eimert, of Ratifbon, 
 
 flor. in 1683. 
 George Ghifi, of Mantua. Number 93. 
 George Pens, 0/ Nuremberg. Number 44. 
 George Perundt, born in Franconia, died in 
 
 1663, aged 60. 
 Giovachino Bocklaer, of Antwerp. 
 Gobbo de Carracci. 
 Guido Ruggeri. Number 156. 
 Guido Reni, G. R. of Bologna, died in 
 
 1642, aged 68. 
 
 H. 
 
 Hans (i. e. John) Baldungh, or Baldvin, 
 
 flor. in 1574. Number 36. 
 Hans Bol, H. B. of Mechlin, flor. in 1541. 
 Hans Brefanck. Number 33. 
 Hans Brofamer, flor. in 1538. Number 36. 
 Hans Burkmayr, of Auglburg, died in 
 
 1 51 7, aged 44. Number 30. 
 Hans Liefrinck, H. L. Number 146- 
 Hans Lutenfach. Number 58, 
 Hans Schauflig. Number 1. 
 
 Hans 
 
^Engravers. 235 
 
 Hans Van Culmack, H. V. C. fior. in 
 
 l 5 l 7- 
 Hannibal Carracci, a Painter of Bologna, 
 
 A. C. P. died in 1609. 
 
 Henry Bloemaert, fior. in 1647. 
 
 Henry Given, he died in 1589. 'Numbers 
 124. and 152. 
 
 Henry Blofeuvertus Frifius. 
 
 Henry Goltzius, of Holland ; he died in 
 161 7, aged 59. Number in. 
 
 Henry Hondius, born in 1573. 
 
 Herman Coblent. Number 144. 
 
 Hercules Bazicaluva, of Florence, fior. in 
 1641. 
 
 Hercules Septimius, H. S. or Hercules 
 Setti, of Modena, fior. in 1571.- 
 
 Hifberto Venio. 
 
 Hieronymus, or Jerome Mocetus. Num- 
 ber 13. 
 
 Hifbel, or Hifbin. Number 31. 
 
 Hoefnaghel, Joris Hoefnaghel, a Painter 
 of Antwerp, he died in 1 600. 
 
 Horace Borgiano, H. B. of Piftoia. Num- 
 ber 36. 
 
 Hiacinth Giminiani. See Giacinto. 
 
 Hubert Audenaerd. 
 
 Hubert Goltzius, he died about the Tear 
 1503, aged ST. 
 
 Hubert Vincentini* 
 
 I. James 
 
236 An Alphabetical Index 
 
 L 
 
 James Belli, of France, I. B. F. or Belli 
 
 fee. 1 
 
 James de Gheyn, flor. in 1615, aged 50. 
 
 Number 122. 
 James Mattamius, of Haerlem. He died 
 
 in 1 63 1, aged 60. 
 James Sandrart, of Nuremberg, flor. in 
 
 1683, 
 James Vander Heyden, of Augfburg, flor. 
 
 in 1608. 
 James Lutma, of Amfterdam, flor. 1681. 
 James Grand Homme, I. G. Van Ulieto 
 
 Number 112. 
 James Kerver, I. K. 
 James Bink, ^/Nuremberg, 1500. L B. 
 James Blondeau, flor. in 1690. 
 James Callot, 0/Lorrain, he died in 1635. 
 James Freij, 0/Rome. 
 James Laurenzani. 
 James Lauri. 
 James Ligozzi. 
 James Maria Giovannini, of Bologna, he 
 
 died in 1 71 7. 
 James Matham, of Holland, he died in 
 
 1631. 
 John Chantry, flor. in 1662. 
 Jerome Hopfer, I. H. 
 J. Blondeau, that is, James, flor. in 1690. 
 J. G. Van Uliet : See James Grand Homme. 
 JohnCotay, 0/ France. Number y 2. 
 
 John 
 
^Engravers. 237 
 
 John Ladefpeldrickt. Number 45. 
 
 John le Pautre, a Frenchman, Engraver of 
 
 divers Subjefts. 
 J. G. Bronchorft, i. e. John, fior. in 1662. 
 
 Number 119; 
 J. Gal, Nardois F. L e. John Galeot Nar- 
 
 dois fecit. 
 John Abach, born in Cologn in 1556, fior. 
 
 in 1597. 
 John Baptift Brixianus, J. B. B. 
 John Baptift Mantuanus, J. B* M. fior. in 
 
 1500* 
 John Culembach, of Nuremberg,^, in 
 
 1512. 
 John Francus, of Augfburg. 
 John George Walderich, of Augfburg. 
 John James Thourneiffen, of Bafil, fior. in 
 
 1667. 
 John Livius, J. L. fee. 
 John (or Hans) Sebald Beham, he died in 
 
 1545. Number 31. 
 John Andrew Podefta, of Genoa. 
 John Andrew Sirani, 0/ Bologna. 
 John Baron, of France , fior. in 1644. 
 John Baptift Bolognini, a Painter of Bo- 
 logna. 
 John Baptift Bonaccini. 
 John Baptift Caftiglioni. Number 95. 
 John Baptift Conftantini. 
 Joftn Baptift Coriolani, an Engraver of 
 
 Bologna. 
 
 John 
 
238 An Alphabetical Index 
 
 John Baptift Falda, of Rome. 
 
 John Baptift Galleftrucci. Number 155. 
 
 John Baptift Maggi, of Rome, Painter 
 and Engraver. 
 
 John Baptift, of Mantua, flor. in 1500. 
 
 John Baptift Mercati. 
 
 John Baptift Sorito, for. in 162 1. 
 
 John Baptift Pafqualino, for. in 1622. 
 
 John Baptift Ricci, 0/Novara. 
 
 John Baptift Teftana, 
 
 John Baptift Vanni. 
 
 John Baptift Zani, 0/ Bologna. 
 
 John Benedift Caftiglioni, of Genoa. Num- 
 ber 95. 
 
 John Calcar, of ' Cleves, .£* died in 154.6. 
 
 John Caefar Tefta, Nephew to Peter Tefta. 
 
 John Frederick Greuter, of Strafburg. 
 
 John Francis Caffioni, an Engraver in Wood. 
 
 John Francis Venturini. 
 
 John Francis Zabello. Number 83. 
 
 John George Nuvolftella, a German, died 
 in 1624, aged 30. 
 
 John Guerra, of Modena, he died about the 
 Tear 1612. 
 
 John William Baur. See Guil. Baur. 
 
 John Jofeph dal Sole, a Painter of Bo- 
 logna, for. in 1 704. 
 
 John James Coraglio, of Verona, an Imi- 
 tator of Marc Antonio Raimondi. 
 
 John Lanfranci, a Painter of Parma, ttied 
 in 1647, aged 66. 
 
 John 
 
of Engravers. 239 
 
 John Lewis Valefio, of Bologna, VAL. 
 
 died in 1643. Number 103, 
 John Lutma, 0/ Amfterdam, flor. in 168 1. 
 John Maria, 0/Brefcia. Number 8. 
 John Miele, of Flanders, flor. in 1648. 
 John Nicola, 0/ Venice, flor. in 1555. 
 John Orlandi, flor. in 1600. 
 John Podefta. 
 
 John Sadeler, he died in 1660, aged 58. 
 John Saenredam, of Holland. Number 12 1. 
 John Schorel, of Bavaria, he died in 1562, 
 
 aged 6j. Number 60. 
 John Trofchel, of Nuremberg, he died in 
 
 1633. 
 John Viani, a Painter of Bologna, died in 
 
 1700, aged 63. 
 Jofeph Maria Metelli, flor. in 1704. Num- 
 ber 138. 
 Jofeph Maria Roli, of Bologna, G. M. R. 
 Jofeph Moretti, of Bologna, an Engraver 
 
 on Wood and Copper, born 1657, flor. in 
 
 1704. 
 Jofeph Ribera. Number 129. 
 Jofeph Teftapa, flor. in 1654.* 
 Jofeph Zarlati, of Modena. 
 Joris Hoefnaghel, fee Hoefnaghel. 
 Joft Amon. Number 3 y. 
 Ifaac Major, of Franckfort, flor. in \6zo. 
 Ifrael Martino, I. M. Number 186. 
 Jfrael Meek, or Van Meek, I. M. flor. in 
 
 1623. 
 
 Ifrael 
 
240 An Alphabetical Index 
 
 Ifrael Silveftre, 0/ France. 
 
 J. Van Velde. 'Number 12 7. 
 
 Julius Bonafoni, J. B. F. of Bologna, for. 
 in 1547. 
 
 Julius Csefar Porcaccinus, J. C. Pore. In. 
 died in 1626, aged 78. 
 
 Julius Casfar Venenti, of Bologna. Num- 
 ber 137. 
 
 Juftus Sadder, of Bruflels, I. S, E. for. 
 in 1620. Number 157. 
 
 Julius Campagnola, of Venice, for. in 1520. 
 
 L. 
 
 Lambert Lombardo, L. or L. L. or L. S. 
 
 died in 1560, aged 60. 
 
 Lambert Suave, or Sufterman, is the fame 
 as Lambert Lombardo. 
 
 Lambert Hopfer. Number 21. 
 
 Leonard Gualtier, for. in 161 8. Num- 
 ber 70. 
 
 Leonard Parafole Norfino, for. in 1600. 
 
 Lewis Carracci, L. C. died in 1610, 
 aged 64. 
 
 Lewis Cardi Cigoli, L. C. C\ of Florence, 
 
 Lewis Mattioli, of Bologna, for. in 1 704. 
 
 Lewis Scalzi. 
 
 Lawrence Loli, L. L. 
 
 Lawrence Tinti, of Bologna, for. in 1666. 
 
 Louvemont, for. in 1662. 
 
 Luke Ciamberiano. 
 
 Luke 
 
^Engravers. 241 
 
 Luke Cranogio, or Van Craen* or V. C. 
 or L.V.C. Numbers 16 and 35. 
 
 Luke de Leida, called of Holland. Num- 
 ber 34. 
 
 Luke Kilian, of Augfburg, Junior, or 
 L. K. A. flor. in 1657. 
 
 Luke Kruger, a German, flor. in 1516. 
 
 Luke Penni, or Lucas, P. R. of Florence, 
 flor. in 1528. 
 
 Luke Van Uden, L. V. V. flor. in 1662, 
 aged 6y. 
 
 Luke Vorfterman, of Antwerp, flor. in 
 1629. Number 120. 
 
 Lewis Gomie. 
 
 Lewis Scaramuccia Perugino, died in 1684, 
 
 Lewis Philip Boitard, of London. 
 
 M. 
 
 Marc Antonio Chiarini, of Bologna. 
 
 Marc Antonio Raimondi, or M. A. F. 
 died in 1528. Number 9 9. 
 
 Marc da Ravenna, M. R. 
 
 Marottus. 
 
 Martin de Clef, M. C. flor. in 1436. 
 
 Martin de Secu, or M. + S. Number ^g, 
 
 Martin de Vos, of Antwerp, a celebrated 
 Inventor for Engraven , died in 1604, 
 aged 72. 
 
 Martin Hemfkirk, a principal Inventor for 
 Engravers, died in 1574, ■ oged 76. Num- 
 ber 24, 
 
 M Martin 
 
242 An Alphabetical Index 
 
 Martin Rota, of Sabina, flor. in 1725. 
 
 Number 109. 
 Martin Zinkius, or Zazingeri, M. Z. or 
 
 Z. A. flor. in 1500. 
 Mafo Finiguerri, of Florence, one of the 
 
 firfi Engravers on Copper , in 1460. 
 Matthew Grunevald, of Afchaffemburg. 
 
 Numbers 30, and 153. 
 Matthew Greuter, of Strafburg, M. G. 
 
 he died in 1638, aged 72. 
 Matthew Merian, M. Merian, born in 
 
 Barbary, in 1593, and died in 1632. 
 Matthew Kufel, of Augfburg. 
 Matthew Piccioni, of La Marca, flor. in 
 
 Matthew Zagel, M. Z. Number 10. 
 Maurice Oddi, died in 1702, aged 63. 
 
 Number 134. 
 Melchior Girardini, Mel. Gir. Fee. of 
 
 Rome. 
 Melchior Kufel, of Augfburg, Brother to 
 
 Matthew, flor. in 1651. 
 Melchior Lorichio, M. L* 
 Micarino. Number 9. 
 Michael L/Afne, died in i66y, aged 72. 
 
 Number 75. 
 Michael Le Blon. Number 6. 
 Michael Angelo Guidi, Son cf Raphael. 
 Michael Cocxie, died in 1592, aged <$$. 
 
 Number 3. 
 .Michael Lucchefe. Number 107. 
 
 Michael 
 
^Engravers. 243 
 
 Michael Natali, of Lodi, flor. in 1665. 
 Michael Volgemut, 0/ Nuremberg, Albert 
 
 Durer's Majler, flor. in 1490, 
 Mr. Lane. 
 Mr. Rolet. 
 Mr. Vanfculp. 
 
 N. 
 Nicholas Vicentino, be engraved the Works 
 
 of Parmigiano, and flor. in 1555. 
 Nicholas Chapron, of Paris, N. C. flor. in 
 
 1649. 
 Nicholas Manuel, 0/Bearn, N. M. B. flor. 
 
 in 15 1 8. 
 Nicoletto, 0/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. 
 Nicholas Dorigny, of Paris. 
 Nicholas la Fas, a Frenchman. 
 Nicholas Laigniel. 
 Nicholas Mignard, of Paris, died in 1695, 
 
 aged 85. 
 Nicholas Perrelle, a Frenchman, Engraver 
 
 /0 Nicholas Pouffin, and others. 
 Nicholas Poilly, a Frenchman, died in 
 
 1696, aged 70. 
 Noel Gamier, flor. in 161 8. Number 4.. 
 
 M 2 O. Oliver 
 
244 An Alphabetical Index 
 
 O. 
 Oliver Gatti, an Engraver 0/* 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 72. 
 
 Paul Bianchi, P. B. F. 
 
 Paul Pontius, of Antwerp, flor, in 1660, 
 aged 5 j. 
 
 Paul Maupini. 
 
 Periecouter. Number 40. 
 
 Peter Aquila, flor. in 1681. 
 
 Peter Artfen. 
 
 Peter Breughel, died in 1556. Number 123. 
 
 Peter Cottart. Number 46. 
 
 Peter Daret, of Paris, flor. in 1 654. Num- 
 ber 74. 
 
 Peter de Jode, the Elder ^ born in the Tear 
 1 60 2 , and died in 1 63 4. 
 
 Peter del Po. 
 
 Peter Hys, P. H. 
 
 Peter Ifelburgh, of Cologn, flor. in 1620. 
 
 Peter Lombard,/^, in 1666. Number ji. 
 
 Peter Mercand. Number 42. 
 
 Peter Mignard. 
 
 Peter Quaft. Number 43. 
 
 Peter Ryfbrack, onhisLandJkips. 
 
 Peter 
 
of Engravers, 245 
 
 Peter Santi Bartoli, P. SS. Bart, of Peru- 
 gia, died in 1700, aged 65. 
 
 Peter Soutman. 
 
 P. Servuter.. 
 
 Peter Simon, of Paris, for. in 16 7 3* 
 
 Peter Stefanoni, P. S. f. 
 
 Peter Stivens, of Mechlin, for. in 1629. 
 
 Peter Tefta, of Lucca, he died in 1651, 
 aged 4 1 . Number 9 6. 
 
 Peter Vander Borcht, P. V. Borcht. 
 
 Peter Vander Nelpe. Number 1 15. 
 
 Peter Vanfickleer. 
 
 Peter Voeriot. Number 53. 
 
 Philip Adler, of Padua. Number 16. 
 
 Philip Abiati, of Milan, for. in 1704. 
 
 Philip Napolitano. 
 
 Philip Paflari. 
 
 Philip Thommafini, Phil. Th. flor. in 
 
 R. 
 
 Raphael Guidi, of Tufcany. 
 
 Raphael Sadeler, born in 1555^ and flor. 
 
 in 1595. 
 Raphael ScaminoiTi. Number 104. 
 Raphael Sancio, an Inventor. Numbers 
 
 99, and 145. 
 Raymond La Fage. 
 Ravenftein, or Gafpar Reverdin, flor. in 
 
 1640. Number 11. 
 
 M 3 Rayner 
 
246 An Alphabetical Index 
 
 Rayner Perfino, of Amfterdam, a Com* 
 pardon (of Cornelius Bloemaert. 
 
 Ravignano,y^ Mark da Ravenna. R. S. 
 
 Kegnaflbn, N.flor. in 164.6. 
 
 Rembrandt, or Van Rhin, died in 1668, 
 aged 6 2 . Number 126. 
 
 Remigio Cantagallina. 
 
 Reynold Boivin, alfo Renato. Number 7. 
 
 Reynold Lochon. Number 6$. 
 
 Ralph Brein, of Zurick. 
 
 Ralph Mayr, flor. in 1638. 
 
 Robert de Vorft,jfor. in 1628. 
 
 Robert Nanteuil, a Frenchman, ht died in 
 1678,. aged 48. 
 
 Robetta, R. B. T. A. 
 
 R. V. A. Gaudcnfis. 
 
 S. 
 
 Saenredam, See Hans (or John) Saenre- 
 clam. 
 
 Salvator Rofa, a Painter, Engraver and 
 Poet^ of Naples -, be died in i6y$, aged 
 60. Number 106. 
 
 San Martino, of Bologna, this Ariifi was 
 Abbot Primaticcio, of St. MartinV. 
 Number 91. 
 
 Samuel Hainzelmanus, 0/AugfDurg. 
 
 Schelde a Boifuvert, for. in 1660. Num- 
 ber 125. 
 
 Scuppen, of Paris. 
 
 Saben- 
 
^Engravers. 247 
 
 Sabenzanus. Number 109. 
 
 Silveftre da Romana. Number 101. 
 
 Simon Cantarini, called 0/Pefaro, S. C. 
 
 Simon Frifio. 
 
 Simon Guillain, S. G. of Paris, for. in 
 164.6. 
 
 Simon, of Paris, for. in 1673. 
 
 Sinibaldo Scorza, of Genoa, he died in 
 163 1, aged 41- 
 
 Sifto Badalochio, of Parma, jfer. in 1607. 
 
 Spagnoletto, &* Jofeph Ribera. Number 
 129. 
 
 Stephen della Bella, 0/ Florence. S. B. be 
 died in 1664, aged 50. Number 136. 
 
 Stephen Baudet, 0/ France, jfor. i» 1675. 
 
 Stephen Carteron, S. C. F.for. in 161 5. 
 
 Stephen Colbenftagh, of Rome. Num- 
 ber 94. 
 
 Stephen du Perac, of Paris, be died in 
 1 60 1. 
 
 Stoltzius. Number 2. 
 
 Svaneburgh, he engraved the Works of Ru- 
 bens. 
 
 Sufanna Sandrart, of Norimberg, for. in 
 1683. 
 
 T. 
 
 Theodore Cornher, of Amfterdam, be died 
 
 in 1590. 
 Theodore Crugher, or Greuger, T. C. 
 
 Number 150. 
 
 M 4 Theo- 
 
248 An Alphabetical Index 
 
 Theodore dalla Croce, ^Holland. 
 Theodore Mattamio, of Haerlem, flor. in 
 
 1663. 
 Theodore Van Tulden. Number 116. 
 Theodore Zaghel. Number 65. 
 Thomas Barlacchius. 
 Tibo, flor. in 1686. 
 Tobias Scimer, of Schafufe, flor. in 1590. 
 
 V. 
 
 Valentine Senezius, V. S. flor. in 1622. 
 
 Van Rhin, See Rembrandt. 
 
 Ventura Salimbeni, of Siena, V. S. In, 
 aged 56. 
 
 Veronica Fontana, of Bologna, an Engra- 
 ver on Wood, 
 
 Vefpafian Strada, Vef. S. <?/Rome, died in 
 1618, aged 36. 
 
 Ugo da Carpi, flor. in 1500. 
 
 Vincent Caccianemici, V. C. 0/* Bologna. 
 
 Virgilio Sole, or V. S. Numbers 19, and 
 61. 
 
 W. 
 
 Waer Van Hoffanen. Number 15. 
 William Delft, 0/ Holland, died in 1638. 
 
 Number 151. 
 William Cortefe. 
 William Faithorne, of London, died in 
 
 1690. 
 
 Wen- 
 
/Engravers. 249 
 
 Wenceflaus Hollar, a Bohemian, died in 
 
 1677. 
 Wolfgangus Kalian, of Auglburg, flor, in 
 
 1654. 
 W. Vaillant, flor. in 1675. 
 W. Vaillant, flor. in 1726. 
 
 Zazingeri, See Martin Zinkio. 
 Zinkio is the fame as Martin Zazingeri. 
 
 M 5 AN 
 
250 An Alphabetical LIST 
 
 A N 
 
 Alphabetical LIST 
 
 O F T H E 
 
 Surnames before the Christian 
 Names, (^Painters, Engra- 
 vers, and Sculptors. 
 
 Note, The Letters P and S, before the 
 Names, Jiandfor Painter, or Sculptor. 
 
 A Back, John 
 Abiati, Philip 
 Adamo, Mantuano 
 Ackerftout, William 
 Adam, John 
 Adler, Philip 
 
 P.-ZEJAieimer, Adam 
 Agoftino, Veneziano 
 Aguccio, Giovanni 
 Alberti, Cherubino 
 Aldegraft, Albert 
 
 S. Algardi, Aleflandro 
 Allard, Carolus 
 Alet, John Charles 
 
 Allen, Francis 
 
 Altorf, Adam 
 
 Ambrogi, Domenico 
 delli 
 
 Ab-Amling, Corne- 
 lius Guftavus 
 
 — — , Carolus 
 Guftavus 
 
 Amon, Juftus 
 P % 5 Jodocus 
 
 Ammon, Claudius 
 
 Andrea, Nicolas 
 
 Andreani, Andrea 
 
 Angelo, 
 
^Engravers, &c. 251 
 
 Angelo, Michael, fee P.Baugin, John 
 
 Buonaroti Baumgartner, J. G. 
 
 Anrien, J. B. r. Bary, Henry 
 
 Aquila, Francis P.Baur, Guil. or Jo. 
 
 Petrus 
 
 Artfen, Petrus 
 
 Aubry, Peter 
 
 Aveline, fen, 
 
 Audenaerd, Hubert 
 
 Audran, Charles 
 p ^ Gerard 
 
 — — , Benedict 
 
 , Claude 
 
 , John 
 
 Auroux, Nicholas. 
 B. 
 P.Badaloccio, Sifto 
 P.Badiale, Aleffandro 
 
 Baldung, Hans 
 P.Baldini, Baccio 
 
 Balieu, Bernard 
 
 , Peter de 
 
 P.Baitens, Peter 
 
 Balthafar, Peter 
 PMS. Bandinelli, Bac- 
 cio 
 
 Barbe, John 
 
 Barlacchius, Thomas 
 
 Baron, John 
 
 Baron, Bernard 
 P.Barocci, Frederico 
 
 Baroni, Giufeppi 
 
 Barri, Giacomo 
 
 Barriera, Domenico 
 P.Bartoli, Pietro Santo 
 
 Baudet, Eftienne 
 
 M 
 
 Will. 
 
 P.Bazicaluva, Hercules 
 Bazin, Nicolas 
 
 P.Beatrici, Nicolas 
 Beatricetto, Nicolo 
 Beauvais 
 
 P. Beccafumi, Domenico 
 Becket, Ifaac 
 Beham, John Sebald 
 Belange 
 Belli, Jaques 
 Berghem, Cornelius 
 
 P.Bernardi, Gio. 
 Bertrand, Philip 
 Beaufrere, P. 
 Beufecom, T. V, 
 Bertelli, Ferando 
 
 , Lucas 
 
 Bettini, Domenica 
 Beverenfis, Nicafius 
 Bianchi, Paolo 
 Bignon, Francis 
 
 P. & S, Bink, Jacobus 
 Bie, Jaques de 
 Bifcaino, Bartol. 
 Bifi,Fra. Bonaventura 
 Blancus, Paulus 
 Bleker, Cornelius 
 Blefendorf, Samuel 
 Blefwart, Henry 
 Blefwick, F. 
 
 P.Bloemart, Abraham 
 
 6 Bloemaertj 
 
An Alphabetical LIST 
 
 252 
 
 Bloemaert, Cornelius 
 
 , Frederick 
 
 , Hercules 
 
 Blois, A. de 
 P.Block, Daniel 
 
 P. 3 Emanuel 
 
 P. , Adolphus 
 
 P. , Benjamin 
 
 Blon, Michael 1«- 
 
 Blond, la 
 
 Blondeau, Jaques 
 
 Bloeteling, A. 
 
 Bocklin, J. C. 
 P.Bocklaer, Joachim 
 
 Boel, Quirinus 
 
 — , c. 
 
 Boham, Bartolomeus 
 
 Bois, M. de 
 
 Boivin, Rene 
 
 Boiffavin, L. 
 
 Eoitard, Lewis Philip 
 
 Bol, Hans 
 P.Bolognefe, Francefco, 
 See Primaticcio 
 
 Bolognini, Jo. Bap- 
 tilt 
 
 Bolonnois, E. de 
 
 Bolfwaert, Scalie a 
 
 Bolfwerd, B). 
 
 — — — , Boetius 
 
 Bolzoni, Andrea 
 
 Bonaccini, Jo. Bap- 
 tift 
 
 Bonar, A. 
 
 Bonafone, Julio 
 
 Bonavera, Domenico, 
 
 Bonez. 
 
 Buonmartino, Ifrael 
 Martin 
 
 Bonnart, Nicolas 
 
 Bonvicihus, B. 
 
 Borgiano, Horatio 
 
 Borrecheus, Matthew 
 
 Bos, or Bus, Corne- 
 lius 
 
 Bos, or Bofch 
 P.Bofs, Antoine 
 
 Both, Andrew 
 
 Bouche, Pet. Paul 
 
 Bouchet 
 
 Boulanger, John 
 
 Bond, R. 
 
 Boudan, L. 
 
 Boutatts, John 
 
 , Philip, fun. 
 
 , Frederick 
 
 , P. Balthafar 
 
 , G. 
 
 P.Brebiette, Peter 
 P.Brein, Rodolf 
 
 Brefanck, Hans 
 P.Brefcia, Giov. Maria 
 da 
 
 , Giov. An,- 
 
 tonio 
 P.Breughel, Peter 
 
 Brifsart, P. 
 P.Brill, Paul 
 P.Brifcio, Francefco 
 
 Brittiano, Baptifta 
 
 Brixianus, J. Baptift 
 
 Brixianus, 
 
of Engravers, &c. 253 
 
 Brixianus, Jo. An- 
 
 P.Carracci, Agoftino 
 
 tonio 
 
 P. , Annibal 
 
 Bronchorft, John 
 
 P. , Antonio 
 
 Brofamer, Hans 
 
 P. , Francefco 
 
 Bruf, John 
 
 p $ Lodovico 
 
 Brun, G. le 
 
 P. ; Paolo 
 
 P. , Charles le 
 
 Cardi, Lodovico 
 
 Brun, Horatio 
 
 Carpi, Uo;o da 
 
 Brun, Peter de 
 
 Cars, J. E 
 
 Bruin, A. D. 
 
 Carteron, Stephanus 
 
 , Nic. de 
 
 Caffione, J. F. 
 
 Brye, Theodore de 
 
 Caftelli, Bernardo 
 
 Buffagnotti, Carlo 
 
 Caufe, Henry 
 
 P. & S. Buonaroti, Mi. 
 
 P.Caftiglione, Jo. Be- 
 
 Angelo 
 
 nedicl: 
 
 P.Burchmair, Hans 
 
 , Jo. Bap- 
 
 Burnford, Thomas 
 
 fift 
 
 Bylli, Nicolo. 
 
 P.Cefio, Carlo 
 
 
 Du Change, G. 
 
 C. 
 
 Chapren, Nicolas 
 
 P.Caccianemici, Vin~ 
 
 Chatteau, N. 
 
 cenzo 
 
 Du Chattel 
 
 P. &5. Calcaiy John 
 
 Chaveau, Francois 
 
 Callot, Jaques 
 
 Chatres 
 
 Camaffei, Andrea 
 
 Chereau, F. 
 
 Campagnola, Dome- 
 
 Cheron, Elizabeth 
 
 nico 
 
 Cherpinion, C. 
 
 . , Julio 
 
 Chefneau, Henry 
 
 P.Candidus, Peter 
 
 Chevau, F. 
 
 Cantagallina, Remi- 
 
 P.Chiari, Fabritio 
 
 gio 
 
 Chiarini, Marc An- 
 
 Cantarino, Simone 
 
 tonio 
 
 Canuti, Domenico 
 
 Cignani, Carlo 
 
 Maria 
 
 Ciamberlano, Luca 
 
 Capitellus, Bernardus 
 
 Ciro, Ferri 
 
 Capriolo, Aliprando 
 
 
 P. Clef, 
 
254 -An Alphabetical LIST 
 
 P.Clef>rC)iven,Hen.de 
 P. , Mar- 
 tin de 
 P.Clerc, le, jun. 
 
 . *, Sebaftien 
 
 Cloe, Aubert 
 Clover, Albert 
 Clouvet, P. 
 
 , R. 
 
 Cluer, Hubert 
 Coblentz, Herman 
 Cochin, fen. 
 
 — , jun. 
 
 Cock, Jerom 
 Coenhert, Theodore 
 
 , Dirich 
 
 Coenradt, Lowers 
 Cocxis, Michael 
 Coget, Anthony 
 Cokerken, Cornelius 
 
 — , E. van 
 
 Colbenftagh, Stephen 
 Coilaert, Adrian 
 Collin, Richard 
 
 . , Nicolas 
 
 Congius, Carnillo 
 Conrad, Abraham 
 Conftantini, Jo. Bap- 
 
 tift 
 Coquin, Lovis 
 1 Coraglio, Jo. Jacob 
 Coricori, Girolamo 
 Corioianus, Eartolo- 
 
 meus 
 Cormet 
 Cort, Cornelius 
 
 Cortefe, William 
 
 Coffin, Lovis 
 
 Conrad, Abraham 
 
 Cottart, Peter 
 
 Cotta, Jac. 
 
 Couvay, John 
 
 Cranogio, Lucas 
 
 Cremonius, Andreas 
 
 Crepy 
 
 Cruger, Theodore 
 P.Culembach, John 
 
 Culot 
 
 Cundier, John 
 
 Curti, Francefco 
 
 Cuftodis, Domenico. 
 D. 
 
 Dae, John, the fame 
 with John Aback 
 
 Dalla Croce, Theo- 
 dore 
 
 Dankers, Henry 
 
 Dankert, Cornelius 
 
 Dannoot, Peter 
 
 Daret, Peter 
 
 David, Jerom 
 
 — , Carolus 
 , Henry 
 
 Delft, William 
 
 • , Jacob 
 
 Delia Bella, Stephano 
 
 Del-P6, Pietro 
 
 Derlois, M. 
 
 Dertellus, Lu£as 
 
 Defrochers, Eftienne 
 
 , jun. 
 
 Devaux, Robert 
 
 Diamner^ 
 
of Engra 
 
 Diamner, H. F. 
 P.Dolfm, 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 
 
 Durlos, Claude 
 
 Dupuis, Nicolas 
 
 , Fr. 
 
 E. 
 
 Edelinck, Gerard 
 
 i — , Nicolas 
 
 Eimarr, Geo. Chrift, 
 
 Eland, 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 
 — -, Jeronx 
 
 VERS, &C. 255 
 
 Fantetti, Cefare 
 Farjat, Benedict 
 
 P.Farinati, Paolo 
 Febure, le 
 Ferace, Canute 
 Fevre, Claude le 
 Filian, John 
 
 P.Finiguerra, Mafo 
 Fiolettus, Edward 
 Flamen, Albert 
 Florae, Guill. Nico- 
 las a 
 Flos, Claude du 
 
 P.Fontana, Dom. Ma- 
 ria 
 , Gerardo 
 
 P. , Veronica 
 
 Francia, Francefco 
 ' Maria 
 Francoforma 
 Francus, Baptifta 
 ' Fieij, Agnes 
 Freij, Giacomo 
 Frizius, Simon 
 Frofno, John 
 Fruytiers, Philip. 
 
 G. 
 
 Gagliardus, Philip 
 Gagliardi, Bartolo- 
 
 meo 
 Galle, Theodore 
 Galle, Philip 
 
 , Cornelius, fen. 
 
 — , Cornelius, Jun. 
 <3allo, Bernardo 
 
 Gal- 
 
256 An Alphabetical LIST 
 
 Galleftrucci, Jo. Bap- 
 
 m 
 
 Gantrel, Stephen 
 
 Gamier, Noel 
 
 Gatti, Oliviero 
 
 Gaudenfis, R. V. A. 
 
 Gautter, Leonard 
 
 Georgi, George 
 
 , John 
 
 P.kS. DeGhein, Jaq. 
 
 Ghifi, Georgio 
 
 Giffart, Peter 
 
 Giminiano, Jacintho 
 
 Giovane, Francefco 
 
 Giardini, Melchior 
 
 Glover, George 
 
 Gole, John 
 
 Gomie, Luigi 
 
 Golkentonius, Al- 
 bertus 
 P.Goltzius, Hubert 
 P. . , Henry 
 
 Gourdelle 
 
 Graffico, Camillo 
 
 Granhomme, Jaques' 
 
 Greut, Jofeph 
 
 Greuter, F. 
 
 — , Theodore 
 
 P. , Matthew 
 
 />._ — __ y Jo. Frede- 
 rick 
 P.Gribelin, Sam. fen. 
 
 , Sam. jun. 
 
 Grignon, Jaques 
 
 Grimaldi, Francefco 
 
 Grunevald, Matthew 
 
 Guarnier, Anthony 
 Guerra, Giovanni 
 Guerrieri, Francefco 
 
 P.Guidi, Rafael 
 
 , Mich. Agnolo, 
 
 his Son 
 
 P.Guido Reni 
 Guignon, V r . 
 Guillain, Simon 
 Gyger, Jo. Conrad. 
 
 H. 
 Habert, N. 
 Haelwegh, Albert 
 Hagen,*S. 
 Hainzelman, John 
 
 , Samuel 
 
 Halbeck, John van 
 Halle, S. 
 
 Hanzelman, Elias 
 Harrewin 
 
 Hay, Charles de la 
 Hem (kirk, Martin 
 Heiden, Jacob ab 
 Heim, W. C. 
 Heince, Zachary 
 Hendricx, Giles 
 Herkenevcr, Jac, 
 Guil. 
 
 , Leonard 
 
 Hetthemels, Maria 
 Hertz, Jo. Daniel 
 Heviflen, Cornelius 
 Hifben, Peun 
 Hoefnaghel, Joris 
 Hoelwigh, Adrian 
 Hogenberg 
 
 Holbens, 
 
^Engravers, &c\ 257 
 
 Holbens, a/Haerlem 
 Hollar, Wenceflaus 
 Holftein, P. 
 P.Hondius, Henry 
 -, William 
 
 Honofri, Crefcenzo 
 Hopfer, Jerom 
 
 , David 
 
 , Lambert 
 
 Houbraken, Jaques 
 Houget, John 
 Houfle, Patil dela 
 Hubert, Gafpar 
 
 , Adrian 
 
 Huberti, Francis 
 Hulfius, Francis 
 Humbelot 
 Huret, Gregory 
 Huybreckt, Peter 
 Hys, Peter. 
 
 I. 
 
 Jacquart, Ant. de 
 Jeaurat, E. 
 Imperiali, Girolamo 
 Jode, Peter de, fen. 
 
 , Peter de,jun. 
 
 Jolain, Jac. 
 Jongelinx, J. B. 
 
 , J. P. 
 
 Jongh, J. de 
 
 Ifaac 
 
 Ifac, Jafpar 
 
 Ifelberg, peter 
 
 Jufter, J. 
 
 K. 
 
 Kaldung, Hans 
 Kerver, Jaques 
 Kilian, Lucas, fen. 
 
 , Lucas, jun. 
 
 P. , Bartholomew 
 
 , Wolfgang 
 
 , Philip 
 
 Koning, Cornelius 
 Kraling, John 
 Kruger, Lucas 
 KuiTel, Matthew 
 , Melchior. 
 
 L. 
 
 Ladelfpeldricht, John 
 Laignel, Nicolas 
 Lamfweard, Stephen 
 
 van 
 Landry, P. 
 Lanferrius, Antonius 
 Lanfrank, Giovanni 
 Lang, Mauritz 
 Langlois, John 
 Larmeflin, D. de 
 Lame, Michael 
 Later, John de 
 Lankerken, Corne- 
 lius 
 Laurent, Andrew 
 Laurentio, Efare 
 Laurenzani, Giaco- 
 
 mo 
 Lauri, Giacomo 
 Lawers, Nicolas 
 
 Lawers, 
 
2-58 An Alphabetical LIST 
 
 Lawers, Conrad 
 Le Bas, Jaques Phil- 
 lipe 
 
 Lenfant, John 
 Leonart, G. F. 
 , J.F. - 
 
 P.Leonus, Odtavius 
 
 Lens, Bernard 
 
 Leotard 
 
 Lepicie 
 P.Leyden, Lucas van 
 
 Leyfebetten, P. V. 
 
 Licinio, Antonio 
 
 LiefFank 
 
 Liefrinck, Hans 
 
 Lieu, Thomas de 
 
 Ligozzi, Giacomo 
 
 Lifibet, P. 
 
 Lochon, Rene 
 P.Lolli, Lorenzo 
 
 Lombardus, Lam- 
 bertus 
 
 Lombart, Peter 
 
 Lommelin, Adrian 
 
 , G. 
 
 P.Lorenzini, Padre An- 
 gelo 
 
 Lorichius, Melchior 
 
 Louvement, Francis 
 
 Louys, John 
 
 Lubin, Jaques 
 
 Lucchefe, Michael 
 
 Luciani, Antonio 
 
 Lucini, Ant. Fran- 
 cefco 
 P.Lutma, Janus 
 
 Luyken, John 
 
 Lyvius, John. 
 M. 
 
 P.Maccbi, Floria 
 
 PMaggi, Jo. Baptift 
 Magliar, A. 
 
 P.Major, Ifaac 
 Malleri, Philip de 
 
 , Charles 
 
 Malpucci, Beraio 
 
 P.Mantegna, Andrea 
 Mantuana, Diana 
 Mantuanus, Giorgio 
 
 ■> Jo» Baptift 
 
 Manuel deBerna,Nic. 
 
 P.Maratti, Carlo 
 
 Marc. Ant. Raimondi 
 Maria, Domenico 
 Mariette, P. 
 
 , John 
 
 Mariotti 
 Martinez 
 Martino, Ifrael 
 Maflbn, Antoine 
 
 P.Matham, Jaques 
 
 p. 9 Theodore, 
 
 his Son 
 
 P.Mattioli, Lodovico 
 Mavelet, Charles 
 Maupini, Paolo 
 
 P.Mayer, Dieterick 
 — , Henry 
 , Conrad 
 
 P. , Rodolf 
 
 P.MazzoIa, Francefco 
 Meek, or V. Meche- 
 lin, Ifrael 
 
 Melar, 
 
of Engrav 
 
 Melar, Adrian 
 
 Mellan, Claude 
 
 Mellan, G. 
 
 Melloni, Francefco 
 
 Mercand, Pierre 
 
 Mercati, Jo. Baptift 
 
 Merian, Matthew 
 
 Merl, John 
 
 Meffager, John 
 P.Metelli, Agoftino 
 P. , Giof. Maria 
 
 MeyfTens, John 
 
 , Cornelius 
 
 Micarino 
 P.Miele, Giovanni 
 
 Mignard, Nicolas 
 P. , Pierre 
 
 Mignot, Daniel 
 
 Mocetus, Hieronymus 
 
 Moncornet, B. 
 
 Montbard 
 
 Moretti, Giufeppi 
 
 Morin, John 
 
 Moro,-Battifta del 
 
 Moyreau, John 
 
 Muller, John 
 
 — , Harman 
 
 Muckerken. 
 
 N. 
 Nadat 
 
 Nantueil, Robert 
 Napolitano, Filippo 
 Nardois, J. Galiot 
 Natalis, Michael 
 Nefs, Jaques 
 
 ERS, &C. 259 
 
 Neve, Francis 
 Nicoletto, da Modena 
 Nuvolftella, Jo. Geo. 
 
 O. 
 
 Occo, Adolphus 
 Odd i Parmagiano, 
 
 Mauro 
 Orlandi, Giovanni 
 Ottens, F. 
 
 P. 
 
 Panorn, Alois Calab. 
 P.Paul Veronefe, or Ca- 
 
 liari 
 P.Parafole Norfino, Le- 
 onardo 
 P. Parmegiano, Fran- 
 cefco 
 Parmegianinq, Fran- 
 cefco 
 Pafquiiino, Jo. Bap- 
 tift 
 Pafs, Crifpin, fen. 
 
 , Crifpin, jun. 
 
 — , or Paffeus, Si- 
 mon 
 PafTari, Filippo 
 PafTaro, Bernardino 
 P.Paffarotti, Bartolo- 
 meus 
 Patavinus, Gafpar 
 
 , Gerard 
 
 Patigny 
 P.Pautre, John le 
 Payn, John 
 Peel, Matthew 
 
 Penni, 
 
260 An Alphabetical LIST 
 
 Penni, Lucas 
 
 Q, 
 
 P.Pens, George 
 
 Quaft, Peter 
 
 P.Peroch, Eftienne 
 
 Queborn, Ciifpin 
 
 P.Perelle, Nicolas 
 
 P.Quiter, Her m annus 
 
 Periecouter 
 
 Henry 
 
 P.Perrier, Francois 
 
 
 P.Perfin, Rainerus 
 
 R. 
 
 Perundt, George 
 
 Randon 
 
 P.Peruzzi, Baldaflar 
 
 Raimondi, Marc. 
 
 Perzyn, Robert 
 
 Ant. 
 
 Pefarefe, Simon 
 
 Ravenna, Silvefter da 
 
 P.Pefne, John 
 
 Ravennati, Marco 
 
 Picart, John 
 
 Ravenate, Simon 
 
 , Eftienne 
 
 Francis 
 
 — , Bernard 
 
 Ravenftein, Gafpar 
 
 Picinae, Elizabeth 
 
 Regnaflbn, N. 
 
 Piccina, Ifabel, a Nun 
 
 P.Rembrandt, vanRhin 
 
 P.Piccino, Jaques 
 
 Reverdin, or Raven- 
 
 Piccioni, Matteo 
 
 ftein 
 
 Picquet 
 
 P.Ribera, Giufeppi 
 
 Piper, Francis le 
 
 Ricci, Jo. Baptift 
 
 Pitau, N. 
 
 Ridolfi, P. 
 
 Podefta, Jo. Andrew 
 
 Robetta 
 
 Poilly, Nicolas de 
 
 Rochfort, de 
 
 ■ , Francis de 
 
 Roger 
 
 P.Polemberg, Cornelius 
 
 Roghmans, Giertruy 
 
 P.Pond 
 
 Rogheman, Hendr. 
 
 Pontius, Paulus 
 
 Lambert 
 
 Pool, Matthew 
 
 Roli, Jofeph Maria 
 
 Popels, John 
 
 Romfteadt, Chrifto- 
 
 Poffemieres, Adrian 
 
 pher 
 
 Preflier, of Copen- 
 
 P. Rofo, Salvator 
 
 hagen 
 
 Rofli, Hieronymus 
 
 Procaccini, Camillo 
 
 . , Henrico 
 
 P. Procaccinus, Jul. 
 
 , Domenico di 
 
 Caefar. 
 
 | P. Rofa, Martino 
 
 
 Roulet, 
 
#/* Engravers, &c. 261 
 
 Roulet, Jo. Louis 
 
 Rouflel, Pau' 
 
 Rouflelei, Giles 
 P.Rubens, Sir Peter Paul 
 
 Rucholle, P. 
 P. 5 iEgidius 
 
 Rugeri, Guido. 
 
 S. 
 Sadeler, Raphael 
 
 1 — , John 
 
 — , Rodolph 
 
 • , i^gidius 
 
 — — , Jufius 
 Saenredara, John 
 P.Salamanca, Antonio 
 Salimbewi, Ventura 
 Salmenicius, Andreas 
 Sandrart, John Jacob 
 
 P. 5 Joachim 
 
 p. j Sufanna 
 
 Sarrabat, John 
 Saraceni, Carlo 
 Sarragon, John 
 Sauve, John 
 Scalzi, Lodovico 
 Scaminofli, RafFaello 
 Scaramuccia, Luigt 
 Schauflig, Hans 
 Schenk, Peter 
 P.Schon, Martin 
 , Schoonebeek, Adam 
 Schorel, John 
 Scotin, G. 
 
 , J. B. 
 
 Bcorza, Simbaldo 
 
 Scuppen 
 
 Sebenzanus 
 
 Secu, Mai tin de 
 
 Scruuter, P. 
 
 Septimius, Hercules 
 
 Setti 
 
 Scupel, John a 
 
 Sezenius, Valentinus 
 
 Sichen, Cornelius 
 
 Silveftre, Sufanna 
 
 , Ifrael 
 
 Simon, Peter 
 
 - , John 
 
 Sirnm.oneau, Car.y^?. 
 
 , Car. jun. 
 
 Sirani, Giovanni 
 
 P : , Elizabetha 
 
 P. , Jo. Andrea 
 
 Skenius, Bartholomew 
 
 Smeltzing, John 
 
 Smidtz, of Berlin 
 
 Smith, John 
 P.Smith, Thomas 
 
 Snyers, Hendrick 
 
 Sole, Virgilius 
 
 Sole, Jo. Jofeph da 
 
 Sorito, Jo. Baptift 
 
 Souberaine 
 
 Soutman, Peter 
 
 Spagnoletto 
 
 Specchi, AlefTandro 
 
 Spiez, Hubert 
 P.Spierre, Francefco 
 
 Spirinx 
 P.Steen, Francifcus 
 
 Stella, Claudius 
 
 Stc- 
 
262 An Alphabetical LIST 
 
 Stephani, P. 
 
 Stephanoni, Pietro 
 P.Stivens, Peter 
 
 Stimer, Tobias 
 
 Stock, Andreas 
 
 Stoltzius 
 
 Strada, Vefpafiano 
 
 Stringa, Francefco 
 
 Stuerhelt, F. 
 
 Suavius, Lombart 
 
 Suruge 
 
 Suftermans, Lombart 
 
 Suyderhoef, John 
 
 Swanenberg, Wil- 
 liam 
 
 Sweerts, Michael 
 
 Sylvett, John 
 
 T. 
 Tardieu, Nicolas 
 Tafiniere, George 
 Tavernier, M. 
 P. Tempefla, Dome- 
 nico 
 
 ', Antonio 
 
 P. Terzi, Francefco 
 Tefta, Pietro 
 ~— -, Julio Cefare 
 Teftana, Jofeph 
 
 , Jo. Baptift 
 
 Thelot, Jo. Philip 
 Thibout, B. 
 Thomaffin, E. 
 
 ■ ■ , H. S. jun. 
 
 Thourneiflen, H. 
 P.Tibaldi, Domenico 
 Tibo 
 
 Timus, L. 
 Tinti, Lorenzo 
 Tomafini, Filippo 
 Tompfon, Philip 
 — , Robert 
 
 P.Torre, Flaminio 
 Torrebat, Francois 
 Trento, Antonio da 
 Trofcel, B. 
 
 , John 
 
 Trouvain, A. 
 Troyen, John. 
 
 V. 
 Vaccario, Andrea 
 Vaenius, Gisbert 
 Vaillant, William 
 
 , William 
 
 Valder, John 
 Valet, William 
 
 P.Valefio, G. Luigi 
 Valk, John 
 
 -, Gerard 
 
 Vallee, S. 
 Valleius, A. 
 Van iElft, Nicolas 
 
 ■ Audenard, R. 
 
 Boons, David 
 
 Boucle 
 
 Bremden, D. 
 
 Craen 
 
 Culmhac, Hans 
 
 ■ Dalen, C. fen* 
 
 Dalen, C. jun. 
 
 Dyckj Sir An- 
 thony 
 
 — Gunft, Philip 
 Van 
 
of Engravers, &c. 263 
 
 Van Hofi*anen,Uuaet 
 . ■■■- Hulfen, Efaias 
 Lochum, Mi- 
 chael 
 — Luych, H. 
 
 Mechelin 
 
 • Mecelin, The- 
 odore 
 
 P. Miens, W. 
 
 . . Munichuyen 
 
 Rhin 
 
 ■ Savoyen, Ca- 
 rolus 
 
 .. Schuppen 
 
 Scheindel, G. 
 
 Semple, Peter 
 
 ■ ■ Sichem, C. 
 
 • Sichem, Chrif- 
 
 topher 
 . Schoor, Jaques 
 
 — Sickler, Peter 
 
 — Somer, Peter 
 
 Somer, M. 
 
 Tulden, The- 
 odore 
 
 Uden, Lucas 
 
 : Uliet 
 
 Voei -ft, Robert 
 
 Wefterhout, 
 
 Arnold 
 
 - Vande-Steen, 
 
 Francis 
 
 Velde, John 
 
 p. Velde, Will. 
 
 P. Venne, Andrew 
 
 Vandel Borcht, Peter 
 
 Vanden Embden, 
 
 Martin 
 Vanden Hoeye, Rom- 
 bout 
 Vander Bruggen, 
 John 
 
 Doel, Anthony 
 
 Heyden, Jacob 
 
 Nelpe, Peter 
 
 Staren, Dirick 
 
 Vanni, Francefco 
 
 , Jo. Baptift 
 
 Var, Dirich, the Ne- 
 phew 
 Vans, John 
 Vaflbuns, John 
 Vaughan, Robert 
 Vcenhuyfen, 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 
 
 Vifker, 
 
264 An Alphabetical LIST, &c. 
 
 Vifker, L. 
 
 ■ , Nicolas 
 
 Vivares, F. 
 P. Vivien, John 
 
 Ulric, Henry 
 
 Voerierot, Peter 
 
 Yoet, Alexander, jun 
 
 Vouillemont, Sel. 
 
 Vorft, Robert de . 
 
 Vos, Martin de 
 P. Vofterman, Lucas, 
 fen, 
 
 y Lucas, 
 
 jun. 
 
 w - : ' 
 
 Wagman, Hendrick 
 Waldreick 
 Waterlo, Antonius 
 „; Watteau 
 
 Waumans, Coenrad 
 Weigel, Chriftopher 
 White, Robert 
 
 Widerman, EJias 
 
 Wierx, Anthony 
 
 , Hieronymus 
 
 Will, J. G. 
 
 Wilant, J. J. . 
 
 Wingendorf, G. 
 
 Wirix, John 
 
 Wolfgang, G. A. 
 P.Wolgemut, Michael 
 P.Wormache, Antonius 
 
 Z. 
 S. Zabello, Jo. Fran- 
 cefco 
 
 Zagel, Mattheus. 
 
 , Theodore 
 
 . Zani, Jo v Baptift 
 
 Zarlati, Gdofeffo 
 
 Zazingeri 
 
 Zenoi, Domenico 
 . Zink, Martin 
 
 Zylvedt, A, 
 
 Zyll, C. 
 
 / A T / 5, 
 
NE>7(,0 
 J 77o 
 
 1Z9 
 

 
 
 
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